Editing Nicholas Ray (section)

==Influence==
In the decades after his professional peak, and since his death, filmmakers continue to cite Ray as an influence and object of admiration.<ref>[https://www.upress.umn.edu/book-division/books/nicholas-ray Nicholas Ray — University of Minnesota Press]</ref>

* As a critic, [[Víctor Erice|Victor Erice]] has commented on Ray's films with great affection, also collaborating with Jos Oliver on a catalogue for a 1986 retrospective, ''Nicholas Ray y su tiempo''.<ref>{{Cite book |last1=Erice |first1=Victor |title=Nicholas Ray y su tiempo |last2=Oliver |first2=Jos. |publisher=Filmoteca española/Instituto de la cinematografía y las artes audiovisuales |year=1986 |isbn=978-8450-53719-2 |location=Madrid}}</ref> Erice was also interviewed about ''We Can't Go Home Again'' for the documentary, ''Don't Expect Too Much''.  Asked to comment on any continuities between Ray's work and his own filmmaking in 2004, however, he demurred,<ref>{{Cite journal |last=Andrew |first=Geoff |date=2004 |title=The Quiet Genius of Victor Erice |url=https://www.closeupfilmcentre.com/vertigo_magazine/volume-2-issue-6/the-quiet-genius-of-victor-erice/ |journal=Vertigo |volume=2 |issue=4}}</ref> though he has also remarked on a connection between his film ''[[El Sur (film)|El Sur]]'' (1983), and ''Rebel Without a Cause''.<ref>Evans, Peter, and Robin Fiddian (2000).  "A Narrative of Star-Cross'd Lovers," in ''An Open Window: The Cinema of Victor Erice''.  Lanham, MD: Scarecrow Press, p. 151.  ISBN 978-0810837669</ref>
* [[Jean-Luc Godard]] wrote in his review of ''Bitter Victory'': "There was theatre ([[D. W. Griffith|Griffith]]), poetry ([[F. W. Murnau|Murnau]]), painting ([[Roberto Rossellini|Rossellini]]), dance ([[Sergei Eisenstein|Eisenstein]]), music ([[Jean Renoir|Renoir]]). Henceforth there is cinema. And the cinema is Nicholas Ray."<ref name=":2" /> In addition, Godard's films abound in references and allusions to Ray's films. In Godard's film, ''[[Contempt (film)|Contempt]]'' (1963), the character played by [[Michel Piccoli]] claims to have written Ray's ''Bigger Than Life'', and in ''[[La Chinoise]]'' (1967) a young Maoist defends the politics of ''Johnny Guitar'' to his anti-American colleagues.  ''Johnny Guitar'' is also one of the film titles used as code names by the "Front de libération de Seine et Oise" guerillas in the concluding sequence of ''[[Weekend (1967 film)|Weekend]]'' (1967).  Referring to Ray and [[Samuel Fuller]], Godard dedicated ''[[Made in U.S.A (1966 film)|Made in U.S.A]].'' (1966), "À Nick et Samuel qui m'ont élevé dans le respect de l'image et du son." ["To Nick and Samuel who taught me with respect to image and sound."]  Godard had seen some of Ray's multiple-image work, Ray affirmed, before Godard's ventures into the format, with ''[[Number Two (film)|Numéro deux]]'' (1975) and ''[[Here and Elsewhere|Ici et ailleurs]]'' (1976).<ref>Krohn, "The Class," pp.261–63.</ref>
* Director [[Curtis Hanson]] discusses ''In a Lonely Place'' in a documentary supplement included on the 2003 Columbia DVD release, and later also included on the 2016 Criterion Collection Blu-ray release.<ref>Hauff, Meg (producer). ''In a Lonely Place—Revisited''. (2002).   ''In A Lonely Place''. Columbia Pictures DVD 07896 (2003); Criterion Collection DVD/Blu-ray 810 (2016).</ref> Ray's film was one of many influences on his direction of ''[[L.A. Confidential (film)|L.A. Confidential]]'' (1997).<ref>[https://www.washingtonpost.com/entertainment/curtis-hanson-director-of-crime-drama-la-confidential-dies-at-71/2016/09/21/cb6b1c08-8005-11e6-9070-5c4905bf40dc_story.html Curtis Hanson, director of crime drama 'L.A. Confidential,' dies at 71 - The Washington Post]</ref>
* [[Jim Jarmusch]], having been Ray's teaching assistant at NYU, has spoken on several occasions of the lessons he's learned, citing two in particular.  Comparing making a film to assembling a "string of beads," Ray urged the aspiring filmmaker when shooting one scene not to think of any of the other "beads."  With this principle, Jarmusch learned the value of shooting out of sequence and of shooting a film's final scene last, a recommendation he remembers receiving from both Ray and Fuller.<ref name=":3">{{Cite web |last=McGee |first=Scott |date=November 13, 2018 |title=Jim Jarmusch on Nicholas Ray for FilmStruck |url=https://www.youtube.com/watch?v=legrr0uGCVc |access-date=December 13, 2022 |website=YouTube}}</ref><ref name=":4">"Jim Jarmusch Extended Interview." (2011) ''Nicholas Ray's "We Can't Go Home Again."'' Oscilloscope Blu-ray BD-OSC 39.</ref>  Ray also told Jarmusch that he gave actors notes separately, reasoning that each actor brings individual thoughts and ideas to a scene.  Jarmusch, however, also allowed that, in working with actors, Ray would use "psychological games" and other manipulative tactics, "...things that I personally would never do."<ref name=":3" /> From Ray's work, Jarmusch claims that he learned to be attentive to everything that's seen in a film, while also cautioning, "I never would ever compare myself in any way to Nick...."<ref name=":3" />  More broadly, Jarmusch cited Ray's personal impact, affirming, "He gave me a sense of myself, in a way."<ref name=":4" />  Jarmusch's first feature, ''[[Permanent Vacation (1980 film)|Permanent Vacation]]'' (1980), includes a scene set in the St. Mark's Cinema, where a ''The Savage Innocents'' poster is hanging, and the protagonist asks the popcorn seller about the picture.<ref>{{Cite web |last=Rosenbaum |first=Jonathan |date=August 12, 2022 |title=Conversation with Jim Jarmusch (2001) |url=https://jonathanrosenbaum.net/2022/08/conversation-with-jim-jarmusch-2001-tk/ |access-date=December 13, 2002 |website=Jonathan Rosenbaum}}</ref>  His 2013 film, ''[[Only Lovers Left Alive]]'', revives the title of an unmade Ray project.  The stories are unrelated, but a photo of Ray is evident in one scene.
* [[Martin Scorsese]] admires Ray's work, particularly his expressionistic use of color in ''Johnny Guitar'',<ref>[https://www.youtube.com/watch?v=PAw7y76awqk Martin Scorsese introduces Johnny Guitar (USA, 1954) dir. Nicholas Ray on YouTube]</ref> ''Rebel Without a Cause'', and ''Bigger Than Life'' (1956). He used clips from two of them in his documentary ''[[A Personal Journey with Martin Scorsese Through American Movies]]''.
* [[François Truffaut]] wrote reviews of several Ray films for the Paris weekly ''Arts/Spectacles'' in the 1950s,<ref>Truffaut, François. (February 23–March 1, 1955). "Le Film de la semaine: ''Johny Guitare'' de Nicholas Ray." ''Arts/Spectacles'' 504. p. 5.</ref><ref>Truffaut, François. (April 4–10, 1956). "''La Fureur de vivre'' de Nicholas Ray." ''Arts/Spectacles'' 562. p. 5.</ref><ref>Truffaut, François. (January 16, 1957). "''L'Ardente gitane'': La Joie de vivre." ''Arts'' 602. p. 3.</ref><ref>Truffaut, François. (February 13–19, 1957). "Nick Ray dans ''Derrière le miroir'' montre i'intellectuel dans son intensité, fort de la superiorité de son vocabulaire." ''Arts/Spectacles'' 606. p. 3.</ref><ref>Truffaut, François. (February 20–26, 1957). "''Derrière le miroir'': Intélligent et difficile." ''Arts/Spectacles'' 607. p. 3.</ref> some later adapted for his book, ''Les Films de ma vie''<ref>{{Cite book |last=Truffaut |first=François |title=Les Films de ma vie |publisher=Flammarion |year=1975 |isbn=2080607758 |location=Paris |pages=168–75}}</ref> (''The Films of My Life'').<ref>{{Cite book |last=Truffaut |first=François |title=The Films of My Life |publisher=Simon and Schuster |year=1978 |isbn=0671229192 |location=New York |pages=141–47 |translator-last=Mayhew |translator-first=Leonard}}</ref> He asserts that ''[[They Live by Night]]'' (1949) is Ray's best movie, but gives special attention to his films ''Bigger Than Life'' and ''Johnny Guitar''.  Truffaut also appears as an interview subject in the 1975 documentary about Ray, ''I'm a Stranger Here Myself''.
* [[Wim Wenders]] is another European admirer of Ray's and has paid homage to him in many movies. Some of his films are indebted to Ray, from the title of his science fiction film ''[[Until the End of the World]]'' (which were the last spoken words in Ray's biblical epic ''[[King of Kings (1961 film)|King of Kings]]'') to the casting of [[Dennis Hopper]] (who appeared in ''Rebel Without a Cause'') and the expressionistic use of colour in his own film ''The American Friend''. He gave Ray a small but key role in the film: an artist, presumed dead, who forges his own work. He also co-directed Ray's final film, the experimental documentary ''Lightning Over Water'', and edited it after Ray's death. The film is a touching portrait of the final days of Nicholas Ray's life.