Old MCN Blogs
David Poland

By David Poland poland@moviecitynews.com

Reeler Pinch Hitter: Josh Horowitz, BetterThanFudge.com

[Note: Reeler editor S.T. VanAirsdale is taking the week off, but the blog is in the good hands of trusted friends and colleagues. Click here for other entries in the series.]
Howdy, gang. Josh Horowitz of BetterThanFudge.com (bookmark it–it’ll make you feel gooood) here with a little contribution as The Reeler does whatever it is he does when not chained to a computer and giggling to himself with glee over the latest selections at BAM. Oh, come on–I kid because I love. And I write to fill space. So here we go…
Lessons Learned from a Summer at the Movies
–All I really need out of a summer blockbuster is Felicity to get her brain fried.

–Judging from his unpleasant facial expressions, I’m convinced Paul Bettany was suffering from IBS throughout The DaVinci Code shoot.

–Having seen Art School Confidential, maybe it’s not the worst thing that Bad Santa was cut without Terry Zwigoff?
–Some movies are about how much the human spirit can endure and some, like Keeping Up with the Steins, actually test how much the human spirit can endure.
–Movies about global warming don’t need scenes of Jake Gyllenhaal being chased by wolves after all.
–Some lines (“I’m the Juggernaut, bitch”) really do read better on paper.
–Making Doc Hollywood into a Pixar film is a waste of a lot of talented people’s time.
A Prairie Home Companion was pretty good. Does Francis Ford Coppola need a new heart too?


The Lake House is gonna make a wicked Saturday afternoon TNT combo with Sweet November one day.
–Watching Adam Sandler sob uncontrollably in old age make-up is as uncomfortable for me to watch as it surely was for him to film.
–Do you frigging remember Nuclear Man? You all were way too hard on Superman Returns. For shame…
–I will take Cutthroat Island over that bore of a Pirates sequel any day of the week.

–When Gong Li asks you how fast your motorboat goes, she’s being literal. She wants to know.

–Woody Harrelson might want to consider having his performance animated over every time from here on out.
–Night, I love ya, but no matter how many times you cite it as an influence, Lady in the Water ain’t E.T. It’s more like Batteries Not Included.
My Super Ex-Girlfriend has more funny in it than you’ve been led to believe.
–“Sugar Tits” Gibson may hate the Jews, but I still love Conspiracy Theory. That’s how big a guy I am.
–Rex Reed just isn’t the limber man we all thought he was.

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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