Podcast appearances and mentions of Damien Chazelle

Ian Hunter has spent four decades building miniatures, supervising visual effects and thinking like a filmmaker on some of the most demanding productions in Hollywood. In this episode, he traces a career that began in a garden shed with a punched-up piece of German black velvet and ended up — via James Cameron, Tim Burton, the Coen Brothers, and Christopher Nolan — on some of the most iconic screens in the world.Ian grew up surrounded by art. His father painted oils and acrylics, played music and did pastel portraits, and encouraged his three sons to make things — even when those things destroyed the materials he'd given them. The moment that really clicked, Ian recalls, was being handed a model kit as a kid and taking to it immediately. That creative instinct only grew stronger. In high school, he and his brothers were making Super 8 films, scratching laser effects onto the film with a pin and blowing up overloaded resistors for explosions. One of those films required them to fake-rob a local bank — and the encounter that followed, with the surprisingly enthusiastic vice president of the Monrovia Wells Fargo, led to a meeting with the mother of Rick Baker, whose work Ian had recently encountered in a traveling special effects exhibition and been completely floored by.After drifting away from an aerospace course at Cal Poly Pomona and working in an acid bath plastics factory, Ian answered a classified ad looking for model makers — and on the strength of a modest portfolio, was hired the same day. His first feature was The Abyss. He and fellow model maker Jim McGee built the flooded engine room of the Montana submarine with almost no direction beyond James Cameron's bare-bones description, and shipped it to South Carolina having never seen a frame of the live action. The production was not without its disasters — Ian found himself entangled in the notorious wax crane fiasco, and talks about the valuable early lesson of knowing when to call something out before it goes wrong.From there, a friend pointed him toward Boss Film, Richard Edlund's company in Marina del Rey, where a chance encounter with departing model supervisor Mark Stetson changed everything. What was supposed to be a one-week favour on a music video turned into six years. Working with Stetson took Ian from being a junior model maker building things in isolation to visiting sets, talking directly with directors, and understanding that miniature work only succeeds when it becomes invisible — just more shots in a movie, telling the story rather than showing off the technique.Among the projects from that period, Ian talks at length about Total Recall — including the behind-the-scenes chaos of a scale miscommunication on the final day of shooting, a scene involving a little person that nobody had accounted for, and the moment he glued a Coke can to a model building because they were running out of time. That Coke can, dressed up and shot from the front, made it into the finished film. So did one in Waterworld. And Inception. And Interstellar. And, after the story apparently got around, director Fede Álvarez greeted Ian on Alien: Romulus by asking exactly where he was planning to hide it.Ian built the suburb for Edward Scissorhands — deliberately making it more bland and mundane than real life — and talks about one of his proudest in-camera shots: the final view through the bedroom window and out over the snow-dusted neighbourhood, achieved with a 1:24 scale model and real snow shakers on the night. On Batman Returns he built the Penguin's zoo, and describes receiving one of his all-time favourite compliments from Tim Burton — who, after watching a pyrotechnics test, asked simply: "Where did you shoot this?" Not realising he was looking at a miniature. The zoo also gave Ian one of his best examples of a happy accident: a polar bear sculpture that was supposed to explode but instead toppled slowly sideways with flames coming out of its feet. Tim Burton loved it. The entire subsequent engineering challenge was figuring out how to recreate the mistake.On the X-Files movie, Ian and his partner Matthew Gratzner built a collapsing federal building on a tight budget, referencing Oklahoma City bombing photographs for the detail of damaged concrete and exposed floors. The late Roger Ebert reviewed the finished film and said the sequence should have been cut — because it was too reminiscent of real tragedy. Ian reflects on that as a marker: they'd gotten past the technique and into the emotion.The conversation turns to Christopher Nolan, with whom Ian has worked across multiple films. Ian describes Nolan as collaborative but definitive, someone who discusses a shot in depth and then tells you exactly what he wants. He talks about the liberation Nolan offered on Interstellar when he told the crew to stop following the previs — pre-vis is just a guy at a computer on a Friday trying to get the shot out the door, Nolan told them; if you can see a better angle, do that instead. The result was that the miniature crew started shooting faster, and a number of shots that had been planned as digital moved across to the physical side. Ian also describes the meticulous sun-angle calculation that went into matching the Inception hospital sequence — setting up models in a parking lot at a precisely calculated skewed angle to hit the exact quality of light that had been captured in Calgary on a specific date.On First Man with Damien Chazelle, Ian had drawn storyboards before the first meeting proposing a documentary approach — cameras attached to the spacecraft, nothing sweeping or cinematic, everything either very close or very wide as if shot from another ship. Chazelle walked in and described exactly the same idea. They spent twenty minutes together going through the sequence, working to an animatic cut to music, and Ian went off and shot it. That shorthand — that moment of being in sync before the conversation has really started — is something Ian describes as central to how he has survived in an industry where so many practical effects houses have not. He's a model maker, yes. But more than that, he's a filmmaker.This podcast is completely independent and made possible by listener support. If you'd like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning Watch more on YouTube:Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentariesAll my links

Directorial Debut Month continues with a look at the first feature film from one of modern cinema's most exciting filmmakers: Damien Chazelle's Guy and Madeline on a Park Bench.Made on a shoestring budget and bursting with youthful ambition, this black-and-white musical tells the story of love, heartbreak, and second chances through the rhythms of jazz and the streets of Boston. Long before Whiplash and La La Land earned Chazelle Academy Awards and worldwide acclaim, this debut showcased many of the themes and stylistic flourishes that would become his trademark.We discuss the film's intimate storytelling, inventive musical sequences, and how it serves as a blueprint for the career that followed. Does this modest indie musical reveal the future Oscar-winning director in full, or is it a hidden gem that deserves recognition on its own terms?Heartfelt, energetic, and deeply personal, this is the first note in Damien Chazelle's cinematic symphony.#WatchTowerFilmPodcast #DirectorialDebutMonth #GuyAndMadelineOnAParkBench #DamienChazelle #IndependentFilm #MusicalCinema #FilmPodcast #DirectorialDebut #CinemaHistory #CinephileTalk

This episode features the most scorching NDHT (Nicholas Dostal Hot Take™) in the history of the pod. Few modern directors have been as impactful as Damien Chazelle. Alex and Nick have a blast diving into Chazelle's small but remarkable filmography. Stray topics include Justin Hurwitz's score in “Guy and Madeline on a Park Bench,” the “Whiplash” short film, the lasting magic of “La La Land,” the sound in “First Man,” the cultural reclamation of “Babylon,” and much more.Visit our brand new website waywpodcast.comBuy WAYW MerchJoin WAYW Bonus Features on Patreon

Attention, ce podcast sera dithyrambique sur le film de la semaine : Babylon. Cela fait des mois qu'on se le garde sous le coude pour cet épisode 50 qui marquera la fin de New New Beat ! En effet, le podcast s'arrête définitivement et Babylon nous semblait un bon film de conclusion car on fini sur une note d'optimisme pour le cinéma à venir. Pour la zik, on boucle la boucle aussi en parlant de High Vis qui est considéré comme groupe de post-punk, étiquette musicale dont on a fait que descendre depuis le départ de New New Beat, mais bon y'a une logique aussi dans ce choix ... pis en plus c'est vraiment bien. On se retrouver bientôt pour les épisodes bilan. Des Bizoux Le Film : Babylon de Damien Chazelle (2022) La zik : Choose to Lose de High Vis (2019) Issu de l'album No Sense No Feelings : https://highvis.bandcamp.com/album/no-sense-no-feeling

In the first installment of a semi-regular series, Matt and Jordan take a break from reviewing a single film in order to interrogate an entire streaming platform: the industry juggernaut, Netflix. They dissect it across five crucial categories—library size, playback interface, reliability, originals, and price. The goal? Nothing less than determining the greatest service of all time. Then for Rec Seg, Jordan attempts to track down a forgotten, star-studded 2020 musical drama buried deep in the Netflix sub-basement, while Matt stakes a claim for Adam Sandler's finest 2020s streaming achievement. Plus, they answer a listener mailbag question with two exceptional, music-centric recommendations currently streaming on Mubi. (Timecodes/chapters may not be precise with ads.) Intro (00:00:00-00:02:23) The State of Streaming: Netflix (00:02:24-00:43:09) Rec Seg! (00:43:09-00:57:30) Personalized Recs: Music Movies on MUBI (00:57:31-01:08:25) Game: Netflix Capacitor (01:08:26-01:16:13) New to Streaming / Credits (01:16:14-01:23:09) Notes: Now Streaming on Bazooga - A Filmspotting: SVU Archive ⁠⁠https://letterboxd.com/samvanhallgren/list/now-streaming-on-bazooga-a-filmspotting-svu/⁠⁠ Matt's book "Funny Business: The Old-School Wedding Crashers and Knocked-Up Virgins Who Changed Comedy Forever" comes to bookstores everywhere in October. Pre-Order now! ⁠⁠https://www.penguinrandomhouse.com/books/790241/funny-business-by-matt-singer/⁠⁠ Jordan at Foreign Policy Magazine https://foreignpolicy.com/author/jordan-hoffman/ Matt at ScreenCrush https://screencrush.com/author/mattsinger/ Feedback: -Email us at feedback@filmspottingSVU.com⁠⁠ Follow: ⁠⁠https://www.instagram.com/superpulse/⁠⁠ ⁠⁠https://www.facebook.com/FilmspottingSvu⁠⁠ ⁠⁠https://letterboxd.com/superpulse/⁠⁠ ⁠⁠https://letterboxd.com/jhoffman6/⁠⁠ ⁠⁠https://bsky.app/profile/mattsinger.bsky.social⁠⁠See omnystudio.com/listener for privacy information.

Welcome back to Oscar Wild's Season 7 premiere where co-hosts Sophia and Nick break down one of the most exciting awards races and Oscar ceremonies in recent memory: the 89th Academy Awards and Moonlight's Best Picture win! First, they celebrate the 10 year anniversary of the releases of Damien Chazelle's La La Land and Barry Jenkins' Moonlight (45:18) with a detailed summary of each film and a lively discussion about their legacies.Then, they turn to the telecast (and Envelopegate) and answer some fun listener questions (1:20:30). Who did Faye Dunaway vote for? What film was in third place? How do you feel about the Picture/Director split? How have these movies and their Oscar wins aged over time? Tune in to find out all of this and more then be sure to comment on socials!Follow us on Twitter, Instagram, Bluesky, and TikTok @oscarwildpodFollow Sophia @sophia_cimFollow Nick @sauerkraut27Become a patron and listen to more content at patreon.com/OscarWildFind merch @ oscarwild.squarespace.comMusic: “The Greatest Adventure” by Jonathan Adamich

Revisitamos, analizamos y discutimos la película LA LA LAND de Damien Chazelle (2016).Fico CangianoRobert GarciaAlexis LeonJose Morales

079 - Michael, Dir. Antoine Fuqua  Michael Jackson is the iconic and undeniable King of Pop and Jafaar Jackson plays the title character beautifully.  Like The Super Mario Galaxy Movie, Michael is a wonderful fan service film, but lacking in almost every category that matters to story telling.   Does this movie capture the superstar or the man?   0:00:00 - Introductions and Banter 0:06:00 - Box Office  0:09:00 - Movie Recommendation - Whiplash, Dir, Damien Chazelle (2014) 0:13:00 - Michael, Dir. Antoine Fuqua 0:53:00 - TLDR: Michael, Dir. Antoine Fuqua Hosted, produced and mixed by Grayson Maxwell and Roger Stillion.  Also Hosted by Christopher Boughan.   Visit the new Youtube channel, "Post Credits Podcast" to watch the video version.   Thank you for listening! Check us out on many podcast services: Apple Podcasts, Amazon Music, Google Podcasts, Spotify, Podbean. Check is out on YouTube for the full video each week: https://www.youtube.com/@Postcreditspodcast1

Our series on musicians is coming to an end, and we cap it off with Damien Chazelle's 2014 film about drive and talent, Whiplash! We discuss what it means to be content vs motivated, the JK Simmons role that not everyone may remember, how the film reminds us of Taxi Driver and Full Metal Jacket, and why perfection and pleasure are not on the same planet. Also: The Devil Wears Tight Black Shirts! Funny little hats! Bloody drums! Check it out!  Ad-free versions of all of our episodes are available on our Patreon When you sign up you also get access to our bonus shows, Discord server, shout out on the show AND you get to vote on monthly episodes and themes and a 25% discount in our merch store. That's a lot for only $5 a month! For more info and to sign up visit us on Patreon You can also give a Movie Friends subscription here: Gift a Movie Friends Subscription! Visit our website Check out our merch store Send us an email! Follow us on Twitter and Instagram Fill out our listener survey

Join screenwriter Stuart Wright as he dives into movies that changed your life with writer/director Alexia Melocchi, in this engaging episode of 3 Films That Have Impacted Everything In Your Adult Life. Explore Basic Instinct's impact, Bridget Jones Diary analysis, and La La Land's influence on his personal growth and cinema's transformative power on him. Alexia Melocchi also discuss her new book: The Heart of Show Business: Your Road Map To Hollywood. Movies That Changed Your Life   Find out about Alexia Melocchi's new book The Heart of Show Business: Your Road Map To Hollywood and the lasting impact of cinema on their lives with Stuart Wright on his movie podcast.   [1:20] The Heart of Show Business: Your Road Map To Hollywood 3 Films That Have Impacted Everything In Your Adult Life Basic Instinct impact  [14:17] Alexia Melocchi says Basic Instinct is a movie she sold as a distributor and represents a moment in her life where she was starting to success in Hollywood  Bridget Jones Diary analysis [19:30] Alexia Melocchi says Bridget Jones Diary is such a relatable movie for women and a brilliant example of the kind of Romcoms that the UK excels at. La La Land Influence   [24:31] Alexia Melocchi was in the room when Damien Chazelle was arguing the case for keeping the opening freeway scene in La La Land.  Key Take Aways:   Discover how movies that changed your life shape personal and professional growth. Learn about why Alexia Melocchi wrote The Heart of Show Business: Your Road Map To Hollywood. Understand cinema's transformative power through Basic Instinct (1992), Bridget Jones Diary (2001), La La Land (2016) About the Guest:   Alexia Melocchi is a producer and author of The Heart of Show Business: Your Road Map To Hollywood  published by Routledge. The Heart of Show Business: Your Road Map To Hollywood  is out now and is available at https://www.amazon.com/Heart-Show-Business-Your-Hollywood-ebook/dp/B0FP9TMJKG  Subscribe on Apple Podcasts, follow on Spotify or wherever you listen to your podcasts for more movies that impacted your life!  Share your favourite movies that impacted your life on X (@leytonrocks) and leave a 5-star review and tell us which 3 films impacted your adult life. Best ones get read out on the podcast. Credits:   Intro/Outro music: *Rocking The Stew* by Tokyo Dragons (https://www.instagram.com/slomaxster/)  Written, produced, and hosted by Stuart Wright for [Britflicks.com](https://www.britflicks.com/britflicks-podcast/)   Learn more about your ad choices. Visit megaphone.fm/adchoices

Don't wait! Head to MaximumFun.org/join to become a MaxFun member right now! If you specifically want to support Feeling Seen, you can keep it extra simple and go to MaximumFun.org/joinfeelingseen You may not remember 2000's Wonder Boys, but The Flop House's Dan McCoy does. He and Jordan discuss this Michael Chabon adaptation, starring Michael Douglas and Tobey Maguire. It's a part of Dan's DVD collection; for Jordan, it was a first-time watch. And while Wonder Boys may have come out in the year 2000, that places it at the tail end of '90s era cinema (and, yes, pre-9/11 cinema). Which means it reminds Dan and Jordan of a movie era that brings up a lot of dangerously warm feelings.  Here's a sneak peek at that conversation! The full version, and much more bonus content, is available for members at any level. MaximumFun.org/join!   Thanks to everyone who participated in this year's MaxFunDrive! Still want to get in on the action? Follow this link to support this show (and get in on our limited-time keychain sale to benefit the Center for Constitutional Rights): https://maximumfun.org/joinfeelingseen Feeling Seen is hosted by Jordan Crucchiola and is a production of Maximum Fun. You can watch video editions of our new episodes on our YouTube Channel!Need more Feeling Seen? Keep up with the show on Instagram and Bluesky.

paypal.me/LibroTobias ko-fi.com/asier24969 Esta semana traemos al podcast una película de Damien Chazelle, se trata del musical “La ciudad de las estrellas (La La Land)” que en 2017 arrasó en todos los festivales y entregas de premios con esta historia de desamor sobre una pareja que debe decidir si apostar por sus sueños a rendirse a la fría realidad. Presentación, dirección, edición y montaje: Asier Menéndez Marín Diseño logo Podcast: albacanodesigns (Alba Cano) Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

In this episode, Nate and Adam review our mainstream pick for the month of April, "La La Land", directed by Damien Chazelle and starring Emma Stone and Ryan Gosling! Listen now!

ORIGINALLY PUBLISHED 4/9/23 This month is Dan's choice, and a great example of a movie whose parts are greater than the sum.  We talk about Damien Chazelle's young man's movie "Whiplash" from 2014 starring JK Simmons and Miles Teller.

Et si la véritable signature d'un film ne se trouvait pas seulement dans l'image… mais aussi dans la fosse de l’orchestre ? Quand un réalisateur trouve son compositeur, naît une signature inoubliable. Cette émission explore ces duos qui ont façonné l'histoire du 7ᵉ art : l'univers gothique de Tim Burton porté par la musique de Danny Elfman, la poésie de Hayao Miyazaki sublimée par Joe Hisaishi, les fresques intenses de Christopher Nolan amplifiées par Hans Zimmer, ou encore l'énergie vibrante des films de Damien Chazelle mise en musique par Justin Hurwitz. À travers extraits, analyses et anecdotes, nous découvrirons comment ces collaborations donnent au cinéma sa voix la plus mémorable. Playlist : Cornfield Chase > Hans Zimmer / Howl's Moving Castle > Joe Hisaishi / Mia and Sebastian's Theme > Justin Hurwitz / Mr Mustafa > Alexandre Desplat / I will wait for you > Michel Legrand / This is Halloween > Danny Elfmann /

Ryan Gosling's in space! No, not the one that's currently in theaters. Nope, not the Star Wars one either, that comes out next year. It's Damien Chazelle's moody Neil Armstrong biopic FIRST MAN. FIRST MANRELEASED: October 12, 2018DIRECTED BY: Damien ChazelleSTARRING: Ryan Gosling, Claire Foy, Jason Clarke, Kyle Chandler, Corey StollBUDGET: $70m BOX OFFICE: $105.7mESTIMATED LOSS: $30m NEXT EPISODE: We're doing an old favorite with Steven Soderbergh's 1998 crime romance comedy OUT OF SIGHT0:00 Intro 2:08 Show & tell6:46 This week's movie

We've reached the bittersweet finale of Love Stinks! Month here on We Drink & We Watch Things, and we're closing out our "Not-So-Love-Love-Stories" with Damien Chazelle's 2016 neon-soaked daydream, La La Land. It's time to mix up something sophisticated but a little sharp - perhaps Mackenzie's Lillet-ing Go - as we follow Mia and Sebastian through the traffic jams and jazz clubs of Los Angeles, where the pursuit of a dream often costs more than you're prepared to pay.This week, we examine the film's central conflict: the agonizing choice between the person you love and the life you've always wanted. We explore the chemistry between Emma Stone and Ryan Gosling, the vibrant, primary-colored cinematography, and the haunting "City of Stars" melody that anchors their journey. Most importantly, we unpack that devastatingly beautiful seven-minute epilogue, debating whether the "happily ever after" montage was a celebration of what they gave each other or a heartbreaking reminder of the life they had to surrender to reach the top. It's a conversation about timing, the reality of "the one that got away," and why sometimes the most romantic thing you can do for someone is let them go.If you love musicals that ground their fantasy in the harsh light of reality, or if you've ever wondered if your success was worth the sacrifices you made along the way, this is the perfect curtain call for the month. We're blending our adoration for the film's craft with our usual casual banter, making this a spectacular, tear-jerking conclusion to our second annual Love Stinks! marathon. Here's to the fools who dream, even if they have to dream alone.This episode VIDEO is live on YouTube AND Spotify!Follow us on Instagram to get ep sneak peaks and find out what's coming up. DM us what you want to hear about next!Interested in what we're watching off the pod? Check out Mackenzie or Lemar's Letterboxd!

Aujourd’hui, les dérangers inversent les rôles en parlant d’un film sur la musique, et d’un album à l’allure d’un film. Pour cela, on a choisit le film « Whiplash » de Damien Chazelle et l’album « Drones » de Muse. Détendez-vous avec nous !

Semplicemente, la straordinaria storia di Neil Armstrong e del gruppo di astronauti e tecnici NASA che resero finalmente possibile la missione Apollo 11 e il conseguente allunaggio.Una pellicola affascinante, sia dal punto di vista tecnico che emozionale, con il merito di mostrare personaggi assolutamente credibili e non sempre simpatici.Molto interessante anche il punto di vista delle famiglie di chi ha rischiato la vita per regalare un grande passo per l'umanità.L'ultima scena sulla Luna è qualcosa di pazzesco: sembra di essere lì davvero.Una storia senza tempo, imperdibile, che mi sembrava giusto rendere protagonista di questa puntata, anche in occasione dell'uscita del film L'ultima missione, sempre con Ryan Gosling in rampa.

Ryan Hill is joined by La La Land lovers Alex Flores and Hunter Vance to discuss Damien Chazelle's modern musical 10 years after it first hit theaters. The trio discuss how the film's legacy evolved over the decade and what its future place in the canon might be, and then they rave about masterpiece-level movie magic found throughout the film.

Torna in puntata il musicista Francesco Menici per parlare del bellissimo "Whiplash", un intenso dramma psicologico diretto da Damien Chazelle che racconta il rapporto estremo tra Andrew, un giovane e ambizioso batterista jazz e Fletcher il suo spietato insegnante di musica. Un film che esplora il confine sottile tra disciplina e abuso, mostrando fino a che punto la ricerca della perfezione possa diventare ossessione.

Howdy do crooners, belters, and smooth operators! Our Heart of Stone marathon continues on this week as we take a look at the film that got Stone her first Oscar, La La Land. That's right, Damien Chazelle returns to the analysis table with his Classic Hollywood Musical. We discuss music, what it takes to accomplish dreams (and when to sell out), and much, much more as we discuss La La Land and Emma Stone's continued rise. Join us now, and don't forget to subscribe to keep up with all our Heart of Stone content!

Happy 2026, Vintage Sand fans! Thank you for taking time away from looking for real estate opportunities in Greenland to join us for Episodes 65 and 66, our first of 2026. Herein, Team Vintage Sand returns one last time to the source of some of our most popular episodes: Danny Peary's hard-to-find 1993 classic "Alternate Oscars". In the past, we have used Peary's model to approach the Best Picture Academy Awards from every decade going back to the 1930's. Collect them all! For this episode, we wrap up this series with the most recent complete decade, the 2010's. First, a caveat: we began this podcast eight years ago, in the spring of 2018, which means that we have already discussed many of today's films in a number of different contexts already. We did our Best of the Teens in early 2020, and recently did our Top 10 of the Century so far, wherein many of the films we're talking about today are contained. Add in that we did episodes on the best of 2018 and 2019, respectively, in those years, and you get the sense that we have already covered this ground several times. But like all good film fans, we're completists, so we conclude this series of episodes with these two, which will focus on 2010 to 2014 and 2015 to 2019 respectively. Mercifully, perhaps, these episodes are shorter than most others we've done, simply because, as mentioned, this is terrain we have covered several times already. The teens were clearly a transitional time for film, especially in Hollywood. The foreign market came to dominate, as did the teen market, which led to a kind of lowest common denominator for American film in these years. Throw in the uncertainties created by the rise of streaming and the changes in where and how people watch film, and you have…well, it's still a little too early to tell what the 2010's will look like to film historians, if there are indeed any film historians left. That being said, it's clear that the decade featured some of the greatest films ever made, ones that will stand the test of time and will continue to be watched long into the future. In many ways, the Mexican New Wavers dominated the decade, winning half of the Best Director Oscars for the whole decade: Del Toro for "Shape of Water", Cuarón for "Gravity" and "Roma", and Iñárritu for "Birdman" and "The Revenant". And of course, the stunning triumph of "Parasite" ended a decade in film that many were ready to write off (and got rid of the bad taste left behind by "Green Book" the previous year). It was also a decade that saw the arrival of some wildly innovative and talented filmmakers, among them Chloe Zhao, Ryan Coogler, Ava Duvernay, Jordan Peele, Greta Gerwig, Steve McQueen, and Damien Chazelle, plus amazing directors who transcended often marginalized genres like Ari Aster, Alex Garland, Robert Eggers and Denis Villeneuve. We also saw some great works from directors who came of age in the 90's and early 00's like David Fincher, the Coens, Spike Lee, Christopher Nolan, Todd Haynes and the Andersons, both Wes and PTA divisions. And for the icing on the cake, we got some brilliant work from the old guard Hollywood New Wavers like Martin Scorsese (who just seemed to pick up steam as the decade went on), Steven Spielberg, (at least with "Lincoln"), Terrence Malick and, most surprisingly, Paul Schrader. So make yourselves comfortable, have yourselves one of those lovely pastries from Mendl's, and join us for our final foray into the world of Best Picture Alternate Oscars!

12 years ago, Damien Chazelle's WHIPLASH left the Sundance Film Festival with the Grand Jury Prize—and the Audience Award. For this week's archive review, we share Adam and Josh's October, 2014, review. For full access to the Filmspotting Archive, ⁠⁠consider joining the Filmspotting Family⁠⁠. Membership also gives you an exclusive feed to ad-free and monthly bonus episodes, a weekly newsletter, access to the Filmspotting Discord, event pre-sales and more.See omnystudio.com/listener for privacy information.

Happy 2026, Vintage Sand fans! Thank you for taking time away from looking for real estate opportunities in Greenland to join us for Episodes 65 and 66, our first of 2026. Herein, Team Vintage Sand returns one last time to the source of some of our most popular episodes: Danny Peary's hard-to-find 1993 classic "Alternate Oscars". In the past, we have used Peary's model to approach the Best Picture Academy Awards from every decade going back to the 1930's. Collect them all! For this episode, we wrap up this series with the most recent complete decade, the 2010's. First, a caveat: we began this podcast eight years ago, in the spring of 2018, which means that we have already discussed many of today's films in a number of different contexts already. We did our Best of the Teens in early 2020, and recently did our Top 10 of the Century so far, wherein many of the films we're talking about today are contained. Add in that we did episodes on the best of 2018 and 2019, respectively, in those years, and you get the sense that we have already covered this ground several times. But like all good film fans, we're completists, so we conclude this series of episodes with these two, which will focus on 2010 to 2014 and 2015 to 2019 respectively. Mercifully, perhaps, these episodes are shorter than most others we've done, simply because, as mentioned, this is terrain we have already covered several times. The teens were clearly a transitional time for film, especially in Hollywood. The foreign market came to dominate, as did the teen market, which led to a kind of lowest common denominator for American film in these years. Throw in the uncertainties created by the rise of streaming and the changes in where and how people watch film, and you have…well, it's still a little too early to tell what the 2010's will look like to film historians, if there are indeed any film historians left. That being said, it's clear that the decade featured some of the greatest films ever made, ones that will stand the test of time and will continue to be watched long into the future. In many ways, the Mexican New Wavers dominated the decade, winning half of the Best Director Oscars for the whole decade: Del Toro for "Shape of Water", Cuarón for "Gravity" and "Roma", and Iñárritu for "Birdman" and "The Revenant". And of course, the stunning triumph of "Parasite" ended a decade in film that many were ready to write off (and got rid of the bad taste left behind by "Green Book" the previous year). It was also a decade that saw the arrival of some wildly innovative and talented filmmakers, among them Chloe Zhao, Ryan Coogler, Ava Duvernay, Jordan Peele, Greta Gerwig, Steve McQueen, and Damien Chazelle, plus amazing directors who transcended often marginalized genres like Ari Aster, Alex Garland, Robert Eggers and Denis Villeneuve. We also saw some great works from directors who came of age in the 90's and early 00's like David Fincher, the Coens, Spike Lee, Christopher Nolan, Todd Haynes and the Andersons, both Wes and PTA divisions. And for the icing on the cake, we got some brilliant work from the old guard Hollywood New Wavers like Martin Scorsese (who just seemed to pick up steam as the decade went on), Steven Spielberg, (at least with" Lincoln"), Terrence Malick and, most surprisingly, Paul Schrader. So make yourselves comfortable, have yourselves one of those lovely pastries from Mendl's, and join us for our final foray into the world of Best Picture Alternate Oscars!

Jane Altoids (@staticbluebat) of Pacino Pod joins us to relitigate one of Film Twitter's favorite discourses: is Damien Chazelle's mega-critical and commercial flop Babylon an underrated masterpiece or a heaping pile of elephant shit? Did Babylon deserve to fall or did the guy famously who lost Best Picture to Moonlight make one of the great misunderstood films of the 21st century? Can a straight man (loosely, debatably) adapt Kenneth Anger's tome of gay lies, deceits, and fallacies Hollywood Babylon into what dumb people call a "love letter" to silent cinema? The verdict: Babylon bad, or at the very least a hot mess of ambition, miscasts leads, and tonal whiplash from a director lacking the camp touch and the ability to diagnose where Hollywood evil truly resides. The Radical Stardom of Clara Bow: The First It Girl by Be Kind Rewind Fake News: Fact Checking Hollywood Babylon by You Must Remember This An extra special thanks to our $10 Executive Producers: JetChiclete, Isaac, squishward, Walt Lewellyn of The Black Casebook, Tropical Doves, jprestonpoole, Lohik, bernventers, and Owen2. If you can, please lend some support to these organizations: Gaza Funds PCRF (Palestinian Children's Relief Fund) MAP (Medical Aid for Palestinians) National Networks of Abortion Funds Immigrant Law Center of Minnesota If you enjoy the show please consider: Subscribing to our Patreon, where you can enjoy exclusive subscriber only episodes. Joining our Discord. Checking out our Credits page where you can view a complete list of Patrons. Leaving a rating and review on your podcast provider of choice.  Production by Miguel Tahni. Art by Zoe Woolley and Jo Hermeer. Follow @MarvelousDeath for updates. 

Yeni sezonda da her hafta Canlı Yayında sinema ve televizyon gündemini konuşuyoruz, haftanın öne çıkan dizi ve filmlerini yorumluyoruz, ilgimizi çeken konuları tartışıyoruz, listeler yapıyoruz, goygoydan geri kalmıyoruz...00:00 | Giriş 06:43 | David Lynch'in Olmadığı Bir Dünya10:08 | 28 Yıl Sonra: Kemik Tapınağı 27:03 | Heated Rivalry Sezon Finali 32:30 | Overrated 10 Film 1:26:42 | Masumiyet Müzesi Fragmanı1:27:50 | Kathleen Kennedy'nin Ayrılışı1:35:35 | J.J. Abrams'ın Yeni Filmi 1:37:46 | Paramount Vazgeçmiyor1:40:45 | Dunesday PR'ı 1:43:18 | Yeni Tomb Raider'dan  İlk Görsel 1:46:32 | Disney + Türkiye'nin Paylaşımları1:48:10 | James Cameron: Çocuklarım Avatar İzlemiyor 1:50:00 | Matthew McConaughey'in Yapay Zekaya Karşı Hamlesi1:51:44 | Fortnite'a The Office Geliyor 1:52:40 | Send Help'in PR'ı 1:53:15 | Damien Chazelle'in Yeni Filminin Kadrosu1:53:50 | The Bride'ın Fragmanı1:56:30 | Criterion Closet: Adam Asmaca  

When Sebastian, a pianist, and Mia, an actress, follow their passion and achieve success in their respective fields, they find themselves torn between their love for each other and their careers.Send us a textSupport the showPlease subscribe, rate, and review! Thank you for listening! Hope you enjoy!Instagram: http://instagram.com/moviestheyreprettygoodFacebook: https://www.facebook.com/profile.php?id=100087938154530Twitter: https://twitter.com/moviesgoodpodYouTube: https://www.youtube.com/channel/UC8iGT7riyJ_K2DFLwfbTemg

Horror films have been a consistent draw for movie theaters, even in a post-pandemic, streaming world. And one of the most well-known production studios in horror is Blumhouse. The production house came on the scene in 2009 with Paranormal Activity, a low-budget found-footage film that became a smash hit spawning a franchise. Blumhouse would repeat this formula with The Purge and Insidious franchise. Now, Blumhouse is known for its more crowd pleasing scary movies like M3GAN and Five Nights at Freddy’s (with the highly anticipated sequel releasing this week), but the studio has also taken risks on up and coming directors like Jordan Peele and Damien Chazelle. So, how does a horror production house continue to survive and turn a profit in today’s film industry? And why does horror seem to be a safe bet for box office returns. Joining us to discuss the current horror movie landscape is Abhijay Prakash, president of Blumhouse. You can read all about Blumhouse’s rise in their new book Horror’s New Wave: 15 Years of Blumhouse.

The Men of Micheaux bid a fond farewell to reggae legend Jimmy Cliff (1944-2025) and question his and others' place in music history, which steers into the legacy of the Jacksons, and a requiem of sorts for Randy Jackson. Who should sing a song of Thanksgiving? Six Degrees of Two 2009 indie pictures lead directly into this black & white debut from LaLa Land's Damien Chazelle. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

durée : 00:50:47 - Certains l'aiment Fip - L'actrice à l'affiche de l'intriguant "Bugonia" de Yórgos Lánthimos, a été révélée par Woody Allen avant de tourner avec Alejandro Inarritu, Cameron Crowe et bien sûr Damien Chazelle dans "La la land !" Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Get ready to dance through dreams and heartbreak with 3 Guys and a Flick as we step into the dazzling world of La La Land!  From its jaw-dropping opening number on the freeway to that unforgettable ending, we break down Damien Chazelle's modern musical masterpiece — diving into the chemistry between Emma Stone and Ryan Gosling, the film's bittersweet take on love and ambition, and the magic of chasing your dreams even when reality hits hard. Expect trivia, behind-the-scenes stories, and a few unexpected laughs as we debate whether La La Land deserved all those Oscars, if Sebastian and Mia were meant to be, and why this film still hits you right in the feels.

Imani Davis is a writer, producer, and a film programmer at the American Cinematheque in Los Angeles. A recent LA transplant from Chicago, she is deeply committed to elevating women directors, as well as providing opportunities for emerging talent to break into the film industry. At the American Cinematheque, a 501c3 nonprofit boasting over 1,500 film screenings a year, Imani curates, plans, and executes unique and engaging film events. She has worked to put on events with A-list filmmakers and talent such as Sofia Coppola, Jordan Peele, Daniels (Daniel Kwan and Daniel Scheinert), Damien Chazelle, Christopher Nolan, and many more.Also within her work at the American Cinematheque, Imani founded and put on the inaugural PROOF Film Festival in October of 2023. PROOF is one of the first ever short film festivals completely dedicated to proof-of-concept short films. Imani thought of the festival concept and put on the first edition to rousing success within a year of starting her position at the AC. The first year of PROOF included screenings of over 40 hand-picked short films from emerging talent, industry mixers and panels, and film industry decision makers in attendance such as representatives from Sony, Lionsgate, Gersh Agency, MACRO, Hartbeat Productions, ColorCreative, and more.Outside of her role as a film programmer, Imani co-founded Film Girlz Brunch, a monthly casual meetup of women in film in Los Angeles which has formed a number of partnerships and hosted many events in just over a year of starting. She also co-hosts “Players: A Film Industry Podcast” with fellow filmmaker and producer Demma Strausbaugh which is dedicated to demystifying various industry topics in an accessible and fun way.Connect with Imani:➡️ Instagram: @imanimdavis➡️ TikTok: @imanidavishttps://www.americancinematheque.com/series/proof-proof-of-concept-film-festival-2025/About The Lot1 Podcast ✨The Lot1 Podcast is designed for anyone who is interested in or working in filmmaking. Whether you're just starting out or a seasoned veteran, we hope you gain the knowledge you need to improve your craft, achieve your filmmaking goals, or simply get an understanding and appreciation for the roles and duties of your peers and colleagues.Follow Us! ⤵️Instagram & TikTok: @thelot1podcasthttps://www.instagram.com/thelot1podcast/?hl=enhttps://www.tiktok.com/@thelot1podcast–Hosted byDeji Bankole (@deji_bankole)Christopher Henley (@henley_son)Produced byMina VazirianEdited byCarlos Luna & Christopher Henleyhttps://linktr.ee/thelot1podcast Hosted on Acast. See acast.com/privacy for more information.

No hay fallos de mercado, sino oportunidades de negocio. Nacho trabaja para reducir la asimetría informativa en la contratación, primero en Infojobs y ahora en Hireflix. De la meritocracia trata este primer podcast de la temporada. En el mercado laboral, uno nunca sabe quién es el mejor candidato. La economía ofrece dos soluciones: el empleador puede diseñar un contrato que filtre a los buenos y los candidatos pueden mandar señales. Contratar no es fácil y la obsesión de Nacho es reducir la asimetría.Kapital es posible gracias a sus colaboradores:⁠⁠Balance Phone⁠⁠. El móvil sin distracciones.⁠⁠Balance Phone nace como una rebelión contra la dependencia digital. Un teléfono sin redes, sin juegos, sin algoritmos que compiten por tu atención. Solo lo esencial. Diseñado para familias que quieren dar un primer móvil sin riesgos a sus hijos y para minimalistas digitales que quieren recuperar el control. No es un Nokia. Es un Samsung con sistema operativo propio, el Balance OS, que bloquea de raíz todo contenido adictivo (redes, pornografía, juegos, apuestas y streaming) y simplifica la interfaz para que usarlo sea una decisión, no un reflejo. 9 meses después de su lanzamiento más de 3.000 persones ya usan Balance Phone. Y lo más importante, con un tiempo de uso diario de 1 hora y 41 minutos, 3 horas por debajo de la media. En Balance Phone no quieren que vivas sin móvil. Quieren que vivas mejor con él.Utiliza el código KAPITAL en su fantástica web para obtener un descuento de 20€.Smartick⁠. El método online de matemáticas y lectura.¿Quieres el mejor futuro para tus hijos? En deporte, España es una potencia mundial, pero en matemáticas y comprensión lectora sigue sin remontar en PISA. Tú puedes cambiar eso para tus hijos. Si tienen entre 4 y 14 años, con Smartick conseguirán dominar los pilares de su educación: matemáticas, comprensión lectora, escribir bien y con claridad, pensamiento crítico. Solo 15 minutos y listos, con un método online personalizado y basado en evidencias científicas. Detrás hay más de 100 expertos en didáctica, empeñados en que tus hijos alcancen su máximo potencial. Cada día recibirás un informe con su evolución y la posibilidad de consultar en todo momento con el equipo. Smartick fomenta la constancia, el gusto por el reto, los buenos hábitos… y también un uso responsable de la tecnología. Prueba 7 días gratis y, si contratas, consigue un precio especial añadiendo el código KAPITAL.Patrocina Kapital. Toda la información en este link.Índice:0:25 ¿Dónde nacen las obsesiones?8:41 Un internet todavía sin gente.21:02 Ahorra si eres un junior.29:06 El hiring está en todos los mercados, no solo el laboral.43:53 La decisión de la que se arrepienta Luis Bassat.49:28 Cagarla con un tío te cuesta 15 veces su salario.52:44 La pregunta de Peter Thiel en sus entrevistas.1:08:21 ¿Cómo negociar un salario?1:16:14 El hijo de Tony Soprano tiene vidas extras.1:22:36 El consejo de Mark Cuban de mantener el control.1:26:21 Emprender ya no es de pijos.1:32:52 Creando durante 30 años.1:49:56 Despedir siempre es difícil.1:56:22 El conductor es importante pero también el coche.2:09:21 Hablar con emprendedores antes de emprender.2:16:56 Short $LNKD.Apuntes:Who. Geoff Smart & Randy Street.De cero a uno. Peter Thiel.Leisure suit Larry. Al Lowe.Pensar rápido, pensar despacio. Daniel Kahneman.Los Soprano. David Chase.Whiplash. Damien Chazelle.Karakter. Mike van Diem.

In this episode, we break down Whiplash — Damien Chazelle's intense psychological drama about obsession, perfection, and the price of greatness. We dive into the explosive dynamic between Miles Teller's driven drummer and J.K. Simmons' terrifying instructor, exploring the themes of discipline, abuse, and artistic ambition. We also analyze the film's brilliant editing, sound design, and how Chazelle builds unbearable tension through rhythm and silence. Whether you see it as a story of triumph or tragedy, Whiplash remains one of the most powerful films ever made about chasing perfection. Chapters: 00:00 Intro: The mindset for greatness 11:46 Revealing the color symbolism 24:03 Those who love or hate Andrew 26:51 Fletcher vs Andrew 38:28 J.K Simmons 42:55 How you can tell the writing is phenomenal 45:46 Fletcher's most revealing moment 51:38 Gray's hilarious story of getting out of band practice 53:08 Damien Chazelle's intentional shots 56:44 Where Fletcher reveals is twisted purity 1:00:47 Official rating & final thoughts 1:04:11 Cue the music

Sinema Kulübü'müzün 23üncü buluşmasında 2014 yapımı "Whiplash" adlı filmi konuştuk. Damien Chazelle'in hem yazdığı hem yönettiği bu film, New York'taki prestijli Shaffer Konservatuarı'nda bateri öğrencisi Andrew Neiman ile acımasız öğretmeni Terence Fletcher arasındaki gerilimli ilişkiyi anlatıyor. Miles Teller'ın genç müzisyeni, J.K. Simmons'ın ise mükemmeliyetçi hocayı canlandırdığı filmde, sanat, başarı ve bu başarının bedeli üzerine oldukça çarpıcı sorular soruluyor. Film, 3.3 milyon dolarlık bütçesiyle 50 milyon dolar hasılat elde etmiş ve Simmons'ın performansı başta olmak üzere üç Akademi Ödülü kazanmıştı.Bizim toplantımızda da film oldukça tartışmalı karşılandı. Filmin zorba öğretmen karakteri ve uygulanan eğitim yöntemleri konusunda görüşler dile getirildi. Bir kısım arkadaşımız filmi izlemekte zorlandığını, özellikle Fletcher'ın psikolojik şiddet boyutundaki yaklaşımından rahatsız olduğunu söyledi. Bu davranışların eğitim değil, açıkça şiddet olduğu vurgulandı.Öte yandan, filmin mükemmellik arayışı ve adanmışlık konularında çarpıcı sorular sorduğu da kabul edildi. Özellikle başarı için ne kadar fedakarlık yapılabileceği, disiplin ile zorbalık arasındaki çizgi, ve kuşaklar arası farklılıklar üzerine zengin tartışmalar yaşandı. Bazı katılımcılar filmde Andrew'un baba figürü arayışını ve Fletcher ile kurduğu karmaşık ilişkiyi analiz etti.Filmin sonunda iki karakterin birbirine karşı "kazandığı" konusu da oldukça tartışıldı. Kimilerine göre Fletcher istediğini elde etmişti, kimilerine göre ise Andrew'un son performansı aslında öğretmenine verdiği en büyük cevaptı.Bu bölümde görüşlerine yer verebildiğim arkadaşlarım sırasıyla; (02:52) Mehpare Şayan Kileci, (05:08) İlhan Çamiçi, (08:04) Murat Koca, (10:10) Ferhan Koca, (11:32) Uğur İyidoğan, (17:27) Aylin Dursun, (19:38) Mete Yurtsever, (20:52) Ekin Akkol, (25:31) Aylin Dursun, (27:30) Murat Koca, (29:39) İlhan ÇamiçiSupport the show

DeVaughn is back at his cheat pick shenanigans as the boys discuss Whiplash directed by Damien Chazelle. The boys discuss topics such as J.K. Simmons' terrifying performance, editing techniques that feel like a horror film, and the dark side of sacrificing for your artistic legacy. Are we rushing or dragging?New episodes drop every Tuesday, subscribe so you don't miss out. Rate us 5 stars while you're at it! Next week, we hit the field discussing Him with full spoilers! Enter The Phantom Zone to access all sorts of bonus goodies like our monthly side show "Watching the Watchlist", movie commentaries, and polls to help shape the podcast: https://patreon.com/spectercinemaHaunt Garrett on social media:TikTokTwitterBlueskyInstagramLetterboxdYouTubeHaunt DeVaughn on social media:BlueskyTwitterTikTokInstagramLetterboxdYouTubeSpecter Cinema Club Original Theme by Andrey Kinnard

The tenth episode of our season on the awesome movie year of 2014 features the Sundance Film Festival Grand Jury Prize winner, Damien Chazelle's Whiplash. Written and directed by Damien Chazelle and starring Miles Teller, J.K. Simmons, Paul Reiser and Melissa Benoist, Whiplash won both the Grand Jury Prize and the Audience Award at the 2014 Sundance Film Festival.The contemporary reviews quoted in this episode come from A.O. Scott in The New York Times (https://www.nytimes.com/2014/10/10/movies/in-whiplash-a-young-jazz-drummer-vs-his-teacher.html), Peter Debruge in Variety (https://variety.com/2014/film/reviews/sundance-film-review-whiplash-1201061948/), and Ann Hornaday in The Washington Post (https://www.washingtonpost.com/goingoutguide/movies/whiplash-movie-review-for-jk-simmons-a-triumph-of-musical-terror/2014/10/16/d21b67f2-53a1-11e4-892e-602188e70e9c_story.html).Check out more info and the entire archive of past episodes at https://www.awesomemovieyear.com and visit us on Facebook at http://www.facebook.com/awesomemovieyear You can find Jason on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Letterboxd at https://letterboxd.com/goforjason/You can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/, on Bluesky at signalbleed.bsky.social and on Letterboxd at https://letterboxd.com/signalbleed/If you're a Letterboxd user and you watch any of the movies we talk about on the show, tag your review “Awesome Movie Year” to share your thoughts.You can find our producer David Rosen and his Piecing It Together Podcast at

Hey everybody! This week we are discussing Damien Chazelle's Babylon (2022)! Listen as we breakdown this showbiz epic depicting the transition from the chaotic, lawless filmmaking of the silent era to the restricted, organized world of sound films. Enjoy!

Damon has had series regular roles in The Big Door Prize, The Last Days of Ptolemy Grey starring Samuel L. Jackson (both for Apple TV), Black Lightning (CW), Criminal Minds (CBS), The Player (NBC), The Divide (AMC), Prime Suspect (NBC), Dick Wolf's Deadline (NBC), Strange Brew (FOX), and Finkleman (NBC), as well as guest star/recurring appearances on Happy Face (Paramount+), as well as Your Honor (Showtime), Super Pumped (Showtime), The Comey Rule (Showtime), Dirty, John (Bravo), Goliath (Amazon), Bates Motel (A&E),The Newsroom (HBO), Suits (USA), Empire (FOX), Rake (FOX), Law & Order (NBC), Law & Order Criminal Intent (NBC), Conviction (NBC), The Unusuals (ABC), Hack (CBS), Third Watch (NBC), and Drift (ABC). He appears in the upcoming Lear Rex, starring Al Pacino and The Drama, directed by Kristoffer Borgli, as well as Damien Chazelle's Academy Award-winning films Whiplash and LaLa Land, This is Forty, The Last Airbender, Helen at Risk, Before the Devil Knows You're Dead, Unfaithful, The Loretta Claiborne Story, and Nicki Micheaux's Summer of Violence. As a conductor, he was appointed the first-ever Principal Guest Conductor of the Cincinnati Pops. He served as American Conducting Fellow of the Houston Symphony and held the post of assistant conductor of the Kansas City Symphony. His conducting appearances include the Boston Pops, Philadelphia Orchestra, Orchestra of St. Luke's, Detroit Symphony, San Francisco Symphony, Atlanta Symphony, Baltimore Symphony, National Symphony Orchestra, St. Louis Symphony Orchestra, Toledo Symphony, Fort Worth Symphony, Florida Orchestra, San Diego Symphony, Long Beach Symphony, San Antonio Symphony, Princeton Symphony, Orchestre Philharmonique de Monte Carlo, NHK Orchestra of Tokyo, Orquesta Filarmonica de UNAM, Charlottesville Symphony, Brass Band of Battle Creek, NYU Steinhardt Orchestra, Kinhaven Music School, Vermont Music Festival, Michigan Youth Arts Festival, Brevard Music Center, and Sphinx Symphony as part of the 12th annual Sphinx Competition. 

On episode 294 of The AwardsWatch Podcast, Executive Editor Ryan McQuade is joined by AwardsWatch contributors Josh Parham and Jay Ledbetter to play the Director Stock Market Game. Two years ago, the AW podcast team talked about the state of modern movie stars and discussed who might be the future movie stars of films. Given how the trend of the film industry is leaning more towards IP driven films and becoming a director's medium, it's only right the team did a follow-up episode to talk about some of the bright talent from behind the camera, and who could become the premiere visionary directors that we will follow for years of releases to come. With this in mind, Ryan, Josh, and Jay put together a list of directors under the age of fifty who they believe have the potential to join the rank of some of the greatest filmmakers of the modern era of cinema. The list of names included a wide range of talent like Emerald Fennell, Damien Chazelle, Ryan Coogler, Ari Aster, Celine Song, Jordan Peele, The Daniels, The Safdie Brothers, and many more the team had to decide if they were going to buy, sell, or hold the stock of these directors. It was a lot of fun doing this episode, we hope you enjoy it. You can listen to The AwardsWatch Podcast wherever you stream podcasts, from iTunes, iHeartRadio, Soundcloud, Stitcher, Spotify, Audible, Amazon Music, YouTube and more. This podcast runs 2h19m. We will be back in next week to review the latest release, Superman. Till then, let's get into it. Music: “Modern Fashion” from AShamaleuvmusic (intro), “B-3” from BoxCat Games Nameless: The Hackers RPG Soundtrack (outro).

Hey everybody! This week we are discussing Damien Chazelle's Babylon (2022)! Listen as we breakdown this showbiz epic depicting the transition from the chaotic, lawless filmmaking of the silent era to the restricted, organized world of sound films. Enjoy!

Welcome to The B-Side! Here we talk about movie stars! Not the movies that made them famous or kept them famous, but the ones that they made in between.  Today we return to one of our earlier subjects: Ryan Gosling! Our B-Sides are The Ides of March, Gangster Squad, Only God Forgives, and First Man. Our guest is our dear friend Cory Everett, creator of Cinephile: A Card Game!  We talk about Gosling's television career as a young man, his quick rise to stardom, and surprise nomination for Half Nelson fairly early on in his run. He's been searching for his lifelong directorial muse. There's been Derek Cianfrance, Nicolas Winding Refn, and Damien Chazelle. Will he ever find the one? There's that iconic Rachel McAdams kiss at the MTV Movie Awards, the acceleration of his “coolness” after the success of The Notebook all the way through the release of Drive, and that iconic, ever-changing voice of his. There's also those beautiful, weird Gosling eyes. There's also discussion about George Clooney as a filmmaker, his first film and Charlie Kaufman dislike of it, and his progression (regression?) as a director. The merits of Winding Refn are also debated. We all remember when William Friedkin ridiculed Nicolas Winding Refn for calling Only God Forgives a masterpiece. And if you have not as of yet, you should watch the documentary My Life Directed by Nicolas Winding Refn.

Welcome to The B-Side! Here we talk about movie stars! Not the movies that made them famous or kept them famous, but the ones that they made in between. Today we return to one of our earlier subjects: Ryan Gosling! Our B-Sides are The Ides of March, Gangster Squad, Only God Forgives, and First Man. Our guest is our dear friend Cory Everett, creator of Cinephile: A Card Game! We talk about Gosling's television career as a young man, his quick rise to stardom, and surprise nomination for Half Nelson fairly early on in his run. He's been searching for his lifelong directorial muse. There's been Derek Cianfrance, Nicolas Winding Refn, and Damien Chazelle. Will he ever find the one? There's that iconic Rachel McAdams kiss at the MTV Movie Awards, the acceleration of his “coolness” after the success of The Notebook all the way through the release of Drive, and that iconic, ever-changing voice of his. There's also those beautiful, weird Gosling eyes. There's also discussion about George Clooney as a filmmaker, his first film and Charlie Kaufman dislike of it, and his progression (regression?) as a director. The merits of Winding Refn are also debated. We all remember when William Friedkin ridiculed Nicolas Winding Refn for calling Only God Forgives a masterpiece. And if you have not as of yet, you should watch the documentary My Life Directed by Nicolas Winding Refn. Listen and subscribe at thefilmstage.com/pod. Be sure to give us a follow on Bluesky at @tfsbside.bsky.social. Enjoy!

There's Cannes Fallout, a new Box Office queen & king with Lilo & Stitch, plus major MCU news with the delay of Avengers: Doomsday. Plus, we review Friendship, The Rehearsal, Bring Her Back, Until Dawn, The Studio, new docs and many new trailers in this Oscar Race Checkpoint. CANNES FALLOUT: Jafar Panahi's It Was Just An Accident Palme sparks international incident - 2:25 Netflix buys Nouvelle Vague, a Bono Doc Review + the full Acquisitions Tally - 7:52 FUTURE MOVIE NEWS: Avengers: Doomsday delayed and what it means for the MCU - 11:42 Damien Chazelle's next film with Daniel Craig & Cillian Murphy - 15:49 Gears of War for Netflix gets a director + M1's casting hopes - 18:26 A MEMORIAL DAY WEEKEND BOX OFFICE UPDATE: AM's Lilo & Stitch Celebration & Review - 20:14 Thoughts on Mission Impossible, Final Destination, Thunderbolts, & Sinners progress - 25:10 Paul Rudd & Tim Robinson's Friendship makes $$$ + AM's Review - 32:40 M1 breaks into a review of The Rehearsal: Season 2 - 36:08 Minecraft, Accountant 2, and Hurry Up Tomorrow round out the top 10 - 38:34 TRAILER REVIEWS: Good Fortune is Dogma, starring Keanu Reeves, Seth Rogen, & Sherry Cola - 41:25 Caught Stealing from Darren Aronofsky & a stacked August - 43:30 Zootopia 2 knows how to teaser - 46:41 Jurassic World: Rebirth if it works will end a certain way - 47:56 Materialists if it works will end a certain way - 50:34 WHAT WE'RE WATCHING: Bring Her Back - 54:15 Breaking into the Elio & Smurfs Trailers - 57:05 Until Dawn - 58:10 Santosh - 59:44 Paddington In Peru - 1:01:42 Breaking into the Sunset Boulevard Broadway Adaptation Rumors - 1:02:38 Pee Wee As Himself - 1:04:54 The Studio: Season 1 - 1:09:07 OUTRO: Announcing our Upcoming Superman Rewatch Series - 1:13:09 Announcing our Upcoming PTA Rewatch Series called “Boogie Mikes” - 1:14:23 AM's Upcoming Slate At Tribeca - 1:16:29 https://linktr.ee/mikemikeandoscar

Comedian Joseph Naman joins the show to discuss Damien Chazelle's divisive Hollywood genre-bender Babylon.Listen to The P Boiz: https://www.youtube.com/@paradizofilmsFollow Joseph on Instagram: @mrjnamanFollow Johnny on Instagram and Tik Tok: @JohnnyMocnyComedyFollow Johnny on Letterboxd: @JohnnyMocny

We are joined by Brad Skow (Philosophy, MIT) to discuss Damien Chazelle's WHIPLASH! Abuse, striving, greatness, parenting, color, the ending(!), and, of course, jazz.Read Brad's substack!Follow us on Blue Sky! Buy a cows shirt on Threadless!

“Make a mark... and then fade away.” Join your favorite TransAtlantic podcasting crew – Ian, Megs & Liam (B-Tech Kev had to see a man about an elephant) – as we trade our spy gear for trumpets, film reels, and copious amounts of debauchery for our 275th episode covering Babylon (2022). We're swapping Chimera viruses for jazz-fueled chaos and slow-motion gunfights for full-blown cinematic mayhem as we discuss: How Babylon might be the most Damien Chazelle movie that ever Damien Chazelle'd. Does this film capture the magic and madness of early Hollywood—or is it just chaotic noise? Is Manny Torres a true dreamer… or just a wide-eyed bystander to Hollywood's self-destruction... or is he a corrupted soul that we overlook? Apparently there's a rule about taking Class-A drugs with company (well, in Act I anyways) How large is the demand for sweeping, three-hour epics about the birth of movies? Which Babylon character we'd most likely be—and who's definitely channeling peak "trainwreck energy"  Is this an underappreciated masterpiece—or an overindulgent fever dream of excess? Is Babylon a love letter to cinema or a cautionary tale wrapped in champagne and elephant dung? We've got questions about giant parties, sudden snake fights, drug-fueled breakdowns, and how much elephant content is too much. At what point is the film in on the joke it's making and at what point does that film become the joke? We're joined by BFF of the BFE: James DeGuzman who tells us why this film is so much more than the punchline film critics have mmade it out to be Whether Babylon is the Best Film Ever.

Season 9, Episode 5 (Originally Released on April 1st, 2025) Welcome to another episode of the Shame List Picture Show! This week, we're joined by Austin Proctor, the host of the podcasts Frightmares and All Juice, No Gin, who also happens to be our editor and executive producer. We're excited to have Austin back to chat about Damien Chazelle's Whiplash. In this episode, Austin and I talk about our shared love for music while also diving into Chazelle's incredible storytelling and his transition from short film to feature. As a musician himself, Austin shares his connection to Whiplash and his perspective on how the life of a musician is portrayed on screen. You can find more from Austin Proctor at https://linktr.ee/frightmarespodcast Be sure to check out our Patreon at www.patreon.com/shamelistpictureshow Edited by: Austin Proctor Produced by: Michael Viers Theme Music by: Austin Proctor Opening Narration by: Nick RichardsCredits Music by: Ten-Speed Logo Design by: Amanda Viers