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Ray Pride

By Ray Pride Pride@moviecitynews.com

Crashing in: Charlize's Toothless in Seattle

Charlize Theron‘s motoring a movie about the anti-World Trade Organization protests in Seattle in 1999: writer-director-boyfriend-Irishman Stuart Townsend‘s under-$10 million Battle in Seattle will star Theron “as a pregnant bystander who loses her [unborn] baby in the WTO riots,” reports SeattlePI.com. “It’s going to be the next Sleepless in Seattle,'” said James Keblas, head of Seattle City Hall’s film office. “Once you capture a star like Charlize Theron, you are instantly a big picture.” Big enough to fudge, natch: “Lower production costs mean the film will be made in Vancouver, British Columbia, but Keblas said he’s trying to get some of it moved to Seattle… The crew may spend a week shooting in Seattle, Aloe said, and Townsend hopes to use real WTO protesters as extras… The film will explore the “power of the individual” in the face of powerful governments and global corporations, Townsend told The Observer, a British newspaper. The script will weave together cast members’ stories while dealing with serious issues, similar to the Oscar-winning Crash,” a producer added, “We did not want to give one point of view. When you see the movie, you’ll feel a lot of gray areas.” The mother of the miscarried pregnancy will be “the voice of an outsider and the most relatable role for the audience because she didn’t have any agenda as a protester or political leader.”

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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