Movie City News Archive for September, 2010

Schnabel Talks Polaroids

Schnabel Talks Polaroids

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“Freedom”‘s Just Another Word For Nothing Left To Pulp…

“Freedom”‘s Just Another Word For Nothing Left To Pulp… Franzen Sez UK Edition Of His Door-Stopper Printed From Wrong Computer File

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Lim On A 24-DVD Steamer Trunk Filled With Bogey-issimo

Lim On A 24-DVD Steamer Trunk Filled With Bogey-issimo

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Howell Stalks Judy Bridgewater, With A Little Help From Never Let Me Go Novelist Kazuo Ishiguro

Howell Stalks Judy Bridgewater, With A Little Help From Never Let Me Go Novelist Kazuo Ishiguro

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When Can “Fake” “Documentaries” Tell The “Truth”?

When Can “Fake” “Documentaries” Tell The “Truth”?

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Macnab Has A Pretty Swell Tony Curtis Mash Note

Macnab Has A Pretty Swell Tony Curtis Mash Note

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Harmin’ Armond Embosses His Credentials

Harmin’ Armond Embosses His Credentials And Furthers His Maledictions Of The Internet And Its Commentariat Fiats

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“Will the Liberal Establishment’ Kill the Documentary Resurgence?” Asks AJ Schnack

“Will the Liberal ‘Establishment’ Kill the Documentary Resurgence?” Asks AJ Schnack

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Danny Elfman Boxes Tim Burton

Danny Elfman Boxes Tim Burton

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Jakarta Gay Film Festival Attacked By Masked Islamic Protesters

Jakarta Gay Film Festival Attacked By Masked Islamic Protesters

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Ebert On When Walter Matthau Met Bernie Schwartz

Ebert On When Walter Matthau Met Bernie Schwartz

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Clash Of The Fightin’s: How Much Love Is Lost Between Barry Diller And John Malone?

Clash Of The Fightin’s: How Much Love Is Lost Between Barry Diller And John Malone?

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Fox To Narnia Fans: Part 2? We Were Only Joking

Fox To Narnia Fans: Part 2? We Were Only Joking

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Waxman Drops Net Neutrality Bill, Asks FCC For Broadband Reclassification

Waxman Drops Net Neutrality Bill, Asks FCC For Broadband Reclassification

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Matt Reeves Takes A Bite

Matt Reeves Takes A Bite

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Lionsgate’s Jon Feltheimer On The Prowl

Lionsgate’s Jon Feltheimer On The Prowl

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Brody Celebrates The Great Mikey & Nicky, Again On DVD

Brody Celebrates The Great Mikey & Nicky, Again On DVD

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How About A Frame-By-Frame Breakdown Of The Stroboscopic Enter The Void Title Sequence?

How About A Frame-By-Frame Breakdown Of The Rapidfire, Stroboscopic Enter The Void Title Sequence?

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Scott Video-Picks A Shot In The Dark

Scott Video-Picks A Shot In The Dark

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Eric Drooker On Animating Howl

Eric Drooker On Animating Howl

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Movie City News

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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