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David Poland

By David Poland poland@moviecitynews.com

'Unknown' Gets Watergate Treatment From Washington Post


Just when you thought that the non-starting amnesia documentary Unknown White Male and its condemned distributor Wellspring were getting to the front of the line on death row, the Washington Post’s David Segal creeped in Wednesday with a new round of suspicion about doc subject Doug Bruce (right) just in time for Unknown‘s D.C. opening.
At the time of its New York release lat month, Bruce’s tale of severe memory loss fueled no shortage of skeptics (including yours truly) who thought the story was too jejune and contradictory to believe. Segal revisits the debate to some degree; the standard movie-profile stuff is all here, with a few delicious bursts of animosity (“I was telling his story,” [director Rupert Murray] says at one point. “Not your story, not the story of a journalist. The story of a friend, and I don’t have to [freaking] prove anything to anyone.”) and a supporting role featuring Reeler pal Chris Doyle. But plow through to the end for a succession of scoops that makes GQ’s recent cross-examination of Bruce look like a date with Liz Smith:

In a coincidence that defies Lotto-size odds, Bruce knew a man in Paris who suffered a weeklong bout of severe amnesia and used the ordeal to rethink his life.

According to a former girlfriend, who remains close to Bruce and is convinced he is telling the truth, a friend had an on-field collision during a pickup soccer game, landing him in the hospital without any identification and no memory of his life. His family thought he was dead, until they scoured area hospitals and found him.

It’s not in the movie, but Bruce mentions this episode during the videotaped interviews shot a few days after the alleged onset of amnesia. In a copy obtained by The Washington Post, Bruce says the friend set aside his hard-charging business career and moved to either Bali or Thailand, where he learned to give massages. “And now he heals people,” Bruce whispers.

And then there is Bruce remembering his first rainfall–twice–and the undefined period of Bruce’s life during which he secured his independent wealth. Segal continues:

Why this is a mystery is itself a mystery, but it is a conspicuous obstacle to sifting through Bruce’s past, and it produced this head-scratcher of an answer from Murray. “Somebody told [Bruce] the name of the film, but he forgot it. When I asked him about it recently, he said he thought it started with an ‘L.’ Lllllllle something.”

Oh, sure–you mean LLLLLLLLiar?

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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