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Ray Pride

By Ray Pride Pride@moviecitynews.com

Wu woo and bagel blockers: self-promoting Saving Face

254.jpg Writer-director Alice Wu is chronicling the release of her tart, comic debut, Saving Face, to friends on her email list: “A friend of mine who will remain nameless (Jeff Yang) exhorts me to continue my weekly emails but pepper them with personal anecdotes, because that—he feels—is doubtlessly the way to pull in the masses. Earnestness is out—Sizzle and f’shizzle are in. So here, in my effort to give it up like a cheap whore, I say to you:
“On Tuesday, during my shift at the Park Slope Food Coop, I was stocking the bagels when I got totally called out by a lady in her 80s. I had been surreptitiously (and rudely) trying to answer a call from my producer, and simultaneously slam bagels into the bin at warp speed, when I got a tap on my shoulder. The Squad Leader—heavy-jowled, morose—pointed to a very irate old woman. “This lady has filed a formal complaint against you.” The lady busted out: “She was totally BLOCKING THE BAGELS! She kept stocking the plain ones, and NONE OF US COULD GET THROUGH TO THE POPPYSEED!” Boy, she was pissed. I apologized weakly and hung my head. “Sorry, I never take calls at the co-op, this one was just kinda important.” She glared… a few more moments, then left grumbling. Once she’d gone, the Squad Leader asked, “So what was so important?” I started to explain about the film, and the challenges of trying to get the word out for these smaller pictures, getting people to the theater, blah blah blah. “I’ll go support the film”, piped up a random woman who had stuck around after the public shaming. “Me too,” said the woman next to her. “You should put something in the Coop Gazette” said the Squad Leader. So there you have it. My shame is the film’s gain. I guess that’s what makes this country great. Everyone gets a second chance, even if they block the bagels. (Though if you see an old lady outside the theater protesting my film (or really, me)—perhaps with a big X through my face and the words “BAGEL BLOCKER” in angry letters below, steer clear. She means business.)…
As always,
Alice

p.s. Another funny thing: I was having coffee in Soho yesterday when a woman came over and asked, “Are you Alice Wu? I was eavesdropping on your conversation, and I just wanted you to know that I loved your movie.” Turns out she’s Laura Flanders from Air America Radio! She asked if I’d go on her show tomorrow eve (Saturday) for the last half hour while she’s interviewing Sarah Jones (super-celebrated smartypants award-winning one-woman show monologist), so we can all talk about the issues. So I have to go now so I can read up on the issues. (If anyone has hints on what they are, please send them.)”

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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