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By Ray Pride Pride@moviecitynews.com

Advanced cricketeering: Andrews on Inland Empire

Another writer makes beautiful sentences out of mad artifact: “How many countries are there in the human mind?” asks the FT’s Nigel Andrews of David Lynch‘s Inland Empire. What does the title mean? “It means the mind. That continent. That imperium. That expanse of broad-flung colonies, most of them at war with most of the others. How do you make a film about such multitudinousness? inland_empire_smoke_and_terrors.jpg…After half an hour you may be climbing up the wall. An hour, and you may be applying for admission to a mental clinic. (Not another scene in which Laura Dern, a film actress playing a film actress, spooks herself by exploring the “inland empire” that lies behind the soundstage housefronts, an empire apparently including Poland.) Two hours and you will, if you have a soul, fall violently in love with this film’s psychedelic implacability, its lyrical madness.” …[W]here what used to be central-eastern Europe seems now to be part of unmapped LA. It is surely clear that the secondary meaning of “inland empire” is the blazing foundry of European folklore that lies inside Hollywood itself, that “outer” empire founded by transatlantic Jews and gypsies… But that is show business, isn’t it? Lynch is on the money, with both his questions and his hinted answers. For who ever thought Hollywood and the dream life of cinema were innocent? Who ever believed they were not created by a long-term arrangement, at once damning and Faustianly aspirational, between the devil and the deep human mind?” [More at the link; the Inland Empire site is here.]

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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