Old MCN Blogs
David Poland

By David Poland poland@moviecitynews.com

'Sunshine' Sets at Upper West Side Premiere

The Reeler also crashed last night’s official New York premiere of Little Miss Sunshine–not to be confused with the “opening-night preview screening” that unspooled a few months back at BAM, and certainly not to be confused with the world premiere that so enraptured a Sundance ’06 crowd that standing-O’d it to a $10 million sale. This was the Broadway-media-phalanx, if-I-can-make-it-there-I’ll-make-it-30-minutes-late Gotham remix. With a gold carpet in place of a red one.

Let the Sunshine in: (L-R) Greg Kinnear, Jonathan Dayton, Toni Collette, Abigail Breslin, Alan Arkin and Valerie Faris, running late and loving it Tuesday night at Loews Lincoln Plaza (Photo: STV)

Oddly, it all seemed so final–like a wrap party for a half-year spent over the moon. Is this, in fact, the last premiere?
“This is the last premiere,” Little Miss Sunshine co-director (and all-around nice guy) Jonathan Dayton told me. “We’ll do a little bit more traveling, but it’s hard, because the great thing is that when we get to go out and watch the film with new audences, that’s always fun.”
“It keeps it really fresh in a way, because you’re watching with total strangers,” said Valerie Faris, Dayton’s wife and directing partner, foreshadowing what would become the sentiment of the evening. “They’re not even necessarily film enthusiasts. So that’s been really rewarding, and you know, hopefully, we want it to find its audence. People who like what it is, and–”
“And it’s certainly not for everyone, you know,” Dayton said. “It’s been great that there’s been so much buzz about it.” On cue, his cell phone rang. Dayton checked the caller ID. “602. This is my best friend from high school.” He excused himself.
I asked Faris which of their colleagues and peers they had consulted with as part of their publicity-marathon training. “We talked to our friends Mike Mills, who directed Thumbsucker, and Bennett Miller,” she said. “Both of them just said, ‘Sleep as much as you can now–beforehand. You’ll just be exhausted.’ ”
Near the wall of the lobby, Dayton plugged his free ear. ” You’re where?” he asked his caller. “OK, we’re coming in right now.”
“But, you know, it’s weird,” Faris continued. “I think maybe because our film is a comedy, and everytime you watch the end of the movie with people it’s such an energy charge, I haven’t been that drained by this process yet, I guess.”
Dayton stepped back up. “It’s a very good problem to have,” he said.
“But a few bad reviews could really do me in,” Faris said.
Which makes it even harder for me to be down on Sunshine itself, which seemed little more to me than a fetish party of quirks–five rich performances in search of a story (and Alan Arkin in search of an Oscar nod) and about three indie-ready road-trip montages too many. That’s all my conscience will allow me to say; I will be doing no doing-in today. Or maybe I just did. Damn.
Anyway, fuck it. Little Miss Sunshine opens Wednesday in New York, go see it, tell me I am wrong, etc.

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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