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David Poland

By David Poland poland@moviecitynews.com

Disney's Copyrights

RESHOOT!: Will Mike Nichols add an epilogue to the Clinton dramedy, Primary Colors? All the players from the film, which chronicles the “fictional” election run of a McDonald’s-loving former governor, seem to be returning to Washington to lend a hand in Big Mac Daddy’s time of need. And Nichols loves to reshoot. Just add one credit: “With Steve Buscemi as Matt Drudge!”
COUP DE MOUSE: In a millennium phenomenon that may prove the apocalypse is coming, Disney’s copyrights are beginning to run out and Steamboat Willie will become the first major Disney to enter public domain property in 2003. Disney is busy trying to convince Congress to change the copyright law, but for a company that sued the Academy for using Snow White during the Oscar show without permission, the possibility of losing control of anything must be horrifying. The solution? Can you say President Eisner?
NECKING: Miramax Films is about to greenlight Audrey Hepburn‘s Neck, a film from British director Angela Pope about an adolescent Japanese artist who explores the meaning of Eastern vs. Western culture. Plans for a sequel, entitled Katherine Hepburn‘s Neck, are shaky.
SEVERE-IS: Wayne’s World director Penelope Spheeris took home the Sundance Film Festival’s Freedom of Expression Award for the third installment of her rock-n-roll trilogy, The Decline of Western Civilization. Last time Spheeris was seen expressing herself was at the junket for her Marlon Wayans starrer, Senseless, where she freely expressed herself by yelling at reporters before prematurely exiting one press roundtable. She didn’t like all the questions about the wide range of racially insensitive jokes in the film. Freedom of expression is a pesky business, ain’t it?
READER OF THE DAY: From A. Campbell: “Titanic isn’t a movie, it isn’t even another ‘blockbuster’, it’s a spiritual experience for the masses who are too spoon-fed and not brave enough, smart enough, or knowledgeable enough to go the extra mile (quite literally, sometimes) for movies like The Sweet Hereafter or Shall We Dance.”

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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