I've been trying to get an MMA podcast off the ground for the better part of a year.  With that said, I would have no problem doing occasional special release podcasts under the DiF banner.  More than that, I'd love to hear the individual podcasts of my fellow DiF'ers.

For example, I'm not a VFX guy, but I listened the SHIT out of Teague, Ryan's and Dorkman's VFX union podcast because I found those guys interesting.  I think a two-three man podcast centered around a castmembers specialty is a good thing.  I'd love to hear Trey and Brian talk space.  Brian, as an emerging editor himself, could talk Editing with me.  Mike and I could talk fights, etc.  I'm open and interested in that.

Doug was dating my friend Erika at the time.  This was around 2000 or so.  She's an actress as well, so when they'd hang out with us, I was one of her few non actor friends, and therefore one of the few to be NOT blatantly star fucking him.  While everyone else was bugging him about acting tips or breaking in, I would just shoot the shit with him, and he genuinely loved documentaries, so we had plenty to talk about.  He was a good dude....I'm truly perplexed by this marriage business.   Also, I have a really hard time believing she's 16.

Green Mile fun fact...

I used to be friends with Doug Hutchison who played Percy.....

.....and also just married a chick 35 years his junior.

One of my major gripes is the fact that there is no tracks to manage.  I routinely export OMF's and won't be able to.  Also, when we are working with several hundreds of hours of footage on a standard show, and have to downres our offline cut, then how am I supposed to upres and reconnect media?  For every thingI mentioned there's several more that I didn't.

Apple's reaction, and that of appologist bloggers, has been either "FCPx DOES do that thing you're talking about, only in a different and ore convoluted way," or "You can get a third party patch/device to do that thing."  Neither of those answers is acceptable.

I still have a big dumb place in my heart for Hot Rod

The Theatrical cut of Once Upon a Time in America has pretty bad hackery.  That one was infamous for the film being locked, and then the studio had the Assistant Editor for Police Academy 2 go in and cut time out.

Watching the 743 versions of Blade Runner you can get a real sense of just how much things had been shifted around.  And there's a schlocky 60's film called, "The Girl With the Gold Boots,"
(no, NOT a Lisbeth Salander prequel) that was featured on an MST3K collection I own.  It's a wide shot of two people sitting at a coffee table eating breakfast conversing when their friend, no shit, jump cuts into existence.  Servo responds with a hilarously appropriate, "I'M HERE!!!" but really, it needs no added joke.

Most of the DiF'ers have talked about the original impact Star Wars had on us.  That can't really be overstated. 

Many movies had an influence on me, but in terms of making me say, "Oh, movies can do that?"  there's three and they impacted me in very different ways.

The first was The Dark Crystal.  I knew Henson had done it, but that movie was the first to really uncork my imagination and it was unlike anything I had ever known.  Granted, I was 5.

One was Midnight Cowboy.  You had these incredibly flawed characters that were just shattered reflections of America in the 70's.  I saw it at age 15 and it redefined what a movie could of in terms of tone, rhythm, and how characters are supposed to relate to one another.  Also, first movie where I actually cried at the end.

Lastly, and I can't believe I'm saying this, but Clerks.  This was the first movie where the characters talked like me and my friends, cared about the same things as we did, and had the same feelings I was feeling at the time.  I had drawn this concrete line of demarcation in my mind about Classic Cinema and the films of today.  Most modern, consumer film may have used vocabulary similar to mine, but I rarely connected to the themes and ideas.  Classic Cinema often had a theme that was timeless, but it had the baggage of its era, so it worked better as allegory.  Clerks was one that felt modern and fresh, but relevant to what my experiences were and about themes I identified with.  Its not a perfect film, and Smith is not a perfect filmmaker, but Clerks hit me at that perfect time.

^ Dorkman just gave birth to his baby, and named it TEH CORRECT.