American producer
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5 episodes with Scott Rudin
5 episodes with Scott Rudin
3 episodes with Scott Rudin
2 episodes with Scott Rudin
2 episodes with Scott Rudin
2 episodes with Scott Rudin
2 episodes with Scott Rudin
3 episodes with Scott Rudin
3 episodes with Scott Rudin
Dennis is joined via Zoom by one of his literary heroes, author, screenwriter and playwright Paul Rudnick, to discuss Paul's new novel What is Wrong With You?, which is about an offbeat assortment of gay and straight characters whose lives and lovelives collide at the destination wedding of a tech billionaire on the billionaire's private island. Paul talks about the stranger whose despondent blog post provided the spark of the book. He also talks about the straight personal trainer-gay client friendship that is at the heart of the book, why he chose to make the billionaire character way more redeemable than our world's current crop of tech billionaires and how he doesn't outline his novels, preferring to let "the characters do the driving." He also discusses his career as a screenwriter, penning scripts for hit films like Adams Family Values, In and Out, Jeffrey and Sister Act, which had such a fraught development process that he chose not to have his name taken off the movie. Other topics include: his decades-long friendship with Tony award-winning costume designer William Ivey Long, his fetishistic obsession with design elements like fabrics, luxury brands and high-end materials, how he deals with large-scale personalities like Alan Carr and Scott Rudin when they're working together, whether or not he cries when he writes and the desperation of the super rich. (www.paulrudnick.com)
To hear (or watch) the full episode, head on over to our PATREON! On today's episode, the bros discuss the latest in Movie News -- With Spring comes the post-Awards Season wheelings and dealings, and an unsettling slump that has Los Angeles wondering what the future is for production and theatrical releases! There's also the return of multiple "cancelled" creatives, a new show on Apple that's so inside-baseball that everyone in Hollywood loves it -- even the people who hate it -- and a strange situation over at Amazon...
A group of 70 female chefs and hospitality professionals have signed an open letter calling out what they call the ‘pervasive' sexism in British kitchens. It's in response to chef Jason Atherton saying he had never seen sexism in the kitchen - he has since clarified his comments, saying that he wasn't denying the existence of sexism, just that he hadn't 'witnessed it personally. Anita is joined by chef and founder of the all-female kitchen Darjeeling Express, Asma Khan, and chef and founder of Tiella, Dara Klein, who helped write the open letter.The beloved 1995 film Clueless, inspired by Jane Austen's Emma, starred Alicia Silverstone, Paul Rudd, and the late Brittany Murphy. Cher Horowitz is the most popular student at Beverly Hills High, renowned for her unique talent at finding love for others. Clueless the Musical has just opened at the Trafalgar Theatre in London. Anita discusses the adaptation and the story's enduring appeal with the original writer/director Amy Heckerling and multi-platinum singer-songwriter KT Tunstall who has written the score.Montage of clips from the 1995 movie, Clueless, written and directed by Amy Heckerling, produced by Scott Rudin and Robert Lawrence, production companies Robert Lawrence Productions, Scott Rudin Productions and distributed by Paramount Pictures.Amelia Price, a survivor of rape and assault by her ex-partner, has launched her own investigation into the Scottish justice system. Despite her attacker being convicted and sentenced to over four years in prison, the court refused to impose a non-harassment order (NHO) against him. With his release imminent, Price fears he could legally contact her. She has waived her anonymity to raise awareness about the issue and advocate for mandatory NHOs in domestic abuse cases. Anita speaks to her about her campaign alongside Fiona McMullen from ASSIST, a domestic abuse advocacy service. 'Sen-betweeners' is the term Lisa Lloyd, a mum of two autistic children, uses to describe her children. She says their neurodivergence is too severe to fit easily into mainstream school, but not severe enough for a special school, so they fall between the gaps. Lisa has written a guide for other parents on ‘Raising the Sen-betweeners,' in which she, whilst recognising that all children are different and there can be no rules, offers tips and advice for how to handle behaviours. Lisa joins Anita to share what she has learnt.Presenter: Anita Rani Producer: Claire Fox
We're kicking off the spooky season with a look at the romance of Alex Garland's 2018 sci-fi horror quest Annihilation! Join in as we discuss Natalie Portman's underrated performance, the movies differences with Jeff VanderMeer's Southern Reach trilogy, the various controversies that came up on the film's release, and, of course, that freaky bear. Plus: Why didn't the movie shoot in the US? Why did the Saturns fail to celebrate it? How did Scott Rudin (of all people?) save the movie? And, most importantly, is Paramount okay? Make sure to rate, review, and subscribe! Next week: Psycho (1960)
Hope may be hard to come by in any corner of the world these days. But writer-producer Chap Taylor and producer Evan Astrowsky try their level best to help us keep our chins up in our first show business roundtable for season 3. Chap Taylor has written screenplays and television pilots for all of the major Hollywood studios. He's worked for such producers as Brian Grazer, Scott Rudin, Irwin Winkler, Arnold Kopelson, and for directors Wes Craven and Ridley Scott. He co-wrote the Paramount feature film Changing Lanes, starring Ben Affleck and Samuel L. Jackson, as well as uncredited work on National Treasure, Behind Enemy Lines and the remake of the horror classic, The Omen. Chap created the comic book series Haunted City and (in 2021) is currently adapting it into a television series for producers Tom Fontana and Barry Levinson. He served as Consulting Producer on the NBC/Sony Pictures Television drama The Blacklist and wrote episodes #407 and #414. In features, he most recently re-imagined the classic John Ford western The Man Who Shot Liberty Valance for producer Matt Jackson at Paramount. He is currently (in 2021) developing projects with eOne, Doug Liman's production company Hypnotic, Levinson/Fontana Television and Jay Carson, creator of The Morning Show. Chap Taylor IMDB Twitter Evan Astrowsky Evan is a seasoned film and commercial producer with ad agency , production company and film producing expertise. After graduating NYU Film School as the Lew Wasserman Fellow Evan went on to produce 10+ independently produced feature films including Cabin Fever, Fanboys, Ironclad, The Lazarus Project, and Mini's First Time. Evan now finds himself firmly in the brand world where he has produced commercials for companies like Microsoft, Bud Light, Chevy, Verizon and Oracle. Evan is part of the ‘abled-disabled' community in LA where he lives with wife and two kids. IMDB Instagram Twitter Alex Keledjian Alex Keledjian is the creator of Project Greenlight, a documentary television series where executive producers Matt Damon and Ben Affleck gave first-time filmmakers a chance to direct their first feature film. In 2018, Alex wrote and directed the film High Voltage starring David Arquette and Luke Wilson. MAX launched the latest season of the Emmy-nominated TV series Project Greenlight from executive producer Issa Rae and Miramax Television in July 2023. How I Got Greenlit Instagram Twitter Podlink Credits Alex Keledjian, Host Pete Musto, Producer/Editor Jeremiah Tittle, Producer Experience more of How I Got Greenlit via nextchapterpodcasts.com For guest inquiries, sponsorships, and all other magnificent concerns, please reach How I Got Greenlit via howIgotgreenlit@gmail.com For inquiries and more information on Next Chapter Podcasts info@ncpodcasts.com New episodes go live every Tuesday. Please subscribe, rate & review on Apple Podcasts, Spotify, Stitcher, wherever you listen to podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices
We all love a good "what might have been" story. Every major director has a filing cabinet stuffed with projects that slipped through their fingers, and Steven Soderbergh is no different. From beefing with Robert Redford to a legal sparring match with Scott Rudin to nearly making a historical musical, Soderbergh has a rich history of near misses, and we've got the highlights. Join us as we take a break from our regular programming to discuss the Soderberghs that might have been... (And please forgive our audio for being a little off this week--we encountered some technical difficulties during recording.) Social media Instagram @thefilmographers Twitter/X @filmographerpod Letterboxd @filmographers YouTube @TheFilmographersPodcast Website: https://filmographerspodcast.com/ Patreon: Patreon.com/TheFilmographersPodcast Credits Keir Graff & Michael Moreci, hosts Kevin Lau, producer Gompson, theme music Cosmo Graff, graphic design
Don't Kill the Messenger with movie research expert Kevin Goetz
In this episode of "Don't Kill the Messenger," host Kevin Goetz sits down with veteran producer Carol Baum, whose impressive career includes working with Hollywood icons such as Dolly Parton, Barbara Streisand, Robert De Niro, Zendaya, and Steve Martin. Carol shares stories and insights from her decades in the film industry, discussing her work on memorable films like "Father of the Bride," "The Good Girl," "Dead Ringers," and "Flyaway Home." She also shares candid experiences as a studio executive at Fox and Lorimar, where she developed classic films like "Officer and a Gentleman" and "The Dead Zone." With the recent release of her book, "Creative Producing," Carol provides a wealth of knowledge for aspiring filmmakers and industry professionals.Carol's Early Career and Education (07:42)Carol discusses her early career, how a girl from South Orange, New Jersey with no Hollywood connections landed a job in publishing at Bantam Books, where she discovered "The Autobiography of Malcolm X" and how she went on to produce classic movies.Studio Executive Roles (24:28)As a studio executive, Carol worked with Jon Peters' company, where she learned the importance of a positive work environment. She then moved on to Fox, working under Joe Wizan, and experienced a culture shift when Larry Gordon and Scott Rudin joined the studio. At Lorimar, Carol developed classic films such as "An Officer and a Gentleman" and "The Dead Zone."Father of the Bride, Buffy the Vampire Slayer, and Sandollar Productions (30:17)Carol shares stories of working with Sandy Gallin and Dolly Parton at Sandollar Productions where she produced successful films like "Father of the Bride" and "Buffy the Vampire Slayer" while collaborating with Howard Rosenman.Creative Producing (38:10)Carol discusses her book, Creative Producing, where she emphasizes the importance of the development process and working closely with writers to refine scripts and make them better.Working with Stars Like Barbara Streisand, Steve Martin, and a Young Zendaya (42:53)Carol shares her love for actors and their role in getting projects made. She considers Anthony Hopkins one of the greatest living actors and recounts her experiences working with Barbara Streisand, Steve Martin, and a young Zendaya.Carol Baum's love for movies shines through and shows why she is so valuable to the film industry. Her willingness to share her experiences and lessons in this episode as well as in her book, Creative Producing, are sure to inspire and guide countless filmmakers If you enjoyed this episode, please leave us a review or connect on social media. We look forward to bringing you more revelations from behind the scenes next time on Don't Kill the Messenger!Host: Kevin GoetzGuest: Carol BaumProducer: Kari CampanoWriters: Kevin Goetz, Darlene Hayman, and Kari CampanoFor more information about Carol Baum:IMDB: https://www.imdb.com/name/nm0062071/Wikipedia: https://en.wikipedia.org/wiki/Carol_BaumWebsite: https://www.carolfriedlandbaum.com/For more information about Kevin Goetz:Website: www.KevinGoetz360.comAudienceology Book: https://www.simonandschuster.com/books/Audience-ology/Kevin-Goetz/9781982186678Facebook, Twitter, Instagram: @KevinGoetz360Linked In @Kevin GoetzScreen Engine/ASI Website: www.ScreenEngineASI.com
Permettez-nous de vous présenter la famille la plus fonctionnelle qui soit tout en étant la plus bizarre, jʹai nommé la famille Addams, the Addams Family, dont les histoires sont devenues un film en 1991. Cʹest Barry Sonnenfeld, dont cʹest le premier long-métrage en tant que réalisateur, qui porte à lʹécran les dessins et lʹunivers de Charles Addams, qui signe tous ses dessins du surnom de Chas Addams. Un univers déjanté, à tendance morbide, qui fait les beaux jours du magazine The New Yorker entre 1938 et 1964 et qui devient un phénomène qui surprend son créateur. Une série télévisée, une sitcom, est produite entre 1964 et 1966 supervisée par Chas Addams en personne. Cette série permet de poser tous les personnages qui deviennent, alors, des familiers du public. La famille Addams, avec son inquiétante étrangeté, est le contrepoint parfait à la société américaine trop lisse des années 60. Puis, la famille Addams disparaît, pour un temps, des écrans. En 1986, cʹest un producteur, Scott Rudin, fan des dessins de Chas Addams, qui, sentant le vent pour les comédies horrifiques tourner, se lance dans lʹaventure et engage Barry Sonnenfeld. Et le succès est là en 1991. Complet, absolu. Il faut dire que les décors sont grandioses, lʹambiance est gothique, les personnages connus et leurs interprètes, Anjelica Huston, Raúl Juliá, Christina Ricci, Christopher Lloyd, sont excellents. Cʹest drôle, cʹest punchy. Le succès est tel quʹon imagine une suite, Les valeurs de la famille Addams avec la même équipe. Et cette fois, cʹest sûr, la famille Addams ne quittera plus jamais les écrans. Il ne nous reste plus quʹà débarquer dans ce manoir comme le fait Fétide, lʹOncle Fester, revenu parmi les siens après une longue absence. REFERENCES Chas Addams, La famille Addams, à lʹorigine du mythe, Huginn & Muninn, 2016 Barry Sonnenfeld interview https://www.youtube.com/watch?v=1-yg_n5vx5o Barry Sonnenfeld interview https://www.youtube.com/watch?v=tGbk0aeLaqw "The Addams Family" 28 Years Later: Rewind | E! News https://www.youtube.com/watch?v=id3Hvvhg5XQ Le making of de la Famille Addams https://www.youtube.com/watch?v=hOQRmdaeCWA Vic Mizzie https://www.youtube.com/watch?v=hxN5iVBj-6Q
David Schwab, is a screenwriter based in New York City. Since 2014, Mr. Schwab has been an adjunct professor of screen writing at the Graduate Film school at Columbia University. He has also taught at the French National Film School, La Femis, and also at Sundance Colabs. Mr. Schwab received his MFA in Film from the Columbia University School of the Art where his thesis script, MR. VERNER'S PYGMY, was purchased by Scott Rudin. Since then Mr. Schwab has written for, among others, Warner Brothers, Animal Logic, Hollywood Pictures, Propaganda, HD Net Films, and Paramount Pictures. Mr. Schwab was the 2014 Sundance/Sloan Commissioning Grantee for his script, FRANCIS TURNBULL – which was also selected for the 2013 Hampton Film Festival writer's lab. FRANCIS TURNBULL is being produced by Oren Moverman (THE MESSENGER, LOVE AND MERCY, TIME OUT OF MIND) and Wren Arthur (PRAIRIE HOME COMPANION). Jennifer Fox (THE TALE, BEIRUT: THE LAST HOME MOVIE) will direct. Mr. Schwab recently completed KACZYNSKI, a TV pilot about the Unabomber for SightUnseen pictures. Oren Moveman will direct. Learn more about your ad choices. Visit podcastchoices.com/adchoices
A former employee of Oscar-winning producer Scott Rudin breaks his silence and reveals what it was really like to work for the man The New York Post called “Hollywood's Biggest A-hole”. Watch and Subscribe to our YouTube Channel @NavigatingNarcissismPod Follow me on social: Instagram - @doctorramani Pod Instagram - @navigatingnarcissismpod Facebook - @doctorramani Twitter - @DoctorRamani YouTube: Dr. Ramani's YT - DoctorRamani I want to hear from you, too. Have a toxic topic you want me to explore? Email me at askdrramani@redtabletalk.com. I just might answer your questions on air. This podcast should not be used as a substitute for medical or mental health advice. Individuals are advised to seek independent medical advice, counseling, and/or therapy from a healthcare professional with respect to any medical condition, mental health issue, or health inquiry, including matters discussed on this podcast. EXECUTIVE PRODUCERS Jada Pinkett Smith, Ellen Rakieten, Dr. Ramani Durvasula, Meghan Hoffman VP PRODUCTION OPERATIONS Martha Chaput CREATIVE DIRECTOR Jason Nguyen LINE PRODUCER Lee Pearce PRODUCER Matthew Jones, Aidan Tanner ASSOCIATE PRODUCER Mara De La Rosa ASSOCIATE CREATIVE PRODUCER Keenon Rush HAIR AND MAKEUP ARTIST Samatha Pack AUDIO ENGINEER Calvin Bailiff EXEC ASST Rachel Miller PRODUCTION OPS ASST Jesse Clayton EDITOR Eugene Gordon POST MEDIA MANAGER Luis E. Ackerman POST PROD ASST Moe Alvarez AUDIO EDITORS & MIXERS Matt Wellentin, Geneva Wellentin, VP, HEAD OF PARTNER STRATEGY Jae Trevits Digital MARKETING DIRECTOR Sophia Hunter VP, POST PRODUCTION Jonathan Goldberg SVP, HEAD OF CONTENT Lukas Kaiser HEAD OF CURRENT Christie Dishner VP, PRODUCTION OPERATIONS Jacob Moncrief EXECUTIVE IN CHARGE OF PRODUCTION Dawn ManningSee omnystudio.com/listener for privacy information.
Delivered with a Blue Bow: Unboxing the IBM z16 Rack Mount “When ours rolled into the warehouse, it had a blue bow on it,” Jim Fyffe recalls with a chuckle. He's not kidding; the IBM z16 rack mount is a special machine. This new system is designed with sustainability in mind. It's the same IBM z16 with the Telum processor, and the security and reliability of IBM z16, but in a rack, delivered in a configuration for clients who want a smaller footprint and more co-location options. Listen in as Jim Fyffe and Scott Rudin of Evolving Solutions share their experiences with one of the very first IBM z16 rack mount units: what installation was like, and how their customers are responding -- including a preview of AI capabilities and LinuxONE compatibility. Visit IBM on the web for more information about IBM z16 rack mount and LinuxONE Rockhopper 4 rack mount; to explore more about flexible-compute capabilities watch Big Innovation in a Smaller Footprint.To learn more about Evolving Solutions, visit their website. Also be sure to view Evolving Solutions' IBM z16 rack mount installation video; reach out to Evolving Solutions to learn more or to schedule a visit.|Join the ISV Ecosystem User Group on the IBM Z and LinuxONE Community for more updates on how ISVs are innovating the IBM Z platform: blogs, events, videos, discussions, and more. Join here.Subscribe to z/Action! Each month we meet some of the world's most innovative companies as they share how they're expanding horizons and driving success with IBM Z.
Our series of roundtable discussions continues with a Q&A session featuring writers Anthony Jaswinski and Chap Taylor unpacking the state of their craft in the era of digital streaming content. Writer and Producer, Anthony Jaswinski wrote the summer sleeper hit (and box office success) The Shallows starring Blake Lively and Mary starring Gary Oldman and Emily Mortimer. Additionally, Anthony wrote Area 51 for Sony and Atomic Monster with Colin Minihan attached to direct, as well as Sentinel for Atomic Monster with Michael Chaves attached to direct. His script The French Quarter Will Not Be Spared was sold to Lionsgate with The Picture Company and Khalabo Ink Society producing, and he recently sold his spec script The Ascent to Netflix with Lynn Harris and Matti Leshem producing. Anthony Jaswinski IMDB Chap Taylor has written screenplays and television pilots for all of the major Hollywood studios. He's worked for such producers as Brian Grazer, Scott Rudin, Irwin Winkler, Arnold Kopelson, and for directors Wes Craven and Ridley Scott. He co-wrote the Paramount feature film Changing Lanes, starring Ben Affleck and Samuel L. Jackson, as well as uncredited work on National Treasure, Behind Enemy Lines and the remake of the horror classic, The Omen. Chap created the comic book series Haunted City and (in 2021) is currently adapting it into a television series for producers Tom Fontana and Barry Levinson. He served as Consulting Producer on the NBC/Sony Pictures Television drama The Blacklist and wrote episodes #407 and #414. In features, he most recently re-imagined the classic John Ford western The Man Who Shot Liberty Valance for producer Matt Jackson at Paramount. He is currently (in 2021) developing projects with eOne, Doug Liman's production company Hypnotic, Levinson/Fontana Television and Jay Carson, creator of The Morning Show. Chap Taylor IMDB Twitter Alex Keledjian Alex Keledjian is the creator of Project Greenlight, a documentary television series where executive producers Matt Damon and Ben Affleck gave first-time filmmakers a chance to direct their first feature film. In 2018, Alex wrote and directed the film High Voltage starring David Arquette and Luke Wilson. Ryan Gibson Ryan Gibson is an Emmy-award winning producer of such films as the critically acclaimed Woe and the upcoming film Slotherhouse. He has worked for over twenty years in all aspects of film development and production. HBO Max will stream the latest season of the Emmy-nominated TV series Project Greenlight from executive producer Issa Rae and Miramax Television in January 2023. How I Got Greenlit Instagram Twitter Podlink Credits Alex Keledjian, Host Ryan Gibson, Host Pete Musto, Producer/Editor Jeremiah Tittle, Producer Experience more of How I Got Greenlit via ncpodcasts.com For guest inquiries, sponsorships, and all other magnificent concerns, please reach How I Got Greenlit via howigotgreenlit@gmail.com For inquiries and more information on Next Chapter Podcasts info@ncpodcasts.com New episodes go live every Tuesday. Please subscribe, rate & review on Apple Podcasts, Spotify, Stitcher, wherever you listen to podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices
Our Past Lives exploration continues with John Magaro who chats about the film, his real life parallels to it, forgotten New York City institutions, and childhood friends. More about Past Lives Nora and Hae Sung, two deeply connected childhood friends, are wrest apart after Nora's family emigrates from South Korea. Two decades later, they are reunited in New York for one fateful week as they confront notions of destiny, love, and the choices that make a life, in this heartrending modern romance. Starring: Greta Lee, Teo Yoo, John Magaro More about John Magaro John Magaro has spent his career nurturing an impressive body of work that encompasses film, television, and theatre. John can now be seen in Showing Up, opposite Michelle Williams, in a reunion with Kelly Reichardt. The film made its world debut in competition at Cannes 2022. John can soon be seen in Celine Song's Past Lives opposite Greta Lee (A24) which is premiering at Sundance 2023, and a supporting role in Call Jane, directed by Phyllis Nagy, that premiered at Sundance 2022. No stranger to the small screen, Magaro most recently appeared opposite Elliot Page in the hit Netflix series “The Umbrella Academy,” based on the comic book series of the same name by Gerard Way. He was also seen in the Amazon series, “Jack Ryan,” alongside John Krasinski, and starred as the young male lead in Amazon's “Crisis In Six Scenes” opposite Rachel Brosnahan, Miley Cyrus, and Elaine May. Other television credits include recurring roles on “Orange is the New Black,” “The Good Wife,” “Taking Chance” opposite Kevin Bacon, and guest star appearances on “Law & Order: SVU,” “Person of Interest,” “Body of Proof,” “Law & Order” and “Conviction”. A stage actor as well, Magaro was last seen as Joe Papp in The Public Theater's Illyria, written and directed by Richard Nelson. He made his Broadway debut in a flashy supporting role in Scott Rudin's revival of The Front Page, directed by Jack O'Brien, opposite Nathan Lane, John Slattery and John Goodman. Magaro also played the male lead in the critically acclaimed production of Tigers Be Still, written by Kimberly Rosenstock and directed by Sam Gold (Fun Home) for the Roundabout Theatre Company, as well as Rod McLauchlan's Good Television, directed by Bob Krakower, for the Atlantic Theater Company. Past Lives is in theaters now. Find us at www.werewatchingwhat.com THEDHK can be found at instagram.com/thedhk , twitter.com/thedhk, and facebook.com/thedhkmovies
Our series of roundtable discussions continues with another conversation about the ongoing Writers' Guild of America strike, this time featuring writer Chap Taylor and producer Evan Astrowsky. Chap Taylor has written screenplays and television pilots for all of the major Hollywood studios. He's worked for such producers as Brian Grazer, Scott Rudin, Irwin Winkler, Arnold Kopelson, and for directors Wes Craven and Ridley Scott. He co-wrote the Paramount feature film Changing Lanes, starring Ben Affleck and Samuel L. Jackson, as well as uncredited work on National Treasure, Behind Enemy Lines and the remake of the horror classic, The Omen. Chap created the comic book series Haunted City and (in 2021) is currently adapting it into a television series for producers Tom Fontana and Barry Levinson. He served as Consulting Producer on the NBC/Sony Pictures Television drama The Blacklist and wrote episodes #407 and #414. In features, he most recently re-imagined the classic John Ford western The Man Who Shot Liberty Valance for producer Matt Jackson at Paramount. He is currently (in 2021) developing projects with eOne, Doug Liman's production company Hypnotic, Levinson/Fontana Television and Jay Carson, creator of The Morning Show. Chap Taylor IMDB Twitter Evan is a seasoned film and commercial producer with ad agency , production company and film producing expertise. After graduating NYU Film School as the Lew Wasserman Fellow Evan went on to produce 10+ independently produced feature films including Cabin Fever, Fanboys, Ironclad, The Lazarus Project, and Mini's First Time. Evan now finds himself firmly in the brand world where he has produced commercials for companies like Microsoft, Bud Light, Chevy, Verizon and Oracle. Evan is part of the ‘abled-disabled' community in LA where he lives with wife and two kids. IMDB Instagram Twitter Next Chapter Podcasts presents How I Got Greenlit, a new podcast hosted by the Creator of HBO's Project Greenlight Alex Keledjian and Emmy Award Winning Producer Ryan Gibson, exploring how our favorite films got made and how they made our favorite filmmakers. Alex Keledjian Alex Keledjian is the creator of Project Greenlight, a documentary television series where executive producers Matt Damon and Ben Affleck gave first-time filmmakers a chance to direct their first feature film. In 2018, Alex wrote and directed the film High Voltage starring David Arquette and Luke Wilson. Ryan Gibson Ryan Gibson is an Emmy-award winning producer of such films as the critically acclaimed Woe and the upcoming film Slotherhouse. He has worked for over twenty years in all aspects of film development and production. HBO Max will stream the latest season of the Emmy-nominated TV series Project Greenlight from executive producer Issa Rae and Miramax Television in January 2023. How I Got Greenlit Instagram Twitter Podlink Credits Alex Keledjian, Host Ryan Gibson, Host Pete Musto, Producer/Editor Jeremiah Tittle, Producer Experience more of How I Got Greenlit via ncpodcasts.com For guest inquiries, sponsorships, and all other magnificent concerns, please reach How I Got Greenlit via howigotgreenlit@gmail.com For inquiries and more information on Next Chapter Podcasts info@ncpodcasts.com New episodes go live every Tuesday. Please subscribe, rate & review on Apple Podcasts, Spotify, Stitcher, wherever you listen to podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices
Donna knows best! We are joined by actor and singer Donna Murphy. You Might Know Her From The Gilded Age, Tangled, Center Stage, Spiderman 2, and Broadway productions of Wonderful Town, The King & I, Passion, and Hello, Dolly! We were in long pursuit of Donna and were pleased as punch to chat with her about finding her dancer posture for Center Stage, the Joni Mitchell mishap that almost stood in the way of Mother Gothel, and how Mrs. Asher is the Mort Guffman of The Gilded Age. All that, plus how she covered for Audrey in Little Shop for one night only, dying every night on stage for Passion, and the incredible highs and lows of playing Dolly Levi as the alternate to Bette Midler in the recent Hello, Dolly! revival. Wonderful woman! Follow us on social media: @youmightknowherfrom || @damianbellino || @rodemanne Discussed this week Burt Bacharach and Raquel Welch died this month Dick Van Dyke was on The Masked Singer Nicole Scherzinger sings with multiple Phantoms of the Opera NJ's version of Punxatawney Phil (Mel) died Warren Beatty doing Dick Tracy on TCM this past week (“IP squatting” Parker Posey onstage in new play The Seagull/Woodstock, NY Foo Fighters “Everlong” Drag queen Orion Story SPICE GIRLS IN ORDER OF BEST SINGERS: 1) Sporty 2) Baby 3) Scary 4) Ginger 5) Posh We love “I Wanna Be Like You” by Louis Prima Damian's mom slept in a bald cap as Mini-Me for a work Halloween party Donna Murphy will be starring in Dear World in March 2023 Plays Mrs. Astor in The Gilded Age Starred in 2003 Broadway revival of Wonderful Town Watch Donna sing: “100 Easy Ways to Lose a Man” Betty Comden and Adolph Green wrote the song Has big song as Mother Gothel in Tangled, “Mother Knows Best” Auditioned with “Last Midnight” from Into the Woods Auditioned for the Witch in the OBC and then as a Baker's Wife replacement Finally performed The Witch at the Delacorte in Central Park 2012 Played many age transitions in The People in the Picture Fosca's first song in Stephen Sondheim's Passion, “I Read” Played Tuesday nights only for the Bette Midler Hello Dolly in 2017 in the wake of her own husband's death Was in negotiations to play Elizabeth Arden in War Paint (opposite Patti LuPone) while her husband, Shawn Elliott was dying (2017). She was simultaneously acting in PBS' Mercy Street Was up for the mother role in The Marvelous Mrs. Maisel (played by Marin Hinkle) Scott Rudin, the producer of Hello Dolly, did not treat Donna well. Scott Rudin scandal YMKHF interview with Broadway's original Minnie Fay, Sondra Lee (Episode #38) Played ballet teacher, Juliette Simone in Center Stage (directed by Nicholas Hytner) Stella Adler was more terrifying than Stephen Sondheim Brooke Shields got a re-recording of the Wonderful Town Broadway revival The Sondheim 80th Birthday Celebration Concert (directed by Lonny Price) Donna doing “Could I Leave You?” from Follies with other divas onstage: Patti LuPone, Marin Mazzie, Audra McDonald, Bernadette Peters, Elaine Stritch David Hyde Pierce doing “Beautiful Girls” intro Donna approached Mandy Patinkin after the 80th Birthday Concert to tell him how much he meant to her Died a great death in Spiderman 2 (@4:54 mark) Donna telling the Little Shop story to Alan Menken Barbra directing Daisy Ridley and Anne Hathaway in her Malibu home studio Barbra's autobio is going to be over 1000 pages, thank god Lainie Kazan full interview (Episode #29) Lainie Kazan/Fanny Brice on The Barbra Archives (scroll halfway down the page to find)
With the global success of 'Wednesday' on Netflix, Alex and Jordan are exploring the history of everyone's favorite creepy, kooky, mysterious and spooky family — from its humble beginnings as a New Yorker cartoon to an endearingly weird '60s sitcom to the beloved '90s movies. You'll learn about the Addams Family's eccentric creator who had a secret affair with Jackie Kennedy, the show's mini-rivalry with 'The Munsters,' and the time director Barry Sonnenfeld built a pillow fort to hide from nightmare producer Scott Rudin. There's also the mystery of Lurch's missing bodily remains, the time Cher almost got cast as Morticia, and the story behind that banger of a theme song. See omnystudio.com/listener for privacy information.
“There are still faint glimmers of civilization left in this barbaric slaughterhouse that was once known as humanity... He was one of them. What more is there to say?” This week we take a closer look at one of director Wes Anderson's most popular and acclaimed films: The Grand Budapest Hotel, as well as briefly review the films we logged on our Letterboxd dairies in the past week. — TIME CODES: 00:00 - INTRO 01:09 - BASIC FACTS 04:17 - THE MEAT 45:43 - WHAT WE WATCHED — The Grand Budapest Hotel (2014) A MURDER CASE OF MADAM D. WITH ENORMOUS WEALTH AND THE MOST OUTRAGEOUS EVENTS SURROUNDING HER SUDDEN DEATH! “The Grand Budapest Hotel tells of a legendary concierge at a famous European hotel between the wars and his friendship with a young employee who becomes his trusted protégé. The story involves the theft and recovery of a priceless Renaissance painting, the battle for an enormous family fortune and the slow and then sudden upheavals that transformed Europe during the first half of the 20th century.” Directed by Wes Anderson and starring Ralph Fiennes, Tony Revolori, Adrien Brody Willem Dafoe, Saoirse Ronan, Jeff Goldblum, Owen Wilson, Edward Norton, F. Murray Abraham, and Jude Law. Written by Wes Anderson, Stefan Zweig, and Hugo Guinness, edited by Barney Pilling, score composed by Alexandre Desplat and Simon Rhodes, and produced by Scott Rudin, Wes Anderson, Henning Molfenter, Charlie Woebcken, Jeremy Dawson, Steven M. Rales, Christoph Fisser, and Molly Cooper. Find where to stream it here: https://www.justwatch.com/us/movie/the-grand-budapest-hotel — OUR LINKS: Recently Logged Main Webpage: https://anchor.fm/recentlylogged Letterboxd: https://boxd.it/30uy1 Micah's Stuff YouTube: https://youtube.com/channel/UCqan1ouaFGl1XMt_6VrIzFg Letterboxd: https://boxd.it/AkCn Twitter: https://twitter.com/micah_grawey Instagram: https://www.instagram.com/m_grawey_films/ Robbie's Stuff Website: https://robbiegrawey.com — EPISODE CREDITS: Recently Logged Podcast creators - Micah and Robert Grawey Hosts - Micah and Robert Grawey Songs used in this episode - Greta Sting and Ecossaise in E-flat by Kevin MacLeod (Greta Sting and Ecossaise in E-flat by Kevin MacLeod are licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ | Source: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100530 | Artist: http://incompetech.com/), Dinner Chimes by The U.S. Marine Corps Band, Baroque Coffee House (Sting) and Cartoon Bank Heist (Sting) by Doug Maxwell_Media Right Productions Editor - Robert Grawey Episode art designer - Robert Grawey Episode Description - Robert Grawey --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/recentlylogged/support
This episode looks at the 1984 debut novel by Bret Easton Ellis, and its 1987 film adaptation. ----more---- Hello, and welcome to The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. On this episode, we're going to talk about 80s author Bret Easton Ellis and his 1985 novel Less Than Zero, the literal polar opposite of last week's subjects, Jay McInerney and his 1984 novel Bright Lights, Big City. As I mentioned last week, McInerney was twenty-nine when he published Bright Lights, Big City. What I forgot to mention was that he was born and raised in Hartford, Connecticut, halfway between Boston and New York City, and he would a part of that elite East Coast community that befits the upper class child of a corporate executive. Bret Easton Ellis was born and raised in Los Angeles. His father was a property developer, and his parents would divorce when he was 18. He would attend high school at The Buckley School, a college prep school in nearby Sherman Oaks, whose other famous alumni include a who's who of modern pop culture history, including Paul Thomas Anderson, Tucker Carlson, Laura Dern, Paris Hilton, Kim Kardashian, Alyssa Milano, Matthew Perry, and Nicole Richie. So they both grew up fairly well off. And they both would attend tony colleges in New England. Ellis would attend Bennington College in Vermont, a private liberal arts college whose alumni include fellow writers Jonathan Lethem and Donna Tartt, who would both graduate from Bennington the same year as Ellis, 1986. While still attending The Buckley School, the then sixteen year old Ellis would start writing the book he would call Less Than Zero, after the Elvis Costello song. The story would follow a protagonist not unlike Bret Easton Ellis and his adventures through a high school not unlike Buckley. Unlike the final product, Ellis's first draft of Less Than Zero wore its heart on its sleeve, and was written in the third person. Ellis would do a couple of rewrites of the novel during his final years at Buckley and his first years at Bennington, until his creative writing professor, true crime novelist Joe McGinness, suggested to the young writer that he revert his story back to the first person, which Ellis was at first hesitant to do. But once he did start to rewrite the story as a traditional novel, everything seemed to click. Ellis would have his book finished by the end of the year, and McGinniss was so impressed with the final product that he would submit it to his own agent to send out to publishers. Bret Easton Ellis was only a second year student at the time. And because timing is everything in life, Less Than Zero was being submitted to publishers just as Bright Lights, Big City was tearing up the best seller charts, and the publisher Simon and Schuster would purchase the rights to the book for $5,000. When the book was published in June 1985, Ellis just finished his third year at Bennington. He was only twenty-one years and three months old. Oh… also… before the book was published, the film producer Marvin Worth, whose credits included Bob Fosse's 1974 doc-drama about Lenny Bruce starring Dustin Hoffman, 1979's musical drama The Rose, Bette Midler's breakthrough film as an actress, and the 1983 Dudley Moore comedy Unfaithfully Yours, would purchase the rights to make the novel into a movie, for $7,500. The film would be produced at Twentieth Century-Fox, under the supervision of the studio's then vice president of production, Scott Rudin. The book would become a success upon its release, with young readers gravitating towards Clay and his aimless, meandering tour of the rich and decadent young adults in Los Angeles circa Christmas 1984, bouncing through parties and conversations and sex and drugs and shopping malls. One of those readers who became obsessed with the book was a then-seventeen year old Los Angeles native who had just returned to the city after three years of high school in Northern California. Me. I read Less Than Zero easily three times that summer, enraptured not only with Ellis's minimalist prose but with Clay specifically. Although I was neither bisexual nor a user of drugs, Clay was the closest thing I had ever seen to myself in a book before. I had kept in touch with my school friends from junior high while I lived in Santa Cruz, and I found myself to have drifted far away from them during my time away from them. And then when I went back to Santa Cruz shortly after Christmas in 1985, I had a similar feeling of isolation from a number of my friends there, not six months after leaving high school. I also loved how Ellis threw in a number of then-current Los Angeles-specific references, including two mentions of KROQ DJ Richard Blade, who was the coolest guy in radio on the planet. And thanks to Sirius XM and its First Wave channel, I can still listen to Richard Blade almost daily, but now from wherever I might be in the world. But I digress. My bond with Less Than Zero only deepened the next time I read it in early 1986. One of the things I used to do as a young would-be screenwriter living in Los Angeles was to try and write adaptation of novels when I wasn't going to school, going to movies, or working as a file clerk at a law firm. But one book I couldn't adapt for the life of me was Less Than Zero. Sure, there was a story there, but its episodic nature made it difficult to create a coherent storyline. Fox felt the same way, so they would hire Michael Cristofer, a Pulitzer Prize-winning playwright, to do the first draft of the script. Cristofer had just finished writing the adaptation of John Updike's The Witches of Eastwick that Mad Max director George Miller was about to direct, and he would do a literal adaptation of Ellis's book, with all the drugs and sex and violence, except for a slight rehabilitation of the lead character's sexuality. Although it was still the 1980s, with one part of the nation dramatically shifting its perspective on many types of sexuality, it was still Ronald Reagan's 1980s America, and maybe it wasn't a good idea to have the lead character be openly bisexual in a major studio motion picture. Cristofer would complete his first draft of the script in just one month, and producer Marvin Worth really loved it. Problem was, the Fox executives hated it. In a November 18th, 1987, New York Times article about the adaptation, Worth would tell writer Allen Harmetz that he thought Cristofer's script was highly commercial, because “it had something gripping to say about the dilemma of a generation to whom nothing matters.” Which, as someone who had just turned twenty years old eight days after the movie's release and four days before this article came out, I absolutely disagree with. My generation cared about a great many things. We cared about human rights. We cared about ending apartheid. We cared about ending AIDS and what was happening politically and economically. Yeah, we also cared about puffy jean jackets and neon colored clothes and other non-sensical things to take our minds off all the other junk we were dealing with, but it would be typical of a forty something screenwriter and a fiftysomething producer to thing we didn't give a damn about anything. But again, I digress. Worth and the studio would agree on one thing. It wasn't really a drug film, but about young people being destroyed by the privilege of having everything you ever wanted available to you. But the studio would want the movie version of the book to be a bit more sanitized for mainstream consumption. Goodbye, Marvin Worth. Hello, Jon Avnet. In 1986, Jon Avnet was mostly a producer of low-budget films for television, with titles like Between Two Women and Calendar Girl Murders, but he had struck gold in 1983 with a lower-budgeted studio movie with a first-time director and a little known lead actor. That movie was Risky Business, and it made that little known lead actor, Tom Cruise, a bona-fide star. Avnet, wanting to make the move out of television and onto the big screen, would hire Harley Peyton, a former script reader for former Columbia Pictures and MGM/UA head David Begelman, who you might remember from several of our previous episodes, and six-time Oscar nominated producer/screenwriter Ernest Lehman. Peyton would spend weeks in Avnet's office, pouring over every page of the book, deciding what to keep, what to toss, and what to change. Two of the first things to go were the screening of a “snuff” film on the beach, and a scene where a twelve year old girl is tied to a bedpost and raped by one of the main characters. Julian would still hustle himself out to men for money to buy drugs, but Clay would a committed heterosexual. Casting on the film would see many of Hollywood's leading younger male actors looked at for Clay, including a twenty-three year old recent transplant from Oklahoma looking not only for his first leading role, but his first speaking role on screen. Brad Pitt. The producers would instead go with twenty-four year old Andrew McCarthy, an amiable-enough actor who had already made a name for himself with such films as St. Elmo's Fire and Pretty in Pink, and who would have another hit film in Mannequin between being cast as Clay and the start of production. For Blair, they would cast Jami Gertz, who had spent years on the cusp of stardom, between her co-starring role as Muffy Tepperman on the iconic 1982 CBS series Square Pegs, to movies such as Quicksilver and Crossroads that were expected to be bigger than they ended up being. The ace up her sleeve was the upcoming vampire horror/comedy film The Lost Boys, which Warner Brothers was so certain was going to be a huge hit, they would actually move it away from its original Spring 1987 release date to a prime mid-July release. The third point in the triangle, Julian, would see Robert Downey Jr. get cast. Today, it's hard to understand just how not famous Downey was at the time. He had been featured in movies like Weird Science and Tuff Turf, and spent a year as a Not Ready For Prime Time Player on what most people agree was the single worst season of Saturday Night Live, but his star was starting to rise. What the producers did not know, and Downey did not elaborate on, was that, like Julian, Downey was falling down a spiral of drug use, which would make his performance more method-like than anyone could have guessed. The Red Hot Chili Peppers, who were hot in the Los Angeles music scene but were still a couple years from the release of their breakout album, 1989's Mothers Milk, were cast to play a band in one of the party scenes, and additional cast members would include James Spader and Lisanne Falk, who would become semi-famous two years later as one of the Heathers. Impressed with a 1984 British historical drama called Another Country featuring Colin Firth, Cary Elwes and Rupert Everett, Avnet would hire that film's 35 year old director, Marek Kanievska, to make his American directing debut. But Kanievska would be in for a major culture shock when he learned just how different the American studio system was to the British production system. Shooting on the film was set to begin in Los Angeles on May 6th, 1987, and the film was already scheduled to open in theatres barely six months later. One major element that would help keep the movie moving along was cinematographer Ed Lachman. Lachman had been working as a cinematographer for nearly 15 years, and had shot movies like Jonathan Demme's Last Embrace, Susan Sideman's Desperately Seeking Susan, and David Byrne's True Stories. Lachman knew how to keep things on track for lower budgeted movies, and at only $8m, Less Than Zero was the second lowest budgeted film for Twentieth Century-Fox for the entire year. Not that having a lower budget was going to stop Kanievska and Lachman from trying make the best film they could. They would stage the film in the garish neon lighting the 80s would be best known for, with cool flairs like lighting a poolside discussion between Clay and Julian where the ripples of the water and the underwater lights create an effect on the characters' faces that highlight Julian's literal drowning in his problems. There's also one very awesome shot where Clay's convertible, parked in the middle of a street with its top down, as we see Clay and Blair making out while scores of motorcycles loudly pass by them on either side. And there's a Steadicam shot during the party scene featuring the Chili Peppers which is supposed to be out of this world, but it's likely we'll never see it. Once the film was finished shooting and Kanievska turned in his assembly cut, the studio was not happy with the film. It was edgier than they wanted, and they had a problem with the party scene with the Peppers. Specifically, that the band was jumping around on screen, extremely sweaty, without their shirts on. It also didn't help that Larry Gordon, the President of Fox who had approved the purchase of the book, had been let go before production on the film began, and his replacement, Alan Horn, who did give the final go-ahead on the film, had also been summarily dismissed. His replacement, Leonard Goldberg, really hated the material, thought it was distasteful, but Barry Diller, the chairman of the studio, was still a supporter of the project. During all this infighting, the director, Kanievska, had been released from the film. Before any test screenings. Test screenings had really become a part of the studio modus operandi in the 1980s, and Fox would often hold their test screenings on the Fox Studio Lot in Century City. There are several screenings rooms on the Fox lot, from the 53 seat William Fox Theatre, to the 476 seat Darryl Zanuck Theatre. Most of the Less Than Zero test screenings would be held in the 120 seat Little Theatre, so that audience reactions would be easier to gauge, and should they want to keep some of the audience over for a post-screening Q&A, it would be easier to recruit eight or ten audience members. That first test screening did not go over well. Even though the screening room was filled with young people between the ages of 15 and 24, and many of them were recruited from nearby malls like the Century City Mall and the Beverly Center based off a stated liking of Andrew McCarthy, they really didn't like Jami Hertz's character, and they really hated Robert Downey Jr's. Several of the harder scenes of drug use with their characters would be toned down, either through judicious editing, or new scenes were shot, such as when Blair is seen dumping her cocaine into a bathroom sink, which was filmed without a director by the cinematographer, Ed Lachman. They'd also shoot a flashback scene to the trio's high school graduation, meant to show them in happier times. The film would be completed three weeks before its November 6th release date, and Fox would book the film into 871 theatres., going up against no less than seven other new movies, including a Shelley Long comedy, Hello Again, the fourth entry in the Death Wish series, yet another Jon Cryer high school movie, Hiding Out, a weird Patrick Swayze sci-fi movie called Steel Dawn, a relatively tame fantasy romance film from Alan Rudolph called Made in Heaven, and a movie called Ruskies which starred a very young Joaquin Phoenix when he was still known as Leaf Phoenix, while also contending with movies like Fatal Attraction, Baby Boom and Dirty Dancing, which were all still doing very well two to four months in theatres. The reviews for the film were mostly bad. If there was any saving grace critically, it would be the praise heaped upon Downey for his raw performance as a drug addict, but of course, no one knew he actually was a drug addict at that time. The film would open in fourth place with $3.01m in ticket sales, less than half of what Fatal Attraction grossed that weekend, in its eighth week of release. And the following weeks' drops would be swift and merciless. Down 36% in its second week, another 41% in its third, and had one of the worst drops in its fourth week, the four day Thanksgiving holiday weekend, when many movies were up in ticket sales. By early December, the film was mostly playing in dollar houses, and by the first of the year, Fox had already stopped tracking it, with slightly less than $12.4m in tickets sold. As of the writing of this episode, at the end of November 2022, you cannot find Less Than Zero streaming anywhere, although if you do want to see it online, it's not that hard to find. But it has been available for streaming in the past on sites like Amazon Prime and The Roku Channel, so hopefully it will find its way back to streaming in the future. Or you can find a copy of the 21 year old DVD on Amazon. Thank you for listening. We'll talk again real soon, when our final episode of 2022, Episode 96, on Michael Jackson's Thriller, is released. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Less Than Zero the movie and the novel, and its author, Bret Easton Ellis. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.
The Industry presents How I Got Greenlit, a new podcast hosted by the Creator of HBO's Project Greenlight Alex Keledjian and Emmy Award Winning Producer Ryan Gibson, exploring how our favorite films got made and how they made our favorite filmmakers.This episode is part one of their two part conversation with screenwriter Chap Taylor. Chap Taylor has written screenplays and television pilots for all of the major Hollywood studios. He's worked for such producers as Brian Grazer, Scott Rudin, Irwin Winkler, Arnold Kopelson, and for directors Wes Craven and Ridley Scott. He co-wrote the Paramount feature film Changing Lanes, starring Ben Affleck and Samuel L. Jackson, as well as uncredited work on National Treasure, Behind Enemy Lines and the remake of the horror classic, The Omen.LinksHow I Got Greenlit: https://ncpodcasts.com/how-i-got-greenlitChap Taylor Part 2: Apple | SpotifyTwitter: @howigotgreenlit Hosted on Acast. See acast.com/privacy for more information.
Today on the show we have film producer Sunil Perkash. He's responsible for blockbuster films like Salt starring Angelina Jolie, Premonition starring Sandra Bullock, and the Disney classic Enchanted just to name a few.Sunil is an independent producer in Hollywood who holds a B.A. in economics and communications from Stanford University. He began his career in 1992 working as the U.S. Production Coordinator on CRONOS, Guillemo Del Toro's directorial debut. He developed a number of projects at various major studios throughout his career including Second Defense with Arnold Kopelson, Exit Zero with Renny Harlin at New Line, Second Time Around at Dreamworks, Suburban Hero with Scott Rudin at Paramount, Al and Gene with Adam Shankman at Walt Disney Studios, amongst others.In 1999, he produced BLAST FROM THE PAST for New Line, starring Brendon Frasier, Alicia Silverstone, Sissy Spacek and Christopher Walken. He followed up with PREMONITION for Sony, starring Sandy Bullock, which grossed more that 85 million worldwide.Next, he produced Disney's ENCHANTED which became a worldwide mega blockbuster grossing $340million and received rave reviews and numerous awards, including multiple oscar and golden globe nominations. In 2009, he began principal photography on SALT, a vehicle originally developed for Tom Cruise, but transformed into a female lead for Angelina Jolie. The film also became a worldwide blockbuster in summer of 2010, grossing $300mil!The Wrap listed Sunil in their exclusive list "Producers Who Are Making a Mark on Hollywood" and Fade In Magazine named him one of the prestigious ”Top 100 people to know in Hollywood."He is currently in post production on the big budged DISENCHANTED, a sequel to ENCHANTED for Disney Plus starring Amy Adams and Patrick Dempsey. He is also in preproduction on BACK HOME, a science fiction thriller to be directed by award winning director Ivan Mena with ICM on board to represent for festivals/sales.Perkash is also developing a number of projects including a sequel to SALT at Sony with producer Lorenzo Dibonaventura, the Western biopic with award winning director Hughes William Thompson and Travel Back East written by Enchanted scribe Bill Kelly and to be directed by Alan Ritchson.As the film landscape has changed Sunil has changed along with it. He decided to start producing independent films while he still worked and developed studio projects.His latest indie film is Last Survivors.Last Survivors takes place in a post-apocalyptic world where Troy (Stephen Moyer) raised his now grown son, Jake (Drew Van Acker), in a perfect wooded utopia thousands of miles away from the decayed cities. When Troy is severely wounded, Jake is forced to travel to the outside world to find life-saving medicine. Ordered to kill any humans he encounters, Jake defies his father by engaging in a forbidden relationship with a mysterious woman, Henrietta (Alicia Silverstone). As Jake continues this dangerous affair, Troy will do anything to get rid of Henrietta and protect the perfect utopia he created.We discuss what is was like jumping from $100+ budgets to $1.5 million, how he attaches talent and how he packages his indie films for investors.Enjoy my conversation with Sunil Perkash.
Invité : Karim Debbache Émission enregistrée en public le 9 juillet 2022 dans le cadre du festival La Colo Panic ! Cinéma, au Forum des Images à Paris. Au programme de ce hors-série "The Social Network" : L'année 2010 dans le monde et au cinéma. The Social Network : Aaron Sorkin, ou l'art du biopic pas comme les autres. Quel est l'impact du film dans la carrière de David Fincher ? Y a-t-il un avant et un après The Social Network ? Trent Reznor, Atticus Ross et la musique de The Social Network.
Welcome to Part II of our conversation with Chap Taylor. Chap Taylor has written screenplays and television pilots for all of the major Hollywood studios. He's worked for such producers as Brian Grazer, Scott Rudin, Irwin Winkler, Arnold Kopelson, and for directors Wes Craven and Ridley Scott. He co-wrote the Paramount feature film Changing Lanes, starring Ben Affleck and Samuel L. Jackson, as well as uncredited work on National Treasure, Behind Enemy Lines and the remake of the horror classic, The Omen. Chap created the comic book series Haunted City and (in 2021) is currently adapting it into a television series for producers Tom Fontana and Barry Levinson. He served as Consulting Producer on the NBC/Sony Pictures Television drama The Blacklist and wrote episodes #407 and #414. In features, he most recently re-imagined the classic John Ford western The Man Who Shot Liberty Valance for producer Matt Jackson at Paramount. He is currently (in 2021) developing projects with eOne, Doug Liman's production company Hypnotic, Levinson/Fontana Television and Jay Carson, creator of The Morning Show. Chap Taylor IMDB Twitter Next Chapter Podcasts presents How I Got Greenlit, a new podcast hosted by the Creator of HBO's Project Greenlight Alex Keledjian and Emmy Award Winning Producer Ryan Gibson, exploring how our favorite films got made and how they made our favorite filmmakers. Alex Keledjian Alex Keledjian is the creator of Project Greenlight, a documentary television series where executive producers Matt Damon and Ben Affleck gave first-time filmmakers a chance to direct their first feature film. In 2018, Alex wrote and directed the film High Voltage starring David Arquette and Luke Wilson. Ryan Gibson Ryan Gibson is an Emmy-award winning producer of such films as the critically acclaimed Woe and the upcoming film Slotherhouse. He has worked for over twenty years in all aspects of film development and production. HBO Max will stream the latest season of the Emmy-nominated TV series Project Greenlight from executive producer Issa Rae and Miramax Television in January 2023. How I Got Greenlit Instagram Twitter Podlink Credits Alex Keledjian, Host Ryan Gibson, Host Edgar Camey, Audio Editor Pete Musto, Editor Robert Cappadona, Producer Jeremiah Tittle, Producer Experience more of How I Got Greenlit via ncpodcasts.com For guest inquiries, sponsorships, and all other magnificent concerns, please reach How I Got Greenlit via howIgotgreenlit@gmail.com For inquiries and more information on Next Chapter Podcasts info@ncpodcasts.com New episodes go live every Tuesday. Please subscribe, rate & review on Apple Podcasts, Spotify, Stitcher, wherever you listen to podcasts.
Chap Taylor has written screenplays and television pilots for all of the major Hollywood studios. He's worked for such producers as Brian Grazer, Scott Rudin, Irwin Winkler, Arnold Kopelson, and for directors Wes Craven and Ridley Scott. He co-wrote the Paramount feature film Changing Lanes, starring Ben Affleck and Samuel L. Jackson, as well as uncredited work on National Treasure, Behind Enemy Lines and the remake of the horror classic, The Omen. Chap created the comic book series Haunted City and (in 2021) is currently adapting it into a television series for producers Tom Fontana and Barry Levinson. He served as Consulting Producer on the NBC/Sony Pictures Television drama The Blacklist and wrote episodes #407 and #414. In features, he most recently re-imagined the classic John Ford western The Man Who Shot Liberty Valance for producer Matt Jackson at Paramount. He is currently (in 2021) developing projects with eOne, Doug Liman's production company Hypnotic, Levinson/Fontana Television and Jay Carson, creator of The Morning Show. Chap Taylor IMDB Twitter Next Chapter Podcasts presents How I Got Greenlit, a new podcast hosted by the Creator of HBO's Project Greenlight Alex Keledjian and Emmy Award Winning Producer Ryan Gibson, exploring how our favorite films got made and how they made our favorite filmmakers. Alex Keledjian Alex Keledjian is the creator of Project Greenlight, a documentary television series where executive producers Matt Damon and Ben Affleck gave first-time filmmakers a chance to direct their first feature film. In 2018, Alex wrote and directed the film High Voltage starring David Arquette and Luke Wilson. Ryan Gibson Ryan Gibson is an Emmy-award winning producer of such films as the critically acclaimed Woe and the upcoming film Slotherhouse. He has worked for over twenty years in all aspects of film development and production. HBO Max will stream the latest season of the Emmy-nominated TV series Project Greenlight from executive producer Issa Rae and Miramax Television in January 2023. How I Got Greenlit Instagram Twitter Podlink Credits Alex Keledjian, Host Ryan Gibson, Host Edgar Camey, Audio Editor Pete Musto, Editor Robert Cappadona, Producer Jeremiah Tittle, Producer Experience more of How I Got Greenlit via ncpodcasts.com For guest inquiries, sponsorships, and all other magnificent concerns, please reach How I Got Greenlit via howIgotgreenlit@gmail.com For inquiries and more information on Next Chapter Podcasts info@ncpodcasts.com New episodes go live every Tuesday. Please subscribe, rate & review on Apple Podcasts, Spotify, Stitcher, wherever you listen to podcasts.
Richard Linklater is on the pod to talk about his career in film making and his new movie Apollo 10½: A Space Age ChildhoodWe also talk about Peter Bogdanovich, Caveh Zahedi, Robert Rodriguez, Scott Rudin, Trees Lounge (1996), Generation X and Henry David Thoreau
I can't tell you how excited I am for today's episode. I had the pleasure to speak to the legendary director Barry Sonnenfeld. We discuss his idiosyncratic upbringing in New York City, his breaking into film as a cinematographer with the Coen brothers, and his unexpected career as the director behind such huge film franchises as The Addams Family and Men in Black, and beloved work like Get Shorty, Pushing Daises, and A Series of Unfortunate Events. We also chat about the time he shot nine porno films in nine days. That story alone is worth the price of admission.I don't think Will does get upstaged because his reaction is always funnier than what is actually happening. That is also the reason Tommy is funnier than Will.In his new book Barry Sonnenfeld, Call Your Mother: Memoirs of a Neurotic Filmmaker shares his laugh-out-loud memoir about coming of age. Constantly threatened with suicide by his over-protective mother, disillusioned by the father he worshiped, and abused by a demonic relative, Sonnenfeld somehow went on to become one of Hollywood's most successful producers and directors.His book is written with poignant insight and real-life irony, the book follows Sonnenfeld from childhood as a French horn player through graduate film school at NYU, where he developed his talent for cinematography. His first job after graduating was shooting nine feature-length pornos in nine days. From that humble entrée, he went on to form a friendship with the Coen Brothers, launching his career shooting their first three films.Though Sonnenfeld had no ambition to direct, Scott Rudin convinced him to be the director of The Addams Family. It was a successful career move. He went on to direct many more films and television shows. Will Smith once joked that he wanted to take Sonnenfeld to Philadelphia public schools and say,“If this guy could end up as a successful film director on big-budget films, anyone can.”His book is a fascinating and hilarious roadmap for anyone who thinks they can't succeed in life because of a rough beginning.Barry Sonnenfeld's philosophy is,“Regret the Past. Fear the Present. Dread the Future.”This EPIC conversation is almost two hours and had me on the floor laughing one minute and in absolute shock the next. This is by far one of my favorite interviews I have ever done on the show.So sit back, grab a drink and enjoy my conversation with Barry Sonnenfeld.
Follow us at Apple Podcasts if you like what you are hearing. And please subscribe to The Ankler at TheAnkler.com for more interviews and stories like these.This episode of the Hot Seat dives into The Ankler's Anxiety Week. What is eating this business? As the Streaming Wars rage, money is flowing like never before, but a sense of unease among its workers has been the subject of several of our stories that clearly are touching a nerve. Hosts Richard Rushfield and Tatiana Siegel touch on why (Janice Min sat this one out), but also: • Disney and the fallout over Florida. Bob II has gotten himself in another fine mess over Florida's “Don't Say Gay” bill. We look at what drove him into such hot water, how Disney gets out of it, and wonder why no one else is getting the same scrutiny. (NOTE: This episode was recorded before Bob Chapek's Friday apology for his earlier stand on the issue.)• The Batman takes the box office. Another Batman scored another hit last weekend for Warners, showing another sign of life in the theatrical business. But with many caveats? Is it all going to be just like it was before? • The return of Scott Rudin. A year after being sidelined for decades of fabulously awful conduct Tatiana exposed, the combative producer is inching his way back into the mainstream with a new project.• The Oscars are coming! The field is wide open. At least five films have a plausible shot at the prize. Who will win? We give our picks. And will anyone be watching?All that and more on this week's Hot Seat!If you are already a subscriber, thank you. If not, come aboard today and join the community of some of the most powerful insiders in entertainment. Also on The Ankler:It's Anxiety Week! An unemployed TV writer shares her years of agony. Slouching Towards Pavilions.The Entertainment Strategy Guy takes a hard look at the numbers behind our collective feeling of instability and stares straight into The Content Bubble's Sum of All Fears.Then go deeper into our exclusive Anxiety Week coverage. For an understanding of why so many of us feel this way, start with The Pit in Your Stomach is Real, and continue on to “It Feels Like the Last Days of Rome” from new contributing editor Nicole LaPorte.On the departure of Netflix's flamboyant marketing chief, Bozoma Saint John, and her clap back.CAMERA ROLL IS UP! Great photos of who was where this week in Hollywood.Check out our new awards season pop-up, The Glossy. It's Vincent Boucher's take in the ramp-up to the Oscars on the nexus of fashion and entertainment, who's making money now and how, and the most inventive costume work in film and TV.Zelensky Memo Reveals 'Your Business Smells Russian' Campaign: Sean Penn's co-director/producer shares the leader's call to action, revealed on The Ankler Hot Seat podcast.On The Optionist:Q&A: What A.I. Tells Us About Debut AuthorsA highly curated list of 10 current and backlist books, new journalism, and podcasts ready for option. This week: divorcees, a detective and Ukrainian ghosts.Subscribe during the free beta period here (it's almost over!).The Ankler's Got People Talking!WE NOW HAVE GROUP SUBSCRIPTIONS! Please email Kymber Allen at kymber@anklermedia.com for more information,IF YOU ARE INTERESTED IN ADVERTISING on The Ankler, The Ankler Hot Seat, or The Optionist, please contact Kymber as well.Can't afford The Ankler right now? If you're an assistant, student or getting your foot in the door of this industry, and want help navigating the craziness of this business but don't have money to spare right now, drop me a line at richard@theankler.com and we'll work it out. No mogul or mogul-to-be left behind at The Ankler.The Ankler is an independent voice covering Hollywood. If you're a subscriber, feel free to share this edition with a friend but just a couple, please. The Ankler depends on its paid subscribers.And if you've been passed along this issue, please join us! And find out why the New York Times called us the “hit Hollywood newsletter.” This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit theankler.com/subscribe
Welcome to The Ankler Hot Seat, our new podcast that takes you behind the scenes of Hollywood's big personalities, power struggles and ever-changing playbook. In today's episode is special guest Michael Wolff, whose debut story for The Ankler about Random House and Norman Mailer caused a sensation. The best-selling author and columnist reveals how he first learned about Random House's refusal to move forward on Mailer's collection of essays set for 2023 from the author's son, Michael Mailer, at a Christmas party, and also explains what it means now that the author's book of political essays has moved to Skyhorse, a publishing imprint suddenly known for taking troubled and controversial authors in for rescue after the larger publishing houses “cancel” them, including Woody Allen. Our hosts also discuss The Ankler 100, Omicron and awards season, what the rankings for most downloaded streaming apps in 2021 mean, predictions for 2022, and the surprise reappearance of Scott Rudin in awards campaign materials from Fox Searchlight as a contender for an Oscar. Enjoy and join us every Wednesday for new episodes. Music by Jordan Sommerlad On Spotify @jordansommerladmusicFollow @TheAnkler and our hosts: @janicemin @anklerrushfield @tatianasiegel27If you'd like to sponsor The Ankler Hot Seat, give a buzz to Kymber Allen at kymber@anklermedia.com This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit theankler.com/subscribe
Join the AMPM VIDEO crew and special guest SONATORE (instagram.com/sonatore_) as they take you through Clueless the 1995 American coming-of-age teen comedy film written and directed by Amy Heckerling. It stars Alicia Silverstone, Stacey Dash, Brittany Murphy and Paul Rudd. It was produced by Scott Rudin and Robert Lawrence. It is loosely based on Jane Austen's 1815 novel Emma, with a modern-day setting of Beverly Hills. The plot centers on Cher Horowitz, a beautiful, popular and rich high school student who befriends a new student named Tai Frasier and decides to give her a makeover. It has received positive reviews from critics and is considered to be one of the best teen films of all time, but will the crew's views line up with this films legacy? FIND OUT ON GO TEAM VIDEO!!! Subscribe for new episodes and follow us on instagram @goteamvideo, send us your questions and movie recommendations for future episodes! Also! If you would like to support us and all we do at AMPM VIDEO you can head over to patreon.com/ampmvideo
Dana Lyn Baron ("Being The Ricardos", "Mank", "Bosch") has arrived! She tells an early Rough Day In Showbiz story about starting out as a teenager working as a dancer in theater and enduring the growing pains of learning how to be a professional. Another about being a bartender at a Broadway theater and having to cope with the onslaught of theatergoers desperate for their alcohol. Another about a side job working as a temp alongside very toxic people. Plus, one about working at producer Scott Rudin's office where she had to take phone calls from people like the head of Paramount and be cautious not to click the wrong button and hang up! This episode is a must-listen for anyone who loves New York, and Dana is a smashing guest! Follow Dana on IG: @DanaLynBaron Follow Dana on Twitter: @DanaLynBaron Host: @JustinSorvillo
Alison Eakle is the EVP and Head of Creative Development at Shondaland. We discuss how imagining movie posters makes her a better creative exec, being a co-EP on Netflix's #1 show Bridgerton, why she's racked up so many recent promotions, and being part of new Hollywood's most groundbreaking streamer partnerships. Subscribe to our newsletter. We explore the intersection of media, technology, and commerce: sign-up linkLearn more about our market research and executive advisory: RockWater websiteFollow The Come Up on Twitter: @TCUpodEmail us: tcupod@wearerockwater.com---EPISODE TRANSCRIPT: Chris Erwin:Hi, I'm Chris Erwin. Welcome to The Come Up, a podcast that interviews entrepreneurs and leaders. Alison Eakle:I'll never forget there was... The current assistant had put out a job posting. And how this works in Hollywood is you'll see jobs on things called tracking boards or emailed chains, but they always say, "No phone calls, please. Just email your resume." Right? And I was like, "I'm going to call him." And I did. And I just called him and I was like, "Look, I did not come up through the agency feed. I don't have the required experience, but I swear to God the desk I'm on is harder than any agency desk you can imagine. And I'll tell you why if you meet me for like 15 minutes." So we did. We literally met in the middle of the lot at Paramount. He was like, "You know what? I think my boss would like you." Chris Erwin:This week's episode features Alison Eakle, the EVP and Head of Creative Development at Shondaland. Alison grew up on the Jersey shore, actually my same hometown. She loved the arts since an early age, traveling to New York City for auditions as a young teenager, but she was planning to give it all up at Georgetown for career in politics until she had a breakthrough moment in her screenwriting class. Alison went on to get her MFA at UT Austin and then had roles in some of the most exciting production houses in Hollywood, from Paramount Vantage to Columbia Pictures and working for Ellen DeGeneres. Then a serendipitous moment took her to Shondaland where her career has been on fire. Some highlights of our chat include how imagining movie posters makes her a better creative exec, being a co EP and Netflix is number one show bridging that where she's racked up so many recent promotions and being part of new Hollywood's most groundbreaking streamer partnerships. All right, let's get into it. Alison, thanks for being on the podcast. Alison Eakle:Thanks for having me, Chris Erwin Chris Erwin:Very well, Alison Eakle. We got some history between us. Alison Eakle:That's right. Chris Erwin:So let's go back a bit. Where did you grow up? What was your household like? Alison Eakle:So I grew up in Rumson, New Jersey, which is a bit of a towny suburb, as they say, in the Northern part of the Jersey shore obviously. Well, I grew up the only child of Wall Street parents. Parents who had met kind of working at Wall Street in the '70s at a time that I've heard many incredible stories about. And it's interesting because when I was eight, there was a big stock market crash. And my dad was all for Morgan Stanley and my mom inspired him to start their own company, a financial investment advisory firm called Eakle and Associates. And so it's interesting I haven't really thought about that a lot, but I did watch my dad face what is one of my worst fears, that idea of just suddenly everything kind of pulled out from underneath you and I watched them together kind of build something new. Chris Erwin:Did your parents both work for the company? Alison Eakle:Oh yeah. My mom was VP, he was president and basically it was just a three person operation. And my dad, he had clients that he would manage their portfolios, but he put out something called the Eakle Report every week and would have to find really creative ways to talk about the stock market, which Godspeed to him because I wouldn't touch it with a 10 foot pole. I have no idea how to talk about the stock market. My mom ran all the logistics, taught herself computers at that time and really brought her up to speed fast. And they had that company for a long time until their divorce, which I have no idea what role the company played in that, but they definitely had it for, it was over 10 years, really successful. So that's kind of like what I grew up in. And I was very privileged. I came from a place of a lot of privilege where I went to private school. Chris Erwin:RCDS? Alison Eakle:RCDS, Rumson Country Day School, big shout outs, still very loyal to that school, that little short brown stone church on the corner. Chris Erwin:Are you still involved with the RCDS community? Like I have the friends from school I'm still in touch with, but I'm not giving back or anything like that. Well, maybe I should rethink it. Alison Eakle:No, I am not as involved as I want to be. I did have like a strange fantasy that one summer I'd go back or one year I'd go back to my 20s and substitute teach there. I don't know where that came from but- Chris Erwin:On the theatrical program? Alison Eakle:Yeah, why not? I'll do so. I love a school play. I love that. I love something roughly adapted from children's literature into strange costumes and children sputtering around on a stage, but it was just such a surreal experience because it was so safe, so incredible. I feel like that experience really formed me even from kindergarten on. And it was across the street from Bruce Springsteen's house. So what a quintessential New Jersey experience really? Chris Erwin:Yeah. I remember walking down Bruce's driveway on Halloween. He always would give out like the supersize snicker bars. Alison Eakle:Yeah. And [inaudible 00:04:44]. Chris Erwin:It was always like, we got to go to Bruce's house then we'd go to Bon Jovi's house. That was like such a fun thing. Alison Eakle:Yeah. That's very dead on. I grew up there riding bikes to the beach, just walking around the neighborhood. They're a very arcade fire of the suburbs kind of existence, but with the modicum of real safety that I so appreciate now and also again realize how lucky I was in a lot of ways. Chris Erwin:So I have to ask, your parents are to business, it's just funny to hear that. I just recorded a podcast last week with Naomi Shah, the Founder of Meet Cute, it's a new romcom podcast network. And her parents started a technology business based out of Portland, Oregon. And so it's just funny that now like a week later I'm interviewing you and your parents started a business together as well. There is an entrepreneurship vein in your family. So was there a theme though about your interest in the arts that came from your parents or did that come separately? Alison Eakle:That was from really my aunt and uncle. And look, my mom was one of those people who did leave her job when she had me, but continued to have that kind of type A excel at anything she put her mind to it personality. She was somebody who played the organ. We had like a Hammond organ in our living room now that I think about it. She had interest in music and musicals and all of that thing and certainly was very supportive of the arts, but wasn't necessarily kind of ensconced in it. Whereas my aunt had been an actress since the day I was born, my uncle had been an agent at Theatrical Agent in New York, but also run his own company called Cornerstone up until he died. And so for me... And they were much younger than my parents. My mom is like 12 years older than my aunt. Alison Eakle:So they were this cool young aunt and uncle really ensconced in show business. They took me to my first Broadway play Les Miserables when I was 10. I felt incredibly like I had a model to look at of like what would a life in that business look like. And I definitely was born with the bug and loved trying to get the solo in school plays or whatever it was. And eventually my parents did let me act as a kid and tried to make a go of it professionally. And I was represented at a now defunct agency called J. Michael Bloom. Chris Erwin:What age is that, Alison? Alison Eakle:So this is like, by the time I'm actually wrapped I'm 13. So this is like '93, which is a very awkward age to be putting yourself out there. But for whatever reason, I was really into it and loved it and had some close calls. I got to do a callback in a room with James Ivory for Jefferson in Paris, a role that eventually went to Gwyneth Paltrow, which I think the better woman won. They aged it up and gave it to her, I remember, but it was such a cool experience too for a year. My parents were very anti stage parents. They were like, "Look, you clearly have some bit of talent in this and you really want to try it. We'll let you try it. But it's going to be for a small amount of time." It was only like maybe a year and a half, two years and then you really do have to go back and focus on like high school if it doesn't click, if there's not for me. And I only went out, I didn't go out for commercials. So it was sort of- Chris Erwin:Did you take time off from school at all for this? Alison Eakle:RCDS was really lenient in the sense that if I had to leave at three o'clock for like an audition in the city or to do a reading for an off-Broadway play or whatever it was, I could be flexible, but come close as I may have, I never got the big part that would have necessitated the on-set tutor. Chris Erwin:Did you feel at an early age, a clear interest in the arts and that, hey, this is going to be my career, this is where I'm going to be? Alison Eakle:I think if you look at my life in general too, and we'll talk about this, it's so funny because that clearly was always had such a strong pull that even when I tried to divert myself to more stable or a prestigious academically kind of bent careers, like politics and things like that, somehow it would just find me again and kind of pull me back to acting, writing, performing, creating, that side of things. Chris Erwin:So I think it's good that Gwyneth got the part because you've obviously had very special trajectory at Shondaland, you are exactly where you are meant to be. Alison Eakle:That is very reassuring to hear. And I do tell myself that sometimes. And I do get to still read parts at table reads occasionally at Shondaland, which is how I scratched that itch. Chris Erwin:So you're acting in your teams, you have some representation, you're going out on auditions, I just got to throw this out there from the RCDS memories, for some reason this is so ingrained in my brain. I remember taking the bus with you I think after school and then going down, I think if I remember correctly, it was a stone driveway, a gray stone driveway. It was a circle. The school bus would go down that and we would drop you off and your house, was it a gray house or a white house? Alison Eakle:Yeah. A gray house and white trim. It doesn't exist anymore. It was raised to the ground to build some other crazy mansion, but it was an adorable 1920s house. Four fireplaces when I think about it. Good God. Chris Erwin:Wow. One of my earliest memories that is definitely imprinted in my brain and I remember specifically from you, I think you were a year above me. Alison Eakle:That's kind. I'm three years older than you. I just loved to hang out with... Chris Erwin:Yeah. So that's what I was going to say is that you befriended myself and my twin brother, John, and you're always so kind to us on the bus. So you were very interesting. You just had interesting points of views on things and we picked that up at a pretty early age. Alison Eakle was at the light in my childhood, but it didn't stop there. So after RCDS, I left that school system I think around third grade and I went into the public school system as did some of our other friends. At RFH, I think that's where we were reunited in a Spanish class. You were a senior and I was a freshman, was that Parker's class or Von Handle? Who was that? Alison Eakle:Oh, maybe it was Von Handle actually, now that I think about it, but I couldn't remember her name. I just remember she had great hair, like a really perfect... So what did happen was I took French from third grade forward. And then in high school I had done the AP and I was like, I sort of want to start another language when I might have a chance of speaking on a daily basis. And so I started Spanish as a junior, but it was hilarious to be... It was my only experience of being the lone senior in a class full of freshmen. It was such a blast and such a different perspective on things at that point in my life. I was so happy to be in it with you. And it was Adam Sachs too. Chris Erwin:It was Adam Sachs. Maybe John Waters was in there. Alison Eakle:Yeah. Waters 100%. And we had to make a video. I'll never forget this. We had to make a video project for the class. I forget who else was on my team, but there was like a surfer kid named Ryan. And we stormed at his house and I was just like, I'm 18 years old at this point just making a weird Spanish video with a bunch of freshmen in it, but it was great. I felt like I really loved that experience. Chris Erwin:Yeah. Very on theme again, a little bit older hanging out with the younger kids, we enjoyed it. There's something in the water, I think from like the Rumson Monmouth County area for Hollywood, because it's a bunch of people from the East Coast, but then Adam Sachs is running Team Coco, Conan O'Brien, you Andy Redmond running Tornante under Michael Eisner, you're at Shondaland doing a thing, Matt Warshauer another friend is a writer and- Alison Eakle:A really talented writer. Chris Erwin:Yeah. Impressive creator. And then I'm trying to do my thing at RockWater in New Media. So there's a crew of us out here together. Alison Eakle:It was probably the biggest surprise to me when I got here is how many people from growing up in New Jersey are out here, both from that experience, the experience we shared, but also somehow or another, we convinced a lot of people to leave New York when we first came out here in the mid 2000s. And we have a really... I always thought it would be kind of my film school crew that would, and there's a lot of them, the Austin Kids out here too, Austin, Texas, but tons of Jersey people. Chris Erwin:So after high school, the arts theme continues. You go to Georgetown, did you run a TV station there? Alison Eakle:Yeah. Well, it's so funny. I went there, again, trying to do like the sensible thing. I was like, I'm going to be in politics and urban development. And I had a real tracy flick then to me of like, I'm going to be the mayor of the city. And then I got into those classes and was sort of put off by the approach that the other students had to government and the idea that everybody was obviously in this kind of self aggrandized way. And I realized, oh, that's not maybe my jam. I'm not here to prove how much I know about how many congressmen are from which districts or what have you. I really wanted to affect change on a local level. Of course, part of its insane ambition. I don't think anyone decides to go into politics without being a little amped up about that and being like, I think I'm pretty great. Alison Eakle:I absolutely had that threat, but I felt so kind of outpaced by my classmates in terms of their ambition and I started to question if it was for me. And then weirdly enough, it was a sophomore class, a screenwriting class I took with a professor named John Glavin. And at that time, he had mentored Jonah Nolan who at that point had made Memento with his brother and suddenly I had, yet again, a model to look at him like, oh, somebody in a class just like this with this man as their professor broke through. Right? Obviously he has incredible talent. And that stuff can't be taught, but it was like suddenly I could at least see a path sort of. That same year, I think my sophomore year Georgetown University Television, the finest closer television channel in the land was starting on campus, and I realized, oh, that seems like fun. Alison Eakle:And my first show that I produced and sometimes hosted with Aaron Cocce and Brian Walsh, was it called G Talk Live? And I even forget all that I did. It was sort of a running gun, all hands on deck, but it's like a live call-in show, a talk show, panel show for the campus. And I'll never forget they were like, "Alison, do you want to host a very special episode?" And I said, "Of course, I do." About one of the most pressing topics out there, Dawson's Creek. So that was my big contribution, but I loved it. And I stayed with the television station all three years. And at my senior year, we sponsored like a film festival and the films were incredible. And you think back it was... I looked at a program I'd kept from maybe six years ago when I was moving and it's like, Zal Batmangli, creator of The OA along with Brit Marling, the two of them had made one of the shorts and contention and Mike Cahill and Brit Marling had also collaborated in a way that would pre-stage their collaborations on another earth. Alison Eakle:And it was kind of incredible because I look back and I see that drive. I see all of these people who actually were trying to carve out a space at a school maybe not known for people who are going to forge a path in TV and film doing so, but also it was like Mike Birbiglia and Nick Kroll, John Mulaney were all my contemporaries as well. So also seeing a real comedy scene evolve, I feel like again, very lucky and they're at the right time in terms of it was in the zeitgeists of again, getting to look at people really trying to forge that path in a way that I had not seen before. Chris Erwin:And then you felt, I think, empowered. It's like, I can do this. Like that screen writing class was a spark for you. It's like, fine, this is what I'm going to pursue. I came here for political science and different reasons, but that's now changed. Alison Eakle:Yeah. I'm so glad I decided to try it and listen. And again, at that point I'd let go of the acting thing, even though I would still occasionally act in like one act plays that friends would write or things like that. But I do think the acting informed the love of writing, which in turn, all of that feeds the work that I do now, essentially because I think as a creative executive, I do look at everything through the lens of, okay, I know what it's like to sit and stare at a blank page now with that cursor blinking and understanding kind of how do you generate something from nothing, how do you riff on ideas to try to get through a piece of writer's block, all of that. Alison Eakle:But I also approach things in terms of like, when I read a script, I do think to myself, do I want to play that role? Because I know that if I have that instinct of like, oh my God, I wish I want to say these words, I wish I could play that part, you're onto something at that point. That is a really good sign that somebody has created something worth making. Chris Erwin:Because you have an acting background, you can empathize with the words on the page and you could have a vision for how the words will manifest. Alison Eakle:It's almost like first, it's a different way that informs decision-making, right? Because in terms of creatively, the big question is like, what do you love enough that you would actually spend years of your life working on? And I think, again, that's one thing that goes, I can really appreciate when a piece of writing is going to appeal to an actor. Like in this business too, so much of it is who's going to fill this role, especially in TV so often if you're not going with an already established huge star, you need to find a person who can really become that role. Especially when there's a breakout hit and an actor has really been a part of creating that role with the writer, that follows them for the rest of their life. People always think of them in some ways as that person. Alison Eakle:So I do try to think of like, are there iconic roles in this that somebody would really dig into that would get me excited that way? And similarly, actually the writing piece of it comes into mind too, because if I read a pilot or something, but I found something worth pursuing and talking about it, if my head's already like, oh my God, I can see episodes, I know what I'd want to watch and want to see in the show, so that's the writer part of me thinking like, oh my God, if I had to pitch ideas for it, I could, that's really promising. So it's definitely stuff that that background I think does inform the work I do. Chris Erwin:Got it. As I'm listening to you, Alison, I'm hearing the passion come out from you. So I think you said you no longer act, but you really enjoy the table reads that you do with the Shondaland team. Do you think that there might be a future where you might see a script and you're inspired to be like, "You know what? I want to go do a one woman show. I'm going to join a small private troop." Is that something that either maybe you're doing now or that's like seated in your brain? Alison Eakle:It's something that I still do for friends. Like we'll still do writer's table reads together and things like that. I don't think I would rule out the idea of doing some kind of acting with friends on a project. I don't think it's going to be generated by me. I don't think I'm going to be the one to push it forward, but I think that if an opportunity presented itself, it would be really fun. And I actually love the idea of like voiceover, that idea of doing that kind of work too, because I give real actors steeped in their craft so much credit because the way you make yourself so vulnerable reading at a table read or doing a piece of voiceover where I can kind of hide behind, not be on camera and not be seen, that's more appealing to me now than leaving it all on the stage every night or really exposing myself fully on a show or a film and just emotionally, physically all of these things. I think that stuff's incredibly scary and every time I see actors go for it, I'm just standing out. Chris Erwin:Shondaland launched an audio business and maybe scripted audio is in your future. You could do some of that. You just- Alison Eakle:I'm going to ask Sandy Bailey if I can audition for some of those pieces. That's right. Chris Erwin:All right, cool. I want to flow into your early career, but so after Georgetown, you end up getting your MFA at UT Austin. So from there I think you go to New York for around six months and then you transition to LA if that's right. Tell us quickly, what was that journey from being at UT Austin, one or two key themes from that and then the beginning of your journey in Hollywood thereafter? Alison Eakle:I just was interviewed about my time at UT Austin. And I think the thing that's so crazy about it, that was a big takeaway was do not let your program define you because when I got there, it was just an MA screenwriting program. It became an MFA screenwriting program. But I think there was this kind of a mentality sometimes like we were the weird step-kids of like the film program, but also the really prestigious writing, the James Michener program that is for like novelists, poets, playwrights. So it's like a multi-disciplinary incredibly competitive workshop. Two years, they pay you. It was easy sometimes to feel a little less than, but then as time got going and I just fell in love with a couple of professors, I started like working on short films with people. I was a TA. Speaking of hanging out with younger kids and being a TA as a grad student, I can't tell you how many of my former students are also out here killing it and just absolutely running shit. Alison Eakle:And it blows my mind that I ever thought I could teach them anything like run indie film divisions of agencies. I really did start to just make my experience what I thought it could be as opposed to just be like, well, I'm just an MFA screen writing student. It was great. It was a great experience. I lived with law students instead. So that kind of exposed me to a whole different way of experiencing UT. They worked hard in the party tag, Chris, I will say that. That was my Austin experience. And I wound up working for Burnt Orange Productions, which is this company that had like a really cool experiment at hand where they were making low budget indie features like one was Elvis and Annabelle, starring a very young Blake Lively and Max Minghella. And that's the one, when I was there, they were making. Chris Erwin:So then thereafter, did you have a more specific lane of knowing where you wanted to go and what exactly you were going to do? How does that get you to, I think, was a pretty transformational role, which was at Paramount Vantage. Alison Eakle:It's so funny, but I really thought I was going to just be a screenwriter. My best friend, Ashley, who is now a show runner in her own right with her husband, she was finishing film school at Columbia. So the only reason I did that six months stint in New York was because A, growing up in Jersey and looking at New York is like the city. It just felt like I have to live in New York at some point. And so many of my good friends are there, I just want to have that experience. So I thought I might stay, that there might be a way to make it work, but New York is hard and expensive and it's even more so now an impossible place to live. But even in 2006, it's like, I'd worked Monday through Friday as like an assistant in an advertising agency and then Saturdays and Sundays, I would like go to Bronx Science and other schools in the city to teach SAT prep. Alison Eakle:So I was truly working seven days a week and still hardly getting by and I didn't even have to pay rent because I was just crashing with my friend. Her boyfriend, now husband, had moved out to LA in kind of October of '06 and we started processing and thinking about it could we really make this trip? I'm like, could I really break my mother's heart and move across the country? And eventually realized that if this is really what we wanted to do was to be screenwriters, it really did feel like we had to be in LA. And so we did it together with her two cats and her two goldfish and a Toyota Corolla. Chris Erwin:Two women, two cats, two goldfish, two Corollas. Alison Eakle:Yeah. Two of everything. One of the cats shit himself as we were crossing Arkansas. And there was a very uncomfortable gas station interaction with some locals and that cat and trying to get that cat out of the carrier of the car, but look, all worth it. The two fish died immediately when we put them in LA water, a very foreboding omen. New York was just, I knew in some way I wanted to get a chance to have an adventure with Ashley, collaborate with her potentially and we wound up moving out to LA together. Chris Erwin:Similar to you, after graduating from school in Boston, I was like, "Yeah, I got to go to New York." That's like what... You're in the tri-state area, big exciting visions. And then the fact that I can go down to the shore and see my family on like an hour train ride or the ferry that had just started to emerge. And I got stuck there for five years in finance. So you only got stuck for six months, I probably took like 10 years off my life doing finance in New York City. But you got out and so you make the move, you get to LA and then you end up at Paramount Vantage and you do a few things before that. Alison Eakle:And one really formative job. So basically I get there, I go to a temp agency my show business actors aunt had connected me with and I'm like, "Let me do a typing test. Let me show you I can use Excel." And I got a job that was temp to perm, potentially assisting a woman named Nancy Gallagher, who was an EVP of marketing at Paramount Pictures. And this woman was like close personal friends with Steven Spielberg and Joel Schumacher and Tom Cruise. Like she had done marketing campaigns for movies that had shaped my teen years, like Clueless and Titanic. Like I lost my mind when I realized really the impact she had had. She was also incredibly old-school, did not use a computer at the time. It was a kind of a wild experience. I would be there 8:00 AM to 8:00 PM. I would never leave the desk. I would take dictation. I would read her an email she got. She would dictate an answer back to me and I would type it back to the person. Chris Erwin:This is 2007? Alison Eakle:Oh yeah, don't worry about it, Chris. But she was incredible. I mean, she was an incredible talent. She just was sort of like had not kind of embraced that part of the job and was just deep in the creative. I mean, again, I got to meet so many impactful, incredible filmmakers, like Calvin Kennedy, we had four movies that we're marketing. It was a real learning curve for the almost two years I did it. And that classic, first Hollywood job, like don't screw up that phone call from Scott Rudin or whatever it is. Like there were those moments consistently. And I was scared out of my wits until I wasn't. And eventually I was just like, I would see the kids in their suits come in from Yale to take my job since I was just a temp and interview and I was like, "No, no, no, no, fuck it. I'm going to keep this job." It almost became like a challenge to myself. Alison Eakle:And I think being able to stick it out and succeed there, even though I didn't want to do marketing, and on that desk is where I realized I never have time to write and I'm never making time. And people who really want to be writers, they make time. They get up at 6:00 AM and write for two hours before their desk job. And I was not doing that. So I just realized I think I found out there was a thing called development, which is basically what I loved about writing most was workshops like working with writers, not being the writer and started to try to think about how to make that transition. Chris Erwin:Got it. Look, I hear this from a lot of people who work at the agencies like pretty early on is that it's really exciting in the beginning, but it's also painful, the work, the stress, a lot of bad bosses, it turns people out and they leave Hollywood. But when you were there, did it feel like you're just getting more excited, but you're like, but I'm not in the role that I want. Like what you just described as like, I want to get into development. So I feel good about the industry, this is hard, but the stars in my eyes, they're still real and they're not going away. Is that right? Alison Eakle:Yes. I think I am at some level, again, like a pragmatist. There's always competing parts, right? There's the creative and the pragmatist and the pragmatists was like, you have a job that pays really well in a business that doesn't, you have overtime, you have health insurance, I was just like, keep doing this. And again, I love the challenge of a professor or a boss that's incredibly difficult to impress. So I love that challenge. And I learned a ton because honestly the biggest lesson of marketing is like, don't create something you don't know how to approach an audience with. You need to know who this movie or this show is for and obviously there's always a pleasant surprise when it kind of broadens out past that, but that was really drilled and it's like, what does the poster look like? Alison Eakle:Because we would get scripts and movies that we had to market. And we would look at each other what is this about? How did you sell this movie? And I will not name names, but it was incredible to see it from that other end. And that was the boss. She was incredible in teaching me like Alison, as an assistant in Hollywood, your job is to assume no one else is doing their job correctly, which is a terrible place to live for a long time in terms of that is so fear-based. But it is also a way to I learned how to anticipate what could go wrong or how to kind of shore up and idiot proof certain processes in a way that I do things still serves me to today. Chris Erwin:Hey listeners, this is Chris Irwin, your host of The Come Up. I have a quick ask for you. If you dig what we're putting down, if you like the show, if you like our guests, it would really mean a lot if you can give us a rating wherever you listen to our show. It helps other people discover our work and it also really supports what we do here. All right. That's it everybody, let's get back to the interview. Two points that I think are interesting. Alison, you described as being able to anticipate what could go wrong or sit at corners, we had Chas Lacaillade interviewed on this podcast, he now runs a digital talent management company called BottleRocket, but he said the same exact thing he was at ICM. He's like, "The one takeaway I have from that is you can always anticipate what's going to go wrong in a deal, a conversation, a client meeting," and he found that very valuable. Chris Erwin:The second thing I think that you said, Alison, that I really like is how to market and how to approach an audience. So I think today where media has changed, where they used to be fixed supply, if you can get theatrical distribution, you're going to win. If you're going to get on like a TV network, you're going to win. But with the internet, there is so much content out there even if you're like putting up content on Netflix or you're putting up content on YouTube or in some like digital, native way, your content has to stand down. And the marketing campaign that wraps the actual content itself, how you speak and engage and excite your audience, that is where the winners are today. So the fact that you have that lens from your history, I think is really interesting. Alison Eakle:You put it better than I ever could, but that all tracks. Yes, that feels right. Chris Erwin:So you realize you're not having the amount of time you need for writing, so you've got to change it up. So where do you go? Alison Eakle:I saw a job opportunity to assist the director of production and development at Paramount Vantage. What I'll never forget there was the current assistant had put out a job posting and how this works in Hollywood, for anyone who's listening and doesn't know, is you'll see jobs on things called tracking boards or emailed chains basically. But they always say, "No phone calls, please. Do not call me. Just email your resume." Right? And I was like, okay, this job is on the same lot, I'm going to call him. And I did. And he was so incredibly lovely. Colin Conley, he's still in the business, an incredible manager. And I just called him. And I was like, "Look, I did not come up through the agency. I don't have the required experience, but I swear to God, the desk I'm on is harder than any agency desk you can imagine. And I'll tell you why if you meet me for like 15 minutes." Alison Eakle:So we did, we literally met in the middle of the lot at Paramount. And he was like, "You know what? I think my boss would like you." And he was leaving to go work at the Sundance Institute, fucking cool as hell. And I tried not to be too intimidated. And I met his boss and loved her. And the only weird thing about that experience was when I did get the job, three weeks into it, most of Paramount Vantage was let go. They were downsizing all indie studios at that point. And I was like, oh my God, I just took a pay cut and a huge risk to take this job and now I'm going to get fired. That was all that went through my head is like, we're all going to get laid off, but I don't know what happened, but for eight months, some of us still hung on. Alison Eakle:And I learned so much about future film development from my boss, Rachel. And then we were all let go. Then it really did. The hammer came down in July of 2009. John Lynch left as the head of the studio of Vantage was done. And another colleague of mine who used to be at Vantage got me my next job just assisting a production exec at Sony Pictures, Elizabeth Kentiling, who was incredible. And the experiences were so different because at Vantage, I learned a ton about development, but we never got to make anything because essentially it was like, you already saw the writing on the wall. You knew it was only a matter of time to some extent that you were going to be shut down, which I've never had an experience like that since. It is sort of freeing, because I was just like, well, I'm going to learn and do as much as I can while I'm here. Alison Eakle:And then at Sony, it was the opposite where it was like, there was development happening on scripts so I was there, but my boss was making movies. Like I always watched her oversee Social Network and Girl With the Dragon Tattoo and got really a firsthand view of like how that side of things works when stuff is going. So it was incredibly valuable, but the whole time I'm sitting there thinking, okay, I'm still an assistant, I'm 30... How old was I at that point? Probably 31. Again, wasn't acting, wasn't writing, wasn't really an exec. I would go to drinks with other assistants and them not knowing how old I was would be like, "Oh man, if I'm still an assistant at 30, kill me." Chris Erwin:It's interesting you're saying this because I was reading an interview that was done with you. Asked like what's the worst advice that you can receive or that you have received? And you said something along the lines like, oh, if you're like an assistant or haven't figured out your career in Hollywood by the time you're 30, it's over. And that's BS. That's not true. And so I think this is clearly where that's coming from. Alison Eakle:Oh yeah. And trust me in the moment I was like, maybe it is true. Like I'm not impervious to insecurities. 100% I was like, I've given all this up, I've left my family, I've moved to LA, did I make a terrible choice? Is this right? But there is such a thing where you just got to stick it out and you keep learning and try to keep growing and then the next opportunity will find you. I totally flunked out on my first creative executive interview in the Future World. And I just was like, oh man, this other junior exec at the movie studio got me this opportunity and I just said stupid shit and I blew it. But then a friend of mine from my Paramount Vantage days, a friend who had worked at Comedy Central while we were doing the Comedy Central branded movies and I really loved, was like, "My old boss from Comedy Central is starting a company for Ellen Degenerates, would you ever want to go be the assistant/exec?" Alison Eakle:And it was primarily television, both scripted and unscripted, not movies, not the big sexy thing at that time that I was still like, no, no, no, you got to work in movies. But I was like, I fucking love television. I raised myself on television. Let me tell you, I jumped at the chance. And again, I was still answering phones at that point technically, but I was like a coordinating manager. So I got to be in the meetings and watch how it happened and take meetings of my own. Chris Erwin:This is A Very Good Production, that's the name of the company? Alison Eakle:Yes. That's A Very Good Production. Chris Erwin:Okay. Alison Eakle:And look, I probably did that classic thing that I think a lot of women do where I didn't think I would feel ready to go from assistant to just exec. That is where I second guessed myself a bit. And so I loved that idea of like a hybrid opportunity, but I also couldn't have learned from anyone better than Lauren Carrao as we were building that company from the ground up with the deal at Warner Brothers. Chris Erwin:Got it. Wow. So Alison, I want to get into now your rise at Shondaland, a company that you joined back in 2013 and where you're still at today and interesting juxtaposition. So I interview a mix of technology and E-commerce, but also media executives on this podcast. A lot of the technology executives I interview, their career rise starts a lot earlier, right? It's like the difference. But in media, a lot of the people that I've interviewed, it takes a bit longer. You're joining Shondaland I think in your early 30s, but you've had an amazing run over the past almost a decade. So I'm curious, how did you first end up there? Alison Eakle:Truly going back to my doomed, but learned a lot moments of Paramount Vantage, it was my boss there, Rachel Eggebeen. She was the first kind of creative executive that Shonda and her longtime creative and producing partner, Betsy Beers, my other boss brought on and into the company when they'd had their deal through ABC. They'd been making Grey's Anatomy and Private Practice and a few other pilots that had knocked on to series. But I believe as Rachel came on board, they were making the Scandal pilot. They had expanded the company and around the time that I was ready to move on from a very good production in terms of trying to get kind of my first either producing credits or full exec job, whatever that next move was going to be for me, I reached out to Rachel and I said, "What do you think I should consider? You're one of my favorite bosses, favorite people, favorite friends, what do you think I should do?" Alison Eakle:And she said, "Well, interestingly, Shonda and Betsy are thinking about expanding the work they're doing and hiring another person. And your background in comedy could be incredibly useful and important part of the mix given they're starting to do more of that." When I came on board, they'd already been developing a pilot with Issa Rae, actually for ABC. Ultimately didn't move forward, but was one of my first experiences as an exc. It got to be me and Issa Rae in a room, sitting on the floor, working through a pilot and I will never forget it. And it was incredible. And I loved every second of working with her. Chris Erwin:Speaking of Issa Rae, so I joined the whole YouTube revolution in 2013. And I remember we were launching different like digitally native verticals. Issa Rae came in and pitched a show with her creative partner. Alison Eakle:Oh, no way. Chris Erwin:Yeah. Early days. And now look at her, she's a phenomenal. You shouldn't make a fuss. Alison Eakle:Talk about a rise. I feel silly calling what I've experienced duress in light of Issa. I mean, just and so earned and so deserve. Like with the pilot was called, I Hate LA Dudes. And that was very much my mindset while we were working on it. But I would meet my husband just a few months after we finished up with that and I reversed that decision. No, it was great to kind of come on board. And look, I was, again, nervous, that imposter syndrome thing is hard to shake. I'm like, it's my first executive job, I am a fan of these shows of Grey's Anatomy and Scandal. Scandal season one and like half of season two had aired when I started. And that jump is a big jump in Hollywood when you're first like really not answering the phones anymore. I didn't have an assistant, but I wasn't an assistant. Alison Eakle:And I got to develop like my first comedy from the ground up with these writers Petrossian Goldstein that came partly from like an original idea I had just by like being like, fuck, okay, what do I want to see in the world that I don't see? What do I want to watch on TV that's in my life and I don't see reflected? And we came up with this idea of what if your friend was dating someone terrible, just absolutely the worst. You wouldn't want to spend brunch with this person. And then they show up one day early in the dating and they're like, "We're having a baby." And I had pitched this idea of like, that would be the friend groups worst nightmare, but a lot of it would be not so much about that girl who kind of enters the group, but really about you and what you're going through emerging as a group of like 20 somethings into your 30s. Alison Eakle:And then when we pitched this idea to these other writers, they had had an idea of what had happened in their friend group, which is one of their really close friends had passed away. And that guy's parents had sort of become the parents of their friend group. And we wound up having this incredible meeting where we realized we could merge these ideas. And it was just one of those first experiences where Betsy and I were in the thick of it and I realized like, oh, this is it, this is what I wanted this to feel like and be like. I love the idea that I can have an idea, writers can make it better and bring their own experience to it and then I get to watch it just evolve. Alison Eakle:And it was such a well-received comedy pilot that at the very last minute we did not get to make it, but it was a great first experience in that first year at that company of like, A, I love this, B, I love why I'm working with on these projects and C, maybe I'm not terrible at it. Like that first moment you're like, oh, I should keep doing this. Which I think a lot of people don't talk about because I think you're supposed to pretend that you're just like a girl boss from day one and always had the confidence, but no, I mean, it truly took going through that first experience to be like, okay, I deserve to be in the room. Chris Erwin:Amazing. So very early on, everything felt right to you. This is the right team, this is the right role and did you get a sense that it's like, hey, this is a company I can be at for a really long time. Alison Eakle:I was like, hey, I hope they'll have me for a long time. Again, like even with the successes, I think there's always a moment where you're just like, what's the next thing I can do? Like I want to continue to earn this spot or earn their respect. And the other thing I just sort of lucked into was that at that same time that we were doing that comedy, we had six other drama projects in development, how it works as you sell ideas in pitches to the networks and then the writers write the scripts and around Christmas time, these networks were just in the network side, they would decide which ones they were actually going to shoot. And the one that they decided to shoot was How To Get Away With Murder. And so then even though my comedy pilot, that experience hadn't borne fruit in terms of being shot, I got to see that show be born and come to life. Alison Eakle:The other thing that happened in those first eight months I was there was that Rachel did leave Shondaland to go to another job at Fox 21, which is a studio. And again, I was terrified because the person who brought me in was gone and I was still getting my sea legs, but Betsy and Shonda were incredible. And I learned so much from them. And I got to all of a sudden just not limit myself to being like, hey, I'm the person who's here to do some comedy and I got to experience what it is to develop dramas and realized I loved that too. Chris Erwin:You mentioned it... Again I saw on an interview that you had like a handful of promotions within the first four to five years that you were there. Alison Eakle:Yes. Chris Erwin:So what did you feel that you were doing at the company that started to really stand out and have you get noticed? Alison Eakle:I was kind of the only one for a while. I feel like I don't know what I would necessarily pinpoint. I'd be interested to hear Betsy and Shonda say it. I think one of the things was not only did I have the things that I would get excited about and bring to the table, but I think that Shonda's excitement and Betsy's passion are really contagious. Right? I think very early on I realized, okay, they have fucking genius ideas. I can execute that. I can take that. I can run with it. I can get some progress going. I can find the writer. I can work on the vision of the writer. I also loved the fact that we had this incredible community of writers that had come up on all the Shondaland shows. So I think I really just threw myself fully into trying to make projects with them work and support them. Alison Eakle:And I think there's also a little bit of magic sometimes when taste and instincts lineup, the rest of it is sort of just to do the work, especially those early days. To this day, even after I've had a kid, which we'll talk about, I've never not worked on weekends, I've never not worked at night. Like even when I'm not working and I'm using air quotes, my brain is constantly going in terms of how to fix issues or how to approach strategically certain projects. And I think that they must have responded to it. Chris Erwin:Yeah. Because I think to you it was clear as it's not just work, this is a passion. It's like part of your essence. It's having like a creative mind wanting to support the creative community. I think like you were saying with Shonda and Betsy, you have this reputation where you could take an idea that they have and really nurture it and build it and make it even more special. So there's this trust that they're bestowing on you, but they really appreciate new ideas that you bring to the table. So then, okay, there's an exciting moment. You're there for around four years, 2017, then there's the big announcement that Shonda is leaving ABC for Netflix and what was reported to be, I think, the range is up to $150 million deal. What was that like? Was that something... Had you been working on that for a while? Was that something that you knew of? Was that something that was just dropped on you? What was that like to receive internally? Alison Eakle:I did know a little bit before the announcement came, I just was over the moon excited in terms of it being such a new learning opportunity for me, right? I know Shonda and Betsy had their excellent reasons for making that transition at that time when they did. Strictly speaking from my experience of it, I was just so interested in how different that could be, what restrictions would be lifted when you suddenly don't have to make television for network to fit that 42 minutes of a drama episode to kind of deal with broadcast standards and practices. But also just the idea that I think once we went to Netflix, it probably did also, at least in my opinion, as I spoke to people in the industry, it started to broaden their ideas of the kind of shows we made sometimes, sometimes not. Sometimes they'd still come to us and be like, "Here's Grey's Anatomy, but in a funeral home." Like they would still do that too, but there was a lot of people understanding that now we were going to do TV and movies. Alison Eakle:We could do comedies. We wanted to do genre. Like I think, especially by the time we were able to announce those first things we were working on kind of a year into the deal, it did make people understand that while they often thought of us in terms of, I will use the quote, sexy soap or serialize procedurals, the ambitions were so much bigger than that. And to get ready because we had a lot of things coming that you would not be able to do on network. And that was really liberating and exciting. Chris Erwin:Did everyone feel that same way? Was there anyone internal on the team or within your writer community that was like, "You know what? I want to work on network programming and going to a streamer is not a place I want to be." Alison Eakle:If that was happening, it was not something that I was privy to or that people were coming to talk to me about at all. Everybody was like, "I can't believe this. I'm so excited." And we're moving into new offices and all. It was just felt like a real thrum of excitement. And look, I think to this day, there are still writers who appreciate the consistency of a network job, but the whole business has changed. This is a conversation for another time in that residuals are not the same anymore. And there are so few shows like Grey's and Station 19 that can go that many episodes a season. Whereas writer you know you're booked kind of like August to April or whatever it is, I do think some writers probably miss that and will gravitate towards that kind of structure, that storytelling, all of that. But I didn't experience anyone being like, "Ooh, Netflix," at all. Chris Erwin:Okay. And maybe look, I think there was a lot of excitement at the moment. Was this announced right after Ryan Murphy's deal? I think he announced like a $300 million deal, was that- Alison Eakle:We were the first. Chris Erwin:You were the first. Alison Eakle:Shondaland was the first. Yeah. That was the first deal for Shondaland was the first of these big star producer deals. And I think Ryan Murphy, Kenya Barris, a few others came in like quick succession, but it was the first big announcement like this. Chris Erwin:Clearly it's working, right? So there's the big 2020 hit with Bridgerton. And then recent news, there's a re-up between Atlanta and Netflix are reported or confirmed or reported up to 400 million, but what was it like in that moment when Bridgerton which I think is the number one performing show on Netflix today, when that hit and your team started to get some of the success reporting, what was that feeling like? And were you involved in that show at all? Alison Eakle:Oh yeah. So I am a co-EP on the show and moving forward into seasons two, three, and four, I'll be working on it. It honestly was something where I still remember the day that Shonda was like, "There are these romance novels that are absolutely incredible. They would make a great show." I will be the first to admit I was like, "Romance novels, like grocery store paperback romance novels?" The genius that she is she's like, "Just read them. Just read one. Read The Duke and I." Which is the first book and is what season one is based on, the Simon and Daphne's story. And I read it in like one sitting, definitely started blushing about like 80 pages in for sure, but immediately I was like, oh, I get it. I get it. I understand the conceit of how this works for many seasons. I get why there's such a huge under-serviced fandom of this material. And they have not gotten to see some of their favorite stories brought to the screen and shot. Alison Eakle:It was so smart because she knew that people would clamor for that. And that audience had just not gotten to see those characters come to life, but also that there would be a broader reach. And also I think that it was such a surreal experience for me. I was incredibly pregnant. It was Christmas time. We had done post-production in COVID entirely from our homes remotely. Every music spotting session would be inimitable, Kris Bowers. Like all of it had been done remotely, all the posts. So it was like being in this kind of strange bubble and just sitting there as the holiday started just wondering how it would be received. And I don't think I could have ever anticipated what a mark on the culture it would have. Chris Erwin:I didn't even start thinking about the opportunity to romance space until Sarah Penna, who is one of the co-founders of the Big Frame where I was at right after school. And she had an idea that I think she's still working on with Lisa Berger called Frolic Media focused on, I think it's in a podcast network and digital video programming for female romcom romance enthusiast. And when she started telling me some of the numbers of how big this demo is, I was like hearing the success of Bridgerton, I am not surprised. So a new Netflix deal's announced and here's some exciting things like a focus of film, games, VR, branding, merchandising. There's a larger team from Bridgerton Ball that's coming up in November. So it's really extending your work streams and creating an audience experiences into a lot of new channels. Where is Shondaland today and where is it headed? Alison Eakle:The other side of the company that is the digital side, that is the podcast, the website, whatever shape and form this gaming and VR enterprise is going to take to it is incredibly exciting and I think a huge part of how my perspective on my job has shifted. And look, I've gotten to experience people often say like, "How have you been at a company for eight years?" And I was like, "This company is always evolving. The opportunities are always evolving. The work we're doing is always shifting and changing and growing." And it's part of why I was so excited to work with Shonda and Betsy in the beginning because I knew they had these bigger plans, right? World domination through incredible storytelling, very appealing, but I'm just really always trying to think to myself too synergy. Alison Eakle:Are there opportunities of things that we're working on that could translate to the podcast space or there could be a great story on the website about it and thinking more actively how do I talk to them about that and tell them about it before it's too far down the pike or vice versa, what are they working on that could be the next great show for Netflix or first documentary came out right before the holidays as well around Thanksgiving, Dance Dreams: Hot Chocolate Nutcracker about the life and legacy of Debbie Allen as seen through her kind of like planning and staging this incredible her version of the Nutcracker? Alison Eakle:So we have a real hunger to do unscripted, both doc series, lifestyle, reality shows, things like that, the right kind of thing for the right kind of audience, the thing that we think will appeal to our fans and the people who love our material, but also Inventing Ana is going to be out soon, which is Shonda's next show that she created based on the incredible cut article from Jessica Pressler, how Anna Delvey tricked New York's party people about the Soho grifter, who basically found a way to make all the finance bros in New York and all the art people and all the fancy pants people in New York who believed she was a German heiress. An incredible kind of fake it till you make it American dream story from a very slanted interesting perspective. Alison Eakle:So I'm really excited for that show to hit and to launch and for people to see that it's a limited. That's like the next big thing on top of the fact that we have announced through Bridgerton season four to really get to service the Bridgerton's children's love stories. We've got a lot of story to tell. And then Shonda's next project is a project based on the life of young Queen Charlotte, who obviously is someone we featured heavily in the Bridgerton series. So that's some of the scripted coming down the line. We do have feature films in development. We have a lot of different genre TV shows that I don't think people would be necessary... Again, always trying to broaden the idea of what people think of as a Shondaland show, which is just incredible unexpected storytelling that has an incredibly human lens. A lot of different things coming down. Chris Erwin:All this program is going to be exclusive to Netflix, is that right? Alison Eakle:Yes. Exclusively in Netflix. Chris Erwin:Looking at the Shondaland website yesterday, and I saw the 2017 partnership with Hearst where you've launched a lifestyle website. You have this January, 2020 audio partnership with iHeart, where I think you're creating companion content to promote some of your series, but also maybe seeding some new IP, which is definitely a theme that we talk a lot about here at RockWater. But these are divisions that are separate from your purview, but you want to collaborate and you want to work together. And I think that'd be an awesome thing to do more of in the future. I'd love to see that. Alison Eakle:Oh yeah. It's a top-down mentality the idea of like, no, no, no, you guys, you're not just making content for Netflix and you're not just making content for Hearst to iHeart, this is Shondaland. This is a united family of people figuring out how to tell stories best. Chris Erwin:Last question, Alison, before we get to the rapid fire round. So you are a mother of one who is five months old. Alison Eakle:Yes. Chris Erwin:When you say you work nights, you work weekends, how does that change with a kid at home not just in terms of like time capacity, but also just how you think about your programming and where you want content to go in the world considering that you're raising someone new in it? Alison Eakle:That's a great question. I think I'm so in it right now. It's all still so new. I don't know yet the impact it'll have on me. And look, animation both for adults and children is something we've talked about a lot and gotten excited about that kind of programming. I'll be honest, I binge-watched the Babysitters Club with that best friend, Ashley, who we moved out here from New York together. I think there's incredible content for kids. I don't think my brain has fully processed yet how having this child is going to impact my creative work, but I do think it has changed how I work and yes, I just have less time right now because every minute I'm not with him, I inevitably am wondering, am I missing it? Am I missing something? Right? But I also realize there's a lot of time that he sleeps, not in the beginning, but now there is. Alison Eakle:And it's interesting how I think I used to be a real... I do get up very early with him and I do do great work in the morning, I feel, but I've really also become that person who eight o'clock hits and I take a minute for myself, but I do think to myself, okay, I have quiet. I have a couple of hours of quiet before I hit the, hey, how am I going to use this time? So I think I've just gotten smarter about time management and realized that like I can be sitting there rocking my baby, playing out, what kind of thoughts or how we might re-break a pilot in my head. I've just gotten a little bit more nimble in terms of how I use the time I have. Chris Erwin:I like that. And kind of what you are saying, Alison, reminds me of like the classic high school Adagio. If you have a really busy schedule, like a bunch of high school sports and everything, it just forces you to be more productive to get your work done in the time that you have and you're better. And then second, I think it's this beautiful new moment in your life that's giving you incredible new fulfillment and appreciation for what matters and it's a shock of the system. And I think shocks and changes are good to see things in different ways and that's good for creativity. You've had an amazing rise, who knows where you're going to go? Alison Eakle:Who knows? Chris Erwin:I'll close this out a quick interjection for me before rapid fire. Alison, known you for a long time, but admittedly have not been in close touch in recent years. So it's been exciting that we can come together I think at a dinner that I threw a couple of years ago, but also through this podcast. And I think just hearing your story, what I love and what feels so special is I'm hearing that there was no fear of trying things, of experimenting, putting yourself out there and following your heart. There was moments where like, look, growing up in Rumson where we were, your parents from Wall Street, I ended up going to Wall Street. Like that's what I was inspired to do. And you, I think you said, "No, there's something else that I want to do and give it a go." And then you went to Georgetown, you thought you were going to go down the political science path, but then you had that amazing class and you went with that. You trusted your gut. Chris Erwin:And I think you being able to listen to yourself and set up a very exciting career for you and an ability to do programming that's really a meaningful impact on people's lives and look at the success of Bridgerton and more to come. So it's really fun to see this journey and reflect on it. And I can't wait until we do the second podcast, which is like on this next page. Alison Eakle:Well, thank you. And thank you for having me on too. And also right back at you, it's watching an evolution of a career that's not in Hollywood always fascinates me a lot more than even watching the stuff inside the industry. I love everything that you are doing and juggling right now too. Chris Erwin:Appreciate that. All right. So rapid fire. Here's the rules. Six questions, short answers. It could be maybe one sentence or maybe just one or two words. Do you understand the rules? Alison Eakle:I mean, I'm a wordy mofo, but I will try to keep it to the one sentence or the one word. Chris Erwin:Okay, here we go. Proudest life moment. Alison Eakle:Navigating the return to work after having my son and not absolutely losing my mind. Chris Erwin:Got it. What do you want to do less of in 2021. Alison Eakle:Judge people. Chris Erwin:What do you want to do more of? Alison Eakle:Acts of service. I feel like I got away from that during COVID. Yes, acts of service. Chris Erwin:I like that. One to two things drive your success. Alison Eakle:As you said, willingness to try things and to experiment. And I think also a willingness to really listen to people and figure out what they want. Chris Erwin:What is your advice for media execs going into the back half of this year and into 2022. Alison Eakle:Now that I have a kid and less time than ever, I'm all about essentialism. And I think people have to remember that sometimes less is more, less is more. That's what I'll say. See, trying to be shot. Private is the sour word. Chris Erwin:Saying less is more and trying to do it in short with fewer words. Got it. Considering your parents entreprene
Michael Chabon recently learned that people in Hollywood don't play nice, and if you are going to be in the game, you're gonna get hurt. Michael spent 20 years working with Scott Rudin, a huge Hollywood producer responsible for a ton of your favorite TV programs, movies, and Broadway shows. Scott was also responsible for throwing things at staff, calling people names, forcing people out of cars, forcing people to work insane hours, screaming to the point that staff would have panic attacks, and one person's mental collapse. Scott was mean, vindictive, and spiteful. He was hated by everyone - but he produced hits and made money and in the end that's all that counts! Michael Chabon had heard all of this but turned a blind eye (like everyone else in Hollywood). Until something happened that caused Michael to take a step back and really look at who he'd been working with all these years, and he didn't like what he saw. He penned an apology that is at the heart of this week's episode, alongside Scott's sort of apology
Actor/Producer: One Life to Live, Another World an upcoming Wild Crime premiering on ABC Fall 2021" As an actor, Mr. Wenzel has appeared in several Theatre productions Off-Broadway in NYC, as well as Film, TV, and daytime serials including Ray Donavan, Rescue Me, One Life To Live, All My Children, Guiding Light, Another World, Evil Lives Here, Who Killed Jane Doe, Wild Crime premiering on ABC Fall 2021, OLD DOGS, The Hustler.David Wenzel is also an Award Winning Producer/Director for such films as Hamlet/Horatio, Echelon 8, Preying For Mercy, The Hostage!David has work with such notables as Brad Pitt, Leonardo Dicaprio, Anthony Hopkins Fisher Stevens, Scott Rudin, Jace Alexander, and the great Oscar Winning Cinematographer Emmanuel “Chivo” Lubezki & Oscar Winner Gordan Willis.Recent Film: Hamlet/Horatiohttps://www.amazon.com/Hamlet-Horatio-Andrew-Burdette/dp/B096D8BZMFDavid Vando is truly a jack-of-all-trades. He is the owner of models mart ltd., has assistant directed in various productions, and has authored plays performedin London, Germany, and Chicago. Mr. Vando recently worked on a adaptation of Hamlet as a Writer and Actor. He is working with Onward and Sideways Productions.
Evan talks with actors/writers/producers David Wenzel and David Vando to discuss their award-winning film "Hamlet/Horatio", which has been released to Amazon Prime, itunes, Apple TV, Google Play, YouTube PPV, with Vudu and AMC to follow. Both men have collectively worked with names such as Brad Pitt, Allen Pakula, Scott Rudin, and Fisher Stevens. Check out them and their work: https://www.amazon.com/Hamlet-Horatio-Andrew-Burdette/dp/B096DSGBRN/ref=sr_1_1?dchild=1&keywords=Hamlet%2FHoratio&qid=1623354911&s=instant-video&sr=1-1 www.davidwenzelactor.com https://www.hamlethoratio.com/ Follow Evan "The Biz" on Instagram at @evanthebiz --- Support this podcast: https://podcasters.spotify.com/pod/show/mind-your-biz/support
A special sample episode of our conversation with Ennis Esmer, available only on our patreon! patreon.com/whatsthatfrom Family Ties very special episode, “My name is Alex,” high school theater, boxer shorts, trying to introduce Ennis Esmer, Red Oaks, Borat Subsequent Moviefilm, pranks, rehearsing arguments, Fuse, the Good Liars, Blindspot, Paul F Tompkins, The Flash, Passolini, Jodorowsky, How to With John Wilson, Jam sketch show, You Cannot Kill David Arquette. Harlequin novels, Al Goldstein, Donald Goines, Robyn Bird, Danny Devito SNL, Madonna Sex book, renting books from the library, nudity in periodicals, Esquire magazine's Women We Love, Linda Fiorentino, Last Seduction, a podcast with no introduction, podcast studies at universities, Billions spin off Kabillions, Paul Giamatti impressions, erotic thriller retrospective, Basic Instinct, Sliver, Fatal Attraction, TLC, Steven/William Baldwin, Squid and the Whale, Blue Steel, Mike Pace Spago rock, Tequila Sunrise, Body Double, Red Rock West, the phantom tingles (boy stuff), Mannequin, Spies like Us, LA crime movies, To Live and Die in LA, The Education of Sonny Carson, samples, Manhunter, Anne Bancroft, Sea of Love, Alice, Dressed to Kill, what makes an erotic thriller, Single White Female, Steven Weber, Masters of Horror, Friday the 13th the Series, Halloween, With Gourley and Rust, Bound, Joe Pantoliano, Bad Boys, Graf Orlock, “They're all gonna laugh at you,” Adam Sandler, Carrie, Chris Rock, Old Dirty Bastard, Prince Paul, Handsome Boy Modelling School, hip hop skits, What Had Happened Was podcast, WuTang, Method Man & Redman sketch show, De La Soul is dead, Red Foxx party albums, Red Foxx – The Horse Race, Gina Gershon, Sir Lawrence Olivier, actors having actor processes, Jared Leno (Leto), I Was There Too, Michael Bay, self awareness of mental illness, Hollywood people not being people, celebrity power, pig heads and used condoms in the mail, Swimming with Sharks, Frank Whaley, Scott Rudin, Hollywood Hellraisers, asshole mythology, Overnight, self righteousness, to be wrong is to be perceived as weak, Man on the Moon, Jim & Andy, egomania in show business, Red Oaks, Mark Lynn Baker, Paul Reiser and Freddy Roman, set nudity, Golden Girls restaurant, Harley Quinn dating in the city. Support the show (https://www.patreon.com/whatsthatfrom)
The entertainment world was rocked this week by the Hollywood Reporter article that (finally) called out producer Scott Rudin for his many years of abusive behavior. Jess and Joe talk about why it took so long for an article like this to be published and the power dynamics that exist in Hollywood and on Broadway. This episode contains mentions of abuse and sexual violence. Please listen at your own discretion. Get into Clubhouse and our club in one quick click: http://bit.ly/BroadwayUnlockedCH Join in on the conversation with #TechTheatreCH on Twitter, and join our weekly show at 12:55 Eastern on Clubhouse! Want to guest moderate a conversation with us? Pitch us your ideas here: https://www.broadwayunlocked.com/ch
Covid took a big bite out of the film industry and left film critics (like me) out to dry! I got my vaccine though and am thrilled to be heading back to the theater! I even decided to start a biweekly "Julie Says So" Movie Minute podcast to share my thoughts on new releases. I'm joined by Rebekah Black (my cohost on the Haunted AF podcast), who loves movies but apparently hates child actors. This week we discuss films that are "Coming Soon" and what a trip to the theater even looks like these days. Find out more at JulieSaysSo.com!
Hey folks!In episode 6 of the pod I speak with my buddy, Brian Spencer (@creative_b.s). Brian’s a musician and a digital marketing guru and I get some insight on how to organically grow an audience. It’s an interesting convo for anybody putting themselves out there online!Here’s a few links to some of my favorite things from this week: 1. There's a new animated film on Netflix called The Mitchells vs The Machines which is a hilarious ride for the whole family. Highly recommend. 2. Weezer dropped a new album today called Van Weezer and I'm super excited about it - life long fan of the Weez.3. Just recently re-watched Big Fat Liar with Frankie Munoz, Amanda Bynes and Paul Giamatti and it may as well be a Scott Rudin documentary. For those who rightfully don't give a s**t about the entertainment industry- Scott Rudin was a big time producer and also apparently a giant a*****e. However- Big Fat Liar is SO good. Killer cast. Sandra Oh was in it! And it’s just perfection.Remember to subscribe to the podcast on Apple Podcasts or wherever you like to listen and ALSO rate and review if you have a few spare seconds and wanna do something good that gets you into heaven.Seeya!J This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit createdbyjason.substack.com
Maggie and Mike talk to writer Nick Amadeus about his new movie "Separation" and cooking. Mike talks about the show "For All Mankind" and Maggie Talks about Scott Rudin.Separation Trailer: https://www.youtube.com/watch?v=XJ0fzKnXVCAMusic:Theme by Freaky Wilderness: https://www.youtube.com/watch?v=fBHF7ms4egc&list=PLmA7N9wg7BSWKVAFCnDMTNUwpQdoVAfwH&index=12Bionic 6 Theme songSleep "Marijuanauts Theme"Judas Priest "The Ripper"
It's been a minute since the airwaves have been graced with the vocal stylings of our very favorite hosts- but the wait is over. We're Still Here is BACK, BABY. Did you miss us? In this episode we cover, where the hell we've been, why/how Scott Rudin is such an asshole and the #marchonbroadway. Grab a drink and let's get jiggy with it. This KIKI is looooonnngg overdue. BLACK THEATER MATTERS BILL: https://drive.google.com/file/d/1-dwp_c5pouAnNCLoaRkxJb_1WW2u4vj2/view http://TheReceiptsWithD.com/ March on Broadway Demands Scott Rudin to be removed from the Broadway League - If he is not removed from the Broadway League, we want restoration. We want Scott to publicly choose 20 BIPOC run theatres and donate a LARGE SUM of money to them. A full list of organizations that AEA is working with to help Black, Indigenous, and POC feel safer. A full report of how the 2020 Equity dues were spent and what percentage is being spent to help conversations around diversity. Achieve greater inclusion for trans, nonbinary, and gender-nonconforming artists. We want visibility on how the national council votes for policies. We also want efforts to improve diversity within the council. We want to achieve greater inclusion for artists with visible and nonvisible differing abilities. Follow us @werestillhere_podcast
Það er stundum talað um að börn séu fæddir heimspekingar. Það er kannski ekki svo að þau geti skrifað ritrýndar fræðigreinar um sögu heimspekinnar en þau eru fordómalaus, óhrædd við að spyrja og búa yfir þeim stórkostlega eiginleika að vera forvitin og undrast í sífellu yfir umhverfi sínu. Í nýju barnaleikhúsverki, Manndýr, reynir Aude Busson að rækta þessa heimspekingslegu hegðun barna. Aude heimsækir Lestina í dag og segir frá. Una Björk Kjerúlf flytur okkur pistil í Lestinni á þriðjudegi. Að þessu sinni rifjar hún upp pennavini úr æsku og gildi þess að pára með blýanti á blað frekar en að skrifa með því hamra á lyklaborð eða pikka með fingrum á skjá. Kvikmynda- og leikhúsframleiðandinn Scott Rudin er einn valdamesti maður Hollywood og Broadway en varla mikið lengur. Eftir tugi ásakana um ofbeldi á vinnustað, sem fyrst komu fram í rannsókn Hollywood Reporter í byrjun mánaðarins, virðist fullljóst að ógnarstjórn Rudin eigi sér hliðstæðu í kynferðisbrotum Harvey Weinstein - hún var opinbert leyndarmál sem enginn þorði að hafa hátt um af ótta við afleiðingarnar. Og við heyrum um ungan rússa sem festist gegn eigin vilja í raunveruleikaþætti þar sem keppst var um að komast í dansandi og syngjandi boy-band.
The Return of the Kings!! Too much? Yeah, I guess so. Alex and Jim waste time reviewing the abomination that was 2021's 'Mortal Kombat' before breaking down the first trailer for Marvel's 'Shang Chi and The Legend of the Ten Rings'. The long awaited 'Mad Max: Fury Road' follow-up 'Furiosa' will FINALLY begin filming later this year as they begin pre-production for a June 23, 2023 release date. Sony Pictures Entertainment will not die as they sign a $2 billion deal with Disney to bring Spider-Man (and other Sony properties) to the Mouse House's various services and networks like Hulu, Disney+, ABC, and FX from 2022-2026. Emilia Clarke and Olivia Colman join Marvel's 'Secret Invasion' series. Big-time producer Scott Rudin will "step back" from his various theatre, film, and tv productions after allegations of abuse and harassment surface from a Hollywood Reporter story. Finally, Vin Diesel will star in a Rock 'em Sock 'em Robots film from Universal and Mattel because God hates us. Available anywhere you get your podcasts. Follow us on Twitter @The_All_Around and Instagram @the.all.around
You're invited to HAWNI Invited Hangouts!In these brand new episodes, Rebecca & Mary Kate pick their favorite trending Hot Topic of the week, and hash it OUT!This week we get real about two very controversial men in the spotlight. Thanks for listening!Connect with us on Instagram to get all our updates @notinvitedpodcastDid any of this ring true to you? Got another topic you want to hear us gab about? Email us! wearenotinvitedpodcast@gmail.com
Chet Siegel (Search Party) stops by to discuss recent shootings, Scott Rudin, and the Royal Funeral. Adam Toledo shooting: https://www.nbcnews.com/news/amp/ncna1264172 Scott Rudin: https://people.com/theater/scott-rudin-take-step-back-from-broadway-productions-amid-allegations-of-abusive-behavior/?amp=true Prince Philip funeral: https://www.nbcnews.com/think/amp/ncna1264295 Learn more about your ad choices. Visit podcastchoices.com/adchoices
No, we're not going to tell you what the word in the title of this episode means. But it is revealed within. Other things revealed in this episode: weird injuries from benign objects that befell men as they get older, what if they held an Oscars® and nobody cared, Hollywood producer Scott Rudin is revealed to be a bad boss even though they made a movie about it 30 years ago... Source
This week, your two favorite Matts discuss the BAFTA Film Award winners, producer Scott Rudin throwing computers at his employees, Justin Timberlake trying to outdo Britney, Madonna & Christina with his Super Bowl stunt, and more! TW: eating disorders are discussed on this episode. Become a patron! Watch us on YouTube Follow @mattpalmermusic Follow @itsmattsteele Follow @twogaymatts
We ride on the wild side in Idris Elba's Concrete Cowboy and live out Michael Bay's COVID-19-inspired thriller, Songbird, then breakdown abuse allegations against producer Scott Rudin, new trailers (Space Jam: A New Legacy, Ghostbusters: Afterlife, and Loki), our love of physical media plus we also talk The Legend of Korra, One-Punch Man, The Falcon and the Winter Soldier, Star Wars: The Rise of Skywalker, and Bass Reeves. 0:00 - Intro: COVID Shot Updates / Henry's New Slang Encounter4:34 - Review: Concrete Cowboy21:35 - Review: Songbird (Spoilers!)48:13 - News: Scott Rudin Allegations + Trailers (Space Jam: A New Legacy, Ghostbusters: Afterlife, and Loki)58:55 - Listener Mail: Physical vs. Digital Media1:14:39 - Picks of the Week: The Legend of Korra, One-Punch Man, The Falcon and the Winter Soldier, Star Wars: The Rise of Skywalker, and Bass Reeves1:17:31 - Outro Follow The Film Buds:Patreon: Patreon.com/TheBudsWebsite: TheFilmBuds.comBonus Shows: Thefilmbuds.bandcamp.comEmail: Thefilmbudspodcast@gmail.comTwitter: @filmbudsLetterboxd: @HenryFahertyInstagram: @thefilmbudspodcastThe Music Buds: TheMusicBuds.com
The industry's major players are taking sides as Netflix and Sony strike a partnership for content and distribution. The Yin and Yang of content and audience will meet up to give both entities the market strength they need in the ever competitive show business. Godzilla vs Kong continues to give Hollywood brokers some positive feedback on the market and audience willingness to get back to the theater. But Vision Craft Brew Founder Keith Rauch declares “This is not a blockbuster!!” and industry futurists need to find new alliances to market the return to cinema as stay at home orders are released. Scott Rudin is having a rude awakening as The Hollywood Reporter covers years of abuse and a major need for change of the guards. “No one needs to put up with abuse” (Tim Thompson) and Hollywood needs to no longer promote it.
RACISM, WORKPLACE ABUSE and MISOGYNY, oh my! this week, kayla's brain cells finally allow her to complete some research and this one is a doozy. in the wake of the atrocious music man marquee that debuted at the winter garden, we didn't block this details the man that made it all happen and kayla's arch enemy, Mr. Scott Rudin! learn all about the not-so high company morale over at Scott Rudin Productions, the racist emails, and why Audra McDonald is well within her rights to sue him. plus, the ladies discuss their halloween costumes, trisha paytas' potentially offensive tik tok and kayla and susannah find out some pretty exciting colourpop news. this episode is dedicated in memory of eleanor maloney (kayla's grandmother) , who would have been 76 on september 29th, 2020.
Woody? Nope. Larry David? Not even close. In this episode, Barry Sonnenfeld makes his compelling case for owning the title of show business's most neurotic man. Before directing Men In Blackand The Addams Family movies, Sonnenfeld was one of Hollywood's most in demand cinematographers, shooting Raising Arizona, Miller's Crossing, Misery, and Big. The Barry Sonnenfeld, Call Your Mother author has worked with virtually everyone and lives up to his reputation as the funniest, most brutally honest raconteur Hollywood ever produced. Just a few of his targets: James Caan, Robin Williams, Kevin Kline, Brian Grazer, Tim Allen, Penny Marshall, Jon Peters and Scott Rudin. Plus, the very good reasons he wanted his mom dead. Host Andrew Goldman's declares it his favorite episode yet.
Playwright Annie Baker is one of the most original and exciting voices in American theater. She's already a Pulitzer Prize winner and counts super-producer Scott Rudin as one of her most ardent supporters. But as she tells Marc, Annie just wants to write plays for the type of people who don't want to go see plays in the first place. See acast.com/privacy for privacy and opt-out information. Sign up here for WTF+ to get the full show archives and weekly bonus material! https://plus.acast.com/s/wtf-with-marc-maron-podcast.
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