In 2020, the film critic Alissa Wilkinson began working on a book project on Joan Didi. Double essaysist, recipe, romanist and playwright, wanted to explore through an angle through an angle that did not connect to the movie industry. It was a book, “We say our stories to ourselves: Joan Didi and American ghost machine.”
Wilkinson, a critic on the New York Times since 2023, wrote VOX, was not interested in the Didi’s “persona or his celebrity, as much recommendations as much as his celebrities work.”
“I got acquainted with the concept of writing about Hollywood and wrote the films in Hollywood and produced today, and today we also watched today about Hollywood, “Wilkinson said Diversity In a last telephone interview.
“We are published on Tuesday,” It was published on Tuesday, a few weeks ago, a few weeks before the husband’s archive materials, along with John Gregory Dunne can be achieved in a new way for the public New York People’s Library On March 26 (Wilkinson will appear there for a book event on the same day). Didion and Dunne’s script projects in the archive, presented another avenue to learn the work in the film of Dion.
Wilkinson claims that Hollywood is often a motor vehicle used to explore a decisive idea, how narrates and story work in our daily lives. The heart of the book is the last warning of dio to create easy-to-use narratives about one’s life, other people and major political and cultural turns – an inclination that can lead to extreme sentimental or nostalgic results. This focus is clearly visible from the opening line of Wilkinson’s “White Album”, the head of the book received from the opening line of the White Album.
Wilkinson, along with John Wayne films in New York, along with Dion Wayne, Pauline Kael’s and Dunne’s “Born in the” Born “” Born “) and Didi’s Pivotu A Hollywood A Hollywood’s concept of Hollywood and figures such as the political writer Reagan and Michael Dukakis formed their observations.
Writing the book, and early compounds of public library in New York, including Pandemia’s early combinations in New York, including the early York, “Wilkinson has read significant political events to context.
Talked to Wilkinson Diversity Dion’s a film critic and scenario, a film related to Hollywood and American policy and the hope of the book to readers and works as a scenarist.
How long did you want to dive American history and policies? Did it appeal to you to cover the wide strokes?
It is difficult to remove America’s history in the 20th century from the history of Hollywood. If I wrote this book, I did not think about Ronald Reagan and John Wayne and John Goldwater and how to crossover between politics and Hollywater with all this. The same for John F. Kennedy. It feels like a very ripe way to think about topics that interests me very much and think about how they come together in the narrative, and it was actually what it was written.
How much about Hollywood is always writing, but I think it’s an essay I think I think it’s the moment “Insider Beysball“About the Dukakis campaign. Thus, I think the leader in his work is how much a metaphor thinks or when I read from this lens.
How aware of the criticism of the Didion film?
I wasn’t really. When I live in New York and lived, I knew some of some literary criticism published in national views and publications. So it was a little surprise. The film critically appears in Vogue. Never repeated anywhere. Many books consist of articles written for other places, and then they were designed. When you dig into the archives of the magazine archives in search of dion articles, you believe in a kind of faith when you are finished in a kind book. But it is not true.
What have you learned from his film reviews?
I bought it all, read all and call it as a film critic, I started a sort of what he was in his philosophy and what he was in his philosophy. I do not think that he is eager to be as much as it falls back. He took the column of that film and worked in Vogue before writing for several years. But it was really interesting, because it is not much to agree with his opinions, but also a film that looks like movies today, today. Some saw them and then no one thought again. Many things are funny, because it doesn’t seriously film like an artistic environment and thinks this kind of lifetime. However, he is very impressed by the work and the stardom and the entertaining party of all.
And then it was another piece I did not realize, wrote alternative columns with another writer. And therefore, each issue, there was a column of a movie review. And for some time, the other writer became a famous criticism that he would be in New Yorker. They did not like each other in general. They both thought that the other was ridiculous and stupid and broke each other for many years, but it is funny that they shared one pillar for a while.
You are writing how dio will be almost serious, how to think about how formula will be in a formula. Do you think the opinions about Dion’s film developed over his life?
After writing a film criticism for the Vogue column, it is difficult to say because it does not write much about movies. The book contains a piece I wrote Wrote the books for the New York ReviewAbout Woody Allen. While “Manhattan” and “Annie Hall”, Allen’s career was right in that height, but he doesn’t really write about the movies. He thinks that the way of thinking and the world is in the fiery allen movies. It is more about culture that responds to movies, coming to movies, coming to movies, when writing about something related to work.
There is another irony or perhaps a tension that is aware of his opinions, something that can speak of his opinions is not a big fan of something that is practiced or underground or new Hollywood feels like reading. Its opinions are very controlled by the old school, Hollywood, gold age, always playing types and play against the type.
However, if you are watching the first two films produced by those and Dunn, they play, and they have a lot of innovative films, and it is very innovative. Thus, it is a little to see the contrasts. A little, I think it’s a type of movie that people do now They wanted to make a movie, so they are what they do.
Can you talk about the fact that the political observations in the book are the time in the film industry?
I’m not the first to note that, but he was a very conservative, Western conservative. Finally, the Republican Party of the Republican Party was registered with Nixon and the next Reyga and reiterated the democrat, and he was registered in democrat, and he did not use it in any way for the reagan, and it was not used in any way to Reagan. So he was idiosyncratic, but I think it’s all the ideas.
But I think that the opinions of his American policy have become more criticism than the content of any ideology of politics. It is even clearer to the work we get later. The show felt like a kind of stylish species where the show is something. Have different goals. Have different goals.
It is a problem for politics, television, television, a movie, a movie, a movie, which is a type of corollar, a television, and a problem to make a television show and the path of ionographic and stardom and focus groups. When he became more and more bleeding, he was not only worried, and he was upset, and he knew that the end of this was to be a child of style and just to be bad disgrace for the future.
Do you see American culture a way to get out of these periods in these periods and try to trust the nostalgium?
‘We say our stories to ourselves to live,’ the beginning of his head, ‘white album’, probably the most famous essay. I used a part for my head because I felt like there was so much sense. But as a quote, “OH, we say stories about ourselves, like ourselves, like writers,” and this is, as we have said what this expression is, we must stand our stories. It does not think that is a possibility.
To him, ‘We say our stories to ourselves’ are a human condition, including its own human condition. Desperately sentimental, even Joan Didi. We are hopelessly tied to the stories we tell ourselves. We just say a different story to ourselves to get out of them. For example, what education should do or pluralism has the value of the survival.
All this is said that they are saying that other people have their own stories, but they think that they are thinking about their stories, and whoever they are and invented their truth and expressed their own good.
Want to add this book to the road we think about DIDIO?
Many people saw that most people did not think of him as a Hollywood man, and even some movies. And I don’t want the book to sang it as the consumer Hollywood man, because it was certainly something else and did not want to do his whole life or something. But I think it is a new frame to look at his work and hopefully, I hope, to see what his main obsessives are.
Therefore, it will lighten the Didian for people who love and lighten the Didia for people who do not care, but you can see how we go to the place we are, but we are more than a picture of us.
This interview was edited and condensed.
