Old MCN Blogs
David Poland

By David Poland poland@moviecitynews.com

Bookish Bedfellows, Guerilla Gold: Focus Features in the News


When you are hot, you are hot, I suppose, and nobody knows this better right now than the folks over at Focus Features. Variety tunes readers into no fewer than three Focus tidbits this morning, starting with the revelation that Universal’s specialty boutique is no longer just in bed with Random House, but actually fucking the publisher. In the first sweaty throes consummating the pair’s late-2005 deal, Focus has settled on two politically themed books for development in 2006: Yasmina Khadra’s suicide-bomber mystery The Attack and Bob Drogin’s US intelligence indictment Curveball.
And then there is the sweet PR newsflash that Focus distribution cap’n Jack Foley is in line to receive the Variety Boys and Girls Club of Queens’ humanitarian award at the group’s annual get-together June 14. No word yet if this is connected at all to the provenance of those Brokeback Mountain shirts whose auction has drawn $20,000 in pledges so far to the charity’s LA wing–not that that matters, I guess. Congrats to Jack!
Speaking of Brokeback Mountain, the Carpetbagger may have had it right this morning when he mentioned that Universal’s flagship Munich could be drilling a hole in Focus’s Oscar dinghy: Check out the smashing new Brokeback promos littering L.A., for example. Spielberg gets the full-page Times ads, and Ang Lee gets a Depression-era canvassing job right out of The Bicycle Thief.
But hey–that is quintessential Focus spunk, right there. Co-presidents David Linde and James Schamus did not get where they are for nothing, although they might have been wise to parlay the proceeds from their film’s shirts into renting out a biplane to drag their huge FOR YOUR CONSIDERATION… banner over Hollywood for a day or two at the end of the month. That thing has been sitting in Schamus’s office since Thanksgiving, for Christ’s sake.

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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