MCN Blogs
Ray Pride

By Ray Pride Pride@moviecitynews.com

Sayles force: John's a Honeydripper

It’s Alabama authenticity for the new John Sayles-Maggie Renzi production, writes Birmingham News’ Bob Carlton: “They film their pictures where they take place, and to give them more authenticity, they hire as many local actors as they can. Sayles and Renzi are in Alabama scouting locations… SAYLES1.JPGand doing other pre-production work for their next movie, Honeydripper, which they will start filming in and around Greenville in October.” Before accepting an indie lifetime achievement award on Friday at Birmingham’s Sidewalk Moving Picture Festival, Sayles told Carlton, “It is very hard for people to continue to be an independent filmmaker… It’s very hard to raise money and very hard to get your movie seen… So more and more, that world is for people who are making their first or second movie – usually on video, sometimes with their mother’s credit card. But to survive and continue to make movies without getting accepted in Hollywood and getting that kind of money is pretty rare.” Of his 27 years with Renzi, Sayles said, “If you want to be a filmmaker… find a good producer and treat her right.” The Honeydripper takes place in a small, cotton-producing community in the 1950s, just before the outbreak of the Korean War,” Carlton writes, with the title refeering “to a struggling roadhouse owned by an aging piano player played by Danny Glover.” Glover’s character hires a young musician with an electric guitar he made himself. “It’s set right in 1950, when Ike Turner and Chuck Berry and those guys were starting to discover the electric guitar,” Sayles says. “That instrument, which had been in the background, is about to take over.” [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