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Ray Pride

By Ray Pride Pride@moviecitynews.com

My blue haven: The New Yorker &#9829 Nora Ephron

The June 5 New Yorker has some lines to read between as Bewitched auteur Nora Ephron becomes the fulcrum of the issue. First, the 65-year-old scribe-turned-helmer reminisces about her price-stabilized apartment while bragging on her income, and subtly dropping in the name of her mate, Nick Pileggi, twitchthis1682a.jpgwho co-wrote Goodfellas for Scorsese. “When you give up your apartment in New York and move to another city, New York becomes the worst version of itself,” Ephron writes in gentle, only slightly condescending cliché. “Most people who don’t live in New York have no idea that New Yorkers have exactly the same sense of neighborhood that supposedly exists in small-town America.” Coy references to ex-husband Carl Bernstein are followed by mentions of “The man I was seeing, whom I eventually married, managed to tip his way to a lease on a top-floor apartment… My husband, Nick, and I were married there… It was a symbol of family.” The Sony (and Ephron) family are part of a fluff-and-fold profile of Sony chairman and CEO Sir Howard Stringer by Mark Singer. The 63-year-old Stringer, writes Singer, “seems a virtuoso of stealth ambition”—no reference to the failed movie Stealth, surely—and gets modest amounts of revelation from him: “They’d put five movies on [a] list [of 60 great Sony products] and I said, ‘I know two of those movies are going to be awful. So for God’s sake, don’t put ads in the paper saying, ‘Here are sixty great Sony products.’ It’s asking too much.” Singer offers up Bewitched as one of Sony Pictures’ “major disappointments” of 2005, kindly failing to cite Ephron as its director, but also offers testimony to Stringer’s acumen from… Nora Ephron‘s husband: “To this day, I still think of Howard as a journalist, the writer Nicholas Pileggi, who befriended Stringer more than 30 years ago… said. ‘Howard gets the overview. He can drop statistics and he knows the minutiae, but he gets the overview.”

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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