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David Poland

By David Poland poland@moviecitynews.com

Super Sunday Line Up

The movie line-ups are set. For Super Sunday. Studios are paying $1.3 million for 30 seconds of Super Bowl advertising hoping to become the next ID4 or Men In Black. Is it worth the money? Probably not. If you don’t blow up the White House or offer something no one’s seen before, the time probably costs more than it’s worth. This year’s 30-second stars will be Sphere (opening in a few weeks), Lost In Space (opening in a few months) and The Mark of Zorro (opening this summer). MIB studio, Sony, apparently got the idea that laying out $1.3 million for Godzilla to go Super was unnecessary given the already huge wave of anticipation, thus the Zorro ad instead. But who knows? Maybe the lizard will make a surprise appearance. Going the full monty is Disney’s Armageddon, which will get the meteor rolling with a full $2.6 million minute. Trying to establish itself as the surefire runner up (or better) for summer, Disney is hoping that size does matter.
After turning the Bond series a little upside down as a woman who could whoop butt with the best of `em in Tomorrow Never Dies, Michelle Yeoh is hot, hot, hot. Even before signing Yeoh to a deal, United Artists has signed Mitch Markowitz, screenwriter of Good Morning, Vietnam, to write a kind of inverse, comedic The Bodyguard to star Yeoh and a male comic. Proceeding in the script development process without a star isn’t that unusual, but Yeoh will be pretty much irreplaceable, having created her own category of studio starlet.
Speaking of spec purchases, Hollywood Pictures has forked over $600,000 for the English-language remake rights to Kiler, a Polish action comedy, with hopes that it will become a Barry Sonnenfeld comedy in the future. Kiler, which translates astonishingly to Hitman, is the story of a taxi driver mistaken as a hitman who then decides that maybe the job isn’t such a bad idea. The film is the highest-grossing film ever in Poland, which sounds like the set-up for a joke, but isn’t.

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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