MCN Blogs
David Poland

By David Poland poland@moviecitynews.com

More On The Moore Conspiracy

Last night, on The Apprentice, I saw one of Sony’s Fahrenheit 9/11 ads and I have to say that while I understand the concern that spots like the ones used to sell the movie in the first place, these spots don’t include any images of George W. Bush or any of the mockery of the original sell.

Based on that, I’m not sure that I would agree that these spots should be kept off of network news air. After all, the content of the product is not where the judgment lies. In a case like F9/11, the ads themselves were political. But not anymore.

As much as I would like this to absolve Nikki Finke of being a bit of a hysteric on this, the fact that she was in such a rush to hang the conspirators, one of whom she is still suing, that she missed this key component… the nature of the ads themselves.

One Response to “More On The Moore Conspiracy”

  1. bicycle bob says:

    why even have ads for it? the only ones buying the dvd will be lefties and they’re going to buy it anyway. with or without ads

The Hot Blog

leahnz on: BYOB - RIP The Goldfinch

leahnz on: BYOBlog

Stella's Boy on: BYOBlog

Stella's Boy on: BYOBlog

movieman on: BYOBlog

Hcat on: BYOB - RIP The Goldfinch

palmtree on: BYOBlog

Pete B. on: BYOB - RIP The Goldfinch

Dr Wally Rises on: BYOBlog

movieman on: BYOBlog

Quote Unquotesee all »

“Well, actually, of that whole group that I call the post-60s anti-authority auteurs, a lot of them came from television. Peckinpah’s the only one whose television work represents his feature work. I mean, like the only one. Mark Rydell can direct a really good episode of ‘Gunsmoke’ and Michael Ritchie can direct a really good episode of ‘The Big Valley,’ but they don’t necessarily look like The Candidate. But Peckinpah’s stuff, even the scripts he wrote that he didn’t even direct, have a Peckinpah feel – the way I think there’s a Corbucci West – suggest a Peckinpah West. That even in his random episodes that he wrote for ‘Gunsmoke’ – it’s right there.”
~ Quentin Tarantino

“The thought is interrupted by an odd interlude. We are speaking in the side room of Casita, a swish and fairly busy Italian bistro in Aoyama – a district of Tokyo usually so replete with celebrities that they spark minimal fuss. Kojima’s fame, however, exceeds normal limits and adoring staff have worked out who their guest is. He stops mid-sentence and points up towards the speakers, delighted. The soft jazz that had been playing discreetly across the restaurant’s dark, hardwood interior has suddenly been replaced with the theme music from some of Kojima’s hit games. Harry Gregson-Williams’ music is sublime in its context but ‘Metal Gear Solid 4: Guns of the Patriots’ is not, Kojima acknowledges, terribly restauranty. He pauses, adjusting a pair of large, blue-framed glasses of his own design, and returns to the way in which games have not only influenced films, but have also changed the way in which people watch them. “There are stories being told [in cinema] that my generation may find surprising but which the gamer generation doesn’t find weird at all,” he says.
~ Hideo Kojima