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Ray Pride

By Ray Pride Pride@moviecitynews.com

From Europudding to organic films auds want to see?

In Variety, Ali Jaafar considers the Euro-auteurs who are finding followings: “The term “Euro pudding” referred to a flood of films from the 1960s and ’70s like The Cassandra Crossing… and The Fifth Musketeer, combining a melange of international talents such as a German actress, French actor and Italian director in hopes of luring coin (and audiences) from each country. The result was, more often than not, a mish-mash of competing accents and confused artistic vision.” Jafaar says the latest generation is making a more organic kind of pudding. “Filmmakers like the Teuton-Turkish Fatih Akin and French-Algerian Rachid Bouchareb are making films that tackle the growing interconnectivity of European society.Their transborder films are much more personal — and the result is that the films are both artistically and financially more successsful… These new Europeans are in many ways the future of the European film industry, says Hengameh Panahi, co-topper of Dreamachine, the new international sales company combining Panahi’s Celluloid Dreams and Jeremy Thomas’ Hanway Films. “Distributors don’t care about masterpieces anymore. They want to make a living,” says Paneh. “These second-generation and exiled directors, who may have belonged to a different culture but have grown up in Europe, are not elitist. They’re telling real stories that appeal to everyone.”

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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