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David Poland

By David Poland poland@moviecitynews.com

My Toronto List Starts – The Docs (18)

L’ Amour fou, directed by Pierre Thoretton
The second recent doc on Yves St Laurent… this time, it includes his lover… which is what made the Valentino doc so big.
Armadillo, directed by Janus Metz
Winner of Cannes Critics Week… reason enough to see it and to fear it.
Boxing Gym, directed by Frederick Wiseman
Wiseman. Must see.
Cave of Forgotten Dreams, directed by Werner Herzog
Herzog Goes 3D… and glows in the dark.
Client 9: The Rise and Fall of Eliot Spitzer, directed by Alex Gibney
And we in the media won’t even have to pay!
Cool It, directed by Ondi Timoner
Ondi goes global warming.
Erotic Man/Det erotiske menneske, directed by J

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4 Responses to “My Toronto List Starts – The Docs (18)”

  1. pchu says:

    The documentary lineup is very strong this year, much stronger than any other year I can remember. Errol Morris, Ondi Timoner, Werner Herzog, Alex Gibney, Charles Ferguson. Amazing lineup. I will be seeing a bunch of them at TIFF.
    BTW, I believe Casino Jack is a fictional movie starring Kevin Spacey, there was a Doc released earlier this year. Same subject matter though.

  2. The Pope says:

    David,
    Sorry I’m rather cool on Fred Wiseman. Did you see La Danse, his piece on the Paris Ballet? Far, far, far too long. Seems he was granted next to complete access and came away with too much and nowhere near enough.

  3. jeffmcm says:

    I agree that La Danse wasn’t his best, but I’ve seen enough amazing Wiseman films to forgive him and move on to the next.

  4. David Poland says:

    Correct, pchu… removed… sorry…

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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.

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