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Ray Pride

By Ray Pride Pride@moviecitynews.com

"Go to Danville to see `Jackass 2': a theater owner's lament

“The “closed” sign went up a few weeks ago on the flashy neon marquee outside the Lorraine Theatre,” in Hoopeston, Illinois, reports the ChiTrib’s Bob Secter. “But the 84-year-old movie palace on Main Street hasn’t played its last picture show. Business isn’t bad. It’s the movies that are wretched. “Both theaters in Hoopeston are closed … because of such poor film choices available,” explains a recording on the Lorraine’s customer hot line. “Go to Danville to see `Jackass 2.'” … Lorraine owner Greg Boardman “put his two screens here on hiatus rather than sell tickets to the gross-out lorraine_new.jpgand freak-out fare he said Hollywood distributors have made available in recent weeks. Boardman said he’d rather show nothing than such recent offerings as Beerfest, The Covenant or the Jackass sequel… “There’s just so much lousy material out there–people vomiting on the screen,” explained Boardman, 52, a local boy who now lives in California and uses the Internet to run the Lorraine from there. “I have one of the finest sound systems in the world, and I don’t want to waste it on such drivel.” When the town got its holiday from Hollywood, the manager of the Lorraine did too: two weeks off, with pay.” While he’s going to reopen with Open Season and Invincible, “he intends to shut down again if the quality of available films goes soft… There are plenty of action movies, the better to show off the rippling eight-channel digital sound system, a top-of-the-line feature rarely found even in big cities.” There’s a lot more heartening heartland detail at the link. The Lorraine Theatre website is here.

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One Response to “"Go to Danville to see `Jackass 2': a theater owner's lament”

  1. Ryuukuro says:

    No, it’s not the movies that are bad (well, not THAT bad) but it’s the theater owner who isn’t bothering to look at the independent film choices available who’s bad. There are always smart and interesting choices available and I, for one, have no sympathy for people who are too lazy to go looking or for people who whine about Beerfest and its ilk for any reason.
    Yes, there are lots of dumb movies but I know from experience that there are smart people who actually like those kinds of films along with their French imports and underground dramas. They have the right to enjoy those types of films without being insulted and snubbed for their choices.

Movie City Indie

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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