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David Poland

By David Poland poland@moviecitynews.com

Bart the Bear

Bart makes as much as $10,000 a day for his movie work, before residuals. He’s had major parts in over 20 movies to date, yet has never had to learn a line of dialogue. And he contributes a part of his earning to charity every year, but never signs a check. Sounds like a guy who you’d want your daughter or sister to date, huh? I forgot to mention that he weighs 1,800 pounds and eats his sushi with the skin on. Bart is the bear who hunts Anthony Hopkins and Alec Baldwin in The Edge. Good thing he can’t fit in a Beemer or he’d be tooling around Rodeo Drive, cruising for fur coats. But, he can get you Sir Anthony Hopkins‘ home phone number.
Stone is back and it ain’t Sharon! Twentieth Century Fox is bringing the Romancing the Stone series back, probably as a Michael Douglas vehicle. Given the fact that Douglas is now old enough to be the stone, let’s try some new titles: “Romancing Alone,” “My Hair Has Stopped Grow’n,” “Romancing Old Crones,” “I’d Like To Be Prone,” “Romancing The Clone” or “Romance Without Bone.” Please feel free to email your new titles.
The proliferation of meteor films — Armageddon and Deep Impact — is no longer concentrated on U.S. shores. Continuing a diverse acting repertoire, Mike Myers has agreed to star with Brenda Fricker and Boogie Nights star Alfred Molina in Meteor, a drama written and directed by Irish playwright Joe O’Byrne. Variety says it’s a dark coming-of-age story about three children in a Dublin slum whose lives are changed when a huge meteor crashes into their backyard. Shooting starts November 10, when Myers completes his work as disco denizen Steve Rubell in 54, and before he stars in MGM’s remake of The Court Jester.
The Whole Picture delves into the dark side of entertainment journalism this week.
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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