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David Poland

By David Poland poland@moviecitynews.com

DP/30 – Matteo Garrone, director of Gomorrah


The director of the 2008 Italian submission for Oscar sits for a chat with David Poland.

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7 Responses to “DP/30 – Matteo Garrone, director of Gomorrah”

  1. T. Holly says:

    It blurs the lines of real and fake so naturally that Scarlett Johansson can make an appearance via newscast on the Venice Film Festival red carpet in an unidentified long, cream vintage gown in silk and lace, with a sash belt and it becomes a story point. You’re both better in person, I understand Kris Tapley has an audio interview with the writer.

  2. David Poland says:

    Was that in some kind of secret code, T Holly?

  3. T. Holly says:

    Yes. Some stories have to be approached sideways. Probably not so for those in the book Tony Scott had on his desk in David Carr’s video: “Intelligence Work: The Politics of American Documentary.”
    I’d like to see “Gomorrah” again back to back with “Manda Bala.” Returning to the dress, the producer said it was Angelina Jolie’s in the book. It’s a really cool movie.

  4. yancyskancy says:

    If I watch this video, will I understand T. Holly’s posts? Wait — Dave MADE the video, and he’s confused, so maybe I’ll just let it go.

  5. leahnz says:

    i always feel like i’m just ON THE VERGE of grocking what t. holly is on about but then the gears in my head grind to a halt and i go blank like homer simpson, complete with one eyeball twitching to side

  6. leahnz says:

    ‘twitching to THE side’ %$&#*@&$
    * david poland, any chance of adding an ‘edit’ function to your blog so that ignoramouses like me can fix our comments after the fact?

  7. movieman says:

    Terrific movie:
    it vaguely reminded me of the late, great HBO series “The Wire.”

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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