I'm excited to talk to you but it's sometimes tricky because you've been around a while.

I know you have this new film coming out but I'm sort of hung up a little bit on the

whole history of your work.

What do you think is the primary difference in the way that people take in film now?

I know you come from a time where film was really, a lot of time was spent understanding

it, reading into it, thinking about it.

There was a whole culture around that that seems to have faded away.

Yes, it's disappeared. Film culture in America is non-existent right now.

It was barely existing to begin with, wasn't it?

It was a period in the late 50s and 60s when it was quite a bit of a step going on because

the French new wave influence made its way across over here.

Coyetier Cinéma, right?

Coyetier Cinéma and all those guys that were on Coyet, whether it was Truffaut or Eric

Grommer or Jean-Luc Goudard, they all made films and were writing about films in the

50s and then made films in the late 50s.

And then Sarah's?

Andrew Sarah's picked it up in New York.

There was Andy Sarah's and me and a guy at the New York Times named Eugene Archer who

was sort of a secret oturist.

And then there was a magazine in England too movie which picked up the same kind of critical

position.

Well there was something exciting about movies and it seemed that some of the movies or

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