Old MCN Blogs
David Poland

By David Poland poland@moviecitynews.com

Screening Gotham: May 26-29, 2006


A few of this holiday weekend’s worthwile cinematic happenings around New York:
–Film Forum is about two-thirds of the way through its B-Noir series, in which the theater is screening double features of seemingly every fast, cheap and dirty noir film made between 1944 and 1957. As his Memorial Day gift to you, however, programmer Bruce Goldstein arranged a triple feature of films by the late Richard Fleischer for Sunday and Monday; the package includes the 1949 tandem Follow Me Quietly and The Clay Pigeon and the 1950 heist flick Armored Car Robbery. Or, if you’d rather spend your holiday with director Anthony Mann, restored prints of his films T-Men and Raw Deal (above) will screen together Monday only. Think about it: Five features for $20. There’s not a better moviegoing deal in town.
–Since you should already be at Cinema Village tonight checking out Cavite, what harm can you do staying late for String Theatre’s Midnight Shorts Program? Odds are not great that you will know the filmmakers (Bengt Anderson? Amina El Etreby? Roey Shmool?), but that is a selling point as far as I am concerned. And it is a fundraiser, so have a fucking heart and just go, for Christ’s sake.
–Speaking of shorts, word just hit Reeler HQ that the New York Minute Short Film Festival is accepting submissions. The online “event” is exactly what it sounds like, featuring an international selection of films running 60 seconds or less. And face it: With so many drunk sailors and their conquests running around town doing stupid shit during Fleet Week, a thousand all-too-brief comedies, dramas and horror stories are right outside your door. Unclip that lenscap and get shooting!

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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