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Ray Pride

By Ray Pride Pride@moviecitynews.com

Shameless cricket: I also appreciate Schneider's supporting work in the Adam Sandler canon

Carla Meyer of the Sacramento Bee raises her hand for crickets with everyday bad taste: “Not having to review a throwaway vampire flick allows me to focus on more worthy films. Of the times I have rushed to see and review a film upon its Friday opening, I have yet to uncover a gem—though The Wash, starring Snoop Dogg and Dr. Dre, had its moments. My blase attitude shifted upon learning that two films I planned to review recently—Phat Girlz and The Benchwarmers—were not being shown in time for reviews.” tinycricket.gifMeyer quotes a Colpix rep: “Most of our movies are screened for critics as a courtesy, but like other studios, on occasion, when our target audience is not very influenced by critical opinion, we may opt not to show the film early.” I understand the reasoning, having seen critical snobbery firsthand a few times, most notably at a screening for a David Spade comedy several years ago. Frequent laughter among critics in the audience led, inexplicably, to pans of the film. Critics, after all, have reputations to protect. Not all critics. I enjoy a nice broad comedy, so much so that I graded… the widely—and wrongly—despised Sorority Boys higher than almost any other critic.” She thinks she would’ve liked Phat Girlz and Benchwarmers, “the kind of breezy films I always look forward to seeing—as opposed to some gritty independent films that might be of quality but feel like medicine. As much as I like Mo’Nique for making the mostly awful Domino bearable, I like Benchwarmers star Rob Schneider even more. I have seen Deuce Bigalow: Male Gigolo and The Hot Chick too many times to count, and I also appreciate Schneider’s supporting work in the Adam Sandler canon. His co-star Spade is a harder sell, though I tend to enjoy him in a wig…” [Further brave persistence 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