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David Poland

By David Poland poland@moviecitynews.com

Does The Miramax Sale Matter To Anyone Other Than The Media & Those Buying And Selling?


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5 Responses to “Does The Miramax Sale Matter To Anyone Other Than The Media & Those Buying And Selling?”

  1. Bob Violence says:

    I feel goofy responding to a poll, but:

    Some of that stuff sitting on the shelf might finally make it to DVD.

    As if the Weinstein-era Miramax was really much better on that score. And just look at the current state of the Wellspring library to see how the Weinsteins continue to treat their back catalog.

  2. Cadavra says:

    The difference is back then they weren’t desperate for cash; now they are. MGM for years relied on DVD sales of their catalog titles to pay the electric bills.

  3. Bob Violence says:

    That would make me feel better if the Weinsteins showed any eagerness to exploit the catalog titles they have now. In 3 1/2 years they’ve managed to release about 1/6th of their Shaw Brothers titles (even though they’re using masters supplied by the licensor) and practically the entire Wellspring catalog was out of print within a year of their purchase. Some of those titles reverted to the rightsholders and have been picked up by others, but nobody is going to fall over themselves to reissue Esther Kahn. From all the available evidence, the post-Miramax Weinsteins have continued their old practices (snap up lots of stuff “just in case”, cherry-pick what you really want, leave the rest to rot), and while I’d like to believe they’ve developed a little humility, their past and current behavior doesn’t much support it. I’ll be first in line if they do finally release Through the Olive Trees or Peking Opera Blues (in what is arguably a tougher market than the one they had when they bolted Miramax), but if I were a betting man I wouldn’t be in a hurry.

  4. christian says:

    And where the hell is a proper release of GRINDHOUSE?

  5. Bob Violence says:

    A little mea culpa here — my last two posts were written under the impression that the poll was about the possibility of the Weinsteins buying the catalog. Now I see it says no such thing so my responses were basically irrelevant. That said I would still feel better if it ended up with someone else, or better yet, if Disney were willing to split the library up.

    And where the hell is a proper release of GRINDHOUSE?

    For me personally a proper release would just be Death Proof and the trailers, but if you want something comprehensive there’s a big six-disc Japanese set that you can still get on the secondary market.

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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