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David Poland

By David Poland



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10 Responses to “1-Sheet-A-Rama”

  1. Ian Sinclair says:

    Lousy posters for BLOOD and HEARTBREAK and, it has to be said, a terrific one for RAMBO.

  2. Joe Leydon says:

    But I thought the title was John Rambo. Like Rocky Balboa.

  3. lazarus says:

    Is Rambo about to kill Colonel Kurtz in that shot, or did he just finish the job?
    I hope the image quality of that TWBB poster looks better in real life. And the one-sheet with DDL in Gangs of New York looked a lot cooler. Maybe they should just superimpose an Oscar statuette over his face.

  4. LexG says:

    That THERE WILL BE BLOOD poster looks like Sterling Hayden in 1900 photographed through the ANALYZE THIS/THAT color filter.

  5. CloudsWithoutWater says:

    I think the TWBB look here is more a factor with the digital version. I saw it in a theater hallway this afternoon and it looked great. I’d blame a poor scan or something somewhere along the line for this image.

  6. Spacesheik says:

    Absolutely brilliant RAMBO poster, the fact that he is holding a machete and not an M-16 means this one is going to be quite graphic.
    Has a major studio picked this yet? I heard Stallone was having some potential NC17 issues with MPAA.
    It’s slated for Jan 25 – unusual date, maybe Poland can enlighten on that.
    Hopefully it will be a polished flick and they retain the Jerry goldsmith score – I’d hate to see this get a limited released and then straight to DVD, but the trailer released on AICN a while back looked like a MIA Chuck Norris 80s flick albeit with more graphic bloody violence.

  7. David Poland says:

    Lionsgate in December… similar to Rocky Balboa date

  8. Ian Sinclair says:

    Here’s the #2 RAMBO trailer, which might be rated R.

  9. That Rambo one is quite good. That Heartbreak Kid one is quite terrible (is it international?).
    A HQ TWBB poster can be found by clicking below
    He looks like Robert DeNiro there.

  10. oh, of course it’s international! I just now looked at it for longer than the blink of an eye and noticed the foreign language all over it. That movie’s posters have all been terrible.

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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