Podcasts about hitchcock

August at the New Beverly features dark comedies with Danny Devito, buddy movies, a big Scorsese anniversary, a new Eli Roth movie, classic screwball, dirty cops, early Hitchcock and much much more! Our returning guest this month is John Moret from the Trylon Cinema in Minneapolis who is always fun to talk movies with! Enjoy! Check out all things New Beverly here: https://thenewbev.com/ Have A look at what's Happening at The Vista/Video Archives Cinema Club Here: https://ticketing.uswest.veezi.com/sessions/?siteToken=20xhpa3yt2hhkwt4zjvfcwsaww If You Enjoy the show, You can help support us at Pure Cinema by going to: https://www.patreon.com/purecinemapod Brian's Directed By shirts can be found here: https://www.teepublic.com/user/filmmakershirts

Alfred Hitchcock remains cinema's Master of Suspense a century after directing his first film, but decades of biography have blurred the line between the man and the myth. Mike talks with author Tony Lee Moral about his sixth Hitchcock book, A Century of Hitchcock, and the archival discovery that reshaped it: a 36-page 1980 transcript of biographer Donald Spoto's own interview with Tippi Hedren.Moral traces how Spoto's personal grievances against Hitchcock — including being routinely ignored by name and bitten by the director's West Highland terrier — colored The Darkside of Genius and shaped decades of tabloid narrative. Drawing on new interviews with secretaries, screenwriters, and script supervisors who worked alongside Hitchcock, Moral makes the case for reexamining the record on Hitchcock's treatment of women, from Tippi Hedren's shifting accounts to the making of The Birds and Marnie.The conversation also revisits The Pleasure Garden on its hundredth anniversary, Hitchcock's collaboration with Salvador Dalí on Spellbound, and what a possible sixth Hitchcock book might hold. Find Tony Lee Moral's book and more of his work at tonyleemoralbooks.com.Buy the book at: https://amzn.to/4fvEBKG Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth--5513239/support.Become a supporter of The Projection Booth at http://www.patreon.com/projectionbooth 

durée : 01:28:56 - Les Nuits de France Culture - par : Albane Penaranda - En 1993, "Les Mardis du cinéma" proposent une émission sur l'acteur américain Montgomery Clift. Une analyse de la courte mais éblouissante carrière du comédien qui joua avec Marilyn Monroe, Elizabeth Taylor, John Wayne, Clark Gable dans des films signés Hitchcock, Mankiewicz, Kazan, Huston, etc. - équipe : Mathias Le Gargasson, Antoine Dhulster, Rafik Zénine, Vincent Abouchar, Emily Vallat, Hassane M'Béchour, INA Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

  Junk Food Supper is back and ready to review an all-time classic of bummer cinema, Michael Cimino's 1978 anti-war film The Deer Hunter. It's that classic tale of how the pressures of capitalism might cause you to play fast and loose with bullets to the head. Starring: Robert Deniro, Christopher Walken, John Cazale, John Savage, Meryl Streep - so what else could you want? So #DonloydNow and enjoy this bite-sized Junk Food Supper. We got all this plus the local stench situation, Hitchcock zoomin' (on big butts), the trauma of a modern Evil Dead movie, Bowman doubles down on an unpopular cinematic viewing selection, post-dated Letterboxd diary entries, Sean's memory gets tested, our official nomination for Top Dong Dropper in Cinema History (e-mail us yours) and so much more!! Recorded live-to-tape from rat-infested waters!~! Direct Donloyd Here Got a movie suggestion for the show, or better yet an opinion on next week's movies? Drop us a line at JFDPodcast@gmail.com. Or leave us a voicemail: 347-746-JUNK (5865). Add it to your telephone now! JOIN THE CONVERSATION! Also, if you like the show, please take a minute and subscribe and/or comment on us on iTunes, Stitcher, Blubrry or Podfeed.net. Check us out on Facebook and Twitter! We'd love to see some of your love on Patreon - it's super easy and fun to sign up for the extra bonus content. We'll drum funkily for your love and support. With picks like these, you GOTTA #DonloydNow and listen in!

Hit the highway for one of the greatest hidden gems in horror history as Johnny Spoiler takes a spoiler-filled ride through Richard Franklin's Roadgames (1981)—the Australian cult classic that asks: What if Alfred Hitchcock made a slasher on the open road?This week, Johnny breaks down why Roadgames deserves a place alongside The Hitcher, Joy Ride, and Breakdown, explores its reputation as one of the defining films of the Ozploitation era, and reveals the behind-the-scenes stories that make this thriller legendary—including Stacy Keach learning to drive a 16-gear semi in just two days, the Sean Connery casting that almost happened, and why Quid's dingo had to be renamed Boswell.Danny McBride's gritty new G.I. Joe movie heads to Springfield... but not the Springfield you expect.Remembering the legendary Sam Neill with a look back at Possession, Jurassic Park, Event Horizon, Merlin, and Bicentennial Man.Sydney Sweeney saddles up for Hollow, a gothic reimagining of Sleepy Hollow, plus three must-watch Sweeney films.JOLT Modern Soda Bundle - JOLT Cola & JOLT Root Beer - Zero Sugar, 80mg Natural Caffeine, Alpha GPC Focus Nootropics, Prebiotics, B Vitaminshttps://amzn.to/3RLxtSGHarry's Original Shaving Kit for Menhttps://amzn.to/4yvLq7VMeatzy meat on demand and get rewarded for sharing the sizzle https://tr.ee/GetMeatzyJohnnyWhy Roadgames is basically Rear Window on Wheels.Jamie Lee Curtis as the mysterious hitchhiker "Hitch."How this overlooked thriller inspired The Hitcher, Joy Ride, Wolf Creek, and modern highway horror.Hitchcock references, Ozploitation history, and the terrifying green van that haunted a generation of genre fans.Johnny answers your questions about A Nightmare on Elm Street 2: Freddy's Revenge, dives into why it's become one of horror's most fascinating cult classics, and shares behind-the-scenes trivia from The Dream Master.Before Workaholics became a Comedy Central hit, it was a broke YouTube sketch group called Mail Order Comedy. Johnny tells the unbelievable story of how Blake, Adam, Anders, and Kyle turned homemade videos into one of TV's funniest comedies. Rating: SCREAM NOW!Next week, Summer Slash continues with Brain Dead (1990) starring Bill Pullman and Bill Paxton—a mind-bending psychological horror trip into corporate conspiracies, neurosurgery, and insanity.Subscribe, binge, and remember...Johnny Spoiler doesn't ruin movies. He ruins the wait.

This is a free preview of a paid episode. To hear more, visit andrewsullivan.substack.comDavid is a historian and perhaps the greatest living film critic. He's the author of more than 20 books, including biographies of David O. Selznick and Orson Welles, and The New Biographical Dictionary of Film. His new book is called A Sudden Flicker of Light: A Revisionist History of Movies. It's a wonderful extended rant in some ways, a love letter and a searing indictment of cinema. I was a little intimidated talking with him, but it was a lot of fun.For two clips of the episode — on the uptight genius of Hitchcock, and the authoritarian nature of cinema — head to our YouTube page.Other topics: born in South London in 1941 and his home damaged by the Blitz; his father leaving when he was born; his boyish mix of fear and delight at the cinema; the shower scene in Psycho; how film denies you the chance to stop and think; the directors who relish white space (e.g. PT Anderson); Birth of a Nation and Triumph of the Will; newsreels before TV; real nuke explosions on screen; Oppenheimer; from communal theater viewing to solo smartphone viewing; Game of Thrones and the insane production value of TV these days; Breaking Bad; Trump the ultimate product of TV; his telegenic Cabinet; the danger of deepfakes; Paul Schrader's First Reformed; the audience's love of car crashes and villains; Godfather I and II; contrasting Hitchcock and Malick; Tree of Life; nature in Thin Red Line; Fincher's Seven; Robert Bresson's religious films; Scorsese's Silence and Last Temptation of Christ; the vulgarity of Spielberg (e.g. the red dress in Schindler's List); ep. 3 of Adolescence; and Nolan's new Odyssey.Browse the Dishcast archive for an episode you might enjoy. Coming up: John O'Sullivan on conservatism, Azam Ahmed on terrifying new drugs, Robby George on natural law, and Megan McArdle on pretty much anything. Please send any guest recs, dissents, and other comments to dish@andrewsullivan.com.

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Christopher Nolan's The Odyssey arrives amid enormous anticipation. Jason considers whether the mythic epic can live up to the hype.A tribute to Sam Neill, who died this week, as we revisit a beautiful highlight from our archives: Neill reflecting on his favourite film - a clue, it was directed by Alfred Hitchcock.We speak with filmmaker Alain Gomis ahead of the Melbourne International Film Festival about Dao, his visually striking exploration of memory, history and identity; and MIFF Senior programmer Kate Jinx is in for a preview of this year's festival.Presenter, Jason Di RossoProducer, Sarah CorbettSound, Angie GrantArts editor, Sarah L'Estrange

Christopher Nolan's The Odyssey arrives amid enormous anticipation. Jason considers whether the mythic epic can live up to the hype.A tribute to Sam Neill, who died this week, as we revisit a beautiful highlight from our archives: Neill reflecting on his favourite film - a clue, it was directed by Alfred Hitchcock.We speak with filmmaker Alain Gomis ahead of the Melbourne International Film Festival about Dao, his visually striking exploration of memory, history and identity; and MIFF Senior programmer Kate Jinx is in for a preview of this year's festival.Presenter, Jason Di RossoProducer, Sarah CorbettSound, Angie GrantArts editor, Sarah L'Estrange

Special Guest: Jason Hitchcock, CEO of Greenlane Holdings, Inc. (NASDAQ: GNLN) We welcome Mr. Hitchcock to the show to discuss cryptocurrency as an industry, his role as CEO of Greenlane Holdings, and BeraStrategy. Originally envisioned as a cannibus-based organization, Greenlane is now taking advantage of Berachain's Proof-of-Liquidity model to create and maintain a digital asset treasury.  Innovative yield and emissions offerings are only part of the larger plan. Greenlane's website: https://www.gnln.com Greenlane on X: @GNLNHoldings Jason Hitchcock on X: @JasonHitchcock Learn More: Investor Relations: https://investor.gnln.com/ BeraStrategy: https://www.gnln.com/berastrategy BeraChain (BERA): https://www.berachain.com/ #Crypto #Cryptocurrency #podcast #BasicCryptonomics Website: ⁠⁠⁠⁠https://CryptoTalk.FM Facebook: ⁠⁠⁠⁠@ThisIsCTR⁠⁠⁠⁠ Chapters (00:00:01) - Crypto Talk Radio(00:02:16) - Ethereum vs. Bitcoin: Supply and Affordability(00:07:52) - Interviewing Crypto Talk fm's Guest(00:10:05) - How Barachain Is Investing in Crypto(00:12:27) - How to Get Started in Crypto(00:17:07) - How Do Stablecoins Work?(00:18:03) - Stable Coins and Decentralization: Do They Matter?(00:24:01) - The Need to Raise Crypto Money(00:33:33) - Barachain Capital's Green Lane Holdings(00:37:15) - Cannabis Whey Reverse Stock Split(00:38:44) - NASDAQ: Validators are part of the Bitcoin Ecosystem(00:40:07) - Cannabis stocks stable, but headcounts are rising(00:41:11) - In addition to the cannabis wind down, there were also some operational(00:42:36) - Barachain: What Makes The Chain Unique?(00:48:30) - Bear Chain: The Crypto Uncover Story(00:52:35) - Greenlane on Barachain

Grab your giant bowl of milk and call your Ma, it's time for The Ladies Man! Seth's pick for Edith Head month brings us to the directorial work of Jerry Lewis, comedian, writer and all around not great guy! We discuss the insane and elaborate set, the Singin' in the Rain connections, what jokes work well and what don't and where this movie may surpass Hitchcock and Buster Keaton. Also: James! Getting locked in! Sound effects! Check it out! Ad-free versions of all of our episodes are available on our Patreon When you sign up you also get access to our bonus shows, Discord server, shout out on the show AND you get to vote on monthly episodes and themes and a 25% discount in our merch store. That's a lot for only $5 a month! For more info and to sign up visit us on Patreon You can also give a Movie Friends subscription here: Gift a Movie Friends Subscription! Visit our website Check out our merch store Send us an email! Follow us on Twitter and Instagram Fill out our listener survey

STRANDED IN THE FUTURE is a kind of dystopian self-portrait. It's about obsession, and obsessive behavior. Spanning from 1968 to 1978, it takes in the mythology that teenagers weave around their musical heroes and their early loves: in this case, one specific hero and one specific love. The book explores the way that Hitchcock, in his own head, linked these two figures to each other, although they never actually met.On the way, the story mines the incremental hangover of the 1970s as Hitchcock begins to play live, teaches himself to write songs, and eventually forms the Soft Boys. There's a side order of trolleybuses too! Hitchcock's beautiful prose will resonate far beyond the fans of his music, and build on the literary following he established with his first book, 1967: How I Got There and Why I Never Left.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

This week on the Talk Without Rhythm Podcast I'm joined by Paul of the Strange Highways Podcast for his Patreon Pick of two "not quite Hitchcock" movies: 1963's Charade and 1977's High Anxiety. [00:00] INTRO [01:50] CromCast Podcast Promo [02:34] RANDOM CONVERSATION [14:31] Charade (1963) [56:55] High Anxiety (1977) [01:34:44] FEEDBACK [01:38:19] ENDING MUSIC: High Anxiety by Mel Brooks Buy Charade (1963) Buy High Anxiety (1977) Support TWoRP Contact Us talkwithoutrhythm@gmail.com  

STRANDED IN THE FUTURE is a kind of dystopian self-portrait. It's about obsession, and obsessive behavior. Spanning from 1968 to 1978, it takes in the mythology that teenagers weave around their musical heroes and their early loves: in this case, one specific hero and one specific love. The book explores the way that Hitchcock, in his own head, linked these two figures to each other, although they never actually met.On the way, the story mines the incremental hangover of the 1970s as Hitchcock begins to play live, teaches himself to write songs, and eventually forms the Soft Boys. There's a side order of trolleybuses too! Hitchcock's beautiful prose will resonate far beyond the fans of his music, and build on the literary following he established with his first book, 1967: How I Got There and Why I Never Left.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

Front Row Classics welcomes author Tony Lee Moral. Tony recently penned "A Century of Hitchcock: The Man, The Myths, The Legacy". He addressed a series of narratives regarding the Master of Suspense through new archival research and unpublished interviews.  Now available from The University Press of Kentucky wherever books are sold Tony Lee Moral is a mystery author and screenwriter with a deep passion for suspense, mystery, and the cinematic legacy of Alfred Hitchcock. Over the course of his career, he has become a leading voice in both the world of Hitchcock scholarship and contemporary crime fiction. With four critically acclaimed books dedicated to Alfred Hitchcock, including Alfred Hitchcock Storyboards (2024), The Young Alfred Hitchcock's Moviemaking Master Class (2022), The Making of Hitchcock's The Birds (2013), and Hitchcock and the Making of Marnie (2013), Tony's writing offers a unique insight into the art of filmmaking, the creative process, and the mind of one of cinema's most iconic directors. But Tony's talents don't end with nonfiction. He is also an accomplished novelist, weaving intricate plots filled with suspense, intrigue, and unforgettable characters. His novels include The Two Masks of Vendetta and its thrilling sequel The Passion of the Cross (both released in 2024) and Ghost Maven: The Haunting of Alice May (2019). These novels blend elements of mystery, suspense, and the supernatural, taking readers on unforgettable journeys that explore complex characters, twisted secrets, and the darkest corners of the human psyche. As a writer, Tony is dedicated to crafting stories that keep readers on the edge of their seats. His work in suspenseful thrillers, like The Two Masks of Vendetta, shows his knack for creating tension and atmosphere, while his paranormal novels, such as Ghost Maven, blend supernatural elements with heartfelt emotions, bringing a fresh approach to the genre. Drawing on his expertise in both film and fiction, Tony writes with an eye for cinematic detail, ensuring that each page feels like a scene from a gripping film. His deep understanding of Hitchcock's techniques — suspense, misdirection, and character-driven storytelling — shines through in every novel, making his books essential reading for fans of mystery, crime, and psychological thrillers.

A Century of Hitchcock Front Row Classics welcomes author Tony Lee Moral. Tony recently penned “A Century of Hitchcock: The Man, The Myths, The Legacy”. He addressed a series of narratives regarding the Master of Suspense through new archival research and unpublished interviews.  Now available from The University Press of Kentucky wherever books are sold … Continue reading Ep. 471- A Century of Hitchcock with Tony Lee Moral →

Jake welcomes first time guest Carolynn onto the show! This week, it's time to dive more into Hitchcock. How does it hold up to the rest of his work? Do Cary Grant and Ingrid Bergman sizzle on screen? Probably, but you'll have to listen to actually find out!

“For all the paperwork of democracy — government by and for the people — we have become a citizenry of spectators who simply want to be entertained. And we are accustomed to the realization that we can't do anything about what's on the screen.” — David Thomson Has the prolific film critic David Thomson fallen out of love with the movies? That's the question I began my conversation with Thomson, arguably the greatest living writer on film. My question was triggered by his revisionist movie history (out today), A Sudden Flicker of Light, which, while still glorifying film, nonetheless recognizes the damage that the medium has done to us. No, he hasn't fallen out of love with the movies, Thomson responded. But he did acknowledge a new kind of wariness about his beloved medium — a suspicion of auteur worship, that tradition which concentrates on the great artistry of individual directors like Welles, Hitchcock, and Scorsese while ignoring what the motion picture medium as a whole has done to society. “What has God wrought?” Samuel Morse asked about the telegraph. David Thomson is asking the same question about the consequence of movies. Cinema, particularly Hollywood, Thomson argues, has spent a century disempowering audiences. Sitting in the dark, gazing at the screen, people have lost their agency. This passivity, Thomson argues, has invaded our political life, transforming us from citizens into spectators. No, Mr Smith hasn't gone to Washington. Instead, America has become a theater of gawkers addicted to screen entertainment, unable to discriminate between a sudden flicker of light and reality. Thus the degeneration of America into a violent Coppola movie. Thus The Joker who has crawled out of primeval darkness and now monopolizes all our screens. You could make a movie about it. Call it “Being There” or “Network.” Or perhaps “The Truman Show.” Five Takeaways •       Cinema Has Trained Us to Be Spectators — and That Has Destroyed Our Agency: Thomson's central argument: sitting in the dark watching a bright light in front of them, audiences learned that the thing on the screen is not their responsibility. People are not really hurt on screen, no matter their bodies are torn apart. They are not really happy, no matter what they say in the film. And whatever happens, the audience remains a spectator. Extrapolate that out into a broader world and you have a society in which, for all the paperwork of democracy and government by and for the people, people have become a citizenry of spectators who simply want to be entertained. America, Thomson believes, is in that state. •       Every Cut Is Violent — and Every Cut Is a Marriage: Thomson's most original observation is the smallest: the cut. A cut is where the stream of imagery you are watching goes from one shot to another. It is a separation — but it is also a marriage. Every cut says: join them up. The way we measure the effectiveness of directors from D.W. Griffith onward is that they found ways to put shots together so that film had sequence and order, like the order of sentences in writing. And every cut has an element of violence in it, because you are seeing one thing and then, bang, you are watching something quite different. We have never taught our children what a cut is — even though they have spent far more of their lives watching moving imagery than reading. That neglect, Thomson argues, is consequential. •       The Culture of Manhood and the Systematic Neglect of Women: Thomson's most politically charged observation: the culture of manhood and the serious neglect of women was going on in virtually every film he saw until at least the 1980s, and you could argue well beyond that. That is, he says, a kind of tacit advertising — a way of saying, look, this is really a very good way for how the world should be. It is something that has become harder and harder for him to endure as an idea. And he thinks that the war in Iran would not have been as likely if America had had enough women running the country — because women feel and think together in concert in different ways, with more room for compassion, sentiment, and plain rationality. •       Cinema Is Deeply Educational — and We Have Ignored That: Thomson's answer to Andrew's challenge: what does any of this have to do with movies? Everything. You cannot have a mass medium without the mass being affected, without the ways in which they think being shaped. The movies have given us examples of how to live that have been intensely persuasive. They are deeply educational. And yet we have permitted them, and like every technology humans have ever invented, we have let the technology take control of us rather than the other way around. Children spend far more time watching moving imagery than reading — and yet we do not teach them what a cut is, what a camera angle means, how the medium constructs its reality. That neglect has been, Thomson believes, catastrophic. •       Citizen Kane Is the Definitive American Film — Not The Godfather: Andrew's final question: what is the definitive movie about America? Not The Godfather, Thomson says, because the Godfather films cannot overcome their attraction to authority. There is a reverence for dark power in the Godfather films. Whereas in Citizen Kane, there is all through the film a terrible ruefulness about what happens to people who seek power. Welles absolutely understood and was intensely critical of the personality that needed power and authority — and he was afraid of it. For that reason, it is still for Thomson the definitive American film. Thomson has been known to doze off watching it, because he knows it too well. On July 4, he plans to watch something different. Ideally, The Odyssey. About the Guest David Thomson is the author of more than twenty books on film, including A Sudden Flicker of Light: A Revisionist History of the Movies (Simon & Schuster, July 7, 2026), The New Biographical Dictionary of Film (six editions, 1975–2014), Orson Welles, The Big Screen, Have You Seen…?, and biographies of David O. Selznick, Marlon Brando, and Nicole Kidman. Michael Ondaatje has called him “the best writer on film in our time.” He lives in San Francisco, where he is Andrew Keen's neighbour. References: •       A Sudden Flicker of Light: A Revisionist History of the Movies by David Thomson (Simon & Schuster, July 7, 2026). •       Citizen Kane (Orson Welles, 1941) — Thomson's definitive American film; discussed extensively in the conversation. •       The Godfather (Francis Ford Coppola, 1972) — referenced as ...

In a series of topic-focused GGACP mini-episodes, Gilbert and Frank share their love of unheralded films, underrated TV shows, underappreciated pop songs and often unknown performers, discussing, dissecting and (occasionally) defending their handpicked guilty pleasures and buried treasures. This week: Stanley Donen does Hitchcock! The brilliance of Henry Mancini! The cinema of John Cazale! And Gilbert makes a guest appearance on Turner Classic Movies!https://www.gilbertpodcast.com/mini-ep-6-charade-and-the-conversation/ Learn more about your ad choices. Visit podcastchoices.com/adchoices

https://notesonfilm1.com/2026/07/06/cinema-ritrovato-2026-wrap-up/ Cinema Ritrovato 2026 Wrap-up Richard and I get together to chat about our experience of this year's Cinema Ritrovato. The programming is so vast and diverse that everyone who attends will have a completely different Ritrovato. In this podcast we spend quite a lot of time discussing the strand on Juan Antonio Bardem, Javier's uncle, one of the key Spanish directors of the Franco era, and a real discovery for Richard. We also touch on the Mitchell Leisen program, concluding that it will invariably raise his standing as a Hollywood director, particularly for those interested in the queer dimension of his work, without quite succeeding in putting him at the level of the very greatest (Lubitsch, Hitchcock, etc). The Stanwyck program demonstrated that the great star could do anything – comedy, drama, westerns; aristocrats and subalterns – much more convincingly than her rivals to the title of classic Hollywood's greatest star/ actress, Bette Davis and Katharine Hepburn. We touch briefly on the Daisuke Ito, Ritwick Ghatak, and Josephine Baker strands but mainly dwell on some of the films shown under the Cinemalibero banner, always one of the highlights of the festival: A SPRING FOR THE THIRSTY (Yuri Ilyenko, 1965/1987), LA DÉRIVE (Paula Delson, 1964), WEIGHTED BUT FOUND WANTING (Lino Brocka, 1974), MUDAR DE VIDA (Paulo Rocha 1966), among others. From other strands we also discuss SUGATA SHANSHIRO (Kurosawa, 1943), THE LONG MEMORY (Robert Hamer, 1953), LA BIUGIARDA (Luigi Comencini, 1965). We end with comments on the chairing (applauding the Guy Maddin event), the Piazza Maggiore screenings (NEW YORK, NEW YORK), the amazing tinting on some of the silent masterpieces (WHAT PRICE GLORY). Our one critique is that the festival really has to remind itself that the introductions are for the audience rather than for the presenters. A great year.

The woman behind Alfred Hitchcock's success. PatreonMerchTikTokBskyInstagramPipedream podcastsSpreakerClips used in this episode:Alfred Hitchcock Accepts the AFI Life Achievement Award (1979)Alfred Hitchcock Intro ThemeThe 39 Steps (1935)Frenzy (1972)Dial M for Murder (1954)Rebecca (1940)Patton Oswald - Male directors, female editorsMarnie (1964)Rear Window (1954)Rope (1948)Shadow of a Doubt (1943)The Birds (1963)The Murder composed by Bernard HerrmannMusic: Kevin MacLeod"Jazz Brunch""Discovery Hit""Miami Nights""This House"

Robert Bloch vuelve a nuestro Podcast. Ya de joven publicó relatos en revistas pulp, y elaboró fanzines sobre ciencia ficción. Formó parte del círculo de admiradores de H.P. Lovecraft, con quien se carteaba y por el que fue muy influenciado en una primera época, si bien desarrolló posteriormente un estilo muy propio. Trabajó como guionista cinematográfico y también como adaptador de sus propias novelas, siendo ejemplo famoso la adaptación de Psicosis, que sería dirigida por Hitchcock. Logró numerosos premios a su labor literaria, como el Hugo y el Bram Stoker. Fue presidente de la Asociación de Escritores de Misterio de América. Su producción se compone de numerosísimos relatos cortos y novelas. Cultivó los géneros de la fantasía, terror y ciencia ficción. ------------------------------------------------------------------------------ Intro: Bienvenidos al Consultorio de Monstruos de Cassilda. 🎙 El único espacio de la radiofonía que no tiene ninguna intención de consolaros. Olga dice que tengo que escuchar vuestros pequeños miedos nocturnos y yo he aceptado porque me aburro, jijjiji. Seguramente te encuentres conmigo cuando menos te lo esperes... 🕸️🖤 Pero os advierto tres cosas:👩🏻🎙 Id al grano. No lloréis y si os enrolláis corto la línea. 💻Mi correo es suspirokokoro@gmail.com Aquí podéis enviar vuestras notas de audio.📻 ------------------------------------------------------------------------------------ Si disfrutas de estas historias y quieres que sigamos alimentando las sombras, puedes apoyarnos siendo mecenas en iVoox. Cada pequeño gesto nos ayuda a que el aquelarre crezca. Muchas Gracias!! 🔗 Enlace directo para unirte al pacto https://www.ivoox.com/support/552842 🎙Sonido y voz Olga Paraíso Música epidemic sound licencia premium autorizada para este podcast Imagen Boris Karloff 🕯BIO Olga Paraíso: https://instabio.cc/Hleidas Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

The Grant-A-Thon Has Arrived! Join Ryan Frost (Reel Nerds Podcast) & I as we get CARY-d away in  unveiling our Top Ten Cary Grant Performances in Grant-A- Thon! Will someone like Only Angels Have Wings more than Bringing Up Baby? Will Mr. Lucky make the cut? And who lives the Hitchcock collabs more? Tune in to find out all that and more! Plus: A Sneak Peak At Our Next Top Ten Special!     Listen to Ryan each and every week on REEL NERDS PODCAST Website: https://reelnerdspodcast.com/ Apple Podcasts: https://podcasts.apple.com/us/podcast/reel-nerds-podcast/id442184939 Spotify: https://open.spotify.com/show/2NMZkh3WRDuIgIGuFRraEV and Follow the Reel Nerds on Social Twitter: https://twitter.com/reelnerds Facebook: https://www.facebook.com/ReelNerdsPodcast/ Instagram: https://www.instagram.com/reelnerds/?hl=en  

Good evening. Welcome to Dial P for Podcast, Patrick Ripoll's year-long chronological voyage through the films of Alfred Hitchcock. Every month Patrick will be watching four Hitchcock features and talking about them here, from The Pleasure Garden to Family Plot, all across the year of 2026, examining the life and work of England's most famous cinema pervert.As we reach the midpoint of Alfred Hitchcock's career we see a variety of films, including a screwball comedy and another 39 Steps re-run, but we also see the full flowering of a Hitchcock driven by psychology, by terror of a much more domestic variety, a world at war while things aren't right at home, where the person you sleep next to could be your most sinister enemy. Homicidal Cary Grant, Thorton Wilder slumming it, the statue of liberty, fourth wall dismissal, surrealism and even honest-to-God psychic powers saturate this batch of films as Hitchcock settles into Hollywood and begins to turn it upside down.It's glowing like a poisoned glass of milk but you better drink it down anyway!0:00 - 0:36 - Intro0:37 - 30:55 - Mr. and Mrs. Smith (1941)30:56 - 1:38:47 - Suspicion (1941)1:38:48 - 2:24:53 - Saboteur (1942)2:24:54 - 4:13:55 - Shadow of a Doubt (1943)4:14:56 - 4:15:04 - Outro

In August 1940, Alfred Hitchcock released FOREIGN CORRESPONDENT, a spy thriller that looked like simple entertainment but carried a hidden message for American audiences. In this episode of Cracking the Code of Spy Movies, Dan and Tom dig into how Hitchcock, working in Hollywood while Europe burned, smuggled a warning into one of his lesser-known masterpieces. Hitchcock is the master of suspense, so listen now to this espionage spy thriller that oozes with Hitchcockian brilliance. Join us as we trace the story of Johnny Jones, a green American reporter sent to Europe under a fake name, who stumbles into a web of assassins, double agents, and a missing diplomat holding a secret that could decide the fate of a continent. Along the way, we explore the real history behind the film, including the journalists who inspired it, the genuine spycraft Hitchcock borrowed from British intelligence, and the wartime tension that shaped nearly every scene. We also break down the film's most famous sequences, talk about the standout cast performances, including an Oscar-nominated actor who did not know how to speak a word of English. Here are some things you'll learn: ·         Hitchcock's spy thriller had a hidden political message — and the U.S. government noticed it before America even joined the war. ·         One real Hollywood reporter inspired the story, but several characters were modeled after actual Nazi agents operating in Europe. ·         A famous rain-soaked assassination scene hides a clever visual trick that still feels shockingly modern. ·         An Oscar-nominated actor delivered every line of dialogue without understanding a single word he was saying. ·         The film's final scene wasn't part of the original script — real-world events changed the ending just before release. By the end, you will never watch FOREIGN CORRESPONDENT the same way again. Stick around to the finish, where we reveal exactly where to spot Hitchcock's tricky cameo appearance. Tell us what you think of our discussion FOREIGN CORRESPONDENT Have you seen this movie?  If so, what did we miss?   If you haven't seen it, does this episode put it on your watch list? Let us know your thoughts, ideas for future episodes, and what you think of this episode. Just drop us a note at info@spymovienavigator.com.  The more we hear from you, the better the show will surely be!  We'll give you a shout-out in a future episode!   You can check out all our CRACKING THE CODE OF SPY MOVIES podcast episodes on your favorite podcast app or our website. In addition, you can check out our YouTube channel as well.   Episode Webpage: https://spymovienavigator.com/episode/foreign-correspondent-decoded

Under Capricorn is known as one of Alfred Hitchcock's least successful efforts. Starring the great Ingrid Bergman and Joseph Cotten, it's a period costume drama set in Victorian Australia. Does that sound compelling? It didn't to us, but we wanted to check it out and see if it wasn't some diamond in the rough._____Please consider joining our Patreon: https://www.patreon.com/wwibofficialYouTube: https://www.youtube.com/@whywasntitbetterLetterboxd: https://letterboxd.com/wwibpodcastInstagram: https://www.instagram.com/wwib_officialX: https://x.com/WWIBpodcastSubscribe! Rate! Review! Tell a friend!

Finally, you've finished writing your book. Fabulous. Sadly, writing The End isn't actually the finish line it appears - it's just the start of getting it published. Sorry about that.  Emily Hitchcock - publishing expert + CEO of Columbus Publishing Lab + Boyle & Dalton - is back to guide us through what actually happens between a finished draft and a proper, professional book. We cover the three types of editing you need (+ why the order matters so much), why "everyone" is the worst possible answer to who your book is for + what a realistic budget looks like. Look for more in the Your Biz Needs a Book strand. Emily's Websites: ColumbusPublishingLab.com +  BoyleAndDalton.com  Emily's Website + Secret Page - Made Just for Us:: columbuspublishinglab.com/liz ==== If you'd like my help with your Business go to www.lizscully.com/endlessClients ==== And don't forget to get your reading list of the 10 essential reads for every successful biz owner - these are the books Liz recommends almost on the daily to her strategy + Mastermind clients. This isn't your usual list of biz books, these answer the challenges you've actually got coming up right now. Helpful, quick to read and very timely. Click here lizscully.com/reading to get your book list

Allie is joined by Mark Hitchcock, the senior pastor of Faith Bible Church in Edmond, Oklahoma, to discuss how modern events could be fulfilling the Biblical end times. Hitchcock correlates the formation of Israel and the Iran war with scriptural prophecies, while saying a peace treaty could usher in the Antichrist. However, Mark warns against trying to figure out who the Antichrist is, while he also believes the rapture will rescue believers before his appearance. Mark also has a special message for potential parents worried about the final judgment. In the end, there is no hope in this world beyond the coming of Christ. Check out Mark on Substack: https://endtimes.substack.com/s/marking-the-end-times Share the Arrows 2026 is on October 10 in Dallas, Texas! Tickets are on sale now at: ⁠⁠⁠⁠⁠⁠https://sharethearrows.com⁠⁠⁠ Share the Arrows is sponsored by: A'del Natural Cosmetics: AdelNaturalCosmetics.com Range Leather: RangeLeather.com/ALLIE We Heart Nutrition: WeHeartNutrition.com Buy Allie's book "Toxic Empathy: How Progressives Exploit Christian Compassion": ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.toxicempathy.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ – Time Codes 0:00 Introduction 1:12 Could the Iran War Kick Off the End Times? 12:18 Will the Antichrist Gain Power Through Peace? 20:09 Will Believers Be Spared from the Antichrist's Wrath? 25:01 Iran's Eschatology 30:00 Does Israel Play a Part? 38:07 How to Think About Doomsday 48:43 Should You Bring Children into the Apocalypse? – Today's Sponsors: Cozy Earth | Discover how care in every detail transforms simple routines into real comfort. Head to cozyearth.com and use my code RELATABLE for up to 20% off. And if you get a post-purchase survey, be sure to mention you heard about Cozy Earth right here. Pre-Born | To donate, dial #250 and say the keyword “BABY.” Or visit Preborn.com/ALLIE. Crowd Health | Join CrowdHealth to get started today for $99 for your first three months using code ALLIE at ⁠⁠⁠JoinCrowdHealth.com⁠⁠⁠⁠. CrowdHealth is not insurance. Opt out. Take your power back. This is how we win. Good Ranchers | If you go to ⁠⁠⁠GoodRanchers.com⁠⁠⁠ and subscribe to any box of 100% American meat, you'll save up to $500 a year! Plus, if you use code ALLIE, you'll get an additional $25 off your first order. EveryLife | Visit EveryLife.com and use promo code ALLIE10 to get 10% off your first order today! Episodes You May Like: Ep 1312 | Prophecy Fulfilled? Iran Strikes & the End Times https://podcasts.apple.com/us/podcast/ep-1312-prophecy-fulfilled-iran-strikes-the-end-times/id1359249098?i=1000753109932 Ep 283 | Are We in the End Times? Part 1: How We Interpret Revelation Matters | Guest: Jeff Durbin https://podcasts.apple.com/us/podcast/ep-283-are-we-in-the-end-times-part-1-how-we/id1359249098?i=1000486948647 Ep 134 | End Times https://podcasts.apple.com/us/podcast/ep-134-end-times/id1359249098?i=1000443918714 --- ► Buy Allie's book "You're Not Enough (& That's Okay): Escaping the Toxic Culture of Self-Love": https://alliebethstuckey.com/book ► Subscribe to the podcast: iTunes: https://apple.co/2UVssnP Spotify: https://spoti.fi/2FwkXxj ► Connect with Allie on Social Media: https://twitter.com/conservmillen https://www.instagram.com/alliebstuckey/ https://facebook.com/allieBlazeTV/ ► "Relatable" merchandise — use promo code ALLIE10 for a discount: https://shop.blazemedia.com/collections/allie-stuckey

It's time for another Mike Makes Mike Watch! This time around, Smith is making Mike D catch up with his favorite Hitchcock film, DIAL M FOR MURDER! Meanwhile, Mike D is making Smith finally watch John Woo's first American film, HARD TARGET!

Alfred Hitchcock's pre-war spy thrillers are interesting because on the one hand they're romps and on the other hand they're designed to subtly push the British public against Germany in a time when the film cannot openly call the bad guys German. This tonal dialectic really worked for us in The Man Who Knew Too Much (1934, Spine 643) and The Lady Vanishes (1938, Spine 3), but falls a little flatter in The 39 Steps (1935, Spine 56) and Foreign Correspondent (1940). Here the unevenness is more noticeable, and that's because bubbling just below the surface is a fight between Hitchcock's desire to make a normal Hitchcock movie and producer Walter Wanger's desire to make an up-to-the-minute ripped-from-the-headline-writers' view of the impending war, unhelped by the army of writers working on it throughout production. But also very much helped by the visual effects and production design.

Welcome to Episode 69 of This Is Not Happening, an Album of the Month podcast. In Part 1, we do a deep drive review of our Album of the Month. This month Nolan serves up Lykke Li's new record: 'The Afterparty'.In Part 2, we play Spin It or Bin It, we pick a theme and all pick songs that represent that theme. This month, we pick our favourite new music.            ------ Part 1 | Album of the Month | Lykke Li |  The Afterparty ------Lykke Li is an adored and fascinating artist, having been releasing music since 2008. The Swedish artist has ploughed her own furrow of pop distinctly different to last month's Robyn, heavy on melancholy and referencing the 60s as much as the modern world and is a real pod favourite. Breaking out in the late 2000s with I Follow Rivers, she's the artist you never knew you loved. The Afterparty is the sixth studio album for Li, and reflects the uncertainty of the modern, chaotic work in its svelte 24-minute running time, packing so much emotion and dynamics into that short running time. The chat takes in her legacy, asks if this truly is her last album, and whether a famously reclusive artist can easily exist in the 'hyper-on' world of the music industry in 2026. Have a listen, tell us what you think.Listen to the original album here.Watch some of her videos here , particularly the singles from this album.Buy this album or some merch here. And listen to her talk about the album here.                 ---------------- Part 2 | Spin It or Bin It | Sad Bangers ---------------- For Spin It or Bin It this month, we return to new music, picking our favourite new tracks from May and June. The task is simple: pick a track that fits the theme, the objective, get more 'spins' than your friends. We each pick four tracks for a 16 track play list . We then each pick select 1 track and ask the simple question 'Spin It Or Bin It'?David chose 'the cure' by Olivia RodrigoGuy chose 'THE WORLDWIDE SCOURGE' by Genesis Owusu.Nolan chose 'Electric Revival' by Deante' Hitchcock.What new music would you have chosen? What's missing from our playlist?We've been writing the blog for years come and have a look - https://thisisnothappening.net/We've been writing the blog for years come and have a look - https://thisisnothappening.net/

For over a century, Alfred Hitchcock has remained one of cinema’s most influential directors. Known as the Master of Suspense, this visionary filmmaker directed more than fifty films over six decades. His thriller “The Lodger” (1927) marked the start of his signature style, which was later exemplified in classic films like “Vertigo” (1958), “North by Northwest” (1959), “Psycho” (1960), and “The Birds” (1963). Hitchcock’s work received tremendous success and critical acclaim. While he never won the competitive Academy Award for Best Director, he received five Oscar nominations, two Golden Globes, the Irving G. Thalberg Memorial Award, a BAFTA Fellowship, multiple lifetime achievement awards, and two stars on the Hollywood Walk of Fame. Nine of his films are preserved in the United States National Film Registry. His mastery of tension, innovative camera techniques, and psychological depth continue to inspire and influence modern filmmakers such as Christopher Nolan, Jordan Peele, and Bong Joon Ho. https://www.youtube.com/watch?v=0NUJN1fq0Sc Drawing on new archival research, previously unpublished interviews, and a rigorous examination of key biographies, “A Century of Hitchcock” challenges the long-standing narratives that have shaped Hitchcock’s legacy. Author Tony Lee Moral revisits controversial claims regarding Hitchcock’s alleged abuses, scrutinizing biographer Donald Spoto’s interpretations—particularly Spoto’s portrayal of the director’s relationship with actress Tippi Hedren. With his analysis of Spoto’s 1980 interview of Hedren, Moral reveals for the first time how one key document contradicts decades of exaggeration. In this comprehensive reappraisal of Hitchcock’s career, Moral encourages readers to explore the complexities of creative collaboration and the risks of relying on a single biographical narrative. Marking one hundred years since Hitchcock’s first film, “The Pleasure Garden”, and fifty years since his last film, “Family Plot”, Moral reexamines the director’s cinematic brilliance, storytelling mastery, creative partnerships, and controversies, offering a fresh perspective on Hitchcock’s legacy in the post-#MeToo era.

This time, it's a crazy-long Peter Lorre triple feature. First, he's a Mexican detective whom George Peppard and Mary Scott wish they'd never met, then he's in two early Hitchcock films: “The (First) Man Who Knew Too Much” and “Secret Agent.”

• (0:00) DJ Bean and Jeff Lemieux recap week one of World Cup action and the party-like atmosphere in Foxborough• (11:46) Bean and Lemieux offer thoughts on the expanded 48-team World Cup field and mandatory hydration breaks• (21:54) Revolution play-by-play man Brad Feldman on his experience at Norway-Iraq, looking ahead to England-Ghana and France-Norway• (34:36) Revs goalkeeper coach Kevin Hitchcock talks Matt Turner's role in USMNT, England's potential as a World Cup favoriteSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

If we told you ‘Deathtrap' was the poorer cousin of ‘Sleuth' (see Episode 13), would that be a bad thing? It would certainly be a great double bill, and the film on the docket this time is full of surprises, deception and plot twists. It's not on a par with Hitchcock's ‘Psycho' but does follow a similar structure as the viewer is engaged in one story before the film becomes something else entirely Film Gold regular Scott Phipps joins Antony for a fun moviewhose opening scene is ‘a movie of a play-within-a-play which takes place within the play on which the movie is based'. As well as Michael Caine and Christopher Reeve, we have the director with one of the greatest filmographiesever, Sidney Lumet, adapting a play by the legendary Ira Levin What could go wrong?... Enjoy! 'Film Gold' is on all the main podcast platforms. Feedback to contrafib2001@gmail.com Facebook⁠⁠⁠https://www.facebook.com/filmgoldpod⁠⁠⁠ Twitter⁠⁠https://twitter.com/FilmGold75⁠ Antony's website (blog, music, podcasts) ⁠⁠⁠https://www.antonyrotunno.com⁠ Antony's John Lennon/Beatles and Psychology/Alt. Media podcasts⁠⁠⁠https://glassoniononjohnlennon.com⁠⁠https://lifeandlifeonly.podbean.com⁠ Support Antony's podcast work (Film Gold, Glass Onion: On JohnLennon and Life And Life Only) at⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.paypal.com/paypalme/antonyrotunno⁠⁠⁠⁠⁠⁠⁠⁠⁠OR⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.buymeacoffee.com/antonyrotunno⁠⁠⁠⁠⁠⁠⁠⁠⁠ Scott's podcasts ‘The Stinking Pause', ‘Reel Britannia' and ‘Rainbow Valley'⁠https://directory.libsyn.com/shows/view/id/stinkingpause⁠https://directory.libsyn.com/shows/view/id/reelbritanniahttps://directory.libsyn.com/shows/view/id/rainbowvalley episode linksDeathtrap film pages and original trailerhttps://en.wikipedia.org/wiki/Deathtrap_(film)https://www.imdb.com/title/tt0083806/https://www.youtube.com/watch?v=8AQ2GlTw7x4 That Kiss! (shock horror!!)https://www.youtube.com/watch?v=Pd9ImWTVX8I Michael Caine and Christopher Reeve interviews for the filmhttps://www.youtube.com/watch?v=EFv0nVs_z7Uhttps://www.youtube.com/watch?v=CEPnsPtp3Pk&t=318s Film Gold's review of Sleuth (with Scott and his ReelBritannia co-host Stevenhttps://podcasts.apple.com/gb/podcast/episode-13-sleuth-1972/id1544641271?i=1000542380256 Caine and Reeve reunited in ‘Noises Off' (1992)https://www.youtube.com/watch?v=zjkRw2GAxRo What is Primal Therapy?https://en.wikipedia.org/wiki/Primal_therapy How to Better Understand the Rubik's Cubehttps://www.youtube.com/watch?v=vK9XjwmseSk

Horror history gets iconic, aquatic, gothic, apocalyptic, and completely unhinged this week as This Week in Horror History travels through June 15–21 with motel terror, shark sequels, dark superhero nightmares, zombie blockbuster chaos, and one wild space-vampire cult classic that brings cosmic horror crashing down on Earth.This episode digs into a packed week of classic horror movies, cult horror, summer blockbusters, gothic comic-book horror, zombie disaster cinema, and 1980s Cannon Films madness, including the New York premiere of Psycho, the U.S. release of Jaws 2, the theatrical arrival of Batman Returns, the blockbuster zombie outbreak of World War Z, and the Deep-Cut Spotlight on Tobe Hooper's bizarre 1985 space vampire epic Lifeforce.Inside this episode:• Psycho rewrites the rules of horror moviegoing, turns the Bates Motel into a nightmare landmark, and makes one ordinary shower one of the most famous crime scenes in cinema.• Jaws 2 drags audiences back to Amity Island for more shark terror, seaside panic, and one of horror's most frustrating “nobody believes the guy who is right” sequel setups.• Batman Returns transforms Gotham into a twisted Christmas horror fairy tale full of sewer lairs, circus gangs, stitched leather, abandoned children, corporate monsters, Catwoman, and the Penguin.• World War Z reimagines the zombie apocalypse as global disaster cinema, with the undead moving less like slow corpses and more like a rushing human flood.• The Deep-Cut Spotlight goes to Lifeforce, Tobe Hooper's strange, ambitious, and deeply excessive Cannon Films cult classic about Halley's Comet, alien vampires, life-draining seduction, plague victims, and London falling apart under cosmic horror.Plus: a horror birthday roll featuring Courteney Cox, Laurie Metcalf, John Carl Buechler, and Nicole Kidman, a creepy look at how horror became a massive summer marketing event, and a weekly recommendation for Hammer's Dracula, also known as Horror of Dracula, starring Christopher Lee and Peter Cushing.From Norman Bates and shark-infested beaches to Gotham monsters, zombie swarms, Halley's Comet, space vampires, Hammer horror, and Cannon Films insanity, this week proves horror history can be classic, blockbuster-sized, cult, strange, seductive, and absolutely impossible to ignore.

The digital age has turned everyone into a broadcaster. Cameras are always rolling. Phones are always recording. But what happens when the footage captures something it was never meant to see? That chilling idea is at the heart of PICK-UP, the new crime thriller one-shot from AWA Studios, written by Michael Coast and arriving in comic shops on March 18. In this episode of the Comic Crusaders Podcast, Al Mega sits down with Coast to explore the inspiration behind the story and the dangers hiding inside our always-online world. PICK-UP dives headfirst into the collision between social media fame and violent crime. The story follows an influencer whose carefully curated online life spirals out of control when background footage captures a dangerous secret. Suddenly, the camera that once fueled his success becomes the key to unraveling everything. For Coast, the project marks an exciting shift from editor to creator. As a Senior Editor at AWA Studios, he has played a key role in shaping projects from other writers and artists. With PICK-UP, he steps forward as the storyteller himself, bringing a tense, modern thriller to readers. During the conversation, Coast shares insights into the creative process behind the comic, the influence of classic suspense storytelling, and how modern technology has changed the way crime stories can be told. The episode also explores: • Michael Coast's journey into comics • The transition from editor to writer • The influence of Hitchcock-style storytelling • The role of social media in modern thrillers • How technology reshapes crime narratives PICK-UP promises a suspenseful ride that blends psychological tension with a chillingly realistic premise. If cameras truly record everything, sometimes they capture truths people would rather keep hidden. PICK-UP arrives March 18 from AWA Studios. YT: https://www.youtube.com/watch?v=UOl7wjhdwe0 Check out a preview of Pick-Up HERE Thank you for Watching / Listening! We appreciate your support! Host Al Mega Follow on Twitter | Instagram | Facebook: @TheRealAlMega / @ComicCrusaders Make sure to Like/Share/Subscribe if you haven't yet Rumble/Twitch: ComicCrusaders YouTube: / comiccrusadersworld Visit the official Comic Crusaders Comic Book Shop: comiccrusaders.shop Visit the OFFICIAL Comic Crusaders Swag Shop at: comiccrusaders.us Main Site: https://www.comiccrusaders.com/​​​​ Edited/Produced/Directed by Al Mega

Have you ever lost the joy in your creative work — that sense of fun you had when you were starting out, before the admin and the algorithms drained it away? How do mid-career creatives get it back, and what can a four-year-old teach us about play? Austin Kleon talks about productive procrastination, silly rituals, the case for paper reference books in an AI world, and how his newsletter went from a marketing cost to the day job that keeps the lights on. In the intro, Does social media still sell books? [Self-Publishing with ALLi]; Trial by algorithm [The Bookseller]; Publishing's AI Hypocrisy Problem [The New Publishing Standard]; ALLi AI survey for authors; Brave New Bookshelf Podcast, and Pics from signing at BookVault. Today's show is sponsored by ProWritingAid, writing and editing software that goes way beyond just grammar and typo checking. With its detailed reports on how to improve your writing and integration with writing software, ProWritingAid will help you improve your book before you send it to an editor, agent or publisher. Check it out for free or get 15% off the premium edition at www.ProWritingAid.com/joanna This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Austin Kleon is the New York Times and international bestselling author of nonfiction books, including Steal Like an Artist, Show Your Work!, and Keep Going, as well as an artist, professional speaker, and poet. His latest book is Don't Call It Art: 10 Ways to Create Like a Kid Again. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Why Austin wrote Don't Call It Art now, and what his kids taught him about creative joy Productive procrastination, silly rituals, and treating writing like Lego Comedy as a philosophical position, and giving yourself permission to be bad in private Sharing process in the algorithm era, and why your whole life is the process Bibliomancy, paper reference books, and what AI can't give you that a dictionary can Style, the Taco Bell distinctiveness rule, and how Austin's newsletter became his day job You can find Austin at AustinKleon.com. Transcript of the interview with Austin Kleon Jo: Austin Kleon is the New York Times and international bestselling author of nonfiction books, including Steal Like an Artist, Show Your Work!, and Keep Going, as well as an artist, professional speaker, and poet. His latest book is Don't Call It Art: 10 Ways to Create Like a Kid Again. So welcome back to the show, Austin. Austin: Thank you for having me back. It's nice to talk to you again. Jo: You were on the show in March 2020, and at the time, your book was Keep Going, which was prescient considering the pandemic and politics. So I wondered, why this book, Don't Call It Art, now? Was this something you see in the creative community or your own life that made you want to write this book? Austin: Keep Going is a book about what happens when the world goes crazy around you and you're still trying to do your creative work. This is a book about what happens when inside has bottomed out. Keep Going is a book about the world bottoming out, and you're worried that your own creative work is going to bottom out too. How do you keep pushing through and keep making stuff? This book, to me, is about what happens when you bottom out inside—when you've lost that love and feeling for the thing that you wanted to do, and you're just not connecting with it in the way that you used to or the way that you want to. How do you get back? How do you return to that sense of joy and wonder and fun that we have when we're starting out? And for me, it was being around my little kids that taught me how to tap into that. My kids were natural—they didn't have any creative hangups. I would spend all day talking to people who had creative hangups, and then I'd get back in the house, and I'd just be around these beings who didn't have any of them. It was really instructive. I felt like, if I could bottle the energy of my kids when they were about four years old and try to put it in a book, I think it could really help a lot of the people that I run into, and the people with the kinds of problems I hear from. Jo: You mentioned bottoming out. How do people know when they've hit that point? Austin: You just don't want to do it anymore. You're kind of like, “This just isn't giving me back what it used to.” When we start with our creative work, that's the thing that juices us. We come away from it feeling full up. I think you hit a certain point where you start to feel drained after it. Or maybe you don't feel drained by the thing itself that you're doing—maybe it's all the stuff around it, which is more often the case. For example, if you're a mid-career writer like me, who's been publishing books for 16 years now, I still really like writing. I still really like drawing. I still really like cutting and pasting and putting things together. It's the admin around the work—the emails, the meetings, the running-a-business part of it—that's super draining for me, and that stuff can start to bleed over into the creative work. So it's really important for me to make sure that I'm having some playtime, some R&D, some research and development time, to make sure it's not just all business. When you take the thing that you love and you turn it into the thing that you make a living from, you can really run into a lot of problems. Jo: I'm at 20 years, so I know exactly what you're saying, and a lot of listeners are the same. We love writing books, but it's all the stuff that goes around it. So for those of us who do this for money as well as passion, what are some practical ways to have more fun with our creativity? Austin: Something I learned from my kids is that you really are your most creative when you're supposed to be doing something else. So one of the things I use a lot in the studio is productive procrastination. Whatever I'm supposed to be working on, I start another little project, and that's my little naughty fun time. When I first come into the studio, I try to do something that I'm not supposed to be doing—something that I won't have much to show for. That could be making one of my blackout poems. That could be making a collage in my notebook. It could also be sitting here. I have a bass in the studio now, so I can practise my bass guitar. Sometimes I'll do that for the first 15 minutes just to get in that headspace of, “Hey, what's it like to do something just for yourself? Just because you want to do it?” The juice that you get from that little naughty “I'm going to do what I'm not supposed to be doing right now” thing, that carries into the rest of the day. It's like a nice start to things. Jo: Do you think that play could be something different to what we make our money with? For me, writing novels and stories is great fun in one way, but it's also what I then publish and make money on. So writing stories is more serious, I guess, than playing with Lego or something. Austin: Right. So the trick is, how can you make writing your stories like playing with Lego? That's kind of been my whole career. I hate staring at Microsoft Word and that blinking cursor, taunting you like, “Come on, what have you got?” A lot of my creative life has been about trying to make it more playful, trying to make it feel more like a game. That's how I came up with my blackout poems. I take an article from The New York Times and I black it out until it only has a few words left behind. It sort of looks like if the CIA did haiku, for some people listening. That was one little exercise. Then weirdly, that side thing that I thought was just play, just fun—that turned into my first book. So then it's, okay, what else can I mess around with and play with? I do a lot of collage work in the studio, and I rarely actually use that for any of the books. Sometimes I use it for my newsletter to illustrate the newsletter. But it's always about trying to figure out, how can I make writing a game? How can I make it more playful? There are different things that I do to make it feel more playful. One of them's really stupid. I really believe in silly rituals because I think silliness is really powerful. People talk about their daily rituals—Mason Currey has that great book, Daily Rituals: How Artists Work. When I was reading that book, I realised it was really the silly stuff that I really liked. There was, I think it was Balzac counting out coffee beans or something before he got to write. Or Steinbeck sharpening 12 pencils or something goofy like that. So one of the things I like to do before I write is that I have these cigarette pencils. They're pencils that look like cigarettes in the studio. I put one in my mouth before I start writing, and I pretend to be some old '40s writer on a typewriter. I like doing goofy stuff in the studio because I think when you do goofy stuff—stuff that you'd be embarrassed if anyone else saw it—it gets you in that playful state. Jo: It's interesting. In your book, you have a section that says, “Don't take things too seriously.” For many of us, we write memoir for example, and that is very close to us. It's like the deepest expression of what we want to say in the world. It feels very serious. So how can we hold things more lightly and not take things so seriously? Austin: For me, comedy is actually a philosophical position. What I mean by that is, I think a lot of people set out with a tragic model of creative work. They think, “Oh, I have this special gift,” or, “I have this thing that I really need to do, and I need to put it out into the world, and I need to make the world look more like I want it to look.” They have this idea that, “Through blood and sweat and tears, I'm going to see this thing through, and I'm going to push it into the world, and I'm going to have my way.” I think there's another way of working where it's more like, “I'm just a normal person trying to play with my environment, and take my experiences and put them into something interesting. So I'm going to play and use my wits, and we're going to see what we come up with.” Those really are two modes of life. The pandemic taught me that it was really when we were keeping our sense of humour, when we were having a laugh and keeping our egos in check around the house and just acknowledging how goofy we all were and how ridiculous the situation was, that seemed to be when we were really thriving. Versus, “Well, we're in this tough situation. We've got to make it into what we want it to be.” That felt really bad. But when we cruised along and we were just improvisational, when we went at things with a kind of lightness, that worked. There's a great Italo Calvino essay about lightness in Six Memos for the Next Millennium. Lightness is really underrated. Even when we're going about heavy work, having a sense of lightness and play with it just makes the work better. That's a philosophical position of mine. I aspire to comedy. I aspire to a comic outlook on life. I'm just a creature with a body who's going to die, and I'm fundamentally ridiculous. Life is pretty absurd. You just make the best of it. Jo: There's certainly some truth there. Staying on a similar theme, you have a chapter in the book on permission to be bad. Many of the listeners also have your book Show Your Work, and it shaped many of us into sharing our work in progress. It feels quite dangerous now, in a world where judgment is much louder than it maybe was when you wrote Show Your Work. So tell us a bit about permission to be bad versus should we keep some of this private? Austin: Permission to be bad is about the making part of things. It's the private part. It's permission to be bad when you're in private, when you're actually doing the work. Show Your Work is a book about what you do after you've done the work, or while you're doing the work. It was never about putting up a webcam and running a 24/7 feed. It was more like, hey, what are the ways that I can connect with the kind of audience I can build while I'm making the work itself? So the way I see permission to be bad is, you really have to give yourself permission when you're not sharing, when you're off screen, to really be as bad as you want to be. It doesn't necessarily mean quality-wise. I think it also means letting yourself write stuff that you would never say on social media. Letting yourself read stuff that you wouldn't admit you were reading on social media. Letting yourself listen to stuff. Letting yourself really be that unfiltered, unhinged, private person that you want to be. Then when it comes to sharing, you put some time in between that input time, that making time, and the sharing time, and then you share what you think is going to be useful or helpful or interesting to other people. Jo: I think you wrote that book before TikTok, and how fast people are moving. Do you think people need to slow down a bit in what they share, maybe? Austin: I don't know. I obviously had a lot more faith in social media back then. I use all the principles from Show Your Work in my newsletter. Newsletters are very much the new kind of great thing. They're doing a lot of the work that social media used to do, in that you're still able to have this direct connection with the people that you're trying to reach. The big problem with social media now is that it's all algorithmically tuned, where the people that are following you don't see the stuff that you're doing most of the time. What you have to do now, if you want the people who are following you to see your stuff on social media, is you have to make stuff that the algorithm likes. That's a whole different thing. As far as the Show Your Work principle—which is share your process as much as your product—that carries over to any platform. In my newsletter every Friday, I share a list of 10 things that were going on behind the scenes here. It might have been what I was watching on TV, what I listened to, a new pen I was trying out, or something like that. The Friday newsletter is almost always process stuff. When I talk about process, my definition is actually very broad. For a lot of people, it's drafting, editing, whatever. For me, the process is the whole life. The process is almost everything except the finished thing. A writer's life is 24/7. My friends who have real jobs really are like, “What do you do all day?” And I'm like, “Well, what do you mean?” They're like, “Well, I see you out on your bike ride.” I'm like, “Yes, when you see me out on a bike ride, I'm thinking through something half the time.” If I'm watching TV, I'm thinking, “Hey, would this be good in the newsletter?” I'm never off. My whole life—everything is copy, as Nora Ephron said. That's part of the job. It's very hard to turn off. So I see the whole life as process, and the question becomes, what little bits and pieces of that life and that process can you share with people while you're making the things that you hope to sell them later? Right now, I'm in a cycle where I'm selling this book, but all these people have showed up because I've shared my process every week for the past seven years since I put out a book. Jo: It's funny you say that. I was at the dentist yesterday, and— My dentist literally asked me, “So where do you get all your ideas?” This is a common question for all of us, right? And it just becomes so hard to explain that to people who don't walk around in the world just constantly getting ideas. Austin: I can't believe I'm going to tell this story. I was getting my vasectomy after my second kid, and I was talking to this doctor just before the operation. He said, “So what do you do for a living?” I said, “I'm a writer.” He said, “Oh, that must be cool. You get to use your brain.” And I said, “That's everything that you want your doctor to say.” I was going to say, “Please use your brain,” before he's about to cut into you. He said, “Oh, no, no. What I mean is, I know what I'm going to do every day for the next 10 years.” He knew exactly what his day was going to look like. He said, “You have to use your brain. You've got to figure out new stuff.” I was like, “Oh, that's really interesting.” That's the trade-off, right? He's got the job security. He knows what he's going to do. Every writer has a moment where they have to talk to a normal person about what you do. Jo: I was going to say, I'm married to one. Austin: Now, my wife, on the other hand, grew up the daughter of a writer, so she knows exactly what it's like. Nothing ever phases her. She's totally used to it. She's used to me staring off into space, completely checking out of a conversation. She's used to me using lines on her that I'm going to put in a piece later. She's used to the whole rigmarole. It's very handy. I've been very lucky in that sense. Jo: Coming back to the book, you talk about your use of bibliomancy for inspiration. Since we're talking about that, tell us about it. I think all the book people listening will be happy. Austin: I'm a person who still keeps a dictionary nearby—a paper dictionary. I keep a big old American Heritage. It's just a big, thick book. When I really don't have any ideas, I will turn at random to the dictionary, close my eyes, stick my finger down the page, open my eyes, and just see what I come up with. Sometimes just that act will give me an idea. I also do that with books. I'll go around the studio, pick up a book, flip to a random page, and just see what it says there, or read an old piece of marginalia that I've left in a book. I believe deeply in the power of bibliomancy, and I think it's a case for paper books. I'm one of those people that still really believes in reference books. I've started collecting more and more of them. I have an old, big dictionary that's always open on my desk, and I look up words. I learned from John McPhee, the writer, that you should look up words that you think you know. That was the first time I'd ever heard anyone say that. So I look up words that I think I know. Instead of reaching for a thesaurus when I need a different word, I actually just look up the definition of the word that I already have. That's another McPhee tip. The other thing that happened that I thought was really interesting is, I got a Roget's for the first time—a thesaurus. I don't think most people know what an actual thesaurus is. Most people think of a thesaurus as a synonym finder, and that's not actually what a thesaurus is at all. A thesaurus is more like an encyclopaedia, weirdly. You look up things based on big concepts, and then it gives you a bunch of words to look up later. It's a very strange thing. It's not what most people think it is. I have a couple of editions of Roget's in here. I like the really old Roget's from the 1900s because they actually have opposing ideas facing each other on the page. Do you have an old-school Roget's? Have you ever looked through one? Jo: I don't have one now, but I certainly grew up with them. I was literally just thinking, I wonder if there are ones for Americans and ones for British people, because so often we say different things and mean different things. I always hear Americans say, “Oh, that's a doozy,” or something, and it means the complete opposite thing here. Austin: Like if you say “fanny pack” over there. That means something very different than it means here, right? Chips or fries, that kind of stuff. So I wonder if there are different ones for different cultural references. Jo: I don't know. Austin: As people, with ChatGPT and all these LLMs and stuff, people are like, “Why would you ever pick up a paper reference book?” And I'm like, “I actually like the friction.” I like having to move in space and go over to my dictionary. I like flipping the pages. I like having to scan a page for the word I'm looking for, because— This marvellous thing happens when you're looking for the word, where you bump into all these other words. If you're a word nerd, you get to start thinking about the root of the word—oh, why is this word next to this word? Well, it's because they share the same root. Then you're going down all these fun rabbit holes. The thing that I'm trying to do as a writer and a creative person is, I'm trying to get to the thing that I didn't know I was looking for. The thing that people misunderstand about AI, I think personally, is that it's a great tool if you know what you're looking for. If you're like, “Find me this thing. I want exactly this. I want to see a picture of a dog wearing a king's costume,” or some crap like that, then it can spit that picture out for you. Or, “I want to know what happened on this day,” and whatever. It can do that. But that's not actually what I'm doing most of the time when I'm writing or making something. I start with an idea, but what really happens—the magic of writing and the magic of making stuff in general—is when you discover something that you didn't even know you were headed for. That's the real magic for me. Sometimes I have an idea and I want to articulate it for people, but more often than not, there's something that bothers me or something that I want to talk about, and I sit down and write, and I figure out what it is that I actually have to say and what I actually think. Every writer really knows this, and that's why the dictionary, stuff like that, those are ways of training you to get in that discovery mode. “Well, let me—oh, I bumped into this. I went looking for this one thing and then I ran into this other thing.” That's why I love the library. I don't know what system you use over there, but you look for one book in the Dewey Decimal System over here, and then, okay, here's all these other weird books next to it. Then you end up with three other books other than the one that you were looking for. That's the magic. To me, that's the magic of creative work, discovering what you didn't know you were looking for. That was particularly important for me when I was writing this book because we discovered that my wife has a condition called aphantasia. It's very rare in the population, about 2 to 3% of people. There's probably some people listening to this right now who are like, “What is this? Tell me.” Jo: Aphantasia actually more common in the creative industries. Austin: Yes. What it is, is that you don't see—when I say close your eyes and picture an apple, you don't actually see the apple in your head. You can think about an apple and the qualities of an apple, but you don't actually see it. Some people, and it's a matter of degree—some people like me, I can close my eyes, I can tell you what the apple looks like, I can tell you what colour it is, I can tell you where the shading is. Someone like my wife doesn't see the apple. She can tell you what an apple is. It's really interesting because she has a degree in architecture, which is known as a very visual field. But the thing you discover about aphantasia is, it doesn't keep people from becoming artists. In fact, it's the opposite. Someone like Ed Catmull, who co-founded Pixar, writes about it in his book, and so many of the great animators at Pixar are actually aphantasics. The reason is that they learned that they had to draw in order to see things. When you don't have a picture in your head of what you want something to look like, things appear in the drawing, and you find things that you couldn't even picture. A lot of writers actually are aphantasics. John Green discovered recently that he has aphantasia. It turns out that it's a superpower for writers, because if you don't have a picture in your head, then you don't have to translate that picture into words. A lot of writers talk about thinking in radio, like they have a constant narrator. My wife—she's probably going to kill me for talking about her this much—when she describes it to me, she's like, “Oh, it's like a radio in my head. I'm constantly hearing a voice, and it's a narrator.” I was like, “Holy shit, that would be really helpful to me.” I don't have anything like that in my head. I read Mrs Dalloway for the first time, and I gave it to her and I said, “You've got to read this book. I think this must be what it's like in your head.” And she said, “Oh my God, it is.” Part of the thing that I took away from that experience—this is a long-winded way of getting here—is that I take a lot of inspiration from people with this condition. Most of the people I know in the arts or the creative fields, they set out with this grand vision, and then they start working on the thing and it's nothing like what they had in their head, and they get really depressed: “This isn't what I had in mind.” Whereas if you set out without a picture in your head, and you just start manipulating things and you see what appears, that's more of the comic mode I was talking about earlier. What would happen if we just sat down with our materials and we started playing and we saw what appeared on the page? What if we started typing and saw what appeared, and then we played with that? That's the kind of joy. That's more like how kids operate. Kids are better at that. They're better at reacting to what's actually in front of them, instead of having these grandiose visions about what they're trying to achieve. Jo: Just coming back on the longevity of a creative career. Your books are very distinctive. You have a very distinctive visual style, your handwriting and the way the books are done. I wondered if another part of the ennui, perhaps, or the draining of the later career is that we get trapped into doing something that feels like it looks the same. Or we have a voice, and we're happy in that voice, but sometimes we want to do something completely different. For authors, we have different names. I write under two different names, and that helps. But equally— How do you define author voice, and do you ever feel like doing something completely different to your normal style? Austin: Style, in a lot of ways, is self-plagiarism. Style is the repeated things that we notice in people's work. Hitchcock talked about this in films. Wes Anderson is someone like that—Wes Anderson has a style. I'm sure that he gets really sick of it too sometimes, but you also can't help it in some ways. I thought a lot about this because people worry about style so much. A lot of the time, what we call style is what Adrian Tomine one time said: “Style is just the distance between what's in my head and what comes out of my hand.” I really like that definition. With this book, I was trying to think, “Okay, if I do another book in this series, how can I push things a little bit?” And then I was reading this article about Taco Bell. You guys have Taco Bell over there, don't you? Do you have Taco Bell? Jo: No. Austin: So Taco Bell, for people who don't know, is this American Mexican chain, and they have tacos and burritos and stuff like that. They're well known for making these really insane… it's so American, this company. They make a taco with a Doritos as a shell. Doritos are crisps, I guess. Jo: Yes, we have Doritos. Austin: Okay. I spent time in England, I just don't remember if I ate Doritos when I was in England. Anyway, I was reading this article about Taco Bell. It was really funny. They have an innovation kitchen at Taco Bell, and they have a rule about new products. The rule is called the distinctiveness rule, and the rule is: you can change the flavour or you can change the taste, or you can change the form, but you can't change both at the same time. I got really obsessed with this concept because I thought, “Well, this could be kind of interesting.” If you're someone who's had success and you're known for something, this presents an interesting thing. You could do a complete break and do something completely new, or you could try the distinctiveness rule. Okay, well, what if I play with this idea of taste versus form? What if I change the taste and keep the form? So the idea for Don't Call It Art was, what if I do another one of these books, but the taste is more like if my kids made it? It had the texture of kids' art, it had lots of scribbles in it, it was loose and messy. That was kind of the idea. The actual book ended up being more like the other books. It ended up looking like an Austin Kleon book, because I just can't help that. The thing you said about having multiple names that you write under, that's kind of what I do with the newsletter. I think of the newsletter as very different from the books. The newsletter is this twice-weekly thing where I can be a little bit more of myself. In the books, I'm this very helpful, happy version of myself. It's me, but it's me on my best day. I'm really helpful and interesting for you. The newsletter is still a highlight reel in a sense, but it's a little bit more of my weird everything-I'm-into. It's more of the unclipped version of me. The newsletter becomes a place where I can do a lot of the weird stuff that's much different from the books. I have these little projects going all the time. Sometimes I'll make a bunch of prints and put them online. Sometimes I'll make a bunch of zines on a topic I haven't covered in the book. Sometimes I'll do a mixtape. As someone who's interested in a lot of different forms and genres and just different modes of output, having something like a newsletter has been really creatively fruitful for me. It's kept me from getting too bottomed out with the books because the books do a certain thing for the reader, and as much as I'd love to do a book that was radically different, I also think I've been given a real gift with the form of my books, in that I kind of own the way that they feel and look. There aren't a lot of books that look like those books and feel like those books, and so I like playing with that form. It would be hard to get rid of it now. The pseudonym for me is kind of like the newsletter in a sense. The newsletter is a little bit more of where I get to be wild and wacky. Then the books are a little bit more of a chiselled thing. Jo: The books are perfect examples of the form, as you say, but it's interesting about the newsletter. You mentioned at the beginning that we can be drained by the admin around the work. For many people listening, a newsletter becomes admin. So how does the newsletter fit into your business? The books are traditionally published, they're very professional. How do you have your independent side, and how does all of that work together in your business? Austin: Thank you for asking that question. I run the whole show at the newsletter. The newsletter is just me, and then my wife edits it, and no one else is involved. I don't have an assistant. I don't have a team. It is just me, and that's why I love it. I control everything. I pick who gets in there. I pick everything. I love that. I grew up watching David Letterman over here, and Letterman had a nightly show, and I always thought that was killer. I thought, “Man, what a fun job. You have a show every night where you have a new guest, and you have all these wacky things going on.” It was like a variety show. I always thought that would be really fun, so the newsletter is my version of that. I started the newsletter in 2013, and it was just a Friday newsletter. It quickly became a list of 10 things I thought were worth sharing. I had a friend, Hugh MacLeod, who was like, “Hey, I have a newsletter. It's bigger than any conference you've ever gone to.” He was talking about South by Southwest here in Austin. He's like, “I have a newsletter now, and it's bigger than South by Southwest.” Jo: Oh, I remember him. Austin: He would say, “Every time I have a new print, I put it out, and there's a button, and then they buy it.” He was like, “You've got to get it. This newsletter thing is killer.” This was in 2011 or something. Jo: Yes, I still have his books. Blogging in Your Underwear or something. Austin: Totally. So Hugh's a whole different story, but I was just like, “Oh, I should really get a newsletter.” Letterman always had a top 10 list on his show. I just always thought a 10 list was really fun. And of course the books are lists of 10 too. So it just worked to have a weekly list of 10. It felt good, and it felt like an infinitely repeatable format. What I'm looking for as a creative person is an infinitely repeatable format that can go on and on and on and be new every time. So the list of 10 is something that people know the form of. It goes back to the Taco Bell thing. They know the form, but they're not sure what's going to go inside. They know it's going to be a burrito, but they don't know what's going to be in the burrito, and that's the exciting part. The newsletter, business-wise, was always a marketing cost for about the first eight years of its existence. I paid MailChimp to send it out. Then in about 2021, when I hadn't done a book for a while, my agent said, “You know, you should really think about doing a paid tier of your newsletter.” And this is to his credit, because he doesn't make anything off the newsletter. He said, “There's this thing called Substack now that makes that really easy.” So we moved to Substack in 2021 in October, and I started doing a Tuesday edition of the newsletter that was just for paid people. That grew enough that it's gone from a marketing cost to something that's almost—it's not quite as much as I make on my books, but it's close. And to be candid, my books sell pretty well. So suddenly the newsletter has become this really healthy income stream. The newsletter to me is actually the day job now. The newsletter is what really keeps the lights on. It's also the perfect mix. It's the day job, it's the thing that keeps income coming in on a regular basis, but it's also the thing I like to do the most. I'm not like a traditional writer who likes to just get lost in their book and take years and years and go away. I'm someone who loves to be doing a lot of different things. The newsletter is a perfect format for me. I'm talking myself into not quitting, actually. It's funny. It's gone from this thing that was a marketing cost to now it's a significant part of our income. That journey—such a bad word, journey—that trip has been very interesting. It's been really cool. But I'm also just lucky. I've been really lucky, and I think part of my thing is, I'm always just trying not to squander my luck. Jo: Well, the book is fantastic, and I know people are going to love it. And the newsletter, of course. So tell us— Where can people find you and your books and newsletter online? Austin: The easiest thing to do is to just go to AustinKleon.com, and that has links to everything—the books, the newsletter. I do actually keep an old-school blog still. I'm one of the few people that still maintains their blog and keeps it up to date. I'm hedging my bets because I think in the end everything will come back to a self-hosted website. I think in the end everyone's going to just go back to their little websites, or at least I hope so. Jo: Well, that was great, Austin. Thanks so much. Austin: Oh, thank you. The post Don't Call It Art: Rediscovering Creative Joy With Austin Kleon first appeared on The Creative Penn.

Victor kicks off a week-to-week deep dive into Cape Fear, the new Apple TV+ adaptation from producer Nick Antosca (executive produced by Scorsese and Spielberg). Before bringing in co-host Sona, Victor walks through the full history of the source material — from the 1957 novel and the 1962 Hitchcock-adjacent adaptation, through Scorsese's celebrated 1991 film, all the way to this new ten-episode series. The conversation covers what makes this version distinct: a new crime at the center of Max Cady's imprisonment, a defense attorney protagonist played by Amy Adams who may have a far more complicated history with Cady than anyone knows, and a modern-day anxiety layer involving home security systems, online manipulation, and the very real fear that someone is already inside your house. Javier Bardem's magnetic, unsettling performance as Max Cady is a major topic, as is whether the show's relentless, uncut dread — and its considerable gore — will sustain itself over a full ten-episode run. Sona joins to share her firsthand perspective on the accuracy of the innocence project storyline, weigh in on the performances, discuss the show's overwhelming sense of dread, and debate the many dangling mysteries of episodes one and two — including who (or what) is living in the Bowden house, what really happened between Anna and Max during the trial, and just how many secrets this family is hiding. The episode closes with a recommendation for Maximum Pleasure Guaranteed, a new Tatiana Maslany thriller that may be airing in parallel. Join our Patreon for more Content https://www.patreon.com/cw/NeedsSomeIntroduction Mailto:needssomeintroduction@gmail.com 00:00 Welcome and Introduction 00:58 Cape Fear Adaptation History 01:50 Scorsese's 1991 Version 04:51 Nick Antosca's New Adaptation 07:18 Modern Anxieties and Themes 10:36 Episode One Recap Begins 11:36 The Bowden Family Introduction 13:03 Max Cady's Girlfriend Suicide 16:12 Max Cady's Release 20:11 Family Tensions and Secrets 23:49 Technology and Home Invasion 26:03 The Gala Event 28:55 Javier Bardem's Entrance 34:19 Max Confronts the Family 38:01 Episode Two Flashback 39:55 Discovery in the House 40:30 Natalie's Classmate Encounter 41:05 The Toe Revelation 41:27 Family Tensions Rise 42:48 Max's Prison Visit 43:35 Katie's Traumatic Past 45:15 Anna's Phone Trick 45:42 The Interview Performance 47:06 Episode Two Ending 47:59 Max Rents a House 48:34 Series Length Concerns 49:10 Innocence Project Realism 53:12 Show's Disturbing Tone 53:41 Bardem's Grounding Performance 55:32 Horror Elements Discussion 56:36 New York Apartment Detour 57:47 Sustaining the Tension 58:26 The Toe Scene Reaction 59:50 Bardem's Magnetic Performance 01:00:41 Katie's Villainous Nature 01:02:03 Cape Fear Comparisons 01:03:31 The Son's Mental State 01:04:52 Male Loneliness Themes 01:05:22 Husband's Secrets 01:08:13 Patrick Wilson's Performance 01:09:14 Physical Threat Balance 01:11:46 Amy Adams Discussion 01:13:37 Gore Level Debate 01:15:43 Husband's Affair Mystery 01:16:00 Affair Speculation and Comparisons 01:16:53 Parentage Mystery Discussion 01:19:11 The Son's Strange Behavior 01:21:53 Missing Toe Investigation 01:22:54 Mystery Woman and Acolytes 01:24:16 Too Many Mysteries 01:25:56 Dosing Theory Speculation 01:27:52 Animal Symbolism Analysis 01:29:27 Plot Potential and Concerns 01:31:52 Southern Setting Atmosphere 01:34:23 Unreliable Narration Hints 01:36:59 Maximum Pleasure Guaranteed Introduction 01:38:33 Cam Boy Mystery Plot 01:40:08 Bathtub Scene Reveal 01:43:32 Corporate Blackmail Theory 01:45:24 Final Thoughts and Wrap-Up Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

6/7/2026 - Prayer Warrior (11am) - Ephesians 6:18-20 - Dr. mark Hitchcock

durée : 00:48:15 - Affaires sensibles - par : Fabrice Drouelle - Aujourd'hui dans Affaires Sensibles, Tippi Hedren dans "Les Oiseaux", la proie Alfred Hitchcock. - réalisation : Stéphane Cosme, Hélène Bizieau, Frédéric Milano, François Audoin, Valentine Chédebois, Franck Cognard, Rebecca Denantes, Claire Teisseire Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

It's time for another Mike Makes Mike Watch! This week, Mike D is making Smith catch up on Denis Villeneuve's breakout hit, PRISONERS. Meanwhile, Smith is making Mike D watch the incredibly fun Hitchcock-for-kids thriller CLOAK & DAGGER!

In Cineversary podcast episode #95, host ⁠Erik J. Martin⁠ commemorates the 75th birthday of Strangers on a Train, directed by Alfred Hitchcock. Seated adjacent on this train ride is Stephen Rebello, contributing screenwriter on the 2012 film Hitchcock, and author of Criss-Cross: The Making of Hitchcock's Dazzling, Subversive Masterpiece Strangers on a Train. Erik and Stephen swap insights and opinions on why this film is essential viewing, its subversive sexual dynamics, salient themes, and much more. Learn more about the Cineversary podcast at www.cineversary.com and email show comments or suggestions to cineversarypodcast@gmail.com.

The Invisible Scene is the quiet moment most viewers watch and don't notice. And it changes everything. It is not the car chase, the villain reveal, or the final showdown. It is a throwaway line, a loaded pause, a scene hiding in plain sight. Miss it, and you miss the movie. Hosts Dan and Tom of Cracking the Code of Spy Movies break down exactly what makes the invisible scene so easy to overlook — and yet, so essential, especially to spy movies. They walk through landmark spy movies in close detail. For instance, in CASINO ROYALE, a train conversation between James Bond and Vesper Lynd sets up the movie's entire emotional arc in just a few minutes. Similarly, in Alfred Hitchcock's NORTH BY NORTHWEST, a dinner on a train between Roger Thornhill and Eve Kendall quietly reveals who is actually in control. Then, in SKYFALL, a cluster of evaluation scenes tells you James Bond is broken long before the plot confirms it. Each example shows how great spy movies hide their true meaning in plain dialogue, subtle behavior, and understated moments — and how to spot them yourself. Once you start seeing these scenes, you can't unsee them. Every rewatch becomes a fresh discovery. We cover more spy movies than these three in this episode. Listen to find out what those movies are. The mission of this episode is to: Define "invisible scenes" — undramatic moments that secretly carry the movie's entire meaning Dive deeply into the invisible scenes in CASINO ROYALE, NORTH BY NORTHWEST, and SKYFALL with specific scene breakdowns. Explain why spy movies deliberately bury their biggest clues in quiet dialogue Teach a practical method for spotting invisible scenes on your next rewatch Explore how both Hitchcock and modern Bond films use the same invisible-scene technique Let you in on a post-filming edit that Hitchcock had to make in NORTH BY NORTHWEST Tell us what you think of our decoding of the invisible scene Is this something you've noticed before?  Can you find the hidden scene in your favorite spy movie? Let us know your thoughts, ideas for future episodes, and what you think of this episode. Just drop us a note at info@spymovienavigator.com.  The more we hear from you, the better the show will surely be!  We'll give you a shout-out in a future episode!   You can check out all our CRACKING THE CODE OF SPY MOVIES podcast episodes on your favorite podcast app or our website. In addition, you can check out our YouTube channel as well.   Episode Webpage:  https://spymovienavigator.com/episode/the-invisible-scene-that-explains-the-whole-spy-movie

Good evening. Welcome to Dial P for Podcast, Patrick Ripoll's year-long chronological voyage through the films of Alfred Hitchcock. Every month Patrick will be watching four Hitchcock features and talking about them here, from The Pleasure Garden to Family Plot, all across the year of 2026, examining the life and work of England's most famous cinema pervert.In this episode Alfred Hitchcock finally escapes the confines of the British film industry, only to once again find himself a small fish in a large pond. With The Lady Vanishes (1938) he takes the 39 Steps formula into dizzying new heights of paranoia and sophistication, in Jamaica Inn (1939) he clashes with the ego of producer/star Charles Laughton, in Rebecca (1940) he breaks ground in Hollywood with a career high gothic romance classic and Foreign Correspondent (1940) finds him back to the thriller, but with greater production values and a more urgent plea for intervention than ever.One of the most important stretches of Alfred Hitchcock's career, producing some of the greatest works in his filmography! Check it out!0:00 - 0:33 - Intro0:34 - 46:00 - The Lady Vanishes (1938)46:01 - 1:18:20 - Jamaica Inn (1939)1:18:21 - 2:34:24 - Rebecca (1940)2:34:25 - 3:43:14 - Foreign Correspondent (1940)3:43:15 - 3:44:04 - Outro

Dave and Alonso are once again joined by friend of the show Stephen Rebello, who summons the Master of Suspense in his two latest books, Criss-Cross: The Making of Hitchcock's Dazzling, Subversive Masterpiece Strangers on a Train and Hitchcockian Thrillers. Get this show ad-free by joining our Patreon: https://patreon.com/LinoleumKnife 

Description Grab your flashlight and avoid the basement stairs because this week on Enjoy Stuff, Jay and Shua celebrate the glorious age of creature features! From giant worms and killer spiders to mischievous Gremlins and underground mutants, they revisit the movies that terrified and delighted an entire generation. Creature features, killer critters, giant worms, Gremlins, and underground monsters.  This week Jay and Shua celebrate the gloriously weird movies that made Saturday afternoons unforgettable! Plus, Jay says goodbye to Sci-Fi Saturdays, and much more on a brand new episode of Enjoy Stuff!   News "Dare to Be Stupid," a new Broadway musical inspired by Weird Al Yankovic, is officially in development with writers from Beetlejuice and Gutenberg! The Musical!   The Transformers: The Movie returns to theaters in restored 4K beginning September 17, 2026 for a special limited theatrical engagement.   Behind the Attraction Season 3 is on the way and will spotlight the history and creation of Disney Cruise Line.   Voice acting legend Tom Kane passed away at age 64 following complications from a stroke suffered in 2020. Jay shares a funny personal story and the guys reflect on Kane's incredible career. Check out our TeePublic store for some enjoyable swag and all the latest fashion trends What we're Enjoying Shua has been watching The Fall and Rise of Reggie Dinkins, the new comedy starring Tracy Morgan and Daniel Radcliffe. The mockumentary-style series follows a disgraced former football star trying to rebuild his life while an overly enthusiastic filmmaker documents every ridiculous moment. Shua loved the absurd humor, awkward situations, and strong chemistry between the leads. Jay revisited The Birds and was reminded why it remains one of the greatest suspense films ever made. Beyond the iconic bird attacks, Jay discusses Hitchcock's masterful tension-building, unsettling atmosphere, and why the movie still feels effective decades later. After their Hitchcock episode a few weeks ago, it felt like the perfect time for a rewatch.     Sci-Fi Saturdays -  This week on Sci-Fi Saturdays Jay spotlights his final Sci-Fi Saturdays column covering Tenet by Christopher Nolan. In the article, Jay explores how Nolan uses time inversion, reverse motion, and innovative editing techniques to create an entirely new cinematic language that challenges audiences while still delivering blockbuster spectacle.   Jay also reflects on the incredible run of Sci-Fi Saturdays itself: seven and a half years, 330 articles, and films spanning from 1950 through 2020. Beginning with Rocketship X-M and ending with Tenet, the series celebrated over seven decades of science fiction cinema while examining how the genre reflects humanity, technology, and society.    Jay also highlights his latest MCU Location Scout featuring Daredevil: Born Again and Punisher: One Last Kill. And make sure to play around with the interactive map on MCULocationScout.com. This week he's added some new locations from Daredevil: Born Again season 2. Plus, you can tune in to SHIELD: Case Files where Jay and Shua talk about great stuff in the MCU.   Enjoy Creature Features!  This week the guys dive into the gloriously gooey world of creature features. Those monster-filled movies that combined horror, comedy, suspense, and pure popcorn fun into the ultimate Saturday afternoon viewing experience. From alien furballs and killer fish to giant worms and demonic little creatures, Jay and Shua revisit the films that introduced many young viewers to horror without completely traumatizing them…well, mostly.   Along the way they discuss why the 1980s and early 1990s became the golden age for lighter horror movies, the importance of practical creature effects, and why these films still remain endlessly rewatchable today. Whether it's giant spiders, Gremlins causing chaos, or mysterious monsters lurking underground, the episode celebrates the fun side of fear and the unforgettable creature classics that still make audiences smile, scream, and laugh all at once.   Which creature are you afraid of? Do you like B-movies? Let us know! First person that emails me with the subject line, "Unpack your adjectives" will get a special mention on the show.  Let us know. Come talk to us in the Discord channel or send us an email to EnjoyStuff@RetroZap.com 

Before Alfred Hitchcock turned birds into cinematic terror, The Birds was a bleak, intimate apocalypse story from author Daphne du Maurier. In this special Now Playing Podcast Book Review, Arnie looks at the 1952 short story that inspired Hitchcock's classic film and finds something very different: a grim survival tale closer to War of the Worlds, I Am Legend, and Night of the Living Dead than the Hollywood thriller audiences know. From post-war paranoia to unexplained cosmic dread, hear why this short story still works over 70 years later, why its ending hits so hard, and why Hitchcock may have only borrowed the premise while leaving most of the original story behind. Plus, how gulls attacking a farmer became one of horror's most influential setups.

On Thursday April 30th, the state of Florida is set to finally execute 70-year-old James Ernest Hitchcock. Hitchcock was just 20 when he raped, beat and strangled 13-year-old Cynthia Driggers to death. After decades of appeals and having his death sentence overturned three times, Driggers’ family is relieved that their legal nightmare is finally coming to an end.See omnystudio.com/listener for privacy information.