Old MCN Blogs
David Poland

By David Poland poland@moviecitynews.com

Screening Gotham: Sept. 15-17, 2006


A few of this weekend’s worthwhile cinematic happenings around New York:
MoMA’s Huston family fête continues this weekend with a pair of decade-spanning double features. First up on Saturday is The African Queen, screening in vintage, restored Technicolor and preceded by the mind-blowing WWII combat short The Battle of San Pietro. Morally ambiguous and violent enough to be banned by the US Army, the film was later enthusiastically received for its realism and earned director John Huston a bump in rank up to major (left). (Bonus: Walter Huston’s stirring narration.) Next, it’s a John/Angelica/Danny trifecta on Sunday, when John’s last film, The Dead, screens with its making-of documentary, John Huston and The Dubliners.
–Learn something this weekend with Skip Elsheimer, who storms Anthology Film Archives Sunday night with selections from his 18,000-title collection of educational films lost and found. The program promises a dated introduction to percussion instruments, an industrial safety video loaded with fake gore and a “proto-Claymation dental hygiene film [that] goes awry with talking teeth, a tooth decay demon and a food-group hoedown.” That’s it–I am skipping late Mass.
–Also on Sunday, the show-offs at the Film Society of Lincoln Center kick off their Next Generation of Film series with an appearance by legendary documentarian Frederick Wiseman. No specific film is scheduled to screen; rather, Wiseman will discuss a set of clips from films such as Titicut Follies and The Garden with you and yours. And before you get too deceived by the “Next Generation” tag, expect, in fact, future programs including Monte Hellman (Oct. 14), Paul Schrader (Oct. 22) and Martin Scorsese (November date to be determined). Not that you will hear me complain.

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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