DP/30 Archive for July, 2011

DP/30: The Interrupters, director/producer Steve James & producer Alex Kotlowitz

The award-winning director of Hoops Dreams and the author of There Are No Children Here join forces and return to Chicago’s south side to deliver one of the year’s most powerful documentaries. The idea is simple. When trouble is brewing, interrupt the rage until people cool down and hopefully make better choices. But the strength to help others find moderation often requires heroic measures from people who you might not expect it from. The filmmakers offer a look at the process of creating this extraordinary film.

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DP/30: Friends With Benefits, director Will Gluck

Will Gluck is the latest hot comedy director in town with Easy A breaking out last summer, Friends With Benefits this year, and a wide array of projects in development at Sony (including a remake of About Last Night). He talks about his latest film, his working process with his stars, the projects to come, and a certain Captain in this DP/30, shot on the day of the FWB opening.

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DP/30: TABLOID, director Errol Morris

The legendary documentarian takes on the tabloid tale of Joyce McKinney & The Manacled Mormon… just in time for News Of The World to remind us how tabloid a tabloid can be.

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DP/30: Another Earth, director/co-writer Mike Cahill, actor/co-writer Brit Marling

Sundance’s “It Girl” of 2011, Brit Marling, has seen both of her profoundly indie films picked up by Fox Searchlight. The first, a collaboration with Mike Cahill, is coming to theaters later this month. Meet the duo and hear about their unique working relationship.

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DP/30

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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