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
Sounds like expectations were out of whack. As long as it’s not the crassly exploitative thing that so many people were figuring, with the added bonus of ‘quite beautiful in many ways’ it sounds like a winner.
Is it the same guy who did The Woman Chaser?
I love that movie.
THE WOMAN CHASER is simply a great movie. period. POLICE BEAT is interesting in many ways and showed an emerging filmmaker who is not content to go the cookie cutter route.
Surely Dave if ZOO isn’t what people expected – then it’s exactly the sort of fare Sundance should be programming. How does Sundance turn a film into anything other than what it was? From a printed synopsis?
The hype is closer to home than you think. Look in the mirror.
What bill of goods were you sold, though that it does not deliver on? Are you disappointed that you don’t see the actual penetration?
Obviously not, Noah. But the film doesn’t really discuss the issue in any real way. It is a meditation on the issue and there is nothing wrong with that… but it is a doc, really? I don’t think so.
What is the difference between a discussion of the issue and a meditation on the issue? It seems like semantics to me, but maybe I’m wrong. But basically, just because it wasn’t the film you expected it to be, you think it’s a failure?
Are Errol Morris films ‘meditations’ or docs?
thems fighting words Jeff
They are?
I would have called them both.
How do indies work? I’m a consumer, not in the industry.
Example – the Weinsteins buy a movie for $4Mil which means it cost about $1Mil to make the movie????
They release it / distribute it, and the movie makes $20Mil. Who gets the profits? Do the actors get ANYTHING?
Depends on the given deal the signed when they made the film. There is no one answer. Deals are different from film to film.