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Ray Pride

By Ray Pride Pride@moviecitynews.com

Blood, gristle, tapestock and Steven: Soderbergh's double agentry

Steven Soderbergh is a double-agent between arthouse and multiplex, argues Ryan Gilbey in the Guardian. The blunt 44-year-old hyphenate had watched The Good German again the night before at the Berlin film festival in front of 2,000 viewers. “I became aware of just how extreme an experiment the film is… We were sitting there watching this … weird … movie. 21222024_ea06d55e34_m.jpgNot weird in a bad way, hopefully. But this strange process occurs as you watch it and go through different layers of feeling. My hope is that halfway through, the aesthetics fall away and you just deal with the narrative… What if Michael Curtiz had the freedoms in 1945 that I have today? If the Hays [C]ode hadn’t existed, what would movies have been like?” Hit and miss, surely, as as Gilbey notes, “[if]f there’s one director on the planet who can take bad notices on the chin, it’s Soderbergh. When it became clear to him that no one [was going tos ee] The Good German, he was straight on the phone to Warner Bros advising the distributor to scrap the planned wide release, repackage the film for the arthouse, and hit the college towns. “I don’t want to spend $15m chasing $2m,” he shrugs.” He’s also “sick” of people talking about how “everything’s great.” “I like to hear about the blood and gristle of the creative process. I hate these fucking interviews where it’s like there’s sunshine shooting out of the director’s mouth. So I try to be very careful about the syntax I employ. I don’t want to suggest, ‘We’ve done an amazing thing here’.” Studio and Indie® are much the same to Soderbergh: “The rules are the same. Wherever you are in the industry, no one will encourage you to do anything other than what you’ve successfully done before.” The important thing? “The important thing is not to panic.”

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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