Você Também É Uma Aberração - Gregg Araki, em Conversa Com Richard Linklater

27/02/2024, 09:40 "Você também é uma aberração": Gregg Araki, em conversa com Richard Linklater
SE INSCREVER BOLETIM DE NOTÍCIAS

Pegue a revista! Inscrever-se!
ARTE MÚSICA MODA CULTURA FILME COMPRAR
NYFF
“Você também é uma

aberração”: Gregg
Araki, em conversa com
Richard Linklater
Por Eloise King-Clements
10 de outubro de 2023
https://www.interviewmagazine.com/film/youre-a-freak-too-gregg-araki-in-conversation-with-richard-linklater 1/23
1 Bianca del Rio no Botox, “Big

Foot” e Dick Pic de Drake
2 Tom Sandoval prova alguns

bolos de mercearia
3 Doechii conta a JT por que

ninguém toca no pântano
4 Kim Petras e Carmen Electra

em Sex Work, Stripper Heels e
Slut Pop Miami
5 Tom Hollander sobre a

sensibilidade dolorosa de
Truman Capote
Richard Linklater e Gregg Araki, fotografados por James Duval no
mês passado em Austin, Texas.
As décadas passadas em busca de

versões piratas dos filmes de Gregg
Akari passaram e uma nova geração
de fãs chegou, junto com
restaurações em 4K de seus clássicos
cult, Nowhere e Doom Generation .
Richard Linklater pode confirmar:
sua filha de 19 anos tem uma
tatuagem de Nowhere na perna.
“Juro que meus filhos dizem que esse
é o intercâmbio cultural que eles
precisam saber se você é legal ou
não”, disse ele a Araki no Zoom na
semana passada, enquanto fazia
uma turnê pelo circuito de festivais
de outono com seu novo filme, Hit

Man .
Durante anos, os filmes de Araki

foram criminosamente difíceis de
encontrar ou foram vistos com
qualidade abaixo do ideal. “Eles
estavam assistindo às versões mais
ruins e ruins dos filmes que
literalmente me fazem arrepiar”, diz
Araki, cujas novas restaurações
brilhantes da Strand Releasing
foram exibidas no Museu da
Academia no mês passado.
“Portanto, é ótimo que tenhamos
novas versões que são simplesmente
novas.” Mas ele e Linklater, cujo
novo filme foi adquirido pela Netflix
por 20 milhões de dólares a partir do
TIFF, estão razoavelmente divididos
sobre o estado dos filmes – desde a
morte lenta da experiência teatral
até à asfixia de um establishment
crítico. Mas, como diz Araki, “não
podemos ser apenas os velhos
reclamando dos novos filmes e das
crianças”. Então, antes do Festival
de Cinema de Nova York, eles
receberam uma ligação para refletir
sobre como fazer filmes nos anos 80,
o mais recente de Linklater, o
movimentado mercado negro para
todas as coisas de Araki, e por que o
cinema pode ser “mais saudável”
hoje em dia.
———
GREGG ARAKI: Rick!
RICHARD LINKLATER: Como vai?

Toda a vida de Gregg agora é
homenageada onde quer que ele vá.
ARAKI: Acho que é isso que acontece

quando você tem idade suficiente.
LINKLATER: Você vive o suficiente

e pensa: “Aqui está um prêmio por
ainda estar vivo”.
ARAKI: Como você está, Rick?
LINKLATER: Bom. Bom.
ARAKI: Parece que você está em

uma versão rural de 2001 ou algo
assim.
LINKLATER: Estou no meu

depósito de lenha. Esta é minha
biblioteca.
ARAKI: Parece um depósito de lenha

chique. Puta merda, isso é incrível.
LINKLATER: Olha, eu fiz um vitral.
ARAKI: Isso é tão legal.
LINKLATER: É onde passo minha

vida.
ARAKI: E você projetou isso

também?
LINKLATER: Sim.
ARAKI: Isso é incrível. Você e Ethan

[Hawke] estavam trabalhando em
seu negócio na semana passada, seu
negócio secreto ?
LINKLATER: Sim.
ARAKI: Ah, desculpe. Devo

mencionar isso?
LINKLATER: Estou sempre

trabalhando em algumas coisas,
então realmente não sei. Não
importa se são secretos, ninguém se
importa.
ARAKI: I saw Ruby Rich last night.

She did the Q&A for our Nowhere
screening at IFC Center. And she
was saying that you’re shooting
something in Paris?
LINKLATER: Oh, not yet. I’m

hoping to make a film over there.
ARAKI: That’s fucking fantastic.
LINKLATER: Yeah, in French. It’s

like a New Wave film.
ARAKI: Do you have French actors

and stuff ?
LINKLATER: I hope to.
ARAKI: I’ve always had a dream

about shooting in France because my
movies are so loved in France. They
love auteurs over there. But I don’t
like to leave the house. It’s so crazy

that I’m actually in New York. And
you’re on your way here, right, for
New York [Film] Festival?
LINKLATER: Yeah, I’m coming up

there pretty soon. Congrats on the
new 4K of Nowhere. It is really
beautiful. So you had a screening
last night?
ARAKI: Yeah, we’ve actually had

four in the last two days and it’s been
crazy. The kids turned out in droves.
I always ask how many people in
this audience have never seen the
movie before and it’s always at least
half. And it’s so crazy to me, these
kids and this new audience and how
they found out about it. That’s one of
the things I’m so thrilled about is
that both these movies [Doom
Generation and Nowhere] have lived
for decades with this intense
following of devoted fans. But they
were looking at the shittiest,
crappiest versions of the movies that
just literally make my skin crawl.
So, because we were able to go back
to the original negative and remix
all the sound, it’s now what I want it
to look like after I’m gone. As a
filmmaker, [you] can’t look at every
fucking copy, every print, and
there’s copies of the movies floating
around that are just so shitty. You
know what I mean? It’s just really

horrifying that work can be
remembered in that way. So it’s
great that we have new versions that
are just sparkling brand new and
look beautiful and sound amazing.
LINKLATER: But what’s more

exciting is that there’s a whole new
generation that wasn’t even born
that are loving the movie. One of my
19-year-olds has a fucking Nowhere
tattoo on their calf. You’re
corrupting another generation, just
so you know.
ARAKI: I was going to suggest that

your kid be on this call with us. I
thought that would be fun.
LINKLATER: I’ve got a question.

Like Slowdive, are musicians asked
the question constantly the way we
are, “Well, has streaming ruined…”
We’re forced to talk about how our
industry’s changed and I feel like the
old guy keeping kids off your yard
going, “It was better in my day.” Is it
like that in music? Are they put in a
similar situation?
ARAKI: Yeah, it must be. Because

that’s the thing, in the eighties and
nineties when we were young
whippersnappers, there were record
companies and record deals and CDs
and sales. You would get a

soundtrack deal and we used to use
the advance to pay for music
licenses. Even for a little movie like
Nowhere, we got a decent soundtrack
deal, so we were able to clear a whole
bunch of music using that money. I
know that when we were doing my
show Now Apocalypse, in 2018 or
2019, the licensing fees have gone up
and they’re really like, “We need
this fucking money.” Because this is
how we make money now. We don’t
sell CDs. It’s not about record sales,
it’s literally about, “How much can
you pay us to use this song for two
minutes in your movie?” So the fees
are intense.
LINKLATER: Oh, I know. I did a

film, Apollo 10 1/2, and it was set in
’69, so I had this wonderful
soundtrack and it was so expensive.
It was Netflix, so there’s no backend
deal. They’re like, “Oh, Netflix? Fuck
you, pay me.” And then at the end of
the day, I was like, “Oh, this would
be a great double or triple vinyl
album.” They’re like, “Oh no, we
don’t do that anymore. We’ll publish
a Spotify list of the songs and people
can listen.” It’s not even a
soundtrack, dude.
ARAKI: I know. When we were at

the IFC Center the other night, some
kid brought up a cassette of the

Nowhere soundtrack. I’ve signed so
many CDs, DVDs, cigarette packs,
I’ve signed everything. And this kid
brought up a cassette of the Nowhere
soundtrack. Where did you find this
shit? Literally me and Jimmy
[Duvall] were like, “What? I’ve never
seen this.”
LINKLATER: I’ve got two words for

you: eBay. Or that’s one word.
ARAKI: Yeah, it’s crazy. And now he

has a signed one of those and it’s just
like $10,000 or something.
LINKLATER: Well, you need to

start your own little shadow
business of selling cassettes and crap
like that. So are we supposed to be
talking about something culturally
relevant?
ARAKI: Well, let’s talk about it now.

I’m so interested in the genesis of
this project. And you just made a
giant deal at Netflix, which also
touches on what we were talking
about.
LINKLATER: I’m rolling my eyes

when I hear that. I don’t know, I felt
like it was old school. It was this
script I wrote on spec with my lead
actor, Glen Powell, based on a
magazine article by a friend of mine
in Texas Monthly I always thought

was funny from 20 years ago. It felt
like we were making this in the
nineties or something. We started
showing it at the festivals. It got a
wonderful response.
ARAKI: That’s totally old-school.

And it’s so much work, especially
this year with the SAG Strike, your
actors weren’t there to get
photographed and all that shit. So
it’s like you’re literally marketing
and selling the movie on your own.
And the reaction was so ecstatic and
so amazing. I knew you were going
to get a big sale.
LINKLATER: Doesn’t it feel weird

that people are looking back fondly
now, “Oh, the nineties was the last
great indie.” But if you lived through
it, remember how all we did was
bitch and complain?
ARAKI: Well, that’s in Dazed [and

Confused] when you’re like, “Oh, this
decade fucking sucks. The next one
is going to be so much fucking
better.”
LINKLATER: Never forget, things

always suck in the present moment
no matter what’s going on in the
world.
ARAKI: But now there’s such

nostalgia for the nineties.
LINKLATER: Yeah, the eighties and

nineties were fun. I think that’s
what your movies capture so well,
the angst and anger.
ARAKI: Well, we’ve been talking

about this a lot on this Nowhere press
tour. One of the things that makes
Nowhere and Doom special is they do
have that angst and that anger and
that fucking confusion of being
young and all that. But because of
the influence of punk rock, new wave
music, there’s a level of fun and joy.
LINKLATER: Yeah. I always go,

“First off, they’re really funny!”
ARAKI: There’s fun and there’s joy

and there’s exhilaration the same
way of going to a punk rock or new
wave show. It’s a fun time as opposed
to something like Euphoria, which is
the sex and the drugs and the
nihilism and all that, but it’s
miserable. There’s no joy.
LINKLATER: There’s a bummer veil

over everything. It’s like, “No, you’re
supposed to be having fun, especially
when you’re young.” What the fuck
are you guys doing?
ARAKI: Somebody was talking

about Nowhere once [as] “The young,
the beautiful, and the damned.” But
you’re going to look back on these
years and go, “Jesus Christ, what
was I thinking? I was fucking 20.
I’m fucking gorgeous.”
LINKLATER: Yeah, you look at your

pictures like, “Look at that body. No
wonder we were getting laid.”
ARAKI: It’s like the male character

says in Nowhere. “We’ve got to have
as much sex and love as we can while
we’re young and pretty and
everybody wants us. Because we’re
going to be old and ugly one day.”
LINKLATER: Yeah, you’re going to

be old and ugly. What else?
ARAKI: So you were talking about

Netflix. Well, I guess you can’t say
anything bad about them ’cause
they’re your home. I guess the good
news about Netflix is it goes to
everybody, right?
LINKLATER: Yeah, that’s their

pitch. 250 million subscribers. That
sounds good. And if you think about
it, for most of our films, the afterlife
is really where most people see it.
ARAKI: Yeah, exactly. I ask that

question a lot. “How many people
saw Doom Generation in the
theater?” And literally it’s like,

three people.
LINKLATER: You want to have a

good final resting place where people
can find it. And Netflix, they’ll do a
theatrical [release] to whatever
degree. So you hope the hardcores
who really want to see it with an
audience get out there that week or
two or three. The theatrical
experience is so important to guys
like us.
ARAKI: It’s like the church-like

experience of going to the movies.
It’s just a whole different thing. And
the idea being that you are in thrall
this spectacle, as opposed to looking
at your laptop like, “Oh, I’ve got to
get a sandwich.”
LINKLATER: It’s so weird. I feel so

torn. On one hand, this was a dream
when you’re sitting there in the
eighties trying to find a movie.
There’s the Criterion Channel now.
You can just watch it. If there’s one
thing different now, it’s just
obviously the availability is
everywhere, but if someone had told
you, you wouldn’t be spending your
time in a record store the way you
used to, or a bookstore. And I think
technology goes toward people’s
wants like, “Hey, that song you just
heard, just push a button and you

can listen to the song 12 seconds
later instead of going and looking for
it in a used record store.”
ARAKI: It would take hours and

hours and hours. But it’s such a
double-edged sword because it’s like,
yeah, it’s amazing. You want to see a
Kieslowski movie or something, you
just push a button and you’re
watching it. But the flip side of that
is, and it’s kind of maybe what kids
are looking for when they’re going to
Slowdive concerts or going to
Nowhere or seeking out Dazed and
Confused, it’s the idea of the search
and the effort. When you find it, it’s
like a treasure. It’s something that
you cherish. Now everything’s
homogenized and everything’s the
same. It’s so hard to find that thing
that is somewhat precious or special.
LINKLATER: I think we’re in the

halfway point where everything just
gets downloaded in our brains
directly. If you don’t have the human
experiential element to it, like, “Oh,
I looked for that album for years and
then I found it at a record store,” or
“we all got in a car and drove 70
miles to go to that movie that was
only playing in that one theater.”
That’s an experience. You’re not
going to forget that. But if it’s
always there and you watched it on

your living room couch, there’s no
personal memory to it outside the
“content” of it. It’s just like, I don’t
know, where’s the personal
experience in it? Then there are
things like, “Do you like Gregg Araki
movies?” I swear my kids say that’s
the cultural exchange they have to
know if you’re cool or not.
ARAKI: How did your kid find out

about Nowhere?
LINKLATER: I don’t know. Just

from their circles.
ARAKI: If you make something

that’s different enough, that’s unique
enough, it becomes so special to
somebody. But I do think that’s
getting harder and harder in the
world we live in, where you can see
every single thing anytime.
LINKLATER: Do you think you

could get those same movies made
today? I mean, it’s not like anyone’s
doing anything remotely like those
films. Would someone green light
those today?
ARAKI: Well, I’m working on a new

movie now that’s not exactly like
those movies, but kind of the same
cloth, so I hope so.
LINKLATER: Yeah, exactly.

ARAKI: How many people Doom

Generations were there back in the
fucking nineties? Not that many.
Both Doom Generation and Nowhere
were financed by a French company.
It’s not like Harvey Weinstein
knocking people out of the way.
LINKLATER: You know what? We

have that in common for guys of our
generation. I don’t think Harvey
crossed either of our paths. I had one
meeting with that guy. He was
creepy and I knew I would not work
well with him. That was my
takeaway.
ARAKI: So you’re on your way to

New York next, right?
LINKLATER: Yeah, I’ve got two

more film festivals this fall. We had
signed up for those even before we
had a distributor, but it’s hard to say
no to the New York Film Festival.
ARAKI: You’re doing London too?
LINKLATER: Yeah.
ARAKI: Now that’s fun. As I said,

everybody’s out. Todd Haynes is
screening tonight in New York.
We’re all still doing our thing.
LINKLATER: I was just thinking

about how, when we started out,
how few films were being made when
we made our first films. We both
made two no-budget films in our

twenties in the eighties, right?
ARAKI: Not even the nineties. The

eighties.
LINKLATER: How weird was it to

be making a feature film in the
eighties? There were just so few
being made.
ARAKI: A lot of it was Strangers

Than Paradise, which was 1984. And
Chan Is Missing and She’s Gotta Have
It. You can make that little indie
movie with no money and a lot of
blood, sweat, and tears. There were
these forerunners to us. Before that,
of course, there was John Waters,
but it was a lot of work to make an
independent feature on 16
millimeter. It’s just so labor
intensive that you had to be a little
delusional and crazy.
LINKLATER: And obsessive.
ARAKI: Yeah, you had to be

obsessive. It was literally everything
to me. I wasn’t really in a
relationship and I didn’t have much.
It was just my thing. My reason for
living was doing these fucking
movies. The money I spent was on
film stock and processing and shit
like that. Every waking hour was
devoted to figuring out how I was
going to do this, when we were going

to shoot next. Now it’s so much
easier with phones and fucking
editing software and just post-
production sound stuff that you
don’t have to have that level of just
basic insanity to do it.
LINKLATER: Is that a good thing? I

think it separates the people of our
generation who did it. You’re
obsessed, but you get a little older
and you go, “Well, that’s not normal
behavior.”
ARAKI: It’s like a compulsion.

You’re like, “I could eat, or I could
buy some film stock.” I met Gus Van
Sant in the late eighties when I was
with Three Bewildered People and he
was there with Mala Noche. That’s
why we’re all friends and there’s this
network of us today, because when
you meet each other, it’s your tribe.
You know what I mean? You’re like,
“Oh, we’re the same. We’re all crazy.
We’re all just obsessed with
filmmaking.”
LINKLATER: “You’re a freak, too.”
ARAKI: We’re all the same level of

freak, and we all have the same
battle stories of like, “Oh, yeah,
remember that day the camera fell
out of the car and somebody died?”
LINKLATER: Because you knew

that anyone had to have chewed off a
paw to get there. I think maybe it’s
healthier now.
ARAKI: It’s healthier.
LINKLATER: I want to think it’s a

better world for people. I don’t know.
I just don’t want to be complaining
about the new. I gave one of those
interviews where I was talking
about my movie and I went off.
LINKLATER: “He said cinema is

dead.”
ARAKI: I read a clickbait on you. It’s

like, “Rick Linklater loved Barbie.
He saw it three times.” I was like,
“Really, this is your story? You’re
talking to fucking Rick Linklater
and you want to talk about Barbie?”
LINKLATER: Yeah, they get you on

the red carpet, and it’s that last
question in an interview where
you’re just in a mood and you tell
them the truth, but it’s not the gist
of what you’re talking about. Like
when you say, “Oh, yeah, indie
cinema’s lost.” And someone’s, “Oh, I
didn’t think you were so pessimistic
about it.”
ARAKI: Another thing that’s

missing from contemporary cinema
and independent cinema these days
is the critical establishment. Back in

those days, there was writing about
cinema and there were critics,
there’d be Village Voice, Timeout,
you’d do LA Weekly. There were these
pieces written about cinema and
there was this level of excitement
and discourse that amplified the
movies. The Living End probably
would’ve been lost forever because
it’s just this little indie movie that
costs like $25,000 and showed for
three weeks at the Angelica or
something. But it was part of a
bigger cultural moment, which was
criticism and movie critics and
think pieces and press and media.
Now, that doesn’t exist anymore. It’s
like fucking clickbait about you
liking Barbie.
LINKLATER: Yeah, yeah. There

were these outlets that were very
curious about what was going on in
the avant-garde and the
underground. And at some point, I
don’t know if it’s just Hollywood or
capitalism in general, the equation
became, “Well, that thing’s small, no
one’s going to see it anyway.”
Instead of amplifying this cool
thing. It doesn’t qualify to be
written about in our pages because
it’s just not culturally relevant. And
I think indie cinema has fallen prey
to that. You don’t see a lot of serious

writing about.
ARAKI: So pessimistic, Rick.
LINKLATER: Shitting on
everything.
ARAKI: It’s true, though. Also, there

are still film critics, and there are
obviously still reviews, but there’s
this level of exhaustion amongst
critics where it’s just like, “Oh God,
another fucking movie to watch.”
Because everybody is getting
bombarded, including critics, with
10,000 fucking things. We’re both in
the WGA and the DGA and the
Academy and all that shit. And it’s
fucking award season, so here comes
the fucking tidal wave of 10,000
fucking movies that all want your
attention. And it’s actually the
critics’ lives every fucking day, so
there’s this level of weariness. And I
think that is an unfortunate
byproduct of this world that we live
in.
LINKLATER: There’s so much on

the table. I mean, there’s narratives.
We just had books, movies, and TV
was its own thing. Now there’s
narrative games, there’s VR, so
many good podcasts, TikTok, and it
is just coming at you.
ARAKI: We can’t just be the old guys

complaining about new films and the
kids.
LINKLATER: Yeah, no. I think it’s

great. We always wanted to
communicate and for people to
express themselves, and boy, that’s
what we’re getting.
ARAKI: That’s an optimistic note to

end on.
LINKLATER: That’s the good news.
Related Posts
A Bunch of Cat Cohen Hopes How Grant Singer

Sundance Stars on Her Comedy Show Accidentally Made
Schmoozing, Is Your Sexual the Biggest Movie
Bidding Wars, and Awakening in America
Hangovers
Raven Jackson Annie Baker Is Alice Rohrwacher

Gets Her Hands Coming to a Movie nos convida para
Dirty in Her Debut Theater Near You seu parque sagrado

Feature de monstros
Boletim de Notícias
Seu endereço de email INSCREVER-SE
Cabeçalho | Privacidade | Termos | Contato

Copyright © 2024 Entrevista Revista. Todos os direitos reservados.

Você Também É Uma Aberração - Gregg Araki, em Conversa Com Richard Linklater

Enviado por

Dados do documento

Título original

Direitos autorais

Formatos disponíveis

Compartilhar este documento

Compartilhar ou incorporar documento

Opções de compartilhamento

Você considera este documento útil?

Este conteúdo é inapropriado?

Direitos autorais:

Formatos disponíveis

Você Também É Uma Aberração - Gregg Araki, em Conversa Com Richard Linklater

Enviado por

Direitos autorais:

Formatos disponíveis

27/02/2024, 09:40 "Você também é uma aberração": Gregg Araki, em conversa com Richard Linklater

SE INSCREVER BOLETIM DE NOTÍCIAS

ARTE MÚSICA MODA CULTURA FILME COMPRAR

“Você também é uma

1 Bianca del Rio no Botox, “Big

2 Tom Sandoval prova alguns

3 Doechii conta a JT por que

4 Kim Petras e Carmen Electra

5 Tom Hollander sobre a

As décadas passadas em busca de

de outono com seu novo filme, Hit

Durante anos, os filmes de Araki

GREGG ARAKI: Rick!

RICHARD LINKLATER: Como vai?

ARAKI: Acho que é isso que acontece

LINKLATER: Você vive o suficiente

ARAKI: Como você está, Rick?

LINKLATER: Bom. Bom.

ARAKI: Parece que você está em

LINKLATER: Estou no meu

ARAKI: Parece um depósito de lenha

LINKLATER: Olha, eu fiz um vitral.

ARAKI: Isso é tão legal.

LINKLATER: É onde passo minha

ARAKI: E você projetou isso

ARAKI: Isso é incrível. Você e Ethan

ARAKI: Ah, desculpe. Devo

LINKLATER: Estou sempre

ARAKI: I saw Ruby Rich last night.

LINKLATER: Oh, not yet. I’m

ARAKI: That’s fucking fantastic.

LINKLATER: Yeah, in French. It’s

ARAKI: Do you have French actors

LINKLATER: I hope to.

ARAKI: I’ve always had a dream

like to leave the house. It’s so crazy

LINKLATER: Yeah, I’m coming up

ARAKI: Yeah, we’ve actually had

know what I mean? It’s just really

LINKLATER: But what’s more

ARAKI: I was going to suggest that

LINKLATER: I’ve got a question.

ARAKI: Yeah, it must be. Because

and sales. You would get a

LINKLATER: Oh, I know. I did a

ARAKI: I know. When we were at

kid brought up a cassette of the

LINKLATER: I’ve got two words for

ARAKI: Yeah, it’s crazy. And now he

LINKLATER: Well, you need to

ARAKI: Well, let’s talk about it now.

LINKLATER: I’m rolling my eyes

in Texas Monthly I always thought

ARAKI: That’s totally old-school.

LINKLATER: Doesn’t it feel weird

ARAKI: Well, that’s in Dazed [and

LINKLATER: Never forget, things

ARAKI: But now there’s such

LINKLATER: Yeah, the eighties and

ARAKI: Well, we’ve been talking

LINKLATER: Yeah. I always go,

ARAKI: There’s fun and there’s joy

LINKLATER: There’s a bummer veil