Old MCN Blogs
David Poland

By David Poland poland@moviecitynews.com

Synergy Showcase Underway with Post, 'Prada'


The forthcoming release of The Devil Wears Prada has yielded a substantive media bounty over the last week, from Ginia Bellafante’s lovely expert testimony in The Times to Logan Hill’s sort-of-arousing Anne Hathaway profile in last week’s New York Magazine to Jeffrey Wells outlandish quasi-crit at Hollywood Elsewhere: “Without Meryl Streep and Stanley Tucci’s performances, this very carefully measured girl movie set in the never-jangled world of a big-time fashion … would be okay but only that. But with them — because of them — it’s savory as hell at times.” (Excellent observation: Two of the three leads make the film work. It’s like, “Without Faye Dunaway and William Holden, Network would just be Peter Finch shouting.”)
But I digress. You really must check out the Prada parade’s sprawling incursion into the New York Post–the corporate sibling of Fox 2000 and, apparently, the unofficial Devil Wears Prada marketing arm in the days leading up to the film’s June 30 unveiling. Choose your pleasure, or collect the whole set:
–Post fashion editor Serena French has the details on the supposed $1 million wardrobe, including a $12,000 handbag and $445 shoes;
–French again, outlining the rules that govern fashion-magazine assistantship. As I noted at the top, Bellafante’s more intimate Times reflection is the “I Survived” gold standard here, but this is the Post, after all, and you could certainly do worse for your 50 cents;
–Danica Lo tallies up the factual liberties revealing Prada‘s exotic yet “flabbergasting” inattention to detail. For example:

“Assistant Andrea is better dressed than most full-blown editors I know,” says Diane Salvatore, editor-in-chief of Ladies’ Home Journal. “If I had an assistant who was dressed that well, I would assume she was involved in an online identity-theft scam.” …

For the rare formal function, the luckiest (and slimmest) may in fact be allowed to select a gown. Andy borrows a black Galliano for an industry gala – an oddly conservative choice, says More magazine beauty and fashion director Lois Joy Johnson, who coached actor Stephanie Szostak for her role as editor Jacqueline Follet, (Runway magazine editor Miranda) Priestly’s Euro-chic arch-rival. “The assistants look like they are on their way to a prom.”

Fuck. That. I am soooooooo waiting for the DVD.
–A twin bill of features touting Prada fashion stylist Patricia Field (above, with Streep), including Linda Stasi’s afterthought linking Field to the resurgence of “That Girl!” couture and Serena French yet again profiling Field, who has all kinds of praise for the Prada gang while throwing fistfuls of shit at Warner Independent’s The Girl’s Guide to Hunting and Fishing;
–And finally, who can forget perhaps the year’s most brilliant Page Six item (even better than Richard Johnson copping to drunken driving)?

Anne Hathaway says Stanley Tucci was a real hands-on guy when they made The Devil Wears Prada. “He would just smack me in my boob and elbow me,” Hathaway told journos at the New York premiere. “If you’re a girl, you know that hurts, so, after about the fourth time, I finally said: ‘Stanley, can you please stay away from my t – – s?’ He got really flustered and said: ‘What do you expect? You’re flinging those melons around like it’s harvest season.’ “

Expect Cindy Adams to leap in with a frothy-mouthed succession of sentence fragments and ellipses any day now, while Roger Friedman prepares to attribute the film’s genius to its “fearless send-up of Vogue editor Anne Winter [sic]” and Lou Lumenick’s blinding grand finale reportedly promises the long-rumored six-star rating system that was not quite ready for X-Men: The Last Stand. Come on, Rupert–give the gang a raise.

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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