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David Poland

By David Poland poland@moviecitynews.com

Reeler Casting Call: Who Will Play Peter Biskind's Moustache?

The news that Peter Biskind’s 2004 opus Down and Dirty Pictures is on its way to a feature film adaptation has me virtually choking on intrigue. Besides the obvious imagination pique juxtaposing director Ken Bowser against plain-old Sha-Na-Na goner Bowzer, I wondered what kind of D-grade Boswell the filmmaker would have to be to follow his 2003 Biskind doc Easy Riders, Raging Bulls with this latest long, loving swallow.

You’ll never collect swag in this town again: Down and Dirty first choices Hugh Jackman and Owen Wilson with alter egos Weinstein and Redford

We’ll probably never know, but Variety’s Chris Gardner notes that Bowser finds the author’s sprawling history of the ’90s indie-film boom “outrageous” and “insane,” both qualities that should get plenty of mileage in a film community that finds the book largely “bullshit” and “apocryphal.” The running joke (still not funny, incidentally) around the Web is that neither Miramax nor the Weinstein Company are likely candidates to distribute the film, and Sundance is out as a premiere possibility. A faaaaar more pressing question, however, is what fucking actors would be crazy enough to participate above the line on this thing–the equivalent of pissing in Harvey’s coffee and playing keep-away with Bob’s glasses. And don’t even think any of your future films will appear at Sundance, or at a Sundance lab, or on the Sundance Channel, like, ever.
That said, somebody has to play the brothers, and somebody has to play Robert Redford and Steven Soderbergh and Quentin Tarantino and Sundance czar Geoff Gilmore and even distribution legend Jeff Lipsky, I suppose. So who will they be–any suggestions?

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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