{"id":61958,"date":"2016-12-02T00:59:55","date_gmt":"2016-12-01T23:59:55","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=61958"},"modified":"2023-01-20T14:24:06","modified_gmt":"2023-01-20T13:24:06","slug":"wright-negocio-cinematografico-jorge-gorostiza","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/wright-negocio-cinematografico-jorge-gorostiza\/","title":{"rendered":"[:es]Wright y el negocio cinematogr\u00e1fico | Jorge Gorostiza[:gl]Wright e o negocio cinematogr\u00e1fico | Jorge Gorostiza[:en]Wright and the cinematographic business | Jorge Gorostiza[:]"},"content":{"rendered":"

[:es]

\"Wright
John Lautner trabajando detr\u00e1s de Frank Lloyd Wrigh, 1937<\/span><\/figcaption><\/figure><\/p>\n

Las relaciones de Frank Lloyd Wright<\/a> con el cine son numerosas, en este blog ya se han tratado las de cineastas como Nicholas Ray<\/a> y David Lynch<\/a> con el arquitecto, adem\u00e1s sus edificios se han usado como lugares para rodar pel\u00edculas y en mi tesis doctoral<\/a> escrib\u00ed sobre la Casa Ennis-Brown<\/a> y sus numerosas apariciones en las pantallas como escenario en pel\u00edculas muy variadas.<\/p>\n

Ahora estoy estudiando el trabajo de John Lautner<\/a>\u00a0y en una entrevista he encontrado una curiosa an\u00e9cdota sobre Wright y el negocio de los grandes estudios gracias a la distribuci\u00f3n.<\/p>\n

Lautner declar\u00f3 que Wright:<\/p>\n

\u00abTen\u00eda su propio teatro en Wisconsin y tambi\u00e9n en Arizona, y mientras yo estaba all\u00ed como aprendiz, ten\u00edamos todas las pel\u00edculas europeas, que eran fant\u00e1sticas. Mr. Wright amaba los dibujos animados rusos y las pel\u00edculas francesas de Ren\u00e9 Clair, y vimos lo mejor. Pero no pudimos conseguir las mejores pel\u00edculas americanas debido a sus sistemas de distribuci\u00f3n. Requieren que alquiles una mala, junto a una buena. Por lo que acab\u00f3 por decir al diablo con ellos, desde hace a\u00f1os.<\/p>\n

Pero, finalmente, hizo un viaje aqu\u00ed [se refiere a Hollywood] y lo llev\u00e9 con el expreso prop\u00f3sito de romper el sistema de distribuci\u00f3n de pel\u00edculas; lo que nadie m\u00e1s podr\u00eda intentar. Era muy divertido. Sin ninguna cita en absoluto, entr\u00e1bamos en todas las principales oficinas de los grandes estudios de cine.<\/p>\n

Mr. Wright dec\u00eda:<\/p>\n

\n

\u00abBueno, no creo que usted sepa qui\u00e9n soy, pero soy Frank Lloyd Wright, y tengo un lugar en Arizona y un peque\u00f1o teatro\u00bb.<\/em><\/p>\n<\/blockquote>\n

Casi todos sab\u00edan qui\u00e9n era y le dec\u00edan,<\/p>\n

\n

\u00abOh, s\u00ed. Por supuesto que lo conocemos, porque ha sido una celebridad durante cincuenta a\u00f1os, mientras que el promedio de una estrella cinematogr\u00e1fica s\u00f3lo es de cinco o diez a\u00f1os\u00bb.<\/em><\/p>\n<\/blockquote>\n

As\u00ed se ven las cosas desde el punto de vista empresarial. Por eso ten\u00eda un mont\u00f3n de interesantes conversaciones con diferentes personas acerca de romper el sistema de distribuci\u00f3n. Sin embargo, a pesar de que eran dirigentes de determinados estudios, los primeros cuatro o cinco que fuimos a ver no pudieron hacer nada.<\/p>\n

Estaban atados a causa de ese sistema. Pero lo que ocurri\u00f3 fue que finalmente fuimos a ver a un hombre que era dirigente -no s\u00e9 si de la MGM u otro estudio-, y ten\u00eda el verdadero control de la distribuci\u00f3n de las pel\u00edculas a los cines y podr\u00eda hacer lo que fuera. Era el jefe. As\u00ed que Mr. Wright empez\u00f3 a hablar con \u00e9l sobre el problema, \u00e9l lo interrumpi\u00f3 y dijo:<\/p>\n

\n

\u00abYo s\u00e9 todo sobre usted porque he mantenido un registro de toda su vida. Yo iba en un barco a Yokohama con usted\u00bb<\/em><\/p>\n<\/blockquote>\n

-cuando estaba construyendo el Hotel Imperial- este hombre ten\u00eda el hobby de hacer el seguimiento de todos los pasajeros de ese barco a Yokohama. Frank Lloyd Wright era uno, Franz Werfel y varias otras personas estaban en ese barco. Ten\u00eda todo lo que le hab\u00eda pasado a todas estas personas, su historia completa. As\u00ed que naturalmente nos dio una buena acogida y despu\u00e9s dijo,<\/p>\n

\n

\u00abBueno, \u00bfQu\u00e9 quiere?\u00bb<\/em><\/p>\n<\/blockquote>\n

Mr. Wright dijo que quer\u00eda tener buenas pel\u00edculas sin tener que alquilar las malas o tener que hacer cualquier otro negocio absurdo. El hombre dijo:<\/p>\n

\n

\u00abTodo lo que quiera, sin cargo, en cualquier momento\u00bb.<\/em><\/p>\n<\/blockquote>\n

As\u00ed rompi\u00f3 el sistema de distribuci\u00f3n y pudo conseguir buenas pel\u00edculas americanas\u00bb.<\/p>\n

Este sistema de distribuci\u00f3n que en Espa\u00f1a se llamaba \u00abpor lotes\u00bb estuvo vigente durante muchos a\u00f1os y aunque lo prohibi\u00f3 la Comunidad Econ\u00f3mica Europea, los distribuidores siguieron obligando a los exhibidores\u00a0-a los due\u00f1os de los cines- a que alquilasen pel\u00edculas malas y poco comerciales, si quer\u00edan tener otras m\u00e1s comerciales.<\/p>\n

Jorge Gorostiza, Doctor arquitecto.
\nSanta Cruz de Tenerife, septiembre 2008
\nAutor del blog Arquitectura+Cine+Ciudad<\/em><\/span><\/p>\n

[:gl]

\"Wright
John Lautner traballando detr\u00e1s de Frank Lloyd Wrigh, 1937<\/span><\/figcaption><\/figure><\/p>\n

As relaci\u00f3ns de Frank Lloyd Wright<\/a> co cinema son numerosas, neste blogue xa se trataron as de cineastas como Nicholas Ray<\/a>\u00a0e\u00a0David Lynch<\/a> co arquitecto, ademais os seus edificios us\u00e1ronse como lugares para rodar pel\u00edculas e na mi\u00f1a tese doutoral<\/a> escrib\u00edn sobre a Casa Casa Ennis-Brown<\/a> e as s\u00faas numerosas aparici\u00f3ns nas pantallas como escenario en pel\u00edculas moi variadas.<\/p>\n

Agora estou a estudar o traballo de John Lautner<\/a> e nunha entrevista atopei unha curiosa an\u00e9cdota sobre Wright e o negocio dos grandes estudos grazas \u00e1 distribuci\u00f3n.<\/p>\n

Lautner declarou que Wright:<\/p>\n

\u00abTi\u00f1a o seu propio teatro en Wisconsin e tam\u00e9n en Arizona, e mentres eu estaba al\u00ed como aprendiz, ti\u00f1amos todas as pel\u00edculas europeas, que eran fant\u00e1sticas. Mr. Wright amaba os debuxos animados rusos e as pel\u00edculas francesas de Ren\u00e9 Clair, e vimos o mellor. Pero non puidemos conseguir as mellores pel\u00edculas americanas debido aos seus sistemas de distribuci\u00f3n. Requiren que alugues unha mala, xunto a unha boa. Polo que acabou por dicir ao dia\u00f1o con eles, desde hai anos.<\/p>\n

Pero, finalmente, fixo unha viaxe aqu\u00ed [ref\u00edrese a Hollywood] e leveino co expreso prop\u00f3sito de romper o sistema de distribuci\u00f3n de pel\u00edculas; o que ningu\u00e9n m\u00e1is poder\u00eda tentar. Era moi divertido. Sen ningunha cita en absoluto, entrabamos en todas as principais oficinas dos grandes estudos de cinema.<\/p>\n

Mr. Wright dec\u00eda:<\/p>\n

\n

\u00abBo, non creo que vostede saiba quen son, pero son Frank Lloyd Wright, e te\u00f1o un lugar en Arizona e un pequeno teatro\u00bb.<\/em><\/p>\n<\/blockquote>\n

Case todos sab\u00edan quen era e dic\u00edanlle,<\/p>\n

\n

\u00abOh, si. Por suposto que o co\u00f1ecemos, porque foi unha celebridade durante cincuenta anos, mentres que a media dunha estrela cinematogr\u00e1fica s\u00f3 \u00e9 de cinco ou dez anos\u00bb.<\/em><\/p>\n<\/blockquote>\n

As\u00ed ven as cousas desde o punto de vista empresarial. Por iso ti\u00f1a unha chea de interesantes conversaci\u00f3ns con diferentes persoas acerca de romper o sistema de distribuci\u00f3n. Con todo, a pesar de que eran dirixentes de determinados estudos, o primeiros catro ou cinco que fomos ver non puideron facer nada.<\/p>\n

Estaban atados por mor dese sistema. Pero o que ocorreu foi que finalmente fomos a ver a un home que era dirixente -non se se da MGM ou outro estudo-, e ti\u00f1a o verdadeiro control da distribuci\u00f3n das pel\u00edculas aos cinemas e poder\u00eda facer o que fose. Era o xefe. As\u00ed que Mr. Wright empezou a falar con el sobre o problema, el interrompeuno e dixo:<\/p>\n

\n

\u00abEu se todo sobre vostede porque mantiven un rexistro de toda a s\u00faa vida. Eu \u00eda nun barco a Yokohama con vostede\u00bb<\/em><\/p>\n<\/blockquote>\n

-cando estaba a constru\u00edr o Hotel Imperial- este home ti\u00f1a o hobby de facer o seguimento de todos os pasaxeiros dese barco a Yokohama. Frank Lloyd Wright era un, Franz Werfel e varias outras persoas estaban nese barco. Ti\u00f1a todo o que lle pasaba a todas estas persoas, a s\u00faa historia completa. As\u00ed que naturalmente deunos unha boa acollida e despois dixo<\/p>\n

\n

\u00abBo, Que quere?\u00bb<\/em><\/p>\n<\/blockquote>\n

Mr. Wright dixo que quer\u00eda ter boas pel\u00edculas sen ter que alugar as malas ou ter que facer calquera outro negocio absurdo. O home dixo:<\/p>\n

\n

\u00abTodo o que queira, sen cargo, en calquera momento\u00bb.<\/em><\/p>\n<\/blockquote>\n

As\u00ed rompeu o sistema de distribuci\u00f3n e puido conseguir boas pel\u00edculas americanas\u00bb.<\/p>\n

Este sistema de distribuci\u00f3n que en Espa\u00f1a cham\u00e1base \u00abpor lotes\u00bb estivo vixente durante moitos anos e a\u00ednda que o prohibiu a Comunidade Econ\u00f3mica Europea, os distribuidores seguiron obrigando aos exhibidores -aos donos dos cinemas- a que alugasen pel\u00edculas malas e pouco comerciais, se quer\u00edan ter outras m\u00e1is comerciais.<\/p>\n

Jorge Gorostiza, Doutor arquitecto.
\nSanta Cruz de Tenerife, setembro 2016
\nAutor do blogue Arquitectura+Cine+Ciudad<\/em><\/span><\/p>\n

[:en]

\"Wright
John Lautner working behind Frank Lloyd Wrigh, 1937<\/span><\/figcaption><\/figure><\/p>\n

Frank Lloyd Wright<\/a>‘s relations with the cinema are numerous, in this blog already those of filmmakers have treated each other as Nicholas Ray<\/a>\u00a0and\u00a0David Lynch<\/a>with the architect, in addition his buildings have been used as places to roll movies and in my doctoral thesis<\/a> I wrote on the Ennis-Brown House<\/a> and his numerous appearances on the screens as scene in very varied movies.<\/p>\n

Now I am studying John Lautner<\/a>‘s work and in an interview I have found a curious anecdote on Wright and the business of the big studies thanks to the distribution.<\/p>\n

Lautner declared that Wright:<\/p>\n

\u00abIt had his own theatre in Wisconsin and also in Arizona, and while I was there as apprentice, we had all the European movies, which were fantastic. Mr. Wright loved the Russian cartoon and Ren\u00e9 Clair’s French movies, and we saw the better thing. But we could not obtain the best American movies due to his systems of distribution. They need that you rent the bad one, together with the good one. For what finished for saying to the devil with them, for years.<\/p>\n

But, finally, it did a trip here [it refers to Hollywood] and I took it with the express intention of breaking the distribution system of movies; what nobody any more might try. It was very enterteining. Without any appointment by no means, we were entering all the principal offices of the big studies of cinema.<\/p>\n

Mr. Wright dec\u00eda:<\/p>\n

\n

\u00abWell, I do not believe that you know whom I am, but I am Frank Lloyd Wright, and take place in Arizona and a small theatre\u00bb.<\/em><\/p>\n<\/blockquote>\n

Casi todos sab\u00edan qui\u00e9n era y le dec\u00edan,<\/p>\n

\n

\u00abOh, yes. Certainly that we know, because it has been a celebrity for fifty years, whereas the average of a cinematographic star only is five or ten years\u00bb.<\/em><\/p>\n<\/blockquote>\n

This way the things are seen from the managerial point of view. Because of it it had a heap of interesting conversations with different persons it brings over of breaking the distribution system. Nevertheless, in spite of the fact that they were leaders of certain studies, the first ones four or five that we went to see could not do anything.<\/p>\n

They were tied because of this system. But what happened was that finally we went to see a man who was leader – do not be if of the MGM or another study-, and it had the real control of the distribution of the movies for the cinemas and it might do what was. He was the chief. So Mr. Wright started speaking with him on the problem, he interrupted and said it:<\/p>\n

\n

\u00abI know everything on you because I have supported a record of all his life. I was going in a ship to Yokohama with you\u00bb<\/em><\/p>\n<\/blockquote>\n

-when he was constructing the Imperial Hotel – this man had the hobby of doing the follow-up of all the passengers of this ship to Yokohama. Frank Lloyd Wright was one, Franz Werfel and several other persons were in this ship. It had everything what him had happened to all these persons, his history completes. So naturally it gave to us a good reception and later he said,<\/p>\n

\n

\u00abWell, what does want?\u00bb<\/em><\/p>\n<\/blockquote>\n

Mr. Wright said that it wanted to have good movies without having to rent the bad ones or have to do any other absurd business. The man said:<\/p>\n

\n

\u00abEverything what wants, without post, at any time\u00bb.<\/em><\/p>\n<\/blockquote>\n

This way it broke the distribution system and could obtain good American movies\u00bb.<\/p>\n

This system of distribution that in Spain was calling \u00bb for lots \u00bb was in force for many years and though it was prohibited by the Economic European Community, the distributors continued forcing to the exhibitors -the owners of the cinemas- to that were renting bad and slightly commercial movies, if they wanted to have others more commercial.<\/p>\n

Jorge Gorostiza, PhD architecto
\nSanta Cruz de Tenerife, september 2016
\nAuthor of the\u00a0blog Arquitectura+Cine+Ciudad<\/em><\/span><\/p>\n

[:]<\/p>\n","protected":false},"excerpt":{"rendered":"

[:es] Las relaciones de Frank Lloyd Wright con el cine son numerosas, en este blog ya se han tratado las de cineastas como Nicholas Ray y David Lynch con el arquitecto, adem\u00e1s sus edificios se han usado como lugares para rodar pel\u00edculas y en mi tesis doctoral escrib\u00ed sobre la Casa Ennis-Brown y sus numerosas […]<\/p>\n","protected":false},"author":34,"featured_media":61959,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[33,3,1460,5951],"tags":[11951,9132,12471,6674,2154,605,7608,668,7469,1593],"class_list":["post-61958","post","type-post","status-publish","format-standard","has-post-thumbnail","category-arquitectos","category-capturas","category-cine","category-slider-principal","tag-arquitectura-americana","tag-arquitectura-norteamericana","tag-cine","tag-decorado","tag-escenografia","tag-frank-lloyd-wright","tag-frank-lloyd-wright-foundation","tag-historia","tag-john-lautner","tag-jorge-gorostiza"],"yoast_head":"\n[:es]Wright y el negocio cinematogr\u00e1fico | Jorge Gorostiza[:gl]Wright e o negocio cinematogr\u00e1fico | Jorge Gorostiza[:en]Wright and the cinematographic business | Jorge Gorostiza[:] - 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