Ray and Wright | Jorge Gorostiza

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Nicholas Ray

Raymond Nicholas Kienzie, who always will be for all Nicholas Ray, had the great opportunity in the first thirties to be an apprentice of Frank Lloyd Wright in Taliesin for one year.

As it told him Kathryn Bigelow in one of his last interviews:

«I was studying theatre in New York, but since I had come from Wisconsin I was in the habit of detaining in his house occasionally. It came to Columbia’s University to give a conference. I went to hear him and ultimately I congratulated it. We gave a walk together and he asked me if I would turn into one of his the first students and I went to do there theatre».

Charles Bitsch interviewed Ray in February, 1957 for Cahiers du Cinema and asked him how it started working with Wright:

«The architecture is the backbone of all the arts; already you know, if it is an authentic architecture, it includes every domain. The simple word architecture can be applied both to a play and to a score or to a way of life. Frank Lloyd Wright gave to all the young persons of the world the opportunity to be, to practise the architecture, to live through a life jointly, and of exchanging experiences and points of view. There were no many Americans between thirty five young persons who were initially with Frank Lloyd Wright, but there were Nicaraguans, Japanese, Frenchmen, Danishes, Swisses and Chinese, some they were sculptors as Noguchi, musicians like Brooks and other painters».

Also he asked him if there is Wright’s influence in the architecture of the houses of The house in the shade and Johnny Guitar:

«Not. I would say that the most obvious influence that Wright had in me, apart from a species of philosophical attitude … not, not a philosophical attitude, but a certain way of looking at the things, is my taste for the CinemaScope. I like the horizontal line and the horizontal thing was essential for Wright. I like much the format of the CinemaScope and when I have freedom to use it like me place, since in Rebel without reason, give myself many satisfaction to do it. But in both movies that you have mentioned, the architecture was so determined by the time and the place that was not like that of Frank Lloyd Wright and did not owe anything to the influence that had on me. I used objects, as the trunk the tree for Going [Lupino], which they are, it is true, the type of accessories that they could have found in to be of Frank Lloyd Wright’s villa, but in the structure, in the same architecture, there are no Frank Lloyd Wright’s influences. Nevertheless, in Johnny Guitar … it is difficult to say it, I needed an almost arbitrary dramatic moment to place the whiteness of Vienna’s garment on the red rocks, but I think that rarely you can determine the exact influence that you have received, wherefrom your taste comes for something, or how this taste evolved».

It is never known if the influences mentioned by the creators are royal in the moment in the one that is producing a work to him or are looked later to enclosed slant of what others have written on this work. Nevertheless, here Ray’s opinions stay on Wright – it had been interesting to know those of Wright on Ray, if it is that the architect had someone on the filmmaker – that, apparently, they did not end up by being so good friends since they it were initially.

Jorge Gorostiza, architect. Author of the blog Arquitectura+Cine+Ciudad
Santa Cruz de Tenerife, february 2015

Jorge Gorostiza

Doctor arquitecto, proyecta y construye edificios y desarrolla trabajos de urbanismo. Desde 1990, publica numerosos artículos sobre cine y arquitectura en medios de su localidad, revistas como Nosferatu, Nickleodeon, Academia, Lateral, Cahiers du Cinema… y en varios volúmenes colectivos. Entre el 2000 y el 2005 dirige la Filmoteca Canaria. Imparte conferencias sobre arquitectura y cine en instituciones como el CAAM en Gran Canaria, la UIMP, el CENDEAC en Murcia, INCUNA en Gijón, Fundación Telefónica, la ETS de Arquitectura y el CCCB de Barcelona, las ETS de Arquitectura de La Coruña, Sevilla, Valencia y SEU madrileña, La Ciudad de la Luz en Alicante, la UNED en Pamplona, en varios colegios de arquitectos, así como en las universidades del País Vasco, Gerona, Valladolid, Málaga, Granada, SEK en Segovia y CEES de Madrid. Jurado en varios festivales cinematográficos, como los de Alcalá de Henares (2001), San Sebastián (2002), Sitges (2003), Las Palmas (2005) y Documentamadrid (2005), y comisario de las exposiciones Constructores de quimeras. (Centro Conde Duque, Madrid, 1999) y La arquitectura de los sueños (Capilla del Oidor, Alcalá de Henares, 2001).

He publicado bastantes libros y muchos artículos, he impartido conferencias, he sido comisario de exposiciones y jurado en muchísmos festivales. Si quieren saber más no duden en consultar mi blog ARQUITECTURA + CINE + CIUDAD.

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