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Ray Pride

By Ray Pride Pride@moviecitynews.com

Peter Berg Blows Up His BATTLESHIP In Israeli TV Interview MNSFW (1’34”)

“What the fuck is going to happen in Israel? What’s the nickname for Benjamin, what do you guys call him? You got Bibi, and who’s his Secretary of Defense, the Defense Minister? You have two men that are now dictating the policy towards Iran. It’s a real mess, because you’ve gotta decide whether it’s better to allow Iran to be armed, and whether a nuclear Iran is less of a threat than an attacked Iran. If you attack Iran now, they’re gonna fight you back, right? There’s gonna be blood. Israelis will die, right? No question. Would you rather take that now, or let them get a nuclear bomb. It’s the most serious issue facing our planet today.  More so than the movie Battleship, which I’m very excited to have directed, I love Rihanna, she’s a great actress, did a wonderful job in the film, my Dad was a Navy historian… Have you been in the Israeli army? What? How’d you get out of that, are you a draft dodger? You gotta join the army, motherfucker! How’d you get out of that?” [Via reader JR74.]

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4 Responses to “Peter Berg Blows Up His BATTLESHIP In Israeli TV Interview MNSFW (1’34”)”

  1. Not David Bordwell says:

    WOW, he is one lucid drunk. That’s gotta be it, right?

    Right?!?

  2. Ray Pride says:

    Maybe it’s just jetlag? Or the “two extra drinks OK on plane rule”?

  3. Eliram says:

    His interview didn’t seem to go too well, but I found this amusing because he succeeded in touching upon a very sensitive personal topic for his interviewer.
    In Israeli society, military service is very important, and someone who hasn’t served most often feels embarrassed about it. (Most often the reasons for not getting drafted are mental and serious physical health problems, a criminal background, a very-religious lifestyle, or extreme family/financial issues).

  4. Not David Bordwell says:

    What’s surreal is that Berg is treating the entertainment reporter like he’s the Israeli Mike Wallace (RIP) for what should be a standard-issue junket-style segment… and the obviously shellshocked interviewer finally snaps out of his stupefaction when he realizes that both his patrimony and his patriotism have been called into question by a guy who just called him a “motherfucker.”

    “We are not having this conversation,” indeed!

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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