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David Poland

By David Poland

Radar Sucked Into Promo Scam & Others Follow…

Radar Online (all that’s left) ran a story about a $175,000 offering of 2 Oscar tickets and a fancy weekend and travel to go with it.
The “news” is that The Academy is suing to stop it.
The absurdity is that the $175,000 package is an overt lie, most likely intended to get coverage for the ticket scalping company (which I don’t wish to name) by Radar and others.
The Academy does not want tickets scalped.
There has not been an Oscar telecast in the last decade that you could not buy illegally sold tickets to for about $4000 to $7000 a pair.
The real story here is that there are not enough seats in the Kodak (or anywhere except for a stadium the size of Staples Center or bigger) to accommodate all the Academy members who actually want tickets for themselves and their +1s. So every year, there is a lottery and a hierarchy going on at the same time to determine who gets the seats they have, after the studios and media and stars they want and “friends of the AMPAS” get theirs. And every year, some of the “lucky ones” who gets seats sell them to brokers for a few grand apiece.
The other ugly thought is that this silly lawsuit is also in The Academy’s interest because it creates the public perception of an unrealistic interest in access to this event. Yes, it is one of the biggest, toughest tickets of any year. But $175k… $100k… $50k… $25k… come on! If you were willing to shell out $15k for a pair of tickets, there is not a studio in town – aside from the one or two with a lot of people who desperately want to be there with the inevitable winners each year – that won’t find a way to slip you a pair under the table and cover the cost of handling 2 or 3 of their stars for the evening.

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2 Responses to “Radar Sucked Into Promo Scam & Others Follow…”

  1. This is somewhat off-topic, but I was amazed how people were willing to pay up to $10,000 for those Inauguration Ball tickets that were being scalped on Ebay and Craigslist. My sister got us tix for only 75 bux each, and well, the Youth Ball was a lame event. I only stayed for an hour and then left.
    I bet the Oscars won’t be all that better, either.

  2. IOIOIOI says:

    I think the following paraphased quote sums up the ridiculousness of that price tag better than anything else; “If I knew going to the Oscars was that much. I would have put my dick in the mashed potatoes!”

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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