With negotiations between the Writers Guild and some of Hollywood's major film studios and TV networks at an impasse as the May 1 deadline nears, putting the panic of a strike in the usually gilded air, we're reminded of the often uneasy relationships between writers and the film industry--which Raymond Chandler amply described in writings outside his famous novels. The following are portions excerpted from The Raymond Chandler Papers: Selected Letters and Non-Fiction, 1909-1959, edited by Tom Hiney and Frank MacShane and published in April by Atlantic Monthly Press.
Letter to Erle Stanley Gardner, January 29, 1946. Chandler was working steadily on a fifth Marlowe novel. The cheap editions of all four earlier Marlowes were now selling in the hundreds of thousands, and Newsweek had reported in 1945 that "Chandlerism, a select cult a year ago, is about to engulf the nation."
Most of what you write is a complete surprise to me--including the idea that you are a lousy writer.... As I speak I have two solid rows of Gardners in front of me, and am still trying to shop around to complete the collection. I probably know as much about the essential qualities of good writing as anybody now discussing it. I do not discuss these things professionally for the simple reason that I do not consider it worthwhile. I am not interested in pleasing the intellectuals by writing literary criticism, because literary criticism as an art has in these days too narrow a scope and too limited a public, just as has poetry. I do not believe it is a writer's function to talk to a dead generation of leisured people who once had time to relish the niceties of critical thought. The critics of today are tired Bostonians like Van Wyck Brooks or smart-alecks like Fadiman or honest men confused by the futility of their job, like Edmund Wilson. The reading public is intellectually adolescent at best, and it is obvious that what is called "significant literature" will only be sold to this public by exactly the same methods as are used to sell it toothpaste, cathartics and automobiles. It is equally obvious that since this public has been taught to read by brute force it will, in between its bouts with the latest "significant" bestseller, want to read books that are fun and excitement. So like all half-educated publics in all ages it turns with relief to the man who tells a story and nothing else. To say that what this man writes is not literature is just like saying that a book can't be any good if it makes you want to read it. When a book, any sort of book, reaches a certain intensity of artistic performance, it becomes literature. That intensity may be a matter of style, situation, character, emotional tone, or idea, or half a dozen other things. It may also be a perfection of control over the movement of a story similar to the control a great pitcher has over the ball. That is to me what you have more than anything else and more than anyone else. Dumas Père had it. Dickens, allowing for his Victorian muddle, had it; begging your pardon I don't think Edgar Wallace approached it. His stories died all along the line and had to be revived. Yours don't. Every page throws the hook for the next. I call this a kind of genius. I regard myself as a pretty exacting reader; detective stories as such don't mean a thing to me. But it must be obvious that if I have half a dozen unread books beside my chair and one of them is a Perry Mason, and I reach for the Perry Mason and let the others wait, that book must have a quality.
As to me, I am not busy and I am not successful in any important way. I don't get written what I want to write and I get balled up in what I write. I made a lot of money last year, but the government took half of it and expenses took half of the rest. I'm not poor, but neither am I in anything like your condition, or ever will be. My wife has been under the weather with the flu for ten days, but she wants to come down to your place as much as I do. I'm working at home because I refused to report to Paramount and took a suspension. They refused to tear up my contract. A writer has no real chance in pictures unless he is willing to become a producer, and that is too tough for me. The last picture I worked on was just one long row.
Letter to Alfred Knopf, January 12, 1946. Though Knopf was no longer Chandler's publisher, he and Chandler had buried the hatchet and were to remain in touch for the rest of Chandler's life. Knopf had written in response to reading Chandler's article in The Atlantic Monthly about screenwriting.
One of the troubles is that it seems quite impossible in Hollywood to convince anyone that a man would turn his back on a whopping salary--whopping by the standards of normal living--for any reason but a tactical manoeuvre through which he hopes to acquire a still more whopping salary. What I want is something quite different: a freedom from datelines and unnatural pressures, and a right to find and work with those few people in Hollywood whose purpose is to make the best pictures possible within the limitations of a popular art, not merely to repeat the old and vulgar formulae. And only a little of that.
The ethics of this industry may be judged by the fact that late last night a very important independent producer called me up and asked me to do a screenplay of one of the most advertised projects of the year, do it on the quiet, secretly, with full knowledge that it would be a violation of my contract. That meant nothing to him; it never occurred to him that he was insulting me. Perhaps, in spite of my faults, I still have a sense of honor. I may quarrel, but at least I put the point at issue down on the table in front of me. I am perfectly willing to let them examine my sleeves for hidden cards. But I don't think they really want to. They would be horrified to find them empty. They do not like to deal with honest men.
From the beginning, from the first pulp story, it was always with me a question (first of course of how to write a story at all) of putting into the stuff something they would not shy off from, perhaps even not know was there as a conscious realization, but which would somehow distill through their minds and leave an afterglow. A man with a realistic habit of thought can no longer write for intellectuals. There are too few of them and they are too specious. Neither can he deliberately write for people he despises, or for the slick magazines (Hollywood is less degrading than that), or for money alone. There must be idealism but there must also be contempt. This kind of talk may seem a little ridiculous coming from me. It is possibly that like Max Beerbohm I was born half a century too late, and that I too belong to an age of grace. I could so easily have become everything our world has no use for. So I wrote for the Black Mask. What a wry joke.
No doubt I have learned a lot from Hollywood. Please do not think I completely despise it, because I don't. The best proof of that may be that every producer I have worked for I would work for again, and every one of them, in spite of my tantrums, would be glad to have me. But the overall picture, as the boys say, is of a degraded community whose idealism even is largely fake. The pretentiousness, the bogus enthusiasm, the constant drinking and drabbing, the incessant squabbling over money, the all-pervasive agent, the strutting of the big shots (and their usually utter incompetence to achieve anything they start out to do), the constant fear of losing all this fairy gold and being the nothing they have really never ceased to be, the snide tricks, the whole damn mess is out of this world. It is a great subject for a novel--probably the greatest still untouched. But how to do it with a level mind, that's the thing that baffles me. It is like one of these South American palace revolutions conducted by officers in comic opera uniforms--only when the thing is over the ragged dead men lie in rows against the wall, and you suddenly know that this is not funny, this is the Roman circus, and damn near the end of civilization.
Chandler having decided to stop studio work and move permanently to La Jolla, The Atlantic Monthly persuaded him to report on the 1946 Oscar ceremony for them.
If you think most motion pictures are bad, which they are (including the foreign), find out from some initiate how they are made, and you will be astonished that any of them could be good. Making a fine motion picture is like painting "The Laughing Cavalier" in Macy's basement, with a floorwalker to mix your colours for you. Of course most motion pictures are bad. Why wouldn't they be? Apart from its own intrinsic handicaps of excessive cost, hypercritical bluenosed censorship, and the lack of any single-minded controlling force in the making, the motion picture is bad because 90 per cent of its source material is tripe, and the other 10 per cent is a little too virile and plain-spoken for the petty-minded clerics, the elderly ingénues of the women's clubs, and the tender guardians of that godawful mixture of boredom and bad manners known more eloquently as the Impressionable Age.
The point is not whether there are bad motion pictures or even whether the average motion picture is bad, but whether the motion picture is an artistic medium of sufficient dignity and accomplishment to be treated with respect by the people who control its destinies. Those who deride the motion picture usually are satisfied that they have thrown the book at it by declaring it to be a form of mass entertainment. As if that meant anything. Greek drama, which is still considered quite respectable by most intellectuals, was mass entertainment to the Athenian freeman. So, within its economic and topographical limits, was the Elizabethan drama. The great cathedrals of Europe, although not exactly built to while away an afternoon, certainly had an aesthetic and spiritual effect on the ordinary man. Today, if not always, the fugues and chorales of Bach, the symphonies of Mozart, Borodin, and Brahms, the violin concertos of Vivaldi, the piano sonatas of Scarlatti, and a great deal of what was once rather recondite music are mass entertainment by virtue of radio. Not all fools love it, but not all fools love anything more literate than a comic strip. It might reasonably be said that all art at some time and in some manner becomes mass entertainment, and that if it does not it dies and is forgotten.
The motion picture admittedly is faced with too large a mass; it must please too many people and offend too few, the second of these restrictions being infinitely more damaging to it artistically than the first. The people who sneer at the motion picture as an art form are furthermore seldom willing to consider it at its best. They insist upon judging it by the picture they saw last week or yesterday; which is even more absurd (in view of the sheer quantity or production) than to judge literature by last week's ten bestsellers, or the dramatic art by even the best of the current Broadway hits. In a novel you can still say what you like, and the stage is free almost to the point of obscenity, but the motion picture made in Hollywood, if it is to create art at all, must do so within such strangling limitations of subject and treatment that it is a blind wonder it ever achieves any distinction beyond the purely mechanical slickness of a glass and chromium bathroom. If it were merely a transplanted literary or dramatic art, it certainly would not. The hucksters and the bluenoses would between them see to that.
But the motion picture is not a transplanted literary or dramatic art, any more than it is a plastic art. It has elements of all these, but in its essential structure it is much closer to music, the sense that its finest effects can be independent of precise meaning, that its transitions can be more eloquent than its high-lit scenes, and that its dissolves and camera movements, which cannot be censored, are often far more emotionally effective than its plots, which can. Not only is the motion picture an art, but it is the one entirely new art that has been evolved on this planet for hundreds of years. It is the only art at which we of this generation have any possible chance to greatly excel.
In painting, music and architecture we are not even second-rate by comparison with the best work of the past. In sculpture we are just funny. In prose literature we not only lack style but we lack the educational and historical background to know what style is. Our fiction and drama are adept, empty, often intriguing, and so mechanical that in another fifty years at most they will be produced by machines with rows of push buttons. We have no popular poetry in the grand style, merely delicate or witty or bitter or obscure verses. Our novels are transient propaganda when they are what is called "significant," and bedtime reading when they are not.
But in the motion picture we possess an art medium whose glories are not all behind us. It has already produced great work, and if, comparatively and proportionately, far too little of that great work has been achieved in Hollywood, I think that is all the more reason why in its annual tribal dance of the stars and the big-shot producers Hollywood should contrive a little quiet awareness of the fact. Of course it won't. I'm just daydreaming.
Show business has always been a little overnoisy, overdressed, overbrash. Actors are threatened people. Before films came along to make them rich they often had need of a desperate gaiety. Some of these qualities prolonged beyond a strict necessity have passed into the Hollywood mores and produced that very exhausting thing, the Hollywood manner, which is a chronic case of spurious excitement over absolutely nothing. Nevertheless, and for once in a lifetime, I have to admit that Academy Awards night is a good show and quite funny in spots, although I'll admire you if you can laugh at all of it.
If you can go past those awful idiot faces on the bleachers outside the theater without a sense of the collapse of the human intelligence; if you can stand the hailstorm of flash bulbs popping at the poor patient actors who, like kings and queens, have never the right to look bored; if you can glance out over this gathered assemblage of what is supposed to be the elite of Hollywood and say to yourself without a sinking feeling, "In these hands lie the destinies of the only original art the modern world has conceived"; if you can laugh, and you probably will, at the cast-off jokes from the comedians on the stage, stuff that wasn't good enough to use on their radio shows; if you can stand the fake sentimentality and the platitudes of the officials and the mincing elocution of the glamour queens (you ought to hear them with four martinis down the hatch); if you can do all these things with grace and pleasure, and not have a wild and forsaken horror at the thought that most of these people actually take this shoddy performance seriously; and if you can then go out into the night to see half the police force of Los Angeles gathered to protect the golden ones from the mob in the free seats but not from that awful moaning sound they give out, like destiny whistling through a hollow shell; if you can do all these things and still feel next morning that the picture business is worth the attention of one single intelligent, artistic mind, then in the picture business you certainly belong.
Letter to Charles Morton, November 22, 1950.
Television is really what we've been looking for all our lives. It took a certain amount of effort to go to the movies. Somebody had to stay with the kids. You had to get the car out of the garage. That was hard work. And you had to drive and park. Sometimes you had to walk as far as half a block to the theater. Then people with big fat heads would sit in front of you and make you nervous... Radio was a lot better, but there wasn't anything to look at. Your gaze wandered around the room and you might start thinking of other things--things you didn't want to think about. You had to use a little imagination to build yourself a picture of what was going on just by the sound. But television's perfect. You turn a few knobs and lean back and drain your mind of all thought. And there you are watching the bubbles in the primeval ooze. You don't have to concentrate. You don't have to react. You don't have to remember. You don't miss your brain because you don't need it. Your heart and liver and lungs continue to function normally. Apart from that, all is peace and quiet. You are in poor man's nirvana. And if some nasty-minded person comes along and says you look more like a fly on a can of garbage, pay him no mind...just who should one be mad at anyway? Did you think the advertising agencies created vulgarity and the moronic mind that accepts it? To me television is just one more facet of that considerable segment of our civilization that never had any standard but the soft buck.
Letter to Gene Levitt, who had been adapting Marlowe for the radio show, November 22, 1950.
I am only a very recent possessor of a television set. It is a very dangerous medium. And as for the commercials--well, I understand that the concoction of these is a business in itself, a business that makes prostitution or the drug traffic seem quite respectable. It was bad enough to have the sub-human hucksters controlling radio, but television does something to you which radio never did. It prevents you from forming any kind of a mental picture and forces you to look at a caricature instead.
Letter to Dale Warren, November 7, 1951.
You ask me how anybody can survive Hollywood? Well, I must say that I personally had a lot of fun there. But how long you can survive depends a great deal on what sort of people you have to work with. You meet a lot of bastards, but they usually have some saving grace. A writer who can get himself teamed up with a director or a producer who will give him a square deal, a really square deal, can get a lot of satisfaction out of his work. Unfortunately that doesn't happen often. If you go to Hollywood just to make money, you have to be pretty cynical about it and not care too much what you do. And if you really believe in the art of the film, it's a long job and you really should forget about any other kind of writing. A preoccupation with words for their own sake is fatal to good film making. It's not what films are for. It's not my cup of tea, but it could have been if I'd started it twenty years earlier. But twenty years earlier of course I could never have got there, and that is true of a great many people. They don't want you until you have made a name, and you have developed some kind of talent which they can't use. The best scenes I ever wrote were practically monosyllabic. And the best short scene I ever wrote, by my own judgement, was one in which a girl said "uh-huh" three times with three different intonations, and that's all there was to it. The hell of good film writing is that the most important part is what is left out. It's left out because the camera and the actors can do it better and quicker, above all quicker. But it had to be there in the beginning.
Letter to Carl Brandt, regarding television, November 15, 1951.
However toplofty and idealistic a man may be, he can always rationalize his right to earn money. After all the public is entitled to what it wants. The Romans knew that and even they lasted four hundred years after they started to putrefy.
Raymond ChandlerWith negotiations between the Writers Guild and some of Hollywood’s major film studios and TV networks at an impasse as the May 1 deadline nears, putting the panic of a strike in the usually gilded air, we’re reminded of the often uneasy relationships between writers and the film industry–which Raymond Chandler amply described in writings outside his famous novels. The following are portions excerpted from The Raymond Chandler Papers: Selected Letters and Non-Fiction, 1909-1959, edited by Tom Hiney and Frank MacShane and published in April by Atlantic Monthly Press.
* * *
Letter to Erle Stanley Gardner, January 29, 1946. Chandler was working steadily on a fifth Marlowe novel. The cheap editions of all four earlier Marlowes were now selling in the hundreds of thousands, and Newsweek had reported in 1945 that “Chandlerism, a select cult a year ago, is about to engulf the nation.”
Most of what you write is a complete surprise to me–including the idea that you are a lousy writer…. As I speak I have two solid rows of Gardners in front of me, and am still trying to shop around to complete the collection. I probably know as much about the essential qualities of good writing as anybody now discussing it. I do not discuss these things professionally for the simple reason that I do not consider it worthwhile. I am not interested in pleasing the intellectuals by writing literary criticism, because literary criticism as an art has in these days too narrow a scope and too limited a public, just as has poetry. I do not believe it is a writer’s function to talk to a dead generation of leisured people who once had time to relish the niceties of critical thought. The critics of today are tired Bostonians like Van Wyck Brooks or smart-alecks like Fadiman or honest men confused by the futility of their job, like Edmund Wilson. The reading public is intellectually adolescent at best, and it is obvious that what is called “significant literature” will only be sold to this public by exactly the same methods as are used to sell it toothpaste, cathartics and automobiles. It is equally obvious that since this public has been taught to read by brute force it will, in between its bouts with the latest “significant” bestseller, want to read books that are fun and excitement. So like all half-educated publics in all ages it turns with relief to the man who tells a story and nothing else. To say that what this man writes is not literature is just like saying that a book can’t be any good if it makes you want to read it. When a book, any sort of book, reaches a certain intensity of artistic performance, it becomes literature. That intensity may be a matter of style, situation, character, emotional tone, or idea, or half a dozen other things. It may also be a perfection of control over the movement of a story similar to the control a great pitcher has over the ball. That is to me what you have more than anything else and more than anyone else. Dumas Père had it. Dickens, allowing for his Victorian muddle, had it; begging your pardon I don’t think Edgar Wallace approached it. His stories died all along the line and had to be revived. Yours don’t. Every page throws the hook for the next. I call this a kind of genius. I regard myself as a pretty exacting reader; detective stories as such don’t mean a thing to me. But it must be obvious that if I have half a dozen unread books beside my chair and one of them is a Perry Mason, and I reach for the Perry Mason and let the others wait, that book must have a quality.
As to me, I am not busy and I am not successful in any important way. I don’t get written what I want to write and I get balled up in what I write. I made a lot of money last year, but the government took half of it and expenses took half of the rest. I’m not poor, but neither am I in anything like your condition, or ever will be. My wife has been under the weather with the flu for ten days, but she wants to come down to your place as much as I do. I’m working at home because I refused to report to Paramount and took a suspension. They refused to tear up my contract. A writer has no real chance in pictures unless he is willing to become a producer, and that is too tough for me. The last picture I worked on was just one long row.
* * *
Letter to Alfred Knopf, January 12, 1946. Though Knopf was no longer Chandler’s publisher, he and Chandler had buried the hatchet and were to remain in touch for the rest of Chandler’s life. Knopf had written in response to reading Chandler’s article in The Atlantic Monthly about screenwriting.
One of the troubles is that it seems quite impossible in Hollywood to convince anyone that a man would turn his back on a whopping salary–whopping by the standards of normal living–for any reason but a tactical manoeuvre through which he hopes to acquire a still more whopping salary. What I want is something quite different: a freedom from datelines and unnatural pressures, and a right to find and work with those few people in Hollywood whose purpose is to make the best pictures possible within the limitations of a popular art, not merely to repeat the old and vulgar formulae. And only a little of that.
The ethics of this industry may be judged by the fact that late last night a very important independent producer called me up and asked me to do a screenplay of one of the most advertised projects of the year, do it on the quiet, secretly, with full knowledge that it would be a violation of my contract. That meant nothing to him; it never occurred to him that he was insulting me. Perhaps, in spite of my faults, I still have a sense of honor. I may quarrel, but at least I put the point at issue down on the table in front of me. I am perfectly willing to let them examine my sleeves for hidden cards. But I don’t think they really want to. They would be horrified to find them empty. They do not like to deal with honest men.
From the beginning, from the first pulp story, it was always with me a question (first of course of how to write a story at all) of putting into the stuff something they would not shy off from, perhaps even not know was there as a conscious realization, but which would somehow distill through their minds and leave an afterglow. A man with a realistic habit of thought can no longer write for intellectuals. There are too few of them and they are too specious. Neither can he deliberately write for people he despises, or for the slick magazines (Hollywood is less degrading than that), or for money alone. There must be idealism but there must also be contempt. This kind of talk may seem a little ridiculous coming from me. It is possibly that like Max Beerbohm I was born half a century too late, and that I too belong to an age of grace. I could so easily have become everything our world has no use for. So I wrote for the Black Mask. What a wry joke.
No doubt I have learned a lot from Hollywood. Please do not think I completely despise it, because I don’t. The best proof of that may be that every producer I have worked for I would work for again, and every one of them, in spite of my tantrums, would be glad to have me. But the overall picture, as the boys say, is of a degraded community whose idealism even is largely fake. The pretentiousness, the bogus enthusiasm, the constant drinking and drabbing, the incessant squabbling over money, the all-pervasive agent, the strutting of the big shots (and their usually utter incompetence to achieve anything they start out to do), the constant fear of losing all this fairy gold and being the nothing they have really never ceased to be, the snide tricks, the whole damn mess is out of this world. It is a great subject for a novel–probably the greatest still untouched. But how to do it with a level mind, that’s the thing that baffles me. It is like one of these South American palace revolutions conducted by officers in comic opera uniforms–only when the thing is over the ragged dead men lie in rows against the wall, and you suddenly know that this is not funny, this is the Roman circus, and damn near the end of civilization.
Chandler having decided to stop studio work and move permanently to La Jolla, The Atlantic Monthly persuaded him to report on the 1946 Oscar ceremony for them.
If you think most motion pictures are bad, which they are (including the foreign), find out from some initiate how they are made, and you will be astonished that any of them could be good. Making a fine motion picture is like painting “The Laughing Cavalier” in Macy’s basement, with a floorwalker to mix your colours for you. Of course most motion pictures are bad. Why wouldn’t they be? Apart from its own intrinsic handicaps of excessive cost, hypercritical bluenosed censorship, and the lack of any single-minded controlling force in the making, the motion picture is bad because 90 per cent of its source material is tripe, and the other 10 per cent is a little too virile and plain-spoken for the petty-minded clerics, the elderly ingénues of the women’s clubs, and the tender guardians of that godawful mixture of boredom and bad manners known more eloquently as the Impressionable Age.
The point is not whether there are bad motion pictures or even whether the average motion picture is bad, but whether the motion picture is an artistic medium of sufficient dignity and accomplishment to be treated with respect by the people who control its destinies. Those who deride the motion picture usually are satisfied that they have thrown the book at it by declaring it to be a form of mass entertainment. As if that meant anything. Greek drama, which is still considered quite respectable by most intellectuals, was mass entertainment to the Athenian freeman. So, within its economic and topographical limits, was the Elizabethan drama. The great cathedrals of Europe, although not exactly built to while away an afternoon, certainly had an aesthetic and spiritual effect on the ordinary man. Today, if not always, the fugues and chorales of Bach, the symphonies of Mozart, Borodin, and Brahms, the violin concertos of Vivaldi, the piano sonatas of Scarlatti, and a great deal of what was once rather recondite music are mass entertainment by virtue of radio. Not all fools love it, but not all fools love anything more literate than a comic strip. It might reasonably be said that all art at some time and in some manner becomes mass entertainment, and that if it does not it dies and is forgotten.
The motion picture admittedly is faced with too large a mass; it must please too many people and offend too few, the second of these restrictions being infinitely more damaging to it artistically than the first. The people who sneer at the motion picture as an art form are furthermore seldom willing to consider it at its best. They insist upon judging it by the picture they saw last week or yesterday; which is even more absurd (in view of the sheer quantity or production) than to judge literature by last week’s ten bestsellers, or the dramatic art by even the best of the current Broadway hits. In a novel you can still say what you like, and the stage is free almost to the point of obscenity, but the motion picture made in Hollywood, if it is to create art at all, must do so within such strangling limitations of subject and treatment that it is a blind wonder it ever achieves any distinction beyond the purely mechanical slickness of a glass and chromium bathroom. If it were merely a transplanted literary or dramatic art, it certainly would not. The hucksters and the bluenoses would between them see to that.
But the motion picture is not a transplanted literary or dramatic art, any more than it is a plastic art. It has elements of all these, but in its essential structure it is much closer to music, the sense that its finest effects can be independent of precise meaning, that its transitions can be more eloquent than its high-lit scenes, and that its dissolves and camera movements, which cannot be censored, are often far more emotionally effective than its plots, which can. Not only is the motion picture an art, but it is the one entirely new art that has been evolved on this planet for hundreds of years. It is the only art at which we of this generation have any possible chance to greatly excel.
In painting, music and architecture we are not even second-rate by comparison with the best work of the past. In sculpture we are just funny. In prose literature we not only lack style but we lack the educational and historical background to know what style is. Our fiction and drama are adept, empty, often intriguing, and so mechanical that in another fifty years at most they will be produced by machines with rows of push buttons. We have no popular poetry in the grand style, merely delicate or witty or bitter or obscure verses. Our novels are transient propaganda when they are what is called “significant,” and bedtime reading when they are not.
But in the motion picture we possess an art medium whose glories are not all behind us. It has already produced great work, and if, comparatively and proportionately, far too little of that great work has been achieved in Hollywood, I think that is all the more reason why in its annual tribal dance of the stars and the big-shot producers Hollywood should contrive a little quiet awareness of the fact. Of course it won’t. I’m just daydreaming.
Show business has always been a little overnoisy, overdressed, overbrash. Actors are threatened people. Before films came along to make them rich they often had need of a desperate gaiety. Some of these qualities prolonged beyond a strict necessity have passed into the Hollywood mores and produced that very exhausting thing, the Hollywood manner, which is a chronic case of spurious excitement over absolutely nothing. Nevertheless, and for once in a lifetime, I have to admit that Academy Awards night is a good show and quite funny in spots, although I’ll admire you if you can laugh at all of it.
If you can go past those awful idiot faces on the bleachers outside the theater without a sense of the collapse of the human intelligence; if you can stand the hailstorm of flash bulbs popping at the poor patient actors who, like kings and queens, have never the right to look bored; if you can glance out over this gathered assemblage of what is supposed to be the elite of Hollywood and say to yourself without a sinking feeling, “In these hands lie the destinies of the only original art the modern world has conceived”; if you can laugh, and you probably will, at the cast-off jokes from the comedians on the stage, stuff that wasn’t good enough to use on their radio shows; if you can stand the fake sentimentality and the platitudes of the officials and the mincing elocution of the glamour queens (you ought to hear them with four martinis down the hatch); if you can do all these things with grace and pleasure, and not have a wild and forsaken horror at the thought that most of these people actually take this shoddy performance seriously; and if you can then go out into the night to see half the police force of Los Angeles gathered to protect the golden ones from the mob in the free seats but not from that awful moaning sound they give out, like destiny whistling through a hollow shell; if you can do all these things and still feel next morning that the picture business is worth the attention of one single intelligent, artistic mind, then in the picture business you certainly belong.
Letter to Charles Morton, November 22, 1950.
Television is really what we’ve been looking for all our lives. It took a certain amount of effort to go to the movies. Somebody had to stay with the kids. You had to get the car out of the garage. That was hard work. And you had to drive and park. Sometimes you had to walk as far as half a block to the theater. Then people with big fat heads would sit in front of you and make you nervous… Radio was a lot better, but there wasn’t anything to look at. Your gaze wandered around the room and you might start thinking of other things–things you didn’t want to think about. You had to use a little imagination to build yourself a picture of what was going on just by the sound. But television’s perfect. You turn a few knobs and lean back and drain your mind of all thought. And there you are watching the bubbles in the primeval ooze. You don’t have to concentrate. You don’t have to react. You don’t have to remember. You don’t miss your brain because you don’t need it. Your heart and liver and lungs continue to function normally. Apart from that, all is peace and quiet. You are in poor man’s nirvana. And if some nasty-minded person comes along and says you look more like a fly on a can of garbage, pay him no mind…just who should one be mad at anyway? Did you think the advertising agencies created vulgarity and the moronic mind that accepts it? To me television is just one more facet of that considerable segment of our civilization that never had any standard but the soft buck.
* * *
Letter to Gene Levitt, who had been adapting Marlowe for the radio show, November 22, 1950.
I am only a very recent possessor of a television set. It is a very dangerous medium. And as for the commercials–well, I understand that the concoction of these is a business in itself, a business that makes prostitution or the drug traffic seem quite respectable. It was bad enough to have the sub-human hucksters controlling radio, but television does something to you which radio never did. It prevents you from forming any kind of a mental picture and forces you to look at a caricature instead.
* * *
Letter to Dale Warren, November 7, 1951.
You ask me how anybody can survive Hollywood? Well, I must say that I personally had a lot of fun there. But how long you can survive depends a great deal on what sort of people you have to work with. You meet a lot of bastards, but they usually have some saving grace. A writer who can get himself teamed up with a director or a producer who will give him a square deal, a really square deal, can get a lot of satisfaction out of his work. Unfortunately that doesn’t happen often. If you go to Hollywood just to make money, you have to be pretty cynical about it and not care too much what you do. And if you really believe in the art of the film, it’s a long job and you really should forget about any other kind of writing. A preoccupation with words for their own sake is fatal to good film making. It’s not what films are for. It’s not my cup of tea, but it could have been if I’d started it twenty years earlier. But twenty years earlier of course I could never have got there, and that is true of a great many people. They don’t want you until you have made a name, and you have developed some kind of talent which they can’t use. The best scenes I ever wrote were practically monosyllabic. And the best short scene I ever wrote, by my own judgement, was one in which a girl said “uh-huh” three times with three different intonations, and that’s all there was to it. The hell of good film writing is that the most important part is what is left out. It’s left out because the camera and the actors can do it better and quicker, above all quicker. But it had to be there in the beginning.
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Letter to Carl Brandt, regarding television, November 15, 1951.
However toplofty and idealistic a man may be, he can always rationalize his right to earn money. After all the public is entitled to what it wants. The Romans knew that and even they lasted four hundred years after they started to putrefy.
Raymond Chandler