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David Poland

By David Poland

Friday Estimates by The Joy Of January Klady

Friday Estimates 2016-01-30 at 10.43.26 AM

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3 Responses to “Friday Estimates by The Joy Of January Klady”

  1. movieman says:

    It would have probably been kinder (and definitely less embarrassing) if Weinstein had just given “Jane” a direct-to-video release.
    Based on the finished product, it’s hard to see what could have been in the original Black List-ed script that attracted Ramsay, Portman, Cooper, Fassbender, Law, et al at one time.
    Especially since the movie was apparently rewritten 100 times.
    “Jane” is the sort of non-starter/flatliner that practically evaporates before your eyes while watching it.

  2. PcChongor says:

    Because it was a female-led revenge flick with a slightly artistic undercurrent. In the right hands (AKA, Ramsay’s), it probably would’ve been alright, but in the hands of a hired hack, it’s just another tired western riff that no one asked for. Too bad for Brian Duffield since this was supposed to be the film that finally unleashed his massive backlog of unproduced spec scripts.

    And having “Youtube” in that distributor column might as well be first horseman of the apocalypse.

  3. EtGuild2 says:

    Whoa there Chonger…O’Connor is no hack. WARRIOR is fantastic, TUMBLEWEEDS is pretty great and he even made MIRACLE bearable. He’s a decent to good director, and a halfway-decent writer.

    It really is a shame because Portman’s cameo/cut scenes in COLD MOUNTAIN are really the best thing about that movie. Was always itching to see her get a Civil War-era feature. Oh well.

    Portman’s career since BLACK SWAN (the criminally-underrated HESHER aside) has been a mess. Even her upcoming passion project/directorial debut is dull.

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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.”
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“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