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David Poland

By David Poland poland@moviecitynews.com

DP/30: NATO President John Fithian (Nov 2011)

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2 Responses to “DP/30: NATO President John Fithian (Nov 2011)”

  1. Proman says:

    The greed of theater owners is what’s damaging the movie industry.

    It is unfathomable to think that these people can get as much as 50% of theatrical grosses of films all while failing to even inforce a peaceful (or quality) moviegoing experience. They rip people off at concession stands (and that) and they rip them off again by a similar margin at the booths.

    And I don’t for a minute subscribe to the idea that the health of movies as whole is tied to how much profit these guys make. They could probably have a 20% fee paid to them and still make money, even if it means that some guy at the top will have a few millions less.

    Heck, at corresponding ticket prices they’s probably make make almost as much. And I do believe that had the tickets been people, more people would go and more often.

    What the theater chains are doing

    The existance and consineous success of chains like Cinemark is proof positive that movie exhbitors

    It’s a great racket to be in, especially since the studios can’t own or exhibit theaters. It’s an unfair (non-)equilibrium.

    And Dave, next time you compare this year’s grosses to the year before and then use that number to compare against the year before that, ask yourself how much did the prices (general prices) have reason over that time. And if the rate of inflation is lower or higher than the drop in grosses that occured in the last year.

  2. David Poland says:

    Proman… I have to say, that is the most ass-backwards thing I’ve ever heard from you. And we’ve been through some stuff.

    Please tell me… where does your knowledge of the exhibition business come from? Serious question. You’ve got a more extreme take than anyone I’ve ever heard try to shift blame to the exhibitors.

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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