By MCN Editor editor@moviecitynews.com

Joe Bel Bruno New Editor Of LATimes’ Company Town

Posted Wednesday, April 2nd, 2014 - Comments Off on Joe Bel Bruno New Editor Of LATimes’ Company Town
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Sent: Wednesday, April 02, 2014 11:42 AM

Subject: Joe Bel Bruno, Company Town Editor

Joe Bel Bruno, a seasoned business journalist with deep experience in highly competitive news environments, is the new editor of Company Town.

Joe has been a deputy business editor at The Times for nearly three years, directing our coverage of financial markets and earning respect for his news judgment and his enthusiasm for ambitious stories.

Before joining The Times, Joe ran markets coverage for the Dow Jones news wire and the Wall Street Journal. He was an award-winning reporter at the Associated Press in New York, where he anchored coverage of the financial crisis. He spent three years in London  as senior correspondent for Knight Ridder Financial/Bridge News.

 

As Company Town editor, Joe will lead a team of reporters who regularly break major Hollywood news and cover the biggest stories in entertainment and media. He will help the team build on an enviable track record and further extend the reach of their journalism on the web.

 

Joe succeeds Charles Fleming, who is taking on a new assignment in Business writing on autos, motorcycles and green energy. Since joining The Times in 2011, Charles has distinguished himself as a creative and innovative editor, shepherding dozens of stories to Page One and helping Company Town bolster its digital presence.

 

Charles is also an elegant writer, notching two Column Ones in the past few months and writing the popular L.A. Walks column. His new assignment takes advantage of his skill and expertise, to the benefit of our readers.

 

Please join me in congratulating Joe and Charles on their new assignments.

 

–John Corrigan, Assistant Managing Editor, Arts & Entertainment

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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