I am thrilled for everyone who got nominated this morning. But let’s face it… the quotes seem all the same, quote after quote after quote. Honored… thankful… unexpected… yadda… yadda… yadda…
So as they come in, I will post some of the quotes and tell you who said them after the jump. See if you can figure out who the quotes are from!
A.
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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
Mr. Jenkins has been tearing it up for years. He’s good in everything he is in including the Manhattan Project. A movie in which he’s chewing up scenery in left and right. Huzzah to him and Robert Downey Jr. Who made David Poland scream so loud this morning at Sundance. He caused an avalanche two counties over.
Melissa Leo had the most practical response when she basically said, “Hey, this should help me get more work.”
If anyone watched Homicide. She would have had a lot of work already. Freakin people: not watch Homicide.
Watching Homicide, but FRANK PEMBLETON DESERVED BETTER! Munch at least is still working.
Homicide achieved TOTAL OWNAGE. Still does, actually — every Christmas and birthday, I get another boxed set of DVDs from the long-suffering Mrs. L.
And I humbly suggest that the “Subway” episod is one of the finest dramatic hours in the history of TV.
Comment: And I humbly suggest that the “Subway” episod is one of the finest dramatic hours in the history of TV. >>>
You know Homicide is a pretty damn good show when at least a half-dozen other episodes — Black and Blue, Three Men and Adena, Crosetti, Colors, Every Mother’s Son, Bop Gun, etc. — could be arguably be considered stronger Homicide episodes than the excellent Subway. 🙂
I though A. was Heath Ledger for sure.
Well, “Every Mother’s Son” is pretty damn close, I admit.
I hate to interrupt the “Homicide” love (and man did I ever love that show until the final seasons), but I thought I’d point out that MCN is operating in such a diminished capacity with the crew off in Sundance that, ironically, they STILL haven’t posted the Spirit Awards nominees, where many that got no love from the Academy did see some from Film Independent.
As long as we’re talking about great Homicide episodes, I’ll throw my love behind “The Gas Man” and “A Doll’s Eyes.”
As long as we’re talking about great Homicide episodes, I’ll throw my love behind “The Gas Man” and “A Doll’s Eyes.”
Fucking Typekey.
Damnit, I was hoping B was Mickey Rourke.
Homicide’s “Every Mother’s Son” has one of the greatest usages of music in ANY filmed sequence, television or movies, you will ever see: Belly’s “Full Moon/Empty Heart”, played over the scene of Pembleton and Bayliss notifying a mother that her son is dead before raiding a suspect’s home (“Don’t look at me, lookin’ back at you…”).
It’s damn near miraculous and I still haven’t seen it topped to this day.
What was the HOMICIDE ep with Moses Gunn, where the entire ep was Secor and Braugher in the interrogation room trying to get a confession out of him? That was the best– I think they did the whole show sans music and it had this unsettling buzzing flourescents sound providing an eerie undercurrent, and that was in the first season when they muted the colors down to where it was practically B&W.
Lex, that episode was “The Men and Adena.”
Frank’s return episode where they usage “Only Happy When It Rains” by Garbage (I think that’s it), is a scene blazed upon my memory. I also have the scene with Clark Johnson at the biker funeral while the Pretenders “I’ll Stand By You” stuck in my head as well. Such a great show that spawned a great mini-series in the Street, a rather damn trippy show in OZ, and the fucking WIRE. Few shows have such fine lineages.
One of the episodes from the last season used SUPER BON BON by SOUL COUGHING, that was total 1996/97 OWNAGE.
Random trivia – Believe it or not, Three Men And Adena (my pick for the best Homicide episode, although that’s a lot like judging which diamond is shiniest) was directed by action guru Martin Campbell.