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Ray Pride

By Ray Pride Pride@moviecitynews.com

Doyle a la carte: Chris is not dearly on Departed

In his New Yorker review of In the Mood for Love, David Denby averred that Christopher Doyle‘s cinematography abetted “a new form of perversion.” Grady Hendrix discovers a release date for The Departed, Martin Scorsese‘s remake of Infernal Affairs, on which Doyle had a Visual Consultant credit, and also the good old form of constructive Chris-ism on the topic. doyleviet_4957.jpg Hendrix quotes scribe and Light Sleeper mag majordomo, Saul Symonds, who offers up outtakes from a recent interview. “”I find it disappointing if not depressing to see someone of the integrity and scholarship of Marty: 1) apparently not knowing or caring where the original originates from (which I find insulting to our integrity and efforts…when of all the filmmakers in the world Marty is the one who pretends to celebrate excellence and integrity and vision in cinematography; )2) needing to suck box office, or studio, or whoever’s dick he feels he needs to suck…it can’t be for the money…it can’t be for the film (for the reasons above)…it must be just to work…which is mostly my motivation most of the time…but to have something fall into one’s lap because one is supposedly competent in a certain kind of filmmaking is exactly why we are moving on and accountants are making non-subtitled versions of what we do; .3) it makes me very sad to see Marty and so many others genre-fying and gentrifying himself into mediocrity. Granted, mediocre is not just a Western ailment…but it would seem the disease is malign and endemic.” [Early love from Chris to Marty can be found here.]

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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