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By David Poland poland@moviecitynews.com

Posted Monday, January 22nd, 2007 - 2 Comments »
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The Other Chicago 10

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Who knows whether these early looks for Chicago 10 would have made for a better film… but man, they do look cool!

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2 Responses to “The Other Chicago 10”

  1. Lota says:
    January 22, 2007 at 5:58 pm

    they are cool looking. who did them?

  2. filmster2006 says:
    February 1, 2007 at 1:05 pm

    To Riverside County authorities the following information may concern:
    I have reason to believe that Paul Krassner was behind the recent so-called children’s school strike against the Iraq War at Desert Hot Springs High School on 1/8 in an effort to generate publicity for a anti-war movie he helped script about the sixties, “Chicago 10”, that was shown recently, 1/17-1/27, at the Sundance Film Festival, in an attempt to help acquire a distributor for the film, without which it would be a financial failure, its current status.
    As to the intentions of this well known homosexual, bisexual pervert, where he is coming from and his attitude towards children, you can see from his own words in a piece written by him for the LA Times.
    The Parts Left Out of “Chicago 10” by Paul Krassner
    …Now we were tripping on LSD as the hurricane reached full force. “Hey,” Abbie yelled over the roar, “this is powerful [bleepin’] acid!”…On the afternoon of December 31, several…friends gathered at the Hoffman’s Lower East Side apartment, smoking Columbian marijuana and planned for Chicago….PAUL: Did you ever see that movie, “Wild in the Streets? [A thought balloon shows the image of a group of teenagers dumping LSD into the water supply.]…I decided to take a tab of LSD at lunch before testifying…For millions of young people LSD served as …deprogramming…from mainstream culture…
    The need for brevity affects context in the above, but his encouragement of drug use, etc., remains clear in the full reading of the 1/28 LA Times article. The crass effort by this irresponsible predator to generate publicity for a movie using a school strike disgusts some of us in its misuse of school children for motives of money and profit.
    This note was originally sent to Desert Hot Springs High School teachers and administrators directly touched by the strike with the suggestion that they, as Riverside County residents, might want to contact child abuse authorities for further investigation. The extent to which ordinary people are cowed by celebrity prompts this follow up letter from LA County residents who are perhaps closer to the issue.
    Excuse the anonymity of myself and my contacts, unavoidable given the nature of the film industry. We are already being accused of being anti-Semitic and homophobic in making our information known though a good half of us fall into the above two categories in some manner. The issue transcends name calling and is a matter of a violation of the public trust for reasons of personal profit. It goes one step beyond the outrageous Cartoon Network stunt in Boston in its use of children as the vehicle for publicity and deserves further investigation to insure that such things do not happen again.

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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