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Ray Pride

By Ray Pride Pride@moviecitynews.com

Maddining: pinning Guy down, wrinkly as a prune

Over at Offscreen, David Church takes a 12,000 word peramble with the always-loquacious Guy Maddin on what’s revving his Manitoban motor these days. On getting in the water for Cowards Bend the Knee: “I spent many hours daydreaming while swimming. Swimming requires a lot of patience and I’d swim for about an hour a day and just daydream about this movie and about things that have happened to me and how to fit it into templates established by maybe Electra or The Hands of Orlac—only to be astonished, after the swimming pool water had made my entire body as wrinkly as a prune, that all those stories somehow fit together. Maybe the soaking in the water really helped all those stories fit together; Euripides, Orlac, and my own autobiography were all the same story somehow and I got a sort of chlorine delirium everyday…. sissy_boy_slap_party_1.jpg[I] just picked up a camera and shot it, kind of from memory—just gathered all the actors together and had them act out my life as I remembered it through a haze of chlorine and amnesia. I would shout out orders, directing while operating the camera so I could make instantaneous judgments in my head. It was a real pleasure and really strange…” The almost-50 auteur’s brimming 2006-2007 roster includes a doc: “Although I’m no expert on budgets… it’s easy to forget that the most expensive element in filmmaking is time if you’re paying everybody… I think it’s got to be a little bit cheaper to use video. At least you can tape over it or something like that, although I don’t think you’re supposed to. More and more I like the look of it for certain subjects. When you’re making a documentary of a city, Winnipeg looks ugliest on video, and that might be the way to go.” Working at such velocity? “I love being busy, I really do. I’ve been a lazy person for so long in my life. It feels good to lick it for a while. I know I could slide back at any second like an alcoholic can start drinking or a smoker could light up again; I feel like I could just fall back on a couch and never get up… So I really love the feeling that putting in consecutive days, months, and years of productive time gives me.”


Plus the outspoken Maddin on a notorious local figure: “I recall you did have that Svengali-like figure who mesmerized the character of Veronkha in Archangel. “Yes, Ihor Procak is a real life Svengali, a sort of hypnotist who actually hypnotized Dorothy Stratten in a movie [Autumn Born] made in Winnipeg… Ihor Procak © RP.jpgBut Dorothy came up to Winnipeg and made a movie shortly before her death, and Ihor had a great big part in it and it was his idea to wind up a little squeaky mouse toy to hypnotize her with or something. Anyway, he’s an evil man and I always try to keep my girlfriend away from him.”

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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