Old MCN Blogs
David Poland

By David Poland poland@moviecitynews.com

Boldface Barney: Times Gets Nowhere Fast at MoMA

Thank God for The Times’s Boldface column, without which the outside world would never have known what transpired at Tuesday’s Drawing Restraint 9 premiere at MoMA. Were it not for one of Campbell Robertson’s fearless stringers, we would have missed out on John Cameron Mitchell and Cynthia Rowley sightings, we could not envision Björk in a kimono and we would not have felt this close to the ever-cryptic Matthew Barney:

“It makes for a very well-lubricated communication,” said MATTHEW BARNEY at the premiere of his new film, Drawing Restraint 9, at the Museum of Modern Art. …

(Björk) and Mr. Barney, who have a child, are both in the film.

“I think that’s for me worth a lot in a situation like this,” Mr. Barney said, “because these films aren’t dialogue-driven, the story doesn’t fall into place in a traditional way.” …

Had he considered moving on from petroleum jelly to other substances? Say, a condiment?

“Mayonnaise is nice,” he said, with the air of someone who had given it some thought. “But it rots quickly.”

A digressive report from Tuesday’s Beastie Boys event curiously overlaps The Boldface/Barney Experience, but the general sense of unbridled absurdity masquerading as high art comes through loud and clear. You can thank them later.
UPDATE: Your kimono dreams come alive at indieWIRE, where party-hound Brian Brooks has the scoop behind his hard-won pics of Barney and Björk.

Be Sociable, Share!

Comments are closed.

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