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David Poland

By David Poland

Interesting Stat

In responding to a comment in another entry that was trying to make the case for agents – the unfortunate and self-serving source of most “news” in this town… as in “Both Limato and Morris CEO Jim Wiatt kept telling me this afternoon how “very, very” excited they are.” – not thinking more creatively about how to get their clients paid in the industry’s current Insider Recession, I noticed this…
Of the Top Ten grossers so far this year, only the top three

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2 Responses to “Interesting Stat”

  1. mysteryperfecta says:

    I don’t know to whom and for which movies gross points are given, but the fact you’ve limited your analysis to Top 10 grossers may be a factor. I’d only consider Wild Hogs to be a star-driven vehicle. Looking over this past decade, very few star-driven movies make year-end top 10 box office lists (e.g. Mr. & Mrs. Smith, Bruce Almighty, Ocean’s Eleven). The big grossers almost always have much bigger hooks than star power (established brands, sfx vehicles, CG, etc).
    Is this year different in terms of top 10 box office and gross points than previous years?

  2. IOIOIOI says:

    Yes; the effects are important. However, Miami Heat, makes a good point. It does seem a bit — daft — to spend that much money upfront on a film. Especially when damn near every other film released this year will most likely not be that TOP HEAVY. Again; people gots to get paid. There just has to be a better way to GET EVERYONE INVOLVED… paid.

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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