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Ray Pride

By Ray Pride Pride@moviecitynews.com

Cafe Cannes: Wells, Wenders and an interesting face

Hollywood Elsewhere’s Jeff Wells finishes his meanders on the Croisette with a vision of a French journo: A wafer-thin and very beautiful brunette woman who does interviews for French TV sat next to me in the van on the way back. She was dressed in a sheer white dress and smelled like jasmine mixed with musk.
coffecup2.jpg
He reports as well that he and Wim Wenders had words about this coffee cup [photo credit: Wells, Hollywood Elsewhere] and more: Don’t Come Knocking “is deeply aggravating. I was sitting there trying to decide when to leave. I wanted to see enough so I couldn’t be accused of missing most of it. I knew I was stuck there for a good 90 minutes or so, but I damn sure wasn’t going to sit through all 122 minutes’ worth… [The film] doesn’t have his mood or visual signature or stylistic consistency. It has an unfocused easygoing mood that feels way, way off. The script is sloppy and raggedy-assed…” Wells asks Wenders about this quotation from Manohla Dargis: “Like other artists and intellectuals from abroad, Mr. Wenders seems to have fallen for an America that mostly exists on Hollywood back lots and in rock ‘n’ roll lyrics, which probably explains why the romance has lasted so long.” To this Wenders responded, “I have traveled around this country and gotten to know it better than any film critic I’ve ever met. I don’t think [Dargis] has ever been to Butte, Montana.” I can’t write any more about this, but I had a swell time at the press luncheon and enjoyed speaking to Wenders and Shepard and costars Sarah Polley, Gabriel Mann and Fairuza Balk (who said I had “an interesting face,” which made me feel funny for some reason.) “

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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