MCN Blogs
Kim Voynar

By Kim Voynar

RIP, Cinematical

I’d just like to take a personal moment here to thank: Karina Longworth, who hired me onto Cinematical when it was fresh and new; Jason Calacanis, who took a chance on me and believed in me; James Rocchi, Erik Davis, and Scott Weinberg, all excellent editors, colleagues, and true friends; and every writer who wrote for Cinematical while I was there, who put their hearts and souls into writing about movies, and who made being a part of the Cinematical Posse such a fun and meaningful time of my life.

RIP, Cinematical.

2 Responses to “RIP, Cinematical”

  1. NickF says:


  2. Matt says:

    Thanks for your thoughtful, kind comments. Fortunately for you, no one forces you to read anything on this site or any other, so if you don’t care for what I care to write about, feel free to pass my posts by. Also fortunately, we don’t delete comments from readers, even when they’re rude and personally attacking. Appreciate you chiming into the discussion with your erudite thoughts, nonetheless.

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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