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Dale Pon, R.I.P.

Pretty much the most famous media advertising campaign in history is “I Want My MTV!” –the May 2020 Google search returns 184,000 results, more than 30 years after the last flight ran– and it was the result of the brain of Dale Pon.*

* As I explain in detail in the pieces below, writer extraordinaire Nancy Podbielniak was the word spark for the campaign; it was George Lois who suggested ripping off “I Want My Maypo!” Dale Pon was the person who took these notions and turned them into brilliance.

Dale persuaded me and the powers that be at MTV that he could make it work, Dale who convinced MTV programmers to recording artists to participate for no fees. It was Dale who took the paltry budget allotted and strategized how to maximize the network’s cable distribution. And finally, it was Dale Pon’s dogged persistence and genius that caused cable operators across America to beg us to please stop running the campaign before all the telephone operators quit in frustration from all the people “demanding their MTV!!!”

My great friend –and better mentor– Dale Pon, passed away from difficulties due to Parkinson’s and Covid19. There’s no way to convey all of the ways people expressed their sadness to me today, but one of them probably encapsulated things best by saying “Complicated but brilliant, creatively inspired, strategic like chess master , we were lucky to have been touched by his talents...” All too true.

Dale could be –to say the least– a challenging personality. Determined to win, he could be a bulldozer crushing an ant. Warm at his core, he could be beyond generous will all he had at his disposal. Unlike many others with talent and raw intelligence, he was quick to share his remarkable thinking, lavish in his ability to elevate the talents of the shy and uncertain, and as bountiful with praises as he could be lacerating with his critical observations. He loved as deeply as he was able, and a constant explorer for the meanings of life.

When it came to the work, there was no one better at understanding media, and getting fans interested in its rewards. I don’t know if it was his methodologies and personality, or the fact that media promotion wasn’t all that well respected in the ad biz, but Dale didn’t have too much of a profile in the advertising world. I think, ultimately, he was much more focused on the work than on the publicity. So, things being what they are, what I’ve collected seems to be the most comprehensive look at his career, at least the parts that I’ve directly touch. By no means is it comprehensive, I know nothing about his radio days in the early 70s, and little about his work after I joined the cartoon industry. But all of what I have is yours, below.

I’ll lead with what a few of his colleagues and friends wrote a few years ago for Dale’s birthday. And then, below that, all the various campaign pieces (written from my perspective, of course) I’ve recalled over the years.

.....

April 2016, on the occasion of Dale’s birthday.

Dale Pon, my mentor and friend. Fucking smart.

Dale Pon’s been on my mind lately, as he is almost every day, because of the ways he taught me to think about …. um,everything. I’ve written about some other important mentors before, but Dale’s influence was so staggering I could never figure out how to sketch it out in anything shorter than book length.

“Dominate the space.” (He was referring to graphic design, but it might have served as a life philosophy).

“Of course, there’s an absolute truth.”

“You remember the first thing you see, but the last thing you hear.”

“The power of three.” (Broke that rule with this list.)

“Advertising is a frequency medium.”

“You make album tracks. I make hit songs.”

I’m not sure that he ever thought of himself as particularly quotable, but as you’ll see below, I wasn’t alone in internalizing. There were hundreds more bon mots, most of which he probably forgot as soon as he said them but stuff I’ve never been able to shake off, to this day.

His resume doesn’t do him justice, but quickly… For 40 years, Dale Pon was at the forefront of media programming and promotion for many of the major media companies, CBS, NBC, Viacom, Storer Broadcasting (where we met). He specialized in radio throughout his career, but when Bob Pittman moved into cable television, he prevailed there too (“I Want My MTV!” is still returns hundreds of thousands of Google search results, 30 years after it went off the air). He was wildly successful in an advertising agency partnership with ad legend George Lois, before setting up a solo shop, Dale Pon Advertising, in New York City.

Dale was brash and loud, very, and he certainly wasn’t to everyone’s taste. The friend who first recommended me for one of his jobs called in a rage when he quit and said if I really needed a gig so badly… I knew Dale’s work from its supremacy of the metropolitan subway system for the New York country music powerhouse (a paradox if there ever was one) WHN Radio, but it hadn’t occurred to me that actual human beings created advertising, or that it took any real brain power. Dale quickly disabused me of that notion, as he sent me to his tailor to buy me my first three piece suit (more appropriate for Park Avenue media than the cut off shorts I wore to our interview).

Most of all, he was really fucking smart. And deeply, articulately, astute about media. He could tell the story of radio stations or television networks better than anyone, and persuade their audiences to fall profoundly in love, by sticking to the basic human emotions like truth, desire, love. (My favorite? “Love songs, nothing but love songs” for WPIX-FM, directly appropriated for an Off-Broadway show). He didn’t end it there, with a creative, strategic and statistical brilliance that combined, to quote Bob Pittman (from another context completely) “math and magic.”

What I appreciated most was his intense, almost overwhelming desire to teach me everything he knew at exactly the moment I was desperate for his knowledge. In fact, as I observed him with myself and others over the years, it would be fair to say that if you wasn’t interested in being taught, Dale Pon wasn’t interested in you. And, not for nothing, it went both ways. He’s was as incisive a questioner and listener as one could want. Curious, intrigued, dying to know anything on almost any subject. In my case, it meant that we generally spent six or seven days together all the years we were together in two different media capitals. Whew!

Difficult? Challenging? Exasperating? You bet. I wouldn’t trade that time for anything.

Dale’s the one who changed the course of my work life, and as Scott Webb says below, “he changed me.” It’s because of Dale that I stumbled on my understanding that I wasn’t a music guy after all, or even a TV baby, but a pop culture sponge. I wouldn’t had the chance to participate in any of the culture shiftings I got to observe first hand. Who knows, maybe I would’ve stumbled through a life of complete dissatisfaction. That’s how profound his influence was on me.

Dale’s birthday recently passed by, and stuck for cogent things to say about him, I reached out to a few friends who’ve crossed his path and might be better at expressing themselves than I ever could. You’ll notice they’re pretty powerful personalities themselves, but Dale made an impression. Boy, did he make an impression. (I left out some of those controversial moments and unproductive comments.)

Well, our friends didn’t let us down. They got to the heart of the matter in ways I never could. Thanks everyone.

…..

Herb Scannell: Mythical.

Dale Pon is mythical.

He’s the man who “wanted his MTV” and got the world to say the same. My friend Fred always claimed that he learned whatever he knew from Dale and whatever I know I learned from Fred so it all comes back to Dale. Or blame them both. Happy Birthday Dale! Forever young!

…..

Bob Pittman: The Mad Scientist.

Dale Pon is the mad scientist of advertising. Full of passion, always with a breakthrough idea and the urgency to get it done quickly with no compromises. He made a huge contribution to my successes at WNBC Radio, MTV and even Six Flags theme parks. One of a kind….happy birthday to him from a big fan!

……

Scott Webb: “Most people don’t know how to think.”

Dale Pon didn’t just change my life he changed me. He encouraged me to be brave and fearless and never stop solving problems. He is one of the smartest people I have ever met and the teacher I will never forget.

You never know how things are going to happen. After 4 years at Sarah Lawrence, one of the most expensive liberal arts schools, I was clueless about a career. My secret wish was to write comics (mostly because I had no talent to draw). Unlike most of my class at SLC my parents were basically working class folks with a yankee work ethic who expected me to not move back home after graduation.

One January evening, I was talking with my friend Betsy K who had just graduated. She had just returned home from job hunting in the city. She had an interview at WNBC Radio; they weren’t hiring but were looking for interns. “What’s an intern?” I asked. I was so naive.

I immediately fell in love with the energy of the radio station. I had to work there.

“You’ll be working for Dale Pon. He’s very demanding. Do you think you can handle that?” asked Buzz Brindle, a WNBC program director. Me? Of course! I’ve got my Yankee work ethic and my Sarah Lawrence education. I thought I was ready for anything. But I was not ready for Dale Pan.

Dale was bigger than life, louder than anyone else in the company and frequently slammed the door to his tiny office. I found him brilliant, charismatic and intimidating.

My first big assignment for Dale was to create a chart of all the radio stations in New York and rank them by ratings performance over the past 2 years. I wanted to do a great job for him but the truth was that I was terrible at chart making. I was a liberal arts comic book kid and he had me doing statistical analysis and I knew if I did a bad job I would probably face his famous wrath behind a slammed closed door. But despite my inept chart building, Dale painstakingly taught me how to read the Arbitron reports and methodically went through my work and instructed me how to correct it. I learned more from him over that 5 month internship than I had in my last 2 years of college. But my lesson wasn’t in statistical analysis or radio promotion. Dale had high expectations of me, he believed in me and he was demanding in the pursuit of excellence.

A lot of people at the station didn’t like Dale mostly because he would raise his voice to make a point or because he was passionate about his beliefs, or would not hold back his opinion when something was mediocre, pedestrian or just plain stupid. Dale expected greatness in people, work and business. His mission was to win and often people found that difficult to embrace. I, on the other hand, found it awesome. I guess he reminded me of the comic book heroes I admired so much - characters who were extraordinary and could do things other people thought were impossible. Most people at the radio station were happy to have a job and get a paycheck and could care less about being #1 but for him that was all that mattered.

It didn’t hurt that he was so smart and insightful. He had the uncanny super power of understand exactly what the problem was – and he taught me that creativity was the ability to solve problems in fresh, innovative and smart ways.

“Do you know why I hired you?” he asked me at the end of my internship. “I didn’t want to hire one of those kids who studied advertising or media in college. Those kids have been ruined. They show up thinking they already know everything - and they haven’t even had a job yet. You didn’t know anything but you were willing to learn and think. Most people don’t know how to think.”

Those were some of the most important words I ever heard. They lit a fire of confidence and trust in myself that did not exist before and served me throughout my life, not just in work but in life.

…..

Bill Sobel: He yelled at me on the phone…no idea why.

…..

Noreen Morioka: “Good creates things, and Evil destroys it.”

There is no doubt that we all have a great Dale Pon story. Dale never did anything average. He did everything in extremes. Whether you were laughing so hard that you couldn’t breathe or wanting to shake him like a rag doll, Dale is unforgettable.

One of my favorite Dale Pon stories is when he was pitching a new name for a network. Since the channel was going to be all re-runs of a lower level, Dale named it Trash TV. I loved it, but when I presented my designs, he thought what I did wasn’t trashy enough and proceeded to get another designer to put flies swarming around the proposed logomark. When he presented his concept to the network president, he stopped at the building dumpster and pulled out garbage to bring up to presentation. Needless to say, the meeting didn’t go well, and the president was furious that Dale brought garbage into his beautiful office. Stern words were exchanged on both sides and security was called to take Dale and garbage out of the office. He called later to let me know they were going to search for another name. The network changed their name several times since then, and each time Dale would just smile. We all knew his solution was genius.

Like you, Fred, Dale taught me a lot. He taught me never to settle, always come back stronger and most importantly what the difference between good and evil was.

“Good creates things, and Evil destroys it.” Thanks to this simple Dale Pon-ism, I live my life by.

I will always have a deep respect and love for that guy. Happy Birthday, Dale. You are the true original.

…..

Tina Potter: So thoughtful.

Dale is a magnanimous gift-giver. I once told him the Chrysler Building was my favorite building in NY, and the next time I saw him, he brought me a beautiful framed B&W print of the building! So thoughtful. I still have it!

……

Judith Bookbinder: ANYTHING IS POSSIBLE.

I learned a lot from Dale in a very short time.

Dale taught me that ANYTHING IS POSSIBLE.

If you want to make something happen, figure it out or find someone who can do it for you.

This simple wisdom is something that has served me throughout my professional life.

…..

Ed Salamon: Directness and Simplicity.

I always appreciate the opportunity to say something nice about Dale, but the stories that first came to mind involved women, drugs, and fistfights. Or were otherwise too self-incriminating. Here’s what I’ve come up with:

The genius of Dale’s creativity is its directness and simplicity (like “I Want My MTV!”). Unfortunately that sometimes resulted in it being underappreciated.

When we worked together at WHN Radio I once heard our boss say to Dale at the end of the day “We need a new ad campaign slogan for the station by tomorrow. Take twenty minutes tonight, walk around the Village and come up with something.”

When I later started The United Stations Radio Network with Dick Clark and others, we hired Dale to create the logo, which he agreed to do out of friendship for only a nominal fee. The logo was a distinctive type face, with the letters stuck together (“united”). Some in the company commented that it was too simple; others appreciated its genius.

……

Tom Freston: A great bunch of guys.

Dale is a great bunch of guys. Argumentative, persistent, a perfectionist, fun, difficult, and smart as hell….winning, ultimately, most of his arguments. Happy birthday.

…..

Therese Gamba: “Work smarter, not harder.”

Long before there was “Better Call Saul” it was “Better Call Dale” when you were faced with a creative challenge. Dale had a long term relationship with MTV Networks having been part of the launch team for that iconic channel. So when The Nashville Network had to be relaunched as the new home of the WWE (then the WWF), oh and it had to be done in three months, there was only one person to call.

My first meeting with Dale was over lunch at the Mercer Kitchen. Fred had prepped me that Dale liked metrics and to be ready for a lot of questions. But as anyone who’s met with Dale will tell you, you can never be fully prepared for the hurricane of creative energy that is Dale Pon.

I was prepared with my Venn diagram of the overlap between TNN’s current viewers and the WWE’s viewers (no surprise, not a big cross section). Then the questions started in what felt like a ping pong match at warp speed.

Two hours into the lunch I had held my own and received the nod from Dale that I was on the right track. I was exhausted, relieved and thrilled to have passed the test. I learned that once you’ve basked in the glow of Dale’s approval, you were hooked. I also learned that I had become a member of an exclusive club, “Dale’s World.” My fellow club members all know the stories, share the memories and still live by what he taught us.

Dale always said “work smarter, not harder.” That mantra has never failed me just as Dale never failed to be supportive, inquisitive and completely one of a kind!

Happy Birthday dear Dale!

(From left): Dale Pon, Anne Grassi, Scott Webb at WNBC Radio, circa 1980.

Alan Goodman: “I’ll give you 50 bucks to fuck up this guy’s haircut.”

Two stories about Dale Pon –

1. I was in Paris with Dale (who ran our advertising agency – my mentor was now my supplier) and MTV’s VP of Programming, Les Garland. Dale and Les weren’t pals. How tense was it? We had dinner together one night in Paris and Les bought us all expensive Cuban cigars. Outside, Dale waited until Les split off to go to his hotel. The first second Les was out of sight, Dale pitched his cigar in the gutter.

We had flown on 10 hours notice so we could shoot Mick Jagger saying “I Want My MTV!” Dale had already shot a number of other MTV generation stars shouting the line, and some were even biggish. But Jagger was THE “get.” We knew that once Jagger blessed our campaign by participating, we’d get anyone else we would ever want. (We did).

We waited around the hotel a couple of days until we got the bat signal that Mick was ready, and raced over to his hotel to set up. Very quickly, what was supposed to be Dale’s shoot had become Les’ shoot. Dale was pissed, rigid with anger, sequestered with me in the adjoining room forced to watch the proceedings on a monitor. I went over to him to try to diffuse the situation. I can’t remember what I told him. But I remember his response, word for word:

“Do you think I need to hear any of this right now?”

I realized why I was in Paris. I was there, as the client, to witness who threw the first punch.

I had spent every single day of the past four months in the office trying to figure out how to do a job I had no idea how to do. I was exhausted. I had zero interest in the kind of politics and shenanigans that network executives pull, and I didn’t want to be there. That’s it, I decided. I’ve had enough. I’m a writer. I have a talent. I can make a living. I will get back home and I will immediately quit.

I said nothing. I smiled through the rest of the shoot. We stopped at a bistro after we wrapped, and had a lovely dinner and wine with the crew. It was a celebration. For good reason. We had Jagger. I stayed quiet. Silent, even. No one knew of my plans.

When we reached the hotel, Dale drew me aside and sat me down.

“You’re not going to quit,” he said. What?! Huh?! How did he know? On top of everything, the man can read minds??!

“You’re not going to quit. You are at the very beginning of something that will change the world, and you will have a great career. You have to stay there and be a part of that and do what you do really well. You cannot leave. Do you understand? You cannot quit.”

He went up to bed. I went home the next day, and didn’t quit. Instead, I stayed and helped make the thing that changed the world. And it was the beginning of a great career.

2. I went to get my hair cut at Astor Place one day. I walked up to my guy, and there in the chair was Dale. I didn’t know Dale used my guy. Dale looked up at me, looked at the barber, and told him, “I’ll give you 50 bucks to fuck up this guy’s haircut.”

…..

Scott Webb (unedited): “He didn’t just change my life he changed me.”

You never know how things are going to happen.

I was a few short months away from graduating from Sarah Lawrence College with no idea what I would do for a job. I was a kid who had grown up reading and loving comic books. After 4 years at one of the most expensive liberal arts schools I was clueless about a career. My secret wish remained to write comics (mostly because I had no talent to draw). Sarah Lawrence was a great place for me. It was there that I understood how to learn. I was naturally curious and SLC exposed me to a world of ideas and brilliant people (students and teachers). But Sarah Lawrence was not a place where I could start a career path. 5 months from graduating I felt the looming pressure of finding a job and making money. Unlike most of my class at SLC my parents were basically working class folks with a yankee work ethic who expected me to not move back home after graduation.

One January evening, I was talking with my friend Betsy K who had just graduated. She had just returned home from job hunting in the city. She had an interview at WNBC radio with a guy named Buzz Brindle. She said they weren’t hiring but were looking for interns. “What’s an intern?” I asked. I was so naive. She explained that an internship is where you work for free - for experience and to get your foot in the door. WNBC was part of NBC - one of only 3 existing TV networks at the time and my eyes lit up at the idea of of doing anything with a big media company. So I lined up a meeting with Buzz to see if I was intern material.

Buzz was sweet and avuncular and I immediately fell in love with the energy of the radio station. I had to work there. “We’re looking for interns in the promotion department” Buzz explained and I just nodded as affirmatively as possible. “You’ll be working for Dale Pon. He’s very demanding. Do you think you can handle that?” Me? Of course! I’ve got my Yankee work ethic and my Sarah Lawrence education. I thought I was ready for anything. But I was not ready for Dale Pon.

I interned at the station 2 days a week and It appeared I was the only male in Dale’s promotion team. I reported to a woman named Anne Grassi but Dale was the boss. Dale was bigger than life, louder than anyone else in the company and frequently slammed the door to his tiny office. I had never worked in an office before. I found him brilliant, charismatic and intimidating. The other interns and I would huddle in the conference room where we did our work and wait for our next assignment.

I did many things as an intern but my first big assignment for Dale was to create a chart of all the radio stations in New York and rank them by ratings performance over the past 2 years. This was no small task - this was way before computers in offices - and required me to go to the NBC research department to collect dozens of Arbitron ratings books and laboriously extract the data he wanted and lay it out graphically. I wanted to do a great job for him but the truth was that I was terrible at chart making.

I was a liberal arts comic book kid and he had me doing statistical analysis and I knew if I did a bad job I would probably face his famous wrath behind a slammed closed door. But despite my inept chart building, Dale painstakingly taught me how to read the Arbitron reports and methodically went through my work and instructed me how to correct it. I learned more from him over that 5 month internship than I had in my last 2 years of college. But my lesson wasn’t in statistical analysis or radio promotion. Dale had high expectations of me, he believed in me and he was demanding in the pursuit of excellence.

The chart was part of his battle plan to make WNBC #1 in the NYC market and when I understood the big picture of what he was doing I felt even more inspired and willing to do anything in the service of that cause.

It didn’t hurt that he was so smart and insightful. He had the uncanny super power of understand exactly wha the problem was - and he taught me that creativity was the ability to solve problems in fresh, innovative and smart ways. “Do you know why I hired you?” he asked me at the end of my internship. “I didn’t want to hire one of those kids who studied advertising or media in college. Those kids have been ruined. They show up thinking they already know everything - and they haven’t even had a job yet. You didn’t know anything but you were willing to learn and think. Most people don’t know how to think.” Those were some of the most important words I ever heard. They lit a fire of confidence and trust in myself that did not exist before and served me throughout my life, not just in work but in life.

.....

Susan Kantor and David Hyman were on the opposite side of their relationships with him, Susan as a long time account executive in Dale’s agencies, and David as a client. Drew Takahashi, a trusted friend and wonderful creative partner.

I’m particularly fond of the pull quote from David’s recollections. Having had hundreds of restaurant meals with DP over the years, waitress confusion was probably my overriding remembrance.

Susan Kantor has traveled to the upper heights of television since her time with Dale Pon in the 1980s. But when you read her memoir below he prepared her well, as he did with all of us.

Drew Takahashi is a director who co-founded (Colossal) Pictures, San Francisco, one of the most creative production companies of the 1980s and 90s, and one of the key creative suppliers to the first decades of MTV.

David Hyman became my head of marketing at the MTVi Group when the company purchased Sonicnet.com, one of David’s early digital music endeavors (he’s gone on as founder of MOG, one of the seminal digital music streamers).

…..

Susan Kantor: “Lead, don’t follow”. Love, Dale”

Hands down, Dale Pon was my most influential career mentor. Ridiculously smart, enormously passionate, admirably courageous and truthfully a little scary.

We would all brace ourselves for the moment the elevator doors opened and the sound of his fiercely determined walk in his trademarked cowboy boots could be heard. With the first, “good morning” would come a rapid fire interrogation of where we were at on all the “to do’s” he had just given us an hour ago. “Why isn’t it done yet?”

Leslie Fenn-Gershon and I used to joke about putting a Valium in his Perrier so we could get through the day.

When I got to the office in the morning there would often be a “note”, on my chair written with red Sharpie marker on yellow pad lined paper (pre-email), from Dale. His handwriting, had as much conviction as his spoken word. These encouraging notes were meant to guide, remind, teach, mentor or simply, to show his appreciation - often complimentary, occasionally piercing. I still have them.

“Lead, don’t follow”. Love, Dale

“Let’s make things happen!” Love Dale “

“There are children and there are parents. Be a parent.” Love, Dale “

“Everyone wants to be told what to do. Tell them.” Love, Dale “

“We had a good day today. Thank you for your help.” Love, Dale

As we chased rock stars around the globe helping MTV and VH1 revolutionize the music industry, and traversed across the county to position many TV and radio stations in their market, Dale always imparted the importance of what we were doing and demanded we do our very best, every day.

He recognized my innate work ethic, enthusiasm and willingness to do whatever it took to learn and succeed – he also knew how young and naïve I was. Ripe for mentorship and direction. I got both, and then some. The Dale Pon “boot camp” was not always pretty, but it was always colorful, impactful, memorable and most importantly, meaningful.

Not only did he teach me all about advertising and the importance of finding the unique selling proposition and saying it as simply as possible so people would remember it, he showed me the world and how not to be intimidated by it. He made me self-aware of my talents and my shortcomings. He also taught me there was no substitute for doing the work.

To this day, I love you Dale and I thank you for believing in me and giving me the chance of a lifetime.

Belated birthday wishes and hope to see you again soon!

…..

Drew Takahashi: “…he gleefully pushed me to do stuff I hated.“

After seeing you and the MTV crew took me back to good/bad old days. I realized I missed Dale Pon.

Back in the day I didn’t know he was a mentor. I only knew he gleefully pushed me to do stuff I hated. In the end I realized you and he knew what was better for me than what I knew. Someday I’ll learn my lesson.

Steve Linden and I went to shoot with Dale for WNBC [AM]. He asked us to meet him at Windows on the World bar for drinks and dinner. He showed up two hours later and Steve and I were suitably toasted. Then he insisted we join him in a very alcoholic dinner. I was so hungover the morning of the shoot I didn’t know how I could direct the talent, Don Imus. Dale apologized for needing to shoot something first so we didn’t roll my spot until the afternoon. Saved my ass.

Many more memories. The weirdest was him in the Colossal bathroom cleaning crabs of their guts for a surprise picnic in the middle of our animation camera shoot.

…..

David Hyman: “[He] always confused the waitresses.”

Here’s mine:

Dale came up with the name of my company, Gracenote. I think that just came really easy to him.

For a while he was a really great teacher to me. I stubbornly couldn’t take the occasional abuse that went with it, even though it was probably good for me. I was honored to be asked as the voice over for a $30 million tv ad campaign by Dale and encouraged to do voice over work. Thrilling to be informed I had career chops outside of sales & marketing.

Dale is the only person i know that would always order two margaritas for himself (at the same time). It always confused the waitresses.

.....

With Dale Pon @WHN Radio. 1977, New York City.

It was against all odds, but my late 70s stint in country music radio hooked me up with a mentor who made the difference.

Before I got to New York’s 1050 WHN, I was aware of the station. Well aware. Sometime in 1976, my friend/future partner/father of my beloved nephew and niece, Alan Goodman, asked me whether I’d seen some giant subway posters (the top photo above). Of course, I’d noticed them, with large portraits of Johnny Cash, Elvis Presley, The Eagles, Charlie Pride, Loretta Lynn, Kenny Rogers, Olivia Newton-John, Linda Ronstadt and seemingly dozens of other traditional and contemporary stars of the era. There were so many, they seemed to be everywhere. And, they were gorgeous, well designed, in a sea of drop-dead-New York graffiti, hum drum posters, homeless campers and mess, standing out like nothing we’d ever seen down there before. Too bad it was for music we couldn’t stand.

After I got the job with the station’s creative director and ad man, Dale Pon (another story for another time), I found out a bit about the thinking at the station and the advertising campaign. How did a city that was the home of the most sophisticated popular music of all time –to the likes of Duke Ellington, George Gershwin, Irving Berlin, Frank Sinatra– welcome the shitkickers in and become the second most popular radio station in the United States (or the world, for that matter)?

Dale was the supremely gifted Vice President of Creative Services, and he introduced me to Ed Salamon, the station’s innovative program director (Neil Rockoff was the General Manager who brought them together), who used a Top 40 radio approach* to country radio, upending the entire (typical New Yorker’s) notion that country music hadn’t evolved since Hank Williams.

No ordinary radio promotion guy, Dale had been a media buyer at Ogilvy, a radio upstart (a mild description) when the world switched from AM to “progressive” FM, and run radio ad sales teams. In the 80s, he would go on to successfully run his own advertising agency, and together we started one of the most famous media campaigns of all time, “I Want My MTV!”).

Dale Pon wasn’t going to promote the station as cowboy boots and hats, like the last team did. He wanted big ratings for WHN, big ratings. They all did.

* If you’re interested, Ed’s written a book that details his contrarian, and wildly successful, methods called WHN: When New York Went Country.

WHN Radio illustrations from top to bottom, all creative direction by Dale Pon 1977: New York City subway station double truck posters (L-R) Olivia Newton-John (obscured), Linda Ronstadt, Elvis Presley; Olivia Newton-John; Kenny Rogers; Television/Radio Age cover ads; Linda Ronstadt double truck subway poster.

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I Want My MTV! Early 1980s, New York City.

MTV had been on the air for six months and we’d fired the storied Ogilvy & Mather and hired Dale Pon’s LPG/Pon (a joint venture with George Lois) at my insistence. Now they were presenting their first trade campaign for advertisers and cable operators and my first big decision was being called into question. America is fast becoming a land of Cable Brats! “It’s audacious! Outrageous! Just like you guys.” George Lois was a big talker, a big seller, and a bit of a smart ass, loudmouth. He was also smart. Even though I knew he designed the “cable brats” thing, it was my brilliant mentor Dale, who’d never steered me wrong creatively or strategically, who was behind the whole thing. His ex-girlfriend, and now one of my best friends, Nancy Podbielniak, had written the copy. Besides, I agreed with Dale that generally trade advertising was a waste of time and bigger waste of money. Consumers were where it’s at, and weren’t all the tradesmen we were hopping to reach consumers too? If we had a knockout punch of consumer advertising our job would be done. I knew he was keeping his powder dry for the big show.

America is fast becoming a land of Cable Brats! There’s an incorrigible new generation out there. They grew up with music. They grew up with television. So we put ‘em both together – for the Cable Brats, and they’re taking over America! They’re men and women in the 18 to 34 age range advertisers want most – plus the increasingly important 12 to 17 segement. The Cable Brats buy all the high volume, high ticket, high tech, high profit products of modern America. They’re strong-willed, cunning, crazily impulsive – an advertiser’s peerless audience. They look and listen and they want their MTV. And they buy, buy, buy. Rock'n'Roll wasn’t enough for them – now they want their MTV. (The exploding 24-hour Video Music Cable Network (and it’s Stereo!)

George was certainly right. It was audacious, and it was a touch outrageous. Somehow, the tone wasn’t quite right, but after the crap Ogilvy had done for us, it was way better. Besides, hidden in there was the sand grain that was going to lead us to our pearl.

.....

I Want My MTV! 1982, New York City.

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I WANT MY MTV! took the phenomenon that had taken over the imaginations of young America and supercharged it into a famous brand with just about everyone in the country. I just googled [in 2010] “I Want My MTV” and it popped up almost 4,760,000 results. Pretty amazing for an advertising campaign that ceased to exist 22 years ago.* Pretty potent. The whole thing was the work of my mentor and friend Dale Pon. He’d been my first boss in the commercial media, at WHN Radio in New York when it was a country music station. He’d recommended me for my job at Warner Amex Satellite Entertainment Company, as the production director of The Movie Channel, and eventually as the first Creative Director of MTV: Music Television. We’d fallen in and out over the years, but in late 1981, when it came time for us to hire an advertising agency again –at first, the top dog had vetoed Dale as not heavy enough for a company like ours– with a lot of help from my immediate boss Bob Pittman, I was able to convince everyone that Dale understood media promotion better than anyone else in America. Anyone. Besides, didn’t he have “insurance” with his partner, legendary adman George Lois?

Dale Pon (via MTV: The Making of a Revolution)

No one had ever encountered an ad executive like Dale, because he had the unique ability to be completely and analytically strategic –”math and magic” Pittman might call it– and be wildly, and intelligently, creative at the same time. An almost unheard of combination, especially in media advertising. Sure, he had a volatile nature, in advertising that was often a given (look at his partner). But it was his strategic, creative abilities that really set him apart.

We’d already done our first trade campaign, the “Cable Brats,“ to the discomfort of most of the suits in the corporate marketing group (Bob and his team, me included, were in programming). But Dale didn’t buy into the efficacy of trade ads anyhow, so now were onto the big show, television advertising. The only problem was that we all recognized that an effective campaign would cost about $10,000,000. Our budget only had $2,000,000, and if we didn’t spend it quickly the corporate gods would probably take it away in the fall.

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"I want my Maypo” commercials, created by John Hubley

Looking back, the core creative ended up being the most straightforward part. Dale’s closest friend and creative partner, Nancy Podbielniak had written the cable brats copy and had a tag line “Rock'n'roll wasn’t enough for them – now they want their MTV!” That rung a bell in George Lois, someone who never missed a chance to abscond with someone else’s good idea, and decided to rip off his own knock off of a Maypo campaign from the 1950s and 60s (animator John Hubley originated it as a set famous animated spots, and George had unsuccessfully knocked it off using sports stars) and presented a storyboard that completely duplicated his version. Rock stars like Mick Jagger were saying “I Want My MTV” and crying like babies, implying they were spoiled children being denied. No one was buying it until Dale let me know that there was no way he’d ask Pete Townshend or Mick to cry for us. “Pride! They need to show their pride in rock'n'roll! They’ll be shouting!” After a little corporate fuss we were able to sell it in.

AMERICA! DEMAND YOUR MTV!

Now, it was the next part that was completely and utterly brilliant. Because Dale came from the school that great creative was all well and good, but unless it could move the business needle, what good was it? In this case, the needle wasn’t ratings (cable TV didn’t have ratings in 1981), but active households, distribution for MTV. Cable operators were all relatively old guys who thought The Weather Channel was a better idea; they’d turned a deaf ear to their younger employees who were clamoring for us instead.

To dramatically simplify the strategy Dale organized, he decided to only advertise in markets where:

• There was enough penetration to justify a modest ad spend.

• But where there were critically large cable operators on the fence about taking MTV.

• And that we could afford a 300 gross rating point buy (three times heavier as any consumer products agency would suggest) for at least four weeks in a row (the traditional media spend would call for pulsing 10 days on and 10 days off).

The “G” in LPG/Pon was Dick Gershon. Along with data from our affiliate group, he crunched and crunched and crunched until he came up with a list of markets and dates we could afford. It was 20% of what we needed, but everyone figured if we could really start to knock off a bunch of cable systems, get them actually launch our network, the domino effect would solidify MTV’s hold on the market forever.

Strategy in place, the creative was back on the front burner. The basic campaign was a great way to get famous rock stars endorsing our channel, but where was the close? What would actually make the 'ka-ching’ we needed? Luckily, back in the day there was only one way to for a homeowner get anything from your reluctant jerk of a cable operator (they figure they held all the cards, why should they do anything to make life better for their consumers?). And what was it that young adults loved to do? Dale knew immediately.

No one alive in front of a television set in the summer of 1982 could ever forget

Pete Townshend, with the wackiest haircut of his career, shouting at the video camera:

“America! DEMAND your MTV! Call your cable operator and say, "I WANT MY MTV!!”

We shot the spots wherever the rock stars would have us for 20 minutes (they still weren’t really sure this MTV: Music Television thing was going to be good for them). Our director and producer, Tommy Schlamme and Buzz Potamkin, got together with some puppeteers to choreograph the 'dancing’ stereo television. I asked my partner to go into the studio to edit the music sections when they weren’t rocking enough, and –poof!– famous advertising.

Nothing to it, yes?

* For comparison, “I Want My Maypo” posts 112,000 results on Google. Or “Where’s the beef?”, another famous 1980’s campaign for Wendy’s returns 176,000 (or if you only use that phrase, which has been appropriated for all sorts of uses, you get 2,640,000).

.....

“Mee, mee, me, meeee!” MTV Networks Online, 1999/2000 New York City

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MTV got Sonicnet in the middle of another transaction they thought would be more important. But as the internet heated up in the business world’s consciousness, Sonicnet.com became something they thought to pay attention to. Which meant that, as president of MTV Networks Online, I was trying to help make the thing successful.

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MTV had also acquired a then-unique personalized radio application. Coupled with Sonicnet, we decided an ad campaign would supercharge the site, something large media folks like us thought was necessary. (It wasn’t.*)

Over a few objections, I hired my brilliant, challenging mentor Dale Pon to create our campaign. Dale had done our the iconic “I Want My MTV” for me in the early 1980s and constantly proved himself to be the most creative and effective media ad man in America. The stunningly talented and perfectly musical film director Tim Newman was already on our online staff (after turning his back on a career that included some of the greatest music videos of all time), so he was really the only person who we thought could direct the spots. Dale hustled our head of marketing, David Hyman, into his one and only –and perfect– voice acting job. (And, I should put in a word for the Sonicnet logo. Designed by AdamsMorioka, from a concept developed by Fred Graver.

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You can see for yourself that Dale knew how conceive big ideas to bring out the best from stars. With Tim in the director’s chair, the results were pretty stunning. And, to cap it, Dale really knew how to use MTVi’s clout to reach for the stars (like Isaac Hayes, James Brown, Joshua Bell, Jewel, Pat Metheny, Sheryl Crow, Beenie Man, Gang Starr, Faith Hill, Lindsey Buckingham, Don Henley, Al Jarreau, Alice Cooper, Blink 182, Kenny Wayne Shephard, Bon Jovi, Buck Cherry, Charlotte Church, Christina Acquilera, Dwight Yoakam, The Ruff Ryders, Eve, Johnny Resnick (The Goo Goo Dolls), kd lang, Buck Cherry, Kelis, Lindsey Buckingham, Melissa Etheridge, Moby, Seal, Sisqo, Static X, SheDaisy, Hillary Hahn, Charlotte Church, Yo Yo Ma, and Sting.)

This campaign, like every other one I’d worked on with Dale over the decades, was a hoot. One of the best things to come out of my one year in the early corporate internet.

…..

* IMHO, one of the great mistakes media companies made during Web 1.0, was thinking that their traditional audience reach would give them huge advantage in building web destinations. They’d made the exact same mistake in the transition from broadcast to cable. It didn’t occur to them in either era that a basic misunderstanding of the newest medium –not knowing what the audience wanted from the upstarts– would not attract anyone to their websites.

And, by the by, the same mistake has been made from popular websites bungling the transition to mobile. And, so it goes.

#Dale Pon

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The Weekend Warrior 9/3/21: SHANG-CHI, CINDERELLA, WORTH, MOGUL MOWGLI, YAKUZA PRINCESS, YEAR OF THE EVERLASTING STORM, and More

There’s only one new wide release this week but I’m not gonna say this movie title five times, because it’s so freakin’ long, that I can only really say it once. But it’s a good one! There’s also so many limited releases that as always, I just couldn’t get to all of them. (Word of warning: This column was finished under the influence of Churches' excellent new record, Screen Violence.)

Marvel Studios’ second movie of 2021, SHANG-CHI AND THE LEGEND OF THE TEN RINGS (Marvel/Disney) stars Simu Liu as the “Master of Kung-Fu” from the comics, making his very first appearance in any live-action form that I know of. I have to say that I loved the comics as a kid and was truly bummed when I sold my whole collection, knowing that a lot of the great run of the comics from the ‘70s and ‘80s that have never been reprinted. That being said, this is Marvel’s first solo character introduction going all the way back to Brie Larson as Captain Marvel back in March, 2019, and before that, you’d have to go back November, 2016 for Doctor Strange, since Black Panther was introduced in Captain America: Winter Soldier.

Shang-Chi is directed by Destin Daniel Cretton, who broke onto the scene with indie films like I Am Not a Hipster and the better-received Short Term 12, which also introduced much of the world to Larson, and then the two of them made an adaptation of The Glass House. Cretton then directed Michael B. Jordan, and again, Larson, in Just Mercy for Warner Bros., which grossed $36 million in early 2020 but never quite achieved the Oscar hopes some were expecting. Still, all that work with Larson paid off, because it got him a meeting with Kevin Feige and Marvel for him to pitch this.

Granted, Simu Liu is a bit of an unknown quantity, having not made too many movies and being best known for the sitcom, Kim’s Convenience. On the other hand, his co-star Awkwafina has been building quite an impressive career from her roles in the 2018 hits, Crazy Rich Asians and Ocean’s 8, plus her starring role in the indie, The Farewell, for which she won a Golden Globe (but really should have gotten an Oscar nomination). She’s taken that success to put it into her Comedy Central show, Nora from Queens, while also providing her voice for lots of animated movies, including this year’s Disney animated movie, Raya and the Last Dragon. Most who have seen the movie early have mentioned that her comic chemistry with Lu has stolen the movie and oddly, her “best friend” character Katy seems to be heading towards a larger part in the MCU.

If we look at movies based around characters who received solo films before appearing anywhere else in the MCU, we get the aforementioned Captain Marvel movie, which had an insane $153 million opening weekend, doing even better than the Distinguished Competition’s own solo female movie, Wonder Woman, even though the latter was definitely better known. Captain Marvel ended up grossing over $400 million domestic and over a billion worldwide. The Doctor Strange movie that preceded it, starring Benedict Cumberbatch, didn’t do quite well but still opened with $85 million and made $232 million domestic. A year earlier, Marvel Studios’ attempt to make Ant-Man a thing led to one of their bigger disappointments with that opening with “just” $57 million and grossing $180 million domestic. (That also cost $30 million less than Doctor Strange and $45 million less than Captain Marvel, but when you get to those budgets over $100 million, every dollar counts to making back that budget.)

As with many MCU movies, Shang-Chi has been receiving rave reviews with a strong 92% on Rotten Tomatoes from over 140 reviews (at this writing). My review of this is over at Below the Line, and I loved it, too. The big selling point for Shang-Chi is that like Black Panther was to African-Americans, this character is to Asian-Americans, being able to see the first Marvel movie starring an Asian-American, as well as a mostly Asian cast that includes the great Tony Leung and Michelle Yeoh (who also starred in Crazy Rich Asians).

There are a few factors to bear in mind, and not just the COVID Delta variant one that we’ve been hearing so much about -- there’s no denying that things are getting worse, and hopefully this can be quelled before there’s another shutdown. This weekend is the four-day weekend with Labor Day on Monday, which has never been a great weekend at the movies, partially because schools have either started or are about to start and people just stop going to movies, despite there having been plenty of early September hits like Warner Bros’ It. September is definitely a new month for Marvel to release a movie, but with all the delays due to COVID, it’s a good (I’m not gonna use the term “experiment) to see if Marvel really can withstand the proverbial 12-month release calendar rather than their movies needing to be released over the summer or holidays or any other month.

Unlike the recent Black Widow, which had a substantial $80 million opening, Shang-Chi is not being released simultaneously on Disney+ via Premier Access, which presumably will mean more people will have to go see the movie in theaters during its 45-day run before heading home, but the question really is “Will they?” Besides Crazy Rich Asians, which did incredibly well among non-Asians, there haven’t been a ton of movies with Asian casts that have done well just due to the fact -- I mean, look at the recent Snake Eyes from Paramount Pictures. It didn’t get nearly as good reviews, but it’s another superhero movie with a mostly Asian cast, and that community didn’t get behind it at all. Maybe we can say the same about Raya but that also was released much earlier in the pandemic.

With that in mind, I do think Shang-Chi is good for a four-day opening between $53 million and $57 million, although I don’t think we can expect this to have the same impact as a Marvel movie with a well-known character or actor in the lead.

This weekend’s four-day box office should look something like this:

1. Shang-Chi and the Legend of the Ten Rings (Marvel/Disney) - $55.6 million N/A

2. Candyman (Universal) - $13.2 million -40%

3. Free Guy (20th Century/Disney) - $11 million -16%

4. Paw Patrol: The Movie (Paramount) - $7 million +6%

5. Jungle Cruise (Walt Disney Pictures) - $4.5 million -10%

6. Don’t Breathe 2 (Sony/Screen Gems) - $2 million -30%

7. Respect (MGM) - $1.8 million -20%

8. The Suicide Squad (Warner Bros.) - $1.3 million -35%

9. The Protégé (Lionsgate) - $1.4 million -43%

10. The Night House (Searchlight) - $800k -39%

Hitting Amazon Prime Video on Friday (as well as select theaters in New York and L.A.) is Kay Cannon’s musical CINDERELLA (Amazon), which was originally going to be released theatrically by Sony Pictures in January, but it then became one of the first movies to have its production be shut down by COVID, so everything was delayed, and then Sony just decided to sell it off to Amazon, but considering everything going on, that may have been the wise choice, since I have a feeling more people will see this on Amazon then would have gone out to theaters with COVID, school starting, etc. Either way, you can read my interview with Kay Cannon over at Below the Line.

The movie stars pop star Camila Cabello In the title role of the musical was the brainchild of James Corden, who is no stranger to musicals. In fact, he seems to appear in almost every single one, or is that me? The nice thing is that you already know the story, as that hasn’t changed much, although Cannon definitely gives it a more modern spin in terms of Ella being far more feisty and a truly modern woman despite living in times where women aren’t allowed to do their own thing. Ella wants to be a designer, and she’s already making progress as she sews beautiful dresses in the basement where she’s kept by her stepmother (Idina Menzel) and taunted by her stepsisters (Maddie Baillio and Charlotte Spencer). One day, she meets the Prince Robert (Nicholas Galzitine) in the woods and has such an effect on him that he decides to hold a ball and invite all the women in the land in order to find a princess.

Like I said, pretty much the same story that we’ve seen in so many adaptations and quite a few musicals, and really, what probably will stand out more than anything is how talented Cabello is, considering that this is her first acting role in a major feature, and she kills it. I wouldn’t say that I love all the song choices, but I did love most of the arrangements, and there are so many great standout moments like “Shining Star” performed by Billy Porter as Cinderella’s “Fab G” (replacing and gender-switching her Fairy Godmother) and Menzel’s performance of her own song she wrote for the movie is a definite showstopper.

Obviously, casting the likes of Menzel and Porter means you have a couple ringers, but Minnie Driver is also great and even Pierce Brosnan kind of makes up for his horrific singing performance in Mamma Mia! This time, he gets something more in his range. And James Corden is in it, but it's such a small role that even those who truly hate him don't have enough time to do so.

It’s probably a cliché to say that this Cinderella won’t be for everyone, and I’m sure many critics had their knives out for it sight unseen. Personally, I know tons of fans of musicals and movies like Into the Woods, and yes, the Pitch Perfect movies, who will really enjoy what Kay Cannon and her talented cast and crew have done with the story. Kay Cannon’s Cinderella is a movie that’s more about fun entertainment than anything particularly cerebral, and in days like these, maybe that’s all that is needed sometimes.

There's a ton of other interesting indie films out this week… some of them are even good!

A movie that many (hopefully) will view with interest is Bassam Tariq’s MOGUL MOWGLI (Strand Releasing), co-written by and starring Riz Ahmed, which premiered all the way back at the Berlin Film Festival in February 2020. Besides it being of interest due to Ahmed’s presence, Tariq is also rumored to be directing the new Blade movie for Marvel Studios, starring Mahershala Ali, so many will (hopefully) be checking out this movie for that reason alone. (It certainly grabbed my interest.)

In the movie, Ahmed plays Zaheer who raps under the pseudonym of Zed, but he’s a Pakistani living in London at odds with his parents and the Muslim traditions put upon him. Just as he’s about to go on a major tour that could give his career a much-needed push, he suddenly loses the ability to walk and is diagnosed with a muscular disease that will involve stem cell therapy.

Okay, yes, this is another movie involving Ahmed as a performer who is hit by a debilitating condition much like his Oscar-nominated turn in Sound of Metal, but this is a very different movie that also deals with culture and religion and other things that just had much of an impact on me. Zaheer is told by his doctor that after the procedure, he would be unable to have kids, so he should freeze his sperm, and there’s a scene that I personally experienced when I was told the same before my stem cell transplant.

As much as this is very much a family drama, there’s also an interesting almost horror element to Mogul Mowgli as Zameer is constantly being plagued by hallucinations and nightmares, but there’s also some light humor in the fact that his main competition, another Pakistani rapper named “RPG,” is a bit of an idiot. But this really is Ahmed’s show, and heck, I might go so far to say that I think Ahmed’s performance in this movie is even better than his performance in Sound of Metal if you can believe that.

Mogul Mowgli proves beyond the shadow of a doubt that Riz Ahmed’s Oscar nomination was no fluke. He is clearly one of the best actors we have today, and he also shows that lacking the right material, he’s just going to write his own. It's opening at New York's Film Forum on Friday, and I'm not sure where else.

Brazilian filmmaker Vicente Amorim’s action-thriller YAKUZA PRINCESS (Magnet) -- which has played a couple recent genre festivals like Fantasia in Montreal -- really should be my kind of movie. Based on the Manga of the same name, it’s set in Sao Paulo, Brazil, where I used to live as a kid, believe it or not, but it’s also one of the largest Japanese communities outside Japan. In this environment comes newcomer Masumi as Akemi, who was orphaned as a child and left in Sao Paulo, but she later learns she’s the heiress to the Yakuza crime syndicate. She ends up meeting a badly scarred-up stranger with amnesia (Jonathan Rhys Meyers) who believes an ancient katana sword might bind their fates.

Like I said, this should be my kind of movie, because I love Yakuza films and crime films set in the world of Japanese crime, and as I said, I lived in Brazil, so that country still hold a place in my heart. Unfortunately, I’ve seen a lot of amazing Yakuza films from the great Takashi Miike, and this one is just so erratic in terms of pacing and tone that it really took me quite some time to really get into it.

Unfortunately, this movie at its core feels like another Kill Bill wannabe where Amorim relies so much on being super-stylish and throwing in lots of fast editing to make up for the lack of originality or any real substance.

The writing in the movie isn’t great, at least at first, but it’s also far too obvious how new and green Masumi is as an actor, because she delivers her lines and swordplay with very little charisma, and Rhys Meyers isn’t much better. In fact, the film’s best parts are the ones in Japanese, but that’s in the second half where the movie slows down considerably. There is the expected amount of gory swordplay and people being shot in the head, but there’s also way too much unnecessary exposition, much of it in bad English.

There’s just no way around that this is a movie that tries to jump on a genre bandwagon that has been handled so much better by Japanese filmmakers, while this just fails to keep the viewer interested beyond its soundtrack and the score by Lucas Marcier and Fabiano Krieger, which is pretty fantastic. Sure, it’s pretty violent and gory, but at times, it relies too much on viewers really only being on board for that. Other times, it feels like a patchwork of elements that don’t necessarily work together but also feels so derivative of so many better films.

Essentially, Yakuza Princess is yet another overly stylish action movie that’s better when everyone is fighting rather than talking. I had a hard time staying interested, and I’m not sure if that would have been exacerbated if I saw this on the big screen vs. a screener. Unfortunately, you'll only get to see on the big screen in certain regions, because it's mainly being released VOD.

Hitting Netflix on Friday after a week at New York’s Paris Theater is Sara Colangelo’s drama WORTH (Netflix), starring Michael Keaton, Stanley Tucci, and Amy Ryan, which premiered all the way back in January 2020 at the Sundance Film Festival. In the movie, Keaton plays Kenneth Feinberg, an opera loving lawyer and college professor who is commissioned to start the 9/11 Victim Compensation Fund, which has to come up with the amount of money that the families of those who died in the terrorist attacks will receive.

As you can probably expect, this movie is a laugh a minute… no, I’m kidding, this is a well-written and acted, but also often rather dry drama that’s about a serous topic, but it also feels like it comes so late after 9/11 that it doesn’t feel as relevant anymore, even with the anniversary coming up soon.

The movie is very much a spotlight for Keaton, who sports a heavy Massachusetts accent but still delivers a solid performance as the man with the unenviable task of trying to calculate the payouts for the people who lost loved ones in the 9/11 attacks. But Keaton doesn’t just deliver himself, he also brings out the best from everyone else in the cast, not too surprising from Ryan or Tucci, but there are also lots of pleasant surprises, including Shunori Ramathan and some of the actors playing the people who lost family members.

More than anything else, the movie is very much about the excellent script by Max Borenstein (who mostly has written a bunch of Godzilla and King Kong movies, oddly enough), and in that sense, it reminds me of Tom McCarthy’s Spotlight or the recent The Report, which are both solid movies but also very dialogue-driven ensemble dramas. Colangelo does a fine job with the film's pacing, which much have been a difficult task.

The only real problem with Worth is that it's so filled with crying and drama it's pretty hard to take for two hours straight. Basically, it’s one of those very good movies that you really have to be in the right headspace to get through it.

Michelle Civata's THE GATEWAY (Lionsgate) is a crime-thriller set in rural St. Louis with Shea Whigham playing Parker, a social worker who is trying to protect his client, a single mother (Olivia Munn) with a young daughter, whose husband was just paroled from jail with a drugdealer (Frank Grillo) trying to get him back on the payroll.

I wasn't sure about this one at least as it started, even with such a solid cast, which includes Bruce Dern as Park's estranged father, and it certainly started out a bit erratic with some scenes and characters working better than others. What works in the movie's favor is Whigham is such a good actor who rarely gets juicy roles like this one where he can be at the center of the story, and The Gateway shows that maybe this shouldn't be.

Despite a woman as director and co-writer, the whole thing comes off as fairly macho, clearly influenced by filmmakers like Scorses, but the fact that there's heart and real characters at the center of the movie that doesn't offer some degree of action -- gunfights, car chases and such -- does make The Gateway far better than it could have been.

Unfortunately, things start to fall a bit in the last act, although there are some great scenes between Whigham and Dern, and I generally like what the movie is trying to say about family. Because of that, The Gateway ends up being a decent indie crime thriller that doesn't veer too far from others but gives Wigham a long-deserved leading role to show his stuff.

The Gateway will open in select theaters, and be available via Apple TV and other digital platforms Friday and then be available on DVD and Blu-ray on Tuesday, September 7.

Sean King O’Grady’s thriller WE NEED TO DO SOMETHING (IFC Midnight) stars Sierra McCormick as teenager Melissa, who ends up trapped with her family in a house after trying to shelter from a storm… and boy, did this movie remind me of this awful recent movie called John and the Hole that IFC released last month. And this one really isn’t much better, despite starring great actors like Vinessa Shaw and Pat Healy.

Honestly, I have no idea why anyone would read the script by Max Booth III (based on his own novella, no less) and think, “Boy, this would make an interesting movie,” but this is the age we live in where everyone is trying to make something cool and woke for the kiddies, and in this case that comes in the form of Melissa’s goth girlfriend Amy (Lisette Alexis) who shows up (in flashback) as so that they can do some incantations which may be causing all the weirdness. It’s as if the filmmakers thought that throwing in a bit of The Craft might save it.

I probably was most disappointed by Healy, since I’m such a fan of his work, but he isn’t given much to do except rant and rave and yell a lot, and he really comes off like an asshole, which is not a great look for him.

O’Grady throws all sorts of things at the family like a not particularly scary stupid looking rattlesnake that has them screaming horribly and some kind of… werewolf or something? (I don’t know ‘cause we never see it. We just see its tongue which Melissa rips out.) Honestly, I’m not sure I’ve ever seen worse acting, which just makes the family even more annoying.

With a really stupid premise that is barely able to carry a movie, if you’re gonna call your movie We Need to Do Something, then for EFF’s sake, DO SOMETHING! Man, this movie frustrated the hell out of me.

Also out on Friday is the anthology film, YEAR OF THE EVERLASTING STORM (NEON), which features an amazing roster of filmmakers, including David Lowery, director of the recent The Green Knight, Jafar Panahi, Anthony Chen, Laura Poitras (CITIZEN4), Apichatpong Weerasethakul, and others, taking a semi-documentary approach to share their thoughts on living in a pandemic… I watched the Panahi and Chen segments but never got to the rest, but if I do, I'll add my thoughts on the film as a whole when I have a chance. The movie opens at the IFC Center in New York this Friday and then in Los Angeles at the Laemlle Royal next Friday.

I wasn’t able to get to Safy Nebbou’s WHO YOU THINK I AM (Cohen Media), based on the best-selling novel from Camille Laurens, but it stars the great Juliette Binoche, a single mom and middle-aged professor who is ghosted her 20-something lover so she creates a fake Facebook profile for 24-year-old avatar named “Clara” who is friended by her ex’s roommate. This opens at the Quad Cinema in New York on Friday as well as in L.A. at the Landmark, and I hope to get to watch it soon.

Another movie I’ve been looking forward to seeing since it premiered at Sundance but just haven’t found the time is Lyle Mitchell Corbine Jr.’s WILD INDIAN (Vertical), starring the great Michael Greyeyes as a native American man who decades earlier covered up a classmate's murder, but now has to deal with a man who wants vengeance for the secret he's trying to keep as he tries to protect his wife (Kate Bosworth) and boss (Jesse Eisenberg) from that secret. Sounds pretty amazing and man, I wish I could just fit in more movies with everything I have going on right now.

Chad Michael Murray plays the title role in Daniel Farrands' TED BUNDY: AMERICAN BOOGIEMAN (Voltage/Dark Star PIctures), which hits VOD and DVD this Friday, but unlike last week's No Man of God, which deals with Bundy already in prison, it deals with Bundy still on the prowl and the law enforcement agents who eventually brought him down including detective Kathleen McChesney (Holland Roden) and rookie FBI profiler Robert Ressler (Jake Hays). I haven't had a chance to watch this yet, but it would have been nice if they released the two movies in chronological order, no?

A great doc that played at the Tribeca Festival a couple months back and will hit Showtime this Friday is Sacha Jenkins’ BITCHIN’: THE SOUND AND FURY OF RICK JAMES (Showtime), an absolutely fascinating look at the controversial funk and soul star whose catchy dance music of the '70s led to drugs and worse offenses in subsequent years. This is a fantastic doc that I wish I could watch again, but I don't have Showtime. Waugh waugh...

Others that came out this week or weekend:

AFTERLIFE OF THE PARTY (Netflix)

STEEL SONG (Gravitas Ventures)

SAVING PARADISE (Vertical)

Next week, the new horror movie from James Wan, Malignant, as well as Paul Schrader's The Card Counter, which I think might be going wide next week, too.

#The Weekend Warrior #movies #reviews #cinderella #shang-chi #box office #yakuza princess #worth #mogul mowgli

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