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Ray Pride

By Ray Pride Pride@moviecitynews.com

Wim Wenders shops for stinky tofu

Stinky tofu is the subject of the day in Taipei as Wim Wenders drops in to mentor and collaborate with a young Taiwanese director. “Taipei, he observed, has grown from “a sleepy city” to become “an amazing, buzzing and big city,” writes Nancy T. Lu in Taiwan News. Among her diverse observations from Wenders’ first visit in 30 years: “I may have to come back a few times more to get used to stinky tofu,” said the smiling Wenders yesterday. One of the first things Wenders did was to go to the Shihda Night Market with young Taiwan-born director Arvin Chen two nights ago [Pictured.] Wenders has accepted the invitation to be the executive producer of Chen’s “Page One Taipei.” He liked the young man’s script, he said. And so he will be his “guardian angel from Germany” in the film project to be subsidized by the Government Information Office by as much as NT$12 million and to be also supported by the Taipei City Government.2350779.jpg “I have watched Wim Wenders’ films from childhood and I have seen how he portrays cities and people,” said Chen, who grew up in northern California. “I feel very lucky to have him as my executive producer.” Chen’s “MEI” won the Silver Bear for short film at the 2007 Berlin International Film Festival. Wenders said that a Silver Bear from the Berlin International Film Festival is something he has in common with Chen. They also share a love for movies that are portraits of cities, he said. Wenders thought that it was a good idea to have someone not exactly from here but more of a foreigner to do a film about Taipei. This person would have a different perspective, he said. Checking out the locations for the movie Chen is preparing to shoot next year as well as meeting the cast and crew have been on Wenders’ agenda during this Taipei visit. But he will not be around during the actual filming… Mayor Hau offered Wenders and Chen some pineapple cakes yesterday. He also presented the German cinema director with a nice but empty gift box to take back to Berlin. Wenders quickly scribbled “Taipei Memories” on it… Wenders used three words to sum up the movies he made in his career, indicating the films dwelled on “love, search and identity.” The award-winning Wenders gave a remark yesterday, indicating he did not follow the commercial trend to make sex scenes de rigueur in film productions. “I always thought sex didn’t belong in a movie,” said director Wim Wenders. “You never do it with the camera.” Lu differs in her closing note: “Young people, who keep sophisticated digital information systems in their bedrooms, think otherwise though.”

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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