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Ray Pride

By Ray Pride Pride@moviecitynews.com

Wright as rave: Joe W. on the ecstacy of his imagery

glastonchems_567.JPGDo some research, ask the right questions, everybody’s got stories. Joe Wright “hasn’t had a drink for nine months, which, to anyone who knew him a few years ago, will be a surprise,” Jason Solomons writes in the Guardian. “Wright hit the London rave scene in the early Nineties, when he and a friend, Adam Smith (currently directing hit TV show Skins) were part of an outfit called Vegetable Vision, creating visuals for acts including the Chemical Brothers, Darren Emerson and Andrew Weatherall. ‘I was definitely off my head on ecstasy for quite a few years,’ he admits. ‘I was up a scaffold, 60ft above this seething mass of people, matching visuals to music from these amazing DJs. I’d put a slide of raw meat next to maggots, or a shot of police in riot uniform next to Campbell’s tinned soup and I’d flash between the two to the music and the crowd.'” Solomon gets Wright to arrive at this: “[P]roducers who were part of the rave generation themselves are trusting directors influenced by it with bigger budgets now. I know I managed to get that rave feeling into Pride and Prejudice, just little suggestions of it in all the pastoral beauty. I love dawn shots, or shots after the rain has stopped, because I always loved staying up all night till dawn, when it all got still and calm. Scenes like that act as emotional recall for me and I’m sure for anyone who was doing ecstasy back then. Those feelings are in Atonement, too. [The extended tracking shot on the beach is] like one big rave, a really trippy tnu6789.jpgscene… And then there’s the use of the graphics in the earlier scene when Bryony reads the wrong, lewd letter from Robbie to Cecilia. I managed to get the word “cunt” to fill the screen in old Courier font – we used to do that for Underworld lightshows.’ I can’t believe that Joe has had the chutzpah to get a Best Picture nomination for a film that does indeed flash up the C word three times. On the plane over to LA, I watch Atonement again on the in-flight movie channel. As the scene of Robbie typing his fateful letter to Cecilia comes up, I glance along the cabin to see the C-word emblazoned on dozens of little seat-back screens. When you’re hot in Hollywood, you can get away with anything.”

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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