So I've pored over and thoroughly imbibed the rich offerings of critic/author/filmmaker/loyal Hooper acolyte Scout Tafoya's new offering in Tobe Hooper scholasticism (buy it online at most booksellers, digital copy also available on Amazon Kindle), and took in his many insights which hit like lightning strikes within Tafoya's oddly business-minded but nonetheless voluminous prose, but his after-release postmortems for various publicity blogs may include the clearest declarations of intent and most candid and impassioned statements on the schisms of perception when it comes to what Hooper was doing and what only he was ever allowed to do in his career pocked by circumstances:
"As in Mortuary, Hooper saw the GOP infecting the people, the land, the sky, everything it touched with its “good old days”. Rhetoric of a return to norms while the flesh was melted off the bones of their opponents – foreign policy at least as old as the Vietnam war he none too subtly opposes in both Eggshells, his study of a Texas commune, and The Song is Love, his concert doc featuring a show stopping performance from the unlikely likes of Peter, Paul, and Mary."
http://www.dosomedamage.com/2021/03/scout-tafoya-on-films-of-tobe-hooper.html
"All that rich text just sitting there. That was why I wanted to write Cinemaphagy. Class and money are still such silent but heavy forces in cinema studies. You lose money and you’re off the cultural radar. Look at Michael Cimino. Everyone talks about Deer Hunter (1978), no one talks about Desperate Hours (1990). Just how it goes. You fuck with a producer’s bottom line and the critical establishment is only too happy to do the moneymen the favor of burying them. Hooper was hidden real good. Only his friends could see where they buried him, and they’d occasionally give him work but his reputation never grew past The Texas Chain Saw Massacre (1974). Even now it’s tough to get people to take him seriously."
https://frame.land/hooper-dreams-why-i-wrote-cinemaphagy/
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