By Ray Pride Pride@moviecitynews.com

Emily Nussbaum on TV and Trump

“Donald Trump is my worst nightmare. He watches completely different television than I do. [laughs] I don’t think he’s ever watched a scripted show. James Poniewozik, who’s the wonderful television critic for the Times, is coming out with a great book called ‘Audience of One,’ that is specifically about Donald Trump’s relationship with TV. I very much agree with the central premise of it, which is that Donald Trump himself kind of represents the medium of television. He’s basically the worst version of television. It’s not just the shows he watches, or the fact that he became a TV star because Mark Burnett specifically built Trump’s brand on ‘The Apprentice,’ convincing people that anything else was just a performance and that he was a successful businessman. It’s also that all of Trump’s values are the old-school values of TV in its first few decades, and the reason people found it repellent. Which is to say, he believes that only ratings and money count, and that everything is about numbers, math, and being liked. I originally found this confusing and baffling about him, and then, to my horror, I was like, No. Of course he’s right. This was the essential problem of TV for years, there was no distinction between popularity and the value of something. I wrote about ‘The Apprentice,’ and then Patrick Radden Keefe wrote this amazing piece for The New Yorker about Mark Burnett. You know, what can I say? Trump was elected, in my mind, because of basically two things—Mark Burnett and Ivanka Trump. I feel like those are the two factors that made his brand acceptable enough for people to vote for him. I went to a panel at the Museum of Television and Radio for ‘The Apprentice,’ and it’s fascinating, because Burnett was totally polished and literally articulated Trump’s appeal, his brand. He said, ‘He’s going to make America great again.’ Meanwhile, Donald Trump on that panel was just Donald Trump. He was whining, kvetching about minor disputes and annoyances he has, and how much he just wants to win Emmys. It’s crazy.”
~ New Yorker TV Critic Emily Nussbaum

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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