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Ray Pride

By Ray Pride Pride@moviecitynews.com

Jim Gordon, 1947-2007

This man’s smile I took for granted for years: he was like this almost every time I saw him. Roger Ebert remembers one of the nicest guys in the Chicago screening room, Jim Gordon, who died recently at 60. “I didn’t know Jim Gordon well, but I knew him with great affection. His personality improved the weather in a room, jim gordon_66.jpgand we shared the same room for years. That would be the Lake Street Screening Room, where as often as five times a week the film critics of the Chicago area gather for previews of new movies. Jim was for 23 years movie critic for the Post-Tribune in Gary, Ind., and more recently for The Times of the northwest Indiana area, published in Munster… I knew about his commute, his grandchildren, how he grew up in Gary, his politics, and his heart problems. The last time we talked, he told me about an approaching heart valve operation. On Friday, preparing for a garage sale at his home in Chesterton, Ind., he died of heart arrest. “It wasn’t a heart attack,” his daughter Rachel Tednes of Hoffman Estates told The Times. “His heart just stopped.” … He was a big guy with a moustache. Quietly sure of himself. Nothing to prove. How many people have you met who worked the steel mills in Gary, drove a cab, and had a Ph.D in film from Northwestern? … All this seems sort of vague to base an obituary on, but sometimes people will do something to give us a glimpse of what they’re made of. Here’s what I noticed Jim doing. We had been talking before the screenings for years, when I was absent from the screening room for 11 months with illness. When I came back, I had a trach tube and I couldn’t talk. I had to write notes. That didn’t seem to bother Jim. A lot of people, they notice the trach tube, they ask you how you’re doing, you nod, they translate “fine,” and then they move along. You can’t blame them. Maybe they’re a little uncertain about how to handle the situation. Jim was never uncertain. He picked up our conversation where we left off. He did the talking for both of us. He was exactly the same. His topic was the wonder and variety of everyday life.” [More at the link.]

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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