Podcast appearances and mentions of Benicio del Toro

Welcome, welcome, welcome to the Distraction Pieces Podcast with Scroobius Pip!This week Pip is joined by one of the greats... it's BENICIO DEL TORO!"I'm a FAN!" proclaims Benicio at various points in this lovely catch up with Pip, and it's so heartening to hear. Not that anyone ever expected him to be anything less than awesome, but this is actually quite a rare appearance from someone evidently beloved by those involved in cinema and those who view the films alike. While a quick Google search will bring up a bunch of films he's been in and you wlll love, you could just do an old fashioned analogue mind search and come up with something equally quick, as everyone will have one. BDT is in town and on the promo trail for the new Wes Anderson joint 'The Phoenician Scheme' in which he plays a major role, but during this episode you'll also hear about that road up to it including everything along the way. How he fit so much into such a short time here we'll never know, but rest assured you'll have a fine time enjoying and discovering his past lives along the actorial path. A real treat, you already KNOW this is gonna be an awesome episode.PIP'S PATREON PAGE if you're of a supporting natureTHE PHOENICIAN SCHEMESICARIOUSUAL SUSPECTSIMDBSPEECH DEVELOPMENT WEBSTOREPIP TWITCH • (music stuff)PIP INSTAGRAMPIP TWITTERPIP PATREONPIP IMDBPOD BIBLE Hosted on Acast. See acast.com/privacy for more information.

Benicio Del Toro talks about playing a business tycoon in Wes Anderson's The Phoenician Scheme. This aesthetically stylised film, by the director who also made The Royal Tenenbaums and The Grand Budapest Hotel, is reviewed by Tom and critics Larushka Ivan-Zadeh and Rachel Cooke. They also give their verdict on Mission: Impossible - The Final Reckoning, the 8th and final film in the franchise, and discuss fictional portrayals of food as Aftertaste by Daria Lavelle is published.Presenter: Tom Sutcliffe Producer: Harry Graham

Notre critique du film "The Phoenician Scheme" réalisé par Wes Anderson avec Benicio Del Toro, Mia Threapleton et Michael Cera. Le film est présenté en compétition de la Sélection Officielle au Festival de Cannes 2025Abonnez-vous au podcast CINECAST sur la plateforme de votre choix : https://smartlink.ausha.co/cinecast   ---   Titre : The Phoenician SchemeSortie : 28 mai 2025Réalisé par Wes AndersonAvec : Benicio Del Toro, Mia Threapleton et Michael CeraSynopsis : Le riche homme d'affaires Zsa-zsa Korda désigne sa fille unique, une religieuse, comme seule héritière de son patrimoine. Alors que les Korda se lancent dans une nouvelle entreprise, ils deviennent rapidement la cible de magnats intrigants, de terroristes étrangers et d'assassins déterminés.#ThePhoenicianScheme #Cannes2025 #CINECASTHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Gonzo Hellscape: Terry Gilliam's Fear & Loathing in Las Vegas In 1998 Director Terry Gilliam - a director whose cinematic career has been fraught with difficulty on the level of Job (see 2002s Lost in La Mancha) was finally successful in bringing to the screen Hunter S. Thompson's 1971 Classic roman á clef of excess, paranoia, idealism, and disappointment, Fear & Loathing in Las Vegas: A Savage Journey to the Heart of the American Dream. A polariizing film upon its release in 1998, Giliam's interpretation of Thompson's 1971 vision is both awe-inspiring and troubling. There is a tremendous amount to admire in this film while at the same time there is a tremendous amount to be critical of . . . We tackle both perspectives and struggle to find some greater understanding of the late 60s, early 70s, and pain and disappointment of the 2nd decade of a new millennium. It's an interesting and volatile discussion between two friends. Take a listen and let us know what yout think about our reaction to Thompson's vision as rendered through the mind of Terry Gilliam and the equally outrageous and powerful performances of stars Johnny Depp (as Thompson) and Benicio Del Toro (as Chicano activist Oscar Zeta Acosta - the 300lb Samoan of Thompson's writing). As always we can be reached at gondoramos@yahoo.com. Many, Many, Many Thanks.  For those of you who would like to donate to this undying labor of love, you can do so with a contribution at https://www.buymeacoffee.com/watchrickramos - Anything and Everything is appreciated, You Cheap Bastards.

Send us a textAlright everyone, it's time for yet another theme and this time it's "Eyes Wide Open".  This theme will deal with films where characters experience eye-opening moments, whether through shocking revelations or sudden enlightenment.Peeling back the eyelids first, with the shake-up of "must have a narrator" (pretty self explanatory) is The Usual Suspects, the 1995 action/drama/thriller/etc directed by Bryan Singer and starring Kevin Spacey, Benicio Del Toro, Stephen Baldwin, Gabriel Byrne, Chazz Palminteri and Kevin Pollak.  We follow the tale of the sole survivor of a pier shoot-out who tells the story of how a notorious criminal influenced the events that began with five criminals meeting in a seemingly random police lineup.Of course in addition to our feature presentation we do a deep dive into daylight savings time, pick who would narrate our lives and Matt discusses his experience with invasive procedures.  

Warner Bros. reveló el primer tráiler de Una Batalla Tras Otra. Netflix compartió el avance de Nueva vida en Ransom Canyon. Imagem Films mostró el primer avance de Screamboat: La Masacre del Ratón. 

Disney y Pixar anuncian el desarrollo de COCO 2. Warner Bros. reveló el primer vistazo de One Battle After Another. Neon compartió el primer tráiler de Together. 

Diane and Sean discuss the best movie involving a talking raccoon and a tree person, James Gunn's Guardians of the Galaxy. Episode music is, "Hooked on a Feeling" by Blue Swede, from the OST.-  Our theme song is by Brushy One String-  Artwork by Marlaine LePage-  Why Do We Own This DVD?  Merch available at Teepublic-  Follow the show on social media:-  BlueSky: WhyDoWeOwnThisDVD-  IG: @whydoweownthisdvd- Tumblr: WhyDoWeOwnThisDVD-  Follow Sean's Plants on IG: @lookitmahplants- Watch Sean be bad at video games on TwitchSupport the show

Wer kann schneller an nur einem Geräusch den Film erkennen - Alper oder Jonas? Und wie soll es mit dem James Bond-Franchise weiter gehen, jetzt, wo Amazon offiziell das Ruder übernommen hat? Das und noch viel mehr gibt es in dieser neuen Podcast-Folge auf die Ohren! In alter Besetzung geht es um das, was wir zuletzt gesehen haben und mit den Starts der Woche natürlich auch um das, was jetzt ganz neu in die Kinos und auf die Bildschirme zu Hause kommt. Von Bridget Jones bis zum Bob Dylan Biopic LIKE A COMPLETE UNKNOWN ist für alle was dabei – und was genau unserer Meinung nach besonders empfehlenswert ist, erfahrt ihr hier auf Cinema Strikes Back! Podcast zum Anhören: Spotify: https://go.funk.net/csb_spotify iTunes: https://go.funk.net/csb_itunes RSS-Feed: https://go.funk.net/csb_rss Podcast: 00:00:00 - Aus welchem Film ist dieses Geräusch? 00:16:46 - Was haben wir zuletzt geschaut? 00:57:42 - Amazon übernimmt James Bond 01:14:19 - Die Starts der Woche Redaktion: Marius Stolz Moderation: Marius Stolz, Jonas Ressel, Alper K. Turfan Kamera, Ton & Schnitt: Rosa Husemann

Puedes descargar la transcripción completa de este podcast en la web de la Escuela de Español Quince TC: www.quincetc.es info@quincetc.es Youtube Se Habla Español: https://www.youtube.com/channel/UC4168uWwJqyBPAmhvcQ7BvQ Patreon: https://www.patreon.com/sehablaespanol Buy me a coffee: https://www.buymeacoffee.com/sehablaespanol/w/6450 Donaciones: https://paypal.me/sehablaespanol Contacto: sehablaespanolpodcast@gmail.com Facebook: www.facebook.com/sehablaespanolpodcast Twitter: @espanolpodcast

National chocolate mint day. Entertainment from 1994. Cracker Jack started putting prizes in their boxes, 980 Japanes soilders killed by crocodiles, George Harrison guilty of plagiarism. Todays birthdays - Lee Marvin, Smokey Robinson, Lou Christie, Jeff Daniels, Falco, Seal, Justine Bateman, Benicio Del Toro. Johnny Paycheck died.Intro - Pour some sugaar on me - Def Leppard http://defleppard.com/Mint chocolate chip - Jonathan MannThe power of love - Celine DionI swear - John Michael MontgomeryBirthdays - In da club - 50 Cent http://50cent.com/Tears of a clown - Smokey RobinsonLightning strikes - Lou ChristieRock me Amadeus - FalcoKiss from a rose - SealFamily Ties TV themeTake this job and shove it - Johnny PaycheckExit - Its not love - Dokken http://dokken.net/

On this week's Waffle Box, Mike and Kush discuss an Australia teacher that identifies as a cat, a French man that was fined for using his loud speaker, Welsh man whose ex-girlfriend threw away millions and much more. Plus, Captain America: Brave New World gets reviewed, and we find out how old Benicio Del Toro is.Chapters:00:00 - Opening Waffle6:53 - Top Stories20:06 - Dumb World Record25:55 - Commercial Break26:42 - Celebrity Birthday Blackjack36:43 - Kush's Movie Review47:06 - Feel Good Story of the Week

In this episode Brian finally picks a personal fave of his " The Wolfman" (2010) much to the chagrin of Jef and Josh. But Brian is certain that his co-hosts will indeed love this star studded remake and will be hearing how much they love it as they record this newest episode. However, Brian is in for a rude awakening, much like waking up after a long night of werewwolfin' around town slashin' boobies and eatin' bobbies! So sit back and join the FM3 as they chat about The Wolfman!

In this episode, we break down SICARIO and its dark, gripping story. We analyze the most intense scenes, revealing how they build suspense and tension. From the morally complex characters to the stunning cinematography, we dive into why Sicario is a modern thriller masterpiece. We also discuss the major changes made to the original script that amplified the film's impact. If you're looking for a deep analysis of Sicario, its best moments, and its storytelling, this is for you.SICARIO is about: After rising through the ranks of her male-dominated profession, idealistic FBI agent Kate Macer receives a top assignment. Recruited by mysterious government official Matt Graver, Kate joins a task force for the escalating war against drugs. Led by the intense and shadowy Alejandro, the team travels back-and-forth across the U.S.-Mexican border, using one cartel boss to flush out a bigger one.Chapters:00:00:00 Post watch conversation: Ending reaction & the studs behind the movie00:03:17 Why Emily Blunt was cast as Kate00:07:46 The true events Taylor Sheridan based the script on00:09:27 Denis Villeneuve drastic change to the original script00:13:57 How Sheridan pits different beliefs against each other00:21:00 Benicio Del Toro's incredible portrayal of dark mystery00:24:07 How they trick the audience to reveal Alejandro's true darkness00:28:02 The potential threat cartels are facing in real life00:29:34 The ending that leaves you questioning your own beliefs00:32:16 An example of Denis Villeneuve's genius directing00:37:59 The symbolic use of color and darkness00:39:41 Benicio Del Toro & Emily Blunt fought to change the ending00:41:26 The extreme detail of the final scene 00:42:12 Ending explained: Don't become a wolf00:45:50 Josh Brolin reveals how weird the set experience was00:50:05 The significance of the films title & sequel discussion00:52:15 The odd but realistic goal of the characters00:53:14 Our ratings out of 1000:56:00 Final thoughts: Fun fact about Sheridan's attempt to have it made00:58:37 Looking at the ridiculously long Canne standing ovations01:00:57 Cue the music

Brothers J and Eric discuss the 2023 film Reptile starring Benicio Del Toro, Alicia Silverstone, and Justin Timberlake. It's a slow burn but the acting is great in the same vein as Collateral.   Housekeeping begins at 46:20 during which they discuss holiday traditions, healthcare, Keith Olbermann, Skyrim, Shrinking, and Battlestar Galactica.   File length 1:25:34 File Size 62.9 MB   Theme by Jul Big Green via SongFinch Subscribe to us on Apple Podcasts Listen to us on Stitcher Like us on Facebook Follow us on Twitter Send your comments to show@notinacreepyway.com Visit the show website at Not In A Creepy Way

Welcome to another episode of Hit Rewind! As we approach the end of the 1998 season, hosts Michael and Jacob dive into a diverse selection of films that defined the era. Join them as they discuss the polarizing comedy "Dirty Work," featuring the unique comedic style of Norm MacDonald, and the trippy, terrifying journey of "Fear and Loathing in Las Vegas" with Johnny Depp and Benicio Del Toro. Discover the thought-provoking world of "The Truman Show," where Jim Carrey takes on a more serious role under the direction of Peter Weir. The duo also revisits Joe Dante's action-packed "Small Soldiers," exploring its blend of practical effects and early CGI technology. Get ready to laugh with the Farrelly Brothers' comedy hit "There's Something About Mary," starring Ben Stiller and Cameron Diaz, as Michael and Jacob reminisce about its unforgettable moments and the cultural impact it had on audiences. Don't miss out on this nostalgic journey through some of 1998's most memorable films!

In the world of British crime cinema, few films capture the frenetic energy and dark humour of the underworld quite like Snatch (2000). Directed by Guy Ritchie, Snatch is a heist film on steroids, merging British grit with slapstick absurdity and a labyrinthine plot filled with double-crosses stolen diamonds, and unlikely heroes. For our latest Born to Watch podcast episode, we dive into what makes Snatch such a stand-out in the crime genre and why its impact remains strong 20 years after its release. This Snatch (2000) Movie Review covers everything from the stellar cast to Ritchie's stylistic choices and how the film has influenced the genre and pop culture.Plot and Style: A High-Speed Crime CaperSnatch tells two intertwined stories. The first follows Turkish (Jason Statham), an ambitious underground boxing promoter, who gets roped into an unlicensed fight by gangster Brick Top (Alan Ford). Meanwhile, the second story revolves around a stolen 84-carat diamond that makes its way across a host of unscrupulous characters, including small-time thieves, corrupt jewellers, and an indestructible bare-knuckle boxer named Mickey O'Neil (Brad Pitt). The film's gritty and energetic style pulls the viewer through London's seedy streets with whip-fast edits, slow-motion shots, and a darkly comic lens.Guy Ritchie's directing style is on full display here. Quick cuts, freeze frames, and a playful, punchy soundtrack make the film a sensory assault, capturing the chaos of its characters' lives. From the first minute, Snatch establishes a hyper-kinetic pace that doesn't let up, demanding the audience's full attention. It's a tricky balance, but Ritchie pulls it off, giving us a film that's as smart and clever as it is chaotic and loud.An Ensemble Cast With Star Power and ChemistryOne of Snatch's most notable aspects is its eclectic, all-star cast. The ensemble cast brings to life a colourful array of characters, each with its quirks and memorable traits. Jason Statham, then a relatively unknown actor, is captivating as Turkish, the film's down-on-his-luck protagonist whose deadpan delivery and cool demeanour ground the story's wild twists. Turkish's partner, Tommy (Stephen Graham), provides a comedic counterbalance, stumbling through one mishap after another.Brad Pitt's performance as a thickly accented Irish Traveler and bare-knuckle boxing champion, Mickey O'Neil, is unforgettable. Pitt's choice to adopt a nearly indecipherable accent adds an extra layer of humour and mystique to the character. Known as the “Pikey,” Mickey steals scenes with his charm, unpredictability, and sheer fighting prowess. Rumour has it that Pitt's accent was intentionally difficult to understand as a creative solution after he struggled with a convincing English accent. Whatever the reason, it works perfectly, adding a layer of intrigue and hilarity that no one could have anticipated.Benicio Del Toro, Dennis Farina, Rade Sherbedgia, and Alan Ford round out the cast with standout performances. Ford's Brick Top is especially menacing as he delivers brutal monologues about pigs, body disposal, and the world of underground fighting. Each actor brings their A-game, giving the film an international flavour and highlighting Ritchie's knack for directing ensembles.The Dark Humor: Punchlines in the Punch-UpsRitchie's use of dark humour is central to Snatch's identity. The film revels in its comedic violence and absurd situations, balancing tension with perfectly timed humour. From the unintentionally humorous attempts of small-time crooks like Sol (Lennie James) and Vinny (Robbie Gee) to pull off a diamond heist to the over-the-top cruelty of Brick Top, the film walks the fine line between horror and hilarity. Ritchie doesn't just throw humour in as a way to lighten the mood—it's a critical part of the story and its characters, making Snatch feel as if you're watching a crime film through a cracked mirror.The humour also shows up in the dialogue, with quotable lines that stick long after the credits roll. Whether it's Turkish's dry observations, Mickey's barely intelligible but somehow hilarious quips, or Brick Top's chilling speeches, Snatch knows how to keep the audience entertained. Ritchie's dialogue is sharp and fast-paced, mixing British slang with witty banter, making it endlessly rewatchable and quotable.Cultural Impact and Lasting AppealWhen Snatch hit theatres in 2000, it was an instant hit among fans of British gangster films, establishing Ritchie as a definitive voice in the genre. With its stylised violence, witty script, and memorable characters, Snatch quickly became a cult classic. It inspired a new wave of British crime cinema, with directors and writers noting Ritchie's energetic approach to storytelling. Films and shows that followed, like Layer Cake and even Peaky Blinders, borrow elements of Ritchie's unique style.Snatch is more than just a genre film; it also influences pop culture. Brad Pitt's Mickey became iconic, referenced in countless media for his humour and physicality. The film's eclectic soundtrack—featuring tracks from The Stranglers, Oasis, and Mirwais—also found its way into fans' playlists, blending punk, rock, and electronic music into a genre-defying mix that helped set the tone for the film.Cinematic Techniques and Visual StorytellingRitchie's visual style in Snatch is as influential as his narrative structure. The editing choices, particularly sped-up sequences, slow-motion shots, and freeze frames, became trademarks of Ritchie's style. These techniques aren't just flashy—they enhance the tension and humour, making even small actions, like loading a gun or opening a door, feel cinematic. The colour palette and gritty visuals make London's underground feel both surreal and grounded, capturing a seedy yet vibrant world that exists just out of the public eye.The film's split-screen shots, flashbacks, and quick cuts give it a comic-book feel, adding to its dynamic and energetic tone. Ritchie crafted Snatch with a precision that feels both messy and deliberate—a hard trick to pull off but one that pays off in spades, immersing viewers in a world of diamonds, double-crosses, and underground boxing.Why Snatch Is Still a Must-WatchTwo decades later, Snatch is as fresh and entertaining as ever. It's a film that rewards multiple viewings, with each rewatch revealing new details, from the clever foreshadowing to the way Ritchie uses sound and visuals to build tension. It's a cult classic that defined a genre, yet it doesn't feel dated—a testament to its careful craftsmanship and the universal appeal of its humor and grit.For anyone who loves crime thrillers, dark humor, or just a film that's endlessly quotable and watchable, Snatch is a must-watch. It's an adrenaline-fueled journey into the chaotic world of diamond heists and bare-knuckle boxing, packed with unforgettable characters, twisty plots, and Guy Ritchie's signature style. As we dissect in this Snatch (2000) Movie Review, it's a film that never quite lets you catch your breath—and that's precisely why we love it.

Two of the three dive into this high drama from the early 2000's.  Jeff is away but somehow still appears in the episode and doesn't sound the least bit like he's broadcasting from a phone in a toilet cubicle in Times Square (Don't try and find them, they don't exist) thanks to our AI audio algorithm knowing what he sounds like and his volume level.  We discuss acting performances, daring editing choices and the cinematography of the film, and have a lengthy extra discussion about how streaming "TV show" budgets are out of control. 00:00:00 - Intro 00:06:37 - Mini Review The Outrun 00:10:10 - Gripes 00:18:09 - 2003 Year in Review 00:32:02 - Films of 2003: 21 Grams 01:10:27 - What You Been Watching? 01:16:07 - Next Episode   Additional Cast/Crew: Alejandro G. Iñárritu, Benicio Del Toro, Sean Penn, Naomi Watts, Guillermo Arriaga, Rodrigo Salerno Hosts: Dave Green, Jeff Ostermueller, John Say Edited & Produced by Dave Green. Beer Sponsor: Carlos Barrozo Music Sponsor: Dasein Dasein on Spotify: https://open.spotify.com/artist/77H3GPgYigeKNlZKGx11KZ 
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Zero and Wiz RECOMMEND Sicario Sicario does many things right: it has intense action sequences that bookend a meaty plot about finding justice in a business where it always feels dirty. But the one thing that the film does so very well: evoking a feeling of being a pawn on a chess board where you're not quite sure you are actually playing chess. Kate, played by Emily Blunt, is an idealistic person who desperately wants to bring to justice to the criminals that killed her squad...but she wants it by the book. This leads to her being increasingly frustrated and exasperated by the methods of Matt, played by Josh Brolin. Matt uses all sorts of subterfuge, dirty tactics and morally questionable actions to get results. Kate is essentially the avatar of the audience when it comes to wanting to do "the right thing". But in a subversion of the trope, the film shows the protagonist being completely shut out in the machinations of the plan. That feeling of a lack of control is key to the film. The audience, as well as Kate, is never certain who to trust, what will happen and what is actually going on. It leads to the film having a consistent feel of unease as you grasp what's going on. And when slivers of the truth start to form, you are still not entirely sure of what is actually going on. This feelings is further enforced by a great performance by Emily Blunt. Blunt is believable in all aspects of the character: from her ability to do the job she's doing to the feeling of paranoia, frustration and disgust by what's going on. But this is also helped with two other great performances: Josh Brolin plays a slimy, shady operator with great bravado and a devilish sneer. He's particularly effective in scenes where he one-ups Kate. My favorite performance? It has to be Benicio Del Toro as Alejandro. The film does a great job peeling Alejandro's layers slowly throughout until you know what his true purpose is. It's a complex performance that hits incredibly well at the end. At the end, Sicario isn't a complex or even a confusing film. It's a film that has one job: make you feel the unease and frustration of the main character. In that, it succeeds quite well. This is aided by great performances and sequences that are executed incredibly well.

PIKEY MICKEY!! Snatch Full Movie Reaction Watch Along:  https://www.patreon.com/thereelrejects Follow Us On Socials: https://www.instagram.com/reelrejects/  https://www.tiktok.com/@thereelrejects?lang=en Snatch Reaction, Recap, Commentary, Analysis, & Spoiler Review! The Guy Ritchie movie reactions continue with many hail as his best, featuring a massive cast including Brad Pitt as Mickey, Jason Statham, Benicio Del Toro, Vinnie Jones as Bullet-Tooth Tony, Dennis Farina, & MORE. John Humphrey & Aaron Alexander are here to react to the Iconic scenes such as "Mickey Snatch Quotes," "I'll Fight Ya For It," "One-Punch Mickey," "Six Pieces Sixteen Pigs," "The Definition Of Nemisis," "Caravan," & MORE! We have done Wrath Of Man Reaction, The Man From Uncle Reaction, The Gentlemen Reaction, it's about time RR has done this classic. Follow Aaron On Instagram: https://www.instagram.com/therealaaronalexander/?hl=en Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Music Used In Manscaped Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

Joaquín Cosío y experiencia junto a Johnny Depp, Benicio del Toro y más estrellas de HollywoodSee omnystudio.com/listener for privacy information.

Really, 007! speak to actor Alejandro Perez, who played Sanchez' henchman Perez in Licence To Kill. He tells us hilarious and moving stories about working with John Glen, Benicio Del Toro, Timothy Dalton and Diego Luna...Host Tom Pickup is joined by fellow Bond enthusiasts Math Pickup, Chris Goldie and John Kell. Thanks for listening - we think you'll love it too!Disclaimer: Really, 007! is an unofficial entity and is not affiliated with EON Productions, Metro-Goldwyn-Mayer Studios Inc. and Danjaq, LLC.Licence To Kill ©1989 Danjaq S.A. and United Artists Pictures Inc. Hosted on Acast. See acast.com/privacy for more information.

This week we are once again fumbling our way to the end of a mystery as we're joined by our noir-comedy correspondent, as the great "Wild Eyes" Travis Woloshyn (Boom Pro Wrestling, Percy Jackson & The Olympians) returns to the program to talk a movie that is thematically linked to the last movie he was here to discuss. It's 2014's Inherent Vice, written and directed by Paul Thomas Anderson from the novel by Thomas Pynchon, and starring Joaquin Phoenix, Josh Brolin, Owen Wilson, Katherine Waterston, Reese Witherspoon, Benicio Del Toro, Jena Malone, Hong Chau, Martin Short and Joanna Newsom. If it's not Anderson's funniest film it's certainly right up there, with two heavyweight comedy performances from Phoenix and Brolin, who are just as adept at character comedy as they are at broad slapstick. If you'd like to watch the movie before listening to our conversation, you may be out of luck! Inherent Vice is not currently streaming in Canada at the time of publication. You may however be able to find it in stock at your local library. Other works discussed on this episode include The Long Goodbye, Trap, The Sixth Sense, Unbreakable, Signs, Wrath of Man, The Usual Suspects, Fight Club, Don't Breathe, Gremlins, Batman ('89), Jurassic Park, Melvin and Howard, Aquaman & The Lost Kingdom, Twister, Twisters, Riverdale, The Big Lebowski, Mandy, Her, C'mon C'mon, You Were Never Really Here, Joker, Fear and Loathing in Las Vegas, Sleeping With Other People, Alien: Covenant, Tenet, The Candidate, A Talking Cat?!, and other entries in the PTA ouevre like Phantom Thread, Punch-Drunk Love, Licorice Pizza, Magnolia, and Hard Eight. We'll be back next week to close out P.T.August with our monthly canon selection, as 1998's Boogie Nights is up for consideration this time. You can find that movie streaming in Canada on Crave, Starz and Hollywood Suite, so good luck to ya. Until then, we'll see you at the movies!!

En este episodio especial nos adentramos a una íntima reflexión de nuestro afamado actor y director de cine Benicio del Toro, acerca de su pasión e inspiración en la trayectoria del laureado artista y filántropo boricua, Raúl Juliá. En el marco del trigésimo aniversario de su muerte repasamos junto a Benicio cómo comenzó su carrera, siguiendo la ruta marcada por el gran maestro de la interpretación. Acompaña a nuestro director general, Rafael Lama Bonilla, en un fascinante viaje junto a Eliezer Ríos Camacho para descubrir los paralelismos de estas dos grandes figuras de nuestra cultura nacional e internacional.

This week, Gilliam's Fear and Loathing in Las Vegas. Ian and Caleb talk Depp's iconic masterclass in mumbling, the trippy camera work of the film and disorienting sound design, and we take a moment to admire Flea's impressive work history. Plus, why Benicio Del Toro disappointed in the film Caleb.All this and more on this week's Log It! Hosted on Acast. See acast.com/privacy for more information.

A pair of buddy cops do their best to protect a witness. A heartfelt father and daughter reconnect. A wife takes charge of the family business. All super positive and uplifting stories in this weeks movie review. In this episode of specrapular, we review discuss the 2000 movie, Traffic. Directed by Steven Soderbergh. Starring Michael Douglas, Catherine Zeta Jones, Benicio Del Toro, Don Cheadle, Dennis Quaid, Luis Guzman, Topher Grace, and Erika Christianson. Is is available on Netflix until July 31st. Every movie we discuss will be available on either: Netflix, Hulu, HBO MAX, Youtube, Tubi, Freevee, Apple TV, or Amazon Prime. You can request movies by emailing us at specrapular@gmail.com The next movie we are going to discuss is Twister. Directed by Jan de Bont. Starring Helen Hunt, Bill Paxton, Phillip Seymour Hoffman, Jami Gertz, and Cary Elwes. It is available on HBO Max. Intro music by: Luis. Outro music by: Cairo Braga - Revision of the Future Find more music from Luis at: instagram.com/breatheinstereo

Hosts Sonia Mansfield and Margo D. wear mismatched socks and an ankle holster while dorking out about 1994's CHINA MOON, starring Ed Harris, Madeleine Stowe, and Benicio del Toro. Also discussed: MASTERMIND on Hulu, MAXXXINE in theaters, BELOW DECK MED on Bravo, and LOVE ISLAND USA on Peacock.Dork out everywhere …Email at dorkingoutshow@gmail.comSubscribe on Apple PodcastsSpreakerSpotify Tune In Stitcherhttp://dorkingoutshow.com/https://bsky.app/profile/dorkingout.bsky.social https://www.threads.net/@dorkingoutshow https://www.instagram.com/dorkingoutshow/ https://www.facebook.com/dorkingoutshowhttps://twitter.com/dorkingoutshow

The drug war on the U.S.-Mexico border has escalated as the cartels have begun trafficking terrorists across the US border. To fight the war, federal agent Matt Graver re-teams with the mercurial Alejandro. Starring The Pride of Puerto Rico, Benicio Del Toro, and The Pride of The USA, Josh Brolin!

It's our 75th episode of specrapular and we decided to talk about one of our favorite comedies! We did not plan this at all. This was a mess. In this episode of specrapular, we discuss the 1987 movie, Spaceballs. Directed by Mel Brooks. Starring Bill Pullman, John Candy, Daphne Zuniga, Rick Moranis, and Joan Rivers. It is available on Max. Every movie we discuss will be available on either: Netflix, Hulu, HBO MAX, Youtube, Tubi, Freevee, Apple TV, or Amazon Prime. You can request movies by emailing us at specrapular@gmail.com The next movie we are going to discuss is Traffic. Directed by Steven Soderbergh. Starring Michael Douglas, Catherine Zeta Jones, Benicio Del Toro, Don Cheadle, Dennis Quaid, Luis Guzman, Topher Grace, and Erika Christianson. Is is available on Netflix. Intro music by: Luis. Outro music by: Cairo Braga - Revision of the Future Find more music from Luis at: instagram.com/breatheinstereo

It may be a light week on the physical media front but that's also less money to spend and there is some choice stuff discussed by Erik Childress and Peter Sobczynski. They include Terry Gilliam's seemingly impossible adaptation of a Hunter S. Thompson novel, more Johnny Depp in animated form, the tale of the first black regiment in the Civil War and Harvey Keitel in his most disturbing role. All available in 4K. There's also a great Robert Mitchum western and an opportunity to remember Chicago's attempt at a new martial arts hero. 0:00 - Intro 1:45 - Criterion (Fear and Loathing in Las Vegas 4K) 11:55 - Paramount (Rango 4K) 17:54 - Sony (Glory 4K) 29:01 - Kino: (Pursued, Saigon, The Chase, The Perfect Weapon, Bad Lieutenant 4K) 1:00:07 – New Theatrical Titles On Blu-ray & Announcements

Join hosts Nathan and Ryan as they dive into the gritty world of "The Way of the Gun" (2000) in this intense episode of Drive-In Double Feature Podcast. Directed by Christopher McQuarrie, this crime thriller follows two criminals, played by Ryan Phillippe and Benicio Del Toro, who get caught up in a kidnapping scheme. Dive into the film's complex characters, sharp dialogue, and visceral action sequences. Explore how "The Way of the Gun" challenges traditional notions of right and wrong, delivering a morally ambiguous tale of crime and consequence. Get ready for a discussion that's as gripping as a gunfight as we explore the moral dilemmas of "The Way of the Gun."

Oscar winner and star of the current hit “Sicario” talks about making it in Hollywood. Plus, his advice for those who want to become successful actors.See omnystudio.com/listener for privacy information.

Welcome back to purgatory!!!! Tron is back!!!!!! This sode we discuss The Way of the Gun from 2000 written & directed by Christopher Mcquarrie and staring Benicio Del Toro, Ryan Phillipe, Juliette Lewis, Taye Diggs. Nicky Katt, Geoffrey Lewis, Dylan Kussman, Scott Wilson, Kristi Lehman and James Caan!!! Thanks for checkin us out and you can find our back catalog on Podbean.com Outro track "The Grab" Composed and conducted by Joe Kraemer from The Way of the Gun soundtrack https://youtu.be/MckUtNa1z0Q?si=NXdMWzaCHeVanC7b  

Kelsi and Trey finish off their anti-war series and begin their Emily Blunt discussion with the very thrilling and politically complicated Denis Villeneuve's Sicario. This is a technical masterclass on several fronts; with an imposing performance from Benicio Del Toro, stunning photography from Roger Deakins, and a brutal soundtrack from the late-great Jóhann Jóhannsson. However, while Sicario is a cinematic powerhouse, this episode explores the movie's challenge of paralleling a military state with drug cartels and how the film may have a difficult legacy because of underdeveloped subversions. Become a member of The Extra Credits+ on Patreon ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠Letterboxd: ⁠The Extra Credits⁠⁠ Instagram: ⁠@theextracredits⁠⁠⁠ Twitter: ⁠@theextracredits⁠⁠⁠ Send requests, questions, and thoughts to our email: extracreditspod@gmail.com

Oh hey didn't see you there. We were over here being edgy career criminals. It's THE WAY OF THE GUN 0:00 Intro2:01 Show & tell5:42 This week's movieTHE WAY OF THE GUN DIRECTED BY: Christopher McQuarrie RELEASED: September 8, 2000 STARRING: Ryan Philippe, Benicio Del Toro, Juliette Lewis, James Caan BUDGET: $8.5M BOX OFFICE: $13.1M ESTIMATED LOSS: $5M NEXT EPISODE: How about some sincerity for a change? We're doing 1991's THE ROCKETEER

Jenny Frankfurt is the founder of The Finish Line Script Competition, currently in its 7th year. Prior to Finish Line and her work as a script consultant, Jenny was a film and television literary manager/producer at ICM, Handprint Entertainment and her own company, Highstreet Management. She has represented writers and filmmakers around the globe, specializing but not limited to breaking UK, European & amp; Australian writers and directors into the US market. She sold television shows (both reality and fiction), features and staffed television shows for over 20 years. Jenny began her career in representation after graduating from NYU's Tisch School of the Arts by working at the William Morris Agency in New York where she worked for a legendary film, tv and playwright's agent, who represented such writers as Eric Bogosian, William Mastrosimone, Warren Leight, Eric Overmyer and Jon Robin Baitz. Jenny worked at ICM with clients such as Susan Sarandon, Louis Malle, Johnny Depp, Lasse Hallstrom and Will Smith. After deciding management would give her more freedom to produce and influence her client's careers she started working with manager Rick Yorn and clients such as Leonardo DiCaprio, Cameron Diaz, Claire Danes and Benicio Del Toro among others. Finish Line is based on the idea that rewriting is essential to being a successful writer and we provide development notes when requested in order for writers to rewrite and resubmit new drafts (for free) throughout the competition. This mimics a studio, network or production company process and helps the writer prepare for a serious career in the entertainment industry. https://finishlinescriptcomp.com/ Connect with your host Kaia Alexander: https://entertainmentbusinessleague.com/ https://twitter.com/thisiskaia  Produced by Stuart W. Volkow P.G.A. Get career training and a free ebook “How to Pitch Anything in 1 Min.” at www.EntertainmentBusinessLeague.com Learn more about your ad choices. Visit megaphone.fm/adchoices

This week Gary and Iain review and discuss, Sicario (2015) by Director, Denis Villeneuve. Starring, Emily Blunt, Benicio Del Toro and Josh Brolin. For more Off The Shelf Reviews: Merch: https://off-the-shelf-reviews.creator-spring.com https://www.youtube.com/channel/UChWxkAz-n2-5Nae-IDpxBZQ/join Podcasts: https://offtheshelfreviews.podbean.com/ Follow us on Twitter: https://twitter.com/@OTSReviews Youtube: https://www.youtube.com/c/OffTheShelfReviews Facebook: https://www.facebook.com/OffTheShelfReviews Support us: http://www.patreon.com/offtheshelfreviews Twitch: https://www.twitch.tv/offtheshelfreviews Discord: https://discord.gg/Dyw8ctf

This week on Fabulous Film and Friends we're covering a trio of Neo Noir films set in the city of…where else? Los Angeles, as we discuss 1998's The Big Lewbowski, directed by Joel and Ethan Coen and starring the extraordinary Jeff Bridges, John Goodman, Steve Buscemi, Julianne Moore, Phillip Seymour Hoffman, David Huddleston, John Tutturo, Ben Gazara, David Thewlis, Tara Reid, Peter Stormare, Leon Russom and Sam Elliot against 2014's Inherent Vice directed by Paul Thomas Anderson starring Joaquin Phoenix, Josh Brolin, Owen Wilson, Katherine Waterston, Benicio Del Toro, Reese Witherspoon, Martin Short, Jena Malone, Maya Rudolph Martin Donovan and Hong Chau, topped off with 2018's Under the Silver Lake  directed by  David Robert Mitchell  and  starring Andrew Garfield, Riley Keough, Topher Grace, Grace Van Patten,  Riki Lindhome, Wendy vanden Heuvel, Callie Hernandez, Jimmi Simpson, Zosia Mamet, Jeremy Bob, Rex Lynn, Patrick Fischler and Sydney Sweeney. My guests today are Roseanne Caputi and back by popular demand, Gordon Alex Robertson!Before contemplating the endless currents of depth and consciousness, man, the synopses:  The Big Lebowski,  follows a lot of ins-and-outs and what-have-you's of a very complicated case when two goons working for porn king Jackie Treehorn mistakenly burst into the apartment of Jeffrey “The Dude” Lebowski  demanding money that his supposed wife Bunny owes Jackie.  Realizing their mistake but still adding the flourish of urinating on the Dude's favorite rug, the pair leaves and gets the hang loose and tolerant Dude's dander up.  Dude the sets off finding the wealthy Jeffrey Lebowski that the pair were looking for and asks him for compensation for his soiled rug. The Big Lebowski flat out refuses the request, calls the Dude a bum, and kicks him out of his house. Surprisingly, a few days later The Big Lebowski summons The Dude to his mansion and asks him to act as a courier to a group of nihilists who have abducted his wife Bunny and are demanding a million dollars in ransom. With his reactionary ‘Nam vet bowling buddy Walter Sobchak at his side, the Dude enters a web of deception, greed and pain as he tries to make sense of the convoluted and problematical condition that he finds himself in.  Inherent Vice ups the ante with ex-cop and junkie P.I. Larry “Doc” Sportello who follows a trail of real estate fraud, heroin smuggling, corrupt federal agents and dentists when his ex-girlfriend Shasta Faye re-enters his life and gives him the tip that her current boyfriend, real estate tycoon Mickey Wolfman, has a wife who is trying to have him committed. With rival LA Police Lt. Detective Christian “Bigfoot” Bjornsen working alternately, with and against him, Doc plows into the labyrinthian case headfirst aided by only his wits and piles of weed and coke in the desperate quest for the truth.  Under the Silver Lake follows a journey through endless hidden messages, conspiracies and millennial self-discovery as perennial slacker Sam tries to uncover the truth regarding the disappearance of his beautiful neighbor Sarah, who vanishes without a trace a day after billionaire industrialist Jefferson Sevence is killed a car crash. Which film best exemplifies the whole L.A. thing? Find out! 

On November 18th, I hosted a webinar called "How Professional Screenwriters Create Great Characters", where I talked about how to come up with interesting and unique characters, as well as how tapping into your everyday life interactions with people can help with this. This episode addresses questions you asked in our Q&A session that we didn't have time to answer. There's lots of great info here, make sure you watch.Show NotesA Paper Orchestra on Website: - https://michaeljamin.com/bookA Paper Orchestra on Audible: - https://www.audible.com/ep/creator?source_code=PDTGBPD060314004R&irclickid=wsY0cWRTYxyPWQ32v63t0WpwUkHzByXJyROHz00&irgwc=1A Paper Orchestra on Amazon: - https://www.amazon.com/Audible-A-Paper-Orchestra/dp/B0CS5129X1/ref=sr_1_4?crid=19R6SSAJRS6TU&keywords=a+paper+orchestra&qid=1707342963&sprefix=a+paper+orchestra%2Caps%2C149&sr=8-4A Paper Orchestra on Goodreads: - https://www.goodreads.com/book/show/203928260-a-paper-orchestraFree Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Newsletter - https://michaeljamin.com/newsletterAutogenerated TranscriptMichael Jamin:And why are we rooting for him? We're rooting for this meek man who's going to die soon to make some money for his family, but also to feel like he's alive for the first time in his life because he's just lived this very meek existence. And so that's why we're rooting for him. That's why we like him. And when he makes mistakes, he may go off track, but we hope he comes back. We're still rooting for him. You are listening to What The Hell Is Michael Jamin talking about conversations in writing, art, and creativity. Today's episode is brought to you by my debut collection of True Stories, a paper orchestra available in print, ebook and audiobook to purchase and to support me on this podcast, please visit michael jamin.com/book and now on with the show. Hey everyone, it's Michael Jamin and you're listening to, what the Hell is Michael Jamin talking about? Well, today we're doing another q and a from II's free writing webinars, and there's a lot of questions that people had. We couldn't answer 'em all on the end. We ran out of time, and so we're going to address 'em here. But this episode, Phil, I'm here with Phil Hudson.Phil Hudson:What up, Phil?Michael Jamin:Today's episode is brought to you by a paper orchestra, which is my collection of personal essays. It's David Saris meets Neil Simon on sale on my website, michael jamin.com, or you can find it anywhere. Books are sold, Amazon, Barnes and Noble, apple Books, all those places. Go get it. Go check it out. It's a fun read. Yeah. Okay.Phil Hudson:Worth checking out all the versions though too. I was just listening to the audio book and we talked about this in your episode about the book itself, but the music cues and the intros, very well done. Very well produced. You're also telling me about, thank you, Phil, how hellacious of a process it was to do itMichael Jamin:ToPhil Hudson:The quality you like.Michael Jamin:Yes. Because you only get to put it out once, but yeah. But thank you. So Phil got the audio book, but it's available ebook and print as well, however you consume your written materials. Love it. Alright, Phil, we got some questions. Enough about me. Let's ask me some questions.Phil Hudson:Yeah, let's talk to you some more about you. This is from the November 18th webinar. These are like you said, q and A stuff, and the topic of this webinar was how professional screenwriters create great characters. This was, I think, a first run on this topic. You hadn't done this topic before.Michael Jamin:It could be. Yeah, this was a good one. Yeah, this turned out to be a good one I thought.Phil Hudson:I think so too. We can tell, there's some metrics we can tell in terms of how long people stay, questions that are asked, how long it goes. And I was going to say too, we didn't get to these questions because typically when we first started doing this almost a year ago, February will be a year doing these. It was like 30 minutes of lesson and then it was a bunch of q and a and that has transitioned into about 45 minutes of lesson and then a little bit of q and a where we can get it. And then we even have VIPQ and A now where you can just pay a small fee to join for an hour after and you just talk to people on Zoom and they get to go live and ask you questions and some really, really good questions being asked in that. So if you're interested in attending these webinars, go to michael jamin.com/webinar where you can sign up for that. But then you can also sign up on that page to get into the VIP. If you want to ask Michael directly a question that you have if youMichael Jamin:Can't get to it. So to be clear, the webinars are always free, and if you want to spend extra time with me, that costs you something. But I should also say right now it seems like we have four that we're going to have a rotation, but we may keep adding different topics, but right now we have four good ones, so if you missed it, just sign up and maybe we'll do it again. CorrectPhil Hudson:Me if I'm wrong, but I think some of the topics you've come up with have come from the q and a that you do on these topics. How do I overcome? Writer's block are like, I'm really struggling with a character or development. So they kind of incept the idea of like, okay, here's a topic we should go down. So lots of great value there. Alright, well again, just for housekeeping, we do split these up into topics. So we have kind of general topics. We have craft breaking in questions related to your course or the webinar topic and then miscellaneous. So we're going to start with K Craft. I think again, people want to know how to do the job, which I think is helpful.Michael Jamin:Yes.Phil Hudson:So Chad, Chad Siime or cme, I don't know how to pronounce that. Sorry, Chad,Michael Jamin:He doesn't, doesn't know either.Phil Hudson:He probably's probably making it up. Was it like Ari, one of the writers in Taco, they pronounced their name. It was changed at one point.Michael Jamin:Yeah, he says his own name wrong. Poor guy.Phil Hudson:I know someone who was a Heinrich and then when World War II happened, they changed it to Heinrich, Henrik Henrich because they didn't want to be associated.Michael Jamin:Yeah, yeah.Phil Hudson:There you go. Chad asked, do you have examples of writers who have successfully experimented with story structure? What principles did they stick to and where did they deviate?Michael Jamin:I don't really know. I mean, I don't really know if I have a good answer to that. Every time I watch something I go, oh, it falls into the good. I guess there's some really high level writing. Christopher Nolan. Okay. So I would say many of his movies do not fit what I would teach, like Memento, but Forget or Inception. I don't know how many times I've watched it and I still don't understand it. So it's a great movie though.Phil Hudson:Yeah. But I would say that I can see that clearly the writing structure in those.Michael Jamin:You can. Okay.Phil Hudson:Oh yeah, you're definitely an inception too. It's like how do we get on this journey and how are we making decisions and where this stakes, all that stuff. I think it's all,Michael Jamin:A lot of it playing at the timeline, memento when he's playing with it. I don't even know what year it's supposed toPhil Hudson:Be. You're right. But I wonder if that's, it's all there and it's just been split to change and mess with your head a bit, but it's all there, which is why it resonates with people.Michael Jamin:But I guess my advice is like, listen, if you want to operate at the high level, that's great, but let's just get to the professional level first before you become the masterPhil Hudson:Level. And Christopher Nolan's a great example of that because he had made a feature before he did Memento, so he had a full feature. He was making short films all the time in film school before he even started experimenting with timelines and things like that. Yeah, okay. Listen to me just arguing. Michael jamin on his own podcast.Michael Jamin:What do I know? You might bePhil Hudson:Right, maybe my head did get big. Kevin and Steve. Alright, Marianne wants to know, you have such a great understanding of human nature. Was there something you've always been good at or did you develop it as a writer?Michael Jamin:No, I didn't. I have a very low emotional iq. My parents are great people, well, great parents, but terrible, low emotional IQs themselves just because that's the household they grew up in. And so it's not a knock on them, it's just like this is the product of your parents. This is how they communicate. And so a lot of this I learned I gained from my wife just from being with her. And then the rest of it, of course, I learned as I became, I became a writer because that's your job as a writer is to really understand people and to get into their shoes. And one of the, it's so funny, I've spoken about this in the past, but my first writing teacher was a guy who really wanted everyone to be in psychoanalysis. That's what he called it because he was so old. They don't even call it like that anymore.It's psychotherapy. But he thought every writer has to be in psychoanalysis because if you don't understand yourself, how could you possibly understand someone else and you or a character? And I think he's absolutely right. I didn't want to believe he was right, but he is right. If you don't understand yourself, and most people do not, and we know this because they go through life unconscious of the people of the damage they're leaving, of the people they're hurting because they're just not even aware of it. And you see it all the time. You could see it on social media, people saying really mean things. It's like you might even be a good person, but why would you put that in print? What is wrong with you that you would say that? What part of yourself is so wounded that you think you need to say this in writing? And so I appreciate the compliment, but everyone else, I'm a work in progress and I think writing definitely has helped me.Phil Hudson:Yeah, that's great. Albert Klein wants to know, and this is again contextual here. These are people who are live chatting questions throughout this episode or this webinar. But I said relatability is key in full caps. I think where you're talking about with the characters. Do these characters need to be relatable? Do I need to understand who they'reMichael Jamin:Yeah, and it's the same thing with Tony Soprano. How do we relate to a mobster? I don't, and he's probably a sociopath as well, but what we can relate is the fact that we know what it's like to be a boss. Maybe you know what it's like to be a boss, to have people undermining you, your underlings. And he certainly had those problems. We know what it's like to be a father and to have children that are rebellious or whatever. That's the part we relate to with, so we don't relate to the part where he's going to wax somebody because he's late with the whatever. But we do relate to this other issues, which isPhil Hudson:Anxiety, the stress and family life. His psychotic mother.Michael Jamin:And that's what the show is about. It's not aboutPhil Hudson:Crazy. He deals with his in-laws too. Joey Pants, I think is his brother-in-Law or something, right?Michael Jamin:I don't remember whatPhil Hudson:He was. Yeah. Anyway, it's all relatable because it is just a heightened version of what go through. Yeah,Michael Jamin:His job is a little more interesting than our job, but it's all, that's not what it's about. It's not about the mafia, it's about the emotions that we all relate to.Phil Hudson:Great answer. Reik vid. So do you find the anti-hero more interesting than a traditional hero?Michael Jamin:Anti-hero is not even a term I use. I don't know. I think everyone, your hero has to be likable. I don't know. I can't even say I've lost interest. If your character is so unlikable, I don't really care what happens to him or her. I am out. So this notion of anti-hero, I don't even think of your writing that way. You have a hero. I think anti-heroes is one of these terms that, I dunno, expert writers will tell you it's an anti-hero. What?Phil Hudson:Yeah, people say that. People have said that the whole time since I've said I've wanted to study screenwriting or be a writer publicly said, oh, I'll describe what I like. Oh, you like an anti-hero? Batman's an anti-hero. And I was like, why? He's not goody hoo Superman. You've described him. He is a deeply wounded person who is using every resource he has, all of his willpower to stop other people from suffering.Michael Jamin:And how is he, I mean, we were on his side. He's complicated, but we're on his side. We're rooting for him. If we're not, we got a problem.Phil Hudson:Alright. What about Walter WhiteMichael Jamin:Breaking back? Yeah. What about Walter White? So that's a great, is he an anti-hero? I don't know. Who cares? To me, he's a guy who's dying in the pilot episode. He's dying, he's a teacher, so he doesn't have any money. What is he going to leave his family when he's gone? He's got to come up with money fast. And the only way he knows how to do that fast is by capitalizing on his skillset, which is he's a chemistry teacher so he can make meth in a lab. Does that make him an anti-hero? To me, he's just a hero.Phil Hudson:He's a person. And then you find out that he gave up tremendous wealth because that was like, he had that partnership at that company where he had the ability to adjust multimillions of dollars and he's a public school chemistry teacher. So it's those layers of decisions and regret. It's exploring the human condition. Definitely justMichael Jamin:And why are we rooting for him? We're rooting for this meek man who's going to die soon to make some money for his family, but also to feel like he's alive for the first time in his life because he's just this very meek existence. And so that's why we're rooting for him. That's why we like him. And when he makes mistakes, he may go off track, but we hope he comes back. We're still rooting for him.Phil Hudson:Yeah. Great. Chad, back again. Chad, how deep should someone go in developing a film or television character knowing that the director actor in the show's evolution will shape their personality?Michael Jamin:Yeah, I mean, you should go deep enough to get their interest so that they want to buy your work or work with you. But just know that's the thing about film. The minute you sign up for a film or you sell your film, the director's in charge, they're the boss. It's their movie. They might fire you. They're going to probably hire five other writers to rewrite the hell out of you. You may not even get screen credit because that'll be arbitrated by the Writer's Guild. Which writer did the most work on it? And so you should do as much possible as work possible to entice people to get on board your project. But once they get on board, you're out. Except in tv, it's a little different tv. The writer is the boss, not the director.Phil Hudson:And the actor needs to play that role. Right? You've got to entice them with your writing. And then good for you, man, congratulations. You can cry about it and wipe your tears with a hundred dollars bills,Michael Jamin:Right? Or write something. Write a book. If you're so protective, then do it your way. Write a bookPhil Hudson:Like me.Michael Jamin:Listen, like me, a paper orchestra available @michaeljamin.com or Amazon or Barnes and Nobles or Apple Books or anywhere books are found. And now back to our show film. Excellent Commercial Break.Phil Hudson:KU Ghana. I'm so sorry. I did not get that right. How would you go about creating a character who is far removed from your life, for example, based on a myth or legend? And it seems like there's a two-parter here, so maybe addressMichael Jamin:That one. How would I go about, well, what's the second part maybe? Or is it so unrelatedPhil Hudson:And advice for generating side characters, how to get the balance right between, so,Michael Jamin:Oh, that part. I could teach in the course, the side characters, but how do I go about creating characters that are, what was the first that were mythical or something?Phil Hudson:If you have characters are so far removed from who you are, and I'm assuming this is the job or the thing they do not necessarily the difference in who they are saying myth or legendary heroes.Michael Jamin:Yeah. Well, I would say try to do some research if you're not modeling it after someone, if a psychopath get to know them and try to figure out steal from them or a family member or someone. And if you don't, then it's on you to do a lot of research. Then you're going to have to get books on people who you want to be authentic. You don't want to, that's part of your job is the research part.Phil Hudson:Yeah,Michael Jamin:I prefer to steal, I prefer to steal from people. I know.Phil Hudson:There you go. That's why all of his crazy characters are named Phil Hudson. I couldn't figure it out. But this ties back to David s goer's comment about the Man of Steel movie that he wrote and he asked, what's the theme? He's like, it's about fathers and it's like Superman has an Earth father, but he has this other father and it's literally dealing with your father relationships. And then the second one is about mothers, and it's Batman and Superman dealing with this. Both of their mothers are Martha and they're struggling. And so there's this balance even of, we all know what it's like. You can even jump to Iron Man and Civil War when they're fighting and he's fighting. He finds out this other character killed his mom and Captain America is trying to stop him. And he goes, he killed my mom. And he's like, you can't be mad at Iron Man for wanting to fight this guy who's been his ally because he killed his mom. Even if the guy doesn't remember doing it, he kills your mom. So that's all super heightened, super superhero things. But what I'm trying to get to is there's humanity in every character and your life experience mining your life for stories like Michael teaches. That's how you do that.Michael Jamin:Yeah.Phil Hudson:Okay. Kim wants to know what about inner conflict, like being raised strictly religiously and discovering the joys of secular humanism and the transition from the medieval mindset to Renaissance?Michael Jamin:Well, you're probably a better person to answer than me.Phil Hudson:So this feels very specific to a type of story that they're writing.But when we talk about internal conflict, this is something I struggle with because as someone who's religious and been raised religious, I'm not anti-religious. I'm still very active in my faith and there are a lot of people who are very interested in what it means to be a Mormon, to be a latter day saint. I've struggled with how to approach that type of story. You've been telling me to write that for a long time, and I've struggled because I don't want to be preachy and I don't want to tear down my faith. And then I did find a balance and that balance is, let me just take a step back and look at all of the characters that I grew up with in this secular religion and what is so intriguing about the mommy blogger, the multilevel marketer, the jock has been who's now a real estate or the guy who went on to sell summer sales and has so much money but zero personality and then puts some interesting character struggling with their faith in the middle of that so you can exploreMichael Jamin:Because these are all characters that you grew up with in your faith,Phil Hudson:TheMichael Jamin:Multilevel, all of these people. Do you think Mormonism has something? Do you think there's a trait in Mormonism that applies to m multilevel marketing or something?Phil Hudson:I do, yeah. There's no better networked religion I think than the LDS faith. You, everything's divided geographically. You have 10 congregations that are geographically divided in what we call a stake. Then you have wards, which is literally a term to define a geographical area. So your neighbors all go to church with you, you do this, you know everybody, you know their name, you're encouraged to know their families and look after them and take care of them. And this is like pioneer heritage. This is a religion that was chased out of city after city, A Mormon extermination order made it legal to kill us in Missouri. And it wasn't appealed until the 1960s or seventies. They circle the wagons mentality of pilgrims or pioneers and they still treat it that way. And so present yourself nicely taken to an extreme is have perfect teeth. Go to the gym for three hours a day, wear nice clothes, live above your means, keep up with the Joneses. Really. It's like I totally see that I didn't grow up in that type of familyMichael Jamin:In that room. That's interesting to me. See, but you feel like if you were to writePhil Hudson:That you'd be caring? No, now I'm saying I know how to do that and I do know how to explore it because I'm not making fun of the religion necessarily or my theology. I am doing something that has always been interesting. It's the hypocrisy,Michael Jamin:The hypocrisy,Phil Hudson:The hypocrisy of it. And there's a lot of that. It's befriend everybody, but don't play with those kids. They don't go to church. Oh, I see. Interesting. If Jesus said we should love our neighbor as ourselves, then why are we not playing with the kid who's just moved here from South Dakota? So there's all those things. So what I would say advice is you need to look at what is interesting and what's your personal feelings about those things. And I left Utah because I didn't like necessarily the culture. It wasn't about the religion that was prominent there. It was the culture of the people, and that is something I have a lot of opinion about. So why am I not writing about that?Michael Jamin:Yeah, right. Good,Phil Hudson:Good. You'll be getting a draft within the next month or so fromMichael Jamin:Michael. Good. Send it along. You are listening to What the Hell is Michael Jamin talking about? Today's episode is brought to you by my new book, A paper Orchestra, A collection of True Stories. John Mayer says, it's fantastic. It's multi timal. It runs all levels of the pyramid at the same time. His knockout punches are stinging, sincerity, and Kirker view says those who appreciate the power of simple stories to tell us about human nature or who are bewitched by a storyteller who has mastered his craft will find a delightful collection of vignettes, a lovely anthology that strikes a perfect balance between humor and poignancy. So my podcast is not advertiser supported. I'm not running ads here. So if you'd like to support me or the podcast, come check out my book, go get an ebook or a paperback or if you really want to treat yourself, check out the audio book. Go to michael jamin.com/book and now back to our show.Phil Hudson:John wants to know, so if you choose the worst person to go on a journey, does that mean you came up with a scenario or premise or actual journey first? This goes back to in this episode or this webinar, you said it's not about finding the perfect character, it's finding the Yeah. And then I want to let people watch that webinar so they can get this thing here.Michael Jamin:Yeah. The question basically is which comes first character or the story? And to me it's the story. If most people say, oh, well I'm writing a movie about a guy, whatever comes back from the war with post-traumatic stress syndrome and now have to integrate into the real world, okay, that's the story. So now you have to go, who's the character? What's the best character for that story? Was he a seal, a navy seal or was he one of these accountant pencil pushers? He might've been a grill cook or something and I didn't sign up for this, and now he's coming back to the railroad with PTSD because the bomb went off or something. So that might be more interesting than a seal. I don't know. But you came up with a story first.Phil Hudson:Oh, can you imagine? You have legitimate PTSD and there's stories from even World War ii. It's like things are bad when the chef is loading their pistol. When the cook is loading it, they advance so far across the line that the cooking staff are now preparing to defend themselves. That's a problem. So you imagine that guy comes back and he's in a support group and he's like, yeah, I'm just struggling. And people are talking about, well, we dropped in, we night roped fast, roped in at night to get this guy and an IED went off and this guy is like, well, yeah, our position was overrun. I was like, and what did you do? I was like, I was a cook, and it diminishes your PTSD, but it shouldn't. But it's like That's fascinating.Michael Jamin:Yeah, you may go into the army because you want to become a dentist and the army will pay you to become, learn how to become a dentist, but you're not signing up to carry a pistol. You're signing up to drill teeth and somehow if you got PTSD, like you're saying, your base was overrun or a bomb went up or whatever, this is not what I signed up for and that might be interesting.Phil Hudson:Very interesting. I want to see that story. Yeah. Four eyes concepts. Can a non-human character be relatable?Michael Jamin:Can a non-human character be relatable? Well, they should be relatable. We watch the movie cars, it's about cars, but they're not, not cars. They're people who drawn to look like cars. I mean,Phil Hudson:We talked about data, data from Star Trek, right?Michael Jamin:Yeah. Everything should be, no one wants to care about a car.Phil Hudson:Wally.Michael Jamin:Wally. Exactly. All those arePhil Hudson:Short circuitMichael Jamin:Smurfs. Yeah, they're people justPhil Hudson:Drunk. Johnny five is alive, man.Michael Jamin:Yeah, so they're not cars or toys. They're people.Phil Hudson:Yeah. Awesome. So it's a craft section. Let's talk questions related to the topic and course Jim Garcia wants to know, how would you approach a true story? Someone they just got the ip, so that sounds like they've optioned it for a CIA badass who did badass things. Would you focus on areas of his life where he isn't such a badass? His complicated backstory?Michael Jamin:Yeah. Yeah, right. To me, it's much more interesting to write about someone's weaknesses than it is to write about their strengths. And so yeah, that's exactly right. What's his problems? What are his weaknesses? That's what I would write about.Phil Hudson:Yeah. What was that movie you told me to review with Bob Odenkirk where he was like, oh,Michael Jamin:What was it called again? I likedPhil Hudson:It. I can see the poster getting punched. Yeah, it'll come to me in a second. But that was an example of someone who just seems like a normal regular paper pusher and then you find out he's got this rich backstory, but it's him struggling to get back there. He's not good at it at first. He's like getting his butt kicked.Michael Jamin:Yeah, I like that movie.Phil Hudson:Yeah. The name will come to me in a second. TJ wants to know when does a scene end or when should you end a scene is probably a better question.Michael Jamin:I teach this in a course in bit greater detail, but the scene ends when the character's attitude is no longer the same as it was at the beginning of the scene. And that's when the scene is over. When the character, so for example, well, I got to think now, I won't put it on the spot. I can't think of a, but it is basically a character will get some piece of information and they go, oh, I got to go apologize to her. Or, oh, that does it. I got to rob a bank. It's like now their attitude has shifted. It's slightly different. It was in the beginning, and this is a mistake that most new writers make, is like the scenes continues long after the character. They're continuing to write, even though the scene ended 10 minutes ago. So when the character's attitude is different, has shifted, you're seen is over.Phil Hudson:Yeah. That's great. Refi wants to know, is story structure pretty much the same worldwide with the exception of cultural differences?Michael Jamin:I believe so. What differences difference does the language make? And to be honest, I am interested in stories from other cultures because look, we all have love. Love doesn't change from culture to culture. This culture, you may have a range marriage and this culture, you don't have a range marriage and this culture, a marriage ceremony might look different than this culture's marriage ceremony, but love is love and so you're just writing about the same thing. And I appreciate the window into your world because you have a different culture, but we're all humans. We all share the same human emotions, and so that's where people get hung up. It's like, no. Yeah, it's the same. We're all the same.Phil Hudson:Yeah. I met this kid here who's from Iran here in Los Angeles, and we were chatting and I had the opportunity in film school and at Sundance to catch several Iranian films by this Iranian filmmaker and a couple of his cohorts, and he was so impressed by that because I was able to talk about the story structure of these films. And what's interesting is how they have to navigate the politics of a government that funds everything, but also censors everything and how you have to use show, don't tell, and speaking indirectly to get across your message that kind of is political and anti-government, but have the government fund it and think you're doing good work for them. The other, but it's story is what connects and carries through. And the other great film everyone should check out from 2013 is called The Lunchbox, and it's this beautiful film I saw at Sundance and it ties in culture so beautifully to how we approach story. I would absolutely check that one out. David wants to know how can you add to the skeleton of a good character if you have the basis for a compelling character story, but you feel you need to add more to make your character real?Michael Jamin:Yeah. One of the things I have in the course is a whole worksheet. It's a chart that you need to GamePhil Hudson:Changer.Michael Jamin:Yeah. It's a chart so that you have to fill out a bunch of questions that you have to ask yourself about this character and filling out this chart will really help you flesh out your character in a way you couldn't even imagine. And then there's other characters in this chart, and then you have to say, okay, how does this characteristic, Matt? How do these characters interact? That's another question. And so all of that, if you're really interested, go sign up for my course@michaeljamin.com/course.Phil Hudson:Yeah. You quickly learn that you're painting all of your characters to be mirrors of each other because you want to talk about that thing, and then it highlights how you can make all of those interactions more beautiful and more interesting, more conflict to just really improve your story. You got that from somebody. Do you want to say who you got that from?Michael Jamin:Yeah, I learned that from Steve Levitan who I worked under. Just shoot me. So much of the knowledge that I teach in this course is just from sitting at the feet of writers who are more experienced than I was.Phil Hudson:Yeah. Do you have your notebook? I don't know if you want to show to peopleMichael Jamin:Every once in a while we take this down,Phil Hudson:So this is something we bring up in the webinars, often even give away a free PDF based on this notebook called the insider's guide to terminology, but that's your notes in your career writing, just writing stuff down from conversations, right?Michael Jamin:Yeah, exactly. I would work with other writers and they'd say something smart and I jot into my notebook, and then when I made the course a couple years ago, I just referred to my notebook. I go, this is what I want to teach.Phil Hudson:Yeah, it's awesome. This is Christina in our course, and this isn't really a question, but Kevin, who prepped this for me, left it in says in Michael's course, I learned how to figure out once and for all those act breaks that were a real headache for me before story structure is so well explained. It becomes much easier after. Yeah. She'sMichael Jamin:Had a good lot of success. Christina,Phil Hudson:She doing well. I was about to say she's taken her life mind for all these rich stories, and she's written, I think books and then now plays and those plays are being performed and touring. SoMichael Jamin:NotPhil Hudson:Bad. She credits you for helping her figure out how to break the story, but you didn't tell her what life to live and her experience or how to paint the story. You said this is how you tell your story, and she did that.Michael Jamin:Yeah. Yeah. Right. Yeah. Good for her.Phil Hudson:Awesome. We have one question on breaking in. This is from new legend pictures. I've been wondering about writing for a foreign audience. For example, I'd like to write something in the vein of Korean dramas. I know there's probably no way to break it into the US market.Michael Jamin:Writing a Korean drama.Phil Hudson:Yeah, just writing for other things, specifically a Korean drama.Michael Jamin:Well, are they Korean or are they American? IPhil Hudson:Sounds immediate. It's because this is a foreign audience. Sounds to me like this is someone who really enjoys Korean dramas and wants to take a stab at writing one.Michael Jamin:Oh, I see. I don't know anything about KoreanPhil Hudson:Drama. I think you were just saying, is that worth doing to try to break in? Is that a good sample?Michael Jamin:I would assume if that's your culture and you can write something, like I said, you can write a story that it could be, I could have a window into your culture. That's interesting to me to see what that's about, but at the end of the day, you still experience love the way I do. It's the same. Sure. If that's your culture, right, and you understand the Korean culture better than because you're Korean. Yeah. Lean into it.Phil Hudson:Lean into it. What if you're not Korean and you just like ca dramas,Michael Jamin:Then you're in dangerous territory. Someone might say, what do you know you're talking about? Or people might have a problem with you. I don't want to debate whether it's right or wrong, but you make run into trouble with that.Phil Hudson:Yeah. I would think that if you want to just write it to get it out of your system and it helps you improve your craft, great. But be tread lightly. Right. Next. Do most shows have, this is the same person, do most shows have each episode have their own full story arc? Or is it the whole season or the series or both?Michael Jamin:Well, every episode has to have a complete story, and then you may have a longer a story arc. This character is going back to college for the first time, but that one episode has to feel fulfilling. It has to feel like, yeah. Okay. And that there has to be a story in that episode. If it's not a complete story, people are going to be bored by it. And then the next episode, you're taking that journey a little further, but this is a question whether you want to serialize or your project or not. But again, you don't need to worry about any of this. You need to write one complete compelling episode of television. You don't need to worry about seasons, episodes two through 10. Just give me one damn good episode. Give me the pilot. That's all I need.Phil Hudson:Yeah. Ruth wants to know, say your agent is into a spec script, but you want to pursue it, can you try to pitch it yourself? How bound are you to what your agent wants?Michael Jamin:I wonder if they're talking about me or themselves.Phil Hudson:I think what they're saying is like, Hey, I have an agent and I've got the spec script. It's a film and my agent says he's not into it. Can I go pitch it myself or do I have to listen to my agent?Michael Jamin:No, you can do whatever you want. I, but I don't expect your agent to help you with that. If you want to go for it, they can't stop you go for it. I mean, the agent's trying to help you, and if they feel like they're helping you, they're going to give you their best advice. But if you don't want to take it, don't take it.Phil Hudson:Yeah. I was listening to an interview with Dead Mouse, and he said that there was a track that he wasn't really into, and his tour manager was like, dude, this is great. You got to drop it. And he didn't want to do it. And for months and months he didn't. And they kept tour manager kept saying, when are you going to drop it? And he ran out of stuff. He dropped it. It's his biggest hit. Sometimes you don't even know what is good for you, but Vice First is sometimes other people don't know what's good for you, and it's all risks, risk and reward. William, go for it. David Cook is Amadeus. Amadeus is I think something that came up in the webinar.Michael Jamin:Yeah, I love that movie.Phil Hudson:Yeah. My wife's favorite film. I think I told you she wants me to name one of our kids, Wolfgang. And I was like, no. And you're like, I might be on her side.Michael Jamin:Wolfie.Phil Hudson:That's what she wants to call him. She wants to name Wolfgang to call him Wolfie, which I think just whatever is Amadeus a story about an extraordinary person in an ordinary world or about Salie, an ordinary person in the extraordinary world of Amadeus.Michael Jamin:That's so interesting. It really is a story within a story, and you keep popping back out to Salieri in present time. Why did he go mad? Because, so yeah, it's a story within a story. There's really two stories. You're watching Solis descent into Madness because he killed this beautiful creature. Why did he do it? Yeah. So who's the hero of that?Phil Hudson:Well, it's called Amadeus.Michael Jamin:It is called Amadeus. Yeah,Phil Hudson:Right. So this is like Sicario. Did you ever see Sicario?Michael Jamin:I did,Phil Hudson:Yeah. So who is it about? Is it about Emily Blunt or is it about Benicio Del Toro and I think it wasn't until I got about three quarters of the way through, I was like, oh, we started on Emily Blunt, but that is not the protagonist.Michael Jamin:It's really just a framing device. The soli part of it. Who's got 90% of the screen time? Amadeus.Phil Hudson:Yep. Alright. Marla wants to know hat on a hat. New favorite saying, do you want to tell people what that is?Michael Jamin:We often say when you refer to a joke, sometimes you put a punchline on top of the punchline. And so we say it's a hat on a hat, ifPhil Hudson:You like that come to the webinar where we can give out that book based on the free ebook based on Michael's notebook, insider Guide to Writing terminology.Michael Jamin:Yeah. There's a bunch of terms that we give away. If you want to learn what they are, come to these webinars and we give 'em away.Phil Hudson:Yeah, everybody gets that for just coming. So I had an eye hat, new favorite. If you base a character on someone in your life or someone in your life recognizes themselves in your writing, can they sue you?Michael Jamin:I don't know. I don't give legal advice, but I'll say you're protected. If you change their name, I would assume you can change their name, you could change their occupation, you could hide who they are. And if they were to come out, they're essentially calling themselves out. Why would they be dumb enough to do that? But I'm not worried about it, but I don't give legal advice. So yeah,Phil Hudson:I think that the person that will need to worry about that is the studio that buys it, and it becomes so wildly successful. That person has a financial incentive to sue you. I don't think it's necessarily something you need to worry about on a spec.Michael Jamin:I would hope not. Yeah.Phil Hudson:Ruth, w what criteria do you consider when taking a job? Early in your career, you worked for both Steve Levitan and Greg Daniels, but then you didn't work on Modern Family or The Office. WhyMichael Jamin:Fired? Oh, fired. Fired. I wasn't offered jobs on Fired. Fired, offered fired. I wasn't offered jobs on those, but I mean, I also had a job. So when Modern Family came out that season, I remember actually meeting with Steve and my partner and I already had a job on, we were running a show called Glen Martin, so it wasn't even like we were trying to get that job. I don't remember what the office was doing, but I'm sure I also had, I've worked every year, I'm sure I also had a job at the time. So a lot of times, and by the way, I've missed out on opportunities, I've missed out on shows that were really big simply because I already had a job and when the show, it's not like this show was going to be a giant hit. You don't know this. Even a great show could be a flop.Phil Hudson:And Glen Martin, that was the first time show running right for you. And C, itMichael Jamin:Was the first time show running, and I was very happy to be running a show. I was like, oh, good. I've never done it before. So it was exciting and I'm glad I did it, but I would've made a lot more money had I been on Modern Family for sure.Phil Hudson:Awesome. Follow up question. When you get to a higher level of writer, say co-producer, do you still need to submit a script to the showrunner or is hiring based on your interview and past EV work you've done?Michael Jamin:Oh no. You almost always, you have to be read. You need a writing sample, and it has to be a current writing sample, and it has to be good. You're never done writing for free in Hollywood. You're always writing.Phil Hudson:Yeah. Derek Nyberg. What if the audience can't differentiate between fiction and reality and carries those powerful story themes into the voting booth? Does this explain why the worst of all possible characters are now elected officials walking around the Capitol building in Washington? Does this explain society's addiction to conflict?Michael Jamin:I don't think the two have anything to do with each other. Just to be clear, I think you're giving us way too much credit that the characters we create somehow become political figures. IPhil Hudson:Think that's like asking, was Shakespeare's success with Caesar, with Julius Caesar or with King Richard III or any of these other things he'd done, was that successful because he wrote them as story and then that led to other people being crazy? Or is it because he was writing about the reality of these people? Life imitates art imitates life, whereas it'sMichael Jamin:Chicken cat. Yeah, it goes in both directions. But basically you take a show like the one Julie Louis Red come on talking about the political, sorry, beep Veep. Yes. Yeah, sorry. That show would not have been made if there already weren't people in politics acting like jackasses because you wouldn't believe you couldn't sell the show. You'd be like, I don't buy that. Any elected official could be that fricking stupid, but because it was already out there, you see it now, you can sell a show on it. Yeah.Phil Hudson:Yeah. That's great. Alright, and this is a comment, not a question, but I thought this was a good way to end this. Braves wants to know, I'm an aspiring screenwriter from India, and the knowledge you share on your Instagram helped me get my first internship. Always look forward to developing my skillset further. Thank you.Michael Jamin:Oh, good for you. Congratulations.Phil Hudson:And that's someone who's not only in your social media, but the webinars, and that's a reminder to everybody to come to the webinars. They're free. We do them very regularly, and there's always something to learn in those.Michael Jamin:Yeah, that's it. This is a short one, but thank you everyone. Thanks for listening once again. This episode's brought to you by a paper orchestra, my debut collection of personal essays available. You can get on Amazon, you can get anywhere you want. Barnes and Nobles ApplePhil Hudson:Sign copies@michaeljamin.com.Michael Jamin:If you want, get it from me directly, I'll sign it for you. And that's it, Michael. Yeah, thank you so much everyone. Thank you. Thank you for your questions.Phil Hudson:Until next time,Michael Jamin:Keep reading,Phil Hudson:Keep reading. Keep readingMichael Jamin:My book. Read the book. Okay, everyone,Wow. I did it again. Another fantastic episode of What the Hell is Michael Jamin talking about? How do I do it week after week? Well, I don't do it with advertiser supported money. I tell you how I do it. I do it with my book. If you'd like to support the show, if you'd like to support me, go check out my new book, A Paper Orchestra. It asks the question, what if it's the smallest, almost forgotten moments that are the ones that shape us most? Laura Sanoma says, good storytelling also leads us to ourselves, our memories, our beliefs, personal and powerful. I love the Journey. And Max Munic, who was on my show says, as the father of daughters, I found Michael's understanding of parenting and the human condition to be spot on. This book is a fantastic read. Go check it out for yourself. Go to michael jamin.com/book. Thank you all and stay tuned. More. Great stuff coming next week.

We have our disguises and are ready to enter the country of Bolivia because we watched Che: Part Two! Listen as we discuss the effect of director Steven Soderbergh on a war film and how his direction differs from other movies from this genre, how the understated work of Benicio Del Toro works for the film and digressions on whether or not it's prudent to include Lou Diamond Phillips and Matt Damon in your prestige film. Thanks to our monthly supporters Nichole Peterson Steve Weiss Matthew Aldrich Edward Lankford Heather Sahami

A Morning News Update That Takes Into Account The News Stories You Deem 'Highly Conversational' Today's Sponsor: Robinhoodhttp://thisistheconversationproject.com/robinhood Today's Rundown:Over 300 detained in Russia as country mourns the death of Alexei Navalny, Putin's fiercest foehttps://apnews.com/article/russia-alexei-navalny-death-prison-putin-d0121f49840ee1cd6fbf94f6d7249e1bNASCAR teams tell AP they've hired top antitrust lawyer on eve of Daytona 500https://apnews.com/article/nascar-teams-revenue-sharing-antitrust-attorney-3d5d9a8f5c0367a5099c6cc316ca90e2 The US Department of Justice aims to scrutinize a sports streaming platform planned by Walt Disney, Fox and Warner Bros Discovery over concerns it could harm consumers, sports leagues and rivalshttp://reut.rs/4bFkI11 Kansas City woman's Donna Kelce mug sells like wildfire, helps pay off student lunch debthttps://www.usatoday.com/story/news/nation/2024/02/18/donna-kelce-mug-sales-student-debt/72617754007/ George Santos sues late-night host Jimmy Kimmel for tricking him into making videos to ridicule himhttps://apnews.com/article/george-santos-jimmy-kimmel-copyright-lawsuit-41e1c2951945e11c069a41f9ea62281d Despite Getting No Salary From Iowa, Caitlin Clark Still Enjoys More Income Than 122 NBA Starshttps://www.essentiallysports.com/ncaa-college-basketball-news-despite-getting-no-salary-from-iowa-caitlin-clark-still-enjoys-more-income-than-one-hundred-twenty-two-nba-stars/ Trump's Truth Social nears Wall Street listing that could yield millionshttps://www.yahoo.com/news/trumps-truth-social-nears-wall-195119889.html Trump Receives Mixed Reception As He Launches $400 Gold Sneakershttps://www.businessinsider.com/trump-receives-mixed-reception-as-he-launches-gold-sneakers-2024-2 Charles Barkley calls out NCAA, NIL in question to Adam Silverhttps://www.on3.com/news/charles-barkley-calls-out-ncaa-nil-in-question-to-adam-silver-nba-commissioner/ Man who stuffed three Burmese pythons in his pants sentenced in smuggling attempthttps://www.usatoday.com/story/news/nation/2024/02/15/burmese-pythons-in-pants-smuggling/72615892007/ Website: http://thisistheconversationproject.com Facebook: http://facebook.com/thisistheconversationproject Twitter: http://twitter.com/th_conversation TikTok: http://tiktok.com/@theconversationproject YouTube: http://thisistheconversationproject.com/youtube Podcast: http://thisistheconversationproject.com/podcasts #yournewssidepiece #coffeechat #morningnews ONE DAY OLDER FEBRUARY 19:Seal (61)Benicio Del Toro (57)Millie Bobby Brown (20) WHAT HAPPENED TODAY:1982: Ozzy Osbourne was arrested for urinating on The Alamo.1986: The Soviet Union launched the Mir space station.2008: Toshiba announced the end of HD-DVD, ending the format war between it and Sony's Blu-Ray Disc. PLUS, TODAY WE CELEBRATE: Chocolate Mint Dayhttps://www.nationaldaycalendar.com/national-day/national-chocolate-mint-day-february-19#:~:text=Recognized%20by%20the%20US%20National,favorite%20treats%20all%20day%20long.

What's the best math song? Which pocket food travels best? And what REALLY happens when the chips are down? We drag these questions through the dirt as we watch Season 3, Episode 12 of Family Matters.Alex Diamond, David Kenny, and John McDaniel heard that the long-running network sitcom Family Matters ends with side character Steve Urkel going to space. And the best way to figure out how that happened - obviously - is to watch the last episode first and make our way backwards through nearly ten years of television.Join our countdown to number one (and our slow descent into madness) in all the places you expect internet people to be:Website: jumpingtheshuttle.spaceEmail: jumpingtheshuttle@gmail.comInstagram: @JumpingTheShuttle / @ThatAlexD / @dak577Twitter: @JumpingShuttle / @ThatAlexD / @dak577TikTok: @JumpingTheShuttle / @ThatAlexD / @dak577Brought to you by Smooth My Balls

This week Keegan, Cassi and Christina talk about 30 seconds versus one hour of sexy time and sad masturbation. The FMK this week is Hilary Swank, Tim Roth and Benicio Del Toro. Going into the bad date stories, Christina shares a match with miscommunication, Keegan shares a abuser's playbook, and Cassi shares a date with ankle socks. Christina wraps it up in the true crime segment, Tainted Love with the story of Craig Heidt. Got a worst date to share? Go to https://myworstdatepodcast.com or follow us on Instagram, TikTok and YouTube @myworstdatepodcast.

Stop here this is pod country. This week we're covering 1998's Fear and Loathing in Las Vegas directed by Terry Gilliam, and starring Johnny Depp, and Benicio Del Toro! Join us as we talk all about the real history behind the movie, the book and Hunter S. Thompson. Come check it out! Please Like and Subscribe! Click the Bell to Get Notifications! Please give us a rating and a review on Apple Podcasts or Spotify. It helps potential sponsors find the show! Sign up for @Riversidefm: https://www.riverside.fm/?via=reviewi... Sign up for @BetterHelp: https://betterhelp.com/reviewinghistory Buy Some Merch: www.reviewinghistorypod.com/merch Email Us: Reviewinghistorypod@gmail.com Follow Us: www.facebook.com/reviewinghistory twitter.com/rviewhistorypod letterboxd.com/antg4836/ letterboxd.com/spfats/ letterboxd.com/BrianRuppert/ letterboxd.com/brianruppert/list…eviewing-history/ twitter.com/Brianruppert

What a way to welcome the New Year. Excess Baggage is a film from 1997 that almost takes you there but then falls short overall. The casting honestly saved this whole project but it really puts into perspective the importance of a tight story and seamless collaboration. This film was riddled with re-writes and re-shoots which is typically not a good sign, however watching for the charm and nostalgia factor really made up for it. Me and Mikey spent this episode pointing out the story holes, the drama on set during filming, and I drool over Benicia Del Toro. Off-topic rants include: male celebs as ice cream flavors, Patreon news, and why I loved the Eternals movie, Drag Race0:00- 08:40 chit chat/ awards season hypeLA Times Article (October 30, 1996)--- 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! GIVE US A 5 STAR RATING & SUBSCRIBE!Hosts: Lauren @lauren_melanie & Mikey @agentmikey007Substack The Lo Down: a Fashion Grunge blog/newsletterInstagram @fashiongrungepodTwitter @fgrungepodLetterboxd Fashion Grunge PodcastTikTok @fashiongrungepod

John "JC" Capone was diagnosed with Parkinson's disease. It disrupted his life, compromised his motor skills and redefined relationships with former friends. It did NOT take his spirit. Or his ability to fight back. One man, who happens to be the director of the hit Netflix film, Reptile, starring Benicio Del Toro and Justin Timberlake, took notice and went to bat for him.After a too-long hiatus from the podcast, Matt was asked to sit down with JC by a mutual friend, just to help him get some soundbites of his story. Inspired by JC in a quick talk before the interview, Matt decided this was his excuse to get back to the podcast. Consider it 10,000 NOs 2.0: less bells & whistles, all stories and snippets of inspiring people and situations, to help listeners keep putting one foot in front of the other.For all things 10,000 NOs, visit 10000nos.com or follow Matt on Instagram: @mattydel - you can also email: info@10000nos.com with any requests, comments, feedback or inquiries about current of future offerings of Matt and/or 10,000 NOs.

Team Deakins speaks with actor Benicio del Toro (SICARIO, TRAFFIC, THE FRENCH DISPATCH). Benicio expresses his gratitude to the Stella Adler Studio for serving him as a bastion in which he weathered the storm of rejections he faced early in his career. We discuss the definition of heroes on screen and what it means to play them, and Benicio considers the different demands of acting in superhero films in comparison to more grounded projects. We walk down memory lane remembering working together on SICARIO. Towards the end, we reflect that no production is the same experience and not one was the experience we thought it would be. - This conversation was recorded on May 2, 2023. - This episode is sponsored by Falca & TrueCut Motion & Dallas Film Commission Instagram: @falcagram & @truecutmotion & @dallasfilmcommission