Old MCN Blogs
David Poland

By David Poland poland@moviecitynews.com

Screening Gotham: May 19-21, 2006


A few of this weekend’s worthwhile cinematic goings-on around New York:
Sundance at BAM wraps up this weekend with a diverse selection of films including the documentaries Trials of Darryl Hunt and Beyond Beats and Rhymes, the quiet dramas Stephanie Daley and In Between Days, and the Tae Kwon Do comedy The Foot Fist Way. But if I had to choose only one title to recommend before these films and filmmakers go back to the distribution waiting game, it would be Wristcutters: A Love Story. Goran Dukic’s offbeat comedy features Patrick Fugit as a young suicide on a road trip through the afterlife in pursuit of his dead girlfriend; his travels introduce him to a beauty (Shannyn Sossamon) trying to make her way back to the living world and an eccentric community leader (Tom Waits) who might have the power to resolve their quests.
The imagination and humanity on hand is exhilarating, and Dukic’s exquisite direction reflects an obvious love for both his material, his cast, and most of all, his viewer. I do not know if this is the best film playing at BAM this this weekend, but after watching it again Thursday, I just felt a certain gratitude for the privilege. And God knows that these days, I do not take that for granted.
–Fans of Allison Anders should consider planning a multi-borough weekend. First off, the filmmaker’s 1987 debut Border Radio will screen Saturday afternoon at 3 at Anthology Film Archives as part of the Don’t Knock the Rock festival‘s NYC sojourn; Anders will join festival director Gianna Chachere and music director Tiffany Anders (yes, Alison’s daughter) for a discussion afterward. Meanwhile, back at BAM on Sunday, Anders will be part of the Four Independents Who Turned the Tide panel discussion with John Waters, David O. Russell and Hal Hartley. The event basically goes like this: A $20 ticket gets you in to see one of the directors’ films (Gas Food Lodging, Polyester, Spanking the Monkey and The Unbelievable Truth, respectively) at noon, followed by the chat at 2:30 p.m. And perhaps best of all, you can still make Wristcutters at 3:30.
–The Pioneer Theater yesterday kicked off its weeklong engagement of the documentary Forgiving Dr. Mengele. Bob Hercules and Cheri Pugh’s film examines the life of Eva Kor, a concentration camp survivor whose search for retribution gives way years later–after meeting one of her Auschwitz tormentors–to hope for reconciliation. The doc has inspired robust controversy as well as acclaim, and Hercules, Pugh and Kor will be in attendance (separately, to my regret) tonight through Tuesday to discuss NYC audiences’ reactions. Check the Pioneer’s Web site for a complete appearance schedule.

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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