Old MCN Blogs
David Poland

By David Poland poland@moviecitynews.com



Witness to a child’s freakout: that was me, this weekend, when I took my seven year old nephew to see THE SIMPSONS MOVIE on Friday.
The boy is utterly traumatized. He got his first dose of apocalyptic horror in the form of the theatrical extended “making of” trailer for RESIDENT EVIL: APOCALYPSE. It’s possible that my nephew will never sleep again.
The movie, with its legions of desert-fried Undead, does look extremely cool — an update of the 1970s atomic horror/end days tales (PLANET OF THE APES, MAD MAX, THE OMEGA MAN) that RE-1 director Paul WS Anderson was raised on.
Star Milla Jovovich seems to relish the her role as a genetically enhanced MAD MAX-type heroine.
How scary does this movie look? Even the crew looks badass. In the behind the scenes interviews, producer Jeremy Bolt sounds like a normal British person, describing the effects, the locations, the new characters. But he looks like a shades- and Stetson-wearing, stubble-faced character out of THE WILD BUNCH.
This is what happens when men — and sequels — go to Mexico.
The theatrical trailer’s smashing. But I was left with this thought: Kids, if you don’t buy a ticket to RESIDENT EVIL: EXTINCTION, the makers of this movie might just ride out to your house, all Man With No Name/Sam Peckinpah– like, and shoot your parents.

Here’s the teaser trailer — not the extended/making of trailer shown before THE SIMPSONS MOVIE.
Sony has just added a second trailer, which debuted at Comic Con, and a “Red Band” trailer for older viewers. (Visit Bloody Disgusting if you’d like to view red without giving away your whole damn life story) Both reveal a bit more of the plot.
The Red Band’s abominations include: a pile of dead Alice-clones, zombie dog-kebabs, several Undead decapitations, a POV shot through the empty space in the zombie’s aired-out skulls, (There was a shot like this during a gunfight in THE QUICK AND THE DEAD), and (most scarily) some horrible Just For Men black hair dye on villain Iain Glen.
Listen here for Coming Soon’s audio of the roundtable chat with writer/producer Anderson and legendary creature designer Patrick Tatopolous. There’s mention of THE ROAD WARRIOR influence, the sandstorms of Las Vegas, and how DEATH RACE preparations are going.

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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