April 26, 2024
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20 Weeks To Oscar: Rush To Poor Judgment?
20 Weeks Extra: Could There Be One More Turn?
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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
But don’t forget: a lot of presumed front-runners, notably DREAMGIRLS, are yet to be seen. If they all turn up lame, DEPARTED might sneak through simply by being the Last Man Standing as everybody’s Second Choice becomes First Choice. It is indeed a long-shot, but at this point four years ago, did anyone seriously think CHICAGO was going to win?
All of this just gave me a giant headache…
Yes, Cad… Chicago was the frontrunner all that season…
^^^Which gives further strength to Dreamgirls’ chances to win, since it showed that Chicago didn’t need to be particularly smart or interesting to win, it just needed to bethe right amount of flashy and big and live up to expectations.
So you have some special insight into Dreamgirls being not “particularly smart or interesting… just the right amount of flashy and big,” J Mc? Or are you just naysaying?
You’re getting defensive, DP, and not reading what I wrote. What I said was that Dreamgirls only needs to be as good as Chicago to continue with its front-runner status. If it’s better than that, then clearer sailing.
My ‘naysaying’ would only come from being very turned-off of this movie for various reasons for close to a year now.
I remember the Chicago screening where, the moment it ended, I said, This is going to win Best Picture…felt damn near inevitable to me at the time.
Yeah, I remember reading in post-oscar write ups that Miramax must’ve been feeling nervous after Polanski won Director because it felt like Chicago was gonna fall of the tracks at the very last second. But it didn’t. Thankfully.
But I’m just a really big fan of Chicago, so…
No matter what i now say that disagres with you, J Mc, you always jump on “you’re being defensive.” It’s weak. Work harder.
You acknowledged exactly what I was getting at… you are working with a bias of negativity every bit as strong or stronger than anyone who is expecting the film to be worthwhile.
Sorry, but it is not an act of defensiveness to point out your passive aggression. You were clearly not just saying that Dreamgirls just had to be as good as Chicago to maintian front-runner status. For one thing, “as good” doesn’t exist. For another you were saying that Chicago wasn’t very good, but that was enough. That’s what I read.
I don’t understand why you back off your clear negative comments everytime you are challenged in any way.
What is proven is that 1500 or so people liked Chicago. We will see if 1500 or so people like Dreamgirls. Expectations are irrelevant since 80% of the Academy and 95% of the press has no idea what to expect beyond what they have already seen. Chicago, on the other hand, was in the middle of a long revival run on Broadway.
Ho-kay, I guess my Alzheimer’s is kicking up again…
Jeez, DP, what I said is realy clear. I said that Dreamgirls only has to live up to a certain mediocre standard. You are the one insisting that it will be better than that.
And you were being defensive, regardess of what I said. It’s one of your more common traits.
Apologies for the typing in the above posting. I’m drunk.
Slightly less drunk: I don’t see how DP is not being overly defensive, with this movie he has been hawking for months. I am sick of hearing why DG is the frontrunner; it’s nauseating. The burden of proof is on him, as to why it is the one we should all deign to.
I honestly think THE DEPARTED is the front-runner so far. DREAMGIRLS has not been seen and is coasting off a trailer and several minutes of footage. In my opinion, it also has a sense of a little too similar to CHICAGO, at least in lineage.
My only concern is that THE DEPARTED may be too violent for Academy members. If DREAMGIRLS is as good as everyone hopes, it’s gonna be a very close race. But I think it’s a big mistake to say DEPARTED “has almost zero chance of winning Best Picture.” So far it’s the word of mouth hit of the fall (excepting BORAT, obviously).
fnt, of the films already released, sure The Departed is the front runner, but we’re not talking about that.
I am seeing a Picture/Director split. I don’t see The Departed winning BP but I see Scorsese winning Best Director. Whether it’s Dreamgirls that wins BP or not, I dunno.
I agree 100%, Kami
“I am seeing a Picture/Director split. I don’t see The Departed winning BP but I see Scorsese winning Best Director. Whether it’s Dreamgirls that wins BP or not, I dunno.”
I agree. I think he should have won for Aviator, but if they give it to him for this, I’ll be just as happy. I just worry that he’ll be nominated for a third time and they’ll give it to someone else, but at this point, I can’t imagine who, regardless of what gets into BP.
A third time, Douglas?
I seem to be in the minority who actually prefered The Aviator (and his direction), but it will be nice to see him up there collecting a statue.
Of course it’ll just seem to strengthen to belief that musicals direct themselves.