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David Poland

By David Poland poland@moviecitynews.com

Plea for Kundun

This is my plea to Academy members. Don’t let the critics fool you. If you want to vote for the one truly epic love story of 1997, vote for Kundun, the story of a man who loves in the hardest way possible — unconditionally. It’s a big bite, but Kundun delivers. It wears its true heart on its sleeve, leaving it vulnerable to attack, but somehow safe by way of that very vulnerability. In a year of great filmic cynicism, no movie speaks to what’s right about the human heart nearly as well.
The film is opening wide this week, but many of you may not have even heard about it. And it isn’t winning any of these awards you keep reading about. Why? Some insiders say Disney doesn’t want to push the film too hard, fearful of reprisals from China. Perhaps. I blame the critical community, too wrapped up in the flow of big movie after big movie to take the time to let this artwork flow over them instead of analyzing story points. Kundun has no movie stars. It doesn’t have the overt majesty of an acting legend like Peter O’Toole. It isn’t snappy.
This is a movie of grace and calm. At one pivotal moment, the Dalai Lama says, “They took away our silence.” If you can find peace in silence, you’ll feel in that moment the pain that was so powerful in the eyes of Djimon Hunsou in the otherwise forgettable Amistad, the anguish of the people going down with the Titanic, and the hopelessness in Matt Damon‘s heart in Good Will Hunting. All in one. See this film. See it in a theater, where you can become a part of the experience. Leave your watch and your cynicism at home. And open your heart.

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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