Guess…
Come on…
Guess…
The quote on the letter in the package…
“A cultural event. It feels like one of the key movies of the era…”
Guess…
Okay… you give up…
Find the answer after the jump.
“…. a raw, discordant equivalent of The Graduate forty years ago.” David Denby
It’s Knocked Up. And like Par Vantage’s mailing of A Mighty Heart, it’s going out in the DVD release packaging to everyone but The Academy.
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20 Weeks To Oscar: Rush To Poor Judgment?
20 Weeks Extra: Could There Be One More Turn?
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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
Damn. I guessed NORBIT.
Is ‘cultural event’ a Joe Leydon quote?
Cadavra; that’s what Charlie Murphy thought as well. Remember the rules of Charlie Murphy: IF ONE MOVIE MAKES MORE MONEY THAN ANOTHER MOVIE. THE MOVIE THAT MAKES MORE MONEY IS INHERENTLY BETTER. Indeed the anti-clockwise version of David Poland’s own thinking on box office. Nevertheless; Knocked-Up or Superbad should hopefully garner a writing nod. Hopefully being the key part in all of this because you can never know with that DRAMA-QUEEN LOVIN ACADMEY!
I hate double posting. Yet… here is ACADEMY. Why? Well… because I hate keyboard related typos. The bastages.
I’ll say it again: Leslie Mann for Best Supporting Actress.
Better chance of winning Original Screenplay than Juno?
I think so. Diablo is the cinderella story, but Apatow has to have some serious industry respect at this point. And Brad Bird already has an Oscar, right?
Mann would be a lovely surprise that only a brave critics group can make happen.
Of course.
screener just in….’things we lost in the fire’…(and the game begins)…
Here, here Rob.
I think if enbough Oscar prognasticators guessed Mann will be nominated, it would happen. I seriously think voters vote on hype and who they’re “supposed” to vote on that actually, you know, seeing the movies.
If SUPERBAD or KNOCKED UP get a writing nod take it as the first sign of the apocalypse. Locusts will be following.
KNOCKED UP deserves nominations for both screenplay , picture (yes really) AND for Leslie Mann. Her rant at the club doorman is the scene of the year for me.
I doubt a Best Screenplay is in the works for Knocked Up. But I give out a holla to Leslie Mann, she stole the whole damn movie.
Door man. Door Man! DOOR MAN!!
He clearly wrote that scene for his wife. It comes off as a non sequitur moment a guy wrote for his wife. If the actress was anyone else, the scene wouldn’t be in the movie. It’s all very disingenuous… like most of the movie. I don’t get this Apatow love.
JBD, as Jack White would say, I can tell that we are gonna be friends.
Imelda Staunton certainly deserves one for her fabulous turn in ORDER OF THE PHOENIX, but she has no chance…and Mann has even less.
Crow. Love your work. Besties.
Knocked up for best picture, lol. It never ends! But you all’s huffing and puffing has made me reconsider Leslie Mann. I mean, if she is good beyond just the fanboy faction she’ll get in – it’s a weak category this year it looks like…