Old MCN Blogs
David Poland

By David Poland poland@moviecitynews.com

Reeler Pinch Hitter: Karen Wilson, Cinecultist


[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. Karen Wilson, otherwise known as the Cinecultist, is a film writer living in the East Village. She also contributes frequently to Gothamist, The Movie Binge and Jane magazine’s celeb blog.]
With summer winding to a close and the previews for the big fall heavies hitting cineplexes, it’s getting to be that favorite time of year for serious movie fans. Something Cinecultist mentioned in our Gothamist round-up last week but that we felt merited an additional post is the Filmmakers Symposium, which starts in September at Anthology Film Archives.
For the past 15 years, this series of Tuesday night screenings has featured some of the most buzzed about movies of the year. For those who don’t have access to the advance press and industry screening circuit, it’s an amazing opportunity to see early all the movies which will be in the running for awards. This year’s proposed lineup (which allows for scheduling difficulties and conflict) has some of Cinecultist’s most highly anticipated fall films like Fur (above, with Nicole Kidman as Diane Arbus), The Good Shepherd, The Fountain, For Your Consideration, Marie Antoinette, The Departed, Babel and tons more.
Tickets are a bit steep (it works out to about $30 per flick), and you have to buy a block of them in either a group of five or a group of 10 but still. If you have that kind of cash and are as obsessive as CC about seeing the big fall movies, it could be an investment well worth the obvious bragging rights: “Oh, Babel? Yeah, I saw it already. You know how Alejandro can be–so very Iñárritu-esque.” You get a bit of a discount if you register before the end of August, so check out the Symposium site soon.

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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