April 20, 2024
The Hot Blog
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movieman on: BYOB Fall Back, Film Forward
movieman on: I Should Be Doing Box Office
Review: Little Women (no spoilers)
Why You Should Be Afraid Of The End Of The Paramount Decree
Review: Frozen 2 (spoiler-free)
Review: Marriage Story (spoilers only in the broadest sense)
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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
the sheep-like campaign-influenced machinations of the academy i’ll never understand, but at least it always feels like the nominations – since they’re voted on by people who actually work/have worked in the specific field of endeavour being nominated – are a little more, i don’t know, ‘legit’ as opposed to the actual winners who are voted on by all branches of the academy – some of whom don’t know their ass from their elbow about for example ‘sound design’ (apart from ‘best pic’ of course, nominated by all voting blocks). having said that, predictably predictable and boring from the academy as ushe.
kind of stoked to see:
fassy in there, his epps is one evil bastard in ’12 yrs’ and it’s good to see some straight-up world-class villainy represent
sally Hawkins nominated for another terrific turn as ginger, i don’t think blanchett (who i pray wins, one of the few for whom i’m actively rooting) would be quite as effective without sally to play off in her role
bummed for a lot of movies/performances that got passed over, usually because they didn’t come out in the last 2 months of the year and/or weren’t deemed worthy of the shamelessly loathsome, reprehensible Oscar campaigning machine, but particularly ‘mud’, one of my faves of 2013; i thought mcconahowyouspellit’s fresh, endearing, earthy yet bristling with energy, weirdly uplifting perf as the eternally optimistic bullshit artist ‘mud’ was superior in every way to his perfectly fine turn in ‘dallas buyers club’, but i guess losing a lot of weight counts as some serious acting chops for a lot of people, i don’t get it.
(perversely pleased to see no editing nom for the bloated, repetitive, try-hard WOWS – the editors got that one right at least haha)
why do you laugh (haha) at the non-nomination of an editor?
It’s one thing to have one’s own opinions about what work is deserving, it’s another to revel in the disappointment of others.
Trust me, nomination morning for all of these awards — Oscars, Guilds, etc., are grueling and emotional for those in the running.
No need to pour salt.
Criticism can co-exist with compassion.
what? no i was laughing at my assertion that the editors got something right, because right is subjective, not ‘haha you didn’t get nominated, nah nah’, good grief, i’m not three — i guess that’s my bad for not making it clearer. (and the ‘gruelling and emotional’ thing to be a nominee… not sure i buy that; i know several oscar nominees – and a couple winners – and my overwhelming impression is that while it’s nice to be nominated and maybe a bit disappointing when you’re not, it’s not some soul-crushing emotional journey, i don’t think they give much of a shit about awards from some subjective clique of people with often questionable taste, it’s just gravy)
Leahnz clearly doesn’t know any acting nominees. It should go without saying, but that is absolutely no slight to you (and perhaps a compliment).
derp i don’t quite get your meaning there Spassky, so i don’t know if i should slap you with my glove and declare pistols at dawn (definitely not challenging you to a game of chess haha) or agree — but if you’re insinuating that actors tend to be insecure, yearning-for-approval dramaqueens who down in their secret places love them some kudos and awards recognition, i certainly wouldn’t argue the point
the hotblog is a morgue – i forgot to add earlier so i might as well now since it’s not exactly a fight to get a word in edgewise around here, that i call a bit of bullshit on no nom for holofcener ‘enough said’ in original screenplay, brilliant writing and i’d easily put it above ‘dallas buyers club’ and ‘American hustle’, the strength of which lies in the actor’s performances rather than exceptionally sharp writing (and an example of the sort of thing that can make the oscars kind of boring and homogenous, when the same ‘popular’ movies are so often nominated across all the major categories instead of thinking a little outside the box where other perhaps smaller or artier but very deserving movies that are just exceptionally well-written – or edited/whathaveyou, well executed in that field – but not a name recognition pet poodle so with little chance of getting a nomination in one of the big categories (not to mention the serious sausage club in the screenplays this year). or, i mean is ‘dallas buyers club’ for instance really better-edited than say ‘rush’, which also isn’t a main contender and didn’t do very well but the editing is really outstanding, and not just because flashy car racing. as it stands the oscars feel a little like a PR exercise for the same little batch of movies sometimes).
“but if you’re insinuating that actors tend to be insecure, yearning-for-approval dramaqueens who down in their secret places love them some kudos and awards recognition, i certainly wouldn’t argue the point”
Ha, yeah you got it. Sorry if oblique… jet lag does weird things.
And, yeah, was very surprised at lack of technical noms for Rush and lack of screenplay nom for “Enough Said” …
But to be fair, there was so much good product this year, it’s probably tough to go for your favorites AND get a well-balanced ballot. So many “any other year…” comments about this year, which is a cop out, but the movies that got completely (or near completely snubbed) have good company.
Honestly, as a huge fan of “Llewyn,” I’m glad it got snubbed, because due to the nature of the character and the film, it feels more appropriate this way. Like octogenarian Llewyn is sitting in a hole in Hoboken eyes talking about how the academy never gets it right…
I always liked the Professor …. http://youtu.be/UUXIVZ9smkQ
Roger Deakins, closing in on the Oscar record for futility in the Cinematography category 🙁
Again: David doesn’t care about this place. Why should anyone else? He cares about twitter. He should use tumblr, but that may be a bridge too far for him.
no ‘inside llewyn Davis’ to at least fill the possible remaining best pic slot and maybe some noms in the creative categories is a surprise, esp. given the academy’s seeming affinity for the Coens work/sensibility (truly great american film-makers) with consistent nominations — i just saw it a couple days ago and feel like i really need to see it again to sink my teeth deeper into llewyn’s psyche and the deep-chilled period detail and interesting perfs… having said that i doubt the C bros are losing any sleep over it given how they roll, maybe the beancounters are, because that’s how they roll haha