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Ray Pride

By Ray Pride Pride@moviecitynews.com

How do I, too, become a cricket? A pro replies

Lisa Nesselson, an established, Paris-based freelancer for Variety, helps answer the question, “How do I, too, become a film cricket?” on Roger Ebert’s website after having coffee with “a very nice 29-year-old” who freelances for the Village Voice. “People his age and younger who envy my position… want to know whether they’ll ever be able to make a living as film critics… tinycricket.gif[L]ately, like clockwork, I’ve been approached by bright-eyed and bushy-tailed Americans who claim they want to be me when they grow up. Some of them can write and some of them can merely hustle. In my experience, those who hustle make headway…. My definition of a good critic is somebody who communicates their enthusiasm for work they find of merit, without ruining the option of you, the reader, also discovering the film’s merits. … What I’ve never been able to reconcile is that when a movie is about some topics it’s “only a movie” but if it has a character or line of dialogue that some group objects to, then it allegedly becomes an incredibly powerful medium freighted with deeper and possibly harmful meaning… I’d say the privilege of being a critic really kicks in when I get to write “the Variety review” of an important film and I feel like I really, truly, am the “right” person for the job. I’m enormously proud of my reviews of Bowling for Columbine and Irreversible (both written on tight deadlines in the pressure cooker of Cannes) and I’ve been told that my review of Memento has helped other people understand the film. But I have colleagues who just crank out copy, figure one word is as good as another and everything they write will be glanced at at best and then discarded, so why knock yourself out?”

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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