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David Poland

By David Poland poland@moviecitynews.com

DP/30 – The Wild & Wonderful Whites Of West Virginia

I have been looking at a bunch of docs and features that will shortly be premiering at Tribeca and the first thing that’s clear is that it’s a very strong year for docs.
And what else is clear is that The WWWoWV is going to be one of the best, most talked about, best remembered docs of this year. I don’t want to appear to damn any other film with faint praise as I whoop it up for this one… but DAMN… this is The Shit.
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For me, this film combines much of the formalism of The Maysles with the rock and roll of Nick Broomfield. Many will have a hard time believing what they are seeing, before, during, and after the film. But it’s real. And as you will see in the DP/30 conversation, the director and “The Jackass Guys” didn’t go into this as some kind of crazy joke… they are serious about The Whites and they are serious about documentary as a form.
Okay… enough from me.
The current trailer for the film is here – in censored SFW form – and here – in uncensored NSFW form.
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The interview with the director and two producers is after the jump… and also downloadable for your computer or portables on DP30.com.


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6 Responses to “DP/30 – The Wild & Wonderful Whites Of West Virginia”

  1. SoundBitesNYC says:

    The Dancing Outlaw is back! As a WV native, I hate to think these nutsos are going to be what people think most West Virginians are like, but Jesco is a fascinating guy who hasn’t been in the public eye since Roseanne dragged him into it in the mid-90s.

  2. Jeffrey Boam's Doctor says:

    Jacob Young already told this story 18 years ago in 22m without a whiff of exploitation. I wonder if they’ll give credit where credit is due.

  3. LexG says:

    Johnny Knoxville rules. Does he do stunts and shit in this one?

  4. The Big Perm says:

    Jesco? Wow! The original was really interesting. I’ve known a few guys like that. They seem like straight up hillbillies and they are, but they have a certain artistic ambition sometimes undermined by their own hillbilliness.

  5. Ju-osh says:

    Here’s a link the Popcorn Sutton interview mentioned in Dave’s interview:
    http://www.jackassworld.com/blog/2009/03/17/news-marvin-popcorn-sutton-rip/

  6. Wrecktum says:

    Any relationship to these Whites?
    http://bop.nppa.org/2009/still_photography/winners/?cat=NAA
    Or are all Appalachian Whites the same?

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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