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8 episodes with Henry Jaglom
2 episodes with Henry Jaglom
2 episodes with Henry Jaglom
2 episodes with Henry Jaglom
3 episodes with Henry Jaglom
2 episodes with Henry Jaglom
2 episodes with Henry Jaglom
2 episodes with Henry Jaglom
Eight movie reviews today, Punch it. Body blow body blow. #1(Bedknobs and Broomsticks 1971)As always for me, this one looks so very much better than it is. Don't get me wrong it's got murder she wrote and Witches, but it still puts me to sleep in the middle sadly. #2(Death takes a holiday 1971) Gee whiz V did not love the dialogue here, not wrong, yet for me it kinda added to the oddness of the whole twilight zone package. At least Brad Pitt is not doing a terribly racist accent in this adaptation of the timeless tale where the grim reaper takes some time off to see what love is, oh the back log. #3 (The autobiography of Miss Jane Pittman 1974) Great movie where Cicely Tyson takes us from slavery to the civil rights movement when she is put into what I can only describe as “really bad makeup” Great director here is John Korty who directed Star Wars……..The Ewok Adventure in 84. #4(1900 1976) Omg this movie! It is long, intense, great, and unwatchable at times, unless you like real onscreen animal torture, we'll get into it. French guy from Green Card is here as well as Taxi Driver, Dominique Sanda (Janice from Damnation alley), and the sacred fluids guy from Dr. Strangelove Sterling Hayden. #5 (Tracks 1976) The movie where Dennis Hopper kisses weird. Hopper and the guy from quantum leap are on a train, (Cylon Q leap guy, not Enterprise captain one)Rad N trippy director here is Henry Jaglom. #6 (The getting of Wisdom 1977) Early film from director Bruce Beresford (Tender Mercies, Breaker Morrant, Driving Miss Daisy) Here we have too much mean sass at this school. It's a coming of age type thing that introduces Austrian Hero Laura Tweedle, played here by Susannah Fowle. #7 (Patrick 1978) Freaky Telekinesis patient is totally brain dead, but he spits. Susan Penhaligon plays Kathy who scores a weird job in this movie that the internet told me was an underrated classic, it is not. #8 (Who'll stop the Rain 1978) Nick Nolte is back from Nam, and he has to help his buddy who doesn't know shit about smuggling drugs. Tuesday Weld plays Marge who is caught in the middle. Is this movie good? Find out with us. Thanks for listening.
Tanna Marie Frederick is an American stage and independent film actress who rose to prominence for her title role in Henry Jaglom's Hollywood Dreams, for which she received the Best Actress Award at the 2008 Fargo Film Festival.
This is a Cinema Smorgasbord first! An episode of Praising Kane where one host NEVER FOUND HER in the film! Admittedly, tracking down Carol Kane in CAN SHE BAKE A CHERRY PIE? is a bit of a feat, especially when she's competing with the talents of Karen Black and Michael Emil at the core of Henry Jaglom's odd 1983 romantic comedy. Somehow she's in it less than both Larry David (who has a memorable scene) and ORSON WELLES, who appears on a television screen in some old footage. What did our hosts make of the film? I GUESS YOU'LL HAVE TO LISTEN AND FIND OUT. Bonus: All the latest Carol Kane news! The post Episode 199 – Praising Kane – Can She Bake a Cherry Pie? (1983) first appeared on Cinema Smorgasbord.
Harvey Brownstone conducts an in-depth interview with Randal Kleiser, Internationally Renowned Director About Harvey's guest: Today's special guest, Randal Kleiser, is an internationally renowned and highly acclaimed director who became a global sensation with the release of his very first feature film, “Grease”, which still remains one of the highest grossing and most beloved movie musicals of all time. He also directed “The Boy in the Plastic Bubble”, “The Blue Lagoon”, “Summer Lovers”, “Honey I Blew up the Kid”, “Getting It Right”, “White Fang”, “Shadow of Doubt”, and one of my all-time favourite movies, “It's My Party”, and the critically acclaimed play, “The Penis Chronicles”. For almost 40 years, our guest has been at the forefront of experimenting with technology, digital cinematography and virtual reality, which can be seen not only in some of his feature films, like “Flight of the Navigator” and “Red Riding Hood”, but also at the Disney theme parks, where, for 10 years, his amazing 3-D movie entitled, “Honey, I Shrunk the Audience”, was one of the most popular attractions. He also wrote and directed the Virtual Reality series “Defrost” which was featured at Sundance AND the Cannes Film Festival. And for many years he's been a member of the Science and Technology Committee of the Academy of Motion Picture Arts and Sciences. Our guest is also a much sought-after educator, and he regularly teaches and lectures at film schools and film festivals. He created an online and DVD course of his former teacher Nina Foch's class, entitled, “The Nina Foch Course for Filmmakers and Actors”. He received an honourary doctorate from the Academy of Art University in San Francisco. And if all of that weren't enough, our guest is also an author. In 2019, he released his first book entitled, "Grease: The Director's Notebook", which is a retrospective look at the making of this classic film. And now, he's released his fascinating new book, entitled “Drawing Directors”, in which he reveals his unique talent for sketching, using a technique called “blind contour drawing”. The book contains candidly drawn sketches, personal anecdotes and comments about the work of some of his favourite directors, including Billy Wilder, Robert Wise, George Lucas, Steven Spielberg, Martin Scorcese, Spike Lee, Quentin Tarantino, Clint Eastwood, and many more, including my dear friend Henry Jaglom, who recently appeared on our show. For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/ To see more about Randal Kleiser, go to:https://www.randalkleiser.com/https://www.facebook.com/randalkleiserofficialhttp://www.imdb.com/name/nm0459170/ #RandalKleiser #harveybrownstoneinterviews
The BBS films we've been watching are culturally important for telling new types of stories within major studio-released films, but for the most part, outside of Head, the form of the stories hasn't been that different. The sex is more explicit, the drug use is forefront, but the actual structure of the film is more familiar, I think. Maybe that's just because we're 50 years on and it's less new. Head was out there structurally, of course, and second to Head comes Henry Jaglom's A Safe Place, a film I cannot believe Columbia put out. It's structure has more in common with Chris Marker's Le Jetee (1962) than Easy Rider, and it feels more daring than anything we've seen in weeks of the BBS set. Jaglom is trying to chase Cassevetes, but unfortunately lacks Cassevetes' abilities. But at least he's got Orson Welles in his picture.
Henry Jaglom trained with Lee Strasberg at The Actor's Studio in New York, where he acted, wrote, and directed plays. And at age 21, he was best friends with an equally young Richard Pryor, as both struggled to break into stand-up comedy. Henry went to Hollywood to become famous. After appearing in TV series like, “The Flying Nun,” Henry wanted more and worked with Jack Nicholson to edit the movie, “Easy Rider.” Easy Rider's game-changing success launched Henry into a filmmaking career that continues today. He's written and directed 21 films, including “A Safe Place”, “Sitting Ducks”, “Tracks”, “Can She Bake a Cherry Pie,” and “Train to Zakopané.” He worked with Hollywood greats like Lee Grant, Maximillian Schell, Dennis Hopper, Roddy McDowell, Vanessa Redgrave, Faye Dunaway, David Duchovny. Henry made three movies with his best friend, Orson Welles. Their recorded, weekly lunches at Hollywood's “Ma Maison” resulted in Peter Baskind's revealing book, “My Lunches with Orson.” Henry is as funny as he is brilliant. Click now for a wild conversation!
What a glorious reunion with the brilliantly talented prolific songstress, Harriet Schock, who wrote the Grammy-nominated #1 hit, Ain't No Way To Treat A Lady, and her stunningly talented, vocal accomplice, Andrea Ross-Green. It was thrilling to hear them again in perfect harmony with new songs from Harriet's upcoming album, Paintings (the title track she treated us to is an absolute killer), as well as the mash-up of her Ain't No Way to Treat A Lady and One Time Lover. We were also treated to my request, Over and Over, one of my all-time favorite Schock classics, and My Now, a new tune from her soon to drop, Paintings. We went back to Dallas, her musician doctor father who encouraged her with all his heart, coming to LA, the heartbreak that inspired that #1 hit, being covered by The Partridge Family, Helen Reddy, Manfred Man, Johnny Mathis, Smokey Robinson, Roberta Flack, to name just some, her films with Henry Jaglom, ongoing songwriting workshops which attract the creme de l creme in LA and now with Zoom, from around the world. Harriet's system she maintains is full-proof. Her scores of talented, thriving students offer proof. Come in with nothing, leave with a song. A well-crafted, good one at that, whether you're a seasoned pro or a beginner. Interested? Contact Harriet at HarrietSchock@gmail.com In addition to Harriet's new album, there's an upcoming show at The Coffee Gallery, A Lifetime Achievement Award, Gary Lynn Floyd's new album, Present Schock: The Songs of Harriet Schock, and Tom Solari's documentary, Hollywood Town, The Harriet Schock Story. I'm exhausted typing it. I adore this woman and her music. Harriet and I appeared in Henry's The M Word and spent countless Tuesdays over the last decade sharing creative adventures and miracles at Women Who Write, where Harriet also performed at least a half dozen times. It was fantastic to catch up with this treasured friend and be treated to her magnificent music. Ditto Andrea! Harriet Schock Live on Game Changers with Vicki Abelson Wed, February 22nd, 5 pm PT, 8 pm ET Streamed Live on The Facebook Replay here: https://bit.ly/3Kz680g
Harvey Brownstone conducts an in-depth interview with Henry Jaglom, Renowned Writer & Director About Harvey's guest: Today's guest, Henry Jaglom, is a renowned and highly respected writer, director and playwright, whose body of work reflects his life long dedication to truth, honesty and authenticity in his artistic expression. He trained with Lee Strasberg at The Actor's Studio in New York, where he acted, wrote and directed plays. He then made his way to Hollywood, first as an actor in movies including “Psych-Out”, “Drive, He Said”, and “The Last Movie”, and then as a filmmaker. He wrote and directed such classics as “A Safe Place”, “Sitting Ducks”, “Tracks”, “Can She Bake a Cherry Pie”, “Eating”, “Last Summer in the Hamptons”, “New Year's Day”, “Hollywood Dreams”, “Deja Vu”, and my personal favourite, “Train to Zakopané”. He's worked with some amazing actors including Jack Nicholson, Lee Grant, Maximillian Schell, Dennis Hopper, Roddy McDowell, Vanessa Redgrave, Faye Dunaway, David Duchovny – and he made 3 movies with Orson Welles, with whom he formed a deep friendship. In fact, in 2014, a fascinating book by film historian Peter Biskind was released, entitled, “My Lunches with Orson”, based on a series of previously unreleased recordings, of private conversations between our guest and Orson Welles every week over lunch at the famous “Ma Maison” restaurant in Hollywood. The book provides the most riveting and revealing insight into the enigmatic, wickedly witty and restlessly intelligent person that Orson Welles really was. Our guest is widely considered to be a cinematic genius and a true maverick of American cinema – so much so, that he's the subject of a fascinating 1995 documentary entitled, “Who is Henry Jaglom?” Well, my friends, you're about to find out. For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/ https://www.facebook.com/henry.jaglom/ https://mobile.twitter.com/henryjaglomhttps://www.youtube.com/user/HenryJaglom #henryjaglom #harveybrownstoneinterviews
In this weeks episode Rachel talks with legendary Director Henry Jaglom. The conversation spans Henry's life and includes intimate stories of Henry's life, class with Lee Strasberg and Marilyn Monroe, lunches with Orson Welles, working with Jack Nicholson and much more. We discuss how to stay alive & prepared as an actor.Read the DiariesCo-Host - Author of Diary of an Actress - Executive Producer: Rachel BailitEditor - Producer : Max Bugrov
Oh.My.God! Maggie Wheeler brought the smart, the empathetic, the funny, great inside stories, and even a song. A very inspiring one. Spectacular all. How has Maggie spent her COVID staycation? In service, as she has been for 17 years as the creator/director of Golden Bridge Choir, and now, since the start of the pandemic, Together In Song, a worldwide choir of voices, where everyone is encouraged to create community and sing. We got the scoop on her break in Lorne Michaels' The New Show, her hysterical audition to win the slot, Johnny Carson, her mom's memorable note, Henry Jaglom building her first starring film role, casting her ex, an unknown David Duchovny, who, as a result, soon after shot to stardom, Ellen, a love fest, and what went south there, Suddenly Susan, also going south, damn those vivacious redheads, but which led to her being available for Friends, her one-off as Janice turning into a ten-year run–– where the voice came from, the Oh. My. God. and that laugh! Matthew Perry, his brilliance, and his struggles, very soon to come to light in his about-to-drop memoir. Everybody Loves Raymond, the leading role showrunner Phil Rosenthal wanted and fought for her to have, why she didn't get it, and the featured part he wrote for her instead. Maggie's pragmatic yet forever optimistic, a champion for her family, and friends, causes big and seemingly small, putting her vast gifts where her talented, hysterical, voice is. I loved every minute reunited with this sweet, funny woman, who's always doing, giving, being her best, making music sing in the midst of this pandemic. In LA… there's a benefit concert this Sunday… info on it, and all things Maggie https://maggiewheeler.net Maggie Wheeler Live on Game Changers With Vicki Abelson Wednesday, 10/18/22, 5 pm PT, 8 pm ET Streamed Live on my Facebook Replay here: https://bit.ly/3TkaAkU All BROADcasts, as podcasts, also available on iTunes apple.co/2dj8ld3 Stitcher bit.ly/2h3R1fla tunein bit.ly/2gGeItj Also on iHeartRadio, SoundCloud, Voox, OwlTail, Backtracks, PlayerFM, Himalaya, Podchaser, and Listen Notes Thanks to Rick Smolke of Quik Impressions the best printers, printing, the best people people-ing. quikimpressions.com Nicole Venables of Ruby Begonia Hair Studio Beauty and Products, for the best tressed. http://www.rubybegoniahairstudio.com/ And, Blue Microphones
This week on the blog, a podcast interview with filmmaker Eric Mendelsohn, who revisits the lessons he learned while making his debut feature film, “Judy Berlin.”LINKSJudy Berlin Trailer: https://youtu.be/23PlEaTy9WAEdie Falco Interview about Judy Berlin: https://youtu.be/AoC5q5N-6kYA Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6Fast, Cheap Film Website: https://www.fastcheapfilm.com/Eli Marks Website: https://www.elimarksmysteries.com/Albert's Bridge Books Website: https://www.albertsbridgebooks.com/YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcast***TRANSCRIPT -EPISODE 106Eric Mendelson Interview [JUDY BERLIN SOUNDBITE] JohnThat was a soundbite from “Judy Berlin,” which was written and directed by today's guest, Eric Mendelsohn. Hello and welcome to episode 106 of The Occasional Film podcast -- the occasional companion podcast to the Fast, Cheap Movie Thoughts Blog. I'm the blog's editor, John Gaspard. Judy Berlin, starring Edie Falco, as well as Madeline Kahn, Bob Dishy, Barbara Barrie and Julie Kavner, was Eric Mendelsohn's feature film debut. The film was an Official Selection of the Cannes Film Festival … won Best Director at Sundance … Best Independent Film at the Hamptons Film Festival … and was nominated for three Independent Spirit Awards. Eric is currently the Professor of Professional Practice, Film, at Columbia University. I first spoke to Eric about Judy Berlin years and years ago, for my book, Fast Cheap and Under Control: Lessons Learned from the Greatest Low-Budget Movies of All Time. In the course of that interview, Eric laid out a handful of really smart filmmaking lessons – lessons that, if followed, might be the difference between making a successful film … or making no film at all. I was curious: What did Eric think about those lessons, all these years later? Before we got into that, though, we talked about the origins of Judy Berlin … [MUSIC TRANSTION] John What was the impetus that made Judy Berlin happen? Eric It's answerable in a more general way. When I get interested in making a script or making a film, it's because a group of feelings and images almost in a synesthesia kind of way, come together and I get a feeling and I say, oh, yeah, that would be fun. And for Judy Berlin, the set of feelings were definitely having to do with melancholy, hopefulness, the suburbs and my intimate feelings about them being a fresh place that I hadn't seen, represented in the way I experienced them. Things as abstract as how everyone feels in autumn time, I guess, maybe everyone does. I don't know. Maybe there are some people who are just blissfully unaware of all those sad feelings of you know, autumn, but I felt like they were worth reproducing if maybe they hadn't been in that particular locale. I think this is a funny thing to say but against all of that sadness, and kind of hope against hope, being hopeful against hopelessness, I had this sound of a score to a Marvin Hamlisch score to Take the Money and Run. And I actually asked him to do the music and he said he didn't understand such sadness that was in the movies that this isn't something I do. Which is really true and I didn't get it and I wanted to persist and say no, but that score for Take the Money and Run, that has such like almost like a little kids hopefulness about it. That's what I wanted. It was like a river running underneath the ground of the place that I had grown up with. And I think the other inspiration for the movie was pretty, I don't know, maybe it's called plagiarism. Maybe it's called inspiration, the collected feeling that you can distill from the entire works of Jacques Demy, and I loved Jacques Demy 's films. They gave me a license. I saw them and said, Well, if you can mythologize your own little town in the northwest of France that maybe seems like romantic to Eric Mendelsohn from old Bethpage, Long Island, New York but truly is a kind of a unremarkable place at the time it was made, that I can do it with my town. I can mythologize everybody, and love them and hate them and talk about them and so those are some of the feelings that went into it. John But they all came through. So, what I want to do is just go through the handful of lessons that you told me X number of years ago, and let's see what you think about them now. So, one of the big ones that turns up again and again, when I talked to filmmakers was the idea of write to your resources. And in the case of Judy Berlin, you told me that that's a great idea and you thought you were: It takes place over one day with a bunch of characters in one town. When in fact you were really making things quite difficult for yourself by having middle aged people with homes and cars and businesses and professional actors who all had other things going on. Eric 03:35And multiple storylines is a terrible idea for low budget movie making. Each actor thought oh, I'm in a little short film. I, however, was making a $300,000 movie about 19 characters. What a stupid guy I was. John 03:53Do you really think it was stupid? Eric 03:54It was. You know, everyone says this after you have graduated from that kind of mistake or once you've done it, you look back and say I would only have done that because I didn't know any better. I know you haven't finished your question. But I also want to say that writing or creating from ones' resources also includes what you are able to do, what you are able to manufacture. In other words, I didn't have enough writing skill to concentrate on two characters or one character in house, like Polanski, in his first endeavors. I didn't I had small ideas for many characters. It's much more difficult to write a sustained feature film with two people. So, I was writing to my resources in a number of ways, not just production, but in my ability as a writer at that point. John 04:53Yeah, you're right. It is really hard. I don't know why they always say if you're gonna make a low budget movie, have it be two people in a room. That's really hard to do. The idea of let's just tell a bunch of stories does seem easier and I've done that myself a couple times and it is for low budget easier in many respects. My stuff is super low budget, no one's getting paid. We're doing it on weekends, and you can get some really good actors to come over for a couple days and be really great in their part of the movie and then you put it all together. Another advantage is if you have multiple stories, I learned this from John Sayles in Returns of the Secaucus Seven, he said I couldn't move the camera. So, I just kept moving the story. It allowed him to just, I can't move the camera, but I can move to the next scene, I can move to these people, or I can move to those people there. And it also allows you an editing a lot of freedom, because you can shift and move and do things. So, the downside you had of course was on just a strictly production shooting day level, very hard to do what you were doing. But it did allow you to grow a bit as a writer because you're able to write a lot of different kinds of characters and different kinds of scenes. Eric 05:57Remember, I always say this, you know, you sit in your room, and I believe you need to do this as a writer, you sit in your room and you say to yourself, she slams a car door harder than usual. And then you realize later she drives a car, where am I going to get a car from? She enters her house. How am I going to get a house and if I have seven characters, and they all have cars, that's a job in itself. One person could spend their summer looking for seven cars. But that's the least of your problems. When it's houses, cars, clothing, handbags, all of it. John 06:30Yeah, when you're starting out, you don't necessarily realize that every time you say cut to something in your script, that's a thing. You've got to get it. I did a feature once that had four different stories and there are four different writers and a writer came to me with his finished script, which was brilliant, but it was like 14, 15 locations that I had to shoot over two days. So, how do you do that? Well, you end up spending four days on it. But the other hand, another writer who understood screenwriting, handed me a script that was four locations, but brilliantly combined and figured out. So, in two days, you could shoot them all because he knew what he was doing. And that's something you don't necessarily learn until you're standing there at six in the morning with a crew going, I don't know what I'm doing right now, because I screwed myself up and I wrote it and that's sometimes the only way you can learn it. Eric 07:16I think it's the only way. The only way. Look, you can be precautious, you can, it's no different than life, your parents can warn you about terrible, ruinous, stupid, love affairs that are going to wreck you for a year. Are you really going to just not get into them because of what smart older people said? You throw yourself at a film in the way that hopefully you throw yourself at love affairs. You're cautious and then you've just got to experience it. And I think the difference obviously is in film, you're using lots of people's time, effort money, and you do want to go into it with smarts and planning. I still say that you should plan 160%. Over plan in other words. And then the erosion that naturally happens during production, this crew member stinks and had to be fired a day before. This location was lost. This actress can't perform the scene in one take because of memory problems. All of that is going to impact your film. Let's say it impacts it 90%. Well, if you plan to 160%, you're still in good shape in the footage that you get at the end of the production. John 08:29Yeah, I'm smiling, because you're saying a lot of the things you said last time, which means it's still very true. Alright, the next lesson was, and this is one that I've embraced forever: No money equals more control. You spoke quite eloquently about the fact that people wanted to give you more money to make Judy Berlin if you would make the following changes. Looking back on it did you make the right decisions on that one? Eric 08:51Yes. I'll tell you something interesting. Maybe I didn't say this last time. But I remember my agent at the time saying to me, we could get you a lot of money. Why don't you halt production? We'll get you so much money that will get you--and this is the line that always stuck in my head-- all the bells and whistles you want. Now, I'm going to be honest with you what he said scared me for two reasons. One, I had worked in production for a long time in my life and I knew that if you stall anything, it just doesn't happen. It just doesn't. That the energy of rolling downhill is better than sitting on the hill, potential energy and trying to amass funds. But another thing and I was scared privately because I said to myself, I don't even know what the bells and whistles are. I'm afraid to tell him that I don't know what they are. And I'd rather I think that's those bells and whistles are for some other savvy filmmaker that I'll maybe become later. But right now I have the benefit of not knowing enough and I'm going to throw myself and my planning and my rigorous militaristic marshalling of people and props and costume names and locations and script. I'm gonna throw that all at the void and do it my cuckoo way because once I learned how to make a movie better, I'll have lost a really precious thing, which is my really, really raw, naive, hopeful, abstract sense of what this could be. And that thing that I just said with all those words was not just a concept. I didn't know what I was making, in the best sense possible. I was shooting for something, shooting it for an emotional goal, or a visual goal for a dramatic goal but I didn't put a name on it. I didn't put a genre to it. So much so that by the time I got to the Sundance Film Festival, and I read the first line of a capsule review, and it said, A serio-comic suburban. I almost cried, I felt so bad that I didn't know what I was making in an objective sense. In a subjective sense, obviously, I knew exactly what I was trying to do. But objectively, I didn't know it could be summed up by a review. And it hurt me so badly to think I was so mockable and now I'm going to embarrass myself by telling you what I thought I was making. I didn't think I was making something that could have a boldface thing that said, serio comic, multi character, suburban fairy tale. I didn't know that. I really thought I was like writing in glitter on black velvet or I don't know, I didn't even know that it could just be summed up so easily. And I think I've written a lot of scripts since that one, and many haven't gotten made, but each time I reject and issue an objective determination of what the thing is that I'm working on, prior to sitting down. Is that the best way to work? It is a painful way to work. My friends will tell you that. I have my great friend and filmmaker Rebecca Dreyfus always says that I have creative vertigo, that I don't know what I'm doing for months and years on end and then I looked down and I say, Oh, God, I think it's a horror film. Or I think I've rewritten a Dickens story. And I get a nauseated kind of, you know, dolly in rack, focus thing. It's not, I'm telling you, I'm not describing a creative process that is painful for me to realize, always later on what I'm doing. And I still hold, that's the only way I can do it. I will not go into a screenplay and then a film saying this is a serio comic black and white, multi character, suburban, who wants that? I go in thinking, I'm making something that I don't know, that no one's seen before and then we'll see what they think. John 12:54You know, we were very similar, you and I in that regard. In addition to low budget, filmmaking, as I've gotten older, I've gotten into novel writing and mystery writing, which I enjoy. And the parallels between independent publishing and independent filmmaking are really close. One of the things that people say all the time in independent publishing that I back away from is you have to write to market. You have to know who your audience is, what they like, and write a book for them. And I can't do that. I can write a book for me that, you know, if I slip into dementia in 20 years and read it, I won't remember writing it, but I would enjoy it because all the jokes are for me and all the references are for me... Eric 13:32I think you and me, doing the exact right thing, according to me. And you'll be happy to know, because I teach at Columbia Columbia's film grad school, we have an unbelievable group of alumni people, you know, like, you know, Jennifer Lee, who created Frozen and the people behind Making of a Murderer and Zootopia. And all they ever say when they come back to speak to our students is nobody wants a writer who is writing to the industry. They want something they haven't seen before that is new, fresh, odd, and still steaming be you know, out of the birth canal. John 14:14Yep. The corollary to that, that I tell people who are writing and also people who are filmmakers who want to work that way is the more you can take economics out of the process, the more you're able to not need to make money from what you're doing, the happier you're going to be. Because every movie I've ever made has never made money and it didn't matter. It wasn't the purpose. The purpose was, oh, this is interesting idea. Let's explore this with these 12 actors and see what happens. But if you can take economics out of it, you completely free. Eric 14:41You free and I'll tell you what, I know. Again, it's just a perspective, one person's perspective. But everyone, you know, you want to leave on the earth some things that you felt good about, whether they're children or ethics or some civic thing you did for your town, or a movie. And all the people I know who made tons of money always are talking about coming back to their roots because they're so unhappy. Like, I get it. I get it. And all these actors who want to do work for no money, it's because they feel like well, I sure I made a ton of money, but I didn't get to do any of the stuff I really care about. I remember in my first real attempt at filmmaking after film school, a short half hour film that starred the late Anne Meara and Cynthia Nixon in an early film role and F Murray Abraham did the voiceover. And I was 20 something years old, and the film did very well and it was just a half hour movie and we showed it at the Museum of Modern Art. And after the screening, a woman came up to me and I don't remember what language she was speaking. She was Asian, and she tried to explain to her to me, what the movie meant to her, but she spoke no English and she kept tapping her heart and looking at me. Anne Meara was standing next to me and she kept pointing like and then making a fist and pounding her chest and pointing to like a screen in the air, as if she was referencing the movie. And then she went away. Anne Meara said, listen to me now, it will never get better than that. I understand completely. For the movie I made after Judy Berlin, which is called Three Backyards and a movie I produced and cowrote after that, called Love After Love. I didn't read the reviews. Who cares? John 16:27Yeah, that's a pretty special experience and good for her to point that out to you. Eric 16:31Her husband in a bar after a production of The Three Sisters told me that--this is pretty common. This is Jerry Stiller, the late great comedian said to me, I was about to tell him what the New York Times had said about his performance. He said, no, no, no, don't. Because if you believe the good ones, then you have to believe the bad ones. And I've since known that that is something that's said a lot. But if a review isn't going to help you make your next movie, then don't read it. Marlena Dietrich, in my favorite last line, paraphrased from any movie, gets at why criticism is unimportant for the artist. In the end of Touch of Evil, she says, “what does it matter what you say about other people.” It's just, you either do or they did to you or you experience all that garbage of what people say it goes in the trash, no one except for maybe James Agee's book, there's very few film criticism books that people are desperate to get to, you know, in 50 years. But you take a bad movie, I watched some summer camp killer movie the other night, and I thought I'd rather watch this than read what somebody said about this movie. I'd rather watch somebody's earnest attempt to fling themselves at the universe than a critics commentary upon it. Yeah. Anyone who gets up at five in the morning to go make a movie has my respect and I don't even you know, on the New York Times comments online commentary site, I refused when it's about artwork to come in even anonymously. Nope! John 18:05Okay. You did touch on this. But it's so important and people forget it. I phrased it as time is on your side. You talked about being prepared 160% and having Judy Berlin, every day, there were two backups in case for some reason, something didn't happen and the advantage you had was you had no money. But you had time and you could spend the time necessary doing months of pre-production, which is the certainly the least sexy part of filmmaking, but is maybe the most important and is never really talked about that much. How much you can benefit from just sitting down and putting the schedule down? I mean, we used to, I'm sure with Judy Berlin, you're using strips and you're moving them around and when we did our 16-millimeter features, we didn't even spend the money on the board. We made our own little strips, and we cut them out and did all that. You can do it now on computers, it's much easier, but it's having that backup and that backup to the backup. You don't really need it until you need it and then you can't get it unless you've put it in place already. Eric 19:06Well, I'll say this, I have to disabuse some of my students at Columbia by telling them that there is no like effete artist who walks onto a set-in filmmaking with no idea about scheduling. That character fails in filmmaking. That every single director is a producer, and you cannot be stupid about money, and you cannot be stupid about planning and in fact, Cass Donovan who is an amazing AD and one of my good friends. She and I sometimes used to do a seminar for young filmmakers about scheduling your movie and I always used to say, you know, a good schedule is a beautiful expression of your movie, where you put your emphasis. And it comes out in the same way that people say like oh, I just like dialogue and characters. I'm not good at structure. There's no such things. You need at least to understand that a good structure for your story can be a beautiful, not restrictive, rigorous device that's applied to your artistry, a structure and a story is a beautiful can be a beautiful thing and the expression of the story and the same thing is true with the schedule. The schedule is an expression of your story's emphases. If your story and your resources are about actors, and you've got an amazing group of people who are only doing the project and lending their experience and talent, because they thought this was a chance to act and not be hurried. Well, that expresses itself in how many days and how many shots you're going to schedule them in. And I love how a schedule expresses itself into an amount of days and amount of money and allocation of funding. I love it. There is no better way to find out what your priorities were and I love it. And in terms of planning, one of the reasons I don't understand or have an inkling to investigate theater is I don't want something that goes on every evening without my control, where the actors sort of do new things or try stuff out and the carefully plotted direction that you created can get wobbly and deformed over time. Instead, I like the planning of a script and now I'm not talking about pre-production. I'm talking about I like that, with screenwriting, you go down in your basement for as long as you need. So, maybe I'm afraid of shame and I don't like to present stuff that is so obviously wrong to whole groups of people. I like to go down in the basement for both the writing and the pre-production and get the thing right. You know, there are so many ways to make a movie that I'll also I want to place myself in a specific school of filmmaking. To this point in my directing life, I've created scripts that are meant to be executed in the sense that not as disciplined in execution as what Hitchcock or David Lean, we're shooting for, but not as loose an experiment as Cassavetes, or let's say, Maurice Pilar. We're going for, everyone has to find their own expression. In other words, if you are Maurice Pilar or Cassavetes, or Lucrecia Martel, you have to find your own equation, you have to find your own pre-production/production equation where the room for experimentation. I haven't really wanted to experiment on set, I know what shots I want, and I get them. The next film I make may be different. But everyone has a different equation and every script and every director are going to find their own priorities that are expressed in the project and then the execution. The fun thing was, the last movie I worked on, was something I've produced and co-wrote ,called Love After Love. And that was directed and co-written by Russ, and Russ and I spent years writing a script that we knew that was intended to be elastic, and to be a jumping off ground for the kind of impromptu directing he does. Now, a lot of what we wrote ended up in the movie, but sometimes he would call me from the set and say, this isn't working and that was exciting, because we knew that would happen. And he told the cast and the crew before they went into the project, before they went into the short film he made before that called Rolling on the Floor Laughing. This is intended to be a porous experiment ,with a firm spine of drama that is not porous. So, we've created a drama and interrelations in that script that then he went off, and those couldn't budge. Those were fixed the dramatic principles and dynamics. But he worked as a director in a completely different way than me and I was very happy to loosen my own way of working and then as a producer, make sure that he had what he needed on the set, and that the pre-production, production and even editing--we took a year to edit that film--was based in an idiosyncratic methodology of his particular artistry, not mine. John 24:34And why I think is so interesting about that is that you know, you made sure that everybody involved knew going in we're doing this kind of movie and this kind of movie has … I remember talking to Henry Jaglom, about I don't know which movie it was, you know, Henry has a very loose style of what he does. But it's still a movie, and he was talking about, he was shooting a scene and an actress either jumped into a swimming pool or push somebody into a swimming pool. And he said, Why did you do that? She said, I was in the moment. Yeah, and he said, yes, this is a movie and now I have to dry these people off and I have to do the coverage on the other side. So, you need to know where the lines are, how improvised is this really. Eric 25:15And everyone has different lines, and you make movies to find out how you make movies. You write screenplays to find out what that feeling is and whether or not you can interest an audience in it. You don't write a screenplay to execute Syd Fields, ideas about story or the hero's journey. I'm not a hero. I don't have a hero's journey. I have my journey. The task, the obligation is to see if I can take that and still make it dramatic and interesting to a group of hostile strangers, normally called an audience, John 25:52As Harry Anderson used to say, if you have a bunch of people all seated facing the same direction, do you owe them something. Eric 25:58Yeah, it's unbelievable. A friend of mine who works in theater saw a terrible show and he works on Broadway, and he works on all the big shows that you have heard of. So, I can't give the title of this one particular production. And he said, you know, I feel like telling these people because he works in lighting. He said, I feel like telling these people who create these shows that every single audience member who comes to see the show at eight o'clock that night, woke up at seven in the morning, and they're tired, and they worked and you better provide something at eight that night. John 26:33Exactly. I remember talking to Stuart Gordon, the guy who made Reanimator, and he was big in theater before he got into horror films. And he said we had one patron who always brought her husband, and I'll say his name was Sheldon, I forget what the name was. And he would consistently fall asleep during the shows. And my mandate to the cast was our only job is to keep Sheldon awake. Yeah, that's what we're there to do is to keep Sheldon alert and awake. And I think at all the time as you're watching something on film, you're going is that going to keep Sheldon awake, or is that just me having fun? Eric 27:01No, he didn't ask this question, so it's probably not. But a lot of students are not a lot, actually but some students will say to me like, well, what I have to know the history of movies? Why do I have to know that when I'm going to create something new? And I just think because you're not. Because there is a respect for a craft. Forget the art of people who have been doing this for ages. And to not know it puts you in the position of the only person on set who doesn't realize that. Every single crew member is a dramatist: the script supervisor is a dramatist, the set decorator is a dramatist, the costume designer, the cinematographer, the producer. So sometimes my students in directing will say to me, well, I thought this shot was interesting and I said, Okay, you may think that's interesting. But I'm going to tell you something scary right now: your producer, and your editor will know immediately that you don't know what you're doing and that that won't cut. It is not a secret this thing you are doing, this skill. Learn what other people, what the expectations of the art form are, please, and then build from them and break rules and expand but don't do it naively. John 28:06Yeah. When I wrote the first book, it was because I had done an interview with a couple guys who made a movie called The Last Broadcast, which came out right before Blair Witch, which had a similar project process to it. And one of them said to me, he said in talking to film students, one thing I keep seeing is everyone wants to reinvent the wheel. And so I put the book together, because here's all the different lessons, you can you're going to end up learning in one way or another, you might as well read them now and like you say, not find out that that won't cut because it won't cut. It just won't cut. Alright, you did touch on this lesson earlier just in passing, but it's a good one and it's sometimes a tough one. I just called it Fixed Problems Quickly and it was about if there's a crew member who's not part of the team, it's easier to get rid of them two weeks out, then two hours into the shoot. Eric 28:54Yep, it still holds, and it happened on the film I made after Judy Berlin as well. Someone who had worked on Judy Berlin came on to the new production of Three Backyards, and I tried my best to keep this untenable relationship working. But like a rotten root on a plant, it started to rot everything around it, and everyone would like to be the well-liked captain of the ship. But that also means firing crew members sometimes. We had a very, very big key position on that film, and we had to lose them a week before we shot. I'll tell you something else about Three Backyards. It was a week before we shot it. Is it okay that I talked about that? John 29:39Absolutely. We're talking about what you've learned. Eric 29:42Yeah. So, after Judy Berlin I made a film called Three Backyards with Edie Falco and Elias Kotes and host of other people. A very strange movie it was, I am not joking. I haven't said this. So, not that this is some big reveal that anyone gives a shit about but before, a week before we shot it was called Four Backyards. I've never told that because I didn't want anyone to watch it with that mindset and start to say, and we even kept the crew quiet and said, please, we don't want this to get out that it's you know. And I cut out an entire storyline a week before shooting. Now, when I tell you that it was an actor, a very amazing actor in that storyline, the fourth backyard, who I had to call, who was already doing driving around on his motorcycle in the location, going to visit places that had to do with his storyline, costume fittings, everything had been done locations we had gotten, I had to call them and say we're cutting, that your character and that storyline. It was still to this day unbearable. I don't expect you know, the guy is very well known and successful, and you know, has done far more important things than my little movie. But I still feel guilty to this day. I feel nauseous to this day that I did that, that I had to do it. We got to a point where it was clear, the expression of the film called Four Backyards would be running through one take per shot, per setup and running through with no time to work on the characters, no time to give these amazing actors, you know what they wanted. We'd be run and gun and I just said, I'm not this old, you know, to making this movie so that I can re-learn terrible lessons and put these actors through that kind of experience. So, I cut an entire storyline that was dragging down this buoy, let's say in the water and then once we cut it off, and I of course I don't mean the actor or the performance, the potential performance. I mean, the production. Once that fell to the bottom of the sea, the buoy lifted and bounced and righted itself. And I lived with that decision knowing I did the right thing, but that it was hard. We also lost one of the key, we lost our production designer I would say about 15 days before shooting, and that was another one of those kinds of decisions where I said get it done now. I will say this offline on Three Backyards. There was a crew member who had, the minute I shook hands with them, I knew this is that kind of poisonous sniping inconsolable person. But I leave those decisions to department heads and that's not my job to get in and say this person seems awful to me. But that's my feeling. They worked for about, let me say this carefully, they worked and it and became exactly the problem that I had predicted. They initiated a work stoppage that was uncalled for, unprofessional, and everyone was aware. They pretended not to know what location we were going to next and didn't show up. We were delayed I think 40 minutes. On a low budget movie, 40 minutes is unsustainable. And I will just say this, I had to make the decision because we were so deep into the film, whether or not firing that person would cause such bad feelings in the remaining crew or free us up in a way that was similar to what I described earlier. I decided to keep the person and it was I believe the right decision because we were close enough to finishing the film that I believed I would no longer reap benefits from firing them and that leads me to a sentence that I probably told you when I was 20 or whatever how old I was when I spoke to you. I'm now 57. On a movie, you want to be effective not right. In other words, a decision that is morally right on a film which is a temporary, collapsible circus tent where people strangers get together and work for a month, being morally right can hit the main pole of that circus tent really hard and collapse. You want to be effective not right. The right decision in a movie. It is the one that gets forward motion. In that particular case, I took my revenge out later, I kept the person, I bit my tongue and swallowed my pride and said I'm so sorry, let's negotiate. How can we make you happier? However, after we finished production, my more powerful friends in the industry never hired that person again. That person was fired from large TV productions that they were on and given no reason and I felt absolutely thrilled with that. John 34:48Well, it does catch up with you. The next one is one that I use all the time and you just put it very succinctly you said, Fewer Takes, More Shots. Eric 34:57So, I can talk about that. I want to be specific though, that it's for my kind of filmmaking. If you're shooting every scene in one shot, this cannot apply. But in the edit room generally, is a very broad stroke comment, generally, if you're a more conventional visual director who tells stories with shots, you get stuck on one shot in one setup, especially if it's a master and you're trying to get it right. You have no other storytelling ability. You don't have the move in. You don't have the overhead shot. You don't have the insert shot of the finger of the character touching a teaspoon nervously. You don't have any other storytelling ability if you get stuck in one setup. So, a lot of people always say, you know, remember, your first take is probably your best take. That's a good truism. There's an energy that you get from nervous actors, nervous camera operators in a first take. So, sometimes your first take has a great spontaneity about it. Sometimes it lingers for a second or third take. The idea that you are going to beat that dead horse into the ground with subsequent takes going up through 13, 15, 19 to get something perfect flies in the face of the actuality, which is that editing, performance, the rhythm of the eventual scene through shots and takes creates what the audience experiences. That the idea of perfection is a great way to flatten your actors, kill your dialogue, ruin your scene. It's like when I first made a pie ever in my life, nobody taught me and I didn't really look at a book. I was preparing a meal for a woman who was coming up to her country house and I was upstate using the house. And I thought to myself as I carefully cut the butter into the flour and created a little pebbly, beautiful texture, and then gently gathered those pebbles of flour and butter and sugar together into a ball. I mistakenly thought that if I took the rolling pin and roll the life out of it, I would be making the best crust possible. And it tasted it was inedible. It tasted like shoe leather. And I said what did I do wrong? And they said, the object she said to me when she arrived, the object is to gather those delicate, beautiful pebbles together and lightly make it into a crust that retains the little particles, the delicate interstitial hollows. Not to flatten the life out of it. And the same is true about shots. The more angles you have, if that's the way you shoot, create a sense of life. That's about as good as I can say it. John 37:49Well, you know, I want to add just a couple of things. When I did the book, originally, I talked, had a wonderful long conversation with Edie, Falco about Judy Berlin. She was trying to get her brand-new baby to go to sleep while we talk and so it's very quiet recording of her talking. Eric 38:04That's my godson Anderson. John 38:05Oh, that's so sweet. She said about multiple takes. She said there's a perception sometimes with filmmakers that actors are this endless well. And she said, I'm not, I'm just not. Unless you're giving me direction to change something, it's going to be the same or worse. Again, and again. And so you know, of all the lessons from the book that I tell people when I'm making presentations, fewer takes more shots. The thing, a corollary of attitude, is if you're going to do another take, tell them to do it faster, because you're gonna want a faster version of it. You don't realize that right now, but you're gonna want one. Eric 38:38Here's a great way of saying it. I feel people mistake, directors mistakenly think that they are making the film on set. The filming of a movie is a shopping expedition for, drumroll please, ingredients. If you are shooting one take per scene, sure, get it right, you have your own methodology. But if you're going to be telling a story in the traditional narrative way, where a bunch of angles and performances in those shots, setups angles, will eventually tell the story of a scene that let's say for example, goes from pedestrian quotidian to life threatening, remember that you need the ingredients to then cook in the edit room of quotidian, seemingly boring escalating into life threatening. Making a movie on set in production is shopping for the ingredients and you come home and then you forget the recipe and say, what did I get? What was available? What was fresh? What does that mean if you're not talking about food? Well, this actor was amazing, and I lingered on them and I worked on their performance because it's going to be great. That's one of the ingredients you have to work on. In the edit room, this actor was less experienced, and I had to do more setups because they couldn't carry a scene in one shot. That's what I have to work with now in the edit room. When you're in the edit room, you're cooking with the ingredients you got in the fishing expedition called shooting. That's why my students say to me, well, why am I going to get extra footage? Why am I going to get anything but the bare minimum? Why am I going to overlap in terms of, well, you think you're only going to use that angle for two lines, we'll get a line on either side of the dialog, so that you have it in case. And they say, that's not being professional. That's not being precise and accurate. And I'd say it's a fishing expedition, especially if you're starting to learn film. You don't go shopping for a party and say, I think everyone will have about 13 M&Ms. You're buy in bulk, because you're getting like, oh, it's a Halloween party, I'll need a lot of this, a lot of that and a lot of this, and then you cook it later. John 41:04You know, one of the best examples of that is connected to Judy Berlin, because as I remember, you edited that movie on the same flatbed that Annie Hall was edited on... Eric 41:18I still have it, because the contract I made with Woody Allen was that if no one ever contacted me for it, and I bore the expense of having to store it, I would keep it. And so I got it and nobody ever asked for it. Nobody uses it anymore. John 41:34But the making of that movie is exactly that. They had a lot of ingredients and they kept pulling things away to what was going to taste the best and all of a sudden, this massive thing … You know, I was just talking to another editor last weekend, o, I pulled out this, the Ralph Rosenblum's book, but... Eric 41:49Oh, yeah, I was just gonna mention that. The best book on editing ever. John 41:51Although Walter Murch's book was quite good. But this is much more nuts and bolts. Eric 41:56And much more about slapping stuff together to make art. John 42:00That one lesson of: don't spend all day on that one take over and over and over. Let's get some other angles is … Eric 42:06I'll tell you what happens. I may have said this in our first interview, but I will tell you from the inside, what happens. It's terrifying and if you start with a master, a director can get terrified, because to move on means more questions about what's next. Was it good? And you can get paralyzed in your master shot if you're shooting in that manner. And then the actors aren't doing their best work in the master, especially if it's a huge master, where there's tons of stuff going on. They're going to give you some better performance, if you intend to go in for coverage and you by the time you do that you may have lost, you know, their natural resource. They might have expended it already. I've been in that situation where I got lost in my master and you almost have to take a pin on set and hit your own thigh with it and say, wake up, wake up, move on, move on. John 42:58Yeah. All right, I got one more lesson for you, because I'm keeping you way too long. It's a really interesting one, because it's when I talked to Edie about it, she didn't know you had done it and she thought, well, maybe it helped. But Barbara Barrie played her mother in Judy Berlin, they had never met as actors, as people. And you kept them apart until they shot, because you wanted a certain stiffness between them. I just call that Using Reality to Your Advantage. What do you think about that idea now? Eric 43:25Edie isn't someone who requires it, you know, she's one of the best actresses in the world. John 43:30And Barbara Barrie wouldn't have needed it either. I'm sure. Eric 43:32She wouldn't have but I do think there's a … look. This is a funny thing about me and my evolution from Through an Open Window, which is the half hour film, to what I'm writing today. I always thought that film was interesting in the same way that I thought military psyops were interesting: that you could control or guide or influence an audience's experience of the story in ways they were unaware of. So, I always liked those hidden influencers. Even in advertising, I thought they were interesting. You see how this company only uses red and blue and suddenly you feel like, oh, this is a very, this is an American staple this product. I love that shit and after I'm done with a script, I know what I'm intending the audience's experience to be I want to find anything to help me to augment that and if you're a fan of that kind of filmmaking, would the shots have a power outside of the audience's ability to see them? They know that the story is working on them and they think the audience thinks, oh, I was just affected by the story in that great performance. They have no idea that the director has employed a multitude of tricks, depth of field to pop certain actor's faces out as opposed to wider shots that exclude are identifying with other characters, moving shots that for some reason, quote unquote some reason meaning every director is aware of how these techniques influence an audience, suddenly make you feel as if that moment in the story of the character are moving or have power have influence while other moments have nothing. In Three Backyards, funnily enough with Edie, I had a scene where Edie was, the whole, Edie's whole storyline was about her desperate, unconscious attempt to connect with this other woman who was a stranger to her. And I refused to show them in a good two shot throughout the entire film. I separated them. I made unequal singles. When their singles cut, they were unequal singles tighter and wider, until the moment that I had convinced the audience now they're going to become best friends. And I put them into their first good, easy going two shot. And that kind of manipulation is done every moment by every filmmaker directing. In one aspect it is a mute, meaning silent in an unobtrusive, persuasive visual strategy for enhancing the story. So, whether you're keeping two actors away from each other during the course of the day before their first scene, because the scene requires tension, or whether you're separating them visually until a moment late in the movie, where they come together, and they're coming together will suddenly have tension because they're in the same shot. Those kinds of persuasive manipulations are what visual storytelling, otherwise known as directing is about. John 43:33Yep, and there's a lot of tools. You just got to know about them because a lot of them you're not going to see, you won't recognize, though until somebody points out, do you realize that those two women were never really in the same shot together? Eric 47:06Every well directed movie has a strategy. Sometimes they're unconscious, but you don't want to be unconscious. As the director, you want to be smart. You want to be informed about your own process, and I think smart directors … Here's what I always say to my students: learn a lot, know a lot, then feel a lot. So, what does that mean? It's just my way of distilling a whole bunch of education down into a simple sentence. Understand what has been done and what you can do, and what are the various modes of directing and storytelling. And then when you get into your own script, feel a lot. What do I want? Why isn't it working? Add a lot of questions marks to the end of sentences. Why can't this character be more likeable? Why isn't this appealing? Why haven't I? How could I? And it's a combination of knowing a lot and being rigorously intellectual about the art form that you want to bow down before you want to bow down before what works and what doesn't work. I would say that you want to bow down before the gods of what works and what doesn't work. You know, you don't want to look them in the eye and say, screw you, I'm doing what I want. You bow down and say, I don't even understand why that didn't work. But I'll take that lesson. You want to feel a lot. You want to be open on the set. One of the hardest things to learn is how to be open on the set. You want to be open when you're writing. You want to be open when you're editing. It's a real juggling act of roles that you have to play, of being naive, being smart, being a businessperson, being a general, being a very, very wounded flower. You know, I remember reading, as a high school student, Gloria Swanson's autobiography. And then it's so many years since I read it that I might be wrong. But I remember they said what are you proudest of in your career. And she said without hesitation that I'm still vulnerable. And I didn't even know if I understood it at the time, but I get it now. You want to be smart. You want to be experienced. You want to have a lot of tools and know the tools of other directors and still be naive and vulnerable and hearable and have your emotional interior in tech. Those are hard things to ask of anyone, but if you want to be in this industry, an art form that so many greats have invested their life's work toiling in, then you owe it to yourself to be all of those things. [MUSIC TRANSTION] JohnThanks to Eric Mendelsohn for chatting with me about the lessons he learned from his debut feature, Judy Berlin. If you enjoyed this interview, you can find lots more just like it on the Fast, Cheap Movie Thoughts Blog. Plus, more interviews can be found in my books -- Fast, Cheap and Under Control -- Lessons Learned from the greatest low-budget movies of all time ... and its companion book of interviews with screenwriters, called Fast, Cheap and Written that Way. Both books can be found on Amazon, Barnes & Noble, Kobo, Google and Apple Books. And while you're there, check out my mystery series of novels about magician Eli Marks and the scrapes he gets into. The entire series, staring with The Ambitious Card, can be found on those same online retailers in paperback, hardcover, ebook and audiobook formats. And if you haven't already, check out the companion to the books: Behind the Page: The Eli Marks podcast … available wherever you get your podcasts. That's it for episode 106 of The Occasional Film Podcast, which was p roduced at Grass Lake Studios. Original music by Andy Morantz. Thanks for tuning in and we'll see you … occasionally!
Can you top this? Yes, we can. How the hell is it possible that this sitdown with The Sopranos Richie Aprile aka David Proval, will go down as one of the most entertaining shows yet? It shall. WOW. What fun. Great stories. Crazy coincidences. More great stories. As if it wasn't enough that David's mother and I share the same family name, and she has the same country of origin as my grandma with the same name, we're both New Yorkers, David went to Yeshiva, my father taught Yeshiva, our paths crossing about a decade ago while filming Henry Jaglom's The M Word with Michael Imperioli, post their work in The Sopranos, pre ours at Women Who Write and Game Changers. Thanks to the suggestion of my new good friend, Mark Metcalf, who also middled last week's stupendous sitdown with Tim Matheson, I know David's extensive body of stellar work, Mark added technicolor. I jumped at his suggestion to invite David. My gratitude to both of them is boundless. What fun! I know I said it before, but it bears repeating. From his grandma and the Yiddish theatre, school plays, Uta Hagen, to Scorcese and Mean Streets, thanks to his friend, Jon Voight, how he got it—DeNiro, Keitel, Pavlo Hummel, again thanks to Voight, which led to Nunzio, a hysterical story about filming with Jack Gilford, Elliot Gould, and James Caan, which included more great stories about James, to the other James… Gandolfini. David's audition(s) for The Sopranos, so much great stuff there, moving from mobster Richie Aprile to a Rabbi in The West Wing, Teri Garr, Richard Dreyfus, coaching Eddie Murphy, an insanely great story there, a Drama Desk Nomination, Innocent Blood, John Landis, Don Rickels, hysterical stuff there, meeting Sinatra, and sitting down with him, a fan, wow, Everybody Loves Raymond, Italy, and his personal discontent… all straight talk, with loads of laughter and a few tears. I loved every single second, especially when his wife of 46 years, Cheryl, joined the conversation from the other room. Forget cowbell. More David Proval! David Proval Live on Game Changers With Vicki Abelson Wednesday, 8/10/22, 5 pm PT, 8 pm ET Streamed Live on my Facebook Replay here: https://bit.ly/3QyEmjX All BROADcasts, as podcasts, also available on iTunes apple.co/2dj8ld3 Stitcher bit.ly/2h3R1fla tunein bit.ly/2gGeItj Also on iHeartRadio, SoundCloud, Voox, OwlTail, Backtracks, PlayerFM, Himalaya, Podchaser, and Listen Notes Thanks to Rick Smolke of Quik Impressions, the best printers, printing, the best people people-ing. quikimpressions.com Nicole Venables of Ruby Begonia Hair Studio Beauty and Products, for the best tressed. http://www.rubybegoniahairstudio.com/ And, Blue Microphones
A Serious Disc Agreement is the only "serious" podcast on the Australian Internet about "Movie Disc Culture."Alexei Toliopoulos (Finding Drago, Total Reboot) and Blake Howard (One Heat Minute) are expanding their IMPRINT COMPANION podcast to include the best physical media releases worldwide. For this episode, Blake and Alexei discuss Bill Duke's incredible Deep Cover from the Criterion Collection and have a general "Criterion Catch-Up" on the first batch of UHDs.Deep CoverFilm noir hits the mean streets of 1990s Los Angeles in this stylish and subversive underworld odyssey from veteran actor-director Bill Duke. Laurence Fishburne stars as Russell Stevens, a police officer who goes undercover as “John Hull,” the partner of a dangerously ambitious cocaine trafficker (Jeff Goldblum), in order to infiltrate and bring down a powerful Latin American drug ring operating in LA. But the further Stevens descends into this ruthless world of money, violence, and power, the more disillusioned he becomes—and the harder it is to make out the line between right and wrong, crime and justice. Steeped in shadowy, neon-soaked atmosphere and featuring Dr. Dre's debut solo single, Deep Cover is an unsung gem of the nineties' Black cinema explosion that delivers a riveting character study and sleek action thrills alongside a furious moral indictment of America and the devastating failures of the war on drugs.DIRECTOR-APPROVED SPECIAL EDITION FEATURESNew 4K digital restoration, with 2.0 surround DTS-HD Master Audio soundtrack on the Blu-rayNew interview with director Bill DukeAFI Conservatory seminar from 2018 featuring Duke and actor Laurence Fishburne, moderated by film critic Elvis MitchellNew conversation between film scholars Racquel J. Gates and Michael B. Gillespie about Deep Cover's place within both the Black film boom of the early 1990s and the noir genreNew conversation between scholar Claudrena N. Harold and professor, DJ, and podcaster Oliver Wang about the film's title track and its importance to the history of hip-hopTrailerEnglish subtitles for the deaf and hard of hearingPLUS: An essay by GillespieNew cover illustration by Ngabo “El'Cesart” DesireCitizen KaneIn the most dazzling debut feature in cinema history, twenty-five-year-old writer-producer-director-star Orson Welles synthesized the possibilities of sound-era filmmaking into what could be called the first truly modern movie. In telling the story of the meteoric rise and precipitous fall of a William Randolph Hearst–like newspaper magnate named Charles Foster Kane, Welles not only created the definitive portrait of American megalomania, he also unleashed a torrent of stylistic innovations—from the jigsaw-puzzle narrative structure to the stunning deep-focus camera work of Gregg Toland—that have ensured that Citizen Kane remains fresh and galvanizing for every new generation of moviegoers to encounter it.SPECIAL FEATURESNew 4K digital restoration, with uncompressed monaural soundtrackIn the 4K UHD edition: One 4K UHD disc of the film presented in Dolby Vision HDR and three Blu-rays with the film and special featuresThree audio commentaries: from 2021 featuring Orson Welles scholars James Naremore and Jonathan Rosenbaum; from 2002 featuring filmmaker Peter Bogdanovich; and from 2002 featuring film critic Roger EbertThe Complete “Citizen Kane,” (1991), a rarely seen feature-length BBC documentaryNew interviews with critic Farran Smith Nehme and film scholar Racquel J. GatesNew video essay by Orson Welles scholar Robert CarringerNew program on the film's special effects by film scholars and effects experts Craig Barron and Ben BurttInterviews from 1990 with editor Robert Wise; actor Ruth Warrick; optical-effects designer Linwood Dunn; Bogdanovich; filmmakers Martin Scorsese, Henry Jaglom, Martin Ritt, and Frank Marshall; and cinematographers Allen Daviau, Gary Graver, and Vilmos ZsigmondNew documentary featuring archival interviews with WellesInterviews with actor Joseph Cotten from 1966 and 1975The Hearts of Age, a brief silent film made by Welles as a student in 1934Television programs from 1979 and 1988 featuring appearances by Welles and Mercury Theatre producer John HousemanProgram featuring a 1996 interview with actor William Alland on his collaborations with WellesSelection of The Mercury Theatre on the Air radio plays featuring many of the actors from Citizen KaneTrailerEnglish subtitles for the deaf and hard of hearingPLUS: Deluxe packaging, including a book with an essay by film critic Bilge EbiriNew Cover by Mike McQuadeMenace II SocietyDirectors Albert and Allen Hughes and screenwriter Tyger Williams were barely into their twenties when they sent shock waves through American cinema and hip-hop culture with this fatalistic, unflinching vision of life and death on the streets of Watts, Los Angeles, in the 1990s. There, in the shadow of the riots of 1965 and 1992, young Caine (Tyrin Turner) is growing up under the influence of his ruthless, drug-dealing father (Samuel L. Jackson, in a chilling cameo) and his loose-cannon best friend, O-Dog (Larenz Tate), leading him into a spiral of violent crime from which he is not sure he wants to escape, despite the best efforts of his grandparents and the steadfast Ronnie (Jada Pinkett). Fusing grim realism with a propulsively stylish aesthetic honed through the Hughes brothers' work on rap videos, Menace II Society is a searing cautionary tale about the devastating human toll of hopelessness.DIRECTOR-APPROVED SPECIAL EDITION FEATURESNew 4K digital restoration of the directors' cut of the film, supervised by cinematographer Lisa Rinzler and codirector Albert Hughes, with 7.1 surround DTS-HD Master Audio soundtrackIn the 4K UHD edition: One 4K UHD disc of the film presented in Dolby Vision HDR and one Blu-ray with the film and special featuresOriginal 2.0 surround soundtrack, presented in DTS-HD Master AudioTwo audio commentaries from 1993 featuring directors Albert and Allen HughesGangsta Vision, a 2009 featurette on the making of the filmNew conversation among Albert Hughes, screenwriter Tyger Williams, and film critic Elvis MitchellNew conversation among Allen Hughes, actor and filmmaker Bill Duke, and MitchellInterview from 1993 with the directorsDeleted scenesFilm-to-storyboard comparisonTrailerEnglish subtitles for the deaf and hard of hearingPLUS: An essay by film critic Craig D. LindseyNew cover by Sister HydeBlake Howard - Twitter & One Heat Minute Website Alexei Toliopoulos - Twitter & Total RebootVisit imprintfilms.com.au _______One Heat Minute ProductionsWEBSITE: oneheatminute.comPATREON: One Heat Minute Productions PatreonTWITTER: @OneBlakeMinute & @OHMPodsMERCH: http://tee.pub/lic/41I7L55PXV4Support this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
You've seen Martha Plimpton on The Goonies, Parenthood, Raising Hope, The Real O'Neals, and so many more TV shows and films. Martha talks about being raised in New York by actor parents, competing with Winona Ryder for roles as a teenager, working with directors Sidney Lumet, Woody Allen, and Henry Jaglom, learning empathy and professionalism from her work in the theatre, and acting naturally when Gena Rowlands bums a cigarette off you. Through decades in the business, Martha's overcome the culture of Hollywood, as well as changes in herself, to stay relevant and at the top of her game. Listen to Household Faces Ad-Free on Forever Dog Plus: http://foreverdogpodcasts.com/plus Follow Household Faces: https://twitter.com/householdfaces https://www.instagram.com/householdfaces Martha Plimpton on: IMDB Instagram Hosted by John Ross Bowie Follow John on Instagram Produced by Ben Blacker and Forever Dog Follow Ben on Twitter If you enjoy this podcast, you'll probably also enjoy The Writers Panel Household Faces is a Forever Dog podcast https://foreverdogpodcasts.com/podcasts/household-faces Learn more about your ad choices. Visit megaphone.fm/adchoices
A Safe Place is Henry Jaglom's directorial debut. As a BBS Production, and with Jack Nicholson a key player in the BBS world, this little known indie feature would naturally offer Jack a supporting role. This week, Sarah is back with our "lost" episode!
Taller de película con David Hoffmeister de la película «Déjà vu» dirigida por Henry Jaglom. Esta película formó parte del retiro en línea «Experimentando el Corazón de Dios».Antes de mostrar la película «Déjà vu», que trata del amor, la luz y la complacencia en la mente humana, David aclara que hay que entender que no hay relaciones interpersonales buenas o malas. No hay una jerarquía en el amor. No hay una jerarquía de relaciones; no hay relaciones espirituales altas y relaciones espirituales bajas. El amor no tiene diferentes tipos; sólo hay un amor, que es el amor de Dios, y Cristo es una expresión de ese amor único.Todo el mundo está aquí para la autorrealización. Todos están aquí para recordar quiénes son realmente. Todos los que creen que son seres humanos tienen una enfermedad del alma. Es un anhelo de Dios; es un anhelo de Nirvana; es un anhelo de Cielo; es un anhelo de volver a casa. Pero tenemos miedo de la luz. Así que hemos tratado de responder a esta enfermedad del alma haciendo un sustituto del amor. Hemos intentado utilizar las relaciones interpersonales como sustituto. Hemos buscado el amor en muchas caras, pero todos aquí en este mundo temen la intimidad porque creen en las mentes privadas con pensamientos privados y en las personas privadas con partes privadas sólo porque tenemos miedo de la luz.¡Disfruta del este maravilloso comentario y película por David!Puedes ver la introducción completa de la película aquí en YouTube: https://youtu.be/7vMPKzAvOXEGrabado el 07 de agosto de 2021 en Chapala, MéxicoPuedes unirte a nuestros próximos eventos aquí https://un-curso-en-milagros.org/eventos/
“Mis almuerzos con Orson Welles” (2015) es un libro editado por Peter Biskind (1940) y publicado por Anagrama que recoge las conversaciones que el mítico cineasta (1915-1985) tuvo con su colega Henry Jaglom (1938). Partiendo de esta base, aprovechamos para hablar acerca de la carrera de Welles y de algunas de las tantas películas que dirigió y protagonizó.
Sensational storytelling from actor, activist, veteran, sober, surfer, husband, father, grandpa, success story on celluloid and in life, Gregory Harrison. And, the whole gorgeousness thing. We talked his Catalina upbringing, playing baseball and the guitar. A medic during the Vietnam War, stationed in Germany, he set a precedent as the first non-religious conscientious objector. A medic, he set the stage for Trapper John MD, which launched him to stardom. We touched on Logan's Run, Sisters, Henry Jaglom's The M Word, where we met, his Broadway debut in Steel Pier, his just before the pandemic stage turn starring in The Lion in Winter, his current first soap spin in General Hospital, and why it took him so long. Returning to work on 9-1-1, after 8 months of stay-at-home like a good COVID crazy, new hope, and good sleep with the new president. As fabulous as all of that was to hear, it's Gregory's telling of meeting his wife of 40 years on Battle of The Network Stars, the sexy start, to his cocaine-fueled bottom, and what brought him there, to getting sober at Betty Ford and finding his worst nightmare unfold before his eyes. And ours. 34 years sober, his humility, honesty, and self-awareness lead to one of the best "shares" I've yet to hear. Grace, gratitude, inspiration, and fun were served up in heaping portions. Like a great meal, I leave happy, sated, and wanting more. Easy on the eyes, heart, and soul, I adore this man. Gregory Harrison on Game Changers with Vicki Abelson Thurs, 1/27/21, 5 pm PT, 8 pm ET Live on The Facebook Replay here: http://bit.ly/3qVQT4i All BROADcasts, as podcasts, also available on iTunes apple.co/2dj8ld3 Stitcher bit.ly/2h3R1fla tunein bit.ly/2gGeItj Thanks to Rick Smolke of Quik Impressions, the best printers, printing, the best people people-ing. quikimpressions.com Nicole Venables,of Ruby Begonia Hair Studio Beauty and Products, for tresses like the stars she coifs, and regular people, like me. I love my hair, and I love Nicole. http://www.rubybegoniahairstudio.com/ Blue Microphones and @kevin Kevin Walt Lisa Lynn of LynFit Nutrition by Lisa Lynn - helping people and me, look and feel better... and thinner!
Bestselling author, performer, producer, promoter, and talk show host, Vicki Abelson, thrice appeared on Saturday Night Live, co-starred in a pilot for Comedy Central, and optioned a music reality show to Telepictures. For the past eleven + years, Vicki has been presenting the crème de la crème of the music, screen, & literary worlds at her celebrity-driven literary salon, Vicki Abelson's Women Who Write. Guests have included: Norman Lear, Cloris Leachman, Michael Imperioli, Jackie Collins, Kevin Pollak, Ed Asner, Valerie Harper, Marilu Henner, Paul Williams,Mike Nesmith and Micky Dolenz to name but a few. A featured contributor to The Huffington Post, The Fix, Reimagine, S-Curves, and Step 12 Magazine, Vicki leads workshops, does speaking engagements, and coaches privately, in the real and cyber worlds. Vicki can currently be seen in Henry Jaglom's The M Word. Her first book, five-star Amazon Bestseller, Don’t Jump: Sex Drugs, Rock ’N Roll… And My Fucking Mother, published by Carl Reiner’s Random Content, made the San Diego Book Review’s Best of 2015, was named One of the 7 Best Books By Or About Women, and #1 Best Summer Read 2016 by Amazon. Her weekly talk show, Game Changers with Vicki Abelson, can be seen LIVE on Facebook Wednesdays at 7 pm PT/10 pm ET, and subsequently on YouTube. All shows as podcasts are also available on iTunes, Soundcloud, Stitcher & TuneIn for your listening pleasure. https://www.vickiabelson.com/ https://twitter.com/vickiabelson
David is joined by Jordan Essoe and Derek J. Power to bring some appreciative attention to one of the most overlooked titles in the BBS Box Set.
David is joined by Jordan Essoe and Derek J. Power to bring some appreciative attention to one of the most overlooked titles in the BBS Box Set.
Stupendous chat and mini-concert with Grammy nominated Harriet Schock, songwriter of the Gold and Platinum selling Helen Reddy smash hit, Ain’t No Way To Treat A Lady. Harriet opens the BROADcast with it, joined by her longtime harmonizer, Andrea Ross-Greene. It’s an extended version, a Suite mashup with another of her hits, One Time Lover, Nothing like hearing the songwriter sings their own song. Recording artist, performer, actress, author, teacher, fab womanz, Harriet, has written hundreds, thousands (?) of songs, covered by Johnny Mathis, Smokey Robinson, Roberta Flack, Manfred Mann, and Nancy Wilson, to name but a handful. She’s written for TV and film, five of Henry Jaglom’s movies alone, and collaborated extensively with Emmy-winning composer Misha Segal as well. She shares her creative process, how she did it all, and how she can help us do it, too. Harriet is the definitive songwriting teacher in LA. She’s created a method, begun when she was teaching at USC, and has perfected it over the years working with some of LAs greatest singer/songwriters. Maddening in and out static (don't blame Pete) for the last few minutes of the show... go to HarrietSchock.com for access to her amazing catalogue of music. A stalwart, almost since the beginning regular at Women Who Write, she’s appeared thrice over the past ten years. Look for her return very soon. I LOVED every moment in her good company. Her music and lyrics thrilled. Harriet Schock on Game Changers With Vicki Abelson Wed, 5/6/19, 7 pm PT/ 10 pm ET With Pete George Live on The Facebook Full show replay: http://bit.ly/2JrD5fr All BROADcasts, as podcasts, also available on iTunes apple.co/2dj8ld3 Soundcloud http://bit.ly/2hktWoS Stitcher bit.ly/2h3R1fl tunein bit.ly/2gGeItj YouTube https://youtu.be/Rhpbnho5Y_o This week's BROADcast is brought to you by Rick Smolke of Quik Impressions, the best printers, printing, the best people people-ing. quikimpressions.com And, Nicole Venables of Ruby Begonia Hair Studio Beauty and Products for tresses like the stars she coifs, and regular peoples, like me. I love my hair, and I loves Nicole. http://www.rubybegoniahairstudio.com/
No matter how many times I sit down with Filmmaker Henry Jaglom, he’s always got a slew of new and stupendous stories to tell. This time he shared more than a few which he said he’s never told before, and they’re doozies. Raised by sophisticated, successful parents, Henry’s mother encouraged his love of theatre, nurturing his creative, empathetic nature, in contrast to his father’s keen business acumen. Showbiz called. First as a comedian with his pal, Ritchie Pryor, then as an actor (Gidget, The Flying Nun). He gave up comedy when Richard was funnier and acting when his friend________ scored the part he was up for. I can’t ruin it… it’s too good. He was asked by Bert Schneider to do an edit on Easy Rider. How that came to be, and who his editing partner was, is, well, great stuff. There are girlfriends Georgia Brown, Karen Black, Brenda Vaccaro, Tuesday Weld, Natalie Wood… a first told story about his meeting Dudley Moore and then introducing him to Tuesday. Meeting Orson Wells. How their friendship began, the films they did together, the meals they shared for years, recently transcribed in Henry’s, My Lunches with Orson. There’s Peter Bogdanovich, Paul Mazursky, Richard Burton, Elizabeth Taylor, Jessica Walter, Dennis Hopper, Jack Nicholson, Bob Rafelson, Hal Prince, the impactful director, whose name slipped for the moment… winning an Oscar, producing anti-war shows with Jane Fonda, painting the sign for the Original Improv, sketching his friends before they were famous, and now getting a book deal for that art. His films, 21 of them. With a dream for 4 more, he explains why. And a book, 19 years in the writing, with an offer, made to anyone who comes up with the perfect title. If you love movies, and who doesn’t… and the people who make them, this time with Henry will thrill. Henry Jaglom on The Road Taken, Celebrity Maps to Success Wed, 3/28/18, 7 pm PT/ 10 pm ET With Christinna Guzman Live on the Facebook Full show replay here: https://bit.ly/2qiEqdM All BROADcasts, as podcasts, also available on iTunes apple.co/2dj8ld3 Soundcloud http://bit.ly/2hktWoS Stitcher bit.ly/2h3R1fl tunein bit.ly/2gGeItj This week's BROADcast is brought to you by Rick Smolke of Quik Impressions, the best printers, printing, the best people people-ing. quikimpressions.com And, Nicole Venables of Ruby Begonia Hair Studio Beauty and Products for tresses like the stars she coifs, and regular peoples, like me. I love my hair, and I loves Nicole. http://www.rubybegoniahairstudio.com/
Oh My God! She said it. More than once. Maggie Wheeler was hilarious! We talked Friends, Matthew, Jennifer, Ellen, Suddenly Susan, being a Jewish girl as opposed to being a Jewess, sexy redheads, the powers that be, Seinfeld, and having Larry share her ranking whilst shooting her screamingly funny, Curb… we got the LOL, too. There was Everybody Loves Raymond, and, Maggie (and I) loves Phil, and Jeremy… her old boyfriend, David Duchovny, I know. The X-Files, Californication, and Henry Jaglom making Someone To Love based on her life, where she played her in her life, with the before mentioned, now ex, Duchovny. Being on Johnny Carson…Lorne Michaels, The Golden Bridge Choir, A Course in Miracles, Marianne Williamson, voiceovers, radio, lots of voices, stories, tons of fun! I love her! Maggie Wheeler on The Road Taken, Celebrity Maps to Success Wed, 6/27/18, 7 pm PT/ 10 pm ET With Louise Palanker Live on The Facebook Full show replay here: https://bit.ly/2KhLpQk All BROADcasts, as podcasts, also available on iTunes apple.co/2dj8ld3 Soundcloud http://bit.ly/2hktWoS Stitcher bit.ly/2h3R1fl tunein bit.ly/2gGeItj This week's BROADcast is brought to you by Rick Smolke of Quik Impressions, the best printers, printing, the best people people-ing. quikimpressions.com And, Nicole Venables of Ruby Begonia Hair Studio Beauty and Products for tresses like the stars she coifs, and regular peoples, like me. I love my hair, and I loves Nicole. http://www.rubybegoniahairstudio.com/ Her fabulous Ruby Begonia Products can be purchased and shipped from http://www.frendsbeauty.com/
The actor Simon Callow nominates one of the giants of the golden age of Hollywood, Orson Welles. He once said of himself he 'started at the top and worked his way down' never managing to recreate the success he had aged 26 with Citizen Kane, which he wrote, directed and starred in. Welles' friend and collaborator Henry Jaglom talks about knowing him for the last years of his life when Hollywood had turned its back on him and he was strapped for cash and looking for work. Producer: Maggie Ayre.
Acclaimed actress Tanna Frederick returns to talk about her intriguing new movie, Train to Zakopané. An award-winning actress, director, and environmentalist, Tanna was named Favorite Female Star by Movie Addict Headquarters listeners who voted in an e-mail election held in 2012. Her upcoming film, written and directed by Henry Jaglom, takes us back to 1928 Poland prior to World War II. Based on a true story, it deals with two strangers who meet on a train and fall for each other despite their very different backgrounds and attitudes. Tanna's impressive resume includes the following Jaglom films: Hollywood Dreams, The MWord, Irene in Time, Queen of the Lot, Ovation, and 45 Minutes from Broadway. Tanna made her directorial debut while also starring in a theatre production of Why We Have a Body at the Edgemar Center for the Arts. For her performance in Hollywood Dreams, her first feature with Jaglom (who is now her husband), Tanna was named Best Actress at WorldFest Houston, Montana International Film Festival, Fargo Film Festival and the Wild Rose Film Festival. Among Tanna’s other acting honors are Performer To Watch at Method Fest and a Maverick Award from the Los Angeles Women’s Theatre Festival.
I don't even know where to start... Henry Jaglom has lived a life beyond my imagination. He's shared intimate relationships with Orson Welles, Jack Nicholson, Bob Rafelson, Bert Schneider, Natalie Wood, Georgia Brown, Tuesday Weld, Peter Bogdanovich, and those are just a few he spoke of here. Who suggested Davy Jones for The Monkees, helped edit Easy Rider, directed Orson's last filmed performance, got Nicholson, already a star, in his own first film... Henry did. Actor (Gidget, to name one) stand up comic, partnered with Richard Pryor, or Ritchie, as he calls him, playwright, screenwriter, author, filmmaker, artist... with stories around each. One better than the next... to his current passion projects, Train to Zakopane, which will have its theatrical release in May and, his upcoming memoir… The Third Stone on the Second Row, A Family Memoir, And A Brief History of the Jewish People. Henry is a fascinating, prolific man, who has spent his life and his career celebrating women. His films revolve around them. Us. He even cast me in a couple of them. Fiercely intelligent, passionate, volatile, empathetic, compassionate, tender-hearted, and intense, this time with Henry was fascinating, fun, and topped with the best cherry. As we were readying to wrap, Louise shared the news which was blowing up my iPhone while we were filming. My daughter, Samantha, whose highest dream is to perform on Broadway, lived it, as we shot. She was chosen to sing the song of her choice from Waitress, and, with the band, cast, and audience bearing witness, she made her Broadway debut, and killed it! Is there a greater gift for a mother? I got to share her performance with Henry and Louise who hooted, cheered and cried with me. Or, maybe I cried enough for all of us. https://bit.ly/2E3JJlu Apologies for the delayed start for those with us Live, and the inexplicable lack of crisp focus of the video. It was clear as glass through the lens. We're unsure if it was a Facebook issue, as they altered the Live platform this week, or if it was a connection issue. Although, neither was evident in the short promo we shot just prior. Alas, Henry's words rise above the glitches. Rich, easy, listening. Henry Jaglom on The Road Taken, Celebrity Maps to Success Wed, 3/28/18, 7 pm PT/ 10 pm ET With Louise Palanker Live on the Facebook https://bit.ly/2Gm6AuV All BROADcasts, as podcasts, also available on iTunes apple.co/2dj8ld3 Stitcher bit.ly/2h3R1fl tunein bit.ly/2gGeItj This week's BROADcast is brought to you by Rick Smolke of Quik Impressions, the best printers, printing, the best people people-ing. quikimpressions.com And, Nicole Venables of Ruby Begonia Hair Studio Beauty and Products for tresses like the stars she coifs, and regular peoples, like me. I love my hair, and I loves Nicole. http://www.rubybegoniahairstudio.com/ Photo by Adrian Carr on the set of The M Word
Filmmaker Henry Jaglom joins Alexi to talk movie making, love, relationships, Harvey Weinstein, and so much more!
Today's Guest: Actress Tanna Frederick, star of Queen of the Lot and Irene in Time. Order from Amazon.com by clicking the DVD above Scorsese and DeNiro have this kind of relationship. So do Spielberg and Hanks. And Scorsese has it with DiCaprio, too, now that I think of it. Every so often, a director finds his match with an actor who “gets” their material, their vibe, their je ne sais qua. That’s what’s happening between writer/director Henry Jaglom and actress Tanna Frederick. HENRY JAGLOM audio excerpt: "The chemistry between Noah Wyle and Tanna Frederick takes this film to a whole other level. Every review is talking about it. They have this strange, funny, romantic chemistry; you can't take your eyes off of them." Order 'Irene in Time' starring Tanna Frederick and Henry Jaglom, available from Amazon.com by clicking on the DVD cover above! Queen of the Lot — a sequel to Hollywood Dreams — opens at selected theaters in Los Angeles on Friday, November 19. It is the third movie that Jaglom has written and directed in which Frederick has starred; they also worked together on Irene in Time. Queen is actually their fourth collaboration, I believe, if you count her starring in his play, “Just 45 Minutes From Broadway,” which ran for several months this summer at the Edgemar Center for the Arts in Santa Monica, California and which they’ve already filmed for a movie. In her three Jaglom starring roles, Frederick typically plays some version of an emotional train wreck. Different characters in Irene in Time and Hollywood Dreams/Queen of the Lot, but – like DeNiro working under Scorsese’s direction — a recognizable, consistent presence. Jaglom is a writer and director with whom many in Hollywood — particularly women — would love to work, not because his films are big blockbusters but because of the detail and sensitivity he gives to women’s roles. His career goes back to his days as an editor on Easy Rider with Dennis Hopper, although this Lee Strasburg-trained Method actor also appeared in TV shows such as "Gidget" and "The Flying Nun." (As a boy, I loved "The Flying Nun." Talk about a concept ripe for a remake!) An interesting note about Jaglom’s career: he wrote and co-starred in Orson Welles’ final film, 1987’s Someone to Love, which also introduced the world to David Duchovny. In recent years, Jaglom has worked with a regular ensemble of actors, led by Tanna Frederick (Listen) and including Karen Black (Listen) and David Proval (Listen), all of whom have previously been guests on Mr. Media. Queen of the Lot Website Tanna Frederick Website • Facebook • Twitter • Instagram • Pinterest • YouTube The Millionaire's Convenient Arrangementby Jane Peden. Order your copy today by clicking on the book cover above! The Party Authority in New Jersey, Pennsylvania, Delaware and Maryland!
Today's Guest: Tanna Frederick, actress, Hollywood Dreams Actress Tanna Frederick If you’re a woman in search of someone else’s emotional train wreck to make you feel better about your own life, film director Henry Jaglom has got a movie or two for you. Maybe it’s his latest, Irene in Time, about a young singer with severe daddy abandonment issues. Or maybe you’d like his previous film, 2008’s Hollywood Dreams, about a would-be actress who oozes charisma but gets so nervous in every social situation she makes you nervous. Order from Amazon.com by clicking the DVD above TANNA FREDERICK podcast excerpt: "With Henry Jaglom, people either love his films or they hate his films. There isn't really an in between. Henry demands the actors take all of their subtext of what's going on and use it as their through-line, their dialogue. You walk away after watching Henry's films feeling better about yourself—'So I guess I'm not the only one who can be neurotic at times.' What drives him is making people not feel alone. It's human emotion." Tanna Frederick is the common thread between these films. She’s the star of both, a big presence on screen. It could be that huge mane of cascading red hair, but I think it’s actually the emotions that pour out from her. The story of how she got to this point is pure Hollywood and I hope to entice her to tell it, but suffice to say that Jaglom already has plans for her to star in a sequel to Hollywood Dreams. And she’s currently appearing live in a Jaglom play, “Just 45 Minutes from Broadway,” at the Edgemar Center for the Arts in Santa Monica, California. You can order tickets online at Edgemar.org. Tanna Frederick Website • Twitter • Facebook • Order Irene in Time from Amazon.com • Order Queen of the Lot • Order Hollywood Dreams The Millionaire's Convenient Arrangementby Jane Peden. Order your copy today by clicking on the book cover above! The Party Authority in New Jersey, Pennsylvania, Delaware and Maryland!
https://mwge.org/This movie (Déjà Vu), directed by Henry Jaglom, is a classic for undoing the ego. It contrasts special relationships in this world with those given over to a Higher Purpose, illustrating the way both the ego and the Spirit seem to work in our lives.The two main characters are brought together by Destiny/Spirit in a powerful vibrational relationship that calls into question everything else in their life. Each of them is already married or engaged to be married, and yet the Spirit has another plan for them. While their current special relationships are based on economics, future goals, and maintaining the status quo, this new relationship assignment is based solely on healing, following one’s heart, and opening to True Love. Though resistance and fear may be high, the Spirit never gives up on us, and the experience of True Love is inevitable in the end!This Spreaker recording includes David’s pre-movie setup talk, the many points throughout the movie when he paused it to give commentary, and the after-movie discussion that ensued. It was recorded on June 6, 2017 with a group of students at the Living Miracles Metaphysical Center in Kamas, Utah. To enjoy this audio recording along with the movie, here is one way we suggest you do so:1. Rent or obtain the movie Déjà Vu directed by Henry Jaglom. You can often rent movies online through YouTube, Amazon, or other online movie services.2. Listen to the first 7 minutes and 18 seconds of this recording up until the point when David says, “It’s a classic!” Then pause this recording and watch the whole movie.3. After you’ve seen the movie, listen to this recording starting from where you left off at 7:18. You’ll then be able to hear all of David’s commentary throughout the movie as well as the after-movie commentary on it. This will surely give you a much broader perspective on the movie than you may have otherwise had!SECOND OPTION for STEP #3: Another suggestion once you've started the movie, would be to practice pausing it whenever you feel intuitively guided and then listening to some of this recording. Go back and forth between this recording and the movie, as intuitively guided, and enjoy the way Spirit illuminates the scenes you've already scene, perhaps right after you've seen them! There’s really no one right way to do this, so just relax and you’ll surely have a profound experience!For more Spirit-inspired movie talks, we recommend that you subscribe to our online Movie Watchers Guide to Enlightenment at MWGE.org. There you will find many movie talks like this, many of which are integrated with the actual movie so you can watch the movie and hear David’s commentary all-in-one. This movie with David’s commentary may in fact already be there by the time you subscribe! https://mwge.org/
In this lively conversation, Tanna Frederick shares how creative people can enjoy successful careers while doing what they love. Tanna Frederick can currently be seen starring in Henry Jaglom’s romantic mystery “Ovation” opposite James Denton. Frederick is also producing and starring in the virtual reality series “Defrost.” Directed by Randal Kleiser, series cast members include Bruce Davison, Harry Hamlin, Christopher Atkins and Carl Weathers. “Defrost” was presented at Sundance’s New Frontier Program and Cannes Film Festival. Next year, she’ll also star as a single mother who returns to Iowa (Frederick’s hometown) to deal with her past in “Garner, Iowa.” Frederick is a mainstay of the Los Angeles theatre community. In 2013, she won the LA Stage and Eddon awards for Best Actress for N. Richard Nash’s “The Rainmaker” at the Edgemar Theatre. The Los Angeles Times gave it Critics’ Choice and said, “The standout of this terrific cast is Tanna Frederick’s acerbically yearning Lizzie…It’s a transformation not to be missed.” This month Frederick will direct and star in “Sylvia” at the Odyssey Theatre opening on October 21st. In a previous run of the play, the Huffington Post said “Tanna Frederick is truly brilliant as Sylvia. She embodies the fun-loving, childlike spirit of the dog.” Frederick's performance in her first feature with Jaglom, “Hollywood Dreams,” earned her Best Actress at WorldFest Houston, Montana International Film Festival, Fargo Film Festival and the Wild Rose Film Festival. The film took Best Picture honors at the San Luis Obispo Film Festival and to Best Comedy at WorldFest Houston. She was named Method Fest’s “Performer to Watch” and has also received the Los Angeles Women’s Theatre Festival’s “Maverick” Award. Off-screen, Frederick has proved just as driven and talented. A fitness aficionado who runs daily, Frederick ranked 52nd out of 1,321 women in her division in the LA Marathon. She is a second-degree Tae Kwon Do blackbelt and a passionate surfer. She founded “Project Save Our Surf,” a non-profit that promotes clean oceans and water. She is also founder of the Iowa Film Festival, now in its’ seventh year and was named recipient of the University of Iowa’s Distinguished Alumni Award in 2012. http://www.tannafrederick.com/
Director Henry Jaglom and actress Tanna Frederick discuss their NEW film Ovation, a dramedy set behind the scenes of a stage play. We also discuss Tanna's new virtual reality series Defrost which premiered at this year's Sundance Film Festival. Ovation is currently playing in limited theatrical release and you can rent or purchase on-demand through Amazon. You can also learn more from Ovation's Facebook page.
Harriet Schock wrote the words and music to the Grammy-nominated #1 hit, "Ain't No Way To Treat A Lady" plus many songs for other artists, TV shows and films, including the PBS children’s series, “Jakers, the Adventures of Piggley Winks.”.She has recorded 7 solo albums as a singer/songwriter. She and her band were featured in Henry Jaglom’s film “Irene In Time” performing 4 of Harriet’s songs. She also scored three other Jaglom films. Harriet starred in the play “Just 45 Minutes From Broadway” which ran for 10 months in Santa Monica, and later re-created the role in the film of the same name. Four of her songs were used in Karen Black's play, "Missouri Waltz" which played for 6 weeks in Hollywood and in Macon, Georgia. She has written the songs for "Last of the Bad Girls," a musical created by Diane Ladd. Very recently she has co-written the songs for "Platypus, the Musical." In 2014, her jukebox musical, “Split” opened to full houses in Hollywood. Jaglom’s latest film, ‘The M Word” features Harriet performing her song, “Bein’ a Girl” in the movie’s last scene. Harriet plays piano and Andrea Ross-Greene sings it. In 2007, L.A. Women In Music honored Harriet a Career Achievement and Industry Contribution award. She wrote the book Becoming Remarkable, for Songwriters and Those who Love Songs). She performs with her band in Los Angeles and teaches songwriting in person and online around the world. www.HarrietSchock.com.
We're kicking off "Maudit May" with a discussion of Orson Welles's The Other Side of the Wind. A film some fifty years in the making, it has yet to be completed and released.
A conversation with director Henry Jaglom. We discuss Mr. Jaglom's involvement re-editing Easy Rider with Jack Nicholson, the Oscar winning Vietnam war documentary Hearts and Minds, his friendship with Orson Welles documented in the book My Lunches with Orson, and Mr. Jaglom's new film The M Word.
The Total Tutor will interview interview celebrity Pamela Guest live from Madrid, Spain. Pamela Guest currently co-stars in Henry Jaglom's feature"The M Word" which opened April 30, among numerous other projects -she and/or her husband Nicholas Guest (numerous feature films, recenttelevision includes the voice of "John Teller" on Sons of Anarchy, Mad Men. Pamela will discuss her how she broke into film, favorite projects, and latest projects.
Tanna Frederick has appeared in several indie films by maverick auteur Henry Jaglom, and is one of our favorite guests on the show. We will discuss her next collaboration with Henry, a film titled THE M WORD.
Tanna Frederick has appeared in several indie films by maverick auteur Henry Jaglom, and is one of our favorite guests on the show. We will discuss her next collaboration with Henry, a film titled THE M WORD.
The M Word follows the personal changes at a local TV station that is threatened by economic downturn, possible in-house theft and massive job loss. They decide to subvert all of this by taking on an ill-advised documentary about Menopause. In the midst of impending lay-offs, Moxie (Tanna Frederick) suddenly finds herself leading an extraordinary band of rebelling women better treatment and a more secure future. Director Henry Jaglon (Irene in Time, Festival in Cannes, Always, Can She Bake a Cherry Pie, Eating) and actress Tanna Frederick (Just 45 Minutes to Broadway, Queen of the Lot, Irene in Time, Hollywood Dreams) stop by for a free-wheeling conversation on filmmaking, comedy, acting, love, life and the shockingly taboo subject of menopause.
What do menopause, Moxie and massive layoffs have in common? They're all integral parts of Henry Jaglom's latest film, The M Word. Star Tanna Frederick is coming to Feisty Side of Fifty Radio to give us the inside scoop on this romp through the “Change of Life.” So, if you love films that are clever, relatable and will make you want to hoot and holler as only the menopausal can, be sure to tune in for this one!
The award-winning and very busy Tanna Frederick dishes about The M Word, her new film with Michael Imperioli, Corey Feldman and Frances Fisher. She will also update listeners on her other two upcoming movies - Ovation and Garner, Iowa. In Ovation, a romantic mystery from Henry Jaglom, Tanna stars opposite James Denton. And in Garner, Iowa, she plays a single mother who returns to Iowa to deal with her past. This acclaimed actress earned several Best Actress awards for her outstanding work in Hollywood Dreams. She was also named "Performer To Watch" at MethodFest and received the "Maverick" Award from the Los Angeles Women's Theatre Festival.
In this interview, filmmaker Henry Jaglom describes the Orson Welles he knew and loved. Their friendship began in 1970, when the upstart Jaglom impertinently asked Welles to be in his first movie ("A Safe Place") and the master improbably assented, and it continued until Welles's death in 1985. They were frequent dining companions at LA's then-trendy Ma Maison, and Henry recorded many of their conversations. Now film historian Peter Biskind has transcribed and edited some of the Welles-Jaglom tapes into a book, "My Lunches with Orson." Though the dishy parts have drawn most of the media attention, I was more interested in the sheer breadth and insight (both Orson's and Henry's) on display.
Tanna Fredrick, sexy actress and Surf preserver of the West Coast joins the Green Liing Guy to talk oceans, going green and whatever else might pop up! Tanna can currently be seen starring with Judd Nelson in the Henry Jaglom comedy “Just 45 Minutes from Broadway” which explores the complex emotional lives of theater folk. She's also hitting the boards in “The Rainmaker” at the Edgemar Theatre in Santa Monica. The Los Angeles Times said, “The standout of this terrific cast is Tanna Frederick's acerbically yearning Lizzie…It's a transformation not to be missed. She is a second-degree Tae Kwon Do blackbelt and a passionate surfer. She founded “Project Save Our Surf,” an annual surfing event that benefits oceans and clean water initiatives. She is also founder of the Iowa Film Festival, which debuted successfully five years ago and has tripled in size. Frederick's latest venture is Project Cornlight, which aims to develop Iowa-based films and other projects showcasing Iowa talent. She was recently named the recipient of the University of Iowa's Distinguished Alumni Award for 2012.
TANNA FREDERICK has starred in several of groundbreaking indie director Henry Jaglom's films including IRENE IN TIME, QUEEN OF THE LOT, and currently stars with Judd Nelson in JUST 45 MINUTES FROM BROADWAY.
TANNA FREDERICK has starred in several of groundbreaking indie director Henry Jaglom's films including IRENE IN TIME, QUEEN OF THE LOT, and currently stars with Judd Nelson in JUST 45 MINUTES FROM BROADWAY.
On August 28, I had the honor of being invited to a private pre-screening of Henry Jaglom's Film “Just 45 Minutes From Broadway!” presented at Laemelle's Music Hall in Beverly Hills by Hilary Helstein & The Los Angeles Jewish Film Festival and the Jewish Journal. LOS ANGELES PREMIERE! This was an EXCLUSIVE PRE-RELEASE SCREENING. […] The post “Uncle Earl Goes to The Movies” appeared first on The Uncle Earl.
On August 28, I had the honor of being invited to a private pre-screening of Henry Jaglom’s Film “Just 45 Minutes From Broadway!” presented at Laemelle’s Music Hall in Beverly Hills by Hilary Helstein & The Los Angeles Jewish Film Festival and the Jewish Journal. LOS ANGELES PREMIERE! This was an EXCLUSIVE PRE-RELEASE SCREENING. Film was followed by […] The post “Uncle Earl Goes to The Movies” appeared first on The Uncle Earl.
Multi-talented Tanna Frederick returns with an update on her new films and her work with Project Cornlight, an initiative to help revitalize the film industry in Iowa. Tanna is an award-winning actress, director, environmentalist and founder of the Iowa Independent Film Festival in Mason City. She recently wrapped Henry Jaglom’s romantic comedy The “M”Word with Corey Feldman, Michael Imperioli and Francis Fisher. She then went on to make her directorial debut (and star) in a theatre production of Why We Have a Bodyat the Edgemar Center for the Arts. She is currently in her native Iowa filming The Farmwhere she stars as a single mother who returns to Iowa to deal with her past. This October Tanna can be seen starring with Judd Nelson in the Henry Jaglom comedy Just 45 Minutes from Broadway which explores the complex emotional lives of theater folk. The film was adapted from a stage play written by Jaglom.
They are three determined stars each making names for themselves in the cutthroat world of young Hollywood, and they've all three come to Brandon's Buzz to tell their amazing stories: JEROME ELSTON SCOTT discusses the making of his new directorial debut "Anderson's Cross"; TYNE STECKLEIN discusses working with the great Michael Jackson just prior to his tragic passing, as well as her role in the new smash musical "Burlesque"; and TANNA FREDERICK breaks down her collaborations with famed film director Henry Jaglom, and describes their latest project, "Queen of the Lot." Scott, Stecklein, and Frederick, in a Brandon's Buzz "Rising Stars of Hollywood" special presentation!
"Jannel Rap: Music Iconoclast" On WIN Without Competing! Dr. Arlene will interview singer-songwriter Jannel Rap who, according to the International Music Connection Magazine, is one of the top 50 iconoclasts of the music business along side the Eagles, Lil Wayne, Robert Plant and many more. Jannel has five solo CDs that have received national airplay. She is currently working on her 6th solo CD entitled..."Are We There Yet?" She has shared the stage with John Waite, Sophie B. Hawkins, Stevie Wonder, Sandi Patty, The Yardbirds, Nickel Creek, Eddie Money, Rick Springfield's band- The Squirts, Susan Gibson (Dixie Chicks), Lowen and Navarro, Loudon Wainright III, James Valentine of Maroon 5, Tyrone Wells, and Ronnie Cox. Her music has been featured in the television shows "America Lost and FOUND", and "Elimidate," in Karen Black's play "Missouri Waltz," the Henry Jaglom films "Going Shopping" and "Irene In Time," the documentary: "800 CDs" and the film "Costa Rican Summer" starring Pamela Anderson. Jannel founded GINA for Missing Persons FOUNDation after the disappearance of her sister, Gina, in 2000. The GINA FOUNDation was featured twice on the Grammy Awards Program along with Jannel and numerous contributing artists, including Meatloaf, Michael C. Ross, Christina Aguilera, Vanessa Carlton, Little Feat and Sheila E. Annually, Jannel takes her band Clementine on the Squeaky Wheel Tour which is a 19 day event beginning on Gina’s disappearance date and winding down on her birthday. Jannel is considered an expert on call for missing person cases featured on national TV shows such as Nancy Grace. To read more, visit...http://www.drbarro.com/.
Two-time Golden Globe winning actress Karen Black joins Kamala and Joel this week with a very personal and insightful interview. Karen's expansive career has included such films as Easy Rider, Five Easy Pieces, Family Plot, The Day of the Locust, The Great Gatsby, Nashville, Can She Bake a Cherry Pie?, Firecracker and Hollywood Dreams. She talks about working with Alfred Hitchcock, Robert Altman, John Schlesinger and Henry Jaglom. Karen also gives some very candid and useful information for actors.
In the editing room with Henry Jaglom and Tanna Frederick where we find out about Jaglom's new film Going Shopping. Tana is starring in the film that Henry is currently editing entitled Hollywood Dreams and she describes what it's like to work on a Jaglom movie. Henry talks about his filmmaking process, working with actors, cutting his own films by hand on a KEM flatbed editor, his friendship with Orson Welles, and being an auteur.
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