Podcast appearances and mentions of elliot cowan

This episode we are joined by actor Elliot Cowan!  Elliot was last seen in the West End production of A Little Life in the roles of Brother Luke/Dr. Traylor/Caleb.  His other credits include 2:22 A Ghost Story, An Ideal Husband, A Streetcar Names Desire, Macbeth and Henry V.  He is also known for playing Mr. Darcy in Lost in Austen and his film debut, Alexander.  We talk with Elliot about his career, the importance of mental health and checking in with your fellow actors, role preparation, the stage door experience of A Little Life and much more!

Elliot appeared in the play adaptation of Hanya Yanagihara's book “A Little Life” that recently played at the Harold Pinter Theatre and the Savoy in London. A play in which many are calling “the theatre event of 2023”.  Directed by Ivo Van Hove the play follows Jude St Francis (played by James Norton) and the devastating trauma he was exposed to as a young child at the hands of Brother Luke, Caleb Porter and Dr Traylor. All three characters Elliot played in the production.  Elliot talks about how he found out about the job, working with Ivo and how the three bad men in Jude's life manifested in him during the run.  Please note this episode contains spoilers.  Elliot's other credits include: His training at RADA Obtaining a first class degree at the University of Birmingham studying Drama National Youth Music Theatre (NYMT) Macbeth at the Globe Les Blancs at the National, dir. Yael Farber Streetcar Named Desire at the Donmar Alexander alongside Anthony Hopkins Peaky Blinders The Crown The Golden Compass A Little Life, amongst many more…  Thank you Elliot, really enjoyed it! Oliver Gower Spotlight Link: https://www.spotlight.com/9097-9058-5261 Instagram: @goweroliver For enquiries and requests: olliegower10@gmail.com Please Like, Download and Subscribe! --- Send in a voice message: https://podcasters.spotify.com/pod/show/oliver-gower/message

Elliot Cowan is our third and final guest of the 2:22 A Ghost Story three-part podcast special. Elliott, who plays Sam in the play, talks about the incredible production as well as some of his recent roles in films that have led him to rub shoulders with some film, TV, and musical icons.Catch the other two '2:22' conversations published earlier this week with Stephanie Beatriz and Giovanna Fletcher.The Andy Jaye Podcast is produced by The Driven Media Group - a Paramex Digital brand. If you would like to contact the show, email hello@drivenchat.com. Find our entire back catalogue of conversations in all the usual podcast places. See acast.com/privacy for privacy and opt-out information.

Giovanna Fletcher is the second in our 2:22 A Ghost Story - 3 part podcast special, following Stephanie Beatriz (released yesterday) and ahead of Elliot Cowan, which comes out tomorrow.In this 30 minute chat with Andy, Giovanna also opens up about her role as a busy parent around her fun but hectic family life and shares some wonderful insights into how she deals with the balance of family and work life.The Andy Jaye Podcast is produced by The Driven Media Group - a Paramex Digital brand. If you would like to contact the show, email hello@drivenchat.com. Find our entire back catalogue of conversations in all the usual podcast places. See acast.com/privacy for privacy and opt-out information.

In the seventh episode of the Wheelie Stagey podcast, Kerrie reflects on the unexpected joy of getting out of one's comfort zone and being scared silly with her trip to 2:22 A Ghost Story  back in August. Following phenomenal demand, the play will be returning with a new cast (Giovanna Fletcher, Elliot Cowan, James Buckley & Stephanie Beatriz) at the Gielgud Theatre from 4th December to February 12th 2022.Tickets are available at www.222aghoststory.comBlog: www.wheeliestagey.wordpress.comTwitter/Instagram @wheeliestageyFacebook: https://www.facebook.com/WheelieStageyBlog/Wheelie Stagey Artwork by Steve MundeyTheme & Incidental Music by Ashley MA Walsh

Howl. Tickets please! Next stop... join Darren and Rick and explore their train of thought as they breakdown this werewolf flick, and decide whether they are bored or if they get on board. 

Hello, and welcome to the Emerald City Video Podcast. This is Russ Burlingame, and tonight is going to be a little different than usual. Today saw the cancellation of KRYPTON, a TV series that ran for two seasons on SYFY and which was not just one of my personal favorite shows on TV but one of the series that has kind of shown me the most love in return. Along with Deadly Class, also cancelled this season on SYFY, these are two of the only shows that have ever quoted me in TV spots. The series was a huge critical hit, especially in its second season, and its cancellation is 100% one of those situations where the ratings did not keep up with the reputation of the show. I’m not going to go after SYFY for this choice; the show was averaging almost 2 million viewers in its first season and was the third-highest-rated show on the network. A year and change later, it’s barely pulling 400,000. Krypton centers on the character of Seg-El — played by Cameron Cuffe. Seg is the grandfather of Superman, and there is a time-travel element that created something of a ticking clock in the first season. If they didn’t stop the bad guys, it would mean that Superman never existed, and Earth’s future is doomed. By the end of the first season, though, the characters had made things infinite worse, and not only was Set exiled to the Phantom Zone, but Zod was in control of Krypton, and years in the future, that would spell disaster for Earth. Krypton was originally billed as “Game of Thrones in Space,” an easy characterization since they actually filmed in Belfast, where Game of Thrones had, and the series featured Ian McIlhenny of Game of Thrones as See’s grandfather, Val-El. The show actually turned out to be something else entirely, and that led to a few growing pains. Ironically, the most GAME OF THRONES-y scene in the whole first season was probably an argument between Elliot Cowan’s Daron Vex and Ann Ogbomo’s Jayna Zod. I saw that scene being filmed during a set visit to Belfast back in 2017. That same week, they were filming the episode — “House of Zod” — which would fundamentally alter what the show was. It has been a hard few months at SYFY. Happy — a series based on the comics from artist Darick Robertson and writer Grant Morrison — was cancelled after two seasons, and after just a single season and a crazy cliffhanger, the network declined to pick up a second season of Deadly Class, based on the comics from Rick Remender and Wes Craig. Krypton had a sequel planned, based on the character of LOBO, who appeared in the show’s second season, but unless either that pilot, or Krypton, or both, can find a new home, it ain’t going to happen. All of these cancellations happened while the network was waiting on new episodes of WYNONNA EARP, which it actually DID pick up but which failed to go into production on time due to a financial shortfall from IDW Entertainment, the current publishers of Wynonna Earp comics and the series’ producers. Suddenly, WYNONNA is the only comic book show still on the air at SYFY, and it’s currently on a weird, unplanned hiatus. While I am not going to lay into SYFY — working in the entertainment industry I know that almost no network ever roots for a show to fail — I will say that it is a strange choice for them to leave fans hanging on both this and Deadly Class. Genre TV has some of the most passionate fans, and every if there aren’t a lot of them, they will punish you for supposed bad behavior. The easiest thing you can do — and something that almost every other network has already figured out to do — is to renew shows for a “final season” to give the producers time to make a good ending and the fans time to adjust to the fact that their show is going away. While something like Deadly Class, which didn’t make it past the first season, might not have supported such a move, certainly Krypton could have. Whatever the case, Krypton was a gorgeously designed, beautifully-shot, wonderfully-acted show that had real heart and real consequences. That might be a surprise to anybody who hasn’t watched it, since the premise — that a time-traveler from the present was going back in time to keep history intact so that Superman could exist — is just begging for a forgettable series that had no real stakes. But Cameron Welsh, the show runner, along with David Goyer, the writers’ room, and series stars Cameron Cuffe, Shaun Sipos, Georgina Campbell, Wallis Day, and others, would not have anything of the sort.  The show’s Kryptonite was arguably that it was so predictable, and its power was in how completely the producers resisted that. Another strength was in the way the characters were treated. While Seg-El has basically no presence in the comics, and most of the other characters had around the same amount of pages in their history, the series treated each of them like a valuable piece of intellectual property. As far as the show was concerned, the El family was Superman, and Seg was treated with as much seriousness and respect as if he had been his grandson. Colin Salmon played General Dru-Zod, best known as one of Superman’s greatest enemies, and he managed to do what many would have though impossible: he surpassed the standard-setting performance of Terrence Stamp in Superman II. Krypton, more generally, managed to be just as exciting and “alien” on a TV budget as it had in MAN OF STEEL, of which Goyer was a writer. Part of that was the show’s ability to do something movies have not so far: embracing the history of the comics. The Justice League, the Green Lanterns, and more exist in the world of Krypton, and even though we don’t see them, there are clear references to them. That status quo set the stage for the introduction of Doomsday, an ancient, biological weapon created by two of Krypton’s greatest scientists and hidden away underground because it was too dangerous to ever use. In the pilot, Val-El, facing execution for “heresy” because he dared to tell the Science Guild that doom was coming in the form of an alien called Brainiac, reached out to his grandson in his final moments. “Keep believing in a better tomorrow,” he told young Seg, and that message reverberated and echoed through Krypton for two seasons. It was, in a lot of ways, the clearest mission statement that the House of El had since Christopher Reeve declared himself “a friend” back in 1978. As far as narrative themes go, you could do a lot worse for a show about heroes, and the writers even managed to turn it back on itself a few times, with a season 2 episode called “A Better Yesterday.” Krypton, though, was a marvel. It was a technical and creative achievement, filled with talented people who all bounced off one another in a way that made each part better, and elevated the whole. Some iconic characters — notably Zod and Doomsday — had their best versions appear on Krypton, and Seg-El will now be a character who people care about for decades to come, in spite of having had something like a total of 30 pages of comic book story before the show began. The show raised the bar for quality on a comic book show. Certainly it is not alone: series like Deadly Class, The Walking Dead, Doom Patrol, and Gotham all contributed to this movement, but Krypton’s second season earned a 100% “fresh” rating on Rotten Tomatoes and, in all likelihood, will have launched the career of some fan-favorite actors before all is said and done. In my day job, of course, I come to know a lot of actors, producers, and the like. Most of them I get along with fine, although it’s rare that I can say with a straight face that I have more than one — MAYBE — friend on any given show. Krypton was different. Krypton was a show full of people who were excited to talk to the press, who were passionate about their stories, and who never failed to know my name when we met up at  crowded events. They followed me on Twitter, they replied to my reviews and theories, and they thanked me for the kind words I had for the show — even though there was no thanks necessary because the only reason I praised it is that they had earned the praise. I will close out, then, with a message for the writers, producers, cast, and crew of KRYPTON. I told Cameron Cuffe something similar in a message I sent him shortly after I heard about the cancellation, but he is not alone. As a viewer of the show and as a reporter who covered it, thank all of you for this gem of a series, which brought me a lot of joy and raised the bar for comic book adaptations on TV. I look forward to what comes next from this stellar cast and crew, and will be more than happy to cover whatever that is. For me, I'm bummed by the loss of a great show, but I'm far more sad for those who are losing jobs and opportunities due to the cancellation. Krypton was a great, talented, and friendly cast and crew that it was a pleasure to get to know and cover over the last year and a half.  And the doors they opened, and the bar they raised, will reverberate into the future, spawning a better class of comic book show and making stars out of some of these young, talented, unknown actors and writers. This particular show, and these particular people, may not be around to enjoy the better tomorrow they have helped to build for the audience, but their contribution will not be forgotten. That’s all I’ve got for tonight, folks, so thanks for listening. Be back by noon on the 5th day for more form Emerald City Video, and keep believing in a better tomorrow. You can find us (and a number of other awesome podcasts) on the ACPN family of shows. If you like what we're doing here, you can become a patron of the Emerald City Video Podcast, which comes with fun perks. You can also follow us on Twitter and Facebook. We also have Instagram and Vero accounts where we share images, photos, memes, and nonsense. You can support us on Patreon, too, and do things like requesting custom episodes and the like. Be back for more by noon on the fifth day, and please -- always remember to rewind your videocassettes.

Sammi and Beau get a little liberal with the cursing in this episode as they travel along with Amanda Price - all they way back to Longbourn. Join the ladies of Excessively Diverted as they discuss Modern ideas in a Georgian world, and why a life without Lizzy is one they're just not interested in.    Lost in Austen was directed by Dan Zeff and stars Jemima Rooper, Elliot Cowan, Hugh Bonneville and Alex Kingston

The 43rd Skwigly podcast, brought to you by skwigly.com Presented by Ben Mitchell and Steve Henderson. Special guests: Elliot Cowan, director of 'The Stressful Adventures of Boxhead & Roundhead'. Produced and edited by Ben Mitchell Music by Ben Mitchell

Out in the land of New Zealand, modern land of zeal, there exists an animation studio called... Mukpuddy. Formed by the collective might of Ryan Cooper, Alex Leighton and Tim Evans they make cartoons with a distinctive style and a prolific speed. They took the time out from their morning in the future to our nighttime (because as it turns out, Earth rotates... pun) to talk with us about their new studio space and their brand new, full half-hour animated series The Barefoot Bandits! Listen for false accusation, guessing emails, Homer Simpson, "Casey Kasem's" grinder outing, and poo runner taking a backseat (and nobody even noticed that was said, which surprises me) Please Rate & Review us on iTunes Check out Mukpuddy's Website, Blog, and definitely like them on facebook! And you can now check us out on SoundCloud! Topics & Timestamps: (3:49)  Who is Mukpuddy... actually, what's a "mukpuddy?" (14:25)  Starting a studio in a pre-YouTube world (22:07)  On the virtue of being naive (29:14)  What is the dynamic like between the 3 of them? Do they ever fight? (33:15)  Finding what everyone's good at and having a Mukpuddy style (37:40)  Growing for their new series The Barefoot Bandets (40:31)  Their new studio! (46:11)  How did they get their own series? (53:47)  A quick recap of their studio timeline (57:04)  Their experiences with the 48hr Film Festival (1:10:27)  Pocket Protectors and Crumbs (1:27:14)  Audience Questions from Elliot Cowan, Martin Bell, JoWhimsy Indefinite, Ben Palczynski, Leonardi Caraballo, Jeff Cook, and Tobias Krebs (1:59:05)  "What are you most proud of?" ~Stephen (2:02:05)  "Do you have personal work outside of Mukpuddy?" ~Rob   Check out more of your hosts: Stephen Brooks Rob Yulfo And please Rate/Review us on iTunes  Subscribe on SoundCloud  ... and Rate/Review us on Stitcher while you're at it! (=

HAPPY HALLOWEEN! The "Freelance Horror Stories" are back with a part 2 with stories from YOU listeners and even past interviewees, Elliot Cowan and Exit 73 Studios! The point of this episode is to expose you to the bad experiences that animators have in the industry and then Rob and I (Stephen) give a postmortem on the event to learn what went wrong and why... so if in the future you run into a similar situation you'll know what to do! Thank you so much for all your participation, we got some fantastic stories this year and it was great talking with you all! Enjoy the show and have an amazing Halloween weekend! And don't be afraid to share some of your costumes in the comment section below Listen for "who doin' it," joker mask, "you can't make 100 outta 50," and spirit man. Please Rate & Review us on iTunes  And you can now listen to us out on SoundCloud!   Topics & Timestamps: (7:09)   Martin Bell's story (25:42)   Sam Albro's story (36:02)   Kristen Loader's story (1:00:32)   Rob Yulfo's story (1:07:57)   Stephen Brook's story (1:12:11)   Elliot Cowan's story (1:17:07)   Exit 73 Studio's (Chris Burns & Bob Fox) story Check out more of your hosts: Stephen Brooks Rob Yulfo And please Rate/Review us on iTunes  Subscribe on SoundCloud  ... and Rate/Review us on Stitcher while you're at it! (=

Elliot Cowan is the indie animator and filmmaker behind the new movie "The Stressful Adventures of Boxhead & Roundhead." We got to talk to him for 2 hours about everything from trends in big-budget animated films, the current state of art schools and the double-edged sword of making a feature-length animated film virtually by yourself. You listeners submitted so many great questions too and we get to all of them! You might be surprised what he thinks about the animation process and the Pixar movies Up and Cars. Listen for animation mumblecore, "thanks Rob, shutup," the grumpy animator theme song, how you pronounce Cowan and why it's that way, and indie animators as home brewers.  Please Rate & Review us on iTunes And you can now check us out on SoundCloud!  Topics & Timestamps: (6:51)  Elliot introduces himself (9:08)  We talk about cartoon reboots & the landscape of modern animation (22:45)  He's been illustrating a lot more since wrapping production on his film, here's why (25:35)  Why Art School may not be for everybody... and why it's great if it is (30:45)  Which schools have a "school style" and if that's a good thing (40:51)  Boxhead & Roundhead animated shorts, Chuck Jones and why B&R didn't speak (before the film) (43:20) "Brothers in Arms" animated short (47:23)  With 9 animated shorts in the series under the belt, why make a feature length film? (49:51)  Talking backgrounds and character design (52:04)  Talking animation style and process (57:11)  Easter eggs present in The Stressful Adventures of Boxhead & Roundhead (1:02:16)  What does he feel the ultimate reward is for making an Indie Animated Film (1:07:50)  Mr. Orso, Roundhead, and the representations of artists in the film (1:11:51)  Stephen breaks down some of his favorite moments & meanings in the film (1:17:50)  Does Elliot intend on making more animated shorts with the Boxhead and Roundhead characters? (1:19:26)  About watching Independent film (1:20:49)  Music in the film (1:21:45) Audience Questions from Martin Bell, Curtis Jobling, Lewis Achenbach, Greg Pugh, Chris McEwan, Ronald Chaparro, JoWhimsy Indefinite, Andrew Kaiko, and Nathan Viney     Media Referenced During this Episode: "Brothers in Arms" Boxhead & Roundhead series animated short (@40:30) https://vimeo.com/8976842  The Stressful Adventures of Boxhead & Roundhead trailer https://www.youtube.com/watch?v=W8AQpp5FXt8 The Boxhead and Roundhead behind the scenes production diaries https://vimeo.com/36838797https://vimeo.com/37327989https://vimeo.com/38361443https://vimeo.com/42701532 "The Death of Spider-Man" for Cartoon Hangover (@58:10) https://www.youtube.com/watch?v=DFTIVWFLWRE    Other videos of Elliot's you should see: https://www.youtube.com/playlist?list=PL03518747AE528035 https://www.youtube.com/watch?v=04EM6ZYcihg https://www.youtube.com/watch?v=DqqwgAV9vDA   Check out more of your hosts: Stephen Brooks Rob Yulfo And please Rate/Review us on iTunes  Subscribe on SoundCloud  ... and Rate/Review us on Stitcher while you're at it! (=

Elliot lived in Tasmania for nearly 10 years to write, direct and edit television commercials.Elliot also lived in London where he mostly worked for Uli Meyer Animation, working as a story artist and gag man on the studio’s feature film Monstermania! and worked on several music videos with McKeown/Devita Productions.Elliot has completed several of The Stressful Adventures of Boxhead and Roundhead short animated films. They have screened at a variety film festivals all over the world including Annecy and several have been distributed by Shorts International. Elliot now lives in New York City. He completed his feature film, The Stressful Adventures of Boxhead & Roundhead, and teaches at The Pratt Institute, Mercy College, The University of the Arts, and Queens College.He worked on the feature that he did mostly by himself in between teaching, freelance animation work, and dedication to his family. 

Elliot Cowan is an illustrator, a writer, a storyboard artist from NYC by way of London and Australia.Elliot lived in Tasmania for nearly 10 years to write, direct and edit television commercials.He also lived in London where he mostly worked for Uli Meyer Animation, working as a story artist and gag man on the studio’s feature film Monstermania! and worked on several music videos with McKeown/Devita Productions.Elliot has completed several of The Stressful Adventures of Boxhead and Roundhead short animated films. They have screened at a variety film festivals all over the world including Annecy and several have been distributed by Shorts International.