Old MCN Blogs
David Poland

By David Poland poland@moviecitynews.com

NYC Transit Strike: Do Not Panic, The Sopranos Took the Week Off


So New York’s transit workers are officially on strike, and most of the reports I have read so far today say the city is either “plunged into chaos” or “in gridlock.” It is, however, fairly quiet outside The Reeler’s uptown Manhattan HQ, which should not be too surprising considering no private vehicles carrying fewer than four passengers are allowed below 96th Street.
Inside, of course, I am freaking out about getting to the plane I have to catch this afternoon at JFK. But as Reuters implied last week, the NYC film community as a whole faces major hassles of its own. The Reeler now hears that not only have emergency transportation regulations nullified the City Film Office’s special parking permits, but the free NYPD support customarily offers to location crews has been yanked. (City officials claim NYPD overtime could reach $10 million per day as the strike drags on.)
NYC Film Office representatives were unavailable for comment this morning, as was a spokesman from Kaufman Astoria Studios in Queens. A source at Long Island City’s Silvercup Studios indicated that most of the productions based there (including The Sopranos) has taken the week off as a holiday, and that no other production delays he knew of had arisen because of the transit strike.
Meanwhile, a representative for Brooklyn’s Steiner Studios told me that the only problem to arise was a little more protracted commute. “A lot of people who work here live in Brooklyn, so they carpool,” the source told me, asking not to be named. “Everything’s pretty much taken care of right now, but who knows, if it continues?”
Who knows, indeed. One guy who might know is Transit Workers Union Local 100 boss Roger Toussaint, whom I would like to bug for a ride to the airport after he has dropped off a few of his biggest fans on Craigslist (via Gawker). We have to have four to a car, anyway, right? Then he can go downtown and help out whatever half-dozen Law & Order episodes the stoppage so cold-heartedly paralyzed. Deal?

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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