Movies

Matthew Specktor on Hollywood’s ‘fascist turn’ toward blockbusters: ‘It erodes the soul of the city’

BBG News

Matthew Specktor recognizes that his third book set in Los Angeles will be released during a challenging period. “Creating and appreciating beautiful things, as well as producing art, seems odd in American culture,” Specktor shared during a video call in March. “There’s a Calvinist aspect within the American spirit that is profoundly suspicious of pleasure. And at this moment, it aligns with fascism, where there should be no pleasure for its own sake.

The recently published work, titled “The Golden Hour: A Tale of Family and Power in Hollywood,” chronicles the evolution of the film industry from the 1950s onward. It serves as the final installment in a three-piece collection, as defined by the author himself as a “triptych” – consisting of two memoirs and a novel that delve into the city of L.A., and the dreams and lives of those who ventured there seeking the American dream.

Specktor drew inspiration for his second book, titled “Always Crashing in the Same Car,” from F. Scott Fitzgerald. In contrast, his latest work finds its foundation in his own parents: Fred Specktor, a renowned talent agent who recently turned 90 and continues to work, and Katherine McGaffey Howe, a screenwriter who passed away in 2009.

As a child, Specktor found his parents enigmatic figures due to their unconventional lifestyles. His father worked tirelessly and seldom opened up at home, while his “beautiful and humorous” mother struggled to find her place in the creative world. The book contains poignant recollections of Specktor’s mother, who was both a loving parent and a tormenting figure reminiscent of Medea. She would often take Specktor to the movies or watch films with him at home, but her alcoholism resulted in many evenings where Specktor had to look after his inebriated and sometimes unconscious mother.

In my critique, I delve into the intriguing origin story of a man, recounted through a humorous anecdote about a disappointing movie night. The tale unfolds as he invited his date for dinner post-film, only to be turned down due to his inability to afford an upscale eatery. In her final words, she prophesied that he would flourish financially as an agent. True to her prediction, within a mere fortnight, he embarked on his career with the Music Corporation of America. Pieces of this narrative were extracted from formal interviews with his father, who, being characteristically reserved, required some digging on my part.

Fred Specktor serves as an entry point, but he remains captivated by the concept of agents in general. He considers the traditional portrayal of agents as relentless, heavy-drinking individuals who take advantage of their clients as overly simplified. According to him, agents occupy a unique position where art and commerce intersect.

As a movie enthusiast, I’ve come to realize that there’s a common misunderstanding about the financial status of people in the film industry. Contrary to popular belief, not everyone who works behind the scenes is rolling in wealth. Post-COVID, many Hollywood workers find themselves struggling with middle-class salaries, and sadly, a significant number of actors find themselves cash-strapped.

The individuals I’ve encountered held genuine moral compasses regarding their identity and cause. I strongly feel that art yearns for freedom. An agent isn’t just facilitating financial success, but also serving as a motivator, pushing artists to unabashedly continue their creative expression,” Specktor expressed.

Review

Son of an agent, he became a film exec. But the movies weren’t the same

Matthew Specktor spent his childhood amidst celebrities during a time of daring cinema-making, yet later observed the rise of secure franchise productions and the loss of the peculiar charm in studio films.

During a follow-up conversation held recently, Specktor delved into the dwindling popularity of mid-tier cinema, reminisced about his father’s influence, and reflected on navigating a complex bond with his mother.

Could you explain how you’ve arranged these three books as a triptych instead of a trilogy, and which book you envision as the central piece in this arrangement? Additionally, could you describe how you perceive the other two books relating to the centerpiece? As an artist, what do you hope readers will grasp from this project?

A trio of books, not arranged in order and each standing independently, yet interconnected and enlightening one another on themes such as success and failure, perception versus reality, and America’s impact – both domestically and globally. Reading these works might leave you feeling that you’ve grasped something greater than the typical interpretation of ‘Hollywood’. This is not just a Los Angeles literary endeavor, but an American one. As for a focal point, it’s hard for me to specify as each book is distinct. However, ‘The Golden Hour’ seems to encapsulate the project in some way, serving as its most comprehensive expression.

Living in Los Angeles for quite some time now, I’m curious if you think Hollywood serves as the pulse of the city. If the struggle of Hollywood due to decreasing movie theater attendance persists, what might be the impact on the entire city?

In essence, though it may seem symbolic, the fact remains that most residents in this city aren’t connected to the film industry. In truth, only a tiny fraction of the workforce here, less than 5%, is involved in entertainment. The disappearance of what was once considered the heart of the movie business – an industry that can no longer stand alone but has become a division of tech – is significant. Previously, Hollywood was seen as a place where artists and creators could thrive, even achieve wealth, but those days appear to be over. The loss of this ideal is immeasurable and leaves a void in the city’s identity that is deeply saddening. Once upon a time, this city was a beacon for dreams, but I no longer believe it holds that allure anymore.

Review

Fear and flailing in L.A.: A frustrated writer finds redemption in Fitzgerald’s ghosts

Explores the grey area between triumph and downfall, as depicted in “Always Crashing in the Same Car: On Art, Crisis, and Los Angeles, California” by Matthew Specktor.

Could you share some insights about the community where your family resides, particularly its background and unique aspects? Are there any lesser-known facts about this neighborhood that you’d be willing to discuss?

My sister unfortunately lost her home due to an evacuation, although luckily my parents’ house was spared. This event has changed our city profoundly, as feelings of security and permanence have vanished. It seems that some might have thought this only affected wealthy residents, but this is untrue. Both Malibu and the Palisades had many middle-class residents, and it’s these people who have been forced out. Unlike Rick Caruso, who could secure his property with private firefighters, average and working-class individuals received no such help. It’s the common people who endured the hardships.

Could you elaborate on the decrease in popularity of movies targeted at the middle class audience, and explain how this shift impacts the overall movie industry?

The shift towards big-budget films over the past half century could be seen as a trend leaning towards fascism. By producing fewer movies aimed at the middle class – those with moderate budgets rather than low or extremely high ones – we’re gradually eliminating the community of creators who make these films. This financial polarization translates into paying a select few lavishly, while the majority receive less. This approach is risky and has led to figures like David Zaslav, whose main apparent interest lies in cost-cutting and redistributing funds towards himself and shareholders, gaining power within an industry that still claims to be creative. Furthermore, it’s worth noting that many of these blockbusters, especially in the last two decades, seem heavily centered around superheroes and vigilantes – individuals who possess extraordinary abilities and can single-handedly resolve issues, reminiscent of strongman figures. This trend speaks volumes on its own.

Voices

Appreciation: For all her hedonistic L.A. delight, Eve Babitz mattered because she was so serious

As a devoted admirer, I’d like to reflect on the remarkable life and work of Eve Babitz, the L.A. author and bon vivant who recently passed away at 78 years old. Her writing brilliantly encapsulated the sensual allure of the city, yet she never lost sight of the relentless march of time and its impact.

Based on extended conversations with him, what does it seem like he aspires to be remembered for by his legacy?

I’d like to express that my father aspires to be recognized not just for his success, but for his ethical character. In an industry that isn’t always known for its morality, he has always placed a high value on being decent. I won’t claim he’s perfect or a saint, but if you ask around Hollywood, most would agree he’s a good man – a rarity for a talent agent, or indeed for many people today. And he truly is! He recently shared with me his desire to be remembered as the father of a talented writer, and I hope that comes true for him. But personally, I will remember him as a genuinely kind and honorable person.

Could you share some experiences from your childhood when you had to look after your mother during her drunken episodes, and discuss how these events impacted both you personally and your relationship with her? Were there any unresolved issues between you two before she passed away? Or do you believe that through writing this book and the song “Always Crashing,” you’ve gained a fresh perspective or reached a new level of understanding about her?

In 2009 when she passed away, our relationship wasn’t fully healed. The wounds, the emotional ones, persist to this day. Yet, I adore her and my respect for her grows with each passing year. She was confined in a society that didn’t provide many chances for her to flourish – the sexism of Hollywood during the ’60s and ’70s (and beyond) can hardly be overstated – and she fought bravely against it. Even at her darkest moments, her unkindness was outweighed by her passion for cinema and literature. We shared countless movie experiences and bookworm adventures. Considering how deeply these things are ingrained in my life … it was an incredibly generous gift she bestowed upon me.

Specktor and Griffin Dunne are scheduled for an interview with David Ulin at midday on April 26, during the Los Angeles Times Festival of Books.

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2025-04-21 13:31

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