Podcast appearances and mentions of Wes Anderson

This week we're reviewing our first Wes Anderson movie with Fantastic Mr. Fox! "When a sly Fox can't resist his true nature and returns to a life of stealing from farms he puts the entire animal community at risk. Mr. Fox will need to lead them in a battle of life and death against the angry farmers".  We hope you enjoy this review of Fantastic Mr. Fox! If you'd like to unlock bonus episodes from Talking Back every month, then check out our page on Patreon! Check out Tim's Youtube Channel Demo Dash! You can also support Talking Back by sending us a Coffee at Buy Us a Coffee!  Please consider leaving a 5 star rating and review on Apple Podcasts! This helps make our Podcast easier for listeners to find.  Feel free to drop us a line on Social Media at Instagram, and Facebook. Or drop us an email us at talkbackpod@gmail.com. This podcast is part of the BFOP Network 

Costume designer Ann Maskrey has watched The Grand Budapest Hotel five times and rewatched it the week before recording—and she's still finding things to admire. Ann, whose credits include The Duchess, the Hobbit trilogy, and the new The Magic Faraway Tree, chose Wes Anderson's 2014 film as one of her all-time favorites: a story of a legendary concierge (Ralph Fiennes) and his lobby boy (Tony Revolori) set against a fictional interwar Europe running out of time and elegance.Ann, Andy, and Pete dig into Milena Canonero's costume design and what it means to read another designer's work from a maker's perspective—someone who started as a cutter and dresser before she was ever a designer. They get into the color decisions, the departmental shorthand that makes Anderson's worlds feel airtight, and how the same principles show up in Ann's own work on The Magic Faraway Tree. Andy Nelson and Pete Wright discuss the film with Ann Maskrey on Movies We Like, a TruStory FM podcast.

This week we're talking all about Wes Anderson's sophomore film, Rushmore. Sophomore slumps are not real, least of all for Critters, everything we touch is gold. Hosted on Acast. See acast.com/privacy for more information.

Benvenuti in un cinema fatto di personaggi tragicomici, famiglie disastrate, morte e rinnovamento. Tutti elementi che compongono il colorato e stralunato mondo di Wes Anderson.Progetto curioso poi rimontato come lungometraggio televisivo, "La meravigliosa storia di Henry Sugar e altre storie" è l'omaggio definitivo di Anderson al suo amatissimo Roald Dahl e al suo universo narrativo a cui Anderson è molto debitore.

Bear, Gray, Dub, and Big A make their NASCAR and PGA picks, what else is happening in sports? Thanks to Wes Anderson for Moments in Time and Mind Quarantine! Check him out on X and Instagram @SongsByWes and Wes Anderson Music on Facebook. Thank you to our sponsors: All Wear Clothing, Crandall's Quality Landscaping, GrayKey Merchandising and Concert Vending Services, Sparty Steve, PaperDenimArt, Down N Dirty Hats and Datingtransformation.com.

Have you ever smelt a Wes Anderson movie?

Benvenuti in un cinema fatto di personaggi tragicomici, famiglie disastrate, morte e rinnovamento. Tutti elementi che compongono il colorato e stralunato mondo di Wes Anderson.Lanciatissimo dopo il successo di "Grand Budapest Hotel", Anderson non si è più fermato.La terza decade degli anni 2000 si sta rivelando un periodo storico molto prolifico per il nostro e "Asteroid City" è soltanto uno dei titoli che incarnano la nuova esistenza del cinema di Anderson, più ambiziosa ma forse anche meno genuina.

Gray, Dub, and Big A make their NASCAR and PGA picks, what else is happening in sports? Thanks to Wes Anderson for Moments in Time and Mind Quarantine! Check him out on X and Instagram @SongsByWes and Wes Anderson Music on Facebook. Thank you to our sponsors: All Wear Clothing, Crandall's Quality Landscaping, GrayKey Merchandising and Concert Vending Services, Sparty Steve, PaperDenimArt, Down N Dirty Hats and Datingtransformation.com.

This week we begin out Wes Anderson journey by going back to 1996 and watching his very first film, Bottle Rocket.

Spine 700, can you believe it? We've been doing this for a long time. Criterion rewards our dedication with an overly full release of Wes Anderson's adaptation of Roald Dahl's Fantastic Mr. Fox (2009). Mark Gustafson is animation director of this animated movie, but this is less a Tim Burton's Nightmare Before Christmas situation than a Guillermo del Toro's Pinocchio, the former of which is a Henry Selick movie that gets mistakenly attributed to the producer and the later of which Gustafson actually has credited co-director status on because Del Toro respects artists. Gustafson and the animation team bring Wes Anderson's vision to life to create one of the most Wes Anderson-y movies Wes Anderson has ever made.

Ken and James are joined by Kyle Snarr, founder of Cantonment, for the launch of a very special collaboration between Cantonment and Accidentally Wes Anderson. They chat about Travel and adventure gear, watches, great plane movies, and of course the collab. ..Wristcheck - Kyle - Serica 6190Ken -  Citizen Aqualand 40th AnniversaryJames - Longines Legend Diver 36mm .Mentioned - Cantonment kerchiefsWindup Chicago and Windup in a lakeAccidenrtally Wes AndersonCantonment x AWA kerchiefBeanieHero ClipGoruck GR1 Field PocketNomadic packable toteBattenwear Packable ToteWall E Wolverine movieThe Life AquaticRush movieMarathon 34mm GP quartzTimex Ironman 8 lap.HomeworkGo Out LivinNuphy Air v3 100Harbour Freight Tool chest.Form and Function websiteDonations Page

Gray hosts Jeopardy as Dub defends his title against Big A and Bear. Thanks to Wes Anderson for Moments in Time and Mind Quarantine! Check him out on X and Instagram @SongsByWes and Wes Anderson Music on Facebook. Thank you to our sponsors: All Wear Clothing, Crandall's Quality Landscaping, GrayKey Merchandising and Concert Vending Services, Sparty Steve, PaperDenimArt, Down N Dirty Hats and Datingtransformation.com.

Gray hosts Jeopardy as Bear defends his title against Big A and Dub. Thanks to Wes Anderson for Moments in Time and Mind Quarantine! Check him out on X and Instagram @SongsByWes and Wes Anderson Music on Facebook. Thank you to our sponsors: All Wear Clothing, Crandall's Quality Landscaping, GrayKey Merchandising and Concert Vending Services, Sparty Steve, PaperDenimArt, Down N Dirty Hats and Datingtransformation.com.

Luke Wilson joins David and Dana this week to talk about childhood nicknames, Nick Swardson's appendix, and his new Netflix show with Will Ferrell, Hawk. Also, Bill Maher's fascination with Dana's marriage, getting stuck on an elevator with Wes Anderson, and the lasting influence of Idiocracy.

Our exit today has us scamming our way to pay for and get through college. This week, we are talking about a pair of films that vaguely look at the college experience. First, we are going to talk about Slackers, written by David H. Steinberg and directed by Dewey Nicks. Next, we will talk about Stealing Harvard, written by Martin Hynes and Peter Tolan and directed by Bruce McCulloch. Along the way, besides all the college talk, we touch on Jason Schwartzman, The Count of Monte Cristo, Tom Greene, The Odyssey, game shows, biopics, Jason Segal, Bloomington/Normal, Wes Anderson, and stay for the credits for a musical number!Theme music by Jonworthymusic.Powered by RiversideFM.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠CFF Films⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ with Ross and friends.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Movies We've Covered on the Show⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ on Letterboxd.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Movies Recommended on the Show⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ on Letterboxd.

Bear, Gray, Dub, and Big A make their NASCAR and PGA picks, what else is happening in sports? Thanks to Wes Anderson for Moments in Time and Mind Quarantine! Check him out on X and Instagram @SongsByWes and Wes Anderson Music on Facebook. Thank you to our sponsors: All Wear Clothing, Crandall's Quality Landscaping, GrayKey Merchandising and Concert Vending Services, Sparty Steve, PaperDenimArt, Down N Dirty Hats and Datingtransformation.com.

HOLD IT IN! The boys are back in town and trying DESPERATELY to stay away from the diarrhea parasite! Plus Trump meet AI Teddy Roosevelt, Wes Anderson and Luke Wilson got trapped in an elevator, a Ford worker was fired for allegedly stealing a cookie, the Memphis Grizzlies drafted tater tot royalty, a California raisin heir was charged with hate crimes, Amazon sent someone a random person's ashes, Carson and Gavin talk all about Toy Story 5, and more! Want to stay up to date with the podcast? Give us a follow on our social media platforms, and check out the video version of this show on YouTube in the links below! Instagram: https://www.instagram.com/ittakesallkindspodcast/ Twitter: https://twitter.com/ITAKPodcast YouTube: https://youtube.com/playlist?list=PLSQ1H-tYJrxroyz82ygvJoI9splHke-Ez 00:00 Intro 12:54 Trump meets AI Teddy Roosevelt 18:13 Diarrhea Outbreak 28:05 Wes Anderson and Luke Wilson got trapped in an elevator 30:24 Ford worker fired for allegedly stealing a cookie 35:59 The Grizzlies drafted tater tot royalty 37:54 California raisin heir charged with hate crimes 42:00 The Amazon funeral service 45:50 Carson's Cinema Corner 01:09:01 Whatcha Listening To? 01:14:34 Outro

EPISODE #489-- We're back on our BS with the pivotal action-adventure film YOUNG SHERLOCK HOLMES (1985) directed by Barry Levinson (The Diner guy? really? Okay. I guess so). It's a nice return to form, as we do love England's most famous, non-Masterpiece Theater-based detective. We also recommend, as per usual, a bunch of other bangers, including (and it's a lot of movies, so get a pen out) THE SHEEP DETECTIVES (2026, dir. Kyle Balda), NIGHT MOVES (1975, dir. Arthur Penn), PUTNEY SWOPE (1969, dir. Robert Downey Sr.), ACROSS 110th STREET (1972, dir. Barry Shear), THE DARJEELING LIMITED (2008, dir. Wes Anderson), and THE GENERAL (1926, dir. Buster Keaton). Like I said, it's a wild one. Oh, also PREDATOR: BADLANDS (2025, dir. Tratchenberg). LINKS-- Join the cause at Patreon.com/Quality. Follow the us on on Bluesky at kislingconnection and cruzflores, on Instagram @kislingwhatsit, and on Tiktok @kislingkino. You can watch Cruz and show favorite Alexis Simpson on You Tube in THEY LIVE TOGETHER. Thanks to our artists Julius Tanag  and Sef Joosten. The theme music is "Eine Kleine Sheissemusik" by Drew Alexander. Also, I've got a newsletter on Substack, so maybe go check that one out, too. Listen to DRACULA: A RADIO PLAY on Apple Podcasts, at dracularadio.podbean.com, and at the Long Beach Playhouse at https://lbplayhouse.org/show/dracula And, as always, Support your local unions! UAW, SAG-AFTRA, and WGA strong and please leave us a review on iTunes or whatever podcatcher you listened to us on!

The boys don their best corduroy jackets and check out Wes Anderson's first film. Does it hold up 30 years later? Can they make an episode as long as the movie? DOES NET YEAR LIVE?  

In this week's episode of the Podscarf we welcome English stand-up comedian Angela Barnes and Tudor historian Adam Pennington to the studio for an hour of pure, unadulterated high-street nostalgia and medieval gore. Angela reveals how she used to operate as a suitcase-wielding, bootleg DVD library out of her dad's Great Yarmouth sex shop, and find out why the internal gases of King Henry VIII caused him to literally pop inside his own coffin. --- 00:00 – Gary's Basement Eggs and the Over-Tight Costume Crisis 00:19 – Formulating a £30 "Corned Beef Spam Nut" Kit for Nostalgic Pensioners 03:30 – Licky the Mascot Gives an Extravagant Face-Licking to a Married Woman 05:11 – Turning 50: The 1970s Nuclear Survival Kit Tobacco Tin Lore 06:39 – Waking Up to the Casualty Theme Tune 08:12 – Phoning in the "Angst" Tour and Saving a Life with The Archers 09:51 – Podcasting for "Young" Pensioners and Failing to Sing Like Jeremy Hardy 10:33 – Outsourcing Our Brains to Siri until We Become Sofa Blobs 11:43 – Sarah the AI Bot Summons the Medway Posse and Bigs up Chatham 13:20 – The Maidstone Anthem: Sex Shops, Golden Boots, and Prison Walls 14:40 – High Street Slander 15:22 – Checkers Model Shops and the Measurement Machines of the Golden Boot 16:28 – The Stoned Anagram and Wes Anderson's Secret Mansion in Basted 17:46 – The Caravan-Enthusiast, Naturist, Swinger Sex Shop Dad 18:20 – Sharing the Pre-Streaming Suitcase Bootlegs Like the Original Pornhub 19:22 – Amateur Dramatics as the Comic Fat Girl and Sudden Bereavement at 60 20:21 – Emceeing Jack Skipper's First Ever Jill Edwards Comedy Showcase 21:13 – The Five-Day House of Games Sweep and Facing Social Media Trolls 23:08– ADHD Hyperactivity and the Sussex University Synesthesia Study 26:41 – The 19-Year-Old Brain Connection Realization and 10 Minutes of Stand-Up Material 27:35 – Ad Break: Regency Foods Present Princess Anne Molds and complimentary Cremation 29:19 – Adam Pennington Explains the Desperate Male Heir Mania of the Tudors 30:39 – Holbein Portraits, Breaking the Papacy, and Banishing Catholics From Succession 31:41 – A 400-Pound King Whose Gammy Leg Smelt From Three Rooms Away 32:08 – Jude Law Spraying Feces, Pus, and Blood Perfume All Over the Firebrand Set 32:48 – Illegitimate Lancastrians, Princes in the Tower, and the Game of Thrones War 34:30 – Tenuous Bloodlines: How 78% of Britons Are Descended From William the Conqueror 35:22 – Royal Imposter Syndrome and Beheading the Remaining Plantagenets 36:19 – Whispering Chromosome Irony Into the Beheaded Ear of Anne Boleyn's Legacy 38:00 – Fastidious Manners, Six-Foot-Three Strapping Youth, and Monastic Dissolution 39:33 – Hiring a Sword Executioner Before Anne Boleyn Even Went to Trial 40:27 – Heavy Petting in the Mid-50s: Catherine Howard and Jane Boleyn's Shared Fate 41:25 – Knighting a Sirloin Steak and Hanging Out at Hever Castle 42:26 – Ulcerated Leg Pain and Popping Open via Internal Coffin Gases 44:08– Sarcophagus Re-Gifting and the 11-Strike Axe Horror of Margaret Pole 45:10– QUIZZITY QUIZ: 53:08 – Gary's Joke Corner 54:57 – Butterfly In Blue Jeans "Angela Barnes" by Wikipedia contributors, used under CC BY-SA 4.0. Derived from the Wikipedia article on Angela Barnes. / This work is licensed under CC BY-SA 4.0. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Gray hosts Jeopardy as Bear defends his title against Big A and Dub. Thanks to Wes Anderson for Moments in Time and Mind Quarantine! Check him out on X and Instagram @SongsByWes and Wes Anderson Music on Facebook. Thank you to our sponsors: All Wear Clothing, Crandall's Quality Landscaping, GrayKey Merchandising and Concert Vending Services, Sparty Steve, PaperDenimArt, Down N Dirty Hats and Datingtransformation.com.

What happens when film directors reject Hollywood realism and start treating the movie screen like a hand-drawn comic book page?In this special One Shot episode, Laramy is joined by his co-host and wife, Bethany, to break down the concept of Panel-to-Frame Grammar. We aren't talking about movie reviews or standard comic adaptations—we are diving deep into the visual pacing, structural continuity, and framing tricks that original films steal straight from the world of sequential art.Join us as we discuss:Wes Anderson and the rigid, symmetrical "flat page" design of masterpieces like The Fantastic Mr. Fox.Edgar Wright's hyper-kinetic editing rhythm in Shaun of the Dead and Hot Fuzz, and how it paved his way to Scott Pilgrim and Ant-Man.How The Wachowskis literally had to pitch The Matrix to studio executives as a 600-page comic book storyboard to get it made.Kevin Smith's View Askewniverse (Clerks, Mallrats) and how he mapped the DNA of comic book continuity onto live-action indie cinema.Do you prefer a movie that looks like a comic book page, or one that breathes like a comic book universe? Hit us up on our socials and let us know!Don't forget to subscribe, leave a 5-star review, and we will see you on the other side of the page!

Gray hosts Jeopardy as Big A defends his title against Bear, Dub, and Jeremy.  Thanks to Wes Anderson for Moments in Time and Mind Quarantine! Check him out on X and Instagram @SongsByWes and Wes Anderson Music on Facebook. Thank you to our sponsors: All Wear Clothing, Crandall's Quality Landscaping, GrayKey Merchandising and Concert Vending Services, Sparty Steve, PaperDenimArt, Down N Dirty Hats and Datingtransformation.com.

(Originally published in April; get your stuff together, Spotify. Anchor never pulled stuff like this.)It's a Patreon poll winner! Well, technically, it tied, but this was the one that didn't have subtitles, so, same same. Wes Anderson's The Life Aquatic with Steve Zissou (2004) was a commercial flop, but will it perform better with an aquatic audience than it did with land-based audiences? Do you need to have seen Jacques Cousteau's films to get the jokes? What the heck is an IMU? These and others are the questions that, uh, we ask, while, you know, watching this movie. And talking about it. On a podcast.

Bear, Gray, Dub, and Big A make their NASCAR and PGA picks, what else is happening in sports? Thanks to Wes Anderson for Moments in Time and Mind Quarantine! Check him out on X and Instagram @SongsByWes and Wes Anderson Music on Facebook. Thank you to our sponsors: All Wear Clothing, Crandall's Quality Landscaping, GrayKey Merchandising and Concert Vending Services, Sparty Steve, PaperDenimArt, Down N Dirty Hats and Datingtransformation.com.

This week we watched the 2023 sci-fi comedy drama film Asteroid city. Written, directed, and produced by Wes Anderson, Its plot mostly presents a stage play which follows a Junior Stargazer convention and the unexpected arrival of extraterrestrials and UFOs. The ensemble cast includes Jason Schwartzman, Scarlett Johansson, Tom Hanks, Jeffrey Wright, Tilda Swinton, Bryan Cranston, Edward Norton, Adrien Brody, Liev Schreiber, Hope Davis, Steve Park, Rupert Friend, Maya Hawke, Steve Carell, Matt Dillon, Hong Chau, Willem Dafoe, Margot Robbie, Tony Revolori, Jake Ryan, and Jeff Goldblum. Come join us!! Website : https://tortelliniatnoon.com/ Instagram: https://www.instagram.com/tortelliniatnoonpodcast/ Facebook: https://www.facebook.com/TortelliniAtNoon Twitter: https://twitter.com/PastaMoviePod

Jeremy brings Card Shark to the podcast with Bear, Big A, and Gray. Thanks to Wes Anderson for Moments in Time and Mind Quarantine! Check him out on X and Instagram @SongsByWes and Wes Anderson Music on Facebook. Thank you to our sponsors: All Wear Clothing, Crandall's Quality Landscaping, GrayKey Merchandising and Concert Vending Services, Sparty Steve, PaperDenimArt, and Datingtransformation.com.

We're switching back to Wes Anderson this Director's Month to discuss an early hit, The Royal Tenenbaums. Stina and Danielle also chat about summer, sports, & reality TV. Instagram: @heyitstwogirls, @classicSTINA @daniellecobianchiTwitter: @heyitstwogirls, @classicSTINA⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Two Girls Drink Beer Youtub⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠e

Sergio Pérez y Alma Espinosa hablan de los estrenos de streaming, desde el romance en Netflix al suspense de Movistar Plus.

Hey Talkhouse listeners, it's Josh Modell. Instead of a new episode this week, we're resurfacing a great one from a few years back between Blondshell and Maya Hawke. Blondshell, aka Sabrina Teitelbaum, released a new song recently and she's about to hit the road for a big tour. Maya Hawke is an actor who just signed on to star in the upcoming Netflix show The God of the Woods and she makes great records as well. Check it out! —Josh Modell, Host of the Talkhouse Podcast  On this week's Talkhouse Podcast we've got two performers who've got friends in common, and became fast friends themselves while recording this chat: Maya Hawke and Sabrina Teitelbaum. Maya Hawke is best known for her day job as an actor, most visibly in a little show called Stranger Things, and she was also in Quentin Tarantino's Once Upon a Time in Hollywood and the new Wes Anderson movie, Asteroid City. But as you'll hear in this chat, she might be most excited by a side path as a singer and songwriter. Hawke has released two understated but fantastic albums so far, and she's basically finished another. The vibe is sort of indie-folk, sort of floating and ambient but lyrically really engaging. She's worked with some cool folks to realize her musical vision, including Christian Lee Hutson, who's the “Christian” referenced in this conversation, just so you know. ⁠Check out⁠ a “Sweet Tooth” from Hawke's 2022 album Moss right here. Sabrina Teitelbaum just released her debut album under the name Blondshell, and it's one of the best of 2023 so far. She describes it in this conversation as an emergency album—meaning a bunch of songs that she felt almost desperate to write, record, and unleash on the world. It's direct and angry in spots, but also darkly funny and completely unafraid. She's toured with the likes of Horsegirl and Porridge Radio, which might give some indication of what you're in for. Or I could just play you Blondshell's opus, “Salad,” right here. ⁠Check it out⁠. These two have a fantastic conversation, and just in case it's not clear from the context, they're both good friends with the singer Samia, and each has contributed to a Samia covers series called Honey Reimagained. Blondshell did a song called “Charm You,” which is available now. Elsewhere in this chat, they talk about Hawke's playing “body air guitar,” the weird emotional hit you get when a tour is finished, and the difficulties of stage banter. Enjoy. 0:00 Intro 3:20: Start of Conversation 3:21: On mutual friends and covering songs 4:58: On “perceived vulnerability” and perspectives in their songwriting 9:08: On sad songs, music you can play for friends, and “Olympus” 10:57: On the writing and jazz experiences that inspired Maya's music 12:48: On the physicality of performing, feeling the music, and performance art 14:41: On playing live, post-tour loneliness, and active vs. passive time 20:06: On maintaining friendships 21:17: On Maya's latest record 22:54: On onstage banter, scripting shows, and keeping shows fresh 25:53: On finishing a record and learning from the experience 27:43: On music serving as a snapshot of an artists' life 28:26: On promoting music creatively and authentically, and social media 33:19: On the songwriting process, and tv show narratives' influences on our experiences 38:40: On being inspired by friendships 42:13: On Maya titling her album “Moss” 43:40: On writing about past pain, and trying to balance it with joy Thanks for listening to the Talkhouse Podcast, and thanks to Sabrina Teiltelbaum and Maya Hawke for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all the great stuff at ⁠Talkhouse.com⁠. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by the Range. See you next time! Find more illuminating podcasts on the ⁠⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠⁠. Visit ⁠⁠⁠⁠Talkhouse.com⁠⁠⁠⁠ to read essays, reviews, and more. Follow @talkhouse on ⁠⁠⁠⁠Instagram⁠⁠⁠⁠, ⁠⁠⁠⁠Bluesky⁠⁠⁠⁠, ⁠⁠⁠⁠Twitter (X)⁠⁠⁠⁠, ⁠⁠⁠⁠Threads⁠⁠⁠⁠, and ⁠⁠⁠⁠Facebook⁠⁠⁠⁠.

Bear, Gray, Dub, and Big A make their NASCAR and PGA picks, what is happening in the NBA and NHL playoffs?  Thanks to Wes Anderson for Moments in Time and Mind Quarantine! Check him out on X and Instagram @SongsByWes and Wes Anderson Music on Facebook. Thank you to our sponsors: All Wear Clothing, Crandall's Quality Landscaping, GrayKey Merchandising and Concert Vending Services, Sparty Steve, PaperDenimArt, and Datingtransformation.com.

The Wes Anderson debate on this show has become divisive in recent years. So while Govier was relying on questionable audio in Denver, he figured it was time to fire up the debate once more with Anderson's supposedly less successful venture from 2007. It's time to find out if The Darjeeling Limited (2007) holds up or not. We have another round of Joe Lowry's fun segment of Guess That Character Actor trivia! As always the fellas offer their latest movie thoughts during quarantine viewing picks. Please sub our YouTube where you can watch all of our episodes instead of just listening. We post the video version of each episode over there every week. Also, you can give us a 5 star review on your podcast platform of choice. Do it right now! It takes 30 seconds. Thank you! If anything from this episode strikes you, email the show cinema9pod@gmail.com

Gray hosts Jeopardy as Bear v. Big A. v. Dub, who will take the title? Thanks to Wes Anderson for Moments in Time and Mind Quarantine! Check him out on X and Instagram @SongsByWes and Wes Anderson Music on Facebook. Thank you to our sponsors: All Wear Clothing, Crandall's Quality Landscaping, GrayKey Merchandising and Concert Vending Services, Sparty Steve, PaperDenimArt, and Datingtransformation.com.

Have you ever lost the joy in your creative work — that sense of fun you had when you were starting out, before the admin and the algorithms drained it away? How do mid-career creatives get it back, and what can a four-year-old teach us about play? Austin Kleon talks about productive procrastination, silly rituals, the case for paper reference books in an AI world, and how his newsletter went from a marketing cost to the day job that keeps the lights on. In the intro, Does social media still sell books? [Self-Publishing with ALLi]; Trial by algorithm [The Bookseller]; Publishing's AI Hypocrisy Problem [The New Publishing Standard]; ALLi AI survey for authors; Brave New Bookshelf Podcast, and Pics from signing at BookVault. Today's show is sponsored by ProWritingAid, writing and editing software that goes way beyond just grammar and typo checking. With its detailed reports on how to improve your writing and integration with writing software, ProWritingAid will help you improve your book before you send it to an editor, agent or publisher. Check it out for free or get 15% off the premium edition at www.ProWritingAid.com/joanna This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Austin Kleon is the New York Times and international bestselling author of nonfiction books, including Steal Like an Artist, Show Your Work!, and Keep Going, as well as an artist, professional speaker, and poet. His latest book is Don't Call It Art: 10 Ways to Create Like a Kid Again. 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 Why Austin wrote Don't Call It Art now, and what his kids taught him about creative joy Productive procrastination, silly rituals, and treating writing like Lego Comedy as a philosophical position, and giving yourself permission to be bad in private Sharing process in the algorithm era, and why your whole life is the process Bibliomancy, paper reference books, and what AI can't give you that a dictionary can Style, the Taco Bell distinctiveness rule, and how Austin's newsletter became his day job You can find Austin at AustinKleon.com. Transcript of the interview with Austin Kleon Jo: Austin Kleon is the New York Times and international bestselling author of nonfiction books, including Steal Like an Artist, Show Your Work!, and Keep Going, as well as an artist, professional speaker, and poet. His latest book is Don't Call It Art: 10 Ways to Create Like a Kid Again. So welcome back to the show, Austin. Austin: Thank you for having me back. It's nice to talk to you again. Jo: You were on the show in March 2020, and at the time, your book was Keep Going, which was prescient considering the pandemic and politics. So I wondered, why this book, Don't Call It Art, now? Was this something you see in the creative community or your own life that made you want to write this book? Austin: Keep Going is a book about what happens when the world goes crazy around you and you're still trying to do your creative work. This is a book about what happens when inside has bottomed out. Keep Going is a book about the world bottoming out, and you're worried that your own creative work is going to bottom out too. How do you keep pushing through and keep making stuff? This book, to me, is about what happens when you bottom out inside—when you've lost that love and feeling for the thing that you wanted to do, and you're just not connecting with it in the way that you used to or the way that you want to. How do you get back? How do you return to that sense of joy and wonder and fun that we have when we're starting out? And for me, it was being around my little kids that taught me how to tap into that. My kids were natural—they didn't have any creative hangups. I would spend all day talking to people who had creative hangups, and then I'd get back in the house, and I'd just be around these beings who didn't have any of them. It was really instructive. I felt like, if I could bottle the energy of my kids when they were about four years old and try to put it in a book, I think it could really help a lot of the people that I run into, and the people with the kinds of problems I hear from. Jo: You mentioned bottoming out. How do people know when they've hit that point? Austin: You just don't want to do it anymore. You're kind of like, “This just isn't giving me back what it used to.” When we start with our creative work, that's the thing that juices us. We come away from it feeling full up. I think you hit a certain point where you start to feel drained after it. Or maybe you don't feel drained by the thing itself that you're doing—maybe it's all the stuff around it, which is more often the case. For example, if you're a mid-career writer like me, who's been publishing books for 16 years now, I still really like writing. I still really like drawing. I still really like cutting and pasting and putting things together. It's the admin around the work—the emails, the meetings, the running-a-business part of it—that's super draining for me, and that stuff can start to bleed over into the creative work. So it's really important for me to make sure that I'm having some playtime, some R&D, some research and development time, to make sure it's not just all business. When you take the thing that you love and you turn it into the thing that you make a living from, you can really run into a lot of problems. Jo: I'm at 20 years, so I know exactly what you're saying, and a lot of listeners are the same. We love writing books, but it's all the stuff that goes around it. So for those of us who do this for money as well as passion, what are some practical ways to have more fun with our creativity? Austin: Something I learned from my kids is that you really are your most creative when you're supposed to be doing something else. So one of the things I use a lot in the studio is productive procrastination. Whatever I'm supposed to be working on, I start another little project, and that's my little naughty fun time. When I first come into the studio, I try to do something that I'm not supposed to be doing—something that I won't have much to show for. That could be making one of my blackout poems. That could be making a collage in my notebook. It could also be sitting here. I have a bass in the studio now, so I can practise my bass guitar. Sometimes I'll do that for the first 15 minutes just to get in that headspace of, “Hey, what's it like to do something just for yourself? Just because you want to do it?” The juice that you get from that little naughty “I'm going to do what I'm not supposed to be doing right now” thing, that carries into the rest of the day. It's like a nice start to things. Jo: Do you think that play could be something different to what we make our money with? For me, writing novels and stories is great fun in one way, but it's also what I then publish and make money on. So writing stories is more serious, I guess, than playing with Lego or something. Austin: Right. So the trick is, how can you make writing your stories like playing with Lego? That's kind of been my whole career. I hate staring at Microsoft Word and that blinking cursor, taunting you like, “Come on, what have you got?” A lot of my creative life has been about trying to make it more playful, trying to make it feel more like a game. That's how I came up with my blackout poems. I take an article from The New York Times and I black it out until it only has a few words left behind. It sort of looks like if the CIA did haiku, for some people listening. That was one little exercise. Then weirdly, that side thing that I thought was just play, just fun—that turned into my first book. So then it's, okay, what else can I mess around with and play with? I do a lot of collage work in the studio, and I rarely actually use that for any of the books. Sometimes I use it for my newsletter to illustrate the newsletter. But it's always about trying to figure out, how can I make writing a game? How can I make it more playful? There are different things that I do to make it feel more playful. One of them's really stupid. I really believe in silly rituals because I think silliness is really powerful. People talk about their daily rituals—Mason Currey has that great book, Daily Rituals: How Artists Work. When I was reading that book, I realised it was really the silly stuff that I really liked. There was, I think it was Balzac counting out coffee beans or something before he got to write. Or Steinbeck sharpening 12 pencils or something goofy like that. So one of the things I like to do before I write is that I have these cigarette pencils. They're pencils that look like cigarettes in the studio. I put one in my mouth before I start writing, and I pretend to be some old '40s writer on a typewriter. I like doing goofy stuff in the studio because I think when you do goofy stuff—stuff that you'd be embarrassed if anyone else saw it—it gets you in that playful state. Jo: It's interesting. In your book, you have a section that says, “Don't take things too seriously.” For many of us, we write memoir for example, and that is very close to us. It's like the deepest expression of what we want to say in the world. It feels very serious. So how can we hold things more lightly and not take things so seriously? Austin: For me, comedy is actually a philosophical position. What I mean by that is, I think a lot of people set out with a tragic model of creative work. They think, “Oh, I have this special gift,” or, “I have this thing that I really need to do, and I need to put it out into the world, and I need to make the world look more like I want it to look.” They have this idea that, “Through blood and sweat and tears, I'm going to see this thing through, and I'm going to push it into the world, and I'm going to have my way.” I think there's another way of working where it's more like, “I'm just a normal person trying to play with my environment, and take my experiences and put them into something interesting. So I'm going to play and use my wits, and we're going to see what we come up with.” Those really are two modes of life. The pandemic taught me that it was really when we were keeping our sense of humour, when we were having a laugh and keeping our egos in check around the house and just acknowledging how goofy we all were and how ridiculous the situation was, that seemed to be when we were really thriving. Versus, “Well, we're in this tough situation. We've got to make it into what we want it to be.” That felt really bad. But when we cruised along and we were just improvisational, when we went at things with a kind of lightness, that worked. There's a great Italo Calvino essay about lightness in Six Memos for the Next Millennium. Lightness is really underrated. Even when we're going about heavy work, having a sense of lightness and play with it just makes the work better. That's a philosophical position of mine. I aspire to comedy. I aspire to a comic outlook on life. I'm just a creature with a body who's going to die, and I'm fundamentally ridiculous. Life is pretty absurd. You just make the best of it. Jo: There's certainly some truth there. Staying on a similar theme, you have a chapter in the book on permission to be bad. Many of the listeners also have your book Show Your Work, and it shaped many of us into sharing our work in progress. It feels quite dangerous now, in a world where judgment is much louder than it maybe was when you wrote Show Your Work. So tell us a bit about permission to be bad versus should we keep some of this private? Austin: Permission to be bad is about the making part of things. It's the private part. It's permission to be bad when you're in private, when you're actually doing the work. Show Your Work is a book about what you do after you've done the work, or while you're doing the work. It was never about putting up a webcam and running a 24/7 feed. It was more like, hey, what are the ways that I can connect with the kind of audience I can build while I'm making the work itself? So the way I see permission to be bad is, you really have to give yourself permission when you're not sharing, when you're off screen, to really be as bad as you want to be. It doesn't necessarily mean quality-wise. I think it also means letting yourself write stuff that you would never say on social media. Letting yourself read stuff that you wouldn't admit you were reading on social media. Letting yourself listen to stuff. Letting yourself really be that unfiltered, unhinged, private person that you want to be. Then when it comes to sharing, you put some time in between that input time, that making time, and the sharing time, and then you share what you think is going to be useful or helpful or interesting to other people. Jo: I think you wrote that book before TikTok, and how fast people are moving. Do you think people need to slow down a bit in what they share, maybe? Austin: I don't know. I obviously had a lot more faith in social media back then. I use all the principles from Show Your Work in my newsletter. Newsletters are very much the new kind of great thing. They're doing a lot of the work that social media used to do, in that you're still able to have this direct connection with the people that you're trying to reach. The big problem with social media now is that it's all algorithmically tuned, where the people that are following you don't see the stuff that you're doing most of the time. What you have to do now, if you want the people who are following you to see your stuff on social media, is you have to make stuff that the algorithm likes. That's a whole different thing. As far as the Show Your Work principle—which is share your process as much as your product—that carries over to any platform. In my newsletter every Friday, I share a list of 10 things that were going on behind the scenes here. It might have been what I was watching on TV, what I listened to, a new pen I was trying out, or something like that. The Friday newsletter is almost always process stuff. When I talk about process, my definition is actually very broad. For a lot of people, it's drafting, editing, whatever. For me, the process is the whole life. The process is almost everything except the finished thing. A writer's life is 24/7. My friends who have real jobs really are like, “What do you do all day?” And I'm like, “Well, what do you mean?” They're like, “Well, I see you out on your bike ride.” I'm like, “Yes, when you see me out on a bike ride, I'm thinking through something half the time.” If I'm watching TV, I'm thinking, “Hey, would this be good in the newsletter?” I'm never off. My whole life—everything is copy, as Nora Ephron said. That's part of the job. It's very hard to turn off. So I see the whole life as process, and the question becomes, what little bits and pieces of that life and that process can you share with people while you're making the things that you hope to sell them later? Right now, I'm in a cycle where I'm selling this book, but all these people have showed up because I've shared my process every week for the past seven years since I put out a book. Jo: It's funny you say that. I was at the dentist yesterday, and— My dentist literally asked me, “So where do you get all your ideas?” This is a common question for all of us, right? And it just becomes so hard to explain that to people who don't walk around in the world just constantly getting ideas. Austin: I can't believe I'm going to tell this story. I was getting my vasectomy after my second kid, and I was talking to this doctor just before the operation. He said, “So what do you do for a living?” I said, “I'm a writer.” He said, “Oh, that must be cool. You get to use your brain.” And I said, “That's everything that you want your doctor to say.” I was going to say, “Please use your brain,” before he's about to cut into you. He said, “Oh, no, no. What I mean is, I know what I'm going to do every day for the next 10 years.” He knew exactly what his day was going to look like. He said, “You have to use your brain. You've got to figure out new stuff.” I was like, “Oh, that's really interesting.” That's the trade-off, right? He's got the job security. He knows what he's going to do. Every writer has a moment where they have to talk to a normal person about what you do. Jo: I was going to say, I'm married to one. Austin: Now, my wife, on the other hand, grew up the daughter of a writer, so she knows exactly what it's like. Nothing ever phases her. She's totally used to it. She's used to me staring off into space, completely checking out of a conversation. She's used to me using lines on her that I'm going to put in a piece later. She's used to the whole rigmarole. It's very handy. I've been very lucky in that sense. Jo: Coming back to the book, you talk about your use of bibliomancy for inspiration. Since we're talking about that, tell us about it. I think all the book people listening will be happy. Austin: I'm a person who still keeps a dictionary nearby—a paper dictionary. I keep a big old American Heritage. It's just a big, thick book. When I really don't have any ideas, I will turn at random to the dictionary, close my eyes, stick my finger down the page, open my eyes, and just see what I come up with. Sometimes just that act will give me an idea. I also do that with books. I'll go around the studio, pick up a book, flip to a random page, and just see what it says there, or read an old piece of marginalia that I've left in a book. I believe deeply in the power of bibliomancy, and I think it's a case for paper books. I'm one of those people that still really believes in reference books. I've started collecting more and more of them. I have an old, big dictionary that's always open on my desk, and I look up words. I learned from John McPhee, the writer, that you should look up words that you think you know. That was the first time I'd ever heard anyone say that. So I look up words that I think I know. Instead of reaching for a thesaurus when I need a different word, I actually just look up the definition of the word that I already have. That's another McPhee tip. The other thing that happened that I thought was really interesting is, I got a Roget's for the first time—a thesaurus. I don't think most people know what an actual thesaurus is. Most people think of a thesaurus as a synonym finder, and that's not actually what a thesaurus is at all. A thesaurus is more like an encyclopaedia, weirdly. You look up things based on big concepts, and then it gives you a bunch of words to look up later. It's a very strange thing. It's not what most people think it is. I have a couple of editions of Roget's in here. I like the really old Roget's from the 1900s because they actually have opposing ideas facing each other on the page. Do you have an old-school Roget's? Have you ever looked through one? Jo: I don't have one now, but I certainly grew up with them. I was literally just thinking, I wonder if there are ones for Americans and ones for British people, because so often we say different things and mean different things. I always hear Americans say, “Oh, that's a doozy,” or something, and it means the complete opposite thing here. Austin: Like if you say “fanny pack” over there. That means something very different than it means here, right? Chips or fries, that kind of stuff. So I wonder if there are different ones for different cultural references. Jo: I don't know. Austin: As people, with ChatGPT and all these LLMs and stuff, people are like, “Why would you ever pick up a paper reference book?” And I'm like, “I actually like the friction.” I like having to move in space and go over to my dictionary. I like flipping the pages. I like having to scan a page for the word I'm looking for, because— This marvellous thing happens when you're looking for the word, where you bump into all these other words. If you're a word nerd, you get to start thinking about the root of the word—oh, why is this word next to this word? Well, it's because they share the same root. Then you're going down all these fun rabbit holes. The thing that I'm trying to do as a writer and a creative person is, I'm trying to get to the thing that I didn't know I was looking for. The thing that people misunderstand about AI, I think personally, is that it's a great tool if you know what you're looking for. If you're like, “Find me this thing. I want exactly this. I want to see a picture of a dog wearing a king's costume,” or some crap like that, then it can spit that picture out for you. Or, “I want to know what happened on this day,” and whatever. It can do that. But that's not actually what I'm doing most of the time when I'm writing or making something. I start with an idea, but what really happens—the magic of writing and the magic of making stuff in general—is when you discover something that you didn't even know you were headed for. That's the real magic for me. Sometimes I have an idea and I want to articulate it for people, but more often than not, there's something that bothers me or something that I want to talk about, and I sit down and write, and I figure out what it is that I actually have to say and what I actually think. Every writer really knows this, and that's why the dictionary, stuff like that, those are ways of training you to get in that discovery mode. “Well, let me—oh, I bumped into this. I went looking for this one thing and then I ran into this other thing.” That's why I love the library. I don't know what system you use over there, but you look for one book in the Dewey Decimal System over here, and then, okay, here's all these other weird books next to it. Then you end up with three other books other than the one that you were looking for. That's the magic. To me, that's the magic of creative work, discovering what you didn't know you were looking for. That was particularly important for me when I was writing this book because we discovered that my wife has a condition called aphantasia. It's very rare in the population, about 2 to 3% of people. There's probably some people listening to this right now who are like, “What is this? Tell me.” Jo: Aphantasia actually more common in the creative industries. Austin: Yes. What it is, is that you don't see—when I say close your eyes and picture an apple, you don't actually see the apple in your head. You can think about an apple and the qualities of an apple, but you don't actually see it. Some people, and it's a matter of degree—some people like me, I can close my eyes, I can tell you what the apple looks like, I can tell you what colour it is, I can tell you where the shading is. Someone like my wife doesn't see the apple. She can tell you what an apple is. It's really interesting because she has a degree in architecture, which is known as a very visual field. But the thing you discover about aphantasia is, it doesn't keep people from becoming artists. In fact, it's the opposite. Someone like Ed Catmull, who co-founded Pixar, writes about it in his book, and so many of the great animators at Pixar are actually aphantasics. The reason is that they learned that they had to draw in order to see things. When you don't have a picture in your head of what you want something to look like, things appear in the drawing, and you find things that you couldn't even picture. A lot of writers actually are aphantasics. John Green discovered recently that he has aphantasia. It turns out that it's a superpower for writers, because if you don't have a picture in your head, then you don't have to translate that picture into words. A lot of writers talk about thinking in radio, like they have a constant narrator. My wife—she's probably going to kill me for talking about her this much—when she describes it to me, she's like, “Oh, it's like a radio in my head. I'm constantly hearing a voice, and it's a narrator.” I was like, “Holy shit, that would be really helpful to me.” I don't have anything like that in my head. I read Mrs Dalloway for the first time, and I gave it to her and I said, “You've got to read this book. I think this must be what it's like in your head.” And she said, “Oh my God, it is.” Part of the thing that I took away from that experience—this is a long-winded way of getting here—is that I take a lot of inspiration from people with this condition. Most of the people I know in the arts or the creative fields, they set out with this grand vision, and then they start working on the thing and it's nothing like what they had in their head, and they get really depressed: “This isn't what I had in mind.” Whereas if you set out without a picture in your head, and you just start manipulating things and you see what appears, that's more of the comic mode I was talking about earlier. What would happen if we just sat down with our materials and we started playing and we saw what appeared on the page? What if we started typing and saw what appeared, and then we played with that? That's the kind of joy. That's more like how kids operate. Kids are better at that. They're better at reacting to what's actually in front of them, instead of having these grandiose visions about what they're trying to achieve. Jo: Just coming back on the longevity of a creative career. Your books are very distinctive. You have a very distinctive visual style, your handwriting and the way the books are done. I wondered if another part of the ennui, perhaps, or the draining of the later career is that we get trapped into doing something that feels like it looks the same. Or we have a voice, and we're happy in that voice, but sometimes we want to do something completely different. For authors, we have different names. I write under two different names, and that helps. But equally— How do you define author voice, and do you ever feel like doing something completely different to your normal style? Austin: Style, in a lot of ways, is self-plagiarism. Style is the repeated things that we notice in people's work. Hitchcock talked about this in films. Wes Anderson is someone like that—Wes Anderson has a style. I'm sure that he gets really sick of it too sometimes, but you also can't help it in some ways. I thought a lot about this because people worry about style so much. A lot of the time, what we call style is what Adrian Tomine one time said: “Style is just the distance between what's in my head and what comes out of my hand.” I really like that definition. With this book, I was trying to think, “Okay, if I do another book in this series, how can I push things a little bit?” And then I was reading this article about Taco Bell. You guys have Taco Bell over there, don't you? Do you have Taco Bell? Jo: No. Austin: So Taco Bell, for people who don't know, is this American Mexican chain, and they have tacos and burritos and stuff like that. They're well known for making these really insane… it's so American, this company. They make a taco with a Doritos as a shell. Doritos are crisps, I guess. Jo: Yes, we have Doritos. Austin: Okay. I spent time in England, I just don't remember if I ate Doritos when I was in England. Anyway, I was reading this article about Taco Bell. It was really funny. They have an innovation kitchen at Taco Bell, and they have a rule about new products. The rule is called the distinctiveness rule, and the rule is: you can change the flavour or you can change the taste, or you can change the form, but you can't change both at the same time. I got really obsessed with this concept because I thought, “Well, this could be kind of interesting.” If you're someone who's had success and you're known for something, this presents an interesting thing. You could do a complete break and do something completely new, or you could try the distinctiveness rule. Okay, well, what if I play with this idea of taste versus form? What if I change the taste and keep the form? So the idea for Don't Call It Art was, what if I do another one of these books, but the taste is more like if my kids made it? It had the texture of kids' art, it had lots of scribbles in it, it was loose and messy. That was kind of the idea. The actual book ended up being more like the other books. It ended up looking like an Austin Kleon book, because I just can't help that. The thing you said about having multiple names that you write under, that's kind of what I do with the newsletter. I think of the newsletter as very different from the books. The newsletter is this twice-weekly thing where I can be a little bit more of myself. In the books, I'm this very helpful, happy version of myself. It's me, but it's me on my best day. I'm really helpful and interesting for you. The newsletter is still a highlight reel in a sense, but it's a little bit more of my weird everything-I'm-into. It's more of the unclipped version of me. The newsletter becomes a place where I can do a lot of the weird stuff that's much different from the books. I have these little projects going all the time. Sometimes I'll make a bunch of prints and put them online. Sometimes I'll make a bunch of zines on a topic I haven't covered in the book. Sometimes I'll do a mixtape. As someone who's interested in a lot of different forms and genres and just different modes of output, having something like a newsletter has been really creatively fruitful for me. It's kept me from getting too bottomed out with the books because the books do a certain thing for the reader, and as much as I'd love to do a book that was radically different, I also think I've been given a real gift with the form of my books, in that I kind of own the way that they feel and look. There aren't a lot of books that look like those books and feel like those books, and so I like playing with that form. It would be hard to get rid of it now. The pseudonym for me is kind of like the newsletter in a sense. The newsletter is a little bit more of where I get to be wild and wacky. Then the books are a little bit more of a chiselled thing. Jo: The books are perfect examples of the form, as you say, but it's interesting about the newsletter. You mentioned at the beginning that we can be drained by the admin around the work. For many people listening, a newsletter becomes admin. So how does the newsletter fit into your business? The books are traditionally published, they're very professional. How do you have your independent side, and how does all of that work together in your business? Austin: Thank you for asking that question. I run the whole show at the newsletter. The newsletter is just me, and then my wife edits it, and no one else is involved. I don't have an assistant. I don't have a team. It is just me, and that's why I love it. I control everything. I pick who gets in there. I pick everything. I love that. I grew up watching David Letterman over here, and Letterman had a nightly show, and I always thought that was killer. I thought, “Man, what a fun job. You have a show every night where you have a new guest, and you have all these wacky things going on.” It was like a variety show. I always thought that would be really fun, so the newsletter is my version of that. I started the newsletter in 2013, and it was just a Friday newsletter. It quickly became a list of 10 things I thought were worth sharing. I had a friend, Hugh MacLeod, who was like, “Hey, I have a newsletter. It's bigger than any conference you've ever gone to.” He was talking about South by Southwest here in Austin. He's like, “I have a newsletter now, and it's bigger than South by Southwest.” Jo: Oh, I remember him. Austin: He would say, “Every time I have a new print, I put it out, and there's a button, and then they buy it.” He was like, “You've got to get it. This newsletter thing is killer.” This was in 2011 or something. Jo: Yes, I still have his books. Blogging in Your Underwear or something. Austin: Totally. So Hugh's a whole different story, but I was just like, “Oh, I should really get a newsletter.” Letterman always had a top 10 list on his show. I just always thought a 10 list was really fun. And of course the books are lists of 10 too. So it just worked to have a weekly list of 10. It felt good, and it felt like an infinitely repeatable format. What I'm looking for as a creative person is an infinitely repeatable format that can go on and on and on and be new every time. So the list of 10 is something that people know the form of. It goes back to the Taco Bell thing. They know the form, but they're not sure what's going to go inside. They know it's going to be a burrito, but they don't know what's going to be in the burrito, and that's the exciting part. The newsletter, business-wise, was always a marketing cost for about the first eight years of its existence. I paid MailChimp to send it out. Then in about 2021, when I hadn't done a book for a while, my agent said, “You know, you should really think about doing a paid tier of your newsletter.” And this is to his credit, because he doesn't make anything off the newsletter. He said, “There's this thing called Substack now that makes that really easy.” So we moved to Substack in 2021 in October, and I started doing a Tuesday edition of the newsletter that was just for paid people. That grew enough that it's gone from a marketing cost to something that's almost—it's not quite as much as I make on my books, but it's close. And to be candid, my books sell pretty well. So suddenly the newsletter has become this really healthy income stream. The newsletter to me is actually the day job now. The newsletter is what really keeps the lights on. It's also the perfect mix. It's the day job, it's the thing that keeps income coming in on a regular basis, but it's also the thing I like to do the most. I'm not like a traditional writer who likes to just get lost in their book and take years and years and go away. I'm someone who loves to be doing a lot of different things. The newsletter is a perfect format for me. I'm talking myself into not quitting, actually. It's funny. It's gone from this thing that was a marketing cost to now it's a significant part of our income. That journey—such a bad word, journey—that trip has been very interesting. It's been really cool. But I'm also just lucky. I've been really lucky, and I think part of my thing is, I'm always just trying not to squander my luck. Jo: Well, the book is fantastic, and I know people are going to love it. And the newsletter, of course. So tell us— Where can people find you and your books and newsletter online? Austin: The easiest thing to do is to just go to AustinKleon.com, and that has links to everything—the books, the newsletter. I do actually keep an old-school blog still. I'm one of the few people that still maintains their blog and keeps it up to date. I'm hedging my bets because I think in the end everything will come back to a self-hosted website. I think in the end everyone's going to just go back to their little websites, or at least I hope so. Jo: Well, that was great, Austin. Thanks so much. Austin: Oh, thank you. The post Don't Call It Art: Rediscovering Creative Joy With Austin Kleon first appeared on The Creative Penn.

Jeremy brings a new gameshow for the pod to try. Thanks to Wes Anderson for Moments in Time and Mind Quarantine! Check him out on X and Instagram @SongsByWes and Wes Anderson Music on Facebook. Thank you to our sponsors: All Wear Clothing, Crandall's Quality Landscaping, GrayKey Merchandising and Concert Vending Services, Sparty Steve, PaperDenimArt, and Datingtransformation.com.

It's officially Director's Month and we have ourselves a tie! This month we'll be discussing Wes Anderson's & Rob Reiner's films. We're kicking off the month with Wes Anderson's The Grand Budapest Hotel. We run through the laundry list of nominations and wins. It's a great start to the month! Instagram: @heyitstwogirls, @classicSTINA @daniellecobianchiTwitter: @heyitstwogirls, @classicSTINA⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Two Girls Drink Beer Youtub⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠e

Bear, Gray, Dub, Jeremy, and Big A make their NASCAR and PGA picks, what is happening in the NBA and NHL playoffs?  Thanks to Wes Anderson for Moments in Time and Mind Quarantine! Check him out on X and Instagram @SongsByWes and Wes Anderson Music on Facebook. Thank you to our sponsors: All Wear Clothing, Crandall's Quality Landscaping, GrayKey Merchandising and Concert Vending Services, Sparty Steve, PaperDenimArt, and Datingtransformation.com.

From a 24-hour hangover and the pure joy of a clean garage to campaigning for the return of the mixtape (Spotify playlists just aren't the same), Wells is showing his age again in today's episode. And after weeks of YFTers begging, Brandi FINALLY started Off Campus! The excitement continues as Wells shares that he got to film his golf show with the legendary Luke Wilson, where he discovers Luke's favorite Wes Anderson movie (not the one you'd expect) but somehow forgets to ask about The Family Stone. A devastating fumble. Meanwhile, Brandi spends her week h anging with all the dogs at Wags & Walks and accidentally spills the tea on a secret Cyrus family pet (and it's not the tortoise or the ducks!). Plus, they discuss the deeply upsetting Netflix documentary The Crash, the never-ending Murdoch family drama, and a book recommendation featuring aliens and a cat named Princess Donut. Please keep those DMs coming because we love hearing from you! Favorite Things: (18:37) Off Campus (22:38) The Crash (25:32) Instadocs: Alex Murdaugh, Unconvicted, (26:24) Dutton Ranch (SPOILERS) (27:01) Dungeon Crawler Carl by Matt Dinniman (Book)(29:42) Ladies First (33:14) The Burroughs (34:21) Four Seasons Thank you to our awesome sponsors: Article: Article is offering our listeners $50 off your first purchase of $100 or more. Visit article.com/discount/yft and the discount will be automatically applied at checkout. BetterHelp: You don't have to say yes to everything this summer. Find support in therapy. Sign up and get 10% off at BetterHelp.com/yft. First Leaf: Stop settling for wines that don't quite hit the mark. Head to TryFirstleaf.com/YFT to sign up and you'll get 50% OFF your first box PLUS free shipping for an entire year. Hers: Ready to reach your goals? Visit forhers.com/yft to get personalized, affordable care that gets you. Quince: Go to Quince.com/yft for free shipping on your order and 365-day returns. Now available in Canada, too! Zazzle: Right now, save 25% on your first order at Zazzle.com. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This Postmodern Realities episode is a conversation with JOURNAL author Philp Tallon about his article, “The Life Metamodern with Wes Anderson”. https://www.equip.org/articles/the-life-metamodern-with-wes-anderson/This is also our 500th episode and Philp was our very first guest on Episode 001 with The Films of Quentin Tarantino. and the article Reservoir Gods: Quentin Tarantino's Premodern Theology. Please see more of Philip's work below.One way you can support our online articles and podcasts is by leaving us a tip. A tip is just a small amount, like $3, $5, or $10, which is the cost of a latte, lunch out, or coffee drink. To leave a tip, click here. Please see related articles and podcasts below:Mission Impossible FilmsEpisode 450: The Living Manifestation of Destiny: The Meaning in the Mission: Impossible Movies“The Living Manifestation of Destiny: The Meaning in the Mission: Impossible Movies”Christopher Nolan Films Episode 400: Rage Against the Dying of the Light: Christopher Nolan's Fighting FilmographyRage Against the Dying of the Light: Christopher Nolan's Fighting FilmographyHorror Movies: Episode 350 Possession and Exorcism Movies in a Modern AgeThe Power of the Devil Compels Us: Possession and Exorcism Movies in a Modern AgeSherlock Holmes Episode 243: The Fall of Sherlock: Investigating the Victorian Detective in a Modern AgeThe Fall of Sherlock: Investigating the Victorian Detective in a Modern AgeSteven Spielberg Movies:Episode 139 Clear Skies, Hurt Hearts, Can't Lose: Why Spielberg's Aliens Help Make us More HumanClear Skies, Hurt Hearts, Can't Lose: Why Spielberg's Aliens Help Make us More HumanAlfred Hitchcock films:Episode 100: A. Hitchcock FilmsThe Coen Brother's Films:Episode 050: O Father, Where Art Thou? The Coen Brothers and the Riddle of Existence“O Father, Where Are Thou? The Coen Brothers and the Riddle of ExistenceThe Films of Quentin Tarantino:Episode 001: The Films of Quentin Tarantino“Reservoir Gods: Quentin Tarantino's Premodern Theology  Don't miss an episode; please subscribe to the Postmodern Realities podcast wherever you get your favorite podcasts. Please help spread the word about Postmodern Realities by giving us a rating and review when you subscribe to the podcast. The more ratings and reviews we have, the more new listeners can discover our content.

We're kicking off Directorial Debuts Month with the film that introduced the world to one of cinema's most recognizable filmmakers: Wes Anderson's Bottle Rocket.Long before the elaborate production design, meticulous symmetry, and colorful ensembles, Anderson's debut showcased the wit, heart, and offbeat characters that would define his career. Featuring early performances from Owen Wilson and Luke Wilson, Bottle Rocket follows a group of lovable misfits whose dreams of criminal success far exceed their actual abilities.We discuss the film's humble beginnings, its initial reception, and how it planted the seeds for one of the most unique filmographies in modern cinema. Looking back nearly three decades later, does Bottle Rocket feel like a rough draft of the Wes Anderson we know today, or is it something entirely its own?Funny, charming, and endlessly endearing—this is where a cinematic journey began.#WatchTowerFilmPodcast #DirectorDebutsMonth #BottleRocket #WesAnderson #OwenWilson #LukeWilson #FilmPodcast #CinemaHistory #DirectorialDebut #CinephileTalk

Bear, Gray, Dub, and Big A make their NASCAR and PGA picks, what is happening in the NBA and NHL playoffs? Rest in peace Kyle Busch! Thanks to Wes Anderson for Moments in Time and Mind Quarantine! Check him out on X and Instagram @SongsByWes and Wes Anderson Music on Facebook. Thank you to our sponsors: All Wear Clothing, Crandall's Quality Landscaping, GrayKey Merchandising and Concert Vending Services, Sparty Steve, PaperDenimArt, and Datingtransformation.com.

This week Brian and Steve have a stay at The Virgil hotel when they watch the brand new film starring Zazie Beetz, Patricia Arquette, and Heather Graham. What happens with a Russian director gets full up on Tarantino, Wes Anderson, Sergio Leone, and Sam Raimi films? He makes an incredible mish-mash of action, horror and comedy. Full of gore and gags, They Will Kill You turns Beetz into a full on action star.   Plus we announce our guest and movies for the June Showdown.   Find Us Online- Instagram: https://www.instagram.com/halloweenisforever/ Patreon: https://www.patreon.com/halloweenisforever Twitter: https://twitter.com/HallowForever Tik Tok: https://www.tiktok.com/@halloweenisforeverpod Facebook: https://www.facebook.com/HalloweenIsForeverPod E-Mail: Halloweenisforeverpod@gmail.com

#1 New York Times bestselling author, Ruta Sepetys, returns to speak with us about her 12 years of research, ragtime music, and the “fortune and facade” of 1920s Detroit in her adult historical fiction debut, A FORTUNE OF SAND.  Ruta Sepetys is the award-winning and internationally acclaimed, #1 New York Times bestselling author of historical fiction published in over sixty countries and forty languages. Her acclaimed “crossover” YA literature includes the Carnegie Medal-winning Salt to the Sea.  Her latest, A Fortune of Sand (available May 26th), is described as F. Scott Fitzgerald's Great Gatsby and Amor Towles' Rules Of Civility meets Wes Anderson's The Royal Tenenbaums. The novel follows a wealthy, eccentric family in Detroit's booming automobile industry and includes a plot twist around stolen jewels.   A Booklist starred review called the book, “A richly detailed portrait of the glittering city and [Detroit's] dark underbelly. . . . This will appeal to fans of Kate Atkinson's Shrines of Gaiety and Jennifer Egan's Manhattan Beach.” Ruta's books have won or been shortlisted for more than 50 book prizes, and are currently in development for film and television. [Discover The Writer Files Extra: Get 'The Writer Files' Podcast Delivered Straight to Your Inbox at writerfiles.fm] [If you're a fan of The Writer Files, please click FOLLOW to automatically see new interviews. And drop us a rating or a review wherever you listen] In this file Ruta Sepetys, Milena, and I discussed: Why she still gets nervous before every book release Finding a writing structure to mimic the volatile energy of The Roaring ‘20s Why she filed FOIA requests and worked with former FBI agents to interpret her research How she co-authored a YA historical mystery with Steve Sheinkin Why she prefers the term "investigation" over "research" Her creative fuel And a lot more! Show Notes: rutasepetys.com You: The Story: A Writer's Guide to Craft Through Memory by Ruta Sepetys (Amazon) Ruta Sepetys Amazon Author Page Ruta Sepetys on Facebook  Ruta Sepetys on Instagram Ruta Sepetys on Twitter Milena Gonzalez | Writer | Reader | Book Reviewer diary_of_a_book_babe on Instagram Kelton Reid Instagram Kelton Reid on Twitter Learn more about your ad choices. Visit megaphone.fm/adchoices

We take a quick detour from Dust to dust off a classic. It's the first movie we ever talked about on the network, Wes Anderson's Asteroid City! Now available for the masses to enjoy!From the original episode: This episode we depart from short stories to talk about Asteroid City, the new film from Wes Anderson! We're trying some thing different for this episode and we hope you enjoy the discussion!Join our Patreon and get access to our Patreon exclusive show "Films Cool!" for as little as $3 a month!https://www.patreon.com/twodustyboysEmail us at twodustyboys@gmail.comDon't forget to rate, review, and leave a comment for us on the platform of your choice. Thanks! We love you!Content warning: Not Safe for work or children... unless they're coolSupport the show

Award-winning actor Jeff Goldblum talks to MS NOW's Ari Melber in this candid, sprawling and sometimes goofy conversation, as the two discuss Goldblum's work with directors such as Steven Spielberg and Wes Anderson, his many iconic roles, what he loves about jazz, and having his “weirdness” affirmed. This interview aired in 2022. To listen to this show and other MS podcasts without ads, sign up for MS NOW Premium on Apple Podcasts. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

It's episode 1300! In RELEVANT Buzz, we talk about Hulu's new Christian college dating series that you need to hear to believe. We also talk about WNBA star Sophie Cunningham's recent faith declaration, Timberwolves guard Ayo Dosunmu's faithful pregame ritual and a new Bible movie about Daniel that's releasing this fall.In Slices, a Wisconsin solid waste facility has an unusual speed limit, a Harvard scientist helps build China's AI supercomputer, and the crew finds a Guinness World Record worth actually pursuing.The show ends with One Has to Go, and be warned there's a lot of frisbee golf and male ponytail talk.Highlights:00:00 — Frisbee golf and ponytail culture 14:23 — RELEVANT Buzz: Hulu's "Ring by Spring Break" Christian college dating show 26:28 — Sophie Cunningham gets baptized 28:17 — Ayo Dosunmu's pregame Bible routine 28:56 — "Daniel: The Fiery Furnace" is releasing on 9/11 31:54 — Slices: An odd speed limit at a Wisconsin recycling facility 40:45 — A Harvard scientist defects to China after prison 43:28 — A new world record for solving a Rubik's Cube in free fall 47:21 — One Has to Go: Old Testament epics / 90s sitcoms / Wes Anderson / boy bands / NFL fan bases / late-night snacksAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Benicio Del Toro is an Academy Award-winning actor and current nominee for Best Actor in a Supporting Role for his performance in One Battle After Another. In this conversation from June 2025, Del Toro joins Willie Geist to discuss leading director Wes Anderson's film The Phoenician Scheme and how winning his first Oscar reshaped his life and career. Plus, he reflects on growing up in Puerto Rico and the first role that made him feel he had truly arrived in Hollywood. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Benicio del Toro is nominated for an Oscar for Best Supporting Actor for his role in ‘One Battle After Another,' where he plays a karate sensei who runs what he calls a "Latino Harriet Tubman" operation. He was also in Wes Anderson's latest film, ‘The Phoenician Scheme.' He spoke with Tonya Mosley last year.David Bianculli reviews ‘Scarpetta,' the new Prime Video series starring Nicole Kidman, based on a series of books by Patricia Cornwell, and John Powers reviews the new Netflix series ‘How to Get to Heaven from Belfast,' by the creator of ‘Derry Girls.' To manage podcast ad preferences, review the links below:See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

In this edition of Fool Me Once, Trend On… You?, Jack and Miles discuss Mario Day, Rosanna Arquette on Tarantino's use of the N-word, that AI Wes Anderson trailer, islamophobia on Southwest 2094 and much more!See omnystudio.com/listener for privacy information.

Hey, Smarties! Please enjoy the first half of this hilarious, in-depth interview with Will Arnett on SmartLess Media's show Staying Alive! Hosts Jon Gabrus and Adam Pally (101 Places To Party Before You Die) sit down with Will to ask him about keeping in shape, cutting out sugar, viral podcast clips, and the nuts and bolts of making his new film, Is This Thing On? Plus, Pally has a text exchange with Will that he'd like to ask him about, and Gabrus might have to buy new budgie smugglers.Go to the Staying Alive feed HERE for Part 2!Full video episodes available HERE.Check out Will's movie Is This Thing On? HERE. Check out Staying Alive merch at siriusxmstore.com/stayingalive This episode was recorded February 5, 2026 on the information superhighwayStaying Alive is produced by Devon Torrey Bryant and Anne HarrisEngineered and edited by Devon Torrey Bryant, who also wrote the musicAssociate producer and video editor is Maddie McCannExecutive produced by Jon Gabrus, Adam Pally, Sean Hayes, Will Arnett, Jason Bateman, Bernie Kaminski, and Rich Korson Keywords for this episode: Tony Stark, Castaway, Springsteen, Romesh Ranganathan, tattoos, budgie smugglers, Rubirosa, CAA, New Zealand, metric system, sushi, street fighting, Basil Hayden, Zyn, nicotine, OnlyFans, Tom Hanks, Wes Anderson, Bradley Cooper, Bob Castrone, The Comedy Cellar, prop comedy, Tony Gilroy, Pedro Pascal Subscribe to SiriusXM Podcasts+ to listen to new episodes of SmartLess ad-free and a whole week early. Start a free trial now on Apple Podcasts or by visiting siriusxm.com/podcastsplus. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.