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Ray Pride

By Ray Pride Pride@moviecitynews.com

Ebert and Laura in Madison: it's the locales that got smaller

laura affiche23489.jpgAs a couple of Madison’s movie palaces may be breathing their last, Rob Thomas of the Madison Capital Times reports on Roger Ebert and David Bordwell‘s presentation of Otto Preminger’s 1944 Laura Friday night at the Wisconsin Film Festival. “If you wanted to see the world’s most famous movie critic present one of the most famous (and strangest) film noirs in history…you had to be quick… [It was a] newly restored print direct from 20th Century Fox’s vaults. UW film Professor Emeritus David Bordwell told the audience at the tiny 180-seat Cinematheque screening room that the studio only allowed the festival to borrow the print under the condition that they not splice the reels… That meant that only a select few were able to watch “Laura” with Roger. Dozens more lined up outside in the hopes of securing last-minute “rush” tickets. “We can’t cut up the print, ergo, we’re here,” Bordwell said. ”


You can explain that to your disgruntled friends and lord it over them at the same time.” … [When Ebert was at the 2003 event, the films were shown at the 1,700-seat Orpheum Theatre.] “It’s an exercise in style,” Ebert said to one skeptical audience member. But, another asked, when should a filmmaker allow style to supersede story? “Whenever he can get away with it,” Ebert quipped.” As for the theaters: Madison’s Hilldale and University Square may be shuttering. “The Madison Plan Commission approved plans to raze the University Square shopping center for a mixed-used development. Hilldale Theatre is closing later this year as part of the new Hilldale Shopping Center redevelopment, which will include a 6-screen Sundance Cinemas.”

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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