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15 Apr 09

Film - For Mike Nichols, a MoMA Retrospective - NYTimes.com

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If his movies have a common denominator, it’s probably their intelligence and, though Mr. Nichols doesn’t think of himself as a writer, their writerly attention to detail. They’re almost invariably based on good scripts, from which he extracts extra layers of nuance.
“It’s painful and hard to remember now how long and how carefully we worked. I really do think it’s important to sit with a text for as long as you can afford to, reading and talking and doing what I call ‘naming things,’ which is just explaining what happens in every scene. Now you have to do it all in your head, and you have to do it pretty damn fast, because nobody’s going to pay you to do prep. You’re going to have to do it on your own time. It can be done, of course, but it’s just much harder
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- Ms. Ephron compared Mr. Nichols’s way of preparing to psychoanalysis. “You sit there for days and days,” she said, “and he keeps asking questions. What is this scene in the movie about? What does it remind you of? You free associate. And eventually you figure it out.”
- Mr. Nichols is a great believer in the single big idea, the controlling metaphor or idea that defines a picture — the notion that Benjamin in “The Graduate,” for example, is on a conveyor belt, just like his suitcase. But he is also like a psychoanalyst in that he trusts a lot in the unconscious. The point of all the preparation, he said, is to get to the point where you’re surprised. And, he added, “You want to keep doing it until you get to the thing nobody could have planned.”
- And she said, ‘Oh, you never know what you’re going to do until you do it.’ That’s it. That sentence says it all, and it’s what happens when you’re in the very highest realms of this stuff. The director can’t make it happen. It’s about all being in the same place and being moved by the way each of your imaginations kindles everyone else.”
- Ms. Streep said: “What makes Mike so great is one of the hardest things for people temperamentally drawn to directing. People who direct tend to want to be in control, and Mike’s gift is knowing when to take his hands off and just let it happen. A lot of directors are still dealing with the text when you’re on the set. Mike has done all that beforehand, so when you get on the set you feel it’s a secure world where all the architecture is in place. You can jump as hard as you want and the floor won’t give way.”
- You could say that it’s in talking movies that inner life begins to appear. You can see things happen to the faces of people that were neither planned nor rehearsed. This is what Garbo was such a master of: actual thoughts that had not occurred before that particular take. And you can see this taking tremendous leaps with Brando and Clift and then with Streep.”
- He added: “The greatest thrill is that moment when a thousand people are sitting in the dark, looking at the same scene, and they are all apprehending something that has not been spoken. That’s the thrill of it, the miracle — that’s what holds us to movies forever. It’s what we wish we could do in real life. We all see something and understand it together, and nobody has to say a word. There’s a good reason that the very best sound an audience can make — in both the theater and the movies — is no sound at all, just absolute silence.”

13 Apr 09

Film - For Mike Nichols, a MoMA Retrospective - NYTimes.com

MIKE NICHOLS, the subject of a two-week retrospective starting Tuesday at the Museum of Modern Art, is not an obvious choice for a place as artsy and highbrow as the MoMA film department. MoMA retrospectives tend to be awarded to brooding European auteurs — Bernardo Bertolucci and Milos Forman were the last two — and not to commercial Hollywood directors who include on their résumé pop hits like “Working Girl,” “The Birdcage” and, just recently, “Charlie Wilson’s War.”
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The director Mike Nichols is the focus of a retrospective at the Museum of Modern Art.
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Video Mike Nichols Trailers Charlie Wilson's War (2007) Closer (2004) Primary Colors (1998) The Birdcage (1996) Postcards From the Edge (1990) Working Girl (1988) Filmography: Mike Nichols MoMA Schedule: Mike Nichols
From top: Courtesy MoMA Film Stills Archive, Universal Pictures/Photofest via MoMA, MoMA Film Stills Archive, Photofest via MoMA

A Mike Nichols sampler, from top: Candice Bergen and Jack Nicholson in “Carnal Knowledge” (1971), Tom Hanks and Philip Seymour Hoffman in “Charlie Wilson’s War” (2007), Anne Bancroft and Dustin Hoffman in “The Graduate” (1967) and Al Pacino and Meryl Streep in “Angels in America” (2003).

Except for a puzzling string of duds in the mid-’70s, almost all of Mr. Nichols’s movies have made money, and a few, like “The Graduate” and “Carnal Knowledge,” have been recognized as cultural landmarks. But because of their commercial shimmer, their way of eliciting exceptional performances by top-of-the-line stars, it’s sometimes hard to say what makes a Nichols movie a Nichols movie. They seem like vehicles for actors, not the director, whose stamp is in leaving almost no trace of himself.

“If you want to be a legend, God help you, it’s so easy,” Mr. Nichols said the other day over coffee in his Times Square office. “You just do one thing. You can be the master of suspense, say. But if you want to be as invisible as is practical, then it’s fun to do a

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