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By Ray Pride Pride@moviecitynews.com

What would Jesus monopolize?: profiling Philip Anschutz

horatio alger member.jpgIt’s been online for a bit, but not enough love has been shown to Justin Clark‘s Nerve profile of Crusader Philip Anschutz. Clark posits the scenario that you’re up for the next Chronicles of Narnia, advertised in the local Examiner throwaway, and showing at a Regal, Edwards or United Artists house, preceded by 20 minutes of ads, and a movie delivered via fiber-optics. “The underlying theme? Every stage of your moviegoing experience — from production to promotion to distribution to exhibition — was controlled by one man: 66-year-old religious conservative Philip Anschutz. Named Fortune’s “greediest executive” in 1999, the Denver resident is a generous supporter of anti-gay-rights legislation, intelligent design, the Bush administration and efforts to sanitize television. With a net worth of $5 billion, he is Forbes’ 34th richest American… Anschutz heads a vast media empire whose assets include the Examiner chain, 20% of the country’s movie screens, and a sizeable stake in Qwest Communications, the scandal-ridden telecom giant he formerly directed. (Anschutz was accused of helping falsely inflate Qwest profit reports, then making millions by selling his own shares in the company — a claim he ultimately settled by paying millions to charity.)” As one of the few profiles of the secretive multimillionaire, it’s worth the look-see. Writes Clark, some “fear [Anschutz’s enterprises are] all about bringing God and conservatism to Hollywood under a more secular and apolitical guise… Some have speculated that Narnia might be what Anschutz’s friend meant by the “significant” contribution the media mogul wants to make: using his wealth to buy a place for evangelicals in Hollywood.


The film’s distributor, Disney, initially wasn’t interested in Narnia. Gradually, Disney began to realize the Christian allegory’s potential appeal among evangelicals, who demonstrated their box-office clout with The Passion of the Christ.” Clark also makes neat work of how Anschutz controls so many theaters: as the chains overbuilt and went belly-up, rather than buy the companies outright, “Anschutz avoided antitrust concerns by acquiring their debt… Regal already has a distribution monopoly in many areas of the country, and Anschutz’s power extends beyond Regal to joint ventures he has formed with his competitors. His partner, Oaktree Capital Management, is financing Sundance’s new art-house chain.” [More at the link; Mr. Anschutz has provided his most complete CV at the Horatio Alger Association.]

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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