Now David Gilmour is in the hot seat for saying such stupid things in that interview. He explains to the National Post why he didn’t really say it and he said it wrong and it was jokes and it’s the young woman’s fault. (Everything always is.)
This was an interview I gave sort of over the shoulder. I was having a conversation, in French, with a colleague while this young woman was doing this interview. So these were very much tossed-off remarks. They weren’t written down. It wasn’t a formal sit-down interview or anything like that.
Eh? So, what happened? He was having a conversation with a colleague, in a coffee shop or his office or the colleague’s office, and this mysterious young woman just came along and started firing questions at him? And he didn’t tell her to go away, he answered her? How odd. Except he calls it an interview himself, so that can’t be what happened. Maybe it’s that he scheduled an interview with Emily Keeler and then rudely talked to a colleague when he should have been doing the interview.
I can sell anything to anyone, but I have to be passionate about it. For example, I have a degree in French Literature, and I speak French fluently, but I don’t teach French Literature because I don’t feel it as deeply and as passionately as some of the other teachers here. So I actually send people down the hall to somebody who can teach it better. The same thing goes for German writers, for women writers, for gay writers, for Chinese writers. It’s got nothing to do with any nationality, or racism, or heterosexuality. Those were jokes by the way. I mean, I’m the only guy in North America who teaches Truman Capote, and Truman Capote was not what you’d exactly call a real heterosexual guy. So I really don’t know what this is about.
What? The same thing goes for German writers, for women writers, for gay writers, for Chinese writers and it’s got nothing to do with any nationality, or racism, or heterosexuality? Boy does that not make any sense. It could be used to illustrate what “a contradiction” is.
And this is a young woman who kind of wanted to make a little name for herself, or something, because when I said “real heterosexual guys” I’m talking about Scott Fitzgerald [and] Scott Fitzgerald was not what you’d call a real guy’s guy, a real heterosexual guy.
It’s all The Young Woman’s fault! All of it, I tell you!
Quite frankly, I was speaking to a Frenchman, so I was more concerned with my French than I was with what I was saying to this young woman.
Because…he was there in his own office, speaking to a Frenchman, minding his own business, when this young woman threw open the door and aimed an AK-47 at him and fired off a bunch of questions. Or something.
The interviewer asked if he was going to reassess.
No, I’m not, because you love what you love. As Woody Allen once said, “The heart goes where it goes.”
Hey, yeah, he did, and you know when and why he said that? He said it about secretly fucking his long-term partner’s adopted daughter, that’s what.
Q: You said you admire Chekhov because he believed in kindness and hated bullies. But these comments, if you read them the way I did, are not kind.
A: I’ve done thousands of interviews in the last five years, and I’m not exaggerating, and it’s not self-aggrandizing, because I did ten tours for The Film Club. And you get on an automatic pilot, and then you get careless. And then you start to just actually not govern your words very much, because you’re not running for office, it’s this small little thing, there’s a guy in the room talking to you in French, you’re more concerned about your French accent than you are in actuality what you’re saying to her, and what happens is you get careless with the interpretation the words might have.
Nicely put. You’re more concerned about your French accent than you are in actuality what you’re saying to her, to that young woman who kept yapping when there was this important French guy in the room.