Podcasts about spotless mind

Kate Winslet is an actor who achieved global fame playing Rose DeWitt Bukater, opposite Leonard DiCaprio as Jack Dawson, in the 1997 James Cameron epic Titanic. During her career she has won five BAFTAs, two Emmys, five Golden Globes and an Academy Award for her role in the Reader. Kate was born in Reading in 1975 and attended Redroofs School for the Performing Arts in Maidenhead, Berkshire. Her film debut came in 1994 when she played a teenage killer in Peter Jackson's film Heavenly Creatures. The following year she played Marianne Dashwood opposite Emma Thompson's Elinor in Sense and Sensibility, directed by Ang Lee. Kate's performance earned her a BAFTA for Best Actress in a Supporting Role. She went on to consolidate her reputation as one of the most versatile actors of her generation by starring in a list of popular and critically acclaimed films including Hideous Kinky, Iris, Eternal Sunshine of the Spotless Mind and The Holiday.Last year Kate directed her first film, Goodbye June, starring Helen Mirren, Timothy Spall and Andrea Riseborough. Kate has three children and lives in West Sussex with her husband Ned and her family.DISC ONE: Georgia on my Mind - Roger Winslet and Sophie Breakenridge DISC TWO: Matchstalk Men and Matchstalk Cats and Dogs - Brian and Michael DISC THREE: Kiss from a Rose - Seal DISC FOUR: Summertime - Ella Fitzgerald DISC FIVE: Nuvole Bianche - Ludovico Einaudi DISC SIX: Weird Fishes/ Arpeggi - Radiohead DISC SEVEN: Blue Ridge Mountains - Fleet Foxes DISC EIGHT: Pump up the Jam - Technotronic BOOK CHOICE: Outside: Recipes for a Wilder Way of Eating by Gill Meller LUXURY ITEM: Freshly ground coffee CASTAWAY'S FAVOURITE: Georgia on my Mind – Roger Winslet and Sophie Breakenridge Presenter: Lauren Laverne Producer: Paula McGinleyDesert Island Discs has cast many actors away over the years including Dame Emma Thompson, Cate Blanchett and Dame Helen Mirren. You can hear their programmes if you search through BBC Sounds or our own Desert Island Discs website.

Have you ever heard someone say that making creative work is about having a “point of view”? It sounds right, but what does it mean and how do you find yours? I can't think of any creatives that have a more compelling sense of their “point of view” than my guests today. Author Mac Barnett and author-illustrator Jon Klassen have such a strong voice, and I have been longing to have them both on the show for such a long time!! This is an instant all-timer episode for me. These two legends from the picture book world just knocked it out of the park, and we have an incredible chat exploring how to find your point of view, the artist/audience relationship, storytelling, and so much more. Buckle up. This mega episode starts off with a bang and just gets better and better all the way til the end! This episode will make for a great companion for a long creative session or long drive! Hope you love it as much as I did!   SHOW NOTES: Substack: "Looking at Picture Books"https://lookingatpicturebooks.substack.com "Mac B. Spy Kid"https://www.google.com/search?client=safari&rls=en&q=%22Mac+B.+Spy+Kid%22&ie=UTF-8&oe=UTF-8 "The Skull" by Jon Klassenhttps://www.penguinrandomhouse.com/books/725351/the-skull-by-jon-klassen-illustrated-by-jon-klassen/ "Sam and Dave Dig a Hole" by Mac Barnett and Jon Klassenhttps://www.macbarnett.com/sam-dave-dig-a-hole "Extra Yarn"https://www.macbarnett.com/extra-yarn "Where the Wild Things Are"https://en.wikipedia.org/wiki/Where_the_Wild_Things_Are "Goodnight Moon"https://en.wikipedia.org/wiki/Goodnight_Moon "The Remains of the Day" by Kazuo Ishigurohttps://en.wikipedia.org/wiki/The_Remains_of_the_Day "Swim in a Pond in the Rain" by George Saundershttps://www.penguinrandomhouse.com/books/609280/a-swim-in-a-pond-in-the-rain-by-george-saunders/ "Outside Over There" by Maurice Sendakhttps://en.wikipedia.org/wiki/Outside_Over_There "Sam and the Firefly" by P.D. Eastmanhttps://en.wikipedia.org/wiki/Sam_and_the_Firefly "Dead Souls" by Nikolai Gogolhttps://en.wikipedia.org/wiki/Dead_Souls "Let the Right One In"https://en.wikipedia.org/wiki/Let_the_Right_One_In_(film) "Ponyo"https://en.wikipedia.org/wiki/Ponyo "Eternal Sunshine of the Spotless Mind"https://en.wikipedia.org/wiki/Eternal_Sunshine_of_the_Spotless_Mind "Mysterious Things" by Andy J. Pizza and Sophie Millerhttp://invisiblethings.co "Making Comics" by Scott McCloudhttps://www.scottmccloud.com/makingcomics/ Producer / Editor: Sophie Miller http://sophiemiller.coAudio Editing / Sound Design: Conner Jones http://pendingbeautiful.coSoundtrack / Theme Song: Yoni Wolf / WHY? http://whywithaquestionmark.com   SPONSORS:SQUARESPACEHead to https://www.squarespace.com/PEPTALK to save 10% off your first purchase of a website or domain using code PEPTALK AEROPRESSCheck out Aeropress and use my code PEPTALK for a great deal: https://aeropress.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Think about the histories of your family or memories from your past. What if you recounted them with a dash of magic? What happens when we infuse our stories on film with some magical realism? Tonight's edition of APEX Express features three filmmakers who created magical realism short films centering AAPI women. Listen to directors Cami Kwan, Dorothy Xiao, and Rachel Leyco discuss their films and experiences behind the scenes with host Isabel Li. Cami Kwan: Website | Instagram | Seed & Spark Dorothy Xiao: Website | Instagram  Rachel Leyco: Website | Instagram   Transcript 00:01 [INTRO] Isabel: You're tuned into Apex Express on KPFA. Tonight's edition is all about stories. Think about the histories of your family or memories from your past. Now, what if you recounted them with a dash of magic? What happens when we infuse our stories on film with some magical realism? I'm your host, Isabel Li, and today we have three very special guests, Cami Kwan, Dorothy Chow, and Rachel Leyco. All of them are AAPI filmmakers who received the Julia S. Gouw Short Film Challenge grant from the Coalition of Asian Pacifics and Entertainment and have created short films featuring AAPI stories with magical realism. My first guest of the night is Cami Kwan, a Chinese-American director specializing in stop-motion animation who directed the short film Paper Daughter.  Hi Cami, welcome to APEX Express!  Cami: Hello, thank you so much for having me. Isabel: How do you identify and what communities do you consider yourself a part of?  Cami: So I identify as a queer Asian American woman um and I am a descendant of immigrants, of Chinese immigrants. um Then the communities that I am part of, part of the queer community, part of the Los Angeles community, part of the Chinese American and Asian American community, part of the mixed race community and part of the stop-motion animation and independent artist community.  Isabel: I'm so excited to talk to you about your upcoming short film, Paper Daughter, a gothic stop-motion animated Chinese-American fairy tale about a young woman grappling with the guilt of using the identity of a deceased girl to immigrate to the US via Angel Island in 1926, which is such a fascinating concept. Can you tell our listeners a little bit about how you came up with this story and the historical specificity behind it?  Cami: Absolutely, yeah. So like I mentioned, I'm the child of immigrants, descendants of immigrants rather. So my great grandparents immigrated to the US from China. My great grandfather came over in 1916 and my great grandma came over in 1926. And so I've always grown up knowing the story of Angel Island and knowing the story about the paper sons and paper daughters who had to find any way into the United States that they could. And so they were forced to, you know, take on the identities of other people. And those stories have always stuck with me, you know, like it's very personal. Angel Island means a lot to me and my family. And just the extreme measures that people have always had to take just for the chance at a better life have always been really meaningful to learn about. just the like, I'll use romances in like the art movement, like romantic. It's very romantic and kind of fairy tale-ish, the idea of having to take on a new identity and pretend to be somebody that you're not. And often those identities would be people who had passed away, and then those families had then sold those identities or given those identities to new people. And so it's so interesting the idea of being like the last person to know somebody so deeply, but you'll never get to meet them and you'll never be able to thank them or repay what they sacrificed for your future. And that's kind of how I feel as a descendant of immigrants. The sacrifice that my family made for me was made so long ago that there's no way for me to ever pay it back. And I didn't really get a say in whether I received that sacrifice or not. And I think a lot of descendants of immigrants kind of have to struggle with this. What does it mean for us to be given this new chance at the cost of somebody who came before us? And so that's all of that kind of rolled up into this 14-minute film. Isabel: You describe your film as being in a gothic style? Can you describe what this looks like and why gothic?  Cami: The subject matter is just so naturally gothic. It's dealing a lot with death and a lot with guilt and those big capital R romantic subjects and stuff. My day job, my day-to-day job is working in stop-motion animation directing mostly like children's series and mostly toy related stuff. And so I spent so much of my time in the happy brighter like birthday party storyline kind of like space. But what really made me want to be a filmmaker in the first place were all these like heavier themes, these bigger themes, films by Guillermo del Toro and like Tim Burton and Henry Selig and Hayao Miyazaki and all of those kind of have this like gothic edge to them. And so that's like a story that I've been a type of story I've been wanting to tell for about a decade now.  Isabel: Stylistically, how does this show up in your film? So I imagine darker colors or do you have a visual like preview for us?  Cami: it is a little bit in the darker color space, but it's still very colorful despite all that. It's moody more so than dark, I would say. um We have a lot of like light and dark themes, a lot of like shadow. stuff and um a lot of magical realism, which is where that fairy tale aspect kind of comes in, because you're dealing with things that are so abstract, like guilt and sacrifice and wearing the identity of somebody else, that there's no literal way to convey that. Well, there are literal ways to convey that, but none of those literal ways I feel fully convey the emotional weight of everything. And so we've gone in this very magical realism space where people are tearing information out of these booklets that contain information about the person they're supposed to be and creating these paper masks out of them. And so yeah, there's this whole like magical aspect that tends to be kind of darker. There's imagery of just like being consumed by the identity that you're just supposed to temporarily wear. And there's a lot of like, yeah, there's a lot of darkness in those themes, I think.  Isabel: Wow, that's so interesting. I'd love to learn more about stop motion. What does stop motion make possible that isn't as easily accomplished through other forms of filmmaking? Cami: Yeah, I think the reason why I'm drawn to stop motion, what I stop motion makes possible is like a universality of just like a human experience because with other kinds of animation and other kinds of filmmaking, like there is kind of like an opacity to like how it's made. There's this this veneer, this magic to it, and there's that magic to stop motion too. But the difference between all of those and stop motion is made out of like everyday materials. It's made out of fabric. using paper. We're using clay. We're using materials that people have encountered in their day-to-day lives. And like, that's the one thing that we are all guaranteed to have in common is that we live in a material world and we encounter these textures and materials around us. so by like taking such a specific story and trying to convey such universal themes, it really like behooves us to be using like um a medium that is as universal as stop motion is. So I think that's like the big thing that stop motion unlocks for us. Plus also story-wise, like it's very paper centered, paper daughter, they're tearing paper strips, they're making paper masks. So like physically using these paper textures adds a lot to our world. um And I think working in stop motion gives you a degree of control that live action doesn't give you because we're creating. all of our characters, all of our sets by hand, which gives us so much of a say over what they look like and what they convey based on how they're constructed and stuff. And that's just a degree of communication that nothing else brings.  Isabel: I love that this is a magical realism film and you mentioned Guillermo del Toro. I know that in your campaign trailer, you featured Pan's Labyrinth, which is my all-time favorite movie.  Cami: Me too! Isabel: Yeah! How exactly did you come up with this specific blend of history and fantasy for your film?  Cami: I think that it's almost a natural human instinct to kind of have history and fantasy. Like, that's all that histories are, just stories told to us. And it's just being less literal about it and really leaning into the metaphors that we might use to convey the emotional realities of those histories, right? And so I feel like Del Toro does that a lot with his work. And Miyazaki as well does a lot of that with his work. So much of it deals with unpacking like World War II and things like that. And that's something that I've always just personally been drawn to. Even as a kid, my dream jobs were archaeologist or animator. And so here I kind of get to like do a little bit of both of those, know, like using the magic of animation to make history feel a lot more present and tangible and like emotionally relevant, which is It's really quite poetic to be able to be telling this story right now because it's going to mark the 100 year anniversary of my great grandmother's immigration to the US. I think we are due for an examination of immigration in our country. And I'm very interested to see how people respond to the questions that this raises of how different is the immigrant experience 100 years later. Have we gotten better? Have we gotten worse? Like I would posit it's perhaps worse now than it was then, but I'm really hoping to like, yeah, bring that reality into a more approachable space. And I feel like having that blend of magic and history just makes it a little bit more approachable than telling it in a literal way, you know? Isabel: Those are some great questions to ask. And on that same note, I'm interested in the specificity of Angel Island as well. What types of research did you do to produce your film?  Cami: Oh, gosh, I read every book I could find about it. have… How many books were those? Oh, my gosh, I want to say, like, not as many as I want there to be, you know? Like, Angel Island is not as well covered in history as places like Ellis Island, and there's a lot. to unpack as to why that may be, especially like the racial aspect of it. But I probably read about a dozen different books to prepare for this film. One of the most concrete and useful books that I read is a book called Island, and it's a collection of the poems that are carved into the walls of the men's barracks that remain on Angel Island. And those poems are a huge part, perhaps, the reason why Angel Island has even been preserved as a historical landmark. And so um the three authors went to great pains to replicate these poems, translate them into English, and provide a lot of historical context for the different topics of the poems. And there's a lot of like first-hand testimony from people who immigrated through Angel Island that they interviewed and included in this book. And so I do think that that book, Island, is like the primary source of most of my research for it. Everything else is more like quantitative history and quantitative data. Oh, also The Chinese in America by, I believe it's Iris Chang, that it's not just about Angel Island, but I read that and that gave me a much better understanding about like the place that Chinese immigrants have in American history. Because when I was a kid, like I really only ever learned about great grandma came over through Angel Island and now we're American and we live in America. But our history, as far as I was ever taught, begins and ends with us entering the United States. And so reading um the Chinese in America gave me a much broader understanding about, like, why did we leave China in the first place? And like, what has it meant for us to be in America as Chinese people since then? Yeah, all that came out of like in 2020 and 2021 when the rise of anti-Asian hate crimes were kind of coming about. I personally had to have a huge reckoning with like my racial identity and like how that has impacted like my experience growing up as a mixed-race person who's pretty perceivably Asian and all that stuff. So it was a really whole circle broad situation. Oh, I want to do a quick shout out to the Angel Island Immigration Station Foundation. They were very generous with their time and they answered a lot of my questions and sent me a lot of archival images from Angel Island. So I want to thank them so much for their help in the research process of this.  Isabel: Oh, wow. How fascinating. Did you have any expectations on how the production process was going to go? And now that you're on the other side of it, what are your reflections?  Cami: I had no expectations as to whether we were going to get outside funding or not. Like I, I'm not an experienced or adept grant applicant. Like, it was really just because this was the right kind of project to fit with those kinds of grants. So I had no expectations there. So I am beyond thrilled to have received the support from Cape and Janet Yang and Julia S. Gouw and Shorescripts that we've received, like beyond thrilled for that. So that exceeded all of my expectations. um But as far as how the actual production has gone, the fabrication and the animation and the post-production, that's all stuff that I'm extremely familiar with. Again, that is my day-to-day life, that is my job, that is like what I have done for the last eight years at my studio, Apartment D.  So that all went pretty much as I hoped and expected that it would, but here on the other side, the one thing that has surprised me about it was how much love all of the artists put in this project because like we've said so much in this conversation, there's so much specificity to this. This is about my great grandma. This is about my family and my feelings about being a descendant of immigrants. It's so specific that I wasn't sure how emotionally it would resonate with anybody else that wasn't me or wasn't part of the AAPI community, you know?  But every single person — doesn't really even matter if they were Asian, doesn't really even matter if they have a specific connection to immigration — every artist that I asked to join me on this project, I immediately understood what it meant and understood what we were trying to say. And they put so much love into it. And like, we all put a lot of love into everything we do. It's stop motion. It's like, you don't do this unless you love it, you know, because you certainly are not doing it for the money or anything. um everyone was just so…I'm gonna say careful, but I don't mean careful like cautious. I mean careful like full of care. And I did not expect that and I am so grateful for it. Yeah, looking back, it's just so precious and so tender and like I'm so fortunate to have had the crew with me that I had to make this film.  Isabel: That's so lovely. What are you most excited about upon completing your film?  Cami: I'm just excited to share it with the world. I'm so proud of it. It is truly, and I'm not just saying this because it's my baby, but it is very beautiful and it is very special. For a lot of us, one of the first times that we've been able to be in charge of our own departments or to make the decisions that we wanna make and tell things, do things, show things the way that we think they should be done. And so it's kind of significant for many of us to have this film come out and to be received. What I want people to take away from it is an appreciation and a gratitude for everything that has had to happen for us to be where we are now. And I also really want people to take away the unconditional love that has occurred for us to be in the country that we have and to be the people that we are. Every single person is where they are. doesn't matter if you're in America or anywhere else, like we are all here because of the sacrifices that were made by the people who came before us. And those were all made out of unconditional love. And that's like, I want people to come away from this film remembering that our country is built on the unconditional love and sacrifice from people who came before us. And then wanting to give that unconditional love and sacrifice to everybody who's gonna come after us. Isabel: Such an amazing message. And I know that there's still lots to do and you still have a lot to celebrate with your upcoming film and with the festival circuit with Paper Daughter. But looking ahead, do you have any plans of what you want to do after the short film?  Cami: Yeah, I would love to bring it into a feature. There was so much that we had to cut out to make this film. On one hand, I'm glad that we cut out what we did because I think the film as it is, is like so tight and so like airtight and good and perfect and sparse in a really nice way, but we don't even get to delve into life before Angel Island. It begins and ends on the island, and I would love to explore the stories that brought this all about and the stories that come after. So bringing this up into a feature version and getting that in front of people would be amazing. And I have a couple other short film and feature film and script ideas that I would like to start working on as well. I've kind of really, I'm really grooving on the like Asian early Chinese American history. um So most of them are going to be set in California and focus on like Chinese immigrants and their role in the founding of America. um I'm really excited for the like, after all the film festivals, I really want this film to end up in classrooms. And I even just the other day like I have a friend who's a third and fourth grade teacher and she showed it to her class and then the students asked me questions about Angel Island and about animation. if this can play any part in helping to spread the story of Angel Island and the people that immigrated through there, like that's all that I could ever want from this. So I'm really excited for that.  Isabel: That's wonderful. I'll put your website, social media and seed and spark page for Paper Daughter up on kpfa.org so our listeners can learn more about this stop motion film and get updates for how they can watch it. I can't wait to see it when it comes out. And Cami, thank you so much for joining me on Apex Express today.  Cami: Of course, thank you so much for having me. It was a great, great time talking with you.  Isabel: You just heard Cami Kwan talk about her film Paper Daughter. On Apex Express tonight, we have two more special guests who made magical realism short films. Next up is Dorothy Xiao, who made the film Only in This World. She's a Los Angeles-based award-winning filmmaker who likes to create grounded family dramas with a hint of fantasy.  Hi, Dorothy. Welcome to APEX Express.  Dorothy: Hi. Thanks for having me!  Isabel: Of course! Thank you for coming here. My first question for you is actually quite broad. How do you identify and what communities are you a part of?  Dorothy: Oh, that is a good question. I think in a broader sense. I would say, obviously, I identify as an Asian American. um But I think, like, for me, because I grew up in the 626 or the San Gabriel Valley, I grew up with a lot of people who looked like me. So I think I didn't truly identify as being Asian or had awareness of my identity until later on when I went to college. And then I took Asian American Studies classes and I was like, oh, wow, I'm Asian. Or like, what does it mean to be Asian? You know, like, I think I, at that time, prior to recognizing and understanding what it meant, and also even to be a minority, because at that, like I said, growing up in 626, even going to UCLA, where I'm surrounded by a lot of Asians, I never really felt like a minority. But I think it was really after graduating where I, depending on the spaces that I would enter into, especially in the film industry, I was learning like, oh, yeah, I am a minority and this is what it feels like. And prior to that, I think I just identified as being a daughter of immigrants. And that still is very strongly the case just because I grew up listening to so many stories that my parents would tell me, like coming from China, growing up like they grew up in China during a completely different time. I can't even imagine what it would be like living in the way that they did, you know, during the Cultural Revolution, under communism, in an intense way where they were starving, all this political stuff. But yeah, a second gen or for a lot of people, first generation, daughter of immigrants, of parents who decided that they wanted to make a better life for their kids out here in the States. I think that I want to stand by me saying that I don't feel like I am, I don't really want to identify as only just single categories all the time, just because within each community, could be, you could have nuances, right? Because I am a woman, but I'm also like a woman who doesn't want children, you know, and there was just so many different things of how I identify. So hard for me to categorize myself like that. But they are, there are tidbits of different communities. Like I still identify, identify as Asian American. I identify as a daughter of immigrants. I identify as a female filmmaker and yeah. And a business owner, I guess. Yeah.  Isabel: Right. Yes. Thank you for that nuanced answer. You know, it's so fascinating because I was reading about your work and you have worked in animal research administration and an afterschool program and even web development for nonprofits. How did you get into writing and directing?  Dorothy: Yeah. So after graduating college, I was definitely in a place where many, I'm sure, fresh grads understand what we call the quarter life crisis, where we don't know what we wanna do with our lives. And I was working at UCLA because that was the only job that I could get out of college for an animal research administration office. And really, I worked for them as a student. So I was like, well, it makes sense to have that be my full-time job, because you're in a place where you don't have skills. So how do you get a job if you don't have skills? That weird silly catch-22 situation. So I studied psychology in undergrad because my goal was to become a therapist. I wanted to work with Asian and Asian immigrant communities to help them with mental health because there's such a stigma attached to it. And being somebody who found mental health really important and also found that it was a really great way to understand myself. I wanted to work with, I guess, the people of my community. But at that time, I realized that there's still a stigma attached to mental health and it's really hard to get people to even go to therapy. Like living with my parents, it's really difficult. I cannot ever convince them to go. um And so I had pivoted into, or at least I discovered this filmmaking competition and ended up just like making a film for fun with a couple of friends, random people that um were not in film at all. And I had a lot of fun and I realized that we could actually create stories talking about things that are very similar to mental health or could provide that catharsis and validation that you could probably get in a session, in a therapy session. And it's not clinical at all. It's not as clinical. So, you know, on all those different jobs that you mentioned, they're all day jobs, know, animal research administration and then working for an after school program. That was me still trying to figure out how to be a filmmaker on my weekends. I still needed a day job. I didn't have the luxury of going to film school. So I would work at different places that gave me the flexibility of having a day job. But then also I had free time during the weekend to just make films with my friends, make friends films with people like my mom, who was one of my first actors earlier on. Love my mom. She did not do the greatest in my film, but I love her for being there for me. But yeah, like the different organizations or just jobs that I worked for were all really good in terms of providing me management skills and also communication skills because I worked in different industries, you know, and so at the end of the day, it all culminated in me at my current place. Like I am a freelance filmmaker and I also run my own video production company. So um becoming a writer, I mean, being a writer director is my main identity as a filmmaker. However, I don't think you could be a good writer-director if you don't have life experience. And having all those different jobs that I've had provided me with a lot of varied life experience and I interacted with a lot of different people, many different personalities.  Isabel: Yeah, no, I love that. So you grew up in Alhambra, which I'm familiar with because I too grew up in the San Gabriel Valley. How would you say that growing up in Alhambra has shaped you as an artist?  Dorothy: Alhambra is really special, I feel like, because in the San Gabriel Valley, there are many cities like this. You have Chinese people who can actually get by without ever having to learn English. And the same goes for Latin communities as well. And, you know, I have aunts and uncles who lived in Alhambra for years and never learned how to speak English. So I think it's like, what's so special about it, it feels like a safe space for a lot of immigrant communities. And then my parents being immigrants from China. living in Alhambra was a place where they could feel safe and feel connected to the people that they left behind in another country. And so being a child of immigrants, a daughter of like an Asian American, like a Chinese American growing up in Alhambra, I definitely felt like I grew up with a lot of people who were similar to me. know, we were like a lot of times the first American born children of our families even, and it was, we had to essentially understand what it meant to be Asian versus American and all of that.  But I think like being in Alhambra, I never felt like I wasn't seen, or at least I never felt like I was a minority. I think I mentioned this earlier, in that growing up in Alhambra, you do see a lot of people who look like you. And I have a lot of friends in the film industry who have moved out to California because they grew up in towns where they were like one, the only person, the only Asian person in their school or whatever. And I didn't have that experience. So for me, it was really special just being able to have a whole group of friends where there's a bunch of Asians. And we all spoke different languages. Like I had a lot of friends who were Cantonese speakers, but I'm a Mandarin speaker, but it was just really cool. It was like going to your friends' places and then you have aunties. So it's almost like having more family. You could feel like you have more aunts and uncles that will feed you all the time because that is the way they show love, right?  Isabel: Oh, certainly. I think there's so many stories in multicultural places like Alhambra. And speaking of which, you did in your film Only in This World. It's about an empty nester who has to face her ex-husband's mistress in order to summon her daughter back from the afterlife, which is featured in the 2025 Silicon Valley Asian Pacific Film Festival in Sunnyvale. Congratulations on such a beautiful film. I will say that I am a huge fan of magical realism, and Only in This World has some magical elements to it. So I'd love to get to know, how did you come up with this specific plot and characters that make up this film? Dorothy: Yeah, and thank you for wanting to talk about this one. It's a special story to me just because it is, I think it's the first film that I've made where I just decided to incorporate elements of where I grew up. And so Only in This World is inspired by my mom and her Tai Chi group at our local park, so Alhambra Park. My mom would go to do Tai Chi every morning for years. And in Alhambra, actually, as I mentioned, because there are so many immigrant communities, many of the immigrant communities tend to stay together with the people who speak their language. So Chinese people usually stick together with the Chinese speakers, Spanish speakers stick together with the Spanish speakers. You don't see a lot of mingling or intersectionality. But one of the special things that I saw with my mom's Tai Chi group was that they were not just Chinese people or Asian people, but there were Latino people in their group as well. And so even though they couldn't speak the same language, they would show up and still do Tai Chi every morning because it was a matter of doing something together. And so I love that a lot. And I wanted to tell a story about just older women who are finding friendship because I think that's really important in older age and in these groups because you see that a lot of the people in these Tai Chi groups are even the ones, not just Tai Chi groups, but there are dancers in the park, you know, like you'll see them in the mornings, not just in Alhambra, but in Monterey Park, all the different parks, open spaces, they'll have little dance groups.  A lot of the people who are part of those groups happen to be seniors, and I think it's just because they don't have work, they don't have children, they're lonely. And so…I think it's really important to be aware that where friendship or loneliness is actually an epidemic in the senior community. And it's really important to providing good quality of life is to just have them have that connection with other people. And seeing that in my mom, because my mom is getting older, having her be part of that community was what kept her happier. And so, yeah, and also my mother-in-law is Colombian. And she's done Tai Chi before as well with her group in Rosemead. And so I just was like, well, I'm part of a multicultural family. I want to tell a multicultural family story. Yeah, in terms of the magical realism element, I thought a lot about just how my family, if our house has ever burned down, the things that they would take out are our photos, the print four by six, like, you know, just the print photos because they're just so precious to them. There's something about hard copy pictures that is so special that digital photos just can't take over. Like there is an actual energy to how a photo is made or even like back then when we used to use film, there's energy that's required to actually create photos. And so, you know, I wanted that to be the power that powers this magical scanner where energy is taken from the picture and then you have the ability to bring someone you love back from the afterlife. And I really love grounded magical realism because I think it just makes difficult things a lot easier to understand when you add a little bit of magic to it, a little bit of fantasy.  Isabel: Yeah, magical realism is such a special genre. What part of the production process that you find the most profound?  Dorothy: I think it was just really my gratitude in how much my family came together for me and also just like the people of this team, know, like there were, I think one major situation that I can think of that I always think is really funny was, um so we filmed at my mother-in-law's house and my husband, Diego, was also working on set with me. He is not in the film industry. He's a software engineer manager. He's like in tech, but he is one of my biggest supporters. And so…when we were like, yeah, can we film at your mom's house? He was like, okay. But he had to end up being the, quote unquote, location manager, right? Because the house was his responsibility. And then, and he was also my PA and he was also DIT. Like he would be the one dumping footage. He did everything. He was amazing. And then ah one day we found out that his neighbor was actually doing construction and they were hammering. It was like drilling stuff and making new windows. They were doing new windows. And we were just like, oh, like, how do we get them to, like, not make noise? And so, and they don't speak English. And so we were like, oh crap, you know. So like, unfortunately, my producers and I don't speak Spanish, like we're all just English speaking. And then I did have Latinos working on my set, but they, you know, they had other jobs. I wasn't going to make them translate and do all that other stuff. So then Diego so kindly went over and talked to them and was like, essentially we set up. They were totally cool about it. They were like, yeah, okay, you're making a film. then whenever you're rolling sound, we'll just like prevent, like not hammer. And then so Diego is sitting outside with a walkie and talking to the first AD and other people inside the house, because we're all filming inside. don't know what's going outside. And then so like, we would be rolling, rolling. And then um the workers, I think his name was Armando, are like…whenever we cut, Diego would hear it through the walkie and he'd be like, Armando, okay, you're good to go. You can drill. Armando would drill. And then when we're going, and we'd be like, I'm going for another take. And then Diego would be like, Armando, please stop. So it was so nice of them to be willing to accommodate to us. Because you hear a lot of horror stories of LA productions where neighbors see you're filming something and they'll purposely turn on the radio to make it really loud and you have to pay them off and whatever. And in this case, it wasn't it was more like, hey, like, you know, we're making a movie and they were so supportive and they're like, yeah, totally. This is so cool. We will definitely pause our work, our actual work and let you roll down during the brief period. So we're really grateful. We definitely brought them donuts the next day to thank them. But that was just something that I was like, oh yeah, like I don't think I could have pulled that off if I didn't have Diego or if the fact, if it wasn't for the fact that these were the neighbors, know, that we were filming at someone's house and the neighbors already had a relationship with the people who lived here.  Isabel: Wow, that's really adaptable. And I'm so glad that went well for you. Dorothy, you've directed 13 films by now. Have you ever seen one of your films resonate with an audience member that you've interacted with in the past?  Dorothy: So there was this one short I had done a couple years ago called Tarot and it came at a time when I was struggling with the idea of whether or not I wanted to have kids and many of my friends are off having their first or second kids, you know, and so I never really wanted to be a mom, but then I have a partner who I can see being a great father, so I'm more open to the idea of being a mother, but it was still something I was conflicted about. And so I put this all into a short film, just my feelings of how my identity would change if I were to become a mom, because I've read so much about that. I found a Reddit thread one day where people were just talking about how being a mother is hard. And they openly stated how much they hated it. And it's okay to feel that way. And I wanted to put those feelings into this film to just put it out there like, hey, like if you don't like being a mom, even though you love your kid, you could still hate having that identity and be lost about, and it's okay to be lost or not sure about who you are. And so it was a really short film and it ended kind of open ended. It was like five minute film, so it didn't have like a full ending, but it was an open ended ending. And then afterwards I had a bunch of people come up. I had people who were parents, not just mothers, like even, or like fathers who had just had their first kid who were coming up and telling me like, oh, I totally identify. I understand that struggle of learning about who your new identity is after you've had a kid. And then I had people who were child free who were coming to me and saying like, yeah, this is a similar feeling that I've had about whether or not I should have any kids. Because, you know, as women, we have a biological clock that ticks. And that's something I feel frustrated about sometimes where it's really because of my body that I feel pressured to have a kid versus wanting to have one because I want one. And so that was a story I wanted to, or just something I wanted to put into a film. Yeah, and I also had another person come up and tell me that they were like, this was something I felt, but I never really openly talked about. And so I resonated a lot with this and it just helped basically articulate or helped me identify like, oh, I totally feel this way. And so that was really validating to me as a filmmaker because my goal is to reach others who don't feel comfortable talking about certain things that they tend to hide because I have a lot of those types of thoughts that I might feel ashamed or embarrassed to share. But then I put it into a story and then it makes it more digestible and it's like, or it's more, it's entertaining. But then like the core message is still there. And so people watch it and if they feel that they can connect to it, then I've done my job because I have resonated with somebody and I've made them feel seen. And that's ultimately what I wanted to do when I wanted to be a therapist was I just wanted to make people feel seen. I wanted to make them feel connected to other people and less lonely because that's something that I also have struggled with. Yeah, so filmmaking is my way of putting something small out there that I feel and then finding other people who feel the same way as me. And then we can feel validated together. Isabel: Ah yes, that is the power of film, and Dorothy's work can be viewed on her website, which I'll be linking on kpfa.org, as well as her social media, so you can get new updates on what she is working on. Dorothy, thank you so much for joining me on APEX Express today!  Dorothy: Thank you! Thank you for having me, it was so great to meet you!  Isabel: That was Dorothy Xiao, our second guest for tonight's edition of Apex Express, featuring magical realism AAPI filmmakers. Now time for our final guest of the night, Rachel Leyco, who is a queer, award-winning Filipina-American filmmaker, writer, actress, and activist. We'll be talking about her upcoming short film, Milk & Honey.  Hi Rachel, it's such an honor to have you here on APEX Express. Rachel: Hi, thank you so much for having me.  Isabel: How do you identify and what communities do you consider yourself a part of?  Rachel: Yeah, I identify as a queer Filipina-American. Isabel: So we're here to talk about your short film, Milk & Honey, which is about an ambitious Filipina nurse who leaves her family behind in the Philippines to chase the American dream in the 1990s and facing conflicts and hardships along the way. How did you come up with this specific 90s immigration story?  Rachel: Yeah. So Milk and Honey is inspired by my mom's immigrant story. you know, that's really her true story of coming to America in the early 1990s as a very young Filipina nurse while, and also a young mother and leaving behind her daughter, which was me at the time. um you know, following her journey in the film though fictionalized, a lot of the moments are true and there's a lot of exploration of assimilation, cultural barriers, loneliness and the emotional cost of pursuing the American dream.  Isabel: Yeah, when I read that synopsis, I immediately thought of this short film could totally be something that's feature length. How did you sort of this story to something that is like under 15 minutes long?  Rachel: Yeah, so I wrote the short film script first. And actually, you know, this is a proof of concept short film for the feature film. I actually wrote the feature film script after I wrote the short because there was just so much more I wanted to explore with the characters and the story. It definitely couldn't fit into a short film, though I have that short film version. But there was just so much richness to my mom's story that I wanted to explore, so I expanded into a feature. So I do have that feature film version, which I hope to make one day. Isabel: And you mentioned that this film is inspired by your mom's story. Is there any other sort of research that you did into this story that really helped you write? Rachel: Yeah, one of the main reasons I wanted to write the story, I mean, there's many reasons, but one is because there, if you ask the average American or the general public, they won't really know why there are so many Filipino nurses in the healthcare system. Because if you walk into any hospital, you'll see a Filipino nurse, more than one for sure. ah so I was really curious about the history. ah Having my mom as a nurse, my sister's also a nurse, I have a lot of healthcare workers around me. I grew up with that. I, you know, growing up, I also didn't really know or learn Filipino American history because it's not taught in schools. And I, you know, I took AP US history and didn't learn anything about, you know, my culture and our history. It's, not in the books at all. And it wasn't until like my early twenties that I was really curious about my roots and my upbringing and what it means to be Filipino-American specifically. And so um I really went into like a deep dive of just researching Filipino-American history. And specifically last year, I had been wanting to tell a story about a Filipino nurse because of my proximity to it with my mother. And you know, myself being an artist, being a filmmaker in the industry, there's so many medical shows out there, like, know, Grey's Anatomy, that's been long running, but very, very few, and rarely do we see Filipino nurses at the forefront and at the center of those stories. um You know, rarely are they series regulars. You know, sometimes they'll feature a Filipino nurse for like one episode or two and, you know, a recurring or a side character, but Filipino nurses are never the main character, never the series regular. And so that was another big driving force for why I wanted to make this story. And, you know, really making my mom's character the center of it. And so as far as like research, too, I definitely interviewed my mom and I asked her to just tell me her her entire story and specifically why she even wanted to move to the United States because she could have stayed in the Philippines or she could have moved somewhere else. um she saw a newspaper or her friend actually at the time when she was in a nursing school, a friend of hers saw an ad in the newspaper that America was sponsoring nurses. And so she had it in her mind already like, oh, yeah, I've heard of America. I've heard of the United States that it's, you know, there's better opportunities for me there. And at the time she had just had me. And so she had, you she's a young mother. She's trying to take care of her baby, her newborn. And so, you know, she had her eyes set on moving to the United States and that's kind of how her journey happened. And on top of that, I also did my own research on you know, our history, I watched this really amazing documentary um by Vox. It's on YouTube. It's all about why there are so many Filipino nurses in America. And it really just ties back to U.S. colonization. And after World War II, was so many, there was big nursing shortage in the United States. you know, white Americans did not want to, you know, fill that role. So they turn to Filipino women to fill the gap.  Isabel: Yeah, was there something special about the production process that looking back, you would want to replicate in the future or that really speaks to you?  Rachel: Absolutely. um Yeah, mean, definitely this experience and a lot of the people that I brought on to this project, I want to continue to make films with them and continue to make art with them because um I'm just so proud of the team that we put together. Everyone was so passionate and they knew how important the story was. They also had their own special connection to the material that they brought so much heart and passion into the film. that really comes through in the project. so like a lot of the people I brought onto this film, I want to continue to make art with them forever. That's one thing that I'm really, really grateful for, because I got to work with some really awesome people that I had never worked before or I had been wanting to work with. And so it was such a great opportunity that was given to me to be able to connect with such amazing and talented AAPI creatives in my circle.  Isabel: Yeah, I saw on your Instagram page for the film that you shot this film in both Los Angeles and Austin, Texas. Have you ever done a production where you had to sort juggle two different sets in two very different locations? And how was that entire process?  Rachel: Yeah, that was really, it was really fun. It was my first time being able to film in two different cities, let alone like two different states, really. A lot of my past projects have just been, you know, shooting it with the resources that I had that were available to me. You know, usually like my past short film, Thank You for Breaking My Heart, that I did last year, we shot all of it in one location, which was of course like, know, that is something that's really impressive in and of itself, of course. But, you know, because of the bigger budget that we had for Milk and Honey, I really wanted to challenge myself with this. And I really advocated for filming a part of the film in Texas because it is set in Texas. I was raised there. That's where my mom was placed when she, because how the process goes is, you know, she applied for the nursing sponsorship and then they placed them in certain areas. And so she was placed in El Paso, Texas at the time. And so that's where I also grew up. So I set the film there and I really advocated for filming in Texas because I wanted the film to have that feeling of the environment and atmosphere of Texas. um And so we shot some exteriors there for like this really fun Texas montage where you can really like feel that the character is there in, you know, in that heat, the Texas heat. So that was really, that was really fun. And I, you know, we shot, we shot two days in LA and we shot half a day in Austin, Texas. And we hired a second unit in Texas, because, you know, again, like, even though we had a really good budget, was still, you know, it was still pretty small. So I wasn't able to, you know, fly my LA crew over there. um So what we did was we just hired a second unit crew in Austin, Texas, and they were amazing. And most of them were queer, non-binary filmmakers. And it was just such a fun, intimate crew that you know, we just breezed by and had such a great time shooting that.  Isabel: That's wonderful. As a director, what inspires you and what are some of your filmmaking influences?  Rachel: Yeah, I mean, I'm constantly inspired by, you know, new films, filmmakers that I've seen, em particularly for Milk and Honey. I um so the film is, you know, this grounded drama, but there are a lot of moments of magical realism that I mix into it. love magical realism. love one of my favorite movies is Eternal Sunshine of the Spotless Mind. It's such a beautiful film, also very grounded, but it's filled with all of this, you know, magical realism, surrealism. And so I infused that into, you know, Milk and Honey, which was really fun and a challenge to execute. But yeah, and some other filmmakers and creatives that I'm inspired by are Ava Duvernay. think her work is just incredible and also just an incredible artist overall. I love the kind of work that she does because it comes from such a deep place. And I love that she can combine art with politics and social justice as well. Isabel: I also love that you said in your one of your project funding descriptions that you use your art as your act of revolution, which is so relevant given that, you know, in our current state of, you know, our administration is silencing and suppressing voices of our immigrant communities. And how do we as filmmakers, as artists, what does that revolution and representation mean to you as a filmmaker and artist?  Rachel: I truly believe that that art is our act of revolution and just merely creating the art is that act in and of itself. We don't have to do more than that as from, in my opinion, as an artist, because the mere fact of us existing as artists, existing, myself existing and creating the work and having the work exists out there and putting it out. The most powerful thing that an artist can do is to make their art and share it with the world. And after that, just let it go, you know, forget about how it's going to be received. Forget about like, you know, the critics and, and, and the, you know, self doubt you may have and all of those things, because yeah, it's going to come. I think especially in the landscape of, like you said, of where we're at right now with our current administration and you know, just who knows what's going to happen in the next few years, but also in the face of like AI and technology and all of that, I think all we can really do as artists is to, in order for us to change the system is we have to be the change, right? And in order for us to be that change is just to continue to tell our stories and stay authentic to ourselves. Because I think that's also what a lot of people out there are really craving right now. People are craving authentic, real stories by people that we really don't get to see or hear their stories very often. And so um that for me is something that fuels me and my artistry every day.  Isabel: Very well said and a great reminder to all of us artists out there to keep making our art. What do you hope for audiences to take away when they watch your film?  Rachel: What I hope for audiences to get out of watching the film, well, one, at the core of it is a mother-daughter story. And I also did it to honor my mother and her sacrifices and her story. So I hope that, one, audiences will, you know, maybe reflect on their relationship with their mother and… um think of ways to honor their mother and their family and their ancestry as well. And another thing is to really think about what the American dream means to you, because that was another driving force for me with the film is it's called Milk & Honey because a lot of immigrants coined Milk & Honey as America's milk and honey as this like land of abundance, land of opportunity and you know, this is a, this is a place for creating a better life for ourselves. But I, for me, as I've grown up and as an adult now, really looking at like, well, what does the American dream mean to me? Is that still true to me? Do I still think the U S is a place where I can, where I can build a better life? Is it a place of abundance and something in the film, a big theme in the film is where Cherry's character scrutinizes that dream and thinks for herself, like, is the American dream worth it? And what does the American dream actually mean to me? What is the definition of that? So I think that's a big thing I would love audiences to also take away from it, you know, asking themselves that question. Isabel: That's a great thought to end on. I'll be including Rachel's social media and website on kpfa.org as usual so you can see if Milk and Honey will be screening in a film festival near your city during its festival run. Well, Rachel, thank you so much for joining me on APEX Express today. Thanks so much for having me. I really enjoyed it. Please check our website kpfa.org to find out more about magical realism in AAPI stories and the guests we spoke to. We thank all of you listeners out there. Keep resisting. Keep organizing. Keep creating and sharing your visions with the world. Your voices are important. APEX Express is produced by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, Cheryl Truong, and Isabel Li. Tonight's show was produced by me, Isabel Li. Thanks to the team at KPFA for their support. Have a great night. The post APEX Express – 1.08.26 – Magical Realism and AAPI Short Films appeared first on KPFA.

Today it's the last in our series of live episodes recorded at the Regent Street Cinema in London: David talks to film director and campaigner Beeban Kidron about Michel Gondry's Eternal Sunshine of the Spotless Mind (2004), a much-loved film that's also chock full of interesting ideas. Is memory the same as identity? Are all relationships founded on manipulation? What happens when we try to curate our mental distress? How should we resist the tech panacea of a painless existence? Who gets to choose what we remember and what we forget? Next time: The Designated Mourner Learn more about your ad choices. Visit podcastchoices.com/adchoices

The fourth episode in our season of live recordings from the Regent Street Cinema is about another film that explores the relationship between biography and philosophy: Derek Jarman's Wittgenstein (1993), which tells the story of an extraordinary life in a way that is both light and profound. David talks to writer and philosopher Nikhil Krishnan about Ludwig Wittengenstein's ideas of war, science, truth, freedom, sexuality, language, loyalty and communism and how they are portrayed on screen. Does the life explain the ideas or do the ideas explain the life? Next time: Eternal Sunshine of the Spotless Mind w/Beeban Kidron Learn more about your ad choices. Visit podcastchoices.com/adchoices

Matt, Tierney, and Collin discuss Matt's pick for Lo Fi Sci Fi, Eternal Sunshine of the Spotless Mind.

Some exciting news—The Take is now on Patreon: www.patreon.com/kermodeandmayo. Become a Vanguardista or an Ultra Vanguardista to get video episodes of Take Two every week, plus member‑only chat rooms, polls and submissions to influence the show, behind‑the‑scenes photos and videos, the monthly Redactor's Roundup newsletter, and access to a new fortnightly LIVE show—a raucous, unfiltered lunchtime special with the Good Doctors, new features, and live chat so you can heckle, vote, and have your questions read out in real time. We've got a proper festive treat for you in this week's Christmas week Take special. The one and only Kate Winslet—Oscar winner, Hollywood royalty and all round very good egg. She's given acclaimed performances as an actress in films like Titanic, Eternal Sunshine of the Spotless Mind, Sense and Sensibility, Steve Jobs and more—as well as in HBO's Mare of Easttown series. She looks back over all that with Simon and Mark in this bumper chat—plus this time she's getting behind the camera to direct her first film, Goodbye June. It's a Christmas movie about a dysfunctional family thrown together when the elderly matriarch (June) falls ill during the festive period. As well as directing, Winslet plays Julia, one of June's four adult children. She came in person to our studio to unpack it with the Good Doctors—and she was so brilliant that she gets this Christmas Take special all to herself. She talks about her experiences as a debut director, working with her screenwriter son Joe Anders, and the incredible cast—from Helen Mirren and Timothy Spall to Toni Colette, Johnny Flynn and Andrea Riseborough. We even got a sneak peak of what a Winslet Christmas looks like. You won't want to miss this. Happy holidays one and all! You can contact the show by emailing correspondence@kermodeandmayo.com or you can find us on social media, @KermodeandMayo Please take our survey and help shape the future of our show: https://www.kermodeandmayo.com/survey EXCLUSIVE NordVPN Deal ➼ https://nordvpn.com/take Try it risk-free now with a 30-day money-back guarantee! A Sony Music Entertainment production. Find more great podcasts from Sony Music Entertainment at sonymusic.com/podcasts and follow us @sonypodcasts To advertise on this show contact: podcastadsales@sonymusic.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

ACOFAE Podcast Presents: Shadowhunters: Better in Black: "Back with old friends." Longtime listeners will know that December is when Laura Marie and Jessica Marie cover Shadowhunters as their own Yuletide tradition for the pod. Not breaking the tradition, this year ACOFAE is reading Better in Black -- a kickstarter book that got traditionally published. Laura Marie and Jessica Marie are bitches who love Easter Eggs and this book delivers. Featuring an on air live connection made by Jessica Marie, Better in Black is a collection of 10 love stories that feature tried and true couples with a sprinkling of side characters and plot. A book that has whispers and hints (in Laura Marie's opinion) of the yet to be released Wicked Powers, Better in Black seems to be stories that have no bigger consequence to the wider world, until they don't. Until maybe, just maybe that sweetness may come into play. Join ACOFAE as they theorize (YES! REALLY!) on the end of the Shadowhunters and they gush and tear up to these stories and the updates on the lives of our fictional friends. TW / CW: None to our awareness For additional TW/CW information for your future reads, head to this site for more: https://triggerwarningdatabase.com/ Spoilers: The Shadowhunters Universe. Including The Mortal Instruments, The Last Hours, The Infernal Devices and The Dark Artifices by Cassandra Clare. Mentions: Eternal Sunshine of the Spotless Mind, Buffy the Vampire Slayer, Sailor Moon *Thank you for listening to us! Please subscribe and leave a 5-star review and follow us on Instagram (https://www.instagram.com/acofaepodcast/) at @ACOFAEpodcast and on our TikToks! TikTok: ACOFAELaura : Laura Marie (https://www.tiktok.com/@acofaelaura?) ( https://www.tiktok.com/@acofaelaura) ACOFAEJessica : Jessica Marie (https://www.tiktok.com/@acofaejessica?) (https://www.tiktok.com/@acofaejessica) Instagram: @ACOFAEpodcast (https://www.instagram.com/acofaepodcast/) https://www.instagram.com/acofaepodcast/ @ACOFAELaura (https://www.instagram.com/acofaelaura/) https://www.instagram.com/acofaelaura/

This week we've reached #8 on our best films of the 21st century: 2004's Eternal Sunshine of the Spotless Mind.  We are putting this list together based on the rankings of our Patrons. You can check out the list, compile your own, and help influence the top 25 over at Doofmovies.com! Support us on Patreon: https://www.patreon.com/doofmedia Follow us on Twitter: @doofmedia See all of our podcasts and more at doofmedia.com!

Eternal Sunshine of the Spotless Mind (2004) on The Atomic Cinema Experiment. This is a sci fi movie podcast. Eternal Sunshine of the Spotless Mind remake is directed by Michel Gondry and stars Jim Carrey, Kate Winslet, Kirsten Dunst, Mark Ruffalo, Elijah Wood, Tom Wilkinson patreon: https://www.patreon.com/mildfuzztv all links: https://linktr.ee/mildfuzz discord: https://discord.gg/8fbyCehMTy Email: mftvquestions@gmail.com Audio version: https://the-ace-atomic-cinema-experime.pinecast.com

Today's episode explores some very big picture history: David talks to palaeontologist and science writer Henry Gee about the story of the human species from origin to peak to inevitable decline. When and how did Homo sapiens see off the competition from its rivals in the human and animal world? Why did that point mark the start of an inexorable drift towards extinction? In what ways are our strengths as a species also our fatal weaknesses? And how near are we to the end? Part two of this conversation, which takes the story of human species from the hunter-gatherer period to the present and beyond to explore how long we have left, is available tomorrow on PPF+. To get this and all our bonus episodes plus ad-free listening sign up to PPF+ now https://www.ppfideas.com/join-ppf-plus Henry Gee's The Decline and Fall of the Human Empire is available wherever you get your books https://bit.ly/4pshODe Read more by David about depopulation and human extinction in the current issue of the London Review of Books https://bit.ly/43FEwiO There are still a few tickets remaining for the next film in our autumn 'Films of Ideas' season at the Regent Street Cinema in London: join us on Friday 28th November for a screening of Eternal Sunshine of the Spotless Mind followed by a live recording of PPF with special guest Beeban Kidron https://bit.ly/4a78KyZ Next time – Now & Then with Robert Saunders: Thatcher @100 Learn more about your ad choices. Visit podcastchoices.com/adchoices

Britney is sleeping over at Kim's, SNL announces a Cher/Ariana Gay Superbowl, and Chris gives some of his BravoCon Highlights in this week's Pre-Fixe. Then, Dame Erin Bagwell returns with her husband and Gatto Black frontman Sal Mastrocola to fix Jim Carrey. They discuss his many iconic movie roles (Ace Ventura, Liar Liar, Eternal Sunshine of The Spotless Mind) and his recent attempts to come back to the big and small screen.You can find Erin at @erin.bagwell, her podcast Under The Moon Gate here, with Patreon and Substack as well.You can find Sal at @gattoblk and listen to his new album SKY IS BLUE here.You can find Dom at dommentary.com.You can find Chris at @thechrisderosa.Follow the show at @fixingfamouspeople and on YouTube.Subscribe to the Patreon Fixing Bonus People here.You can GIFT the Patreon to someone here.And listen to FREE Examples of the Patreon Bonus Content here!Or Subscribe to A La Carte Episodes in the Apple Podcast App.Pre-Fixe Ends Around 52:00.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Step behind the camera with Ellen Kuras, the award-winning director and cinematographer whose visual storytelling has defined a generation of modern cinema. From her groundbreaking cinematography in Eternal Sunshine of the Spotless Mind (2004) to her powerful directorial work in Lee (2024), Ellen has redefined what it means to tell stories through light, emotion, and movement. In this in-depth conversation, Ellen shares her creative process, challenges as one of the first women in major cinematography, and her approach to capturing the soul of a story on screen. Whether you're a filmmaker, cinephile, or curious creative, this episode delivers rare insights into the craft, collaboration, and courage that fuel visual storytelling.

Step behind the camera with Ellen Kuras, the award-winning director and cinematographer whose visual storytelling has defined a generation of modern cinema. From her groundbreaking cinematography in Eternal Sunshine of the Spotless Mind (2004) to her powerful directorial work in Lee (2024), Ellen has redefined what it means to tell stories through light, emotion, and movement. In this in-depth conversation, Ellen shares her creative process, challenges as one of the first women in major cinematography, and her approach to capturing the soul of a story on screen. Whether you're a filmmaker, cinephile, or curious creative, this episode delivers rare insights into the craft, collaboration, and courage that fuel visual storytelling.

U.S. Army Vietnam veteran Tom Guldi joins Heart of The East End Gianna Volpe on WLIW-FM and talks about his experiences during the war ahead of the Southampton Commission on Veterans Patriotic Events' Veteran's Day program. Later in the hour, Oscar-nominated cinematographer Ellen Kuras joins Heart of The East End Gianna Volpe on WLIW-FM ahead of the Southampton Playhouse's Nov. 11 screening of Eternal Sunshine of the Spotless Mind with a post-film interview with Ellen and SHP's artistic director, Eric Kohn of the Movie People podcast.Listen to the playlist on Apple MusicWatch Tom's interview on WLIW-FM YouTubeWatch Ellen's interview on WLIW-FM YouTube

ACOFAE Podcast Presents: The Things Gods Break: "Bad Wolf" ACOFAE is jumping back into The Crucible Series with book 2, The Things Gods Break by Abigail Owen! Tartarus. A place that is familiar in myth and legend and terrifying for what it contains: The Titans. Lyra. Thrown into a battle between the truth and lies, and then tasked with the impossible-opening The Gates. All while dealing with Time that has been broken and glamours that have been cast. There is a lot going on, plus a romantic plot AND a best friend plot. ACOFAE finds themselves connecting the dots and wishing for a reread immediately. "I am the Bad Wolf. I create myself. I take the words, I scatter them in time and space. A message to lead myself here." - Rose Tyler TW / CW: brief mention of self-harm For additional TW/CW information for your future reads, head to this site for more: https://triggerwarningdatabase.com/ Spoilers: The Games Gods Play by Abigail Owen, The Things Gods Break by Abigail Owen Mentions: Doctor Who, Game of Thrones, The Time Traveler's Wife, Donnie Darko, Eternal Sunshine of the Spotless Mind, She's All That, Manacled, Doctor Strange, The Vampire Diaries, *Thank you for listening to us! Please subscribe and leave a 5-star review and follow us on Instagram (https://www.instagram.com/acofaepodcast/) at @ACOFAEpodcast and on our TikToks! TikTok: ACOFAELaura : Laura Marie (https://www.tiktok.com/@acofaelaura?) ( https://www.tiktok.com/@acofaelaura) ACOFAEJessica : Jessica Marie (https://www.tiktok.com/@acofaejessica?) (https://www.tiktok.com/@acofaejessica) Instagram: @ACOFAEpodcast (https://www.instagram.com/acofaepodcast/) https://www.instagram.com/acofaepodcast/ @ACOFAELaura (https://www.instagram.com/acofaelaura/) https://www.instagram.com/acofaelaura/

Paul Thomas Anderson films. Sarah Watt, Jeremy Downing and William Chen discuss One Battle After Another (2025) and Punch Drunk Love (2002), both directed by PTA. Out conversation begins by comparing the villains in both films, played by Sean Penn and Philip Seymour Hoffman, respectively. We talk about the confident performances of Adam Sandler and Emily Watson in Punch Drunk Love. We praise the work of Leonardo DiCaprio in One Battle After Another and discuss our other highlights from the film. We also praise the performances of Chase Infiniti and Teyana Taylor. We make connections to the films Eternal Sunshine of the Spotless Mind, Children of Men, Heat and The Dark Knight; the work of David Lynch, The Coen Brothers, Quentin Tarantino and Spike Jonze; and the Western genre.

Send us a textToday's episode is the final episode of my series of double episodes featuring conversations with 2025 Student Academy Award nominees.My first interview today is with 2025 Student Academy Award finalists Loïck du Plessis D'Argentré, Maud Le Bras, and Jiaxin Huang, collaborators on the animated short film "The Shyness of Trees." We discuss thoughts on being away from family, thoughts of losing a parent, and the ability to bring influences from multiple cultures into the film.Following that I chat with 2025 Student Academy Award semi-finalist Atharva Raut, director of the film "Beyond the Conflict." We talk about one of the workers who has developed a strong connection with the animals in his care and what Atharva hopes people learn about the leopard population in Mumbai from his film.Films and TV shows mentioned in this episode include:"The Skyness of Trees" directed by Sofiia Chuikovska, Loïck du Plessis D'Argentré, Lina Han, Simin He, Jiaxin Huang, Maud Le Bras, and Bingqing Shu"Beyond the Conflict" directed by Atharva RautEternal Sunshine of the Spotless Mind directed by Michel GondryThe Taste of Tea directed by Katsuhito IshiiThe Sacrifice directed by Andrei TarkovskyInto the Wild directed by Sean PennMy Neighbor Totoro directed by Hayao MiyazakiThe Great Gatsby directed by Baz LuhrmannAutumn Sonata directed by Ingmar BergmanThe Disciple directed by Chaitanya TamhaneVirunga directed by Orlando von EinsiedelThe Dark Knight directed by Christopher NolanDead Poets Society directed by Peter WeirAll That Breathes directed by Shaunak SenFollow "The Shyness of Trees" film account on Instagram @shynessoftrees.gobelins and Maud is @grumpymaud, Loïck is @_ciklo_, and Jiaxin is @huanggechi. For "Beyond the Conflict," follow Atharva @atharva.raut and check out his website at www.atharvaraut.com.Support the show

On the 475th episode of Piecing It Together we are LIVE from Maya Cinemas in Las Vegas with Teresa O'Hara, Danny Chandia and Darlene Dalmaceda to talk about A Big Bold Beautiful Journey! This magical romance from Kogonada starring Margot Robbie and Colin Farrell explores all kinds of ideas about love and life. Puzzle pieces include Eternal Sunshine of the Spotless Mind, What Dreams May Come, La La Land and Hot Tub Time Machine.As always, SPOILER ALERT for A Big Bold Beautiful Journey and the movies we discuss!Written by Seth ReissDirected by KogonadaStarring Margot Robbie, Colin Farrell, Kevin Kline, Phoebe Waller-BridgeColumbia PicturesDanny Chandia is a filmmaker and co-founder of Desert Cactus Films whose latest project is “Margaret The Brave.”Check out Desert Cactus Films at https://www.desertcactusfilms.comFollow @desertcactusfilms on InstagramAnd check out the trailer for “Margaret The Brave” at https://youtu.be/juEV1ClSF44?si=pM7H4HPrSyLVg667Darlene Dalmaceda is a filmmaker and actress and owner of Lucky Bucks Productions.Follow Darlene on Instagram @luckybucksproductionsTeresa O'Hara is an actress and co-host of My Weird Little Podcast.Check out My Weird Little Podcast at https://open.spotify.com/show/1h4C0LE2TrcvjH5CeoOn0UAnd Follow Teresa on Facebook at https://www.facebook.com/teresa.ohara.14My latest David Rosen album MISSING PIECES: 2018-2024 is a compilation album that fills in the gaps in unreleased music made during the sessions for 2018's A Different Kind Of Dream, 2020's David Rosen, 2022's MORE CONTENT and 2025's upcoming And Other Unexplained Phenomena. Find it on Bandcamp, Apple Music, Spotify and everywhere else you can find music.You can also find more about all of my music on my website https://www.bydavidrosen.comMy latest music video is “Shaking" which you can watch at https://www.youtube.com/watch?v=wzm8s4nuqlAMake sure to “Like” Piecing It Together on Facebook at http://www.facebook.com/PiecingPodAnd “Follow” us on Twitter @PiecingPodAnd Join the Conversation in our Facebook Group, Piecing It Together – A Movie Discussion...

Your favorite local internet disc jockey is BYCK to present to you, my super sick listening audience, Sunshine Eternal. Last Friday one of my favorite musical artists, Jay Electronica, released four separate albums. Some old pieces getting an official release in a proper capacity and tons of new work to go with it. I don't agree with everything Mr. Elecrtonica has to say, but I do choose to love and admire his work. One of the albums just released samples the Major Motion Picture Soundtrack of a romance cult classic featuring Kate Winslett and Jim Carrey. Eternal Sunshine of the Spotless Mind. The combination of the lax melancholy daily routine sounds from the movie tracks, overlaid with Jay Electronica's line of thinking is something I never knew I needed.  I hope someone enjoys Sunshine Eternal. Until next time..I remain your Host with the Most,DJ Witwicky

Great marketing isn't just strategy, it's intuition, timing, and a deep understanding of human behavior. That's the beauty of Eternal Sunshine of the Spotless Mind, a movie about erasing your memories. In this episode, we're breaking down its lessons with the help of special guest Noha Rizk, Chief Marketing Officer at Incorta. Together, we explore what B2B marketers can learn from putting human emotion at the center of their work, trusting intuition alongside data, and embracing mistakes as the path to growth.About our guest, Noha RizkNoha Rizk is the Chief Marketing Officer at Incorta. With deep expertise in Marketing, brand management, integrated channel management, product leadership, P&L accountability, and change management, across various industries and launching and leading partnerships, marketing and product in over 50 countries, Noha brings extensive experience and insights into how to execute for brand loyalty, growth and sustainable share of the market. Prior to Incorta, Noha led marketing for Meta AI, launching Llama, and leading other open source projects like PyTorch. She pioneered online banking for Amex and Citi, online booking and revenue optimisations and integrated channel strategies in the hotel industry with Starwood and Marriott, led partnerships and loyalty in emerging markets, launched NGO and Gov projects with US state department, launched and spun off two of her own successful businesses and helped organise PayPals enterprise, Platforms and Developer product offerings and streamline their GTM strategies.Noha loves to solve big problems and create groundbreaking products and services that inspire customers and business partners. She focuses on delivering insights and metrics driven outcomes, collaborating with cross-functional teams, and coming up with innovative solutions. She especially enjoys building and developing strong, resilient, and nimble teams that can adapt to changing market needs and customer expectations.Noha is an avid reader, developing painter and pianist, proud mother and animal lover with a passion for helping the private sector thrive in emerging markets.What B2B Companies Can Learn From Eternal Sunshine of the Spotless Mind:Lead with human emotion. Great marketing isn't about features, it's about people. Even in B2B, you're dealing with human psyches, behaviors, and emotions—not faceless corporations. Noha explains, “Even as B2B marketers… you're dealing with individuals. You're dealing with the human psyche, you're dealing with the buying behavior… ultimately that is the objective. The objective is to maintain a relationship with your customers.” The lesson? Build messaging that connects on a human level first, because behind every buying decision is a person making sense of their own emotions.Balance data with intuition. Metrics matter, but numbers can't capture everything. Noha argues that some of the best insights come from being present, listening, and noticing what the data can't show. “Some things can't be measured…A big chunk of marketing has to be intuitive. It's not always purely scientific.” Just as the film's dreamlike narrative reminds us memory isn't linear or logical, B2B marketers need to leave room for creativity, serendipity, and gut instinct, because not everything that counts can be counted.Embrace mistakes as part of growth. Trying to erase failures is as dangerous in marketing as it is in memory. Noha points out, “You can't just erase away the pain… you won't learn if you don't make mistakes. A lot of marketers have to be super buttoned up, their campaigns have to work… there isn't a lot of opportunity for marketers these days to be allowed to make mistakes.” But the best brands learn from experiments that don't go as planned. Failure isn't wasted, it's the raw material for innovation, resilience, and better campaigns down the road.Quote“ As marketers…we explore the human psyche pretty much day in, day out, even if it's not explicitly said. But that's essentially what we do.”Time Stamps[00:55] Meet Noha Rizk, Chief Marketing Officer at Incorta[1:26] Why Eternal Sunshine of the Spotless Mind?[5:51] Role of CMO at Incorta[9:07] Breaking Down Eternal Sunshine of the Spotless Mind[22:11] B2B Marketing Takeaways from Eternal Sunshine of the Spotless Mind[43:56] Final Thoughts and TakeawaysLinksConnect with Noha on LinkedInLearn more about IncortaAbout Remarkable!Remarkable! is created by the team at Caspian Studios, the premier B2B Podcast-as-a-Service company. Caspian creates both nonfiction and fiction series for B2B companies. If you want a fiction series check out our new offering - The Business Thriller - Hollywood style storytelling for B2B. Learn more at CaspianStudios.com. In today's episode, you heard from Ian Faison (CEO of Caspian Studios) and Meredith Gooderham (Head of Production). Remarkable was produced this week by Jess Avellino, mixed by Scott Goodrich, and our theme song is “Solomon” by FALAK. Create something remarkable. Rise above the noise. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Have you ever found yourself completely caught up in a film only to find, after the lights come up, that the story didn't make any sense, yet you loved it anyway? Today, we're talking about great movies with silly plots – including The Martian, The Incredible Mr. Limpet, and Eternal Sunshine of the Spotless Mind.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Get ready to hear Tony's wild guess at a synopsis as we discuss this unique dramedy from the Doug and Rhonda collection. How long could a couple be together before this wouldn't work? Can you imagine hearing a recording of everything people don't like about you? Is this moral if they signed up for it? We answer all the burning questions, tune in now!

from anime to the myths we build around memory, belief and being human and more... sit back & listen.

Send us a textIn today's episode, I interview Hannah Rose Ammon, director of the new short film "We Do Our Best," a tender, true-to-life portrait of motherhood, girlhood and growing up in New York.Listen to hear about the real life event that inspired the film, what it was like filming in a small bar environment in New York City, and the importance of music in telling a story like this.Books mentioned in this episode include:Just Kids by Patti SmithFilms and TV shows mentioned in this episode include:"We Do Our Best" directed by Hannah Rose AmmonMoonstruck directed by Norman JewisonEternal Sunshine of the Spotless Mind directed by Michel GondryThe Virgin Suicides directed by Sofia CoppolaBreakfast at Tiffany's directed by Blake EdwardsSchool of Rock directed by Richard LinklaterNotting Hill directed by Roger MichellFollow Hannah on Instagram @hannah.rose.a and the film @wdobfilm.Support the show

Dive into this episode of Perfectly Good Podcast as hosts Jesse Jackson and Sylvan Groth explore John Hiatt's soulful classic, “Lovers Will.” From its roots on the iconic “Riding with the King” album to its many heartfelt covers, Jesse and Sylvan break down the song's lyrics, discuss its themes of love, passion, and heartbreak, and share personal reflections on what makes this track timeless. Whether you're a longtime Hiatt fan or new to his music, join us for honest conversation, musical insights, and a celebration of the choices we make for love—no matter the cost. Plus, discover how “Lovers Will” connects to films like “Eternal Sunshine of the Spotless Mind” and why this song still resonates decades later. Subscribe for more deep dives into John Hiatt's catalog, listener feedback, and special guest appearances! Learn more about your ad choices. Visit megaphone.fm/adchoices

Charlie Kaufman is one of the most celebrated screenwriters and directors, known for movies like “Eternal Sunshine of the Spotless Mind” and “Anomalisa.” Three of his scripts appear in the Writers Guild of America's list of the 101 greatest movie screenplays ever written. He's received an Academy Award, an Emmy, three BAFTA awards, two Independent Spirit Awards, and a Writer's Guild of America Award.  He joins Google to discuss his film, “I'm Thinking of Ending Things,” a psychological thriller exploring regret, longing, and the fragility of the human spirit. The film tells the story of a young woman, played by Jessie Buckley, who makes a road trip with her boyfriend to his family's farm. After being trapped at the farm during a snowstorm, she questions the nature of everything she knew or understood about her boyfriend, herself, and the world. Originally published in September 2020. Watch this episode at youtube.com/TalksAtGoogle.

Writer/director James DeMonaco discusses his top ten films that evoke the surreal, hallucinatory feel of dreams/nightmares, while not actually depicting dream/or nightmares with Josh Olson and Joe Dante. Show Notes: Movies Referenced In This Episode A History Of Violence (2005) The Home (2025) 52 Pick-Up (1986) The Purge (2013) The Purge: Anarchy (2014) The Purge: Election Year (2016) Staten Island (2009) This Is The Night (2021) Glengarry Glen Ross (1992) 3 Women (1977) Apocalypse Now (1979) Apocalypse Now Redux (2001) Jack (1996) The Godfather (1972) The Godfather Part II (1974) The Godfather Part III (1990) Dementia 13 (1963) Star Wars (1977) THX 1138 (1972) Blood Simple (1984) Megalopolis (2024) Mandy (2018) Beyond The Black Rainbow (2010) Nightmare Alley (2021) Blue Velvet (1986) Mulholland Drive (2001) The Accused (1988) The Swimmer (1968) Dune (1984) Dune (2021) Jodorowsky's Dune (2014) Crash (2005) *Ghost Dog: Way of the Samurai (2000) Paterson (2016) Fellini's Roma (1972) Amarcord (1973) La Strada (1954) Nights of Cabiria (1957) 8 ½ (1963) Dirty Harry (1971) Gremlins (1984) Irreversible (2002) Antichrist (2009) Play It As It Lays (1972) Nashville (1975) Boom! (1968) Mr. Blandings Builds His Dream House (1948) Punch Drunk Love (2002) The Long Goodbye (1973) Phantom Thread (2017) One Battle After Another (2025) Happy Gilmore (1995) Happy Gilmore 2 (2025) March of the Wooden Soldiers a.k.a. Babes in Toyland (1934) Beetlejuice (1988) Monkey Trouble (1994) Prizzi's Honor (1985) Vertigo (1958) Invaders From Mars (1953) The Woman in the Window (1944)  Inception (2010) Eternal Sunshine of the Spotless Mind (2004) Dreamscape (1984) What Dreams May Come (1998) The Truman Show (1998) Minority Report (2002) Other Notable Items Our ⁠Patreon⁠! Our pals at ⁠Movies Unlimited⁠ ⁠The Hollywood Food Coalition⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

Co-hosts Alex and Chris blend their signature wit, real-world writing experience, and a few sun-soaked vacation antics to tackle some of the most frequently asked questions from writers like you. Broadcasting poolside—Mai Tais not included—they dive into six of the biggest hurdles writers face: from crafting non-linear narratives and writing powerful scenes without dialogue, to building mysteries from a first-person perspective and portraying complex emotional states, even when you haven't lived them yourself.This episode is a treasure trove of practical advice, classic and modern examples (think "Inception," "Memento," "Jojo Rabbit," "The Apartment," and more), and actionable tips you can use right away. Whether you're struggling with making your romantic comedy both quirky and authentic, or you're wrestling with telling tough stories from a child's viewpoint, Alex and Chris have your back. Plus, stick around for some bonus downloadable resources!Tune in, get inspired, and—as always—tell the damn story.Bonus Study material: Q1: Jonathan Nolan - Memento Mori | PDF | Nature "PULP FICTION" -- by Quentin Tarantino & Roger Avary Inception.pdfQ2: Raiders of the Lost Ark.pdf Iron Man Script: Quotes, Characters, Ending and Screenplay PDF Q3:7 Great Crime Novels with First Person Narrators ‹ CrimeReads Q4: Dennis LeHane's Shutter Island, Robert Bloch's Psycho, and It's Been a Privilege by Chris Ryan. Q5:Steven Wright novel HaroldJoJo Rabbit Q6: When Harry Met Sally, Notting Hill, Silver Linings Playbook, The Big Sick, About Time, Eternal Sunshine of the Spotless Mind, Crazy, Stupid, Love, 500 Days of SummerAddendum:A copy of the script for THE APARTMENT Have any questions, comments, or suggestions?Then, please leave them in the Comments Section.Write: TTDSOnAir@gmail.comAnd follow us on ...⁠⁠⁠⁠⁠⁠@Tell The Damn Story⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠www.TellTheDamnStory.comwww.Facebook.com/Tell The Damn Story⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube.com/ Tell The Damn Story⁠⁠⁠⁠⁠⁠⁠⁠If you're enjoying these episodes, please take a moment to help wet our whistle by clicking on the link to ... ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy Me A Coffee⁠⁠⁠⁠!⁠⁠⁠⁠

In this episode I team up with Max from Measuring Flicks to unravel the complexities of the Manic Pixie Dream Girl archetype through the lens of Eternal Sunshine of the Spotless Mind. Is Clementine just another quirky MPDG, or does she break the mold in Charlie Kaufman's surreal masterpiece? Join us as we dive into memory, identity, and the cinematic tropes that shape our perceptions of love and individuality. Expect deep analysis, a touch of drama, and plenty of laughs along the way!

Pour up a 'Meet Me in Montauk' and join McCash as he relives this offbeat performance from Jim Carrey alongside Brandon and Stoney. Today, we're drinking with...Eternal Sunshine of the Spotless Mind. To make the 'Meet Me in Montauk', you'll need:3/4 oz gin3/4 oz clementine juice1/2 oz lemon juice1/2 oz simple syrup1/4 oz Yellow Chartreuse (French herbal ligueur)2 oz ChampagneGarnish with lemon peel. Fill a collins glass with ice, add ingredients into a shaker and shake, pour into the collins glass, and garnish with lemon peel.

Pour up a 'Meet Me in Montauk' and join McCash as he relives this offbeat performance from Jim Carrey alongside Brandon and Stoney. Today, we're drinking with...Eternal Sunshine of the Spotless Mind. To make the 'Meet Me in Montauk', you'll need:3/4 oz gin3/4 oz clementine juice1/2 oz lemon juice1/2 oz simple syrup1/4 oz Yellow Chartreuse (French herbal ligueur)2 oz ChampagneGarnish with lemon peel. Fill a collins glass with ice, add ingredients into a shaker and shake, pour into the collins glass, and garnish with lemon peel.

Send us a textIn today's episode, I interview Jake Wachtel, whose film "The Sentry" recently screened at SXSW London, Raindance, and the Palm Springs International ShortFest.Listen to hear about the idea for the film that came from wanting to get to know one of the anonymous henchmen from an action film like James Bond, the challenges of filming in the former residence of a king, and how visual effects and sound combined to create a ghostly character.Books mentioned in this episode include:Never Let Me Go by Kazuo IshiguroThe Overstory by Richard PowerPlayground by Richard PowerFilms and TV shows mentioned in this episode include:"The Sentry" directed by Jake WachtelKarmalink directed by Jake WachtelAfter Yang directed by KogonadaEternal Sunshine of the Spotless Mind directed by Michel GondryBicycle Thieves directed by Vittorio De SicaMinority Report directed by Steven SpielbergThe Jungle Book directed by Wolfgang Reitherman"Cattywampus" directed by Jono Chanin (trailer)Listen to "Love You Only" by Ros Sereysothea whose music is featured in the film.Follow Jake on Instagram @jakewachtel.director and the film @thesentryfilm.Support the show

296 Eternal Sunshine of the Spotless Mind w/Daniel DelPurgatorioSteven is joined once again by Daniel DelPurgatorio! This time to discuss Eternal Sunshine of the Spotless Mind. We also talk about his new film, Marshmallow, now being available for streaming! Please go see the movie and support independent films! To see Daniel's short movies please go to: https://delpurgatorio.com/Please send feedback to DieCastMoviePodcast@gmail.com or leave us a message on our Facebook page.Thanks for listening!

Lindsay Adams has never seen "Eternal Sunshine of the Spotless Mind," but she rewrote it. Lindsay finally slides over to the writer's seat! Enjoy her script, that is definitely not more a script for "Lost in Translation." Kyle and Lindsay are joined by Bailey Norton Go see Kyle in Philadelphia this month, Charlotte in August, and New York in September!! Learn more about your ad choices. Visit megaphone.fm/adchoices

If you'd like to see full video of this and other episodes, join the Reel Notes Patreon at the Homie ($5/month) tier or higher. Each episode is also available to buy individually for $5 (Buy it through a web browser and not the Patreon app. You'll get charged extra if you purchase through the app.) You also get early access to episodes, an invite to our Discord server, access to the Reel Talk archives, and more!My guest this week is South African rapper Yugen Blakrok. We spoke about Severance, Black Mirror, Eternal Sunshine of The Spotless Mind, our mutual fascination with horror, martial arts, and samurai films, making a name for herself as a rapper in South Africa, recording her guest verse for Black Panther The Album, her relationship with longtime producer Kanif The Jhatmaster, and the creative process behind her latest album The Illusion of Being. Come fuck with us.The Illusion of Being is out now wherever music is sold, streamed, or stolen. Consider copping it directly from her Bandcamp. Follow Yugen on Instagram and Twitter: @yugenblakrok My first book, Reel Notes: Culture Writing on the Margins of Music and Movies, is available now, via 4 PM Publishing. Order a digital copy on Amazon.Reel Notes stands in solidarity with American immigrants against ICE and the oppressed peoples of Palestine, Congo, Sudan, Tigray, and Haiti. Please consider donating to the Coalition for Humane Immigrant Rights, the Palestine Children's Relief Fund,  The Palestinian Youth Movement, The Zakat Foundation, HealAfrica, FreeTigray, and/or Hope For Haiti.  For information about contacting your representatives to demand a ceasefire, finding protests, and other tools, check out CeasefireToday!Follow me on Instagram (@cinemasai), Twitter (@CineMasai_), Bluesky (@cinemasai.bsky.social), TikTok (@cinemasai), Letterboxd (@CineMasai), and subscribe to my weekly Nu Musique Friday newsletter to stay tapped into all things Dylan Green.  Support the show

Send us a textIn today's episode, I interview Nina Gantz, whose film "Wander to Wonder" was nominated for Best Animated Short Film at the 97th Academy Awards.Listen to hear about the original even darker version of the story that never made it to the screen, some thoughts about how you can tell stories in animation that you can't tell anywhere else, and how eyelids can become one of the biggest challenges on a film set.Books mentioned in this episode include:The Expanded Earth: PREPARE TO SEE THE WORLD AS YOU'VE NEVER SEEN IT BEFORE by Mikey PleasePastoralia by George SaundersFilms and TV shows mentioned in this episode include:"Wander to Wonder" directed by Nina Gantz"Edmond" directed by Nina GantzJason and the Argonauts directed by Ray HarryhausenClash of the Titans directed by Desmond Davis"Dimensions of Dialogue" directed by Jan ŠvankmajerEternal Sunshine of the Spotless Mind directed by Michel Gondry"The Eagleman Stag" directed by Michael PleaseThe Last Days of Emma Blank directed by Alex van WarmerdamThe Northerners directed by Alex van WarmerdamFollow Nina on Instagram @ninagantz, check out her website at ninagantz.com and watch the film on demand on Vimeo.Support the show

Podcast for a deep examination into the career and life choices of Eddie Murphy & Jim Carrey. Joe takes a deep dive into his memories and finds an old friend that he used to share a space with. Patrick needlessly ranks more things that nobody cares about, but someday the government will need his ranking prowess and then you'll all be sorry. Will you all be sorry? Find out on this week's episode of 'What the Hell Happened to Them?' Email the cast at whathappenedtothem@gmail.com Disclaimer: This episode was recorded in June 2025. References may feel confusing and/or dated unusually quickly. 'Eternal Sunshine of the Spotless Mind' is available on DVD, Blu-ray, and Multi-format (ooh, so sexy): https://www.amazon.com/Eternal-Sunshine-Spotless-Mind-Blu-ray/dp/B00466H3DG/ Music from "Parade" by Susumu Hirasawa Artwork from BJ West   quixotic, united, skeyhill, vekeman, murphy, carrey, versus, vs, eternal, sunshine, spotless, mind, carey, ebert, dunst, wilkinson, newhart, myspace

Broadway's "The Prom" stars Caitlin Kinnunen and Isabelle Mccalla join us to unravel the chameleon-like career of Jim Carrey, sharing laughs as we reminisce on his metamorphosis from rubber-faced comedian to a thespian of depth. Today we're talking about the forgotten Coppola romantic comedy called "Peggy Sue Got Married," where Jim Carrey plays the best friend of a very campy Nicolas Cage. Our stroll down memory lane brings us face to face with the rhino scene that defined "Ace Ventura" and the sublime moments of "Eternal Sunshine of the Spotless Mind," interspersed with personal stories that paint a fuller picture of Carrey's unique trajectory. It's an episode punctuated with chuckles and reflections, much like the roles that have shaped Carrey's legacy. Learn more about your ad choices. Visit megaphone.fm/adchoices

¿Se puede alcanzar la felicidad olvidando los malos momentos? Hoy hablamos de ETERNAL SUNSHINE OF THE SPOTLESS MIND (2004) dirigida por Michel Gondry. 00:00:00 Intro: Gondry y Kauffman 00:21:47 Hablemos de ETERNAL SUNSHINE OF THE SPOTLESS MIND (2004) 01:09:50 Recomendaciones de la semana

Jim Carrey is a legendary actor, comedian, and artist known for his transformative performances and deeply philosophical outlook on life. Beyond his iconic roles in films like The Truman Show and Eternal Sunshine of the Spotless Mind, Carrey has become a powerful voice for authenticity, creativity, and emotional freedom. Take action and strengthen your mind with The Resilient Mind Journal. Get your free digital copy today: ⁠⁠⁠⁠⁠https://bit.ly/Download_Journal Hosted on Acast. See acast.com/privacy for more information.

The legendary Jill Oliver comes back to Jagbags to talk Jim Carrey movies, best characters, and discuss the secret of his appeal and his comedy success. Did he deserve an Oscar nomination for "Ace Ventura: Pet Detective"? (He did.) Plus we talk our favorite Carrey movies and performances, our most underrated as well as the Carrey movies we liked the least. Outside of Ace Ventura, what do you consider his best performance? Also Beave disparages "Eternal Sunshine of the Spotless Mind" while Len contemplates having Beave removed forcibly from the Jagbags studio. Tune in!

Dennis is joined via Zoom by Director Lovell Holder & Writer-Performer Roger Q. Mason, the duo behind the provocative and beautifully-crafted new film Lavender Men, which is based on Mason's hit stage play of the same name. The story centers on Taffeta (they/them, played by Mason), the put-upon stage manager of a play about Abraham Lincoln. After one too many backstage indignities, Tafetta cracks and decides to take the whole show over and narrate it as their fantasia and things get wild from there. Roger talks about the film's central themes of why do we, as humans, like what we like and the gulf that often exists between what we desire and what we need. Lovell talks about using the films Eternal Sunshine of the Spotless Mind and Joe Wright's Anna Karenina as touchstones while making the piece, the day during the shoot when he ran out of steam and ideas and meeting Roger when then were both in their late teens. They both talk about working with the editor Morgan Halsey whose father Richard Halsey happened to speak at a screening of American Gigolo that Dennis saw on the very same day that he did this interview. Other topics include: eating an entire apple pie on stage, Mason refusing to take a nap during naptime at the YMCA as a child, the friends that pitched in to make the movie happen and Roger's belief that, "It's never easy to tell the truth in a world that capitalizes on lies and illusion."

On the 449th episode of Piecing It Together we are LIVE from Downtown Cinemas in Las Vegas with Antonio Llapur, Laura Espinoza and Kris Mayeshiro to talk about the latest entry in the MCU, the super-anti-hero team up Thunderbolts*! Puzzle pieces include Suicide Squad, Logan, Avengers and Eternal Sunshine of the Spotless Mind.As always, SPOILER ALERT for Thunderbolts* and any of the movies we discuss!Written by Eric Pearson and Joanna CaloDirected by Jake SchreierStarring Florence Pugh, Sebastian Stan, Wyatt Russell, Lewis Pullman, Geraldine Viswanathan, David HarbourMarvelKris Mayeshiro is an actor, stunt choreographer and visual artist.Check out Kris's website at http://www.km2creative.com/And Follow Kris on Instagram @KM2CreativeAntonio Llapur is a filmmaker and runs Swamp Media Group.Check out Swamp Media Group at https://swampmediagroup.com/And check out his film Space Detective at https://spacedetectivemovie.com/And follow Antonion on Instagram @antoniollapurLaura Espinoza is a producer and works in a variety of stage and production work.Follow her on Instagram @lady_laura1027My latest David Rosen album MISSING PIECES: 2018-2024 is a compilation album that fills in the gaps in unreleased music made during the sessions for 2018's A Different Kind Of Dream, 2020's David Rosen, 2022's MORE CONTENT and 2025's upcoming And Other Unexplained Phenomena. Find it on Bandcamp, Apple Music, Spotify and everywhere else you can find music.You can also find more about all of my music on my website https://www.bydavidrosen.comMy latest music video is “Shaking" which you can watch at https://www.youtube.com/watch?v=wzm8s4nuqlAThe song at the end of the episode is "Black & White" by The Pup Pups! Our new The Pup Pups album comes out this Friday at https://thepuppups.bandcamp.comMake sure to “Like” Piecing It Together on Facebook at http://www.facebook.com/PiecingPodAnd “Follow” us on Twitter @PiecingPodAnd Join the Conversation in our Facebook Group, Piecing It Together – A Movie Discussion Group.And check...

This week it's season 7 of the digital Twilight ZoneBlack Mirror (2025)! Jamie and Nikisha talk bullying, revenge, ranking season 7, grief, EMDR, trauma rewiring, non-binge-worthy shows, violence in people, and, of course, 'Eternal Sunshine of the Spotless Mind'. Follow us on Instagram | TikTok: @TalkHorrorPod Check out Jamie (aka EmoSupportJamie) on Twitch! Find Bryan and Jamie on Letterboxd

We started with Bobby talking about one of his favorite movies, Eternal Sunshine of the Spotless Mind where the character erases people and bad memories. There now might be technology that would allow you to do what they did in the 2004 film. Bobby also talked about his idea for a new TV show he wants to explore. Then, Runaway June stopped by the studio to talk about lead singer Stevie getting engaged, new music and a crazy talent Natalie Stovall learned as a kid on fiddle that she hasn't done in years. We also talked about Katy Perry, Gayle King and the all-female crew who went into space yesterday.See omnystudio.com/listener for privacy information.

“Eternal Sunshine,” Ariana Grande's seventh studio album, released on March 8, 2024, via Republic Records, marks a triumphant return for the pop icon after a three-year hiatus following 2020's “Positions.” This 13-track, 35-minute project, titled after the 2004 film “Eternal Sunshine of the Spotless Mind,” is a loosely conceptual exploration of love, loss, and self-discovery, blending vulnerability with theatrical flair. Crafted with collaborators like Max Martin, Ilya Salmanzadeh, and Oscar Görres, the album fuses pop and R&B with dance, synth-pop, and house influences, characterized by mid-tempo beats, subtle guitar riffs, and lush string arrangements. Grande has called it her most personal work, inspired by her divorce from Dalton Gomez and her romance with “Wicked” co-star Ethan Slater, yet it sidesteps tabloid fodder for a broader emotional narrative.The album opens with “Intro (End of the World),” a delicate query about love's endurance, setting a reflective tone. Lead single “Yes, And?”—a #1 Billboard Hot 100 hit—channels Madonna's “Vogue” with defiant house beats, addressing public scrutiny with a cheeky shrug. “We Can't Be Friends (Wait for Your Love),” another chart-topper, pairs a Robyn-esque dance-pop pulse with Grande's aching vocals, its video nodding to the film's memory-erasing premise. “The Boy Is Mine,” reimagining Brandy and Monica's classic, became a TikTok sensation, later earning a remix with the duo. Tracks like “Don't Wanna Break Up Again” and “True Story” weave R&B melancholy with sly humor, while “Supernatural” and “Imperfect for You” showcase her vocal restraint and harmonic finesse. The interlude “Saturn Returns,” sampling astrologer Diana Garland, ties the album to Grande's late-20s reckoning, fading into the title track's wistful acceptance of past pain.Critics praised “Eternal Sunshine” for its emotional depth and sonic cohesion, with Pitchfork noting its “restrained yet generous” spirit and Rolling Stone calling it a “victory lap with scars.” It debuted at #1 on the Billboard 200, her sixth chart-topper, and snagged three Grammy nods, including Best Pop Vocal Album. Expanded editions followed: a “Slightly Deluxe” version on March 10, 2024, added remixes, while “Eternal Sunshine Deluxe: Brighter Days Ahead,” released March 28, 2025, with a short film, introduced six new tracks like “Twilight Zone,” deepening the breakup saga. Filmed during the 2023 SAG strike, the album reflects Grande's “Wicked” downtime, balancing her Glinda role with raw artistry. Closing with “Ordinary Things,” featuring her grandmother Nonna's sage advice, it's a tender cap to a journey of heartbreak and hope.

 It's almost the Ides of March (a movie that ironically was not released in March) and it's time to look back over the last 25 Marches -- with the best movies from the 3rd month of the year in the 21st Century!   First, d$, Mikey, and #XLessDrEarl opens up the show with a quick look at "Mickey 17", the latest from Garrison Ryfun's director boo, Bong Joon-ho, and the good... and the bad... and the bad... and maybe some of the good.  Then, checking out the March classics - from PG&E fightin' lawyers to ninja gang wars to The Rock's gay bodyguard - to the new soon-to-be classics like sand worms to Wes Anderson's animated pooches to John Goodman's creepy cellar dwelling.  Plus... what did we forget?  A lot, unfortunately.  Movies Discussed, and where they are streaming:   10 Cloverfield Lane (Amazon Prime; MGM+) 300 (Peacock Premium) The Batman (MAX) Dune Part Two (Netflix; MAX) Erin Brockovich (Netflix) Eternal Sunshine of the Spotless Mind (for rental) Everything Everywhere All At Once (MAX) The Grand Budapest Hotel (for rental) High Fidelity (Hulu) Inside Man (for rental) Isle of Dogs (Disney+) John Carter (Disney+) Joyeux Noel (for rental) Logan (Disney+) Memento (Amazon Prime; Peacock Premium) Panic Room (for rental)   The Place Beyond the Pines (for rental) Romeo Must Die (for rental) Spartan (for rental) Sunshine Cleaning (Amazon Prime; Peacock Premium; STARZ in Redheads) Waking Sleeping Beauty (Disney+) Watchmen (MAX) We Were Soldiers (for rental) While We're Young (for rental) Zootopia (Disney+)

It's time to hide away from our memory erasure procedure as the hosts jumps on the train to Montauk, to bring the craziest movie review, the sci-fi romantic drama classic, Eternal Sunshine of the Spotless Mind, starring Jim Carrey, Kate Winslet and directed Michel Gondry. From the Oscar winning screenplay by Charlie Kaufman, many audiences agree that the movie ranks among the best love stories of the 21st century. The hosts pair the film with the Mind Eraser Cocktail. Come and join the hosts as they run around the beach one more time, as they celebrate this one of a kind film. Come listen and follow the hosts on their Instagram page and YouTube channel @the.gentlemenpodcast. 

This week on the podcast we're discussing the classic Jim Carrey/ Kate Winslet sci-fi romance(?!?) ETERNAL SUNSHINE OF THE SPOTLESS MIND. We discuss why you probably shouldn't forget your exes, and argue for our two protagonists to never-ever-ever get back together. Produced by Andrew Ivimey as part of The From Superheroes Network. Visit www.FromSuperheroes.com for more podcasts, articles, YouTube series, web comics, and more. Learn more about your ad choices. Visit megaphone.fm/adchoices