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David Poland

By David Poland poland@moviecitynews.com

Projects of Love – Tarantino, Sorvino

Quentin Tarantino is producing a series or “re-quels” to From Dusk Til Dawn involving a world of vampires. One of them is set in South Africa, where the production crew is now accused of leaving a trail of evil, spreading fake blood over rocks and destroying the local flora. In defense, line producer Michael Murphey claims that all the crew did was cover graffiti to make the cave look more natural. You got it wrong, Mikey. Graffiti is only indigenous to urban America and South Africans are used to real blood on their local rocks. At least they were until Apartheid ended.
QT’s squeeze, the mighty Mira Sorvino has joined the $3 million club. After opening two consecutive unimpressive films, Romy & Michele’s High School Reunion and Mimic, to the tune of around $7.5 million each, Sorvino has signed to appear opposite Val Kilmer in MGM’s Sight Unseen about a man who risks it all to regain his sight. Mira is his girlfriend. First the bug movies are back, now the return of the “Love Story” genre. And Kilmer is fast running out of women quirky enough to play his love interests. Elizabeth Shue, now Mira. Who’s left? If you have an idea about who can keep up with Val’s quirks, e-mail me.
Finally, a stupid movie idea I can get behind! DreamWorks has kicked in about $3 million to buy Dale Launer‘s spec script, Bad Dog. It’s a comedic werewolf flick about a psychiatrist who finds out the hard way that his full moon-fearing patient isn’t really crazy after all. Launer is the scribe behind My Cousin Vinny, Love Potion No. 9, Dirty Rotten Scoundrels, Blind Date and Ruthless People. Not a real stinker in the group. This should be as fun as American Werewolf in Paris will be forgettable.
Anything on your mind? Don’t be shy, e-mail me.

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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