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Ray Pride

By Ray Pride Pride@moviecitynews.com

It's a sin: confessing Sundance midfest

369243099_1d82f12546.jpgMore than a couple of Sundance sins got committed yesterday: For one, I saw Once twice; who sees a movie twice at a film festival when there’s so much else possibly to see and do? But the simple beauty of John Carney‘s romantic musical was even more powerful a second time around—I can’t resist the pun “Once singular sensation®”—and it was truly heartening to see the fillum with a public audience, rather than at a presser for journos as I did on the first go. I wasn’t esthetically wrong, I wasn’t unduly sentimental: the bliss remained; deepened, even. If the reaction from the earlier screenings was anything like last night’s standing ovations and general glow about the Prospector Square, Once is in the running for an Audience Favorite. Bonus: At the Q&A afterwards, the stars of the film, Glen Hansard and Markéta Irglová [pictured] played two songs. I’d blown off meeting a charming shorts director and the film’s lead actress to see Once again, but it was the right choice, maybe not precisely a sin against cin-e-mah. Earlier, a filmmaker whose movie I’d criticized caught sight of my festival badge and introduced himself. I quickly looked down at his badge: Oh-oh. Is it so wrong that Brett Morgen of The Chicago 10 and I went for an off-the-record conversation over coffee to compare our notes? I liked that hour’s give-and-take more than the movie, but I also have a better understanding of Morgen’s hopes for getting a message of criticial resistance to younger viewers and certain intentions that I didn’t quite get when I saw the pic on opening night. Late, late in the evening, packing for a move-of-house necessitated a fit of swag triage, which must always be followed by a steaming shower. Maybe any of the sins washed away as well.


[Photo © 2007 ray pride.]

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2 Responses to “It's a sin: confessing Sundance midfest”

  1. Hi Ray.
    I loved Once, too. Well, more than once but that’s not relevant here.
    Question: Was the Czech dialogue subtitled in the print you saw? I saw it here in CR so of course it wasn’t. It would have been an interesting decision not to subtitle the Czech given what the Girl says to him the day they’re on the motorcycle together.
    I need to know before I write up my response.

  2. Hi Ray.
    I loved Once, too. Well, more than once but that’s not relevant here.
    Question: Was the Czech dialogue subtitled in the print you saw? I saw it here in CR so of course it wasn’t. It would have been an interesting decision not to subtitle the Czech given what the Girl says to him the day they’re on the motorcycle together.
    I need to know before I write up my response.

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