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DP/30: Senna, director Asif Kapadia

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4 Responses to “DP/30: Senna, director Asif Kapadia”

  1. The Pope says:

    A really, really nice guy. Engaging, helpful. Modest.
    Ladies and Gentlemen, meet the recipient of next year’s Best Feature Length Documentary.

    Senna has to be seen. Brilliant in so many, many ways.

  2. Peter says:

    I like it too. It feels like a fiction film at times, like Days of Thunder. The movie is very pro-Senna though. I mean he is treated like a God throughout the movie, the movie is being made by the Senna family/foundation, so I understand that.

  3. Breedlove says:

    Really good movie. Isn’t Michael Mann doing a Formula One project? Dear God that is going to fucking kick ass.

  4. The Pope says:

    I met Asif Kapadia at a film festival earlier this year and he mentioned something similar; Mann, Ridley Scott and Oliver Stone have all tried to do it. According to Kapadia, they have backed away for the same reason: visual authenticity. As you know, every frame in Kapadia’s film is authentic and in this day and age, where we know what it looks like from ESPN, unless Mann/Scott et al get in on the actual tracks and film with other cars actually racing, then it simply doesn’t feel real. Budgets of $150m+ were mentioned. And added to that problem is the legal logistics that Bernie Ecclestone owns all media rights to anything and everything that goes on inside the circuit. And with Bernie being richer than God, and his revenue rolling in from there, he doesn’t answer the phone when Hollywood calls.

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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