Old MCN Blogs
David Poland

By David Poland poland@moviecitynews.com

Screening Gotham: April 21-23, 2006


Some of this weekend’s worthwhile cinematic happenings around New York:
–Fatty Arbuckle was a lot of things: An actor, a filmmaker, a mentor (to Buster Keaton, no less), a classic clown, a literal (300-pound) and figurative (dozens of movies per year) giant of the silent film era. But more than 80 years of myth and rumor has somehow cemented Arbuckle as the one thing he never was: a killer, charged with manslaughter in 1921 and blacklisted for more than a decade after his acquittal. Arbuckle’s tragedy provides the shattering counterpoint to MoMA’s Rediscovering Roscoe: The Careers of Fatty Arbuckle, a three-and-a-half week retrospective as exhaustive as any undertaken in the film legend’s name. This weekend’s programs highlight Arbuckle as the “Box Office Star” and “Sophisticated Director” he became in 1914-15; it peaks Saturday with a program featuring early Arbuckle/Keaton collaborations The Butcher Boy, The Rough House and Coney Island. Ben Model’s organ accompaniment provides the pulse, but as it has done off-and-on for almost a century, Arbuckle’s work provides the light.
–The wordy cinephiles at Reverse Shot appear to have stormed the theater at Makor, where they plan to spend the next week running the Reverse Shot Presents series of new and gently used films. Saturday night’s opener features the Rob Zombie tandem House of 1,000 Corpses and The Devil’s Rejects, followed by a chat with the latter film’s Ken “You Fuck Chickens?” Foree. Next week’s selections are not too bad either, with the New York premiere of Steven Bognar and Julia Reichert’s acclaimed documentary A Lion in the House wrapping things up April 30.
–I should not have to say it again, but the Brooklyn Underground Film Festival has its shit together and you absolutely should go. BUFF’s comedy shorts program Oh My God! goes off at 10 tonight, and ShootingPeople.org and Rooftop Films are buying the drinks for at least part of the dance party that follows. If you survive, there is tomorrow’s Music Showcase at Northsix and another two days of screenings to keep you busy in the run up to Tribeca. Try to behave yourself.

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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