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David Poland

By David Poland poland@moviecitynews.com

It Was 11 Years Ago Today…

Happy Button birthday to me.
I usually write some sort of heavy perspective column at this time of the year, but… nah.
The column was inspired by the lack of daily commentary from anyone but Army Archerd. I was online because of the late, great Andy Jones recruiting me from EW for a weekly. The support of TNT’s Scot Safon was critical. The anger from most of the staff in Atlanta, once the column caught on, was palpable.
Six months or so off for The Miami Film Festival. VoicesOfHollywood.com. And then Movie City News.
Eleven years later, I am still having the same arguments with Moriarty… ten years of Wells doing my schtick (19 months of not reading him or communicating with him as a result of the prior 100)… about three years of blogs transforming the daily marketplace into something else altogether… the insanity (mostly offline) of Nikki Finke… and the desperation of an group of mainstreamers to be just like her, still not understanding that the opportunity of the web is to be so much better than smears and gossip.
Through the whole 11 years, I have not only done as I like, but I have always had very clear ideas of what I don’t want to be doing on the web, regardless of how it might spark bigger numbers or greater popularity. What I have had to fight off has changed, year by year. People and sites have come and gone. Overresponding to “threats” happens… and I think I have retreated to my real standards each time. (Welcome to the jungle, Sharon Waxman. Good luck.)
Of course, it is the people read my endless musing that make it all possible. It is the eyeballs of the industry that has allowed me my independence and made MCN a viable home not just for me, but for an entire somewhat underpaid staff of writers and other creative people. I couldn’t be more proud of or thankful for our staff, led by my partner in MCN crime, Laura Rooney.
Every year has been a little different. The Hot Blog came along about 3.5 years ago and 3000 entires and over 90,000 comments later, it has become the primary release valve. Lunch With David, now known as DP/30, soon to be known as something else as we take the 30 minute interview on the web to its next step, has been an absolute joy, even though it occupies part of my workspace that used to be spent grinding out copy. I love working with the only traditional editorial cartoonist working weekly on the film beat, RJ Matson, as we continue to seek out new ways to expand the boundaries of web editorial.
I’m healthy. I’m married. I’m busy. I’m still learning every day. And I am always looking for the next thing that will feel fresh and worth the effort.
I am happy.
And I thank you all.

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“I’ve been pleasantly surprised by how many recappers, while clearly over their heads, are baseline sympathetic to finding themselves routinely unmoored, even if that means repeating over and over that this is closer to “avant-garde art” than  normal TV to meet the word count. My feed was busy connecting the dots to Peter Tscherkassky (gas station), Tony Conrad (the giant staring at feedback of what we’ve just seen), Pat O’Neill (bombs away) et al., and this is all apposite — visual and conceptual thinking along possibly inadvertent parallel lines. If recappers can’t find those exact reference points to latch onto, that speaks less to willful ignorance than to how unfortunately severed experimental film is from nearly all mainstream discussions of film because it’s generally hard to see outside of privileged contexts (fests, academia, the secret knowledge of a self-preserving circle working with a very finite set of resources and publicity access to the larger world); resources/capital/access/etc. So I won’t assign demerits for willful incuriosity, even if some recappers are reduced, in some unpleasantly condescending/bluffing cases, to dismissing this as a “student film” — because presumably experimentation is something the seasoned artist gets out of their system in maturity, following the George Lucas Model of graduating from Bruce Conner visuals to Lawrence Kasdan’s screenwriting.”
~ Vadim Rizov Goes For It, A Bit

“On the first ‘Twin Peaks,’ doing TV was like going from a mansion to a hut. But the arthouses are gone now, so cable television is a godsend — they’re the new art houses. You’ve got tons of freedom to do the work you want to do on TV, but there is a restriction in terms of picture and sound. The range of television is restricted. It’s hard for the power and the glory to come through. In other words, you can have things in a theater much louder and also much quieter. With TV, the quieter things have to be louder and the louder things have to be quieter, so you have less dynamics. The picture quality — it’s fine if you have a giant television with a good speaker system, but a lot of people will watch this on their laptops or whatever, so the picture and the sound are going to suffer big time. Optimally, people should be watching TV in a dark room with no disturbances and with as big and good a picture as possible and with as great sound as possible.”
~ David Lynch