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Ray Pride

By Ray Pride Pride@moviecitynews.com

United 93 opens the Tribeca Film Festival

Touchy topic: “The Tribeca Film Festival and Universal Pictures today announced that United 93, the feature film which chronicles the unfolding drama of the hijacked September 11 flight that crashed outside of Shanksville, Pennsylvania, will have its world premiere [April 25] as the Opening Night film of the 2006 Tribeca Film Festival.butdoesinworkintheory.jpg“The events of 9/11 had a massive effect on me, like everyone, and I wanted to use my position as a filmmaker to contribute something so they are not casually forgotten,” stated [director Paul] Greengrass. “United 93 tells one story of that morning and I hope that by showing the film at Tribeca, whose roots and inspiration grew in response to the devastation of 9/11, we will be reminded of the courage of all those on board and also the thousands of men and women who confronted similarly unimaginable scenarios in New York and Washington. By honoring the families who lost those they loved, I hope we can ensure that their sacrifice is remembered and hopefully seek wisdom in the future.” At SFGate, Mark Morford digests the 9/11 conspiracy theories cover story from the March 27 issue of New York. UPDATE: Cinematical’s Martha Fischer reports the fest has more taste than Greengrass. The debut will be private, “open only to the families of victims, first responders, and festival staff. Press will be accommodated in an overflow room, but will not be allowed into the actual theater” and because Tribeca is home to Ground Zero, “negotiations are currently underway to hold it at a landmark theater in midtown Manhattan.” Paging Flo Ziegfeld…]

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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