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Ray Pride

By Ray Pride Pride@moviecitynews.com

Alex Cox still has dream projects

David Willentz catches up with Alex Cox’s many projects at Brooklyn Rail. Cox’s latest, Searchers 2.0 is a “microfeature.” Cox explains. “A microfeature is made for $180,000 or less under the SAG low-low budget agreement, which actually was negotiated by one of the actors in the film. alexcoxdotcom_56789.gifSy Richardson was on the SAG committee, which created this new form where you literally can pay the actors a hundred bucks a day. The committee created this because they knew there was this void where films were being made but they couldn’t employ SAG actors, hence they made this kind of little realm for very low-budget films.” You have a project about Buñuel, right?“I tried to get the life story of Buñuel on. We have a script you can download on my site [PDF]. It’s called ‘Bugs Are my Business.’ He’d wanted to be an entomologist. We had an incredible cast for that movie: Jeanne Moreau playing his wife, Javier Bardem as the young Buñuel and Sy Richardson as Louis B. Mayer. And for the old Buñuel we talked to Martin Landau, Dennis Hopper, everybody wanted to play Buñuel. But Buñuel is an old Spaniard. They’ve forgotten him. Then we were going to do a puppet version. That’s still my goal but I’m also trying to persuade Rudy Wurlitzer that we should do a puppet version of “Zebulon, “his western that was never made. I’m thinking we can put the puppets on the backs of dogs (for horses). It’s cheaper to work with puppets and we can put the voices later. We just go to Jeanne Moreau’s house and say “Can we record your dialogue?” What’s a dream project? “I would like to make four films for a million bucks because that’s how you make money. When a television company buys a film they don’t care if it’s good or bad, they just want to fill 8 or 10 hours of television time and justify the commercials. If I take Searchers 2.0 and four more films made for the same price as a package that’d be easy to sell… so if you run into anyone with a million dollars…I’m always looking for money for films, I’m always writing, every so often some money appears.” [More at the link.] Here’s the the pitch for those four-pics-for-a-mill enterprise. Preview the graphic novel of the sequel to Repo Man, “Waldo’s Hawaiian Holiday.” In a clip from the newly-released Walker DVD, Cox dissects his critics.

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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