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Ray Pride

By Ray Pride Pride@moviecitynews.com

Praising Raging: "Scorsese was my hero"

Talented Dane director Per Fly (pronounced “Flu”) jabs at Marty but celebrates Raging Bull to the Telegraph’s Sheila Johnston: “In The Aviator, the magic is gone and very much so in Gangs of New York. It was a sad experience to see that film because, for part of my life, Scorsese was my hero.” But in Raging Bull, fly says, DeNiro is “fantastic at depicting a not very nice man whom we still want to watch and whom we can understand… Most people remember the boxing scenes and, yeah, they are good, but that’s not the most important thing about it. It’s a tough, mind-blowing film about the masculine way of thinking…. Jake La Motta will never move forward unless he can understand his own feelings and go into a relationship. He sees his whole life as a fight…”
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Fly’s most recent film, Manslaughter, is “a stern, Nordic Lutheran film,” Johnston writes. While researching it, “Fly recalls reading an interview with an Italian Catholic priest. “As a young man, when people confessed, he would send them off to recite Ave Marias. But, as he got older, he would say, ‘Go to your grandmother’s house and paint her windows…. I love that practical, colourful way of dealing with guilt. You confess, do a penance and get absolution. The Protestant way is to keep it inside you; there’s no escape. When you look at Ingmar Bergman’s films, the guilt in them is much more melancholy and depressive. Although my own work seems to be about class, it’s also about different men’s ways of dealing with the world.” [Production still from The Departed.]

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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