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David Poland

By David Poland poland@moviecitynews.com

11 Weeks To Oscar

The Greatly Settled
Every year, I quote Bill Condon’s notion – which has more resonance with his Oscar gig this year … and less – of The Great Settling.
All the critics’ awards and nominations are laid out. Screeners are in every Oscar voter’s stockings. People go on their annual big vacations to wherever with the family and the discs in tow. And as the pressures from the hard push of the studios and press are relieved, cooling the situation, the films themselves creep into perspective. Nomination ballots go out right at Christmas and are returned en masse when people get back from their holiday to their lives.
But this year … not so much.
The Rest…
The Charts…

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5 Responses to “11 Weeks To Oscar”

  1. Aris P says:

    Having seen the “Top 5” as it were, I think the best film of the year is not even in that group:
    Man On Wire. Period.
    And, I’d even go on a limb and admit that (a few formulaic tropes aside) The Wrestler is better than any of those 5.

  2. Nick Rogers says:

    My top 10, as of right now: Man on Wire; The Dark Knight; Rachel Getting Married; WALL-E; The Wrestler; Tropic Thunder; Shine a Light; The Fall; Kung Fu Panda; W.

  3. jeffmcm says:

    Mine right now:
    (4 Months, 3 Weeks 2 Days which is really a 2007 movie)
    Man on Wire
    Synecdoche, New York
    The Dark Knight
    Standard Operating Procedure
    Let the Right One In
    The Band’s Visit
    Ballast
    Wall-E
    Burn After Reading
    Stuck
    My most hated movie of the year:
    Prom Night

  4. MarkVH says:

    Concur on Man on Wire as best of the year. Still lots I haven’t seen though.
    Oh, and if Debra Winger gets nominated over Rosemarie DeWitt I may actually lose my mind. I like the movie well enough but DeWitt is easily the best thing in it – better than Hathaway, better than Bill Irwin, and certainly better than Winger. I love the vet-making-an-impression-in-her-whole-five-scenes bone-throwing angle, but give me a freaking break. There’s no contest here.

  5. I haven’t been deemed worthy enough to see most of the awards contenders yet so I can’t even begin to give a good top ten list. Having said that titles such as Paranoid Park, Up the Yangtze and Wall-e will definitely be in there.

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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