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
Reminds of when Wesley Snipes sued New Line because David Goyer’s “Blade Trinity” DIDN’T hit.
Fuckup. Damaged to the tune of $10 million? Yeah, right. I’m sure that’s what he typically makes on projects like those “Day of Destruction” TV movies. Yeah, right.
While there might be some logic to the argument of “They lied to me, so I took less money upfront” it makes no sense whatsoever why he didn’t negotiate a deal for a bonus of some kind if the movie reached a certain level of financial success. Those deals are common, and if, theoretically, the producers wouldn’t agree to that, then gee, wouldn’t he have been tipped off to the fact that they *did* expect to reach that threshold?
So either make a deal where you’re protected, or shut up. Don’t go whining later because a movie you had 10 lines in turns out to be far more successful than anyone reasonably envisioned at the time it was produced.
From what I understand, Randy is a real upstanding guy. If that’s true, then it makes me think that perhaps he feels he was genuinely lied to.
But part of me thinks that he is hard up for some cash and the prestige from being in an Oscar winning film just isn’t enough.
“Family Stone” cost $17 million to Brokeback’s $14 million. Now, those are the public budgets, and it’s entirely possible they cost more — this lawsuit should determine it. But I don’t think Family Stone was less expensive than Brokeback.
Isn’t it false to link independent filmmaking and low budgets? Lucas is also independent, yet his films are hardly low budget. I know that is an extreme example, but I don’t think budget determines whether something is indie or not. Rather how is it financed.
Am I right in thinking that this was probably a tactical move on Quaid’s part to shake down the producers for a settlement that would be less than $10m but still substantial?
Yes.
I think the assertion in the lawsuit that Randy Quaid was integral to the film’s success is laughable. As is the claim he spent months “preparing” for the role.
It’s hard to imagine why he would bother going through all this unless it’s just sour grapes at not holding out for usual seven figure salary and back end deal he usually gets (which I have trouble believing).
I wonder what he got paid for the Ice Harvest considering the budget for that movie was only $16 million….and I wonder if he would’ve pulled the same stunt had that movie been a suprise success.
Anna Faris is calling her lawyer right now.
Variety labels any “indie” film as a movie that is independently financed, so basically anything indie is something run through a production company that is separate from the studio. Granted, that means that a major studio only released about 8 or 9 “studio” movies each year, but that’s the reality of the business, I suppose. Nonetheless, I agree it is a little misleading, and the definition of indie, which has been debated endlessly, to some, means a movie with a tiny budget financed by a guy and his credit card. But that definition is a little shaky because it’s the kind of thing that could easily be created as a good story, rather than documented in records.
JL – What is a “public budget?”
You mean what’s been published in the press?
You can’t be reading me this often and still be that naive, can you? I know I don’t rant on about the endless numerical lies in this business as much as I used to, but… oy.
As for the rest… of course he was spun. But that is now standard operating procedure. That is one of the main reasons why there are “indie” divisions… to exploit the willingness of talent to work for less in the name of art.
And of course Quaid was not an irreplaceble part of the BBM success. But do you see this as different than Wal-Mart endlessly claiming the lowest price but then delivering higher prices on most staple items (according to a study done last year)?
James Leer clearly said that he understands those budget figures might not be correct.
Well, DP, I am referring to the $14 million budget that has been repeatedly cited by the Hollywood Reporter, Variety, etc. Perhaps the actual budget is higher. But then, what makes you think that the $17 million budget of “The Family Stone” isn’t actually higher as well? Suddenly, in that case, the studio is a paragon of honesty?
Every public record indicates that “Brokeback” cost around $3 million less to make than “Family Stone.” If you can source something that indicates differently, I’d be happy to read it.
Randy Quaid should do two things:
1) Sue his agent for allowing them to make a deal he felt was dishonest of misleading (does anyone really think he sits in on final negotiations?).
2) Find a really good P.R. person who can repair his image. Who the hell is going to hire him after this! His part in BBM was the best work he’s done in years — he should’ve paid them to be in it, ’cause (let’s face it), the most people nowadays remember him for is being the rummy who flies his fighter jet into a spaceship.
If you make something like “Christmas Vacations 2” and someone is STILL asking you to be in movies, you have NO right to bitch about money.