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Ray Pride

By Ray Pride Pride@moviecitynews.com

John Schneider's Indie® revolution begins in the trunk of my '69 Charger

“Dukes of Hazzard” co-star John Schneider is miffed about the ways of the media, and he wants to change their wicked ways with Collier & Co. Hot Pursuit!, starring Schneider as J.R. Collier, a race car driver who has decided to quit racing and start his own used car sales company. Goes the PR: “Like Bo Duke would do, Schneider is promoting the film “by literally taking the movie theater-to-theater in the collier_2354ogo.giftrunk of my orange ’69 Dodge Charger.” Twenty-five prints of the movie will be shown at 25 theaters every two weeks, and Schneider hopes to have played 300 screens by mid-September. “I’ve got to get everyone to see it so we can change Hollywood for the better,” says Schneider. “We’re taking it across the country because everyone involved believes in it passionately. We want to make more movies like this and this is how we’re going to get started. We’re distributing this movie ourselves, we don’t have a big budget like the big studios,” says Schneider, “The big brass told me the family demographic was a waste of time. I don’t believe that. I think that the audience who watched ‘Dukes of Hazzard’ are still there and they are starved for a good, clean adventure comedy that the whole family can watch. I think the audience that watched ‘Dukes of Hazzard’ is… starved for a good, clean adventure/comedy that the whole family can watch.” Schneider says his moviemaking is in reaction to the 2005 WB Dukes of Hazzard. “They totally missed the mark because of the cussing, sex and pot smoking. I’m not a prude,” says Schneider, “it’s possible to keep the audience entertained without potty humor and hard-core violence. It’s just harder to do and not as chic.”

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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