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David Poland

By David Poland poland@moviecitynews.com

The Masterpiece Around the Corner: Rosefelt Revisits 'Stranger Than Paradise'


More than a couple of readers have forwarded the link to local publicist Reid Rosefelt’s splendid essay about how Jim Jarmusch and Stranger Than Paradise emerged from mid-80s NYC art-squalor to international acclaim. There is plenty of history to study here, from the saintly Paul Bartel plugging a budget hole with his wallet to Rosefelt’s initial ambivalence about Jarmusch (“He was so disgustingly cool that he made me feel ashamed of myself. I would literally cross to the other side of the street to avoid his towering coolness.”). Throw in a few cameos by Janet Pierson (née Perlberg), Adam Brooks, Jeff Lipsky and others and you have a fascinating glimpse into a seedbed of modern independent film.
And for all of you budding marketers interested in tracing the geneology of swag, consider starting here:

Early on, I took the film’s three stars, John (Lurie), Richard (Edson) and Eszter (Balint), out for lunch, to discuss the plans for the film. As I laid out buttons, t-shirts and other Lipsky-created doodads on the table, Eszter looked at me incredulously.

We were more innocent then. This was before worldwide conglomerates produced “indie” films, before product placement blanketed Sundance like snow, before anyone even knew what goodie bags were.

Eszter stared at the t-shirts and buttons in stunned disbelief.

“You’re kidding, right?”

So there you have it. Place blame or credit accordingly.
(Photo of Jim Jarmusch and Reid Rosefelt: Zoom In Online)

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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