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David Poland

By David Poland poland@moviecitynews.com

Early Tracking on 'The Departed' Reveals a Dissatisfied Christopher Doyle


In the lingering PR hangover accompanying the New York Film Festival’s recent schedule announcement, a colleague and I bandied about a few titles we thought belonged on a short list for opening night. I ultimately suggested Marie-Antoinette (before yesterday’s critical gang rape, natch) while my knowledgeable pal stuck with the Warner Bros. motif in citing Martin Scorsese’s The Departed, which is evidently locked into an Oct. 6 wide release. (The NYFF starts Sept. 30.)
But another old friend of The Reeler’s indicates (via Grady Hendrix) that we shouldn’t be getting our hopes up for Scorsese’s red-carpet saunter through Lincoln Center either:

The Departed also gets a gift of some choice words from Christopher Doyle, Hong Kong’s acclaimed cinematographer and the visual consultant on Infernal Affairs. Saul Symonds, a writer in Hong Kong, interviewed Doyle and these are the outtakes, which are fascinating. Here’s what Doyle had to say about The Departed:

“I find it disappointing if not depressing to see someone of the integrity and scholarship of Marty:

1) apparently not knowing or caring where the original originates from (which I find insulting to our integrity and efforts…when of all the filmmakers in the world Marty is the one who pretends to celebrate excellence and integrity and vision in cinematography)

2) needing to suck box office, or studio, or whoever’s dick he feels he needs to suck…it can’t be for the money…it can’t be for the film (for the reasons above)…it must be just to work…which is mostly my motivation most of the time…but to have something fall into one’s lap because one is supposedly competent in a certain kind of filmmaking is exactly why we are moving on and accountants are making non-subtitled versions of what we do.

There is a little more over at Hendrix’s Kaiju Shakedown, and of course it is worth the read. Meanwhile, The Fountain just moved into the front-runner spot for opening night, assuming Doyle doesn’t empty his clip on Darren Aronofsky for debasing himself with cocksucking time-travel films or something. Anything is possible, and God knows it is a long way to September.

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2 Responses to “Early Tracking on 'The Departed' Reveals a Dissatisfied Christopher Doyle”

  1. prideray says:

    Fuckin’ Chris Doyle. Fuckin’ a.

  2. A says:

    How odd. This interview with Doyle is from last year and comes from Saul Symonds at http://www.hkfilmart.com/

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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