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David Poland

By David Poland poland@moviecitynews.com

(Un)Intentional Racial Overtones?

When this turned up in my e-mail inbox, my first thought was that the title of this film was a spin on “N-word… PLEASE!”

Then I realized that it was meant as a pun, on “insecure.”

But then, I thought, is it a movie about insecure black people? Is it a movie about a service that either provides security in the black community or a movie about a service that provides protection from the black community?

After looking at the e-mail on a computer that showed the jpg and reading the synopsis – a jealous husband story – I have to think it is meant to refer to “the N word” somehow…

Weird, no?

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12 Responses to “(Un)Intentional Racial Overtones?”

  1. JKill says:

    “Where are we on our wedding plans, Ms. Wedding Planner?”

    That trailer is glorious, especially the voice over.

    I need a DP/30 with the cast and the crew.

  2. LYT says:

    No more so than Boyz N the Hood, surely? Or NSYNC?

  3. David Poland says:

    Not NSYNC, Luke… but NWA, absolutely!

  4. sdp says:

    I don’t think it’s any different than NSYNC. I doubt it’s intended to mean anything – it’s just a dumb spelling.

  5. yancyskancy says:

    “Coming to theaters Fall 2010.” Can’t wait! Looks almost as good as THE DOGFATHER.

    Why’d they use an announcer who sounds more suited to something like WILD HOGS?

  6. Krillian says:

    Missed it. Too busy watching the all-black version of Fiddler on the Roof. It’s called “Fiddler, Please!”

  7. Oddvark says:

    According to Box Office Mojo, N’Secure was released in 486 theatres and grossed $1,166,406 on it’s opening weekend (with a total gross of $2.5M).

    http://boxofficemojo.com/movies/?id=nsecure.htm

    That’s kind of a lot of screens and a decent gross for what looks like a bad DTV title without any stars, isn’t it?

  8. LYT says:

    I’ve heard it’s basically a black version of THE ROOM.

  9. leahnz says:

    somehow it doesn’t seem fair that this fantastic stinkbomb is out on blu-ray yet i’m still waiting patiently for a transfer of ‘after hours’ and ‘the killing fields’ and countless others

  10. LexG says:

    This had a THEATRICAL RELEASE?

    Movie BLOWS but it’s funny and low-rent as hell, ESPECIALLY the main dude’s performance as the abusive husband; Dude is like David Alan Grier crossed with Phillip from the current Survivor.

    Vanessa Huxtable in the house, Wasn’t Elise Neal about as close to an African-American “It Girl” as it came in the 00s, starring in a bunch of big-ticket movies? How’d she end up fifth billed in some regional DTV?

  11. aframe says:

    Yes, it had a pretty successful self-distributed theatrical nationwide release last year that was buoyed solely on grassroots promotional efforts targeted toward urban audiences, not unlike how Rainforest Films initially got on the map when they self-distributed Trois in theatres in 2000.

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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