Indeed, boxing could really use someone like him, someone who wasn't afraid to lose and just wanted to mix it up! That was a great golden age of fierce fighters with great personalities.

Man, that Hagler/Hearns fight is still one of the most thrilling things I've ever seen.

I think it's still walking with a pretty bad limp. Tyson Fury recently beat Wladimir Klitschco for the heavyweight title, and that was the first interesting thing that's happened in the heavyweight division for some time. They have a rematch scheduled for October.

Man, Leonard beating Hagler still stings after all these years. Damnit. He waited and waited until Hagler was old and then got his decision. Always loved Hagler and wanted him to destroy Leonard.

I liked Walton back when he did one of the Bulls/Jazz NBA finals. He was always so forceful and sour, and it was actually pretty fun to listen to. I remember after Jason Ostertag made another stupid play, Walton shouted: "Somebody should just STRANGLE Osterag!" Good times. I still say that out loud from time to time.

This is a good point—I love listening to him on those lazy Saturdays. Same with Musberger. Just something soothing about the voices and the institutions they've created. I like Lundquist's golf coverage, too.

Finally finished writing another song and learned two more: Stealing by Leo Kottke and The Lucky One by Lucas Michailidis. It keeps my mind occupied because these two songs, at least, take a lot of practice, a lot of repetition.

All new cars do that.

Emrick rules! "SHOT and a save!"

Summerall was fantastic. I was a big fan of his U.S. Open tennis announcing back in the day when it was McEnroe vs. Connors and it seemed like a wrestling match.

Love Musberger on Saturday night college football. His voice is perfect for that whole setup. I've liked him ever since the old NFL Today show.

It's all about the rhythm and the voice—it's a difficult art to master. The voice has to be just good enough to cut through and be pleasant to listen to but not drown out the action and call too much attention to itself. Or you have to be an institution and create such a distinctive style that your voice and the sport…

That was a good one—the villain, was it Ben Foster? He was amazing, and I liked the chemistry between Bale and Crowe.

I wonder, maybe, if TWBB was just too weird and arch at the time (although it certainly got great reviews). Takes a while to settle in whereas No Country, although many complained about its lack of payoff, was at least straightforward enough with just enough artistry to push it over the critical edge.

Thanks for your response! The Master's processing scene is some thrilling stuff. And you have two great performances instead of just one. It's an amazing push and pull between their personalities, their wants and needs. The first hour or so, for me, is up there with PTA's best. I suppose it's the scenery, camera work,…

I really liked Clayton. Atonement is such a fascinating film—I'm still not sure I like it, but it's a rewarding think-piece, I think — and that twist!

That's interesting! It took me three or four tries to break through with The Master, something I still haven't managed to do with Inherent Vice (I've nearly given up, there), and there are images and scenes in The Master that rival just about anything. What are your thoughts on it being the better flick?

I always forget about Zodiac. What a great flick. And Ratatouille is up there with Toy Story, I think.

It really was an amazing one-two punch. And didn't The Assassination of Jesse James come out that year, too? They had that similar aesthetic, both caught lightning in a bottle—what a great Oscare year that was!

I almost enjoy watching No Country more, at least casually, because it's more of a straightforward kind of heist film. It seems to play on cable more often, too, because it's more easily digested. But damn, when I sink into Blood, it's a much more rewarding, long-term inner journey.