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David Poland

By David Poland poland@moviecitynews.com

Tuesday Blog Blues

There is really nothing to write about or think about today. Is there?

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One Response to “Tuesday Blog Blues”

  1. jesse says:

    Here’s what I was thinking about today, moviewise: You mentioned a few weeks ago how unlikely we are to see a $100 million grosser before November. Right now it’s hard to see anything as lofty as a $75 million grosser!
    As crowded as the limited-release schedule is, the wide-release schedule is moving along at about two movies per weekend, every week until November (and then the first two weekends in November have something like six or seven high-profile releases). And few of the movies are sure bets.
    It looks like a more sluggish version of last fall, where lots of titles fell between 50 and 80– I’m predicting a lot of movies nestling in between 30 and 60.
    Shark Tale will perform like a latter-day Disney hand-drawn movie– fine but not unspectacular. The Grudge should do well, having the horror market cornered, but will it be dismissed as a poor substitute for The Ring? I sense Team America will be a decent-sized hit, but the South Park movie only made about 50something, so how well can a “from the creators of South Park” campaign work? And I think Friday Night Lights and/or Ladder 49 will connect. But can any of these (besides maybe Shark, even if it’s disappointing as many are suggesting) hit 70 or 80 million? It’s hard to picture it, at this stage. Even harder to picture Taxi, Surviving Christmas, Alfie, First Daughter, and The Forgotten opening to more than low double-digits at best (although at least a couple of those look intriguing). There are so many weekends that would be wide open if a studio wanted to open something exciting– 9/24, 10/8, even 10/15 only has a freaking puppet movie to deal with.
    Then there’s Incredibles/Polar Express/Christmas with the Kranks in one month… Blade: Trinity and Ocean’s 12 in one *weekend*… The Aviator, Spanglish, and Lemony Snicket in another… they may all do well, but what’s with all of the clumping??

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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