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How can building an audience in advance help your stories reach the people who make movies? And how can you prove there's demand for your book or screenplay before you've written it? Brooks Elms shares his advice after more than 20 years as a WGA screenwriter. In the intro, what doesn't work for book marketing and what does [Amy Chan SubStack; Unsingle; Rephonic]; Goodreads giveaway for Bones of the Deep; FutureVision XPrize. This podcast is sponsored by Kobo Writing Life, which helps authors self-publish and reach readers in global markets through the Kobo eco-system. You can also subscribe to the Kobo Writing Life podcast for interviews with successful indie authors. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Brooks Elms is a WGA screenwriter with over 45 scripts, over a dozen sales, and he has directed two indie features. He is the creator of the Answer the Call system and has trained over 1,000 writers. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes How to see the opportunity in AI when others only see the threat How to test a story with samples, and what a 16-second movie can do Building the trailer before you write the screenplay Letting your audience finance the film once they have validated the idea Why Hollywood still wants existing IP, and what makes them pay attention Feeling safe enough to write the truth, and finding a concrete path forward You can find Brooks on LinkedIn or email him at brooks@brookselms.com. Transcript of the interview with Brooks Elms Jo: Brooks Elms is a WGA screenwriter with over 45 scripts, over a dozen sales, and he has directed two indie features. He is the creator of the Answer the Call system and has trained over 1,000 writers. So welcome to the show, Brooks. Brooks: Thank you. It's awesome to be here. Jo: Fantastic. So first up— Tell us a bit more about you and how you got into screenwriting. Brooks: I started filmmaking first. A buddy came up to me in high school and said, “Hey, we're making a karate movie, do you want to help us?” I was like, “Oh my God, yes, that sounds amazing.” So next thing I know, I had this karate outfit on, and we were just making this completely ridiculous and totally fun movie, and it was amazing. It was so fun. Then it went to a whole other level when we shared it with a friend, this guy Jay Sharon, and he watched the movie and he laughed so hard he literally fell out of his chair. I was like, “Oh my God,” the fun I had making it could actually transfer to somebody else. I was hooked. So from there I went to NYU film school, and then made a few independent feature films which were good but not great in terms of how they were received. They were great for me in terms of enjoyment, but I knew I needed to iterate faster at that point. So then I was like, “Well, it's expensive and it takes a long time to make a movie,” at least back then. So I pivoted to screenwriting, and pumped out two, three scripts a year, got signed at UTA, got writing assignments, and basically launched a screenwriting career. Then I still tried to get some stuff going, but it's hard when movies are so expensive. It's not hard, it's just that it takes a lot of precision in the marketing, and a lot of conversations to find the right matches to finance something, and you're either interested in doing that or you're not. I just was like, “Well, I'll just mostly write screenplays.” Then I started teaching at UCLA Extension and then coaching after that, along with writing. Then all the way up to the future. What's great about moving forward is that with AI, shot-making is becoming very close to cinematic quality. You can actually match cinematic quality in moments in some genres, but probably by next year. Right now you could actually do a really good horror movie all AI for 10, 20,000 bucks, depending on how much you're doing yourself or getting other people to do. So the economics are going to absolutely explode. So I'm sitting on dozens of scripts that didn't get through the Hollywood packaging bottleneck because they're too expensive, and I now have this giant slate that's ready to go, and I'm just absolutely thrilled. It's been a lifelong dream for me. Jo: Oh, so much to come back on there. Where to start? I do want to talk about what you just said there, sitting on dozens of scripts and now seeing the opportunity. I actually wrote down in my journal about a year ago, I see what's coming with AI, and I think that the best thing I can do is create as much original IP as possible, so that I can make the most of the opportunity ahead. So let's just get into the AI, because a lot of people feel it's a super bad thing. Talk about the opportunities and the attitude that you've got [around AI], and that you've seen others have around this, for what is ahead in a positive way. Brooks: It's fascinating to see how people respond to AI. I wonder, when the printing press rolled around, if there was some sort of backlash. Books must be handwritten. They can't be mass-produced. Here's one of my theories. At a deep psychological level, it's so profoundly powerful that I think the default setting is, “Oh, crap.” When I was a kid, some things were hard, and that power imbalance, when something big, new and powerful comes along: I'm going to get screwed, and so this is somehow a bad thing. I think that's the base psychological thing going on with most of the noise. Obviously there are some legit problems, in terms of copyright infringement from learning models, or from some of the environmental situation. So I'm not saying it's all rainbows and butterflies, but I think 90% of the noise around it comes from a fear of change. Here's the other one—a fear of, “Oh, yikes, I'm going to get taken advantage of somehow by either robots, or the corporations are going to use the robots against me,” or something like that. I have real empathy for me when I feel that way a little bit, but I don't feel it much, and for other people that do feel it. The other thing is, you know what it is? I think they fear their own empowerment even more. I had a therapist who was really good. He said, people aren't so much afraid of failing as they are afraid of succeeding. Because if we fail, we're stuck in act one and we don't go anywhere. The fear is answering the call and going to act two, when everything effing changes in the new world. So I think people are afraid of how goddamn powerful they're going to be when they can have a team of AI agents helping them do everything they want in business or life or whatever. I think it's the same thing with the internet. People are like, “Oh, I don't like social media, blah, blah, blah.” And I get it. There's a lot of noise and a lot of crap. Yet we have access to billions of people, and the algorithms in social media right now I think are level three out of 10. They're just going to get better and better. Even as it is now, if I do a post about something and it gets ignored, that's on me. The algorithms are trying to match me to my people. So if I'm not unique enough and authentic enough and aware enough of how virality works, that's on me, and it's a learnable skill that I can embrace and then change and then get better at. So I think people then resist that change. They resist the empowerment of learning the art of virality, or learning the art of some sort of social media stuff or whatever. The last thing I'll say about this rant is, I don't want to act like I'm the guru on the hill that has all the answers. I refuse calls all the time. I'm scared about all sorts of things. I'm certainly not perfect. I feel frustrated when I'm trying to put my big ideas into action and I can't get this technology thing to work or that one, and I throw tantrums. I'm trying to come at it from a real human perspective, but by and large, I've got stars in my eyes. I'm like, “This is amazing. This is going to be so powerful.” For so many people, you just have to be ready to embrace it and just go along for the ride, because there's going to be some big-ass changes. There already are, and that's going to accelerate. Jo: You mentioned there learning the art of whatever it is. One of the things is, I've spent 20 years, and so have you, learning our craft and our art, and now it can be done very easily. I'm generating video, as you mentioned, which is a craft I haven't spent 20 years on, but now I can generate. So things have definitely changed in that way. Just coming to the screenwriting side. Probably about a decade ago now, I did my first screenwriting course. I've written screenplays. Then I looked at the game you have to play and, like you said, the conversations you have to have, the events you have to go and network at, all the things that you have to do to put a screenplay in front of the right person at the right time. I was like, “I cannot do that. It's just not going to happen. I can't do that along with everything else.” So I put it aside, but now I feel maybe it's time to bring it back because things are changing. So can you maybe talk about, if someone has a screenplay now that they've written, or some IP like a book that they have now— What would you recommend people do in terms of wanting to get that [IP] in front of somebody, or doing something with it themselves? Brooks: It's such a good question. By the way, not even a screenplay—you could do the same things with a novel. Let me try to be succinct here, which is a good challenge for me. A simple way to look at it is, you're giving samples. Let's say it's a lemonade stand, and you give out a little shot of your… maybe you have cayenne pepper lemonade, some sort of fun lemonade. If you give out a sample and people are into it, they're going to come back and they're going to tell friends. If you give a sample of the lemonade and they're not into it, then you go back to the kitchen and you mix up a different flavour. So that's some basic business, but the internet allows us to do that at scale. So what I like to encourage people to do when I coach them is come up with the minimum viable material. It can be a 10-second clip. There's a writer in my community who made a really beautiful 16-second movie. It's one shot. I love it so much. It's two wine glasses. There's a lipstick smudge on one of the wine glasses. They're half full, and it's just that shot. It's sitting there, and all of a sudden you hear this thundering, thumping down these stairs, dun, dun, dun, dun, dun, dun. Then you see out of the corner of the frame one person runs by, and then the other person behind her runs by and goes, “Wait.” That's it. That's the whole movie. It's 16 seconds. He did that with his phone. So there's so much going on. There's a couple of basic elements, but he just did it with his phone, and you can evoke enormous emotional impact on people through social media, whether it's just words. You guys have a big advantage as novelists because you're so good with words. Whether it's a little bit longer, like sudden fiction, that's a couple of pages or whatever. Even just copywriters are really in a good position for the future because they're super potent with two words or three words or 10 words. Then novelists are probably really advantageous because it doesn't cost anything to just put some words out on the internet. The point is, if you put something out, it's a signal, and you're talking about billions of people who could find that signal. If you do it and then you look at the response, and then you try again, you look at the response, we can do this iteration infinitely for free. So you can do it already. You've been able to do it for 10, 15, 20 years, just with words. But now you're going to basically be able to do that with movies or clips or trailers. So the thing that I'm leading in my community of writers is having people build trailers in advance, or clips. When a book or a movie is done, how the heck do we get people to see it? One way is a trailer or some sort of behind-the-scenes material. You can just do that stuff now before even writing the screenplay. I saw that you were doing this project, a trailer for this competition. And then you mentioned, “Oh, I've got to write the screenplay.” Not really. You have to develop the story enough to know what you're referring to, and then it's about studying the craft of either trailer construction, or whatever the clips are, or viral clips. They all have a structure, and then you just test it. If you enjoy that testing process, which I find absolutely thrilling, it feels like the filmmaking version of a stand-up comedian. If I did stand-up, I say a joke, they laugh or they don't laugh. It's really beautiful feedback from the universe. Nerve-wracking, right? But we can do that now as storytellers. We put a story out there in any format, and the audience responds. Just like you have to read any room, you have to learn how to read the engagement on social media. What do likes mean? What do shares mean? What do comments mean? How do you deal with trolls? All that is just part of the new art. Once you get good at it, holy smokes, that's the key to the kingdom. You can build audiences in advance, and for movies you could even have them finance your movie in advance, if you've built an email list of 20,000, 30,000, 40,000 people because you kept putting out all these viral clips around your story, novel, or screenplay. Then you go, “Okay, now 30,000 people are on my email list and I tell them about me and my perspective and my world. We're going to make this darn thing with AI for 20,000 bucks. You guys have got to pony up some money. Put in a dollar, five, 10, or you get the VIP $500 experience.” It's like crowdfunding, but much more sophisticated, because most crowdfunding was like begging friends and family to donate to your crazy dream. What I'm talking about is going to the audience directly, developing enough of the story, then going to the audience second, and then only when they validate the idea, to the extent that you're happy with. You could do a crazy idea that's going to have a small audience, and you don't have to have a blockbuster audience. You get to pick the audience size that you want, and then put the samples out there and see if you have a relevant audience size for this next project. Once the audience tells you, “Yes, we want this,” then you go make it. So you're ultimately reducing risk to almost zero. It takes time and you have to learn how to do this stuff, but it's thrilling to me because we just have the capacity to test the material and listen to the audience upfront. The last thing I'll say, and I've rambled a lot, I'm sorry. When I made a movie in 1994, a feature film right out of NYU, it took me three years to find out what the audience thought about that movie. I had to make the damn thing, and then I ran out of money, and that took me years to edit it, and I finally got it, blah, blah, blah. And again, I loved it. I loved every facet of it, and it was fine, but it was super inefficient. Today, I could take those same elements, create an AI trailer this weekend, put it in front of hundreds of thousands of people, and they could tell me right away, “This sucks,” or, “This is interesting,” or, “Holy smokes, this is amazing. I want this.” If it's not, “Holy smokes, this is amazing, I want it,” I can go ahead and re-edit the whole damn trailer, and just keep reiterating at almost no cost. Then once the demand is there, I can take that demand and that audience and go to Hollywood, and that's when they're going to want to work with me. Then it doesn't take a million conversations and finding the needle in the haystack, because Hollywood sees the numbers and they go, “Oh, you're the people we do want to do business with. You've proven demand. We want to do business with you.” Jo: Yes, it's so interesting. I can hear people listening and they're like, “Easier said than done, getting an email list of 40,000 people.” And in fact— It's exactly the same as building up a career as an independent author. This is as a filmmaker, as a visual person, and the industry is visual, so doing a visual trailer is the obvious thing. And as you say, the tools I use just to do this one, I use Midjourney, and I've used Seedance as the main video model. It does take a while, but it is pretty fast now, if you have a visual image of what you want in your head, which obviously you're a visual person as well. But is it… Brooks: Hold on. I want to push back on that a little bit, because I think it's really important. So yes, that's true, but underneath that, my friend, it's a relationship. It's the relationship, and the media is secondary. You have been prolific in connecting with your audience, and that's why I think a lot of people like you, because you share and they get to know you in that sort of cadence. I saw you in another podcast, you mentioned Seth Godin, who just said, “Hey, I want to be the type of person that has this relationship with my audience. I'm going to share some of my thoughts every day.” He happened to do it with words, with his background in marketing, but you could do the same thing with still images. You could do the same thing with a five-second movie clip once a week. It's the relationship you want with your fans. I'm not saying you snap your fingers and you have 50,000 people on your email list. What I'm saying is, what else are you doing? If we're artists and our impulse is to create and share, and if you do it in this way, if I can create and share and inspire trust in this relationship with a stranger because they like my genre thing and they like the way they felt when they experienced my media, words, images, movies, it doesn't matter. They just like the feeling, and they go, “Ooh, I want more of that feeling. How do I get more of that? Oh, this person has this email list or community.” If I can do it with one, then I can scale it out. So getting the first one, or the first 5 or 10 samples, that is a whole process. But then once you do that, scaling up is more of a mechanical thing. It's not even that hard, especially when you can do paid ads. So you can scale up very quickly if you have the sauce. If you don't have the sauce, it doesn't matter who you're related to, you've got to get the sauce right. Jo: Yes, and again, it's so parallel to the indie author community. I've just got to ask you, in the olden days, an author might write a screenplay, or a screenwriter write a screenplay, and then they would send it. They'd find an agent. They'd pitch an agent, and I guess then they'd hope that someone would turn that into a movie. So is that just dead now? Is it realistically that you need to get yourself out there, build the audience in the same way that it often is for authors? Brooks: So, no. I've got two screenplay deals going right now. So here's how it's going to work. Think about Broadway, or the theatre district in Britain. It's like West End or East End or whatever… Jo: The West End. Brooks: Sorry for my American ignorance. West End, okay. So every town on the planet has a stage, but there's only one Broadway, there's only one West End, right? And every town has its own festival, but there are a few significant tastemakers. There's Cannes, there's Sundance, there's Toronto. Hollywood is always going to be a tastemaker in our lifetime, for sure. What they don't have anymore, what they enjoyed for the first 100 years of the industry, is that they had a stranglehold on basically the equipment, the financing, and the audience, and that's all going away. Do you want to hear a fun story about the birth of cinema? Do you know why Hollywood started in Hollywood? Jo: No. Brooks: So Thomas Edison invented the camera, or the type of model camera that they were using in, I don't know, 1910 or something around there. They didn't want to pay his patent. They didn't want to pay the patent to make these movies, so they went all the way across the country, a bunch of outlaws, and they set up shop in California because he couldn't enforce his patent that they were basically stealing. And reason number two, LA enjoys amazing weather almost all year round. The weather here is either nice or really nice. You have mountains, you have beach, you have desert, you have all these different locales. So when it was really important to be on location, LA was the perfect place. Anyway, that is all going away. For many decades, more people could make movies. In the early '90s, Robert Rodriguez made a movie for 9,000 bucks. There was a book in the '80s that I bought that I loved, it was Feature Filmmaking at Used-Car Prices. This guy, Rick Schmidt, I think his name was. There were the independent filmmakers really in the '60s and the '70s. So the cost has been going down and down and down, and now it's less than ever. Once social media came along, now you have access to the audience, so why do you even need Hollywood? That being said, there are tons of people. There are 400,000 people already working in the movie and the TV industry here. And they're voracious. We have a voracious demand. Humans need stories. We need big stories, long stories. We need stories, and Hollywood is so good at giving them stories. And so they have a need for these things, and they're still spending a lot of money on those budgets. So yes, there's still a demand for turning books and optioning them and turning them into movies. Books are great. Any sort of existing IP is great because there are marketing efficiencies there. People already know that stuff, know the vibe of it, and so it's easier to market than something that's totally creative and new. When you're spending that much money, you want those marketing efficiencies. They're really important. So the point being, the power is shifting away from Hollywood. Hollywood will still be a tastemaker, but you and me can reach anybody on the planet now. Almost. Billions of people. If it's making a movie, right now you could make a movie that most people wouldn't realise is an AI movie. If it was a horror film, I know a handful of people that could make a feature-length horror film right now with AI and 99% of the audience couldn't tell, if it was professionally written. Jo: I think the point here though is, I'm an author, the people listening are authors, and we don't want to make movies. We want to license our IP to people who want to make movies. Brooks: Yes. Great. Okay, good. So then you could, if you wanted, build an audience. Hollywood loves when something's already proven, so that's that IP thing, right? So if you just have a great book, then it's all about the sales. You guys have Dragons' Den, we have Shark Tank here. And what's amazing about that show is these are people or entrepreneurs pitching an idea, and there's an amazing rhythm that happens. They say, “We've got this great idea. It's this sort of company.” And the sharks, or the dragons, will listen. And there's a huge turning point when they reveal sales. They're either really excited about the idea and then they go, “Well, how are the sales?” And the person goes, “Well, we don't have any sales yet.” And they go, “Uh,” and they're not interested. Or they might even be like, “Eh, it doesn't seem like a good idea.” And they're like, “Well, how are the sales?” And they're like, “Oh, well, we've sold through the roof.” And then all of a sudden they perk up. So it's all about the sales. So step one is writing something that you want. Step two is making sure other people in your target audience are also loving it as much as you do. Step three is proving in some way at scale that there's real demand for it. So you could do that with trailers, you could do that with clips, you can do that as an indie publisher. There's all sorts of things that you can do. Humans are much more persuaded by concrete data than they are by just vibes. So if you can bring Hollywood concrete data of any type, like viral videos, like audience, like obviously bestsellers. Awards mean something, but not quite as much as sales. Then you're going to get Hollywood's attention because that reduces risk for them. So even now, when Hollywood's definitely shrinking and contracting, there's still very significant money being spent because it's a huge demand. If you ever walk around a studio lot, those things are opulent places. It's stunning. Like, how are they paying for all this stuff? These lots are enormous. It's because humanity is voracious for stories, and movies are one premium type of storytelling. The demand for stories is steady if not going up. It's just that we have a wider variety of types of stories that we can do, whether we're an indie author. So anyway, did I answer the question? You get me too excited with these questions, Jo. It's a problem. Jo: Yes. I think there's a lot of opportunity and a lot of ways in, but the parallels with being an indie author I think are quite clear. One of the things I found interesting about your profile and what you do is that you help clients who are already accomplished but not quite breaking through, and that sounds like a lot of mid-list indie authors, probably a lot of mid-list screenwriters, mid-list filmmakers. This is a hard place to be because, on the one hand, we are grateful for what we have achieved and what we can do, and yet wanting more, wanting that big Hollywood deal or the Netflix deal, or wanting the massive bestseller or whatever. So if someone wants to get to that next level, what are some of the ways that they can perhaps try and get there? Brooks: It's a great question. Coaching is a really wonderful way to learn anything of this sort of complexity and challenge, especially if it's a hyper-competitive business. We need two things, I think, to write a great novel or screenplay or both. A, we need to feel profoundly safe in our space. If we can't really feel deeply authentic about the things that are embarrassing, or that we feel shame about, or just our shadows, or anything that we don't feel completely comfortable saying and sharing in public usually. We need to be able to touch those things, and be articulate about those things, and that's one part of it. Then we need a concrete path forward. Maybe you're thinking about some tragedy that you had in childhood, and how you dealt with it and how difficult that was. So you need to be able to be real precise in those observations about what it felt like, and how you tried to compensate for it, and that didn't work and it made it worse. Whatever your observations are about your life journey, you need to be really specific and really deeply felt. A good coaching relationship allows you to be in that space, to be really honest with yourself and authentic. g Aood coach will push you back and say, “You know what? That sounds interesting, but maybe not quite as true to you deeply.” So that's one piece of it. Then there's a concrete path forward. You need to have the emotional access to that truth, and then you need to know what to do with that truth in a step-by-step way. Because most people, the ones that you're talking about, they're accomplished in something else. What happens is when we first start writing, and maybe this happens with novelists, but for sure it happens to screenwriters, you just start typing words. But you haven't really thought through the theme, the concept, the structure, the character, all the deeper questions that really matter. The milestones, like a North Star: winning a major award, or getting a publisher. That's the direction that we're heading towards, and then you set it and forget it, but you want to keep checking it every week, every month or whatever. But you want it very specific. “I would like to sell a book, or sell a book to Hollywood, or write a screenplay, or get a producer attached to a screenplay.” Whatever the milestone is, make it really specific, really concrete, and then reverse engineer. This is what I do on the concrete path. I reverse engineer every step to get there, starting with a really tiny one we can do today, and I make sure they feel really safe, and then we just walk through. Then what happens is, if you do that, if you feel safe, if you're showing up authentically and you have a process that's repeatable, not just willy-nilly, it's got to be something that's proven to work. It wasn't an accident I wrote 45 scripts. I've got a whole system. But by the way, the first five scripts took me forever. The last movie that I made took me three years to write that script. I can write a better script with those same elements in three months now, because I know I have a concrete path. So if you want to do something new, whether it's playing the piano or getting six-pack abs or writing a screenplay, work with somebody who's got a system that's already proven, and make sure you relate to them, and then just follow the system. Then when the doubts come up, and they will, that's where the feeling safe is really important. Because, oh, I want the six-pack abs, but I don't feel like going to the gym. I want the extra donut. If I'm working with a really good trainer, they go, “Dude, do you want the six-pack abs or not?” And then you go back and forth, and I go, “Okay, now I can make peace with myself and say I can take one tiny bite of the donut and then still do my workout,” and then I'm moving towards that North Star. Does that make sense? Jo: Yes. I think, like many independents, I resist anything that is systematised. I'm a discovery writer, and I follow the muse, and all of that kind of thing. I think I would say something in a similar vein, which is sustainable creativity for the long term, because your 45 scripts are also years of work, and my books are years of work, and we get better at what we do. So my system, I do have a system really, because— My system is that I do the work, and I write my stories, and I get them out there, and I do the marketing. So even if it's not as systematised as such, it's still a process that I have repeated over and over again. Brooks: That's fascinating to me. Would you consider yourself a pantser? You're like, “I've got an idea,” and you just start writing? Jo: I don't use the word pantser. I guess I call it discovery writing, which is… Brooks: That's a better term. Jo: Yes. What I'm writing for this prize, for example, I know the characters, I know now what's happening. When I had the idea, it was very much a vision and a theme, and the competition has a theme: a positive future with AI and technology. But the things that came around that, I then started playing with ideas around the treatment. I haven't written the screenplay yet. I don't do a plot, or I don't follow Save the Cat or any of that kind of thing. When I write a novel, I just explore and I never write in order. Then at some point I stop and then I have to think about the structure and putting it all together, so the edits are quite big. But my fun is in that discovery, really. Brooks: Oh, that's awesome. Okay, so let me ask, that's really fascinating. And by the way, that doesn't, to me, negate the system that I use. The one that I use is ultimately… the thing is, these questions, the audience is wanting your unique answers to. You don't necessarily need to do it in a certain order. I think that's actually really cool that you write out of order and you have a few elements in mind. All that stuff sounds awesome. The only thing that then makes me curious is, how's your pace? Are you actually completing novels at a pace that feels good, or do you feel like you go too fast, too slow? Jo: I do one or two a year at the moment. Well, two a year, really. But I would say I'm not as successful as I'd like to be, so I'm not saying that my system is the best. I'm saying I want to be better. It's just that my fun is this sort of creative chaos, which I then try and control later. One of the things I really like about screenplays and treatments and doing this kind of thing for film is that it is much more structured, I think, than a 70,000-word novel. You can go in all kinds of directions, whereas with screenwriting you do have to be more disciplined really. Brooks: Yes, so this is going to be fun probably, to hear my view for your audience, and the differences as I see them. For starters, you're talking about what, 10, 20, 30 hours reading a novel sometimes, or maybe less, whereas a movie's a 90-minute experience, right? So that's different. Or if it's a TV series, you might see an hour and then an hour. So that's a very different experience. What happens is when it's condensed like that, you're loading up layers. So every scene is stacked with exposition beneath the drama, and done in a certain way. So specifically, movies are only what you can see and only what you hear. Whereas novels, if you can think it, you can write it, it can be in there. So you don't need to have a plot, but if you want to sell your book to Hollywood, it helps. So I was very resistant about structure. I went to NYU film school, where we really just made short films. It was funny, I had friends that were in the dramatic writing department, and I was like, “You guys are wasting your money. You're just learning to write scripts. We learn to write the scripts and make the movies.” What I hadn't realised is it's a different skill set to hold somebody's attention across an hour-long play, or a 90-minute movie, than it is to make a movie that holds their attention for two minutes or five minutes. I found out years later when I made a feature that was like a lot of shorts patched together, and people were not… They liked it, but they didn't love it. I was like, “Well, what's going on?” And so then I learned to really love Save the Cat in particular. It completely changed me. What happened was, I got a big old slice of humble pie. I had made my second feature, and I put everything I had into it, and it had loose structural beginning, middle, end, blah, blah, blah. But I was still, “Eh, Hollywood BS. What do they know? It's all fake.” So I was very anti-Hollywood structure. Then I was like, now I've got two independent films out there, people saw them, liked them, whatever, but it wasn't getting me consistent work. It wasn't really advancing my career in the way that I wanted. And I was like, “Well, maybe there is something to the Save the Cat.” So I went to the Save the Cat workshop with Blake when he was still alive, and he was delightful, a really awesome guy. He's got this kind of cutesy style, for people that don't know. For context, Blake Snyder was a working Hollywood screenwriter, and he had this system called Save the Cat, which actually has some really interesting ideas. He's got this very light, breezy sort of style. A lot of people don't like him and some people really love him, and everything in between. But I took his weekend seminar, and it completely changed me, because at that point, like I said, I took three years to write a script. Then once he had a process and he had a way of thinking about craft that was just much more screenwriter-friendly, I was like, “Oh my God.” It was so much easier, because I was just focused on the right thing at the right time. So it just sped everything up. After that, I was banging out two to three scripts a year, and better and better quality. So for me, because I went from winging it and wrote five scripts in 13 years, and then wrote two to three scripts every year, I became a huge proponent of system and process. Then my own system really came from that, but it's modular. I have a nine-step system, but you don't necessarily have to go in that order, other than the last three steps, but I won't get into the details. Sometimes you kind of jump from two to three and then back to two and then back and forth. So I love that you get the feel for those elements, and then you just felt your way through. But writing screenplay pages doesn't make sense until you really understand concept, you get a deep sense of beginning, middle, end, character arcs, and these other threads. There are just way better tools for those jobs than screenplay format, because it's a really weird format. It's got these weird slug lines at the top that are all in caps, because a screenplay is a blueprint for somebody else to make the movie. It's not an end-user document like a novel. I don't let my clients even go to that format because it just gets them focused on the wrong things. What they really need to know is, what is your perspective about this theme? What happened in your life that you're fascinated with, that you'd even want to write about this? And tell me what your real life lessons are. So we go into… again, I go back to relationship. What's your relationship to the universe? And what's your relationship to your best friends, or where you got your heart broken, or whatever you want to write about. And then we get that clarity, and then I show you how to express it in terms of developing a screenplay. It's really long-form storytelling, and then the structure just makes it build on itself. But with the structure, because you're talking about so much money and people involved to make it, at least traditionally, what ended up happening was narrative structure that was not so much rigid. Because here's the thing, you can look at 50, 100 years of European cinema and you can look at Hollywood cinema, and Hollywood laps them. When I taught at UCLA Extension, I had lots of foreign students. Let's say there'd be two or three students… if there were 12 people in the class, two or three people would be from America, and everybody else would be from other countries. I would go around, I'd be like, “What movies and TV shows have you been watching?” Almost in every single country, they watch half from their own country, half from Hollywood. So Hollywood storytelling works, that's just the data, and they're dominant. The reason it works is what Aristotle was saying thousands of years ago.. There's a way of thinking about beginning, middle, end that just deeply speaks to the psyche, and you can ignore it if you want. I think Godard said, “You need beginning, middle, and end, but not necessarily in that order,” right? Which is great. Just the way we experience life, there's a beginning, a middle, an end to this podcast interview. There's a beginning, middle, end to the day, a beginning, middle, end to me eating lunch. So if you don't lean into the beginning, middle, end psychological aspect of your story, you're going to bore your reader. But to your point, you don't necessarily have to sort that out in the beginning. It's more efficient probably if you do, but you don't have to. Go into it wherever the muse tells you to go, and then at some point, like you do, then you go, “Okay, now I go back and I edit.” If you're saying there's another level, you have another gear in you, then yes, I'd be curious to slowly go through how you're making those decisions. Because what's happening probably is there are ways you're holding back a little bit. There's maybe something you're afraid of being vulnerable about. That's usually where me or other writers are holding themselves back, and we can take a look at that. There are different ways I show writers to do it. Then you can go, “Oh, I was doing it here, and now I can do it there.” And it could be with process, or just a certain creative choice. With story, it's clear and compelling. Those are the simple things. So, is this clear enough? Is it compelling enough? And there are almost always ways to up-level on any facet, whether it's one sentence, or a sentence that describes the whole concept of the book, or a chapter. Each one of those can be looked at with that lens and we can just say, “Hey, this is 70%, 80%,” whatever, and then we say, “Well, how do we get a little bit more?” And then when you do that enough, it piles up. Then especially if you bring in an audience and people are flipping out for your work, they'll tell you. Jo: Yes, I love a challenge, so thank you for everything you've shared today. So where can people find you and everything you do online? Brooks: Well, one way you can find me—if anything I said seemed helpful for you, if you have questions about Hollywood or you have a screenplay in your heart—you can just email me, brooks@brookselms.com. You could look me up on LinkedIn. I'm at Brooks Elms. I also have a Skool community called Screenwriter Marketing, but it's really for any sort of storyteller, and it talks about my favourite way to engage an audience and get through it. So anybody can jump into that if you like my vibe. If you really think anything I've said, or the way I said it, seems like it could be helpful for you, just reach out. Let me know what you're up to, and maybe there's a way I can help you. Jo: Fantastic. Well, thanks so much for your time, Brooks. That was great. Brooks: You're welcome. It was a total pleasure. It was lots of fun, and I really appreciate you.The post How To Prove The Demand For Your Stories And Get The Attention Of Hollywood With Brooks Elms first appeared on The Creative Penn.

Host Marina Franklin chats with Emmy-nominated composer Kathryn Bostic & filmmaker Sharaé Nikai. Dive into their stories, career wisdom, and the power of community and vote for Kathryn for the World Soundtrack Awards.  Kathryn Bostic - Award winning, Emmy nominated (The Supremes at Earl's All You Can Eat; Amy Tan-Unintended Memoir; Toni Morrison-The Pieces I Am) composer and singer-songwriter Kathryn Bostic is known for her original work on film,TV, Broadway and symphonic music. On Broadway, Bostic worked with iconic playwright August Wilson, creating the score for "Gem of the Ocean." She also created the score for the Broadway production "Bengal Tiger at the Baghdad Zoo" featuring world renowned actor and comedian Robin Williams. She is a recipient of many awards and fellowships including the prestigious BMI "Streaming Media Award"; Hollywood Music in Media Award for "Best Score TV Streamed Movie"; Society of Composers and Lyricists "Outstanding Music for Independent Feature Film"; African American Film Critics Award for "Best Music in Film"; Sundance Time Warner Fellowship; Sundance Fellowship for Feature Film Scoring; and Sundance Documentary Film Scoring. Bostic served as Vice President for the Alliance of Women Film Composers. She is a member of Television Academy of Arts and Sciences, The Recording Academy, and Bostic is the first African American female composer in the Academy for Motion Pictures Arts and Sciences. Her end title song "High Above the Water" for the award winning film "Toni Morrison- The Pieces I Am" was Oscar shortlisted. Her work on Sarah's Oil: Original Motion Picture Soundtrack is up for the world sound track public choice award. You can vote for Kathryn at worldsoundtrackaward.com . Sharaé Nikai - Against industry odds, Jersey City native Sharaé Nikai wrote, produced, co-directed and starred in her very first feature film, "The Other, Gold." It is a heartfelt dramedy that follows a TV writer living in Little Tokyo as she navigates grief, isolation and the rekindling of a former BFF-ship. Out of 13,016 submissions, TOG was invited to world premiere as one of only 10 films in Tribeca's US Narrative Competition. This acclaim led to Nikai being in consideration for the 2025 Oscars, Spirit Awards and Emmys in the Outstanding Television Movie, Directing & Lead Actress categories. It also makes her the first Black female quadruple threat (sole writer/producer, director & star) to qualify for the Academy Awards with no studio or major production company backing. As a producer, Sharaé secured an exclusive Mental Health Awareness partnership for "The Other, Gold" at FOX-owned Tubi and sponsorship for its launch by Women in Film (WIF) and The Entertainment Community Fund. In March 2026, "The Other, Gold" was released worldwide in celebration of Women's History Month exclusively on Apple TV. In addition to TOG, Nikai appears in numerous ad campaigns, films and TV series including Grey's Anatomy and opposite Alison Brie in Sundance's "Horse Girl" (The DuPlass Bros/Netflix). Currently, she is the 2026 international voice of Nordstrom Rack all while developing her dramedy driven TV/film slate. In her spare time, Sharaé takes serious pride in the accent mark over her "e" and is the reigning (read: self-proclaimed) trap karaoke queen. Always hosted by Marina Franklin - One Hour Comedy Special: Single Black Female ( Amazon Prime, CW Network), TBS's The Last O.G, Last Week Tonight with John Oliver, Hysterical on FX, The Movie Trainwreck, Louie Season V, The Jim Gaffigan Show, Conan O'Brien, Stephen Colbert, HBO's Crashing, and The Breaks with Michelle Wolf. Writer for HBO's 'Divorce' and the new Tracy Morgan show on Paramount Plus: 'Crutch      

In a week where Hollywood studios have cleared the deck in the wake of The Odyssey, Erik Childress and Steve Prokopy still have a bunch of reviews for you. They revisit one of the year's best protest documentaries from Sundance (Everybody to Kenmure Street). Steve talks about seeing the musical on stage that was filmed for cinema (Hadestown: The Musical). Yorgos Lanthimos' co-writer crafts another quirky, unpleasant family (Rosebush Pruning) and Nicolas Winding Refn delivers a tale of fathers, daughters and a serial killer (Her Private Hell). Kevin Hart joins a Gen-Z bachelor party weekend (72 Hours) while Jake Johnson plays pickleball to save his family club (The Dink). Reacher's Alan Ritchson seeks revenge of both the deadly and silent type (Motor City). Finally, Sundance isn't the only revisitation this week. As part of “Review Catch-Up” Erik took a second look at Christopher Nolan's The Odyssey. Did another viewing change his opinion at all? 1:14 - Review Catch-Up 17:31 - Everybody to Kenmure Street 26:49 - Hadestown: The Musical 34:32 - Rosebush Pruning 46:45 - Her Private Hell 57:53 - 72 Hours 1:12:22 - The Dink 1:25:02 - Motor City CLICK ON THE FILMS TO RENT OR PURCHASE AND HELP OUT THE MOVIE MADNESS PODCAST OR BUY FROM MOVIEZYNG Be sure to check out Erik's Weekly Box Office Column – At Rotten Tomatoes Critics' Classics Series – At Elk Grove Cinema in Elk Grove Village, IL Chicago Screening Schedule - All the films coming to theaters and streaming Physical Media Schedule - Click & Buy upcoming titles for your library. (Direct purchases help the Movie Madness podcast with a few pennies.) Erik's Linktree - Where you can follow Erik and his work anywhere and everywhere. The Movie Madness Podcast has been recognized by Million Podcasts as one of the Top 100 Best Movie Review Podcasts as well as in the Top 60 Film Festival Podcasts and Top 100 Cinephile Podcasts. MillionPodcasts is an intelligently curated, all-in-one podcast database for discovering and contacting podcast hosts and producers in your niche perfect for PR pitches and collaborations. USE COUPON “MOVIEMADNESS” TO GET 10% OFF ALL DUBBY PRODUCTS SIGN UP FOR AUDIBLE This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit erikthemovieman.substack.com Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Movie of the Year: 2006Little Miss Sunshine (feat. Don Shanahan from Every Movie Has a Lesson!)Little Miss Sunshine Podcast: The Hoovers Hit the BracketThe Little Miss Sunshine podcast episode has arrived, and the Taste Buds are packing into the VW bus. This week, Movie of the Year puts one of 2006's biggest indie success stories through the tournament. Ryan, Mike, and Greg welcome film critic Don Shanahan to help judge the Hoover family's run at the crown. Together, the panel digs into the family dynamics, the unforgettable ending, the film's surprising philosophical streak, and the husband-and-wife directing team behind it all. Additionally, the crew squares off in a round of Trivia and builds a fashion-themed Rushmore. Can a sunny yellow bus carry this movie deep into the 2006 bracket? Push, hop in, and find out.About the FilmLittle Miss Sunshine follows the Hoover family on an 800-mile road trip from Albuquerque to Redondo Beach. Seven-year-old Olive has qualified for the Little Miss Sunshine beauty pageant, and the whole dysfunctional clan piles into a failing Volkswagen bus to get her there. The passenger list includes a failed motivational speaker, a suicidal Proust scholar, a Nietzsche-obsessed teen who refuses to speak, a heroin-snorting grandpa, and one very determined mom. Directed by Jonathan Dayton and Valerie Faris from Michael Arndt's screenplay, the film premiered at Sundance in January 2006. It became a box office sensation, grossing over $101 million on an $8 million budget. Moreover, it earned four Academy Award nominations, including Best Picture. Alan Arkin won Best Supporting Actor, and Arndt took home Best Original Screenplay. RogerEbert.com called it a gentle family satire in the tradition of the countercultural comedies of the 1970s. Now the film faces its toughest challenge yet: the Movie of the Year 2006 bracket.Guest Panelist: Don ShanahanThe Taste Buds welcome film critic Don Shanahan to the panel. Don is a Chicago-based, Rotten Tomatoes-approved critic and the founder of the long-running review site Every Movie Has a Lesson. He also serves as Editor-in-Chief and Content Supervisor of the film department at Film Obsessive. Furthermore, Don co-hosts the Cinephile Hissy Fit Podcast on the Ruminations Radio Network. A school teacher by day, he writes his reviews with life lessons in mind, from the serious to the farcical. Don is a director and co-founder of the Chicago Indie Critics and a voting member of the Critics Choice Association and the Online Film Critics Society. Consequently, few guests arrive better equipped to grade a movie about winners, losers, and everything in between.The Hoover Family at the Heart of the Little Miss Sunshine PodcastEvery great road movie needs great passengers, and this one has six. The panel starts with the family itself. Richard preaches his nine-step winning program while his own career collapses. Sheryl holds everyone together with fried chicken and sheer will. Frank arrives fresh from a suicide attempt, and Dwayne has taken a vow of silence until he becomes a fighter pilot. Meanwhile, Grandpa coaches Olive's pageant routine with methods no pageant has ever approved. The Little Miss Sunshine podcast crew debates what makes this dysfunction feel so real. Notably, the film establishes the entire family in one legendary twenty-minute dinner scene. The Taste Buds and Don break down how each Hoover carries a private definition of failure. Ultimately, the group asks the big question: is this the best movie family of 2006?Breaking Down the Ending on the Little Miss Sunshine 2006 PodcastYou know the scene. Olive takes the stage at the pageant, "Super Freak" drops, and the movie explodes. The panel dedicates a full segment to one of the most famous endings of the decade. By contrast with the polished pageant contestants, Olive's routine is pure chaos, and the family's response is pure love. The Hoovers stop trying to win and start dancing. Don and the Taste Buds debate whether the finale earns its catharsis or leans on shock value. In addition, the crew discusses how the ending flips the film's winners-and-losers thesis on its head. Does the dance number seal the film's bracket run, or does it divide the panel? The episode holds nothing back.Nietzsche, Proust, and the Philosophy of LosingFew crowd-pleasers smuggle in this much philosophy. Dwayne worships Nietzsche and wears his contempt for conformity on his sleeve, or at least on his t-shirt. Frank, meanwhile, claims the title of preeminent Proust scholar in America. The panel unpacks why Michael Arndt built his comedy on these two thinkers. Frank's hospital-parking-lot speech about suffering becomes the film's secret thesis: the years of struggle are the years that make us. However, the movie never turns into a lecture. Instead, it hides its ideas inside gas station stops and highway breakdowns. The crew debates whether the philosophy holds up or simply decorates the road trip. Specifically, they ask what Nietzsche would think of a nine-step program for winning.The Directors: Jonathan Dayton and Valerie FarisHusband-and-wife team Jonathan Dayton and Valerie Faris spent decades directing music videos before this debut feature. Their work with bands like The Smashing Pumpkins and R.E.M. sharpened an eye for visual storytelling on tight budgets. As a result, Little Miss Sunshine looks sun-bleached, precise, and effortlessly funny. The panel examines how the duo directs comedy through reaction shots rather than punchlines. The famous bus-pushing sequence becomes a masterclass in physical comedy and ensemble blocking. Additionally, the group traces the pair's later career through Ruby Sparks and Battle of the Sexes. Why did two music video veterans wait so long for a second film? The panel has theories, and some of them are even kind.TriviaNo Movie of the Year episode is complete without Trivia. The Taste Buds and Don test each other on all things Little Miss Sunshine. Production history, casting near-misses, pageant facts, and VW bus mechanics are all fair game. The film's six-year development saga and its record-setting Sundance sale provide plenty of ammunition. Who takes the crown this week? Listen and find out.Rushmore: FashionThis week's Rushmore segment tackles fashion. Each panelist carves their personal Mount Rushmore of movie fashion into the mountainside. Little Miss Sunshine gives the category a strong starting point. Olive's oversized glasses and red cowboy boots, Dwayne's brutal statement tees, and Richard's aggressively beige wardrobe all deserve consideration. Nevertheless, the panel ranges across all of film history for their picks. Expect passionate defenses, questionable taste, and at least one choice that starts an argument.Why Little Miss Sunshine Still MattersTwenty years later, Little Miss Sunshine remains the gold standard for the crowd-pleasing indie. It proved a tiny comedy could outgross blockbusters and crash the Best Picture race. Furthermore, its skepticism about hustle culture and toxic winning has only grown more relevant. Richard's nine steps sound like half the internet in 2026. The film also launched Abigail Breslin, revived Alan Arkin, and showed the world Steve Carell could break hearts. Above all, it argues that losing together beats winning alone. That message keeps the Little Miss Sunshine podcast conversation alive two decades after the bus first rolled. For more from the season, check out the Movie of the Year 2006 intro episode and the 2006 Mixtape.Related Episodes from Movie of the Year: 2006Movie of the Year 2006: Intro Part 1Movies of 2006: Bracket Reveal and Sweet 16Tristram Shandy: A Cock and Bull Story2006 Mixtape Part IAll Movie of the Year EpisodesFAQ: Little Miss Sunshine Podcast and FilmWhat is the Little Miss Sunshine podcast episode about?The Taste Buds and guest critic Don Shanahan judge Little Miss Sunshine in the Movie of the Year 2006 bracket. Topics include the Hoover family, the ending, the film's philosophy, and directors Jonathan Dayton and Valerie Faris.What is Little Miss Sunshine about?A dysfunctional family drives a broken-down VW bus from New Mexico to California so young Olive can compete in a beauty pageant. Along the way, every member confronts their own definition of failure.Who directed Little Miss Sunshine?Jonathan Dayton and Valerie Faris directed the film. The married duo made their feature debut after a celebrated career in music videos.Who wrote Little Miss...

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Director Will Niava's film, JAZZ INFERNAL (2025), is showing on July 23rd at the Future of Film Showcase in Toronto. If you're reading this before the date and can go, what are you waiting for? Buy tickets!It's that incredible, one of the best films I've seen all year. It won a Short Film Jury Award at Sundance last year and very deservedly so. Will is an Ivorian-Ghanaian film director and screenwriter based in Montreal, Quebec. And think about that sentence for a moment: there's few like it in the English language that conjures up that many cultural influences in 13 words. And the best way to describe Will's films is that he brings all of those together into pure artistry.If the interview feels short, blame me. The Future of Film press person asked, will 20 minutes be fine, and I stupidly said yes and regretted the decision fifteen seconds into the interview.On your next film, Will, I won't make that mistake again, trust me.In this episode, Will and I talk about:how he describes his award-winning Sundance film;its evolution from a lighthearted comedy to a love letter for his father;if the prestigious awards it earned changes his mind about making a short;how he got started in filmmaking;the concept of taste versus talent;what's next for him.Will's Indie Film/Filmmaker Highlight: PARADISE (2025) dir. by Jérémy Comte; MY FATHER'S SHADOW (2025) dir. by Akinola Davies Jr; Harley Francis; Zion Saffer; Samuel CaronMemorable Quotes:"[My wife told me] you have to talk about your grief. And my grief felt personal."" This is what a short film has done for me, so I can never recommend against it."Links:Follow Will On InstagramBuy Tickets For JAZZ INFERNAL at The Future Of Film Showcase

After finally having a mystery that has plagued Devon solved, The Say Reporters are back in the studio to for a  state of the union episode where we deliver discussion on various topics near and dear to our hearts.The future of Daylight Savings Time and the Sunshine Protection act some sneaks its way into the first slot, then Sejohn takes the conversation to the movies to discuss the differences between satire and the newly minted bit of Say Vocabulary “Fratire” with his deeper exploration into the horror cinema of the 1990's through the Leslie Nielsen lense with a particular focus on Dracula Dead and Loving It and RepossessedDevon uses this as a spring board to discuss his interaction with modern cinema with viewings of the Live-Action “Moana” remake and David Wain's latest film and Sundance darling “Gail Daughtry and the Celebrity Sex Pass”Then it is off to the realm of the small screen where Sejohn has continued his odyssey through the realm of adult animation from the 2000's with a stop at Superjail and Devon expounds upon the start of his journey to rewatch The Adventures of Pete & Pete with the Shorts and Specials from the early days of Nickelodeon. The final stop is video games where Sejohn has rejoined his in progress trek through Batman: The Telltale Series and Devon has just embarked on the master quest Adventure 2 of Diddy King Racing and both agree that when Nintendo meets Monopoly the winner is the player. Things are returning back to normal at the Say Report and we couldn't be happier as we embark upon this final stretch of road to episode 500! 

My guest, Hazel McKibbin, directs films that make top festivals. She edits films that make top festivals. And she makes commercials for brands at the Met Gala. And yet:Here's Hazel taking on a project about masculinity called LAST MAN UP (2026). Last episode, I praised writer and actor Robert R. Palmer for offering Hazel the opportunity to direct his project, so she deserves equal credit for taking it on. I could see a lesser director -- a lesser person -- saying no, but as she talks about in the episode, she saw it as an opportunity to expand her skillset.To say I wish there were more directors like Hazel is a bit of a non-descriptive statement: of course. What I mean by that is let's celebrate risk takers who leave their comfort zone of the material they are used to and take on somebody's project, or do something different.And if you're as talented as Hazel is, it'll work out beautifully.Hazel and I talk about:how she describes the film;why she decided to take on a story like this with a background in films "with a feminist lens";the reaction of other people when she took on this project;her entry into filmmaking and if starting out as an editor helps;the conversations she has with a director as an editor and vice versa now that she's directed several films;the increase in projects she's directed that were written by actors;what her wishes are for short films;why film school and why Columbia?her amazing Sundance experience;what's next for her.Hazel's Indie Film/Filmmaker Highlight: AU HASARD BALTHAZAR (1966) dir. by Robert Bresson; Joanna HoggMemorable Quotes:"It's a story about what it means to be the man of the house."" If you just leave it to an editor, and they fix it before they give it to you, I feel like you're missing an opportunity to to learn as a director.""I think actors as writers, they are so good at dialogue."" One of the things that especially I tell my students, [short films are] unity of time, place, and action."" Between commercials and narrative, there's not a lot of crossover."" I submitted it because you submit your first film to Sundance, you just do."Links:Follow Hazel On InstagramWatch DOUBLESPEAK (2021)

Erik Childress and Peter Sobczynski take you through another week of physical media. Criterion has you covered from Mike Mills to Nagisa Ôshima. Butch and Sundance make na early appearance alongside Barbara Stanwyck. Giancarlo Giannini tries to solve some giallo murders, Ray Harryhausen takes you to an island of monsters or you can travel to one with Glen Powell and Sydney Sweeney. Ray Liotta is a bad cop after Kurt Russell's wife and Michael Douglas is an ordinary guy looking to bring some sense to society. Or is he? We certainly know where he would end up in Gary Ross' wondrous debut fantasy. It's all part of a show with films that may be even more relevant today than when they premiered.1:47 - Criterion (Cruel Story of Youth (4K), I'll Remind You of Everything: The Films of Mike Mills (4K))16:31 - Kino (The Maverick Queen)22:12 - Celluloid Dreams (The Black Belly of the Tarantula)27:52 - Sony (The 7th Voyage of Sinbad (4K), Anyone But You (4K))45:35 - Shout (Unlawful Entry (4K), Pleasantville (4K))1:09:01 - Arrow (Falling Down (4K))1:25:04 – New Blu-ray AnnouncementsCLICK ON THE FILMS TO RENT OR PURCHASE AND HELP OUT THE MOVIE MADNESS PODCAST OR BUY FROM MOVIEZYNGBe sure to check outErik's Weekly Box Office Column – At Rotten TomatoesCritics' Classics Series – At Elk Grove Cinema in Elk Grove Village, ILChicago Screening Schedule - All the films coming to theaters and streamingPhysical Media Schedule - Click & Buy upcoming titles for your library.(Direct purchases help the Movie Madness podcast with a few pennies.)Erik's Linktree - Where you can follow Erik and his work anywhere and everywhere.The Movie Madness Podcast has been recognized by Million Podcasts as one of the Top 100 Best Movie Review Podcasts as well as in the Top 60 Film Festival Podcasts and Top 100 Cinephile Podcasts. MillionPodcasts is an intelligently curated, all-in-one podcast database for discovering and contacting podcast hosts and producers in your niche perfect for PR pitches and collaborations.USE COUPON “MOVIEMADNESS” TO GET 10% OFF ALL DUBBY PRODUCTSSIGN UP FOR AUDIBLE This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit erikthemovieman.substack.com

Mark shares his expertise on the importance of choosing the right deck sealer, highlighting the differences between solids and carriers, and the benefits of using mineral oil as a carrier. He also discusses the unique features of Sundance Coatings' products, including their high solids rating and water-repelling properties. With a passion for creating beautiful and low-maintenance outdoor spaces, Mark is on a mission to educate homeowners on the importance of choosing the right products for their decks. From the challenges of working with organic oils to the benefits of a rich, deep wood look, Mark covers it all. He also shares his personal experience with deck sealers, from his own restoration company to his family's history of creating beautiful log homes. With a wealth of knowledge and a passion for his craft, Mark is the perfect guide for anyone looking to upgrade their outdoor space. Don't miss this informative and engaging conversation, where Mark shares his insights and expertise on choosing the right deck sealer for your needs. See omnystudio.com/listener for privacy information.

Mark shares his expertise on the importance of choosing the right deck sealer, highlighting the differences between solids and carriers, and the benefits of using mineral oil as a carrier. He also discusses the unique features of Sundance Coatings' products, including their high solids rating and water-repelling properties. With a passion for creating beautiful and low-maintenance outdoor spaces, Mark is on a mission to educate homeowners on the importance of choosing the right products for their decks. From the challenges of working with organic oils to the benefits of a rich, deep wood look, Mark covers it all. He also shares his personal experience with deck sealers, from his own restoration company to his family's history of creating beautiful log homes. With a wealth of knowledge and a passion for his craft, Mark is the perfect guide for anyone looking to upgrade their outdoor space. Don't miss this informative and engaging conversation, where Mark shares his insights and expertise on choosing the right deck sealer for your needs. See omnystudio.com/listener for privacy information.

**Exploring the Depths of Horror and Identity** This episode of the podcast delves into the world of horror films but it's not just about scares and thrills. The conversation with the writer and director of the critically acclaimed film Leviticus, Adrian Chiarella, takes a deep dive into the themes of identity, faith, and fear. From the film's origins in the writer's personal experiences to its exploration of conversion practices and the impact on the LGBTQ+ community, this conversation is a must-listen for anyone interested in the intersection of horror and social commentary. Adrian Chiarella shares the story behind Leviticus, from its early days as a script to its premiere at Sundance and subsequent release. He discusses the film's themes of identity, faith, and fear. How they relate to his own experiences growing up as a gay man. The conversation also touches on the importance of representation in horror films and the impact of the film's release on the LGBTQ+ community. One of the standout aspects of Leviticus is its unique blend of horror and coming-of-age themes. The film's use of a supernatural entity to explore the fears and anxieties of adolescence is both terrifying and thought-provoking. Adrian Chiarella's direction and the performances of the cast bring the story to life in a way that's both haunting and relatable. If you're interested in horror films that push the boundaries of the genre and explore complex themes, this episode is a must-listen. Join us as we discuss the making of Leviticus and the impact it's had on audiences around the world. Listen to the full episode to hear more about the film's origins, its themes, and the experiences of the cast and crew.See omnystudio.com/listener for privacy information.

On this Thursday bonus episode we are going to play the interview from episode 366 from March 2025 featuring writer Director Jane Schoenbrun who talks about getting into sundance with their first feature, leading to their 2nd feature being bought by A24. I thought this was a good match for episode with Georgia Bernstein on Monday because both Jane and Georgia got their first features into Sundance and had amazing outcomes from playing the festival. After that we play another round of You're the expert, enjoy! Don't forget to support us on Patreon! www.patreon.com/mmihpodcast Leave us a Review on Apple Podcasts! https://podcasts.apple.com/us/podcast/making-movies-is-hard-the-struggles-of-indie-filmmaking/id1006416952 Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

This season, a new queer horror has entered the Villa! We've had our eye on Leviticus (2026) ever since it started making waves at Sundance earlier this year, and now that it's summer, we're ready for a trip to Australia. This flick may not have quite fit the requirements for our pride lineup this year, but we still knew we wanted to cover it sooner rather than later — and with its electric romance, supernatural spooks, and Biblical references, there's a lot to talk about. Starring Talk to Me's Joe Bird, relative newcomer Stacy Clausen, and comeback queen Mia Wasikowska, writer-director Adrian Chiarella's story has CLEAR references to films like It Follows and Teeth while trying to forge a path of its own. References:https://www.hollywoodreporter.com/movies/movie-reviews/leviticus-review-conversion-therapy-horror-1236480516/YouTube: Michael Johnston (Obsession) Hosts Leviticus Q&A | Director Adrian Chiarella & Cast InterviewYouTube: LEVITICUS Interview with Writer/Director Adrian Chiarella and Lead Joe Birdhttps://sarata.com/bible/verses/about/frogs.htmlhttps://johnmckeel.com/bible-study/top-five-snakes-in-the-bible/https://www.biblegateway.com/passage/?search=Leviticus%2016%3A7-22&version=KJV

If you're the kind of person who has ever idly (or, hey, obsessively, no judgment) wondered much of anything about the Canadian movie industry, this is your episode. Lucy McNulty, daughter of Shed Dog movie star immortal KJ McNulty, joins us for a lively and very informative conversation about producing films in Canada. Under KJ's industry-savvy interviewing skills, we get to hear how the Canadian industry relates and compares to other nations, how to transition from being an actor to being a producer, how funding is obtained and distributed, how deals are made at Cannes, how various projects that Lucy has been working on have fared, the impacts of AI on the industry, and so much more. On the side, the Dogs receive a rather scathing review of our sought-after business cards and we even wedge in a million dollar idea. All you'll need after this is a beret or a Ron Howard ball cap!Links:Shed Dogs; New artists performing at the 2026 Grammys; MIPCOM (Cannes) 2025; Triangle of Sadness on Crave; Film production treaties; Arts funding; film producing; Canadian Film Centre; Chicken (2023); How Brief at Sundance; How Brief reviews on letterboxd; Cry Baby Perfume Milk for women.Theme music is Escaping like Indiana Jones by Komiku, with permission.

This week we welcome writer/director Georgia Bernstein on the show to talk about making her first feature Night Nurse, why she decided to make an erotic thriller at a retirement home and how she got the film into Sundance and After that we play another round of the GAME, enjoy! Don't forget to support us on Patreon! www.patreon.com/mmihpodcast Leave us a Review on Apple Podcasts! https://podcasts.apple.com/us/podcast/making-movies-is-hard-the-struggles-of-indie-filmmaking/id1006416952 Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

So this week has another, artier movie release than usual. We missed it at Sundance, A24 bought it, and now it's here.THE INVITE107 Minutes, Rated RWritten by Cesc Gay, Will McCormack, Rashida JonesDirected by Olivia WildeSynopsis:Joe and Angela's marriage is on thin ice. When they invite their enigmatic upstairs neighbors for a dinner party, the night spirals into unexpected places.This isn't your typical date movie, that's for sure.~~~~~You can read more reviews and opinions on our website: https://VSMoviePodcast.com.Please LIKE, SHARE, and FOLLOW us on:Facebook (@vsmoviepodcast) (https://facebook.com/vsmoviepodcast)X (@vsmoviepodcast) (https://x.com/vsmoviepodcast)Instagram (@visuallystunningmoviepodcast) (https://instagram.com/visuallystunningmoviepodcast)Threads (@visuallystunningmoviepodcast) (https://threads.net/@visuallystunningmoviepodcast)BlueSky (@vsmoviepodcast.bsky.social) (https://bsky.app/profile/vsmoviepodcast.bsky.social)YouTube (@visuallystunningmoviepodcast) (https://youtube.com/visuallystunningmoviepodcast)Don't forget to SUBSCRIBE to our audio wherever you listen to podcasts (https://shows.acast.com/vsmoviepodcast).And please, if you like what we do, consider helping us keep on entertaining you. Find out how on our Contact/Support page (https://VSMoviePodcast.com/Contact-VSMP/). Hosted on Acast. See acast.com/privacy for more information.

"The movie was beautiful... the characters were gorgeous... the ending isn't a cliché..." These were just some of the reactions from Australian audiences after a screening of the Macedonian film DJ Ahmet, directed by Georgi M. Unkovski, at Nova Cinema, Melbourne's leading independent cinema. - "Филмот е прекрасен, ликовите се величенствени, крајот на филмот не е клише... ", се дел од одговорите на анкетата направена меѓу австралиската публика, во врска со филмот “Диџеј Ахмет” на Георги М. Унковски, по една од проекциите во водечкото кино за независен филм "Нова" во Мелбурн.ПРОЧИТАЈТЕ ПОВЕЌЕ - ПРОЧИТАЈТЕ ПОВЕЌЕ

Peabody Award-winning filmmaker Amber Sealey joins us to discuss the new marriage dramedy from Olivia Wilde, which premiered at Sundance and is now opening across the country. Costarring Wilde, Seth Rogen, Edward Norton, and Penelope Cruz, it provokes laughs, anger, rug envy, and that perennial question: are the straights okay? Then we discuss our favorite films that are set in a single location! What's Good Alonso - Christian Marclay's The Clock returns to LACMA; Spain in World Cup quarterfinals Drea - Emily Wilson's translation of THE ODYSSEY Amber - potpourri basket of hippie gum; Skylight Books opening an Eagle Rock location Kevin - young love drama before Shrek at Cinespia ITIDICAlamo Drafthouse to Begin Screening Unsold Festival DarlingsUniversal Opts to Skip “Influencer Screenings” for THE ODYSSEY Staff Picks Alonso - Splitsville Drea - Widow's Bay (because An Unmarried Woman and The Heartbreak Kid aren't streaming)  Amber - Such Brave Girls Kevin - The Invitation Help support this show and unlock bonus content! Become a member at https://maximumfun.org/joinmaxfilm Follow us on BlueSky, Facebook, Instagram, or LetterboxdWithKevin AveryDrea ClarkAlonso DuraldeProduced by Marissa FlaxbartSr. Producer Laura Swisher

Live-action Hentai Alien Psychosexual Thriller is….a choice.Watch Skip Plus is BACK! WillDaBeast is back from his Vegas Birthday jaunt, and the Boyz review their first streamer: the Shudder/AMC+ exclusive Touch Me. The Addison Heimann directed psychosexual thriller debuted January 2025 at Sundance. With its attractive cast (Olivia Taylor Dudley, a fiery Jordan Garvaris, a studly and nude Lou Taylor Pucci) and impressive cinematography, could the film's abuse and trauma mixed with Adult Swim humor and weirdo non-sequitors and tentacle sex (yes….Hentai-esque tentacle sex) have been too much for distributors? There may actually be a reason this was dumped on streaming.HIDE YOUR WIVES AND BOYFRIENDS AND CHECK OUT OUR SPOILER FREE REVIEW!(Come back for the SPOILER'D / movie breakdown episode streets Sunday!)- - - - - - - - - -WE ARE WATCH SKIP PLUS!FOLLOW/LIKE/SUBSCRIBE/REVIEW/LOVEEmail us: WatchSkipPlus@gmail.comBe kind. Be open. Be vulnerable. That's where the art is.───────────────────────────────SOCIAL MEDIA: FB: https://www.facebook.com/watchskippluspodIG: https://www.instagram.com/watchskipplus/X: https://twitter.com/watchskipplusCHECK OUT THESE PODCASTS! 

Movie of the Year: 2006The Puffy ChairThe Puffy Chair Podcast Hits the RoadThe Puffy Chair podcast episode sends the Taste Buds on a road trip through the Duplass brothers' scrappy 2006 breakout. Ryan, Mike, and Greg buckle up to decide whether this mumblecore landmark deserves a deep run in the Movie of the Year 2006 bracket. Moreover, they bring serious backup this week. Critic and author Keith Phipps joins the panel to help unpack a movie made for the price of a used car. Together, the group digs into fragile relationships, DIY filmmaking, and one very symbolic recliner. Can a $15,000 indie outmuscle the blockbusters of 2006? Press play and ride along.About the FilmThe Puffy Chair follows Josh, a struggling New York booking agent played by Mark Duplass. Josh wins an eBay auction for a burgundy recliner that matches the one his dad owned years ago. Consequently, he plans a road trip to deliver the chair as a birthday gift. His girlfriend Emily, played by Katie Aselton, comes along for the ride. His free-spirited brother Rhett, played by Rhett Wilkins, joins them on the way. Naturally, the trip tests every relationship in the van.Jay Duplass directed the film, which he created with his brother Mark. The brothers shot it for roughly $15,000 borrowed from their parents, and the cast earned $100 a day. The movie premiered at Sundance in January 2005 and later won the Audience Award at South by Southwest. Roadside Attractions and Netflix released it theatrically on June 2, 2006. As a result, it qualifies for our 2006 bracket, and it arrives with real critical pedigree. Check the full credits at IMDb and the reviews roundup at Metacritic. New to the season? Start with our Movie of the Year 2006 introduction.Guest Panelist: Keith PhippsKeith Phipps brings nearly three decades of film criticism to the panel this week. He joined The A.V. Club in 1997 and became its editor in 2004, helping build it into a cultural institution. Later, he co-founded the beloved film site The Dissolve and served as editorial director for film and TV at Uproxx. His byline has appeared in Rolling Stone, Slate, GQ, Vulture, and The New York Times, among many others. Currently, he writes The Reveal, a film newsletter he created with longtime collaborator Scott Tobias. He also co-hosts The Next Picture Show, a biweekly podcast in the Filmspotting family that pairs classic films with modern successors. Additionally, Phipps wrote the acclaimed book Age of Cage: Four Decades of Hollywood Through One Singular Career, an NPR Books We Love selection. Few guests know indie film history better, so the Taste Buds put him straight to work.Josh and Emily (and Rhett)Every road movie needs passengers, and this one packs the van with tension. The panel starts with Josh and Emily, a couple fluent in baby talk but allergic to honest conversation. Their relationship anchors the film, and the podcast crew debates whether Josh ranks among 2006's most frustrating boyfriends. Emily wants commitment and emotional validation. Josh wants to deliver a chair and dodge every hard question along the way. Meanwhile, Rhett climbs aboard and scrambles the whole dynamic. His impulsive romanticism works as comic relief, yet it also lights the fuse under Josh and Emily's slow-motion breakup. Keith Phipps helps the Taste Buds weigh how the improvised performances make these fights feel painfully real. Ultimately, the group asks a simple question. Do we root for this couple, or do we root for the exits?Filmmaking Style on The Puffy Chair 2006 PodcastStyle takes center stage in the second discussion topic. The Duplass brothers shot with handheld cameras, natural light, and a whole lot of improvisation. Critics soon filed the film under mumblecore, a label built on low budgets, naturalistic dialogue, and twentysomething malaise. However, the panel debates whether that label helps or flattens the movie. The Puffy Chair podcast crew also examines the famous snap zooms, the cramped framing, and the brothers' choice to cast their actual parents. Furthermore, Phipps places the film within the mid-2000s indie boom that he covered firsthand as a critic. The $15,000 budget becomes a character in itself. Does the rough look create intimacy, or does it simply look cheap? Notably, the panel connects this DIY approach to the music of the era covered in our 2006 Mixtape Part I.The ChairWhat about the recliner itself? The chair works as the film's MacGuffin, its symbol, and arguably its best supporting player. Josh buys it because it resembles the chair from his childhood living room. Therefore, the purchase says less about his dad and more about Josh's own nostalgia. The panel unpacks what the chair represents: arrested development, misplaced sentimentality, and the gap between a grand gesture and genuine care. Along the journey, the chair suffers indignities that mirror the crumbling relationships around it. By contrast, the film's quietest moments reveal what an honest gift might have looked like. The Taste Buds and Keith Phipps debate whether the chair earns its title billing. No spoilers here, though. The chair's final fate stays a surprise for listeners.Genre BlastThe episode also features a Genre Blast segment, a PopFilter favorite. The Taste Buds zoom out from the film and blast through its genre lineage. Is The Puffy Chair a road movie, a romantic comedy, a breakup drama, or the founding text of mumblecore? Each label carries its own history, and the panel traces them all. Specifically, the crew connects the film to decades of American road pictures and indie relationship stories. Keith Phipps adds critical context from his years covering the movement's rise and fall. Listen to the full episode to hear where the genre conversation lands.Why The Puffy Chair Still MattersTwenty years later, this tiny film casts a surprisingly long shadow. The Duplass brothers parlayed it into a remarkable career spanning Cyrus, Safety Not Guaranteed, Togetherness, and Room 104. Mark Duplass and Katie Aselton became one of indie film's great creative couples. Meanwhile, the movie's distribution deal made history of its own. Netflix co-released it theatrically in 2006, an early experiment that hinted at the streaming future to come. The mumblecore movement it helped launch reshaped American independent film and influenced a generation of DIY creators. Above all, The Puffy Chair podcast conversation proves the film still sparks real debate. Its questions about commitment, communication, and growing up have not aged a day. The AFI Catalog preserves the film's place in the historical record. Our bracket will decide its place in 2006.Related Episodes from Movie of the Year: 2006Movie of the Year: 2006 Intro Part 1Movies of 2006 Bracket Reveal and Sweet 16Tristram Shandy: A Cock and Bull Story2006 Mixtape Part IAll Movie of the Year EpisodesFAQ: The Puffy Chair Podcast and FilmWhat is The Puffy Chair podcast episode about?The Puffy Chair podcast episode features the Taste Buds and guest Keith Phipps evaluating the Duplass brothers' 2006 film for the Movie of the Year bracket. Topics include the Josh and Emily relationship, the film's mumblecore style, the symbolism of the chair, and a Genre Blast segment.What is The Puffy Chair about?The film follows Josh, who wins an eBay auction for a recliner matching his dad's old chair. He road-trips to deliver it as a birthday gift, joined by his girlfriend Emily and his brother Rhett. Consequently, the journey exposes every crack in their relationships.Who directed The Puffy Chair?Jay Duplass directed the film, which he made with his brother Mark Duplass, who wrote, produced, and starred. Many sources credit the brothers as a filmmaking team, and the movie launched their careers.Who stars in The Puffy Chair?Mark Duplass stars as Josh, Katie Aselton plays Emily, and Rhett Wilkins plays Rhett. Notably, the Duplass brothers' real parents appear as Josh's parents.Is The Puffy Chair a mumblecore movie?Yes, critics widely consider it a founding film of the mumblecore movement. Its low budget, improvised dialogue, and naturalistic performances defined the style. However, the Duplass brothers have expressed mixed feelings about the label, a tension the episode explores.How much did The Puffy Chair cost to make?The

Tony revisits the haunting 2013 Sundance breakout We Are What We Are, a slow‑burn horror drama that redefined the cannibal‑family subgenre with emotional depth and atmospheric dread. The film — now streaming on Netflix, Prime Video, Roku Channel (as of July), Tubi, Fawesome, and Pluto TV — remains a landmark in modern American horror. Tony speaks with the filmmakers and cast who shaped its unsettling world: Nick Damici — co‑writer and cast member Jim Mickle — director Bill Sage — Frank Parker, the patriarch Julia Garner — a rising talent whose performance signaled a major career ahead Set against relentless rain and rural isolation, We Are What We Are follows the Parker family as they cling to a ritualistic, generational secret. Mickle and Damici's adaptation of the Mexican original transforms the story into a meditation on grief, faith, and the terror of inherited duty. SAVE 17% ON PLUS  

Summit County Councilmember Tonja Hanson recaps Wednesday's meeting, director of TedFest Ryan Shupe has details about this year's three-day music festival in Wallsburg and Park City Film Executive Director Katy Wang has a preview of upcoming Sundance film screenings.

As we move deeper into the second half of the year, cohosts John Ridley and Matt Carey examine the documentaries that have emerged as early contenders for Oscar recognition. American Doctor, Closure, Nuisance Bear, Everybody to Kenmure Street, To Hold a Mountain — they're in the running. So are two dozen more, many of them having premiered at Sundance. We dig into what's gaining traction as Oscar season inches closer. Learn more about your ad choices. Visit megaphone.fm/adchoices

Financial planner Dave Simons looks at the rising corporate profits and the rise in the acceptance of socialism; Cardinals broadcaster Poli Ascensio chats about the Cards v Brewers series and the World Cup; Question of the week: Do you still by physical media?

A Plains Cree witness heads into the Saskatchewan boreal forest before sunrise during a Sundance ceremony. Voices answer his calls from deep within the trees. The responses keep getting closer. Wood knocks begin echoing through the darkness. A powerful wet-dog odor fills the air. Something is moving just out of sight.Later, a lifelong outdoorsman shares decades of encounters stretching from Oregon to Alaska. His experiences include a terrifying nighttime encounter with a red-haired Sasquatch near Salem, massive rocks thrown into a campsite, and a remarkable sighting of a Sasquatch feeding on clams along the Alaskan coast.These accounts come from people who spent their lives in remote wilderness areas and know exactly what belongs in the woods.Locations featured in this episode include Waterhen Lake First Nation in Saskatchewan, the Little North Fork area near Salem, Oregon, and remote coastal regions of Alaska.

KØRWYN, Eric Smax – Sundance 2026 (Edit) In preparation of SMAG Sundance, we made a small edit of Sundance, the 2015 anthem. A tribute to a track that shaped many unforgettable festival moments, reworked for our upcoming set at SMAG Sundance. Originals: Discoboys – Sundance Alma – Arodes Enjoy

Olivia Wilde, the director and star of "The Invite," joins IndieWire's Chris O'Falt for an in depth discussion of her thorny and hilarious relationship drama. Drawing on lessons from her cameo on "The Studio," Wilde and co-stars Seth Rogen, Penelope Cruz, and Edward Norton embarked on a fascinating rehearsal process that informed everything from script rewrites to cinematography. She breaks down the process in detail, and how it lead to the biggest sale out of Sundance this year. Watch this interview on our YouTube page - https://youtu.be/0b8wsIzm9Ac Read our interview with Production Designer Jade Healy about building that apartment - https://www.indiewire.com/features/craft/the-invite-apartment-production-design-interview-1235202367/ Subscribe to Top Of The Line - IndieWire's new newsletter about the craft of film and TV - https://cloud.email.indiewire.com/signup/ Listen to the Screen Talk Podcast. Every Friday IndieWire editors Anne Thompson & Ryan Lattanzio break down insider news from Hollywood and debate the latest films and series - https://podcasts.apple.com/us/podcast/indiewire-screen-talk/id893977298 Learn more about your ad choices. Visit megaphone.fm/adchoices

Një emision ku si asnjëherë më parë mendimet dhe fjalët vijnë si në jetë, të pacensuruara…Mirë, ndoshta pak të censuruara. “Pardon my French” nga Jonida Aliçkolli dhe Lei Kraja, ku e vetmja gjë që nuk dinë të bëjnë është të flasin frengjisht! Një gjë është e sigurtë, të qeshurat dhe surprizat janë të garantuara. Nuk do të mungojnë të ftuarit në studio, diskutimet mbi tema të ndryshme në mënyrën më të ‘zhveshur', si dhe muzikën më bukur të momentit.

Nudity, comedy, cutting edge music, precocious kids, wannabe stars: public access in New York in the 1970s and '80s had everything -- a freewheeling outgrowth of cable TV that allowed freedom of expression to flourish. Director David Shadrack Smith dials back to that time in his documentary Public Access, which premiered in competition in Sundance. He joins the show to discuss one of the most fascinating nonfiction films of the year. Learn more about your ad choices. Visit megaphone.fm/adchoices

What happens when a future TV powerhouse makes a heartfelt indie film about friendship, dating, and chosen family? This week to end PRIDE month, Jackie and Danielle revisit The Broken Hearts Club (2000) and discover a movie packed with familiar faces, big ideas, and plenty to unpack.In this episode of No More Late Fees, the hosts dive into Greg Berlanti's directorial debut starring Timothy Olyphant, Zach Braff, Billy Porter, Dean Cain, Justin Theroux, Nia Long, and John Mahoney. Along the way, they discuss the film's portrayal of LGBTQ+ friendships, debate whether the story would have worked better as a television series, and explore why such a talented cast couldn't quite elevate every storyline.Jackie and Danielle break down the movie's ensemble of memorable characters, share behind-the-scenes trivia about its 13-day filming schedule and Sundance premiere, and examine how the film was received by critics at the time. They also discuss Greg Berlanti's impressive career trajectory, from Dawson's Creek and Everwood to the Arrowverse and beyond.Expect plenty of nostalgic tangents, character analysis, hot takes on the film's structure, observations about early 2000s Hollywood, and a few laughs as the hosts try to make sense of one of the most stacked indie casts of the era. Plus, they reveal their final Ratings Rewind scores and decide whether The Broken Hearts Club still holds up more than two decades later.If you enjoy nostalgic movie deep dives, be sure to subscribe, leave a review on Apple Podcasts or Spotify, and share your thoughts on The Broken Hearts Club. We'd love to hear whether this cult favorite worked for you.·Season 6 Episode 8—No More Late Fees ⁠https://nomorelatefeespodcast.com⁠909-601-NMLF (6653)—Follow Us on Social:Instagramhttps://www.instagram.com/nomorelatefees TikTokhttps://www.tiktok.com/@nomorelatefees Facebookhttps://www.facebook.com/nomorelatefeesYoutubehttps://www.youtube.com/@nomorelatefees Twitterhttps://x.com/NoMoreLateFees —CONQUERing⁠⁠myconquering.com⁠⁠10% Off Code: JACKIE10—DescriptCreator Plan 50% off 2 monthshttps://descript.cello.so/zp4OQqeIMdq

Have you poured months into a strategy your team couldn't bring to life? Or watched capable people work harder than ever, and still struggle to pull together as a team?High performance isn't about a better strategy, more talent, or longer hours. It's about how your team works together, every single day.Karina Mangu-Ward, author of Teams That Meet the Moment, has spent more than a decade helping complex organizations redesign the messy day-to-day of how people actually get things done together. Her belief: good everyday teaming habits are both good for people and good for results. You don't have to choose between them.Making this real doesn't require a reinvention. You just need the right structure and the intention to show up differently. In this episode, Karina shares simple, tangible practices you can use in your very next meeting or strategic project.You'll Learn:The three lies leaders tell themselves about teamwork, and why believing them holds your team backHow the framework of the "Even Over" ends the swirl when your team is stuck choosing between two competing optionsWhy creating a "Safe to Try" process gets a team unstuck when you're chasing consensus and certaintyWhat a steady team cadence unlocks when everything around you feels like an emergencyThe instinct nearly every high performer has to unlearn before they can build a team that thrivesABOUT MY GUEST:Karina Mangu-Ward is a partner at August Public, an organizational change consultancy that helps large, complex organizations build more human-centered ways of working, whose clients include PepsiCo, Planned Parenthood, and Sundance. She's the author of Teams That Meet the Moment: 9 Practices for Unlocking Performance and Growth in Uncertain Times. Karina's passion is helping groups navigate complexity, gain insight, and unlock highly complex challenges.IMPORTANT LINKS:Full episode show notes: ChainOfLearning.com/78 Connect with Karina: linkedin.com/in/karina-mangu-ward Purchase a copy of Karina's book: Teams That Meet the MomentLearn more about Karina's company: aug.co Take the Team assessment: assessment.aug.co Follow me on LinkedIn: linkedin.com/in/kbjanderson Subscribe to my newsletter: kbjanderson.com/newsletter Check out my website for resources and working together: KBJAnderson.com Join us on the Japan Leadership Experience: KBJAnderson.com/japantrip TIMESTAMPS FOR THIS EPISODE:03:01 Why great strategy still fails04:13 The hustle culture myth that's burning teams out05:20 Everyday habits drive extraordinary teams07:11 Meeting the moment in uncertain times09:13 The "Safe to Try" mindset that breaks gridlock11:18 Setting guardrails without limiting innovation12:06 Why small bets outperform big risks13:29 Unlearning the need to have the answer15:17 Why sticky practices beat complicated frameworks17:16 Simple retrospectives that strengthen learning20:19 The surprising cost of treating everything like an emergency22:09 Using "Even Over" to make better trade-offs25:28 Intention over reaction in decision-making30:32 When perfection becomes procrastination31:53 Why working in public accelerates learning34:22 The power of stories over instruction37:08 Intention + practice = better leadership39:14 What trade-off do you need to make?

In a world where the rules of the game are constantly changing, a recent move by the US Senate has left many scratching their heads. This episode delves into the intricacies of the Save Act, a bill that's been making headlines, and the surprising way it was handled by the Senate. The speaker takes a closer look at the bill's journey, the tactics used to pass it, and what it reveals about the inner workings of the Senate.The Save Act, aimed at requiring proof of citizenship for voter registration, has been a contentious issue. But what's really going on behind the scenes? The speaker breaks down the numbers and the politics, explaining how the bill's fate was sealed from the start. With a healthy dose of skepticism, the speaker examines the motivations behind the Senate's actions and the implications for the future of the filibuster.The discussion touches on the Senate's use of reconciliation, a process that allows bills to pass with a simple majority, and the Bird rule, which governs what can and can't be passed through this route. The speaker also explores the idea that the Save Act was never meant to pass, but rather was a strategic move to create a talking point and flush out holdouts. This raises questions about the true intentions of the Senate and the impact on the country.If you're curious about the inner workings of the US Senate and the politics that shape our country, this episode is a must-listen. Join the speaker as they dissect the Save Act and its implications, and discover the surprising truth behind the Senate's actions.See omnystudio.com/listener for privacy information.

Phil and Emily are joined by actress Fiona Dourif to launch a brand new mini-series, Richard Kelly Reichardt, with the cult classic that started a thousand dorm-room arguments: Donnie Darko (2001).Richard Kelly's debut premiered at Sundance, opened the same day the Patriot Act was signed into law, and promptly bombed in theaters before Drew Barrymore's Flower Films, a $4.5 million budget, and a generation of video-store rentals turned it into a phenomenon. The gang digs into why it became the movie every college bro swore was a misunderstood masterpiece, and whether it actually holds up a quarter century later.They get into the big stuff: the tall bunny named Frank, the pocket-universe time-loop mechanics, and that gut-punch ending where Donnie chooses to sacrifice himself. Emily, who has seen this more times than almost any movie in her life, untangles Kelly's "ironclad" explanation, why she prefers the simpler emotional read, and why the director's cut overexplains everything. Fiona connects it to American Beauty and Magnolia, the search for God after religion, and her own time-bending turn in Christopher Nolan's Tenet. And the whole table takes on modern film-discussion culture's obsession with mapping every rule instead of just living inside a story that doesn't quite make sense.Plus: baby Noah Wyle, the most unhinged high-school teacher ever written, and a stacked early-2000s cast that keeps making you hit pause. Does Donnie Darko hold up, or did it age like the 25-year-old screenwriter dialogue it's built on? Listen and decide.Follow the show & guests:Podcast Like It's... — https://www.instagram.com/podcastlikeitsPhil Iscove — https://www.instagram.com/pmiscoveEmily St. James — https://www.instagram.com/emilystjamsFiona Dourif — https://www.instagram.com/fionadourif

This week, we're diving headfirst into a tidal wave of fresh trailers and blockbuster announcements. First up, we break down the long-awaited second trailer for Spider-Man: Brand New Day—what does it mean for Peter Parker's future, and what will this street level Spider-Man film bring? Then, we unpack the haunting first look at The Social Reckoning, a film that promises to hold the digital age accountable. From the deep blue sea to the darkest desires, we also explore the trailers for Whalefall (think survival horror meets oceanic chills after being swallowed by a sperm whale) and I Want Your Sex (the provocative new comedic erotic thriller everyone's talking about out of Sundance). Plus, Heart of the Beast brings the action plus Brad Pitt with a dog , and we've got the details on that explosive new trailer. But that's not all. In a move that has comedy fans buzzing, we confirm that 24 Jump Street is officially in the works—yes, Schmidt and Jenko will  be back! Plus, we discuss Sean Penn's ambitious new project: a movie centered on the Capitol Riots and other industry news! Joining us for this discussion is Dustin Rybka, soon to be co-host on our spin-off, The Cinema Vault, and JC of @mercwiththemovies! We've got theories, hot takes, and a full breakdown of everything you need to know. Grab your popcorn and hit play—this episode is stacked!

Edward Saatchi has been building at the frontier of AI storytelling for a decade—from Oculus Story Studios to Fable (where his AI character Lucy made her own films at Sundance) to his current venture, Amazon-backed Showrunner. Edward's most audacious project proves the point: reconstructing Orson Welles' lost masterpiece, The Magnificent Ambersons (44 minutes destroyed by studio cuts in 1942), using motion-capture actors and AI to seamlessly restore what was erased. The irony is intentional—it's a film about technology destroying beauty, restored by technology. Edward's approach isn't text-to-video slop. It's human performance driving AI synthesis: hire stage actors, capture their performances, use the original cutting continuity as a blueprint, and let AI fill the gaps. The result is cinema-quality work that would cost $100 million traditionally but costs $10 million with AI assistance.In AI XR News This Week:Amazon announces 16,000 layoffs while ramping robotics—replacing humans with machines in warehouses. Amazon Go and Amazon Fresh stores close after years of investment; the self-checkout convenience experiment dies. Snap spins off Spectacles AR glasses into a separate business, signaling lack of cash or confidence. Apple and OpenAI both developing AI wearables to launch in 2027, powered by Gemini and Google AI. Google launches Project Genie, a generative AI model that creates fully interactive 3D game worlds you can navigate and remix in real time. Walkabout Mini Golf lays off half its staff. Atlas V, the acclaimed French VR studio behind Spheres and Battle Scar, pivots to location-based entertainment. Darren Aronofsky launches an AI animated series on YouTube called On This Day.Key Moments Timestamps:[00:05:00] Amazon's 16,000 layoffs paired with robotics expansion; the canary in the coal mine for white-collar work[00:06:00] Amazon Go/Fresh failure: humans reject automated futures when given the choice[00:07:14] Snap spinning off Spectacles; Ted's thesis on AR glasses remaining "exotic," not mainstream[00:10:00] Apple wearables running Gemini + Google AI; the winning formula for wearable AI domination[00:12:48] Walkabout Mini Golf layoffs and Atlas V's pivot; VR right-sizing continues[00:15:25] Google Genie: generative 3D worlds, playable and remixable in real time; Epic should be scared[00:19:11] Edward Saatchi joins: the state of AI video and why there's no marketplace after 4 years[00:22:00] Edward's concern: AI content is "derivative but worse" with no commercial value[00:28:00] The marketplace problem: no buyers, no revenue, no sustainability for creators[00:34:00] Ted's thesis: AI is quietly disrupting VFX and screenwriting behind the scenes[00:44:00] Critters: the proof-of-concept for AI-assisted theatrical animation ($10M vs. $100M traditionally)[00:49:00] Showrunner's business model: creators earn money every time someone remixes their show[00:52:00] The Magnificent Ambersons project: restoring Orson Welles' lost masterpiece with AIEdward makes a case that reads like a manifesto: AI's killer app isn't making derivative work faster or cheaper. It's remix, interactivity, and personalization at scale—letting audiences co-create with AI while creators get paid. His challenge to the industry: hold yourself to "derivative but better" (can you make a better Simpsons episode than the last 15 seasons?) or "original and good" (something from a non-human intelligence's perspective). Until creators band together to make features and TV shows with commercial value, AI video will remain stuck in the trough of disillusionment.This episode is brought to you by Zappar, creators of Mattercraft—the leading visual development environment for building immersive 3D web experiences for mobile headsets and desktop. Mattercraft combines the power of a game engine with the flexibility of the web, and now features an AI assistant that helps you design, code, and debug in real time, right in your browser. Build smarter at mattercraft.io. Hosted on Acast. See acast.com/privacy for more information.

Gas prices are dropping — the national average just fell below $4 for the first time since March, and we break down what Utah drivers are paying at the pump. Plus, West Fest is back with beefed-up safety protocols after last year's shooting, a bee-filled trailer crashes in Yellowstone National Park, and why you might be seeing more black bears this summer. We also debate whether parents should stop tracking their adult kids' locations, check in on GLP-1 news and hear why teens eager to work are struggling to land summer jobs. Then, UDOT's express lane crackdown, price concerns swirling around the new Sundance, and would the NFL ever come to Utah?   Follow KSL Brightside on social media! YouTube: https://www.youtube.com/@KSLBrightside Facebook: https://www.facebook.com/KSLBrightside Instagram: https://www.instagram.com/KSL_Brightside TikTok: https://www.tiktok.com/@ksl.brightside

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. Tonight on Apex Express, Host Miko Lee talk story with singer-songwriter Thao Nguyen.  Hear about her new album Fossil,  her short documentary, and about her artistic inspirations. Thao's tour starts this week in North Carolina, so listen in to hear from the brilliant Thao, and then check out her website to catch a live show.   SHOW TRANSCRIPT [00:00:00] Opening: Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the Apex Express.   [00:00:35] Miko Lee: Tonight on Apex Express, we talk story with singer-songwriter Thao Nguyen. Join me, your host, Miko Lee, as I talk with this multi-hyphenated artist. We get to hear about her new album, chat about her short documentary, and hear about her artistic inspirations. Thao's tour starts this week in North Carolina, so listen in to hear from the brilliant Thao, and then check out her website to catch a live show.   [00:01:05] Ayame Keane-Lee: In today's show, you'll be listening to some songs from Thao & The Get Down Stay Down's 2020 album, Temple. First off, let's listen to “Pure Cinema.”   MUSIC     [00:05:44] That was “Pure Cinema” by today's guest, Thao Nguyen. Let's get to the interview.   [00:05:50] Miko Lee: Welcome  Thao Nguyen to Apex Express.    [00:05:54] Thao Nguyen: Thank you. I'm so happy to be here.    [00:05:57] Miko Lee: I love talking with creative people and you're such an amazingly talented singer and songwriter and imagination creator. I'm wanna start with the first question I ask all of my guests, which is, who are your people and what legacy do you carry with you?   [00:06:16] Thao Nguyen: Who are my people? Some of them include the family I was born into. I'm from Virginia. I was born and raised in Virginia. but I'm the daughter of Vietnamese refugees of war. And, I moved out to the Bay in 2006 after my first US tour. And, I'm so fortunate to have such a robust community here in the bay and all of my chosen family here.   [00:06:40] Miko Lee: And what legacy do you carry with you?    [00:06:43] Thao Nguyen: What legacy? I think the legacy I prioritize. I think, you know, [laughs] we inherit a lot and as time goes on and we get older, we realize everything is finite and you have to choose which legacies you choose to continue, and perpetuate and honor and what you have to leave by the wayside. And so the things I choose to continue and celebrate are that of a real ability to be very present and in the moment and available to joy and I think the people I come from are really good at metabolizing joy because they know the flip side of it so well.    [00:07:23] Miko Lee: Ooh, that's so interesting. Can you speak more about what it means to metabolize joy?    [00:07:30] Thao Nguyen: [Laughs] uh, an ongoing practice? I think it is to be truly present and I believe, of course gratitude goes a long way, but I to fully metabolize it is to allow yourself to feel embodied in it. And, you know, there's more somatic practice I think that to actually feel it course through your body, you are allowing it, you're honoring it as completely as possible. And, do you have to acknowledge that it's happening as it's happening? You know, I think that's having true presence with it.   [00:08:08] Miko Lee: Can you roll back with me in time and talk about your earliest childhood memories of being a singer or songwriting? What came first?    [00:08:18] Thao Nguyen: I loved music from a very early age, but I didn't have a lot of access to it, to making it, it was more as a listener. The soundscape that I grew up with, there was a series called Paris by Night, which probably you've heard of within Vietnamese diaspora, uh, community and Culture. And it was this variety show that was, created by, people who had to flee Vietnam. And originally it was in Paris and it showcased A lot of singers and performers, who had fled, either before, during, or right after the fall of Saigon. And, it was this one gathering wherein. entertainers from the different generations, from my grandmother's generation, from my parents were able to coalesce and exist together. And there was just this sampler platter of a lot of different sonic influences. And then you had the younger generation, which was reinterpreting what American pop music was at the time. So you'd have my grandmother who [sang] cải lương which was this incredibly, it's like, almost like folk operatic, very dramatic, theatrical singing with a lot of pitch bending and, which I didn't understand that I was absorbing it in such a way that I would recreate it later on in my playing, but I would go on to credit it to being from Virginia and saying it was more of like an Appalachian influence, which it was as well. But the origins, the true origins were within my soundscape before I understood what that was. You know, so you have that and then you have, an artist named Lynette who's. basically in reinterpreting, like the latest Madonna song and has a cone bra on, so everyone's existing act after act in the same, um, sorry for that ramble. Did I answer that question?    [00:10:13] Miko Lee: Yeah. Uh, I, so what was, do you remember the age or you just grew up hearing all these different kinds of sounds?    [00:10:20] Thao Nguyen: I mean, that was from before I knew what age I was, you know, that was just like, and that was such, um. For the community and within my family it was such an event every time one of these, you know, double VHS things were issued that people would be making copies, someone would drop it off at the house. You know, there, there was always one or two in circulation, but it was this. Event that you'd,    [00:10:43] Miko Lee: are these like bootleg copies?    [00:10:45] Thao Nguyen: Yeah, there's like, wow, there's bootleg. There's also, there was one book in music store in Eden Shopping Center, which was like the hub of, of the Vietnamese community in, in, uh, Northern Virginia. And so someone would buy the original and then go and bootleg it. You don't know how you ended up with what, but just like they would drop off some citrus and and Hennessy or whatever, and then the Paris By Night thing. And um,    [00:11:11] Miko Lee: I love that the combo citrus, Hennessy and some music.   [00:11:16] Thao Nguyen: Everything is a digestif, you know? And, um, so I would have that. But then of course, I, you know, I, I listened to the radio. That was what, that was my main resource and I listened to the oldie station the most, and I loved Motown. And I remember, in this I was like five or six, we had these large speakers that's sat on the floor either side of, of this cassette deck, radio unit. And I would lay down and, every time Smokey Robinson came on, “You really got a hold of me” that was like my favorite song and I would tape it and then so either I would listen to it live or I would play the cassette and I would just lay down and get as close to the speakers as I could. But at that point, I hadn't seen who Smokey Robinson was, and I imagined, because I also am a child of eighties and nineties. I imagined it was Crystal who was Roseanne's best friend from the Roseanne show. You know, I didn't know anything, but I felt all of it.    [00:12:20] Miko Lee: Wow. Yeah. I love that. So, I love that. And I was really wondering, I heard this story about you, that you actually did a rap for on Charlotte's Web when you were in elementary school.   [00:12:33] Thao Nguyen: Okay. Okay. This is a deep cut. You've done some research.    [00:12:39] Miko Lee: Tell me about how that came to be. So you must have been introduced to rap pretty young to be doing that.    [00:12:44] Thao Nguyen: Oh, absolutely. This, so this was another, and this, I'm so glad you brought that up, because all of this is, every genre, every kind of music I, at this point is so vital to me, and it actually goes on to reflect the kind of music I make. And so I have an older brother who's almost eight years older, and around this same time, he's a huge hip hop fan, or that's one of the things he loves, he loves like Duran Duran and like the Fat Boys, you know? And , when I saved money, the first cassette I ever bought was Salt-n-Pepa. And I, yeah, so I was listento the Fat Boys and Queen Latifah. And I loved, I loved every, I loved to hear the flow, the different cadences and in third grade I was voted best rapper. This, and, you know, not coincidentally. This is the year I, I do the book report, the Charlotte's Web, you know, and they gave me the option. You can either write it or you can write a song or whatever. And so I wrote a rap about Charlotte's Web, but I was too shy. I had recorded it and just played it in my presentation. I didn't perform it live.    [00:13:51] Miko Lee: And how was it received?    [00:13:54] Thao Nguyen: I mean, I can still hear the roar. yeah, everyone, [laughs] I think the teachers    [00:14:01] Miko Lee: The crowd roared. The third graders roared.    [00:14:03] Thao Nguyen: Yeah. I mean, everyone's standing on their desks. It's rickety, you know, teachers are worried about child safety, it doesn't matter. They're like, Encore. I'm like, I don't have anything else. Uh, you know, uh,   [00:14:15] Miko Lee: Wait for real?   [00:14:17] Thao Nguyen: No, no. [laughs] the teachers thought it was cute. Probably the kids thought it was funny. I actually don't know because I was so nervous I even pressing play. I was so nervous. I don't know if I registered what, how it was received.    [00:14:34] Miko Lee: That's so sweet. Given your eclectic music knowledge and the music that was around you at the time as a musician, now you've been described with so many different categories, country tinge, indie folk, pop, blues. How would you describe your music?  [00:14:54] Thao Nguyen: I would describe it as. What's embarrassing is I've been doing this a long time now and I've never figured out a way to describe it. I would, I, I generally just say it's, you know, it's under the umbrella of indie rock, but influenced by jazz and hip hop. And because I learned to play guitar by picking out country blues songs. And because I grew up in Virginia, there, there are these, like old time, Country blues picking patterns that I've used. I, you know, it's, yeah. So that, I've never figured out a way to say it succinctly and I continue    [00:15:29] Miko Lee: and you don't need to. That's okay.    [00:15:31] Thao Nguyen: Thank you.    [00:15:31] Miko Lee: Is there a big Vietnamese population in Virginia?    [00:15:35] Thao Nguyen: Yeah, I, I think there is a very healthy population there. And it was one of the first places that people were settling when they were being resettled. And my parents met, in a refugee camp in Guam. And then they were sent to Arkansas. And then from there sponsored out to North Carolina. And then from there of a few friends that they had made, had found work with Metro, which is the public transportation train system in DC and found my dad work there. So that's why people resettle, that's why we ended up in Virginia.    [00:16:16] Miko Lee: So Thao & The Get Down Stay Down you released five studio albums and now you're working primarily as a solo artist. Right?    [00:16:25] Thao Nguyen: Yes. Yeah. I will say I still work record and perform with a band. And a lot of the people who worked and performed with me in that iteration are still with me. it was more I wanted to, just use my name and move beyond what the get down stay down was, which I was never really sure. With things that you choose when you're 22. As time goes, you know, it starts to, and you're lucky if you can kind of shed things and not, not stay beholden too much.   [00:16:57] Miko Lee: Ah, what have you learned to shed?   [00:17:02] Thao Nguyen: Oh my gosh. Thankfully a great deal and it's an ongoing exercise, but. I used to be so much heavier with the weight of what I thought a serious artist was what I thought a serious songwriter should be, who I thought, where I thought my, you know, different benchmarks of what success were. What I should be making versus what people wanted to hear versus what I wanted to hear. I actually never I wasn't always all the way sure about what I wanted. You know, I, I think a lot of people encounter that, but I've thankfully been able to shed as much as I can. It's an ongoing practice, but I, you know, one thing it. Is that I used to think, I can't believe I've been doing this this long. And it's, not necessarily, I didn't understand what I was working towards, but only that I had not gotten there yet. And then, you know, I think pandemic and on, I've been just so and as I get older, the transition into being so sincerely grateful that I'm still here and I get to do this. this is what my job is, and however I can, and whatever I can do to sustain, being able to, to do this for my livelihood and maintain my integrity within it is the greatest gift. So as when I made that switch a a lot of things, a lot of the darkness left me.    [00:18:39] Miko Lee: Oh, that's beautiful. Thank you for sharing.   [00:18:42] Ayame Keane-Lee: Next, let's listen to Temple, the first track off of Thao's album of the same name.   MUSIC   [00:22:56] That was Temple by Thao and the Get Down Stay Down. Back to her interview with Miko.   [00:23:01] Miko Lee: I'm wondering if you could talk a little bit about the 2017 documentary Nobody Dies, a film about a musician, her mom in Vietnam. How did that, and that's a documentary that follows you and your mom as you go to Vietnam. I'm wondering how that project came about.  [00:23:17] Thao Nguyen: Yes, I'm happy to tell you about it. in 2015 I was invited by concert promoters in conjunction with the US Embassy based in Hanoi, to come perform for the, I guess at that point it was the 25th anniversary of the normalization of relations between the US and Vietnam, and I was able to bring my band and I was able to bring my mom, and she hadn't been back in 43 years, and she used to work for the South Vietnamese embassy and was stationed in Lao, when Saigon fell. So she actually left Vietnam in 73, assuming she would go back after her time abroad and then was never able to return. So I was able to bring her, the struggle was would she actually come, you know, and we had, I had, a bear of the time initially convincing her it would be okay. And, it was like, just begging her to come. She's like freaking out. She hangs up on me. I call back. She hangs up. You know, it was a back and forth that I'm trying to convince her of things that I'm not sure of where she's like, I'm still on a list. I'm like, no, you're not. But I don't know that, you know who, how would I know that? But I told her she wasn't on the list. Anyway, my, a friend of mine who's a filmmaker, as this all was happening, he asked if he could come along and document all of it. And he and, his DP traveled with us and it was an incredibly intense trip, and it was beautiful and I am so glad it was documented. And then somewhere along the way I had a performance and, this was all in editing. And then I ran into Don Young at CAAM Center for Asian American Media. Oh, I know what it was. It was something for Sundance and Don Young and I were just in the same shuttle going to the airport and we were talking and I told him a little bit about this and then I sent him some footage and you know, and then CAAM and PBS were gracious enough to co-produce and, Make it so it could be, you know, a a half hour documentary that aired on PBS. Um,    [00:25:21] Miko Lee: so that that was on a bus ride.    [00:25:23] Thao Nguyen: That was on an airport shuttle.    [00:25:25] Miko Lee: Airport shuttle. I love it.    [00:25:26] Thao Nguyen: Yeah [laughs].    [00:25:28] Miko Lee: So was it hard to convince your mom, I know it was hard to convince her to go to Vietnam. Was it hard to convince her also then to be on film? What was her response to that?    [00:25:37] Thao Nguyen: Well, luckily for all of us, my mom loves to be on film and is, um, a total flirt and ham and. Oh,    [00:25:48] Miko Lee: so that was a bonus. That was like a,    [00:25:49] Thao Nguyen: that was a bonus. The camera loves her. As did the film director, my friend Todd, she loved it. And she just, she comes alive and she's a true performer. And, it was really beautiful to see her in this element that I, I didn't know if I'd ever, I actually. Never thought I'd get to see her this way. You know, I grew up, both my brother and I grew up translating for her, it is sort of at every, at every level. And, we'd go out to restaurants and it's not that she, you know, it's like she would get shy and then it would just easier, it always just became easier if we just did it for her. But, so we'd order for restaurants and, and to see her. not to say that she doesn't I mean, she was a small business owner. She owned a laundromat, dry cleaners in Virginia and totally is the reason why everybody is alive, you know? But, to see her move so seamlessly and easily, I'm sorry, it's emotional in the world was this, such a gift I didn't know I'd get. And, You see her haggling with people, you know, and, and she's directing as she's pointing out. Yeah. It was just a really, no matter how long someone has been away from the place they were born, you know, to see them back there is, um, it was, yeah, it was just such a beautiful gift and I'm glad we have it on film.   [00:27:17] Miko Lee: Did you discuss that with your mom? How different that was for you to see her in a different way?    [00:27:22] Thao Nguyen: You know, not, not, um, not directly. I've written about it, but I've not, we don't have the kind of, Yeah. That, that's never come up in those ways. You know, we talk a lot. I basically, I try to call her at least, uh, almost every day, just 'cause she lives across the country. So I wanna just be sure that, you know, I'm just doing these like, casual wellness checks, but we don't often get into those more philosophical conversations. Um, but she did, you know, the, the song Temple, Which would become the lead single of the album Temple was, inspired by this moment of candor that I had never experienced before and I would never experience again. It happened one night when we were in Vietnam and she just said outta nowhere. You have to understand what freedom is and you have to understand why a million people would risk their lives at sea, and I can't. I can't teach you that. I can't help you with it. You have to know for yourself. And that's what became, the song Temple where wherein she's speaking to me about her life before, during, and after war.   [00:28:35] Miko Lee: That's so powerful. Thank you for sharing. I, I appreciate that about your music, the personal, visions and dreams and pain that you experience putting that in. Is there another song of yours that really stands out to you?    [00:28:51] Thao Nguyen: Another one. Aside from that?    [00:28:53] Miko Lee: Aside from that.    [00:28:54] Thao Nguyen: There's. You know, yes, there's a, there's definitely a few from this new album that is, that I just finished and it's releasing in September. From that same album Temple there's, the song Marrow. there's a few. That album is as much, it was, it was this, I just had this, I knew that I had to make it both about, what my Vietnamese identity is and what it is to be queer in Vietnamese and stay in the culture, which is not something that I thought I could do. So yeah, I would say both Temple and Marrow encapsulate, this effort to fully align myself in ways that I hadn't been able to.    [00:29:40] Miko Lee: And what is Marrow about?    [00:29:42] Thao Nguyen: Marrow is about what it means to fully accept yourself so that you could offer yourself to the rest of your life. You know, it's, it's like.   [00:29:54] Miko Lee: That's all.   [00:29:56] Thao Nguyen: That's all. And it's, and it was against the backdrop of getting married. but it was more about me coming to terms with not even coming to terms, like even that language is so, disparaging. It's, it was just about claiming myself and saying to my family, I need to be, you know, I, I need to be my full self and I believe I can be with you still. But you know, the lines are, It's so funny. I sing it all the time and I can't do that. The line I'm thinking of in particular is, at that point I'm apologizing to my partner at the time and saying, you know, I am basically, I couldn't claim us because of this barrier, but I'm sorry to you and I'm sorry to me, and the, you know. I have grief in my marrow. Will you marry me still? So is it, that's a roundabout way of explaining what that, what that song is.   [00:30:54] MUSIC    [00:34:24] Ayame Keane-Lee: You just listened to “Marrow” by tonight's guest, Thao Nguyen.    [00:34:28] Miko Lee: You talk about Temple and how that was based on this trip you took in 2015, right? 2016. How long does it generally take you for a song to germinate?    [00:34:41] Thao Nguyen: You know, that one, um, that's, that is an example of a, a longer, uh, gestation period because it was such an intense, because Vietnam was such an intense time. Uh, it was months, maybe it was two years before I could even think about it, honestly. And there are other things that happen. I wish things happened more instantaneously. It's very rare that a whole song will just present itself. You know, temple, that song in particular, when I started writing it, it took maybe two hours, but it took me two years to get to the point where I could    [00:35:20] Miko Lee: And it just came to you in two hours?   [00:35:22] Thao Nguyen: Yeah. It just came, just the vision. All those, the imagery, everything that I'd wanted to say. It just, I understood how. To present it. And I think I had tried in other forms over that time, but it just wasn't ready. Other songs, um, yeah, anywhere from it's, it's like the chorus or a hook or a verse will come very quickly, and then the time, the more arduous stuff is building around it to make sure that it, it, you know, it's properly bolstered. Like I, if I believe in a hook, then I'll, I'll try to build the house around it.    [00:36:02] Miko Lee: And how, what do you do? Do you just record it straight up right when you get the hook, like on a small device or what's your process?    [00:36:09] Thao Nguyen: It um, typically I'm playing an instrument, either guitar or piano or I've written, you know, sometimes I get bored, I write on other instruments, but primarily it's guitar, piano, and, um. It'll be the melodic hook only on the instrument, and then I'll put words. But yeah, it's, I, I just use voice memos and then as I'm building it, then I'll move into pro tools and, and, and record a more proper demo.    [00:36:40] Miko Lee: And do you have a set working process or you just vibe it whenever you're feeling it? And I ask because I always ask this of artists. Because I think it's so interesting, what is the discipline it takes for your art form? And I remember I interviewed Isabel Allende years ago and she said, yes, I make myself go in my studio at 8:00 AM every day. And even if I can't write, I sit there from this time to this time. So what, what is your process like? Or do you have a set process?    [00:37:05] Thao Nguyen: Yes. Absolutely. And it's taken me so many years to figure out what my set process is and to have the discipline to really, really, um, I do believe it is a daily practice and it is a daily discipline and I'm so afraid of what happens when I slip out of it because I know what happens. I've tumbled into this very dark, deep well of despair and I don't know. You, you start to question what your whole purpose is. It gets bad very quickly, right? So I'm always trying to stay on the side of not completely sliding down. Not to say it isn't very joyful and I mean this a very lucky position to be in. One of the things that's been going on for the last few years is I have multiple projects going on at once and I do have to figure out, I had an, um, the album is just finished thankfully, but I am developing a musical and I'm also writing a book. And so I have to figure out, I divvy out the days. I would like to say that I can work on all three in one day, not possible. So I have to choose, um. And it's always, the morning time is the best for generating something from nothing. And then I try not to edit or revise or question it until that afternoon or later. Actually, you don't question it within that same day. Like the main, I think the main priority for me is maintaining momentum and optimism. So I need to do whatever it is to thwart whatever part of me is trying to take it down. Um, so I'll work in the morning for a few hours and then leave it, you know, and as writers say, leave it no matter if it's songwriting or whatever, like leave it at a place where you, when you start again, you feel good about it and you know what the next step is.   [00:39:08] Miko Lee: Do you have a set time? It's like just the morning from this time to this time. And then do you say musical today? Book today. Album today. How do you do that?    [00:39:17] Thao Nguyen: Well, it depends on the deadlines.    [00:39:21] Miko Lee: Of course.    [00:39:22] Thao Nguyen: I, yeah, I, I work to the deadline. 'cause there's always, thankfully, there's always at least one happening and yeah, I. I love this by the way, because I actually, when I'm stuck, I just look up different routines for writers and artists. It's like my favorite thing to do. So I love to participate in this conversation. Um, but I wake up, I meditate, I try to do a little stretching, and then I do a walk. It depends on where I'm working. Okay? Here's the thing. If I'm working on music, I have to work at home. If I can write, then I'm gonna go to a coffee shop or the library or my friends just opened up local economy, uh, that, that, so I've been going there and because writing is so lonely and miserable that I cannot be in the house, I, I, there's no way I have to be in public. Um, and just at least feeling the energy of other life    [00:40:18] Miko Lee: With songwriting also?    [00:40:19] Thao Nguyen: With songwriting, I have to be home 'cause I'm making all this noise. So what? Yeah, with songwriting I'll be at home, but that's way less miserable 'cause I can just play guitar or piano or something and then, or I'll be in studio with my friends that I'm making the album with. Um, now that I've finished the album and I'm moving and I'm more squarely in the book writing, um, I try to do two hours. You know, not, not solid. I will try, like, for a while, um, I was doing the timer with the, you know, 25 minutes at a time. And then that wasn't, I wasn't getting enough done and then, yeah, and then more than two hours. I, I just can't, it's not sustainable. Um, for me, I feel like I get a solid hour to two. Or maybe you hit like a two page, two or three page, um, quota or something, and then just don't even look at it and then go, and then I go exercise and I need to be outside and, or go on a hike or something.    [00:41:34] Miko Lee: Okay. Tell us about this book. What is it about, what's the timeline? No pressure.    [00:41:41] Thao Nguyen: I would love to tell you what it was about, if I knew better. Um, what it was. It's, it's a collection of essays and I'm calling it, so it's, it's, uh, it'll be out on Gray Wolf, um, into, in spring of 27. And so it is due relatively soon 'cause they, it's a longer lead time. I'm calling it a community memoir, um, because it's a collection of essays from different, it's all through my lens, but it's to celebrate these characters that I grew up with in Foster Virginia, within my family, within the community that I, they're so vivid to me and. Their stories. The quieter sides, the quieter moments of what it means to live in diaspora or what I wanna capture. And also what, you know, part of it is what shaped my musical life. And, and there are all these influences and elements that I, that I just wanted to celebrate and honor and. These people that I remember, but I, I'm, we're all, you know, I'm, I'm turning 42. I'm like, I, we're close to lo I'm close to losing the Hi-Fi detail of them, you know, and, and I don't know who else, is in a position to capture it. You know, and, and also it's this amazing opportunity to talk to my mom's, brothers and sisters. You know, there are tales. There's, of course, you grow up with, I think it's really different to, I was raised, you know, in Virginia by my, primarily by my mom. My grandmother and my aunt didn't come till I was five, but the stories that I heard. Mostly were from my mom who fled in, who left in 73, and her experience is so different than my grandmother, my aunt, all of my mom's siblings who stayed, who had to stay through the fall and, and live in a different regime, you know?    And so to get to hear those stories of just like the more quotidian indignities of what is life after you've lost your. To them they've lost their country, but they're still in it. You know, like, what is it to, with what were the rice rations like? Yeah. So, 50 years on what stays with people, you know, against the backdrop of the most devastating thing that can happen is that like the rice was so broken and it was so rationed and the quality of it was so infuriating and that they and my uncle talks about just for the 50th anniversary, I went back, I had an event, um, I think at the Smithsonian, and I went and I was staying with my uncle, and so I was able to ask them questions and he remembers buying meat on the black market. But you, you'd go to this market, you'd make eye contact with the person. They, you follow them to a behind the stall. They give you this meat wrapped in newspaper. You don't even know what it is. You don't, you can't unwrap it till you get home, you know? Anyway, those are the things that I, I just am so fascinated by, and I, there's just this kind of humanity and life in them that I wanna help. Um, record and if nothing else, just so that I know that it gives me an opportunity to ask these questions. Um, there's stuff about, you know, I'm estranged from my father and I have a lot there, there are things that I, you know, it just, these essays are helping me, better understand and, and process. these open-ended. storylines that, that, have punctuated and haunted me.    [00:45:38] Miko Lee: And this is your first book, right?    [00:45:40] Thao Nguyen: It is, yes.    [00:45:42] Miko Lee: What made you decide to do a book format and also essays, I heard you say? Mm-hmm. Um, as opposed to another album or a series of songs.    [00:45:52] Thao Nguyen: Um, I've always wanted to be a writer. Bef I wanted to be a writer before I was a songwriter, before I wanted to do anything. And I think it scares me the most in my life. And, and it was time to, you know, the opportunity came up, um, very fortunately to get to write a book for Gray Wolf, which of which I'm a huge fan, you know, and, uh, it's a true honor to be affiliated with them. And. Uh, I wanted to do it because it's a lifelong goal and dream, that actually is way scarier to me than making music and performing music. So I, I kind of just needed to see that I, I needed to try.    [00:46:38] Miko Lee: And why an essay format?    [00:46:40] Thao Nguyen: Um, I think that's what naturally. For this, for the first go, it, it, it is what naturally I'm drawn to and what happens most easily. Uh, and I think they're similar to songs in that way. And I, I am very much as a writer, as a songwriter or any or prose writer, I want to try and just capture the, a moment and a feeling and I. Um, that's my main prerogative and my main compulsion when I write. And so for this first go, I'm hoping that there will be more, but this, yeah. Is, is just the, the easiest way to package it.    [00:47:28] Miko Lee: I'm absolutely looking forward to reading it. Now share about a musical. Tell me more    [00:47:34] Thao Nguyen: Musical. I don't know how much I can say besides, uh, it's not been announced yet, but I do, I have been in, I do spend a lot of time in New York, um, and it's an adaptation. Um, I. I shouldn't have. I, I just wanted to mention that it was happening, but I know now that I sh I can't actually say.    [00:47:56] Miko Lee: Okay. That's okay. It's secret, So how can our audiences find out more about you and your work? We'll put a link to your website absolutely. On their webs, on our, program page. But are there other ways that folks can find out more and keep up to date with what you're doing?   [00:48:11] Thao Nguyen: For sure there's, um, well, all the social media, um, outlets were on there @thaogetstaydown. And um, I have a substack called THAO For The Record, which actually was just me sort of documenting my process of making this next record. Um, but that is my preferred way to be in touch in a more long form, um, less harried way. And the new album is coming out in mid to late September. And so I'm really excited about that. And we're, we are gearing up for more touring, starting the summertime.    [00:48:54] Miko Lee: Excellent. Can't wait to listen to you more and hear the new, piece. And thank you so much for joining us on Apex Express.    [00:49:02] Thao Nguyen: Thank you so much for having me. It was such a joy to speak with you.   [00:49:05] Ayame Keane-Lee: The last song we're playing tonight is also the last on the album Temple. It's called “I've Got Something.”   MUSIC [00:53:51] That was “I've Got Something” by Thao & The Get Down Stay Down. [00:53:55] Miko Lee: Thank you so much for listening tonight. Remember to reconnect to your ancestral technologies and hold in the power of tenderness. Please check out our website, kpfa.org/program/apexexpress to find out more about our show and our guests tonight. We thank all of you listeners out there. Keep resisting, keep organizing, keep creating, and sharing your visions with the world because your voices are important. Apex Express is produced by Ayame Keane-Lee, Anuj Vaidya, Cheryl Truong, Isabel Li, Jalena Keane-Lee, Miko Lee, Miata Tan, Preti Mangala-Shekar and Swati Rayasam. Tonight's show was produced by me Miko Lee, and edited by Ayame Keane-Lee. Have a great night.            The post APEX Express – 6.18.26 Talk Story with Thao Nguyen appeared first on KPFA.

Matt and Jordan review HBO’s Sundance acquisition Miss You Love You. And while Jordan finds it to be a handsome, moving, and well-acted "filmed play", Matt finds too modest and predictable. For Rec Seg, Matt revisits the grueling, ice-cold dread of corporate culture with a 2019 workplace thriller, while Jordan counters with a classic 1982 Sidney Lumet thriller packed with more twists, turns -- and smooches! Finally, Jordan takes the reins as Dungeon Master for a game called On a Wing and a Prayer. Chapters / Timecodes (Timecodes/chapters may not be precise with ads.) Intro (00:00:00–00:7:27) Miss You Love You (00:7:28–00:26:54) Rec Seg!: (00:26:55–00:43:49) Personalized Recs (00:43:50–01:04:34) Game: On a Wing and a Prayer (01:04:35–01:23:04) Wrap-Up & Credits (01:23:05–01:35:02) Show Notes Now Streaming on Bazooga - A Filmspotting: SVU Archive https://letterboxd.com/samvanhallgren/list/now-streaming-on-bazooga-a-filmspotting-svu/ Matt's appearances on our sister podcast, The Next Picture Show, discussing Shogun Assassin and The Mandalorian and Grogu. https://www.filmspotting.net/nextpictureshow Pre-Order Matt's book "Funny Business: The Old-School Wedding Crashers and Knocked-Up Virgins Who Changed Comedy Forever" (Coming October 6th): https://www.penguinrandomhouse.com/books/790241/funny-business-by-matt-singer/ Feedback: Email us at feedback@filmspottingSVU.com Follow Matt on Blue Sky: @mattsinger.bsky.social Follow Jordan on Blue Sky: @jhoffman.bsky.social Follow the Show: https://www.instagram.com/superpulse/ https://www.facebook.com/FilmspottingSvuSee omnystudio.com/listener for privacy information.

Zach Blume is the co-founder and president of Portal A, an award-winning brand and original content company built for a social world.Portal A has been named Campaign's Brand Entertainment Agency of the Year, Digiday's Video Agency of the Year, the Streamy Awards Agency of the Year, and Cynopsis Digital Studio of the Year. The company's work has been viewed over 4 billion times online and received recognition by the One Show, the Clio Awards, Tribeca, Brand Storytelling at Sundance, the Webby Awards, the Shorty Awards, and many others.Portal A has been independent since its founding, and in 2019 took on a strategic investment from Wheelhouse, the next generation entertainment company founded by Brent Montgomery and partner Jimmy Kimmel.

EPISODE 144 -  “HOLLYWOOD BLOODLINES: CLASSIC HOLLYWOOD'S LEGENDARY FAMILIES” - 6/15/2026  Hollywood has always been a family affair. In this episode, we explore some of the entertainment industry's most enduring dynasties, from the swashbuckling legacy of the Fairbanks family to the influential Montgomerys to the acclaimed generations of the Fondas and the multi-talented Hustons. Discover how these iconic families shaped the history of film, passed their craft from one generation to the next, and navigated the challenges of living in the shadow of legendary names. Join us as we uncover the stories, triumphs, and lasting influence behind Hollywood's most famous family legacies. SHOW NOTES:  Sources: The First King of Hollywood (2016), by Tracey Goessel; Broken Silence: Conversations with 23 Silent Picture Stars (2011), by Michael G. Ankerich; John Huston Interviews (2001), by Robert Emmet Long; Don't Tell Dad: A Memoir (1998), by Peter Fonda; September Song: An Intimate Biography of Walter Huston (1998), by John Weld; “Elizabeth Montgomery's Secret Heartbreak: How She Found Magic Despite Her Fame,” February 27, 2026, by Ed Gross, Woman's World; “The Fonda Family: All About the Hollywood Dynasty, From Golden Age Star Henry to Living Legend Jane,” September 8, 2025, by Julie Tremaine, People Magazine;  "Peter Fonda, ‘Easy Rider' Actor and Screenwriter, Is Dead at 79,” August 16, 2019, by Anita Gates, New York Times; “The Fonda Factor,” December 1990, by Peter Collier, Vanity Fair; “HENRY FONDA DIES ON COAST AT 77; PLAYED 100 STAGE AND SCREEN ROLES,” August 13, 1982, by Peter B. Flint, New York Times; “Robert Montgomery, Actor, Dies at 77,” September 28, 1981, by David Bird, New York Times; Wikipedia.com TCM.com; IMDBPro.com; IBDB.com; Brittanica.com; Movies Mentioned: The Mark of Zorro (1920); Robin Hood (1922); The Thief of Bagdad (1924); So This Is College (1929);The Divorcee (1930);Inspiration (1931); Little Caesar (1931);Letty Lynton (1932); Rain (1932); Morning Glory (1933);The Farmer Takes a Wife (1935);Petticoat Fever (1936); Dodsworth (1936);Jezebel (1937); The Prisoner of Zenda (1937);Night Must Fall (1937); Of Human Hearts (1938);Young Mister Lincoln (1939); Gunga Din (1939);Earl of Chicago (1940);The Grapes of Wrath (1940);Here Comes Mr. Jordan (1941); The Devil and Daniel Webster (1941) Sergeant York (1941);The Lady Eve (1941); Yankee Doodle Dandy (1942);The Ox-Bow Incident (1943);They Were Expendable (1945);Lady in the Lake (1946);My Darling Clementine (1946);Ride the Pink Horse (1947);Once More, My Darling (1948); The Treasure of the Sierra Madre (1948); Key Largo (1948); The Asphalt Jungle (1950); The African Queen (1951); Mister Roberts (1955);The Desperate Hours (1955);The Court-Martial of Billy Mitchell (1955); Moby Dick (1956);  12 Angry Men (1957); Heaven Knows, Mr. Allison (1957);Tall Story (1960);The Gallant Hours (1960); The Misfits (1961);Period of Adjustment (1962);Calculated Risk (1962);Johnny Cool (1963);Who's Been Sleeping in My Bed (1963);Tammy and the Doctor (1963); Night of the Iguana (1964);Cat Ballou (1964);The Young Lovers (1964);The Wild Angels (1966);Barefoot in the Park (1967);The Trip (1967);Bonnie and Clyde (1967)Once Upon a Time in the West (1968);Rosemary's Baby (1968) Barbarella (1968);Easy Rider (1969);Klute (1971); Fat City (1972); Chinatown (1974);A Case of Rape (1974);Mrs. Sundance (1974); The Man Who Would Be King (1975);The Legend of Lizzie Borden (1975);Coming Home (1978);Wanda Nevada (1979);On Golden Pond (1981);9 to 5 (1982); Prizzi's Honor (1985);Agnes of God (1985);The Morning After (1986); The Dead (1987); Mr. North  (1988); The Grifters (1990); The Adams Family (1991); Adams Family Values (1993);Black Widow Murders: The Blanche Taylor Moore Story (1993);Ulee's Gold (1997); Ever After (1998);The Passion of Ayn Rand (2000); The Aviator (2004); The Constant Gardner (2005); 30 Days of Night (2007);3:10 to Yuma (2008); X-Men Origins: Wolverine (2009); Wonder Woman (2017); --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

Brian is known for his work in cinema genres, with his films showcased at major festivals like: Sundance, SXSW, Tribeca, and Toronto. Brian's film work includes: Bad Day for the Cut, The Devil's Doorway, Boys from County Hell, Let the Wrong One In, Oddity, The Occupant, Hokum, and The Incomer. Brian's television editing work includes: Dalgliesh and The Wreck.

Janek Ambros is a filmmaker, producer, writer, and founder of Assembly Line Entertainment whose work has screened in connection with major festivals including Sundance, Venice, SXSW, and TIFF. As both a producer and director, he has built a career balancing the creative and business sides of independent filmmaking while helping bring a wide range of projects to life. In this episode, we discuss Janek's unconventional path from studying economics and interning at Morgan Stanley to building his own production company and producing award-winning independent films. We talk about his documentaries IMMINENT THREAT and MONDO HOLLYWOODLAND, the importance of editing as a storytelling tool, and why producing other filmmakers' work helped shape his perspective as a director. We also dive into the collaborative spirit of the legendary "Film Brat" generation, the influence of filmmakers like Francis Ford Coppola, Martin Scorsese, Paul Thomas Anderson, and James Cameron, and the current state of independent cinema. Janek shares his thoughts on practical effects versus CGI, the future of moviegoing, why comedy films have become increasingly difficult to make, and the importance of building communities of filmmakers who support one another. As always, we close the conversation with Janek's two favorite movie scenes and the lessons filmmakers can learn from them.   Hosted by Zef Cota Produced by Cole Howard

This episode of Across The Margin : The Podcast features an interview with Bill Morrison who has been called the poet laureate of lost films (New York Times, 9/21/2021), as he often makes films that re-frame long-forgotten moving images. He has premiered feature-length documentary films at the New York, Sundance, Telluride and Venice film festivals. In 2021 Morrison became a member of the documentary branch of the Academy of Motion Pictures Arts and Sciences. His found footage opus Decasia (2002) was the first film of the 21st century to be named to the Library of Congress' National Film Registry. Dawson City: Frozen Time (2016) was included on over 100 critics' lists of the best films of the year and was later listed as one of the best films of its decade by the Associated Press, Los Angeles Times, and Vanity Fair, among others. His most recent film, Incident (2023) won the Best Short Film Award from International Documentary Association in 2023, the Cinema Eye Honors for Outstanding Nonfiction Short, and was nominated for an Academy Award in Documentary Short in 2025. His film, The Great Flood (2013) — the focus of this episode — was recognized with the Smithsonian Ingenuity Award for historical scholarship.The Mississippi River Flood of 1927 was the most destructive river flood in American history. In the spring of 1927, the river broke out of its banks in 145 places and inundated 27,000 square miles to a depth of up to 30 feet. Part of its enduring legacy was the mass exodus of displaced sharecroppers. Musically, the “Great Migration” of rural southern blacks to Northern cities saw the Delta Blues electrified and reinterpreted as the Chicago Blues, Rhythm and Blues, and Rock and Roll. Using minimal text and no spoken dialog, filmmaker Bill Morrison and composer / guitarist Bill Frisell have created with The Great Flood a powerful portrait of a seminal moment in American history through a collection of silent images matched to a searing original soundtrack. Hosted on Acast. See acast.com/privacy for more information.

Matt and Jordan review Netflix's massive true crime tabloid horror hit, The Crash, a direct-to-streaming look at the tragic Mackenzie Sherilla case. Jordan walks away feeling like he needs a shower for his soul, while Matt thanks his lucky stars that social media didn't exist when he was a youngster. For Rec Seg, Matt challenges the "drek" of the true crime genre by recommending an Oscar-nominated Netflix doc and Jordan counters with a 2018 indie drama that offers a nuanced take on the endless scroll. Listener requests yield recommendations for a 1945 "hardcore British" romance and 2012 Sundance indie featuring an ex-con who hangs out with a robot. Finally, Producer Sam steps in to host a true crime-inspired game called If You Can't Do the Time, Don't Watch the True Crime (on Amazon Prime). Plus, dabbing, dad jokes, and brief thoughts on box office phenomenons Backrooms and Obsession, and Masters of the Universe. (Ep. #175)Chapters / Timecodes (Timecodes/chapters may not be precise with ads.) Backrooms, Obsession, Masters of the Universe (00:00:00–00:7:45) The Crash (00:7:46–00:24:14) Rec Seg!: Good True Crime, Online Teens (00:24:15–00:40:11) Personalized Recs: British Romance, Sundance Dramedy (00:40:11–01:05:31) Game: If You Can’t Do The Time… (01:05:32–01:20:34) New to Streaming / Credits (01:20:35–01:29:18) Show Notes Now Streaming on Bazooga - A Filmspotting: SVU Archive https://letterboxd.com/samvanhallgren/list/now-streaming-on-bazooga-a-filmspotting-svu/ Matt's appearances on our sister podcast, The Next Picture Show, discussing Shogun Assassin and The Mandalorian and Grogu. https://www.filmspotting.net/nextpictureshow Pre-Order Matt's book "Funny Business: The Old-School Wedding Crashers and Knocked-Up Virgins Who Changed Comedy Forever" (Coming October 6th): https://www.penguinrandomhouse.com/books/790241/funny-business-by-matt-singer/ Feedback: Email us at feedback@filmspottingSVU.com Follow Matt on Blue Sky: @mattsinger.bsky.social Follow Jordan on Blue Sky: @jhoffman.bsky.social Follow the Show: https://www.instagram.com/superpulse/ https://www.facebook.com/FilmspottingSvuSee omnystudio.com/listener for privacy information.

A CUBADORIAN WRITER-ACTION DIRECTOR Michelle Salcedo shares growing up Cuban and Ecuadorian in Miami, turning her parents' immigrant love story into creative fuel, finding her voice through years of writing features at the library, making her Sundance-supported short 'Cinnamon Skin,' breaking into action with her feature 'Switch and Bait,' and exploring why her work keeps returning to underestimated heroes, complicated morality, and the cost of freedom. Instagram - @lalistapodcast Music: Arriba Mami - Jingle Punks

Merriam-Webster's Word of the Day for June 6, 2026 is: valedictory • val-uh-DIK-tuh-ree • adjective Valedictory describes something expressing or containing a farewell. // The valedictory speech given by the department chair moved several faculty members to tears. See the entry > Examples: “Did I regret not catching a retrospective showing of ‘Little Miss Sunshine,' in a special valedictory program of Sundance sensations from over the years? Perhaps—though not as much as I regretted missing the screening of Ryan Fleck and Anna Boden's ‘Half Nelson' (2006). That's the title that I remember most fondly from my first year at Sundance ...” — Justin Chang, The New Yorker, 31 Jan. 2026 Did you know? Valedictory addresses delivered by valedictorians at high school and college graduations are as much a sign of spring in the United States as baseball games and cookouts. Though we don't know where the first valedictory address was given, we do know that such addresses were an institution at some colleges in the U.S. by the time Noah Webster wrote his famous 1828 dictionary. (We also know that valedictory was used in non-academic settings—mostly churches, and especially in the phrase “valedictory sermon”—from the mid-1600s.) Since a valedictory speech is given at the end of an academic career, it is perfectly in keeping with the meaning of its Latin ancestor, valedīcere, which means “to say goodbye.”

A dive into the world of friendship with our latest "Friends Like Us" podcast episode! Marina Franklin host special guests Sharaé Nikai and David Lassiter as they talk about their incredible journey creating "The Other Gold" — a film about friendships' complexities. Watch it now on Apple TV and Tubi! Sharaé Nikai - Against industry odds, Jersey City native Sharaé Nikai wrote, produced, co-directed and starred in her very first feature film, "The Other, Gold." It is a heartfelt dramedy that follows a TV writer living in Little Tokyo as she navigates grief, isolation and the rekindling of a former BFF-ship. Out of 13,016 submissions, TOG was invited to world premiere as one of only 10 films in Tribeca's US Narrative Competition. This acclaim led to Nikai being in consideration for the 2025 Oscars, Spirit Awards and Emmys in the Outstanding Television Movie, Directing & Lead Actress categories. It also makes her the first Black female quadruple threat (sole writer/producer, director & star) to qualify for the Academy Awards with no studio or major production company backing. As a producer, Sharaé secured an exclusive Mental Health Awareness partnership for "The Other, Gold" at FOX-owned Tubi and sponsorship for its launch by Women in Film (WIF) and The Entertainment Community Fund. In March 2026, "The Other, Gold" was released worldwide in celebration of Women's History Month exclusively on Apple TV. In addition to TOG, Nikai appears in numerous ad campaigns, films and TV series including Grey's Anatomy and opposite Alison Brie in Sundance's "Horse Girl" (The DuPlass Bros/Netflix). Currently, she is the 2026 international voice of Nordstrom Rack all while developing her dramedy driven TV/film slate. In her spare time, Sharaé takes serious pride in the accent mark over her "e" and is the reigning (read: self-proclaimed) trap karaoke queen. David Lassiter is an American filmmaker, actor, writer, and musician from Jersey City, New Jersey. He co-directed and appeared in the feature film The Other, Gold (2024), which premiered at the Tribeca Festival before streaming on Apple TV+ and Tubi. Before transitioning into filmmaking, Lassiter worked as a fashion model and was signed to Wilhelmina Models, appearing in campaigns and editorial work for brands and publications including Giorgio Armani, Dolce & Gabbana, Vogue, GQ, Banana Republic, Swatch, and Levi's. He later studied acting in New York at HB Studio, Susan Batson Studio, and WB Workshops while appearing in national campaigns for Verizon, Macy's, and American Eagle. Lassiter also collaborated with Viacom on street-interview segments featured on MTV and MTV2. Always hosted by Marina Franklin - One Hour Comedy Special: Single Black Female ( Amazon Prime, CW Network), TBS's The Last O.G, Last Week Tonight with John Oliver, Hysterical on FX, The Movie Trainwreck, Louie Season V, The Jim Gaffigan Show, Conan O'Brien, Stephen Colbert, HBO's Crashing, and The Breaks with Michelle Wolf. Writer for HBO's 'Divorce' and the new Tracy Morgan show on Paramount Plus: 'Crutch    

Beth takes her family ghost hunting in Jerome, Arizona. Tonya had a dream visit from the childhood dog. Anon has more stories as a night auditor at a haunted hotel. Billie's dad saw a phantom monk, and had dogs barking at nothing. Kati creeped her parents out after a family tragedy. Please send us your own true paranormal experiences in either a voice memo or e-mail to funnyfeelingpod@gmail.com.
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As writer, actor, and Sundance-winning creator Kathreen Khavari joins the Jacob Krueger Studio faculty, Jake sits down with her for a candid conversation about voice, character, creative audacity, and the art of paying attention. From overheard subway conversations to guerrilla filmmaking, Kat shares how she created her breakout viral short Brain of Terror by paying close attention to the strange, specific rhythms of real people – encouraging writers and actors to stop waiting for permission to create. Together, Jake and Kat explore the relationship between acting and writing, why compelling characters emerge from strong points of view, how dialogue becomes believable through embodiment and rhythm, and why the artist's job is not to “know,” but to remain curious. Along the way, they unpack the emotional realities of building a creative career: rejection, collaboration, trusting your instincts, and learning how to advocate for your work before anyone else believes in it. The result is both an introduction to Kat's perspective as a mentor and artist, and a deeply practical conversation about how curiosity, specificity, and audacity can help you create the work – and career – that feel genuinely your own.