Could this be the rambliest Lunch With David ever?!?!?!
Yes it could.
From Happy Feet to The Departed to The Queen to Lindsay Lohan’s Vagina (finally, the name for my band that I’ve been looking for!!!), this one just keeps going until it ends.
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Review: Little Women (no spoilers)
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Review: Marriage Story (spoilers only in the broadest sense)
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[twitter-widget username="DavidPoland" hiderss="true" hidereplies="true" hidefrom="true" items="3" showts="60" title=" " targetBlank="true"][twitter-widget username="MCNTweets" hiderss="true" hidereplies="true" hidefrom="true" items="3" showts="60" title=" " targetBlank="true"]
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” â 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 â 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 â he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” â and I’d forgot who he was.
So at my girlfriend Barbara Hershey’s urging â I was with her at that moment â 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 namedâ” “Yeah, sure â 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 Iâm on the phone with you now, after all thatâs 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 didnât seek to use his position to have sex with anyone. Thereâs not a case of that. He wasnât using his position or status to try to solicit a sexual favor from anyone. If he had â if that were what the accusation involved â 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. Iâm not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, âYou know, itâs not this, itâs thatâ? Because â let me go on and speak further to this. If you go back to the L.A. Times piece, thatâs what it lacked. Thatâs 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
Who knew? You are a pretty funny guy, Dave. I loved how you threw out all that stuff, Vaginas, Departed, Lohan, Pea brained Hilton. But were you on a boat in that restaurant? The rocking table was a little distracting. I hope you decided against the soup.
Dare I say DP almost looks indie-rock in that one? Minus the Blackberry, of course.
I’m a little disappointed in the “oscar chasing” cliche with Scorsese though. You may not have liked the film a whole lot, but you know very well that a 25-year personal project is a lot more than looking for awards. And if you really want to be cynical, you could theorize that Marty did The Aviator not as a favor to friends DiCaprio and Michael Mann, but to claim his lost Oscar for GONY. But I just don’t think he’s that type of guy.
We’re so awards-crazy on the internet that we see things through these gold-colored glasses, but I really don’t think that the true artists in this business give it a second thought before they’re nominated for something. I’m sure Marty was honored that Weinstein wanted to go to bat for him, but also ashamed at the tactics that were eventually used. The guy bleeds cinema, and I think when he takes on a project (or initiates one) it is because he has an interest in the story and a zest for figuring out how to visualize it. To say that there are other motives involved is projecting, and totally insulting.
Is there a point to these? Because of course he’s not funny actually, except to look at. I’ve watched every one and aside from some sort of cross promotion with Ammo I don’t get it. Like
1- Poland is not that well know so why does this ad agency produce these things for him for free? Do they think they’ll get work out of this? As if
2- He just summarizes the events of the week on MCN- is he like a regurgitating cow?
3- He doesn’t provide any real insight.
Basically it’s like making me take stock of the week as filtered through somebody else- why would I want that?
I don’t see how you make money or spread influence through this.
Maybe you should give it a rest?
I am Spam Dooley and I Keep a Close Watch on this Heart of Mine.
Best so far, theme: back to basics. Happy Feet, The Departed, The sublime Queen, Tony Kaye’s 2 hour abortion doc, beautiful Tarsem and what everyone knows life is really all-about, “What does she/I have to do to make it a more interesting place?”
Now the bad news. Red’s not your best color, your hands are bigger than your face and whiter, don’t play with your sunglasses, leave your shirt alone and the table shakes too much.
One reason people are so Oscar crazed is that web journos have columns entitled “______ Weeks Till Oscar.” Helllloooo…
Sweet shirt though!
Mr. Spam Dooley, I Keep a Close Watch on this Heart of Mine, it is possible to be too waspy when watching these.
Happy New Year, Spamster.
Spammy, I always find it fascinating when someone takes so much interest in something they claim not to like.
I am encouraged by your post.
I have to agree with my man lazarus on the Scorsese second-guessing. Do people actually think world class filmmakers like Scorsese or Demme would spend one to two years on a movie just to get an award? I once got in an argument with a guy who couldn’t believe Demme sold his soul to Oprah to make Beloved. Anyone who thinks an Oscar-winning director would just decide to make a movie for the sake of working is really out to lunch. Time will be kind to the last two Scorsese movies. As flawed as Gangs of New York is, don’t you remember whole sections more vividly than Chicago? (And I loved Chicago.) The Aviator will last longer than M$B. It’s one of the most entertaining movie biopics ever made. If anything, the 2004 Oscars will be remembered for its snubbing of Paul Giamatti and the classic Sideways.
The Departed is old-school Scrosese. We love him for doing it. It’s what he does better than any other director. But he does more than make vilence at once scary and exhilirating. Scorsese isn’t back. He’s just doing what he was born to do. He tells stories better than almost anyone in the world.
What’s sad is that DP responded to Spam Dooley’s baiting remarks but completely ignored my attempt at a serious discussion about Scorsese and the importance we place on awards. Kind of hypocritical to bemoan all the mudslinging when it’s the only flame being fanned.
Thanks for your comments, Jimmy. Funny you mention Beloved because I just ordered the used DVD online. Anyone who thinks that fucked up movie was trolling for Oscars needs to have their head examined, regardless of the literary pedigree. Silence of the Lambs was creepy, but not nearly as strange as Beloved. No way the academy was going anywhere near that. And I don’t know why the involvement of Oprah would be an issue. That is a brave, harrowing performance that should have received more notice. De-glam doesn’t even begin to describe what she did in that one. And it runs circles around The Color Purple.
Sad? Really? That’s sad?
Scorsese changed his career for the last two films and made two movies that were twice as expensive as anything he had ever made and were, as a result, relentlessly pushed toward Oscar. Much as he was a victim of Harvey W’s obsession with the awards for him, he was also a participant. He is brilliant, but not a virgin princess.
I agree. He did not just make the film to chase Oscar. But that element was there. And this film is closer – it’s really a hybrid of Old Scorsese and Recent Scorsese – to what he really is gifted at doing… not pulling punches… not doing virtuoso stuff just to do it.
Now… sad or not sad?
P.S. Of fucking course Beloved was trolling for Oscars.
You talk as though this stuff happens in a vaccuum. It doesn’t. That doesn’t mean that Oscar-chasers are interested in Oscar and nothing else. But why do you think Beloved was green-lit? Because they thought it was going to be a commerical sensation?
We are in a season where most of the Oscar chasers didn’t start as Oscar chasers. But even a movie like Dreamgirls – a personal passion of Mr. Geffen and a serious director in Bill Condon – is aware of the Oscar season and is making decisions on commericality based on leveraging that potential. It’s not usually an either/or.
Classic Flamebait response David. I take an interest in everything you do. That is why I keep those weight fluctuation charts in my lab for you to review at the end of the year.
You spend a lot of time on these. You have CREATIVE making the damn things for free. You have Ann Marie giving you the restaurant for free. A significant number of people spend their time on it for free. Spam asks why?
I mean, lonelygirl15 was all about trying to get repped by Bryan Lourd’s second assistant. I get that at the same time it makes me cry.
But lonelydavid49? I just don’t see the point.
Can someone like the amazingly time on his hands Thung explain the point of weekly summaries of the biz (not even insider stuff) from lobelydavid49 is?
I am Spam Dooley and I shot a man in Reno.
DP, you’re right, Scorsese was a participant. In order to secure the financing for your projects, you have to play the game to a certain extent. Appearing on Oprah, talking to journalists…these are all concessions that I’m sure artists would rather not deal with, as it’s something much more in line with the nature of actors, who are paid exhibitionists. Who is able to totally shield themselves for this stuff? But as he didn’t originate The Aviator, I don’t think he went looking for trouble the second time, even if he realized the high profile project would yield the same obligations. It seems like you feel he signed on knowing what he’d have to deal with again and felt it was worth it if it gave him another chance at gold. Bullshit.
I’d like you to explain to me why you don’t accuse Eastwood of the same thing, when he did it two years in a row. Just because he didn’t have a big budget? The guy rushed to have M$B before the end of the year, likely bitter over Mystic River’s loss to Return of the King, and it was loaded with over-the-top sentiment and easily-hatable cardboard villains. That’s not bait? How about Munich? Or are you just holding Marty to a higher standard?
I still don’t understand who you think is doing the trolling. In the case of Beloved you’re laying that claim at the film itself. Who’s to blame? Demme? The studio? Why something is greenlit doesn’t necessarily bleed into the credibility of the filmmaker, and when you say Scorsese was chasing Oscar it assigns a motive that you do not know to be the case, and probably don’t believe to be anyway. I don’t know if it’s fair to put GONY, Beloved, and The Aviator in the same category as real Oscar trolling bait like Pay it Forward or The Life of David Gale.
There’s an interesting parallel between the two conversations going on here.
Spamula… as usual, you think you know more than you know.
Your limited-info misunderstanding of the process presumably has little to do with your opinion of whether there is any point to doing the segments. So there is really no point in arguing it. You can make something irrelevant to some people that costs $200 million and you can make something irrelevant to some people for free.
I am fine with you not caring about the segments. So don’t view them. Who cares? Take shots at my weight? Not as tough on me as me. Who cares? If I relied on you to give me insight on what is important, I would stil be waiting for something other than cheap, lazy shots. Why would I do that? If you want to do it better, do it. I will be happy to link to it if I think it is worth anyone’s time.
Laz – I did accuse Eastwood of the same, repeatedly. I spoke to his anger over not winning for Mystic often. And his strategy – which was his, not WB’s – on M$B was discussed to within an inch of its life. However, the difference is that Eastwood stayed within his normal realm to do these films and Scorsese did not. Eastwood has never made a movie as expensive as either GONY or Aviator. And as a result, he has never had to take it from a bent over position like M.S.
And I have never suggested that Spielberg wasn’t pushing for Oscar on Munich. Of course he was… just as he was on Schindler’s List. The fact that he cared about the material did not make him so pure that his competitive instincts were not also in play. Nothing is black & white.
But you don’t want to accept, apparently, that Scorsese can be as petty and competitive as anyone else. All of those directors are. There are no virgins.
I would not put any of those good/decent Oscar trolling films in the same category of shite like Pay It Forward. Nor would anyone else. But you seem anxious to defend Scorsese from a misstep that he pretty much acknowledges (as in, yes, we do know what his motives were). And he is dinstinctly not going there with The Departed. He has made a different choice.
Jeez, the very first comment makes so much of this other stuff unnecessary. Doesn’t anybody else (besides me and austin111) appreciate DP’s performance? “Lunch with David” is funny. It’s a single-take, single-character stream-of-consciousness riff on video, not a concise “summary” of the week’s MCN/Hot Blog/Hot Button coverage.
But, OK, on Scorsese I’ll bite. Reminds me of a little tidbit I recently noticed on IMDb regarding “Mean Streets”:
“After the release of his previous film, ‘Boxcar Bertha’ (1972), both John Cassavetes and John Milius advised Martin Scorsese to do a more “personal” project next. That encouragement led Scorsese to finish this script and get it produced.”
Scorsese has made many different kinds of movies — “Alice Doesn’t Live Here Anymore,” “New York, New York,” “King of Comedy,” “After Hours,” “The Color of Money,” “Last Temptation of Christ,” “Age of Innocence,” “Kundun”… — not just gangster movies and urban thrillers. He made them for many different reasons, whether it’s because that’s what he was offered, or because that’s what he felt like at the time, or because he’d tried long and hard to make them and finally had the opportunity. But guess which Scorsese pictures have received the most widespread (and lasting) acclaim? “Mean Streets,” “Taxi Driver,” “Raging Bull,” “GoodFellas”… Anybody think Scorsese hasn’t noticed that?
After the expensive period pieces “Gangs of New York” and “The Aviator,” he also knows he could also use a solid commercial hit right about now. What’s wrong with that? Of course he’s aware he hasn’t won an Oscar — and has gotten a ton of publicity for not winning one. So, what’s he got to lose after “Gangs” and “Aviator”? Why should he bother to look like he’s trying, when he’s just concentrating on doing what people perceive (rightly or wrongly) to be “his thing”? He doesn’t have to “troll” for Oscars at this point. And that just may be his best shot at winning one. Not that that’s his primary motivation…
Also, I think it’s important to not put the cart before the horse on the ‘big budget’ issue. For most of his career Scorsese has made small- or low-budgeted films because that’s what range he lived in. Given the opportunity to make Gangs and Aviator with big budgets, you’ve got to think he would savor the chance even if it meant making concessions to Harvey Weinstein.
Spam, shot your last load a decade ago in Reno man, DP makes Lunch for the website audience of iklipz. They are not necessarily readers of The Hot Blog. He links it to THBlog because his relationship with his readers is like that.
You sound disapproving of me and my free time, and unapproving of how I spend it. My feelings are hurt.
Meanwhile, the dizzy making JW has linked (for his own authoritative followers, it’s a blog characteristic, I’m guilty) and taken on THBlog RE Zodiac and enjoyed THButton RE Black (did he add pubic to hair dying?) Book and cited The Associated Press on Gibson test screening twice in Oklahoma, once to a mostly American Indian audiance. Disciplined Mel, that’s good. To wrap up my ongoing discussion, the reason post has gotten so ugly on movies is because the demands of cutting negative have gone away with the digital intermediate, and finishing for a movie has become more like finishing on tape to make a tv date than finishing on film to make a theatrical date. It used to be that living in fear of miscutting negative was the factor that drove movies sanely through the post process to the finish line. Have a lovely nite.
David
Instead of insulting my knowledge when in fact I have likely forgotten more than you ever knew, my question for the third time is
WHAT IS THE POINT?
Are you trying to make money?
Are you trying to have influence?
Are you trying to entertain?
WHY?
Just answer that and keep your not so wise cracks silent.
I am Spam Dooley and I Canoe.
Damn. A pissing contest and I just went to the bathroom. *shrugs*
Anyway, David mentioned that this service doesn’t allow anything more on Lindsey Lohan’s vagina. Well, which one of his services DOES?
Bah, misspelled Lindsay.
Don oops I mean Spam – I’ll answer for Dave as he’s probably not prone to pointing out the bloody obvious.
He does this Lunch With Fijian Wrestler for one simple reason – his profile. Either that or a free lunch.. a wrestlers gotta eat.
I am JBD and Spam Dooley is still in turnaround.
Jim: “After the expensive period pieces “Gangs of New York” and “The Aviator,” he also knows he could also use a solid commercial hit right about now.”
Me: They may have been his most expensive movies, but they were also his biggest grossers, ever. He’s making solid commercial hits; he just needs one that didn’t cost a bloody fortune to make.
DP, where did Marty “pretty much acknowledge” a misstep with his last two films? He kept his lips shut about the cutting of GONY (and still has yet to refer to a longer, director-preferred cut), and appeared to be very proud of his work on The Aviator.
Also, while Gangs was considered by many (including its defenders, like myself) to be a mess, the reception for The Aviator was very good. Some people had one problem or another, but with four Oscars I don’t know that it was a failure on any level.
If you’re referring to Marty’s public statement about pulling away from the epic, big budget productions, I don’t know that it’s some kind of admission of guilt or regret. People don’t have to keep doing the same thing every time, and there’s nothing wrong with wanting to shift gears as you see fit.
I’m really curious what Spam Dooley’s credentials are to justify “I have forgotten more than you ever knew”, if ever there was something crying out for a link to some hidden genius blog that would be it.
THung, I don’t think it’s quite true that ‘the demands of cutting negative have gone away with the digital intermediate’. I have witnessed assistant editors conforming actual 35mm film prints for effects-heavy films which they would not do if it was all just going to be spit back out in one digital chunk. Where do you work that you have all this seemingly insider knowledge of big-budget film production?
JBD
Please don’t feel qualified to answer for David. You aren’t fit to clean up the toadstools in my garden. And stop calling me Don or John or Erin. I am Mr. Dooley to douchebags like you.
As far as JeffMCm here are my credentials… nothing I have ever said is wrong. If I don’t know whereof I soeak, I stay quiet. Unlike sublits like you.
David, I still await the reveal. What is the endgame/goal of these lunches? Or is it just something to do because you know the ad guys and they offered?
I am Spam Dooley and I am a Lineman for the County!
Your statement is, in itself, incorrect. If you were a computer on Star Trek you would now self-destruct (please be a computer on Star Trek).
Jeffmcm, who’s scanning cut neg to DI for release prints?
Spam, think we’ll ever see DP mix Lunch up a bit. Do an answer stupid reader/viewer questions one or have someone off camera tossing lines?
Straat, just say LiLo, and every time you look in the mirror, ask yourself what you need to do to make yourself a more interesting vagina.
Apocalypto now, are we ready to buy this?
Freetime Thung-
See at least in between your banal observations here and at Welles you can pull out a great idea.
Yes, Poland, make ot interactional. That’s what killed lonelygirl 15- they didn’t react to the publicity so people figured it was fake.
LonelyDavid49 could bring his blog and site viewership to the world. He could sit there pretending that he cared what others thought and answer questions. Hell, he could invite Jeff Boam’s Doctor TO ATTEND the lunch so we can all rank on his bad haircut. ANYTHING good.
I guess that’s the crux of my point. These aren’t funny, new, original. They don’t have a point. Did you plan this out, or not?
I am Spam Dooley and I ma you as you are me as we are all together.
Spam, you apparently know enough to get it wrong.
If you really gave a shit and you owned a pair of balls, you could initiate the conversation privately and maybe even get an answer of some kind. My guess is you are piecing together partial information that you did get privately and are trying to use it to somehow embarrass me, though it is hard to do that when you have misinterpreted the situation. If that is the case, I have even more contmept for you, as your pre-Sesame Street inability to separate public from private makes dealing with you in either arena a bad idea.
As I have discussed, ad nauseum, I am not a big fan of people who hide behind digital masks demanding truth from people who live and work pretty much transparently.
That said, you owe me nothing. And I owe you less.
Whoah, LonelyDavid, wtf?
Why would I want to embarass you? Paranoid much? Sure, I respect the Crew Creative people. Yes, Dave the Cameraman is a friend. But none of them can tell me the endgame. So I asked you. Not mocking you. WONDERING. I have watched everyone of your IKLIPZ. They are well made by Crew. They are well done by you. Everything is professional. They just have no point that Spam can see. You probably spend I would guess five hours a week on each one. Plus the time of your producer and the restaurant. So my question is WHY? What is the endgame?
You can say you don’t owe me or your readers anything. Fine. But don’t attack me because my mother gave me a funny name. Until you attack the other freaks here who don’t use their real names too.
You set up the blog for verbal intercourse. You run this vblog weekly. WHY?
I am Spam Dooley and I can tell you how to get, how to get to Sesame Street.
TH, I watched assistant editors on I, Robot conforming a film print post-effects work just a couple of weeks before the film’s release. Even with a DI, it doesn’t come out in one big digital chunk.
The answer is imbedded in your comment. I, Robot had a cut neg requirement as part of its overall delivery, which is why they had the luxury of conforming work print a couple of weeks before release. They did not use cut neg to DI off of. Hope that makes sense to you. So, DI has made finishing for theatrical more like making a tv airdate than a release date, which has made movie post an uglier affair, because the burden of cutting neg has been lifted even if the film has cut neg as part of the overall delivery requirement. They scan from flash to flash or first to last frame used with handles and conform at the DI facility instead of turning over locked reels to sound and neg cutting. It’s a huge difference that allows for changes much closer to release, just like an airdate, but a headache for the laborers.
And you are an expert on all this how?
This got started elsewhere RE APOC, and later RE Bobby and its showing as a work-in-progress in Toronto relatively close to it’s release date. I picked it up here RE GONY. Post was my life til 2004, now I have free time. Sounds like Mel showed APOC bare, missing temp effects and score to an audience? Whacky.
Feel free to find something else to be your world. We’d very much appreciate it.
F you, you can’t handle it.
I just don’t like know-it-alls (yes, I am aware of the irony).
Argen, you’re new here.
Let me clarify, if TH had prefaced all of his/her remarks with ‘I’m a post supervisor and have worked on these ten features and these five TV series” I would have deferred long ago. Since she/he was wrong about the ‘post sound’ question I assumed she/he also didn’t know what he/she was talking about on the cutting negative question.
Can’t handle what? Your almost constant prattle like an 8-year-old who’s been given too much sugar and not enough supervision? I can handle it. Just wish I didn’t have to.
Oh, and fuck you, too.
When’s the last time any of y’all, who see early cuts, has had something run for you privately or at a screening, dry, without temp sound effects and temp score?
Welcome Argen…
Please don’t join the namecallers.
Cadavra: Right you are. I realized that even as I hit “post.” I should have said “potential moneymaker” or something like that instead of “commercial hit.” I meant net, not gross.
Once again Jeff, this is another case where YOU are wrong, and unwilling to take ownership of it.
I am sure you will attribute it to your superior film education that you say you got at that no name school that you swear is superior over the film education offered at USC. That same education that continually makes you WRONG.
And T.H. is a GIRL, people. She’s made that clear many times. Pay attention.
She also happens to be a smart one, at that. And in my experience, many chicks that work post are hot. So buck up you dorks. Take this opprotunity to actually learn how to talk to a girl, for once.
For the record:
THX5334 For the record:
THX5334 <--- Major Dork. But I'm also a Pimp, so I have noooo problem dealing with the heartbreaking women of Los Angeles. They love to come into my world and share my bed and spend their money on me. And going by the avatar, I'm sure you can only guess how geeked out my pad is. Yes, fellas, you too can lurv "teh Star Wars" and still get hot actress/model/stripper ass and NOT have to look like Brad Pitt. It's all about vibe.
*That was SUPPOSED to say:
THX5334 = MAJOR DORK
Damn, three posts in a row. This confirms it.
THX, I’m perfectly willing to admit I don’t know much about digital intermediates and that TH was right about that. But TH also has to admit she was wrong about major films starting post sound before locking picture, which was my original point.
I’m sorry to constantly make you feel so bad about your USC education but the facts spoke for themselves (re: post-modernism, which you have never admitted to being wrong about). Also my ‘no-name-school’ was at the top of the most recent USNews survey, also I consider myself to be essentially self-taught in film so the two are not interconnected.
They don’t start sound before locking picture on purpose. They start sound on reels they think are locked until somebody with authority to incur expenses tells them they’re not locked. They get away with it if they haven’t sliced into negative yet, which is the way tv is done.
Thanks (I guess?) THX.
Or they start sound when somebody tells them ‘just start working on this even though it’s not locked because we’re paying you anyway’.
I heard this weekend that Malick’s The Thin Red Line was essentially mixed in its entirety three times, because of the constant last-minute editing.
And look what it did to Malick.
Yeah, seven Oscar nominations, including Best Picture! đ
And a less-than-twenty-year gap before his next movie.
Sorry, David. I’ll follow your house rules. I apologize. And I endeavor to find more creative ways to deal with the nihilism that others stir up in me. If I have any revelations, I’ll let you know.
Argen, you sniffed my butt at HE.
I got just as much Malick love as you, mc and cadabra, I’m just not interested in investing right now.
Huh?
I luv him too, but what you’re selling, I’m not buying.
And what’s that, that genius filmmakers shouldn’t be allowed to edit their movies after a certain point because the sound editors don’t get enough sleep?
That I wouldn’t want to get stuck holding the bag.
The ‘doing the sound work’ bag or the ‘paying for it’ bag? One gives you overtime and the opportunity to work for a brilliant filmmaker, the other is a decent investment that isn’t that expensive in the big picture.