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David Poland

By David Poland poland@moviecitynews.com

Just Why Is Joe Roth In Need Of A Fluffing?

Patrick Goldstein’s Tuesday LA Times column explaining that Joe Roth doesn’t really need all this hard core show biz stuff…
Why?
Why now?
Is this the first sign that negotiations in the Sony deal have taken a turn for the worse and Joe is ready to sell the failure of Revolution Studios as a good thing?
Ot perhaps he is setting himself up to be the next pope…
The only reason that this isn’t the first topic of most conversations in town is that everyone is too busy trying to figure out who forgot to feed Tom Cruise his pill before he went on Oprah.

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16 Responses to “Just Why Is Joe Roth In Need Of A Fluffing?”

  1. bicycle bob says:

    if u made movies like tomcats, u would be quitting the biz too

  2. BluStealer says:

    Tom’s Oprah session might be a a career defining moment for him.

  3. VGM says:

    David,
    Could you please get rid of that online poker nonsense?
    Thanks.

  4. Josh Massey says:

    Am I the only freakin’ person in the world who didn’t see Cruise on Oprah? What’s the big deal? Is there an online transcript?

  5. Terence D says:

    You don’t want the online transcript. It does not do it any kind of justice.

  6. lota says:

    Please Dave, “pill” is such an ugly word. It’s just that the Helper assigned to Tom forgot to give him his Flintstones “vitamin”.
    Maybe Joe Roth is giving up because Julia ROberts is on 5y break and other stars are ageing.
    Speaking of Ageing, perhaps Tom feels his age realizing that the action stud roles are limited and he wants to compete with Jim Carrey for comedy-drama histrionics. He was more Jim Carrey than Tom on Oprah (pity, since Tom would be a halfway decent Iron Man).
    Josh,if you didn;t see it, words wouldn’t describe what I saw. Chappelle simply must do a skit on Tom. Maybe lots ‘o skits on Tom.

  7. joefitz84 says:

    Real life Cruise is good enough for a skit. Not much more even the great Dave C can do.

  8. GdB says:

    Cruise’s old publicist that he fired for his sister must be lauging really hard right now…

  9. AH says:

    Joe Roth is a joke. His movies are pitiful. As a director they all stink. As a producer every two hundred and fortieth are decent. Not one classic. I can do better than that by spinning my mom blindfolded and making her pick post- its off a craphouse wall. He chooses a monkey like Todd Garner to take the fall for his choices and now he’s dreaming about firing Tom sherak. What a joke Roth is. He such a wad. Wants to be important now. You’re real important Joe. Keep banging pa’s. That’s what you do best.

  10. lota says:

    Mr Fitz. I disagree. I think Chappelle could get as much mileage out of Tom as he does out of Puffy or Rick James (RIP bitch!). Maybe this is the reason Dave C came back from SA. He could call his skit “Do this mess in private”.

  11. sky_capitan says:

    *cough*
    *reads l.a. times story*
    Chris Columbus is making Rent for Revolution????
    Can’t musicals be dead yet? Is it going to be better than the “Rent” inspired musical in “Team America: World Police”… everyone has AIDS, yeah! No, and I’d say it’s highly improbable the movie version of “Rent” is going to make more than 10 dollars at the box office (and then I’ll wait for the DVD release 2 months later, and ignore that too).
    As far as Tom Cruise, yeah, the more he speaks the less I think of Scientology. I’d tell him to see a psychiatrist because I think he’s overcompensating for something (I’m not gay!), but I guess his options, like his acting talent, is limited. And now that Tom’s weirdness has dulled the hotness of Katie Holmes, is it too late to CGI in someone else in Batman Begins? Mmmm. How about 24’s Mia Kirshner or Elisha Cuthbert?

  12. KamikazeCamel says:

    …huh?
    Kind of looking forward to Rent, actually. Maybe it’s cause I like musicals..?
    Anyway, Tom Cruise went bonkers years ago when he gave Nicole the heave-ho for, excuse me a second while i dry-heave, Penelope Cruz.

  13. bicycle bob says:

    kidman got everything she wanted from dating cruise. now shes an a list star. maybe holmes is trying to ride that.

  14. Terence D says:

    That didn’t rub off on Penelope Cruz. It had the opposite effect. Maybe Katie will be starring in knock off action movies soon too.

  15. BluStealer says:

    If I was a tv actress with film star dreams, I’d date Tom Cruise. If I was a crappy creative exec I’d date him. If I worked at Carl Jr’s I would too so maybe I’m not the best judge.

  16. Terence D says:

    I cannot remember the last time I saw a major star promote his love life like this. This is unprecedented.

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“But okay, I promise you now that if I ever retire again, I’m going to ensure that I can’t walk it back. I’ll post a series of the most disgusting, offensive, outrageous statements you can ever imagine. That way it will be impossible for me to ever be employed again. No one is going to take my calls. No one is going to want to be seen with me. Oh, it will be scorched earth. I will have torched everything. I’m going to flame out in the most legendary fashion.”
~ Steven Soderbergh

I feel strongly connected to young cinephile culture. The thing about filmmaking—and cinephilia—is that you can’t keep hanging out with your own age group as you get older. They drop off, move somewhere. You can’t put together a crew of sixty-somethings. It’s the same for cinephilia: my original set of cinephile friends are watching DVDs at home or delving into 1958 episodes of ‘Gunsmoke,’ something like that. The people who are out there tend to be young, and I happen to be doing the same thing still, so it’s natural that I move in their circles.

In terms of the filmmaking, there was a gear shift: my first movies focused on people around my age, and I followed them for three films. Until The Unspeakable Act, I was using the same actors, not because of an affinity for people at a specific age, but because of my affinity for the actors. I like to work with actors a second time, especially if I don’t feel confident casting a new film. But The Unspeakable Act was a different script, and I had to cast all new people. Even for the older roles, I couldn’t get the people I’d worked with before. But when it was over, the same thing happened: I wanted to work with Tallie again in the worst way, and I started the process all over again.

I think Rohmer did something similar around the time of Perceval and Catherine de HeilbronnHe developed new groups of people that he liked to work with. These gear shifts are natural. Even if you want to follow certain actors to the end of their life (which I kind of do) the variety of ideas that you generate makes it necessary to change. And once you’ve made the change, you’ve got all these new people around.”
~ Dan Sallitt