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Ray Pride

By Ray Pride Pride@moviecitynews.com

Hot today, Chile tomorrow: another geek odyssey

LA Times’ Lorenza Muñoz works to make geek chic in a profile of the almost too good to be true 22-year-old Chilean director Nicolas Lopez: “Standing at a chubby 5 feet 6 and emanating a manic, geeky charm… Lopez is… an unlikely lightning rod. He has shaken Chile’s film industry by importing American-style marketing and publicity tactics to promote his films. He has popularized genre films in an industry more accustomed to sober dramas. His horror movies and teen comedies have been breakout hits at the box office, hitting a nerve among the country’s youth. Only 22 and still living with his parents, Lopez is unabashed about his passion to “make movies not films.” … To some, Lopez “is the epitome of everything they loathe about globalization and the United States: instant gratification, cynicism, commercialism and vulgarity. His movies, his critics say, are all blood, gore and no substance.” Muñoz quotes Chilean novelist and director Alberto Fuguet, “He is a symbol of the Latin American of the future… He is alienated, hip, ultra Internet savvy, raised on trashy culture and yet he is local.” Lopez’s first cinematic influence? Back to the Future 2. “I want to make auteur cinema — MTV style,” he said. … “If you are fat, high school is hard,” he said. “If you are fat with [breasts] like me, it’s even harder.” His first feature, “Promedio Rojo,” was dubbed by Lopez’s hero Harry Knowles as “a geek masterpiece of comedic insanity.” … “This industry has been led by geeks,” he said gesticulating wildly over his pizza. “I mean, look at Spielberg — he is the biggest geek. The people who have been on the outside have always been able to tell the best stories. We are the ones who have had problems with girls, wore glasses and are fat.” [More enabling at the link.]

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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