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Ray Pride

By Ray Pride Pride@moviecitynews.com

Wiseman's documentary Award of Distinction

David E. Williams talks to Fred Wiseman as the American Society of Cinematographers gives the vet docco maker their Award of Distinction, which he’ll get at the ASC Awards on February 25. “I’ve always picked subjects that have been around for a time, are common in America and have their counterparts in most other countries — the army, police, education, hospitals, prisons. The subject that links all my films is experiences that are common to many people.” How do his films reflect American culture? “My films are subjective, impressionistic accounts of some aspect of American culture. It’s impossible for me to calculate what effect or impact a film or group of films may have. It would be quite pretentious of me to say, ‘They have had the following effect.’ Fredcuts983457083.jpgPeople come to films with such diverse individual life experiences that it’s hard to determine in advance how they might respond to or read a work. I don’t believe there is any direct, traceable relationship between any single work and social change. My movies are more novelistic than journalistic or ideological in their approach.


I always try to reflect the complexity and ambiguity of the place that is the subject of the film, rather than have ideological blinders on and try to present a particular political or social point of view. I’ve never found any ideology that adequately explains the complex events I’ve come across while making these films. It would be phony for me to offer solutions or explanations when I haven’t found any I believe in. I instead try to supply the audience with enough material to help them make up their own minds by placing them in the events and asking them to think through their own relationship to what they’re seeing and hearing.” [More stuff, including the technical, at the link.]

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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