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David Poland

By David Poland

Who Wants You To Know How Much Stacey Makes?

My first rule of journalism: If someone is telling you something you aren

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15 Responses to “Who Wants You To Know How Much Stacey Makes?”

  1. PandaBear says:

    Anytime a story is leaked the reporter has to wonder what are the motivations behind it? Who benefits from the story? What agenda’s are at play? You have to ask the questions. Usually it leads to a much better story.
    The public doesn’t believe unnamed sources anymore. There have been too many lies and made up stuff (ie Blair, Glass, Frey).

  2. Eric says:

    Dave, don’t attribute to malice what can be attributed to stupidity. It’s facile to say the problems in the “traditional media” are a result of “ultimate arrogance.”
    What has really happened to most news outlets in the past few years is that they’ve been confronted by people who have figured out how to exploit the systemic shortcomings of traditional reporting.
    You orchestrate multiple sources for a bogus story, and you’ll get it reported. If somebody tries to report the truth, you accuse them of bias. Viola, there is no truth, and hey, truth is just a matter of opinion, anyways.
    This is the failure of the media. People have figured out how to game the system.
    Not arrogance. Stupidity.

  3. Mark Ziegler says:

    I’ll take the job paying 3 mill a yr. But I will say. Snider will earn every penny. This is not an easy job at all right now.

  4. Bruce says:

    Spin, Spin, and even more Spin.

  5. Sanchez says:

    That is a big pay cut if it’s true.
    8 to 3 million? I hope she has a good bonus plan in place.

  6. palmtree says:

    It feels like a lot of red herrings before the Berman ouster. They make is sound like Snider is not as ambitious because she has kids and would rather be creative than beholden to the corporate powers. But is that just because it deflects questions about Snider’s grooming for the top spot?

  7. Cadavra says:

    I have even less interest in what Snider makes than I do in who’s going to win “Skating With Celebrities.” Why should ANYONE care?

  8. Fades To Black says:

    I do like hearing what other, famous people make.
    Because it makes me appreciate how little I make in the world.

  9. grandcosmo says:

    >>>>Why should ANYONE care?
    Because talking about which executive is going where and what kind of compensation they’re getting makes outsiders feel like insiders.
    Meanwhile they all keep turning out the dreck.

  10. Terence D says:

    I’m always curious to find out what someone else makes. It doesn’t effect me in the slightest but it peaks my curiosity levels.

  11. David Poland says:

    Eric – I would argue – and do in today’s Hot Button – that the lack of response to the change in reality is based in arrogance. And agree that the continued failure to understand that it won’t fly anymore is stupid.
    But Claudia Eller is NOT stupid… nor are Patrick Goldstein, John Horn, Sharon Waxman, Laura Holson, Nicole LaPorte, Gabriel Snyder or any of the other consistent offenders on this front. They are very smart and very aware. But they are also a little like kids at a prep school that is suddenly competing against public schools in athletic contests, losing in ways they never had before, and now blame the schools they are playing.

  12. palmtree says:

    What choice does Eller have with a story like this? Sure she’s being used, but if she turns it down then someone else will gladly get the “scoop.”

  13. Angelus21 says:

    Did you expect these old media journalists to finally accept everyone and let everyone into their little club?
    Nah. They’ll fight this tooth and nail and try to disrespect new media at all turns.

  14. Richard Nash says:

    You only have to look at who this story makes look good to know why it was written and for whom it was written.

  15. Martin S says:

    The truth is simple – Snyder was a very bad studio head. Spielberg can spin the “she understands art and commerce” lines all he wants, it doesn’t justify Van Helsing, Hulk or Kong. Each was a bust *because* she didn’t understand the properties at her disposal. She’s not Pascal. Hell, she’s not even Shuler-Donner or Hurd.
    Whatever she’s being paid, it’s coming out of loyalty and not ability. This latest piece seems to be a counter-punch to Snyder’s initial “I got out on my own” dance. If I was Uni, especially after Kong, I sure as hell wouldn’t let her dictate the reasons for departure.
    Uni should bring De Luca in.

The Hot Blog

Quote Unquotesee all »

It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon