MCN Blogs
David Poland

By David Poland poland@moviecitynews.com

Bond vs. Titanic

As Tomorrow Never Dies approaches (12/17), the battle for Bond heats up. Variety’s Michael Fleming is reporting buzz that Sony (the new franchisee) is looking to bring Sean Connery back to Bond again under the ID4/Godzilla team of Roland Emmerich and Dean Devlin. This isn’t just a slap for MGM/UA (the long term franchise holder), but for Fox, which is anxious to get the directing/producing duo back in the fold for the Independence Day sequel A.S.A.P., preferably in time for the summer of 2000 between Star Wars pictures. Meanwhile, someone overheard Pierce Brosnan asking Martin Scorsese to take the helm for a Bond. Bond goes to Brooklyn? Bond would never survive Joe Pesci as “Boombach. Vinny Boombach.” Pesci would never leave Bond to a tank full of sharks when he could just beat him to death with a baseball bat and take the Bond girl.
Mousehunt and Mr. Magoo must be tracking like two dead dogs. Disney reports that exhibitors are requesting a re-re-release of The Little Mermaid for mid-December. Just what America needs in a grotesquely overcrowded December marketplace. Ironically enough, December is actually worse than the summer rush, when studios will actually move of a competitive date. This week there are four major releases. Next week it’s Bond and Titanic. On Christmas Day there are five major releases. Can you say “massacre?”
Role-ing, Role-ing, Role-ing: People’s The Sexiest Man Alive for 1997 (George Clooney) drops the Wild Wild West and who do they go to? This year’s favorite closet-buster, Kevin Kline. And they couldn’t have made a better choice. Artemus Gordon was known for being clever, not pretty. And Kline is a world class actor capable of almost anything. Meanwhile, Bette Midler has dropped out of the Lisa Douglas role in the upcoming Green Acres just as Ben Stiller has come on board. The two moves may or may not be related. So, when this movie stiffs, will Stiller complain (as he did with The Cable Guy) that the media just doesn’t appreciate his dark vision of “Green Acres?” Here’s a hint, Ben. If Arnold dates a pig, people will like it. If Arnold dates a human, they won’t.
Lots of room for opinions with this week’s openings (read: David could really be wrong!) Join the growing crowd of box office guessers by e-mail.

Be Sociable, Share!

Comments are closed.

Quote Unquotesee all »

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