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Ray Pride

By Ray Pride Pride@moviecitynews.com

Opening Night, 7th Reykjavik Int’l Film Festival

A quirky festival in a fascinating land: I attended last year’s sixth Reykjavik International Film Festival, and just got the press release from Friday night’s opening of the seventh: “The seventh edition of the Reykjavik International Film Festival was officially declared open by Jón Gnarr, the Mayor of Reykjavik, at the Festival’s opening party on Thursday evening. The party, attended by a host of Iceland’s film, stage and television personalities including Oscar Nominee Fridrik Thor Fridriksson (Best Foreign Language Film, Children Of Nature, 1991), took place at the National Theatre building which is more accustomed to hosting stage plays than film screenings, obviously. However, the architect Gudjon Samuelsson designed the grand theatre early in the 20th Century also to be suitable as a film screening room, albeit a very grand one.

“And that was only too fitting, as the National Theatre did very well in hosting the screening of the opening film of RIFF 2010, Cyrus, which is presented in the Special Presentations category and directed by Jay and Mark Duplass, was met with several fits of belly laughter as well as repeated nods of approval, and a rapturous applause when the lights came back on. The comic relief was met with welcoming spirits after a rather acidic “Festival Splash” opening speech where veteran film producer Thor Sigurjonsson took the opportunity to lash out at the Icelandic government’s plans to cut down grants to film and tv production.

“But spirits were high, happy and optimistic in the party after the screening, where copious amounts of champagne were washed down with greetings and congratulations regarding the happy days ahead. After all, RIFF has only just begun and it promises to be a feast of fine, fresh cinema as always. We’ll see you when the lights are switched on again.” [Photos: HAG]

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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