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Ray Pride

By Ray Pride Pride@moviecitynews.com

S07: Spletzer on Mudede on Zoo and AOL

For an admiring piece, Andy Spletzer‘s interview at GreenCine with screenwriter Charles Mudede (Police Beat) about his essayistic Sundance doc entry, Zoo, has quite the lede: ““It’s hard to believe, but one of the most beautiful films at Sundance this year will be about a guy who was fucked to death by a horse.” zooph_u_2357.jpg“Back in 2005, when the Seattle Times reported on the “Enumclaw Horse Sex Incident,” the story spread like wildfire across the Internet and became their most-read story of the year. It also caught the eyes of Seattle-based director Robinson Devor and writer Charles Mudede, whose dreamily poetic feature film Police Beat debuted at Sundance just six months prior. The resulting documentary essay is Zoo… Far from a traditional documentary, the narration is taken from extensive audio interviews with members of the group and was edited together to form the spine of the story. On top of that, they hired actors to portray the incidents that were being spoken about, and they brought in their Police Beat cinematographer Sean Kirby to create beautifully evocative images to punctuate the story.” The story broke in the summer of 2005, with the revelation that bestiality was legal in the state of Washington. “[T]he Internet made it possible. There’s no other reason why they got together, which is wonderful when you think about it. We didn’t get this out in the film and I wanted to express this, but you can only do so much. I like the fact that the Internet, this advanced form of technology, made it possible to do something that you’d almost say was kind of… primitive. Right? You know what I mean? At the root, at the center of all of this, the exchange between nature, the wild, the animal and the human was only made possible by the foremost technology of our time.” Spletzer notes that the caretaker of the barn says, “I got a computer in 2002 and started with AOL.” Mudede: “Yes. That’s right. “And I discovered myself. I discovered who I was. I was a zoo.” I mean, he discovers it on the Web, which is amazing.” [More amazement and perplexity 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