Old MCN Blogs
David Poland

By David Poland poland@moviecitynews.com

Cinematical Switcheroo: Longworth Out, Rocchi In

A Reeler source sends word that Brooklyn’s own Karina Longworth is heading out and critic James Rocchi is moving in as editor over at Cinematical. The changeover takes effect March 1, launching Longworth–the prolific blog’s founding writer/editor–into the troposphere of the Weblogs Inc./AOL empire.
My iconic Swedish alter ego caught up with Longworth on AIM just a bit ago to confirm:

karinalongworth: The new project is really exciting, and ill still get to do event coverage for Cinematical, etc

karinalongworth: My official title is going to be editor emeritus, I think

Sven Nykvist: That is awesome

karinalongworth: Am I the youngest editor emeritus in the history of the Internet?

Sven Nykvist: It is altogether possible…

Sven Nykvist: If not guaranteed

karinalongworth: Well, I’ll make the claim until proven wrong

Sven Nykvist: But also quite noble, fairly sexy

Sven Nykvist: Distinguished as hell

karinalongworth: Right. Its all 3 martini lunches from here on out

“I’ll essentially be working on special projects for Cinematical–podcasts, festival coverage, etc.,” Longworth wrote. “I’ll also be writing a weekly column on industry goings-on, tentatively titled ‘Laws and Sausages.'” Yes, really. She also noted that Rocchi has additional big plans for the blog in the future, and while I am sure they are great, I think I speak for all of Cinematical’s readers when I declare how much we will miss Longworth’s regular contributions.
However–*sniff*–we must persevere, if only to find out how she graphically she ties Bismarck’s old “Laws and Sausages” quip to the industry we hold so dear. Best of luck, Karina.

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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