A Quote by Sarah Weinman
A lot of the major players in the 1960s were the same as the 1940s and 1950s - Hitchen's 'Sleep with Slander.' Armstong's 'Lemon in the Basket,' which is a fusion of the political assassination thriller and a family drama. And Hughes's 'The Expendable Man.'
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I had the good fortune to be raised in the 1940s and the 1950s. As I entered business in the late 1950s and 1960s, America was just coming into its own as a great industrial power. It allowed young entrepreneurs to start their engines, to start their businesses, to borrow a little money and to leverage what they had.
The 1960s were a time of cultural revolution in Poland. And I was a part of that revolution. For me, those years - the late 1950s and early 1960s - were the most fruitful.
I have been a part of four different genres - a political satire, gangster drama, thriller and period drama.
It was a very strange time in the late 1950s/early 1960s, when people were putting things in space, but that language of spacecraft hadn't really congealed yet. A lot of artists at that time were looking at them as aesthetic objects.
After World War II, a lot of people moved to the cities for work and abandoned the old vineyards. Then in the 1950s and 1960s, wineries were paid to produce volume at a cheap price. That's when the Lambruscos and bad Chianti were popular.
I don't like the whole 'slander, slander' conversation that most political debates are these days. So I tend to keep my political standpoint not to myself, but just relatively private.
Malcolm X's separatist ideas were situational. If you think about where African-Americans were in the 1940s and 1950s, we needed to step away because that force, which is still present but more subdued, was very in your face, and we needed to take a step back just to get some clarity.
Finally Irish were accepted into society and became part of the political system, and there were Kennedys, and so on. But the same is true about other waves of immigrants, like the Jews in the 1950s.
Jazz vision is the fusion of music and art a real paradox of same-yet different. Here we play in exchanges, like the hardness of the key of c# major and from the softness of Db major - capturing, reflecting and improvising.
In effect, I grew up in a sort of timewarp, a place where times are scrambled up. There are elements of my childhood that look to me now, in memory more like the 1940s or the 1950s than the 1960s. Jack [Womack] says that that made us science fiction writers, because we grew up experiencing a kind of time travel.
In 1972, I recorded Gumbo, an album that was both a tribute to and my interpretation of the music I had grown up with in New Orleans in the 1940s and 1950s. I tried to keep a lot of the little changes that were characteristic of New Orleans, while working my own funknology on piano and guitar.
The 1960s was probably the first time in history that young people were recognized as a big group of consumers and as a commercial proposition for Madison Avenue. Advertising played a major role in creating the ethos of that era - the idea that, "Here it is, and you can have it now." I know that many kids thought that the ethos of the 1960s was due to their own peculiar virtues, but, in fact, it had a lot to do with the realities of the marketplace and commerce.
A few of Ellison's short stories from the 1940s and 1950s were widely anthologized over the years. After a while, it became generally known that he was at work on another novel. Though he remained aware ever afterward of the authority 'Invisible Man' gave to him, no second novel followed his brilliant debut in 1952.
Francois Truffaut's 'The Soft Skin' starts with a very mundane scene of a family and a man driving to the airport. Yet the music is like a thriller, and you don't understand why. It's not until later that you learn it's because the movie is a thriller.
Remember how many beautiful women there were in the 1950s and 1960s, without any surgery? And now, thanks to degeneration, we have this.
'Hereditary' is unabashedly a horror film, whereas 'It Comes at Night' was a lot of things: it was a thriller; it was a postapocalyptic drama. It was a slow-building, very dark movie about relationships. 'Hereditary' is also about relationships, and I hope it functions as a vivid family drama, but it is also very much a horror film.
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