Sometimes this song comes on the radio. Well, presumably lots of times, but sometimes when I am listening. All I can think as I reach for the knob is "Is there really somebody in the world right now who actually thinks, 'Boy I haven't heard this song enough in my life.'?"

David Simon says that they didn't shoot the first three seasons with 16:9 "safe".

Why were they shooting the extra edges if the show was always planning to be 4:3?

"We did not film protectively in anticipation of any conversion. We served the story in 4:3 with our shot composition." — David Simon, in the thing that you are responding to claiming to have read.

Within the context of talking specifically about his artistic choices regarding 'The Wire', letterbox *is* interchangeable with "widescreen". They are both incomplete way of saying 1.78 (or 1.85).

"actors who end up outside the frame in 4:3 but end up back in the frame in 16:9."

Does Comcast not have On-Demand?

You have to pay an actor more for real nudity, for one thing.

I am watching the show for the first time, and i mostly agree with you, but there are a few times where I wish they would allow Sheridan a little more moral ambiguity. I think I wish that the show depicted a little more doubt from him, but it never seems to take that very seriously. At the same time, I appreciate…

"Davy considers resigning his Naval commission, but decides against it."

Actually, I hadn't thought about it in a while, but that totally threw me off as a kid too. By the end, i got it, because even though I didn't know the word I was hip to the concept of origins from cartoons and comics. But it was weird that he could beat up the whole bar, I never got that, it seemed like he did…

There were a run of movies from Hollywood which all cracked the previous ceilings on budgets - I think it was 20 mil - and they all got lumped together by the press, "Has Hollywood lost its mind?" being the general thrust of it. Two of them were Heaven's Gate and 1941, which both did flop pretty hard. Two of them…

He and Evans were friendly, and had a falling out after Evans backed the screenwriter over Hoffman in some sort of argument.

I don't think it was Evans, Evans did whatever he could to make the project happen as quickly as possible, and tended to let Altman have what he wanted.

The studio only finally backed down because Evans brought DuVall to a party, and the wife of the head of the studio met her and said "Oh, you definitely have to play Olive Oyl."

It's no "007 in New York". The story doesn't have the crazy counter-counter-plotting that I guess is just as '80's as "License to Kill" but always makes it feel unique in the Bond canon, to me.

He only got that job because Tom Hanks fired Fonzie.

I think "The Living Daylights" is a bizarrely intriguing look at James Bond as written by John le Carre.

I was standing in a Blockbuster, probably just a month or two from closing and certainly the last time I've actually been in a Blockbuster… and that was playing on the TV screen, and when Brosnan started to sing, people waiting in line actually started openly laughing at him. I've never seen that in public like that…

Goldeneye is the most generically Bond-y, but they developed Brosnan's Bond in the mold of Moore's, but moreso, so people default to the one that is the least like that, for reasons which should be obvious.