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David Poland

By David Poland poland@moviecitynews.com

We, The Jury: Edelstein Recounts Tribeca Documentary Duty for NYM Readers


Further wedging his way into my top two or three favorite film writers on the planet, David Edelstein turns in a refeshingly candid (i.e. deliciously gossipy) chronicle of his stint as a Tribeca juror to this week’s issue of New York Magazine. And while Edelstein’s experience with the festival seems to have been mostly positive (“[I]t is a festival that is genuinely festive. Does the snooty NYFF host a parade and street fair?”), the cultural rubbernecker in me cannot get enough of the critic’s more, well, personal observations.
To wit:

–I admit I hoped to hobnob with other celebrity jurors like Laurence Fishburne, Josh Lucas, Julia Stiles, Kelly Lynch, and Lou Reed. Fat chance. Celebrities have a tunnel vision for one another. Rosie greets Laurence. Moby makes a beeline for Lou (who has the teeny-weeniest shoulders). Julia, all willowy poise, enters and leaves without surveying the room. Kelly is deep in conversation with festival co-founder Robert De Niro, the world’s least approachable man. I content myself with swag. You wouldn’t believe the gift bag, which includes a video iPod. Although it’s for services rendered (jurors aren’t paid), I’m ambivalent about journalists’ accepting gifts. My head says no, no, no—but my wife says yes, yes, yes. Easy call.

–The jurors meet on May 5. In addition to Rosie and Moby, my group consists of filmmaker and former Time Out New York editor Joe Angio, Glenn Kenny of Premiere, and the winner of this category last year, Victor Buhler. Victor arrives with five criteria for judging, including political impact and “sacrifice and courage.” He is shot down, but not before the earnest Moby pipes up that social responsibility should, indeed, outweigh everything. The formidable Rosie demurs—a movie should be judged on its own terms, she insists. (Rosie becomes, predictably, the de facto foreman.)

–It’s a little disconcerting when our award is dispatched quickly and without a jury spokesman, whereas Ken Burns gasses on and on when presenting his prize. I ask jury coordinator Nancy Lefkowitz why we didn’t get to bore the audience, too, and she says, “Moby was supposed to do it, and he didn’t show.” (So much for social responsibility.) What about Rosie? “Sick.” We were out of celebs.

Cuh-lassic. Now if only we could get Wong Kar-Wai to spill the beans on Helena Bonham Carter and Tim Burton trysting in the jury room at Cannes, we can all die totally happy.

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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