I’ll be continuing my early shift at Paramount (5:45 a.m. to 9 a.m.) today and tomorrow.
Strike
Blu-ray on a cold day
With Warners picking Blu-ray, and Paramount [rumored](http://www.ft.com/cms/s/0/dc409afa-bd75-11dc-b7e6-0000779fd2ac.html?nclick_check=1) to have an escape clause letting it follow right behind, I finally bought my first Blu-ray disc: Big Fish
Movies I’ve written are available on both formats, so I didn’t really care who won in the HD DVD vs. Blu-ray battle. I just didn’t want to get stuck with the loser. ((Of course, isn’t really “over.” Even if all the studios sign on to Blu-ray, there may be alternative producers (porn, for example) who find a good reason why the other format is better, such as more flexible licensing terms. So here’s hoping that “universal” players are forthcoming, eliminating the confusion much the way the CD-RW+/- has largely gone away.)) Or, better put, I wanted to pick the format that would lose last. Any disc-based format is ultimately going to fall as internet distribution increases. That’s the future. (And a primary issue in the WGA strike.)
Because you’ll ask: [The Nines](http://www.amazon.com/gp/redirect.html?ie=UTF8&location=http%3A%2F%2Fwww.amazon.com%2FNines-Ryan-Reynolds%2Fdp%2FB000YW8RN6%3Fie%3DUTF8%26s%3Ddvd%26qid%3D1198301424%26sr%3D8-1&tag=johnaugustcom-20) is a standard DVD. While it’s possible that there would be Blu-ray version at some point, it’s not on any calendar.
When I was working with [Blue Collar](http://bluecollarproductions.com/), the folks who developed the menus and special features for The Nines, they were salivating over the sophisticated features you can build into Blu-ray discs, such interactive, animated guides with transparency. Without knowing the real technology behind it, it seems to move beyond the “decision-tree-with-loops” setup of current DVDs and closer to the realm of real programming.
Most of all, Blu-ray discs are big. My dream — which I pitched at last year’s Sundance Film Festival — is to use the extra capacity to include compressed clips of all the original source material, so ambitious viewers could recut the movie on their own systems. That’s a big thing to ask for Sony to support, so reasonable success with this month’s DVD release will be a major factor.
Back to the picket factory
After a nice vacation, it’s back to the picket lines on Monday. I’ll be returning to my home studio, Paramount, working the 5:45 a.m. to 9 a.m. shift. That’s *fifteen minutes* later than it used to be, so you can’t say that the WGA isn’t mixing it up for the New Year.
For reasons too nascent to blog about, I’ll probably end up working more van-loading or phone bank shifts this coming month. So if you’re coming out to visit, definitely check the blog the night before.
On horseshit, and the New York Times
I’m quoted in an article in today’s New York Times about how the strike has affected relationships between writers and executives. More accurately, the blog is quoted; I didn’t speak to the writer.
In November, John August, the writer of movies like Charlie’s Angeles[sic] and Corpse Bride spied Peter Roth, president of Warner Brothers Television, at Osteria Mozza, a Los Angeles restaurant. “When you see someone you kind of know at a restaurant, it’s always a process to figure out whether or not to say hi,” Mr. August wrote on his blog. But the strike makes that decision process much more complicated.
Instead of confronting the studio executive, Mr. August returned home and wrote a vulgar blog entry about what he would have liked to say. One part of it that is printable here said: “Everyone knows the C.E.O.’s are talking out of two sides of their mouths.”
Really? What vulgar thing did I write about Peter Roth? I only remembered an insider reference to how Peter Roth tends to hug people. (He does.)
Let’s look back at the original post from November 15th, and my imagined conversation:
ME
Hey Peter. John August.
PETER ROTH
John. John August! How are you? This strike, huh? Crazy. I can’t wait for this to be over.
ME
Then tell your side to come back to the table with an internet residual plan that isn’t horseshit, and you could be shooting pilots by February. Because I’ve been on the picket line for seven days, and every writer wants to come back to work. But not a single one of them would take that shitty deal. Because everyone knows what’s at stake, and everyone knows the CEO’s are talking out of two sides of their mouths.
Obviously, the word in question is “horseshit.” I immediately did a web search of the New York Times website to find all the other instances in which they used “horseshit” in a quote, and found exactly zero results. They really don’t print the word. ((They will use “shit” on occasion, such as when the president was quoted as saying, “What they need to do is get Syria to get Hezbollah to stop doing this shit, and it’s over.”))
Honestly, I find it charming that they deem certain common words too coarse for their readers. They also insist on using polite forms such as “Mr. Smith,” even when it creates more confusion. It’s their newspaper, and they’re entitled to their quirks. ((I’m also a fan of Technology Review‘s predilection for the diaeresis, such as coöperate.))
So it seems that the writer of the article was following Times policy in not printing the full, horseshit-inclusive quote. I can’t object to that.
But what I can object to is labeling my original statement vulgar. That’s a pretty condemnatory remark to slip into a light news piece, considering the word in question is barely PG-13. “Horseshit” may not be an approved word for the New York Times, but it’s a stretch to claim that the mythical New York Times reader would consider it vulgar. It’s basic cable at this point.
Worse, by omitting what I actually said, the article creates the implication I said something much worse. Something — gulp! — unprintably awful. Which I didn’t. I said that the AMPTP’s offer on the table was horseshit. Which it was.