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Ray Pride

By Ray Pride

How much riper could a country be for pissed-off music?: Schama on Scorsese's Dylan

Of the yards of verbiage unfurled over Scorsese’s PBS-BBC-DVD Dylan doc, next to Larry Gross’ celebration, there’s a lot worth the deciphering in Simon Schama‘s history in the Guardian, including: “Hermeneutics 101: the artist makes the world, but then again the world makes the artist, and heigh-ho round and round we go. Though Dylan insists that he just kinda happened along at the right time, he’s right to acknowledge the hungriness of America – and Britain – for his wry take on, inter alia, injustice, hypocrisy and thermonuclear angst. So while [Irish folksinger Liam] Clancy, in a nice aside, says that “lightning strikes every once in a while in a different place, no one knows why”, it’s not that hard to figure that a country on the brink of nuclear war might well turn jitters into musical fury. At the height of the Cuban missile crisis, Roger Cohen remembers singing at the Gaslight with Dylan, “You’re going to miss me when I’m gone,” and thinking, “Wait a minute, there isn’t going to be anybody left to miss us!” Then followed in succession: the assassination of the president, the violent resistance to the civil rights movement, and a deluded, unwinnable war which mowed down an entire generation. How much riper could a country possibly be for pissed-off music?”

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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