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David Poland

By David Poland

BYOB Monday Pre-Indy Day

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71 Responses to “BYOB Monday Pre-Indy Day”

  1. mysteryperfecta says:

    The vampire and zombie genres are two of the most played out, couldn’t-care-less genres on the scene, imo, but I’ll be darned if the trailers for Daybreakers and Zombieland didn’t really pique my interest.

  2. mysteryperfecta says:

    Also, according to Box Office Mojo:
    “Revenge of the Fallen’s weekend gross fell $3 million short of Paramount’s Sunday estimate, which would have put the five-day opening at $198.2 million…However, Paramount revised its grosses from Wednesday and Thursday upward, and that’s what pushed the total past $200 million. Wednesday went from $60.6 million to $62.0 million, and Thursday went from $28.6 million to $29.1 million.”
    Any reason to call shenanigans?

  3. David Poland says:

    of course.
    what people do not understand is that the “final numbers” are still estimates. they are a lot closer to the real numbers, but there is always a percent or two of wiggle from the real finals and on a number this big, that is a few million dollars. they wanted $200m… they decided on the way to have it be $200m.

  4. SJRubinstein says:

    Finally caught up with that doc “The Art of Failure: Chuck Connelly – Not For Sale” and have to say, it’s a pretty fascinating look at either a genius out of step with the audience or a one-time genius who lost his talent somewhere along the way. That said, the idea that Connelly – a contemporary of Basquiat and Schnabel who was big in the 80s and crashed and burned afterwards – began his downward spiral after publicly trashing Scorsese’s segment of “New York Stories” (which was based on Connelly) is hilariously sad. I get it, Scorsese felt burned, Connelly was seen as an ingrate and – allegedly – people turned their backs on him. But he was RIGHT! Scorsese’s segment (“Life Lessons”) isn’t as bad as Coppola’s, sure, but I don’t feel it’s on par with Scorsese’s best work or even Allen’s seg.
    Still, sad to watch this guy in the doc just descend and descend into what even kind of looks like madness.

  5. Crow T Robot says:

    The death of MJ got me thinking about the superstar working with a lot of the top directors of the 80s and the general relationship between auteurs and pop music. (IE what directors have the greatest taste in music)
    Some are obvious…
    PT & Wes Anderson
    Those with the no taste…
    Spielberg (although his use of “Hounddog” to open Indy 4 was perfect)
    Tony Scott
    Michael “Linkin” Bay
    As far as this year: Beastie Boys in Star Trek was interesting… Bob Dylan in Watchmen was downright great… even GnR in Terminator was a nice little in-joke..
    Anything else make an impression?

  6. LexG says:

    Come on, Crow, I believe Bay’s use of Green Day’s “21 Guns” not once but *FIVE TIMES* in the same movie in TF2 is the most masterful “let’s get our money’s worth” move since “Last American Virgin” played every song on its (awesome) soundtrack at least two times each.
    And why bag on Scott? His use of that LAKME aria in the Walken/Hopper scene of “True Romance” AND in “The Hunger” is pretty classic. So is pumping Trent Reznor screaming “I”m gonna fuck you!” over DeNiro’s murder of Del Toro in “The Fan.”
    And “Top Gun” is one of the biggest selling soundtracks of all time. Also: FLOATING CREDITS on Travolta’s mug to the strains of “99 Problems.”
    Because no one is as hip-hop as Barbarino.

  7. Joe Leydon says:

    LexG: Has anyone ever made better use of a pop/rock song to hype suspense than Michael Mann with “In A Gadda-da-Vida” in Manhunter?

  8. Wrecktum says:

    Fincher makes great use of music. I can’t think of any of his films that didn’t have at least one scene of flawless match between picture and music.

  9. don lewis (was PetalumaFilms) says:

    Fans of despicable protagonists are in for a treat this week…
    Hal Ashby’s directors cut of “Lookin’ to Get Out” hits tomorrow as does the fucking amazing “Easgtbound and Down.” The former I caught at CineVegas and I’ll tell you what, there’s brilliance there. Voight turns in his best performance I can think of and the film has a weird, frenetic almost Lubitsch/ early screwball comedy vibe to it. But the leads (Voight and Burt Young) are just terrible people.
    And “Eastbound and Down” is a must-see if you haven’t yet. Jody Hill is quickly becoming my new favorite writer if not director.

  10. Crow T Robot says:

    I don’t wamt to close my eyes, Lex
    I don’t want to fall asleep
    Cause I miss you babe
    And I don’t want to miss a thing.
    And I fully retract my elitist statement…
    (Wrecktum, my fav is Fincher sneaking in Zager & Evans’ “In the Year 2525” in Alien 3)

  11. Wrecktum says:

    I think my fav Fincher is White Rabbit from The Game but there are many….

  12. LYT says:

    David Lynch. Lost Highway soundtrack. Perfection.

  13. Aris P says:

    Random, but perfect, IMO:
    1. ? and the Mysterians “96 tears” – Quitters Inc (Cat’s Eye)
    2. Corey Hart “Blind Faith” – Miami Vice Episode where Det. Larry Zito dies
    3. Massive Attack “Safe from Harm” – The Insider

  14. LYT says:

    Also, NAPOLEON DYNAMITE’S use of “Time After Time,” “Theme from THE A-TEAM,” and “The Promise” was totally spot-on.

  15. jeffmcm says:

    One of my favorite uses of music from the last couple of years was “Food, glorious food” in Ice Age 2.
    Also, “Jeepster” in Death Proof.

  16. LexG says:

    Joe, Mann should’ve used the Slayer version. But kidding aside, yes, it’s an awesome use of Iron Butterfly, but I’m also partial to whatever that REALLY depressing song is when Noonan goes nuts and shoots the dude who drives Allen home.
    Speaking of Massive Attack, has anyone ever compiled a list of ALL the movies, tv shows, and trailers that have used “Angel”? Just offhand, I can think of Go, Snatch, Stay, Flight of the Phoenix, Firewall, the trailer for Murder by Numbers, the trailer for I Know Who Killed Me, and about a million other things. How hack is that? Get a new song, man.
    Didn’t Tarantino have some rule that once one movie uses a song, it forever belongs to THAT movie and should never be used again?
    I always cringe when someone falls back on some really lazy, on-the-nose shit that’s been heard in 8 million movies. Really, someone’s gonna use “Mamma Told Me Not to Come” or “Magic Carpet Ride” again?

  17. LexG says:

    And Eric Clapton’s “Cocaine” playing as Jared Leto… snorts cocaine in “Lord of War” (and the rest of the obvious K-Tel soundtrack) oughta land Andrew Niccol squarely on this list.
    LYT for the win re: the Lost Highway soundtrack, which 11 years later still gets consistent play for me. BEST PUMPKINS SONG EVER + MANSON + RAMMSTEIN = #1 reason it’s BY FAR Lynch’s Most Awesome Masterpiece.
    That and the fact that it’s the Lynch most packed with Shit That I Find Awesome (porn, metal, tits, the Madonna/Whore Complex, the Valley, callboxes, stripping, Marilyn Manson, cars, roadside hotel rooms, bad saxophone music, red lipstick, Robert Loggia, white pancake makeup, snowy tv sets, Richard Pryor, Dick Laurent, electricity, Henry Rollins, leather jackets, smoking, dueling blonde-and-brunette hotness, crooked credits, red nail polish, wigs, and more metal.)
    If Michael Bay remade Lost Highway I would erupt like St. Helens, Art Carney style.

  18. Crow T Robot says:

    Years ago QT mentioned on Letterman how much bullshit “Be My Baby” was in Dirty Dancing… that the song belonged to Mean Streets.
    Mann is another guy who knows how to use rock… he successfully stole Oakenfold’s “Ready Steady Go” from Liman’s first Bourne (in a kickass car chase) and put it to even more visceral use in the club shootout in Collateral.
    The Patti Labelle/Moby track in Miami Vice was also used quite beautifully.

  19. LexG says:

    “Ready Steady Go” belongs to the episode of Alias where Garner and PETER BERG break into Generic Valley Warehouse Posing as Russia #117 to retrieve McGuffin #11,000 out from under Ron Rifkin.
    Huge Mann fan but thinking he MIGHT wanna expand his record collection just a tad; He also wheeled out Moby for “Ali,” and Audioslave is essentially his house band the last few movies.
    Though that Mogwai track that plays over Farrell putting Gong on the boat at the end of Vice is one of his best song/score moments ever.

  20. LexG says:

    Also I hope Tarantino doesn’t accuse me of song-stealing from “COP AND A HALF” when I use Joey Lawrence “Nothing My Love Can’t Fix for Ya Baby” 51 times in my coming-next-never directing debut.

  21. Mystery, I’ve been looking forward to Daybreakers for a while now. Apart from the big names (Hawke, Dafoe, Neill) there’s also an Aussie actress (it is an Aussie movie afterall – co-production with US) Claudia Karvan. She’s basically known as one of our greatest actors and it’s good to see she’s gonna get a chance to kick some vampire arse.
    My favourite Tarantino song cue is “Street Life” by Randy Crawford as used in Jackie Brown. QT, Mann and Lynch all know exactly how to use a song to counter a scene. Sofia Coppola too for that matter. Their soundtracks are generally very spectacular.
    One of the best uses though is definitely the use of “One Velvet Morning” in Morvern Callar.

  22. mysteryperfecta says:

    Handel’s Messiah (along with the other Christmas music) in Die Hard is memorable. I thought the Beastie Boys song was jarring in Star Trek.

  23. anghus says:

    Anyone else see Jeff Goldblum on Colbert last night? I was laughing so hard i could barely breathe. Goldblum shows up to deny rumors about his death. Colbert doesn’t believe him and shows a clip of an Australian TV station ‘confirming’ his death after falling from a cliff. Then Goldblum gives his own eulogy. Hysterical. I never thought anything Goldblum did would be funnier than this:
    I was wrong.

  24. Martin S says:

    The Doors in Apocalypse Now. I’m not a huge Doors fan, but it’s one of the very few movies that actually adds another lair to the music as if it was written for the movie. 2001 did it the best, but I think we’re strictly talking songs.
    Layla in Goodfellas is Scorcese at his best. Devo in Casino is him at his worst. Casino’s songs felt forced and out-of-step, IMO.
    Worst ever is the use of Sympathy For The Devil in almost anything.

  25. MarkVH says:

    Lex, RIGHT ON with the Mogwai-end-of-Vice moment, and the intercutting with Naomi Harris waking up in the hospital bed is absolute money. I’ve been working myself into such a Mann frenzy over Public Enemies that I downloaded the Vice soundtrack yesterday and have been listening to that Mogwai track (which, inexplicably, is the fifth song on the album) pretty much non-stop. It’s also being used right now for the Lance Armstrong Nike commercial running all over the place right now, which led me to wonder whether or not Mann directed the spot (as he did with the Shawn Merriman Nike spot a couple of years back).

  26. christian says:

    I think RUSHMORE is a perfect compilation soundtrack. As is PULP FICTION. But nothing tops Pam Grier singing along to “Across 110th Street” at the end of JACKIE BROWN. Quentin’s most emotional moment eva. Which means that he uses the song better than the original film.
    And no movie should ever use “Baba O’Riley” again…

  27. SJRubinstein says:

    What Joel Schumacher did with pop for “Lost Boys” is definitely enough to get him on the list – at least for one flick.

  28. christian says:

    Which list? My shit list. A cover version of “People Are Strange”? Epic 80’S Fail.

  29. SJRubinstein says:

    Cry, little sister…thou shall not fall
    Come to your brother…thou shall not die…
    Unchain me, sister…thou shall not fear
    Love is with your brother – thou shall not kill!!!
    My Shangri-Las – I can’t forget – why you were mine – I need you now!!

  30. don lewis (was PetalumaFilms) says:

    Fave soundtracks are as follows:
    1. Say Anything (The Clash, The Red Hot Chili Peppers before some dick told Kiedis “dude, you should SING!”, Fishbone, Peter Gabriel…THE REPLACEMENTS!)
    2. Rushmore
    3. Pulp Fiction
    4. Death Proof
    5. Royal Tenenbaums
    I also have a vinyl version of “Iron Eagle” which makes me laugh so hard that I bought that shit as a kid, I can’t get rid of it. And we don’t own a record player.

  31. bulldog68 says:

    In what used to be Big Willie Weekend, Tran2 gets a holiday weekend as its 2nd weekend. Do you guys think this might aid in propping up its numbers somewhat and so avoid the precipitous fall everyone expects? Where do you think this flick will eventually end up? 400M?
    Looking at the top 10 5 day openers, only Spidey 3 amassed 50% of its total box office in its first five days, and then just barely so at 50.4%. To think that Tran2 will cross 400M is mindboggling to say the least. Only eight other films have done it. Transformers 2, a top 10 box earner of all time. Critics be damned.

  32. SJRubinstein says:

    “Days of Thunder” – Guns N’ Roses, David Coverdale, Chicago, CHER, Joan Jett, Elton John, Tina Turner!!
    But that’s just how it went for Tom Cruise soundtracks for awhile. What sorority girl DIDN’T own the “Cocktail” soundtrack as one of the first cassettes they owned/still kept into college? To say nothing of the “Top Gun” soundtrack.

  33. Wrecktum says:

    “I would erupt like St. Helens, Art Carney style.”

  34. Crow T Robot says:

    These are all great. It’s hard to imagine a more oppressive soundtrack than Days of Thunder.
    We should also note the rare instances where a song can change your entire opinion of a movie. I was unimpressed with James Gunn’s Slither until the end credit ditty (something about “I love you but fuck off”) which cast the whole film in a newer, funnier light.

  35. bmcintire says:

    Though it doesn’t happen nearly as often as its heydays of the ’80s, George Thorogood’s “Bad To the Bone” never fails to induce a wince. Especially in trailers. It is shorthand for “Run, do not walk, away from this movie.”

  36. chris says:

    If QT did say, that he’s violating it with “Inglourious.” Doesn’t it not only re-use Morricone cues but also the Bowie/Moroder “Theme from ‘Cat People,” which — obviously, was in the “Cat People” remake?
    Oh, and re: Fincher. “Hurdy-Gurdy Man” in “Zodiac.”

  37. martin says:

    I’ll repeat some of the above, Days of Thunder, Rushmore, and also add Grosse Point Blank.

  38. Kambei says:

    “Just Like Honey” at the end of Lost in Translation.

  39. jeffmcm says:

    “Bad to the Bone” was good in exactly one movie that I know of, Christine. The only appropriate use since then is in parodies along the lines of Problem Child.

  40. Hopscotch says:

    This is one of those too weired to NOT be a coincidence. But one of my favorite songs in movie use was the opening of THE LIMEY, accompanied by “The Seeker” – The Who. Amazing. Sets up the entire film just perfectly.
    And that song is also used nicely toward the end of American Beauty, which was literally out in theaters like the same week as The Limey back in ’99. Always struck me as strange.
    Scorsese some times nails it on the head with music choices:
    -Donovan in the Billy Batts scene in Goodfellas.
    -Love is Strange when Ace spots Ginger in Casino.
    -Tell Me in Mean Streets, Mr. Postman in Mean Streets
    -Nobody But Me in The Departed.
    And other times:
    -that horrible U2 song end of “Gangs of New York”
    -The House of the Rising Sun in Casino.
    Camerone Crowe’s soundtrack to Almost Famous is flawless. But when “Pride” comes on in Elizabehtown when we see the hotel where Dr. King was assasinated. That pissed me off.

  41. anghus says:

    Is QT really going to lecture on ownership?
    Isn’t every film he’s ever made borrowed heavily from fade in to the closing credits?
    The guy regurgitates a dozen different film makers every time he rolls camera. It kind of comes across pathetic. A song choice is sacred but a shot, a style, a wardrobe choice(bruce lees jumpsuit on uma in kill bill).
    QT should talk a lot less.

  42. Hopscotch says:

    **Son of a bitch, I just wrote a whole bunch then I was told I had been logged out. Crap!**
    For me, as much as I want to put Rushmore, I think O brother, Where art Thou? is the best movie soundtrack. Understandably you could disqualify it becuase it’s partly a musical, but I call it a soundtrack and it’s amazing.

  43. christian says:

    REPO MAN had the best soundtrack of the 80’s.
    So there.

  44. MarkVH says:

    I’ll put in a shout-out for Linklater’s Dazed and Confused – some of the choices are, as Linklater himself has admitted, more than a little obvious (Alice Cooper’s “School’s Out” for one). But Dylan’s “The Hurricane” playing over Pink and Wooderson’s slo-mo entrance into the Emporium is flat-out awesome.

  45. Cadavra says:

    Aw, come on. COMING HOME, motherfuckers! Six Stones, two Beatles, Hendrix, Dylan, Aretha, Joplin, Airplane, Simon & Garfunkel, Steppenwolf, Havens, Springfield and on and on. You couldn’t even license all that gold today regardless of cost.
    And you wanna talk balls? How about all 11 minutes of The Chambers Brothers’ “Time Has Come Today” as Dern slowly goes ’round the bend, and every beat is perfect.
    Hal Ashby, everybody!

  46. LYT says:

    Tarantino also used “Woo Hoo” in Kill Bill 1, though it had already been used by John Waters in “Pecker.” Admittedly by a different band, but same song.

  47. Aris P says:

    Hearing Court of the Crimson King, in Children of Men, was pretty out there I thought…

  48. berg says:

    “a wardrobe choice(bruce lees jumpsuit on uma in kill bill)”
    Emma Peel was wearing similar jumpsuits before Lee so who copied whom? … as far as soundtracks don’t exclude Run Lola Run and Fassbiinder’s The American Soldier

  49. christian says:

    Bruce Lee did not copy Emma Peel.

  50. Crow T Robot says:

    I’m calling it… Scorsese wins the title of Director With Best Musical Taste. You can go on and on with this guy.
    How bitchin’ was “Werewolves of London” in the pool hall in The Color of Money?

  51. berg says:

    How bitchin’ was “Werewolves of London” when i saw Zevon perform live? He was so drunk he was singing leaning sideways supported by the mic stand … I always liked barry mcguire singing that song in The President’s Analyst while jill banner runs through the field in a see through dress … best song ever … also in O Lucky Man the songs on the soundtrack are sung by a band we meet half way through the film in a van with helen mirren

  52. LYT says:

    As much as I respect REPO MAN, there is no contest…PURPLE RAIN had the best soundtrack of any ’80s movie.
    More due to its star than director, though.

  53. Triple Option says:

    Are we looking for under appreciated songs here because an obvious top 3 song use has yet to be mentioned, “Moving in Stereo” – The Cars – Fast Times at Ridgemont High. Which, come on, has to be considered one of the best soundtracks – EVAR, ZOMG!!
    I know I’ve done this before at some point but I think it stands to be repeated that Vision Quest had a slamming soundtrack. It’s been well over a decade since I last saw it so I better not comment on song usage but Lunatic Fringe sure turned out to be the universal theme song for hs wrestlers. Not saying they’re the barometer of record but just stating lasting impact.
    Purple Rain may be the best album and deserves all the props you can give it but as a musical I don’t know if it doesn’t have an unfair advantage already. Only Sound of Music and Grease may be as recognizable, and thus in a class above, it seems a bit different than others mentioned thus far.

  54. LexG says:

    Stallone > Scorsese on this matter.
    ROCKY IV TRAINING MONTAGE FTW: “Heart’s on fire! Strong desire!!!”
    Also, “There’s No Easy Way Out.” “Burning Heart.” Plus the Vince DiCola fight music. Or the Frank Stallone “Far From Over” theme song from “Stayin’ Alive,” later immortalized in the Short/Shearer synchronized swim parody on SNL.
    He didn’t direct these other two, but when add “WINNER TAKES IT ALL” (Sammy Hagar) and ANGEL OF THE CITY TOTAL AWESOMENESS from “Cobra”?
    There is no doubt. Stallownage.

  55. Chucky in Jersey says:

    Let’s throw in a change-up: 10 Summer Schlockbusters that Film Snobs hate and moviegoers love.

  56. jeffmcm says:

    Are we to gather that you’re a fan of all ten of those movies, Chucky?

  57. Chucky in Jersey says:

    @jeffmcm: I didn’t say I was a fan of all 10, I only spotted the item on Obviously the mouth-breathers have to act all literal.
    I did see “The Passion of the Christ” and found it engrossing as a political tale.

  58. jeffmcm says:

    Im just trying to figure out your point. Because of the eight movies on that list that I’ve seen, four are terrible and four are merely mediocre.

  59. chris says:

    @Lex, re: Angel
    Someone has started such a list, anyway:

  60. IOIOIOI says:

    I will put on my fucking fancy gloves. If someone is insulting Days of Thunder. No one messes with the story of Jeff Gordon… before Jeff Gordon get into Nascar!

  61. christian says:

    What’s interesting is the battle by Heckerling and Crowe to use much more cutting edge music in FAST TIMES. Jackson Browne was nowhere near Heckerling’s choice, tho it works perfect. The DVD commentary is terrific.

  62. Jeffrey Boam's Doctor says:

    Cameron Crowe ALMOST FAMOUS.
    Oh yeah its so cool when the song matches the onscreen action. Thats some kind of genius right there. Crowe is the single worst offender of this practice in mainstream cinema.
    That stupid hack put Good Vibrations at the climax of VANILLA SKY.. a final present (see turd) for Amenabar and his original film.
    Crow. You are right on the MONEY!

  63. Telemachos says:

    “Oh yeah its so cool when the song matches the onscreen action. Thats some kind of genius right there. Crowe is the single worst offender of this practice in mainstream cinema.”
    I dunno, I think Robert Zemeckis is a prime challenger for the top spot.

  64. Geoff says:

    Great blog, here – I love talking music and movies together!
    If you’re talking about non-musical movies (though some of these come awfully close), here are my top five soundtracks:
    Saturday Night Fever
    Until the End of the World
    Purple Rain (almost a musical)
    Pulp Fiction
    I know, all pretty obvious choices, but what can you do?
    Here are some unheralded, but I think fantastic musical moments in film:
    – “This Must Be The Place” by Talking Heads in Wall Street, while Bud Fox is having his apartment decorated, just a fantastic song perfectly used.
    – “The Three EP’s” by Beta Band in High Fidelity, non-ironic/ironic use of song by Cusack character to parade his pretentiousness in the record store
    – “Picking Up the Pieces” by Average White Band in Swingers, used as an “homage” to Reservoir Dogs. How can you just not laugh at that scene(parade of cars heading into the hills), especially the way it ends with the Clubs all being locked in sync.
    Scorcese has great taste, for sure, but he has definitely overused the Stones – man, how many films has Gimme Shelter been in?
    Another overused song has to be Dancing Queen by Abba – wow, it has probably been in about a half dozen films not even including the two films where the song is actualy part of of the plot, Mama Mia and Muriel’s Wedding.
    And come on…..Ain’t No Mountain High Enough…ugh!

  65. Joe Leydon says:

    My favorite use of a pop tune in a movie since… well, since I can’t remember when.

  66. IOIOIOI says:

    Geoff, you can never have enough ABBA in films.

  67. Joe, good call! Same for Geoff and Trainspotting.
    Anghus, the man who announced the news of Goldblum’s death on Aussie TV is Richard Wilkins and he is actually a full on 100% scientifically proven idiot. What a tosser. He’ll never let that down.

  68. christian says:

    One ABBA song in a film is one too many.
    And Crowe did use “The Porpoise Song” in VS, which gives him unlimited street cred in my book.

  69. Joe Leydon says:

    BTW: If you want to see the last movie John Dillinger ever saw…. It’s on Turner Classic Movies tonight….

  70. jeffmcm says:

    RIP Karl Malden.

  71. Joe Leydon says:

    And now RIP Harve Presnell….

Quote Unquotesee all »

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