George W. S. Trow quotes
Don't let me get grand with you; I'm not someone who was, from day one, turning himself into a philosophical academic or anything; I was, from day one, someone who was determined to survive, and to pay attention to what was going on around him, period, and when Elvis Presley came along, my heart stood still, to borrow the Larry Hart lyric. The first note I heard from him, I said, "Well, this is it, this is a sufferer like me, this is something new, this is what I want, this is who I am, in a way,” and Elvis had that gift. That's why there are so many Elvis imitators.
George W. S. Trow
Soon it will be achieved. The lie of television has been that there are contexts to which television will grant an access. Since lies last, usually, no more than one generation, television will re-form around the idea that television itself is a context to which television will grant an access.
George W. S. Trow
Our third American Tragedy is Martin Luther King. King was Mario Cuomo and Stevenson another way. Oh, he had some Roosevelt will to power, but Cuomo has a will to power, and Stevenson had a little, maybe more than I'm giving him credit for. He was who you wanted it to be, in a way. Old America. We're singing spirituals again. We're having dreams again. Well, that left mechanization entirely out of the question. There was no Hollywood there. There were no gangsters there. There was no World War II victory there. I hope everyone understands I'm being completely nonracist when I say he was Adlai Stevenson another way.
George W. S. Trow
...the film [Elvis '56] is moving to me because it shows his vital uniqueness walking-a new kind of old American, innocent, with old American experience, and that's always been our formula, our innocence, plus a unique kind of experience that other people haven't had in other lands-walking with all of that, plus physical beauty, into Rear Window-down-the-drain-land.
George W. S. Trow
(discussing the Alfred Hitchcock film Saboteur): ...I saw when I was young that, in fact, when you got to the top or toward the top of things, you found, indeed, very flawed but glamorous people, people who were, in fact, not thinking about the kinds of problems that the blind man was thinking about in 1943, not acting intuitively and bravely and in some kind of harmony with nature as that blind man in Saboteur was acting, and certainly not taking on impossible tasks. People were acting in a kind of what I've come to call a deutero-Hemingway way: they were preserving their own vitality by being adventurous within the media. The James Stewart character is someone who roams the world, but with a camera, not a gun, and not like Schweitzer, setting up modes of change in impossible places. He's touring the world adventurously in the interest of preserving his masculine independence, but he's doing it with a camera.
George W. S. Trow
