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David Poland

By David Poland poland@moviecitynews.com

Dreamworks Next Big Films

DREAM ON: DreamWorks SKG’s next two “big” films are fleeing fierce holiday competition. Spielberg’s Saving Private Ryan has dumped its June 5 release date, running from Godzilla‘s Memorial Day Weekend footprint to July 24, the slot that launched Air Force One last year. Unfortunately, Harrison Ford is already camped out there with Six Days, Seven Nights. Zorro’s there, too. Something’s got to give. And DreamWorks’ first animated offering, Prince of Egypt, the Moses musical, is paddling from a Thanksgiving collision with Disney and Pixar’s second 100 percent computer-animated film, A Bug’s Life, to the December 18 slot that did so well for them with Mouse Hunt this year. Looks like it will be another year for Steven, Jeffrey and David without a $100 million picture.
JUST WONDERING: Will anyone get near Godzilla? Studios are giving the film a full three weeks to rampage before offering any resistance to the big lizard. What will they do next year with Star Wars coming, concede the entire month of June?
CHAINED TO THE GRIDIRON: Fox will develop a Sports Illustrated article about the big game between Texas State High School Champs, Trinity Christian Academy, and the Giddings State Home. That would be a youth prison, folks. One possible title for this kids’ version of The Longest Yard? Catholics vs. Convicts: The Movie.
BARNEY FIFE RETURNS: You’ve all been waiting for it! Jim Carrey is ready to start work on a remake of the Don Knotts classic The Incredible Mr. Limpet. The story about a man who turns into a Nazi-hunting animated fish will use state-of-the-art human to fish computer technology. Glub, glub, glub.
ALWAYS BET ON BLACK: Fox 2000 continues to be the best home for black filmmakers in Hollywood. Since hitting the jackpot with Soul Food, the team of George Tillman and Robert Teitel are going full speed ahead. They are working on “Soul Food: The Sitcom” for next fall, a drama about the Navy’s first black salvage diver called, simply, Navy Diver, and a romantic drama called Love Supreme. You go, boys!
READER OF THE DAY: From Arriflex: “I didn’t love Half Baked, I did enjoy parts. The theater I saw it in was packed with kids that looked too young to be in an R-rated movie. But listening to them laugh and holler and go nuts, one would think this year’s Oscar will go to Half Baked.” — Arriflex

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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