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Ray Pride

By Ray Pride Pride@moviecitynews.com

Getting all cinematical: more movie-ish Neil Young intrigue

Why are the circumstances of the recording and release of this new Neil Young album turning out more cinematic than anything I’ve seen in days (except the superbly measured United 93)? In the Globe and Mail, Robert Everett-Green has the memorable lede of the moment as he gets to hear the “profoundly patriotic” “Living in War”: “We met outside a bagel joint in north Toronto, then drove a few blocks to a quiet street where two strangers could sit in a big old Cadillac and listen to the car stereo in peace. Then Robert Young slipped a CD-ROM from a plain white sleeve and gave me a rare preview of the nine explosive new songs on his brother Neil Young’s much-anticipated album… young war.jpgThe disc was made in a hurry, recorded in three days on Neil Young’s California ranch and another 12-hour session in a Los Angeles studio. I can hear the urgency in Young’s singing, as if there’s not a moment to lose when a great lie has spread over the land and only strong, sustained truth-telling can turn it back. “Living With War” is a fierce, comprehensive indictment of the Bush administration and all its failures, at home and abroad, but it doesn’t feel like an outsider’s dissent. It’s the work of someone who clearly identifies with the core values of ordinary Middle Americans who voted for Bush, who sent their sons and daughters to war, and who are beginning to feel betrayed… The text [of the lyrics] alone can’t convey the sense of gasping outrage in Young’s singing, and his forceful arrangements for guitar, bass, drums and sometimes trumpet. His electric guitar’s gnarly, saturated tone has an almost drunken quality, as if it too were reeling from the great betrayal…. Mostly, it’s a big-tent collection of ordinary citizens, which at the end of the album sings an a cappella version of ‘America the Beautiful,’ recalling in a more robust key the final scene of Michael Cimino’s… Vietnam film, The Deer Hunter.” [More blow-by-blow at the link; the album starts streaming on Friday for one week at Young’s own website or visit Young’s

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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