Podcast appearances and mentions of David Milch

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

The legendary Ian McShane has been acting for more than 60 years, from “The Wild and The Willing,” “The Last of Shelia,” and “Jesus of Nazareth” to “Lovejoy,” “Sexy Beast,” and the “John Wick” films. His two latest films are “Ballerina,” set in the John Wick universe, and and the action comedy “Deep Cover.” On this episode he talks about what made his time as Al Swearengen on “Deadwood” (perhaps his most iconic role) so special, and tells a story about an unforgettable suggestion from creator David Milch. He explains what sets Wick's Chad Stahalski apart as a director/producer, why life experience helps an actor, how a few short words from director Tony Richardson placed him right on track to do his work, and much more. Back To One is the in-depth, no-nonsense, actors-on-acting podcast from  Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram

4/15/25 - Hour 3 Rich and the guys discuss the latest intrigue surrounding the top of the upcoming NFL Draft.   Actor Titus Welliver joins Rich in-studio to discuss the final season of ‘Bosch: Legacy' on Amazon's Prime Video, the secrecy surrounding his scripts when filming ABC's groundbreaking ‘Lost' series, how acclaimed writers/producers Steven Bochco and David Milch impacted his career, filming the Fenway Park shootout scene in ‘The Town,' and more. Please check out other RES productions: Overreaction Monday: http://apple.co/overreactionmonday  What the Football with Suzy Shuster and Amy Trask: http://apple.co/whatthefootball The Jim Jackson Show: https://podcasts.apple.com/us/podcast/the-jim-jackson-show/id1770609432 No-Contest Wrestling with O'Shea Jackson Jr. and TJ Jefferson: https://podcasts.apple.com/us/podcast/no-contest-wrestling/id1771450708 Learn more about your ad choices. Visit podcastchoices.com/adchoices

Deadwood a fêté ses 20 ans.Deadwood, série western créée par David Milch et diffusée originellement sur HBO de 2004 à 2006, célèbre aujourd'hui ses deux décennies d'existence. Cette œuvre magistrale plonge les spectateurs dans le camp minier de Deadwood, Dakota du Sud, durant la ruée vers l'or des années 1870.Portée par des performances remarquables, notamment celle d'Ian McShane dans le rôle d'Al Swearengen et Timothy Olyphant incarnant Seth Bullock, la série se distingue par ses dialogues shakespeariens mêlés à une vulgarité crue et authentique. "Deadwood" dépeint avec réalisme la naissance d'une communauté à partir du chaos, où loi et civilisation s'établissent progressivement dans un environnement brutal.Malgré son arrêt prématuré après trois saisons, la série a connu une conclusion tardive avec un film en 2019. Vingt ans après sa création, "Deadwood" reste acclamée pour sa vision sans concession de l'Ouest américain et sa profonde exploration de la nature humaine.

Welcome to Trilith Institute Talks!     In this episode of Trilith Institute Talks, host Hunter Barcroft interviews Jeffrey Stepakoff, a screenwriter, playwright, novelist, and CEO of Trillith Institute. They are also joined by Christian Noel, winner of the Trilith Institute's Emerging Creative Residency program, and Elisee Junior St. Preux, Program Manager of the Writer's Room of Georgia. The conversation explores Jeffrey's career journey, the importance of storytelling, and the development of a new creative ecosystem in Georgia, aimed at nurturing the next generation of storytellers. They discuss the challenges faced by emerging writers, the significance of community and mentorship, and their vision for transforming Georgia into a vibrant center for film and television production.       Episode Timestamps     00:00 Introduction and Guest Welcome 00:28 Jeffrey Stepakoff's Career Highlights 00:44 Christian Noel's Introduction 01:06 Elisee Junior St. Preux's Introduction 01:35 Jeffrey's Early Career in LA 05:46 Christian's Journey to Yale and Screenwriting 07:45 Elisee's Path from Music to Writing 08:47 Jeffrey's Mentorship and Reflections on Storytelling 16:04 Christian's Authenticity in Writing 18:23 Elisee's Feature Film in Haiti 20:28 Jeffrey's Advice for Aspiring Writers 24:42 The Golden Age of TV Writing 25:46 The Decline of Modern TV Shows 26:46 Advice for Aspiring Writers 28:16 Building a New Ecosystem in Georgia 30:07 Introducing Writers Room of Georgia 34:08 Creating a Sustainable Writing Community 46:37 Personal Writing Rituals     About Trilith Institute Support The Next Generation of Storytellers Take A Professional Education Course Get Involved With Trilith Institute Contact Us Follow Us On Social Media! Trilith Institute Talks Instagram Trilith Institute Instagram Trilith Institute Facebook Trilith Institute LinkedIn

ROSS MEYERSON is best known for his work as an award-winning television and film casting director. He won an Emmy for his work on ‘Damages' in 2007 as well as having received seven additional nominations. The short film “Red, White and Blue” his last casting project has been nominated for a 2024 Oscar. He has been nominated sixteen times for CSA's prestigious Artios Award and was fortunate enough to have won twice for ‘Homeland' and ‘Rescue Me'. Other notable shows Ross has cast include ‘The Affair', ‘The Americans'. ‘Nurse Jackie', ‘'Dexter : New Blood', “The Equalizer', ‘The Expanse', 'The Big C', ‘The Following', ‘Seven Seconds', ‘Hunters', ‘In Treatment', ‘Sneaky Pete', ‘True Blood'(pilot) and many others. The list of showrunners, writers and directors he has had the privilege of working with include Alan Ball, David Milch, Denis Leary, Peter Tolan, Paul Feig, Kevin Williamson, Joel Fields, Joe Weisberg, Brett Ratner, Bryan Cranston, George Nolfi, Dan Futterman, Clyde Phillips, Sarah Treem and Veena Sud.  In addition to his work as a casting director Ross has also works producing and developing new works for the screen and stage. He recently produced ‘I'll Be Right There' starring Edie Falco, Bradley Whitford, Michael Rapaport, Charlie Tahan, Michael Beach, Jeanie Berlin and Sepideh Moafi . ‘I'll Be Right There” was selected in the Hampton, Newport, Santa Barbara and Jackson Hole Film Festivals. He will begin shooting his next film, ‘The Yeti” in late January. His next project in development is the feature film ‘Juliet' written by Jen Richards and recently chosen for the GLAAD list and The Black List.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Andrea and Jodie sit down with filmmaker Chris Wilcha to talk about his beautiful documentary, Flipside. In the film, Chris revisits the New Jersey record store he worked at as a teenager—a quirky, once-thriving music haven that's now struggling to survive. But Flipside is so much more than just a nostalgic look back. We dive into the making of the film, Chris's journey with archives, and the challenges of pursuing a creative career. We get into everything from New Jersey nostalgia to the surprising connections between Ira Glass, jazz photographer Herman Leonard, writer David Milch, David Bowie's tribute to a Jersey cable TV icon (pardon–THE Jersey Cable TV icon), and more along the way. It's a lovely and thoughtful conversation about legacy, memory, and the inevitable passage of time.Keep up with Chris Wilcha on Instagram: @chriswilchaIf you haven't watched Flipside, what are you waiting for?The Watchers on Instagram (@WatchersPodNJ)Andrea on Instagram (@AQAndreaQ)Jodie on Instagram (@jodie_mim)Our sister show, New Jersey Is the World, on Instagram (@newjerseyistheworld)Thanks to Kitzy (@heykitzy) for the use of our theme song, "No Book Club."

Nous vous proposons dans cet épisode de découvrir ou redécouvrir la très étonnante John from Cincinnati, série fantastique diffusée sur HBO en 2007 et dont la première et unique saison a été créée par David Milch, le showrunner à qui l'on doit Deadwood. Bon visionnage et bonne écoute à tous et à toutes ! Un podcast enregistré en 2019, remixé et remonté. Crédits :• Réalisation du podcast : Guillaume Genest• Générique : Mezulari Beats• Label : Bonus Tracks Nous suivre :• Twitch• YouTube• Instagram• Bluesky• Facebook• Twitter

Al Pacino's Shrek Phone Case! The Costco Guys! Tom and Julie feast on a buffet of clips! Plus Terrifier 3 and Brett had an incident at Home Depot with a leaf mulcher! Also Range Life, Windy City Heat, Ron Mexico, Carlos Danger, Terry Mulcher, Big Battery, and David Milch. CLIPS FROM THIS EPISODE *Al Pacino Shrek Case https://x.com/kadyLM7/status/1846124997623853515 *The Costco Guys https://www.tiktok.com/@a.j.befumo/video/7420922312519601454?lang=en SUPPORT DOUBLE THREAT ON PATREON  Weekly Bonus Episodes, Monthly Livestreams, Video Episodes, and More! https://www.patreon.com/DoubleThreatPod   WATCH VIDEO CLIPS OF DOUBLE THREAT  https://www.youtube.com/@doublethreatpod   JOIN THE DOUBLE THREAT FAN GROUPS  *Discord https://discord.com/invite/PrcwsbuaJx  *Reddit https://www.reddit.com/r/doublethreatfriends  *Facebook https://www.facebook.com/groups/doublethreatfriends   DOUBLE THREAT MERCH https://www.teepublic.com/stores/double-threat   TOTALLY EFFED UP T-SHIRTS  https://www.teepublic.com/user/dttfu   SEND SUBMISSIONS TO  DoubleThreatPod@gmail.com   FOLLOW DOUBLE THREAT  https://twitter.com/doublethreatpod  https://www.instagram.com/doublethreatpod   DOUBLE THREAT IS A FOREVER DOG PODCAST https://foreverdogpodcasts.com/podcasts/double-threat   Theme song by Mike Krol  Artwork by Michael Kupperman Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, I'm diving into the world of must-read books for film school students and cinema enthusiasts alike. We'll be exploring memoirs and insights from some of the industry's most influential figures. I've read a huge range of books, covering everything from the intricacies and history of Hollywood to the personal journeys of famed directors, Golden Era Hollywood mysteries, and more. Whether you're a film student looking to learn the ropes or a seasoned professional seeking deeper knowledge, this episode is packed with rich recommendations to enhance your understanding of the film industry. You can purchase all the books here: https://www.amazon.com/shop/kimwannop/list/172VSNWFF97G1?ref_=aip_sf_cur_spv_ons_d One standout recommendation is "Life's Work" by David Milch, a poignant memoir detailing the creative process behind shows like Deadwood and NYPD Blue, while shedding light on the personal battles Milch faced. Another must-read is "Directed by James Burroughs" by James Burroughs, offering an inside look at the evolution of sitcoms and invaluable insights into TV directing. For those interested in Hollywood's golden era, "The Castle on Sunset" by Shawn Levy reveals the fascinating stories behind the iconic Chateau Marmont. Additionally, Griffin Dunne's "The Friday Afternoon Club" intertwines personal and cultural narratives, exploring his family's entertainment legacy. Each book is an essential resource filled with lessons and stories that any film lover or professional will find compelling and informative. Are you passionate about TV and film production? Fascinated by the behind-the-scenes magic that brings your favorite shows and movies to life? Look no further than the Decorating Pages podcast! Join Emmy-winning set decorator Kim Wannop as she guides you through the world of visual storytelling in each episode. With exclusive interviews featuring top industry professionals—from production designers and set decorators to prop masters—you'll gain unparalleled insights and appreciation for the craft. Whether you're a film enthusiast, a design lover, or simply curious about the creative process, Decorating Pages podcast is your essential guide to the art of TV and film production. Don't miss out—subscribe today and embark on a captivating journey behind the scenes! #DecoratingPagesPodcast #TVProduction #FilmProduction #BehindTheScenes #VisualStorytelling #SetDecorator #ProductionDesigner #PropMaster #DesignEnthusiast #FilmBuff #PodcastLove #SubscribeNow Subscribe to Decorating Pages Podcast on Apple, Spotify, Pandora, Stitcher, TuneIn Radio, and iHeartRadio. Follow me: Instagram: @decoratingpages YouTube: Decorating Pages Podcast TikTok: @decoratingpagespodcast Reach out to Kim Wannop at kimwannop@decoratingpagespodcast.com and visit www.decoratingpagespodcast.com for more information.

Geri Jewell shares her trailblazing career as the first actress with cerebral palsy to break into mainstream television. From her early stand-up days at The Comedy Store to her iconic roles on The Facts of Life and HBO's Deadwood, Geri reflects on the challenges and triumphs of her journey. She opens up about her influential friendship with Carol Burnett, the unforgettable moment she was cast by Norman Lear, and the humorous yet impactful experiences that shaped her career. Her stories offer a mix of inspiration, humor, and behind-the-scenes insights into breaking barriers in Hollywood.   Episode Highlights: Comedy Roots: Geri recounts her journey into stand-up comedy, starting at the famous Comedy Store in 1978. From her struggles with early performances to becoming the first comedian with cerebral palsy to appear on national television, Geri's resilience shines through. Her candid reflection on bombing her second week at the Comedy Store—and what she learned from it—provides both humor and wisdom. Carol Burnett's Influence: One of the highlights of Geri's youth was becoming pen pals with her idol, Carol Burnett. Carol's words of encouragement inspired Geri to pursue her dreams in show business, despite the societal expectations placed on her due to her disability. Geri shares heartwarming memories of Carol's support and how it fueled her ambition. Meeting Norman Lear: A pivotal moment in Geri's career came when Norman Lear spotted her performance and immediately cast her as Cousin Geri on The Facts of Life. Geri recounts the whirlwind experience of joining the cast, humanizing the snobby Blair Warner, and the impact of being one of the first actresses with a visible disability on a major TV show. Decapitating Big Bird: In one of the funniest moments of the episode, Geri shares a story about her guest appearance on Sesame Street, where an unexpected accident involving roller skates and Big Bird left children screaming! Geri's retelling of how she managed to “decapitate” Big Bird during a live taping is guaranteed to leave you laughing. From Stand-Up to Deadwood: Geri takes us through her transition from sitcoms to the gritty world of HBO's Deadwood. A chance encounter with David Milch in a pharmacy led to her role as Jewel, a character created specifically for her. Geri's reflections on working with Ian McShane and the unique challenges of performing in such a raw, historical setting are captivating. New Book – Geri's Gems and Jewels: Geri discusses the inspiration behind her new book, a collection of essays and stories drawn from her life and career. The book combines humor and poignant reflections, with a special foreword from her dear friend, Norman Lear.   Filled with laugh-out-loud moments, touching memories, and incredible career insights, this episode is a masterclass in resilience, humor, and the power of breaking barriers.   You're going to love my conversation with Geri Jewell Geri's Website IMDB Get an autographed book   Follow Jeff Dwoskin (host): Jeff Dwoskin on Twitter The Jeff Dwoskin Show podcast on Twitter Podcast website Podcast on Instagram Join my mailing list Subscribe to my Youtube channel (watch Crossing the Streams!) Yes, the show used to be called Live from Detroit: The Jeff Dwoskin Show   Ways to support the show: Buy me a coffee (support the show) TeePublic Store: Classic Conversations merch and more! Love the books I talk about on the show? Here is my Amazon store to shop.  

Geri Jewell is a Comedian/Actor/Motivational Speaker/Author and (thanks to Norman Lear) the trailblazing first person with a visible disability to appear as a TV show regular! Geri went straight from special ed to special treatment as a Facts of Life cast member, portraying Blair's Cousin Geri and providing essential representation for kids growing up and living with Cerebral Palsy. Geri's life and career have always been an inspiration, as evidenced by her brand new coffee table book 'Geri's Jewels & Gems', which will provide you with a fresh, positive perspective on the inevitable hardships and struggles we all face. Brace for Geri's sunny outlook, grit and determination to shift your mood and encourage you to pursue your own dreams! As a child, Geri's imagination took her to Wimbledon, standup comedy stages and Hollywood. She was soon exchanging letters with Carol Burnett, performing at the Comedy Store and playing doubles with John McEnroe and Arthur Ash! Her mother had warned her, “Be careful what you wish for.” Geri teaches us that kids with disabilities often grow up emotionally stunted because so much emphasis is placed on their physical development. Cast in an NBC sitcom at the age of 23, Geri was a rich target for unscrupulous managers and “friends.” She frequently lost her way while being misunderstood, underestimated and searching for the courage to live an openly gay life. The physical beating of Cerebral Palsy can be very painful and poor balance leads to debilitating falls. Geri was recovering from back and neck surgery, waiting in line at CVS to purchase botox for her neck pain when David Milch approached her and felt inspired to cast her in Deadwood! Your next miracle could be just around the corner! Geri talks to us about her first inspirational book called I'm Walking As Straight As I Can, her determination to defy expectations, how CP has provided her with unique insights into the human condition and her intention to help others reach their potential. Then Geri's best friend, hearing impaired comedian Kathy Buckley joins us on the panel  to share more truly adorable anecdotes and adventures. Plus, Fritz and Weezy are recommending My Brilliant Friend on HBO and Daughters on Netflix.Path Points of Interest:Geri JewellGeri Jewell on WikiI'm Walking As Straight As I Can by Geri JewellGeri's Jewels and Gems by Gery JewellGeri Jewell on YoutubeGeri Jewell at Ability MagazineGeri Jewell on FacebookKathy BuckleyKathy Buckley on InstagramMy Brilliant Friend on HBODaughters - NetflixMedia Path PodcastGift Of Democracy

Geoffrey Blake is an Emmy nominated, two-time SAG Award winning actor best known for his role as 'Wesley' (the abusive radical boyfriend) opposite Robin Wright's 'Jennie' in the iconic Academy Award Best Picture Forrest Gump. In addition to that film, he has appeared alongside Academy Award Winner Tom Hanks in multiple films. Those performances are part of his frequent collaborations with such Academy Award winning filmmakers as Robert Zemeckis and Ron Howard (Forrest Gump, Contact, Cast Away, Appollo 13, EDtv,  and Frost/Nixon.) His most critically acclaimed performance was that of the preppy pipe-smoking astrophysicist 'Fisher', the right-hand man, in the Sci-Fi classic Contact opposite Academy Award winner Jodie Foster. Blake has well over 100 credits to his name in both television and film. In the 1980's and early 1990's, he frequently collaborated with friend and colleague, Emilio Estevez. The two met on the generation defining film Young Guns where he portrayed 'McCloskey', the Young Gun snitch, opposite Estevez, Charlie Sheen, Kiefer Sutherland, Lou Diamond Phillips, and Dermot Mulroney. He would go on to make four more films with Estevez as both an actor and director (Men at Work, Rated X, The War at Home, Nightbreaker). He also worked with other luminary filmmakers such as Ridley & Tony Scott (The Man in the High Castle, Enemy of the State), Paul Mazursky (The Pickle), Frank Darabont (Mob City), Barry Levinson (Wag the Dog), Roland Joffe (Texas Rising) and numerous others. In addition, he has appeared in a multitude of Emmy Award winning series, mini-series, and movies for television with prolific content providers such as Steven Bochco, David Milch, Jerry Bruckheimer, Shonda Rhimes, David Shore, Paul Attanosio, Don Bellisario, and Dick Wolf, repeatedly reaching out to Blake to be on their shows.

Hey friends, welcome to this episode of Backstory Sessions! We are back, kicking off Season 13 with a phenomenal guest - the unforgettable Geri Jewell. Remember her as Blair's cousin on the iconic show "Facts of Life"? Well, she's here to share her incredible journey. From her early diagnosis with Cerebral Palsy to making waves in Hollywood, Geri has lived a life full of inspiring moments and hilarious anecdotes. You'll hear about her groundbreaking role in "Facts of Life," her unexpected encounter with David Milch that landed her a part in "Deadwood," and her latest ventures including a children's book and some exciting new projects. We also dive into Geri's early love for comedy, her admiration for Carol Burnett, and how she turned her challenges into comedic gold. Don't miss this heartwarming and entertaining episode that reminds us all to laugh, dream big, and never give up!

Chris Wilcha is an award-winning documentary filmmaker and commercial director. His latest film, Flipside, which is co-executive produced by Jim and presented in association with Infinite Films (among others), opens in select US theaters tomorrow (May 31st, 2024). An ode to creative failure, abandoned projects, and rekindled passion, Flipside premiered at the 2023 Toronto International Film Festival to rave reviews. Here's the full description: “When filmmaker Chris Wilcha revisits the record store he worked at as a teenager in New Jersey, he finds the once-thriving bastion of music and weirdness from his youth slowly falling apart and out of touch with the times. FLIPSIDE documents his tragicomic attempt to revive the store while revisiting other documentary projects he has abandoned over the years. In the process, Wilcha captures This American Life icon Ira Glass in the midst of a creative rebirth, discovers the origin story of David Bowie's ode to a local New Jersey cable television hero, and uncovers the unlikely connection between jazz photographer Herman Leonard and TV writer David Milch. This disparate collection of stories coheres into something strange and expansive—a moving meditation on music, work, and the sacrifices and satisfaction of trying to live a creative life.” Important Links: Flipside; a film by Chris Wilcha 32 Sounds; a film by Sam Green Show Notes: An Ode to Abandoned Projects How Flipside Got Made When Filmmaking Gets Personal Taking the Big Swings Bringing the Film to Life in the Editing Room "Life can only be understood backwards, but we must live it forwards” Meeting Uncle Floyd Working With Judd Apatow & the Coen Brothers; Balancing Art & Commerce Stylistic Choices & Following Your Obsession How Jim Got Into Music The Changing Landscape of Documentary Filmmaking How the Creative Industries Compare to Wall Street Chris' Favourite Unmade Documentaries Chris as Emperor of the World MORE!

Frame Work follows Mann on a digression into David Milch's neighborhood, a place full of compulsive degenerates, nigh-impenetrable dialogue, and aching humanity.

"You ever think, Bullock, of not going straight at a thing?"In this final episode of "Something Pretty" dedicated to "Deadwood," Clay and Wes delve into "Deadwood: The Movie," the last piece in the tapestry of the "Deadwood" saga. This episode not only marks the end of our in-depth exploration of the "Deadwood" universe but also serves as a farewell to the series that has captivated our attention and discussions."Deadwood: The Movie" reunites viewers with the beloved characters of the original series, set a decade after the events of the show. It's an interesting conclusion, tying up loose ends and offering a satisfying resolution to the stories that fans have cherished. The film, which brings back many of the original cast members, is notable for its portrayal of characters who have visibly aged and evolved. Everyone looks very old!In this episode, Clay and Wes discuss the experience of returning to the "Deadwood" setting after a hiatus. They touch upon the surprise and nostalgia of seeing the actors reprise their roles, now older and embodying the passage of time. This aspect brings a unique and poignant dimension to the movie, resonating with viewers and fans alike.A significant part of the discussion revolves around the mental health of David Milch, the creator of "Deadwood," during the production of the movie. Milch's battle with Alzheimer's disease adds a layer of profundity and poignancy to the movie's creation. The hosts also delve into the historical context of "Deadwood," particularly the acrimonious arguments with HBO that led to the series' premature conclusion after three seasons. Furthermore, Clay and Wes analyze the character development and changes observed over a decade later. They debate the intentions and achievements of the movie, scrutinizing what it sets out to do versus what it accomplishes, providing listeners with a comprehensive and critical view of the film's impact and legacy.As we close this chapter on "Deadwood," we extend a heartfelt thank you to all our listeners for their unwavering support and engagement throughout this series. Your enthusiasm and insights have been invaluable to our journey through the gritty and compelling world of "Deadwood." For more fascinating podcast content, we invite you to visit thepenskyfile.com! Thank you for being a part of "Something Pretty," and we look forward to our next series.If you've enjoyed this show, please consider rating us on Apple Podcasts and Spotify! It helps by letting people know that the show is worth sampling.Links:Support "Something Pretty" on PatreonListen to our other podcastsYouTubeJoin our DiscordSupplemental Reading:The Deadwood Bible: A Lie Agreed UponDeadwood: Stories of the Black HillsDeadwood: The Golden Years

"We were in the back room putting things together from the ground up... Learning from those that came before - them that had a lot of blood on their hands."Welcome to another episode of "Something Pretty," where hosts Clay and Wes venture into the world of HBO's "Luck." This series, created and written by David Milch, the mind behind "Deadwood," and with its pilot episode directed by the acclaimed Michael Mann, offers a narrative set in the high-stakes environment of horse racing."Luck" delves into the intricate world of horse racing, encompassing the lives of owners, gamblers, jockeys, and trainers. Set primarily at the famed Santa Anita Park, it's celebrated for its authentic and detailed portrayal of the racing industry, as well as its complex and multifaceted characters. The show weaves together various storylines, from the gritty realities of the betting world to the personal dramas unfolding behind the scenes.In this teaser episode (the full show is available on our Patreon), Clay and Wes dissect the pilot of "Luck," exploring its narrative structure, character development, and the thematic richness that Milch and Mann bring to the table. The series is notable for its cinematic quality, especially with Mann's directorial prowess in the pilot, and Milch's signature storytelling style, which deeply immerses viewers in the world of horse racing and its surrounding intrigue.Our discussion of "Luck" will also focus on how it compares and contrasts with other works by Milch, including "Deadwood." This deep dive is perfect for fans of intense drama, sports enthusiasts, and those who appreciate the layered storytelling that HBO series are known for.If you're interested in hearing the full episode, please support us via our Patreon.Next week, we'll be back with a full episode on this feed, as we discuss "Deadwood: The Movie" and close out our podcast.Thanks!Links:Support "Something Pretty" on PatreonListen to our other podcastsYouTubeJoin our DiscordSupplemental Reading:The Deadwood Bible: A Lie Agreed UponDeadwood: Stories of the Black HillsDeadwood: The Golden YearsReading Deadwood: A Western to Swear By

I do an epic summary of ballsy TV writer David Milch, the late great Emmy-winning creator Steven Bochco & how their many TV shows pushed uncomfortable situations, crafted emotional conversations & provided riveting narratives!   Their credits include: Doogie Howser MD and Hill Street Blues to NYPD Blue and Deadwood to Luck and Murder in the First. A big part of the programming line of NBC, TNT, ABC & HBO TV show franchises, I dig into what makes those shows still stand the test of time.                           MAIN LINKS:  LinkTree: https://linktr.ee/JURSPodcast Facebook Page: https://www.facebook.com/JackedUpReviewShow/ Facebook Group: https://www.facebook.com/groups/2452329545040913 Twitter: https://twitter.com/JackedUpReview  Instagram: https://www.instagram.com/jacked_up_podcast/          SHOW LINKS: YouTube: https://m.youtube.com/channel/UCIyMawFPgvOpOUhKcQo4eQQ   iHeartRadio: https://www.iheart.com/podcast/269-the-jacked-up-review-show-59422651/   Podbean: https://jackedupreviewshow.podbean.com   Spotify: https://open.spotify.com/show/7Eg8w0DNympD6SQXSj1X3M   Apple Podcasts: https://podcasts.apple.com/us/podcast/the-jacked-up-review-show-podcast/id1494236218   RadioPublic: https://radiopublic.com/the-jacked-up-review-show-We4VjE   Overcast: https://overcast.fm/itunes1494236218/the-jacked-up-review-show-podcast   Google Podcasts: https://podcasts.google.com/?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy9hNDYyOTdjL3BvZGNhc3QvcnNz   Anchor:  https://anchor.fm/s/a46297c/podcast/rss   PocketCasts: https://pca.st/0ncd5qp4   CastBox:  https://castbox.fm/channel/The-Jacked-Up-Review-Show-Podcast-id2591222       #MovieReview #FilmTwitter #PodFamily #PodcastersOfInstagram #Movies #Film #Cinema #Music #Reviews #Retrospect #Podcasts #MutantFam #MutantFamily #actionmystery #bmovies #scifihorror #truecrime #historydramas #warmovies #podcastcollabs #hottakes #edgy #cultmovies #nsfw #HorrorFam #badass             

"You mistake for fear, Mr. Bullock, what is in fact preoccupation. I'm having a conversation you cannot hear."Ladies and gentlemen, esteemed audience, we're at a poignant juncture in "Something Pretty," presenting Episode 36, the culmination of our Deadwood journey. This episode, titled "Tell Him Something Pretty," marks a significant chapter as hosts Clay and Wes dissect the series' finale. In this landmark episode, they acknowledge the weight of concluding not just the season but the entire Deadwood saga. Spanning 36 episodes, they've experienced a rollercoaster of emotions and pivotal moments, culminating in this finale.Regarded as Deadwood's most heart-wrenching episode, "Tell Him Something Pretty" is the focus of deep analysis. Our hosts explore the fitting nature of this episode to the series' overall ambiance, highlighting Deadwood's inclination for complex, unconventional storytelling.Clay and Wes meticulously examine the endgames of Deadwood's diverse characters. From Al Swearengen to Bullock, Alma to Trixie, each character's path is scrutinized with respect and depth. Furthermore, they delve into the tone of the final episode, capturing the essence of Deadwood through its blend of melancholy, redemption, and stark depiction of the camp and its inhabitants.However, the journey with "Something Pretty" isn't over yet. Clay and Wes announce upcoming content, including discussions on "Deadwood: The Movie" in their main podcast. For Patreon supporters, exclusive episodes await, delving into Timothy Olyphant's "Hitman," pilots for David Milch's "John from Cincinnati" and "Luck," and a cinematic Western reflecting the Deadwood era.As we bid adieu to the Deadwood series on "Something Pretty," we eagerly anticipate future discussions and explorations. A heartfelt thanks to our audience for accompanying us through this extraordinary exploration of Deadwood's world and characters! Stay tuned for more enthralling content from Clay and Wes, as they continue their journey through the realm of exceptional (and not) storytelling.If you have enjoyed the show, please consider either supporting us on Patreon or leaving a rating and review for "Something Pretty" on your favorite podcast app.Links:Support "Something Pretty" on PatreonListen to our other podcastsYouTubeJoin our DiscordSupplemental Reading:The Deadwood Bible: A Lie Agreed UponDeadwood: Stories of the Black Hills

Author and screenwriter Mark Frost grew up in a show business family, worked at famous Guthrie Theater in Minneapolis, before heading to Hollywood to work for Steven Bochco, who revolutionized television with "Hill Street Blues," where Mark as on the writing crew with David Milch and also worked with another Ojai resident, Mimi Leder. Not long after he joined David Lynch to co-create "Twin Peaks," the show that attained cult status as soon it was aired. Frost has also written and/or directed "Storyville," "The Fantastic Four," and "Greatest Game Every Played." Among his popular books on golf and baseball are "Game 6," about the Reds-Red Sox World Series that captivated the world and marked a moment when baseball became a big business. He also wrote the golf classic, "The Match: The Day the Game of Golf Changed Forever." We talk about the WGA strike, since settled, and Mark's history with previous strikes, as well as Ojai environmental issues (Mark is a key leader with the Ojai Defense Fund, founded by our mutual friend John Broesamle, who just passed," and his new projects, including a book on Franklin Delano Roosevelt, from whom an uncle worked as his press agent. We did not talk about "Seven Samurai," Harvard admission policies or the James Webb Space Telescope.

In this PLATINUM AGE of television, Kimberly looks at the masterful language, the deft historical elements and the incredible Shakespearean airs of one of the best TV series of all time: David Milch's DEADWOOD.

Keala Kennelly grew up on Kauai in a geodesic dome built by her parents and began surfing at the age of five, a contemporary of the Irons brothers. Through the 1990s and early aughts, she was consistently ranked top ten on the World Tour and was the first woman to tow Teahupoo. She has since pursued successful careers in both acting and music. Kennelly's life has been also defined by her pushing both physical and social limitations, from her fighting for women's representation in heavy surf to her coming out during a time when that meant detrimental ramifications to her surfing career. In this episode, Kennelly talks with show host Jamie Brisick about being an early advocate for the LGBTQ+ surfing community, what it meant to be one of the few women in the lineup, how the attitudes have changed, losing her sponsors, giving up her spot on tour to work as an actress for David Milch, fighting for equal pay, and her invite to the Eddie, and her DJ career.

Prolific actor Peter Jason has a million stories about John Carpenter's cult classic They Live, Deadwood, and so much more. He joins Matt to talk about what it was like for his character Gilbert the Resistance Leader to get squibbed, the levels of Godhood in David Milch's John from Cincinnati, and Con Stapleton's submarine monologue from Deadwood. Plus, we hear how Peter got "t-boned" by Orson Welles. Check out the art on Earwolf.com by Andy Taylor! Hosted on Acast. See acast.com/privacy for more information.

Prolific actor Peter Jason has a million stories about John Carpenter's cult classic They Live, Deadwood, and so much more. He joins Matt to talk about what it was like for his character Gilbert the Resistance Leader to get squibbed, the levels of Godhood in David Milch's John from Cincinnati, and Con Stapleton's submarine monologue from Deadwood. Plus, we hear how Peter got "t-boned" by Orson Welles. Check out the art on Earwolf.com by Andy Taylor! Hosted on Acast. See acast.com/privacy for more information.

"To buy my allegiance against myself, in-law cunts and shit-heel operators would have to bid very high indeed."Welcome to "Something Pretty," the podcast where hosts Wes and Clay explore the captivating world of Deadwood. In this episode, Wes and Clay dive into the intricacies of the episode titled "Amalgamation and Capital." Join them as they discuss key elements that drive the narrative and dissect the underlying themes that make Deadwood compelling.The hosts start their conversation by delving into the powerful theme of reconciliation and "amalgamation" within the Bullock family. They analyze the touching moment between Seth Bullock and his stepson William over coffee, highlighting the significance of their conversation about William's late father. Wes and Clay explore the concept of "amalgamation" concerning the Bullock family's journey toward unity and healing, shedding light on the complexities and emotional dynamics at play.Next, the hosts unravel the convoluted plot surrounding Miss Isringhausen. They delve into her interactions with E.B. Farnum and Al Swearengen, discussing the intriguing web of secrets, loyalty, and betrayal surrounding her character. Wes and Clay dissect the motivations and intricacies of Miss Isringhausen's actions, offering their interpretations and speculations on her role in the unfolding events of Deadwood. And... does any of this make sense?In addition to the character-driven analysis, Wes and Clay take a moment to explore the behind-the-scenes aspects of Deadwood. They delve into David Milch's well-known disdain for the parent of a certain child actor, sharing intriguing anecdotes and discussing the implications of his views on the show's production. Throughout the episode, Wes and Clay provide their unique perspectives on the themes and plot developments in "Amalgamation and Capital." They offer thoughtful commentary on the intricacies of family dynamics, the enigmatic character of Miss Isringhausen, and the fascinating behind-the-scenes aspects of Deadwood's production.Join Wes and Clay on this engaging journey as they unpack the complexities of the Bullock family's reconciliation, unravel the mysteries surrounding Miss Isringhausen, and delve into the fascinating world of Deadwood. "Something Pretty" is your guide to exploring the rich layers of this remarkable series, offering in-depth analysis and captivating discussions that will leave you craving more.Links:Support "Something Pretty" on PatreonListen to our other podcastsYouTubeJoin our DiscordSupplemental Reading:The Deadwood Bible: A Lie Agreed UponDeadwood: Stories of the Black HillsDeadwood: The Golden YearsReading Deadwood: A...

Actor Timothy Olyphant joins Rich in-studio to discuss the reboot of his Raylan Givens character in FX's ‘Justified: City Primeval,' reveals that we've been mispronouncing his last name all along, professes his love for pickleball, reveals what it was like doing improve on ‘Curb Your Enthusiasm,' and tells a great story about making HBO's ‘Deadwood' with acclaimed showrunner David Milch. Rich lists his top 5 NFL quarterbacks in need of a bounce back season including the Rams Matthew Stafford, the Broncos Russell Wilson, the Saints Derek Carr, the Patriots Mac Jones, and the Browns Deshaun Watson. Yankees fan Rich reacts to the Pinstripes sinking into last place in the AL East and pleads (commands??) team ownership to trade for Shohei Ohtani. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Screenwriter Stuart Wright talks to screenwriter and showrunner Eric Rogers about his work as a SCRIPT CO-ORDINATOR on NYPD BLUE, lessons learned from David Milch, the role of the showrunner in creating SKYLANDERS ACADEMY for Netflix, how writing shows for 6-11 year old audiences has evolved recently, finding your voice and "3 Films That Have Impacted Everything In Your Adult Life"PULP FICTION (1994)JAWS (1975)SIDEWAYS (2004) / FARGO (1996)SKYLANDERS ACADEMY is available to watch on NetflixANGRY BIRDS MYSTERY ISLAND is available to watch on Prime Video"3 FILMS THAT HAVE IMPACTED EVERYTHING IN YOUR ADULT LIFE" is a podcast by screenwriter Stuart Wright that explores the transformative power of cinema. From emotional masterpieces to thought-provoking classics, each episode delves into the films that have had a profound impact on our personal growth and perspective. Through engaging storytelling, critical analysis, and cultural commentary, Stuart aims to uncover the lasting influence that movies have had on his guests. Please join him on an emotional journey through the world of film and discover how just three movies can change the direction of a life, cement memories you will never forget or sometimes change how you see the world."3 FILMS THAT IMPACTED EVERYTHING IN YOUR ADULT LIFE is about those films that made you fall in love with film. The guest selects their trio of movies and we talk for 5 minutes, against the clock. When the ALARM goes off for five minutes we move onto the next film.Please consider leaving a five-star review wherever you get your podcasts if you enjoyed this. It really helps the Britflicks Podcast grow and others to discover it.CreditsIntro/Outro music is Rocking The Stew by Tokyo Dragons (www.instagram.com/slomaxster/Podcast for www.britflicks.com. Homepage https://www.britflicks.com/britflicks-podcast/Written, produced and hosted by Stuart WrightSupport this podcast at — https://redcircle.com/britflicks-com-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Adnan and Chris are talking Still: A Michael J. Fox Movie. Adnan gives David Samson credit for something. Robert De Niro's 79th child? David Milch's book, "Life's Work: A Memoir". Are you a kid or dog person? Chris gets to pick next week's old movie for his birthday.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Adnan and Chris are talking Still: A Michael J. Fox Movie. Adnan gives David Samson credit for something. Robert De Niro's 79th child? David Milch's book, "Life's Work: A Memoir". Are you a kid or dog person? Chris gets to pick next week's old movie for his birthday.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Hello Tomorrow! creators Amit Bhalla and Lucas Jansen discuss selling original ideas, taking big swings and throwing things away, and what they learned working for David Milch.THE WRITERS PANEL IS NOW A COMPLETELY INDEPENDENT PRODUCTION.Follow and support the show by subscribing to Ben Blacker's newsletter, where you'll also get weekly advice from the thousands of writers he's interviewed over the years, as well as access to exclusive live Q&As, meet-ups, and more: benblacker.substack.com SOCIALS:https://twitter.com/BENBLACKER https://www.facebook.com/TVWritersPanel Hosted on Acast. See acast.com/privacy for more information.

Film critic and broadcaster Hanna Flint joins us to talk about her cinematic memoir, “Strong Female Character." Also, film and television critic Matt Zoller Seitz and fellow film critic Walter Chaw share the legacy behind David Milch's groundbreaking HBO series, “Deadwood.” And Vancouver punk rock pioneer John Armstrong on the Modernettes.

"Anyway, don't play that shit where you make me drag your words outta you. Declare, or shut the fuck up."The Biblical references continue! A plague of sickness has descended upon the camp (we're still waiting on the locusts) and the tiny strands of communal interconnectedness will face an early challenge to their durability. The Reverend Smith has warned about the dangers of saying "I have no need of thee" and infectious disease will serve as a bellwether to the future chances of the camp. As some relationships are strengthened, others are weakened. And when two people fight, don't be the one to miss the layup.In this episode of the podcast, Wes and Clay discuss "Plague" and the difference between Al Swearengen and Cy Tolliver. Plus! The guys chat about subtle clues around cheating, the riverboat adventures of the Bella Union, and David Milch's opinion of the Fourth Estate.Links:Support "Something Pretty" on PatreonListen to our other podcastsYouTubeJoin our DiscordSupplemental Reading:The Deadwood Bible: A Lie Agreed UponDeadwood: Stories of the Black HillsDeadwood: The Golden YearsReading Deadwood: A Western to Swear ByLife's WorkTheme Song: Western ShowDown by HoliznaCC0 is licensed under a CC0 1.0 Universal License.

"I'm executin' sentence now and he's hangin' under color of law."In the pilot of "Deadwood", a variety of interesting characters feel a pull towards the settlement of Deadwood, an illegal gold rush camp in Indian territory that exists outside the confines of the United States. Drawn towards the allure of easy wealth, characters like Seth Bullock and Al Swearengen start to build a civilization from the piss-filled mud of the Dakota Territory atop a foundation of murdering, whoring and robbing.David Milch's "Deadwood" is a television series that examines the "lies agreed upon" that enable the creation of a functioning society from the disparate individual strands of humanity. The pilot episode, directed by Walter Hill, introduces several key themes, a handful of memorable characters, and some unusual cinematography that might not be around too much longer.In this episode of "Something Pretty", Wes and Clay discuss the pilot episode, "Deadwood" and how the show handles introducing so many unique voices. Plus! The guys chat about law and order, the genetics of clammy hands, and why you won't catch us sippin' at it.Links:Support "Something Pretty" on PatreonListen to our other podcastsYouTubeJoin our DiscordSupplemental Reading:The Deadwood Bible: A Lie Agreed UponDeadwood: Stories of the Black HillsDeadwood: The Golden YearsReading Deadwood: A Western to Swear ByLife's WorkTheme Song: Western ShowDown by HoliznaCC0 is licensed under a CC0 1.0 Universal License.

"Something Pretty" is a podcast that aims to discuss every episode (and movie) of HBO's "Deadwood" through a combination of humor, background reading, and narrative analysis. Wes (of the clammy hands) and Clay (who speaks in thunder) dive deep into the early 2000s series and examine its themes, characters, plotlines, and novel use of language.In this inaugural episode of the podcast, Wes and Clay discuss their history with the show, David Milch's favorite thing to shoot at with a shotgun, and whether or not the series is a western at all. Our first episode covering the series proper will be out next week. Make sure to subscribe to hear our coverage of the pilot, fittingly titled "Deadwood"!Links:Support "Something Pretty" on PatreonListen to our other podcastsJoin our DiscordSupplemental Reading:The Deadwood Bible: A Lie Agreed UponDeadwood: Stories of the Black HillsDeadwood: The Golden YearsReading Deadwood: A Western to Swear ByLife's Work

Come for the comics talk, stay for Conor's David Milch deep pull and Josh struggling with the other "Star" franchise. But always remember: this is not a math show. Running Time: 01:04:07 Pick of the Week: 00:02:54 - She-Hulk #169 Comics: 00:18:02 - Dark Knights of Steel: Tales from the Three Kingdoms #1 00:22:47 - That Texas Blood #17 00:30:24 - Alien #1 00:37:15 - Batman #127 00:39:27 - Punisher #6 00:41:49 - Moon Knight #15 Patron Pick: 00:43:50 - Star Trek #400 Patron Thanks: 00:51:07 - Patrick Rott Audience Questions: 00:52:30 - Kyle F. is thinking about binding his single issues. Listen to Conor, Josh, and Ryan go head-to-head-to-head on The Great American Pop Culture Quiz Show! Brought To You By: • iFanboy Patrons - Become one today for as little as $3/month! Or make a one time donation of any amount! • iFanboy T-Shirts and Merch - Show your iFanboy pride with a t-shirt or other great merchandise on Threadless! We've got twelve designs! Music: "Sex & Candy" Marcy Playground   Learn more about your ad choices. Visit megaphone.fm/adchoices

We have a sneak peek for our listeners--the first episode our new Patreon bonus series on David Milch's brilliant (but short-lived) series "Deadwood." In this inaugural edition of "The Ambulators" (we promise the name makes sense), Tamler and David discuss the pilot episode "Deadwood."