Podcast appearances and mentions of Allison Anders

I love reviewing films that have been on my list for ages but haven't watched yet. This was such a great film that I took me way too long watch. Over the past few years this has become a theme, so much that I made (and will add to) another list on Letterboxd about films I was obsessed with on a late viewing. This has now joined the ranks of that list. Gas Food Lodging, directed by Allison Anders is a great drama and coming of age film set in the Southwest. The performances by Fairuza Balk and Ione Skye need to be studied and talked about more. I get into the INCREDIBLE fashion that stemmed from the late 80s, why J. Mascis is great at composing a movie score, and how I loved the end of this story.Off-topic rants include: fashion and music categorization and why you can think of me as the clerk behind the video rental counter  ---Get BONUS episodes on 90s TV and culture (Freaks & Geeks, My So Called Life, Buffy, 90s culture documentaries, and more...) and to support the show join the  Patreon! Host: Lauren @lauren_melanieFind more Fashion Grunge on LinktreeJoin me on Substack:  The Lo Down: a Fashion Grunge Blog/newsletter☕️ Support Fashion Grunge on Buy Me a Coffee: https://www.buymeacoffee.com/fashiongrunge

We're back from our short spring hiatus this week with a very special conversation featuring my friend & occasional co-host, the wonderful Senior Vice President of The Black List, Kate Hagen. Joining us today are two of our favorite women & returning guests, the fabulous writer-director, cinephile, & retired professor Allison Anders, & her incredibly in-demand music supervisor daughter Tiffany Anders. Allison, of course, is the great filmmaker behind such contemporary classics as GAS FOOD LODGING, MI VIDA LOCA, GRACE OF MY HEART, & THINGS BEHIND THE SUN, & Tiffany Anders is the tastemaker & music supervisor behind RESERVATION DOGS, PEN15, & BEEF. Passionate about music - especially rock & its intersection with film - they're here today to tell us all about the upcoming triumphant return of their beloved early aught Los Angeles-based film festival Don't Knock the Rock (aka DKTR), which showcases hard-to-see & overlooked music documentaries & rock classics & boasts Master Classes, Special Guests, discussions with filmmakers, & more. This year's festival is particularly exciting because it has both an in-person component at the American Cinematheque Los Feliz 3, which runs from May 23-27, & a streaming festival hosted by Cineville from May 23-July 31 that everyone can access. Filled with stories about music, movies, records, LA, & more, this breezy, infectiously delightful discussion is a perfect summery weekend listen! Originally Posted on Patreon (5/18/24) here: https://www.patreon.com/posts/104487153Theme Music: Solo Acoustic Guitar by Jason Shaw, Free Music Archive Shop Watch With Jen logo Merchandise in Logo Designer Kate Gabrielle's Threadless Shop

On this episode of Podcast Like It's 1992, Phil & Emily are joined by writer/director Chandler Levack to talk about Gas Food Lodging.‌We discuss director Allison Anders, why this film doesn't get the love it deserves, and character comparisons to Chandler's film I Like Movies.‌‌Patreon: Get more from Podcast Like It's... on Patreon‌Twitter: Podcast Like It's... (@PodcastLikeIts) on X‌Instagram: Instagram (@podcastlikeits)‌Reddit: http://reddit.com/r/podcastlikeits Hosted on Acast. See acast.com/privacy for more information.

This week, I'm delighted to be joined once again by my good friend Kate Hagen, who is the Senior Vice President of The Black List. Returning to the show for another conversation with some of our favorite independent filmmaking heroes, in the past, we've spoken to such greats as writer-director Allison Anders and actors turned producers Amy Robinson & Griffin Dunne. Today, we're honored to be chatting with the woman who received an award naming her a New York trailblazer, writer-director Nancy Savoca, who, along with her frequent co-writer, producer, and husband Richard Guay have made such groundbreaking & beloved award-winning & critically acclaimed indies as TRUE LOVE, DOGFIGHT, HOUSEHOLD SAINTS, THE 24 HOUR WOMAN, and more. A must for fans of independent filmmaking of the '80s & '90s, in this illuminating discussion, Nancy & Rich chronicle not only their journey as filmmakers but more recently, their incredibly vital work on behalf of MissingMovies.org to try to locate, preserve, and safeguard indies for future generations. Originally Posted on Patreon (3/20/24) here: https://www.patreon.com/posts/100694293 Theme Music: Solo Acoustic Guitar by Jason Shaw, Free Music Archive Shop Watch With Jen logo Merchandise in Logo Designer Kate Gabrielle's Threadless Shop

Filmmakers Allison Anders and Guillermo Del Toro come from the same group of young independent filmmakers and share the opinion that a good director needs to live a full life. Guillermo and Allison are gathered to speak about the life and work of Raoul Walsh, the itinerant one-eyed director who discovered John Wayne, shot a film on the battlefields of the Mexican Revolution, and was arrested by the French government while filming in Tahiti. Guillermo, Allison, and Louise hear tape from Peter Bogdanovich's interviews with Walsh, while discussing Walsh's work. Please follow this link for a transcript of this episode: https://bit.ly/OHA-AA-Transcript To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Before he passed away, iconic filmmaker Peter Bogdanovich began working on a podcast that he lovingly called One Handshake Away. In doing so, Bogdanovich sat down for intimate conversations with his favorite contemporary directors - some of the biggest names in show business, including Guillermo Del Toro, Rian Johnson, Greta Gerwig, and Allison Anders - to discuss the greats from Hollywood's Golden Age and revisit never-before-heard interviews that Bogdanovich conducted early in his career with luminaries like Alfred Hitchcock, Orson Welles, John Ford and Howard Hawks. These conversations are a love story to cinema, bringing the listener just One Handshake Away from the icons of Hollywood, past and present.  To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

When Paul invited the filmmaker Allison Anders (Gas Food Lodging, Mi Vida Loca, Grace Of My Heart) to remember the late great Shangri-Las lead singer Mary Weiss (who passed away on January 19th at the age of 75) we thought it was only going to be a 15-minute segment. In hindsight, this was always going to be the full hour. Enjoy! And Record Store Day co-founder Carrie Colliton alerts us to some important RSD announcements coming up at RecordStoreDay.com, and remarks on the passing of Melanie Safka who passed away on January 23rd at the age of 76). The Record Store Day Podcast is written, produced, engineered, and hosted by Paul Myers, who also composed the theme and selected interstitial music. Sponsored by Dogfish Head Craft Brewery, Tito's Handmade Vodka, RSDMRKT.com, and Furnace Record Pressing (the official pressing plant of RSD) Thanks to RSD co-founder Michael Kurtz.

Director and TFH Guru Allison Anders returns to discuss her favorite fictitious rock bands from movies with Josh Olson and Joe Dante. Also, featuring Howard Rodman in the Strike Force Spotlight. Support us on Patreon Learn more about your ad choices. Visit megaphone.fm/adchoices

This week on the blog, a podcast interview with filmmaker Amy Scott, discussing her terrific documentary, “Hal,” which takes a deep dive into the life and films of director Hal Ashby (“Harold and Maude,” “Being There,” Coming Home,” “Shampoo”). LINKS A Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6 Fast, Cheap Film Website: https://www.fastcheapfilm.com/ Amy Scott Website: https://www.amyelizabethscott.com/ “Hal” Documentary website: https://hal.oscilloscope.net/ “Hal” Trailer: https://youtu.be/GBGfKan2qAg “Harold and Maude Two-Year Anniversary” Documentary: https://youtu.be/unRuCOECvZM Eli Marks Website: https://www.elimarksmysteries.com/ Albert's Bridge Books Website: https://www.albertsbridgebooks.com/ YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcastAmy Scott Transcript First, I want to say thank you for making the movie and thank you for making such a great movie because he totally deserved it. I would always wonder why of all the directors of the 70s and 80s, he was never really heralded the way he should have been. I think part of it has to do with that he had no discernible style. So, you couldn't really pick him for something. But before we dive into that, tell me a little bit about your background before you made Hal?Amy Scott: Well, I'm from Oklahoma. I moved to Chicago, out of college and in college, we studied a lot of, I had a great professor at ODU at the University of Oklahoma. I don't think he's there anymore. But he really hipped us to the coolest documentaries. I had no idea that you could be a documentary filmmaker, like from Chris Marker to the 7-Up series to Hands on a Hard Body. It was just a really great, great, well-rounded Film and Media Program. Anyway, I moved to Chicago. I wanted to be a director and a DP, but I fell down, I had gotten a job at the University of Chicago. I think I faked my way into it. I was supposed to start on a Monday, and I fell on the ice and broke my arm on a Friday. So I was like, “I can't shoot. I can't film. I can't use my arm to film and hold the camera. I need to learn how to edit. So I learned how to edit with my right hand, and I loved it. And then I just did that for like 10 years. Well, I mean, I still do it. But it was like this accidental career path.You're an accidental editor.Amy Scott: An accidental editor. That became something that later, I just valued as such an important skill set. I use it now. I have wonderful editors that I work with. But we speak the same language. And I think with the story structure, that you have an eye for things in the edit bay and now it really, really helps my ability to break down a three-act structure or figure out where the narrative arc is, and things like that. I think would have taken me a lot longer, had I not fallen and broken my arm.It was sort of a similar path for Hal Ashby, starting in editing.Amy Scott: Totally. I loved his films and then when I read Nick Dawson's book, and I started to learn more about him, I really, really connected with him. Because of things that he would say about filmmaking and editing and being in the edit bay and being obsessed with every frame. I felt like, being seen and heard. Like, “Oh, this is how I feel about it, too. I don't feel like such a freak of nature, and lots of people feel this way.” I really connected with Hal and he didn't make The Landlord I believe until he was 40 years old. He was up there. Amy Scott: Yeah, up there. For a first-time filmmaker, that's a late start.Amy Scott: And that was about the same age that I made the Hal movie. What was your first experience with a Hal Ashby movie?Amy Scott: The first film that I saw that I can remember was with my friend Jason in college. I was watching Truffaut and Cassavetes and so I thought that I had a very well-rounded understanding of the new Hollywood. And my friend Jason said, “Have you ever seen Harold and Maude?” I had no idea what he was talking about. He was a couple years older, and he was like, “Oh, honey, you're gonna skip school today. We're gonna watch it.” And I swear to God, we watched it. I couldn't believe what it was. I couldn't believe I'd never seen it. It somehow gone past me. As soon as it was over, I was like, “Stop. Start it again.” We have to rewatch it. We where there for like eight hours, watching it on a loop. David Russell compares it to The Catcher in the Rye as a sort of like rite of passage for people at that age. It hit me right straight through the heart. And then from there, I think I saw The Landlord, someone had screen of The Landlord in Oklahoma City. And I was like, oh my god, this is incredible.I live in Minneapolis, where Harold and Maude ran at The Westgate theater for two and a half years. I saw the movie quite a bit there. And then, because I was in a film program, and knew someone who knew the film critic for the local paper, when Ruth and Bud came to town for the two-year anniversary, he sorts of dragged me along with him. So, I had dinner with Bud Cort and hung out a little bit with Ruth Gordon. I made a little documentary on Super 8mm of my perspective on their experiences. I was 15 years old or something and although I knew their itinerary, I couldn't drive. And so I would go to the TV station and shoot some stuff there with them and then they were on to something else. I had to hop on a bus to keep up with them.Amy Scott: That's incredible.Yes, my only regret was on that when I had dinner with Bud that I didn't ask better questions. I was sort of starstruck and there's a lot of question. I would ask him now—that I've tried to ask him—but you know, he's not too communicative.Amy Scott: Yeah. That's incredible that you that you have that footage and I would love to see it.It was really, really fun and interesting. Ruth Gordon was very much Ruth Gordon, very much Maude. She didn't suffer fools. So, you've seen Harold and Maude, seen The Landlord. At what point did you decide that a documentary had to be made?Amy Scott: Well, okay, I was pregnant with my first child, and was finishing up Nick Dawson's book on Hal, you know, on Hal's life. And I thought, I just couldn't believe there was a documentary. But this is before the market became oversaturated with a story about everyone's life. At the time, I just thought, oh my gosh, there's so much here. This guy, his films should be really celebrated. And he should be more known and revered in the canon of American 70s New Hollywood, because he's so influential.And that's why it was important that we include David O Russell and Adam McKay, and Allison Anders, Judd Apatow. They could draw a direct connections, like the film family tree. When you see the wide shots in Harold and Maude, you think of Wes Anderson. Or, you know, the music, you think of David O Russell. I mean, his influence was everywhere. I started to connect the dots and I thought, oh, my gosh, we've got to, we've got to make a film here. But I'd never done anything like that. I had directed smaller documentaries. I tried to make a film about this band called The Red Crayola and that was a hilarious attempt on my part. To try to chase them around the globe and on no money. That was my only experience outside of editing. So, fortunately, I had hooked up with my producing partners that I still work with now. I just met them at the time and they hired me to edit some cat food commercials. So it was editing Friskies or Purina, I don't know what it was. It was just looking at cats all day.And I was about to give birth but I was working trying to lock down the rights And the rights came through one afternoon and I just pulled them (the producers) in and I was like, let's do this together. We didn't know what the hell we were doing, but it was so great and so fun. We approached it, like, all hands-on deck, and we were a little family making this thing. So, that spirit has continued, thank goodness, because of what we put into the Ashby movie.What do you think were his unique qualities as a director?Amy Scott: Gosh, so much. I just think he really had an eye. He could see stories. You said something earlier, that all of his films are not the same and therefore it's hard to go, oh, he's this style of filmmaker. But the thing that they all have in common is that he has a very real and raw approach at looking at humanity. Sort of holding the mirror up and showing us who we are, with all of our faults and complexities and layers of contradictions and failures. So he's able to see that and find the stories of humanity. And that's the connective tissue for me. He also had a sick musical taste; I mean, he sort of found Cat Stevens. The soundtrack to Shampoo—I think that's why it's not in wide release right now, as I can't imagine having to license Hendrix and Janis and the Beach Boys, you know?That's true. But I'll also say he had the wisdom to let Paul Simon do the small musical things he did in Shampoo, which are just as powerful or if not more powerful.Amy Scott: So, powerful. So much restraint. Incredibly powerful. I feel like Hal, because he was not—from all of our research and talking to everyone and girlfriends and collaborators—he wasn't a dictatorial director. He didn't lay down mandates. He was really open to hearing from everybody and making it feel like it was a democratic scene and everyone has an equal voice. If you had an idea, speak up.But at the end of the day, he was like, okay, here's the vision. And once he had that vision, I think that's where he really got into problems with the studio system. Because that was such a different time. The studio guys thought that they were also the director, that they were also the auteur. I cannot imagine a world where you throw your entire life into making a film and then a studio head comes along and tries to seize it from you. I mean, that would give me cancer, you know, from the stress. I can't imagine.It certainly didn't match with his personality at all.Amy Scott: No, not at all. What I thought was so fascinating was how open he was to ideas. I love that about him and it resonates in my microscopic ways of connecting to that now. Man, every time it pops up, I'm like, I feel this little Hal Ashby devil angel on my shoulders. Yes, but it's odd. Because it's not like they didn't know what they were getting. It's not like he hid that part of his personality. You would know, immediately from meeting him that...Amy Scott: Yeah.With Harold and Maude, it was just a weird perfect storm of a crazy executive like Robert Evans saying yes to all these weird things. And then the marketing team at Gulf and Western/Paramount going, “we have no idea what to do.” You know, I had the Harold and Maude poster hanging for years. And it's the most obvious example of a studio that cannot figure out how to market a movie. The Harold and Maude different color name thing. It's just so obviously they didn't know what do.Amy Scott: I know I love when Judd Apatow was talking about that. That's really funny.So, what was the biggest thing that surprised you as you learned more about Hal?Amy Scott: What surprised me was that side of his temperament. He did look like this peace love guy. He was an attractive man but, you know, this long hair and long beard and so cool and I had a really myopic like view of what I thought his personality was. I thought he was a super mellow guy. And then I got in and started reading the letters. My producer, Brian would read the letters in his voice as a temp track that we would use that to edit to cut the film. And we were rolling, dying, laughing, like falling down, like, oh, my God, I cannot believe that Hal would write some of this shit to the head of Paramount or whoever. It was like, wow, this guy is not at all who I thought. These were fiery missives that he was shooting off into space.It wasn't like just getting mad and writing an email. I mean, he had to sit on a typewriter.Amy Scott: Typewriter and they were very, very long. I mean, the sections that we used in the film, were obviously heavily cut. We couldn't show like six pages of vitriol. The best part about the vitriol though, he wasn't just vomiting, anger. It was a very poetic. He had a very poetic way of weaving together his frustration and expletives in a way that I just loved.And then we turned the papers over to Ben Foster. That's why we wanted him to narrate—be the voice of Hal—because he's always struck me as an artist that totally gets it. Not a studio guy and he was all over it. He was right. You can really identify with this sort of, you're either with us or against us artists versus, the David and Goliath. So, that was most fascinating to me. I knew—because of the book, because Nick did such a great job—I knew Hal's story. Leaving his child, leaving Leigh. It's one thing to read about it in a book and it's a completely different thing to go meet that person, to sit with her. She's since become a dear friend to me. I feel like she'd never really spoken about that, about her dad and that time of her of her life. I think revisiting trauma on that level, and working through a lot of those emotions with her, was really heavy and not what I intended. When I set out to make the film, I was thinking about the films of Hal Ashby. I didn't think it would get as heavy as it did. I'm glad that we went there and that she took us with her. I feel really, really thankful. I think she got a lot out of it. We certainly did.It really did show you just how complicated he was, the reality of his life, when you see the child. And she was so eloquent on screen. Amy Scott: So great. He had some generational trauma too and then you put it all together, and you're like, okay, well, this is somebody that's really adept at looking deep into the human condition. He'd been through a lot. He'd made a lot of mistakes and he's been through a lot. So, of course, this checks out. And he's just so talented and creative, that he can make these films that are this really accurate, fun and funny and sad and tragic and beautiful portrayals of humanity.Well, let's just if we can't dive into a couple of my favorites just to see if anything you walked away with.Obviously, Harold and Maude hold a special place in my heart. I've just loved reading Nick's book and reading and hearing in your film and in listening to commentaries about what Hal did to wrestle Harold and Maude into the movie that it is. I forget who it was on one of the commentaries who said there were so many long speeches by Maude that you just ended up hating her. And Hal's editor's ability to go and just trim it and trim it and trim it. I compare what he did there to what Colin Higgins went on to do when he directed and he simply didn't have it. He had the writing skill, obviously, and the directing skills. He didn't have that editor's eye. I don't think there's a Colin Higgins movie made that couldn't be 20 minutes shorter. If Hal had gone into Foul Play and edited it down, it would have been a much stronger comedy. 9 to 5 would have been 20 minutes shorter. Probably a little stronger. Anyway, you don't recognize that. It's all hidden. It's the edit. You don't know what he threw away and that's the beauty of Harold and Maude: within this larger piece he found that movie and found the right way to express it. So, what did you learn about that movie that might have surprised you?Amy Scott: Everything surprise me about it. You know, we were never able to get Bud Cort. You know Bud Curt, he's so special and so elusive and we thought we thought we were gonna get him a couple times and then it was just a real difficult thing. But you have him from the memorial service, and that's a great thing.Amy Scott: Oh, yeah. Anytime he's on camera, he's bewitching. He's incredible. So we went again with the letters. I just didn't realize that Bud and Hal we're so close. I mean, obviously, they were close. But they were very tight. They had a real father son, sort of bond.Charles Mulvehill, the producer, also talked about how difficult it was to make the film. I didn't know that Charles ended up marrying one of the women that is on the dating service that Harold's mom tries to set up. That was interesting, too. It's hard for me, to tell you the truth. We did so much research on all the films, so there's little bits and pieces of all.Jumping away from Harold and Maude—just because my brain is disorganized—Diane Schroeder was with Hal for a number of years and she's in the film. She was sort of a researcher archivists, she wore many hats. I did not realize that on Being There, she really needed to nail down what was on the television Chauncey Gardiner learned everything from TV, so it was really important what was on it. When he's flipping, it's not random. She and Hal would take VHS tapes in or I guess it would have been Beta at the time, whatever the fidelity was, but they would record hundreds of hours of TV and watch it. She got all these TV Guides from that year, 1981. But what was a three year's span, she had all the TV Guides. She had everything figured out. It was like creating the character of Chauncey Gardiner, with Hal and then Peter Sellars got involved, and he had certain thoughts about it, too. I was just so blown away by the fact that that much care and effort and painstaking detail would go into it. When you see it on screen, it's definitely a masterpiece because of those things. Just the defness of editing, of leaving things out, is what makes it good. That is such a such a really hyper detailed behind the scenes thing to know that. When we were going through his storage space. I remember asking Diane, why are there boxes and boxes and boxes of TV. She said, “oh, yeah, that's Chancy Gardener's.” I said, I cannot believe you guys saved this. Really funny. It's interesting because they would have done all that in post now. And they had to get that all figured out, before they were shooting it. That's a lot of pre-production.Amy Scott: Oh, an immense amount of pre-production. Hal set up an edit bay in his bedroom. It's the definition of insanity. I had that going on at one point in my life and it's not good. It's not good thing to roll over and it's like right there like right next to pillows staring at you. You need some distance.When I saw Being There for the first time for some reason I was in Los Angeles/ I saw it and of course loved it. And then came back to Minneapolis and someone had seen it and said, “don't you love the outtakes?” And I said, “What outtakes?” They said, “over the end credits, all those outtakes with Peter Sellars.” And I said, “there were no outtakes.” In the version in LA, they didn't do that.Amy Scott: I wanted to add this, but we just ran out of time. We found all these Western Union telegrams that Peter Sellars wrote to Hal, just pissed, just livid, furious about that. He said, “You broke the spell. You broke the spell. God dammit, you broke the spell.” He was so pissed that they included those outtakes and I agree with them.It's not a real normal Hal move, is it?Amy Scott: No, it's honestly the first time that I'd ever seen blooper outtakes in a film like that. That's such an interesting 80s style, shenanigans and whatnot. But, yeah, no, you want them to walk out on the water after watching him dip umbrella in the water and think about that for the rest of your life. Exactly. I think they left it out of the LA version for Academy purposes, thinking that would help with the awards. But then years later to look at the DVD and see the alternate ending and go, well, that's terrible. I'm glad you guys figured that out. And then apparently, was it on the third take that somebody said, he should put his umbrella down into the water? Amy Scott: That's so smart.It's so smart. Alright. Shampoo is another favorite. I'm curious what you learned about that one, because you had three very strong personalities making that movie with Robert Towne on one side and Warren Beatty on the other and Hal in the middle. It's amazing that it came out as well as it did. Somehow Hal wrangled it and did what he did. What did you learn there that sort of surprised you?Amy Scott: Well, that aspect is what we wanted to really investigate. Because Hal had a pretty singular vision. Hal as a director—at that stage—was becoming a very important filmmaker. So, then how do you balance the styles of Robert Towne and Warren Beatty? These guys are colossal figures in Hollywood, Alpha dogs. I wish that we could have sat with Warren. It was not for lack of trying. I think a lot of these guys that we couldn't get, it's like, yeah, that's what makes him so cool. Bruce Dern. I was trying to chase down Bruce Dern at the Chase Bank, and he got up one day and I was just like, I knew, let it go. But Shampoo, everything we learned, we put in the film. Robert Towne talked to us. And then there was the audio commentary that Hal had from his AFI seminars. Caleb Deschanel spoke pretty eloquently about it being like watching a ping pong match going back and forth between Robert and Warren about what the direction should be. And then the director sitting in a chair probably smoking a joint, waiting for them to finish. It seems like they might have needed a sort of mediator type presence to guide the ship, like have a soft hand with it, you know? You can't have three alphas in the room at the same time. Nothing would get done. You need a neutralizing force and it seems like that's what Hal was it. He just had a really great taste, you know? My favorite element of that movie—besides Julie Christie's backless dress—would be Jack Warden. Anytime Jack Warden comes on screen, I'm like, just want to hang with him for another half hour. I can just watch that man piddle around and be funny.I remember reading an interview with Richard Dreyfus after Duddy Kravitz came out, in which he was blasting the director, saying that they ruined Jack Warden's performance in post-production. And Jack Warden is amazing in Duddy Kravitz. I don't know what they he thinks they did to it, because he's just fantastic.Amy Scott: He must have just been astronomically amazing and funny, which is what I imagined he's was like.I took away two things from Shampoo. One was—having seen Harold and Maude as often as I did—recognizing that the sound effects of the policeman's motorcycle as being the same one as George's motorcycle as he's going up the Hollywood Hills. Exact same ones.But the last shot as he's looking down on Julie Christie's house and the use of high-angle shot, it is one of the saddest things I've ever seen. It's just a guy standing on an empty lot looking down onto the houses below, but it's … I don't know. Given the guys he was dealing with, I don't know how he made that into a Hal Ashby movie, but he did.Amy Scott: He did. Well, it seems like it's moments like that yeah, there's so much melancholy loaded into that moment. Because George is such an interesting character. Now, I'm realizing that you and I have just blown, we've just spoiled the ending shots of both Being There and Shampoo.Anybody listening to this who hasn't seen those movies deserves to be spoiled.Amy Scott: Get on the boat. But yeah, that always got me. I think it's all of those really like, foggy misty Mulholland Drive shot of George on his motorcycle, anytime he's alone. Because he crams his life so full of women to try to fill the hole or the void or whatever he's got going on that's missing in his life. And he's just trying to shove it full of women. So, when he's alone, and he has nothing and no one you're like, oh, my God, this is the saddest thing I've ever seen.It really is. I don't know. Maybe you can fill me in on this. I remember reading somewhere that the scene—his last scene with Goldie Hawn—they went back and they reshot it because somebody said he's standing. He should be sitting. And I'm always interested in directors who hear that and are willing to go back and do it. The other example is Donald Sutherland in Ordinary People in his last scene. Telling Redford, “I did it wrong. I should be done crying. I was crying when I should have been done crying.” and they went back and reshot. His portion of it is no longer crying because the director went, you're right. And that simple notion of Warren Beatty should be sitting down, and she should be standing over him. Amy Scott: She's got the power. Yes. But I'm not sure a lot of directors would have said yes to that. Like, “We don't need to go back and do that. We're overscheduled we got other stuff to do …”Amy Scott: Oh, I don't think Hal cared about the schedule at all. Everything that I read or, you know, even Jeff Bridges talked about, like them being over budget and he's like, “you know, all right, let's figure out a creative solution to this. It's going to take as long as it's going to take.” He never seemed to really get riled onset or let those sorts of parameters hold all the power and guide the filmmaking. He was in complete control of that. Having that sort of attitude about things, that just spreads to the whole set. That spreads everywhere and makes it easier for everybody to work.Amy Scott: It does.Let's do one last one. Coming Home is interesting for me because I had friends who ran a movie theater here in town. It was just a couple of running it and I would come by from time to time if they were busy. I'd go up and run the projector for them. They had one of those flat plate systems, so you only had to turn the projector on. It wasn't that big a deal. But you know, I was young and it's like okay, now I'm going to turn the house lights down … I got to see the first five minutes of Coming Home a lot. Probably more than I saw the rest of the movie. Was there anything you learned about the making of that film that surprised you?Amy Scott: Yeah, I didn't realize how hard it was to get that film made. Jane Fonda is the one that's really responsible for Coming Home even existing. Nancy Dowd had a book and Jane really fought hard to get it made. By the time it got to Hal, it was different, there was a number of rewrites. And it obviously had to be cut down significantly. I never think—it's never my go-to—to think that one of the actors is the one responsible. Usually it comes to you in a different way, and especially if he's working with Robert Towne and the like. But I thought that was really cool and really interesting that Jane spoke about showing what our veterans were going through. This wasn't new, because you had like The Deer Hunter would have been the comparable. And that's a wildly different take on what coming home from the Vietnam War was like. But also, the woman's journey in that film, and the sexuality of all of that was just like, wow. Only Jane Fonda can speak about it eloquently as Jane Fonda does. I also didn't realize— when we were sitting with John Voigt—that he was really method in the way that he didn't get out of his chair, I mean, for days on end. Going into crafty in the chair, learning how to do go up ramps and play basketball and all the things that you see was because he wouldn't get out of the chair, which was wonderful. I really enjoyed talking with Jeff Wexler, and Haskell. That interview that we did with Haskell, I'm so thankful for because, you know, Haskell passed away, not that long after we film. That was one of his last interviews. So, it was really special. He came to the set and Haskell is like, a film God to me and my team. For me, I lived in Chicago so Medium Cool, was one of the coolest things ever. Meeting him and talking with him was so interesting. I loved hearing about the opening. You can just tell it's Haskell Wexler. You know it's a Hal Ashby film, but the way it starts and having seen Medium Cool, and going into that opening scene, where the all the vets are non-professional actors. They were actual vets that had come home and those were their true real stories. Now we would say it's sort of hybrid documentary and scripted, but it was like a really early use of that kind of style. And that's what made it feel so real and then you start in with the Rolling Stones, it's just such a masterly, powerful film.I'm always curious about that sort of thing where he has a lot of footage and he's creating the movie out of it and what would Hal Ashby be like today? How different would his life be if he had everything at his fingertips and it's not hanging out a pin over in a bin and he had to remember where everything was? I don't know if that would have been any made any difference at all?Amy Scott: He was an early pioneer of digital editing. He was building his giant rigs and was convincing everyone that digital is the way to go. Which is so cool and so mind blowing. But I think it was born out of a place of independent film, of democratizing the access and taking the power away from the studios. And knowing that you could do this cheaply in your home. It was so actually tragic to learn that. What could he have done? Because his output was just, he put out so much so many great movies. So, what could he have done if the infrastructure was even more accessible and sped up technologically?Imagine an 8-part streaming series directed by Hal Ashby, what would that be?Amy Scott: Just be incredible. Well, I know that he was wanting to work. He had so many films that we found. And we found script after script. One of them, I was so, “damn, that would have been cool,” was The Hawkline Monster. A Richard Brautigan science fiction Western novel. It's so trippy and so cool. I feel like every couple of years, I hear about some directors says, “we got the rights, we're gonna make it.” And I'm like, when are they gonna make it? It's so long.And imagine what his version of Tootsie would have been.Amy Scott: Oh, I know. Yeah. No joke.Just seeing those test shots. Wow. Amy Scott: I know, it would have been a different film.I read a quote somewhere that one of the producers or maybe it was Sydney Pollack, who said, they took the script to Elaine May. And she said, “yeah, it just needs…” And then she listed like five things: He needs a roommate that he can talk to … the girl on the TV show, she needs a father, so he can become involved with him … there also has to be a co-worker who is interested in him as a woman … the director needs to be an ass, he should probably be dating the woman. It was like five different things. She said the script is fine, but you need these five things. So, what did they have? She just listed the whole movie.Amy Scott: Right. Well, we're talking about Elaine May. She's someone that needs a film. She does. And why aren't you doing that?Amy Scott: Listen, I'm telling you. I've tried. This is another one that I've tried for years. You know, here's a real shocker: It's hard to get a film about a female filmmaker funded. It's a hard sell.She probably wouldn't want to do it anywayAmy Scott: She's so cool. My approach has always been that she has so much to teach us still. So, I would love to get her hot takes on all those films. A New Leaf. I mean, the stories behind that thing getting made.Like the uncut version of A New Leaf.Amy Scott: Exactly. I want to hear it from her. So, yeah, that's high up on my list. I really, really want to make one with Elaine.Was there anyone else you really wanted to get to? You mentioned Warren didn't want to talk to you. Anybody else?Amy Scott: I would have loved Julie Christie or, you know, more women would have been great. Bruce Dern was so great and so funny and I'd seen him a number of times. I saw he was at a screening of one of his movies. He talked for like, an hour and a half before they even screened the film. He was whip smart in his memories. I was so upset that we couldn't work it out because I knew that he would be incredible.Just his knowledge of movie industry, having been in it so long.Amy Scott: My gosh, yeah.He even worked with Bette Davis.Amy Scott: Yeah, he's national treasure. Exactly. I was just staring at a poster. I have framed poster of Family Plot in my kitchen. That's the movie that was going to make him a star, according to Hitchcock. It still has one of the greatest closing shots of all time. I think I read that Barbara Harris improvised the wink, and that's another person who you should make a documentary about.Amy Scott: Oh my gosh. Barbara Harris is something. Do you remember what was the film that she was in with? Dustin Hoffman and Dr. Hook scored it. It's a really long title. Who Is Harry Kellerman And Why Is He Saying These Terrible Things About Me?Amy Scott: That is such a phenomenal Barbara Harris performance. I mean, Dustin Hoffman is incredible. He's always great. But Barbara Harris really shines and I guess I'm like, that's who she was. Yeah, I think she was difficult. Well, I don't know, difficult. She had stuff she was dealing with.Amy Scott: She had issues and Hal had to deal with those on Second Hand Hearts too.From a production standpoint, people are interested in hearing what your Indiegogo process was Any tips you'd have for someone who wants to fund their film via Indiegogo?Amy Scott: Oh, boy. Well, that was a different time, because I really don't know how films are funded at the moment. This came out five years ago, but it took us like six years to make. So, during in that time, you could at least raise enough capital to get through production.The Indiegogo campaign enabled it so that we could even make the movie, because everything past that point, nobody ever got paid at all. But at least that way, we could buy film stock and pay the camera operators and our DPs and stuff. So, that was hugely important.At the time, I remember thinking like, oh, no, how are we ever going to get anybody to because you had to make these—I don't know if this is still the case—but you had to make these commercials for your project or like a trailer to get people's attention. And you had to be all over Facebook and crap like that. So, I was like, oh, no, how am I going to make a thing that shows that Hal Ashby's important to people that want to give money?A friend somehow knew John C. Reilly and mentioned it to him. It was like, we just need a celebrity to come in for like, you know, half a day or one hour. And he said, I'll come on down and do that. And he came. I couldn't believe it. The generosity of this man. He didn't know us at all. But he knew and loved the films of Hal Ashby and wanted to give back and pay it forward. So, he came down and because of him, we have a really funny, awesome little commercial trailer. I have no idea where that thing even is. I'd love to see it because I had to do it with him, which was terrifying, because I am not a front of camera person. I didn't know what to say. And he said, All you have to do is ask for money. I'll all do the rest of the talking.I remember seeing it. Amy Scott: It's been stripped from Indiegogo which probably means that we used a song that we weren't able to. That was back in the early days of crowdfunding, where you could just take images or songs and I'm sure I used the music of Cat Stevens, and then, loaded up with a bunch of photos that we never paid for.Well, that brings up a question of how did you get all the rights to the stuff you got for the finished movie? Was that a huge part of your budget?Amy Scott: No. The most expensive thing always to this day is music. Music is going to get you. Outside of that, thank goodness, there's this little thing called fair use now, which wasn't the case in documentary filmmaking for a very long time. But now you can fair use certain elements, photographs, or news clips, video clips, anything that sort of supports your thesis that you're making about your subject and supports your storyline falls under the category of fair use. So, I think what our money did pay for is the fair use attorneys that that really go over your product. They went over out fine cut, because we couldn't afford to pay for multiple lawyers to look at it. So you give them a fine cut, you hold your breath and hope that they say, oh, you know, you only have to take out a couple things. And you're like, oh, thank God. Okay, and then you change it.I believe, because we never had any money, that we submitted to Sundance and got in on a wing and a prayer. And then had, you know, two weeks to turn the film around and get it, finished. I remember we were like, you know, pulling all these all nighters, trying to change the notes that the legal said XY and Z was not fair use and trying to swap out music with our composer. It was a wild, wild run.Isn't that always the way? You work on it for six years and then suddenly you have two weeks to finish it.Amy Scott: That's how it shook out for us. It was like really, really pretty funny, because you're going on a leisurely pace until you're not. And then it's like, alright, it's real now. I thought for years, I think my friends and casual acquaintances thought that I've lost my mind. Because every year, I'd see people that I would see occasionally and they're like, hey, how's it going? What are you working on? I'm like, I'm just working on this Ashby's movie. And they were like, year after year, like damn. She's like, we need to reel her in and we need to throw her a lifeline. No, really, I really, really am. So, it was pretty funny. We were. We did it.People have no idea how long these things take. Amy Scott: It's unfunded. But you know, then we got lucky after that, because we nearly killed ourselves on Hal. Then we kind of fell into the era of streaming deals and streamers. And then people were like, oh, we want to make biopics and we want to give you money to make a biopic. And that was truly our first rodeo. We're like, oh, my gosh, what? This is incredible. We can get paid for this. Now that's falling away. This streaming industry is, you know, collapsing in on itself as it should, because there's no curation anymore. And it's like, let's return to form a little bit here, guys. So, we're just riding the wave. I say it's like we're riding trying to learn how to ride a mechanical bull this industry. I'm a tomboy. So, every local Oklahomans is up for the ride.Let me ask you one last question. I'll let you go then. So, as a filmmaker, what did you learn doing a deep dive into the work of this director and editor and you are a director and editor? So, that's sort of a scary thing to do anyway, to be the person who's going to edit Hal Ashby. What did you learn in the process that you can still take away today?Amy Scott: Well, listen, we joke about it all the time. My producer, Brian Morrow and I are constantly going, oh, what would Hal do? Everything that he stood for, as a filmmaker. The film will tell you what to do. Get in there, be obsessed be the film, all of those things.I get this man because I feel the same way. So, when we like took a real bath in Hal Ashby's words for years, that sort of that shapes the rest of your life as a filmmaker. You're not like a casual filmmaker after going through like the Ashby's carwash. That stuff's sticks.But I'm proud. I'm proud that that we pulled it off. I'm proud that we were able to make the movie. Somebody would have done it, because Hal is too great and too good, and he just has deserved it for so long.The only thing that we've ever wanted was that we wanted people to go back and watch his films, or to watch him for the first time if they had never seen him. And then to take his creative spirit forward. Be in love with the thing that you make. It's your lifeforce. So, otherwise, what is it all for, you know? So, yeah, that's what I got from him.

In Season 3 of the podcast, my good friend Kate Hagen - a talented writer & Senior Vice President at The Black List - joined me to kick off a fascinating new series of conversations with the people behind the movies we love. We launched it with what is still one of my all-time favorite episodes: a long, career-spanning discussion with the great filmmaker Allison Anders & then a few months later, we reunited to chat with Allison's daughter, the hard-working & acclaimed music supervisor Tiffany Anders. And recently, Kate returned to help me welcome two extraordinary guests, actors & producers Griffin Dunne & Amy Robison, who, along with their company Double Play Productions, were behind some of the best movies when we were growing up, including director Joan Micklin Silver's CHILLY SCENES OF WINTER, director John Sayles' BABY IT'S YOU, Martin Scorsese's AFTER HOURS (which also starred Dunne), Sidney Lumet's RUNNING ON EMPTY, & more. An actor I think most people in my generation first remember as the teacher upon whom Anna Chlumsky's character had an impossible crush in MY GIRL, Griffin Dunne has had an impressive career on both sides of the camera, acting in films as diverse as AN AMERICAN WEREWOLF IN LONDON & QUIZ SHOW, & directing films such as PRACTICAL MAGIC & the wonderful Joan Didion documentary THE CENTER WILL NOT HOLD. Amy Robinson made a stunning debut as an actress in director Martin Scorsese's MEAN STREETS, in which she played Teresa. And in addition to the films she's produced with Dunne, Robinson has also produced director Joan Chen's AUTUMN IN NEW YORK, the Hughes brothers' FROM HELL, Michael Cuesta's 12 & HOLDING, Nora Ephron's JULIE & JULIA among others. In this feature-length episode, the warm & thoughtful duo behind Double Play Productions take us on a tour of their memories making some of the most acclaimed films from the late '70s through the early '90s & beyond. Timed to release this week as AFTER HOURS debuts on disc from The Criterion Collection (a few months after CHILLY SCENES OF WINTER did as well), film buffs, & especially those interested in the business of making movies are sure to enjoy this endearing conversation. Note: SAG strike rules prevent actors from discussing or promoting any projects they made under past contracts. This conversation was recorded prior to the strike in May of 2023. Originally Posted on Patreon (7/14/23) here: https://www.patreon.com/posts/86100088 Theme Music: Solo Acoustic Guitar by Jason Shaw, Free Music Archive Logo: KateGabrielle.com

Friend of the show Kristen Halbert from Forces of Geek returns this week! First, Evan, Megan, and Dave review the gross and glacially-paced Vasilis Katsoupis film INSIDE (3:28), which stars Willem Dafoe as an art thief who gets trapped inside a high-tech Manhattan penthouse and struggles to maintain his sanity as he fights to survive. Next, Kristen, Megan, and Dave cover THE BLACKENING (20:37), a horror comedy Kristen has been wanting to discuss with us for months. We delve into this predictable, yet very funny film, and Kristen explains why it resonated for her even more as a Black viewer. It's a rollicking conversation, we hope you enjoy it! And in this week's Patreon exclusive audio, we talk about the 1992 Allison Anders indie drama GAS FOOD LODGING, starring Fairuza Balk, Ione Skye, and Brooke Adams! 

In this episode, Tate picks the 1995 movie Four Rooms to continue our 99-Minute or Less Movie Marathon. Before we review the movie we talk about how many movies Jacob has seen this year and his anticipation for Return of the Jedi returning to the theaters. Once we get into the movie, reviews are mixed, and we talk about SAG, the bizarreness of Tim Roth's character, and more! This movie was directed by Allison Anders, Alexandre Rockwell, Robert Rodriguez, and Quentin Tarantino. GD4AM: 56/100 IMDb: 6.7/10 Metacritic: N/A RT: 13% Four interlocking tales that take place in a fading hotel on New Year's Eve. This movie is currently available for rent on most VOD platforms. NEXT MOVIE REVIEW: I Lost My Body (2019) currently streaming on Netflix.

Grace of My Heart director Allison Anders conducts a masterclass in film history with Josh Olson and Joe Dante. Learn more about your ad choices. Visit megaphone.fm/adchoices

You know those movies that are about a young person full of promise, who comes to the big city in search of fortune and fame, but inescapable poverty and exploitative gatekeepers drive them to crime, oh and these movies also have a really good soundtrack?  Well, this is one of those.  And it's probably the best version of all them, thanks to Jimmy Cliff. *Come support the podcast and get yourself or someone you love a random gift at our merch store.  T-shirts, hoodies, mugs, stickers, and more! If you'd like to watch ahead for next week's film, we will be discussing and reviewing Allison Anders, Dean Lent, and Kurt Voss‘ Border Radio (1987).

Best Pick with John Dorney, Jessica Regan and Tom Salinsky Episode 235: Gas Food Lodging Released 14 December 2022 For this episode, we watched 1991 American indie Gas Food Lodging, written and directed by Allison Anders (based on the book by Richard Peck). She assembled an amazing cast, led by Brooke Adams, Ione Skye, Fairuza Balk and James Brolin. Despite only costing just over $1 million to make, it struggled to make its money back. It has a Rotten Tomatoes score of 81%. Arizona Deam https://youtu.be/OQ6bcPoCDF4 BEST PICK – the book is out now from all the usual places, including… From the publisher https://tinyurl.com/best-pick-book-rowman UK Amazon https://amzn.to/3zFNATI US Amazon https://www.amzn.com/1538163101 UK bookstore https://www.waterstones.com/book/9781538163108 US bookstore https://www.barnesandnoble.com/w/best-pick-john-dorney/1139956434 Audio book https://www.audible.co.uk/pd/Best-Pick-Audiobook/B09SBMX1V4 To send in your questions, comments, thoughts and ideas, you can join our Facebook group, Tweet us on @bestpickpod or email us on bestpickpod@gmail.com. You can also Tweet us individually, @MrJohnDorney, @ItsJessRegan or @TomSalinsky. You should also visit our website at https://bestpickpod.com and sign up to our mailing list to get notified as soon as a new episode is released. Just follow this link: http://eepurl.com/dbHO3n. If you enjoy this podcast and you'd like to help us to continue to make it, you can now support us on Patreon for as little as £2.50 per month. Thanks go to all of the following lovely people who have already done that. Alison Sandy, Amanda Grey, Andrew Jex, Andrew Straw, Anna Coombs, Anna Elizabeth Rawles, Anna Joerschke, Anthea Murray, Ben Squires, Carlos Cajilig, Cathal McGuire, Catherine Jewkes, Charlotte, Charlotte M, Craig Boutlis, Daina Aspin, Dave Kloc, Della, Drew Milloy, Elizabeth McClees, Emily Binns, Esther de Lange, Flora, frieMo, Helen Cousins, Helle Rasmussen, Henry Bushell, Jane Coulson, Joel Aarons, Jonquil Coy, Josh Morel, Joy Wilkinson, Judi Cox, Julie Dirksen, Kate Butler, Kath, Katy Treanor, Kurt Scillitoe, Lawson Howling, Lewis Owen, Linda Lengle, Lisa Gillespie, Mary Traynor, Matt Price, Michael Walker, Peter, Rae Lawrence, Richard Ewart, Robert Heath, Robert Orzalli, Sam Elliott, Sharon Colley, Simon Ash, Tim Gowen, Tom Stockton, Wayne Wilcox.

GABRIEL GONZALEZ is a Grammy Award winning singer-songwriter and leader of a new break-out collective of world class musicians embodying the truth of the Los Angeles Latin experience –  La Verdad.  Since 2015 Gonzalez has also been a lead singer for Boogaloo Assassins. the famed 12-piece Latin Boogaloo, Salsa, and Latin Soul band with whom Gonzalez  is about to release a new album.Since the beginning of his career as a child performer in Mexican films, Gonzalez (also known as Gabrielito) established himself as a notable actor and singer on both stage and screen.  In addition to appearing in Allison Anders' classic indie film Mi Vida Loca, Gonzalez also toured with Lin-Manuel Miranda's Tony-winning musical In the Heights. This ARTLAWS podcast interview was recorded live at the Circo De Los Muertos concert at Sofitel Los Angeles in Beverly hills.

In 1992, Quentin Tarantino's life would drastically change as soon as his first feature film, RESERVOIR DOGS, would debut at Sundance. Though among many stellar films at the festival that year, it would be RESERVOIR DOGS which emerged as a transcendent feat in filmmaking. Time to go back in time to remember its importance in independent filmmaking. //***Discussions include*** How Tarantino rose to stardom based on talent, confidence & luck; the script finding its way into fortunate hands; freshening up a classic crime movie style, use of non-linear storytelling & challenging popular movie trends; casting stories & breaking down the lead roles; eccentricities about the film, music usage, realistic violence & Tarantino's hot take observations; use of colorful characters & difficult dialog; positive & negative reactions at Sundance, plus how has this film held up 30 years later. Tim Roth, Harvey Keitel, Steve Buscemi star in RESERVOIR DOGS (1992). Directed by Quentin Tarantino. //***Picks of the Week***     •    Lindsay's Pick: FOUR ROOMS (1995). Tim Roth & so many more. /// Directors: Quentin Tarantino, Allison Anders, Robert Rodriguez, Alexandre Rockwell.     •    Justin's Pick: COPLAND (1997). Sylvester Stallone, Ray Liotta, Robert De Niro, Harvey Keitel. /// Directed by James Mangold. //***MurrayMoment*** Bill & Steve Buscemi ring in Bob Dylan's 77th birthday & how this connects back to RESERVOIR DOGS. //***Final Thoughts on the film; PLUS! We rank our favorite Tarantino films in order! *** Next Episode: THE RING (2002)     •    Please rate, review & subscribe.     •    Follow on Facebook, Instagram, Twitter & YouTube.     •    //Hosts: Justin Johnson & Lindsay Reber // Music: Matt Pace // Announcer: Mary Timmel // Logo: Beau Shoulders. www.dontpushpausepodcast.com dontpushpausepodcast@gmail.com Be Kind and Rewatch // September 6th, 2022.    

As summer draws to a close, the Johns are joined by special guest, Jon Caligiuri, to watch the 1995 pseudo anthology film: Four Rooms.  Join us as we check into the hotel with all its wacky hi jinx and 90s musk. Will this half forgotten Tarantino, Rodriguez and friends collaboration  be a night to remember?  Or will we check out with a 0 stars yelp review?  Listen and find out!

Movie Meltdown - Episode 583 Join us “live” from The Kentucky Theater for this year's Harry Dean Stanton Fest with special guest - director Allison Anders. And as we try to decide if we've had too much coffee, we also delve into… Wim Wenders, the unacknowledged Kevin Bacon, Billy Woodberry, RiverDale, double features, the OG, Billy Swan, The Paramount and The Capital, cop shows, American independent cinema, post office anxiety, I don't want you to die by the way, Paris, Texas,  Nicholas Ray, the L.A. Rebellion, Steven Bochco, Illeana Douglas, friends trying to makes a film together, Werner Herzog, you have control over nothing, bawled like a baby, Fairuza Balk, movie palaces, Southland, Duran Duran, Rodrigo García, never give up, Murder in the First, how to get a t-shirt, Ione Skye, there's a lot of pointing, Lightning Over Water, I'd won a grant, this is like a new movement in movies here in our film school, DIY culture, Stanley Kubrick, telling amazing stories and Paul is Dead.  “I don't know how you could not be in love with movies.” For more on Harry Dean Stanton Fest: harrydeanstantonfest.org For more on The Kentucky Theater: kentuckytheatre.org

The soundtracks of movies directed by Penelope Spheeris, Kathryn Bigelow, Allison Anders and more are featured in this March 2021 episode. With music by artists such as Carly Simon, The Go-Gos, Madonna and more!Set lists available at www.mondohollywood.ca

This week, we have a very special episode featuring not one but two wonderful guests. First up, we have the return of the talented Los Angeles-based writer and a Senior Vice President at The Black List, Kate Hagen.Having bonded last year over our affection for the career of actor James Spader whom we did two podcast episodes about (one here on Watch With Jen & one on Screen Drafts), Kate joined me once again on this show a few months back for a rich, soulful, wide-ranging conversation with one of our favorite filmmakers - the wondrous Allison Anders.Later that night, we hatched an idea for our next podcast conversation where we looked forward to learning and seeking inspiration from talented women by inviting Allison's wildly gifted daughter Tiffany Anders to come and talk to us and all of you about her stellar career and a trio of her favorite obscure music documentaries as well.A Los Angeles native who was recently selected by Variety as one of the Music Supervisors to Watch in 2022, in addition to her outstanding work in the field on acclaimed TV shows such as Reservation Dogs, You're the Worst, Pen15, The Chair, Sorry for Your Loss, she's been the music supervisor on films such as To the Stars, Rust Creek, The Circle, and The End of the Tour. Having also worked as a musician, journalist, Radio DJ, plus a co-founder/co-head curator of LA's Don't Knock the Rock Film Festival, Tiffany's critically lauded debut album as a singer-songwriter, "Funny Cry Happy Gift" was produced by the legendary PJ Harvey as well.Taking you behind the scenes of her incredible life and career, in this candid, fascinating conversation, Tiffany shares her thoughts on the music business and also introduces and educates us about the obscure music documentaries Scott Walker: 30 Century Man (2006), Bayou Maharajah: The Tragic Genius of James Booker (2013), and Syl Johnson: Any Way The Wind Blows (2015) and their subjects as well.Theme Music: Solo Acoustic Guitar by Jason Shaw, Free Music ArchiveLogo: KateGabrielle.comPatreon Link: https://www.patreon.com/posts/68064737

The Secret Movie Club Team (Connor Lloyd Crews, Edwin Gomez, Daniel Ott, Craig Hammill) discusses Wes Anderson's 1996 debut feature BOTTLE ROCKET as well as the moviemakers cited as part of the 1990's American New Wave-Steven Soderbergh, Quentin Tarantino, Paul Thomas Anderson, Sofia Coppola, Robert Rodriguez, Allison Anders, Richard Linklater-among others. The Team talks about what makes a generation of moviemakers unique as well as their own personal feelings, affinities for specific moviemakers. 

In this very special episode, The Black List's Director of Community Kate Hagen returns to the podcast to help me welcome one of our all-time favorite filmmakers to Watch With Jen. A Los Angeles based independent writer-director who's won both a MacArthur Genius Grant along with a Peabody Award, Allison Anders' acclaimed films include her terrific debut "Border Radio" (co-directed with UCLA classmates Kurt Voss and Dean Lent), "Gas Food Lodging," "Mi Vida Loca," "Grace of My Heart," "Things Behind the Sun," and more. Although we'd mainly planned to come together to celebrate the 30th anniversary of her award-winning sophomore feature "Gas Food Lodging," soon our richly free-flowing conversation opened up to span the beloved director's entire career. Whether she's describing her time spent inspiring Harry Dean Stanton's performance on the set of "Paris, Texas" while working as a PA for Wim Wenders, directing Brooke Adams on "Gas Food Lodging," collecting Greta Garbo's records, or appearing in Paul McCartney's liner notes, Anders' stories will delight film students, buffs, and professionals alike. Filled with laughter, great advice, and creative inspiration, this is one of our best episodes so far. Originally Posted on Patreon (3/4/22) here: https://www.patreon.com/posts/63342725 Logo: Kate Gabrielle (KateGabrielle.com)Theme Music: Solo Acoustic Guitar by Jason Shaw, Free Music Archive

November 19, 2021Reely Random Movie Reviews“Four Rooms” #2Ben and Danielle discuss the anthology comedy film Four Rooms (1995), directed by Allison Anders, Alexandre Rockwell, Robert Rodriguez, and Quentin Tarantino. The movie stars Tim Roth as the bellhop, Ted, of the Mon Signor Hotel in Los Angeles. It also includes many stars, like Antonio Banderas, Madonna, and Quentin Tarantino. They talk about aspects of the movie that they liked and disliked, such as the direction, acting, and tone. What do they think? Well, grab some Red Vines, sit back, relax, and enjoy the show!Music: "Nightmares Inn" by RKVCCasino Roulette Sound Effect: https://www.soundfishing.eu/sound/fortune-wheelCheck out our website and social media pages!Website: https://www.podpage.com/reely-random-movie-reviews/Facebook: https://www.facebook.com/reelyrandommoviereviewsInstagram: https://www.instagram.com/reelyrandommoviereviews/Twitter: https://twitter.com/MovieReelyShare this podcast with friends and family: https://www.podpage.com/reely-random-movie-reviews/four-rooms-1995/

This episode celebrates the over 40 years of repertory film programming at International House of Philadelphia while looking ahead to its future with a new name, the Light Box Film Center. I'm joined by Jesse Pires, Chief Curator to talk about their launch event featuring a 25th Anniversary screening of Allison Anders' Gas, Food Lodging. Featured soundtracks are all inspired by past programs shown on the big screen at International House and include Wim Wenders' Kings of the Road, Robert Mugge's Sun Ra: A Joyful Noise and Bill Pypmton's The Tune.

Listeners, we're back this week with Angel Aviles.In the early 90s, Angel Aviles boldly decided to pursue her dream of becoming an actress. The Bronx native moved from New York City to Hollywood, and landed roles on projects with up-and-coming directors like Quentin Tarantino, Robert Rodriguez, Michael Patrick King, and many others. In 1993, she nabbed a starring role in the cult classic “Mi Vida Loca,” directed and written by award-winning filmmaker Allison Anders. Her big break in the role of “Sad Girl” cemented Aviles legacy in Chicano culture.Following her acting career, Aviles became an entrepreneur. Today, she is a transformational life coach, a motivational speaker, and an advocate for social justice, leading workshops and master classes and encouraging others to live their best lives.The former actress-turned-life coach is the author of “Too Happy to Be Sad Girl,” The title is a nod to Aviles' most famous role in “Mi Vida Loca.”“Mi Vida Loca,” centers around young Mexicanas and Latinas growing up in the Echo Park neighborhood of Los Angeles. It offers a slice life and the everyday struggles for a group of Latino youth -- including their friendships, romantic entanglements, and  motherhood -- in a neighborhood ravaged by gang violence. For almost 30 years, the portrayal of “Sad Girl”  by Aviles in this classic film has become an iconic representation of both strength and vulnerability in Chicano culture. “Mi Vida Loca” is currently available for viewing on YouTube.In 2009, Aviles suffered from depression, anxiety, and panic attacks, which began her own journey of mental, physical, and spiritual wellness. Healed and happy, Aviles is proud to say that with years of therapy, she's no longer a “sad girl,” finding herself, her sanity, and most importantly, her purpose.“Too Happy to Be Sad Girl” offers readers some valuable techniques to reduce stress, improve communication, intensify focus and help individuals become more present. The book features heartfelt and sometimes comical anecdotes of understanding, offering readers the keys to the power of forgiveness, acceptance and love. Ultimately, “Too Happy To Be Sad Girl,” is an invitation for individuals to stay present, and have an active role in the celebration of their own life.Aviles facilitates dynamic workshops across the country, helping hundreds of people connect with their inner “chingona” – that is,  badass. At her company, Angel Awakened, Aviles and her team provide safe spaces for people to learn and share experiences that foster creativity, promote unity and inspire hope.When she's not at work, Aviles is a mom, a traveler, a volunteer, a tech evangelist, a food justice advocate, a mentor, a soulmate, a seeker, and, most importantly, a human being.During our conversation, we talked about:Growing up in NYC and moving to CaliforniaHer heritageChoosing to leave HollywoodWriting her bookNext steps in her life This  episode is brought to you by the 30 Day Tapping Challenge with PamI created the 30 Day Tapping Challenge because I know, like me, you have limiting beliefs holding you back and preventing you from moving to the next level. Those money stories reminding you why you're not worthy of an expensive pair of headphones, or that raise you know you deserve. Join me and let's tap for 30 days on these beliefs. Head over to tappingchallengewithpam.com Follow Angel on all things social:YouTubeWebsiteFacebookInstagramLinkedInTwitterToo Happy to be Sad Girl:WebsiteAmazonGoodreads Follow Cafe con Pam on all things socialInstagramFacebookhttp://cafeconpam.com/Join the FREE Cafe con Pam ChallengeIf you are a business owner, join us for Aligned MastermindLearn about PowerSistersSubscribe, rate, review, and share this episode with someone you love!And don't ever forget to Stay Shining! 

In the early 90s, Angel Aviles boldly decided to pursue her dream of becoming an actress. The Bronx native moved from New York City to Hollywood, and landed roles on projects with up-and-coming directors like Quentin Tarantino, Robert Rodriguez, Michael Patrick King, and many others. In 1993, she nabbed a starring role in the cult classic “Mi Vida Loca,” directed and written by award-winning filmmaker Allison Anders. Her big break in the role of “Sad Girl” cemented Aviles legacy in Chicano culture. Following her acting career, Aviles became an entrepreneur. Today, she is a transformational coach, a motivational speaker, and an advocate for social justice, leading workshops and masterclasses and encouraging others to live their best lives. The former actress-turned-life coach is the author of “Too Happy to Be Sad Girl,” The title is a nod to Aviles' most famous role in “Mi Vida Loca.” Today, she's dropping gems of knowledge and sentiments of healing! This show is going to FIRE you up! So, get ready as we prepare you to put YOU first, live authentically, and when needed, enjoy a guilt-free mental health day!!!

We wanted to call this podcast "The First Picture Show" - in which case, this would have been the Second First Picture show, followed by Third First Picture Show, and so on. (Fun, right?) We can't always get what we want.Follow us on Twitter @freshmoviepod

We are but two guys so logic demands we must review two movies! We've been saving a couple movies where our bud Bruce plays a very small role and today we talk about both The Player(1993) written by directed by Robert Altman, written by Michael Tolkin, and starring Tim Robbins AND Four Rooms(1995) directed and written by by Allison Anders, Alexandre Roxwell, Robert Rodregiuez and Quentin Tarentino

We are but two guys so logic demands we must review two movies! We've been saving a couple movies where our bud Bruce plays a very small role and today we talk about both The Player(1993) written by directed by Robert Altman, written by Michael Tolkin, and starring Tim Robbins AND Four Rooms(1995) directed and written by by Allison Anders, Alexandre Roxwell, Robert Rodregiuez and Quentin Tarentino Check us out at: williswaypod.com Josh's Ranking of Bruce Willis Films: https://letterboxd.com/cosmicjosh/list/bruce-willis-ranked/ Kendrick's Ranking of Bruce Willis Films: ttps://letterboxd.com/special_k/list/bruce-willis-ranked/ Email us: williswaypod@gmail.com

What can we learn about Paul McCartney from the female protagonists in his songbook? Phoebe and Thalia discuss several McCartney compositions featuring prominent female characters and identify their central themes. Sources: “Many Years From Now” by Barry Miles (1997) Interview w/ Allison Anders, Bomb Magazine (1997) Paul McCartney interview w/ Jonathan Wingate Record Collector (2008) “Chaos and Creation at Abbey Road” (2006) "Still I Rise" by Maya Angelou (1978) “The Oprah Winfrey Show” (1984) Interview w/ Paul McCartney for Billboard Magazine (2001) Paul McCartney Interview w/ Susan Goldberg for National Geographic (2017) PLAYLIST: She’s Leaving Home (1967) Jet (1973) Blackbird (1968) Jenny Wren (2005) Working Women at the Top (1991) It’s Not On (1982) Temporary Secretary (1980) Another Day (1971) Penny Lane (1967) Eleanor Rigby (1966) Eleanor’s Dream (1984) Treat Her Gently/Lonely Old People (1975) English Tea (2005) Let it Be (1970) Imprisonment, Ocean’s Kingdom (2011) Daytime Nighttime Suffering (1979) Mama’s Little Girl (1973) The World You’re Coming Into (1991) Lady Madonna (1968) For No One (1966) Extended Spotify Playlist: Click Here

Mousie and Sad Girl are childhood best friends in a contemporary Los Angeles poor Hispanic neighborhood. But when Sad Girl becomes pregnant by Mousie's boyfriend, a drug dealer named Ernesto, the two become bitter enemies. While their dispute escalates towards violence, the violence of the world around them soon also impacts their lives.

Well, we did it. It’s the final episode of Switchblade Sisters. Instead of doing a traditional show, April invited Katie Walsh, Drea Clark, and producer Casey O’Brien to discuss the making of Switchblade Sisters. We listen to messages from listeners and past guests and share our stories from the history of the podcast. We laugh, we cry, and Drea says “connective thread” at least 300 times. Thank you to everyone who listened and supported us. We will miss you. The episodes will stay up forever. So if you ever need any filmmaking advice, or maybe some assurance to follow your dreams, the show will always be there.Keep up with April Wolfe on her Twitter. And give Drea Clark and Katie Walsh a follow, too.

Hollywood pop culture icon Iris Berry is a writer, musician and actor- you may have seen her in the cult classic “Border Radio” directed by Allison Anders or several other iconic films like “Thrashin”, “The Runnin' Kind” and “Rock'n'roll Highschool. Her band The Lame Flames were rowdy boundary-pushers who, aside from making great music would now be called sex positive. Iris is the co-founder and editor of Punk Hostage Press, which is currently publishing books by Jack Grisham of TSOL, Vadge Moore of The Dwarves and your hostess, Pleasant Gehman. In this episode, Iris and Pleasant reminisce about the crazy times they've had together in four decades of friendship as feral girls in the 1980's LA rock'n'roll scene, bartending at illegal after hours speakeasies, forming their band The Ringling Sisters, and among many other things...wild adventures with sex toys. Iris Berry on InstagramIris Berry Facebook Page   http://www.punkhostagepress.com/More from Pleasant Gehmanwww.pleasantgehman.comInstagram: @princessofhollywoodwww.facebook.com/pleasant.gehmanwww.twitter.com/PleasantGehman1This show is part of Pantheon Podcasts

Hollywood pop culture icon Iris Berry is a writer, musician and actor- you may have seen her in the cult classic “Border Radio” directed by Allison Anders or several other iconic films like “Thrashin”, “The Runnin' Kind” and “Rock'n'roll Highschool. Her band The Lame Flames were rowdy boundary-pushers who, aside from making great music would now be called sex positive. Iris is the co-founder and editor of Punk Hostage Press, which is currently publishing books by Jack Grisham of TSOL, Vadge Moore of The Dwarves and your hostess, Pleasant Gehman. In this episode, Iris and Pleasant reminisce about the crazy times they've had together in four decades of friendship as feral girls in the 1980's LA rock'n'roll scene, bartending at illegal after hours speakeasies, forming their band The Ringling Sisters, and among many other things...wild adventures with sex toys.  Iris Berry on Instagram Iris Berry Facebook Page    http://www.punkhostagepress.com/ More from Pleasant Gehman www.pleasantgehman.com Instagram: @princessofhollywood www.facebook.com/pleasant.gehman www.twitter.com/PleasantGehman1 This show is part of Pantheon Podcasts Learn more about your ad choices. Visit megaphone.fm/adchoices

Hollywood pop culture icon Iris Berry is a writer, musician and actor- you may have seen her in the cult classic “Border Radio” directed by Allison Anders or several other iconic films like “Thrashin”, “The Runnin' Kind” and “Rock'n'roll Highschool. Her band The Lame Flames were rowdy boundary-pushers who, aside from making great music would now be called sex positive. Iris is the co-founder and editor of Punk Hostage Press, which is currently publishing books by Jack Grisham of TSOL, Vadge Moore of The Dwarves and your hostess, Pleasant Gehman. In this episode, Iris and Pleasant reminisce about the crazy times they've had together in four decades of friendship as feral girls in the 1980's LA rock'n'roll scene, bartending at illegal after hours speakeasies, forming their band The Ringling Sisters, and among many other things...wild adventures with sex toys. Iris Berry on InstagramIris Berry Facebook Page   http://www.punkhostagepress.com/More from Pleasant Gehmanwww.pleasantgehman.comInstagram: @princessofhollywoodwww.facebook.com/pleasant.gehmanwww.twitter.com/PleasantGehman1This show is part of Pantheon Podcasts

Hollywood pop culture icon Iris Berry is a writer, musician and actor- you may have seen her in the cult classic “Border Radio” directed by Allison Anders or several other iconic films like “Thrashin”, “The Runnin’ Kind” and “Rock’n’roll Highschool. Her band The Lame Flames were rowdy boundary-pushers who, aside from making great music would now be called sex positive. Iris is the co-founder and editor of Punk Hostage Press, which is currently publishing books by Jack Grisham of TSOL, Vadge Moore of The Dwarves and your hostess, Pleasant Gehman. In this episode, Iris and Pleasant reminisce about the crazy times they’ve had together in four decades of friendship as feral girls in the 1980’s LA rock’n’roll scene, bartending at illegal after hours speakeasies, forming their band The Ringling Sisters, and among many other things...wild adventures with sex toys.  Iris Berry on Instagram Iris Berry Facebook Page    http://www.punkhostagepress.com/ More from Pleasant Gehman www.pleasantgehman.com Instagram: @princessofhollywood www.facebook.com/pleasant.gehman www.twitter.com/PleasantGehman1 This show is part of Pantheon Podcasts

The Real Butter™ gang (Peter, Theo, and Alex) celebrates the new year by reviewing Snowpiercer (2013), The Poseidon Adventure (1972), 200 Cigarettes (1999), Four Rooms (1995), and Strange Days (1995), and by taking a New Year's Resolutions Quiz, while Poppy the Popcorn gets the fireworks ready. With special guest Riley! You (yes, you!) can aid the Glorious Cause for as little as .99 cents a month! Just follow the link: https://anchor.fm/real-butter-buttercast/support Connect with us on Twitter (@RealButterShow), Instagram, and Tumblr. Then join our mailing list: mailchi.mp/d585bc3fb49b/realbutterbuttershow You can listen to The Real Butter™ Buttercast on Anchor, Breaker, Google Podcasts, Apple Podcasts, Overcast, Pocketcasts, RadioPublic, and Spotify! Kathryn Bigelow, Ralph Fiennes, Angela Bassett, Allison Anders, Alexandre Rockwell, Robert Rodriguez, Quentin Tarantino, Ronald Neame, Paul Gallico, Gene Hackman, Real Butter, Comedy, podcasting, podcast, movies, film, moviereview, 설국열차, snowpiercer, Le Transperceneige, Bong Joon-ho, Chris Evans, Son Kang ho, Risa Bramon Garcia, Ben Affleck, Casey Affleck, Dave Chappelle, Guillermo Díaz, Angela Featherstone, Janeane Garofalo, Gaby Hoffmann, Kate Hudson, Courtney Love, Jay Mohr, Martha Plimpton, New Years, 1981, 1999, 1972, 2020, 2021, Poppy the Popcorn, Riley, Peter, Alex, Theo, Shoshanna, fun, Paul Rudd, fireworks @IAmTheHeadMeat, #HappyNewYears @RealButterShow, #KathrynBigelow, #RalphFiennes, #AngelaBassett, #AllisonAnders, #AlexandreRockwell, #RobertRodriguez, #QuentinTarantino, #RonaldNeame, #PaulGallico, #GeneHackman, #RealButter, #Comedy, #podcasting, #podcast, #movies, #film, #moviereview, #설국열차, #snowpiercer, #LeTransperceneige, #BongJoonho, @chrisevans, #ChrisEvans, #SonKangho, #RisaBramonGarcia, #BenAffleck, #CaseyAffleck, #DaveChappelle, #GuillermoDíaz, #AngelaFeatherstone, #JaneaneGarofalo, #GabyHoffmann, #KateHudson, #CourtneyLove, #JayMohr, #MarthaPlimpton, #NewYears, #1981, #1999, #1972, #2020, #2021, #PoppythePopcorn, #Riley, #Peter, #Alex, #Theo, #Shoshanna, #fun, #PaulRudd, #fireworks --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/real-butter-buttercast/message Support this podcast: https://anchor.fm/real-butter-buttercast/support

Join Allan and Austin as they look forward to a new year with a funny film! FOUR ROOMS (1995) Directed by Allison Anders  Alexandre Rockwell Robert Rodriguez  Quentin Tarantino    

Director Allison Anders (Mi Vida Loca, Grace of My Heart) joins us to discuss her breakthrough GAS FOOD LODGING (1992) and the inspiration she drew from Wim Wenders' PARIS, TEXAS, (1984), a film on which she worked as a production assistant. Follow us @filmandmoviepod on social media, and leave us a five-star review on Apple Podcasts or wherever you get your episodes.GAS FOOD LODGING is streaming on Amazon Prime https://www.amazon.com/Gas-Food-Lodging-Fairuza-Balk/dp/B08KTJD1CB/?tag=alonsoduralde-20 and is screening on Turner Classic Movies on November 11 https://www.tcm.com/tcmdb/title/76009/gas-food-lodging#overviewPARIS, TEXAS is streaming on HBOMax https://play.hbomax.com/feature/urn:hbo:feature:GXk3juQiaRZ4_wwEAAAZJ and The Criterion Channel https://www.criterionchannel.com/paris-texasAllison recommends ALICE IN THE CITIES https://www.criterionchannel.com/alice-in-the-cities LIGHTNING OVER WATER https://www.imdb.com/title/tt0081055/reference?ref_=tt_mv_close THE SHAPE OF THINGS https://www.imdb.com/title/tt0084725/reference REPO MAN https://www.starz.com/us/en/movies/repo-man-45192Alonso recommends UNTIL THE END OF THE WORLD https://www.criterionchannel.com/until-the-end-of-the-world GRACE OF MY HEART (Blu-ray - out 11/19) https://www.amazon.com/Grace-Heart-Blu-ray-Illeana-Douglas/dp/B08H5FVGNR/?tag=alonsoduralde-20

A Los Angeles based film critic, journalist, podcast host, and event moderator, the witty and wonderful Katie Walsh reviews weekly film releases for the Tribune News Service and The Los Angeles Times.Additionally, a frequent guest host of the Maximum Fun podcast Switchblade Sisters and one half of Miami Nice (which is the video podcast she hosts alongside our friend Blake Howard), Katie's work has been published by Vanity Fair, Rolling Stone, Playboy, The Playlist, Slate, Indiewire, Women & Hollywood, Town & Country, and more.In this lively exchange, she serves up some of the pearls of wisdom she shares with her students at Chapman University, where she works as a part-time lecturer teaching the Film Studies course Practices of Writing About Film. And whether she's championing some of her favorite female filmmakers (shout-out to Allison Anders, Kathryn Bigelow, & Karyn Kusama, among others) or talking about RuPaul's Drag Race, Katie is a woman who always entertains.Originally Posted on Patreon (9/8/20) with links to items & people mentioned here: https://www.patreon.com/posts/41387832Theme Music: Solo Acoustic Guitar by Jason Shaw, Free Music Archive

Tosh and Kimley discuss “Go All the Way: A Literary Appreciation of Power Pop” by Paul Myers and S. W. Lauden. This compilation of short essays by a wide range of writers (including Michael Chabon and Allison Anders among others) explores the minutiae of what constitutes power pop exactly, whether or not it is even desirable to be lumped into this subgenre and which bands are considered power pop, with bands like Bad Finger, The Raspberries, Big Star, and Cheap Trick generally being considered the prototypes. Despite its effervescent appeal, fans of power pop are deadly serious about its nuances. Both celebrated and maligned, power pop is a nebulous genre and after reading this book things still seem murky to us. But like Supreme Court Justice Potter Stewart pronounced in an attempt to define porn, we know it when we see it! Theme music: "Behind Our Efforts, Let There Be Found Our Efforts" by LG17

In this episode of the Roald Dahl Retrospective, Patricia, Arun, and special guest James Daniel Walsh from Manic Expression discuss about the 1995 anthology comedy film Four Rooms that were written and produced by Allison Anders, Alexandre Rockwell, Robert Rodriguez, and Quentin Tarantino. It focuses on a bell hop named Ted (played by Tim Roth) and his experiences of caring for his hotel customers during New Year's Eve told in four different stories involving with a covet of witches needing a secret ingredient for their concoction, a psychotic couple, a pair of sadistic children, and a bet involving with winning a car by lighting a lighter 10 times in a row or a finger would be chopped off. The final anthology segment is based on a Roald Dahl short story called “The Man from the South”. When the movie premiered in theaters, it was panned by critics calling it "the most disappointing movie of 1995". Four Rooms barely made its 4 million dollar budget and the film has been forgotten overtime. Is it an overlooked gem or one of the worst movies ever made? Listen and find out.

The filmmaker Allison Anders ("Gas Food Lodging", "Grace of My Heart") makes her first appearance on the podcast. She discusses working with various luminaries as Wim Wenders, Illeana Douglas, Claire Denis, Harry Dean Stanton, Brooke Adams an countless others.

The Season Two Finale is here! GOODFELLAS (1990) is one of the most beloved Martin Scorsese films. By using exhilarating visuals and condensed, fast-paced storytelling, this monumental mob chronicle never loses its boldness. Scorsese’s artistic integrity brings to life this terrifyingly honest and engaging portrayal of a blue collar crime world. ▶️Quick ‘lil Season Two Blooper Reel! ▶️Synopsis: This is the true story of Henry Hill being molded by the mob, starting out as a kid and moving up the ranks. With the world working for him and living a life of excess, Hill spirals down into a world of drugs, unraveling his marriage, success and turning on the crime family who created him. ⏩⏩Discussions include: The collaborative adaptation of transforming this novel to film, truth vs. fiction, Scorsese’s connection and ability to capture an intricate reality via stylistic influences, rapid-fire storytelling, voiceovers, tonal changes and trustworthy relationships with his actors and editor; use of purposeful violence; how spot-on casting captured true-to-life performances; memorable scenes and an overview of Scorsese’s gangster-heavy film career. **Starring Ray Liotta, Robert De Niro, Joe Pesci, Lorraine Bracco, Paul Sorvino. Directed by Martin Scorsese.** ▶️**PICKS OF THE WEEK** —Lindsay’s Pick, CAPE FEAR (1991): A lawyer knowingly withholds evidence, resulting in his dangerous client’s imprisonment. After he’s released, the vendetta-having, convicted sex offender stalks and seeks to ruin his former attorney’s life and family. **Starring Robert De Niro, Nick Nolte, Jessica Lange, Juliette Lewis. Directed by Martin Scorsese.** —Justin’s Pick, GRACE OF MY HEART (1996): A newly-discovered singer/songwriter finds her footing in the music industry, encountering professional and personal roadblocks, all resulting in an eventual payoff. **Starring Illeana Douglas, John Turturro, Matt Dillon, Eric Stoltz, Patsy Kensit. Directed by Allison Anders.** ▶️MURRAYMOMENT: Multiple pizza-related stories lead us to the time Scorsese’s mom, Catherine, made her legendary homemade pizza for Billy. ▶️FINAL THOUGHTS: GOODFELLAS losing to Dances With Wolves at the Oscars and the film’s murderous, yet moving montage to “Layla.” ▶️Thank you to everyone for listening, downloading, following and interacting with us for this podcast! Our gratitude runs deep. We’ll be back on June 2nd, 2020, with our Season Three opener — The Babysitter Double Feature! 

This episode is a special bonus episode usually reserved for our Patreon, which you can find at https://www.patreon.com/itcamefromabasement. It features Four Rooms, a 1995 anthology movie directed by Quentin Tarantino, Robert Rodriguez, Alexandre Rockwell, and Allison Anders. It was suggested by Patron and Roach Peddler Woody. Subscribe to our Patreon for more episodes like these!It Came From a Basement chronicles three friends as they venture into the unknown world of The Binder, a case of 96 DVD discs they are compelled to watch through. You can find the podcast at http://www.itcamefromabasement.com or on Twitter at http://www.twitter.com/BasementCast. It Came From a Basement updates every Tuesday.

Hey Dude, I riff about how my friend Krissy Teegerstrom creates "a little piece of art" with her Beyond and Back Podcast. Then I rant "that just because you're a podcaster, it doesn't mean you're an artist."CHARACTERS: Zane Grey, De Niro, Pacino, Joe Pesci, Jimmy Hoffa, Shepard Fairey, Jakob Dylan, Allison Anders, Siri, Minus OneLOCATIONS: California Bohemian Leather (Workshop), Zane Grey Estate, Los Angeles Music Center MOVIES: The IrishmanPODCASTS: Beyond and Back Podcast, audio dramaSTUFF: Christmas, FBI, Twitter, mimeSOUNDS: dogs, semi, sirensGENRE: storytelling, personal narrative, personal journalPHOTO: "A Little Piece of Dusk" shot on my "new" iPhone6 RECORDED: December 13, 2019 on the observation deck at the Zane Grey Estate in Altadena, California GEAR: Marantz Solid State Recorder PMD670, Sennheiser MD 46 microphoneDISCLAIMER/WARNING: Proudly presented rough, raw and ragged. Seasoned with salty language and ideas. Not for most people's taste. Please be advised.HYPE/SWIPE: "Don't call me dude." - John Lurie

Hey Dude, I riff about how my friend Krissy Teegerstrom creates "a little piece of art" with her Beyond and Back Podcast. Then I rant "that just because you're a podcaster, it doesn't mean you're an artist." CHARACTERS: Zane Grey, De Niro, Pacino, Joe Pesci, Jimmy Hoffa, Shepard Fairey, Jakob Dylan, Allison Anders, Siri, Minus One LOCATIONS: California Bohemian Leather (Workshop), Zane Grey Estate, Los Angeles Music Center  MOVIES: The Irishman PODCASTS: Beyond and Back Podcast, audio drama STUFF: Christmas, FBI, Twitter, mime SOUNDS: dogs, semi, sirens GENRE: storytelling, personal narrative, personal journal PHOTO: "A Little Piece of Dusk" shot on my "new" iPhone6  RECORDED: December 13, 2019 on the observation deck at the Zane Grey Estate in Altadena, California  GEAR: Marantz Solid State Recorder PMD670, Sennheiser MD 46 microphone DISCLAIMER/WARNING: Proudly presented rough, raw and ragged. Seasoned with salty language and ideas. Not for most people's taste. Please be advised. HYPE/SWIPE: "Don't call me dude." - John Lurie 

Hey Dude, I had a blast at the book signing of "More Fun in the New World" at Vroman's. I felt a deep connection to the DIY spirit and legacy of Los Angeles, punctuated by a bear hug from John Doe of X. CHARACTERS: John Doe, Tom DeSavia, Bob Dylan, Chris Morris, Allison Anders, Louie Perez, Los Lobos, X, Woody Guthrie, Kurt Voss, Billy Zoom, Exene, Dan Klass, Krissy Teegerstrom, Jakob Dylan, Wallflowers, Ronald Reagan LOCATIONS: Los Angeles, Pasadena, Vroman's, Olympic Auditorium, Grammy Museum, UCLA, UCSB, Altadena, London, NYC, East L.A. MUSIC: More Fun in the New World, "Little John of God", A&R MOVIES/TV: Batman, Joker, "Border Radio"  PODCASTS: Audio Drama, The Bitterest Pill, LA Podcasters, Beyond and Back Podcast SOUNDS: crows GENRE: storytelling, personal narrative, personal journal PHOTO: "John Doe Bear Hug" shot on Marisol's iPhone5s RECORDED: September 6, 2019 on the observation deck at the Zane Grey Estate in Altadena, California  DISCLAIMER/WARNING: Proudly presented rough, raw and ragged. Seasoned with salty language and ideas. Not for most people's taste. Please be advised.    

Hey Dude, I had a blast at the book signing of "More Fun in the New World" at Vroman's. I felt a deep connection to the DIY spirit and legacy of Los Angeles, punctuated by a bear hug from John Doe of X.CHARACTERS: John Doe, Tom DeSavia, Bob Dylan, Chris Morris, Allison Anders, Louie Perez, Los Lobos, X, Woody Guthrie, Kurt Voss, Billy Zoom, Exene, Dan Klass, Krissy Teegerstrom, Jakob Dylan, Wallflowers, Ronald ReaganLOCATIONS: Los Angeles, Pasadena, Vroman's, Olympic Auditorium, Grammy Museum, UCLA, UCSB, Altadena, London, NYC, East L.A.MUSIC: More Fun in the New World, "Little John of God", A&RMOVIES/TV: Batman, Joker, "Border Radio" PODCASTS: Audio Drama, The Bitterest Pill, LA Podcasters, Beyond and Back PodcastSOUNDS: crowsGENRE: storytelling, personal narrative, personal journalPHOTO: "John Doe Bear Hug" shot on Marisol's iPhone5sRECORDED: September 6, 2019 on the observation deck at the Zane Grey Estate in Altadena, California DISCLAIMER/WARNING: Proudly presented rough, raw and ragged. Seasoned with salty language and ideas. Not for most people's taste. Please be advised.

Allison Anders, Dean Lent, and Kurt Voss spent years making Border Radio and it shows, though often in weaknesses and incoherencies. But perhaps it is less interesting for its plot and more so for its snapshot of life adjacent to the LA punk scene of the era.

John Doe—singer/songwriter/co-founder of the band X and author, most recently of “More Fun in the New World: The Unmaking and Legacy of L.A. Punk”—conducts this live interview from the Austin […]

Allison Anders is an award-winning screenwriter, film and television director who was born in Kentucky and raised in LA. She attended film school at UCLA, where she co-directed the 1987 feature film Border Radio. Her first solo feature film, starring Fairuza Balk and Ione Skye, Gas Food Lodging premiered at the Sundance Film Festival in 1992, and earned her Independent Spirit Award Nominations for Best Director and Best Screenplay. She went on to write and direct the feature films Mi vida loca, Grace of My Heart, and Sugar Town, as well as Things Behind the Sun, for which she won a Peabody award. She’s directed episodes of Sex and the City, Orange Is the New Black, Southland, Riverdale, Murder in the First and recently Sorry for Your Loss. The movie that Allison has chosen to discuss is a deep cut, but a good one. It's the moody, horror, thriller Night Tide. Allison discusses her early fascination with the film and how it keeps re-emerging in her life. She elaborates on the beginning of her career, and how it really spawned from deeply stalking Wim Wenders. Allison talks at length about the move from independent features to directing television. And she has an amazing story of helping Harry Dean Stanton cultivate his character on Paris, Texas with a poem she wrote after having a catatonic episode. If you haven't seen any of Allison's films, Gas Food Lodging is a great place to start. And go watch Night Tide too, while you're at it. With Katie Walsh and Allison Anders. You can let us know what you think of Switchblade Sisters on Twitter or Facebook. Or email us at switchbladesisters@maximumfun.org. Produced by Casey O'Brien and Laura Swisher for MaximumFun.org.

Sweet 16, fellow Archieologists! In my longest episode yet, I bite off more than I can chew and go on more only tangentially related political rants than is advisable. Follow me (set me free), follow the show (trust me), check out The Google Doc of Rankings (and we will escape from the city) Covering: Pep Comics #33 by Bob Montana Archie #600-606 by Michael Uslan, Stan Goldberg, Bob Smith, Glenn Whitmore, Tito Peña, and Jack Morelli Riverdale #7 by Aaron Allen, Will Ewing, Roberto Aguirre-Sacasa, Thomas Pitilli, Andre Szymanowicz, and Janice Chiang Riverdale Chapter Fifteen by Michael Grassi, Allison Anders, and Roberto Aguirre-Sacasa Opening Song: Archie, Marry Me by Alvvays Closing Song: Milkshake by the cast of Riverdale

This episode we discuss the Tarantino penned, Rodriguez directed From Dusk Till Dawn. Then we hop over to the comedy anthology experiment Four Rooms, written and directed by Allison Anders, Alexandre Rockwell, Robert Rodriguez, and Quentin Tarantino.

I mean there are so many mannerisms of his that I am adopting unconsciously. How is this happening? Can I stop it? Do I even want to? Find out by following me or the show on Twitter, and while you're at it, check out The Google Doc of Rankings. Covering: Pep Comics #27, by Bob Montana Reggie and Me (2016) #1-5, by Tom Defalco, Sandy Jarrell, Kelly Fitzpatrick, and Jack Morelli Riverdale #3, by James Dewille, Will Ewing, Roberto Aguirre-Sacasa, Joe Eisma, Thomas Pitilli, Andre Szymanowicz, Janiece Chiang, and John Workman (*phew*) Riverdale Chapter Seven: In a Lonely Place, by Allison Anders, Aaron Allen (that's a lot of A's) and Roberto Aguirre-Sacasa Opening Song: Archie, Marry Me by Alvvays Closing Song: The Imperial March (Darth Vader's Theme), by John Williams and the London Symphony Orchestra

Mark with screen icon Glenn Close talking about The Wife and Fatal Attraction and director Allison Anders on Grace Of My Heart Thank you for listening! Want to come to a recording of a Mark Kermode Live in 3D show at the BFI Southbank in London?You can book tickets to next month’s MK3D here:https://whatson.bfi.org.uk/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=9FD162DC-3C10-43AB-ADCC-31364C1822AE&BOparam::WScontent::loadArticle::context_id=9F31E26A-0485-48B9-B9CB-4BA957BE7942If it says it's sold out - don’t despair, there are often returns so check again nearer the time.If you are not in London, Mark is doing the final of his one-man show "How Does It Feel?” InNewcastle on 4 February:https://www.northernstage.co.uk/Event/mark-kermode-how-does-it-feel?spektrix_bounce=true#book Follow Mark @KermodeMoviewww.markkermode.co.uk Kermode On Film is produced by HLA Agency and Hidden FlackProducers Hedda Archbold, Nick Freand Jones and Tom Whalley See acast.com/privacy for privacy and opt-out information.

Hey Dude, I give love to the podcasters who prop up this one man band of a podcast. Also I share a secret link to a "quickie" story about my first girlfriend. SHOUT-OUTS: Evo Terra, Grant Baciocco, Elsie Escobar, Scary Stories Podcast, Beyond and Back Podcast, Libsyn, New York Said, Fears and Desires, Colin (Do Tell Ray), "What Waffles" SECRETS: Love + Radio, "Christy Canyon" MENTIONS: Podcast Hall of Fame, Canva, LA Podcasters, She Podcasts, Allison Anders, Larry David, Seinfeld, Curb Your Enthusiasm, Stormy Daniels, MySpace, method acting, Ray Oldhafer, Sierra Nevada SECRET LINK: "No, I Didn't Even Kiss Her" (Quickie Edition) RECORDED: January 8, 2019 on the observation deck at the Zane Grey Estate in Altadena, California  DISCLAIMER/WARNING: Proudly present rough, raw and ragged. Seasoned with salty language and ideas. Not for most people's taste. Please be advised.

Writer/Director Allison Anders (Gas Food Lodging, Grace of My Heart, Four Rooms) sits down with us to talk about two of her favorite directors, Ida Lupino and Anthony Mann.

In this episode we go Beyond + Back with award-winning independent filmmaker Allison Anders. How do I introduce Allison Anders? I will give you the highlight reel:  Her films include Border Radio, Mi Vida Loca, Gas Food Lodging, Sugartown, Grace of My Heart She’s received a Peabody Award and a MacArthur Genius Grant She's a loving mother and friend, a multi-faceted survivor And she's kind of a badass in my opinion I interviewed Allison at her home in Pasadena, California. Before I finished setting up the microphones in her cozy kitchen, we were already having a great conversation. I gotta tell you, we get real right away — In the first few minutes, we discuss her film Things Behind the Sun, which deals with the subject of sexual abuse similar to what Allison experienced in her own life, so be advised if that’s a sensitive or triggering subject for you.   Other topics we discuss include the state of the DIY ethic, how mentorships should come about, how to connect with actors, and how she often starts a project with a question.

Tarantino, Vol. 3: Four Rooms. The 1990s produced numerous independent filmmakers who quickly became rockstars, and formed a tight-knit community. In that spirit, Quentin Tarantino teamed with three of his contemporaries to create the anthology film Four Rooms. The movie stars Tim Roth as a bellboy working alone at a hotel on New Year's Eve. As the title suggests, the film is divided into four stories, one for each "room," with each story written and directed by a different filmmaker. Those four filmmakers are Allison Anders, Alexandre Rockwell, Robert Rodriguez, and Quentin Tarantino. In this episode of Stage Nine, hosts Mike Schindler and John Mills continue their series on Tarantino with a look at Four Rooms. We discuss the poor reception, the varying quality of the segments, and what makes Tarantino's segment a standout. In news, we look at the writer hired to pen the script for Star Trek 14, Mark L. Smith. Chapters Intro (00:00:00) News (00:01:17) Four Rooms (00:14:02) Tarantino's Room (00:30:34) Closing (00:35:42) Hosts Mike Schindler and John Mills Production Mike Schindler (Editor and Producer) C Bryan Jones (Executive Producer) Matthew Rushing (Executive Producer) Ken Tripp (Executive Producer) Norman C. Lao (Associate Producer) Jeff Sutter (Associate Producer) Chris Stenftenagel (Associate Producer) Richard Marquez (Production Manager) Brandon-Shea Mutala (Patreon Manager)

TODAY: Allison Anders, American writer and director with a laundry list of acclaimed independent films and several distinguished awards. Anders set off her career with a bang, winning a Samuel Goldwyn Writing Award for a script she penned called Lost Highways. Her career took off from there, and she would soon begin directing projects of her own, beginning with the 1987 punk-heavy indie film Border Radio. As her career continued, her projects became more personal and more widely released, with her most recent film being the television biography Ring of Fire, which was nominated for 4 Primetime Emmy awards. Popcorn Talk Network, the online broadcast network that features movie discussion, news, interviews and commentary proudly presents “The Film Scene w/ Illeana Douglas”, a weekly, freewheeling discussion show where industry veteran Illeana Douglas interviews Hollywood's most important voices in TV and Film, discussing some of Cinema's most important films, scenes, and shots. Produced by Ryan Nilsen and co-hosted by Jeff Graham, this show is essential listening for serious and casual fans of film! Stay Up To Date: http://illeanaspodcast.com/illeana-douglas-episodes/ Listen on iTunes: https://itunes.apple.com/us/podcast/i-blame-dennis-hopper-starring-illeana-douglas/id1169112310?mt=2 Visit our website: https://popcorntalknetwork.com Follow us on Twitter: http://twitter.com/thepopcorntalk Love TV? Check out http://site.afterbuzztv.com Love Books? Check out http://bookcircleonline.com Support our friends at http://blackhollywoodlive.com Shopping on Amazon? Click through our Amazon affiliate program at http://www.amazon.com//ref=as_sl_pd_t...

I Blame Dennis Hopper: And Other Stories From A Life Lived In and Out of the Movies (Flatiron Books) From award-winning actress Illeana Douglas comes a memoir about learning to survive in Hollywood while staying true to her quirky vision of the world. In 1969 Illeana Douglas' parents saw the film Easy Rider and were transformed. Taking Dennis Hopper's words, "That's what it's all about man" to heart, they abandoned their comfortable upper middle class life and gave Illeana a childhood filled with hippies, goats, free spirits, and free love. Illeana writes, "Since it was all out of my control, I began to think of my life as a movie, with a Dennis Hopper-like father at the center of it." I Blame Dennis Hopper is a testament to the power of art and the tenacity of passion. It is a rollicking, funny, at times tender exploration of the way movies can change our lives. With crackling humor and a full heart, Douglas describes how a good Liza Minnelli impression helped her land her first gig and how Rudy Valley taught her the meaning of being a show biz trouper. From her first experience being on set with her grandfather and mentor-two-time Academy Award-winning actor Melvyn Douglas-to the moment she was discovered by Martin Scorsese for her blood-curdling scream and cast in her first film, to starring in movies alongside Robert DeNiro, Nicole Kidman, and Ethan Hawke, to becoming an award winning writer, director and producer in her own right, I Blame Dennis Hopper is an irresistible love letter to movies and filmmaking. Writing from the perspective of the ultimate show business fan, Douglas packs each page with hilarious anecdotes, bizarre coincidences, and fateful meetings that seem, well, right out of a plot of a movie. I Blame Dennis Hopper is the story of one woman's experience in show business, but it is also a genuine reminder of why we all love the movies: for the glitz, the glamor, the sweat, passion, humor, and escape they offer us all. Praise for I Blame Dennis Hopper "In this sublime series of essays, Douglas revels in her dual roles as both participant and observer, never losing her awe of the actors and directors she has met along the way. Funny, candid, juicy, gossipy, Douglas insider look at the film industry charms with its pinch me, I m dreaming sweetness while imparting hard-won and valuable lessons about following one s true calling." -Booklist, Starred Review "In other words, she's got seriously good stories to tell in these chatty, heartfelt essays" - Kim Hubbard, "People" Magazine "It's Douglas head-over-heels madness for the movies that illuminates the text like a projector bulb through a filmstrip, from her parents decision to run a hippie commune after being bewitched by Dennis Hopper in Easy Rider, to Douglas own obsession with actors like Lee Marvin and Richard Dreyfuss, to her sometimes delusional confidence that she was born to be a star. Douglas recounts her life and work with a perfect mix of self-deprecation and glowing pride. Reading it feels like listening to the magnetic storyteller herself and it s enough to make you fall in love too. A " - Entertainment Weekly "Humorous, delightful, and wholly entertaining. Douglas delves into all the wonderfully serendipitous tales that got her to the place she as a child always wanted to be, all while charming the hell out of us."- Elle Magazine Illeana Douglas takes you through her years in Hollywood and beyond the same way she experienced them - by happy, hilarious accident. The revelations fly off the pages of this book are cringe-inducing, gut-busting and terrifying, usually all at once."--Patton Oswalt, New York Times bestselling author of ZOMBIE, SPACESHIP, WASTELAND "I've talked to Illeana Douglas about her life. Her family roots are crazy, groovy, harsh and a bit glamorous. I'm thrilled she's wrangled that into prose form. She's quirky, hilarious and deep. I love her. I've always loved her. Haven't we all?"--Marc Maron, Comedian and bestselling author of Attempting Normal "Illeana Douglas is an incredibly talented, smart and funny storyteller. This book is compelling to read from start to finish. She either knows or has worked with so many significant names in film, that in researching, she broke my IMDB."--Bob Saget, actor and author of the New York Times bestselling memoir Dirty Daddy"Illeana has done what no other movie memoir has ever achieved; she takes us on a journey through the personal, the chaotic, the droll, the ecstatic, the hilarious, the surreal and moving life in moving pictures, hers, and ours. As beautiful as it is exhilarating, I Blame Dennis Hopper not only gives us a rich texture of the life of an American girl coming of age in a wild time, but the most perfect look I've ever read of life on the set through a filmmakers eye. Gorgeous."-- Allison Anders, Award-winning director of Grace of My Heart and Gas Food Lodging "I Blame Dennis Hopper is genius. I couldn't put it down. It was like having a great companion. Illeana completely captures the enchantment of film in a charming and hilarious way. More than that, it reminded me of my own passion for movies and of acting. Very, very inspirational." --Jeff Goldblum "I devoured this book as if it were a giant box of popcorn! It isn't easy to put your thoughts, hopes, dreams, and disappointments into words, but Illeana Douglas has done it with equal parts candor and humor. Best of all, she details the special relationship she had with her grandfather, the great Melvyn Douglas-including the time she got to visit him on the set of Being There. I thoroughly enjoyed this disarming memoir."--Leonard Maltin, film critic and bestselling author Illeana Douglas is an actress, writer, director and host of Trailblazing Women on Turner Classic Movies. She’s appeared in classic films like Cape Fear, Grace of My Heart, and Ghost World, and is often described as “quirky” which is odd because the look she is going for is “skanky." Jennifer Tilly was in many films including Bound, Bullets over Broadway, and the extremely dramatic Bella Mafia, that she starred in with Illeana Douglas. These days she plays poker and continues to churn out Chucky movies. Matt Oswalt is a writer and director, he created the hit web series Puddin' starring Eddie Pepitone.  He does punch-up on lots of movies and award shows you've probably seen and is currently writing on Mystery Science Theater 3000.  Annette O’Toole is an actress who has been around forever. She also sings, knits, and sometimes plays the mandolin. Her favorite actor is Michael McKean. That’s pretty much all you need to know.  Ben Mankiewicz is a host of Turner Classic Movies. He moved to LA 75 years after his grandfather Herman Mankiewicz arrived. He cohosts the online film review show What The Flick. Steven Weber is known for playing comedy and drama, he's a national treasure and a good man. Kate Micucci is one half of the comedy duo Garfunkel and Oates. Lately you may have seen her in Mike Birbilgia's movie Don't Think Twice, or Joe Swanberg's Netflix series Easy.

Négy szoba (Four Rooms | 1995) Rendezők: Allison Anders, Alexandre Rockwell, Robert Rodriguez,Quentin Tarantino Oscar (# | 1991) Rendező: John Landis Brüno (# | 2009) Rendező: Larry Charles Shop-show (Mallrats | 1995) Rendező: Kevin Smith | Puzsér Róbert, Dinnyés Gergely

On a special episode of The Projection Booth, Mike talks with Tom Roston about his new book, I Lost It at the Video Store, an oral history of working at or going to the video store.

Three generations of Anders. Beginning with Allison Anders. One of the best American film directors working today. She is most well known for her films, Gas Food Lodging, Mi Vida Loca and Grace of My Heart. Most recently Allison has worked in television on shows like Orange is the New Black and the Emmy nominated television movie Ring of Fire. She has also been awarded a MacArthur Genius Grant as well as a Peabody Award. Tiffany Anders is a top music supervisor of films, including the recent End of the Tour. Rachel Young is Allison's Mom and Tiffany's Grandmother!

On this latest episode of the Talkhouse Film podcast, writer-director Allison Anders talks with her mentor, iconic German filmmaker Wim Wenders, on the occasion of Wenders' new touring film series. In their fascinating and wide-ranging conversation, the two old friends talk about a possible sequel to Paris, Texas, why Wenders didn't direct True Detective, how Until the End of the World presciently anticipated everything from GPS to search engines to selfie culture – and also a lot of stuff about music, including how Wenders saved The Goalie's Anxiety at the Penalty Kick by digitally replacing an Elvis song with a copycat track, Wim buying Allison her first iPod, and a discussion of the art of the mixtape. For more filmmakers talking film and TV, visit Talkhouse Film at talkhouse.com/film.

Filmmaker Allison Anders discusses her career in film and television, specifically Orange is the New Black Episode 6 from Season 2 (You Also Have a Pizza), which she directed. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 29745]

Filmmaker Allison Anders discusses her career in film and television, specifically Orange is the New Black Episode 6 from Season 2 (You Also Have a Pizza), which she directed. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 29745]

What happens when you tell four different stories, by four different  writers and directors (only two of which you've ever heard of…), and put  them all in the setting of one old school Hollywood Hotel on New Years  Eve?!? Well apparently the gents at REEL 90 thinks that you get ONE mediocre (or bad) movie. Listen and decide if you think FOUR ROOMS is uneven, or if Betty White's “Golden Girls” (her boobs), could have saved it! Our Hosts Ricky Glore Shae Hornback Eric M. Hunter Nick Prince Four Rooms (1995) Synopsis Four interlocking tales that take place in a fading hotel on New Year's Eve. Directors: Allison Anders, Alexandre Rockwell Writers: Allison Anders, Alexandre Rockwell Stars: Tim Roth, Amanda De Cadenet, David Proval

Movie Meltdown - Episode 263 This week we talk about movies, music and life in general with punk icon and actor... John Doe! John stars in the new independent film "Pleased to Meet Me", so we discuss his chemistry with co-star Aimee Mann, shooting movies in smaller cities, and playing someone in the music business vs. actually being in the music business. Plus of course we discuss his early days, his love of music, his decision to move to L.A., and the musical scene that formed the legendary band X. Then we round things out with Archie Borders, the director of "Pleased to Meet Me", as we find out about how this film came together and the challenges of directing indie films. Plus as we ponder the significance of the "O" in the Hollywood sign, we also mention… CBGB's, Wayne Wang, Illinois, doing accents, John Entwistle, Baltimore, The Screamers, Patrick Swayze, Katie O’Brien, California is epic, The Talking Heads, the East coast, Harry Dean Stanton, ex-NAVY SEAL, outlawing lead bullets, Max's Kansas City, Blondie, The Go-Gos, Tom Hulce, Jerry Lee Lewis, falling off the balcony, opera, Velvet Underground, The Weiroes, A.P. Carter, Rowdy Harrington???, Minute Men,  Oasis, Elliott Smith, John Waters, The Who, The Ramones, Hollywood Boulevard, digging to find your inner Jerry Lewis, Paul Westerberg, classical piano, Andy Warhol, Tom Petty and the Heartbreakers, Border Radio, I blew my knee out, Rocket Man, sarcastic, Divine, Joan Baez, Gary Snyder, The Germs, Allison Anders, hanging out with LAPD, Road House, Universal Amphitheater in L.A., Sid and Nancy, Roadside Director???, musicians from the classifieds, librarian, pop art vs. fine art, Green Day, Jewel, Georgia, shooting in your hometown, I can starve on my own... I can starve in music no problem , The Big Red One, self-depricating, David Hockney, Robert Quine, Mary Elizabeth Mastrantonio, Breathless, finishing a tour, Don Cheadle, the King Ad Rock, is it a musician or an actor, movie reality, Mink Stole,  Allen Ginsberg, visable holes even from the flatlands, Joe Strummer, bring that blue and white plaid shirt, Jennifer Jason Leigh, The Killer, Roadside Prophets, don't get off the boat... it's an f-ing tiger, Everyone Speaks Elton John, Nathanael West, Jim Thompson, Charles Bukowski, Diane Wakoski, a concrete structure somewhere where they can do very little damage,Ulu Grosbard, Winona Ryder, John Cusack, a big fish in a medium pond, Jon Langford and I wasn't afraid... for the first time - to rely on what I've done. "That was a total 'pinch me' moment... 'cause we're just hanging out, getting drunk at Sun Studios - playing Jerry Lee songs!"

Movie Meltdown - Episode 201 So we've featured many interviews with actors and filmmakers over the years, but this week we change things up a little as WE ourselves are interviewed. We welcome Emily from "The Courier Journal" who asks us to try to explain, just what "Movie Meltdown" is exactly. Then we fall right back into our usual discussion mode as we talk about this week's Sofa Theater feature "The Lie". Directed by Joshua Leonard, and starring Joshua and our beloved (adopted cast member) Jess Weixler. And as we wax philosophic about our own existence, we also mention... the awkwardness is excruciating, a soul-crushing job, so douchey, best drip so far, indie genre cliches, voyeurism, a weekend camping, people going to their futile jobs, the Clair Huxtable look, editing the movie, the waitress at the diner, InstaGram coloration, The Blair Witch Project, Allison Anders, these hash browns are amazing,  I love Portland... I met an owl there once, maybe it's just your head and what do you do when you give yourself a day off? Spoiler Alert:  "The Lie" has a MAJOR spoiler moment in it, so watch it beforehand for spoiler-free listening. Plus Fred spoils the end of "The Return of Martin Guerre". You have been warned!! "It's not really about the lie." - "But which lie is it?"

Allison Anders's Grace of My Heart tells the story of Edna Buxton (Illeana Douglas), a singer/songwriter whose life and loves are documented through song.Learn more about your ad choices. Visit megaphone.fm/adchoices

Allison Anders's Grace of My Heart tells the story of Edna Buxton (Illeana Douglas), a singer/songwriter whose life and loves are documented through song.