Movie City News Archive for January, 2010

Wilmington on Movies: Extraordinary Measures and Tooth Fairy

Extraordinary Measures (Two and a Half Stars) U. S.; Tom Vaughan, 2010 Nothing can break your heart like the spectacle of a loved one with a seemingly incurable disease; few can elevate it like a true story of disease defeated, a life saved, a doom deferred. Witness the

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Wilmington on Movies: The Book of Eli, The Spy Next Door, The Imaginarium of Dr. Parnassus, The Lovely Bones and 35 Shots of Rum

The Book of Eli (Two and a Half Stars) U.S.; Allen & Albert Hughes, 2010 The end of the world arrives again this week, though thankfully only in the movies. In The Book of Eli — an exciting but, for me, finally disappointing sci-fi thriller from the Hughes Brothers — Denzel Washington plays a lone,…

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Wilmington on Movies: Leap Year, The Sun

Leap Year (Two and a Half Stars) U.S.-U.K.: Anand Tucker Leap Year — in which Amy Adams learns that a bad-tempered Irishman who runs a tavern/hotel is in many ways preferable to a smooth-talking Boston cardiologist with a Blackberry — is a sweet-natured picaresque romantic comedy blessed with spectacular Irish scenery and cursed with the…

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Wilmington: The National Film Critics Awards

This year’s big winner at the 2009 voting awards meeting of the National Society of Film Critics, the 44th in its genuinely storied annals, was Kathryn Bigelow’s Iraq War drama The Hurt Locker. Already

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Wilmington: Ten Best of 2009

Here are my ten best, from a year of my life I wish I had never lived, a year of sorrow and pain and occasional flashes of redemption and love. What of the movies I watched during that time of personal tragedy? Well, this makes twice I’ve

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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