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David Poland

By David Poland poland@moviecitynews.com

Tully Follows 'Cocaine' High with Silver Jews, Ping-Pong Dream Project

The Reeler braved the ever-efficient F train Monday (holiday wait-time: 26 minutes, and do not think I did not count) to hit the New York premiere of Michale Tully’s Cocaine Angel at Barbès in Park Slope. The film anchored an unusual trio of works including Glynn Beard’s short film Son–basically a 20-minute father/son advice monologue–and Ryan Fleck’s Gowanus, Brooklyn, the short film from which Fleck adapted his recent Half Nelson. But it was Tully’s night: Not quite a literal homecoming (Tully is a Maryland transplant), but with Cocaine Angel star Damian Lahey on hand alongside scores of New York friends, it may as well have been.

Angel, Angel, down we go together: (L-R) Damian Lahey, Michael Tully and Brooklyn Independent Cinema Series curator Joe Pacheco introduce the Labor Day premiere of Cocaine Angel

“We world premiered at Rotterdam and North American-premiered at South by Southwest, which was kind of our goal,” Tully told me before last night’s screening. “Do European, get a little bit of a buzz, then come back to do SXSW. Then there were the regional festivals–Sarasota, Maryland, Independent Film Festival of Boston–which were just amazing. They were so fun and inclusive and great; I couldn’t recommend them enough.” Nevertheless, the Barbes screening may be it for Angel. “Honestly, I don’t know,” Tully said. “I’m exhausted. I feel like we had a great run, and it feels like it happned 18 years ago. It was three months ago. I’m moving on.”
Next up for Tully is post-production on his documentary about David Berman’s protean band Silver Jews, for whom Tully had previously directed a video and whose latest work took Tully to shoot in Israel. He is gunning for another South by Southwest premiere. Then there is the ping-pong comedy.
“It’s a bigger budget thing we’re trying to get through the system,” Tully said. “It’s never gonna happen, but–”
Wait, wait, wait, wait–a ping-pong comedy?
Tully sipped his beer and nodded. “It’s caled Ping-Pong Summer,” he said. “It’s basically The Karate Kid meets Wild Style. It’s something set in 1985. Just… I love ping pong, and I love The Karate Kid, and I love hip-hop, so we’re just taking that set formula, but trying to be honest and respectful, and still off-the-wall and funny.”
God damn I wish I could bankroll these guys sometimes.

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One Response to “Tully Follows 'Cocaine' High with Silver Jews, Ping-Pong Dream Project”

  1. Brian says:

    Good to meet you last night S.T. I enjoyed “Cocaine Angel” and the shorts that played before it. It certainly was weird to see “Gowanus, Brooklyn” after only seeing “Half Nelson” the day before. Lots of similarities and differences.

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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