Podcasts about Fruitvale station

How well do you know Ryan Coogler? A couple of years ago, the Oakland-born filmmaker began “to reckon with the fact that the audience doesn't truly know me at all.” Which might sound strange at first. At that point in his career, the writer-director was all but a household name. His 2013 debut Fruitvale Station had earned him the keys to the Rocky franchise, resulting in 2015's acclaimed Creed. His next step was to helm a superhero movie that transcended the genre. That film, 2018's Black Panther, wasn't just another Marvel movie. It was a bold, operatic, Kendrick Lamar-soundtracked moment in the culture, that surpassed a billion dollars at the box office. In 2022, a sequel followed, grossing just shy of that mark and capping a remarkable decade: Coogler, critics raved, was a filmmaker who'd grown into the spectacle of blockbuster cinema as a Hollywood craftsman, without outgrowing or leaving behind the powerful character-based emotion and complexity that he delivered with Fruitvale Station.And yet still, the 39-year-old found himself concerned that for all that visibility, he perhaps hadn't yet made a film that was wholly his– his personality, his history, his family lineage, imprinted in the page, pressed into celluloid. Those films were his takes on existing IP – or in the case of Fruitvale, a true story. And so, he got to work on something new. A film inspired in part by his uncle James, who loved blues music and told stories of a different America. A film that had plenty to sink your teeth in for genre cinema enthusiasts – but simultaneously dove into questions he was grappling with, in the wake of considerable loss. Ryan's Uncle James died during post-production on Creed. Other family members had passed away too. And then of course there's Chadwick Boseman, the star of Ryan's Black Panther smash hit, who died following a battle with cancer in 2020, hitting the writer-director hard. Today on Script Apart, Ryan and I break down how those losses manifested in Sinners – one of the most critically acclaimed films of 2025. He tells me about the conversations with his Uncle James and his Grandmother that helped inform this vampire period piece, starring Michael B. Jordan as Smoke and Stack – twin brothers with a dream of opening a juke joint for their community. We also get into the meaning of Sinners' dance sequence, in which Sammy – played by Miles Caton – summons the ghosts of Black musicians past and future. And we talk about why this is a story about the joy of community when you look past the blood shed – the defiant glee of deciding to build something of your own, in a world that lets you own so little. Script Apart is hosted by Al Horner and produced by Kamil Dymek. Follow us on Instagram, or email us on thescriptapartpodcast@gmail.com.To get ad-free episodes and exclusive content, join us on Patreon.Get coverage on your screenplay by visiting ScriptApart.com/coverage. Hosted on Acast. See acast.com/privacy for more information.

With Michael B. Jordan's amazing performance in Sinners still fresh on our mind, we look back at his critically acclaimed performance in Ryan Coogler's Fruitvale Station.Check out our YouTube Channel and subscribe now!Head over to our Patreon and get started with a FREE 7-day trial. We've got plenty of exclusive content and episodes that you'll only find there! You can also sign up as a free member! www.afilmbypodcast.com/ for more information.Email us at afilmbypodcast@gmail.com with your questions, comments, and requests.Find us on Instagram, X, and Facebook @afilmbypodcast.

In this episode of Editors on Editing, Glenn is joined by Michael P. Shawver an accomplished film editor known for his work on A Quiet Place 2, Abigail and his collaborations with director Ryan Coogler on projects including Fruitvale Station, Creed, Black Panther and most recently, Sinners.Thanks again to ACE for partnering with us on this podcast, check out their website for more.Want to see more interviews from Glenn? Check out "Editors on Editing" here.The Art of the Frame podcast is available on Apple Podcasts, Spotify, Google Podcasts, Anchor and many more platforms. If you like the podcast, make sure to subscribe so you don't miss future episodes and, please leave a review so more people can find our show!

Laron Chapman sits down to share the details for his first feature film as writer/director in seven years. He's back with a new upcoming psychological thriller, To Make the World Quiet, described as "Fruitvale Station meets The Sixth Sense with a dose of Get Out." The post Laron Chapman's ‘To Make the World Quiet' Makes a Final Fundraising Push – The Cinematic Schematic appeared first on The Cinematropolis.

By Walt HickeyWelcome to the Numlock Sunday edition.This week, I spoke to Alyssa Rosenberg, Sunny Bunch and Peter Suderman, the three panelists of the outstanding film podcast Across the Movie Aisle. I really enjoy the show and have been a longtime fan of their individual work.I think that they're a group with genuinely diverse opinions but who have a lot of love for cinema and as a result have some of the most deeply interesting conversations about the art form of any show I listen to. The show just split off from The Bulwark's network and is striking it out independently. Do check them out!This interview has been condensed and edited. Hey, Across the Movie Aisle. Thank you so much for coming on Numlock. I really appreciate it.Absolutely.Thank you for having us.Yes, this is the first three-on-one conversation that I've ever done here, so we're gonna have to juggle a bit. Either way, I am just such a fan of the show. I really, really enjoyed it, subscribed to the Bulwark for it when I heard that you guys were going independent. I was really excited to see what was motivating that, what opportunities you were seeing out there. It's just such a really fun program, and I think it's so unique in the space.Before we get into talking about the movies, do you wanna talk a little bit about where this show came from, where it started, then what you would say your perspective on the film industry is?Sonny: Sure.Alyssa: Who wants to tell the story?Sonny: The origin of the show was back in 2019. I started working for an independent film studio that's based in Dallas, where I live now. I moved here for the job. The pitch was, “it's like Fangoria,” but for action movies and thrillers and heist movies, that sort of thing. And one of the things I wanted to do when we came over was a little podcast network. We were gonna have some shows, some storytelling things, et cetera. And one of the things I had wanted to do for a while (and hadn't really had an outlet for) was a show I had envisioned as like Crossfire or McLaughlin Group or something like that, but by way of movies.So Across the Movie Aisle — I've always shorthanded it as Siskel and Ebert meets Left Right Center. And the idea here is that I am a conservative. I don't know how other people would describe me, but I still think of myself as a center-right person. Alyssa is the center-left person.Peter: Would you even say that you are a neoconservative?Sonny: Well, I'm a neoconservative with libertarian tendencies, which is a funny thing.Peter: “You work at the Weekly Standard,” is a good way to think about your politics? And they basically haven't changed since you worked at The Weekly Standard. Is that fair? That's the long and the short of it.Sonny: Then Peter is whatever Peter is. I'll let him define himself. But the idea here was you have three people with differing political views talking about movies and other stories about movies. The show has two segments. The first is called Controversies and Nontroversies. The second is a review. And the Controversies and Nontroversies segment was initially thought of as we tackle some dumb internet outrage of the day and decide if it's really worth being mad about.And that evolved into something slightly different, right? Right, guys? I feel like it's now more about the business of Hollywood.Alyssa: Yes, exactly. But I think it's worth noting that our story actually starts way before 2019. The three of us were all critics in some respect or other. I was over at ThinkProgress running their culture and sports verticals. Sonny, were you at the Weekly Standard when we started or were you at the Free Beacon then?Sonny: I think I was at the Washington Free Beacon when we met. So it must've been 2012 or 13.Alyssa: The three of us were going to screenings every week and somehow just gravitated towards each other. We would sit together. We were the people who were hanging out and hashing things out together after the screening ended. When I moved to the Washington Post, I ended up bringing Sonny over as a contributor to the blog that I was working on there. They were invited to my wedding. We were authentically contentiously friends years before we started the podcast.I think that's been a little bit of the special sauce for us, right? We are capable of having conversations that are somewhat harder to have elsewhere because (even before we started working together) there were five, six years of trust built up in in-person conversations and discussions over beers at the really terrible bar near the former AMC in Friendship Heights. Nobody is here on this podcast to blow each other up. But it's also not like “We're friends for the camera!”I think the show has always been like both a reflection of our dynamic. It's also the way that we hang out every week, even though Sonny lives in Dallas, and Peter lives in Boston some of the time. So for me, it's like my night out.I mean, as a listener, I really find the appeal to be exactly that. I think that having different perspectives on something as universal as film makes the show super compelling to listen to, even if I don't always necessarily agree with the perspective on it. What makes movies just so good to view from multiple different angles? There are lowercase “c” conservative films, there are lowercase “l” liberal films, that stuff. How do you guys find approaching the current state of the film industry from these different points of view?Peter: Alyssa talked about how our story goes back even before 2019, when the podcast started. And just for people who may not be familiar with the dynamic of Washington that all of us came up in in our 20s, Alyssa was working for ThinkProgress, which was the journalism arm of the Center for American Progress, which is this leading democratic or democratic affiliated think tank. Sonny was working for the Weekly Standard and then for the Washington Free Beacon, these feisty, conservative journalistic outlets.I actually started writing movie reviews for National Review for a couple of years. When I moved over full-time to Reason Magazine, which is where I've been for more than 15 years now, and also to the Washington Times, which is someplace that both Sonny and I wrote for. It's a conservative-leaning paper that has undergone many transformations. If you live in Washington, your social circle and your conversations and your life are so frequently segmented by politics.What we liked about being friends with each other and seeing movies with each other was that we saw that it didn't have to be the case. Movies and art and pop culture, even disagreements about them, were ways that we could come together and maybe not even agree, but like learn about each other. We're really good friends, but we also like each other's minds. This is something that is really important and drew us all together. I have learned a lot about movies from Sonny. I have learned about culture from Alyssa. I don't know if they've learned anything from me. Maybe they've been annoyed about how I'm fine with A.I.Having those perspectives, it's not just that it's like, “Oh, that's nice that you're a little different.” This is a learning opportunity for all of us. It also makes the act of watching movies together much richer. When you're watching the movie, if you're watching it next to Alyssa, I know what she's thinking. Maybe not what I'm thinking, but it's like having another set of eyes. If you're a critic, if you're somebody who likes movies, if you are somebody who likes movies for the social aspect of them, seeing them with somebody else and talking about them afterwards just makes it so much more enjoyable. The fact that we then get to have that conversation in public for an audience that seems to enjoy this is really rewarding.Alyssa: I have a very hard time with certain kinds of violence in movies. But I can sit in a theater with Peter, and he can tell me when I need to cover my eyes, but also when I'm gonna be okay when it's over. And he's always right, right? And that's the thing that we get.Peter: But also when we see the Taylor Swift movie, I show up, and Alyssa has friendship bracelets for us. Everybody's bringing something to the party here.Alyssa: Peter, you joked about whether or not we've gotten anything from you. And I actually think that in some ways, I'm the one of us whose politics and aesthetics have changed most as a result of doing the show with both of you. I came up in an era of lefty cultural criticism when there were real incentives for tearing things apart. And I think I, in some ways early in my career, helped advance a fairly doctrinaire vision of what political conversations about art should be. And I have some regrets about some of the things that I wrote and some non-regrets too. I did a lot of work at that point in my career that I liked a lot.But one of the things I've come to believe in my conversation with these guys is that art is at its most politically powerful not when it affirms an agenda or a worldview that is defined by a political movement, but it is at its most powerful and interesting when it creates space for conversations that are not possible in conventional political formats and political venues. I think the unpredictability of movies and the inability to shove movies neatly into a partisan schema is where their power comes from.It is not in being subordinate to an agenda, but in opening the space for new possibilities. And I think that having a space to come to that conclusion made me a better critic and a better person. Maybe less employable as someone who writes about this stuff full-time in a predictable way. But I really enjoy seeing the world through the lenses that Peter and Sonny helped me apply to all of this.Peter: And just to underline that really quickly, a little bit more. One of the things that brings all of us together is that we are all three people who moved to Washington to work in political journalism, to work in discourse about politics. We have very strongly held beliefs. At the same time, I think all three of us come to movies, to art and to culture thinking, “You know what, you can make good art. You can make a great movie that maybe I find doesn't in any way align with my beliefs, right?” It has nothing to do with my political world or is even critical of my political worldview, but it's still a great movie.And this is a thing that you see very rarely in Washington and political discussions of art and film, but also in criticism. You have so much criticism that is out there, especially in the movie criticism world, that is just straightforwardly, politically determined. I don't think that that is the best way to approach art and to live a life that is about art because. Of course, it engages with politics. And of course you have to talk about that. And of course, you have to deal with that, but it's not just politics. If what you want from a movie is for it to be an op-ed, then what you want isn't a movie, it's an op-ed.I think that's really interesting. And actually, let's dive into that real quick. We'll go around the horn, perhaps. Peter, you brought it up. What is an example of a film or a piece of media that maybe either subverts or goes upstream compared to your personal politics that you nevertheless enjoyed? Or you, nevertheless, in spite of where you were coming from on that, really tended to like?Peter: So we all had mixed reactions to Paul Anderson's, P.T. Anderson's One Battle After Another, which is quite a political film, just came out. All of us thought that on a micro level, scene by scene, as a piece of filmmaking, it's genius. But on a macro level, its big ideas are kind of a mess. I go back to another Paul Anderson film from the aughts, There Will Be Blood, which is fairly critical of capitalism and of the capitalist tendencies that are deeply rooted in America. And it's not just a polemic, just an op-ed. It's not something that you can sum up in a tweet. It is quite a complex film in so many ways. And I'm a capitalist. I am a libertarian. I am a markets guy. And it is, I love that movie.Sonny and I frequently have arguments over whether There Will Be Blood is the first or second best movie of the last 25 years or so. Sonny thinks it's maybe the best. I think it's the second best. This is a movie that I think offers a deep critique of my ideology and my political worldview. But it is so profound on an artistic character narrative, just deep engagement level. I could talk about it for a long time. It's a movie I really love that doesn't support what I believe about politics in the world.Yeah, Sonny, how about you?Sonny: Bernardo Bertolucci's The Last Emperor is commie agitprop, but it's also very good. It's one of those movies where the lesson of the movie is literally “The elite overclass needs to be taught how to pee correctly in a bucket, so as not to annoy the normals.” But it's a beautiful movie, including the bucket. You don't have to agree with a film's politics to recognize that it is a great movie. It certainly doesn't hurt. I flipped through my rankings, and a lot of it does line up.But another one is JFK. Oliver Stone's JFK is a movie that is nonsense as history. If you look at it as a history text, you are reading the film wrong. What it excels at and the way that it is great is that it's the absolute perfect distillation of sitting next to an insane conspiracy theorist and hearing them ramble. The way that Oliver Stone edits together all of these disparate ideas — the way he edits is like hearing a conspiracy theorist talk.The way a conspiracy theorist talks is that they overwhelm you with information. They will just throw out random things and be like, “And this is connected to this, and this is connected to this.” And you are not able to actually judge these things because you have no idea really what they're talking about. You're not steeped in this stuff like they are, but it all sounds right. And all of a sudden, yeah, I believe that the military industrial complex murdered JFK at the behest of a fascist homosexual conspiracy, which is just another amusing little element to JFK by Oliver Stone.Those would be two examples, I would say.I love that. Alyssa, how about you?Alyssa: I would say Dirty Harry. I did a huge project about 10 years ago on depictions of the police in pop culture. And the ways in which law enforcement, as an industry, has actually really shaped their depictions on film. And look, I don't think the police always get everything right. And I think that shooting people is not a viable solution to a crime, especially without a trial. But God damn, does Clint Eastwood make like a sweater and a blazer and a real big gun look awesome, right?Sonny: Those are things that look awesome. Of course, they look awesome on Clint Eastwood.Alyssa: Of course, they look awesome, but they look especially awesome on Clint Eastwood. And they look even more awesome when he's shooting a crazed hippie who has commandeered a busSonny: Full of children.Alyssa: Yes, a bus full of children. The evil hippie deserves to get shot, and Clint Eastwood is the man to set things right. The thing about aesthetics is that they can get you to set aside your politics momentarily in a theoretical way. But I also think that good movies can get you access to spaces and mindsets that you might not have access to otherwise.When you asked that question, the movie that I immediately thought of, not necessarily of challenging my politics, but like bringing me a place I can't go, is Alex Garland's Warfare from earlier this year. It is one of the best movies I've seen this year. And also a movie about (both as a social and cultural environment) an all-male combat unit in the US military and a situation (the war in Iraq) that I have no access to. I cannot go there. My being in the space would fundamentally transform the space. And that opening sequence with this platoon watching this music video in a weird, sexualized group bonding ritual, I just found fascinating and oddly touching in a way that I think is interesting to watch, especially if you're steeped in left-leaning critiques of traditional masculinity in all-male spaces.And I found that movie, despite how harrowing it was, kind of beautiful and tender to watch in a way. And I just felt very grateful for it.Awesome. Yeah, again, I really appreciate how much thought goes into viewing not only movies as cultural entities, but also their space in politics, but also how the culture can overwhelm that. I really think that you guys have such fun takes on this. I wanna back out a little bit and talk a little bit about this year and this moment. I think one thing I really enjoy about your show is that it's obvious how much you guys really enjoy going to the movies, enjoy consuming this stuff. I know that there's a lot of fairly understandable doom and gloom sometimes around the movie industry, around the exhibition industry. A lot of that, I think, comes from some of the more industry side of things and infects the viewing public's view.I'll just throw it to you. What is a trend or something going on these days within movies or Hollywood that you actually think is a good thing, that you're actually enjoying? Or a transitional moment that you think could be fun? I guess, Sunny, I'll start off with you. I don't know.Sonny: That's a hard question to answer because everything is bad right now.Alyssa: To be clear, this is Sonny's default position about all eras and all things. All things.Peter: He's a cheerful man.Sonny: All things, really. No, everything is bad. But if I were looking at a few green shoots, I like the rise of the draft house style theater, a combination of dining, bar, movie space. I know some people have issues with the waiters scurrying back and forth. And it's not my real cup of tea either, but that's all right. You mentioned this question right before we started taping. I was trying to sketch something out, so I didn't have nothing.But I do think the rise of the boutique Blu-ray and 4K UHD retailers has been a good thing. I don't know that it's enough to save physical media in the film context, but the rise of your Vinegar Syndromes. Criterion, of course, is the longest player in this space, and they've been doing it since the days of Laserdisc. They're very good at what they do, and they have a great catalog.But even smaller places, like your Vinegar Syndromes or your Shout Factory and your Scream Factory. The studios themselves are getting into it. Lionsgate has their Lionsgate limited thing that they do, which is just sucking money out of my pockets. A24 has also been good in this space. I like the idea that there is a small but committed cadre of collectors out there. And it's not just ownership for the sake of ownership. It's not the high fidelity, “the things you own matter. So you should show them off so everybody can see them and see how cool you are” kind of thing. There are actual quality differences to having a disc as opposed to a streaming service, which always come in at lower bit rates, and they look and sound worse.But this is so niche. Very few people who collect this stuff (Blu-rays, 4Ks, et cetera) really understand how niche they are.If you look at the monthly pie chart of sales of discs every month, it's still 50 percent DVD, 20 percent to 25 percent Blu-ray, and then 25 percent to 30 percent 4K, depending on what's out at any given time. But 50 percent of discs are still being bought by people browsing Walmart shelves, like “Ooh, I'll watch this new movie for $5. Sure, why not?”Yeah, having something for the sickos is always something viable, right? Peter, I'll throw it to you.Peter: So, on this podcast, I have probably been the biggest MCU, Marvel Movie Universe booster. What I think is a good thing that is happening right now is that the MCU is in a decline, or at least a reset period. It's not overwhelming Hollywood in the way that it was throughout the 2010s. It's hurting theaters and exhibition because those movies are not performing the way they used to, and that's a downside for real.But what it is doing is creating a space for young filmmakers and for young acting talent to rise up without having to immediately be sucked into the MCU or something comparable, like the DC movies that were trying to start up and never really got going. Now they've rebooted the DC universe with the James Gunn Superman film. But, it really felt like in the 2010s, anyone who was in their 20s or 30s and was a really promising actor or a really promising director was gonna make one or two movies. And then they were gonna get sucked into the Marvel or maybe the Star Wars machine, one of these big franchise things.It wasn't like even 25 years ago when Sam Raimi was making Spider-Man films, and they were very distinctly Sam Raimi films. I mean, you watch the Dr. Octopus POV sequence in Spider-Man 2, and it's the same thing he was doing in Evil Dead, except he had $150 million to make that movie, right?These weren't even altruistic superhero films. They were just being brought in to lend their names a small amount of flavor to whatever it was they were doing. And now, in an era in which the MCU is not gone, but is diminished, a lot of acting talent and a lot of directing talent are going to be free to spend that formative period of third, fourth, fifth, sixth movies to make the things that they wanna make and to experiment.Like I said, this does have downsides. This is not great for theatrical exhibitors who are suffering right now because there are fewer movies and because the big movies are not as big. But in that space, you get the opportunity to try new things. And I love seeing new things, and I love watching new talent develop.That is cool. I like that. Alyssa?Alyssa: I'm glad you said that, Peter, because what I was gonna say is I am delighted to see some of the directors who did time in the MCU or other franchises coming back and making original movies. Obviously, Sinners is one of the big success stories of the year. It's also a success story because Ryan Coogler is not only making franchise movies.I saw Seeing Fruitvale, which turned Fruitvale Station, at the Sundance Film Festival. It was like a seminal moment for me early in my career as a critic. I was like, “Holy God, this guy is great.” Even though I like what he did with the Rocky movies and I like the first Black Panther, I just felt this sense of profound regret for him getting diverted from telling these original stories. I'm really excited for Chloe Zhao's Hamnet. I expect to be emotionally incapacitated by that movie. Honestly, it is great for people who love movies that Immortals was just such a disaster.Peter: Eternals.Sonny: Eternals, that's how good it is we can't even remember the title.Alyssa: Yes, Destin Daniel Cretton is working on a Shang-Chi sequel, but he is also collaborating with Ryan Coogler on a project that I think is drawn from their childhoods.Sonny: He's directing a new Spider-Man movie right now.Alyssa: But there's other stuff coming. There's the possibility of life outside franchises. And, I'm excited to see what some of these folks do when they're not in front of a green screen and when they're telling stories about actual human beings. I am excited to just see more movies like Weapons, like Materialists, coming from younger directors who are still figuring things out, but have interesting things to say. And this year, at least, appears to be able to do okay at the box office.I love that. People are recovering from their exile in Atlanta and have a chance to make some cool movies. You guys have been so generous with your time. I do want to just finish on one last note: where do you assess Hollywood's position within the world to be?Obviously, in the States, they've had a lot of pressure from things like TikTok coming from below, things like the federal government coming from above. But even internationally and geopolitically, you've seen international players start to compete with Hollywood at the Oscars. For instance, in Best Animated Film last year, as well as some big markets shutting down for them, like China is not really doing anything. From a political perspective, where do you assess the state of Hollywood right now?Peter: From a political perspective, I think Hollywood is going to start producing movies that read less overtly liberal, less conventionally left-leaning. I think we're already seeing some of that. I don't mean that Hollywood is suddenly going to be MAGA, that it's suddenly gonna be like reading Buckley's National Review or anything like that. I just mean that at the margins, you're gonna see more movies that don't toe the line in the way that you saw movies before. There was a moment, especially right before and right after the pandemic, where it really felt like too many movies were towing a very predictable left-of-center political line. And it was obvious and there was no nuance to it.Again, I do not oppose movies that may have a different worldview than mine, but it felt like they were running scared in a lot of cases. I mean, in sports, if your team is behind, that's the time when you try new stuff. You don't use the same strategy if you are losing. Hollywood's losing right now. They're losing economically and they're losing as a cultural force. While that's in some ways not great for the art form, that is going to be good for experimentation. And that's gonna be formal and craft experimentation. That's going to be talent. We're going to see new and interesting people. And that's also going to be ideas both for stories and for politics and ideology.Sonny: A big question is what happens with the retrenchment of the global box office? Because I do think, for a long time, you could count on basically two-thirds of the box office of a major Hollywood release coming overseas and one-third coming domestically. And those numbers have, in some cases, inverted. It's closer to 50/50 for more of them. It's not universally true. F1 did more business overseas than domestically, which you might expect for something that's based on F1 racing. But the big question is what happens if the rest of the world is like, “We're not that interested in the big Hollywood blockbuster stuff that we have been eating up for the last 15 or 20 years”?This goes hand in hand with Alyssa's point about originals. That's probably a good thing, honestly. It's probably a good thing to get away from the theory of the movie industry being like, “We need to make things that appeal despite language barriers.” Language matters; words matter. And tailoring your words to the correct audience matters. American movie studio should tailor their stuff to American audiences.Alyssa: And also getting away from the idea of appealing to the Chinese censors who controlled which American movies got access to Chinese markets, which was not the same thing as appealing to Chinese audiences. But yeah, I totally agree.My father-in-law works in the foreign exchange industry, and he said something that I've been thinking about a lot. They're just seeing real declines in people who want to come here or feel comfortable coming here. Until July, I was the letters editor at The Washington Post, and it was astonishing to me just how much rage Canadians were feeling towards the United States. I don't know that these will translate into a rejection of American movies. American culture exports have been unbelievably strong for a long time.But I do see an opening for Korean pop culture, which has already been very popular abroad. I think there's a real chance that we will see a rejection of American culture in some ways. And, it will take Hollywood a while to respond to that. It always lags a little bit. But I do think it would be very interesting to see what more aggressively American movies look like. And I think that could take many forms.But scale is in many ways the enemy of interestingness. If there is not and opportunity to turn everything into a two billion dollar movie because you sell it overseas, what stories do you tell? What actors do you put on screen? What voices do you elevate? And I think the answers to those questions could be really interesting.Peter: I agree with all of this in the sense that I think it will be good for the art form, like I have been saying. But there's a cost to this that all of us should recognize. When budgets get smaller and the market shrinks, that is going to be bad for people who work in the industry. And in particular, it's going to be rough for the below-the-line talent, the people whose names you see at the end credits — when these credits now scroll for 10 minutes after a Marvel movie because they have employed hundreds, maybe even a thousand people.And there was a story in The Wall Street Journal just this summer. You mentioned the time in Atlanta about how Marvel has moved most of its production out of Atlanta. There are people there who had built lives, bought houses, had earned pretty good middle-class incomes, but weren't superstars by any means. Now they don't know what to do because they thought they were living in Hollywood East, and suddenly, Hollywood East doesn't exist anymore.We may be in a position where Hollywood West, as we have long know it, L.A., the film center, also doesn't exist anymore, at least or at least as much smaller, much less important and much less central to filmmaking than it has been for the last nearly 100 years. And again, as a critic, I like the new stuff. I often like the smaller stuff. I'm an American; I want movies made for me. But also, these are people with jobs and livelihoods, and it is going to be hard for them in many cases.Sonny: Oh, I'm glad to see the A.I. King over here take the side of the little guy who's losing out on his on his livelihood.Peter: I think A.I. is going to help the little guy. Small creators are going to have a leg up because of it.Sonny: Sure.All right. Well, I love some of those thoughts, love some of those lessons. Publicly traded companies are famously risk-taking, so we're going to be fine, definitely. Either way, I really do love the show. I really, really enjoy it. I think it's one of the best discussion shows, chat shows about any movie podcast out there. It is really, really fun. It is very cool to see you guys go independent.I just want to throw it to you a little bit. What is your pitch? What is the show? Where can they find it? What's the best way to support it? And where can they find you all?Sonny: The show's a lot like this, like what you just listened to.Alyssa: Peter has developed this catchphrase when Sonny asked him how he's doing to kick off the show, and he always says that he's excited to be talking about movies with friends. We want to be your movie friends. You should come hang out with us. Hopefully, we will be going live a little bit more, maybe meeting up in person some. I will hopefully be doing some writing for our sub stack, if you have missed my blatherings about movies and movie trends.But yeah, come hang out with us every week. We're fun.Sonny: Movieaisle.substack.com. That's where you should go. You should I'm I'm I'm sure I'm sure there will be a link to it or something. Movieaisle.substack.com is where it lives now. We'll have a proper URL at some point.Terrific. And wherever you get your podcasts?Sonny: And wherever you get your podcasts!That's great. Peter, Alyssa, Sonny, thank you so much. This is really, really fun. Again, I really dig the show so much. I'm very, very happy for you guys being able to spring out independent. So really, thanks for coming on.Edited by Crystal WangIf you have anything you'd like to see in this Sunday special, shoot me an email. Comment below! Thanks for reading, and thanks so much for supporting Numlock.Thank you so much for becoming a paid subscriber! Send links to me on Twitter at @WaltHickey or email me with numbers, tips or feedback at walt@numlock.news. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.numlock.com/subscribe

[School of Movies 2025] Topping lists for film of the year, this is the first Ryan Coogler-directed film that is his own. Not a comic book adaptation like the Black Panthers, not a legasequel like Creed and not a direct real life account like Fruitvale Station. This one puts Ryan on the map as a genuine visionary and master of his craft. Clarksdale, Mississippi, 1932. Twin brothers, Smoke & Stack (both played by Michael B. Jordan) after returning home with stolen money from gangster shenanigans in Chicago, spend the day setting up an illegal juke joint for the local black community. As the sun goes down and the place starts rocking they attract the attention of some covetous vampires. Rich, bloody, tragic and complex, with otherworldly music, this story will knock your socks off and haunt your dreams. Guest: Brendan Agnew from Cinapse @blcagnew.bsky.social‬ Next Week: Adapting Frankenstein

The Oscar-winning actor Octavia Spencer is up for a challenge—whether it's executive producing films like Fruitvale Station and Green Book or even hosting a cooking competition show for the first time. She talks to Ted Danson about navigating the loss of her parents early on in life, how she almost became a lawyer, her love for Southern foodways, and much more.Like watching your podcasts? Visit http://youtube.com/teamcoco to see full episodes. 

Director Ryan Coogler and actor Michael B. Jordan have cashed in on teaming up over the past decade, from Coogler's debut Fruitvale Station, to Black Panther, to Creed. This 2025 film, their fifth collaboration, sees Coogler double down on Michael B. Jordan - quite literally. Set in the 1932 Mississippi Delta, this genre-defying film sees Jordan play twin brothers who seek to open their own juke joint, only to be threatened by a clan of vampires. The film co-stars Hailee Steinfeld, Wunmi Mosaku, Jack O'Connell, Jayme Lawson, Delroy Lindo and introduces singer Miles Caton in his first film role. Earning $365 million at the box office to date, it is one of the best-received films of the year so far and an early contender for an Oscar nomination. Join us as we sink our teeth into Sinners and let the music move our souls.   For more geeky podcasts visit GonnaGeek.com    You can find us on iTunes under ''Legends Podcast''. Please subscribe and give us a positive review. You can also follow us on Twitter @LegendsPodcast or even better, send us an e-mail: LegendsPodcastS@gmail.com    You can write to Rum Daddy directly: rumdaddylegends@gmail.com    You can find all our contact information here on the Network page of GonnaGeek.com Our complete archive is always available at www.legendspodcast.com, www.legendspodcast.libsyn.com  Music: Title Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 https://creativecommons.org/licenses/by/4.0/

Send us a textWhat does it mean when tough men admit they cry? In this unexpectedly moving episode, four friends create a safe space to discuss vulnerability and the surprising things that trigger their emotions - from touching father-daughter stories to dog movies that destroy them.The conversation begins with a surprising admission: as these men have entered their 30s, 40s and 50s they've noticed themselves becoming more emotional. One host shares how listening to a story on the radio about a father following his daughter's school bus to ensure she could participate in a field trip nearly moved him to tears just retelling it. This opens the floodgates as each man confesses which movies have reduced them to tears - with dog films like Marley and Me, Old Yeller and Benji being universal triggers. The authenticity is palpable as one host admits to crying during a screening of Marley and Me hours before a football game, completely unconcerned about his upcoming athletic performance.The conversation takes a powerful turn when discussing films about racial injustice. Several hosts admit they've had to limit watching certain Black historical dramas because the emotional toll is too great. "Mississippi Burning," "Rosewood," and "Fruitvale Station" are cited as films that left them not just sad but angry and emotionally drained.Between these vulnerable moments, the group pivots to discussing current events - including a former Phoenix news anchor's massive PPP loan fraud scheme - and childhood nostalgic treats now turned into ice cream. Throughout these varied topics, the cohesive thread remains their willingness to be genuine with each other, creating a refreshingly honest podcast experience that challenges listeners to embrace their own vulnerability.If you've ever felt alone in your emotional responses or wondered if it's okay for men to show their feelings, this episode provides both validation and permission to embrace the full spectrum of human emotion.Thanks for listening to the Nobody's Talking Podcast. Follow us on Twitter: (nobodystalking1), Instagram : (nobodystalkingpodcast) and email us at (nobodystalkingpodcast@gmail.com) Thank you!

Send us a textTrying to leave their troubled lives behind, podcast hosts return to their hometown to start again, only to discover that an even greater evil is waiting to welcome them back - copyright takedowns. On Episode 671 of Trick or Treat Radio we discuss Sinners from director Ryan Coogler! We also reminisce about the nostalgia of going to the mall, why Thomas Edison is such a dick, and culture vampires! So grab a bottle of your favorite Irish beer, make sure to wear your mojo bag, and strap on for the world's most dangerous podcast!Stuff we talk about: Patreon, Attack of the Killer Tomatoes: Organic Intelligence, Eric Roberts, Werewolves in a Girls' Dormitory, Final Exam, Split Second, Harry and the Hendersons, Man with the Screaming Brain, Chicago Massacre, Land of the Lost, Bruce Campbell, After Last Season, The Commune, Mark Wahlberg, Night of the Living Dead, Return of the Living Dead, 4-D Man, Star Trek, Cry of the Werewolf, Charles Ogle, Thomas Edison's Frankenstein, Monroeville Mall, Twin Pines Mall, Back to the Future, House of Pain, Outsiders, Family Guy, York's Steak House, Steak Knives, reminiscing about going to malls and movie theaters, Suncoast Video, Best Buy, Ricky Coogan, Sam Goody, Strawberries, RIP Peter David, Sinners, Ryan Coogler, Danny Elfman, Hans Zimmer, Ludwig Goransson, Eden Lake, Angelina Jolie, Michael B. Jordan, movie stars, Al Capone, Juke Joints, BBC, Pipes of Pan, the lineage of culture, cultural appropriation, Clown in a Cornfield, Fruitvale Station, Black Panther, Creed, Rocky, the divided states of embarrassment, Tucker and Dale vs Evil, Thomas Edison Created the Blues, Putting the Smackdown on Intelligence, and Vampire Cunnilingus.Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: discord.trickortreatradio.comSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: http://instagram.com/TrickorTreatRadioSupport the show

ORIGINAL EPISODE DATE MARCH 8TH, 2023 The R&B Money Podcast welcomes powerhouse actor, Michael B. Jordan as he joins Tank and J Valentine to recount his incredible journey in the entertainment industry. They will discuss the humble beginnings of his career in Brick City, the excitement of achieving his first major role with Keanu Reeves, his exceptional work ethic in memorizing over 100 pages a day for All My Children, and his remarkable performance as Wallace on The Wire. Michael will also share how his life changed, moving to LA, meeting Ryan Coogler, and portraying Oscar Grant in the acclaimed Fruitvale Station. Explore his phenomenal ascent through Black Panther and the Creed films, with the third installment marking his debut as a Director. Michael B. Jordan now on The R&B Money Podcast Extended Episodes on YouTube: https://www.youtube.com/RnBMoneyPodcast Follow The Podcast: Tank: @therealtank J Valentine: @JValentine Podcast: @RnbMoneyPodcast See omnystudio.com/listener for privacy information.

Let's say it right off the bat... Ryan Coogler is a bad ass. It is officially undeniable.   The man mad a sequel SERIES to Rocky that represents some of the strongest in the franchise. He killed it with Black Panther, hell... he even started with a bold statement in Fruitvale Station. So... how does he do when he is going fully original. Not just fully original, original elevated genre... that's a period piece... with a lead actor playing twins. Given his track record... it was really just a matter of how much of the cover he was going to tear off the ball.   Well... listen to get our take on how much of that cover was left.

Mostly Superheroes Podcast: Spoiler-Free Review of Sinners (2025) This episode of Mostly Superheroes features a spoiler-free review of Sinners (2025), the latest horror thriller starring Michael B. Jordan in dual roles. Scotty caught this one on The Big Show at Alamo Drafthouse St. Louis, where the immersive experience made the film's eerie atmosphere even more intense. About the Film Sinners is directed by Ryan Coogler, marking his fifth collaboration with Jordan after Fruitvale Station, Creed, and both Black Panther films. The film is produced by Proximity Media and distributed by Warner Bros. Pictures. Set in 1932 Mississippi, Sinners follows twin brothers Smoke and Stack, World War I veterans who return home to start fresh. Their plans to open a juke joint take a dark turn when supernatural forces descend upon their town. The cast includes Hailee Steinfeld, Miles Caton, Jack O'Connell, Wunmi Mosaku, Jayme Lawson, Omar Miller, and Delroy Lindo. The film's cinematography is handled by Autumn Durald Arkapaw, with editing by Michael P. Shawver and a score composed by Ludwig Göransson. Box Office & Budget Sinners premiered on April 3, 2025, and was released theatrically on April 18. With a budget of $90–100 million, the film has already grossed over $236 million worldwide, making it the fifth highest-grossing film of the year. It opened with $48 million domestically, outperforming expectations and earning an “A” CinemaScore—an extremely rare feat for a horror film. Behind-the-Scenes Fact Principal photography took place from April to July 2024. The film was shot using IMAX cameras, enhancing its visual depth and intensity. Warner Bros. secured distribution rights after a competitive bidding war, highlighting the industry's confidence in Coogler and Jordan's ability to deliver a compelling original story. See Movies with Mostly Superheroes Want to experience films like Sinners in the best possible way? Catch screenings with Mostly Superheroes at Alamo Drafthouse St. Louis, where fans can engage with the community and win prizes. Plus, with Alamo's Season Pass, you can see unlimited movies, up to one per day, with reserved seating and exclusive perks. Stay tuned for more reviews, discussions, and movie nights with Mostly Superheroes! www.mostlysuperheroes.com ©2025 Carrogan Ventures, LLC

Today on Art of the Cut we speak with Michael Shawver about editing Ryan Coogler's feature film, Sinners.Michael's been on Art of the Cut in the past for his work on Black Panther. His other work includes Abigail, A Quiet Place 2, Creed, and Fruitvale Station. This discussion includes - among other things - how the first scripted scene ended up in act 2 while the last scene ended up as the first scene, how therapy can turn you into a better editor, and the artistic challenges of one actor playing two parts.You can read along with this interview and see stills from the movie, clips and trailers on the BorisFX blog of the same name:borisfx.com/blog/aotc

We start with the heat of the moment—Ryan Coogler's latest film Sinners, already generating serious buzz—and then rewind to where it all began with his deeply affecting debut, Fruitvale Station. Special guest Josh Deleon joins us for the ride, adding sharp takes and good company. Both films showcase the dynamic power of Michael B. Jordan, and we explore how Coogler's voice has evolved from intimate storytelling to epic, emotionally charged cinema.  We're pairing these films with two bold brews: the citrus punch of Austin Beerworks's Bloodwork Orange IPA and our first taste of Surly Brewing, courtesy of their tropical Mango Axe Man. Great films, great beer—what more do you need?

This week, we're busting out the slammer and potentially wishing we were back in it depending on who you ask, as we team up with the canary-clad copper to take down a star-studded mob in a wildly stylish and outlandishly conceived blockbuster starring a charming old man incapable of doing action scenes, that's been seemingly buried in the Disney vault in the years since. It's 1990's Dick Tracy, directed and produced by Warren Beatty, and starring Beatty, Madonna, Al Pacino, Glenne Headly, Charlie Korsmo, Mandy Patinkin, Dustin Hoffman, Seymour Cassel, William Forsythe, Charles Durning, Dick Van Dyke, Paul Sorvino, James Caan, Kathy Bates and Catherine O'Hara. Most of these stars are unrecognizeable under the monstrous makeup required to make them look like their vintage crime comic strip counterparts, but Pacino made enough of an impression with a wildly comedic take on his typical mobster persona that he netted an Oscar nom for Best Supporting Actor, losing to Joe Pesci for GoodFellas. While Beatty is at least a decade too old to be proper fit as the movie's lead, it's his ambition behind the camera that makes the movie such a curiosity all these years later, as the film is either an enchanting dreamscape filled with unsolvable How Did They Do That movie magic puzzles, or a steaming pile of neon-drenched puke depending on which of our two hosts you ask. But that's okay, as we have some heated disagreement this week that is maybe the closest we've yet come to vintage Siskel & Ebert kinda stuff. Plus: We've both been to the theater and are happy to sound off on Ryan Coogler's latest as JMo and Hayley both greatly enjoyed Sinners in the cinema, and Justin's got a bonus theatrical field report on Drop, the latest from Happy Death Day director Christopher Landon. If you'd like to watch Dick Tracy before listening along to our conversation, good luck finding a physical copy, and Disney will seemingly never stream this thing on Disney+ -- possibly for rights reasons to avoid paying anything more to Warren Beatty, or possibly because they are cowards who are ashamed of the fun movie they made. Either way, it's tough to find outside of renting it on YouTube. Other works discussed in this episode include Creed, Fruitvale Station, Black Panther: Wakanda Forever, Bram Stoker's Dracula, Puss In Boots: The Last Wish, Mad Max: Fury Road, Loki, The Accountant, The Perfect Storm, Bridge of Spies, War Horse, The Adventures of Tintin, Red Eye, Trap, Reign of Fire, Surrogates, The Expendables 2, The Last Boy Scout, Princess Mononoke, Hook, This Is The Tom Green Documentary, Cutthroat Island, Pirates of the Caribbean: Curse of the Black Pearl, G20, The Silence of the Lambs, Longlegs, Resident Orca, Avatar: The Way of Water, Blackfish, Batman ('89), Batman Returns, Batman Forever, Batman & Robin, Who Framed Roger Rabbit?, X-Men, Blade, The Shadow, The Phantom, The Rocketeer, Darkman, Speed Racer, Furiosa, Challengers and Sin City, among others. We'll be back (more than likely) next week, with another special in-theaters spectacular, as 100+ episodes after we covered the original film, it is tax season once again and we're back for more Ben Affleck and Jon Bernthal in The Accountant 2. So look for that next Friday, and until then we'll see you at the movies!!

As Ryan Coogler and Michael B. Jordan's most recent collaboration, Sinners, is dominating the domestic and worldwide box office, we thought it would be a good time to look at their first project together, Fruitvale Station. Fruitvale is partially the telling of the tragic story of the killing of Oscar Grant in Oakland CA on New Year's Day 2009, but it's so much more. Beyond being a mere recreation of events and the conveying of the awful facts, the film is a beautiful portrait of a young man who is struggling against a system that is set against him and his own difficulties. In addition to being a star making vehicle for Michael B. Jordan, the film features incredible performances from Melonie Diaz, Octavia Spencer, and Ariana Neal. Coogler and co. received a lot of critical praise for the film which set him up to helm massive projects like Creed and the Black Panther movies for Marvel. Joining us for our look back is Chicago based film critic Zachary Lee who is a regular contributor to Roger Ebert, Letterboxd, Interview Magazine, Chicago Reader, Think Christian, and more. He's been someone we've wanted to have on the show for a while and he did not disappoint.Enjoy the show and share it with a friend!⁠⁠⁠⁠Substantive Cinema Episode List⁠Zach Interviews Ryan CooglerFreaky Tales InterviewZach & Willem Dafoe on The Legend of OchiShoutouts:Queens of DramaThe Ballad of Wallis IslandOur Revolution by Bernie SandersMy Old AssFollow ZachInstagramEverything else!Follow Us⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Philip's Letterboxd⁠⁠⁠⁠⁠⁠⁠Share Your Questions/Suggestions/Feedback With Us:Email: thesubstancepod@gmail.comDM on InstagramSupport Us: Support the show with an individual donation on CashApp to $TheSubstancePod or become a monthly Patreon supporter at patreon.com/TheSubstancePod

A day late, but not a dollar short! In Episode 107, J & L discuss the horror-effort Imaginary (2024), getting into the many disconnected subplots, what genre the film could've really benefitted from, and the fact that this film is a movie that just...happens. Ideas and concepts, y'all. Ideas and concepts...Disclaimer: We love you, DeWanda Wise (and Issa Rae)!!! And we know it's pronounced MAHN-guh—y'all know's J's heart. Timestamps4:04 - Negronomicon32:14 - Crit01:20:52 - Final CurlsGems from E107Imaginary (2024)Sinners (2025)Fruitvale Station (2013)Black Panther (2018)Love & Basketball (2000)The Substance (2024)The People Under the Stairs (1991)Get Out (2017)Once Upon a Time in Hollywood (2019)A Minecraft Movie (2025)Despicable Me 3 (2017)Minions: The Rise of Gru (2022)The X-Files (1993, television series)The Twilight Zone (2019, television series)Muder, She Wrote (1984, television series)Black Mirror (2011, television series)The Woman in the Yard (2025)Truth or Dare (2018)Kick Ass 2 (2013)The Curse of Bridge Hollow (2022)Ted (2012)She's Gotta Have It (2017, television series)Jurassic World: Dominion (2022)Coraline (2009)Don't Look Under the Bed (1999)Hide and Seek (2005)The Front Room (2024)Heart Eyes (2025)Companion (2025)Parasite (2019)Deep Blue Sea (1999)Pan's Labyrinth (2006)The Boogeyman (2023)The Monkey (2025)Danger Girl (upcoming film)Charlie's Angels (2000)Totally Spies (2001, animated series)Resident Evil: Village (2021, video game)Monster's We Make (CoryxKenshin, New Edyn Press, 2024, Print)Support the show

It's Boy Week on Primal Screen, as guest host Alice McShane is joined by Will Cox and Maudie Osborne to take us through discussions and reviews of the boy-heavy releases Warfare, Sinners, and The Rehearsal.Warfare is the latest film from A24, with director Alex Garland (Civil War, Ex Machina) turning his attention to the war genre. Following a squad of soldiers throughout a particularly fraught battle, the film is set in real time and is a masterclass in building tension and terror for the big screen.Sinners, directed by Ryan Coogler (Black Panther, Fruitvale Station), follows two brothers who return to their small Southern town in the 1930s to open a juke joint—hoping to build a sanctuary for their community. But their dream takes a dark turn as the racist townsfolk intervene, unleashing a wave of sinister and supernatural events.The Rehearsal returns for a second season from ‘sinister nerd' Nathan Fielder, who uses this offbeat ‘documentary' series to explore a single, surreal question: What if you could rehearse every moment of your life? With a team of actors and meticulously crafted sets that mirror reality down to the smallest detail, Fielder turns hypothetical anxieties into elaborate experiments.Triple R's April Amnesty is on now! Subscribe and donate to help keep our beloved community radio station on the airwaves for another year!When you support Triple R, you're supporting Really Real Radio – that means no algorithms, no playlists, no nonsense. Triple R is a champion of local culture and community, and a voice for music and ideas that may not be heard anywhere else. Best of all, when you subscribe during April Amnesty, you'll go into the draw to win a stack of amazing prizes! Subscribe and donate at rrr.org.au.Tune in to Primal Screen each week at 7pm Mondays on Triple R 102.7FM.

On Today's Show Vince will Rate and Review:   The Wages of Fear (1953),  Sorcerer (1977),  Fruitvale Station (2013),  Sinners (2025)    Check out thedailyratings.com to see all of Vince's movie reviews, along with our brand new shop! Don't forget to stop by the donations page to become a Producer of The Daily Ratings!   TimeCodes: The Wages of Fear:  4:19 Sorcerer:  26:29 Fruitvale Station:  46:04 Sinners:  57:35   Executive Producer:  - Linda Schiller

Send us a textPass the vibe check and the juke joint of remembering bodies, conversating numbers and strum humming. Pierce the veil of life and death with Sinners this week.Check out our write ups for press events we were invite to:Our question for Ryan Coogler was asked: Fruitvale Station, Creed, Black Panther, and now Sinners—you have a poetic ability to speak truths. How do you balance heart and story? Are they one and the same, or do you see them as separate?Blood on the Bayou: 7 Takeaways from the Sinners Press Junket with Ryan Coogler & CrewSinners: Inside Ryan Coogler's Genre-Bending, IMAX-Shot, Blues-Infused Horror MasterpieceWebsite | Rotten Tomatoes | Linktree | Youtube | Twitter | Instagram

Find out what Jim and A.Ron thought of Ryan Coogler's (Black Panther, Fruitvale Station) newest feature film, Sinners. Michael B. Jordan stars as a twin brothers facing a great evil descending on their hometown. Hey there!  Check out https://support.baldmove.com/ to find out how you can gain access to ALL of our premium content, as well as ad-free versions of the podcasts! Join the Club! Join the discussion:  Email | Discord | Reddit | Forums Follow us: Twitch | YouTube | Twitter  |  Instagram  |  Facebook Leave Us A Review on Apple Podcasts Learn more about your ad choices. Visit megaphone.fm/adchoices

Sam Clements is curating a fictional film festival. He'll accept almost anything, but the movie must not be longer than 90 minutes. This is the 90 Minutes Or Less Film Fest podcast. In episode 137 Sam is joined by composer Ludwig Göransson.  Ludwig has chosen Fruitvale Station (85mins), his first feature film working with frequent collaborator director Ryan Coogler. The 2013 movie stars Michael B. Jordan, Melonie Diaz, Kevin Durand, Chad Michael Murray and Octavia Spencer. Sam and Ludwig discuss his long working relationship with Ryan Coogler, including working together on his new film Sinners, and composing the score for their first film Fruitvale Station. Thank you for downloading. We'll be back in a couple of weeks! Rate and subscribe on Apple Podcasts: https://tinyurl.com/90minfilm If you enjoy the show, please subscribe, rate, review and share with your friends. We're an independent podcast and every recommendation helps - thank you!  You can also show your support for the podcast by leaving us a tip at our Ko-fi page: https://ko-fi.com/90minfilmfest Website: 90minfilmfest.com Blue Sky:  @90minfilmfest.bsky.social Instagram: @90MinFilmFest Tweet: @90MinFilmFest  We are a proud member of the Stripped Media Network. Hosted and produced by Sam Clements. Edited and produced by Louise Owen. Guest star Ludwig Göransson. Additional editing and sound mixing by @lukemakestweets. Music by Martin Austwick. Artwork by Sam Gilbey. 

Director Ryan Coogler is back to deliver us more goods on the big screen with his latest original film, of course with Michael B. Jordan, Sinners. The trailers for this film have been absolutely fascinating and the hints over the years of Coogler's next project being an original and a horror film were extremely exciting to me. That's because I don't think he's made a single movie below the 'great' level. I enjoy his two Black Panther films immensely and about equally. The two more impressive outings in his career so far though have been his debut feature Fruitvale Station, a heartbreaking true story, and one of the greatest sports films of all-time: Creed, a legacy sequel that managed to top anything that had come before... and the original Rocky won Best Picture! Coogler is one of the best working directors, as I've clearly established, and him managing to make a high-budget, genre-blender and still managing to maintain the rights is just such a boss move, while the very easy next step for him would have been to continue immediately with what would've been a surefire hit in Black Panther III. Anyhow, is this movie as good as the rave reviews so far have indicated? Find out in this NON-SPOILER review!Sinners:Written and Directed by: Ryan CooglerProduced by: Ryan Coogler, Zinzi Coogler, Sev OhanianExecutive Producers: Pete Chiappetta, Rebecca Cho, Will Greenfield, Ludwig Göransson, Andrew Lary, Anthony TittanegroCo-Producers: Tina Anderson, Kenneth YuAssociate Producer: Ammar MohamedMusic by: Ludwig GöranssonDirector of Photography: Autumn Durand Arkapaw Edited by: Michael P. ShawverCasting by: Francine MaislerProduction Design by: Hannah BeachlerCostume Design by: Ruth E. CarterCast: Michael B. Jordan, Hailee Steinfeld, Miles Caton, Jack O'Connell, Wunmi Mosaku, Jayme Lawson, Omar Benson Miller, Delroy LindoSynopsis: Trying to leave their troubled lives behind, twin brothers return to their hometown to start again, only to discover that an even greater evil is waiting to welcome them back.

In this very special interview episode, Henry & Eddie sit down with Writer and Director of Fruitvale Station, Black Panther, Creed, & Black Panther: Wakanda Forever. Ryan Coogler joins the show to discuss his new blockbuster horror project Sinners (In Theaters April 18th), his horror film-making roots, personal favorite horror films, re-opening The X-Files, and much, much more... For Live Shows, Merch, and More Visit: www.LastPodcastOnTheLeft.comKevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Subscribe to SiriusXM Podcasts+ to listen to new episodes of Last Podcast on the Left ad-free and a whole week early. Start a free trial now on Apple Podcasts or by visiting siriusxm.com/podcastsplus.

BEFORE SINNERS!! Fruitvale Station Full Reaction Watch Along: https://www.patreon.com/thereelrejects Save & Invest In Your Future Today, visit: https://www.acorns.com/rejects Fruitvale Station Reaction, Recap, Commentary, Analysis, & Spoiler Review! In this emotional and powerful film, director Ryan Coogler's feature debut brings to life the final day of Oscar Grant, portrayed by Michael B. Jordan (Creed, Black Panther), in a heartbreaking story based on real events. Joined by Octavia Spencer (The Help, Hidden Figures), Melonie Diaz (Charmed), and Chad Michael Murray (One Tree Hill, Freaky Friday), the film captures an unforgettable human story of injustice, family, and hope. Andrew Gordon (Cinepals) & Tara Erickson react to some of the most gut-wrenching scenes in the movie—including Oscar's final moments, his interactions with his daughter, and the chilling BART station sequence. This film marked the beginning of a powerful collaboration between Michael B. Jordan and Ryan Coogler, who went on to make Creed, Creed II (as a producer), Creed III (produced), Black Panther, and Black Panther: Wakanda Forever together. Fruitvale Station remains a vital, emotionally raw viewing experience—and one that continues to resonate deeply over a decade later. Follow Andrew Gordon on Socials:  YouTube: https://www.youtube.com/@MovieSource Instagram:  https://www.instagram.com/agor711/?hl=en Twitter:  https://twitter.com/Agor711 Follow Tara Erickson: Youtube: https://www.youtube.com/@TaraErickson Instagram:  https://www.instagram.com/taraerickson/ Twitter:  https://twitter.com/thetaraerickson Intense Suspense by Audionautix is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Follow Us On Socials:  Instagram: https://www.instagram.com/reelrejects/  Tik-Tok: https://www.tiktok.com/@reelrejects?lang=en Twitter: https://x.com/reelrejects Facebook: https://www.facebook.com/TheReelRejects/ Music Used In Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Happy Alley by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

Ryan Coogler began his career in film as a realist with “Fruitvale Station,” which tells the story of a true-to-life tragedy about a police killing in the Bay Area. He then directed the class drama of “Creed,” a celebrated “Rocky” sequel. But then he moved to the epic fantasy of Marvel's hit “Black Panther” movies. In his newest project, “Sinners,” Coogler continues to deal with themes of history, faith, and race, but through the lens of horror. Jelani Cobb sat down with the director to discuss setting the film in the South, the mythology of the blues, and how he made a vampire story his own. 

As a writer and director, Ryan Coogler is drawn to stories about identity. He made Fruitvale Station to confront his own thoughts and fears about being a Black man in America. He made Creed as an extension of the dynamic he has with his dad. He made Black Panther while conscious of the impact it would have on a global community. Ryan and Marc talk about these films as well as Ryan's latest movie Sinners, which also explores Ryan's preferred topic of identity, but this time through the lens of Delta Blues, doppelgangers, and vampires. Hosted on Acast. See acast.com/privacy for more information.

*This episode is brought to you by Dolly Card, the corporate card for film production that's a great alternative to petty cash. Dolly Card is here to streamline expense management, tax, and accounting. dollycard.com* Beyond stoked for this crucial convo with two producers with films that premiered at SXSW who pivoted from other careers into producing. We had a lot of fun while also contemplating how we can leverage our collective knowledge to solve some of the crises plaguing the producers' plight.  Spoiler alert: We 100% got nachos after. Elle Roth-Brunet, producer of I REALLY LOVE MY HUSBAND, sits at the intersection of innovation, business, and storytelling. She's a content strategist, brand builder, and creative producer who deeply believes in the power of representation and storytelling.  She has dedicated her career to helping 40+ underrepresented voices gain more equity in entertainment through content partnerships with Hello Sunshine, ARRAY, Paul Fieg's Powderkeg, the PGA, Women In Film, and the Black List.  Mark Ankner, producer of SLANTED, which won the grand jury award for Narrative Feature at SXSW, is dedicated to developing and producing creator-driven stories that resonate with culture.  He was instrumental at Endeavor Content, overseeing advisory business, film and television packaging and sales, and creating innovative distribution models for content creators and financiers. Prior to that, Mark was a partner at WME Global, focusing on emerging voices and building companies for established talent. Some notable film projects include the Academy Award-winning CALL ME BY YOUR NAME, FRUITVALE STATION and SORRY TO BOTHER YOU. His first film PONYBOI premiered in the US Dramatic competition at the 2024 Sundance Film Festival. Directed by Esteban Arango, it was noted for its groundbreaking narrative and representation of diverse voices. Currently, Mark leads Mountain Top Pictures, an indie film and TV production company dedicated to championing innovative storytelling and supporting emerging talent in the industry  Tune in  xx  

 In a world full of Oscar winners, there is also a large population of worthy performers who never had their own Academy Award moments.  Whether being nominated one time, or seven times, or no times, nary a winning ballot with their name on it.   Mikey, d$, and #XLessDrEarl invite in Miss Independent himself, Jeremy Burgeydoodle, to discuss twenty four dudes and twenty three dames, all with bodies of excellent work. Actors from Ed Harris in "The Right Stuff" to Michael B Jordan's "Fruitvale Station" to d$'s girlfriend Amy Adams in "American Hustle" to Margot Robbie in... well, something good.  Idris! Harrison! ScarJo! Mia! And so many more great thespians, all with one question - "Why don't they have an Oscar yet?", and tonight, we find out who truly defines that question. Plus, the 8th Annual Burgentine's Day commences, as Jeremy discusses his assigned films - "About Time", "Some Kind of Wonderful", "Notting Hill", "She's the One", and "A Single Man"... who wins and who falls to the bottom this year? 

My guest this week is California rapper-producer Ovrkast. We spoke about freestyling on Sway In The Morning, Blink Twice, Shark Tale, Fruitvale Station and the work of Ryan Coogler, the beauty of Oakland slang, how his discography is its own anthology series, the diversity of California rap, and the creative process behind his latest project KAST GOT WINGS, produced in tandem with Texas producer Cardo Got Wings. Come fuck with us.If you're in the New York area on Thursday, October 17, pull up to the Kast Got Wings album listening event at IIIXL Studio at 1329 Willoughby Ave in Brooklyn to hear the project and stick around for a brief interview and Q&A, hosted by me. it's a free event, so RSVP here.Kast Got Wings is available wherever music is sold, streamed, or stolen. Follow Ovrkast. on Instagram (@ovrkast), Twitter (@ovrkast), and TikTok (@ovrkast_). Join the Reel Notes Patreon today starting at $5/month to get early access to episodes, our Discord server, exclusive bonus interviews and reviews, and more!My first book, Reel Notes: Culture Writing on the Margins of Music and Movies, is available now, via 4 PM Publishing. Order a digital copy on Amazon.Read my review of Ovrkast's last project, RESET!, over at Pitchfork. Reel Notes stands in solidarity with the oppressed peoples of Palestine, Congo, Sudan, Tigray, and Haiti. Please consider donating to the Palestine Children's Relief Fund,  The Palestinian Youth Movement, The Zakat Foundation, HealAfrica, FreeTigray, and/or Hope For Haiti.  For information about contacting your representatives to demand a ceasefire, finding protests, and other tools, check out CeasefireToday!Follow me on Instagram (@cinemasai), Twitter (@CineMasai_), TikTok (@cinemasai), and Letterboxd (@CineMasai)  Support the show

THE BLADE MOVIE?! Follow Us On The Socials For Exclusive Content: https://www.patreon.com/thereelrejects Follow Us On Socials: https://www.instagram.com/reelrejects/  https://www.tiktok.com/@thereelrejects?lang=en From The Duo Behind Creed & Black Panther Comes An American gothic Supernatural Horror Movie - Sinners Trailer Reaction & Breakdown starring Michael B Jordan, Hailee Steinfeld, & Delroy Lindo, with music by Ludwig Göransson. After the success of Fruitvale Station& Marvel Studios Black Panther Wakanda Forever, so excited to see what this team brings to the silver screen - perfect vampire trailer in time for Halloween! Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Music Used In Manscaped Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

Today we're diving deep into the world of short films with two incredibly talented filmmakers. Up first, we have the esteemed producer turned director Richard J. Bosner, whose latest project, Devotee, is a gripping psychological thriller that will stick with you for days. With a background producing critically acclaimed films like Fruitvale Station and Black Bear, Bosner has assembled a dream team for Devotee, including breakout child star Grant Feely and a post-production crew fresh off Megalopolis. But that's not all! Director Nicholas Santos also joins us to discuss his haunting short film, Strange Creatures. A tale of grief and longing, the film stars Quinn Jackson and Sean-Michael Wilkinson and is as emotional as it is terrifying. Both Devotee and Strange Creatures are making their world premieres at Hollyshorts this weekend For more information about both films including how to screen them go to hollyshorts.com. --- Support this podcast: https://podcasters.spotify.com/pod/show/followingfilms/support

THIS S*** IS INSANE!! Ma Full Movie Reaction Watch Along: https://www.patreon.com/thereelrejects Visit http://www.liquidiv.com & use Promo Code: REJECTS HARRYS: Get $3 Trial Set At https://harrys.com/rejects With Blumhouse Imaginary out & Mother's Day in the UK, Greg & Roxy give their MA Movie Reaction, Recap, Commentary, & Review for the twisted Psychological Thriller starring Best Supporting Actress Academy Award Winner Octavia Spencer (Hidden Figures, Fruitvale Station) & Directed by Tate Taylor (The Help, Get On UP)! Featuring Diana Silvers, Juliette Lewis (From Dusk Till Dawn, Natural Born Killers), Allison Janney (Juno, Hairspray, The Creator), Luke Evans (Fast & Furious 6, Beauty & The Beast, The Hobbit), McKaley Miller, Dante Brown, Gianni Paolo, Corey Fogelmanis & More! Roxy & Greg React to all the Best Scenes & Most Intense Moments including the Running Over the Past scene, Burning the House Down Scene, Ma is Your Mom? Scene, Ma's Vengeance Scene, Just LIke Your Daddy Scene, & Beyond. #Ma #MaMovie #OctaviaSpencer #Blumhouse #FirstTimeWatching #MovieReaction #MovieReactionFirstTimeWatching Follow Roxy On Social Media: Instagram: https://www.instagram.com/roxystriar/... Twitter: https://twitter.com/roxystriar Become A Super Sexy Reject For Full-Length T.V. & Movie Reactions! https://www.patreon.com/thereelrejects Support The Channel By Getting Some REEL REJECTS Aparrel! https://www.rejectnationshop.com/ Music Used In Manscaped Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB: https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER: https://twitter.com/thereelrejects Follow GREG On INSTAGRAM & TWITTER: INSTAGRAM: https://www.instagram.com/thegregalba/ TWITTER: https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

Chris, Jeremy, and Aaron have found some things to recommend to you.1) Small Recommends:Priscilla (1:21)Beneath the Planet of the Apes (6:04)Rollerball (9:09)2) The Big Recommend: Fruitvale Station (12:29)3) Surprise Double Feature: ????????  (40:31)4) Questions from You!!! (45:50)If you'd like to join the LIVE conversation each week, become a member of the SinClub at Patreon.com/cinemasins!Thanks to lorangeproductions.com for the theme song!Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this episode, the Mullets celebrate a quiet Valentine's Day by weeping on air once again, trying to find silver linings and bemoaning public transportation.Voting is NOW OPEN for the 2023 Mullet Awards. Please cast your vote and listen to the results on the March 17th episode!All kinds of awesome, bonus content is available on our Patreon! Rate, review and subscribe on Apple Podcasts, Stitcher and Spotify! Follow us on Facebook and Twitter!

Movie Recommendations: Selma (2014): David Oyelowo's portrayal of Martin Luther King during the historic voting rights march from Selma to Montgomery, Alabama. Boycott (2001): Featuring Jeffrey Wright as Martin Luther King Jr. and focusing on the Montgomery bus boycott. Harriet (2019): Cynthia Erivo's performance as Harriet Tubman and her work on the Underground Railroad. The Birth of a Nation (2016): Depicting the story of Nat Turner, a historical figure central to African American history. Ray (2004): Jamie Foxx's remarkable portrayal of the legendary musician Ray Charles. What's Love Got to Do with It (1993): Angela Bassett's iconic role as Tina Turner, offering insights into her tumultuous life. Hidden Figures (2016): Celebrating the contributions of female scientists and mathematicians working at NASA during the space race. Concussion (2015): Will Smith's role as Dr. Bennet Omalu, a pathologist who investigates head injuries among football players. The United States vs. Billie Holiday (2021): Andra Day's performance as Billie Holiday and her struggle against federal persecution. Lady Sings the Blues (1972): Diana Ross's portrayal of Billie Holiday, offering a perspective on the jazz legend's life. Mandela: Long Walk to Freedom (2013): Idris Elba's portrayal of Nelson Mandela's life and journey to becoming South Africa's first black president. Hotel Rwanda (2004): Don Cheadle's role in a powerful yet challenging film about the 1994 Rwandan genocide. Judas and the Black Messiah (2021): A portrayal of the Black Panther Party and the tragic story of Fred Hampton. Panther (1995): A star-studded retelling of the Black Panther movement directed by Mario Van Peebles. Marshall (2017): Chadwick Boseman's depiction of Thurgood Marshall, the first black Supreme Court justice. 42 (2013): Chadwick Boseman's portrayal of Jackie Robinson, breaking the color barrier in Major League Baseball. One Night in Miami (2020): A fictional but thought-provoking film depicting a meeting between Malcolm X, Muhammad Ali, Sam Cooke, and Jim Brown. Continuing the List: The host briefly mentions additional films that have had a powerful impact on him personally, including "Fruitvale Station," "Remember the Titans," "Glory," "Rosewood," "Cooley High," and others. Conclusion: Emphasizing that these films are worth watching at any time of the year, not just during Black History Month. Encouraging viewers to explore these movies to gain a deeper understanding of African American history and culture.

Welcome to Voice Acting Stories! On this week's episode, we have Voice Actor/Actor Varian David! He's a Voice Actor and Actor, who has been in Fruitvale Station, I Die Alone, Wives with Knives, East Side Sushi, Ant-Man, Pitch, and so much more. Join us for this two part series, this week and next week! Grab your favorite drink and sit down by the fire for an incredible discussion!  https://www.variandavidvo.live/ https://navavoices.org/ Facebook Podcast group: https://www.facebook.com/groups/631972061329300  Instagram Podcast: @voiceactingstories  If you want a The Voice Straw check out these affiliate links. Thanks! https://voicestraw.com/?ref=ctQaTgfR https://voicestraw.com/discount/VERONICABARRERA?ref=ctQaTgfR

AN INSPIRING TRUE STORY! HELLO FRESH: Visit https://hellofresh.com/rejectsfree & use CODE rejectsfree for FREE Breakfast for life!  ROCKET MONEY: Save Money & Cancel Unwanted Subscriptions By Going To https://rocketmoney.com/rejects  Hidden Figures Full Movie Reaction: https://www.patreon.com/thereelrejects With Taraji P. Henson starring in The Color Purple 2023, we give our Hidden Figures Reaction, Recap, Commentary, Analysis, and movie Review for the Period Piece film starring Taraji P. Henson (The Color Purple), Octavia Spencer (The Help, Fruitvale Station, Ma), Janelle Monae (Glass Onion, Moonlight), Kevin Costner (Dances with Wolves, Yellowstone, Zack Snyder's Justice League), Glen Powell (Top Gun: Maverick, Hit Man, Anyone But You), Aldis Hodge (The Invisible Man, One Night in Miami, Black Adam), Mahershala Ali (Leave the World Behind, True Detective, Green Book), Kirsten Dunst (Spider-Man, Little Women, Civil War), Jim Parsons (The Big Bang Theory), & more! Greg Alba & Aaron Alexander watch and react to the best movie clips / most inspiring scenes including the Euler's Method scene, the Bathroom Speech, You are the Boss, Car Trouble, Give or Take, Solving Polynomials in Factored Form, & beyond!! #HiddenFigures #TarajiPHenson #OctaviaSpencer #JanelleMonae #FirstTimeWatching #MovieReaction #FirstTimeWatchingMovieReaction #History #CivilRights  Support The Channel By Getting Some REEL REJECTS Aparrel! https://www.rejectnationshop.com/ Music Used In Manscaped Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB: https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER: https://twitter.com/thereelrejects Follow GREG On INSTAGRAM & TWITTER: INSTAGRAM: https://www.instagram.com/thegregalba/ TWITTER: https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

Ludwig Göransson is one of the most accomplished and distinctive film composers of the 21st century. In 2020, after working on the movie Tenet together, acclaimed director Christopher Nolan hired Göransson to score what has become one of the biggest movies of 2023: Oppenheimer. Ludwig, who emigrated to Los Angeles from his native Sweden in 2007, has racked up dozens of writing, producing and scoring credits. He started out working in TV and he eventually started scoring films with his old college friend Ryan Coogler. Ludwig composed music for all of Coogler's hit movies including Fruitvale Station, the Creed series, and both Black Panther films—the first of which won him the Academy Award for Best Original Score in 2019. On today's episode Justin Richmond talks to Ludwig Göransson about his incredible body of work as a composer and producer. He explains how his rigorous musical training in Sweden prepared him to write the complex sections of the Oppenheimer score. Ludwig also plays some of the more moving sections of the score for us in effort to show us how he came up with one of the best soundtracks of the year. You can hear a playlist of some of our favorite Ludwig Göransson songs HERE.See omnystudio.com/listener for privacy information.

Join Shannon, guest co-host Dr. Cynthia Phelps, and our expert guest Destiny Ekwueme chatting about Social Wellness. Destiny Ekwueme is an actress known for Super Pumped (2022), Fruitvale Station (2013) and I'm a Virgo (2023). Join us in community: Women Connected in Wisdom Community Listen to past episodes: https://womenconnectedinwisdompodcast.com/ Glo from head to toe by joining the shealo glo glo club at www.shealoglo.com ! Stillpoint: A Self-Care Playbook for Caregivers Join Christine at an event! Book a free coaching consult with Christine here: https://www.christinegautreaux.com Dr. Cynthia Phelps' Events: https://www.eventbrite.com/cc/innerally-events-2552609   Innerally Cards   Contact Destiny Ekwueme! Like & Subscribe to get notifications of when we are live: Women Connected in Wisdom Instagram Women Connected in Wisdom on Facebook   

Gaius and Jackson are looking back at the gripping true life drama, Fruitvale Station, ten years after its theatrical release. Written and directed by Ryan Coogler, in his feature directorial debut, Fruitval Station is based on the events leading to the death of Oscar Grant, a young man killed in 2009 by a Bay Area Rapid Transit (BART) police officer at the Fruitvale district station in Oakland. Starring Michael B. Jordan, Kevin Durand, Chad Michael Murray, Melonie Diaz, Ahna O'Reilly, and Octavia Spencer, the film is one of the best first features by a director and the pair look back at cultural importance of the film while also seeing how the movie still packs a huge impact 10 years later. Follow Us On Instagram Follow Us On Twitter Like Us On Facebook Follow Us On TikTok

On this episode of the Team Deakins Podcast, we're sharing our thoughtful conversation with writer and director Ryan Coogler (BLACK PANTHER, CREED, FRUITVALE STATION). An Oakland native, Ryan reveals how film became his family's second language and how his parents fostered his interest in cinema throughout his childhood. Later in our discussion, Ryan shares how he brought an athlete's mentality to film school by always trying to score a touchdown every time he picked up the camera to prove to himself and to those around him that he could build a career in filmmaking. Ryan also reflects on creating CREED with Sylvester Stallone, praising him as “the perfect collaborator” and acknowledging how he couldn't begrudge the creator of the ROCKY franchise for his cautiousness towards handing over writing duties for the first time in the franchise's history. We also discuss how the filmmakers that broke through in the culture Ryan consumed in his youth influenced his professional direction and how, by relying on his crew, Ryan is free to focus on his actors. - This episode is sponsored by Dallas Film Commission & Falca & TrueCut Motion Instagram: @dallasfilmcommission & @falcagram & @truecutmotion

Fruitvale Station was released 10 years ago this month. This was Ryan Coogler's first feature film and it's how he met fellow Bay Area director Pete Nicks. On this episode, they discuss meeting on Fruitvale Station (1:35); directing fiction and nonfiction films, the idea of “naive audacity,” and Pete's Oakland trilogy (16:35); and collaborating on Proximity's latest releases directed by Pete and produced by Ryan and our partners: Anthem, a musical journey across the U.S. experimenting to reimagine the National Anthem, and Stephen Curry: Underrated, a remarkable coming-of-age story about one of the most influential and unexpected players in basketball history (26:00). At the end, they answer listener questions (33:25) and share their Prox Recs (40:21).Learn more and read the transcript of this conversation at ProximityMedia.com.Stephen Curry: Underrated is now streaming on Apple TV+ and playing in select theaters.Anthem is now streaming on Hulu.CONNECT WITH PROXIMITY MEDIA:Follow us on Instagram, Twitter, and TikTok. We're also on YouTube.Learn more at ProximityMedia.com.Text PROX to 510-998-3176 or head to subtext.to/prox for updates on new episodes and latest projects from Proximity Media.CREDITS:In Proximity is a production of Proximity Media.Producer: Paola MardoExecutive Producers: Ryan Coogler, Zinzi Coogler, Sev Ohanian, Paola MardoTheme Song and Additional Music: Ludwig GöranssonSound Designer and Mix Engineer: Ken NanaEpisode Editor: Judybelle CamangyanWith Production Assistance From: Courtney ArcherdArtwork and Social Media: Alexandria Santana

Original Air Date: February 13th, 2019Award-winning actor and producer Michael B. Jordan discusses his skyrocketing career and why he says his life has already "exceeded his dreams.” Michael's breakout performance came in 2013's “Fruitvale Station,” directed by visionary Ryan Coogler. The duo teamed up again for the “Rocky” sequel, “Creed,” and then for the mega-blockbuster “Black Panther,” which was nominated for an Academy Award for Best Picture. Michael says after playing superhero villain Erik Killmonger in “Black Panther,” he went to therapy. “As a man, I think we get a lot of slack for … what it is to be masculine,” he says. “I don't really subscribe to that because I feel like everybody needs to unpack and talk, whether it's with a therapist or a close friend or family member.” Want more podcasts from OWN? Visit https://bit.ly/OWNPodsYou can also watch Oprah's Super Soul, The Oprah Winfrey Show and more of your favorite OWN shows on your TV! Visit https://bit.ly/find_OWN 

On this Thursday throwback episode we are going to play our interview with Rick Bosner from WAAAAAY back on April 10th 2017 on episode 97. Rick was the first producer we had on the show and he talked about how he chooses his projects, told us stories about working on Fruitvale Station and talked about how he made a sustainable life for himself as a film producer. After that we play another round of THE GAME, enjoy! If you like these throwback episodes give us a shout at podcast@makingmoviesishard.com and thanks for listening! Check out our patreon at www.patreon.com/mmihpodcast Order The Alternate on Itunes Out Now: https://itunes.apple.com/us/movie/the-alternate/id1640576609?ls=1

This week Kevin is joined by filmmaker and producer Ryan Coogler. They discuss Ryan's journey to creating his debut film FruitVale Station, his partnership and friendship with star Michael B. Jordan, his first meeting with Slyvester Stallone on the road to the creation of the Creed franchise, and so much more.Like Gold Minds? SiriusXM subscribers get it a day early, plus Kevin Hart's Laugh Out Loud Radio, his 24/7 comedy channel, with great talk shows and stand-up.

From Fruitvale Station to Black Panther to Creed III, Michael B. Jordan and Ryan Coogler's cinematic partnership has shaped culture and broken box-office records. They reflect on their first meeting for Fruitvale Station (2:41), going to their first boxing match to prep for Creed I (12:39), what they've learned from building and running their own production companies (16:14), and their Prox Recs (27:57).Learn more and read the transcript of this conversation at ProximityMedia.com.CREED III is directed by Michael B. Jordan and is now playing only in theaters.CONNECT WITH PROXIMITY MEDIA:Follow us on Twitter, Instagram, and TikTok. We're also on YouTube.Text PROX to 510-998-3176 or head to subtext.to/prox for updates on new episodes and latest projects from Proximity Media.CREDITS:Producer: Paola MardoExecutive Producers: Ryan Coogler, Zinzi Coogler, Sev Ohanian, Paola MardoTheme Song and Additional Music: Ludwig GöranssonSound Designer and Mix Engineer: Ken NanaEditors: Shana Daloria, Paola MardoProduction Assistant: Polina Cherezova

In this episode of The Popcast, we explain all things Michael B. Jordan. From his early days on The Wire to his breakout role in Fruitvale Station, we discuss his career highs and lows, how his handsome face might be his Achilles heel, and who already stole his lunch money. MENTIONSPatrons get all the good stuff! Coming this Friday, What Should I Watch Next. Join us: KnoxandJamie.com/patreonJoin us on Patreon for this month's Cinema Sidepiece, Valentine's Day. BFOTS can join us for this week's The More You Know and What Should I Watch Next (coming this Friday). See knoxandjamie.com/patreon to join.Michael B. Jordan: IMDb, IG, directorial debut: Creed III, Hardball, Wallace on The Wire, Reggie on All My Children, Vince Howard on S4 and S5 of Friday Night Lights, Parenthood, Fruitvale Station vs. Fantastic Four, Killmonger in Black Panther, Other upcoming: Rainbow Six, Wrong Answer, Thomas Crown Affair reboot, Methuselah Watch if you dare: Wallace's death scene on The Wire | Where's Wallace? | 28 Days Later | Lars and The Real GirlSee also: Ryan Coogler IMDb | Glen Powell > Sam Claflin, Chris Evan's GF, The Rock ExplainedNear peers: LaKeith Stanfield | Daniel Kaluuya | Jonathan MajorsRed light mentions: Indi had to Google “Twitter Beyonce Witch Yoga” | Jimmy Carter (maybe probably) not making it to 100 | Kendall Jenner + Bad Bunny | Don Lemon on women in their prime | TikTok dad height hacker | Anti-Drax | how Reece and Ashton got more beach house money | revival coverage on a mini FOF coming to the Bible Binge Patreon tomorrowBONUS SEGMENTOur Patreon supporters can get full access to this week's The More You Know news segment. Become a partner. This week we discussed:Ant-man and The Wasp: QuantumaniaTetris, the moviePenn Badgley no longer doing sex scenesGREEN LIGHTSJamie: series - Shrinking (Apple TV)Knox: podcast- Plain EnglishMutual: The Last of Us (HBO)SHOW SPONSORSBetterHelp: Get 10% off your first month at betterhelp.com/popcastRothy's: Get $20 off your first purchase at Rothys.com/popSubscribe to Episodes: iTunes | Android Subscribe to our Monthly Newsletter: knoxandjamie.com/newsletterShop our Amazon Link: amazon.com/shop/thepopcast | this week's featured itemFollow Us: Instagram | Twitter | FacebookSupport Us: Monthly Donation | One-Time Donation | SwagSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Mental Health Matters with Partner NAMI Contra Costa.Partner: Gigi Crowder  - Executive Director of NAMI Contra Costa in California. NAMI is the National Alliance on Mental illness an advocacy group founded by family members of people with Mental illness. Panelist:Rev. Wanda Johnson  - is the Founder of Oscar Grant Foundation.  The movie Fruitvale Station is about Rev. Johnson's Son