By Ray Pride Pride@moviecitynews.com

Glimpsing morning in America: a Sundance inauguration-watching breakfast (content)

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The producers of Dirt, with the collaboration of producer’s rep Jeff Dowd and publicist Mickey Cottrell and convened an inauguration-watching breakfast on Main Street near the Egyptian Theater. The streets of Park City have been uncommonly quiet this Sundance and never more so than this morning. Figures scurry toward the indoor glow of plasma screens. There’s a legend that when Little Ricky was born on “I Love Lucy” on January 19, 1953, cities came to a standstill. Traffic silent. And come the commercial break? America’s water systems collectively failed when everyone ran to the bathroom at the same time. Other waterworks expected today…
[MORE IMAGES AND STORIES FROM THE EVENT AT THE JUMP.]


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Producer Albert Berger (Election, Little Miss Sunshine) takes questions from the New York Times’ David Carr…
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… who remains the fierce ideal of an observant beat reporter. This is cherry atop topping: to glimpse a journalistic hero at stalk in the wild.
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Taking a record of taking a picture while history is made.
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And framing a frame of fame.
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Come to think of it, Jeff Dowd (with his “better half” Julia Ransom) is a hero, too, for all his efforts to get independent filmmakers’ visions into the world. Then there’s The Big Lebowski
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And a nod to man of taste Mickey Cottrell and behind-the-scenes Sarah Eaton from Sundance Channel.
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The room starts to clear. On the Capitol steps, the President and Vice-President await the departure of ex-president Bush’s helicopter. The wait goes on and on. When it takes to the sky, the shot choice is a jaw-dropper, the same sort of iconic image that is Roland Emmerich’s one great strength: a long shot that is horizontally composed; the helicopter moves behind the dome of the Capitol and emerges into the misty winter morning. Then: a cut to a camera on the Washington Monument. A veteran producer suggests that this moment feels like science fiction. The work begins. No, I have to say, science-fiction is Arnold Schwarzenegger as the incompetent governor of California; this is fact, one set of brutal facts exchanged for hopeful ones.

I, Barack Hussein Obama…

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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