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David Poland

By David Poland poland@moviecitynews.com

Lunch With… Ellen Page

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She’s all the rage in Juno and is a serious contender to dark horse an Oscar win just a few days after her 21st birthday. She may be more serious than you expect, but she has a lot to say about the work.
Meet Ellen Page

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7 Responses to “Lunch With… Ellen Page”

  1. Aris P says:

    Dear Ellen,
    I like long walks on the beach, am an avid haiku writer, my teeth are straight, a decent cook, I love comic books and have an extensive, eclectic LP collection.
    Will you go out with me?
    Sincerely,
    Aris
    (David please make sure Ellen and her publicist get this message. Thanks.)

  2. waterbucket says:

    I thought that her performance was amazing but then I watched her on Letterman and she’s exactly like her character. So I’m thinking maybe not so much acting there in Juno for her. Still love the movie though.

  3. LYT says:

    Watch her in Hard Candy and Mouth To Mouth and compare. She’s got skills.

  4. IOIOIOI says:

    Or watch her in HAVOC playing a “Real Tough Chick.” It’s pretty damn funny. Nevertheless; good luck to Aris in his attempts to woo her. Yay.

  5. waterbucket says:

    Well yeah she got skills but just not a lot of difficulty for her in Juno. I haven’t seen Hard Candy but it appears that it’s more of a stretch for her in that one.

  6. Noah says:

    I gotta say that I don’t see what’s so special about her acting. She’s cute and she’s solid in everything, but compared to someone in her age group like Natalie Portman, she’s not so fabulous. I think she gives the fourth best performance in Juno, behind Allison Janney, Jennifer Garner, and J.K. Simmons.

  7. MarkVH says:

    Back up for a second. Dave, please tell me you didn’t turn “dark horse” into a verb.

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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