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David Poland

By David Poland

Never Let Me Go director Mark Romanek


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3 Responses to “Never Let Me Go director Mark Romanek”

  1. Tim Fleming says:

    Great to hear the journey. I’ve been a fan of Marks for some time. would be a dream to collaborate with him.

  2. Jake McClure says:

    Romanek— so zen.

  3. Triple Option says:

    **Possible SPOLIERS Below** In the interview, there was mention of answering the question “why don’t they just run” but it never seems to come. I mean I got from the stylistic approach by the filmmaking team why running wasn’t an option – Not in the sort of cultural b.g./influence in working out personal dilemmas, for lack of a better way of putting it – but that only explains the type of film they wanted to make. There’s no mention of this option in the film, which to me seemed more than a bit puzzling. I would liken it to perhaps making a film about kamikaze pilots and then having a particular pilot who didn’t want to go or at least postpone his duty. One question would be he’s in a plane, why not fly to freedom? But in the telling of the story and setting up the culture it could be answered why that really isn’t a considerable option.

    One area I felt this film failed to answer was what was the mental foundation behind the running is not an option mentality. One so strong that it went without mentioning??? I get the barrier of fear placed on them in early life. Perhaps it’s like Truman Show where this sort of blockade stays in place up until the point when the procedures start and running would be too late but once they leave the kiddie boarding school and get some exposure to the outside world, especially TV & adult mags, what’s stopping their curiosity or fear from taking over? It’s not like fear was removed from their line of thinking, just the opposite, it was exploited to manipulate and control them.

    OK, so that was a bit long. I enjoyed the film for what it didn’t try to be and respect the creative team’s decisions. Not sure Searchlight has made films that have blown me away but I’ve enjoyed some of their films because they seem to exercise self control and not try to blow people away.

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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