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David Poland

By David Poland poland@moviecitynews.com

Falling In Love Again

It is easy to get sick of all this awards season stuff. Thank God for Sundance – which can be a little like trading off a kidney stone with an anal fissure

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6 Responses to “Falling In Love Again”

  1. Blackcloud says:

    I watched the KoH director’s cut over the holidays. It’s good (I’ve never seen the theatrical version), but I think the modern filmmaking sensibilities get in the way. Scott uses way too much slow-mo, and the soundtrack is very distracting. I usually don’t complain about soundtracks, but this one was lousy. Where’s a great orchestral score when you need one? Ditch the world-music “authenticity”. The cast is good, with the usual exception of Orlando Bloom, who just can’t carry a movie. I think I’d appreciate it more on the big screen, and would definitely pay to see it if I had the opportunity.

  2. AH says:

    Blackcloud, I don’t necessarily disagree about the slow-mo but I definitely disagree about Bloom. The supporting cast complemented him but he definitely, and ably, carried this movie.

  3. crazycris says:

    I agree with AH, the WHOLE cast of Kingdom of Heaven put in some excellent performances! A great movie (especially for a medieval history nut), in spite of a few (usual) liberties taken.
    Sounds like Dave’s enjoying his job this weekend, good for him! ;o) (as long as he keeps us informed of all the interesting tidbits! šŸ˜› )

  4. little_miss_moonshine says:

    “Sounds like Dave’s enjoying his job this weekend, good for him!”
    Ditto.

  5. Blackcloud says:

    Bloom’s alright (it’s probably his best performance). But compared to the characters of Liam Neeson, David Thewlis, Brendan Gleeson, Alexander Siddig, Eva Green, and Ghassan Massoud, his isn’t particularly interesting or compelling. Maybe that’s the script’s fault; maybe it’s his. Either way, I don’t think he has the gravitas for the role, and what I saw on screen didn’t convince me otherwise. However, his peformance would be well down my list of the movie’s flaws.
    Oh, and don’t forget Jeremy Irons.

  6. Oh god Jeremy Irons was awful. Or, at least I thought he was in the theatrical cut I watched. Just… wow. I thought his head was going to explode he was overacting so much.
    I certainly hope these i-heart-the-industry entries aren’t a regular thing. They’re as infuriating as reading the UK is only just getting The Upside of Anger. WTF is that all about?

Quote Unquotesee all »

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” ā€” 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 ā€” 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 ā€” he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” ā€” and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging ā€” I was with her at that moment ā€” 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 namedā€”” “Yeah, sure ā€” 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 Iā€™m on the phone with you now, after all thatā€™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 didnā€™t seek to use his position to have sex with anyone. Thereā€™s not a case of that. He wasnā€™t using his position or status to try to solicit a sexual favor from anyone. If he had ā€” if that were what the accusation involved ā€” 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. Iā€™m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, ā€œYou know, itā€™s not this, itā€™s thatā€? Because ā€” let me go on and speak further to this. If you go back to the L.A. TimesĀ piece, thatā€™s what it lacked. Thatā€™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