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David Poland

By David Poland poland@moviecitynews.com

The Same Old Trouble With Tracking Abuse

The Wrap’s Daniel Frankel on tracking
(A)n official for another tracking firm, who declined to be named (said,)

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4 Responses to “The Same Old Trouble With Tracking Abuse”

  1. How did tracking become the hot big thing? Because it is something, for lack of a better term, “official” about how well a film is connecting with audiences, and prognosticators need some kind of crutch to support their theories. But tracking is pretty worthless in all facets. I remember the morning of the election last week, there was story after story on the radio about how tracking showed Steve Poizner was gaining in polls on Meg Whitman for the Republican nomination for California Governor, and how could Whitman spend so many millions of dollars and not make a connection with voters. One KABC poll on election morning had Poizner tracking behind Whitman only by two percentage points (37 for Poizner to 39 for Whitman). Yet, when the votes were counted, Whitman creamed Poizner 64% to 26%.
    How is this possible?
    Because tracking isn’t infallible, and people don’t always do what they say they’re going to do.

  2. christian says:

    Tracking is bullshit. Period.

  3. Krillian says:

    RotTom meter – Toy Story 3 – 100% / Jonah Hex – 0%
    The nicest thing anyone’s saying about Jonah Hex is that at least it’s only 73 minutes short, not counting the credits.

  4. a_loco says:

    Jonah Hex is pretty bad. I can’t help but wonder how fucked up awesome it would have been if Neveldine/Taylor hadn’t been removed, though.

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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