The Hot Blog Archive for January, 2011

DP/30: Martha Marcy May Marlene – Writer/Director & Actors

Sean Durkin, Lizzy Olsen, Hugh Dancy, Sarah Paulson, John Hawkes

DP/30 @ Sundance: We Were Here David Weissman


BYOB Weekend 11/21/11


True Grit, cinematographer Roger Deakins


The Social Network, screenwriter Aaron Sorkin


DP/30: The Lie, writer/director/actor Joshua Leonard, actor Jess Weixler

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DP/30: True Grit, Costume Designer Mary Zophres


BYOB 11/17/11


Every Day, wr/dir Richard Levine, actors Carla Gugino, Helen Hunt

Gervais Gives ‘Em Hell

AND Downey kills…


Kris Kristofferson LIVE @ LAFCA

Kris Kristofferson, who co-starred in Paul Mazursky’s Blume In Love, performs at the event where Mazursky’s lifetime achievement was celebrated.


3-Day Weekend Estimates By The Green Klady

The Green Hornet probably did pass last MLK Weekend’s Book of Eli for 3rd best opening in January… but not by too much. Bless the 3D bump, which was worth about $5m in these 3 days, according to Sony’s 3D stats. And it may be worth reminding that Eli didn’t hit $100 million domestic off of that opening. Still, a solid opening for a long-troubled film. Sony spent a lot of time and money trying to fix the film and this opening, which may not have changed much but will surely make for stronger legs, proves them right. Think Steve Martin’s Pink Panther.

Universal put The Dilemma on the Paul Blart date, but evidently forgot that Blart was a big hit because of family business… and there is none to be found for this title. I haven’t seen the film, but the sense that Jennifer Connelly and Winona Ryder watch from the edges of the frame probably didn’t help any guys convince their wife/girlfriend to go to the movies with them.

An Oscar cluster formed just behind the two new titles. (Get out the penicillin!!!) True Grit keeps pounding away, closing in on $130m domestic today. The King’s Speech is the strongest – albeit newest to widening release – per-screen with $5810 per on 1543 screens. And Black Swan continues to flap its wings at the naysayers, as it should hit $75 million today, now officially Searchlight’s 3rd biggest grosser ever. A bit behind is The Fighter, which seems to be losing steam a little faster than the others, but is over $65m and into profit already. (This is also pretty much true of all four of these titles, marketing budgets being the only question mark.)

I am a little surprised that Blue Valentine is doing as well as it is so far. A $1.4m weekend may not seem like a lot, but given that it’s adults only, very dark, and very indie… huzzah. Also niching pretty well is Somewhere. Not a big number. But they seem to be reaching interested people. Rabbit Hole, not so much. People are scared of that film… which is a shame. It deserves better. And Nicole Kidman, would would have to see a split between the front-runners, would not be an unhappy story as the Best Actress winner.


The Hot Blog

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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