Podcasts about Linklater

Everyone knows Rodgers and Hammerstein and the legacy that comes with their collaborations, but many forget the brilliance and heartbreak of Rodgers and Hart. The applause roars for one man while another slips quietly into the shadows. Fame and failure share the same stage tonight, divided only by a curtain call. That's the haunting pulse of “Blue Moon,” a story of creative partners colliding at the peak of one's success and the edge of the other's undoing. Over one fateful Broadway night, a composer stands in the light of his newest triumph while his lyricist drowns in the darkness just beyond the spotlight. It's a breakup told in music, memory, and smoke.On this episode of The Discourse, host Mike DeAngelo pairs conversations with Ethan Hawke & Richard Linklater and Andrew Scott, weaving their perspectives together on collaboration, rehearsal, and the human math of loving someone you can't fix.READ MORE: ‘Blue Moon' Review: Another Precious Pearl In Richard Linklater's Chronicles Of The Human Condition [Berlin]Nine collaborations deep, Hawke and Linklater's shorthand remains less code than continuum. Hawke said, "The changes are pretty invisible to me. It feels like one long collaboration, one long conversation." Linklater added, "I met Ethan in 1992. We went out later that night, we were at a bar, and we talked all night. We're still talking. That's what it feels like." Scott, reflecting on their dynamic, noted that the film itself “is about two people who've been through so much together that their chemistry almost becomes a language.”

Richard Linklater is one of the most admired directors working today, and yet moviegoers may admire him for very different things. There are early comedies such as “Slacker” and “Dazed and Confused”; there's the romance trilogy that started with “Before Sunrise,” starring Ethan Hawke and Julie Delpy; and the crowd-pleasers like “School of Rock” and “Hit Man.” Linklater's “Boyhood,” a coming-of-age story shot in the course of twelve years as its protagonist grew from child to young adult, is almost without precedent. This month, Linklater has two new movies releasing almost simultaneously, both dramatizing historical moments in the lives of creative geniuses. In “Blue Moon,” Hawke plays the Broadway lyricist Lorenz Hart at the moment his career is being eclipsed by a rival, Oscar Hammerstein II. “My tagline for this movie, that they're not going to use on any posters, but it's my tagline: ‘Forgotten, but not gone,' ” Linklater tells our film critic Justin Chang. “It's so heartbreaking . . . to do a film about the end of someone's career.” In “Nouvelle Vague,” which is almost entirely in French, Linklater depicts the unconventional filming of Jean-Luc Godard's “Breathless,” his triumphant 1959 début. “The most important film,” Linklater says, “is the one you make in your head.” Justin Chang's article about Richard Linklater was published on September 27, 2025.

In this week's episode, we interview narrator Hollis McCarthy, who has narrated over 300 audiobooks, including many of THE GHOSTS and CLOAK MAGES. She is also co-author with her mother Dee Maltby of the MAGIC OF LARLION series, which you can learn more about at https://deemaltbyauthor.com/. This coupon code will get you 25% off the ebooks in the Dragonskull series at my Payhip store: DRAGONSKULL25 The coupon code is valid through October 27, 2025. So if you need a new ebook this fall, we've got you covered! TRANSCRIPT Introduction and Writing Updates (00:00): Hello, everyone. Welcome to Episode 273 of The Pulp Writer Show. My name is Jonathan Moller. Today is October 17th, 2025, and today we have an interview with audiobook narrator Hollis McCarthy. Hollis has narrated many audiobooks, including numerous books from the Ghost and Cloak Mage series, so we'll talk with her about that. Before we get to our main topic, we'll have Coupon of the Week and then a progress update on my current writing projects. This week's coupon code will get you 25% off the ebooks in the Dragonskull series at my Payhip store, and that coupon code is DRAGONSKULL25. The coupon code is valid through October 27th, 2025. So if you need some new ebooks to read for this fall, we've got you covered. And as always, the coupon code and the links to my store will be available in the show notes. Now for an update on my current writing projects. As of this recording, I am 80% of the way through the first round of edits in Cloak of Worlds, so making good progress and if all goes well, the book should be out before the end of the month. I'm also 14,000 words into Blade of Shadows, which will be my next main project after Cloak of Worlds is published, which means I also have to write the outline for Elven-Assassin soon, and that will be the fifth book in the Rivah series. In audiobook news, recording will be underway next week for Blade of Flames. That will be narrated excellently by Brad Wills. Ghost in Siege is now out. It should be available at of all the audiobook stories (except Spotify) and it should be available there in a few days. And that is the final book in my Ghost Armor series that is excellently narrated by Hollis McCarthy. So that is where I'm at with my current writing and audiobook and publishing projects, which makes for a good segue into our main topic, our interview with Hollis McCarthy, which begins now. 00:03:56 Interview With Hollis McCarthy Hi everyone. I'm here today with Hollis McCarthy, who is a classically trained actor. Hollis has played leads in regional and off-Broadway theater, specializing in Shakespeare. On CBS. she's been a recurring guest star judge on Bull, the president of Ireland on Bluebloods, and a senator on Netflix's House of Cards. She's narrated more than 300 books for a variety of publishers and is the proud co-author of her mom Dee Maltby's epic fantasy series, The Magic of Larlion. Hollis, thanks for coming on the show today. Hollis: My pleasure. Jonathan: So to start, can you tell us a little bit about yourself and how you got into acting and performing? Hollis: That's a great question. I think it all started with doing my little brother's Sesame Street finger puppets. He's 10 years younger than me, so I mean, I got to reread all my favorite books with him and I started voicing the finger puppets to Burt, Ernie and Cookie Monster and all those guys in the backseat of the car and playing all the characters. And then my brother went into theater. My other brother's seven years older than me, and I used to go see his shows up at the college when I was in high school and kind of fell in love with it there. I absolutely meant to be an aeronautical engineer/physicist like my dad, but it didn't end up working out. I fell in love with theater and went to Stratford. I had a dual major because I was in an honors program, so I didn't have to declare a major until my fifth year of undergrad. But then I went to Stratford up in Canada and I saw two Shakespeare shows in one day and that was it. I had to do that. That was what I loved. Jonathan: Well, since we've had many audiobooks together, I'm glad it worked out that way. Hollis: Me too. Yeah, so I got my BFA in acting, and then I got my MFA from the University of Missouri-Kansas City in performance, and I was lucky enough to have some great coaches from the RSC and did a bunch more Shakespeare, and I've done that regionally a lot. And then I fell into audiobooks because I got tired of traveling, and I love to work from my home in my jammies. Jonathan: That is the dream. Speaking of that, could you tell us a bit more about how you sort of got into audiobooks or ended up doing a lot of that? Hollis: Yeah. Well, again, it starts with my childhood. My mom, who was a writer and an artist, she had, there were five of us kids and she would read out loud to us in the kitchen to keep us from fighting when we were cleaning up. So she started with Tolkien and Watership Down and Narnia and all of that. And then I got to, like I said, read to my little brother all my favorite books. And so I started doing all different voices for the characters and I always thought that was normal until, of course I volunteered to read in class in high school and people thought I was some sort of freak, but I always loved playing all the characters. And so when I started looking at staying home more and what could I do to work from home instead of being on the road for work, which was great for a long time, but then at some point you want to stay home and have a life as an actor as well as doing what you love. And audiobooks seemed a good fit. So my husband, who's also an actor, took a class from Paul Rubin here in the city in New York. We live in the New York area now. And he got a bunch of good tips from that that he passed on to me. And then my agent got me an audition with Audible and Mike Charzuk there. I came in and read a couple of pieces for him and he came back to the booth with a book he wanted me to start on. And from there I just kept building and got a lot of great indie authors through ACX like you. I don't know how many books we've done together now. Jonathan: It's over 30, I think. Yeah, 30 over the last seven years. So it's been a while. Hollis: And you're seriously, I mean, I'm not saying this because I'm on your blog, but your series are absolutely my favorites, especially because, yeah, the two series that I do, one is Nadia from the Midwest like me and then the other one with Caina, the epic fantasy world, which uses all my British and Irish bits and I absolutely love them. So yeah, I've just kept building up, getting in with a few more publishers now, which is harder to do and I just love it. Our first booth, when the pandemic hit, we had to build a booth at home and I had been going to studios in the city up until that point, but it hit pretty suddenly. It was obvious on St. Patrick's Day when it was like us going to the studio and people who were absolutely desperate folks were the only other ones on the street. We had to stay home. So my husband took our rapier blade (we fight with swords. We're actor combatants, like you said). He took two broadsword blades and a rapier blade, and he's handy with carpentry, fortunately. That's how he worked his way through school. He bracketed those to the wall and we ordered through Amazon before they kind of shut down too. We ordered packing blankets to hang over them and I ordered a new microphone and a new interface and it was trial and error for a bunch of days. And we had an engineer on call who talked us through how to run the software programs and stuff, how to set them up. And from there I've just kept recording at home. I sometimes still go into the studios when they have a budget where they can spring for a studio, but mostly they want you to work from home these days. So that's mostly what I do. Jonathan: Oh, building a recording booth out of swords. That's very Caina. Hollis: It's very Caina. I love Caina. Caina is me as a young woman. If I had been a superhero, I would've been a Caina. All my favorite roles in Shakespeare were the girl as boy ones. You asked, one of my favorite roles in theater was when I was at Alabama Shakespeare and I was playing Queen Elizabeth in Richard III and dressing in gorgeous gowns and being very seductive and very powerful and manipulative and all that. But in the earlier scenes, we did the three plays and in the Richard III and the Henry VI we did all three. And in the earlier scenes where Elizabeth wasn't in, I got to dress up and doublet and hose and I like stippled some stipple of beard on my face and climbed a siege ladder with a sword in one hand and did a spectacular pratfall running away from the bad guys and would slide on my stomach on the deck of the stage and I would come out into the lobby and the other guys who were playing my fellow fighters would be holding up rating cards for how far I'd slid that day. Jonathan: Sounds like very practical cardio. Hollis: Yeah, very. It was a lot of fun. That was probably my most fun I've ever done, though I also loved Beatrice and Much Ado, which I got to do twice because she's just so funny and witty and passionate. She's great, and Shakespeare, you know. Jonathan: Very good. So after all these audiobooks, what goes into preparing to record an audiobook? Hollis: That's a great question, too. It depends on the book, really. And I'm lucky enough to do a lot of series now, so when you're doing a series, it gets easier as you go along. I remember with the first ones I did for you, the first Caina, it probably took me an hour of prep to get through the first chapter. There were so many made up place names that I needed to figure out how to say, and then you have to be consistent. Even if they're made up, you still have to be consistent. So I really used my theater training there because I learned the international phonetic alphabet when I was in school, and so I can write down phonetic pronunciations and for each book, I'm old school with my prep, I'll keep a legal pad and I'll write down phonetic pronunciations, the word, page number, and the phonetic pronunciation for each word, so I have a record. You don't retain them from book to book. Pronunciations is a big part of what you do. Also, character voices, because again, you want to be true to the author's intent and you want to stay consistent. Again, for Caina, it became very complicated because you had to have Caina's basic voice, which is this [speaks in Caina's voice]. She started out a bit higher because she was younger. And then as she aged, she's gotten more medium pitch-wise, but then she was in disguise as various people. She was disguised as a cockney guy for a while, and she was an Irish guy for a while. And so for each of those personas, you have to notate for yourself in the script. Oh, now she has this accent. Now she has this one. And really for each chunk of dialogue, every time a character speaks, I'll put the initial of their name and if there are a lot of characters in the scene, I will have to differentiate between them pretty frequently. If it's two characters and I know them both very well, then I kind of have the shorthand in my head. So the different character voices I also put on my legal pad so I have a record, so Calvia sounds like this [speaks a line in the character's voice]. And sometimes I'll write down physical aspects of them so that I can just kind of feel the character. And after I do them for a while, the feel of the character will give me the voice and you write down everything that the author says about the character too. I'll just notate for myself that will oftentimes give you the voice. If it's a good author, which thank God you are, you write in different voices, which makes my job easier. Jonathan: The joke I sometimes say is I didn't do audiobooks for the first seven years I was publishing, and people would ask me, how do you pronounce this? I say, I don't care, pronounce it however you want. And then suddenly we started doing audiobooks and suddenly no, it matters very much how it's pronounced. Hollis: Yeah, exactly. It's funny, I'm just looking at my tablet. I have your Shield of Power up on my tablet. I've been reading that on the treadmill and at lunch. But yeah, we have to keep tabs. And when we have so many books now, I've started special folders just for the Ghost series and the Cloak series because a lot of times a character will show up from several books previous and I go, I remember them, but I don't remember what they sounded like. So I will have notated forward alto, slightly Irish or something like that for them. I have shorthand for all of it, and so I'll do that. Jonathan: Yeah, I spent a lot of time with Control + F searching through Word documents, trying to remember the first time I wrote this character and what they looked like. Hollis: Yeah, I bet you do. Some writers I guess do, well, if they don't do it all themselves. And if they have somebody who's like an administrative assistant, they have somebody who gives you, I've gotten these from authors before. Their assistant will send me a story log of characters with everything that's said about the character. I'm like, oh, well, that's very organized and helpful, but I would think it would be massively time consuming. Jonathan: It is. I did hire someone to help me with that this year. It was getting to be too much to go back and search through things and it is a very time consuming project, but once it's done, it's very helpful because it's quite easy to find things and look things up and refresh your memory. Hollis: I bet so. When I was working on my mom's books, we hired an editor and she did a spreadsheet, a database kind of different terms and characters and what was said about them. And I go back to that and amend it all the time now that I'm trying to write book eight. Jonathan: Yeah, that kind of thing is very helpful. But on a related topic of preparation, since you've done audiobooks, stage, and TV, how would say narrating audiobooks is different from the experience of doing theater or TV? Hollis: The major thing and the hardest thing for me when I was starting out was you can't move around all the time. I had an engineer at Audible. It was just, and a lot of times the chair is very important because if you move, what you're bound to do, if you're producing your voice correctly, you need to sit up and you need to use your hands to express yourself, and you have to have an absolutely silent chair. And the chairs at Audible at that time, were not absolutely silent. So every time I moved, the chair would squeak and we'd have to stop and start again. So that was very, very hard for me. In fact, I've been doing so much audiobooks now, and I also do TV and film, but that's gone to all for auditioning for that. It's all self tape, which means it's just like head and shoulders, so still you're just kind of using a little part of your body. And I had a theater callback for Pygmalion in the city the other day, in person, in a studio, in a rehearsal room. The day before, I used to do those all the time, and that's so rare now for them to do in-person auditions since the pandemic. But I put on my character shoes and my skirt and I practice just being bigger, opening my body up and doing all this stuff I learned to do in school and that you do when you're on stage to own the space because the space is the back wall of the theater. And that's a big difference between theater, film, TV, and audiobooks is the scope of it. When I did Beatrice, I was in an 1,100 seat unamplified stone amphitheater outdoors in Colorado. So you can imagine the scope physically and vocally is so big. And then for TV, film and you have to what they say, reach the back wall of whatever space you're in. Well, for film and TV, the back wall is the camera. It's right in front of your face a lot of the times. And the back wall is really kind of the inside of your head. It's almost like you have to have internal gaze so that the thoughts are just happening. You don't have to project them, you don't have to project your voice because all the equipment comes right to you, and all you have to do is feel the feelings and think the thoughts and the camera and microphone picked that up. Similarly with audiobooks, I'm just in a little tiny padded booth. My microphone is just a few inches from my face, and so I could be very, very intimate and everything gets picked up, and you have to do a lot less work for the emotion to come through. Again, really all you have to do is kind of feel the emotion. And for me, that's always for me is being in the moment and feeling the moment and letting that dictate the pace and the vocals and everything. I guess I'm pretty Method. I'm very Method, but that's how I trained. It's what works for me. Not every narrator is like that. There's a million different proper ways to narrate, and that's just my take on it. But everything is right there. So it's just kind of keeping it much smaller and more intimate. And in fact, when you want to be big like [character name's said in the character's] voice and he was yelling a lot, and I would have to pull back from the microphone to let his scope come out. Jonathan: Well, after 30 audiobooks together, I can say that method definitely works. Related to that, as we mentioned earlier, you're now at over 300 titles on Audible over the last 12 years. Congratulations for that. What would you say is most surprising or unexpected things about audiobooks you learned during that time? Hollis: Oh, well, it was very surprising that we could make a booth out of sword blades and blankets. That surprised me. Yeah, that's a great question. It's surprising to me how simple I can be. I went back and I had an author recently who wanted me to do a new chapter to begin and end a book that I had done like 2014, something like that, shortly after I started. And I thought at the time that I was really filling these voices and what I did was fine. You're always your own worst critic. But what I've discovered now is the more you do it, the more you record, the more you use your instrument every single day for 300 some books, the more effortless it becomes and the more depth you can bring to it. And as a young actor, we always resist that. My acting coach used to say, age and experience. There's no substitute for it. I'm like, yeah, yeah, but talent and hard work, that's something. But it's really true that just the repetition, there's no substitute for it. Those chapters that I did, they were the same voices basically. But when I went back and listened to the original, I was like, oh, it surprised me how without really changing anything mechanically, the work has just gotten deeper, more effortless, but it sounds better at the same time. Does that make sense? Jonathan: It does. Because you've probably noticed I've redesigned the covers for the Caina series like seven times over the last 10 years. And every time you think this is it, this is it. I'm done. This is good. And then with more practice, you look back and think, well, maybe I can improve this again, though. I suppose that's not often something that happens in the audiobook world where you get to go back and revisit something you did previously. Hollis: That is one of the hardest and most surprising things about audiobooks. And I've heard people say that this happens to every young narrator when they're starting out, you get through the first two chapters of a new book and you go, oh God, now I get it. I want to go back and start again. Well, there's no do overs with audiobooks. With audiobooks, “done is good” is what they always tell you when you're starting out. So even in film and TV, which you don't get much rehearsal for, you get a couple of run run-throughs, but with audiobooks, you got your prep. Not everyone does, but I always read the whole book before I start if possible, because otherwise you get surprises. But you get your one read through, your prep, and then you go and yes, you can stop. You can punch and roll, edit over. If you make a mistake, you go back half a line, you start again there. But there's no evolution of the work, which is what's great about series too, I think, because with the series you get, yeah, Caina was here last time I did her and now she's going through something new. And then the character grows and it becomes less and less effortful, but it also becomes like someone you really know so that it gets so much deeper and it's so much more fun to play with. Jonathan: That makes sense. 12 years really is a long time to have done audio narration or anything. So what do you think is the key to sticking it out for audiobooks for the long term? Hollis: Well, a lot of things make a difference. I didn't do it before this interview, which is why my voice is kind of rocky, but I always warm up in the morning when I'm setting up a session. I always do a vocal warmup. You got to get a good night's sleep, you have to drink water every couple of pages. I have a tea that I drink that keeps my stomach quiet because stomach gurgles is another bad thing about audiobooks. You have to eat very carefully and drink tea to keep your stomach quiet. You don't want to have to stop every time for that. And a lot of training, a lot of vocal training. I had Linklater training and the Lavan training, and Linklater to me is the most useful. And a lot of the stuff that applies to Shakespeare applies to audiobooks too. You warm up, you get yourself breathing, you warm up your resonators, your sinus, your mask resonators, the back of your head, your chest resonators. For the men [imitates male voice], you really have to have your chest warmed up, get the vibrations going here. And so I get all that kind of going before I sit down in the booth. And that also keeps you, then you keep your throat open so you're not hurting yourself. You have to have good posture so that the air can move from your diaphragm up to your throat and have it be open. And then optimally, like with Caina, Caina has a lot of mask resonance. Brits do; they are very far forward. So you really have to have all that warmed up and then that has to have no impediments between the front of your face all the way down to your diaphragm where the breath originates. And if you can do all that, then you could be an audiobook narrator. Also diction. I warm up my diction to everything from [imitates several vocal exercises] in just to get your mouth moving. You don't want lazy mouth with, there's a lot of enunciation in audiobooks that's important. But I also don't like, I really hate when you hear people enunciating. I don't like that. And with Caina, even though she's upper class, she's not like that. She's not pretentious. And certainly Nadia, you want to be able to understand what she says, but you don't want her to be enunciating. That be weird. So all of all that stuff I worked on in grad school and did all the Shakespeare plays, I would always get to the theater an hour early. You have to be there half hour for makeup and check in, but I would always get there an hour early and do at least 15 to 20 minutes of physical and vocal warmups. And so those habits have really helped me. I think I have pipes of iron, fortunately. I'm very lucky. So all that stuff really matters with audiobooks. Jonathan: It's amazing in how many different fields of life the answer seems to boil down to do the things you're supposed to over and over again forever. Hollis: Exactly. That's really true. When are we going to get old enough that we don't have to do that anymore? [laughs] Jonathan: Just one side question. What is Linklater training? I don't think I've heard that term before. Hollis: Oh, Kristen Linklater is, she's probably the biggest American vocal coach. She has a lot of books out there about voice and the actor and all of her training stems from allowing the breathing to drop in as she calls it, not forcing it to drop into the diaphragm, and then creating a pool of vocal vibrations that go from the diaphragm through an open throat to the resonators. And you can use every resonator in your body to project that sound. When I was doing Beatrice and Gertrude at Colorado Shakes in that unamplified stone amphitheater in the foothills of the Rockies, there was winds that would come down out of the mountains when we were on stage, and that theater was known for eating women's voices. And I had to thank God the vocal coach that summer was a Linklater coach, which is the method that I trained in, and he helped me work with even resonators. If you can imagine in your back, just using the whole chest box and shaking the vibrations through your body so that basically you're making your whole human skeleton an amplifier for the vocal energy coming from your breath. And that's Linklater. She's fascinating. If you ever want to study voice, you can't do better than Linklater, to my mind. Cicely Berry is another one I studied. She's the British guru for the RSC and the Royal Shakespeare Company and all those people, and she's great too. Jonathan: Well, that's just exciting. I learned something new today. Hollis: That's always good. Always learning from your books too about Medieval combat. Jonathan: We always want to learn something new every day, whether we like it or not. Hollis: Right. Jonathan: So to turn it around a little bit, what advice would you give a new indie author who is working with a narrator for the first time? Hollis: Oh yeah, I actually, I made some notes. I thought that was such a good question. Make sure that your narrator knows what you expect from them upfront. If you go through ACX, they have this great thing called the first 15 where your narrator is, if you're new to this author, you record the first 15 minutes of the book and you put that on ACX for your author to listen to and approve. You don't have to approve it if you don't like it. And in fact, if you don't like it, it's very important you don't approve it and you tell your narrator specifics about what you need them to change before they go on with the book. Because what you can't really do is once a book is recorded, say, oh, I really don't like it. I'm not going to pay you for it. I need you to go back and do it again. That's not acceptable and it will make narrators never want to work with you. But what's great about the first 15 is you have that chance to say, well, this voice was, she was a little higher than I wanted. I hear her in my head more as an alto because for me as a narrator, what I want to do is I want to take what you, Jonathan, hear your characters being as you're writing them in your head. I want to take that and translate that into an audiobook for you. So the more you give your narrators information about your characters, the better they're going to voice it. Also, if there's a style in your head, like with Nadia books, there's a little touch of noir there. It was a dark and stormy night kind of feel. If there's a style you kind of hear in your head, that would be a good thing to give them. But ACX has also, I think a character sheet where you can tell them about the different characters. You can fill that out for your narrator. That's tremendously helpful, age of the character, if you hear a vocal pitch range, soprano, alto, tenor, bass, any dialects, they need to know that. The narrator's nightmare is you finish up a book and you shouldn't do this, you should read ahead, but you get to the last line: “I love you, darling,” he said in his beautiful French accent. Jonathan: It explicitly shows up there for the first time. Hollis: Exactly. And then for the narrator, it's like, oh my God, I have to go back and rerecord everything this guy said, which is hours and hours and hours of work for you and your editor who will kill you. But yeah, let them know about all the character traits that you can and just, I think it's on the narrator too, to, I've been lucky with my authors, we always have a good give and take. I come from a theater background and you want to collaborate. You want to realize the author's vision and you want to be a partner in creating that. So try to be partners and give them more information than you think they need and use that first 15. It is totally acceptable to send it back and say, I'm going to need you to do this again, and I'm going to need these changes. And then once you get that ironed out, then you'll probably be ready to go ahead and have a book. And when you get the book, you won't be shocked and you'll be happy (hopefully) with the read. Is that helpful? Jonathan: It does. New authors, if you're listening to this, listen to that advice. Hollis: Yeah. Jonathan: Now for a slightly different topic, can you tell us about the Magic of Larlion books and how you ended up publishing that series? Hollis: Yeah. The Magic of Larlion is an epic fantasy adventures series seven, almost eight volumes. I'm working on finishing book eight now. The first book, Wizard Stone, my brilliant mother Dee Maltby started years and years ago, probably, gosh, maybe 20 years ago now, I think when my little brother moved out from home and she had an empty nest and she had more time to write, and she wrote Wizard Stone, and she sent it out a few places, and that was the only way you could get published back when she wrote it and didn't pursue it, she got discouraged, I think, by rejections from publishers, sat in her drawer for a while, and my sister-in-law, Dana Benningfield, who's also an actor, and she was my best friend even before she married my brother. I introduced them. So yeah, that was all me. She was an editor professionally for a while, and when she moved to Ohio where I'm from and was living with my brother and my parents lived right across the orchard, I told her about this book. And she wasn't editing at the time, she was kind of done with it, but she asked mom if she could read it. So she read it and edited it, and then it became a much better book and really encouraged my mom to keep writing, which I had been telling her to do for years. But hearing somebody who wasn't family, somehow giving her that input that it was really something special, changed her perspective. So she kept writing and she and I started, I was on the road doing Shakespeare a lot. We started trading chapters. She'd send me a chapter a week and I would edit it and send it back. And so Wizard Stone evolved from there into its current form, and then she started the next book, Wizard Wind and Wizard Storm. And we went that way through five and a half books. And my dad finally, when he retired from being a physicist, said he was going to, I always told you I'd get your published Dee, I'm going to take it down to the print shop and get a hundred copies made. And by this time I was working with you and a bunch of other great indie authors who were letting thousands of happy readers read their books through an independent platform. And I said, well, wait a minute. I could do better than that. So I convinced them to hire an editor that I had worked with, and I did the rewrites and got it through the pre-production process and hired a cover artist, very talented artist. And you and Meara Platt, another of my authors, gave me so much information and help. And we got it published in 2022, I believe. We had three ready to go. And we published those all within a month of each other. One a month for three months, and then four and five, and then six came. And I co-authored five, six, and seven because my mother was losing her sight and her hearing at that point. We got those done. We had six out and a lot of people reading them and loving them and reviewing them before my mom passed. And I think it's probably one of the most satisfying things I've done in my life, because not only do I love the books, and they're just a rip roaring, fantastic adventure-filled epic trip through this incredible world my mom invented. But when she was about to, one of the last things she said to me was, I told her how many people had read her books. I just went through the Kindle numbers and thousands of people in different countries and all over the world were reading and loving her books. And I told her that, and she said, that's all that matters. And she felt such a sense of pride in herself and accomplishment because they were being received for what they are, which is a brilliant creative flight of fancy, this magical world in the tradition of all the books she loved, always Tolkien. And so I promised her I'd finish it. So after she died, I published six and seven and I've got eight about 90% written now, and I'm hoping to bring that out by the end of the year, although I've been too darn busy with narration to really spend the time. I've got the big climactic Jonathan Moeller type battle at the end sketched in my head and on an outline, but I got to write that. And then we can get that out there and finish that too. Jonathan: Will you stop with eight or keep going after eight? Hollis: My feeling is that this series will culminate with book eight. It's been a long saga of Beneban, this young wizard who kind of gets flung off a mountain by his evil wizard master and has to master his fledgling wizardry powers and his magical sword to win his love Laraynia, a powerful sorceress, and save the kingdom. And that's book one. And there's ice dragons, and then they have kids, and then the later books have become much more about their kids. And the more I write, the more it's become about young women fighting with swords. Jonathan: Well, they say write what you know. Hollis: Defeating the bad guys. Plucky young women, overachieving, competing with men. And so I think that's all going to come to a head with book eight, and that will be the end of that series. But I do think I'm going to spin it off into possibly more on the younger characters. I don't know if it's going to be YA per se, I think it'll still be for adults, but more of a YA feel to it, the younger characters of the ice dragon riding school of battle and the wizarding school. I don't know if I want to make it schools necessarily, it might limit you too much. And that's kind of been done too. But I do think the ice dragons are going to figure largely in it. Oh, and I don't know, there's a plot point I probably shouldn't give away, but my mother's full name was Willa Dee Maltby. She writes under Dee Maltby and there is a character, a very magical character named Willa that shows up in this book eight. So I think Willa will be a big character going forward and the younger generation of women and some boys too. I like boys, I do. Jonathan: Well, I suppose if people want to know more, they will have to read and find out. Hollis: Yes. And please go to the website is deemaltbyauthor.com and everything you want to know (well, maybe not everything), but everything you can know for now is there. Jonathan: Well, I was going to ask you what you would say was the most rewarding things about publishing the books, but I think you covered that pretty well. On the flip side, what was the biggest unexpected challenge in publishing them? Hollis: The PR is hard. You seem to be great at it. I even did PR professionally to work my way through undergrad and then in between grad school and undergrad and after I graduated and I had an assistantship in it at my university. But the book world specifically is a whole different kind of PR and learning Amazon ads and Facebook ads and it's a lot. It's a lot. And again, you have been so helpful with it. And I mean, there are a lot of online resources out there too, which is great. But what I'm really finding, trying to do it part-time is overwhelming. You really need a full-time block of time to not only write the books, but then to publicize them the way they deserve to be publicized. Jonathan: Yeah, the tricky part is, as you said, book advertising is very different from anything else. I was talking with a guy who is an Amazon reseller for various toiletries and hygiene products and makes a good living doing that. I was telling him how much I pay per click on Amazon ads. He's just appalled. It's like, you can't make any money doing that. And then the flip side of that too is that Internet marketing is so different than any other form of PR, so it's just sort of constant challenge there. Hollis: I know, and I know I actually signed up for a TikTok account and I just don't, again at the time. Plus every time I turn it on, I'm like, I don't want to watch that. I'm allergic to the format. You'd think being an actor, being used to being on camera, I could come up easily with little things to do for the books and I probably could for TikTok. But again, just learning the platform and then applying yourself to it is just such a big time hack that I don't have that amount of time. I know that narrators are now more and more marketing themselves by recording themselves on camera narrating and putting that out there, which I can do, I guess. And that's why I got this ring light and everything. I can do that now. I haven't done anything with it, but I guess if some of the book work dries up, I'll be more motivated to do it. Jonathan: Well, that's how anything works. You try it and if you enjoy it and it works, keep doing it. And if you don't enjoy it and it doesn't work, no point in carrying on with it. Hollis: I think that's true. And you just have to keep learning too, as we know with everything. You got to keep learning new things. Jonathan: Well, this has been a very enjoyable interview and thank you for coming on the show. Hollis: My pleasure. Jonathan: Let's close out with one last question. You've obviously done a lot of theater, so what, out of all the productions you've done was the one you would say was your favorite or that you enjoyed the most? Hollis: I think I have to go back to Beatrice probably. I mean, the Alabama Shakes getting to play a man thing, that was a lot of fun. But Beatrice, we did a Wild West Much Ado about Nothing at Colorado Shakespeare. The premise was that I was the niece of Leonardo, who is the tavern keeper, the bar keeper in this Wild West world. And there was a bar fight opening this Wild West production, and I entered through a swinging tavern door with a six shooter in one hand and a bull whip in the other. And I shot the pistol and cracked the bull whip and broke up the fight and then got to do Shakespeare's incredible Beatrice and Benedict story from there. It was so much fun. Jonathan: It almost seems like the soundtrack could have been “I Shot the Sheriff.” Hollis: Yeah. Yeah, it really could. It was a heck of a lot of fun. Jonathan: Well, speaking of fun, it was good talking with you, and thank you for taking the time to be on the show. Hollis: Yeah, I am excited to start the next Cloak book soon. So I was going to offer to do a little snatch of you want the introduction for Cloak here? Jonathan: Oh, I think we'll save it for the Real Thing. Hollis: Oh, okay. All right. Well thank you, Jonathan. It's been a pleasure. Jonathan: It's been a pleasure. And see you soon for Cloak Mage #10. Hollis: Alright. So that was our interview with Hollis McCarthy. Thank you for coming on the show and giving us a very informative and entertaining interview. A reminder that the website with the Magic of Larlion books is deemaltbyauthor.com. So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy, and we'll see you all next week.

durée : 00:09:15 - "Nouvelle Vague" de Richard Linklater Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

"Blue Moon" is an American biographical comedy-drama film directed by Richard Linklater and written by Robert Kaplow. The film follows songwriter Lorenz Hart (Ethan Hawke) as he reflects on himself and his work on the opening night of "Oklahoma!," the iconic musical by his former colleague Richard Rodgers (Andrew Scott). It also stars Margaret Qualley, Bobby Cannavale, and Jonah Lees. The film had its world premiere at the 75th Berlin International Film Festival, where it won the Silver Bear for Best Supporting Performance for Scott and received positive reviews for Kaplow's writing, Linklater's focused direction, and Hawke's multi-layered performance, with many calling it one of the best of his career. Hawke was kind enough to spend some time speaking with us about his experience working on the film, which you can listen to below. Please be sure to check out the film, which will be released in theaters on October 17th from Sony Pictures Classics. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices

Saskatchewan residents now have more options when it comes to seeking legal help. Non-lawyers will now be able to offer certain legal services in the province. The initiative is a first of its kind in Canada. Tamara Cherry is joined by Michelle Linklater, family law and mediation service provider and limited scope legal services licensee applicant, to discuss what the program is and how it is helping expand legal access.

durée : 00:14:17 - Les Midis de Culture - par : Marie Labory - Avec "Nouvelle Vague", Richard Linklater signe un hommage vibrant et sensible au cinéma à l'aube d'une révolution cinématographique. En noir et blanc, tourné en français, le film replonge dans le Paris de 1959 pour raconter les coulisses du tournage d'"À bout de Souffle" de Jean-Luc Godard. - réalisation : Laurence Malonda - invités : Adrien Dénouette Critique de cinéma et enseignant; Raphaëlle Pireyre Critique de cinéma, elle publie régulièrement des articles sur le site AOC

durée : 00:27:37 - Les Midis de Culture - par : Marie Labory - Au programme du débat critique aujourd'hui, comme tous les mercredis, du cinéma : avec le nouveau film du réalisateur américain Richard Linklater "Nouvelle Vague" & "Ari", troisième long-métrage de Léonor Serraille - réalisation : Laurence Malonda - invités : Raphaëlle Pireyre Critique de cinéma, elle publie régulièrement des articles sur le site AOC; Adrien Dénouette Critique de cinéma et enseignant

Wentworth Mayor Daniel Linklater talks Midway Movie Night Tonight, Butchering and Smoking Workshop, Hallowwen at the Wentworth Gaol and more... www.wentworth.nsw.gov.au See omnystudio.com/listener for privacy information.

Welcome to the daily 63rd New York Film Festival podcast. Today we're featuring two conversations with Richard Linklater and the teams of his two NYFF selections. First, NYFF Artistic Director Dennis Lim moderates a conversation with Linklater and Blue Moon's screenwriter Robert Kaplow, as well asd its stars Ethan Hawke, Bobby Cannavale, and Andrew Scott, followed by a conversation with Linklater and Nouvelle Vague's Zoey Deutch, Guillaume Marbeck, Aubry Dullin, and Michèle Pétin, moderated by NYFF programmer Florence Almozini. Blue Moon is a portrait of one crucial night in the melancholy life of legendary lyricist Lorenz Hart (played by Ethan Hawke, in a tour de force performance). The film is a surprising yet entirely fitting addition to the Richard Linklater canon. And the spirit of cinematic revolution is alive and well in Linklater's affectionate and wildly entertaining passion project, Nouvelle Vague, which transports the viewer back to a creative landmark: the 1959 making of Breathless by Jean-Luc Godard. Nouvelle Vague opens at Film at Lincoln Center on October 31st, with the first week of screenings presented on 35mm. Tickets are on sale now. The 63rd New York Film Festival is presented in partnership with Rolex. Get tickets at filmlinc.org.

Wentworth Mayor Daniel Linklater talks Midway Movie Night, Wentworth Visitor Centre 1st Birthday, Burong Pump Tracks community day and more. www.wentworth.nsw.gov.au See omnystudio.com/listener for privacy information.

Wentworth Mayor Daniel Linklater talks Murray House Annual Gold Day, Buronga Pump Tracks Community Day, AFL Legend Tom Boyd coming to the Gerogie G and more... www.wentworth.nsw.gov.au See omnystudio.com/listener for privacy information.

Join us for this weeks The Filmmakers Podcast as we are joined by director and writer Bizhan Tong and screenwriter Stephen Belber to talk about their latest feature film TAPE. Tape is an adaption of Stephen's written feature (also called TAPE) back in 2001, directed by Richard Linklater. They chatted with Giles Alderson about how they collaborated and made TAPE, They talked about Regrets, Not forgetting those who helped you along the way. Why you need to ask for favours Getting the rights to remake a movie, Adapting a Linklater movie and getting his blessing. Raising finance, Rehearsals, Releationships, Trauma in filmmaking and around it and why it is very important to keep an open mind to ideas on a film set. TAPE is released on digital this Friday 19th September. OTHER LINKS DIRTY BOY cinema listings FOOD FOR THOUGHT documentary out NOW | Watch it FREE HERE. A documentary exploring the rapid growth and uptake of the veganlifestyle around the world. – And if you enjoyed the film, please take amoment to share & rate it on your favourite platforms. Every review& every comment helps us share the film's important message withmore people. Your support makes a difference! PODCAST MERCH Get your very own Tees, Hoodies, on-set water bottles, mugs and more MERCH. https://my-store-11604768.creator-spring.com/   COURSES Want to learn how to finish your film? Take our POST PRODUCTION COURSE https://cuttingroom.info/post-production-demystified/   PATREON Big thank you to: Serena Gardner Mark Hammett Lee Hutchings Marli J Monroe Karen Newman Want your name in the show notes or some great bonus material on filmmaking? Join our Patreon for bonus episodes, industry survival guides, and feedback on your film projects!   SUPPORT THE PODCAST Check out our full episode archive on how to make films at TheFilmmakersPodcast.com   CREDITS The Filmmakers Podcast is written and produced by Giles Alderson @gilesalderson Edited by @tobiasvees Logo and Banner Art by Lois Creative  Theme Music by John J. Harvey Learn more about your ad choices. Visit megaphone.fm/adchoices

Wentworth Mayor Daniel Linklater talks Country Music Festival, Rowathon, Foster Care Week and more... www.wentworth.nsw.gov.au See omnystudio.com/listener for privacy information.

Hello and thank you for downloading another episode of The Flixters Podcast!  

Wentworth Mayor Daniel Linklater talks Country Music Festival starting this Weekend, Pooncarie Races next Weekend, Australia Day Award - Nominations now open and more.... www.wentworth.nsw.gov.au See omnystudio.com/listener for privacy information.

“You get a bunch of competitors together, and you're addicted to winning.” We watched “Everybody Wants Some!!” Directed by Richard Linklater, and we were definitely born in the wrong era. This movie is a vibe, and that vibe is athletic college dudes in short shorts, sleeveless muscle shirts, and mustaches— so many mustaches. To be real, the look is very reminiscent of a summer beer bust at your local gay bar, but that may not be what director Linklater was going for. When we say “vibe,” this movie really is one— set in 1980, over the couple of days before class, stars at an unnamed Texas University. We follow the studly baseball team as they break each other's balls, cruise for ladies, and show off their baseball skills. The slice of life gives us a very real look at straight male friendship— constant smack talk, ridiculous one-upmanship, but also an ease of camaraderie when meeting new members of the group. The plot takes its time to unfold, and the movie may not pass the Bechtel Test, but the guys are fun to watch, and it really does feel like a spiritual sequel to Linklater's beloved “Dazed and Confused.” Thank you for listening, and don't forget to subscribe, rate, and review us on Apple Podcasts! www.patreon.com/moviesthatmadeusgay Facebook/Instagram: @moviesthatmadeusgay Bluesky: @MTMUGPod.bsky.social Scott Youngbauer: Twitter @oscarscott / Instagram @scottyoungballer Peter Lozano: Twitter/Instagram @peterlasagna

Wentworth Mayor Daniel Linklater talks Millewa Footy last weekend, Sunraysia Safari Cross Country Rally next week and more... www.wentworth.nsw.gov.au See omnystudio.com/listener for privacy information.

Wentworth Mayor Daniel Linklater talks Buronga Riverfront Upgrade completed, Wentworth Show this Weekend, Suinraysia Safari Show 'N' Shine Tuesday September 9th and more. www.wentworth.nsw.gov.au See omnystudio.com/listener for privacy information.

Wentworth Mayor Daniel Linklater talks Wentworth Show next weekend, Country Music Festival in September and more. www.wentworth.nsw.gov.au See omnystudio.com/listener for privacy information.

Wentworth Mayor Daniel Linklater talks George Chaffey Bridge works start Tuesday, Darling River increased Flows, Countback Election with a New Councilor and more.. www.wentworth.nsw.gov.au See omnystudio.com/listener for privacy information.

This week on Forgotten Cinema, the Mikes head back to 1980 with "Everybody Wants Some!!", Richard Linklater's laid-back, jock-fueled follow-up (spiritually, at least) to "Dazed and Confused".Mike Field, a longtime Linklater fan, is all in on the film's nostalgic energy, naturalistic dialogue, and character-driven charm. Mike Butler? Not so much. While he appreciates the strong direction and rising-star performances from stars such as Glen Powell, Tyler Hoechlin, and Wyatt Russell, the movie's hyper-specific focus on male bonding and college baseball culture doesn't fully land.Still, there's no denying the talent on display or Linklater's knack for capturing the rhythm of a time and place. Is "Everybody Wants Some!!" a dugout classic, or just a foul ball that looks like a homerun?What's your favorite Linklater film? Let us know in the comments below!

Wentworth Mayor Daniel Linklater talks Wentworth Show not far away, Wine tasting and Tour with Winemakers, Brunch with friends at the Australian Inland Botanic Gardens and more. www.wentworth.nsw.gov.au See omnystudio.com/listener for privacy information.

Wentworth Mayor Daniel Linklater talks PS Melbourne Cruise, Varapodio Estate Paint & Sip and New EV Chargers in the Wentworth Shire this August. www.wentworth.nsw.gov.au See omnystudio.com/listener for privacy information.

Dom talks with Jake Linklater, the 2025 NZ Young Plant Producer of the Year, about the event in Christchurch, his current studies at Lincoln University and his role as nursery manager at Nova Natives in Templeton. Tune in daily for the latest and greatest REX rural content on your favourite streaming platform, visit rexonline.co.nz and follow us on Instagram, Facebook and LinkedIn for more.

On today's REX Daily Podcast, Dom talks with Karen Fraser and Stacey Cosnett, aka The Calf Experts, about their latest nationwide tour hosting events for farmers on rearing calves, the success of their roadshow and social media platforms and some of the key things to consider when calf rearing... He talks with Chris Ireland from the Bragato Research Institute about a current trial looking at using ultra violet light to kill powdery mildew out in the vineyard, the principle behind it and other research projects he's been involved in... And he talks with Jake Linklater, the 2025 NZ Young Plant Producer of the Year, about the event in Christchurch, his current studies at Lincoln University and his role as nursery manager at Nova Natives in Templeton. Tune in daily for the latest and greatest REX rural content on your favourite streaming platform, visit rexonline.co.nz and follow us on Instagram, Facebook and LinkedIn for more.

Richard Linklater's animated odyssey,Waking Life features a lot of interesting conversations gets discussed in our latest episode. Robert Yaniz jr of Crooked Table Media whose own podcast (Franchise Detours) is covering The Before Trilogy(Also directed by Linklater) comes on to discuss the many fascinating aspects of this very unique art film.Ad SpotsSimplistic ReviewsGet access to episodes early and bonus content by becoming a Patreon Member

00:00 Intro 00:58 Episode Overview – CineEurope Recap, Cannes Highlights, F1 & Megan 2.0 Forecasts  02:25 Elio Pixar's Lowest Opening Ever ($20.8M)  03:57 28 Years Later $30M Opening, Franchise Setup  06:25 F1 Movie Real Racing Footage, PLF Showcase  12:05 F1 Forecast $45–55M Opening; Megan 2.0 Tracking Low  13:42 Kate Hudson Named Pioneer of the Year  14:57 CineEurope 2025 Recap Begins  16:40 Local Films Rising in Europe Due to Hollywood Gaps  20:10 Windows Debate Global 45-Day Minimum Pushed  22:45 Streamer Risk Amazon MGM & SVOD Threat  29:30 Naked Gun (Paramount) International Reception  31:55 Cannes 2025 Recap Begins No Breakout Hit  33:40 Palme d'Or: It Was Just an Accident Acquired by Neon  35:20 Die, My Love Jennifer Lawrence Film Sells for $24M  36:15 Sentimental Value Most Acclaimed Film at Cannes  37:05 Linklater's Nouvelle Vague to Netflix Industry Critique  42:10 Splitsville Surprise Hit Comedy from Cannes  45:00 Christie VDR Tech Enhancing Contrast & Reducing Energy  54:15 VDR Rollout Coming Late 2025  

It has been a busy month for the Significant Risk Transfer (SRT) market as investors returned from the Global ABS conference in Barcelona earlier this month to a flurry of new deals, 9fin's Celeste Tamers reported.In this episode of Cloud 9fin, US distressed debt reporter Ayden Crosby is joined by David Lucking, a partner in Linklater's US structured finance practice, to discuss the state of SRT and unpack some of the differences and emerging trends in US versus European markets.Have any feedback for us? Send a note to podcast@9fin.com.

Sean and Amanda return to continue their yearlong project of listing the 25 best movies of the 21st century so far. Today, they discuss ‘Before Sunset,' the second installment of Richard Linklater's beloved romantic trilogy starring Ethan Hawke and Julie Delpy. They talk about why this film is their favorite of the trilogy and the official selection from Linklater's career, discuss what its legacy is at large, and how its performances helped shape the most romantic, emotionally incisive film of the century. Hosts: Sean Fennessey and Amanda Dobbins Producer: Jack Sanders This episode is sponsored by State Farm®️. A State Farm agent can help you choose the coverage you need. Like a good neighbor, State Farm is there.®️ Learn more about your ad choices. Visit podcastchoices.com/adchoices

A reaction to the Piglet trailer, Richard Linklater comments on modern Hollywood from Cannes and loads of movie news. Plus an interview with A Hard Place director J. Horton. Hilarity ensues!  

durée : 00:10:04 - Les Midis de Culture - par : Lucile Commeaux - Les critiques discutent de "Nouvelle Vague", le nouveau film de Richard Linklater présenté en compétition officielle au festival de Cannes qui revient sur la naissance d'"À bout de souffle" de Jean-Luc Godard, en épousant son style. - réalisation : Laurence Malonda, Anne-Laure Chanel - invités : Sandra Onana Critique de cinéma, journaliste à Libération; Antoine Guillot Journaliste, critique de cinéma et de bandes dessinées, producteur de l'émission "Plan large" sur France Culture

"You just gotta keep livin' man, L-I-V-I-N." For Episode 354, Thomas and Brandon revisit DAZED AND CONFUSED as part of CineNation's Hyperlink series. Listen as they discuss Linklater's struggles with working with a Hollywood studio, the film's incredible casting stories, the length of the original cut, which two actors caused the most drama, and more! Also, don't forget to join our Patreon for more exclusive content: Opening - Getting Concert Tickets -  (00:00:10) Recap of the Hyperlink Genre (00:01:50) Intro to Dazed and Confused (00:7:12) How Dazed and Confused Got to Production (00:13:34) Favorite Scenes (00:40:07) On Set Life (01:05:50) Aftermath: Release and Legacy (01:29:19) What Worked and What Didn't (01:38:26) Film Facts (01:43:46) Awards (01:49:59) Final Questions on the Movie (01:58:46) Wrapping Up the Episode (02:04:26) Contact Us: Facebook: @cinenation Instagram: @cinenationpodcast Twitter/X: @CineNationPod TikTok: @cinenation Letterboxd: CineNation Podcast

"Before Midnight" is a thought-provoking and heartfelt film that offers a mature look at love and commitment. It may not have the same whimsical vibe as "Before Sunrise," but it wraps up the trilogy in a powerful way, leaving you with plenty to think about. If you're a fan of the series or just love a good exploration of relationships, this one's definitely worth a watch.

"Before Sunset," directed by Richard Linklater, is a remarkable film that beautifully captures the complexities of love, time, and the human experience. As the second installment in Linklater's "Before" trilogy, this film goes beyond the typical romantic narrative, offering a profound exploration of connection and the passage of time.

"Before Sunrise" is a compelling exploration of storytelling that prioritizes character development and authentic dialogue over conventional plot structures. It resonates with anyone who has experienced the thrill of a deep connection, making it a timeless piece of cinema. Highly recommended for those who appreciate thoughtful filmmaking and character-driven narratives.

Blue Moon by Linklater, is, according to Andrew Scott, both a friendship story and an artistic love story The post “Blue Moon”, interview with actors Margaret Qualley and Andrew Scott appeared first on Fred Film Radio.

What the world needs now is love... sweet international love! For the first time on this show, Mark welcomes a guest from another country: it's Bulgarian artist, movie nerd, and hunk Todor Iliev (@ilievillustration)! They go on a little virtual stroll through mid-90s Vienna to celebrate the 30th anniversary of Richard Linklater's memorable romance Before Sunrise, which kickstarted a beautiful trilogy starring the dynamic duo Ethan Hawke and Julie Delpy. "Don't forget: you are stardust!" Plus, Todor explains how he makes his great designs, and highly recommends traveling to another country solo. 

Thirty years ago, a film hit multiplexes that helped redefine love onscreen for moviegoers. So much so, in fact, that the history of the modern romantic drama might arguably be best separated into two distinct eras: before Before Sunrise, Richard Linklater's enchanting cult smash stroll through moonlit Vienna, and after. Today on Script Apart, Richard's co-writer Kim Krazin reflects on three decades of hearing from strangers about how this simple tale – in which two strangers on a train make a spontaneous decision to get off and wander the streets till dawn together – touched them deeply. The film starred Ethan Hawke and Julie Delpy as Jesse and Celine – one an American tourist, recovering from a botched trip to Madrid to see his now-ex girlfriend, the other a French student, heading back to Paris to continue her studies after visiting her grandmother. Kim and Richard had worked together before prior to Before Sunrise. Kim appeared as an actor in 1990's Slacker and 1993's Dazed and Confused. This time, however, they were co-writers, sequestered together for an intense eleven-day writing sprint, hard at work on a boy-meets-girl story with a difference.Before Sunrise was to be naturalistic. There would be no melodrama – no conflict for the sake of it. Just conversation, as two people brought together by chance, who live a world apart, forge a connection against the ultimate ticking clock: at sunrise, Jesse has a plane to catch. As their attraction deepens, we're left to wonder: will they see each other again after their expires, when dawn arrives? As it happens, they would; two sequels, Before Sunset and Before Midnight, later followed, the first of which Kim has a “story by” credit on. But in 1995, as the credits rolled, audiences were famously left in the dark. The film's brilliant cliffhanger ending – in which the couple decide not to exchange any contact information and instead meet at the same Vienna train station in six months' time – was being written and rewritten right up until 3am on the last night of filming. You may have heard about how Linklater was inspired by a woman who he met in a Philadelphia toy shop and ended up wandering around the city with, talking deep into the night (this woman, tragically, died in a motorcycle accident before the film's release). What you might not be aware of is Kim's chance encounter at a Bob Dylan concert in London, one day on a train trip through England, that gave her some of the emotional kindling for Jesse and Celine's tale. In the spoiler conversation you're about to hear, you'll discover what parts of the movie wouldn't fly today because of the modern technology that connects us brilliantly, but also robs us of the “romance of chance,” pervading every frame in Before Sunrise. We get into early plans to set the film not in Vienna but in Texas, and everything unlocked by the decision to set the movie abroad. And finally we get into whether or not Jesse in the film invents the concept of social media a good decade or so ahead of time. Hear us out on that one. Script Apart is hosted by Al Horner and produced by Kamil Dymek. Follow us on Instagram, or email us on thescriptapartpodcast@gmail.com.Support for this episode comes from ScreenCraft, Final Draft and WeScreenplay.To get ad-free episodes and exclusive content, join us on Patreon.Join Kim's The Magic Hour community by clicking here.Support the show

The Toyota Aqua has held onto its title for the third year in a row. The hatchback is New Zealand's most stolen car, making up 8% of all stolen vehicle claims in 2024. New figures released by AMI today show the company received almost 12,000 vehicle claims last year, including those related to attempted vehicle theft. Driven Deputy Editor David Linklater told Ryan Bridge that it's likely down to numbers. He says that they're a hugely popular used import, so there's tens of thousands of them on the road. Linklater says they're quite anonymous, very familiar cars that aren't really noticed on the street. LISTEN ABOVE See omnystudio.com/listener for privacy information.

Richard Linklater is a hit man, but not in the assassin sense of the word. No, the hits he trades in are of the movie variety – stylish cult classics that vary in genre and form, but always manage to ignite something powerful in viewers. It's been that way for three and a half decades now: among his hits, dating back to 1990, are Dazed and Confused, Before Sunrise, Before Sunset, Before Midnight, Boyhood, School of Rock, A Scanner Darkly, Slacker, Waking Life, Everybody Wants Some, Fast Food Nation… the list goes on. No wonder the Texan is one of the most respected names in modern American cinema – a force both prolific and patient, as his multiple movies shot across numerous decades prove. 2014 coming-of-age drama Boyhood was filmed across twelve years, with Merrily We Roll Along – a Paul Mescal-starring Sondheim adaptation, to be shot across twenty years – among his current projects.Earlier this year, he released Hit Man – a romantic comedy of sorts, with a hint of thriller thrown in for good measure, about a bashful college professor with a unique side hustle. Gary, played by the film's co-writer Glen Powell, has a recurring gig with the New Orleans police force, pretending to be an contract killer. He wears a wire to meet with people seeking to order a hit on their spouses, their work colleagues, their parents and so on. It's a gig that's going smoothly for Gary, until he meets Madison, played by Adria Arjona – a woman trying to escape an abusive husband, who Gary begins to fall for. What follows is Linklater in full-blown crowd-pleasing mode.In the conversation you're about to hear, we discuss what it was about this true-ish story, adapted from a newspaper article by journalist Skip Hollandsworth, that spoke to Richard. We talk about the baseball injury that put him on a path to filmmaking (and how it might have led to the unstoppable pace with which he makes movies). And we break down every detail of Hit Man, one of the movies of 2024, in spoiler-filled detail.Script Apart is hosted by Al Horner and produced by Kamil Dymek. Follow us on Instagram, or email us on thescriptapartpodcast@gmail.com.Support for this episode comes from ScreenCraft, Final Draft and WeScreenplay.To get ad-free episodes and exclusive content, join us on Patreon.Support the show

The brilliant filmmaker Richard Linklater (Boyhood) and the uber talented Glen Powell (Any One But You) joins us to chat about their brilliant comedy movie Hit Man! Richard Linklater and Glen Powell discuss how the movie came about. Why they wrote it together on spec and how they made it with Giles Alderson & Dom Lenoir. From his debut feature "It's Impossible to Learn to Plow by Reading Books" – a film he made with almost no budget, Richard Linklater kick started his career. Shot on Super 8, and literally drove around the country screening himself – He made the cult classic "Dazed and Confused," the romantic trilogy "Before Sunrise," "Before Sunset," and "Before Midnight," the animated rotoscope experiments of "Waking Life" and "A Scanner Darkly," and the groundbreaking, 12-years-in-the-making "Boyhood," Linklater has consistently defied expectations and carved his own path with a signature style that's both intimate and epic.   From his breakout role in "Scream Queens" to his scene-stealing performance as Chad Radwell in "Everybody Wants Some!!" – Richard Linklater's ode to college life in the 80s – Glen Powell has been steadily building an impressive resume. He's charmed audiences in rom-coms like "Set It Up," and "Anyone But You" showcased his dramatic chops in the true-life war epic "Devotion," and, of course, soared to new heights as the cocky but ultimately heroic Hangman in "Top Gun: Maverick and very recently blew us away in the brilliant 'Twisters'. Hit Man is out now on NETFLIX! WATCH our interview with Wicked director Jon M Chu on YouTube here https://www.youtube.com/watch?v=epEKxXs8F2A PODCAST MERCH Get your very own Tees, Hoodies, onset water bottles, mugs and more MERCH. https://my-store-11604768.creator-spring.com/ COURSES Want to learn how to finish your film? Take our POST PRODUCTION COURSE https://cuttingroom.info/post-production-demystified/   PATREON Big thank you to: Serena Gardner Mark Hammett Lee Hutchings Marli J Monroe Karen Newman Want your name in the show notes or some great bonus material on film-making? Join our Patreon for bonus episodes, industry survival guides, and feedback on your film projects!   SUPPORT THE PODCAST Check out our full episode archive on how to make films at TheFilmmakersPodcast.com   CREDITS The Filmmakers Podcast is written, produced and edited by Giles Alderson @gilesalderson Logo and Banner Art by Lois Creative  Theme Music by John J. Harvey Learn more about your ad choices. Visit podcastchoices.com/adchoices

Filmmaker Richard Linklater's movies span blockbusters, such as School of Rock, cerebral indie classics like Boyhood, and a hard-to-define The Before Trilogy. His most recent film, Hit Man, is a thriller, but it picks up on many themes that Linklater has explored before, such as identity and masculinity. Today, he reflects on the film in conversation with Lilah. -------Our film critic Danny Leigh's review of Hit Man is here: https://on.ft.com/4fGIDidDanny also spoke with Richard Linklater in 2018 about his portrayal of masculinity in the movie Last Flag Flying: https://on.ft.com/3Va6v5L-------The show is ending in early January. But we want to know your cultural questions! Write to Lilah at lilahrap@ft.com or on Instagram @lilahrap. And – thank you.Read a transcript of this episode on FT.com Hosted on Acast. See acast.com/privacy for more information.

Jeff SmithTake a walk with me down Fascination Street as I get to know Jeff Smith. Jeff is an icon in the local south Texas music scene. I caught up with Jeff in San Antonio, at his multi-use arts facility called The Corn Pound. In this episode, we get to know Jeff, and how he got into music. From his brother's involvement with The Krayolas, to his friendship with filmmaker Richard Linklater, we go everywhere in this episode. Jeff tells me about: Flagship Records, the Jett Bass Studio, High Voltage Music Program, Tex Pop In Exile Music Archive, and SausTex Records... all housed at The Corn Pound. We discuss some of the musical acts Jeff has worked with at SausTex including Pinata Protest, and DiNOLA. Then we get into how Jeff came to be part of Richard Linklater's Woodshock documentary short film, and why Jeff's scenes were cut from Linklater's early film Slacker. Jeff and I chat about how streaming services like Spotify have essentially gutted the already small income streams for the smaller, independent artists. Plus we talk about a recent collaboration between SausTex Records and Cacophony Clan Records on a super cool album to support some charities. Naturally Jeff and I talk about his band Hickoids, which has been around for decades, and he even lets me play one of their more recent songs! If you are even in or around San Antonio, you MUST check out The Corn Pound... and tell 'em you heard about them on Fascination Street Podcast.Special thanks to Peter Illing at Cacophony Clan Records for putting this together.

Video game designer & actor ⁠Wiley Wiggins⁠ chats with Trey Elling, during the 30th anniversary celebration and 4K restoration screening of DAZED & CONFUSED. Topics include: Linklater (0:00) Playing "Mitch" (1:23) Live as a game developer (4:34) The lasting impact of DAZED (7:32)

Richard Linklater sat down with IndieWire's Chris O'Falt back in June for the premiere of 'Hit Man,' one of the most fun movies of this year. Linklater explains the decision making that went into crafting the film's many twists and turns, and explores his deep collaboration with star Glen Powell. Learn more about your ad choices. Visit megaphone.fm/adchoices

Perhaps the most patient man in Hollywood, Richard Linklater talks to Rebecca about the 23-year journey of making Hitman. “I'm not afraid to sit with something and just wait until the time is right,” says Linklater, who has also filmed two more movies that both took more than a decade to make.Share your thoughts on Little Gold Men. As a token of our appreciation, you will be eligible to enter a prize drawing up to $1,000 after you complete the survey.https://selfserve.decipherinc.com/survey/selfserve/222b/76152?pin=1&uBRANDLINK=5&uCHANNELLINK=2

Some film shoots (like the one for Apocalypse Now) seem to last 12 years, but here's a movie with a production schedule that was DELIBERATELY that long. Although gimmick aside, Boyhood is Richard Linklater's lauded attempt to show the slow growth of a fractured family, with the focus on Ellar Coltrane going from 6 to 18. Linklater's daughter Lorelei plays Coltrane's older sister and their divorced parents are Ethan Hawke & Patricia Arquette. The adults are terrific---Arquette won an Oscar for her work as the put-upon mom who keeps finding romance with bad men---but the kids just aren't the actors that she and Hawke are. In any case, it's fascinating to see this arc in a family's life and the (mostly white) people they meet along the way. Our impressions of the exploits of the Evans clan down in Texas is the 609th chat on the Have You Ever Seen podcast channel, so snap some pictures and see what we thought of Boyhood. Well, Actually: Jean-Pierre Leaud repeatedly played "Antoine Doinel" in Francois Truffaut movies. Also, Mason Senior becomes an "insurance actuary", not an "insurance actuarial". Go bowling with your kids, take them camping and then take them out for Sparkplug Coffee. Or have it sent to your house. And also use our "HYES" promo code to save 20%. The website is "sparkplug.coffee/hyes". You can email us at "haveyoueverseenpodcast@gmail.com". Send us some of your movie thoughts on Twi-X (@moviefiend51 and @bevellisellis) or to Bev on Threads (also @bevellisellis). Check out our show on YouTube. The address in your browser is @hyesellis (or click "Have You Ever Seen" into the YouTube search bar) and don't forget to subscribe to us. Like the show, leave a comment. And also rate and review our 'cast in your app.

Sean and Amanda discuss the unconfirmed casting news that Paul Mescal, Barry Keoghan, Harris Dickinson, and Charlie Rowe will be the leads of Sam Mendes's quartet of biopics about the members of the Beatles (1:00). Then, they have an in-depth (and spoiler-filled) discussion about Richard Linklater's 'Hit Man,' starring 'Big Pic' favorite Glen Powell (15:00). Finally, Powell and Linklater join the show to discuss the genesis of the script, striking a unique tone, their creative partnership, and more (1:02:00). To watch episodes of ‘The Big Picture,' head to https://www.youtube.com/@RingerMovies. Hosts: Sean Fennessey and Amanda Dobbins Guests: Glen Powell and Richard Linklater Senior Producer: Bobby Wagner Learn more about your ad choices. Visit podcastchoices.com/adchoices

On this week's show, the hosts begin by jumping into Furiosa: A Mad Max Saga, a prequel to George Miller's 2015 Fury Road, in which Anya Taylor-Joy stars as Furiosa, an arachnid beauty who's stolen as a child and becomes a wasteland road warrior. She's a “strong, silent type,” typical of the action film genre, but does that trope mean something different with a female protagonist in 2024? The panel discusses. (Read Dana's review of Furiosa!) Then, the three chat Hit Man, Richard Linklater's latest starring Glen Powell as Gary Johnson, a college professor who moonlights as a fake gunman for hire. It's a delightful rom-com tucked within a thriller—a romantic thriller, if you will–that manages to feel like a hangout film despite its ridiculous premise. (Read Dana's review of Hat Man!) Finally, ScarJo or FauxJo? Tech journalist and author of Blood in the Machine: The Origins of the Rebellion Against Big Tech Brian Merchant joins the panel to parse through Silicon's Valley's latest scandal: Scarlett Johansson accusing ChatGPT of stealing her voice for its new interface program. (Read Brian's newsletter about it!) In the exclusive slate Plus segment, the hosts answer an excellent listener question from Michael Schulman: What fictional works of art-within-the-art would you most want to see on their own? Email us at culturefest@slate.com.  Endorsements: Dana: An interview between Richard Linklater and Skip Hollandsworth, whose stories Linklater adapted in the films Bernie and Hit Man, for Texas Monthly.  Julia: Monopoly Deal, a well-designed family card game.  Stephen: A poem by Janet Frame, “Scarlet Tanager, Saratoga Springs” which was featured on the Yumi Zouma song, “Lie Like You Want Me Back - Alternative Version.” Podcast production by Jessamine Molli. Production assistance by Kat Hong. Learn more about your ad choices. Visit megaphone.fm/adchoices