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Ray Pride

By Ray Pride Pride@moviecitynews.com

Three Times a charm in the IFC-Comcast basket; plus Fox's Chernin wants some

3xhou.jpgDetails on the IFC-Comcast deal for simultaneous theatrical and video-on-demand release are all across the media, including Andrew Wallenstein‘s dispatch in the Reporter, and while many of the early titles in the PR I’d read were just so much bunkum, there are interesting twists. “Comcast Corp. and IFC Entertainment [set] a deal Tuesday that will ensure simultaneous distribution for independent films in select theaters and via video-on-demand.” Titles like American Gun; Sorry, Haters; and CSA: Confederate States of America are the kind of shelf items you expect to languish, but the 9 million subscribers to Comcast’s services will get more subversive material, including Caveh Zahedi‘s subversive, semi-autobiographical essay film, I Am A Sex Addict and strikingly, Taiwanese director Hou Hsiao-Hsien‘s masterpiece, Three Times. (Hou’s films are virtually unknown in the US.) The movies, up to five each month, will be marketed as “IFC in Theaters” for $5.99 a pop. “The theatrical distribution business for smaller, specialized films has become more challenging, and we saw this as an opportunity to create a national art house to be available to everybody from the outset,” IFC Entertainment president Jonathan Sehring told Wallenstein. While many theater owners are reluctant, the Cuban-Wagner combine, which includes Landmark Theaters, will participate. Notably, “VOD programming cannot be copied or easily pirated, which might quell theater owners’ concerns that viewers could buy a day-and-date-distributed DVD and pass it around.” Also in the Reporter, Fox wants in on HD VOD $$$.


“News Corp. is betting that people will pay $25-$30 to watch Fox films at home in high-definition quality via cable and satellite TV 60 days after their theatrical release.” Newscorp pres and COO Peter Chernin reported that the conglom “has been “talking to the cable operators and satellite operators about the idea of a 60-day, high-priced high-def rental” offer costing $25-$30…. At this year’s Consumer Electronics Show, Chernin first mentioned that Fox was working on a plan for HD-to-home video on-demand offers 60 days after theatrical releases to establish a new HD window between theatrical and DVD runs amid a recent trend of shrinking distribution windows… Chernin on Tuesday indirectly admitted that $25-plus might sound like a high price point, but he argued that more than 1 million Americans spent more than $25,000 last year on a home cinema setup, and they would be “desperate consumers” of such offers.”

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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