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David Poland

By David Poland poland@moviecitynews.com

Reeler Link Dump: 'The Week That Wasn't' Edition


Wherein the editor rubs his eyes and begs your forgiveness for everything he is not and can never be. Or at least for not playing close enough attention to these news nuggets when they were actually news:
–James Gray inches ever closer to ownership of New York’s all-time crime-cinema pathology with his next project, the undercover-journalist saga Alphabet City. Gray, who just wrapped the mob flick We Own the Night for 2929 Entertainment, will rewrite Steven Knight’s script (based on his novel) and shoot next spring for the Strike Entertainment and Universal Pictures.
–Speaking of journalists, Roger Friedman is a bad one.
–The Tribeca Film Festival announced Thursday that it will partner with the brand-new RomaCinemaFest for a film-exchange program at its debut in October. Next spring, we get a slate of premieres from Rome. This is an incalculably shrewd move: I hear Italian cheese importing is huge in these parts.
–Matt Dillon was at his monosyllabic best a week ago at Lincoln Center, where the Film Society’s Young Friends of Film screened Factotum and welcomed him for a Q&A. A few displeased fans told Page Six “he didn’t even say ‘thank you'” for individual praise that followed the screening. Take it from someone who knows: Matt Dillon can only love one man. Drink your $60 wine and shut up.
–Holy shit: I guess Lou Diamond Phillips can get arrested in Hollywood after all.
–The lovely folks over at the upstart blog Blank Screen direct us to Home Movie Day, a national event enjoying its New York incarnation Saturday, Aug. 12, at Anthology Film Archives. The bad news: No video allowed, so your amateur porn is of no use. The good news: Your parents’ 8mm sex footage from 1975 might have just enough grainy, ironic value to pass muster.

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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