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Ray Pride

By Ray Pride Pride@moviecitynews.com

Oliver's hijacking: Par shuts down WTC art project

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The Smoking Gun headlines pages from the public filing of a lawsuit, “Paramount Sues Over Hijacked WTC Film.” The filing, in which we find Movie City Indie cited, states “The film… the first theatrical motion picture to deal with the bombing of the World Trade Center on 9/11 and the heroic efforts of countless rescue workers and regular citizens… is being directed by renowned director Oliver Stone and will star, among others, Nicolas Cage, Michael Peña, Maria Bello and Maggie Gyllenhaal.” Smoking Gun writes: “Paramount Pictures is suing a… D.C. filmmaker for copyright infringement, claiming that the man used a “bootleg script” to create a knockoff version of director Oliver Stone’s upcoming film on the September 11 attacks. The studio contends in a federal lawsuit that Chris Moukarbel, 28… obtained a copy of the screenplay for World Trade Center and used the script as the basis for a 12-minute film that mirrors “a significant portion” of Stone’s work…. Paramount’s June 16 complaint, a copy of which you’ll find [at the link], charges that Moukarbel’s film, like Stone’s production, centers around a pair of rescue workers trapped in debris following the collapse of the towers. Included… are nine pages from the World Trade Center screenplay that Paramount contends were used by Moukarbel for his unnamed work, which he posted online (but has since removed)… The Paramount complaint… seeks a permanent injunction barring Moukarbel from distributing his film. [Movie City Indie, which has no connection to and has had no contact with Mourkarbel, is cited in evidence, in having linked to the downed site, as having helped “the Infringing Picture” be “distributed to the public.” The illustration is from the side-by-side comparisons in the public filing of the lawsuit; the left side is Mourkarbel, the right is StoneParViacom.]

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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