Podcast appearances and mentions of Neil LaBute

On this wild anniversary episode, the Grindhouse Girls team up with The Cinedicate for a deep dive into the infamously off-the-rails 2006 remake of The Wicker Man. From “not the bees!”, bear costumes, a and punch-happy Nicolas Cage, we dissect everything that makes this cult failure so bizarrely watchable (or not). Along the way, expect hilarious tangents on gender in horror, Neil LaBute's problematic writing, and why the original Wicker Man remains untouchable. Come for the memes, stay for the incisive film analysis—and discover why sometimes it's best to leave a classic alone.What to expect from the episode:An irreverent deep dive into both the original 1973 Wicker Man and its infamous 2006 Nicolas Cage remake, with discussions on cult cinema, gender dynamics, and themes of religion vs. paganismLively critiques of Neil LaBute's direction and writing, exploring his controversial reputation, handling of misogyny, and how the remake diverges (and spectacularly misses the point) from the original's folk horror brillianceEntertaining banter about Nicolas Cage's meme-worthy performance, the most (in)famous scenes (“not the bees!”), and the joys and pains of bad movies, plus thoughtful rants on cults, horror tropes, and recommendations for folk horror fans----------Listen to Brit and Katie on their podcast, The Grindhouse Girls.----------The Cinedicate on InstagramThe Cinedicate's Discord Community Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

THIS EPISODE OF OUR PATREON-ONLY MARATHON SERIES IS AVAILABLE TO LISTEN IN FULL HERE! MORE EPISODES ON PATREON.COM/UNCUTGEMSPOD!!In this episode of our Mike Nichols Marathon we are joined by a very special guest, Neil LaBute, who is here with us to talk about the fourth movie in this filmmaker's catalogue, namely the 1971 Carnal Knowledge. Over the course of our conversation you will hear us talk about how Nichols bounced back after Catch-22 was poorly received by going back to basics, how the genius of this movie lies somewhere between casting, writing direction and singular performances from the entire cast and how this movie holds immense value today. We also touch on the ways in which Carnal Knowledge informed Neil LaBute's own work in In the Company of Men and Your Friends & Neighbors, how Nichols sneaks in elements of humor into an otherwise a terrifying set of scenarios and who would have been the next best cast if the foursome Nichols cast hadn't been available at the time.Tune in and enjoy!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Subscribe to our patreon at patreon.com/uncutgemspod (3$/month)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and support us by gaining access to ALL of our exclusive podcasts, such as bonus tie-ins, themed retrospectives and director marathons!Hosts: Jakub Flasz & Randy BurrowsFeaturing: Neil LaBute⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Head over to our website to find out more! (uncutgemspodcast.com)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow us on Twitter (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@UncutGemsPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠) and IG (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@UncutGemsPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy us a coffee over at Ko-Fi.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (ko-fi.com/uncutgemspod)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Subscribe to our Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (patreon.com/uncutgemspod)

Trish is a five time Olivier Award Nominee creating innovative and site-specific work in theatres across London, New York, Greece and Australia. Following an extensive international career as a journalist and Director of Marketing she moved into the theatre working at the Bush and Kiln Theatres. She created “FRESH LINES” which promotes new and emerging talent in the UK, she is also a member of SOLT (Society of London Theatre), UK Theatre, Director of the Uncertainty Principle, Trustee of the Britain Australia Society and Advance Ambassador for Australia. Most recently she co-produced:- FANGIRLS by Yves Blake with Sonia Friedman Productions- A Mirror by Sam Holcroft with Second Half Productions at the Almeida 2024. - Opening Night, with Wessex Grove, dir. Ivo Van HoveShe produced also:- Othello, Riverside Studios with 3 actors alternating Iago during each performance.- The Shape of Things by Neil LaBute at the Park Theatre, starring Amber Anderson and Luke Newton (Bridgerton). Both were nominated at the Best Off-West End Production Awards at the 2024 WhatsOnStage Awards. - Prima Facie by Susie Miller in Athens, 2024.- The Election Monologues, recent rehearsed reading at the Park Theatre led by Harry Burton. Look out for her latest show also at the Park, “How to Fight Loneliness” from 16th April. Tickets on sale now. Trish discusses her role in producing, coming to it from a career as a journalist and what excites her about telling great stories to people through live theatre. Oliver GowerSpotlight Link: https://www.spotlight.com/9097-9058-5261Instagram: @goweroliverFor enquiries and requests: olliegower10@gmail.com

This week on Shoot a Hostage, Dan and Sarah are diving headfirst into the cinematic mess that is Neil Labute's 2006 remake of The Wicker Man, starring everyone's favorite wild card, Nicolas Cage. You might be asking yourself why we would subject ourselves (and you, dear listener) to such a film, and frankly, so were we. But curiosity, as they say, killed the cat, and in this case, nearly killed our brains We're not gonna lie, The Wicker Man (2006) has a reputation for being, well, terrible. With a 3.8 on IMDb and a measly 15% on Rotten Tomatoes, it's certainly not winning any awards. But is it so bad it's good? Or is it just plain bad? We'll try to figure that out, while dissecting the bizarre choices made by the creators and whether or not it was intended to be a comedy. Not the bees! Season 9 runs until 24th February.  Would you like to see the full lineup for season 9? The only place we announce our schedule is over on Patreon and you don't even need to be a paying member. Just sign up for a free membership and get access to the lineup. If you have some change rattling around in your pocket, we have a £3.00 a month tier where you'll get access to around 90 movie reviews plus all of our end of season wrap shows for seasons 1-8.    Enjoy the show but can't support us financially? We get it. You could submit a review on the podcast player you're reading this on right now. Or if you listen on Spotify and you haven't given us a five-star rating yet, what are ye waiting for? It's easy. If you've done some or all of that and still want to do more, we would love it if you tell a friend about the show.   Or come find us on social media: Instagram | TikTok | Threads | YouTube

Our exit today has us living our fantasies in Los Angeles. This week, we are talking about Nurse Betty, written by John C. Richards and James Flamberg and directed by Neil LaBute. Along the way, we celebrate the ensemble of Morgan Freeman, Renee Zellweger, Chris Rock, and of course, our favorite, Allison Janney. Plus, does this movie cure all of the indiscretions of a season's worth of comedies? One of us seems to think so! Thememusic by Jonworthymusic. Powered by RiversideFM. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠CFF Films⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ with Ross and friends. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Movies We've Covered on the Show⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ on Letterboxd. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Movies Recommended on the Show⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ on Letterboxd.

Remington Hoffman talks season 3 of "Zatima", a very memorable moment on set of "Westward", & the time some bad feedback led to playing hoops with Adam Sandler! About Remington: Rising star Remington Hoffman was born in Santa Cruz, California, and grew up in a vibrant surf and skate culture with a rich background shaped by diverse experiences across the globe. His athletic talents led him to upstate New York, where he was recruited to play basketball. However, during college, Remington's father encouraged him to explore acting, sparking a passion that would ultimately guide his career. In college, he starred in Fat Pig by Neil LaBute and The Last Days of Judas Iscariot, both of which earned him Irene Ryan Award nominations. After college, Remington traveled the world modeling, living in Singapore, NYC, and Argentina, and gracing the covers of magazines such as Men's Health Singapore. His transition to the screen came swiftly, booking notable roles in Don't Trust The B— In Apartment 23, Criminal Minds, and Agents of S.H.I.E.L.D. His versatility and dedication to his craft allowed him to perform his own stunts and fully immerse himself in the characters he portrayed. He went on to book series regular roles in Days Of Our Lives and Zatima. On Zatima, Remington plays Bryce, a complex character navigating personal and professional challenges, including his bisexuality and strained relationships. His portrayal highlights the show's themes of acceptance and self-discovery. His role as an Asian American, bisexual man dating a plus-size Black woman in a BIPOC-centered show is a testament to the power of inclusion in storytelling. Remington is proud to be part of a cast that has welcomed him as family, even as the only member who didn't grow up in Black culture. Beyond acting, Remington is passionate about water sports, drawing inspiration from legendary Hawaiian Watermen. He surfs, body surfs, paddleboards, snorkels, and has recently taken up sailing. His love for the ocean fuels his dedication to ocean conservation. His personal life is deeply rooted in family, with his wife, Ida, and daughter, Una Bay, serving as his greatest inspirations. Remington's journey in the entertainment industry continues to thrive as he works on writing and developing film and television projects. With a strong foundation in his family and career, he continues to navigate Hollywood with a clear vision, aiming to be a role model both on and off the screen. Follow the show on social media!          Instagram: https://instagram.com/thanksforcominginpodcast/          Twitter: https://twitter.com/tfci_podcast          Facebook: http://facebook.com/thanksforcominginpodcast/           Patreon: patreon.com/thanksforcomingin YouTube: https://www.youtube.com/channel/UCXj8Rb1bEmhufSBFSCyp4JQ Theme Music by Andrew Skrabutenas Producers: Jillian Clare & Susan Bernhardt Channel: Realm For more information, go to thanksforcominginpodcast.com  Learn more about your ad choices. Visit megaphone.fm/adchoices

Pull up the cuck chair, it's about to get conspiracy theory-y in this podcast. We're debating David Lynch's 1990 freedom hit, Wild at Heart and 2006's Rollin' Neil LaBute's “black comedy” remake of The Wicker Man. Get ready for some hog talk because we've brought back Darryl Edge of Cage/Rage and new guest, and dangerous sexy person, Tank. The friends, of course, are the spiders we made along the way. This is Cage Match.Intro music by: Bill Panks

In this very special episode of our show we have the immense pleasure to interview Neil LaBute, the writer and director of many great films, one of which happens to be Your Friends & Neighbors. We talk to him about the ins and outs of making an indie film in the 90s, the importance of rehearsing and the little annoyances of trying to get a movie made with no major studio backing. We also talk about what it was like to work with such stunning performers, how much of the movie was found in the writing and how much in performance, where the infamous sauna scene came from and much more! Tune in and enjoy! Hosts: Jakub Flasz & Randy Burrows Featuring: Neil LaBute Intro: Infraction - Cassette Outro: Infraction - Daydream Head over to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠uncutgemspodcast.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ to find all of our archival episodes and more! Follow us on Twitter (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@UncutGemsPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠), IG (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@UncutGemsPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠) and Facebook (@UncutGemsPod) ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy us a coffee over at Ko-Fi.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (ko-fi.com/uncutgemspod) ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Subscribe to our Patreon!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (patreon.com/uncutgemspod)

In this episode of the show we are continuing our August conversations about Ben Stiller in 1998 and we are talking about the mostly forgotten gem written and directed by Neil LaBute, Your Friends & Neighbors. Over the course of our conversation you will hear us talk about the many ways in which this movie fits (or does not) in the 90s indie Hollywood scene, how much it owes to Woody Allen, Mike Nichols and Steven Soderbergh and just how much can be accomplished with four people in a room and not much in terms of production value. We also talk Ben Stiller's facial hair, Catherine Keener's sense of humour and how one scene can pound the viewer into the ground. Tune in and enjoy! Hosts: Jakub Flasz & Randy Burrows Featuring: Tony Larder Intro: Infraction - Cassette Outro: Infraction - Daydream Head over to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠uncutgemspodcast.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ to find all of our archival episodes and more! Follow us on Twitter (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@UncutGemsPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠), IG (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@UncutGemsPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠) and Facebook (@UncutGemsPod) ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy us a coffee over at Ko-Fi.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (ko-fi.com/uncutgemspod) ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Subscribe to our Patreon!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (patreon.com/uncutgemspod)

Max Foizey interviews filmmaker and playwright Neil LaBute, recaps the career of filmmaker Ti West, and reviews West's films X, Pearl, and MaXXXine.

Lynn & Carl talk with Screenwriter, Playwright, Director & Actor, Neil LaBute and William Roth – Actor, Founder, and Artistic Director of the St. Louis Actors' Studio about the 10th Annual LaBute New Theater Festival July 12 - 28th at the Saint Louis Actors'' Studio.

Calista can be seen starring in Ryan Murphy's series FEUD: Capote Vs. The Swans. The second installment of the Feud anthology is based on Capote's Women by Laurence Leamer and focuses on the story of how Truman Capote befriended society women Barbara "Babe" Paley, Gloria Guinness, Marella Agnelli, Slim Hayward, Pamela Churchill, C. Z. Guest, and Jackie Kennedy's sister Lee Radziwill and then betrayed these women for a story. Calista stars as Lee Radziwill, Jackie Kennedy's younger sister and wife of a Polish prince, who developed a strong kinship with Capote thanks in part to her poor relationship with Kennedy. The series also stars Tom Hollander as Capote, Naomi Watts, Chloë Sevigny, Diane Lane and Molly Ringwald. Flockhart made her TV debut portraying the title role in FOX's widely popular and award-winning series “Ally McBeal,” created by David E. Kelley. She also starred in ABC's critically acclaimed TV drama, “Brothers & Sisters,” a family soap revolving around the Walker family and their lives in Los Angeles. Additional TV credits include “Full Circle,” “Supergirl,” Lisa Kudrow's improvisational comedy series on Showtime “Web Therapy,” “Facetiming with Mommy,” and the DreamWorks' TV Series, “The Penguins of Madagascar.” Flockhart returned to her theatre roots as Martha in Who's Afraid of Virgina Woolf for the Geffen Playhouse in Los Angeles. She made her Broadway debut opposite Julie Harris in The Glass Menagerie, for which she received the Theatre World Award and the Clarence Derwent Best New Talent Award. New York theater credits include Neil LaBute's Bash: Latter Day Plays; The Three Sisters; Warren Leight's The Loop, which landed her the role of Gene Hackman's daughter in Mike Nichols' “The Birdcage;” Sophistry; Sons and Fathers; Wrong Turn at Lungfish; All for One and Caryll Churchill's Mad Forest. Flockhart was “Juliet” in Romeo and Juliet at The Hartford Stage; “Cordelia” in King Lear at The Actors Theater in Louisville; “Irina” in The Three Sisters at the Goodman Theater in Chicago; and “Emily” in Our Town directed by the legendary Jose Quintero. Flockhart's film credits include the independent thriller Fragile; Things You Can Tell Just By Looking At Her with Glenn Close and Cameron Diaz; A Midsummer Night's Dream, co-starring Kevin Kline, Michelle Pfeiffer and Rupert Everett; Drunks; The Birdcage, which received the Screen Actors Guild Award for Best Ensemble; and Telling Lies in America co-starring Kevin Bacon and Brad Renfro.   Learn more about your ad choices. Visit podcastchoices.com/adchoices

Calista can be seen starring in Ryan Murphy's series FEUD: Capote Vs. The Swans. The second installment of the Feud anthology is based on Capote's Women by Laurence Leamer and focuses on the story of how Truman Capote befriended society women Barbara "Babe" Paley, Gloria Guinness, Marella Agnelli, Slim Hayward, Pamela Churchill, C. Z. Guest, and Jackie Kennedy's sister Lee Radziwill and then betrayed these women for a story. Calista stars as Lee Radziwill, Jackie Kennedy's younger sister and wife of a Polish prince, who developed a strong kinship with Capote thanks in part to her poor relationship with Kennedy. The series also stars Tom Hollander as Capote, Naomi Watts, Chloë Sevigny, Diane Lane and Molly Ringwald. Flockhart made her TV debut portraying the title role in FOX's widely popular and award-winning series “Ally McBeal,” created by David E. Kelley. She also starred in ABC's critically acclaimed TV drama, “Brothers & Sisters,” a family soap revolving around the Walker family and their lives in Los Angeles. Additional TV credits include “Full Circle,” “Supergirl,” Lisa Kudrow's improvisational comedy series on Showtime “Web Therapy,” “Facetiming with Mommy,” and the DreamWorks' TV Series, “The Penguins of Madagascar.” Flockhart returned to her theatre roots as Martha in Who's Afraid of Virgina Woolf for the Geffen Playhouse in Los Angeles. She made her Broadway debut opposite Julie Harris in The Glass Menagerie, for which she received the Theatre World Award and the Clarence Derwent Best New Talent Award. New York theater credits include Neil LaBute's Bash: Latter Day Plays; The Three Sisters; Warren Leight's The Loop, which landed her the role of Gene Hackman's daughter in Mike Nichols' “The Birdcage;” Sophistry; Sons and Fathers; Wrong Turn at Lungfish; All for One and Caryll Churchill's Mad Forest. Flockhart was “Juliet” in Romeo and Juliet at The Hartford Stage; “Cordelia” in King Lear at The Actors Theater in Louisville; “Irina” in The Three Sisters at the Goodman Theater in Chicago; and “Emily” in Our Town directed by the legendary Jose Quintero. Flockhart's film credits include the independent thriller Fragile; Things You Can Tell Just By Looking At Her with Glenn Close and Cameron Diaz; A Midsummer Night's Dream, co-starring Kevin Kline, Michelle Pfeiffer and Rupert Everett; Drunks; The Birdcage, which received the Screen Actors Guild Award for Best Ensemble; and Telling Lies in America co-starring Kevin Bacon and Brad Renfro.   Learn more about your ad choices. Visit podcastchoices.com/adchoices

Harken! The mountain's four wise men/women left the summit to discuss Neil LaBute's The Wicker Man! Released in 2006, the film stars Nicolas Cage, Ellen Burstyn, Molly Parker, and many others. It was filmed in the United States and was distributed by Warner Bros. Pictures! Enjoy your bi-weekly trip to Shaolin.

Frame Fatale es un podcast de películas ¿no canónicas? conducido por Santiago Calori, Axel Kuschevatzky y Sebastián Rotstein. En el octogésimo primero episodio nos ocupamos de Tus amigos y vecinos (Your Friends & Neighbors, 1998) de Neil LaBute. Podés comentar este episodio o agregar una pregunta que nada que ver enviándonos un correo electónico a nolahepodidover@gmail.com. Quizás sea una pegada total suscribirte en donde sea que escuches tus podcasts y tener la primicia, algo que, de todas maneras, y ya explicamos varias veces, es lo menos importante.

An award-winning actor, writer, and film director, Nicole has carved her niche in the entertainment industry with a unique blend of talent, passion, and relentless dedication. Nicole's collaboration with acclaimed writer and director Neil Labute birthed the award-winning film, "Black Chicks."  Co-directing and producing the film "Henry's Glasses," Nicole added another feather to her cap as it clinched the title of Best Canadian Short Film by the National Film Board of Canada. The film's triumph extended to the Oregon Disorient International Film Festival, where it claimed the coveted title of Best Picture. In her most recent venture, Nicole wrote and directed the adrenaline-fueled action film "Sworn Justice," produced BET+. The star-studded cast includes Emmy award-winning actress Mishael Morgan and the incomparable Vivica A. Fox. Want to watch: YouTube Meisterkhan Pod (Please Subscribe)

Title: The Wicker Man [Wikipedia] [IMDb] Director: Neil LaBute Producers: Nicolas Cage, Boaz Davidson, Randall Emmett, Norm Golightly, Avi Lerner, John Thompson Writer(s): Neil LaBute (screenplay), Anthony Shaffer (original film), David Pinner (original novel) Stars: Nicolas Cage, Ellen Burstyn, Kate Beahan, Frances Conroy, Molly Parker, Leelee Sobieski, Diane Delano Release date: September 1, 2006 (US/CA) PROMO: Anime Talk (@AnimeTalk12) SHOWNOTES: It's Cagin' time on Collateral Cinema Movie Podcast, as we continue Bad Movie December with a look at Neil LaBute's 2006 remake of The Wicker Man, starring none other than the One True God Himself: Nicolas Fucking Cage. This reimagining of the original 1973 horror film (itself an adaptation of the 1967 horror novel Ritual) manages to be batshit in completely different ways than its source material(s) and also (un)intentionally hysterical, in no small part due to Nic Cage's classic over-the-top performance working harmoniously with a hilariously inept script. Being our very first Cage review on the podcast, how does it rank amongst the legendary 60-year-old actor/producer's filmography as well as "

The bees, the bees! Not only is Neil LaBute's 2006 remake of the 1973 masterpiece with the same name unnecessary, not only is it ham fisted and not only is it badly acted, shot and scored, if you watch the wrong version of the film, you won't even see the most famous scene with Nicolas Cage. Brose has assembled the cultish Man Bites God to discuss this mid-naughties, smoking trash pile in a conversation that is almost as long and infinitely more entertaining than the film! Buy your way onto a cargo plane, sneak onto Summerisle and listen to our  LATEST EPISODE! Available for your listening pleasure NOW all for FREE!

Reflecting back on Nicolas Cage BEEIng ravaged by Bees in that fantastically absurd Wicker Man remake from 2006. FRUMESS is POWERED by ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.riotstickers.com/frumess⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ GET 1000 STICKERS FOR $79  RIGHT HERE - NO PROMO CODE NEED! JOIN THE PATREON FOR LESS THAN A $2 CUP OF COFFEE!! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/Frumess ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

This episode we are joyed by playwright, producer and director Neil LaBute!  Neil talks about what it's like to get plays produced, working as a director in theater, film and television, the progression of his plays and much more!

Erik Childress and Steve Prokopy share in a weekend of greatness, even if some movies are not as great. They review seven this week including a look back at a deep dive doc from Sundance (The Deepest Breath) and another from the fest involving an expectant mother and her post-birth choices (Earth Mama). Neil LaBute puts Maggie Q up against some psychos (Fear the Night) while Lizzy Caplan's son hears noises in the walls (Cobweb) and John Boyega comes to learn some disturbing things about his neighborhood (They Cloned Tyrone). But the weekend belongs to Greta Gerwig and Christopher Nolan whose films have been two of the most hyped releases of the year and they delivered a weekend for the ages. For all ages and everyone else. 0:00 - Intro 1:40 – The Deepest Breath 19:35 - Earth Mama 28:21 - Fear the Night 40:22 - Cobweb 50:30 - They Cloned Tyrone 1:04:20 - Oppenheimer 1:25:21 - Barbie 1:47:19 - Outro

For Big Table episode 51, editors Joshua Glenn & Rob Walker discuss their latest book, Lost Objects: 50 Stories About the Things We Miss and Why They Matter.  Is there a “Rosebud” object in your past? A long-vanished thing that lingers in your memory—whether you want it to or not? As much as we may treasure the stuff we own, perhaps just as significant are the objects we have, in one way or another, lost. What is it about these bygone objects? Why do they continue to haunt us long after they've vanished from our lives? In Lost Objects, editors Joshua Glenn and Rob Walker have gathered answers to those questions in the form of 50 true stories from a dazzling roster of writers, artists, thinkers, and storytellers, including Lucy Sante, Ben Katchor, Lydia Millet, Neil LaBute, Laura Lippman, Geoff Manaugh, Paola Antonelli, and Margaret Wertheim to name just a few. Each spins a unique narrative that tells a personal tale, and dives into the meaning of objects that remain present to us emotionally, even after they have physically disappeared. While we may never recover this Rosebud, Lost Objects will teach us something new about why it mattered in the first place—and matters still. For the readings this episode, two authors read their essays from the book: First up, Lucy Sante discusses her long lost club chair; and Mandy Keifez recounts her lost Orgone Accumulator. Music by Languis

This episode we are thrilled to welcome the cast of Park Theatre's The Shape of Things by Neil LaBute!  Starring Luke Newton (Bridgerton, The Book of Mormon), Amber Anderson (Peaky Blinders, Black Mirror), Carla Harrison-Hodge (Cyrano De Bergerac, Amadeus) and Majid Mehdizadeh-Valoujerdy (War Horse, Hollyoaks).  We chat with the cast (our first in-person interview since before the pandemic) about working on this current production of The Shape of Things, their interpretation of the characters, and much more!*Please note that this podcast episode contains plot spoilers of the play.* 

Horror remakes were all the rage by the mid 2000s, so a remake of the seminal folk horror classic The Wicker Man was all but inevitable. Armed with a crazy Nic Cage performance and seasoned indie director Neil LaBute at the helm, the 2006 reimagining was set to catch fire at the box office but fizzled instead, failing to justify its hefty 40 million dollar budget. Join Sebastian, Jennifer and Troy as they travel to Summer's Isle to reevaluate this much maligned effort and sacrifice their sanity in worship of the modern era's most bizarre and fascinating remakes.

Witchcraft, witch hunts, and which witches are witch: in this week's podzine, Hannah has a fascinating, feminist (obviously) chat to journalist India Rakusen about all things witch-related and her new podcast, Witch. Jen's chatting to Peaky Blinders' Amber Anderson, star of a new production of Neil LaBute's The Shape of Things at London's Park Theatre, about cruel relationships, societal pressures, controversial characters, and absolutely not aligning with the women she plays. There's a regular dollop of sporting action in Jenny Off the Blocks, and Mick's chosen a Rated or Dated that threatens everyone's warm childhood memories and might even ruin Hannah's Christmas: 1988's Big. Support this show http://supporter.acast.com/standardissuespodcast. Hosted on Acast. See acast.com/privacy for more information.

Welcome to “Not Couple Goals” where co-hosts Allie Nelson and Tyler McCarthy do a deep dive into a different ridiculous romantic thriller from the vantage point of their long-term relationship. Allie, a TV writer/producer and actress, has an affinity for romantic thrillers, the more salacious the better. Tyler, an entertainment reporter and critic, often finds himself drawn in despite his better judgment. Join them as they explore all the ways it's possible to love too hard… like WAY too hard. In this episode, Allie and Tyler tackle the 2022 movie “Out Of The Blue” written and directed by Neil LaBute and starring Diane Kruger, Ray Nicholson and Hank Azaria, although they don't know why. Join them as they discuss how this movie may as well have taken place in the 30s, how short Ray falls of his famous dad's charisma and the fine line between homages and ripoffs. If you're a fan of the word “bucolic,” you're going to love this one.   Special thanks to Mallory Johns for the introduction music. To see more of our hosts, check out Tyler's writing at USA Insider, SYFY and NBC Insider. Find Allie's work at Parade and Business Insider! And don't forget to follow us on social media — Allie: Instagram, Twitter, YouTube and TikTok Tyler: Twitter Not Couple Goals: Instagram and Twitter

Jeff and Mike discuss the much-maligned 2006 remake of Wickerman, the folk horror classic.  Is this Neil LaBute directed film starring Nicolas Cage as bad as people claim it is? Listen and find out what we have to say about it.   Intro:    “Necomaniacs” – Mike Hill Outro:   “Untitled 3” – Der Blutharsch

No episódio de hoje, Diego, Igor e Felipe conversam sobre um clássico do folk horror britânico que está completando cinquenta anos em 2023: The Wicker Man! O conflito entre os valores puritanos e reprimidos do status quo inglês com o paganismo libertino representado pelo Christopher Lee e seus súditos é apenas uma das muitas leituras a respeito desse filme tocadas ao longo do episódio! Há também questionamentos sobre os perigos do groupthink, modernidade capitalista versus neo-paganismo feudal e muito mais. Fiquem ligados que no final do episódio tem um anúncio importantíssimo sobre o Sala de Projeção! — Ficha do filme: The Wicker Man, 1973. Dirigido por Robin Hardy. Escrito por Anthony Shaffer. Elenco: Edward Woodward, Britt Ekland, Diane Cilento, Ingrid Pitt, Christopher Lee. 92 minutos. Reino Unido. — Outro filme mencionado no episódio: The Wicker Man (“O Sacrifício”), 2006. Dirigido por Neil LaBute. — Livros mencionados no episódio: SCOVELL, Adam. Folk Horror: Hours Dreadful and Things Strange, 2017. PINNER, David. Ritual, 1967. — Ilustração: Igor de Campos Edição e Identidade Visual: Thiago Vergara Música usada no episódio: “Corn Rigs” de Magnet e Paul Giovanni Música de Introdução: https://www.bensound.com

Check in with your Boo Crew for Episode 368! We slice thru some of this weeks horror headlines, the latest scream streams and what's hitting theaters this week. Then join us as we talk about some killer flicks including Leigh Janiak's 2014 feature debut, HONEYMOON, Neil Labute's fantastic HOUSE OF DARKNESS, Kathryn Bigelow's masterpiece NEAR DARK and more! Hosted on Acast. See acast.com/privacy for more information.

Unwatchables kicks off Season 2 with special guest A.A. Dowd, former film editor of The AV Club and current culture editor at Chron. This week's films challenge us to identify with main characters whose repellent behavior stretches the definition of “protagonist”: Mike Leigh's blistering character study Naked, and Neil LaBute's immersion in toxic masculinity In the Company of Men. We discuss the career-defining performances of David Thewlis and Aaron Eckhart, how we're supposed to process such cruelty from our “heroes,” and what the hell ever happened to Neil LaBute. You can find more from A.A. Dowd at https://www.chron.com/ Unwatchables is hosted by Marc Dottavio and Seth Troyer, produced by Tony Scarpitti, featuring artwork by Micah Kraus. You can support us on Patreon at https://www.patreon.com/unwatchables to get access to exclusive bonus content and weigh in on what we watch next. Find us online at www.unwatchablespod.com or shoot us an email at unwatchablespodcast@gmail.com. We're on Instagram and Twitter under @unwatchablespod. --- Send in a voice message: https://podcasters.spotify.com/pod/show/unwatchablespod/message

Neil LaBute and Gia Crovatin came to Little Rock for Filmland 2022 and screened their new film HOUSE OF DARKNESS. In this interview, they talk about how the film was made, their experiences in Arkansas, and some of the films that inspire them.Photo credit Katelyn Deckelbaum for ACSConnect with Arthouse Garage Support us on Patreon Arthouse Garage shop Instagram Facebook Twitter Letterboxd Email us at Andrew@ArthouseGarage.com Subscribe to the email newsletter: arthousegarage.com/subscribe Try Opopop popcorn! Get 10% off your first order Theme music by Apauling Productions

Oh snap, weve teased it for months and its here, NICVEMBER! We are celebrating Nic Cage with an amazing month of his weirdest and amazing movies! This week we begin with 2006's awful remake of The Wicker Man where Neil LaBute continues his tour of hating women with this mess of a horror movie. We also start a pyrimid scheme, talk about food poisoning and LeeLee Sobieski ! It all starts here!The Wicker Man (2006) is availble to rent on all platforms!Follow us on Instagram:@Gaspatchojones@Homewreckingwhore@Trollpoonani@The_Miseducation_of_DandG_PodCheck Out Our WebsiteIf you love the show check out our Teepublic shop!Right Here Yo!Follow us on Instagram:@Gaspatchojones@Homewreckingwhore@The_Miseducation_of_DandG_PodIf you love the show check out our Teepublic shop!Right Here Yo!

We had a great conversation with actress Cassie Scerbo on The Chris & Sandy Show. We talked about so many things from her organization, her event Boo Ball, her career, sacrifices, she told some amazing stories to a whole lot more! No subject was off-limits from addictions to bullying!Cassie Scerbo has established herself as one of Hollywood's hardest working entertainers of her generation. Cassie is best known for her acting resume having already led various television series and films. Some of Scerbo's most memorable productions have been Freeform's "Make it or Break it," the "Sharknado" film series playing the iconic Nova Clarke, "Truth or Dare" on Netflix, ABC's "Grand Hotel", Neil LaBute's "Bench Seat", 911: Lonestar and most recently "AMP House" (opposite Brandon Perea, Pedro Correa and Kara Royster), "The Plus One" (opposite Cedric The Entertainer and Ashanti), The Fall (opposite Thomas Coquerel, Jocelyn Hudon and Jeremy Sumpter) and TUBI original, "Off-season", all set to premiere this upcoming winter. Aside from her long-standing career as an actress, Scerbo is currently executive producing a hard-hitting safer school documentary titled CODE RED, alongside Conor Riley and Bailee Madison and serves as Vice President of the California state non-profit, Boo2BullyingThe 4th Annual BOO BALL, having relocated from Palm Springs, will benefit Boo2Bullying, the locally-based nonprofit organization founded by Dimitri Halkidis. This must-attend Halloween soiree will feature celebrity guests, a headlining performance by Justin Jesso, known for his song Stargazing with Kygo which has over 500 million streams on Spotify a performance by magician Erik Blackwell and surprise musical acts by Katie Welch, Louis Knight (American Idol season 18 and 19), Jamie Miller featured on The Voice UK, plus dancing, bespoke libations, costume prizes, ghoulish décor, Halloween treats, cuisine and more. The red carpet event will be hosted by actors Jonathan Bennett and Jaymes Vaughn, with many notable talent attendees to be announced. Proceeds from the event will underwrite anti-bullying programs in schools and on major social media platforms. Boo2Bullying's youth empowerment initiatives and video content provide outreach, mentoring, inspiration and support for bullied youth and their families. The organization strives to give children and teens the tools to foster a healthy self-image, learn to accept diversity, speak their truth, and positively impact those around them.The 2022 event theme, The Golden Age of Hollywood, was the period in the American film industry from the mid-1920s to the early 1960s when Hollywood studios produced the highest number of cinematic and artistic masterpieces. The stars wore furs and fine jewels, the films followed fresh storylines, and the streets of Hollywood were sparkling with class.Supportive Brand Partners for the 2022 ball to include Elite Island Resorts, NEFT Vodka, Elite Home Staging, Sutton Stracke, The Sutton Concept, Aaron Sorkin, Outbound Travel, Desert Arc, JSX, Pink Revolver Pictures, Camille MacMillan, Aaron Sorkin, Rodger & Vanessa Lawson, Ideal Face and Body, Devon and Randy Wilson, and OTERO.The Los Angeles BOO BALL Committee is led by the Boo2Bullying Board of Directors, inclusive of President & Founder Dimitri Halkidis, Vice President Cassie Scerbo, Secretary Leith Chandrasen, plus event committee members, Ross Barry, Jordan Kuker, Penelope Lawson, Abi Perl, Alexandra Lasky and Kimberly Wujek.

The Wicker Man has a measly 15% on Rotten Tomatoes. Does it deserve this terrible score? Jonah Ray is in the studio to deconstruct and celebrate the ridiculousness of this Neil Labute remake disaster. We also get a call from Liam O'Donnell, one of the writers of Skyline, who defends his movie and offers an explanation of how it got made. Now if you'll excuse me, I have a special ceremony to attend. (Originally released 09/27/2011) Listen to the latest Unspooled to hear Paul discuss Midsommar, another crazy pagan horror flick that's actually good. Check it out: www.earwolf.com/episode/midsommar/For more Matinee Monday content, visit Paul's YouTube page: https://www.youtube.com/c/PaulScheerFollow Paul on Letterboxd: https://letterboxd.com/paulscheer/HDTGM Discord: discord.gg/hdtgmPaul's Discord: https://discord.gg/paulscheerCheck out Paul and Rob Huebel live on Twitch (https://www.twitch.tv/friendzone) every Thursday 8-10pm ESTSubscribe to The Deep Dive with Jessica St. Clair and June Diane Raphael here: listen.earwolf.com/deepdiveSubscribe to Unspooled with Paul Scheer and Amy Nicholson here: listen.earwolf.com/unspooledCheck out The Jane Club over at www.janeclub.comCheck out new HDTGM merch over at https://www.teepublic.com/stores/hdtgmWhere to Find Jason, June & Paul:@PaulScheer on Instagram & Twitter@Junediane on IG and @MsJuneDiane on TwitterJason is Not on Twitter

American playwright, film director and writer Neil LaBute is next on the post mortem slab. He discusses how he got into both theatre and film for the silver screen, as well as his creative insights into the craft.POST MORTEM WITH MICK GARRIS NICE GUY PRODUCTIONS 2022See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Let's talk about the latest episodes of The Lord of the Rings: The Rings of Power and She-Hulk. Plus reviews of Tom Hanks in Pinocchio, indie horror Barbarian and an interview with House of Darkness director Neil LaBute. Plus Alan Ng goes wild at D23!

Neil LaBute & Gia Crovatin, "House of Darkness," are our Special Guests

Neil LaBute & Gia Crovatin, "House of Darkness," are our Special Guests

Acclaimed filmmaker Neil LaBute joins the show to discuss his upcoming film, House of Darkness, starring Justin Long and Kate Bosworth. Neil is known for works like In the Company of Men and Nurse Betty, but is better known to the horror community for The Wicker Man remake. Neil discusses his influences that have shaped his films as well as fielding some tough questions about critic responses to his infamous remake. House of Darkness hits theaters September 9th and On Demand and digital September 13th.

PUBLIC VERSION. Celebrated filmmaker and playwright Neil LaBute (IN THE COMPANY OF MEN, NURSE BETTY, DEATH AT A FUNERAL, LAKEVIEW TERRACE, YOUR FRIENDS AND NEIGHBORS, THE WICKER MAN) joins Adam, Joe, and Arwen to discuss his craft in creating some of the most provocative and beautifully honest cinema and theater of the last 25 years. From growing up in a blue collar family with a father that didn't initially view filmmaking as a real career… to shooting his first feature film without any prior filmmaking experiences… to welcoming the collaboration of cast and crew when blocking a scene… to the power of a master shot and using coverage sparingly… to how he approaches scenes that require intense intimacy between actors… to the creative leeway of shooting independently despite the sacrifice of resources… to the incredible value of spending quality time with cast during pre-production… to the benefits of casting fresh faces and just how much an audience can forget that they are watching a performance… to critics and audiences projecting a character's worst behavior onto the filmmaker personally… to the making of his latest film HOUSE OF DARKNESS (in theaters September 9th and on-demand/digital September 13th)… to revealing which one of his films was actually shot to be in black and white… this conversation with one of the industry's most daring, artistic, and important voices is one that will hopefully inspire you to create the art you truly want to create rather than conforming to whatever is currently considered en vogue and safe.  This Christmas the biggest podcast event of the year is going to get even bigger! The first announcement for YORKIETHON 7 is coming in next week's episode! 

NO NEW FLESH EPISODE THIS WEEK! This is an episode of Roger & Me, Brett's other show, with Jesse Hassenger as the guest. So it FEELS like a new episode despite the lack of horror. We will return next week with multiple new horror releases, both of which happen to star Justin Long. The highly-anticipated secretive Searchlight Pictures horror film BARBARIAN written and directed by Zach Cregger of The Whitest Kids U Know sketch comedy group. Is he the next Jordan Peele crossover filmmaker? Also, Neil LaBute's HOUSE OF DARKNESS, his second movie out a month, after OUT OF THE BLUE, which was covered on a previous episode of 'Roger & Me.' And possibly more! On this week's Tuesday rewatch episode of 'Roger (Ebert) & Me,' join Brett Arnold and guest co-host and film critic Jesse Hassenger, as they tackle Roger's brief solo era with various guests ahead of settling on 'Ebert & Roeper.' This particularly short-lived iteration of the program was titled 'Roger Ebert & The Movies,' before becoming ' This episode covers four films from the beginning of summer 2000 — Disney's Dinosaur, Todd Phillips' Road Trip featuring Tom Green and Woody Allen's Small Time Crooks, both from Dreamworks, and Touchstone's Shanghai Noon starring Jackie Chan and Owen Wilson. Head over to our Patreon page to support the show. Streaming guide: Dinosaur is on Disney+ Road Trip is currently streaming on Showtime Small Time Crooks is available to rent on streaming services Shanghai Noon is available to rent on streaming services Review guide: Roger's 3-star review of Dinosaur Roger's 2-star review of Road Trip Roger's 3-star review of Small Time Crooks Roger's 3-star review of Shanghai Noon Thank you to Banshee Beat for the incredible original theme song. Alien Ant Farm's music video for 'Movies' closes the show. The New Flesh podcast is the best horror podcast about horror movies, scary movies, and all things tangentially related to horror, horror movies and the horror lifestyle. Horror franchises, new horror releases, and all the horror news and movie industry news that's fit to print! Subscribe to the New Flesh Patreon for weekly bonus content and more www.patreon.com/newfleshpodcast Subscribe to Brett's new show 'Roger and Me,' a show celebrating Roger Ebert through weekly rewatches of 'At The Movies' with Siskel and Ebert as well as a weekly round-up of reviews of all the new releases out in theaters. It's available wherever you listen to podcasts or you can watch the video feed on YouTube. Apple: apple.co/3PvqgA0 Spotify: spoti.fi/3Pyv1Zl YouTube: bit.ly/3PyD6gG Stitcher: bit.ly/3J5rS0L

Playwright and Filmmaker Neil LaBute loves getting into the uncomfortable workings of his subjects. Ever since his very first film 'In The Company Of Men' made audiences squirm, LaBute has made a career of putting a magnifying glass on the male id. Now he returns with his latest film, the horror story 'House of Darkness' starring Justin Long and Kate Bosworth. On this episode of Geekscape, I talk to Neil about his writing process, his love of creating challenging characters, collaborative approach and more! Enjoy! You can also subscribe to the Geekscape podcast on Apple Podcasts: https://apple.co/3BVrnkW Spotify: https://spoti.fi/3H27uMH Subscribe to Geekscape on Apple Podcasts! Follow Jonathan on Twitter and Instagram!Join the Geekscape Forever Facebook Group!Visit Geekscape.net for more Geekscape goodness! Learn more about your ad choices. Visit megaphone.fm/adchoices

Oh hello there! This is my way of reviewing new releases once in a while and provide them here for you - monologue-style. This time I'm providing some reviews for early September including something very special: a bonus interview with the writer/director of one of the new films I'm reviewing. Neil LaBute has been making interesting features for well over 20 years and his latest is a creepy little Gothic horror film called House Of Darkness (opening on September 9th). Listen to him talk about it, then give a listen to my review along with three other titles as well. Usually these are available on Patreon but decided to include this one on the main feed as well. I also talk a lot more than usual in the intro for personal reasons concerning mental health and why there was a bit of an absence in August. Hopefully you enjoy this bonus episode right before hearing the next official episode from guest host Bill Ackerman coming within the next week. Give it up for his great work so far with the Stephen Sayadian episode too! Thank you for the support & for listening to this episode. Huge thanks to Neil LaBute for taking the time to talk with me as well. 00:00 - 16:30 - Intro / Update 16:31 - 30:20 - Interview With Writer/Director Neil LaBute (HOUSE OF DARKNESS) 30:21 - 37:10 - HOUSE OF DARKNESS 37:11 - 50:14 - THREE THOUSAND YEARS OF LONGING 50:15 - 59:24 - ON THE COUNT OF THREE 59:25 - 01:13:50 - VENGEANCE Opening Song: True Love Will Find You In The End - Daniel Johnston Closing Song: Last Resort - Papa Roach

Tonight we're chatting with Neil LaBute, writer and director of House of Darkness, which releases in theaters September 9, 2022 and on Demand and Digital September 13, 2022. LaBute is the prolific director behind In the Company of Men, Nurse Betty, The Wicker Man, and much more. About House of Darkness:Written and directed by Neil LaBute (In the Company of Men, Nurse Betty, The Wicker Man, Lakeview Terrace), the film stars Justin Long (Jeepers Creepers, Accepted), Kate Bosworth (Superman Returns, Blue Crush), Gia Crovatin (I Feel Pretty) and Lucy Walters (Tesla, “Get Shorty”).Justin Long and Kate Bosworth star in this seductive thriller from director Neil LaBute (The Wicker Man). Driving home to her secluded estate after meeting at a local bar, a player out to score thinks his beautiful, mysterious date will be another casual hook-up. While getting acquainted, their flirtation turns playful, sexy and sinister. Hoping to get lucky, his luck may have just run out.

Award-winning Writer-Director Neil LaBute discusses with Jan Price his new comedy-horror-mystery, “House of Darkness,” starring Justin Long and Kate Bosworth! House of Darkness will be in theaters on September 9 and available on-demand and digitally on September 13! Justin Long and Kate Bosworth star in this seductive thriller from director Neil LaBute (The Wicker Man). Driving home to her secluded estate after meeting at a local bar, a player out to score thinks his beautiful, mysterious date will be another casual hook-up. While getting acquainted, their flirtation turns playful, sexy, and sinister. Hoping to get lucky, his luck may have just run out. Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

This week's episode was streamed live in Twitch through Sacramento's own STAB comedy theater. Watch the VOD here--> https://www.twitch.tv/videos/1574331965On this episode: The gang is streaming LIVE to internet TV, and Shia LeBeouf is now a man of God. PLUS Ezra Miller is back at the table with WB's brass, and some new release reviewsIn news: Bird, Stab comedy theater, Jason, Binge Movies, Telly Savalas, Devito, Shia LeBeouf, FKA Twigs, Honey Boy, Jon Bernthal, Ezra Miller, Peanut Butter Falcon, The Tax Collector, Pieces of a Woman, Olivia Wilde, Don't Worry Darling, Transformers, Holes, Disturbia, Even Stevens, Eagle Eye, Field Trips, Maneater, Nicky Whelan, Trace Adkins, Old Henry, Tim Blake Nelson, Justin Lee, The film Vault, Samuel L Jackson, Deep Blue Sea, Anderson Cowan, The Meg, Jaws, Open Water, Mecha Shark vs Sharktopus, 47 Meters Down 2, Jan de Bont, Speed, Renny Harlin, Cliffhangher, Driver, Skiptrace, Annihilation, The Revenant, Something About Mary, Monty Python & The Holy Grail, Orphan: First Kill, Paramount, Isabel Fuhrman, The Novice, Justin Long, The Sasquatch Gang, Portlandia, Galaxy Quest, Neil LaBute, In The Company of Men, Nurse Betty, The Wicker Man, Lakeview Terrace, Patrick Wilson, Kate Bosworth, Gia Crovatin, Lucy Walters, Warner Brothers, The Flash, funeral screenings, Batgirl, Christopher Nolan, Dark Knight, Hulk, Eric Bana, Ang Lee, X-men Origins: Wolverine, E.T., Titanic, Kate Winslethttp://www.MCFCpodcast.com-Email us at MCFCpodcast@gmail.com    -Leave us a voicemail (209) 730-6010-Get some merch:https://middle-class-film-class.creator-spring.com/-Sponsor - Cinema Recall - https://www.cinemarecall.net/Joseph Navarro    Pete Abeytaand Tyler Noe    Streaming Picks:The Crow - ShowtimeIndiana Jones & the Raiders of the Lost Ark - ShowtimeGlorious - ShudderGood Time - ShowtimeDay Shift - NetflixThe One - HBO Max, DirecTV

Don your pigeon suit, don't sprain your butthole and get ready to ride the wicker wagon. It's time for another match up. Sean and Nick...or is it Nick and Sean review Alan Parker's 1984 film Birdy and Neil LaBute's 2006 remake of The Wicker Man. Will art or stupidity win? This is Cage Match.

To honor MiMi's birthday, we're buzzing about Neil LaBute's "remake" of The Wicker Man starring Nic Cage. Once again, we are here to make silk purses out of a really, really poorly plotted sow's ear. (Spoilers for Six Feet Under TV series from 24:40 - 25:29)Host segments: not how bee allergies do; Joe's Wicker Man Tactics (TM); the cultural cache of bees; problematic historical research; two-riffer problems; The Mitchell Man.

We close down our exploration of Nic Cage films by visiting one of his most maligned and (possibly) misunderstood films, the Neil LaBute directed remake of THE WICKER MAN. We covered the 1970s original film back on episode 55 of the show. This remake tells largely the same story, but with some noteworthy differences of the central clash which prompts a thoughtful examination of the ways we can, by pride and presumption, both consider ourselves falsely superior and dehumanize others at our own peril. The patron segment also features a countdown of the Top 5 Greatest Cage Rage Freakouts (with clips) that you'll have to hear to believe. We hope you enjoy this concluding installment in the one, the only #uncaged!To view the clips referenced in the Patron segment, see below. To learn how they rank, join the Patreon!Ghost Rider: Spirit of VengeanceThe Vampire's KissMandyThe Wicker ManDeadfall4:15 - Business TimePatron Only Segment: The Top 5 Greatest Nic Cage Rage Freakouts (including clips)11:56 - THE WICKER MANSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Intro: Boz did MDMALet Me Run This By You: Will Smith and Chris RockInterview: We talk to Katharine Scarborough about The New School, Ron Leibman, Robert LuPone, Casey Biggs, the Actor's Studio, Neil Labute's Fat Pig, Harvard's A.R.T., Shakespeare & Company, Moscow Art Theatre, Biomechanics, Michael Chekhov technique, Michael Chekhov Theatre Festival, Ragnar Freidank, Mabou Mines, Dixon Place, The Brick Theater, JoAnne Akalaitis, Big Girl web series, Jean Taylor, clowning, clown burlesque, improv culture, Bridesmaids, Melissa McCarthy, actor branding, cultivating a good relationship with agents, One on One NYC.FULL TRANSCRIPT (unedited):2 (10s):And I'm Gina Kalichi.1 (11s):We went to theater school together. We survived it, but we didn't quite understand.2 (15s):And at 20 years later, we're digging deep talking to our guests about their experiences and trying to make sense of it all.1 (21s):We survived theater school and you will too. Are we famous yet? So I think the main thing I just want to say is like, I took drugs, but we call it the medicine. Right. Everyone's like in the ma so I did, and I won't, it's still illegal because it's still in third clinical trials, but I took MTMA with a trained MTMA guide. Who's also a therapist whose name I shall not say so that she doesn't go to jail for some weird reasons. And I'm going to tell you, and you probably already know this from your, from, I know you have some like knowledge about psychiatry or about psychedelics in terms of medical use and stuff like that.1 (1m 12s):Not that you've done them, but you know what I mean? I know you, whatever the point is, I think it's going to change psychiatry. Like it's going to change2 (1m 21s):A hundred percent.1 (1m 22s):I had. Okay. First of all, I was scared shitless. So MTMA is the pure forum for people that don't know of, of ecstasy or Molly, but it's, it's, you know, pharmaceutical grade and it's whatever, it's very, you know, whatever, it's a, it's a legit medicine, but I was scared. I was like, I'm going to die. I'm going to take this. This is where for someone that has anxiety more than I have depression, I think now anyway, in my life, the fear was I'm I'm doing something illegal. This is wrong. And I'm going to suffer for it also, like that was the moralistic fear. And then the actual fear of what the fuck is going to happen.1 (2m 3s):So for people, you know, just so people know, like you're in this person, rented a house and Airbnb and had a beautiful, I was, it was just me and her and a beautiful, like, amazing bed. That was that she brings in. That's like a foam, a memory foam. It's not as shitty thing. It's like really great. And I even thought that before I was on drugs, right? Like I was like, this is a really good setup. The house was a neutral house. Meaning she picked a great thing, which was there. Wasn't the, the family of the people's art on the walls. It was like pictures of surfing and stuff and like water.1 (2m 44s):But like not a lot of people, there were no mirrors. Like I was like, is this made for this? And she's like, no, I just found this. There was no, no, the house was clean. So it felt really good. Right. But not sterile. So that was great. And she had flowers and stuff and there was like a table set up. So then you go in, you bring objects and, and pictures, if you want. And there's two kinds of MDM assisted therapy, right. There's talk therapy you could do with two therapists. I did not. This, this practitioner does not do that kind. She's a firm believer in like letting the client lead their own experience.1 (3m 26s):And at first I was like, oh, I hate that. I want you to take care of me. Like I was like, I want all the therapists in the room. Right. It was like a real, and then I said, you know, no, I'm gonna, I'm an adult. Like I can it's. Okay. And also when you have two therapists in the room, they, they, they use the music less. So what I will say is the music was, I would say 90% of what was amazing about this. I don't even like music really. Like, I'm not a music person, but you, you literally have your headphones noise, canceling headphones with th with curated music from MTMA musicians.1 (4m 7s):So people that have scientists have worked with psychiatrists and doctors to develop music specifically for psychedelic MTMA journeys it's and it's timed with the medicines. So, because they know, because they've done studies, they know the trajectory of the journey in terms of what you're going to be, what kind of thing is going to be maybe happening. So they time this music. So you put on these headphones and there's like blankets. And I brought my own blanket. And it's you do like beforehand, you say a prayer and like, not a prayer, but like, yeah, like, like a, like a meditation tension.1 (4m 47s):We said, I, and believe me, this was not something I took lightly in terms of, I for weeks have been committed to doing it. So then there's a workbook beforehand there's sessions with the therapist beforehand. So it is not a party. This is not, I cannot say this enough. It is a journey and not a party. So meaning that it's a whole thing. It's like a process it's it's therapy. It's it's medical treatment is what it is. Okay. So you have this headphones on and also the music is playing in the room as well, the same music. So that even if you take your headphones off, you hear it and okay. And you have total blackout shades on, on your eyes.1 (5m 31s):So a mask that is comfortable and soft, but really dark. And I was like, oh my God, I'm going to die. Like, this is, this is it. This is how I die. And then I was like, you know what? You have so much, like you you've done so much research. You've watched the videos, you know, this is not gonna, they're gonna kill you, but you're scared. Okay. But I just took the pill. I was like, okay, here we go. So I took the pill and then you lay down and you're like, okay, it's not working. Like none of it. And by the way, I've never taken equity in my life. I've taken throughs and I'm taking acid and obviously marijuana I've smoked and stuff and edibles, but never that. So I was like, nah, it's not working.1 (6m 12s):And then the music, okay, well, all I can say is it becomes a party for your body and the notes I will share with you in an email that she took. I said some of the funniest things that I've ever said, and also you're like still aware that you're you. So it's not the feeling because for someone like me who has trauma and panic, the big fears that you'll disappear, I will disappear. I won't have an identity and no one will take care of me. And I will, I will totally decompensate to the point of death. Like that is really the thing, this drug, this medicine, you know, you're still you like, if, if, if a police officer, God forbid came up and said, what's your name?1 (6m 57s):And you could answer all those questions. It's just, it literally turns off the part of your brain that is super judgy. So I knew what was happening sort of, but then the music, I was like, okay, this is not working. And all of a sudden, Gina, the music becomes the most beautiful music you've ever heard in your life. Like, you can't believe that humans made the music. Like I was like, this is, and I, I kept saying, this is like watching a movie with your body. So you're. Yeah. So you're like, and then, okay, so you feel, I felt great. And like, you're underwater, you can breathe under water and there's some visuals, but you're seeing nothing.1 (7m 40s):I mean, there's no, there's black, but you're seeing it. So you are kind of hallucinating. But the thing, and the thing that happens is with MTMA is that the whole principle is that inside of us, that these MTMA psychiatrists and therapists believe that there is an inner healer drive to live person who knows better inside of all of us before the trauma happens. Right. It's moved that we access that part of ourselves during the MTMA journey and you, and that's why they say trust the medicine. And I'm like, that is, fuck you. Trust them like beforehand. I was like, but you, and don't get ahead of the medicine, all these things they say.1 (8m 21s):And you're like, what? But you, you know what it means once you do it, you're like you is the most. So you're feeling good. I felt like you just feel relaxed and, but it gets you in that state. So then you can look at your trauma, so,3 (8m 38s):Oh, okay. Like making everything, just so PR conditions being perfect. Yeah.1 (8m 44s):And then you're like, oh, this is a hard song. So it feels like, oh, this is a hard song. And that's how I started to feel. This is going to be a song. And it, and I can only tell you that, like I worked through some it's, it is, it's like 12 therapy sessions in six hours in a, in a, in a, in a wonderful way in that I looked at some stuff, some crazy stuff, but it is not, we're not when we're on MTMA we're not attached to the trauma. So it's like watching a movie, but also you're feeling it.1 (9m 27s):Like I could feel fear and panic come up. So it wasn't like I had a good time all the time, but I wasn't, you can go towards it without feeling like you're going to be annihilated. I didn't think I was ever going to be annihilated by my trauma in the, in the medicine. I felt like I had the resources and I knew there, and I was curious about what the songs and the music and the drug was going to show me rather than petrified. And I have to get the fuck out of here. And like, I don't care what I do.3 (10m 6s):Did you ha did you remember things that you hadn't remembered before?1 (10m 10s):No. It was like, well, no, no. It was like different. It does it in a way that is like, not you. So the things I worked through, I can say it was like a song and the music is timed. When you're at the peak of the medicine for this, it was like some crazy, like intense, you know, soundtrack to a scary, not a scary movie, like, like, like a war movie. Right. And you're like, oh God. And at least that was my experience. But then what happened was I had a nine 11 situation where I was in the burning building is so crazy. This is nine 11. And I'm in a burning building on the 94, but I'm not panicked. I'm like, okay, this is what's happening.1 (10m 52s):And I go to a man and a woman who are dressed in business clothes, and they're sort of tattered. And we've all been through this horrible crash. And I say, you guys, we have to jump now. And they're like, fuck, you know, way to a man and a woman blonde lady. And I say, listen, I know you're really scared work on a jump together. We're together. And this is the last conscious choice we get to make as a group to do, to take, to take our lives in our own hands. I'm going to ask you now to take my hands and we're going to jump and they're like petrified and I'm like, we can do it. And then, and I'm here watching Jen, the observers, like what is going to happen, but not like I got to get the fuck outta here and clawing at my skin.1 (11m 38s):No, no, no more like we, I knew that we had to do this. And so I took their hand and we jumped and then we started flying. We flew away. So I like helped them to, and it's really me helping me. Right. So like, I get that now. But like, and so I wasn't like petrified. So that was a huge moment. But the other moment was none of the people I didn't want to come in, came in. So like your inner healer knows, like I didn't want to see my parents and I didn't want to see my sister. And I didn't. I saw my dad in the, like a field and he was young and happy. Great. We like, that was great.1 (12m 18s):But in the song, there was a, like a Tibetan song nothing's in English, which is great. So like, if there are words and lyrics, it's not an English, which is great. Unless you speak those languages, then you might know what they're saying, but I did not. And so there was a Tibetan, like guys scream, like screaming, singing, like chanting. And in my head, I was like, oh, this is the reckoning song. This is where he makes other people atone for their sins against me. He's yelling at them, all the bad things they did to me. So I don't have to do it like stuff like that comes forward where you're like, holy fuck. So, and then the other thing was the name.1 (13m 1s):And I will say this, and I will not say the name, but the name of someone I think like sexually abused me as a child came forward. And it just said, the name of your perpetrator is, and then there was the name and it wasn't scary. And it was at the end of my journey. And it was sort of like, this is just the name and it's the name I knew. And it's a name that I had questions about. And I was like, oh, okay. And it was like, not a dun dun dong. It was like, this is3 (13m 33s):Okay. Okay. Oh my God. I make so many feelings.1 (13m 37s):Oh God. Yeah. So, so that is my, so my takeaways are still, I have many sessions afterwards. I'm gonna meet with her tonight on zoom. And we it's an ongoing process. I don't know if I'd ever do it again. They say like, you just do a maximum of three, three sessions for any person, unless you have like severe, severe trauma. And then sometimes they mix it with mushrooms and ketamine and they do all kinds of things for like combat veterans and stuff like that. Or just people that are really stuck for years that are on like 40 meds. And like can't. So I will say that it's changing psycho, like it, because you are self fricking guided.1 (14m 21s):It is, I didn't make the experience about anyone, but myself and I was able to take ownership over. Like it was parts were scary. Parts were lovely. Parts were fun, but it was my experience. So like, you don't lie.3 (14m 40s):You're the protagonist in a story.1 (14m 42s):And I didn't make the therapist, the leader, or I sh she was there as a witness. So what I'm saying about MTMA therapy is if you are committed to it is one it's just like fucking having a dog or getting married or anything else. If you don't really have to, or need to do it, I would say, don't do it. But if you are someone who is in therapy, working on your shit and you feel stuck, or you feel like there is a trauma that you just refuse to touch in there, talk therapy or whatever MTMA is, is the thing. But, but I really recommend, like I took a shit ton of supplements before a shit ton of supplements after HTP, all things you can get at whole foods because your body does need to.1 (15m 29s):And I got a massage, you got to do it the right way. Like this is, I tell people it's not a party, but it's also, it's like a journey. And it's also a huge self care thing. It's like, it's all the all, and they say, the minute you commit to the medicine like that, you're going to go on a journey. The medicine starts working. So like stuff will come up before then you're on. So all this to say, what are your thoughts when you hear this?3 (15m 55s):Well, I mean, I'm, That's what I would be scared of this Learning something new about my past.1 (16m 12s):Right, right. I know. I know. It's3 (16m 17s):Afterwards. How do you feel about that?1 (16m 20s):I, I feel like she not first want to say, like, I totally get that. I was petrified and I, The worst in our life has already happened to us because we were children and we could not do anything about it. That is the worst part of the whole thing is that we were little and had no resources. That is the crime that was committed against us. Not that it, it was that we were resource lists. The thing about MTMA and how I feel. I never felt resource lists.1 (17m 0s):I knew3 (17m 2s):If I'm prepared1 (17m 3s):And in the journey, even while I was like, oh, this is going to be hard, but I never felt like D I was in danger and I never felt like a child. So trauma robs you of your adult hood. Right. So it tells you you're still five and you're still in the situation and nobody's going to help you. You don't feel like that on MTMA. I don't know about, I feel like on other drugs you might, but MTMA is like really renowned for people feeling in somewhat in control. Like I could have, I wouldn't want to drive a car, but if like I needed to, I could have been like, oh, Hey, let's get out of the house now, but I hear you.1 (17m 43s):But it is so evident in my journey that like,3 (17m 51s):We w it really helps to grow you up. Let me run this fine. Everybody has trauma that they need to look at. And that leads us into what we definitely have to run by each other, which is th this thing that happened at the Oscars and talk about trauma. And, you know, all I could see in that moment was two little boys. I saw Gina.3 (18m 30s):Exactly. I thought, oh, they're so hurt. So deeply hurt. I have no tools right now to it, especially for will Smith. It's like, he, he short-circuited somehow. And was his trauma was unable to stay under wraps and it came out in, on a public stage. And that's all I could see too, because that's my framework. That's my, that's my paradigm. Yeah. And, and, you know, of course in the information age that we're in and the, in the social media age, the, the, the, the second something like that happens, all anybody can think about is like, what are the hot takes going to be on Twitter?3 (19m 16s):Right. Okay. Well, there's a variety of takes, but they all seem to be mostly focused on who was wrong or what was wrong, you know, which to me is like, not the point, you know, like it's, who's hurt, who is hurting and what are they going to do about their hurt? You know, I said, yeah. I said, these people, all of them involved need help and support. Absolutely. They need help need shunning. They don't need, you know, I mean, and, and I don't really hear too many people talking about Chris rock, but I mean, I hope his people are checking on him because he gave his help to television.3 (20m 1s):And I just, I know that that has happened to him before. Right. I just felt like this is such a redo of his child that I don't know that it must be. And he said, you know, he's talked about everybody hates Chris. That was a joke. And he talks about getting him, getting in trouble with his mouth before, but I don't know, man. It was just so raw. And I kinda think they just, I guess they had to air it, but, and it's sort of live or whatever, but I don't know. I just, I wish there had been, I wish the grownups had come in. Well, what we need all I was telling my therapist yesterday, we need referees to say, wait, time out time, like psychological referees that are like, this is actually going into a territory.3 (20m 43s):That's not okay. So like, let's stop and regroup, but nobody, you know, it's1 (20m 47s):Capitalism and money. And nobody cares about psychology.3 (20m 49s):It's like, oh, good ratings. You know, this is getting before,1 (20m 52s):Like, fuck them. They're rich. So who cares about them? Or fuck that.3 (20m 55s):I hate that. I, that argument just really is just so tired. Like, oh, if you have money, then you're not allowed to have any other problem for life.1 (21m 4s):Well, the other thing I think is like, if we, if we live in a capitalist world, which we do, and basically the rich people run things, I want my rich people to be healthy.3 (21m 13s):Amen to that. Yes.1 (21m 16s):Yeah.3 (21m 18s):And talk about tools and resources. I mean, they, they that's, that's the one thing I will say, if you have those resources, you have a responsibility to make use of them in a way that contributes not detracts from the world and yourself and the people that you love and who love you, you know? Yeah. So it was sad. And, but at the same time, I was happy. There was theater back in the Oscars. I was happy about all of the firsts that happened. I was, I, it, it looked to me to be the most inclusive orange show I've ever seen in terms of what they talked about and hoop in the symbolism.3 (21m 58s):And I really, I really get into the symbolism, you know, when people wear certain things and do certain things, and this rep, you know, I'm sure if we could talk to the set designer, we would, we would learn a lot about what the symbolism was of the set. And so I thought that was interesting. I was wondering where they were sitting around these tables because it's not like the golden gloves are not eating meals. And then when, when these dancers got on, I thought, oh, this is for this. And, and it just felt like theater. And I just thought, yeah, okay, good. We need this. Anyway. We need, we need to get back to like, something more pure about why we all went into this because Yes. And visceral, because the other thing that occurred to me is like, wow, I never heard about this before, but it must be so tense to be at the Oscars,1 (22m 46s):Like horrible.3 (22m 48s):You're either tense about what you're wearing tense about whether or not you're going to win tense about what speech you're going to make tense about what I noticed people. I feel like I could read people's body language when they were dissatisfied with where their seat was. You know, I just felt like everybody was, everybody comes to that night with who are you going to tell me? I am. Oh,1 (23m 10s):Right. That's right. And am3 (23m 11s):I, is that going to be acceptable to me? And it's a very narrow definition of what's.1 (23m 17s):Yes. Well, yeah. It's like, yeah, it's teeny, it's impossible. It's impossible. So I think you got to go, like, I now know why, like Frances McDormand goes and she's like completely stoned or like, or like just crazy people do because it's too much pressure. That's the other thing I'm real I saw was with the, with the will Smith thing, was that the amount of, like you said, tenseness, you know, the amount of pressure they, everyone looks like ready to pop. They're so anxious and stressed out and understandably it's. So I, I know now why people don't go to those things. Like I always thought it would be so fun, but now that I'm looking at it, I'm like, that seems like a lot of work and also real tense,3 (24m 3s):Real, real tense, but that doesn't take away from the beautiful, you know, I heard some beautiful speeches and overall I think overall I hope everything that happened at the Oscars is indicative of like things moving in a better and better direction, but we're also very far away from a lot of things, a whole lot of things.1 (24m 26s):And, and then there's this, you know, and we don't really have time to talk about it this time. We're going to talk about next time maybe, but like this whole thing of like, okay, so a lot of, you know, like who gets to have a take on what went down? So like, people are, are saying, you know, I've seen members of the black community saying, you know, like no white people should talk about this. And, and frankly, I didn't feel the need to talk about it as a half white, half Latino or as a human. I also, my, I thought, I thought, oh, my framework is I come from a place of like, we're all traumatized. So like, that's what I, and I'm trained in that. And that's what I can chime in about if somebody asks my goddamn opinion, like you and I ask each other's opinion, but nobody's asking my goddamn opinion.1 (25m 13s):So I don't keep my mouth shut. If you want to ask me what I think, then we talk about it on our podcast. You know what I mean? But like, I don't need a platform Twitter to talk about will Smith and Chris rock, they, plenty of people are doing that3 (25m 25s):Where people1 (25m 26s):Covered3 (25m 27s):It's covered. It's well-covered yeah. Oh, I just have a very quick update about my fascination with those tick talks with the, the women and1 (25m 36s):They're getting ready and the coming home,3 (25m 38s):I found out they're all infomercials1 (25m 44s):For the products in there for all the products.3 (25m 47s):Yeah.1 (25m 48s):So it's actually nothing about there. They don't really do that.3 (25m 52s):I mean, who knows,1 (25m 54s):How did you find that out?3 (25m 57s):'cause my kids stole they're like, I mean, and they were, they weren't saying mom, you know, that's just infomercial. They were like, yeah, you can get all those products. If you just click on the thing you can see. And I was like, oh, so the whole thing is a commercial. And they were like, yeah, what did you think it was?1 (26m 12s):You're that it was a day in the life of a lovely lady with very many gadgets and outfit.3 (26m 19s):And it was just one of those moments like, oh, I, so1 (26m 24s):I have those all the time. I have those all where I'm like, oh, I'm truly an eater.3 (26m 29s):I'm truly so dumb. I deserve, I deserve to waste my money on these products and they don't want to get my money completely work. I did in the end, only buy one thing. Oh, you1 (26m 42s):Actually did buy what you3 (26m 43s):Buy. I bought it a egg cooker. You can, you can hardball eggs in the microwave.1 (26m 50s):Well, that's pretty good. Okay.3 (27m 9s):Today on the contest we were talking to Catherine Scarborough. Catherine is an award-winning New York city-based actress and writer. She got her MFA in acting from the new school for drama. And she's also trained with the Moscow art theater and the people's improv theater. She has a lot of interesting stories and she has a fantastic web series called , which you can find on her website, Catherine scarborough.com. So please enjoy our conversation with Catherine Scarborough.6 (27m 51s):Yeah. Yeah. Perfect. Okay.3 (27m 53s):So congratulations, Catherine, Catherine Scarborough, you survived theater school and your first new-school alone. So I I'm really intrigued by the way, by your intro here, he says, can be interesting conversation. Does that mean you had a mixed bag of a time?7 (28m 10s):Well, first of all, thank you. I, yes, it was definitely a mixed bag. It's an interesting program. Yeah. I mean, I, the training, my professors were really great. I had a lot, I really am happy with my artistic training. It was the business side of things1 (28m 32s):That7 (28m 33s):I, we went out into the world completely unprepared.1 (28m 36s):Okay. When did you graduate? You look so young.7 (28m 39s):20 13, 20 131 (28m 44s):Is recent. So we graduated and fricking long, long time ago. So, so like, like, yeah, nineties. So, so at 2013, the new school didn't really prepare you business wise. And I mean,3 (28m 59s):When did these people get,1 (29m 0s):When are we going to get prepared,7 (29m 4s):Please schools do it, to be honest with you. I think that if it's a name, if it's a school that you can walk into an audition room and they're like, oh, you're a Yalie. You're NYU. It's a different story. But like, to give you an idea, and I got my MFA, it was not a BFA program. It was an MFA program when we were getting ready or we had done our showcase maybe. And then we were doing, you know, reaching out to agents and managers, this spreadsheet that we were given, some of the people on it were dead1 (29m 44s):Or in jail or in jail7 (29m 46s):Dead. I mean, one of my classmates came back, oh1 (29m 48s):My God, these people,7 (29m 52s):They were like, I'm sorry, this person has passed away.1 (29m 60s):That's3 (29m 60s):Crazy.1 (30m 1s):I really, I really applaud that. Person's tenacity. They were like trying to get repped by a ghost. They will do like, I'll take anyone, give me the ghost, even3 (30m 10s):The ghost ghosted me. Okay. So, so you weren't prepared, but what about the straight training side of it? Like7 (30m 20s):You,3 (30m 21s):Presumably you went there saying I'm going to be a famous actress. Give me all I need to know. Did they fit the bill in that way?7 (30m 30s):Yes and no. I mean, it was, you know, again, once again a mixed bag, I had some fantastic professors. I, I was lucky enough to study with Ron Leibman1 (30m 42s):Who he, more,7 (30m 44s):Ron originated the role of Roy Cohn in angels in America. He was Rachel Green's dad on friends. He and studying with him was really a gift. I mean, and he, you know, I mean, he had done what you want to do as an actor in his career. He had Tony, can I curse? I really, You know, he had a fucking Tony. So there was no, I think sometimes with acting teachers, there is an ego part of it where they, I don't know, they want to mold you or they're frustrated and they haven't done what they want, but he had done everything that he wanted to do.7 (31m 27s):And so really he was just in it because he cared about young actors and he was tough, but he wanted you to be the best artists you could possibly be. And so that was such a gift that there were lots of professors that I really had a wonderful experience with there. Casey Biggs was my classical technique. Like Shakespeare professor. He's wonderful. He was, he's a star Trek actor. If you don't know, the Saifai world gets a lots of Shakespearian actors because they have to3 (31m 58s):Make7 (31m 58s):Sense. You know, they have to take this ridiculous material and make1 (32m 3s):And make it accessible.7 (32m 6s):Right.1 (32m 7s):So for people that don't know, obviously the new schools in New York, did you audition? How was that?7 (32m 14s):Yes, I auditioned. So it, yes, it's in New York city. It used to be where the actors studio was. And then there was this gray Bradley Cooper went to my grad school at the time that the actor's studio was still attached. And then there was this big schism actor studio went to pace. And then the new school had its own drama program run by Patty lipomas brother bobble poem. So he was the Dean1 (32m 44s):Of the school at your school?7 (32m 46s):At my school. Yeah. Bobby Lou. And so, yeah. So the audition process was I actually, they asked you to prepare a scene. So you had to find a scene partner and do a scene rather than just a monologue, which was cool. So I had a friend of mine come with him. This is funny. And a friend of mine come and do a scene with me. I did a scene from a play that I hate, but that I felt like would make me appear marketable. I did a scene.1 (33m 17s):Yeah.7 (33m 17s):I did a scene from fat pig, which,1 (33m 19s):Oh, no,7 (33m 21s):But Hey, I got into school with it. So1 (33m 23s):Yeah. You know what I always say about that play? Like I actually know Neil LaBute and that guy's a Dick. So, I mean, I've met him. I wouldn't say know him. He directed did he direct, he directed Wicker man, that my boss Nick cage, was it the second time UN he's got problems. He's a, he's like a Mormon, he's got problems with his own body size. I think as a, as a plus sized dude, he's real weird. He's real weird. But anyway, I always say about fat pig. It's like, I am always rooting obviously for the actress that takes on that role.1 (34m 6s):Especially as a plus sized lady, I'm like, yeah, you go. And, and we think, God, I hope we're writing better plays in that, but you know what? It's not the actresses deal that is doing it so good for you. So you did a scene from that pig with your friends,7 (34m 22s):And then he got asked to audition for the school himself and he got into,1 (34m 30s):I'm glad you both did because you didn't.7 (34m 33s):I know it would have been nuts. So, so we do the scene and then we find out what happens then is something called callback weekend. And I actually, I have to say, I think that the new school at that time, because the training has completely changed at the school now, since I've graduated. But their audition process was the best that I ever experienced because, and by the way, I auditioned for graduate schools, like on three different occasions. And when I auditioned for the new school, it was like the last gasp. It was the only school I applied to that season. Like I was like, I'm done with this. I'm going to open it.1 (35m 11s):No one, no one accepted you the first times. Right. Mad at them.7 (35m 17s):It was really awful. But are you1 (35m 19s):Fucking kidding me? Okay. All right. So they, you were like, fuck it. This is the last hurrah. I don't get it here. Okay.7 (35m 25s):Yeah. So the only school that I applied to that season, so you do your scene and then they have something called callback weekend where it's a whole weekend. You go and it's a surprise. You don't know what's going to happen. You go. And they have, because part of the core of the training and the new school is having playwrights directors and actors create new work together, creating your own work is a big part or was at that time a big part of the training program. And so you had to put together, we were put in groups and we put together a short play in 24 hours. And that was our, our callback.3 (36m 6s):I mean, that sounds really stressful, but also really7 (36m 8s):Fun. It was so fun.1 (36m 10s):Did you write the play,7 (36m 12s):The playwrights? Did they1 (36m 14s):Right? Yeah.7 (36m 15s):Yeah. At some point too, I did have to do two monologues and I cannot remember when that happened. I think, I think, you know what it was. Okay. It was callback weekend. I had to go and do my two monologues and do like a movement workshop. And then you found out, okay, you've made it now. You're the last round and you're doing a 24 hour play. Yeah. And so, yeah, it was really fun to be honest with you. It was good.3 (36m 42s):Yeah. I bet it was. So what about for undergrad? Were you also doing theater and under?7 (36m 48s):I did, but I didn't get a BFA. I got a BA at UMass at the university of Massachusetts Amherst. They actually have a beautiful theater program there. I had a great experience with them.3 (37m 1s):Yeah. And what was the impetus to go to grad school?7 (37m 6s):I had always, I mean, since I was a small child, like four years old, I've wanted to be an actress. I always, and I'm not, I'm not, I'm a theater nerd. Like I always wanted conservatory training. My family historically was not supportive of this. I really wanted to get a BFA and they didn't want me to do it. And so I ended up going to, you know, regular school, regular school and just getting a BA but studying theater. And so I had always wanted to have the experience of conservatory training.7 (37m 45s):After, after I got my BA at UMass, then I did a, like a training program with the Moscow art theater kind of connected. Cause I had applied for art. Didn't get in. But then the Moscow art theater reached out to me and they were like, Hey, we do this summer program. And we also do a winter program in Moscow. So I did both of those things.1 (38m 9s):Awesome. Yeah. They tell you my art story.7 (38m 12s):Oh yes, please.1 (38m 13s):Dude. I was a fucking idiot. So I, I was at taking a leave of absence from the theater school at DePaul. And I was at, I was at Shakespeare and company on the east coast. I was working there, but anyway, I thought, oh, this is a great time to audition for Harvard.7 (38m 28s):What?1 (38m 30s):I don't know what I was thinking. Like DePaul was fine. Like Harvard, like air chief was actually going to be better. But anyway, I mean, it's all the same once you get there. But so I thought, let me just audition. Sure. I had, usually I have two monologues. I had one monologue. Sure. I was also young and you didn't3 (38m 49s):Read the,1 (38m 52s):I did not understand the assignment. So I show up at a party and I'm do my monologue. And it went really well, even though it was probably a totally ridiculous monologue. It was above my head and the person the woman goes, that's great. And then I just stopped. Right. Cause I didn't have another monologue. And I said, and they said, do you have anything else you could show me? And I literally said no, but I could tell you some jokes.3 (39m 21s):See, I know it's a great idea. I think that was a great, I mean maybe he didn't know her that well, but I like,1 (39m 28s):And it was the truth and I, and they, she looked at, it was, it was, I did not get in there and I think they were all like what? She was like, what I, it was, she wasn't that I was on drugs. I wasn't, but she probably thought this child is on drugs. Like that's the only answer. So anyway, I don't know. But also they closed so no longer around. So you, okay. So you, so you did, you went to Russia?7 (39m 51s):I did. I went to Moscow and I studied like one of my teachers that I stayed with her father was Stanislavski student. I mean, it was crazy1 (40m 2s):My, oh,3 (40m 3s):Tell us everything about that program. It sounds interesting.7 (40m 6s):And I mean, considering what's going on, it's so sad in the world, but I always will hold my experience with the Stanislavski summer school and with it's my hot mess, Moscow art theater, very, very close because you know, I think as actors, NSX and students, we are delicate creatures and our confidence in ourselves and in our instrument and in our own talent is very, very delicate at all times. You know what I mean? And it really studying with them really made me fall in love with the theater and ma built me up and made me feel like, oh, this is what I'm meant to do with my life. And it just was because again, these, you know, the Russians, they, they don't give a shit.7 (40m 53s):They're all about the art. And they care about you as a, an artist. And1 (40m 59s):Did they not? Can I just say, were they not? Were they inclusive about body sizes? Oh, see, this is my problem. It's like what kid? Anybody fucking, not even in Moscow.7 (41m 11s):I mean, listen over there. It's definitely. But what I will say is my experience in classes and stuff, they just expected me to do it, you know, like,1 (41m 21s):Right.7 (41m 21s):My, my Grotowski admire hold biomechanics teachers. They were like, okay, now you will do backbend. You know? And I would just wouldn't do it. And it was like, okay, Catherine, now you will. You know what I mean? And so, and I, you know, I, we had this one teacher who re actually recently passed away. He was the most wonderful man. His name was Misha and Misha taught Michael checkoff technique, which I had never studied before I studied with them. And he was a lunatic, but like in the best, most beautiful way he would do this, this game with us called I love myself where, where he would have us run around the room, like crazy seagull.7 (42m 10s):And then while we're running around the room, like crazy seagulls, he is humming the theme to the godfather. So he goes,1 (42m 18s):It's fantastic. It's like what I did in my day program in therapy.7 (42m 24s):So he's going up, up, up, up, up, up, up, up, and then he'd clap his hands and go number one. And you had to hug yourself and he goes, I love myself. And then he'd clap again. And then you have to run around again and he'd go bump up, Clap number two. And you'd hug someone and he'd go, I love my friends and Cutest. And like, he, I don't know, it was, it was a lovely experience. And I got to do Google. I was in a Google little, oh, Hey, I was in the inspector general. And I just felt seen by these teachers3 (43m 5s):Randomly, I don't know what the connection is, but they're in my town, which only has 30,000 people in it. There's a Michael checkoff like festival. Oh, I don't know if he lived here or I I'll have to look into it more Connecticut.7 (43m 24s):Is that because my grad school, Michael checkoff technique, professor Ragnar fry dog does a maybe1 (43m 34s):Greta. Steve. I bet it's gotta be connected. Ragnar and fry. Duncan7 (43m 38s):Connect,1 (43m 39s):Cover all connected.7 (43m 40s):Yeah. It might be. It might be there. It's somewhere up. I don't know. It might be,1 (43m 46s):Are you in New York city?7 (43m 47s):I am. I am in the city. Okay.3 (43m 51s):Okay. So you didn't feel prepared once you graduated. So what did you do?7 (43m 56s):Well, one thing that the new school, like I said, that they did, that was great. Was they taught us that we have to make our own work, which I think is true. I mean, I think, you know, and you know, I just been through this experience where I had to plumb all of this personal trauma to, you know, being in front of your friends to be an actor. I don't know. And there was a crisis in my family and I ended up using it and applied for an artist residency with Mabu mines. I don't know if you guys Mabee mind says1 (44m 33s):I don't, what7 (44m 34s):Is that? So Mabu mines is a theater company. That's been in New York city since like the sixties, seventies. And they're very experimental run by who has since passed away Ruth Mela check and Joanne Akalaitis and Lee brewer. Who's also, so they they're really into cookie, like experimental crazy theater. And so I got an artist residency with them right out of graduate school. And for a year developed my own place,3 (45m 5s):Something where you had to write a proposal about what you would be working on there. And, and you're, so you wrote something that was informed by a terrible thing that happened to you.7 (45m 15s):Okay. And so, yeah, I wrote a few3 (45m 17s):Minds saying anything about,7 (45m 21s):Because I wrote a play. So yeah. So I come from a very chaotic family. There's just all kinds of craziness. Always my father, who is much older, he was a doctor for nearly like 50 years, maybe 50 years. And he had this huge practice in this like shitty Podunk, back ass words, town and Florida. And he's very eccentric. He doesn't make friends, he's not politically savvy and was employing really ne'er do Wells to run his office.7 (46m 4s):And one of his nurses was writing counterfeit prescriptions1 (46m 10s):For opioids,7 (46m 11s):Opioids. So the, the, what is it? The DEA shut down his office and conducted an investigation for over a year while I'm in graduate school. This is going on. And then D couldn't get him on running a pill mill because he wasn't, but got him on insurance fraud, which I will tell you, actually, something that I do have done in the past no longer, but for a survival job, I've worked as a medical secretary. Every doctor concerns, insurance fraud and the1 (46m 50s):System, the system is set up for that. What are you7 (46m 52s):Talking about? So at the time, my 77, my in fact, my, was it my third year. Yeah. My third year of graduate school, my 77 year old father went to jail. Thank God he wasn't in there for very long, but we fought, he might be, he was held on half a billion dollars bail. Like it was insane how they went after him. And, you know, it's funny because I've been rethinking the project that I did because I was so fresh out of it. I essentially, I took because as he started me letters from jail, and then I realized he had been writing me letters since I, for like 20 years, he's a letter writer.7 (47m 37s):He himself is kind of insane. Like, he's, I love him, but he's, you know, and so anyway, I took all of that source material and I created a play out of it.3 (47m 51s):Wow. And, and I mean, presented for the public, right. Like people came to see it. How was it received?7 (47m 58s):I think it went really well. I mean, it was my first, you know, I, again, being unprepared, you know, coming out of graduate school, I didn't know a lot about promoting your own work, you know, I didn't know to write a press release and I didn't know to, but I did it with Mabu mines. And then I workshopped it in a few other places. I did it at Dixon place, which is another like incubator you're in the city. And then I did it in residency at the brick theater in Williamsburg. And that was, yeah, that was the last showing that I did1 (48m 30s):A solo show.7 (48m 31s):No, I had a hue. I unwisely had a huge cast. It was like nine all of us. Yeah. But it was like about because I'm from the south originally and it was about my family. And like the stories you tell yourself about your family versus reality versus very, yeah. It was, it was a great experience doing that. So3 (48m 55s):How have you continued to create your own work? I know you have a show, your own show, big girls. Is it called big girl?7 (49m 1s):It's called big girl. Yes, I, yeah. I really do enjoy writing and writing for myself. I think that, yeah, my experience has been more fruitful in writing for myself. Then, you know, the little parts you can get or, you know, yeah.1 (49m 20s):I want to let your, I just want to give you permission to let yourself off the hook for the publicizing of your thing. No, no. I need to tell you that I, when I did a solo show and it went to New York, I fucking paid a publicist $10,000 and they didn't do anything. So, so, so I'm just saying he, they didn't write a press release either and you were out $10,000. So was actually saying you saved $10,000. So you did good. Oh, wait. So Gina asked about like, yeah. So you have big girl is a, it's a, it's a show that is still is an ongoing, is it happening right? The second?7 (49m 56s):No, we, so we did. So the way big girl came around is that I started taking improv classes of all things. I hate improv, but I'm glad that I studied it. And I met my producers there in improv class. And I had written a play about body image and they came to see reading of it. And then we decided to do, let's do something together. We decided to write this web series. And so we, we worked on it from like 2018 through 2019.7 (50m 37s):And it's five short episodes. It's stories based on my life, but heightened about dating and just living as a plus sized woman in New York city, every episode is a different genre. So there's a clown episode, a black and white clown episode. That's episode three, which is my favorite of clowning is my favorite theatrical practice. I think I'm working on a clown show right now, actually, but clowning is my favorite. So what do you3 (51m 7s):Love about it? What do you love about coding?7 (51m 10s):I think that clowning is a way of celebrating your vulnerability and your ridiculousness. You know, I think that whatever makes you feel vulnerable is actually your superpower as a performer. It's the thing that people can see that connects us all to our, you know, terror of the abyss, right? And clowning is such a loving and gentle. Isn't the right word. It's, it's a very freeing way to just celebrate whatever is silly or weird about yourself. And if you can laugh at yourself, it gives the audience permission to laugh at themselves, you know, and it's also just really fun.7 (51m 60s):I, I have this beautiful clown professor, my clown, professor, Jean Taylor, she teaches at the Barrow group and that new school and over the pandemic, she reached out to some of us and was like, would you all like to do some zoom clown sessions? And let me tell you that saved my mental health, my like twice a month clown meeting it.3 (52m 25s):It was a picture of a clown school in zoom.7 (52m 28s):It is, I mean, we would just get into nos and we would do eccentric dance. And, you know, she would just have, she has something called go to my spot, which is like, as your clown, you find your spot. It's the whole thing. And, you know, we just made it work and it was, and we would create little, like a tubes as clowns that we would do for her. And it was, it's just, I just love it so much. It's just a, I don't know. It's like balm for the soul. It makes you feel joy.3 (52m 59s):And this is what happens when people feel left out of whatever's happening mainstream wise, as they go find a, like a little off shoot, you know, where, where any aspect of being different is is okay. Celebrated whatever. I mean, in a way it's like, okay, well, I guess that works out too, even though we'd like to be able to be included in mainstream stuff. Right.1 (53m 21s):Well, I feel like that's how all these theater companies that we adore love were made and then, you know, then it becomes something else that gets commercialized. And, but like, if you think about it, like a lot of, a lot of stuff in life, right. Comes from that. And like, I'm now writing feminist body horror. I know, I didn't even know that existed. It only happened because I just was like, okay, well maybe, maybe this. Okay. Fuck it. And then people are like, no, it's actually a genre. And I'm like, what? So like clowning was like, we can do this thing together and tell these stories. And people were like, oh yeah, that's good. And so then that it becomes a thing, you know, for years and years and years, so, okay.1 (54m 4s):So you, you, are you doing a clown show? Are you developing a solo clown show?7 (54m 10s):I have a co clown and a director and we are putting together a clown burlesque show.1 (54m 19s):I love that.3 (54m 21s):That sounds amazing.7 (54m 23s):It's going to be, I'm really excited. Yeah. It's going to be, we're just at the beginnings, like applying to festivals and things like that. And we're just about to start real rehearsals and1 (54m 35s):Oh, is it a scripted, like how does that work in terms of like, what, how what's your process like for us? So I don't know why I keep pushing you to do solo work. I keep asking if everything you do, I feel like I really need you to do a solo show. Apparently7 (54m 46s):I should do a solo show. I haven't before this1 (54m 50s):Do what you want. I just said, so it's a solo show. So you're doing your clown burlesque show. How do you write, is it scripted? Tell me about that.7 (54m 60s):That is a very good question. We are figuring that out because clown involves a lot of, I don't want to call it improvisation, but impulse it's like, you have to let your in order for it, to be honest, right? The clown clowns are my teacher put it this way. They're like cretins. They're very, they're there. Everything is very simple and they're idiots, but experts at the same time and you have to leave room for the unexpected. So our tactic right now is we're going to have a, a loose, an outline, like beats that we want to hit, let's say, but then to leave room for our clowns to play and do what they want.3 (55m 47s):I'm kind of curious about this thing you said about improv, because I also have the feeling that I hate improv, but only to say that I hate doing it, but actually if I was good at it, I wouldn't hate it. So what do you hate about it?7 (56m 2s):I am also not good at it. I get too, too in my I'm just not good at it. I get too in my head. I'm like, why are there so many rules? Why can't I ask questions? Why can't I just come up here and have fun? Why does there have to be a, what does the Harold, why do I have to go back to see the,3 (56m 22s):I mean, think that like, this is all just because a bunch of guys made up improv, right? Like what would it have been like if it was a bunch of women who, who developed the art,1 (56m 35s):It would be clowning and it would be, it would be something more beautiful. I mean, I just think the culture of improv is such garbage and I happen to love improv. I love, love, love it, but I love it because I'm scared because I do feel like you can do no wrong and improv, especially at like an improv audition for commercials and shit are my jam because there's no things to memorize and, and, and to be serious actors and not fuck anything up, but that does crossover into yeah. It, if you're in a culture and improv like school, the culture is there a lot of rules and there are a lot of stuff.1 (57m 16s):And also to be fair, you know, to be, or to be honest, there's a lot of drinking. There's a lot of drugging. It's just not my scene. And it's also really like a 22 year old white dudes see3 (57m 25s):Very fresh, very fat frat life,1 (57m 28s):But okay. So go ahead.7 (57m 30s):Wait, where was1 (57m 31s):I? Oh, no, it's me. I was just saying, go ahead. Either one of you. Cause3 (57m 36s):Well, I, I, I can't actually bring us back to what we were talking about before, but I can ask you, does new school do a showcase at the end? Can you tell us about it?7 (57m 48s):Sure. So it was, we did our showcase at playwrights horizons. We worked on our scenes for a semester and there were a lot of us in my class. So I got into graduate school, like at a time when people like right after the oh eight recession. So tons of people were applying to graduate school and they let 35 actors into our class. And so that was a big, obviously a big issue all through my graduate experience was what do we do with all of these kids?7 (58m 36s):There were, I think at least a good 10 people in my class who had no business. Like they just shouldn't have. And there were people who graduated from the most expensive. The, my school debt is so ridiculous. It's imaginary. There were people who graduated from my program who never stepped foot on a main stage.1 (58m 56s):We, why is it so fricking expensive? What's happening?7 (58m 60s):I it's the new school. I don't know. But yeah, it's the most expensive,1 (59m 5s):Never we're up. We've heard this before, by the way, at other schools Where the people never, there were people that graduated, maybe not an MFA, but like, there are people that graduated that were never in a show and I'm like, okay,7 (59m 19s):I would have, yeah. I,1 (59m 22s):Why weren't they at a show? They never got cast or7 (59m 24s):They didn't get cast.1 (59m 26s):I give him like a pity part. Like you're going to be Cinderella's step sister. And the,7 (59m 31s):I mean, they would be like in the chorus of something1 (59m 34s):That would have been me. That would have been me. I know it would've been3 (59m 38s):Me too. Me too, but was it for agents? And the showcase was for agents.7 (59m 42s):Yeah. Agents and managers. And I did two scenes from bridesmaids because bridesmaid said recently come out. So I did the airplane scene with, and then I did her, her monologue at the end about being in the CIA. I just love. And it probably wasn't wise of me to choose scenes from what, but I was like, fuck it. This is what I wanna do. I worship Melissa McCarthy. I think that she's I, if I ever met her, I would absolutely lose my mind. I just think she be,3 (1h 0m 13s):I think that was the perfect thing to do because right. Because the, the, the thing that bothered, I are always talking about that we never got is that we were supposed to think of ourselves as, you know, to be crass, like a product and what, you know, so what is our brand and what, you know, and we never did that, but that is what is required. So why is it not good to have done the Melissa McCarthy?7 (1h 0m 36s):I guess maybe I think you're right. I maybe I felt like I should have shown more range.1 (1h 0m 42s):They're not looking for range. Let me tell you something. They're looking to look at you seriously and now be in LA. I can really tell you looking at, oh, oh, she knows. She, she, she knows that we think she's going to be like the Melissa McCarthy character. Great. So let us just all get on the, the Melissa McCarthy bus with her, and then we can sell her that way. And maybe we'll all make a lot of money and be rich. Now look, I'm not saying that's a good thing. I'm just saying it was smart in terms of a business move. And please tell me you got an agent. Did you get an agent and a manager?7 (1h 1m 15s):Ah, I, I got one agent who freelanced with me for a minute and he sent me on two auditions in three years.1 (1h 1m 31s):Okay. All right.7 (1h 1m 32s):So1 (1h 1m 33s):Not good, not good.7 (1h 1m 35s):And that agent, I mean, I,1 (1h 1m 38s):What,7 (1h 1m 39s):He, it just,8 (1h 1m 41s):Eh,7 (1h 1m 44s):I'm worried because why?1 (1h 1m 46s):Okay. Let me tell you something. Let me tell you something. This is not about him. This is about your reaction. You don't have to, obviously don't say the name, but this is about your experience of what it was like to be that age and work with is someone in the industry. So tell it now.7 (1h 2m 2s):Okay. So from that point, yes, from that point of view, you know, number one, it, you know, I, I had one really solid audition. I didn't book it, but it was my first big audition in a big room. And I went in and I was prepared and I killed it. And I remember, oh, at PA, oh, oh wait, okay. It's back. Oh, you're1 (1h 2m 24s):Fine.7 (1h 2m 25s):Okay. Like froze for a1 (1h 2m 26s):Second. That's okay.7 (1h 2m 29s):I went in and it was Judy Henderson's office. She's a casting director. I killed it. And I had them all laughing. And I remember I walked out and I heard the director say, oh, that was really good.1 (1h 2m 43s):Yes.7 (1h 2m 44s):So that was such a win right out of an acting program. You know, I didn't get a call back. I didn't book it, but it was such a great, you know, experience. But then after that, and I emailed my agent to say, Hey, this was so great. This is what the people said, send, thank you, notes, all of that. But he like had this Facebook group for the members of the agency and he would have these mixers, Which, and I went to one and it made me so uncomfortable because it was like him. And then a bunch of like women, you know what I mean?1 (1h 3m 23s):Yeah. It's gross. That's gross. I don't know who you are, agents. So it's not a personal thing, but also that's gross.7 (1h 3m 29s):Yeah.1 (1h 3m 30s):It's weird. That's weird.7 (1h 3m 32s):And like also something that made me super uncomfortable would be that there would on the Facebook group, he would put up these statuses, like, you know, a word to the wise, never write an email to an agent like this deducted that dah, dah, and don't show up to an audition doing blah, blah, blah, blah, blah. And I just in my head, I'm like, why don't you go get me an audition instead of spending your time? And like, there is no roadmap for young actors. None of us know what the fuck we're doing.3 (1h 4m 4s):Well, let's do mystify something right now for people who haven't gone through this yet. Why do some agents not get auditions for their clients?1 (1h 4m 16s):Oh, I know. I feel like, I feel like for what my knowledge is of working in casting and then also working as a writer and an actor, is that agents. Okay. So like, this is my understanding. All agents get the same breakdowns, right? And a lot of times for better, for worse they're thinking is I need to, I can't possibly do everything on this breakdown. So who are the people I know that are gonna, for whatever reason are top of mind that are gonna, that have a better, good chance of booking these things. And then they sort of gravitate towards that. And then a lot of people who aren't, don't look a certain way for whatever, get pushed to the side.1 (1h 5m 2s):And then I think we're also not as actors at our schools and in the world taught how to have a relationship with an agent that is on equal footing so that you stay top. This is what I teach my kids at the theater school, which is like how to build a relationship or get out of one. When you feel like it's not on equal footing where you can't, you don't feel like you can call or email the agent and say, Hey, I'm feeling like I'm not going out. Is there something that we can do together? Because we're so scared of the agent. We never make those, but I am. I think that is what happens.1 (1h 5m 43s):And then the fear begets fear. And then you just never hear from them again. Then they drop you or whatever. So it's a matter. So that's what happens. And, and agents, a lot of times, like the rest of us are traumatized and hurt and scared. And, and it's easy to take that shit out on younger people.3 (1h 6m 3s):So it's not what I was thinking. You were going to say, which is that if the agent is unknown, they literally cannot get their client. Okay. It's not that,1 (1h 6m 15s):I mean, I feel like they, I feel like S H certain agents have better relationships than others with casting, but everyone gets the same breakdowns. It's, it's a, it's a common document. So anyone, if we, if you, and I said, now we're an agent. We would get those breakdowns and we could start submitting people. And if you send a kick ass letter that says, Hey, Catherine is perfect for this. Look at our shots. Please see her, they'll see her because they want, Cassie wants to meet new, new, fresh faces that are kick ass. Like that's their jam. So, yeah, it's a matter of top of mind. And3 (1h 6m 49s):Well, since we're on the topic, I don't know. You mentioned this thing about getting a good relationship with your agent CA well, so Kevin, do you have an agent now?7 (1h 6m 57s):I am. Now I am looking for representation right3 (1h 7m 0s):Now. All right. You're looking for representation. A lot of people who listen to this podcast are recent graduates from theater school. I have my only experience with an agent is I'm helped my son with his stuff. And so I'm, I have a relationship with his agent. I'm very scared of this person. And when he doesn't like something we did just on my stomach. So like, what, I mean, you know, what, what do you do and how do you have a good relationship with an agent? Because it seems like they're all the hassle.1 (1h 7m 31s):No, no, they, they, it does seem like that. They're not all assholes, but I feel like a lot of them are, are scary. So inherent and Gina, Gina talks about this and Catherine, I want to know your thoughts. So, so we talk about the idea that like inherent in this industry is a pear is a patriarchal and like a, a status, right. Triangle, whatever hierarchy. So that creates a dynamic where the people that have, are seemingly having the more power are, are, are a little bit mean. It can be a little bit mean. So Catherine, how do you think, I guess my question for you would be like, what is your, maybe your experience with how to work with that and what are you looking to do differently this time when you have an agent, I guess, for the youngsters7 (1h 8m 15s):Listening? So my experience with them being mean, Or I just think that there is a, in my experience, there has been a feeling of being dismissed perhaps of, you know, yeah, yeah. You know, I do a lot of in the past, I've done a lot of there's this company here in the city called one-on-one, which there's another one that's called, like actor's connection where you can go and it, it kinda sucks. It's pay to play and you pay like a little fee to do a class with a casting director or an agent, or, you know, an opportunity for like a 10, 15 minute meeting with an agent.7 (1h 9m 2s):And I have met some success with that, you know, in the past, I don't necessarily, I feel a little morally repugnant about pay to play. You know, this is such a, I mean, the other thing along with the hierarchy of this industry is that it's predatory, you know, it's very predatory on the hopes and dreams of, you know, young actors. And so I have had tons of experience going into auditions for things. And, you know, it's like, oh, you have to pay to do this, or you have to it. And it's like, okay, well, fuck you, bye. I'm not going to pay you to work. But, and then what was the second part of your question about, oh, what am I looking to do differently?7 (1h 9m 45s):I mean, I think the thing is right, I'm a character actress. I'm a misfit, certainly in the industry. And I need to find someone who really gets me, gets my work. You know, I want to find representation that isn't necessarily trying to, and this is perhaps an unrealistic dream, but I, I would like to find representation that that gets my voice as an artist, and doesn't necessarily want to pigeonhole me. You know, for example, I will never, I'm very into body justice and fat liberation.7 (1h 10m 30s):I'm not gonna even say body positivity anymore because it's been co-opted by a skinny white women, but I will never make a weight loss, commercial that's not happening. And that might be a problem for a commercial agent who meets me, you know what I mean? And so I, so yeah, I, I would like to find a team who, who gets me and really, you know, wants to, wants to see me succeed in that, in the, in that way,3 (1h 10m 59s):This relates pause to our conversation earlier, just about contracting versus expanding. And I think that my mindset for certain, and maybe other people too, is like, you know, it's like kind of like how I used to be with boyfriends. If, just, if, if anybody likes me that I have to go with them because there's not going to be anybody else that likes me. Right. When in reality, It seems like the, the way to think about it is, oh, they need me because I know what I'm doing. And I have this look and I've seen people who look like me in this kind of thing. And there'll be lucky to find me because I can solve a problem for them.3 (1h 11m 40s):That's not how I've ever thought about it. I've thought about it. Like, I hope they pick me, but they probably won't. So if anybody shows me any attention, even if I have to pay for it, then the bus. Yeah.1 (1h 11m 50s):I mean, I think that's so right on. And I will say that. And I, I, I was that way for, and I still am obviously that way, but I found a team. I love my team, but it took me a very long time. And it took me to 40, I dunno, 44 to do that or 43. And it took me going in literally and saying, this is me, here's my body of work. I look like this. I want, I came in, I went in with a list of things in a piece of paper and what I brought to the table and what I expected from a relationship.1 (1h 12m 35s):And I had to be prepared that they were going to say, no, thank you. Like, this is crazy. Fuck you. But they didn't say that instead. They said, we, we support you. We've looked at your stuff. We believe in you. And we want to work with you. And that was all right. And then I found my person at that place. And when she left, I followed her. So it really is about relationships, but it's like, it takes a long check. My therapist, this, it takes a long time to do the work. Like it is not an overnight