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David Poland

By David Poland

Remember, Remember The Sixth Of August

It is easy to give short shrift to the short doc category at the Oscars, but after seeing all but one of the short docs that are nominated, I have a pretty distinct favorite.
Steven Okazaki

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9 Responses to “Remember, Remember The Sixth Of August”

  1. joefitz84 says:

    Some network or cable station really has to get on the ball and start creating blocks to show these small films, the doc’s, the Oscar nominated shorts, etc. There is a market for this stuff. Because it is a shame that it never gets seen except by industry people.

  2. Wrecktum says:

    Isn’t that what IFC or Sundance Channel is for? Do they even show stuff like this anymore? Everytime I turn to IFC these days it’s some stupid “original series.”

  3. PetalumaFilms says:

    I live North of San Francisco and some of the art houses here chunk up all the short docs and animation docs and run them. They should do more of that…

  4. PandaBear says:

    IFC and Sundance should be showing things like this. Yet, they show originals or bad movies. IFC has been a complete disappointment as a channel.

  5. Wayman_Wong says:

    Thanks, Dave Poland, for plugging these Oscar-nominated docs: Steven Okazaki’s ”The Mushroom Club” and Dan Krauss’ ”The Death of Kevin Carter.” For those of you who live in New York City, there’ll be a ”Docu Day,” where the various feature and short documentaries will be shown on Saturday, Feb. 25, from 10 a.m.-midnight. They’re being presented by the International Documentary Association and the Sundance Channel. And they’ll be shown again in Los Angeles on their ”Docu Day,” Saturday, March 4. For details, go to
    Congrats to all the documentary filmmakers and break a leg on Oscar Night!

  6. Charly Baltimore says:

    There has been some really good doc’s lately that just don’t get publicity or play anywhere.
    Hopefully this changes. There is a market for them out there.

  7. James Leer says:

    Oh, man of many aliases. I love it when you state the obvious.

  8. Charly Baltimore says:

    You can also call me Sam Caine.
    If it was so freaking obvious why don’t doc’s get they get any pub?
    Should we hire you to work in the PR dept?

  9. jeffmcm says:

    Well said. Why don’t docs get they get any pub?

Quote Unquotesee all »

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