MCN Blogs
David Poland

By David Poland poland@moviecitynews.com

Rashomotor

Lou Lumenick’s blog sent me scurrying for more info about the Volkswagon Relentless Drive Award, given to a Sundance filmmaker each year. This year it went to deborah Kampmeier, who made the now infamous Dakota Fanning movie, Hounddog.
As “reported” in a press release written by The Motion Picture Group, which is funding Ms. K’s next film:
“The Relentless Drive Award” pays homage to the incredible amount of dedication, determination, sweat, tears, spit and downright unyielding will to get an independent film produced. This year, Volkswagen owners selected the director with the best story of how they used music in their quest to make their film happen. VW owners were able to vote throughout the Festival in the Volkswagen tent, after which the “Relentless Drive Award” was awarded to Kampmeier.
Volkwagon announces the competition on its own site:
The theme this year will be Music in Film. The award will go to the director whose movie was most inspired by music, or in which music played a huge part in it’s (sic) creation. Directors will submit their stories, and we’ll advertise them on the back page of the Daily Insider. VW Owners will vote on the winner who will then drive off into the sunset with the use of a free VW for one year.
So…. Volkswagon owners who were at Sundance and who voted for the film most inspired by music, or in which music played a huge part in its creation made this call. Could it have been more than 50 people voting? And is there any way they wouldn’t vote for the film named after an Elvis Presley mega-hit? And is this one reason why there is no publicity on the win – going to a very controversial film – from Volkswagon itself?
It’s not a big deal. But once again, one person’s dedication, determination, sweat, tears, spit and downright unyielding will is another man’s minor marketing ploy.

Be Sociable, Share!

One Response to “Rashomotor”

  1. Adam says:

    even if Hounddog is nothing more than an issue-ploition shocker, from everything I read it was much more difficult to get made than most independent movies. Maybe it was easier to get accepted to film festivals and get press, but they had a hellaciously bad time funding it. Or maybe the difficulty was exaggerated as much as the rape scene in the final product.

The Hot Blog

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” — 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