Old MCN Blogs
David Poland

By David Poland poland@moviecitynews.com

Reeler Link Dump: 'Actual Sex' Edition


–The Hollywood Reporter’s Gregg Goldstein has the scoop on the Shortbus deal, which will bring John Cameron Mitchell and ThinkFilm together in rosy coital bliss and which sets up a come-spattered art-porn fight to the death with IFC Films’ own smut showcase Destricted. Goldstein’s emphasis on Shortbus‘s “actual sex” alone makes this both an entertaining and informational read, but even more intriguing is the anonymous distributor who said Mitchell’s $500,000 asking price was totally fucking crazy for a film that cannot be advertised and cannot play in 97 percent of theaters and will never see the light of day in video chains or at big-box DVD retailers or on basic cable a little rich for his blood. But all parties wished Mitchell and ThinkFilm a long, lubed and happy union.
–Not-so-newsflash: AIVF is no more. According to a letter passed along by indieWIRE kingpin Eugene Hernandez, the filmmaker support organization will cease operations June 28 but will attempt to continue its house publication, the Independent, in the months ahead. The July issue will feature a best-of selection cherry-picked from AIVF’s 33-year history; the status of future issues has yet to be determined. This especially sucks for some of AIVF’s senior board members, who must now find a new benefactor to milk in support of their own personal networking. You know who you are. The Reeler sends its condolences.
–David Lynch, he of meditative serenity and institutionalized incomprehensibility, has filed for divorce from Mary Sweeney, his producing partner and wife of–wait for it–one month. It was Lynch’s third marriage, and papers filed this week in Los Angeles Superior Court revealed “irreconcilable differences” to be the grounds for ending it. Look for a high-profile custody battle to follow: Lynch and Sweeney have a troubled 4-year-old named Inland Empire that needs all the love it can get.
–Yeah, it is short notice, but if Christopher Hitchens, free beer and the premiere of American Zeitgeist are not compelling enough reasons to change your plans tonight, then you have a cold, craggy void where your heart should be. Filmmaker Rob McGann promises a balanced ratio of blood, spittle and vomit in the post-screening debate between Hitchens and Eric Margolis; protective eyewear is strongly advised for those viewers up front.

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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