MCN Blogs
David Poland

By David Poland poland@moviecitynews.com

When Are Rights Wrong?

Well, that’s going to be up to a judge. The fight is over two competing movie versions of The Bang Bang Club, a real life group of four photographers known for their death-defying war photos. Movie rights are breaking up that old gang of theirs. Emilio Estevez is prepping his version, acquiring rights from the survivors of the two dead members of the club (one died in action, the other committed suicide). Meanwhile, the other two members, still quite alive, sold their rights to a South African filmmaker. Geez. When I saw The Bang Bang Club on the production charts, I assumed it was the story of Emilio’s brother, Charlie Sheen.
After switching locations from Israel to Morocco for security reasons (go the distance), Phil Alden Robinson’s Age of Aquarius is being held up for a more traditional reason. Money! Universal’s Harrison Ford drama is suffering the same problem as their John Travolta starrer, Primary Colors. Universal (and pretty much every other studio in town) won’t spend anything over $50 million on anything other than action (if you build it, they will come). Travolta and director Mike Nichols deferred most of their salaries to bring their $70 million budget down to a more reasonable $50 million. At $80 million, Age of Aquarius will demand a lot of concessions from $20 million-plus man Ford if the love story set in Sarajevo is ever to make it on screen. The buzz is that Ford’s interest is already waning (feel his pain). Did I mention that Robinson made Field of Dreams?
For those of you who want to know how the business really works, check out the upcoming One Track Mind. A recently sold spec script by Ben Queen, the script tells the story of one script tracker, a studio assistant who finds the perfect script and is ready to claim it for his own after the writer mysteriously dies in a Universal Studios tour tram accident. That is, until other trackers who’ve read the script turn up. Then he has to kill them too. If you think that’s far fetched, how do you think I get my Hot Button copy every day?

Last Tango In Paris
was recently sent to the ratings board again and unlike Midnight Cowboy, it’s still NC-17. The Hot Button should be so lucky. E-mail me your NC-17 buttons today!
And don’t forget The Whole Picture.

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