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By Ray Pride Pride@moviecitynews.com

New Times: Hoberman on VVoice Film at 50

Marking its 50th anniversary in the same week the Village Voice stable (including LA Weekly) is set to be acquired by the New Times alt-weekly conglom if the Justice Dept. approves, J. Hoberman chronicles his long love for the Greenwich Village weekly’s film section. Hoberman recalls how the Teenage Jim was taken with Jonas Mekas’ “Movie Journal” and Andrew Sarris’ “Films in Focus,” but he writes that the attendant fortune in the mid-1960s was ”to have revival dumps like the Bleecker Street, the New Yorker, and the Thalia—not to mention the 42nd Street grind houses and the Museum of Modern Art…”
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“The French call adolescence the ‘age of film-going,’ ” I would write in that same Village Voice some 20 years later. “And it may be that the movies you discover then set your taste forever.” It will be many eons before the collected writings of Mekas and Sarris are enshrined between the Library of America’s glossy black covers…” Hoberman recalls the careers of Mekas and Sarris, as well as later writers like Amy Taubin, Michael Atkinson, Georgia Brown, Stuart Byron, Katherine Dieckmann, Terry Curtis Fox, Tad Gallagher, Dennis Lim, William Paul, B. Ruby Rich, Jonathan Rosenbaum, P. Adams Sitney, Elliott Stein, Jessica Winter, Manohla Dargis, David Edelstein, and Carrie Rickey for the Voice’s five decades of Voice-iness. “It was precisely because the Voice was so site specific, so committed to film culture as it was being made and experienced in New York City, that its coverage not only engaged the Teenage Me but cineastes all over the country and even the world. There’s been an erosion of space and an imposition of format, but I’d like to believe that this readership is still there and that the commitment remains.”

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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