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Ray Pride

By Ray Pride Pride@moviecitynews.com

A parallel universe search for meaning: Crashing in Austria

Walking through a fluff-filled Chicago the night after Crash got its Oscar tap reminded me of a 2003 movie, Austrian writer-director Barbara Albert‘s 2003 Free Radicals, or Böse Zellen. “Chaos theory” is what Albert says her film is about. In its parallel universe, how does US distributor Kino describe it?: “[An] Austrian housewife[‘s] narrow escape from the catastrophic consequences of “The Butterfly Effect” aboard an airliner only sets her up for an even more shockingly random fate. As the devastating results of a traffic accident transform [her] family and the young occupants of the other car, the personal and circumstantial fallout envelopes an entire community…. [A] dramatic fresco… exposes the lonely yearning and thwarted redemption ricocheting the human particles of Free Radicals off of each other.”Abbruchschwester1.jpg Seeing it at Toronto, I wrote that Albert’s mosaic of people straining for spirituality had obvious influences: “the touchstone movie for films coming from all lands [this year], it seems, is Robert Altman’s NashvilleFree Radicals made a spirited, cruel attempt to weave together a dozen characters with the most minimal of connections.” It’s more experimental than its American kin, as J. Hoberman wrote in the VOICE after the film’s NY Film Festival showings: “Free Radicals… involves perhaps a dozen characters—mainly [the woman’s] friends and relations, and the teenage passengers of the car that collides with hers…. [Some] links are more oblique and are often created by natural sound bridges, subtle match cuts, and blatant synchronicity… Jumping from one vignette to another, the filmmaker succeeds in establishing a material mysticism from the web of secret connections and chance meetings. That a minor mishap has the same cosmic valence as some huge happenstance gives the movie a cumulative emotional intensity. Everything is connected . . . or will be.” Free Radicals is obsessed with terrible car crashes and ends in falling snow. Interesting how minds think alike: Crash was reportedly written months before this movie was on the festival circuit or submitted for a Best Foreign Film Academy Award. Then again, wasn’t there a filmmaker named Krzysztof Kieslowski who… Never mind.

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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