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David Poland

By David Poland poland@moviecitynews.com

Polanski, Titanic Release Date

Director Roman Polanski, who has been in exile in France for 20 years to avoid jail time for his sexual encounter with a 13-year-old girl in Jack Nicholson’s backyard, is rumored to have cut a deal to return to Hollywood. Another great achievement for Los Angeles D.A. Gil Garcetti. Polanski is probably anxious to return to Hollywood before Natalie Portman turns 18.
Another million dollar deal for a classic idea. Former “Mad TV” writer, Stuart Blumberg, sold Columbia Pictures Keeping the Faith, a “romantic drama” about a long-term friendship between a rabbi and a Catholic priest that becomes strained when both men fall in love with the same woman. Drama? All that description makes me think of a joke starting, “A rabbi and a priest walk into a…” Email us your best priest/rabbi jokes and maybe they’ll end up in The Hot Button.
Traditionally, the success of big-budget movies on American soil has led the way to foreign box office gold. But 20th Century Fox has held its breath long enough on Titanic, the long-delayed Jim Cameron epic. Scheduled to premiere in the U.S. on December 19 under the Paramount banner (they split rights), Fox has decided to launch Titanic at the Tokyo International Film Festival on November 1. Japan has been a solid audience for Cameron, so if they don’t like it, expect to find Fox execs looking for a spot under Godzilla’s foot (or hanging from George Lucas‘ shirttails).
As Janeane Garofalo left the theater during her star turn in The Matchmaker, she said, “I saw my pie face up there and the crow’s feet. Have you ever seen your face blown up 10 feet tall? I can’t take it.” If she can’t take that, she should stay off the Web. Inspired by Chris Brandon’s Site-ing of last Wednesday, I took a trip to GarofaloLand. My favorite sight was this letter on a Janeanne-loving site. James Ricardo (no relation to Ricky) from Torrance, CA, wrote: “I love Janeane. She is way prettier than Uma Thurman or Lisa or Mira in Romy and Michele. Though my guess is she isn’t that good in bed. She seems very much a missionary style-type chick. Long Live Janeane! Bow down to her cute, fat, hairy little legs!!” How could I ever top that?
Come back Monday for a box office round up.

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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