MCN Blogs
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.

Comments are closed.

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