May 18, 2024
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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
It does read as a little “I Just Snorted 21 Grams In the Bedroom of the House of Sand and Fog,” but I’d pay $10 to watch that cast read the newspaper.
I like how the trailer is like, “Should we be emo and vague? No? OK, here’s the last ten minutes of the movie with a musical sting!”
If Connelly read the newspaper, it would give her more interesting lines than what she has to work with here. But at least Ruffalo is always good.
I have about a 9 percent interest in seeing this film, based on that trailer, but it is nice to see Mira Sorvino getting real work again. I always thought she had the talent to do so much more than the crap she’s been doing since winning the Oscar.
I’m not really buying the premise of this movie. Why wouldn’t Ruffalo turn himself in if it was an accident? It’s not as if he’s uneducated man who doesn’t know any better?
It’s a shame they can’t find a new way to sell a drama and that last part with the emo song really overdoes it. But, I still think it looks good. I’m a fan of the actors and the filmmaker and it looks like it will be an emotional, not sentimental, film which I like. I’d rather see this film than Things We Lost in the Fire, which is the other film that seems to be angling for the same kind of audience.
This is the second time I’ve turned off this fucking trailer halfway through. What a maudlin snooze.
Uh…no thanks. What a depressing-looking movie. There doesn’t seem to be any moment of tenderness, humor, or love at all. Just hours of non-stop grief and guilt. Bad trailer.
Man, that’s some depressing stuff. And I say this as a fan of 21 Grams and House of Sand and Fog.
I’m on the fence about it. LOVE the cast…but like you guys said….looks like a retread. The tone reminds me of MYSTIC RIVER, a movie I love. I’ll still see RESERVATION ROAD but yeah…thus far, lukewarm anticipation.
What a miserable freakin trailer. Everyone dies. Everyone has emotional trauma. Iocane Powder Phoenix pullls a gun. Jennifer Connelly looks miserable and other assorted FALL mass hysteria! Yay.
It’s annoying that they seemingly show us the final sequence of events. But then again, how do you make a trailer a movie such as this?
The trailer isn’t great, but the cast is and I absolutely love the book. I haven’t read it in years but I remember not being able to put it down.
Yeah, the use of a romantic tone Damien Rice (who i enjoy) song on this trailer was not a good idea… the sense of drama is kinda lost… but i agree, what a f*** cast!
It looks like a compelling story (especially being a father myself) and I love the line where Phoenix turns it around on the guy regarding his son, but yeah, this is one of those that if I rented it from Netflix it would sit unwatched for 2 months because I’d know it was going to be such a downer.
Vic
I don’t see how it’s going to be all that much of a downer. Aside from the music in the trailer, it looks more like a procedural thriller/revenge piece with a little of that anti-suburb vibe floating around the edges.
And I must really be out of touch with music labels because the last thing I’d pidgeonhole that song as is “emo”.
This is how I like me revenge flicks.
Check out DEATH SENTENCE…http://www.apple.com/trailers/fox_atomic/deathsentence/hd/
It seems to be a revengey fall. The Death Sentence trailer doesn’t do it for me, though. I’ll take Neil Jordan over Wan and Whannell any day.
This could be good — hell, could be great — but seeing the trailer only makes me want to watch Sean Penn’s The Crossing Guard again.