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Ray Pride

By Ray Pride Pride@moviecitynews.com

Brutal realities: distributing Mutual Appreciation

Promoing indieWIRE’s “Undiscovered Gems” series, indieWIRE’s Brian Brooks ekes a squeak or two out of Andrew Bujalski, director of the painfully sly, 16mm b&w pic Mutual Appreciation. [indieWIRE opens the Harvard-spawned filmmaker’s endeavor starting September 1 at NYC’s Cinema Village and LA’s Sunset 5 and Pasadena’s Playhouse 7 on September 8. What lead [sic] you to filmmaking? mutual_promo659.jpg“I was obsessed with movies as far back as I can remember (Rocky III, Star Trek II, etc), [and] never really considered doing anything else with my life. Wish I could be a musician but lack any apparent talent. Also wish I could be a novelist; same problem. Also painting. Or, I don’t know, even dancing. They all sound good to me.” Bujalski “studied film as an undergrad at Harvard, which has a tremendous program where you really get an opportunity to ‘handmake’ films, which doesn’t make you particularly employable but does give you delusions of autonomous grandeur, which I’ve managed to hang onto since… Distribution is a pain in the ass. Most of the people in that business are very friendly and affable and nice to talk to, but the business itself of course is brutal.” [For an alternative take on Bujalski’s film, sample Becky Ohlsen of Willamette Week: “I wanted to walk right into this movie, like Mia Farrow in The Purple Rose of Cairo—only with a machine gun. Or maybe a hatchet. Then I’d kill every single character while laughing with glee. The most painful example of gutless, nutless indie-rock awkwardness I’ve ever seen… drifts aimlessly through the lives of an aspiring musician from Boston, his best friend and his best friend’s girl. All three of them are loathesome, inarticulate, self-absorbed, unoriginal, bumbling, insubstantial wastes of skin who can’t even make crippling neurosis mildly interesting.” [Ms. Ohlsen was attacked with a pie earlier this year by a Portland exhibitor for a relatively innocuous mention of his theater.]

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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