By David Poland

Excuse Our Dust

Nothing like living in a hotel that has major construction going on… even if your room is brand new and perfect, the dust in the hallways can be distracting.

Welcome to MCN Gen 2, where we are still hard at work. So sit back, relax, and pretend you don’t hear hammering.

4 Responses to “Excuse Our Dust”

  1. Hugh Hart says:

    Hey, site looks great. One observation. The dark blue font for “Excuse Our Dust” reads well, However, at least viewed on my macbook , using Safai browser, the curated headline font color is super-bright and not so easy on the eyes.

  2. Michael Lloyd says:

    love the site – no dust at all! don’t disparage. websites, like language, constantly grow and change.

    honour the dead … life is for the living

  3. Senh says:

    Looks like there’s a ton more content. It’s also nice to see all of your properties under one domain. Overall, great job.

  4. Gene Light says:

    David, site looks fantastic! Lots of info. I’m taking a small pride in it because I talked to you about it at the Famer’s Market…you probably started it before my comments but I’m still taking credit. Great job.

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