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David Poland

By David Poland poland@moviecitynews.com

Bermuda in One-Sheets

As regulars know, I have been in a lot fewer theaters this last number of babied months than normal… so when attending screenings here at the Liberty Theater in Bermuda, these two posters caught my eye because they gave me deja vu. Maybe it’s been said before, but here you go…
alicewide490.jpg
charliestanding490.jpg
Note that he’s touching his hat in the Alice poster…
charliehead490.jpg
And of course, the more often seen Alice image of Depp…
alicehead490.jpg
And then, this DreamWorks Animation poster seemed to be mining my subconscious…
dragon490.jpg
And it was… D.Gon. Phone Home…
et490.jpg
At least the kid wasn’t pointing with one lit finger.

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6 Responses to “Bermuda in One-Sheets”

  1. palmtree says:

    Or the Sistine Chapel.
    If it ain’t broke…

  2. bmcintire says:

    And they at least refrained from putting the silhouette of the boy, his alien and his bicycle on the moon of the DRAGON one-sheet.

  3. Foamy Squirrel says:

    The Sistine Chapel did break. The iconic fingerpointing fell off and was redone by an unknown papal restorer around 1550.
    (Just like high resolution scanning has shown that the Mona Lisa used to have eyebrows. Apparently people will try to “fix” anything)
    On topic: there is DISTINCT LACK OF TRAJAN in those one-sheets.

  4. palmtree says:

    Aw, I’ve been using lots of Trajan in my flyers and newsletters, and I never realized why I loved it so much…until now.
    But at least Trajan is better than Papyrus.

  5. Wrecktum says:

    Isn’t Poland the one who’s been trumpeting that the former Disney marketing regime should be credited for their winning Alice campaign? Doesn’t this latest post imply criticism for that same campaign? Or is it, as palmtree states a case of “if it ain’t broke don’t fix it”?

  6. It seems less of a case of “if it ain’t broke” than it is actually a case of “its the same, let’s just use the same copy”.

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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?”

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“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.

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