April 25, 2024
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Joe Parts on: Welcome To The Future
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20 Weeks To Oscar: Rush To Poor Judgment?
20 Weeks Extra: Could There Be One More Turn?
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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
I’ll be disappointed if 300 isn’t the glorious train wreck it’s promising to be.
Mainly, I’m curious to see how much the producers suck up to the Spartans.
I don’t think the movie is trying very hard to be faithful to actual history – this is Hollywood mythmaking 101.
It looks more like “God of War: The Movie” than anything remotely historic.
Wasn’t it sort of surprising that Greengrass beat out Scorsese? But, yeah, it’s not their fault.
Actually, no. He’s British and so is the film. I think my brain fell out for a second there.
The makers of 300 came right out and said that the film has taken a lot of liberty with history.
300 has monsters in it. I don’t think they’re trying hard to be historical.
I don’t think anybody with even the slightest amount of interest in 300 would go in expecting anything resembling factual accounts.
Good as place as any…
The Movie City News home page is running a link for a Guardian story about how “terrestial” (which I assume to mean non-cable, free) TV is no longer showing classic foreign films like LAST YEAR AT MARIENBAD and THE SEVENTH SEAL and how how this is depriving many of a chance to discover these works.
Yet, what is the relevance to most of us in the States with access to cable? Between Turner Classic Movies, IFC and Sundance there is a heartbreaking abundance of these films available (“heartbreaking”, because in my 80’s adolescence we did not have this option: it was revival or bad VHS copies only). And TCM has hosts to offer insights and they show them IN WIDESCREEN!
God do I envy kids now, between cable and great restored DVDs, it’s like a golden age to immerse oneself in great cinema.
Roy, the problem is, unless a kid is actually really interested in film these days, they’re probably watching The Grudge 2.
Nobody is watching The Grudge 2.
Roy: Unfortunately, availability and access don’t always guarantee exposure. As I’ve written elsewhere: Just about any well-stocked public library contains every book Charles Dickens ever wrote. And it’s been that way for about 100 years. But how many people do you know have read every book Charles Dickens ever wrote? How many people do you know have read any book Charles Dickens ever wrote?