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David Poland

By David Poland poland@moviecitynews.com

What can journalists do better?

“Preparation. Having some journalistic and quality standards. I can’t remember the last time I had a(n) interview where I was pleasantly surprised by the depth of questioning and knowledge of the interviewer. When something has to be written/taped quickly about the day’s/week’s events, media has no choice but to talk out of their [rear ends] because having an uninformed opinion and winging it is always better than choosing not to participate. Being left out means you probably lose your job. Worse still, media lives off the brands they built for themselves in the pre-blog/Twitter/Facebook era. If you were a good reporter in 2002, fans probably think you still are, and treat your opinions as facts.”
Mark Cuban… with 3 minor edits to remove the specific references to sports reporting.
He made the comment in response to the title question, put to him by Dan LeBatard, sportswriter at the Miami Herald.
The piece LeBatard wrote is getting a lot of play in sportswriting circles. But we in entertainment media should be looking at it too.
He’s getting flack because of the first half of the story, in which he kinda throws sportswriters overboard a bit too callously. Then again, he’s not wrong. “Talent” has to answer a lot of stupid questions and there is absolutely a tendency in today’s media to blow stuff up into an ISSUE at the drop of a minor epithet. He is right that smart players end up not saying what they think… and we all lose when that happens. We only hear from the flacks and the big mouths who just want to heat themselves talk.
At the end, LeBatard also does a riff about fear amongst sports reporters… fairly high end guys toiling on national television…
Stephen A. Smith, ESPN’s Chris Broussard and I all reported early that LeBron James was coming to Miami.
As the moment arrived, all of us were terrified. Smith says he never wants to cover a story like that again. Broussard looked haunted on national TV.
And I, allegedly a grown man, wanted to curl up in a ball and hide somewhere. Just out of fear of being wrong and ridiculed.
This wasn’t in the action, mind you.
This wasn’t taking a big shot in Game 7. We were on the periphery of the arena, near the doer of deeds.
And we’re the same guys who accuse athletes of being soft in big moments.

Maybe I’m offering this because speaking out loud about these issues seems to bore or irritate some people. But I hear it, privately, all the time. And I find it an unpleasant atmosphere in which to do my work, which I am fortunate to be able to continue doing in spite of the current wave of unfortunate ideas about the profession.

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One Response to “What can journalists do better?”

  1. Triple Option says:

    I think there are a number of issues there, not the least of which to be considered is the fact that Cuban

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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