April 23, 2024
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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
Oh, COME ON, Poland.
I know this is a DP/30 and such NO COMMENTERS EVER watch these except Sanj, NOBODY watches them anywhere, but 2 minutes in ZOE KAZAN the privileged daughter of NICK KAZAN and GRANDDAUGHTER OF ELIA KAZAN is all “OOPS, so I wrote a LITTLE SCREENPLAY about the PYGMALION MYTH,” and RIGHT THERE I’m tossing my fucking VEVO out the window in a rage.
COME ON. I know David Poland, I read David Poland, I know MCWEENY, I know all you guys… NO ONE is even MILDLY ANNOYED that YOU have career whims and LITTLE IDEAS and short stories and screenplays that might be interesting, might be brilliant, but NOBODY would ever read them, nobody would give you a break, but this REGULAR SHAKESPEARE UP IN HERE is being feted as some screenwriting wunderkind? PLEASE.
CAN’T WAIT for no one else to comment or no one else to cop to being jealous. Yeah, ZOE KAZAN, master screenwriter, and AS ALWAYS, Poland the ULTIMATE HOLLYWOOD SYCOPHANT just goes MMHMM UHUH MMM-HMMM for 30 minutes.
CHRIST, DAVE, YOU KNOW I LOVE YOU, but you could have some actor or writer on a DP/30 busting out KLAN LITERATURE, and you’d NEVER say a cross word, you would just UH-HUH, MM-HMM, MM-HMM AWAY. You have a 20 year old GOOFBALL HERE putting on airs, and you don’t say shit.
Appalling.
I’m jealous. Also, haven’t seen the movie, but the trailer makes it look like the kind of strained and cutesy Hollywood rom-com film nerds love to mercilessly mock.
LexG – nice rant but Zoe Kazan hasn’t done in dp/30 …
every writer thinks they have the most important screenplay – i watched this – standard dp/30 … i was bored with Paul Dano – he didn’t say anything for 10 minutes – now that takes some acting skills.
Lex, getting bent out of shape about the 70-80% of famous people who wouldn’t be famous without family connections is a waste of time. Once in a while you’ll get an Amy Adams who started out in Colorado dinner theater, but that’s obviously the exception.
I can’t be the only one who thinks she resembles Lady Gaga.
I actually did watch because I love Dayton and Faris and am glad they’re back! The movie looks a bit precious, but I’m still excited.
Lex you should save your anger until after you’ve seen it. Then you really would’ve been pissed!
Actually, it wasn’t bad but the thing never gets out of 2nd gear. No real issue on the execution in fact I’m sure experience, which they all have in one form or another, helped them but it feels like a first movie. Without the names, an otherwise anonymous film you might catch at some outlying festival. It reminded me of a lot of short stories I read in college. But, hey, they got it done. Mad props for that.
It reminded me a bit of Another Earth in that it spent a little too much time talking about its own cleverness of premise w/out actually taking the idea and really running with it. Of course budget constraints have to be considered. You could piss on the film for what it is but I think it wouldn’t be really fair to bang the nepotism drum until after she/(they) gets her next movie out. I mean, this thing doesn’t get Benning and Banderas w/out help. But there are plenty of other Hollywood babies who never get past calling themselves producers and spending their nights at The W.
You may see it and think of Running With Scissors or Lars and the Real Girl, both of which exceed this film, but maybe you can be encouraged by that. You should think “I could beat that” and then go out and write your script and send it out. This could have easily been taken over by a studio and Dano & Kazan booted off the project for Jim Carrey and Amy Adams and then D&K getting left w/a producer’s credit.
**SPOILER – Anyone else surprised that Ruby didn’t go see the shrink? I thought that would’ve opened up a whole new playbook and really given great insight to character. – END SPOILER**
I have yet to watch this DP/30 but I am curious about the development process morphing into the actual production.
Saw it. Loved it.
As a horny douche who fantasizes about impossible women 23 hours a day (TM Easy Money), I should write a review of it, but no one would pay me 100,000 dollars for it.