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David Poland

By David Poland

DP/30 – Please Give writer/director Nicole Holofcener

mp3 of the interview

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8 Responses to “DP/30 – Please Give writer/director Nicole Holofcener”

  1. guselephant says:

    Thanks for these, FYI, DP30 site still doesn’t work in safari. QT videos don’t load, RSS on the page doesn’t work either.

  2. David Poland says:

    Odd… just opened in Safari and worked just fine.
    Also, checked on iPad, which is only Safari, and works fine.
    Not sure how to help.

  3. Rob says:

    She gets marginalized by the critical boys’ club, but I think her movies are better than Noah Baumbach’s and Alexander Payne’s.

  4. leahnz says:

    tell it like it is, rob
    (i haven’t been able to watch this yet, but i’m a fan of ‘lovely and amazing’ and ‘walking and talking’. it would appear keener is her muse)

  5. JTag says:

    Rob, I completely agree with you. I hate pulling the whole “if it was directed by a man…” card buuuuuuut, “Walking and Talking” deserves way more respect than it gets.

  6. Joe Leydon says:

    She looks cute.

  7. Rob says:

    Actually, I withdraw what I said about the critical boys’ club after reading the NY Times and LA Times reviews.
    Dargis writes as if Holofcener’s movies are about and for women exclusively while Turan says: “No American writer-director has her exact sense of the way some of us live today…Holofcener has always been a piercing and amusing observer of life’s anxieties and discontents, illuminating how we make our way through the tangle of dissatisfactions that confront us at every turn.”
    I would also argue that, from Lovely & Amazing on, she’s dealt with class in a way that American filmmakers almost never do.

  8. Blackcloud says:

    Her name reminds me of Holofernes. C’mon, I can’t be the only one.

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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