MCN Blogs
David Poland

By David Poland poland@moviecitynews.com

The Male Director Challenge: 2001

This is the first year in the survey of 15 years in which there were fewer than 10 first-time studio directors (without animation or true indies) in the Top 50 domestic grossers of the year. Eight is the number of such opportunities in 2001. They were…

#13 Grosser – American Pie 2 – J.B. Rogers – A close associate of The Farrelly Bros and 1st AD on the first American Pie, J.B. actually had two films come out in 2001. He also directed the Farrelly-produced Say It Isn’t So. He has not directed a feature film that has been released theatrically since these two releases.

#21 Grosser – The Others – Alejandro Amenábar – Coming off of the big foreign language hit Open Your Eyes (which Cameron Crowe would remake and release in 2001 as well), Tom Cruise exec-produced this film with his then-wife starring.

#22 Grosser – Legally Blonde – Robert Luketic – I don’t know exactly how this Aussie ended up directing his first studio movie at 27, but it seems to have come from his short, Titsiana Booberini, showing at Sundance, leading to an agent, etc.

#24 Grosser – Cats & Dogs – Lawrence Guterman – A step up from DreamWorks’ then non-specifically named animation division, his Curious George feature fell apart before he got his directing shot with this talking animal comedy.

#31 Grosser – Bridget Jones’s Diary – Sharon Maguire – A lot of Brit TV directing led to this assignment from Working Title, which then turned out to be a big hit in America.

#39 Grosser – The Wedding Planner – Adam Shankman – Shankman had a small acting career going before getting his first feature, as well as working as a choreographer. Was it a relationship with J-Lo or something like that? Seems likely.

#40 Grosser – Behind Enemy Lines – John Moore – Irish director Moore got Fox’s attention with a big-scale SEGA Dreamcast ad.

#42 – The Animal – Luke Greenfield – USC film school short leads directly to Team Sandler and the helm of one of their lower budgeted films.

Studio veterans making movies in the Top 50 domestically in 2001: Columbus, Jackson, Ratner, Sommers, Bay, Soderbergh, Johnston, Burton, Howard, Scott, Cohen, West, Carr, Rodriguez, Scott, Marshall, Crowe, Roth, Carter, Spielberg, Fuqua, Tamahori, Wayans, Oz, Farrellys, Sena, Verbinski, Weisz, Scott, Mann, Luhrmann, Zucker, Helgeland, Fleder, Ted Demme, Anderson, Bartkowiak, Annaud.

Be Sociable, Share!

One Response to “The Male Director Challenge: 2001”

  1. Delgado says:

    Shankman was a dancer and choreographer during the 90s, same time as Lopez was. They definitely moved in the same circles. He also had a short that played at Sundance.

The Hot Blog

Quote Unquotesee all »

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