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David Poland

By David Poland poland@moviecitynews.com

Projects, We Have Projects

Island Pictures is developing Trophy Boys based on a New York magazine story about gay men who look for sugar daddies in Hollywood. “What we have in mind is the gay version of How to Marry a Millionaire,” Island Pictures president, Mark Burg, told Variety. The film’s producer, Howard Rosenman, also has an HBO series in development called “Lesbian Woman Seeks Gay Man for Marriage of Convenience.” And keep an eye out for the gay western musical, “Is That A Shotgun In Your Saddle Or Are You Just Glad To See Me?”
Another comic book is headed to the big screen. Mark Canton, the man who bought Men In Black for Sony, has purchased the rights to “House of Secrets,” a DC/Vertigo comic about a house haunted by a ghost jury that puts people on trial for the secrets they’ve kept throughout their lives. Up first is Canton, who’ll be tried for managing to keep the secret of his genius under wraps throughout his Sony tenure. Only after he left last January did Sony become the most successful studio of 1997 on the strength of his line-up.
Finally, Warner Bros. has bit into Andy Kurtzman and Eliot Wald’s screenplay, Teething, about a couple who adopts a vampire. It’s no wonder that Warner Bros. is willing to bank on the writing duo. After all, they came up with Down Periscope and Camp Nowhere, two titles that fit the box office returns. No truth to the rumors that Fox is already planning a series based on the movie to co-star Louise Woodward.
Anything on that movie mind of yours? E-mail me your thoughts.

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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