Podcasts about Cinematography

'The Odyssey' is the political movie of the decade. Thoughts? Guest suggestions? Email us at ezrakleinshow@nytimes.com. You can find the transcript and more episodes of “The Ezra Klein Show” at nytimes.com/ezra-klein-podcast. Book recommendations from all our guests are listed at https://www.nytimes.com/article/ezra-klein-show-book-recs.html This column read was produced by Marie Cascione, Claire Gordon and Emma Kehlbeck. Fact-checking by Jack McCordick and Rollin Hu. Our senior engineer is Jeff Geld, with additional mixing by Johnny Simon. Our recording engineer is Johnny Simon. Our executive producer is Claire Gordon. Cinematography by Kyle Kelley. Video editing by Jan Kobal. The show's production team also includes Annie Galvin, Michelle Harris, and Marina King. Original music by Pat McCusker. Audience strategy by Shannon Busta. The director of New York Times Opinion Audio is Annie-Rose Strasser. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

The first year of President Trump's second term was a whirlwind of action: on immigration, on trade, on political retribution. But things seem to me to be slowing down quite a bit. Trump is incredibly unpopular, and he's now bogged down in a war with Iran that he doesn't seem capable of ending. He often appears more concerned with his many White House renovations than with whether the Republican Party can hold the House and the Senate in November. So what's going on in this administration? Where is this all going? It's hard to think of a journalist more qualified to answer those questions than Maggie Haberman. As a White House correspondent for The New York Times, she's published some of the hardest-hitting reporting about Trump's second act as president and the group of loyalists that now surrounds him. Haberman, alongside her New York Times colleague Jonathan Swan, just published an extraordinary chronicle of this extraordinary political moment, “Regime Change: Inside the Imperial Presidency of Donald Trump.” In this conversation, we discuss how decisions get made in this White House, what Trump has achieved so far and what's really motivating him as we head toward the midterms. This episode contains strong language. Mentioned: “Maggie Haberman on What an Unleashed Trump Might Do” by The Ezra Klein Show “Trump Says He Decides What ‘America First' Means” by Michael Scherer Book Recommendations: Takeover by Charlie Savage Strangers by Belle Burden I Regret Almost Everything by Keith McNally Thoughts? Guest suggestions? Email us at ezrakleinshow@nytimes.com. You can find the transcript and more episodes of “The Ezra Klein Show” at nytimes.com/ezra-klein-podcast. Book recommendations from all our guests are listed at https://www.nytimes.com/article/ezra-klein-show-book-recs.html This episode of “The Ezra Klein Show” was produced by Jack McCordick. Fact-checking by Michelle Harris, with Mary Marge Locker and Julie Beer. Our senior engineer is Jeff Geld, with additional mixing by Johnny Simon. Our recording engineer is Johnny Simon. Cinematography by Marina King. Video editing by Dani Dillon, Steph Khoury and Jan Kobal. Our executive producer is Claire Gordon. The show's production team also includes Marie Cascione, Annie Galvin, Rollin Hu, Kristin Lin and Emma Kehlbeck. Original music by Pat McCusker. Audience strategy by Shannon Busta. The director of New York Times Opinion Shows is Annie-Rose Strasser. Transcript editing by Kate Wilkinson and Marlaine Glicksman. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

This week, we turn our attention to Billy Wilder's first collaboration with Marilyn Monroe, The Seven Year Itch. It's most famous for the iconic subway-grate skirt blowing image, although, as we discuss, it's a rather small part of the movie.SPOILER ALERT We will be talking about this movie in its entirety. If you haven't seen this classic, we strongly suggest you watch it before listening to our takes.A Twentieth Century-Fox production. Released on June 3, 1955. Directed and produced by Billy Wilder. Screenplay by Billy Wilder and George Axelrod, based on the play by George Axelrod. Starring Marilyn Monroe and Tom Ewell. Cinematography by Milton R. Krasner. Edited by Hugh S. Fowler. Score by Alfred Newman.

President Trump is very unpopular right now. But polls show the Democratic Party is just as unpopular – if not more so. So what can the party do about it?  But to answer that question, you first have to understand what the Democratic Party is. That is, mechanically, what is it? What powers does it have? When you call the Democratic Party, who picks up the phone? And how can that party, the official party, be reinvented for this era? Ben Wikler has a unique perspective on this question. He transformed the Democratic Party of Wisconsin into a fund-raising, door-knocking powerhouse when he served as chair from 2019 to 2025. And he's shared some of his insights from winning elections in a swing state in his new book, “This Is The Plan: How to End America's Meltdown and Save Democracy.” In this conversation, we discuss Wikler's vision for a reinvigorated party, as well as the kinds of changes he thinks Democrats need to embrace if they want to build a bigger tent and a national majority.  Mentioned: “This Is How Democrats Win in Wisconsin” with Ben Wikler on The Ezra Klein Show “GOP midterm strategy: Make it a ‘hate election'” by Marc Caputo Book Recommendations: Master of the Senate by Robert A. Caro Seeing Like a State by James C. Scott Sal & Gabi Break the Universe by Carlos Hernandez Thoughts? Guest suggestions? Email us at ezrakleinshow@nytimes.com. You can find the transcript and more episodes of “The Ezra Klein Show” at nytimes.com/ezra-klein-podcast. Book recommendations from all our guests are listed at https://www.nytimes.com/article/ezra-klein-show-book-recs.html This episode of “The Ezra Klein Show” was produced by Rollin Hu. Fact-checking by Michelle Harris, with Julie Beer. Our senior engineer is Jeff Geld, with additional mixing by Johnny Simon. Our recording engineer is Johnny Simon. Cinematography by Kyle Kelley. Video editing by Steph Khoury and Arpita Aneja. Our executive producer is Claire Gordon. The show's production team also includes Marie Cascione, Annie Galvin, Kristin Lin, Emma Kehlbeck, Jack McCordick, Marina King and Jan Kobal. Original music by Pat McCusker. Audience strategy by Shannon Busta. The director of New York Times Opinion Shows is Annie-Rose Strasser. Transcript editing by Sarah Murphy and Marlaine Glicksman. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

We call on Olivia Wilde’s “The Invite” and discuss: Cinematography, composing for energy; Story & Writing, structure, setups, clear characters; and other such stuff and things and stuff. “What is perfection, anyway? It’s the death of creativity, that’s what I think, while change on the other hand, is the cornerstone of new ideas. God knows […] The post Ep 375: “The Invite” appeared first on The Pestle.

Hello Hello Hello,It's that time of the year when QID does its mid-yearly Bollywood round-up (aka the time when Dhruv and Cris are at their bitchiest). Rather than following our regular format, we've split our episode into 2 parts: the first one, featuring first-time guest & regular writer for The Indian Express, Anas Arif, is (hopefully) the civil one. We discuss two of the more prominent titles of this year—Anubhav Sinha's controversial Assi and Imtiaz Ali's much-revered Main Vaapas Aaunga—extensively to try and understand their appeal (or lack thereof) for a broader audience.The second part of the episode, featuring only Cris and Dhruv, is chaos as usual because we revert to our format of picking notable honorable (or in this case, mostly dishonorable) mentions of the year (so far). We go through these categories by category - discussing performances, direction, writing, music & editing that missed (or, in the rare case, hit) the mark.MAJOR SPOILERS FOR ASSI & MAIN VAAPAS AAUNGAMINOR SPOILERS FOR COCKTAIL 2 & O'ROMEOTIMECODESPART 1 (w/ ANAS) - [00:00 - 01:39:01]Introduction - [00:00 - 03:42]Assi - [03:42 - 51:19]Main Vaapas Aaunga - [51:19 - 01:39:01]PART 2 (w/o ANAS) - [01:39:01 - 02:37:13]Introduction - [01:39:01 - 01:41:26]Honorable/Dishonorable MentionsPerformance - [01:41:26 - 01:47:46]Direction - [01:47:46 - 01:54:28]Writing - [01:54:28 - 02:00:51]Scene - [02:00:51 - 02:07:13]Cinematography - [02:07:13 - 02:14:52]Editing - [02:14:52 - 02:22:16]Music - [02:22:16 - 02:28:39]Film - [02:28:39 - 02:37:13]OUTRO - [02:37:13 - 02:39:07]Do hit 'Follow' on Spotify if you haven't already to help the podcast reach more people!YOU CAN (AND SHOULD!) FOLLOW ANAS ON HIS SOCIALS.TWITTERINSTAGRAMANAS' CRITICAL PIECE ON ASSI & MAIN VAAPAS AAUNGA1. "MVA chronicles a country in danger of forgetting itself."2. "The devastatingly affective tragedy of MVA's climax."3. "Assi vs. Mardaani 3: The grammar of rage in the era of hypermasculine cinema.Follow us on Instagram at:Dhruv: ⁠https://www.instagram.com/terminalcinema/⁠Cris: ⁠https://www.instagram.com/prdscris/⁠Follow us on Letterboxd at:Dhruv - ⁠https://letterboxd.com/aterminalcinema/⁠Cris: ⁠https://letterboxd.com/crislim/⁠

Morris Katz helped orchestrate Zohran Mamdani's historic victory and Graham Platner's ultimately disastrous run for Senate. It's quite a résumé  for a political consultant who is still in his 20s. Platner's implosion could prove particularly costly for Democrats. It may mean the difference between winning and losing a Senate majority. But before the rape accusation that ended his campaign, Platner had come out of nowhere to beat Janet Mills, the sitting governor of Maine, who was Chuck Schumer's hand-picked candidate. The lessons to take from that campaign remain angrily contested.  Katz, a senior adviser to Platner, has been central to many of the most attention-grabbing, populist campaigns in recent years: Besides Mamdani's New York mayoral upset, he worked on John Fetterman's 2022 Senate campaign and Dan Osborn's 2024 independent Senate run in Nebraska. He has figured something out about this political moment. Along the way, he has become a controversial figure himself. So what has he gotten right? And what has he learned from what he's gotten wrong?  This episode contains strong language. Ask Me Anything: We're going to be recording an “Ask Me Anything” episode soon. If you would like to submit a question, email ezrakleinshow@nytimes.com with the subject line “AMA.” Mentioned: “Several Women Who Dated Graham Platner Recall ‘Unsettling' Behavior” by Katie Glueck and Lisa Lerer “How Economic Anxiety Is Driving the Democratic Socialists' Surge” by Emma Goldberg “The search for Carter” by Norman Mailer “The warrior and the priest” by Ronald Brownstein Book Recommendations: Life and Fate by Vasily Grossman The Shame by Makenna Goodman The Fourth Branch by Daniel Squadron Thoughts? Guest suggestions? Email us at ezrakleinshow@nytimes.com. You can find the transcript and more episodes of “The Ezra Klein Show” at nytimes.com/ezra-klein-podcast. Book recommendations from all our guests are listed at https://www.nytimes.com/article/ezra-klein-show-book-recs.html This episode of “The Ezra Klein Show” was produced by Rollin Hu, Annie Galvin and Marie Cascione. Fact-checking by Michelle Harris, with Kate Sinclair, Mary Marge Locker and Julie Beer. Our senior engineer is Jeff Geld, with additional mixing by Johnny Simon and Isaac Jones. Our recording engineer is Johnny Simon. Cinematography by Kyle Kelley. Video editing by Dani Dillon, Julian Hackney and Jan Kobal. Our executive producer is Claire Gordon. The show's production team also includes Kristin Lin, Emma Kehlbeck, Jack McCordick and Marina King. Original music by Pat McCusker. Audience strategy by Shannon Busta. The director of New York Times Opinion Shows is Annie-Rose Strasser. Special thanks to Rebecca Shaid. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

This week, we discuss the classic romantic Cinderella/Ugly Duckling story, Sabrina, a film that showcases Billy Wilder's ability to balance sophisticated, witty dialogue with genuine heart and a smidge of social commentary.SPOILER ALERT We will be talking about this movie in its entirety,. If you haven't seen this classic, we strongly suggest you watch it before listening to our takes.A Paramount Pictures production. Released on September 22, 1954. Directed and produced by Billy Wilder. Screenplay by Billy Wilder, Samuel A. Taylor, and Ernest Lehman, based on the play Sabrina Fair by Samuel A. Taylor. Starring Audrey Hepburn, Humphrey Bogart, and William Holden. Cinematography by Charles Lang. Edited by Doane Harrison. Score by Frederick Hollander.

Blair Davis, PhD., an award-winning Professor of Media and Popular Culture in the College of Communication at DePaul University, joins John Landecker to talk about the different formats available for movies like The Odyssey and how they affect your viewing of the film.

The annual film series ANA Contemporary Arab Cinema is back in New York, with screenings at BAM and the Jacob Burns Film Center. Hear a preview of the event from programmer and curator Lina Matta discusses the events. Plus, Lebanese writer and director, Cyril Aris talks about his film “A Sad and Beautiful World,” and what the series means to filmmakers like him. "A Sad and Beautiful World," is showing at BAM on July 23rd.  Cinematography by Joe Saade, image courtesy of the production Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

For once, women should NOT choose the Bear.Obsession is the runaway horror hit of the year making over $431,000,000 at the global box office meaning this has made over 575 times it's production budget. But so many horror fans have stated that they think this is overhyped and not scary enough to be deemed a modern classic but what is the truth? We discuss our thoughts on the movie including what we loved, what we disliked and the subtext and themes behind this twisted wish tale to settle the debate once and for all!Follow the Complete Guide to Horror Movies podcast on our social channels below.↪ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠↪ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠↪ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠↪ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠↪ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Subscribe to our YouTube channel⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠↪ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Shop our Store!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠↪ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Tip us $5⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠↪ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Linktree⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠↪ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Letterboxd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Chapters0:00 Introduction & Obsession Overview1:48 Why Obsession Is 2026's Biggest Horror Film4:03 First Impressions After Watching7:18 Is Obsession Overhyped?10:05 Watching in Cinemas vs Watching at Home13:18 How a $750K Horror Film Made $430 Million15:54 Kari Barker's Direction & Simple Storytelling18:42 Plot Summary Begins (Spoiler Warning)21:12 Bear's Wish Changes Everything24:03 Nikki's Terrifying Transformation26:53 Favourite Scenes Begin29:14 Indie Navarrette Steals the Movie32:47 The Creepiest Nikki Moments36:21 The Car Scene & Iconic Visuals39:15 Comedy Hidden Inside the Horror42:08 Michael Johnson's Performance45:02 Cinematography, Lighting & Sound Design48:36 Breaking Down the Ending52:18 Did Bear Get What He Wanted?55:11 Nikki: Villain, Victim or Both?58:43 The Film's Message About Obsession1:02:15 Consent, Control & Body Autonomy1:06:34 Why the Ending Is So Disturbing1:10:08 Fan Theories & Alternate Interpretations1:13:41 Horror Trivia & Behind-the-Scenes Facts1:17:08 Biggest Strengths of Obsession1:20:36 What Didn't Quite Work1:24:12 Final Ratings1:27:44 Should You Watch Obsession?1:30:18 Horror Fans vs Casual Viewers1:33:07 Final Thoughts & Closing RemarksObsession is a 2025 American supernatural psychological horror film written, directed, and edited by Curry Barker. The film follows Bear (Michael Johnston), a music store employee who buys a supernatural toy that grants his wish for his friend Nikki (Inde Navarrette) to fall in love with him, resulting in horrific consequences. Obsession premiered on September 5, 2025, at the Toronto International Film Festival (TIFF), where Focus Features acquired the distribution rights for $14–$15 million, the highest price commanded by a genre film in TIFF history, and Jason Blum came on board as an executive producer under Blumhouse Productions. became a sleeper hit, setting multiple box-office records and receiving positive reviews, with Navarrette‘s performance receiving widespread acclaim.It has grossed $430.1 million worldwide and ranks as the seventh-highest-grossing film of 2026.In 2025, Barker said the characters of Obsession are unlikely to appear in another film.In 2026, Barker said he was considering an anthology television series where each episode explores a new character making a wish, or a sequel, for which he has an idea. His next film, Anything but Ghosts, is set in the same shared universe, including a reference to the events of Obsession in the form of a news report.

Non-Spoilers for nearly 75 Mins, we discussed Oscars potential in all categories for Christopher Nolan's The Odyssey, before we dive into about 20 minutes on the film's final act. This is Part I of our coverage of The Odyssey, followed by Part II with a very special guest in Variety's Jazz Tangcay. NON-SPOILER REVIEW OF THE ODYSSEY: Critical & Audience Reception Numbers & Box Office Projections - 2:40 Exceeded Expectations and the Plot Premise - 7:36 Best Picture & Discussing Producers Emma Thomas and Christopher Nolan - 8:12 Is Best Director over? - 11:44 Adapted Screenplay Thoughts & Should AlsoMom come see this - 17:14 Jennifer Lame's Film Editing - 24:31 Matt Damon's Lead Actor Candidacy - 28:34 Anne Hathaway, Casting, Other Supporting Possibilities & Ensemble Awards - 30:46 Sound Design - 42:55 Ludwig Goransson's Original Score - 44:49 Then Original Song: When I'm Home - 50:03 VFX - 51:52 Ellen Mirojnick's Costume Design & The MUAH - 54:20 Hoyt van Hoytema's Cinematography - 1:00:06 Production Design - 1:03:08 The Final Oscar Lens Assessments & Over / Under - 1:07:38 A SHORT SPOILER SECTION ON THE ENDING OF THE ODYSSEY - 1:16:42 OUTRO: Stay tuned for Part II of our coverage of The Odyssey next week when we are joined by a very special guest for a larger spoiler filled discussion. In the meantime, you can read Jazz Tangcay's coverage at Variety here: https://variety.com/author/jazz-tangcay/ We'll also be LIVE on Chaz and AJ in the Morning on Monday 7/20 around 8:20am EST to discuss our reactions to the film. Listen here: https://www.wplr.com/listen-live And finally, you can find links to all our other episodes and social media here: https://linktr.ee/mikemikeandoscar

This week, we discuss the tense but slyly comedic prisoner-of-war thriller, Stalag 17, a film that balances suspense with Billy Wilder's signature sharp, cynical wit.SPOILER ALERT We will be talking about this movie in its entirety. If you haven't seen this classic, we strongly suggest you watch it before listening to our takes.A Paramount Pictures production. Released on July 1, 1953. Directed and produced by Billy Wilder. Screenplay by Billy Wilder and Edwin Blum, based on the play by Donald Bevan and Edmund Trzcinski. Starring William Holden, Don Taylor, Robert Strauss, Harvey Lembeck, and Otto Preminger. Cinematography by Ernest Laszlo. Edited by Doane Harrison. Score by Franz Waxman.

What It Takes to Lead Sports Host Broadcasting: Inside ISB with CEO Ursula Romero This week's podcast special guest is Ursula Romero, CEO and Managing Director of International Sports Broadcasting (ISB), a global leader in host broadcasting operations for the world's biggest sporting events. With over two decades of experience shaping modern broadcast standards, Ursula has worked on every Olympic and Paralympic Games since 1996, as well as major global events including the FIFA World Cup and the Invictus Games. An award-winning producer and director, she is also a passionate filmmaker with a Master's in Cinematography from the London Film Academy. Today, she leads ISB into a new era of technological innovation, diversifying global sports coverage and driving the future of live sports production. In this conversation, Ursula opens up about what it really takes to build a career in sports broadcasting from the ground up, how she navigated the transition from producer to CEO, and why storytelling still sits at the heart of great sports coverage—despite all the technological change. What You'll Discover: How Ursula built a 30-year career in global sports broadcasting From summer jobs as a liaison officer and driver at World Cups and World Championships to directing live sport and leading host broadcasting for Global Sporting Events What it actually takes to be a CEO in sports broadcasting Ursula unpacks the shift from head of production to running ISB, taking over during the pandemic, handling bids, clients, pressure, and the emotional reality of stepping into her late father's role. Why storytelling will always beat technology How Ursula thinks about live sport as storytelling, what's changed (and what hasn't) from the 1980s to the age of TikTok, and how to use new platforms without losing narrative quality. The future of live production, social media, and AI in sport Ursula shares how vertical video, second-screen experiences, fan engagement tools, and AI are reshaping coverage—and how to use these tools without diluting the human side of sport. Practical career advice for aspiring sports broadcasters Why work experience beats classroom theory, how to get your foot in the door, the importance of saying "yes" to unglamorous roles, and why exploring non-mainstream sports can be your edge—and much more. Connect with Ursula:  LinkedIn: https://www.linkedin.com/in/ursula-romero-1b938810/ Instagram: https://www.instagram.com/ualecrim/ SBI Website: https://isbtv.es/ SBI Instagram: https://www.instagram.com/isbc_live

You can't understand China today without understanding its president, Xi Jinping. Since coming to power in 2012, Xi has doubled down on communist ideology and significantly consolidated his own power while transforming China into an industrial juggernaut unrivaled in the world. And Xi's ambitions for China go far beyond that. So what does Xi want for China in the coming years? And how should the United States respond? Kevin Rudd has a unique perspective on these questions. He first met Xi in the 1980s, when Rudd was a China analyst in Australia's foreign service and Xi was a local party official. Decades later, when Rudd was the prime minister of Australia and Xi was China's vice president, the two men got to know each other better. And after leaving office, Rudd decided to really try to understand Xi; his latest book, “On Xi Jinping: How Xi's Marxist Nationalism Is Shaping China and the World,” is built off the doctorate he pursued at Oxford after his time as prime minister. Rudd recently finished a stint as Australia's ambassador to the United States and is now the global president and chief executive of the Asia Society. In this conversation, Rudd explains Xi's ideology and the forces that shaped it, his ambitions for China and strategy for achieving them, and what Xi thinks of the United States and Trump. Mentioned: On Xi Jinping by Kevin Rudd The Avoidable War by Kevin Rudd Book Recommendations The Party's Interests Come First by Joseph Torigian The Souls of China by Ian Johnson Magnifica Humanitas by Pope Leo XIV Thoughts? Guest suggestions? Email us at ezrakleinshow@nytimes.com. You can find the transcript and more episodes of “The Ezra Klein Show” at nytimes.com/ezra-klein-podcast. Book recommendations from all our guests are listed at https://www.nytimes.com/article/ezra-klein-show-book-recs.html This episode of “The Ezra Klein Show” was produced by Rollin Hu. Fact-checking by Michelle Harris, with Kate Sinclair and Mary Marge Locker. Our senior engineer is Jeff Geld, with additional mixing by Johnny Simon. Our recording engineer is Johnny Simon. Cinematography by Marina King. Video editing by Steph Khoury, Dani Dillon and Kristen Williamson. Our executive producer is Claire Gordon. The show's production team also includes Marie Cascione, Annie Galvin, Kristin Lin, Emma Kehlbeck and Jack McCordick. Original music by Pat McCusker and Diane Wong. Audience strategy by Shannon Busta. The director of New York Times Opinion Shows is Annie-Rose Strasser. And special thanks to Joseph Torigian and Eyck Freymann. Transcript editing by Sarah Murphy and Marlaine Glicksman. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Already this summer, there have been huge wildfires in the Southwest and Great Plains and an extraordinary heat wave in Europe, as the world stares down the barrel of a powerful El Niño. Climate change is accelerating, and yet climate politics right now is in disarray. But something else is happening, too. Advances in clean energy technology mean it is now possible to build a world of energy abundance that was the stuff of dreams just a few years ago. That means a new kind of climate politics is possible — one that doesn't just talk about sacrifice and disaster prevention but also can present decarbonization as a path to somewhere better, where everyone has more, not less. Bill McKibben is one of the best people at articulating that vision. He's a founder of the climate action groups 350.org and Third Act, and he's been at the vanguard of the climate movement for decades. His 1989 book, “The End of Nature,” is considered the first book on global warming written for a general audience. His latest book, published last year, is “Here Comes the Sun: A Last Chance for the Climate and a Fresh Chance for Civilization.” Mentioned: “Global Electricity Review 2026” by Ember The End of Nature by Bill McKibben “The New Right's Very Old Vision of Men,” The Ezra Klein Show with Helen Lewis “We're All Living in the ‘Mirror World' Now,” The Ezra Klein Show with Naomi Klein Book Recommendations: The Glorians by Terry Tempest Williams The Beginning Comes After the End by Rebecca Solnit The Carbon Wave by Leah C. Stokes Brought to You By by Amy Westervelt End Times Fascism by Naomi Klein and Astra Taylor Thoughts? Guest suggestions? Email us at ezrakleinshow@nytimes.com. You can find the transcript and more episodes of “The Ezra Klein Show” at nytimes.com/ezra-klein-podcast. Book recommendations from all our guests are listed at https://www.nytimes.com/article/ezra-klein-show-book-recs.html This episode of “The Ezra Klein Show” was produced by Jack McCordick. Fact-checking by Michelle Harris and Julie Beer. Our senior engineer is Jeff Geld, with additional mixing by Johnny Simon. Our recording engineer is Johnny Simon. Cinematography by Kyle Kelley and Marina King. Video editing by Brandon Belk-Yee, Dani Dillon and Julian Hackney. Our executive producer is Claire Gordon. The show's production team also includes Marie Cascione, Annie Galvin, Rollin Hu, Kristin Lin and Emma Kehlbeck. Original music by Pat McCusker. Audience strategy by Shannon Busta. The director of New York Times Opinion Shows is Annie-Rose Strasser. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

6 Questions to Ask on a Discovery Call (FREE download)https://the505podcast.beehiiv.com/products/6questions ( https://the505podcast.beehiiv.com/products/6questions )What's up Rock Nation! Today we're joined by Dom, aka Dom The DP, a longtime freelance ...

This week, we discuss Billy Wilder's darkest and most cynical film, Ace in the Hole, a scathing indictment of tabloid journalism and public spectacle. It flopped on its original release but has seen its reputation improve as time catches up to it.SPOILER ALERT We will be talking about this movie in its entirety. If you haven't seen this film, we strongly suggest you watch it before listening to our takes.A Paramount Pictures production. Released on June 29, 1951. Directed and produced by Billy Wilder. Screenplay by Billy Wilder, Lesser Samuels, and Walter Newman. Starring Kirk Douglas, Jan Sterling, Robert Arthur, and Porter Hall. Cinematography by Charles Lang. Edited by Doane Harrison. Score by Hugo Friedhofer.

The old solutions to the Israeli-Palestinian conflict don't seem to fit the present reality. A two-state solution feels increasingly impossible, given the scale of Israeli settlements in the West Bank and the Palestinian determination for a right of return. And a one-state solution, in which Israelis and Palestinians would live as equal citizens in a single state, is hard to imagine, given how strongly both peoples seek political self-determination. But what if those aren't the only options? A Land for All is an Israeli-Palestinian initiative that is proposing a confederation model: two sovereign states, structured to allow freedom of movement between them. It's a theory of peace based on neither separation nor unification. It holds, first, that both peoples have a relationship to and claim on all the land and, second, that both peoples want to control their own political destinies. I have been — and am — skeptical of solutions to a conflict that is so devoid of the political conditions for a settlement. But even if you're far from your destination, it's worth knowing where it is you hope to go. So could this be an answer for both peoples? How would it handle the problems that have bedeviled previous solutions, from security and violence to religious extremism? Rula Hardal and May Pundak are the executive directors of A Land for All. Hardal is a Palestinian citizen of Israel who received her doctorate in political science from the University of Hannover in Germany, and Pundak is an Israeli lawyer, activist and social entrepreneur. They joined me to explain how A Land for All would work and why they think it might succeed where so much else has failed. Mentioned: A Land for All plan Rula Hardal's Book Recommendations: The Holocaust and the Nakba, edited by Bashir Bashir and Amos Goldberg States of Denial by Stanley Cohen Israel: What Went Wrong? by Omer Bartov May Pundak's Book Recommendations: Tomorrow Is Yesterday by Hussein Agha and Robert Malley A Psalm for the Wild-Built by Becky Chambers The Moomin series by Tove Jansson Thoughts? Guest suggestions? Email us at ezrakleinshow@nytimes.com. You can find the transcript and more episodes of “The Ezra Klein Show” at nytimes.com/ezra-klein-podcast. Book recommendations from all our guests are listed at https://www.nytimes.com/article/ezra-klein-show-book-recs.html This episode of “The Ezra Klein Show” was produced by Jack McCordick. Fact-checking by Michelle Harris and Kelsey Lannin. Our senior engineer is Jeff Geld, with additional mixing by Johnny Simon. Our recording engineer is Johnny Simon. Cinematography by Marina King and Eric Laplante. Our executive producer is Claire Gordon. The show's production team also includes Marie Cascione, Annie Galvin, Rollin Hu, Kristin Lin and Emma Kehlbeck. Original music by Pat McCusker. Audience strategy by Shannon Busta. The director of New York Times Opinion Shows is Annie-Rose Strasser. Transcript editing by Filipa Pajevic and Marlaine Glicksman. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Show NotesWhat does it really mean to film something that can't be seen?In this episode of Filmmaking Conversations, I sit down with award-winning documentary cinematographer Liz Moughon to explore the emotional and technical craft of visual storytelling.Liz has worked with ProPublica, Blue Chalk Media and some of the world's leading documentary filmmakers, creating films that explore grief, illness, identity, hope and resilience. From documenting families affected by stillbirth to investigating one of the largest medical device recalls in history, her work demonstrates how cinematography can reveal emotional truth through observation rather than spectacle.We discuss why perspective matters just as much as composition, how documentary filmmakers earn trust during intimate moments, and the importance of knowing when to keep filming—and when to simply listen.Liz also opens up about living with Type 1 diabetes, explaining how she transformed a deeply personal experience into an artistic project by photographing an entire year's worth of the medical supplies that kept her alive. Rather than seeing them as waste, she began seeing them as evidence of resilience, creativity and survival.This is a thoughtful conversation about empathy, collaboration, vulnerability, emotional landscapes, and why the most powerful stories are often found in the quiet moments people overlook.In this episode we discuss:• How Liz discovered filmmaking through photojournalism• Why documentary cinematography is about perspective rather than simply beautiful images• Capturing grief, hope and emotional truth on camera• Filming intimate moments ethically• The visual language of documentary filmmaking• Working with ProPublica and investigative documentaries• Turning Type 1 diabetes into an artistic project• Why details and visual metaphors create emotional impact• The importance of collaboration in filmmaking• Why curiosity is a filmmaker's greatest strengthMentioned in this episode• Liz Moughon's website https://lizmoughon.com/about• Before a Breath• With Every Breath• Blue Chalk Media• ProPublicaFrom Liz MoughonA to Z music video https://tennmore.com/atoz/Inspired by movement, identity, Baltimore street culture, discipline, and emotional transformation, the film blends intimate visuals with a reimagined performance of Ludovico Einaudi's “Experience.”Filmed across Baltimore with a focus on texture, motion, stillness, and human connection, A to Z represents the beginning of a larger body of work from TennMore Studios – combining documentary sensibilities, cinematic filmmaking, and emotionally grounded storytelling. Team Type 1 https://lizmoughon.com/teamtype1Type 1 Diabetes is full of routines no one sees, especially the supplies that pile up quietly in the background. Most of the time, those supplies get thrown away. What if we turned them into something cool?For one year I saved every pod, sensor, alcohol wipe, etc. that helped keep me alive, and I made a self-portrait surrounded by all of it. I'm inviting you to do the same thing – your way. Save your supplies for a few months, a year or whatever feels right. Then create something: a photo, video, sculpture, collage, anything. This is your invitation. Support Independent FilmmakingPlease check out the links below to support two previous Filmmaking Conversations guests.

We are back this week, with the action-adventure classic, Raiders of the Lost Ark, which brought together Steven Spielberg and George Lucas to introduce audiences to iconic hero Indiana Jones.SPOILER ALERT We will be talking about this movie in its entirety, including the iconic opening temple run and the supernatural climax. If you haven't seen this classic, we strongly suggest you watch it before listening to our takes.A Lucasfilm production, released by Paramount Pictures on June 12, 1981. Directed by Steven Spielberg. Screenplay by Lawrence Kasdan, based on a story by George Lucas and Philip Kaufman. Starring Harrison Ford, Karen Allen, Paul Freeman, Ronald Lacey, John Rhys-Davies, and Denholm Elliott. Cinematography by Douglas Slocombe. Edited by Michael Kahn. Music by John Williams.

Mindframes Show Notes Obsession (2026) Directed by: Curry Barker Written by: Curry Barker Starring: Michael Johnston, Inde Navarrette, Cooper Tomlinson, Megan Lawless, Andy Richter IMDB: https://www.imdb.com/title/tt37287335/ Episode Summary In this episode of Mindframes, Michael and Dave dig into Obsession (2026), Curry Barker's micro-budget feature debut that turned into one of the biggest horror phenomenons in years — a $750K film bought for $15 million out of TIFF that went on to gross well over $148 million worldwide, growing at the box office in consecutive weekends rather than declining. The discussion explores the film's monkey's-paw premise, its working-class Gen Z setting, the moral architecture of Bear's wish, and the central question of whether Bear is the film's actual villain — while comparing the film to Weapons, Pearl, Get Out, The Witch, and Isaac Asimov's Foundation and Empire. Thematic Discussion Obsession explores consent and agency — what happens when desire is granted without consent. The film suggests that Bear doesn't earn or deserve Nikki's love; he eliminates her will and replaces it with his own. As Curry Barker has put it, "love is earned, not demanded," and "any time you wish for something, it's probably going to be selfish." The true engine of the horror isn't the curse twisting the wish — it's that the wish works exactly as asked. On-air verdict — Is Bear the villain? Both hosts landed on no. He's flawed, selfish, and prolongs the harm once he knows better, but he's the story's antagonist rather than its villain — if anyone is the "real" villain, it's the cursed object itself. Michael's framing: not every flawed person is a villain, and the film is more interesting because its characters are layered rather than purely good or evil. On-air verdict — the ending. Dave correctly intuited that Nikki originally killed herself in an earlier draft — that actually was Barker's original Romeo-and-Juliet mutual-suicide ending, before his playwright father pushed him toward the survival cut used in the final film. Michael argued the survival ending is more thematically persuasive: if the theme is one person's coercion of another's agency, the resolution should be Nikki's, not a mutual destruction that treats the harm as shared. Bear's selfishness has to die for Nikki to live. A live reference worth flagging for listeners: Michael cited Naomi Serpell's New Yorker piece "The New Literalism" (March 2025) as a framework for questioning how intentionally — and how literally — modern horror handles its themes of trauma and control. ⏱️ Timestamps Time Segment 00:01 Intro & setup 00:03 Director background — Curry Barker, box office story 00:09 Cinematography & cast discussion 00:30 Reviews & ratings 00:41 ⚠️ Spoiler section begins — "What would you wish for?" 00:44 Thematic discussion: consent and agency 00:45 Is Bear the villain? 01:01 The ending — survival vs. the original Romeo & Juliet cut 01:13 The New Literalism / intentionality debate 01:22 Closing thoughts & next episode

This week on And Now For Something Completely Machinima, Phil Rice, Tracy Harwood and Damien Valentine dive into Michael Is Very Vintage's hilarious Garry's Mod space comedy An Astounding Tale from Outer Space. What begins as a simple spaceship emergency quickly spirals into absurdity when an incompetent captain decides that cloning himself is a better solution than actually fixing the problem.The team explores the film's brilliant use of slapstick comedy, satirical storytelling, inventive sound design, and surprisingly sophisticated filmmaking craft. From Alien and Red Dwarf influences to hidden Easter eggs, classic action-movie tropes, and the unique creative possibilities of Garry's Mod, this episode celebrates one of the most entertaining machinima films of the year.Along the way, the discussion turns to Michael's growing signature style, the role of game-engine accidents in comedy, the future of machinima creators working in platforms like Garry's Mod, iClone and Unreal Engine, and whether works like this have a place beyond YouTube in archives, festivals, and cultural collections.This week's pick is a love letter to inventive machinima, creative chaos, and the enduring power of comedic timing. 01:16 – Damien introduces the film and explains why he picked it04:05 – Tracy's reaction: why this is her favourite film of the month05:00 – Cloning, delegation, bureaucracy and the film's satirical core06:30 – Garry's Mod humour, slapstick physics and six personalities from one character07:45 – Alien, Red Dwarf, Futurama and classic sci-fi influences09:26 – The ending, anti-climax as comedy, and why it works10:00 – Outstanding sound design, voice acting and comic timing12:32 – Phil's review: comparing the film to Ridiculous Ties and other animated comedy machinima13:12 – Why Michael Is Very Vintage is developing a distinctive creative voice14:20 – Hidden Easter eggs, visual gags and blink-and-you-miss-them details15:15 – The film's unique soundscape: cartoon logic, meme culture and deliberate absurdity18:30 – Recognising an auteur style in machinima filmmaking19:14 – Deep dive into the film's references, props, set dressing and visual jokes23:30 – What the Easter eggs reveal about the creator's influences and generation27:55 – Michael's rapid output and growing body of work29:24 – Behind-the-scenes videos and custom set construction in Hammer Editor29:50 – Cinematography highlights and impressive in-engine camera work30:52 – A broader question: what future exists for talented Gary's Mod filmmakers?32:20 – Can skills developed in Gary's Mod transfer to animation, virtual production and film?37:15 – Damien on iClone, animation principles and platform-specific comedy38:35 – Does Gary's Mod itself become part of the joke?39:24 – Happy accidents, bugs and creative inspiration in machinima production44:00 – From software glitches to award-winning films45:04 – Physics engines, experimentation and unexpected outcomes46:44 – Final thoughts and audience feedback invitation47:11 – Closing remarksIf you've ever wondered what would happen if the least competent person on a spaceship cloned themselves five times to avoid doing their job, this episode is for you.Credits -Speakers: Phil Rice, Damien Valentine, Tracy HarwoodProducer/Editor: Phil RiceMusic: Phil Rice & SunoAI

We sneak up on Spielberg’s “Disclosure Day” and discuss: Cinematography, blocking cars; Story & Writing, modern vs classic cinema; and other such stuff and things and stuff. “When you’re young, you look at television and think, there’s a conspiracy. The networks have conspired to dumb us down. But when you get a little older, you […] The post Ep 371: “Disclosure Day” appeared first on The Pestle.

In part 3 of our MMO UFO miniseries, we review Steven Spielberg's Disclosure Day, starring Emily Blunt, Josh O'Connor, Coleman Domingo, Colin Firth and Eve Hewson (which we mispronounce as Hewitt for the entire film because ....Jennifer Love Hewitt?) NON-SPOILER REVIEW SECTION: Difference in Opinion? - 2:32 Production Profile - Inception - 3:49 Best Spielberg in the last 20 years? - 5:40 Critical Reception vs Audience Scores & Early Box Office - 6:55 Why Obsession is a Best Picture nominee side rant & Back to DD Reception - 12:51 Non-Spoiler Script Thoughts - 16:22 Does Emily Blunt Get Nominated? - 21:56 Glowing Reviews of the Score, Cinematography, Editing - 26:24 Oscar Lens: Our Over/Under to how many, if any noms it'll get - 33:06 SPOILER WARNING - 37:25 SPOILER REVIEW SECTION: Mike 1 on why politics have ruined the ending & message - 38:23 AlsoMike psychoanalyzes Mike 1's belief in aliens - 45:14 Updated Spielbergian Themes & Remaining Generic - 48:37 Abandoning Intriguing Possibilities & Emily Blunt's worst scene - 50:11 Issues with the Sci-Fi - 54:21 Issues with the bad guy - 59:45 Even the beginning didn't get a follow through - 1:02:11 Some Best Scenes & Strong Starts - 1:03:30 Final Grades - 1:06:19 OUTRO: Discussion on how we like to do film festivals after spending some time at Tribeca and hinting at what's next. https://linktr.ee/mikemikeandoscar

In this compelling episode, host Chris Stafford welcomes German cinematographer Bebe Dierken for an intimate and revealing conversation about the art and emotional power of visual storytelling. Known for Dangerous Truth, Sexy Beast, Midas Man, Bridgerton with her distinctive visual language and ability to translate narrative into striking imagery, Bebe Dierken has built a career behind the camera shaping stories through light, composition, and movement. In this episode, she shares her journey into cinematography, the creative influences that shaped her eye, and the challenges and rewards of working in a field where technical precision meets artistic instinct.Through Chris Stafford's signature unscripted and deeply personal interview style, Bebe opens up about the realities of working on set, collaborating with directors, and finding her voice as a cinematographer in a competitive global industry. The conversation explores how she approaches why cinematography is as much about emotion as it is about technique. Bebe reflects on the evolving role of cinematographers today and the importance of authenticity, perspective, and creative courage in her work.As part of the Women Unscripted podcast network, this episode continues the tradition of elevating the voices of women in the arts through honest, insightful, and deeply human conversations. Chris Stafford's ability to create a trusted space allows guests like Bebe Dierken to share not just their professional journey, but the personal experiences that inform their artistry. Whether you are a filmmaker, artist, or simply fascinated by the power of cinema, this episode offers inspiration, insight, and a deeper appreciation for the visual storytelling that shapes the way we see the world.Bebe's links: https://www.bebedierken.com/https://www.instagram.com/bebedierken/https://www.imdb.com/name/nm1029068/Favorite female artists: Nancy Schreiber, Amy Vincent.Dinner party guests: Tom Ford,  Kevin de lay Noy, Madonna, John Kevin Gibb, Neill deGrass Tyson, 

We loved the cinematography of Maul: Shadow Lord so much that it inspired us to go back to our roots and analyze the cinematography of the Star Wars Original Trilogy. We specifically focus on Luke Skywalker in three character-building scenes: the binary sunset from A New Hope, when he meets Yoda in Empire Strikes Back, and when he resists the Emperor in Return of the Jedi. We discuss lighting, costumes, framing, and so much more! We hope you enjoy this deep dive into one of cinema's most iconic characters.Watch our special EXTRA 200th episode for free on our Patreon (it's different from this audio episode): ⁠⁠⁠https://www.patreon.com/posts/its-our-200th-156470434⁠⁠⁠Support us on Patreon for as little as $3/month: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/MostThingsKenobi⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠most_things_kenobi⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠mostthingskenobi.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠MostThingsKenobi⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠most_things_kenobi⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Tumblr: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠MostThingsKenobi⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

In this compelling episode, host Chris Stafford welcomes German cinematographer Bebe Dierken for an intimate and revealing conversation about the art and emotional power of visual storytelling. Known for Dangerous Truth, Sexy Beast, Midas Man, Bridgerton with her distinctive visual language and ability to translate narrative into striking imagery, Bebe Dierken has built a career behind the camera shaping stories through light, composition, and movement. In this episode, she shares her journey into cinematography, the creative influences that shaped her eye, and the challenges and rewards of working in a field where technical precision meets artistic instinct.Through Chris Stafford's signature unscripted and deeply personal interview style, Bebe opens up about the realities of working on set, collaborating with directors, and finding her voice as a cinematographer in a competitive global industry. The conversation explores how she approaches why cinematography is as much about emotion as it is about technique. Bebe reflects on the evolving role of cinematographers today and the importance of authenticity, perspective, and creative courage in her work.As part of the Women Unscripted podcast network, this episode continues the tradition of elevating the voices of women in the arts through honest, insightful, and deeply human conversations. Chris Stafford's ability to create a trusted space allows guests like Bebe Dierken to share not just their professional journey, but the personal experiences that inform their artistry. Whether you are a filmmaker, artist, or simply fascinated by the power of cinema, this episode offers inspiration, insight, and a deeper appreciation for the visual storytelling that shapes the way we see the world.Bebe's links: https://www.bebedierken.com/https://www.instagram.com/bebedierken/https://www.imdb.com/name/nm1029068/Favorite female artists: Nancy Schreiber, Amy Vincent.Dinner party guests: Tom Ford,  Kevin de lay Noy, Madonna, John Kevin Gibb, Neill deGrass Tyson, 

⚠️ SPOILER REVIEW: Star Wars: The Mandalorian & Grogu | Geek Buddies Din Djarin and Grogu have finally made the leap to the big screen — and the Geek Buddies have THOUGHTS. John Rocha, Michael Vogel and Shannon McClung sit down for a full spoiler-filled breakdown of Star Wars: The Mandalorian & Grogu. Nothing is off limits — we're diving deep into every moment, every twist, and everything this movie means for the future of Star Wars!

Watch on YOUTUBECinematographer Natasha Braier ASC returns to Drinks and a Movie Podcast to talk about her mentorship platform Deep-Light, the realities of working in cinematography, leadership on film sets, creative problem solving, and her upcoming work with director Boots Riley on I Love Boosters. Known for her stunning work on films like The Neon Demon, Honey Boy and The Rover, Natasha opens up about the side of filmmaking nobody talks about: navigating pressure, collaboration, leadership, imposter syndrome, difficult film sets, and the emotional reality of being a cinematographer.If you're a filmmaker, cinematographer, film student, director, or creative trying to survive the industry while protecting your voice, this conversation is packed with real insight. Visit www.deep-light.com for more information on Natasha's mentorship program.Listen to my first podcast episode with Natasha Here https://podcasts.apple.com/us/podcast...

Welcome back! This week the ladies dive into "The Drama", the uncomfortable, anxiety-inducing A24 film starring  Zendaya and Robert Pattinson. What starts as an awkward romantic drama about an engaged couple heading into their wedding week, quickly spirals into something much darker after a “worst thing you've ever done” conversation goes completely off the rails. Emma reveals a disturbing part of her teenage past, and that one confession detonates the relationship, the "friend"group, and the entire wedding weekend. We break down the film's tense atmosphere, uncomfortable chemistry, and the bigger conversations surrounding alienation, radical honesty, identity, and whether people should be permanently defined by their teenage years. We also discuss how the movie intentionally challenges audience expectations by centering a Black woman in a narrative typically associated with a very different demographic, and whether that changes the level of empathy viewers are willing to extend. If you watched this movie and immediately needed to unpack all of that emotional chaos with somebody, this episode is for you. Cheers!

We thirst for Curry Barker’s “Obsession” and discuss: Cinematography, story-motivated silhouettes; Sound Effects, revealing story through sound; Story & Writing, obsessions; and other such stuff and things and stuff. “Do not wait to strike till the iron is hot; but make it hot by striking.“ – W.B. Yeats Notes & References: Supports us on our […] The post Ep 368: “Obsession” appeared first on The Pestle.

Marvin Rush joins us this week on The D-Con Chamber for a wide-ranging conversation about his extraordinary career behind the camera.Best known to Trek fans for helping define the look of The Next Generation era and for directing episodes like Voyager's “The Thaw” and Enterprise's “In a Mirror, Darkly, Part II” and “Terra Prime,” Marvin opens up to Connor and Dominic in a way that surprised even us. What starts as a conversation about cinematography quickly turns into stories about the people, pressures, creative decisions, and strange moments that shaped decades of television history.We also spend time talking about his work outside of Star Trek, the changing nature of filmmaking, and what it was really like working through some of the biggest shifts in television production over the years.Each week in The D-Con Chamber, we boldly revisit Star Trek: Enterprise through behind-the-scenes stories, watch-along commentaries, and conversations with the people whose lives were forever changed by the franchise. Whether they are breaking down classic episodes or welcoming special guests from across the Trek universe and beyond, hosts Dominic Keating and Connor Trinneer mix laughs, insider perspective, and Trek appreciation in every episode.

Send us Fan MailLegends of The Lens - Episode 3 for 2026The Master of Light & Shadow - Steven Bernstein - 50 Years of CinematographyWhat does it take to sustain five decades at the top of the film industry? In this technical archive session, we sit down with —Steven Bernstein, ASC. With over 50 years of cinematography experience, Steven has shaped the visual language of some of the most culturally significant films in history; Mr. Bernstein is also a director, screenwriter, author and podcast host. From his early days at the BBC and the high-energy era of music videos to winning an Oscar for the raw, haunting aesthetic of Monster (Charlize Theron), Steven deconstructs the craft behind the camera. We go deep into the lighting techniques of global cult classics like The Waterboy, White Chicks, and Half Baked, and discuss the magical realism of Like Water for Chocolate.We also tackle the massive shifts of 2026: The role of AI in filmmaking, the technical evolution of drones in cinema, and why the "cinema experience" remains a vital battleground against the streaming giants. This is more than an interview; it is a technical masterclass and a legacy archive for anyone serious about the craft of filmmaking.Chapters0:00 Intro – 50 Years of Cinematography – Steven Bernstein ASC3:03 The UK Roots – BBC & The Era of Music Videos8:36 Steven's ‘Yes' Moment: Breaking into Hollywood12:37 The Real Role of a Cinematographer (Masterclass)16:34 Steven's First Film – Lessons from the Set18:00 Like Water for Chocolate – Visual Storytelling20:57 Bulletproof – Action & Lighting Techniques26:18 Drones in Cinema + The Impact of AI in 202637:04 Streaming vs. The Cinema Experience45:07 The Water Boy & White Chicks – Lighting Comedy47:23 Scary Movie 2 – Horror Parody Aesthetics50:02 Half Baked – The Stoners Cult Classic51:04 Monster – How to Film Oscar Winning Cinema 59:34 Steven's 2026 Outlook + New Novel: GRQ1:03:06 Steven's Final Advice for Filmmakers1:05:01 Outro & Audible 30-Day Free Trial Follow Steven Bernstein – Social Media + Websites:Instagramhttps://www.instagram.com/stevenbernsteindirectorwriter?igsh=dmQwdjhrZ2FoZTNqPodcast – Filmmaker and Fanshttps://podcasts.apple.com/au/podcast/filmmaker-and-fans-podcast/id1728761046Directors Guild Of Americawww.dga.org International Cinematographers Guildwww.icg600.com DMR is proud to be part of the Audible Creator Program. Support the channel and grab a 30-day free trial + any audiobook for free (even if you cancel!)  (I earn a commission if you sign up via this link at no extra cost to you. Thanks for the support!) The link isn is the show!#cinema #cinematography #scarymovie #monster #adamsandler #interview #masterclass #whitechicks #halfbakedSupport the showThe audio clips used in this podcast, including excerpts from movie/series/documentary trailers, are used under the principles of fair use and fair dealing for the purpose of criticism, commentary, and review. All rights to the original trailer content & music belong to the respective copyright holders. DMR (Dewey's Movie Reviews) is an independent production and is not affiliated with or endorsed by any film studios or distributors.

It's Part 2 of our 100% Accurate Way Too Early Oscar Predictions, where we discuss the Best Picture, Screenplays, Director and many of the other craft categories. Plus, you get our Nomination Tallies for our overall leaders and Winner Picks! Post Narnia-Move Prediction Changes - 1:54 Original Screenplay - 4:45 Adapted Screenplay - 9:28 Makeup and Hairstyling - 12:55 Costume Design - 17:33 Production Design - 22:24 Cinematography - 25:21 Film Editing - 27:33 Casting - 30:05 Director - 34:10 Going Back To Pick Winners - 39:27 Best Picture + Nomination Tallies - 43:55 OUTRO: Stay tuned to our podcast feed for more Oscar Race Checkpoints covering the upcoming Cannes Film Festival, and many more Oscar Profile Reviews covering the releases of this year. We'll also continue to have special episodes and interviews with great guests. https://linktr.ee/mikemikeandoscar

Dana and Tom with guest, Myke Emal (Host and Creator of the Cinemusts podcast), discuss Yojimbo (1961) for its 65th anniversary: written and directed by Akira Kurosawa with Ryūzō Kikushima and Hideo Oguni, cinematography by Kazuo Miyagawa, music by Masaru Sato, editing by Akira Kurosawa, starring Toshiro Mifune, Eijirō Tōno, Tatsuya Nakadai, and Daisuke Katō.Plot Summary: In a small, lawless town divided by two rival gangs, Toshiro Mifune plays a wandering ronin who sees an opportunity. Pretending to work for both sides, he tricks each gang into fighting the other, hoping to wipe them out and bring peace to the town. As his plan unfolds, the violence grows, and innocent people are caught in the middle.The ronin must rely on his intelligence and sword skills to survive as both gangs begin to suspect his true intentions. In the end, he faces the consequences of his dangerous game while trying to restore some sense of justice.Guest:Myke EmalHost and Creator of the Cinemusts podcast@cinemusts on Twitter, Letterboxd, Facebook, and IGPreviously on Anatomy of a Murder (1959), Sabotage (1936)Chapters:00:00 Introduction, Cast, and Background for Yojimbo05:59 Welcome Back, Myke Emal!06:46 Getting Into Yojimbo10:48 Is the Divided Town Symbolic of Anything?12:55 Endorsement of Violence?18:05 Dana's War Stories19:48 Plot Summary for Yojimbo20:37 What is Yojimbo About?21:39 Did You Know?27:35 First Break28:18 What's Happening with Myke Emal?29:49 Best Performance(s)42:17 Best Scene(s)48:51 Second Break52:18 In Memoriam55:36 Best/Funniest Lines57:57 The Stanley Rubric - Legacy01:04:56 The Stanley Rubric - Impact/Significance01:09:16 The Stanley Rubric - Novelty01:16:13 The Stanley Rubric - Classicness01:22:36 The Stanley Rubric - Rewatchability01:26:39 The Stanley Rubric - Audience Score and Final Total01:29:54 Remaining Questions for Yojimbo01:37:29 Thank You to Myke and Final Thoughts01:42:56 CreditsYou can also find this episode in full video on YouTube.You can now follow us on Instagram, Twitter, Bluesky, Threads, YouTube, or TikTok (@gmoatpodcast).For more on the episode, go to: https://www.ronnyduncanstudios.com/post/yojimbo-1961-ft-myke-emalFor the entire rankings list so far, go to: https://www.ronnyduncanstudios.com/post/greatest-movie-of-all-time-listKeywords:Yojimbo, Kurosawa, Samurai Films, Cinematography, Film Influence, Western Adaptations, Film Analysis, film legacy, cinema influence, Japanese cinema, film analysis, rewatchability, film impact, classic films, film discussionRonny Duncan Studios

Watch this episode on YouTubeIn this episode of Drinks and a Movie, I sit down with cinematographer Brandon Cox to talk about his work on the visually striking new film One Spoon of Chocolate, directed by the RZA. We dive into the creative process behind the film's look, how Brandon approached lighting and camera movement, and what it was like collaborating with RZA to bring this story to life.Pour yourself a drink and join us for a laid-back but in-depth discussion on cinematography, storytelling, and the art of making movies.

Tom Duncan and Sara Shea continue their journey through Season 1 of The West Wing, this time with episode 1.22 - the first season finale. We are joined by friend of the show, Klarissa Beckstead (I've Seen That One podcast). In this episode, Sara is given a difficult choice, our intrepid hosts grade The West Wing - Season 1, and they pick what's to come next for Season 2.Chapters:00:00 Introduction02:45 Recap of Season One and Episode 22 of The West Wing05:59 Emotional Reactions to the Season Finale08:52 Character Development and Plot Predictions11:48 Political Themes and Real-World Parallels14:45 Interpersonal Relationships and Character Dynamics17:47 Discussion on the Iraqi Plotline20:52 Reflections on Historical Context and Relevance26:12 Character Favorites and Dynamics28:42 Exploring Toby's Depth and Complexity29:44 Emotional Resonance of Space Tragedies31:34 Cliffhangers and Viewer Reactions33:44 Anticipation for Future Episodes39:39 Navigating Choices, Decisions, and Chaos48:39 Overview of Season Ratings and Rankings51:33 Acting Performance Evaluation54:33 Writing Quality Assessment57:36 Intangibles and Emotional Impact01:00:35 Cinematography and Visual Presentation01:03:30 Narrative Structure and Cohesion01:06:34 Character Development and Dynamics01:20:27 Character Development and Mistakes01:22:41 Ratings and Expectations for Season One01:25:03 Editing and Pacing in Aaron Sorkin's Work01:28:15 Final Thoughts on Season One Ratings01:29:30 Choosing the Next Show: Options and Decisions01:41:27 Deciding on 'The Good Wife' for Next SeasonKeywords:The West Wing, TV analysis, character development, political drama, episode review, emotional impact, storytelling, season one, character analysis, show notes, TV show analysis, binge-watching, season finale, show grading, streaming options

On April 12th, 1961, Yuri Gagarin became the first human in space. Sixty-five years later, we celebrated that milestone at Griffith Observatory in Los Angeles, CA. We began on the lawn of Griffith Observatory, where host Sarah Al-Ahmed spoke with exhibitors about the tools, dreams, and technology that drive space exploration. Laura Tomlin, CEO of Space for Teachers, shares how microgravity research projects inspire the next generation. Robotics engineer Kalind Carpenter from NASA’s Jet Propulsion Laboratory (JPL) walks us through the machines he’s helping to build to explore the moon and beyond. Software engineer David Hernandez from Blue Origin describes the work happening at Club for the Future to get young people excited about space. Research scientist Robert Green from JPL talks about the invention of imaging spectroscopy and how it’s used to unlock the secrets of distant worlds. And aerospace engineer Andy Sadhwani, who flew to space aboard Virgin Galactic, reflects on seeing Earth from above and what the Artemis II astronauts experienced. We then move inside for Yuri's Night's evening stage show, where the focus shifts to human experience and the overview effect. Cinematographer and polar explorer Jannicke Mikkelsen, Norway's first astronaut, shares her experience as part of the first crew to orbit over both Earth's north and south poles. Space philosopher Frank White, author of "The Overview Effect," leads a panel discussion with actress Nadine Nicole from The Expanse and commercial space explorer Christopher Huie about what happens to humans when we see Earth from space. Finally, NASA astronaut Ron Garan brings it all together with a powerful vision of our planet's fragility, our interconnectedness, and humanity's potential when we work together. The episode closes with Bruce Betts' What's Up segment, revealing a little-known story about what went wrong during Yuri Gagarin's historic first flight. Discover more at: https://www.planetary.org/planetary-radio/2026-yuris-night-2026See omnystudio.com/listener for privacy information.

How do you shoot a film where time doesn't move forward, but folds in on itself? For Fabian Gamper, the answer was building a visual language that treats every image like a memory — layered, subjective, and deeply tied to place. This week on Below the Line, Skid is joined by Fabian Gamper and co-host David Tuttman to discuss the cinematography behind Sound of Falling, the Cannes Jury Prize-winning film that blends four time periods into a single, interconnected visual experience. From the beginning, Fabian approached the project with a guiding principle: the farmhouse location would dictate the look. Rather than designing separate visual styles for each era, he and director Mascha Schilinski chose to unify the film through a consistent, naturalistic approach — allowing light, texture, and production design to signal shifts in time while maintaining a shared emotional language across generations.  Topics include: Building a “memory structure” visually — and why all time periods were treated with the same cinematic language Using a single farmhouse location as both logistical anchor and creative constraint Designing naturalistic lighting that still carries emotional intent, from candlelight to LED sources Creating a filmic look digitally, including Look-up Table development and 16mm emulation Balancing available light with precise planning — including timing shots to the position of the sun Solving complex practical challenges, from child actor scheduling to in-camera stunt solutions Using long lenses and selective framing to reflect how memory distorts perspective Reinforcing theme through technique — including recurring visual motifs like reflected light What emerges is a conversation about control and surrender — knowing when to shape the image, and when to let the environment lead. Whether working with limited resources or ambitious ideas, Fabian's process shows how a clear visual philosophy can unify even the most complex narrative structures.

Identity fractures and reality starts to slip in this deep dive into The Infinite Husk. Mike sits down with the film's writer-director-composer-etc., Aaron Silverstein, to unpack a mind-bending indie that blurs memory, selfhood, and the fragile boundaries of perception. The conversation cuts straight to process—how the film's layered structure took shape, the challenges of sustaining ambiguity without losing emotional grounding, and the visual language that turns disorientation into design. Expect talk of influences, production hurdles, and the tightrope walk between narrative coherence and existential drift.Find out more at https://www.theinfinitehuskmovie.com/Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth-podcast--5513239/support.Become a supporter of The Projection Booth at http://www.patreon.com/projectionbooth 

Identity fractures and reality starts to slip in this deep dive into The Infinite Husk. Mike sits down with the film's writer-director-composer-etc., Aaron Silverstein, to unpack a mind-bending indie that blurs memory, selfhood, and the fragile boundaries of perception. The conversation cuts straight to process—how the film's layered structure took shape, the challenges of sustaining ambiguity without losing emotional grounding, and the visual language that turns disorientation into design. Expect talk of influences, production hurdles, and the tightrope walk between narrative coherence and existential drift.Find out more at https://www.theinfinitehuskmovie.com/Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth--5513239/support.Become a supporter of The Projection Booth at http://www.patreon.com/projectionbooth 

Forgive us our slight post-Oscar delay, dear listeners, but here we are for our eighth annual year-end review show, which we call 2025: Juke Joints and a Few Small Beers in honor of two of the year's (and perhaps the decade's or even the century's) most unforgettable films. This episode represents an exciting step for us as, for the first time, we welcome a guest: the redoubtable Kerry Cowan, brilliant teacher, lifelong film fan, and an old old friend of mine. Looking back at the year in film that was 2025, we noted that this was the first year since we started back in 2018 that we all really had trouble narrowing the field to a top ten. In the past, we've often had to stretch for the last couple, ending up with Top 7 or Top 8 lists. This year, as you shall see below and hear within, our problem was what to leave off. In a year of triumphs from sources both expected and unexpected, perhaps the best thing about the year was the return to form of some of our favorite directors: Coogler with "Sinners", PTA with "One Battle", our beloved Chloe with "Hamnet", Aronofsky with the underseen "Caught Stealing", Del Toro with "Frankenstein", Aster with "Eddington", Bigelow with "House of Dynamite" and the astonishing Richard Linklater with not one but two wonderful films. As always, we considered the eternal question of which of these films will be watched by anyone in 25 years, let alone show up the Sight and Sound poll in 2032. No doubt whatsoever about "Sinners" and "One Battle". I would throw "Eddington" on that list, as uneven as it is, since it points to a vivid moment in the American pageant, reminding us exactly when it was that we lost our minds. "Hamnet" will surely be there, and we suspect that the luminous "Train Dreams" might have some legs down the road. With Michael in the lead, we all loved "Sentimental Value" (besides the facial morph montage). None of us cared much for "Bugonia", though I actually came within 10 minutes of liking a Lanthimos film before that ending. We also ended up underwhelmed by "Marty Supreme", which personally killed me with its 50's setting clashing with 80's synth-pop throughout. Yes, we would have gotten the idea that the go-go Wall Street/American Psycho 80's had its roots in figures from the 50's like Marty without being hit over the head with it musically. Trust your audience, filmmakers! As for the Oscars themselves, it was another great party this year, only slightly spoiled by the fact that Michael won the pool by a landslide again this year. It's now 98 years and running with no black person winning for Best Director, but it's hard to complain about Paul Thomas Anderson finally winning after 14 nominations in almost 30 years of work. And the Cinematography award going to Autumn Durald Arkapaw, the first woman and black person to win that one, indicates that we may in fact be making progress. And they got it right with Michael B (finally), the lit-from-within Jessie Buckley (best acceptance speech), and "Sentimental Value"'s win for Foreign Language Film. As for the show itself, Conan was fine, though the bits were hit and miss as usual. We loved the "Bridesmaids" reunion, the "Moulin Rouge!" one not so much, and loved the painfully accurate "Casablanca" bit with Sterling K. Brown where plot elements have to be restated every couple of minutes or so to accommodate declining attention spans. And they finally got the necrology right, though we wish we had more time to see who came onstage for Rob Reiner; Rachel McAdams' tribute to Diane Keaton was lovely, but it did turn out that Babs' singing voice was not exactly like butter. So kick back, relax, and enjoy Kerry's star turn as our D'Artagnan, our Fourth Musketeer, as Team Vintage Sand reflects and reports on what was perhaps the best year in film since we started this lunacy some eight years ago, in the Before Time.

This week, we discuss the Coen Brothers' stylish satire of the Golden Age of Hollywood, Hail, Caesar!SPOILER ALERT We will be talking about this movie in its entirety, including the mystery of "The Future" and the ultimate resolution of Baird Whitlock's kidnapping. If you haven't seen this film, we strongly suggest you watch it before listening to our takes.A Universal Pictures and Working Title Films production. Released on February 5, 2016. Directed, written, produced, and edited by Joel and Ethan Coen. Starring Josh Brolin, George Clooney, Alden Ehrenreich, Ralph Fiennes, Jonah Hill, Scarlett Johansson, Frances McDormand, Tilda Swinton, and Channing Tatum. Cinematography by Roger Deakins. Music by Carter Burwell.The story follows a single, chaotic day in the life of Eddie Mannix (Josh Brolin), a "fixer" for Capitol Pictures in 1951. Mannix spends his days (and nights) suppressing scandals and managing the fragile egos of the studio's stars. His world is thrown into disarray when the studio's biggest star, Baird Whitlock (George Clooney), is kidnapped from the set of the prestige Roman epic Hail, Caesar! Tales of the Christ by a mysterious group calling themselves "The Future." As Mannix juggles a pregnant starlet's image, a singing cowboy's transition into high-society drama, and a persistent pair of rival gossip columnists (both played by Tilda Swinton), he must also weigh a lucrative, low-stress job offer from Lockheed against his grueling but soul-stirring devotion to the magic of the movies.

We unravel “Lee Cronin’s The Mummy” and discuss: Cinematography, sound design, creating a horror experience; Story & Writing, opening sequence, respecting the horror audience; and other such stuff and things and stuff. “I've always been faithful to monsters. I've always felt they are the patron saints of our blissful imperfection.“ – Guillermo Del Toro Notes […] The post Ep 365: “Lee Cronin’s The Mummy” appeared first on The Pestle.

Send us Fan MailEthan Nagel is a Marine Corps Infantrymen and Scout Sniper that served during the height of Iraq and Afghanistan war. He deployed to the Haditha Triad and Fallujah Provinces in Iraq and volunteered for a third deployment to Afghanistan as a Combat Advisor on Embedded Training Team 1-11. While attached to 10th Special Forces group and on patrol deep in the Mountains of Uzbin Valley, the team would be ambushed and then surrounded by Taliban fighters. Ethan would be wounded twice in the battle and would go on to recieve the Silver Star for protecting the body of Chief Warrant Officer Vose from being taken by the enemy. After his service the Marine Corps Ethan would deploy multiple times into combat zones with various roles included Advanced Static Secuirtty for CIA black sites and mobile protection for VIP's in Kabul. After earning his Bachelors Degree in Intelligence Studies , he would go onto study Cinematography in Film school and go into film, direct and edit project for various companies and brands to include Netflix, Redbull, Black Rifle Coffee Company, Nine Line Apparel and Vet Tv. Ethan hosts his own show called Into The Breach, focusing on sit down interviews with veterans and a weekly OSINT show that keepsup with current conflicts around the world.Ethan's podcast, Into The Breach: https://www.youtube.com/@INTOTHEBREACHSHOWEthan's socials: @ethan.nagel.filmsVeteran State Of Mind Youtube: https://www.youtube.com/@veteranstateofmindIf you are interested in being a guest on the podcast, please email us at info@vsompodcast.com, or follow us on social media: @veteranstateofmindSupport the show

This week on the podcast, we take you behind the scenes of Marvel Television's Daredevil: Born Again Season 2! We'll hear from the show's Directors of Photography, Hillary Spera and Jeffrey Waldron (2:04), as well as Production Designer Michael Shaw (14:37), as they share insights into their creative processes. All time codes are approximate. Learn more about your ad choices. Visit podcastchoices.com/adchoices

We serve up Zendaya’s “Challengers” and discuss: Cinematography, Editing, Music, creating energy and fun; Story & Writing, sports as a metaphor; and other such stuff and things and stuff. “Luck has nothing to do with it because I have spent many, many hours, countless hours, on the court working for my one moment in time.“ […] The post Ep 364: “Challengers” appeared first on The Pestle.

E468 Ungė Zavistauskaitė is most well-known for hosting the travel show Kitokios Trobos (Different Huts). Born and raised in Lithuania, she attended Russian State University of Cinematography, and has appeared in several TV series and film. She recently moved to Los Angeles and is full-throttle exploring her life's new adventure! For more information and links, […]

It's Critical Darlings' biggest morning! After a marathon season, we react to this year's Academy Awards: the winners, losers, presenters, performances, and awkward play-offs. One Battle After Another and Sinners nearly split the ballot with One Battle and Paul Thomas Anderson taking the biggest prizes in Best Director and Best Picture, while Sinners took home Best Actor, Score, Adapted Screenplay, and Cinematography. But for as many questions as the ceremony answered, it raised more: Do Sinners and Amy Madigan's wins signal a shift in how the Academy sees horror? What exactly is the Best Casting Oscar tracking? Are we now doomed to see Timmy eat a raw elk in an Iñárritu film? As part of this special episode, we also check in with Critical Darlings fashion correspondent Ben “The Other Ben” Hosley on this year's Oscars fashion, review the best popcorn buckets of the year with Vulture's Rebecca Alter, and reveal the future of Critical Darlings.  ✨Subscribe to our new feed in your podcast player of choice, and join us next week for Project Hail Mary!✨ Apple Podcasts: https://podcasts.apple.com/us/podcast/critical-darlings/id1885681327Spotify: https://open.spotify.com/show/60n6Z9BUUMUR81CQoHbE8bPocket Casts: https://pca.st/1beh8dxuAmazon Music: https://music.amazon.com/podcasts/a3598b5c-6f4a-4819-9457-44082cfea1fc/critical-darlings Sign up for Check Book, the Blank Check newsletter featuring even more “real nerdy shit” to feed your pop culture obsession. Dossier excerpts, film biz AND burger reports, and even more exclusive content you won't want to miss out on. Join our Patreon for franchise commentaries and bonus episodes. Follow us @blankcheckpod on Twitter, Instagram, Threads and Facebook!  Buy some real nerdy merch Connect with other Blankies on our Reddit or Discord For anything else, check out BlankCheckPod.com Learn more about your ad choices. Visit megaphone.fm/adchoices