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David Poland

By David Poland poland@moviecitynews.com

Hanni-mation: Diesel Brings Carthaginian Cartoon General to BET

When The Reeler last caught up with Vin Diesel in March, he attributed a sincere (if rambling) measure of creative influence to his Find Me Guilty director Sidney Lumet. In particular, Diesel noted his added confidence heading into the production of Hannibal, his long-gestating, dead-language epic about the vengeful Carthaginian general, the Alps and some elephants.

The illustrated man: Hannibal hopeful Vin Diesel (Photos: STV)

After all that, however, pardon me if my expectations were irrationally higher than this:

Vin Diesel will take on the Roman Empire in a new BET Networks cartoon series about military leader Hannibal. … Diesel, who also is in development on a feature film centering on Hannibal, called the series “groundbreaking.”

“I knew that BET would be the perfect place to launch an animated series that celebrates an African mythology and a general that is probably the most notorious general of all time,” Diesel said. “It’s a story that resonates with everyone — it truly is a celebration of a general who is able to bring everyone together with the common cause to essentially fight for freedom.”

“Resonates with everyone” but Sony, perhaps, where the project continues dangling in the gentle breeze generated by Revolution Studios’ implosion. At any rate, BET’s animation boss Denys Cowan insists “this isn’t a Saturday morning show”; a sprawling anime miniseries could go over well, with the general vanquishing Rome in a revisionist twist with a glowing blue bolt of light shot from his sword. Personally, I would rather see Diesel try claymation, or perhaps try something featuring South Park‘s construction-paper elephants. Come one, come all with your ideas–the guy evidently needs a new one.

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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