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David Poland

By David Poland

PRESS RELEASE – LAFCA's Top 13 Of The Decade

LOS ANGELES, January 12, 2009

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10 Responses to “PRESS RELEASE – LAFCA's Top 13 Of The Decade”

  1. Rob says:

    I could hang with this list. I love Yi Yi, but I wonder if it would have rated so high if Yang hadn’t died recently.

  2. Gonzo Knight says:

    Certain picks just completely tarnish this list’s credibility. Eternal Sunshine is very good but pales in comparison to other Kauffman works (and even Gondry’s own Human Nature).
    Sideways is incredibly overrated. If they wanted to pick an LA movie they could have gone with Crash. Again, sorry if that’s unpopular.
    And don’t get me started on Brokeback Mountain.

  3. movielocke says:

    is mulhulland dr one of those movies people are not allowed to dislike?

  4. rossers says:

    Please get started on Brokeback, Gonzo– after those first two observations, I’m at least interested with what you have to say (though inevitably pissed off by it too).
    Loved how Zodiac was so high, but I still feel weird whenever I see No Country listed as a decades best (but this is the main result of falling in love with the book over and over before seeing the film).
    Anway– love MD, but was surprised there is so little Inland Empire love, a movie that approaches LA similiarly but may be a bit harder to swallow (and now I have the image of Laura Dern vomiting like a waterfall in that alley…)

  5. mutinyco says:

    LYT thought Revenge of the Shit was the best movie of the decade?…

  6. LexG says:

    Between the above, his champing at the bit for “Extraordinary Measures,” and his disdain for Spike Lee, I have come to the conclusion that Gonzo Knight is a) over 55, and b) very, VERY white.

  7. Jeffrey Boam's Doctor says:

    Add insane to that list LexG. Anyone who proclaims Human Nature better than Spotless Mind is either delusional or trolling. I thought Gonzo was the reformed Jack Walsh.

  8. Glamourboy says:

    Kind of a crappy list. Mulholland Drive….really? I gave up on that movie about the third time that some AFI student sat on my couch and tried to tell me, in excruciating detail, how they had that whole movie figured out. I do agree with Brokeback Mountain, Y Tu Mama Tambien and Eternal Sunshine. Zodiac is just a dull, boring mess and the LA Film critics, no matter how many awards they give that turkey can resurrect that one from the bottom of the $5 dvd bargin bin file. Sideways? Again, really???
    And if Gonzo Knight is over 55 and very, very white, seems he would fit right in with the LAFCA. Just take a look at their membership directory photo on their website and tell me what you see.

  9. “Eternal Sunshine is very good but pales in comparison to other Kauffman works (and even Gondry’s own Human Nature).”
    LOL. There’s no other word for it.
    Mulholland Drive would be my #1 of the decade too so that’s nice.

  10. LYT says:

    Mutiny, I said as much here weeks ago.
    If you’re interested in my reasoning, it can be found at the link below, along with a super-geek-level discussion of plot points by an even more hardcore fan than I.

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