Old MCN Blogs
David Poland

By David Poland poland@moviecitynews.com

Screening Gotham: Feb. 24-26, 2006


A few of this weekend’s worthwhile cinematic happenings around New York:
–Another winning weekend is shaping up over at the Museum of the Moving Image, where curators have organized a three-day tribute to the late Richard Pryor. The Museum begins the series tonight at 7:30 with a panel discussion featuring Paul Mooney, Lonette McKee and historian Mel Watkins; bits from Pryor’s stand-up performances will be screened throughout. McKee will return tomorrow to chat about Which Way is Up?, while Mooney will be on hand Sunday to present vintage highlights from the short-lived The Richard Pryor Show (to which Mooney contributed his own brilliance as a writer). This is a rare chance to catch Mooney off-Broadway, without Caroline’s cumbersome drink minimum and lousy opening act. I hear Pryor is funny as well.
–The Fourth Annual Red Shift Film Festival moves into Anthology Film Archives, featuring a selection of work by emigrants from the former Soviet Bloc. This year’s theme is “Transit Cinema,” the kind of fascinating qualities of which I shall leave it to the programmers to define:

Today we are embarking on a new mission–to gather and exhibit films and videos made “IN TRANSIT,” by travelers, nomads, pioneers and migrants of all backgrounds. We realize that the outsider, the one who leaves home, who crosses borders or who speaks multiple languages, develops a special way of seeing and relating to the world–a perspective that transcends cultural boundary walls, or tunnels through them–a vision, penetrating and panoramic, which can yield images of unique insight and enduring meaning for everyone.

Come on. Try to tell me you are not intrigued. We are so, so there.
–Hey, here is an idea: Check out all the Best Documentary Oscar nominees this weekend, starting with Marshall Curry’s Street Fight at IFC Center. I am sticking by my July ’05 prediction that Murderball is the film to beat, but Curry’s doc or Alex Gibney and Jason Kliot’s Enron: The Smartest Guys in the Room are almost equally sublime intrigues in their own right. Darwin’s Nightmare is now available on DVD for your viewing and clinical depression convenience, as is March of the Penguins. Except for that part about the clinical depression–Penguins threatens something more along the lines of insulin shock. Yes, it will hurt, but at least you’ll be prepared come Oscar night. Deal with it.

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One Response to “Screening Gotham: Feb. 24-26, 2006”

  1. Sanchez says:

    Richard Pryor may just be the greatest comedian ever.

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