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David Poland

By David Poland poland@moviecitynews.com

The Hangover Shows Us Its Package

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6 Responses to “The Hangover Shows Us Its Package”

  1. Wrecktum says:

    Dear Warners:
    I know you are great at marketing your films, but, Christ almighty, can’t you finally stop handing out these worthless promo bags to journalists? How much money are you wasting when you aren’t even moving the dial one centimeter? Is it because you need to keep your vendors happy? Fuck your vendors and fuck your idiotic pre-millenial mindset. I have friends who’ve been laid off at WB this year. Friends, this is what your studio is spending your former salary on.

  2. IOIOIOI says:

    When he has a point. He has a point. This is ludicrous in the 21st century. Poland does not need this shit. Only contest winners at radio promos need this shit. Why they would waste the time and money on Poland of all people with this swag is pretty damn funny.

  3. LexG says:

    More Bradley Cooper. Who is this guy’s agent, Barack Obama?

  4. leahnz says:

    i never used to fancy bradley cooper but he looks better to me lately for some reason, i think he’s scruffier now or something

  5. christian says:

    Warner’s only made about two billion dollars off one film last year. To quote Lumbergh, things are a little tight.

  6. David Poland says:

    I get the stuff because you get to see the stuff. And I think that the value of that is real to the studios, though they don’t all play this game.
    Thing is, this box would have been more valuable a month ago, before the buzz and the screenings.
    I have been singing the theme of Land of The Lost for almost a year. The Sleestak t-shirt was too small for anyone I know, but still, clever.
    Warners didn’t “make” a quarter of that on TDK, christian. Not that a few hundred million is chump change. But remember, the firings started on the heels of Batman and the New Line shutdown, just months before. Things are tighter than you seem to think.
    But marketing and publicity matter and must continue if they want to stay in the business of wide releases. So… while IO may have a point conceptually, the cost of getting me to write about this movie in some context other than a review is something measured and measured and measured again by studios… much like the amazing cost of ComicCon, for instance. All part of the same effort.

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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