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Ray Pride

By Ray Pride Pride@moviecitynews.com

Todd Haynes' back pages: Weinsteinco launches "liner notes" for I'm Not There

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Cool press release of the week: “INSPIRED BY BOB DYLAN’S FAMOUS LINER NOTES, AUDIENCES WILL RECEIVE “I’M NOT THERE: THE OFFICIAL GUIDE TO THE MOVIE” AT PARTICIPATING MOVIE THEATERS ACROSS THE COUNTRY
NEW YORK, NY (November 20, 2007) – The Weinstein Company is pleased to announce that participating movie theaters nationwide will distribute liner notes for the highly anticipated film “I’m Not There.” From acclaimed director Todd Haynes, “I’m Not There” is an unconventional journey into the life and times of Bob Dylan. Six actors portray Dylan as a series of shifting personae—from the public to the private to the fantastical—weaving together a rich and colorful portrait of this ever-elusive American icon. The film opens in select theaters across the country on Wednesday, November 21, 2007. The announcement was made today by Gary Faber, executive vice president of marketing for The Weinstein Company.
Inspired by Dylan’s famous liner notes for his classic albums, this information will provide audiences with a special introduction to Dylan. The liner notes include carefully selected excerpts of articles that will enhance the audiences’ experience of the man and his music, replicating the experience of listening to one of Dylan’s albums or seeing him in concert for the first time.
Gary Faber stated, “Preview audiences have enjoyed ‘I’m Not There’ so much that they leave the film eager to learn more about Dylan’s life and art. The articles selected for the notes will help audiences unlock some of the secrets in the film and enable them to enjoy it in a unique and special way.”

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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