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By Ray Pride Pride@moviecitynews.com

Thomson: Oscar pics won't be remembered in 50 years

At Truthdig, Sheerly Avni checks in with film uberpundit David Thomson to dismiss this year’s Oscar crop. “I think they’re quite good examples of small independent pictures carefully made. It’s a fairly good group, I think. I just don’t think any of them is what I would call a knockout big-experience picture. They’re thoughtful. And I like that, I mean, please, don’t think I’m against it. And they all have an interesting, valuable, useful point to make. But I don’t think they are going to be remembered in 50 years’ time…. Very few of the movies up for nomination this year have cost very much, and very few of them have done the kind of business that Best Pictures are expected to do. In many respects those are good things. Brokeback Mountain… cuts quite radically against the grain of popular American taste and, as you say, there are a whole lot of places where the movie has not been playing at all.” Crash avers Thomson, is “heavy-handed and somewhat self-righteous.” Good Night, and Good Luck is also shit, Thomson believes. dthompson_by lucy gray8888200.jpg“If Good Night, and Good Luck can congratulate itself, which it sort of does, I think, about being an indirect oblique political statement about the world we live in, the world now, I think that is also a sign of a sort of helplessness—a cowardice still in dealing with situations… If there’s a political consciousness that made that film, why isn’t there a film about what we’re going through now, that might really have offended and made trouble? And after six years they’ve had time to respond, and I think it’s still the case that the liberal faction in Hollywood are much better at going to parties and raising money than actually making challenging film…. Sound is not good these days, the projection is not good, and you have to pay a lot of money. When I say old, I mean people 40 or older. People think, “I’d rather not see this latest horror film with eye-gouging and so forth…. I’d rather sit at home and get a good DVD and see if it’s as good as I remember.”

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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