Because to us, the sixty-cycle hum was the drone of Western civilization.” On Haynes’s split screen: Cale himself, a view of New York pedestrians as seen from above crossing the street in a diagonal pattern, cars, apartment buildings, telephone poles, tall buildings. The second pole is Lou Reed, who has been heard early in the documentary on the music that most inspired him as a boy growing up on Long Island-rockabilly and especially doo-wop, or street-corner group harmony (“The sounds of another life,” he said in 1989, inducting the Bronx singer Dion into the Rock & Roll Hall of Fame, “the sounds of freedom”)-and on making his first record, a doo-wop ballad, at fourteen, having it played on the radio (he received a royalty check for $2.79, more, he says, than he ever made from the Velvet Underground). Here he is speaking over a neatly typed lyric sheet for his song “Heroin,” which appeared as the first song on the second side of The Velvet Underground and Nico. As framed on the screen, the lyric sheet looks more like a grid, with two lines partially crossed out and new words scribbled over them: “I was writing about pain. I was interested in communicating to people who were on the outside.” Friends of mine, things they had seen, things I had seen, or heard. Jean-Luc Godard, in his review of Bitter Victory in Cahiers du cinéma, January 1958: “There was theater (Griffith), poetry (Murnau), painting (Rossellini), dance (Eisenstein), music (Renoir). And the cinema is Nicholas Ray.” With a little absolutism scraped off, and without excluding anybody else, the same could be said of Todd Haynes.
He thinks in movies-not in terms of knowing everything in the history of the movies and how to put it to use, but as a way of seeing, and transforming, the world. The velvet underground the velvet underground zip how to# The velvet underground the velvet underground zip how to#.
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