Old MCN Blogs
David Poland

By David Poland poland@moviecitynews.com

Reeler Link Dump: Rain or Shine Edition

Nothing inhibits work like rain crashing diagonally into my window. Well, that and a mild hangover. Nevertheless, I am here for you, even if I have to rush through a few things if I am to have any chance of getting caught up:

–All right, all right: Last night’s Da Vinci Code Debate did not quite plunge New York into the sooty, swampy apocalypse I feared (I swear I will never take a publicist at face value again). That said, a press release distributed this morning says that the debaters still brandished their “verbal boxing gloves of truth” for a little intellectual bloodshed. “Sales of movies and controversial books about Jesus Christ are one thing,” said minister and Reeler Hall of Famer Mitch Glaser, “but none compare to the most powerful, truthful, historical and most read book in the world: the Holy Bible.” Well, Mitch, if your book is so fucking great, why did Ron Howard want to film the other one? Hello?

–MCN kingpin David Poland surveys the 2006 Oscar field. I gape increduously, drink a fifth of bourbon and cry myself to sleep.


–IFP and Current TV will team up this summer to select 10 documentary shorts for inclusion in something called Current/IFP VC2 Showcase. The Reeler passed along the heads-up a while back about Current’s nifty DIY content model, but Variety’s Ian Mohr now reports that with IFP involved, filmmakers selected for the showcase will also have their work screened for industry eyes at September’s IFP Market. So take note, rookies: Assuming you can throw something together by the June 30 deadline, this is some of the best potential exposure going.

–To all of you readers who are always writing me to inquire who or what will screen your latest made-in-India masterpiece, you can stop e-mailing now.


–The cult anticipating Strangers With Candy‘s big-screen debut will not have to count the seconds much longer, it appears: NewFest, the city’s pre-eminent gay and lesbian film festival, will be screening the long-awaited, only slightly troubled film as its opening-night selection June 1. As an added bonus, the asskickers at indieWIRE will host a discussion with SWC star Amy Sedaris and director Paul Dinello June 8; NewFest executive director Basil Tsiokos will moderate. Stay tuned here as The Reeler will be catching up with Tsiokos and NewFest’s 18th annual gay old time in the weeks ahead.

–Amid the scores of Tribeca round-ups available out there in the nebula of the Web, only one has readers brilliant enough to dismiss Snow Cake as a “retard movie of the week.” Harry Knowles, how do you do it?

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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