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Ray Pride

By Ray Pride Pride@moviecitynews.com

Dante's warpath: Homecoming keeps coming

Joe Dante continues to ignite the lumps of coal in everybody’s political stocking, talking at length with Mark Peranson, editor of Canada’s invaluable Cinema Scope magazine about his politically-charged zombie parable, Homecoming. Peranson observes, Some people are saying, “Oh, Michael Moore cost us the election.” “Which is bullshit. First of all, who knows who won the election? … You’re going to sit around and actually tell me that these people won the election in Ohio ? Where the guy who’s in charge, and the people who make the machines said, “We’re going to deliver the election to George Bush.” The thing that’s amazing to me, and the thing where this movie came from, is that you don’t have to be a rocket scientist to see what a fucking mess we’re in and what we’ve done to the image of this country around the world… It’s been happening steadily for the past four years. And nobody made a peep about it… The New York Times and all these people, they actually abetted the lies… that went into the making and selling of this war. And now that they see that the guy is a little weak, they’re kicking him with the toe of their foot to make sure that he doesn’t bite back…. It gets cowardly, and it’s sick, and I think nobody’s done anything about it. And this pitiful zombie movie, this fucking B-movie is the only thing that anybody’s done about this issue? That killed 2000 Americans and untold amounts of Iraqis? It’s sick, it’s fucking sick.”
DC homecoming.jpg
Dante concedes that George A. Romero‘s Land of the Dead broaches similar material, but “if you’re going code the message to that point, which is the way we’ve all done it… that’s fine, but, you know, it’s not going to reach an audience like a movie that’s overt… and this movie is not exactly subtle, the one I made… It’s really obvious what it’s about and what’s going on. And it seems to me that you have to be. Somebody has to start making this kind of movie, this kind of statement. And everybody is afraid to do it. It’s not commercial, and people are going to be upset. Good, let them be upset. Why aren’t people upset? Everyday people go through their normal lives and they go ahead and they pick up the mail and they take a bath, they walk the dog, and they do all this stuff and every minute they’re doing it somebody’s dying in this war, and for nothing. To establish what, a religious theocracy in Iraq ? It doesn’t seem to me quite worth it… I’m angry. I’m not the only one, I’m just the one who got to make the movie. But I represent a lot of people who don’t like the fact that the country that they grew up in is saying “Fuck you!” to the rest of the world, you know, without asking me. I didn’t tell anybody that it was okay. Nobody asked me if we should go to war.”

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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