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MCN Columnists
David Poland

By David Poland poland@moviecitynews.com

Wednesday, 17 September 1997

Jodie Foster is set to direct and produce Flora Plum. Disney describes the picture as All About Eve set in a circus atmosphere. Some sample dialogue: Flora: “Fasten your seat belts, it’s going to be a bumpy night!” Ringmaster: “That isn’t the night. The elephants just walked through here!” OR Flora to the elephants: “I’m still not to be had for the price of a salted peanut!”
READER HOT BUTTON DU JOUR:
From Amy Taylor of the Northwest: One “Hot Button” I personally have, is spec scripts such as Cowboys and Aliens, or Earth Dick (no, not soft porn!), being purchased for six figures. I bet my 8-year-old could come up with a better idea than those, or at least a better title! In all honesty, however, I am certain if they were my clients, I would have laughed all the way to the bank!
Thanks for your thoughts, Amy. You’ll be thrilled to read the next item.
The Thunderbirds is being prepped as a live-action film based on the hit 1960s U.K. TV series that featured marionettes as 21st century space heroes. The Hot Button’s wooden casting suggestions: Jason Patric as Anyone Who Has To Talk, Shaquille O’Neal as Anyone Who’s Not A Freak, Matthew McConaughey as Anyone Smart and Marky Mark Wahlberg’s prosthetic device from Boogie Nights as The Ultimate Force Of Nature.
E-Mail Dave with the issues that get your button hot!

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“Chad Harbach spent ten years writing his novel. It was his avocation, for which he was paid nothing, with no guarantee he’d ever be paid anything, while he supported himself doing freelance work, for which I don’t think he ever made $30,000 a year. I sold his book for an advance that equated to $65,000 a year—before taxes and commission—for each of the years of work he’d put in. The law schools in this country churn out first-year associates at white-shoe firms that pay them $250,000 a year, when they’re twenty-five years of age, to sit at a desk doing meaningless bullshit to grease the wheels of the corporatocracy, and people get upset about an excellent author getting $65,000 a year? Give me a fucking break.”
~ Book Agent Chris Parris-Lamb On The State Of The Publishing Industry

INTERVIEWER
Do you think this anxiety of yours has something to do with being a woman? Do you have to work harder than a male writer, just to create work that isn’t dismissed as being “for women”? Is there a difference between male and female writing?

FERRANTE
I’ll answer with my own story. As a girl—twelve, thirteen years old—I was absolutely certain that a good book had to have a man as its hero, and that depressed me. That phase ended after a couple of years. At fifteen I began to write stories about brave girls who were in serious trouble. But the idea remained—indeed, it grew stronger—that the greatest narrators were men and that one had to learn to narrate like them. I devoured books at that age, and there’s no getting around it, my models were masculine. So even when I wrote stories about girls, I wanted to give the heroine a wealth of experiences, a freedom, a determination that I tried to imitate from the great novels written by men. I didn’t want to write like Madame de La Fayette or Jane Austen or the Brontës—at the time I knew very little about contemporary literature—but like Defoe or Fielding or Flaubert or Tolstoy or Dostoyevsky or even Hugo. While the models offered by women novelists were few and seemed to me for the most part thin, those of male novelists were numerous and almost always dazzling. That phase lasted a long time, until I was in my early twenties, and it left profound effects.
~ Elena Ferrante, Paris Review Art Of Fiction No. 228

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