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David Poland

By David Poland poland@moviecitynews.com

Band of Red

Josh Levin does a decent job rounding up the return of the red-band trailer, except that he misses the main event that has led the way…
The states have given the studios access to the nation’s driver’s license records, allowing for the studio to “responsibily’ (in the MPAA’s eyes) release red-band trailers onto the web. Instead of dancing through an oddball set of hurdles or the studio imposing the limitation of after-10p showings on the web (calibrated for every time zone), they now have all of us in America on a list. You give your real name and your birthday and you are in. It’s when that system came into play that the rush to red-bands really took off.
That said, the choice of Regal to start allowing red-bands is a pleasant surprise. I guess that money really does change everything.
The other interesting angle is the release of trailers worldwide and how careful studios have become in the era of every internet release being found and bounced around every market. All that freedom, as so often happened, continues to lead to tighter restraints.

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7 Responses to “Band of Red”

  1. jeffmcm says:

    “they now have all of us in America on a list.”
    Who the f*&( said they could do that?
    I blame Sarah Palin.

  2. ployp says:

    Can’t believe you can do this!!! Shouldn’t it be against the law to disclose personal info to the private sector? Gosh. So much for the Land of the Free.

  3. CloudsWithoutWater says:

    Well-known people often have well-known birthdates.
    I think that’s all that needs to be said there.

  4. RDP says:

    Drivers License information has been public information as long as I can remember, at least in most states.
    In most states, license plate information is also public, as are property tax records, birth and death records, marriage and divorce records, and so on.

  5. jeffmcm says:

    I expect property, birth, death, marriage and divorce records to be public. I don’t, however, want large corporations knowing where I live and whether or not I need corrective lenses.

  6. Chucky in Jersey says:

    This isn’t exactly new. Regal OK’d red-band trailers 5 months ago — at ShoWest — and cited the move to digital projection as the reason.

  7. ScreenSouth says:

    What are the rules for red-band trailers?
    I saw my first and only one in a theater (Tropic Thunder) in front of the Dark Knight at the Carmike Summit in Birmingham.
    Honestly, when I saw the red band pop-up–especially in front of a pg-13 movie–I was shocked. And I was a little uncomfortable as it played in front of my parents and a room full of “kids.”
    Which, I guess is odd, seeing as though nothing about that trailer would have caused me pause had I seen it in the movie.

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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.”
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“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