Podcast appearances and mentions of Charlie Lyne

Ignacia y Daniel comentan Beyond Clueless, un documental-ensayo de 2014 donde el joven director Charlie Lyne puso bajo la lupa la comedia estudiantil gringa usando de respaldo cientos de clips. Desde Donnie Darko hasta Chicas pesadas. 

*WARNING: VERY GRAPHIC EPISODE*Happy Thanksgiving everyone!What better day to release a new episode of Between the Crimes! Just in time for you all to settle down, spend time with family & friends, and get ready for a nice warm meal.Interestingly enough, we have a very special episode for you today. Brace yourself, this is one of the most graphic and disgusting true crime stories we have ever shared here on this podcast. The faint of heart should not listen to this episode, particularly part two -- and the squeamish should absolutely not listen to this episode before Thanksgiving dinner.Consider yourself warned...Join us first for the story of Skylar Neese. She was a 16-year-old girl whose life was brutally cut short by those she trusted most. Personal thank you to the creators and staff of NBC's Dateline for providing us, yet again, with phenomenal information for a case. Then, hear the graphic and violet story of Issei Sagawa -- the man who got away with a brutal, cannibalistic crime.Happy holidays!Important Sources & Other InfoDocumentary films featuring Sagawa include:Cannibal Superstar (Viasat Explore, Sweden, 1986, 47 minutes)Excuse Me for Living (Channel 4, UK, 1993, 60 minutes)The Cannibal That Walked Free (Channel 5, UK, 2007, 46 minutes)Interview with a Cannibal (Vice, US, 2011, 34 minutes)Caniba (Véréna Paravel and Lucien Castaing-Taylor, France, 2017, 97 minutes)A 1986 short film by Olivier Smolders, Adoration, is based on Sagawa's story.[15]"Too Much Blood", a song on the Rolling Stones' 1983 album Undercover, is about Sagawa and violence in the media. His crime also inspired the Stranglers' 1981 song "La Folie". The Noise Black Metal band Gnaw Their Tongues also released an EP titled Issei Sagawa in 2006.Sagawa's crimes, and his later career as an actor, were discussed in the 2015 documentary Fear Itself by filmmaker Charlie Lyne.https://en.wikipedia.org/wiki/Murder_of_Skylar_Neese https://www.imdb.com/title/tt2956846/ https://www.facebook.com/datelinenbc/posts/tonight-at-87c-we-tell-the-story-of-skylar-neesewatch-a-preview-of-tonights-date/10103902145411179/   

Stand up comedian Nish Kumar was booed off stage at a charity gig for The Lord's Taverners. How do comedians cope when the audience disagrees with their political stance or just takes against them? Ayesha Hazarika is a much-in-demand comedian with well-known strong political views. What are her strategies for coping when facing vocal hostility from the people who've paid to see her perform? Honey Boy is a new film written by Shia LaBeouf, a largely autobiographical story of an actor in rehab who, in an attempt to cure his PTSD, revisits memories of his abusive childhood. Jumping between present day and 1995, LaBeouf plays a version of his own father, a recovering alcoholic, sharing a motel room with son and child star 'Otis' whilst filming for children’s television nearby. Documentary filmmaker and film critic Charlie Lyne gives us his verdict. There's a heated debate in film circles at the moment. As cinema companies and Netflix clash over the distribution of Martin Scorsese’s epic mob drama The Irishman, how vital is it that it should it be seen on the big screen vs streaming on Netflix? The streaming service has a policy of restricting the amount of time its films are shown on actual cinema screens. We ask whether going to the cinema may eventually become an elite pursuit. Sri Lankan author Romesh Gunesekera discusses his new novel Suncatcher. It’s set in the country of his birth in 1964 when national political turbulence seems to echo the emotional turmoil experienced by the central character, Kairo, a boy on the cusp of adolescence attempting to make sense of the world around him. Presenter: John Wilson Producer: Oliver Jones

Recorded in his London edit suite, filmmaker Charlie Lyne — director of Beyond Clueless, Fear Itself and the newly released Lasting Marks — breaks our format with The Clock, Christian Marclay’s 2010 gallery installation that uses the entirety of cinema and television to tell you the current time. Your genial host Norm Wilner wandered into it once at the Southbank Centre.

Jonah Hill's directorial debut is a small, charming hangout movie about LA skater culture in, as the title suggests, the mid-90s. For Mike - who sees comparisons with This is England and Skate Kitchen - it's somewhat unoriginal, if entertaining and engrossing, but José completely falls in love with it. It's certainly worth your time. Links to things mentioned in the podcast: Mike's piece on verticality in Phantom Thread - https://writingaboutfilm.com/2018/12/01/verticality-and-the-academy-ratio-in-phantom-thread/ Charlie Lyne's video essay on frames and containers - https://vimeo.com/219270731 Charlie Lyne's Twitter thread on vertical frames - https://twitter.com/charlielyne/status/1117079647370432513 Recorded on 14th April 2019.

Sometimes, documentary shorts can be seen as stepping stones for filmmakers who want to direct feature-length films, or as afterthoughts on a festival program. But, given their lower costs and shorter runtimes, shorts can allow for a wealth of experimentation, with narrative and format, that features couldn't sustain. On this episode of the True/False Podcast, filmmaker Charlie Lyne sits down to discuss the differences between the two forms, and the unique and varied offerings short-form filmmaking has to offer.

Sometimes, documentary shorts can be seen as stepping stones for filmmakers who want to direct feature-length films, or as afterthoughts on a festival program. But, given their lower costs and shorter runtimes, shorts can allow for a wealth of experimentation, with narrative and format, that features couldn't sustain. On this episode of the True/False Podcast, filmmaker Charlie Lyne sits down to discuss the differences between the two forms, and the unique and varied offerings short-form filmmaking has to offer.

The focus is on film this week as film-maker + writer Charlie Lyne and I talk snobbery vs. teen movies, whether reviews can be art, being a 16 year old on the BAFTA red carpet, Rian Johnson, why films on planes make us cry + tackling the BBFC. Plus: A robust defence of Eurotrip. // Contact us: readslikeafour@gmail.com / Twitter + Insta: @readslikeafour See acast.com/privacy for privacy and opt-out information.

We're thrilled to welcome David Lowery, director of 'A Ghost Story' on to the Curzon Podcast this week, as well as 'Beyond Clueless' and 'Fish Story' director Charlie Lyne, to discuss his new film about aspect ratios 'Frames and Containers'. 'A Ghost Story' is one of the most original and powerful films of the year. Starring Casey Affleck and Rooney Mara, it features a white-sheeted ghost as he watches his wife and home move through time and perhaps further. Discussing the film are Sam Howlett, Irene Musumeci and Ryan Hewitt. Produced and edited by Jake Cunningham Music supplied by incompetech.com Additional sound support from Tom Williams Hosted on Acast. See acast.com/privacy for more information.

This episode Jed welcomes Filmmaker Charlie Lyne, Director of 'Fear Itself' (available on iplayer) and 'Beyond Clueless' (available on Netflix) as they discuss their recommendations of what to watch across all streaming platforms! Will their be any horror recommendations? You better bloody believe it. Will there be weird recommendations? naturally! Will there be any good ones though? Debatable but of course! follow Jed on twitter @jedshepherd and Charlie Lyne @charlielyne

For this episode, The Cinematologists were invited to cover the Arts Foundations Essay Film prize and an event they are hosting entitled Essay Film Now. Dario interviews the shortlisted filmmakers Charlie Lyne, Marianna Simnett, Samuel Stevens and Sarah Wood about their work and their thoughts on essay film as a cinematic and artistic practice. Dario also talks to the Art Foundation director Shelly Warren and with Sophie Mayer, a writer, poet and film critic about the history, political and philosophy underpinning the essay film as a form. For details of the Arts Foundation Prize visit their website Interviews 6:30 - Sophie Mayer - Click here for Sophie's presentation at Essay Film Now. 26:30 - Shelley  Warren 33:40 - Charlie Lyne 56:01 - Marianna Simnett 01:15:29 - Samuel Stevens 01:36:16 - Sarah Wood          

The film industry is notoriously difficult to break into. A panel  of emerging filmmakers and professionals including Alice Hughes, Phillip Wood, Magali Pettier, Daisy-May Hudson each have a story to tell as to how they did just this and give insight into the lifecycle of a film from development to distribution, and advice on how first time filmmakers get noticed and get their films seen. Chaired by Charlie Lyne.    

The first half of the Melbourne International Film Festival has flown by, and I've already seen some great films like Cosmos, Paterson and The Happiest Day in the Life of Olli Mäki. Among the films I've seen, though, there's been a fantastic selection of horror films, and I thought I'd spotlight four of them: three narrative features, all by first-time filmmakers, and a documentary. First up, The Eyes of My Mother. An American film, but with occasional Portuguese dialogue, it's one of the first films I got to see and it's still stayed with me. One day, a little girl witnesses some terrible violence in her home; an intruder shows up but is subsequently overpowered, and from that moment that violence seeps through to her brain as she grows up and her life spirals into chilling psychopathic behaviour. Shot in black-and-white, there's a wistful, melancholy, poetic tone enshrouding the on-screen horror. With echoes of The Texas Chain Saw Massacre, the film delves into some very dark places, both explicit and not. But despite the disturbing and violent developments the film manages to retain a beautiful, almost meditative atmosphere, and our sympathy for the central character never leaves even though she's doing awful, awful things. I mean, all she wants is a family... in a way... A very promising debut by filmmaker Nicolas Pesce. Maybe hug a loved one after this. Next up, there's Baskin. Another highly disturbing horror film, this time from Turkey, written and directed by Can Evrenol. A group of police officers receive a distress call in a remote building and head over to investigate. Once there they discover some truly hellish stuff. The film's got lots of graphic gore and screaming, with a shudderingly creepy main villain. The visuals are striking and colourful and the score is particularly vivid. Unfortunately, there's not much of anything else. The pacing is uneven and I didn't really find myself being invested in any of the characters, so despite several really interesting and horrifying sequences it all in all made for unengaging viewing. Some great ideas in this, but not entirely well-executed. Moving slightly east again we have Under the Shadow, by Babak Anvari, set in Iran in the 1980s, after the Iranian revolution and during the Iran-Iraq conflicts. It centres on a woman and her husband and young daughter living in an apartment block in Tehran. Not only is there the constant threat of missile attacks but some strange, nightmarish things start to occur, and when the father is called away to military service the mother and daughter are left to deal with the supernatural dread that plagues them. Under the Shadow does a fantastic job of channeling serious political and parental fears into a deliciously slow-burning terror, the tension building and building, holding you captive until it explodes in the final ten to fifteen minutes, unleashing full-scale horror. All throughout it stays gripping, then right at the end it starts ripping. Excellently shot with some unsettling camera movements and production design that captures the period as well as the evil closing in. Probably my favourite of the three. Finally, I saw Fear Itself, a documentary on horror films written and directed by Charlie Lyne. Or rather, it's not so much a documentary as a cine-essay, a stream of thoughts on horror films and the way that they relate to real human fears and anxieties. Impressive in scope and mesmerising in equal measure, the film itself is essentially a collage, in that it consists entirely of edited-together footage from existing horror films, and hypnotic narration over the top that takes you on an engrossing journey through humanity's darkness. The range of films chosen is admirable, encompassing a vast range of horror cinema from across the world and throughout history, even using some films that aren't traditionally considered horror films but which have certain elements that illustrate the points that the filmmaker is trying to make about horror films, which in turn ties back to the points he makes about humanity. And the exploration of the themes is engrossing, thoughtful and at times quite personal. It's transfixing and thought-provoking and highly recommended not just for horror fans but for anyone interested in the depths of the human soul. And that's all the horror films at the festival that I've been able to see so far, but there's more to come! A few I'm looking forward to are Killing Ground and The Devil's Candy, both by Australian directors, as well as The Lure and The Love Witch, which from what I've heard are very very weird, and I can't wait. There's still another week left of the festival, so get out there and start shitting your pants in terror. I'll be in the cinema with you, toilet paper in hand. Till next time, see you there... Written by Ben Volchok

The first half of the Melbourne International Film Festival has flown by, and I've already seen some great films like Cosmos, Paterson and The Happiest Day in the Life of Olli Mäki. Among the films I've seen, though, there's been a fantastic selection of horror films, and I thought I'd spotlight four of them: three narrative features, all by first-time filmmakers, and a documentary. First up, The Eyes of My Mother. An American film, but with occasional Portuguese dialogue, it's one of the first films I got to see and it's still stayed with me. One day, a little girl witnesses some terrible violence in her home; an intruder shows up but is subsequently overpowered, and from that moment that violence seeps through to her brain as she grows up and her life spirals into chilling psychopathic behaviour. Shot in black-and-white, there's a wistful, melancholy, poetic tone enshrouding the on-screen horror. With echoes of The Texas Chain Saw Massacre, the film delves into some very dark places, both explicit and not. But despite the disturbing and violent developments the film manages to retain a beautiful, almost meditative atmosphere, and our sympathy for the central character never leaves even though she's doing awful, awful things. I mean, all she wants is a family... in a way...A very promising debut by filmmaker Nicolas Pesce. Maybe hug a loved one after this. Next up, there's Baskin. Another highly disturbing horror film, this time from Turkey, written and directed by Can Evrenol. A group of police officers receive a distress call in a remote building and head over to investigate. Once there they discover some truly hellish stuff. The film's got lots of graphic gore and screaming, with a shudderingly creepy main villain. The visuals are striking and colourful and the score is particularly vivid. Unfortunately, there's not much of anything else. The pacing is uneven and I didn't really find myself being invested in any of the characters, so despite several really interesting and horrifying sequences it all in all made for unengaging viewing. Some great ideas in this, but not entirely well-executed. Moving slightly east again we have Under the Shadow, by Babak Anvari, set in Iran in the 1980s, after the Iranian revolution and during the Iran-Iraq conflicts. It centres on a woman and her husband and young daughter living in an apartment block in Tehran. Not only is there the constant threat of missile attacks but some strange, nightmarish things start to occur, and when the father is called away to military service the mother and daughter are left to deal with the supernatural dread that plagues them. Under the Shadow does a fantastic job of channeling serious political and parental fears into a deliciously slow-burning terror, the tension building and building, holding you captive until it explodes in the final ten to fifteen minutes, unleashing full-scale horror. All throughout it stays gripping, then right at the end it starts ripping. Excellently shot with some unsettling camera movements and production design that captures the period as well as the evil closing in. Probably my favourite of the three. Finally, I saw Fear Itself, a documentary on horror films written and directed by Charlie Lyne. Or rather, it's not so much a documentary as a cine-essay, a stream of thoughts on horror films and the way that they relate to real human fears and anxieties. Impressive in scope and mesmerising in equal measure, the film itself is essentially a collage, in that it consists entirely of edited-together footage from existing horror films, and hypnotic narration over the top that takes you on an engrossing journey through humanity's darkness. The range of films chosen is admirable, encompassing a vast range of horror cinema from across the world and throughout history, even using some films that aren't traditionally considered horror films but which have certain elements that illustrate the points that the filmmaker is trying to make about horror films, which in turn ties back to the points he makes about humanity. And the exploration of the themes is engrossing, thoughtful and at times quite personal. It's transfixing and thought-provoking and highly recommended not just for horror fans but for anyone interested in the depths of the human soul. And that's all the horror films at the festival that I've been able to see so far, but there's more to come! A few I'm looking forward to are Killing Ground and The Devil's Candy, both by Australian directors, as well as The Lure and The Love Witch, which from what I've heard are very very weird, and I can't wait. There's still another week left of the festival, so get out there and start shitting your pants in terror. I'll be in the cinema with you, toilet paper in hand. Till next time, see you there...Written by Ben VolchokSee omnystudio.com/listener for privacy information.

Very Loose Women joined on tonight's show by film critic and filmmaker, Charlie Lyne. Discussing Charlie's work, including feature length films Beyond Clueless and Fear Itself, Very Loose Women reminisce about their own favourite teen movies. See acast.com/privacy for privacy and opt-out information.

It's a veritable Werewolf Bar Mitzvah this week as Matt and Ed tackle things both spooky and scary. After discussing some not especially frightening news (unless you find the prospect of an all-female Ocean's Eleven unduly threatening, in which case get over it), they talk about Charlie Lyne's new documentary Fear Itself (which is available exclusively on the BBC iPlayer), before engaging in a more general natter about terrifying moments in otherwise benign movies, their favourite horror films, and why foreign language horror films are sometimes more evocatively scary than English language ones. There's also some nonsense in there about Komodo dragons.The Deadspin article Ed mentions in the SRS Recommends segment can be found here.00:00:00 - 00:16:42 - Intro & Discussion of the week's news00:16:43 - 00:24:45 - Matt and Ed talk about Fear Itself00:24:46 - 00:48:52 - Discussion of scary moments in non-horror movies, favourite horror movies, and foreign language horror00:48:53 - 00:55:02 - SRS Recommends, Outro, and a spooky musical treat

Guests this week include Comedian Alex Edelman, Charlie Lyne and David Van Day.

This week, the boys are - much like Rodney Dangerfield - going back to school, with an episode that explores the teen experience and the perils of secondary education.This whole thing was inspired by Beyond Clueless, Charlie Lyne's most excellent essay film about teen movies, which was a Shot/Reverse Shot highlight of this year's Sheffield DocFest. Mr. Lyne foolishly agreed to be interviewed at the festival and can be (just about) heard talking through his experiences making the film. The outro music this week comes courtesy of Summercamp, whose score for Beyond Clueless is beyond fantastic. It was recorded live at the Beyond Clueless after party and is therefore somewhat of an exclusive.

As part of LSFF 2014, Beyond Clueless director Charlie Lyne spoke about films made entirely from other films, featuring a host of guest filmmakers and some bizarre audio-visual improvisation. We've removed most of the clips for legal reasons, but here are some of the showcased shorts available to watch elsewhere online: Kittens For Hitler by Ken Russell: http://www.youtube.com/watch?v=fu-KncLqDjs lXHXN by Garry Sykes: https://vimeo.com/61799018 Hey There by Home Tape: https://vimeo.com/46175791 Recorded at the ICA on 17 January 2014.