Podcasts about scorsese

August at the New Beverly features dark comedies with Danny Devito, buddy movies, a big Scorsese anniversary, a new Eli Roth movie, classic screwball, dirty cops, early Hitchcock and much much more! Our returning guest this month is John Moret from the Trylon Cinema in Minneapolis who is always fun to talk movies with! Enjoy! Check out all things New Beverly here: https://thenewbev.com/ Have A look at what's Happening at The Vista/Video Archives Cinema Club Here: https://ticketing.uswest.veezi.com/sessions/?siteToken=20xhpa3yt2hhkwt4zjvfcwsaww If You Enjoy the show, You can help support us at Pure Cinema by going to: https://www.patreon.com/purecinemapod Brian's Directed By shirts can be found here: https://www.teepublic.com/user/filmmakershirts

7:00 HOUR: Nolan, Scorsese, or Tarantino, Would you pay more for a flight with no kids?

Jim quizzes the rest of the show on these iconic directors and their films

This is a free preview of a paid episode. To hear more, visit andrewsullivan.substack.comDavid is a historian and perhaps the greatest living film critic. He's the author of more than 20 books, including biographies of David O. Selznick and Orson Welles, and The New Biographical Dictionary of Film. His new book is called A Sudden Flicker of Light: A Revisionist History of Movies. It's a wonderful extended rant in some ways, a love letter and a searing indictment of cinema. I was a little intimidated talking with him, but it was a lot of fun.For two clips of the episode — on the uptight genius of Hitchcock, and the authoritarian nature of cinema — head to our YouTube page.Other topics: born in South London in 1941 and his home damaged by the Blitz; his father leaving when he was born; his boyish mix of fear and delight at the cinema; the shower scene in Psycho; how film denies you the chance to stop and think; the directors who relish white space (e.g. PT Anderson); Birth of a Nation and Triumph of the Will; newsreels before TV; real nuke explosions on screen; Oppenheimer; from communal theater viewing to solo smartphone viewing; Game of Thrones and the insane production value of TV these days; Breaking Bad; Trump the ultimate product of TV; his telegenic Cabinet; the danger of deepfakes; Paul Schrader's First Reformed; the audience's love of car crashes and villains; Godfather I and II; contrasting Hitchcock and Malick; Tree of Life; nature in Thin Red Line; Fincher's Seven; Robert Bresson's religious films; Scorsese's Silence and Last Temptation of Christ; the vulgarity of Spielberg (e.g. the red dress in Schindler's List); ep. 3 of Adolescence; and Nolan's new Odyssey.Browse the Dishcast archive for an episode you might enjoy. Coming up: John O'Sullivan on conservatism, Azam Ahmed on terrifying new drugs, Robby George on natural law, and Megan McArdle on pretty much anything. Please send any guest recs, dissents, and other comments to dish@andrewsullivan.com.

DP Eben Bolter, ASC, BSC breaks down the watery, noir lighting, anamorphic lenses, and practical tricks behind Apple TV's Cape Fear. Podcast highlights include: -How Eben built Cape Fear's look around the theatrical expressionism of the 1991 Scorsese film. He used the same 2.35 aspect ratio as the Scorsese film, rather than a more conventional widescreen frame. -Working with the production design team to capture the southern humidity and watery themes. Eben chose Atlas Mercury anamorphic lenses with an oval bokeh that give it a watercolor quality. The team also used helium and flame bars to create in-camera heat haze rather than relying on visual effects. -Rigging LED pixel tape and crystals inside the matte box to create practical lens flares on command. Find Eben Bolter: https://www.ebenbolter.com/Cinematography/Cinematography.html Instagram: @ebenbolter Cape Fear is streaming on AppleTV. SHOW RUNDOWN: 01:59 Close Focus 14:14-58:02 Eben Bolter Interview 59:16 Short Ends 01:08:21 Wrap up/Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

At long last it's the Rover's Return… What are the burning issues that will be taking up Andy Burnham's time when he takes over No.10 next week? OGWN listeners bombard us with questions and we do our best to answer them. What can Burnham do that Starmer couldn't? Does he need to do more than move stuff to the North? And why did Labour give Starmer a carriage clock, of all things?  Plus, Climate of Fear: Kemi Badenoch chooses the hottest moments of our Hell Summer (a period which is actually killing people) to purge Tory MPs who back Net Zero. WTF is she playing at? We look at this terrifying moment and whether the summer's frightening scenes can push back the tide of climate change denialism.  • Questions for But Your Emails? Thoughts? Comments? Email us at ogwn@podmasters.co.uk.  ESCAPE ROUTES • Jason bought George Martin: The Scores – the collected musical works of that chap who did The Beatles.  • Seth has been watching old episodes of Frasier – specifically S2 E18, The Club, with the 1896 vintage bottle of port.  • Ava went to see a series of Scorsese re-runs at the cinema.  • Ros has been re-reading Victor Hugo's Les Misérables. Buy through our affiliate bookshop and you'll help fund the podcast by earning us a small commission for every sale. Bookshop.org's fees help support independent bookshops too.  www.patreon.com/ohgodwhatnow Presented by Ros Taylor with Jason Hazeley, Seth Thévoz and special guest Ava Santina. Audio Production by: Tom Taylor. Art direction: James Parrett. Theme tune by Tom Taylor and Simon Williams. Managing Editor: Jacob Jarvis. Group Editor: Andrew Harrison. OH GOD, WHAT NOW? is a Podmasters production. www.podmasters.co.uk  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Jordan Belfort's story got the Scorsese treatment in 2013, but The Wolf of Wall Street was only ever half the picture. On this episode of Reality Life with Kate Casey, executive producer and investigative journalist Jason Leopold unpacks Paramount+'s new documentary The Real Wolf of Wall Street, built from over 15,000 pages of previously unreleased government documents and new interviews with the people who actually lived it. Jason is a two-time Pulitzer finalist known for filing more FOIA lawsuits than nearly any journalist in the country, and breaks down who Belfort really was behind the Hollywood myth, what the documents reveal that the movie left out, and how the story of Stratton Oakmont still echoes through finance today. Reality Life with Kate Casey Summer Reading List: https://katecasey.substack.com/p/books-i-cant-stop-talking-about-this Vanity Fair Article: https://www.vanityfair.com/culture/story/martha-moxleys-diary What to Watch List: https://katecasey.substack.com Patreon: http://www.patreon.com/katecasey Instagram: http://www.instagram.com/katecaseyca Tik Tok: https://www.tiktok.com/@itskatecasey?lang=en Facebook Group: https://www.facebook.com/groups/113157919338245 Amazon List: https://www.amazon.com/shop/katecasey Twitter: https://twitter.com/katecaseySee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This week on Movie Mistrial, we drive through the neon gloom of 1970s New York with Martin Scorsese's Taxi Driver.Robert De Niro's iconic performance and Scorsese's gritty direction create one of cinema's most powerful portraits of alienation and obsession. Its relentless darkness and morally disturbing protagonist can make it a deeply uncomfortable watch for some viewers.Join us as we examine whether Taxi Driver is a timeless masterpiece—or an intentionally unsettling experience that resists easy praise.Connect with us and share your thoughts:Twitter: http://tiny.cc/MistrialTwitter Facebook: http://tiny.cc/MistrialFB Instagram: http://tiny.cc/MistrialInstaVisit our website, www.moviemistrial.com, for more captivating episodes and to stay up-to-date with all things movies.

No hay ventilador o medicina que arregle el asma de aquel niño, que amenaza con ahogarse en las peores noches de verano. La solución está… en las salas de cine de Nueva York.

No hay ventilador o medicina que arregle el asma de aquel niño, que amenaza con ahogarse en las peores noches de verano. La solución está… en las salas de cine de Nueva York.Conviértete en un supporter de este podcast: https://www.spreaker.com/podcast/mas-noticias--4412383/support.ESCUCHAR RADIO 

Erik Childress and Peter Sobczynski take you through another week of physical media that includes three bangers from Criterion including Paul Newman at his baddest, early Scorsese and the Neil Jordan twist that rocked the world. There are gunslingers and hit men, William Wyler and Marlene Dietrich and one of the great modern sitcoms in a new set. Plus it is the 40th anniversary of one of the most infamous flops of the 1980s. Time for a reappraisal or is it still as baffling as ever?2:43 - Criterion (Hud 4K, Alice Doesn't Live Here Anymore (4K), The Crying Game (4K))42:27 - Kino (The Love Trap, La Scoumoune (aka Hit Man) (1972))53:23 - Arrow (Red Sun (4K))1:05:43 - Shout (Full Contact 4K)1:12:47 - Universal (The Song of Songs, Howard the Duck (4K Steelbook))1:52:11 - New TV on Blu-ray (The Office (Superfan Complete Series - Superfan Extended Episodes))1:59:50 - New Theatrical Titles On Blu-ray (Obsession (2026) (4K), Michael (2026) (4K), Normal (4K), Lee Cronin's The Mummy (4K), Deep Water (2026), The Christophers, Pillion, Animal Farm (2025))2:11:03 - New Blu-ray AnnouncementsCLICK ON THE FILMS TO RENT OR PURCHASE AND HELP OUT THE MOVIE MADNESS PODCAST OR BUY FROM MOVIEZYNGBe sure to check outErik's Weekly Box Office Column – At Rotten TomatoesCritics' Classics Series – At Elk Grove Cinema in Elk Grove Village, ILChicago Screening Schedule - All the films coming to theaters and streamingPhysical Media Schedule - Click & Buy upcoming titles for your library.(Direct purchases help the Movie Madness podcast with a few pennies.)Erik's Linktree - Where you can follow Erik and his work anywhere and everywhere.The Movie Madness Podcast has been recognized by Million Podcasts as one of the Top 100 Best Movie Review Podcasts as well as in the Top 60 Film Festival Podcasts and Top 100 Cinephile Podcasts. MillionPodcasts is an intelligently curated, all-in-one podcast database for discovering and contacting podcast hosts and producers in your niche perfect for PR pitches and collaborations.USE COUPON “MOVIEMADNESS” TO GET 10% OFF ALL DUBBY PRODUCTSSIGN UP FOR AUDIBLE This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit erikthemovieman.substack.com

(0:00) The AI Buildout: Datacenters Bigger Than Cities (Andrew Feldman) (1:50) Reasoning, Inference, and Breaking Moore's Law (16:28) Open Source, AI Sovereignty, and the Road to AGI (40:54) The Innovation Behind Generative Video (Robin Rombach) (47:31) Martin Scorsese, Robots, and the Future of Hollywood IP Thanks to our partners for making this possible! AppLovin Ads - AppLovin's AI advertising platform reaches over a billion daily active users across mobile games. Full-screen video ads with a 35-second median watch time. Advertisers are profitably spending hundreds of thousands of dollars a day and advertiser access is still in closed beta. The window is open at https://applovin.com/ALLIN Nasdaq - Positioned at the nexus of technology and the capital markets, Nasdaq provides premier platforms and services for global capital markets and beyond with unmatched technology, insights and markets expertise. https://www.nasdaq.com/convergence-economy Follow Andrew: https://x.com/andrewdfeldman Follow Robin: https://x.com/robrombach Follow the besties: https://x.com/chamath https://x.com/Jason https://x.com/DavidSacks https://x.com/friedberg Follow on X: https://x.com/theallinpod Follow on Instagram: https://www.instagram.com/theallinpod Follow on TikTok: https://www.tiktok.com/@allin Follow on LinkedIn: https://www.linkedin.com/company/allinpod Intro Music Credit: https://rb.gy/tppkzl https://x.com/yung_spielburg

This week on Bad Dads Film Review, we head into early Scorsese territory with Mean Streets, starring Harvey Keitel as Charlie and Robert De Niro as Johnny Boy.It is New York, 1973: Catholic guilt, bar-room bravado, small-time gangster pressure, unpaid debts, family loyalty, loaded silences, unloaded guns, and the unmistakable beginning of the Scorsese crime-movie language that would later explode into Goodfellas.What we coveredThe famous opening idea: “You don't make up for your sins in church. You do it on the streets.”How clearly the film points toward later Scorsese: Catholicism, crime, music, neighbourhood codes, restless camera moves and men trapped by loyalty.Harvey Keitel's Charlie: a young man trying to be a gangster, a good Catholic, a loyal friend, and a decent person — all at once, badly.Charlie's guilt, the candle-burning, and the sense that a few Hail Marys are nowhere near enough for what he thinks he deserves.Robert De Niro's Johnny Boy as a reckless human hand grenade: charming, funny, dangerous, and absolutely allergic to consequences.Johnny Boy's debts, the pressure from Michael, and why the lack of respect becomes almost more dangerous than the lack of money.The rooftop gun scene, including the attempt to shoot the light off the Empire State Building.The “mook” bar fight — possibly the most memorable use of the word “mook” in cinema history.The corrupt cop casually taking a bribe after the bar fight.Teresa, Charlie's relationship with her, and the family/friendship knot that keeps Charlie tied to Johnny Boy.The grimy restaurant kitchen scene and its spectacularly dubious food hygiene energy.The ending: the drive-by shooting, Scorsese's possible cameo as the gunman, the crash, the sirens, and the refusal to offer neat redemption.The low-budget invention: LA standing in for New York in places, Scorsese's family and friends appearing, and the camera-rig drunk shot attached to Keitel.The fashion: De Niro's hair, the sideburns, the silk shirts, and the sheer 1973 Italian-American wardrobe content.Key quotes / momentsSidey spots the Goodfellas DNA almost immediately.Dan calls Johnny Boy “a human hand grenade.”Reegs remembers the “mook” scene as the thing that stuck with him from the film.Cris singles out De Niro's hair and later the restaurant kitchen, which looks like one of the worst episodes of Kitchen Nightmares.The dads admire the film as the raw blueprint for Scorsese's later, more polished crime films.VerdictA strong recommend. The dads recognise that Mean Streets is looser and rougher than Scorsese's later work, but that is part of its power: it is gritty, restless, funny, violent, Catholic, and absolutely foundational.You can now text us anonymously to leave feedback, suggest future content or simply hurl abuse at us. We'll read out any texts we receive on the show. Click here to try it out!We love to hear from our listeners! By which I mean we tolerate it. If it hasn't been completely destroyed yet you can usually find us on twitter @dads_film, on Facebook Bad Dads Film Review, on email at baddadsjsy@gmail.com or on our website baddadsfilm.com. Until next time, we remain... Bad Dads

“For all the paperwork of democracy — government by and for the people — we have become a citizenry of spectators who simply want to be entertained. And we are accustomed to the realization that we can't do anything about what's on the screen.” — David Thomson Has the prolific film critic David Thomson fallen out of love with the movies? That's the question I began my conversation with Thomson, arguably the greatest living writer on film. My question was triggered by his revisionist movie history (out today), A Sudden Flicker of Light, which, while still glorifying film, nonetheless recognizes the damage that the medium has done to us. No, he hasn't fallen out of love with the movies, Thomson responded. But he did acknowledge a new kind of wariness about his beloved medium — a suspicion of auteur worship, that tradition which concentrates on the great artistry of individual directors like Welles, Hitchcock, and Scorsese while ignoring what the motion picture medium as a whole has done to society. “What has God wrought?” Samuel Morse asked about the telegraph. David Thomson is asking the same question about the consequence of movies. Cinema, particularly Hollywood, Thomson argues, has spent a century disempowering audiences. Sitting in the dark, gazing at the screen, people have lost their agency. This passivity, Thomson argues, has invaded our political life, transforming us from citizens into spectators. No, Mr Smith hasn't gone to Washington. Instead, America has become a theater of gawkers addicted to screen entertainment, unable to discriminate between a sudden flicker of light and reality. Thus the degeneration of America into a violent Coppola movie. Thus The Joker who has crawled out of primeval darkness and now monopolizes all our screens. You could make a movie about it. Call it “Being There” or “Network.” Or perhaps “The Truman Show.” Five Takeaways •       Cinema Has Trained Us to Be Spectators — and That Has Destroyed Our Agency: Thomson's central argument: sitting in the dark watching a bright light in front of them, audiences learned that the thing on the screen is not their responsibility. People are not really hurt on screen, no matter their bodies are torn apart. They are not really happy, no matter what they say in the film. And whatever happens, the audience remains a spectator. Extrapolate that out into a broader world and you have a society in which, for all the paperwork of democracy and government by and for the people, people have become a citizenry of spectators who simply want to be entertained. America, Thomson believes, is in that state. •       Every Cut Is Violent — and Every Cut Is a Marriage: Thomson's most original observation is the smallest: the cut. A cut is where the stream of imagery you are watching goes from one shot to another. It is a separation — but it is also a marriage. Every cut says: join them up. The way we measure the effectiveness of directors from D.W. Griffith onward is that they found ways to put shots together so that film had sequence and order, like the order of sentences in writing. And every cut has an element of violence in it, because you are seeing one thing and then, bang, you are watching something quite different. We have never taught our children what a cut is — even though they have spent far more of their lives watching moving imagery than reading. That neglect, Thomson argues, is consequential. •       The Culture of Manhood and the Systematic Neglect of Women: Thomson's most politically charged observation: the culture of manhood and the serious neglect of women was going on in virtually every film he saw until at least the 1980s, and you could argue well beyond that. That is, he says, a kind of tacit advertising — a way of saying, look, this is really a very good way for how the world should be. It is something that has become harder and harder for him to endure as an idea. And he thinks that the war in Iran would not have been as likely if America had had enough women running the country — because women feel and think together in concert in different ways, with more room for compassion, sentiment, and plain rationality. •       Cinema Is Deeply Educational — and We Have Ignored That: Thomson's answer to Andrew's challenge: what does any of this have to do with movies? Everything. You cannot have a mass medium without the mass being affected, without the ways in which they think being shaped. The movies have given us examples of how to live that have been intensely persuasive. They are deeply educational. And yet we have permitted them, and like every technology humans have ever invented, we have let the technology take control of us rather than the other way around. Children spend far more time watching moving imagery than reading — and yet we do not teach them what a cut is, what a camera angle means, how the medium constructs its reality. That neglect has been, Thomson believes, catastrophic. •       Citizen Kane Is the Definitive American Film — Not The Godfather: Andrew's final question: what is the definitive movie about America? Not The Godfather, Thomson says, because the Godfather films cannot overcome their attraction to authority. There is a reverence for dark power in the Godfather films. Whereas in Citizen Kane, there is all through the film a terrible ruefulness about what happens to people who seek power. Welles absolutely understood and was intensely critical of the personality that needed power and authority — and he was afraid of it. For that reason, it is still for Thomson the definitive American film. Thomson has been known to doze off watching it, because he knows it too well. On July 4, he plans to watch something different. Ideally, The Odyssey. About the Guest David Thomson is the author of more than twenty books on film, including A Sudden Flicker of Light: A Revisionist History of the Movies (Simon & Schuster, July 7, 2026), The New Biographical Dictionary of Film (six editions, 1975–2014), Orson Welles, The Big Screen, Have You Seen…?, and biographies of David O. Selznick, Marlon Brando, and Nicole Kidman. Michael Ondaatje has called him “the best writer on film in our time.” He lives in San Francisco, where he is Andrew Keen's neighbour. References: •       A Sudden Flicker of Light: A Revisionist History of the Movies by David Thomson (Simon & Schuster, July 7, 2026). •       Citizen Kane (Orson Welles, 1941) — Thomson's definitive American film; discussed extensively in the conversation. •       The Godfather (Francis Ford Coppola, 1972) — referenced as ...

Film critic and journalist John Bleasdale joins Christina to discuss the news that Luca Guadagnino's film about OpenAI CEO Sam Altman, Artificial, has been dropped by Amazon, which just happens to have a partnership with OpenAI...Also in the mix: the many partnerships forming between creators and tech. A24 has announced a $75 million research partnership with Google DeepMind. Steven Soderbergh is embracing AI. Scorsese has signed on as a partner with an AI image-generation startup. And Netflix has acquired an AI filmmaking start-up founded by Ben Affleck. Have the tech companies taken over Hollywood? Is AI Hollywood's big dilemma? John Bleasdale. Film critic. Writer. Author of Darkness Visible the Cinema of Jonathan Glazer. Instagram @drjonty 

Apple TV’s new limited series version of Cape Fear is the third screen adaptation of the John D. MacDonald novel The Executioners. It is the second remake of the 1962 movie directed by J. Lee Thompson and written by James R. Webb. And it’s the first remake of the 1991 movie directed by Martin Scorsese and written by Wesley Strick. It’s executive produced by Scorsese and Steven Spielberg and stars Amy Adams, Javier Bardem, and Patrick Wilson. And: I Love Boosters is writer-director Boots Riley’s followup to his sci-fi comedy Sorry To Bother You. It is a sci-fi heist comedy and an adaptation of the song “I Love Boosters!” by Riley’s group The Coup. It stars Keke Palmer, Taylour Paige, Naomi Ackie, LaKeith Stanfield, Don Cheadle, and Demi Moore. GUESTS: Rebecca Castellani: The co-founder of Quiet Corner Communications and the director of marketing at Washington Montessori School Illeana Douglas: The Official Movie Star of The Colin McEnroe Show and the author of three books, including the forthcoming Jungle Red! The Making of MGM’s The Women Shawn Murray: A stand-up comedian, writer, and the host of the Fantasy Filmball podcast Lindsay Lee Wallace: A writer and journalist covering culture, health, technology, bats, and anything else people will answer her questions about Music featured (in order): The End – Elmer Bernstein Linger (2026 Stephen Street Stereo Mix) – The Cranberries Hi Ho – Tune-Yards Text Message Unsent – Keke Palmer And When I Die – Blood, Sweat & Tears Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

“Sound is a really important part of how I make movies because I always tell people that if the sound is good and the picture is bad, then you'll stick around to see what happens. However, if the sound is terrible and the picture is great, you're out of there in like ten minutes. So sound is something that I always cherish. And I think that the right filmmaker who appreciates sound can really take advantage of what we think about and use, you know, the viewer's imagination. A lot of film pictures start off in black and, you know, they just have the sound, so they really grab the audience's attention right from the beginning. So sound is just such a powerful medium.” – Jayson JohnsonThis week's guest is a filmmaker and the founder of Strike Five Films, an independent production company dedicated to authentic, character-driven storytelling. A graduate of Eastern Illinois University, he began his career under the mentorship of Francis Ford Coppola, working on the Wine, Daydreams & Memories tour before producing over 1,400 hours of broadcast television for Discovery ID. Since founding Strike Five Films in 2017, he's written, directed, and produced nine short films that have screened at more than ninety festivals worldwide, earning six awards. His work has been featured in numerous media outlets and is defined by themes of perseverance, community, and creativity.He's currently in pre-production on his debut feature, R.O.G.E.R & Me, an offbeat, heartfelt film rooted in Richmond, CA, while continuing to mentor emerging filmmakers and expand his mission of fusing storytelling, social impact, and independent artistry. His name is Jayson Johnson, and if you've ever wondered how intentional sound can elevate storytelling and make a lasting impact on audiences, you won't want to miss Jayson's behind-the-scenes insights and practical tips.As always, if you have questions for my guest, you're welcome to reach out through the links in the show notes. If you have questions for me, visit audiobrandingpodcast.com, where you'll find a lot of ways to get in touch. Plus, subscribing to the newsletter will let you know when the new podcasts are available, along with other interesting bits of audio-related news. And if you're getting some value from listening, the best ways to show your support are to share this podcast with a friend and leave an honest review. Both those things really help, and I'd love to feature your review on future podcasts. You can leave one either in written or in voice format from the podcast's main page. I would so appreciate that.(00:00) – How Sound Captivates AudiencesWe start things off with the vivid impression sound made on Jayson as a child, and how it led him to a career in filmmaking. “One of the memories I have as a child,” he recalls, “is, you know, you're sound asleep, and then all of a sudden, the vacuum cleaner goes on… that was kind of like an alarm clock for us, you know, because we always had chores.” He tells us more about his influences growing up and how a lifelong love of movies became a calling. “When I went to college,” he explains, “I had no idea what I wanted to do, so I signed up with Speech Communication, and they had a discipline of Radio, TV, and Film. And I just tried out everything.”(11:27) – Sound Techniques in FilmmakingJayson tells us more about his early years in the industry and how a chance job opening led to an encounter with Sofia and Francis Ford Coppola. “I put out all these resumes, I don't even know how many I put out,” he tells us. “Probably a hundred or so. No one called me except for this one place, and I said, ‘Oh, it's a winery. I'll go there.' And it happened to be Francis Coppola Winery.” He recalls his work on Sofia Coppola's Marie Antoinette, and the lessons about sound that Marin Scorsese's classic Goodfellas taught him to apply to his own films. “We see the cars explode,” he explains, “and Scorsese wants the audience to feel the emotion of that scene by not saying anything and just adding that little pause in there and, you know, letting the audience feel the gravity of the moment.”Episode SummaryExploring how silence enhances emotional depth in storytelling.Jayson discusses the sound techniques he's used in his films.Tune in for next week's episode as we talk about how music can transform a film, both for better and for worse, his thoughts about the emergence of AI videos and virtual celebrities like Tilly Norwood, and why he considers sound to be the first step in his creative process as a filmmaker.Connect with the Audio Branding Podcast:Book your project with Voice Overs and Vocals by visiting https://voiceoversandvocals.comConnect with me on Instagram - https://www.instagram.com/jodikrangle/Watch the Audio Branding Podcast on YouTube - https://www.youtube.com/c/JodiKrangleVOConnect with me on LinkedIn - https://www.linkedin.com/in/jodikrangle/Leave the Audio Branding Podcast a review at https://lovethepodcast.com/audiobranding (Thank you!)Share your passion effectively with these Tips for Sounding Your Best as a Podcast Guest!https://voiceoversandvocals.com/tips-for-sounding-your-best-as-a-podcast-guest/Get my Top Five Tips for Implementing an Intentional Audio Strategyhttps://voiceoversandvocals.com/audio-branding-strategy/Editing/Production by Humberto Franco - https://humbertofranco.com/This podcast uses the following third-party services for analysis: OP3 - https://op3.dev/privacy

Forrest and Kristina Oakes are joined by @Filmsuck-t9u and @JacobinMag film critic Eileen Jones to talk about Martin Scorsese's Cape Fear (1991) A remake of the original 1962 Gregory Peck and Robert Mitchum film. Scorsese's remake stars Robert De Niro as Max Cady, an ex-con who blames a lawyer Sam Bowden (Nick Nolte) for his incarceration and begins to stalk and terrorize his family. Starring Jessica Lange, Juliette Lewis, Gregory Peck, Illeana Douglas, Robert Mitchum. #capefear #scorsese #robertdeniro #robertmitchum #gregorypeck #juliette #juliettelewis #filmpodcast #moviepodcast #nicknolte #martinscorcese #1991 #jessicalange #thriller #psychologicalthriller #psychologicalhorror #horror #horrorstories #martinscorsese #maxcady #universal Filmsuck Podcast: https://www.patreon.com/c/filmsuck

Someone (or something) has gotta keep us safe at night. Wrapping up this first round of DuoVision double features is a pair of aughts Jodie Foster thrillers from major auteurs: David Fincher's PANIC ROOM (2002) and THE BRAVE ONE (2007). Who knew the little girl from Scorsese's TAXI DRIVER would grow up to get her own vigilante blood bath? Not us.

The 50th anniversary of the famous Sex Pistols concert at the Lesser Free Trade Hall in Manchester has just passed. We discuss punk rock, how it started, and what it has become. Help support The Next Track by making regular donations via Patreon. We're ad-free and self-sustaining so your support is what keeps us going. Thanks! Show notes Sex Pistols at the Lesser Free Trade Hall - Wikipedia ‘I knew it was over for us': the bands who got left behind when punk exploded - The Guardian Elisha Cook Jr. (Wilmer) - Wikipedia ‘People are still isolated and obsessive': De Niro, Scorsese, Foster and Schrader reunite for Taxi Driver at 50 - The Guardian Épater la bourgeoisie - Wikipedia Super Black Market Clash - Wikipedia Hot Tuna (album) - Wikipedia Caoilfhionn Rose on The Next Track Our next tracks: The Durutti Column: Renascent Blood, Sweat & Tears: Blood, Sweat & Tears If you like the show, please subscribe in Apple Podcasts or your favorite podcast app, and please rate the podcast.

Wes makes a passionate case for film editors as the unsung heroes of cinema, highlighting legendary editors like Thelma Schoonmaker and Sally Menke who shaped the visions of Scorsese and Tarantino respectively. Editors are just like the unsung music producers of Pearl Jam and Creed.  818-835-0473 orwhatevermovies@gmail.com www.orwhatevermovies.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Steven Spielberg is back in his blockbuster habitat with a June release. Will his return to a science fiction summer movie be a success? We will find out as Aaron Neuwirth and Justin Gott return to the show after some online fretting by the host concerning Spielberg's audience appeal. Howard Casner was an early in on the show, and as is often the case, he is a bit of an outlier of opinions. How is this movie like Scorsese's "The Irishman", should we trust the media even less than the government, just how good is Emily Blunt? Theology, politics, and human nature are all part of the conversation, come have a listen.Update: The accidental crossfades in the episode have been removed. This is a cleaner version of the show now. 

Dwight Stones is on the cover of the June 14, 1976 issue of Sports Illustrated, and he joins Past Our Prime to take us back to one of the most electric moments of his remarkable career. That cover came on the heels of a world record in the high jump — a performance that announced to the world that Stones wasn't just a great athlete, he was an event. Being on the cover of Sports Illustrated in 1976 wasn't just an honor, it was a cultural moment. In an era before social media, before highlight reels and YouTube, that cover was how America met its sports heroes, and Stones understood exactly what it meant. He had arrived — not just as a world-class jumper, but as a personality, a presence, and a star. What made Stones different from every other high jumper of his era was that he understood something most track and field athletes never figured out — the competition didn't start when the bar went up, it started the moment he walked into the stadium. He studied Muhammad Ali the way a film student studies Scorsese, borrowing Ali's gift for psychological warfare and applying it to the high jump pit. He talked, he taunted, he performed, and he made sure that every opponent in the building knew he was there and that beating him was going to cost them something mentally before it cost them anything physically. He even pioneered a new kind of dual role in the sport, competing in a meet and simultaneously serving as an analyst — giving new meaning to the idea of a dual meet and blurring the line between athlete and broadcaster in a way nobody had ever done before. Stones first discovered the Fosbury Flop as a young athlete and never looked back, and the man who invented it — Dick Fosbury — became not just a technical influence but a mentor and a genuine friend. Fosbury changed the sport forever when he went over the bar backwards at the 1968 Mexico City Olympics, and Stones was among the first generation to fully embrace and master the technique. He'll tell us what it meant to have Fosbury in his corner and how a revolutionary way of clearing a bar became the foundation of everything Stones built his career on. It was more than a technique — it was a philosophy about seeing the world differently than everyone else, which suited Dwight Stones just fine. Then there are the two bronze medals — separated by four years and a lifetime of emotion. The first, at the 1972 Munich Olympics, was a stunning achievement for the youngest member of the American team, a teenager who had no business being on that podium and got there anyway through sheer talent and nerve. The second, at the 1976 Montreal Games, is a different story entirely — one that still irks him to this day. Stones joins Scott, Marc, and Bill on Past Our Prime to talk about both medals, the world record, the showmanship, the mind games, and what it felt like to be young, fearless, and on top of the world in the summer of 1976 — with his face on the cover of the greatest sports magazine that ever existed to prove it. Learn more about your ad choices. Visit megaphone.fm/adchoices

Esta semana el chisme está cada vez más raro.Obsession se volvió un fenómeno de taquilla, pero ¿qué pasa cuando la película gana millones y el crew siente que no recibió lo justo?A eso se suma Scorsese, la inteligencia artificial y el Sindicato de Directores de Arte respondiendo con fuerza a la pregunta que cada vez pesa más en Hollywood: ¿la IA viene a ayudar al cine… o a reemplazar parte de lo que lo hacen los humanos?También hablamos de Gato, la película con la que Pixar parece estar cambiando su estilo visual, del regreso de 21 Jump Street, de la secuela de The Social Network sin David Fincher ni Jesse Eisenberg, y de los estrenos que llegan esta semana.Prepárense, porque el sábado arrancó fuerte y, Hollywood está entrando en una etapa rarísima.

Tag der Wahrheit: Anlässlich DISCLOSURE DAY - DER TAG DER WAHRHEIT ist es endlich so weit: Eddie, Andi und Schröck widmen sich STEVEN SPIELBERG. Wie schon bei Scorsese wollen die Drei seine 10 besten Filme ermitteln, weshalb jeder eine eigene Top 10 erstellt hat, die sie nun gemeinsam abgleichen. Was folgt ist eine Reise in die (auch eigene) Vergangenheit, von AMBLIN', DUELL oder SUGARLAND EXPRESS bis hin zu DIE ABENTEUER VON TIM UND STRUPPI – DAS GEHEIMNIS DER EINHORN und ein wenig darüber hinaus. Mit all den persönlichen Erfahrungen und Anekdoten, die Filme wie E.T. – DER AUSSERIRDISCHE, INDIANA JONES UND DER LETZTE KREUZZUG oder SCHINDLERS LISTE noch ein wenig besonderer machen. Mit dem einen oder anderen Kritikpunkt, die Titel wie KRIEG DER WELTEN, MINORITY REPORT oder MÜNCHEN vielleicht nicht ganz so hoch steigen lassen. Und natürlich mit all der Faszination, den staunenden Mündern oder all der Gänsehaut, für die Streifen wie UNHEIMLICHE BEGEGNUNG DER DRITTEN ART, DER SOLDAT JAMES RYAN, JURASSIC PARK, DER WEISSE HAI oder JÄGER DES VERLORENEN SCHATZES gesorgt haben und immer noch sorgen. Inklusive der einen oder anderen Abschweifung zum Thema POLTERGEIST, zu der vorhandenen oder nicht mehr vorhandenen Klasse Spielbergs oder welche Horrorfilme am meisten geprägt haben. Viel schneller und emotionaler können rund 90 Minuten nicht vergehen. Dabei wünschen wir Euch nun viel Spaß und bleibt bitte so gesund wie gut drauf. Shalom. Learn more about your ad choices. Visit megaphone.fm/adchoices

Netflix just straight-up admitted they won't work with directors who still want theatrical releases -- film chief Dan Lin told The New York Times they've "accepted" that crowd is off-limits because Netflix is a streaming company first, last, and always, and those big-screen divas keep demanding actual movie theaters like it's still 1995. Yeah after years of dangling fat checks to lure in Scorsese, Cuarón, and the rest only to shove everything straight to your couch, they're now drawing a hard line in the sand while quietly padding a few prestige exceptions for awards bait -- because nothing says "we love cinema" like blacklisting anyone who thinks your $200 million movie deserves popcorn and a dark room instead of autoplay on the toilet. Watch the podcast episodes on YouTube and all major podcast hosts including Spotify. CLOWNFISH TV is an independent, opinionated news and commentary podcast that covers Entertainment and Tech from a consumer's point of view. We talk about Gaming, Comics, Anime, TV, Movies, Animation and more. Hosted by Kneon and Geeky Sparkles. Get more news, views and reviews on Clownfish TV News - https://more.clownfishtv.com/ On YouTube - https://www.youtube.com/c/ClownfishTV On Spotify - https://open.spotify.com/show/4Tu83D1NcCmh7K1zHIedvg On Apple Podcasts - https://podcasts.apple.com/us/podcast/clownfish-tv-audio-edition/id1726838629 MORE CLOWNFISH TV - Official Merch Store: http://ClownfishMinus.com Facebook - https://facebook.com/ClownfishTV X - https://x.com/ClownfishTVcom Clownfish TV subreddit: https://www.reddit.com/r/ClownfishTVOfficial/ Disclaimer: This series is produced by Clownfish Studios and WebReef Media, and is part of ClownfishTV.com. Opinions expressed by our contributors do not necessarily reflect the views of our guests, affiliates, sponsors, or advertisers. ClownfishTV.com is an unofficial news source and has no connection to any company that we may cover. This channel and website and the content made available through this site are for educational, entertainment and informational purposes only. These so-called “fair uses” are permitted even if the use of the work would otherwise be infringing. #News #Podcast #FYP #Shorts #NetflixTheatrical #NetflixDrama #DanLin #StreamingVsTheaters #HollywoodDirectors #NetflixFilmBoss #TheatricalReleases #NetflixPolicy Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Spielberg is back with aliens — but is that enough to make Disclosure Day a real Oscar contender?This week on Oscars Outsider, we close the book on Cannes, revisit whether the Palme d'Or winner Fjord is now a serious awards player, and dig into the strange politics already forming around its Oscar narrative. Then we turn to the summer movie season: Scorsese's AI storyboarding controversy, Taylor Swift entering the Best Original Song race with Toy Story 5, whether Project Hail Mary could follow the Sinners path, and the big question behind our thumbnail: can Spielberg turn aliens into Oscar gold one more time?We also talk Netflix's shifting awards strategy, YouTuber-to-filmmaker anxiety, horror's box office boom, Obsession, The Backrooms, and why nostalgia for the 1980s may finally be losing to internet-era nostalgia.Chapters:0:00 Cold Open0:27 Welcome0:54 Cannes Capstone: Fjord Wins the Palme d'Or2:01 The Black Ball & Netflix's Awards Retreat6:53 Is Fjord the Conservatives' Oscar Movie?12:52 Scorsese Endorses an AI Company16:30 Taylor Swift's Toy Story 5 Song18:14 Project Hail Mary & the Sinners Playbook19:45 Spielberg's Disclosure Day: Best Picture Player?25:31 Obsession: The $1M Box Office Monster28:22 The YouTuber-to-Filmmaker Debate31:12 Backrooms Review34:19 The Future of Nostalgia (RIP Masters of the Universe)36:05 Tribeca & the Holding Pattern37:33 Honorary Oscars + Outro

Send us Fan MailWe're two episodes into Apple TV+'s new adaptation of Cape Fear, and we have some thoughts. The series, which dropped its first two episodes on June 5th, stars Javier Bardem as Max Cady, Amy Adams as attorney Anna Bowden, and Patrick Wilson as her husband Tom — a family now living under the shadow of a man they may have wronged. Scorsese and Spielberg are both on board as executive producers, which raises the bar considerably.We came in with full knowledge of the source material. Mike read John D. McDonald's original novel, and both films — the 1962 version with Robert Mitchum and Gregory Peck, and Scorsese's 1991 remake with Robert De Niro and Nick Nolte — are part of the conversation throughout. What we were hoping to see is a reimagining that earns its place alongside those films. What we got, at least in these first two episodes, is something we're still trying to make sense of.The issues start early. Javier Bardem's portrayal of Max Cady lacks the menace that both Mitchum and De Niro brought to the role in very different ways. His introduction at the fundraiser gala — rambling speech, handed the microphone without hesitation, no security in sight — was hard to take seriously. The violence skews gratuitous in a way that feels less like intensity and more like a substitute for it. There are subplots involving the teenage son, an online chat that's clearly not what it seems, and a mysterious masked figure in a green trench coat that we couldn't make heads or tails of. The series also appears to be steering toward a version of events where Max Cady may actually be innocent — which, if true, is a significant departure from everything that makes this story work.We also noticed an Easter egg worth mentioning: Wesley Strick, who wrote the screenplay for the '91 film, shows up in a cameo as an ER doctor.We're essentially split after two episodes — one of us is out, the other is holding on to see what episode three brings. We'll check in again if the series turns things around — and if you don't see another Cape Fear episode on the channel, that's probably your answer.If you've seen the films, read the book, or are watching the series yourself, we want to hear from you — especially if you're a Javier Bardem fan and think he's bringing something to the role we're not seeing yet.Support the showOh Brother Podcast:Support the Show! (Be The First to Listen with Early Access)Listen on all podcast platformsSubscribe on YouTubeFollow us on Instagram

“I never knew, and I was a bright kid. I didn't know who the mayor of New York was, but I could tell you the names of all the mafia guys on the corner.” — Vincent Coppola So we finally found a Coppola for the show. No, not Francis Ford. But somebody just as cool and even more authentic. The longtime Newsweek reporter Vincent Coppola grew up in Brooklyn three subway stops from Manhattan, but never went there until he was a teenager, nor even visited Central Park until his twenties. Coppola's version of Brooklyn, a teeming Italian ghetto squeezed between the banks of the polluted Gowanus Canal, no longer exists. Except in his exquisitely rendered new memoir, Gowanus Crossing: A Brooklyn Boyhood, which has the most delicious story about an Easter pie recipe you'll ever read. The Brooklyn of Vinnie's childhood was intact, insular, cut off from everywhere more than three stops away. It had its own government — the Mafia; its own religion — the Catholic Church; its own poisoned geography — the Gowanus Canal. A world inside a world. He didn't know who the mayor of New York was, but he knew the name of every wise guy on every street corner. To a kid, Gowanus was a magical place. The grown Vinnie (now called Vincent), having crossed his own Rubicon to attend Columbia journalism school, describes it as a “toxic snow globe.” Brooklyn über alles. Or, more authentically, al primo posto. Especially now, when only a real Coppola can resurrect it. Five Takeaways •       A Toxic Snow Globe: Cut Off Three Stops from Manhattan: Coppola grew up in an Italian enclave on the Gowanus Canal — a waterway that was, unbeknownst to its residents, one of the most polluted in America. The community was so insular that Coppola — a bright, bookish kid — never went to Manhattan until he was a teenager, never visited Central Park until he was in his twenties, though he was three subway stops away. He knew the names of all the Mafia guys on the corner. He did not know who the mayor of New York was. A toxic snow globe: its own rules, its own government, its own religion. Intact and entirely cut off from the rest of the world. •       The Mafia as Shadow Government: The Mafia was not background colour in Coppola's childhood. It was the actual government. Police from the 78th Precinct pulled up to the social club on Sundays; officers walked in and walked out with brown paper bags full of cash. Squad cars ferried a hitman — the bodyguard of Carmine Persico — as if they were taxis. This corrupted any childlike innocence about institutions. The stereotype of the nice policeman, the honest cop, the beloved priest: none of them applied. Because they were poor, nobody cared. Nobody cared about the canal being polluted until real estate people came in. •       The Predatory Priest and the Code of Silence: A local priest molested altar boys for decades, including Coppola's best friend. Nobody in the community knew. Coppola's observation: if the Mafia had known, they would have killed that man. It would have been that simple. Two oppressive codes of silence — the Mafia's omertà and the Church's own silence — operated in parallel. One protected criminals who were also community pillars. The other protected a predator. The community was too poor, too preoccupied, too isolated to see what was happening in front of their eyes. •       The Easter Pie Recipe: A Story About Secrets and Mothers: One of the great set pieces of the book. Coppola was obsessed throughout his life with a specific Easter pastry — pizza di grano, a grain pie — that the old neighbourhood women made and would not share the recipe for. He worked for Newsweek, had access to chefs everywhere, could not reproduce it. At his mother's funeral, an old neighbour pressed a piece of paper into his hand. Weeks later he found it in his jacket pocket and opened it. Not cash — the recipe. Written in Italian. Beginning: “under a full moon.” It was a hundred years old. He wasn't going to be baking under full moons. •       The Ghost Town: A Million-Dollar Desert: Coppola returned to Gowanus three weeks before the interview, invited to speak at a public library. His neighbourhood was blooming with skyscrapers and condominiums. And it was dead silent. When he grew up, the streets were teeming — children playing hopscotch, women gossiping on chairs outside, music, grilling on the corner, betting. He came back to a million-dollar ghost town. It broke his heart. The people he grew up with had been driven out — priced out of the place where they belonged. That is the elegy the book is writing. He hopes he preserved the best of that world. About the Guest Vincent Coppola is a journalist and the author of six books. A former reporter at Newsweek, he has written for Esquire, Rolling Stone, Men's Journal, and Atlanta magazine. He is a 1977 honours graduate of the Columbia University Graduate School of Journalism. His essay on his mother's battle with cancer won the William Allen White Gold Medal. He is the author of Gowanus Crossing: A Brooklyn Boyhood (Henry Holt, June 9, 2026). He lives in Savannah, Georgia. References: •       Gowanus Crossing: A Brooklyn Boyhood by Vincent Coppola (Henry Holt, June 9, 2026). •       Frank McCourt, Angela's Ashes — the publisher's comparison: “Frank McCourt's gimlet eye with the exuberant menace of a Scorsese movie.” •       Carmine Persico — the mafioso boss referenced in the conversation; his bodyguard is a character in the book. About Keen On America Nobody asks more awkward questions than the Anglo-American writer and filmmaker Andrew Keen. In Keen On America, Andrew brings his pointed Transatlantic wit to making sense of the United States — hosting daily interviews about the history and future of this now venerable Republic. With nearly 2,900 episodes since the show launched on TechCrunch in 2010, Keen On America is the most prolific intellectual interview show in the history of podcasting. WebsiteSubstackYouTubeApple PodcastsSpotify Chapters: (00:31) - Introduction: the Brooklyn of Whole Foods vs the Brooklyn of the Gowanus Canal (01:20) - An Italian village plucked from the south of Italy and dropped in Brooklyn (02:04) - Vince, did you ever really leave? (02:27) - Stage four cancer: the trigger for the memoir (03:11) - The Gowanus C...

Most people run from grief. Eden Marryshow turned it into a film. In this conversation, Eden breaks down the emotional process behind filmmaking, storytelling, creativity, and why the best art usually comes from the most personal places. We talk about losing family, directing actors, independent filmmaking, community, and the long path creators take back to who they were before the world told them to stop creating. This episode is also a masterclass on storytelling itself from Star Wars and Scorsese to creative discipline, ego, collaboration, and why limitations often produce better art than unlimited budgets.  We also discuss: • Why most people know who they are by age six • The connection between grief and creativity  • Directing actors without ego • Why independent creators have to learn everything • The psychology behind great storytelling • Rocky, Star Wars, Goodfellas, and favorite films  • Why "story is king" in filmmaking • How schools often suppress creativity  • Building community through storytelling • NFL talk, Giants football, and leadership Guest links Instagram: @edenmarryshow Email: 511eden@gmail.com Jason Linktree https://linktr.ee/admin  

James Mangold's Cop Land Harvey Keitel, Ray Liotta, Robert DeNiro, and Sylvester Stallone in one of the most highly-anticipated films of the 1990s . . . Springing from the headlines of the 80s, 90s, 00s, 10s, and today, James Mangold's 1997 police corruption drama was released to critical acclaim and tepid box-office. In an era of 90s Independent filmmaking, focusing on newspaper/magazine headlines and evening newscasts, Mangold would write and pitch a story (ostensibly a Western) set in modern day life. The reluctant hero, Sheriff Freddy Heflin (an overweight, tired, and sad Stallone), who is neither the Rocky or Rambo hero Stallone is known for, fighting the corruption of an all-star cast of big-city police living outside of the city in a mob financed town. Stallone versus Keitel, Robert Patrick, Peter Berg and John Spencer, with a cocaine-addled Ray Liotta as back-up, and a disheveled, angry, and calculating Internal Affairs officer played by DeNiro manipulating the scene, Mangold's second film - with obvious comparisons to Scorsese - stands out as an brutal and honest look at police corruption and those wiling to stand up against it. As always, we can be reached at gondoramos@yahoo.com - Our Continued Thanks and Appreciation. For those of you who would like to donate to this undying labor of love, you can do so with a contribution at https://www.buymeacoffee.com/watchrickramos - Anything and Everything is appreciated, You Cheap Bastards.

In another topic-focused GGACP mini-episode, Gilbert and Frank share their love of unheralded films, underrated TV shows, underappreciated pop songs and often unknown performers, discussing, dissecting and (occasionally) defending their handpicked guilty pleasures and buried treasures. This week: Boss Hogg comes to Brooklyn! Scorsese satirizes SoHo! And the big screen's first (and last!) Jewish James Bond villain! Learn more about your ad choices. Visit megaphone.fm/adchoices

Counselor... come out come out wherever you are! With the new Apple TV series about to launch, we thought it might be the perfect time to revisit Martin Scorsese's 1991 thriller Cape Fear. Some say it is an overlooked and underrated entry in Scorsese's filmography while others see it as nothing more than Marty cashing a paycheck. Is it a remake done right or is it too violent and too pulpy? Who is sexier: Robert DeNiro or Nick Nolte? Is there a hidden meaning behind the Problem Child theatre scene? What is the minimum time required for sexual intercourse and maximum time required for a fireworks display? Learn about loss and enter the Ninth Circle of Hell and on this week's episode of Film Junk.

Victor kicks off a week-to-week deep dive into Cape Fear, the new Apple TV+ adaptation from producer Nick Antosca (executive produced by Scorsese and Spielberg). Before bringing in co-host Sona, Victor walks through the full history of the source material — from the 1957 novel and the 1962 Hitchcock-adjacent adaptation, through Scorsese's celebrated 1991 film, all the way to this new ten-episode series. The conversation covers what makes this version distinct: a new crime at the center of Max Cady's imprisonment, a defense attorney protagonist played by Amy Adams who may have a far more complicated history with Cady than anyone knows, and a modern-day anxiety layer involving home security systems, online manipulation, and the very real fear that someone is already inside your house. Javier Bardem's magnetic, unsettling performance as Max Cady is a major topic, as is whether the show's relentless, uncut dread — and its considerable gore — will sustain itself over a full ten-episode run. Sona joins to share her firsthand perspective on the accuracy of the innocence project storyline, weigh in on the performances, discuss the show's overwhelming sense of dread, and debate the many dangling mysteries of episodes one and two — including who (or what) is living in the Bowden house, what really happened between Anna and Max during the trial, and just how many secrets this family is hiding. The episode closes with a recommendation for Maximum Pleasure Guaranteed, a new Tatiana Maslany thriller that may be airing in parallel. Join our Patreon for more Content https://www.patreon.com/cw/NeedsSomeIntroduction Mailto:needssomeintroduction@gmail.com 00:00 Welcome and Introduction 00:58 Cape Fear Adaptation History 01:50 Scorsese's 1991 Version 04:51 Nick Antosca's New Adaptation 07:18 Modern Anxieties and Themes 10:36 Episode One Recap Begins 11:36 The Bowden Family Introduction 13:03 Max Cady's Girlfriend Suicide 16:12 Max Cady's Release 20:11 Family Tensions and Secrets 23:49 Technology and Home Invasion 26:03 The Gala Event 28:55 Javier Bardem's Entrance 34:19 Max Confronts the Family 38:01 Episode Two Flashback 39:55 Discovery in the House 40:30 Natalie's Classmate Encounter 41:05 The Toe Revelation 41:27 Family Tensions Rise 42:48 Max's Prison Visit 43:35 Katie's Traumatic Past 45:15 Anna's Phone Trick 45:42 The Interview Performance 47:06 Episode Two Ending 47:59 Max Rents a House 48:34 Series Length Concerns 49:10 Innocence Project Realism 53:12 Show's Disturbing Tone 53:41 Bardem's Grounding Performance 55:32 Horror Elements Discussion 56:36 New York Apartment Detour 57:47 Sustaining the Tension 58:26 The Toe Scene Reaction 59:50 Bardem's Magnetic Performance 01:00:41 Katie's Villainous Nature 01:02:03 Cape Fear Comparisons 01:03:31 The Son's Mental State 01:04:52 Male Loneliness Themes 01:05:22 Husband's Secrets 01:08:13 Patrick Wilson's Performance 01:09:14 Physical Threat Balance 01:11:46 Amy Adams Discussion 01:13:37 Gore Level Debate 01:15:43 Husband's Affair Mystery 01:16:00 Affair Speculation and Comparisons 01:16:53 Parentage Mystery Discussion 01:19:11 The Son's Strange Behavior 01:21:53 Missing Toe Investigation 01:22:54 Mystery Woman and Acolytes 01:24:16 Too Many Mysteries 01:25:56 Dosing Theory Speculation 01:27:52 Animal Symbolism Analysis 01:29:27 Plot Potential and Concerns 01:31:52 Southern Setting Atmosphere 01:34:23 Unreliable Narration Hints 01:36:59 Maximum Pleasure Guaranteed Introduction 01:38:33 Cam Boy Mystery Plot 01:40:08 Bathtub Scene Reveal 01:43:32 Corporate Blackmail Theory 01:45:24 Final Thoughts and Wrap-Up Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Ignatowitsch, Julian www.deutschlandfunk.de, Corso

IndieWire's Anne Thompson and Ryan Lattanzio are joined today by producing partners Jason Blum and James Wan, who break down the recent box office success of indie horror films and give advice on how to carry this momentum forward. Before that, Anne and Ryan share their thoughts on Spielberg's "Disclosure Day," preview the Tribeca Festival, and parse Scorsese's bizarre support of AI. Read more about "Backrooms" stunning performance - https://www.indiewire.com/news/box-office/backrooms-box-office-hollywood-rethink-young-people-want-1235197437/?v3=true Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode, Sona and I break down the season finale of Season 2 of Your Friends & Neighbors and react to where the show lands heading into Season 3. We also talk Knicks playoff excitement and Ticketmaster frustrations, then preview our next weekly series, Apple TV's Cape Fear. Victor and Sona open with Knicks fandom, ticketing issues, and how broken live-event pricing has become. Victor then gives spoiler-free impressions of Apple TV's Cape Fear adaptation, highlighting Nick Antosca, producers Scorsese and Spielberg, and a cast led by Javier Bardem, Amy Adams, and Patrick Wilson, plus the show's tense horror staging and intriguing “innocence project” irony. They move into Your Friends & Neighbors' finale, praising the cold open and some character moments while criticizing contrivances around the cover-up, cameras, the lake sequence, and unresolved plot threads, yet noting stronger thematic focus and confirming Season 3 is in production. Join our Patreon for more Content https://www.patreon.com/cw/NeedsSomeIntroduction Mailto:needssomeintroduction@gmail.com 00:00 Podcast Welcome 00:26 Knicks Ticket Chaos 03:39 Broken Ticketing System 05:42 Next Show Cape Fear 08:06 Cape Fear Premise Cast 09:32 Bardem Steals Scenes 12:37 Horror Tension Moments 13:13 Finale First Impressions 15:00 Cold Open Cleanup Hijinks 16:27 Coverup Logic Problems 19:57 Cameras And Contrivances 25:21 Lake Crash And Logistics 31:51 Coop and Mel Truths 34:08 Ego and Lifestyle Motives 36:48 Season Three Casting Talk 38:35 Sister Reunion Scene 40:21 Affair Advice Debate 44:13 Elena Robbery Fallout 49:24 Barney Marriage Breaking 49:36 Money Math and Loose Ends 53:01 Cricket Puppet Master Theory 54:59 Season Three Hopes and Wrap Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Send us Fan MailAngelo, Rhea, and Jay are back — and this week there are three numbers that have shaken Hollywood to its core: $81 million, $100 million, and $52 million. That's what three YouTube kids just grossed at the box office... a 20-year-old with Backrooms, a 26-year-old who turned $750K into Obsession's biggest second-weekend spike in modern box office history, and Markiplier, who walked out of a gaming channel and grossed $52 million on $3 million. The film school brats gave us Scorsese and Coppola. The VHS kids gave us Tarantino and Rodriguez. Is this the YouTube generation?THEN: Scott Pelley walked into a meeting and told his new boss, Nick Bilton, to his face that Bilton and Bari Weiss are "murdering 60 Minutes" to placate Donald Trump. CBS is still waiting on federal approval for the Paramount/Warner Brothers merger, Bilton has zero broadcast background, and Pelley just lit a match on his own legacy. At what point does speaking truth to power become career suicide — and does it even matter if you're right?ALL THAT PLUS: Byron Allen's Comics Unleashed is a DUD, Rhea delivers what can only be described as a passionate sermon for The Sheep Detective, Angelo checks out a new show by The Fonz and much MUCH more!MAKE SURE TO VISIT OUR SPONSOR: Steven Singer Jewelers!The TV Show is a weekly podcast hosted by Jay Black, with regular guests Angelo Cataldi and Rhea Hughes. Each week, we dive into the new Golden Age of Television, with a discussion of the latest shows and news.

Send us Fan Mail It's time for another War Games Top 10, which means Lyss is back to help us navigate one of our biggest rankings yet. After introducing the craft beers we're enjoying for the occasion, we dive headfirst into the legendary filmography of Martin Scorsese. From crime epics and character studies to some of the most influential films ever made, we rank our Top 10 Scorsese movies and debate every step of the way. Be sure to stick around for the final rankings, because things get heated when it's time to decide the Top 3. 

Pop Culture Thursday: Jared reads the latest celebrity headlines from Page Six and gives his unfiltered takes!Ciara Miller, West Wilson, and Amanda Batula: Summer House reunion dramaNepo baby debate reignites with Francesca ScorseseTaylor Swift spotted with Travis Kelce at NBA gameJacob Elordi pulled into injury clickbait confusionBarbra Streisand linked to fake Cannes injury storyJaclyn Smith at 80 reveals beauty secretAurora Culpo welcomes baby girl with fiancé ZachJared is on tour!

Dave & Cody bring in Star Wars superfan (and middle school choir teacher) Lance Burnett to review The Mandalorian & GroguIs it a real movie or just a really long episode of the show? Dave makes the case that it's the franchise's "Temple of Doom moment," Cody goes after the critics, and Lance drops deep-cut lore that'll make you want to watch it again. Plus: the music, that Scorsese cameo, a Hutt voice that needed fixing, a Pastor's Corner on "The Way" and what a creed actually produces. Stick around for full Star Wars movie rankings. In the news: the Toxic Mom Group saga returns.SPOILER WARNING: Full spoilers for The Mandalorian & Grogu after the news segment.Movie reviewed: The Mandalorian & Grogu (2026) — Directed by Jon Favreau. Starring Pedro Pascal, Sigourney Weaver, Jeremy Allen White, with a cameo by Martin Scorsese. Now playing in theaters.

Three short films about New Yorkers: the relationship of an artist and his assistant falls apart; a very young rich girl has adventures; a lawyer's relationship falls apart when his mother disappears during a magic show. It's an uneven collection, as anthology films often are: Scorsese's "Life Lessons" is a savage look at exploitation, Coppola's "Life Without Zoe" is a middling children's film, and Allen's "Oedipus Wrecks" is a pretty standard Woody Allen sketch. Starring Nick Nolte, Rosanna Arquette, Steve Buscemi, Talia Shire, Mia Farrow, Julie Kavner, Mae Questel, and Woody Allen. Written by RIchard Price, Francis Ford Coppola, Sophia Coppola, and Woody Allen. Directed by Martin Scorsese, Francis Ford Coppola, and Woody Allen.

Send Kevin a Text MessageMark Canton, producer of 300, Immortals, Men in Black, Air Force One, and My Best Friend's Wedding, former President of Worldwide Production at Warner Bros., and former Chairman of Columbia Pictures and Columbia TriStar Motion Picture Companies, joins host Kevin Goetz for a conversation about a career defined by passion and instinct. From delivering mail on the Warner Bros. lot as a college student to greenlighting some of Hollywood's most beloved films, Canton reflects on the legends he learned from, the risks he took, and why he still smells the circus every time he walks onto a sound stage.Queens, New York, and Family (02:34): Canton traces his love of film to a father who survived being shot down over France in WWII, won an Oscar for a short film on Van Gogh, and went on to do publicity for Hitchcock and Dr. Martin Luther King Jr., and to a mother who was a published poet. The movies, he says, were always destiny.Learning from the Greats on Papillon (15:22): Working for director Franklin Schaffner in Jamaica and living between the houses of Steve McQueen and Dustin Hoffman, Canton learned what it meant to commit to a film.From the Warner Bros. Mail Room to Running the Studio (20:31): Canton traces his rise from UCLA film student to head of Worldwide Production at Warner Bros., sharing stories about the Vacation franchise, Caddyshack, and Lethal Weapon.Taking the Helm at Columbia Pictures (39:22): Recruited by Peter Guber and Jon Peters, Canton became Chairman of Columbia Pictures and later oversaw Columbia TriStar. He reflects on the team he assembled and the record-breaking run that followed, including Jerry Maguire, My Best Friend's Wedding, Bad Boys, and Air Force One.The Art of the Difficult Screening (47:51): Canton recounts two defining test screening moments: a chaotic preview of Scorsese's The Age of Innocence in a New Jersey bowling alley, and a tough audience response to Luc Besson's Léon: The Professional that led to an ultimatum and a reworked film that became a modern classic.The Cable Guy and No Regrets (50:43): Canton defends paying Jim Carrey $17 million and notes what history confirmed: the film launched Ben Stiller's directing career, introduced Jack Black, Owen Wilson, and Judd Apatow. He also recalls his affectionate standoff with Mike Nichols over the ending of Wolf.What Keeps Audiences Coming Back (54:50): Canton argues that what fills theaters today is the same thing that made Purple Rain a phenomenon: the feeling of a live, communal, irreplaceable experience.Host: Kevin GoetzGuest: Mark CantonProducer: Kari CampanoWriters: Kevin Goetz, Darlene Hayman, and Kari CampanoAudio Engineer: Gary Forbes (DG Entertainment)For more information about Mark Canton:Wikipedia: https://en.wikipedia.org/wiki/Mark_CantonIMDB: https://www.imdb.com/name/nm0004799/Instagram: https://www.instagram.com/markcanton/?hl=enFor more information about Kevin Goetz:- Website: www.KevinGoetz360.com- Audienceology Book: https://www.simonandschuster.com/books/Audience-ology/Kevin-Goetz/9781982186678- How to Score in Hollywood: https://www.amazon.com/How-Score-Hollywood-Secrets-Business/dp/198218986X/- Facebook, X, Instagram, TikTok, YouTube, Substack: @KevinGoetz360- LinkedIn @Kevin Goetz- Screen Engine/ASI Website: www.ScreenEngineASI.com

Cape Fear is Martin Scorsese at his sleaziest, sweatiest, and most unhinged — and Robert De Niro's Max Cady might be one of the most terrifying villains we've reviewed yet.In this long-form horror movie review podcast, we dive into Cape Fear (1991), the wild performances, the uncomfortable tension, the Hitchcock vibes, the piano wire kill, the boat finale, and why this movie somehow manages to be hilarious… until it absolutely is not.Is Cape Fear an underrated Scorsese thriller? Is Max Cady one of cinema's creepiest villains? And why did those guys think a bike chain was going to stop him?Hit play and join us as we dissect the madness...

0:00 - Best two words in sports: Game 7. Buffalo vs Montreal was, as the Scorsese meme goes, Absolute Cinema. Shoutout former Av Alex Newhook for the OT game winner! He's scored 2 Game 7 game-winning goals in the same playoff series. Speaking of absolute cinema, how about Wemby carving up the Thunder on the road in Game 1 of the WCF? Wemby has been just as good as advertised, if not better. He's only 22 years old. Strap in, y'all. He's gonna be a problem for a LONG time.16:23 - Let's preview tomorrow's Avs vs Golden Knights WCF Game 1 by the numbers. Moser actually hit the books and did some research! 33:42 - Last week, Colin Cowherd said the NFL intentionally gave the Broncos a ridiculously though schedule in Weeks 1-6 because they don't like Sean Payton. They're trying to stick it to him publicly. We see Colin's mouth moving...but it's Sean Payton's word coming out.(And for what it's worth, the song I bumped back with is "All Downhill From Here" by New Found Glory)

No Braincast 633, Carlos Merigo, Cris Dias, Hiago Vinícius, Ken Fujioka e Bia Fiorotto discutem a Bro Tax: o pedágio simbólico que transforma produtos comuns em objetos aceitáveis para homens inseguros com cuidado, higiene, saúde ou prazer. O papo passa por Liquid Death, a água com estética de caveira e atitude; pela brasileira Dane-se; pelos lenços umedecidos “de homem” da Dude Wipes; pelo Man Cereal, cereal com proteína, creatina e slogan sobre “recuperar as bolas”; e por marcas que transformam sabonete, maquiagem, protetor solar, barba, skincare e até café da manhã em performance de masculinidade. A pergunta é: isso é branding brilhante, diferenciação em categorias sem graça ou só mais um jeito de vender insegurança masculina em embalagem preta fosca? Também tem Qual é a Boa com documentários sobre Paul McCartney e Martin Scorsese, podcast sobre Palmares, ciência, Cinemático, Love Cabaré, Liderança Subversiva e Momento Faustão. 04:58 PAUTA 07:59 Água com atitude 12:46 Da Pink Tax à Bro Tax 14:23 Exemplos Dude Wipes e Man Cereal 16:29 Challenger brands e exageros 19:37 Protetor solar Slather 22:04 Masculinidade frágil e consumo 26:23 Produtos masculinos na prática 32:24 Economia da atenção 33:04 Marca desafiante vira líder 34:54 Warpaint e maquiagem masculina 37:16 Insegurança como negócio 37:56 Pressão estética nos homens 39:53 Água premium e luxo 41:34 Identidade e códigos de gênero 42:53 Axe Click e propaganda datada 46:41 Campanhas masculinas que funcionam 48:10 Restaurantes com atitude 49:38 Barbearias e experiência forçada 52:10 Ritual de loja e constrangimento 54:16 Storytelling demais nas marcas 56:08 Masculinidade simples e básica 01:03:13 QUAL É A BOA 01:03:55 Documentário Paul McCartney 01:06:15 Mr Scorsese na Apple 01:09:15 Cupom IA em Curso 01:12:14 Podcast Vida Palmarina 01:17:08 Bluey e Paternidade 01:18:24 Naruhodo com Paleontóloga 01:22:17 Rooster na HBO 01:25:31 Magic Love Cabaré 01:29:32 Podcast Liderança Subversiva 01:32:00 Momento Faustão 01:33:57 Confundindo Cris Dias 01:38:42 Despedida e Beijos -- ✳️ TORNE-SE MEMBRO DO B9 E GANHE BENEFÍCIOS: Braincast secreto; grupo de assinantes no Telegram; e episódios sem anúncios!

What are the best movies from six of the greatest directors ever? Lance Taylor and Tyler Johns go filmmaker by filmmaker through the careers of Quentin Tarantino, Martin Scorsese, David Fincher, Paul Thomas Anderson, Stanley Kubrick, and Christopher Nolan to choose the films that best define each director. From Tarantino's pop-culture-changing Pulp Fiction to Scorsese's gangster classic Goodfellas, Fincher's dark thriller Seven, PTA's powerhouse drama There Will Be Blood, Kubrick's horror landmark The Shining, and Nolan's massive historical epic Oppenheimer, this episode is a full movie-lover deep dive. The guys also discuss the difference between a director's “best” movie and their personal favorite, why some films age better than others, and how certain movies reshape an entire genre. Before the main topic, Lance and Tyler review recent viewings including Who Will Stop the Rain?, Marathon Man, Billy Idol Should Be Dead, Hooper, Widow's Bay, Mortal Kombat 2, and Batman Beyond. #BestFilms #BestMovies #LegendaryDirectors #QuentinTarantino #MartinScorsese #ChristopherNolan #StanleyKubrick #DavidFincher #PaulThomasAnderson #PulpFiction #Goodfellas #Oppenheimer #TheShining #TheNextReel #moviereview SUBSCRIBE: @NextRoundLive - / @nextroundlive FOLLOW TNR ON SPOTIFY: https://open.spotify.com/show/7zlofzLZht7dYxjNcBNpWN FOLLOW TNR ON APPLE PODCASTS: https://podcasts.apple.com/us/podcast/the-next-round/id1797862560 WEBSITE: https://nextroundlive.com/ MOBILE APP: https://apps.apple.com/us/app/the-next-round/id1580807480 SHOP THE NEXT ROUND STORE: https://nextround.store/ Like TNR on Facebook: / nextroundlive Follow TNR on Twitter: / nextroundlive Follow TNR on Instagram: / nextroundlive Follow everyone from the show on Twitter: Jim Dunaway: / jimdunaway Ryan Brown: / ryanbrownlive Lance Taylor: / thelancetaylor Scott Forester: / scottforestertv Tyler Johns: /TylerJohnsTNR Sponsor the show: sales@nextroundlive.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Today's brand new episode is a full review of 1985's After Hours.   It's quite possible that you have never heard of this movie, but before you dismiss it, listen to this-   Directed by Scorsese.  Starring Catherine O'Hora, Rosanna Arquette, John Heard, Cheech and Chong, Bronson Pinchot, Dick Miller and more.   It could be described as having the anxiety of the original Uncut Gems.  It's fun and we think you will like it.   •0:00:00 - Introductions •0:02:30 - Memories of first viewing •0:06:00  - Pertinent movie details  •0:10:00  -  Critical and fan reviews •0:17:00 - Scene by scene breakdown  •1:42:00 - Modern day ratings —————————————————————— SPONSORS-  **ASPCA-  To learn more about Pet Health Insurance, visit http://aspcapetinsurance.com/breakfast  **TruDiagnostics- Our listeners can get 20% off at http://TruDiagnostic.com using code CONFUSED at checkout. **LITTLE SLEEPIES-  If you're expecting or dressing little ones, check out Little Sleeps.  You can visit http://littlesleepies.com and use promo code PodSpring26 for 15% off **Draftkings-  Download the app now and sign up with code CONFUSED to claim 1,500 flex spins. **FABLETICS-  Get 80% off everything when you sign up as a VIP! Just head to http://Fabletics.com/confused —————————————————————— **Support us at http://patreon.com/confusedbreakfast for bonus weekly episodes, voting on upcoming movies, giving your modern-day ratings on our movies and much more. **Mail us something   The Confused Breakfast PO Box 10016 Cedar Rapids, IA 52402-9802 Special thanks to our executive producers- Josh Miller, Starling, Dylan Mick and NicMad. Learn more about your ad choices. Visit megaphone.fm/adchoices

Listen without ads for 25 cents at www.patreon.com/dopeypodcast This Dopey Greatest Hits episode kicks off with Dave introducing a fan-voted theme around iconic TV characters, with Michael Imperioli winning the poll. Dave goes on a classic rant about ads vs Patreon, breaking down the cost to “25 cents a day,” before spiraling into plans for DopeyCon — including a long-shot idea to book Steve Jones during the CBGB Festival. A voicemail delivers pure Dopey chaos: a listener recounts taking acid, drinking, and shooting whiskey bottles in his basement, ultimately blowing apart his finger with a ricochet and attempting to cover it up using an angle grinder. The episode then pivots to a legendary Dopey story from Bill Blaber. After falling deep into crystal meth addiction, Bill describes wandering New York City in full paranoia, convinced AOL was responsible for ruining his life. This leads him to break into a building, climb to the roof, scale a water tower, and pass out inside. He's rescued by the FDNY, greeted by news cameras, and somehow avoids jail by fabricating a story — landing instead in a psych hold. Dave calls it one of the greatest Dopey stories ever before transitioning into an interview with Michael Imperioli, who discusses his early acting career, Goodfellas, working with Scorsese, and the infamous glass-breaking stunt that landed him in the hospital. Plus the Sopranos - and Michael's crazy Lou Reed Fan Fiction - The Perfume Burned His Eyes! All that and more on the Brand new old Greatest Hits Show! PLUS MORE!   Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

This is just a ten-ish-minute clip from our super-sized episode on THE DEPARTED! To access the full show, click through here to sign up now!“Martin Sheen pops like a grape!” - Andrew on Captain Queenan's demiseOn this month's We ❤️ Movies, Remake-ril is in full effect as we chat about Martin Scorsese's Oscar-winning remake, The Departed! A reimagining of Andrew Lau Wai-Keung & Alan Mak's Infernal Affairs, this is the flick that finally won Scorsese his first (and only) Oscar for directing. How majestic are all these wild-ass accents flying around this movie? Is this Marty's most grim look at the mob? How great is this Damon/Farmiga elevator meet cute? Isn't it great looking back at all this quaint cell phone technology? And how lucky are we to have gotten one last amazing Nicholson psycho performance? PLUS: If Yondu from Guardians of the Galaxy shows up at your apartment wearing paper booties, look out!The Departed stars Leonardo DiCaprio, Matt Damon, Mark Wahlberg, Martin Sheen, Ray Winstone, Vera Farmiga, Anthony Anderson, Alec Baldwin, Kevin Corrigan, James Badge Dale, and Jack Nicholson as Frank Costello; directed by Martin Scorsese.Be sure to visit the WHM Merch shop over on Dashery and check out all the latest show-related designs you can slap on t-shirts, hats, coffee mugs, stickers, whatever! Make your friends jealous by flaunting some WHM merch today!Original cover art by Felipe Sobreiro.