A Literate Passion: Letters of Anaïs Nin & Henry Miller, by Henry Miller, Anaïs Nin

By Henry Miller, Anaïs Nin

The intimacy among Nin and Miller, first disclosed in Henry and June, is documented additional during this impassioned alternate of letters among the 2 arguable writers. Edited and with an creation via Gunther Stuhlmann; Index.

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Additional info for A Literate Passion: Letters of Anaïs Nin & Henry Miller, 1932-1953

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How you get a scene in verité is very important—the Maysles were very interested in getting scenes, not just doing interviews. We don’t want to be doing interviews, although interviews are unavoidable in a lot of our films. Like Grey Gardens; you would never call it an interview film, but if you look at it carefully, Little Edie is always turning to the camera and doing a monologue. And in LaLee’s Kin it’s the same way. When I found LaLee she reminded me a lot of Edie Beale because she had a way of just turning to the camera and just telling this very witty story or a very edgy story.

So right there is tension; right there, there’s the narrative. That 26 DOCUMENTARY FILMMAKERS SPEAK was the only thread of a narrative I could find after looking at many impoverished areas around the nation. We were looking for a film . . that was not just going to be following welfare stories. And then I looked to find a character whose life—her life and her children’s lives—would interact with the school district, and that’s how we found LaLee. Still, when you’re filming poverty, there’s not a lot that’s happening.

Did you or do you still have any anxieties about the process of filmmaking? Well, what happens with me is once I get going on it, as soon as something happens, then it’s just out of this world—a scene that is so telling that it propels me through the rest of it. I think it was a year ago; we had a screening of the Beatles film at the Film Forum here in New York. Because I had to introduce it and give a talk afterward, I sat through the film. I hadn’t seen it in a long time and I noticed that I was moving around in my chair as though I was operating the camera all over again and I was zooming and switching shots.

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