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Ray Pride

By Ray Pride Pride@moviecitynews.com

Sundance 2006 premieres: Sneaks

Seventeen movies, including world premieres, starting with one of at least three Sundance entries concerning themselves with sleeeeeeep, Michel Gondry‘s The Science of Sleep, in a world premiere. Here’s the incomplete official site.
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Baltasar Kormakur‘s followup to 101 Reykjavik, the Wisconsin-set mystery A Little Trip to Heaven. with Forest Whitaker and Julia Stiles. Here’s Variety’s bio of Kormakur, as well as the trailer for the new film.
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Nick CassavetesAlpha Dog stars Emile Hirsch and Sharon Stone; the Russian trailer is here. It’s a drama about a suburban drug dealer, Jesse James Hollywood, who became one of the youngest men ever to be placed on the FBI’s Most Wanted List.
Terry Zwigoff‘s Art School Confidential is a second collaboration with graphic novel whiz Dan Clowes, after Ghost World.
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Here’s a production profileof Zwigoff from the Reporter.
Trailer for Clive Gordon‘s Cargo here.
The camera supply house behind Finn Taylor‘s The Darwin Awards, with Winona Ryder, gives some background here and SF Chronicle has a making-of
Wim Wenders has a page on his personal site for the Sam Shepard collaboration, Don’t Come Knocking; the trailer is here.
Variety describes the deal-making behind opening night’s Friends with Money, by writer-director Nicole Holofcener.
The British Films catalogue synopsizes Kinky Boots, directed by Julian Jarrold. BBC Northamptonshire does a polish on “the feature film about Northampton’s boot and shoe industry”; the trailer is here.
Prodco Bona Fide‘s latest is Jonathan Dayton and Valerie Faris’ Little Miss Sunshine.
Paul McGuigan works to get Quebec’s Wicker Park out of his system with a NYC mob murder thriller; here’s the Russian trailer for Lucky Number Slevin
Here’s the official site for Jonathan Demme‘s Neil Young Heart of Gold, including the trailer for the two-night perf at Nashville’s Ryman Auditorium.
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For the $17 million The Illusionist, Neil Burger was talking it up while promoting his 2002 Interview with the Assassin; here’s the Sundance catalog copy.
The Business of Strangers director Patrick Stettner collaborates on an adaptation of Armistead Maupin‘s novel, The Night Listener, starring Robin Williams. Maupin’s site is here; prodco Hart-Sharp describes the movie like this.
Spanish director Isabel Coixet collaborates again with Sarah Polley in The Secret Life of Words, in which “a nurse forgoes her first holiday in years, opting to travel to a remote oil rig, where she cares for a man [Tim Robbins] suffering from severe burns.
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Here’s the trailer on Coixet’s site.
Plus: the trailer for Jason Reitman‘s Thank You For Smoking.

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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