Old MCN Blogs
David Poland

By David Poland poland@moviecitynews.com

Screening Gotham: March 24-26, 2006


A few of this weekend’s worthwhile cinematic happenings around New York:
–There are a few films every year for which the critical reception resembles an especially fulsome pissing contest of hyperbole. In 2005, for example, The New World and A History of Violence sort of cornered the market on purple-prosed oneupsmanship among the “Take” poll crowd, while 2006 seems to the Year of a Thousand Blowjobs for the Dardenne brothers and their new film L’Enfant.
Although I went on the record last year with my own impressions, I really do not have anything to add for or against it. But what I do recommend is avoiding any more reviews of the film until you have seen it yourself; the story of a petty criminal whose garish irresponsibility compromises the lives and souls of everyone around him, L’Enfant has more to offer than a testing ground for the bons mots critics will eventually harvest for their year-end Top Ten lists. And make no mistake: You should see it, but without an allegiance to the burdensome analysis that the Dardennes’ simplicity both invites and repels. In other words: Do not feel bad if the final credits are not interrupted by a shattering Earth. But do expect something worth at least the 90 minutes you paid for.
New Directors/New Films is underway at MoMA and Lincoln Center this weekend, with a handful of those selected few scheduled to meet Sunday morning at the Walter Reade Theater for a discussion sponsored by HBO. You already know New Yorkers Ryan Fleck and Anna Boden (Half Nelson) and Ramin Bahrani (Man Push Cart) from Sundance, while Sarah Watt (Look Both Ways) and Aureaus Solito (The Blossoming of Maximo Oliveros) will also swing by to chat up their own flicks.
Incidentally, the brilliant Man Push Cart gets what I’m fairly certain is its New York premiere tomorrow at 6:30 p.m. at the WRT, while Ian Gamazon and Neill dela Llana’s riveting no-budget thriller Cavite gets a spin over there Sunday afternoon at 3. Sure, they might be getting distributed later this year, but only once can you say you knew them way back when.
–Director David Redmon and producer Ashley Sabin will be at Cinema Village this evening at 7:45 to introduce and discuss their acclaimed documentary Mardi Gras: Made in China. You might have heard about it: The filmmakers followed the path of Mardi Gras beads from their source in bleak Chinese manufacturing plants to the ribald streets of New Orleans. Revelers come face-to-face with laborers via video, you get all outraged about globalization and then remember that we are all fucked anyway so you might as well just go drinking. With this in mind, the producers have conveniently arranged an afterparty tonight at Antimart in East Williamsburg. Guilt is always more fun in a crowd, anyway.

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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