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Ray Pride

By Ray Pride Pride@moviecitynews.com

Robbie Baitz's "Leaving Los Angeles: Part Two"

Playwright and now former Californian Jon Robin Baitz etches his piercing envoi to life as a Los Angeles-centric writer of television after his ouster from the writing staff of a series. “Like many of the people I met who write about TV, (most of whom can be bought for the price of a single commissary crepe-suzette, a keychain with the show’s logo on it, and a set-visit with its grimacing star), he was possessed of the winning duo of wild arrogance and a staggering un-athletic ignorance of all life outside of prime time, the culture of which depends on low-rent journalistic toadies penning breathless wooze in exchange for future favors and future keychains, and handshakes with future stars. When I left for New York in 1985, I was a young playwright with the residuals of the South African accent acquired in my teens. My friends were a boozy-druggy lot of Bohemian wrecked hipsters who made up the vibrant LA theater scene, which was exceptionally fecund back then. There was heroin, there was methadone, there was booze in spades, and fragile bits of sobriety to frame it all. When I returned to Los Angeles, in late 2002, it was as a member of the “writing-establishment,” a decade and a half older, no more accent, just the slightly false schoolboy manners remained, manners which had done me no good, and with the goal of finally putting away some money, just a bit, so I would never have to think about lucre much ever again, (artists dream of money, etc.) for the remainder of my playwright’s life… The online thing is not just an LA thing by any means. However, in New York, the life of the street, the flirtation and ebb and flow of strangers getting off of the bus, makes for a perpetual energy machine. New York is just sexier, smarter, and better dressed, less vulgar, more diverse, filled with accident, and unexpected encounters, as a rule. There is the Neue Gallery across from the Met, down the street from the Guggenheim, which is up from the Whitney, just a twenty minute walk to MOMA, across Central Park, etc, etc, forever and ever. You will see, smile at, spy on, talk to, stare at, be enchanted by any number of utterly different kinds of people within twenty minutes of leaving your apartment in NYC. A barrage rather than the white noise of the undulating palms and brackish skies of the dream coast.” [Much much more at the link and the earlier installment 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