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David Poland

By David Poland

20 Weeks – Dead Horse Beating

Everyone liked something. Generally, the hate levels were down. And while nothing particularly unexpected is expected a week from Sunday, there really isn’t much opportunity for anything remarkable to happen.

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9 Responses to “20 Weeks – Dead Horse Beating”

  1. jeffmcm says:

    Can you narrow down what you were ‘right about in the first place’? Just asking since it’s phrased a little non-specifically.

  2. David Poland says:

    Why don’t you do it for me, J-Mc. You are much more interested in me than I am.

  3. jeffmcm says:

    Then can I have your bank account numbers?

  4. jeffmcm says:

    But anyway, please stay on topic. I was asking about your article.

  5. Josh Massey says:

    I will be royally thrilled if my favorite wins a major award or two – but since my favorite is Children of Men … well, yeah.

  6. Joe Leydon says:

    Remember when I said that Adrienne Shelly’s murder would wind up being a “Law & Order” episode? Well, that is what has happened — tonight — with a little bit of Theo van Gogh thrown in. If you’re on the West Coast, the episode airs at 10 pm on NBC.

  7. Jonj says:

    I like this arguably three-way race (or four-way race) for best pic. It makes things interesting. I don’t like the four acting awards looking like absolute locks. And they do look like locks. Murphy looks the most vulnerable, but I doubt he’ll lose. He’ll tell us in his acceptance speech that this is the nicest thing that has happened to him in at least the past 24 hours.
    Whitaker deserves to win even though he’ll just stare blankly at the audience for two minutes until the orchestra runs him off the stage.

  8. Rob says:

    On the plus side, Jennifer Hudson’s been giving lovely speeches so far through the season. The other three – meh.

  9. I actually gotta agree with Dave. Apart from a few glaring omission and a few head-scratching inclusions, the list of nominees is a respectable one. Out of the BP nominees I’ll only be annoyed if Babel wins.
    Most of the tech races should be interesting since the BP nominees barely factor.
    Wins I’ll be hoping for though:
    United 93 for Editing
    The Devil Wears Prada or Marie Antoinette for Costume
    Children of Men or anything, but Cinematography seems most likely
    The Saviour for Live Action Short (I’m biased, okay)
    and it’ll be great to see Scorsese finally on stage accepting an Oscar. If he loses… I can’t even imagine what will happen.

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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