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David Poland

By David Poland

BYOB 102814


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13 Responses to “BYOB 102814”

  1. PcChongor says:

    Why is the DP/30 podcast still not a thing? Not only could you bring in some extra revenue with one or two ads throughout the episodes, but it’d be far easier to stay current and updated with the interviews when they’re being managed through a podcast app. It’d also open up the option to do a phoner interview every now and then.

    The Joe Rogan Experience is a great example of a podcast that works on both a video and audio level.

  2. MAGGA says:

    The DP/30s are a treasure trove for cinema fans, and I find myself wishing it was easier to navigate/remember. I stumble onto the interviews, mostly, and I used to think everything was posted here. The youtube page is fine, but I’d love for it to be a webpage where searching was easier, the higher profile things were more visible, and yes, I’d love to be able to listen to them when I walk somewhere. I think this could be a bigger business

  3. Bulldog68 says:

    Anyone know why there are no China numbers for The Dark Knight. There are for TDK Rises. Was it never released there?

  4. Stella's Boy says:

    It was not released in China.

  5. movieman says:

    I’m a little stunned that “Nightcrawler” has a 96% favorable rating on RT.
    Gyllenhaal is effectively creepy, but the movie fails to deliver on its ambitions to become a Millennial mash-up of “Taxi Driver” and “Network.”
    I thought it was actually a lot closer to A.I.P./grindhouse-style ’70s movies (e.g., “Rolling Thunder”) than to Scorsese, DePalma or Paddy Chayefsky.
    The last 40 minutes–when it veers into pure thriller mode–work best.
    The rest I found borderline specious: unconvincing as either sociology or satire.

  6. arisp says:

    Maybe the fact that TMZ and all its iterations (including paparazzi) have become such a ‘normal’ part of media now render Nightcrawler’s ‘point’ moot?

  7. chris says:

    The “point” isn’t especially fresh but I think “Nightcrawler” is terrific filmmaking.

  8. BoulderKid says:

    I have never understood the video only platform for DP. I devour podcasts walking around the city, biking to work, at the gym, folding laundry, cooking, etc. I do none of these things in front of my computer and thus have only listened to a few minutes of DP’s output. Sometimes you have to give the people what they want.

  9. sanj says:

    if you guys want audio only dp30 – then find an app that converts video to audio and save it to your mp3 player.

    i’m sure DP wants everybody to watch the interviews on video format. sometimes u miss great stuff even if its for a few minutes.

    DP has done dozens of new interviews in last 2 weeks ? how many did you watch ? he’s putting out new stuff all the time.

    DP/30: Nightcrawler, Dan Gilroy –

  10. PcChongor says:

    I can play audio only through my YouTube app, but you still can’t easily pre-download them for offline listening and picking them up where you last left off becomes much more problematic (at least on Android it is).

    And listening to them through a podcast app would also help drive subscribers to new episodes in a lot quicker and more cohesive way.

  11. movieman says:

    I liked the third act, Chris, which is extremely effective.
    But, for the reasons I’ve already mentioned, I wouldn’t call anything that precedes the last 40 minutes “terrific filmmaking.

  12. sanj says:

    yeah it would be great if you can get access to like 1000 movie interviews through audio only but this would take a lot of time to do . it can be done but you have to make sure each single audio file works and doesn’t cut off somewhere. a few people trying to convince DP for audio files isn’t gonna go nowhere. he wants people to watch the videos.

    its possible to make a really cool app for dp30 but you have to tag everything . docs / animated / regular movies and actors / directors / countries . all sorts of tagging.

  13. doug r says:

    How about releasing the audio files as a podcast first and then the video later?

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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