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David Poland

By David Poland poland@moviecitynews.com

NYU Strike Costs Cinematographer Ties, Decades of P.C. Street Cred

This week’s New York Magazine features a short item about the latest adversity to befall New York University in its continuing graduate assistant strike. According to NYM’s Shana Liebman, the International Cinematographer’s Guild has effectively broken off its relationship with NYU’s film school:

The Guild’s protest … means the country’s most prestigious and progressive film school (Spike Lee is the artistic director) will lose out on the lectures, seminars, and networking opportunities with professionals to which it has become accustomed. John Amman, a business representative of the ICG, says it’s a matter of solidarity. “We’re not doing this to punish the students. But not doing it would be the equivalent of crossing the graduate students’ picket lines,” which his group—many of whose members graduated from Tisch—feels obligated to support.

But if ICG is not punishing the students, then its action seems intended to punish the university, which in the end represents pretty much the same thing, does it not? In other words: Please do not piss on their shoes and tell them it is raining.
Seriously, what those disgruntled students need to do is jump ship for NYU journalism; when I was there, anyway, we could get just about any of those sanctimonious Hollywood types to cross a picket line for us.

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One Response to “NYU Strike Costs Cinematographer Ties, Decades of P.C. Street Cred”

  1. ManWithNoName says:

    As an NYU grad, this disgusts me. These grad students are getting free tuition and a yearly stipend. I’d love to have my education paid for in exchange for grading some papers and teaching a few classes!

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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