April 25, 2024
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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
They could cut to Russell Brand telling people not to vote at the end. Shows how lightly some people take the act of voting now
God, that looks awful. Have we already reached the point in the year where we’re getting previews for bad awards bait movies?
SUPPORT THE MINERS!
I’ll take the sunny optimism of PRIDE over this rote clamor for Oscars.
So it’s basically “American Sniper,” but from the other POV?
Does anybody know who did the Fleetwood Mac cover?
That was my favorite part of the trailer.
Probably won’t be in the movie, though.
That Landslide cover was so insufferably middlebrow I wanted throw an explosive VHS copy of Beaches at it.
I think it’s Robyn Sherwell singing it.
This kind of film is so frustrating, at least as marketed. A worthy subject, but is there any way to do it that wouldn’t come off as Oscar bait? It’ll be preachy and rabble-rousing, maybe with a few cutesy one-liners here and there so we don’t slit our wrists from all the drama.
Sounded like a Lana Del Rey imitation.
by any means necessary
i found gavron’s first feature ‘brick lane’ a meticulously and delicately detailed, meditative depiction of a withering caged soul who longs to break free so i’m interested to see what she does on a larger canvas with a formidable cast (and abi morgan can bring it), mulligan looks in fine form
I’ve seen lots of comparisons to Imogen Heap.
leah: Knowing Abi Morgan is on board gives me hope. Though I haven’t seen any of her film work, I loved The Hour.
Yancy is correct – Robyn Sherwell, Landslide.
Hollywood is doing its best to destroy the upmarket/arthouse segment and trailers like this are a good reason why.
This looks like some good October fare. Seriously.
Magga, and you know that’s a bullshit response to why he feels that way, and he fucking endorsed Labour for fuck’s sake. He wanted people to vote, but guess what? FUCKING FEAR won in that election, because OLD PEOPLE ARE ALWAYS VOTING AND SCARED OF THINGS! Here’s to the SNP throwing up another referendum, and walking away from that center-right country.
Chucky’s idea of upmarket/arthouse segment.
There goes that damn Meryl Streep again. She’s turning into the white female equivalent to Samuel L. Jackson.
Does anybody else think “Ricki and the Flash” would look a lot better if Michelle Pfeiffer was playing Ricki instead of Streep?
Movie, fuck, and no.
“There goes that damn Meryl Streep again. She’s turning into the white female equivalent to Samuel L. Jackson.”
Oh yeah…she’ll be yelling at Sam Rubin for thinking she was Helen Mirren any day now. Did she really wear a Kangol hat in the “Suffragette” trailer?
“Does anybody else think “Ricki and the Flash” would look a lot better if Michelle Pfeiffer was playing Ricki instead of Streep?”
Hmm. Maybe if they called it “Peggy Noonan and the Flash”?
Speaking of Oscar bait, I would normally say we have our first contender of the year this weekend with acting plaudits (and maybe screenplay) for “Love & Mercy,” but I’m pretty trepidatious about Roadside rolling out to 500 theatres in week one (their 3rd biggest initial push ever behind faith-based “Grace Unplugged” and Lincoln getting shot)…and Roadside in general.
Do these types of launches ever work anymore? I guess they wanted to get it out there quickly given that distributors decided it would be a brilliant idea to release virtually every potential box office indie hit of the summer in a 3 week period (Bovary, Me & Earl, Infinity Polar Bear, Manglehorn, Dope).