By Ray Pride Pride@moviecitynews.com

“There were notions Scorsese mentioned as we start3d to prep the movie. One very early on was wanting to have a feeling of the photographic memory of the past. He mentioned Super 8 or 16mm home movies, and asked me in the general sense how I thought we could achieve that feeling without literally shooting with grainy, handheld film. So I got more into emulating the still photography look of the different decades, in particular the ’50s, and then the ’60s, and then of course a lot of the story happens in the ’70s. I decided to separate those decades with those looks, emulating those emulsions: Kodachrome in the ’50s, and toward the ’60s we transition to Ektachrome (also saturated in color, but more a blue-green tendency, and the shadow). Then for the ’70s, I transitioned into a whole different look, which is not still photography: ENR, a process that was developed in Technicolor by Vittorio Storaro, in which the silver is retained on the print of film for motion pictures, and the result is high contrast and desaturation of color. I started applying levels of this ENR look, so that basically the film starts getting drained of color in the later decades. That gives a feel of nostalgia, maybe, for the past, even though the events that are happening are not necessarily the prettiest.”

Posted Saturday, September 28th, 2019 - Comments Off on “There were notions Scorsese mentioned as we start3d to prep the movie. One very early on was wanting to have a feeling of the photographic memory of the past. He mentioned Super 8 or 16mm home movies, and asked me in the general sense how I thought we could achieve that feeling without literally shooting with grainy, handheld film. So I got more into emulating the still photography look of the different decades, in particular the ’50s, and then the ’60s, and then of course a lot of the story happens in the ’70s. I decided to separate those decades with those looks, emulating those emulsions: Kodachrome in the ’50s, and toward the ’60s we transition to Ektachrome (also saturated in color, but more a blue-green tendency, and the shadow). Then for the ’70s, I transitioned into a whole different look, which is not still photography: ENR, a process that was developed in Technicolor by Vittorio Storaro, in which the silver is retained on the print of film for motion pictures, and the result is high contrast and desaturation of color. I started applying levels of this ENR look, so that basically the film starts getting drained of color in the later decades. That gives a feel of nostalgia, maybe, for the past, even though the events that are happening are not necessarily the prettiest.”
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“One very early notion Scorsese mentioned as we prepped was wanting to have a feeling of the photographic memory of the past. He mentioned Super 8 or 16mm home movies, and asked me in the general sense how I thought we could achieve that feeling without literally shooting with grainy, handheld film. So I got more into emulating the still photography look of the different decades, in particular the ’50s, and then the ’60s, and then of course a lot of the story happens in the ’70s. I decided to separate those decades with those looks, emulating those emulsions: Kodachrome in the ’50s, and toward the ’60s we transition to Ektachrome (also saturated in color, but more a blue-green tendency, and the shadow). Then for the ’70s, I transitioned into a whole different look, which is not still photography: ENR, a process that was developed in Technicolor by Vittorio Storaro, in which the silver is retained on the print of film for motion pictures, and the result is high contrast and desaturation of color. I started applying levels of this ENR look, so that basically the film starts getting drained of color in the later decades. That gives a feel of nostalgia, maybe, for the past, even though the events that are happening are not necessarily the prettiest.”

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Posted in MCN Curated Headlines, Movie City News | Comments Off on “There were notions Scorsese mentioned as we start3d to prep the movie. One very early on was wanting to have a feeling of the photographic memory of the past. He mentioned Super 8 or 16mm home movies, and asked me in the general sense how I thought we could achieve that feeling without literally shooting with grainy, handheld film. So I got more into emulating the still photography look of the different decades, in particular the ’50s, and then the ’60s, and then of course a lot of the story happens in the ’70s. I decided to separate those decades with those looks, emulating those emulsions: Kodachrome in the ’50s, and toward the ’60s we transition to Ektachrome (also saturated in color, but more a blue-green tendency, and the shadow). Then for the ’70s, I transitioned into a whole different look, which is not still photography: ENR, a process that was developed in Technicolor by Vittorio Storaro, in which the silver is retained on the print of film for motion pictures, and the result is high contrast and desaturation of color. I started applying levels of this ENR look, so that basically the film starts getting drained of color in the later decades. That gives a feel of nostalgia, maybe, for the past, even though the events that are happening are not necessarily the prettiest.”

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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