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David Poland

By David Poland poland@moviecitynews.com

Sundance and More

The Sundance Film Festival opened with a whimper and not a bang after Nick Broomfield’s (Heidi Fleiss: Hollywood Madam) documentary, Kurt and Courtney, was dumped after legal threats from EMI records, claiming unauthorized use of Cobain’s songs (See our Sundance Daily Report).Broomfield is reportedly not as upset as you might think. “This is agonizing, but it will become part of the film and will make a better ending. And I’ll be doing a bit more skiing than I’d anticipated.” On the Courtney watch, it looks like she’s chosen her next film: the ensemble drama, 200 Cigarettes, which seems to be yet another classic in the Fine Whine school of film making.
Morgan Freeman is getting younger. He’ll once again star as Alex Cross in Along Came A Spider, the prequel to his hit thriller, Kiss TheGirls. In other bloody news, the Academy (yes, that Academy) is giving a special science technology award to Pete Clark, a longtime effects expert who co-developed, with 3M (the people who brought you Post-Its),really cool simulated blood. Sadly, the Academy passed up other such inventors, like the guy who developed the fake urine for Ransom, the fake vomit for Barfly and the fake flatulence for Blazing Saddles.
S.W.A.T.: The Movie is getting closer every day and there’s not a damned thing you can do about it. It looks like the cop movie to end all cop movies will combine the massive talents of Tomorrow Never Dies director Roger Spottiswoode and Arnold Schwarzenegger. Besides the opportunity to break new records for amounts of space taken up on the poster by a director/actor team, Arnold must be jumping at the opportunity to work with a director whose incredible track record with major movie stars includes Tom Hanks in Turner and Hooch, Robin Williams in The Best of Times, Mel Gibson in Air America and Sylvester Stallone in Stop! Or My Mom Will Shoot.

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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