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David Poland

By David Poland poland@moviecitynews.com

Pedophile Priest Doc Lands In Dublin

From The Irish Times
Film festival gets down to grave business
The first weekend of the D ublin International Film Festival featured an award for Gabriel Byrne and a harrowing documentary about an Irish child sex abuser, writes Donald Clarke.
…The next morning the festival returned to the most serious of matters with a screening of Amy Berg’s already hugely controversial documentary Deliver Us from Evil. Detailing the American Catholic Church’s apparent failure to deal with the crimes of a former priest, Oliver O’Grady, a convicted child abuser, currently resident in Ireland, the film has been accused (by, to a great extent, those who haven’t seen it) of offering the offender a platform to justify his nauseating atrocities. As it happens, Berg’s film, which has been nominated for an Oscar, turns out to be a responsible, sober piece of work that finds O’Grady further damning himself with perverse evasions and bewildering delusions. Following the film, Mannix Flynn, the veteran writer and actor, dryly urged Amy Berg, who had flown in for the weekend, to enlist the help of Bono in getting the current Pope to act on the scandal. “He’s a pal of your man over there,” Flynn noted.

Also… of The Lives of Others, Clarke writes, “The bittersweet end rendered this correspondent so pathetically teary he had to have a stiff drink before gearing up for the festival’s second week.”
The whole article after the jump…


Film festival gets down to grave business
The first weekend of the D ublin International Film Festival featured an award for Gabriel Byrne and a harrowing documentary about an Irish child sex abuser, writes Donald Clarke.
Back in 1985, when Michael Dwyer, this newspaper’s film correspondent, founded the first Dublin Film Festival, Gabriel Byrne was one of the very few Irishmen who could call himself a film star.
It thus seemed appropriate that the fifth Jameson Dublin International Film Festival, the last to be programmed by Michael, should begin with the presentation of an accolade for career achievement to the star of Miller’s Crossing and The Usual Suspects.
After receiving one of the inaugural Volta Awards – named for the Dublin cinema established by James Joyce – Byrne went on to pay moving tribute to

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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