MCN Blogs
David Poland

By David Poland poland@moviecitynews.com

Bits of News

YOUTHANIZING MIKE: Or is that euthanizing? Michael Douglas seems to be chasing his childhood with a passion. He’s hopping from an on-screen romance with 24-year-old Gwyneth Paltrow in A Perfect Murder to his first full-bore action film, U-571, a World War II thriller. Like the old saying goes, if the war fits your age, fight it.
COMIC TAKE: Six comic book movies were made last year. Only two (MIB and Spawn) were hits. The rest were flops. But studios keep buying. This week it’s Dylan Dog, a detective who’s not actually a dog, bought by Miramax for $750,000 against $1.5 million. So add some watercolors to those sharpened pencils when you shoot for the big screenplay sale.
DADDY DEAREST: The man who is attached to direct the eventual live-action version of Dylan Dog is Breck Eisner. Yes, he’s the son of Michael “I Want To Devour The Entire Planet” Eisner. But it’s hard to get worked up about the idea that nepotism is at play. Little Eisner, 27, was the director behind the Budweiser frogs, the Jason Alexander Rold Gold spots and blurbs for Coke, Sega, Kodak and Zima as well. That’s now the traditional route to feature directing.
JUST WONDERING: Why would Sony hire Danny Cannon, director of Judge Dredd, to direct the sequel to I Know What You Did Last Summer? Even if you write off his mega-flop, the guy is a comic book visualist. IKWYDLS is a small-town character piece with horror added. Doesn’t make sense, does it?
READER OF THE DAY: From John H, responding to an old Whole Picture: “‘THX’ refers to the sound system in theaters so designated, whereas the digital formats you refer to (DTS, SDDS, Dolby Digital) are the sound format of the film itself. Therefore, these are separate types of ‘hardware.’ A poor analogy: Tires and wheels; they’re not the same, but they work together.”

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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