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12 episodes with Medium Cool
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2 episodes with Medium Cool
2 episodes with Medium Cool
2 episodes with Medium Cool
2 episodes with Medium Cool
Madeline, Julian, and Emilio welcome NYC-based comedian, writer, and actress Sydney Duncan to continue their "Politics" episode cycle with a "Two-Shot" discussion on 1969's "Medium Cool" (dir. Haskell Wexler) and 1975's "Shampoo" (dir. Hal Ashby). Though differing on surface level, the two films bear striking similarities in their portrayals of apathy to politics in the face of the 1968 presidential election, focusing on egotistical male protagonists more invested in their jobs and tumultuous love lives than the far-reaching events occurring around them. The group begins by discussing the ingenious commentary that "Medium Cool" offers on media and class, with its Chicago-set blend of fiction and documentary and fortuitous backdrop of the 1968 Democratic National Convention. Shifting gears to "Shampoo," they then discuss that film's seeming juxtaposition of its characters' sexual promiscuity and their political context over roughly thirty-six hours in Los Angeles during the aforementioned election, along with the film's status as a self-ordained vehicle for star/co-writer/co-producer Warren Beatty. Aided by numerous piercing insights from Sydney and loads of fun trivia and personal stories, the group dives deep into these oddly similar films while finding many notable zeitgeist connections (in film and otherwise) along the way. Follow Sydney Duncan on IG @syndeyduncanonem, and get tickets to her one-woman show, "ACAB: Angry, Crazy, and Black," at Brooklyn Art Haus on Sat 11/16 @7pm! https://www.stellartickets.com/o/brooklyn-art-haus--2/events/angry-crazy-and-black-sydney-duncan-live-at-bah/occurrences/482afbbd-3b3f-45d3-a26b-8645025eb5eaIf you enjoy our podcast, please rate and review us on your podcast platform of choice. This really helps us find new listeners and grow!Follow us on IG and TikTok: @sleeplesscinematicpodSend us an email at sleeplesscinematicpod@gmail.comOn Letterboxd? Follow Julian at julian_barthold and Madeline at patronessofcats
A Democratic National Convention takes place against a backdrop of protests against American imperial atrocities overseas... that's right, we're travelling back in time to 1968 with Haskell Wexler's MEDIUM COOL (1969). PLUS: So, have you heard about the DNC?Join us on Patreon for an extra episode every week - www.patreon.com/michaelandus"This National Post Columnist Says He Spied for a Foreign Intelligence Agency" by Luke LeBrun - https://pressprogress.ca/this-national-post-columnist-says-he-spied-for-a-foreign-intelligence-agency-experts-call-his-behaviour-unethical-and-absurd/"Medium Cool: Preserving Disorder" by Thomas Beard - https://www.criterion.com/current/posts/2773-medium-cool-preserving-disorder"The New Yorker Political Scene Scene" podcast with special guest Will - https://rss.com/podcasts/newyorkerpoliticalscenescene/1619477/Michael and Us is a podcast about political cinema and our crumbling world hosted by Will Sloan and Luke Savage. Hosted on Acast. See acast.com/privacy for more information.
If you're interested in hearing the rest of this episode, we've got our new Patreon page up and running where for $5 you can access two monthly bonus episodes. You can help us keep the show goin' and have a little something extra as well. This week we started digging into our own physical media, and Ryan kicked us off with a pick from his collection that he hadn't seen in a long time, Haskell Wexler's 1969 film Medium Cool. We get into the Chicago DNC of 1968, the Chicago DNC of 2024, cinema verité filmmakers, George Lucas, Godard, cop cities, journalism, 24-hour news. We go all over! So come check it out. We'll be back September 6th when we kick off our new series, "Friends of Bob", beginning with Paul Thomas Anderson! Altmania Patreon: https://www.patreon.com/Altmania Other links: https://linktr.ee/altmania
Medium Cool (1969), Hearts and Minds (1974), & The Second Gun (1973) ALL MOVIES SPOILED In this film block, Jeremy and Brian band together like The Lone Gunmen to explore a mix of (mostly) documentary films that are eerily similar to the events of the present, such as the 1968 Democratic National Convention in Chicago, the sitting democratic president deciding late in the game, not to seek reelection, a horrifying war on the other side of the globe, funded and fueled by the US, that was impetuous for a lot of protest, an RFK running for president until a crazed kid took a shot at his right ear. Such a different time. It's hard to imagine anything like that happening today. Further Reading: A Lie Too Big to Fail: The Real History of the Assassination of Robert F. Kennedy by Lisa Pease Where to watch: Be Kind Video (Burbank) Vidéothèque (South Pasadena) Cinefile (Santa Monica) Medium Cool (Blu-Ray) Hearts and Minds (Blu-Ray) The Second Gun (DVD) Other films referenced: JFK (1991) Executive Action Suddenly The Manchurian Candidate (1962) Star Wars Monty Python and the Holy Grail The Day the Earth Stood Still (1951) Return of the Jedi Spaceballs Alligator Jackie Brown Soylent Green The Dark Knight One Flew Over the Cuckoo's Nest Night of the Living Dead (1968) Easy Rider (1969) Dumb and Dumber
Episode 81 of the Podcast for Social Research is a discussion Haskell Wexler's 1969 classic of cinéma verité Medium Cool, a film whose exploration of violence, spectacle, and the politics and power of media render it as fresh and powerful today as it was on its controversial release. BISR's Rebecca Ariel Porte, Andy Battle, and Mark DeLucas and journalist Natasha Lennard dissect the film's context, formal innovations, and themes, from its integration of narrative and documentary to its treatment of the ethics of journalism in the face of social and political upheaval, violence, and repression. How did Medium Cool emerge out of the specific context of the "New Hollywood"? What exactly was Wexler, cinematographer and first-time director, trying to do? And how does Medium Cool push us to think about media objectivity, and the substance, value, and intentions of "news"? Is media ever genuinely critical, or is it always a kind of "soft power"? How do we tell stories that don't exploit, but instead explain?
Finally today (and this week), we talk to the person who has become our "Last Guest of the Week" -- our "Movie Guy" Mike Mayo, of Mike-Mayo.com! In honor of this politically charged season, Mike talks to John about two movies -- one a "newbie" and one an "oldie": The Sixth and Medium Cool. Music: C(arolco)2 Fanfare (Jerry Goldsmith)
A Democratic National Convention takes place against a backdrop of protests against American imperial atrocities overseas... that's right, we're travelling back in time to 1968 with Haskell Wexler's MEDIUM COOL (1969). PLUS: So, have you heard about the DNC? Join us on Patreon for an extra episode every week - https://www.patreon.com/michaelandus "This National Post Columnist Says He Spied for a Foreign Intelligence Agency" by Luke LeBrun - https://pressprogress.ca/this-national-post-columnist-says-he-spied-for-a-foreign-intelligence-agency-experts-call-his-behaviour-unethical-and-absurd/ "Medium Cool: Preserving Disorder" by Thomas Beard - https://www.criterion.com/current/posts/2773-medium-cool-preserving-disorder "The New Yorker Political Scene Scene" podcast with special guest Will - https://rss.com/podcasts/newyorkerpoliticalscenescene/1619477/
Anders talks with pals Charlotte and Donald about Haskell Wexler's legendary 1969 movie, "Medium Cool." A hybrid between documentary and narrative, "Medium Cool" follows a Chicago cameraman tasked with filming the 1968 Democratic National Convention and the infamous police riot outside. ALSO, we talk an upcoming short film called "Kitchen Conversations" that Charlotte produced and AD'd, Donald shot and PDA's very own Anders J. Lee wrote and directed! Follow @kitchen_conversations_movie on Instagram for updates!
Extra! Extra! Read all of about it! Medium Cool is making some changes to the format. Austin talks the future of the podcast, an is taking another week or two to get it worked out. All that and more on Medium Cool: A Movie Podcast. Enjoy! Please subscribe to Medium Cool: A Movie Podcast wherever you get your podcasts! Also, follow us on social media to get updates on all of the exciting things we have coming up!Facebook: MediumCoolPodInstagram: MediumCoolPodX (Twitter): MediumCoolPodLetterboxd: www.letterboxd.com/AustinGliddenEmail: MediumCoolPod@gmail.com
The Democratic National Convention is coming back to Chicago so we thought it was worth examining a primary source of the events of the 1968 DNC to see where we stand. Part fictional narrative, part documentary, all incredibly meta, Medium Cool looks at filmmaking and journalism as a medium and explores the ethics of the thing. This is the first episode we've done without Rabbit's guiding hand and to keep us on track, but the conversation lends itself to the seemingly aimless filmmaking on display. To listen to the full episode as well as lots of other bonus content, sign up for our Patreon. Just $1 a month gets you everything we do. patreon.com/nogodspod Follow us on Twitter and Bluesky @nogodspod Email us at NoGodsPod@gmail.com
Chris Cutrone and Douglas Lain discuss their plans to make a film about the 2024 Democratic and Republican party conventions. They discuss the film Medium Cool as an influence. Support Sublation Mediahttps://patreon.com/dietsoap
Mark and I were minding our business, drinking butterbeer and burping, and having a fully frank discussion about politics and Alex Garland's CIVIL WAR, when we decided... hey, we should release this as a full-on bonus episode. Let the people hear us speak on these culturally sensitive topics! So, here we go. SPOILERS ABOUND in our review of the new A24 film - you have been warned. Along the way, we also rank Alex Garland's films, compare this to the seminal film school classic Medium Cool, and discuss AMC A-Listers making "spite reservations" in the IMAX. "What kind of American are you?" Let's find out! Support our show on Patreon: https://www.patreon.com/TheMattandMarkMovieShow . You can get access to fun podcast extras for as little as $1 a month. Wanna be on the show? Call us and leave a voicemail at (707) 948-6707. Visit our Linktree for more ways you can connect with us and connect with our show! Instagram: https://www.instagram.com/themattandmarkmovieshow/ TikTok: https://www.tiktok.com/@themattandmarkmovieshow Merch: https://www.teepublic.com/stores/the-matt-and-mark-movie-show-merch?ref_id=26325 Support our show through Blubrry: https://blubrry.com/services/professional-podcast-hosting/?code=GetRecd Buy Us A Coffee: http://buymeacoffee.com/Mattandmark YouTube channel: https://www.youtube.com/channel/UCzDsxUs9JzL70A1Sh5GbRdw
The podcast is back at full strength as Sean returns to the co-chair on this one. You would think all that time away would give us time to find new and exciting things to talk about, but thankfully we immediately fall back into our habit of talking about garbage no one has cared about for literal decades. This time around there's a long discussion about Siskel and Ebert's At the Movies and the insane opinions of these two maniacs: Pleasantville being better than Saving Private Ryan, Babe: Pig in the City also being better than Saving Private Ryan, Black Stallion being better than Raging Bull, and Siskel's completely unsurprising love of Star 80. We also discuss that one scene in A Very Brady Sequel, the Action Boyz watching Godfrey Ho movies, getting squeezed out like a toothpaste roller, The Long Kiss Goodnight, the potential end to Sean's Tubi Corner, Jim Carrey's Foghat Man character, Shawn Hatosy sliding down a prop slide, the VHS copy of Medium Cool that destroyed Brad's VCR, Annie, the positive side of Grease 2, the many scores of Tangerine Dream, AIM screen names based on the surfing movie Blue Crush, God Lives Underwater vs. Primitive Radio Gods vs. Godsmack, and of course MTV's Fear. --- Website: www.queenvenerator.com Instagram: https://www.instagram.com/queenvenerator/ Bluesky: https://bsky.app/profile/queenvenerator.bsky.social
We have returned! And to celebrate this most auspicious occasion we are delving deep into Haskell Wexler's ambitious, lively portrait of 1968 America (and Chicago to be more precise). We talk Wexler, we talk about how goddamn verité this cinema is, we talk flashbacks and how to recognise them (or not) and take a few detours along the way. Next up: PERFECT BLUE, 1998
This week on the blog, a podcast interview with filmmaker Amy Scott, discussing her terrific documentary, “Hal,” which takes a deep dive into the life and films of director Hal Ashby (“Harold and Maude,” “Being There,” Coming Home,” “Shampoo”). LINKS A Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6 Fast, Cheap Film Website: https://www.fastcheapfilm.com/ Amy Scott Website: https://www.amyelizabethscott.com/ “Hal” Documentary website: https://hal.oscilloscope.net/ “Hal” Trailer: https://youtu.be/GBGfKan2qAg “Harold and Maude Two-Year Anniversary” Documentary: https://youtu.be/unRuCOECvZM Eli Marks Website: https://www.elimarksmysteries.com/ Albert's Bridge Books Website: https://www.albertsbridgebooks.com/ YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcastAmy Scott Transcript First, I want to say thank you for making the movie and thank you for making such a great movie because he totally deserved it. I would always wonder why of all the directors of the 70s and 80s, he was never really heralded the way he should have been. I think part of it has to do with that he had no discernible style. So, you couldn't really pick him for something. But before we dive into that, tell me a little bit about your background before you made Hal?Amy Scott: Well, I'm from Oklahoma. I moved to Chicago, out of college and in college, we studied a lot of, I had a great professor at ODU at the University of Oklahoma. I don't think he's there anymore. But he really hipped us to the coolest documentaries. I had no idea that you could be a documentary filmmaker, like from Chris Marker to the 7-Up series to Hands on a Hard Body. It was just a really great, great, well-rounded Film and Media Program. Anyway, I moved to Chicago. I wanted to be a director and a DP, but I fell down, I had gotten a job at the University of Chicago. I think I faked my way into it. I was supposed to start on a Monday, and I fell on the ice and broke my arm on a Friday. So I was like, “I can't shoot. I can't film. I can't use my arm to film and hold the camera. I need to learn how to edit. So I learned how to edit with my right hand, and I loved it. And then I just did that for like 10 years. Well, I mean, I still do it. But it was like this accidental career path.You're an accidental editor.Amy Scott: An accidental editor. That became something that later, I just valued as such an important skill set. I use it now. I have wonderful editors that I work with. But we speak the same language. And I think with the story structure, that you have an eye for things in the edit bay and now it really, really helps my ability to break down a three-act structure or figure out where the narrative arc is, and things like that. I think would have taken me a lot longer, had I not fallen and broken my arm.It was sort of a similar path for Hal Ashby, starting in editing.Amy Scott: Totally. I loved his films and then when I read Nick Dawson's book, and I started to learn more about him, I really, really connected with him. Because of things that he would say about filmmaking and editing and being in the edit bay and being obsessed with every frame. I felt like, being seen and heard. Like, “Oh, this is how I feel about it, too. I don't feel like such a freak of nature, and lots of people feel this way.” I really connected with Hal and he didn't make The Landlord I believe until he was 40 years old. He was up there. Amy Scott: Yeah, up there. For a first-time filmmaker, that's a late start.Amy Scott: And that was about the same age that I made the Hal movie. What was your first experience with a Hal Ashby movie?Amy Scott: The first film that I saw that I can remember was with my friend Jason in college. I was watching Truffaut and Cassavetes and so I thought that I had a very well-rounded understanding of the new Hollywood. And my friend Jason said, “Have you ever seen Harold and Maude?” I had no idea what he was talking about. He was a couple years older, and he was like, “Oh, honey, you're gonna skip school today. We're gonna watch it.” And I swear to God, we watched it. I couldn't believe what it was. I couldn't believe I'd never seen it. It somehow gone past me. As soon as it was over, I was like, “Stop. Start it again.” We have to rewatch it. We where there for like eight hours, watching it on a loop. David Russell compares it to The Catcher in the Rye as a sort of like rite of passage for people at that age. It hit me right straight through the heart. And then from there, I think I saw The Landlord, someone had screen of The Landlord in Oklahoma City. And I was like, oh my god, this is incredible.I live in Minneapolis, where Harold and Maude ran at The Westgate theater for two and a half years. I saw the movie quite a bit there. And then, because I was in a film program, and knew someone who knew the film critic for the local paper, when Ruth and Bud came to town for the two-year anniversary, he sorts of dragged me along with him. So, I had dinner with Bud Cort and hung out a little bit with Ruth Gordon. I made a little documentary on Super 8mm of my perspective on their experiences. I was 15 years old or something and although I knew their itinerary, I couldn't drive. And so I would go to the TV station and shoot some stuff there with them and then they were on to something else. I had to hop on a bus to keep up with them.Amy Scott: That's incredible.Yes, my only regret was on that when I had dinner with Bud that I didn't ask better questions. I was sort of starstruck and there's a lot of question. I would ask him now—that I've tried to ask him—but you know, he's not too communicative.Amy Scott: Yeah. That's incredible that you that you have that footage and I would love to see it.It was really, really fun and interesting. Ruth Gordon was very much Ruth Gordon, very much Maude. She didn't suffer fools. So, you've seen Harold and Maude, seen The Landlord. At what point did you decide that a documentary had to be made?Amy Scott: Well, okay, I was pregnant with my first child, and was finishing up Nick Dawson's book on Hal, you know, on Hal's life. And I thought, I just couldn't believe there was a documentary. But this is before the market became oversaturated with a story about everyone's life. At the time, I just thought, oh my gosh, there's so much here. This guy, his films should be really celebrated. And he should be more known and revered in the canon of American 70s New Hollywood, because he's so influential.And that's why it was important that we include David O Russell and Adam McKay, and Allison Anders, Judd Apatow. They could draw a direct connections, like the film family tree. When you see the wide shots in Harold and Maude, you think of Wes Anderson. Or, you know, the music, you think of David O Russell. I mean, his influence was everywhere. I started to connect the dots and I thought, oh, my gosh, we've got to, we've got to make a film here. But I'd never done anything like that. I had directed smaller documentaries. I tried to make a film about this band called The Red Crayola and that was a hilarious attempt on my part. To try to chase them around the globe and on no money. That was my only experience outside of editing. So, fortunately, I had hooked up with my producing partners that I still work with now. I just met them at the time and they hired me to edit some cat food commercials. So it was editing Friskies or Purina, I don't know what it was. It was just looking at cats all day.And I was about to give birth but I was working trying to lock down the rights And the rights came through one afternoon and I just pulled them (the producers) in and I was like, let's do this together. We didn't know what the hell we were doing, but it was so great and so fun. We approached it, like, all hands-on deck, and we were a little family making this thing. So, that spirit has continued, thank goodness, because of what we put into the Ashby movie.What do you think were his unique qualities as a director?Amy Scott: Gosh, so much. I just think he really had an eye. He could see stories. You said something earlier, that all of his films are not the same and therefore it's hard to go, oh, he's this style of filmmaker. But the thing that they all have in common is that he has a very real and raw approach at looking at humanity. Sort of holding the mirror up and showing us who we are, with all of our faults and complexities and layers of contradictions and failures. So he's able to see that and find the stories of humanity. And that's the connective tissue for me. He also had a sick musical taste; I mean, he sort of found Cat Stevens. The soundtrack to Shampoo—I think that's why it's not in wide release right now, as I can't imagine having to license Hendrix and Janis and the Beach Boys, you know?That's true. But I'll also say he had the wisdom to let Paul Simon do the small musical things he did in Shampoo, which are just as powerful or if not more powerful.Amy Scott: So, powerful. So much restraint. Incredibly powerful. I feel like Hal, because he was not—from all of our research and talking to everyone and girlfriends and collaborators—he wasn't a dictatorial director. He didn't lay down mandates. He was really open to hearing from everybody and making it feel like it was a democratic scene and everyone has an equal voice. If you had an idea, speak up.But at the end of the day, he was like, okay, here's the vision. And once he had that vision, I think that's where he really got into problems with the studio system. Because that was such a different time. The studio guys thought that they were also the director, that they were also the auteur. I cannot imagine a world where you throw your entire life into making a film and then a studio head comes along and tries to seize it from you. I mean, that would give me cancer, you know, from the stress. I can't imagine.It certainly didn't match with his personality at all.Amy Scott: No, not at all. What I thought was so fascinating was how open he was to ideas. I love that about him and it resonates in my microscopic ways of connecting to that now. Man, every time it pops up, I'm like, I feel this little Hal Ashby devil angel on my shoulders. Yes, but it's odd. Because it's not like they didn't know what they were getting. It's not like he hid that part of his personality. You would know, immediately from meeting him that...Amy Scott: Yeah.With Harold and Maude, it was just a weird perfect storm of a crazy executive like Robert Evans saying yes to all these weird things. And then the marketing team at Gulf and Western/Paramount going, “we have no idea what to do.” You know, I had the Harold and Maude poster hanging for years. And it's the most obvious example of a studio that cannot figure out how to market a movie. The Harold and Maude different color name thing. It's just so obviously they didn't know what do.Amy Scott: I know I love when Judd Apatow was talking about that. That's really funny.So, what was the biggest thing that surprised you as you learned more about Hal?Amy Scott: What surprised me was that side of his temperament. He did look like this peace love guy. He was an attractive man but, you know, this long hair and long beard and so cool and I had a really myopic like view of what I thought his personality was. I thought he was a super mellow guy. And then I got in and started reading the letters. My producer, Brian would read the letters in his voice as a temp track that we would use that to edit to cut the film. And we were rolling, dying, laughing, like falling down, like, oh, my God, I cannot believe that Hal would write some of this shit to the head of Paramount or whoever. It was like, wow, this guy is not at all who I thought. These were fiery missives that he was shooting off into space.It wasn't like just getting mad and writing an email. I mean, he had to sit on a typewriter.Amy Scott: Typewriter and they were very, very long. I mean, the sections that we used in the film, were obviously heavily cut. We couldn't show like six pages of vitriol. The best part about the vitriol though, he wasn't just vomiting, anger. It was a very poetic. He had a very poetic way of weaving together his frustration and expletives in a way that I just loved.And then we turned the papers over to Ben Foster. That's why we wanted him to narrate—be the voice of Hal—because he's always struck me as an artist that totally gets it. Not a studio guy and he was all over it. He was right. You can really identify with this sort of, you're either with us or against us artists versus, the David and Goliath. So, that was most fascinating to me. I knew—because of the book, because Nick did such a great job—I knew Hal's story. Leaving his child, leaving Leigh. It's one thing to read about it in a book and it's a completely different thing to go meet that person, to sit with her. She's since become a dear friend to me. I feel like she'd never really spoken about that, about her dad and that time of her of her life. I think revisiting trauma on that level, and working through a lot of those emotions with her, was really heavy and not what I intended. When I set out to make the film, I was thinking about the films of Hal Ashby. I didn't think it would get as heavy as it did. I'm glad that we went there and that she took us with her. I feel really, really thankful. I think she got a lot out of it. We certainly did.It really did show you just how complicated he was, the reality of his life, when you see the child. And she was so eloquent on screen. Amy Scott: So great. He had some generational trauma too and then you put it all together, and you're like, okay, well, this is somebody that's really adept at looking deep into the human condition. He'd been through a lot. He'd made a lot of mistakes and he's been through a lot. So, of course, this checks out. And he's just so talented and creative, that he can make these films that are this really accurate, fun and funny and sad and tragic and beautiful portrayals of humanity.Well, let's just if we can't dive into a couple of my favorites just to see if anything you walked away with.Obviously, Harold and Maude hold a special place in my heart. I've just loved reading Nick's book and reading and hearing in your film and in listening to commentaries about what Hal did to wrestle Harold and Maude into the movie that it is. I forget who it was on one of the commentaries who said there were so many long speeches by Maude that you just ended up hating her. And Hal's editor's ability to go and just trim it and trim it and trim it. I compare what he did there to what Colin Higgins went on to do when he directed and he simply didn't have it. He had the writing skill, obviously, and the directing skills. He didn't have that editor's eye. I don't think there's a Colin Higgins movie made that couldn't be 20 minutes shorter. If Hal had gone into Foul Play and edited it down, it would have been a much stronger comedy. 9 to 5 would have been 20 minutes shorter. Probably a little stronger. Anyway, you don't recognize that. It's all hidden. It's the edit. You don't know what he threw away and that's the beauty of Harold and Maude: within this larger piece he found that movie and found the right way to express it. So, what did you learn about that movie that might have surprised you?Amy Scott: Everything surprise me about it. You know, we were never able to get Bud Cort. You know Bud Curt, he's so special and so elusive and we thought we thought we were gonna get him a couple times and then it was just a real difficult thing. But you have him from the memorial service, and that's a great thing.Amy Scott: Oh, yeah. Anytime he's on camera, he's bewitching. He's incredible. So we went again with the letters. I just didn't realize that Bud and Hal we're so close. I mean, obviously, they were close. But they were very tight. They had a real father son, sort of bond.Charles Mulvehill, the producer, also talked about how difficult it was to make the film. I didn't know that Charles ended up marrying one of the women that is on the dating service that Harold's mom tries to set up. That was interesting, too. It's hard for me, to tell you the truth. We did so much research on all the films, so there's little bits and pieces of all.Jumping away from Harold and Maude—just because my brain is disorganized—Diane Schroeder was with Hal for a number of years and she's in the film. She was sort of a researcher archivists, she wore many hats. I did not realize that on Being There, she really needed to nail down what was on the television Chauncey Gardiner learned everything from TV, so it was really important what was on it. When he's flipping, it's not random. She and Hal would take VHS tapes in or I guess it would have been Beta at the time, whatever the fidelity was, but they would record hundreds of hours of TV and watch it. She got all these TV Guides from that year, 1981. But what was a three year's span, she had all the TV Guides. She had everything figured out. It was like creating the character of Chauncey Gardiner, with Hal and then Peter Sellars got involved, and he had certain thoughts about it, too. I was just so blown away by the fact that that much care and effort and painstaking detail would go into it. When you see it on screen, it's definitely a masterpiece because of those things. Just the defness of editing, of leaving things out, is what makes it good. That is such a such a really hyper detailed behind the scenes thing to know that. When we were going through his storage space. I remember asking Diane, why are there boxes and boxes and boxes of TV. She said, “oh, yeah, that's Chancy Gardener's.” I said, I cannot believe you guys saved this. Really funny. It's interesting because they would have done all that in post now. And they had to get that all figured out, before they were shooting it. That's a lot of pre-production.Amy Scott: Oh, an immense amount of pre-production. Hal set up an edit bay in his bedroom. It's the definition of insanity. I had that going on at one point in my life and it's not good. It's not good thing to roll over and it's like right there like right next to pillows staring at you. You need some distance.When I saw Being There for the first time for some reason I was in Los Angeles/ I saw it and of course loved it. And then came back to Minneapolis and someone had seen it and said, “don't you love the outtakes?” And I said, “What outtakes?” They said, “over the end credits, all those outtakes with Peter Sellars.” And I said, “there were no outtakes.” In the version in LA, they didn't do that.Amy Scott: I wanted to add this, but we just ran out of time. We found all these Western Union telegrams that Peter Sellars wrote to Hal, just pissed, just livid, furious about that. He said, “You broke the spell. You broke the spell. God dammit, you broke the spell.” He was so pissed that they included those outtakes and I agree with them.It's not a real normal Hal move, is it?Amy Scott: No, it's honestly the first time that I'd ever seen blooper outtakes in a film like that. That's such an interesting 80s style, shenanigans and whatnot. But, yeah, no, you want them to walk out on the water after watching him dip umbrella in the water and think about that for the rest of your life. Exactly. I think they left it out of the LA version for Academy purposes, thinking that would help with the awards. But then years later to look at the DVD and see the alternate ending and go, well, that's terrible. I'm glad you guys figured that out. And then apparently, was it on the third take that somebody said, he should put his umbrella down into the water? Amy Scott: That's so smart.It's so smart. Alright. Shampoo is another favorite. I'm curious what you learned about that one, because you had three very strong personalities making that movie with Robert Towne on one side and Warren Beatty on the other and Hal in the middle. It's amazing that it came out as well as it did. Somehow Hal wrangled it and did what he did. What did you learn there that sort of surprised you?Amy Scott: Well, that aspect is what we wanted to really investigate. Because Hal had a pretty singular vision. Hal as a director—at that stage—was becoming a very important filmmaker. So, then how do you balance the styles of Robert Towne and Warren Beatty? These guys are colossal figures in Hollywood, Alpha dogs. I wish that we could have sat with Warren. It was not for lack of trying. I think a lot of these guys that we couldn't get, it's like, yeah, that's what makes him so cool. Bruce Dern. I was trying to chase down Bruce Dern at the Chase Bank, and he got up one day and I was just like, I knew, let it go. But Shampoo, everything we learned, we put in the film. Robert Towne talked to us. And then there was the audio commentary that Hal had from his AFI seminars. Caleb Deschanel spoke pretty eloquently about it being like watching a ping pong match going back and forth between Robert and Warren about what the direction should be. And then the director sitting in a chair probably smoking a joint, waiting for them to finish. It seems like they might have needed a sort of mediator type presence to guide the ship, like have a soft hand with it, you know? You can't have three alphas in the room at the same time. Nothing would get done. You need a neutralizing force and it seems like that's what Hal was it. He just had a really great taste, you know? My favorite element of that movie—besides Julie Christie's backless dress—would be Jack Warden. Anytime Jack Warden comes on screen, I'm like, just want to hang with him for another half hour. I can just watch that man piddle around and be funny.I remember reading an interview with Richard Dreyfus after Duddy Kravitz came out, in which he was blasting the director, saying that they ruined Jack Warden's performance in post-production. And Jack Warden is amazing in Duddy Kravitz. I don't know what they he thinks they did to it, because he's just fantastic.Amy Scott: He must have just been astronomically amazing and funny, which is what I imagined he's was like.I took away two things from Shampoo. One was—having seen Harold and Maude as often as I did—recognizing that the sound effects of the policeman's motorcycle as being the same one as George's motorcycle as he's going up the Hollywood Hills. Exact same ones.But the last shot as he's looking down on Julie Christie's house and the use of high-angle shot, it is one of the saddest things I've ever seen. It's just a guy standing on an empty lot looking down onto the houses below, but it's … I don't know. Given the guys he was dealing with, I don't know how he made that into a Hal Ashby movie, but he did.Amy Scott: He did. Well, it seems like it's moments like that yeah, there's so much melancholy loaded into that moment. Because George is such an interesting character. Now, I'm realizing that you and I have just blown, we've just spoiled the ending shots of both Being There and Shampoo.Anybody listening to this who hasn't seen those movies deserves to be spoiled.Amy Scott: Get on the boat. But yeah, that always got me. I think it's all of those really like, foggy misty Mulholland Drive shot of George on his motorcycle, anytime he's alone. Because he crams his life so full of women to try to fill the hole or the void or whatever he's got going on that's missing in his life. And he's just trying to shove it full of women. So, when he's alone, and he has nothing and no one you're like, oh, my God, this is the saddest thing I've ever seen.It really is. I don't know. Maybe you can fill me in on this. I remember reading somewhere that the scene—his last scene with Goldie Hawn—they went back and they reshot it because somebody said he's standing. He should be sitting. And I'm always interested in directors who hear that and are willing to go back and do it. The other example is Donald Sutherland in Ordinary People in his last scene. Telling Redford, “I did it wrong. I should be done crying. I was crying when I should have been done crying.” and they went back and reshot. His portion of it is no longer crying because the director went, you're right. And that simple notion of Warren Beatty should be sitting down, and she should be standing over him. Amy Scott: She's got the power. Yes. But I'm not sure a lot of directors would have said yes to that. Like, “We don't need to go back and do that. We're overscheduled we got other stuff to do …”Amy Scott: Oh, I don't think Hal cared about the schedule at all. Everything that I read or, you know, even Jeff Bridges talked about, like them being over budget and he's like, “you know, all right, let's figure out a creative solution to this. It's going to take as long as it's going to take.” He never seemed to really get riled onset or let those sorts of parameters hold all the power and guide the filmmaking. He was in complete control of that. Having that sort of attitude about things, that just spreads to the whole set. That spreads everywhere and makes it easier for everybody to work.Amy Scott: It does.Let's do one last one. Coming Home is interesting for me because I had friends who ran a movie theater here in town. It was just a couple of running it and I would come by from time to time if they were busy. I'd go up and run the projector for them. They had one of those flat plate systems, so you only had to turn the projector on. It wasn't that big a deal. But you know, I was young and it's like okay, now I'm going to turn the house lights down … I got to see the first five minutes of Coming Home a lot. Probably more than I saw the rest of the movie. Was there anything you learned about the making of that film that surprised you?Amy Scott: Yeah, I didn't realize how hard it was to get that film made. Jane Fonda is the one that's really responsible for Coming Home even existing. Nancy Dowd had a book and Jane really fought hard to get it made. By the time it got to Hal, it was different, there was a number of rewrites. And it obviously had to be cut down significantly. I never think—it's never my go-to—to think that one of the actors is the one responsible. Usually it comes to you in a different way, and especially if he's working with Robert Towne and the like. But I thought that was really cool and really interesting that Jane spoke about showing what our veterans were going through. This wasn't new, because you had like The Deer Hunter would have been the comparable. And that's a wildly different take on what coming home from the Vietnam War was like. But also, the woman's journey in that film, and the sexuality of all of that was just like, wow. Only Jane Fonda can speak about it eloquently as Jane Fonda does. I also didn't realize— when we were sitting with John Voigt—that he was really method in the way that he didn't get out of his chair, I mean, for days on end. Going into crafty in the chair, learning how to do go up ramps and play basketball and all the things that you see was because he wouldn't get out of the chair, which was wonderful. I really enjoyed talking with Jeff Wexler, and Haskell. That interview that we did with Haskell, I'm so thankful for because, you know, Haskell passed away, not that long after we film. That was one of his last interviews. So, it was really special. He came to the set and Haskell is like, a film God to me and my team. For me, I lived in Chicago so Medium Cool, was one of the coolest things ever. Meeting him and talking with him was so interesting. I loved hearing about the opening. You can just tell it's Haskell Wexler. You know it's a Hal Ashby film, but the way it starts and having seen Medium Cool, and going into that opening scene, where the all the vets are non-professional actors. They were actual vets that had come home and those were their true real stories. Now we would say it's sort of hybrid documentary and scripted, but it was like a really early use of that kind of style. And that's what made it feel so real and then you start in with the Rolling Stones, it's just such a masterly, powerful film.I'm always curious about that sort of thing where he has a lot of footage and he's creating the movie out of it and what would Hal Ashby be like today? How different would his life be if he had everything at his fingertips and it's not hanging out a pin over in a bin and he had to remember where everything was? I don't know if that would have been any made any difference at all?Amy Scott: He was an early pioneer of digital editing. He was building his giant rigs and was convincing everyone that digital is the way to go. Which is so cool and so mind blowing. But I think it was born out of a place of independent film, of democratizing the access and taking the power away from the studios. And knowing that you could do this cheaply in your home. It was so actually tragic to learn that. What could he have done? Because his output was just, he put out so much so many great movies. So, what could he have done if the infrastructure was even more accessible and sped up technologically?Imagine an 8-part streaming series directed by Hal Ashby, what would that be?Amy Scott: Just be incredible. Well, I know that he was wanting to work. He had so many films that we found. And we found script after script. One of them, I was so, “damn, that would have been cool,” was The Hawkline Monster. A Richard Brautigan science fiction Western novel. It's so trippy and so cool. I feel like every couple of years, I hear about some directors says, “we got the rights, we're gonna make it.” And I'm like, when are they gonna make it? It's so long.And imagine what his version of Tootsie would have been.Amy Scott: Oh, I know. Yeah. No joke.Just seeing those test shots. Wow. Amy Scott: I know, it would have been a different film.I read a quote somewhere that one of the producers or maybe it was Sydney Pollack, who said, they took the script to Elaine May. And she said, “yeah, it just needs…” And then she listed like five things: He needs a roommate that he can talk to … the girl on the TV show, she needs a father, so he can become involved with him … there also has to be a co-worker who is interested in him as a woman … the director needs to be an ass, he should probably be dating the woman. It was like five different things. She said the script is fine, but you need these five things. So, what did they have? She just listed the whole movie.Amy Scott: Right. Well, we're talking about Elaine May. She's someone that needs a film. She does. And why aren't you doing that?Amy Scott: Listen, I'm telling you. I've tried. This is another one that I've tried for years. You know, here's a real shocker: It's hard to get a film about a female filmmaker funded. It's a hard sell.She probably wouldn't want to do it anywayAmy Scott: She's so cool. My approach has always been that she has so much to teach us still. So, I would love to get her hot takes on all those films. A New Leaf. I mean, the stories behind that thing getting made.Like the uncut version of A New Leaf.Amy Scott: Exactly. I want to hear it from her. So, yeah, that's high up on my list. I really, really want to make one with Elaine.Was there anyone else you really wanted to get to? You mentioned Warren didn't want to talk to you. Anybody else?Amy Scott: I would have loved Julie Christie or, you know, more women would have been great. Bruce Dern was so great and so funny and I'd seen him a number of times. I saw he was at a screening of one of his movies. He talked for like, an hour and a half before they even screened the film. He was whip smart in his memories. I was so upset that we couldn't work it out because I knew that he would be incredible.Just his knowledge of movie industry, having been in it so long.Amy Scott: My gosh, yeah.He even worked with Bette Davis.Amy Scott: Yeah, he's national treasure. Exactly. I was just staring at a poster. I have framed poster of Family Plot in my kitchen. That's the movie that was going to make him a star, according to Hitchcock. It still has one of the greatest closing shots of all time. I think I read that Barbara Harris improvised the wink, and that's another person who you should make a documentary about.Amy Scott: Oh my gosh. Barbara Harris is something. Do you remember what was the film that she was in with? Dustin Hoffman and Dr. Hook scored it. It's a really long title. Who Is Harry Kellerman And Why Is He Saying These Terrible Things About Me?Amy Scott: That is such a phenomenal Barbara Harris performance. I mean, Dustin Hoffman is incredible. He's always great. But Barbara Harris really shines and I guess I'm like, that's who she was. Yeah, I think she was difficult. Well, I don't know, difficult. She had stuff she was dealing with.Amy Scott: She had issues and Hal had to deal with those on Second Hand Hearts too.From a production standpoint, people are interested in hearing what your Indiegogo process was Any tips you'd have for someone who wants to fund their film via Indiegogo?Amy Scott: Oh, boy. Well, that was a different time, because I really don't know how films are funded at the moment. This came out five years ago, but it took us like six years to make. So, during in that time, you could at least raise enough capital to get through production.The Indiegogo campaign enabled it so that we could even make the movie, because everything past that point, nobody ever got paid at all. But at least that way, we could buy film stock and pay the camera operators and our DPs and stuff. So, that was hugely important.At the time, I remember thinking like, oh, no, how are we ever going to get anybody to because you had to make these—I don't know if this is still the case—but you had to make these commercials for your project or like a trailer to get people's attention. And you had to be all over Facebook and crap like that. So, I was like, oh, no, how am I going to make a thing that shows that Hal Ashby's important to people that want to give money?A friend somehow knew John C. Reilly and mentioned it to him. It was like, we just need a celebrity to come in for like, you know, half a day or one hour. And he said, I'll come on down and do that. And he came. I couldn't believe it. The generosity of this man. He didn't know us at all. But he knew and loved the films of Hal Ashby and wanted to give back and pay it forward. So, he came down and because of him, we have a really funny, awesome little commercial trailer. I have no idea where that thing even is. I'd love to see it because I had to do it with him, which was terrifying, because I am not a front of camera person. I didn't know what to say. And he said, All you have to do is ask for money. I'll all do the rest of the talking.I remember seeing it. Amy Scott: It's been stripped from Indiegogo which probably means that we used a song that we weren't able to. That was back in the early days of crowdfunding, where you could just take images or songs and I'm sure I used the music of Cat Stevens, and then, loaded up with a bunch of photos that we never paid for.Well, that brings up a question of how did you get all the rights to the stuff you got for the finished movie? Was that a huge part of your budget?Amy Scott: No. The most expensive thing always to this day is music. Music is going to get you. Outside of that, thank goodness, there's this little thing called fair use now, which wasn't the case in documentary filmmaking for a very long time. But now you can fair use certain elements, photographs, or news clips, video clips, anything that sort of supports your thesis that you're making about your subject and supports your storyline falls under the category of fair use. So, I think what our money did pay for is the fair use attorneys that that really go over your product. They went over out fine cut, because we couldn't afford to pay for multiple lawyers to look at it. So you give them a fine cut, you hold your breath and hope that they say, oh, you know, you only have to take out a couple things. And you're like, oh, thank God. Okay, and then you change it.I believe, because we never had any money, that we submitted to Sundance and got in on a wing and a prayer. And then had, you know, two weeks to turn the film around and get it, finished. I remember we were like, you know, pulling all these all nighters, trying to change the notes that the legal said XY and Z was not fair use and trying to swap out music with our composer. It was a wild, wild run.Isn't that always the way? You work on it for six years and then suddenly you have two weeks to finish it.Amy Scott: That's how it shook out for us. It was like really, really pretty funny, because you're going on a leisurely pace until you're not. And then it's like, alright, it's real now. I thought for years, I think my friends and casual acquaintances thought that I've lost my mind. Because every year, I'd see people that I would see occasionally and they're like, hey, how's it going? What are you working on? I'm like, I'm just working on this Ashby's movie. And they were like, year after year, like damn. She's like, we need to reel her in and we need to throw her a lifeline. No, really, I really, really am. So, it was pretty funny. We were. We did it.People have no idea how long these things take. Amy Scott: It's unfunded. But you know, then we got lucky after that, because we nearly killed ourselves on Hal. Then we kind of fell into the era of streaming deals and streamers. And then people were like, oh, we want to make biopics and we want to give you money to make a biopic. And that was truly our first rodeo. We're like, oh, my gosh, what? This is incredible. We can get paid for this. Now that's falling away. This streaming industry is, you know, collapsing in on itself as it should, because there's no curation anymore. And it's like, let's return to form a little bit here, guys. So, we're just riding the wave. I say it's like we're riding trying to learn how to ride a mechanical bull this industry. I'm a tomboy. So, every local Oklahomans is up for the ride.Let me ask you one last question. I'll let you go then. So, as a filmmaker, what did you learn doing a deep dive into the work of this director and editor and you are a director and editor? So, that's sort of a scary thing to do anyway, to be the person who's going to edit Hal Ashby. What did you learn in the process that you can still take away today?Amy Scott: Well, listen, we joke about it all the time. My producer, Brian Morrow and I are constantly going, oh, what would Hal do? Everything that he stood for, as a filmmaker. The film will tell you what to do. Get in there, be obsessed be the film, all of those things.I get this man because I feel the same way. So, when we like took a real bath in Hal Ashby's words for years, that sort of that shapes the rest of your life as a filmmaker. You're not like a casual filmmaker after going through like the Ashby's carwash. That stuff's sticks.But I'm proud. I'm proud that that we pulled it off. I'm proud that we were able to make the movie. Somebody would have done it, because Hal is too great and too good, and he just has deserved it for so long.The only thing that we've ever wanted was that we wanted people to go back and watch his films, or to watch him for the first time if they had never seen him. And then to take his creative spirit forward. Be in love with the thing that you make. It's your lifeforce. So, otherwise, what is it all for, you know? So, yeah, that's what I got from him.
Yes, it's Network. Could you expect anything else after Medium Cool? Maybe. But you'd be wrong. It's Network. Let's look at this documentary... errr fictional satire from the mind of Paddy Chayefsky and executed with the deft touch of Sidney Lumet. I realize there's an entire laundry list of things that could have been touched upon which I did not. Again, an injury is limiting my computer time. Computer time includes recording and editing so I need to be economical with both. The character of Diana Christensen is probably one of the most interesting because of how she's written but, also, because the romance plot is actually a larger part of the movie than I sometimes realize. So she's got screen time and there's plenty of time to examine her. And I think that, choosing her, to represent what she represents is maybe a bit... biased. Hackett could have easily been that, too, or there could have just been a dude. I know that they, for economy, combined Max's love interest with Max's rival and it works but she's one of the very precious few women in this movie--which is also probably documentarian as well. Maybe bringing this lens to bear on this specific point is fruitless. But it wasn't brought in the podcast. I think I did completely forget to mention the other two academy awards. Faye Dunaway takes it and there's a really good photo of her the next day looking real blase. It's called "The Morning After" and it's the kinda photo that would make me want to be a magazine photographer. Getting to wake up in the morning and do shoots like that is the dream. The other Academy Award was given to Chayefsky for the screenplay which, if you've seen the movie, is no great surprise.
If you have the opportunity to watch this prior to listening, I would want that for you. But it's probably not streaming anywhere. I mean, someone might have uploaded the entire film to YouTube but you never know. Yeah, I'm just digging through my own movie history at this point. Finding the origins of the origins. I've had some physical issues that prevent me from being on a computer for extended periods of time so yeah, there were some things that made it through the edit, and yeah, there were some things that I would normally talk about that I didn't. But I think I get to the heart of the matter well enough.
On this edition of Parallax Views, anthropologist David H. Price, author of Weaponizing Anthropology and Cold War Anthropology: Social Science in the Service of the Militarized State, returns to discuss his latest book The American Surveillance State: How the U.S. Spies on Dissent. The conversation begins with David H. Price discussing his Freedom of Information Act (FOIA) requests about interactions between American anthropologist, the FBI, the CIA, and American military agencies. We delve into how David became involved in looking at how anthropologists and social science were utilized in the global War on Terror, especially through the Human Terrain System program. In other words, the use of anthropology and social science for social monitoring and control. From there we delve into the thesis of The American Surveillance State and the idea, put forth by CIA whistleblower Philip Agee, that agencies like the FBI and CIA act as "the secret police of American capitalism". In this regard we discuss how intelligence agency institutions became powerful surveillance apparatuses that often targeted the labor and radical leftist movements. This also allows us to discuss the (in)famous figure of longtime FBI director J. Edgar Hoover and some conversation about the period of WWII and the transition into the Cold War. Among other topics we also manage to discuss: - The history of phone surveillance and wiretapping - The Total Information Awareness program and mass data collection - The issue of corporate surveillance as well as government surveillance - The American Surveillance State's targeting of anthropologist Gene Weltfish, Native American activist Archie Phinney, and South African anti-apartheid activist Ruth First; the targeted surveillance of activists who sought to expose systems of racial inequality - American anthropology, racial inequality, and the American surveillance state in the era of Joseph McCarthy and the Red Scare in the 1940s and 1950s - Addressing arguments that the massive surveillance and suppression of privacy and individual rights is necessary to fighting security threats like terrorism - The deep roots of anti-communism in the U.S. Liberal anti-communism in the CIA and right-wing anti-communism in Hoover's FBI; President Harry S. Truman and the Truman loyalty oaths program (which targeted federal employees) as a precursor to McCarthyism; Truman vs. Harry Wallace and the weaponizing the surveillance state against political enemies - The FBI's targeting of liberal anti-communists; liberal anti-communist German-American anthropologist Andre Gunder Frank, the Global South, and Frank's critique of American economic hegemony; the FBI's massive file on Andre Gunder Frank - The FBI file on left-wing Academy Award-winning cinematographer and filmmaker Haskell Wexler, who directed the film Medium Cool (a movie filmed in the midst of the riots at the Chicago Democratic National Convention (DNC) in 1968; Wexler's film on the Weather Underground and FBI surveillance of Wexler - Court trials, jury selection, prosecutors, and the FBI - The FBI and Palestinian-American academic Edward Said, the founder of postcolonial studies; the monitoring of Said, who was known for his pro-Palestinian views - The FBI file on the late left-wing journalist Alexander Cockburn of Counterpunch; the American Surviellance State and Alexander Cockburn's visa - Anthropologist Melville Jacobs, who was a student of Franz Boaz, and how he was targeted for his involvement with communism; pre-McCarthy threats against anthropologists who addresses issues of inequality; academic freedom, Cold Wars paranoia/fears, and the rumored-to-be-antisemitic academic who acted as an FBI informant against Jewish professors - Spanish anthropologist Angel Palerm, the Organization of American States (OAS), and the monitoring of Palerm over his work on Latin America; informants in the OAS - Why is certain information redacted in FOIA documents?; why is some information withheld or claimed to be non-existent when it comes to FOIA requests? - FBI incompetence and FOIA - Price's thoughts on the FBI and it's handling of modern domestic terrorism threats, specifically far right-wing groups like the Proud Boys and white supremacist organizations; how surveillance of right-wing groups like the Ku Klux Klan arguably differs from surveillance of left-wing groups; intelligence agency responses to the far-right as being far too late and far less numerous than targeting of left-wing activists - Liberal sentiments that the FBI and other intelligence agencies are the heroes that will save America from Trump and the far-right; Price's response to this - How to make a FOIA request; the ins and outs of making a FOIA request - Has Price ever requested a FOIA on himself?; the CIA's review of one of Price's books - Responding to people who believe that any talk of the surveillance state is just tinfoil hat, right-wing conspiracy theory crankery territory - The CIA vs. the FBI during the Cold War and the roots of the CIA at Yale University - J. Edgar Hoover as a creature of the FBI rather than the Cold War FBI being a creature of Hoover; analysis of institutions vs. hyper-focusing on specific individuals like Hoover - Edward Snowden and the need for a new Watergate moment which will bring about new investigations into the American Surveillance State and possible reforms; FBI oversight, the Pike Committee, and the response to the Watergate scandal - Are we too numb to the American Surveillance State at this point to be outraged by it? - And more!
Today on the Rarified Heir Podcast we are talking to Eric Bonerz whose father Peter Bonerz you all know from his acting and directing career. Likely, most of you know Peter Bonerz as the role of Jerry the Dentist on The Bob Newhart Show. But did you know that Peter directed some of the biggest (and some of the most bizarre) television shows of all-time? From Wingsto Murphy Brown to Home Improvement to Friends and News Radio, Peter Bonerz has more than 350 directing credits to his name. We also learn about some of his pilots & short lived shows like Apple Pie which did not make it. One, about humans playing dogs with Chuck McCann and Charles Martin Smith, might be the weirdest of them all. We talk to Eric about being on set like Catch-22 and Medium Cool and how his dad made it a point to be home for dinner and to be a parent who was present. Always. We also discuss Eric's own career, working at the Beastie Boys (wink, wink) store X-Large, his offbeat Bay Area band Eskimo and how he was the PD on the internet radio channel LuxuriaMusic.com which is yours truly favorite radio station. If The Day The Clown Cried, Yul Brenner, the band Primus, tagging along with Adam Arkin or seeing Keir Dullea eating sushi alone in the 80s mean anything at all to you, you must listen to this episode. The Rarified Heir Podcast's latest episode begins, now.
The Obsessive Viewer - Weekly Movie/TV Review & Discussion Podcast
In this episode, I welcome my friends Brent Leuthold and Joe Shearer back to the show to review the new "spooktacular Shocktober" releases Halloween Ends and V/H/S/99! Become a patron for exclusive audio content at Patreon.com/ObsessiveViewer. Timestamps Show Start – 00:28 Introducing the Guests - 01:57 Recent Trailers - 12:05 Reviews - 19:08 Halloween Ends - 19:44 Spoiler - 1:18:02 V/H/S/99 - 1:54:50 Spoiler - 1:55:54 Closing the Ep – 2:22:53 Related Links My 2022 Podcast and Writing Archive 'V/H/S/85' – Franchise Rewinds Back to the 1980s! - Bloody Disgusting Mike's Band: As Good As It Gets Our Theme Song on Spotify Joe Shearer's Letterboxd Heartland 2022: Art and Pep Heartland 2022: The Best We've Got: The Carl Erskine Story Heartland 2022: The Fire That Took Her Heartland 2022: Butterfly in the Sky Heartland 2022: Till Joe's Writing on Midwest Film Journal Medium Cool: A Movie Podcast Brent Leuthold's Letterboxd Halloween Ends Smile Amsterdam Midwest Film Journal - Recurring Nightmares: Wes Craven's New Nightmare Black Adam Brent's Writing at AwakeInTheDark.com Brent's Podcast, Awake in the Dark Help Support the Podcast Official OV Merch: Our TeePublic Store Obsessive Viewer – The homepage for all the things we do. Obsessive Viewer Presents: Anthology – Matt's solo podcast exploring science fiction anthology storytelling in television's first golden age starting with The Twilight Zone. Obsessive Viewer Presents: Tower Junkies – Our spinoff podcast dedicated to Stephen King's magnum opus, The Dark Tower and related topics. Mic Info Matt: ElectroVoice RE20 into RØDEcaster Pro II - Processing: High Pass Filter, DeEsser, Compressor, and Master Compellor enabled (Recorded in the Living Room) Brent: Earthworks ICON Pro Joe: Tonor USB Microphone Episode Homepage: ObsessiveViewer.com/OV385
For our 99th episode, Austin shares the new format for Medium Cool, and afterwards showcases what a solo episode will look like in the future by reviewing and analyzing Terrence Malick's The Thin Red Line (1998). All that and more on Medium Cool: A Movie Podcast. Enjoy!0:00 - Intro9:30 - The Thin Red Line (1998)37:44 - Outro Please subscribe to Medium Cool: A Movie Podcast wherever you get your podcasts! Also, follow us on social media to get updates on all of the exciting things we have coming up!Facebook: www.Facebook.com/mediumcoolpodInstagram: MediumCoolPodTwitter: @MediumCoolPod / Host's Twitter: @AustinGliddenLetterboxd: www.letterboxd.com/AustinGliddenYouTube: https://www.youtube.com/channel/UCloDyC7c094vxCxUDlc0-XQEmail: MediumCoolPod@gmail.com
The Obsessive Viewer - Weekly Movie/TV Review & Discussion Podcast
In this episode, I welcome my friends Sam Watermeier and Joe Shearer back to the show to review the new releases Clerks III and Blonde. Become a patron for exclusive audio content at Patreon.com/ObsessiveViewer. Timestamps Show Start – 00:28 Clerks III (2022) – 03:15 Spoiler Review – 39:06 Blonde (2022) – 1:08:10 Spoiler Review – 1:22:26 Closing the Ep – 1:38:54 Related Links My 2022 Podcast and Writing Archive My Review of Fall (2022) – Aug 16 My Review of Glorious (2022) – Aug 16 My Review of Clerks III (2022) – Sept 8 Mike's Band: As Good As It Gets Our Theme Song on Spotify The Movie State Joe Shearer's Letterboxd Joe's Review of Lightyear (2022) Joe's Review of Bodies, Bodies, Bodies (2022) Joe's Review of Margaux (2022) Joe's Writing on Midwest Film Journal Medium Cool: A Movie Podcast Sam Watermeier's Letterboxd Sam's Review of The Bad Guys (2022) Sam's Review of Sonic the Hedgehog 2 (2022) Sam's Essay on A Nightmare on Elm Street (1984) Sam's Writing on Midwest Film Journal Help Support the Podcast Official OV Merch: Our TeePublic Store Obsessive Viewer – The homepage for all the things we do. Obsessive Viewer Presents: Anthology – Matt's solo podcast exploring science fiction anthology storytelling in television's first golden age starting with The Twilight Zone. Obsessive Viewer Presents: Tower Junkies – Our spinoff podcast dedicated to Stephen King's magnum opus, The Dark Tower and related topics. Mic Info Matt: ElectroVoice RE20, RØDEcaster Pro II, (Processing: DeEsser, High Pass Filter, Compressor, and Master Compellor enabled) - Recorded in the Living Room Sam: Samson Q2U via USB in Google Meet Joe: Tonor USB Microphone via USB in Google Meet Episode Homepage: ObsessiveViewer.com/OV382
The Obsessive Viewer - Weekly Movie/TV Review & Discussion Podcast
In this episode, I am joined by my friends and IFJA colleagues Andy Carr and Joe Shearer to review B.J. Novak's film, Vengeance ( currently in theaters) and round out the episode with a review of Dan Trachtenberg's Prey (Hulu). Become a patron for exclusive audio content at Patreon.com/ObsessiveViewer. Timestamps Show Start – 00:28 Reviews - 08:02 Vengeance (2022) - 08:14 Non-Spoiler Review - 09:13 Spoiler Review - 36:57 Prey - 53:35 Non-Spoiler Review - 54:43 Spoiler Review - 1:10:53 Closing the Ep – 1:31:10 Related Links My 2022 Podcast and Writing Archive My Review of Nope My Review of Don't Make Me Go My Review of Gone in the Night Mike's Band: As Good As It Gets Our Theme Song on Spotify The Movie State- Ben's Website Joe Shearer's Letterboxd Joe's Review of X (2022) Joe's Review of Chip 'n Dale: Rescue Rangers (2022) Joe's Review of Lightyear (2022) Medium Cool: A Movie Podcast Andy Carr's Letterboxd Andy's Review of Where the Crawdads Sing Andy's Review of Nope (2022) Odd Trilogies Podcast Help Support the Podcast Official OV Merch: Our TeePublic Store Obsessive Viewer – The homepage for all the things we do. Obsessive Viewer Presents: Anthology – Matt's solo podcast exploring science fiction anthology storytelling in television's first golden age starting with The Twilight Zone. Obsessive Viewer Presents: Tower Junkies – Our spinoff podcast dedicated to Stephen King's magnum opus, The Dark Tower and related topics. Mic Info Matt: ElectroVoice RE20 with RØDEcaster Pro (DeEsser enabled) and Klark Teknik Mic Booster CM-2 Andy: Samson Q2U via USB in Google Meet Joe: Tonor USB Microphone via USB in Google Meet Episode Homepage: ObsessiveViewer.com/OV377
Mark Rozzo's astute and engaging new book Everyone Thought We Were Crazy: Dennis Hopper, Brooke Heyward, and 1906s Los Angeles, published by Ecco Press, documents the lives of Hopper and Hayward in the heyday as New Hollywood's It couple but also paints a panoramic landscape of the Los Angeles scene in the Sixties.Rozzo poignantly captures the vivacity of the heady days in the early 1960s, just as the underground culture of the Beat Generation was about to explode into the mainstream counterculture of the latter part of the decade—the sex, drugs and rock ‘n' roll mantra was born in the late 1960s.Sixties Los Angeles was a new center of gravity in culture; there was a new consciousness, a West Coast symmetry between art, underground cinema, music and civil rights that had never happened before, and has never happened since. Hopper and Hayward were not only up-and-coming actors in the early 1960s, they were also cross-cultural connectors who brought together the best of underground Los Angeles art, music and politics, under one roof—literally—1712 N. Crescent Heights in the Hollywood Hills. This modest Spanish Colonial was the meeting ground, as Rozzo illustrates, for a who's who of that time: Jane Fonda, Andy Warhol, Joan Didion, Jasper Johns, Tina Turner, Ed Ruscha, The Byrds and the Black Panthers.Their art collection, showcased at this house on Crescent Heights, as well as the house itself, is the backdrop of Everyone Thought We Were Crazy. Rozzo tells the story in a straight-forward, dual narrative, that helps fill in large parts of Brooke's story, which compared to Hopper's, hasn't been as well documented or explored in other books. Rozzo finds the right balance.As a decade-ending benchmark, Hopper's directorial debut Easy Rider became the emblematic proto-New Hollywood independent film, alongside Haskell Wexler's Medium Cool. These films help illustrate the promise and loss of that generation and that era. There isn't a happy ending in those films or in Hopper's marriage to Heyward, unfortunately—the couple divorced in 1969 just at Easy Rider was about to make cinematic history.After the divorce, Brooke eventually sold the house, broke up the art collection and moved back to New York, where she still resides. Hopper died in 2010.Rozzo's wide view of Los Angeles in the 1960s is essential reading for anyone interested in the unvarnished history of that period.Here's my conversation with Mark Rozzo discussing the life and times of Dennis Hopper and Brooke Hayward.Reading by Mark Rozzo.Music by Love.
Dominic and Steven reconsider Medium Cool (1969) and continue their discussion of films with moving cameras in episodes 14-16. This American cinéma vérité film was directed, shot and scripted by Haskell Wexler, who extensively used handheld cameras before the era of Steadicam technology, partly to track the violence surrounding the Democratic National Convention of 1968 in Chicago. Hosted on Acast. See acast.com/privacy for more information.
For our 72nd episode, Austin invites his oldest friend on the show, Riley Martin. He and Riley met when they were both 12 years old, 25 years ago, and Riley is responsible for getting Austin into movies. For all intense and purposes, Medium Cool wouldn't exist without Riley. Austin asks Riley about the movies that shaped how he saw movies when he first started exploring them seriously and intentionally. All that and more here on Medium Cool: A Movie Podcast. Enjoy!0:00 - Introduction2:25 - Riley Martin1:46:55 - OutroPlease subscribe to Medium Cool: A Movie Podcast wherever you get your podcasts! Also, follow us on social media to get updates on all of the exciting things we have coming up!Facebook: www.Facebook.com/mediumcoolpodInstagram: MediumCoolPodTwitter: @MediumCoolPod / Host's Twitter: @AustinGliddenLetterboxd: www.letterboxd.com/AustinGliddenYouTube: https://www.youtube.com/channel/UCloDyC7c094vxCxUDlc0-XQEmail: MediumCoolPod@gmail.com
On this bonus episode, Austin reacts to W. Kamau Bell's new docuseries We Need To Talk About Cosby, coming to Showtime on Sunday, January 30th. It chronicles the life, success, and downfall of "America's dad", Bill Cosby. All that and more on this Medium Cool bonus content. Enjoy!
For our 43rd episode, Austin goes solo to present a movie lesson about classic film noir. This installment covers nine noirs during America's involvement in WWII (1941-1945), including The Maltese Falcon (1941), This Gun For Hire (1942), The Glass Key (1942), The Seventh Victim (1943), Double Indemnity (1944), Ministry of Fear (1944), Laura (1944), The Woman in the Window (1944), and Murder, My Sweet (1944). All that and more on this episode of Medium Cool! Enjoy!0:00 - Introduction3:45 - Movie Lesson: WWII-Era Film Noir7:35 - The Maltese Falcon (1941)14:03 - This Gun For Hire (1942)19:57 - The Glass Key (1942)25:22 - The Seventh Victim (1943)33:06 - Double Indemnity (1944)47:24 - Ministry of Fear (1944)54:30 - Laura (1944)1:02:37 - The Woman in the Window (1944)1:11:25 - Murder, My Sweet (1944)1:21:50 - OutroPlease subscribe to Medium Cool: A Movie Podcast wherever you get your podcasts! Also, follow us on social media to get updates on all of the exciting things we have coming up!Facebook: www.Facebook.com/mediumcoolpodInstagram: MediumCoolPodTwitter: @MediumCoolPod / Host's Twitter: @AustinGliddenLetterboxd: www.letterboxd.com/AustinGliddenYouTube: https://www.youtube.com/channel/UCloDyC7c094vxCxUDlc0-XQEmail: MediumCoolPod@gmail.com
For our 42nd episode, a new friend of the show joins us! Dr. Charles Ecenbarger joins Austin as they discuss the movies that influenced them, their early grad school years, and disagree about Jacques Tati's PlayTime (1967). All that and more on this episode of Medium Cool! Enjoy!0:00 - Introduction3:50 - Conversation with old friend, Dr. Charlie Ecenbarger2:02:10 - Outro Please subscribe to Medium Cool: A Movie Podcast wherever you get your podcasts! Also, follow us on social media to get updates on all of the exciting things we have coming up!Facebook: www.Facebook.com/mediumcoolpodInstagram: MediumCoolPodTwitter: @MediumCoolPod / Host's Twitter: @AustinGliddenLetterboxd: www.letterboxd.com/AustinGliddenYouTube: https://www.youtube.com/channel/UCloDyC7c094vxCxUDlc0-XQEmail: MediumCoolPod@gmail.com
For our 41st episode, Joe is back! And so is Sam "The Movie Man" Watermeier, and they talk with Austin long-form about RoboCop (1987) in celebration of Paul Verhoeven's birthday. But before that, Austin decided to watch more Verhoeven last weekend and discusses Basic Instinct (1992) and Showgirls (1995). All that and more on this episode of Medium Cool! Enjoy!0:00 - Introduction4:05 - Basic Instinct (1992)13:05 - Showgirls (1995)30:10 - Listener's Choice: RoboCop (1987)1:33:35 - OutroPlease subscribe to Medium Cool: A Movie Podcast wherever you get your podcasts! Also, follow us on social media to get updates on all of the exciting things we have coming up!Facebook: www.Facebook.com/mediumcoolpodInstagram: MediumCoolPodTwitter: @MediumCoolPod / Host's Twitter: @AustinGliddenLetterboxd: www.letterboxd.com/AustinGliddenYouTube: https://www.youtube.com/channel/UCloDyC7c094vxCxUDlc0-XQEmail: MediumCoolPod@gmail.com
For our 40th episode, friend of the show Jake Bottiglieri comes back to celebrate Hong Kong filmmaker Wong Kar Wai's birthday by discussing his films Chungking Express (1994) and Fallen Angels (1995). But before that, Austin gives a review of all of the movies he watched this last weekend when his oldest friend Riley came to stay with him. There were a lot! All that and more on this episode of Medium Cool! Enjoy!0:00 - Introduction2:05 - Austin's Movie Review (What has he seen recently?)21:45 - Chungking Express (1994)58:35 - Fallen Angels (1995)1:39:45 - Outro Please subscribe to Medium Cool: A Movie Podcast wherever you get your podcasts! Also, follow us on social media to get updates on all of the exciting things we have coming up!Facebook: www.Facebook.com/mediumcoolpodInstagram: MediumCoolPodTwitter: @MediumCoolPod / Host's Twitter: @AustinGliddenLetterboxd: www.letterboxd.com/AustinGliddenYouTube: https://www.youtube.com/channel/UCloDyC7c094vxCxUDlc0-XQEmail: MediumCoolPod@gmail.comProducer: Joe Shearer / Twitter: @JoeShearer9
For our 39th episode, our friend Matthew Socey returns again to continue the Ingmar Bergman Cinema marathon with Austin as they discuss The Virgin Spring (1960) and Through a Glass Darkly (1961). But before that, Austin reviews John Krasinski's A Quiet Place Part II and Questlove's Summer of Soul (...Or, When The Revolution Could Not Be Televised). All that and more on this episode of Medium Cool! Enjoy!0:00 - Introduction7:55 - A Quiet Place Part II (2021)17:50 - Summer of Soul (2021)25:40 - The Virgin Spring (1960)59:05 - Through a Glass Darkly (1961)1:48:55 - Outro Click here to check out Austin's Midwest Film Journal article on The Professional (1994)!Please subscribe to Medium Cool: A Movie Podcast wherever you get your podcasts! Also, follow us on social media to get updates on all of the exciting things we have coming up!Facebook: www.Facebook.com/mediumcoolpodInstagram: MediumCoolPodTwitter: @MediumCoolPod / Host's Twitter: @AustinGliddenLetterboxd: www.letterboxd.com/AustinGliddenYouTube: https://www.youtube.com/channel/UCloDyC7c094vxCxUDlc0-XQEmail: MediumCoolPod@gmail.comProducer: Joe Shearer / Twitter: @JoeShearer9
For our 38th episode, Our friend Matthew Socey returns to begin the Ingmar Bergman Cinema marathon with Austin as they discuss Smiles of a Summer Night (1955) and Wild Strawberries (1957). But before that, Austin celebrates the 95th birthday of Mel Brooks by discussing Young Frankenstein (1974). All that and more on this episode of Medium Cool! Enjoy!0:00 - Introduction3:00 - Young Frankenstein (1974)14:50 - Smiles of a Summer Night (1955)58:30 - Wild Strawberries (1957)2:02:40 - Outro Please subscribe to Medium Cool: A Movie Podcast wherever you get your podcasts! Also, follow us on social media to get updates on all of the exciting things we have coming up!Facebook: www.Facebook.com/mediumcoolpodInstagram: MediumCoolPodTwitter: @MediumCoolPod / Host's Twitter: @AustinGliddenLetterboxd: www.letterboxd.com/AustinGliddenYouTube: https://www.youtube.com/channel/UCloDyC7c094vxCxUDlc0-XQEmail: MediumCoolPod@gmail.comProducer: Joe Shearer / Twitter: @JoeShearer9
Docuseries are gaining more popularity due to the initiative of some filmmakers to use the storytelling format. Alan Jacobsen is a cinematographer who works on narrative and documentary projects with an authentic, natural eye and sensitive curiosity. His camera work is masterful, intuitive and intimate, capturing the sensory story in each powerful frame. He studied film at New York University and minored in architecture and urban studies, which gives him a full spectrum of how to think of a frame in a scene. After school, he worked for several years as a technician in the electrical department until he found documentary cinematography as a place to develop his full potential. Alan gained recognition in 2018 for Strong Island, which was nominated for the 2018 Academy Award for Best Documentary and won the 2018 Emmy Award for Outstanding Merit in Documentary Film.Here is what you’ll learn:What made Alan Jacobsen want to break into the film industry.A summer camp where he did TV production and fell in love with cameras and photography.His pivot towards documentary cinematography after working for several years as a technician in electrical departments.How his knowledge of architecture helps him appreciate forms, shapes, balances and symmetry.Differences between lighting in documentaries and narrative films.Marshall Curry’s technique of thinking of a documentary scene as if it were a narrative scene.Alan's favorite movies; Nashville by Robert Altman, Medium Cool by Haskell Wexler, and Koyaanisqatsi by Godfrey Reggio.Why working with your idols is not the best idea.Alan's preference for movies that trust audiences enough to give them a role in storytelling, where they not only receive, but contribute. To learn more about Alan, follow him on Instagram, or visit his website.Interested in knowing more about the show? Follow:Instagram: @kino_societyFacebook: @KinoSocietyWebsite: https://www.kinosociety.com/
Bart & Jenna dive into the work of Haskell Wexler – one of the few true auteur cinematographers who got a great start in the 1960s. From Kazan’s nominated America America, to a heated debate on the iconic Who’s Afraid of Virginia Woolf?, bursting into color with In the Heat of the Night, and culminating with Medium Cool – a hybrid film that incorporates almost every trick he learned from the decade.
Born in a small Minnesota town straight out of a David Lynch film, Chad Ferrin spent his formative years on a farm. The brutal winters, social isolation and exposure to violent animal slaughters influenced the predatory and survivalist themes he would later explore cinematically. In 1988, Ferrin sold his home in Minnesota to finance his first film, UNSPEAKABLE. Lloyd Kaufman, president of notorious genre production house Troma Entertainment, took a personal interest and distributed the film. After a multi-year relationship producing, writing and directing for Troma, Ferrin sold his 1968 1/2 Ford Mustang to finance his independent hit, THE GHOULS. Called “Haskell Wexler’s MEDIUM COOL revisited”, hailed by Variety and a winner of numerous international festival awards, THE GHOULS was an underground commercial and critical success. Ferrin immediately followed up with EASTER BUNNY, KILL! KILL!, a film teeming with dark humor and social commentary in the vein of Russ Meyer and Dario Argento. In 2009, SOMEONE’S KNOCKING AT THE DOOR took the festival circuit by storm with tried-and-true psychedelic grind-house style. In 2015 Ferrin was hired to bring the acclaimed graphic novel THE CHAIR to the screen. The success of that collaboration with producer Robert Rhine was followed up on the Fantasia Festival hit PARASITES and the gonzo, horror comedy EXORCISM AT 60,000 FEET. His latest feature "The Deep Ones" will be opening on April 23rd at the Laemmle NOHO 7. Watch the trailer here: vimeo.com/519644453
For this bonus content, Austin, his wife Amanda, and his 9-year-old daughter Evey decided, spur-of-the-moment, to marathon the Shrek series (1-4) and discuss them on Medium Cool. Evey always wanted to be on the show, and tis the season... so here they are. Enjoy! Please subscribe to Medium Cool: A Movie Podcast wherever you get your podcasts! Also, follow us on social media to get updates on all of the exciting things we have coming up!Facebook: www.Facebook.com/mediumcoolpodInstagram: MediumCoolPodTwitter: @MediumCoolPod / Host's Twitter: @AustinGliddenEmail: MediumCoolPod@gmail.comCheck out our partner's site: www.thefilmyap.com
For our eighth episode, Austin invites Jeff Roda back for an extended one-on-one conversation. They talk about the wide (virtual) release of Jeff's new film 18 To Party, what it was like growing up in Generation X, how Jeff became friends with Philip Seymour Hoffman, and much more! Check out Jeff Roda's film 18 to Party, available on Amazon and iTunes today!0:00 - Introduction12:20 - Conversation with Jeff Roda1:50:45 - Outro and details about the Cassavetes marathon Austin also prefaces our very first Medium Cool movie marathon, starting next week! The first marathon will be celebrating the birthday of the late, great John Cassavetes. Austin is bringing in his old friend Jake Bottiglieri on to discuss the Cassavetes classics Faces (1968) and Husbands (1970), both available on Amazon Prime (Husbands is currently free to watch right now with Prime). Please subscribe to Medium Cool: A Movie Podcast wherever you get your podcasts! Also, follow us on social media to get updates on all of the exciting things we have coming up!Facebook: www.Facebook.com/mediumcoolpodInstagram: MediumCoolPodTwitter: @MediumCoolPod / Host's Twitter: @AustinGliddenEmail: MediumCoolPod@gmail.comCheck out our partner's site: www.thefilmyap.com
With Special Guest Reagan Jones! Films Mentioned: She Wore a Yellow Ribbon (1949), Grease (1978), Medium Cool (1969), The Craft: Legacy (2020), Halloween (2007), Ali G Indahouse (2002), etc. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
The 1968 Democratic Convention. Three for the Road this week. Matt and Adam discuss the reality-bending Medium Cool. It had a lot of promise until it slowed down and became a normal movie. For Steal This Movie, the guys liked the actors, the script and the direction, but it somehow felt flat. Matt might have a thing for Janeane Garofalo (don't we all?). Sorkin's Trial of the Chicago 7 did not disappoint. Adam has a bold statement on Michael Keaton. Why don't we get movies like this anymore? Who was the better Hoffman - Vincent D'Onofrio or Sacha Baron Cohen?Next pod: Horror movies. The Orphanage (2007)(on Amazon Prime for $) and A Cabin in the Woods (2011) (on Hulu for $).Contact the show: 24theroadshow@gmail.comFacebook: https://www.facebook.com/24theRoadShowIntro/Interlude/Outro Music by B-Complex: http://www.bcomplexproductions.com/home.htmlMedium Cool (1969) available here: https://www.youtube.com/watch?v=dA5BXLIdOec Steal This Movie (2000) available here: https://tubitv.com/movies/302501?utm_source=justwatch-feed&tracking=justwatch-feedThe Trial of the Chicago 7 (2020) available on Netflix.
Phedon Papamichael's latest project is The Trial of the Chicago 7, written and directed by Aaron Sorkin. The bulk of the story centers on the 1969 trial of seven men accused of inciting a riot in the park outside of the 1968 Democratic National Convention in Chicago. In Phedon's view, a film is actually made three times: it's conceived in the writing process, developed during principal photography, then reinvented and finalized in the editing process. When working with a director and writer like Aaron Sorkin, the way the film is scripted is exactly what he wants to see on the screen. The person speaking must be on camera, and specific shots are needed to sync with the rhythm of his words, like a poem. Sorkin is not a technical filmmaker, and after their initial meeting, Phedon knew Sorkin would rely heavily on him for creating the visuals. Since the majority of the action takes place in the courtroom, Phedon had to generate visual interest, making sure they had the right lenses and angles to enhance the drama, and to get good reaction shots of the jury and spectators. He used the lighting within the courtroom to enhance the moods and tension, and adjusted the light coming through the windows to reflect the changing seasons. When shooting the protests in the park and the violent clashes with the police, the camera crew went hand-held documentary style. Some of the footage from the protests was actually intercut with real footage taken from a film called Medium Cool, a combination documentary/fiction film by famed cinematographer Haskell Wexler, who shot actual footage of the riots in the park from the 1968 Democratic National Convention. You can watch The Trial of the Chicago Seven streaming now on Netflix. Find Phedon Papamichael: https://www.phedonpapamichael.com/ Instagram: @papa2 Sponsored by Hot Rod Cameras: www.hotrodcameras.com IT'S A BOOK GIVEAWAY! Enter to win the Video Palace book- Video Palace: In Search of the Eyeless Man Collected Stories- signed by our host, Ben Rock, who also authored one of the stories! The book expands the world of the Video Palace podcast that Ben directed for Shudder. http://videopalace.shudder.com/ TO WIN: SUBSCRIBE to our YouTube channel, LIKE and COMMENT on the "How To Vote" breakdown we just posted! We will randomly select a winner from the comments. We're expanding and adding to our YouTube channel, so look for new content there, too! https://www.youtube.com/channel/UCNQIhe3yjQJG72EjZJBRI1w Find out even more about this episode, with extensive show notes and links: http://camnoir.com/ep96/ Website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz
In this teaser episode of Medium Cool: A Movie Podcast, Austin talks about what the future holds for the podcast. He foreshadows Episode 01, where Joe Shearer, co-owner of TheFilmYap.com, will join him to discuss HORROR MOVIES! It's October, so let's get scared! Episode 01 will be released on Tuesday, October 13th! He also talks about Letterboxd.com, a great resource for any film lover. Go check it out!This podcast is presented by TheFilmYap.com. Also, you can find Medium Cool on social media!Facebook.com/mediumcoolpodTwitter: @mediumcoolpodInstagram: mediumcoolpodEmail: mediumcoolpod@gmail.com
On this episode, we focus on the year of 1969 thru the films: Easy Rider, Medium Cool & Several Friends. We also discuss: Wild Bunch / Butch Cassidy and the Sundance Kid / True Grit / Bob & Carol & Ted & Alice / Midnight Cowboy / Model Shop / Putney Swope / The Learning Tree / Lions Love Also of note from this year: Alice’s Restaurant / Burn! / Z / if…. / They Shoot Horses, Don’t They? / The Gay Deceivers / Blue Movie
You can explore all of my podcasts, including over 200 hours of Patreon content, on my website https://www.lostinthemovies.com/p/film-in-focus.html My recent work: NEW ON MY SITE Last Summer Update: Journey Through Twin Peaks & more https://www.lostinthemovies.com/2020/08/late-summer-update-journey-through-twin.html UPDATED ON MY SITE Top Posts https://www.lostinthemovies.com/p/top-posts.html & The Picture Gallery http://movieman0283-testblog.blogspot.com/2010/06/picture-3.html This episode's home page on my site (active on Thursday) is https://www.lostinthemovies.com/2020/08/medium-cool-left-of-movies-podcast.html This podcast is powered by Pinecast.
This week on TUMP we’re here to discuss two films that we released in neighbouring years. One a fiction film staged as a documentary about violence and politics of the time, the next a documentary showing violence that happened when too much fun was being had. Show Notes (00:04:30) Medium Cool (1969) (00:47:00) Gimme Shelter … Continue reading "TUMP [EP#344 – MEDIUM COOL / GIMME SHELTER]"
On this episode, we take a look at the controversial 1969 film Medium Cool, which was shot amongst the real life tumult surrounding the 1968 Democratic National Convention in Chicago. --- Send in a voice message: https://anchor.fm/dissidentfilmclub/message
Premier Vocabulary is a mini-podcast for you to learn football English one word at a time. We have three different levels for you: easy, medium and hard. Visit the lesson page on Premier Skills English > Skills > Listen > Premier Vocabulary > Medium: Cool dow (https://premierskillsenglish.britishcouncil.org/words/premier-vocabulary/medium-cool-down) n to read the transcript and join the community.
As Scooter creates a safe place describing the spectrum of degrees of water temperature, you will float off to dreamland, over and over and over again. Here are some links to some places you can find support during this crisis. If you have more please share them! https://www.crisistextline.org/blog/covid19-update https://www.cdc.gov/coronavirus/2019-ncov/prepare/managing-stress-anxiety.html (You can find all of our sponsors or become a patron on our new website http://www.sleepwithmepodcast.com story starts at about 20:00) Commission a song from the Mystery Bard over at http://www.jonathanmann.net If I hear from 500 people on Twitter and Instagram, that donate and tag @dearestscooter and @waterwheelphish, by June 30th, I will give myself a home perm in early July. And we will help a good cause. I know not everyone will be able to tweet or post about it so I am hoping those 500 people are representative of 5000 people who donate and we can generate $50k in new support for them. Let’s do it!!! https://www.sleepwithmepodcast.com/waterwheel This week’s podcast is sponsored by- Helix Sleep - makes personalized mattresses made right here in America, shipped straight to your door with free no-contact delivery, free returns, and a 100-night sleep trial. Just go to helixsleep.com/sleep, take their two-minute sleep quiz, and they’ll match you to a customized mattress that will give you the best sleep of your life. Celestial Seasonings - believes that everyone deserves a good, restful night’s sleep. That’s why they invented Sleepytime Herbal Tea and why it has become the top-selling specialty tea in America. Now you can choose from 13 different varieties of Sleepytime - from soothing Sleepytime Lavender to Sleepytime Extra with valerian, a trusted, natural sleep aid. Fall in love with Sleepytime from Celestial Seasonings on Amazon or nearly anywhere tea is sold. WHOOP- a fitness tracker that lets users monitor their sleep performance, how recovered their bodies are to perform, and how strenuous their days are. If you’re looking to be smarter about how you sleep, recover, and train so you can be at your best, you have to get WHOOP. Go to WHOOP.com and use the code “SWM” at checkout to save $30 off at checkout. Unlock your best self today.
054: Top Five Films of 1969 2 Guys 5 Movies is wrapping up the year with a series of decennial lists, starting with the year of 1969. Frank has chosen his top five of that year, which includes a number of classics: the Dustin Hoffman/Jon Voight movie, Midnight Cowboy, Nagisa Oshima’s Japanese crime drama, Boy, Sam Peckinpah’s western masterpiece, The Wild Bunch, the true crime thriller, The Honeymoon Killers, and famed cinematographer Haskell Wexler’s socio-political study, Medium Cool. If you are a fan of the podcast, there are other two important ways you can help us. First, you can please subscribe, rate, and leave a review on your podcast client. That not only would be useful to us for the feedback, but also help us receive more attention. Second, if you like your Facebook page, 2 Guys 5 Movies, it would be helpful to like or share our posts so others can learn about 2 Guys 5 Movies and decide if it is for them. Finally, if you have your own ideas for the podcast, you can also email us with list suggestions at 2guys5movies@gmail.com, and thank you all for listening and your support.
Robert Forster, a genius character beloved by just about everyone who saw him in anything, passed away in October as we were preparing to record our previous episode. Today Matt Brown looks at his 1969 breakout film, Medium Cool, while Matt Price reviews Alligator. Plus, our longest Roll Call ever!
Robert Forster, a genius character beloved by just about everyone who saw him in anything, passed away in October as we were preparing to record our previous episode. Today Matt Brown looks at his 1969 breakout film, Medium Cool, while Matt Price reviews Alligator. Plus, our longest Roll Call ever!
Robert Wallace Forster Jr (1941 - 2019) was an actor headed for big things. After kicking off his career on Broadway, Robert found his first gig on screen alongside Elizabeth Taylor, Marlon Brando, and getting career advice from John Huston. He would close out the 60s with Haskell Wexler’s critically acclaimed MEDIUM COOL. However, the next 25 years of his career would stall out with a string of forgetful projects with only a few gems along the way. It wasn’t until a fateful meeting with Quentin Tarantino in the mid 90s that career would find new life. Aaron and Brad take a class on Journalism 101 in MEDIUM COOL, search for Ramon the elusive sewer killer in ALLIGATOR, take a listen to The Delfonics in JACKIE BROWN, and more!
The hosts welcome special guest William Romano-Pugh - actor, socialite, and international film Epicurean, who helps them curate a list of the most influential films ever made and eventually decide on the one that is the utmost, but it's not a unanimous decision! In fact, there is controversy amongst the judges, and some aren't particularly happy about the decision. Other Topics Include: Lucasfilm, Skywalker Ranch, Bowling For Columbine, Wizard of Oz, It's A Wonderful Life, The Matrix, Raiders Of The Lost Ark, The Shawshank Redemption, Avatar, Schindler's List, Citizen Kane, Parasite, The Death Of Dick Long, Bride of Frankenstein, In The Realm Of The Senses, Medium Cool, A Face In The Crowd, Psycho, The Exorcist, Star Wars, Snow White and the Seven Dwarfs, Black Panther, Brokeback Mountain, Norma Rae, Colin Kaepernick, Marie Yovanovitch, and unfortunately Donald Trump and his Impeachment Gala, but NOTHING about the other one of his supporters that was indicted this week. So sit back, relax, and enjoy the most downloaded podcast in the world! The Unimaginary Friendcast! The Unimaginary Friendcast is hosted by David Monster, Erin Marie Bette Davis Jr. and Nathan Von Edmondson. https://unimaginaryfriend.com/podcast/ And find us on Facebook!
The legendary Oscar-nominated actor Robert Forster has passed away. I had the honor of working with Robert on one of my films, Red Princess Blues. He supplied some remarkable narration that set up my film perfectly. He was easily one of the most professional and talented actors I have ever worked with; a professional of the greatest caliber.He will always hold a special place in my heart because of not only working with him on my film but because his interview was to the first episode on the Indie Film Hustle Podcast. In our interview, he dishes out amazing advice to young actors, directors and human beings alike. He even tells us his favorite Quentin Tarantino on the set direction he got on the set of Jackie Brown; worth it’s waiting in gold.Robert was a working actor for decades, appearing in a classic film like Medium Cool, the iconic John Huston’s Reflections in a Golden Eye, 80’s action classic Delta Force and Disney’s The Black Hole.He was nominated for an Academy Award for Best Supporting Actor in 1997 for Quentin Tarantino’s Jackie Brown, which he credits with reviving his career. Since then Robert has been on fire in the second half of his career, appearing in The Descendants, Like Mike; Mulholland Drive; Me, Myself, & Irene; Lucky Number Slevin and Firewall, just to name a few.I also have to mention his run on Breaking Bad. He just nails those last two episodes as Walt’s relocation/make me disappear guy. Just amazing. As you can tell I’m a big fan of Robert’s.Robert said that when his career was at its lowest ebb, he had what he called an "epiphany.""It was the simple one," he said, "when you realize, 'You know what? You're not dead yet, Bob. You can win it in the late innings. You've still got the late innings, but you can't quit. Never quit.' "You will be missed, Robert. Rest in Peace.
On this episode of #SoLA, Camille and Charlie discuss the inability of Angelenos to commit to anything in pen. Everything’s always a maybe… luckily Charlie lives in the moment now. He talks about that- A LOT. That and LeVar Burton. And the inevitability of death. Camille updates everyone on Gerard and goes into a deep dive on her favorite CNN characters. Lady From Shanghai, Queer Eye, Medium Cool, Funny Face… who cares about who cares about who cares.
In this episode, we talk about Medium Cool (1969) and The Company You Keep (2012). The medium is the massage and don't you forget it!: https://decadespodcastcom.wordpress.com/ Like, comment, subscribe, and imbibe!
Join us on a new series of shows that look at forgotten masterpieces of cinematic history!Haskell Wexler is arguably one of cinema's greatest cinematographers, but his debut feature, Medium Cool, is all but forgotten. Against the backdrop of the 1968 Democratic National Convention, Medium Cool blends scripted scenes with documentary footage with chilling and poignant results. Just Enough Trope co-host Diane Blumenfeld joins the show to parse the brilliance and chaos of this neglected classic!Follow us on Facebook and Twitter!http://www.facebook.com/craftdisserviceshttp://www.twitter.com/craftdisservice
Join us on a new series of shows that look at forgotten masterpieces of cinematic history!Haskell Wexler is arguably one of cinema's greatest cinematographers, but his debut feature, Medium Cool, is all but forgotten. Against the backdrop of the 1968 Democratic National Convention, Medium Cool blends scripted scenes with documentary footage with chilling and poignant results. Just Enough Trope co-host Diane Blumenfeld joins the show to parse the brilliance and chaos of this neglected classic!Follow us on Facebook and Twitter!http://www.facebook.com/craftdisserviceshttp://www.twitter.com/craftdisservice
A detailed look at black, African-American, culture during the "Sixties". (1960-1969) Overview "The Sixties": the counterculture and revolution in social norms about clothing, music, drugs, dress, sexuality, formalities, and schooling – or - irresponsible excess, flamboyance, and decay of social order. Also labeled the Swinging Sixties because of the fall or relaxation of social taboos especially relating to racism and sexism that occurred during this time. Also described as a classical Jungian nightmare cycle, where a rigid culture, unable to contain the demands for greater individual freedom, broke free of the social constraints of the previous age through extreme deviation from the norm. The confrontation between the US and the Soviet Union dominated geopolitics during the '60s, with the struggle expanding into developing nations in Latin America, Africa, and Asia characterized by proxy wars, funding of insurgencies, and puppet governments. In response to civil disobedience campaigns from groups like the Student Nonviolent Coordinating Committee (SNCC) and the Southern Christian Leadership Conference (SCLC), U.S. President John F. Kennedy, pushed for social reforms. Kennedy's assassination in 1963 was a shock. Liberal reforms were finally passed under Lyndon B. Johnson including civil rights for African Americans· and healthcare for the elderly and the poor. Despite his large-scale Great Society programs, Johnson was increasingly reviled. The heavy-handed American role in the Vietnam War outraged student protestors around the globe. The assassination of Martin Luther King, Jr., anti-Vietnam War movement, and the police response towards protesters of the 1968 Democratic National Convention, defined a politics of violence in the United States. The 1960s were marked by several notable assassinations: 12 June 1963 – Medgar Evers, an NAACP field secretary. Assassinated by Byron de la Beckwith, a member of the Ku Klux Klan in Jackson, Mississippi. 22 November 1963 – John F. Kennedy, President of the United States. Assassinated by Lee Harvey Oswald while riding in a motorcade through Dealey Plaza in Dallas, Texas. 21 February 1965 – Malcolm X. Assassinated by members of the Nation of Islam in New York City. There is a dispute about which members killed Malcolm X. 4 April 1968 – Martin Luther King, Jr., civil rights leader. Assassinated by James Earl Ray in Memphis, Tennessee. 5 June 1968 – Robert F. Kennedy, United States Senator. Assassinated by Sirhan Sirhan in Los Angeles, after taking California in the presidential national primaries. Social and political movements (counterculture) Flower Power/Hippies In the second half of the decade, young people began to revolt against the conservative norms of the time. The youth involved in the popular social aspects of the movement became known as hippies. These groups created a movement toward liberation in society, including the sexual revolution, questioning authority and government, and demanding more freedoms and rights for women and minorities. The movement was also marked by the first widespread, socially accepted drug use (including LSD and marijuana) and psychedelic music. Anti-war movement The war in Vietnam would eventually lead to a commitment of over half a million American troops, resulting in over 58,500 American deaths and producing a large-scale antiwar movement in the United States. Students became a powerful and disruptive force and university campuses sparked a national debate over the war. The antiwar movement was heavily influenced by the American Communist Party, but by the mid-1960s it outgrew this and became a broad-based mass movement centered in universities and churches: one kind of protest was called a "sit-in". Civil rights movement Beginning in the mid-1950s and continuing into the late 1960s, African-Americans in the United States aimed at outlawing racial discrimination against black Americans and voting rights to them. The emergence of the Black Power movement, which lasted roughly from 1966 to 1975, enlarged the aims of the civil rights movement to include racial dignity, economic and political self-sufficiency, and anti-imperialism. The movement was characterized by major campaigns of civil resistance. Forms of protest and/or civil disobedience included boycotts such as the successful Montgomery Bus Boycott (1955–1956) in Alabama; "sit-ins" such as the influential Greensboro sit-ins (1960) in North Carolina; marches, such as the Selma to Montgomery marches (1965) in Alabama.; and a wide range of other nonviolent activities. Noted legislative achievements during this phase of the civil rights movement were passage of Civil Rights Act of 1964, that banned discrimination based on "race, color, religion, or national origin" in employment practices and public accommodations; the Voting Rights Act of 1965, that restored and protected voting rights; the Immigration and Nationality Services Act of 1965, that dramatically opened entry to the U.S. to immigrants other than traditional European groups; and the Fair Housing Act of 1968, that banned discrimination in the sale or rental of housing. Hispanic and Chicano movement Another large ethnic minority group, the Mexican-Americans, are among other Hispanics in the U.S. who fought to end racial discrimination and socioeconomic disparity. In the 1960s and the following 1970s, Hispanic-American culture was on the rebound like ethnic music, foods, culture and identity both became popular and assimilated into the American mainstream. Spanish-language television networks, radio stations and newspapers increased in presence across the country. Second-wave feminism A second wave of feminism in the United States and around the world gained momentum in the early 1960s. While the first wave of the early 20th century was centered on gaining suffrage and overturning de jure inequalities, the second wave was focused on changing cultural and social norms and de facto inequalities associated with women. At the time, a woman's place was generally seen as being in the home, and they were excluded from many jobs and professions. Feminists took to the streets, marching and protesting, writing books and debating to change social and political views that limited women. In 1963, with Betty Friedan's revolutionary book, The Feminine Mystique, the role of women in society, and in public and private life was questioned. By 1966, the movement was beginning to grow and power as women's group spread across the country and Friedan, along with other feminists, founded the National Organization for Women. In 1968, "Women's Liberation" became a household term. Gay rights movement The United States, in the middle of a social revolution, led the world in LGBT rights in the late 1960s and early 1970s. Inspired by the civil-rights movement and the women's movement, early gay-rights pioneers had begun, by the 1960s, to build a movement. These groups were rather conservative in their practices, emphasizing that gay men and women are no different from those who are straight and deserve full equality. This philosophy would be dominant again after AIDS, but by the very end of the 1960s, the movement's goals would change and become more radical, demanding a right to be different, and encouraging gay pride. Crime The 1960s was also associated with a large increase in crime and urban unrest of all types. Between 1960 and 1969 reported incidences of violent crime per 100,000 people in the United States nearly doubled and have yet to return to the levels of the early 1960s. Large riots broke out in many cities like Chicago, Detroit, Los Angeles, New York City, Newark, New Jersey, Oakland, California and Washington, D.C. By the end of the decade, politicians like George Wallace and Richard Nixon campaigned on restoring law and order to a nation troubled with the new unrest. Economics The decade began with a recession and at that time unemployment was considered high at around 7%. John F. Kennedy promised to "get America moving again." To do this, he instituted a 7% tax credit for businesses that invest in new plants and equipment. By the end of the decade, median family income had risen from $8,540 in 1963 to $10,770 by 1969. Minimum wage was $1.30 per hour / ~$2,700 per year (~$18,700 in 2018) Popular culture The counterculture movement dominated the second half of the 1960s, its most famous moments being the Summer of Love in San Francisco in 1967, and the Woodstock Festival in upstate New York in 1969. Psychedelic drugs, especially LSD, were widely used medicinally, spiritually and recreationally throughout the late 1960s, and were popularized by Timothy Leary with his slogan "Turn on, tune in, drop out". Psychedelic influenced the music, artwork and films of the decade, and several prominent musicians died of drug overdoses. There was a growing interest in Eastern religions and philosophy, and many attempts were made to found communes, which varied from supporting free love to religious puritanism. Music British Invasion: The Beatles arrive at John F. Kennedy International Airport, 7 February 1964 "The 60's were a leap in human consciousness. Mahatma Gandhi, Malcolm X, Martin Luther King, Che Guevara, Mother Teresa, they led a revolution of conscience. The Beatles, The Doors, Jimi Hendrix created revolution and evolution themes. The music was like Dalí, with many colors and revolutionary ways. The youth of today must go there to find themselves." – Carlos Santana. As the 1960s began, the major rock-and-roll stars of the '50s such as Chuck Berry and Little Richard had dropped off the charts and popular music in the US came to be dominated by Motown girl groups and novelty pop songs. Another important change in music during the early 1960s was the American folk music revival which introduced Joan Baez, Pete Seeger, The Kingston Trio, Harry Belafonte, Bob Dylan, Odetta, and many other Singer-songwriters to the public. Girl groups and female singers, such as the Shirelles, Betty Everett, Little Eva, the Dixie Cups, the Ronettes, and the Supremes dominated the charts in the early 1960s. This style consisted typically of light pop themes about teenage romance, backed by vocal harmonies and a strong rhythm. Most girl groups were African-American, but white girl groups and singers, such as Lesley Gore, the Angels, and the Shangri-Las emerged by 1963. Around the same time, record producer Phil Spector began producing girl groups and created a new kind of pop music production that came to be known as the Wall of Sound. This style emphasized higher budgets and more elaborate arrangements, and more melodramatic musical themes in place of a simple, light-hearted pop sound. Spector's innovations became integral to the growing sophistication of popular music from 1965 onward. Also during the early '60s, the “car song” emerged as a rock subgenre and coupled with the surf rock subgenre. Such notable songs include "Little Deuce Coupe," "409," and "Shut Down," all by the Beach Boys; Jan and Dean's "Little Old Lady from Pasadena" and "Drag City," among many others. While rock 'n' roll had 'disappeared' from the US charts in the early '60s, it never died out in Europe and Britain was a hotbed of rock-and-roll activity during this time. In late 1963, the Beatles embarked on their first US tour. A few months later, rock-and-roll founding father Chuck Berry emerged from a 2-1/2-year prison stint and resumed recording and touring. The stage was set for the spectacular revival of rock music. In the UK, the Beatles played raucous rock 'n' roll – as well as doo wop, girl-group songs, show tunes. Beatlemania abruptly exploded after the group's appearance on the Ed Sullivan Show in 1964. As the counterculture movement developed, artists began making new kinds of music influenced by the use of psychedelic drugs. Guitarist Jimi Hendrix emerged onto the scene in 1967 with a radically new approach to electric guitar that replaced Chuck Berry, previously seen as the gold standard of rock guitar. Rock artists began to take on serious themes and social commentary/protest instead of simplistic pop themes. A major development in popular music during the mid-1960s was the movement away from singles and towards albums. Blues also continued to develop strongly during the '60s, but after 1965, it increasingly shifted to the young white rock audience and away from its traditional black audience, which moved on to other styles such as soul and funk. Jazz music during the first half of the '60s was largely a continuation of '50s styles, retaining its core audience of young, urban, college-educated whites. By 1967, the death of several important jazz figures such as John Coltrane and Nat King Cole precipitated a decline in the genre. The takeover of rock in the late '60s largely spelled the end of jazz as a mainstream form of music, after it had dominated much of the first half of the 20th century. Significant events in music in the 1960s: Sam Cooke was shot and killed at a motel in Los Angeles, California [11 December 1964] at age 33 under suspicious circumstances. Motown Record Corporation was founded in 1960. Its first Top Ten hit was "Shop Around" by the Miracles in 1960. "Shop Around" peaked at number-two on the Billboard Hot 100 and was Motown's first million-selling record. The Marvelettes scored Motown Record Corporation's first US No. 1 pop hit, "Please Mr. Postman" in 1961. Motown would score 110 Billboard Top-Ten hits during its run. The Supremes scored twelve number-one hit singles between 1964 and 1969, beginning with "Where Did Our Love Go". John Coltrane released A Love Supreme in late 1964, considered among the most acclaimed jazz albums of the era. In 1966, The Supremes A' Go-Go was the first album by a female group to reach the top position of the Billboard magazine pop albums chart in the United States. The Jimi Hendrix Experience released two successful albums during 1967, Are You Experienced and Axis: Bold as Love, that innovate both guitar, trio and recording techniques. R & B legend Otis Redding has his first No. 1 hit with the legendary Sitting on the Dock of the Bay. He also played at the Monterey Pop Festival in 1967 just before he died in a plane crash. The Bee Gees released their international debut album Bee Gees 1st in July 1967 which included the pop standard "To Love Somebody". 1968: after The Yardbirds fold, Led Zeppelin was formed by Jimmy Page and manager Peter Grant, with Robert Plant, John Bonham and John Paul Jones; and, released their debut album Led Zeppelin. Big Brother and the Holding Company, with Janis Joplin as lead singer, became an overnight sensation after their performance at the Monterey Pop Festival in 1967 and released their second album Cheap Thrills in 1968. Gram Parsons with The Byrds released the extremely influential LP Sweetheart of the Rodeo in late 1968, forming the basis for country rock. The Jimi Hendrix Experience released the highly influential double LP Electric Ladyland in 1968 that furthered the guitar and studio innovations of his previous two albums. Woodstock Festival, 1969 Sly & the Family Stone revolutionized black music with their massive 1968 hit single "Dance to the Music" and by 1969 became international sensations with the release of their hit record Stand!. The band cemented their position as a vital counterculture band when they performed at the Woodstock Festival. Film Some of Hollywood's most notable blockbuster films of the 1960s include: 2001: A Space Odyssey, The Apartment, The Birds, I Am Curious (Yellow), Bonnie and Clyde, Breakfast at Tiffany's, Bullitt, Butch Cassidy and the Sundance Kid, Carnival of Souls, Cleopatra, Cool , and Luke, The Dirty Dozen, Doctor Zhivago, Dr. Strangelove, Easy Rider, Exodus, Faces, Funny Girl, Goldfinger, The Graduate, Guess Who's Coming to Dinner, , Head, How the West Was Won, The , Hustler, Ice Station Zebra, In the Heat of the Night, The Italian Job, It's a Mad, Mad, Mad, Mad World, Jason and the Argonauts, Judgment at Nuremberg, The Jungle Book, Lawrence of Arabia, The Lion in Winter, The Longest Day, The Love Bug, A Man for All Seasons, The Manchurian Candidate, Mary Poppins, Medium Cool, Midnight Cowboy, My Fair Lady, Night of the Living Dead, The Pink Panther, The Odd Couple, Oliver!, One Hundred and One Dalmatians, One Million Years B.C., Planet of the Apes, Psycho, Romeo and Juliet, Rosemary's Baby, The Sound of Music, Spartacus, Swiss Family Robinson, To Kill a Mockingbird, Valley of the Dolls, West Side Story, Who's Afraid of Virginia Woolf?, The Wild Bunch. Television The most prominent American TV series of the 1960s include: The Ed Sullivan Show, Star Trek, Peyton Place, The Twilight Zone, The Outer Limits, The Andy Williams Show, The Dean Martin Show, The Wonderful World of Disney, Alfred Hitchcock Presents, The Beverly Hillbillies, Bonanza, Batman, McHale's Navy, Laugh-In, The Dick Van Dyke Show, The Fugitive, The Tonight Show, Gunsmoke, The Andy Griffith Show, Gilligan's Island, Mission: Impossible, The Flintstones, The Adventures of Ozzie and Harriet, Lassie, The Danny Thomas Show, The Lucy Show, My Three Sons, The Red Skelton Show, Bewitched and I Dream of Jeannie. The Flintstones was a favored show, receiving 40 million views an episode with an average of 3 views a day. Some programming such as The Smothers Brothers Comedy Hour became controversial by challenging the foundations of America's corporate and governmental controls; making fun of world leaders, and questioning U.S. involvement in and escalation of the Vietnam War. Fashion Significant fashion trends of the 1960s include: The Beatles exerted an enormous influence on young men's fashions and hairstyles in the 1960s which included most notably the mop-top haircut, the Beatle boots and the Nehru jacket. The hippie movement late in the decade also had a strong influence on clothing styles, including bell-bottom jeans, tie-dye and batik fabrics, as well as paisley prints. The bikini came into fashion in 1963 after being featured in the film Beach Party. Mary Quant invented the miniskirt, which became one of the most popular fashion rages in the late 1960s among young women and teenage girls. Its popularity continued throughout the first half of the 1970s and then disappeared temporarily from mainstream fashion before making a comeback in the mid-1980s. Men's mainstream hairstyles ranged from the pompadour, the crew cut, the flattop hairstyle, the tapered hairstyle, and short, parted hair in the early part of the decade, to longer parted hairstyles with sideburns towards the latter half of the decade. Women's mainstream hairstyles ranged from beehive hairdos, the bird's nest hairstyle, and the chignon hairstyle in the early part of the decade, to very short styles popularized by Twiggy and Mia Farrow in Rosemary's Baby towards the latter half of the decade. African-American hairstyles for men and women included the afro. James Brown "Papa's Got A Brand New Bag" (1965) "I Got You (I Feel Good)" (1965) "Say It Loud--I'm Black and I'm Proud" (1968) Ray Charles "Georgia On My Mind' (1960) "Hit the Road Jack" (1961) "I Can't Stop Loving You" (1962) Marvin Gaye "Ain't That Peculiar?" (1965) "I Heard It Through the Grapevine" (1968) "Too Busy Thinking About My Baby" (1969) The Temptations "My Girl" (1965) "Ain't Too to Beg" (1966) "I Can't Get Next to You" (1969) Bobby "Blue" Bland "I Pity the Fool" (1961) "Turn On Your Lovelight" (1961) "Ain't Nothing You Can Do" (1964) Aretha Franklin "I Never Loved a Man (The Way I Love You)" (1967) "Respect" (1967) "Chain of Fools" (1967-68) The Supremes "Where Did Our Love Go?" (1964) "Stop! In the Name of Love" (1965) "Love Child" (1968) Smokey Robinson & The Miracles "Shop Around" (1960-61) "You've Really Got a Hold On Me" (1962-63) "The Tracks of My Tears" (1965) The Impressions "Gypsy Woman" (1961) "It's All Right" (1963) "People Get Ready" (1965) Brook Benton "Kiddio" (1960) "Think Twice" (1961) "Hotel Happiness" (1962-63) Jackie Wilson "Doggin' Around" (1960) "Baby Workout" (1963) "(Your Love Keeps Lifting Me) Higher and Higher" (1967) Sam Cooke "Wonderful World" (1960) "Bring It On Home To Me" (1962) "A Change is Gonna Come" (1965) Otis Redding "These Arms of Mine" (1963) "Try a Little Tenderness" (1966-67) "(Sittin' On) The Dock of the Bay" (1968) Jerry Butler "He Will Break Your Heart" (1960) "Never Give You Up" (1968) "Only the Strong Survive" (1969) Wilson Pickett "In the Midnight Hour" (1965) "Land of 1000 Dances" (1966) "Funky Broadway" (1967) Stevie Wonder "Fingertips, Part 2" (1963) "Uptight (Everything's Alright)" (1965-66) "I Was Made to Love Her" (1967) B.B. King "Beautician Blues" (1964) "Waiting on You" (1966) "Paying the Cost To Be the Boss" (1968) Joe Tex "Hold What You've Got" (1964-65) "A Sweet Woman Like You" (1965-66) "Skinny Legs and All" (1967) The Marvelettes "Please Mr. Postman" (1961) "Beechwood 4-5789" (1962) "Too Many Fish in the Sea" (1965) Mary Wells "Bye Bye Baby" (1960-61) "The One Who Really Loves You" (1962) "My Guy" (1964) The Four Tops "Baby, I Need Your Loving" (1964) "I Can't Help Myself (A/K/A Sugar Pie, Honey Bunch)" (1965) "Reach Out, I'll Be There" (1966) Martha & The Vandellas "Heat Wave" (1963) "Dancing in the Street" (1964) "Nowhere to Run" (1965) Dionne Warwick "Don't Make Me Over" (1962-63) "Anyone Who Had a Heart" (1963-64) "Walk On By" (1964) Solomon Burke "Just Out of Reach (Of My Two Open Arms)" (1961) "Everybody Needs Somebody To Love" (1964) "Got To Get You Off My Mind" (1965) Etta James "At Last" (1960-61) "Tell Mama" (1967-68) "I'd Rather Go Blind" (1967-68) The Shirelles "Will You Love Me Tomorrow? (1960-61) "Dedicated to the One I Love" (1961) "Baby It's You" (1961-62) Chuck Jackson "I Don't Want to Cry" (1961) "Any Day Now (My Wild Beautiful Bird)" (1962) "Beg Me" (1964) Gene Chandler "Duke of Earl" (1962) "Rainbow" (1963) "I Fooled You This Time" (1966) The Drifters "This Magic Moment" (1960) "Save the Last Dance for Me" (1960) "Up on the Roof" (1962-63) Jr. Walker & The All-Stars "Shotgun" (1965) "(I'm A) Road Runner" (1966) "Home Cookin'" (1968-69) Gladys Knight & The Pips "Every Beat of My Heart" (1961) "I Heard it Through the Grapevine" (1967) "Friendship Train" (1969) Carla Thomas "Gee Whiz (Look at His Eyes)" (1961) "B-A-B-Y" (1966) "Another Night Without My Man" (1966) Chubby Checker "The Twist" (1960) "Pony Time" (1961) "Dancin' Party" (1962) Sam & Dave "Hold On! I'm A Comin'" (1966) "When Something is Wrong With My Baby" (1967) "Soul Man" (1967) Joe Simon "My Adorable One" (1964) "Nine Pound Steel" (1967) "The Chokin' Kind" (1969) The Dells "There Is" (1967-68) "Stay in My Corner" (1968) "Oh, What a Night" (1969) Little Milton "So Mean To Me" (1962) "We're Gonna Make It" (1965) "Grits Ain't Groceries" (1969) Ben E. King "Spanish Harlem" (1960-61) "Stand By Me" (1961) "That's When it Hurts" (1964) Betty Everett "You're No Good" (1963) "The Shoop Shoop Song (It's in His Kiss)" (1964) "There'll Come a Time" (1969) Hank Ballard & The Midnighters "Let's Go, Let's Go, Let's Go" (1960) "Finger Poppin' Time" (1960) "Nothing But Good" (1961) Major Lance "The Monkey Time" (1963) "Um, Um, Um, Um, Um, Um" (1964) "Investigate" (1966) Booker T. & The MGs "Green Onions" (1962) "Hip-Hug-Her" (1967) "Time is Tight" (1969) The Intruders "Together" (1967) "Cowboys to Girls" (1968) "(Love is Like a) Baseball Game" (1968) Ike & Tina Turner "A Fool in Love" (1960) "Goodbye, So Long" (1965) "River Deep--Mountain High" (1966) Johnnie Taylor "I Got to Love Somebody's Baby" (1966) "Who's Making Love" (1968) "I Could Never Be President" (1969) The Orlons "The Wah Watusi" (1962) "Don't Hang Up" (1962) "South Street" (1963) Barbara Lewis "Hello Stranger" (1963) "Baby, I'm Yours" (1965) "Make Me Your Baby" (1965) Maxine Brown "All in My Mind" (1960-61) "Oh No, Not My Baby" (1964) "One in a Million" (1966) Garnet Mimms & The Enchanters "Cry Baby" (1963) "Tell Me Baby" (1964) "I'll Take Good Care of You" (1966) Ramsey Lewis "The In Crowd" (1965) "Hang On Sloopy" (1965) "Wade in the Water" (1966)
A detailed look at black, African-American, culture during the "Sixties". (1960-1969) (Bonus Artists: hidingtobefound & Luck Pacheco) Overview "The Sixties": the counterculture and revolution in social norms about clothing, music, drugs, dress, sexuality, formalities, and schooling – or - irresponsible excess, flamboyance, and decay of social order. Also labeled the Swinging Sixties because of the fall or relaxation of social taboos especially relating to racism and sexism that occurred during this time. Also described as a classical Jungian nightmare cycle, where a rigid culture, unable to contain the demands for greater individual freedom, broke free of the social constraints of the previous age through extreme deviation from the norm. The confrontation between the US and the Soviet Union dominated geopolitics during the '60s, with the struggle expanding into developing nations in Latin America, Africa, and Asia characterized by proxy wars, funding of insurgencies, and puppet governments. In response to civil disobedience campaigns from groups like the Student Nonviolent Coordinating Committee (SNCC) and the Southern Christian Leadership Conference (SCLC), U.S. President John F. Kennedy, pushed for social reforms. Kennedy's assassination in 1963 was a shock. Liberal reforms were finally passed under Lyndon B. Johnson including civil rights for African Americans· and healthcare for the elderly and the poor. Despite his large-scale Great Society programs, Johnson was increasingly reviled. The heavy-handed American role in the Vietnam War outraged student protestors around the globe. The assassination of Martin Luther King, Jr., anti-Vietnam War movement, and the police response towards protesters of the 1968 Democratic National Convention, defined a politics of violence in the United States. The 1960s were marked by several notable assassinations: 12 June 1963 – Medgar Evers, an NAACP field secretary. Assassinated by Byron de la Beckwith, a member of the Ku Klux Klan in Jackson, Mississippi. 22 November 1963 – John F. Kennedy, President of the United States. Assassinated by Lee Harvey Oswald while riding in a motorcade through Dealey Plaza in Dallas, Texas. 21 February 1965 – Malcolm X. Assassinated by members of the Nation of Islam in New York City. There is a dispute about which members killed Malcolm X. 4 April 1968 – Martin Luther King, Jr., civil rights leader. Assassinated by James Earl Ray in Memphis, Tennessee. 5 June 1968 – Robert F. Kennedy, United States Senator. Assassinated by Sirhan Sirhan in Los Angeles, after taking California in the presidential national primaries. Social and political movements (counterculture) Flower Power/Hippies In the second half of the decade, young people began to revolt against the conservative norms of the time. The youth involved in the popular social aspects of the movement became known as hippies. These groups created a movement toward liberation in society, including the sexual revolution, questioning authority and government, and demanding more freedoms and rights for women and minorities. The movement was also marked by the first widespread, socially accepted drug use (including LSD and marijuana) and psychedelic music. Anti-war movement The war in Vietnam would eventually lead to a commitment of over half a million American troops, resulting in over 58,500 American deaths and producing a large-scale antiwar movement in the United States. Students became a powerful and disruptive force and university campuses sparked a national debate over the war. The antiwar movement was heavily influenced by the American Communist Party, but by the mid-1960s it outgrew this and became a broad-based mass movement centered in universities and churches: one kind of protest was called a "sit-in". Civil rights movement Beginning in the mid-1950s and continuing into the late 1960s, African-Americans in the United States aimed at outlawing racial discrimination against black Americans and voting rights to them. The emergence of the Black Power movement, which lasted roughly from 1966 to 1975, enlarged the aims of the civil rights movement to include racial dignity, economic and political self-sufficiency, and anti-imperialism. The movement was characterized by major campaigns of civil resistance. Forms of protest and/or civil disobedience included boycotts such as the successful Montgomery Bus Boycott (1955–1956) in Alabama; "sit-ins" such as the influential Greensboro sit-ins (1960) in North Carolina; marches, such as the Selma to Montgomery marches (1965) in Alabama.; and a wide range of other nonviolent activities. Noted legislative achievements during this phase of the civil rights movement were passage of Civil Rights Act of 1964, that banned discrimination based on "race, color, religion, or national origin" in employment practices and public accommodations; the Voting Rights Act of 1965, that restored and protected voting rights; the Immigration and Nationality Services Act of 1965, that dramatically opened entry to the U.S. to immigrants other than traditional European groups; and the Fair Housing Act of 1968, that banned discrimination in the sale or rental of housing. Hispanic and Chicano movement Another large ethnic minority group, the Mexican-Americans, are among other Hispanics in the U.S. who fought to end racial discrimination and socioeconomic disparity. In the 1960s and the following 1970s, Hispanic-American culture was on the rebound like ethnic music, foods, culture and identity both became popular and assimilated into the American mainstream. Spanish-language television networks, radio stations and newspapers increased in presence across the country. Second-wave feminism A second wave of feminism in the United States and around the world gained momentum in the early 1960s. While the first wave of the early 20th century was centered on gaining suffrage and overturning de jure inequalities, the second wave was focused on changing cultural and social norms and de facto inequalities associated with women. At the time, a woman's place was generally seen as being in the home, and they were excluded from many jobs and professions. Feminists took to the streets, marching and protesting, writing books and debating to change social and political views that limited women. In 1963, with Betty Friedan's revolutionary book, The Feminine Mystique, the role of women in society, and in public and private life was questioned. By 1966, the movement was beginning to grow and power as women's group spread across the country and Friedan, along with other feminists, founded the National Organization for Women. In 1968, "Women's Liberation" became a household term. Gay rights movement The United States, in the middle of a social revolution, led the world in LGBT rights in the late 1960s and early 1970s. Inspired by the civil-rights movement and the women's movement, early gay-rights pioneers had begun, by the 1960s, to build a movement. These groups were rather conservative in their practices, emphasizing that gay men and women are no different from those who are straight and deserve full equality. This philosophy would be dominant again after AIDS, but by the very end of the 1960s, the movement's goals would change and become more radical, demanding a right to be different, and encouraging gay pride. Crime The 1960s was also associated with a large increase in crime and urban unrest of all types. Between 1960 and 1969 reported incidences of violent crime per 100,000 people in the United States nearly doubled and have yet to return to the levels of the early 1960s. Large riots broke out in many cities like Chicago, Detroit, Los Angeles, New York City, Newark, New Jersey, Oakland, California and Washington, D.C. By the end of the decade, politicians like George Wallace and Richard Nixon campaigned on restoring law and order to a nation troubled with the new unrest. Economics The decade began with a recession and at that time unemployment was considered high at around 7%. John F. Kennedy promised to "get America moving again." To do this, he instituted a 7% tax credit for businesses that invest in new plants and equipment. By the end of the decade, median family income had risen from $8,540 in 1963 to $10,770 by 1969. Minimum wage was $1.30 per hour / ~$2,700 per year (~$18,700 in 2018) Popular culture The counterculture movement dominated the second half of the 1960s, its most famous moments being the Summer of Love in San Francisco in 1967, and the Woodstock Festival in upstate New York in 1969. Psychedelic drugs, especially LSD, were widely used medicinally, spiritually and recreationally throughout the late 1960s, and were popularized by Timothy Leary with his slogan "Turn on, tune in, drop out". Psychedelic influenced the music, artwork and films of the decade, and several prominent musicians died of drug overdoses. There was a growing interest in Eastern religions and philosophy, and many attempts were made to found communes, which varied from supporting free love to religious puritanism. Music British Invasion: The Beatles arrive at John F. Kennedy International Airport, 7 February 1964 "The 60's were a leap in human consciousness. Mahatma Gandhi, Malcolm X, Martin Luther King, Che Guevara, Mother Teresa, they led a revolution of conscience. The Beatles, The Doors, Jimi Hendrix created revolution and evolution themes. The music was like Dalí, with many colors and revolutionary ways. The youth of today must go there to find themselves." – Carlos Santana. As the 1960s began, the major rock-and-roll stars of the '50s such as Chuck Berry and Little Richard had dropped off the charts and popular music in the US came to be dominated by Motown girl groups and novelty pop songs. Another important change in music during the early 1960s was the American folk music revival which introduced Joan Baez, Pete Seeger, The Kingston Trio, Harry Belafonte, Bob Dylan, Odetta, and many other Singer-songwriters to the public. Girl groups and female singers, such as the Shirelles, Betty Everett, Little Eva, the Dixie Cups, the Ronettes, and the Supremes dominated the charts in the early 1960s. This style consisted typically of light pop themes about teenage romance, backed by vocal harmonies and a strong rhythm. Most girl groups were African-American, but white girl groups and singers, such as Lesley Gore, the Angels, and the Shangri-Las emerged by 1963. Around the same time, record producer Phil Spector began producing girl groups and created a new kind of pop music production that came to be known as the Wall of Sound. This style emphasized higher budgets and more elaborate arrangements, and more melodramatic musical themes in place of a simple, light-hearted pop sound. Spector's innovations became integral to the growing sophistication of popular music from 1965 onward. Also during the early '60s, the “car song” emerged as a rock subgenre and coupled with the surf rock subgenre. Such notable songs include "Little Deuce Coupe," "409," and "Shut Down," all by the Beach Boys; Jan and Dean's "Little Old Lady from Pasadena" and "Drag City," among many others. While rock 'n' roll had 'disappeared' from the US charts in the early '60s, it never died out in Europe and Britain was a hotbed of rock-and-roll activity during this time. In late 1963, the Beatles embarked on their first US tour. A few months later, rock-and-roll founding father Chuck Berry emerged from a 2-1/2-year prison stint and resumed recording and touring. The stage was set for the spectacular revival of rock music. In the UK, the Beatles played raucous rock 'n' roll – as well as doo wop, girl-group songs, show tunes. Beatlemania abruptly exploded after the group's appearance on the Ed Sullivan Show in 1964. As the counterculture movement developed, artists began making new kinds of music influenced by the use of psychedelic drugs. Guitarist Jimi Hendrix emerged onto the scene in 1967 with a radically new approach to electric guitar that replaced Chuck Berry, previously seen as the gold standard of rock guitar. Rock artists began to take on serious themes and social commentary/protest instead of simplistic pop themes. A major development in popular music during the mid-1960s was the movement away from singles and towards albums. Blues also continued to develop strongly during the '60s, but after 1965, it increasingly shifted to the young white rock audience and away from its traditional black audience, which moved on to other styles such as soul and funk. Jazz music during the first half of the '60s was largely a continuation of '50s styles, retaining its core audience of young, urban, college-educated whites. By 1967, the death of several important jazz figures such as John Coltrane and Nat King Cole precipitated a decline in the genre. The takeover of rock in the late '60s largely spelled the end of jazz as a mainstream form of music, after it had dominated much of the first half of the 20th century. Significant events in music in the 1960s: Sam Cooke was shot and killed at a motel in Los Angeles, California [11 December 1964] at age 33 under suspicious circumstances. Motown Record Corporation was founded in 1960. Its first Top Ten hit was "Shop Around" by the Miracles in 1960. "Shop Around" peaked at number-two on the Billboard Hot 100 and was Motown's first million-selling record. The Marvelettes scored Motown Record Corporation's first US No. 1 pop hit, "Please Mr. Postman" in 1961. Motown would score 110 Billboard Top-Ten hits during its run. The Supremes scored twelve number-one hit singles between 1964 and 1969, beginning with "Where Did Our Love Go". John Coltrane released A Love Supreme in late 1964, considered among the most acclaimed jazz albums of the era. In 1966, The Supremes A' Go-Go was the first album by a female group to reach the top position of the Billboard magazine pop albums chart in the United States. The Jimi Hendrix Experience released two successful albums during 1967, Are You Experienced and Axis: Bold as Love, that innovate both guitar, trio and recording techniques. R & B legend Otis Redding has his first No. 1 hit with the legendary Sitting on the Dock of the Bay. He also played at the Monterey Pop Festival in 1967 just before he died in a plane crash. The Bee Gees released their international debut album Bee Gees 1st in July 1967 which included the pop standard "To Love Somebody". 1968: after The Yardbirds fold, Led Zeppelin was formed by Jimmy Page and manager Peter Grant, with Robert Plant, John Bonham and John Paul Jones; and, released their debut album Led Zeppelin. Big Brother and the Holding Company, with Janis Joplin as lead singer, became an overnight sensation after their performance at the Monterey Pop Festival in 1967 and released their second album Cheap Thrills in 1968. Gram Parsons with The Byrds released the extremely influential LP Sweetheart of the Rodeo in late 1968, forming the basis for country rock. The Jimi Hendrix Experience released the highly influential double LP Electric Ladyland in 1968 that furthered the guitar and studio innovations of his previous two albums. Woodstock Festival, 1969 Sly & the Family Stone revolutionized black music with their massive 1968 hit single "Dance to the Music" and by 1969 became international sensations with the release of their hit record Stand!. The band cemented their position as a vital counterculture band when they performed at the Woodstock Festival. Film Some of Hollywood's most notable blockbuster films of the 1960s include: 2001: A Space Odyssey, The Apartment, The Birds, I Am Curious (Yellow), Bonnie and Clyde, Breakfast at Tiffany's, Bullitt, Butch Cassidy and the Sundance Kid, Carnival of Souls, Cleopatra, Cool , and Luke, The Dirty Dozen, Doctor Zhivago, Dr. Strangelove, Easy Rider, Exodus, Faces, Funny Girl, Goldfinger, The Graduate, Guess Who's Coming to Dinner, , Head, How the West Was Won, The , Hustler, Ice Station Zebra, In the Heat of the Night, The Italian Job, It's a Mad, Mad, Mad, Mad World, Jason and the Argonauts, Judgment at Nuremberg, The Jungle Book, Lawrence of Arabia, The Lion in Winter, The Longest Day, The Love Bug, A Man for All Seasons, The Manchurian Candidate, Mary Poppins, Medium Cool, Midnight Cowboy, My Fair Lady, Night of the Living Dead, The Pink Panther, The Odd Couple, Oliver!, One Hundred and One Dalmatians, One Million Years B.C., Planet of the Apes, Psycho, Romeo and Juliet, Rosemary's Baby, The Sound of Music, Spartacus, Swiss Family Robinson, To Kill a Mockingbird, Valley of the Dolls, West Side Story, Who's Afraid of Virginia Woolf?, The Wild Bunch. Television The most prominent American TV series of the 1960s include: The Ed Sullivan Show, Star Trek, Peyton Place, The Twilight Zone, The Outer Limits, The Andy Williams Show, The Dean Martin Show, The Wonderful World of Disney, Alfred Hitchcock Presents, The Beverly Hillbillies, Bonanza, Batman, McHale's Navy, Laugh-In, The Dick Van Dyke Show, The Fugitive, The Tonight Show, Gunsmoke, The Andy Griffith Show, Gilligan's Island, Mission: Impossible, The Flintstones, The Adventures of Ozzie and Harriet, Lassie, The Danny Thomas Show, The Lucy Show, My Three Sons, The Red Skelton Show, Bewitched and I Dream of Jeannie. The Flintstones was a favored show, receiving 40 million views an episode with an average of 3 views a day. Some programming such as The Smothers Brothers Comedy Hour became controversial by challenging the foundations of America's corporate and governmental controls; making fun of world leaders, and questioning U.S. involvement in and escalation of the Vietnam War. Fashion Significant fashion trends of the 1960s include: The Beatles exerted an enormous influence on young men's fashions and hairstyles in the 1960s which included most notably the mop-top haircut, the Beatle boots and the Nehru jacket. The hippie movement late in the decade also had a strong influence on clothing styles, including bell-bottom jeans, tie-dye and batik fabrics, as well as paisley prints. The bikini came into fashion in 1963 after being featured in the film Beach Party. Mary Quant invented the miniskirt, which became one of the most popular fashion rages in the late 1960s among young women and teenage girls. Its popularity continued throughout the first half of the 1970s and then disappeared temporarily from mainstream fashion before making a comeback in the mid-1980s. Men's mainstream hairstyles ranged from the pompadour, the crew cut, the flattop hairstyle, the tapered hairstyle, and short, parted hair in the early part of the decade, to longer parted hairstyles with sideburns towards the latter half of the decade. Women's mainstream hairstyles ranged from beehive hairdos, the bird's nest hairstyle, and the chignon hairstyle in the early part of the decade, to very short styles popularized by Twiggy and Mia Farrow in Rosemary's Baby towards the latter half of the decade. African-American hairstyles for men and women included the afro. James Brown "Papa's Got A Brand New Bag" (1965) "I Got You (I Feel Good)" (1965) "Say It Loud--I'm Black and I'm Proud" (1968) Ray Charles "Georgia On My Mind' (1960) "Hit the Road Jack" (1961) "I Can't Stop Loving You" (1962) Marvin Gaye "Ain't That Peculiar?" (1965) "I Heard It Through the Grapevine" (1968) "Too Busy Thinking About My Baby" (1969) The Temptations "My Girl" (1965) "Ain't Too to Beg" (1966) "I Can't Get Next to You" (1969) Bobby "Blue" Bland "I Pity the Fool" (1961) "Turn On Your Lovelight" (1961) "Ain't Nothing You Can Do" (1964) Aretha Franklin "I Never Loved a Man (The Way I Love You)" (1967) "Respect" (1967) "Chain of Fools" (1967-68) The Supremes "Where Did Our Love Go?" (1964) "Stop! In the Name of Love" (1965) "Love Child" (1968) Smokey Robinson & The Miracles "Shop Around" (1960-61) "You've Really Got a Hold On Me" (1962-63) "The Tracks of My Tears" (1965) The Impressions "Gypsy Woman" (1961) "It's All Right" (1963) "People Get Ready" (1965) Brook Benton "Kiddio" (1960) "Think Twice" (1961) "Hotel Happiness" (1962-63) Jackie Wilson "Doggin' Around" (1960) "Baby Workout" (1963) "(Your Love Keeps Lifting Me) Higher and Higher" (1967) Sam Cooke "Wonderful World" (1960) "Bring It On Home To Me" (1962) "A Change is Gonna Come" (1965) Otis Redding "These Arms of Mine" (1963) "Try a Little Tenderness" (1966-67) "(Sittin' On) The Dock of the Bay" (1968) Jerry Butler "He Will Break Your Heart" (1960) "Never Give You Up" (1968) "Only the Strong Survive" (1969) Wilson Pickett "In the Midnight Hour" (1965) "Land of 1000 Dances" (1966) "Funky Broadway" (1967) Stevie Wonder "Fingertips, Part 2" (1963) "Uptight (Everything's Alright)" (1965-66) "I Was Made to Love Her" (1967) B.B. King "Beautician Blues" (1964) "Waiting on You" (1966) "Paying the Cost To Be the Boss" (1968) Joe Tex "Hold What You've Got" (1964-65) "A Sweet Woman Like You" (1965-66) "Skinny Legs and All" (1967) The Marvelettes "Please Mr. Postman" (1961) "Beechwood 4-5789" (1962) "Too Many Fish in the Sea" (1965) Mary Wells "Bye Bye Baby" (1960-61) "The One Who Really Loves You" (1962) "My Guy" (1964) The Four Tops "Baby, I Need Your Loving" (1964) "I Can't Help Myself (A/K/A Sugar Pie, Honey Bunch)" (1965) "Reach Out, I'll Be There" (1966) Martha & The Vandellas "Heat Wave" (1963) "Dancing in the Street" (1964) "Nowhere to Run" (1965) Dionne Warwick "Don't Make Me Over" (1962-63) "Anyone Who Had a Heart" (1963-64) "Walk On By" (1964) Solomon Burke "Just Out of Reach (Of My Two Open Arms)" (1961) "Everybody Needs Somebody To Love" (1964) "Got To Get You Off My Mind" (1965) Etta James "At Last" (1960-61) "Tell Mama" (1967-68) "I'd Rather Go Blind" (1967-68) The Shirelles "Will You Love Me Tomorrow? (1960-61) "Dedicated to the One I Love" (1961) "Baby It's You" (1961-62) Chuck Jackson "I Don't Want to Cry" (1961) "Any Day Now (My Wild Beautiful Bird)" (1962) "Beg Me" (1964) Gene Chandler "Duke of Earl" (1962) "Rainbow" (1963) "I Fooled You This Time" (1966) The Drifters "This Magic Moment" (1960) "Save the Last Dance for Me" (1960) "Up on the Roof" (1962-63) Jr. Walker & The All-Stars "Shotgun" (1965) "(I'm A) Road Runner" (1966) "Home Cookin'" (1968-69) Gladys Knight & The Pips "Every Beat of My Heart" (1961) "I Heard it Through the Grapevine" (1967) "Friendship Train" (1969) Carla Thomas "Gee Whiz (Look at His Eyes)" (1961) "B-A-B-Y" (1966) "Another Night Without My Man" (1966) Chubby Checker "The Twist" (1960) "Pony Time" (1961) "Dancin' Party" (1962) Sam & Dave "Hold On! I'm A Comin'" (1966) "When Something is Wrong With My Baby" (1967) "Soul Man" (1967) Joe Simon "My Adorable One" (1964) "Nine Pound Steel" (1967) "The Chokin' Kind" (1969) The Dells "There Is" (1967-68) "Stay in My Corner" (1968) "Oh, What a Night" (1969) Little Milton "So Mean To Me" (1962) "We're Gonna Make It" (1965) "Grits Ain't Groceries" (1969) Ben E. King "Spanish Harlem" (1960-61) "Stand By Me" (1961) "That's When it Hurts" (1964) Betty Everett "You're No Good" (1963) "The Shoop Shoop Song (It's in His Kiss)" (1964) "There'll Come a Time" (1969) Hank Ballard & The Midnighters "Let's Go, Let's Go, Let's Go" (1960) "Finger Poppin' Time" (1960) "Nothing But Good" (1961) Major Lance "The Monkey Time" (1963) "Um, Um, Um, Um, Um, Um" (1964) "Investigate" (1966) Booker T. & The MGs "Green Onions" (1962) "Hip-Hug-Her" (1967) "Time is Tight" (1969) The Intruders "Together" (1967) "Cowboys to Girls" (1968) "(Love is Like a) Baseball Game" (1968) Ike & Tina Turner "A Fool in Love" (1960) "Goodbye, So Long" (1965) "River Deep--Mountain High" (1966) Johnnie Taylor "I Got to Love Somebody's Baby" (1966) "Who's Making Love" (1968) "I Could Never Be President" (1969) The Orlons "The Wah Watusi" (1962) "Don't Hang Up" (1962) "South Street" (1963) Barbara Lewis "Hello Stranger" (1963) "Baby, I'm Yours" (1965) "Make Me Your Baby" (1965) Maxine Brown "All in My Mind" (1960-61) "Oh No, Not My Baby" (1964) "One in a Million" (1966) Garnet Mimms & The Enchanters "Cry Baby" (1963) "Tell Me Baby" (1964) "I'll Take Good Care of You" (1966) Ramsey Lewis "The In Crowd" (1965) "Hang On Sloopy" (1965) "Wade in the Water" (1966)
For this episode of The Future Is A Mixtape, Jesse & Matt explore the paranoid dread and narcotic pull of Adam Curtis' most recent documentary of political-noir, HyperNormalisation. In 2 hours and 40 minutes, it charts the globe-hopping travails of terrorists, bankers, politicians and America's digital aristocracy--all of whom use humanity as pawns by promising simple stories to explain complex problems which can't be solved with “perception management” and pastel fairy-tales about “good vs. evil.” Considered by many to be the most talented and remarkable documentarian in Britain, Adam Curtis has weaved suspicion and suspense into a BBC career that stretches from 40 Minutes: Bombay Motel in 1987 (which explores the have and have-nots of the city) to his most recent film HyperNormalisation in 2016 (which explores how an entirely Russian condition has now passed into the wider-world). Curtis' documentary was released less than a month prior to the mind-gagging upset of Hillary Clinton's loss to Donald Trump, and the film increasingly speaks to a disenchanted, rat-fucked future of no-returns. Jesse & Matt will discuss what makes this “dank” film so compelling and deeply-felt, as well as what makes it, almost equally so, such an evasive work of art. Mentioned In This Episode: The Original Trailer for Adam Curtis' HyperNormalisation Vice: Watch Adam Curtis' Short Film, Living in an Unreal World, Which Is Effectively a Non-Traditional Film Teaser for His Recently Released Documentary Watch Adam Curtis' HyperNormalisation at This Youtube Link (While It Lasts) Adam Curtis' Official Blog on BBC Adam Curtis' Biography on Wikipedia Internet Movie Database (IMDB) on Adam Curtis Radiohead Does Some ‘Cosmic Shit' with Supercollider--A Tribute to LHC NPR: “It's Locals vs. ‘PIBS' at the Sundance Film Festival” Bondage Power Structures: From BDSM and Spanking to Latex and Body Odors The Sun: “Japan's Weird Sex Hotels -- Offering Everything From Prison Cell Bondage to Vibrator Vending Machines” A Satire of Adam Curtis, The Documentarian: The Loving Trap The Hydra-Headed Tropes of Adam Curtis Films: Chris Applegate on Twitter: “Forget ‘HypernorNormalisation,' Here's Adam Curtis Bingo!” Why Is It That Matthew & Jesse Lack Real Whuffie: Tara Hunt's “The Whuffie Factor: Using the Power of Social Networks to Build Your Business” About New York's Most Legendary New Wave Band: The Talking Heads James Verini in The New Yorker: “The Talking Heads Song That Explains Talking Heads” Christian Marclay's The Clock at The LACMA Museum An Excerpt from Marclay's Film-Collage, The Clock Wired Magazine: “Film Clips of Clocks Round Out 24-Hour Video” A Youtube Excerpt of BBC News Coverage of Christian Marclay's The Clock Ken Hollings in BBC News: “What Is the Cut-Up Method?” William Burrough's “The Cut Up Method” in Leroi Jones' (Baraka) The Moderns: An Anthology of New Writing in America William Burrough's The Naked Lunch A YouTube Clip of Taking Down the Financial District: The Ending of Fight Club Chuck Palahniuk's Fight Club: A Novel Little Known X-Files' Spin-Off Pilot Episode of The Lone Gunmen Eerily Imagined A Plane Crashing Into The World Trade Center A Portrait by Gerard Malanga: “William Burroughs Takes Aim at NY's Twin Towers, from Brooklyn Bridge, 1978” Adam Curtis Documentaries Currently Found on YouTube: Pandora's Box (1992) The Living Dead (1995) Modern Times: The Way of All Flesh (1997) The Mayfair Set (1999) His Finest Achievement & Magnum Opus: The Century of the Self (2002) The Power of Nightmares (2004) The Trap: What Happened to Our Dream of Freedom (2007) All Watched Over By the Machines of Loving Grace (2011) Bitter Lake (2015) HyperNormalisation (2016) Talkhouse: “Tim Heidecker [from Tim & Eric Show] with Adam Curtis” Naomi Klein's Shock Doctrine Matthew Snyder's Syllabus & Course Theme for Fall of 2016: “Presidential Material” Jim Rutenberg in The New York Times: “Can the Media Recover From This Election?” Nate Cohn in The New York Times: “What I Got Wrong About Donald Trump” Nate Silver in FiveThirtyEight: “Why FiveThirtyEight Gave Trump A Better Chance Than Almost Anyone Else” People Pretended to Vote for Kennedy in Larger and Larger Numbers After His Assassination: Peter Foster in The Telegraph: “JFK: The Myth That Will Never Die” YouTube Clip of Alex Jones Getting Coffee Thrown onto to Him While in Seattle Fredrick Jameson on the True Nature of Conspiracy Theories in His Famous Work, Postmodernism, Or, The Cultural Logic of Late Capitalism (1992):The technology of contemporary society is therefore mesmerizing and fascinating not so much in its own right but because it seems to offer some privileged representational shorthand for grasping a network of power and control even more difficult for our minds and imaginations to grasp: the whole new de-centered global network of the third stage of capital itself. This is a figural process presently best observed in a whole mode of contemporary entertainment literature -- one is tempted to characterize it as "high-tech paranoia" -- in which the circuits and networks of some putative global computer hookup are narratively mobilized by labyrinthine conspiracies of autonomous but deadly interlocking and competing information agencies in a complexity often beyond the capacity of the normal reading mind. Yet conspiracy theory (and its garish narrative manifestations) must be seen as a degraded attempt -- through the figuration of advanced technology -- to think the impossible totality of the contemporary world system. It is in terms of that enormous and threatening, yet only dimly perceivable, other reality of economic and social institutions that, in my opinion, the postmodern sublime can alone be theorized. Perception Management: A Working Definition Adam Curtis' Remarkable Analysis of Neoconservatives and The Taliban in The Power of Nightmares (2004) The BBC Director's Finest Achievement & Magnum Opus: The Century of the Self (2002) Edward Bernays' Propaganda (Published in 1928) Haskell Wexler's Medium Cool (1968; Released on Criterion in 2013) Jaime Weinman in Maclean's: “The Problem With ‘Problematic'” Gore Vidal: A Working Biography James Kirkchick in The Daily Beast: “Why Did Gore Vidal and William Buckley Hate Each Other?” Morgan Neville's Best of Enemies: Gore Vidal vs. William F. Buckley Christopher Hitchens: A Working Biography The Future Is A Mixtape: Episode 004: “TDS: Terminal Dystopia Syndrome” Dave Eggers' Half-Burnt Satire & Confused Omelette: The Circle Strange Horizons: Estrangement and Cognition by Darko Suvin Takayuki Tatsumi in Science Fiction Studies (V:11; PII): “An Interview with Darko Suvin” David Graeber in The Guardian: “Why Is the World Ignoring the Revolutionary Kurds in Syria?” David Graeber on Real Media: “Syria, Anarchism and Visiting Rojava” InfoWar: “David Graeber: From Occupy Wall Street to the Revolution in Rojava” ROAR Magazine: “Murray Bookchin and The Kurdish Resistance” About PissPigGranddad in Rolling Stone: “American Anarchists Join YPG in Syria Fighting ISIS, Islamic State” The New York Magazine: “The DirtBag Left's Man in Syria: PissPigGranddad Is Coming Home from Syria” IMPORTANT CORRECTION: Matt's claim that HyperNormalisation--the term--came from two Russian brothers, Arkady and Boris Strugatsky, who were both Science Fiction authors, is DEAD wrong. The term "hypernormalisation" is taken from Alexei Yurchak's 2006 book Everything Was Forever, Until It Was No More: The Last Soviet Generation. Arkady and Boris Strugatsky: A Working Biography Guy Debord's Society Of The Spectacle (The Original 1967 Book) Guy Debord's Society Of The Spectacle (The 1973 Film on YouTube) Harold Bloom's The Anxiety of Influence: A Theory of Poetry Mike Davis' “Not a Revolution--Yet” {His Brilliant Multi-Causal Analysis of Why Donald Trump Won the Election} Jodi Dean on Why Facebook Crushes Complexity of Thought: “Communicative Capitalism and the Challenges of the Left” China Mieville in Socialist Review: “Tolkien - Middle Earth Meets Middle England” Thought Catalog: “14 Unexpected Ways Your Relationship With Your Parents Changes As You Get Older” The Atlantic: “12 Ways to Mess Up Your Kids” Tim Lott in the Guardian About Children's Ruthless Engagement with Irony: “Are Sarcasm and Irony Good for Family Life?” George W. Bush Telling Americans to Still Go Shopping with Their Families and Travel to Disneyland Ranker: “11 Ways Dying in Real Life Is Way Different Than Movie Deaths” David Graeber in Baffler: “Of Flying Cars and the Declining Rate of Profit” Jules Verne's Around the World in Eighty Days Steven Soderbergh's Ocean's Eleven & Twelve John A. Farrell in The New York Times: “Nixon's Vietnam Treachery” Peter Baker in The New York Times: “Nixon Tried to Spoil Johnson's Vietnam Peace Talks in ‘68, Notes Show” Brick Underground: “Stop Blaming the Hipsters: Here's How Gentrification Really Happens (And What You Can Do About It)” Matt Le Blanc's Episodes Chris Renaud's Dr. Suess' The Lorax (The Fucking Godawful Movie-Travesty) Dr. Suess' Brilliant Book on Ecology and Capitalism: The Lorax A Historical Guide in How Women's Rights Have Been Used in War as Seen in Katharine Viner's Essay in The Guardian: “Feminism as Imperialism” Zillah Eisenstein in Al Jazeera: “‘Leaning In' in Iraq: Women's Rights and War?” David Cortright in The Nation: “A Hard Look at Iraq Sanctions” Ricky Gervais' Extras: The Complete Series (On DVD) Annie Jacobsen's Area 51: An Uncensored History of America's Top Secret Military Base Salon Magazine: “The Area 51 Truthers Were Right” Christopher Guest's For Your Consideration How Adam Curtis Misunderstands Arab Spring, Occupy and Weirdly Ignores Bernie Sanders in Jonathan Cook's Essay in Counterpunch: “Adam Curtis: Another Manager of Perceptions” The Los Angeles Review of Books: Mike Davis on Occupy Wall Street in His Essay: “No More Bubblegum” Whuffie: A Working Definition Cory Doctorow Excoriates His Naive Idea of Whuffie in His Essay in Locus Magazine: “Wealth Inequality Is Even Worse in Reputation Economies” Dear Adam Curtis: Here's Some Actual, Real-Life Examples of Organizations Offering Alternatives to Our TDS World: The Next System Project Transition Town: United States IE2030 Open Source Ecology Democracy at Work Community Land Trust Network Democratic Socialists of America Corbyn's Labour Party Momentum: A New Kind of Politics The World Transformed Novara Media Marshal Ganz's Why David Sometimes Wins: Leadership, Organization, and Strategy in the California Farm Worker Movement Malcolm Gladwell's David and Goliath: Underdogs, Misfits, and the Art of Battling Giants John Lynch in Business Insider: “The Average American Watches So Much TV It's Almost a Full-Time Job” Kathryn Cramer in The Huffington Post: “Enough With Dystopia: It's Time For Sci-Fi Writers To Start Imagining Better Futures” Jeet Heer in New Republic: “The New Utopians” (an Overview of Kim Stanley Robinson's Works & Other Authors Using SF to Imagine a Better Future) Radiohead's Music Video for “Daydreaming” The New Yorker: “The Science of Daydreams” The Australian: “The Benefits of Lucid Dreaming” Anna Moore in The Guardian Explores Our Twenty-Year Relationship with Prozac: “Eternal Sunshine” Larry O'Connor in The Washington Free Beacon: “Ending the Starbucks ‘Pay-It-Forward' Cult, for America” Mimi Leder's Pay It Forward (Featuring Haley Joel Osment, Helen Hunt and Kevin Spacey) The Economist on BlackRock's Aladdin: “The Monolith and the Markets” Foundational Articles & Interviews With Adam Curtis: The Wire Magazine: “An Interview With Adam Curtis” Vice: “Jon Ronson in Conversation with Adam Curtis” Paste Magazine: “Adam Curtis Knows The Score: A List of Five Films” Feel Free to Contact Jesse & Matt on the Following Spaces & Places: Email Us: thefutureisamixtape@gmail.com Find Us Via Our Website: The Future Is A Mixtape Or Lollygagging on Social Networks: Facebook Twitter Instagram
This time, we get too cutesy with how we end the podcast.Loose Canons Ep. 126 Medium Cool
For the first time on ANOTHER LOOK, we are discussing a movement in cinema. This is part 1 of 2 in our series on the movement in cinema titled American New Wave (also referred to as New Hollywood). In this episode we discuss what is regarded as the film that kicked off this movement, BONNIE & CLYDE, and then we move to legendary cinematographer Haskell Wexler's directorial debut, MEDIUM COOL. E-mail anotherlookpod@gmail.com to give your choices for our special bonus episode for the end of the month. Let us know what movies you would like us to discuss.
Oscar-nominated actor Robert Forster joins the show to discuss his role in "London Has Fallen." The sequel to the highly successful "Olympus Has Fallen," Forster reprises his character of General Edward Clegg in this explosive tale of devastation and revenge. "London Has Fallen" hits shelves on Tuesday, June 14th. Devastation of a world capital and a revenge plan against an American president fuel the high-octane London Has Fallen, coming to Blu-ray™, DVD and On Demand on June 14, 2016 from Universal Pictures Home Entertainment. The sequel to the worldwide smash hit Olympus Has Fallen raises the stakes with non-stop action and suspenseful plot twists. The Blu-ray™ and Digital HD versions also include exclusive bonus features about the can't-miss thriller. In London Has Fallen, the stellar cast of Gerard Butler (300), Aaron Eckhart (The Dark Knight), Angela Bassett (American Horror Story), Robert Forster (Jackie Brown), Melissa Leo (The Fighter), Radha Mitchell (Pitch Black), Sean O'Bryan (Vantage Point), and Morgan Freeman (Lucy) reprises their original roles from Olympus Has Fallen, joined by Alon Moni Aboutboul (The Dark Knight Rises), Jackie Earle Haley (Watchmen), Charlotte Riley (Edge of Tomorrow), and Waleed F. Zuaiter (Homeland). Babak Najafi directs London Has Fallen.When the British Prime Minster dies unexpectedly, Secret Service Agent Mike Banning (Gerard Butler) knows it is his duty to prep with Secret Service Director Lynne Jacobs (Angela Bassett) for them to accompany U.S. President Benjamin Asher (Aaron Eckhart) to the state funeral at St Paul's Cathedral in London. With every powerful world leader set to attend, the funeral should be the most protected event on Earth. Yet within moments of arriving, heads of government are assassinated and London landmarks are attacked. Asher, Banning, and Jacobs are ambushed and retreat amidst a hail of gunfire and explosives. The devastated British capital goes into lockdown. Banning will stop at nothing to secure Asher's safe return home. Back at the White House, Vice President Allan Trumbull (Morgan Freeman) races against time brainstorming with top advisors in the Situation Room to get those trapped in London a lifeline of support and a way out. Outnumbered and outgunned, Banning reaches out for help to an English MI6 agent (Charlotte Riley) who rightly trusts no one. Failure is not an option as they attempt to stop the criminals from carrying out the final phase of their revenge plan.BONUS FEATURES:The Making of London Has Fallen – An inside look at the massive undertaking of shooting such a large-scale film in London. Featuring interviews with cast and crew, this piece shows the unique challenges encountered on-set, director Babak Najafi's process, and the cast's inspiration for their characterizations.Guns, Knives & Explosives – Delve deeper into Gerard Butler's iconic character of Mike Banning, and the extensive training and preparation the actor needed to play a Secret Service agent. ABOUT ROBERT:Robert Forster (born July 13, 1941) is an American actor, best known for his roles as John Cassellis in Haskell Wexler's Medium Cool, and as Max Cherry in Quentin Tarantino's Jackie Brown, the latter of which gained him an Academy Award nomination for Best Supporting Actor. He has recently appeared as George Clooney's father-in-law in Alexander Payne's The Descendants.Forster was born Robert Wallace Foster, Jr. in Rochester, New York, the son of Grace Dorothy (née Montanarella) and Robert Wallace Foster, Sr., who worked as an elephant trainer for the Ringling Bros. and Barnum & Bailey Circus and later as an executive for a baking supply company. His mother was Italian American and his father was of English and Irish ancestry. The two divorced in 1949. As a tribute to his father, Forster hung one of his father's Barnum & Bailey Circus posters in the office of his character "Max Cherry" in the Quentin Tarantino film Jackie Brown.Forster completed his Bachelor of Arts degree in history at the University of Rochester, where he starred in student dramatic performances such as Bye Bye Birdie and, after initially intending to go on to study law, instead decided to forego his future legal career in favor of pursuing drama. He graduated with a B.A. in history in 1964.After acclaimed supporting performances in two major Hollywood films, one as Private Williams in John Huston's Reflections in a Golden Eye (1967), another as part-Indian Army scout Nick Tana in Robert Mulligan's The Stalking Moon (1968), Forster starred in the critically acclaimed 1969 film Medium Cool. After starring roles in the TV shows Banyon (1972) and Nakia (1974), he played mostly supporting roles in action and horror films including Disney's The Black Hole (1979). Forster had lead roles in cult B-movies in the 1980s like Alligator (1980), Vigilante (1983), The Delta Force (1986), and The Banker (1989). He was nominated for an Academy Award for Best Supporting Actor in 1997 for Jackie Brown, which he credits with reviving his career. He has since had consistent work in the film industry, appearing in Like Mike; Mulholland Drive; Me, Myself, & Irene; Lucky Number Slevin and Firewall, to name a few. He recently appeared in the made for television movie The Hunt for the BTK Killer, as the detective intent on capturing serial killer Dennis Rader. Forster also played the father of Van on the short-lived Fox series Fastlane.Forster recorded a public service announcement for Deejay Ra's 'Hip-Hop Literacy' campaign, encouraging reading of books by Elmore Leonard (he starred in the movie adaption of Leonard's book Rum Punch, Jackie Brown, for which he was nominated for an Academy Award for Best Supporting Actor). Forster is also a motivational speaker.He appeared in the hit NBC show Heroes as Arthur Petrelli, the father of Nathan and Peter Petrelli.Twice divorced, Forster is a father of four children. His eldest child, Kate Forster (born 1969), has worked as an actress, also appearing in Mulholland Drive.WWW.ROBERTFORSTER.COM
Haskell received Oscar nominations for his work on the documentary The Living City; the short film T Is For Tumbleweed and One Flew Over The Cuckoo's Nest and won Oscars for his work on Who's Afraid Of Virginia Woolf and Bound For Glory. Haskell has worked on several films with John Sayles including Matewan, The Secret of Roan Inish, Limbo, and Silver City. Haskell has dierected and filmed a number of important documentary films to his credit, including The Bus, Interviews With Mee Lie Veterans, and Introduction to the Enemy, co-directed with Jane Fonda. Haskell created the groundbreaking neo-documentary style film, Medium Cool about a TV news camera find himself becoming personally involved in the violence which erupts around the 1968 Democratic National Convention. Haskell more recently directed the documentary Who Needs Sleep? about sleep deprivation in the film industry and shot Bringing King to China about a young American teacher in Beijing, whose failed protests against the Iraq war drive her to produce a play in China about Martin Luther King, Jr. Haskell continued to document more recent political and peace movements like the Occupy Movement in Chicago on Four Days in Chicago.
Dave and Alonso are full of Christmas foods but still have lots to say about Quentin Tarantino and the Nouvelle Vague, plus how adorable children ruin movies. Like us on Facebook, follow us on Twitter and Instagram @linoleumcast, subscribe (and review us) on iTunes, here comes the jackpot question in advance. Dave's DVD pick of the week: GOD TOLD ME TO Alonso's DVD pick of the week: MEDIUM COOL
The Mixing Desk is POWER! This week we get unnecessarily vengeful about a children's Christmas film. Off the Shelf features Nagisa Oshima's Cruel Story of Youth and Haskell Wexler's Medium Cool - both from Masters of Cinema. Meanwhile, Ryan delves into the underrated Sympathy for Lady Vengeance and Graham takes on Pop Goes the Easel - Ken Russell's portrait of artists Peter Blake, Derek Boshier, Pauline Boty, and Peter Phillips. Our Film of the Week is Legend - the Tom Hardy delivery vehicle based on the story of notorious London gangsters the Kray twins.
Achtung! We're back with returning guest Sean Pierce who joined us for a different German director once before. This time we attempt to comprehend the enigmatic and extremely prolific Rainer Werner Fassbinder. We cover a few titles mainly focusing on ALI: FEAR EATS THE SOUL, VERONIKA VOSS, BEWARE OF A HOLY WHORE and THE MARRIAGE OF MARIA BRAUN. We also review THE HOMESMAN, BLACK SEA, FLIRTING WITH DISASTER, MEDIUM COOL and PEEPING TOM!00:00 - 23:04 - Intro / News / Business23:05 - 24:08 - What We Watched Song24:09 - 01:12:12 - What We Watched01:12:13 - 01:12:50 - Director Song01:12:51 - 02:10:55 - Fassbinder Discussion02:10:56 - 02:23:40 - Top 3 Films / OutroSubscribe and Review Us in ITunes:https://itunes.apple.com/us/podcast/directors-club/id414288912?mt=2In about two weeks, we will likely be joined by returning guest and friend to the show Mike Flynn to talk about the trashy fun from Larry Cohen. Thanks as always for listening and please keep those emails coming: directorsclubpodcast@gmail.com
Haskell received Oscar nominations for his work on the documentary The Living City; the short film T Is For Tumbleweed and One Flew Over The Cuckoo's Nest and won Oscars for his work on Who's Afraid Of Virginia Woolf and Bound For Glory. Haskell has worked on several films with John Sayles including Matewan, The Secret of Roan Inish, Limbo, and Silver City. Haskell has dierected and filmed a number of important documentary films to his credit, including The Bus, Interviews With Mee Lie Veterans, and Introduction to the Enemy, co-directed with Jane Fonda. Haskell created the groundbreaking neo-documentary style film, Medium Cool about a TV news camera find himself becoming personally involved in the violence which erupts around the 1968 Democratic National Convention. Haskell more recently directed the documentary Who Needs Sleep? about sleep deprivation in the film industry and shot Bringing King to China about a young American teacher in Beijing, whose failed protests against the Iraq war drive her to produce a play in China about Martin Luther King, Jr.
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