“”Nobody likes to think of themselves as being from Los Angeles,” Mr. Calley said. “I don’t know anybody that wants to be buried here. I think it was less about that or any problem with ‘Brokeback’ than in the end, it comes down to a subconscious shuffling of the pecking order and you just go with the film that was most affecting to you personally.”
From David Carr’s unblogged Oscar story
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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
“”Syriana” writer-director Stephen Gaghan pursing his lips and declaring: “These organized campaigns for Oscars, it’s gross. I can’t do it. It’s just not in me. But you only need 700 votes to win. I do know one actor who personally talked to 700 members of the Academy.” “Syriana” Best Supporting Actor nominee George Clooney? Gaghan just laughed.”
All Crash needed was a small segment of that market to turn over and switch up.
This was the same basic argument for why Million Dollar Baby won last year over The Aviator: because it emotionally affected people more.
Which basically means that not only are the Oscar voters intent on making political statements, but they’re emotionally stunted, too.
“”Nobody likes to think of themselves as being from Los Angeles,” Mr. Calley said. “I don’t know anybody that wants to be buried here.””
Go to hell you elistist bastard. I live in L.A. and I’m proud to live in L.A. Go back to whatever podunk town you’re originally from, you hack.
What’s he have against LA? Except the traffic I’m a fan.
“”Nobody likes to think of themselves as being from Los Angeles,” Mr. Calley said. “I don’t know anybody that wants to be buried here.””
Is there anyplace in the United States other than New York City that these people don’t detest?
New York? The number one target for terrorists and other bad guys?
if u detest new york u have never been to new york and u only know about it from movies. no city can hold a candle to ny.
Hollywood detests New York as much as any city. They detest every place except Paris.
Paris can do no wrong.
It is common sense. Choosing the film that affects you the most.
Paris? The city that got obliterated in Armageddon because Bruckheimer realized the movie needed some extra pep in the final act?
Face it: Hollywood hates everyplace equally (except for the parts of the world they don’t know exist, like most of Africa, Latin America, and Asia).
just because a city gets tanked in a blockbuster because its cinematic doesnt mean hollywood hates it. whats better on film? the eiffel tower going down or some building in prague?
hollywood is predictable. if ur from ny ur a boorish lout who is too smart for his own good. if ur from la ur on ur high horse and too rich for ur own good. if ur from middle america ur a down on his luck country bumpkin. if ur from the south ur a redneck whos not educated but has a heart.
the moral is always blame canada.
I know blogging is fun and all, but is ‘your’ really so hard to type? Jeesh.
u do know what it means though so whats the problem? didnt know this had to be english and grammar 101.
^ It does. Grow up.
^ u. thanks.
Bibob, I’m thinking of your best interests. Your arguments will gain a little more respect and credence if they look like they’re written by somebody using both hands.
thanks for looking out. not gonna change much. i just air my views and thats about it. like em or not. u can’t please everyone. u as much as anyone should know that.
But that’s Alias Man’s shtick for that name. Without that, he’s got nothing!
Also, fuck John Calley. Of course someone with that insular and elitist of a Los Angeles worldview would prefer Crash.
I’m curious when William Goldman will chime in. He usually has a love/hate feeling on the big contenders each year. He seems like the kind of guy who’d love Brokeback and hate Crash.
“These organized campaigns for Oscars, it’s gross.”
Look at the ’98 Oscars — they are now seen as fixed for Miramax.
Miramax had a bad rap there in the 1990’s. Because they were so skilled at attracting attention to their small little films. And getting those films into award recognition.
They had/have a bad rap not for being successful, but for being abusive employers, ruthless campaigners, and filmmakers of poor taste. The success is just the salt in the wounds.