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| br>I'm trying my best to keep my involvement in these review posts to a minimum, but the 1 thing that seems to keep coming up, that I can't help but feel a need to respond to, is these kind of "Why wasn't [x person] in IDOW?" posts... especially when they are followed up by some sort of implication that we deliberately didn't speak to some manufacturers etc based on bias/preference. I suppose when it came to the music artists, there was perhaps some inevitable bias based on who we were aware of, and in a lot of cases, which artists we admire and wanted to meet. On the other hand, we definitely spoke to many artists whose music I am not a fan of &/or that I'm not familiar with. In the case of manufacturers and formats, we had absolutely no bias at all as to who we covered and didn't cover. We were willing & interested to speak to anyone. It had everything to do with geography and whether our budget took us there.
Sometimes it seems like people think we were in a position to write a list of who most deserves to be in IDOW and then we could just do whatever to make that happen. This film wasn't made by a team of people with a BBC budget. Budget was a huge factor and so was time.
Best to enjoy it (or not) for what it is and for who was interviewed instead of griping about who wasn't covered. It's funny to me how many people have expressed surprise that we didn't talk to Eno, like we could've just got "our people to call his people." We're just 2 guys with no special industry connections. We know who Brian Eno is; we didn't *forget* about him. What's amazing is the fact that we *did* manage to get interviews with the likes of Reznor, Clarke, etc. br> br>