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David Poland

By David Poland poland@moviecitynews.com

Screening Gotham–International Edition: March 17-19, 2006


A few of this weekend’s worthwhile cinematic happenings around New York:
–Fuck the Irish on St. Patrick’s Day and go to MoMA, where the museum’s Canadian Front program rolls on today with a trifecta of premieres from our northern neighbors with all the universal health care. Carl Bessai kicks things off with the U.S. premiere of his Unnatural and Accidental, followed by Amnon Buchbinder’s Whole New Thing (right) and Allan King’s nursing home documentary memory for Max, Claire, Ida and company. And Sunday, you can really make things multinational as French Canadians Denis Côté and Denise Filiatrault crash the party with their respective premieres Drifiting States and My Life in Cinemascope/Bitter Memories. You may have to read a few subtitles, but it beats stepping in some hungover junior investment banker’s vomit.
–Anthology Film Archives this weekend offers up the complete work of China’s young master Jia Zhangke. A lot of critics will jump behind Platform as kind of the be-all, end-all of contemporary (and even classic) Chinese cinema, but I think I will have to go with The World for its shattering view of youth working at a Beijing theme park, swallowed by distorted visions of world-famous tourist attractions. Slow, cool and revelatory, with a mind-blowing opening shot foreshadowing the desperation to come, it is cinema of the highest order.
–So let’s say you are like me and got shut out of last summer’s wildly popular engagement of The Conformist at Film Forum. You are in luck: The Leonard Nimoy Thalia will screen Bertolucci’s masterpiece in all it colorful glory Sunday afternoon. Plan now, leave early and do not screw this one up.
(Photo: Chris Reardon)

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One Response to “Screening Gotham–International Edition: March 17-19, 2006”

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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