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Ray Pride

By Ray Pride Pride@moviecitynews.com

M-word: tracking its predecessors

At Good, Jaime Wolf does a cool job of tracing some of the lineage of recent movie movies that cost little and talk a lot and have been unfairly dubbed a silly collective name and dissed by indie elder Amy Taubin: How about Rohmer, Salinger, hannahtakesthestairs-2med.jpgand Liz Phair? All’s Phair: writes Wolf of her memorable debut long-player, “Exile in Guyville,” “The lo-fi, livejournal-style indie rock version of a Joe Swanberg movie, Phair seeks self-knowledge via a diaristic series of regrettable hookups, disappointing boyfriends, unattainable fantasies, false hopes, fleeting erotic fulfillment, and meditations on the dichotomy between observer and participant.” And: “It’s rare to watch a movie and believe it could have been made by one of the characters in it, but m——— films have a documentary intimacy and rawness, a level of self-examination that feels new.They’re products of the thinner art/life membrane that affordable digital production tools have made possible, and which the imperatives of self-presentation on Facebook, blogs, and MySpace have made ubiquitous. Of course, it’s not all new. The dialogue in J.D. Salinger’s “Franny and Zooey” is pure mumblecore; so are the conversational erotics in Eric Rohmer’s My Night at Maud’s and the characters’ ditherings in his Boyfriends and Girlfriends; the perpetual hangout milieu of Richard Linklater’s Slacker; and the diaristic songs chronicling Liz Phair’s sexual, emotional, and relationship crises on her album “Exile In Guyville”… Making eloquent use of inarticulacy, films like Hannah Takes the Stairs and Mutual Appreciation happen to be precise (and to the extent of their precision, thrilling) depictions of post-collegiate flailing. They are set in a world populated by overeducated, unaccomplished, chronically ambivalent people who are starting to take grown-up jobs but still need a roommate to pay the rent; whose unfocused ambition and vague sense of artistic integrity propel them to pursue creative endeavors, even as they remain mystified by how a book might actually get published or a CD get made.”


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3 Responses to “M-word: tracking its predecessors”

  1. mutinyco says:

    I’ll take Fuck and Run over YAB any day…

  2. rpride says:

    Phair sings: “And I want a boyfriend, I want a boyfriend, I want all that stupid old shit like letters and sodas,
    “And I can feel it in my bones I’m gonna spend another year alone
    It’s fuck and run, fuck and run
    Even when I was seventeen
    Fuck and run, fuck and run…
    And whatever happened to a girlfriend
    The kind of chick who tries to win you over?
    And whatever happened to a girlfriend
    The kind of chick who makes love ’cause she’s in it?
    And you want a girlfriend You want a girlfriend
    You want all that boring old shit like letters and sodas
    Letters and sodas
    Letters and sodas
    Letters and sodas”
    Agreed… she’s been good.

  3. Toms says:

    Anything that references Franny and Zooey is ok with me.

Movie City Indie

Quote Unquotesee all »

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