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Ray Pride

By Ray Pride Pride@moviecitynews.com

The Times on Winter Soldier, "this ancient, grainy documentary"

Milestone Films gets a long write-up in the NY TImes about their new doc project, with a dramatic lede from David M. Halbfinger: “Like a live hand grenade brought home from a distant battlefield, the 34-year-old antiwar documentary Winter Soldier has been handled for decades as if it could explode at any moment. Now, the 95-minute film—which has circulated like 16mm samizdat on college campuses for decades but has never been accessible to a wide audience—is about to get its first significant theatrical release… Its distributors say that the war in Iraq has made the Vietnam-era film as powerful as when it was new, and its filmmakers [call] it eerily prescient of national embarrassments like the torture at Abu Ghraib… When one of the veterans—John Kerry… seen on screen for less than a minute—ran for president… [it] turned up as propaganda on both sides… Mr. Kerry’s friend… George Butler used footage… to lionize him in a biographical film… called Going Upriver. His political enemies on the right, meanwhile, created a Web site… and made a film of their own… to assail him as a traitor and a fraud…. “The context is why we wanted to do it,” said Amy Heller, co-owner with her husband, Dennis Doros, of Milestone Films… “We have a 9-year-old son… but if he were 19 and wondering what he should do with the next stage of his life, I sure would want him to see this film before considering going into the military.” [More explicit description of the disturbing content of “this grainy, ancient documentary” 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