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Ray Pride

By Ray Pride Pride@moviecitynews.com

The Texas DNA of SPC, Michael Barker and Lee Harvey Oswald: deep in the heart

Chris Vognar of Dallas Morning News plucks at the Texas roots of Sony Pictures Classics, and it’s an unusually good read: “Michael Barker… used to catch weekend matinees at the Texas Theater, best known as the place Lee Harvey Oswald decided to catch a [film] on that fateful November afternoon in 1963. “They used to put a rope over the seat where Oswald sat,” says Mr. Barker. “When we showed up for the matinees, they’d take the rope off and we’d all take turns sitting in the seat.” [But Tom] Bernard and Mr. Barker didn’t know each other in their formative Dallas days… they attended different colleges… 2006 will mark their 15-year anniversary as co-presidents of Sony Pictures Classics, one of the most successful and influential specialty distributors…”
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“The Texas terrors,” says Eamonn Bowles, president of Magnolia Pictures, who has known the SPC duo for 20 years. “They’re the one unchanging constant. They do their thing, and they haven’t varied much since they’ve started. They’ve stayed with their core audience of sophisticated art fans, and they really do business outside of the modern technologies available to them.” Which technologies would those be? “Oh, fax machines?” quips Mr. Bowles… On this day in the middle of the Toronto International Film Festival, the bulky Mr. Bernard, a high school offensive lineman, and the smaller Mr. Barker are both busy with their Blackberries. (“This thing right here makes it all happen,” says Mr. Bernard.)” [More anecdoting 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