A Quote by Nan Goldin

[John] Cassavetes, "Killing of a Chinese Booker", "Opening Night" are my favourites. — © Nan Goldin
[John] Cassavetes, "Killing of a Chinese Booker", "Opening Night" are my favourites.
John Cassavetes wrote A Woman Under the Influence as a play. He said, "Hey, I wrote you a play." And I said, "Great, let's read it." I read it and I said, "John, I couldn't do this every night and twice on Wednesday and Saturday".
It was a very hard play [Woman Under the Influence] to do every night. And John Cassavetes said, "Don't worry. Don't even think about it, you're right. I hadn't thought of that." He said, "Just forget it."
God, I love John Cassavetes.
John Cassavetes was there at night while I was working. After they [with his friends] discussed as much live TV as they felt they needed to, they started improvising scenes just for the fun of it and one of those scenes everybody got very interested in and it turned into Shadows [1959]. That movie was entirely improvised.
I'd rather do 'She's So Lovely' that John Cassavetes wrote versus doing 'Batman.'
I never understood a word John Cassavetes said. And I think he did that deliberately.
My junior year, I was in a play at school and five days before opening night, I still didn't know my lines. Opening night was a disaster. I was so embarrassed. The director made me work backstage for the rest of the performance.
Of course I would change anything if John Cassavetes said so - it's his script. But he was very easy about that.
When I made 'The Notebook,' the director, Nick Cassavetes, who is John's son, used to show me his father's movies.
You look at people like Gena Rowlands, but she had [John] Cassavetes to write these amazing roles for her.
In the evening, we either go to the cinema or stay in and get a takeaway - my favourites are Chinese or Indian.
When I was young, I was really, really obsessed with Gena Rowlands and John Cassavetes. Because my mom was a projectionist in college, she was somehow able to get a real projector. And she had some connections, so she would get real prints, and we'd put up a sheet. The first movies I saw were To Kill a Mockingbird [1962], Gigi [1958], A Woman Under the Influence [1974]. Then when I was old enough to be able to rent movies, I went through a very big Cassavetes phase.
Because John Cassavetes was so terrific in live TV, a lot of his friends had not been able to participate in that yet and so they asked if he would gather with them at night when I was at the play and tell them what live TV was like, what you had to adjust to because it was its own medium - it had many things you had to be aware of.
I will tell you that we're all human beings, and we all care about what people think of us. But in general, their outlook is, "We're not looking at opening night numbers. We're not looking at opening night box office. We want this to be part of the reason you come to our service."
I always wanted to make a film that had this sort of Chinese-box effect, in which you keep opening it up and opening it up, and finally at the end you're at the beginning.
I've done three Broadway shows; once the curtain goes up, that's it. I mean, you prepare and you rehearse like crazy, but after opening night, the director's not there anymore, you know. He gives you notes during previews after each performance, but opening night, you're on your own.
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