May 3, 2024
The Hot Blog
amit on: Review: Frozen 2 (spoiler-free)
movieman on: BYOB Fall Back, Film Forward
Christian on: BYOB Fall Back, Film Forward
movieman on: Review: Marriage Story (spoilers only in the broadest sense)
movieman on: BYOB Fall Back, Film Forward
movieman on: Review: Frozen 2 (spoiler-free)
YancySkancy on: Review: Little Women (no spoilers)
Hcat on: Why You Should Be Afraid Of The End Of The Paramount Decree
movieman on: BYOB Fall Back, Film Forward
movieman on: I Should Be Doing Box Office
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)
see all »
[twitter-widget username="DavidPoland" hiderss="true" hidereplies="true" hidefrom="true" items="3" showts="60" title=" " targetBlank="true"][twitter-widget username="MCNTweets" hiderss="true" hidereplies="true" hidefrom="true" items="3" showts="60" title=" " targetBlank="true"]
Quote Unquotesee all »
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
The new von Trier sounds absolutely fantastic.
I wonder how long before IFC announces they’ve acquired U.S. distribution rights.
Granted it’s only one opinion, but reading Hollywood Reporter’s review of it, Melancholia sounds kind of boring and like more of the same from von Trier.
i can only imagine how mortifying it must have been to be sitting next to von trier at that press conference as he dug himself into a deeper and deeper hole with his mouth (ever-fascinating to be privy to fucking headcases actually saying what they’re thinking in a bout of verbal diarrhea, and then watch the backpedalling complete with obligatory insincere, forced public apology; wouldn’t it be refreshing if for once one of these eggs just came out and said honestly, “i’m sorry i said what i’m actually thinking out loud around other people and exposed myself for being the mentally-diseased hateful headcase that i am, deal with it!”)
Lars Von Trier’s ‘Nazi’ gaffe video
Kirsten Dunst seems really surprised – kinda like Kayne West and Mike Meyers
http://www.youtube.com/watch?v=LayW8aq4GLw
Pardon my self whoring (again) but we’re taking our ugly dog documentary WORST IN SHOW to Portland and Seattle this weekend. I think there’s some Hot Bloggers up that way and we may even be graced by the lovely presence of Team Voynar. We’re also taking the film to Arizona and Texas in June and then other places too. Please come out if these are your areas, I’ll be there.
Since we got totally hosed on film fests, we decided to take it out ourselves and it’s been pretty interesting. It’s a shit ton of work and I really can’t say it’s worth it financially. Time will tell. We’re lucky we have a niche and can get sponsors and ad sales for the movie from dog related companies, etc. But it’s alot of work doing stuff I’m not great or comfortable at (cold calling, selling the movie, selling ads).
I do find it interesting that at a time when movie theaters are in deep doo-doo they don’t *really* make it easy or inexpensive enough for indie filmmakers to rent their space. Some do, but many charge way, way too much. It’s forced us into converted spaces which are fine but a theater is much easier. To me, when the distribution writing is on the wall, I’d think theaters might want to be more inviting.
I don’t know, Paul: Variety and Lisa S. at EW gave it unqualified raves.
Sounds like it could be von Trier’s best since “Breaking the Waves,” or even “Zentropa.”
Don: Are you opening in theaters in Texas, or what?
Just finished watching “Daydream Nation,” and the question Joe pondered (“why do some actors make it and others don’t?”) a few days back on another thread came to mind.
In this case, why is Bradley Cooper–who I generally loathe–on the verge of stardom, while Josh Lucas (who’s a similar “type,” but vastly more talented and far less unctuous) kind of fizzled out?
Movieman: Hope you can see Josh Lucas in A Year in Mooring — because he’s even better in that one. I think, rather than fizzling out, he’s heading in a whole new direction.
http://www.variety.com/review/VE1117944931?refcatid=31
Of course, I liked him in Daydream Nation as well.
http://www.variety.com/review/VE1117943667?refcatid=31
my theory about josh lucas is that he was rendered extraneous as a result of the cole hauser/josh lucas/matthew mccaunahowyouspellit all-can’t-exist-at-the-same-time-lest-it-rip-a-hole-in-the-space/time-continuum, so matthew just absorbed the other two like an aggressive in vitro triplet.
(there are few movies i loathe more than ‘breaking the waves’, sorry to say. i won’t rant tho, promise. needless to say: women must suffer! – LVT)
Regardless of what’s on screen, you could perhaps look to what people say about having to deal with Josh Lucas. Robert Altman’s people, for instance.
Chris: Those of us who had to deal with Robert Altman — who, I’m sorry, could be a condescending asshole — might reflexively side with Lucas.
Lucas, Cooper and Jason Clarke all have that same weird beady-eyed look. Lucas and Clarke can act circles around Cooper (Lucas is wonderful in UNDERTOW) and they don’t seem as smug. But there’s something off-putting about their look and I think it’s what keeps them from being stars.
Nikki: I might have agreed with you before Daydream Nation and Year in Mooring. But now…
Joe: No doubt Lucas is a terrific actor. I was merely talking about why I think he didn’t take off in a mainstream sense, even though he was seemingly the go-to guy in a spate of Hollywood films before he even established himself. I hope he has a long, healthy career as a sort of “leading character actor” and admire the way he’s reinvented himself. Will definitely check out YEAR IN MOORING on your recommendation. Also, no shit-talking Altman, please. Yes, he liked to bait journalists, so you probably caught him on some bad days, but he was like an uncle to me IRL and it’s hard for me to tolerate smack against him.
Josh Lucas / Kat Dennings DP/30
it’s only 20 minutes and they are in a car
http://www.viddler.com/explore/mcnvideos/videos/227/
Josh Lucas and Matthew McConaughey are in The Lincoln Lawyer…
Niki, this one’s for you:
http://movingpictureblog.blogspot.com/2006/11/ri-p-robert-altman-1925-2006.html
That was a really beautiful piece, Joe. Thanks for sharing.
Good Luck, Don. I’ll send some Portland peeps your way.
Can I just say I don’t much like Von Trier’s films and while I applaud his independent tude, the smug contempt he has for the audience or the films is tiresome. I imagine he’s kind of the Godard of this age in some ways.
Joe- Is “Year in Mooring” getting a theatrical release?
“DN”–which I quite liked–suffered the typical Anchor Bay fate (a token theatrical release followed by dvd 10 days later). It definitely deserved better.
My first introduction to Josh Lucas was at the 2000 Toronto FF where I saw him in 2 films (“You Can Count on Me” and “The Weight of Water”), and remember thinking that he could/would/should definitely go far.
But after “Wedding Crashers,” I never seriously thought Cooper would go beyond add’l creepy-heavy roles. Too ickily smarmy/weird for my taste.
Surprised that so many folks (including my beloved Leah) are so virulently anti LVT.
I don’t think I’ve disliked any of his films yet. Even the ones that don’t really work (“Antichrist,” “The Idiots”) are more interesting than most other directors’ movies.
Yeah, the guy is a foot-in-the-mouth “provocateur,” but I’m consistently amused/appalled by the way he tries shaking things up.
Long may he roar.
this is printed in a real newspaper ..
Johnny Depp makes 55 million for Pirates 4 ..
“When Disney decided to re-launch the becalmed franchise with this fourth film, it wooed him back with a cool $55 million”
http://www.thegridto.com/culture/film/into-the-depp/
saw i am number 4 2011 – didn’t like it at all – it’s
made for people who like twilight movies .. the movie trailer is better than the movie … since it made a ton
of cash they’ll make more of these ..
also saw the rite .. that old dude who always looks old
Anthony Hopkins did a great job ..liked the last 15 minutes of it…i think his performance is oscar worthy
but it won’t happen cause the gurus of gold critics won’t approve of it cause scary movies never get awards..
i found a video about A Year In Mooring ..
“A Year In Mooring” Interview with Josh Lucas
its 10 minutes
http://www.youtube.com/watch?v=FqYQb_PJ4_Q
Thanks, Christian!
Joe- we’re going Dallas on Thursday June 16 and Austin on Saturday, June 18. We just couldn’t squeeze Houston into the trip even though we tried. I’ll email you later and maybe you can check the film out nonetheless.
sanj I Am Number 4 didn’t exactly make a ton of money and this week one of the writers said they don’t think any more are being made.
Sanj: Anthony Hopkins didn’t always look old. Honest. Did you ever see The Lion in Winter?
Don: Are these going to be public screenings? Like, people stand in line, buy a ticket, and see it on the big screen?
Movieman: I think Year in Mooring is still on the festival circuit. I’m hoping it gets picked up soon because (a) it’s a very good movie, and (b) I interviewed the director.
Also Movieman: I know I shouldn’t be surprised by anything that happens in movie biz anymore. But I’m actually a bit shocked that Daydream Nation got such a puny theatrical release. I knew it would never be a major moneymaker, but I really think there was a time not so long ago when a savvy distributor could have made a nice pile of change by taking it into carefully selected markets, and backing it with a smart ad campaign.
Joe how do you feel about Jim Crane (apologies for the non-movie related subject)?
from wikipedia ..more i am number 4’s coming ..
The story is set to be continued in The Power of Six, set to be released August 23, 2011 and focus on Number Seven. A preview is provided at the end of a special edition of I Am Number Four.
Anthony Hopkins has always looked old since 1994 ..all movies he’s super old guy – i haven’t seen lion in winter
i liked him in The World’s Fastest Indian .
so when is this old dude gonna get his dp/30 ..
Oh well if wikipedia said it, it must be true. Continued in book form, but one of the writers just the other day said there are no more movies being planned.
Paul: When it comes to the Astros, I always hope for the best, and expect the worst.
As a Brewers fan I can definitely relate to that Joe.
Joe- I’ll definitely be on the lookout for “Mooring.” Thanks for the head’s-up.
I’m always more saddened than surprised when a movie as decent as “DN” somehow manages to slip through the cracks.
It felt a bit like the (Canadian) female answer to “Thumbsucker,” another movie I liked that went nowhere fast–despite being distributed by a major art/indie player (the redoubtable Sony Classics).
I actually read the I AM NUMBER FOUR book because I am a fan of James Frey because of his novel BRIGHT SHINY MORNING, and it was pretty entertaining and fun, although it doesn’t retain any of its specfic prose style that I found so comepelling in BSM or for Frey in general. The books are actually part of a company he established where he co-writes or supervises the creation of genre fiction along with up and coming writers. It’s a factory system of book writing that is an interesting concept and quite controversial.
I haven’t seen the movie yet, but I’m glad at least the books are continuing. It’s odd, though, because even though we talk about the sequel onslaught that we’re living in, it could be way worse. Just think of all the failed franchises that intended to have sequels but have not been able to.
over 3000 pictures of celebrities at conventions
lots of tv stars mostly .. some pictures are so good
they should run in newspapers / magazines when they review movies / tv shows
takes about 20 minutes to see all the pictures …
http://www.flickr.com/groups/celebrity_conventions/pool/
It’s controversial for a reason. Sounds like Frey has a good scam going.
From this story: http://nymag.com/arts/books/features/69474/
Hughes wrote the novel without any compensation and signed a contract, without consulting a lawyer, that specified that he would receive 30 percent of all revenue that came from the project. The book would be published under a pseudonym, and the contract stipulated that Hughes would not be allowed to speak publicly about the project or confirm his attachment to it. There was a $250,000 penalty Frey could invoke if Hughes violated his confidentiality terms.
And:
I later spoke to Conrad Rippy, a veteran publishing attorney, who explained that the contract given to me wasn’t a book-packaging contract; it was “a collaboration agreement without there being any collaboration.” He said he had never seen a contract like this in his sixteen years of negotiation. “It’s an agreement that says, ‘You’re going to write for me. I’m going to own it. I may or may not give you credit. If there is more than one book in the series, you are on the hook to write those too, for the exact same terms, but I don’t have to use you. In exchange for this, I’m going to pay you 40 percent of some amount you can’t verify—there’s no audit provision—and after the deduction of a whole bunch of expenses.” He described it as a Hollywood-style work-for-hire contract grafted onto the publishing industry—“although Hollywood writers in a work-for-hire contract are usually paid more than $250.”
The controversy is certaintly merited, PaulMd. From what I’ve read, apparently Hughes broke the confidentiality agreement, although his website doesn’t explicitly make any mentions of IAN4.
Here’s a pretty interesting insider’s account from one of the young writers who took part in Full Fathom Five, the company in question.
http://nymag.com/arts/books/features/69474/
Jkill did you not read my post? In the second line I link to that story.
And did you read it? I find it hard to believe that someone could read all of that and say “apparently Hughes broke the confidentiality agreement,” blaming the writer. That’s what you take away from that story? Frey seems like a degenerate sleazy scumbag taking advantage of young writers. I don’t know how anyone reads that without concluding Frey is a scam artist dirtbag.
Oh Wow. Sorry, PaulMd. When this story broke I read a bunch of articles on the subject and just instantly looked up and linked to the one I remember being the most compelling. I did read your quotes but skipped the link because I assumed (correctly) that I had read it. But sorry for the bad reading comprehension.
And also sorry for the unclear writing, because I threw up the information about the confidentiality agreement because I thought it was interesting, not to demean the writer. His website says New York Times Best Selling Writer, but does not list the particular title anywhere on the site which, while not something I was happy about, I found intruiging. It’s weird because when the movie deal for IAN4 was released both writer’s names were included in the offical press release. It’s very easy to look up who wrote the book, so it seems particularly harsh and unfair to not even let the writer get credit. I was not defending the policy, which I find to be needlessly constricting and weirdly regressive. Yes, it’s a Hollywood style contract but there’s no reason for the insultingly low pay and strange stipulations.
I’ll defend Frey’s prose based on what I’ve read, but I won’t defend these actions. I don’t think we disagree on FFF. Haven’t had enough coffee, so I’m not at my sharpest…
No problem, and no need for apology. I didn’t mean to be too harsh. We probably don’t disagree about FFF, which has nothing to do with Frey’s works and writing talent. While no one forces these writers to sign anything, and young writers are surely eager to taste success, this seems like a huge scam allowing Frey to take credit for and profit from work he doesn’t do while screwing the writers each and every way possible. Plus he really seems like a huge asshole.
Good article. Not shocking that Frey comes across like a dick. He sounds like every low budget producer ive ever worked with. Big promises that never materialize and a legion of writers lining up for the dream of overnight success.