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Ray Pride

By Ray Pride Pride@moviecitynews.com

Candy-dancing: Sundance expansion into a Fannie Mae factory

The long-mooted, Robert Redford-guided Sundance Cinemas announces a Chicago location on the gentrifying West Side, “a deal that would add celebrity glitz to a once-gritty area now brimming with new condos and townhouses,” Crain’s Chicago Business’ Thomas A. Corfman reports, brimming glibly. “Sundance Cinemas LLC is close to signing a letter of intent to open a six- to eight-screen theater in a 266,000-square-foot, multistory development” in a former Fannie Mae chocolate plant. onoz_omg2.gif “A Chicago location would be a key step in a planned nationwide rollout of movie theaters featuring the artsy independent films [And who the hell wants to see “artsy” films?] and brainy documentaries [Lord forbid! Brainy documentaries!] that have gained wider popularity thanks in part to Mr. Redford’s non-profit Sundance Film Festival. [The Sundance Institute might laugh at this reductionism.]… Sundance Cinemas was launched last year by Oaktree Capital Management LLC, a Los Angeles investment firm with $30 billion in assets, and Provo, Utah-based Sundance Group LLC, which oversees Mr. Redford’s business interests, including a cable channel, a catalog company and a resort.” Madison, San Francisco and Boston are other targets; in 2001, Business Week described Oaktree as a “vulture fund.” “Sundance Cinemas is looking at many sites all across the country,” says President and CEO Paul Richardson, declining further comment. Mr. Richardson is a former top executive with… Landmark Theatres, the country’s largest art house chain… The developers have been working on the project for nearly two years, after paying $12.2 million for the nearly four-acre site at 1137 W. Jackson Blvd, part of the liquidation of the historic Chicago candy company. Called Metro Center 290, to play up the location along Interstate 290, plans for the project also include a specialty grocery store and a health club… [T]he Near West Side would at first seem an odd choice for Sundance, compared with trendier neighborhoods such as Bucktown or Lincoln Park,” where an earlier incarnation of the business plan failed to materialize in the late 90s. “In Madison, as part of the redevelopment of Hilldale Shopping Center, Sundance is planning a six-screen, 1,200-seat theater that would include a bar, restaurant and shop for Sundance-themed merchandise, says Andrew Stein, vice-president of development at… real estate firm Joseph Freed & Associates LLC, which owns Hilldale. “Sundance is the premier name in independent art films. That’s what we’re banking on,” he says.”

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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