भाव

Lightning Over Water

Wim Wenders: I didn't come here to talk about dying Nick... but we might have to.
Nicholas Ray: But we might have to?
Wim Wenders: I was looking forward to seeing you, because I need your advice. You told me on the phone that you wanted to see me, but I was afraid to come too. And I think I'd rather tell you right now; why. I was aware that I'd see you in weakness, and... that... you might be worried about being seen this way. But I feel it's okay now. There is something else that came to my mind in the plane last night, that I'm actually more afraid of. I thought that I could find myself being attracted to your weakness, or to your suffering, and... if I realized I was, I think I would have to leave you. It would feel like abusing you... or betraying you.
Nicholas Ray: That won't happen.
Wim Wenders: Good! So what are our plans for the rest of the day?

Wim Wenders: [reading from Nicholas Ray's diary] 'I looked into my face and what did I see? No grenache rock of identity - faded blue. Drawn skin and wrinkled lips and sadness. And the wildest urge to recognize and accept the face of my mother... ' Nick. Nick. Oh, Nick.

Nicholas Ray: Stanislavski was a dirty word. Improvisation was a dirty word. I think it's because there is that superfluity of talent in Hollywood, that I'm as uncomfortable as I am living there. It, uhh... you go home very night thinking, '... a waste, waste, waste'. I don't like the lifestyle. I did. I loved it for a while, but it didn't get done the things that I wanted to do. It's very tempting. It's very easy to compromise... and if you turn it down a couple of times you're 'difficult'. And if you're difficult - who needs you?

Nicholas Ray: [lecturing] We are starting this new film of ours with about the same amount of head-start that we had on, The Lusty Men. A little backstory behind it, is that we started shooting with 26 pages of script, and then we wrote every night. So, there wasn't much besides instinct and reactions of my actors to what we had done the day before; to what we were going to do the next day. So, there was no possibility of meticulous 'Henry James-type' construction. The closer I get to my ending... the closer I am getting to rewriting my beginning. And certainly by the end, by the last page... umm, the climax has reconditioned the opening. And the opening usually changes.

Nicholas Ray: The film is about... a man who wants to bring himself all together before he dies. A regaining of self esteem. A once, very highly successful man.
Wim Wenders: [narrating] I was getting very confused. Something was happening. Each time the camera was pointed at Nick - something that I had no control of. It was in the camera itself. It was looking at Nick through the viewfinder. Like a very precise instrument, the camera showed clearly and mercilessly... that his time was running out. No, you couldn't really see it with your bare eyes. There was always hope... but not in the camera. I didn't know how to take it. I was terrified.

Nicholas Ray: What are you working on?
Wim Wenders: "Hammett".
Nicholas Ray: What's the budget?
Wim Wenders: Ten million.
Nicholas Ray: That's very unpretentious. For one percent of that I could make...
[long pause]
Nicholas Ray: Lightning Over Water.

Ronee Blakley: [singing] You look like, Lightning over water, Love more, Than can be seen...

Wim Wenders: We talked less and less towards the end of the trip. Each of us clinging to our own thoughts. We wanted to shoot a film but had no story to tell yet. Reality was our story - for the time being.

Nicholas Ray: Christ, I've got a lecture tonight. I pick up a few bucks, here and there, by lecturing at girls' schools. I think this is only mezzo mezzo. It used to be a girls' school. Vassar. Remember the Vassar Daisy Chain? It's about 40 percent boys now. That's progress.

Wim Wenders: Earlier that evening, Tom and I had had an argument about whether or not Nick was like a father to us. Tom felt that way. But, I denied it angrily, arguing that I want to see Nick the way he was, as himself, without the obstruction of seeing a father in him. But, maybe there was no choice with a friend 30 years older. What mattered to me was what the film was doing to our friendship. I was more and more under the pressure of making a *movie* and found myself stuck and preoccupied with that work itself, from the sheer mechanics of setting up shots and deciding upon schedules, rather than being concerned with Nick. That night, none of us slept very much. Sleep didn't bring any comfort either. I would only go on making the film in my dreams - the camera would always be there.

Wim Wenders: How is our film going to end?
Nicholas Ray: I'm going to hold out for a Chinese junk, just pulling out, all festooned with red flowers.
Wim Wenders: On the Hudson?
Nicholas Ray: On the Hudson, going out to sea.

Nicholas Ray: I photographed, re-photographed, on mirrors, on - in plate, on plexiglass, 35, 16, super-16, super-8, 8, video synthesizer... every stunt known to man.

Nicholas Ray: Are there times when representation is art or is not art? Reality - is fantasy or not fantasy? Reality to - an insane person, what some people call a perfect adjustment to our society, can be absolutely fantasy.

Wim Wenders: [referring to Nicholas Ray's "The Lusty Men"] The scene when Mitchum comes back home, crawls under the house, and finds the comic book and the gun, that's really one of my - it's more about coming home than anything I've seen.

Wim Wenders: [reading from Nicholas Ray's diary] 'An actor must speak each line as if it were the very first or the very last time it will ever be said by him. I have in my profession dealt with this problem for 50 years. Now, I'm dying of cancer. The date and hour of death is not on the calendar. And in three weeks I will be playing the part of a General in a movie version of 'Hair'.'

Wim Wenders: Nick and Ronee had worked on a scene loosely based on Shakespeare's 'King Lear'. We had built a little set for it. But, once more, our reality was stronger than the fiction that we wanted turn it into.

Wim Wenders: [reading from Nicholas Ray's diary] 'Since what early age have I wanted to die? Perhaps not die, but experience death. To experience death without dying seemed like a natural goal for me.'

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