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Ray Pride

By Ray Pride Pride@moviecitynews.com

Pascal's wager: what's Sony betting on?

Amy Pascal, who’s said a few blunt things in the past about the quality of contemporary movies, talks to the FT about the non-formula for making movies at Sony: ” will probably live to regret this, but putting together a slate of movies is really an opportunistic thing. As a company we make 20-24 movies a year that we hope will make money. You try to have 4 or 5 in summertime that you think will be big and will be as entertainment-oriented as you can. You have 4 or 5 movies in November and December that are more family friendly. One of them will be more Oscar-oriented and adult, and you fill in the blanks for the rest of the year. That’s pretty much the deal. And then smart journalists ask you about the theory. It’s all crap. What you do is make movies that will make money…” In spite of her passion for the 21st-century imagery of Spider-Man, she does not rate any film produced after 1975 among her 10 favourites—which include Last Tango In Paris, All About Eve and Shampoo…. “It’s no longer domestic versus international, it’s just the world. You absolutely cannot make money on a movie that only works domestically.. You read a script and say, ‘This could make money.’ You just make movies you like. You think I don’t?”

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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