April 25, 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
Think of it: Stone and Rock, both lighter than air!
Any film based on the premise of someone actively trying to get away from Emma Stone seems to be flawed from its very conception
Except there was that hit movie where someone actively tries to get away from Jennifer Lawrence; same lead actor. Doubt a hit is happening this go-around.
I loved ALOHA. It’s a bit of mess, plot-wise, but it’s also funny, sweet, quirky, bright and colorful… Pure Cameron Crowe.
I agree w/ Kevin.
Loved it!
The messiness stems from the (apparently) Sony-mandated re-edit to try and whip it into conventional rom-com form. Cut to the bone at 104 minutes, it felt like there was a bigger, longer, more leisurely and (even more) digressive movie struggling to break out.
But what remains is actually kind of marvelous.
It’s wonderfully idiosyncratic in a ’70s (movie) kind of way, and effortlessly , irrepressibly charming from start to finish.
I had a terrific time just basking in the glow of that radiant cast, all of whom are first-rate even when their roles appear to have been cobbled a bit (or more) in the editing.
I’m gobsmacked that so many “critics” have complained they couldn’t follow the plot.
Really?
Also stunned that somebody claimed they weren’t sure whether Krasinski’s character was a deaf mute or not.
Seriously?
What movie were they watching?
Wow Crowe fanatics sure are loyal. To be fair I haven’t seen Aloha. Maybe it really isn’t an atrocious trainwreck. That’s hard to believe though.
Since there’s now an actual review space for Aloha, and this is a BYOB heading, just wanted to share…
Turner Classic Movies is showing Film Noir movies on Fridays in June & July, and is having a free online class on the subject in conjunction with Ball State University. If anyone is interested:
http://www.tcm.com/summerofdarkness/
Even if you don’t get TCM, they will be also providing links to Film Noir in the public domain.
I was all psyched to see San Andreas, but then I read that a seismologist says it’s not realistic. I will not spend my hard-earned money to see an unrealistic disaster movie. For shame Hollywood.
I’m not sure if it was the editing or what, but it wasn’t for me. What does Bradley Cooper actually DO? I understand contracting and lobbying work, and jobs like this simply don’t exist. The characters mostly are put in some existential place like “Friends,” or “It’s Complicated,” where you’re constantly made to question their being. “We have a Central Park West overlook…because we’re baristas!” It just screams lazy/insincere plotting.
And movieman, you’re really blaming the critics when this was the tightest embargo I’ve ever seen laid down by a studio short of torture porn/Tyler Perry? Sony, despite its protestations about Pascal’s emails, obviously felt the same way she did and hated the movie way more than I. Seriously…I can’t remember a tighter embargo for a non-horror/urban/unpretensiously garbage movie than ALOHA. To be fair, maybe the fact I was worried about going to prison for expressing my views on this movie killed any good-will I had towards it.
There weren’t any pre-release screenings for the Cleveland market, Et.
I saw “Aloha” last night at its first public performance.
Went in expecting a trainwreck (the few reviews that filtered in yesterday afternoon were nearly unanimous in their sheer and utter contempt for the film), but left applauding a fatally flawed but enormously appealing movie that seemed to have the makings of a humanist masterpiece before Sony’s heavy hands intervened.
I can’t believe that many of the same critics trashing “Aloha” gave “San Andreas” a pat-on-the-back pass.
One (favorably) recalls the halcyon days of the New Hollywood era while the other symbolizes everything that’s wrong with 21st century Hollywood.
“I loved ALOHA. It’s a bit of mess, plot-wise, but it’s also funny, sweet, quirky, bright and colorful… Pure Cameron Crowe.”
This is a reality that gets missed in the reviews for “Aloha” and “San Andreas”. A movie can be a hot mess conceptually but still make you glad you went to see it.
“Also stunned that somebody claimed they weren’t sure whether Krasinski’s character was a deaf mute or not.
Seriously?”
I thought he was mute in the movie because the Coke machine was out of order and Pam enforced the jinx rule on him again.