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David Poland

By David Poland

Silent Nut

I try to keep away from C. Nikki Finke as best possible (and I can already hear her fingers typing the unpleasant e-mail about this entry), but I had to laugh (and share) when I looked at her site for the first time in weeks and her primary advertiser was the unrated DVD release of Black X-Mas, a movie that she squealed about regarding its earth-shattering Christmas release, single handedly generating the only promotion the film would ever have.
Not only are there three big ads on her page, but the film is being given away by L.A. Weekly as an event, so if you click on the ads, you get another L.A. Weekly page.
Payback’s a Nikki.
Or is this buyback?

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6 Responses to “Silent Nut”

  1. EDouglas says:

    That’s pretty funny.. I do remember how much she was complaining about the movie.


  3. Classic!! There’s a Todd Snider song called “Can’t Complain” and the last verse goes “I’m gonna make my last stand/this time I won’t be bought/Then again, on the other hand/how much have you got.
    I love hypocrites.

  4. LexG says:

    Fired up as she was, Nikki obviously didn’t give enough of a shit to actually research the fact that Dimension almost always drops a stealth horror flick on or around X-Mas– Wolf Creek, Dracula 2000, They, Darkness, etc.

  5. And you’d think they’d realise after all of those movies posted disappointing box office.
    To think that after they were so successful in marking Bad Santa a few years back… I mean, if they had released Bad Santa on Christmas Day it would have been nowhere near as big as it was. God the Weinsteins are idiots.

  6. jeffmcm says:

    None of those movies really needed to gross a lot to be profitable, between theatrical and video. The high grosser of the bunch was Dracula 2000’s $33m.

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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.

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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.

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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.”
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“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