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Ray Pride

By Ray Pride Pride@moviecitynews.com

2 left thumbs: Crash-ing race

Writers Jeff Chang and Sylvia Chan do the Ebert-Roeper thing over Crash at Alternet: “CHANG: [In] this post 9/11 moment, Crash [comes out] during a time of war. Our nation is in “crisis,” we have a “deeply divided nation,” as the media [tells] us. When Grand Canyon, and one of the first white liberal Hollywood movies, Guess Who’s Coming To Dinner, were released, the nation was at war. Times of crisis and war are when whites have the strongest desire for reconciliation with blacks, when blackness is most desired as part of a triumphant narrative of nation. Don Cheadle’s character is a type of black male protagonist who’s very common these days: a proxy for the state, working against all the unruly elements of internal diversity and external threat…. This is the type of narrative Hollywood needs to keep putting out there right now—the black man as the symbol for our nation, the guy who’s going to provide order for not only the U.S., but for the world. And let’s be real: this isn’t happening in real life. In the end, [Crash] paints racism as a postmodern malaise where conflict happens because we don’t touch each other except when we crash. That’s bullshit. Racism is structural and institutional more than it is personal and sentimental. CHAN: The pitch is go to see Crash, then go home and ponder your prejudices. For some people it may do that. For a lot of people, though, it won’t. It’s the feel-good race hit movie of the summer.”

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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