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David Poland

By David Poland poland@moviecitynews.com

The More Things Change…

The more things change, the more the Japanese moneymakers get the crap kicked out of them by Hollywood. Buzz has it that Peter Guber is preparing to relocate his Mandalay Entertainment to Warner Bros. in 2000 when his deal with Sony runs out. As you might remember, Guber and his then partner, Jon Peters, were brought to Sony in 1989, bought out of their Warner Bros. producing base at a cost of over $500 million. Peters was soon dumped, but under Guber’s tenure, Sony wrote off billions. A deal to start Mandalay was Guber’s reward for failure when he was kicked upstairs in 1994, leaving Sony in the hands of former WB film topper, Mark Canton. More losses. Flash forward. Peters is already back at WB, pushing the Superman Reborn train along. Canton, after the summer of Striptease, was dumped for the legendary John Calley and he went back to a Warners’ deal, leaving M.I.B., My Best Friend’s Wedding and Godzilla to embarrass Calley (as in, story after story reminding everyone that the hits weren’t Calley’s). And here comes Guber back to the WB fold. Kismet, baby!
Another film being blamed for another tragedy, a.k.a., another sick kid shifting responsibility to avoid a life sentence. This time, it’s The Basketball Diaries, a movie that could well have inspired moviegoers unable to get a refund to shoot the theater manager. Kentucky high school rampager Michael Carneal (killed three, wounded five) was asked by prosecutor Timothy Kaltenbach whether he “had ever seen this before, ever seen anything done like this,” reported Kaltenbach, “and he said, ‘Yes, I have seen this done in Basketball Diaries.'” I guess that the school’s principal, who reported that Carneal was a regular victim of intense ridicule was missing the point. Excuse me now, I saw Starship Troopers recently and I have to go kill a bug.
Did I miss anything? Oh yeah. The remake rights to Piranha have been sold for $2 million. But that’s not the funny part. They were sold to Fox Family Films. As I recall, Piranha (directed by a pre-Gremlins Joe Dante and written by a cash-poor John Sayles) was filled with violent attacks on naked swimmers by fish with razor-sharp teeth. Now that’s family entertainment. What’s next for F.F.F., a remake of Flesh Gordon?
So, people, what’s on your mind? E-mail me your thoughts and questions.

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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