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By DP30 david@thehotbuttonl.com

Posted Thursday, July 7th, 2011 - 4 Comments »
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DP/30: Another Earth, director/co-writer Mike Cahill, actor/co-writer Brit Marling

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4 Responses to “DP/30: Another Earth, director/co-writer Mike Cahill, actor/co-writer Brit Marling”

  1. sanj says:
    July 7, 2011 at 2:51 pm

    the best part – 19 minutes – DP asks about her being in Transformers 4. fun stuff.

  2. Geoffrey Faulkner says:
    July 22, 2011 at 2:45 pm

    I am trying to contact Mike Cahill, I am lecturing this year in 12 countries on exactly this topic, I am an ET Contactee, not a nut, im a Horse rancher in Northen CA. if he could just look up Geoffrey Faulkner on Youtube, I am doing interview after interview on radio. We need to speak, soon. Thank you Geoffrey Faulkner
    healer_ca48@hotmail.com also on face book.

  3. DukeD1989 says:
    August 26, 2011 at 1:19 pm

    Was this all a view from a mirror in the room…?? If so, brilliant! Anyway, loved Another Earth, I was one that really connected with it and what they were trying to get across. I think Cahill and Marling are both brilliant, listening to them here (and at a Q&A I attended), they seem to truly have a passion for film making and a great perspective as to how or why a story should be told and how to approach telling it. Can’t wait to see what they do next. Also, awesome that he mentioned The Double Life of Véronique, because I always felt that a particular action Rhoda does at the end of the film was very much like that last scene in The Double Life of Veronique.

  4. Viewer says:
    September 2, 2011 at 2:34 pm

    Wow, could this guy be anymore pretentious and self-important?

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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