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Ray Pride

By Ray Pride Pride@moviecitynews.com

Murdoch's dozen: Fox goes "Christian"

While searching for the lyrics to the anthem, “Throw the Jew down the well,” to NewsCorpFox’s Borat in anticipation of tomorrow night’s 25-city, worldwide sneak via MySpace, word came through of another side to the Rupert Murdoch-controlled conglom. It’s called “FoxFaith,” reports LA Times’ Lorenza Muñoz, and will release up to twelve pics a year marketed toward religious audiences. foxfaith.jpg “In the biggest commitment of its sort by a Hollywood studio, News Corp.’s Fox Filmed Entertainment is expected to unveil plans [for the] home entertainment division of Rupert Murdoch’s movie studio plans to produce as many as a dozen films a year under a banner called FoxFaith. At least six of those films will be released in theaters under an agreement with two of the nation’s largest chains, AMC Theatres and Carmike Cinemas. The first theatrical release, called Love’s Abiding Joy, is scheduled to [open] Oct. 6. The movie, which cost about $2 million to make, is based on the fourth installment” of a Christian novel series called “Love Comes Softly.” “A segment of the market is starving for this type of content,” said Simon Swart, general manager of Fox’s U.S. home entertainment unit,” using the word “content” rather than “message” or “artistic endeavor.” “We want to push the production value, not videotape sermons or proselytize.” … “Over the last four years, 20th Century Fox Home Entertainment has quietly built a network to mobilize evangelical Christian moviegoers… The network includes 90,000 congregations and a database of more than 14 million mainly evangelical households. FoxFaith films, to be based on Christian bestsellers, will have small budgets of less than $5 million each, compared with the $60-million average. The movies each will be backed by $5-million marketing campaigns.” Although relatively small, “the budget is significant for targeting a niche audience, especially one as fervent as many evangelical Christians… “It is extremely satisfying to be taken seriously,” said Nancy Neutzling, vice president of marketing for Word Distribution, FoxFaith’s distributor to Christian retailers. “It’s like we have arrived.” … FoxFaith’s biggest splash came in July at the International Christian Retail Show in Denver… Inside a massive white tent… a studio-sponsored event had all the earmarks of a Hollywood fete: a lavish buffet, an exclusive movie preview of 20th Century Fox’s upcoming family-friendly horse drama Flicka and acrobats from Cirque du Soleil. Because it was a Christian convention, no alcohol was served and the performers’ costumes were inspected to ensure demure necklines.” [More testimony at the link.]

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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