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Kim Voynar

By Kim Voynar Voynar@moviecitynews.com

Disney Out $200 Million on John Carter? Zing.

Here’s the story over on Reuters.

$184 MILLION box office and still $200 MILLION in the red. That is fucking insane, people. I liked John Carter, a lot, and completely disagree that it was hard to follow. My eight-year-old followed it just fine and he’s certainly not familiar with the source material. The marketing was ambiguous at best. The title was boring. Leaving the title as “Princess of Mars” probably would have made it seem inherently more interesting, although Disney would probably have drawn the ire of smart-ass, overly sensitive women like myself for calling it “Princess of Mars” — even if that was the original title — when it’s really about a man saving a woman. But whatever. “Princess of Mars” sounds like it has stuff happening. A princess in peril, a civilization — nay, a world! — in dire need of an unlikely hero! Whereas “John Carter” sounds like your boring, closeted gay uncle who likes to talk about his insect collection and has tufts of hair growing out his ears and fidgets with his change in his pants pockets incessantly.

But the reported $250 million budget boggles the mind, does it not? I get that it’s all relative, and so long as you make a profit and not a $200 million loss no one really cares. But man. You could make a lot of indie films, if you had that much money to put into a trust fund, and dole out a few films at a time. Yowza.

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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