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Ray Pride

By Ray Pride Pride@moviecitynews.com

[LOOK] The Daisy Spot (1964, ****)

A comprehensive history of one of the most notorious short films ever made: the one-time only broadcast of a 1964 LBJ campaign spot against Republican candidate Barry Goldwater. From the site’s introduction: “Every election season when politicians unleash their expensive and (usually) unimaginative attack ads, op-ed writers invoke the unofficial title of the most notorious 60 seconds in advertising history: “The Daisy Ad” (official title: “Peace, Little Girl,” aka “Daisy Girl,” “The Daisy Spot, “aka “Little Girl – Countdown”). The spot features a little girl picking petals off of a daisy in a field and counting out of sequence just before an adult voiceover interjects a “military” countdown which is then followed by stock footage of a nuclear explosion and the cautionary words of President Lyndon B. Johnson: “These are the stakes – to make a world in which all of God’s children can live, or to go into the dark. We must either love each other, or we must die.” The ad – which never identifies its target – was aimed at reinforcing the perception that the 1964 Republican candidate for president, Senator Barry M. Goldwater, could not be trusted with his finger on the button. As has often been recited, the Daisy ad aired only once as a paid advertisement – on NBC during the network movie (DAVID AND BATHSHEBA) on Monday, September 7, 1964.[ 5 ] Since that long ago Labor Day, the film of the child and her daisies has been re-played millions of times. The spot was and still is a masterpiece of manipulation, juxtaposing the playful innocence of childhood with the protocol and horror of war. The simplicity of the message was made all the more effective because the 1964 campaign took place less than two years after the Cuban Missile Crisis and within three years of the Berlin crisis in which President John F. Kennedy rattled the nation with his remarks on the importance of civil defense.[ 6 ] In other words, the “end of the world” was not an abstract concept for most Americans during this period of the Cold War. It was a very real possibility…” There’s a wealth more at the Conelrad site. [H/t Boing-Boing.]

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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