American brothers documentary filmmaker duo
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4 episodes with maysles
2 episodes with maysles
4 episodes with maysles
2 episodes with maysles
2 episodes with maysles
2 episodes with maysles
2 episodes with maysles
2 episodes with maysles
2 episodes with maysles
Esperanza and Irwin didn't intend for this podcast to go 59 minutes, our longest episode to date. Jerry Torre's fascinating story, as a teenager in his friend Billy's Lazy Point fishing cottage, to his work on the Geddes estate on Lily Pond Lane is riveting. But his years living and working for the Beales at Grey Gardens, his involvement in the Maysles documentary and his personal recollections is at the the heart of this special podcast.
Edie, get some ice cream! We're celebrating 2009's “Grey Gardens” with that fine HBO polish, impeccable prosthetics, a sweeping score, the wild range of Jessica Lange and Drew Barrymore working harder than anyone to bring Little Edie Beale to life in all her glory, misery and resilience. Jeanne Tripplehorn's Jackie O, Malcolm Gets's Gould and Ken Howard's Phelan Beale, to say nothing of those Maysles and that Baldwin, buoy the Beales through a thoroughly quotable, heartbreaking and hilarious rise to cult stardom. Join us for The Best Supporting Aftershow and early access to main episodes on Patreon: www.patreon.com/bsapod Email: thebsapod@gmail.com Instagram: @bsapod Colin Drucker - Instagram: @colindrucker_ Nick Kochanov - Instagram: @nickkochanov
Altamont 1969. En gratiskonsert i Kalifornien, LSD i blodet, öl i luften, basebollträn i händerna på Hells Angels. Jagger försöker lugna publiken, men ingen lyssnar. Slag, skrik, knivar, en man faller och reser sig aldrig igen. Woodstock var en dröm, Altamont var baksmällan – blodig, skakig, och omöjlig att glömma. Rock'n'roll mötte verkligheten, och verkligheten vann.Musikpodden finns även på:Instagram: Musik_poddenSpotify: Musikpodden med Arvid BranderApple podcast: Musikpodden med Arvid BranderKontakt: podcastarvid@gmail.comKällor:BöckerThompson, H. S. (1971). Fear and Loathing in Las Vegas. New York: Random House.Selvin, J. (2016). Altamont: The Rolling Stones, the Hells Angels, and the Inside Story of Rock's Darkest Day. New York: HarperCollins. (Denna bok har varit ryggraden för detta avsnitt – stort tack till Joel Selvin för detta gedigna arbete!)Dowley, T. (1983). The Rolling Stones. London: Midas Books.Norman, P. (2012). Mick Jagger. London: HarperCollins.Artiklar och webbpubliceringarChiu, D. (2019). Altamont At 50: The Disastrous Concert That Brought The ‘60s To A Crashing Halt. Forbes. Hämtad från: www.forbes.comBlaustein, J. (2019). 50 Years After Altamont: The End of the 1960s. The New York Times. Hämtad från: www.nytimes.comGleiberman, O. (2014). Altamont at 45: The Most Dangerous Rock Concert. Hämtad från: www.ew.comFilmer och dokumentärerMaysles, A., Maysles, D., & Zwerin, C. (Regissörer). (1970). Gimme Shelter. USA: Cinema 5.YouTube-videorBBC Archive. (Datum okänt). Altamont Free Concert. Hämtad från: YouTube.Fascinating Horror. (2022). The Altamont Free Concert | A Short Documentary. Hämtad från: YouTube.O'Dell, T. (Regissör). (2023). DAYS OF RAGE: The Rolling Stones Road To Altamont | Violent 1960s-era of U.S | Feature Documentary. Uppladdad av Filmisnow Movies. Hämtad från: YouTube.Grace, K. (2019, 16 augusti). Jeannie Whitworth talks about the West Palm Beach Pop festival in 1969. Hämtad från: YouTube.Grace, K. (2008, 1 maj). Alex Grey about Albert Hofmann (LSD). Hämtad från: YouTube. Hosted on Acast. See acast.com/privacy for more information.
Altamont 1969. En gratiskonsert i Kalifornien, LSD i blodet, öl i luften, basebollträn i händerna på Hells Angels. Jagger försöker lugna publiken, men ingen lyssnar. Slag, skrik, knivar, en man faller och reser sig aldrig igen. Woodstock var en dröm, Altamont var baksmällan – blodig, skakig, och omöjlig att glömma. Rock'n'roll mötte verkligheten, och verkligheten vann.Musikpodden finns även på:Instagram: Musik_poddenSpotify: Musikpodden med Arvid BranderApple podcast: Musikpodden med Arvid BranderKontakt: podcastarvid@gmail.comKällor:BöckerThompson, H. S. (1971). Fear and Loathing in Las Vegas. New York: Random House. Selvin, J. (2016). Altamont: The Rolling Stones, the Hells Angels, and the Inside Story of Rock's Darkest Day. New York: HarperCollins. (Denna bok har varit ryggraden för detta avsnitt – stort tack till Joel Selvin för detta gedigna arbete!)Dowley, T. (1983). The Rolling Stones. London: Midas Books.Artiklar och webbpubliceringarChiu, D. (2019). Altamont At 50: The Disastrous Concert That Brought The ‘60s To A Crashing Halt. Forbes. Hämtad från: www.forbes.comBlaustein, J. (2019). 50 Years After Altamont: The End of the 1960s. The New York Times. Hämtad från: www.nytimes.comGleiberman, O. (2014). Altamont at 45: The Most Dangerous Rock Concert. Hämtad från: www.ew.comFilmer och dokumentärerMaysles, A., Maysles, D., & Zwerin, C. (Regissörer). (1970). Gimme Shelter. USA: Cinema 5.YouTube-videorBBC Archive. (Datum okänt). Altamont Free Concert. Hämtad från: YouTubeFascinating Horror. (2022). The Altamont Free Concert | A Short Documentary. Hämtad från: YouTubeO'Dell, T. (Regissör). (2023). DAYS OF RAGE: The Rolling Stones Road To Altamont | Violent 1960s-era of U.S | Feature Documentary. Uppladdad av Filmisnow Movies. Hämtad från: YouTube Hosted on Acast. See acast.com/privacy for more information.
The cast is joined by Allan Kozinn and Adrian Sinclair, authors of 'The McCartney Legacy Volume 2 1974-80'.
The cast discusses the 2024 documentary 'Beatles '64'.
Ben Russell delves into the concept of observational cinema, sharing insights on his latest co-directing effort “Direct Action” (with Guillaume Cailleau), which portrays a radical activist community in France. It debuted at Berinale and just screened at the New York Film Festival. Past films discussed include Kirsten Johnson's “Cameraperson” and the observational films of Frederick Wiseman and The Maysles Brothers.Ben shares his experience transitioning as a filmmaker from America to France, exploring the differences between American and European cinema, and the impact of public funding on film production. The discussion also touches on filmmaking techniques, audience engagement, and the importance of creating context for films. Ben emphasizes the power of cinema to inspire action and reflection, advocating for a more immersive and community-oriented approach to filmmaking.What Movies Are You Watching?Like, subscribe and follow us on our socials @pastpresentfeature
Grab mother darling and the cats because we're going back to Grey Gardens to try and gain a broader understanding of the lives of Big and Little Edie Beale. The Beales starred in the cult classic Maysles documentary showcasing their lives as artistic former socialites in a rundown 28 room mansion but how did it get to be this way? And what happened to the Edies after Grey Gardens?
Last April, Film Comment invited writer Adam Shatz on the Podcast to talk about The Rebel's Clinic: The Revolutionary Lives of Frantz Fanon, his new biography of the Martinican writer, psychiatrist, and anti-colonial revolutionary. The Podcast explored Fanon's lasting impression on the world of cinema since his untimely death in 1961—and it became the basis for a four-day series of screenings and talks we presented last weekend, called The Rebel's Cinema—Frantz Fanon on Screen. The series took place at four cinemas across New York City, beginning at Film at Lincoln Center with Michelangelo Antonioni's The Passenger (1975), moving to Maysles Documentary Center in Harlem for Gillo Pontecorvo's Burn!, (1969), winding down to the Brooklyn Academy of Music for Ivan Dixon's The Spook Who Sat by the Door (1973), and finishing up at Anthology Film Archives with Sarah Maldoror's Monangambeee (1969) and Assia Djebar's The Zerda and the Songs of Forgetting (1982). Each screening was followed by a Q&A with special guests, which we're excited to share this week on the Podcast. On today's episode, Film Comment editor Devika Girish welcomes Adam as well as Maysles executive director Kazembe Balagun and scholar and writer Brent Hayes Edwards to talk about the entanglements of race and class, and history and Hollywood in Pontecorvo's period epic Burn!, which stars Marlon Brando as a British agent provocateur who overthrows a Portuguese colony in the Caribbean by fomenting a slave revolt.
The fifth episode of our season on the awesome movie year of 1969 features our documentary pick, the Maysles brothers' Salesman. Directed by Albert and David Maysles with Charlotte Zwerin, Salesman is a key film in the direct cinema movement.The contemporary reviews quoted in this episode come from Vincent Canby in The New York Times (https://www.nytimes.com/1969/04/18/archives/screen-salesman-a-slice-of-america.html), Margot Hentoff in The New York Review of Books (https://www.nybooks.com/articles/1969/03/27/wild-raspberries/), and Joe Morgenstern in Newsweek. Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comPlease like, share, rate and comment on the show and this episode, and tune in for the next 1969 installment, featuring Josh's personal pick, Ronald Neame's The Prime of Miss Jean Brodie.
The fourth episode of our season on the awesome movie year of 1969 features the Cannes Film Festival Palme d'Or winner, Lindsay Anderson's If….. Directed by Lindsay Anderson from a screenplay by David Sherwin and starring Malcolm McDowell, Robert Swann, Richard Warwick, Christine Noonan and David Wood, If…. is the first of three films Anderson directed featuring McDowell's character Mick Travis.The contemporary reviews quoted in this episode come from Vincent Canby in The New York Times (https://www.nytimes.com/1969/03/10/archives/screen-if-begins-runtale-of-school-revolt-opens-at-the-plaza.html), Paul Schrader in the Los Angeles Free Press (https://paulschrader.org/articles/pdf/1969-If.pdf), and Penelope Houston in The Spectator (https://archive.spectator.co.uk/article/20th-december-1968/20/much-virtue-in-if-arts).Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comPlease like, share, rate and comment on the show and this episode, and tune in for the next 1969 installment, featuring our documentary pick, the Maysles brothers' Salesman.
The Wiz RECOMMENDS Gimme Shelter Often called one of the best concert films of all-time, The Maysles' and Catherine Zwerin's account of The Rolling Stones' infamous 1969 U.S. Tour is a bit more than just a concert film. The film is more about The Rolling Stones and the setup of the Altamont Speedway Free Concert which ultimately led to tragedy. The film highlights a few things that are interesting: - The daunting task that The Rolling Stones' handlers and attorneys had to deal with when getting clearance for the concert and what the Stones were doing at the time of all of this happening. - The Rolling Stones after the ill-fated concert and their reactions to the film we are watching. And that framing device of The Rolling Stones watching the film is important: it shows, without telling, the effect it had on the band members, especially Mick Jagger. It's easy to see why this film is considered important and one of the best documentaries: it's a concert film, true crime and a business story all rolled into one. But if you aren't a Rolling Stones fan...or generally hate their music...it might not be worth the watch for you.
We speak with Kazembe Balagun, the new executive director at Maysles Documentary Center in Harlem, about his vision for creating a people's democratic film culture.
TVC 638.1: From February 2018: Phil Gries joins us to discuss Harlem School 1970, an original documentary that provides an inside look at a typical day at Community School No. 30M in Harlem, New York, where Phil taught for three years before embarking on his long career as an award-winning cinematographer for film and television. Filmed, produced and directed by Phil Gries, Harlem School 1970 is an early example of “direct cinema,” a form of documentary storytelling that allows viewers to watch the narrative unfold and shape their own meaning without narration or outside interviews. For our listeners on the East Coast, Harlem School 1970 will be shown at the Maysles Documentary Center in New York City on Thursday, Mar. 14 beginning at 7pm. For tickets and more information, go to Maysles.org Want to advertise/sponsor our show? TV Confidential has partnered with AdvertiseCast to handle advertising/sponsorship requests for the podcast edition of our program. They're great to work with and will help you advertise on our show. Please email sales@advertisecast.com or click the link below to get started: https://www.advertisecast.com/TVConfidentialAradiotalkshowabout Learn more about your ad choices. Visit podcastchoices.com/adchoices
TVC 638.2: From February 2018: Phil Gries and Ed continue their discussion about Harlem School 1970, Phil's acclaimed “direct cinema” documentary that is also the only known feature-length documentary that was filmed inside an actual inner city public elementary school in the U.S. during the 1960s, 1970s, or 1980s. For our listeners on the East Coast, Harlem School 1970 will be shown at the Maysles Documentary Center in New York City on Thursday, Mar. 14 beginning at 7pm. For tickets and more information, go to Maysles.org Want to advertise/sponsor our show? TV Confidential has partnered with AdvertiseCast to handle advertising/sponsorship requests for the podcast edition of our program. They're great to work with and will help you advertise on our show. Please email sales@advertisecast.com or click the link below to get started: https://www.advertisecast.com/TVConfidentialAradiotalkshowabout Learn more about your ad choices. Visit podcastchoices.com/adchoices
Award-winning tv writer and producer Chris Chibnall, discusses The Beatles' “The First U.S. Visit” dvd, and the legacy of the Maysles brothers' documentary. Hosted by Chris Shaw.
This show explores Harlem, one of New York City's most historic and noteworthy places. Co-hosted by special guest, Vita, she joins her mum, Stance's host and founder Chrystal Genesis to highlight some of their favorite places. As residents of the area, they visit a handful of their favorite spots, spanning film, food and nature to uncover what continues to make Harlem one of the most distinctive pockets of NYC. Through independent filmmaking at Maysles Documentary Center, we chat with lead educator Art Jones about their one of a kind cinema space, filmmaking as a creative medium and the importance of community-first programming. At Sugar Hill Creamery we speak with co-founder Petrushka Bazin Larsen about founding Harlem's only family owned ice cream store, the relationship between ice cream and Harlem's community, and Vita gets to taste test a few of their seasonal flavors. Stance connects with The Brotherhood Sister Sol, a social justice organization empowering young people of color through community and environmental change. Chrystal and Vita visit their Green Youth Market and meet with senior manager, Nando Rodriguez, to find out how urban farming enriches the Harlem community. We end with music from New Yorker, Cameroonian American musician and songwriter, Vagabon, on her new record Sorry I Haven't Called exploring joy after grief. All music used in this podcast is from Vagabon's new album Sorry I Haven't Called. With thanks to Nonesuch Records. This show was producer Zara Martin. If you like what you heard, please subscribe, write us a review and join the conversation at stancepodcast.com and all podcasting apps @stancepodcast @chrystalgenesis Visit Stance's website at stancepodcast.com .com for more info and links from this episode.
Todays episode is filled with so many Grey Gardens topics including: Lee Radziwill's footage, the Maysles decision to go back and film the Edies, editing the documentary Grey Gardens, the NY Film Festival, the Premier, The Plaza Hotel, Mick Jagger, Tom Logan, meals and friendship with Little Edie and so much more. Mix a few highballs chickens, this episode is almost two hours long! Listen in for an exciting upcoming stage performance depicting the Edies in NYC with Peter Mac and John Mac! Grey Gardens Christmas Tickets greygardensofficial.com You can purchase Fern's own GG-inspired work of historical fiction, Staunch on Amazon.com as an ebook or in paperback.
Today, Secret Movie Club Team Members Edwin Gomez and Craig Hammill discuss Terry Zwigoff's breakout 1990's documentary CRUMB about underground comic book artist R. Crumb and his dysfunctional brothers. Both Edwin and Craig talk about how a second viewing really emphasizes how heavy Crumb's home life was. We nominate some other powerful "dark" documentaries. Edwin name checks the Maysles' 1960's key work SALESMAN and Errol Morris's 1980's THE THIN BLUE LINE. Craig talks about Claude Lanzmann's 1980's masterwork SHOAH and Joshua Oppenheimer's 2012 THE ACT OF KILLING. Edwin talks the re-opening of the Vista and Craig mentions how much he likes David Fincher's new movie THE KILLER. (This Pod acts as a kind of Part II to SMC Pod #94 which looked at AMERICAN MOVIE and the documentary genre).
Bröderna Maysles dokumentärfilm om mor och dotter i Grey Gardens från 1975 blev med tiden en riktig kultfilm, musikal på Broadway, spelfilm och tv-serie. Lyssna på alla avsnitt i Sveriges Radio Play. Katarina Wikars om den risigaste kåken i hela fashionabla East Hampton på Long Island utanför New York. där Big Edie och Little Edie tillsammans med tvättbjörnarna på vinden och ett tjog katter genomlever sina dagar och minns bättre tider. Det stundar utmätning och sanering. Då är det bra att vara nära släkt med Jackie Onassis, som skickar några som kommer och röjer upp.Och en annan dag kommer två dokumentärfilmsbröder dit, bröderna Maysles. De verkar i genren Direct Cinema, vilket betyder inga berättarröster eller raka intervjuer eller förklaringar. Så de är bara där, i Grey gardens, i sex veckor. Och hundratals filmade timmar blir en och en halv timme redigerad film som kommer att gå till historien om än långsamt.
In this episode, we welcomed New York-based Cinematographer Wolfgang Held, ASC. Wolfgang has shot over 100 documentaries and feature films including The Andy Warhol Diaries, Joan Baez I Am a Noise, This Stolen Country of Mine, All In: The Fight for Democracy, The Fourth Estate, Robin Williams: Come Inside My Mind, Particle Fever, Brüno, Teeth, and the Oscar-nominated documentary Children Underground. In our chat, Wolfgang shares about his early days, his journey into documentary filmmaking, his mentorship with Albert Maysles, thoughts on cinema verité, and much more.The Making Of is presented by AJA Video Systems:Exciting new solutions and updates from AJAAJA rolled out powerful new products and updates this fall – from KONA X, its next-gen I/O card for ultra-low latency video capture/playback and Desktop Software v17 to a feature-packed AJA HDR Image Analyzer 12G update, and new 12G-SDI openGear conversion solutions. Get acquainted with the latest from AJA via the What's New Page. Film Festival This Week: Mallorca Film Festival — October 18-24thThe Evolution Mallorca International Film Festival enters its 12th edition this week. This year marks the 2nd Annual Cinematography Focus, which includes Educational Panels, Workshops, Networking and Awards. Erik Messerschmidt, ASC will accept the festival's Cinematography Icon Award this year — and ARRI joins as an official sponsor. The Mallorca Film Festival is recognized as "One of Europe's 10 Most Exciting Film Festivals" by The Guardian, as MovieMaker's “Top 50 Film Festivals Worth The Entry Fee” and appears on the 100 Best Reviewed Film Festival list on FilmFreeway! Learn more hereFilm Book of the Month:American Cinematographer's Shot Craft: Lessons, Tips & Techniques on the Art and Science of CinematographyA collection of Jay Holben's SHOT CRAFT column from American Cinematographer magazine. A treasured series of educational pieces on the art and science of cinematography. An extraordinary book for the film student and refresher for the seasoned pro, SHOT CRAFT is written in an easy-to-read tone that explains the technical and complicated in simple language. It is a must-have for everyone working in the art of visual storytelling in motion pictures.A curated selection from the first five years of SHOT CRAFT providing insights on: cinematography fundamentals, formats, exposure, lighting & electricity, optics, travel & locations, filmmaking techniques, relationships, communication & career. Available from Adakin Press: hereZEISS Conversations with James KniestGather round, horror fans! Join us for ZEISS Conversations on Halloween as we explore the spine-chilling work of Cinematographer James Kniest! Be sure to register now to get the inside scoop on his projects such as the iconic "Annabelle," which is the second installment of "The Conjuring" universe, and his spooky work on “The Haunting of Bly Manor” and “American Horror Stories.” Plus, get an exclusive look at what went into crafting Mike Flanagan's 2022 “The Midnight Club”, including Kniest's strategic selection of ZEISS Supreme Prime Radiance lenses. Don't miss out on the chance to learn from a master filmmaker who will share how he employs various camera techniques, lensing, lighting, and composition for creating the most frightening scenes. Halloween has never looked scarier! Register now for an unforgettable and interactive virtual event on October 31st at 12pm PST. Sign up HereGreat Film & TV Music at No Cost to You!All you need to do is provide music cue sheets for your qualified projects. It's Really That Simple. In addition to most TV Shows and Feature Films, even some TV Pilots can qualify. We're not talking about music that sounds like it should be free. This is cutting-edge underscore used daily on a global basis by Hollywood's Major Film and TV Studios. Visit Zero Fee Music OWC Thunderbolt Go DockThe OWC Thunderbolt Go Dock is the first of its kind, full-featured Thunderbolt dock with a built-in power supply and 11 ports, for additional ease and connectivity while on the Go. It's a one-dock solution that works with all past, present and future Thunderbolt and USB devices and accessories. Check it out herePodcast Rewind:Sept. 2023 - Episode XVIII…The Making Of is produced by Michael Valinsky.To promote your products or services to over 6,700 top film, TV and video industry pros receiving this newsletter, email mvalinsky@me.com Get full access to The Making Of at themakingof.substack.com/subscribe
In the season 2 premiere of Broads Next Door we're going all the way to East Hampton, New York to try and gain a broader understanding of the lives of Big and Little Edie Beale. The Beales starred in the cult classic Maysles documentary Grey Gardens, showcasing their lives as artistic former socialites in a rundown 28 room mansion but how did it get to be this way? And what happened to the Edies after Grey Gardens? Grab mother darling and the cats and let's find out.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5803223/advertisement
Esperanza and Irwin were surprised to learn Jacqueline Bouvier Kennedy Onassis' formative years were spent on eastern Long Island. Born in 1929 at Southampton Hospital, the center of the Bouvier family life was at "Lasata", (meaning place of peace) the Further Lane estate adjacent to the Maidstone Club, where the family also had a cabana. When the Bouvier's first arrived in East Hampton in 1912, the place was far simpler than neighboring Southampton, a landscape primarily dominated by farm fields and simple salt boxes. Fast forwarding to 1953, Jackie married Jack Kennedy, and you know the story line over the next 10 plus years. Returning the story to East Hampton, we tie in the story of Grey Gardens, of Big Edie and Little Edie. Jackie and her sister Lee Radziwill literally rescued their Aunt and Cousin from the squalor they were living in, the subject of the cult classic "Grey Gardens" by the Maysles brothers.
Hollywood was largely shut down when screenwriters went on strike, but they are now being joined by members of the Screen Actors Guild with no end in sight. This strike came just ahead of the release of the latest summer blockbuster, "Mission: Impossible – Dead Reckoning Part One," which had a big opening globally. But production of next year's "Part Two," like everything else, is now on hold. Also in limbo is the status of the 75th Primetime Emmy Awards, scheduled for Sept. 18. As part of the strike, actors can't do promotional work and likely cannot participate in the show. Regardless, the nominations (full list here) were dominated by HBO heavyweights and "Ted Lasso" from AppleTV+. "Succession" led the way with 27 nominations, "The Last of Us" got 24, "The White Lotus" got 23, 74 total for the three HBO shows. "Ted Lasso" led comedies with 21. Besides the latest "Mission: Impossible" installment, we discuss the upcoming "Barbie" and "Oppenheimer" releases and a documentary that looks at RAGBRAI — the Register's Annual Great Bicycle Ride Across Iowa. Read more Two journalists look inside RAGBRAI for a deeper, cinematic story Where to watch "Mission: Impossible – Dead Reckoning Part One" in theaters "Barbie" in theaters "Oppenheimer" in theaters "Succession" on HBO & Max "The Last of Us" on HBO & Max "The White Lotus" on HBO & Max "Ted Lasso" on AppleTV+ "The Marvelous Mrs. Maisel" on Amazon Prime Video "Barry" on HBO & Max "The Bear" on Hulu "Shift: The Ragbrai Documentary" from the Des Moines Register About the show Streamed & Screened is a podcast about movies and TV hosted by Bruce Miller, a longtime entertainment reporter who is now the editor of the Sioux City Journal in Iowa and Terry Lipshetz, a senior producer for Lee Enterprises based in Madison, Wisconsin. Episode transcript Note: The following transcript was created by Adobe Premiere and may contain misspellings and other inaccuracies as it was generated automatically: Welcome everyone to another episode of Streamed & Screened an entertainment podcasts about movies and TV from Lee Enterprises. I'm Terry Lipshetz, a senior producer at Lee and co-host of the program with the very well-rested Bruce Miller at Sioux City Journal and longtime entertainment reporter. Bruce, you're on vacation with me. I was I was on vacation and I did not do any vacation things. I did not visit animals in a zoo. I did not ride rides in an amusement park. I was basically cleaning crap in my basement. That's what. I planned. And it's not done. It's not done. And now I'm freaked out because everybody's on strike. And that could mean I don't get interviews. I know I wanted to talk about this because we were already shut down sort of anyway with the writers on strike. But now the screen actors Guild voted to strike. So on one hand, not a whole lot of changes because most production was shut down anyway because of the writers. But now the actors are on strike as well. And they won't talk about product that they have that's out there. Now. Directors will. So you can we might be doing a lot of directors, you might hear me saying, Oh, I'm, I'm tired. The all these great directors, you go, oh, do we care? We don't care. But that could be our new our new world order. I think something's got to come to a head with this. I think we're getting to the point where. Come on, folks, you got to move. Otherwise, we're having nothing. And you can only watch so many game shows and so many reality shows and so many politicians talking before you're ready to just scream. And I think that's where we need to see some movement in this whole thing. And I, you know, I stand behind the actors and the writers. When you look at the kinds of money that they're not making and you hear about $1,000,000,000 salary for somebody who's the head of the studio. Is there something wrong with this picture? I think there is. You know, it's kind of interesting. I read a few things about the strike. One was kind of looking at the last time or one of the last times it really came to a head like this, which was I think it was in the early sixties maybe, and it was tied a bit to those payments, you know, like a movie would was starting to get aired on TV. How would the actors get paid residuals? So that was kind of like the big thing. The last time there was a real, real big strike like this. But now we're getting into a situation where we're looking at things that, like I and I saw in one report, I think it was Rolling Stone. It's almost dystopian in a sense where they wanted to pay someone is an extra and they talk about, you know, everyone gets hung up on like how much Tom Cruise makes, you know, how much this actor makes and that. But the reality is, is that's like a teeny tiny percentage of members of the Screen Actors Guild. And a lot of it are extras, people that just like stand in the background who make maybe $200 a day at at just whatever the going rate is. And what they were looking to do is like, we would scan your image, pay you the $200 fee, but then only that. Yeah, we, we you know, we own that image of you in perpetuity and, you know, we don't need to bring you in. And I, you know, for, for a perspective of the actor, I would be on strike too. There's no way you know that's that's good money and it's connections. It's this is how you meet people you like. You go on a you go on a on on stage. You know, you go on to a set, You meet people, you meet other actors, you meet directors, you meet screenwriters. This is how you get your foot in the door. And you look at some of the legendary, you know, you talk about like Indiana Jones and Harrison Ford, who's been in the business for 60 years. He was for a decade was working like odd jobs. I think he was a carpenter. But he had. These, like little fill in roles. And then he finally broke through with with Star. Well, American Graffiti in that little role. But then Star Wars and Indiana Jones. Yeah. It's it's interesting how I think you need to make $26,000 a year in order to qualify for insurance. And not that many people make $26,000 a year, which is really scary, I think. And, you know, I've never liked the idea that you could scan somebody and then create a performance. I find that just that's abhorrent when you think that they would like to take Marilyn Monroe, scan all the things she ever did, and then have her in new films. Now, this is not happening. And I think that's one of the big problems. Also, we thought streaming was such a great thing. Streaming. They were paying them next to nothing to do these shows. There were people from Orange is the New Black who said, you know, they barely made money and they had to have some other kind of job just to be able to keep that job. This is ridiculous. This shouldn't happen, especially when they're making such huge sums of money out of this. Pick a side. But I really think that the angels are on the side of the actors and the writers at this point. I find it hard to believe. I mean, any time there's a contract negotiation, a strike, and you have, you know, labor up against management, there's obviously they'll come together and meet in the middle somewhere. But it feels like this one, based on some of the issues, could drag on for a while. And it is like I mean, I try to Im a journalist, you're journalist. We try to, you know, stay neutral on things. But I'm having a hard time siding with management on this one. This is a this is a tough one. When you get into like, you know, people are trying to just make ends meet on a on a you know, on a set and try to break through in an industry. We could be duped. I don't know. I'm not saying that we are, but I had never heard that they made this little money. You know, this was not an issue before we got to the strike situation. And so I wonder why people didn't bring that up earlier, especially when they were negotiating with streaming services about because they were all so excited that there was so much content and there were so many opportunities. And then all of a sudden now it's yeah, they didn't pay well. Why is this? Why did this happen? I do know that they look a lot at European Australia in other countries for actors and so I'm sure that there must have been some easier way to get those people to be in films and TV shows than it is to hire Americans. I don't know what the situation was, but you know, you'll always go, Well, wait a minute, they why did they pick an Australian or why is that guy British and he's doing an American accent and it doesn't matter. You want the best actor for the for the situation. But it just seems strange and I just wonder if they don't work cheap. Now, I know in London they have to put together a lot of jobs to be able to make a career out of it. They're not only in like these six episode series. He's they're also on the West End working in plays. They're doing kind of presenter jobs. They're everywhere and they're not just like one movie and done for the year. So you can see that maybe that is a model for the what the U.S. situation's going to be like. I don't know. It's scary though, because I don't want to see game shows all season long. That's what we're going to be facing is a lot of game shows. Yeah. And you know, you look at the big movie that opened this past weekend, which was the latest in the Mission Impossible series, Dead Reckoning. Part one will Dead Reckoning, Part two now is on hiatus because it was still in the middle of production and they had to shut it down. So, you know, we're now at a situation of like, yeah, we don't want game shows, but there's a lot of movies. You know what? What does our summer movie situation for 2024 look like? If this gets extended. We'll look at Colbert where they weren't able to make new films. And so then they kind of stretch things out for a while. These are long dry spells and I don't want to bail out from stuff I liked when we had a lot of card debt, so maybe I'm in the minority there, but a come to a conclusion, make it equitable for everybody and get us our entertainment back. You mentioned Mission Impossible. I went to Mission Impossible 2 hours and 45 minutes. Yeah. Does not need 2 hours and 45 minutes because 2 hours of that is it's stunt work. And yeah, I can I could make a case where we need a best stunt ensemble Oscar because easily you could, you could see what they've done. But what's interesting about that is a lot of the stunts are very similar to ones in Indiana Jones. The latest one, there are bullets running on top of a train. You know, they're both coming to the edge of something. They're in all different kinds of vehicles. There are many, many parallels, like are they looking at each other's own homework and saying, well, we should do that, too, because if they're going to come out with that, we need that. We've got to have that. If Barbie is running on a top of a train this week, when Barbie comes out, I know that there was. There a motorcycle? Yes, maybe you know this, but I read somewhere or saw somewhere years ago that Tom Cruise needs a motorcycle. And every movie he does. He comes to the end. You've seen it probably in the previews. He comes to the edge of a cliff and looks like falling off it. But, you know, and God bless him, he is a hard worker and likes doing that crap. But enough. We don't need all of that. And you can easily see how if he edited it, it'd be a better film. I have. You know, I've always said this, you know, if it's 90 minutes or less than 2 hours, that's a good sign. They need to be able to kind of pull it in. And it used to be they did, because they wanted to get more showings in a day so they'd make more money. Now, if you see two, two screenings of a film in one day, Oh, that's okay. We're all right with that. I don't think so. I'm with you on the length of films, especially to as I've gotten older, it just feels like I, you know, I get that big drink and then it's, you know, two hour, hour and 45. I'm already like, can we wrap this thing up a little bit? I got a great right here. And then how are they going to have extra scenes after the credits? Do I have to sit for that or do I run like a rat? Yeah. Was was there an extra scene at the end of Indiana Jones? I don't. Know, because I had to run like a. Rat. I did too. I blind. I was. I was so quick getting out of car. We'll see what happens. You know, what's interesting is Oppenheimer opens this week as well. Yes. And Christopher Nolan is one who really appreciates the old way of doing things. He doesn't want to use special effects that he can easily do, you know, with stunt people, with locations, with cars. He doesn't want to have some animator making his movie, basically. And he does black and white with this and an IMAX camera. I mean, it's there are things he is doing that are so remarkable that others need to look at instead of trying to see how how high the bar can be. Maybe you should just make something that's a little more artistic. Just talk on here. We'll see what happens. But have you have you been able to see that one yet or are you waiting until this week? Oh, oh, waiting for the Barbie Hammer? Yeah, I'm Barbie Hammer. I'm waiting to see what happens with it. But yeah, so I, I think more need to follow this lead. And I think, you know, we're going to be fine this year for best picture candidates. You have Martin Scorsese, big film coming out that should be a real strong contender. You have Oppenheimer, which is good. You have the going way back air from Ben Affleck. So there are good films this year, but it could be a drought next year if we don't get people back to work. Box office numbers were interesting this past weekend as well. A solid opening for Mission Impossible. 80 million domestic Indiana Jones, only 12 million. Now overall, Indiana Jones is at 300 million worldwide, just over 300 million worldwide. So it's today. But it the numbers I saw Disney reported, I think 295 million to make it. But there's some estimates that have made it may have actually been closer to 400, you know, with the promotional stuff. So it's still like it either just made back its money or maybe has another hundred million to go. But it will, I'm guessing it'll it'll get there at the end. But, you know, it was a solid week for Mission Impossible. That's already at 235 worldwide. So it's a really strong opening overseas. Do you see that one continuing on and and really bringing in, you know, is that going to be a top five? Oh, yeah. It's Top Gun. It's this year's top gun, Italy is that they make the most money. I think it'll be interesting to see Barbie I think will run away with it or the week because there's enough talk about Barbie and it got good reviews to begin with. Oppenheimer is a little more a acquired taste. And you're not going to get the kids at that. Well, you're not going to have that big repeat business, but I don't think they're looking for it any way. So I think mission could probably be still number one. Barbie could be a strong number two. Yeah, Barbie. To me, Barbie could end up as a runaway hit also, because you're going to get the kids are going to want to see it. But it's that type of movie where the and I told my I told my wife and daughters like, you want to go see it, I'm coming with you. Don't don't run out in the middle of the day without rad. Yeah. That's this is what But I think it has a better message. And they say that Ken steals the film. So you feel sorry for Ken because Ken is kind of also in the cast, if you will, And he kind of pleads his case in the course of this. So I think, yeah, I'm I'm I'm leery of the two ones. I'm waiting for Barbie because I know I, I want to see IMAX version of Oppenheimer. Yeah. And I won't see it the first week. Have you seen the reels, the IMAX reels? It's been they've been popping up on like tik-tok and stuff. Instagram, it's like 11 miles of film. Were there to create an extender on the reels just to hold it just for this movie. Wow. But I missed those days. I really miss exhibition. Exhibition was a big thing back in the day where you had Do you remember Cinerama? Was that ever anything in your your. Oh, okay. These were it was three screens and they were synched so that they all it created one kind of curved picture and they were not theaters that showed other kinds of films. It was basically you went for Cinerama how the West was what you would see it kind of going across the screen, the wagon train, Grand Prix. It was a car race. And so you see that wishing bye. So it was very kind of different and those things were long run. You would go, it was like going to a theme park and you would go, and in my day you had to dress up and they didn't have popcorn and they didn't have soft drinks. They would have like an orange juice or some wine made or something like that. It was very much like going to the theater. And you felt very special when you were at these kinds of things. But it was a different kind of world where the seats were great. There was an overture that started the whole thing, and I think we're missing that. I think that would be really cool to have that kind of buildup for. I know. I think they need to go back to that and look at that. But yeah, Cinerama was an interesting experiment and it was during that time they were trying a whole bunch of different kinds of visual tricks. And then more recently when they did Censor Round, which was where you sound all around you and you felt like, you know, an earthquake was a big one to try it where you actually felt like there was an earthquake in the theater. So I think that's where the future lies more than is. You need to look at how you make the experience special. I don't know that you'll get rid of popcorn, but I do think that you will. You can make it just a little higher. And that or one of the things is when we got the good seats, you know, those. The recliner seats. Yep. That's a nice little that's a nice little touch. I do remember being at a theater once where they gave you a blanket and this is big. You guys bring blankets to the theater? No, my. Well, my wife and kids, they always pack a sweatshirt or something with. Their classic bring you blankets. Well, at this theater, it was in Pasadena. You were given a blanket. And then they had a table where they would wait on you like it was a restaurant. They would have heated seats. It was like it was like better than your house and somebody was waiting on you, which is even I mean, tater tots in your movie. You didn't care how bad the movie was. You were being taken care of. So I think that is the the one area where they can they can sharpen it up a bit. They heard the the AMC theater that is literally within walking distance of my house. I mean, it's just it's a mile from from where I live. So it's it's super convenient but it's it's about 20 years out of date and it doesn't have all those fancy amenities. And it really could use an overhaul. But we're in that area of the state where, you know, if you just go to Madison or you decide to go on a walkie, you can have that stuff. So it's almost like, you know, well, will AMC keep this one moving along or do I just have to be happy with it, you know, until they decide to shutter it or whatever? Because it's just I don't think the foot traffic is there to support even the fancy recliners. We went my wife and I went to a movie, probably going on ten years now when we were living in Appleton, Wisconsin. It was a really small theater. They were showing. It wasn't quite bargain movies, but it was kind of in between. It was in that in-between stage of like first run and then bargain basement and they had tables set up in front of you. And right before the movie started, you'd put in your food order and then like 20 minutes into the film, you would start getting your burgers or chicken fingers or whatever, and you got full service. They had beer and so made and everything. Thanks. Yeah, yeah. So it was that was an interesting concept. But, you know, that was it was kind of a small theater. The screen wasn't huge, so you wouldn't go there to get blown away. It's just more of a different experience, I guess. I remember when we had drive in theaters, you got real dinner food, if you will. You know, there would be a dog or something, you know, I have or whatever it was. And we always had that was like, Oh my God, this is so great. And all it was was where you could spill on the car and you'll risk the wrath of Dad because we're not spilling in the car, so you're not getting on it. But yeah, we have it. We have a drive through not far from us. We took the kids a couple of years ago to see the remake that that live action Lion King. It was fun. It was fun to sit out there. But, you know, I was just like, please, may the batteries still start. When we started the car. I would worry. About yet because you know, the old ones and well this is the soundtrack all right. You think what did they say? They need to close caption these suckers because I don't understand what they're saying at the time. But it was you got out of the house, you know, and I remember, too, that it was car night where you would get as many people as you could get in the car for $1. Mm. And, you know, it was like they were, they were coming lately or clowns at a circus, the cars would be filled and then they would all sit on the wheel after they got in the, in the drive in theater. So you know, who knows where, where the future lies. But I think it's an exhibition. Yeah. Yeah. That's an interesting point especially is is home theater experiences continue to explode with streaming. And speaking of streaming, Emmy nominations came out last week. Now, okay, here's the thing that I think is wrong with the Emmy nominations there. There is a category where there are two shows represented, White Lotus and Succession, and they just over dominate in some of these categories. I think some of the other shows are not even considered. You know, they'll all watch succession, for example, because it's a buzzy show and then they just start picking the people and putting them in there. And I'm not saying they're not worthy, but. Right. You think what the you know, how many thousands of hours of content there couldn't be more. So I was shocked by that. I, I do think that we're going to see maybe some surprises in the comedy categories. For example, several shows are quitting. Yeah. It's who gets the last damn eight, you know, on the way out. And I it'll be interesting to see if they'll if they're going to reward a new show in that category. The bear is nominated for best comedy you still as other times this is Maysles going out. Ed Lasso's going out Yeah. Supposedly is going out. So, you know, how do you split that boat? I don't know how it's going to be. And then you have ones that aren't even in the mix because they didn't have episodes this year, like Hacks. So we'll see what that all brings. But I wouldn't doubt that something like The Bear couldn't slip in there and win it. As a sports fan, right? Sometimes you'll see in baseball a team will have a really good player, but or they'll have to really good players. And then there's a third guy. So as a mets fan, in 1988, Darryl Strawberry had a really good half of the season. Kevin McReynolds had a really good half of the season, and then Kirk Gibson for the Dodgers had a really solid, like start to finish, right. You know, so you ended up having two guys from the Mets effectively split the vote with voters and then Kirk Gibson comes out on top. So I sometimes wonder, too, you know, you've got shows, Ted Lasso, Barry Marvelous. Mrs. Maisel. So if you start splitting that vote because people are getting nostalgic, it's like, Oh, I want to give it to Barry, I want to give it to Mrs. Marzel, then yeah, all of a sudden the bear shows up and can slip in there. You know, I had ones where I have said to people, I think you should win, I think are really good. And they say they're not pushing me. So that means that the studio or the producers of this show may have one in mind and they'll give them more of a publicity campaign then somebody else. And then who knows what the Emmys are going to be like if the strikes are still going on. Do they hand them out or do they wait? Do they? Right. Did they delay the program until February or something? You know, in get it out of get it out of the fall? You know, interesting point I think you made with the number of actors, too. And you look at so many of these shows now like the White Lotus, like succession, like Ted Lasso, these are ensemble casts. How do you pick? You know, I can understand with some shows you're like, this is clearly the best actor nominee. This is clearly the best actress nominee. These couple characters, you know, like what Cheers. Like you would always Ted Danson is the best actor nominee. No, no disputing that. Or or Kirstie Alley is the best actress. And then you might go to a norm or somebody else's as a supporting. But when you have the White Lotus, which is an ensemble show, how do you even differentiate who it is or succession? You know, a lot of times if you look back in the history of some of these shows, they don't have enough screen time to really merit the nomination, but they get the nomination and so they've got to hope that their producers write an episode for them that kind of is built around their character. So they have enough to show off. And it's not like, Oh, what happened here? Hill Street Blues was notorious for giving them little kind of moments, but not enough moments to add up to a big you know, win. Daniel to bond. He always won because he was the lead. And you could tell he was the lead. L.A. Law another example of, you know, I supporting person could win e r a supporting person could win, but not necessarily somebody who is in a better category because they didn't have the scenes that add up to whatever somebody else could do. Or if it's something that is very common, like or Angela Lansbury never won, she was nominated like 13 times for murder. She wrote Never Won. Well, she was facilitating a story for everybody else. And she was kind of the glue, not necessarily the one who went crazy and was the murderer. So she, you know, as a result, probably not going to win. My take on the Emmys, too, in this kind of goes back to my own streaming habits and subscription habits. Now, we've talked about like with Apple TV Plus I kind of come and go from that. You know, I'll I got through Ted Lasso. I got through a couple of other shows like For All Mankind. I got caught up on that. I'm probably going to check out a couple of other shows, but then I'm going to turn it off for six months and then I'll wave it again. And there's a couple other ones now, like with Hulu, I would probably drop that one periodically, except for it's, it's bundled together with with my Disney Plus. So it's like I have a deal. So it's not. And then with Netflix there's there's enough things on there to kind of keep me plus the kids really like Netflix so I guess I'm always going to keep Netflix but it's it's even on the fringe for me where I might shut that one down for three months and then come back for it and just save a few bucks here and there. But pound for pound, you cannot take my HBO away from me. And I think the Emmy nominations, it was like 75, 74 nominations between succession, leading everything in the White Lotus, not far behind the Last of US, Not far behind. I mean, there's nothing that HBO for me can't do, right? I mean, there's no reason if you if all I could take was one, I would just go with HBO all the time. I am a big EPICS fan, and then they've kind of muddied the waters by doing Fox on Hulu. So you're not really sure where their home is, but they make great content and they've got good stuff coming up for the next year, so we don't have to worry that all they're going to be out of the water. But like one of my favorites is reservation dogs. That's going after the end of this next season. Fargo has a new addition. That'll be this year. Those are Epix products, but are they Epix on Hulu? So really, it's a Hulu thing, who knows? But HBO pound for pound if they don't mess around with Max Brown has a lot of good stuff. That's the only thing that worries me a little bit. I mean, I've I've been an HBO subscriber either through traditional cable and then they kind of went to that HBO Now thing and then they went to HBO, Max and now it's just Max. I mean, I'm going to keep paying for it, but is as long as they keep these programs going, as long as there is some sort of Game of Thrones spin off or a nice, you know, dramatic comedy like a white Lotus, a dark kind of show like that for the wife and I to watch those types of things. As long as they keep bringing those in, it feels like, you know, one show goes off the air and then there's something else waiting for me. But as soon as that stops, you know, yeah, they're going to lose me for sure. Isn't it funny how you're voting with your pocketbook? It is. And look at how Disney Plus got a big bump when they did Hamilton. You know, people do see Hamilton. They threw it on there. That got a huge number of subscribe for them. And now they're kind of hurting. They're wondering, what do we do? We don't have that kind of content. We'll see what see what happens with that. Absolutely. I've got a movie that's opening here in Iowa. Yes. And it's timed. And if you've never heard of it, it's called RAGBRAI Register's annual. Great. Great bicycle ride across Iowa. I think that's what. I think it is. Yeah. It's a it's a 50th year where they they start at one end of the state and then they they bike across the state for a week and it's hotter than hell. Usually when they do it a lot of little towns get involved in all of this. It's a fascinating kind of social experiment. But it for most people in the state of Iowa, it looks like it's just a big rolling party is what it amounts to. Well, they've made a documentary called Shift, and it's about four groups or four, I want to say four people, But they're like in Kabul, there's two people or there's two people in another and three, you know, But it's four separate stories basically, that are pulled together. That happened during the course of last year's RAGBRAI. And I had a chance to talk to the directors and how they did this and what they chose and how they were making their decisions because you don't have a chance at a second shot. You have to do it all during that week. If you don't get everything shot during that week, not going to happen. And so I had a chance to talk to the directors, Courtney Crowder and Kelsey Kramer, and I think we've got an excerpt from that interview. If you care to listen, tell me about the project. When did you begin it? Why did you begin it? Was it all time to be with the 50th? Tell me all that kind of stuff. So it was when I mean, it was in the pandemic. So like 2020? Yeah. So I texted Courtney and said, Hey, I want to make this documentary and I want it to be really good, so help me. And we ended up we were going to meet at Starbucks, but all the tables were closed because it was the pandemic. So we went to a park shelter and like sat down and spent like several hours just like talking it through and making a plan. And so we did. We knew we wanted it to be time to the 50th, just as like, you know, that was our news, Peg. So when we talked it there, we knew, you know, that we wanted it to be more than just sort of like a historical retelling of RAGBRAI. We knew it wanted. We knew that we wanted it to be about, you know, people. We wanted it to connect with more than just people who are interested in RAGBRAI. We wanted it to be bigger than that. And so we, you know, plotted all of that out at our first meeting, you know, Mid-Pandemic And then really like going on it in earnest the January before the 49th ride. So last January. And then going from there. So how did you pick the people that you'd focus on? Was that like just spur of the moment or was it something that you, you know, we knew these ones would be good. That was our biggest that was our biggest concern going forward is obviously the story had to have the subjects that really propelled it forward. And so as the main sort of producer of the story side, I took that on and started in that January reaching out in every humanly possible. So talking to people who had done RAGBRAI a lot, talking to people on our staff, just sort of reaching out and saying, what are the big stories? What are the things that you've covered in the past that might be good for us to look at? Looking at some of the submissions that people had put on social media about their own stories, I ended up doing more than a dozen phone interviews, which became a little bit fewer, probably a dozen video interviews, and then we ended up with about seven storylines that we actually followed and four that end up in the film. Well, and then have you guys been on a break right before? Have you done the whole thing, or was this like, Oh, wow. I mean, we've both covered RAGBRAI, so I've worked at the Register for ten years and have covered RAGBRAI every year. So like some of the stuff that we include in the documentary are like people we knew about because we are very much involved in RAGBRAI, like the registered side of RAGBRAI coverage. Like, I also have always been a part of the route announcement. Like I've sort of been a big part of planning the Register's coverage of that. So we've we're very involved in it. Yeah, Yeah. So it wasn't a surprise for us. But then on the on a day to day basis, how do you know who to who to track or do you have other people who are going to do all that. And so you make sure you get something from each of them every day or what? Yeah. So we had a team of ten people on the ride, seven videographers and three producers and a lot of it's it's one of those things where it's like plan as much as you can and then throw away the plan, right? So Kelsey and I sat down in the weeks before talking about which which videographer might match with which subject best, like they might have similar life experiences plotting out what days we'd like to do things. And then every day we'd look at that again, right? So we sent them out a week's plan. Then every night we'd say, You know what's coming up the next day? What's coming up the next day? So we were following those seven storylines and then getting beauty shots of Iowa and that kind of stuff. But we were not deviating. We knew those were our story lines. So how. We. Don't freak out our you during all of that is like, Oh my God, we do we have anything new day. I don't know if we have anything today. This could be bad. I feel like it. I mean, Courtney and I really I feel like we really knew what we wanted to capture because we had also spent time with some of the main the main people that ended up in the documentary. We had spent time with all of them before the ride, so we sort of knew like what days were were end, what moments were important, and we had kind of an idea of how their week was going to go. And so I felt like we sort of knew when we needed to be like where we needed to be. And I think we really hit those marks pretty well. Then there was some adjusting, had one photographer ride the whole ride and he bounced around with different different characters. So he spent time with sort of all of our main people. We had one photographer who Courtney got a bike part of the way through. We realized that it made sense to be on a bike with someone. So we, like Courtney, found a bike. We got another photographer on a bike. And I think that's where having a partnership really came into play, because I feel like any time I was reaching that peak anxiety, I could turn to Kelsey and she could call down. And same thing for her, right? I mean, it was a lot. You have you have eight days to get what you need for a movie. And so I'm not going to pretend like that wasn't an anxiety inducing. It was, but it was like, stick to the plan, be flexible and just go, go, go, go. Were you talking to each other on the phone all the time saying, Oh, this is what I found, Oh, this is great. Oh, we got to do this? Or was it like, Well, wait till the end? No, we had texts going, you know, add you can you're in the middle of nowhere in RAGBRAI. So we had texts going all day long, and then every night at five we had this meeting with everybody from our team. You were expected to be there even if you had to go back out and cover stuff at night, you're expected to be there. So that's kind of how we coordinated on the ride. So we talked through every day. We talked about what everyone filmed. So we had an idea every day what everyone had. And then we also had with a we had some extra help. So one of the people who was helping us was a woman named Kathy. And I'm not even going to try to pronounce her last name, but she is the photo editor for the Detroit Free Press. So a part of going back came and helped us. And she was like looking at footage and she was she was out writing and she was like helping us as a producer. She was looking at people spotted and she was sort of helping guides with visual instruction too. And so every day, like all the photographers had a hard drive that they turned in and all the footage got backed up on a hard drive and then people got their hard drives back. And so we were sort of keeping tabs all week. Yeah. Or there were tragedies then where you go, Oh my God, we didn't get it, or I forgot to turn the camera on or anything like that. No, And I think that's a really good point, though. Bruce is like one thing that I learned being a print reporter is the importance of being there. And I think for me that was the key takeaway is if you're making a documentary, if you're doing something on film and it sounds so simple, but it's really not, you have to be there. So even as much as we knew the times that things were going to happen, we really tried to embed with these people because life happens when you're not looking right. Life happens in those small moments. And we just tried to be with them as much as possible because we can't recreate it, at least in our form of our documentary. We don't have animations. This is all things happening in the time that they happened. And so then the documentary is based on what we experience. Yeah, it's we. So it's sort of like we had an idea of what was important, everyone's storyline. And then we sort of took stock of what we had and that was how we determined what was in the documentary. So at the end then, what did you say to each other when it was done? I'm not the documentary being done, but when RAGBRAI was done, did you go, Did we get everything or do we have everything? Do we need something more or do you just kind of sigh and say, Well, let's see what we've got and go from there? You know, I wish I was not so tired and anxious, but 100%, you know, I mean, driving back from Lansing to Des Moines, that's a four hour car trip to think about. Did we get it all? So I was I was definitely a little nervous. But honestly, it was for me, a feeling of euphoria because at the time, Deb, we were there with our characters and we had been apart because we were with them, embedded with them. We'd been a part of their journey and their story. So for me it's like, yes, Director Courtney was, was worried and thinking about, you know, immediately making meetings for Monday. But Courtney was experiencing it with these people, understood that they were overcoming and they were celebrating. And I was excited to be a part of that. You know, I it felt like we got it. Like I felt like I felt like in the stuff that we because we were interviewing everybody as they arrived, like as they were in line to go to the tired it and the stuff that we were talking about in those interviews was like, Holy shit. Like, we are going to have a good documentary like we just like, yeah, we just like captured something really powerful and that I absolutely felt that when we got to the end, like, oh, like, oh, this is going to be good? Yeah. All right, Bruce, thanks for that interview. Interesting. It sounds like an interesting concept. I'm always into kind of these documentaries on Netflix that look at unusual endurance types, things like climbing mountains and surfing. And so even though it is kind of a very regional thing, I think this is a movie that might resonate with me as well. Would you do it or would you actually go on a bike ride across the state when it's 100 and some degrees? Yeah, I'm not sure I will. I mean, when I was a little bit younger, I did a lot of biking. I did a 25 mile bike ride one time as part of a group in Milwaukee, and I used to bike regularly, like 10 to 15 miles, just, you know, kind of in the neighborhood type of thing. I don't know if I could do that. That length and that amount of heat in the summer, that would be a little bit about it. It was like 50 some miles a day. And then you party for the rest of the day and then you get up the next day and do another 50 miles and party that night. That's a lot. It is. I've known a few people that have done RAGBRAI and including one individual who, if you looked at them, probably, you know, you're like, really? You know, because he was much older, not in the best of shape, but he did it. And I mean, because he biked regularly. So he had the he had the endurance to it to do it and he enjoyed it. But yeah, I've been to Iowa in July and August and. Michael, it's October, but I'll stay in the support wagon and, you know, in the air conditioning. Thank you very much and I'll meet you when we get to the small town And I have the piece of pie too, but I won't even had to ride at all. I couldn't. I am no good at writing. Bye. I fall over right away. I have no sense of balance, you know? So it's not my way. When somebody says to you. It's just. It's just like riding a bike, you know. That's not then it's very difficult. It's like riding a bike. I can't do it. Not coming up. So before we wrap, when are these strikes ending? Do we want to do we want to try to put this one out? I honestly at this point, I'm going to go November. Or you go that far. I don't think it'll be that far. No. No. I think something's got to give. I think they're going to get really antsy around the Emmy Awards in September. Okay. And that will get them to think, well, we lost all the free publicity on this. Let's wrap it up. Let's try and do something, I think, before Halloween. Interesting. I the only reason I'm going out to November is I think there's enough besides these horrible game shows and other unscripted, you know, actor free programs out there. The only thing else that's kind of hanging on is we will have the start of the NFL season. We will have college football, we will have the World Series and baseball. We will have the return of things like the NBA and the NHL. I think there's enough sporting events where these distributors and and other studios and stuff to have something there. But come November, people are going to freak out because they're like, well, college football's ending and then bowl season is going to be gone. We need to get people back to work so we can start getting things ready for the start of the new year. So that's kind of where I'm going with like early November. But that's yeah, we'll see what happens. Hopefully you're right. Yeah, I want it sooner. I think I'm ready for tomorrow. Well, we'll see what happens. All right. Sounds good. All right. Well, thank you all for listening to the latest episode of Streams and Screened. And we'll be back next week with Barbie.See omnystudio.com/listener for privacy information.
The fifth episode of our season on the awesome movie year of 1975 features our documentary pick, the Maysles brothers' Grey Gardens. Directed by David and Albert Maysles along with Ellen Hovde and Muffie Meyer and featuring “Big Edie” and “Little Edie” Bouvier Beale, Grey Gardens premiered at the 1975 New York Film Festival.The contemporary reviews quoted in this episode come from Roger Ebert (https://www.rogerebert.com/reviews/grey-gardens-1976), Janet Maslin in The Boston Phoenix, and Charles Michener in Film Comment (https://www.filmcomment.com/article/nyff-preview-grey-gardens/).Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comPlease like, share, rate and comment on the show and this episode, and tune in for the next 1975 installment, featuring Josh's personal pick, Ira Levin adaptation The Stepford Wives.
The fourth episode of our season on the awesome movie year of 1975 features a Cannes Film Festival award winner, Werner Herzog's The Enigma of Kaspar Hauser. Written and directed by Werner Herzog and starring Bruno S., Walter Ladengast, and Brigitte Mira, The Enigma of Kaspar Hauser won three awards at Cannes in 1975.The contemporary reviews quoted in this episode come from Richard Eder in The New York Times (https://www.nytimes.com/1975/09/28/archives/herzogs-every-man-for-himself-is-stunning-fable-full-of-universals.html), Stephen Schiff in The Boston Phoenix, and Pauline Kael in The New Yorker.Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comPlease like, share, rate and comment on the show and this episode, and tune in for the next 1975 installment, featuring our documentary pick, the Maysles brothers' Grey Gardens.
It's the end of the road for an Emmy- and Golden Globe-winning comedy series. “The Marvelous Mrs. Maisel” is back for its fifth and final season, with episodes dropping weekly starting April 14 on Amazon Prime Video. For this episode of Streamed & Screened, hosts Bruce Miller and Terry Lipshetz, provide a (mostly) spoiler-free analysis of the the program, which is a favorite of both. Also hear from the stars, including clips from Rachel Brosnahan (Miriam "Midge" Maisel), Alex Borstein (Susie Myerson), Tony Shalhoub (Abraham "Abe" Weissman) and Kevin Pollak (Moishe Maisel) who reflect on the characters, the series and whether we might see them all reprise their roles in the future as part of a feature-length movie. Bruce also has an interview with Michael Zegen, who plays Midge's ex-husband Joel Maisel, who offers thoughts of his own on the program. Whether you're a longtime fan of the show or looking for an introduction before you binge the whole thing over a long weekend, you'll want to give this episode a listen. About the show Read more: REVIEW: 'Mrs. Maisel' ends with marvelous update Where to watch: Amazon Prime Video Cast: Rachel Brosnahan as Miriam "Midge" Maisel Alex Borstein as Susie Myerson Michael Zegen as Joel Maisel Marin Hinkle as Rose Weissman Tony Shalhoub as Abraham "Abe" Weissman Kevin Pollak as Moishe Maisel Caroline Aaron as Shirley Maisel Luke Kirby as Lenny Bruce Jane Lynch as Sophie Lennon Created by: Amy Sherman-Palladino Executive producers: Amy Sherman-Palladino, Daniel Palladino Producers: Dhana Gilbert, Matthew Shapiro, Salvatore Carino, Sheila Lawrence About the show Streamed & Screened is a podcast about movies and TV hosted by Bruce Miller, a longtime entertainment reporter who is now the editor of the Sioux City Journal in Iowa and Terry Lipshetz, a senior producer for Lee Enterprises based in Madison, Wisconsin. Episode transcript Note: The following transcript was created by Adobe Premiere and may contain misspellings and other inaccuracies as it was generated automatically: A lot of young women trying standup comedy for the first time, which is so awesome and long overdue. It's been incredible to hear how his legacy has already affected people, and I'm really excited to see how she lives on. That voice you just heard was Rachel Brosnahan, who stars as Miriam ‘Midge' Maisel in ‘The Marvelous Mrs. Maisel' I'm Terry Lipshetz, a senior producer at Lee Enterprises and a co-host of Streamed and Screened, an entertainment podcast about movies and TV. Joining me, as always, is the incomparable Bruce Miller, editor of the Sioux City Journal and a longtime entertainment reporter. The Marvelous Mrs. Maisel is back for its fifth and final season with episodes dropping weekly starting April 14th on Amazon Prime Video. Bruce It will be an end of an era for one of the most popular shows on that platform. Certainly big shoes to fill. First of all, why was it not the marvelous Bruce Miller? This is now this is how this should be. This is how he introduced me. Right. It's interesting because this is a show that I think people lost track of because of the big gaps between seasons. Was it over? Is it over? And when they see this fifth season and I've seen the whole thing, they will go, Oh my God, there's so much in that fifth season because they do a lot of time jumps. So you're not going to just see one season, one year play out. It goes into the future and you find out things about her children. You find out things about her husband, her ex-husband, her friends, Susie. All of those people come into play at some point. And so it flashes back and forth and it's I think it pays. It rewards the people who have been loyal. And you get to see a lot of fun. So there is and I you know, I'm really I should say nothing. But there is one kind of cute thing where they're showing, you know, did she have a lot of dresses? And they show the racks of her clothes all. My God, what is this? She did have it because I don't think she ever wore anything twice. No, I don't remember it. And you also, I think, see growth in Mrs. Maysles comedy career, how she's able to tell, you know, I always thought, is she making this crap up on the fly? And every night, is she not writing this down so that she can, you know, retell it at another place? It seemed like every every routine she did was just of the moment. And you see how she does all that. And there is a scene in the last episode that is on Be Livable, and that's as much as I can tell you on the spoiler end of things. But okay, no spoilers. You know, when you first watched it, what surprised you most about it? For me personally, I was sucked in because I'm a native of New York City, okay? And for me, my wife is from just outside of Green Bay, Wisconsin. And it's been an interesting ride because she's she's Catholic. I was raised Catholic, but my dad was Jewish. But for me, it's kind of seeing that cultural the cultural phenomenon of New York, the Jewish culture, even though I'm I didn't grow up in the fifties or sixties, I was born in the mid seventies, but for me I could relate to it. And I thought that they kept this show like it's fiction, but it's also really easy. And I think it was that reality that kind of kept bringing me back. So a couple of things, if you don't mind me throwing these out, because we're going to be talking a lot about I mean, we're basically going to just talk about the show with Mrs. Basil. Yes, this is the Mrs. Maisel episode. So first off, the beauty of streaming is if you have not watched this show yet, just go back and watch it. You know, go get Amazon Prime if you don't have it already and start cranking through them. My wife and I didn't start this until the 2020 lockdown. There was already in between season three and seven season for that really long gap they were talking about. But we had nothing to watch during it. So we're kind of crushing through Netflix and Hulu and anything we could find. And we hopped into Mrs. Maisel and for some reason I didn't know much about it at the time. I was saying, What is this like some superhero thing? Because it kind of played with some of those Marvel titles that you hear. But it's a it's a comedy. It takes place, I guess, you know, like late 1950s, early 1960s. Rachael Brosnahan plays Miriam Midge Maisel. She's a housewife with very strong Jewish personalities in her life. Between her her husband and her parents and her in-laws. Alex Borstein plays Susie Myerson. She manages The Gaslight Cafe. Becomes a manager. She wants to be a manager. She's there. Michael Zegen is Joel Maseil while her husband and there's a Tony Shalhoub is in it as her father. There's a lot of actors you will know. Kevin Pollak is her father in law. It was a Jane. Lynch turned up as. Jane Lynch. Yeah. So it's it's an awesome ensemble cast. So and it's also a lot of reality. So Luke Kirby plays Lenny. Bruce. Right? So he's a real person, very controversial comic of the time, but becomes Midge's friend over time and helps guide her career. Midge Maisel, a fictional character, but she's based on Joan Rivers, who had a relationship with Lenny Bruce and started at the Gaslight Cafe, which was a real location. It's where, if you've ever heard of a musician named Bob Dylan, you've heard of Bob Dylan before.Bruce Never heard of him. Never heard of him. So he was a young man. Robert Zimmerman out of Hibbing, Minnesota. Probably did. Well, is he did. He did well. So he came to New York City and was kind of brought under the wing of a folk singer named Dave Van Ronk, who is who is the mayor of MacDougal Street down in the village of New York City. They performed at the Gaslight. This is a real location. So it's the beauty of this show is, you know, you're getting a little bit of a history lesson of the time and it but it's still a fictional comedy. It's hilarious. I love it. It's very you know, some of it is kind of on the surface kind of comedy and you pick it up really quick. But some of it's very deep, too, and it kind of gets into, you know, the place of women at the time in the 1950s and, you know, kind of being you're the housewife. Take care of the kids. Joel wants to be the comic. He's the one that's going to be the comedian. And of course, the tables get turned. But yeah, you're right. I mean, with the dresses, even as the show progresses and, you know, she's short on cash, sometimes it's like, how can you afford this apartment? Where are all these dresses coming from? It's ridiculous. The clothing budget does not suffer. She will always have a great outfit. What I find fascinating was each year it got bigger. You know, you start out and it's kind of like, Oh, this is doing a period show is expensive. And they didn't. They just threw it out there. They went to a summer camp, you know, and that can't be easy to recreate, particularly of that era. Then they go to a USO show, which is huge in an airplane hangar. They go to Paris, for God's sakes. This season, you're going to see them in New York and you're going to see a lot of landmarks in New York, particularly Rockefeller Center, which they use like a drum. They are around that building all the time. So that's that's fascinating to see. And the cast, there are so many people over those four seasons that get a return visit in the fifth. So it's it's kind of like a reunion. And you go, Oh my God, That was from remember when they did that? And she was in that. And then there's also a bit of, Oh, how can I how can I say this without saying this? It reminds you of if you saw my favorite year, if you saw laughter on the 23rd floor, if you saw any of those kind of looks at what Sid Caesar, Imogene Coca, Carl Reiner and Howard Morris did during the early days of television. With your show of shows, there are references to those kinds of things, so you get a real sense of the time. I think you really get to see what the fifties and sixties were like. There's a sort of Johnny Carson character. They mentioned Jack Paar in the course of the the series. What I love are these time jumps where you find out exactly what happened to Mrs. Maisel. What did she fizzle out and become? Nothing. Did she come a big star? Was she like Joan Rivers? You know, that is an easy comparison. But there were other female comics of the time, Tony Fields, if you remember that name. I don't know if it moms Mabley, these were all ones who were working that Phyllis Diller. And they kind of had to be aggressive in their approach to comedy because otherwise they were going to just be bulldozed over. And I think that's what you get out of out of Midge, is that she is not going to take no, but she is going to get knocked down. I can't wait to dive into this. It's exciting. I always love those just the characters. They even if they're playing such a really small role, it feels like they're playing a much larger role than it actually turns out to be. There are little in this one, you know. I don't know if you ever remember those kind of industrial shows that used to be big in New York, where it would be like, Oh, soap or whatever. And they do a huge thing for all of their their corporate people around the country. They'd come in for a day or whatever a weekend, and they do an industrial show, which we are. A lot of Broadway people would get on stage and sing the praises of, you know, Lox or whatever it might have been, or a new car. And they did these elaborate stage shows and fact there's a documentary out about them that is just fascinating because it's a world we don't know. We weren't in that industry. We weren't in that that thing. But people made a lot of money off that writing those shows. And you get a sense of that as well. There's a big convention of sorts that that Midge happens to be involved in. So you get another you know, it's this history lesson that you're getting a lot of stuff, even though it's not a real person. You know, if she were real, I think you'd look at it differently. You would say, Oh, well, you've got to have this moment. You've got to have that, and you really don't know what could happen. And Joel does not get shortchanged either. You know, I thought that maybe he would kind of just disappear as the years go by. And he has a very, very strong presence in the final season. That's great. I always loved his character. I always was afraid that as the ex-husband, estranged husband, he might just kind of slowly walk out of the show. And in the fact that not only has he remained at the forefront and kind of done his own thing, too, he's found his place and kind of escaped the shadow of his very overbearing parents. But the fact that he's still in it and that his parents are still in it just really makes the whole program him. And they do interweave those things, too, you know, that he was building a club. He was trying to get a club off the ground. And you'll see more of that in the next season. And his parents are big players with Mrs. Maysles parents. Interestingly, I don't think you see enough of Tony Shalhoub. I think he has a very secondary presence in in this year's show, and that's surprising because he won an Emmy for it, and I would have thought they would have leaned in a little more, maybe he just wasn't available to do a lot more. That's interesting. I also wonder, too, if it's is it part of character development, too, where they they want to highlight certain characters each season kind of give them because he did seem to have a very prominent role last year. When he was doing The Village Voice and he's a critic. And now he's getting the reaction to what life is like as a critic, which is I think, just fascinating. That's your favorite part, isn't it? Yeah, that's the cool part. Yeah. I lean into the critic aspect. I don't do I care about the comic? I don't know if I do, but I do care about the critic. You know, you talk a little bit about the characters and the reality and whatnot. One of my favorite things from the series and this is because, you know, and we've talked about this my my fan of of I'm such a huge fan of music. I have a very large record collection and just I feel like I have a pretty solid knowledge and I'm watching I think it was season it was season three when Midge was out on tour, was Shy Baldwin. Right. So she was doing comedy to open up for his big band performance. So he was performing. He had that ensemble band behind him. There was the one character who kind of became her friend of sorts. Carol Keane, who is a fictional musician. However, she was based on a real person. She played. Carol Kaye, if you at all familiar with her, is a legendary bassist, and she's part of what's known as The Wrecking Crew. The Wrecking Crew in the 1960s was this group of musicians that would come in and they were studio musicians. So you would have performers who weren't necessarily the best bands. They would go out live. But when it came to actually recording the albums, the producers were like, Let's you guys are in quite good enough. And it was even the Beach Boys, like the Beach Boys, didn't perform their own instruments in the studio. In a lot of cases. It was a lot of times it was The Wrecking Crew. So Carol Kaye, the real person was the basis to put down the bass line. That famous bass line in In These Boots by Nancy Sinatra. The bum, bum, bum, bum, bum, bum, bum, bum, bum, bum, bum, bum. So that was Carol Kaye and the fictional character in Mrs. May's All, who is also the bassist in the band and a befriended Midge and that season. So that was for me, another piece that I just really love about this. That's where rewards you for being astute in other areas, correct? If you if you know things like if you you know, if you don't if you don't know these things, that's that's totally fine. You're just going to be entertained for for an hour or however long the episode is. But if you if you're familiar with pop culture in any way, you don't need to just know the real people like Lenny Bruce. But it's knowing little things like The Gaslight Cafe. Carol Kaye, These types of people, you know, they are based on actual folks, even if it's just very loosely. Yeah, it's fun to see who they might be. You know, Sophie Lennon, Who is she referring to? Who is she trying to be that you would know as a fellow comedian? You know, is she somebody that or is she just whole cloth, a fresh character? And that's I think that's kind of picking the brain of Amy Sherman Palladino, the creator of this show. If you know her from Gilmore Girls, you know that she loves dance scripts, she loves the idea that there's there are more words there than really you need to do a half hour or 45 minutes of a show, but she packs it and I would assume it would be very difficult to to learn all those lines, particularly when she wants that kind of rapid fire way of talking. And that's how she is. She's just like that. She usually wears a hat, too. She loves wearing hats. She's short. She's not unlike Susie. I would assume that a lot of Susie's personality comes from Amy, and her husband. Daniel is also a producer on the show, and he writes as well. So they're they're kind of in sync with what this mindset is all about. And I'm sure she had a grand plan as to where she was going to take this whole thing. Now, you can easily see that they might have gone seven or eight years with this, but I think the idea of cutting it off now opens up other opportunities like a movie. And I think for them, let's let's try and make the fifth season as packed as we can and then we can go on and do those other things and not have to worry about time limitations or we've got to meet a deadline to get this on the air by a certain time because it's it's expensive. It is hugely expensive. Bruce, I don't think you know this, but you have just set up the perfect segue way into, oh, wow, some audio here. So we already heard from Rachel. Now we're going to hear from Tony Shalhoub, who plays Midge's father. He talks about how they didn't know how long this series was going to go, but felt that both Amy Sherman-Palladino and Dan Palladino were able to wrap up the story perfectly the way it was supposed to be. So let's let's cut ahead to that clip. From what I understand, even though we didn't know how many seasons it may go or may not go, Amy and Dan always had, they always had the final scene in their heads. They always they didn't know exactly how we were going to get there, but they knew where we were going to land and then I think we all by osmosis, we all felt that cool. All right, so that was Tony Shalhoub. Bruce, does that sound accurate, like what he's talking about? Does it feel like the series wraps up perfectly? I think it does for me it did anyway. And I thought, like I say, the last episode is one you can't miss because it's and I, I cheated, all right? Because I was afraid I was doing an interview and I thought I better see the end just in case this character is dead. I don't want to end up asking, Well, like, you know, what about those later years are, well, I'm dead, so I won't be in those later years. But that wasn't the case. There wasn't anything. But I did watch the last episode before I finished off the other ones before it, and the last episode is a great example of standalone television. You could take that episode out, not see any of the rest of the series, and you would still get a really good sense of a story. It's like a little mini movie in itself, and it's interesting how they all are able to get friends in. There is a roast at one point that has a lot of comedians that you know, are friends of a lot of the actors that are in the shows. And there are ties. I think Rachel's husband is a character in the show. There are people that are all people who've been on Gilmore Girls, people who've been on Bunheads, people who have been, if you will, loyal over the years. And they repay that loyalty by giving them a shot in this last season. I mean, it's remarkable. If I sat and made a list of all the people that I saw, I, you know, a character that they introduced last season played by Gideon Glick, he's this magician and kind of an offbeat magician. And you go, What is this? I love that character. And he returns this season and he has a lot of really goofy things. He's afraid of flying. So that's a fear factor. And there there is a picture that you'll see out there somewhere that is JFK, the the airport. So you'll be able to see what that looks like inside. And it's just fascinating to see these characters. The last time I saw it was Catch Me if you can, and just to look at that and now there's a hotel there that you can stay at there. It's very commercial where you could go and actually do tourism things there. But it is featured in this season. Again, huge, huge landmarks that they're using in New York. I think it's fascinating to to realize that somebody didn't say no. Nobody was saying them, No, you can't do that. We can't afford to do that. It's like I'm sure she dreamed it. And very much like Susie, where she's not going to let somebody else tell her no, she's just going to keep going ahead and doing it. And I think that's in a nutshell. Amy. Amy Palladino I can't remember the timing of this. Was the JFK airport at the time, or was it still Idlewild? Yeah, it was, Yeah, it was, but as I know it is. I know I always wondered because it transitioned. It was not named. No, it was not named JFK because, you know, and interestingly, I don't remember that they've even mentioned that Kennedy has died at that point. But you'll see the eighties, you'll see the nineties, you'll see the seventies, you'll see various different time frames over the course of the of the of the episodes. Wow. So another character that was mentioned and we talked briefly about her was that of Alex Borstein. She plays Susie Myerson. You know, you had mentioned the connection with her to Amy Sherman-Palladino and whether it's the connection there. But we have a we have a clip of her also. Now, if you're familiar with her, she's also the voice of Lois on Family Guy. She's a comedian. She's been around for a really long time. But I think this is kind of like probably her biggest breakthrough screen role that I can think of on screen role. So we have a short clip of her talking about her relationship with Midge. So let's go to that. For a bit. Like Mutton, Jeff, It makes no sense. And yet there's just this chemistry. There's something that draws these women together and they've got each other's backs and it's not about finding a mate. It's about achieving something in their lives that they want. It's about filling a hole within and they complete each other. All right, Bruce So that was Alex Borstein talking about the relationship that Susie and Midge have. Is that connection? Because that was always one of my favorite things was the interactions between Midge and Susie and kind of the weird polar opposites that they are, but they have this great presence on screen together. Do we get more of that in this first season? We do. And you also get fighting. And that's as much as I can say about that. You know how they it's like on a soap opera where they love to put people together and then they like to tear them apart. And I think this falls into that. You know, there's there's a reason for them to be at each other's throats and maybe they both don't pay attention enough to what the needs are of the other person. But you see how how Susie is just giving her life for this person that maybe she might be a little too protected. You know, Mitch can Mitch has the ability to go and do this because she has her parents to fall back on if she really needs them. Her husband, her ex-husband is still there in the picture for her. She doesn't have that kind of if I don't do this, I don't know what will happen to my life. There is a safety net for her, and we've seen that over the years where she's taken jobs at other places and done other things and she gets a new job this year. And that's a safety net of sorts, too. But there's always this comedy where Susie has nothing. Susie is like she's all in and she will do whatever she needs to do to further the career of her client. Hopefully there will be more clients, but you know, you look at it and you say, Oh my God, she's just doing all this for one person. Is that friendship? Is that is that, you know, just survival? Is it? She's enamored with her. What is the what is the deal for her and why is she doing this? And you get answers to all of that stuff. It's just it's really fascinating. I remember when they went to the to the Catskills and they were staying there and I think she had a hammer or something. And she was like trying to do things with the hammer. And you go, Oh my God, this is unreal. And she's always treated like dirt by everybody. Everybody sees her as like their batboy for anything that goes wrong. Susie, we're going to go to you. Yeah, She said that season at the Catskills was just incredible. I mean, they basically took it was pretty much the entire season was more or less on location up there. And you still had to work her in somehow. And she obviously she doesn't dress like somebody that belongs there. So she just walked around with that hammer and like, I think a plunger, too, just looking like a maintenance worker and nobody would question it because that's what she did. But that relationship, you know, even though we're we're avoiding spoilers for season five, we had that adversarial give and take relationship between them throughout all the seasons. Because you're right, she didn't have anybody. Susie doesn't have anybody to fall back on, so she has to make a living, which meant at times taking on other clients. You know, she didn't want to be Sophie Lemon's manager, but she needed the money and then kind of had to deal with that abuse as well as the abuse of of Midge, who couldn't believe that she would support Sophie Lennon, who is her her nemesis. Right. Yeah. So, you know, that that to me has been just a great, you know, relationship. But it always comes back to when they meet in the diner, which is such an iconic New York thing. Like, I just love I miss diners so much. Bruce Living in Wisconsin, there's no diners out here. People who think there's diners out here, there is no diners out here that is. Have a drive thru with it, too, right? But it's such a it's just such a new York, New Jersey, East Coast cultural thing where you go to a diner and you get that triple decker club sandwich or the pastrami or whatever it is and a pile of food. You come all the other way, it's on you. Who knows everybody's order. Yeah. You know, you get that big pickle spear which probably sits on every plate, and they just move it from plate to plate so I don't touch it. The end. They do. Go back to the diner. You'll be seeing that and you'll be seeing various and sundry combinations of people talking. So it's a it's a key place. And like I say, these sets that they build the apartments, the business places they go to, it's unbelievable. I don't know how I would love to see what the budget was for this because it had to be huge because it looks good. And I there's a thing and there's this coming season where they mention something as a giveaway, okay? And I thought, oh no, that it's it's wrong. It's not the same time. And I had to look it up to make sure that that was within that time span. It was exactly in that time span. You know how you would say I like a yo I don't want to see what it is because again, this is one of those things. But if it was a yo yo and you say, well, yo, yo, what year was a Rubik's cube? That would be one a Rubik's Cube. Why are they giving away Rubik's cubes? They weren't available in 62 or 61 were they. I don't I think they didn't come until the seventies, but that's not yet. But there is another thing like that. And damn, if they didn't nail it. And I looked it up and it was exactly right, it it fit with the time frame. You'll see stuff like that that it just you want to play gotcha with them and they, they already know they're much better than we are at vetting these kinds of things. Yeah, they, they're really good. It's just nailing history. It is a history. Even though it is fiction, it is a history lesson throughout pop culture, history lesson. Were there characters that you really like that maybe aren't around or have, you know, dropped in for an episode or two? Well, you know, the Carol K one was one that I really liked. The magician that was in there in season four when Midge was working at that theater. And, you know, it's kind of the adult content. It's not quite a strip club, but it's that kind of like a doll that the manager of that club was. It's just a lot of those little characters like that. I really love the characters that I really felt a personal connection to, and we'll kind of kind of move this forward too, with some some clips that we have coming up. So we have Michael Zegen, who plays Joel Maze, all his parents. Kevin Pollack plays Moisi Maisel, his father, and then Caroline Aaron plays Shirley Mays or his mother. So I had mentioned earlier that that my mom was Catholic, my dad is Jewish. His parents, um, his mother died. My, my paternal grandmother died. I was probably about 15 years old when she passed away. She wasn't a very devout Jewish person. My grandfather was he was it could be. Yes, it was. That was probably about it. My grandfather was always a little bit more religious. And then after my grandmother died, he got remarried a year or two later is very quick. And the woman that he married, her name was Mildred. We all called her Millie and they became very devout again. He would go to temple. They kept kosher, but but Millie had a very unique personality. So when the show started and I started watching it, and when Joel's parents were finally introduced and Shirley Hazel comes on screen, I turned to my wife immediately and I'm like, Oh my goodness, that is Millie. That's Bella. Is Millie. Looks like Millie. Sounds like Millie. Acts like Millie. This is not like you can think that that there's there's acting here and we're over the top and there's no way people could be like this in real life. Surely Basil is Millie or Millie was Shirley. Mabel, whichever reality. So it to me there was just that personal connection that that strong, very strong personality with her. And in the father, I would I don't think my grandfather was any way like my she they had certain crossovers but you know Shirley and Millie were two peas in a pod. Shirley is a big fan of pop culture, and she knows all the names that Midge might throw out there. She has like she could give you an encyclopedia about the person, and she's so excited about everything. And of course, when Midge invites them to come to various and sundry things, oh, she's right there. She's ready to come. Whereas her own mother is like, well, this interrupt with what I'm doing. I don't know if I want to come and see you perform in front row is always Shirley. Shirley is there. She's all, This is wonderful. You're doing a great job. I love you, you're great. And you'll see they do a lot with them during this next year, so you'll enjoy that. I'm looking forward to that because that interaction with them and in some ways to my my maternal grandparents who were Catholic, they never interacted that often with each other. But there is always a very strange relationship between like my mom and her parents and my dad and his parents when they would interact. It was very I don't know if his adversarial is quite the way, but culturally very different. And I kind of get that with this show, like like Midge and her parents were very much one way, and Joel and his parents are very much another. And there is that that onscreen dynamic that I just love. And it kind of clicks with me a bit. Yeah, and they're together a lot. The four of them do a lot of things together. You'll be you'll be thrilled. You know, speaking of Moisi, Mazal, we do have one more clip of Kevin Pollak, and he's talking a little bit about the future of Mrs. Maisel. So let's go to that. Yeah, we're not going to ever say goodbye. And I predict now for you, in 4.3 years we'll be here talking about the amazing movie. There I said it. Kevin Pollak leaves a little bit of that door open. Could we see Mrs. May's old movie? I think it's the door has been cracked. Look, the way they need content these days and you know that it'd be an Amazon film in a minute. And, you know, so they put it in theaters. They could get a lot of attention for it. And then you just put it on streaming again. I think we've seen the model for all of this. And like I said, it would help pay the bills for all that expensive stuff that they're using because it looks like a Cinemascope film. It's shot. Well, it has great I mean, the scoring, they created original songs for this. Now, really for a half hour you're going to do that. And the sets, the costumes, the whole and, you know, the first season they won a lot of Emmys for those kind of below the line things. And I think this year they're going to be well rewarded for what they've done because it is so vast and so unbelievable. But, you know, it did not go unnoticed by the actors. I think they believe that they landed into a great situation. And I don't think it was by chance either that they were selected. I think these people, they knew who were the hard workers, they knew who the ones that would deliver for them. And it it it seems like it's a brutal show to do because it isn't just getting up and saying a line against somebody. You know, what's interesting is you'll see a little a clip of a TV show that stars Hank Azaria and Sutton Foster within the show. It looks it has a bit of Dick Van Dike to the quality of it. And Sutton Foster kind of seems like a mary Tyler Moore. And you think the idea that they would write this script for a show within a show that really isn't seen that much, you get a couple of lines out of it. And, you know, they did you know, they probably wrote the whole script or this sitcom that they were trying to reference in some way. And it's done in black and white. And you get all of that that kind of little homage. But clearly they are fans of the medium. They are ones who want to make sure that it comes across and you do get that sense of what the time was like. You know, it was not easy being a female comedian in New York, Hollywood, wherever. And I don't I think now it just seems too easy because we see comedians all over the place, you know, doing a one hour special on Netflix. But the idea that somebody would have had that or got that an unreal, unreal. And if I was able to interview Joan Rivers Times and she net, you know, as much as she was kind of oh what's the term I want to use not boisterous but she was you know, she seemed like a very like she would just tell it like it is and not worry about the consequences. That was not Joan. It was a character that she was portraying. She was the most loving, wonderful person who would would take you under her arms and just treat you like a friend. And that's the I think that's the same kind of disconnect you get here with Mrs. Maisel. She is two different people, but I can see easily that she is the the Joan Rivers is the template for Mrs. Maisel, even though their lives are much different. They don't they don't wind up the same way. They don't have the same dynamics. There aren't the same, you know, cards being played. But there is that kind of idea that I'm alone. I really am alone in this venture and I've got to do what I want to. Another series that it kind of seems similar to is Hacks, because you see Jean Smart showing what a comedian's like after the big days are over and how does she keep that going? And there's a glimpse of that with this fascinating because I think I think Joan Rivers is the mothership for all these kinds of things because of what she did do and the idea that look at Joan went to QVC and sold crap just to make money, you know, and what she had to do, she alienated Johnny Carson at one point and then she had her own show. But the one thing that she valued most was The Tonight Show. And there was no way they were going to let her back on with that because she had, you know, went as she had. She'd gone against the master and she wasn't sorry enough for Johnny to make this really work. And I think that was a big failing in Joan's life, is that she felt that somehow that relationship was not really repaired and she never got The Tonight Show. She didn't get things she wanted, but in the end, she did get a lot. And she is viewed as somebody they all look up to. You know, they say, well, I wouldn't be here if it weren't for Joan Rivers. And I think that's the path that you're looking at with Mrs. Maisel as well. So with Mrs. May's all leaving Prime Well, not really leaving. It's going to be there, but but this is a big tentpole production for them. What's left for Prime. They do have a lot of shows, but I also don't find myself going to Prime very often for original programing. It feels like a weird, weird platform to me compared some of the others in some ways, maybe a little bit like Apple Tv+, which has several big productions. But when there's nothing there, you know, when you run out of something like Ted Lasso, it feels like there's a long gap until something else comes. What what's your thinking on on Prime right now? I think, though, they're doing movies and a lot of those movies will draw the attention. And so I think that's where they'll get whatever. And they also have a lot of limited series that are ten and down or eight and done. And I think that for them is a better model then a series that who knows if you know the the the suits the executives who are in power may not like that series. And there it's just like network TV. As soon as one regime is out, there's do we have support? You know, unless you're the number one show on television they'll be looking to dump. Yeah. So we've been sprinkling clips throughout this episode, which has been fun because we don't always have audio from so many different people. But we do have one more and it's a little bit more than just a 1015 second clip. We have an interview. Do you want to talk a little bit about that? Yeah, I got to talk to it to Michael Zegen, who plays Mr. Maisel. And it's fascinating because I was always under the impression that his job could be gone at any minute. I really thought that Joel is not necessary to this show. He was important in the first year, but would you stick around? And so we got to talk about that and what this last season was like and what, you know, what what comes next. He is working on the Penguin, which is the new I think his HBO Max series with Colin Farrell, and he's a mobster in that. And so that's an excellent he'll be doing it Fascinating. And he feels very blessed, very blessed that he was a part of this because he knows it's magic in a bottle and you don't get that many times. Michael, how is it to say goodbye to this? I would think that would be very, very difficult. It is You're you're correct in you're you're sentiments. Yeah it's it's it's definitely difficult but it's some I don't know it doesn't feel like it's ended just yet especially you know we we still have all this and we're going to France together and I you know we still have this group text chain. So it's I don't think it'll ever quite feel over over. But I, I, you know, I know the reality of it. And we're not going to be filming anymore, which is devastating. Well, the last season is so stuffed with information. I mean, there's a lot there to unpack. What was it like when you were doing it? Did you say, Oh, my God, I can't believe this happened? And that happened. And, you know, there's a lot. There is, but there's always a lot. I feel like, yeah. And, you know, there's a lot of dialog. I actually think this year the scripts, they're always long, you know and I guess in our show is is supposed to be like, you know, 55 to 60 pages, our scripts are like 90 pages to 100 pages. So they're always long. I do feel like this this season, though, they were longer than most. And the locations, I mean, you're everywhere, you're doing the years, the whole all of it. That's why I thought it seemed like an awful lot. But maybe it's let's get it done and then move on to something else. Well, the show is big. It's been big from the beginning. You know, we went to Paris in the in the second season and the Catskills and Miami. So it's it's it's always been very big. And yeah, I mean, there's a lot of stuff, but somehow it just it still flows just as nicely as ever. And it's, you know, it's still. Mazal. When it started, did you feel, oh, they're going to get rid of my character at some point. I, I was just saying this in a in a previous interview. Yeah. In the first episode when I read it, I thought that was it for Joel and I thought it was going to be a guest star. I didn't even I, I looked at the you know, I was auditioning for it. They send you the cast breakdown and it said that he was a series regular. So I was like, Oh, even better. I had no idea. I really honestly thought this is it for him. And later. But but, you know, luckily that wasn't the case. And they were able to to create this this whole journey for and this evolution for this character. And there have been so many subplots of his that he just kind of owns. That must be a real cool feeling to have them kind of right for you, if you will. Yeah, we all get our subplots. But yeah, I mean, I think Joel's is is probably, I guess the most separate from from everybody else is they all kind of I mean, look, he's still in Midge's orbit, obviously, but but I think, you know, he's probably the he's like Pluto as opposed to, you know. Tony's not Venus. Right. What were you miss about this show? Because you had such a huge cast and of really great people? Well, that's what I mean. That's in that's it in a nutshell is the cast I, I, I, I'll miss everyone terribly isn't. And really, it's not just the cast, it's the crew. It's it's you know, our writers, Amy and Dan, obviously, I I'll miss everything about this show. Literally everything. This has been the greatest experience of my life so far, you know, work wise. I don't I was just talking to Tony and Kevin Pollak and they were saying, you know, by the way, no way, you're going to top this. So, like, they felt bad for me because they they were saying they're like, you have like years and years left. We only have like three and, you know, and I'm on it. It's over for me, basically. But I mean, I don't believe that, but I do I do believe that it's going to be very hard to top something like this. Do you think it's because of the writing that made it such an iconic show or was it something else? Is it spending a lot of money and doing a lot of things, making it bigger than normal? I think that the money is certainly helps. You know, luckily we had Amazon behind us and anything really Amy and Dan wanted they got because I think, you know, Amazon loved the show just as much as we did. But what was the first part of the question? Well, did did you think that it was going to be this this big, this kind of whatever, or was it the writing that really kind of sold all of this thing? It's really everything. It's the writing. It's like I said before, the crew, I mean, we had, you know, people at the top of their game in every, you know, whether it's lighting or set design or acting. I mean, it was just the whole the whole project was just lightning in a bottle. And and I think that's that's really just what made it so special. But yeah, did I have any idea I, I didn't know that it was going to be this big. I knew people were going to like it. I liked it. So, you know, I, I think I've got pretty good taste. And, you know, my if you look at my resume like I've done really good shows before and I've done shows that people watch. But but this was this took it to a new level. And, you know, right out of the gate, we we got nominated for all these awards and we won and we won the Golden Globe, you know, And that that was like, okay, yeah, we were right. Like, this is something special. And and now, you know, then we had to top that. And you got the Emmy. So there you go. Yes, We did. Talk about, though, Amy, as a as a force. I have my views of what she'd be like. I always see her in a hat and I always think she's like, she's marshaling troops. But is it like that or what is she like on on set? She's honestly just the best. You know, you talked about the writing. It doesn't get better than that. And and honestly, like, I'm a little sore about the fact that for, you know, the past couple of years at the Emmys, she's not even nominated for writing. I mean, this is the best written show on TV, you know. Yes. There's succession. There's all these other shows. But like in terms of comedy, it doesn't get better than this. And, you know, it's so rare for me to read something, especially when I'm home alone and I laugh out loud. That doesn't happen. And that's been happening on this show from day one. The minute I read the pilot, I was I was laughing. And and so, yeah, she's she's just, you know, there's there's a level of trust involved with her that that is unparalleled that I haven't I haven't experienced with anybody else. She shows up to set. I mean she's a former dancer, you know, and she thinks like a dancer. So, so even even our background actors, a lot of them are dancers. I don't know if you know that, but it's true. A lot of them are dancers and it's it's always a dance when we're rehearsing a scene because we don't have rehearsals, like prior to showing up to set and doing the scene. We, we, we get there on the day like, you know, 530 in the morning, whatever it is, and then we start blocking it out. And sometimes they're huge scenes. But I mean, you know, she's she's obviously in charge and there's this level of trust that I'll just do anything she wants because, you know, she knows what she wants. And to have a director who knows what they want is sometimes I mean, honestly, in my experience, it's rare. So what is it like watching Rachel do stand up? I mean, Rachel can do anything. You know, she's she always talks about how nervous she is. Like, I don't buy it. Like she's she's a she can do anything. She she's that type of actor where again, it's that level of trust. Like, I mean, any time I got to work with her was a joy and all of our I think you know all of our scenes that we got to do together were always my favorite. And yeah, I mean, you know, she talks about how nervous she is, how the audiences keep growing and growing for her character. And honestly, like, that stuff doesn't faze her. She was born to perform. And, you know, I don't I don't know if she would be a standup comedian, but but I'm sure she can handle that as well if she wanted to. Hey, and you can, too. So that might be even the next step. So. Hey, thank you so much, Michael. I appreciate it. And I thank you for all those years of really great television. Oh, thanks so much. I appreciate it. Thanks, Bruce, for that interview with Michael Zegen. What do we have on tap? Well, I'll tell you, I do. And tell me if you don't agree when you start watching this, this series by, because I think it's going to be in for a lot of Emmys, you know how they come and go. And they kind of had a down year. Never. They weren't getting nominated. And the things I think this year they're coming back with a vengeance. And I don't know how you could deny Rachel Brosnahan, the Emmy for best actress. Really? There are there is a moment there that you will go, Oh, my God, I'm glad I watch this series because it builds to this moment and it's unbelievable. And you'll, as you heard from Michael, you know, watching her was just unbelievable. But next week, we're going to talk about dead ringers. Here's another opportunity. And you wondered, where is Amazon going? Well, this is another series they've got, but it's a limited series. It's based off a movie. If you remember the movie by David Cronenberg, starring Jeremy Irons, he played brothers, twin brothers who were odd, to say the least, and they were involved in obstetrics and making all kinds of weird tools and instruments and whatnot. And they had freaky obsessions. They I mean, watch the movie. You'll see what I mean. It was one of those movies. Take me out for the longest time. Well, they've redone the movie and it's now a limited series, and it features two women as twins. Beverly and Elliot Mantle are now played by Rachel Weisz and Rachel really digs into it. She's and she has lots of fun. And you'll see a different Beverly and a different Elliot. And then it's at one point they play each other to try and dupe their friends. So it's a fascinating look at characters, but I do think they made a horrible land. I just kind of have that feeling knowing how the movie went. But that's next. We were talking to people who were involved in Dead Ringers, and that'll be coming as a limited series later this month. All right, Bruce, thanks again, as always. And tune in again next week for another episode of Streaming & Screened.See omnystudio.com/listener for privacy information.
Can we all agree that the date of August 20, 2015 should be enshrined as one of the most important in the history of documentary? In case you've forgotten, that's the date that “Documentary Now!” burst on the scene with the airing of its first episode: “Sandy Passage”, an unforgettable debut starring Fred Armisen and Bill Hader parodying the Maysles' classic documentary “Grey Gardens”. Somehow, this crew of on and off-camera SNL talent (the show's co-creators are Armisen, Hader, Seth Meyers, and Rhys Thomas) managed to pull off the not-so-small miracle of parodying the high priests and priestesses of documentary in half-hour masterpieces and, just as miraculously, found a network to actually air the program (IFC, for the record). Fast forward seven years and “Documentary Now!” has just premiered its first episodes of season 4 (actually, season 53 in the bizarre-o world of “Doc Now!”). Seth, Rhys and Alex Buono (who directs with Rhys and is also the show's cinematographer) took time away from whatever else they were doing to join Mike and Ken on Top Docs and talk about the collective creative genius (our words, as they are far too modest) behind this unique show. Stay tuned for answers to such questions as: “Why did it take until season 4 (er, 53) to parody the highly imitable Werner Herzog and Les Blank's portrait of him, “Burden of Dreams”? How did the team find itself on a remote Welsh mountainside trying to build a sitcom set as howling winds threatened to blow the whole thing to smithereens? And what do you say to Cate Blanchett when she asks, “Is it OK if I wear giant Coke bottle glasses?” Join us as we peal back the layers on the show that dances on the line between the sublime and the ridiculous while never straying from its love of documentary. To paraphrase the show's host, the immortal Helen Mirren, “I give you ‘Documentary Now!'” Documentary Now! season 4 episodes discussed in this podcast include: “Soldier of Illusion” (written by John Mulaney) (parts 1 and 2), “Two Hairdressers in Bagglyport” (written by Seth Meyers), and “How They Threw Rocks” (written by Seth Meyers) Documentary Now! can be seen on IFC and streaming on AMC+. Follow on twitter: @DocumentaryNow @sethmeyers @AlexBuono @RhysThom2 @topdocspod The Presenting Sponsor of "Top Docs" is Netflix.
This is the podcast about a well known house on Long Island named Grey Gardens, made famous by the 1975 documentary by the Maysles. Step into the world of Big Edie and her daughter Little Edie. We'll discuss their family drama and memory lane meanderings. The Edies sing and dance and share their dreams of stardom. It's very difficult to keep the line between the past and the present…
Chris Purcell and Simon Weitzman join me to discuss some key Beatles documentaries, predominantly the Maysles brothers' 'What's Happening! The Beatles In The U.S.A.' (aka The Beatles: The First U.S. Visit), 'The Beatles Anthology' and 'Timewatch: Beatlemania'. Chris and Simon also discuss their own fan-related films (links below)and we discuss the enduring worldwide interest in The Beatles as well as looking forward to the upcoming Peter Jackson 'Get Back' film series. Enjoy! Feedback and voluntary Paypal donations to glassonionpod@yahoo.com Facebook page- www.facebook.com/glassonionjlpod Twitter handle twitter.com/OnionLennon Antony's website (music, podcasts, blog, life coaching) https://www.antonyrotunno.com Antony's 'Life And Life Only' podcast https://lifeandlifeonly.podbean.com episode-related links Chris's Abbey Road-related short 'Why Don't We Do It In The Road?' http://vimeo.com/46488387 Chris's new film 'The Beatles And Us' (available on Fandango, Vudu, Roku, Tubi, Sling and Plex) https://www.thebeatlesandus.com Simon's new film 'Here There And Everywhere' https://www.indiegogo.com/projects/here-there-everywhere/coming_soon https://www.beatlesdoc.com The Making of 'The Beatles First U.S. Visit' https://www.youtube.com/watch?v=4FhQY7BSKpk Timewatch: Beatlemania https://www.imdb.com/title/tt0942207
Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Nada mejor para apreciar las parodias de Documentary Now que remitirse a las grandes obras cinematográficas a las que hacen referencia. Como acercamiento al género, unos detalles sobre el documental musical y las obras más destacadas de los Hermanos Maysles y Errol Morris. Únete a nosotros en Telegram: t.me/marcianosenuntren Contenido, edición y música: Jose Ceballos Temas de: Martin Landh, Sarah, the Illstrumentalist y Martin Landström Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals
“Whole world's comin' to an end, Mal.” The Distinguished Professors give into fate and face off against Oliver Stone's crazed take on the Bonnie and Clyde story, Natural Born Killers. Topics include the mystery of Owen, the symbolic end of our world and the beginning of a new one, apocalypse as revelation, John Milton's love of Satan, our inability to say “apocalyptic” or “cinematography,” Woody Harrelson's heel turn from Cheers, Juliette Lewis getting typecast, Rodney Dangerfield's even more horrifying heel turn, Wayne Gale as our viewpoint character, Charles Starkweather and Charles Whitman and Charles Manson, the critique of TV culture and parallels with Robocop,the 1990s' greatest hits of true crime, Stone's errors in seeing himself as a crusaderand the failure of JFK, Tarantino's original script, ubiquitous Dutch angles, musing about what Tarantino's version would have looked like, American Maniacs, Vanderpool resolves to not be the weakest link, Leave it to Beaver as an early distortion of reality through TV, Mallory as the sympathetic center of the movie, the amazing Russell Means and Native American imagery as another layer of meaning, the ambiguity of Kevin, the Trent Reznor-supervised soundtrack, Steven Jesse Bernstein and the opening montage, 89X out of Detroit, the wedding scene, the metaphysical reading of the movie and Mickey as a god, NBK as a magical working, chaos magic, American Mary, Charles in Charge and the Electric Hellfire Club's cover of the show's theme, the very special episode of Diff'rent Strokes and the juxtaposition of sitcom elements with Mallory's backstory, a perfect reset, why it's important to not be so eager, our plug for why everyone needs to see this movie, Tommy Lee Jones cannot sanction your tomfoolery, the awfulness of Scagnetti, the guilt of the spectator and audience, being “lost in a world of ghosts,” the (eventual) redemption of Wayne Gale, British moral panic about NBK and Trainspotting, Mickey's more mysterious trauma and the link between murder and childhood trauma, Charles Whitman and the UT Austin shooting, blurring of hero and villain, Altamont and the Maysles, Moll Flanders and the audience's love of terrible people, our crisis of purpose when we talk about good movies, and why we shouldn't censorthe word “douchebag.” --- Support this podcast: https://anchor.fm/because-you-watched/support
We finally tackle all-time classic Grey Gardens! Our guest is comedian Amber Preston.The Maysles Brothers were approached by Jackie Onassis to make a movie about the Bouvier family. During the filming, their camera gravitated to The crumbling Long island estate known as Grey Gardens occupied by eccentric relatives “big and little Edie”. It’s a hot mess of co-dependence, animal feces, American aristocracy in decline, and corn.Amber Preston has appeared on national commercials for Buffalo Wild Wings and Booking.com, at numerous festivals from Sketchfest to Gilda’s Laughfest (where she was named “Best of the Midwest”), and even on Marc Maron’s “Five Comedians to Watch” list for Vulture. Along with hosting Los Angeles shows The Cut and Punchline Punchout, she recently released her debut album Sparkly Parts on Stand Up! Records.Follow us on:Twitter: @supdocpodcastInstagram: @supdocpodcastFacebook: @supdocpodcastsign up for our mailing listAnd you can show your support to Sup Doc by donating on Patreon.
In this episode of our new series examining the Beatles on film, Phoebe and Kristen discuss fantasy, reality and the creation of the Beatles myth with two landmark films from the start of Beatlemania: A Hard Day’s Night and The Beatles First US Visit
A study of Boston-area Bible salesmen was the breakthrough documentary of the brothers Albert and David Maysles. The Maysles brothers,…
Grab your favourite jumper, wrap it around your head and safety pin your backless swimming costume together, as this month's Flicking sees Mick and our resident film buff Yosra Osman visit the iconic Grey Gardens at Hannah's behest. The Maysles brothers' cult 1975 documentary throws up a lot of questions: What will they make of Big and Little Edie Beale? What does it tell us about mums, daughters, mums and daughters, and women in general? How did it change documentary making? And just how many raccoons is too many raccoons? Support this show http://supporter.acast.com/standardissuespodcast. See acast.com/privacy for privacy and opt-out information.
Maurice, born in France before World War II, began his career as an apprentice sound editor on the Maysles’ brothers’ classic documentary, Salesman, and as sound assistant for Gimme Shelter. For over 40 years, he has been sought out by the leading filmmakers of his generation for his artistry, creative intuition, and meticulous editing direction. His collaborators have included: Brian DePalma, Francis Ford Coppola, Bob Fosse, Sydney Lumet, David Mamet, Martin Scorsese, Paul Schrader, Bruce Weber, and Jan Kadar, just a few of the many award-winning filmmakers who have relied on his understanding of sound. His best known work on feature films includes: Apocalypse Now, Carlito’s Way, The Godfather, Chicago, The Cider House Rules, Desperately Seeking Susan, Heist, Reds, Scarface, The Spanish Prisoner, The Taking of Pelham One Two Three, and The Winslow Boy, a few of 112 film credits.
A delayed release, but what else is new for a TUMP release these days? We return to discuss more documentaries as we’re taken around the world to understand how a highly addictive and illegal (and in some cases starting to be legal) drugs are making big dollars as well as finish out Maysles’ series of … Continue reading "TUMP [EP#345 – THE BUSINESS OF DRUGS/GREY GARDENS]"
We begin today just checking in. What are we feeling? What should we do about it? How can we support our friends and sisters? How do we heal the pain? One thing: More listening.From there, some good news. A thrilling lift-off to space and some exciting twists to the story. Did you know both astronauts are also married to astronauts? Julie celebrates graduation from kindergarten. Not hers, though it feels that way. She also makes a major purchase for her backyard yards that isn't exactly going swimmingly. A Dog Pool.In our work advice segment Working It Out, we answer two listener questions about how to get through these hard times. A working mom who is having trouble dealing with her first grader AND getting her actual job done, and another mother who, Franklin, just doesn't like having her husband and kids at home all day! Deb and Beth, we feel you. Post any of your own work-related questions on the Satellite Sisters Facebook Group and we will tackle on future episodes.Lian is trying to find the Texas book club that booked her to appear in August. It's lost among all of her social messaging apps. Help! Was it you? Contact Lian from her website www.liandolan.com. She also found a couple great listener letters that came in months ago. Sorry!On Cooking With Liz, we hear all about Mama Capra's Marinara Sauce. This week. Liz will attempt Vietnamese Salad Rolls and Dipping Sauces. Watch in our Facebook Group live at Thursday noon PT, Saturday noon PT and Sunday noon PT. Peace and Sauce, sisters and misters!In Entertaining Sisters, we recommend watching the documentaries about Christo and Jeanne Claude by the Maysles brothers including Running Fence, Islands and The Gates. Christo died this week at the age of 84.BRING YOUR OWN BOOK CLUB: LIAN'S TALKING ABOUT THE SWEENEY SISTERS. Lian announces a new series of Book Club opportunities every Wednesday night in June and July. Details at www.liandolan.com and on all Satellite Sisters social media. Free. Easy. Fun. For those who have read the book and aren't afraid of spoilers!
A Satellite Sisters Check-In - Our Sadness, Our Hopes plus a Kindergarten Graduation and New Dog Pool. We begin today just checking in. What are we feeling? What should be do about it? How can we support our friends and sisters? Where do we go from here, America? How do we heal the pain? From there, some good news. A thrilling lift-off to space and some exciting twists to the story. Did you know both astronauts are also married to astronauts? Julie celebrates graduation from kindergarten. Not hers, though it feels that way. She also makes a major purchase for her backyard yards that isn't exactly going swimmingly. A Dog Pool. In our work advice segment Working It Out, we answer two listener questions about how to get through these hard times. A working mom who is having trouble dealing with her first grader AND getting her actual job done, and another mother who, Franklin, just doesn't like having her husband and kids at home all day! Deb and Beth, we feel you. Post any of your own work-related questions on the Satellite Sisters Facebook Group and we will tackle on future episodes. Lian is trying to find the Texas book club that booked her to appear in August. It's lost among all of her social messaging apps. Help! Was it you? Contact Lian from her website www.liandolan.com. She also found a couple great listener letters that came in months ago. Sorry! On Cooking With Liz, we hear all about Mama Capra's Marinara Sauce. This week. Liz will attempt Vietnamese Salad Rolls and Dipping Sauces. Watch in our Facebook Group live at Thursday noon PT, Saturday noon PT and Sunday noon PT. Peace and Sauce, sisters and misters! In Entertaining Sisters, we recommend watching the documentaries about Christo and Jeanne Claude by the Maysles brothers including Running Fence, Islands and The Gates. Christo died this week at the age of 84. BRING YOUR OWN BOOK CLUB: LIAN'S TALKING ABOUT THE SWEENEY SISTERS. Lian announces a new series of Book Club opportunities every Wednesday night in June and July. Details at www.liandolan.com and on all Satellite Sisters social media. Free. Easy. Fun. For those who have read the book and aren't afford of spoilers! See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
This week we'll tell you about pair of mom and daughter socialites who lived together in isolation for 25 years. We'll explain what factors contributed to the eventual life of squalor and cat collecting that came to be their new normal. References: About Big Edie. (n.d.). Retrieved May 19, 2020, from https://greygardensonline.com/about-big-edie/ Acocella, J. (2014, December 8). Let it go. The New Yorker. Retrieved from https://www.newyorker.com/magazine/2014/12/15/let-go Animal hoarding. (2016, September). Retrieved May 19, 2020, from https://adaa.org/understanding-anxiety/obsessive-compulsive-disorder-ocd/hoarding-basics/animal-hoarding Edith Bouvier Beale biography. (2014, October 23). Retrieved May 19, 2020, from https://www.biography.com/personality/edith-bouvier-beale Frost, R. (2000). People who hoard animals. Psychiatric Times, 17. Retrieved from https://www.psychiatrictimes.com/obsessive-compulsive-disorder/people-who-hoard-animals/page/0/3 Frost, R. O., Patronek, G., Arluke, A., & Steketee, G. (2015, April 30). The hoarding of animals: An update. Psychiatric Times, 32(4). Retrieved from https://www.psychiatrictimes.com/obsessive-compulsive-disorder/hoarding-animals-update/page/0/3 Hoarding disorder. (n.d.). Retrieved May 19, 2020, from https://www.mayoclinic.org/diseases-conditions/hoarding-disorder/symptoms-causes/syc-20356056 Krasner J. (2017). Cat Food in Camelot: Animal Hoarding, Reality Media, and Grey Gardens. Journal of Film & Video, 69(1), 44. Maysles, D., Maysles, A., Hovde, E., & Meyer, M. (Directors). (1975). Grey Gardens [Motion picture]. United States: Portrait Films. Olsson, G. (Director). (2017). That summer [Motion picture]. Petrison, L. (2017, September 27). Did the mold at Grey Gardens affect Big Edie and Little Edie Beale? [Blog post]. Retrieved from https://paradigmchange.me/wp/grey-gardens/ Reinisch, A. I. (2008). Understanding the human aspects of animal hoarding. The Canadian Veterinary Journal, 49(12), 1211-1214. Retrieved from https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2583418/ Taylor, T. (2018, May 14). Watch Grey Gardens' Little Edie talking about her cats in lost documentary. Interview. Retrieved from https://www.interviewmagazine.com/film/watch-grey-gardens-little-edie-talking-cats-lost-documentary What is hoarding disorder? (n.d.). Retrieved May 19, 2020, from https://www.psychiatry.org/patients-families/hoarding-disorder/what-is-hoarding-disorder Wilkinson, J. (n.d.). Inside the infamous NY Grey Gardens and its very historic yard sale. The Daily Mail. Retrieved from https://www.dailymail.co.uk/news/article-5095053/Inside-infamous-Grey-Gardens-historic-yard-sale.html Wilkinson, S. (2015, July 10). Grey gardens, the story of two fabulous women let down, is one you need to know. Grazia. Retrieved from https://graziadaily.co.uk/life/real-life/grey-gardens-real-story/
The Maysles' brothers documentary Salesman had an immense influence on documentary filmmaking, and speaks about the pursuit of the American Dream. The post Salesman by Albert and David Maysles appeared first on Factual America.
Season 2 Episode 1: Crime and Capote In this episode, of So Dramatic, my guest is Business Manager Peggy Hines. Peggy and I talk about the intriguing but sad story of author Truman Capote, our own obsession with true crime, and why you should never divulge your friends’ darkest secrets. Here are links for those who still want more drama: A Visit with Truman Capote, brief documentary by the Maysles https://www.youtube.com/watch?v=KbaAYR0oox8 In Cold Blood by Truman Capote https://www.amazon.com/Blood-Truman-Capote-published-Random/dp/B00E32OX72/ref=sr_1_6?crid=WTE7BIATODS7&keywords=in+cold+blood+by+truman+capote&qid=1567533211&s=gateway&sprefix=in+cold+blo%2Caps%2C232&sr=8-6 The Swans of Fifth Avenue by Melanie Benjamin https://www.amazon.com/Swans-Fifth-Avenue-Novel/dp/0345528700/ref=sr_1_1?crid=388AKUS1G78EI&keywords=the+swans+of+fifth+avenue+melanie+benjamin&qid=1567533488&s=gateway&sprefix=the+swans+of+fifth+%2Caps%2C176&sr=8-1 Furious Hours: Murder, Fraud, and the Last Trail by Harper Lee by Casey Cep https://www.amazon.com/Furious-Hours-Murder-Fraud-Harper/dp/178515074X/ref=sr_1_2?crid=2Z6JNQEJCKDBS&keywords=furious+hours+casey+cep&qid=1567533369&s=gateway&sprefix=furious+hours%2Caps%2C185&sr=8-2 Infamous (Movie based on Capote’s experience writing In Cold Blood) https://www.amazon.com/dp/B003G1LU0Y Capote (Movie based on Capote’s experience writing In Cold Blood) https://www.amazon.com/Capote-Bob-Balaban/dp/B001MKQS4O/ref=sr_1_1?crid=3IRZAY28FYWUM&keywords=capote+movie&qid=1567533788&s=gateway&sprefix=capote%2Caps%2C187&sr=8-1 Murder by Death (Detective spoof starring Truman Capote) https://www.amazon.com/Murder-Death-Peter-Falk/dp/B001IWV030/ref=sr_1_2?crid=LEJHTZ0F3Q4R&keywords=murder+by+death+movie&qid=1567533859&s=gateway&sprefix=murder+by+death%2Caps%2C171&sr=8-2
The new Netflix documentary AMERICAN FACTORY is funnier than Barbara Kopple’s 1976 Oscar-winning documentary HARLAN COUNTY USA, and not nearly as fraught with violence, but it pivots on many of the same core tensions between workers and corporate bosses. In this half of our pairing of labor struggles past and present, we look back at HARLAN COUNTY to see how the time Kopple’s team spent embedded in Harlan County shaped the film, as well as the 1973 miners strike it depicts; how the film’s style reflects Kopple’s involvement with the Maysles brothers and direct cinema; and which of Harlan County’s colorful residents leave the biggest mark on the film. Plus, we respond to some feedback on recent episodes and go over some of the dozens of suggestions we got for 2019 pairings we received when we recently put the call out on Twitter. Please share your comments, thoughts, and questions about HARLAN COUNTY USA, AMERICAN FACTORY, or anything else film-related, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. Outro music: Hazel Dickens, “They’ll Never Keep Us Down” Learn more about your ad choices. Visit megaphone.fm/adchoices
Grey Gardens is a landmark documentary film in cinema verite, or direct cinema. The Maysles brothers took a unique approach to filmmaking, simply turning the camera on the Beales and letting them tell their own story. Is the film exploitative? Is it an accurate representation of the Beales women? Are there mental disorders involved? All is possible with the enigmatic women of Grey Gardens. Major spoilers for Grey Gardens Follow us: Facebook: https://www.facebook.com/rulesoftheframe/ Instagram: https://www.instagram.com/rulesoftheframe Twitter: https://twitter.com/RulesOfTheFrame Films mentioned in this episode: Grey Gardens (1975) | Dir. Albert & David Maysles, Ellen Hovde, & Muffie Meyer Exporting Raymond (2010) | Dir. Philip Rosenthal Citizen Ruth (1996) | Dir. Alexander Payne Grey Gardens (2009) | Dir. Michael Sucsy The Beales of Grey Gardens (2006) | Dir. Albert & David Maysles Primary (1960) | Dir. Robert Drew Salesman (1969) | Dir. Albert & David Maysles, Charlotte Zwerin Gimme Shelter (1970) | Dir. Albert & David Maysles, Charlotte Zwerin That Summer (2017) | Dir. Goran Olsson
Wikipedia describes documentary as "a non-fictional motion picture intended to document some aspect of reality, primarily for the purposes of instruction, education, or maintaining a historical record." It describes this podcast as "a couple swinging dicks jizzing into your fucking mind" cause we just edited it to say that. Today on Adult Films with Collin and Ron, the only podcast where comedians talk about movies, da boys (tm) are joined by third-time guest Aaron Klopfer to talk all about documentaries! Nanook of the North, Michael Moore, MaysLes brothers, you tube conspiracy clips, concert films, getting super-sized, and so much more! Plus a round of the IMCB game and RECOMMENDATIONS! This episode is sponsored by www.peggingtoys.com. Used code-word ADULTFILMS to save 10%.
Common remarks on the Bible: a) It's just trying to wreck our fun; b) it was written to protect a bourgeois, bougie, societal structure; c) it was written to benefit faceless powerbrokers; d) it was passed along to benefit upper-class white men. Those remarks purport the Bible is mere propaganda. But, really, if we look closer, is that true? And, just what is propaganda? (I also predict the Super Bowl winner.)
Emily and Amanda discuss the Maysles' documentary "Grey Gardens," a film on the iconic Bouvier-Beale mother and daughter in their dilapidated home.
Today on DCPL Radio, we compare and contrast three very different documentarians -- The Maysles brothers, Nick Broomfield and Ken Burns. Casey Danielson is joined by his DCPL Studio Lab colleagues who are also documentary filmmakers.
Nicolas Rapold talks with cameraman Ed Lachman about Tokyo-Ga by Wim Wenders. Lachman, who has also worked with Werner Herzog, the Maysles brothers and Ulrich Seidl, discusses the specific cinematography of Tokyo-Ga and his collaboration with Wenders. (Recorded November 20, 2017 at EYE Cinema.)
For several years, Clint Bowie has served as the programming director for the New Orleans Film Festival. In 2017 he was promoted to the role of artistic director, giving him more influence on the indie films and studio submissions that screen at the festival. Selecting what will get screened is a process that takes months and a great deal of discussion amidst the programming team. After the New Orleans Film Festival became an Oscar-qualifying festival for short films, the task load increased exponentially. This year they had to sift through over 5000 submissions to figure out which films would get included in the festival. The selection process often seems opaque and mysterious, but it might seem a little less so after hearing Clint's interview. He does into some detail about how the selection process works and some processes that they have in place to ensure that every film gets a fair shot. Some of the things that we discuss include The guiding philosophy behind the festival's selection process When it pays to get out there and dance What filmmakers can do to improve their chances of getting their films selected What, if any, supplemental materials should filmmakers include in their festival submissions How films can impact society for good or for ill, and whether there is such a thing as films that go too far How filmmakers can take advantage of the opportunities that film festivals offer to develop their careers This year New Orleans Film Festival happens on Oct 11-19, and Clint also shares some recommendations about what to check out. After the interview concludes, I mention some festival screenings and events that caught my attention. I then elaborate on some things that came up in the discussion and share my thoughts on what makes a film worth celebrating and how the films we embrace can influence society at large. Sponsor for this Episode Instead of using this section for a promotional announcement, I would like to encourage you to donate to those affected by hurricane damage from Harvey, Irma, or Maria. You can make a donation to the Red Cross for a specific region or just for general disaster relief. If you make a donation of at least $50 and want to be a good example to other, let me know and I'll give you a special shoutout on a future episode: podcast@nsavides.com # Related Things New Orleans Film Festival NOFF 2017 schedule and program NOFF on Facebook, Instagram, Twitter Some of the festival highlights that Clint mentioned include Bangaologia - The Science of Style Catching Sight of Thelma & Louise IF/Then Documentary Short Film Program, a partnership between NOFF, the Tribeca Film Institute, and the MacArthur Foundation. The winner of the competition will win a year of mentorship and $20,000 to make their project. Love and Saucers Watermelon Women Some of the films that caught my eye include Current War Darkest Hour Last Flag Flying the Louisiana short film blocks Mudbound Power of the Glove Other notable events at the festival include a conversation with Patricia Clarkson, International Screenwriters Association table read and reception. New Orleans Video Access Center's Filmmakers Welcome Party, the tropical pool party at the Drifter Hotel, and a Michael Jackson Thriller-themed party at the Art Garage Jordan B. Peterson's video message to millennials relates to a number of things I discuss in my concluding comments. Discovering it was an encouraging nudge to go forward with the episode. "The Art of Disagreement" from New York Times columnist Bret Stephens The Wired piece about the temp workers moderating content for companies like Google and Facebook and the trauma they experience after prolonged periods of watching extreme content PragerU on the downfall of Venezuela My blog post on John Ford and his films Past podcast episodes mentioned Larry Blake, the re-recording mixer and supervising sound editor who has worked on most of Steven Soderbergh’s films Bradley Greer, the colorist who has worked on films like 12 Years a Slave, Iceman, and The Looper Richard Matson from The Orchard, the distribution company behind Oscar-nominated films like Cartel Land and Life, Animated Other Films & Shows Mentioned 12 Years a Slave Braveheart Clockwork Orange Forgotten Bayou Gray Gardens, directed by the Maysles brothers. (Clint also singled out the Maysles brothers as some of the filmmakers that he admires. Other well-known films from them includ e Gimme Shelter and Salesman.) Leviathan (2012) Lost Bayou Hari Kiri Irreversible Queen Sugar Raging Bull Searchers Thelma & Louise # If You Liked the Show Sign up for The nsavides Newsletter. Subscribe or leave a friendly review: bit.ly/nsavidesPodcast Stitcher Say hello on Twitter: @nsavidesPRO Thank you for visiting! SaveSave SaveSave
"Fresh Perspective" is a bi-weekly podcast that discusses two films based on a film related theme. Episode 14 Fresh Perspective co-hosts Jeff Broitman and Rebecca Martin talk part 2 of Documentary theme with the Maysles brothers' "Grey Gardens" (1975) with our champion (3X) guest host Brian Thompson, film critic (https://southernfilmcritic.wordpress.com/) and film lover. Next month we talk "Lovers on the Run" with Terrence Malick's "Badlands" (1973) and Tony Scott's "True Romance" (1993). Guest hosts TBASubscribe to Fresh Perspective on ITunes: https://itunes.apple.com/us/podcast/fresh-perspective/id1129025219
"Fresh Perspective" is a bi-weekly podcast that discusses two films based on a film related theme. Fresh Perspective Jeff Broitman is back as co-host with Rebecca Martin. The theme is documentaries and for part 1 we talk Werner Herzog's "Grizzly Man" (2005). With guest host Al Kwiatkowski, Co-host of the Director's Club (http://www.directorsclubpodcast.com/), and Co-Organizer of the Chicago Film Discussion Group (https://www.meetup.com/movies-616/). Next time, for part 2 of our docs theme we talk the Maysles brothers' "Grey Gardens" (1975) with returning guest host Brian Thompson, film critic (https://southernfilmcritic.wordpress.com/) and film lover. Subscribe to Fresh Perspective on ITunes: https://itunes.apple.com/us/podcast/fresh-perspective/id1129025219 Follow us on twitter: @FPPodcast312
This week on StoryWeb: Albert and David Maysles’s film Grey Gardens Watching the 1975 documentary film Grey Gardens is like slowing down to watch an accident in the next lane over. You know you shouldn’t, but you simply can’t help yourself. And if you’re really a rubbernecker like me (and apparently like tens of thousands of other Americans), you line up to watch the 2009 HBO Jessica Lange/Drew Barrymore biopic, which provides the backstory to the original film. Clearly, the 1975 documentary filmmakers Albert and David Maysles were on to something. What is it about Big Edie and Little Edie, the mother-daughter duo who languished in squalor as their formerly grand Hamptons estate, Grey Gardens, fell into disrepair? Why do we want to watch mentally ill, codependent hoarders living out the exact opposite of The Lifestyles of the Rich and Famous? The Kardashians, they’re not. The Maysles brothers’ idea for a documentary was spurred initially by their interest in the Bouvier family and then by national reports of the deplorable conditions in which the two women lived. In the summer of 1972, Big Edie’s niece Jacqueline Onassis intervened in an effort to make the house more habitable. When the Maysles brothers approached the two women – Edith Ewing Bouvier Beale and her daughter, Edith Bouvier Beale – about making the film, both Big Edie and Little Edie readily agreed. Ever ones for performing in the spotlight, the two women immediately fell in line, presumably because they thought this could finally be Little Edie’s big break into show business. It’s true that Grey Gardens was once a truly lavish estate, a fourteen-room mansion that could hold its own among the other Long Island estates in the Hamptons. And yes, it’s true that Big Edie was aunt to Jacqueline Bouvier Kennedy Onassis and had fond childhood memories of her niece. And it’s even true that Jackie came to Grey Gardens to visit Big Edie and Little Edie after their surroundings had begun to rot around them and that she stepped in with financial assistance to help rectify the situation. The Edies’ pretensions were grounded – at least in part – in some reality. But they also fancied themselves performers, with their shared sights set on Little Edie making it as a showgirl. When Little Edie decides at the last minute not to pursue her audition with Max Gordon, a successful Broadway producer, Big Edie blames her severely for blowing her big chance – or perhaps Little Edie accuses Big Edie of pressuring her to move back to Grey Gardens. It’s something they never quite resolve between themselves, but both ultimately believe that Little Edie lost her chance at the big time. Both women obviously have a flair for the dramatic, and Little Edie enjoys getting up outlandish costumes from scraps of clothing and fabric she finds around Grey Gardens. It is very much as if she is a four-year-old playing dress-up with the grown-up clothes and shoes. And even though she is in her thirties when she does this, she is – in her peculiar Little Edie way – provocative, charming, compelling. We can’t help but watch. If watching the original documentary and the HBO film isn’t enough for you, you might want to visit Grey Gardens Online, a website devoted to Big Edie and Little Edie. You should also check out Sara and Rebekah Maysles’s book Grey Gardens, which includes illustrations, photographs, film stills, production notes, and the like along with transcripts of the two women’s stories. The book comes with a 60-minute CD, which contains conversations with the Beales and their friends, songs and poetry recited by the two Edies, and audio of the Beales during and after watching the film for the first time. The New York Times provides an interesting account of the property itself, noting that Little Edie sold the mansion in 1979 to Sally Quinn and Benjamin C. Bradlee, former editor of The Washington Post. Quinn and Bradlee loved to entertain, and their summers at Grey Gardens found them hosting the likes of Lauren Bacall and Norman Lear. And if you visit the “5 Things You Didn’t Know About the Classic Documentary Grey Gardens,” you’ll even learn that, for a cool $250,000, you can rent out the restored mansion for the summer. HBO’s official Grey Gardens page has links to short video clips and stills from the film, including a featurette on the making of the 2009 film. Visit thestoryweb.com/Maysles for links to all these resources and to watch clips from the original 1975 documentary. Then watch some of the backstory from the 2009 HBO film, when the two Edies and Grey Gardens were in their prime.
Join us in the grey derelict ruin that is our current reality, where even when the likes of Jackie O steps in to bail you out, in a few short years you still dissolve into a kingdom ruled by raccoons and decay. Have no idea what I'm talking about? Give this episode a listen. If you like seeing raccoons eating Wonder Bread and listening to Matthew descend into insanity, this one's for you! Spread some kindness and goodness! Rate us on iTunes.
Sheila Nevins is a lover and a fighter. When she joined HBO in its early years, the label “documentary” evoked something educational. She turned it into something entertaining with her passion and tenacity. In this wide ranging interview with host Thom Powers, Nevins discusses her early days working with the Maysles brothers, her forays into […] The post PN 30: Madam President: Sheila Nevins on HBO Documentary Films appeared first on Pure Nonfiction.
Two-time Oscar winner Barbara Kopple is back with a new film about soul singer Sharon Jones in a year when she battles cancer and prepares for her comeback with The Dap Kings. In this wide-ranging interview with Thom Powers, she talks about her apprenticeship with the Maysles brothers; “Harlan County USA” on striking coal miners; […] The post PN 17: Barbara Kopple – From Harlan County to Sharon Jones appeared first on Pure Nonfiction.
On Twitter: @kcorncoop, @joesviolin, @thompowersThanks to SundanceNow Doc Club for sponsoring this episode. http://www.docclub.com/Show Notes:Maysles Documentary Center"Making Dazed” appears on the Criterion Collection edition of “Dazed and Confused”“Heidi Fleiss: Hollywood Madam” is on SundanceNow Doc Club“Joe's Violin” is now playing at festivals“The New Yorker Presents” Season 1 is on Amazon
Kahane Cooperman, the showrunner of “The New Yorker Presents,” discusses her eclectic jobs from working at Maysles Films to becoming co-executive producer of “The Daily Show with Jon Stewart” to directing her new documentary “Joe’s Violin” that premiered at the 2016 Tribeca Film Festival. “I essentially went on my first job interviews in almost 19 […] The post PN 01: From Maysles To The New Yorker Presents… appeared first on Pure Nonfiction.
Bröderna Maysles dokumentär Grey gardens från 1975 blev sent omsider en riktig kultfilm som blev musikal på Broadway, spelfilm och teveserie. Katarina Wikars om den risigaste kåken i hela fashionabla East Hampton på Long Island utanför New York där Big Edie och Little Edie tillsammans med tvättbjörnarna på vinden och ett tjog katter genomlever sina dagar och minns bättre tider. Det stundar utmätning och sanering. Då är det bra att vara nära släkt med Jackie Onassis, som skickar några som kommer och röjer upp. Och en annan dag kommer två dokumentärfilmsbröder dit, bröderna Maysles. De har gjort dokumentärfilmer förut, de verkar i genren Direct Cinema, vilket betyder inga berättarröster eller raka intervjuer eller förklaringar. Så de är liksom bara där, i Grey gardens, i sex veckor. Och hundratals filmade timmar blir en och en halv timme film som kommer att gå till historien om än långsamt.
Bröderna Maysles dokumentär Grey gardens från 1975 blev sent omsider en riktig kultfilm som blev musikal på Broadway, spelfilm och teveserie. Katarina Wikars om den risigaste kåken i hela fashionabla East Hampton på Long Island utanför New York där Big Edie och Little Edie tillsammans med tvättbjörnarna på vinden och ett tjog katter genomlever sina dagar och minns bättre tider. Det stundar utmätning och sanering. Då är det bra att vara nära släkt med Jackie Onassis, som skickar några som kommer och röjer upp.Och en annan dag kommer två dokumentärfilmsbröder dit, bröderna Maysles. De har gjort dokumentärfilmer förut, de verkar i genren Direct Cinema, vilket betyder inga berättarröster eller raka intervjuer eller förklaringar. Så de är liksom bara där, i Grey gardens, i sex veckor. Och hundratals filmade timmar blir en och en halv timme film som kommer att gå till historien om än långsamt.
The Criterion Collection, the last vestige of truly collectible DVD and Blu-Ray movies in existence. These are well produced, fancy pants editions of important and interesting films for the discerning film lover. We continue our journey through Jim's collection of movies with... Week 15: Gimme Shelter Spine Number: 99 Director: Albert and David Maysles and Charlotte Zwerin Genre: Documentary It can be argued, quite reasonably, that the documentary is the oldest form of film making in existence. The first films ever made were simply documenting things that happened every day. Be it a train pulling into a station or women leaving their jobs at a factory film began by simply recording things that happened. The early Thomas Edison films were largely recreations of things that regular people wouldn't have had a chance to see in person. From Annie Oakley to Jim Corbett, people would go and simply do what they were known for and a larger segment of the public would be able to see it. Over the years, this genre has been corrupted and perverted. Simply presenting something as it occurred was no longer sufficient, people began using the format to prove a point or propagate an idea. The simple act of showing something wasn't enough. People had to manipulate the events to support a thesis or to sensationalize the events so they would reach a wider audience. The framing and presentation of "reality" became another tool for persuasion. However, there were some people who had an ethical commitment to keeping this form of film making pure. Few people were as dedicated to this idea than the Maysles brothers. They were dedicated to the idea of simple observation and presenting what they observed. Their films "Grey Gardens" and "Salesman" in many ways set the standard for American documentary film making. But it was their film "Gimme Shelter," detailing the Rolling Stones disastrous free concert at the Altamont Motor Speedway that went above and beyond what the genre had done in the past. In addition to documenting the complete lack of planning that went into the show, it highlighted the total lack of organization at the grounds, and ultimately kept a man from going to jail for murder. This film gives a fly on the wall look at one of the most important cultural moments in American history, the moment where, as many would say, the '60's died. It's simple, sparse, direct, and to the point. This is documentary film making at its purest. Jim will be out of town next week for a wedding, but we are not leaving you with nothing. Beginning on Thursday the 5th we will be presenting another week with The Life Masters, so get ready for some life coaching, because you are gonna get it. In two weeks: Spine Number 108: The Rock by Michael Bay (yes, that "The Rock.") Also, check this out. http://fantasymovieleague.com/ Looks like Summer Movie League has officially become Fantasy Movie League. It looks quite fun. Here's how it works. You have an 8 screen theater. Every week you pick movies and have a budget/salary cap you have to stay under. Then you compete against other theaters in your league. It's fantasy football for movie people. Our league is Film Thugs 2015 and the password is Porterhouse. And remember, you can be a part of the show any time you wild like. How's that? All you have to do is call or e-mail us. If you live in the US, or any place that makes calling the US easy, just dial 512-666-RANT and leave us a voicemail. We will read the Google Voice transcript and play your message. It's both funny AND informative. If you live outside the US you can call us on Skype at The_Film_Thugs. You can leave a message, or someone might actually answer. E-mail us at thefilmthugs@gmail.com and we will read/play whatever you send us, or you can e-mail thugquestions@gmail.com to be part of an upcoming "Ask the Film Thugs" show, where we answer questions on any subject without having heard them first. Also, we are on twitter @thefilmthugs and on Facebook and Vine. You can also click on one of our sponsor links below and THEY will pay us. That's right. You won't have to pay a PENNY extra, and Amazon/Onnit/Teefury will give us a little taste. Also, be sure to check back often for our new endeavor The Life Masters, where we answer questions to other advice columnists. Thanks for listening, and until next week... Jim out.
On Episode 11 Paco and George caught up with musician Dan Deacon right before his set at Outside Lands Music Festival, and we chatted about the infamous and iconic doc Gimme Shelter (1970 film). The original location for the famed concert was right where this interview took place! Gimme Shelter is a 1970 documentary film directed by Albert and David Maysles and Charlotte Zwerin chronicling the last weeks of The Rolling Stones' 1969 US tour which culminated in the disastrous Altamont Free Concert. Great talk!Dan Deacon Twitter: ebaynetflixFollow us on:Twitter: @supdocpdocastInstagram: @supdocpodcastFacebook: @supdocpodcastsign up for our mailing listAnd you can show your support to Sup Doc by donating on Patreon.**Sup Doc has created a Patreon page for those that can help out. We will also be providing unique Sup Doc content for our contributors. If now is not good for you we always appreciate you listening and spreading the word about Sup Doc!
This week on our pop-culture podcast, we discuss women in comedy, Mad Men's finale (spoilers!), and the film 'Iris' The post The Thrill: Inside Amy Schumer, TV finales, the legacy of Maysles appeared first on Macleans.ca.
Wrion Bowling joins us to discuss another great Maysles documentary. Check out Wrion's sci-fi psychological thriller Shelter available at Amazon and Walmart
Los hermanos Maysles mostraron muchas cosas, a veces volviéndose invisibles para las personas retratadas, a veces convirtiéndose en el público que sus sujetos necesitaban para expresarse. De una u otra manera, el resultados son obras expresivas, algo trabajosas y con un nivel de exposición de las personas que llega a parecer inverosímil, algo que ni siquiera un buen guión de ficción se atrevería a mostrar. Más allá de eso, los Maysles siempre intentaron -y casi siempre pudieron- retratar personas moviéndose en un mundo que ellas mismas crearon, aunque no siempre estén cómodas en él. De eso y más hablamos en el podcast.
We at the Wages of Cinema try to get the largest swath of film history. So right here, right now, you get a full buffet of film history just under an hour! From somber costume drama to deadpan studio comedy to documentaries on rock & roll nightmares & the creepy rich to English Opera - and lest not forget that gun-toting wildman John Milius - we got em all! Also a tribute to the late documentarian Albert Maysles included. 1) Tess (1979) 2) Addams Family Values (1993) 3) DOC BLOCK: Milius (2013); Gimme Shelter (1970); Grey Gardens (1975) 4) The Tales of Hoffmann (1951) (Clips from Tess, a Milius/Coppola interivew, 'Values', and the trailers from 'Shelter' and 'Hoffmann included)
Hosted By: Michelle Materre, The Grande Dame of Black Whole Co-Host Sabrina Schmidt Gordon is currently the co-director of The Black Documentary Collective, an organization founded by renowned documentary filmmaker, St. Clair Bourne. Sabrina is a film editor and producer who made her editing debut with an Emmy-winning episode of WGBH's Greater Boston Arts series. She is the co-producer and editor of HIP-HOP: BEYOND BEATS AND RHYMES, a documentary about manhood and gender politics in mainstream HipHop that premiered at the 2006 Sundance Film Festival and was broadcast nationally on PBS' Independent Lens. Jessica Green is the Cinema Director of Maysles' Cinema, host of the upcoming series on Haitian filmmaker Raoul Peck. She is also associate producing an adaptation of Henry James' The Beast In the Jungle and producing a documentary on Graffiti titled Anything You Can Get Away With. She got her new media sea legs as the executive editor of BET.com from 2000 independent hip hop magazine Stress (1994-2001). Jake Perlin is currently the Programmer at Large for The Film Society of Lincoln Center, host of the upcoming series “Tell It Like it Is: Black Independents in NYC 1968-1986” opening on February 6th. He is the Executive Director of Artists Public Domain, a nonprofit film production and consultation organization that includes Cinema Conservancy, which preserves and releases works of American independent cinema. From 2003 to 2011, he was the Associate Film Curator at BAMcinématek and in 2013, he co-programmed the New Yawk New Wave series with Bruce Goldstein at Film Forum.
The "death" of an "era" with Gimme Shelter, the Maysles and Zwerin's account of the Stones' '69 US tour that ended in the only way it could.
Alec talks with director Joe Berlinger about his latest film for HBO Paradise Lost 3: Purgatory -- the third film in a series of documentaries about a crime that took place 18 years ago in rural Arkansas. Berlinger says, “We made these three movies as acts of advocacy” – which is not his usual style as a long-time documentary filmmaker. “I believe the audience should be treated like a jury. You give them the information, you weigh both sides, and you let them come to their own conclusion.” These films were different, acknowledges Berlinger: “We clearly have a point of view that there is a huge injustice.” Early in his career, Berlinger worked for famed documentarians David and Albert Maysles. He says the Maysles brothers taught him about “The act of faith about making a film about real life as it's unfolding.” Berlinger is known for his documentary work, has dabbled in features, but says he'd “love another opportunity to do a feature at some point, but, you know, I'm just used to being the author of my own work, being totally in control.” Learn more about your ad-choices at https://www.iheartpodcastnetwork.com
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