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Ray Pride

By Ray Pride Pride@moviecitynews.com

LA People: Laura Kim, Larry Clark, Charles Burnett, Mickey Cottrell

LA Weekly’s “LA People 2006” is a swell read, and it includes short profiles of Larry Clark, who makes a confession about his Wassup Rockers? pals: “Although Clark is probably as familiar with South-Central as he is with his froufrou neighborhood on the Westside, he has no plans to move to the hood… “I was actually thinking about it for a while, because I was spending so much time down there,” says Clark. “But the boys made me promise I wouldn’t. They were scared I’d get in trouble.” law34568907.gif Also: Scott Foundas‘ lengthy takeout on director Charles Burnett: “Burnett is in the final editing stages on what may be his most ambitious project to date—a biopic of Sam Nujoma, the first president of Namibia—and the folks at the invaluable Milestone Film & Video confirm that their long-standing project to issue both Killer of Sheep and My Brother’s Wedding on DVD should reach fruition by year’s end.” And: Ella Taylor on crack publicist Mickey Cottrell and the “brainy esoterica” the former monk champeens, plus a sweet pipe dream: “Today [Cottrell’s] company, Inclusive PR, has expanded its functions to grassroots niche marketing and helping filmmakers to self-distribute their films in multiple cities. “It would be even more fun if I didn’t have to make a living at it… I’ve always dreamed of the day I could afford to take out a full-page ad in Variety, requesting submissions for an absolutely free full Sundance PR campaign for one film I adore, one masterpiece to put all my efforts into and not represent the usual four films I’m paid to do.” Plus: Warner Independent marketing and publicity maven Laura Kim who says of March of the Penguins: “Penguins can’t do interviews.”

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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