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David Poland

By David Poland poland@moviecitynews.com

The Sting Of Irony

One of the non-pleasures of the mostly-old-news case against Anthony Pellicano – one still gets the strong impression that the government is waiting for someone… anyone… to crack – is that all the old players are being tortured once again. Papers are giving space to Grey vs Shandling, a decade old story of basic Hollywood bullshit, as though Shandling had gotten a single job fronting a movie in this millennium. Of course, the wet dream of the many, many people that Brad Grey has made into enemies – easily #1 on Hollywood’s Most Hated List in 2007, and still in 2008 – is that Grey will lose his job, be sent to jail, and be forced to have an affair with a “development executive” that wants to develop more space in one of Grey’s orifices. (Not in that group is that bastion of speaking truth to power, Nikki Finke, who was converted into a Grey BFF about a year ago. I agree that the testimony was boring

One Response to “The Sting Of Irony”

  1. RudyV says:

    “…to say “Fight Club” is about fist-fighting is like saying “Taxi Driver” is about cab driving.” — Jim Emerson.
    I never could understand all the fuss over the fighting in “Fight Club” when the story was really about how to form terrorist cells intent on leveling the skyscrapers that symbolized our corrupt capitalist system.
    Heh.

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“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