Podcasts about Lynn Shelton

Julie Seabaugh! Journalist! Author! Producer! Friend! Delight! More! Long-time comedy journalist Julie Seabaugh is the producer, story editor and originator of Are We Good?, the new documentary about comic and podcast pioneer Marc Maron that makes its East Coast premiere at the Tribeca June 14 and 15. She is a journalist, author and documentarian who has covered stand-up and the ins-and-outs of the comedy industry for more than 20 years. More about Julie Seabaugh and the new doc: After covering Marc Maron many times in major news outlets, she was struck by his loss and honesty when his partner Lynn Shelton died unexpectedly in 2020. Seabaugh says the continuing Instagram videos voicing his grief was some of “the most touching stuff I'd ever seen publicly coming from a comedian,” and she knew the next stand-up material he created would be the most powerful he'd done to date and that someone ought to be documenting the next period in his life and career. She quickly realized that someone was her, and she sprung into action. She produced the first Are We Good? shoot on May 7, 2021 at the Comedy Store, the night of Maron's first time back on stage since the start of the Covid pandemic.  Julie Seabaugh produced and hosted 2020's Hope on Top: A Mitch Hedberg Oral History for SiriusXM and with Emmy-nominated filmmaker Nick Scown directed September 2021 feature documentary Too Soon: Comedy After 9/11 for Vice. Her film Are We Good? A Marc Maron Documentary made its world premiere in March 2025 at SXSW. A documentary on legendary performer Mitch Hedberg will debut in 2026. As a professional comedy journalist for more than two decades, Seabaugh covered the art form for The New York Times, The Los Angeles Times, Rolling Stone, The Hollywood Reporter, Variety, GQ and numerous other titles. Her expertise on modern roasting culminated in 2018 book Ringside at Roast Battle. 2022's 50 Years of the Comedy Store vinyl box set features her liner notes. With comedian Byron Bowers, the memoir Beyond the Promised Land is out from Grand Central Publishing in summer 2026.    Julie Seabaugh online: Journalism Films/Books Are We Good? Online:  Instagram Tribeca screening Tickets and Info  Press Letter Julie and I had a great chat! You can have a great listen! And this is only the first HALF of our chat! For part two, subscribe via Apple Podcasts or simply click on over here to Patreon! Enjoy!

Julie Seabaugh has been and still very much is one of our absolute favorite people in comedy because, like us, she has dedicated blood, sweat, and tears to the telling of stories of, about, in, and around comedy. Following her endeavors as an esteemed journalist, author, and documentarian, Julie's latest work focuses on the comedy icon Marc Maron following the passing of his partner, Lynn Shelton in the doc, Are We Good?, brilliantly directed by Steven Feinartz (and screened at SXSW & Tribeca). This week's TCB Field Report goes in on Julie's process of showing Maron's process of both grief and comedy, which are beautifully intertwined in this movie. Follow @julieseabaugh & @arewegoodfilm on IG Produced by Jake Kroeger Music by Brian Granillo Artwork by Andrew Delman and Jake Kroeger Photo by Troy Conrad

This month, Ian and Sujewa look back on a truly remarkable indie gem from 2011: Lynn Shelton's three-character dramedy, Your Sister's Sister!Mark Duplass stars as Jack, an aimless Seattle-ite who's still grieving a year after his brother's death. His best friend, Iris (Emily Blunt), offers him the use of her family's remote cabin for a week, to relax, reflect, and plan to get his life back on track. Little do either of them know that Iris's older sister, Hannah (Rosemarie DeWitt) has also decided to stay at the house, following a nasty breakup. During a comedically tumultuous week, the trio will uncover secrets, shatter illusions, and make decisions that will affect them for decades to come.In this spoilerific review, the guys lament the loss of the earnest relationship indie; pay tribute to the stars' distinct approach to delivering realistic performances, in service of Shelton's keen direction and sharp screenplay (minus a few spotty contrivances); and dig into some interpretations of where the story might go, following a harsh cut to black. Plus: Stick around to learn how Sujewa approaches learning about new film gear, in preparation for shooting his films!Subscribe, like, and comment on Kicking the Seat here on YouTube, and check us out at:kickseat.comXBlueSkyInstagramFacebookShow LinksWatch the Your Sister's Sister (2011) trailer.Check out Sujewa's latest podcast venture, This Arthouse Life! Watch Sujewa's latest film, Cosmic Disco Detective Rene for free on YouTube! Rent The Secret Society for Slow Romance (the predecessor to Cosmic Disco Detective Rene).Follow Sujewa on X.Check out all the episodes in our “IndieSeen” Playlist!

Ted Danson doesn't mind getting a little dark with actor, comedian, and podcasting pioneer Marc Maron. Marc talks to Ted about the passing of his romantic partner, filmmaker Lynn Shelton and how he processed that loss on stage, including in his HBO special “From Bleak to Dark.” They also discuss why Marc would never run for office, losing loved ones, and Marc's acting roles from “Maron” to films like “To Leslie.”  This conversation was recorded in 2023. To help those affected by the Southern California wildfires, make a donation to World Central Kitchen today. Like watching your podcasts? Visit http://youtube.com/teamcoco to see full episodes. 

In this episode of Ojai Talk of the Town, actor Michaela Watkins joins us to talk about her latest film, Suze, a Canadian indie gem screening at the Ojai Playhouse on March 9. She'll be on hand for a post-film discussion, but first, we dig into the heart of the movie, the revival of the "New Sincerity Movement," and why audiences are craving stories about broken people finding connection.Michaela also reflects on her incredible career including a stint of Saturday Night Live, the LA-based Groundlings, working with the husband-wife duo Dane Clark and Linsey Stewart behind Suze to her collaborations with the late, great Lynn Shelton and acclaimed director Nicole Holofcener (You Hurt My Feelings). We swap stories about mutual Ojai friends, share what this town means to us, and much more.Note: We did not talk about the Ventura River estuary, proposed NFL rule changes or the ill-fated El Dorado expedition of 1559 led by "Wrath of God" Aguirre.Tune in for a conversation that's as heartfelt, funny, and sharp as Michaela herself.

MICHAELA WATKINS zooms in to talk to Tom about her new film Suze, director Lynn Shelton, theater, SNL and more! Tom takes calls about WORST PUBLIC BATHROOM EXPERIENCES! Plus, Tom gets a call from PHILLY BOY ROY IN NEW ORLEANS! SUPPORT THE BEST SHOW ON PATREON! WEEKLY BONUS EPISODES & VIDEO EPISODES! https://www.patreon.com/TheBestShow WATCH THE BEST SHOW LIVE EVERY TUESDAY NIGHT 6PM PT ON TWITCH https://www.twitch.tv/bestshow4life FOLLOW THE BEST SHOW: https://twitter.com/bestshow4life https://instagram.com/bestshow4life https://tiktok.com/@bestshow4life https://www.youtube.com/bestshow4life THE BEST SHOW IS A FOREVER DOG PODCAST https://thebestshow.net https://foreverdogpodcasts.com/podcasts/the-best-show HEARD IT ON THE BEST SHOW PLAYLIST https://open.spotify.com/playlist/2XIpICdeecaBIC2kBLUpKL?si=07ccc339d9d84267 Learn more about your ad choices. Visit megaphone.fm/adchoices

If there's a minor blessing that has emerged from the pandemic, it's in the way that film festivals have shifted and persisted with online options. As one of the leading film festivals in the world, the Sundance Film Festival continues to bring selections of their festival to global audiences via their online and in person screening events. The 2025 festival is underway, with online screenings taking place from January 30 - February 3.I mention this as one of the values of being able to attend the festival remotely is that I can stay safe as a disabled, immunocompromised person. It also then means I can watch films like Mindie Lind and Megan Griffiths superb animated short View from the Floor. This five minute documentary tells Mindie's story as a musician, a writer, a director, and as someone who lives with disability.Mindie doesn't have any legs, and while she gets around in a wheelchair, it's that view from the floor that she's forced to present on television when she becomes a guest on the Maury Povich show. With a comedic and open narration, Mindie takes viewers from her initial perspective of being invited on the show (this is in the era before 'who's your babies dad' reveals dominated the show) to the feeling she had when the producers asked her to go on stage without her wheelchair.View from the Floor decisively and intimately unpacks the concept of inspiration porn, which leads to a further discussion about the exploitation of disabled folks, especially in relation to entertainment.As co-directors, Mindie and Megan utilise the bright and expressive animation from Joe Garber to bring a sense of comedy and charm to Mindie's story, allowing non-disabled and disabled folk to understand how inspiration porn impacts everyone's lives.In the following interview, Mindie and Megan talk about meeting through the late, great filmmaker Lynn Shelton, dealing with cat calls and more, the importance of stories about disability being able to reach a global audience, how they created the look and sound of the film, before Mindie closes the chat with an interesting fact about the person who played ET on set.To help support Mindie and Megan in transforming View from the Floor into a feature film, visit ViewFromTheFloor.com. You can donate on that site, while also checking out the artwork and listen to Mindie's song as heard in the film. Hosted on Acast. See acast.com/privacy for more information.

If there's a minor blessing that has emerged from the pandemic, it's in the way that film festivals have shifted and persisted with online options. As one of the leading film festivals in the world, the Sundance Film Festival continues to bring selections of their festival to global audiences via their online and in person screening events. The 2025 festival is underway, with online screenings taking place from January 30 - February 3.I mention this as one of the values of being able to attend the festival remotely is that I can stay safe as a disabled, immunocompromised person. It also then means I can watch films like Mindie Lind and Megan Griffiths superb animated short View from the Floor. This five minute documentary tells Mindie's story as a musician, a writer, a director, and as someone who lives with disability.Mindie doesn't have any legs, and while she gets around in a wheelchair, it's that view from the floor that she's forced to present on television when she becomes a guest on the Maury Povich show. With a comedic and open narration, Mindie takes viewers from her initial perspective of being invited on the show (this is in the era before 'who's your babies dad' reveals dominated the show) to the feeling she had when the producers asked her to go on stage without her wheelchair.View from the Floor decisively and intimately unpacks the concept of inspiration porn, which leads to a further discussion about the exploitation of disabled folks, especially in relation to entertainment.As co-directors, Mindie and Megan utilise the bright and expressive animation from Joe Garber to bring a sense of comedy and charm to Mindie's story, allowing non-disabled and disabled folk to understand how inspiration porn impacts everyone's lives.In the following interview, Mindie and Megan talk about meeting through the late, great filmmaker Lynn Shelton, dealing with cat calls and more, the importance of stories about disability being able to reach a global audience, how they created the look and sound of the film, before Mindie closes the chat with an interesting fact about the person who played ET on set.To help support Mindie and Megan in transforming View from the Floor into a feature film, visit ViewFromTheFloor.com. You can donate on that site, while also checking out the artwork and listen to Mindie's song as heard in the film. Hosted on Acast. See acast.com/privacy for more information.

Fittingly enough, we're on our hands and knees begging you to give Mad Men Men a chance. Just don't hit us over the head for it. That's right, this week we're talking about Season 4 Episode 10 of Mad Men, titled "Hands and Knees." As usual, we recap the episode, give our analysis, and reference the director/writer/actors' commentaries as well as Mad Men Carousel by Matt Zoller Seitz. In case this is your first time digging into our podcast, we recap Mad Men from the perspective of a first-time watcher, someone who only watched the show once while it was airing, and a superfan who watches excessively instead of having a functional social life. Discussion Points:  Thematically, is "Hands and Knees" a little clunky? How does the late/great Lynn Shelton do as director with this episode? What do you make of Don and Pete's changing dynamic since Season 1? Why do you think Betty bails Don out with the government guys? What can we glean about Lane after such a strained storyline concerning his father and estranged family? If this episode is all about secrets, then how can we relay that to each storyline? What is Joan's perspective on Roger at this point, and what might be going through her mind in the clinic scene? What makes this episode so bold in terms of the actors' performances? Extra credits: Matthew Weiner created Mad Men, which aired on AMC from 2007 to 2015. Lynn Shelton directed “Hands and Knees” and Matthew Weiner co-wrote the script with Jonathan Abrahams. The show stars Jon Hamm, January Jones, Elisabeth Moss, Vincent Kartheiser, Christina Hendricks, John Slattery, Robert Morse, and many more. Our intro music is “Mad Men Men” by Tom Davidson, which is an original remix of the show's opening theme “A Beautiful Mine” by RJD2. Podcast illustration is by Jon Negroni. Our podcast hosts include Jon Negroni (Podcast Editor of InBetweenDrafts), Will Ashton (cohost of the Cinemaholics podcast), and Michael Overhulse (a guy who's addicted to working at startups).See omnystudio.com/listener for privacy information.

Comedy records are records too!  WTF podcast host Marc Maron returns to the show to talk about his new vinyl LP, From Bleak To Dark (Craft Recordings) and a bit about the comedy albums of his youth. And since we just lost comedy legend Bob Newhart, the deadpan comic responsible for one of the most historic comedy albums of all time, The Button-Down Mind of Bob Newhart, comedy vinyl aficionado Dan Pasternack also returns to our show to say "Hi Bob" and contextualize the impact of Newhart's albums on the culture of comedy and even the Grammys. Asheville, North Carolina's Harvest Records turns 20 this year and we welcome Matt Schnable and Mark Capon to our program to talk about all the special 20th Anniversary events they have planned, including a free festival! The Record Store Day Podcast is a weekly music chat show written, produced, engineered and hosted by Paul Myers, who also composed the theme music and selected interstitial music.    Executive Producers (for Record Store Day) Michael Kurtz and Carrie Colliton. For the most up-to-date news about all things RSD, visit RecordStoreDay.com)   Sponsored by Dogfish Head Craft Brewery (dogfish.com), Tito's Handmade Vodka (titosvodka.com), RSDMRKT.com, and Furnace Record Pressing, the official vinyl pressing plant of Record Store Day.   Please consider subscribing to our podcast wherever you get podcasts, and tell your friends, we're here every week and we love making new friends.   This episode is dedicated to Seattle music journalist and author Charles R. Cross who passed away just as this week's show was being put together. Read his books on Nirvana, Hendrix and Springsteen, a legend in music journalism and a good friend to many of our friends and favorite musicians. --

On this week's Talkhouse Podcast, we've got a popular comedian, podcaster, and actor in conversation with a musician-slash-director who released their first song together earlier this year: Marc Maron and Paige Stark. Maron is of course the host of the long-running interview podcast WTF, but that's really just the headline on a long and winding career. He was of course first known—and is still known!—as a top-tier stand-up comedian whose shows are often discursive explorations of his own psyche while also being wildly funny. He's also an actor, having been a regular on the Netflix series GLOW and a lead in a couple of dramatic movies, including To Leslie, which comes up in this conversation, and Sword of Trust, which was directed by Maron's girlfriend Lynn Shelton, who died unexpectedly in 2020. That fact worked its way into Maron's latest stand-up special, last year's brilliant From Bleak to Dark. Oh, and he also dabbles as a musician, having played guitar in bands in his school days, and keeping it up mostly as a hobby since. That's where singer and songwriter Paige Stark comes in. A friend of Maron's, she recruited him recently to play some "searing" guitar and duet with her on a cover of Love's 1966 song “Signed DC.” Stark has been kicking around the L.A. music scene for years, most notably as part of the band Tashaki Miyaki, whose name is the subject of discussion in this podcast. Stark only recently began releasing music under her own name, including a bunch of singles this year that feature friends like Cherry Glazerr, Jon Brion, and of course Maron. Stark is also an actor and director who's working on a narrative short at the moment. Busy busy. Check out the duet she did with Maron on “Signed DC.” This funny, wide-ranging conversation covers everything from the recording of this duet to Maron's guitar setup to Stark's substance-fueled nights out in Los Angeles. They also clearly love talking about music, dissecting everything from Nick Cave to Bob Dylan and beyond. Enjoy! 0:00 - Intro 2:27 - Start of the chat/Trying to figure out Talkhouse 8:14 - Periods of self-doubt and Maron's confidence in singing 20:16 - "I don't know that many comedians." 29:20 - Paige's party years 33:26 - "You're one of my favorite actors"—Stark 37:18 - Maron's junior high and high school bands 45:55 - New bands Maron has recently seen Thanks for listening to the Talkhouse Podcast, and thanks to Marc Maron and Paige Stark for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all the good stuff at Talkhouse.com. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by the Range. See you next time! This episode is brought to you by DistroKid. DistroKid makes music distribution fun and easy with unlimited uploads and artists keep 100% of their royalties and earnings. To learn more and get 30% off your first year's membership, visit: distrokid.com/vip/talkhouse

Marc Maron is a prolific podcast host, comedian, actor, and musician. Today, he discusses the loss of his partner, Lynn Shelton in 2020 after a brief illness. Marc gets into how he dealt with the logistics and immediate aftermath of Lynn's passing, his grieving process, translating tragedy into comedy, and the various ways people have showed up to support him since. You can follow Kelly Rizzo on all platforms @eattravelrock and @comfortfood_pod for clips or BTS footage from the podcast. Tickets to Marc's upcoming standup shows are available on Ticketmaster and be sure to listen to WTF with Marc Maron wherever you get your podcasts. Hosted on Acast. See acast.com/privacy for more information.

Co-commissioner Ryan Marker and newly-minted Screen Drafts All-Star Lucé Tomlin-Brenner (It's Always Halloween) rank all eight feature films directed by the late great Lynn Shelton! Joining Clay at the commissioner's table is Screen Drafts "Drea" Drea Clark (Maximum Film). 

Today on Casting Confidential the roundtable is joined by special guest Elaine Del Valle. In this unfiltered conversation Elaine and the Casting Confidential Roundtable discuss just how well casting understands the challenges and obstacles actors face in the industry's rabid and ever changing landscape. This episode is a must listen!! Elaine is a native New York, Puerto Rican Casting Director and multi-hyphenate Storyteller. As a bilingual, with a keen eye and her pulse on the Latino community, Elaine was approached to source on-camera talent. Elaine is a member of CSA and has provided casting for high profile brands, agencies, and studios, including for Comedy Central and PBS Kids. Elaine is a recognized leader. She received the Hispanic Chamber of Commerce Excellence in Arts award. She was a NY Board of Education Literacy Day Keynote Speaker. Her inspirational journey was featured in the PBS documentary series Beating The Odds and the NYC housing projects, where Elaine grew up named a park bench in her honor, recognizing her outstanding efforts to uplift the community.  ​ Her awards include the HBO Latinx Director award and from many festivals including SXSW, Urbanworld, Catalyst Stories, and Seriesfest.  ​ Elaine's feature film directorial debut is a genre dance-drama-thriller Tubi original, Midnight Hustle. Her second narrative feature, Between Rockaway and Mother Gaston, which she wrote and directed, is currently in post-production. The YA family drama shares Elaine's personal coming-of-age story and was filmed in New York and Puerto Rico. The story is adapted from Elaine's award-winning short film, autobiographical novel and Off-Broadway stage play, Brownsville Bred. Elaine is a WarnerMedia 150 Artist, Sundance Writer & Director Lab alumna, Shondaland Director finalist and two-time Lynn Shelton and Imagen Impact award nominee. Follow ⁠Elaine⁠ & ⁠Del Valle Casting⁠ ⁠Official Site⁠ CASTING CONFIDENTIAL: Join veteran casting director Rose Rosen and her dynamic panel of industry experts in a candid, no-holds-barred virtual round table discussion. Delve into the casting business in each weekly episode of the podcast, where we reveal  insights and stories from the fiercely guarded world of casting. Get ready to laugh, learn, and uncover the secrets behind the scenes that shape the creative content consumed worldwide.  What do casting directors truly wish producers understood? What brings them the greatest joy? And how can actors elevate their craft to stand out? "Casting Confidential" pulls back the curtain on the reality of survival in show business.  Do you have what it takes? Join the conversation and find out for yourself. Join us on Instagram: ⁠⁠⁠⁠⁠⁠Casting Confidential Podcast⁠⁠⁠⁠⁠⁠ Rose Rosen, CSA ⁠⁠⁠⁠⁠⁠@roserosencsa⁠⁠⁠⁠⁠⁠ Kimberly Skyrme, CSA ⁠⁠⁠⁠⁠⁠@kimberlyskyrme⁠⁠⁠⁠⁠⁠ Cheryl Louden-Kubin, CSA ⁠⁠⁠⁠⁠⁠@loudenkubin⁠⁠⁠⁠⁠⁠ Kimberly Ehrlich, CSA ⁠⁠⁠⁠⁠⁠@kimberlyehrlich4⁠⁠⁠⁠⁠⁠ Robin Carus, CSA ⁠⁠⁠⁠⁠⁠@robincarus⁠⁠⁠⁠⁠⁠ Paisley Baker, CSA ⁠⁠⁠⁠⁠⁠@coatcheck3⁠⁠⁠⁠⁠⁠ Artwork by: Ace Anderson ⁠⁠⁠⁠⁠⁠@thestripedheart⁠⁠⁠⁠⁠⁠ Music by: Orville Wright ⁠⁠⁠⁠⁠⁠@ohyeahbeats⁠⁠⁠⁠⁠⁠ Produced by: Laura Linda Bradley ⁠⁠⁠⁠⁠⁠@lauralindabradley⁠⁠⁠⁠⁠⁠ Hashtags: #castingconfidential #castingconfidentialpodcast #roseknows #actors **The opinions expressed in Casting Confidential podcast reflect only the opinions of each individual casting director. They do not reflect the opinions of any other official group or entity. Additionally, nothing in this show should be construed as an offer of employment.

This week, Drusilla becomes a fitness girlie! Josh and she talk body dysmorphia and dieting, Tyra Banks, gay social media, Josh's personal connection to Brand Upon the Brain and Lynn Shelton at Cornish College of the Arts, Drusilla does a Dennis Hopper double feature with The Hot Spot (1990) and Red Rock West (1993), they do a deep dive on the career of William Sadler, Josh rewatched Twin Peaks: Fire Walk With Me and they discuss Sheryl Lee, the 80s version of The Blob, Filmstruck (RIP), and more!They cover the Guy Maddin ballet adaptation, Dracula: Pages from a Virgin's Diary. From wiki: Dracula: Pages from a Virgin's Diary is a 2002 horror film directed by Guy Maddin, budgeted at $1.7 million[1] and produced for the Canadian Broadcasting Corporation (CBC) as a dance film documenting a performance by the Royal Winnipeg Ballet adapting Bram Stoker's novel Dracula. Maddin elected to shoot the dance film in a fashion uncommon for such films, through close-ups and using jump cuts.[2] Maddin also stayed close to the source material of Stoker's novel, emphasizing the xenophobia in the reactions of the main characters to Dracula (played by Zhang Wei-Qiang in Maddin's film).”NEXT WEEK: It Follows (2014)  Follow them across the internet:Bloodhaus: https://www.bloodhauspod.com/https://twitter.com/BloodhausPodhttps://www.instagram.com/bloodhauspod/Drusilla Adeline:https://www.sisterhydedesign.com/https://letterboxd.com/sisterhyde/Joshua Conkelhttps://www.joshuaconkel.com/https://www.instagram.com/joshua_conkel/https://letterboxd.com/JoshuaConkel/  

This week, we have a quick minisode where Morgan talks about Women's History Month and her favorite female filmmaker: Lynn Shelton.To read Morgan's work on Lynn:Women's History Month Spotlight: Lynn SheltonOn Lynn Shelton, Messy 30-Somethings, and the Beauty of ComplexityYou can follow Female Gaze: The Film ClubInstagram

This podcast covers New Girl Season 4, Episode 2, Dice, which originally aired on September 23, 2014 and was written by Matt Fusfeld and Alex Cuthbertson and directed by Lynn Shelton. Here's a quick recap of the episode:Jess takes a risk and learns how to use dating apps from Schmidt while Nick and Cece get Coach stoned for the first time…right before they get invited to a party with Winston's cop coworkers.This episode got a 8/10 rating from both Kritika and Kelly and we both had the same favorite character: Schmidt!While not discussed in the podcast, we noted other references in this episode including:Babar - Nick thought Schmidt's hookup, Barb, was the name of the cartoon elephant Babar.DTF - Jess thought “Darn tootin' fun” could be represented by the acronym “DTF”.Hemsworth - When training Jess on Dice, Schmidt showed a photo of a man who looked like a Hemsworth. Taboo Buzzer - Schmidt used the loft's Taboo buzzer to train Jess on Dice.Kings of Leon - Schmidt commented that Kings of Leon was a good band, but stuck in one place musically.Titanic - When Nick was high, he claimed, “No man or piece of scientific technology has ever been to the bottom of the ocean.” However, Cece, who was also high, confirmed the man who made the Titanic did. Al Pacino - When Nick was high, he poorly did imitations and Coach guessed he was imitating Al Pacino. Broadway - Jess felt she wasn't ready to Dice date yet, saying, “I'm not ready. That's like taking a musical from rehearsals straight to Broadway. You got to workshop it first.”Beatnik - Jess was asking one of her Dice dates if he was a chef or Beatnik because of his turtleneck shirt.Charlotte's Web - Winston was telling a story about a spider and shared how he hoped it was “Charlotte's Web and [it's] nice" before spoiling the plot for the partygoers who didn't know the story of Charlotte's Web.Michael Strahan - One of Jess's Dice dates said, “I'm not gay, but I would go crazy on Michael Strahan.”Meryl Streep - One of Jess's Dice dates said he thought Meryl Streep was dumb.[Hockey Positions] -  Jess used an excuse to get out of a date mentioning the “Center Wing” in hockey and he confirmed that's not a position. “Pomp and Circumstance” - Coach, Cece, and Nick were singing this song in the closet after they said they could “see” Cece going back to school.Thanks for listening and stay tuned for Episode 3!Music: "Hotshot” by scottholmesmusic.comFollow us on Twitter, Instagram or email us at whosthatgirlpod@gmail.com!Website: https://smallscreenchatter.com/

Marc Maron is an actor, standup comedian, and podcast host (WTF). In early 2020, his partner, Lynn Shelton, died suddenly. He joins Paul to talk pointedly about grief. He shares what it was like to go through that experience as well as all the tremendously difficult choices and situations that followed as a result of her passing. More about Marcwww.WTFpod.comwww.Instagram.com/marcmaronwww.facebook.com/wtfpodcastwww.twitter.com/marcmaronWAYS TO HELP THE PODCASTSubscribe via iTunes and leave a review. It costs nothing. https://itunes.apple.com/us/podcast/mental-illness-happy-hour/id427377900?mt=2Spread the word via social media. It costs nothing.Our website is www.mentalpod.com our FB is www.Facebook.com/mentalpod and our Twitter and Instagram are both @Mentalpod Become a much-needed Patreon monthly-donor (with occasional rewards) for as little as $1/month at www.Patreon.com/mentalpod Become a one-time or monthly donor via Paypal or Zelle (make payment to mentalpod@gmail.com) or Venmo @MentalpodTry Our Sponsor's Products/ServicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s, specifically looking at the films they released between 1984 and 1986. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s.   And, in case you did not listen to Part 1 yet, let me reiterate that the focus here will be on the films and the creatives, not the Weinsteins. The Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and that Miramax logo and the names associated with it should not stop anyone from enjoying some very well made movies because they now have an unfortunate association with two spineless chucklenuts who proclivities would not be known by the outside world for decades to come.   Well, there is one movie this episode where we must talk about the Weinsteins as the creatives, but when talking about that film, “creatives” is a derisive pejorative.    We ended our previous episode at the end of 1983. Miramax had one minor hit film in The Secret Policeman's Other Ball, thanks in large part to the film's association with members of the still beloved Monty Python comedy troupe, who hadn't released any material since The Life of Brian in 1979.   1984 would be the start of year five of the company, and they were still in need of something to make their name. Being a truly independent film company in 1984 was not easy. There were fewer than 20,000 movie screens in the entire country back then, compared to nearly 40,000 today. National video store chains like Blockbuster did not exist, and the few cable channels that did exist played mostly Hollywood films. There was no social media for images and clips to go viral.   For comparison's sake, in A24's first five years, from its founding in August 2012 to July 2017, the company would have a number of hit films, including The Bling Ring, The Lobster, Spring Breakers, and The Witch, release movies from some of indie cinema's most respected names, including Andrea Arnold, Robert Eggers, Atom Egoyan, Daniel Kwan and Daniel Scheinert, Lynn Shelton, Trey Edward Shults, Gus Van Sant, and Denis Villeneuve, and released several Academy Award winning movies, including the Amy Winehouse documentary Amy, Alex Garland's Ex Machina, Lenny Abrahamson's Room and Barry Jenkins' Moonlight, which would upset front runner La La Land for the Best Picture of 2016.   But instead of leaning into the American independent cinema world the way Cinecom and Island were doing with the likes of Jonathan Demme and John Sayles, Miramax would dip their toes further into the world of international cinema.   Their first release for 1984 would be Ruy Guerra's Eréndira. The screenplay by Nobel Prize winner Gabriel García Márquez was based on his 1972 novella The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother, which itself was based off a screenplay Márquez had written in the early 1960s, which, when he couldn't get it made at the time, he reduced down to a page and a half for a sequence in his 1967 magnum opus One Hundred Years of Solitude. Between the early 1960s and the early 1980s, Márquez would lose the original draft of Eréndira, and would write a new script based off what he remembered writing twenty years earlier.    In the story, a young woman named Eréndira lives in a near mansion situation in an otherwise empty desert with her grandmother, who had collected a number of paper flowers and assorted tchotchkes over the years. One night, Eréndira forgets to put out some candles used to illuminate the house, and the house and all of its contents burn to the ground. With everything lost, Eréndira's grandmother forces her into a life of prostitution. The young woman quickly becomes the courtesan of choice in the region. With every new journey, an ever growing caravan starts to follow them, until it becomes for all intents and purposes a carnival, with food vendors, snake charmers, musicians and games of chance.   Márquez's writing style, known as “magic realism,” was very cinematic on the page, and it's little wonder that many of his stories have been made into movies and television miniseries around the globe for more than a half century. Yet no movie came as close to capturing that Marquezian prose quite the way Guerra did with Eréndira. Featuring Greek goddess Irene Papas as the Grandmother, Brazilian actress Cláudia Ohana, who happened to be married to Guerra at the time, as the titular character, and former Bond villain Michael Lonsdale in a small but important role as a Senator who tries to help Eréndira get out of her life as a slave, the movie would be Mexico's entry into the 1983 Academy Award race for Best Foreign Language Film.   After acquiring the film for American distribution, Miramax would score a coup by getting the film accepted to that year's New York Film Festival, alongside such films as Robert Altman's Streamers, Jean Lucy Godard's Passion, Lawrence Kasdan's The Big Chill, Francis Ford Coppola's Rumble Fish, and Andrzej Wajda's Danton.   But despite some stellar reviews from many of the New York City film critics, Eréndira would not get nominated for Best Foreign Language Film, and Miramax would wait until April 27th, 1984, to open the film at the Lincoln Plaza Cinemas, one of the most important theatres in New York City at the time to launch a foreign film. A quarter page ad in the New York Times included quotes from the Village Voice, New York Magazine, Vincent Canby of the Times and Roger Ebert, the movie would gross an impressive $25,500 in its first three days. Word of mouth in the city would be strong, with its second weekend gross actually increasing nearly 20% to $30,500. Its third weekend would fall slightly, but with $27k in the till would still be better than its first weekend.   It wouldn't be until Week 5 that Eréndira would expand into Los Angeles and Chicago, where it would continue to gross nearly $20k per screen for several more weeks. The film would continue to play across the nation for more than half a year, and despite never making more than four prints of the film, Eréndira would gross more than $600k in America, one of the best non-English language releases for all of 1984.   In their quickest turnaround from one film to another to date, Miramax would release Claude Lelouch's Edith and Marcel not five weeks after Eréndira.   If you're not familiar with the name Claude Chabrol, I would highly suggest becoming so. Chabrol was a part of the French New Wave filmmakers alongside Jean-Luc Godard, Jacques Rivette, Éric Rohmer, and François Truffaut who came up as film critics for the influential French magazine Cahiers [ka-yay] du Cinéma in the 1950s, who would go on to change the direction of French Cinema and how film fans appreciated films and filmmakers through the concept of The Auteur Theory, although the theory itself would be given a name by American film critic Andrew Sarris in 1962.   Of these five critics turned filmmakers, Chabrol would be considered the most prolific and commercial. Chabrol would be the first of them to make a film, Le Beau Serge, and between 1957 and his death in 2010, he would make 58 movies. That's more than one new movie every year on average, not counting shorts and television projects he also made on the side.   American audiences knew him best for his 1966 global hit A Man and a Woman, which would sell more than $14m in tickets in the US and would be one of the few foreign language films to earn Academy Award nominations outside of the Best Foreign Language Film race. Lead actress Anouk Aimee would get a nod, and Chabrol would earn two on the film, for Best Director, which he would lose to Fred Zimmerman and A Man for All Seasons, and Best Original Screenplay, which he would win alongside his co-writer Pierre Uytterhoeven.   Edith and Marcel would tell the story of the love affair between the iconic French singer Edith Piaf and Marcel Cerdan, the French boxer who was the Middleweight Champion of the World during their affair in 1948 and 1949. Both were famous in their own right, but together, they were the Brangelina of post-World War II France. Despite the fact that Cerdan was married with three kids, their affair helped lift the spirits of the French people, until his death in October 1949, while he was flying from Paris to New York to see Piaf.   Fans of Raging Bull are somewhat familiar with Marcel Cerdan already, as Cerdan's last fight before his death would find Cerdan losing his middleweight title to Jake LaMotta.   In a weird twist of fate, Patrick Dewaere, the actor Chabrol cast as Cerdan, committed suicide just after the start of production, and while Chabrol considered shutting down the film in respect, it would be none other than Marcel Cerdan, Jr. who would step in to the role of his own father, despite never having acted before, and being six years older than his father was when he died.   When it was released in France in April 1983, it was an immediate hit, become the second highest French film of the year, and the sixth highest grosser of all films released in the country that year. However, it would not be the film France submitted to that year's Academy Award race. That would be Diane Kurys' Entre Nous, which wasn't as big a hit in France but was considered a stronger contender for the nomination, in part because of Isabelle Hupert's amazing performance but also because Entre Nous, as 110 minutes, was 50 minutes shorter than Edith and Marcel.   Harvey Weinstein would cut twenty minutes out of the film without Chabrol's consent or assistance, and when the film was released at the 57th Street Playhouse in New York City on Sunday, June 3rd, the gushing reviews in the New York Times ad would actually be for Chabrol's original cut, and they would help the film gross $15,300 in its first five days. But once the other New York critics who didn't get to see the original cut of the film saw this new cut, the critical consensus started to fall. Things felt off to them, and they would be, as a number of short trims made by Weinstein would remove important context for the film for the sake of streamlining the film. Audiences would pick up on the changes, and in its first full weekend of release, the film would only gross $12k. After two more weeks of grosses of under $4k each week, the film would close in New York City. Edith and Marcel would never play in another theatre in the United States.   And then there would be another year plus long gap before their next release, but we'll get into the reason why in a few moments.   Many people today know Rubén Blades as Daniel Salazar in Fear the Walking Dead, or from his appearances in The Milagro Beanfield War, Once Upon a Time in Mexico, or Predator 2, amongst his 40 plus acting appearances over the years, but in the early 1980s, he was a salsa and Latin Jazz musician and singer who had yet to break out of the New Yorican market. With an idea for a movie about a singer and musician not unlike himself trying to attempt a crossover success into mainstream music, he would approach his friend, director Leon Icasho, about teaming up to get the idea fleshed out into a real movie. Although Blades was at best a cult music star, and Icasho had only made one movie before, they were able to raise $6m from a series of local investors including Jack Rollins, who produced every Woody Allen movie from 1969's Take the Money and Run to 2015's Irrational Man, to make their movie, which they would start shooting in the Spanish Harlem section of New York City in December 1982.   Despite the luxury of a large budget for an independent Latino production, the shooting schedule was very tight, less than five weeks. There would be a number of large musical segments to show Blades' character Rudy's talents as a musician and singer, with hundreds of extras on hand in each scene. Icasho would stick to his 28 day schedule, and the film would wrap up shortly after the New Year.   Even though the director would have his final cut of the movie ready by the start of summer 1983, it would take nearly a year and a half for any distributor to nibble. It wasn't that the film was tedious. Quite the opposite. Many distributors enjoyed the film, but worried about, ironically, the ability of the film to crossover out of the Latino market into the mainstream. So when Miramax came along with a lower than hoped for offer to release the film, the filmmakers took the deal, because they just wanted the film out there.   Things would start to pick up for the film when Miramax submitted the film to be entered into the 1985 Cannes Film Festival, and it would be submitted to run in the prestigious Directors Fortnight program, alongside Mike Newell's breakthrough film, Dance with a Stranger, Victor Nunez's breakthrough film, A Flash of Green, and Wayne Wang's breakthrough film Dim Sum: A Little Bit of Heart. While they were waiting for Cannes to get back to them, they would also learn the film had been selected to be a part of The Lincoln Center's New Directors/New Films program, where the film would earn raves from local critics and audiences, especially for Blades, who many felt was a screen natural. After more praise from critics and audiences on the French Riviera, Miramax would open Crossover Dreams at the Cinema Studio theatre in midtown Manhattan on August 23rd, 1985. Originally booked into the smaller 180 seat auditorium, since John Huston's Prizzi's Honor was still doing good business in the 300 seat house in its fourth week, the theatre would swap houses for the films when it became clear early on Crossover Dreams' first day that it would be the more popular title that weekend. And it would. While Prizzi would gross a still solid $10k that weekend, Crossover Dreams would gross $35k. In its second weekend, the film would again gross $35k. And in its third weekend, another $35k. They were basically selling out every seat at every show those first three weeks. Clearly, the film was indeed doing some crossover business.   But, strangely, Miramax would wait seven weeks after opening the film in New York to open it in Los Angeles. With a new ad campaign that de-emphasized Blades and played up the dreamer dreaming big aspect of the film, Miramax would open the movie at two of the more upscale theatres in the area, the Cineplex Beverly Center on the outskirts of Beverly Hills, and the Cineplex Brentwood Twin, on the west side where many of Hollywood's tastemakers called home. Even with a plethora of good reviews from the local press, and playing at two theatres with a capacity of more than double the one theatre playing the film in New York, Crossover Dreams could only manage a neat $13k opening weekend.   Slowly but surely, Miramax would add a few more prints in additional major markets, but never really gave the film the chance to score with Latino audiences who may have been craving a salsa-infused musical/drama, even if it was entirely in English. Looking back, thirty-eight years later, that seems to have been a mistake, but it seems that the film's final gross of just $250k after just ten weeks of release was leaving a lot of money on the table. At awards time, Blades would be nominated for an Independent Spirit Award for Best Actor, but otherwise, the film would be shut out of any further consideration.   But for all intents and purposes, the film did kinda complete its mission of turning Blades into a star. He continues to be one of the busiest Latino actors in Hollywood over the last forty years, and it would help get one of his co-stars, Elizabeth Peña, a major job in a major Hollywood film the following year, as the live-in maid at Richard Dreyfuss and Bette Midler's house in Paul Mazursky's Down and Out in Beverly Hills, which would give her a steady career until her passing in 2014. And Icasho himself would have a successful directing career both on movie screens and on television, working on such projects as Miami Vice, Crime Story, The Equalizer, Criminal Minds, and Queen of the South, until his passing this past May.   I'm going to briefly mention a Canadian drama called The Dog Who Stopped the War that Miramax released on three screens in their home town of Buffalo on October 25th, 1985. A children's film about two groups of children in a small town in Quebec during their winter break who get involved in an ever-escalating snowball fight. It would be the highest grossing local film in Canada in 1984, and would become the first in a series of 25 family films under a Tales For All banner made by a company called Party Productions, which will be releasing their newest film in the series later this year. The film may have huge in Canada, but in Buffalo in the late fall, the film would only gross $15k in its first, and only, week in theatres. The film would eventually develop a cult following thanks to repeated cable screenings during the holidays every year.   We'll also give a brief mention to an Australian action movie called Cool Change, directed by George Miller. No, not the George Miller who created the Mad Max series, but the other Australian director named George Miller, who had to start going by George T. Miller to differentiate himself from the other George Miller, even though this George Miller was directing before the other George Miller, and even had a bigger local and global hit in 1982 with The Man From Snowy River than the other George Miller had with Mad Max II, aka The Road Warrior. It would also be the second movie released by Miramax in a year starring a young Australian ingenue named Deborra-Lee Furness, who was also featured in Crossover Dreams. Today, most people know her as Mrs. Hugh Jackman.   The internet and several book sources say the movie opened in America on March 14th, 1986, but damn if I can find any playdate anywhere in the country, period. Not even in the Weinsteins' home territory of Buffalo. A critic from the Sydney Morning Herald would call the film, which opened in Australia four weeks after it allegedly opened in America, a spectacularly simplistic propaganda piece for the cattle farmers of the Victorian high plains,” and in its home country, it would barely gross 2% of its $3.5m budget.   And sticking with brief mentions of Australian movies Miramax allegedly released in American in the spring of 1986, we move over to one of three movies directed by Brian Trenchard-Smith that would be released during that year. In Australia, it was titled Frog Dreaming, but for America, the title was changed to The Quest. The film stars Henry Thomas from E.T. as an American boy who has moved to Australia to be with his guardian after his parents die, who finds himself caught up in the magic of a local Aboriginal myth that might be more real than anyone realizes.   And like Cool Change, I cannot find any American playdates for the film anywhere near its alleged May 1st, 1986 release date. I even contacted Mr. Trenchard-Smith asking him if he remembers anything about the American release of his film, knowing full well it's 37 years later, but while being very polite in his response, he was unable to help.       Finally, we get back to the movies we actually can talk about with some certainty. I know our next movie was actually released in American theatres, because I saw it in America at a cinema.   Twist and Shout tells the story of two best friends, Bjørn and Erik, growing up in suburbs of Copenhagen, Denmark in 1963. The music of The Beatles, who are just exploding in Europe, help provide a welcome respite from the harsh realities of their lives.   Directed by Billie August, Twist and Shout would become the first of several August films to be released by Miramax over the next decade, including his follow-up, which would end up become Miramax's first Oscar-winning release, but we'll be talking about that movie on our next episode.   August was often seen as a spiritual successor to Ingmar Bergman within Scandinavian cinema, so much so that Bergman would handpick August to direct a semi-autobiographical screenplay of his, The Best Intentions, in the early 1990s, when it became clear to Bergman that he would not be able to make it himself. Bergman's only stipulation was that August would need to cast one of his actresses from Fanny and Alexander, Pernilla Wallgren, as his stand-in character's mother. August and Wallgren had never met until they started filming. By the end of shooting, Pernilla Wallgren would be Pernilla August, but that's another story for another time.   In a rare twist, Twist and Shout would open in Los Angeles before New York City, at the Cineplex Beverly Center August 22nd, 1986, more than two years after it opened across Denmark. Loaded with accolades including a Best Picture Award from the European Film Festival and positive reviews from the likes of Gene Siskel and Michael Wilmington, the movie would gross, according to Variety, a “crisp” $14k in its first three days. In its second weekend, the Beverly Center would add a second screen for the film, and the gross would increase to $17k. And by week four, one of those prints at the Beverly Center would move to the Laemmle Monica 4, so those on the West Side who didn't want to go east of the 405 could watch it. But the combined $13k gross would not be as good as the previous week's $14k from the two screens at the Beverly Center.   It wouldn't be until Twist and Shout's sixth week of release they would finally add a screen in New York City, the 68th Street Playhouse, where it would gross $25k in its first weekend there. But after nine weeks, never playing in more than five theatres in any given weekend, Twist and Shout was down and out, with only $204k in ticket sales. But it was good enough for Miramax to acquire August's next movie, and actually get it into American theatres within a year of its release in Denmark and Sweden. Join us next episode for that story.   Earlier, I teased about why Miramax took more than a year off from releasing movies in 1984 and 1985. And we've reached that point in the timeline to tell that story.   After writing and producing The Burning in 1981, Bob and Harvey had decided what they really wanted to do was direct. But it would take years for them to come up with an idea and flesh that story out to a full length screenplay. They'd return to their roots as rock show promoters, borrowing heavily from one of Harvey's first forays into that field, when he and a partner, Corky Burger, purchased an aging movie theatre in Buffalo in 1974 and turned it into a rock and roll hall for a few years, until they gutted and demolished the theatre, so they could sell the land, with Harvey's half of the proceeds becoming much of the seed money to start Miramax up.   After graduating high school, three best friends from New York get the opportunity of a lifetime when they inherit an old run down hotel upstate, with dreams of turning it into a rock and roll hotel. But when they get to the hotel, they realize the place is going to need a lot more work than they initially realized, and they realize they are not going to get any help from any of the locals, who don't want them or their silly rock and roll hotel in their quaint and quiet town.   With a budget of only $5m, and a story that would need to be filmed entirely on location, the cast would not include very many well known actors.   For the lead role of Danny, the young man who inherits the hotel, they would cast Daniel Jordano, whose previous acting work had been nameless characters in movies like Death Wish 3 and Streetwalkin'. This would be his first leading role.   Danny's two best friends, Silk and Spikes, would be played by Leon W. Grant and Matthew Penn, respectively. Like Jordano, both Grant and Penn had also worked in small supporting roles, although Grant would actually play characters with actual names like Boo Boo and Chollie. Penn, the son of Bonnie and Clyde director Arthur Penn, would ironically have his first acting role in a 1983 musical called Rock and Roll Hotel, about a young trio of musicians who enter a Battle of the Bands at an old hotel called The Rock and Roll Hotel. This would also be their first leading roles.   Today, there are two reasons to watch Playing For Keeps.   One of them is to see just how truly awful Bob and Harvey Weinstein were as directors. 80% of the movie is master shots without any kind of coverage, 15% is wannabe MTV music video if those videos were directed by space aliens handed video cameras and not told what to do with them, and 5% Jordano mimicking Kevin Bacon in Footloose but with the heaviest New Yawk accent this side of Bensonhurst.   The other reason is to watch a young actress in her first major screen role, who is still mesmerizing and hypnotic despite the crapfest she is surrounded by. Nineteen year old Marisa Tomei wouldn't become a star because of this movie, but it was clear very early on she was going to become one, someday.   Mostly shot in and around the grounds of the Bethany Colony Resort in Bethany PA, the film would spend six weeks in production during June and July of 1984, and they would spend more than a year and a half putting the film together. As music men, they knew a movie about a rock and roll hotel for younger people who need to have a lot of hip, cool, teen-friendly music on the soundtrack. So, naturally, the Weinsteins would recruit such hip, cool, teen-friendly musicians like Pete Townshend of The Who, Phil Collins, Peter Frampton, Sister Sledge, already defunct Duran Duran side project Arcadia, and Hinton Battle, who had originated the role of The Scarecrow in the Broadway production of The Wiz. They would spend nearly $500k to acquire B-sides and tossed away songs that weren't good enough to appear on the artists' regular albums.   Once again light on money, Miramax would sent the completed film out to the major studios to see if they'd be willing to release the movie. A sale would bring some much needed capital back into the company immediately, and creating a working relationship with a major studio could be advantageous in the long run. Universal Pictures would buy the movie from Miramax for an undisclosed sum, and set an October 3rd release.   Playing For Keeps would open on 1148 screens that day, including 56 screens in the greater Los Angeles region and 80 in the New York City metropolitan area. But it wasn't the best week to open this film. Crocodile Dundee had opened the week before and was a surprise hit, spending a second week firmly atop the box office charts with $8.2m in ticket sales. Its nearest competitor, the Burt Lancaster/Kirk Douglas comedy Tough Guys, would be the week's highest grossing new film, with $4.6m. Number three was Top Gun, earning $2.405m in its 21st week in theatres, and Stand By Me was in fourth in its ninth week with $2.396m. In fifth place, playing in only 215 theatres, would be another new opener, Children of a Lesser God, with $1.9m. And all the way down in sixth place, with only $1.4m in ticket sales, was Playing for Keeps.   The reviews were fairly brutal, and by that, I mean they were fair in their brutality, although you'll have to do some work to find those reviews. No one has ever bothered to link their reviews for Playing For Keeps at Rotten Tomatoes or Metacritic. After a second weekend, where the film would lose a quarter of its screens and 61% of its opening weekend business, Universal would cut its losses and dump the film into dollar houses. The final reported box office gross on the film would be $2.67m.   Bob Weinstein would never write or direct another film, and Harvey Weinstein would only have one other directing credit to his name, an animated movie called The Gnomes' Great Adventure, which wasn't really a directing effort so much as buying the American rights to a 1985 Spanish animated series called The World of David the Gnome, creating new English language dubs with actors like Tom Bosley, Frank Gorshin, Christopher Plummer, and Tony Randall, and selling the new versions to Nickelodeon.   Sadly, we would learn in October 2017 that one of the earliest known episodes of sexual harassment by Harvey Weinstein happened during the pre-production of Playing for Keeps.   In 1984, a twenty year old college junior Tomi-Ann Roberts was waiting tables in New York City, hoping to start an acting career. Weinstein, who one of her customers at this restaurant, urged Ms. Roberts to audition for a movie that he and his brother were planning to direct. He sent her the script and asked her to meet him where he was staying so they could discuss the film. When she arrived at his hotel room, the door was left slightly ajar, and he called on her to come in and close the door behind her.  She would find Weinstein nude in the bathtub,  where he told her she would give a much better audition if she were comfortable getting naked in front of him too, because the character she might play would have a topless scene. If she could not bare her breasts in private, she would not be able to do it on film. She was horrified and rushed out of the room, after telling Weinstein that she was too prudish to go along. She felt he had manipulated her by feigning professional interest in her, and doubted she had ever been under serious consideration. That incident would send her life in a different direction. In 2017, Roberts was a psychology professor at Colorado College, researching sexual objectification, an interest she traces back in part to that long-ago encounter.   And on that sad note, we're going to take our leave.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1987.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Often when we think of cinema, the first places that come to mind are New York or Los Angeles. But did you know that hundreds of films and television shows are set in cities around the Pacific Northwest? From popular series like Twin Peaks to blockbuster book adaptations like Twilight, culture writer David Schmader's new book Filmlandia!: A Movie Lovers Guide to the Films and Television of Seattle, Portland, and the Great Northwest highlights more than 200 film and television entertainments created and centered in our region. Extensively researched and curated by Schmader, Filmlandia! explores the oft-overlooked film culture of The Pacific Northwest. The author shows a culture that is thriving and robust, one that is finally given space to be celebrated in a guide that aims to be visually arresting and compelling – much like the films themselves. Classics like Sleepless in Seattle are discussed, but so are little-known documentaries, including multiple about Nirvana legend Kurt Cobain. Schmader put in a lot of screen time and research for this release, resulting result is over 200 TV and film entries that feature synopses (with healthy doses of levity and insight), behind-the-scene facts and trivia, and regional scenic highlights. Sidebars showcase the television shows that shaped the public's perception of the region (such as Twin Peaks, Shrill, and Portlandia), filmmakers like Gus Van Sant and Lynn Shelton, queer cinema, silent films, and more. This is a talk for any cinephile or anyone with a curiosity about a lesser-known aspect of Pacific Northwest culture! David Schmader is a writer and performer devoted to exploring his obsessions, from homophobic rock stars and pray-away-the-gay Christians to trash cinema and legalized drugs. His solo plays have been performed in theaters across the US. From 1998–2015, Schmader was staff writer and editor for Seattle's Pulitzer-winning newsweekly The Stranger, where he wrote the issue-opening column “Last Days: The Week in Review.” He is the world's foremost authority on the glorious terribleness of the movie Showgirls, hosting annotated screenings of Paul Verhoeven's notorious stripper drama at cinemas all over North America and providing the commentary track for the Showgirls DVD. He is the author of Filmlandia: A Movie Lover's Guide to the Films and Television of Seattle, Portland, and The Great Northwest and Weed: The User's Guide, published by Sasquatch Books. Kathy Fennessy is a Seattle Film Critics Society board member, an approved critic for Rotten Tomatoes, and a regular contributor to Rock and Roll Globe, Seattle Film Blog, and Video Librarian. She has also written or spoken about film for Amazon, KEXP's Sound and Vision, KUOW's All Things Considered, Minneapolis's City Pages, the Northwest Film Forum, the Seattle International Film Festival, and The Stranger. She was born in Connecticut, raised in Alaska, and works in development at Cascade Public Media/KCTS 9. She is a Whitman College graduate and has lived in the Pacific Northwest for 35 years. Filmlandia!: A Movie Lover's Guide to the Films and Television of Seattle, Portland, and the Great Northwest Third Place Books

Comedian, actor and podcaster Marc Maron talks about a wide range of issues, including his special — and how he addressed the loss of his partner, filmmaker Lynn Shelton. He also takes on comedians who hide behind being "anti-woke," shares his concerns over how Netflix has impacted comedy, gives his take on Record Store Day, talks about his guest role on Season 2 of "Reservation Dogs," and shares some of his upcoming projects. And much more! 

The deadCenter Film Festival has a history of shining a light on films made in Oklahoma about Oklahoma, and this year is no exception. Last night's closing film was the Sundance Film Festival darling, Fancy Dance, from Oklahoma-born director Erica Tremblay. The film tells the soulful story of Jax, a Native American woman living on the Seneca–Cayuga Nation Reservation, who serves as a stand-in mother for her niece, Rokie, just before Rokie's grandparents separate them. Fancy Dance received a standing ovation from the audience in The First American's Museum Five Moons Theater before taking home the Best Indigenous Feature and Best Narrative Feature awards. Erica Tremblay is the 2023 deadCenter Icon Award winner, one of the highest festival honors. In this deadCenter 2023 interview, we talk with Tremblay about her experience bringing Fancy Dance back to Oklahoma. She shares her perspective on why representing Queer native women on the big screen is essential to understanding the urgent state of the Seneca-Cayuga Nation along with some of the unique challenges faced making the film. Tremblay is a Sundance Screenwriters and Directors Lab fellow and recipient of SFFILM Rainin and Lynn Shelton grants. She was the executive story editor of Dark Winds, an AMC series produced by George R.R. Martin and Robert Redford. She […] The post Erica Tremblay on Bringing ‘Fancy Dance' Home to Oklahoma – dCFF23 appeared first on The Cinematropolis.

Marc Maron has been performing stand-up comedy for decades. He always figured that would be his legacy. Until he started the mother of all podcasts: WTF with Marc Maron. The podcast came out of a very uncertain time in Marc's life as a comedian: he'd work the road, get a TV gig now and then. But as he got closer to middle age, he realized that lifestyle wasn't sustainable. So, he started making WTF. The success came shortly after, but Maron didn't leave stand-up behind. Earlier this year, he released a new comedy special on HBO called From Bleak to Dark where he talks about the loss of his partner, Lynn Shelton. It's some of his best work yet. This week on Bullseye, Marc Maron reminisces on his life as a struggling comic and talks about his tremendous success as a podcast host. Plus, what it was like to get behind a mic after losing one of the most important people in his life.

Marc Maron (stand-up comedian, host of WTF with Marc Maron podcast, actor, author) joins us to break down the arc of grief, the effects of growing up with detached parents, and his journey toward sobriety and defining himself. We discuss Marc's foray into podcasting, how it enabled a generation of podcasters including MBB, and how his show has evolved over time. He reflects on his past struggles with alcohol and drugs including "cocaine psychosis", his experiences with rehab and therapy, and the positives and negatives of groups like AA. Maron explains how his mother influenced his disordered eating, his father's narcissism and recent dementia diagnosis, and how his parents' struggles denied him a fundamental sense of self. He reveals why he thinks he may have had undiagnosed borderline personality disorder, why he chooses to be so revealing in his creative pursuits, and the dangers of early exposure to adult content. Maron opens up about the sudden passing of his girlfriend Lynn Shelton, his inevitable attempt at using humor to relieve his pain, the interconnectedness of grief, the importance of showing up in his state of raw grief for his loyal audience, and the sense of comfort and control he has felt from sharing this experience. He considers his shortcomings as a romantic partner, what he got right with Lynn, and his take on separating the art from the artist.Marc Maron's new HBO special, FROM BLEAK TO DARK: https://www.hbo.com/movies/marc-maron-from-bleak-to-darkBialikBreakdown.comYouTube.com/mayimbialik

The dynamic nature of actor Josh Pais's approach toward constructing performance; harnessing creativity; and retaining the spontaneity associated with each moment on-screen is part of his signature. With over 100 roles to his credit, the Lower East Side native grew up in a culturally vibrant, evolving environment which led him to cultivate his own unique sense of identity as one of the finest performers in the film and television industry. His remarkable filmography includes memorable performances in Safe Men, in which he acted among contemporaries like Sam Rockwell, Steve Zahn and Peter Dinklage; The Station Agent, penned and directed by one of his best friends, Tom McCarthy; the brilliant Lynn Shelton's emotional masterpiece, Touchy Feely; Nicole Holofcener's classically independent, Please Give, with Catherine Keener; and Charlie Kaufman's directorial opus, Synecdoche, NY, acting opposite Phillip Seymour Hoffman. Along the way came multiyear arcs in television shows like Ray Donovan, alongside Liev Schreiber; and memorable scenes with Joaquin Phoenix in the seminal Joker (Todd Phillips; Scott Silver). You can immerse yourself into the techniques he has developed and experienced throughout his prolific career by visiting Committed Impulse (committedimpulse.com), and find him on his Instagram (@JoshPais). In our conversation, we discussed his documentary, 7th Street, describing the state of culture which governed his Alphabet City upbringing; collaborating with some of the best directors on the planet; and acting on projects which gave meaning to the landscape of film. His latest projects include Nicole Holofcener's You Hurt My Feelings (David Cross; Amber Tamblyn; Julia Louis-Dreyfus) and David E. Kelley's upcoming mini series, A Man in Full, with Regina King directing (Jeff Daniels; Bill Camp).Opening Credits: Bureaucrat & The Conspirators - Yankees; The Rope River Blues Band - Wrist Lit; Closing Credits: POVALISHIN DIVISION - Сестра

We'll talk with New Yorker staff writer Michael Schulman about his new book, Oscar Wars. It's about the ongoing conflicts surrounding race, gender, and representation in Hollywood, as well as earlier conflicts dating back to the founding of the Academy of Motion Picture Arts and Sciences.Also, we'll hear from comic and podcaster Marc Maron. In his new HBO comedy special, From Bleak to Dark, he talks about climate change, anti-Semitism, and processing the sudden death of his girlfriend, Lynn Shelton.John Powers reviews the documentary, All That Breathes, about two brothers devoted to rescuing birds in Delhi, India.

We'll talk with New Yorker staff writer Michael Schulman about his new book, Oscar Wars. It's about the ongoing conflicts surrounding race, gender, and representation in Hollywood, as well as earlier conflicts dating back to the founding of the Academy of Motion Picture Arts and Sciences.Also, we'll hear from comic and podcaster Marc Maron. In his new HBO comedy special, From Bleak to Dark, he talks about climate change, anti-Semitism, and processing the sudden death of his girlfriend, Lynn Shelton.John Powers reviews the documentary, All That Breathes, about two brothers devoted to rescuing birds in Delhi, India.

Welcome back to my very irregularly scheduled podcast Deep Focus, where I, Playlist.net Editor-in-Chief Rodrigo Perez, talk long or long-ish with different filmmakers, directors, writers, and actors. Today, my guest is none other than comedian/actor and podcaster extraordinaire Marc Maron. Maron has a new HBO special out, available now on HBO Max called, 'Marc Maron: From Bleak To Dark.' The special is funny, political in the best way, humanist, and also soulful and candid, dealing with a lot of things like grief, mortality, aging, and our current cultural climate. Maron and I get into all facets of the HBO special, the political content, the humanist content, and all of its various funny, touching, insightful, and barbed aspects. He also opened up to me about the late Lynn Shelton, the filmmaker who passed in 2020 during the pandemic and who was Maron's romantic partner at the time. Maron even opened up about the screenplay he was co-writing with Shelton before her death and his mixed feelings about reviving it and maybe making it into a movie—the short end of the answer is maybe not and maybe yes, one day, though he did reveal to me that he sent it to indie filmmaker Nicole Holofcener known for “Enough Said,” “Friends With Money” and her most recent Sundance film “You Hurt My Feelings.” Beyond that, we also got into his own evolution as a human being, which has gone from a grumpy, angry guy cliche to someone who speaks about the "evolving capacity for empathy" that we all carry within us. I think this was a meaningful and soulful conversation, if I do say so myself, so I hope you enjoy and share it. Remember to check out more stories, news, reviews, interviews, and more at ThePlaylist.net, subscribe to our newsletter, and check out more of our Playlist Podcast interviews here. --- Send in a voice message: https://anchor.fm/theplaylist/message Support this podcast: https://anchor.fm/theplaylist/support

Director Nathaniel Lezra joins "CBS Mornings" to discuss his new film, "Don't Leave Me Behind: Stories of Young Ukrainian Survival." The documentary, airing on MTV, focuses on the lives of two Ukrainian teenagers trying to make a new life in Poland as the war in their country enters its second year.Bruce Willis' family says the actor has been diagnosed with frontotemporal dementia, which can affect a person's personality, behavior, language and movement. There are no approved treatments, and there is no cure. CBS News' Carter Evans reports and Dr. David Agus has more on what the diagnosis means.Comedian and podcast host Marc Maron is out with his first HBO special, "Marc Maron: From Bleak to Dark," which covers difficult topics, like grappling with his father's dementia and the sudden death of his partner, director Lynn Shelton. Maron tells CBS News' Anthony Mason about his writing process, the unexpected success of his podcast, "WTF," and turning his grief into comedy.CBS News' Carter Evans talks to Neil Druckmann, co-creator and executive producer of "The Last of Us" game and HBO series, about the storytelling that appeals to both audiences.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

After the sudden death of his girlfriend Lynn Shelton in 2020, comedian and podcaster Marc Maron was forced to grieve in isolation. He talks about finding humor amidst his grief in his new HBO special, From Bleak to Dark.Also, Ken Tucker reviews a new release of Bob Dylan's Time Out of Mind.

After the sudden death of his girlfriend Lynn Shelton in 2020, comedian and podcaster Marc Maron was forced to grieve in isolation. He talks about finding humor amidst his grief in his new HBO special, From Bleak to Dark.Also, Ken Tucker reviews a new release of Bob Dylan's Time Out of Mind.

Marc Maron is an American comedian, podcaster, writer, and actor. He is best known for hosting the popular podcast "WTF with Marc Maron," in which he interviews a wide range of guests, including comedians, actors, and musicians. Maron is also a stand-up comedian and has released several comedy albums. In addition to his work in podcasting and stand-up comedy, Maron has appeared in a number of TV shows and films, including "Maron," a television series he starred in and co-created. The last time Marc Maron was on Good One, it was the early days of the pandemic. We're talking late March 2020. A month and change later, his girlfriend Lynn Shelton unexpectedly passed away. Marc's newest special, From Bleak to Dark, explores that grief. Together, Marc and host Jesse David Fox discuss the concept of "too soon," and processing pain with comedy. Watch From Bleak to Dark on HBO. Follow Marc on Twitter and Instagram. Follow Jesse David Fox on Twitter and Instagram. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This podcast covers New Girl Season 3, Episode 20, Mars Landing, which originally aired on March 25, 2014 and was directed by Lynn Shelton and was written by Josh Malmuth & Nina Pedrad. Here's a quick recap of the episode:After a game of True American, the whole gang is hung over. Jess and Nick get into a fight over their differences while the guys try to hit on women moving into Schmidt's old apartment.We discuss Pop Culture References such as:Emojis vs. Emoticons - Schmidt said Cece should text Buster “one of the little yellow men, the emoticons.” Reginald VelJohnson / Carl Winslow / Family Matters - Nick shared that he lost a bet and had to name his first born child “Reginald VelJohnson” who is the actor who played Carl Winslow on the TV show Family Matters. Additional Pop Culture References such as:Magic Johnson's Child EJ - After True American, Coach thought he “looked like Magic Johnson's son, EJ,” for wearing ladies sunglasses. EJ is one of Magic Johnson's three children and currently identifies as gender-fluid. EJ is an actor and an advocate for the LGBTQ+ community. Jewel / Pieces of You - When Schmidt was reviewing Cece's text to Buster, he asked if she had written a Jewel song and if it was from Jewel's album Pieces of You. Jewel Kilcher is an American singer-songwriter, actress, and author who has received four Grammy Award nominations and has sold over 30 million albums worldwide. Pieces of You is Jewel's debut studio album from 1995. While the album initially failed to chart, Pieces of You is currently certified 12-times platinum. Zachary Quinto - Schmidt was trying to impress the new neighbors by pretending to be on the phone and saying “It's my garden party, and Zachary Quinto is not on the list.” Zachary John Quinto is an American actor and film producer known for acting in the science fiction drama series Heroes and as Spock in Star Trek films. Quinto also starred in American Horror Story: Asylum, for which he received an Emmy nomination. Santa Claus - Nick said he didn't build the toy for the birthday party because he wasn't Santa Claus. We shared more about Santa in our podcast episode S2E11 - Santa. Santa Claus, also known as Father Christmas, Saint Nicholas, Saint Nick, Kris Kringle, or simply Santa, is a legendary figure originating in Western Christian culture who is said to bring gifts during the late evening and overnight hours on Christmas Eve.Saving Private Ryan - Nick quoted Saving Private Ryan while breaking up with Jess because it was a big moment in that movie and this was a big moment for them. Saving Private Ryan is a 1998 American epic war film directed by Steven Spielberg. Set in 1944, during the Normandy landings of World War II, the film follows a group of soldiers on their mission to extricate Private James Ryan from the war effort after all of his brothers are killed in battle.In our “Most Likely To” segment, we discuss who would be more likely to live on Mars, never go to a party they'd been invited to, name their child based on a lost bet, or drunk text someone. Additionally, we cover the sex blink and fight between Schmidt and Coach as our “Schmidtism”. For our “Not in the 2020s” section, we talk about how Schmidt and Coach treated Winston and their idea that helping a girl move was “bad”. In our “Yes in the 2020s” section we celebrate the mature breakup between Jess and Nick and Michelle's sex-positivity. We also explore the careers of James Frecheville (Buster) and Alexandra Daddario (Michelle), the Guest Stars we feature in this episode.Also in this episode were the following guest stars who we do not discuss in the podcast: June Diane Raphael (Sadie - Previously Discussed in S1E15) and Stevie Nelson (Laurie).In our Trivia & Fun Facts section, we reference this AV Club article, written at the time of the episode's original airing, that mentions some of the similarities between this episode and S2E15 Cooler, where Jess and Nick first kiss. Neither of us found the bear in this episode.While not discussed in the podcast, we noted other references in this episode including:Afghanistan / Second Tour - During the episode, Laurie says her boyfriend was serving his second tour in Afghanistan. The United States invaded Afghanistan in 2011 after the 9-11 attacks, leading to the longest war in the United States's history. In military terms, a “tour” is the length of time that a soldier leaves their base, usually to be stationed in another country. Having “tours of duty” for soldiers allows them to have time off between tours of service and for the military to rotate their soldiers without overstretching them.Zippo - In the episode, Nick mentions that he likes doing Zippo tricks. Zippo is a reusable lighter created by the Zippo Manufacturing Company in the United States that was founded 91 years ago. They have been known as a distinct symbol of the USA. In this article, there is a list of Zippo “tricks” that can be done with the Zippo lighters.True American References - Throughout the short game of True American, there were many references to historical figures and places like:JFK - This is the nickname for President John F. Kennedy, the 35th President of the United States of America.FDR - This is the nickname for President Franklin D. Roosevelt, the 32nd President of the United States of America.Grover Cleveland - President Grover Cleveland was both the 22nd and 24th President of the United States of America. He was the only President to serve two non-consecutive terms as President.Ellis Island - Ellis Island was the immigration station in New York from 1855 to 1890, where approximately 8 million immigrants passed through. There is a prevalent rumor that some immigrants changed their last names when they passed through Ellis Island.Eli Whitney / Cotton Gin - Eli Whitney is known for inventing the cotton gin which is a key invention during the Industrial Revolution. The cotton gin is short for cotton “engine” which was a machine that quickly separated cotton fibers from their seeds that was much faster than manually separating the two.This episode got a 6/10 rating from Kritika and a 5/10 from Kelly and we both had the same favorite character: Winston!Thanks for listening and stay tuned for Episode 21!Music: "Hotshot” by scottholmesmusic.comFollow us on Twitter, Instagram or email us at whosthatgirlpod@gmail.com!Website: https://smallscreenchatter.com/

You can rate and review us in these places (and more, probably) Does This Still Work? - TV Podcast https://www.podchaser.com/podcasts/does-this-still-work-1088105 ‎Does This Still Work? on Apple Podcasts https://podcasts.apple.com/us/podcast/does-this-still-work/id1492570867 Colton Harris-Moore https://www.historylink.org/File/22562 https://www.spokesman.com/blogs/sirens/2009/oct/07/teen-bandit-becoming-national-sensation/ https://www.newspapers.com/image/579260468/?terms=Colton%20Harris-Moore&match=1 https://www.q13fox.com/news/newly-released-ex-con-barefoot-bandit-gets-job-with-a-surprising-employer Beyond Gay https://www.indiewire.com/2009/11/beyond-gay-presenting-lynn-sheltons-sequel-to-humpday-246207/ Gay for a Day https://abcnews.go.com/Travel/story?id=8328441&page=1 Beyond Gay https://www.indiewire.com/2009/11/beyond-gay-presenting-lynn-sheltons-sequel-to-humpday-246207/ Gay for a Day https://abcnews.go.com/Travel/story?id=8328441&page=1

This is a Very Special Boxing Day Episode of Where We Go Next, with longtime friend of the show Jay Shapiro. We discuss Jay's recent move to Mexico City, how we find and make meaning in community, the history of Boxing Day, what Jay's been up to with Sam Harris, and we analyze two films that are meaningful to us: SLC Punk! and Wendy and Lucy.How to watch Jay's Movie, SLC Punk! - JustWatchHow to watch Michael's movie, Wendy and Lucy - JustWatchwhatjaythinks.comDedicated: The Case for Commitment in an Age of Infinite BrowsingWhy Honor Matters, by Tamler Sommers#126 - In Defense of Honor - Making Sense with Sam Harris (featuring Tamler Sommers)Standings Bar, NYC - Instagram66: Embracing Commitment in an Age of Infinite Browsing, with Pete Davis - Where We Go NextThe Last Dance - Netflix"You're actually rooting for the clothes, when you get right down to it." - Jerry SeinfeldBoxing Day - WikipediaThe Human Capacity - An Essay from the Writer of The Essential Sam Harris, by Jay Shapiro  63: Choosing Between a Drowning Child and a New Pair of Shoes, with Jay Shapiro - Where We Go NextHype! (1996) - WikipediaNothing Gold Can Stay, by Robert FrostReality Bites - WikipediaKelly Reichardt - WikipediaLynn Shelton - WikipediaJohn Cassavetes - WikipediaJeremy Kagan - WikipediaHow to watch A Woman Under the Influence - JustWatch@GEN - Gen Kimura's YouTube ChannelHusbands - WikipediaYour Sister's Sister - WikipediaOld Joy - WikipediaObserver Effect - WikipediaCastaway - WikipediaS01E01: Fire at the Louvre - Susan Wolf - Dilemma PodcastSometimes a Great Notion (film) - Wikipedia----------Are you a fan of Where We Go Next? Your feedback is valuable. Listen to the very end of this episode for details.Email: wherewegopod@gmail.comInstagram: @wwgnpodcast

Marc Maron is a stand-up comedy veteran and the host of the popular “WTF” podcast. As a screen actor, he cut his teeth playing a version of himself in the series “Maron.” Lately the Netflix series “Glow” and Lynn Shelton's “Sword of Trust” put more of his range on display. And now he delivers the epitome of “supporting” performance in the incredible new film “To Leslie,” opposite Andrea Riseborough. On this episode, he talks about his apprehension with accepting the role, his impatience with the process of acting in general, the importance of making himself emotionally available in his scenes, what it would take for him to feel like this crazy endeavor is “worth it,” and much more. Follow Back To One on Instagram Back To One is the in-depth, no-nonsense, actors-on-acting podcast from Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft. 

We continue our series going through the entire catalog of A24's films. On this episode we are looking at 2014's Laggies directed by Lynn Shelton. The film stars Kiera Knightly as a woman who faces a quarter century crisis and runs away from her life to stay with a high schooler played by Chloë Grace Moretz. Joining the show is Kattie Laur and Mark Allin, Kattie is a writer for Pod the North and producer on Alpaca My Bags while Mark is a musician and host of former movie podcast Videophilia. Our double bill pairings include Seeking a Friend for the End of the World (Dakota), Hook (Rachel), Booksmart (Kattie) and Your Sister's Sister (Mark). Check out the ongoing Letterboxd list of all our pairings. If you haven't heard our deep dive into the origins of A24, listen to episode 108: A History of A24 Films and our last episode in this series episode 213: A24 Retrospective - Tusk. Follow Kattie on Twitter and read the Pod the North Substack. Follow Mark on Twitter and listen to his band Beat Noir. Follow their dog Joe on Instagram! Follow Rachel on Twitter and check out her website for more great reviews. Make sure to read Rachel's interview with Decision to Leave director Park Chan-wook on The Asian Cut. Listen to Contra Zoom on Anchor, Apple Podcasts, Spotify, Google Play, Overcast, RadioPublic, Breaker, Podcast Addict and more! Please rate and review the show on Apple Podcasts or Spotify. Send us a screenshot of your 5 star rating and review to contrazoompod@gmail.com and we will send you free stickers! Thank you Eric and Kevin Smale for the original theme songs, Jimere for the interlude music and Stephanie Prior for designing the logo. Support the show on Ko-fi by sending us a tip! Follow the show on Twitter, Instagram, YouTube and Facebook and visit our official website. --- Send in a voice message: https://anchor.fm/contrazoompod/message

The 2014 A24 film Laggies, directed by Lynn Shelton, is about a directionless 28 year old named Megan (played by Keira Knightley) in a dead-end relationship that meets a 16 year old named Annika (played by Chloe Grace Moretz) who provides a spark to her life after Megan found her dad cheating on her mom. It isn't long before these A24 nerds dig deeper into this movie and provide insight from their own life on the trials and tribulations of figuring out what they want to do in the world. Will this philosophical debate lead them to giving this film a good grade?

I talk to writer, film producer and academic about screenwriters and screenwriting. Here's some information from Neil's own webpage:My award-winning film work includes the short film It's Natural To Be Afraid (2011), viewable here, and the feature film ‘Wilderness' (2017), currently out for sale following a successful festival run. You can find my filmmaking site here. I am the co-founder and co-host of the renowned film podcast The Cinematologists.I write about music documentaries for The Quietus, and about film more broadly for Beneficial Shock, Directors Notes and others.I am a contributing editor to MAI: Journal of Feminism and Visual Culture, and have conducted long-form interviews with filmmakers Hope Dickson Leach and Lynn Shelton.On this site you will find details of current projects and articles alongside links to where you can find evidence of my bold claims.My research interests include Film Education, Music Documentaries and Concert Films, and Podcasting.By day I am a senior lecturer in Film at the School of Film & Television, Falmouth University, where I also lead a research and innovation programme on pedagogy. I teach screenwriting and filmmaking on the BA Film and MA Film & Television courses.I have a beautiful wife and a daughter, Beth and Tessa, a cheeky dog called Bailey (aka Chaos Dog) and we all live in Cornwall, UK.Support this show http://supporter.acast.com/writers-on-film. Hosted on Acast. See acast.com/privacy for more information.

Elaine Del Valle is a Brownsville, Brooklyn bred Puerto Rican multi-hyphenate filmmaker. She is the winner of the HBO Latinx short film award, and was featured in the National Association of Latino Independent Producers (NALIP) Director showcase. Her films have been supported by WarnerMedia 150, Knight Foundation, Fractured Atlas and the Sundance Institute. As a WRITER/DIRECTOR her short films, Me 3.769 and Princess Cut, went on to air on HBOmax. Her most recent project, Brownsville Bred recently won the Audience Award at the 2022 SXSW Festival in the “Episodic Pilot Competition” category Showrunner/Director/Screenwriter: Elaine Del Valle, Producers: Adrienne Lovette, Elaine Del Valle, Leslie Cohen, Debbie Esko-Gold, Eddie Frente Elaine is a Lynn Shelton award finalist and two-time Imagen Impact award nominee. Redefine Magazine and Miami New Times named her a Filmmaker to Watch. Ad Age called her short documentary, Tagged (filmed entirely on a mobile phone) “compelling.” While Elaine loves expressing emotion through her camera, she's most proud of being referred to as an “actor's director.” Her many years as an ACTOR trained by Wynn Handman at New York City's Carnegie Hall, combined with her passion to bring authentic Latina voices to entertainment is what led her to create her autobiographical one-woman stage play, Brownsville Bred. Elaine went on to perform Brownsville Bred off-Broadway, where the New York Times raved, "From Girlhood Trials To Onstage Triumph." Empowered and fulfilled by the experience, Elaine would continue to act while creating content representative of her Latina experience. Elaine's most recent acting role is as a recurring guest star in the ABC series Queens. As a WRITER/CREATOR, Elaine's original drama pilot, The System, landed a pilot order with CBS and Sutton Street Productions (Jane The Virgin). Under her banner company, Del Valle Productions and Casting, Elaine is a CSA casting director who has cast talented actors in hundreds of projects and PRODUCED over 50 film titles. Elaine spends her free time speaking at youth director & arts programs in underserved communities. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Mike O'Brien has the distinction of being responsible for Marc Maron crossing over into the world of improv. With a background in the Chicago improv and sketch scene and seven seasons writing for Saturday Night Live, Lynn Shelton approached Mike to help create a movie that would be entirely improvised by the cast. That movie was Sword of Trust starring Marc Maron. Mike and Marc talk about the making of the film, Mike's comedy background, and the fan movement that gave Mike's TV show, A.P. Bio, a new life. See omnystudio.com/listener for privacy information.

How does director Lynn Shelton do with her return to indie comedy? What do Marc Maron, Jon Bass, Michaela Watkins, and Jillian Bell bring to the table as the central performers in the film? As her final film before she passed away sadly in 2020, how does this film fit into her filmography and will we be returning to talk about more of her films? Tune in to this week's show to get answers to these questions and more!

How does director Lynn Shelton do with her return to indie comedy? What do Marc Maron, Jon Bass, Michaela Watkins, and Jillian Bell bring to the table as the central performers in the film? As her final film before she passed away sadly in 2020, how does this film fit into her filmography and will we be returning to talk about more of her films? Tune in to this week's show to get answers to these questions and more!

Lynn Shelton returns to team Duplass, this time with Jay. How well do they do as co-writers? Why weren't people talking about Edie Falco and her performance in this film more? We also love Kaitlyn Dever who clearly shows she's incredibly talented. And how does Shelton do with a straightforward drama? Tune in to this week's show to get answers to these questions and more!

Does “Laggies” work as director Lynn Shelton's chance to tell bigger budget comedy dramas? How charming are Keira Knightley and Sam Rockwell? And what's up with the title “Laggies.” What does it mean anyway? Tune in to this week's show to get answers to these questions and more!

How great are Emily Blunt, Mark Duplass, and Rosemary DeWitt in their roles? Does Lynn Shelton amp up her comedy and drama in this film or does it just create characters with problems we can't identify with? And how gorgeous is the Pacific Northwest? Tune in to this week's show – the second in our Lynn Shelton series – to get answers to these questions and more!

Does this film that really kickstarted Lynn Shelton's career completely work or are there elements that don't work as well? How much do we like Mark Duplass, Joshua Leonard, and Alycia Delmore as the three principal characters? And does the ending work? We're kicking off our Lynn Shelton series with this film, so check it out and tune in to get answers to these questions and more!

Eddie Huang has been fighting for things his whole life. Whether fighting for respect from a culture that is unwelcoming, or fighting for normalcy amidst a chaotic upbringing, or fighting for approval from his immigrant parents, all his achievements came with a cost. Now, with the first movie he wrote and directed under his belt, Eddie tells Marc why the film Boogie represents a collection of everything he's had to fight for. They also talk about his struggles with having his memoir Fresh Off The Boat adapted for TV and why Lynn Shelton was integral to him becoming a director.  See acast.com/privacy for privacy and opt-out information. Sign up here for WTF+ to get the full show archives and weekly bonus material! https://plus.acast.com/s/wtf-with-marc-maron-podcast.

Luke and Andrew pay tribute to filmmaker Lynn Shelton and to Fred Willard, who both passed away this weekend. Also, TBTL is Mystery Solvers as some listeners think they've found contact information for The Real Andrew Walsh, the best substitute teacher of all time.

Sean Penn wrote a novel to slow things down. He fell out of love with making movies, he is disillusioned by the culture, and he finds it hard to draw hope from current events. Sean explains to Marc how writing makes him feel like he's not part of the noise, how he finds strength from the Parkland students, and how an upcoming movie made him feel like he could actually rekindle his love of filmmaking. Also, Lynn Shelton returns to the garage to talk about directing her new movie, Outside In, and explain what it's like to direct Marc. See acast.com/privacy for privacy and opt-out information. Sign up here for WTF+ to get the full show archives and weekly bonus material! https://plus.acast.com/s/wtf-with-marc-maron-podcast.