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Ray Pride

By Ray Pride Pride@moviecitynews.com

Dunking the bucket: why Dorothy was lucky

Over at screenwriting blog Alligators in a Helicopter, a few notes about why you must earn The Bucket: “The longer I read, the more intolerant I have gotten about dumb logic mistakes in scripts. There’s nothing that makes me throw a script across the room quicker… I don’t think I even realized how stupid the bucket was, until I was an adult.The bucket, of course, is the bucket of water that Dorothy throws on the Wicked Witch of the West in The Wizard of Oz, melting her. There are so many amazing things wrong with the bucket. First of all, it has no reason being there… You’re a witch. And your main Achilles’ heel… is that water will melt you… it takes a lot of effort to avoid water your whole life.We’re talking no showers. No swimming in pools, or lakes, or skinning-dipping in the local pond. No dancing through the rain as a little girl… No toilets, because she wouldn’t want to risk the splashback… Was she limited to juice? Milk? Martinis? …But despite what must have been a tyrannical water ban… there’s a bucket of water. Just sort of sitting there…


The obvious fix is to have Dorothy learn of this, and bring a little water with her… A stoppered bottle, a prototype water pistol… even a flying monkey, that needs to pee really badly. But Dorothy has no idea. And this is the second problem. She douses the witch with the bucket accidentally, while putting out the scarecrow… Obviously, the idea is that Dorothy is really not a bad person. She’s not a killer, she just conveniently kills witches by pure contrivance… I’m more jaded now. The bucket has to be earned. I think that’s a good thing.”

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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