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David Poland

By David Poland poland@moviecitynews.com

Reeler Link Dump: Catastrophically Slow News Week Edition


These pre-holiday industry standstills always inspire an acute sense of underachievement around Reeler HQ. What better way to work through the blahs than with a lightning round of fluff and flummox from the poor bastards whom the long weekend left behind?
–The latter part of Charlize Theron’s “three or four for them, one for me” work cycle appears to be coming due. As The Reeler noted in January, Theron is reteaming with Picturehouse honcho Bob Berney to produce and star in the drama The Ice at the Bottom of the World, and now she has roped Alan Parker out of his post-Life of David Gale exile to direct. Still no word on when shooting will begin, but it might be a while yet: Theron needs time to get suitably skeevy for her role as a heroin-addicted single mom, and Parker has to find a suitable back-up and complete a 12-step program for unrelenting hackery before insurers will underwrite the project.
–Some Massachusetts screenwriter has accused Jim Jarmusch of ripping off the idea for Broken Flowers. A million relieved Jarmusch fans sigh mightily and redirect their disappointment to the Boston area. (Via Cinematical)
–Sydney Pollack is ready for his close-up. Make that close-ups: Cingular Wireless evidently thinks enough of him as a pitchman that he will appear in a new spot advising moviegoers to silence their mobile phones. Meanwhile, Pollack and Sidney Lumet will be the subjects of tributes at this year’s Deauville Film Festival, and Anne Thompson notes that Pollack is co-producing (with Anthony Minghella) the next film by the Devil Wears Prada team of Aline Brosh McKenna and David Frankel (who are, in Thompson’s priceless words, “beavering away on their next chick lit adaptation”). We should all be so busy this time of year.
–Fuck this NYPD press credential; the next time I want to crash a film set, I am borrowing the neighbor’s kid.
–Speaking of Parker and Pollack, neither make the cut in Dave Kehr’s lament for aging auteurs posted this week on Slate:

The new MBA masters of Hollywood push seasoned (and proportionately expensive and hard to handle) talents aside in favor of inexpensive and pliable young filmmakers straight from Sundance or the film schools. I want to see Walter Hill’s Rio Lobo and I want to see John Milius’ 7 Women—but where is the studio that would finance them, when Justin Lin (The Fast and the Furious: Tokyo Drift) and J. J. Abrams (Mission: Impossible III) are available?

I don’t know about you, but I am a big fan of Kehr’s paeans to entitlement. Last month’s blog screed condemning publications where “experienced critics are being kicked out in favor of glorified interns” was a little more glass-shatteringly melodramatic, but this new one has an irreproachable bitterness that only a seasoned veteran can summon and sustain. Not yet 30 myself, I am grateful for the influence, and I hope that someday my prose is as alienating to my next generation of readers as Kehr’s is to his own–those Sundance filmmakers in particular. Ryan Fleck? Goran Dukic? Carlos Reygadas? Hilary Brougher? Rian Johnson? Ramin Bahrani? Kelly Reichardt? Fucking hacks.

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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