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Ray Pride

By Ray Pride Pride@moviecitynews.com

James Wan & Leigh Whannel on Collaboration

The writer and director of the original Saw and Insidious talk about working together. The background sound that starts about a minute in is serious drilling going on in an adjacent suite in Chicago’s Park Hyatt hotel, a not entirely inappropriate, if unplanned, accompaniment to talking about a haunted house movie.

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One Response to “James Wan & Leigh Whannel on Collaboration”

  1. Dear James, Leigh & Ray:

    Thank you for filming your video for Movie City News at Park Hyatt Chicago.

    I was hoping that the noise in the background could be used as a sound effect for Saw VII. In all seriousness, please accept our sincere apologies for not exceeding your expectations during your recent stay with us.

    I have shared the details of your experience with our executive committee, and have taken immediate action to focus our hotel efforts in providing the best service our guests are accustomed to.

    I am excited to inform you that a similar occurrence will not reoccur, as our renovations will be complete in June 2011 when we re-introduce the entire seventh floor, including a refreshed NoMI and a new Spa concept.

    We value your business and I look forward to welcoming you back in the near future. Please do not hesitate to contact me directly at Lynne.Bredfeldt@hyatt.com.

    All my best,

    Lynne Bredfeldt
    Director of Public Relations
    Park Hyatt Chicago

Movie City Indie

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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