20 Weeks Archive for November, 2006

20 Weeks – The Season That Couldn't Shoot Straight

This was the year when everyone was ready to cash in. A number of major Traditional Media outlets decided to ramp up their awards season efforts, chasing fading print ad dollars. Websites added new areas of “coverage” to their content, seeking awards ads. And studios almost all seemed ready to jump into the fray, ambitious and hopeful as we entered a new season.
And now, with 90% of the season to be defined, Oscar included, in the next two weeks of endless awards and nominations, there is the sense out there that, yawn, it’s all beyond boring.
We have been seeing all the same old reporting about how things are the same… but they haven’t been. More than half of today’s frontrunners were released in October or earlier. Does that change the reality of various strategies? No. But watch next year’s reporting reflect this year and not next year when next year rolls around.

The rest & the charts…

123 Comments »

20 Weeks To Dreamgirls

Dreamgirls landed in Beverly Hills (and across the country) last night

84 Comments »

20 Weeks To Oscar – Isn't It Romantic?

“Finally, Clint Eastwood was ready to lower the boom and let everyone have their ecstatic release. Come on, Clint

13 Comments »

16 Weeks To Oscar

The Rules: Episode One
There are all kinds of rules that really do have significance in the Oscar season. None of them are made of stone.
Each of us must bring our own experience and circumstance to the table when navigating the waters. Salty old sailors die at sea sometimes, so they don’t have all the answers. But give me experience over a “scientific” argument any day. Arrrrrr…

The Column
The Charts

4 Comments »

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