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Ray Pride

By Ray Pride Pride@moviecitynews.com

Lettting the scat out of the bag: Borat's boys speak

In the January issue of the WGAW’s monthly, Written By, John Koch and Borat co-writers Peter Baynham, Dan Mazer, Sacha Baron Cohen, and Anthony “Ant” Hines exchange over 5,000 words about how to write for the kamikaze Kazakh and a “new and exciting art form.” “Mazer, borat_57_3.jpg Baynham, and Hines constitute a small inner circle of writers with comedy carte blanche when it comes to writing with Cohen, a versatile performer and writer his team compares to Peter Sellers, Buster Keaton, and John Cleese… The Borat team obliged our request to publicly expose the fact that their work is written. It is ironic that a film so often referred to by the media as unscripted has writers writing on preproduction, during production, on location, postproduction, and even scripting original Borat bits for each of Cohen’s many television appearances. This… the first time they’ve spoken in-depth about their writing process.” Dan Mazer: “The film is quite pioneering and different, and I think we’re going to start to see lots of imitators now. What’s interesting is it’s taken us eight years to refine the art of doing it and knowing how to do it. It’s an incredibly difficult and unique skill, the actual writing of it…. We’ve helped craft what I think is this new and exciting art form.” Koch: “Sacha, what is it about these co-writers that you need for your process to work? What are their skills, what are their attributes?” Sacha Baron Cohen: I mean, what’s clearly obvious is they’re incredibly attractive. You’ve got Dan, who’s darker and swarthier. You’ve got Peter, who’s got everything that a middle-age woman can provide… And Ant-40, virile, and aerodynamic [i.e., shaved head].” … Dan Mazer: “The weird thing is, we have incredibly serious discussions about incredibly stupid things. Like, can we bring a shit down to a dinner table? We debated that for an hour.” … Ant Hines: “I’d say the unsung hero in this production is Jason Alper, the costume guy who provided that shit. He has a credit on the movie: FECES PROVIDED BY JASON ALPER.” [Much, much more 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