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David Poland

By David Poland poland@moviecitynews.com

Queue and Eh? Gondry Gallery Opening Baffles NY Art Blogger


I thought I was pretty much done with Michel Gondry, but Art Fag City blogger and vaunted Reeler Pinch Hitter Paddy Johnson yesterday filed a dispatch from the opening of the Gondry show The Science of Sleep; an exhibition of sculpture and pathological creepy little gifts at Deitch Projects. Maybe I missed something, but it sounds as though things could have gone better:

AFC had the good fortune of sharing the line with most of last year’s rejects from the failed Deitch-sponsored reality show Art Star, a fate only marginally removed from hell. Flanked by an artist with clown red hair and a tattoo that read “I am living art,” it didn’t take long before the words “this is for suckers” passed through my lips. And you know, thank God that thought occurred to me, because when I walked to the entrance to try and get a better look at how the line was moving, I saw that the gallery was only letting five to seven people at time into a sparsely populated gallery. Needless to say, I did not make it into the show and no Gondry spottings were made. I did however manage to take these crappy-ass photographs of the cardboard car in the window display, and document the four gallery goers inside the space. Oh yes, it was an evening of great tidings to be sure.

You mean the cardboard car from Science of Sleep? Hot! Indeed, Johnson has the photos to prove her mettle, but my hunch is she is not planning to return on a slower day for the $30 French calendar. Be that way, then! More for the rest of us.

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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