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Ray Pride

By Ray Pride Pride@moviecitynews.com

Nice Harvest: Keeping it in Chicago

Harold Ramis talks about keeping regional production regional, with Chicago, not Toronto, doubling for Wichita in The Ice Harvest. “Focus Features wanted to film The Ice Harvest in Chicago-look-alike Toronto… The budget for a Chicago-based [production] was still $200,000 over Focus’ ideal,” reports Sally Duros in the Chicago Sun-Times. “I felt this movie could so easily be made in Chicago, I couldn’t see how $200,000 would be a make-or-break number,” Ramis tells Duros. “I knew if they dragged me away I would wind up getting passive aggressive. I also know that when you are shooting a movie, time is money. I was guaranteeing the price when I said I could make it in 40 days on that budget in Chicago.” … Brenda Sexton, managing director of the Illinois Film Office, said Chicago native Albert Berger’s Bona Fide Productions was the first to put the homegrown film into play. A Latin School graduate, Berger grew up on the Gold Coast.
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The Ice Harvest was the first film to commit to shooting in Illinois under the first round of the new tax credit, Sexton noted. Focus received a 25% tax credit based on wages paid — at certain levels — to each Illinois employee involved… Busch said the Teamsters, International Stage Technicians Local and the Wardrobe and Costume Local provided concessions equivalent to 15% of labor costs… While tax incentives are nice, Ramis said they are less important than how Illinois contributes to the filmmaking world on its own. “We keep waiting for the studios to come here. It’s not even about U.S. vs. Canada,” Ramis said. “The key is to show your competence, and that you are asking for a partnership, not to go hat in hand, employing a beggar’s mentality. There would be more production here if films were being financed from here. We have the creative talent.” What’s needed, Ramis adds, is “a really tough guy to squeeze the money out of people.”

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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