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David Poland

By David Poland

The Male Director Challenge: 2004 (Year 5 of 15)

As in 2003, there were (for the 2nd year in a row) only 5 newcoming directors whose movies hit the Top 50 at the domestic box office in 2004.

#8 Grosser – The Bourne Supremacy – Paul Greengrass – Experienced director with big indie credibility from Bloody Sunday, teamed with an infrastructure that had made the previous, troubled production, a success.

#19 – Dodgeball: An Underdog’s Story – Rawson Marshall Thurber – Big heat coming off of “Tony Tate: Linebacker” ads had Hollywood scrambling for his first film project. This was it.

#21 – The Grudge – Takashi Shimizu – This enormously experienced Japanese director got to remake his film in English.

#27 – Along Came Polly – John Hamburg – Red-hot comedy screenwriter got his shot to direct. (He had made an indie film and directed TV as well)

#30 – Anchorman – Adam McKay – Will Ferrell’s brain (so to joke) got to direct one of their projects.

Studio experienced directors making films in the Top 50 in 2004 were: Raimi, Gibson, Roach, Cuaron, Emmerich, Turteltaub, Zemeckis, Proyas, Petersen, Soderbergh, Segal, Sommers, Moore, Silberling, Shyamalan, Scorsese, Mann, Eastwood, Marshall, Phillips, Waters, Gosnell, Casavettes, Anderson, Scott, Spielberg, Hewitt, Hackford, Russell, Roth, Payne, Wayans, Johnston, Ruben, Tarantino, Demme, Sullivan, O’Connor, Berg, Del Toro, Oz

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2 Responses to “The Male Director Challenge: 2004 (Year 5 of 15)”

  1. Bob Burns says:

    Below is a link to a list of the candidates for NFL head coach prospects from the NFL. Half of them are black. The NFL is hugely popular with the public and sells bunches of tickets for people to watch black performers directed by black coaches.

    Hollywood can’t hide behind the ticket-buying public as an excuse for their sexism and racism. Well, they and their apologists try, but it’s bs.

  2. Delgado says:

    Please finish this. You have a decade to go! We want to see the rest!

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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