BYOB Friday 9-3-10
Been crazy… 5 films in the last 30 hours or so. But it will lead to an explosion of content in the weeks to come… some in a few hours even…
Be nice to each other.
April 27, 2024
BYOB
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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
Apparently the “small” earthquake which woke me up at 4am wasn’t so small after all…
http://www.google.com/hostednews/ap/slideshow/ALeqM5gLE5Mss9oMr_dpRNOuQ19HacFrRQD9I0LL9G0?index=0
Apropos of nothing: http://www.youtube.com/watch?v=z0kSBiu1IGk
The much asked for edit comment link has arrived. will show up right next to the Reply link
So, who’s excited for Suck?
Anyone know why The Tillman Story was unable to get a PG-13 from the MPAA despite using Gunner Palace, which features more uses of the F-word, as a reference during its rating appeal?
Is Machete going to end up grossing more than Grindhouse?
The Business on KCRW had a half-hour on the Tillman rating thing. Basically, they feel like Gunner Palace was a mistake, but they also made the point that swearing was in the heat of combat. Or whatever.
I had read the Jon Krakauer book on Tillman and wasn’t expecting to get a lot from the movie, but it’s actually pretty great.
That’s funny, I bet Machete does beat it. Which begs the question, what sort of spinoffs (not sequels) exceeded their original? Feature film only, please. TV gets done more frequently.
honestly, while I am tempted to mention one of the Ewoks movies (gilded nostalgia), my first reaction is actually to say Get Him to the Greek…
unless maybe whit stillman’s movies (arguably spin offs). i was surprised by how little “spin off”s i could think of in terms of strictly feature to feature extrapolation.
and yes i remembered the color of money.
the score?
what the hell is a “spinoff” anyway?
Edit button? EDIT BUTTON! Edit button!?! BOOYAH!
i saw Machete tonight and boy howdy, that’s a movie. If you have the chance to see a very small latino man literally rip people apart, go and see it. Now, let us see if it has indeed… arrived.
IT HAS! IT’S FINALLY HERE! OH LAWDY! [pass out]
LOHAN, ALBA, MICHLLE RODRIGUEZ = Am I allowed a first BONER on the New Hot Blog?
Good movie, loved De Niro, Seagal, Fahey and Johnson… Just though the finale ran out of steam a little, with some shots looking like bad Kevin Smith takes; Obviously this was supposed to be a sloppy grindhouse movie, whereas Once Upon a Time In Mexico was polished and had Leone aspirations (even though they’re both basically, as all are RR movies, the SAME movie)… But the climactic, semi-operatic carnage in MEXICO was done a lot better.
But, whatever… It worked.
FAHEY POWER!!! And Seagal’s [SPOILER] death scene [END SPOILER] was one for the ages.