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Ray Pride

By Ray Pride Pride@moviecitynews.com

Take a bite out of horror: Kelly's heroes

Christopher Kelly, in a Sunday takeout in the Star-Telegram faces the fear of the faces of fear: “The most gruesomely vivid, elegantly made horror movie in recent memory opened with little fanfare on Dec. 25, 2005 in approximately 1,500 theaters nationwide. Titled Wolf Creek, it’s a low-budget shocker… about three carefree twentysomethings whose hiking trip goes terribly awry after they are kidnapped by a maniacal serial killer in the Aussie outback. As is often the case with horror pictures, it was greeted by many critics like a Christmas present wrapped in soiled tissue paper. Wolfy0079.jpg(…Roger Ebert: “There is a role for violence in film, but what the hell is the purpose of this sadistic celebration of pain and cruelty?”) The fact that the movie announced the arrival of an immensely gifted new director named Greg McLean—whose patience, control and ability to play the audience like a very cheap fiddle would have done Alfred Hitchcock proud—seemed lost on most adult moviegoers.” Kelly says it’s not an isolated case of B movies getting the blues, taking up the case for Hostel, Final Destination 3, and The Hills Have Eyes remake. “…These movies aren’t slipping under the radar and disappearing straight to video. Instead, the largely teenage and college-age audiences who flood the multiplexes on Friday nights have turned them all into modest hits… Are the critics simply out of touch? Well, yes. Because if you can’t recognize the often-astonishing level of craft on display in these films, then you’re watching them with your eyes closed.” Kelly thinks “the teenagers are getting it,” the link to post-9/11 anxieties. “Gruesomeness,” Kelly quotes Wes Craven as saying, reflects the real world. “The war in Iraq is a very violent, scary war, and it’s a war not being fought by an army on one side,” [Craven] says. “I’m sure the average kid who watches these kinds of movies has seen on the Internet someone getting his head sawed off with a kitchen knife by the enemy.” [Lots more to cut through 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