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David Poland

By David Poland poland@moviecitynews.com

The Great (?) Outdoor

One of the major changes in media spending in the last year, right up there with newspaper buys, is a new cap to outdoor buys. There are still plenty of billboards out there, but it

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10 Responses to “The Great (?) Outdoor”

  1. Sean Weitner says:

    Here in Wisconsin, it’s illegal to use motion video on those billboards, and I suspect it’s the same elsewhere, for just the reason you mention.

  2. jeffmcm says:

    Maybe Dreamworks gave up their Sunset Blvd spot (where was that?) in order to afford draping that building on Vine with a Transformers ad.

  3. Crow T Robot says:

    The Die Hard 4 bus ad I saw yesterday on Franklin put a smile on my face. In big white over black letters it read:
    “Yippie ki-yay mo…” – John 6.27

  4. I first noticed the video billboards a couple weeks ago, driving Olympic by the G4 Studios. It rotated between key art for Fantastic Four 2, Die Hard 4 and The Simpsons 1. But I wonder what the cost difference is between those and traditional billboards.

  5. cjKennedy says:

    I guess even the Die Hard ads are PG-13.

  6. Aris P says:

    That’s great. All this city needs is more distracted drivers.

  7. Aladdin Sane says:

    I watched the Captivity trailer. The original campaign seemed pretty crass, but I’m kinda interested in seeing it now. It doesn’t look like the horror porn like Hostel that I was expecting it to be. Of course, I’ve been wrong before…

  8. bishopprice says:

    Joss Whedon has an interesting commentary on the Captivity ads
    http://whedonesque.com/comments/13271

  9. When I lived in Sherman Oaks a few years back there was a billboard outside my kitchen window. Whatever movie ad got put on that billboard totally, totally bombed. It was an incredible predictor.
    Incidentally one morning I looked at it as I poured some coffee and I saw the guy who plays Dr. Kelso on SCRUBS pointing back. No caption, no anything. I asked my wife, “hey…isn’t that Dr. Kelso? Weird.” A few weeks later while watching SCRUBS there was a dream sequence and there was the billboard! Funny!

  10. Me says:

    I always wondered why Scrubs didn’t do better in the ratings. Now I know.

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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