April 24, 2024
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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?
So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.
And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.
There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.
I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.
So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.
But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”
My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher
“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.
~ David Simon
I always knew McWeeny was a creep
What happend to “films”? You sure this isn’t the AVN awards?
who goes into strip clubs with a camera? honestly…
Dave: Did you just put those pics up there to make the Utah Mormons crazy?
That’s always been one of the things I thought was funniest about Sundance. It’s in one of the most conservative states in the Union and yet it’s one of the most liberal fests in the country. Back in ’79 the Salt Lake vice squad raided a theater for showing “Porky’s”, believe it or not. To this day, you can’t get run-of-the-mill adult videos in Utah, like, ironically enough “Deep Throat.” But they do tend to look the other way when it comes to Sundance. Sundance made the career of Todd Haynes with the ultimate in Queer Cinema, “Poison” and it’s prison rape scene, frontal erect male nudity, etc., etc. They awarded the Bob Flanagan film, with the scene of the guy nailing his penis to the board, etc.; etc. I guess Utahns like all the money that gets poured into their state that week, huh? (Some of this, or course is a local issue and the Park City community is wonderfully tolerant and progressive. But Sundance does, I think, get some state funds for the fest from the Utah economic development office.)
By the way, tell Dave and Chris “hi” if they’re still running the Egyptian.
Joe S – I lived in Utah for a decade, and Sundance only came about because the locals trusted Redford. It had nothing to do with this wonderfully tolerant and progressive people of Park City bullshit. That exists because of the 90’s Cali transplants. As I’ve been told time after time, if they knew what it would become, they would have forced him into Aspen.
Who’s the “they” who would have forced Redford to Aspen? The original locals or the more recent 90s transplants? If it’s the later ones, aren’t they being a bit hypocritical telling him to get out once they’ve invaded from the south? Redford’s lived in the area (down the road forty miles at the Sundance resort) since the early 70s. There WAS some talk about moving it back to Salt Lake at one time, and Park City immediately agreed to improve the venues and put up some of the funding for the Eccels Center. No one there but a bunch of ski bums, who feel crowded out of the bars and restaurants every late January, has ever wanted Sundance out. It benefits that town enormously
Also, I was at Sundance from the mid eighties until just a few years ago when I moved back East, and I can tell you that the Park City locals have been tolerant and progressive as far back as 84, when I first went up there. I only use those terms to mention that the Park City types, who are as liberal as Utahns get, would never have a problem with NC-17 films, like most other Utahns would.
Finally, considering the makeover of that town after Utah got the winter Olympics, which made the city virtually unrecognizable as its old self, I think the Utah Olympic committee is much more responsible for the changing of that town in a bad way than anything Sundance has done.
My god-that friggin McWeeney quote just about
threw me off the couch. Easily one of the creepyr
big guy staring/lingering moments ever captured
to memory card/film. It ranks right up there
with the creepy big guy at the end of Jay and
Silent Bob that looks like he is comtemplating
ways in which to destroy Morris Day for his
misappropriation of funds towards Apollonia.
the south park episode on sundance pretty much says it all about that. but i don’t think the business owners are complaining too much there. brings a ton of dough in.
McWeeny does look real creepy. Keep the ladies away from him.