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David Poland

By David Poland poland@moviecitynews.com

20 Weeks To Oscar – Wicked Wicked Season Picket

Perhaps the most interesting next question for award season will be whether journalists and others, like SAG Nominating Committee, not mention Sean Penn and Eddie Vedder, are willing to cross picket lines

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8 Responses to “20 Weeks To Oscar – Wicked Wicked Season Picket”

  1. Drew says:

    As much as I just busted your balls on the other thread, this is a very strong piece, and it’s the first time I’ve heard anyone articulate this.
    It’s gonna get weird. That’s all I know for sure.

  2. Jonj says:

    When are we going to get the actual chart update?

  3. David Poland says:

    sorry… it will be up by morning…

  4. Joe Leydon says:

    Maybe this question has been raised elsewhere, but if not: What, if any, effect will the shutdown of Leno and Letterman (and, for that matter, Stewart) by the strike have on people trying to promote their new movies?

  5. David Poland says:

    A lot less than highly paid publicists wish it would.

  6. Jonj says:

    I know you can’t judge a movie by the trailer, but in “Charlie Wilson’s War,” Julia Roberts doesn’t seem particularly convincing. The accent comes across as awkward, at least to me.

  7. Cadavra says:

    The studios will compensate by buying more ad time. In any event, David is right in saying such appearances aren’t necessarily important. RATATOUILLE grossed over $200 million without any talk show turns, even by frequent guests like Patten Oswalt or Janeane Garafolo.

  8. jeffmcm says:

    Julia Roberts looks like she was shoehorned in to get another star in. Her part should have been played, as far as I can tell, by a Brenda Fricker/Miranda Richardson/Kathy Bates.

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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