And the good news for some of you… the opening on Dec 3 is now expanding to 8 cities instead of just NY and LA… Boston (Boston Commons, Kendall Square), Chicago (River East, Century Centre, Evanston), San Francisco (Metreon, Kabuki), Washington DC (Bethesda, E Street, Georgetown), Dallas/Ft Worth (Magnolia, Angelika, Plano), and Toronto (Varsity)
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Review: Little Women (no spoilers)
Why You Should Be Afraid Of The End Of The Paramount Decree
Review: Frozen 2 (spoiler-free)
Review: Marriage Story (spoilers only in the broadest sense)
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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
I’ll see it in JANUARY! WOOOOOOOOOOOOOOOOOOOOOOOOOOO!!!!
Washington DC (Bethesda, E Street, Georgetown) fuck yesssssssss. 3 days after my birthday, the perfect gift.
Watched a screener last nite and, while I think it’s Aronofsky’s best film since “Requiem,” I’m a little baffled at all of the Oscar buzz. This is an upscale genre piece–think Cronenberg directing a remake of
Polanski’s “Repulsion”–and it just doesn’t seem like the type of movie that traditionally gets a lot of Oscar love. A Portman nomination seems likely (and richly deserved), but anything else…highly dubious.
love the last poser, hate the first two.
Saw it at TIFF. Seriously good. Seriously.
For those who have seen it:
I live about 30 minutes from Dallas area arthouse theaters. However, I don’t think they have digital projection. Should I take the time and gas money to go see Black Swan at one of those theaters, simply to see it early, or would it be better to wait until it hits a theater near my house that has digital projectors? I’m assuming that if I see it and love it, I’ll be willing to pay to see it again down the road, when I can see it in digital.
I don’t think it was filmed on digital, so I don’t see the benefit of seeing it with digital projection.
That said, if Dallas arthouses are anything like Toronto arthouses (minus The Varsity), you’ll wanna watch it at cinema with decent sound and lighting instead.
The striking second poster, which is the main one I’ve seen out and about: Was that designed by Tarsem Singh?
IF GREENBERG doesn’t win best pic I quit …. Black Swan was an awesome cinematic experience but you know what – so was The Last Three Days … “Do you want to make Jello?”
“love the last poser, hate the first two.”
You have got to be kidding me on this.