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David Poland

By David Poland poland@moviecitynews.com

'Totally An "M" Thing': Jeff Wells Vs. NY Times in Sound-Effect Battle Royale


The Reeler would like to take this opportunity to thank Jeffrey Wells, the Hollywood Elsewhere gadabout whose close reading of the Sunday New York Times yielded an essential distinction:

Charles Solomon’s N.Y. Times piece about how annoyingly verbal animated features have become refers to Chuck Jones’ Roadrunner [sic] /Wile E. Coyote cartoons as an example of the non-verbal, all-visuals approach that used to rule in the old says. But hold on…Solomon says the Roadunner [sic] cartoons “took place in a silence broken only by music, sound effects and an occasional ‘beep-beep.'” Inaccurate, dawg. The Roadrunner sound is an unmistakable meep-meep. Listen to one closely. At no time do you hear the “b” consonant — it’s totally an “m” thing.

As the unofficial arbitrator in all Times Movie Section corrections, I must side with Wells on this. A quick listen–not even as closely as Wells requests–indicates that Solomon not only mischaracterized the Road Runner’s signature sound, but also truncated it; if we include that tongue-whip thing at the end, we get something along the lines of “meep-meep puh-THUNG-kitty-thung-thung.”
That neither Solomon nor Wells upheld their usual, thorough factchecking standards here is a severe disappointment, but as we should expect, Wells regains his swagger with journalistic trash-talk like “Inaccurate, dawg” and “‘it’s totally an ‘m’ thing.” And for the first time since before the Oscars, I feel alive again on a Monday morning.

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2 Responses to “'Totally An "M" Thing': Jeff Wells Vs. NY Times in Sound-Effect Battle Royale”

  1. NestorBurma says:

    You might be interested to know that there was a garage band in the mid-1960s called Meep Meep and the Roadrunners. That’s Meep Meep, not Beep Beep. This would seem to me to be a good contemporary source.

  2. The Fanciful Norwegian says:

    Wikipedia weighs in:

    http://en.wikipedia.org/wiki/Beep-beep

    The consensus seems to be that it sounds like “meep-meep,” but Warner Bros. seems insistent on writing it as “beep-beep.” It’s also worth mentioning that the second Road Runner cartoon was called “Beep Beep.”

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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