Podcasts about I Shot Andy Warhol

Lili Taylor steps Behind the Rope. Lili is here to mention it all and chat about the full anthology of her career which now includes the moniker Author thanks to the just released “Turning To Birds”. Lili chats about her breakout performance with Julia Roberts in Mystic Pizza, her well deserved crown of 90s "indie darling” and TV highs such as Outer Range, Six Feet Under and American Crime.  Speaking of “indie darling”, Lili discusses her brilliant performance as Valerie Solanas in I Shot Andy Warhol. Of course, we dish on “other indies darling” Parker Posey, White Lotus and starring in Four Rooms alongside Madonna, whom she happened to meet for the first time when she was twelve! @lilittaylor @behindvelvetrope @davidyontef BONUS & AD FREE EPISODES Available at - ⁠www.patreon.com/behindthevelvetrope⁠  BROUGHT TO YOU BY: STRAWBERRY - ⁠Strawberry.me/VELVET ⁠(Claim Your $50 Credit Today Because Your Career Success Shouldn't Wait) MEANINGFUL BEAUTY - ⁠meaningfulbeauty.com/velvet⁠ (Get 25% Off Cindy Crawford's Beauty Line & The Targeted Treatment Duo GIFT SET for FREE) CARAWAY HOME - ⁠Carawayhome.com/VELVET⁠ (10% Off Non-Toxic Cookware Made Modern) RO - ⁠ro.co/velvet⁠ (For Your Free Insurance Coverage Check On Prescription Compounded GLP-1s) MY LIFE IN A BOOK - ⁠mylifeinabook.com ⁠(Use Code Velvet For 15% Off To Create a Unique Gift For Mother's Day)  DELETEME - (Get 20% Off By Texting VELVET to 64000 - To Take Control Of Your Data & Keep Your Private Life Private) RAKUTEN - ⁠rakuten.com⁠ (Get the Rakuten App NOW and Join the 17 Million Members Who Are Already Saving! Your Cash Back really adds up!) INDEED - ⁠indeed.com/velvet⁠ (Seventy Five Dollar $75 Sponsored Job Credit To Get Your Jobs More Visibility)  WASHINGTON RED RASPBERRIES - ⁠Redrazz.org⁠ (Find New Ways To Use American Frozen Red Raspberries & Get More Details On Where You Can Grab a Bag) WARBY PARKER - ⁠www.warbyparker.com/velvet⁠ (Try On Any Pair of Glasses Virtually or Visit One of Their Over 270 Locations) ADVERTISING INQUIRIES - Please contact ⁠David@advertising-execs.com⁠ MERCH Available at - ⁠https://www.teepublic.com/stores/behind-the-velvet-rope?ref_id=13198 Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, we are joined by PULP's MARK WEBBER to discuss what was to be the most influential documentary of his life, THE SOUTH BANK EPISODE ABOUT THE VELVET UNDERGROUND.  We discuss Mark's path from making fanzines (including interviewing Mo Tucker), & running the Pulp fanclub to eventually joining PULP as they embarked on their classsic records (DIFFERENT CLASS, THIS IS HARDCORE & WE LOVE LIFE), how Pulp composes music, being too young to get the Velvet Underground on first listen, the sweet spot of interviewing the Velvet Underground at the time of this documentary, Warhol's Factory, Mark's first time in NYC paying homage to his NYC heroes, Jonas Mekas, record store clerk suggestions, Spaceman 3, Pulp in 1978, the highs and lows of being in your favorite band, Mark's decades-long curation and research of experimental film, David Bowie as a direct line to the Velvet Underground, I Shot Andy Warhol, Bridget Berlin, Cat Power, Mark trying to do his own version of Warhol's Exploding Plastic Inevitable for Pulp called The Day That Never Happened, John Cale and Lou Reed's solo work, Mark getting to witness the Velvet Undeground reunion shows in person, The Pulp People Accommodation Register, Nico and more!!!So let's wrap some trees in tin foil and start the lights strobing on this week's episode of Revolutions Per Movie!MARK WEBBER:hatandbeard.com/products/im-with-pulp-are-you-by-mark-webberhttps://markwebber.org.uk/archive/about/https://welovepulp.info/REVOLUTIONS PER MOVIE:Host Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.The show is also a completely independent affair, so the best way to support it is through our Patreon at patreon.com/revolutionspermovie. By joining, you can get weekly bonus episodes, physical goods such as Flexidiscs, and other exclusive goods.Revolutions Per Movies releases new episodes every Thursday on any podcast app, and additional, exclusive bonus episodes every Sunday on our Patreon. If you like the show, please consider subscribing, rating, and reviewing it on your favorite podcast app. Thanks!SOCIALS:@revolutionspermovieBlueSky: @revpermovieTHEME by Eyelids 'My Caved In Mind'www.musicofeyelids.bandcamp.comARTWORK by Jeff T. Owenshttps://linktr.ee/mymetalhand Click here to get EXCLUSIVE BONUS WEEKLY Revolutions Per Movie content on our Patreon Hosted on Acast. See acast.com/privacy for more information.

Lili Taylor talks to Mase & Sue about her role in OUTER RANGE  - the American neo-Western supernatural mystery thriller streaming on Amazon Prime. They discuss the challenges of shooting out of sequence, reaction to seeing the finished product for the first time, time travel and strange unexplainable events, the concept of predetermination, Noah Reid's sweet performance, and acting opposite co-star/executive producer Josh Brolin. Also, the classic film MYSTIC PIZZA, her relationship with the cast, Robert Altman's SHORT CUTS, the pros and cons of working with a director who encouraged improv, her experience working on HOUSEHOLD SAINTS, I SHOT ANDY WARHOL, THE CONJURING, and decompressing from certain roles. Plus, the premiere of HULU's new FX miniseries CLIPPED, best-selling musical acts of all time and show business nepo babies.

Welcome to Decorating the Set: From Hollywood to Your Home with Beth Kushnick!  On this week's episode, we continue talking to pros in the industry. This week's guest is powerhouse producer, M. Blair Breard. Over her tremendous, far-reaching career, Blair has earned six Primetime Emmy nominations, five Director's Guild Award nominations, two Producer's Guild Award nominations, and many more accolades. Listen to the whole episode for more on Blair's 25 years of experience, guiding groundbreaking concepts into award-winning television and how she has successfully negotiated the business end of television and film projects, while protecting and executing a specific creative vision! The Interview with Blair begins at Time Code: 5:10 GUEST BIO: M. BLAIR BREARD BLAIR BREARD is an Executive Producer with over 25 years of experience in the film and television industry. She has guided groundbreaking concepts into award-winning television and has successfully negotiated the business end of television and film projects, while protecting and executing a specific creative vision. Breard has been nominated for industry awards multiple times: six Primetime Emmys; five Director's Guild Awards; two Producer's Guild Awards; two American Film Institute Awards; three Peabody's; Two Gotham Awards. She has produced for FX, Netflix, Fox Searchlight, Paramount, Max, Apple TV+ and developed with Showtime, FX, Hulu and others. She began her career in the world of independent filmmaking with John Sayles' Passion Fish. She has worked on and produced critically acclaimed films including I Shot Andy Warhol, written and directed by Mary Harron (nominated for Sundance and Independent Spirit awards); Margaret, written and directed by Kenneth Longeran; Margot at the Wedding, written and directed by Noah Baumbach (nominated for Independent Spirit and Gotham awards); She served as Executive Producer for The Drop, directed by Academy Award nominee Michael Roskam. She produced The Half of It with Anthony Bregman of Likely Story for Netflix, written and directed by Alice Wu, which went on to win the Tribeca Film Festival. Notably, Breard recently produced Scenes from a Marriage for HBO with Michael Ellenberg of Media Res, starring Jessica Chastain and Oscar Isaac, written and directed by Hagai Levi. She recently Executive Produced the Emmy award-nominated final season of The Other Two for Max starring Molly Shannon, Wanda Sykes, Drew Tarver and Helene Yorke written and directed by Chris Kelly and Sarah Schneider. She is currently Executive Producing a new Apple TV + limited series, The Savant, starring Jessica Chastain written by Melissa James Gibson and directed by Matthew Heineman and Rachel Morrison. Breard's home base is New York City. She works all over the world. Breard is repped at CAA and by Tom Collier of Sloan Offer Weber Dern. Follow Blair's Production Company Online: BarnBurner.org ### For over 35 years, Beth Kushnick has created character-driven settings for countless award-winning television series and feature films. As a Set Decorator, she's composed visuals that both capture and enhance any story. Now, she wants to help you capture and enhance YOUR story. Join Beth and her co-host, Caroline Daley, each week as they go behind the scenes of Hollywood's magic, and give you approachable, yet sophisticated tips to realize the space that best expresses who you are. ### Follow Beth Kushnick on Social Media:  Instagram: @bethkushnick Twitter: @bethkushnick Website: DecoratingTheSet.com Beth is the Decorator By Your Side and now, you can shop her Amazon Store! CLICK HERE! Follow Caroline Daley on Social Media: Twitter: @Tweet2Caroline Website: PodClubhouse.com ### Credits: "Giraffes" by Harrison Amer, licensed by Pod Clubhouse. This is an original production of Pod Clubhouse Productions, LLC. Produced, engineered and edited at Pod Clubhouse Studios. For more information, visit our Website.

Well, this could be awkward: when we last featured a story on the podcast a year ago, it also focused on parasocial relationships and included masturbation! This time around, we are again in deft hands. Marie Manilla's short story “Watchers”, set in 1968 Pittsburgh with both the steel mills and Andy Warhol as vital elements, is replete with narrative and thematic echoes that satisfy and leave us wanting more at the same time. Tune in for this lively discussion which touches on budding creative and identity-based aspirations, celebrity, performance art, pain in public and private, and much more. Give it a listen -- you know you want to! (Remember you can read or listen to the full story first, as there are spoilers! Just scroll down the page for the episode on our website.)   (We also welcome editor Lisa Zerkle to the table for her first show!) At the table: Kathleen Volk Miller, Marion Wrenn, Lisa Zerkle, Jason Schneiderman, Dagne Forrest   Listen to the story Watchers in its entirety (separate from podcast reading)   Parasocial relationships https://mashable.com/article/parasocial-relationships-definition-meaning   Andy Warhol's childhood home in Pittsburgh (the setting of this story) http://www.warhola.com/warholahouse.html   “History” article about Andy Warhol's shooting by Valerie Solanas https://www.history.com/news/andy-warhol-shot-valerie-solanas-the-factory    I Shot Andy Warhol, 1996 film https://en.wikipedia.org/wiki/I_Shot_Andy_Warhol      ** Fun Fact 1: the original poster for the 1996 film hangs in Jason's apartment.   ** Fun Fact 2: the actor who portrayed Valerie Solanas in “I Shot Andy Warhol”, Lili Taylor, is married to three-time PBQ-published author Nick Flynn.   Nick Flynn's author page on PBQ http://pbqmag.org/tag/nick-flynn/   Dangerous Art: The Weapons of Performance Artist Chris Burden https://www.theartstory.org/blog/dangerous-art-the-weapons-of-performance-artist-chris-burden/ In her fiction and essays, West Virginia writer Marie Manilla delights in presenting fuller, perhaps unexpected, portraits of Appalachians, especially those who live in urban areas. A graduate of the Iowa Writers' Workshop, Marie's books include The Patron Saint of Ugly, Shrapnel, and Still Life with Plums: Short Stories. She lives in Huntington, her hometown, with her Pittsburgh-born husband, Don.   Instagram and Facebook: @MarieManilla, Author website    Watchers        Zany lies amid clutter on the floor beneath the dining room windows hugging her bandaged arm. She huffs loudly enough to reach the front porch where Mom and Aunt Vi imbibe scotch. Vi still isn't used to afternoon drinking. They can't hear Zany over the Krebbs' crying baby on the other side of the duplex wall. Stupid baby. Plus Zany's little sister overhead dancing to the transistor radio, rattling the light fixture dangling from the ceiling.        The fingertips on Zany's bandaged arm are cold and maybe even blue. This is slightly alarming. She considers running to Mom but knows better. Take the damn thing off then, Mom will say.        There's nothing wrong with Zany's arm, but that isn't the point. At breakfast, without preamble, she wound an Ace bandage from her palm to her armpit. The family no longer asks what she's up to. Last week during Ed Sullivan she sat at her TV tray dripping candle wax over her fist. Aunt Vi blinked with every splat, but Mom only said: “If you get that on my rug I'll take you across my knee. I don't care how old you are.” Zany is thirteen.        Week before, Zany taped a string of two-inch penny nails around her throat at the kitchen table where Dad rewired one of Mom's salvaged lamps. “Why don't you do that in your room?”  Dad didn't like sharing his workspace. Zany shrugged and the nail tips jabbed her collarbones.  She could have done it in her room, but doing the thing wasn't the point. It was having someone watch that mattered. If no one watched, who would believe she could endure that much discomfort?        Nobody is watching now, so Zany grips a dining table leg and pulls it toward her, or tries to. It's hard to budge through Mom's junk piles, plus the weight of the extra leaf Dad inserted when Aunt Vi and Cousin Lester moved in after their apartment collapsed. Aunt Vi brought cans of flowery air freshener to hide the hoard smell—rotten food and cat piss. They don't own a cat.  Lester, sixteen, bought a box of rubble-rescued books.        “You better be setting the table!” Mom calls through the screen.        Zany hates Mom's manly haircut and has said so. “It's Gig's turn!”        Overhead, Gig stomps the floor in the bedroom they now share. Aunt Vi got Zany's attic where Mom's hoard had been disallowed, but it's begun trickling up. “No, it's not!” Gig's transistor blares louder.        “Zany!” Mom calls. “I swear to God! And close those drapes!”        Mom can't stand looking at the neighbor's wall she could reach across and touch, but Zany craves fresh air, as fresh as Pittsburgh air can be. Plus, she likes counting the yellow bricks Andy Warhol surely counted when this was his childhood home, the dining room his make-shift sickroom when he suffered St. Vitus Dance. Zany is certain his bed would have been right here by the window where he could see a hint of sky if he cricked his neck just right. She lies in his echo and imagines the day she'll appear at his Factory door in New York City and say: “I used to live in your house.” Andy will enfold her in his translucent arms before ushering her inside, not to act in his films or screen print his designs, but to be his equal. Partner, even. Zany just has to determine her own art form. It sure won't be cutting fruit cans into flowers like Warhol's mother did for chump change.        Zany's legs start the herky-jerky Vitus dance as if she's running toward that Factory dream. Her pelvis and hips quake. The one free arm. The back of her head jitters against the floor. It's a familiar thrum even Aunt Vi and Lester are accustomed to now. Mom yells: “Stop that racket!” She mutters to Vi: “We never should have bought this place.”       A kitchen timer dings and Aunt Vi comes in to disarm it. Her cooking is better than Mom's, and Vi wears an apron and dime store lipstick while she does it. Fresh peas instead of canned. Real mashed potatoes instead of instant. Vi is a better housekeeper, too, organizing Mom's trash into four-foot piles that line the walls. Every day Mom trolls back alleys and neighbors' garbage in dingy clothes that make her look like a hobo. That's what the kids say:  Your mom looks like a hobo. She pulls a rickety cart and loads it with moldy linens, rolled-up rugs, dented wastebaskets. Zany wonders if Dad regrets marrying the wrong sister. She knows he regrets not having a son, a boy who could have been Lester if Dad had a different heart. Instead, Dad got Lester on at the blast furnace, because “No one sleeps under my roof for free.” Who needs a high school diploma?        In the kitchen, Aunt Vi lets out one of her sobs. She only does that in private after Mom's third scolding: “He's dead, Vi. Crying won't bring him back.”        Zany misses Uncle Mo, too. His pocketful of peppermints. The trick coin he always plucked from Zany's ear. The last time Zany's family visited, she walked through their decrepit Franklin Arms apartment with its spongy floors and clanking pipes, but no maze of debris to negotiate. No cat piss smell or sister blaring the radio. She found Lester in his room at a child's desk he'd outgrown, doughy boy that he then was, doing homework without being nagged.  Astounding. His room was spartan, plenty of space for a second bed if Zany asked Aunt Vi sweetly enough. But no. Zany couldn't abandon Andy in his Dawson Street sickbed. Lester's only wall decoration was a world map strung with red yarn radiating from Pittsburgh to France, China, the South Pole. She wanted to ask why those destinations, but didn't, entranced as she was by all that fresh-aired openness, plus his feverishly scribbling hand.       Now, Aunt Vi leans in the dining room dabbing her face with a dishtowel. She's aged a decade since moving here and it isn't all due to grief. She targets Zany on the floor. “Everything all right in here?”        Zany has stopped breathing. Her eyes are glazed and her tongue lolls from her mouth.  She's getting better at playing dead.        “All right then.” Aunt Vi is getting better at not reacting. The screen door slams behind her.        Zany pulls in her tongue and inhales. She starts counting bricks again until Aunt Vi calls: “There they are!” as she does every workday.        Zany pictures Dad and Lester padding up Dawson. Wet hair slicked back because they shower off the stench before coming home. Zany appreciates that. Their boots scrape the steps to the porch where Aunt Vi will take their lunchpails. And there she is coming through the door and dashing to rinse their thermoses at the kitchen sink. Mom will stay put and pour Dad a finger of scotch.        Lester bangs inside and pauses in the dining room entryway. He's leaner now on account of the physical labor. Taller too. He eyes Zany's bandaged arm, not with Aunt Vi's alarm, but with the kind of baffled wonder Zany has always been after. Their eyes meet and it's the same look he gave her the day she walked backward all the way to the Eliza Number Two—not  because Dad and Lester worked there, but because it was lunchtime, and a gaggle of men would  be eating beneath that pin oak by the furnace entrance. And there they were, her father among them, not easy to see having to crane her neck as Zany picked her way over the railroad tracks.        “What the hell is she doing?” said Tom Folsom. Zany recognized her neighbor's voice.  “She's off her nut,” said another worker.       Zany twisted fully around to see if her father would defend her, but he was already hustling back to the furnace.        “Something's not right with that girl,” said Folsom.        “Nothing wrong with her,” said Lester from beneath a different tree where he ate his cheese sandwich alone.        Folsom spit in the grass. “Shut up, fairy boy.”        Lester wasn't a fairy boy, Zany knew.        Today, leaning in the dining room, Lester looks as if he can see inside Zany's skull to the conjured Factory room she and Andy will one day share: walls scrubbed clean and painted white.  Her drawings or paintings lining the walls in tidy rows. Maybe sculptures aligned on shelves. Or mobiles overhead spinning in the breeze. Lester nods at her fantasy as if it's a good one. He has his own escapism. Zany knows that too, and she looks away first so her eyes won't let him know that she knows.        Lester heads to the cellar where he spends most of his time. Mom partitioned off the back corner for him with clothesline and a bed sheet. Installed an army cot and gooseneck lamp on a crate. Andy Warhol holed up in the cellar when he was a kid developing film in a jerry-rigged darkroom. Zany constructed one from an oversized cardboard box she wedged into that shadowy space beneath the stairs. She cut a closable door in the box and regularly folds herself inside to catalogue her achievements in a notebook. Stood barefoot on a hot tar patch on Frazier Street for seventy-two seconds. Mr. Braddock called me a dolt, but I said: You're the dolt!        From below, the sound of Lester falling onto his cot followed by a sigh so deep Zany's lungs exhale, too. Whatever dreams he had got buried under apartment rubble along with Uncle Mo.       Outside, Dad has taken Aunt Vi's creaky rocker. “He's a strange one,” he says about Lester. “What's he up to down there?”        Mom says, “Who the hell knows?”        Zany clamps her unbandaged hand over her mouth to keep that knowledge from spilling.  She saw what he was up to the day she was tucked in her box and forgot time until footsteps pounded the stairs above her. She peeked through the peephole she'd punched into her cardboard door as Lester peeled off his shirt, his pants. He left on his boxers and socks. Didn't bother to draw his sheet curtain, just plopped on the cot and lit a cigarette. His smoking still surprised her. The boy he once was was also buried under rubble. Zany regretted not making her presence known, but then it was too late with Lester in his underwear, and all. Plus, she was captivated by his fingers pulling the cigarette to his lips. The little smoke rings he sent up to the floor joists. She wondered if he was dreaming of China or the South Pole, or just sitting quietly at his too-small desk back in his apartment inhaling all that fresh air. Finally, he snubbed out the cigarette in an empty tuna can. Zany hoped he would roll over for sleep, but he slid a much-abused magazine from beneath his pillow and turned pages. Even in the scant light Zany made out the naked lady on the cover. Zany's heart thudded, even more so when Lester's hand slipped beneath his waistband and started moving up and down, up and down. She told her eyes to close but they wouldn't, both entranced and nauseated by what she shouldn't be seeing. She knew what he was up to, having done her own exploring when she had her own room. She'd conjure Andy Warhol's face and mouth and delicate hands—because those rumors weren't true. They just weren't. Harder to explore in the bed she now shared with Gig. Stupid Aunt Vi, and stupid collapsed Franklin Arms.       What Lester was up to looked angry. Violent, even. A jittery burn galloped beneath Zany's skin and she bit her lip, drawing blood. But she couldn't look away from Lester's furious hand, his eyes ogling that magazine until they squeezed shut and his mouth pressed into a grimace that did not look like joy. The magazine collapsed onto his chest and his belly shuddered. Only then did Zany close her eyes as the burn leaked through her skin. When Lester's snores came, she tiptoed upstairs to collapse on Andy's echo. She caught Lester seven more times, if caught is the right word, lying in wait as she was, hoping to see, hoping not to.  “You better be setting the table!” Mom yells now from the porch.        Zany grunts and makes her way to the kitchen where Aunt Vi pulls a roast from the oven.  Zany heaves a stack of plates to the dining room and deals them out like playing cards.  “Don't break my dishes!” Mom calls. I hate your hair, Zany wants to say.  There is a crash, but it's not dishes. It comes from overhead where Gig screams.  Thumping on the stairs as she thunders down, transistor in hand. “Zany!”  Gig rushes into the dining room, ponytail swaying, eyes landing on her sister. “He's been shot!”        Zany's mind hurtles back two months to when Martin Luther King was killed. Riots erupted in Pittsburgh's Black neighborhoods: The Hill District and Homewood and Manchester.  “Who?” Zany says, conjuring possibilities: LBJ, Sidney Portier. But to Zany, it's much worse.        “Andy Warhol!”        Zany counts this as the meanest lie Gig's ever told. “He was not.”        “Yes, he was!” Gig turns up the radio and the announcer confirms it: a crazed woman shot Warhol in his Factory.       Aunt Vi comes at Zany with her arms wide, because she understands loss. “Oh, honey.”  Zany bats her hands away. “It's not true.”        Vi backs into Mom's hoard. “Is he dead?”        Gig says: “They don't know.”        Zany can't stomach the smug look on Gig's face, as if she holds Andy's life or death between her teeth. Zany wants to slap that look off, so she does.        Gig screams.        “What the hell's going on in there?” Mom calls.        “Zany hit me!” Gig says at the very moment Aunt Vi says: “Andy Warhol's been shot!”  “No he wasn't!” Zany says again, wanting to slap them both.        Mom and Dad hustle inside where Gig cups her reddening cheek and bawls louder.  “It's nothing,” Mom says at the sight of her sniveling daughter, but Dad enfolds Gig in his arms. “There, there.”        “Don't coddle that child,” says Mom, and for once Zany agrees.        “Now, Mae.” Dad cups the back of Gig's head and there's a different look on her face.  Triumph, maybe.        Pounding on the shared duplex wall, Evie Krebbs, who never could shush that wailing baby. “Andy Warhol's been shot!” she calls to them. “Did you all hear?”        “We heard,” Mom answers as the baby cries louder, and so does Gig, who won't be upstaged. Mom says: “That's the price of fame I guess.”        “Being shot?” says Aunt Vi.        “Put yourself in the public eye and anything's liable to happen. Lotta kooks in this world.”       The neighbor kids' chant sounds in Zany's head: Your mother's a hobo.        “I'd rather be shot than a hobo,” says Zany.        Mom's head snaps back. “What the hell's that supposed to mean?”        Zany doesn't fully know what she means, or maybe she does.        Dad says, “Turn up the radio and see if he's dead.”        Zany doesn't want to know the answer, and to keep him alive she runs to the basement where Andy will always be a sickly boy developing film. Never mind Lester in his bed sending smoke rings up to the floor joists. Never mind her family still jabbering overhead.       Zany dashes to her cardboard box and closes the door, her body shaking, but not from any disease. Andy can't be dead. He just can't, because if he is Zany will never make it to New York. Will never pound on his Factory door. She will never be famous enough for someone to shoot.        She doesn't know she's sobbing until Lester's voice drifts over. “Zany?”        It's hard to speak with that hand gripping her throat and her father overhead still babbling: “Turn it up, Gig.” All Zany eeks out is a sob.        Lester's skinny voice slips through that slit in her door. “Zany?”        The grip loosens and Zany puts her eye to the peephole.        There he is, Lester, on his narrow cot in the windowless cellar where he now lives. He slides his hand into his waistband and he tilts his head toward her. “Are you watching?”  Zany's breathing settles, and the overhead voices disappear taking with them the possibility of Andy's death. Her eyes widens so she can take it all in, the violent strokes, his contorting face, because she won't look away from Lester's pain, or hers.  Finally, she answers him: “Yes.” 

Royce Meier found his place in the arts not in his native NYC roots, but in Asbury Park at the Showroom. Royce and I  discuss how LGBTQ characters - so accepted in the 20s and 30s - end up being victims or villains in later films, why you'll never see “I Shot Andy Warhol” at the Showroom and who we like better: Tonya Harding or Nancy Kerrigan. 

Writer and Senior Vice President at The Black List Kate Hagen joins to discuss Nancy Savoca's 'Household Saints', a generational tale of Italian women in New York and the shifting influences of faith, divinity, and family in their day to day lives. Long unavailable and thought lost to time, an original print of the film was discovered by the filmmakers and has received a new 4k restoration courtesy of Milestone Films. The restoration is screening theatrically all across the country and a proper blu ray release of the film is headed to Kino Lorber in April.We discuss the work of Nancy Savoca, her recent string of restorations, and the position she occupies in the broader conversation about independent film of the 1990s. Then, we examine the film's brilliantly nuanced take on Catholicism and faith - how it manifests in the lives of its central characters, and how the film maintains a compelling balance of fascination and skepticism for the notion of divinity. Finally, we discuss the movie as a triumphant story of what can happen when film preservation wins out, and why there is even more work to be done on the front of preservation now and in the future. Follow Kate Hagen on Twitter.Read up on the how-to's of film preservation at Missing Movies.Watch Roger Ebert on Household Saints. Get access to all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.....Our theme song is "Mirror" by Chris Fish. 

Blah! Our second entry for Nosferatu November is 1995's The Addiction. From the same writer/director team that brought you The King of New York comes this b&w philosophical wank--I mean meditation on the nature of man's relationship to addiction. Only not really. Along the way we weigh in on internalized victim blaming, Natalie Wynn, and I Shot Andy Warhol (again). Your welcome (again). Disturban History | The My Lai Massacre Folding Ideas | A Lukewarm Defense of Fifty Shades of Grey +++++ Intro: by Professor Ping available on BandcampOutro: Sunny and the Black Pack performing What I Am --- Support this podcast: https://podcasters.spotify.com/pod/show/zandkmoviepod/support

Craig Chester is an award winning actor best known for his roles in the movies “Swoon”, ”Grief”, “Frisk”, “Kiss Me, Guido”, “I Shot Andy Warhol” and as the Birkin Bag Guy on “Sex & The City”. He transitioned to a successful career as a television writer when St. Martin's Press published his memoir, “Why The Long Face? The Adventures of a Truly Independent Actor”, writing and producing three seasons of LOGO's “Big Gay Sketch Show” and HBO's smash hit, “True Blood”. He is currently working on a new memoir and “Adam & Steve 55+”, the sequel to 2005's “Adam & Steve”, which he starred in and also wrote and directed. He lives in Palm Springs, CA. Craig's Instagram:  https://www.instagram.com/mrcraigchester/Photo: Copyright Wilkinson/2023Opening and closing music courtesy the very talented Zakhar Valaha via Pixabay.To contact Wilkinson- email him at BecomingWilkinson@gmail.com

On this episode, we are joined by Captain Raoul to sail the seas back to the week of May 6th, 1996. We chew on the album, Wild Mood Swings, by The Cure and debate the merits of Mary Harron's feature film debut, I Shot Andy Warhol. Wild Mood Swings I Shot Andy Warhol    

Fiona and Lorna discuss I Shot Andy Warhol.Subscribe and ring the notification bell for daily screenwriting videos, and head over to audio form for the second part of this conversation!Subscribe to our channel so you don't miss anything from our network of podcasts: https://youtube.com/c/TheScriptDepartmentVisit our website: https://www.thescriptdepartment.netFollow us on LinkedIn: https://www.linkedin.com/company/thescriptdepartmentFollow us on Instagram: http://instagram.com/thescriptdepartment Like us on Facebook: https://www.facebook.com/thescriptdepartmentListen to our podcasts on your favourite podcast service: The Script Department Podcast Network: https://podcasts.apple.com/gb/channel/the-script-department/id6442503874Buy us a Coffee: https://www.buymeacoffee.com/TheScriptDeptBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-script-department-screenwriting-discussion--3123141/support.

In the new biopic, Dalíland, acclaimed director Mary Harron give us a glimpse into the Salvador Dalí's later years in 70s New York City via the immense talents of Academy Award-winner, Sir Ben Kingsley. From her look at attempted assassin Valerie Solanas in I Shot Andy Warhol to the murderous broker Patrick Bateman in American Psycho, Harron has always been attracted to infamous, challenging, and to put it lightly, difficult people.  The film is now on demand now wherever you watch movies. On our special summer episode we chat with Harron about Dalíland and much more.

Filmmaker Mary Harron (American Psycho, I Shot Andy Warhol, Charlie Says) talks to Tom about her latest film, “Daliland,” the difficulty of getting to know who Salvador Dali was, and how filmmaking is about knowing what you want. Plus, The band Bye Parula tells Tom the story behind “Still Got The Spirit,” which just so happens to be Q's theme song.

This week, hosts Jim DeRogatis and Greg Kot talk with director Mary Harron about her films American Psycho, I Shot Andy Warhol, Charlie Says and her latest, Dalíland. They discuss her excellent use of music in her movies over the years, her start as a punk rock journalist and more. Plus, Jim and Greg review the latest album from The National.   Join our Facebook Group: https://bit.ly/3sivr9T Become a member on Patreon: https://bit.ly/3slWZvc Sign up for our newsletter: https://bit.ly/3eEvRnG Make a donation via PayPal: https://bit.ly/3dmt9lU Send us a Voice Memo: Desktop: bit.ly/2RyD5Ah  Mobile: sayhi.chat/soundops   Featured Songs: Phil Collins, "Sussudio," No Jacket Required, Atlantic, 1985The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Capitol, 1967The National, "The Alcott (feat. Taylor Swift)," First Two Pages of Frankenstein, 4AD, 2023The National, "Eucalyptus," First Two Pages of Frankenstein, 4AD, 2023The National, "This Isn't Helping (feat. Phoebe Bridgers)," First Two Pages of Frankenstein, 4AD, 2023The National, "Tropic Morning News," First Two Pages of Frankenstein, 4AD, 2023Ramones, "Now I Wanna Sniff Some Glue," Ramones, Sire, 1976Steve Harley & Cockney Rebel, "Make Me Smile (Come Up and See Me)," The Best Years of Our Lives, EMI, 1975Cockney Rebel, "Tumbling Down," The Psychomodo, EMI, 1974Roxy Music, "Do the Strand," For Your Pleasure, Warner, 1973Luna, "Season of the Witch," Season of the Witch (Single), Beggars Banquet, 1996Love, "A House Is Not a Motel," Forever Changes, Elektra, 1967R.E.M., "It's the End of the World As We Know It (And I Feel Fine)," Document, I.R.S., 1987  Support The Show: https://www.patreon.com/soundopinionsSee omnystudio.com/listener for privacy information.

This week the ghouls watch new wave sci fi classic, Liquid Sky. And what's more, they're joined by a very special guest, Breanna Whipple of Heavy Horror (https://www.heavyhorror.com/). From wiki: “Liquid Sky is a 1982 American independent science fiction film directed by Slava Tsukerman and starring Anne Carlisle and Paula E. Sheppard.[1] It debuted at the Montreal Film festival in August 1982 and was well-received at several film festivals thereafter.[2] It was produced with a budget of $500,000. It became the most successful independent film of 1983, grossing $1.7 million worldwide.[3]The film is seen as heavily influencing a club scene that emerged in the early 2000s in Brooklyn, Berlin, Paris, and London called electroclash.[4]” Also! Jimmy Carter tried the metric system. Josh and Breanna will both be at Salem Horror Fest the weekend of April 20th. Drusilla watched some Michelle Yeoh movies like the Heroic trio, also Bride of Reanimator, Desperately Seeking Susan, Times Square, Shock Treatment, After Hours, Repo The Genetic Opera, Veronica, Danzig, Henry Rollins, Henry and Glenn, Drusilla's Fred Armisen impression, Video Hound's Complete Guild to Cult Flicks and Trash Pics, Grease 2, Cannibal Hookers, I Shot Andy Warhol, Drop Dead Gorgeous, Alice Sweet Alice, Richard Kern, Ms .45, I Spit on Your Grave, Gregg Araki's “Nowhere”, Earth Girls Are Easy NEXT WEEK: The Alchemist's Cookbook (2016)  Website: http://www.bloodhauspod.com  Twitter: https://twitter.com/BloodhausPod Instagram: https://www.instagram.com/bloodhauspod/ Email: bloodhauspod@gmail.com         Drusilla's art: https://www.sisterhydedesign.com/  Drusilla's Instagram: https://www.instagram.com/hydesister/  Drusilla's Letterboxd: https://letterboxd.com/drew_phillips/         Joshua's website: https://www.joshuaconkel.com/  Joshua's Twitter: https://twitter.com/JoshuaConkel   Joshua's Instagram: https://www.instagram.com/joshua_conkel/  Joshua's Letterboxd: https://letterboxd.com/joshuaconkel

This week our ghouls discuss 2000's adaptation of the novel by Brett Easton Ellis, American Psycho. From wiki: "American Psycho is a 2000 slasher, horror film directed by Mary Harron, who co-wrote the screenplay with Guinevere Turner. Based on the 1991 novel of the same name by Bret Easton Ellis, it stars Christian Bale as Patrick Bateman, a New York City investment banker who leads a double life as a serial killer. Willem Dafoe, Jared Leto, Josh Lucas, Chloë Sevigny, Samantha Mathis, Cara Seymour, Justin Theroux, and Reese Witherspoon appear in supporting roles. The film blends horror and black comedy to satirize 1980s yuppie culture and consumerism, exemplified by Bateman."Glass Onion escape room, dog surgery, streaming services hanky code, Fleishman is in Trouble, Josh has never seen a Woody Allen film, The Menu, Banshees of Inisherin, Colin Farrell supremacy, Mary Harron, Promising Young Woman, Go Fish, Watermelon Woman, I Shot Andy Warhol, Basquiat, Little Nell, Larry Clark's Kids NEXT WEEK: Lair of the White Worm Website: http://www.bloodhauspod.com  Twitter: https://twitter.com/BloodhausPod Instagram: https://www.instagram.com/bloodhauspod/ Email: bloodhauspod@gmail.com   Drusilla's art: https://www.sisterhydedesign.com/ Drusilla's Instagram: https://www.instagram.com/hydesister/ Drusilla's Letterboxd: https://letterboxd.com/drew_phillips/   Joshua's website: https://www.joshuaconkel.com/ Joshua's Twitter: https://twitter.com/JoshuaConkel  Joshua's Instagram: https://www.instagram.com/joshua_conkel/ Joshua's Letterboxd: https://letterboxd.com/joshuaconkelal   

Who runs the world? Well, fat white capitalists, of course! But women of all shapes and kinds are awesome and today Diz and Al discuss the "girls" who run the punk rock world. Join us for a conversation on women throughout punk rock history. New episodes drop on Saturdays at 3:00 pm HST Listen to our playlist on Spotify Song: “Oh bondage, Up Yours” by X-Ray Spex News Offensive land acknowledgment Indoor masks optional in public schools NYPD Makes Fitness Test Easier [Need your GOOD NEWS NETWORK Article] Information Trans Women in Punk Hellcat Records The Day the Country Died Documentary Sledgehammer Incident The Tampon Incident Legacy of Women in Punk by Decade 1970s Jayne County, Patti Smith, Joan Jett, The Runaways, The Slits, Crass (Penny Rinbaud), Siouxie and the Banshees, Vivienne Westwood and punk fashion 1980s [UK Anarcho Years, Zounds, …Pink Indians?] Vice Squad, X-Ray Spex, The Plasmatics, Blondie (Debbie Harry), Lunachicks, Hole, bondage fashion 1990s Bikini Kill, The Distillers, F-Minor, L7, Seven Year Bitch, Bratmobile, Nausea, Antischism, The Gits, Tilt, agenda-driven content, Shonen Knife, Riot Grrrl, Queercore 2000s Brodie Dalle (or Armstrong), White Lung, Shawna Potter, Horrorpops, Avril Lavigne as punk fashion (not punk music), Against Me! (Laura Jane Grace), Tiger Army, TsuShiMaMire 2010s to today G.L.O.S.S. (Sadie Switchblade Smith), Bad Cop Bad Cop, War on Women, Lunachicks (return from haitus), The Bombpops, She/Her/Hers (Emma Grrl), Bridge City Sinners, Mangy, Aye Nako, CU Space Cowboy, Not on Tour Honorable Notes Mary Harron, later known as the award-winning director of American Psycho, I Shot Andy Warhol, and The Notorious Bettie Page, started her career writing for Punk magazine after finding that no mainstream publication would hire her. Roberta Bayley documented the CBGB scene in a series of now-iconic photographs, including the one that graced the cover of the first Ramones album. Jayne County came out as the first openly transgender musician in 1979; and BDSM leather became the stereotypical punk outfit. The goal was to smash through people's perceptions of what was typical and allowed. Bridge City Sessions out of Portland Band Shoutouts Antischism “Salvation or Annihilation” Not On Tour Growing Pains “Therapy” Shoutouts Chris from Therapy in San Diego is still undergoing treatment and recovery for leukemia. Please donate if you can. Let's fucking have the conversations! Email us at outonanislandpodcast@gmail.com or follow us on Instagram. --- Send in a voice message: https://anchor.fm/outonanislandpodcast/message

Greetings Citizens! Welcome to a month of movies picked by Keith. Number one = I Shot Andy Warhol (1996). This biopic about Valerie Solanas features a stand out performance by pod favorite Lily Taylor, plus Stephen Dorff as Candy Darling and Jared Harris as Warhol. You also get some Martha Plimpton and a soupcon of Justin Theroux. Unlike usual, we talk a lot about gender politics in this one. Thanks for listening! You're the best. Reference/d materials: https://www.wynnegreenwood.com/ A Brief Convoluted History of the Word "Intersectionality" by Kory Stamp Sandy Stone on Living Among Lesbian Separatists as a Trans Woman in the 70s +++++ Intro: by Professor Ping available on Bandcamp Outro: Hymn to Valerie Solanas by Linda Hoyle --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/zandkmoviepod/support

This week Drusilla and Josh watch David Cronenberg's "Crash" with filmmaker Chelsea Stardust, which Wikipedia describes as follows: "Crash is a 1996 psychological thriller film written, produced and directed by David Cronenberg, based on J. G. Ballard's 1973 novel of the same name. Starring James Spader, Deborah Kara Unger, Elias Koteas, Holly Hunter and Rosanna Arquette, it follows a film producer who becomes involved with a group of symphorophiliacs who are strangely aroused by car crashes." Just in time for Mother's Day! But first...Everybody hates their moms, Chelsea watched "Eyes of Fire" from the All the Haunts Be Ours boxset from Severin films, "Stepford Wives", "Petite Maman", "We're All Going to the World's Fair", "Bunny Lake is Missing", "Kalifornia." Drusilla watched "Arsenic and Old Lace" at The New Beverly, "Reds",  Josh rewatched "American Psycho" and the gang goes off on director Mary Harron and "I Shot Andy Warhol".Then the gang gets into the feature. James Spader (not David Spade) eats a lot of ass in this. This film was sexually liberating for college-aged Chelsea and Drusilla both. We get a graphic designer's perspective on the credits, they discuss the marriage at the center of the film, they discuss the film's legacy from Cannes and the critical response and cultural homophobia. Francis Ford Coppola is a nerd. Josh worries about people being prudes these days. Rosanna Arquette keeps joints in her leg compartment. Chelsea doesn't think people should lick fresh tattoos, testing films sucks, and then they play Have They Seen It?Chelsea's Instagram: https://www.instagram.com/chelseastardust/Website: http://www.bloodhauspod.com Twitter: https://twitter.com/BloodhausPodInstagram: https://www.instagram.com/bloodhauspod/Email: bloodhauspod@gmail.comDrusilla's art: https://www.sisterhydedesign.com/Drusilla's Instagram: https://www.instagram.com/hydesister/Drusilla's Letterboxd: https://letterboxd.com/drew_phillips/Joshua's website: https://www.joshuaconkel.com/Joshua's Twitter: https://twitter.com/JoshuaConkel Joshua's Instagram: https://www.instagram.com/joshua_conkel/Joshua's Letterboxd: https://letterboxd.com/joshuaconkel/

See Also is a weekly dispatch that connects the dots of pop culture, with plenty of further reading and ideas to Add To Cart – or at least Open in New Tab.This week, Kate and Brodie are cracking open The Andy Warhol Diaries and recapping the recent Netflix docu-series that brought it to our screens.Further reading:I Shot Andy Warhol on YouTube + Article about missing rights to moviesOlivia Laing's Warhol essay for the Financial TimesSara Driver's Basquiat doc Boom for Real: The Late Teenage Years of Jean-Michel BasquiatProf Terry Smith's rules for criticismAn Object of Beauty by Steve MartinVide on Marc Baker's home (feat Fran) Chris McKim's doc WojnarowiczIt got us thinking about the perfectly gossipy genre of oral histories that we love.Further reading:Edie: American Girl by Jean SteinEdgewise: A Picture of Cookie Mueller by Chloé GriffinOur Band Could Be Your Life by Michael AzerradFreaks and Geeks on Vanity FairLive Through This by Jessica Hopper on SPINMeet Me in the Bathroom: Rebirth and Rock and Roll in New York City 2001–2011 by Lizzy GoodmanFinally, the Kardashians are back on reality TV, whether you noticed they were gone or not. We hate the drone shots but will obviously watch every second. (Brodie wrote this.)ALSO ALSOS:Podcast Also: Everything is FineCook Also: Ali Slagle's I Dream of Dinner (so You Don't Have To): Low-Effort, High-Reward RecipesListen Also: Launette's Hour with Laura Coxeter on NTS LiveRead Also: Never Be Alone Again: How Bloghouse United the Internet and the Dancefloor by Lina AbascalCook Also: Jinxy's red lentil soup – find the recipe on our stories @seealsopodcastListen Also: Surprise Me by Mallrat feat. Azealia Banks Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

Listen to Laura Ekstrand's take on things and you'll hear from a classmate who has built a creative community. She was co-founder of Dreamcatcher Reparatory Theater (now, Vivid Stage) with Janet Sales in 1994. She has her own podcast, Local with Laura Ekstrand, and an impressive body of work, which you can read about on her website: https://www.lauraekstrand.com/ She has appeared at Dreamcatcher in Be Here Now, The Lucky Ones, What Stays; Sister Play; Rapture, Blister Burn; Motherhood Out Loud, and Shakespeare in Vegas, among many others, and is a member of The Flip Side improv comedy troupe. New Jersey Theatre: Bickford Theatre, Passage Theater, 12 Miles West, The Theater Project, Luna Stage, and the Pushcart Players. New York Theatre: Naked Angels, Ensemble Studio Theatre, and New Georges. Film: Fat Ass Zombies; Split Ends, High Art and I Shot Andy Warhol. Television: Hack, Sex And The City, Law & Order, and The Guiding Light. As a director: Dead and Buried, Every Brilliant Thing, The How and the Why, Things Being What They Are, Next Fall, Distracted, The Pursuit Of Happiness, Melancholy Play, Pride's Crossing, Full Bloom and many others. Podcast directing: The Weirdness and Young Ben Franklin for Gen Z Media. As a playwright: What Stays (with Jason Szamreta), Whatever Will Be, The Neighborhood (Book and Lyrics; Music by Joe Zawila), Brink of Life (Book; Lyrics by Steve Harper; Music by Oliver Lake) and Astonishment, How to be Old: A Beginner's Guide, and At Ninety-Three (Adaptations). Laura is a private monologue and public speaking coach and holds a BA from Yale University and an MFA from Sarah Lawrence College. Laura is a member of AEA, SAG-AFTRA and the Dramatists Guild.

This week’s Nose doesn’t need you to tell it whether it’s cool or not, old lady. Licorice Pizza is the ninth feature film written and directed by Paul Thomas Anderson. The movie and Anderson are nominated for three Academy Awards: Best Picture, Best Director, and Best Original Screenplay. It is a coming-of-age story set in the San Fernando Valley in the 1970s and starring Alana Haim and Cooper Hoffman in their film debuts. Its ensemble supporting cast includes Sean Penn, Tom Waits, Bradley Cooper, Benny Safdie, Maya Rudolph, and John C. Reilly. And Drive My Car is an adaptation of the Haruki Murakami short story written by Ryusuke Hamaguchi and Takamasa Oe and directed by Hamaguchi. It is the first Japanese film ever nominated for Best Picture at the Academy Awards and just the sixth movie ever to win Best Picture from all three major U.S. critics’ groups after Goodfellas, Schindler’s List, L. A. Confidential, The Hurt Locker, and The Social Network. Some other stuff that happened this week, give or take: Mitchell Ryan, Lethal Weapon And Grosse Pointe Blank Actor, Dies At 88 If the Lockout Makes Baseball Better, It Will Have Been Worth It After tense negotiations, Major League Baseball and the players’ union both made gains in their desired areas. But more important, they avoided losses — of games and, potentially, their standing. Netflix Suspends Service in Russia Amid Invasion of Ukraine Moonfall Has Bombed Its Way Into The Record Books, And That’s Concerning ‘Black Panther’ Director Ryan Coogler Mistaken for Bank Robber “We deeply regret that this incident occurred. It never should have happened and we have apologized to Mr. Coogler,” Bank of America told The Hollywood Reporter in a statement about the January incident in Atlanta. Disney Censors ‘Overtly Gay Affection’ In Movies, According To Pixar Employees Denzel Washington tackles Shakespeare and life’s fourth quarter with grace ‘We can’t afford to lose them’: the fight to bring missing movies back Films such as The Heartbreak Kid and I Shot Andy Warhol remain unavailable on any platform but a new initiative is aiming to change that Why Isn’t Brittney Griner the Biggest Sports Story in the Country? GUESTS: Taneisha Duggan: A director, producer, and arts consultant James Hanley: Co-founder of Cinestudio at Trinity College Tracy Wu Fastenberg: Development officer at Connecticut Children’s The Colin McEnroe Show is available as a podcast on Apple Podcasts, Spotify, Google Podcasts, Stitcher, or wherever you get your podcasts. Subscribe and never miss an episode! Join the conversation on Facebook and Twitter. Colin McEnroe and Eugene Amatruda contributed to this show.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

We're BOUNCING from David O Russell's "American Hustle" to Mary Harron's "American Psycho" for EPISODE 50! Thank you, "honorary American" Christian Bale! (And special thanks to DiCaprio for NOT taking the opportunity to star in this film) (0:30 - 10:50) Harry asks the tough questions about DVD's. What's the first DVD you ever bought? (10:50 - 48:35) Mike and Harry discuss American Psycho! (MAJOR SPOILERS). Humor, Horror, Willem Dafoe, and even Fight Club (SPOILERS)! We're talking about it all! Where will we BOUNCE to next week? Will it be to Mary Harron's "I Shot Andy Warhol"? Reese Witherspoon in "Walk the Line"? Justin Theroux in "Mulholland Drive"? ... or Chloë Sevigny "Boys Don't Cry"?  Please SUBSCRIBE and leave a review on iTunes, Spotify, or anywhere you listen to Movie Bounce.

For the 25th anniversary of I Shot Andy Warhol, Canadian filmmaker Mary Harron talks about the film's legacy, Andy Warhol's life and work, and her personal fascination with Valerie Solanas — the woman who shot Warhol in 1968. Author and editor Kwame Mbalia discusses his inspiring new book Black Boy Joy, an anthology of 17 stories that celebrate Black boyhood, written by acclaimed Black male and non-binary contributors. Actor and comedian Louie Anderson reflects on his role in the Zach Galifianakis comedy-drama series Baskets, and reveals the role his own family plays in helping him develop his comedic material. Toronto singer-songwriter Tamara Lindeman of The Weather Station talks about her new album, Ignorance, which sees her grapple with climate grief over the destruction of our environment.

Radical playwright Valerie Solanas, author of the SCUM Manifesto (for the ‘Society of Cutting Up Men') attempted to assassinate pop artist Andy Warhol at The Factory on 3rd June, 1968.As a result, Warhol wore a corset for the rest of his life; security had to be introduced at the previously open-door environment of The Factory; and Solanas' name went down in infamy.In this episode, Olly, Arion and Rebecca ask whether her feminist writing would carry more weight if she'd never committed this violent act; consider the ethics of wannabe-assassins becoming celebrities, and wonder whether her SCUM Manifesto reads more like Jane Austen or Germaine Greer…Content Warning: mental health, paranoid schizophrenia, injury detailFurther Reading:• ‘I Shot Andy Warhol' trailer (1996): https://www.youtube.com/watch?v=qAQRCcQlXXE• ‘The SCUM Manifesto' on Northeastern University's website: https://www.ccs.neu.edu/home/shivers/rants/scum.html• ‘This Is Why a Radical Playwright Shot Andy Warhol' (Time, 2015): https://time.com/3901488/andy-warhol-valerie-solanas/For bonus material and to support the show, visit Patreon.com/RetrospectorsWe'll be back tomorrow! Follow us wherever you get your podcasts: podfollow.com/Retrospectors The Retrospectors are Olly Mann, Rebecca Messina & Arion McNicoll, with Matt Hill.Theme Music: Pass The Peas. Announcer: Bob Ravelli. Graphic Design: Terry Saunders. Edit Producer: Emma Corsham.Copyright: Rethink Audio / Olly Mann 2021. See acast.com/privacy for privacy and opt-out information.

Does this film hold up as well as Mary Harron's previous film, American Psycho? How great is Gretchen Mol in this role? And why does this feel too much like a safe, standard biopic instead of more edgy like Harron's first film, I Shot Andy Warhol, another biopic? Tune in to this week's episode to get answers to these questions and more!

Does this film hold up as well as Mary Harron's previous film, American Psycho? How great is Gretchen Mol in this role? And why does this feel too much like a safe, standard biopic instead of more edgy like Harron's first film, I Shot Andy Warhol, another biopic? Tune in to this week's episode to get answers to these questions and more!

Mary Harron started as a music journalist before moving into PBS documentaries. When she first learned about Valerie Solanas, the woman who shot Andy Warhol, she thought the subject would make an interesting documentary. Unfortunately, the lack of footage and disinterest in being interviewed from people who knew her led Mary and her producing team to realize a feature film may make more sense. Even Warhol himself apparently pushed for the feature focusing on Solanas. Harron co-wrote the script and made it as her debut feature. It's a tough film to watch about a tough character, but may have been the right sort of project to get her filmmaking career started. Join us – Pete Wright and Andy Nelson – as we kick off our Mary Harron series with her debut 1996 feature I Shot Andy Warhol. We talk about our backgrounds with Andy Warhol and Solanas and how this story was largely not something we grew up knowing anything about, and how that possibly influenced how we saw the film. We look at Solanas and Lili Taylor's remarkable portrayal of her, and how challenging it can be to make a film with an unlikeable protagonist. We chat about Jared Harris as Warhol and why he works in this film. We reveal our surprise that Warhol was wearing a wig all this time. We look at Martha Plimpton, Stephen Dorff, and others in the film and how they work. We discuss Solanas' writing, notably “The SCUM Manifesto” and her play “Up Your Ass,” and how we feel her writing is used in the film to convey her mental state and in general what it says about Solanas and how people saw her. And we chat about the nature of unchecked mental illness and how that darkness can push someone to places like this where murder seems the only way out. It's a difficult film with strong performances, but not an easy one to return to. We have a great time talking about it though so check it out then tune in! The Next Reel – when the movie ends, our conversation begins! Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM. The SCUM Manifesto by Valerie Solanas ”I Believe” by Lou Reed & John Cale Watch this film: JustWatch Original theatrical trailer Original poster artwork My Face for the World to See: The Diaries, Letters, and Drawings of Candy Darling, Andy Warhol Superstar Flickchart Letterboxd

Mary Harron started as a music journalist before moving into PBS documentaries. When she first learned about Valerie Solanas, the woman who shot Andy Warhol, she thought the subject would make an interesting documentary. Unfortunately, the lack of footage and disinterest in being interviewed from people who knew her led Mary and her producing team to realize a feature film may make more sense. Even Warhol himself apparently pushed for the feature focusing on Solanas. Harron co-wrote the script and made it as her debut feature. It’s a tough film to watch about a tough character, but may have been the right sort of project to get her filmmaking career started. Join us – Pete Wright and Andy Nelson – as we kick off our Mary Harron series with her debut 1996 feature I Shot Andy Warhol. We talk about our backgrounds with Andy Warhol and Solanas and how this story was largely not something we grew up knowing anything about, and how that possibly influenced how we saw the film. We look at Solanas and Lili Taylor’s remarkable portrayal of her, and how challenging it can be to make a film with an unlikeable protagonist. We chat about Jared Harris as Warhol and why he works in this film. We reveal our surprise that Warhol was wearing a wig all this time. We look at Martha Plimpton, Stephen Dorff, and others in the film and how they work. We discuss Solanas’ writing, notably “The SCUM Manifesto” and her play “Up Your Ass,” and how we feel her writing is used in the film to convey her mental state and in general what it says about Solanas and how people saw her. And we chat about the nature of unchecked mental illness and how that darkness can push someone to places like this where murder seems the only way out. It’s a difficult film with strong performances, but not an easy one to return to. We have a great time talking about it though so check it out then tune in! The Next Reel – when the movie ends, our conversation begins! Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel! Film Sundries Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM. The SCUM Manifesto by Valerie Solanas ”I Believe” by Lou Reed & John Cale Watch this film: JustWatch Original theatrical trailer Original poster artwork My Face for the World to See: The Diaries, Letters, and Drawings of Candy Darling, Andy Warhol Superstar Flickchart Letterboxd

In this episode we welcome the wonderful Mary Harron, director of cult movies I Shot Andy Warhol and American Psycho. After a brief digression on dating Tony Blair at Oxford, the Canadian relives her memories of the punk rock scene at New York's CBGB club, including her interviews with the Ramones and Talking Heads for John Holmstrom & Legs McNeil's pioneering Punk magazine. Mary also talks about her friendship with ZE's Michael Zilkha and her long fascination with Warhol and the Factory. Along with her hosts, she hears clips from Martin Aston's 1987 audio interview with Tom Verlaine, prompting her recall of his seminal band Television and a general discussion of 1977's classic Marquee Moon album. Mark & Barney pay heartfelt tribute to tragic blues-guitar hero Peter Green, ruminating on what made the Fleetwood Mac man so much more emotional a player then his UK blues-boom peers. They also say goodbye to the hilarious CP Lee, former frontman with Mancunian satirists Alberto Y Lost Trios Paranoias. After bringing Mary's directorial career up to date – with an aside on the American Psycho soundtrack that affords Jasper a chance to wax lyrical about Huey Lewis & the News – Mark selects his library highlights, including notable pieces about Brian Jones, Labelle, the Bush Tetras and, erm, the Knack. Jasper rounds things up – and brings matters back down to earth – with remarks on pieces about "superstar DJs" and Stock Aitken Waterman teaboy Rick Astley… Pieces discussed: Mary Harron on the Ramones / on pop art / on Michael Zilkha, Punk Rock, Talking Heads, Shouting Heads, Tom Verlaine audio, Peter Green, Peter Greener, Alberto y Lost Trios Paranoias, Rolling Stones, Labelle, Disco, Bush Tetras, The Knack, Jeff Beck, Superstar DJs, Rizzle Kicks and Rick AstleyThis show is part of Pantheon Podcasts

In this episode we welcome the wonderful Mary Harron, director of cult movies I Shot Andy Warhol and American Psycho. After a brief digression on dating Tony Blair at Oxford, the Canadian relives her memories of the punk rock scene at New York's CBGB club, including her interviews with the Ramones and Talking Heads for John Holmstrom & Legs McNeil's pioneering Punk magazine. Mary also talks about her friendship with ZE's Michael Zilkha and her long fascination with Warhol and the Factory. Along with her hosts, she hears clips from Martin Aston's 1987 audio interview with Tom Verlaine, prompting her recall of his seminal band Television and a general discussion of 1977's classic Marquee Moon album. Mark & Barney pay heartfelt tribute to tragic blues-guitar hero Peter Green, ruminating on what made the Fleetwood Mac man so much more emotional a player then his UK blues-boom peers. They also say goodbye to the hilarious CP Lee, former frontman with Mancunian satirists Alberto Y Lost Trios Paranoias. After bringing Mary's directorial career up to date – with an aside on the American Psycho soundtrack that affords Jasper a chance to wax lyrical about Huey Lewis & the News – Mark selects his library highlights, including notable pieces about Brian Jones, Labelle, the Bush Tetras and, erm, the Knack. Jasper rounds things up – and brings matters back down to earth – with remarks on pieces about "superstar DJs" and Stock Aitken Waterman teaboy Rick Astley… Pieces discussed: Mary Harron on the Ramones / on pop art / on Michael Zilkha, Punk Rock, Talking Heads, Shouting Heads, Tom Verlaine audio, Peter Green, Peter Greener, Alberto y Lost Trios Paranoias, Rolling Stones, Labelle, Disco, Bush Tetras, The Knack, Jeff Beck, Superstar DJs, Rizzle Kicks and Rick Astley.

In this episode we welcome the wonderful Mary Harron, director of cult movies I Shot Andy Warhol and American Psycho. After a brief digression on dating Tony Blair at Oxford, the Canadian relives her memories of the punk rock scene at New York's CBGB club, including her interviews with the Ramones and Talking Heads for John Holmstrom & Legs McNeil's pioneering Punk magazine. Mary also talks about her friendship with ZE's Michael Zilkha and her long fascination with Warhol and the Factory. Along with her hosts, she hears clips from Martin Aston's 1987 audio interview with Tom Verlaine, prompting her recall of his seminal band Television and a general discussion of 1977's classic Marquee Moon album.  Mark & Barney pay heartfelt tribute to tragic blues-guitar hero Peter Green, ruminating on what made the Fleetwood Mac man so much more emotional a player then his UK blues-boom peers. They also say goodbye to the hilarious CP Lee, former frontman with Mancunian satirists Alberto Y Lost Trios Paranoias. After bringing Mary's directorial career up to date – with an aside on the American Psycho soundtrack that affords Jasper a chance to wax lyrical about Huey Lewis & the News – Mark selects his library highlights, including notable pieces about Brian Jones, Labelle, the Bush Tetras and, erm, the Knack. Jasper rounds things up – and brings matters back down to earth – with remarks on pieces about "superstar DJs" and Stock Aitken Waterman teaboy Rick Astley…  Pieces discussed: Mary Harron on the Ramones / on pop art / on Michael Zilkha, Punk Rock, Talking Heads, Shouting Heads, Tom Verlaine audio, Peter Green, Peter Greener, Alberto y Lost Trios Paranoias, Rolling Stones, Labelle, Disco, Bush Tetras, The Knack, Jeff Beck, Superstar DJs, Rizzle Kicks and Rick Astley.

In this episode we welcome the wonderful Mary Harron, director of cult movies I Shot Andy Warhol and American Psycho. After a brief digression on dating Tony Blair at Oxford, the Canadian relives her memories of the punk rock scene at New York's CBGB club, including her interviews with the Ramones and Talking Heads for John Holmstrom & Legs McNeil's pioneering Punk magazine. Mary also talks about her friendship with ZE's Michael Zilkha and her long fascination with Warhol and the Factory. Along with her hosts, she hears clips from Martin Aston's 1987 audio interview with Tom Verlaine, prompting her recall of his seminal band Television and a general discussion of 1977's classic Marquee Moon album.  Mark & Barney pay heartfelt tribute to tragic blues-guitar hero Peter Green, ruminating on what made the Fleetwood Mac man so much more emotional a player then his UK blues-boom peers. They also say goodbye to the hilarious CP Lee, former frontman with Mancunian satirists Alberto Y Lost Trios Paranoias. After bringing Mary's directorial career up to date – with an aside on the American Psycho soundtrack that affords Jasper a chance to wax lyrical about Huey Lewis & the News – Mark selects his library highlights, including notable pieces about Brian Jones, Labelle, the Bush Tetras and, erm, the Knack. Jasper rounds things up – and brings matters back down to earth – with remarks on pieces about "superstar DJs" and Stock Aitken Waterman teaboy Rick Astley…  Pieces discussed: Mary Harron on the Ramones / on pop art / on Michael Zilkha, Punk Rock, Talking Heads, Shouting Heads, Tom Verlaine audio, Peter Green, Peter Greener, Alberto y Lost Trios Paranoias, Rolling Stones, Labelle, Disco, Bush Tetras, The Knack, Jeff Beck, Superstar DJs, Rizzle Kicks and Rick Astley This show is part of Pantheon Podcasts

Lili Taylor is one of those actors who can play just about any role.  You probably know her from dozens of movies including “Mystic Pizza,” an iconic horror movie called “The Conjuring” and an indy called “I Shot Andy Warhol.” I particularly remember her role as Lisa in “Six Feet Under,” the hippie villain you love to hate. Taylor is also on the board of the Audubon Society and when she isn’t in front of a camera, she’s probably looking for birds. That’s how we ended up strolling through Brooklyn’s Prospect Park searching for owls and talking about acting. “Now What?” is produced with help from Gabe Zimmer, Steve Zimmer, Rachel O’Brien and Stephanie Hou. Audio production is by Nick Ciavatta.

Mary Harron’s first feature-length film, I SHOT ANDY WARHOL (1996), made a big splash during the heyday of ‘90s independent films. Seamlessly blending historical figures, events and some fiction, Harron crafted a gritty, true-to-life depiction of an almost forgotten moment in time. This critically acclaimed, indie darling made its mark in queer cinema, even upsetting some who lived through the experience, yet still remains a gripping, non-exploitative remembrance of the beginning of the end for two very real people. ▶️Synopsis: Based on a true story, this narrative follows fringe culture activist Valerie Solanas’ life, radical feminist writings and introduction to Andy Warhol, leading to her attempted murder of the legendary artist. ⏩⏩Discussions include: Background on counter-culture, creative minds, Valerie Solanas and Andy Warhol; how writer/director Mary Harron researched and developed the focus for this true story; deciphering fact from fiction; the film’s style, setting and inspiration; Lili Taylor’s of embodiment of the Solanas role, along with an impressive supporting cast; Solanas’ writings and contemporary relevance; the reaction to making a movie about a real-life attempted murder. **Starring Lili Taylor, Jared Harris, Martha Plimpton, Stephen Dorff. Directed by Mary Harron.** ▶️**PICKS OF THE WEEK** —Lindsay’s Pick, DOGFIGHT (1991): After trying to make amends for a mean-spirited game, a Vietnam solider and young woman end up falling in love over the course of one night. **Starring Lili Taylor, River Phoenix. Directed by Nancy Savoca.** —Justin’s Pick, RUNNING ON EMPTY (1988): After becoming accustomed to being fugitives, a married couple’s son begins to pull away from his family as he comes of age. **Starring Christine Lahti, Judd Hirsch, Martha Plimpton, River Phoenix. Directed by Sidney Lumet.** ▶️MURRAYMOMENT: After crashing the biggest private party New York had ever seen, what were the first words Billy ever uttered to Andy Warhol? ▶️FINAL THOUGHTS: Shout-out to Donovan Leitch; The Velvet Underground and Yo La Tengo’s connection to I SHOT ANDY WARHOL; personal thoughts on Solanas’ motive for murder and reemergence of her script, Up Your Ass. ▶️NEXT UP: MISERY (1990)!

Christine Vachon is one of the most celebrated producers in the world of film and if I told you some of the movies she's made, your head would spin: Carol, Still Alice, Far From Heaven, Happiness, Velvet Goldmine, Kids, Boys Don't Cry, I Shot Andy Warhol, Craig's favorite movie ("Safe" by Todd Haynes) and one of my favorite movies ("Hedwig and the Angry Inch" by John Cameron Mitchell). On today's podcast, find out what she eats for lunch, what she considers the cinematic equivalent of a chicken Caesar salad, what she cooks for her family, and how she deals with the food Nazis at her daughter's school. We also cover her favorite food films (not what you'd guess!), her favorite food city in the world (spoiler: it's San Sebastian), and why one of the worst nights of her life was dinner at Blue Hill Stone Barns. See acast.com/privacy for privacy and opt-out information.

Find us at: iTunes Spotify Patreon CONTENT WARNING: Discussions of transphobia and trans-exclusionary ideology, sexual and physical abuse, drugs, sex work, mental illness, attempted murder, shooting. This week’s film might just be the least well-known on the list, though it packs a decent amount of creative firepower. Mary Harron helms this biopic/docudrama/ideological exploration of Valerie Solanas, creator of the S.C.U.M. (Society for Cutting Up Men) Manifesto and shooter of Andy Warhol. Originally intended as a documentary, this film has a hard time deciding whether it wants to tell a character story or examine a movement. And because Solanas’ ideology became the inspiration for a wave of violent transphobic feminist theory, the film’s mixed messaging and muddled writing leaves us wondering, uncomfortably, whether this film actively endorses or merely wants to investigate Solanas’ ideas. We’re going deep with the controversial and wildly unique movie, I Shot Andy Warhol. Plus, some mini-reviews of two new films - Brittany Runs a Marathon and Ad Astra! Macintosh & Maud have started a Patreon! Any little bit you can contribute helps, and we have special contributor-only content if you donate at the $2 level, including our review of Patrick Swayze's surfing classic with the majestic Keanu Reeves, Point Break! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. If you like the podcast, make sure to subscribe and review on iTunes, Spotify, or your favorite podcatcher, and tell your friends. Intro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Ellen Kuras believes that following your gut and listening to your inner voice makes you a great filmmaker. Ellen got her start shooting documentary and indy movies such as “Swoon,” “I Shot Andy Warhol” and “Personal Velocity,” plus several films with Spike Lee including “Bamboozled” and “Summer of Sam.” She discusses working with Michel Gondry, the unique challenges of shooting “Eternal Sunshine of the Spotless Mind,” working with documentarian Errol Morris on “Wormwood” and shooting the Netflix series “Ozark.” Ellen also directed and shot her documentary “The Betrayal-Nerakhoon,” which received an Academy Award nomination. Her current work includes directing some episodes of Hulu's “Catch-22” and directing the Netflix series “Umbrella Academy.”

For our latest Film Comment Free Talk, the director of I Shot Andy Warhol and American Psycho sat down for a conversation about at her latest, Charlie Says. The film looks past the mythology of the Manson Family murders to focus on the experiences of three women under the charismatic cult leader's spell, both at the time of the crimes and in prison. Harron and FC Editor-in-Chief discuss the genesis of the film, the director's background as a punk-era music journalist, and her depictions of violence—both physical and psychological—on screen.

CHARLIE SAYS, follows three women whose names have become synonymous with the murders of that shocked a nation and the man who ordered them on their deadly spree, Charles Manson. The women - Leslie Van Houten (Hannah Murray), Patricia Krenwinkel (Sosie Bacon), and Susan Atkins (Marianne Rendón) - remained under the spell of the infamous cult leader (Matt Smith) for years. Confined to an isolated cellblock in a California penitentiary, the trio seem destined to live out the rest of their lives under the delusion that their crimes were part of a cosmic plan, until empathetic graduate student Karlene Faith (Merritt Wever) is enlisted to rehabilitate them. Convinced the prisoners are not the inhuman monsters the world believes them to be, Karlene begins the arduous process of breaking down the psychological barriers erected by Manson. But are the women ready to confront the horror of what they did? In CHARLIE SAYS, boundary pushing auteur Mary Harron (American Psycho, I Shot Andy Warhol) presents a provocative new perspective on one of the most notorious crimes of the 20th century.  Director Mary Harron joins us to talk about how these seemingly sane, likable young woman could have committed such hideous crimes and why it drove her to tell their stories. For news and updates go to: charliesaysmovie.com

Ayal Senior returns to the podcast, with several obscure and awesome movie picks gleaned from books of yore! Check out his music at www.ayalsenior.bandcamp.com and pick up Nick's album at www.nickflanagan.bandcamp.com. Jared Harris played Warhol in I Shot Andy Warhol. Send comments/questions to weaklypodcast@gmail.com

TODAY: Craig Chester, actor, writer, and friend of Illeana. Chester has been involved in film and television since 1992, beginning with a star role in the film Swoon, his debut performance. Chester would go on to have starring and minor roles in a handful of other films and TV series, with his most famous being Fred Hughes in I Shot Andy Warhol, Adan Bernstein in Adam and Steve, and as Thor Derek in Law and Order: Criminal Intent. His most recent project was a writer's position on the comedy TV series The Big Gay Sketch Show, for which he wrote 9 episodes. Popcorn Talk Network, the online broadcast network that features movie discussion, news, interviews and commentary proudly presents “The Film Scene w/ Illeana Douglas”, a weekly, freewheeling discussion show where industry veteran Illeana Douglas interviews Hollywood's most important voices in TV and Film, discussing some of Cinema's most important films, scenes, and shots. Produced by Ryan Nilsen and co-hosted by Jeff Graham, this show is essential listening for serious and casual fans of film! Stay Up To Date: http://illeanaspodcast.com/illeana-douglas-episodes/ Listen on iTunes: https://podcasts.apple.com/us/podcast/the-film-scene-with-illeana-douglas/id1169112310 Visit our website: https://popcorntalknetwork.com Follow us on Twitter: http://twitter.com/thepopcorntalk Follow Craig Chester on Twitter: @MrCraigChester Love TV? Check out http://site.afterbuzztv.com Love Books? Check out http://bookcircleonline.com Support our friends at http://blackhollywoodlive.com Shopping on Amazon? Click through our Amazon affiliate program at http://www.amazon.com//ref=as_sl_pd_t...

John Calder (1927-2018) was a giant of 20th century literary publishing, and a champion of free speech. Best known for publishing Samuel Beckett's novels and poetry, he brought much of the most innovative European literature of the 20th century to an English-speaking audience, ultimately won a landmark obscenity trial over Hubert Selby Jr's 'Last Exit to Brooklyn' and has inspired several generations of exciting writers and publishers. Joining Juliet to discuss Calder's life and legacy is Alex Kovacs, author of 'The Currency of Paper' (2013), who worked in Calder's bookshop in London in 2008-10. Alessandro Gallenzi's obituary for John Calder: https://www.theguardian.com/books/2018/aug/21/john-calder-obituary Huw Nesbitt's interview with John Calder (2008) - https://www.vice.com/en_uk/article/nndv5k/john-calder-443-v15n12 SELECTED REFERENCES HENRI ALLEG, La Question (1958) - https://en.wikipedia.org/wiki/La_Question Lord Altrincham - https://en.wikipedia.org/wiki/John_Grigg,_2nd_Baron_Altrincham Fernando Arrabal - http://www.arrabal.org/ ANTONIN ARTAUD, Collected Works (vols. I-IV) Howard Barker AUBREY BEARDSLEY, Under the Hill - https://en.wikipedia.org/wiki/Under_the_Hill SAMUEL BECKETT, The Unnameable (1953) and Waiting for Godot (1953) William S. Burroughs Steven Berkoff Peter Brook JOHN CALDER, The Philosophy of Samuel Beckett (2001) and The Theology of Samuel Beckett (2012) JOHN CALDER, Pursuit (2001) - https://almabooks.com/product/pursuit-memoirs-john-calder/ Henri Chopin - https://www.richardsaltoun.com/artists/35-henri-chopin/overview/ COPI, Eva Perón (1970) - https://www.newstatesman.com/blogs/music-and-performance/2012/04/parodying-eva-perón Ashley Dukes - https://en.wikipedia.org/wiki/Ashley_Dukes Marguerite Duras JEAN GENET, The Maids (1947) Allen Ginsberg John Glassco The Godot Company - https://actors.mandy.com/uk/company/18184/the-godot-company Grove Press OWEN HATHERLEY, A Guide to the New Ruins of Great Britain (2010) RAYNER HEPPENSTALL, The Woodshed (1962) and Raymond Roussel: A Critical Guide (1966) ALGER HISS, In the Court of Public Opinion (1957) - https://www.thecrimson.com/article/1957/5/17/hiss-defends-position-in-public-opinion/ I Shot Andy Warhol (dir. Mary Harron, 1996) Eugène Ionesco B. S. Johnson GEORG KAISER, From Morning to Midnight (1912/16) - https://www.cineaste.com/spring2011/from-morning-to-midnight-web-exclusive/ Anna Kavan ALEX KOVACS, The Currency of Paper (2013) - https://www.newstatesman.com/books/2013/09/currency-paper-alex-kovacs-how-capitalism-affects-art VLADIMIR MAYAKOVSKY, The Bathhouse (1930) HENRY MILLER, Sexus (1949) and Tropic of Cancer (1934) EDDIE MILNE, No Shining Armour (1976) - https://www.marxists.org/history/etol/newspape/isj/1976/no093/rees.htm Carole Morin Olympia Press (Maurice Girodias) - https://bookblast.com/blog/spotlight-maurice-girodias-olympia-press-indie-publishers-remembered/ Peter Owen (publisher) Luigi Pirandello ANN QUIN, Berg (1964) and (1969) - http://thequietus.com/articles/24056-ann-quin-lara-pawson-stewart-home-juliette-jacques-lee-rourke-isabel-waidner ALAIN ROBBE-GRILLET, Jealousy (1957) - http://conversationalreading.com/alain-robbe-grillet-and-jealousy/ Raymond Roussel Nathalie Sarraute Jean-Paul Sartre HUBERT SELBY JR, Last Exit to Brooklyn (1966) - https://www.theguardian.com/books/2018/aug/01/last-exit-to-brooklyn-hubert-selby-appeal-1968 Yulian Semyonov - https://en.wikipedia.org/wiki/Yulian_Semyonov Claude Simon T. Dan Smith - https://www.chroniclelive.co.uk/news/north-east-news/stories-shocked-tyneside-high-rise-7236347 Roland Topor Alexander Trocchi TRISTAN TZARA, Seven Dada Manifestos - https://www.goodreads.com/book/show/80258.Seven_Dada_Manifestos_and_Lampisteries Kenneth Tynan - https://www.theguardian.com/arts/critic/feature/0,,567652,00.html Snoo Wilson Olwen Wymark Contemporary publishers: And Other Stories; Dalkey Archive Press; Fitzcarraldo Editions; Galley Beggar; Melville House.

  Today we discuss Ellen Kuras and the master of her work as a director of photography. We focus primarily on I Shot Andy Warhol, the complexity of Valerie’s character and the way Kuras and director Mary Harron have brought the story forward. Join us for a look at these Women on Set.  

Vera & Grace talk about Mary Harron's 1996 exploration of the Warhol Scene, I Shot Andy Warhol starring the impeccable Lily Thomas? Lili Taylor? Lilian Taylor Thomas? Opening track: "Back in the Bush" by Vagina Jones Closing track: "Hunger Hurts" by Vagina Jones Find her album, Karneval der Vagina, here: freemusicarchive.org/music/Vagina_J…al_der_Vagina/ All other inserted audio is from I Shot Andy Warhol, distributed by The Samuel Goldwyn Company.

This week we welcome legendary indie film producer Christine Vachon of Killer Films. Vachon has produced such works as Far From Heaven (nominated for four academy awards), Boys Don’t Cry (Academy Award winner), Hedwig and the Angry Inch, One Hour Photo, Velvet Goldmine, I Shot Andy Warhol, Read More

Diane's Set Decorator work over the years has included: I Shot Andy Warhol, The Funeral, Summer of Sam, Before the Devil Knows You're Dead, Wall Street: Money Never Sleeps, Limitless, and Lee Daniels' The Butler. Her Television credits include Production Design work on the television series The Naked Brothers Band, The Americans, and Set Decoration work on the television movie, Phil Spector. More recently, Diane worked on the acclaimed feature Equity as Production Designer and the television series 13 Reasons Why.