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Ray Pride

By Ray Pride Pride@moviecitynews.com

Stomping crickets: Peter Rainers down on hot and spicy entrees

tinycricket.gifPeter Rainer‘s only recently become film cricket of the august Christian Science Monitor but he’s got an embarassingly exaggerated, WTF?!-level fume about how moviegoing manners among his colleagues disappoint him, as a professional, that is. [In breaking news, the “anguished sigh” remark may refer to Pauline Kael, who retired in 1991 and has been dead for almost five years.] “I happen to be one of those people who don’t like a whole lot of hubhub, least of all inside a movie theater. Because I’m a professional film critic and attend hundreds of screenings a year, this presents a distinct problem for me. Many of my screenings are for critics only, so you would think I have a comparatively easy time of it. The press, as we all know, is so well behaved. Think again… For example, there is one group (whose identity I won’t divulge except to say that it dispenses Golden Globes every year) that’s notorious for smuggling hot and spicy entrees into screening rooms (often poorly ventilated) while pursuing a line of nonstop chatter in heavily accented English. Then there are all those critics who pull out their lighted pens at the drop of an insight… New school is bringing your laptop into the theater and typing your insights as you go along. If enough of these typists are in the theater, the collective sound is like a squadron of rats clacking across a linoleum floor. Critics also enjoy impressing other critics by venting aloud for all to hear. One famous critic used to belt out an anguished sigh whenever she found a film too drippy; another regularly rocks the room with a laugh pitched somewhere between a croak and a whinny. At film festivals like Toronto and Cannes, the one-upmanship often takes the form of instant mini-dissertations, as in “That tracking shot is so Tarkovskian!” That example is so… apocryphal. A chart of Movie “dont’s” is appended for those who’ve made it through the clumpy gruel, including don’t “[kick] the seat in front of you.”

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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