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David Poland

By David Poland poland@moviecitynews.com

DP/30 – Cameron.

jimcameron490.jpg
the mps of the interview

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4 Responses to “DP/30 – Cameron.”

  1. Aladdin Sane says:

    Interesting interview. Can’t wait to see the film tomorrow!

  2. mutinyco says:

    Has anybody addressed the issue of screeners vs. screenings for the Academy? Normally, for most members, seeing a movie on DVD vs. the theater isn’t much of an issue. But the whole 3D aspect for Avatar pretty much requires seeing it properly in a theater with scale, even though 3D at home is possible.
    Any concern about this?

  3. Dr Wally says:

    (MILD SPOILERS) Okay, i just got back from Avatar in Real D. Good movie. But just a movie. In terms of Cameron’s ouvre, i didn’t quite get the same hit of adrenalin that i did off Aliens, nor does it have the claustrophobic tension of The Abyss. Many of the human characters (usually a Cameron strength) were a little undernourished. Giovanni Ribisi’s character is a pallid clone of Carter Burke, and doesn’t even pay off in an interesting way (unless that’s being saved for the sequel). The wonderful Michelle Rodriguez under-utilized AGAIN. The script has far, far too much Mother Earth / Gaia material that clogs up the momentum in the second half of the movie. But that’s not to say i didn’t get my money’s worth. And Sigourney Weaver gets the single funniest exclamation of ‘Oh Shit!’ in any movie since the rope bridge in Indiana Jones and the Temple of Doom. At this point, i think it’s another King Kong ’05, a movie that will entertain many people, make a tidy sum at the box-office, win a bunch of technical Oscars, then be on DVD by Easter and be a showpiece for home theater. Decent flick? Absolutely. A watershed moment in the history of cinema? Naaah.

  4. LYT says:

    I don’t think they’re doing screeners for Avatar. Funnily enough, LA critics didn’t get one for Hurt Locker either — I was told this was because Bigelow really wanted it seen on the big screen.

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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