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David Poland

By David Poland poland@moviecitynews.com

Is It Cash Or Is It Memorex?

I had the oddest experience today. (Well, I have the oddest experiences every day, but…)
Inspired by Walk The Line, I bought a CD set in Toronto called “The Essential Johnny Cash.” Not only did I want to listen to Cash’s stuff after hearing Joaquin & Reese, but on this compilation there were some of the duets between Johnny & June that are in the movie. Cool.
So I listened.
And damned if the film version of the dou felt more energetic and alive than the CD version of the real McCoys. Of course, the versions on film are representations of live performances and the CD has the boundaries of a recording. And T-Bone Burnett is a brilliant producer. But it was still a creepy feeling.
The other oddity is that June sang in quite a different range than Reese does.
Even a standard like Ring of Fire now has the stamp of the movie in my memory… Phoenix’s performance as he sings the song with all the weight of the world on him overwhelms the reality of the great man himself.
It is interesting how this film continues to grow on me.

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5 Responses to “Is It Cash Or Is It Memorex?”

  1. EDouglas says:

    I loved the film immediately, and I’m willing to bet that it will stand up to repeat viewings, which is more than I can say for “Ray”…this film is just more focused and I prefer the more linear approach to telling their story.

  2. Bruce says:

    Ray on 2nd viewing? I don’t know since I never got thru it.

  3. knowitall says:

    You know the same experience that poland talks about with the music from walk the line is one I remember vividly when The Buddy Holly story came out. THis is what happens when they do these right. We fall in love with the music all over again from a different angle into it. Don’t fret Dave. It’ll come back to you…

  4. Wrecktum says:

    I haven’t seen the film so I can’t comment on the performances in it, but I would get Cash’s seminal Folsom/San Quentin albums to hear the real Cash. His studio stuff is great, but it’s the electric live material that kills. If you don’t have Live at Folsom, you haven’t lived.

  5. KamikazeCamelV2.0 says:

    The “Essential” line of albums are a blessing and a curse. With the great line-up they gave us with Bruce Springsteen and co, they’ve also given us The Essential Shawn Mullins! and there’s more where that came from.

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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