Old MCN Blogs
David Poland

By David Poland poland@moviecitynews.com

Reeler Link Dump: Overextended Edition

Wherein your bleary-eyed editor is hauled away in an ambulance, pants shat from dementia while bellowing URL’s and story ideas he never got to this week:
Reeler Pinch Hitter Eric Kohn is finding a nice little zone over at the New York Press, including this week’s cover story on Michel Gondry. However, knowing what we know know about the Press’s sterling editorial reputation, maybe you would rather read the extended dance remix of the profile over on Kohn’s blog. Part reported profile, part critical analysis, part loopy psychotherapy–indeed, like most anything connected to Gondry.
–CHUD’s Devin Faraci passes along an aggrieved dispatch from the Brooklyn set of I Now Pronounce You Chuck and Larry: “You know your neighborhood is going to hell when Adam Sandler is filming his new movie there.” Of course, it can always be worse; Jodie Foster could come around some morning and hide your car.
–Unsung NYC cinema hero Brian Geldin has a fabulous little resource at MySpace called The Film Panel Notetaker Blog. I kid you not, and thank God: Geldin not only hits up all the film events, speeches and discussions the rest of us are too lazy to attend, but he actually passes along detailed notes of all the important points and exchanges that arise. It’s basically Cliff Notes for Gotham’s film-snob set, and as such, is indispensible–all the more so this week considering his dedicated coverage of the IFP Market. I am in there somewhere, pre-dementia, not that I made any sense then anyway. Read on and enjoy.
–And all of the sudden, around the city, film reviewers are asking their mothers for rides to the dry cleaners: The New York Film Critics Circle Awards dinner is slated for Jan. 7; the voting takes place Dec. 11. Get. Excited.

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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