Podcast appearances and mentions of Caleb Deschanel

Soutenez nous sur Patreon Forfait 3€ épisode en accès anticipé sans pub Forfait 5 € épisode en accès anticipé sans Pub + Accès aux Podcasts Exclusifs Premier épisode de cette nouvelle année 2025 et à l'occasion de la sortie du nouveau film de Mel Gibson ; Vol à Haut Risque. Nous avons décidé de nous mettre dans la sauce en vous parlant d'un de films les plus casse-gueule des années 2000, La Passion du ChristTourné en hiver 2002 à Rome à la Cinecittà en Araméen et en latin, production majoritairement australienne avec un budget de 30 millions de dollars par Icon Productions la boîte de production de Mel Gibson et Bruce Davey aidé à la distribution par une boîte de prod indépendante Newmarket Films. Écrit par Mel Gibson et Benedict Fitzgerald qui n'a rien fait d'extraordinaire dans sa vie de scénariste à par gagner un procès dont on parlera plus tard. Troisième film réalisé par Mel Gibson accompagné de Caleb Deschanel à la photographie qui a été connu dans les années 80's pour son travail sur l'Étoffe des Héros de Philip Kaufman, il a réalisé des épisodes de Twin Peaks de David Lynch et Mark Frost, et collaboré avec tout un tas de réal, Cameron, Friedkin, Cassavets, Levinson et même Roland Emmerich dont il a été nommé pour la meilleur photo sur The Patriot.Mais il a aussi mis en lumière Abraham Lincoln : Chasseur de Vampires et ça on peut lui dire bravoLa Passion du Christ nous montre les dernières heures de la vie de Jésus selon le nouveau testament, le livre La douloureuse passion de notre seigneur Jésus-Christ de Anne Catherine Emmerich et le cerveau malade de Mel Gibson. Jésus inventeur de la table à manger, interprété par Jim Caviezel trahi par Judas pour la valeur de deux tickets restaurant se retrouve aux mains des chefs pharisiens qui le poursuivait pour blasphème et le condamne à mort. Abonnez vous sur Peakgaming pour les streams jeu vidéo Enregistré en live sur notre chaîne twitch ABONNEZ-VOUS ! Rattrapez le live sur notre chaine youtubeChroniqueur.e.es : Marvin MONTES, Mathieu BONTEMPS et présenté par Luc LE GONIDECHost : Luc LE GONIDECMusique Jean Baptise BLAIS Montage et mixage son : Luc LE GONIDEC Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Scoot and boot! Childhood friend Jason Payne makes his fourth token appearance on NostalgiaCast for a discussion of Carroll Ballard's 1979 children's classic THE BLACK STALLION, starring Kelly Reno, Teri Garr, Mickey Rooney, and Hoyt Axton (or, as Jonny calls him, "the guy from GREMLINS"). Listen as Jason, Jonny, and Darin speak in awed reverence about the film's breathtaking cinematography, enveloping sound mix, and its uncanny ability to "speak" to kids and adults alike. Take the reins and join us!  

In the final episode of the Musicbed Podcast, the VFX legend discusses the dangers of limiting your inspiration and the importance of making audiences believe the unbelievable. Whether it's writing acclaimed narratives or directing award-winning content for global brands like Nike, McDonald's, and adidas, writer/director Elle Brooks-Tao's fresh approach to filmmaking prioritizes pushing the boundaries and bringing untold stories to light. Talking Points: Working with James Cameron and Martin Scorsese Going behind the scenes of The Aviator, Titanic, and more Feeling something always transmutes into the work The only way to get what you want: walk into it Never cut anything unless it wows you Taking inspiration from what's never been done Show Notes: Hugo (2011) – https://www.imdb.com/title/tt0970179/ The Twilight Zone (TV Series 1959–1964) – https://www.imdb.com/title/tt0052520/ Apollo 13 (1995) – https://www.imdb.com/title/tt0112384/ Titanic (1997) – https://www.imdb.com/title/tt0120338/ Armageddon (1998) – https://www.imdb.com/title/tt0120591/ Cast Away (2000) – https://www.imdb.com/title/tt0162222/ The Aviator (2004) – https://www.imdb.com/title/tt0338751/ Interview with the Vampire: The Vampire Chronicles (1994) – https://www.imdb.com/title/tt0110148/ Star Trek: Deep Space Nine (TV Series 1993–1999) – https://www.imdb.com/title/tt0106145/ John Sayles – https://www.imdb.com/name/nm0000626/ Tom Hanks – https://www.imdb.com/name/nm0000158/ Philadelphia (1993) – https://www.imdb.com/title/tt0107818/ Forrest Gump (1994) – https://www.imdb.com/title/tt0109830/ James Cameron – https://www.imdb.com/name/nm0000116/ Martin Scorsese – https://www.imdb.com/name/nm0000217/ Avatar (2009) – https://www.imdb.com/title/tt0499549/ MotionBuilder – https://www.autodesk.com/products/motionbuilder/overview Leonardo DiCaprio – https://www.imdb.com/name/nm0000138/ Alita: Battle Angel (2019) – https://www.imdb.com/title/tt0437086/ The Lion King (2019) – https://www.imdb.com/title/tt6105098/ The Jungle Book (2016) – https://www.imdb.com/title/tt3040964/ Caleb Deschanel – https://www.imdb.com/name/nm0221042/ Unreal Engine – https://www.unrealengine.com/ Beach Boys – https://thebeachboys.com/ Brian Wilson – https://www.brianwilson.com/ Ray Harryhausen – https://www.imdb.com/name/nm0366063/ Godzilla (1954) – https://www.imdb.com/title/tt0047034/ 2001: A Space Odyssey (1968) – https://www.imdb.com/title/tt0062622/ Ron Howard – https://www.imdb.com/name/nm0000165/ Brought to you by Musicbed, the filmmaking industry's music licensing platform of choice. Learn more: ⁠⁠⁠⁠musicbed.com⁠⁠⁠⁠. About Musicbed: Musicbed is the leading sync licensing platform for authentic music from relevant artists. We're a one-stop licensing agency representing a curated roster of authentic artists, bands, and composers for film, TV, and advertising. From leading composers to tour-tested bands, and rising singer/songwriters, we believe music brings emotion and has the power to amplify your story.

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

Zooey Deschanel is an actor (New Girl,Elf, 500 Days of Summer) musician (She & Him), crafter, and entrepreneur (HelloGiggles, Lettuce Grow). In 2022 she told Guy how being diagnosed with ADHD as a child affected her life and career, how the "loneliness" of the actor's life led her to songwriting and her collaboration with M Ward, and how – right before landing her biggest role – she almost quit acting. Zooey also delivers some practical tips on how to turn fear into excitement, and makes the case that regularly pursuing new creative paths makes you better at everything else.Links from the show:Zooey's parents' filmographies: Caleb Deschanel & Mary Jo DeschanelZooey's first instrument: the Casio SK-1Crossroads School for Arts & Sciences in Santa MonicaScene from Zooey's first-ever role on TV: Veronica's ClosetZooey and Frances McDormand "Drugs & Promiscuous Sex" scene from Almost FamousThe Go-Getter (2007 film), how Zooey met M WardLet's Dance by M WardVincent O'Brien by M WardThieves by She & Him (Official Video), one of Zooey's favorites which she wrote in "12 minutes"She & Him's "pandemic project," Melt Away: A Tribute to Brian WilsonNew Girl full episodes on AmazonSaturday Night Live sketch - Bein' Quirky With Zooey Deschanel HelloGiggles Lettuce GrowSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Who really is the Patriot? What is a patriot? WHY is a patriot? What kind of desert island playlist would a patriot have? What do you think a patriot's opinion on contemporary war crimes would be? Do you think they would like ice cream? Maybe moose tracks? Do y'all think Caleb Deschanel knew who the patriot was when he was shooting scenes? Is there a limit to being a patriot? Does Gibson being a racist anti-semite make him an American patriot? How many marshmallows do you think a patriot could fit in their mouth? Could they articulately pronounce "chubby bunny" with a mouthful of marshmallows? DID Jason Issacs and Mel Gibson kiss during filming? Is there a blooper reel of that somewhere? Gosh, I certainly hope so. Would a patriot be totally cool with mixing... . Thank you all for listening! Please remember to rate, review and subscribe wherever you're hearing us. . Many thanks to Matthew Roland Pharris for our artwork. You can find him/follow him and his amazing work on Instagram @pestopasta44 . You can find us/follow us on Twitter @AuteursVulgar, and on Instagram @vulgarauteurspodcast. You are also welcome to email us at vulgarauteurs@gmail.com about anything, and we mean ANYTHING. We have a spam folder, so don't get too excited. . We love you all! Go hug yourself --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Zooey Deschanel is an actor (New Girl, Elf, 500 Days of Summer) musician (She & Him), crafter, and entrepreneur (HelloGiggles, Lettuce Grow). She tells Guy how being diagnosed with ADHD as a child affected her life and career, how the "loneliness" of the actor's life led her to songwriting and her collaboration with M Ward, and how – right before landing her biggest role – she almost quit acting. Zooey also delivers some practical tips on how to turn fear into excitement, and makes the case that regularly pursuing new creative paths makes you better at everything else.Links from the show:Zooey's parents' filmographies: Caleb Deschanel & Mary Jo DeschanelZooey's first instrument: the Casio SK-1Crossroads School for Arts & Sciences in Santa MonicaScene from Zooey's first-ever role on TV: Veronica's ClosetZooey and Frances McDormand "Drugs & Promiscuous Sex" scene from Almost FamousThe Go-Getter (2007 film), how Zooey met M WardLet's Dance by M WardVincent O'Brien by M WardThieves by She & Him (Official Video), one of Zooey's favorites which she wrote in "12 minutes"She & Him's "pandemic project," Melt Away: A Tribute to Brian WilsonNew Girl full episodes on AmazonSaturday Night Live sketch - Bein' Quirky With Zooey Deschanel HelloGiggles Lettuce GrowSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Today on What's My Frame? I'm joined by multi-talented cinematographer Luke Miller. Luke served as director of photography on the final seasons of Netflix's Grace and Frankie, starring Jane Fonda & Lily Tomlin. Luke had the joy of working with the show since its very first episode; starting as the gaffer with the series. Today Luke shares with us some of his favorite moments with the show and creative team. It's evident how much he enjoyed his time with the project! Luke and his fellow DP worked to achieve the look of a feature comedy for Grace and Frankie; with these legendary actors, on a television schedule. Combining very natural realistic lighting with portrait-style lighting, Luke was able to ensure that the cast looked as beautiful as possible while the audience was immersed in Grace & Frankie's world. He also relished the opportunity to work with four legends on a daily basis, and took inspiration from their kindness and generosity to everyone on set. Approaching filmmaking in general from a holistic point of view, Luke believes that all decisions matter to the final product and need to work together in concert. Working diligently to elevate the project while working closely with directors to create a united team focused on putting the director's vision on screen. His most notable collaborations have been with Alex Hardcastle, Marta Kauffman, Rebecca Asher, Ken Whittingham, John Hoffman, and Molly McGlynn; and he learned extensively from cinematographers Caleb Deschanel, David Lanzenberg, and Gale Tattersall. If you'd like to learn more about Luke's work visit lukemillerdp.com --- Support this podcast: https://anchor.fm/whats-my-frame/support

On episode 20 of Really Weird Stuff, we're discussing Twin Peaks Season 2, Episode 12: "The Black Widow". This episode was written by Harley Peyton and Robert Engels and directed by Caleb Deschanel. It's best known as the one where Dougie dies and Denise and Audrey help Coop clear his name. For an episode that features Evelyn, James, and that Little Nicky business, it's surprisingly funny. Special guest Chris Brugos joins us to explore such mysteries as: DID Coop learn to taste random white powders at Quantico? WHAT is the deal with the woman from Galway? WHO has the more compelling forehead, between James and Malcolm? PLUS: We analyze Audrey's reaction to meeting Denise! Editors note: In this episode, we mention that the episode titles were added after they first aired in the United States. The titles were later bestowed by unknown persons when they aired on German television. 

On episode 16 of Really Weird Stuff, we're discussing Twin Peaks Season 2, Episode 8: "Drive with a Dead Girl". This episode was written by Scott Frost and directed by Caleb Deschanel. It's best known as the one where BOB has the time of his life carting Maddy's body around town in the trunk of Leland's car. Special guest Chris Brugos joins us to explore such mysteries as: WHY do evil entities have such pedestrian names?WHAT is Gwen's deal?HOW does Maddy fit into such a small bag?PLUS: Harry's Prosecution Complex! 

Audrey and Cooper's parallel paths to One Eyed Jack's are getting the spoiler-filled deep-dive treatment as the podcast digs into Twin Peaks Episode 6.Your host John looks at Caleb Deschanel's contributions to Twin Peaks, the episode's omnipresent voyeurism, and all the boundary crossings—whether from public to secret, legal to illegal, or signing on the line from unofficial to official. This week also covers disguises, recordings of the dead, and waking up to truth. What happens when characters hastily go to the heart of the beast to achieve their goals?Production by Mitch Proctor and Area 42 Studios and Soundwww.25yearslatersite.comwww.RuminationsRadioNetwork.comwww.instagram.com/RuminationsRadioNetworkInstagram: BlueRoseTaskForceTwitter: RuminationsRadioNetwork@RuminationsNTwitter: @BlueRoseTFpodhttps://www.patreon.com/RuminationsRadioEmail ruminationsradio@gmail.comEmail bluerosetaskforcepodcast@gmail.com★ Support this podcast on Patreon ★

On RWS E7, we're discussing Twin Peaks Season 1, Episode 6, "Realization Time", written by Harley Peyton and directed by Caleb Deschanel. This is best known as the one where Waldo the Myna bird helps the investigation, and the Bookhouse Boys go to One-Eyed Jacks. But there are so many other delicious scenes, including Audrey sleuthing all over Horne's Department store and a nod to "Double Indemnity" in Catherine's scene with the ambitious life insurance agent, Mr. Neff.  Special guest, Matt Fisher of Ex-Rated Movies Podcast helps us explore such mysteries as: HOW does Audrey know what exactly what to say to the stock boy? WHY doesn't the Bureau have a budget for better wigs? HOW does Blackie keep from gagging during that failed flirtation with Big Ed?PLUS: Matt discusses why Twin Peaks is the only television drama he's watched more than once!

Episode 7A Notes: The 3 questions, the feel of the episode, director/writer & production context Please rate, review, and/or subscribe on Apple Podcasts to help promote this show! You can explore both public and patron episodes of this podcast here: https://www.lostinthemovies.com/p/lost-in-twin-peaks.html Become a patron at https://www.patreon.com/lostinthemovies to listen to the entire series ahead of the public schedule and access my main monthly podcast as well. For $5/month, all Lost in Twin Peaks episodes are available immediately, including my 12-part coverage of Fire Walk With Me, in addition to exclusive ongoing Twin Peaks Conversations with other commentators as a monthly reward. Episode 0: Introducing the podcast (show format) https://podcasts.apple.com/us/podcast/introducing-the-podcast-show-format/id1588350903?i=1000537195013 The illustrated companion to this week's episodes is https://www.lostinthemovies.com/2021/11/lost-in-twin-peaks-7-s1e7-realization.html 0:00 INTRO 2:12 WHAT IS TWIN PEAKS? 4:11 WHO IS AGENT COOPER? 5:27 WHO IS LAURA PALMER? 7:02 THE FEEL OF THE EPISODE 9:55 DIRECTOR & WRITER: Caleb Deschanel + Harley Peyton (13:15) 14:44 PRODUCTION CONTEXT My Journey Through Twin Peaks video essay series is on YouTube (in 36 chapters as of now) https://www.youtube.com/playlist?list=PLIHlB-wesGPVETlNFLsGCKL-SFjW8wrJf & Vimeo (in 5 parts as of now) https://vimeo.com/showcase/7281266 MY PREVIOUS DIRECTOR/WRITER LOST IN TWIN PEAKS EPISODES: S1E4 (written by Harley Peyton) https://www.lostinthemovies.com/2021/10/lost-in-twin-peaks-4-s1e4-rest-in.html (the following links may contain Twin Peaks spoilers...) OTHER COMMENTARY ON THIS DIRECTOR & WRITER... (the following links may contain Twin Peaks spoilers) ..from MY OTHER PODCASTS The Escape Artist (directed by Caleb Deschanel) https://podcasts.apple.com/us/podcast/films-by-twin-peaks-episode-directors-halloweentown/id1587597259?i=1000536658422 ...from MY VIDEO ESSAYS clips from The Escape Artist + Less Than Zero (written by Peyton) in Journey Through Twin Peaks chapter 34 - A Candle in Every Window https://www.youtube.com/watch?v=cgBLtDcXZtI I also mentioned Less Than Zero in a minute-long capsule on Patreon https://www.patreon.com/posts/33432782 My other podcasts include: Lost in the Movies https://www.lostinthemovies.com/p/patreon-podcast.html Twin Peaks Cinema https://www.lostinthemovies.com/p/twin-peaks-cinema.html This podcast is powered by Pinecast.

Howdy, Podcastville! Here's another sizzlin' episode of Back to the Double R, hot off the griddle for Season 2, Episode 12: The Black Widow. Jonathan shows us what makes the show work, and offers a salute to Maj. Garland Briggs; Jennifer watches Ben Horne go spinning back in time; Damon dissects the Major's mysterious return; and Colin follows up on post-Peaks supernatural TV. In the Twist, we cast a lusty eye toward all the sexual innuendo and flirtation in this episode! LISTEN: Apple Podcasts | Google Podcasts | BuzzSprout | Spotify | RSS | and more!S2, E12 NOTES: Harley Peyton (episode writer) Caleb Deschanel (episode director) Geraldine Kearns (b. 1951, Irene Littlehorse) Tony Burton (1937-2016, Colonel Riley) Ron Taylor (1952-2002, Coach Wingate) Molly Shannon (b. 1964, Judy Swain) The White Lotus (2021, HBO series)Robyn Lively (b. 1972, Lana Budding Milford) Don S. Davis (1942-2008, Major Garland Briggs)Charlotte Stewart (b. 1941, Betty Briggs) Buffy the Vampire Slayer (1997-2003, CW TV series) Lost (2004-10, ABC TV series) Dimension X (1950-51, NBC radio show)Fantasy Island (1977-84, ABC series) Carnival Row (2019-present, Amazon series) Shadow & Bone (2021-present, Netflix series) Fringe (2008-13, Fox TV series) John Noble (b. 1948, Fringe's Walter Bishop) The Omen (1976, film, dir. by Richard Donner) When a Stranger Calls (1979, film, written and directed by Fred Walton) American Horror Story (2011-present, FX TV series) Room 104 (2017-2020, HBO series) The Haunting of Hill House (2018, Netflix miniseries) Lovecraft Country (2020, HBO miniseries created by Misha Green)Visit our website for full show notes! 

EPISODE 132 - CARROLL BALLARD - Director Team Deakins has the pleasure of speaking with director Carroll Ballard (WIND, THE BLACK STALLION, NEVER CRY WOLF, DUMA). We learn how he got involved in the project that became the film, Black Stallion, how he worked with cinematographer, Caleb Deschanel. We also discuss the particular challenges of that film. Carroll talks about the difficulties of working with animals and children as well as working with wolves and caribous in Never Cry Wolf, geese in Fly Away Home, and cheetahs in Duma. We also learn about how he met the extreme challenges of shooting the film Wind. We learned a lot in this episode!

How do you solve a problem like Bob? Leland is whistling show tunes and cutting a rug as Bob spirits away Maddy Ferguson's body in his golf bag. It's a nostalgia-filled nightmare in the pivotal Season 2, Episode 8, “Drive with a Dead Girl.” This week, Jonathan pays tribute to the amazing Peggy Lipton; Jennifer asks what those Horne boys are up to; Damon contemplates Bob unleashed; and Colin looks at the deadly allure of the bad old days. Our Twist this week is of an avian nature, featuring some bonus shoutouts to a couple of Pacific Northwest legends. LISTEN: BuzzSprout | Google Podcasts | Spotify | RSS | and more!S2, E8 NOTES: Scott Frost (episode writer)Caleb Deschanel (episode director)Peggy Lipton (1946-2019, Norma Jennings)Clarence Williams III (1939-2021, Agent Roger Hardy)The MOD Squad (1970-73, ABC TV Series)Quincy Jones (b. 1933, legendary musician, composer, and producer)Rashida Jones (b. 1976, actor)(Young Ben Horne, uncredited)(Young Jerry Horne, uncredited)Emily Fincher (Louise Dombrowski)Johanna Ray (series casting director)Jane Greer (1924-2001, Vivian Smythe Niles)Out of the Past (1947, classic noir film, dir. Jacques Tourneur)Against All Odds (1984, film, dir. Taylor Hackford)Oklahoma (1955, musical film, dir. Fred Zinneman)The Surrey with the Fringe on Top (1955, song from Oklahoma)Rogers & Hammerstein (legendary 20th-century musical writing team)Stepford Wives (1972, satirical novel by Ira Levin)Kathleen Wilhoite (b. 1964, Gwen Morton)Quarterback Princess (1984, TV movie, dir. Noel Black)Helen Hunt (b. 1963, actor)Harry Truman (1896-1980, famous curmudgeon who perished in the May 18, 1980 eruption of Mount St. Helens)D.B. Cooper (1971, legendary unsolved heist perpetrator)

This week we discuss season 1, episode 7, “Realization Time,” which originally aired on May 17, 1990 on ABC. As always, we will be revealing plot details, so we assume that listeners will have watched Twin Peaks season 1 through episode 7. It's an action-packed episode, with plenty of themes for our crew to explore. Colin notes the prominence of the color blue, dissects the increasing juxtapositions of sweetness and horror (think blood on the doughnuts), and how male power terrorizes. Damon explores Agent Cooper's complex moral code. For our character spotlight, Jonathan takes a closer look at Sherilyn Fenn's portrayal of Audrey Horne. Jennifer, the AV nerd of the group, scrutinizes the variety of ways that recording, playback and feedback are expressed in this week's episode. For “The Twist,” we chat about costuming and disguises, from bad wigs to cartoon homages to ball caps.LISTEN: BuzzSprout | Google Podcasts | Spotify | RSS | and more!S1, E4 NOTES: Harley Peyton (episode writer)Caleb Deschanel (episode director)Madchen Amick (Shelley Johnson)Sherilyn Fenn (Audrey Horne)Reflections: An Oral History of Twin Peaks (2014, book, written by Brad DukesBeauty and the Beast (1991, Disney film, directed by Gary Trousdale and Kirk Wise)Mulholland Drive (2001, film, directed by David Lynch)Sheryl Lee (Maddy Ferguson/Laura Palmer)Laura (1944, film, directed by Otto Preminger)Cary Granite (Cary Grant parody on The Flintstones)Elsa (main character from 2013 Disney film Frozen)Patricia Norris (costume designer on multiple Lynch projects) Nancy Steiner (Twin Peaks Season 3 costume designer)Twin Peaks costume retrospective from Observer.com (UK)

EPISODE 86 - CALEB DESCHANEL - Cinematographer Team Deakins sits down with cinematographer Caleb Deschanel for a great conversation. We learn about his experiences on the “Black Stallion”, “Being There”, “The Right Thing” and “The Natural”. We talk about the key to being really good in the craft (recognizing a better idea), watching the actor do the performance for the first time, working with operators, the importance of crew choice for a DP, and the difference of operating a camera with the wheels. We also explore the critical relationship between DP and Director and how greatness is not always obvious in the making of something. A wide-reaching conversation that you don’t want to miss!

This week’s podcast features a true pioneer of modern cinema: Robert Legato. He’s worked with directors such as Martin Scorsese, Neil Jordan and John Favreau as a second unit director and VFX supervisor, but he’s also helped bring traditional techniques and technology into CG filmmaking. Crucially, he did it in a way that directors and cinematographers can understand, and his hard work has been rewarded with Oscar wins for Titanic, Hugo and The Jungle Book. Robert also has a wealth of on-set experience, and he tells Chris about everything from shooting miniatures at his house for Star Trek: The Next Generation to helping renowned cinematographer Caleb Deschanel lens the all-CG world of The Lion King. He reveals the qualities you need to be a good director, how to shoot and edit to evoke styles and emotions — and the difference garlic can make to a film shoot. Rob is a humble, professional character who is happy to talk about his flaws and how overcoming them has benefited the industry. It’s pretty much a complete film school degree delivered in 76-minutes.

Den tyske regissøren Florian Henckel von Donnersmarck brakdebuterte i 2006 med overvåkningsdramaet «De andres liv», men etter Hollywood-kalkunen «The Tourist» (2010) ble det stille. Nå er filmskaperen tilbake med sin tredje produksjon, «Verk uten skaper», som i vinter ble Oscar-nominert for beste ikke-engelskspråklige film og for beste foto (Caleb Deschanel). I denne episoden snakker vi om «Verk uten skaper», som hadde verdenspremiere i Venezia i 2018, og som denne høsten endelig vises på norske kinoer – spesialimportert av de digitale Cinematekene.

Master cinematographer Caleb Deschanel earned the first of six Oscar nominations for The Black Stallion, and the latest just last year for the brilliant German film Never Look Away. Since then he’s ventured into the newest form of storytelling, virtual reality, to shoot The Lion King. But his best stories aren’t about craft—they’re about life lessons he’s learned since attending film school at USC with the likes of George Lucas. Leonard and Jessie sat spellbound as Caleb regaled them with priceless anecdotes: tune in and hear for yourself.

In episode ninety-five of movies imo., fellow film f*g Cameron Scheetz (@cameronscheetz) steps into Daniel's seat while he's toiling away at the Outfest Los Angeles Film Festival to discuss Jon Favreau's THE LION KING with Ben and Brandon. They also yell over each other about Beyoncé's music video SPIRIT and the original 1994 THE LION KING. Ben makes a case for why Caleb Deschanel will certainly win the Oscar for Best Cinematography, Brandon tries but struggles to say something—anything—nice about the film, and Cameron explains why he does not wish to sleep with Zazu in the remake, despite that nerdy bird being a lifelong childhood crush. See acast.com/privacy for privacy and opt-out information.

Caleb Deschanel, cinematographer for Disney's live-action The Lion King, shares how they used traditional cinematography to create the life-like virtual film. Caleb and Go Creative Show host, Ben Consoli, discuss modeling cameras and lenses for virtual filmmaking, how Caleb was able to move the sun around in virtual space to get the perfect lighting, using a real drone for the Circle of Life sequence, and more! Subscribe Now! What you will learn in this episode Caleb's pre-production process for The Lion King Building and filming the Virtual Reality sets How Caleb managed to use traditional gear to film a virtual world Being able to move the sun around in virtual space How Caleb was able to alter virtual sets to achieve certain shots Post-production process for The Lion King Using a real drone for the Circle of Life sequence Caleb answers your audience questions How Caleb drew inspiration from the animated film Caleb's take on the future of filmmaking And more! Show Links The Lion King IMDb The Lion King official trailer The Go Creative Show is supported by: Premium Beat Rule Boston Camera Hedge Shutterstock Magnanimous Rentals PremiumBeat.com Song of the Week War On Goods by Midway Music Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio Follow Our Guest Caleb Deschanel's IMDb   Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Matt Russell Gain Structure Sound Twitter

In this Gerhard Richter-inspired film, artist Kurt Barnert, having escaped East Germany, is tormented by his childhood under the Nazis and the GDR-regime. This Film Q&A features writer and director Florian Henckel von Donnersmarck, composer Max Richter and cinematographer Caleb Deschanel.

Filmmaker Reginald Hudlin recently directed the new documentary ‘The Black Godfather' for Netflix, but he's held a lot of other jobs, including writing ‘Black Panther' comics and running BET...at the same time. He tells us about those years, plus, working with Quentin Tarantino. We've also got some goodies from cinematographer Caleb Deschanel on Disney's new ‘Lion King.'

And he gives us a glimpse of the future too! Deschanel is just back from shooting Disney's new ‘Lion King' in London. He's now Oscar-nominated for his work on ‘Never Look Away.' That makes his sixth nomination--his previous five were for ‘The Right Stuff,' ‘The Natural,' ‘Fly Away Home,' ‘The Patriot' and ‘The Passion of the Christ.' He talks about his long career, plus his penchant for working with animals.

Larry Mantle and KPCC film critics Justin Chang and Lael Loewenstein review this weekend’s new movie releases and Oscar-nominated cinematographer Caleb Deschanel joins the FilmWeek critics to discuss the best-shot films of the 20th century.

Temporada 2 Capitulo final País Estados Unidos Dirección David Lynch (Creator), Mark Frost (Creator), David Lynch, Lesli Linka Glatter, Caleb Deschanel, Duwayne Dunham Guion Mark Frost, David Lynch, Harley Peyton, Robert Engels, Barry Pullman, Tricia Brock, Scott Frost Música Angelo Badalamenti, David Slusser Fotografía Frank Byers Reparto Kyle MacLachlan, Lara Flynn Boyle, Michael Ontkean, James Marshall, Sherilyn Fenn, Dana Ashbrook, Mädchen Amick, Richard Beymer, Ray Wise, Peggy Lipton, Joan Chen, Harry Goaz, Eric DaRe, Kimmy Robertson Sinopsis El Mayor Briggs recibe un mensaje de Windom Earle, que transmite a través de Sarah Palmer, y se embarca Cooper en un viaje extraño y fatal en la Logia Negra, que da lugar a su caída final, él negocia con Earle la vida de Annie y él sale con su alma habitada por Bob.

Temporada 2 Episodio 22 País Estados Unidos Dirección David Lynch (Creator), Mark Frost (Creator), David Lynch, Lesli Linka Glatter, Caleb Deschanel, Duwayne Dunham Guion Mark Frost, David Lynch, Harley Peyton, Robert Engels, Barry Pullman, Tricia Brock, Scott Frost Música Angelo Badalamenti, David Slusser Fotografía Frank Byers Reparto Kyle MacLachlan, Lara Flynn Boyle, Michael Ontkean, James Marshall, Sherilyn Fenn, Dana Ashbrook, Mädchen Amick, Richard Beymer, Ray Wise, Peggy Lipton, Joan Chen, Harry Goaz, Eric DaRe, Kimmy Robertson Sinopsis Cooper tiene que superar sus miedos más profundos mientras sigue la pista de Windom Earle, que ha secuestrado a Annie, y la ha llevado al reino siniestro de la Logia Negra. Mientras tanto, Nadine despierta después de haber sido golpeada en la cabeza durante el desfile de señorita Twin Peaks, y está devastada después de ver a Big Ed con Norma. El Dr. Hayward se involucra en una pelea con Ben Horne, golpeándolo como venganza por interferir en los asuntos de su familia. Como Truman y Andy esperan a Cooper para volver a la Logia Negra, Audrey entra en escena en un acto de desobediencia civil en la sociedad de ahorro y préstamo de Twin Peaks. Andrew y Pete obtienen la llave de una caja de seguridad y tratan de desbloquear la última caja de Thomas Eckhardt en el banco. La caja contiene una bomba dejada por Eckhart que explota cuando se abre... aparentemente matando a Andrew, Pete, y Audrey. El Mayor Briggs recibe un mensaje de Windom Earle, que transmite a través de Sarah Palmer, y se embarca Cooper en un viaje extraño y fatal en la Logia Negra, que da lugar a su caída final, él negocia con Earle la vida de Annie y él sale con su alma habitada por Bob.

Temporada 2 Episodio 21 País Estados Unidos Dirección David Lynch (Creator), Mark Frost (Creator), David Lynch, Lesli Linka Glatter, Caleb Deschanel, Duwayne Dunham Guion Mark Frost, David Lynch, Harley Peyton, Robert Engels, Barry Pullman, Tricia Brock, Scott Frost Música Angelo Badalamenti, David Slusser Fotografía Frank Byers Reparto Kyle MacLachlan, Lara Flynn Boyle, Michael Ontkean, James Marshall, Sherilyn Fenn, Dana Ashbrook, Mädchen Amick, Richard Beymer, Ray Wise, Peggy Lipton, Joan Chen, Harry Goaz, Eric DaRe, Kimmy Robertson Sinopsis Gracias a Andy, Cooper y Truman descifra parte del secreto de la Logia Negra, Annie Cooper ayuda a prepararse para el concurso de Miss Twin Peaks, el Mayor Briggs escapa de Earle, Catherine continúa su batalla con la caja negra; Ed rompe con Nadine, como él y Norma deciden seguir adelante con sus planes, Lucy decide el padre de su bebé, y el concurso de Miss Twin Peaks va desde lo frívolo al terror.

Temporada 2 Episodio 20 País Estados Unidos Dirección David Lynch (Creator), Mark Frost (Creator), David Lynch, Lesli Linka Glatter, Caleb Deschanel, Duwayne Dunham Guion Mark Frost, David Lynch, Harley Peyton, Robert Engels, Barry Pullman, Tricia Brock, Scott Frost Música Angelo Badalamenti, David Slusser Fotografía Frank Byers Reparto Kyle MacLachlan, Lara Flynn Boyle, Michael Ontkean, James Marshall, Sherilyn Fenn, Dana Ashbrook, Mädchen Amick, Richard Beymer, Ray Wise, Peggy Lipton, Joan Chen, Harry Goaz, Eric DaRe, Kimmy Robertson Sinopsis Windom Earle captura al Mayor Briggs para interrogarle sobre lo que sabe sobre las pinturas rupestres de la cueva del búho, Cooper recibe un mensaje desde el otro lado; Donna hace un descubrimiento en su certificado de nacimiento, y Wheeler se va del pueblo tan pronto como Audrey lo busca para decir adiós.

Temporada 2 Episodio 19 País Estados Unidos Dirección David Lynch (Creator), Mark Frost (Creator), David Lynch, Lesli Linka Glatter, Caleb Deschanel, Duwayne Dunham Guion Mark Frost, David Lynch, Harley Peyton, Robert Engels, Barry Pullman, Tricia Brock, Scott Frost Música Angelo Badalamenti, David Slusser Fotografía Frank Byers Reparto Kyle MacLachlan, Lara Flynn Boyle, Michael Ontkean, James Marshall, Sherilyn Fenn, Dana Ashbrook, Mädchen Amick, Richard Beymer, Ray Wise, Peggy Lipton, Joan Chen, Harry Goaz, Eric DaRe, Kimmy Robertson Sinopsis Cooper y Truman intentan descifrar el jeroglífico de la cueva del búho, Pete y Catherine se obsesionan con la caja del rompecabezas, Annie y Cooper se enamoran; Gordon Cole se enamora de Shelly, Tremayne lleva a cabo una cata de vinos en el Gran Hotel del Norte, y Windom Earle hace su próximo movimiento.

Temporada 2 Episodio 18 País Estados Unidos Dirección David Lynch (Creator), Mark Frost (Creator), David Lynch, Lesli Linka Glatter, Caleb Deschanel, Duwayne Dunham Guion Mark Frost, David Lynch, Harley Peyton, Robert Engels, Barry Pullman, Tricia Brock, Scott Frost Música Angelo Badalamenti, David Slusser Fotografía Frank Byers Reparto Kyle MacLachlan, Lara Flynn Boyle, Michael Ontkean, James Marshall, Sherilyn Fenn, Dana Ashbrook, Mädchen Amick, Richard Beymer, Ray Wise, Peggy Lipton, Joan Chen, Harry Goaz, Eric DaRe, Kimmy Robertson Sinopsis Cooper y el Departamento del Sheriff hacen espeleología en la cueva del búho, Truman despierta en el abrazo mortal de una mujer desnuda, Audrey y John Justice Wheeler comienzan una relación, Windom Earle se insinúa en las vidas de las víctimas potenciales; Audrey y Donna ven a la señora Hayward encontrarse con Ben.

Temporada 2 Episodio 17 País Estados Unidos Dirección David Lynch (Creator), Mark Frost (Creator), David Lynch, Lesli Linka Glatter, Caleb Deschanel, Duwayne Dunham Guion Mark Frost, David Lynch, Harley Peyton, Robert Engels, Barry Pullman, Tricia Brock, Scott Frost Música Angelo Badalamenti, David Slusser Fotografía Frank Byers Reparto Kyle MacLachlan, Lara Flynn Boyle, Michael Ontkean, James Marshall, Sherilyn Fenn, Dana Ashbrook, Mädchen Amick, Richard Beymer, Ray Wise, Peggy Lipton, Joan Chen, Harry Goaz, Eric DaRe, Kimmy Robertson Sinopsis Annie la hermana de Norma deja el convento y llega a Twin Peaks, donde Cooper se enamora de ella, Truman se hunde en la depresión, Catherine deja una caja misteriosa e intrigante por Eckhardt, Se ponen en marcha planes para el certamen de Señorita Twin Peaks y Ben encuentra una manera ingeniosa para detener el desarrollo de Catherine

Temporada 2 Episodio 16 País Estados Unidos Dirección David Lynch (Creator), Mark Frost (Creator), David Lynch, Lesli Linka Glatter, Caleb Deschanel, Duwayne Dunham Guion Mark Frost, David Lynch, Harley Peyton, Robert Engels, Barry Pullman, Tricia Brock, Scott Frost Música Angelo Badalamenti, David Slusser Fotografía Frank Byers Reparto Kyle MacLachlan, Lara Flynn Boyle, Michael Ontkean, James Marshall, Sherilyn Fenn, Dana Ashbrook, Mädchen Amick, Richard Beymer, Ray Wise, Peggy Lipton, Joan Chen, Harry Goaz, Eric DaRe, Kimmy Robertson Sinopsis Ed propone matrimonio a Norma, James y Donna rompen, Audrey se reúne con un galán, admirador rico de su pasado; Earle envía un rompecabezas para Audrey, Shelly y Donna, Hank es arrestado por el asesinato de Leo, pero señala con el dedo a otra persona, y Josie se ve obligado a encontrarse con Eckhardt - un encuentro que termina en tragedia.

Director and cinematographer Caleb Deschanel sits with Josh and Joe to discuss some of the movies and filmmakers who have inspired him over the years.

Temporada 2 Episodio 15 País Estados Unidos Dirección David Lynch (Creator), Mark Frost (Creator), David Lynch, Lesli Linka Glatter, Caleb Deschanel, Duwayne Dunham Guion Mark Frost, David Lynch, Harley Peyton, Robert Engels, Barry Pullman, Tricia Brock, Scott Frost Música Angelo Badalamenti, David Slusser Fotografía Frank Byers Reparto Kyle MacLachlan, Lara Flynn Boyle, Michael Ontkean, James Marshall, Sherilyn Fenn, Dana Ashbrook, Mädchen Amick, Richard Beymer, Ray Wise, Peggy Lipton, Joan Chen, Harry Goaz, Eric DaRe, Kimmy Robertson Sinopsis Cooper encuentra evidencia acerca de quién le disparó, y consigue ayuda de Pete, el maestro residente de ajedrez de pueblo en parejas con Windom Earle en el juego mortal de ajedrez; Donna hace una súplica desesperada para salvar a James, quien es sospechoso en el asesinato del Pantano; Shelly regresa a trabajar; Nadine rompe con Ed, en favor de Mike; y Catherine utiliza a Josie para atraer a Eckhardt.

Temporada 2 Episodio 14 País Estados Unidos Dirección David Lynch (Creator), Mark Frost (Creator), David Lynch, Lesli Linka Glatter, Caleb Deschanel, Duwayne Dunham Guion Mark Frost, David Lynch, Harley Peyton, Robert Engels, Barry Pullman, Tricia Brock, Scott Frost Música Angelo Badalamenti, David Slusser Fotografía Frank Byers Reparto Kyle MacLachlan, Lara Flynn Boyle, Michael Ontkean, James Marshall, Sherilyn Fenn, Dana Ashbrook, Mädchen Amick, Richard Beymer, Ray Wise, Peggy Lipton, Joan Chen, Harry Goaz, Eric DaRe, Kimmy Robertson Sinopsis Cooper le confiesa a Truman sus experiencias pasadas con Windom Earle, Leo despierta de su coma y le da una nueva causa a su vida, Audrey llega a un acuerdo con Bobby en su intento de salvar la cordura de Ben, cuando el marido de Evelyn es asesinado, James se da cuenta de que lo han engañado, Tomas Eckhardt, quien es ex amante de Josie y el hombre que intentó matar a Andrew Packard aparece, Windom Earle se revela.

Temporada 2 Episodio 13 País Estados Unidos Dirección David Lynch (Creator), Mark Frost (Creator), David Lynch, Lesli Linka Glatter, Caleb Deschanel, Duwayne Dunham Guion Mark Frost, David Lynch, Harley Peyton, Robert Engels, Barry Pullman, Tricia Brock, Scott Frost Música Angelo Badalamenti, David Slusser Fotografía Frank Byers Reparto Kyle MacLachlan, Lara Flynn Boyle, Michael Ontkean, James Marshall, Sherilyn Fenn, Dana Ashbrook, Mädchen Amick, Richard Beymer, Ray Wise, Peggy Lipton, Joan Chen, Harry Goaz, Eric DaRe, Kimmy Robertson Sinopsis Las explicaciones del Major Briggs acerca de su paradero en los días anteriores son confusas. Briggs explica a Cooper que el proyecto Libro Azul no solo investiga sobre Ovnis, sino también sobre la localización de la Casa Blanca; Truman nombra a Cooper ayudante del Sheriff mientras este no recupere su puesto de Agente Especial del FBI; Su primera vivencia es salir con vida de la trampa que le tiende Jean Renault, quien resulta muerto después de que el Agente Denise rescata a Cooper; Leo Johnson sale del coma y ataca a Shelly; Tras un apagón, Cooper y Harry encuentran en la oficina de este último un cadáver al lado de un tablero de ajedrez. Windom Earle está al acecho.

Temporada 2 Episodio 12 País Estados Unidos Dirección David Lynch (Creator), Mark Frost (Creator), David Lynch, Lesli Linka Glatter, Caleb Deschanel, Duwayne Dunham Guion Mark Frost, David Lynch, Harley Peyton, Robert Engels, Barry Pullman, Tricia Brock, Scott Frost Música Angelo Badalamenti, David Slusser Fotografía Frank Byers Reparto Kyle MacLachlan, Lara Flynn Boyle, Michael Ontkean, James Marshall, Sherilyn Fenn, Dana Ashbrook, Mädchen Amick, Richard Beymer, Ray Wise, Peggy Lipton, Joan Chen, Harry Goaz, Eric DaRe, Kimmy Robertson Sinopsis Cooper visita la granja del "perro muerto", una casa donde tiene previsto instalarse, donde encuentra restos de cocaína iguales a los de su coche; Gracias a Audrey, averigua que todo es un complot manejado por Jean Renault; Ben Horne comienza a perder poco a poco la cabeza, empezando a revivir "La Guerra de Secesión". Contrata a Bobby como su empleado; James es contratado por Evelyn para arreglar el coche de su marido, quien la maltrata. La atracción entre ambos es cada vez mayor; El Major Briggs aparece de nuevo, vestido como aviador de la Segunda Guerra Mundial.

Temporada 2 Episodio 11 País Estados Unidos Dirección David Lynch (Creator), Mark Frost (Creator), David Lynch, Lesli Linka Glatter, Caleb Deschanel, Duwayne Dunham Guion Mark Frost, David Lynch, Harley Peyton, Robert Engels, Barry Pullman, Tricia Brock, Scott Frost Música Angelo Badalamenti, David Slusser Fotografía Frank Byers Reparto Kyle MacLachlan, Lara Flynn Boyle, Michael Ontkean, James Marshall, Sherilyn Fenn, Dana Ashbrook, Mädchen Amick, Richard Beymer, Ray Wise, Peggy Lipton, Joan Chen, Harry Goaz, Eric DaRe, Kimmy Robertson Sinopsis El agente travesti del FBI Dennis Bryson llega a Twin Peaks, para ayudar a Cooper con la investigación sobre su presunto tráfico de drogas; James se va de viaje unos días para tratar de olvidar todo lo ocurrido; En un lugar llamado Wallies conoce a una mujer algo misteriosa llamada Evelyn Mash; Hank anuncia a Ben que el control de Jack el Tuerto ya no le pertenece; Nadine se enamora del estudiante universitario Mike Nelson, ex de Donna y amigo de Bobby; Catherine se venga de Josie obligándola a trabajar como su empleada; Andrew Packard, marido de Josie y del que todo el mundo piensa que está muerto, reaparece para unirse con su hermana Catherine contra Thomas Eckhardt.

Temporada 2 Episodio 10 País Estados Unidos Dirección David Lynch (Creator), Mark Frost (Creator), David Lynch, Lesli Linka Glatter, Caleb Deschanel, Duwayne Dunham Guion Mark Frost, David Lynch, Harley Peyton, Robert Engels, Barry Pullman, Tricia Brock, Scott Frost Música Angelo Badalamenti, David Slusser Fotografía Frank Byers Reparto Kyle MacLachlan, Lara Flynn Boyle, Michael Ontkean, James Marshall, Sherilyn Fenn, Dana Ashbrook, Mädchen Amick, Richard Beymer, Ray Wise, Peggy Lipton, Joan Chen, Harry Goaz, Eric DaRe, Kimmy Robertson Sinopsis El capítulo parte 3 días después de los últimos sucesos; Cooper consuela a Sara, por la muerte de su esposo Leland; Se hace una comida en la casa de los Palmer por el funeral; Cooper al terminar el caso, se debe ir de Twin Peaks pero un agente le quita la placa y el arma por tener cargos en su contra ya que cruzó 2 veces la frontera cuando fue a Canadá, primero cuando fue a Jack El Tuerto a investigar y luego cuando rescató a Audrey; Bobby trata de acercarse a las oficinas con la ayuda de Audrey; Nadine, como cree ser una adolescente, participa en un concurso de porristas mostrando una fuerza descomunal; Hank, el profesor Ernie y Jean Renault quieren hacer un negocio con drogas y aparte Jean le pide a King que deje una bolsa de cocaína en el auto de Cooper ya que quiere verle muerto; Josie aparece herida y llorando en la habitación del Sheriff Truman; Cooper y el Mayor Briggs están acampando comiendo malvaviscos y el Mayor le dice si ha oído hablar de una tal Casa Blanca, Cooper va a orinar, ve un búho, luego un luz blanca aparece iluminando todo, el Mayor ve una extraña silueta, luego Cooper regresa y el Mayor Briggs desaparece junto con la luz.

Temporada 2 Episodio 9 País Estados Unidos Dirección David Lynch (Creator), Mark Frost (Creator), David Lynch, Lesli Linka Glatter, Caleb Deschanel, Duwayne Dunham Guion Mark Frost, David Lynch, Harley Peyton, Robert Engels, Barry Pullman, Tricia Brock, Scott Frost Música Angelo Badalamenti, David Slusser Fotografía Frank Byers Reparto Kyle MacLachlan, Lara Flynn Boyle, Michael Ontkean, James Marshall, Sherilyn Fenn, Dana Ashbrook, Mädchen Amick, Richard Beymer, Ray Wise, Peggy Lipton, Joan Chen, Harry Goaz, Eric DaRe, Kimmy Robertson Sinopsis Norma Jennings critica a su mamá ya que ella nunca le encuentra nada bien; Donna recibe una carta de Harold Smith escrita antes de que este muriera, y que contenía una página del diario secreto de Laura. En el diario, Laura contaba que tuvo un sueño y ese mismo sueño fue el que tuvo Cooper; Cooper va a buscar pìstas con el hombre manco Mike y éste le dice que encuentre al Gigante de sus sueños ya que le ayudará a dar con Bob; El Sr. Tojamura / Catherine se presenta en la celda de Ben y le hace firmar la venta del aserradero a cambio de que ella testifique a su favor; Donna a ver a Leland y él la acosa, justo cuando Truman le avisa a Leland que se encontró el cuerpo de Maddy; Cooper junta en un bar a todos los sospechosos del caso Laura y encuentra la pista que faltaba ya que recuerda su sueño donde Laura le decía que su padre la mató; Leland confiesa que él es el asesino de Laura y de Maddy, pero luego le echa la culpa a Bob, falleciendo allí; Lucy tiene dudas de quién es su hijo, si Andy u otro amigo; se muestra al espíritu de Bob en las montañas.

Temporada 2 Episodio 8 País Estados Unidos Dirección David Lynch (Creator), Mark Frost (Creator), David Lynch, Lesli Linka Glatter, Caleb Deschanel, Duwayne Dunham Guion Mark Frost, David Lynch, Harley Peyton, Robert Engels, Barry Pullman, Tricia Brock, Scott Frost Música Angelo Badalamenti, David Slusser Fotografía Frank Byers Reparto Kyle MacLachlan, Lara Flynn Boyle, Michael Ontkean, James Marshall, Sherilyn Fenn, Dana Ashbrook, Mädchen Amick, Richard Beymer, Ray Wise, Peggy Lipton, Joan Chen, Harry Goaz, Eric DaRe, Kimmy Robertson Sinopsis Leland Palmer se va a jugar golf con el cuerpo de Maddy en el maletero; Lucy vuelve a la comisaría con el hijo de su hermana; el Agente Cooper le cuenta a Leland que Ben está arrestado por los cargos de asesinato de Laura, Leland se ríe y baila a escondidas; a Ben se le extraen muestras de sangre en la comisaría y Cooper le pregunta por la frase del diario secreto de Laura que dice "Algún día les diré al mundo lo que sé de Ben Horne"; Bobby escucha la cinta que estaba en el zapato de Leo y escucha la voz de Ben Horne; el hombre manco se escapa del hotel donde estaba arrestado pero luego lo encuentran; Pete lleva a Ben una grabación de Catherine pidiéndole que le deje la serrería o le diría a la policía lo que sucedió, Ben creía que estaba muerta; la policía encuentra el cuerpo de Maddy.

Temporada 2 Episodio 7 País Estados Unidos Dirección David Lynch (Creator), Mark Frost (Creator), David Lynch, Lesli Linka Glatter, Caleb Deschanel, Duwayne Dunham Guion Mark Frost, David Lynch, Harley Peyton, Robert Engels, Barry Pullman, Tricia Brock, Scott Frost Música Angelo Badalamenti, David Slusser Fotografía Frank Byers Reparto Kyle MacLachlan, Lara Flynn Boyle, Michael Ontkean, James Marshall, Sherilyn Fenn, Dana Ashbrook, Mädchen Amick, Richard Beymer, Ray Wise, Peggy Lipton, Joan Chen, Harry Goaz, Eric DaRe, Kimmy Robertson Sinopsis El Agente Cooper y el Sheriff llevan al hombre manco al Gran Hotel del Norte; El Agente Tommy encuentra que Harold Smith se ha suicidado. Audrey interroga a Ben (dueño de Jack el Tuerto) sobre Laura, él confiesa que se acostó con Laura y estaba enamorado de ella; Andy reflexiona sobre la nota de suicidio de Harold Smith que dice "soy un alma solitaria". También allí encuentran el diario secreto de Laura; Maddy Ferguson se despide de Leland Palmer ya que ella regresa a su pueblo; Shelly y Bobby tienen problemas financieros; El Sr. Tojamura le muestra su identidad a Pete, resulta ser su esposa Catherine disfrazada; la vida de Ed sigue trastocada, ya que Nadine cree ser una adolescente; La Mujer del leño lleva a Cooper al Roadhouse (un bar) y el gigante aparece dándole a Cooper un devastador mensaje; Maddy Ferguson es asesinada por Leland Palmer, en el espejo se ve que no es él, sino el espíritu maligno, Bob.

Temporada 2 Episodio 6 País Estados Unidos Dirección David Lynch (Creator), Mark Frost (Creator), David Lynch, Lesli Linka Glatter, Caleb Deschanel, Duwayne Dunham Guion Mark Frost, David Lynch, Harley Peyton, Robert Engels, Barry Pullman, Tricia Brock, Scott Frost Música Angelo Badalamenti, David Slusser Fotografía Frank Byers Reparto Kyle MacLachlan, Lara Flynn Boyle, Michael Ontkean, James Marshall, Sherilyn Fenn, Dana Ashbrook, Mädchen Amick, Richard Beymer, Ray Wise, Peggy Lipton, Joan Chen, Harry Goaz, Eric DaRe, Kimmy Robertson Productora ABC; Lynch/Frost Productions / Propaganda Films / Spelling Entertainment / Twin Peaks Production Sinopsis Donna y Maddy están atrapadas en el apartamento de Harold Smith (el horticultista agorafóbico), pero James las rescata pero Donna no ha podido conseguir el diario secreto de Laura que estaba en poder de Harold ; El Agente Cooper cuida de Audrey ; Shelly y Bobby le dan una "fiesta de bienvenida" a Leo ; el Sheriff Truman interroga a Donna por el diario de Laura que tiene Harold ; Maddy Ferguson (prima de Laura) se despide de James ya que ella vuelve a su pueblo ; el jefe de Cooper, Gordon Cole, visita a Cooper para informarle del mal estado de salud de Windom Earle ; Josie llega un acuerdo con Ben ; el hombre manco, al no tomarse su medicina, entra en un trance y revela un poco de información sobre Bob, indicando que él está desde hace 40 años en el Gran Hotel del Norte; y Leland regresa al trabajo.

Temporada 2 Episodio 5 País Estados Unidos Dirección David Lynch (Creator), Mark Frost (Creator), David Lynch, Lesli Linka Glatter, Caleb Deschanel, Duwayne Dunham Guion Mark Frost, David Lynch, Harley Peyton, Robert Engels, Barry Pullman, Tricia Brock, Scott Frost Música Angelo Badalamenti, David Slusser Fotografía Frank Byers Reparto Kyle MacLachlan, Lara Flynn Boyle, Michael Ontkean, James Marshall, Sherilyn Fenn, Dana Ashbrook, Mädchen Amick, Richard Beymer, Ray Wise, Peggy Lipton, Joan Chen, Harry Goaz, Eric DaRe, Kimmy Robertson Productora ABC; Lynch/Frost Productions / Propaganda Films / Spelling Entertainment / Twin Peaks Production Sinopsis Cooper y Truman realizan una redada en 'la sota tuerta'; Donna y Madeleine planean robar el diario secreto de Laura en casa de Harold Smith ; Ben recibe una proposición de negocios del misterioso Mr. Tojamura ; y Shelly y Bobby reinician su relación, mientras que Leo vive bajo el mismo techo.

Temporada 2 Episodio 4 País Estados Unidos Dirección David Lynch (Creator), Mark Frost (Creator), David Lynch, Lesli Linka Glatter, Caleb Deschanel, Duwayne Dunham Guion Mark Frost, David Lynch, Harley Peyton, Robert Engels, Barry Pullman, Tricia Brock, Scott Frost Música Angelo Badalamenti, David Slusser Fotografía Frank Byers Reparto Kyle MacLachlan, Lara Flynn Boyle, Michael Ontkean, James Marshall, Sherilyn Fenn, Dana Ashbrook, Mädchen Amick, Richard Beymer, Ray Wise, Peggy Lipton, Joan Chen, Harry Goaz, Eric DaRe, Kimmy Robertson Productora ABC; Lynch/Frost Productions / Propaganda Films / Spelling Entertainment / Twin Peaks Production Sinopsis Cooper y Truman arrestan a Leland tras confesar el crimen de asesinato de Jacques Renault en el hospital. Hank le aconseja a Norma arreglar el restaurante cuando descubre que el crítico de comida M.T. Wents podría visitar Twin Peaks. Mientras, Jean Renault envía una cinta de Audrey Horne siendo retenida por Ben, pidiendo $100.000 como rescate. Con ayuda de Truman, Cooper investiga la desaparición de Audrey. Josie regresa, argumentando que ha estado en Seattle de negocios, aprendiendo de Pete tras la muerte de Catherine en el incendio del aserradero. Después, un hombre japonés de negocios, Mr. Tojamura, se hospeda en el Gran Hotel del Norte.

Temporada 2 Episodio 3 País Estados Unidos Dirección David Lynch (Creator), Mark Frost (Creator), David Lynch, Lesli Linka Glatter, Caleb Deschanel, Duwayne Dunham Guion Mark Frost, David Lynch, Harley Peyton, Robert Engels, Barry Pullman, Tricia Brock, Scott Frost Música Angelo Badalamenti, David Slusser Fotografía Frank Byers Reparto Kyle MacLachlan, Lara Flynn Boyle, Michael Ontkean, James Marshall, Sherilyn Fenn, Dana Ashbrook, Mädchen Amick, Richard Beymer, Ray Wise, Peggy Lipton, Joan Chen, Harry Goaz, Eric DaRe, Kimmy Robertson Productora ABC; Lynch/Frost Productions / Propaganda Films / Spelling Entertainment / Twin Peaks Production Sinopsis Donna encuentra el diario de Laura en la casa de Harold Smith ; Blackie, la madame de la sota tuerta, mantiene a Audrey como rehén, para negociar con Jean Renault; James y Madeleine entablan una amistad más íntima a pesar de Donna; Lucy almuerza con Dick Tremayne ; el Dr. Jacoby se somete a la hipnosis, lo que le lleva a ser arrestado ; y Nadine se despierta del coma siendo una mujer diferente.

Temporada 2 Episodio 2 País Estados Unidos Dirección David Lynch (Creator), Mark Frost (Creator), David Lynch, Lesli Linka Glatter, Caleb Deschanel, Duwayne Dunham Guion Mark Frost, David Lynch, Harley Peyton, Robert Engels, Barry Pullman, Tricia Brock, Scott Frost Música Angelo Badalamenti, David Slusser Fotografía Frank Byers Reparto Kyle MacLachlan, Lara Flynn Boyle, Michael Ontkean, James Marshall, Sherilyn Fenn, Dana Ashbrook, Mädchen Amick, Richard Beymer, Ray Wise, Peggy Lipton, Joan Chen, Harry Goaz, Eric DaRe, Kimmy Robertson Productora ABC; Lynch/Frost Productions / Propaganda Films / Spelling Entertainment / Twin Peaks Production Sinopsis En medio de la investigación sobre el asesinato de Laura y después de su disparo, Cooper recibe la noticia de que su ex compañero loco del F.B.I., Windom Earle, se ha escapado del manicomio. Donna en su primer día como voluntaria en Comida sobre ruedas conduce a un misterioso encuentro con una anciana y su nieto. La sensual Audrey Horne descubre más acerca de la doble vida de Laura en la sota tuerta, mientras que su investigación se hace cada vez más peligrosa.

Temporada 2 Episodio 1 País Estados Unidos Dirección David Lynch (Creator), Mark Frost (Creator), David Lynch, Lesli Linka Glatter, Caleb Deschanel, Duwayne Dunham Guion Mark Frost, David Lynch, Harley Peyton, Robert Engels, Barry Pullman, Tricia Brock, Scott Frost Música Angelo Badalamenti, David Slusser Fotografía Frank Byers Reparto Kyle MacLachlan, Lara Flynn Boyle, Michael Ontkean, James Marshall, Sherilyn Fenn, Dana Ashbrook, Mädchen Amick, Richard Beymer, Ray Wise, Peggy Lipton, Joan Chen, Harry Goaz, Eric DaRe, Kimmy Robertson Productora ABC; Lynch/Frost Productions / Propaganda Films / Spelling Entertainment / Twin Peaks Production Sinopsis Mientras Cooper se encuentra ensangrentado en el suelo, tiene una visión de un misterioso gigante que le ayuda con la investigación. A la mañana siguiente, Albert Rosenfield llega a Twin Peaks para ayudar a Cooper e investigar su ataque. Mientras tanto, el pelo de Leland Palmer se vuelve blanco de repente y continúa actuando de manera extraña.

Temporada 1 Episodio 8 País Estados Unidos Dirección David Lynch (Creator), Mark Frost (Creator), David Lynch, Lesli Linka Glatter, Caleb Deschanel, Duwayne Dunham Guion Mark Frost, David Lynch, Harley Peyton, Robert Engels, Barry Pullman, Tricia Brock, Scott Frost Música Angelo Badalamenti, David Slusser Fotografía Frank Byers Reparto Kyle MacLachlan, Lara Flynn Boyle, Michael Ontkean, James Marshall, Sherilyn Fenn, Dana Ashbrook, Mädchen Amick, Richard Beymer, Ray Wise, Peggy Lipton, Joan Chen, Harry Goaz, Eric DaRe, Kimmy Robertson Productora ABC; Lynch/Frost Productions / Propaganda Films / Spelling Entertainment / Twin Peaks Production Sinopsis Capítulo final de la primera temporada, Leland, el padre de Laura, decide tomarse la justicia por su mano y Cooper y Ed engañan a Jacques que acaba en el hospital, el aserradero se quema con Shelly dentro, algo planeado por Leo bajo las órdenes de Ben, y además más tarde Leo es disparado por Hank y resulta gravemente herido. Nadine, la mujer de Ed, entra en coma por sobredosis de medicamentos. Sin olvidar, que al final del episodio, a Cooper le disparan al llegar al Gran Hotel del norte, propiedad de Ben Horne, poniendo fin a la 1ª temporada.

Temporada 1 Episodio 7 País Estados Unidos Dirección David Lynch (Creator), Mark Frost (Creator), David Lynch, Lesli Linka Glatter, Caleb Deschanel, Duwayne Dunham Guion Mark Frost, David Lynch, Harley Peyton, Robert Engels, Barry Pullman, Tricia Brock, Scott Frost Música Angelo Badalamenti, David Slusser Fotografía Frank Byers Reparto Kyle MacLachlan, Lara Flynn Boyle, Michael Ontkean, James Marshall, Sherilyn Fenn, Dana Ashbrook, Mädchen Amick, Richard Beymer, Ray Wise, Peggy Lipton, Joan Chen, Harry Goaz, Eric DaRe, Kimmy Robertson Productora ABC; Lynch/Frost Productions / Propaganda Films / Spelling Entertainment / Twin Peaks Production Sinopsis El agente Cooper decide visitar de incógnito a la sota tuerta acompañado de Ed Hurley, el dueño de la gasolinera de la ciudad y tío de James, para intentar encontrar al principal sospechoso del crimen, Jacques Renault. Al mismo tiempo y sin saberlo Cooper, Audrey está trabajando infiltrada en el burdel. Por otro lado, Maddy, Donna y James elaboran un plan para engañar al Dr. Jacoby y poder robarle una cinta con una grabación de Laura anterior a su muerte ; y Bobby, el novio oficial de Laura, todavía celoso por el affaire de ésta, decide hacerle la vida imposible a James.

Temporada 1 Episodio 6 País Estados Unidos Dirección David Lynch (Creator), Mark Frost (Creator), David Lynch, Lesli Linka Glatter, Caleb Deschanel, Duwayne Dunham Guion Mark Frost, David Lynch, Harley Peyton, Robert Engels, Barry Pullman, Tricia Brock, Scott Frost Música Angelo Badalamenti, David Slusser Fotografía Frank Byers Reparto Kyle MacLachlan, Lara Flynn Boyle, Michael Ontkean, James Marshall, Sherilyn Fenn, Dana Ashbrook, Mädchen Amick, Richard Beymer, Ray Wise, Peggy Lipton, Joan Chen, Harry Goaz, Eric DaRe, Kimmy Robertson Productora ABC; Lynch/Frost Productions / Propaganda Films / Spelling Entertainment / Twin Peaks Production Sinopsis Cooper, Truman, Tommy Hill y Doc Hayward están en la habitación de Jacques Renault, no hay rastro de él. Allí encuentran una revista, Flesh world, donde encuentran un anuncio de Laura donde solicitaba "ser educada en el amor por hombres maduros y generosos". En un mueble, el inspector encuentra una foto de una cabaña con cortinas rojas, a la cual deciden ir. En el bosque se encuentran con la Mujer del leño y les dice que su leño vio la noche que mataron a Laura a 3 hombres y a 2 mujeres. Al mismo tiempo, Audrey, la hija de Ben, continúa con sus esfuerzos por ayudar al agente Cooper consiguiendo un trabajo en los almacenes de su padre, que era donde trabajaba Laura. Bobby y sus padres se van a ver al psicólogo Dr. Lawrence. Mientras que Donna y James Hurley aumentan sus esfuerzos por saber qué le pasó a Laura incluyendo entre su círculo íntimo a su prima Maddy. Por otro lado, Shelly, la esposa maltratada de Leo, decide vengarse.

Temporada 1 Episodio 5 País Estados Unidos Dirección David Lynch (Creator), Mark Frost (Creator), David Lynch, Lesli Linka Glatter, Caleb Deschanel, Duwayne Dunham Guion Mark Frost, David Lynch, Harley Peyton, Robert Engels, Barry Pullman, Tricia Brock, Scott Frost Música Angelo Badalamenti, David Slusser Fotografía Frank Byers Reparto Kyle MacLachlan, Lara Flynn Boyle, Michael Ontkean, James Marshall, Sherilyn Fenn, Dana Ashbrook, Mädchen Amick, Richard Beymer, Ray Wise, Peggy Lipton, Joan Chen, Harry Goaz, Eric DaRe, Kimmy Robertson Productora ABC; Lynch/Frost Productions / Propaganda Films / Spelling Entertainment / Twin Peaks Production Sinopsis Después de hacer un retrato-robot e identificar al hombre manco que Cooper había visto en un sueño, éste logra interrogarle. Su nombre es Michael Gerard, vendedor de zapatos, amigo del veterinario Bob Lydecker, que está en coma. En los archivos del veterinario encuentran la ficha de Waldo, un pájaro propiedad de Jacques Renault. En el apartamento de éste encuentran la camisa manchada de sangre propiedad de Leo que Bobby ha escondido allí. Audrey investiga por su cuenta y descubre que Ronette y Laura trabajaban en la misma sección de perfumería de los almacenes de su padre. Finalmente Hank, el marido de Norma, sale de la cárcel, hecho del que se entera Josie el mismo día que descubre la relación entre Catherine y Ben y su plan de destruir el aserradero.

Temporada 1 Episodio 4 País Estados Unidos Dirección David Lynch (Creator), Mark Frost (Creator), David Lynch, Lesli Linka Glatter, Caleb Deschanel, Duwayne Dunham Guion Mark Frost, David Lynch, Harley Peyton, Robert Engels, Barry Pullman, Tricia Brock, Scott Frost Música Angelo Badalamenti, David Slusser Fotografía Frank Byers Reparto Kyle MacLachlan, Lara Flynn Boyle, Michael Ontkean, James Marshall, Sherilyn Fenn, Dana Ashbrook, Mädchen Amick, Richard Beymer, Ray Wise, Peggy Lipton, Joan Chen, Harry Goaz, Eric DaRe, Kimmy Robertson Productora ABC; Lynch/Frost Productions / Propaganda Films / Spelling Entertainment / Twin Peaks Production Sinopsis Cooper intenta descifrar el extraño sueño que tuvo la noche anterior. Más tarde, en el funeral de Laura Palmer, se revelan sentimientos sobre su tumba. Por otro lado Norma Jennings se entera de que a su marido Hank van a concederle la libertad provisional. El Sheriff Truman le revela a Cooper la existencia de una sociedad secreta en la ciudad. La prima de Laura, Maddy, llega a la ciudad.

Temporada 1 Episodio 3 País Estados Unidos Dirección David Lynch (Creator), Mark Frost (Creator), David Lynch, Lesli Linka Glatter, Caleb Deschanel, Duwayne Dunham Guion Mark Frost, David Lynch, Harley Peyton, Robert Engels, Barry Pullman, Tricia Brock, Scott Frost Música Angelo Badalamenti, David Slusser Fotografía Frank Byers Reparto Kyle MacLachlan, Lara Flynn Boyle, Michael Ontkean, James Marshall, Sherilyn Fenn, Dana Ashbrook, Mädchen Amick, Richard Beymer, Ray Wise, Peggy Lipton, Joan Chen, Harry Goaz, Eric DaRe, Kimmy Robertson Productora ABC; Lynch/Frost Productions / Propaganda Films / Spelling Entertainment / Twin Peaks Production Sinopsis Cooper muestra un infalible método al Sheriff Truman y a su equipo, para eliminar sospechosos del caso. Por otro lado Ben, un rico empresario de la ciudad, recibe a su hermano Jerry que llega con malas noticias, y ambos deciden que es necesario visitar el burdel Jack el Tuerto. A la ciudad llega el cínico agente del FBI Albert Rosenfield. Josie, la dueña del aserradero, descubre el doble juego de Catherine, su ex-cuñada. Esa noche, Cooper tiene un extraño sueño que eleva la investigación del asesinato a un nuevo nivel. Éste es uno de los episodios clave de la serie, pero fue mal traducido y doblado al castellano. En el sueño de Cooper en el que sale el extraño enano, éste le dice al Agente Cooper que ese chicle que tanto le gustaba va a volver a ponerse de moda... pero lo traducen por ese tipo que tanto le gusta va a volver al lujo. Más adelante, en otros 2 episodios en los que se comenta este sueño (sobre todo en el que se descubre quién fue el asesino) la frase se traduce y dobla correctamente.

Temporada 1 Episodio 2 País Estados Unidos Dirección David Lynch (Creator), Mark Frost (Creator), David Lynch, Lesli Linka Glatter, Caleb Deschanel, Duwayne Dunham Guion Mark Frost, David Lynch, Harley Peyton, Robert Engels, Barry Pullman, Tricia Brock, Scott Frost Música Angelo Badalamenti, David Slusser Fotografía Frank Byers Reparto Kyle MacLachlan, Lara Flynn Boyle, Michael Ontkean, James Marshall, Sherilyn Fenn, Dana Ashbrook, Mädchen Amick, Richard Beymer, Ray Wise, Peggy Lipton, Joan Chen, Harry Goaz, Eric DaRe, Kimmy Robertson Productora ABC; Lynch/Frost Productions / Propaganda Films / Spelling Entertainment / Twin Peaks Production Sinopsis La investigación iniciada por el agente Cooper en torno al asesinato de Laura Palmer continúa, su amante secreto, James Hurley, es interrogado, y aparecen dos personajes conectados al crimen, el camionero Leo Johnson y el psiquiatra de Laura, el Dr. Jacoby. Por otro lado, las mejores amigas de Laura, Donna y Audrey Horne, deciden investigar el caso ellas mismas.

Temporada 1 Episodio 1 (Piloto) País Estados Unidos Dirección David Lynch (Creator), Mark Frost (Creator), David Lynch, Lesli Linka Glatter, Caleb Deschanel, Duwayne Dunham Guion Mark Frost, David Lynch, Harley Peyton, Robert Engels, Barry Pullman, Tricia Brock, Scott Frost Música Angelo Badalamenti, David Slusser Fotografía Frank Byers Reparto Kyle MacLachlan, Lara Flynn Boyle, Michael Ontkean, James Marshall, Sherilyn Fenn, Dana Ashbrook, Mädchen Amick, Richard Beymer, Ray Wise, Peggy Lipton, Joan Chen, Harry Goaz, Eric DaRe, Kimmy Robertson Productora ABC; Lynch/Frost Productions / Propaganda Films / Spelling Entertainment / Twin Peaks Production Sinopsis En el episodio piloto de la serie nos encontramos con el asesinato de Laura Palmer, en Twin Peaks (Washington), una joven de 17 años elegida reina, que es encontrada entre plásticos a la orilla de un lago. Para investigar el asunto es enviado al pueblo el excéntrico agente del FBI Dale Cooper, que viene a ayudar al sheriff del pueblo Harry S. Truman en sus investigaciones. Por otro lado, la familia y los amigos de Laura, todavía conmocionados por lo sucedido, intentan averiguar cuáles son las causas de su asesinato y quién pudo ser el culpable.

The Natural is definitely a tropey, hacky movie that leans in to every single sports cliche it can. But an all-star cast anchored by the 47-year-old Adonis Robert Redford, the gorgeous cinematography from Caleb Deschanel, and a score that holds a very special place in Macintosh's sports heart make this movie a definite sports classic. We didn't want to like this movie as much as we do. But this movie charms you with its characters and makes baseball into a beautiful sport. Just don't tell Europe. Macintosh & Maud have started a Patreon! Any little bit you can contribute helps, and we have special contributor-only content if you donate at the $2 level, including our newest episode reviewing Love, Simon! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. If you like the podcast, make sure to subscribe and review on iTunes, Stitcher or your favorite podcatcher, and tell your friends. Intro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt of "The Final Game/Take Me Out to the Ballgame" taken from The Natural film soundtrack, written and composed by Randy Newman. Find the album of incredible music on Amazon or iTunes. ℗ 1984 Tri-star Pictures.

Nu är vi äntligen nere och göttar oss i den väldigt ”såpiga” delen av Twin Peaks. Säsong 2 avsnitt 12, ”The Black Widow”. Regin står Zoeys farsa Caleb Deschanel för. I det här avsnittet får vi se Ben tappa förståndet och bygga ett Babels torn på sitt kontor, Major Briggs gör sin återkomst, Nadine spöar Mike i brottning och James gör…. Det han gör bäst.. Och Molly Shannon gör ju ett besök! Vi pratar även om Coopers nya ”casual woodsman” stil och huruvida den flyger eller sjunker. Vi visar vår fullkomliga okunskap kring vad en landshövding gör, samt om Twin Peaks Highschools idrottslärare är woke. Vi försöker även förstå vad Denise's uttryck ”I still put my panties on one leg at a time” faktiskt betyder.

Trivia Club's Pause + Play is the portable version of Toronto's Greatest Game Show hosted by Russel Harder (twitter.com/trivia_club), a version of the live event that you are able to play at home with friends or on your own, especially if you aren't in Toronto. If you are in Toronto, you can find Trivia Club at Hitch (1216 Queen St East) every other MONDAY of the month, and Cardinal Rule (5 Roncesvalles Ave) each and every WEDNESDAY! Pause + Play is easy to find every FRIDAY, with the questions from that week’s trivia event, as part of the TRIVIA CLUB NETWORK of podcasts on SoundCloud & iTunes! +++ TABLE OF TIMESTAMPS PRE-SHOW Golden VHS announcement (1:57) + ROUND ONE TRIVIA CLASSIC (3:46) Thank you to Isosine for the mash-up! TRIVIA ROYALE (12:43) VIDEO URL: https://www.youtube.com/watch?v=abPrdvGb20M ROYALE ANSWERS CAN BE FOUND IN THE DESCRIPTION OF THE VIDEO ON YOUTUBE TRIVIA CLASSIC ANSWERS (13:59) + ROUND TWO (19:45) BOX OFFICE BULLSEYE (20:54) The movies behind each category, MATHS CAN BE FOUND AT THE BOTTOM OF THE DESCRIPTION CAAN ARTIST – a movie featuring Scott or James Caan is… 1990’s DICK TRACY NEW DAD – a film in which Zooey Deschanel’s father, Caleb Deschanel is cinematographer is… 2004’s NATIONAL TREASURE TOO OLD FOR THIS SHIT – a movie in which someone dies in or near a bathroom is… 2014’s JACK RYAN: SHADOW RECRUIT COUNTDOWN TAKEDOWN (21:53) GUESSES CAN BE FOUND AT THE BOTTOM OF THE DESCRIPTION SURVEY SAYS (23:12) SURVEY ANSWERS CAN BE FOUND AT THE BOTTOM OF THE DESCRIPTION + ROUND THREE TRI-PARDO (26:55) The first question chosen is worth TEN POINTS, the second question chosen is worth FIFTEEN POINTS, and the third question chosen is worth TWENTY POINTS! If you get these answers wrong then you lose those points, but if you get them correct then you win the points! After these trio of questions, mark yourself or your friends, before selecting one of the two final categories for the TRIVIA FINALE! For the Trivia Finale, you can wager up to as many points as you have, or as many as TWENTY POINTS if you have less then twenty points. The ... and the categories are (28:08)... CAPES & SCOWLS (28:29) IT’S A START (29:05) THIS IS A TEST (29:31) AUTHORITY, FIGURES (29:56) SKULL & CROSSBONES presented by Team Name (30:33) + POST-SHOW (31:00) Thank you once again for play Pause + Play, and remember... it's not what you know, it's what you learn along the way! (33:13) !!!SPOILERS FOR ANSWERS BELOW!!! BOX OFFICE MATHS CAAN ARTIST – a movie featuring Scott or James Caan 1990’s DICK TRACY - $ 103, 738, 726 124.5 to 134.8 for 1 point 105.9 to 124.4 for 3 points 101.6 to 105.8 for 5 points 101.5 to 83.0 for 3 points 82.9 to 72.6 for 1 point NEW DAD – a film in which Zooey Deschanel’s father, Caleb Deschanel is cinematographer 2004’s NATIONAL TREASURE - $ 173, 008, 894 207.7 to 224.9 for 1 point 176.6 to 207.6 for 3 points 169.5 to 176.5 for 5 points 169.4 to 138.4 for 3 points 138.3 to 121.1 for 1 point TOO OLD FOR THIS SHIT – a movie in which someone dies in or near a bathroom 2014’s JACK RYAN: SHADOW RECRUIT - $ 50, 577, 412 60.8 to 65.8 for 1 point 51.7 to 60.7 for 3 points 49.6 to 51.6 for 5 points 49.5 to 40.5 for 3 points 40.4 to 35.4 for 1 point COUNTDOWN TAKEDOWN Closest without going over: David Bowie’s Corporate Whores right on the money with… SIXTY-NINE, dude! The average guess was… FIFTY-TWO! SURVERY SAYS ANSWERS Survey Says Answer Not On The Board: (24:04) Survey Says Answer: FRISBEE (24:24) Survey Says Answer: FISH (24:51) Survey Says Answer: FEVER/COLD (25:16) Survey Says Answer: TRANSPORTATION (25:43) Survey Says Answer: BOUQUET (26:15)

The Who Killed Laura Podcast Ep 19 - Persistent Random Misfortune Welcome back to another episode of the podcast with Scott and Chris. This episode looks at “The Black Widow” from 1/12/91, written by Harley Peyton and Robert Engels and directed by Caleb Deschanel, all very familiar with Frost's and Lynch's vision by now, and great contributors to it. Ben Horne is continuing to lose his mind, while Dougie Milford loses his life mid-coitus with his beautiful, maybe cursed, bride. She's got such an effect on men that even stoic Deputy Hawk is literally falling for her. The Little Nicky subplot continues, and we realize why he's named Nicky: he's the Devil! Or at least Dick Tremayne thinks so, and he gets Andy believing it, too. See, Nicky's parents died under mysterious circumstances. We see a young Molly Shannon playing it relatively straight as an employee of the Happy Helping Hands adoption agency. Nadine, still thinking she's a teen high school girl, has a crush on Mike. Air Force Colonel Riley is looking into Major Briggs' disappearance and fills in Cooper and Truman on Briggs and a little on the White Lodge.Catherine and Pete have dinner and she gets him used to the idea that Josie is their maid and that she's culpable in Andrew's death. Cooper gets another newspaper chess move from archenemy Windom Earle, as well as a career-and-maybe-life-saving bit of evidence from Audrey Horne showing that he's being framed for the cocaine trafficking, and that it's going down at Dead Dog Farm. Ed and Norma decide it's finally time to act on their desires, and Hank suspects. DEA Agent Denise turns Ernie to try to nail Jean Renault. James gets closer to Evelyn. The Black Widow silences her harshest critic, the mayor, and Briggs comes home, having lost two days. Lots happening in this episode. Not all storylines are great, which is a common complaint about Season Two, but this one moves pretty well and at least a couple of these stories are coming to a close soon.   Also, we promised to add some information the eponymous Black widow or as Scott refers to her, “The little red-haired girl”. Imbued with the power to make men swoon, the character was played by actress Robin Lively, half-sister to Blake Lively. She has been a working actress since she was 6 years old with notable film roles including, Teen Witch, Karate Kid III and many guest starring roles on television show from Punky Brewster to the Drew Carey Show up to the current season and even a few lead roles such as the night time soap opera Savannah and the Rush Hour TV adaptation.   Are you watching along with us? We'd love to hear from you. Reach out to us on Social Media: Google+ & Gmail: WhoKilledLauraPodcast@gmail.com Facebook: facebook.com/WhoKilledLauraPodcast Twitter: @WhoKilledLaura1 Instagram: @WhoKilledLauraPodcast Tumblr: whokilledlaurapodcast.tumblr.com   We are on iTunes: goo.gl/O18jf9 or Libsyn: whokilledlaurapodcast.libsyn.com  

The Who Killed Laura Podcast Episode 15 How you must hate us white people!   Thanks for watching along with us! Last episode was pretty major and now that we know Who Killed Laura Palmer, Scott and Chris continue to discuss the entire mystery with the 8th episode of season 2 entitle Drive With a Dead Girl. The episode aired on November 17th, 1990 to an audience of 13.3 million, a drop of about 4 million. Maybe they lost interest after last week's reveal. The episode is written by brother of co-creator Mark Frost Scott Frost and directed by Caleb Deschanel. The aftermath of last week's revelation of Who Killed Laura Palmer causes a lot of new topics to discuss this week. As always, the guys start with the Log Lady's intro and work through the episode scene by scene. Are you following along with us? We'd love to hear from you. Reach out to us on Social Media: Google+ & Gmail: WhoKilledLauraPodcast@gmail.com Facebook: facebook.com/WhoKilledLauraPodcast Twitter: @WhoKilledLaura1 Instagram: @WhoKilledLauraPodcast Tumblr: whokilledlaurapodcast.tumblr.com   We are on iTunes: goo.gl/O18jf9 or Libsyn: whokilledlaurapodcast.libsyn.com   #Twin Peaks #David Lynch #Mark Frost #The Who Killed Laura Podcast

WKLP Episode 6 - 6 WKLP - These Grapes are right on the edge Chris and Scott discuss the 2nd to last episode of the first season of Twin Peaks: “Realization Time”. Originally broadcast May 17, 1990 to a viewership of 15.6 million (a drop of 1.7 million from the previous week). The episode was written by Harley Peyton who contributed to multiple episodes and was nominated for an emmy for writing the 3rd episode of the series. Multiple Acadamy Award Nominee for cinematography, Caleb Deschanel, was the director of this episode. He is also husband to actress Mary Jo Deschanel who plays Mrs. Hayward on the show and father to Emily and Zooey Deschanel. Join in on the conversation about a memorable trip into the woods for Special Agent Dale cooper. Along with Sheriff Harry S. Truman and the gang end up having tea and cookies with the Log Lady! Waldo the bird has a big moment above the donuts and there is even some undercover work going on. There is a lot to talk about in this episode and we want to hear what you have to say as well. Please join the conversation. We would love to hear from you! You can contact and follow us on social media listed below: Google + and Gmail: WhoKilledLauraPodcast@gmail.com Facebook: facebook.com/WhoKilledLauraPodcast Twitter: @WhoKilledLaura1 Instagram: @WhoKilledLauraPodcast Tumblr: http://whokilledlaurapodcast.tumblr.com

Bryon and Ben discuss Twin Peaks episode 6. “The next to last installment for this season stirs things up as FBI Agent Cooper and the Bookhouse Boys go to One-Eyed Jacks where Audrey has wheedled her way in as a hostess.. On an even more macabre note, Dr. Jacoby gets a telephone call in which the caller identifies herself as Laura Palmer. This episode is directed by Caleb Deschanel, who did The Black Stallion.” Sarasota Herald-Tribune 5/17/90 Twitter: @TwinPeaksUnwrapFacebook: www.facebook.com/TwinPeaksUnwrappedEmail:TwinPeaksUnwrapped@gmail.comSources:“Sycamore Trees" lyrics by David Lynch, music by Angelo Badalamenti and sung by Jimmy Scott Wrapped in Plastic magazine #6Wrapped in Plastic magazine #50Wrapped in Plastic magazine #59Episode #6 DVD Commentary (Twin Peaks Season 1 DVD - 2001)Twin Peaks Behind-The-ScenesVideo Watchdog #2Reflections: An Oral History of Twin PeaksTwin Peaks Episode #6 scriptTwin Peaks Invitation To Love Completehttps://www.youtube.com/watch?v=xFMen60b6UQ“Diane… the tapes of Agent Cooper”

A beautifully shot and directed penultimate episode of the season from Caleb Deschanel is hampered by an at times underwhelming script by Harley Peyton that seems to take a surprising number of shortcuts. It's still very solid television, leading up to a “come back next week” style cliffhanger, but it pales in comparison with last... The post Twin Peaks S01E06: Realization Time – Damn Good Podcast appeared first on Cooper S. Beckett.

Yes, the entire movie is like thisRC-2013-102: Killer Joe (2012) Your browser does not support this audioIn this episode, I reach into the requests pile for a criminally underrated 2012 picture about criminally overconfident numbskulls. Before listening to this commentary, pick yourself up some K-fry-C—that way you can nosh through your bucket as I talk through one of 2012's most delightful surprises, Billy Friedkin's Killer Joe. Aside from the revelation that is Juno Temple, the track covers the whys and hows of Friedkin's old-school talent and the underrated genius of Old Man McConaughey. The film's opening sequence reminds me of the old Universal monster movies, and I say why. Then, I launch into an argument for Caleb Deschanel's stark, suggestive lighting schemes, without commenting on his cooky-sexy genes. Also, I find time to laugh at Thomas Hayden Church and Gina Gershon. I mean, I laugh with them. Listen for me calling out the sync point, which comes just after LionsGate logo on the Region-1 DVD.Listen to the mp3. Or go ahead and be an iTunes snob.