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By DP30 david@thehotbuttonl.com

DP/30: The Deep Blue Sea, actor Rachel Weisz

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7 Responses to “DP/30: The Deep Blue Sea, actor Rachel Weisz”

  1. berg says:

    The diary from Ep. 1 forms the foundation of Ep.2 that segues to letters written in 2 that show up in Ep. 3 that morphs into a story that is picked up in Ep. 4, an episode that itself serves as the story that amuses characters in Ep.5 only to have one of the said characters evolve into a goddess figure that is worshipped in Ep. 6. I don’t think it could be any clearer.

  2. Joshua says:

    I like Rachel Weisz, but did anyone else feel like her performance in this movie was a bit flat?

  3. Tim says:

    Flat? I thought it’s Rachel’s best performance to date. It would be a crime if it was overlooked cone award season.

  4. Diana says:

    Wow, thank you for such a great interview Dave. Rachel Weisz is such a great actress and its refreshing to hear a real actor with passion and knowledge for their work like Weisz, (who gives an amazing performance in The Deep Blue Sea) than to listen to most other actors who come across as vapid when being interviewed. I hope Rachel gets award consideration for her performance in this film because she is that damn good in it.

  5. Goonie boy says:

    I believe Rachel Weisz’s performance in this film was the best we had from an actress all year so far. I hope it gets the honors it deserves.

  6. Rob says:

    In this year in which digital finally nailed the lid on celluloid’s coffin, I’m glad to have seen The Deep Blue Sea (twice) on the big screen in 35mm.

  7. Jane says:

    Saw it the other night on netflix. It was decent but Rachel Weisz was suberb in this film. She truly deserves Award consideration for her performance.

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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