By Ray Pride Pride@moviecitynews.com

“A couple of things. One, the picture edit itself was difficult. How different is my first cut from this? Not very. The structure is pretty straightforward. The thing that was difficult is a lot of the world creation with visual effects. You have to create a lot of those shots from scratch. You’re having to sign off on animation, which then gets rendered, and then you have to cut it into the stuff you’ve already shot. And if it doesn’t fit, you have to redo it. It is endless. But also, let’s be honest, the studio got purchased by another studio. Disney bought the studio, and they they couldn’t release two movies of their own on the same day. By the way, I was thrilled, because I thought the film was much more of a fall movie, and I got more time to work on the effects … But it is also true that you now have one studio controlling 40 percent of the marketplace, and I don’t know what that means. So when people say, ‘Where’s your movie?’ I’m like, ‘Have you read the newspaper?'”

Posted Wednesday, September 25th, 2019 - Comments Off on “A couple of things. One, the picture edit itself was difficult. How different is my first cut from this? Not very. The structure is pretty straightforward. The thing that was difficult is a lot of the world creation with visual effects. You have to create a lot of those shots from scratch. You’re having to sign off on animation, which then gets rendered, and then you have to cut it into the stuff you’ve already shot. And if it doesn’t fit, you have to redo it. It is endless. But also, let’s be honest, the studio got purchased by another studio. Disney bought the studio, and they they couldn’t release two movies of their own on the same day. By the way, I was thrilled, because I thought the film was much more of a fall movie, and I got more time to work on the effects … But it is also true that you now have one studio controlling 40 percent of the marketplace, and I don’t know what that means. So when people say, ‘Where’s your movie?’ I’m like, ‘Have you read the newspaper?'”
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“A couple of things. One, the picture edit itself was difficult. How different is my first cut from this? Not very. The structure is pretty straightforward. The thing that was difficult is a lot of the world creation with visual effects. You have to create a lot of those shots from scratch. You’re having to sign off on animation, which then gets rendered, and then you have to cut it into the stuff you’ve already shot. And if it doesn’t fit, you have to redo it. It is endless. But also, let’s be honest, the studio got purchased by another studio. Disney bought the studio, and they they couldn’t release two movies of their own on the same day. By the way, I was thrilled, because I thought the film was much more of a fall movie, and I got more time to work on the effects … But it is also true that you now have one studio controlling 40 percent of the marketplace, and I don’t know what that means. So when people say, ‘Where’s your movie?’ I’m like, ‘Have you read the newspaper?'”

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Posted in MCN Curated Headlines, Movie City News | Comments Off on “A couple of things. One, the picture edit itself was difficult. How different is my first cut from this? Not very. The structure is pretty straightforward. The thing that was difficult is a lot of the world creation with visual effects. You have to create a lot of those shots from scratch. You’re having to sign off on animation, which then gets rendered, and then you have to cut it into the stuff you’ve already shot. And if it doesn’t fit, you have to redo it. It is endless. But also, let’s be honest, the studio got purchased by another studio. Disney bought the studio, and they they couldn’t release two movies of their own on the same day. By the way, I was thrilled, because I thought the film was much more of a fall movie, and I got more time to work on the effects … But it is also true that you now have one studio controlling 40 percent of the marketplace, and I don’t know what that means. So when people say, ‘Where’s your movie?’ I’m like, ‘Have you read the newspaper?'”

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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