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David Poland

By David Poland poland@moviecitynews.com

Monday Night Live: Beastie Boys Party Overruns Sundance

Last things first, at least vis a vis Monday at Sundance. While an underachieving movie-viewing day left me with a single film under my belt (Art School Confidential, but more on that later), a few trips around town culminated in the Sundance party to end all Sundance parties: The Gen Art/MySpace.com event, during which the Beastie Boys played a full set for about 1,000 partygoers at the Park City Mountain Resort.

Picture if you will: The Beastie Boys tearing it up Monday night on the mountain (Photos: STV)

Not like they just showed up in Utah for a one-off or anything. The Beasties’ Adam Yauch (aka rapper MCA, aka director Nathaniel Hornblower) is the man behind Awesome: I Fuckin’ Shot That!, the trio’s Sundance-entry concert film comprising video footage shot by audience members at a 2004 show at Madison Square Garden. Awesome enjoyed a pair of sold-out festival screenings Saturday and Sunday, and Monday’s party resulted in another capacity turnout to celebrate both the film and all the Gen Art goodness (and genuine balls-out fun) we concertgoers could stand.

As you can see to the right, I dusted off my most dramatic dance moves just for this event, wowing the crowd and earning just enough tip money to pay my cab fare back down the mountain. OK, fine–that is not me. Rather, it is festival director Geoff Gilmore, letting the independent spirit move him as never before. OK, fine–that is not Geoff Gilmore. It is Michel Gondry, all stoked and shit at having pawned off his festival entry The Science of Sleep to Warner Independent. OK, fine–that is not Michel Gondry. It is gossip-tard Roger Friedman, whom the publicists forced to break dance for his party wristband. OK, fine–it is not Roger Friedman. It is just some dude who got wasted on free Stella Artois and jumped from the third floor landing. I told you this was a fucking party.
I shall return later today with additional, foggy Monday remembrances and maybe one or two Tuesday news flashes, assuming I can keep up. You know how that goes. The big buzz around Reeler HQ West is Korea’s The Peter Pan Formula and the Crook Brothers’ Salvage, both of which unspool late Tuesday. I vow to make the most of the time inbetween; I have been away from you sweet kids far, far too long.

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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