MCN Blogs
Ray Pride

By Ray Pride Pride@moviecitynews.com

Men behaving gladly: prankish Lady in the Water, puckish Kevin Smith

Over at Movie City News, you’ll find my take on Lady in the Water; I’ll post some thoughts about Chris Doyle‘s cinematography later. Plus: over 6,500 words with Kevin Smith on the release of Clerks II, clerks2c.jpgconducted a few weeks before the recent kerfuffle begun by that noted, timeless lover of film and its possibilities, JoelTime to go!Siegel. Our garrulous conversation contains profanity, natch; explicit sexual language and third act spoilers, as well as Smith’s insights into the Weinstein Company’s alliance with MGM. “Harvey calls up and goes, “I’ve got good news, man. We can do this MGM deal and we’ll see a massive pay cable sale that we were never going to see on this movie.” I was like, “Does that make you happy?” ‘Cos me, I don’t give a fuck. I don’t watch movies on HBO or any of those things anymore. I buy DVDs. I was like, “Does it make you happy?” He’s like, “Yeah, it means more backend.” I was like, “Fine, good for you.” And we hung up and then I thought about it. I was like, wait a second, MGM might be signatories to the MPAA. So I called him back. I was like, “Harvey, is MGM a signatory to the MPAA?” And he’s like, “I dunno. We’ll have to look into that.” I was like, “Aw fuck, it’s coming.” And what was coming —and he never flat out said, “You must get an R”—but he said, ds_359001.jpg“I’m telling you Kevin, you’re leaving a lot of money on the table for an unrated film. This pay cable deal yields a lot…. So me and Mosier started really biting our fingernails, ‘cos it was like, fuck, sooner or later, this is going to go from a friendly persuasion to him going like, “I looked at your contract and you have to deliver an R.” … The MPAA is never that helpful in terms of the things they find problematic. They don’t tell you, “If you cut four seconds of this, we’ll give you an R.” They would say something like, “You might want to look at the donkey show.” Well, what part of the donkey show? Y’know? It’s like nine minutes! … clerks2b.jpgFinally we could delay it no longer, we’re going to have to have this MPAA screening. So we submitted it to the MPAA, and I had my arguments ready to go, like all the movies I could cite, which they don’t want you to cite in the appeals process, but I would fuckin’ blurt ’em out anyway. All the movies that have gotten an R. Bachelor Party had a donkey show, they got an R. In Brokeback Mountain, fuckin’ Heath Ledger spits in his hand, that got an R. Why can’t we have the donkey dude spit in his hand in our movie? I was ready for the holy war of all time. The massive fuckin’ jihad against the MPAA.” [So much more at the link.]

Be Sociable, Share!

Comments are closed.

Movie City Indie

Quote Unquotesee all »

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