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
What a horrible business to be in, when you open a movie to $47 million and you’re desperately hoping to become ‘the comeback kid’.
Jesus.
Not only that
Yeah, I tivoed this before I went to bed, I’ll catch it later today. Good for Tom.
I know Paramount’s the distributor and all, but aren’t the M:I’s a Cruise/Wagner production? It’s not like he won’t get work since he’s responsible for making M:I’s to begin with, and making them as successful of a franchise as they have been. and M:I 3 is doing great overseas I thought.
like jeffmcm mentioned, how is $47m a bad opening weekend?
oh yeah, that song by Kanye is not nearly as good as the M:I remix by U2’s Larry Mullen and Adam Clayton, or even as good as that terrible Metallica song on the M:I 2 soundtrack. but I think both were hits, while Kanye’s clearly won’t. Hit songs can help sell movie tickets.
I think movie studios have forgetten the importance of good songs in movies and/or sountracks, and how they do influence the box office. they just don’t do it right anymore. maybe Hustle and Flow was good, but when “It’s Hard Out there For a Pimp” is Best Song from a film, that’s not saying much about music in film.
You’re watching a lot of TV these days, Poland…
First of all, Kanye’s new song should not be compared to a remix…rather compare it to Kanye’s remix of Lalo Schifrin’s theme (unfortunately, I don’t think that’s very good either).
Secondly, have you seen Hustle and Flow? If not, you have no idea how well it was used in the film.
If you’re planning to release a sountrack and you have a single/video promoting it, you better have it be as good as your single for the previous films. Or at least catchy. Kanye’s just isn’t. Then again, I think Kanye is very overrated.
I don’t care how well the song is used in the movie (Hustle and Flow), the song stinks. I’d say the worst Disney movie song in the last 17 years is better than that. You know why the Academy nominated it? Because of lack of original songs to begin with, and the Academy is trying to show they’re “hip” like when they nominated and awarded “Lose Yourself.”
The use of that song in HUSTLE AND FLOW is one of the single best movie moments of 2005. You really should understand what you’re talking about before you dismiss it.
“You know why the Academy nominated it?”
Yeah, they actually saw the movie. And Lose Yourself was heavily incorporated into the movie through the script and “score.” Isn’t that the essence of marrying image and original music together?
“I don’t care how well the song is used in the movie”
Then what is your criteria? Do you like hip hop at all?
Do you have evidence that Cruise scheduled this appearance because of disappointing weekend numbers? Also, arent’t the numbers closer to 48 million? I’ve seen comments on other blogs and messageboards round down to 40 million dollars.
Now it’s apparently cool to jump on the hate-Tom-Cruise-bandwagon. I wonder what his next project will be. If he goes with a big film and it comes back with “disappointing” figures similar to M:I3, or if he does a smaller drama and it only makes 50-60 million.
I don’t care how the song is used because the song sucks. period. If a song can’t stand on it’s own without it being a part of the plot of some movie, then it doesn’t deserve to be praised.
do I like hip hop? I prefer singing over rap any day of the week. maybe Three-Six Mafia ten years ago. but god, is the “playing this messed up game” story in every hip-hop/rap song so played out. and it’s a boring song.
but I’m going to rent Hustle and Flow this weekend, just to see if my life will change from this one scene. I doubt it.
Well, Cruise has a lot invested in this film, so I’m not surprised. Heck, if I were him, I’d be showing up at various theatres to do a meet and greet to anyone who buys tickets. He has a lot to lose if this movie tanks any more than it has.
Well, brack, if you don’t like rap, that’s one thing…but believe it or not, there is a distinction between good rap songs and bad ones.
“but god, is the “playing this messed up game” story in every hip-hop/rap song so played out.”
That has been a theme of rap music (and largely the root of its invention) for 25 years and before that the outlaw music of Johnny Cash. It’s about as played out as love songs are.
a good rap song is never as good as anything that’s sung well. singing just sounds better.
hip hop beats are too simple and unimaginative for the most part, and doesn’t take a whole lot of talent to make. that doesn’t mean I don’t like repetitive music, but make it fun for the listener and not be some egotrip about how hard your life is.
this is a gansta rap song. this isn’t “good” rap.
and telling me “it’s hard out here for a pimp” isn’t saying anything. I can imagine it is. because, gee, I don’t know, YOU’RE A PIMP you idiot.
Heartache is a lot more universal than songs about ganstas. and Johnny Cash didn’t rap.
“singing just sounds better. hip hop beats are too simple and unimaginative for the most part, and doesn’t take a whole lot of talent to make.”
Thanks for the music lesson. I happen to be a huge classical music fan and nothing in most of the canon of classical music approaches the rhythmic complexity of the good rap songs.
“Johnny Cash didn’t rap.”
I meant thematically it’s similar to “gangsta” rap. But some Bob Dylan line deliveries do indeed sound like precursors of rap.
Hope you enjoy the movie.
Don’t agree that Hanks has ever really been away to qualify as being a ‘comeback’ kid. Unless anyone thinks The Ladykillers was going to gross $100 million. Hanks can do what the heck he likes. And does. Wait until Julia Roberts and Mel Gibson step in front of a movie camera again after a long absence. Then they’ll start talking about comebacks.
Though Dr. Wally, many thought a Steven Spielberg/Tom Hanks movie would do better than $80M. But your point is made, we’re not talking Bonfire of the Vanities bad…
But I saw Hanks on Letterman two weeks ago. Does that I guy know how to charm an audience. He’s one of the best “Talk Show” stars probably ever of his magnitude.
“Thanks for the music lesson.”
I wasn’t patronizing you, I was just saying why I don’t think much of rap. but you’re welcome
“I happen to be a huge classical music fan and nothing in most of the canon of classical music approaches the rhythmic complexity of the good rap songs.”
uh huh. lay down the crackpipe G.
You can hardly be considered an impartial judge of quality if you claim to dislike all hip hop. The opinion just doesn’t really carry much weight. I’m pretty selective about what hip hop/rap I do listen to, but I can tell crap from the good stuff. I saw Three-Six Mafia’s perf on the Oscar telecast, and to be honest couldn’t see what the big deal was, even if their win made for some exciting television. But after seeing Hustle and Flow about a month ago (I still don’t know who really should have won that Best Actor Oscar; Ledger, Howard, and Hoffman were all worthy), I can honestly say I think It’s Hard Out There For A Pimp deserved this.
Remember, the award goes to the songwriter, not for the recording. And that scene in the movie perfectly illustrates how a song is born from conception to delivery. It’s really a testament to people making music in any genre. And that’s why it resonates. It really is one of the best fim moments from last year.
As for Eminem, he deserved his Oscar as well. I’m a gigantic U2 fan, but bottom line is that their song was boring as hell and one of their worst. Only people reading the lyrics might get something from relating America’s past struggles for identity with its post-9/11 issues. Eminem’s song was much more urgent, and was a summation of his career and struggle to achieve such. Too bad he wasn’t there to say “Fuck you” to everyone in the audience.
Not every winner can be a legend like Bob Dylan (who also richly deserved his statue), and it certainly shouldn’t be a selection from whatever Disney animated film came out that year. What’s cool now is that you get the sense anyone could win, from any movie, or any genre of music.
brack, I get your opinion of rap. I just don’t think you can judge it using the same criteria as a Broadway tune. I could judge a Broadway tune saying that the entire genre is inferior to a Beethoven symphony but that isn’t saying very much.
I don’t think you’re patronizing…just wrong. Rhythmic complexity is one element where rap music excels (other genres do melody, harmony, form, etc. much better, no question).
Okay…I’m putting down the bud now.
Brack… no, I have not discussed it with Tom’s people. But it is very, very unusual.
And he’ll be on Ellen DeGeneres today with pictures of the baby.
who cares what went into a sucky song? it doesn’t make it any better. believe it or not, I’ve heard the song, read the lyrics, and they’re just not impressive to me. but like I said, it wasn’t a good year for music in film when a rap song that tells a pretty standard story (not the movie, but the lyrics) about ganstas wins the Oscar. or may be I’m just not “hard” enough to enjoy it.
palmtree, I was comparing all singing to rapping, not just Broadway musicals. it actually takes talent to sing. Anybody can talk. true, rappers talk in way they think they sound “cool,” but that’s what it is, sounding cool. you can make any silly lyric work, depending on how you say it. Look at Nate Dogg. His lyrics are terrible, but it’s how he sounds that makes it work. Rap is what it is, but there’s so much more out there that sounds better that I don’t see myself wasting too much time listening to it.
lazaraus, terrible job at criticizing what I said. I never said I hated all hip hop. I just don’t care much for rap. rap isn’t necessarily hip hop. there needs to be some soul involved with hip hop. what does “gotta make the money” have to do with soul? that’s fine if you want to write a song about being a pimp, but realize it comes off as rather silly.
Rap is mostly about bragging, and image. I’m wrong in thinking that?
I never said Eminem didn’t deserve the Oscar. his lyrics tell a story so well that you almost don’t even need to see the movie to know what it’s about — a song that stands on it’s own. “It’s Hard Out There For A Pimp” says only that. It’s hard. wow, you get an Oscar. and you can’t deny that Eminem’s win paved the way for Three Six’s nomination and win, or more specifically to the member wrote it.
I never said the Oscar should go to a Disney movie song automatically. I’m saying they’re generally better songs. what’s wrong with saying that if it’s true?
“Rap is mostly about bragging, and image. I’m wrong in thinking that?”
Yes. It’s a part of it, but if you can’t rhyme, can’t freestyle, can’t flow, can’t use wit, can’t use complex meters, can’t manipulate vocal rhythms, then your “talking” will suck. I challenge you to go to a rap battle where people are improvising for hours on end…it takes a little talent. In the words of Jay-Z, if you can’t respect that, your whole perspective is wack.
Cruise was scheduled to be on both Leno and Ellen a week before M:I 3 even opened. (Back when it was tracking at $80-70 mil.) Other cast members have also been continuing the PR push past OW as scheduled. I think this has less to do with a low first weekend than the realization that it might be possible to roll over Posiedon for a second week at #1.
“It’s a part of it, but if you can’t rhyme, can’t freestyle, can’t flow, can’t use wit, can’t use complex meters, can’t manipulate vocal rhythms, then your “talking” will suck.”
I kinda covered that end with my Nate Dogg example, but whatever.
“I challenge you to go to a rap battle where people are improvising for hours on end…it takes a little talent.”
Emphasis on the little. Kidding aside, rap battling does take talent, but it’s a learned talent that I don’t think is worth my time, because I’m not really the egotistical type, and it’s not that cool of a talent. You think they don’t have a lot of their stuff prepared? Improv doesn’t mean you don’t have material. And it’s stuff you’d never hear on an album, or want to hear for that matter.
Now I think Jay-Z is an excellent rapper. Why? for all the reasons you mentioned, but he also tells a good story, he’s not too negative, and his beats are amazing, stuff that makes you dance. And most importantly, his stuff is FUN.
But rarely do I have fun listening to rap. A lot of it is about being hard, or making money. They also take themselves way too seriously, or are borderline minstrel shows. And you have to have “street cred” to be taken seriously. How silly.
I respect rap, clearly people like it, but Jay-Z’s gotta respect that there’s just better music.
There’s crappy work being done in every genre of music. I don’t see any particular point in dismissing a genre just because other music is “better.” Disney songs are better? How much talent does it take to write some hack song with trite emotion and recycled lyrics sung by a manufactured singer (oh, it’s not like singers have to practice?)? I would argue at least the same talent it takes to produce a decent rap song.
btw, have you ever worked in music before or are you just baiting me?
Thanks for acknowledging the goodness of Jay-Z. That’s something we can agree on.
“I don’t see any particular point in dismissing a genre just because other music is ‘better.’ ”
I’m not dismissing rap, fool, just saying overall, there’s much better music out there for my listening pleasure. And I’ll listen, sure, but rap’s very low on my listening schedule. I’d rather listen to some good EDM, Jazz, Industrial Rock, Classical, or Film Scores over any good Rap. They’re just more interesting. And fun.
Yeah, Disney songs are better than “It’s Hard Out Here For A Pimp.” It’s just not a good song. And who are these manufactured singers you’re talking about?
“oh, it’s not like singers have to practice?”
Of course they do, but you act like rap battling is this amazing talent, but it’s just not that interesting to me. A great voice is amazing. A great rap is, well, nice sounding, but definitely not moving.
“trite emotion”
Yes, you used the word trite, my favorite nonsense word.
Have I ever worked in music? If you mean professinally, no. I’ve played musical instruments. But what does that have to do with anything? And how am I baiting you?
“these manufactured singers you’re talking about?”
Ashley Simpson.
“But what does that have to do with anything?”
Well, you’d know that all improv is based on practiced material for one. Also your criticism of rap music has little to do with the music itself but the imagery that surrounds it. Which is valid but don’t kid yourself that that makes music “better,” which is even less descriptive than trite.
“A great rap is, well, nice sounding, but definitely not moving.”
I’m not sure what this means. Can the recitation of words, as in poetry for example, move you or do they really have to be sung for you to enjoy?
Anyways, this chat has been nice…please let me know what you think of the film that sparked this digression.
“Ashley Simpson.”
Hmmm, don’t remember her doing any Disney movie songs. Remember, we were talking about songs written for film.
“Well, you’d know that all improv is based on practiced material for one.”
Exactly, and it doesn’t sound good most of the time. Rap battles are boring.
“Also your criticism of rap music has little to do with the music itself but the imagery that surrounds it.”
Image is everything in Rap, sorry to burst your bubble. The lyrics reflect the image the rapper is trying to convey. Ya undastand, nigga?
“Which is valid but don’t kid yourself that that makes music “better,” which is even less descriptive than trite.”
No, actually I’m saying the image rappers are worried about makes the music not matter. Because rap is words over beats, if your rap is just about your image, the beats are ruined. I hear so many rap songs and think “man, that’s a great beat. too bad it gets ruined with some guy rapping about how great he is.”
“Can the recitation of words, as in poetry for example, move you or do they really have to be sung for you to enjoy?”
I can enjoy the recitation of words if delivered properly, but I am hardly ever moved by rap. I can barely understand half the rappers out there. And if I do, they have this monotone voice that I just can’t get into the music.
Poetry and Rap are similar, but not the same thing. Rap is concerned mostly about an image, Poetry is concerned about a message. Not all rap, but a majority of it.
This isn’t so much a chat as it is me explaining myself and then you telling me like it is. There’s no logic here. When I listen and don’t like something, I just know it. Talent is involved with rap, but it’s a talent that I don’t find that interesting unless it’s really done well, and that’s very rare.
But I will see Hustle and Flow, for the acting. We’ll see how the music is. I’m willing to bet there’s actual hip hop in the film.
AND THEN? Please no and then.
Sorry for derailing this thread.
And back to our regular programming….
Will the media say comeback even though Polar Express counts as a big event Hanks vehicle (pun intended)?
I would say that since neither The Ladykillers nor The Terminal was a megabomb (both were underperformers, but Hanks surely gave them more business than they would have gotten otherwise) there’s really no comeback required. Unless you’re in the business of finding reasons for stars to be brought low and humiliated, for story angles.
Dear Brack: About H&F, you didn’t see it??How the h*** can you comment about a movie song you didn’t see? H&F, It’s hard out here…is one of the best integral songs in a movie in a long time…it was IN THE MIDDLE OF THE DARN MOVIE, not over the credits, and it had a catchy beat & hook…see the movie, I think you’ll change your mind.
As to Tom Cruise, if I recall reading somewhere – maybe here, he takes a percentage of the profits something like 20-30%, and not an upfront pay-out…if that’s true, then he** yeh, he is promoting the heck out of the movie to get his money going. Is he the producer? That makes a difference also.
“…he takes a percentage of the profits something like 20-30%, and not an upfront pay-out…if that’s true, then he** yeh, he is promoting the heck out of the movie to get his money going…”
Second this. As to the “scheduled” appearance, how far ahead are we talking? It has been discussed long before the numbers were known last week that M:i:3 was in trouble in regards to Cruise’s fan base. So unless these second weekend appearances were set in stone three or four months ago I’d say Poland’s contention that it was more a signal to future employers (especially those being asked to shell out over $200M because at a price producers will always hire Cruise for smaller projects) that he is will to give it his best effort is more than valid.
As far as why $47M is considered a, to be nice, a “soft” opening – the other shoe drops next weekend with DA VINCI CODE. It’s on course, pun intended, to suffer a 50% decline this weekend. Another hit like that or worse next weekend makes it the only film of his career over, what, a $100M budget to not match it’s budget in North American box office alone. Passing $150M is looking more and more impossible indeed. And let’s not forget, things could still get really ugly when the DVD is released. The receipts for North America for theatrical and DVD accounts for the majority of real net income returning to studios.
“Dear Brack: About H&F, you didn’t see it??How the h*** can you comment about a movie song you didn’t see? H&F, It’s hard out here…is one of the best integral songs in a movie in a long time…it was IN THE MIDDLE OF THE DARN MOVIE, not over the credits, and it had a catchy beat & hook…see the movie, I think you’ll change your mind.”
So I have to see the movie it’s from in order for me to form an opinion about it? Hmmm, let me think….eh NO. If I have ears, I can hear the song.
BTW, I just rented and watched the movie, and I liked it a lot, very well written and real. The songs are fine, but like I said before, it was a slow year for songs in film if this is the best. That’s all I was saying, how is that not true?
Yeah, the song has a catchy a beat and hook, but that can’t hide the fact that it’s a song about a pimp. A fucking pimp, and how it’s hard. I’m sure it’s hard. It looks hard in the movie. But no one’s forcing him to be a pimp, which is why I don’t have much love for the song.
And I’m out.
You guys really need to shut up. You think Brack is being hard on hip-hop and rap? Try pop music. I HATE it when people who like genres like rap, rock, etc can’t understand a good pop song. Yes, they don’t have to LIKE it but to dismiss entire artists because they sing pop is horrible. At the moment artists like Madonna, Girls Aloud, Sugababes, Kylie Minogue, The Veronicas, Imogen Heap, Fiona Apple and others are making some of the most fun pop music in decades but are dismissed because it’s aimed at a) females and/or b) young people. And I don’t think fans of hip hop can cry poor considering their genre is all over the bloody radio. Even the Grammy categories for Pop aren’t actually pop but pop/rock or r&b infused pop.
I sort of agree with Brack in that songs should stand by themselves, but then I don’t agree with him when I say it doesn’t really require talent and that the genre is shit.
My favourite song of the nominees last year was “Travelin’ Thru” by Dolly, after seeing H&F I liked “It’s Hard…” much more than I did beforehand. But, still, I prefer Dolly’s song.
One thing I do agree with Brack about is that if movie producers put more effort into soundtracks then it might change the fortunes of some movies. The Bodyguard’s soundtrack was HUGE as was the movie and I doubt all the people who saw it were seeing it for Kevin. Plus, Dreamworks probably made a fortune from the Shrek soundtracks. Miramax’ Bridget Jones soundtrack was MASSIVE.
I love that Brack’s dislike for the song was IDENTICAL to why a lot of people disliked the movie as a whole. And yet, he liked the movie! What’s up with that.
Kami, Fiona is awesome (I prefer the recent Jon Brion production) and definitely transcends any labels.
One last word on Pimps. *sigh* Pimps are special figures in the black community. They are like the Italian-American dons or “made men” in that they have power, prestige, and style. To say “it’s hard out here for a pimp” plays against that and deflates, NOT inflates, the image of the stereotype. It’s not exactly bragging when you rap about your women leaving you. Worrying about gas money? How many rap songs do you know have that line in the chorus?
Oh, and Kami…I would definitely add Kelly Clarkson to that list of great pop.
“Worrying about gas money? How many rap songs do you know have that line in the chorus?”
‘Got a quarter tank of gas in my new E-class
But that’s all right cause i’m gon’ ride’ – Big Tymers “Still Fly”
That’s at least one. Well, he’s not worrying exactly, because he’s fly.
“But then I don’t agree with him when I say it doesn’t really require talent and that the genre is shit.”
I assume you mean that I think it doesn’t require talent. I never said any of that. It’s a talent I don’t think is put to good use most of the time.
“It’s not exactly bragging when you rap about your women leaving you.”
No, but I hardly have empathy for the guy.
“I love that Brack’s dislike for the song was IDENTICAL to why a lot of people disliked the movie as a whole. And yet, he liked the movie! What’s up with that.”
Comparing a movie to a song is comparing apples to oranges. Just because characters in a film are bad and don’t do things I would do doesn’t mean that the storytelling is bad, or that I don’t have empathy. I liked the movie, but didn’t think it was perfect. The ending was a little too neat (though I’m a sucker for a happy ending) and I wasn’t entirely convinced of Djay and Shug hooking up, but that’s really nit-picking.
Now about the song, yeah, it kinda talks about the story going on in the movie, but I don’t think it’s a very personal song. Yeah, he talks about him wanting to get rich, and what he’s seen in his life, but we don’t get to know his motivations like we do in the movie. If it included having his long-lost dream rediscovered and realized, or about how he wanted to live a longer and fuller life than his father–anything personal–then I’d get behind the song.