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David Poland

By David Poland poland@moviecitynews.com

John Kerry/Gary Oldman

As John Kerry did his opening weekend chat show tour of New York this week, ending up on Regis & Kelly Lee (I know… joke), wasn’t ti vaguely reminiscent of a hard-ass acting artist like Gary Oldman ending up trying to make conversation with Kelly Ripa?

Personally, the thoroughness of the chat tour made me even more worried about the future of the Kerry campaign. After all, to expose a presidential candidate this way… exactly what every studio publicist wants for every movie star on every movie, access to every show in the same week… suggests to me that his people are desperate to make a connection to the “regular folks” of the world that they know they don’t have. When Clinton played the sax on Arsenio, that was a major national event. John Kerry reading the Top Ten on Letterman was nothing more than a footnote on the Dan Rather self-immolation story.

Regis & Kelly!!! He was on with Tiger Woods and Gary Sinise… and if it weren’t for the shock of a presidential nominee coming on, he probably would have been the third guest to come out. After all, Sinise al least has 24 episodes locked.

All that said, I can’t wait to see his hour with Carrie Fisher!

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2 Responses to “John Kerry/Gary Oldman”

  1. Eric says:

    The odd thing about Kerry is that he often does better in voters’ minds when he’s not visible at all– a peculiar trend has been noted in which Kerry’s approval numbers go up when Kerry himself is on vacation (and thus out of the spotlight).
    The likely reason for this is that voters, when Kerry’s gone, forget about how unlikable Kerry is; thus, with the focus exclusively on Bush, they remember what an awful job he’s doing. This view is both cynical and accurate.
    If Kerry wants to stay afloat, he needs to stay away from Letterman, Jon Stewart, Regis, et al. He’s terrible on those shows. His performances on them are so vacuous that he even makes the hosts themselves look amateurish, as they struggle to coax a performance out of Kerry.
    People like Bush’s personality (even though it’s a bogus construct). Kerry can’t compete there, so his best option is to look presidential at the debates, pump out good commercials, and stay off-camera for the rest of it.
    Of course, all of this is a diversion. The media seems capable of focusing only on the candidates’ personalities, real or imagined. If there was a genuine discussion of the issues, I personally feel Kerry would win in a landslide.
    I know politics isn’t the Hot Button / Blog’s typical topic, but I couldn’t resist weighing in. Love your writing, David.

  2. bicycle bob says:

    theres a better chance of sky captain winning the oscar for best picture than kerry has of winning the election. he was the worst candidate they could have put up. he has no views. no thoughts. no accomplishments. and no liberal from mass is going to win a national election.

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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.”
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“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