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David Poland

By David Poland poland@moviecitynews.com

DP/30 Sneak Peek – Jason Reitman, Director and Co-Writer of Up In the Air

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3 Responses to “DP/30 Sneak Peek – Jason Reitman, Director and Co-Writer of Up In the Air”

  1. LexG says:

    Before I took my videos down on YT, some commenter said I “look like Jason Reitman on a mac and cheese diet.” Even if it was supposed to be an insult, I thought it was kind of awesome.
    This dude rules, I actually liked Juno enough… But I got smacked down on Wells’ site (by the master himself) for suggesting (admittedly unseen) that UP IN THE AIR sounds like pure Caucasian Cinema. Just seems like a total “upscale white folks go to the Grove” kind of Ken Turan “proper” movie.
    Just sounds like catnip to the Academy voters who live in Brentwood and manage to live in L.A. but remain totally oblivious to the city’s diversity… It’s like Sorkintainment almost: Upscale, white-collar, smart, relevant to the times, fronted by a matinee-smooth PC leading man. And all that’s fine, I guess, come awards season, but is this the kind of thing that will be watched and rewatched 20 years on in Special Editions like weirder, edgier, more violent and electric films?

  2. LexG says:

    I take back what I said above:
    After watching some clips and trailers, this movie looks EXCELLENT and I guarantee I’ll see it and cry like a douche and find a narcissistic way of finding some resonance in Clooney’s plight, even though he’s a suave motherfucker in a suit, and I’m a scrappy douche who shaves once a month and wears bad camo shorts to work.
    But I like this idea discussed in the trailer and the above interview of just starting over anew and going to different cities and shit. This is basically by Tokyo idea, which is awesome.
    I liked this interview, too; Reitman even seems a little prickly or grumpy in it, which is kind of awesome.

  3. martin says:

    Good interview, he does seem kind of grumpy which is cool. I don’t like the framing though looking too far to the side.

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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