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Ray Pride

By Ray Pride

Original Chen: Harvey goes back on Promise

In another odd shift, coming after postponing platform releases of Transamerica and Mrs. Henderson Presents until the new year, Weinsteinco drops Chen Kaige‘s Promise, reports Variety’s Ian Mohr. “Last May, the Weinstein Co. pacted for North American rights to Chen Kaige’s film, with plans to release it under the title Master of the Crimson Armor.” Pic opens Friday in Los Angeles for a one-week Oscar-qualifying run.” But sales rep Etchie Stroh‘s Moonstone Entertainment and China Film Group will handle that as well as its US, UK, Australian and South African releases with partners to be named. Mohr suggests the pic got in the way of Weinsteinco’s other Oscar designs, and quotes H. Weinstein, “We have thoroughly enjoyed working together for the past seven months and have reached an amicable decision to part ways on Master of the Crimson Armor.”
chen scratcher.jpg
Adding to the confusion, there’s Chen’s 121-minute Chinese hit, with the scissored US version clocking in at 97 minutes. “The Crimson Armor title has been jettisoned, and both versions will screen under the title The Promise. While the longer version is the Oscar hopeful, the shorter version is nominated as a foreign film contender at the upcoming Golden Globes. Revised version includes a new beginning and a modified ending to reshape the pic for Western tastes… Pic is expected to take in $16 million-$25 million in its homeland.”

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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