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Ray Pride

By Ray Pride Pride@moviecitynews.com

Look at me, I'm a disaster!: Gilliam tips Tideland

“For good measure, Tideland also includes a bedroom scene between a 20-year-old man with learning difficulties and a little girl,” writes Stuart Jeffries in the Guardian; a rotting corpse that makes one relieved the film doesn’t come in smell-o-vision; a harrowing train crash; the disturbing sequence in which a troubled taxidermist… guts and stuffs the corpse of a former lover and then lays out the mummified remains in a place of honour on the bed. There is even a talking squirrel, which for some is the most disturbing thing… Tideland_Bildgross.jpgLike Lewis Carroll’s [“Alice in Wonderland], it features a little girl plummeting through a rabbit hole into an intensely imagined fantasy world; like Hitchcock’s film, it includes footage of a bewigged parental corpse in a chair (an image that Gilliam lingers over longer than Hitchcock would have dared)…” But “Gilliam [insists] that this is the most tender film he has ever made… How on earth did Gilliam get money for this project, particularly given that his last but one project… so far has only had one cinematic result – a documentary about how the filming went, in cinematic parlance, catastrophically tits up? And, furthermore, that the Minnesotan has such a wild reputation that Warner Bros nixed him as JK Rowling’s first choice to direct Harry Potter…? “Good question,” he laughs as we sit in his Notting Hill production office. Gilliam, with all due respect, looks a wreck. There are blood stains on his shirt, one of his feet is bandaged and his writing hand is still strapped up following a gardening accident in which he cut through a tendon while changing a lawnmower blade. “Look at me, I’m a disaster!” If you were a producer you would give Gilliam not money for a film, but the price of a cup of tea… terryswears_3254.jpg Gilliam decided to make the film after finding Mitch [the] novel lying on a pile of unread books… “Mitch had sent it to me asking for a quote. I happened to pick it up and read it straight off. My quote? You wanna know? ‘Fucking brilliant!’ (In fact it says just this on the back of the the film tie-in edition…). What did you like about it? “It portrays childhood innocence in a recognisable way. Not in a Hollywood way.” So she’s not crushed by the twin traumas of her parents’ deaths…? “That’s the point. Adults don’t understand children. They think of them exclusively as things that need to be protected from everything. My 12-year-old son is now afraid to go to the shops in Highgate… because he’s raised by TV to believe it’s filled with rapists, murderers and muggers. It isn’t. Hunter Thompson described America as a panicky ship. Today everywhere is a panicky ship. If Lewis Carroll and Baden Powell were around today they would be strung up.” [More, of course, at the link; Gilliam talks to Tideland novelist Mitch Cullin in this MP3 download.]

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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