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Ray Pride

By Ray Pride Pride@moviecitynews.com

Citizen Marty: chiming Welles' moves

I’ll bet a month hasn’t gone by since seeing Citizen Kane that Martin Scorsese hasn’t thought of Orson Welles. At Senses of Cinema, John Thurman makes a dry, comprehensive, illustrated case for why Taxi Driver is as “rife” with quotations from movies as any smoothie from Tarantino’s blender, admiring its “intertextuality” in its submerged allusions to Citizen Kane—far more expansive than his hiring of Bernard Herrman to compose the score. Framings taken from Murder by Contract and Salvatore Giuliano are neatly dissected, but the key passage compares, with frame captures, the entrance of Cybill Shepherd’s Betsy into Travis Bickle’s field of vision.
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“I first saw her at Palantine Campaign Headquarters at 63rd and Broadway. She was wearing a white dress. She appeared like an angel out of this filthy mass,” Travis intones. Notes Thurman, “Betsy appears, crossing over to her office’s entrance in slow motion…. Behind her in the frame… Scorsese sits against a wall. As Betsy reaches the door, a dissolve brings a scroll over the words of Travis’ journal with Travis still reading them in voice-over. This scene reproduces almost exactly the visual introduction of Rosebud in Citizen Kane. [Side-by-side still comparisons are provided.] When Kane‘s reporter figure, “still trying to get to the bottom of the mystery of Kane’s dying word, asks long-time Kane associate Bernstein (Everett Sloane), who thinks Rosebud might have been some girl. Thompson is incredulous.” In Kane, Bernstein says, “A fellow will remember things you wouldn’t think he’d remember. You take me. One day, back in 1896, I was crossing over to Jersey on a ferry and as we pulled out there was another ferry pulling in, and on it there was a girl waiting to get off. A white dress she had on, and she was carrying a white parasol, and I only saw her for one second and she didn’t see me at all – but I’ll bet a month hasn’t gone by since that I haven’t thought of that girl.” Among other entertaining digs, Thurman also points out that the St. Regis Hotel, seen in the final scene between Travis and Betsy, is where Scorsese stayed during the shooting, “because it was a favourite of Orson Welles.”

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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