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David Poland

By David Poland poland@moviecitynews.com

Another Cultural Loss for LA

The LA Times reports… ”
For four decades, the Los Angeles County Museum of Art has fed film aficionados a steady diet of movie masterpieces — retrospectives that included works from Roman Polanski, Cary Grant, Ernst Lubitsch and, in a current series, James Mason. But after the museum’s weekend film program lost $1 million over the last 10 years and failed to build an audience, LACMA said Tuesday that it was pulling the plug on its cinematic centerpiece.”
Another loss for film in what is supposedly the center of the film universe. I was just talking today to Chan-wook Park about his successful support, along with other directors, of revival house cinemas in Korea. Yet, we can’t get it done here.
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6 Responses to “Another Cultural Loss for LA”

  1. jeffmcm says:

    That sucks. If not for LACMA I wouldn’t have seen Forty Guns, Jeanne Dielman, Ivan the Terrible, and Silent Light on the big screen.
    Here’s hoping that UCLA, the American Cinematheque, and of course the New Beverly can keep up what they do.

  2. Wrecktum says:

    That’s the thing…LACMA has a ton of competition in the L.A. film retrospective world. Hopefully they continue to host screenings and occasional programs.
    Stupid recession.

  3. christian says:

    ONE MILLION DOLLARS? (in Dr. Evil voice)
    Too bad some studios or talent can’t pull together a li’l somethin’ somethin’ to keep it going. This town really buries its history.

  4. lazarus says:

    As a frequent attendee of their $2 matinee Tuesdays, I’m VERY upset by this news.

  5. anghus says:

    Chan wook Park is my favorite director. I await every film he puts out with the glee of a 10 year old in line to see the Jonas Brothers.

  6. LexG says:

    Hey it’s ONLY 4:03. You bitches gots PLENTY OF TIME to try to catch up with my buzz.
    Now before D-PIZZLE deletes my shit, all you HOLLYWOOD HIGH ROLLERZ need to SAVE A LIFE and send a chick to my house so I can FUCK HER.
    And by FUCK HER, I mean I want to… (don’t tell anyone!)
    …put my dick in her!
    Oral is for pussies. MAN UP AND FUCK THAT SLIT LIKE A GOD.

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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