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David Poland

By David Poland

THR Dives Into The Toilet With The Rest…

“Now we all deserve to die
Even you Mrs. Lovett…even I
Because the lives of the wicked should be made brief
For the rest of us death will be a relief
We all deserve to die.”

The Top Story Online…

15 Responses to “THR Dives Into The Toilet With The Rest…”

  1. anghus says:

    as if we needed another reason to write off Sean Young. That EW interview she did earlier this year was cringe worthy.
    but with the tabloidization of media happening the way it is, it isn’t at all surprising.
    Last night my wife was watching one of those inside edition/extra/entertainment tonight shows spent the entire first segment breaking down Britney’s day. She drove here, she sat there, she went over here. Like, 6 minutes spent to nothing but following her around. And then some guy pops up on screen and under his name it says “Entertainment Journalist”
    Since when did “entertainment journalist” include watching camcorder footage and telling people what is happening?

  2. Crow T Robot says:

    Let’s face the facts… if Sean Young thinks your award speech sucks, it probably does. Schnabel was likely practicing that on stage act back when he was making the film and she up and drank his milkshake right then and there. South Park couldn’t have written it better.
    (and I love that grinning “fuck all you fuckers” pic of her alongside the one of him in his so-serious Silverlake coffeehouse glasses)

  3. jeffmcm says:

    It’s a dopey story, my question is, why was she allowed to be there in the first place?

  4. LexG says:

    Schnabel got OWNED.
    I’m with Crow. It was awesome. Too bad Young is either milking the publicity or overreacting by rushing into rehab, because that RULED.
    Big, pompous BLOWHARD. Christ, try being witty or funny or something. I realize not everyone has George Clooney’s suaveness in these situations, but I agree that whole “tortured artist fumbling for JUST the right words” shtick was indulgent and insulting.
    I know there are a lot of quirky and/or standoffish people in the biz, but I’m always perplexed that these great artistes who’ve scrappily sold themselves and their projects against insurmountable odds for years can’t manage the simple task of being charming or interesting in an interview or on a podium.

  5. CaptainZahn says:

    Write her off? She hasn’t received this much attention in fifteen years, anghus. She’ll probably have her own reality show on E! by March.

  6. jeffmcm says:

    I’d certainly rather look at her in Celebrity Rehab than Joanie Laurer or Jeff Conaway.

  7. Roman says:

    LexG, if that’s your definition of being owned than I hope that one day you’ll have a chance to demonstrate your own “suaveness”.
    I mean why not? If any other washed-up actress decides to fill a second of silence with the sound of her own voice let’s let her do it. In fact, let’s praise her for her great achievement. There’s nothing quite as brave than heckling when you have nothing to lose.
    Because let’s face it, Schnabel who actually earned his place in the DGA awards is more self important than some desperate actress without a career, right?
    And don’t delude yourself, quirkiness had nothing to do with it. There’s a difference between that and a lack of class.
    …I wonder if Sean dreams of Electric Unicorns?

  8. I feel bad that Schnabel’s moment was ruined, but there is not one single thing about the story that is not completely and utterly brilliant. It just makes me chuckle every time I think of it.

  9. LexG says:

    Roman? Lighten up.
    What Kamikaze said.
    And Schnabel DESERVED to be heckled just for being FAT. Lose some weight, PRETENTIOUS FATBODY. And learn how to speak in public.
    And don’t doubt THE SUAVENESS OF THE LEX.
    I’ve been doing (unpaid, unsolicited, no-audience) OPEN MIKE COMEDY IN L.A. since 1996. I’d have them in stitches on that podium, son.
    Maybe FAT SCHNABEL should invest his WASTED DIRECTOR NOMINATION money on improv classes… evem the Michael Scott ones.
    Christ, what a fucking humorless stiff up there.
    Heckle away, Sean.

  10. Zimmergirl says:

    Are you being serious, LexG? And people let you get away with that? You’re actually resorting to calling Schnabel fat for defending himself against a drunk, sad, washed-up woman at an awards show? Please tell me you are kidding.

  11. leahnz says:

    i just saw it last night, thought it was hilarious. loved the uncomfortable laughter from the audience. they should get sean pissed at every awards show and turn her loose. brilliant.

  12. Lynch Van Sant says:

    Loved when Julie Chen told Letterman this story and he was cracking up and saying “this should happen all the time”. Goes to search the web for the video…

  13. David Poland says:

    The thing about an event like this – aside from the media element, which is what the post was about – is that it is double-edged. I see what some of you see as funny.
    I also see that, clearly, no one who finds this heeeee-larious has ever been recognized in public for their hard work. Schnabel was hardly going drama queen before getting heckled. And still, when people do go on too long, they earned the right. He is hardly some hack who is going on about himself in a junket interview, not getting how unimportant the work was.
    People spend their lives dreaming of this kind of recognition. If any of you were directors, you would too. And to have it pissed away by a pissed actress is a shame. Julian is a character, wearing his pajamas around town and having the most gorgeous high-quality writer I have ever seen in this life in his parade recently. He’s a fighter and a hugger and arrogant and completely respectful and loving of his co-workers on his films. He also won the respect of his guild and deserved better… even if I see what some of you find funny.
    But I wasn’t even bringing up the heckling as a major issue… it is traditional media bending over backwards for a little attention and showing their ass (or spreading it) for a few hits.

  14. The Big Perm says:

    I’m glad LexG’s career is shit and he’s a loser with an overdose of self pity. It’s funny.

  15. L.B. says:

    Hey, if you can’t make it in the business just become a loudmouth on a blog comment thread. It’s almost the same thing. But not really.

The Hot Blog

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This is probably going to sound petty, but Martin Scorsese insisting that critics see his film in theaters even though it’s going straight to Netflix and then not screening it in most American cities was a watershed moment for me in this theatrical versus streaming debate.

I completely respect when a filmmaker insists that their movie is meant to be seen in the theater, but the thing is, you got to actually make it possible to see it in the theater. Some movies may be too small for that, and that’s totally OK.

When your movie is largely financed by a streaming service and is going to appear on that streaming service instantly, I don’t really see the point of pretending that it’s a theatrical film. It just seems like we are needlessly indulging some kind of personal fantasy.

I don’t think that making a feature film length production that is going to go straight to a video platform is some sort of “step down.“ I really don’t. Theatrical exhibition as we know it is dying off anyway, for a variety of reasons.

I should clarify myself because this thread is already being misconstrued — I’m talking about how the movie is screened in advance. If it’s going straight to Netflix, why the ritual of demanding people see it in the theater?

There used to be a category that everyone recognized called “TV movie” or “made for television movie” and even though a lot of filmmakers considered that déclassé, it seems to me that probably 90% of feature films fit that description now.

Atlantis has mostly sunk into the ocean, only a few tower spires remain above the waterline, and I’m increasingly at peace with that, because it seems to be what the industry and much of the audience wants. We live in an age of convenience and information control.

Only a very elite group of filmmakers is still allowed to make movies “for theaters“ and actually have them seen and judged that way on a wide scale. Even platform releasing seems to be somewhat endangered. It can’t be fought. It has to be accepted.

9. Addendum: I’ve been informed that it wasn’t Scorsese who requested that the Bob Dylan documentary only be screened for critics in theaters, but a Netflix representative indicated the opposite to me, so I just don’t know what to believe.

It’s actually OK if your film is not eligible for an Oscar — we have a thing called the Emmys. A lot of this anxiety is just a holdover from the days when television was considered culturally inferior to theatrical feature films. Everybody needs to just get over it.

In another 10 to 20 years they’re probably going to merge the Emmys in the Oscars into one program anyway, maybe they’ll call it the Contentys.

“One of the fun things about seeing the new Quentin Tarantino film three months early in Cannes (did I mention this?) is that I know exactly why it’s going to make some people furious, and thus I have time to steel myself for the takes.

Back in July 2017, when it was revealed that Tarantino’s next project was connected to the Manson Family murders, it was condemned in some quarters as an insulting and exploitative stunt. We usually require at least a fig-leaf of compassion for the victims in true-crime adaptations, and even Tarantino partisans like myself – I don’t think he’s made a bad film yet – found ourselves wondering how he might square his more outré stylistic impulses with the depiction of a real mass murder in which five people and one unborn child lost their lives.

After all, it’s one thing to slice off with gusto a fictional policeman’s ear; it’s quite another to linger over the gory details of a massacre that took place within living memory, and which still carries a dread historical significance.

In her essay The White Album, Joan Didion wrote: “Many people I know in Los Angeles believe that the Sixties ended abruptly on August 9, 1969, ended at the exact moment when word of the murders on Cielo Drive traveled like brushfire through the community, and in a sense this is true.”

Early in Once Upon a Time in Hollywood, as Leonardo DiCaprio and Brad Pitt’s characters drive up the hill towards Leo’s bachelor pad, the camera cranes up gently to reveal a street sign: Cielo Drive. Tarantino understands how charged that name is; he can hear the Molotov cocktails clinking as he shoulders the crate.

As you may have read in the reviews from Cannes, much of the film is taken up with following DiCaprio and Pitt’s characters – a fading TV actor and his long-serving stunt double – as they amusingly go about their lives in Los Angeles, while Margot Robbie’s Sharon Tate is a relatively minor presence. But the spectre of the murders is just over the horizon, and when the night of the 9th finally arrives, you feel the mood in the cinema shift.

No spoilers whatsoever about what transpires on screen. But in the audience, as it became clear how Tarantino was going to handle this extraordinarily loaded moment, the room soured and split, like a pan of cream left too long on the hob. I craned in, amazed, but felt the person beside me recoil in either dismay or disgust.

Two weeks on, I’m convinced that the scene is the boldest and most graphically violent of Tarantino’s career – I had to shield my eyes at one point, found myself involuntarily groaning “oh no” at another – and a dead cert for the most controversial. People will be outraged by it, and with good reason. But in a strange and brilliant way, it takes Didion’s death-of-the-Sixties observation and pushes it through a hellfire-hot catharsis.

Hollywood summoned up this horror, the film seems to be saying, and now it’s Hollywood’s turn to exorcise it. I can’t wait until the release in August, when we can finally talk about why.

~ Robbie Collin