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Ray Pride

By Ray Pride Pride@moviecitynews.com

What? And give up show business?: Anthony Bregman on producing

At Gothamist, Rafie Frank gets Anthony Bregman to define what a producer does, as well as his history with Good Machine and This Is That [while racking up an impeccable number of misspelled proper names]: “Well, here’s a story. The first movie I produced was Love God in 1997, which was one of my favorite production experiences. It definitely was a pioneering film. It was the first digital film ever made… It was about this guy with mental issues, released from an overcrowded insane asylum and he comes to a hotel in the Meatpacking district… and he starts to have hallucinations of, among other things, dinosaur parasites that have been released into the sewers of New York and come up through the toilets…. it was a really difficult production. Really ambitious. We worked for 6 months creating monsters… We shot in… crack hotels with 2 cameras most of the time… The day we started shooting, Ross Katz, who is a producer, a very big producer now… had been working out in Los Angeles, working for Sydney [Pollack’s] company, living pretty well, but he wanted to move to New York… So he came in and it was his first day working with Good Machine and my first day of shooting Love God… So, at the end of the day I get back to the production office and the toilet, which is an illegal toilet, had overflowed and, basically, everyone is so tired and the toilet is overflowing and turds start pouring out and everybody says “Well, that’s it. I’m going home ” and I’m left there at midnight on a day we’d started shooting at 5 in the morning and I’m brooming shit out the front door into the street. And it’s right as I’m doing this that Ross comes by.. [I tell him] I’d love to talk to you… but at this point if I stop brooming we’re going to get overcome with shit. So, if you want to hang out, great… grab a broom.”

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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