MCN Blogs
David Poland

By David Poland

BYOb Sunday

Anything to say about Cannes?
Anything else?

Be Sociable, Share!

19 Responses to “BYOb Sunday”

  1. IOv2 says:

    Today is only about one thing and one thing only in terms of pop culture and what it’s about is LOST!

  2. Lost, 24, and Law & Order ending within the same 24 hour period. Wow…

  3. Joe Leydon says:

    Oh, I don’t know…. Surely some people will be tuning in for the finale of Celebrity Apprentice tonight. And others will be watching the Brooks & Dunn special on CBS. And I will be watching… Treme.

  4. lazarus says:

    I can’t remember the last time I was as excited for a film as I am for tonight’s LOST finale. I’d probably have to go back to The Phantom Menace. Maybe Gangs of New York. Unlike the known story of the LOTR films or the foregone conclusion of Revenge of the Sith, we really have no idea what we’re about to see here.

  5. Joe Leydon says:

    Oh, I don’t know…. Surely some people will be tuning in for the finale of Celebrity Apprentice tonight. And others will be watching the Brooks & Dunn special on CBS. And I will be watching… Treme.

  6. Joe Leydon says:

    Sorry about the double post. I have no idea how I did that.

  7. Telemachos says:

    Yup, it’s all about LOST tonight. Everything else gets the DVR treatment.

  8. Chucky in Jersey says:

    JoeL hit the Post button more than once.

  9. Joe Leydon says:

    @Chucky: Oh, is that how I did it? Thanks.

  10. Hallick says:

    Apropos of nothing, am I the only one who noticed the goofy new dynamics of Mr. Miyagi’s rescuing of the kid from the bully gang in the new “Karate Kid” trailer?
    In the original, you had that scene of this little old Japanese man saving Ralph Macchio from a gang of full-grown teenagers; but in this one, it appears that you get a middle-aged Jackie Chan wailing on a bunch of three-foot-tall Chinese grade schoolers. So the double thrill of seeing teenage karate goons getting their asses kicked, AND getting their asses kicked by the aged Pat Morita, is being replaced by the potentially embarassing spectacle of Jackie Chan re-enacting the hallway brawl from “Oldboy” Bugsy Malone-style?

  11. berg says:

    when you’re on you’re on …. just got back from Kites … it had an intermission and before the second half there was a trailer for next months bollywood film … barbara mori is impossibly hot … the film has a very non linear structure but that’s okay because it doesn’t make sense anyway

  12. Joe Leydon says:

    Berg: But, obviously, it was not the edited version, right?

  13. berg says:

    i would actually be interested in seeing the Ratner version just as an exercise in editing … because all the time I was thinking what 50 minutes of this movie do you remove, do you make it linear or do you keep the present structure but cut out subplots …, by the way it takes place in Las Vegas and New Mexico (at one point doubling for McAllen TX)

  14. Joe Leydon says:

    I get the impression, based on what I’ve read, that Ratner has cut the songs. Is there that much singing inthe film?

  15. berg says:

    there are two (short) songs and one dance number and you don’t want to cut the dance sequence because it is shot so well you could compare it to all that jazz

  16. Foamy Squirrel says:

    I demand LexG puns on “Can(ne)s”.

  17. LexG says:

    I DEMAND that the replacement for THE FOX be the one and only TAYLOR MOMSEN.
    MOMSEN POWER. Where is CaptainZahn to second this? MOMSEN 4 LIFE. Approaching K-STEW/Dakota levels of awesomeness.
    Best song in the history of the world:

  18. aframe says:

    Joe–as I stated in an earlier thread, the edited Ratner version doesn’t release until this coming weekend. The 200 or so prints this week were all Anurag Basu’s original cut. The songs (as they were in My Name Is Khan) are used as score, not lipsynched numbers. Based on what I’ve heard about the Ratner version, I’m dreading it–he also completely replaced the background score, pumped up the sound effects for the car crashes and whatnot, not to mention certain lines in Hindi have been changed to English, and with the exception of Hrithik Roshan’s dance number, the songs have been removed. In an interview on Showbiz India, Ratner openly admitted to not really knowing the hell he was doing, which instills *so* much confidence…
    Berg–if you like Barbara Mori, I suggest you check out the work of hers that made me a fan, the 2004 telenovela Rubi, which is available on edited, subtitled DVD.

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