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David Poland

By David Poland poland@moviecitynews.com

Cook Exits Disney…

Just saw the news after a long day’s night returning from TIFF and not even looking at the Blackberry . As usual, the hype machine – mostly people hyping themselves – has been pumped up. Cook, being a smart man, clearly arranged for Johnny Depp to be his spokesman on the issue, with Depp doing an unusual phoner with the LA Times to make the case. This, as much as anything, makes it clear that Cook was, indeed, fired. (The only other realistic option was that he found out he was very sick.) Based on other dealings with Disney lately, I would say this has been in process for at least a couple of months before being announced on a sleepy Friday afternoon.
I really need more time to consider this, but the Marvel buy and even the DreamWorks deal certainly flew in the face of the “Disney-focus” concept that Cook had spearheaded in the last few years. Taking Disney small and rebuilding it as a specific brand was a very good idea. The kids and family market is where all the money is these days. But then it needed to be executed. And they never quite found the handle. The effort to go into chick flicks as a business model, for instance, was not in that path. And the huge success of The Proposal, now being forgotten by some in favor of beating Confessions of a Shopaholic to death, suggests that they could make it work… and more of the same with DreamWorks.
Anyway… Dick Cook is The Mensch of Menches. But he is also a symbol of The Past. DreamWorks and Marvel are symbols of what Iger sees as the future.
We’ll see… more later…

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One Response to “Cook Exits Disney…”

  1. Wrecktum says:

    Well, since this is such a popular post, I’ll weigh in on it.
    Cook is a near legend in the film distribution business, but those talents don’t necessarily translate to the production side. Although the studio has had a good run the past few months theatrically, Cook’s output over the past few years has been decidedly lackluster. He made a big deal a couple years back that the studio was emphasizing a new strategy, where they would cut back the number of releases per year and focus only on the highest quality Disney-branded titles. Well, the result has been mediocre crap like Bedtime Stories, Beverly Hills Chihuahua, College Road Trip and Race To Witch Mountain. These were supposedly the “home runs” that he promised.
    But, aside from that, the media observation that Cook was adverse to new technology is garbage. Disney has been a leader in digital cinema, the driver of 3-D into the theatrical marketplace and an early proponent of Blu-Ray.
    I’m not sure how Iger thinks the studio can be radically reconfigured to meet the needs of a 21st century media landscape, or whatever bull he’ll spout when the new studio head is announced (probably some kid from Club Penguin or something). The fact of the matter is that a film studio has to work within the confines of its extremely particular business practices, dictated by the industry around them. If Dick Cook was a traditionalist, then so is every other sudio executive out there.
    Finally, seeing a dude like Cook, who’s been a Disney loyalist for nearly four decades, unceremoniously kicked to the curb like this is a bit disheartening. Even Michal Eisner was given the opportunity to step down gracefully. A lot of Cook lieutenants are extremely upset by how their long-time leader was axed. They’re also nervously looking over their shoulders, because they know that they’re next.

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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