Podcast appearances and mentions of cohen brothers

In this conversation, Egil Pedersen reflects on his experiences growing up in a small Norwegian village and how he transitioned from short films to his first feature film, “My Father's Daughter,” the first-ever Sámi-language premiere at the Toronto International Film Festival. His cinema inspirations include David Lynch's “Twin Peaks” and “Show Me Love” (orig title: Fucking Amal) directed by Lukas Moodysson. Egil touches on the challenges and opportunities in the Norwegian film industry, the importance of cultural representation, and the evolution of his creative process. The discussion also delves into the nuances of humor in film and the intricate relationship between comedy and drama, exploring how these genres can intersect and enhance storytelling. He also discusses the importance of identity in his film, the challenges of navigating film festivals, and the excitement of future projects, all while reflecting on the inspirations that have shaped his filmmaking journey.What Movies Are You Watching?Like, subscribe and follow us on our socials @pastpresentfeature

This week on the #WatchTowerFilmPodcast we tread on with our western month! This week we cover the Cohen Brother's anthology masterpiece, “The Ballad of Buster Scruggs”! Join us as we discuss its complexity, its vast themes, and its packaging in an old-western tale and chronological order. All this and more on this week's show! Please help us by SUBSCRIBING, LIKING, COMMENTING, and SHARING.

This week on the #WatchTowerFilmPodcast we talk about one of cinema's greatest remakes, the Cohen Brother's “True Grit”. Join us as we discuss why this film is a prime example of what should be playing in theatres, the amazing to-the-point storytelling, and their successful attempt to make a true-to-form western with an incredible cast! All this and more on this week's show! and chronological order. All this and more on this week's show! Please help us by SUBSCRIBING, LIKING, COMMENTING, and SHARING.

BOH editor in chief Kaitlin Petersen and host Dennis Scully discuss the biggest news in the design industry, including Etsy's return to its artisan roots, surging home insurance premiums and key business lessons from the 50 States Project. Later, designer Susan Wintersteen joins the show to talk about founding Savvy Giving by Design. LINKSSavvy Giving by Design Business of Home

Actor Dimitri Leonidas joins Alex in the virtual cinema this week to talk about his role in the epic new Ancient Rome TV series 'THOSE ABOUT TO DIE' - directed by Roland Emmerich and coming to Amazon Prime in the UK on July 18th. He then takes us on a trip including how a film's third act turning point should always include a SOUR SWEET. The Jack Nicholson quote that he considers the BEST in cinema. How Julianne Moore is in the MOST SHOCKING movie moment. The Cohen Brothers' film that makes him PUMP HIS FIST in the air. And an UNPOPULAR OPINION on one particular Denis Villeneuve movie. All that and more on this week's epic trip.Find us here: https://linktr.ee/triptomoviespodA Trip to the Movies is proudly sponsored by @ODEONCinemas - We Make Movies Better. Hosted on Acast. See acast.com/privacy for more information.

Welcome to the Nick Taylor Horror Show!As always, each episode of The Nick Taylor Horror Show explores how today's horror filmmakers are getting their movies made while deconstructing their methods and career strategies into practical insights that you can use on your own horror filmmaking journey. This includes their creative processes, funding resources, favorite books & tools, key life lessons, and much much more.Francis Galluppi is the director of The Last Stop In Yuma County, a southern-fried, hard-boiled crime thriller that plays within the traditions of Tarantino, The Cohen Brothers, Taylor Sheridan, and Elmore Leonard while still establishing a feel and style all its own. I loved this movie - it's a fun, lean and mean piece of cinema bolstered by an incredible ensemble cast including Richard Brake, Jim Cummings, Jocelin Donahue, Barbara Crampton and many more.The Last Stop in Yuma County is Francis' feature debut and the film caught the eye of Sam Raimi and ultimately led to Francis being handed the reins of an upcoming installment in the Evil Dead franchise which is really awesome news.Prior to Last Stop in Yuma County, Francis' short film High Desert Hell, won several awards, including the Wes Craven Award at the Catalina Film Festival in 2019 while his followup, The Gemini Project, won Best Science Fiction/Fantasy Short Film' at the Burbank International Film Festival in 2020.In this conversation, Francis and I get into the grueling story behind the making of Last Stop in Yuma County, which was a four plus year labor of love involving blood, sweat, tears, and mortgaged houses. This is an excellent account of true indie filmmaking, the importance of preparation, working with an all-star cast, and never giving up. I owe a big thank you to my friend David Guglielmo for putting me in touch with Francis, thank you David. Now, please enjoy my conversation with Francis Galluppi.Prepare Extensively: Preparation was crucial to Francis' process, and his level of prep was extensive and very impressive. Every shot was meticulously storyboarded and diagrammed with detailed blocking directions made months before production began. Ultimately, this prep enabled him to achieve complex and high-production value work on a relatively low budget. Francis also engaged in extensive conversations with the actors, fully fleshing out the script and characters and every line of dialogue over zoom. By the time everyone arrived on set, the team was well-prepared to hit their marks which is critical on a lower budget. Francis' process demonstrates that there's no such thing as over-preparing. All of this ensured a fairly smooth production and Francis' ability to pivot when things went wrong.Set a Deadline and Make It Happen: Francis stresses the importance of setting a hard deadline and committing to it. Waiting for perfect conditions or resources can delay or prevent the realization of a project. He emphasizes the importance of prepping before you're greenlit, which may seem counterintuitive to filmmakers hesitant to invest time in a project that may not happen. However, extensive preparation increases the likelihood of your film coming to fruition. This preparation not only creates a sense of reality and momentum for your project but also impresses producers and investors, making your project appear more tangible and ready to go and ultimately easier to greenlight.Edit Your Own Work. Francis quickly mentioned that early on directors should edit their own work because doing so is a valuable learning experience. It forces you to confront your mistakes and understand what works and what doesn't about your shooting style and directorial capability. Being able to be objective at this level will ultimately make you a better...

We cover the season/ series finale of Shogun and Dasher's pick which is the title of the movie that we used to title the episodeSupport the Show.

BOH editor in chief Kaitlin Petersen and host Dennis Scully discuss the biggest news in the design industry, including why Williams-Sonoma was fined by the Federal Trade Commission, the latest in the Cohen Brothers real estate saga, and what a noncompete ban could mean for the design industry. Later, restauranteur Will Guidara joins to introduce his new book, "Unreasonable Hospitality." This episode is sponsored by Loloi and Annie SelkeLINKSBusiness of Home's book clubBusiness of Home

This week we have one giant Minnesota Tie as we bring you this Cohen Brothers award winner from Tony's shelf. Is Margie the only likeable character? Was this really based on a true story? Do we really talk like that? Dontcha know, you should tune in now to get a true Minnesotan perspective on this classic!

MILLER'S CROSSING (1990)This week on the show, we cover the 1990 gangster film, MILLER'S CROSSING.MILLER'S CROSSING stars Gabriel Byrne, Marcia Gay Harden, Albert Finny, and John Turturro. It was written and directed by Joel and Ethan Cohen.MILLER'S CROSSING  stars Neil Maskell, MyAnna Buring, and Harry Simpson, and was directed by Ben Wheatley.✨ Subscribe, Share, and give us a 5 star review. ✨  

WELCOME BACK! WE're back with a very special series….WE'RE DOING REMAKES! This week we have a very special guest…ERIC'S DAD RUSS! This episode was so fun. It was Caleb's pick today and he decided to go with the remake of the original film from 1969….TRUE GRIT! This remake was made in 2010 and made by the Cohen Brothers. We talked about Russ's top 4 films, all the crossovers, Matt Daemon in a truly iconic role, Josh Brolin's voice, Steinfeld KILLING IT at 14 years old, and much much more. WE hope you enjoy this, we missed you Cody! Film Discussed: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠True Grit (2010) Letterboxd: Eric Peterson: ⁠⁠⁠⁠letterboxd.com/EricLPeterson/⁠⁠⁠⁠ Jared Klopfenstein: ⁠⁠⁠⁠letterboxd.com/kidchimp/⁠⁠⁠⁠ Ethan Jasso: ⁠⁠⁠⁠letterboxd.com/e_unit7/⁠⁠⁠⁠ Caleb Zehr: ⁠⁠⁠⁠letterboxd.com/cjzehr/⁠⁠⁠⁠ Ricky Wickham: ⁠⁠⁠⁠letterboxd.com/octopuswizard/⁠⁠⁠⁠ Here is a COMPLETE LIST of every film that we have done an episode for. Enjoy! ⁠⁠⁠⁠https://letterboxd.com/ericlpeterson/list/a-complete-list-of-every-the-film-snobs-episode/⁠⁠⁠⁠ Five star reviews left on the pod get read out loud!

Episode 1007   It's Part 2! Fani testifies! It is high drama. Not only that, we hear from an incredible Cohen Brothers movie character for some reason. We also hear from Fani Willis's dad, someone who has led a fascinating life. Then finally, they put Wade's ex-partner Bradley on the stand and... try to make him talk for like 4 hours. It also takes a very dark turn.   If you'd like to support the show (and lose the ads!), please pledge at patreon.com/law! For the time being, any profit over and above the costs of operating the show, will go towards repair and accountability.

Martin Scorsese's Dark Comedy from 1983 was selected by the community after a close contest with the Cohen Brothers movie on the list. We talk Blindspots, performances, social implications and DeNiro, a lot. Todd Liebenow, Matthew Simpson and Nick Rehak have lots to say about this Scorsese flop that as acquired a patina of respect over the years. We also play a fast game of Lambpardy and discuss DeNiro and Scorsese apart from one another.

This episode aired on 2/19/24. We talk about Xmen 97, Cohen Brothers, Iron Claw and more nostalgia...Bo managed to catch the new Bob Marley biopic One Love, and we get caught up on the rest of the weeks news in film!

The Nerd Skool jumps into Endgame! Random sidetracks include:   Artstar hates Jared Leto. Jeff Bridges is Rooster Cogburn 2.0 TBJ knows Hailee Steinfeld from Pitch Perfect. Wu Tang Clan is into comic books. Joe gets the Russo Brothers, the Farrelly Brothers and the Cohen Brothers mixed up. The Marvels was fun. Most of Nerd Skool would attend a red carpet in pajamas, but not TBJ. Artstar wants to be on Bluesky, Andy already is. Anton Chigurh might be Galactus. Elsa Bloodstone and Manthing are part of Werewolf By Night, and are both great in Marvel Snap. TBJ was in the Airforce and gets questioned for parking in the veteran spaces at Harris Teeter.   Buut, we do eventually get into Endgame. We promise.       Get your Nerdskool Merch:  https://www.redbubble.com/shop/ap/74089719?asc=u Music by D Jones Hip Hop!

This week we welcome Actor, Writer and Director Alden Ehrenreich to the show to talk about writing and directing his first short film Shadow Brother Sunday which he also stars in! Alrik talked with Alden about his process, what he has brought from his career as a Hollywood actor into his first short and what Francis Ford Copola's advice was for making his first film. This is also our very special 450th episode of the show so after that we will play a special round of THE GAME and chat about what we've learned in 450 episodes! Enjoy! Watch Liz's new short film Witchy on youtube: https://www.youtube.com/watch?v=gk5WtIOz5do Watch Alrik's new short film Parka on Vimeo: https://vimeo.com/357898693 Watch The Alternate on Tubi Out Now: https://tubitv.com/movies/702632/the-alternate Check out the ISA at: www.networkisa.org Don't forget to support us on Patreon! www.patreon.com/mmihpodcast

In this episode, we talk about the 1955 black comedy The Ladykillers. We talk about the brilliant script, wonderful comedic performance, and the production. We also touch on the 2004 remake by the Cohen Brothers starring Tom Hanks. Click and listen! Thanks for listening!

Mississippi - the sweatiest state in all of cinema becomes the star of of USofAMovie. While many may have assumed that blockbuster courtroom dramas or tip-top Cohen Brother's movies would be the obvious choice, you'd be stone cold wrong. Will introduces Ryan and Oli to Brian "Easter Island Head" Bosworth in 1991's 'Stone Cold'. They came for 'Hard Ticket To Hawaii' ridiculousness and stayed for the truly impressive explosions and action. Question is, should we get a pet lizard? Learn more about your ad choices. Visit megaphone.fm/adchoices

The director of the hilarious, R-rated talking dog movie "Strays' tells us about working with Will Ferrell and Jamie Foxx on the film, before taking us on a trip to the movies involving some wild reactions to Tropic Thunder, defending 'Love Actually" and a lot of love for Barbie. He then screens a Cohen Brothers classic for us.Find us here: https://linktr.ee/triptomoviespodA Trip to the Movies is proudly sponsored by @ODEONCinemas - We Make Movies BetterFounded in 1930, ODEON is the largest and best-known cinema chain in the UK and Ireland. We pride ourselves in delivering the very best cinema experience and cutting-edge technology.Book now at your local ODEON cinema for some big-screen movie magic! http://bit.ly/3BRaPMT Hosted on Acast. See acast.com/privacy for more information.

It is time for another Cohen Brother's gap to be filled! Bryce finally saw O Brother, Where Art Thou! A spin on one of the great, classical, epics set in the American South during the great depression starring Batman. Did Bryce love it? Listen now to find out! Naminspace.

1984's Blood Simple is surprisingly accomplished for a first movie and absolutely has all the hallmarks of later Cohen Brothers films.

This week on the WatchTower Podcast we have a hidden gem from the Cohen Brothers, “A Serious Man”! Join us as we jump into this film and discuss the unique perspective of Jewish culture, the ins and outs of how Joel and Ethan Cohen craft their stories, and many more things about this film! Help us by SUBSCRIBING, LIKING, and SHARING! #WatchTowerFilmPodcast #FilmPodcast #Cinema #IndieFilm #Film #Movies #MoviePodcast

Oscar-winning re-recording mixer & supervising sound editor Skip Lievsay takes you behind the sound on the Cohen Brothers' beloved film Barton Fink. He talks about his 38-year collaboration with the Cohen Brothers, what it was like to work on a film pre-Pro Tools, the stories behind the Barton Fink mosquito, the signature door whoosh, that never-ending hotel desk bell, and so much more! Interview by Jennifer Walden, and hosted by Asbjoern Andersen from asoundeffect.com

Music Month continues with 2013's Inside Llewyn Davis! Ben and Anthony discuss the Cohen Brothers' discursive look at the 1960s Greenwich Village folk scene, featuring a breakthrough performance from Oscar Isaac. Written and directed by Joel and Ethan Coen. Starring Oscar Isaac and featuring Carey Mulligan, John Goodman, Garrett Hedlund, F. Murray Abraham, Justin Timberlake and Adam Driver.

This week after our descent into the Breenpocalypse (seriously check episode 267 for our therapy session) we needed a serious pallete cleanser.  For us that came in the form of the 2004 film, The Ladykillers.  Deridded by critics and fans of the often celebrated Cohen Brothers, this remake of the 1955 british comedy about criminals robbing a casino by tunnelling through an elderly woman's basement is chock full of so many off the wall and darkly comedic moments.  From the need for waffles, Tom Hank's doing his best Foghorn Leghorn impression, to a yet to be super famous J.K Simmons stealing scenes as the demolition expert with IBS, Garth Pancake.   But does this movie deserve the hate or is this an under appreciated gem that has grown better with age?  We'll find out today!   DISCORD!!!  Take the conversation further!  Come check out our Discord channel where we you can interact face to face (digitally) with us.  Like our opinion or hate it, now you can tell us directly!  https://discord.gg/QWPUCGCuVC SUPPORT THE PODCAST! Do you love the show and want to show your appreciation?  Consider a one time or monthly tip in our virtual tip jar.  Our show will ALWAYS be free, but unfortunately creating the podcast is not free.  Your support will go directly to our production costs.   https://glow.fm/thecinemapsychosshow/ JDUBS VIDEO NASTIES AND NEWSLETTER Our co-host, John Wooliscroft, has a brand new film channel on youtube. Check it out and Subscribe- https://www.youtube.com/@JDUBSVIDEONASTIES Sign up for the PSYCHOS NATION, our monthly newsletter - http://eepurl.com/dhGswf FEEDBACK AND CONTACT US Gotta a movie or question you want to throw our way?  Or did we trash one of your favorite films and you want to know where to send a dead horse.  Either way, drop us a line!  We welcome your questions and dead horses.   NEW !!!  Leave us voicemail! - https://cinemapsychosshow.com/contact-us/ Email cinemapsychosshow@gmail.com Twitter - https://twitter.com/PsychosShow Facebook - https://www.facebook.com/psychosshow/ Discord -https://discord.gg/QWPUCGCuVC Tiktok-https://www.tiktok.com/@cinemapsychosshow Instagram - https://www.instagram.com/psychosshow/ Website - https://cinemapsychosshow.com/ Brian Cottington - https://twitter.com/BrianCottington John Wooliscroft - https://twitter.com/TheUnRealJWools Theme Music: TITLE: “Red Alert” AUTHOR: Jack Waldenmaier PUBLISHER: Music Bakery Publishing (BMI) WARNING: UNAUTHORIZED USE OF THE MUSIC CONTAINED IN THIS PRODUCTION IS SUBJECT TO CRIMINAL PROSECUTION. All copyrights, licensing, duplication and distribution rights are held exclusively by Music Bakery Publishing (BMI). 214-636-5887 musicbakery.com    

The boys went to Arizona. And boy, was it a TIME!Fresh off their trip to Tempe for a friend's wedding, Rog and Dylan return for this episode with clearer minds and full hearts. The desert turned them into a pair of sun devils and they were just an elevator ride away from turning into a couple of wildcats.In addition to making unforgettable memories, Rog and Dylan also watched Raising Arizona in Arizona, and enjoyed it so much, they turned it on again when they returned back to New York. The movie, which has been regarded as one of the Cohen Brothers' best, climbed to #2 of Favorite Cohen Brothers Movies for one of our host. The guys also share their favorite Nicholas Cage movie.To wrap it up, Rog and Dylan give Phoenix/Sky Harbor Airport a piece of their mind.Find out what happened in Arizona as you sip back and enjoy all the shenanigans (at least the stories we're able to share on a public forum) from the guys' first, but definitely not their last, trip to the desert.Created by upStreamhttps://www.upstreampix.com/the-wrap-beers-podcastFollow The Wrap Beers Podcast!https://www.instagram.com/thewrapbeers/https://twitter.com/TheWrapBeersDylan - https://www.instagram.com/dylan_john_murphy/Roger - https://www.instagram.com/rogerzworld/

On this episode of Made in Hollywood Mark and William interview filmmaker, Matt Warren. You may also hear irrelevant things on this episode about Delicate Arch, Brazil, Repo Man, Mad Max: Fury Road, Under the Skin, Scarlett Johansson, Film Independent, Spirit Awards, Duck Amuck, Sundance Film Festival, Autry Museum, Chad Peter, Cohen Brothers, Quentin Tarantino, Trent Harris, Echo People, Patrick Cohen, Beaver Trilogy, and Bill Hader. 

Are you a big fan of "Blades of Glory"? If so, don't miss out on this podcast episode featuring Dave Krinsky, "Blades of Glory" writer.Show Notes:Dave on Emmys: https://taylorwilliamson.comDave's Wikipedia: https://www.instagram.com/taylorcomedy/Dave on IMDB: https://www.imdb.com/name/nm2743976/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAutomated Transcript:Dave Krinsky (00:00):It's so funny in animation because we would do like a big, you know, Hank football. We'd do a big football episode with a lot of people in the crowd, and James would be like, okay, this is really streaming the animators. We can't do another big one next week. So next week we'd go, look, this is a very simple episode. It mostly takes place in the house. It's a very personal story between Hank and Bobby. He's like, Ooh, that's gonna strain the animators. It's gonna require a lot of acting . Yeah. I'm like, ok. So wait, we can't do anything.Michael Jamin (00:25):You're listening to Screenwriters Need to Hear This with Michael, Janet.Michael Jamin (00:33):Hey everyone. Welcome back to Screenwriters. Need to hear this, the podcast. I got another amazing guest today. I'm here with my many, he's been my next guest, has been my boss on many occasions. He's been my friend on one occasion, . And he's . Here he is. Boy, this guy's got good credits. So this is Dave Krinsky and he's a feature writer, show creator. He ran King of the Hill for, what was it, eight years? Eight seasons weDave Krinsky (00:59):Ran. Yeah, I think maybe seven. I can never quite keep track.Michael Jamin (01:02):Felt like eight. Right? He was a show runner, king of Hill for, for many seasons, but a writer on, I think you wrote on every single season, didn't you?Dave Krinsky (01:08):Yeah, we came in right after the first season had just aired. Right. So they were still rewriting and posting season one and starting writing season two,Michael Jamin (01:18):Jump and right in. And then also, we're gonna talk about everything, but I wanna give you a proper introduction. We wrote, co-wrote with his partner, blades of Glory. They ran a, a show called Lopez, which i, I worked on for a little bit. CRO created Silicon Valley. I've heard of that show. Also the Good Family that was a b c animated show ran Bebes and Butthead for a while executive produced movie called Extract. What, what else, what else did you, you did a lot of stuff, man,Dave Krinsky (01:46):Lady Glory. Did you mention that? Wait,Michael Jamin (01:48):I thought I said that. Didn't I not sayDave Krinsky (01:49):That? Yeah, you did. I tuned you out, Don Point. I've learned to tune you out early, soMichael Jamin (01:53):, but man, oh man, I wa how, but you also said, when we were chatting before we started recording, that you did a lot of movie rewr. I didn't even know you guys did other movie rewrites.Dave Krinsky (02:03):Yeah. So when we first came out, this was back, you know, like nineties. You really had to decide where you were. A movie writer, a TV writer. The agents didn't even talk to each other. So we had come out with some movie scripts. We just thought that was sort of the easiest way to break in. Right. And we had ended up selling a couple, we sold one to Warner Brothers. It was they bought it for Chevy Chase. And yeah. Then we got firedMichael Jamin (02:26):And they didn't make up obviously causeDave Krinsky (02:28):They, they didn't make it. We got fired and they hired someone else to rewrite. And our agent goes, that's great news. And I'm like, how's that? Great news? They go, it's not dead. If they're hiring someone else to rewrite it. And it was kind of an a-list writer, then that means it's still alive. But it ended up not getting made, although it's sort of, Ben made a few times because it was a very broad idea about a guy who, you know how we only use 10% of our brain's potential, right. While these scientists developed this serum that unlocked the other 90% instead of being injected in a, you know, good upstanding citizen like Michael Jamin. And it gets in, injected in this doofus Chevy Chase who basically becomes this like throbbing organi organism. He's got 10 times the site and after the hearing 10 times the athletic ability. So he is trying to like, make money and become famous with it.Michael Jamin (03:09):But So he was attached before there was a director or No.Dave Krinsky (03:12):So there was never even a director manager. He was attached, like Chevy Chase had a deal at Warner Brothers and Warner was looking for movies for him. So this, and then those days they were buying spec scripts left and right. Right. So they bought that from us and we spent like a long time rewriting it.Michael Jamin (03:26):So he was giving you the notes on what he wanted?Dave Krinsky (03:29):No, we never even met with him. I think, you know, I don't even know if you ever heard of it, to be honest, it really wasn't those days, Uhhuh , if you wanted a Chevy reputation movie, you bought 10 or 12 scripts and you developed until you found one that you wanted to do and brought to him.Michael Jamin (03:41):So you were dealing with his development people.Dave Krinsky (03:43):We were just dealing with Warner Brothers, Warner Brothers, and the producer. So the way it worked back then, and maybe they still did now, but the spec script market isn't really strong anymore. You would go to your agent with a spec and they'd go, okay, we're gonna send it to X producer who has a deal at Paramount and y producer who has a good relationship with Warner Brothers. And we're gonna, they're gonna go to the studios all on the same weekend and let 'em know. They have to decide. And then hopefully you get at least two offers so that you're playing 'em against each other. And that particular, we only got one from Warner Brothers, so the producer on the project we never even met until Warner Brothers had bought it. So then the producer, and it's a weird deal because we actually had a better relationship with the execs at Warner Brothers than we did with the producer. Like, we like their nodes better. So it's a weird political dynamic that you had to deal with. But we ended up selling a couple of projects that way that didn't get made. But ultimately when Blades of Gloria got made, then it was a ton of rewrite work. Michael Jamin (04:42):And then, but this was, this was during King of the Hill.Dave Krinsky (04:45):Bla Glory was during King of the Hill. I mean, we were doing our movie stuff before King of the Hill started. And, and we started looking around, you know, we sold stuff, but we weren't, we were, John and I were still sharing an apartment in Burbank and I was driving a car with no air conditioning. And I looked over at some of my buddies like Bill Martin, who was like buying a house and buying a nice car. And those guys were all on tv. And John and I were like, well, maybe we should, I mean, we always wanted to do tv but our agents just you, no, you're movie writers. So we ended up writing some TV specs scripts and then ended up getting a job in tv. But, so we were writing specs scripts, we were get assignments occasionally, or we would pitch on something, but it wasn't until Bla Glory that really was like, oh, okay, now we're getting a ton of movie rewrite.Michael Jamin (05:29):And then how did you know Bill Martin? Would you go to, did you go to college with him?Dave Krinsky (05:31):Yeah, we went to college together. So it was weird. It was like, it was me, John Bill, Peyton Reid, who directed all the Aunt Man movies. This guy John Schultz, who directed like Mike. And it was like we all kind of moved out here at the same time to try to pursue the business.Michael Jamin (05:46):Wow. I didn't even know that. And then, well, so was your, when did you decide that you wanted to be a writer? Like in high school or something?Dave Krinsky (05:53):Pretty much, I mean, I, I, this is make me sound really cool but I loved reading as a kid. I loved, you know, books. And I just loved when a story really impacted me and made me think. I was like, wow, that's a cool sort of power to have over people, to influence 'em that way. So since the time I was like 12, 13, I thought about it. And then in high school we had to write a short story for an English class. And I wrote this kind of science fiction funny story, and the teacher, you know, wrote a plus, what are you gonna do with this gift? And I was like, oh, I guess it actually could be a job. Right. So,Michael Jamin (06:24):But you think that it could be a job? Like I didn't, that didn't occur to me until I was older that you could make money in tv.Dave Krinsky (06:29):. Well, you know what I was thinking I'd be a book writer and so I went to Carolina cause I knew they had a strong English department. I took all the creative writing classes there. And since I didn't wanna really do anything else, I took whatever course I find. So screenwriting was one. Playwriting was one. And after I met John Alsk and my partner and, and David Palmer, who I worked with out here a bit.Michael Jamin (06:50):Wow. You were serious about it. Did you have to apply to those programs?Dave Krinsky (06:53):You know? Yeah, no, I mean, I, I was in the, I got accepted to the honors program, which was what I had applied for. And because of that I got to get into some of the writing classes I wouldn't have had access to anyway.Michael Jamin (07:05):So this is all or nothing for you? I mean, you, I mean, there was no plan BDave Krinsky (07:09):Well I, you know, my mom was always like, Ryan, you go to law school, you have something to fall back on. But I knew if I something to fall back and I'd probably fall back on it, you know? And, and it took us a while to get su you know, really established with Point. I could get rid of that crappy car with the o ac ac in the apartment with the oac. But if I had had the ability or the degree to do anything else, I probably would've bailed on the writing dream earlier.Michael Jamin (07:32):Right. Wow. And then, and then, so eventually you just had to move into tv and then how, I know, how did you get your first gig?Dave Krinsky (07:40):So we decided to move tv. We wrote a couple of spec scripts and I think it was Bill Martin who said, oh, you should meet Carolyn Strauss over at hbo o And Carolyn of course was, you know, at the vanguard of starting H B O when it was, yeah.Michael Jamin (07:54):Wait, he's setting up meetings for you? Like, he's like your agent now, bill? No,Dave Krinsky (07:57):It really was one of those things where it was like, we're like, Hey, we wanna get into TV doing, he goes, oh, well you should meet Ke Strauss. We like Hershey's really cool. And I think he might have told her, oh, you should meet these guys. Okay. And so we had a general with her and which was a good lesson. It was like, you know, I think we always had something to pitch. We always knew a general, everybody, you know, wants something. I can't remember if we pitched anything too specifically or not. Cuz in movies you always want to pitch an idea. Sometimes in TV it really is just a general Yeah. To see what you know. But, you know, it was a great meeting and nothing came of it. And then like nine months later we got a call from her and she goes, look, we're doing a show.(08:32): The showrunner really wants movie guys doesn't want like, just TV sitcom guys. Wow. And I thought of you guys, you, you look, look at the pilot, they shot a pilot and they sent the pilot over. It was a black and white period single camera show. David Ledon was the executive producer. Adam Resnick was the showrunner, the creator. And it was awesome. It was like the Cohen Brothers really dark funny. And we were like, yeah. So she set up a call with us. We talked to Adam for like an hour and a half, mostly about Goodfellas and the Godfather and just movies. And then they called us up, goes, look, will you the show's in New York, will you move there? And we're like, yeah, we'll move there. She goes, okay, three or four days, can you move? And we're like, yeah, what do we don't have? I don't even think we had a plant in our place, you know, our fresh food. So we moved toMichael Jamin (09:18):New York. And you got outta your rent You? Or do youDave Krinsky (09:20):Remember? We sublet Cause it was a, I think it was a 10 episode order that became an eight episode order, which is now, you know, the norm. But then was like, okay, so we're only gonna be there probably nine months of production. So we figured why give up our place.Michael Jamin (09:34):Do you think if it wasn't a good show, you would've taken, if it was a bad show, you would've taken the author?Dave Krinsky (09:40):Oh, that's a good question. You know, probably not, you know, before this happened, we were in the movie biz. We, we had a meeting with Polly Shore, right. And Polly was manager was in the meeting and his manager was a gentleman named Michael Rotenberg, who is now my manager. And, and Michael and and Sea have, you know, allMichael Jamin (09:59):Times he's our dealt withDave Krinsky (10:00):Them. He was an executor on King of the Hill. So this was before King of the Hill even. And we pitched Polly the new line, wanted to do a movie where Pauly basically, they sound of mu they wanted him to be a nanny. And we pitched like Sound of Music with Polly going around Europe and Polly was as insulting and, and, and just not a good collaborate. He was just say, Hey, who are these greasy weasels? And you know, he just goes, no, just turn the camera on and I'll be funny. And we're like, okay. But John I think had like $93 in this bank account and I might have had a little bit more. And they offered it to us and we were like, this could be our career right. Path that we don't want to be on. And we turned it down. So I think if it was a crappy show, we probably would've turned it down too.Michael Jamin (10:45):Right. Wow. You turned it down. Cuz I, you know, now you, I think now you take anything you forgetDave Krinsky (10:50):. Yeah, well certainlyMichael Jamin (10:51):It's not you, but one, one does. Right.Dave Krinsky (10:53):And it's not a bad, it's not bad advice. You gotta get in the game, you know? So we had already been in the game just enough that it wasn't like we were completely unknown. We had anything produced, so we certainly weren't a hot commodity. Right. But we really felt like, oh, this could just pigeonhole us. And it was interesting because our agent was like, okay, if you don't wanna do it, fine, but we don't really want to be rude and turn it down, so we're gonna ask for way more money than they'll ever pay you. Right. So they went and asked for like $400,000 and they were furious anyway. They're like, who the hell do you think you are asking anymore? It's just like, sorry, we just don't wanna do it. So. Right.Michael Jamin (11:31):How funny, did you, were you, when you first got on King of the, or I guess not, well I guess, you know, on Resnick's show, were you, did you, did you find it over? You were in over your head? I mean, that's how I felt when we started.Dave Krinsky (11:42):Oh yeah. Because I was always that one of those writers, and I'm sure there's plenty like that. I'm like, I don't even in college where you had to like, give your scr your scripts or your stories to people to read. I'm like, I don't wanna do this. You know? Cause I just didn't have the confidence or faith in myself. So we got to New York and we were working at a Letterman's theater. And Adam's great. I mean, he is the nicest guy. He's a super small staff. There's this John and I, this other team and this guy Vince Calandra. Right. And I just remember like sitting in the writer's room, not saying a word because I was like, I don't wanna say the wrong thing and look like an idiot. And, and in all honesty, when I got to King of the Hill, I looked around, I was like, I recognize names from seeing him on The Simpsons and you know, my judge of course. And I was inhibited there too. And I barely pitched, I think for the first couple of months I was there.Michael Jamin (12:30):Really. And then what was the moment when you felt like you could, you could test the waters?Dave Krinsky (12:36):Well, what happened was, I was just hanging out enough, like, so in the lunchroom, you know, I got to be friendly with people and people go out for a drink and then it suddenly was a social thing. And I was comfortable in that and I could start being funny that way. So by the time I got back to the room after a couple of months, it was kind of like, oh, I was just bull bullshitting with my friends, you know? And it was much easier to pitch because Right. It felt safer,Michael Jamin (13:00):Felt sa because I even remember on Kingley we had some interns, people would sit in pitching and I'm like, how did they get over their fear of pitching when they haven't been hired as a writer? .Dave Krinsky (13:10):Yeah. I mean, and it, it's a good question for young writers and, and I'm teaching a class down at Chapman now and, and I'm like, it's a tricky situation when you're a new writer, you want to talk cuz you want to prove you're mm-hmm. worthy. But if you talk too much or talk poorly Yeah. It doesn't do you any good. And it really, in my opinion, when as a showrunner, I would rather you be quiet and sort of take it all in and pitch very occasionally, then feel like you've gotta pitch stuff that ends up derailing the room.Michael Jamin (13:40):You know, I, I totally agree with you. The one thing I've said, cause I think a new, let's say there's 10 writers in a room, and a staff writer often thinks, well I better speak a 10th of the time because I'm, there's 10 people here, but they're not getting paid a 10th. They're not getting paid as much as the co-executive producer. They don't have to contribute as much. You know?Dave Krinsky (13:56):Yeah. And it's not expected. Like, I've seen plenty of horrible showrunners who are punitive and, you know, they don't make it easy for a staff writer and they're happy to fire a staff writer every season and try someone else. But John, I have always been like, look, we're gonna bring you on board. We're gonna be patient with you. You know, it's like, it's not an easy position to be in. And, and when you're a showrunner, all you want is someone to make your life easier. And if a staff writer makes your life easier one time in a season, it's almost like, okay, you know what? I got something outta you. Great. WhatMichael Jamin (14:27):About that leap from, cuz I was there for that. You were, I guess it was season 60 started running it, is that right?Dave Krinsky (14:35):Yeah, six seven was our first official year running here. Billy,Michael Jamin (14:38):What was it like for you making the le because you know, everyone, you always think, I could do this job, I could do the job better than my boss. And then you become the boss and you're like, wait a minute, this is hard.Dave Krinsky (14:47):Yeah. Well I remember when on that Resnik show, there was a consultant there, and he told us, he goes, the punishment for writing well is producing. And it's like, you know, you work your way up and you become a producer and suddenly Yeah. You're managing people, you're dealing with all the politics, the budget. And I think the, the biggest thing that happened to me was we were working, and I can't remember if you were in the room or not. Do you remember Collier's episode about that Michael Keaton did? What The Pig the Pigs are? Yeah.Michael Jamin (15:15):I was there for probably, we probably got there for the animatic part of it. So we were didn't great itDave Krinsky (15:20):Okay. So it was a really weird story and Collier's a great writer, but this was one that was trouble from the get go just because it was so bizarre. Yes. And and I remember we were working super late trying to get to it and, and I think Richard Chappelle was running the, the show at that point. And he and Greg were developing a show and they left the room and everybody left the room. There was like four of us in there, and I think Greg or Rich Dave, you get on the computer and I and King of the Hill, the room, it wasn't like a conference room, it was like a big, almost like living room with a Yeah. Scattered room. One person sat there, it kind of ran the room. We didn't have the screen showing the script, which I never liked anyway. And I was like, I don't think I can run a room. Mm-Hmm. . And I got up there and I was just like, you know, I just did what I had to do. And I remember we, you know, spent a few hours, it was late night and we kind of like gave the script rich and Greg, and they came and got, this is great, this is working. And it was like, oh gee, so I guess I can do it. Right.Dave Krinsky (16:15):So when we took over the show, yeah. I mean it definitely was like, you, so many things were harder than you would think, but some were easier too. I remember the other showrunners before we run the show would come back from pitching the story. So the network, and they go, well, we sold six outta seven of 'em. So, you know, it wasn't easy. And then when we started pitching to the network, you know, the show had been on for six, seven years. They were like, okay, good. It was like, oh, this isn't that hard. Right. The hard parts were, you know, managing the budget, managing people, managing writers, dealing with the network.Michael Jamin (16:47):How much budget were you dealing with? Like, what were you, how big was it? Like, were you what? No, I mean, like what, what exactly were you doing? You know? Oh, yeah, because I, I don't really touch the, when we were running stuff, we don't really touch the budgets, butDave Krinsky (16:58):What do you, oh, so I mean, first it was the writer's budget, which every year was like, yeah, okay. Like, who can we afford to pay? But I mean, a lot of it, you'll remember our, our line producer McKinsey would walk in and be like, you know what? Last episode had a football crowd and this episode you want to do, you know, whatever a a crowd scene at the school, we can't afford that. The budget won't. Right. You know, so a lot of it was making creative decisions based on the limitations. Although it's so funny in animation because we would do like a big, you know, Hank football, we do a big football episode with a lot of people in the crowd and Jims like, okay, this is really streaming the animators. We can't do another big one next week. So next week we'd go, look, this is a very simple episode. It mostly takes place in the house. It's a very personal story between Hank and Bobby. And he's like, Ooh, that's gonna strain the animators. It's gonna require a lot of acting . Yeah. Like, ok, so wait, we can't do anythingMichael Jamin (17:52):. There's always a reason. That's right. There's always a reason why you're gonna ruin the show,Dave Krinsky (17:57):The bank.Michael Jamin (17:58):Wow. That's so, and now and then so what ha, so then after King of the Hill, which you guys did for many years, then it went down and they then went down for, I was probably a couple years it went down. Right.Dave Krinsky (18:10):I don't remember if it was a couple years because Yeah. So the show did not get picked up. Right. And then they moved John and I and Clarissa assistant onto the lot, into this crummy little office to finish posting the shows. Right. And so we were there posting the shows and we never left. I mean, by the time we, we, it's not like we were like home and done before we left there. They, they picked the show up again for another run.Michael Jamin (18:38):What was the thinking behind canceling and then picking it up again? Like why?Dave Krinsky (18:42):From what I hear Uhhuh, it's so, you know, Fox Network ran the show. Mm-Hmm. , 20th Century Fox was the studio who owned the show. Right. And apparently the, the heads of the studio got big bonuses when they got new shows on the air that were successful. So they weren't making a ton of money.Michael Jamin (19:05):Personally.Dave Krinsky (19:06):Personally. And the other thing, apparently they owned and operated cuz everything was syndicated. You know, in those days the package was so high for them to pay. As the show got on that they were like, wow, we gotta renegotiate this deal. So when everybody started renegotiating, it seemed like, okay, let's not do it. And then ultimately, I bet it was Aria Emmanuel fought for, cuz he was always fighting for it. But, or maybe it was Rotenberg, but yes, that's whatever they just decided. Okay. They made a deal and picked us back up again.Michael Jamin (19:34):And at that point it was, it was a lot of new writers, well most of the writers had moved on, but you were still on the show. So the cause you kind of restarted the staff was almost, as I remember it was almost almost brand new. There was only a couple pre previous writers, like Christie Stratton was there,Dave Krinsky (19:51):I think Christie was there, kit was there, kit Balls, GarlandMichael Jamin (19:54):Garland was there. Sure. Okay.Dave Krinsky (19:56):Yeah. So there was definitely a core group. I remember like, I can't remember Tony and Becky came on. Right. I don't remember if that was before that or not. So I think enough people, it might have been like, nowadays there's not really a staffing season, but I think it might have been during a non-st staffing season that enough people hadn't landed somewhere that we could get, get him back.Michael Jamin (20:15):Right, right. And then after that, you guys did The Good Family?Dave Krinsky (20:20):Yeah. So that was another, you know, people wanted an animated show from us. We had, you know, we'd gotten very close to Mike on King of the Hill. So started working together a lot with him. And we had this, this show The Good Family about a very you know, PC family, sort of the opposite of Hank Hill. And I just remember, you know, everybody was like, okay, take it to Fox and it'll run for forever. And it was just like, we just wanted to do things differently. And m r c and Independent, you know, studio had came out, came after us pretty hard and said, no, we want to do this deal. We can finance it and, and you can have a better upside and more freedom and Okay. So we decided to do it and we pitched it around and a B C just made such a hard press for it.Michael Jamin (21:03):OhDave Krinsky (21:03):Wow. And yeah. And it turns out they weren't the best partners simply because they didn't have any animation on. Right. They put us on with a really bad animated show, like after Wipe Out or something. It was just like not a good fit. Right. So, but it ends up, you know, the bottom fell outta the industry right after that cuz Rotenberg would call us up and goes, you know, your numbers would be a top 10 show like within two years. Right. We would've been like, fine. But at that moment just wasn't good enough numbers.Michael Jamin (21:30):And then, and then came, then they brought back Beavis and Butthead, which you guys ran, which was so interesting cuz that was a whole different experience that, that was all freelance. That's why you guys called us, Hey, you wanna write a briefs and Butthead? We're like, yeah, we'll do that.Dave Krinsky (21:43):Yeah. I mean, who wouldn't wanna have an opportunity do that? Right. Yeah. So Mike, they've always begging Mike to bring it back and he was always like, yeah, the situation has to be right. And he just felt like the timing was right. And he had some stories he wanted to tell and he loves doing them. I mean Yeah. You know, as he always said, king of the Hill requires a ton of effort for a little bit of output. Bvis requires a little bit of input for a ton of output. You know, people just love it and it's funny. Yeah. so yeah, so I mean, the budgets weren't super high and we couldn't license music anymore. I mean, and when Mike originally did it, it was all music videos because M T V owned all those videos. Right. But the world had changed so suddenly we were doing Jersey Shore and, and a lot of other like, reality shows. Cause that was the only sort of material we could get mm-hmm. . Michael Jamin (22:29):Yeah. But we, that's, we did like, because I remember we brought, you guys brought us in, there's a, there was a woman, a couple women in Detroit, it was so cold in the deed, had a song so cold in the deed. ColdDave Krinsky (22:40):In the de Yeah.Michael Jamin (22:41):And I don't remember how it happened, but I, I think I commented on on her, maybe on her YouTube channel or something. I go, this is a great song. And she went with nuts. She's like, oh, thank you so much, . She's, so, yeah,Dave Krinsky (22:53):It was a weird sort of viral head, I think almost before things really went viral. And it was just like a homemade video about, you know, living in Detroit and Michael Jamin (23:01):And how did you find all that stuff?Dave Krinsky (23:03):Mike had found it and just thought it was really funny and really interesting. And soMichael Jamin (23:06):He was just surfing the internet looking for like, real cheap stuff that he could get.Dave Krinsky (23:11):I don't even think it was like with an eye toward Bes, but he also was in this little network of like, Knoxville and Spike Jones. They all like send each other stuff. So I don't know where he got it from, but I think he just saw it. And, and, and you know what, I, I don't know, he's never said, but that might have been. But just to bring Bes back where he is just like, oh my God, they'd have so much fun with this.Michael Jamin (23:30):Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not gonna spam you and it's absolutely free. Just go to michaeljamin.com/watchlistMichael Jamin (23:54):And then okay. So then what, what came after that?Dave Krinsky (23:58):So yeah, blades of Glory was in the middle of the King of the Hill era. Right. and then I guess Silicon Valley really would be the, the next big thing that,Michael Jamin (24:10):And Okay. How did you guys come up with that idea? Which is a pretty big hit.Dave Krinsky (24:15):Yeah. So that was an interesting confluence of events where Mike had been in talks with H B O, they really wanted to do something with him. And Scott Rudin wanted to do something in sort of the gaming space. Mm-Hmm. . So they were sort of circling around this tech world. And Mike's like, I'm not a gamer. I don't know that well, but Mike was an engineer, you know, electrical engineer, so he knew, you know that world well. Yeah. but John was reading the, the Steve Jobs book by Walter Isaacson and saw this quote in the book where it's like Bill Gates was making fun of Steve Jobs goes, he can't even code.Michael Jamin (24:48):Yeah.Dave Krinsky (24:49):So John had this idea. He goes, well that's a really funny world. And his, his brother was an electric engineer, so he knew that world as well. And you know, so we pitched an idea to Mike doing something that Mike goes, well, I would love to do that. So then when we pitched it to H B O, they were like, yeah, this sounds great.Michael Jamin (25:04):Sorry. Right. So you wrote the pilot shot it and you were, and then like what people don't understand is like the process for shooting a pilot or, you know, like it's a big deal. It's like a lot of work. It's like even casting is a lot of work.Dave Krinsky (25:18):Yeah. And it, it was a lot of work and, and you know, there's a lot of round, I mean, after to, you know, really it was pretty high on it even after our first draft. It felt like it was gonna move in the right direction. And I do remember them calling him saying, okay, we wanna shoot a pilot mm-hmm. . and we had just done a show for Nat Geo before this where the budgets, the budgets were, you know, very low. I can't remember what they were, but, so HBO calls saying, you know, look, the pilot's gotta, the budget's gotta have like a four or five in front of it and we're like 400, 500 grands ton, but we can probably do it. It was like, no, no, no. Four or 5 million, million(25:52):. And they, they actually forced us to go up to Silicon Valley to shoot for a few days, bring the whole company up and we're like, there's nothing up there. We can shoot this in la. You know, and we ended up shooting like on the side of a freeway and we had a couple establishing shots of Google and Facebook and Right. And stuff. But, you know, HBO does things and they want it to be authentic so you know, all the credit in the world to them. Right. and then, yeah. Then when we did an edit, it was interesting cuz the pilot to Silicon Valley has a very big subplot of these two women in LA who are tired of the LA scene and they go up to Silicon Valley cuz the guys are rich and nice and and nerdy. And they meet our heroes in the first episode. And h HP was like, yeah, you know, we don't want this storyline. We don't think we need it. So those poor actresses got cut outMichael Jamin (26:37):Mm-Hmm.Dave Krinsky (26:37): and yeah. Crushing. Crushing. Yeah. It's gotta be, gotta be tough to see a show be that and you're,Michael Jamin (26:44):And you were cut out of it. Yeah. Yeah. What now when you, I know you, you teach at Chapman, it's so interesting cuz some people are like, is film school worth it? It's like, it depends on who you get as your teacher. Like, honestly, it's like it, you know and I'm sure they're very lucky to have you. What do you, you know, what is it, what's it like with these kids? You know, what are you teaching them? What are, where are they coming from, I guess?Dave Krinsky (27:06):Yeah, so the class is writing for adult animation. So, you know, half hour animation was like King of the Hill and, and, and things like that. But you know, as you well know, writing for animation is very similar to writing for anything. You know, it, it really is. You still need your three x structure and everything you can just go a little crazier with with things. And yeah, I asked them all, you know, beginning, because it, a lot of people still ask me, is it worth going to film school? Look, film school's expensive if you can afford it. Mm-Hmm. , it's not a bad thing. And I think what these kids are getting, and I said kids, but a lot of 'em are in their twenties. I think one's in his thirties, Uhhuh, . They're writing constantly. Someone's making to, that's good.(27:45):They're in LA so they're exposed to people, you know, not Pam or something, but like me who have done it in the business. We're not just academics who have published books about things. You know, and, and you know, you know, Brian Behar is down there, there's a bunch of Jill Con, there's a bunch of people down there who are like, done stuff. And last week or the other day, Damon, the guy who did La La Land, I can never say his last name in Whiplash. Yeah. He was speaking tonight. Austin Butler's speaking. Like, they just have a ton of people coming through. So you have exposure to all these people who have done things. Yeah. You also have connections that, you know, if you don't go to film till you just have to move to LA and try to, you know, try to build yourself. So yeah. So I think it's a, it's a good thing if you can afford it. If you can't afford it, it is not, it is not worth stretching to do it because, you know, we moved to LA and we started networking and meeting people and kept writing and, you know, that's really how most people do it. DoMichael Jamin (28:40):You feel you have to beat misconceptions out of them? You know,Dave Krinsky (28:45):I think this is my first class and I'm teaching second year grad students. Mm-Hmm. , so they're fairly savvy.Michael Jamin (28:53):Okay.Dave Krinsky (28:54):I think they've been exposed to it enough that there's not a ton of misconceptions, but there are big gaps in their knowledge. Just, you know, as it would be with anybody who, who hasn't been in the business. So, look, I teach them things about structure. Things like things they've probably heard before, but in ways that, you know, I, here's mistakes I've made before. You know, having a scene have to carry double duty and a half hour show is really difficult cause you have to change gears within the middle of a scene. You know, keep it simple. So things like that, I should, but they definitely light up more to my more anecdotal stories. Like, what's it like to be in the room? What's it like to work for a showrunner who's, you know, marginalizing you. What I remember I talked to the other day, I go, yeah, so we have this if come deal. And I could say, I go, wait, do you guys know what NIF come deal is? And they're like, no. I was like, oh, okay. Well let me explain that. So Right.Michael Jamin (29:45):What do you tell 'em about the showrunners? Who, who, who marginalized you? What's your, what's your advice on that? I wanna hear it.Dave Krinsky (29:51):Yeah, you know, it's just tough. I mean, I just keep stressing to them that most showrunners are under so much pressure and stress. All they want is someone to make their life easier. Mm-Hmm. . So, you know, the better you can do that, you know, the better off you'll be. And sometimes it's uncomfortable, but you need, like you, well I guess you weren't there at the beginning, but the king of the hill, you know, Greg was running the show and he had so many things you were on, so he was barely in the room. Right. So you didn't really know what he wanted. You didn't know if your story was gonna work. So if you saw em in the break room or saw em in the hallway, you would be like, Hey Greg, this is what we're doing. You know, you try to get feedback from em.(30:31):So that's what I tell them. I go do get as much from the showrunner as you can. And some of them won't give you anything as they're not rooting for you to succeed, but get as much as you can from them when you can, because it doesn't do you any good to try to figure out what they're doing. I mean, you have to do that to some level. The more you know what they want. And that's why I tell these, you know, these kids are doing beat sheets and outlines. I'm like, be as specific as you can. Don't cheat yourself because I'm gonna read stuff you gloss over and go, oh, I guess they know what they're doing. Right. And then when you gimme a script and I'm like, wait, what if you had done that in your outline? I could have pointed it out at that stage.Michael Jamin (31:06):Right, exactly. And when you say, cause when you say you know, you just helped the showrunner out, like, to me, what I want as a showrunner, what I, I just want a draft that doesn't need a page one rewrite. That's how I feel. I mean, is that what you're talking about?Dave Krinsky (31:20):Pretty much, yeah. I mean, or look, if you're someone who can, who can, you know, have the joke or the story fix in the room that gets you all home sooner, then that's fine too. I mean, you know, I mean, at King of the Hill we had such a big staff, it's an animated show. There were people who turned in great drafts. There were people who weren't great draft fighters, where were great in the room. You know, so in those days you could build a big enough team that, you know, you could have a pinch hitter and a utility field or designated here. Now the staff are so small, you really do want someone, but you're right. I mean, to get that draft mm-hmm. that needs a ton of work, you're like, okay, this sets us back so much on everything else now we can't, now I can't be in the editing room now. We can't push that next week's story forward. It's like, now we gotta dig in on this one.Michael Jamin (32:03):And, and what, what is, I mean that's exactly, yeah, that's exactly the panic that I, I I used to feel. But what did you, what is the advice, like, cause the industry's really changing so fast now. Like what is the advice you give these kids get out of film school in order to get into the business?Dave Krinsky (32:20):Yeah. I te look, it's tough. You know, I always try not to be too negative about it because it's always been tough. It's just tough in a different way. Right. you know what I tell them is like, look, the movie business is extraordinarily difficult. Mm-Hmm. . So if you want to be a movie writer, that's fine. But, you know, I urge them like, TV seems to be a cleaner path. Yeah. It used to be with movies, at least you could write a spec at some control where TV had to hope somebody hired you. So now, you know, I say, look, if you have a good movie idea, think about it as a series because, you know, a-list actors are all doing tv. You know, there's a, there's, and obviously TV is in a, isn't a great state right now with just the quality of it. Yeah. but yeah, I mean, you really do just have to, the basics are right, right, right. Mm-Hmm. and network, you gotta be in LA you gotta be hitting all the places because you never know. Look, that meeting with Carolyn Strauss, we had like, it was a good meeting. It wasn't like, ah, we've made it, we've met Carolyn Strauss and it wasn't until nine months later that something on the game of it. Right.Michael Jamin (33:19):Right. So it's really about getting in those circles.Dave Krinsky (33:21):Yeah.Michael Jamin (33:22):Yeah. I mean I, yeah, I remember people say that all times. Do I have to be in la? I'm like, you don't have to do anything you don't want, but you know, this is where the fish swim. You know?Dave Krinsky (33:32):Yeah. I mean the, the thing is, and I think you've probably said for, it's like the material doesn't really speak for itself. Mm-Hmm. , like in movies, it used to like a good specs script would find, you know, a, a buyer mm-hmm. , you know, now there's very few ideas that someone's gonna go, well, I don't care who this comes from, I want to do it. You know, and there's, there's very few scripts that are good enough that any anybody's gonna be like, I'm gonna put this on the air. It happens. They are out there. But the vast majority of the time it's, I've been hanging out, I've been going to, you know, upright citizens for grade. I've been going, oh, I've been helping out on a student film. Right. Hey, that kid I helped out is now on the desk at uta. Does UTA even exists anymore? I don't know. You know, myMichael Jamin (34:15):Agent? Yeah. I'm not sure.Dave Krinsky (34:15):Yeah. It's c aa and it's like, you know what, he wants to be an agent, so he's trying to hustle. So he's gonna hand the script over to, and suddenly you have a meeting, you know, with an agent, a real agent. So that's how it mo mostly happens. And you gotta be in LA for that.Michael Jamin (34:30):Yeah, exactly. That's how I feel.Dave Krinsky (34:33):Yeah.Michael Jamin (34:34):So what now I know you also, oh, I wanna mention your, your book. Is it you, you and John, your partner are of the, like, of all the writing teams I've known, even writers I've known, like you guys are the most entrepreneurial, it seems like you, like, you know, there nothing, there's a, there's a path to do it and then there's always like, well let's figure out how else we can do them. You know, you're always like the hustle doesn't end and it's create, it's always like creating opportunities for yourself.Dave Krinsky (34:59):Yeah, I mean certainly. And John's much, much better at that than, I mean he has a very entrepreneurial spirit and I enjoy it though. I like doing things differently. But he's very innovative in the way he thinks he's been in Europe for since, for Covid and for a lot of that. Mm-Hmm. just, you know, kicking the tires in the international market and making some headway there. But like, I remember like a couple of years ago we hooked up and were producing this writer who had done a academy award, docu a nominated documentary, and he had a half hour sitcom and he was he was crypt camp, so he was in a wheelchair and it was a character was about his story. And it was a really cool story. And Obama's company was attached to it. And it was like, this is a great, I mean it's a great script, great project, you know, and we go to Netflix a Zoom pitch and they literally were like this.(35:47):But as soon as the camera came on, you're like, okay, this isn't gonna be a sale. Mm-Hmm. , I mean, we knew it from the get go. Good lesson is you still pitch your heart out cuz you don't wanna ever have to blame yourself. If they don't buy it, they don't buy it. But so was like, what, you know, it's a great pro. Everything was great about it, but you don't know what they want and you just have so little control. So as we say, like shopping around town with our briefcase full of wears like Willie Loman is just not an appealing thing. So, you know, John had met this, this Irish actor, a guy named Richie Stevens, and he was pitching a friend's story and you know, that story wasn't quite hooking John. And then Richie started telling him about his own life and he was a recovered alcoholic drug addict gangster.(36:29):Right. And he is like, oh, that's interesting me, I want you to meet Dave. So we all sat down together, I'm like, I just had a fascinating life, a fascinating story. Like that's a great story to tell. Right. And and it was John's idea too. He was like, rich, you did the 12 steps of, you know, recovery. And he goes, yeah. He goes, let's tell your story in 12 steps. And that lends itself to a very nice TV show. Mm-Hmm. . But we were like, do we really want to go pitch a TV show? And so we said, you know what if we could write this as a book, cuz it lends itself to a book really. Well, 12 chapters. The 12 steps. Right. And I always wanted to write a book from the time I was 12, you know but then we'd have an IP and Hollywood loves an ip, you know, they love it If it's a,Michael Jamin (37:12):You still had to pitch it as a book. I mean you still have to pitch cuz you had to pitch it as aDave Krinsky (37:15):Book. Yeah. It's not like that's an easy path either. Yeah. But look, we had been out here long enough, we knew, you know, Jake Steinfeld Body by Jake who had published several successful books. He goes, well let me introduce you to my book agent. She publishes a lot of nonfiction authors. We'd pitched to her, she said, okay, this is a good hook. I think I can sell it. She turned around and sold it to a publisher. So then, you know, then we wrote the book, which took a while, but it's like now we have a book, which is an ip, which we can set up and we have much more control over it. Yeah. And we're making very good headway and setting it up as a TV show now.Michael Jamin (37:48):Right. Cuz you're bringing, you're bringing more to the table, which is why I always say, what else can you bring to the table? Yeah, yeah, yeah. And I, yeah, and it's an interesting read. I Yeah. Read it. Wonderful. So yeah, I give give you guys a lot of credit, a lot of credit, a lot of hustle.Dave Krinsky (38:03):Well look, a lot of it comes from boredom. And, and in all honesty, there's certain things we can do because of our track record. So when I'm advising like younger writers, I'm like, well, this won't necessarily work for you. Right. But you really do. I mean, the business has become so consolidated. It's a, it's a weird, it's also a weird business where like almost the quality or success of the entertainment doesn't matter. I mean, Apple's trying to sell mm-hmm. , you know, iPhones, Amazon's trying to sell everything else in the world so it doesn't have the same sort of metric as it used to when you were pitching a show. So it, it, it's difficult. But you know, like I met this young writer and she wrote a script that I really liked a lot mm-hmm. and, you know, we tried to set it up around town and have a ton of luck.(38:44):And then we learned she has dual citizenship, I guess triple citizen from Belgium and from France mm-hmm. . And it's like, oh, an American writer who's got, you know, some talent who can go over to the EU and tap into the money over there with their subsidies because she has a, is a huge thing. So now we're making headway on that. Right. So there's a lot of different angles that anybody's starting out might have access to that they can do instead of really just waiting for an agent or a writer or a studio to notice them.Michael Jamin (39:14):Right, right. Stop begging, stop begging, start making, making things happen yourself. Yeah. Yeah. I think so. Well tell, well tell us tell me what the name of that, that book so they can find it on Amazon.Dave Krinsky (39:25):It's called The Gangster's Guide to Sobriety.Michael Jamin (39:27):Yeah. He's a charming fella.Dave Krinsky (39:29):That guy. Yeah. You know, he's a real Irishman with the Irish accent and like, if you read the book, I mean, he did some horrible things and he's always like shocked that people are nice to him cuz of the horrible things he's done. But he's also a very gentle, sweet guy. He was just an, he was an addict and, and he made a lot of bad decisions from there, butMichael Jamin (39:45):Right. Dave Krinsky (39:46):But yeah, he is a good guy. He'sMichael Jamin (39:47):A good story. Yeah. A lot of good stories. Dave Krinsky, I'd give you a hug ifDave Krinsky (39:52):You I wantMichael Jamin (39:53):One , if you weren't on Zoom. Thank you so much. Thank you. Is there anything, any other parting words that we can get from you or anything, any other wisdom? Is that, or we tap, tap you out?Dave Krinsky (40:03):I don't know about wisdom, but I know that you know, a lot of people are, are tuning into you and checking your stuff out. And I just remember at King of the Hill and we've worked together on a bunch of shows, like you were always the fastest guy in the room. I was always just so amazed and, and jokes never translate. And it was your joke, so you'll sound like an idiot. But I just still remember we're all sitting in the writer's room and someone comes in and says, oh, I was down in Century City and I saw that Bewitched movie with will Ferrell and a Nicole Kidman. Yeah. And they go, how was he goes, well, I didn't really get to see it all because there was a fire alarm in the fire department came, came in and you yell everybody out, there's a bomb on the screen.Michael Jamin (40:38):, I don't remember that at, I have no memory of that at all. . My other, myDave Krinsky (40:44):Other favorite memory of King of the Hill was, you remember sitting in that back chair mm-hmm. taking a hole.Michael Jamin (40:50):Yes. And I have, I found a picture of it that was, I'll explain for the, for the, for our viewers we had, right. So there was a while on King of the Hill when we were working like 20 hours a day , and I felt like a hostage. And I had this one big chair that had big wooden legs on it. And I took like a thumb tack and I started digging a hole like the Shawshank Redemption. Redemption. Like I was digging a hole out of the . And then, and it took, it took months to finally when I finally broke through, I put a picture of Rita Hayworth on it so you couldn't see him as digging . And this is ballsy for a new guy. Cause I was like, you know, I was destroying furniture and I was telling everyone that I was not happy to be there 20 hours a day.Dave Krinsky (41:33):. Well, the thing we all, we all kind of bought into this fantasy that when you broke through we'd be free. Right. And it was so depressing when you broke through and we were like,Michael Jamin (41:43):We're allDave Krinsky (41:43):Back to work.Michael Jamin (41:45):I, I remember Garland was particularly interested in it. She's like, well, you know, because she was like, what are you gonna get through? Oh, funny. That's so funny. I'm, I'm glad you reminded that cuz I forget everything. That's the va the advantage of working with people if they can remind me of these stories. I don't remember any of that. I don't remember that that be whichDave Krinsky (42:04): Yeah. No, it was very funny. But no, I this was a pleasure and I I love what you're doing and I think, you know, you're giving information to people that's kind of hard to get anywhere else. You can learn craft, you can learn certain things, but you have so much input that's useful on a day-to-day level for aspiring writers. So good on you.Michael Jamin (42:20):Thank you so much Dave Krinsky, thank you again. AndDave Krinsky (42:24):Pleasure to see youMichael Jamin (42:25):Everyone. So yeah stay tuned. We had more episodes coming up next week. Thanks. And yeah, we have what else we got? We got a free webinar once a month. Sign up for that on my website, michaeljamin.com and my free newsletter. All good stuff. Go to michaeljamin.com and you can find it. Alright everyone, thank you so much.Phil Hudson (42:44):This has been an episode of Screenwriters. Need to Hear This with Michael Jamin and Phil Hudson. If you'd like to support this podcast, please consider subscribing, leaving your review and sharing this podcast with someone who needs to hear today's cycle. For free daily screenwriting tips, follow Michael on Instagram, Facebook and TikTok @MichaelJaminWriter. You can follow me on Instagram, Facebook, and TikTok at @PhilAHudson This episode was produced by Phil Hudson and edited by Dallas Crane. Until max time, keep writing.

Join me as I discuss the best picture Oscar winner from 2007, the Cohen Brothers' masterpiece: No Country for Old Men

Who's balloon's are these? / The "scrum" has to go. (It might.)   To advertise on our podcast, please reach out to sales@advertisecast.com or visit https://www.advertisecast.com/TheJeffWardShow  

Back with us is Fan-Favorite guest Keith Huang to discuss a slice of Americana, the Cohen Brothers' Raising Arizona! Keith delivers a special treat in the form of a surprise, brand new, FAN-FAVORITE GUEST! Naminspace.

Best alcoholic beverages you've ever had? Top Moments from the Past Year? Have you (luke) been doing your skincare? What Catholic thing you just can't get behind for whatever reason? What is your favorite day of the week? do you and your significant other share music tastes, if not, how do you deal with that? Words or themes that come to you about 2022? Words or themes for 2023? Words/Themes for celebrities? Cohen Brothers next hit: a western? writing stuff? what's new? Chrismation at infancy: why is the East right? A canonized saint that you think of for your co-host? What are the holiday traditions that need to go away and what new ones do you want to start? Thoughts on Expeditionary Force: Failure Mode? (gomer nerds out!) Best advice for a new dad? Favorite Karaoke song to sing in front of people and favorite in the shower? WHY HASN'T GOMER LOOKED AT MY EMAIL AND SENT ME MY MCCARRICK STICKER?! How do you keep going when physical/mental health is in the garbage? How is your ADHD going? Bird's eye view on the Mr. Frank Pavone thing? Why doesn't Luke like any Catholic people? j/j but not really.

Kelsey and Mark have been stricken with something awful and would like to give their audience an update. Also, they'll be reviewing Damien Chazelle Babylon in theaters on Friday, December 23rd, and their Geriatric Cinematic will be 1991's, Barton Fink. The Cohen Brother's classic film is available to rent on Apple TV, Amazon, YouTube TV, and other VOD services. 

The RP bois break down another Cohen Brothers film. Will they like it as much as the others they've reviewed?

Jeff Bridges and John Goodman star in one of the Cohen Brothers' most iconic films. This podcast abides. Check out Storyblocks and their Unlimited All Access Plan at: https://www.storyblocks.com/TJM Get Athletic Green's AG1 today at: https://athleticgreens.com/TJM Thanks to MANSCAPED for sponsoring the video! Get 20% OFF + Free Shipping at http://manscaped.com/tjm20 The next episode will be: Mission Impossible 4 Twitter: https://twitter.com/TJMpod Email: hello@theyrejustmovies.com

Welcome back to purgatory!!! This week the boys are back to talk the Cohen Brother's masterpiece No Country for Old Men from 2007 adapted from the Cormac Macarthy book of the same name. The film stars Josh Brolin, Javier Bardem, Tommy Lee Jones, Kelly Macdonald and Woody Harrelson. Thanks for checking us out and if you like to find the rest of our back catalogue go to podbean.com Music in the intro and outro by Carter Burwell from the No Country for Old Men soundtrack

Abortion has been a major topic since the final verdict or Roe VS Wade which determined that each state could decide whether or not to legalize abortion. I sat down this week with Avi and Mottie Cohen, who are brothers to close friends of mine Levi and Shua Cohen. (Credit to Levi for making this happen). We discussed abortion according to Jewish law, the question of morality being subjective, and our thoughts on transgenderism and the trajectory of western society. Leave your comments! Make sure to subscribe to and check out Avi and Mottie's podcast Jewish Thoughtflow on Spotify and all major audio platforms. SUBSCRIBE, LIKE, AND SHARE! --- Send in a voice message: https://anchor.fm/rafael-pinsky/message

Hey there, fans of laughter and nostalgia! Strap in for a blast from the past as we share our deep love for the comedic genius of the 90s. We're talking about the icons who shaped an era of hilarity: John Candy, Chris Farley, Adam Sandler, and let's not forget the brilliant women like Tina Fey, Goldie Hawn, and Reese Witherspoon. Remember The Waterboy? What about Big Daddy, Happy Gilmore, and Billy Madison? We're unearthing all those hilarious scenes that had us rolling on the floor laughing, before ROFL was even a thing. We're also going a little offbeat, so brace yourself for some honest chatter about realities like receding hairlines and the (not-so-fun) adventures with Rogaine.Now, who's ready for some Lebowski time? We're revisiting that Cohen Brothers classic and talking about the unique detective stories they spun. We've got Jeff Bridges, John Goodman, Julianne Moore, and even a late Philip Seymour Hoffman cameo to discuss. We're also shining the spotlight on another 90s favorite, Friday. With Ice Cube's brilliant writing and John Singleton's deft direction, this one's impossible to forget. We're also diving into a discussion about the upcoming animated sitcom, 'Married with Children' and its potential differences from the original in the time of a pandemic.Finally, we're rounding off with a tribute to the black comedy directors and writers who've made their mark on the industry. Whether it's Donald Glover's genius, Jordan Peele's creativity, or the iconic contributions from Robert Townsend and Tyler Perry, we're celebrating it all. We're even touching on the latest YouTube trends and comparing them to the comedy gold we grew up with. And as we wrap up, we're reminding ourselves to keep it real. The biggest numbers, we've learned, come from authenticity, not selling out. This episode is our little homage to the era that defined comedy for us. So, come join us on this laughter-fueled journey down memory lane!For full video highlights click the link or find us on YoutubeThe Best 90's Comedy Movies Vol.1 highlights - YouTube

Although growing up in the industry and becoming a multi-generational yard owner is impressive, starting as a first-generation recycling facility deserves a whole new level of appreciation. Brothers John and Nicholas Cohen, owners of NJC Scrap Metal Recycling in Hempstead and Bay Shore, NY, join Pile of Scrap at the 2022 ISRI National Convention to discuss where they see themselves in five years, what it's been like to work with family, and how important it is to hold the value in doing “old school” business.

Today with On The Edge Podcast, we're talking with Matt Epenshade who has his own podcast called the Cut And Splice Podcast. Matt is a cinematographer, and for the most part, we're gonna be talking about movies today. If you're interested in movies, then this is the podcast for you! HEADS UP: I'm not sure what happened here, but the audio on this podcast is NOT GREAT. It's a great conversation though so I still wanted to get this out there for you all to hear. We start off with some political talk about the movie industry. The industry historically leans left, but lately it seems like it's maneuvered itself to more far left and less liberal. What does ‘below the line' and ‘above the line' mean in the movie industry? What does a cinematographer do? Scott and Matt discuss their favorite movies. Scott talks about why he never trusts the academy because Shakespeare in Love beat a much, much better movie, Saving Private Ryan. Because of this, Scott has avoided watching other Oscar winning movies because of their poor taste. A discussion about War Movie “Come And See” One of Matt's must-watch movies is Dark City. It turns out that The Matrix is basically a rip-off of Dark City, down to even using some of the same set pieces. Why do people love the movies so much? A discussion about The Cohen Brothers. Movies are created to entertain, however some movies seem to exist to disturb people. The creators of these movies must know that they will never be a cinema blockbuster, so why are they made? A discussion about Libertarianism in the movie world. How do movies represent Libertarian values. Matt discusses that ‘the best libertarian movies are movies that are accidentally libertarian.' A discussion about the Kyle Rittenhouse trial and outcome, and more importantly, the American people's opinions about the whole situation that are largely misinformed. Scott discusses how he got his DUI. The story of what happened and manipulation that he experienced during the trial very well may be why he is a libertarian and not a republican. The discussion continues about falsely accused people and how there is an inherent bias in our justice system. There is a book called “Three Felonies A Day” which in short, is about how every American on average commits well, three felonies a day. Some people are still in jail for marijuana crimes in states where marijuana is perfectly legal. This is just another example of how our justice system is overblown and how our country has a love relationship with locking people up. Free Solo was a great movie that make your palms sweat the entire time. Scott and Matt discuss other movies that make your palms sweat! Best and worst Star Trek movies. What is the worst movie that you love?

Today with On The Edge Podcast, we're talking with Matt Epenshade who has his own podcast called the Cut And Splice Podcast. Matt is a cinematographer, and for the most part, we're gonna be talking about movies today. If you're interested in movies, then this is the podcast for you! HEADS UP: I'm not sure what happened here, but the audio on this podcast is NOT GREAT. It's a great conversation though so I still wanted to get this out there for you all to hear. 1:00 - We start off with some political talk about the movie industry. The industry historically leans left, but lately it seems like it's maneuvered itself to more far left and less liberal. 5:00 - What does ‘below the line' and ‘above the line' mean in the movie industry? 7:00 - What does a cinematographer do? 11:00 - Scott and Matt discuss their favorite movies. 16:00 - Scott talks about why he never trusts the academy because Shakespeare in Love beat a much, much better movie, Saving Private Ryan. Because of this, Scott has avoided watching other Oscar winning movies because of their poor taste. 21:00 - A discussion about War Movie “Come And See” 34:00 - One of Matt's must-watch movies is Dark City. It turns out that The Matrix is basically a rip-off of Dark City, down to even using some of the same set pieces. 36:20 - Why do people love the movies so much? 39:00 - A discussion about The Cohen Brothers. 41:00 - Movies are created to entertain, however some movies seem to exist to disturb people. The creators of these movies must know that they will never be a cinema blockbuster, so why are they made? 46:40 - A discussion about Libertarianism in the movie world. How do movies represent Libertarian values. Matt discusses that ‘the best libertarian movies are movies that are accidentally libertarian.' 56:30 - A discussion about the Kyle Rittenhouse trial and outcome, and more importantly, the American people's opinions about the whole situation that are largely misinformed. 1:03:50 - Scott discusses how he got his DUI. The story of what happened and manipulation that he experienced during the trial very well may be why he is a libertarian and not a republican. 1:10:00 - The discussion continues about falsely accused people and how there is an inherent bias in our justice system. There is a book called “Three Felonies A Day” which in short, is about how every American on average commits well, three felonies a day. 1:25:00 - Some people are still in jail for marijuana crimes in states where marijuana is perfectly legal. This is just another example of how our justice system is overblown and how our country has a love relationship with locking people up. 1:31:20 - Free Solo was a great movie that make your palms sweat the entire time. Scott and Matt discuss other movies that make your palms sweat! 1:33:35 - Best and worst Star Trek movies. 1:40:00 - What is the worst movie that you love?

Are YOU excited about Succession? Hear the panel discuss it for several weeks in a row! Also featured: celebrity sightings, Star Wars discussion, acquiring car sickness, Cohen Brothers comedy, and power recliners. A SMALL DESCRIPTION OF EPISODES PULLED FROM: (Ep. 212) Pre-show. Brandon is buying Jump Force only because it's going to be delisted. Tim tells stories about his Kotaku videos, and knows the difference between Windows 10 Home and Windows 10 Professional. Frank sounds better. Helpful computer tips are shared. (Ep. 213) Pre-show. Tim reveals more details about his Minnesota mansion and dives into last night's Succession. Brandon can't imagine what would make him watch that show. The idea of a Succession bonus episode is discussed. (Ep. 213) Mid-show technical difficulty. Frank drops out, so Tim takes the opportunity to discuss his network storage setup, and last night's Succession. Jaffe talks about The Jar Jar Trilogy. Star Wars opinions are delivered. (Ep. 213) (Content warning: pretty gross car sickness story) Extended break. Tim has advice for young'uns, and has been going to the movie theater. Brandon shares a story about car sickness and another one about the soundtrack of O Brother Where Art Thou. Celebrity sightings are discussed and compared. (Ep. 214) Pre-show. A Starbucks unionized! Fuck Kellogs (UPDATE: strike has finished, congratulations to Kellogg's workers!!) Tim's goblin hole requires assistance, but he has power recliners so it's not all bad. Everything you've heard about New York apartment building pettiness is true. Jaffe tries making a Succession Friend.

Dang! What a wonderful conversation with Barbara Cohen (Farm Accident, Little Lizard, Brother Sun Sister Moon, etc). After honing her musical chops here in the Twin Cities, she's spent the last 20 years in LA composing film and TV scores. Now she's back. We talk about her amazing journey and what the future may hold. Give this one a listen, she's great!Support this podcast at — https://redcircle.com/brian-oake-show/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

What do the Cohen Brothers and Sam Rami have in common? Should people take issue with a movie that turns child abduction into a comedy? Does Nicholas Cage make too many movies? Join the discussion! Instagram https://www.instagram.com/bbs_presents/ (@bbs_presents) Twitter https://twitter.com/BbsPresents (@BbsPresents) Email bbspresents@gmail.com

In this episode of Parallel Fiction, Heather and Jeff try to look for that pot of gold and break down the meaning of Luck.  Whether it be from perseverance, or breaking a family curse, the two discuss stories where luck plays a big role in the protagonist's life. Jeff starts off the first presentation segment with the movie Logan Lucky starring Channing Tatum and Adam Driver.  Jeff takes us through the story of the Logan brothers, who are planning a heist despite lifelong bad luck.  Jeff emphasizes the stellar cast, with standout performances from Daniel Craig and Riley Keough.  Heather and Jeff's banter about the other cameo's in the cast make this film seem like a top contender for Jeff's rating. Fun Fact!  The standard "This movie is a work of fiction" disclaimer gets a little twist at the end: "Nobody was robbed during the making of this movie. Except you." Heather picks up the second segment of presentations with her review of classic novel The Joy Luck Club.  Heather takes us through the plot with some funny side bars with Jeff.  Despite the heavy nature of the novel, Heather makes the characters and many storylines easy to digest. Fun Fact! The film adaptation of The Joy Luck Club was the first Hollywood feature film with an all Asian Cast. Following these reviews, Heather and Jeff dive into commonalities between the two works such as divine luck, breaking an unlucky streak, contagious luck, feeling lucky, and luck meeting experience. Listen in to hear Jeff and Heather's candid thoughts on the masterpiece scenes of each story, how Logan Lucky and The Joy Luck Club compare, and how Jeff and Heather relate the two. Share this episode with everyone who can use a great story! Heather's rating for The Joy Luck Club:  Nice – A classic novel that may be a little too heavy to read quickly.  Very thought provoking. Jeff's rating for Logan Lucky: Super  Nice – A hidden gem of a movie with a stacked cast and the perfect type of dry humor that fans of Cohen Brother's movies will appreciate.  Definitely a must see from Jeff. Watch Logan Lucky here: https://www.amazon.com/Logan-Lucky-Farrah-Mackenzie/dp/B074SWRQ15 Read The Joy Luck Club here: https://www.amazon.com/Joy-Luck-Club-Novel/dp/0143038095 About Parallel Fiction:Parallel Fiction is the perfect supplemental companion to all of the stories you consume. We will be covering movies, television, books, graphic novels, video games, and music whenever it applies. Learn more about things you love, and get to know us a little bit better as we give you a peak into our lives and opinions. Connect with us:Email Jeff & Heather: Parallelfictionpod@gmail.comFollow us on Instagram: www.instagram.com/ParallelfictionFollow us on Twitter: www.twitter.com/ParallelfictionConnect with us on Facebook: www.facebook.com/Parallelfictionpod

Joined by another fantastic guest and man of constant sorrow, Joel Christensen, we trace the unbroken line from Homer to Mumford & Sons through the Cohen Brothers. Is this more or less of an Odyssey adaptation than its directors let on? What makes Odysseus Odysseus? How does myth meet a nostalgia for a certain visage of the American South? Is Clooney too charming to be the man of many ways? Hosted on Acast. See acast.com/privacy for more information.

It's our first installment of a 4200 part series "Skinny Mat Finds A Religion". We will interview every active religion and at the end of the series Mat will choose. In this episode we explore Dudeism, a religion based around the 90's  Cohen Brothers cult classic film, The Big Lebowski. We Interview his Archdudeship Dwayne Eutsey about all things Dudeist. Theme music and underscore was written and recorded by DJ Flandelicious with help from Rachel Delgado. Skinny Mat Finds a Religion Theme was composed by DJ Flandelicious, Lyrics by John Oliver Smith and Vocals by Katie Marie Jones.We'd like to thank his Archdudeship Wayne Eutsey for enlightening us on the Dudeist way. He's co written a book called the Abide Guide that's available on Amazon or on the website dudeism.com where you can be ordained as a Dudeist Priest.Find out more on our website www.smtinfoilhat.comSupport the show (https://www.patreon.com/skinnymatsbunkertapes)

Justin Dyck is a Canadian director who just released Anything for Jackson, now streaming on Shudder. Anything for Jackson is definitely one of my favorite horror films of the year - it really delivers the goods. It's scary, funny, emotionally poignant, and an extremely unique and different take on ghosts and demons. All in all, it's a hell of a time and I highly recommend it. Ironically enough, Justin made Anything for Jackson after making a large number of commercial family films in Canada, which despite the genre really paved the way for his technical abilities as a director. We talk more about Justin's backstory, the making of Anything for Jackson, and how he pulled off the movie's fantastic creature effects in today's episode of The Nick Taylor Horror Show. Now, without further ado here is Justin Dyck.  Here are some key takeaways from this conversation with Justin Dyck.  Tap into the economy of experience. This is a common theme among indie filmmakers but it bears repeating. One of the keys to achieving high production value on a low budget movie is to tap into people's yearning for experience. Justin was able to get a killer DP for Anything for Jackson for less than his usual fee because he wanted more diverse IMDB credits. This rule also can apply to actors; Justin cast a bunch of very experienced TV actors, whose experience on very big shows tended to get and boring while his indie horror movie offered them a fun and fresh experience so they signed on for substantially less than their usual fee. The movie also offered them an opportunity for more focused screen time which is important for actors as well. Doing this effectively all boils down to the experience you can provide to your cast and crew. If you can't pay a lot, you have to make it worth their while by going out of your way to make the experience valuable and enjoyable. So find resourceful ways for your movie to provide high-value people opportunities to learn, to do something different, get more exposure, or just to have fun.  There's humor in realism. There are a number of humorous moments in Anything for Jackson, and they were so natural that they seemed unintentional. The way Justin described the movie's funny moments was by comparing them to Cohen Brothers movies, where you have ordinary people in extraordinary circumstances which is really on display in Fargo. Observing how real, every-day people respond to crazy scenarios creates a juxtaposition that's naturally humorous. Justin also cited Blue Ruin as a prime example of this, which I highly recommend. So, if you're looking to raise the levity of your horror film by using humor, it can be as simple as adding a dose of realism by being truthful. This will let the laughs shine through in very natural but unexpected ways.  Don't turn down any opportunities. Justin entered the industry wanting to make horror movies but was instead, offered the opportunity to direct a family film. Instead of thumbing his nose at the opportunity, he took it because he knew that the experience would be valuable for him as a director. Justin did such a great job on that movie that he ended up being asked to direct multiple other family movies. Despite the fact that these were not necessarily the movies he wanted to be directing, making them became his day job, where he was able to learn countless lessons about working with actors, the pace of the set, camera equipment, and the technical sides of directing. He also built a killer network of crew members, producers, and actors. As far as day jobs go, this is a dream come true for any aspiring filmmaker, because when it came time to direct Anything for Jackson, Justin was able to draw from years of very hands-on experience and executed a great movie with very smooth production. This is a serious reason to consider saying yes to opportunities that are not exactly what you're looking for at the time because they can make you a better filmmaker.   Thanks for listening! Don't forget to subscribe, and follow the show on Instagram at @IMNickTaylor and on Twitter at the same handle.  ----- Produced by Simpler Media

This week Alrik and Liz welcome back previous 'Get Shorty' Filmmaker Felicia Pride on the show to talk about how she moved to LA at 35 and forged her filmmaking career through her own sheer will and hustle. Felicia talks about the steps she took in crucial points in her career, how she hit career milestones for herself and how she managed to sell a feature, land management and get staffed in a writers room all in the same year. This episode is a must listen if you feel like you missed your chance to have the career that you wanted because it really just shows that putting in the work and staying focused on your goals really pays off. We also have short filmmaker Parrish Stikeleather on the show to talk about his short film 'Long Drive to Yadkin' which we have deemed as a serious ode to the Cohen Brothers!