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David Poland

By David Poland poland@moviecitynews.com

Trailer – Due Date aka Todd Phillips' Planes, Trains & Automobiles?

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7 Responses to “Trailer – Due Date aka Todd Phillips' Planes, Trains & Automobiles?”

  1. Hopscotch says:

    You pretty much hit the nail on the head DP. A newer Planes, Trains and Automobiles with a straight man and fat man getting on his nerves.
    Or Tommy Boy 2: The Beard.

  2. bmcintire says:

    Apparently the expiration date on Zach Galfianakis has been reveled for all the world to see.
    And is that the same Wolfmother song they used in THE HANGOVER or do they all jut sound that much alike?
    No thank you.

  3. AH says:

    This is a terrible trailer, the jokes aren’t funny and the emotional content doesn’t work. I hope the movie is better than this because I am a fan of all involved. However, based on this trailer, I do not want to see this movie.

  4. chris says:

    It doesn’t look startlingly original, but the trailer made me laugh a couple times (and it played very well last night in front of an “Inception” screening).

  5. leahnz says:

    i definitely want to see this (w/my boy, who is like the biggest RDJ fan in the entire world at this point)
    i don’t put much stock in trailers at the best of times, but esp. when it comes to this type of film; so much depends on the timing and editing in the actual flick and whoever cuts the trailer can so easily fuck that up, grain of salt and all that

  6. Jeffrey Boam's Doctor says:

    Mutiny was that just an unveiled potshot at Todd’s selling out? I wonder if Sheila Nevins has ever forgiven him for Frathouse. Amusing how all the NYUFF originators are now big playas in the glitterdome.

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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.”
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“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