April 26, 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
Even though six years have passed since I suggested it (writing to you as Ben Grimm), I still think Josh Brolin would have made a good Superman… better than what we ended up with, you’d have to admit.
If only Bradon Routh was the only thing bad about that movie.
1) iKlipz has crappy streaming that keeps freezing to buffer.
2) Bring back that porno intro music.
3) Invest in a good microphone (or at least another black dildo, if you recall)
4) Why is that lamp behind Javier about to fall over?
Thank you, Mutiny. You would have done better.
A Doppler effect is not supposed to be heard when the people speaking are facing the camera…
The lamp though is something that people can study and try to find the existential meaning behind. You should keep doing things like that. Just throw in one non sequitur per piece…
Brolin is going to get the most traction from “No Country.”
He’s long overdue.
Loved him in “Flirting With Disaster” eleven years ago, and he was great on that 1-season Michael Mann show way back when.
Brolin also gives the best performance in the otherwise disappointing “American Gangster,”
I still think his best performance was in The Goonies.
I know that it has a fanboy cult following, but “The Goonies” never worked for me.
It’s overdirected (a typical Richard Donner problem) and the Chris Columbus script is his usual wearying arrested adolescent schtick.
CC’s best and only enduring work is his “Gremlins” screenplay, and that obviously got a lot of input from director Joe Dante and producer Steven Spielberg.
You obviously weren’t a kid when you saw The Goonies. It is pure entertainment, as funny as it is touching. Those kids were a great group of actors. I bought all their performances. And the story moved at a wonderful pace, which also benefited from a terrific score. You didn’t like the script, but I’m telling you, it’s one of the most quotable movies of all time.
Speaking of The Goonies, it looks like a sequel is going to happen:
http://www.cinematical.com/2007/10/23/data-and-chunk-approached-for-goonies-2/
Wow, I am a total film snob but would never ever say a bad word about THE GOONIES, which is just about the greatest film a kid could ever ask for.
It is Indiana Jones for kids. Just awesome.
Different strokes, Mr. Contraire Brack.
I preferred “Back to the Future” and even Dante’s criminally underrated “Explorers” from the summer of ’85.
I did like Brolin in “Goonies,” though.
He showed promise even back then.
I’ve seen those as well countless times.
I enjoy the subtext in the Mutiny/DP exchange.
I enjoy the subtext of Javier’s animal-ness.