The Freshman Fifteen

In this longest-ever episode, Jeremy and Daniel take a break from their podcast break to talk Academy Awards with the ever-faithful, ever-brilliant pop culture maniac Jeff Jensen once again. As always, it's a spoiler-free dive into the Best Picture nominees for Oscars 2022! True to tradition, the three co-hosts end the discussion with their rankings of each film nominated, from least to most deserving.

A Freshman Fifteen exclusive interview with director Fred Munk about his freshman documentary, the 2021 Netflix Original 'Why Did You Kill Me?' Jeremy speaks with Fred about the artform of documentary, the responsibility of telling a true crime story and how a germ of an idea can grow into a successful film streaming all over the world. Also, Jeremy speaks with the film's cinematographer (and longtime collaborator with Jeremy's own film work), Douglas Brian Miller.

It's not a fake-out, it's true: Daniel is back to talk Oscars! He and Jeremy sit down with longtime friend and entertainment guru Jeff Jensen for a spoiler-free discussion of the 2021 Academy Awards nominees in the category of Best Picture. As always, your faithful hosts wrap up this uber-length special episode by giving their personal rankings of each film, from least to most deserving.

Director Alexander Payne takes center stage in this episode's conversation as we take a look at his 1996 freshman film comedy, Citizen Ruth.

In our first animated feature entry, we focus our virtual cameras on Pixar's Toy Story, the 1995 freshman film of director and animator John Lasseter. Jeremy digs into the cinematography side of 3D-animated storytelling while Daniel pontificates on Pixar's ability to evoke a sense of nostalgic familiarity inside a cartoon environment. Also, what are the best and worst Pixar films?

In a bonus discussion cut from the Reservoir Dogs episode, Daniel and Jeremy close the book on one of the enduring mysteries surrounding the end of the film: Who shot Nice Guy Eddie? Also, some thoughts about reasonable gangsters and the psychotic Lawrence Tierney. 

After an indefensibly long hiatus, The Freshman Fifteen returns to kick off a new volume of freshman films with Quentin Tarantino's legendary 1992 film, Reservoir Dogs. Daniel is conflicted about how to respond to directors who insist on reminding their audiences that they're watching a movie while Jeremy weighs the benefits of shifting your style of storytelling mid-film. Also, should some filmmakers get a pass when it comes to racially charged language?

Jeremy once again sits with longtime friend/guest/honorary co-host of the podcast, award-winning Watchmen writer Jeff Jensen with a spoiler-free discussion of the Best Picture nominees in the 2020 Oscar race. The two rank the films from least to most deserving of the grand prize.

Jeremy sits with longtime friend of the podcast, entertainment guru Jeff Jensen with a spoiler-free discussion of the Best Picture nominees in the 2019 Oscar race. The two weigh in on who most deserves the grand prize.

Jeremy sits down with former EW journalist and current HBO writer Jeff Jensen to discuss recent developments concerning the slighting of cinematography and other categories from the upcoming 2019 Oscars telecast.

In Episode 30, the finale of The Freshman Fifteen's second volume, the boys take to their mics with their biggest, boldest, most elaborate episode yet. Up for discussion: master craftsman and filmmaking legend Martin Scorsese and his 1967 film, Who's That Knocking at My Door. Jeremy declares Scorsese and Schoonmaker to be the Lennon and McCartney of film, while Daniel wrestles with outdated views of masculinity and what they might still have to teach us. Also, pop music. And finding the film in editing. And producing partnerships. And film curating. And documentaries as side projects. And everything else that is Martin Scorsese.

It took 29 episodes to get to our very first foreign language freshman film: 1993's Cronos, directed by cinematic legend Guillermo del Toro. Daniel delves into the how Mexican culture translates to films for non-Mexican audiences while Jeremy explores the psychology of subtitles. Also, how does color tell a story?

Episode 28 takes us to the 1998 freshman film of director Darren Aronofsky, the mind-bending, mathematical thriller Pi. Jeremy breaks down the mechanics of the SnorriCam while Daniel makes the case for artistic limitations. Also, what's the relationship between film, religion and myth?

Breaking from the norm, the boys go current-events-crazy to weigh in on the recent misdoings of space-hero-action-flick director James Gunn. What's more important, art or the artist? Where's the line between appropriate humor and punk rock free speech? Jeremy and Daniel examine and wrestle with Hollywood's latest scandal in their most personal special episode yet.

In Episode 27, the third in our summer blockbuster trilogy, we visit the freshman film of comic book action director Zack Snyder and his freshman film, 2004's zombie remake: Dawn of the Dead. Daniel dissects the philosophical implications of zombie-inspired nihilism while Jeremy fantasizes about murdering his coworkers. Also, are superheroes our culture's modern mythology?

Episode 26! It's Mission: Impossible III time, the 2006 freshman film of blockbuster director J.J. Abrams. Daniel attempts to decipher the magic of Tom Cruise, while Jeremy caustically plants a flag in what he considers the the greatest movie opening of all time and builds his case in defense of (gasp) the Abrams Lens Flare. Also, what's the secret to building a better action franchise?

With Episode 25, it's the arrival of three summer blockbuster directors, and there's no better candidate to get us started than bombastic director Michael Bay and his 1995 freshman film, Bad Boys. After a long-time listener crashes the recording session, Jeremy details the mechanics of Michael Bay's signature shot, the “Bay Swirl,” while Daniel wonders if every director is an artist. Also, what can indie films learn from summer tentpole mega-hits?

Episode 24 brings us to She's Gotta Have It, the 1986 freshman joint of the original b-boy provocateur director, Spike Lee. In their most open and raw discussion yet, Jeremy breaks down what it takes to film a great sex scene while Daniel ponders the consequences of making regrettable art. Also, why do white people prefer white films?

It's Episode 23, which means it's time to deep-dive into the freshman film of mega-budget director James Cameron, 1981's Piranha Part Two: The Spawning. Jeremy compares Cameron films to avocados, while Daniel wonders if it's possible for filmmakers to forego the messy matter of dealing with human beings. Also, can bad films contribute to making good films even better?

Episode 22! The freshman film of oft-lauded maestro Robert Cummings, 2003's House of 1000 Corpses is up for discussion this time around. Nelson explores the divide between suspense and horror while Longino advocates for this episode's film as a prelude to collegiate ménage à trois . Plus, what's the recipe behind the cinema of cruelty?

Episode 21 brings us to Following, the no-budget 1998 freshman film of mega-director Christopher Nolan. Daniel wonders if limitations can sometimes be the secret sauce to great directing, while Jeremy, big surprise, has more to say about Batman. Also, what makes a film rewatchable?

It's that time of year again and The Freshman Fifteen is back with this year's Oscars Special. Sitting in for Daniel is returning guest Jeff Jensen, weighing in with spoiler-free thoughts and opinions on this year's Best Picture nominees. Which films deserve the award the most? Jeff and Jeremy separate the good from the great.

Special guest Jeff Jensen makes his case for Lynch's biggest flop, DUNE, in a conversation deleted from Episode 20: David Lynch's ERASERHEAD.

The Freshman Fifteen's 20th episode visits pioneer artist David Lynch and his first feature film - 1977's Eraserhead. Daniel sermonizes on the virtues of great sound design, Jeremy decides that Lynch is better suited to Hannibal Lecter than Jabba the Hutt and returning guest Jeff Jensen connects the dots between Eraserhead and The Simpsons. Also, what's an "art film?"

Episode 19: The Freshman Fifteen takes a look at the 1975 freshman film of director Terry Gilliam, the comedy perennial Monty Python and the Holy Grail. Jeremy declares his favorite Holy Grail scene to be the ultimate comedy recipe while Daniel ponders whether confrontational artists are born or self-made. Finally, what does it mean for a filmmaker to be truly fearless?

Extended and uncut, Jeremy and Daniel's Batman discussion (recorded for Episode 18: Tim Burton's PEE-WEE'S BIG ADVENTURE) is presented here as a special for faithful listeners.

Episode eighteen! Jeremy and Daniel take a swirly, bug-eyed trip through the freshman film of the inimitable Tim Burton, 1985's Pee-wee's Big Adventure. Daniel describes how the guy from Oingo Boingo changed the way we listen to movie music while Jeremy tries to wrap his mind around an aesthetic powerful enough to rewrite the rules of genre. Also, are remakes and sequels actually cinema's riskiest game?

Confirmed Gentiles Daniel and Jeremy choose a couple of films celebrating Jewish history, tradition, people and culture in a special episode to kick off the week of Hanukkah. From anti-kosher childhood meals to doubling down on the "H" spelling of Hanukkah, our hosts get their dreidel on by recommending two must-see classics focusing on all things Semitic.

In Episode Seventeen, Daniel and Jeremy sit down with the freshman film of director Ridley Scott, 1977's The Duellists. Jeremy declares Ridley Scott filmmaking's Renaissance man while Daniel wrestles with the storytelling differences between a wide angle and a closeup. Finally: casting. Our hosts go head to head on the topic of Hollywood whitewashing.

The Freshman Fifteen returns at last! Episode Sixteen takes a look at Terrence Malick's Badlands. Daniel digs into the good and the bad of waiting for the editing room to decide what sort of film you're making while Jeremy submits that Terrence Malick characters tend to either burn or flow. Also, what's the difference between filming a plot and filming an idea?

Proud papas Daniel and Jeremy recommend and discuss two films to entertain your little ones during these hazy summer months. Daniel goes dark while Jeremy goes obscure, but both co-hosts keep their feet planted firmly in the category of animated features. Also, what is contemporary children's entertainment doing to our kids?

Stars 'n garters! In their July 4th celebration, Jeremy and Daniel return to the mics after a much-needed hiatus to discuss a couple of patriotic movie picks for American film lovers everywhere. Whether you take your hot dogs vegetarian or meaty, the boys' Independence Day picks have something for everyone - from childlike wonderment to hard-hitting political intrigue. Grab your earbuds, sparklers and a cold domestic brew and enjoy.

For their bonus-sized fifteenth episode, The Freshman Fifteen examines the first feature film of visionary director Stanley Kubrick, 1953's Fear and Desire. While Daniel ponders what it takes to push the boundaries of genre, Jeremy describes the rarest type of director of all: the dangerous filmmaker. Finally, what's next for The Freshman Fifteen?

It's Oscar Season! Join Daniel, Jeremy and special guest, Entertainment Weekly's Jeff Jensen, as they weigh in with their personal picks of the nine Best Picture nominees. Jeff gives listeners a peek inside the inner workings of the Academy Awards while Daniel and Jeremy make their case for the films that most deserve to take home film's highest honor.

In their fourteenth episode, our hosts take a look at the freshman film of documentarian Errol Morris, 1978's Gates of Heaven. Jeremy blows apart any remaining illusions about "reality" television while Daniel grapples with the technological oddity known as The Interrotron. Finally, what does the art form of documentary have to teach a society who's forgotten how to listen?

In their Valentine's Day Special, Daniel and Jeremy defer to their wives to recommend two (and a half) romantic films. That's amoré! While Jeremy's wife throws some unexpected grit and carnage into the mix, Daniel's wife prefers to stick to a tried-and-true classic. Plus, the boys make a case to their fellow men to take a chance on romance movies.

Episode 13. This time around, it's the 1999 film Being John Malkovich from director Spike Jonze. Jeremy breaks down the visual recipe of a traditional science fiction film, while Daniel attempts to solve the mystery of which Spike Jonze is the real Spike Jonze. Also, what's with these filmmakers that insist on reinventing the concept of filmmaking with every film they make?

Episode twelve's discussion focuses on 1999's The Virgin Suicides, the freshman film of director Sofia Coppola. Jeremy ponders the possibility that, in film, "who?" "what?" and "why?" are sometimes less important questions than "where?" while Daniel suggests that people of privilege need purpose too. Finally, the boys wonder if filmmakers who aren't interested in respecting your attention span sometimes have the best ideas to share.

Jeremy and Daniel count down their ten favorite freshman films of all time in part two of this special event episode. It's down to this: the final five. In the most personal episode of The Freshman Fifteen yet, the boys compare notes on what they consider to be the best of the best.

Jeremy and Daniel count down their ten favorite freshman films of all time in part one of this special event episode. From the classic to the obscure, the boys discuss their #10-#6 picks and why those films should be watched and rewatched by all.

Episode eleven. Daniel and Jeremy are back to talk about the freshman film of auteur director Paul Thomas Anderson, 1996's Hard Eight. Jeremy describes what it's like to sit next to P.T. Anderson at a Tarantino film while Daniel recounts chasing PTA through Long Beach in the hopes of scoring a hug. Also, the boys ask one of the fundamental questions of art: how much interpreting should an artist expect an audience to do on their own?

Ho ho ho! In their wassail-flavored Christmas Special, Daniel and Jeremy each recommend a yuletide film best enjoyed during the holiday season. From Christmas dishes gone sideways to the anti-consumerist hypocrisy of Charlie Brown, our hosts go full mistletoe before sharing two films sure to spark a little holiday cheer. Or paranoia. Or creative solitude.

Episode 10! It's Wes Anderson's turn for the Freshman Fifteen treatment as Daniel and Jeremy discuss his very first feature film, 1996's Bottle Rocket. Jeremy describes the crew-punishing hardships of shooting in a "Wes Anderson style," while Daniel pleads with cynical Anderson detractors to let Wes tear their hearts out. Finally: is Anderson the filmmaker the world needs most right now?

It's Episode 9 and this time around, Jeremy and Daniel scrape the bottom of the discount bin to ring up Clerks, the 1994 freshman film of the always-controversial Kevin Smith. Daniel questions whether every life story is film-worthy while Jeremy struggles to stay measured and rational while discussing a film he despises so deeply. Also, the boys ponder the relationship between artist and audience. Do they need each other at all?

For this Election Special, Daniel and Jeremy each recommend films with a political bent to soothe and distract from the stress and intensity of this season's Presidential Election. If you can't wait for this unending race to be over and done with, you're not alone. So why not take in a film or two before (or after) you head to the polls?

Up for discussion in Episode 8: the king of the sci-fi franchise, George Lucas (and his 1972 freshman film, THX 1138). Jeremy warns listeners that, once heard, DVD director commentaries can never be unheard, while Daniel wrestles with the definition of "completist." Finally, at what age does an artist create his or her best, most essential work? And while we're at it, what's the purpose of film?

For their spooktacular Halloween Special, Daniel and Jeremy each recommend a film best enjoyed during the Halloween season. From severed limbs on front lawns to homemade costumes gone awry, the hosts with the most discuss all things bump-in-the-night before eventually getting around to recommending two dark and creepy classics.

In episode seven, the boys are keen to discuss the macabre, 90s-pop freshman film of director Danny Boyle: Shallow Grave. Daniel makes the case that sometimes effective filmic violence is more about what you hear and less about what you see, while Jeremy laments his outcast status in his own generation. Also: are the brightest, most colorful stories sometimes secretly the darkest?

For the sixth episode, our hosts take a glamorous, sparkle-laden look at Baz Lurhmann's first film, 1992's Strictly Ballroom. Jeremy admits his own wedding turned out to be a Bazmark Production while Daniel wrestles with the conundrum of The Hemingway Boner and the risk of staying true to one's personal artistic expression. Finally, the boys explore the question of cynicism: how helpful is it when approaching the work of a filmmaker like Baz Luhrmann?

It's episode five, and our hosts fix their gaze on the franchise sequel Alien 3, the freshman feature of director David Fincher. Daniel opens the floodgates with a discussion of contemporary feminism while Jeremy plumbs the depths of cinematic theology. It's an anything-goes grab-bag of Fincher fanaticism, best-of lists and Sequel Theory 101. Also, the big question: is Ellen Ripley the embodiment of sci-fi feminism the world has been waiting for?

The fourth freshman film up for discussion is Sam Mendes' 1999 award winner, American Beauty. Our hosts break with tradition with a no-holds-barred criticism of its questionable themes and message. Jeremy sows seeds of marital discord in his own home while Daniel offers thoughts on what not to do after narrowly avoiding coital contact with a minor. Also, the boys ask the most confounding question of all: how did a film so wobbly win the hearts of so many?