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David Poland

By David Poland poland@moviecitynews.com

Show Biz News

It’s been a weak week for show biz news. Things should start heating up again as Hollywood returns to its collective desk. The table you’ve been grabbing at The Ivy isn’t yours any more, Mr. Wannabe. While we were sleeping, Jada Pinkett and Will Smith got married, creating the most excitement in Baltimore since Barry Levinson started working at home. The great and glorious Helen Mirren tied the knot with director Taylor Hackford, making them the cerebral version of Geena Davis and Renny Harlin. And one proposal was turned down flat. Chris Rock won’t be teaming up with Samuel L. Jackson in a movie version of “Sanford and Son.” To quote young Rock, “I was like, ‘Are you on crack?'”
Also over the holidays, yet another award for L.A. Confidential, this time Best Film and Best Writer and Best Director from the National Society of Film Critics. Julie Christie secured a likely Oscar nomination for Afterglow with her third major award. And Boogie NightsBurt Reynolds and Julianne Moore both added more brass to the mantle. Robert Duvall grabbed Best Actor for The Apostle, beating out Hoffman, Pacino, Fonda and Ian Holm. If these guys end up being the Academy nominees, people all over town will be double-checking the decade on their calendars. Sadly, the two competitors for best documentary, Thin Blue Line director Errol Morris’ Fast Cheap and Out of Control and Spike Lee‘s Four Little Girls have gone all but unseen by movie audiences, even in Los Angeles.
What’s up with Brendan Fraser? Besides turning up uncredited in two Pauly Shore movies as Link, his character from Encino Man, he put on the loincloth yet again as George of the Jungle, which also reflected his brain-damaged turns in Airheads and The Scout. When he hasn’t been stupid and semi-nude, he’s been a big brain at top institutes of learning, as in School Ties and With Honors. And now, just as Gods and Monsters, the biographical film in which Fraser stars as Frankenstein director James Whaley, is about to hit Sundance, Fraser takes on a remake of The Mummy, another one of Universal’s classic monster movies. I guess he’s a practicing actor. He just keeps practicing the same role until he gets it right.

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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