Podcast appearances and mentions of Callie Khouri

We're heading out for a road trip with two ladies who are doing it for themselves! Geena Davis and Susan Sarandon star as the titular leads in this 1991 road trip crime drama from director Ridley Scott. When a girls' weekend getaway goes awry, a waitress and housewife must dodge the law and would-be lovers to make a true getaway. But when their luck runs out, they must take a leap of faith. Co-starring Harvey Keitel, Michael Madsen, Christopher McDonald, Stephen Tobolowsky, and Brad Pitt, the film won multiple awards, including the Oscar for Best Original Screenplay for writer Callie Khouri. It was instantly part of the pop culture lexicon at the time, and in the years since, this movie has become a landmark of feminist film. Now we're loading up the Thunderbird and hitting the road with Thelma & Louise!   For more geeky podcasts visit GonnaGeek.com   You can find us on iTunes under ''Legends Podcast''. Please subscribe and give us a positive review. You can also follow us on Twitter @LegendsPodcast or even better, send us an e-mail: LegendsPodcastS@gmail.com   You can write to Rum Daddy directly: rumdaddylegends@gmail.com   You can find all our contact information here on the Network page of GonnaGeek.com Our complete archive is always available at www.legendspodcast.com, www.legendspodcast.libsyn.com Music: Title Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 https://creativecommons.org/licenses/by/4.0/

Jim Vallely Live on Game Changers With Vicki Abelson Sitting down with Emmy and WGA award winner, Jim Vallely was a cozy, comfortable, fun, and funny hang. He even told us a joke joke, on request. It's one he's been “testing” as part of a sociological experiment of sorts. Win/win, we got a laugh with a lesson. Who knew that having a seizure in 6th grade would lead to a career as a TV comedy writer. Jim takes us through and it makes perfect sense. This accountant studying student just happened to sit next to the right guy at an NYU audition, ask his mother the right question on the right day, marry the right girl, move into the right apartment, partner with the right actor/comedian, Jonathan Schmock, become 1/2 of The Funny Boys comedy team, appear on Johnny Carson, co-star on the sitcom, Double Trouble, and then write on The Golden Girls, one of the most successful sitcoms of all time. Brotherly Love, Ladies Man, Action, Two and a Half Men, My Wife and Kids, The John Larriquette Show, Till Death, Extended Family, as well as Arrested Development, for which he garnered 4 Emmy nominations, and the aforementioned awards, followed. Jim was an executive producer and co-creator with Will Arnett and Michael Hurwitz of Running Wilde on Fox. There's more. Jim tells a great Carl Reiner/Alan Brady story, tells us how the real Kramer, Larry David, Bill Maher, Callie Khouri, Chris Thompson, Don Reo, Mitchell Hurwitz, Will Arnett, and Jay Mohr factor into his story, gives us the before, during, and after of his career milestones, and speaks with great pride and tenderness about the great loves and joys of his life, his talented wife, Maggie, and his successful daughter, Tannis. We talked about our friends, Taylor Negron and Ron Zimmerman. There is no friend like Jim. His love, devotion, and care for Ron, was a gift he gave all of us who loved him. Jim's a tender-hearted, special man. And boy, is he funny. A very funny boy, indeed! Jim Vallely Live on Game Changers With Vicki Abelson Wednesday, 3/12/25, 5 PM PT, 8 PM ET Streamed Live on my Facebook & YouTube Replay here: https://bit.ly/4iCKgPq YouTube https://www.facebook.com/vickiabelson/videos/937526015211102

Tom Schulman graduated from Vanderbilt University with a B.A. in Philosophy. He studied at USC Graduate School of Cinema, with Jack Garfein at the Actors and Directors Lab, Los Angeles, and with director Joan Darling. He directed the Actors' Studio first west coast production, Harold Pinter's The Caretaker.Tom wrote Dead Poets Society for which he received an Academy Award for best original screenplay. He also wrote What About Bob?, Honey, I Shrunk the Kids, Medicine Man, and Holy Man. He wrote and directed Eight Heads in a Duffel Bag He was an executive producer on Indecent Proposal and Me, Myself and Irene. He was the writer/producer of Welcome to Mooseport. He co-wrote and co-produced with Rafael Yglesias and J.J. Abrams, The Anatomy of Hope, a pilot for HBO. He recently wrote, with Callie Khouri, Trae Crowder, and T Bone Burnett, a pilot for Amazon.He recently wrote and directed Double Down South, an indie feature that will be released in April. Tom served on the board of directors and then as vice president of the Writers Guild of America, West. Tom was the president of the Writers Guild Foundation and serves on its board. He serves on the advisory board of the Science and Entertainment Exchange.Please enjoy my conversation with Tom Schulman.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Producer and writer Callie Khouri takes us on the journey from script to screen of the beloved film Thelma and Louise. Equal parts inspiration (the story in its entirety just popped into her head one day), great timing (Ridley Scott was suddenly available to direct), and integrity (Callie refused to change the ending regardless of studio notes), the film is a remarkable success story that marks the revolutionary reinvention of female characters on screen. Hosted on Acast. See acast.com/privacy for more information.

It's a good thing Mark isn't regional manager as he tries to figure out what makes Thelma & Louise such a cultural touchstone, how its 2nd act somehow makes a tragic ending feel so empowering, and what's so interesting about a young, shirtless Brad Pitt.https://markoveranalysesfilm.buzzsprout.com/https://www.markoveranalysesstory.com/https://twitter.com/overanalysefilm

**TW/CW - Discussion of Sexual Assault and Domestic Violence0:00 - Intro & Summary2:00 - Movie Discussion57:59 - Cast & Crew/Awards1:04:18 - Pop Culture 1:14:24 -  Rankings & Ratings To see a full list of movies we will be watching and shows notes, please follow our website: https://www.1991movierewind.com/Follow us!https://linktr.ee/1991movierewind Theme: "sunrise-cardio," Jeremy Dinegan (via Storyblocks)Don't forget to rate/review/subscribe/tell your friends to listen to us!

Buckle up and don't look back, it's Thelma & Louise from 1991! Is this the greatest movie of all time? Which two actors were previously engaged prior to filming? Seth almost got a tattoo of WHICH actor from the movie?! Michelle tells us what a riblet is and forms a new religion based on someones twitter handle. Listen now or regret it for the rest of your life! We want to be your Movie Friends! connect with us on Twitter @moviefriendspod and Instagram @MovieFriendsPodcast or send us an E-mail at MovieFriendsPodcast@Gmail.com tell us what you think and it may end up on the show! Wouldn't that be cool? Head over to our website at MovieFriendsPodcast.com and maybe consider supporting our Patreon. Come on, you don't need that $5, but you do need our undying love and friendship.

To tell the story of female empowerment we must turn to Sir Ridley Scott... ...and of course the talents of Susan Sarandon, TRILOGY IN THEORY favorite Geena Davis and most importantly screenwriter Callie Khouri. And while one host fails miserably at his attempt at a mini book club by starting (but not finishing) OFF THE CLIFF by Becky Aikman... he did agree with the anecdote of not cheering on the screen death of the wonderfully tall Brigitte Nielsen in BEVERLY HILLS COP 2. That's neither here nor there but support women! And we intend to do so this month as we hit the road with leading ladies of action and leave Shooter McGavin behind! We hope you join us by supporting our Patreon Movie Book Club episodes and not deciding to read! Twitter/Instagram/Facebook: @trilogyintheory Letterboxd: @projectingfilm & @webistrying Artwork by: @nasketchs Find out more at https://trilogyintheory.pinecast.co This podcast is powered by Pinecast.

Becci und Bianca waren da und wir sprachen über das feministische Meisterwerk von Thelma & Louise. Es geht um Ridley Scott und Callie Khouri. Wir sprechen über Roadtrips und Rape-Revenge-Filme. Natürlich widmen wir uns ausführlich dem Ende und stellen uns der Kritik, die an den Film gerichtet wurde. Neben vielen kleinen Beobachtungen sprechen wir auch darüber, wie denn die Lage für Frauen im Kino heute ist. Woher kann noch Katharsis kommen? Wollt ihr mich unterstützen? Meine Wishlephant-Wunschliste: https://wishlephant.com/wishlists/c69bf1a2-1999-4945-805f-edf70dd68a54 Meine Amazon-Wunschliste: https://www.amazon.de/hz/wishlist/ls/5VI17X8WA9CU?ref_=wl_share Gebt mir einen Kaffee aus: https://www.buymeacoffee.com/spaetfilm Meine Gastspiele Hier die Web-URL: https://fyyd.de/user/christianeattig/curation/96b52858fa35facc94aec36fd8b0b11e Und hier die Feed-URL: https://feeds.fyyd.de/christianeattig/96b52858fa35facc94aec36fd8b0b11e

Daniela Taplin Lundberg has made her mark in Hollywood doing something that's become increasingly rare: creating authentic and artful films that are made for adults and appeal to a wide audience. These are movies like The Kids are All Right, Beast of No Nation, Nanny, Harriet, just to name a few. Today she talks with Jordan about Thelma and Louise – and in particular the affinity that she felt with Geena Davis's Thelma from the first time she saw the movie (in the theaters, as a teenager). The movie was even an early example of her producer's eye – she knew she'd seen something special before the film became a sensation.Then, Jordan has one quick thing about her old friends and their new (nu?) dance with Ghostface in Scream 6.Check out Daniela's podcast, Hollywood Gold.***With Jordan Crucchiola and Daniela Taplin Lundberg

Tom Schulman graduated from Vanderbilt University with a B.A. in Philosophy. He studied at USC Graduate School of Cinema, with Jack Garfein at the Actors and Directors Lab, Los Angeles, and with director Joan Darling. He directed the Actors' Studio first west coast production, Harold Pinter's The Caretaker.Tom wrote Dead Poets Society for which he received an Academy Award for best original screenplay. He also wrote What About Bob?, Honey, I Shrunk the Kids, Medicine Man, and Holy Man. He wrote and directed Eight Heads in a Duffel Bag He was an executive producer on Indecent Proposal and Me, Myself and Irene. He was the writer/producer of Welcome to Mooseport. He co-wrote and co-produced with Rafael Yglesias and J.J. Abrams, The Anatomy of Hope, a pilot for HBO.He recently wrote, with Callie Khouri, Trae Crowder, and T Bone Burnett, a pilot for Amazon.He recently wrote and directed Double Down South, an indie feature that will be released in April. Tom served on the board of directors and then as vice president of the Writers Guild of America, West. Tom was the president of the Writers Guild Foundation and serves on its board. He serves on the advisory board of the Science and Entertainment Exchange.Please enjoy my conversation with Tom Schulman.

Producer and writer Callie Khouri takes us on the journey from script to screen of the beloved film Thelma and Louise. Equal parts inspiration (the story in its entirety just popped into her head one day), great timing (Ridley Scott was suddenly available to direct), and integrity (Callie refused to change the ending regardless of studio notes), the film is a remarkable success story that marks the revolutionary reinvention of female characters on screen.

Callie Khouri is an Academy Award Winning screenwriter, director, and producer who also uses Twitter as a platform. She sits down with Joe Walsh to talk about the positive and negative aspects of “raging out” on social media, the importance of Roe vs. Wade, how our insanity is being automated, and why appealing to the ‘lowest common denominator” is ultimately a step backward for society. 

YA-YA!! This week, Christina Tucker joins us once again to discuss popular literary adaptation and TNT staple, 2002′s Divine Secrets of the Ya-Ya Sisterhood. The directorial debut of Callie Khouri, the Oscar-winning screenwriter of Thelma and Louise, the film stars Ellen Burstyn and Sandra Bullock as mother and daughter feuding over the playwright daughter's very public … Continue reading "198 – Divine Secrets of the Ya-Ya Sisterhood (with Christina Tucker)"

In this episode I delve behind the scenes of the third tale in the Harry Potter universe. Harry Potter and the Prisoner of Azkaban is a 2004 fantasy film directed by Alfonso Cuarón and distributed by Warner Bros. Pictures, based on J. K. Rowling's 1999 novel of the same name. Produced by Chris Columbus, David Heyman, and Mark Radcliffe and written by Steve Kloves, it is the sequel to Harry Potter and the Chamber of Secrets and the third instalment in the Harry Potter film series. The film stars Daniel Radcliffe as Harry Potter, with Rupert Grint as Ron Weasley, and Emma Watson as Hermione Granger. The film follows Harry's third year at Hogwarts and his quest to uncover the truth about his past, including the connection recently-escaped Azkaban prisoner Sirius Black has to Harry and his late parents. With Prisoner of Azkaban, production of the Harry Potter films switched to an eighteen-month cycle. Cuarón was selected as director from a shortlist that included Callie Khouri and Kenneth Branagh If you want to find out more about me click here: https://linktr.ee/W.A.Blinko --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/wayne-blinko/message

Two friends embark on a road trip that quickly spirals out of control and leads to unforeseen and dramatic circumstances. Directed by Ridley Scott. Written by Callie Khouri. Starring Susan Sarandon, Geena Davis and Harvey Keitel. FOLLOW US ON LETTERBOXD - Zach1983 & MattCrosby Thank you so much for listening! Please follow the show on Twitter: @GreatestPod Subscribe on Apple Podcasts / Podbean This week's recommendations: Pam & Tommy (Hulu)

Thelma & Louise is a true classic that not only holds up thirty years later, but actually still feels fresh and relevant. We're not sure how to feel about that fact as women, but for purposes of the podcast we were amazed by how much this movie resonated with us still. ** Complicated Women: Thelma and Louise. Thelma saw the most growth and change from start to finish, while Louise revealed more parts of herself. (05:22) ** Who do we relate to more? Kate starts as Louise and ends as Thelma, but Carinn finds relatable parts of both women. (10:24) ** Scenes. We each choose some of our favorites: the opening scenes of the movie that show their personalities and circumstances (14:07); the attempted rape scene (16:20); the chemistry between Thelma and Brad Pitt (24:26); Thelma's empowering moment as a badass robber (31:12); Louise and Jimmy (32:57); road trip moments that produced killer quotes (37:50); and the retribution they serve up on the long haul driver (42:07).  ** Who won the movie? Other than the iconic ending, which was a clear winner, it was too hard to limit the winning elements to a single thing! (45:33) ** Crystal ball/What If's. We contemplate what if Thelma and Louise didn't drive off the cliff - where would they be and who would they be with? We also talk casting what if's because the list of A-list actors associated with this movie is remarkable. (53:04) ** What She Said: Callie Khouri. We deep dive into interviews with this Oscar-winning screenwriter and share how she developed this script at age 30, what it felt like writing it and whether things have improved for women in Hollywood since her debut. (62:55) ** Takeaways.  We talk about the intimacy of female friendship, being seen, and how this movie reminds us of the importance of what we're doing on this podcast: taking women seriously. (70:27) Follow us on Instagram and Facebook @popfictionwomen and on Twitter @pop_women. To do a full deep dive, check out our website at www.popfictionwomen.com. Stay Complicated! Support this podcast

In this episode of GO TEAM VIDEO the AMPM VIDEO crew takes you through their thoughts on Thelma & Louise (1991) an American female buddy road crime film directed by Ridley Scott and written by Callie Khouri, and starring Geena Davis as Thelma and Susan Sarandon as Louise. Subscribe for new episodes and follow us on instagram @ampm.video, send us your questions and movie recommendations for future episodes! Also! If you would like to support us and all we do at AMPM VIDEO you can head over to patreon.com/ampmvideo

Geena Davis and Susan Sarandon co-star as the iconic characters in this highly influential outlaw road movie directed by Ridley Scott – both actresses were nominated for Oscars along with the screenwriter Callie Khouri who actually won the award for Best Original Screenplay that year.  Young Brad Pitt also co-stars in what many would consider to be one of his early breakout roles alongside Michael Madsen and Harvey Keitel.  At the time of release, this movie was considered quite controversial. Hear what Geoff has to say about this star-studded movie of all time!WARNING - SENSITIVE TOPICSHost: Geoff Gershon   Producer: Marlene Gershon   https://livingforthecinema.com/#livingforthecinema #moviereviews #ThelmaandLouise #bradpitt #geenadavis #susansarandon #ridleyscott

RESPECT Is out in theaters this weekend and The Outlaw John Rocha is here with his review of the film that stars Jennifer Hudson, Forest Whitaker, Marlon Wayans, Audra McDonald, Marc Maron, Tituss Burgess, Saycon Sengbloh, Hailey Kilgore, Heather Headley, Skye Dakota Turner, Tate Donovan and Mary J. Blige. It is directed by Liesl Tommy with a story by Tracy Scott Wilson and Callie Khouri. RESPECT follows the rise of Aretha Franklin's career from a child singing in her father's church's choir to her international superstardom, Respect is the remarkable true story of Franklin's journey to find her voice. Remember to LIKE and SHARE this review on your social media and to SUBSCRIBE to The Outlaw Nation YouTube channel below. Chapters: 0:00 Intro Social Media Plugs 1:26 Respect Cast and Crew and Synopsis 3:31 RESPECT Review and What I Liked 8:12 Things I Didn't Like 11:19 The Outlaw's Rating and Final Thoughts 11:45 Wrap Up and Social Media Plugs #RespectMovie #JenniferHudson #ArethaFranklin #Review #ForestWhitaker #MarlonWayans #AudraMacDonald #QueenofSoul #AmazingGrace Join me on Patreon, go to: https://www.patreon.com/johnrocha​ Follow me on Twitter: https://twitter.com/TheRochaSays​ Follow me on Instagram: https://www.instagram.com/therochasays Trailer Reactions from The Outlaw: https://www.youtube.com/playlist?list... Film and TV Reviews from The Outlaw: https://www.youtube.com/playlist?list... The Geek Buddies playlist: https://www.youtube.com/playlist?list... The Outlaw Nation Show playlist: https://www.youtube.com/playlist?list... The Jedi Way playlist: https://www.youtube.com/playlist?list... John and Wendy Explain the World playlist: https://www.youtube.com/playlist?list... The Deep Cut playlist: https://www.youtube.com/playlist?list...

Hello! You've reached episode 601!! In this episode, host Erin Lim talks with Respect director Liesl Tommy about this major motion picture that tells the traumatic younger years of the Queen of Soul - Aretha Franklin. Aretha's young life was fraught with death, rape, as well as controlling, toxic men. Director Liesel Tommy wanted to tell that part of Aretha's herstory which is exactly what she does with a thoughtful eye on balancing all of the beauty and horrors of Aretha's life. This was Liesl Tommy's first feature film and she had to fight for a lot of the scenes you will see when you watch Respect. We're so glad that she did and we're also happy about the attention she paid to Aretha's time spent in Muscle Shoals at the famous FAME studios where she recorded her first big hit I Never Loved A Man The Way That I Love You.  Erin and Liesl talk about the choice of using the  b.roll from Martin Luther King's funeral (Aretha was friends and worked with the Reverend), her father's famous parties which included folks like Smokey Robinson who is brilliantly played by actor Lodric D. Collins, and working with the exceptional Kris Bowers who scores the film. Psst, Kris was on our show earlier this year talking about his short film - A Concerto is a Conversation.  There's so much to talk about including the costumes (leopard print caftan y'all!) plus hair and makeup so let's go!Respect is in theaters NOW.Follow Liesl Tommy on Instagram & Twitter--Thanks for listening and for your support! We couldn't have reached 600 episodes without your help!--Be well, stay safe, Black Lives Matter, AAPI Lives Matter, and thank you for being vaxxed!--SUPPORT US HERE!Subscribe to our channel on YouTube for behind the scenes footage!Rate and review us wherever you listen to podcasts!Visit our website! www.bitchtalkpodcast.comFollow us on Instagram, Facebook, and Twitter.Listen every other Thursday 9:30 - 10 am on BFF.FMPOWERED BY GO-TO Productions 

In this episode, Marisa and Aric *figuratively* hit the road to celebrate the road film genre, a staple in cinema that is known for bringing new perspectives and unseen horizons.Along the way, they'll take a look at six iconic road films: THELMA & LOUISE (1991), the iconic story of two women on the run to Mexico that is, quite simply, badass, LA STRADA (1954), Federico Fellini's harsh, yet whimsical journey of a young woman and a strongman performer traveling through Italy, DEAD MAN (1995), Jim Jarmusch's western of a naive man that quickly becomes trapped in the hell of the American frontier, NEBRASKA (2013), the "dryer than yeast" comedy of an older father and son in search of a sweepstakes prize, WENDY AND LUCY (2008), a darkly ironic road film about a young girl, her dog, and a small Oregon town that are literally going nowhere, and THE PASSENGER (1975), Michelangelo Antonioni's cross-country road film of a journalist who steals the identity of a dead man, leading to dire consequences.Notes for a Theory of the Road Movie - Walter Salles, New York Times ArticlePlease consider supporting this show through our Patreon!Keep up with us on Instagram and Twitter: @filmchatterpod.Check out the films mentioned in this episode on our Letterboxd.Thanks for tuning in!Powered and distributed by Simplecast

Analisamos o filme "Thelma & Louise", dirigido por Ridley Scott e estrelado por Geena Davis e Susan Sarandon, que completa 30 anos de lançamento. Confira abaixo a minutagem dos quadros do podcast: 00:00:00 - Introdução 00:04:20 - Grande Angular: ficha técnica do filme e perfil do diretor Ridley Scott 00:17:38 - Close-up: perfil da atriz Geena Davis 00:26:19 - Ponto de Vista: análise e comentários sobre o filme 01:21:43 - Zoom: análise do ato final do filme e sua relação com o western 01:37:58 - Fora de Quadro: a influência de "Thelma & Louise" na música Nesta edição, o podcast Em Foco analisa o filme "Thelma & Louise" (1991, EUA), dirigido por Ridley Scott e estrelado por Geena Davis e Susan Sarandon. Completando 30 anos de lançamento em 20 de maio de 2021, o longa-metragem escrito por Callie Khouri venceu o Oscar de Melhor Roteiro Original. Na trama, Thelma (Davis) e Louise (Sarandon) são duas amigas que decidem fazer uma viagem de férias e deixar seus trabalhos e companheiros para trás. Elas caem na estrada para se libertarem das opressões que vivem no dia a dia, sem imaginar que acabariam sendo perseguidas pela polícia como criminosas. O elenco também conta com Harvey Keitel, que interpreta o detetive Hal Scolumb; Michael Madsen, que vive Jimmy, namorado de Louise; Christopher McDonald, que faz Darryl, marido de Thelma; e Brad Pitt, que faz o papel de J.D., um ladrão de beira de estrada a quem Thelma e Louise dão carona. "Thelma & Louise" estreou no Festival de Cannes, fora de competição, e só foi lançado no Brasil em 15 de novembro de 1991. No Oscar, além de ter venceido a estatueta de Roteiro Original, o longa concorreu como Melhor Direção para Ridley Scott, Atriz para Geena Davis e Susan Sarandon, Fotografia para Adrian Biddle e Montagem para Thom Noble. Além da análise do filme em si, o nosso podcast também traz informações dos bastidores e os perfis de Geena Davis e Ridley Scott. Participam do podcast sobre "Thelma & Louise": Renato Silveira e Kel Gomes, editores do cinematório, Ana Lúcia Andrade, professora de Cinema da Escola de Belas Artes da UFMG, e Carlos Quintão, crítico, professor e realizador do podcast Cabine Cine Rádio. Quer mandar um e-mail? Escreva seu recado e envie para contato@cinematorio.com.br. A sua mensagem pode ser lida no podcast! - Visite a página do podcast no site e confira material extra sobre o tema do episódio! - Junte-se ao Cineclube Cinematório e tenha acesso a conteúdo exclusivo de cinema!

Analisamos o filme "Thelma & Louise", dirigido por Ridley Scott e estrelado por Geena Davis e Susan Sarandon, que completa 30 anos de lançamento. Confira abaixo a minutagem dos quadros do podcast: 00:00:00 - Introdução 00:04:20 - Grande Angular: ficha técnica do filme e perfil do diretor Ridley Scott 00:17:38 - Close-up: perfil da atriz Geena Davis 00:26:19 - Ponto de Vista: análise e comentários sobre o filme 01:21:43 - Zoom: análise do ato final do filme e sua relação com o western 01:37:58 - Fora de Quadro: a influência de "Thelma & Louise" na música Nesta edição, o podcast Em Foco analisa o filme "Thelma & Louise" (1991, EUA), dirigido por Ridley Scott e estrelado por Geena Davis e Susan Sarandon. Completando 30 anos de lançamento em 20 de maio de 2021, o longa-metragem escrito por Callie Khouri venceu o Oscar de Melhor Roteiro Original. Na trama, Thelma (Davis) e Louise (Sarandon) são duas amigas que decidem fazer uma viagem de férias e deixar seus trabalhos e companheiros para trás. Elas caem na estrada para se libertarem das opressões que vivem no dia a dia, sem imaginar que acabariam sendo perseguidas pela polícia como criminosas. O elenco também conta com Harvey Keitel, que interpreta o detetive Hal Scolumb; Michael Madsen, que vive Jimmy, namorado de Louise; Christopher McDonald, que faz Darryl, marido de Thelma; e Brad Pitt, que faz o papel de J.D., um ladrão de beira de estrada a quem Thelma e Louise dão carona. "Thelma & Louise" estreou no Festival de Cannes, fora de competição, e só foi lançado no Brasil em 15 de novembro de 1991. No Oscar, além de ter venceido a estatueta de Roteiro Original, o longa concorreu como Melhor Direção para Ridley Scott, Atriz para Geena Davis e Susan Sarandon, Fotografia para Adrian Biddle e Montagem para Thom Noble. Além da análise do filme em si, o nosso podcast também traz informações dos bastidores e os perfis de Geena Davis e Ridley Scott. Participam do podcast sobre "Thelma & Louise": Renato Silveira e Kel Gomes, editores do cinematório, Ana Lúcia Andrade, professora de Cinema da Escola de Belas Artes da UFMG, e Carlos Quintão, crítico, professor e realizador do podcast Cabine Cine Rádio. Quer mandar um e-mail? Escreva seu recado e envie para contato@cinematorio.com.br. A sua mensagem pode ser lida no podcast! - Visite a página do podcast no site e confira material extra sobre o tema do episódio! - Junte-se ao Cineclube Cinematório e tenha acesso a conteúdo exclusivo de cinema!

Ci sono film che non solo invecchiano bene ma si rivelano anche anticipatori: qui ritroviamo elementi che crediamo di aver già visto in tanti altri film (la strada, l'auto, l'amicizia, l'omicidio) ma che erano sempre applicati, ed anzi esaltavano, l'universo maschile. Realizzato dal regista che ha lanciato la prima eroina donna della fantascienza, Ridley Scott, e scritto da una donna, Callie Khouri, che ci ha vinto l'Oscar.

When it comes to leading ladies, you’d have a hard time finding a more powerhouse lineup than 1991’s THELMA & LOUISE, which saw both of its stars nominated for Best Actress at the Oscars that year. Geena Davis and Susan Sarandon play BFFs whose road trip goes seriously south when they shoot a rapist and end up as unlikely outlaws bound for Mexico — via the Grand Canyon, of course. Callie Khouri’s original screenplay was so groundbreaking and audacious, it attracted the attention of nearly every actress in Hollywood — and was passed on by nearly every studio executive at the time, who pushed Khouri to make her characters more “ladylike” and change the controversial (and now totally legendary) ending. In this episode, our hosts discuss a film that had the odds stacked against it ever getting a greenlight, which has since become one of the most iconic and beloved films of the 90s. We also dust off the two other runners-up from the 1991 Best Actress race, seeing how For The Boys’ Bette Midler and Rambling Rose’s Laura Dern stack up against Sarandon and Davis. Does Thelma & Louise still feel as fresh as it did 30 years ago? Would the film still ruffle as many patriarchal feathers if it were made today? And what ever became of that handsome newcomer who plays the drifter? Climb in your Thunderbird, lock a cop up in the trunk, and leave your sex hair as is, because we’re in hot pursuit of the ultimate female buddy movie — and we think we have it in our sights! Follow us on Twitter and Instagram at @WWWYshow, on Facebook at Facebook.com/WWWYShow and email episode suggestions to wwwyshow@gmail.com. Don’t forget to subscribe and review us on Apple Podcasts and Google Podcasts so more folks check out the show! Help us defray the costs of creating this show, which includes purchasing movies/shows/music to review, delivery food to eat our feelings, and producing & editing in-house at the MFP Studio in Los Angeles, California, by donating to our Patreon account at patreon.com/WhenWeWereYoung

Tara Ariano returns to send Season 4 of QIF out on an ice floe with Something To Talk About, 1995's marriage/family dramedy starring Julia Roberts; directed by Lasse Hallstrom (!); and written by Callie Khouri (!!). What is it about this "Hallmark movie, but with an associates degree" that lets it hold together despite what Tara called "a fundamental 'should this have happened? maybe not?' quality"? Good sister chemistry with Kyra Sedgwick and a couple of relatable town gossips triumph over zyde-faux, flagrant reshoot-wig fouls, and a BS excuse for infidelity; and WE triumph over the early-to-mid-nineties portion of Quaid's c.v. If you're the one person who would have appreciated SDB's in-and-out joke, high five; everyone else, grab a helmet: it's an all-new Quaid In Full. Overall score: 6 QQQ score: 8 SHOW NOTES Get EVEN MORE Qontent (...sorry) at our Patreon page (https://www.patreon.com/quaidinfull) Can YOU get past the first 27 seconds of The Dennissance (https://podcasts.apple.com/us/podcast/the-dennissance/id1503394153)? Roger Ebert's review (https://www.rogerebert.com/reviews/something-to-talk-about-1995) Mick LaSalle's for SFGate (https://www.sfgate.com/movies/article/FILM-REVIEW-Roberts-Suppresses-Smile-New-3027178.php) The origins of the "dazzy" "joke" (https://podcasts.apple.com/us/podcast/096-the-elf-developer-trust-continuum/id1407429849?i=1000501082119) Get more Tara Ariano at Again With This: Melrose Place (http://againwiththispodcast.com), Extra Hot Great (http://extrahotgreat.com), and Listen To Sassy (http://listentosassy.com) Or follow T-Bone on Twitter (http://twitter.com/taraariano) Special Guest: Tara Ariano.

Decidimos partir naquela estrada, começando novo ciclo sobre road movies, de seu nome VOU ALI E JÁ VENHO. Metemos a primeira e arrancamos com Thelma & Louise (1991), filme vencedor de Óscar de melhor argumento original (Callie Khouri), e realizado pelo tio Ridley Scott. É clickar e ouvir, senhoras e senhores.

Em homenagem ao Dia Internacional da Mulher, os cinéfilos Juliana, Henrique e Hugo escolheram este clássico de 1991, escrito por Callie Khouri e dirigido por Ridley Scott. A saga das personagens interpretadas por Geena Davis e Susan Sarandon vem repleta de questões que permanecem atuais relacionadas à vida de mulheres não apenas nos Estados Unidos, mas no mundo. Um filme cheio de temas urgentes, numa trama de muita emoção, ironia, criatividade e bom humor. Venha escutar este episódio especialmente longo, repleto de afetividade e paixão pelo cinema de qualidade. ------------------------------------------------- Coordenação, Pauta e Apresentação: Henrique Pires, Hugo Harris e Juliana Varella Edição: Folha Leaf Artes gráficas: Joe Borges

This week on the show we look at the many people up for the excellent Thelma & Louise! Which Oscar-winning duo did screenwriter Callie Khouri want for Thelma and Louise? Which Marvel superhero was deemed too short to play JD? Which Grammy-winning rock star turned down a role? And how did it take us so long to figure out Thunderbird wasn’t the name of that weightlifter in the background? Also – Mad Max takes a backseat as we pitch Thelma & Louise: Fury Road! Thelma & Louise stars Susan Sarandon, Geena Davis, Harvey Keitel, Michael Madsen, Christopher McDonald, Stephen Tobolowsky, and baby Brad Pitt; directed by Ridley Scott  Follow the Podcast:On Instagram: @andalmoststarring On Facebook: @andalmoststarringHave a film you’d love for us to cover? E-mail us at andalmoststarring@gmail.com www.andalmoststarring.com 

Callie Khouri, Writer and Producer of Thelma and Louise, Creator of Nashville, and much more, joined the show to talk about the dire state of the country in the leadup to the election and how imperative it is that we vote Trump out of office. Watch #HollerHour LIVE on Facebook and Twitter every Tuesday and Thursday at 2 pm Central. The Tennessee Holler is powered by people - Subscribe and Support to help keep us hollerin. --- Send in a voice message: https://anchor.fm/tennessee-holler/message

This week we are joined by the wonderful director, Rachel Lee Goldenberg, to discuss the “perfect film,” Thelma & Louise. Her movie choice is actually a direct inspiration for her latest movie, HBO Max’s Unpregnant. That film stars Haley Lu Richardson as a teenage girl who needs to get across state lines to get an abortion, and the only person she can turn to for help is her weird ex-best friend. In this episode, Rachel elaborates on the joy of working with Haley Lu, and how she would sometimes get so deep into character that she would get lost. Rachel explains her storyboarding process by quoting the great Werner Herzog: “Storyboards are for cowards.” Plus, Rachel describes her time making films for the Roger Corman-Esque studio ‘The Asylum,’ and how it honed her ability to come up with big ideas on a small budget.Please consider financially supporting our show by becoming a Maximum Fun member at Maximumfun.org/joinYou can watch Unpregnant on HBO Max now.If you haven’t seen Thelma & Louise yet – it’s great!With April Wolfe and Rachel Lee Goldenberg.

Get Exclusive Pop Culture Show video interviews, video content and bonus video exclusively from our Instagram. Sign up for our Pop Cult and be the first to get show announcements, free stuff and insider information only available to cult members.Intro (00:00):Welcome to the Pop Culture Show with Barnes, Leslie, and Cubby. Barnes (00:03):Please rate, review, and subscribe to the Pop Culture Show. I'm Barnes. That there is Leslie, and over there it's Cubby. Hey, what's going on gang? Leslie (00:12):Hello. Cubby (00:13):The band is back together for another exciting week, man. Barnes (00:16):We're back. Today, Charles Esten will be on the show today. A lot of people know him from Nashville, but most recently on one of the top five shows, called Outer Banks, on Netflix. He's the lead, he's the adult lead. There is a kid lead, or a couple of kid leads. You guys have to watch it, it's so good. Leslie (00:34):I definitely want to, especially because his character is so different from what he played on Nashville. Barnes (00:38):So Charles Esten is coming up, The Pop Culture, atthepopcultureshow.com is the hub. That's where you can listen anywhere you like to listen, like Apple Podcasts, iHeartRadio, Pandora, or where ever you get your podcasts. Hey, next week Ken Fuchs will be on the show. He is the director of every show on TV. The Bachelor, The Bachelorette, Shark Tank, Family Feud, Press Your Luck, To Tell the Truth, maybe not Press Your Luck... To Tell the Truth, I can't even keep up with... Leslie (01:11):It's unbelievable. Barnes (01:12):It's unbelievable. Cubby (01:12):It'll be fun to talk to him and ask him a lot of questions about how things have changed in a COVID world. Barnes (01:18):So many stories from behind the scenes. Just on Shark Tank alone, imagine dealing with all those personalities on a daily basis, for hours at a time. It's got to be very, very interesting. So we'll talk to Ken next week. Got a shout-out to give out. Christina Warren at Microsoft in Seattle, who listens to our podcast, thank you. She was tweeting us the other day. She's a long-time listener, Fram, of The Morning X. Leslie (01:44):Thank you, Christina. Barnes (01:45):Back to when she was, I think she said she was like 10. Leslie (01:48):Of course. Makes us feel old. Barnes (01:50):No kidding. Cubby (01:51):Christina doesn't know me, but she'll be happy to know that I use a Microsoft Surface every day for the recording of this podcast and for my radio show. So shout-out to Microsoft. Barnes (02:00):I think she might know you because she lived in New York City and she was a writer for Mashable. Cubby (02:06):Oh, very cool. Yeah. I know Mashable. Barnes (02:08):So I have a feeling she knows who Cubby is. Cubby (02:11):Well Christina, thank you for the love and support of The Pop Culture Show. Barnes (02:14):We have some other great news. We're trying every tactic to get you to listen. So now we're going to cut right to the bribe... We're going to pay you. Cubby (02:25):Yeah. Leslie (02:26):Wow. Barnes (02:27):We have money. This is called Pop Quiz and we will start this next week, because we have to tell you about it first. Cubby (02:34):So basically, starting next week you have a chance to win $50. We're going to ask you a question about The Pop Culture Show, a question from a past episode, correct? Barnes (02:42):Yeah, and it's not going to be easy. Cubby (02:43):Right. It's going to be kind of hard. Barnes (02:45):Not the past, but the week prior. Cubby (02:48):Right, the week prior. Exactly. And then if you od not get the question right, well that's a win for everybody else because that $50 rolls to next week, and it goes to $100. And then it goes to $150 if nobody gets it after that. And who knows, if this goes on for a year, we may be up to $25,000. Barnes (03:07):And you'll be in serious tax debt. It'll be fabulous. Cubby (03:10):And we'll have a problem. A big problem. Leslie (03:11):Wait a second, why don't we have Ken Fuchs, who's the director of Family Feud, just be the director of the pop quiz for The Pop Culture Show? Barnes (03:17):We're expanding, people. We're expanding. Leslie (03:19):It's so easy. Just go to the pinned post on Facebook and in the comment section just say, "Quiz me." Barnes (03:27):That's it. We're going to pick someone at random from whoever... We'll keep that as a running post. So this'll be an ongoing thing on the show until it's not anymore. Until we're broke and we have to start refinancing our house. Cubby (03:37):Right. Now this person is going to join us on the phone or on Zoom, and we're going to ask the question live.   Barnes (03:44):Pop quiz will be 10 seconds. So we'll say, "Cubby, on last week's show..." Who was our guest? Oh, Oz. "On last week's show, who said they were going to quit drinking Diet Coke? Go." Cubby (03:55):Right. And we'd be like, "Barnes." Barnes (03:57):Boom. Win $50.And then if they say, "Cubby," bum, bum, bum... Then next week it's $100. Too easy. Leslie (04:04):Do we get winning music too, Barnes? Barnes (04:07):Oh, man. There's not enough time in the day. Cubby (04:09):No, I agree. We need some fanfare. Leslie (04:11):Yeah. Barnes (04:12):We will. We'll do it up. We'll do it up. Yup. That'll start next week, so please just go to that post and put, "Quiz me," if you want to be in the running to get quizzed. You guys have a good week? Cubby (04:22):I had an amazing week. I got to tell you... Guys, pumpkin spice is back, man. Barnes (04:28):At Starbucks? Cubby (04:29):Starbucks and Dunkin. It's the earliest they've ever started it. It started August 25th I believe for both. And I tell you, I'm a big fan. What about you guys, are you pumpkin spice people? Barnes (04:39):You sound like you've had four of them right now. Cubby (04:42):Hey man... Well that and the Adderall. But I'm tell you. Leslie (04:46):We learn something new about Cubby every week. Barnes (04:48):Jäger, Adderall, pumpkin spice. Leslie (04:52):Dang. Cubby (04:52):Leslie, are you a pumpkin spice fan? Because you strike me as a pumpkin spice fan. Leslie (04:55):I am, I'm a little concerned about the calories in there. Cubby (04:58):Oh, who cares? Calories don't count. Barnes (05:00):I just asked Cubby about a calorie count on Jäger this week because I'm concerned. Cubby (05:04):Yeah. It's like 100 a shot I believe. Barnes (05:05):Heather looked over at me, she was playing your story and goes, "Cubby's drinking again." I was like, "At what point... And now I've got other people telling me to lookout for my co-host." Cubby (05:14):Well you know what it is... Look, Barnes, you have two kids and when they were that young, you had to drink a little more to keep up with them. Barnes (05:22):Truth. Cubby (05:24):It's a long days, and daddy needs a little treat. Barnes (05:28):You do make a good point. Cubby (05:29):Yeah. Barnes (05:30):That's the highlight of your week, that pumpkin spice is back? Cubby (05:32):Pumpkin spice is back, fall is in the air, I love fall. I'm just happy as can be. How about you, Leslie? Leslie (05:40):I dropped my phone, my cell phone, in between the washer and dryer- Barnes (05:43):Good! Leslie (05:44):[crosstalk 00:05:44] no space there. [Lannie 00:05:47] was out of town... Not out of town, Lannie was not here, and I kept hearing my phone ring and so I'm in panic mode. I tried every utensil in the kitchen, from tongs to anything that would reach down. So finally I was like, what else in the house can I use? Barnes (06:04):I would have paid to have seen this. Leslie (06:05):So I found a hanger. So I get this hanger, now I've made it worse. Now, as I'm trying to get my cell phone in between the washer, dryer, I push my cell phone under the washing machine. Cubby (06:18):Oh, you made it worse. Leslie (06:19):Made it worse. So I shimmied... Which, by the way, it's kind of heavy. I shimmied the washer out a little bit, I climbed on the dryer, seriously climbed on the dryer, got some tongs from the kitchen, dropped myself onto the floor under the washing machine, and got my cell phone out. This went on for like an hour and a half. Cubby (06:43):Leslie has the best stories, man- Leslie (06:45):I do have the photos to prove it all too. Cubby (06:47):I thought you couldn't top the whole following a random truck story, but this might be up there- Barnes (06:52):It could be- Cubby (06:53):It's incredible. Barnes (06:53):I was only applauding because I thought, "Finally she's broken that damn Android and she's going to come into iPhone." Leslie (06:59):No. No. Cubby (06:59):By the way, Leslie, was this during business hours, so peak time where the phone was ringing like you said, and people needed you? Leslie (07:04):Yeah, it was peak time. It was peak time. I thought Lannie was going to call and get nervous. Barnes (07:08):Keith Urban's calling.   Cubby (07:09):Where's Leslie? Barnes (07:10):Yeah. She's between the washer and the dryer. Cubby (07:13):That's great. Barnes (07:14):Nice. Leslie (07:15):What about you, Barnes? Barnes (07:17):I'll do it quickly, I got my flu shot. I think it's a first time ever. Leslie (07:21):Really? Barnes (07:21):I just happened to be at Public's and they were like, "Get a flu shot and we'll give you a $10 gift card." I'm a sucker for a gift card, hit me. So I got a flu shot. I busted a PI out in front of my house. Leslie (07:21):What? Barnes (07:34):So there was a private... I kept noticing this car, this car with super tinted windows, camped out in my space. And so I got my gun and went outside. I'm like, "Whoever this is..." Leslie (07:51):Was your gun visible? Barnes (07:52):It wasn't in my hand. I wasn't in full... But you don't know these days. Leslie (07:56):Okay. Okay. Barnes (07:56):What someone's going to do. And I thought the guy was dead. I thought the dude in the car was dead. So I'm looking through, and tint was so dark that I had to look through the front window. So I did old fake on the phone, walked past. And then I turned and looked in the car, and the dude didn't move. And I'm like, "Okay well he's dead." So, that was my first thought. I thought, "This dude is dead." So I started doing, you know when the cop comes up behind you on the side of a car? You can't see him, but he can see in? Cubby (08:26):Right. Barnes (08:26):So I started doing that, and I had one hand on my gun, because I didn't know what was going to happen. I thought, "Well if this guy's dead, maybe whoever killed him is behind him in the seat." I can't see in the car at all. So I get up there and I look in, and then all of a sudden the door cracks and I'm like, "Whoa, hey!" The dude gets out, and he goes, "Sorry. I'm a private investigator." I'm like, "Well, then I guess you're not investigating me, because I guess you wouldn't be so obvious." He said, "No." I said, "Well dude, half the block is already calling the police because you've been sitting here for 10 hours with your car running and we thought you were dead or you were up to something no good." He said he was on an insurance case. I was like, "So, you want to come on our podcast? We can talk about..." I'm not kidding. Cubby (09:15):Now I feel like a loser. The highlight of my week was pumpkin spice, and you guys had death and MacGruber going on over here with Leslie. Unreal. Barnes (09:26):I suck. Leslie (09:27):Is that a line you would ever do, being a PI? Barnes (09:29):Just for fun. It's all very mysterious. Leslie (09:33):So I have a question for both of you, Barnes, Cubby. Have you ever, in Hollywood, have you ever dated anyone 20 years younger or older than you? Barnes (09:43):No. Cubby (09:44):No. Not me. Leslie (09:45):Never ever? Well guess what- Barnes (09:46):Maybe in my dreams Leslie (09:47):Guess what? We have the world's first extreme age gap dating site. Barnes (09:52):This is a real thing? Leslie (09:53):20 Dating. So you could date someone 20 years younger or 20 years older. It's a new app- Cubby (09:53):What? Leslie (10:01):Yeah. It's pretty extreme. It's funny because when I saw this story, I thought of all the actors in Hollywood because most of the guys are dating people 20 years or more younger than them. Barnes (10:11):It's these dudes in their 70s that are dating 40 year olds. There are a lot of them. Leslie (10:17):Yeah. The site only matches users with people 20 years younger. Yeah. Barnes (10:17):Dennis Quaid. Leslie (10:17):Yeah. Barnes (10:21):I know he's one. Leslie (10:22):He just got married. Barnes (10:23):Harrison Ford is at least 20 over Calista Flockhart. But that's been a while. There's several of them. Cubby (10:28):And then Brad Pitt has a new chick. Leslie (10:30):New German model he's dating who's I would say 30 years younger than he is. Cubby (10:36):It's a shame nobody here is single on this show, because it would be fun to have somebody on to test it would. But I would never try it out- Barnes (10:43):You would go older, right Cubby? Cubby (10:44):Me? No. No. I'm 49, man. Barnes (10:48):That was just a joke. Leslie (10:50):By the way, the app is called Gaper. G-A-P-E-R. Barnes (10:54):The name is even bad. Leslie (10:57):It's unbelievable. Barnes (10:58):So what do you think is their biggest demographic that goes on there? Girls in their 20s trying to get a sugar daddy? Cubby (11:05):I think sugar daddy. That's exactly what I was going to say. It's young girls looking for the older guys. That's my thought. Leslie (11:09):You don't think it's older guys looking for the younger girls? Cubby (11:11):Well that too. I think it goes both ways. Leslie (11:12):Yeah. Yeah, yeah, yeah. Barnes (11:12):So it does go both ways, because the older guys have the cash, which is what the younger girls want. Cubby (11:16):Correct. Barnes (11:17):They just have to give up the booty. I've heard about so many of these things where these girls get into... And I've actually met people in travel who are with someone that old. You get them drinking and they'll start telling stories. Literally will go sit in their room, the dudes, will go sit in their room all day, and these girls are out doing everything. And then you'll see him at dinner and the girl's just a little trophy hanging on his arm. Cubby (11:46):Oh, yeah. Barnes (11:46):It's the weirdest thing. Leslie (11:48):It's super weird. But they want a different lifestyle, potentially. Barnes (11:51):Correct. Cubby (11:52):And both are happy. I think the older dude is happy because he has the arm candy. And she's eating lobster and steak, it's a win-win. Leslie (11:59):Curious to see how popular though this app will be. Chadwick Boseman (12:04):Evacuate the city. Engage all defenses. Get this man a shield. [inaudible 00:12:12]. In my culture, death is not the end. Leslie (12:30):So sad that we learned of the passing of actor Chadwick Boseman. That was him bringing the Black Panther to life. I was shocked when I saw the news because no one knew that he was sick. He had stage 3 colon cancer that he got in 2016, and he never told anyone. So he had been battling with this for years. Barnes (12:47):I thought it was one of those internet memes. Cubby (12:49):Me too. Barnes (12:49):I thought it was one of those fake death high profile person that's so sad. Cubby (12:56):43. Leslie (12:57):And if you look at the movies that he made, he brought a lot of these heroes, these black heroes, to life. I don't know if you ever saw the Thurgood Marshall movie he did called Marshall, I watched last night because I had never seen it before. Get on Up, the James Brown movie. He brought James Brown to life. It was unbelievable. Have you ever seen him play James Brown? Cubby (13:16):Nope. I never saw that movie, but I saw the clips. You would think you're watching James Brown. Leslie (13:21):And then of course, baseball icon Jackie Robinson in the movie 42. Just incredible movies at a young, and for him to die so young at the age of 43, it's tragic. Barnes (13:32):Dude not only had skills but had just something inside him that's different than everybody else. He filmed a lot of those big movies while going chemo and going through treatment. Cubby (13:42):And nobody knew. And it's funny how he treated his fans like gold. He really was an icon both on film and real life. He just was a super good guy. Never met him, but I heard he was one of the nicest guys. Leslie (13:57):And the stories that are coming out from all the actors, as you know that he played with, especially Denzel Washington who had a statement the other day saying he was, "A gentle soul and a brilliant artist who will stay with us for eternity through his iconic performances over his short, yet illustrious career." Denzel, by the way, financed his studies at this theater program and the University of Oxford. Sad story. Are you guys following Nandi Bushell the little 10 year old phenom drummer? Barnes (14:28):She's awesome. Cubby (14:29):No. Barnes (14:29):How did she become a thing? She just one of these people that started playing the drums on YouTube and... Leslie (14:35):Yeah. I think she's got almost 100 thousand followers on YouTube. But she was inspired early on by seeing a drum kit of Ringo Starr's, but she's a huge Foo Fighter's fan. She's been on a lot of TV shows, she's already been on every morning show and Ellen. But anyway, she challenged Dave Grohl. I don't know if you ever saw her do her drum-off of Everlong, but she challenged Dave Grohl and Dave came back, I guess Dave got a lot of tweets- Barnes (15:02):He did. Leslie (15:02):Dave just accepted. Dave Grohl from the Foo Fighters accepted Nandi Bushell's challenge. Barnes (15:08):Check this clip out, this is him. He has just played Everlong, and I'm a drummer, I will tell you that playing a Foo Fighters song will take the breath out of you completely, like most of them. So that's why he sounds like he's breathing heavy, he just played Everlong. But here's his response, he did video back to her. Nandi Bushell (15:26):Hey everyone. Dave Grohl has just responded to my battle request. I can't wait to watch it. Let's see what he says. Dave Grohl (15:33):In the last week, I've gotten at least 100 texts from people all over the world saying, "This girl is challenging you to a drum-off. What are you going to do?" Now look, I've seen all your videos, I've seen you on TV. You're an incredible drummer. I'm really flattered that you've picked some of my songs to do for your videos and you've done it all perfectly. So today, I'm going to give you something you may not have heard before. This is a song called Dead End Friends from a band called Them Crooked Vultures, which is me playing drums, Josh Homme from Queens of the Stone Age playing guitar and singing, and John Paul Jones from Led Zeppelin playing bass. This is my response to your challenge. So now the ball is in your court. Barnes (16:29):Dave Grohl gets it on so many levels, it's unbelievable. He's so smart to play these games. Cubby (16:35):And she is going to be Cindy Blackman. Barnes (16:38):She's awesome. Cubby (16:39):You know who Cindy Blackman is, right? Leslie (16:40):No. Cubby (16:41):The drummer for Lenny Kravitz- Barnes (16:43):She looks like her as a kid. Leslie (16:44):She does look like her and it's funny that you say Lenny Kravitz because if you go on her YouTube page, Nandi is jamming with Lenny Kravitz at O2 Arena. Barnes (16:54):It's just wild hearing them, "Yeah, so here's the song. It's me on drums and John Paul Jones from Led Zeppelin on guitar. Have fun with that." Leslie (17:03):Anybody watch Bill and Ted Face the Music? Cubby (17:05):Last night. Leslie (17:06):You did? Cubby (17:07):I watched it because I loved the original. Leslie (17:10):It's really funny because originally they were going to have them as their older selves interacting with their younger selves, but they just went ahead and did I guess Keanu and Alex Winter, how do they look? Cubby (17:19):It actually looked pretty, they looked great. I really thought they looked great. Obviously they look older, but it was fun. I'm not going to lie, I was surprised. It's got I believe 78% on Rotten Tomatoes and I said to myself, "That's pretty good. I don't know if it's going to be that good." And actually, I was pleasantly surprised. Hour and a half, which is perfect, and it was fun. It really was fun. A lot of the older characters you kind of forgot about show up in the movie too. Barnes (17:43):I'm just all done with remakes. Cubby (17:46):Well, yeah. Remember we were laughing a couple weeks ago about all the reboots that Leslie had- Leslie (17:50):It's all there is. Cubby (17:51):All there is, yeah. Leslie (17:52):Original they said they were going to use CGI for George Carlin, but I guess they decided not to. But you liked it, what kind of rating would you give it? Cubby (18:02):B+. Barnes (18:02):Really? Cubby (18:03):I think that if you're my age, I'm 49 years old, so I was a kid when the first one came out, you'll like it for the nostalgia part. My wife, who's 10 years younger than me, she saw the original, didn't quite remember it that well, she was into the first 30 minutes and then I noticed she was on her phone a lot after that. Leslie (18:21):She was like, out. Barnes (18:21):Yeah. Cubby (18:22):And that's how you tell to me a good movie. If you're not looking at your phone a lot. Barnes (18:26):I yell at Heather for that. We'll start a new series- Cubby (18:29):Oh, I hate that. Barnes (18:30):And she'll be on her phone at the beginning, I'm like, "Listen, you got to put the phone down." Cubby (18:33):Especially when you know they're going to like it. I'm like, "Please, give it 10, 15 minutes." Leslie (18:37):The only time I'm on my phone is with live TV, or something that might be live, like a season finale... Because I want to see what people are saying on Twitter, the hashtags. Like Yellowstone last week, which, by the way, just killed it in the ratings. Apparently is the number one most watched cable telecast of the year. Barnes (18:53):Okay. Listen. I tried last night, I'm so sick of everybody getting up in my Yellowstone, "You got to watch, you got to watch, you got to watch." Leslie (19:00):Don't tell me you only watched one episode. Barnes (19:02):Hold on, we put it on and this is when I said to Heather, "Put your phone down, let's give this a chance." And then I was watching it and watching it and then like 30 minutes in, I just looked over, I said, "I don't know if it's just I'm not into this type of culture, or the surroundings and the whole thing. I'm just not into it." Leslie (19:23):That's so surprising because I think if you gave it a couple episodes... I'm so hooked on it. Barnes (19:28):Then that girl started getting undressed. And so that was about 40 minutes in. I'm like, "Okay, well hold on. Don't hang up yet. Don't hang up yet." But I still, it didn't resonate. I feel like it was a cowboy western Sopranos. Leslie (19:43):It's really good. I think Kevin Costner, some of his best work. I don't know, maybe try to give it a couple of more. Barnes (19:49):What are you watching, Fram. Give me something else. Leslie (19:52):Now I'm going back and watching old John Grishom movies, because the new movies just don't hold up for me. Barnes (19:58):You're not watching any TV shows? Leslie (20:00):No, not right now. Cubby (20:01):Right. It's kinds of quiet right now. Leslie (20:02):I just finished Yellowstone. What about you, Cubby? Cubby (20:04):I got to be honest with you, if we were doing this podcast a year ago, I'd be talking to you for an hour about shows I'm watching. But with the baby, and I'm not using this as an excuse, it's non-stop baby and usually when she's up and awake, we have some kind of baby show on. So my only down time is between 7:00 PM and 10:00 PM, and by that time I'm too tired. Yeah, I'm not watching too much TV. Barnes (20:25):We binged Indian Matchmaking. Leslie (20:28):I heard it's good. On Netflix. Barnes (20:30):Excellent. It was so good. It's a good character study. It was excellent and you binge it so fast. My only complaint is that the end of it, eight or 10 episodes, they don't really wrap everything up, they leave it hanging. But it was fascinating. And there's a thing called Bae Watch, have you seen that? B-A-E Watch? Leslie (20:47):Oh. A different Bay Watch. Barnes (20:49):Yeah. Don't waste your time. Netflix is touting it in that upper slider. Leslie (20:53):Mm-hmm (affirmative). Barnes (20:53):It's so bad. It's a U.K. dating show where they send these people to a resort for the weekend and they put cameras everywhere. So I think they're telling them they're on some other type of show, and then they put their family in the adjoining room, who have like 10 screens. Kind of Truman Show-ish, and they're dictating what happens. So they'll go and the director will do an interview and they say, "Ask him how much he likes, if he wants to go to the park later." Leslie (21:17):I won't like this. Cubby (21:21):Not good. Barnes (21:22):We started a second episode and they do the same thing. Cubby (21:25):Can I shout-out one movie, by the way? Have you seen The King of Staten Island? Barnes (21:27):Nope Leslie (21:28):Haven't watched it yet. Cubby (21:29):Surprise me. You'll like it. Do me a favor. It came out in June, it's still on-demand, Pete Davidson, based on- Barnes (21:36):I've heard that's good. Cubby (21:36):His real life story. It's surprisingly good. My wife and I were like, "Wow." Leslie (21:40):Can I tell you why I haven't watched it yet? There's been so much stuff about him, that I'm just like, "Ah..." Barnes (21:45):It's up and down. Cubby (21:46):Yeah, I hear you. Leslie (21:46):You know what I mean? Cubby (21:47):Yeah. Yeah. Leslie (21:48):I don't know. Barnes (21:49):But the best TV I'll leave you with for the week, Love Island. They're nailing it. It's on every night- Cubby (21:55):That's on CBS, right? I saw it last night. Barnes (21:57):Yeah. The biggest nights, for me, are Big Brother and Love Island on the same night. Leslie (22:00):I'm so not into any of those shows- Cubby (22:02):Neither am I- Leslie (22:02):I'm so more into drama. Barnes (22:04):Love Island- Cubby (22:04):I was channel surfing and I saw Love Island and I thought of you, Barnes. I always think of you. Barnes (22:08):It's number one.   Cubby (22:10):Because there's nothing else on. Barnes (22:11):No, there's a lot of things on. I'm telling you, they do great casting and it's good. Leslie (22:17):Give me 10 episodes of Shark Tank back to back. So now couple of Hollywood things, because we keep talking about Hollywood can't reinvent itself. The new trailer for Batman with Robert Pattenson, what do you think about him as Batman? He was a vampire. Barnes (22:34):Look-wise, yeah. I haven't seen any clips. Leslie (22:37):I think it might be really good. Cubby (22:38):Look-wise, it makes sense. But I want to see it. Leslie (22:41):And they've been talking about this for years, about a new Mad Max and now the rumor is it could be Chris Hemsworth. Barnes (22:46):I could see that. Leslie (22:47):I don't mind that. I do not mind that one bit. Now there's a rumor that Johnny Depp is asking for, you ready for this? $50 million for Pirates of the Caribbean. Which would be the 6th one. Cubby (23:00):Wow. Do you know how well that movie would have to do just to pay him? Leslie (23:03):I mean seriously. Cubby (23:05):I mean serious, that's crazy. Leslie (23:06):It would be half, right? Cubby (23:07):Yeah. It would be. Leslie (23:08):And finally, Katie Perry and Orlando Bloom have a little baby. I thought the name was cute, Daisy Dove Bloom. Cubby (23:16):And how good is her timing that her new album came out? Barnes (23:19):She dropped a baby and an album in the same week. Cubby (23:23):Well done, Katie. Barnes (23:23):That rolls nicely into... This was one of the biggest new music weeks that I have seen in a long time. I'm going to run through a couple of key ones, just so you know that they exist. One of them, of course, is Katie Perry. Katie Perry (23:37):(singing) Barnes (23:48):Her team knows how to produce a hit, man. They just crank these out and they sound excellent sonically, every time. Cubby (23:54):Yeah. I agree. Barnes (23:55):Smashing Pumpkins were teasing people on their webpage. They had a countdown, a mysterious countdown going on, no one knew what it was. Well now we know, it's a new album coming but they dropped two songs. Here's one of them. Smashing Pumpkins (24:06):(singing) Barnes (24:06):That one's called Seer. Leslie (24:06):It's such a undeniable voice. You always know it's Billy Corgan. Barnes (24:23):But he looks like he's right out of My Three Sons, or what was the... The Munsters. He looks like straight out of the Munsters in this video. It's a performance video, so it's supposed to be- Leslie (24:32):I need to look and see who's in the band now. Barnes (24:34):Everyone but Darcy. Here's the second one they did, it's called The Color of Love. The guy knows how to put a song together. Smashing Pumpkins (24:41):(singing) Barnes (24:53):So it's coming out in a couple of months. That's a thing now, Leslie, right? Everyone's putting out their music so early. Leslie (24:57):Mm-hmm (affirmative). They're releasing tracks every week, just bonus tracks from the album. And seriously with having the band back together, that's pretty huge for The Pumpkins. Barnes (25:06):Here's a new one, Calvin Harris and the Weekend, it's called Over Now. Calvin Harris, The Weeknd (25:09):(singing) Leslie (25:16):I love The Weekend. Barnes (25:17):I think all these songs sound the same. Cubby (25:22):Well that's you showing your age. Barnes (25:24):I know. Cubby (25:26):We're officially that age now, we're like, "What is it with music these days?" We're doing what our parents would do. Barnes (25:31):But in that genre. I feel like it's just a big baseline and Auto-Tuning. That's just me. Cubby (25:37):No, I'm with you. I agree. But that's just where music is right now. Barnes (25:40):Well again, I'm pointing only to that genre. This guy is like the singer's singer, Chris Stapleton. Everyone that is a serious singer, this is his new one called Starting Over. Chris Stapleton (26:02):(singing) Barnes (26:02):Would call him country, Fram, or would you call him just... Leslie (26:12):Yeah, he's country. He's one of the best song writers in town, too. He's incredible. Barnes (26:16):Yeah. Everyone loves that guy. Keith Urban came out with a flying one. Keith Urban (26:29):(singing) Barnes (26:33):One thing about Keith Urban people don't know, he can shred the guitar like more... He can blow away some of the best rock guitarists. Leslie (26:40):One of the best guitar players ever. Barnes (26:42):Yeah. Leslie (26:43):He does a lot of rock songs too in concert, he'll do Zeppelin and stuff. Barnes (26:45):He can shred, shred. Okay, and the last one is... This band put this together in 1986 and never released it, and now they've got this box set coming out. Tell me if you can name the band. Tears for Fears (26:58):(singing) Barnes (27:12):Cubby? Cubby (27:13):Wow. Wow. No, I'm sitting here thinking... Barnes (27:16):Heather guessed Wham. I said, "Well that would be good, but yeah, no." Cubby (27:20):Yeah. No George Michael. Leslie (27:20):Who is it? Cubby (27:22):Who is that? I really don't know. Barnes (27:23):Everybody Wants to Rule the World. Cubby (27:25):Tears for Fears. Leslie (27:27):Really? Barnes (27:27):Yeah. Cubby (27:27):Dammit. Barnes (27:28):They've got a huge box set coming soon. Tony! Toni! Tone! (27:32):It's amazing, sincerely, it's unbelievable. 150 years people have been looking for that goddamn gold. None of them could find it, you found it. Charles Esten (27:42):Here's the thing son, finding it? That's where your fun ends. That's where all your problems begin. Barnes (27:49):Ladies and gentleman, our guest today is Charles Esten. That was him doing his acting thing in Netflix powerhouse, Outer Banks. Hey, Charles. Charles Esten (27:59):Hello. Good to speak with you guys. Cubby (28:02):Great to have you here, man. Leslie (28:02):So excited. Cubby (28:04):So excited to have you. And can I start from the very beginning? Because I know you've done a million things, and we're going to get to all the things, but it all started with a game show. I'm a big game show buff, you were on Sale of the Century back in the late 80s? Leslie (28:19):What? Charles Esten (28:20):I absolutely was. Let me first start by saying, "Hi," to my friend Leslie, because I love Leslie Fram so much. We got to know each other through Nashville, she was there on my greatest day ever when we announced that we got that CMT pickup on stage. Hi, Leslie. Leslie (28:36):So good to talk to you. I can't wait to get caught up today. Charles Esten (28:38):Oh, I can't either. Now going back to that game show, that game show was so crucial, so pivotal to everything else it's kind of scary. I went to college and over the summers I would do construction and try to raise a little money. I didn't know what I wanted to do yet, I had a couple friends that went out to LA and were making it work, so I thought maybe I'll try it. I went out there in I guess September, and I think I was out there maybe a month, and I was already flat broke. I was sleeping on a mattress with all my clothes in a milk crate in a house full of stunt men. I didn't have enough money to stay, and I didn't have enough money to go home. Back then there was no internet, I was just flipping through something called the recycler in the local newspaper, and they had all these game shows that were auditioning.I've been a TV buff my whole life, I grew up addicted to it. So I thought, "I'll do that." But I thought to myself, "I don't want to do one that's pure chance, like Wheel of Fortune, where you're just bankrupt on a roll of a wheel. I don't want to do one like Win, Lose, or Draw, or Pyramid where you're depending on some idiot celebrity to help you win your money." And I didn't want to be on Jeopardy because I thought, "I don't think I'm quite... I might win one Jeopardy, but I won't do well enough to make some money." So I found a show called Sale of the Century. I loved it. It was like Jeopardy but the questions weren't as hard, but you had to be fast. You had to be really fast. I guess I was pretty fast because five days later, I walked away with $34,000 in cash and prizes, as they say. That was almost like God saying, "You can stay." Barnes (30:23):What was the tax on that? Charles Esten (30:26):Yeah, it was brutal. It absolutely was brutal. Cubby (30:32):But that's where the bug began, right here. From a game show, to where you are right now. Charles Esten (30:37):Well it certainly is the thing that made it all possible. By the way, it wasn't just the fact that I had to pay taxes, I had to sell all this stuff because some of it was cash, but most of it was these strange prizes like a child's bed shaped like a car, or a microwave. So I had to go on the recycler, the classifieds, and sell these things. I had these two massive cardboard boxes full of redwood that ultimately you would assemble into a sauna. I had to drive it out to some dude in Ventura and he wrote me like an $800-something check, and that was the first steak meal I had in Hollywood. Leslie (31:16):You have conquered so many mediums, from the big screen, television, you're a very successful songwriter and musician. In the very early days though, growing up, what did you see your career to be? Did you want to be an actor or did you want to be a musician? Or did you want to be both? Charles Esten (31:32):Well I was an inveterate showoff always. So it was one or the other. I didn't do a whole lot of acting. If I go way back, my family tells this story that when I was just a little guy, my dad said, "What do you want to be when you grow up?" And I think he was expecting, "Fireman," "Astronaut," and I said, "A clown." And by the way, this was long before clowns were creepy. They were just sort of fun and [crosstalk 00:31:57]. There was a day where clowns were actually beloved. In any event, he goes, "Why do you want to be a clown?" And I said, "Because I want to make people laugh."I think it was this super simple answer, but at the time, if I go back and if I'm in the therapist couch, there were some times where it wasn't that funny around my house. And so I always was the guy that wanted everybody, "Hey, everybody. Watch me do this. Let's all laugh, let's all smile. Let's not go down that road, for now." So there was a whole lot of that. But also, later I also come to understand what a song can do, if I could play a song on a piano or a guitar, that somebody might... If it was a funny song, they'd laugh, or if it was something more sentimental, it might move them in some way.I guess the through line, eventually I didn't really do serious acting until I went to LA, but the through line through all of that I think I've come to find is, I want to make somebody feel something. And that's it. I want them to either laugh at Who's Line is it Anyway, or The Office, or be afraid of something from Outer Banks, or be moved and sad or heart warmed by something Nashville. That's definitely the through line, that's sort of what I get off on, is bringing an emotion to somebody that they didn't have. Barnes (33:12):Well, not that Outer Banks isn't good, but you can send a big thank you to COVID-19, because you had a captive audience that was latching on great content, and I think that gave it the booster that it needed to become one of the top shows on Netflix.   Charles Esten (33:29):Well, I couldn't really argue with you there. I think we would have had the younger audience, I think that would have been there, just by the nature of how great this young cast is. But I think you're right, I think all the families locked down. Tiger King had had it's day, so we knocked them off it's throne and Outer Banks took over. Yeah. Not that you would ever wish it on anything, but it was the timing that made this where families would sit around and watch this show. I think some of the older folks are going, "I think I like this more than I'm supposed to or thought I would." Barnes (34:03):You guys, everyone who hasn't watched it, do yourself a favor and spend those 10 hours watching it. I think you're going to enjoy it and Ward Cameron, you want to talk about a dick, Cubby. I'm just saying. Charles Esten (34:17):Spoiler alert. Barnes (34:18):Takes one to know one, right? Leslie (34:22):You were on this cultural phenomenon, which was Nashville the TV show, from ABC. I was lucky enough to work with you when we had it on CMT, but it was such a worldwide hit, and it wasn't just a TV show. You were part of these amazing musical tours, you and some of the cast members, selling out Royal Albert Hall, and O2 in London, and all of the soundtracks that came out. This wasn't just a regular show. What you guys did for the city of Nashville, putting it on the map, putting a lot of these venues on the map, literally saving the Bluebird Café. What was it like being in that moment? Charles Esten (35:03):Oh, Leslie. That job for me, that role of Deacon, it was such... They say, "My cup runs over," and sometimes you think of that, almost like a cup of coffee that has a little too much in it. This is more just like a cup under a waterfall because it was everything I had ever wanted. Look, when I got this, I was 46 and I had been in Hollywood a long time, and I've had a career that I was very happy with. I'd been on The Office, and Who's Line is it Anyway, a bunch of shows that you've heard of, but I'd never found a real home. I was always the guest star, the eight episode arc. So the fact that it came together on something of such quality, and such heart... And the music on top of that, because I was a singer, songwriter long before I was an actor. And so it's really sort of hard for me to square how wonderful that was. All I know is I loved every single moment of it.I feel very grateful for those things what we were able to... Look, all we did was turn a light on Nashville and on country music. If it hadn't been as wonderful as it is, it wouldn't have meant much. But thanks to Callie Khouri and her wonderful writing and all the great music that came out, whether it was T Bone Burnett, or Buddy Miller, or Tim Lauer. It was really something. By the way, that music is what's really cool about it because any other show, you can go back and binge Nashville like you can go back and binge anything else. But it has this body of music that I think stands up so strongly. You were talking about the international appeal, that still is a thing. Because of Nashville, I'm able to go over and be a part of festivals overseas. I, myself, got to go play the Royal Albert Hall. I swear to you, I never thought that was possible.I think there was a few things I had maybe let go, when you start getting to 42 and 43. And then at 46, this thing kicks in and all these things that I had let go came rushing back into my life. So I consider myself incredibly blessed and I'm incredibly grateful. I'm really actually very grateful to CMT because not only did we get two more seasons because of CMT, but in a real way, we sort of got to finish it, close it down, and it got to slow down a little bit. Part of the ABC-ness of it all was that intense, high energy, this wilder, more dramatic, people falling off roofs, all those things. And we could do that with the best of them, but I always thought our strongest moments were those quiet bluebird moments, those father-daughter moments, those two people in love moments, those human moments. And I think that's what draws everybody to the show. Anybody that ever got on the Nashville train never got off. I'm incredibly grateful for that. Cubby (38:03):In the current pandemic that we're just continuing to go through, it feels like it's never going to end, how is that affecting taping, for what you're doing right now? What's the protocol for taping TV shows? Charles Esten (38:16):Well we're in pre-production right now, I don't start until Monday and I can tell you that it is massive, it's a massive undertaking. You know shooting a show is already a massive undertaking, but what they're doing on top of it is extremely impressive. It's just, I can tell, a group of people, and this includes the actors guilds and Netflix and all our production that said, "This I important. We want to do this. But we want to do it safely." It's like the space program. There's so many protocols, everybody is wearing the masks. Like just to go get a wardrobe fitting today, the costume designer and the assistants have on their mask and their shield in front of their mask, and I have on a mask, and I've had my temperature taken at the door and I've answered questions. We're getting tested very often. So it's sort of like man, if we can pull this off, it will really be something. More and more I'm starting to believe that we can, just by seeing how seriously they're taking it, but they're also... They're taking it seriously so that we can do it.From what I hear also, when we're shooting it's going to be in pods, for lack of a better word. Usually everybody's all at work at one time in one place. I think this is going to be the actor and the directors come onto the set, figure out what they're going to do, then they exit the set. Now here comes lighting and camera, and they're going to do what they do. Then they're going to exit the set. Now here comes set decoration. So it is wildly intense and stringent. But with a whole lot of people saying, "Yeah. We're going to do it because we care about this and we want everybody to be safe." This will be a wonderful thing, put us in your prayers, if we can get away with this and create a season two of Outer Banks, the scripts I've read are fantastic and I think it's looking good. So we're just going to be all as careful as we can and make something as great as we can. Barnes (40:16):But can there be anything worse than being in that part of the country, at this time of the year, with a mask on your face? No. Charles Esten (40:24):We haven't shot outdoors yet, so I know what you're saying but I'm telling you, I'm that guy that's like, "Oh my gosh, what are we doing here." But when you care about something, and when you care about someone, I care about the show, I care about making it happen. Yeah. We're going to do it. We're going to make it work somehow, and I'm grateful that we get a chance to. Barnes (40:46):Well your credits are pages and pages and pages long... Party of Five, The Office, E.R.- Charles Esten (40:52):You're calling me old is what you- Barnes (40:54):[crosstalk 00:40:54] No, we're calling you successful. But all these shows, I would like to hear something in all of these auditions, somewhere in there, give me a story. And I'm not talking about, I doubt you're probably a casting couch candidate in the reverse world... Charles Esten (41:12):Never had that, no. Barnes (41:13):Give me something from an audition that stuck with you forever. Charles Esten (41:18):Well... Boy oh boy. There's been so many, and I've been really fortunate on so many of them. Probably the best one besides Nashville that I got was The Office, and the real quick story on that, and then I'll tell you one I didn't get... The Office was that I had known Rainn Wilson for a number of years because he and I shot a pilot where we played androids who solved crimes and spent maybe 30% of the show naked. So, I go to this audition and they say, "We understand you're friends with Rainn." And I go, "That is true." I go, "Did he tell you how we met?" And they go, "No." And I go, "Yeah, I bet he didn't." And then I described the show to them and I said, "Here's the thing. You give me this job, I show up day one with a DVD of that pilot." I wasn't even to my car yet and my phone was ringing, and I had the job. That's how I got on The Office. Leslie (42:17):That's a good one. Charles Esten (42:20):That pilot never aired, but it got me on The Office. But probably one of the hardest ones, every long career has your biggest disappointments and for me... I'm sure you remember that great, great mini series, Band of Brothers, HBO. Barnes (42:37):Oh yeah. Charles Esten (42:39):Yeah. It was wonderful. Tom Hanks producing on that and man, so many great actors ended up on that, great young actors playing these soldiers in World War II. So I went through all the auditions, I had a bunch of them, first you're just auditioning for the casting director, maybe she wants to see again. Now they bring in a producer, now you go back again for producers again. I swear, this many. And then I go back, and there's Tom Hanks in the room and I read with Tom Hanks. Barnes (43:09):Whoa. Charles Esten (43:10):And it goes really well. And I get a phone call later that night to go, "Well, it went really well. They really like you. They just want you to come back tomorrow for one more." And I'm like, "Oh my gosh. What do I got to do? This is killing me. I want it so bad." I wanted it so bad, you guys. And I'm thinking if Tom Hanks likes you, who needs to see you? Well I got my answer the next day when I walked in the room, and without being aware or ready for it at all, there's Tom Hanks in one chair and Steven Spielberg in the other. Barnes (43:38):Oh! Cubby (43:38):Oh, wow. Charles Esten (43:41):And that would have been enough, but basically Steven Spielberg stands up, I shake hands, and he's got a camcorder in his hand, back when that was a thing. So I'm acting out these scenes in a conference room, hiding behind a desk pretending I'm holding a rifle, then crawling across the floor, with Steven Spielberg's camcorder three feet from my face, and he's crawling with me. And I don't even know how I did it, I don't know how I crawled, I just wanted to stop at every second and go, "I really like Jaws," where do you even begin? I don't know where you begin, but I don't know what my face looked like, but inside I was imploding. And in any event, later that night or the next day, I found out that I didn't get it. Barnes (44:27):Oh. Charles Esten (44:27):And man, that one was brutal because it was such an incredible production, and on top of that, no matter what you do, it's hard not to walk away with the feeling that Steven Spielberg doesn't think I'm a good actor. Barnes (44:41):Who got it? Charles Esten (44:42):You know what? I swear to you, I couldn't tell you right now. I watched like half hour of Band of Brothers, I'm like, "I'm out. I don't care anymore." If I went back, I could find it. Leslie (44:53):I think Damian Lewis was in that show. Barnes (44:56):What was the character? Charles Esten (44:57):I know. I think it may have been him. I think it might have been that. Barnes (45:01):[Tommy's 00:45:01] going to look it up. What was the character? Charles Esten (45:03):I think it was Winter. Barnes (45:06):Winter? Charles Esten (45:07):I think that was... Colonel Winter or maybe... I think that's what it was. Barnes (45:13):We got to hear this. You were crawling around the floor? Charles Esten (45:18):I don't know what's funny about it, you guys are trying to look it up to rub my nose in this, "I'll tell you who got that job, Chip." Leslie (45:18):Yeah. Thanks a lot. Barnes (45:18):Well I think it's worked out okay for you. Charles Esten (45:29):Yeah, it took another 20 years, but I got there in the end. I tell you a sweet ending to that is that my wife, we've been together since college, so she was there, she's seen every step in the road, and I don't think I cried about it or whined too much but she saw how hard it was hitting me, in a way that most things don't. I'm a pretty easygoing guy. I never expected to get very job I read for, and I said, "I'm in this for the long haul," and no one's going to stop me because I'm not going to quit.But she could see how much this one was hurting me, and in the end, I found on my pillow a letter, a handwritten letter in an envelope basically saying, "I know how much this hurts, but you have to see it for what it is. This is a major step in your career. This is something that shows that you belong here." Just the sweetest letter about, "Your show is coming, I have no doubt you will get there."And when we were moving from LA to Nashville, I'm going through my desk and piling all my stuff, and I sit down in that chair, same chair I read it back in when I got it years earlier, 11 years earlier I think, and I unfold this letter saying, "Someday you'll get your show," and here we are packing up to go to Nashville to do my show." So, that was kind of a good button to put on the end of that. But yeah, I think it was Damian Lewis' role. Cubby (46:54):Damian Lewis. Got you. Yup. Yup. Yup. There it is. Barnes (46:57):Oh, so you know it was Damian Lewis? Charles Esten (46:59):I'm looking at it now with you, I have IMBD too. Barnes (47:03):[crosstalk 00:47:03]. You lost out to an incredible actor, at least you can feel good about that. Charles Esten (47:09):Believe me, I know. That guy's as good as it gets, so absolutely. Barnes (47:11):So looking at the cast, Collin Hanks got a role. I'd go back with nepotism complaints right now and just get that all unearthed. Charles Esten (47:22):Can you imagine if he got my role, that would have hurt a little more, I'm sure. Leslie (47:27):I'm not sure if Barnes and Cubby know this or not, but Charles Esten is in the Guinness Book of World Records. Did you guys- Barnes (47:34):For what? Leslie (47:35):You didn't realize? Cubby (47:36):I read that too. I read that too. Leslie (47:38):And I was a part of this, it was an amazing time. Charles, do you want to tell them about every single Friday that you did for what, 54 weeks? Charles Esten (47:47):Yeah. It was this amazing thing... It comes down to this, Leslie, while I was doing the show Nashville, I knew that this was only going to last so long and I don't ever like to leave a situation feeling like I left anything undone, like I left anything on the table, and here I am in Music City and I'm surrounded by these great songwriters, which has always been my deepest passion, and these great musicians and producers so I thought, "Am I going to do an EP? Or am I going to do an album?" And every time it kept coming around to that, my music at that time had not focused quite down on exactly who I was, but I had a whole bunch of singles, and they were all over the place, and I just didn't know if they held together as one. To me, and album should be an album for a reason. Especially in the years that we're in now, singles are singles. You can release them when you want.So I decided what I wanted to do, I figured everybody was used to watching me once a week and I thought, "Maybe they'll be happy to hear me once a week," so I went out and held my phone up and did a selfie video where I promised to release a brand new single every week, I think I said, "Until it's stupid." And it might have already been, but I don't know because who does that? Nobody does this. Leslie knows, you don't step on your own single, you give it time, you give it love. Well this was not that. This was me wanting to be as creative as I could. I tend to succumb to paralysis of analysis an awful lot. So this is me busing through that and just going for it. And I have to say, it was a shock to me when 54 weeks later, I had 54 singles. Leslie (49:31):Unbelievable. Barnes (49:32):That's unreal. Were you writing them as you went? Charles Esten (49:36):There was all kind of stages of them. I had some already, others I wrote as I went. Some I would get out of order, some jumped to the front of the line. It was the ones that made me just the most excited. Also I had some ideas, like where they would go. One would follow the next. I didn't want them to step on each other in terms of them being too similar. Almost like a long, long album. But also, if you ever go and look at that, the other thing is we had to... Usually if you do an album, the artwork is the artwork. We had to do a new artwork for every single for every week. So between all that, it was just an insane amount of work but it was the absolute definition of a labor of love. Barnes (50:17):That's unbelievable. Cubby (50:18):Did you know you were setting a record at the time? Or did you just keep going? Charles Esten (50:21):Oh, no. I had no idea. I didn't know. No, I didn't. I just kept going, and I kept going. Do I have one? Yeah. I just promised myself I was not going to... What I didn't want was to do one if I didn't have one. Like here's a song I don't like, but I need one, I'll do that one. So I never did that. And when I go back and listen to them, I have to tell you, I'm proud. There's not one that I was sort of like ugh, I should have stopped there. I love them all. Barnes (50:51):I want to play a clip of your latest single. You've got an amazing voice, and I have to admit, I didn't know you were a singer. Leslie told me that you... I knew you as an actor, not as a singer. Usually you hear, "Oh, I'll listen to it," and you're like, "Okay, here we go. An actor singing. Okay. Hit play." But actually- Leslie (51:07):He's amazing. Barnes (51:08):You know what you're doing. Leslie (51:09):And he's a great songwriter too. Barnes (51:11):Here's a quick clip of his latest song called Sweet Summer Saturday Night Charles Esten (51:31):(singing) Barnes (51:32):How much did Michelob Light pay for that? Charles Esten (51:38):Yeah. Not much. It was hard as hell to find a Michelob Light. They have that new version of Michelob Light, what's it called now? Oh, I forget, but it's something slightly different. So I wanted a bottle for the cover, and man, that was hard to find. But no, they have not paid a cent yet. That's free to them. Cubby (51:55):Do you like Michelob Light, or did it just rhyme? Charles Esten (51:58):No, it was what we would have been drinking back then. Cubby (52:03):Oh, got you. Charles Esten (52:04):Yeah. Michelob Light was of that era. It's not like a thing though. But it does have great syllables, Michelob Light. Drinking a Coors Light doesn't quite sing the same way. Barnes (52:15):Well Charles, thank you for coming on. Look up Charles Esten where ever you get your music, where ever that shall be. And also, you've got... When is Outer Banks coming back? I know you're just starting to film it, but when is it slated to return? Charles Esten (52:26):I actually don't know that. I should find that out. I'm not even sure they know actually, but we are just at the beginning of a very long road, we have 10 episodes we're going to shoot here. We're shooting here, I'm in Charleston, South Carolina right now and we're going to actually do some shooting in the Bahamas. Barnes (52:42):Really? Leslie (52:43):Nice. Charles Esten (52:43):Which is where the gold went. So this is going to be good. I cannot complain. Barnes (52:47):He's sitting on the Royal Merchant, everybody. Well Charles, thank you very much. I cannot wait for the next season to come out. We are total fans. Leslie (52:54):Cannot thank you enough. Love to the family, and thank you. Charles Esten (52:57):Aw, thank you so much. Leslie, real quickly before we leave here, I hear them call you Fram, I want to know if I can do that? Leslie (53:03):Oh, any time. Charles Esten (53:05):I've called you Leslie, am I close enough? I can call you Fram? Leslie (53:07):Yes. That's all Barnes calls me. Charles Esten (53:09):Yeah, I've noticed that. Barnes (53:11):One syllable. It's just easier. Charles Esten (53:14):It's way easier. I'm honored to be on the Fram tram. Thank you. Leslie (53:17):Thanks, Charles. Charles Esten (53:19):Thanks, Fram. Leslie (53:20):Thank you. Charles Esten (53:21):Appreciate you guys so much. Barnes (53:22):We haven't done Barnes Bitches in a while, and I had a moment this week that made me get excited about doing this segment again. My segment, chill with the exotic grocery lists please. If I'm going to the store and I could be you, so I'm just saying, if we, people, are going to the store and your significant other or whoever says, "Oh, you're going to the store?" And then you're already in motion and they say, "I have a few things on my list." And you're like, "Okay. Whoa, whoa, whoa, whoa. It can't be anything exotic." My wife asked me to bring back skim milk and there is no skim milk anymore. Leslie (54:03):What? There's not? Barnes (54:04):So I was there for five flipping minutes staring at each of the milks, trying to find skim, I didn't see skim. Cubby (54:10):Are you sure? Barnes (54:13):I looked at every brand, I went down the whole... So much so I needed to go home and get a jacket, I was in that aisle so much. But don't ask... Maybe there's skim milk somewhere, but my Public's did not have it. And also she asked me to get celery salt. I'm like, "Whoa!" I don't know because when you got to the store, you know where your stuff is. I get the same stuff every time, bananas, non-exotics, easy things. Leslie (54:38):You can't go to the condiment section and get her some celery seed or celery salt? Barnes (54:42):Celery salt. I'm like, "What the hell is celery salt." But then they start playing, "Oh, get un-sour cream." What the hell is that? But seriously, these are exotic things. Leslie (54:52):Now wait a second, isn't- Cubby (54:53):Look, I love Heather, why isn't she doing the shopping? Barnes (54:56):We both do the shopping. I'm just saying, you got to chill with exotics. If you're sending your people to get stuff, don't come out of left field. Don't ask for, "Get seedless strawberries," what the hell? Leslie (55:09):I have to tell you, I talk to Heather about this and your, "Exotics," I mean, Barnes... Come on. Barnes (55:14):Which were what? What did she say? Leslie (55:16):So what. Because listen, if you have a recipe and it calls for celery seeds or celery salt, it's a little extra time, Barnes. Barnes (55:24):Right, but I- Cubby (55:25):I have this guy in China who's sending me seeds all the time. Barnes (55:29):That's a whole other conversation. Cubby (55:30):They're great. Barnes (55:31):It's a whole other thing. But, "Can you pick up some organic Pop Tarts?" Leslie (55:37):So you're calling this, "Exotics?" Barnes (55:40):An exotic is variable. If you're used to going to the store and you pick up your bananas, your whatever, and no Diet Coke anymore, because Dr. Oz yelled at me. I haven't had one since then. Cubby (55:50):Really? Barnes (55:50):Yup. I haven't had one. I'm on a roll. Two weeks. Leslie (55:52):I'm proud of you. Barnes (55:53):Fat free humus. Pick up some fat free humus, Cubby. If you're asking someone to go exotic for you at the grocery store, you're a big inconvenience, that's all. Leslie (56:02):Wow. Exotic. Cubby (56:03):Real quick and I'll let this go here, what about when you're behind somebody... You strike me as somebody, Barnes, that will be upset if you're behind somebody in Starbucks who's doing the elaborate order. Barnes (56:11):No, that doesn't bother me because that's different. That's them doing their order. Cubby (56:16):But it's holding you up. Barnes (56:17):It'd be if you, Cubby, ask me, "Get me a duh-duh-duh, duh-duh-duh, duh-duh-duh latte with duh-duh-duh, duh-duh-duh, duh-duh-duh." If someone says, "Do you want a burger, I'm going to where ever," you can't come out with, "Yeah. So I want one patty with cheese on it, one without cheese..." You have this long exotic list, then you're on your own. Then you go, "Nah. I'm out." You do it. Cubby (56:37):You're like a shark. I'm out. And for that, I'm out. Barnes (56:39):No, you go, you go. So that's it. Think about it. Be sensitive when you're send your people to the store. Leslie (56:46):This is a Barnes Bitch. Unbelievable. Intro (56:48):This is Cubby's pop culture throwback, a rewind into the volt of music, movies, and moments. Cubby (57:00):I thought it would be fun to go back to the first week of September in 1990. It was big year for me. I was about to leave my hometown to Virginia Beach, Virginia to do radio in Houston and the station I was working for, Leslie, you remember this, WGH in Norfolk/Virginia Beach- Leslie (57:18):Mm-hmm (affirmative). Cubby (57:18):They made the flip from top 40 to country and I wasn't very happy about that, and so I went ahead and moved to Houston. So all these songs I remember vividly. September 1st, 1990, the number one song on the pop charts this week, it was Sweet Sensation, If Wishes Came True. Sweet Sensation (57:38):(singing) Cubby (57:39):I know it's a cheesy pop song, Barnes, but do you remember it? Barnes (57:42):I don't. Cubby (57:43):Leslie? Leslie (57:43):I do not remember this at all. Cubby (57:44):This was a total Power 99, before 99X, Power 99. Leslie (57:44):Wow, I don't remember that. Cubby (57:51):The number one song on the R&B charts this week was Tony! Toni! Tone! Feels Good. Tony! Toni! Tone! (58:01):(singing) Cubby (58:04):1990 a big year for the whole new jack swing sound. On the country charts, Clint Black had a number one song, a song called Killin' Time. Clint Black (58:14):(singing) Cubby (58:14):Leslie, is this song still played in country music, or is it too old? Leslie (58:23):Some of the classic country stations. Yeah, he's doing an anniversary for that song. Cubby (58:26):Really? It's a great song. Leslie (58:28):It is. Barnes (58:30):Early 90s was good for country. With Garth, yeah... Leslie (58:35):Big resurgence now. Cubby (58:37):The number one song this week, back in 1990 on the modern rock charts, this is before Been Caught Stealing, Jane's Addiction had a song called Stop. Jane's Addiction (58:46):(singing) Barnes (58:58):Great song right there. The number one movie at the box office this week in 1990. Speaker 21 (59:02):What's happening? Speaker 22 (59:02):I think about you every minute. I feel like I can still feel you. Speaker 21 (59:10):The problem with you is you still think you're real. It's all up here now. You want to move something, you got to move it with your mind. Cubby (59:17):That would be Ghost, everybody. Number one at the box office. And finally, everybody was watching this show on TV, it was huge and you probably know the theme. Speaker 23 (59:32):(singing) Cubby (59:33):In Living Color was the big TV show this week in 1990. And that is 30 years ago this week, folks. Leslie (59:39):Wow. Barnes (59:40):I loved that show. Think about how many people's careers that show started- Leslie (59:45):A lot- Barnes (59:45):J.Lo- Cubby (59:46):Everybody- Barnes (59:47):Jim Carey, yeah everyone on the show became famous. Cubby (59:50):Huge. Yup. Barnes (59:51):Big time. Thank you, Cubby. That's it for the show. Please rate, review, and subscribe and we'll see you next week The Pop Culture Show.  

Les Voyeurs de Vues sont de retour pour une autre discussion de ce qui se passe sur les écrans! Mulan sur Disney +?? Est-ce-que Jay Baruchel est un futur invité? Est-ce-que tous les bals sont maintenant masqués? Yannick rend hommage aux dames avec son programme double de la semaine: Lady Battle Cop (1990) par Akihisa Okamoto et Patsy et Loretta (2019) de Callie Khouri. Alex visite la bande de bums de Deuces Wild (2002) de Scott Kalvert et les meurtres sordides dans White of the Eye (1988) de Donald Cammell. Au programme principal, les Voyeurs discutent de Little Women (2019) par Greta Gerwig!

The outlaw journey of THELMA AND LOUISE was fresh in 1991, yet is still remarkably relevant almost 30 years later. Both visually stunning and packed with symbolism, this film was unafraid to focus on female friendship with a feminist backbone, along with the female experience in an unsupportive world. Beautifully crafted and atmospheric, THELMA AND LOUISE remains eerily timely and believable, while being empowering and forever iconic. ▶️Synopsis: Two best friends set out for a weekend road trip, which quickly turns into numerous unforeseen events snowballing into an ultimate, life-altering resolution. ⏩⏩Discussions include: First-time screenwriter Callie Khouri’s path to creating THELMA AND LOUISE; director Ridley Scott’s stylized grit and aesthetics; the film’s initial release, surrounding controversy and what it meant for women in film; the cast and evolving character breakdowns; how humor and plots devices interact with the film’s narrative; personal thoughts on the actual vs. alternate endings, along with fun facts sprinkled all throughout. **Starring Geena Davis, Susan Sarandon, Harvey Keitel, Brad Pitt. Directed by Ridley Scott.** ▶️**PICKS OF THE WEEK** —Justin’s Pick, KALIFORNIA (1993): While on a road trip researching serial killings, a writer/photographer couple unknowingly pick up a psychopath and his naive girlfriend. **Starring Brad Pitt, Juliette Lewis, David Duchovny, Michelle Forbes. Directed by Dominic Sena.** —Lindsay’s Pick, THE CLIENT (1994): After witnessing a suicide of a mafia lawyer, an 11-year-old boy hires an attorney to protect him from being used as a pawn to take down a mafia family. **Starring Brad Renfro, Susan Sarandon, Tommy Lee Jones, Mary-Louise Parker. Directed by Joel Schumacher.** ▶️MURRAYMOMENT: Geena Davis’ recounting of her unusual and disarming audition for Bill Murray’s film, QUICK CHANGE. ▶️FINAL THOUGHTS: George Clooney’s bitterness over losing Brad Pitt’s role in THELMA AND LOUISE; the Geena Davis Institute on Gender in Media. ▶️NEXT UP: THE THING (1982)! 

Nesse programa conversamos sobre Thelma e Louise (Thelma & Louise, 1991), dirigido pelo Ridley Scott, que esse ano completa 28 anos de lançamento e se tornou um filme marcante quando se trata de protagonismo feminino. Ele recebeu 6 indicações ao Oscar: montagem, fotografia, direção, atriz pras duas protagonistas (Susan Sarandon e Geena Davis) e roteiro original, sendo premiado por esse último. Destacamos o trabalho da roteirista foi Callie Khouri, que era, então, estreante. O programa é apresentado por Isabel Wittmann do Estante da Sala, Camila Vieira da Revista Sobrecinema e Stephania Amaral do Cinematório e Instagram Discos da Stê. Esse conteúdo foi produzido pelo Feito por Elas, de maneira patrocinada, em parceria com o Telecine. Acesse para testar: https://assine.telecineplay.com.br/?utm_source=Feito%20Por%20Elas&utm_medium=Editorial&utm_campaign=Editorial&utm_content=Home%7CProdu%C3%A7%C3%A3o%20de%20Not%C3%ADcia Mais informações: https://feitoporelas.com.br/feito-por-elas-80-thelma-e-louise/ Feedback: contato@feitoporelas.com.br Edição: Felipe Ayres e Isabel Wittmann Pesquisa e pauta: Isabel Wittmann Arte da capa: Amanda Menezes www.behance.net/tupiguarana Vinheta: Felipe Ayres Locução: Deborah Garcia (deh.gbf@gmail.com) Assine nosso Padrim www.padrim.com.br/feitoporelas Assine nosso Patreon www.patreon.com/feitoporelas

Late January is the dog days of Hollywood's long, expensive awards season. Smaller events unfurl several times a week, and every win becomes a chance to further handicap the Oscar chances for major contenders. This past week, the Final Draft Awards honored Callie Khouri, who wrote "Thelma & Louise" and created the "Nashville" TV series with its Hall of Fame Award. The next night, the Lumiere Awards unspooled a few miles away, on the lot of a different movie studio, and handed out a lot more statues. And there, Tom Cruise surprised even the man being honored, the writer-director Christopher McQuarrie, who is his long-time collaborator. I talked with Khouri and captured Cruise and McQuarrie all talking about the joys and challenges of making movies for this episode of Bloom in Tech. Give a listen. --- Support this podcast: https://anchor.fm/davidlbloom/support

Mission encre noire Tome 24 Chapitre 294. Thelma, Louise & Moi de Martine Delvaux paru en 2018 aux éditions Héliotrope. Le 24 mai 1991, Thelma & Louise sort en salle, Martine Delvaux fonds en larmes à la fin du film. La salle est vide. Son amie C. est assise sur le fauteuil à côté. La Thunderbird est figée au-dessus du Grand Canyon, encore et encore. Un arrêt sur image qui en dit long. B.B. King se lamente, lui aussi, Better not to look down. Visage défait, l'une et l'autre s'installent dans un restaurant du coin. On passe certainement Smells like Teen spirit ou l'Amour est sans pitié de Jean Leloup. L'autrice est en détresse. Ce film, quelque part, lui annonce un avenir plutôt sombre. Comment vivre dans ce monde qui menace tant les femmes ? Thelma & Louise a marqué sa vie, il y a 25 ans. Le film de Ridley Scott sur un scénario de Callie Khouri s'impose comme l'acte inaugural de changements profonds dans son quotidien et dans son envie d'écriture. Le futur sera féminin ou rien. Martine Delvaux part sur le pouce, en cavale, à la suite de Susan Sarandon et Geena Davies et intercalle des bouts d'elle, de sa vie au générique de son livre. Louise lui a laissé les clefs de la Thunderbird 1966 vert bouteille sur le volant, Thelma vous offre la place du passager, Martine Delvaux chauffe à Mission encre noire, elle vous parle d'amour, de féminisme, d'écriture et de votre/notre monde. Elle est notre invitée.  Extrait: «Je ne sais pas où va ce livre, mais ce que je sais, c'est que, même si c'est difficile, je me sens bien que quand je suis avec lui, assise devant l'écran comme Thelma et Louise devant les paysages grandioses du Nouveau-Mexique, entourées de rochers rouges escarpés, arbustes, poussières, amarante, escaliers de pierre sur fond de nuages blancs. Je ne suis bien qu'avec elles et dans les bras du film.» La maison mère d'Alexandre Soublière paru en 2018 aux éditions Boréal collection Liberté grande. L'auteur comme son père est beauceron, sa mère est originaire d'Ottawa. Tiraillé entre deux langues, il ne se sent vraiment chez lui, qu'au chalet familial, le juste milieu en quelque sorte. Pour raison professionnelle, il s'installe à Vancouver, après la parution de Charlotte before christ et Amanita Rosa. Pourtant Montréal lui manque. Pourquoi donc ? Tout en refusant de prendre position, Alexandre Soublière tient à son indépendance, ce départ va être l'occasion pour lui de questionner le lien qui unit sa génération à la culture canadienne-française des coureurs des bois. Qu'est-ce que cela veut dire être québécois aujourd'hui ? Saisi, comme par un coup vicieux de Jiu-jitsu, bien placé, page 82, l'auteur joint le geste à la parole, il confronte ses idées au fil d'une fiction invraisemblable. La province est plongée dans une panne de courant générale. Montréal se mue en un monde post-apocalyptique peuplé de rescapés et de rôdeurs. Essai ou fiction ? Le livre fait déjà couler beaucoup d'encre sur les réseaux sociaux. Alexandre Soublière est notre invité à Mission encre noire. Extrait: «À la lumière de ces réflexions et de ces lectures, une question me vient à l'esprit: si le français venait à disparaître au Québec demain matin, que nous resterait-il comme culture? La langue est importante pour nous, certes, mais le fait d'avoir bâti toute notre raison d'être autour d,elle a fait que nous avons peut-être négligé ce qui l'entoure. Le français devrait être autour d'elle a fait que nous avons peut-être une forteresse qui protège et solidifie notre culture, sans en être nécessairement le coeur. D'ailleurs, le fait que nous ayons été si centrés sur la langue au cours de notre courte histoire a probablement contribué à affaiblir cette même langue. Je m'explique: prenez un Québécois au hasard et demandez-lui de décrire les aspects spécifiques de son identité qui le distinguent du reste de l'Amérique du Nord, ou de la planète, sans avoir le droit de nommer la langue. Je serais prêt à parier qu'il ne saura pas quoi dire.»

Mission encre noire Tome 24 Chapitre 294. Thelma, Louise & Moi de Martine Delvaux paru en 2018 aux éditions Héliotrope. Le 24 mai 1991, Thelma & Louise sort en salle, Martine Delvaux fonds en larmes à la fin du film. La salle est vide. Son amie C. est assise sur le fauteuil à côté. La Thunderbird est figée au-dessus du Grand Canyon, encore et encore. Un arrêt sur image qui en dit long. B.B. King se lamente, lui aussi, Better not to look down. Visage défait, l'une et l'autre s'installent dans un restaurant du coin. On passe certainement Smells like Teen spirit ou l'Amour est sans pitié de Jean Leloup. L'autrice est en détresse. Ce film, quelque part, lui annonce un avenir plutôt sombre. Comment vivre dans ce monde qui menace tant les femmes ? Thelma & Louise a marqué sa vie, il y a 25 ans. Le film de Ridley Scott sur un scénario de Callie Khouri s'impose comme l'acte inaugural de changements profonds dans son quotidien et dans son envie d'écriture. Le futur sera féminin ou rien. Martine Delvaux part sur le pouce, en cavale, à la suite de Susan Sarandon et Geena Davies et intercalle des bouts d'elle, de sa vie au générique de son livre. Louise lui a laissé les clefs de la Thunderbird 1966 vert bouteille sur le volant, Thelma vous offre la place du passager, Martine Delvaux chauffe à Mission encre noire, elle vous parle d'amour, de féminisme, d'écriture et de votre/notre monde. Elle est notre invitée.  Extrait: «Je ne sais pas où va ce livre, mais ce que je sais, c'est que, même si c'est difficile, je me sens bien que quand je suis avec lui, assise devant l'écran comme Thelma et Louise devant les paysages grandioses du Nouveau-Mexique, entourées de rochers rouges escarpés, arbustes, poussières, amarante, escaliers de pierre sur fond de nuages blancs. Je ne suis bien qu'avec elles et dans les bras du film.» La maison mère d'Alexandre Soublière paru en 2018 aux éditions Boréal collection Liberté grande. L'auteur comme son père est beauceron, sa mère est originaire d'Ottawa. Tiraillé entre deux langues, il ne se sent vraiment chez lui, qu'au chalet familial, le juste milieu en quelque sorte. Pour raison professionnelle, il s'installe à Vancouver, après la parution de Charlotte before christ et Amanita Rosa. Pourtant Montréal lui manque. Pourquoi donc ? Tout en refusant de prendre position, Alexandre Soublière tient à son indépendance, ce départ va être l'occasion pour lui de questionner le lien qui unit sa génération à la culture canadienne-française des coureurs des bois. Qu'est-ce que cela veut dire être québécois aujourd'hui ? Saisi, comme par un coup vicieux de Jiu-jitsu, bien placé, page 82, l'auteur joint le geste à la parole, il confronte ses idées au fil d'une fiction invraisemblable. La province est plongée dans une panne de courant générale. Montréal se mue en un monde post-apocalyptique peuplé de rescapés et de rôdeurs. Essai ou fiction ? Le livre fait déjà couler beaucoup d'encre sur les réseaux sociaux. Alexandre Soublière est notre invité à Mission encre noire. Extrait: «À la lumière de ces réflexions et de ces lectures, une question me vient à l'esprit: si le français venait à disparaître au Québec demain matin, que nous resterait-il comme culture? La langue est importante pour nous, certes, mais le fait d'avoir bâti toute notre raison d'être autour d,elle a fait que nous avons peut-être négligé ce qui l'entoure. Le français devrait être autour d'elle a fait que nous avons peut-être une forteresse qui protège et solidifie notre culture, sans en être nécessairement le coeur. D'ailleurs, le fait que nous ayons été si centrés sur la langue au cours de notre courte histoire a probablement contribué à affaiblir cette même langue. Je m'explique: prenez un Québécois au hasard et demandez-lui de décrire les aspects spécifiques de son identité qui le distinguent du reste de l'Amérique du Nord, ou de la planète, sans avoir le droit de nommer la langue. Je serais prêt à parier qu'il ne saura pas quoi dire.»

Hanelle M. Culpepper is an energetic and unflappable award-winning television and film writer/director whose visual, story-driven films have played in festivals around the world and on television. Last year, she made history by being the first African-American woman to direct for the Star Trek franchise. Her Parenthood episode was chosen by the producers to represent the series for Emmy consideration.  And in 2015, Hanelle was nominated for an Image Award for Outstanding Directing for a Drama Series. Hanelle has directed numerous episodes of television for all the networks. She has directed movies for Lifetime including Hunt for the Labyrinth Killer, a feature starring Amanda Schull (Center Stage, Suits, One Tree Hill), Michael Nouri (Flashdance), Coby Ryan McLaughlin, Anne Ramsay (Mad About You), James Avery (Fresh Prince of Bel-Air), and featuring Gina Gershon; Murder on the 13th Floor starring Tessa Thompson (For Colored Girls) and Sean Patrick Thomas (Save The Last Dance, The District); and the suspenseful good twin/bad twin feature Deadly Sibling Rivalry starring Charisma Carpenter (Buffy, Angel), Christa B. Allen (Revenge) and Kyle Richards (Real Housewives of Beverly Hills). Hanelle’s first feature, the supernatural thriller Within, starring Sam Jaeger (Parenthood), Brent Sexton (The Killing), and featuring Aisha Hinds (True Blood, Detroit 1-8-7), won Outstanding Feature Film at the Big Bear Horror Film Festival. Produced and distributed by Bigfoot Entertainment, Within premiered on Lifetime in July 2010, ranking as the network’s #2 program of the week. It continues to air frequently on both Lifetime and LMN. A native of Alabama, Hanelle graduated Phi Beta Kappa and Summa Cum Laude with a B.A. in Economics and French from Lake Forest College in suburban Chicago. For graduate studies, she earned a Master’s degree at USC’s Annenberg School. While at USC, she worked behind the scenes on multiple student film projects in positions from PA to producer. Following her graduation from USC, Hanelle assisted Academy Award winning screenwriter Callie Khouri on her directorial debut, Divine Secrets of the Ya-Ya Sisterhood. Hanelle was selected for the FIND Screenwriters Lab, Bill Cosby’s Screenwriting Program, AFI’s Directing Workshop for Women (DWW) and NBC’s Directing Initiative. Hanelle’s DWW short A Single Rose won numerous awards and screened at film festivals worldwide, including the 2004 Cannes Film Festival, and was a semi-finalist for an Academy Award nomination in the Best Shorts category. Hanelle directed several more shorts that screened in festivals, on television and even on airplanes and hospitals. Hanelle is represented by Verve talent agency. Her manager is Adesuwa McCalla at Metamorphic Entertainment.

In Off the Cliff: How the Making of ‘Thelma & Louise' Drove Hollywood to the Edge (Penguin, 2018), Becky Aikman explores the making of Thelma & Louise, a 1991 film that challenged traditional Hollywood culture. The film cast two women as the stars, running from their lives and the law. An outlaw film that was a long shot, but became one of the most influential films of the past 30 years. Aikman tells the story of how Callie Khouri wrote a script that she worked to see come to the big screen. Off the Cliff goes behind the scenes, examining how Khouri's script got to Ridley Scott, how they found one studio—Pathé—to back it, and how through a series of sometimes lucky and very fortunate events came together to create this lasting feminist film milestone. Aikman draws on interviews with the actors, writers, and filmmakers to tell the story of Thelma & Louise. Aikman's work is an in-depth exploration into every aspect of Thelma & Louise, from getting the movie off the ground, actor auditions, discussions of the filming of a number of the key scenes, and initial audience reaction. Aikman's work is a must read for not only fans of the movie, but readers interested in film history and American cinema. Rebekah Buchanan is an Associate Professor of English at Western Illinois University. Her work examines the role of narrative in people's lives. She researches zines, zine writers and the influence of music subcultures and fandom on writers and narratives. You can find more about her on her website, follow her on Twitter @rj_buchanan or email her at rj-buchanan@wiu.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Off the Cliff: How the Making of ‘Thelma & Louise’ Drove Hollywood to the Edge (Penguin, 2018), Becky Aikman explores the making of Thelma & Louise, a 1991 film that challenged traditional Hollywood culture. The film cast two women as the stars, running from their lives and the law. An outlaw film that was a long shot, but became one of the most influential films of the past 30 years. Aikman tells the story of how Callie Khouri wrote a script that she worked to see come to the big screen. Off the Cliff goes behind the scenes, examining how Khouri’s script got to Ridley Scott, how they found one studio—Pathé—to back it, and how through a series of sometimes lucky and very fortunate events came together to create this lasting feminist film milestone. Aikman draws on interviews with the actors, writers, and filmmakers to tell the story of Thelma & Louise. Aikman’s work is an in-depth exploration into every aspect of Thelma & Louise, from getting the movie off the ground, actor auditions, discussions of the filming of a number of the key scenes, and initial audience reaction. Aikman’s work is a must read for not only fans of the movie, but readers interested in film history and American cinema. Rebekah Buchanan is an Associate Professor of English at Western Illinois University. Her work examines the role of narrative in people’s lives. She researches zines, zine writers and the influence of music subcultures and fandom on writers and narratives. You can find more about her on her website, follow her on Twitter @rj_buchanan or email her at rj-buchanan@wiu.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Off the Cliff: How the Making of ‘Thelma & Louise’ Drove Hollywood to the Edge (Penguin, 2018), Becky Aikman explores the making of Thelma & Louise, a 1991 film that challenged traditional Hollywood culture. The film cast two women as the stars, running from their lives and the law. An outlaw film that was a long shot, but became one of the most influential films of the past 30 years. Aikman tells the story of how Callie Khouri wrote a script that she worked to see come to the big screen. Off the Cliff goes behind the scenes, examining how Khouri’s script got to Ridley Scott, how they found one studio—Pathé—to back it, and how through a series of sometimes lucky and very fortunate events came together to create this lasting feminist film milestone. Aikman draws on interviews with the actors, writers, and filmmakers to tell the story of Thelma & Louise. Aikman’s work is an in-depth exploration into every aspect of Thelma & Louise, from getting the movie off the ground, actor auditions, discussions of the filming of a number of the key scenes, and initial audience reaction. Aikman’s work is a must read for not only fans of the movie, but readers interested in film history and American cinema. Rebekah Buchanan is an Associate Professor of English at Western Illinois University. Her work examines the role of narrative in people’s lives. She researches zines, zine writers and the influence of music subcultures and fandom on writers and narratives. You can find more about her on her website, follow her on Twitter @rj_buchanan or email her at rj-buchanan@wiu.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Off the Cliff: How the Making of ‘Thelma & Louise’ Drove Hollywood to the Edge (Penguin, 2018), Becky Aikman explores the making of Thelma & Louise, a 1991 film that challenged traditional Hollywood culture. The film cast two women as the stars, running from their lives and the law. An outlaw film that was a long shot, but became one of the most influential films of the past 30 years. Aikman tells the story of how Callie Khouri wrote a script that she worked to see come to the big screen. Off the Cliff goes behind the scenes, examining how Khouri’s script got to Ridley Scott, how they found one studio—Pathé—to back it, and how through a series of sometimes lucky and very fortunate events came together to create this lasting feminist film milestone. Aikman draws on interviews with the actors, writers, and filmmakers to tell the story of Thelma & Louise. Aikman’s work is an in-depth exploration into every aspect of Thelma & Louise, from getting the movie off the ground, actor auditions, discussions of the filming of a number of the key scenes, and initial audience reaction. Aikman’s work is a must read for not only fans of the movie, but readers interested in film history and American cinema. Rebekah Buchanan is an Associate Professor of English at Western Illinois University. Her work examines the role of narrative in people’s lives. She researches zines, zine writers and the influence of music subcultures and fandom on writers and narratives. You can find more about her on her website, follow her on Twitter @rj_buchanan or email her at rj-buchanan@wiu.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week the Roundtablers sneak into the Crime genre and make off with a rather poor impression of the 2007 caper comedy Mad Money, written by Glenn Gers and directed by Callie Khouri. This is a show dedicated to helping you become a better writer. Each week Story Grid Editors Jarie Bolander, Valerie Francis, Anne Hawley, Kim Kessler, and Leslie Watts analyze a film from one of the twelve Story Grid content genres and discuss it using the Editor’s Six Core Questions as developed by Shawn Coyne. Click here for the full show notes.

Disclaimer: Elnézést kérünk a késedelemért, az adásfelvételbe váratlanul hiba csúszott. Sajnos kis stúdió lévén mi nem építjük be a produkciós menetrendbe a pótfelvételeket, így csak kis késéssel sikerült leszállítanunk a javított műsort.  Ezen a héten a két felvonásos Scott & Scott blokkunk első felét mutatjuk be, amelyben a Ridley és Tony Scott testvérpár egy-egy munkájával foglalkozunk. Súlyos hiányosságunk volt Sir Ridley életművéből a rengeteget méltatott Thelma & Louise, ezúttal végre ezt is bepótoltuk. Az adásban megérteni ugyan nem, de megvilágítani megpróbáljuk Hollywood mostoha bánásmódját a színésznőivel Geena Davis és Susan Sarandon karrierjén keresztül. Megnézzük, hogy ha nekik nem is, akkor Brad Pittnek miért lehetett ez a film hatalmas ugródeszka a világsztárság felé, és megállapítjuk, melyik másik hollywoodi csillaggal jártak be párhuzamos életpályát. A film castingjának a méltatása során felfedezünk egy elveszett Baldwin-testvért, valamint Michael Madsen brillírozását látván megmondjuk a frankót a “mindig csak saját magukat játszó” színészekkel kapcsolatban. A kedvenc karakterek meg a kedvenc poénok mellett rengeteg szó esik Callie Khouri forgatókönyvének ellentmondást nem tűrő feminizmusáról, és megcsodáljuk Ridley Scott képi világát is. Felmerül, hogy mi a film felelőssége a bűn, bűncselekmények ábrázolásával, de szerencsére András és Péter ezzel kapcsolatos nézeteltérését sikerül elsimítani az adás végéig. Kitekintő Imádtuk a Thelma & Louise bolti rablását, ezért felállítottunk egy rögtönzött top 3-3 rablós jelenetes listát.  Linkek A Thelma & Louise jelenete, amelyben Thelmát szexuális támadás éri A Vakfolt podcast facebook oldala Vakfolt címke a Letterboxdon András a Twitteren: @gaines_ Péter a Twitteren: @freevo Emailen is elértek bennünket: feedback@vakfoltpodcast.hu A főcímzenénket az Artúr zenekar szerezte, akiket megtaláltok a Facebookon és a Twitteren is.

We are so excited today to be able to talk to well-known astrologer, author and teacher Steven Forrest about how we might use astrology to help us discover, challenge and encourage our own authenticity. Forrest is the author of several astrological bestsellers, including THE INNER SKY, THE CHANGING SKY, THE BOOK OF PLUTO, THE NIGHT SPEAKS, and the astrology classic YESTERDAY'S SKY. His most recent is THE BOOK OF THE MOON. His work has been translated into a dozen languages, and he travels worldwide to speak and teach his brand of choice-centered Evolutionary Astrology, which integrates free will, grounded humanistic psychology and ancient metaphysics. He has won prestigious awards, and the acclaim of people like Sting, Callie Khouri—author of the screenplay for Thelma and Louise and Oprah Magazine. Along with his busy private practice, he maintains active astrological apprenticeship programs. Don't miss this unique opportunity to hear one of the world's most acclaimed astrologers.

We are so excited today to be able to talk to well-known astrologer, author and teacher Steven Forrest about how we might use astrology to help us discover, challenge and encourage our own authenticity. Forrest is the author of several astrological bestsellers, including THE INNER SKY, THE CHANGING SKY, THE BOOK OF PLUTO, THE NIGHT SPEAKS, and the astrology classic YESTERDAY'S SKY. His most recent is THE BOOK OF THE MOON. His work has been translated into a dozen languages, and he travels worldwide to speak and teach his brand of choice-centered Evolutionary Astrology, which integrates free will, grounded humanistic psychology and ancient metaphysics. He has won prestigious awards, and the acclaim of people like Sting, Callie Khouri—author of the screenplay for Thelma and Louise and Oprah Magazine. Along with his busy private practice, he maintains active astrological apprenticeship programs. Don't miss this unique opportunity to hear one of the world's most acclaimed astrologers.

Elvis talks to Oscar winning screenwriter Callie Khouri, creator of the ABC series "Nashville."