Old MCN Blogs
David Poland

By David Poland poland@moviecitynews.com

Screening Gotham: Sept. 8-10, 2006


A few of this weekend’s worthwhile cinematic happenings around New York:
–The praise surrounding Ramin Bahrani’s film Man Push Cart reached surreal heights Thursday with his and actor Ahmad Razvi’s appearance on Channel 4’s Live at Five broadcast (left); honestly, it is probably the least the guy deserves for what he has made: An auspicious feature debut, a modest yet painstaking character study and the most sensitively rendered New York film of the year. Razvi portrays a Pakistani pop star-turned-Manhattan push cart vendor trapped in a cycle of mourning for his lost family and immigrant anonymity bequeathed by the city. Leticia Dolera and Charles Daniel Sandoval provide the counterpoints–striving, ambition and potential–just within or just out of Ahmad’s reach. A brilliant, beautiful piece of work, Man Push Cart opens today at the Angelika; tell everyone you know.
–Speaking of strictly New York films, the Pioneer Theater is stocked up with them this weekend. The venue’s feature presentation is the Brooklyn-centric A Cantor’s Tale, while artist Joe Coleman will be on hand for tonight’s screening of a documentary that might be about him, Rest in Pieces: A Portrait of Joe Coleman. Saturday features the film NY (See) and a shorts program from the Lower East Side group Charas, while 9/11 moves front-and-center on Sunday with the docs 9/11 Press For Truth and Vito After. The latter doc, which chronicled the health woes of WTC responders back before it became an anniversary-proximate media cause celebre, will be screening in its New York City premiere; director Maria Pusateri and subject Vito Friscia will participate in a Q&A afterward.
–And speaking of Q&A’s, how much pride do you think Maggie Gyllenhaal takes in her new film Sherrybaby? After spending most of her pregnancy’s final trimester in press whirlwinds and premieres, Gyllenhaal will be at the Sunshine tonight after the 7:30 show to talk about her role as a recovering drug addict making her way back into family and social life after a prison stint. Meanwhile, a few doors down in the same theater, Kiefer Sutherland is also expected for a chat about I Trust You to Kill Me, a documentary about Sutherland’s record label signees Rocco DeLuca and The Burden. But don’t feel like you have to choose or anything; Sutherland and director Manu Boyer will be around after Saturday’s 7:45 screening as well.

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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