MCN Columnists
David Poland

Pride By David Polandpoland@moviecitynews.com

Weekend, 30 August 1997

What’s Labor Day all about? Theme-itis hits The Hot Button! GOING INTO LABOR Oliver Stone’s novel, A Child’s Night Dream, will hit bookshelves soon. Stone says that the story, about someone named Oliver Stone, is not autobiographical. Let’s hope not. He writes about he and mom being “entwined like snakes of desire…” And of dad?…

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Friday, 29 August 1997

Dunkin’ Donuts has hooked up with 20th Century Fox to cross-promote Home Alone 3’s Thanksgiving release, finally explaining why the police never showed up in the first two films. Bill Duke, director of Hoodlum, reports that he was forced to remove many uses of the word “nigger” from his film due to strong objections by…

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Thursday, 28 August 1997

Geena Davis filed for divorce Tuesday from Finnish director Renny Harlin. Her next relationship, uh, I mean, role, is not yet set. Kim Basinger appeared in Albuquerque, NM, railing against flawed animal welfare laws. “These animals are kept in horrific conditions. They’re dragged around cities, suffering in the name of entertainment,” she said. The 50…

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Wednesday, 27 August 1997

Steven Seagal, musician, (are you laughing yet?) is doing a Fire Down Below blues music tour, inspired by his latest film. Unfortunately for stud boy Seagal, he hasn’t seen anything “down below” since his “pregnancy” — apparently, he’s having triplets. Now if only Warner Bros. can get Brando’s Apocalypse Now cinematographer to light him for…

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August 26, 1997

From the Sometimes A Cigar Is Just A Cigar Dept. — Jim Belushi, Peter Weller and David Caruso have committed to James Orr’s Blowing Smoke, a cigar club Swingers for the over-40 set. If cigars are a symbol of career virility, maybe these three should be sucking on Virginia Slims. Quentin Tarantino’s heading for Broadway….

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This is what's under our skin today in Hollywood.

Would 11.1 million dollars thrill or appall you? Depends whether you spent $100 million on G.I. Jane or $30 million on Money Talks. Audiences will be pleased to know that Masterminds’ $1 million start will cause almost as many moans at Sony HQ as the retro-1983 trailer did in theaters. Air Force One’s Gary Oldman…

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That's Entertainment

Robert Redford and GCC are starting a chain of theaters for independent film only called Sundance Cinemas. But what’s going to happen to the real indie experience? It’s 2 A.M. You arrive at the abandoned hot tub factory. You and your date get out of the car, keeping an eye out for muggers and murderers….

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Pride

Quote Unquotesee all »

“Let me try and be as direct as I possibly can with you on this. There was no relationship to repair. I didn’t intend for Harvey to buy and release The Immigrant – I thought it was a terrible idea. And I didn’t think he would want the film, and I didn’t think he would like the film. He bought the film without me knowing! He bought it from the equity people who raised the money for me in the States. And I told them it was a terrible idea, but I had no say over the matter. So they sold it to him without my say-so, and with me thinking it was a terrible idea. I was completely correct, but I couldn’t do anything about it. It was not my preference, it was not my choice, I did not want that to happen, I have no relationship with Harvey. So, it’s not like I repaired some relationship, then he screwed me again, and I’m an idiot for trusting him twice! Like I say, you try to distance yourself as much as possible from the immediate response to a movie. With The Immigrant I had final cut. So he knew he couldn’t make me change it. But he applied all the pressure he could, including shelving the film.”
James Gray

“I’m an unusual producer because I control the destiny of a lot of the films I’ve done. Most of them are in perfect states of restoration and preservation and distribution, and I aim to keep them in distribution. HanWay Films, which is my sales company, has a 500-film catalogue, which is looked after and tended like a garden. I’m still looking after my films in the catalogue and trying to get other people to look after their films, which we represent intellectually, to try to keep them alive. A film has to be run through a projector to be alive, unfortunately, and those electric shadows are few and far between now. It’s very hard to go and see films in a movie house. I was always involved with the sales and marketing of my films, right up from The Shout onwards. I’ve had good periods, but I also had a best period because the film business was in its best period then. You couldn’t make The Last Emperor today. You couldn’t make The Sheltering Sky today. You couldn’t make those films anymore as independent films. There are neither the resources nor the vision within the studios to go to them and say, “I want to make a film about China with no stars in it.”Then, twenty years ago, I thought, “OK, I’m going to sell my own films but I don’t want to make it my own sales company.” I wanted it to be for me but I wanted to make it open for every other producer, so they don’t feel that they make a film but I get the focus. So, it’s a company that is my business and I’m involved with running it in a certain way, but I’m not seen as a competitor with other people that use it. It’s used by lots of different producers apart from me. When I want to use it, however, it’s there for me and I suppose I’m planning to continue making all my films to be sold by HanWay. I don’t have to, but I do because it’s in my building and the marketing’s here, and I can do it like that. Often, it sounds like I’m being easy about things, but it’s much more difficult than it sounds. It’s just that I’ve been at it for a long time and there’s lots of fat and security around my business. I know how to make films, but it’s not easy—it’s become a very exacting life.”
~ Producer Jeremy Thomas