Podcasts about Haskell Wexler

Hang onto your slipcases because Blake Howard & Jen Johans of One Heat Minute Productions & Watch With Jen, will discuss the special CRITERION COLLECTION 4K release of IN THE HEAT OF THE NIGHT.IN THE HEAT OF THE NIGHTPassing through the backwoods town of Sparta, Mississippi, Philadelphia detective Virgil Tibbs (Sidney Poitier) becomes embroiled in a murder case. He forms an uneasy alliance with the bigoted police chief (Rod Steiger), who faces mounting pressure from Sparta's hostile citizens to catch the killer and run the African American interloper out of town. Director Norman Jewison splices incisive social commentary into this thrilling police procedural with the help of Haskell Wexler's vivid cinematography, Quincy Jones's eclectic score, and two indelible lead performances—a career-defining display of seething indignation and moral authority from Poitier and an Oscar-winning masterclass in Method acting from Steiger. Winner of five Academy Awards, including for Best Picture, In the Heat of the Night is one of the most enduring Hollywood films of the civil rights era.4K UHD + BLU-RAY SPECIAL EDITION FEATURES4K digital restoration, with uncompressed monaural soundtrackAlternate 5.1 surround DTS-HD Master Audio soundtrackOne 4K UHD disc of the film and one Blu-ray with the film and special featuresInterviews with director Norman Jewison and actor Lee GrantSegment from a 2006 American Film Institute interview with actor Sidney PoitierInterview with Aram Goudsouzian, author of Sidney Poitier: Man, Actor, IconAudio commentary featuring Jewison, Grant, actor Rod Steiger, and cinematographer Haskell WexlerTurning Up the Heat: Movie-Making in the '60s, a program about the production of the film and its legacy, featuring Jewison, Wexler, producer Walter Mirisch, and filmmakers John Singleton and Reginald HudlinQuincy Jones: Breaking New Sound, a program about Jones's innovative soundtrack, including the title song sung by Ray Charles, featuring interviews with Jones, lyricists Alan and Marilyn Bergman, and musician Herbie HancockTrailerEnglish subtitles for the deaf and hard of hearingPLUS: An essay by critic K. Austin CollinsCover by Sean PhillipsJen Johans3-time national award-winning writer & full-time walking movie encyclopedia Jen Johans of FilmIntuition.com delivers a steady stream of great movie recommendations, thoughtful career deep dives, & first-rate conversations with critics, authors, actors, journalists, filmmakers, and more on Watch With Jen.™️TWITTER: @FILMINTUITIONPATREON.COM/FILMINTUITIONWEBSITE: FILMINTUITION.COMSupport: JOIN THE ONE HEAT MINUTE PATREON FOR AS LITTLE AS $1 A MONTHFollow the hosts:Blake Howard - Twitter & One Heat Minute Website Alexei Toliopoulos - Twitter & The Last Video StoreSupport this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Madeline, Julian, and Emilio welcome NYC-based comedian, writer, and actress Sydney Duncan to continue their "Politics" episode cycle with a "Two-Shot" discussion on 1969's "Medium Cool" (dir. Haskell Wexler) and 1975's "Shampoo" (dir. Hal Ashby). Though differing on surface level, the two films bear striking similarities in their portrayals of apathy to politics in the face of the 1968 presidential election, focusing on egotistical male protagonists more invested in their jobs and tumultuous love lives than the far-reaching events occurring around them. The group begins by discussing the ingenious commentary that "Medium Cool" offers on media and class, with its Chicago-set blend of fiction and documentary and fortuitous backdrop of the 1968 Democratic National Convention. Shifting gears to "Shampoo," they then discuss that film's seeming juxtaposition of its characters' sexual promiscuity and their political context over roughly thirty-six hours in Los Angeles during the aforementioned election, along with the film's status as a self-ordained vehicle for star/co-writer/co-producer Warren Beatty. Aided by numerous piercing insights from Sydney and loads of fun trivia and personal stories, the group dives deep into these oddly similar films while finding many notable zeitgeist connections (in film and otherwise) along the way.  Follow Sydney Duncan on IG @syndeyduncanonem, and get tickets to her one-woman show, "ACAB: Angry, Crazy, and Black," at Brooklyn Art Haus on Sat 11/16 @7pm! https://www.stellartickets.com/o/brooklyn-art-haus--2/events/angry-crazy-and-black-sydney-duncan-live-at-bah/occurrences/482afbbd-3b3f-45d3-a26b-8645025eb5eaIf you enjoy our podcast, please rate and review us on your podcast platform of choice.  This really helps us find new listeners and grow!Follow us on IG and TikTok: @sleeplesscinematicpodSend us an email at sleeplesscinematicpod@gmail.comOn Letterboxd? Follow Julian at julian_barthold and Madeline at patronessofcats

A Democratic National Convention takes place against a backdrop of protests against American imperial atrocities overseas... that's right, we're travelling back in time to 1968 with Haskell Wexler's MEDIUM COOL (1969). PLUS: So, have you heard about the DNC?Join us on Patreon for an extra episode every week - www.patreon.com/michaelandus"This National Post Columnist Says He Spied for a Foreign Intelligence Agency" by Luke LeBrun - https://pressprogress.ca/this-national-post-columnist-says-he-spied-for-a-foreign-intelligence-agency-experts-call-his-behaviour-unethical-and-absurd/"Medium Cool: Preserving Disorder" by Thomas Beard - https://www.criterion.com/current/posts/2773-medium-cool-preserving-disorder"The New Yorker Political Scene Scene" podcast with special guest Will - https://rss.com/podcasts/newyorkerpoliticalscenescene/1619477/Michael and Us is a podcast about political cinema and our crumbling world hosted by Will Sloan and Luke Savage. Hosted on Acast. See acast.com/privacy for more information.

If you're interested in hearing the rest of this episode, we've got our new Patreon page up and running where for $5 you can access two monthly bonus episodes. You can help us keep the show goin' and have a little something extra as well. This week we started digging into our own physical media, and Ryan kicked us off with a pick from his collection that he hadn't seen in a long time, Haskell Wexler's 1969 film Medium Cool. We get into the Chicago DNC of 1968, the Chicago DNC of 2024, cinema verité filmmakers, George Lucas, Godard, cop cities, journalism, 24-hour news. We go all over! So come check it out. We'll be back September 6th when we kick off our new series, "Friends of Bob", beginning with Paul Thomas Anderson!   Altmania Patreon: https://www.patreon.com/Altmania Other links: https://linktr.ee/altmania

Episode 81 of the Podcast for Social Research is a discussion Haskell Wexler's 1969 classic of cinéma verité Medium Cool, a film whose exploration of violence, spectacle, and the politics and power of media render it as fresh and powerful today as it was on its controversial release. BISR's Rebecca Ariel Porte, Andy Battle, and Mark DeLucas and journalist Natasha Lennard dissect the film's context, formal innovations, and themes, from its integration of narrative and documentary to its treatment of the ethics of journalism in the face of social and political upheaval, violence, and repression. How did Medium Cool emerge out of the specific context of the "New Hollywood"? What exactly was Wexler, cinematographer and first-time director, trying to do? And how does Medium Cool push us to think about media objectivity, and the substance, value, and intentions of "news"? Is media ever genuinely critical, or is it always a kind of "soft power"? How do we tell stories that don't exploit, but instead explain? 

A Democratic National Convention takes place against a backdrop of protests against American imperial atrocities overseas... that's right, we're travelling back in time to 1968 with Haskell Wexler's MEDIUM COOL (1969). PLUS: So, have you heard about the DNC? Join us on Patreon for an extra episode every week - https://www.patreon.com/michaelandus "This National Post Columnist Says He Spied for a Foreign Intelligence Agency" by Luke LeBrun - https://pressprogress.ca/this-national-post-columnist-says-he-spied-for-a-foreign-intelligence-agency-experts-call-his-behaviour-unethical-and-absurd/ "Medium Cool: Preserving Disorder" by Thomas Beard - https://www.criterion.com/current/posts/2773-medium-cool-preserving-disorder "The New Yorker Political Scene Scene" podcast with special guest Will - https://rss.com/podcasts/newyorkerpoliticalscenescene/1619477/

Anders talks with pals Charlotte and Donald about Haskell Wexler's legendary 1969 movie, "Medium Cool." A hybrid between documentary and narrative, "Medium Cool" follows a Chicago cameraman tasked with filming the 1968 Democratic National Convention and the infamous police riot outside. ALSO, we talk an upcoming short film called "Kitchen Conversations" that Charlotte produced and AD'd, Donald shot and PDA's very own Anders J. Lee wrote and directed! Follow @kitchen_conversations_movie on Instagram for updates!

On this special episode of the Team Deakins Podcast, we speak with the inventor of the Steadicam: Garrett Brown (YENTL, THE SHINING, BOUND FOR GLORY). He not only invented the tool but also frequently operated it, breaking the new system in on MARATHON MAN, ROCKY, and BOUND FOR GLORY in a single summer in the mid-1970s. With just a high-school level of understanding of physics, Garrett was able (after a long, isolated week in a remote hotel) to think through the fundamental design of the Steadicam which is still used today—50 years after its invention. We learn about the biomechanics of the human body that informed the design of the Steadicam and of the four key aspects of the device that isolate the camera from its operator. Garrett later recounts the day he first used the prototype on BOUND FOR GLORY (its first ever use in a feature film no less!) and how the late cinematographer Haskell Wexler fought for its inclusion. Garrett also shares how Stanley Kubrick utilized the unique properties of the Steadicam while filming THE SHINING to move the camera “like a ghost” through the empty halls of the Overlook Hotel and chase the indefatigable child actor Daniel Lloyd across miles of carpet. Few people can claim to have changed the way we make movies, and Garrett is one of them. - This episode is sponsored by the Dallas Film Commission Instagram: @dallasfilmcommission

Continuing our season of specials on material outside the show's main remit, Philippa Spanos returns to help Martin and Sam consider the creative and commercial aspects of Waits's music videos. Starting with a long-overlooked animation experiment from the 70s, we chart how these films function in relation to the music, the commercial purpose of a video, as well as all the tiny tiny guitars. website: songbysongpodcast.com twitter: @songbysongpod e-mail: songbysongpodcast@gmail.com Music extracts used for illustrative/review purposes include: Tom Waits For No-One / The One That Got Away, short film feat. Tom Waits, dir. John Lamb (1979) In The Neighbourhood, Tom Waits music video, dir. Haskell Wexler (1983) Rain Dogs Promos, dir. Chris Blum (1985) Downtown Train, Tom Waits music video, dir. Jean-Baptiste Mondino (1985) Blow Wind Blow, Tom Waits music video, and Limousine Interview promo, dir. Chris Blum (1987) Temptation, Tom Waits music video from Franks Wild Years, dir. Betzy Bromberg (1987) It's Alright With Me, Tom Waits music video from Red Hot + Blue, dir. Jim Jarmusch (1990) Going Out West, Tom Waits music video from Bone Machine, dir. Jesse Dylan (1992) I Don't Wanna Grow Up, Tom Waits music video from Bone Machine, dir. Jim Jarmusch (1992) We think your Song by Song experience will be enhanced by hearing, in full, the songs featured in the show, which you can get hold of from your favourite record shop or online platform. Please support artists by buying their music, or using services which guarantee artists a revenue - listen responsibly.

We have returned! And to celebrate this most auspicious occasion we are delving deep into Haskell Wexler's ambitious, lively portrait of 1968 America (and Chicago to be more precise). We talk Wexler, we talk about how goddamn verité this cinema is, we talk flashbacks and how to recognise them (or not) and take a few detours along the way. Next up: PERFECT BLUE, 1998

Michael M. Pessah, ASC and Buddy Squires, ASC talk about the art, history, and current practices of documentary filmmaking.

This week on the blog, a podcast interview with filmmaker Amy Scott, discussing her terrific documentary, “Hal,” which takes a deep dive into the life and films of director Hal Ashby (“Harold and Maude,” “Being There,” Coming Home,” “Shampoo”). LINKS A Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6 Fast, Cheap Film Website: https://www.fastcheapfilm.com/ Amy Scott Website: https://www.amyelizabethscott.com/ “Hal” Documentary website: https://hal.oscilloscope.net/ “Hal” Trailer: https://youtu.be/GBGfKan2qAg “Harold and Maude Two-Year Anniversary” Documentary: https://youtu.be/unRuCOECvZM Eli Marks Website: https://www.elimarksmysteries.com/ Albert's Bridge Books Website: https://www.albertsbridgebooks.com/ YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcastAmy Scott Transcript First, I want to say thank you for making the movie and thank you for making such a great movie because he totally deserved it. I would always wonder why of all the directors of the 70s and 80s, he was never really heralded the way he should have been. I think part of it has to do with that he had no discernible style. So, you couldn't really pick him for something. But before we dive into that, tell me a little bit about your background before you made Hal?Amy Scott: Well, I'm from Oklahoma. I moved to Chicago, out of college and in college, we studied a lot of, I had a great professor at ODU at the University of Oklahoma. I don't think he's there anymore. But he really hipped us to the coolest documentaries. I had no idea that you could be a documentary filmmaker, like from Chris Marker to the 7-Up series to Hands on a Hard Body. It was just a really great, great, well-rounded Film and Media Program. Anyway, I moved to Chicago. I wanted to be a director and a DP, but I fell down, I had gotten a job at the University of Chicago. I think I faked my way into it. I was supposed to start on a Monday, and I fell on the ice and broke my arm on a Friday. So I was like, “I can't shoot. I can't film. I can't use my arm to film and hold the camera. I need to learn how to edit. So I learned how to edit with my right hand, and I loved it. And then I just did that for like 10 years. Well, I mean, I still do it. But it was like this accidental career path.You're an accidental editor.Amy Scott: An accidental editor. That became something that later, I just valued as such an important skill set. I use it now. I have wonderful editors that I work with. But we speak the same language. And I think with the story structure, that you have an eye for things in the edit bay and now it really, really helps my ability to break down a three-act structure or figure out where the narrative arc is, and things like that. I think would have taken me a lot longer, had I not fallen and broken my arm.It was sort of a similar path for Hal Ashby, starting in editing.Amy Scott: Totally. I loved his films and then when I read Nick Dawson's book, and I started to learn more about him, I really, really connected with him. Because of things that he would say about filmmaking and editing and being in the edit bay and being obsessed with every frame. I felt like, being seen and heard. Like, “Oh, this is how I feel about it, too. I don't feel like such a freak of nature, and lots of people feel this way.” I really connected with Hal and he didn't make The Landlord I believe until he was 40 years old. He was up there. Amy Scott: Yeah, up there. For a first-time filmmaker, that's a late start.Amy Scott: And that was about the same age that I made the Hal movie. What was your first experience with a Hal Ashby movie?Amy Scott: The first film that I saw that I can remember was with my friend Jason in college. I was watching Truffaut and Cassavetes and so I thought that I had a very well-rounded understanding of the new Hollywood. And my friend Jason said, “Have you ever seen Harold and Maude?” I had no idea what he was talking about. He was a couple years older, and he was like, “Oh, honey, you're gonna skip school today. We're gonna watch it.” And I swear to God, we watched it. I couldn't believe what it was. I couldn't believe I'd never seen it. It somehow gone past me. As soon as it was over, I was like, “Stop. Start it again.” We have to rewatch it. We where there for like eight hours, watching it on a loop. David Russell compares it to The Catcher in the Rye as a sort of like rite of passage for people at that age. It hit me right straight through the heart. And then from there, I think I saw The Landlord, someone had screen of The Landlord in Oklahoma City. And I was like, oh my god, this is incredible.I live in Minneapolis, where Harold and Maude ran at The Westgate theater for two and a half years. I saw the movie quite a bit there. And then, because I was in a film program, and knew someone who knew the film critic for the local paper, when Ruth and Bud came to town for the two-year anniversary, he sorts of dragged me along with him. So, I had dinner with Bud Cort and hung out a little bit with Ruth Gordon. I made a little documentary on Super 8mm of my perspective on their experiences. I was 15 years old or something and although I knew their itinerary, I couldn't drive. And so I would go to the TV station and shoot some stuff there with them and then they were on to something else. I had to hop on a bus to keep up with them.Amy Scott: That's incredible.Yes, my only regret was on that when I had dinner with Bud that I didn't ask better questions. I was sort of starstruck and there's a lot of question. I would ask him now—that I've tried to ask him—but you know, he's not too communicative.Amy Scott: Yeah. That's incredible that you that you have that footage and I would love to see it.It was really, really fun and interesting. Ruth Gordon was very much Ruth Gordon, very much Maude. She didn't suffer fools. So, you've seen Harold and Maude, seen The Landlord. At what point did you decide that a documentary had to be made?Amy Scott: Well, okay, I was pregnant with my first child, and was finishing up Nick Dawson's book on Hal, you know, on Hal's life. And I thought, I just couldn't believe there was a documentary. But this is before the market became oversaturated with a story about everyone's life. At the time, I just thought, oh my gosh, there's so much here. This guy, his films should be really celebrated. And he should be more known and revered in the canon of American 70s New Hollywood, because he's so influential.And that's why it was important that we include David O Russell and Adam McKay, and Allison Anders, Judd Apatow. They could draw a direct connections, like the film family tree. When you see the wide shots in Harold and Maude, you think of Wes Anderson. Or, you know, the music, you think of David O Russell. I mean, his influence was everywhere. I started to connect the dots and I thought, oh, my gosh, we've got to, we've got to make a film here. But I'd never done anything like that. I had directed smaller documentaries. I tried to make a film about this band called The Red Crayola and that was a hilarious attempt on my part. To try to chase them around the globe and on no money. That was my only experience outside of editing. So, fortunately, I had hooked up with my producing partners that I still work with now. I just met them at the time and they hired me to edit some cat food commercials. So it was editing Friskies or Purina, I don't know what it was. It was just looking at cats all day.And I was about to give birth but I was working trying to lock down the rights And the rights came through one afternoon and I just pulled them (the producers) in and I was like, let's do this together. We didn't know what the hell we were doing, but it was so great and so fun. We approached it, like, all hands-on deck, and we were a little family making this thing. So, that spirit has continued, thank goodness, because of what we put into the Ashby movie.What do you think were his unique qualities as a director?Amy Scott: Gosh, so much. I just think he really had an eye. He could see stories. You said something earlier, that all of his films are not the same and therefore it's hard to go, oh, he's this style of filmmaker. But the thing that they all have in common is that he has a very real and raw approach at looking at humanity. Sort of holding the mirror up and showing us who we are, with all of our faults and complexities and layers of contradictions and failures. So he's able to see that and find the stories of humanity. And that's the connective tissue for me. He also had a sick musical taste; I mean, he sort of found Cat Stevens. The soundtrack to Shampoo—I think that's why it's not in wide release right now, as I can't imagine having to license Hendrix and Janis and the Beach Boys, you know?That's true. But I'll also say he had the wisdom to let Paul Simon do the small musical things he did in Shampoo, which are just as powerful or if not more powerful.Amy Scott: So, powerful. So much restraint. Incredibly powerful. I feel like Hal, because he was not—from all of our research and talking to everyone and girlfriends and collaborators—he wasn't a dictatorial director. He didn't lay down mandates. He was really open to hearing from everybody and making it feel like it was a democratic scene and everyone has an equal voice. If you had an idea, speak up.But at the end of the day, he was like, okay, here's the vision. And once he had that vision, I think that's where he really got into problems with the studio system. Because that was such a different time. The studio guys thought that they were also the director, that they were also the auteur. I cannot imagine a world where you throw your entire life into making a film and then a studio head comes along and tries to seize it from you. I mean, that would give me cancer, you know, from the stress. I can't imagine.It certainly didn't match with his personality at all.Amy Scott: No, not at all. What I thought was so fascinating was how open he was to ideas. I love that about him and it resonates in my microscopic ways of connecting to that now. Man, every time it pops up, I'm like, I feel this little Hal Ashby devil angel on my shoulders. Yes, but it's odd. Because it's not like they didn't know what they were getting. It's not like he hid that part of his personality. You would know, immediately from meeting him that...Amy Scott: Yeah.With Harold and Maude, it was just a weird perfect storm of a crazy executive like Robert Evans saying yes to all these weird things. And then the marketing team at Gulf and Western/Paramount going, “we have no idea what to do.” You know, I had the Harold and Maude poster hanging for years. And it's the most obvious example of a studio that cannot figure out how to market a movie. The Harold and Maude different color name thing. It's just so obviously they didn't know what do.Amy Scott: I know I love when Judd Apatow was talking about that. That's really funny.So, what was the biggest thing that surprised you as you learned more about Hal?Amy Scott: What surprised me was that side of his temperament. He did look like this peace love guy. He was an attractive man but, you know, this long hair and long beard and so cool and I had a really myopic like view of what I thought his personality was. I thought he was a super mellow guy. And then I got in and started reading the letters. My producer, Brian would read the letters in his voice as a temp track that we would use that to edit to cut the film. And we were rolling, dying, laughing, like falling down, like, oh, my God, I cannot believe that Hal would write some of this shit to the head of Paramount or whoever. It was like, wow, this guy is not at all who I thought. These were fiery missives that he was shooting off into space.It wasn't like just getting mad and writing an email. I mean, he had to sit on a typewriter.Amy Scott: Typewriter and they were very, very long. I mean, the sections that we used in the film, were obviously heavily cut. We couldn't show like six pages of vitriol. The best part about the vitriol though, he wasn't just vomiting, anger. It was a very poetic. He had a very poetic way of weaving together his frustration and expletives in a way that I just loved.And then we turned the papers over to Ben Foster. That's why we wanted him to narrate—be the voice of Hal—because he's always struck me as an artist that totally gets it. Not a studio guy and he was all over it. He was right. You can really identify with this sort of, you're either with us or against us artists versus, the David and Goliath. So, that was most fascinating to me. I knew—because of the book, because Nick did such a great job—I knew Hal's story. Leaving his child, leaving Leigh. It's one thing to read about it in a book and it's a completely different thing to go meet that person, to sit with her. She's since become a dear friend to me. I feel like she'd never really spoken about that, about her dad and that time of her of her life. I think revisiting trauma on that level, and working through a lot of those emotions with her, was really heavy and not what I intended. When I set out to make the film, I was thinking about the films of Hal Ashby. I didn't think it would get as heavy as it did. I'm glad that we went there and that she took us with her. I feel really, really thankful. I think she got a lot out of it. We certainly did.It really did show you just how complicated he was, the reality of his life, when you see the child. And she was so eloquent on screen. Amy Scott: So great. He had some generational trauma too and then you put it all together, and you're like, okay, well, this is somebody that's really adept at looking deep into the human condition. He'd been through a lot. He'd made a lot of mistakes and he's been through a lot. So, of course, this checks out. And he's just so talented and creative, that he can make these films that are this really accurate, fun and funny and sad and tragic and beautiful portrayals of humanity.Well, let's just if we can't dive into a couple of my favorites just to see if anything you walked away with.Obviously, Harold and Maude hold a special place in my heart. I've just loved reading Nick's book and reading and hearing in your film and in listening to commentaries about what Hal did to wrestle Harold and Maude into the movie that it is. I forget who it was on one of the commentaries who said there were so many long speeches by Maude that you just ended up hating her. And Hal's editor's ability to go and just trim it and trim it and trim it. I compare what he did there to what Colin Higgins went on to do when he directed and he simply didn't have it. He had the writing skill, obviously, and the directing skills. He didn't have that editor's eye. I don't think there's a Colin Higgins movie made that couldn't be 20 minutes shorter. If Hal had gone into Foul Play and edited it down, it would have been a much stronger comedy. 9 to 5 would have been 20 minutes shorter. Probably a little stronger. Anyway, you don't recognize that. It's all hidden. It's the edit. You don't know what he threw away and that's the beauty of Harold and Maude: within this larger piece he found that movie and found the right way to express it. So, what did you learn about that movie that might have surprised you?Amy Scott: Everything surprise me about it. You know, we were never able to get Bud Cort. You know Bud Curt, he's so special and so elusive and we thought we thought we were gonna get him a couple times and then it was just a real difficult thing. But you have him from the memorial service, and that's a great thing.Amy Scott: Oh, yeah. Anytime he's on camera, he's bewitching. He's incredible. So we went again with the letters. I just didn't realize that Bud and Hal we're so close. I mean, obviously, they were close. But they were very tight. They had a real father son, sort of bond.Charles Mulvehill, the producer, also talked about how difficult it was to make the film. I didn't know that Charles ended up marrying one of the women that is on the dating service that Harold's mom tries to set up. That was interesting, too. It's hard for me, to tell you the truth. We did so much research on all the films, so there's little bits and pieces of all.Jumping away from Harold and Maude—just because my brain is disorganized—Diane Schroeder was with Hal for a number of years and she's in the film. She was sort of a researcher archivists, she wore many hats. I did not realize that on Being There, she really needed to nail down what was on the television Chauncey Gardiner learned everything from TV, so it was really important what was on it. When he's flipping, it's not random. She and Hal would take VHS tapes in or I guess it would have been Beta at the time, whatever the fidelity was, but they would record hundreds of hours of TV and watch it. She got all these TV Guides from that year, 1981. But what was a three year's span, she had all the TV Guides. She had everything figured out. It was like creating the character of Chauncey Gardiner, with Hal and then Peter Sellars got involved, and he had certain thoughts about it, too. I was just so blown away by the fact that that much care and effort and painstaking detail would go into it. When you see it on screen, it's definitely a masterpiece because of those things. Just the defness of editing, of leaving things out, is what makes it good. That is such a such a really hyper detailed behind the scenes thing to know that. When we were going through his storage space. I remember asking Diane, why are there boxes and boxes and boxes of TV. She said, “oh, yeah, that's Chancy Gardener's.” I said, I cannot believe you guys saved this. Really funny. It's interesting because they would have done all that in post now. And they had to get that all figured out, before they were shooting it. That's a lot of pre-production.Amy Scott: Oh, an immense amount of pre-production. Hal set up an edit bay in his bedroom. It's the definition of insanity. I had that going on at one point in my life and it's not good. It's not good thing to roll over and it's like right there like right next to pillows staring at you. You need some distance.When I saw Being There for the first time for some reason I was in Los Angeles/ I saw it and of course loved it. And then came back to Minneapolis and someone had seen it and said, “don't you love the outtakes?” And I said, “What outtakes?” They said, “over the end credits, all those outtakes with Peter Sellars.” And I said, “there were no outtakes.” In the version in LA, they didn't do that.Amy Scott: I wanted to add this, but we just ran out of time. We found all these Western Union telegrams that Peter Sellars wrote to Hal, just pissed, just livid, furious about that. He said, “You broke the spell. You broke the spell. God dammit, you broke the spell.” He was so pissed that they included those outtakes and I agree with them.It's not a real normal Hal move, is it?Amy Scott: No, it's honestly the first time that I'd ever seen blooper outtakes in a film like that. That's such an interesting 80s style, shenanigans and whatnot. But, yeah, no, you want them to walk out on the water after watching him dip umbrella in the water and think about that for the rest of your life. Exactly. I think they left it out of the LA version for Academy purposes, thinking that would help with the awards. But then years later to look at the DVD and see the alternate ending and go, well, that's terrible. I'm glad you guys figured that out. And then apparently, was it on the third take that somebody said, he should put his umbrella down into the water? Amy Scott: That's so smart.It's so smart. Alright. Shampoo is another favorite. I'm curious what you learned about that one, because you had three very strong personalities making that movie with Robert Towne on one side and Warren Beatty on the other and Hal in the middle. It's amazing that it came out as well as it did. Somehow Hal wrangled it and did what he did. What did you learn there that sort of surprised you?Amy Scott: Well, that aspect is what we wanted to really investigate. Because Hal had a pretty singular vision. Hal as a director—at that stage—was becoming a very important filmmaker. So, then how do you balance the styles of Robert Towne and Warren Beatty? These guys are colossal figures in Hollywood, Alpha dogs. I wish that we could have sat with Warren. It was not for lack of trying. I think a lot of these guys that we couldn't get, it's like, yeah, that's what makes him so cool. Bruce Dern. I was trying to chase down Bruce Dern at the Chase Bank, and he got up one day and I was just like, I knew, let it go. But Shampoo, everything we learned, we put in the film. Robert Towne talked to us. And then there was the audio commentary that Hal had from his AFI seminars. Caleb Deschanel spoke pretty eloquently about it being like watching a ping pong match going back and forth between Robert and Warren about what the direction should be. And then the director sitting in a chair probably smoking a joint, waiting for them to finish. It seems like they might have needed a sort of mediator type presence to guide the ship, like have a soft hand with it, you know? You can't have three alphas in the room at the same time. Nothing would get done. You need a neutralizing force and it seems like that's what Hal was it. He just had a really great taste, you know? My favorite element of that movie—besides Julie Christie's backless dress—would be Jack Warden. Anytime Jack Warden comes on screen, I'm like, just want to hang with him for another half hour. I can just watch that man piddle around and be funny.I remember reading an interview with Richard Dreyfus after Duddy Kravitz came out, in which he was blasting the director, saying that they ruined Jack Warden's performance in post-production. And Jack Warden is amazing in Duddy Kravitz. I don't know what they he thinks they did to it, because he's just fantastic.Amy Scott: He must have just been astronomically amazing and funny, which is what I imagined he's was like.I took away two things from Shampoo. One was—having seen Harold and Maude as often as I did—recognizing that the sound effects of the policeman's motorcycle as being the same one as George's motorcycle as he's going up the Hollywood Hills. Exact same ones.But the last shot as he's looking down on Julie Christie's house and the use of high-angle shot, it is one of the saddest things I've ever seen. It's just a guy standing on an empty lot looking down onto the houses below, but it's … I don't know. Given the guys he was dealing with, I don't know how he made that into a Hal Ashby movie, but he did.Amy Scott: He did. Well, it seems like it's moments like that yeah, there's so much melancholy loaded into that moment. Because George is such an interesting character. Now, I'm realizing that you and I have just blown, we've just spoiled the ending shots of both Being There and Shampoo.Anybody listening to this who hasn't seen those movies deserves to be spoiled.Amy Scott: Get on the boat. But yeah, that always got me. I think it's all of those really like, foggy misty Mulholland Drive shot of George on his motorcycle, anytime he's alone. Because he crams his life so full of women to try to fill the hole or the void or whatever he's got going on that's missing in his life. And he's just trying to shove it full of women. So, when he's alone, and he has nothing and no one you're like, oh, my God, this is the saddest thing I've ever seen.It really is. I don't know. Maybe you can fill me in on this. I remember reading somewhere that the scene—his last scene with Goldie Hawn—they went back and they reshot it because somebody said he's standing. He should be sitting. And I'm always interested in directors who hear that and are willing to go back and do it. The other example is Donald Sutherland in Ordinary People in his last scene. Telling Redford, “I did it wrong. I should be done crying. I was crying when I should have been done crying.” and they went back and reshot. His portion of it is no longer crying because the director went, you're right. And that simple notion of Warren Beatty should be sitting down, and she should be standing over him. Amy Scott: She's got the power. Yes. But I'm not sure a lot of directors would have said yes to that. Like, “We don't need to go back and do that. We're overscheduled we got other stuff to do …”Amy Scott: Oh, I don't think Hal cared about the schedule at all. Everything that I read or, you know, even Jeff Bridges talked about, like them being over budget and he's like, “you know, all right, let's figure out a creative solution to this. It's going to take as long as it's going to take.” He never seemed to really get riled onset or let those sorts of parameters hold all the power and guide the filmmaking. He was in complete control of that. Having that sort of attitude about things, that just spreads to the whole set. That spreads everywhere and makes it easier for everybody to work.Amy Scott: It does.Let's do one last one. Coming Home is interesting for me because I had friends who ran a movie theater here in town. It was just a couple of running it and I would come by from time to time if they were busy. I'd go up and run the projector for them. They had one of those flat plate systems, so you only had to turn the projector on. It wasn't that big a deal. But you know, I was young and it's like okay, now I'm going to turn the house lights down … I got to see the first five minutes of Coming Home a lot. Probably more than I saw the rest of the movie. Was there anything you learned about the making of that film that surprised you?Amy Scott: Yeah, I didn't realize how hard it was to get that film made. Jane Fonda is the one that's really responsible for Coming Home even existing. Nancy Dowd had a book and Jane really fought hard to get it made. By the time it got to Hal, it was different, there was a number of rewrites. And it obviously had to be cut down significantly. I never think—it's never my go-to—to think that one of the actors is the one responsible. Usually it comes to you in a different way, and especially if he's working with Robert Towne and the like. But I thought that was really cool and really interesting that Jane spoke about showing what our veterans were going through. This wasn't new, because you had like The Deer Hunter would have been the comparable. And that's a wildly different take on what coming home from the Vietnam War was like. But also, the woman's journey in that film, and the sexuality of all of that was just like, wow. Only Jane Fonda can speak about it eloquently as Jane Fonda does. I also didn't realize— when we were sitting with John Voigt—that he was really method in the way that he didn't get out of his chair, I mean, for days on end. Going into crafty in the chair, learning how to do go up ramps and play basketball and all the things that you see was because he wouldn't get out of the chair, which was wonderful. I really enjoyed talking with Jeff Wexler, and Haskell. That interview that we did with Haskell, I'm so thankful for because, you know, Haskell passed away, not that long after we film. That was one of his last interviews. So, it was really special. He came to the set and Haskell is like, a film God to me and my team. For me, I lived in Chicago so Medium Cool, was one of the coolest things ever. Meeting him and talking with him was so interesting. I loved hearing about the opening. You can just tell it's Haskell Wexler. You know it's a Hal Ashby film, but the way it starts and having seen Medium Cool, and going into that opening scene, where the all the vets are non-professional actors. They were actual vets that had come home and those were their true real stories. Now we would say it's sort of hybrid documentary and scripted, but it was like a really early use of that kind of style. And that's what made it feel so real and then you start in with the Rolling Stones, it's just such a masterly, powerful film.I'm always curious about that sort of thing where he has a lot of footage and he's creating the movie out of it and what would Hal Ashby be like today? How different would his life be if he had everything at his fingertips and it's not hanging out a pin over in a bin and he had to remember where everything was? I don't know if that would have been any made any difference at all?Amy Scott: He was an early pioneer of digital editing. He was building his giant rigs and was convincing everyone that digital is the way to go. Which is so cool and so mind blowing. But I think it was born out of a place of independent film, of democratizing the access and taking the power away from the studios. And knowing that you could do this cheaply in your home. It was so actually tragic to learn that. What could he have done? Because his output was just, he put out so much so many great movies. So, what could he have done if the infrastructure was even more accessible and sped up technologically?Imagine an 8-part streaming series directed by Hal Ashby, what would that be?Amy Scott: Just be incredible. Well, I know that he was wanting to work. He had so many films that we found. And we found script after script. One of them, I was so, “damn, that would have been cool,” was The Hawkline Monster. A Richard Brautigan science fiction Western novel. It's so trippy and so cool. I feel like every couple of years, I hear about some directors says, “we got the rights, we're gonna make it.” And I'm like, when are they gonna make it? It's so long.And imagine what his version of Tootsie would have been.Amy Scott: Oh, I know. Yeah. No joke.Just seeing those test shots. Wow. Amy Scott: I know, it would have been a different film.I read a quote somewhere that one of the producers or maybe it was Sydney Pollack, who said, they took the script to Elaine May. And she said, “yeah, it just needs…” And then she listed like five things: He needs a roommate that he can talk to … the girl on the TV show, she needs a father, so he can become involved with him … there also has to be a co-worker who is interested in him as a woman … the director needs to be an ass, he should probably be dating the woman. It was like five different things. She said the script is fine, but you need these five things. So, what did they have? She just listed the whole movie.Amy Scott: Right. Well, we're talking about Elaine May. She's someone that needs a film. She does. And why aren't you doing that?Amy Scott: Listen, I'm telling you. I've tried. This is another one that I've tried for years. You know, here's a real shocker: It's hard to get a film about a female filmmaker funded. It's a hard sell.She probably wouldn't want to do it anywayAmy Scott: She's so cool. My approach has always been that she has so much to teach us still. So, I would love to get her hot takes on all those films. A New Leaf. I mean, the stories behind that thing getting made.Like the uncut version of A New Leaf.Amy Scott: Exactly. I want to hear it from her. So, yeah, that's high up on my list. I really, really want to make one with Elaine.Was there anyone else you really wanted to get to? You mentioned Warren didn't want to talk to you. Anybody else?Amy Scott: I would have loved Julie Christie or, you know, more women would have been great. Bruce Dern was so great and so funny and I'd seen him a number of times. I saw he was at a screening of one of his movies. He talked for like, an hour and a half before they even screened the film. He was whip smart in his memories. I was so upset that we couldn't work it out because I knew that he would be incredible.Just his knowledge of movie industry, having been in it so long.Amy Scott: My gosh, yeah.He even worked with Bette Davis.Amy Scott: Yeah, he's national treasure. Exactly. I was just staring at a poster. I have framed poster of Family Plot in my kitchen. That's the movie that was going to make him a star, according to Hitchcock. It still has one of the greatest closing shots of all time. I think I read that Barbara Harris improvised the wink, and that's another person who you should make a documentary about.Amy Scott: Oh my gosh. Barbara Harris is something. Do you remember what was the film that she was in with? Dustin Hoffman and Dr. Hook scored it. It's a really long title. Who Is Harry Kellerman And Why Is He Saying These Terrible Things About Me?Amy Scott: That is such a phenomenal Barbara Harris performance. I mean, Dustin Hoffman is incredible. He's always great. But Barbara Harris really shines and I guess I'm like, that's who she was. Yeah, I think she was difficult. Well, I don't know, difficult. She had stuff she was dealing with.Amy Scott: She had issues and Hal had to deal with those on Second Hand Hearts too.From a production standpoint, people are interested in hearing what your Indiegogo process was Any tips you'd have for someone who wants to fund their film via Indiegogo?Amy Scott: Oh, boy. Well, that was a different time, because I really don't know how films are funded at the moment. This came out five years ago, but it took us like six years to make. So, during in that time, you could at least raise enough capital to get through production.The Indiegogo campaign enabled it so that we could even make the movie, because everything past that point, nobody ever got paid at all. But at least that way, we could buy film stock and pay the camera operators and our DPs and stuff. So, that was hugely important.At the time, I remember thinking like, oh, no, how are we ever going to get anybody to because you had to make these—I don't know if this is still the case—but you had to make these commercials for your project or like a trailer to get people's attention. And you had to be all over Facebook and crap like that. So, I was like, oh, no, how am I going to make a thing that shows that Hal Ashby's important to people that want to give money?A friend somehow knew John C. Reilly and mentioned it to him. It was like, we just need a celebrity to come in for like, you know, half a day or one hour. And he said, I'll come on down and do that. And he came. I couldn't believe it. The generosity of this man. He didn't know us at all. But he knew and loved the films of Hal Ashby and wanted to give back and pay it forward. So, he came down and because of him, we have a really funny, awesome little commercial trailer. I have no idea where that thing even is. I'd love to see it because I had to do it with him, which was terrifying, because I am not a front of camera person. I didn't know what to say. And he said, All you have to do is ask for money. I'll all do the rest of the talking.I remember seeing it. Amy Scott: It's been stripped from Indiegogo which probably means that we used a song that we weren't able to. That was back in the early days of crowdfunding, where you could just take images or songs and I'm sure I used the music of Cat Stevens, and then, loaded up with a bunch of photos that we never paid for.Well, that brings up a question of how did you get all the rights to the stuff you got for the finished movie? Was that a huge part of your budget?Amy Scott: No. The most expensive thing always to this day is music. Music is going to get you. Outside of that, thank goodness, there's this little thing called fair use now, which wasn't the case in documentary filmmaking for a very long time. But now you can fair use certain elements, photographs, or news clips, video clips, anything that sort of supports your thesis that you're making about your subject and supports your storyline falls under the category of fair use. So, I think what our money did pay for is the fair use attorneys that that really go over your product. They went over out fine cut, because we couldn't afford to pay for multiple lawyers to look at it. So you give them a fine cut, you hold your breath and hope that they say, oh, you know, you only have to take out a couple things. And you're like, oh, thank God. Okay, and then you change it.I believe, because we never had any money, that we submitted to Sundance and got in on a wing and a prayer. And then had, you know, two weeks to turn the film around and get it, finished. I remember we were like, you know, pulling all these all nighters, trying to change the notes that the legal said XY and Z was not fair use and trying to swap out music with our composer. It was a wild, wild run.Isn't that always the way? You work on it for six years and then suddenly you have two weeks to finish it.Amy Scott: That's how it shook out for us. It was like really, really pretty funny, because you're going on a leisurely pace until you're not. And then it's like, alright, it's real now. I thought for years, I think my friends and casual acquaintances thought that I've lost my mind. Because every year, I'd see people that I would see occasionally and they're like, hey, how's it going? What are you working on? I'm like, I'm just working on this Ashby's movie. And they were like, year after year, like damn. She's like, we need to reel her in and we need to throw her a lifeline. No, really, I really, really am. So, it was pretty funny. We were. We did it.People have no idea how long these things take. Amy Scott: It's unfunded. But you know, then we got lucky after that, because we nearly killed ourselves on Hal. Then we kind of fell into the era of streaming deals and streamers. And then people were like, oh, we want to make biopics and we want to give you money to make a biopic. And that was truly our first rodeo. We're like, oh, my gosh, what? This is incredible. We can get paid for this. Now that's falling away. This streaming industry is, you know, collapsing in on itself as it should, because there's no curation anymore. And it's like, let's return to form a little bit here, guys. So, we're just riding the wave. I say it's like we're riding trying to learn how to ride a mechanical bull this industry. I'm a tomboy. So, every local Oklahomans is up for the ride.Let me ask you one last question. I'll let you go then. So, as a filmmaker, what did you learn doing a deep dive into the work of this director and editor and you are a director and editor? So, that's sort of a scary thing to do anyway, to be the person who's going to edit Hal Ashby. What did you learn in the process that you can still take away today?Amy Scott: Well, listen, we joke about it all the time. My producer, Brian Morrow and I are constantly going, oh, what would Hal do? Everything that he stood for, as a filmmaker. The film will tell you what to do. Get in there, be obsessed be the film, all of those things.I get this man because I feel the same way. So, when we like took a real bath in Hal Ashby's words for years, that sort of that shapes the rest of your life as a filmmaker. You're not like a casual filmmaker after going through like the Ashby's carwash. That stuff's sticks.But I'm proud. I'm proud that that we pulled it off. I'm proud that we were able to make the movie. Somebody would have done it, because Hal is too great and too good, and he just has deserved it for so long.The only thing that we've ever wanted was that we wanted people to go back and watch his films, or to watch him for the first time if they had never seen him. And then to take his creative spirit forward. Be in love with the thing that you make. It's your lifeforce. So, otherwise, what is it all for, you know? So, yeah, that's what I got from him.

VOICES FROM THE FRONTLINES Your National Movement Building Show “Wake up and smell the revolution” Tuesday March 28, 2023 | 8 AM PST On todays show Voices from the Frontlines present MOTHERLAND BY: Vic Gerami An Armenian-American Journalist, Documentarian, LGBT activist, Columnist, Publisher, and Organizer Eric Mann  and discuses with Vic Gerami the Powerful documentary "MotherLand".  A documentary produced by Vic which informs on the historic genocide of the Armenian people throughout  history by various imperialistic nations and their allies. "The Armenian genocide[a] was the systematic destruction of the Armenian people and identity in the Ottoman Empire during World War I. Spearheaded by the ruling Committee of Union and Progress (CUP), it was implemented primarily through the mass murder of around one million Armenians during death marches to the Syrian Desert and the forced Islamization of Armenian women and children." (https://en.wikipedia.org/wiki/Armenian_genocide) -Eric's sings "Lean On Me” by: Bill Withers. In brief Eric discuss the Strategy and Soul theater's film screening of "The Bus riders Union" film produce by Haskell Wexler  . The screening will take place March 30, 2023 at Strategy and Soul theater.  The Bus Riders Union film is a documentary about an activist group called the Bus Riders Union. Their focus is on improving the public transportation system in Los Angeles. The bus system there is in a sorry state. Busses are overcrowded. A rider will routinely see three busses pass her by, completely full, before being able to board. Handicapped riders find that the lift system on most busses is broken. Many riders need to take three or more busses to arrive at their destinations, and late night service on some routes is discontinued without any notice. On top of this, the MTA was planning a massive fare increase and focusing their energy on subways and trains that are costly and benefit mainly upper class white people. The B.R.U. views this struggle over Los Angeles busses as the new civil rights battle. The bus system is utilized almost exclusively by minorities and low income residents. Since the busses are so unreliable, workers are not able to predictably arrive on time and therefore have trouble holding jobs. This means that an already disadvantaged segment of the population is being further held back. Kikanza Ramsey, B.R.U. organizer, describes her organization as "an experiment to see if we can create a multi-racial, bi-lingual, gender-balanced mass movement of working class people." The tape follows the legal struggles of the group throughout the 90's as they battle with the city and the MTA for service improvements. ("Https://Mediaburn.Org/Video/Bus-riders-union/") In the last half of the show Eric holds a conversation with Channing Martinez, Lead Organizer at the Strategy and Soul Center, and the Bus Riders Union. Channing reports from the ground and the frontlines of the battle field. Channing will  discuss the Bus Riders Union Film at the Strategy and Soul theater.

On this edition of Parallax Views, anthropologist David H. Price, author of Weaponizing Anthropology and Cold War Anthropology: Social Science in the Service of the Militarized State, returns to discuss his latest book The American Surveillance State: How the U.S. Spies on Dissent. The conversation begins with David H. Price discussing his Freedom of Information Act (FOIA) requests about interactions between American anthropologist, the FBI, the CIA, and American military agencies. We delve into how David became involved in looking at how anthropologists and social science were utilized in the global War on Terror, especially through the Human Terrain System program. In other words, the use of anthropology and social science for social monitoring and control. From there we delve into the thesis of The American Surveillance State and the idea, put forth by CIA whistleblower Philip Agee, that agencies like the FBI and CIA act as "the secret police of American capitalism". In this regard we discuss how intelligence agency institutions became powerful surveillance apparatuses that often targeted the labor and radical leftist movements. This also allows us to discuss the (in)famous figure of longtime FBI director J. Edgar Hoover and some conversation about the period of WWII and the transition into the Cold War. Among other topics we also manage to discuss: - The history of phone surveillance and wiretapping - The Total Information Awareness program and mass data collection - The issue of corporate surveillance as well as government surveillance - The American Surveillance State's targeting of anthropologist Gene Weltfish, Native American activist Archie Phinney, and South African anti-apartheid activist Ruth First; the targeted surveillance of activists who sought to expose systems of racial inequality - American anthropology, racial inequality, and the American surveillance state in the era of Joseph McCarthy and the Red Scare in the 1940s and 1950s - Addressing arguments that the massive surveillance and suppression of privacy and individual rights is necessary to fighting security threats like terrorism - The deep roots of anti-communism in the U.S. Liberal anti-communism in the CIA and right-wing anti-communism in Hoover's FBI; President Harry S. Truman and the Truman loyalty oaths program (which targeted federal employees) as a precursor to McCarthyism; Truman vs. Harry Wallace and the weaponizing the surveillance state against political enemies - The FBI's targeting of liberal anti-communists; liberal anti-communist German-American anthropologist Andre Gunder Frank, the Global South, and Frank's critique of American economic hegemony; the FBI's massive file on Andre Gunder Frank - The FBI file on left-wing Academy Award-winning cinematographer and filmmaker Haskell Wexler, who directed the film Medium Cool (a movie filmed in the midst of the riots at the Chicago Democratic National Convention (DNC) in 1968; Wexler's film on the Weather Underground and FBI surveillance of Wexler - Court trials, jury selection, prosecutors, and the FBI - The FBI and Palestinian-American academic Edward Said, the founder of postcolonial studies; the monitoring of Said, who was known for his pro-Palestinian views - The FBI file on the late left-wing journalist Alexander Cockburn of Counterpunch; the American Surviellance State and Alexander Cockburn's visa - Anthropologist Melville Jacobs, who was a student of Franz Boaz, and how he was targeted for his involvement with communism; pre-McCarthy threats against anthropologists who addresses issues of inequality; academic freedom, Cold Wars paranoia/fears, and the rumored-to-be-antisemitic academic who acted as an FBI informant against Jewish professors - Spanish anthropologist Angel Palerm, the Organization of American States (OAS), and the monitoring of Palerm over his work on Latin America; informants in the OAS - Why is certain information redacted in FOIA documents?; why is some information withheld or claimed to be non-existent when it comes to FOIA requests? - FBI incompetence and FOIA - Price's thoughts on the FBI and it's handling of modern domestic terrorism threats, specifically far right-wing groups like the Proud Boys and white supremacist organizations; how surveillance of right-wing groups like the Ku Klux Klan arguably differs from surveillance of left-wing groups; intelligence agency responses to the far-right as being far too late and far less numerous than targeting of left-wing activists - Liberal sentiments that the FBI and other intelligence agencies are the heroes that will save America from Trump and the far-right; Price's response to this - How to make a FOIA request; the ins and outs of making a FOIA request - Has Price ever requested a FOIA on himself?; the CIA's review of one of Price's books - Responding to people who believe that any talk of the surveillance state is just tinfoil hat, right-wing conspiracy theory crankery territory - The CIA vs. the FBI during the Cold War and the roots of the CIA at Yale University - J. Edgar Hoover as a creature of the FBI rather than the Cold War FBI being a creature of Hoover; analysis of institutions vs. hyper-focusing on specific individuals like Hoover - Edward Snowden and the need for a new Watergate moment which will bring about new investigations into the American Surveillance State and possible reforms; FBI oversight, the Pike Committee, and the response to the Watergate scandal - Are we too numb to the American Surveillance State at this point to be outraged by it? - And more!

We didn't plan to have back to back episodes on West Virginia but here we are. Substantive Cinema is back and this may be our most obscure film pick yet, but it's a great one! Matewan (1987 Dir. John Sayles) is a historical drama about the labor strikes in a WV coal mining town that lead to a bloody shootout in the streets. Not only is it an excellent film (with an Oscar nomination for Haskell Wexler's cinematography), but it's also a good history lesson for those of us who didn't grow up in West Virginia and were not taught about it in school. Unions and workers rights will likely be the topic of a future Reflects episode and we thought this might be a nice way in as well as nice introduction to an underappreciated film. And since it's not the easiest movie to track down, we'll be giving away a Criterion Blu-ray to one lucky listener. Stay tuned on socials! Article: https://www.criterion.com/current/posts/6664-matewan-all-we-got-in-common Previous SC episodes: https://letterboxd.com/philipmarinello/list/substantive-cinema/ Shoutouts: Philip: Small Things Like These by Claire Keegan https://www.amazon.com/Small-Things-These-Claire-Keegan/dp/0802158749/ref=sr_1_1?crid=28FWNWV4Q91JQ&keywords=small+things+like+these+claire+keegan&qid=1673661960&sprefix=small+thi%2Caps%2C113&sr=8-1 Trevor: Men in Blazers podcast https://podnews.net/podcast/ibxl/listen Remember, if you like the show, share it with your friends! Follow Us: www.thesubstancepod.com www.instagram.com/thesubstancepod www.twitter.com/thesubstancepod www.facebook.com/thesubstancepod https://www.youtube.com/channel/UCyJ1Bgzq17PDNiAR1pnDXcw Share Your Questions/Suggestions/Feedback With Us: Email: thesubstancepod@gmail.com Phone: 913-703-3883 Support Us: Support the show with an individual donation on CashApp to $TheSubstancePod or become a monthly supporter at the Anchor link below! https://anchor.fm/thesubstancepod/support --- Support this podcast: https://anchor.fm/thesubstancepod/support

Mark Rozzo's astute and engaging new book Everyone Thought We Were Crazy: Dennis Hopper, Brooke Heyward, and 1906s Los Angeles, published by Ecco Press, documents the lives of Hopper and Hayward in the heyday as New Hollywood's It couple but also paints a panoramic landscape of the Los Angeles scene in the Sixties.Rozzo poignantly captures the vivacity of the heady days in the early 1960s, just as the underground culture of the Beat Generation was about to explode into the mainstream counterculture of the latter part of the decade—the sex, drugs and rock ‘n' roll mantra was born in the late 1960s.Sixties Los Angeles was a new center of gravity in culture; there was a new consciousness, a West Coast symmetry between art, underground cinema, music and civil rights that had never happened before, and has never happened since. Hopper and Hayward were not only up-and-coming actors in the early 1960s, they were also cross-cultural connectors who brought together the best of underground Los Angeles art, music and politics, under one roof—literally—1712 N. Crescent Heights in the Hollywood Hills. This modest Spanish Colonial was the meeting ground, as Rozzo illustrates, for a who's who of that time: Jane Fonda, Andy Warhol, Joan Didion, Jasper Johns, Tina Turner, Ed Ruscha, The Byrds and the Black Panthers.Their art collection, showcased at this house on Crescent Heights, as well as the house itself, is the backdrop of Everyone Thought We Were Crazy. Rozzo tells the story in a straight-forward, dual narrative, that helps fill in large parts of Brooke's story, which compared to Hopper's, hasn't been as well documented or explored in other books. Rozzo finds the right balance.As a decade-ending benchmark, Hopper's directorial debut Easy Rider became the emblematic proto-New Hollywood independent film, alongside Haskell Wexler's Medium Cool. These films help illustrate the promise and loss of that generation and that era. There isn't a happy ending in those films or in Hopper's marriage to Heyward, unfortunately—the couple divorced in 1969 just at Easy Rider was about to make cinematic history.After the divorce, Brooke eventually sold the house, broke up the art collection and moved back to New York, where she still resides. Hopper died in 2010.Rozzo's wide view of Los Angeles in the 1960s is essential reading for anyone interested in the unvarnished history of that period.Here's my conversation with Mark Rozzo discussing the life and times of Dennis Hopper and Brooke Hayward.Reading by Mark Rozzo.Music by Love.

Dominic and Steven reconsider Medium Cool (1969) and continue their discussion of films with moving cameras in episodes 14-16. This American cinéma vérité film was directed, shot and scripted by Haskell Wexler, who extensively used handheld cameras before the era of Steadicam technology, partly to track the violence surrounding the Democratic National Convention of 1968 in Chicago. Hosted on Acast. See acast.com/privacy for more information.

This week on Talk World Radio we're talking about world citizenship. Our guest, Arthur Kanegis, is President of Future WAVE, Inc., a nonprofit organization dedicated to shifting our culture of violence to a culture of peace. He is the Director/Producer of "The World Is My Country" about the amazing adventures of World Citizen # 1 Garry Davis. Kanegis produced "War Without Winners" narrated by Paul Newman and filmed by Haskell Wexler -- a compelling TV documentary on the nuclear war issue. He also worked on the 1983 most watched ever made-for-television production called "The Day After" which Ronald Reagan credited with moving him to negotiate and sign weapons reduction agreements.

This week on Chasing Artists with XENJA we chat with actor Ian Ruskin about his three solo shows on the lives of Harry Bridges, Thomas Paine, and Nicola Tesla. Guest Bio Ian is a graduate of the Royal Academy of Dramatic Art. He founded The Harry Bridges Project in 2000 and has written, performed and produced many plays and radio and film documentaries, including From Wharf Rats to Lords of the Docks about labor leader Harry Bridges. He has performed the play over 250 times to approximately 50,000 people, including the English and Scottish Houses of Parliament. The film version, directed and shot by multi-Academy Award winner Haskell Wexler, aired nationwide on PBS for 4 years, making the film available to 150 million Americans. He has completed a new radio documentary A Wild Woman Sings the Blues about the life and work of Barbara Dane and is working on a treatment for a feature film based on the 1934 San Francisco General Strike. His play To Begin the World Over Again: the Life of Thomas Paine continues his mission to present the stories of forgotten and misunderstood heroes from American and European history. Performances have included The American Philosophical Society, Harvard Law School, Conway Hall in London, the Annual Meeting of the Organization of American Historians and in Boston's Faneuil Hall. NETA distributed the film of a live performance, also shot by Haskell Wexler, and 180+ stations aired it in 2017 and 2018. He has also completed and began performing his new one-man play about “the man who invented the 20th century” Nikola Tesla. Magic and Lightning: into the Mind of Nikola Tesla. Venues have included The American Philosophical Society and Theatre West in Los Angeles.  Links to Guest http://www.ianruskin.org/  http://theharrybridgesproject.org/index.html http://www.thelifeofthomaspaine.org/ http://www.theteslaproject.org/ https://www.youtube.com/watch?v=ysfz71XihXQ&t= https://www.youtube.com/watch?v=3uKn37_WPoY Links to XENJA @iamxenja www.xenja.org www.xenja.bandcamp.com Produced by XENJA Music by XENJA Audio Editing by High Noon Audio

Stay up to date on new episodes, and detailed info on all the topics we discuss:http://producershappyhourgroup.com/In This Episode:IATSE is about to issue a Nationwide Strike Authorization vote with regard to it's failed contract negotiations with the AMPTP.https://www.hollywoodreporter.com/business/business-news/iatse-may-call-for-a-strike-1235018080/In 2006 Haskell Wexler directed a documentary called “Who Needs Sleep?” that focuses on the dangerous conditions that film crews work under as they pull 16+ hour days on set. Catch it free on Vimeo:https://vimeo.com/63127085Don't miss Office Hours with Sister and Lawrence. If you are new to the industry and have a question, or you are stuck in your career and need some advice, reach out to us. We'd be more than happy to have a chat. Email us at producershappyhour@gmail.comTopics: Unions, Labor, Shooting Hours, Set SafetyCreditsChristopher Daniels - Artwork DesignCreative Director & Treatment Designerwww.misterstyles.comKyle Puccia - Music ComposerFilm & Theater Music Composerwww.kylepuccia.comEric Beels - Editorhttps://www.difmix.com/Follow The HostsSister ChristianInsta: @sisterchristianrocksWebsite: www.sisterchristianproduces.comLawrence T. LewisInsta: @lawrenceltlProducing: www.lawrencetlewis.comVoice Over: www.voiceoflawrence.comFollow The ShowWebsite: www.producershappyhour.comInsta: @producershappyhourFacebook: producershappyhourgroup.comLinkedin: www.linkedin.com/groups/13819792/Share Your StoryEmail: producershappyhour@gmail.com

Temos crossover no PFC! Alexandre e Fred recebem os integrantes do Podcast "Cinefilia & Companhia", Hugo Harris e Juliana Varella, para um bate papo sobre o segundo filme do americano Terrence Malick, o belíssimo "Cinzas no Paraíso" (Days of Heaven, 1978). Estrelado por Richard Gere, Brooke Adams e Sam Shepard, o filme foi fotografado por dois excelentes diretores de fotografia do período (Néstor Almendros e Haskell Wexler) e o resultado é uma festa para os olhos, conduzida pela narrativa muitas vezes fragmentada do roteiro original de Malick. Ao mesmo tempo que sua história se relaciona com o clássico filme de época americano, a linguagem de Malick dialoga mais com as práticas da Nova Hollywood, o que torna este filme diferente de muitos outros de seu período. ---------------------- Acesse nosso site: http://www.filmesclassicos.com.br Acesse nossa página no Facebook : https://www.facebook.com/podcastfilmesclassicos/ Nos procure no seu aplicativo de podcast do celular, no Spotify, YouTube, Anchor ou iTunes.

Who's the Bossk? - A Star Wars Podcast from Laughing Place #65: Latino and LEGO Masters Date: June 14th, 2021 (recorded June 13th) Listen Topics Host Mike Celestino catches up on his yearlong Lucasfilm 50th anniversary retrospective with a self-led discussion of Haskell Wexler's 1985 war film Latino. Also, a new regular segment is introduced to "Who's the Bossk?" wherein that week's eliminated contestants from FOX's reality competition series LEGO Masters are interviewed on the show. Plus this week's Star Wars headlines and more! Subscribe iTunes Google Spotify

Who's the Bossk? – A Star Wars Podcast from Laughing Place #65: Latino and LEGO Masters Date: June 14th, 2021 (recorded June 13th) Listen Topics Host Mike Celestino catches up on his yearlong Lucasfilm 50th anniversary retrospective with a self-led discussion of Haskell Wexler's 1985 war film Latino. Also, a new regular segment is introduced to […] The post Who's the Bossk? – Episode 65: Latino and LEGO Masters appeared first on LaughingPlace.com.

Docuseries are gaining more popularity due to the initiative of some filmmakers to use the storytelling format. Alan Jacobsen is a cinematographer who works on narrative and documentary projects with an authentic, natural eye and sensitive curiosity. His camera work is masterful, intuitive and intimate, capturing the sensory story in each powerful frame. He studied film at New York University and minored in architecture and urban studies, which gives him a full spectrum of how to think of a frame in a scene. After school, he worked for several years as a technician in the electrical department until he found documentary cinematography as a place to develop his full potential. Alan gained recognition in 2018 for Strong Island, which was nominated for the 2018 Academy Award for Best Documentary and won the 2018 Emmy Award for Outstanding Merit in Documentary Film.Here is what you’ll learn:What made Alan Jacobsen want to break into the film industry.A summer camp where he did TV production and fell in love with cameras and photography.His pivot towards documentary cinematography after working for several years as a technician in electrical departments.How his knowledge of architecture helps him appreciate forms, shapes, balances and symmetry.Differences between lighting in documentaries and narrative films.Marshall Curry’s technique of thinking of a documentary scene as if it were a narrative scene.Alan's favorite movies; Nashville by Robert Altman, Medium Cool by Haskell Wexler, and Koyaanisqatsi by Godfrey Reggio.Why working with your idols is not the best idea.Alan's preference for movies that trust audiences enough to give them a role in storytelling, where they not only receive, but contribute. To learn more about Alan, follow him on Instagram, or visit his website.Interested in knowing more about the show? Follow:Instagram: @kino_societyFacebook: @KinoSocietyWebsite: https://www.kinosociety.com/

Bart & Jenna dive into the work of Haskell Wexler – one of the few true auteur cinematographers who got a great start in the 1960s. From Kazan’s nominated America America, to a heated debate on the iconic Who’s Afraid of Virginia Woolf?, bursting into color with In the Heat of the Night, and culminating with Medium Cool – a hybrid film that incorporates almost every trick he learned from the decade.

Born in a small Minnesota town straight out of a David Lynch film, Chad Ferrin spent his formative years on a farm. The brutal winters, social isolation and exposure to violent animal slaughters influenced the predatory and survivalist themes he would later explore cinematically. In 1988, Ferrin sold his home in Minnesota to finance his first film, UNSPEAKABLE. Lloyd Kaufman, president of notorious genre production house Troma Entertainment, took a personal interest and distributed the film. After a multi-year relationship producing, writing and directing for Troma, Ferrin sold his 1968 1/2 Ford Mustang to finance his independent hit, THE GHOULS. Called “Haskell Wexler’s MEDIUM COOL revisited”, hailed by Variety and a winner of numerous international festival awards, THE GHOULS was an underground commercial and critical success. Ferrin immediately followed up with EASTER BUNNY, KILL! KILL!, a film teeming with dark humor and social commentary in the vein of Russ Meyer and Dario Argento. In 2009, SOMEONE’S KNOCKING AT THE DOOR took the festival circuit by storm with tried-and-true psychedelic grind-house style. In 2015 Ferrin was hired to bring the acclaimed graphic novel THE CHAIR to the screen. The success of that collaboration with producer Robert Rhine was followed up on the Fantasia Festival hit PARASITES and the gonzo, horror comedy EXORCISM AT 60,000 FEET. His latest feature "The Deep Ones" will be opening on April 23rd at the Laemmle NOHO 7. Watch the trailer here: vimeo.com/519644453

Newton Thomas Sigel is an accomplished Hollywood Cinematographer who has been at it for 40 years. Getting his start with Haskell Wexler on documentaries, shifting to Second Unit work with Oliver Stone, and then transitioning into DP work on a plethora of feature films after that. Some of his films include The Usual Suspects, Bohemian Rhapsody, Drive, Extraction, Da 5 Bloods,  a slew of the X-Men films with Brian Singer, Valkyrie, Cherry, Fallen, and many more. 

On this edition of Parallax Views, legendary writer and filmmaker John Sayles joins us to discus his new novel Yellow Earth and other assorted topics of interest. For the uninitiated, John Sayles is an Academy Award-nominated screenwriter and Golden Globe-nominated filmmaker whose social conscious cinematic credits include 1980's highly influential Return of the Secaucus 7, the critically-acclaimed 1987 coal miner union drama Matewan, 1991's City of Hope, 1992's award-winning Passion Fish, the star-studded 1996 neo-western mystery Lone Star, 1997's Men With Guns, and 2010's Philippine-American War period dram Amigo among others. Additionally, John is an accomplished short story writer and novelist whose books include Pride of the Bimbos (1975), Union Dues (1977), The Anarchists' Convention (1979), Los Gusanos (1991), and A Moment in the Sun (2011).John joins us on this edition of Parallax Views to discuss his latest novel Yellow Earth (2020; Haymarket Books), which details the volatile social changes that occur in a small town in the aftermath of a shale oil boom. A timely novel that deals with the subject of fracking, John tells us the basic plot of Yellow Earth as well giving some details on the issues that arise from fracking and the economic impacts of boom-and-bust cycles that effect people in his story as well as real life. John and I then discuss some biographical details of his life, including being raised in Schenectady, New York. We then talk about John's thoughts on film school and how gaining experiences outside of the film world is invaluable. Additionally John and I talk a little about his coal mine union drama Matewan, his involvement in the subversive world of Roger Corman "B-Movies", the monster movie he wrote called Alligator (1980), the Ayn Rand-inspired character in Yellow Earth and why Rand's philosophy of Objectivism is so attractive to some people, what keeps him from giving into cynicism, working with the legendary cinematographer Haskell Wexler, and much more. SUPPORT PARALLAX VIEWSON PATREON! FORBONUS CONTENTANDARCHIVED EPISODES! ANDCHECK OUT OUR SPONSOR: FAILED STATE UPDATEANEW PODCASTFROMJOURNALISTJOSEPH FLATLEY

Phedon Papamichael's latest project is The Trial of the Chicago 7, written and directed by Aaron Sorkin. The bulk of the story centers on the 1969 trial of seven men accused of inciting a riot in the park outside of the 1968 Democratic National Convention in Chicago. In Phedon's view, a film is actually made three times: it's conceived in the writing process, developed during principal photography, then reinvented and finalized in the editing process. When working with a director and writer like Aaron Sorkin, the way the film is scripted is exactly what he wants to see on the screen. The person speaking must be on camera, and specific shots are needed to sync with the rhythm of his words, like a poem. Sorkin is not a technical filmmaker, and after their initial meeting, Phedon knew Sorkin would rely heavily on him for creating the visuals. Since the majority of the action takes place in the courtroom, Phedon had to generate visual interest, making sure they had the right lenses and angles to enhance the drama, and to get good reaction shots of the jury and spectators. He used the lighting within the courtroom to enhance the moods and tension, and adjusted the light coming through the windows to reflect the changing seasons. When shooting the protests in the park and the violent clashes with the police, the camera crew went hand-held documentary style. Some of the footage from the protests was actually intercut with real footage taken from a film called Medium Cool, a combination documentary/fiction film by famed cinematographer Haskell Wexler, who shot actual footage of the riots in the park from the 1968 Democratic National Convention. You can watch The Trial of the Chicago Seven streaming now on Netflix. Find Phedon Papamichael: https://www.phedonpapamichael.com/ Instagram: @papa2 Sponsored by Hot Rod Cameras: www.hotrodcameras.com IT'S A BOOK GIVEAWAY! Enter to win the Video Palace book- Video Palace: In Search of the Eyeless Man Collected Stories- signed by our host, Ben Rock, who also authored one of the stories! The book expands the world of the Video Palace podcast that Ben directed for Shudder. http://videopalace.shudder.com/ TO WIN: SUBSCRIBE to our YouTube channel, LIKE and COMMENT on the "How To Vote" breakdown we just posted! We will randomly select a winner from the comments. We're expanding and adding to our YouTube channel, so look for new content there, too! https://www.youtube.com/channel/UCNQIhe3yjQJG72EjZJBRI1w Find out even more about this episode, with extensive show notes and links: http://camnoir.com/ep96/ Website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

We're finishing up our look at the Best Picture nominees of 1967 with the winner, Norman Jewison's detective potboiler In the Heat of the Night, starring Sidney Poitier as a brilliant detective and Rod Steiger as the racist police chief who needs his help. Join in as we look at our favorite movie desserts, this movie's strange marketing, Haskell Wexler's revolutionary cinematography, Quincy Jones's score, a TV spinoff, and obvious comparisons to Green Book. Plus: How can Will get rid of VHS tapes? Where does this fit into Poitier's filmography (and political career?!?)? Why was the town's name changed from the one in the book? How did this low-budget film get access to a train? And, most importantly, is the diner going out of business because of Ralph's pie hoarding? Make sure to rate, review, and subscribe! Next week: The Towering Inferno (1974) --- Send in a voice message: https://anchor.fm/we-love-the-love/message

Welcome back to the Art of the Shot podcast! I took a little mid-season break because of the pandemic, but rest assured that the Art of the Shot is alive and well. The past few months have been fruitful and I’m happy to bring you some great new episodes in the coming weeks. This episode features Oscar-nominated cinematographer, Newton Thomas Sigel, ASC, the man responsible for lensing modern classics like The Usual Suspects and Drive, as well as Three Kings, 4 movies in the X-Men series, Bohemian Rhapsody, and the recent Netflix hit film, Extraction—the most watched Netflix film yet. Tom and I have a really deep conversation that delves into some of his amazing life experiences, his approach to lighting, thoughts on the art and craft of cinematography, and many details on shooting his latest film, Da 5 Bloods, for director Spike Lee. Listen and you will discover: —Tom's thoughts on this time we're in, having grown up in Detroit during a similar period of American history. (00:04:30) —How Tom got his career started. (00:17:40) —How Tom became the first person to film the Contras in Nicaragua and then became mentored by Haskell Wexler, ASC. (00:24:41) —Difference between a pro and a master and Tom's thoughts on what it takes to become a master of the craft. (00:29:47) —Tom's general approach to lighting and some lighting techniques. (00:45:06) —Difference between natural lighting and realistic lighting. (00:50:07) —Film vs digital and why digital is much more forgiving. (00:55:35) —The state of the art today and the challenge of making great images when it's increasingly easy for anyone to make good images. (00:57:30) —Democratization of visual storytelling and making an impact amidst overwhelming noise. (01:01:02) —Tom’s process of manipulating light to create the impression of naturalism. (01:03:38) —How some of the shots were created in Da 5 Bloods. (01:06:12) —How Tom got involved with Da 5 Bloods. (01:09:17) —Tom's experience of shooting in Vietnam, having grown up during the Vietnam War era and how that informed his visual choices. (01:14:14) —Reasons for choice of shooting 16mm reversal film. (01:17:57) —Camera and lenses used on Da 5 Bloods. (01:25:52) —Why the aspect ratio changes multiple times in the film. (01:26:47) —Use of the Arri Trinity over Steadicam. (01:28:52) —What it's like working with Spike Lee, Spike's process as a director, and what Tom has learned from him. (01:30:22) —How Tom played a role in the casting of Hugh Jackman as Wolverine in X-Men. (01:39:26) —Tom's favorite shot from his career thus far. (01:44:16) —The importance of being present on set and always looking for ways to serve the film. (01:47:31) —Advice for up-and-coming filmmakers and cinematographers. (01:50:07) If you haven't yet, please subscribe to be notified of future episodes, and share this podcast with others to help grow the show and spread the knowledge! And if you're on Apple Podcasts, a review would be very appreciated! Follow Art of the Shot: Instagram Facebook Twitter Derek Stettler: Instagram Newton Thomas Sigel, ASC: Instagram Da 5 Bloods trailer audio copyright Netflix, Inc. Used with permission courtesy of Netflix. --- Support this podcast: https://anchor.fm/art-of-the-shot/support

The cinematographer discusses “going up the river” for Spike Lee’s striking Vietnam War epic, creatively employing multiple formats for image capture.

Episode 213: The Crew's investigating a murder in the deep racist South while watching, In the Heat of the Night. This 1967 film was made during the civil rights movement and deals with racism better than lots of modern films. This is a masterpiece of a message film, wrapped in a genre story (murder mystery). The film won 5 Oscars six days after Martin Luther King Jr. was assassinated. The Crew discusses... If you like our music intro, head over to Soundcloud and hear more amazing music from aquariusweapon. Aquariusweapon can also be found on YouTube. Contact: themoviecrewe@gmail.com

On this edition of Parallax Views, legendary writer and filmmaker John Sayles joins us to discus his new novel Yellow Earth and other assorted topics of interest. For the uninitiated, John Sayles is an Academy Award-nominated screenwriter and Golden Globe-nominated filmmaker whose social conscious cinematic credits include 1980's highly influential Return of the Secaucus 7, the critically-acclaimed 1987 coal miner union drama Matewan, 1991's City of Hope, 1992's award-winning Passion Fish, the star-studded 1996 neo-western mystery Lone Star, 1997's Men With Guns, and 2010's Philippine-American War period dram Amigo among others. Additionally, John is an accomplished short story writer and novelist whose books include Pride of the Bimbos (1975), Union Dues (1977), The Anarchists' Convention (1979), Los Gusanos (1991), and A Moment in the Sun (2011).John joins us on this edition of Parallax Views to discuss his latest novel Yellow Earth (2020; Haymarket Books), which details the volatile social changes that occur in a small town in the aftermath of a shale oil boom. A timely novel that deals with the subject of fracking, John tells us the basic plot of Yellow Earth as well giving some details on the issues that arise from fracking and the economic impacts of boom-and-bust cycles that effect people in his story as well as real life. John and I then discuss some biographical details of his life, including being raised in Schenectady, New York. We then talk about John's thoughts on film school and how gaining experiences outside of the film world is invaluable. Additionally John and I talk a little about his coal mine union drama Matewan, his involvement in the subversive world of Roger Corman "B-Movies", the monster movie he wrote called Alligator (1980), the Ayn Rand-inspired character in Yellow Earth and why Rand's philosophy of Objectivism is so attractive to some people, what keeps him from giving into cynicism, working with the legendary cinematographer Haskell Wexler, and much more. SUPPORT PARALLAX VIEWSON PATREON! FORBONUS CONTENTANDARCHIVED EPISODES! ANDCHECK OUT OUR SPONSOR: FAILED STATE UPDATEANEW PODCASTFROMJOURNALISTJOSEPH FLATLEY

Newton Thomas Sigel, ASC photographed Bohemian Rhapsody, the exquisite portrait of Freddie Mercury, the rock band Queen, and their extraordinary appearance at the Live Aid concert of 1985. Sigel went on to earn a Best Cinematography nomination for his work on the film at the 2019 EE British Academy Film Awards. Bohemian Rhapsody also took home the 2019 Golden Globe for Drama Motion Picture, along with Rami Malek nabbing a multitude of accolades -- including an Academy Award -- for his portrayal of Freddie. Having completed Dhaka in early 2019, the action-packed Chris Hemsworth starrer produced by the Russo Brothers, Sigel also recently wrapped principal photography for director Spike Lee’s upcoming war drama, Da 5 Bloods. Since the early days of his career, Sigel has earned a powerful position amongst visual storytellers starting with his work on cult classic The Usual Suspects for director Bryan Singer. The two went on to collaborate on nine more films, including the X-Men movies, Superman Returns and Valkyrie. Sigel’s seminal use of exotic film stocks and innovative negative processing methods on Three Kings laid the foundation to new avenues of cinematography. In 2010, he photographed Nicolas Winding Refn’s Hollywood debut, Drive, which won the Best Director Award at Cannes and is universally praised for its dazzling look. Other credits include: Bob Rafelson’s dark noir tale Blood & Wine starring Jack Nicholson and Gregory Hoblit’s Fallen, starring Denzel Washington. Sigel then went on to photograph Confessions of a Dangerous Mind and Leatherheads with longtime collaborator George Clooney; Terry Gilliam’s The Brothers Grimm; Alan Ball’s directorial debut, Towelhead; and Reginald Hudlin’s Marshall, starring Chadwick Boseman as the United States’ first black Supreme Court Justice. Notably, Sigel has also collaborated with Master Yuen Wo-Ping, the Grandmaster of Martial-Arts Cinema, on Crouching Tiger, Hidden Dragon; with Robert Redford on The Conspirator; and with Halle Berry on Frankie and Alice. In addition to his cinematography credits, Sigel directed HBO’s Point of Origin, as well as co-directed The Big Empty, starring Selma Blair, with his wife J. Lisa Chang. Sigel began his artistic career as a painter and experimental filmmaker while studying at the Whitney Museum of American Art in New York City. He transitioned to documentaries while covering the Central American wars of the 1980s, which included working on the Academy Award-winning Witness to War: Dr. Charlie Clements and When the Mountains Tremble. Catching the eye of legendary filmmaker Haskell Wexler, Sigel got his first narrative opportunity on Latino, a film based on Sigel’s own experiences while photographing Nicaragua: Report From the Front. The documentary chronicled the front lines of the war in Nicaragua from both sides of the conflict, becoming the first film to ever capture the contras. This led to second-unit work with Oliver Stone on Platoon and Wall Street. Sigel is a member of the American Society of Cinematographers, the Director’s Guild of America and the Academy of Motion Picture Arts and Sciences. He is based in Los Angeles and is represented by UTA.

episode notesCinematographer Style Volume 1 and 2 - Jon FauerInterviews with some of the best DPs like Roger Deakins, Bill Pope, Nancy Schreiber, John Seale, Haskell Wexler, Gordon Willis, and many more.The 5 Cs of Cinematography - Joseph V. MascelliCamera angle, continuity, cutting, close-up, and compositionCinematography: Theory and Practice - Blaine BrownMaster Shots - Christopher KenworthyGreat examples for setting up scenes with camera angles and blockingLighting for Cinematography - David LandauFilm Lighting: Talks with Hollywood's Cinematographers and Gaffers - Kris MalkiewiczInterviews with Janusz Kaminski, Matthew Libatique, Rodrigo Prieto, Harris Savides, and many more.

Joan Cerio welcomes producer/director Arthur Kanegis who discusses his movie, "The World is My Country," and how we, the people, have the power to save our world. The film tells the riveting story of World Citizen #1 Garry Davis - a man lauded by Albert Einstein for grasping the key to whether the human species goes extinct by our own actions or whether we continue to exist. Martin Sheen introduces Garry's story as "a roadmap to a better future." Watch Arthur's movie and discover if you have inside of you the key to humanity's next great leap - a way we can really save our environment, outlaw war, and build a workable world. The website for his movie is https://www.theworldismycountry.com. Writer/producer/director Arthur Kanegis founded Future WAVE, a non-profit which aims to shift our culture of violence to a culture of peace. He produced "War Without Winners" with Paul Newman, shot by Haskell Wexler, and did the nuclear war research for the ABC TV special "The Day After." He produced documentaries for the American Friends Service Committee and The Center for Defense Information. 

054: Top Five Films of 1969  2 Guys 5 Movies is wrapping up the year with a series of decennial lists, starting with the year of 1969. Frank has chosen his top five of that year, which includes a number of classics: the Dustin Hoffman/Jon Voight movie, Midnight Cowboy, Nagisa Oshima’s Japanese crime drama, Boy, Sam Peckinpah’s western masterpiece, The Wild Bunch, the true crime thriller, The Honeymoon Killers, and famed cinematographer Haskell Wexler’s socio-political study, Medium Cool. If you are a fan of the podcast, there are other two important ways you can help us. First, you can please subscribe, rate, and leave a review on your podcast client. That not only would be useful to us for the feedback, but also help us receive more attention. Second, if you like your Facebook page, 2 Guys 5 Movies, it would be helpful to like or share our posts so others can learn about 2 Guys 5 Movies and decide if it is for them. Finally, if you have your own ideas for the podcast, you can also email us with list suggestions at 2guys5movies@gmail.com, and thank you all for listening and your support.

Robert Wallace Forster Jr (1941 - 2019) was an actor headed for big things. After kicking off his career on Broadway, Robert found his first gig on screen alongside Elizabeth Taylor, Marlon Brando, and getting career advice from John Huston. He would close out the 60s with Haskell Wexler’s critically acclaimed MEDIUM COOL. However, the next 25 years of his career would stall out with a string of forgetful projects with only a few gems along the way. It wasn’t until a fateful meeting with Quentin Tarantino in the mid 90s that career would find new life. Aaron and Brad take a class on Journalism 101 in MEDIUM COOL, search for Ramon the elusive sewer killer in ALLIGATOR, take a listen to The Delfonics in JACKIE BROWN, and more!

Cinematographer Newton Thomas Sigel has no style. No singular aesthetic, mood, or technique. Rather, his focus is on storytelling. From being the first to capture the Contras on film in Nicaragua to photographing the X-Men series and Superman Returns (2006), Sigel has worn many hats (and no, we’re not talking about his fedoras and baseball caps, although there are those, too). But his desire to pursue these projects of various genres and styles all stem from the same goal: to delve into what makes humans human. Born and raised during a time of tense racial relations in Detroit, Sigel learned to look at the world through a political lens early in his youth, which later led to his pursuing social-minded documentaries. When his family moved from Detroit to Buffalo, Sigel got involved in a developing media-study program there, his first foray into the field. Since then, he has worked on dozens of films. He is perhaps best-known for his work on Drive (2011) and Three Kings (1999), and, of course, for his first collaboration with director Bryan Singer, on The Usual Suspects (1995). Sigel most recently worked with Singer in 2018—their tenth film together—on a celebratory biopic of Queen, Bohemian Rhapsody, which was nominated for a BAFTA (British Academy of Film and Television Arts) award for best cinematography. On this episode of Time Sensitive—recorded shortly after his arrival back in the U.S. from Vietnam, where he was the director of photography on Spike Lee’s Da 5 Bloods (to be released in 2020)—Sigel shares with Andrew Zuckerman his early years in SoHo’s vibrant art community, his earning a metaphorical film degree by working for the legendary Haskell Wexler, and how he convinced Warner Brothers to create a movie using cross-processed film.

John Barbour John Barbour is a showbiz legend. He worked with Frank Sinatra. He interviewed such figures as boxer Muhammad Ali, gangster Mickey Cohen, Ronald Reagan, Jane Fonda, and American labor leader Cesar Chavez among others. He helped create reality TV in 1979 with the groundbreaking show Real People. He was a player in the 1960's "sick humor" comedy circuit alongside greats like Redd Foxx, Dick Gregory, and Lenny Bruce. And now he's telling his story in a funny, warm, and comprehensive autobiography entitled Your Mother's Not a Virgin!: The Bumpy Life and Times of the Canadian Dropout Who Changed the Face of American TV! John joins us UNLEASHED and UNCENSORED to discuss his life and times. He doesn't mince words and speaks his mind at all times. He may surprise you. He may upset you. He may make you laugh. But, if you're like me, you'll never find him boring. We discuss a number of topics in this conversation including his take on Quentin Tarantino's latest movie Once Upon a Time in Hollywood, coming to Hollywood during the heated cultural turmoil of America during the Cold War, his relationship with the legendary cinematographer and director Haskell Wexler, his role in creating reality television with the show Real People, and his involvement in 1960's stand-up comedy. You'll also hear John's takes on politics, something he's very passionate about and finds a way to interject into the conversation. Agree or disagree with those views, John is always an engaging speaker with a fascinating life story. YOUR MOTHER'S NOT A VIRGINBYJOHN BARBOURAVAILABLE NOW FROM TRINEDAY SUPPORT PARALLAX VIEWS ON PATREON!

Students for a Democratic Society (SDS) is a leftist student organization. It was founded in 1960, but originated in the Intercollegiate Socialist Society, which was founded in 1905. SDS rapidly grew and had more than 300 chapters in 1969, when it fractured into factions. Among other things, members of the organization disagreed about whether it should prioritize feminism, or anti-racist and anti-war activities. SDS still exists today, albeit in a much diminished form.One of the more radical elements of SDS was the Revolutionary Youth Movement (RYM), which split from SDS in 1969, and renamed itself "Weatherman," based on a line from the Bob Dylan song "Subterranean Homesick Blues": "You don't need a Weatherman to know which way the wind blows." Weatherman soon renamed itself the Weather Underground Organization and pursued increasingly radical and violent actions with the stated goal of Communist revolution. Among other things, the Weather Underground staged a riot in Chicago on October 8, 1969, which they dubbed "Days of Rage," broke Timothy Leary out of prison in 1970, and a string of bombings from 1969 through the 1970s, including a bombing of the Pentagon. Unsurprisingly, the FBI considered the Weather Underground a domestic terrorist organization, and the members of the group went underground in order to avoid arrest.By 1975, the Weather Underground was beginning to unravel. The radical documentary filmmaker Emile de Antonio convinced cinematographer Haskell Wexler and editor Mary Lampson to co-direct a documentary film about the Weather Underground. The result was Underground (1976), an 87 minute documentary in which members of the Weather Underground explains their ideas and political philosophy. Notably, Wexler filmed them from behind or through a screen, in order to conceal their identities. The members of the Weather Underground featured in the film include: Bill Ayers, Kathy Boudin, Bernardine Dohrn, Jeff Jones, and Cathy Wilkerson. Notably, De Antonio was relatively critical of the organization and its tactics.When the film was finished, the FBI tried to subpoena all of the material, but after considerable litigation, the subpoena was quashed, primarily on First Amendment grounds.Later in 1976, Folkways Records released the "soundtrack" of Underground as a 2xLP set. Here is the track list:A1Statement By The UndergroundA2Violence Is Necessary - H. Rap Brown, Malcolm X, M. L. King Jr., F. CastroA3The Viet War - Ho Chi Minh, N.T.Dinh, J. FordA4SDS, Chicago 1969, Days Of RageB1Attitudes Of The UndergroundB2Self CriticismB3Puerto Rico - "Mongo Affair" (Miguel Algarin)B4Making The FilmB5We Are Professional RevolutionariesB6The West 11th Street ExplosionC1Capitol Bombing - Returning MedalsC2Fear And CommitmentC3Class Origin And Class StanceC4The Publication Of The Praire FireD1Make Up Of Capitalistic Power & The New RevolutionD2The Prison Movement And AtticaD3It Is The People Who Make The ChangeD4We Are A Small OrganizationD5Interview At A L.A. Unemployment CenterD6Why We Are Communists & Speak Collectively See acast.com/privacy for privacy and opt-out information.

We were all very touched when watching this week's movie. This week, Robert and Ira are joined by therapist (not the-rapist) Kathy Wexler, daughter of film legend Haskell Wexler. They all sit down to discuss LEAVING NEVERLAND. Then, they talk about their Top 5 betrayal movies. Listen for free through iTunes, Stitcher, or GooglePlay. So, if you've ever been wined, dined, and 69'ed by Michael Jackson, then this pod's for you (and apparently that list is getting longer all the time)!

We were all very touched when watching this week’s movie. This week, Robert and Ira are joined by therapist (not the-rapist) Kathy Wexler, daughter of film legend Haskell Wexler. They all sit down to discuss LEAVING NEVERLAND. Then, they talk about their Top 5 betrayal movies. Listen for free through iTunes, Stitcher, or GooglePlay. So, if you’ve ever been wined, dined, and 69’ed by Michael Jackson, then this pod’s for you (and apparently that list is getting longer all the time)!

The Cinematography Podcast Episode 30 - Newton Thomas Sigel, ASC Over the past 5 decades, Newton Thomas Sigel has amassed an amazing filmography.  His work as a cinematographer is a veritable who's who of famous auteurs.  In this feature interview co-hosts Ben Rock and Illya Friedman dive into the craft behind such famous films as The Usual Suspects, 3 Kings, Drive, X-Men, Bohemian Rhapsody and Confessions of a Dangerous Mind. Check OutNewton Thomas Sigel - IMDBNewton Thomas Sigel - Instagram Illya's Short End is the TV Series Counterpart Season 2Ben's Short End is the 3900 Notebook Pages of Paul Klee   Podcast Credits: Episode SponsorsHot Rod Cameras Editor in Chief:  Illya FriedmanHost: Ben RockProducer: Alana KodeComposer: Kays AlatractchiEditior: Benjamin Katz Subscribe to the Podcast on iTunes or click on the link below to listen here

Today on Voices From the Frontlines - we learn that civil rights leader and Black Lives Matter activist and Founding member, Dr. Melina Abdullah faces 8 felony charges… Why are our civil rights leaders facing prosecution in “liberal” L.A., you ask??? Find out… Join your community members, and The Strategy Center on Thursday, February 8th, 9 a.m., at 210 W Temple St. Dept. 43. Los Angeles, Ca., as we fight for Melina and request that Los Angeles City Attourney Mike Feuer drop ALL charges against Dr. Melina Abdullah, because criminalizing and silencing black voices WILL NOT HAPPEN!!! To sign the petition requesting that Mike Feuer drop these charges please click bit.ly/freemelina. For more background on these charges, and Melina’s diligent stand for justice, please visit https://thelandmag.com/the-people-v-melina-abdullah/ Eric and Channing talk about the Bus Riders Union film with Ayuko Babu. Eric talks about his encounter with Haskell Wexler and the making of this film which addresses the challenges faced during the fight to end transit-racism. The film has films within it, vignettes of real people, doing the work, and whose individual stories   impact the overall narrative; Della Bonner - leader of Bus Riders union, Rosolio Mendiola, was a room-service waiter who was highly dedicated to the movement, and several others.  The Bus Riders film is in part a tribute to Haskell Wexlers legacy. Bus Riders Union film, Tuesday Feb 12th 6 p.m. during the Pan African Film Festival at Cinemark on the corner of MLK and Crenshaw. To request information write to infor@strategycenter.org, or visit www.paff.org for more details.  In closing Eric and Channing talk with Ayuko Babu about the new documentary about the late, great, Aretha Franklin on, called Amazing Grace, which airs opening night of the PAFF at the Directors Guild of America (DGA). Ayuko also mentions three, of many, powerful films that you must see… 1. Power To Heal - by Director Charles Burnett. It’s a story of the fight by the civil rights movement to fight to expand health care and the fight for medicare.  2. Dare to Dream - Cubas Latin American Medical School - Is the largest medical school in the world, training nearly 30,000 doctors since 1999. 3. Boss - The Black Experience in Business by Stanley Nelson; the struggle to create black business in America. The untold story of African American Entrepreneurship where skills, industriousness, ingenuity, and sheer courage in the face of overwhelming odds provided the back bone of nations economy and social growth.  Take a listen and join the revolution!!!

"Do you play?" Norman Jewison had worked with Steve McQueen on the film The Cincinnati Kid, so it was natural for him to immediately think of McQueen in the title role of The Thomas Crown Affair when he got the script. Luckily for him, McQueen was interested, as the part was vastly different from other types of people he’d played in the past. He worked opposite Faye Dunaway in her second major leading role, and the two created some amazing screen chemistry. Join us – Pete Wright and Andy Nelson – as we continue celebrating films from 1968 celebrating their 50th anniversaries as we kick off our 2018 Movies and Their Remakes series with Jewison’s The Thomas Crown Affair. We talk about the vibe of the film and look at how it fits in the late 60s, both in the world of cinema and in the world in general. We look at McQueen and Dunaway and how well they work together, even if the script by Alan Trustman seems a bit simple. We look at the jazzy way Jewison put the film together with cinematographer Haskell Wexler and editor Hal Ashby. We also discuss Pablo Ferro’s amazing contribution to the film through the magic of the multi-screen images seen throughout. And we talk about the film and how it was largely filmed in Boston, the first major film to do so. It’s a fun film that is a breeze to watch even if it’s a bit light on content, we still have a great time talking about it. So check it out then tune in! The Next Reel – when the movie ends, our conversation begins. Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel! Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! Watch this film: iTunes • Amazon • Netflix • Hulu • YouTube Script Transcript Original theatrical trailer Original poster artwork Christopher Chapman’s A Place to Stand Art of the Title Flickchart Letterboxd

"Do you play?" Norman Jewison had worked with Steve McQueen on the film The Cincinnati Kid, so it was natural for him to immediately think of McQueen in the title role of The Thomas Crown Affair when he got the script. Luckily for him, McQueen was interested, as the part was vastly different from other types of people he'd played in the past. He worked opposite Faye Dunaway in her second major leading role, and the two created some amazing screen chemistry. Join us – Pete Wright and Andy Nelson – as we continue celebrating films from 1968 celebrating their 50th anniversaries as we kick off our 2018 Movies and Their Remakes series with Jewison's The Thomas Crown Affair. We talk about the vibe of the film and look at how it fits in the late 60s, both in the world of cinema and in the world in general. We look at McQueen and Dunaway and how well they work together, even if the script by Alan Trustman seems a bit simple. We look at the jazzy way Jewison put the film together with cinematographer Haskell Wexler and editor Hal Ashby. We also discuss Pablo Ferro's amazing contribution to the film through the magic of the multi-screen images seen throughout. And we talk about the film and how it was largely filmed in Boston, the first major film to do so. It's a fun film that is a breeze to watch even if it's a bit light on content, we still have a great time talking about it. So check it out then tune in! The Next Reel – when the movie ends, our conversation begins. Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! Watch this film: iTunes • Amazon • Netflix • Hulu • YouTube Script Transcript Original theatrical trailer Original poster artwork Christopher Chapman's A Place to Stand Art of the Title Flickchart Letterboxd

Best Pick with John Dorney, Jessica Regan and Tom Salinsky Episode 16: In the Heat of the Night (1967) Released 29 August 2018. For this episode, we watched In the Heat of the Night, written by Stirling Silliphant, based on the the novel by John Ball. It was directed by Norman Jewison, produced by Walter Mirisch and edited by Hal Ashby, with music by Quincy Jones and cinematography by Haskell Wexler. It starred Sidney Poitier, Rod Steiger, Warren Oates, Lee Grant and Larry Gates. The film won five Academy Awards including Best Picture, Best Actor (Steiger) and Best Editing. Although nominated, Jewison did not win as director. Apologies for the poor sound quality for parts of this recording – we had some fairly serious technical issues. Book your tickets now for our first-ever live show, where we'll be watching Annie Hall. It's at Kings Place in London at 4:00pm on Sunday 9 September. Click here for tickets. Next time we will be discussing Around the World in Eighty Days. If you want to watch it before listening to the next episode you can buy the DVD or Blu-Ray on Amazon.co.uk, or Amazon.com, or you can download it via iTunes (UK) or iTunes (USA). To send in your questions, comments, thoughts and ideas, you can join our Facebook group, Tweet us on @bestpickpod or email us on bestpickpod@gmail.com. You can also Tweet us individually, @MrJohnDorney, @ItsJessRegan or @TomSalinsky. You should also sign up to our mailing list to get notified as soon as a new episode is released. Just follow this link: http://eepurl.com/dbHO3n

Although Hal Ashby directed a remarkable string of acclaimed, widely admired classics throughout the 1970s—HAROLD AND MAUDE, THE LAST DETAIL, SHAMPOO, COMING HOME, BEING THERE—he is often overlooked amid the crowd of luminaries from his generation. Amy Scott’s HAL is an exuberant portrait that explores that curious oversight, using rare archival materials, interviews, personal letters, and audio recordings to reveal a passionate, obsessive artist. Ashby was a Hollywood director who constantly clashed with Hollywood, but also a unique soul with an unprecedented insight into the human condition and an unmatched capacity for good. His films were an elusive blend of honesty, irreverence, humor, and humanity. Through the heartrending and inspiring HAL, you feel buoyedby Ashby’s love of people and of cinema, a little like walking on water. On camera interviews his many collaborators, including Oscar®-winning actors Lee Grant, Jane Fonda, Jon Voight, Louis Gossett Jr, Jeff Bridges and more recall how they were empowered by Ashby and granted them artistic freedom. Contemporary directors include Alexander Payne, Judd Apatow, Lisa Cholodenko, and David O. Russell attest to the quiet but powerful influence Ashby has had on their own filmmaking. Behind the camera colleagues Norman Jewison, Robert Towne, Haskell Wexler, and Pablo Ferro stand witness to Ashby’s brilliance as a filmmaker and the forces that led to his undoing.  Director Amy Scott joins us to talk about her artistic connection to Hal Ashby, as editor and director, and her desire to correct many of the lingering misperceptions of Ashby through her riveting and loving film about a true maverick. For news and updates go to: hal.oscilloscope.net

Best Pick with John Dorney, Jessica Regan and Tom Salinsky Episode 16: In the Heat of the Night (1967) Released 29 August 2018. For this episode, we watched In the Heat of the Night, written by Stirling Silliphant, based on the the novel by John Ball. It was directed by Norman Jewison, produced by Walter Mirisch and edited by Hal Ashby, with music by Quincy Jones and cinematography by Haskell Wexler. It starred Sidney Poitier, Rod Steiger, Warren Oates, Lee Grant and Larry Gates. The film won five Academy Awards including Best Picture, Best Actor (Steiger) and Best Editing. Although nominated, Jewison did not win as director. Apologies for the poor sound quality for parts of this recording – we had some fairly serious technical issues. Book your tickets now for our first-ever live show, where we’ll be watching Annie Hall. It’s at Kings Place in London at 4:00pm on Sunday 9 September. Click here for tickets. Next time we will be discussing Around the World in Eighty Days. If you want to watch it before listening to the next episode you can buy the DVD or Blu-Ray on Amazon.co.uk, or Amazon.com, or you can download it via iTunes (UK) or iTunes (USA). To send in your questions, comments, thoughts and ideas, you can join our Facebook group, Tweet us on @bestpickpod or email us on bestpickpod@gmail.com. You can also Tweet us individually, @MrJohnDorney, @ItsJessRegan or @TomSalinsky. You should also sign up to our mailing list to get notified as soon as a new episode is released. Just follow this link: http://eepurl.com/dbHO3n

Join us on a new series of shows that look at forgotten masterpieces of cinematic history!Haskell Wexler is arguably one of cinema's greatest cinematographers, but his debut feature, Medium Cool, is all but forgotten. Against the backdrop of the 1968 Democratic National Convention, Medium Cool blends scripted scenes with documentary footage with chilling and poignant results. Just Enough Trope co-host Diane Blumenfeld joins the show to parse the brilliance and chaos of this neglected classic!Follow us on Facebook and Twitter!http://www.facebook.com/craftdisserviceshttp://www.twitter.com/craftdisservice

Join us on a new series of shows that look at forgotten masterpieces of cinematic history!Haskell Wexler is arguably one of cinema's greatest cinematographers, but his debut feature, Medium Cool, is all but forgotten. Against the backdrop of the 1968 Democratic National Convention, Medium Cool blends scripted scenes with documentary footage with chilling and poignant results. Just Enough Trope co-host Diane Blumenfeld joins the show to parse the brilliance and chaos of this neglected classic!Follow us on Facebook and Twitter!http://www.facebook.com/craftdisserviceshttp://www.twitter.com/craftdisservice

For this episode of The Future Is A Mixtape, Jesse & Matt explore the paranoid dread and narcotic pull of Adam Curtis' most recent documentary of political-noir, HyperNormalisation. In 2 hours and 40 minutes, it charts the globe-hopping travails of terrorists, bankers, politicians and America's digital aristocracy--all of whom use humanity as pawns by promising simple stories to explain complex problems which can't be solved with “perception management” and pastel fairy-tales about “good vs. evil.” Considered by many to be the most talented and remarkable documentarian in Britain, Adam Curtis has weaved suspicion and suspense into a BBC career that stretches from 40 Minutes: Bombay Motel in 1987 (which explores the have and have-nots of the city) to his most recent film HyperNormalisation in 2016 (which explores how an entirely Russian condition has now passed into the wider-world). Curtis' documentary was released less than a month prior to the mind-gagging upset of Hillary Clinton's loss to Donald Trump, and the film increasingly speaks to a disenchanted, rat-fucked future of no-returns. Jesse & Matt will discuss what makes this “dank” film so compelling and deeply-felt, as well as what makes it, almost equally so, such an evasive work of art. Mentioned In This Episode: The Original Trailer for Adam Curtis' HyperNormalisation Vice: Watch Adam Curtis' Short Film,  Living in an Unreal World, Which Is Effectively a Non-Traditional Film Teaser for His Recently Released Documentary Watch Adam Curtis' HyperNormalisation at This Youtube Link (While It Lasts) Adam Curtis' Official Blog on BBC Adam Curtis' Biography on Wikipedia Internet Movie Database (IMDB) on Adam Curtis Radiohead Does Some ‘Cosmic Shit' with Supercollider--A Tribute to LHC NPR: “It's Locals vs. ‘PIBS' at the Sundance Film Festival” Bondage Power Structures: From BDSM and Spanking to Latex and Body Odors The Sun: “Japan's Weird Sex Hotels -- Offering Everything From Prison Cell Bondage to Vibrator Vending Machines” A Satire of Adam Curtis, The Documentarian: The Loving Trap The Hydra-Headed Tropes of Adam Curtis Films: Chris Applegate on Twitter: “Forget ‘HypernorNormalisation,' Here's Adam Curtis Bingo!” Why Is It That Matthew & Jesse Lack Real Whuffie: Tara Hunt's “The Whuffie Factor: Using the Power of Social Networks to Build Your Business” About New York's Most Legendary New Wave Band: The Talking Heads James Verini in The New Yorker: “The Talking Heads Song That Explains Talking Heads” Christian Marclay's The Clock at The LACMA Museum An Excerpt from Marclay's Film-Collage, The Clock Wired Magazine: “Film Clips of Clocks Round Out 24-Hour Video” A Youtube Excerpt of BBC News Coverage of Christian Marclay's The Clock Ken Hollings in BBC News: “What Is the Cut-Up Method?” William Burrough's “The Cut Up Method” in Leroi Jones' (Baraka) The Moderns: An Anthology of New Writing in America William Burrough's The Naked Lunch A YouTube Clip of Taking Down the Financial District: The Ending of Fight Club Chuck Palahniuk's Fight Club: A Novel Little Known X-Files' Spin-Off Pilot Episode of The Lone Gunmen Eerily Imagined A Plane Crashing Into The World Trade Center A Portrait by Gerard Malanga: “William Burroughs Takes Aim at NY's Twin Towers, from Brooklyn Bridge, 1978” Adam Curtis Documentaries Currently Found on YouTube: Pandora's Box (1992) The Living Dead (1995) Modern Times: The Way of All Flesh (1997) The Mayfair Set (1999) His Finest Achievement & Magnum Opus: The Century of the Self (2002) The Power of Nightmares (2004) The Trap: What Happened to Our Dream of Freedom (2007) All Watched Over By the Machines of Loving Grace (2011) Bitter Lake (2015) HyperNormalisation (2016) Talkhouse: “Tim Heidecker [from Tim & Eric Show] with Adam Curtis” Naomi Klein's Shock Doctrine Matthew Snyder's Syllabus & Course Theme for Fall of 2016: “Presidential Material” Jim Rutenberg in The New York Times: “Can the Media Recover From This Election?” Nate Cohn in The New York Times: “What I Got Wrong About Donald Trump” Nate Silver in FiveThirtyEight: “Why FiveThirtyEight Gave Trump A Better Chance Than Almost Anyone Else” People Pretended to Vote for Kennedy in Larger and Larger Numbers After His Assassination: Peter Foster in The Telegraph: “JFK: The Myth That Will Never Die” YouTube Clip of Alex Jones Getting Coffee Thrown onto to Him While in Seattle Fredrick Jameson on the True Nature of Conspiracy Theories in His Famous Work, Postmodernism, Or, The Cultural Logic of Late Capitalism (1992):The technology of contemporary society is therefore mesmerizing and fascinating not so much in its own right but because it seems to offer some privileged representational shorthand for grasping a network of power and control even more difficult for our minds and imaginations to grasp: the whole new de-centered global network of the third stage of capital itself. This is a figural process presently best observed in a whole mode of contemporary entertainment literature -- one is tempted to characterize it as "high-tech paranoia" -- in which the circuits and networks of some putative global computer hookup are narratively mobilized by labyrinthine conspiracies of autonomous but deadly interlocking and competing information agencies in a complexity often beyond the capacity of the normal reading mind. Yet conspiracy theory (and its garish narrative manifestations) must be seen as a degraded attempt -- through the figuration of advanced technology -- to think the impossible totality of the contemporary world system. It is in terms of that enormous and threatening, yet only dimly perceivable, other reality of economic and social institutions that, in my opinion, the postmodern sublime can alone be theorized. Perception Management: A Working Definition Adam Curtis' Remarkable Analysis of Neoconservatives and The Taliban in The Power of Nightmares (2004) The BBC Director's Finest Achievement & Magnum Opus: The Century of the Self (2002) Edward Bernays' Propaganda (Published in 1928) Haskell Wexler's Medium Cool (1968; Released on Criterion in 2013) Jaime Weinman in Maclean's: “The Problem With ‘Problematic'” Gore Vidal: A Working Biography James Kirkchick in The Daily Beast: “Why Did Gore Vidal and William Buckley Hate Each Other?” Morgan Neville's Best of Enemies: Gore Vidal vs. William F. Buckley Christopher Hitchens: A Working Biography The Future Is A Mixtape: Episode 004: “TDS: Terminal Dystopia Syndrome” Dave Eggers' Half-Burnt Satire & Confused Omelette: The Circle Strange Horizons: Estrangement and Cognition by Darko Suvin Takayuki Tatsumi in Science Fiction Studies (V:11; PII): “An Interview with Darko Suvin” David Graeber in The Guardian: “Why Is the World Ignoring the Revolutionary Kurds in Syria?” David Graeber on Real Media: “Syria, Anarchism and Visiting Rojava” InfoWar: “David Graeber: From Occupy Wall Street to the Revolution in Rojava” ROAR Magazine: “Murray Bookchin and The Kurdish Resistance” About PissPigGranddad in Rolling Stone: “American Anarchists Join YPG in Syria Fighting ISIS, Islamic State” The New York Magazine: “The DirtBag Left's Man in Syria: PissPigGranddad Is Coming Home from Syria” IMPORTANT CORRECTION: Matt's claim that HyperNormalisation--the term--came from two Russian brothers, Arkady and Boris Strugatsky, who were both Science Fiction authors, is DEAD wrong. The term "hypernormalisation" is taken from Alexei Yurchak's 2006 book Everything Was Forever, Until It Was No More: The Last Soviet Generation. Arkady and Boris Strugatsky: A Working Biography Guy Debord's Society Of The Spectacle (The Original 1967 Book) Guy Debord's Society Of The Spectacle (The 1973 Film on YouTube) Harold Bloom's The Anxiety of Influence: A Theory of Poetry Mike Davis' “Not a Revolution--Yet” {His Brilliant Multi-Causal Analysis of Why Donald Trump Won the Election} Jodi Dean on Why Facebook Crushes Complexity of Thought: “Communicative Capitalism and the Challenges of the Left” China Mieville in Socialist Review: “Tolkien - Middle Earth Meets Middle England” Thought Catalog: “14 Unexpected Ways Your Relationship With Your Parents Changes As You Get Older” The Atlantic: “12 Ways to Mess Up Your Kids” Tim Lott in the Guardian About Children's Ruthless Engagement with Irony: “Are Sarcasm and Irony Good for Family Life?” George W. Bush Telling Americans to Still Go Shopping with Their Families and Travel to Disneyland Ranker: “11 Ways Dying in Real Life Is Way Different Than Movie Deaths” David Graeber in Baffler: “Of Flying Cars and the Declining Rate of Profit” Jules Verne's Around the World in Eighty Days Steven Soderbergh's Ocean's Eleven & Twelve John A. Farrell in The New York Times: “Nixon's Vietnam Treachery” Peter Baker in The New York Times: “Nixon Tried to Spoil Johnson's Vietnam Peace Talks in ‘68, Notes Show” Brick Underground: “Stop Blaming the Hipsters: Here's How Gentrification Really Happens (And What You Can Do About It)” Matt Le Blanc's Episodes Chris Renaud's Dr. Suess' The Lorax (The Fucking Godawful Movie-Travesty) Dr. Suess' Brilliant Book on Ecology and Capitalism: The Lorax A Historical Guide in How Women's Rights Have Been Used in War as Seen in Katharine Viner's Essay in The Guardian: “Feminism as Imperialism” Zillah Eisenstein in Al Jazeera: “‘Leaning In' in Iraq: Women's Rights and War?” David Cortright in The Nation: “A Hard Look at Iraq Sanctions” Ricky Gervais' Extras: The Complete Series (On DVD) Annie Jacobsen's Area 51: An Uncensored History of America's Top Secret Military Base Salon Magazine: “The Area 51 Truthers Were Right” Christopher Guest's For Your Consideration How Adam Curtis Misunderstands Arab Spring, Occupy and Weirdly Ignores Bernie Sanders in Jonathan Cook's Essay in Counterpunch: “Adam Curtis: Another Manager of Perceptions” The Los Angeles Review of Books: Mike Davis on Occupy Wall Street in His Essay: “No More Bubblegum” Whuffie: A Working Definition Cory Doctorow Excoriates His Naive Idea of Whuffie in His Essay in Locus Magazine: “Wealth Inequality Is Even Worse in Reputation Economies” Dear Adam Curtis: Here's Some Actual, Real-Life Examples of Organizations Offering Alternatives to Our TDS World: The Next System Project Transition Town: United States IE2030 Open Source Ecology Democracy at Work Community Land Trust Network Democratic Socialists of America Corbyn's Labour Party Momentum: A New Kind of Politics The World Transformed Novara Media Marshal Ganz's Why David Sometimes Wins: Leadership, Organization, and Strategy in the California Farm Worker Movement Malcolm Gladwell's David and Goliath: Underdogs, Misfits, and the Art of Battling Giants John Lynch in Business Insider: “The Average American Watches So Much TV It's Almost a Full-Time Job” Kathryn Cramer in The Huffington Post: “Enough With Dystopia: It's Time For Sci-Fi Writers To Start Imagining Better Futures” Jeet Heer in New Republic: “The New Utopians” (an Overview of Kim Stanley Robinson's Works & Other Authors Using SF to Imagine a Better Future) Radiohead's Music Video for “Daydreaming” The New Yorker: “The Science of Daydreams” The Australian: “The Benefits of Lucid Dreaming” Anna Moore in The Guardian Explores Our Twenty-Year Relationship with Prozac: “Eternal Sunshine” Larry O'Connor in The Washington Free Beacon: “Ending the Starbucks ‘Pay-It-Forward' Cult, for America” Mimi Leder's Pay It Forward (Featuring Haley Joel Osment, Helen Hunt and Kevin Spacey) The Economist on BlackRock's Aladdin: “The Monolith and the Markets” Foundational Articles & Interviews With Adam Curtis: The Wire Magazine: “An Interview With Adam Curtis” Vice: “Jon Ronson in Conversation with Adam Curtis” Paste Magazine: “Adam Curtis Knows The Score: A List of Five Films”   Feel Free to Contact Jesse & Matt on the Following Spaces & Places: Email Us: thefutureisamixtape@gmail.com Find Us Via Our Website: The Future Is A Mixtape Or Lollygagging on Social Networks: Facebook Twitter Instagram

Awake 2 Oneness Radio with Arthur Kanegis, producer of the documentary film THE WORLD IS MY COUNTRY, on Friday July 21, 2017 at 7:00 PM EDT.  This show was pre-recorded. Click here to listen to the show. Writer/Producer Arthur Kanegis is President and Founder of Future WAVE, a non-profit organization that aims to shift our culture of violence to a culture of peace. He produced the Paul Newman movie War Without Winners, filmed by Haskell Wexler. He also researched the impact of nuclear war.for the ABC TV special "The Day After" which Ronald Reagan credits with convincing him that nuclear war was unwinnable. In 2001 he acquired exclusive rights to the life story of Garry Davis' story. To learn more about Arthur and the film The World Is My Country visit: https://www.theworldismycountry.com/

For the first time on ANOTHER LOOK, we are discussing a movement in cinema.  This is part 1 of 2 in our series on the movement in cinema titled American New Wave (also referred to as New Hollywood).  In this episode we discuss what is regarded as the film that kicked off this movement, BONNIE & CLYDE, and then we move to legendary cinematographer Haskell Wexler's directorial debut, MEDIUM COOL. E-mail anotherlookpod@gmail.com to give your choices for our special bonus episode for the end of the month. Let us know what movies you would like us to discuss.

Oscar-nominated actor Robert Forster joins the show to discuss his role in "London Has Fallen." The sequel to the highly successful "Olympus Has Fallen," Forster reprises his character of General Edward Clegg in this explosive tale of devastation and revenge. "London Has Fallen" hits shelves on Tuesday, June 14th. Devastation of a world capital and a revenge plan against an American president fuel the high-octane London Has Fallen, coming to Blu-ray™, DVD and On Demand on June 14, 2016 from Universal Pictures Home Entertainment. The sequel to the worldwide smash hit Olympus Has Fallen raises the stakes with non-stop action and suspenseful plot twists. The Blu-ray™ and Digital HD versions also include exclusive bonus features about the can't-miss thriller. In London Has Fallen, the stellar cast of Gerard Butler (300), Aaron Eckhart (The Dark Knight), Angela Bassett (American Horror Story), Robert Forster (Jackie Brown), Melissa Leo (The Fighter), Radha Mitchell (Pitch Black), Sean O'Bryan (Vantage Point), and Morgan Freeman (Lucy) reprises their original roles from Olympus Has Fallen, joined by Alon Moni Aboutboul (The Dark Knight Rises), Jackie Earle Haley (Watchmen), Charlotte Riley (Edge of Tomorrow), and Waleed F. Zuaiter (Homeland). Babak Najafi directs London Has Fallen.When the British Prime Minster dies unexpectedly, Secret Service Agent Mike Banning (Gerard Butler) knows it is his duty to prep with Secret Service Director Lynne Jacobs (Angela Bassett) for them to accompany U.S. President Benjamin Asher (Aaron Eckhart) to the state funeral at St Paul's Cathedral in London. With every powerful world leader set to attend, the funeral should be the most protected event on Earth. Yet within moments of arriving, heads of government are assassinated and London landmarks are attacked. Asher, Banning, and Jacobs are ambushed and retreat amidst a hail of gunfire and explosives. The devastated British capital goes into lockdown. Banning will stop at nothing to secure Asher's safe return home. Back at the White House, Vice President Allan Trumbull (Morgan Freeman) races against time brainstorming with top advisors in the Situation Room to get those trapped in London a lifeline of support and a way out. Outnumbered and outgunned, Banning reaches out for help to an English MI6 agent (Charlotte Riley) who rightly trusts no one. Failure is not an option as they attempt to stop the criminals from carrying out the final phase of their revenge plan.BONUS FEATURES:The Making of London Has Fallen – An inside look at the massive undertaking of shooting such a large-scale film in London. Featuring interviews with cast and crew, this piece shows the unique challenges encountered on-set, director Babak Najafi's process, and the cast's inspiration for their characterizations.Guns, Knives & Explosives – Delve deeper into Gerard Butler's iconic character of Mike Banning, and the extensive training and preparation the actor needed to play a Secret Service agent. ABOUT ROBERT:Robert Forster (born July 13, 1941) is an American actor, best known for his roles as John Cassellis in Haskell Wexler's Medium Cool, and as Max Cherry in Quentin Tarantino's Jackie Brown, the latter of which gained him an Academy Award nomination for Best Supporting Actor. He has recently appeared as George Clooney's father-in-law in Alexander Payne's The Descendants.Forster was born Robert Wallace Foster, Jr. in Rochester, New York, the son of Grace Dorothy (née Montanarella) and Robert Wallace Foster, Sr., who worked as an elephant trainer for the Ringling Bros. and Barnum & Bailey Circus and later as an executive for a baking supply company. His mother was Italian American and his father was of English and Irish ancestry. The two divorced in 1949. As a tribute to his father, Forster hung one of his father's Barnum & Bailey Circus posters in the office of his character "Max Cherry" in the Quentin Tarantino film Jackie Brown.Forster completed his Bachelor of Arts degree in history at the University of Rochester, where he starred in student dramatic performances such as Bye Bye Birdie and, after initially intending to go on to study law, instead decided to forego his future legal career in favor of pursuing drama. He graduated with a B.A. in history in 1964.After acclaimed supporting performances in two major Hollywood films, one as Private Williams in John Huston's Reflections in a Golden Eye (1967), another as part-Indian Army scout Nick Tana in Robert Mulligan's The Stalking Moon (1968), Forster starred in the critically acclaimed 1969 film Medium Cool. After starring roles in the TV shows Banyon (1972) and Nakia (1974), he played mostly supporting roles in action and horror films including Disney's The Black Hole (1979). Forster had lead roles in cult B-movies in the 1980s like Alligator (1980), Vigilante (1983), The Delta Force (1986), and The Banker (1989). He was nominated for an Academy Award for Best Supporting Actor in 1997 for Jackie Brown, which he credits with reviving his career. He has since had consistent work in the film industry, appearing in Like Mike; Mulholland Drive; Me, Myself, & Irene; Lucky Number Slevin and Firewall, to name a few. He recently appeared in the made for television movie The Hunt for the BTK Killer, as the detective intent on capturing serial killer Dennis Rader. Forster also played the father of Van on the short-lived Fox series Fastlane.Forster recorded a public service announcement for Deejay Ra's 'Hip-Hop Literacy' campaign, encouraging reading of books by Elmore Leonard (he starred in the movie adaption of Leonard's book Rum Punch, Jackie Brown, for which he was nominated for an Academy Award for Best Supporting Actor). Forster is also a motivational speaker.He appeared in the hit NBC show Heroes as Arthur Petrelli, the father of Nathan and Peter Petrelli.Twice divorced, Forster is a father of four children. His eldest child, Kate Forster (born 1969), has worked as an actress, also appearing in Mulholland Drive.WWW.ROBERTFORSTER.COM

Join us for this week's episode of Cinematic Immunity with James Neihouse, A.S.C. as we talk about his experience training astronauts for the 70mm IMAX movie, "A Beautiful Planet". Along with his passion for adventure, space exploration and NASA, James has a great passion for education which made with the perfect candidate to work with NASA astronauts on how to photograph and troubleshoot IMAX cameras over the course of this film. After years shooting more than 30 IMAX films with topics ranging from the wonder of air flight to the destructive power of volcanoes. We also talk about his time working with the late Haskell Wexler as well as a few other war stories from along the way.

HASKELL WEXLER Décédé en Décembre 2015, Haskell Wexler, directeur photo légendaire, est le sujet idéal pour un pisode de l'Antiquaire. C'était un génie dans son domaine, précurseur et innovateur sur tout plein d'aspects, actant influent dans le cinéma États-Unien des années '70 et contestataire irascible ingouvernable. On parle de son mélange unique de réalité et de fiction, des projets qu'il a teinté de son génie et de sa relation avec son fils. Joignez-vous à nous dans cet exploration de la vie et la carrière de M.Wexler pour voir "comment" dire devient plus important que "quoi" dire. L'émission est dédiée à la mémoire de Guillaume Daoust. Merci.

HASKELL WEXLER Décédé en Décembre 2015, Haskell Wexler, directeur photo légendaire, est le sujet idéal pour un pisode de l'Antiquaire. C'était un génie dans son domaine, précurseur et innovateur sur tout plein d'aspects, actant influent dans le cinéma États-Unien des années '70 et contestataire irascible ingouvernable. On parle de son mélange unique de réalité et de fiction, des projets qu'il a teinté de son génie et de sa relation avec son fils. Joignez-vous à nous dans cet exploration de la vie et la carrière de M.Wexler pour voir "comment" dire devient plus important que "quoi" dire. L'émission est dédiée à la mémoire de Guillaume Daoust. Merci.

Hey everybody and welcome back to the first episode of the new season of Cinematic Immunity. Its been 18 months since we brought you the last episode so we figured to pick up the new season right where left off with Visual Effects Cinematographer Christopher Lee Warren. But before we get into that, Bryan and I just wanted to say thanks to all of you out there that have supported and continue to support us. Bryan Hart, who will be back with us live next week, sends his regards Wed like to give a special thanks to some friends out there in podcast land who have repped us and we appreciate it. Carl Olsen and his guest Rick Delgado from the Digital Convergence Podcast sent a major shout out last week, thanks for that fellas. Earlier this year in January, Jason Marin from the casting Light podcast rebroadcast the full episode of our interview with Haskell Wexler shortly after his passing. For those of you that don’t know, Haskell Wexler has been a part of film history and political action for over 5 decades and has had an amazing list of credits and achievements too long for me to list here. Jason, we thank you for making sure that that podcast got out there again. Haskell was our very first guest at the studio and we were happy to have had the time. All though at the time of his passing we had already begun recording interviews and were beginning to start the show up, we were not ready to start up the podcast engine just yet, so Jason, thanks for showing the love. And now, on with the show.

Host Paull Booth and The President of the A.S.C. Richard Crudo discuss the late Haskell Wexler. Wexler was awarded the Oscar two times and nominated on three other occasions. He was controversial, yet highly regarded.

Matthew Bannister on Glenn Frey - singer, guitarist and songwriter with The Eagles - who sold millions of albums in the 1970s. Lord Weidenfeld, the influential publisher, party giver and networker - and, in later life, rescuer of Christians from Syria and Iraq. The writer and activist Jeanne Cordova - a former nun who campaigned for lesbian rights. Haskell Wexler, the cinematographer who won an Oscar for the film "Who's Afraid of Virginia Wolf?". And Gilbert Kaplan, the multi millionaire businessman who conducted Mahler's "Resurrection" Symphony more than a hundred times.

One of the most acclaimed movies of 2015 tells the story of an ordinary encounter between two strangers in an ordinary Cincinnati hotel room. Less ordinary? They’re puppets. ANOMALISA, written and co-directed by Charlie Kaufman is an unusual – and ambitious – stop-motion animated film from the creator of SYNECDOCHE, NEW YORK. In this special fix edition of Filmspotting, Adam and Josh review ANOMALISA and note the passing of legendary cinematographers Haskell Wexler and Vilmos Zsigmond. 0:00-25:21 - Review: "Anomalisa"25:21-35:18 - Notes / Poll LINKS - Josh's Anomalisa review Learn more about your ad choices. Visit megaphone.fm/adchoices

On December 27, 2015, the legendary cinematographer Haskell Wexler, A.S.C. passed away at the age of 93. He lived an incredible life, including a tour in the US Merchant Marine during World War II, and had an amazing career running from 1953 through his death, including winning two Academy Awards. With 80 credits as cinematographer, he was judged to be one of film history's ten most influential cinematographers by members of the International Cinematographers' Guild. Haskell's first big-budget feature as a cinematographer was Elia Kazan's America, America in 1963. In 1966 he was cinematographer for Mike Nichols' film adaptation of Who's Afraid of Virginia Woolf?, for which he won the last ever Academy Award for Best Cinematography (Black & White). The year after that, he was the cinematographer for the Oscar-winning In the Heat of the Night starring Sidney Poitier. His work on that was extremely notable because it was the first major Hollywood film shot in color to be lit properly for a person of African descent. In 2014, our friends at the Cinematic Immunity Podcast released a show featuring their interview with Haskell Wexler. Both in light of his recent passing and the fact we’ve had so little information from the film world on this show, we’d like to share it with you now. Cinematic Immunity features the art and craft of movie making and the stories that define it. They are readying their second season for launch now, with more full-length interview shows like this one, as well as episodes that answer questions through a series of comprehensive interviews.

Haskell received Oscar nominations for his work on the documentary The Living City; the short film T Is For Tumbleweed and One Flew Over The Cuckoo's Nest and won Oscars for his work on Who's Afraid Of Virginia Woolf and Bound For Glory.  Haskell has worked on several films with John Sayles including Matewan, The Secret of Roan Inish, Limbo, and Silver City. Haskell has dierected and filmed a number of important documentary films to his credit, including The Bus, Interviews With Mee Lie Veterans, and Introduction to the Enemy, co-directed with Jane Fonda. Haskell created the groundbreaking neo-documentary style film, Medium Cool about a TV news camera find himself becoming personally involved in the violence which erupts around the 1968 Democratic National Convention.  Haskell more recently directed the documentary Who Needs Sleep? about sleep deprivation in the film industry and shot Bringing King to China about a young American teacher in Beijing, whose failed protests against the Iraq war drive her to produce a play in China about Martin Luther King, Jr.   Haskell continued to document more recent political and peace movements like the Occupy Movement in Chicago on Four Days in Chicago. 

Legendary cinematographer Haskell Wexler, A.S.C. joins us at Cinematic Immunity Studios and discusses turning down cigarette commercials, documentary film making and the shifting landscape of the entertainment business. Check out the rest of our content at www.CinematicImmunityCast.com

Here is a sneak preview of our next podcast.  Haskell Wexler, A.S.C., joins us here at the Cinematic Immunity Studio to talk about worker safety, turning down Marlboro commercials, and the state of the business with how it has changed over the last 60 years.  Make sure to check in Tuesday, April 22nd as Haskell Wexler, A.S.C., joins us as our first special guest!

Terry Karges, Executive Director of The Petersen Automotive Museum and Leslie Kendall, Chief Curator join us to unveil plans for The Petersen's facelift. They bring in the gorgeous 1959 Ol' Yaller, Mark III, built by SoCal hot rod legend Max Blachowsky for cinematographer Haskell Wexler. Producer: Jeff Fox Audio Engineer: Chris Laxamana

Haskell received Oscar nominations for his work on the documentary The Living City; the short film T Is For Tumbleweed and One Flew Over The Cuckoo's Nest and won Oscars for his work on Who's Afraid Of Virginia Woolf and Bound For Glory.  Haskell has worked on several films with John Sayles including Matewan, The Secret of Roan Inish, Limbo, and Silver City. Haskell has dierected and filmed a number of important documentary films to his credit, including The Bus, Interviews With Mee Lie Veterans, and Introduction to the Enemy, co-directed with Jane Fonda. Haskell created the groundbreaking neo-documentary style film, Medium Cool about a TV news camera find himself becoming personally involved in the violence which erupts around the 1968 Democratic National Convention.  Haskell more recently directed the documentary Who Needs Sleep? about sleep deprivation in the film industry and shot Bringing King to China about a young American teacher in Beijing, whose failed protests against the Iraq war drive her to produce a play in China about Martin Luther King, Jr.