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Ray Pride

By Ray Pride Pride@moviecitynews.com

Lost in the Air: Jason Reitman animates the press corps

Lost In The Air: The Jason Reitman Press Tour Simulator from Jason Reitman.

Jason Reitman has said that an inspiration came to him during the production of Up in the Air: to make the story more topical, he’d include vignettes of those fired by George Clooney’s itinerant Grim Reaper of employment, and he would use (mostly) actual firees. Reportedly, those people were hired and paid on the understanding that a documentary was being made, rather than a potentially Oscar-contending George Clooney-starring movie from Montecito, DreamWorks and Paramount Pictures. That choice raised hackles on some reviewers: did this constitute exploitation, the way some of the subjects of Sacha Baron Cohen’s films have alleged? Reitman released another element to his multimedia campaign, accompanying volleys of tweets, pie charts and production featurettes. Here’s a short depicting his recent press tour, edited together from iPhone images. When I interviewed Reitman, he expressed interest in the handwritten notes in my notebook. “Oh!” he said, Can I take a photograph of that? Click goes the iPhone sound effect. And as I got the photo below, Got your shot? Can I take a picture of you? No prob, Jason. So? I’ve got a cameo along with a lot of other people and objects in the video, including pizza, Starbucks and Roger Ebert. I haven’t got a strong feeling about Reitman’s use of real, fired people in Up in the Air, but I’m amused by the chipper feigned interest that I witnessed during our interview as he was promoting the film. Is that how he directs all “non-professionals”? “Oh!” And then his booming laugh.
Jason Reitman

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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