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
I really don’y get the respect being given to Shutter Island. I personally think Scorsese is one of the most over-rated directors ever, and found Shutter Island incredibly predictable with gaping holes in the plot.
I think Shutter Island is one of the best of the year, but does it really have any kind of shot, at this point?
It was really successful, no doubt – but, critics were very divided on it and I think Inception’s success has just about killed its chances – DiCaprio is giving similar performances for similar characters, all reviews have compared the two.
Not saying it’s right, because I think both films are deserving. I just think because Inception was much bigger AND got better reviews, it’s going to knock Shutter Island out of the running.
The Social Network is looking more and more like this year’s Quiz Show or The Insider – inside baseball drama that the critics will rave about, but is just not going to make much money. Like them, I’ll bet it gets a lot of nods, but will likely not win any big awards. Though, Sorkin for Best Adapted Screenplay looks pretty strong.
And I am damn curious – is Exit Through the Giftshop even eligible for Best Doc? Does it even have a chance? Fantastic movie.
What’s the latest on The Way Back? Will it be in this year’s running?
Geoff,
I am in agreement with you about The Social Network being more like this year’s Quiz Show or The Insider. I think it is a wonderful film; great fun, brilliantly structured, assuredly directed (Fincher never feels the need to go on a flourish), but overall, I fear that it is too cool (i.e., clinical) for the Academy. It is a brilliant examination and you can see the scholarship all the way through. But (and this is not a criticism), you don’t go through a gamut of emotions. The story is simply not wired that way. The King’s Speech appears to have the subject matter to really grip the Academy on an emotional level.
I’m making the early prediction that this will be Annette Bening’s year, like Bridges last year. She’s been nominated many times, done great work (even in fairly terrible movies) and never gotten the statue…I think there will be a tide toward her win this year.
Damn I want to see Get Low.
Jeff’s performance last year was deserving of the recognition and win. I just don’t see that with Annette but then again Sandra won over Meryl and I don’t see how that happened based on comparing their performances so it’s anybody’s guess.
If it truly is faithful to the book and if the trailer’s an indication (and if the “Whale Rider” precendent-breaker of not always putting the kid in supporting, regardless of role size, holds), Hailee S may be more actress than supporting actress.
If I made a list of all the movies of 2010 I’d give thumbs up to, Shutter Island would be one, but it’d be pretty low on the list.
And Hailee’s a kid, so no matter how big her role, they’d submit her for supporting.