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
Congratulations, another great interview. Of course, it helps when you have someone who is as charismatic, impassioned and articulate as Shohreh Agdashloo. English may not be her first language but it proves here to be no barrier whatsoever… and she proves to be more accurate and vivid in using it than oh, so many who wallow in Valley speak.
I am still scratching my head as to why she was denied the Oscar, while not even nominated for the SAG/Globe for “House”… especially when Renee Zellwegger won for Cold Mountain.
Now, admittedly, “Stoning” is getting more traction than it might because of the Iranian situation, but to have someone who can front the film and speak with such authority is a blessing: her life story is something that is vivid (whereas most Hollywood stories are rags to riches, hers is through the barricades… and on an aside, how many Hollywood actors quote poetry in an interview just for the hell of it?).
And you asked a great question about Passion of the Christ (I film for which I have great antipathy), and it makes for an interesting question… and answer.
Really looking forward to seeing this movie… if not simply because she is one beautiful looking lady.
Thanks for covering this film, Dave.
I saw it at TIFF last fall and was very impressed. It is a rough watch but no one can doubt the passion of the filmmakers and actors for the subject matter. Shohreh was present at my screening and I must say how impressed I was not only with her talent and intelligence but also her classical beauty.
I was also able to speak to Cyrus after the screening and am glad this project is doing well for him.
I hope more people see this difficult but necessary film.
Shoreh Agdashloo is a lovely representative of Iranian-American culture, just beautiful! I want to see the movie to support her.