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Ray Pride

By Ray Pride Pride@moviecitynews.com

Stone by Stone: Oliver's still disinterring Alexander

Oliver Stone tells Stephen Dalton of The Age about recutting Alexander and the long view of history: “I think of those architects who say, ‘I built the building, people may hate it but a building lasts’… People look at it again and again over time. They came to accept the Pompidou Centre in Paris. I need to take a long-term view on this. When I’m dead I hope to be appreciated. Ha-ha!” … “We did 4 times the business outside America… That does indicate some kind of cultural difference…. That’s a huge differential – it’s usually one to one, two to one at most. I was hoping the British would look at it in another light, but it was impossible to overcome. In Britain I got some of the worst reviews, next to America, that I’ve ever got in my life… It never opened anywhere in the South, for example. Once ‘Alexander the Gay’ came out that was the headline, which was very cheesy – that killed it. You don’t combine homosexuality or bisexuality with military men in America.” He puffs a bit about his upcoming 9/11 pic for Par: “There was an overreaction after 9/11… It was a call for hysteria and as a result it led to war. Bush was given enormous powers and misused them. He created a huge bureaucracy, a Homeland Security system that won’t really work. He created a war in Iraq that has further helped bust the economy, and has led to civil war there. He was the wrong leader at the wrong time. I always felt that. I wish I had been wrong.”

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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