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Ray Pride

By Ray Pride Pride@moviecitynews.com

Jumper (2008, **)

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ISN’T IT ENOUGH TO HAVE COME UP WITH A SLOGAN THAT PERFECTLY ENCAPSULATES A CONCEPT without having to go then and make the expensive, logistically unwieldy, imperfect result? Jumper: “Anywhere Is Possible.” I’d figured that if anyone could pull off the idea of characters being able to jump across space at will with any sort of panache and a bit of willful eccentricity, it would be Doug Liman, whose Go, The Bourne Identity and Mr. and Mrs. Smith are as giddily crafted as their reported production processes were tortured. There’s another reason this subject suits Liman’s profile: his ADD-OCD-OMGZ! range of interests and whims. (From a New York magazine profile: “[H]e sits with his sheepdog Jackson—for his birthday, Liman bought him some sheep.”) The dread Hayden Christiansen (Star Wars I-III) is only slightly less wooden than in earlier roles, and Rachel Bilson, tiny and wet-dark-wide-eyed, is ideal in the teen-dream role of the crush from high school that can be swept off her tiny feet. There are shreds that hint at mythology of a centuries-long battle between Jumpers and Paladins, embodied by Samuel L. Jackson, claiming to be an agent of the NSA, CIA and IRS at various times, with a platinum merkin skullcapped atop his head and a range of costumes that start at Matrix-with-a-Nehru jacket that after a while simplify into in Obi-Wan muslins. (Other cryptic allusions are equally toothsome.) Except for the incessant product placement, Jumpers plays as a very expensive episode of a kooky Komedy TV series for kidz you’ve never seen before, especially at its brisk, relentless, shocking 88-minute length. Still, there’s eyeball kicks everywhere and the immensely watchable Jamie Bell should be a star. [Ray Pride.]

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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