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David Poland

By David Poland poland@moviecitynews.com

BYOB Cannes

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8 Responses to “BYOB Cannes”

  1. Pete B. says:

    I know it’s going to be discussed in the box office write-ups, but WOW does George Miller deliver in MM:FR. Chrome & Shiny indeed.

  2. PTA Fluffer says:

    MM:FR is a staggering work of cinema. An all-timer. Among many other things it is also quite the trenchant allegory about mankind heading over the fossil fuel cliff, not to mention the strongest statement of female empowerment since, well, probably ever.

  3. Amblinman says:

    I swear I’m going to root for an actual fucking apocalypse when Pitch Perfect 2 beats Max this weekend.

  4. Kevin says:

    MM:FR is the best movie I’ve seen in forever. Maybe since AVATAR.

  5. Bulldog68 says:

    I instantly wanted to hit repeat when Mad Max was over. An awesome cinematic experience. I’m still high from its octane fumes.

    Dave, I’d really be interested in your review. I’m always cautious when a movie receives such universal pre-release praise, and inevitably let down, but man does this deserve every one of those glowing reviews.

  6. AdamL says:

    Saw MM last night – thought the 3D was worth it personally and a very good film.

    The Jurassic World trailer that played before had me wondering if I have ever seen a worse trailer in my life however. That film looks about as wretched as any film can be.

  7. EtGuild2 says:

    Seems the theme at Cannes is “Year of the Batshit,” between “Tale of Tales,” Gasper Noe’s “Love” and “The Lobster.”

  8. Triple Option says:

    I caught up to Ultron this w/e. Holy crap, this isn’t a brand new phenomenon but it was so nauseating seeing ALL the freckin’ movie in the trailers for the upcoming films. Seriously, can you stop? Signed, The World. It reminds me of high school, burning through some movie on vhs to pick out the gist of it for a test I would take of it in Lit. They play so many of them. The clips show too much. I’m already disoriented by the volume of sound and quantity of ads they blast while waiting for the film to start, now I have to the unpleasant experience of seeing spoilers to films I was borderline on seeing to begin with.

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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