i think the editing and musical choices are aimed at the older crowd, but that may just be a function of thats what the editors/msp in general really likes.
i think you are right that msp is trying to put out the most gnar film they can, and inevitably that poses a problem. gnar means AK, and unfortunately, as fatbastard (gaffney?) pointed out earlier AK limits what you can do, as you have to shoot from a heli, and as the olenicks pointed out a year or two ago, the scope of AK is completely lost on you until you get above the line---the cliff you thought was a nice 20fter is actually 70.
so what do you do?
nothing?
or do you try to use a shitload of helmetcam like PBP/JP did in War, and TGR did w/ sage last couple years? helmetcam is amazing. its like being able to film on the knuckle of a jump vs 100 ft away. it changes everything, and really shows you how fucking ridiculous AK is.
mcintosh's opeening seg illustrates my point for me. his jackson seg was the gnarest thing i've seen pretty much ever...all because of helmetcam. his AK seg....meh. did he have a bad couple of days? no. the jackson seg jsut translated that much better with the helmetcam and far-cam pairing. i guess my logic is leading me to say that AK doesn't translate well to movies, and unless you use helmetcam or go rediculous balls out like seth it tough for people to relate. i can't remember why but wink inc's waiting game did something in AK that made it amazing i forget what.
also, while aiming at gnar is cool, i don't think that shoudl be your main direction. your main direction should be the oft-used cliche of combining park and big mountain. thats what have been the best segs in my opinion. whether it be dash (really underrated seg btw), sage and MAB in anomaly, andy and pep (pep took it easy this year) in ski porn, or pollard in msp. but although msp shoots pollard, he turns around and edits it in pull better than they did....what the fuck? how does that happen?
can you tell that i'm trying to write another 15 pg paper?