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Ray Pride

By Ray Pride Pride@moviecitynews.com

Posted Monday, September 10th, 2012 - Comments Off on TIFF12: First Weekend In Telegraphese and Pictures
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TIFF12: First Weekend In Telegraphese and Pictures

On the run with multiple movies and interviews a day—and maybe no more than one fine Toronto street hot dog—here’s slightly expanded versions of tweets I’ve done after some Toronto International premieres. More are interspersed at my @raypride twitter feed and most #TIFF12 entries are retweeted at @MCNtweets.

A gorgeous Monday afternoon:  #TIFF12 Ah, autumn sun’s sweet mixed messages in sprint from venue to meeting to venue

Assayas by Ray Pride during David Poland interview.

Monday, after thinking about an early morning interview with Oliver Assayas: #TIFF12 Assayas agrees a fragrant breath of Bresson and his essential tactileness informs the memoire/narrative of SOMETHING IN THE AIR. …  a fleet, beautiful reverie of young ghosts who don’t know they’re only fierce memories

Winterbottom’s Everyday: Michael Nyman in wistful, full-on Wonderland mode; brings five-year narrative device to edge of limitless water.

Argo: Affleck’s Iran hostage suspense thriller/sardonic comedy also a mash note to Canada and Jimmy Carter. +tagline “Argo fuck yourself”

Looper: Ultimately, #Looper plays off the suddenness of its protagonist’s actions: all is blotted in abrupt blasts. Formally, keen. #TIFF12 (Cryptic; that’ll have to unfold in a spoilerful review.)

Note passed to Marina Zenovich when news arrived.

Roman Polanski: Odd Man Out:  Recounting the int’l intrigue of RP’s arrest and politics of LA and Suisse: it’s complicated #TIFF12

Sarah Polley’s Stories We Tell: inventive, important director; compelling tale with sooo many implications”; emotional trompe l’oeil AND formal origami. Polley thanks crew for making her seem “smarter.” (A tiny clip from public premiere below.)

SpringBreakers does right by Britney Spears in one montage: Harmony Korine heard some potential harmonizing others didn’t … @SpringBreakers: the year’s most elooooooongated Die Antwoord video so far (Below: the full Spring Breakers press conference.)

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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