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David Poland

By David Poland poland@moviecitynews.com

Wildman From SXSW #2

This time, it’s on a proper page.
He covers Cherry, Tucker & Dale vs Evil, American: The Bill Hicks Story, American Grindhouse, and Amer.

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4 Responses to “Wildman From SXSW #2”

  1. berg says:

    American Grindhouse is flawless, I can easily watch this film several times … the Paramount theater where Kick Ass played holds 1200 people …. best narrative film I’ve seen so far is Mars, helmed by filmmaker and UT instructor Geoff Marslett …. Lovers of Hate had an interesting Polanski Cul de Sac vibe, but I prefer Poyser’s first film Dear Pillow

  2. I am so hoping American Grindhouse plays at a festival down here since I wanna see it so badly. Not Quite Hollywood was one of the five best cinemagoing experiences of the ’00s for me. Just a wild riot that one and this one sounds just as good (but, obviously, without my hometown advantage).

  3. LYT says:

    WILDMAN RULES.
    I cannot be unbiased in saying that, since he picked me up from the airport last time I needed it. BUT, I think regardless of that, dude covers festivals in a way that seems totally influenced by the way I’ve covered his…and How Much Can That Rule?
    Answer: LOTS.
    Unlike previous employers of mine who only see the value in reviewing fast food and mailed items AFTER they fire me for similar shenanigans.

  4. John Wildman says:

    Luke – appreciate the compliment and yes, of course, I have always been a fan of the review and writing style that gives people a real on-the-scene idea of what the experience is like. And you do that really well.

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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