Old MCN Blogs
David Poland

By David Poland poland@moviecitynews.com

Screening Gotham: Jan. 13-15, 2006


A few of this weekend’s worthwhile cinematic happenings around New York:
–We can argue forever about which NYC theater programs the best midnight movies. But this weekend, every other cinema in town can kiss the Sunshine’s ass as The Muppet Movie takes a packed house of adoring viewers into the wee hours. Is it a kids film? Is it a cult classic? A musical muddle of kitsch, cameos and talking socks with eyes? It is all of these and much more–a classic ’70s archetype as enduring (and endearing) as The Godfather, Jaws or Shaft. Plus it features Orson Welles. This debate is over.
–This just in from Craigslist:

Howdy neighbors,

Have you seen March of the Peguins? [sic]

Well, have you seen it on the Inwood Hill Nature Center’s 42″ Plasma
T.V?!

Bring the kiddies to the Inwood NC’s first movie night.

Saturday, January 14th at 4p.m. at the Inwood Hill Nature Center (218th/Indian Rd.-Inside the Park)

March of the Peguins [sic]

Movie goodies provided!

Free!
Free?
FREE!

Bill, the Inwood Hill Nature Center Coordinator

Radical! Thank you, Bill.
–I know, I know: “So, Stu, why are you shilling again for the Pioneer Theater?” Because it fucking rocks is why. I could get all righteous about “underground filmmaker”-this and “independent cinema”-that, but its eclectic, egalitarian, NYC-centric calendar speaks for itself. This weekend alone, you have the DIY enterprise Threat, the 9/11 documentary Liberty Street: Alive at Ground Zero and the especially intriguing collection Cine-Poetry on the Web: A Year of ScratchVideo.TV, which Pioneer programmer Ray Privett describes as “my favorite vlog”:

Every couple weeks, videomaker Charlene Rule posts a new little episode, dealing with some eccentric event in her life. In Dearest Geraldine, Rule engages in a conversation with someone who had telephoned her by mistake. … The episodes are almost always disjunctively edited, suggesting an endlessly curious videomaker whose consciousness darts about the world around her seeking insight and beauty. Fortunately, she is willing to share.

Or, hey, I don’t know–you can always go burn $11 to watch Hostel. Your call.

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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