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David Poland

By David Poland poland@moviecitynews.com

Fight Over Summer 1999

IT’S WWIII FOR ME: After Disney’s $2.6 million Super Bowl ad for Armegeddon, the reaction seemed universal. “Why are they making another meteor movie?!” Here’s the next trend to be done to death. Fox is developing a Wired magazine story on cyber-terrorists as an apocalyptic thriller called WW3.com. They haven’t even hired a screenwriter for the project, yet it’s being touted as the studio’s tent pole movie for July 4, 1999. But what about Star Wars, which is set for Memorial Day Weekend, 1999 and is expected to be under the Fox banner? Fox execs may be underestimating The Force. Meanwhile, Sony bought a spec script called, simply, World War III, four months ago with an eye toward– when else? — summer 1999. In political terms, this is called Mutual Assured Destruction.
DGA IN PLAY: This year’s nominees for the Directors Guild Awards for 1997 have been announced. Don’t expect any surprises here. It’s James Cameron or L.A. Confidential’s Curtis Hanson. If Hanson wins, every Oscar category is up for grabs. If Cameron wins, Titanic takes Best Picture and Best Director for sure. Clip & Save.
WHOSE COMIC IS IT ANYWAY: DGA nominee Gus Van Sant (Good Will Hunting) is in the writing phase of his next project with Robin Williams. He Won’t Get Far is the true story of John Callahan, a hugely successful cartoonist and quadriplegic. Can you imagine what will happen when the hyperactive Williams plays a role requiring complete restraint? I can. Handicap + Superstar = Oscar!
FALSE HOPE: So, you want to sell your screenplay? I shouldn’t be telling you about this, but Adam Herz, a 25-year-old on his way out of town just sold his script for $750,000. I look forward to meeting you when you try to duplicate his feat. But let’s save a little time. Medium rare. Fries. A Diet Coke.
READER OF THE DAY: Krillian writes: “With 55 million girls in the U.S. aged 16 or younger and an average ticket price of $5.00 that means 2.2 million tickets were sold (about 4 percent of all young girls). Add mothers taking the wee lasses and teen boys thinking it’d be a good place to pick up on jailbait chicks and there you have the reason for the ubiquitous success of the Spice movie.”

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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