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Kim Voynar

By Kim Voynar Voynar@moviecitynews.com

Birthdays, Cowboys, Aliens and Apes

Hey, it’s Monday! Whaddya know?

We had a big Summer Birthday Bash for Veda, who just turned 10, and Luka, who just turned 8, over the weekend, and I’ve been so busy with the mass double-night sleepover that went along with that, that I didn’t realize it was Monday until afternoon. Oops.

We tend to do Veda and Luka’s birthday parties together because they’re only a couple weeks apart, and it’s hard to find one weekend in late July/early August when most of their friends can come AND we have all six of our kids here at home, much less two. So far, neither of them seem to mind sharing a party; the Venn Diagrams of their individual friendship circles have multiple intersections. They each got to pick their own cake, and party decor, and pinatas, and a good time was had by all.

Tonight the three younger kiddos are off with their other parents, so we’re taking the older three out for burgers and a movie. I’m advocating for Rise of the Planet of the Apes, in no small part because I’m kicking myself now that everyone digs it for not making the press screening. From the trailer, I thought it looked like Project Nim: Nim’s Revenge, but apparently it’s actually GOOD. Huh.

Neve would like to see Midnight in Paris again, but she’s also in favor of the boys’ pick … Cowboys and Aliens. So here I am, arguing with teenagers over why they should see the reportedly intelligent and philosophical Apes now and catch Cowboys and Aliens in a couple weeks at the $3 theater. The crux of my argument? “But all my film critic and film blogger colleagues think Planet of the Apes ROCKS and Cowboys and Aliens? Not so much.”

Who says no one pays attention to the critics? I’ve almost got the kids convinced …

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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