By Ray Pride Pride@moviecitynews.com

WEINSTEIN COMPANY AND SIMON & SCHUSTER ANNOUNCE UNCOVER THE MYSTERY BUT DON’T SPOIL THE SECRETS’ CAMPAIGN

Posted Wednesday, August 21st, 2013 - Comments Off on WEINSTEIN COMPANY AND SIMON & SCHUSTER ANNOUNCE UNCOVER THE MYSTERY BUT DON’T SPOIL THE SECRETS’ CAMPAIGN
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New York, NY – August 21, 2013 – The Weinstein Company (TWC) announced today their “Uncover The Mystery But Don’t Spoil The Secrets” campaign in support of the upcoming documentary release, director Shane Salerno’s SALINGER. The film, which began production over nine years ago, contains an unprecedented amount of unseen footage, photographs, and biographical information on the notoriously reclusive Catcher in the Rye author. Salerno and David Shields have additionally co-authored a book on Salinger’s life, also called Salinger.

Because of the revelatory and confidential nature of the documentary and book, Salerno, TWC and Simon & Schuster are encouraging audiences and industry insiders who see the film and read the book to remain tight-lipped on the secrets they unveils and give others a chance to experience them for themselves. The film has only been allowed to be screened by a hand selected group of press and insiders, and those seeing it before its official release date are being asked to sign nondisclosure agreements.

“Back in 1993, when Miramax released THE CRYING GAME, we asked journalists and moviegoers not to reveal the film’s secret to their friends,” commented TWC Co-Chairman Harvey Weinstein. “With SALINGER we have a similar situation – the joy of this documentary is discovering information that, until now, has been kept under wraps for decades. I stand with Shane Salerno and Simon & Schuster’s Jonathan Karp in urging audiences and critics alike to let others satisfy their own curiosity about the film and book. ”

Noted Jonathan Karp, President and Publisher at Simon & Schuster: “There are two kinds of people in the world – blabbermouths and confidants,” added Jonathan Karp, President and Publisher of Simon & Schuster. “We ask readers and moviegoers to be our confidants.  It’s been said that there are no secrets anymore, but SALINGER is revelatory, and we hope people will have the opportunity to experience jolts of surprise directly from the works, rather than a smartphone or a tablet.”

SALINGER lands in theaters September 6, and Simon & Schuster will publish Salerno and Shields’ book on September 3.

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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