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Ray Pride

By Ray Pride Pride@moviecitynews.com

Paul Allen's revamped Vulcan: Sharing the Hard Candy

In the Seattle P-I, Winda Beneditti takes stock of “philanthropist, arts enthusiast and all-around rich guy” Paul Allen‘s revamped Vulcan Productions, starting with production of Hard Candy, which they consider “a wicked little gem.” Of Allen’s Seattle-based independent film company, Beneditti writes, “it’s the first Vulcan [film] finished under the company’s new production model—one focused on making feature films on lean budgets and with [an] egalitarian revenue-sharing plan. Michael Caldwell, director of motion-pcture production, thinks the company’s new approach will allow it to make films that are “genuinely original and financially responsible.”redriding45l.jpg “We want to put great stories onscreen and we want to do it in a way that emphasizes tackling the basics of film—great scripts, great directing, great acting,” says Richard Hutton, Vulcan’s vice president of media development.” Vulcan, born Clear Blue Sky Productions, had produced six films for $5-$15 million each, she reports. Far From Heaven, while critically acclaimed and a recipient of four Oscar noms, was she reports Caldwell saying, “financially it was a break-even type film.” “Hutton says they were inspired by the low-budget/revenue-sharing model created by [InDigEnt]. Through this production company, filmmakers agree to work with downright anemic budgets and under specific technical limitations and, in exchange, they’re given total creative freedom. Meanwhile, the entire crew shares in the revenues generated from the first dollar grossed… Hutton says Vulcan Productions decided to do something similar — that is, make films with budgets under $1 million and then split the revenues generated with the people who helped make the films from the get-go.” [More at the link.]

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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