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Ray Pride

By Ray Pride Pride@moviecitynews.com

Scoop's droop: Wolcott, late, better

Better late than never, plus, “Ouch!” Over at his blog, James Wolcott catches Scoop on PPV, which he writes, “sags and drags with the same flaccid verbosity and vague purpose that plagued Curse of the Jade Scorpion, Hollywood Ending, and, lodged at the bottom of the well, Anything Else450dcd02d7be5.jpgThe literate wisecracks that once peppered Woody Allen’s dialogue and put him in the company of quick studies such as Mort Sahl and Lenny Bruce—for instance, the famous joke in Annie Hall about Commentary and Dissent merging to form “Dissentary” (dysentary)—have been replaced by Metamucil gag lines that might have been dug out from the depths of Bob Hope’s vault or Neil Simon’s notebook, and delivered with less spin.” Wolcott also notes “the bizarre repartee between Allen and Scarlett Johansson. She plays a cub reporter and he pretends to be her father… and informs a polite couple… that his daughter has come so far in life, considering she grew up with a learning disability. Later, when the murderer’s identity has been supposedly unmasked… Allen jokes, Well, actually, you were adopted—you’re mother and I were looking to adopt a handicapped child… Learning disability, handicapped–his fibs about her aren’t funny, and they aren’t pertinent to anything in the story. I don’t know what the fuck they are. Perhaps they’re veiled swipes at Mia Farrow, who has adopted handicapped children, because they make no sense in the context of Scoop except as misplayed shots of displaced hostility. Or maybe it’s displaced hostility borne of erotic frustration. In a Washington Post interview… Allen lamented, “One of the great pastimes of my life was eyeing girls in short skirts, and that’s gone. They’re unavailable to you, and in the few cases where you could work your magic, it’s to no practical avail because you can’t plan a future if you’re 70 and she’s 22. So your flirtation life goes, which is a big part of everybody’s enjoyment in life.” By the time you’re 70—and married—you might have matured enough to get over it and reconcile with reality…” Once more, with feeling: “Ouch!”

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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