Movies We Like Transistor (https://transistor.fm) https://feeds.transistor.fm/movieswelike Welcome to Movies We Like. Each episode, Andy Nelson and Pete Wright invite a film industry veteran to discuss one of their favorite films. What makes a movie inspirational to a cinematographer or a costume designer? Listen in to hear how these pros watch their favorite films. Part of The Next Reel family of film podcasts. © TruStory FM dbaef90e-728f-54c6-a230-3c8a9bd111f8 no Movies We Like: The Speakeasy Retrofit en Sat, 04 Apr 2026 15:40:35 -0700 Wed, 08 Apr 2026 22:02:29 -0700 https://trustory.fm/movies-we-like/ https://img.transistorcdn.com/TflB4MPeyA8fMFsoRJwJRuExpGWWdI91mpY0RxKQVas/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS9zaG93/LzMzMDg5LzE2ODAx/MjI0ODYtYXJ0d29y/ay5qcGc.jpg Movies We Like https://trustory.fm/movies-we-like/ episodic TruStory FM Welcome to Movies We Like. Each episode, Andy Nelson and Pete Wright invite a film industry veteran to discuss one of their favorite films. What makes a movie inspirational to a cinematographer or a costume designer? Listen in to hear how these pros watch their favorite films. Part of The Next Reel family of film podcasts. Welcome to Movies We Like. film, filmcommentary, moviereview, movies, review TruStory FM shows@trustory.fm No No Costume Designer Jenny Beavan on The Leopard 7 7 7 7 Costume Designer Jenny Beavan on The Leopard full 6c3d48ab-e42c-47a1-b45c-d7ebba223436 https://share.transistor.fm/s/6b4060db “If we want things to stay as they are, things will have to change.”
Costume designer Jenny Beavan joins hosts Andy Nelson and Pete Wright to discuss The Leopard, directed by Luchino Visconti—the landmark 1963 epic that showed her what period design could be.

A three-time Oscar winner whose career spans A Room with a View, Mad Max: Fury Road, and Cruella, Beavan traces The Leopard back to a Soho cinema in the late sixties and the influence of a mentor who kept returning to what Piero Tosi achieved there. "He was obsessive, Piero Tosi. I don't think he was happy because it was never perfect enough. But he was one of the most incredible costume designers ever." The conversation also moves through her recent Nicholas Hytner film The Choral and the challenge of building an authentic world on nearly nothing—which turns out to be its own kind of craft lesson.

Watch the conversation on YouTube

Watch & Stream The Leopard — Apple TV · Amazon · Letterboxd · Trailer

About Jenny Beavan IMDb · Instagram

Referenced in This Episode Elgar's The Dream of Gerontius — 1968 recording, Adrian Boult, Coventry Cathedral

Source Material The Leopard by Giuseppe Tomasi di Lampedusa — Amazon

If You Enjoyed This Conversation The Next Reel — Mad Max series The Film Board — Furiosa: A Mad Max Saga Movies We Like — Costume Designer Deborah L. Scott on The Mission Movies We Like — Costume Designer Alana Morshead on Never Let Me Go


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]]> “If we want things to stay as they are, things will have to change.”
Costume designer Jenny Beavan joins hosts Andy Nelson and Pete Wright to discuss The Leopard, directed by Luchino Visconti—the landmark 1963 epic that showed her what period design could be.

A three-time Oscar winner whose career spans A Room with a View, Mad Max: Fury Road, and Cruella, Beavan traces The Leopard back to a Soho cinema in the late sixties and the influence of a mentor who kept returning to what Piero Tosi achieved there. "He was obsessive, Piero Tosi. I don't think he was happy because it was never perfect enough. But he was one of the most incredible costume designers ever." The conversation also moves through her recent Nicholas Hytner film The Choral and the challenge of building an authentic world on nearly nothing—which turns out to be its own kind of craft lesson.

Watch the conversation on YouTube

Watch & Stream The Leopard — Apple TV · Amazon · Letterboxd · Trailer

About Jenny Beavan IMDb · Instagram

Referenced in This Episode Elgar's The Dream of Gerontius — 1968 recording, Adrian Boult, Coventry Cathedral

Source Material The Leopard by Giuseppe Tomasi di Lampedusa — Amazon

If You Enjoyed This Conversation The Next Reel — Mad Max series The Film Board — Furiosa: A Mad Max Saga Movies We Like — Costume Designer Deborah L. Scott on The Mission Movies We Like — Costume Designer Alana Morshead on Never Let Me Go


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]]> Mon, 16 Mar 2026 03:00:00 -0700 TruStory FM TruStory FM 2989 “If we want things to stay as they are, things will have to change.”
Costume designer Jenny Beavan joins hosts Andy Nelson and Pete Wright to discuss The Leopard, directed by Luchino Visconti—the landmark 1963 epic that showed her what period design could be.

A three-time Oscar winner whose career spans A Room with a View, Mad Max: Fury Road, and Cruella, Beavan traces The Leopard back to a Soho cinema in the late sixties and the influence of a mentor who kept returning to what Piero Tosi achieved there. "He was obsessive, Piero Tosi. I don't think he was happy because it was never perfect enough. But he was one of the most incredible costume designers ever." The conversation also moves through her recent Nicholas Hytner film The Choral and the challenge of building an authentic world on nearly nothing—which turns out to be its own kind of craft lesson.

Watch the conversation on YouTube

Watch & Stream The Leopard — Apple TV · Amazon · Letterboxd · Trailer

About Jenny Beavan IMDb · Instagram

Referenced in This Episode Elgar's The Dream of Gerontius — 1968 recording, Adrian Boult, Coventry Cathedral

Source Material The Leopard by Giuseppe Tomasi di Lampedusa — Amazon

If You Enjoyed This Conversation The Next Reel — Mad Max series The Film Board — Furiosa: A Mad Max Saga Movies We Like — Costume Designer Deborah L. Scott on The Mission Movies We Like — Costume Designer Alana Morshead on Never Let Me Go


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]]> Costume Designer, Luchino Visconti, 1963, 1960s No Filmmaker Miguel Ángel Ferrer on The Sea Inside 7 7 6 6 Filmmaker Miguel Ángel Ferrer on The Sea Inside full 9682ccc7-34cf-4733-82c2-77d357dc58fe https://share.transistor.fm/s/b3602093 “The person who really loves me will be the one who helps me die. That's love, Rosa. That's love.”
Filmmaker Miguel Ángel Ferrer joins Andy Nelson and Pete Wright to talk about Alejandro Amenábar’s The Sea Inside, a film that shaped how Miguel thinks about life, death, and the power of cinema.

Miguel—director of The Shadow of the Sun, a moving new film about two estranged brothers chasing an impossible dream—shares the personal story of discovering The Sea Inside in an almost-empty theater, and why it remains unforgettable.

“This man, through wanting to die, shows everybody around him how to truly live. You can’t know the beauty of what you have if you don’t know the finite nature that it has.”

From survival and dignity to filmmaking as perseverance, Miguel reflects on stories that inspire, challenge, and remind us not to take life for granted.

🎬 Watch & Discover

Watch this full conversation on YouTube

Miguel Ángel Ferrer (IMDb • Instagram • Threads)

Miguel’s new film: The Shadow of the Sun — Official Website • Trailer • Behind the Scenes • Letterboxd • Instagram • Threads

Miguel’s pick: The Sea Inside — Watch (Apple TV / Amazon) • Trailer • Letterboxd

If you like these movies, check out these conversations:
▸ The Next Reel: The Diving Bell and the Butterfly (episode) • Foreign Language Best Picture Nominees (series)
▸ Movies We Like: Special Effects Supervisor Chris Reynolds on Cinema Paradiso


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]]> “The person who really loves me will be the one who helps me die. That's love, Rosa. That's love.”
Filmmaker Miguel Ángel Ferrer joins Andy Nelson and Pete Wright to talk about Alejandro Amenábar’s The Sea Inside, a film that shaped how Miguel thinks about life, death, and the power of cinema.

Miguel—director of The Shadow of the Sun, a moving new film about two estranged brothers chasing an impossible dream—shares the personal story of discovering The Sea Inside in an almost-empty theater, and why it remains unforgettable.

“This man, through wanting to die, shows everybody around him how to truly live. You can’t know the beauty of what you have if you don’t know the finite nature that it has.”

From survival and dignity to filmmaking as perseverance, Miguel reflects on stories that inspire, challenge, and remind us not to take life for granted.

🎬 Watch & Discover

Watch this full conversation on YouTube

Miguel Ángel Ferrer (IMDb • Instagram • Threads)

Miguel’s new film: The Shadow of the Sun — Official Website • Trailer • Behind the Scenes • Letterboxd • Instagram • Threads

Miguel’s pick: The Sea Inside — Watch (Apple TV / Amazon) • Trailer • Letterboxd

If you like these movies, check out these conversations:
▸ The Next Reel: The Diving Bell and the Butterfly (episode) • Foreign Language Best Picture Nominees (series)
▸ Movies We Like: Special Effects Supervisor Chris Reynolds on Cinema Paradiso


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]]> Mon, 16 Feb 2026 03:00:00 -0800 TruStory FM TruStory FM 4354 “The person who really loves me will be the one who helps me die. That's love, Rosa. That's love.”
Filmmaker Miguel Ángel Ferrer joins Andy Nelson and Pete Wright to talk about Alejandro Amenábar’s The Sea Inside, a film that shaped how Miguel thinks about life, death, and the power of cinema.

Miguel—director of The Shadow of the Sun, a moving new film about two estranged brothers chasing an impossible dream—shares the personal story of discovering The Sea Inside in an almost-empty theater, and why it remains unforgettable.

“This man, through wanting to die, shows everybody around him how to truly live. You can’t know the beauty of what you have if you don’t know the finite nature that it has.”

From survival and dignity to filmmaking as perseverance, Miguel reflects on stories that inspire, challenge, and remind us not to take life for granted.

🎬 Watch & Discover

Watch this full conversation on YouTube

Miguel Ángel Ferrer (IMDb • Instagram • Threads)

Miguel’s new film: The Shadow of the Sun — Official Website • Trailer • Behind the Scenes • Letterboxd • Instagram • Threads

Miguel’s pick: The Sea Inside — Watch (Apple TV / Amazon) • Trailer • Letterboxd

If you like these movies, check out these conversations:
▸ The Next Reel: The Diving Bell and the Butterfly (episode) • Foreign Language Best Picture Nominees (series)
▸ Movies We Like: Special Effects Supervisor Chris Reynolds on Cinema Paradiso


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]]> 2004, 2000s, Alejandro Amenábar, The Shadow of the Sun, The Sea Inside, Miguel Ángel Ferrer No Producer/Director Bill Banowsky on O Brother, Where Art Thou? 7 7 5 5 Producer/Director Bill Banowsky on O Brother, Where Art Thou? full f8cedf6c-a6d4-4874-9a2e-58f7c27757f3 https://share.transistor.fm/s/dc86a3e4 “I’m a Dapper Dan man!”
Producer/Director Bill Banowsky joins Andy Nelson and Pete Wright to discuss O Brother, Where Art Thou? from Joel Coen, reflecting on both the film's enduring appeal and his own fascinating journey through the film industry. As co-founder of Magnolia Pictures and developer of smart house theaters, Banowsky brings unique insight to this beloved Coen Brothers comedy while also discussing his new documentary A Savage Art: The Life & Cartoons of Pat Oliphant.

"I think we need more films like O Brother, Where Art Thou?. You gotta find story-driven films, not technology-driven films, to save this business," says Banowsky, whose career spans from law to founding smart house theaters to directing documentaries.

🎬 Watch & Discover


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]]> “I’m a Dapper Dan man!”
Producer/Director Bill Banowsky joins Andy Nelson and Pete Wright to discuss O Brother, Where Art Thou? from Joel Coen, reflecting on both the film's enduring appeal and his own fascinating journey through the film industry. As co-founder of Magnolia Pictures and developer of smart house theaters, Banowsky brings unique insight to this beloved Coen Brothers comedy while also discussing his new documentary A Savage Art: The Life & Cartoons of Pat Oliphant.

"I think we need more films like O Brother, Where Art Thou?. You gotta find story-driven films, not technology-driven films, to save this business," says Banowsky, whose career spans from law to founding smart house theaters to directing documentaries.

🎬 Watch & Discover


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]]> Mon, 19 Jan 2026 03:00:00 -0800 TruStory FM TruStory FM 4375 “I’m a Dapper Dan man!”
Producer/Director Bill Banowsky joins Andy Nelson and Pete Wright to discuss O Brother, Where Art Thou? from Joel Coen, reflecting on both the film's enduring appeal and his own fascinating journey through the film industry. As co-founder of Magnolia Pictures and developer of smart house theaters, Banowsky brings unique insight to this beloved Coen Brothers comedy while also discussing his new documentary A Savage Art: The Life & Cartoons of Pat Oliphant.

"I think we need more films like O Brother, Where Art Thou?. You gotta find story-driven films, not technology-driven films, to save this business," says Banowsky, whose career spans from law to founding smart house theaters to directing documentaries.

🎬 Watch & Discover


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]]> Joel Coen, Ethan Coen, Coen Brothers, 2000, 2000s, A Savage Art No Cinematographer Mattias Nyberg on Mulholland Drive 7 7 4 4 Cinematographer Mattias Nyberg on Mulholland Drive full b45dc038-c650-422d-b50b-2ba01f2683c3 https://share.transistor.fm/s/573f16ca Exploring Perspective Through the Lens

London-based cinematographer Mattias Nyberg joins Movies We Like hosts Andy Nelson and Pete Wright to discuss David Lynch's Mulholland Drive. Drawing from his recent work on Amazon/MGM's The Girlfriend, Nyberg explores how Lynch and cinematographer Peter Deming created one of cinema's most compelling psychological thrillers through innovative perspective shifts and unsettling camera techniques.

Nyberg's path to cinematography began unusually—as a professional hockey player in rural Sweden before discovering film during a temporary stay in London. Now a governor of the British Society of Cinematographers, his work on projects like The Girlfriend and Netflix's The Decameron demonstrates his mastery of visual storytelling through careful camera placement and measured pacing, particularly in building tension.

The conversation delves into how Mulholland Drive masterfully manipulates audience perspective, with Nyberg offering technical insights about Deming's subtle camera movements and Lynch's unconventional shot choices. Through seemingly disconnected scenes and dreamlike sequences, the film creates an atmosphere of sustained unease that deepens rather than diminishes its impact. Nyberg connects these techniques to his own work on The Girlfriend, particularly in how camera positioning and sustained shots can build tension more effectively than rapid cutting.

In both works, we see how thoughtful cinematography can elevate storytelling beyond conventional narrative into psychological complexity. Nyberg's deep appreciation for Mulholland Drive and its influence on contemporary television reveals how cinema's visual language continues to evolve while remaining rooted in the power of patient, confident camera work.

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]]> Exploring Perspective Through the Lens

London-based cinematographer Mattias Nyberg joins Movies We Like hosts Andy Nelson and Pete Wright to discuss David Lynch's Mulholland Drive. Drawing from his recent work on Amazon/MGM's The Girlfriend, Nyberg explores how Lynch and cinematographer Peter Deming created one of cinema's most compelling psychological thrillers through innovative perspective shifts and unsettling camera techniques.

Nyberg's path to cinematography began unusually—as a professional hockey player in rural Sweden before discovering film during a temporary stay in London. Now a governor of the British Society of Cinematographers, his work on projects like The Girlfriend and Netflix's The Decameron demonstrates his mastery of visual storytelling through careful camera placement and measured pacing, particularly in building tension.

The conversation delves into how Mulholland Drive masterfully manipulates audience perspective, with Nyberg offering technical insights about Deming's subtle camera movements and Lynch's unconventional shot choices. Through seemingly disconnected scenes and dreamlike sequences, the film creates an atmosphere of sustained unease that deepens rather than diminishes its impact. Nyberg connects these techniques to his own work on The Girlfriend, particularly in how camera positioning and sustained shots can build tension more effectively than rapid cutting.

In both works, we see how thoughtful cinematography can elevate storytelling beyond conventional narrative into psychological complexity. Nyberg's deep appreciation for Mulholland Drive and its influence on contemporary television reveals how cinema's visual language continues to evolve while remaining rooted in the power of patient, confident camera work.

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

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]]> Mon, 22 Dec 2025 03:00:00 -0800 TruStory FM TruStory FM 3618 Exploring Perspective Through the Lens

London-based cinematographer Mattias Nyberg joins Movies We Like hosts Andy Nelson and Pete Wright to discuss David Lynch's Mulholland Drive. Drawing from his recent work on Amazon/MGM's The Girlfriend, Nyberg explores how Lynch and cinematographer Peter Deming created one of cinema's most compelling psychological thrillers through innovative perspective shifts and unsettling camera techniques.

Nyberg's path to cinematography began unusually—as a professional hockey player in rural Sweden before discovering film during a temporary stay in London. Now a governor of the British Society of Cinematographers, his work on projects like The Girlfriend and Netflix's The Decameron demonstrates his mastery of visual storytelling through careful camera placement and measured pacing, particularly in building tension.

The conversation delves into how Mulholland Drive masterfully manipulates audience perspective, with Nyberg offering technical insights about Deming's subtle camera movements and Lynch's unconventional shot choices. Through seemingly disconnected scenes and dreamlike sequences, the film creates an atmosphere of sustained unease that deepens rather than diminishes its impact. Nyberg connects these techniques to his own work on The Girlfriend, particularly in how camera positioning and sustained shots can build tension more effectively than rapid cutting.

In both works, we see how thoughtful cinematography can elevate storytelling beyond conventional narrative into psychological complexity. Nyberg's deep appreciation for Mulholland Drive and its influence on contemporary television reveals how cinema's visual language continues to evolve while remaining rooted in the power of patient, confident camera work.

🎬 Watch & Discover


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]]> David Lynch, 2001, 2000s No Cinematographer Marcus Patterson on Days of Heaven 7 7 3 3 Cinematographer Marcus Patterson on Days of Heaven full 2064ea71-ae76-4ab2-9678-b5904ce2ecb1 https://share.transistor.fm/s/3b8cb707 “Nobody's perfect. There was never a perfect person around. You just have half-angel and half-devil in you.”
Cinematographer Marcus Patterson joins Movies We Like hosts Andy Nelson and Pete Wright to discuss Terrence Malick's 1978 masterpiece Days of Heaven. Drawing from his own experience shooting the anthology film Sunfish (& Other Stories on Green Lake), Patterson explores how Malick and cinematographers Néstor Almendros and Haskell Wexler crafted one of cinema's most visually stunning achievements through their innovative use of natural light and magic hour photography.

Patterson's journey to cinematography wasn't direct – he tried acting, writing, and editing before discovering his passion behind the camera. Starting with short films in Alabama, he developed his craft through countless projects before moving to Los Angeles. His work on Sunfish demonstrates his ability to capture intimate human moments while maintaining a painterly approach to composition and lighting, particularly in natural settings.

The conversation explores how Days of Heaven revolutionized the use of natural light in cinema, with Patterson offering technical insights about how Almendros and Wexler achieved their remarkable images. Through Linda Manz's narration, the film presents its tragic love triangle from a child's perspective, creating emotional distance that heightens rather than diminishes its impact. Patterson connects these techniques to his own work on Sunfish, particularly in capturing the languid atmosphere of lake life and the delicate interplay of light and water.

In both films, we see how careful attention to natural light and composition can elevate storytelling beyond mere narrative into the realm of visual poetry. Patterson's deep appreciation for Days of Heaven and its influence on his own work reveals how cinema's visual language continues to evolve while remaining rooted in these foundational techniques of capturing light and life on film.

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]]> “Nobody's perfect. There was never a perfect person around. You just have half-angel and half-devil in you.”
Cinematographer Marcus Patterson joins Movies We Like hosts Andy Nelson and Pete Wright to discuss Terrence Malick's 1978 masterpiece Days of Heaven. Drawing from his own experience shooting the anthology film Sunfish (& Other Stories on Green Lake), Patterson explores how Malick and cinematographers Néstor Almendros and Haskell Wexler crafted one of cinema's most visually stunning achievements through their innovative use of natural light and magic hour photography.

Patterson's journey to cinematography wasn't direct – he tried acting, writing, and editing before discovering his passion behind the camera. Starting with short films in Alabama, he developed his craft through countless projects before moving to Los Angeles. His work on Sunfish demonstrates his ability to capture intimate human moments while maintaining a painterly approach to composition and lighting, particularly in natural settings.

The conversation explores how Days of Heaven revolutionized the use of natural light in cinema, with Patterson offering technical insights about how Almendros and Wexler achieved their remarkable images. Through Linda Manz's narration, the film presents its tragic love triangle from a child's perspective, creating emotional distance that heightens rather than diminishes its impact. Patterson connects these techniques to his own work on Sunfish, particularly in capturing the languid atmosphere of lake life and the delicate interplay of light and water.

In both films, we see how careful attention to natural light and composition can elevate storytelling beyond mere narrative into the realm of visual poetry. Patterson's deep appreciation for Days of Heaven and its influence on his own work reveals how cinema's visual language continues to evolve while remaining rooted in these foundational techniques of capturing light and life on film.

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

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]]> Mon, 24 Nov 2025 03:00:00 -0800 TruStory FM TruStory FM 4399 “Nobody's perfect. There was never a perfect person around. You just have half-angel and half-devil in you.”
Cinematographer Marcus Patterson joins Movies We Like hosts Andy Nelson and Pete Wright to discuss Terrence Malick's 1978 masterpiece Days of Heaven. Drawing from his own experience shooting the anthology film Sunfish (& Other Stories on Green Lake), Patterson explores how Malick and cinematographers Néstor Almendros and Haskell Wexler crafted one of cinema's most visually stunning achievements through their innovative use of natural light and magic hour photography.

Patterson's journey to cinematography wasn't direct – he tried acting, writing, and editing before discovering his passion behind the camera. Starting with short films in Alabama, he developed his craft through countless projects before moving to Los Angeles. His work on Sunfish demonstrates his ability to capture intimate human moments while maintaining a painterly approach to composition and lighting, particularly in natural settings.

The conversation explores how Days of Heaven revolutionized the use of natural light in cinema, with Patterson offering technical insights about how Almendros and Wexler achieved their remarkable images. Through Linda Manz's narration, the film presents its tragic love triangle from a child's perspective, creating emotional distance that heightens rather than diminishes its impact. Patterson connects these techniques to his own work on Sunfish, particularly in capturing the languid atmosphere of lake life and the delicate interplay of light and water.

In both films, we see how careful attention to natural light and composition can elevate storytelling beyond mere narrative into the realm of visual poetry. Patterson's deep appreciation for Days of Heaven and its influence on his own work reveals how cinema's visual language continues to evolve while remaining rooted in these foundational techniques of capturing light and life on film.

🎬 Watch & Discover


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]]> 1978, 1970s, Terrence Malick No Cinematographer Jeff Cronenweth on Blade Runner 7 7 2 2 Cinematographer Jeff Cronenweth on Blade Runner full e0cb8621-3623-480a-ac95-bf99b73d7571 https://share.transistor.fm/s/73f7b772 “All those moments will be lost in time... like tears in rain.”
A Legacy of Light and Shadow

Cinematographer Jeff Cronenweth joins Movies We Like hosts Andy Nelson and Pete Wright to explore Ridley Scott's groundbreaking 1982 film Blade Runner. As the son of the film's original cinematographer Jordan Cronenweth, Jeff brings a unique perspective on both the technical achievements and lasting influence of this sci-fi noir masterpiece. With his recent work on Tron: Ares hitting theaters, Cronenweth reflects on how Blade Runner continues to inspire filmmakers and cinematographers four decades later.

From early experiences on film sets with his father to becoming David Fincher's go-to cinematographer on films like Fight Club, The Social Network, and The Girl with the Dragon Tattoo, Cronenweth has built a career focused on visual storytelling that serves character and narrative. He describes his approach as seeking human stories within any genre, whether period drama or science fiction. His transition from film to digital cinematography reflects broader industry changes, while maintaining his commitment to thoughtful, story-driven imagery.

The conversation explores how Blade Runner created its influential neo-noir aesthetic with remarkably limited technical resources, including just three xenon lights for its iconic beam effects and borrowed neon lights from Francis Ford Coppola’s One from the Heart set. Cronenweth shares insights into the film's production challenges and creative solutions, from practical lighting techniques to Ridley Scott's visionary production design. The discussion examines how the film balances its high-concept science fiction premise with intimate character moments, creating a template for genre storytelling that continues to resonate. Cronenweth also offers perspective on the various cuts of the film and its 2017 sequel.

Through this engaging conversation, Cronenweth illuminates not just the technical mastery behind Blade Runner, but its enduring impact on cinema. His unique connection to the film through his father, combined with his own distinguished career, offers viewers fresh insights into this landmark work of science fiction and its continuing influence on visual storytelling.

🎬 Watch & Discover


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]]> “All those moments will be lost in time... like tears in rain.”
A Legacy of Light and Shadow

Cinematographer Jeff Cronenweth joins Movies We Like hosts Andy Nelson and Pete Wright to explore Ridley Scott's groundbreaking 1982 film Blade Runner. As the son of the film's original cinematographer Jordan Cronenweth, Jeff brings a unique perspective on both the technical achievements and lasting influence of this sci-fi noir masterpiece. With his recent work on Tron: Ares hitting theaters, Cronenweth reflects on how Blade Runner continues to inspire filmmakers and cinematographers four decades later.

From early experiences on film sets with his father to becoming David Fincher's go-to cinematographer on films like Fight Club, The Social Network, and The Girl with the Dragon Tattoo, Cronenweth has built a career focused on visual storytelling that serves character and narrative. He describes his approach as seeking human stories within any genre, whether period drama or science fiction. His transition from film to digital cinematography reflects broader industry changes, while maintaining his commitment to thoughtful, story-driven imagery.

The conversation explores how Blade Runner created its influential neo-noir aesthetic with remarkably limited technical resources, including just three xenon lights for its iconic beam effects and borrowed neon lights from Francis Ford Coppola’s One from the Heart set. Cronenweth shares insights into the film's production challenges and creative solutions, from practical lighting techniques to Ridley Scott's visionary production design. The discussion examines how the film balances its high-concept science fiction premise with intimate character moments, creating a template for genre storytelling that continues to resonate. Cronenweth also offers perspective on the various cuts of the film and its 2017 sequel.

Through this engaging conversation, Cronenweth illuminates not just the technical mastery behind Blade Runner, but its enduring impact on cinema. His unique connection to the film through his father, combined with his own distinguished career, offers viewers fresh insights into this landmark work of science fiction and its continuing influence on visual storytelling.

🎬 Watch & Discover


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]]> Mon, 27 Oct 2025 03:00:00 -0700 TruStory FM TruStory FM 2953 “All those moments will be lost in time... like tears in rain.”
A Legacy of Light and Shadow

Cinematographer Jeff Cronenweth joins Movies We Like hosts Andy Nelson and Pete Wright to explore Ridley Scott's groundbreaking 1982 film Blade Runner. As the son of the film's original cinematographer Jordan Cronenweth, Jeff brings a unique perspective on both the technical achievements and lasting influence of this sci-fi noir masterpiece. With his recent work on Tron: Ares hitting theaters, Cronenweth reflects on how Blade Runner continues to inspire filmmakers and cinematographers four decades later.

From early experiences on film sets with his father to becoming David Fincher's go-to cinematographer on films like Fight Club, The Social Network, and The Girl with the Dragon Tattoo, Cronenweth has built a career focused on visual storytelling that serves character and narrative. He describes his approach as seeking human stories within any genre, whether period drama or science fiction. His transition from film to digital cinematography reflects broader industry changes, while maintaining his commitment to thoughtful, story-driven imagery.

The conversation explores how Blade Runner created its influential neo-noir aesthetic with remarkably limited technical resources, including just three xenon lights for its iconic beam effects and borrowed neon lights from Francis Ford Coppola’s One from the Heart set. Cronenweth shares insights into the film's production challenges and creative solutions, from practical lighting techniques to Ridley Scott's visionary production design. The discussion examines how the film balances its high-concept science fiction premise with intimate character moments, creating a template for genre storytelling that continues to resonate. Cronenweth also offers perspective on the various cuts of the film and its 2017 sequel.

Through this engaging conversation, Cronenweth illuminates not just the technical mastery behind Blade Runner, but its enduring impact on cinema. His unique connection to the film through his father, combined with his own distinguished career, offers viewers fresh insights into this landmark work of science fiction and its continuing influence on visual storytelling.

🎬 Watch & Discover


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]]> Jeff Cronenweth, Ridley Scott, Blade Runner, 1982, 1980s No Production Designer Andrew McAlpine on The Power of the Dog 7 7 1 1 Production Designer Andrew McAlpine on The Power of the Dog full d75374e7-18e1-4c9d-b8f8-ac0037528959 https://share.transistor.fm/s/62f8eb5e “When my father passed, I wanted nothing more than my mother's happiness. For what kind of man would I be if I did not help my mother?”
Production designer Andrew McAlpine joins hosts Andy Nelson and Pete Wright to discuss Jane Campion's The Power of the Dog. Drawing from his extensive career including work on The Piano with Campion herself, McAlpine offers unique insights into the film's exploration of isolation, masculinity, and the psychological complexity of its characters. His perspective as both a fellow New Zealander and previous Campion collaborator brings fresh depth to this haunting Western drama.

McAlpine's journey from aspiring surgeon to art school graduate led him through theater, holography, and eventually to production design. His work spans diverse projects including Sid and Nancy, Clockers, The Beach, and Aeon Flux. McAlpine approaches each film with an emphasis on authentic period detail while avoiding heavy-handed historical recreation, allowing the environment to serve the emotional truth of the story rather than mere accuracy.

The conversation explores how The Power of the Dog examines masculine isolation through Phil's character, drawing parallels to McAlpine's work on The Piano. He highlights the film's masterful use of landscape and architecture to amplify psychological tension, particularly through the imposing ranch house. The discussion delves into Peter's character complexity and the film's careful build toward its devastating conclusion. McAlpine offers fascinating insights into how Campion's direction creates space for both brutality and vulnerability in her characters.

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]]> “When my father passed, I wanted nothing more than my mother's happiness. For what kind of man would I be if I did not help my mother?”
Production designer Andrew McAlpine joins hosts Andy Nelson and Pete Wright to discuss Jane Campion's The Power of the Dog. Drawing from his extensive career including work on The Piano with Campion herself, McAlpine offers unique insights into the film's exploration of isolation, masculinity, and the psychological complexity of its characters. His perspective as both a fellow New Zealander and previous Campion collaborator brings fresh depth to this haunting Western drama.

McAlpine's journey from aspiring surgeon to art school graduate led him through theater, holography, and eventually to production design. His work spans diverse projects including Sid and Nancy, Clockers, The Beach, and Aeon Flux. McAlpine approaches each film with an emphasis on authentic period detail while avoiding heavy-handed historical recreation, allowing the environment to serve the emotional truth of the story rather than mere accuracy.

The conversation explores how The Power of the Dog examines masculine isolation through Phil's character, drawing parallels to McAlpine's work on The Piano. He highlights the film's masterful use of landscape and architecture to amplify psychological tension, particularly through the imposing ranch house. The discussion delves into Peter's character complexity and the film's careful build toward its devastating conclusion. McAlpine offers fascinating insights into how Campion's direction creates space for both brutality and vulnerability in her characters.

🎬 Watch & Discover


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]]> Mon, 29 Sep 2025 03:00:00 -0700 TruStory FM TruStory FM 4158 “When my father passed, I wanted nothing more than my mother's happiness. For what kind of man would I be if I did not help my mother?”
Production designer Andrew McAlpine joins hosts Andy Nelson and Pete Wright to discuss Jane Campion's The Power of the Dog. Drawing from his extensive career including work on The Piano with Campion herself, McAlpine offers unique insights into the film's exploration of isolation, masculinity, and the psychological complexity of its characters. His perspective as both a fellow New Zealander and previous Campion collaborator brings fresh depth to this haunting Western drama.

McAlpine's journey from aspiring surgeon to art school graduate led him through theater, holography, and eventually to production design. His work spans diverse projects including Sid and Nancy, Clockers, The Beach, and Aeon Flux. McAlpine approaches each film with an emphasis on authentic period detail while avoiding heavy-handed historical recreation, allowing the environment to serve the emotional truth of the story rather than mere accuracy.

The conversation explores how The Power of the Dog examines masculine isolation through Phil's character, drawing parallels to McAlpine's work on The Piano. He highlights the film's masterful use of landscape and architecture to amplify psychological tension, particularly through the imposing ranch house. The discussion delves into Peter's character complexity and the film's careful build toward its devastating conclusion. McAlpine offers fascinating insights into how Campion's direction creates space for both brutality and vulnerability in her characters.

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]]> Andrew McAlpine, Jane Campion, 2021, 2020s No Production Designer Liz Bischof on Sonatine 6 6 15 15 Production Designer Liz Bischof on Sonatine full f566c6b3-7120-49e8-b526-48b2123ff3b5 https://share.transistor.fm/s/ccf8a351 “When you're scared all the time, you reach a point when you wish you were dead.”
Talking About Takeshi Kitano’s Sonatine with our guest, Production Designer Liz Bischof

Production designer Liz Bischof joins Movies We Like to discuss Sonatine, Beat Takeshi's 1993 meditative yakuza film that masterfully blends moments of shocking violence with poetic contemplation. As a special guest who has worked on projects ranging from Broadway's Aladdin to Apple TV+'s See, Bischof brings unique insights into the film's visual language and thoughtful approach to production design.

In our wide-ranging conversation, Bischof shares her journey from props maker for international opera companies to production designer for film and television. She discusses her recent work on A Nice Indian Boy and upcoming thriller Getaway starring Jason Biggs in his directorial debut, before diving deep into why Takeshi Kitano's Sonatine left such a lasting impression on her when she first saw it at the Rotterdam Film Festival. The film's minimalist aesthetic, strategic use of color (particularly in the red and blue motifs), and carefully composed shots that often feel like still life paintings exemplify what draws her to this unique take on the yakuza genre.

The discussion explores how Kitano, primarily known as a comedian in Japan at the time, crafted this deliberately paced crime drama about a tired gangster (played by Kitano himself) sent to Okinawa. The film's remarkable middle section, where the characters retreat to a beach and briefly recapture moments of childhood play, provides a stark contrast to the inevitable violence that bookends the story. Bischof particularly appreciates how the film's production design reinforces themes through its use of gritty, fluorescent-lit spaces in the city scenes versus the poetic beauty of the beach sequences.

Sonatine remains a masterpiece of 90s Japanese cinema that rewards patient viewers with its unique blend of violence, humor, and existential meditation. Our conversation with Liz Bischof illuminates how the film's thoughtful design choices and visual poetry continue to influence and inspire filmmakers and designers nearly 30 years after its release.

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]]> “When you're scared all the time, you reach a point when you wish you were dead.”
Talking About Takeshi Kitano’s Sonatine with our guest, Production Designer Liz Bischof

Production designer Liz Bischof joins Movies We Like to discuss Sonatine, Beat Takeshi's 1993 meditative yakuza film that masterfully blends moments of shocking violence with poetic contemplation. As a special guest who has worked on projects ranging from Broadway's Aladdin to Apple TV+'s See, Bischof brings unique insights into the film's visual language and thoughtful approach to production design.

In our wide-ranging conversation, Bischof shares her journey from props maker for international opera companies to production designer for film and television. She discusses her recent work on A Nice Indian Boy and upcoming thriller Getaway starring Jason Biggs in his directorial debut, before diving deep into why Takeshi Kitano's Sonatine left such a lasting impression on her when she first saw it at the Rotterdam Film Festival. The film's minimalist aesthetic, strategic use of color (particularly in the red and blue motifs), and carefully composed shots that often feel like still life paintings exemplify what draws her to this unique take on the yakuza genre.

The discussion explores how Kitano, primarily known as a comedian in Japan at the time, crafted this deliberately paced crime drama about a tired gangster (played by Kitano himself) sent to Okinawa. The film's remarkable middle section, where the characters retreat to a beach and briefly recapture moments of childhood play, provides a stark contrast to the inevitable violence that bookends the story. Bischof particularly appreciates how the film's production design reinforces themes through its use of gritty, fluorescent-lit spaces in the city scenes versus the poetic beauty of the beach sequences.

Sonatine remains a masterpiece of 90s Japanese cinema that rewards patient viewers with its unique blend of violence, humor, and existential meditation. Our conversation with Liz Bischof illuminates how the film's thoughtful design choices and visual poetry continue to influence and inspire filmmakers and designers nearly 30 years after its release.

Film Sundries


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]]> Mon, 09 Jun 2025 03:00:00 -0700 TruStory FM TruStory FM 3527 “When you're scared all the time, you reach a point when you wish you were dead.”
Talking About Takeshi Kitano’s Sonatine with our guest, Production Designer Liz Bischof

Production designer Liz Bischof joins Movies We Like to discuss Sonatine, Beat Takeshi's 1993 meditative yakuza film that masterfully blends moments of shocking violence with poetic contemplation. As a special guest who has worked on projects ranging from Broadway's Aladdin to Apple TV+'s See, Bischof brings unique insights into the film's visual language and thoughtful approach to production design.

In our wide-ranging conversation, Bischof shares her journey from props maker for international opera companies to production designer for film and television. She discusses her recent work on A Nice Indian Boy and upcoming thriller Getaway starring Jason Biggs in his directorial debut, before diving deep into why Takeshi Kitano's Sonatine left such a lasting impression on her when she first saw it at the Rotterdam Film Festival. The film's minimalist aesthetic, strategic use of color (particularly in the red and blue motifs), and carefully composed shots that often feel like still life paintings exemplify what draws her to this unique take on the yakuza genre.

The discussion explores how Kitano, primarily known as a comedian in Japan at the time, crafted this deliberately paced crime drama about a tired gangster (played by Kitano himself) sent to Okinawa. The film's remarkable middle section, where the characters retreat to a beach and briefly recapture moments of childhood play, provides a stark contrast to the inevitable violence that bookends the story. Bischof particularly appreciates how the film's production design reinforces themes through its use of gritty, fluorescent-lit spaces in the city scenes versus the poetic beauty of the beach sequences.

Sonatine remains a masterpiece of 90s Japanese cinema that rewards patient viewers with its unique blend of violence, humor, and existential meditation. Our conversation with Liz Bischof illuminates how the film's thoughtful design choices and visual poetry continue to influence and inspire filmmakers and designers nearly 30 years after its release.

Film Sundries


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]]> 1993, 1990s, Takeshi Katano No Editor Lucy Donaldson on Jesus Christ Superstar 6 6 14 14 Editor Lucy Donaldson on Jesus Christ Superstar full 294e3635-1db3-40be-81e4-cac25127095e https://share.transistor.fm/s/af99908e “All your followers are blind, Too much heaven on their minds, It was beautiful but now it's sour, Yes it's all gone sour.”
Talking About Jesus Christ Superstar with our guest, editor Lucy Donaldson

Film editor Lucy Donaldson joins Andy Nelson and Pete Wright to discuss Norman Jewison's bold 1973 musical adaptation Jesus Christ Superstar and share insights from her impressive editing career. From working on acclaimed projects like Ma to recent hits like A Haunting in Venice, Donaldson brings her expert perspective to analyzing what makes this unconventional rock opera work so magnificently on screen.

In this entertaining and insightful conversation, Donaldson opens up about her journey in the film industry, from her early days at the National Film and Television School to assisting on major productions at Blumhouse before landing breakthrough editing opportunities. The discussion explores the collaborative nature of film editing, working with directors, and how test screenings help shape the final cut. The conversation then dives deep into Jesus Christ Superstar, examining how Jewison's creative vision of hippie performers telling the Biblical story in the Israeli desert creates a uniquely compelling cinematic experience. From the magnetic performances of Ted Neely as Jesus and Carl Anderson as Judas to the bold editing choices and striking cinematography, the group analyzes what makes this controversial film continue to resonate decades later.

With its daring artistic choices, memorable musical numbers, and raw emotional power, Jesus Christ Superstar remains a fascinating piece of cinema that challenges conventional storytelling. Through Donaldson's thoughtful analysis and personal connection to the film, we gain new appreciation for this groundbreaking rock opera that shouldn't work on paper but absolutely triumphs on screen. This engaging discussion with a talented editor offers wonderful insights into both the craft of film editing and the enduring impact of bold artistic vision.

Film Sundries


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]]> “All your followers are blind, Too much heaven on their minds, It was beautiful but now it's sour, Yes it's all gone sour.”
Talking About Jesus Christ Superstar with our guest, editor Lucy Donaldson

Film editor Lucy Donaldson joins Andy Nelson and Pete Wright to discuss Norman Jewison's bold 1973 musical adaptation Jesus Christ Superstar and share insights from her impressive editing career. From working on acclaimed projects like Ma to recent hits like A Haunting in Venice, Donaldson brings her expert perspective to analyzing what makes this unconventional rock opera work so magnificently on screen.

In this entertaining and insightful conversation, Donaldson opens up about her journey in the film industry, from her early days at the National Film and Television School to assisting on major productions at Blumhouse before landing breakthrough editing opportunities. The discussion explores the collaborative nature of film editing, working with directors, and how test screenings help shape the final cut. The conversation then dives deep into Jesus Christ Superstar, examining how Jewison's creative vision of hippie performers telling the Biblical story in the Israeli desert creates a uniquely compelling cinematic experience. From the magnetic performances of Ted Neely as Jesus and Carl Anderson as Judas to the bold editing choices and striking cinematography, the group analyzes what makes this controversial film continue to resonate decades later.

With its daring artistic choices, memorable musical numbers, and raw emotional power, Jesus Christ Superstar remains a fascinating piece of cinema that challenges conventional storytelling. Through Donaldson's thoughtful analysis and personal connection to the film, we gain new appreciation for this groundbreaking rock opera that shouldn't work on paper but absolutely triumphs on screen. This engaging discussion with a talented editor offers wonderful insights into both the craft of film editing and the enduring impact of bold artistic vision.

Film Sundries


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]]> Mon, 12 May 2025 03:00:00 -0700 TruStory FM TruStory FM 3456 “All your followers are blind, Too much heaven on their minds, It was beautiful but now it's sour, Yes it's all gone sour.”
Talking About Jesus Christ Superstar with our guest, editor Lucy Donaldson

Film editor Lucy Donaldson joins Andy Nelson and Pete Wright to discuss Norman Jewison's bold 1973 musical adaptation Jesus Christ Superstar and share insights from her impressive editing career. From working on acclaimed projects like Ma to recent hits like A Haunting in Venice, Donaldson brings her expert perspective to analyzing what makes this unconventional rock opera work so magnificently on screen.

In this entertaining and insightful conversation, Donaldson opens up about her journey in the film industry, from her early days at the National Film and Television School to assisting on major productions at Blumhouse before landing breakthrough editing opportunities. The discussion explores the collaborative nature of film editing, working with directors, and how test screenings help shape the final cut. The conversation then dives deep into Jesus Christ Superstar, examining how Jewison's creative vision of hippie performers telling the Biblical story in the Israeli desert creates a uniquely compelling cinematic experience. From the magnetic performances of Ted Neely as Jesus and Carl Anderson as Judas to the bold editing choices and striking cinematography, the group analyzes what makes this controversial film continue to resonate decades later.

With its daring artistic choices, memorable musical numbers, and raw emotional power, Jesus Christ Superstar remains a fascinating piece of cinema that challenges conventional storytelling. Through Donaldson's thoughtful analysis and personal connection to the film, we gain new appreciation for this groundbreaking rock opera that shouldn't work on paper but absolutely triumphs on screen. This engaging discussion with a talented editor offers wonderful insights into both the craft of film editing and the enduring impact of bold artistic vision.

Film Sundries


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]]> 1973, 1970s, Norman Jewison No Screenwriter James Handel on Black Narcissus 6 6 13 13 Screenwriter James Handel on Black Narcissus full fb59525c-e0bb-43b3-a919-86f1ba4b2d7b https://share.transistor.fm/s/f71c62b8 “There's something in the atmosphere that makes everything seem exaggerated.”
Talking About Powell & Pressburger’s 1947 film Black Narcissus with our guest, screenwriter James Handel

In this episode of Movies We Like, screenwriter James Handel joins hosts Andy Nelson and Pete Wright to discuss Michael Powell and Emeric Pressburger's 1947 masterpiece Black Narcissus, along with Handel's fascinating career writing genre-bending films like The Last Horror Movie, The Hoarder, and his latest psychological dramedy The Trouble with Jessica.

From Philosophy to Film
Before diving into Black Narcissus, Handel shares candid insights about his journey from philosophy student to screenwriter, starting with an unproduced vampire script and eventually leading to successful collaborations with directors Julian Richards and Matt Winn. He discusses how his background in philosophy influences his approach to moral dilemmas and character psychology in his screenplays, particularly evident in The Trouble with Jessica's darkly comic exploration of ethics and human nature.

A Masterpiece of Psychological Drama
The conversation then turns to Black Narcissus, examining how Powell and Pressburger crafted this visually stunning psychological drama about Anglican nuns attempting to establish a convent in the Himalayas. The group discusses the film's groundbreaking technical achievements, with Jack Cardiff's Oscar-winning Technicolor cinematography bringing the entirely studio-shot production to vivid life. They explore how the film masterfully depicts the psychological deterioration of the nuns as they struggle with repressed desires, loss of faith, and the overwhelming power of their environment, all while maintaining a remarkable balance between expressionism and restraint.

Black Narcissus remains a masterclass in psychological storytelling and visual craftsmanship, demonstrating how thoughtful restraint and artistic innovation can create an unforgettable cinematic experience. We thoroughly enjoyed diving deep into this classic with James Handel, whose own work carries forward the tradition of examining complex moral questions through compelling drama.

Film Sundries


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]]> “There's something in the atmosphere that makes everything seem exaggerated.”
Talking About Powell & Pressburger’s 1947 film Black Narcissus with our guest, screenwriter James Handel

In this episode of Movies We Like, screenwriter James Handel joins hosts Andy Nelson and Pete Wright to discuss Michael Powell and Emeric Pressburger's 1947 masterpiece Black Narcissus, along with Handel's fascinating career writing genre-bending films like The Last Horror Movie, The Hoarder, and his latest psychological dramedy The Trouble with Jessica.

From Philosophy to Film
Before diving into Black Narcissus, Handel shares candid insights about his journey from philosophy student to screenwriter, starting with an unproduced vampire script and eventually leading to successful collaborations with directors Julian Richards and Matt Winn. He discusses how his background in philosophy influences his approach to moral dilemmas and character psychology in his screenplays, particularly evident in The Trouble with Jessica's darkly comic exploration of ethics and human nature.

A Masterpiece of Psychological Drama
The conversation then turns to Black Narcissus, examining how Powell and Pressburger crafted this visually stunning psychological drama about Anglican nuns attempting to establish a convent in the Himalayas. The group discusses the film's groundbreaking technical achievements, with Jack Cardiff's Oscar-winning Technicolor cinematography bringing the entirely studio-shot production to vivid life. They explore how the film masterfully depicts the psychological deterioration of the nuns as they struggle with repressed desires, loss of faith, and the overwhelming power of their environment, all while maintaining a remarkable balance between expressionism and restraint.

Black Narcissus remains a masterclass in psychological storytelling and visual craftsmanship, demonstrating how thoughtful restraint and artistic innovation can create an unforgettable cinematic experience. We thoroughly enjoyed diving deep into this classic with James Handel, whose own work carries forward the tradition of examining complex moral questions through compelling drama.

Film Sundries


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]]> Mon, 14 Apr 2025 03:00:00 -0700 TruStory FM TruStory FM 3624 “There's something in the atmosphere that makes everything seem exaggerated.”
Talking About Powell & Pressburger’s 1947 film Black Narcissus with our guest, screenwriter James Handel

In this episode of Movies We Like, screenwriter James Handel joins hosts Andy Nelson and Pete Wright to discuss Michael Powell and Emeric Pressburger's 1947 masterpiece Black Narcissus, along with Handel's fascinating career writing genre-bending films like The Last Horror Movie, The Hoarder, and his latest psychological dramedy The Trouble with Jessica.

From Philosophy to Film
Before diving into Black Narcissus, Handel shares candid insights about his journey from philosophy student to screenwriter, starting with an unproduced vampire script and eventually leading to successful collaborations with directors Julian Richards and Matt Winn. He discusses how his background in philosophy influences his approach to moral dilemmas and character psychology in his screenplays, particularly evident in The Trouble with Jessica's darkly comic exploration of ethics and human nature.

A Masterpiece of Psychological Drama
The conversation then turns to Black Narcissus, examining how Powell and Pressburger crafted this visually stunning psychological drama about Anglican nuns attempting to establish a convent in the Himalayas. The group discusses the film's groundbreaking technical achievements, with Jack Cardiff's Oscar-winning Technicolor cinematography bringing the entirely studio-shot production to vivid life. They explore how the film masterfully depicts the psychological deterioration of the nuns as they struggle with repressed desires, loss of faith, and the overwhelming power of their environment, all while maintaining a remarkable balance between expressionism and restraint.

Black Narcissus remains a masterclass in psychological storytelling and visual craftsmanship, demonstrating how thoughtful restraint and artistic innovation can create an unforgettable cinematic experience. We thoroughly enjoyed diving deep into this classic with James Handel, whose own work carries forward the tradition of examining complex moral questions through compelling drama.

Film Sundries


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]]> 1947, 1940s, Emeric Pressburger, Michael Powell No Deaf Crocodile Distributors Craig Rogers and Dennis Bartok on Felidae 6 6 12 12 Deaf Crocodile Distributors Craig Rogers and Dennis Bartok on Felidae full ed3d726c-60aa-4a76-8e35-cad548fbe051 https://share.transistor.fm/s/6ddbd7fc Talking About Michael Schaack’s Felidae with our guests, Deaf Crocodile’s Dennis Bartok and Craig Rogers

Join us for a fascinating conversation with Dennis Bartok and Craig Rogers, co-founders of Deaf Crocodile Films, as we explore their journey in film restoration and distribution, culminating in their latest release—the 1994 German animated noir Felidae. From their early days working together at Cinelicious Pictures to launching Deaf Crocodile during the pandemic, these passionate film preservationists have rescued nearly 70 films from obscurity thus far.

The heart of our discussion centers on Felidae, a dark animated detective story following Francis, a cat who moves to a new neighborhood only to find himself embroiled in a series of gruesome murders. The film, based on the first of Akif Pirinçci's novel series, pushes boundaries with its mature themes, graphic violence, and surprising commentary on eugenics. We dive deep into the challenging restoration process, including the race against time to preserve the deteriorating original negative, and the fascinating history of this ambitious international animation project that featured Boy George on its soundtrack.

Beyond Felidae, Dennis and Craig share incredible stories about their other restorations, including the rediscovery of Solomon King, a lost 1974 black action film they found through its soundtrack album. They discuss their philosophy on film restoration, the challenges of securing rights to forgotten films, and their commitment to preserving cinema history while making these works accessible to modern audiences.

This episode offers a rare glimpse into the world of film restoration and distribution, highlighting how passionate individuals are working to save important pieces of cinema history. Felidae stands as a prime example of their work—a unique, challenging animated film that deserves to be rediscovered by modern audiences, and we had a wonderful time discussing it with these dedicated film preservationists.

Film Sundries


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]]> Talking About Michael Schaack’s Felidae with our guests, Deaf Crocodile’s Dennis Bartok and Craig Rogers

Join us for a fascinating conversation with Dennis Bartok and Craig Rogers, co-founders of Deaf Crocodile Films, as we explore their journey in film restoration and distribution, culminating in their latest release—the 1994 German animated noir Felidae. From their early days working together at Cinelicious Pictures to launching Deaf Crocodile during the pandemic, these passionate film preservationists have rescued nearly 70 films from obscurity thus far.

The heart of our discussion centers on Felidae, a dark animated detective story following Francis, a cat who moves to a new neighborhood only to find himself embroiled in a series of gruesome murders. The film, based on the first of Akif Pirinçci's novel series, pushes boundaries with its mature themes, graphic violence, and surprising commentary on eugenics. We dive deep into the challenging restoration process, including the race against time to preserve the deteriorating original negative, and the fascinating history of this ambitious international animation project that featured Boy George on its soundtrack.

Beyond Felidae, Dennis and Craig share incredible stories about their other restorations, including the rediscovery of Solomon King, a lost 1974 black action film they found through its soundtrack album. They discuss their philosophy on film restoration, the challenges of securing rights to forgotten films, and their commitment to preserving cinema history while making these works accessible to modern audiences.

This episode offers a rare glimpse into the world of film restoration and distribution, highlighting how passionate individuals are working to save important pieces of cinema history. Felidae stands as a prime example of their work—a unique, challenging animated film that deserves to be rediscovered by modern audiences, and we had a wonderful time discussing it with these dedicated film preservationists.

Film Sundries


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]]> Mon, 10 Mar 2025 03:00:00 -0700 TruStory FM TruStory FM 5150 Talking About Michael Schaack’s Felidae with our guests, Deaf Crocodile’s Dennis Bartok and Craig Rogers

Join us for a fascinating conversation with Dennis Bartok and Craig Rogers, co-founders of Deaf Crocodile Films, as we explore their journey in film restoration and distribution, culminating in their latest release—the 1994 German animated noir Felidae. From their early days working together at Cinelicious Pictures to launching Deaf Crocodile during the pandemic, these passionate film preservationists have rescued nearly 70 films from obscurity thus far.

The heart of our discussion centers on Felidae, a dark animated detective story following Francis, a cat who moves to a new neighborhood only to find himself embroiled in a series of gruesome murders. The film, based on the first of Akif Pirinçci's novel series, pushes boundaries with its mature themes, graphic violence, and surprising commentary on eugenics. We dive deep into the challenging restoration process, including the race against time to preserve the deteriorating original negative, and the fascinating history of this ambitious international animation project that featured Boy George on its soundtrack.

Beyond Felidae, Dennis and Craig share incredible stories about their other restorations, including the rediscovery of Solomon King, a lost 1974 black action film they found through its soundtrack album. They discuss their philosophy on film restoration, the challenges of securing rights to forgotten films, and their commitment to preserving cinema history while making these works accessible to modern audiences.

This episode offers a rare glimpse into the world of film restoration and distribution, highlighting how passionate individuals are working to save important pieces of cinema history. Felidae stands as a prime example of their work—a unique, challenging animated film that deserves to be rediscovered by modern audiences, and we had a wonderful time discussing it with these dedicated film preservationists.

Film Sundries


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]]> 1994, 1990s, Michael Schaack No Cinematographer and Underwater DP Ian Seabrook on Thunderball 6 6 11 11 Cinematographer and Underwater DP Ian Seabrook on Thunderball full 87c3dddd-d821-4ce8-a9d0-f9dd0a84071d https://share.transistor.fm/s/941ef169 “I thought I saw a specter at your shoulder.”
Ian Seabrook, acclaimed underwater cinematographer behind upcoming Last Breath and next year's live-action Moana, joins us to dive deep into the 1965 James Bond classic Thunderball. With decades of experience filming beneath the waves, including recent work on Indiana Jones and the Dial of Destiny, Old, and Jungle Cruise, Seabrook shares fascinating insights about his journey from amateur underwater photographer to Hollywood cinematographer, and why Thunderball remains such an influential film in his career.

From the groundbreaking 10-minute underwater battle sequence to the technological innovations that made filming underwater possible in the 1960s, we explore how Thunderball pushed the boundaries of what could be achieved on camera beneath the waves. Seabrook offers unique perspective on how underwater filming has evolved from the days of pure practical effects to modern CGI, while discussing his work on recent films like Last Breath and the vital importance of creating safe, comfortable environments for actors working underwater. The conversation spans everything from early influences like National Geographic magazines to legendary underwater filmmaker Ricou Browning (who directed Thunderball's underwater sequences and famously played the Creature in Creature from the Black Lagoon) to the challenges of directing actors underwater and building trust with performers who may be facing their fears in an unfamiliar environment.

Whether you're a James Bond fan or simply interested in the craft of filmmaking, this discussion illuminates why Thunderball remains a landmark achievement in underwater cinematography. Ian's passion for his craft and deep knowledge of both the technical and artistic aspects of underwater filming made for an engaging conversation about this classic film that helped establish underwater action sequences in modern cinema.

Links


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]]> “I thought I saw a specter at your shoulder.”
Ian Seabrook, acclaimed underwater cinematographer behind upcoming Last Breath and next year's live-action Moana, joins us to dive deep into the 1965 James Bond classic Thunderball. With decades of experience filming beneath the waves, including recent work on Indiana Jones and the Dial of Destiny, Old, and Jungle Cruise, Seabrook shares fascinating insights about his journey from amateur underwater photographer to Hollywood cinematographer, and why Thunderball remains such an influential film in his career.

From the groundbreaking 10-minute underwater battle sequence to the technological innovations that made filming underwater possible in the 1960s, we explore how Thunderball pushed the boundaries of what could be achieved on camera beneath the waves. Seabrook offers unique perspective on how underwater filming has evolved from the days of pure practical effects to modern CGI, while discussing his work on recent films like Last Breath and the vital importance of creating safe, comfortable environments for actors working underwater. The conversation spans everything from early influences like National Geographic magazines to legendary underwater filmmaker Ricou Browning (who directed Thunderball's underwater sequences and famously played the Creature in Creature from the Black Lagoon) to the challenges of directing actors underwater and building trust with performers who may be facing their fears in an unfamiliar environment.

Whether you're a James Bond fan or simply interested in the craft of filmmaking, this discussion illuminates why Thunderball remains a landmark achievement in underwater cinematography. Ian's passion for his craft and deep knowledge of both the technical and artistic aspects of underwater filming made for an engaging conversation about this classic film that helped establish underwater action sequences in modern cinema.

Links


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The Next Reel Family of Film Shows:

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]]> Mon, 10 Feb 2025 03:00:00 -0800 TruStory FM TruStory FM 4259 “I thought I saw a specter at your shoulder.”
Ian Seabrook, acclaimed underwater cinematographer behind upcoming Last Breath and next year's live-action Moana, joins us to dive deep into the 1965 James Bond classic Thunderball. With decades of experience filming beneath the waves, including recent work on Indiana Jones and the Dial of Destiny, Old, and Jungle Cruise, Seabrook shares fascinating insights about his journey from amateur underwater photographer to Hollywood cinematographer, and why Thunderball remains such an influential film in his career.

From the groundbreaking 10-minute underwater battle sequence to the technological innovations that made filming underwater possible in the 1960s, we explore how Thunderball pushed the boundaries of what could be achieved on camera beneath the waves. Seabrook offers unique perspective on how underwater filming has evolved from the days of pure practical effects to modern CGI, while discussing his work on recent films like Last Breath and the vital importance of creating safe, comfortable environments for actors working underwater. The conversation spans everything from early influences like National Geographic magazines to legendary underwater filmmaker Ricou Browning (who directed Thunderball's underwater sequences and famously played the Creature in Creature from the Black Lagoon) to the challenges of directing actors underwater and building trust with performers who may be facing their fears in an unfamiliar environment.

Whether you're a James Bond fan or simply interested in the craft of filmmaking, this discussion illuminates why Thunderball remains a landmark achievement in underwater cinematography. Ian's passion for his craft and deep knowledge of both the technical and artistic aspects of underwater filming made for an engaging conversation about this classic film that helped establish underwater action sequences in modern cinema.

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]]> 1965, 1960s, Terence Young No Cinematographer Shane Hurlbut on Inglourious Basterds 6 6 10 10 Cinematographer Shane Hurlbut on Inglourious Basterds full 96cee617-623f-4a59-8534-0dce0a9e17c0 https://share.transistor.fm/s/24c27527 Talking About Inglourious Basterds with our guest, cinematographer Shane Hurlbut

In this engaging episode of Movies We Like, acclaimed cinematographer Shane Hurlbut joins hosts Andy Nelson and Pete Wright to discuss Quentin Tarantino's masterpiece Inglourious Basterds and share fascinating stories from his illustrious career behind the camera. From his humble beginnings on a farm in upstate New York to becoming one of Hollywood's most innovative cinematographers, Hurlbut's journey is filled with determination, creativity, and a fearless approach to his craft.

The conversation delves deep into what makes Inglourious Basterds a cinematographic triumph, with Hurlbut breaking down the brilliant work of Robert Richardson and how the film's visual style enhances its storytelling. He discusses the importance of tension-building in Tarantino's work, the strategic use of lighting, and how the film's iconic scenes were crafted to maximize dramatic impact. The discussion also explores the significance of color, particularly the use of red throughout the film, and how it ties into the narrative themes.

Hurlbut shares incredible behind-the-scenes stories from his own career, including his innovative work on films like Drumline, Terminator Salvation, and The Babysitter. He details how he overcame challenging shooting conditions, developed creative solutions to technical problems, and established strong collaborative relationships with directors like McG and Charles Stone III. His anecdotes about transforming limited resources into cinematic gold provide valuable insights into the art of cinematography.

Inglourious Basterds stands as a testament to the power of masterful filmmaking, where every technical element serves the story's emotional core. Our conversation with Shane Hurlbut not only illuminated the brilliant craftsmanship behind this modern classic but also demonstrated how passion, innovation, and fearless creativity continue to push the boundaries of cinematic storytelling.

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]]> Talking About Inglourious Basterds with our guest, cinematographer Shane Hurlbut

In this engaging episode of Movies We Like, acclaimed cinematographer Shane Hurlbut joins hosts Andy Nelson and Pete Wright to discuss Quentin Tarantino's masterpiece Inglourious Basterds and share fascinating stories from his illustrious career behind the camera. From his humble beginnings on a farm in upstate New York to becoming one of Hollywood's most innovative cinematographers, Hurlbut's journey is filled with determination, creativity, and a fearless approach to his craft.

The conversation delves deep into what makes Inglourious Basterds a cinematographic triumph, with Hurlbut breaking down the brilliant work of Robert Richardson and how the film's visual style enhances its storytelling. He discusses the importance of tension-building in Tarantino's work, the strategic use of lighting, and how the film's iconic scenes were crafted to maximize dramatic impact. The discussion also explores the significance of color, particularly the use of red throughout the film, and how it ties into the narrative themes.

Hurlbut shares incredible behind-the-scenes stories from his own career, including his innovative work on films like Drumline, Terminator Salvation, and The Babysitter. He details how he overcame challenging shooting conditions, developed creative solutions to technical problems, and established strong collaborative relationships with directors like McG and Charles Stone III. His anecdotes about transforming limited resources into cinematic gold provide valuable insights into the art of cinematography.

Inglourious Basterds stands as a testament to the power of masterful filmmaking, where every technical element serves the story's emotional core. Our conversation with Shane Hurlbut not only illuminated the brilliant craftsmanship behind this modern classic but also demonstrated how passion, innovation, and fearless creativity continue to push the boundaries of cinematic storytelling.

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]]> Mon, 13 Jan 2025 03:00:00 -0800 TruStory FM TruStory FM 6153 Talking About Inglourious Basterds with our guest, cinematographer Shane Hurlbut

In this engaging episode of Movies We Like, acclaimed cinematographer Shane Hurlbut joins hosts Andy Nelson and Pete Wright to discuss Quentin Tarantino's masterpiece Inglourious Basterds and share fascinating stories from his illustrious career behind the camera. From his humble beginnings on a farm in upstate New York to becoming one of Hollywood's most innovative cinematographers, Hurlbut's journey is filled with determination, creativity, and a fearless approach to his craft.

The conversation delves deep into what makes Inglourious Basterds a cinematographic triumph, with Hurlbut breaking down the brilliant work of Robert Richardson and how the film's visual style enhances its storytelling. He discusses the importance of tension-building in Tarantino's work, the strategic use of lighting, and how the film's iconic scenes were crafted to maximize dramatic impact. The discussion also explores the significance of color, particularly the use of red throughout the film, and how it ties into the narrative themes.

Hurlbut shares incredible behind-the-scenes stories from his own career, including his innovative work on films like Drumline, Terminator Salvation, and The Babysitter. He details how he overcame challenging shooting conditions, developed creative solutions to technical problems, and established strong collaborative relationships with directors like McG and Charles Stone III. His anecdotes about transforming limited resources into cinematic gold provide valuable insights into the art of cinematography.

Inglourious Basterds stands as a testament to the power of masterful filmmaking, where every technical element serves the story's emotional core. Our conversation with Shane Hurlbut not only illuminated the brilliant craftsmanship behind this modern classic but also demonstrated how passion, innovation, and fearless creativity continue to push the boundaries of cinematic storytelling.

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]]> 2009, 2000s, Quentin Tarantino Yes Cinematographer Andrew Wonder on Breathless 6 6 9 9 Cinematographer Andrew Wonder on Breathless full e0d18cf6-65e1-4d83-9b85-3701814c5ce4 https://share.transistor.fm/s/a28ac4b1 “I told you: being afraid is the worst sin there is.”
Talking About Jean-Luc Godard’s Breathless with our guest, Cinematographer and Filmmaker Andrew Wonder

Cinematographer Andrew Wonder joins hosts Andy Nelson and Pete Wright to discuss his recent work on Paul Schrader's Oh, Canada starring Richard Gere, and share his passion for Jean-Luc Godard's 1960 French New Wave classic Breathless. Wonder reflects on his fascinating journey in the film industry, from starting at MTV at age 17 to his current work as both cinematographer and director. He provides fascinating insights into shooting Oh, Canada, including technical details about how different actors photograph on camera and his approach to working with established performers like Richard Gere.

The conversation explores the innovative techniques used in Breathless, including the famous jump cuts that came about when Godard needed to cut the film down from 2.5 hours to 90 minutes. Wonder shares his deep appreciation for how the film was made, including behind-the-scenes stories like how they achieved the iconic street scenes using a modified mail cart to hide the camera. The discussion examines how the French New Wave's approach to filmmaking continues to influence modern cinema, and the importance of preserving cinematic history while pushing boundaries in contemporary filmmaking.

The discussion delves into the challenges facing contemporary filmmakers, the state of modern cinema, and how films like Breathless can inspire new generations of creators. Wonder also shares his thoughts on current filmmakers who are innovating within the medium and carrying forward the spirit of experimentation that marked the French New Wave era.

Whether you're a fan of French New Wave cinema, interested in the craft of cinematography, or curious about the state of modern filmmaking, this episode offers valuable insights into both classic and contemporary cinema. Wonder's enthusiasm for Godard's groundbreaking work, combined with his own experiences behind the camera, makes for an engaging discussion that reminds us why Breathless remains a pivotal film in cinema history.

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]]> “I told you: being afraid is the worst sin there is.”
Talking About Jean-Luc Godard’s Breathless with our guest, Cinematographer and Filmmaker Andrew Wonder

Cinematographer Andrew Wonder joins hosts Andy Nelson and Pete Wright to discuss his recent work on Paul Schrader's Oh, Canada starring Richard Gere, and share his passion for Jean-Luc Godard's 1960 French New Wave classic Breathless. Wonder reflects on his fascinating journey in the film industry, from starting at MTV at age 17 to his current work as both cinematographer and director. He provides fascinating insights into shooting Oh, Canada, including technical details about how different actors photograph on camera and his approach to working with established performers like Richard Gere.

The conversation explores the innovative techniques used in Breathless, including the famous jump cuts that came about when Godard needed to cut the film down from 2.5 hours to 90 minutes. Wonder shares his deep appreciation for how the film was made, including behind-the-scenes stories like how they achieved the iconic street scenes using a modified mail cart to hide the camera. The discussion examines how the French New Wave's approach to filmmaking continues to influence modern cinema, and the importance of preserving cinematic history while pushing boundaries in contemporary filmmaking.

The discussion delves into the challenges facing contemporary filmmakers, the state of modern cinema, and how films like Breathless can inspire new generations of creators. Wonder also shares his thoughts on current filmmakers who are innovating within the medium and carrying forward the spirit of experimentation that marked the French New Wave era.

Whether you're a fan of French New Wave cinema, interested in the craft of cinematography, or curious about the state of modern filmmaking, this episode offers valuable insights into both classic and contemporary cinema. Wonder's enthusiasm for Godard's groundbreaking work, combined with his own experiences behind the camera, makes for an engaging discussion that reminds us why Breathless remains a pivotal film in cinema history.

Film Sundries


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]]> Mon, 09 Dec 2024 03:00:00 -0800 TruStory FM TruStory FM 4159 “I told you: being afraid is the worst sin there is.”
Talking About Jean-Luc Godard’s Breathless with our guest, Cinematographer and Filmmaker Andrew Wonder

Cinematographer Andrew Wonder joins hosts Andy Nelson and Pete Wright to discuss his recent work on Paul Schrader's Oh, Canada starring Richard Gere, and share his passion for Jean-Luc Godard's 1960 French New Wave classic Breathless. Wonder reflects on his fascinating journey in the film industry, from starting at MTV at age 17 to his current work as both cinematographer and director. He provides fascinating insights into shooting Oh, Canada, including technical details about how different actors photograph on camera and his approach to working with established performers like Richard Gere.

The conversation explores the innovative techniques used in Breathless, including the famous jump cuts that came about when Godard needed to cut the film down from 2.5 hours to 90 minutes. Wonder shares his deep appreciation for how the film was made, including behind-the-scenes stories like how they achieved the iconic street scenes using a modified mail cart to hide the camera. The discussion examines how the French New Wave's approach to filmmaking continues to influence modern cinema, and the importance of preserving cinematic history while pushing boundaries in contemporary filmmaking.

The discussion delves into the challenges facing contemporary filmmakers, the state of modern cinema, and how films like Breathless can inspire new generations of creators. Wonder also shares his thoughts on current filmmakers who are innovating within the medium and carrying forward the spirit of experimentation that marked the French New Wave era.

Whether you're a fan of French New Wave cinema, interested in the craft of cinematography, or curious about the state of modern filmmaking, this episode offers valuable insights into both classic and contemporary cinema. Wonder's enthusiasm for Godard's groundbreaking work, combined with his own experiences behind the camera, makes for an engaging discussion that reminds us why Breathless remains a pivotal film in cinema history.

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]]> 1960, 1960s, Jean-Luc Godard No Re-Recording Mixer Andy Nelson on Butch Cassidy and the Sundance Kid (and Wicked!) 6 6 8 8 Re-Recording Mixer Andy Nelson on Butch Cassidy and the Sundance Kid (and Wicked!) full 9d80f54e-3a37-47f4-9ba0-de2d538f0ee4 https://share.transistor.fm/s/f006de19 “The future's all yours, you lousy bicycles.”
Talking About Wicked, Butch Cassidy and the Sundance Kid, and more with our returning guest, Re-Recording Mixer Andy Nelson

Join us for a fascinating conversation with Oscar-winning Re-Recording Mixer Andy Nelson as we explore his remarkable career in sound mixing and his deep love for cinema. In this episode, we discuss both his work on the upcoming film adaptation of Wicked and his enduring appreciation for Butch Cassidy and the Sundance Kid, examining how each represents different aspects of sonic storytelling in film.

Nelson's journey through musical cinema reads like a history of the genre's evolution. From his work on Evita with Alan Parker's meticulous pre-planning approach to the groundbreaking live recording techniques used in Les Misérables, Nelson has helped shape how modern movie musicals sound. His latest project, Wicked, combines these decades of experience with cutting-edge technology. Working alongside director Jon M. Chu and collaborating with Cynthia Erivo and Ariana Grande, Nelson details how they've created an immersive musical experience that honors the stage show while embracing cinema's unique possibilities through tools like Dolby Atmos.

Speaking about Butch Cassidy and the Sundance Kid, Nelson reflects on how the film influenced him during his early days as a projectionist in London. We explore the movie's brilliant use of silence punctuated by Burt Bacharach's score, particularly in the iconic bicycle sequence. The discussion delves into how the film balances its lighter moments with darker themes, the incredible chemistry between Paul Newman and Robert Redford, and how William Goldman's sharp script creates such memorable characters. Nelson's perspective as both a fan and industry veteran offers unique insights into what makes this classic work so well.

From the groundbreaking sound work in contemporary musicals to the timeless appeal of a classic Western, our conversation with Andy Nelson illuminates how sound shapes storytelling in cinema. Whether it's the immersive musical numbers of Wicked or the carefully crafted sound design of Butch Cassidy and the Sundance Kid, this episode demonstrates the crucial role audio plays in creating movie magic.

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]]> “The future's all yours, you lousy bicycles.”
Talking About Wicked, Butch Cassidy and the Sundance Kid, and more with our returning guest, Re-Recording Mixer Andy Nelson

Join us for a fascinating conversation with Oscar-winning Re-Recording Mixer Andy Nelson as we explore his remarkable career in sound mixing and his deep love for cinema. In this episode, we discuss both his work on the upcoming film adaptation of Wicked and his enduring appreciation for Butch Cassidy and the Sundance Kid, examining how each represents different aspects of sonic storytelling in film.

Nelson's journey through musical cinema reads like a history of the genre's evolution. From his work on Evita with Alan Parker's meticulous pre-planning approach to the groundbreaking live recording techniques used in Les Misérables, Nelson has helped shape how modern movie musicals sound. His latest project, Wicked, combines these decades of experience with cutting-edge technology. Working alongside director Jon M. Chu and collaborating with Cynthia Erivo and Ariana Grande, Nelson details how they've created an immersive musical experience that honors the stage show while embracing cinema's unique possibilities through tools like Dolby Atmos.

Speaking about Butch Cassidy and the Sundance Kid, Nelson reflects on how the film influenced him during his early days as a projectionist in London. We explore the movie's brilliant use of silence punctuated by Burt Bacharach's score, particularly in the iconic bicycle sequence. The discussion delves into how the film balances its lighter moments with darker themes, the incredible chemistry between Paul Newman and Robert Redford, and how William Goldman's sharp script creates such memorable characters. Nelson's perspective as both a fan and industry veteran offers unique insights into what makes this classic work so well.

From the groundbreaking sound work in contemporary musicals to the timeless appeal of a classic Western, our conversation with Andy Nelson illuminates how sound shapes storytelling in cinema. Whether it's the immersive musical numbers of Wicked or the carefully crafted sound design of Butch Cassidy and the Sundance Kid, this episode demonstrates the crucial role audio plays in creating movie magic.

Film Sundries


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]]> Mon, 25 Nov 2024 03:00:00 -0800 TruStory FM TruStory FM 3719 “The future's all yours, you lousy bicycles.”
Talking About Wicked, Butch Cassidy and the Sundance Kid, and more with our returning guest, Re-Recording Mixer Andy Nelson

Join us for a fascinating conversation with Oscar-winning Re-Recording Mixer Andy Nelson as we explore his remarkable career in sound mixing and his deep love for cinema. In this episode, we discuss both his work on the upcoming film adaptation of Wicked and his enduring appreciation for Butch Cassidy and the Sundance Kid, examining how each represents different aspects of sonic storytelling in film.

Nelson's journey through musical cinema reads like a history of the genre's evolution. From his work on Evita with Alan Parker's meticulous pre-planning approach to the groundbreaking live recording techniques used in Les Misérables, Nelson has helped shape how modern movie musicals sound. His latest project, Wicked, combines these decades of experience with cutting-edge technology. Working alongside director Jon M. Chu and collaborating with Cynthia Erivo and Ariana Grande, Nelson details how they've created an immersive musical experience that honors the stage show while embracing cinema's unique possibilities through tools like Dolby Atmos.

Speaking about Butch Cassidy and the Sundance Kid, Nelson reflects on how the film influenced him during his early days as a projectionist in London. We explore the movie's brilliant use of silence punctuated by Burt Bacharach's score, particularly in the iconic bicycle sequence. The discussion delves into how the film balances its lighter moments with darker themes, the incredible chemistry between Paul Newman and Robert Redford, and how William Goldman's sharp script creates such memorable characters. Nelson's perspective as both a fan and industry veteran offers unique insights into what makes this classic work so well.

From the groundbreaking sound work in contemporary musicals to the timeless appeal of a classic Western, our conversation with Andy Nelson illuminates how sound shapes storytelling in cinema. Whether it's the immersive musical numbers of Wicked or the carefully crafted sound design of Butch Cassidy and the Sundance Kid, this episode demonstrates the crucial role audio plays in creating movie magic.

Film Sundries


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]]> 1969, 1960s, George Roy Hill No Production Designer and Art Director Kevin Conran on The Adventures of Buckaroo Banzai Across the 8th Dimension 6 6 7 7 Production Designer and Art Director Kevin Conran on The Adventures of Buckaroo Banzai Across the 8th Dimension full c0c5a524-4026-4406-b32e-f2353d6cd551 https://share.transistor.fm/s/4d6d8b97 Talking About The Adventures of Buckaroo Banzai Across the 8th Dimension with our guest Kevin Conran

In this captivating episode of Movies We Like, hosts Andy Nelson and Pete Wright are joined by the immensely talented production designer and art director Kevin Conran. Together, they delve into the wild world of W.D. Richter's sci-fi adventure comedy, The Adventures of Buckaroo Banzai Across the 8th Dimension. Kevin shares fascinating insights from his illustrious career, including his groundbreaking work on Sky Captain and the World of Tomorrow, which revolutionized digital filmmaking.

Throughout the episode, Kevin regales the hosts with behind-the-scenes stories that showcase the creativity and innovation that went into bringing Sky Captain to life. From the film's distinctive visual style to the challenges of working with a tight budget and schedule, Kevin offers a unique perspective on the art of filmmaking. He also discusses the importance of trust and collaboration in the industry, emphasizing how a dedicated and passionate team can overcome seemingly insurmountable obstacles.

Turning their attention to The Adventures of Buckaroo Banzai Across the 8th Dimension, everyone’s infectious enthusiasm is evident as they explore the film's quirky characters, memorable quotes, and the sheer fun it embodies. They marvel at the movie's ability to capture the imagination of viewers, likening it to the unrestrained creativity of a child's playtime.

The Adventures of Buckaroo Banzai Across the 8th Dimension is a film that deserves to be celebrated for its audacity, creativity, and the sheer joy it brings to audiences. With its unique blend of science fiction, comedy, and adventure, it's a movie that continues to captivate viewers decades after its release. Kevin Conran's insights only serve to deepen our appreciation for this beloved cult classic. It's clear that Andy, Pete, and Kevin had an absolute blast discussing this film, making for an entertaining and informative listen for any fan of Movies We Like.

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]]> Talking About The Adventures of Buckaroo Banzai Across the 8th Dimension with our guest Kevin Conran

In this captivating episode of Movies We Like, hosts Andy Nelson and Pete Wright are joined by the immensely talented production designer and art director Kevin Conran. Together, they delve into the wild world of W.D. Richter's sci-fi adventure comedy, The Adventures of Buckaroo Banzai Across the 8th Dimension. Kevin shares fascinating insights from his illustrious career, including his groundbreaking work on Sky Captain and the World of Tomorrow, which revolutionized digital filmmaking.

Throughout the episode, Kevin regales the hosts with behind-the-scenes stories that showcase the creativity and innovation that went into bringing Sky Captain to life. From the film's distinctive visual style to the challenges of working with a tight budget and schedule, Kevin offers a unique perspective on the art of filmmaking. He also discusses the importance of trust and collaboration in the industry, emphasizing how a dedicated and passionate team can overcome seemingly insurmountable obstacles.

Turning their attention to The Adventures of Buckaroo Banzai Across the 8th Dimension, everyone’s infectious enthusiasm is evident as they explore the film's quirky characters, memorable quotes, and the sheer fun it embodies. They marvel at the movie's ability to capture the imagination of viewers, likening it to the unrestrained creativity of a child's playtime.

The Adventures of Buckaroo Banzai Across the 8th Dimension is a film that deserves to be celebrated for its audacity, creativity, and the sheer joy it brings to audiences. With its unique blend of science fiction, comedy, and adventure, it's a movie that continues to captivate viewers decades after its release. Kevin Conran's insights only serve to deepen our appreciation for this beloved cult classic. It's clear that Andy, Pete, and Kevin had an absolute blast discussing this film, making for an entertaining and informative listen for any fan of Movies We Like.

Film Sundries


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]]> Mon, 11 Nov 2024 03:00:00 -0800 TruStory FM TruStory FM 4113 Talking About The Adventures of Buckaroo Banzai Across the 8th Dimension with our guest Kevin Conran

In this captivating episode of Movies We Like, hosts Andy Nelson and Pete Wright are joined by the immensely talented production designer and art director Kevin Conran. Together, they delve into the wild world of W.D. Richter's sci-fi adventure comedy, The Adventures of Buckaroo Banzai Across the 8th Dimension. Kevin shares fascinating insights from his illustrious career, including his groundbreaking work on Sky Captain and the World of Tomorrow, which revolutionized digital filmmaking.

Throughout the episode, Kevin regales the hosts with behind-the-scenes stories that showcase the creativity and innovation that went into bringing Sky Captain to life. From the film's distinctive visual style to the challenges of working with a tight budget and schedule, Kevin offers a unique perspective on the art of filmmaking. He also discusses the importance of trust and collaboration in the industry, emphasizing how a dedicated and passionate team can overcome seemingly insurmountable obstacles.

Turning their attention to The Adventures of Buckaroo Banzai Across the 8th Dimension, everyone’s infectious enthusiasm is evident as they explore the film's quirky characters, memorable quotes, and the sheer fun it embodies. They marvel at the movie's ability to capture the imagination of viewers, likening it to the unrestrained creativity of a child's playtime.

The Adventures of Buckaroo Banzai Across the 8th Dimension is a film that deserves to be celebrated for its audacity, creativity, and the sheer joy it brings to audiences. With its unique blend of science fiction, comedy, and adventure, it's a movie that continues to captivate viewers decades after its release. Kevin Conran's insights only serve to deepen our appreciation for this beloved cult classic. It's clear that Andy, Pete, and Kevin had an absolute blast discussing this film, making for an entertaining and informative listen for any fan of Movies We Like.

Film Sundries


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]]> 1984, 1980s, W.D. Richter No Cinematographer Florian Hoffmeister on Mirror 6 6 6 6 Cinematographer Florian Hoffmeister on Mirror full 38c07630-6cbe-4b5f-94c8-283e622b1acc https://share.transistor.fm/s/2d914e83 Talking About Mirror with our guest, cinematographer Florian Hoffmeister

In this captivating episode of Movies We Like, hosts Andy Nelson and Pete Wright are joined by renowned cinematographer Florian Hoffmeister to discuss his illustrious career and dive deep into Andrei Tarkovsky's cinematic masterpiece, Mirror. Hoffmeister, known for his work on projects such as TÁR, True Detective, and Antlers, shares his unique insights and experiences in the world of cinematography.

Throughout the conversation, Hoffmeister delves into his journey as a cinematographer, from his early days at the German Film and Television Academy to his recent collaborations with acclaimed directors like Todd Field and Jay Roach. He discusses the intricacies of his craft, using the visual elements to create a cohesive and impactful story.

The discussion also touches upon Hoffmeister's approach to different genres, from the constrained naturalism of TÁR to the visceral and atmospheric lighting in True Detective. He shares anecdotes from his time working on various projects, highlighting the importance of collaboration and the organic process of developing a film's visual language.

As the conversation shifts to Tarkovsky's Mirror, Hoffmeister expresses his profound admiration for the film, describing it as a deeply cinematic and existential experience. The hosts and their guest explore the film's themes, its intimate and enigmatic nature, and the confidence with which Tarkovsky conveys his vision.

Mirror is a film that demands contemplation and rewards repeated viewings. Hoffmeister's passion for the film is infectious, and his insights provide a deeper appreciation for Tarkovsky's masterful use of cinematography to convey emotion and meaning. This episode of Movies We Like is a must-listen for any cinephile or aspiring filmmaker, as it offers a rare glimpse into the mind of a talented cinematographer and celebrates the enduring power of Tarkovsky's timeless classic.

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]]> Talking About Mirror with our guest, cinematographer Florian Hoffmeister

In this captivating episode of Movies We Like, hosts Andy Nelson and Pete Wright are joined by renowned cinematographer Florian Hoffmeister to discuss his illustrious career and dive deep into Andrei Tarkovsky's cinematic masterpiece, Mirror. Hoffmeister, known for his work on projects such as TÁR, True Detective, and Antlers, shares his unique insights and experiences in the world of cinematography.

Throughout the conversation, Hoffmeister delves into his journey as a cinematographer, from his early days at the German Film and Television Academy to his recent collaborations with acclaimed directors like Todd Field and Jay Roach. He discusses the intricacies of his craft, using the visual elements to create a cohesive and impactful story.

The discussion also touches upon Hoffmeister's approach to different genres, from the constrained naturalism of TÁR to the visceral and atmospheric lighting in True Detective. He shares anecdotes from his time working on various projects, highlighting the importance of collaboration and the organic process of developing a film's visual language.

As the conversation shifts to Tarkovsky's Mirror, Hoffmeister expresses his profound admiration for the film, describing it as a deeply cinematic and existential experience. The hosts and their guest explore the film's themes, its intimate and enigmatic nature, and the confidence with which Tarkovsky conveys his vision.

Mirror is a film that demands contemplation and rewards repeated viewings. Hoffmeister's passion for the film is infectious, and his insights provide a deeper appreciation for Tarkovsky's masterful use of cinematography to convey emotion and meaning. This episode of Movies We Like is a must-listen for any cinephile or aspiring filmmaker, as it offers a rare glimpse into the mind of a talented cinematographer and celebrates the enduring power of Tarkovsky's timeless classic.

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]]> Mon, 28 Oct 2024 03:00:00 -0700 TruStory FM TruStory FM 3945 Talking About Mirror with our guest, cinematographer Florian Hoffmeister

In this captivating episode of Movies We Like, hosts Andy Nelson and Pete Wright are joined by renowned cinematographer Florian Hoffmeister to discuss his illustrious career and dive deep into Andrei Tarkovsky's cinematic masterpiece, Mirror. Hoffmeister, known for his work on projects such as TÁR, True Detective, and Antlers, shares his unique insights and experiences in the world of cinematography.

Throughout the conversation, Hoffmeister delves into his journey as a cinematographer, from his early days at the German Film and Television Academy to his recent collaborations with acclaimed directors like Todd Field and Jay Roach. He discusses the intricacies of his craft, using the visual elements to create a cohesive and impactful story.

The discussion also touches upon Hoffmeister's approach to different genres, from the constrained naturalism of TÁR to the visceral and atmospheric lighting in True Detective. He shares anecdotes from his time working on various projects, highlighting the importance of collaboration and the organic process of developing a film's visual language.

As the conversation shifts to Tarkovsky's Mirror, Hoffmeister expresses his profound admiration for the film, describing it as a deeply cinematic and existential experience. The hosts and their guest explore the film's themes, its intimate and enigmatic nature, and the confidence with which Tarkovsky conveys his vision.

Mirror is a film that demands contemplation and rewards repeated viewings. Hoffmeister's passion for the film is infectious, and his insights provide a deeper appreciation for Tarkovsky's masterful use of cinematography to convey emotion and meaning. This episode of Movies We Like is a must-listen for any cinephile or aspiring filmmaker, as it offers a rare glimpse into the mind of a talented cinematographer and celebrates the enduring power of Tarkovsky's timeless classic.

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]]> 1975, Andrei Tarkovsky, 1970s No Writer, Actor, and Producer Mandy Kaplan on What’s Eating Gilbert Grape 6 6 5 5 Writer, Actor, and Producer Mandy Kaplan on What’s Eating Gilbert Grape full 0f65d1aa-3aea-435e-88e5-b7108470380a https://share.transistor.fm/s/07fc06a9 “I could go at any time.”
Talking About What’s Eating Gilbert Grape with our guest, Writer, Actor, and Producer Mandy Kaplan

In this delightful episode of Movies We Like, hosts Andy Nelson and Pete Wright are joined by the multi-talented Mandy Kaplan, a voiceover artist, writer, podcaster, actor, and producer of Miscast LA. Together, they dive into the beloved film What's Eating Gilbert Grape and explore Mandy's fascinating career in the entertainment industry. From her extensive work in audiobook narration to her experiences in writing, producing, and acting, Mandy shares insights into the challenges and joys of navigating the creative world.

Throughout the episode, Mandy discusses the intricacies of audiobook narration, including the preparation, recording, and editing processes. She also delves into her journey as a writer, focusing on her collaboration with partners and her foray into the horror-comedy genre. Mandy's experiences in creating the film 30 Nights and the challenges of deliverables and distribution are also explored, providing a glimpse into the behind-the-scenes world of independent filmmaking.

What's Eating Gilbert Grape is a film that resonates with audiences for its poignant portrayal of family dynamics and the struggles of small-town life. Mandy's passion for the movie and her unique perspective as a creative professional add depth to the discussion, making this episode a must-listen for fans of the film and those interested in the inner workings of the entertainment industry. With Mandy's wit, charm, and wealth of experience, this conversation is both entertaining and enlightening, reminding us of the power of storytelling and the resilience of the human spirit.

Film Sundries


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]]> “I could go at any time.”
Talking About What’s Eating Gilbert Grape with our guest, Writer, Actor, and Producer Mandy Kaplan

In this delightful episode of Movies We Like, hosts Andy Nelson and Pete Wright are joined by the multi-talented Mandy Kaplan, a voiceover artist, writer, podcaster, actor, and producer of Miscast LA. Together, they dive into the beloved film What's Eating Gilbert Grape and explore Mandy's fascinating career in the entertainment industry. From her extensive work in audiobook narration to her experiences in writing, producing, and acting, Mandy shares insights into the challenges and joys of navigating the creative world.

Throughout the episode, Mandy discusses the intricacies of audiobook narration, including the preparation, recording, and editing processes. She also delves into her journey as a writer, focusing on her collaboration with partners and her foray into the horror-comedy genre. Mandy's experiences in creating the film 30 Nights and the challenges of deliverables and distribution are also explored, providing a glimpse into the behind-the-scenes world of independent filmmaking.

What's Eating Gilbert Grape is a film that resonates with audiences for its poignant portrayal of family dynamics and the struggles of small-town life. Mandy's passion for the movie and her unique perspective as a creative professional add depth to the discussion, making this episode a must-listen for fans of the film and those interested in the inner workings of the entertainment industry. With Mandy's wit, charm, and wealth of experience, this conversation is both entertaining and enlightening, reminding us of the power of storytelling and the resilience of the human spirit.

Film Sundries


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]]> Mon, 14 Oct 2024 03:00:00 -0700 TruStory FM TruStory FM 4410 “I could go at any time.”
Talking About What’s Eating Gilbert Grape with our guest, Writer, Actor, and Producer Mandy Kaplan

In this delightful episode of Movies We Like, hosts Andy Nelson and Pete Wright are joined by the multi-talented Mandy Kaplan, a voiceover artist, writer, podcaster, actor, and producer of Miscast LA. Together, they dive into the beloved film What's Eating Gilbert Grape and explore Mandy's fascinating career in the entertainment industry. From her extensive work in audiobook narration to her experiences in writing, producing, and acting, Mandy shares insights into the challenges and joys of navigating the creative world.

Throughout the episode, Mandy discusses the intricacies of audiobook narration, including the preparation, recording, and editing processes. She also delves into her journey as a writer, focusing on her collaboration with partners and her foray into the horror-comedy genre. Mandy's experiences in creating the film 30 Nights and the challenges of deliverables and distribution are also explored, providing a glimpse into the behind-the-scenes world of independent filmmaking.

What's Eating Gilbert Grape is a film that resonates with audiences for its poignant portrayal of family dynamics and the struggles of small-town life. Mandy's passion for the movie and her unique perspective as a creative professional add depth to the discussion, making this episode a must-listen for fans of the film and those interested in the inner workings of the entertainment industry. With Mandy's wit, charm, and wealth of experience, this conversation is both entertaining and enlightening, reminding us of the power of storytelling and the resilience of the human spirit.

Film Sundries


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]]> 1993, 1990s, Lasse Hallström No Hair and Makeup Designer Frances Hounsom on Whiplash 6 6 4 4 Hair and Makeup Designer Frances Hounsom on Whiplash full eaac6e1f-5f07-42ce-a301-15284ee9e08e https://share.transistor.fm/s/ebdafd2b “Were you rushing or were you dragging?”
Talking About Damien Chazelle’s Whiplash with our guest, hair and makeup designer Frances Hounsom

In this episode of Movies We Like, Pete Wright and Andy Nelson are joined by acclaimed hair and makeup designer Frances Hounsom to discuss her fascinating career journey and the award-winning film Whiplash. Frances shares captivating stories about her early love for cinema, the challenges of breaking into the film industry, and her experiences working on a diverse range of projects.

Throughout the conversation, Frances offers unique insights into the crucial role of a hair and makeup designer in bringing characters to life on screen. She discusses the collaborative process of working closely with actors, the importance of maintaining a positive energy on set, and the emotional impact of transforming performers for demanding roles. Frances also delves into the technical aspects of her craft, from creating prosthetics to the surprising power of hairstyles in defining a character's era.

The discussion touches on Frances' work on notable films such as Magic Mike's Last Dance  and the upcoming Sonic the Hedgehog 3, along with the challenging miniseries The Tattooist of Auschwitz. She shares behind-the-scenes anecdotes about working with talented actors like Channing Tatum, Salma Hayek, Jim Carrey, and Harvey Keitel, showcasing the unique relationships that develop between actors and their hair and makeup team.

Damien Chazelle's intense drama Whiplash serves as a focal point for the conversation, with Frances expressing her admiration for the film's powerful performances and its exploration of the sacrifices demanded by the pursuit of artistic excellence. The movie's themes resonate with Frances' own experiences in the film industry, where passion, perseverance, and the willingness to push boundaries are essential for success.

Whiplash is a must-see film for anyone interested in the depths of human ambition and the price of greatness. With its electrifying performances and masterful storytelling, it's a movie that lingers long after the final frame. Talking with Frances Hounsom about her career and her love for this film was an absolute delight, offering listeners a fascinating glimpse into the world of a hair and makeup designer and the magic they bring to the screen.

Film Sundries


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]]> “Were you rushing or were you dragging?”
Talking About Damien Chazelle’s Whiplash with our guest, hair and makeup designer Frances Hounsom

In this episode of Movies We Like, Pete Wright and Andy Nelson are joined by acclaimed hair and makeup designer Frances Hounsom to discuss her fascinating career journey and the award-winning film Whiplash. Frances shares captivating stories about her early love for cinema, the challenges of breaking into the film industry, and her experiences working on a diverse range of projects.

Throughout the conversation, Frances offers unique insights into the crucial role of a hair and makeup designer in bringing characters to life on screen. She discusses the collaborative process of working closely with actors, the importance of maintaining a positive energy on set, and the emotional impact of transforming performers for demanding roles. Frances also delves into the technical aspects of her craft, from creating prosthetics to the surprising power of hairstyles in defining a character's era.

The discussion touches on Frances' work on notable films such as Magic Mike's Last Dance  and the upcoming Sonic the Hedgehog 3, along with the challenging miniseries The Tattooist of Auschwitz. She shares behind-the-scenes anecdotes about working with talented actors like Channing Tatum, Salma Hayek, Jim Carrey, and Harvey Keitel, showcasing the unique relationships that develop between actors and their hair and makeup team.

Damien Chazelle's intense drama Whiplash serves as a focal point for the conversation, with Frances expressing her admiration for the film's powerful performances and its exploration of the sacrifices demanded by the pursuit of artistic excellence. The movie's themes resonate with Frances' own experiences in the film industry, where passion, perseverance, and the willingness to push boundaries are essential for success.

Whiplash is a must-see film for anyone interested in the depths of human ambition and the price of greatness. With its electrifying performances and masterful storytelling, it's a movie that lingers long after the final frame. Talking with Frances Hounsom about her career and her love for this film was an absolute delight, offering listeners a fascinating glimpse into the world of a hair and makeup designer and the magic they bring to the screen.

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Mon, 23 Sep 2024 03:00:00 -0700 TruStory FM TruStory FM 3791 “Were you rushing or were you dragging?”
Talking About Damien Chazelle’s Whiplash with our guest, hair and makeup designer Frances Hounsom

In this episode of Movies We Like, Pete Wright and Andy Nelson are joined by acclaimed hair and makeup designer Frances Hounsom to discuss her fascinating career journey and the award-winning film Whiplash. Frances shares captivating stories about her early love for cinema, the challenges of breaking into the film industry, and her experiences working on a diverse range of projects.

Throughout the conversation, Frances offers unique insights into the crucial role of a hair and makeup designer in bringing characters to life on screen. She discusses the collaborative process of working closely with actors, the importance of maintaining a positive energy on set, and the emotional impact of transforming performers for demanding roles. Frances also delves into the technical aspects of her craft, from creating prosthetics to the surprising power of hairstyles in defining a character's era.

The discussion touches on Frances' work on notable films such as Magic Mike's Last Dance  and the upcoming Sonic the Hedgehog 3, along with the challenging miniseries The Tattooist of Auschwitz. She shares behind-the-scenes anecdotes about working with talented actors like Channing Tatum, Salma Hayek, Jim Carrey, and Harvey Keitel, showcasing the unique relationships that develop between actors and their hair and makeup team.

Damien Chazelle's intense drama Whiplash serves as a focal point for the conversation, with Frances expressing her admiration for the film's powerful performances and its exploration of the sacrifices demanded by the pursuit of artistic excellence. The movie's themes resonate with Frances' own experiences in the film industry, where passion, perseverance, and the willingness to push boundaries are essential for success.

Whiplash is a must-see film for anyone interested in the depths of human ambition and the price of greatness. With its electrifying performances and masterful storytelling, it's a movie that lingers long after the final frame. Talking with Frances Hounsom about her career and her love for this film was an absolute delight, offering listeners a fascinating glimpse into the world of a hair and makeup designer and the magic they bring to the screen.

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> 2014, 2010s, Damien Chazelle No Voiceover Actor JP Karliak on The Birdcage 6 6 3 3 Voiceover Actor JP Karliak on The Birdcage full a154f343-1a5d-4f43-9e4b-eff1e9032588 https://share.transistor.fm/s/a2db2e43 “Oh, what interesting china. It looks like young men playing leap frog.”
Talking About The Birdcage with our guest, voiceover actor JP Karliak

Get ready to fly away with laughter on this episode of Movies We Like! This week, we're joined by the incredibly talented JP Karliak, the voice behind beloved animated characters like Morph from X-Men '97 and Boss Baby in, you know, Boss Baby. But today, we're stepping away from the world of animation to discuss one of JP's all-time favorite films: the uproarious comedy classic, The Birdcage, directed by the brilliant Mike Nichols.

JP shares his personal connection to this heartwarming and hilarious story about a gay couple, Armand and Albert, who run a drag club in Miami. When Armand's son announces his engagement to a conservative senator's daughter, comedic chaos ensues as they try to navigate their differences and create a "normal" family facade for the sake of the wedding.

We dive deep into the film's hilarious premise, its message of acceptance, and the unforgettable performances by Robin Williams, Nathan Lane, Gene Hackman, and Dianne Wiest. JP shares what draws him to the film's themes of family, identity, and the importance of staying true to yourself, even when it's messy and unconventional.

Of course, we couldn't have JP on without getting a glimpse into his impressive career in voice acting! He gives us a behind-the-scenes look at the process of bringing animated characters to life, the challenges and rewards of the job, and the unique joys of working in such a creative and collaborative industry.

So grab your feather boas and get ready for a delightful conversation about a timeless comedy classic! The Birdcage is a film that reminds us to embrace our true selves, find humor in the most unexpected places, and celebrate the power of love and acceptance. We had an absolute blast discussing it with JP, and we know you'll love hearing his insights and experiences.

Film Sundries


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The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “Oh, what interesting china. It looks like young men playing leap frog.”
Talking About The Birdcage with our guest, voiceover actor JP Karliak

Get ready to fly away with laughter on this episode of Movies We Like! This week, we're joined by the incredibly talented JP Karliak, the voice behind beloved animated characters like Morph from X-Men '97 and Boss Baby in, you know, Boss Baby. But today, we're stepping away from the world of animation to discuss one of JP's all-time favorite films: the uproarious comedy classic, The Birdcage, directed by the brilliant Mike Nichols.

JP shares his personal connection to this heartwarming and hilarious story about a gay couple, Armand and Albert, who run a drag club in Miami. When Armand's son announces his engagement to a conservative senator's daughter, comedic chaos ensues as they try to navigate their differences and create a "normal" family facade for the sake of the wedding.

We dive deep into the film's hilarious premise, its message of acceptance, and the unforgettable performances by Robin Williams, Nathan Lane, Gene Hackman, and Dianne Wiest. JP shares what draws him to the film's themes of family, identity, and the importance of staying true to yourself, even when it's messy and unconventional.

Of course, we couldn't have JP on without getting a glimpse into his impressive career in voice acting! He gives us a behind-the-scenes look at the process of bringing animated characters to life, the challenges and rewards of the job, and the unique joys of working in such a creative and collaborative industry.

So grab your feather boas and get ready for a delightful conversation about a timeless comedy classic! The Birdcage is a film that reminds us to embrace our true selves, find humor in the most unexpected places, and celebrate the power of love and acceptance. We had an absolute blast discussing it with JP, and we know you'll love hearing his insights and experiences.

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Mon, 09 Sep 2024 03:00:00 -0700 TruStory FM TruStory FM 3518 “Oh, what interesting china. It looks like young men playing leap frog.”
Talking About The Birdcage with our guest, voiceover actor JP Karliak

Get ready to fly away with laughter on this episode of Movies We Like! This week, we're joined by the incredibly talented JP Karliak, the voice behind beloved animated characters like Morph from X-Men '97 and Boss Baby in, you know, Boss Baby. But today, we're stepping away from the world of animation to discuss one of JP's all-time favorite films: the uproarious comedy classic, The Birdcage, directed by the brilliant Mike Nichols.

JP shares his personal connection to this heartwarming and hilarious story about a gay couple, Armand and Albert, who run a drag club in Miami. When Armand's son announces his engagement to a conservative senator's daughter, comedic chaos ensues as they try to navigate their differences and create a "normal" family facade for the sake of the wedding.

We dive deep into the film's hilarious premise, its message of acceptance, and the unforgettable performances by Robin Williams, Nathan Lane, Gene Hackman, and Dianne Wiest. JP shares what draws him to the film's themes of family, identity, and the importance of staying true to yourself, even when it's messy and unconventional.

Of course, we couldn't have JP on without getting a glimpse into his impressive career in voice acting! He gives us a behind-the-scenes look at the process of bringing animated characters to life, the challenges and rewards of the job, and the unique joys of working in such a creative and collaborative industry.

So grab your feather boas and get ready for a delightful conversation about a timeless comedy classic! The Birdcage is a film that reminds us to embrace our true selves, find humor in the most unexpected places, and celebrate the power of love and acceptance. We had an absolute blast discussing it with JP, and we know you'll love hearing his insights and experiences.

Film Sundries


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]]> Mike Nichols, 1996, 1990s No Director John Patton Ford on The Beat That My Heart Skipped 6 6 2 2 Director John Patton Ford on The Beat That My Heart Skipped full cb856be7-394b-43b4-a85a-b4ceb3c83339 https://share.transistor.fm/s/2ca914a0 Talking About Jacques Audiard’s The Beat That My Heart Skipped with our guest, director John Patton Ford

In this delightful episode of Movies We Like, we have the pleasure of welcoming director John Patton Ford to join us – Andy Nelson and Pete Wright – for an engaging discussion about his career journey and one of his all-time favorite films, Jacques Audiard's The Beat That My Heart Skipped. The conversation kicks off with John sharing a fascinating anecdote about how his appearance on our podcast The Next Reel a decade ago unexpectedly played a role in a legal situation involving one of his scripts. The discussion then shifts to John's experiences as a writer trying to break into the industry and his bold decision to transition into directing, which ultimately led to the creation of his critically acclaimed debut feature, Emily the Criminal.

John shares the challenges he faced as a first-time director, from his successful short film playing well at Sundance to getting his script for Emily the Criminal into the hands of the talented Aubrey Plaza. He shares how their mutual desire to showcase their talents in a gritty, compelling thriller helped bring the project to life. The conversation then takes a passionate turn as John reminisces about discovering The Beat That My Heart Skipped during his early days of filmmaking and how the film left an indelible mark on his creative journey. He effusively praises the movie's raw authenticity, captivating storytelling, and unforgettable ending.

The Beat That My Heart Skipped is a film that beautifully captures the complexity of the human experience, as the protagonist navigates the gritty world of the underground real estate market while rediscovering his long-lost passion for piano performance. We explore with John the parallels between this film and Emily the Criminal, noting how both movies brilliantly capture the idea of characters pushing their boundaries and expanding their sense of self. While The Beat That My Heart Skipped may be a lesser-known work in Audiard's impressive filmography, it remains a powerful and influential piece of cinema that continues to resonate with aspiring filmmakers and audiences alike. John's infectious enthusiasm for the film makes for a great conversation, leading to a truly captivating episode that is sure to inspire listeners to seek out this hidden gem and experience its magic for themselves. So sit back, relax, and join us on this delightful journey as we celebrate the enduring power of great storytelling and the films that shape our lives.

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Talking About Jacques Audiard’s The Beat That My Heart Skipped with our guest, director John Patton Ford

In this delightful episode of Movies We Like, we have the pleasure of welcoming director John Patton Ford to join us – Andy Nelson and Pete Wright – for an engaging discussion about his career journey and one of his all-time favorite films, Jacques Audiard's The Beat That My Heart Skipped. The conversation kicks off with John sharing a fascinating anecdote about how his appearance on our podcast The Next Reel a decade ago unexpectedly played a role in a legal situation involving one of his scripts. The discussion then shifts to John's experiences as a writer trying to break into the industry and his bold decision to transition into directing, which ultimately led to the creation of his critically acclaimed debut feature, Emily the Criminal.

John shares the challenges he faced as a first-time director, from his successful short film playing well at Sundance to getting his script for Emily the Criminal into the hands of the talented Aubrey Plaza. He shares how their mutual desire to showcase their talents in a gritty, compelling thriller helped bring the project to life. The conversation then takes a passionate turn as John reminisces about discovering The Beat That My Heart Skipped during his early days of filmmaking and how the film left an indelible mark on his creative journey. He effusively praises the movie's raw authenticity, captivating storytelling, and unforgettable ending.

The Beat That My Heart Skipped is a film that beautifully captures the complexity of the human experience, as the protagonist navigates the gritty world of the underground real estate market while rediscovering his long-lost passion for piano performance. We explore with John the parallels between this film and Emily the Criminal, noting how both movies brilliantly capture the idea of characters pushing their boundaries and expanding their sense of self. While The Beat That My Heart Skipped may be a lesser-known work in Audiard's impressive filmography, it remains a powerful and influential piece of cinema that continues to resonate with aspiring filmmakers and audiences alike. John's infectious enthusiasm for the film makes for a great conversation, leading to a truly captivating episode that is sure to inspire listeners to seek out this hidden gem and experience its magic for themselves. So sit back, relax, and join us on this delightful journey as we celebrate the enduring power of great storytelling and the films that shape our lives.

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Mon, 26 Aug 2024 03:00:00 -0700 TruStory FM TruStory FM 3683 Talking About Jacques Audiard’s The Beat That My Heart Skipped with our guest, director John Patton Ford

In this delightful episode of Movies We Like, we have the pleasure of welcoming director John Patton Ford to join us – Andy Nelson and Pete Wright – for an engaging discussion about his career journey and one of his all-time favorite films, Jacques Audiard's The Beat That My Heart Skipped. The conversation kicks off with John sharing a fascinating anecdote about how his appearance on our podcast The Next Reel a decade ago unexpectedly played a role in a legal situation involving one of his scripts. The discussion then shifts to John's experiences as a writer trying to break into the industry and his bold decision to transition into directing, which ultimately led to the creation of his critically acclaimed debut feature, Emily the Criminal.

John shares the challenges he faced as a first-time director, from his successful short film playing well at Sundance to getting his script for Emily the Criminal into the hands of the talented Aubrey Plaza. He shares how their mutual desire to showcase their talents in a gritty, compelling thriller helped bring the project to life. The conversation then takes a passionate turn as John reminisces about discovering The Beat That My Heart Skipped during his early days of filmmaking and how the film left an indelible mark on his creative journey. He effusively praises the movie's raw authenticity, captivating storytelling, and unforgettable ending.

The Beat That My Heart Skipped is a film that beautifully captures the complexity of the human experience, as the protagonist navigates the gritty world of the underground real estate market while rediscovering his long-lost passion for piano performance. We explore with John the parallels between this film and Emily the Criminal, noting how both movies brilliantly capture the idea of characters pushing their boundaries and expanding their sense of self. While The Beat That My Heart Skipped may be a lesser-known work in Audiard's impressive filmography, it remains a powerful and influential piece of cinema that continues to resonate with aspiring filmmakers and audiences alike. John's infectious enthusiasm for the film makes for a great conversation, leading to a truly captivating episode that is sure to inspire listeners to seek out this hidden gem and experience its magic for themselves. So sit back, relax, and join us on this delightful journey as we celebrate the enduring power of great storytelling and the films that shape our lives.

Film Sundries


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The Next Reel Family of Film Shows:

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]]> Jacques Audiard, 2007, 2000s No Production Designer Yôhei Taneda on Ugetsu • Japanese Version / 美術監督・種田陽平が語る雨月物語 • 日本語版 6 6 Production Designer Yôhei Taneda on Ugetsu • Japanese Version / 美術監督・種田陽平が語る雨月物語 • 日本語版 bonus d9a0f3bc-2cee-4459-bf99-49d1ec931191 https://share.transistor.fm/s/ecb6f01f JAPANESE VERSION
溝口健二監督の『雨月物語』について、ゲストの美術監督・種田陽平氏と語ります 

「Movies We Like」今回のエピソードでは、美術監督の種田陽平氏にご参加いただき、彼 の魅力的な経歴と、彼のお気に入りの映画の 1 つである溝口健二監督の 1953 年の名作 『雨月物語』についてお話しいただきます。種田氏は、美術学生だったころから、キル・ ビル Vol. 1、ヘイトフル・エイト、モンスター・ハント シリーズ、金陵十三釵、思い出の マーニーなど、日本とアメリカの両方の映画で働いた経験まで、プロダクション・デザイ ンの世界への道のりを語ります。

エピソード全体を通して、種田氏はプロダクション・デザインの世界について独自の洞察 を提供し、実写とアニメーションの両方の映画で没入感のある世界を作り出す複雑さにつ いて語ります。監督のビジョンと自身の芸術的感性とのバランスを取る難しさ、そして一 貫性のある視覚体験を生み出すために他の部門と協力することの重要性について掘り下げ ます。 

会話が『雨月物語』に移ると、種田氏は映画の忘れがたい美学と、溝口監督の空間とデザ イン要素の使い方が幽霊のような雰囲気にどのように貢献しているかを探ります。彼は 『雨月物語』と当時の他の日本映画を比較し、水の象徴的な意味と映画のビジュアルスタ イルに対する能の影響を強調します。 

『雨月物語』は時代を超えた傑作であり、溝口監督の芸術的ビジョンと観客を異世界に運 ぶ映画の力の証です。種田氏のこの映画への情熱とその作りに対する深い理解は、聴取者 のみなさんがこの忘れがたい古典をもう一度見たくなる魅力的な議論を生み出します。私 たちは『雨月物語』の芸術性を掘り下げ、種田氏の素晴らしい美術監督としてのキャリア を探る素晴らしい時間を過ごしました。 

このエピソードの翻訳を担当してくれた冨永宏に心から感謝します！ 

関連リンク 

種田陽平（たねだ・ようへい）について 

過去 20 年間、種田陽平は世界中の映画製作者とコラボレーションし、クエンティン・タ ランティーノ監督との「キル・ビル Vol. I」、チャン・イーモウ監督との「金陵十三釵」、 押井守監督とのアニメ「イノセンス」など、数々の賞賛とクレジットを獲得してきまし た。南京大虐殺を描いた壮大な映画「金陵十三釵」では、種田は南京において映画の時代 背景をセットで再現しました。70 か国で公開されたこの映画は、当時、中国映画史上最 高額の予算で最も成功した作品の 1 つでした。種田のその他の海外作品には、キアヌ・ リーブス監督の『ファイティング・タイガー』、ラマン・ホイ監督の『モンスター・ハン ト』、タランティーノ監督の西部劇『ヘイトフル・エイト』、ジョン・ウー監督の『マン ハント』、ウォッシュ・ウェストモアランド監督のNetflix作品『アースクエイク バード』 などがある。 

種田の多くの注目すべき非英語作品には、岩井俊二監督の『スワロウテイル』、リー・チー ガイ監督の『不夜城』、三谷幸喜監督の『THE 有頂天ホテル』と『ザ・マジックア ワー』、李相日監督の『フラガール』と『悪人』などがある。種田の仕事は、三谷幸喜監 督の『ステキな金縛り』と、台湾金馬奨で最優秀作品賞を受賞したウェイ・ダーション監 督の台湾映画『セディック・バレ』の驚異的な成功に貢献した。 

種田はスタジオジブリともコラボレーションをしており、アカデミー賞最優秀アニメ映画 賞ノミネートなど多くの賞やノミネートで高く評価された『思い出のマーニー』などのア ニメ映画を制作。また、スタジオジブリと共同で「借りぐらしのアリエッティ×種田陽平 展」を監修。東京都現代美術館が主催したこのイベントは「映画美術」を独立したプレゼ ンテーションとして鑑賞する機会を一般の人々に提供し、巡回中に70万人以上を動員し た。 

『キル・ビル Vol.1』で米国美術監督協会・最優秀美術賞にノミネートされたほか、日本 では名誉ある紫綬褒章を受章、文化庁からは芸術選奨文部科学大臣賞を受賞。 

種田の芸術活動は、膨大な数の映画作品に代表されるだけでなく、アート インスタレー ション、舞台美術、特殊映像、CD や DVD のジャケット デザイン、そして自らが執筆し た数冊の本など多岐にわたります。 


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> JAPANESE VERSION
溝口健二監督の『雨月物語』について、ゲストの美術監督・種田陽平氏と語ります 

「Movies We Like」今回のエピソードでは、美術監督の種田陽平氏にご参加いただき、彼 の魅力的な経歴と、彼のお気に入りの映画の 1 つである溝口健二監督の 1953 年の名作 『雨月物語』についてお話しいただきます。種田氏は、美術学生だったころから、キル・ ビル Vol. 1、ヘイトフル・エイト、モンスター・ハント シリーズ、金陵十三釵、思い出の マーニーなど、日本とアメリカの両方の映画で働いた経験まで、プロダクション・デザイ ンの世界への道のりを語ります。

エピソード全体を通して、種田氏はプロダクション・デザインの世界について独自の洞察 を提供し、実写とアニメーションの両方の映画で没入感のある世界を作り出す複雑さにつ いて語ります。監督のビジョンと自身の芸術的感性とのバランスを取る難しさ、そして一 貫性のある視覚体験を生み出すために他の部門と協力することの重要性について掘り下げ ます。 

会話が『雨月物語』に移ると、種田氏は映画の忘れがたい美学と、溝口監督の空間とデザ イン要素の使い方が幽霊のような雰囲気にどのように貢献しているかを探ります。彼は 『雨月物語』と当時の他の日本映画を比較し、水の象徴的な意味と映画のビジュアルスタ イルに対する能の影響を強調します。 

『雨月物語』は時代を超えた傑作であり、溝口監督の芸術的ビジョンと観客を異世界に運 ぶ映画の力の証です。種田氏のこの映画への情熱とその作りに対する深い理解は、聴取者 のみなさんがこの忘れがたい古典をもう一度見たくなる魅力的な議論を生み出します。私 たちは『雨月物語』の芸術性を掘り下げ、種田氏の素晴らしい美術監督としてのキャリア を探る素晴らしい時間を過ごしました。 

このエピソードの翻訳を担当してくれた冨永宏に心から感謝します！ 

関連リンク 

種田陽平（たねだ・ようへい）について 

過去 20 年間、種田陽平は世界中の映画製作者とコラボレーションし、クエンティン・タ ランティーノ監督との「キル・ビル Vol. I」、チャン・イーモウ監督との「金陵十三釵」、 押井守監督とのアニメ「イノセンス」など、数々の賞賛とクレジットを獲得してきまし た。南京大虐殺を描いた壮大な映画「金陵十三釵」では、種田は南京において映画の時代 背景をセットで再現しました。70 か国で公開されたこの映画は、当時、中国映画史上最 高額の予算で最も成功した作品の 1 つでした。種田のその他の海外作品には、キアヌ・ リーブス監督の『ファイティング・タイガー』、ラマン・ホイ監督の『モンスター・ハン ト』、タランティーノ監督の西部劇『ヘイトフル・エイト』、ジョン・ウー監督の『マン ハント』、ウォッシュ・ウェストモアランド監督のNetflix作品『アースクエイク バード』 などがある。 

種田の多くの注目すべき非英語作品には、岩井俊二監督の『スワロウテイル』、リー・チー ガイ監督の『不夜城』、三谷幸喜監督の『THE 有頂天ホテル』と『ザ・マジックア ワー』、李相日監督の『フラガール』と『悪人』などがある。種田の仕事は、三谷幸喜監 督の『ステキな金縛り』と、台湾金馬奨で最優秀作品賞を受賞したウェイ・ダーション監 督の台湾映画『セディック・バレ』の驚異的な成功に貢献した。 

種田はスタジオジブリともコラボレーションをしており、アカデミー賞最優秀アニメ映画 賞ノミネートなど多くの賞やノミネートで高く評価された『思い出のマーニー』などのア ニメ映画を制作。また、スタジオジブリと共同で「借りぐらしのアリエッティ×種田陽平 展」を監修。東京都現代美術館が主催したこのイベントは「映画美術」を独立したプレゼ ンテーションとして鑑賞する機会を一般の人々に提供し、巡回中に70万人以上を動員し た。 

『キル・ビル Vol.1』で米国美術監督協会・最優秀美術賞にノミネートされたほか、日本 では名誉ある紫綬褒章を受章、文化庁からは芸術選奨文部科学大臣賞を受賞。 

種田の芸術活動は、膨大な数の映画作品に代表されるだけでなく、アート インスタレー ション、舞台美術、特殊映像、CD や DVD のジャケット デザイン、そして自らが執筆し た数冊の本など多岐にわたります。 


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Mon, 12 Aug 2024 03:30:00 -0700 TruStory FM TruStory FM 3477 JAPANESE VERSION
溝口健二監督の『雨月物語』について、ゲストの美術監督・種田陽平氏と語ります 

「Movies We Like」今回のエピソードでは、美術監督の種田陽平氏にご参加いただき、彼 の魅力的な経歴と、彼のお気に入りの映画の 1 つである溝口健二監督の 1953 年の名作 『雨月物語』についてお話しいただきます。種田氏は、美術学生だったころから、キル・ ビル Vol. 1、ヘイトフル・エイト、モンスター・ハント シリーズ、金陵十三釵、思い出の マーニーなど、日本とアメリカの両方の映画で働いた経験まで、プロダクション・デザイ ンの世界への道のりを語ります。

エピソード全体を通して、種田氏はプロダクション・デザインの世界について独自の洞察 を提供し、実写とアニメーションの両方の映画で没入感のある世界を作り出す複雑さにつ いて語ります。監督のビジョンと自身の芸術的感性とのバランスを取る難しさ、そして一 貫性のある視覚体験を生み出すために他の部門と協力することの重要性について掘り下げ ます。 

会話が『雨月物語』に移ると、種田氏は映画の忘れがたい美学と、溝口監督の空間とデザ イン要素の使い方が幽霊のような雰囲気にどのように貢献しているかを探ります。彼は 『雨月物語』と当時の他の日本映画を比較し、水の象徴的な意味と映画のビジュアルスタ イルに対する能の影響を強調します。 

『雨月物語』は時代を超えた傑作であり、溝口監督の芸術的ビジョンと観客を異世界に運 ぶ映画の力の証です。種田氏のこの映画への情熱とその作りに対する深い理解は、聴取者 のみなさんがこの忘れがたい古典をもう一度見たくなる魅力的な議論を生み出します。私 たちは『雨月物語』の芸術性を掘り下げ、種田氏の素晴らしい美術監督としてのキャリア を探る素晴らしい時間を過ごしました。 

このエピソードの翻訳を担当してくれた冨永宏に心から感謝します！ 

関連リンク 

種田陽平（たねだ・ようへい）について 

過去 20 年間、種田陽平は世界中の映画製作者とコラボレーションし、クエンティン・タ ランティーノ監督との「キル・ビル Vol. I」、チャン・イーモウ監督との「金陵十三釵」、 押井守監督とのアニメ「イノセンス」など、数々の賞賛とクレジットを獲得してきまし た。南京大虐殺を描いた壮大な映画「金陵十三釵」では、種田は南京において映画の時代 背景をセットで再現しました。70 か国で公開されたこの映画は、当時、中国映画史上最 高額の予算で最も成功した作品の 1 つでした。種田のその他の海外作品には、キアヌ・ リーブス監督の『ファイティング・タイガー』、ラマン・ホイ監督の『モンスター・ハン ト』、タランティーノ監督の西部劇『ヘイトフル・エイト』、ジョン・ウー監督の『マン ハント』、ウォッシュ・ウェストモアランド監督のNetflix作品『アースクエイク バード』 などがある。 

種田の多くの注目すべき非英語作品には、岩井俊二監督の『スワロウテイル』、リー・チー ガイ監督の『不夜城』、三谷幸喜監督の『THE 有頂天ホテル』と『ザ・マジックア ワー』、李相日監督の『フラガール』と『悪人』などがある。種田の仕事は、三谷幸喜監 督の『ステキな金縛り』と、台湾金馬奨で最優秀作品賞を受賞したウェイ・ダーション監 督の台湾映画『セディック・バレ』の驚異的な成功に貢献した。 

種田はスタジオジブリともコラボレーションをしており、アカデミー賞最優秀アニメ映画 賞ノミネートなど多くの賞やノミネートで高く評価された『思い出のマーニー』などのア ニメ映画を制作。また、スタジオジブリと共同で「借りぐらしのアリエッティ×種田陽平 展」を監修。東京都現代美術館が主催したこのイベントは「映画美術」を独立したプレゼ ンテーションとして鑑賞する機会を一般の人々に提供し、巡回中に70万人以上を動員し た。 

『キル・ビル Vol.1』で米国美術監督協会・最優秀美術賞にノミネートされたほか、日本 では名誉ある紫綬褒章を受章、文化庁からは芸術選奨文部科学大臣賞を受賞。 

種田の芸術活動は、膨大な数の映画作品に代表されるだけでなく、アート インスタレー ション、舞台美術、特殊映像、CD や DVD のジャケット デザイン、そして自らが執筆し た数冊の本など多岐にわたります。 


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 1953, 1950s, Kenji Mizoguchi No Production Designer Yôhei Taneda on Ugetsu 6 6 1 1 Production Designer Yôhei Taneda on Ugetsu full 262ee1e0-9bb2-4f6f-84d3-e550f9500bf6 https://share.transistor.fm/s/815173c5 Talking About Kenji Mizoguchi’s Ugetsu with our guest, production designer Yôhei Taneda

In this episode of Movies We Like, we are thrilled to have production designer Yôhei Taneda join us to discuss his fascinating career and one of his favorite films, Kenji Mizoguchi's 1953 classic, Ugetsu. Taneda shares his journey into the world of production design, from his early days as an art student to his experiences working on both Japanese and American films, such as Kill Bill: Volume 1, The Hateful Eight, the Monster Hunt films, The Flowers of War, and When Marnie Was There.

Throughout the episode, Taneda offers unique insights into the art of production design, discussing the intricacies of creating immersive worlds for both live-action and animated films. He delves into the challenges of balancing the director's vision with his own artistic sensibilities, and the importance of collaborating with other departments to create a cohesive visual experience.

As the conversation turns to Ugetsu, Taneda explores the film's haunting aesthetic and the ways in which Mizoguchi's use of space and design elements contribute to its ghostly atmosphere. He draws comparisons between Ugetsu and other Japanese films of the era, highlighting the symbolic significance of water and the influence of Noh theater on the film's visual style.

Ugetsu remains a timeless masterpiece, a testament to Mizoguchi's artistic vision and the power of cinema to transport audiences to otherworldly realms. Taneda's passion for the film and his deep appreciation for its craft make for a captivating discussion that will leave listeners eager to revisit this haunting classic. We had a wonderful time delving into the artistry behind Ugetsu and exploring Taneda's remarkable career in production design.

A very special thanks to Hiroshi Tominaga for being our translator for this episode!

Film Sundries

More About Yôhei Taneda

For the past two decades, Yôhei Taneda has collaborated with filmmakers from across the globe, amassing an impressive list of accolades and credits, including Kill Bill: Vol. I with Quentin Tarantino, Flowers of War with Zhang Yimou, and the animated Ghost in the Shell 2: Innocence with Mamoru Oshii.  For The Flowers of War, an epic film about the Nanjing Massacre, Taneda recreated the period sets for the film in Nanjing. Released in 70 countries, the film was at the time one of the highest budgeted and most successful Chinese films ever made. Taneda’s other international credits include the Keanu Reeves-directed Man of Tai Chi, Raman Hui’s Monster Hunt, Tarantino’s western The Hateful Eight, John Woo’s Manhunt, and Wash Westmoreland’s Netflix feature Earthquake Bird.

Among Taneda’s many notable non-English language productions are Swallowtail Butterfly, directed by Shunji Iwai; Sleepless Town, directed by Le Chi Ngai; The Wow–Choten Hotel and The Magic Hour, directed by Koki Mitani; and Hula Girls and Villain, directed by Sang-il Lee. Taneda’s work helped foster the remarkable success of Koki Mitani’s Ghost of a Chance (Suteki Na Kanashibari) and Wei Te-Sheng’s Taiwanese film Warriors of the Rainbow, which earned the Best Film Award at the Tapei Golden Horse Festival.

Taneda has also collaborated with Studio Ghibli on such animated films as the critically acclaimed When Marnie Was There, which earned among its many awards and nominations an Academy Award nomination for Best Animated Film.  With Studio Ghibli, he also curated Karigurashi no Arietty x Yohei Taneda, an art exhibition giving the public an opportunity to view “film art” as a stand-alone presentation. Hosted by the Tokyo Museum of Contemporary Art, the event attracted more than 700,000 people during its tour.

In addition to an Art Directors Guild Award nomination in the U.S. for his work on Kill Bill: Vol. 1, Taneda has been awarded the prestigious Purple Ribbon Medal in Japan and the Incentive Award from the Japanese Agency for Cultural Affairs.

Beyond representing a substantial body of cinematic work, Taneda’s artistic endeavors span art installations, stage art, special images, jacket designs for CDs and DVDs, and several books that he has authored.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Talking About Kenji Mizoguchi’s Ugetsu with our guest, production designer Yôhei Taneda

In this episode of Movies We Like, we are thrilled to have production designer Yôhei Taneda join us to discuss his fascinating career and one of his favorite films, Kenji Mizoguchi's 1953 classic, Ugetsu. Taneda shares his journey into the world of production design, from his early days as an art student to his experiences working on both Japanese and American films, such as Kill Bill: Volume 1, The Hateful Eight, the Monster Hunt films, The Flowers of War, and When Marnie Was There.

Throughout the episode, Taneda offers unique insights into the art of production design, discussing the intricacies of creating immersive worlds for both live-action and animated films. He delves into the challenges of balancing the director's vision with his own artistic sensibilities, and the importance of collaborating with other departments to create a cohesive visual experience.

As the conversation turns to Ugetsu, Taneda explores the film's haunting aesthetic and the ways in which Mizoguchi's use of space and design elements contribute to its ghostly atmosphere. He draws comparisons between Ugetsu and other Japanese films of the era, highlighting the symbolic significance of water and the influence of Noh theater on the film's visual style.

Ugetsu remains a timeless masterpiece, a testament to Mizoguchi's artistic vision and the power of cinema to transport audiences to otherworldly realms. Taneda's passion for the film and his deep appreciation for its craft make for a captivating discussion that will leave listeners eager to revisit this haunting classic. We had a wonderful time delving into the artistry behind Ugetsu and exploring Taneda's remarkable career in production design.

A very special thanks to Hiroshi Tominaga for being our translator for this episode!

Film Sundries

More About Yôhei Taneda

For the past two decades, Yôhei Taneda has collaborated with filmmakers from across the globe, amassing an impressive list of accolades and credits, including Kill Bill: Vol. I with Quentin Tarantino, Flowers of War with Zhang Yimou, and the animated Ghost in the Shell 2: Innocence with Mamoru Oshii.  For The Flowers of War, an epic film about the Nanjing Massacre, Taneda recreated the period sets for the film in Nanjing. Released in 70 countries, the film was at the time one of the highest budgeted and most successful Chinese films ever made. Taneda’s other international credits include the Keanu Reeves-directed Man of Tai Chi, Raman Hui’s Monster Hunt, Tarantino’s western The Hateful Eight, John Woo’s Manhunt, and Wash Westmoreland’s Netflix feature Earthquake Bird.

Among Taneda’s many notable non-English language productions are Swallowtail Butterfly, directed by Shunji Iwai; Sleepless Town, directed by Le Chi Ngai; The Wow–Choten Hotel and The Magic Hour, directed by Koki Mitani; and Hula Girls and Villain, directed by Sang-il Lee. Taneda’s work helped foster the remarkable success of Koki Mitani’s Ghost of a Chance (Suteki Na Kanashibari) and Wei Te-Sheng’s Taiwanese film Warriors of the Rainbow, which earned the Best Film Award at the Tapei Golden Horse Festival.

Taneda has also collaborated with Studio Ghibli on such animated films as the critically acclaimed When Marnie Was There, which earned among its many awards and nominations an Academy Award nomination for Best Animated Film.  With Studio Ghibli, he also curated Karigurashi no Arietty x Yohei Taneda, an art exhibition giving the public an opportunity to view “film art” as a stand-alone presentation. Hosted by the Tokyo Museum of Contemporary Art, the event attracted more than 700,000 people during its tour.

In addition to an Art Directors Guild Award nomination in the U.S. for his work on Kill Bill: Vol. 1, Taneda has been awarded the prestigious Purple Ribbon Medal in Japan and the Incentive Award from the Japanese Agency for Cultural Affairs.

Beyond representing a substantial body of cinematic work, Taneda’s artistic endeavors span art installations, stage art, special images, jacket designs for CDs and DVDs, and several books that he has authored.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Mon, 12 Aug 2024 03:00:00 -0700 TruStory FM TruStory FM 3578 Talking About Kenji Mizoguchi’s Ugetsu with our guest, production designer Yôhei Taneda

In this episode of Movies We Like, we are thrilled to have production designer Yôhei Taneda join us to discuss his fascinating career and one of his favorite films, Kenji Mizoguchi's 1953 classic, Ugetsu. Taneda shares his journey into the world of production design, from his early days as an art student to his experiences working on both Japanese and American films, such as Kill Bill: Volume 1, The Hateful Eight, the Monster Hunt films, The Flowers of War, and When Marnie Was There.

Throughout the episode, Taneda offers unique insights into the art of production design, discussing the intricacies of creating immersive worlds for both live-action and animated films. He delves into the challenges of balancing the director's vision with his own artistic sensibilities, and the importance of collaborating with other departments to create a cohesive visual experience.

As the conversation turns to Ugetsu, Taneda explores the film's haunting aesthetic and the ways in which Mizoguchi's use of space and design elements contribute to its ghostly atmosphere. He draws comparisons between Ugetsu and other Japanese films of the era, highlighting the symbolic significance of water and the influence of Noh theater on the film's visual style.

Ugetsu remains a timeless masterpiece, a testament to Mizoguchi's artistic vision and the power of cinema to transport audiences to otherworldly realms. Taneda's passion for the film and his deep appreciation for its craft make for a captivating discussion that will leave listeners eager to revisit this haunting classic. We had a wonderful time delving into the artistry behind Ugetsu and exploring Taneda's remarkable career in production design.

A very special thanks to Hiroshi Tominaga for being our translator for this episode!

Film Sundries

More About Yôhei Taneda

For the past two decades, Yôhei Taneda has collaborated with filmmakers from across the globe, amassing an impressive list of accolades and credits, including Kill Bill: Vol. I with Quentin Tarantino, Flowers of War with Zhang Yimou, and the animated Ghost in the Shell 2: Innocence with Mamoru Oshii.  For The Flowers of War, an epic film about the Nanjing Massacre, Taneda recreated the period sets for the film in Nanjing. Released in 70 countries, the film was at the time one of the highest budgeted and most successful Chinese films ever made. Taneda’s other international credits include the Keanu Reeves-directed Man of Tai Chi, Raman Hui’s Monster Hunt, Tarantino’s western The Hateful Eight, John Woo’s Manhunt, and Wash Westmoreland’s Netflix feature Earthquake Bird.

Among Taneda’s many notable non-English language productions are Swallowtail Butterfly, directed by Shunji Iwai; Sleepless Town, directed by Le Chi Ngai; The Wow–Choten Hotel and The Magic Hour, directed by Koki Mitani; and Hula Girls and Villain, directed by Sang-il Lee. Taneda’s work helped foster the remarkable success of Koki Mitani’s Ghost of a Chance (Suteki Na Kanashibari) and Wei Te-Sheng’s Taiwanese film Warriors of the Rainbow, which earned the Best Film Award at the Tapei Golden Horse Festival.

Taneda has also collaborated with Studio Ghibli on such animated films as the critically acclaimed When Marnie Was There, which earned among its many awards and nominations an Academy Award nomination for Best Animated Film.  With Studio Ghibli, he also curated Karigurashi no Arietty x Yohei Taneda, an art exhibition giving the public an opportunity to view “film art” as a stand-alone presentation. Hosted by the Tokyo Museum of Contemporary Art, the event attracted more than 700,000 people during its tour.

In addition to an Art Directors Guild Award nomination in the U.S. for his work on Kill Bill: Vol. 1, Taneda has been awarded the prestigious Purple Ribbon Medal in Japan and the Incentive Award from the Japanese Agency for Cultural Affairs.

Beyond representing a substantial body of cinematic work, Taneda’s artistic endeavors span art installations, stage art, special images, jacket designs for CDs and DVDs, and several books that he has authored.


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]]> Yôhei Taneda, Production Designer, Kenji Mizoguchi, Ugetsu No Writer/Director Mandy Fabian on The Big Chill 5 5 12 12 Writer/Director Mandy Fabian on The Big Chill full d681a388-c555-4d24-901a-c9fbd7cb2671 https://share.transistor.fm/s/817e24a2 “Wise up, folks. We're all alone out there and tomorrow we're going out there again.”
Talking About The Big Chill with our guest, writer/director Mandy Fabian

In this episode of Movies We Like, hosts Andy Nelson and Pete Wright are joined by the multi-talented writer/director Mandy Fabian to discuss her fascinating career journey and the classic 1980s ensemble dramedy, The Big Chill. From her early days as a clown and sketch comedian to her path to becoming a filmmaker, Mandy shares the twists and turns that led her to direct her first feature film, Jess Plus None.

Throughout the conversation, Mandy provides insights into the challenges and joys of indie filmmaking, from the financial risks and creative compromises to the importance of assembling a supportive team and maintaining a sense of fun amidst the pressure. She also delves into the unique challenges of shooting Jess Plus None, with 90% of the film set outdoors, and how this serendipitously worked in her favor during the COVID-19 pandemic.

The discussion of The Big Chill, Lawrence Kasdan's seminal film about a group of college friends reuniting after the death of one of their own, touches on the movie's enduring themes of nostalgia, friendship, and the passage of time. Mandy and the hosts explore how the film's iconic soundtrack and stellar ensemble cast, including Kevin Kline, Glenn Close, and William Hurt, contribute to its status as a cinematic touchstone.

With Mandy Fabian's infectious enthusiasm and Andy and Pete's insightful commentary, this episode offers a delightful deep dive into the world of filmmaking and the lasting impact of The Big Chill. It's a must-listen for anyone interested in the creative process behind the camera or the power of a well-crafted ensemble piece to resonate with audiences decades after its release.

About Mandy

 Mandy Fabian began her career in Austin, Texas as the youngest member of a professional sketch comedy troupe before attending Vassar College to major in film. (What? I know. Her parents thought that too.)

Since then, her focus has been writing female-driven stories with humor and heart. Mandy co-created and directed The Young Hillary Diaries, Lifetime's first digital series, was awarded a fellowship from the Sony Pictures Television Directing Program, and was named Best New Filmmaker of the Year by NewFilmmakers LA. Her screenplay, Late Bloomer was selected for the NYWIFT Meryl Streep/Oprah Winfrey Writers Lab, and in 2020 she was one of six directors chosen to lead an all-female crew for the Moonshot Initiative.

Mandy’s feature debut, Jess Plus None, an LGBTQ+ modern day The Big Chill meets Bridesmaids, had its World Premiere at the BFI Flare Festival in London, its US Premiere at Frameline Film Fest in San Francisco, and is set to be released Worldwide in Summer of 2024.

Mandy lives in London & Los Angeles with her husband Patrick Fabian, her daughters Abbey and Delilah, and a champion’s collection of reusable water bottles.

Film Sundries


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]]> “Wise up, folks. We're all alone out there and tomorrow we're going out there again.”
Talking About The Big Chill with our guest, writer/director Mandy Fabian

In this episode of Movies We Like, hosts Andy Nelson and Pete Wright are joined by the multi-talented writer/director Mandy Fabian to discuss her fascinating career journey and the classic 1980s ensemble dramedy, The Big Chill. From her early days as a clown and sketch comedian to her path to becoming a filmmaker, Mandy shares the twists and turns that led her to direct her first feature film, Jess Plus None.

Throughout the conversation, Mandy provides insights into the challenges and joys of indie filmmaking, from the financial risks and creative compromises to the importance of assembling a supportive team and maintaining a sense of fun amidst the pressure. She also delves into the unique challenges of shooting Jess Plus None, with 90% of the film set outdoors, and how this serendipitously worked in her favor during the COVID-19 pandemic.

The discussion of The Big Chill, Lawrence Kasdan's seminal film about a group of college friends reuniting after the death of one of their own, touches on the movie's enduring themes of nostalgia, friendship, and the passage of time. Mandy and the hosts explore how the film's iconic soundtrack and stellar ensemble cast, including Kevin Kline, Glenn Close, and William Hurt, contribute to its status as a cinematic touchstone.

With Mandy Fabian's infectious enthusiasm and Andy and Pete's insightful commentary, this episode offers a delightful deep dive into the world of filmmaking and the lasting impact of The Big Chill. It's a must-listen for anyone interested in the creative process behind the camera or the power of a well-crafted ensemble piece to resonate with audiences decades after its release.

About Mandy

 Mandy Fabian began her career in Austin, Texas as the youngest member of a professional sketch comedy troupe before attending Vassar College to major in film. (What? I know. Her parents thought that too.)

Since then, her focus has been writing female-driven stories with humor and heart. Mandy co-created and directed The Young Hillary Diaries, Lifetime's first digital series, was awarded a fellowship from the Sony Pictures Television Directing Program, and was named Best New Filmmaker of the Year by NewFilmmakers LA. Her screenplay, Late Bloomer was selected for the NYWIFT Meryl Streep/Oprah Winfrey Writers Lab, and in 2020 she was one of six directors chosen to lead an all-female crew for the Moonshot Initiative.

Mandy’s feature debut, Jess Plus None, an LGBTQ+ modern day The Big Chill meets Bridesmaids, had its World Premiere at the BFI Flare Festival in London, its US Premiere at Frameline Film Fest in San Francisco, and is set to be released Worldwide in Summer of 2024.

Mandy lives in London & Los Angeles with her husband Patrick Fabian, her daughters Abbey and Delilah, and a champion’s collection of reusable water bottles.

Film Sundries


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]]> Mon, 22 Jul 2024 03:00:00 -0700 TruStory FM TruStory FM 4224 “Wise up, folks. We're all alone out there and tomorrow we're going out there again.”
Talking About The Big Chill with our guest, writer/director Mandy Fabian

In this episode of Movies We Like, hosts Andy Nelson and Pete Wright are joined by the multi-talented writer/director Mandy Fabian to discuss her fascinating career journey and the classic 1980s ensemble dramedy, The Big Chill. From her early days as a clown and sketch comedian to her path to becoming a filmmaker, Mandy shares the twists and turns that led her to direct her first feature film, Jess Plus None.

Throughout the conversation, Mandy provides insights into the challenges and joys of indie filmmaking, from the financial risks and creative compromises to the importance of assembling a supportive team and maintaining a sense of fun amidst the pressure. She also delves into the unique challenges of shooting Jess Plus None, with 90% of the film set outdoors, and how this serendipitously worked in her favor during the COVID-19 pandemic.

The discussion of The Big Chill, Lawrence Kasdan's seminal film about a group of college friends reuniting after the death of one of their own, touches on the movie's enduring themes of nostalgia, friendship, and the passage of time. Mandy and the hosts explore how the film's iconic soundtrack and stellar ensemble cast, including Kevin Kline, Glenn Close, and William Hurt, contribute to its status as a cinematic touchstone.

With Mandy Fabian's infectious enthusiasm and Andy and Pete's insightful commentary, this episode offers a delightful deep dive into the world of filmmaking and the lasting impact of The Big Chill. It's a must-listen for anyone interested in the creative process behind the camera or the power of a well-crafted ensemble piece to resonate with audiences decades after its release.

About Mandy

 Mandy Fabian began her career in Austin, Texas as the youngest member of a professional sketch comedy troupe before attending Vassar College to major in film. (What? I know. Her parents thought that too.)

Since then, her focus has been writing female-driven stories with humor and heart. Mandy co-created and directed The Young Hillary Diaries, Lifetime's first digital series, was awarded a fellowship from the Sony Pictures Television Directing Program, and was named Best New Filmmaker of the Year by NewFilmmakers LA. Her screenplay, Late Bloomer was selected for the NYWIFT Meryl Streep/Oprah Winfrey Writers Lab, and in 2020 she was one of six directors chosen to lead an all-female crew for the Moonshot Initiative.

Mandy’s feature debut, Jess Plus None, an LGBTQ+ modern day The Big Chill meets Bridesmaids, had its World Premiere at the BFI Flare Festival in London, its US Premiere at Frameline Film Fest in San Francisco, and is set to be released Worldwide in Summer of 2024.

Mandy lives in London & Los Angeles with her husband Patrick Fabian, her daughters Abbey and Delilah, and a champion’s collection of reusable water bottles.

Film Sundries


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]]> 1983, 1980s, Lawrence Kasdan No Filmmaker Nathan Blackwell on Hot Fuzz 5 5 11 11 Filmmaker Nathan Blackwell on Hot Fuzz full 4fa59833-6c80-44d8-a3b9-c2efc22ee89b https://share.transistor.fm/s/9511aeac “Have you ever fired two guns whilst jumping through the air?”
Talking About Hot Fuzz with our guest, filmmaker Nathan Blackwell

In this episode of Movies We Like, filmmaker Nathan Blackwell (and co-host of TruStory FM’s own The Most Excellent 80s Movies Podcast) joins Andy Nelson and Pete Wright to discuss Edgar Wright's comedic action film, Hot Fuzz. Nathan shares his love for the movie and how it has influenced his own filmmaking journey. The conversation delves into Nathan's path to becoming a filmmaker, from his early days making short films inspired by 80s classics to the challenges and triumphs of creating his first feature films.

Nathan discusses the making of his latest film, The Last Movie Ever Made, and how it represents a culmination of his experiences and growth as a filmmaker. He shares insights into the creative process, the importance of finding one's voice, and the challenges of getting an independent film seen in today's competitive landscape.

The discussion also touches on the heart of The Last Movie Ever Made, which lies in its exploration of the power of movies to bring people together and create a sense of community. Nathan reflects on how this theme resonates with his own love for films like Ed Wood and Bowfinger, which celebrate the passion and camaraderie of filmmaking.

Hot Fuzz serves as a perfect backdrop for this engaging conversation about the joys and challenges of independent filmmaking. Edgar Wright's clever blend of action, comedy, and genre love is a fitting parallel to Nathan's own journey as a filmmaker who has navigated the ups and downs of the industry to create something unique and personal. Join Andy, Pete, and Nathan as they celebrate the magic of movies and the resilience of the creative spirit in this inspiring episode of Movies We Like.

Film Sundries


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]]> “Have you ever fired two guns whilst jumping through the air?”
Talking About Hot Fuzz with our guest, filmmaker Nathan Blackwell

In this episode of Movies We Like, filmmaker Nathan Blackwell (and co-host of TruStory FM’s own The Most Excellent 80s Movies Podcast) joins Andy Nelson and Pete Wright to discuss Edgar Wright's comedic action film, Hot Fuzz. Nathan shares his love for the movie and how it has influenced his own filmmaking journey. The conversation delves into Nathan's path to becoming a filmmaker, from his early days making short films inspired by 80s classics to the challenges and triumphs of creating his first feature films.

Nathan discusses the making of his latest film, The Last Movie Ever Made, and how it represents a culmination of his experiences and growth as a filmmaker. He shares insights into the creative process, the importance of finding one's voice, and the challenges of getting an independent film seen in today's competitive landscape.

The discussion also touches on the heart of The Last Movie Ever Made, which lies in its exploration of the power of movies to bring people together and create a sense of community. Nathan reflects on how this theme resonates with his own love for films like Ed Wood and Bowfinger, which celebrate the passion and camaraderie of filmmaking.

Hot Fuzz serves as a perfect backdrop for this engaging conversation about the joys and challenges of independent filmmaking. Edgar Wright's clever blend of action, comedy, and genre love is a fitting parallel to Nathan's own journey as a filmmaker who has navigated the ups and downs of the industry to create something unique and personal. Join Andy, Pete, and Nathan as they celebrate the magic of movies and the resilience of the creative spirit in this inspiring episode of Movies We Like.

Film Sundries


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]]> Mon, 24 Jun 2024 03:00:00 -0700 TruStory FM TruStory FM 4200 “Have you ever fired two guns whilst jumping through the air?”
Talking About Hot Fuzz with our guest, filmmaker Nathan Blackwell

In this episode of Movies We Like, filmmaker Nathan Blackwell (and co-host of TruStory FM’s own The Most Excellent 80s Movies Podcast) joins Andy Nelson and Pete Wright to discuss Edgar Wright's comedic action film, Hot Fuzz. Nathan shares his love for the movie and how it has influenced his own filmmaking journey. The conversation delves into Nathan's path to becoming a filmmaker, from his early days making short films inspired by 80s classics to the challenges and triumphs of creating his first feature films.

Nathan discusses the making of his latest film, The Last Movie Ever Made, and how it represents a culmination of his experiences and growth as a filmmaker. He shares insights into the creative process, the importance of finding one's voice, and the challenges of getting an independent film seen in today's competitive landscape.

The discussion also touches on the heart of The Last Movie Ever Made, which lies in its exploration of the power of movies to bring people together and create a sense of community. Nathan reflects on how this theme resonates with his own love for films like Ed Wood and Bowfinger, which celebrate the passion and camaraderie of filmmaking.

Hot Fuzz serves as a perfect backdrop for this engaging conversation about the joys and challenges of independent filmmaking. Edgar Wright's clever blend of action, comedy, and genre love is a fitting parallel to Nathan's own journey as a filmmaker who has navigated the ups and downs of the industry to create something unique and personal. Join Andy, Pete, and Nathan as they celebrate the magic of movies and the resilience of the creative spirit in this inspiring episode of Movies We Like.

Film Sundries


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]]> 2007, 2000s, Edgar Wright No Filmmaker Mark Pellington on Moneyball 5 5 10 10 Filmmaker Mark Pellington on Moneyball full 288fb3a8-681c-4313-b4d0-91c42ecd4b5f https://share.transistor.fm/s/1ae65adb “If we win, on our budget, with this team... we'll have changed the game. And that's what I want. I want it to mean something.”
Talking About Moneyball with our guest, filmmaker Mark Pellington

Andy and Pete welcome acclaimed filmmaker Mark Pellington to discuss his remarkable career as well as one of his favorite films, Bennett Miller’s Moneyball. Mark takes listeners on a journey through his diverse body of work, from his groundbreaking music videos for artists like PM Dawn, Bruce Springsteen, Pearl Jam, and U2, to his Emmy-nominated title design for the TV series Homicide: Life on the Street. He also shares fascinating anecdotes about his experiences working on films like Jerry Maguire and his own The Mothman Prophecies, offering insights into his creative process and the power of storytelling.

The conversation then shifts to Moneyball, a film that has captured the hearts of audiences (as well as becoming a personal favorite of Pete’s). Mark delves into what makes this film so special to him, from its masterful screenplay to the outstanding performances by its cast. The discussion also touches on the film's themes of nostalgia and legacy, which resonate deeply with Pellington's own experiences and creative pursuits.

Throughout the episode, Mark's passion for his craft and his thoughtful approach to storytelling shine through, making for a captivating listen. Whether you're a fan of Moneyball or simply appreciate the art of filmmaking, this conversation offers a wealth of insights and inspiration. Join Andy, Pete, and Mark for a lively and thought-provoking discussion that celebrates the power of cinema.

Film Sundries


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]]> “If we win, on our budget, with this team... we'll have changed the game. And that's what I want. I want it to mean something.”
Talking About Moneyball with our guest, filmmaker Mark Pellington

Andy and Pete welcome acclaimed filmmaker Mark Pellington to discuss his remarkable career as well as one of his favorite films, Bennett Miller’s Moneyball. Mark takes listeners on a journey through his diverse body of work, from his groundbreaking music videos for artists like PM Dawn, Bruce Springsteen, Pearl Jam, and U2, to his Emmy-nominated title design for the TV series Homicide: Life on the Street. He also shares fascinating anecdotes about his experiences working on films like Jerry Maguire and his own The Mothman Prophecies, offering insights into his creative process and the power of storytelling.

The conversation then shifts to Moneyball, a film that has captured the hearts of audiences (as well as becoming a personal favorite of Pete’s). Mark delves into what makes this film so special to him, from its masterful screenplay to the outstanding performances by its cast. The discussion also touches on the film's themes of nostalgia and legacy, which resonate deeply with Pellington's own experiences and creative pursuits.

Throughout the episode, Mark's passion for his craft and his thoughtful approach to storytelling shine through, making for a captivating listen. Whether you're a fan of Moneyball or simply appreciate the art of filmmaking, this conversation offers a wealth of insights and inspiration. Join Andy, Pete, and Mark for a lively and thought-provoking discussion that celebrates the power of cinema.

Film Sundries


Support The Next Reel Family of Film Shows:

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]]> Mon, 27 May 2024 03:00:00 -0700 TruStory FM TruStory FM 4493 “If we win, on our budget, with this team... we'll have changed the game. And that's what I want. I want it to mean something.”
Talking About Moneyball with our guest, filmmaker Mark Pellington

Andy and Pete welcome acclaimed filmmaker Mark Pellington to discuss his remarkable career as well as one of his favorite films, Bennett Miller’s Moneyball. Mark takes listeners on a journey through his diverse body of work, from his groundbreaking music videos for artists like PM Dawn, Bruce Springsteen, Pearl Jam, and U2, to his Emmy-nominated title design for the TV series Homicide: Life on the Street. He also shares fascinating anecdotes about his experiences working on films like Jerry Maguire and his own The Mothman Prophecies, offering insights into his creative process and the power of storytelling.

The conversation then shifts to Moneyball, a film that has captured the hearts of audiences (as well as becoming a personal favorite of Pete’s). Mark delves into what makes this film so special to him, from its masterful screenplay to the outstanding performances by its cast. The discussion also touches on the film's themes of nostalgia and legacy, which resonate deeply with Pellington's own experiences and creative pursuits.

Throughout the episode, Mark's passion for his craft and his thoughtful approach to storytelling shine through, making for a captivating listen. Whether you're a fan of Moneyball or simply appreciate the art of filmmaking, this conversation offers a wealth of insights and inspiration. Join Andy, Pete, and Mark for a lively and thought-provoking discussion that celebrates the power of cinema.

Film Sundries


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]]> 2011, 2010s, Bennett Miller No Dialect Coach William Conacher on Ferris Bueller’s Day Off 5 5 9 9 Dialect Coach William Conacher on Ferris Bueller’s Day Off full de14c239-bde5-4581-8176-e7fc2582453d https://share.transistor.fm/s/61fb8932 “Life moves pretty fast. If you don't stop and look around once in a while, you could miss it."
Talking About Ferris Bueller’s Day Off with our guest, dialect coach William Conacher

In this episode of Movies We Like, Andy Nelson and Pete Wright are joined by renowned dialect coach William Conacher to discuss his fascinating career and the beloved classic Ferris Bueller's Day Off. Conacher shares his journey from actor to dialect coach, working on projects like The Crown, Spencer, and No Time to Die, and the intricate process of teaching actors to master various accents and dialects.

Conacher delves into the art of breaking down accents into teachable components, the importance of finding authentic speech samples, and the challenges well-known actors face when taking on accents, noting that they often receive more scrutiny and criticism compared to lesser-known actors, even when their accents are executed perfectly. He also shares insights on his role as a dialogue supervisor and the nuances of coaching actors in different languages and time periods.

The discussion touches on Conacher's experience working with actors like Kristen Stewart, Rami Malek, and members of the cast of The Crown, as well as his approach to coaching made-up dialects in films like The Chronicles of Narnia: Prince Caspian. Conacher also explores the diversity of London accents and the influence of ethnicity and culture on speech patterns.

Ferris Bueller's Day Off remains a timeless classic that continues to captivate audiences with its wit, charm, and unforgettable performances. William Conacher's expertise and insights into the world of dialect coaching add a fascinating layer to the appreciation of this beloved film. Join Andy, Pete, and William as they celebrate the enduring appeal of Ferris Bueller's Day Off and explore the art of bringing authentic voices to the screen.

Film Sundries


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]]> “Life moves pretty fast. If you don't stop and look around once in a while, you could miss it."
Talking About Ferris Bueller’s Day Off with our guest, dialect coach William Conacher

In this episode of Movies We Like, Andy Nelson and Pete Wright are joined by renowned dialect coach William Conacher to discuss his fascinating career and the beloved classic Ferris Bueller's Day Off. Conacher shares his journey from actor to dialect coach, working on projects like The Crown, Spencer, and No Time to Die, and the intricate process of teaching actors to master various accents and dialects.

Conacher delves into the art of breaking down accents into teachable components, the importance of finding authentic speech samples, and the challenges well-known actors face when taking on accents, noting that they often receive more scrutiny and criticism compared to lesser-known actors, even when their accents are executed perfectly. He also shares insights on his role as a dialogue supervisor and the nuances of coaching actors in different languages and time periods.

The discussion touches on Conacher's experience working with actors like Kristen Stewart, Rami Malek, and members of the cast of The Crown, as well as his approach to coaching made-up dialects in films like The Chronicles of Narnia: Prince Caspian. Conacher also explores the diversity of London accents and the influence of ethnicity and culture on speech patterns.

Ferris Bueller's Day Off remains a timeless classic that continues to captivate audiences with its wit, charm, and unforgettable performances. William Conacher's expertise and insights into the world of dialect coaching add a fascinating layer to the appreciation of this beloved film. Join Andy, Pete, and William as they celebrate the enduring appeal of Ferris Bueller's Day Off and explore the art of bringing authentic voices to the screen.

Film Sundries


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]]> Mon, 22 Apr 2024 03:00:00 -0700 TruStory FM TruStory FM 4431 “Life moves pretty fast. If you don't stop and look around once in a while, you could miss it."
Talking About Ferris Bueller’s Day Off with our guest, dialect coach William Conacher

In this episode of Movies We Like, Andy Nelson and Pete Wright are joined by renowned dialect coach William Conacher to discuss his fascinating career and the beloved classic Ferris Bueller's Day Off. Conacher shares his journey from actor to dialect coach, working on projects like The Crown, Spencer, and No Time to Die, and the intricate process of teaching actors to master various accents and dialects.

Conacher delves into the art of breaking down accents into teachable components, the importance of finding authentic speech samples, and the challenges well-known actors face when taking on accents, noting that they often receive more scrutiny and criticism compared to lesser-known actors, even when their accents are executed perfectly. He also shares insights on his role as a dialogue supervisor and the nuances of coaching actors in different languages and time periods.

The discussion touches on Conacher's experience working with actors like Kristen Stewart, Rami Malek, and members of the cast of The Crown, as well as his approach to coaching made-up dialects in films like The Chronicles of Narnia: Prince Caspian. Conacher also explores the diversity of London accents and the influence of ethnicity and culture on speech patterns.

Ferris Bueller's Day Off remains a timeless classic that continues to captivate audiences with its wit, charm, and unforgettable performances. William Conacher's expertise and insights into the world of dialect coaching add a fascinating layer to the appreciation of this beloved film. Join Andy, Pete, and William as they celebrate the enduring appeal of Ferris Bueller's Day Off and explore the art of bringing authentic voices to the screen.

Film Sundries


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]]> 1986, 1980s, John Hughes No Wuxia Unleashed: Leon Hunt & Chris Hamm on Martial Arts and Myth • Cinema Scope • Bonus Episode 5 5 Wuxia Unleashed: Leon Hunt & Chris Hamm on Martial Arts and Myth • Cinema Scope • Bonus Episode bonus 431720d3-6c03-49d9-bceb-a3acf08faf58 https://share.transistor.fm/s/c8b453d7 In this inaugural episode of Cinema Scope, host Andy Nelson is joined by professors Leon Hunt and Chris Hamm to explore the captivating world of wuxia, a Chinese film genre that blends philosophy, action, and legend. They discuss the key elements that define wuxia, such as the chivalrous heroes, period settings, and fantastical elements, as well as the concept of jianghu, a unique world within wuxia stories.

Leon and Chris trace the evolution of wuxia from its roots in early Chinese literature to its influence on other genres, including Hollywood blockbusters. They also highlight notable works like A Touch of Zen, The Bride with White Hair, and Crouching Tiger, Hidden Dragon, analyzing their contributions to the development and popularity of wuxia cinema.

This engaging and informative episode will deepen your appreciation for the richness and complexity of the wuxia genre, inspiring you to explore more of these captivating films.

Film Sundries


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]]> In this inaugural episode of Cinema Scope, host Andy Nelson is joined by professors Leon Hunt and Chris Hamm to explore the captivating world of wuxia, a Chinese film genre that blends philosophy, action, and legend. They discuss the key elements that define wuxia, such as the chivalrous heroes, period settings, and fantastical elements, as well as the concept of jianghu, a unique world within wuxia stories.

Leon and Chris trace the evolution of wuxia from its roots in early Chinese literature to its influence on other genres, including Hollywood blockbusters. They also highlight notable works like A Touch of Zen, The Bride with White Hair, and Crouching Tiger, Hidden Dragon, analyzing their contributions to the development and popularity of wuxia cinema.

This engaging and informative episode will deepen your appreciation for the richness and complexity of the wuxia genre, inspiring you to explore more of these captivating films.

Film Sundries


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]]> Wed, 27 Mar 2024 03:00:00 -0700 TruStory FM TruStory FM 4779 In this inaugural episode of Cinema Scope, host Andy Nelson is joined by professors Leon Hunt and Chris Hamm to explore the captivating world of wuxia, a Chinese film genre that blends philosophy, action, and legend. They discuss the key elements that define wuxia, such as the chivalrous heroes, period settings, and fantastical elements, as well as the concept of jianghu, a unique world within wuxia stories.

Leon and Chris trace the evolution of wuxia from its roots in early Chinese literature to its influence on other genres, including Hollywood blockbusters. They also highlight notable works like A Touch of Zen, The Bride with White Hair, and Crouching Tiger, Hidden Dragon, analyzing their contributions to the development and popularity of wuxia cinema.

This engaging and informative episode will deepen your appreciation for the richness and complexity of the wuxia genre, inspiring you to explore more of these captivating films.

Film Sundries


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]]> wuxia, Leon Hunt, Chris Hamm No Actor Patrick Fabian on The Man Who Would Be King 5 5 8 8 Actor Patrick Fabian on The Man Who Would Be King full c8e861c6-96fc-4a87-8934-aea7d9d583b4 https://share.transistor.fm/s/3e145ee4 “You call it luck. I call it destiny.”
Talking About John Huston’s The Man Who Would Be King with our guest, actor Patrick Fabian

In this engaging episode of Movies We Like, hosts Andy Nelson and Pete Wright are joined by special guest Patrick Fabian to discuss John Huston's epic adventure film, The Man Who Would Be King. Fabian, known for his roles in numerous TV shows and films, including his standout performance as Howard Hamlin in Better Call Saul, shares his passion for this classic movie and how it inspired him to pursue a career in acting.

Throughout the episode, Fabian delves into his early days as an aspiring actor, from his time as a band president in high school to his decision to pursue a master's degree in theater at Cal State Long Beach. He also shares anecdotes about his experiences working on various television shows and the valuable lessons he learned along the way, such as the importance of persistence and adaptability in the face of rejection.

As the conversation turns to The Man Who Would Be King, Fabian expresses his admiration for the film's sense of adventure, the strong bond between the lead characters, and the captivating performances by Sean Connery and Michael Caine. The hosts and guest explore the movie's themes, its representation of colonialism, and the enduring appeal of its grand storytelling.

The Man Who Would Be King is a timeless adventure that continues to enthrall audiences with its sweeping narrative, unforgettable performances, and exotic locales. Andy Nelson, Pete Wright, and Patrick Fabian's engaging discussion about the film and Fabian's fascinating career journey make this episode of Movies We Like a must-listen for fans of classic cinema and those interested in the world of acting. Join them as they celebrate the enduring power of storytelling and the indelible impact that a single film can have on one's life and career.

Film Sundries

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]]> “You call it luck. I call it destiny.”
Talking About John Huston’s The Man Who Would Be King with our guest, actor Patrick Fabian

In this engaging episode of Movies We Like, hosts Andy Nelson and Pete Wright are joined by special guest Patrick Fabian to discuss John Huston's epic adventure film, The Man Who Would Be King. Fabian, known for his roles in numerous TV shows and films, including his standout performance as Howard Hamlin in Better Call Saul, shares his passion for this classic movie and how it inspired him to pursue a career in acting.

Throughout the episode, Fabian delves into his early days as an aspiring actor, from his time as a band president in high school to his decision to pursue a master's degree in theater at Cal State Long Beach. He also shares anecdotes about his experiences working on various television shows and the valuable lessons he learned along the way, such as the importance of persistence and adaptability in the face of rejection.

As the conversation turns to The Man Who Would Be King, Fabian expresses his admiration for the film's sense of adventure, the strong bond between the lead characters, and the captivating performances by Sean Connery and Michael Caine. The hosts and guest explore the movie's themes, its representation of colonialism, and the enduring appeal of its grand storytelling.

The Man Who Would Be King is a timeless adventure that continues to enthrall audiences with its sweeping narrative, unforgettable performances, and exotic locales. Andy Nelson, Pete Wright, and Patrick Fabian's engaging discussion about the film and Fabian's fascinating career journey make this episode of Movies We Like a must-listen for fans of classic cinema and those interested in the world of acting. Join them as they celebrate the enduring power of storytelling and the indelible impact that a single film can have on one's life and career.

Film Sundries

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]]> Mon, 25 Mar 2024 03:00:00 -0700 TruStory FM TruStory FM 3517 “You call it luck. I call it destiny.”
Talking About John Huston’s The Man Who Would Be King with our guest, actor Patrick Fabian

In this engaging episode of Movies We Like, hosts Andy Nelson and Pete Wright are joined by special guest Patrick Fabian to discuss John Huston's epic adventure film, The Man Who Would Be King. Fabian, known for his roles in numerous TV shows and films, including his standout performance as Howard Hamlin in Better Call Saul, shares his passion for this classic movie and how it inspired him to pursue a career in acting.

Throughout the episode, Fabian delves into his early days as an aspiring actor, from his time as a band president in high school to his decision to pursue a master's degree in theater at Cal State Long Beach. He also shares anecdotes about his experiences working on various television shows and the valuable lessons he learned along the way, such as the importance of persistence and adaptability in the face of rejection.

As the conversation turns to The Man Who Would Be King, Fabian expresses his admiration for the film's sense of adventure, the strong bond between the lead characters, and the captivating performances by Sean Connery and Michael Caine. The hosts and guest explore the movie's themes, its representation of colonialism, and the enduring appeal of its grand storytelling.

The Man Who Would Be King is a timeless adventure that continues to enthrall audiences with its sweeping narrative, unforgettable performances, and exotic locales. Andy Nelson, Pete Wright, and Patrick Fabian's engaging discussion about the film and Fabian's fascinating career journey make this episode of Movies We Like a must-listen for fans of classic cinema and those interested in the world of acting. Join them as they celebrate the enduring power of storytelling and the indelible impact that a single film can have on one's life and career.

Film Sundries

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]]> Patrick Fabian, John Huston, 1975, 1970s No Costume Designer Antoinette Messam on Amélie 5 5 7 7 Costume Designer Antoinette Messam on Amélie full 664b1562-cd4a-481b-bbb5-56979298b826 https://share.transistor.fm/s/d43b35ad Talking About Jean-Pierre Jeunet’s Amélie with our guest, Costume Designer Antoinette Messam

On this episode of Movies We Like, we speak with costume designer Antoinette Messam about her incredible career in film and one of her favorite movies, Jean-Pierre Jeunet's magical 2001 film Amélie.

We have a fascinating conversation with Antoinette about her journey into costume design, including rebelling against family expectations, finding her way from fashion to film, and learning on the job. She shares amazing stories about her experience collaborating with directors like Ryan Coogler (Creed), F. Gary Gray (Lift), and Jeymes Samuel (The Harder They Fall, The Book of Clarence), and dressing icons like Sylvester Stallone and Michael B. Jordan.

When it comes to Amélie, we dive deep into the stunning use of color and how it brings the whimsical world to life. Antoinette explains how the color palette was meticulously constructed through collaboration between the director, production design, costume, and more - truly effortless worldbuilding. We also discuss the joyful spirit of the film, Audrey Tautou’s masterful performance, and how the music perfectly complements the visuals.

Our chat with Antoinette gives rare insight into the art of costume design and the magic of movies. Amélie is a vibrant, feel-good film with incredible attention to detail that we highly recommend. We have an amazing time learning from Antoinette's experiences and perspectives on this delightful movie.

Film Sundries


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]]> Talking About Jean-Pierre Jeunet’s Amélie with our guest, Costume Designer Antoinette Messam

On this episode of Movies We Like, we speak with costume designer Antoinette Messam about her incredible career in film and one of her favorite movies, Jean-Pierre Jeunet's magical 2001 film Amélie.

We have a fascinating conversation with Antoinette about her journey into costume design, including rebelling against family expectations, finding her way from fashion to film, and learning on the job. She shares amazing stories about her experience collaborating with directors like Ryan Coogler (Creed), F. Gary Gray (Lift), and Jeymes Samuel (The Harder They Fall, The Book of Clarence), and dressing icons like Sylvester Stallone and Michael B. Jordan.

When it comes to Amélie, we dive deep into the stunning use of color and how it brings the whimsical world to life. Antoinette explains how the color palette was meticulously constructed through collaboration between the director, production design, costume, and more - truly effortless worldbuilding. We also discuss the joyful spirit of the film, Audrey Tautou’s masterful performance, and how the music perfectly complements the visuals.

Our chat with Antoinette gives rare insight into the art of costume design and the magic of movies. Amélie is a vibrant, feel-good film with incredible attention to detail that we highly recommend. We have an amazing time learning from Antoinette's experiences and perspectives on this delightful movie.

Film Sundries


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]]> Mon, 26 Feb 2024 03:00:00 -0800 TruStory FM TruStory FM 4419 Talking About Jean-Pierre Jeunet’s Amélie with our guest, Costume Designer Antoinette Messam

On this episode of Movies We Like, we speak with costume designer Antoinette Messam about her incredible career in film and one of her favorite movies, Jean-Pierre Jeunet's magical 2001 film Amélie.

We have a fascinating conversation with Antoinette about her journey into costume design, including rebelling against family expectations, finding her way from fashion to film, and learning on the job. She shares amazing stories about her experience collaborating with directors like Ryan Coogler (Creed), F. Gary Gray (Lift), and Jeymes Samuel (The Harder They Fall, The Book of Clarence), and dressing icons like Sylvester Stallone and Michael B. Jordan.

When it comes to Amélie, we dive deep into the stunning use of color and how it brings the whimsical world to life. Antoinette explains how the color palette was meticulously constructed through collaboration between the director, production design, costume, and more - truly effortless worldbuilding. We also discuss the joyful spirit of the film, Audrey Tautou’s masterful performance, and how the music perfectly complements the visuals.

Our chat with Antoinette gives rare insight into the art of costume design and the magic of movies. Amélie is a vibrant, feel-good film with incredible attention to detail that we highly recommend. We have an amazing time learning from Antoinette's experiences and perspectives on this delightful movie.

Film Sundries


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]]> 2001, 2000s, Antoinette Messam No Special Effects Supervisor Chris Reynolds on Cinema Paradiso 5 5 6 6 Special Effects Supervisor Chris Reynolds on Cinema Paradiso full 4b3c49ca-2c96-4b99-a148-e39fefde0c46 https://share.transistor.fm/s/86138da6 “Life isn't like in the movies. Life... is much harder.”
Talking About Cinema Paradiso with our guest, Special Effects Supervisor Chris Reynolds

In this magical episode, we chat with veteran special effects artist and supervisor Chris Reynolds about his storied career bringing movies to life through innovative engineering and technology. Our focus is the classic Cinema Paradiso, a nostalgic ode to the glory days of cinema that inspired Chris from an early age.

Chris has built an impressive 40-year career in special effects, rising from technician to supervisor. He regales us with tales of his early days at the BBC, where he cut his teeth on classics like Blackadder. From blowing up haggis to sculpting giant lips, Chris learned to create imaginative practical effects on the fly across every genre. His passion for storytelling shines through as he discusses favorite projects, including some he worked on like Philip K. Dick’s Electric Dreams, and others he didn't, like Battle of Britain.

Turning to Cinema Paradiso, we unpack the magic of this film that celebrates the power of cinema to transport us. We all agree the performances are fantastic, especially Salvatore Cascio as the young Toto. And Ennio Morricone’s iconic score ties it all together. The ending montage of kisses cut by the priest is pure movie magic. Chris gives the inside scoop on the fire sequence, rating its mixed effectiveness from a special effects supervisor's perspective. He also shares which version he prefers between the Director’s Cut and the international release.

Overall, Cinema Paradiso captures a sense of childlike wonder and nostalgia for the romanticism of old Hollywood. Chris gives us an insider’s view into the art and craft of moviemaking. For any cinema lover, this is a must-listen episode.

Film Sundries


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]]> “Life isn't like in the movies. Life... is much harder.”
Talking About Cinema Paradiso with our guest, Special Effects Supervisor Chris Reynolds

In this magical episode, we chat with veteran special effects artist and supervisor Chris Reynolds about his storied career bringing movies to life through innovative engineering and technology. Our focus is the classic Cinema Paradiso, a nostalgic ode to the glory days of cinema that inspired Chris from an early age.

Chris has built an impressive 40-year career in special effects, rising from technician to supervisor. He regales us with tales of his early days at the BBC, where he cut his teeth on classics like Blackadder. From blowing up haggis to sculpting giant lips, Chris learned to create imaginative practical effects on the fly across every genre. His passion for storytelling shines through as he discusses favorite projects, including some he worked on like Philip K. Dick’s Electric Dreams, and others he didn't, like Battle of Britain.

Turning to Cinema Paradiso, we unpack the magic of this film that celebrates the power of cinema to transport us. We all agree the performances are fantastic, especially Salvatore Cascio as the young Toto. And Ennio Morricone’s iconic score ties it all together. The ending montage of kisses cut by the priest is pure movie magic. Chris gives the inside scoop on the fire sequence, rating its mixed effectiveness from a special effects supervisor's perspective. He also shares which version he prefers between the Director’s Cut and the international release.

Overall, Cinema Paradiso captures a sense of childlike wonder and nostalgia for the romanticism of old Hollywood. Chris gives us an insider’s view into the art and craft of moviemaking. For any cinema lover, this is a must-listen episode.

Film Sundries


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]]> Mon, 22 Jan 2024 03:00:00 -0800 TruStory FM TruStory FM 3965 “Life isn't like in the movies. Life... is much harder.”
Talking About Cinema Paradiso with our guest, Special Effects Supervisor Chris Reynolds

In this magical episode, we chat with veteran special effects artist and supervisor Chris Reynolds about his storied career bringing movies to life through innovative engineering and technology. Our focus is the classic Cinema Paradiso, a nostalgic ode to the glory days of cinema that inspired Chris from an early age.

Chris has built an impressive 40-year career in special effects, rising from technician to supervisor. He regales us with tales of his early days at the BBC, where he cut his teeth on classics like Blackadder. From blowing up haggis to sculpting giant lips, Chris learned to create imaginative practical effects on the fly across every genre. His passion for storytelling shines through as he discusses favorite projects, including some he worked on like Philip K. Dick’s Electric Dreams, and others he didn't, like Battle of Britain.

Turning to Cinema Paradiso, we unpack the magic of this film that celebrates the power of cinema to transport us. We all agree the performances are fantastic, especially Salvatore Cascio as the young Toto. And Ennio Morricone’s iconic score ties it all together. The ending montage of kisses cut by the priest is pure movie magic. Chris gives the inside scoop on the fire sequence, rating its mixed effectiveness from a special effects supervisor's perspective. He also shares which version he prefers between the Director’s Cut and the international release.

Overall, Cinema Paradiso captures a sense of childlike wonder and nostalgia for the romanticism of old Hollywood. Chris gives us an insider’s view into the art and craft of moviemaking. For any cinema lover, this is a must-listen episode.

Film Sundries


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]]> 1988, 1980s, chris reynolds, giuseppe tornatore No Cinematographer Erik Messerschmidt on Chinatown 5 5 5 5 Cinematographer Erik Messerschmidt on Chinatown full 7ae2ddbb-765c-47c8-b4d9-f8823d253bf0 https://share.transistor.fm/s/dac710d4 “You may think you know what you’re dealing with, but you don’t. Believe me.”

Talking About Chinatown with our guest, Cinematographer Erik Messerschmidt

Roman Polanski's 1974 neo-noir Chinatown is regarded as one of the greatest films of all time. In this episode, we're joined by Academy Award-winning cinematographer Erik Messerschmidt to discuss this masterpiece of cinema.


We start by talking to Erik about his passion for filmmaking and what led him to a career in cinematography. He shares how he was drawn to the camaraderie and creative collaboration of working on set. Over time he realized the cinematographer role allowed him to blend his interests in art, science, and technology.


When it comes to Chinatown, Erik praises the elegant camerawork and seamless visual storytelling. Polanski uses the camera deliberately, guiding the audience through clues and reveals without excessive dialogue. The mystery unfolds through precise editing and minimalist framing. We also discuss the phenomenal performances and how Polanski pulls back at key moments to ground the major plot turns.


Chatting with Erik gave us a new appreciation for the nuance and artistry of Chinatown. It's a masterclass in subtle visual storytelling that inspired generations of filmmakers. Roman Polanski's direction and Robert Towne's script form a potent combination. We highly recommend revisiting this neo-noir gem.


Film Sundries


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]]> “You may think you know what you’re dealing with, but you don’t. Believe me.”

Talking About Chinatown with our guest, Cinematographer Erik Messerschmidt

Roman Polanski's 1974 neo-noir Chinatown is regarded as one of the greatest films of all time. In this episode, we're joined by Academy Award-winning cinematographer Erik Messerschmidt to discuss this masterpiece of cinema.


We start by talking to Erik about his passion for filmmaking and what led him to a career in cinematography. He shares how he was drawn to the camaraderie and creative collaboration of working on set. Over time he realized the cinematographer role allowed him to blend his interests in art, science, and technology.


When it comes to Chinatown, Erik praises the elegant camerawork and seamless visual storytelling. Polanski uses the camera deliberately, guiding the audience through clues and reveals without excessive dialogue. The mystery unfolds through precise editing and minimalist framing. We also discuss the phenomenal performances and how Polanski pulls back at key moments to ground the major plot turns.


Chatting with Erik gave us a new appreciation for the nuance and artistry of Chinatown. It's a masterclass in subtle visual storytelling that inspired generations of filmmakers. Roman Polanski's direction and Robert Towne's script form a potent combination. We highly recommend revisiting this neo-noir gem.


Film Sundries


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]]> Mon, 18 Dec 2023 03:00:00 -0800 TruStory FM TruStory FM 3782 “You may think you know what you’re dealing with, but you don’t. Believe me.”

Talking About Chinatown with our guest, Cinematographer Erik Messerschmidt

Roman Polanski's 1974 neo-noir Chinatown is regarded as one of the greatest films of all time. In this episode, we're joined by Academy Award-winning cinematographer Erik Messerschmidt to discuss this masterpiece of cinema.


We start by talking to Erik about his passion for filmmaking and what led him to a career in cinematography. He shares how he was drawn to the camaraderie and creative collaboration of working on set. Over time he realized the cinematographer role allowed him to blend his interests in art, science, and technology.


When it comes to Chinatown, Erik praises the elegant camerawork and seamless visual storytelling. Polanski uses the camera deliberately, guiding the audience through clues and reveals without excessive dialogue. The mystery unfolds through precise editing and minimalist framing. We also discuss the phenomenal performances and how Polanski pulls back at key moments to ground the major plot turns.


Chatting with Erik gave us a new appreciation for the nuance and artistry of Chinatown. It's a masterclass in subtle visual storytelling that inspired generations of filmmakers. Roman Polanski's direction and Robert Towne's script form a potent combination. We highly recommend revisiting this neo-noir gem.


Film Sundries


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]]> 1974, 1970s, Erik Messerschmidt, Roman Polanski No Cinematographer Lyn Moncrief on Magnolia 5 5 4 4 Cinematographer Lyn Moncrief on Magnolia full d95f4d0c-dc76-4351-a285-114411569ccc https://share.transistor.fm/s/201418fa “This is something that happens.”

Talking About Paul Thomas Anderson’s 1999 film Magnolia with our guest, cinematographer Lyn Moncrief

On this episode of Movies We Like, hosts Andy Nelson and Pete Wright invite cinematographer Lyn Moncrief to discuss his career and one of his favorite films, Paul Thomas Anderson’s sprawling 1999 drama Magnolia.

We talk with Lyn about how he first got interested in cinematography and making the move to Los Angeles to pursue his passion. He discusses some of his early work in independent films and horror movies, explaining that the genre can allow for creative freedom visually. Lyn also touches on his collaborations with director Emma Tammi, including the recent Five Nights at Freddy's adaptation.


When we dive into Magnolia, we analyze the film's unique visual style, editing, and how the different storylines weave together. We highlight standout emotional performances, especially from Tom Cruise and Julianne Moore. We also praise the film's musical interludes featuring songs written for the movie by Aimee Mann. Lyn explains how Magnolia inspired him as a young cinematographer and made him want to be part of ambitious filmmaking.


With its sprawling stories, raw performances, and stunning cinematography, Magnolia is truly a modern classic. This was a fascinating discussion about both Lyn's career and one of his favorite films. We clearly had an excellent time geeking out over this towering achievement. Be sure to check out Magnolia if you haven't seen it and listen to Lyn's insights from working in the industry.


Film Sundries


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]]> “This is something that happens.”

Talking About Paul Thomas Anderson’s 1999 film Magnolia with our guest, cinematographer Lyn Moncrief

On this episode of Movies We Like, hosts Andy Nelson and Pete Wright invite cinematographer Lyn Moncrief to discuss his career and one of his favorite films, Paul Thomas Anderson’s sprawling 1999 drama Magnolia.

We talk with Lyn about how he first got interested in cinematography and making the move to Los Angeles to pursue his passion. He discusses some of his early work in independent films and horror movies, explaining that the genre can allow for creative freedom visually. Lyn also touches on his collaborations with director Emma Tammi, including the recent Five Nights at Freddy's adaptation.


When we dive into Magnolia, we analyze the film's unique visual style, editing, and how the different storylines weave together. We highlight standout emotional performances, especially from Tom Cruise and Julianne Moore. We also praise the film's musical interludes featuring songs written for the movie by Aimee Mann. Lyn explains how Magnolia inspired him as a young cinematographer and made him want to be part of ambitious filmmaking.


With its sprawling stories, raw performances, and stunning cinematography, Magnolia is truly a modern classic. This was a fascinating discussion about both Lyn's career and one of his favorite films. We clearly had an excellent time geeking out over this towering achievement. Be sure to check out Magnolia if you haven't seen it and listen to Lyn's insights from working in the industry.


Film Sundries


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]]> Mon, 13 Nov 2023 03:00:00 -0800 TruStory FM TruStory FM 4209 “This is something that happens.”

Talking About Paul Thomas Anderson’s 1999 film Magnolia with our guest, cinematographer Lyn Moncrief

On this episode of Movies We Like, hosts Andy Nelson and Pete Wright invite cinematographer Lyn Moncrief to discuss his career and one of his favorite films, Paul Thomas Anderson’s sprawling 1999 drama Magnolia.

We talk with Lyn about how he first got interested in cinematography and making the move to Los Angeles to pursue his passion. He discusses some of his early work in independent films and horror movies, explaining that the genre can allow for creative freedom visually. Lyn also touches on his collaborations with director Emma Tammi, including the recent Five Nights at Freddy's adaptation.


When we dive into Magnolia, we analyze the film's unique visual style, editing, and how the different storylines weave together. We highlight standout emotional performances, especially from Tom Cruise and Julianne Moore. We also praise the film's musical interludes featuring songs written for the movie by Aimee Mann. Lyn explains how Magnolia inspired him as a young cinematographer and made him want to be part of ambitious filmmaking.


With its sprawling stories, raw performances, and stunning cinematography, Magnolia is truly a modern classic. This was a fascinating discussion about both Lyn's career and one of his favorite films. We clearly had an excellent time geeking out over this towering achievement. Be sure to check out Magnolia if you haven't seen it and listen to Lyn's insights from working in the industry.


Film Sundries


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]]> 1999, 1990s, Paul Thomas Anderson, Lyn Moncrief No Persona • A Conversation with Writer/Director Sophie Barthes 5 5 3 3 Persona • A Conversation with Writer/Director Sophie Barthes full 46fff3a2-fdc4-4fa2-989c-4896bc2c99e3 https://share.transistor.fm/s/f5c474a9 “I think I could turn into you if I really tried.”

Talking About Persona with our guest, writer/director Sophie Barthes

On this episode of Movies We Like, we speak with writer/director Sophie Barthes about one of her favorite films, Ingmar Bergman’s 1966 psychological drama Persona. We also discussed Barthes' own directing career and thoughts on filmmaking.

We have an in-depth discussion about Bergman's avant-garde masterpiece Persona, analyzing its dreamlike atmosphere, innovative editing and cinematography, complex characters and themes of identity and psychology. We talk about how the film's shocking opening montage and sparse narrative puts the viewer in an unsettled state of mind. Overall, we find Persona to be an endlessly discussable classic that still feels fresh and boundary-pushing today.


We also speak with Barthes about her three feature films - Cold Souls, Madame Bovary, and The Pod Generation. Barthes explains how she often explores themes of consumerism, psychology and identity through different genres and time periods. She shared insights into her creative process, from conceptualizing stories based on her dreams to her highly-stylized production design. Barthes also discussed the challenges of portraying human truths and darkness as a director today versus Bergman's time.


Barthes gives thoughtful perspective as both a director and film lover. Her pick certainly leads to a rich discussion about cinematic art today as Persona proves to be a multilayered classic ripe for analysis.


Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!


Film Sundries

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]]> “I think I could turn into you if I really tried.”

Talking About Persona with our guest, writer/director Sophie Barthes

On this episode of Movies We Like, we speak with writer/director Sophie Barthes about one of her favorite films, Ingmar Bergman’s 1966 psychological drama Persona. We also discussed Barthes' own directing career and thoughts on filmmaking.

We have an in-depth discussion about Bergman's avant-garde masterpiece Persona, analyzing its dreamlike atmosphere, innovative editing and cinematography, complex characters and themes of identity and psychology. We talk about how the film's shocking opening montage and sparse narrative puts the viewer in an unsettled state of mind. Overall, we find Persona to be an endlessly discussable classic that still feels fresh and boundary-pushing today.


We also speak with Barthes about her three feature films - Cold Souls, Madame Bovary, and The Pod Generation. Barthes explains how she often explores themes of consumerism, psychology and identity through different genres and time periods. She shared insights into her creative process, from conceptualizing stories based on her dreams to her highly-stylized production design. Barthes also discussed the challenges of portraying human truths and darkness as a director today versus Bergman's time.


Barthes gives thoughtful perspective as both a director and film lover. Her pick certainly leads to a rich discussion about cinematic art today as Persona proves to be a multilayered classic ripe for analysis.


Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!


Film Sundries

Learn more about supporting The Next Reel’s Movies We Like through your own membership with The Next Reel.


Support The Next Reel Family of Film Shows:

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]]> Mon, 23 Oct 2023 03:00:00 -0700 TruStory FM TruStory FM 4731 “I think I could turn into you if I really tried.”

Talking About Persona with our guest, writer/director Sophie Barthes

On this episode of Movies We Like, we speak with writer/director Sophie Barthes about one of her favorite films, Ingmar Bergman’s 1966 psychological drama Persona. We also discussed Barthes' own directing career and thoughts on filmmaking.

We have an in-depth discussion about Bergman's avant-garde masterpiece Persona, analyzing its dreamlike atmosphere, innovative editing and cinematography, complex characters and themes of identity and psychology. We talk about how the film's shocking opening montage and sparse narrative puts the viewer in an unsettled state of mind. Overall, we find Persona to be an endlessly discussable classic that still feels fresh and boundary-pushing today.


We also speak with Barthes about her three feature films - Cold Souls, Madame Bovary, and The Pod Generation. Barthes explains how she often explores themes of consumerism, psychology and identity through different genres and time periods. She shared insights into her creative process, from conceptualizing stories based on her dreams to her highly-stylized production design. Barthes also discussed the challenges of portraying human truths and darkness as a director today versus Bergman's time.


Barthes gives thoughtful perspective as both a director and film lover. Her pick certainly leads to a rich discussion about cinematic art today as Persona proves to be a multilayered classic ripe for analysis.


Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!


Film Sundries

Learn more about supporting The Next Reel’s Movies We Like through your own membership with The Next Reel.


Support The Next Reel Family of Film Shows:

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]]> 1966, 1960s, Ingmar Bergman, Sophie Barthes No The Mission • A Conversation with Costume Designer Deborah L. Scott 5 5 2 2 The Mission • A Conversation with Costume Designer Deborah L. Scott full e1d95c43-6957-4f6e-88b9-8a059624281f https://share.transistor.fm/s/c3aa3f76 “If might is right, then love has no place in the world.”

Talking About The Mission with our guest, Academy Award-winning costume designer Deborah L. Scott

Andy and legendary costume designer Deborah L. Scott dive deep into Roland Joffé’s 1986 masterpiece The Mission, an intense and emotional story of faith, colonialism, and redemption. Set in 18th century South America, this Best Picture Oscar nominee boasts an incredible cast and a stunning visual style.

Jeremy Irons delivers an incredible performance as Father Gabriel, a Jesuit priest trying to build a mission in the jungle and protect the indigenous Guarani people. Robert De Niro is unforgettable as Rodrigo Mendoza, a mercenary and slaver who murdered his own brother and seeks forgiveness and redemption by becoming a Jesuit priest. The complex story deftly explores the intersection of religion, politics, and colonialism during this volatile historical period. 

From the lush South American jungles to the thundering Iguaçu Falls, the movie is a visual feast, thanks in large part to Chris Menges' Oscar-winning cinematography. Ennio Morricone’s haunting, Golden Globe-winning score adds an emotional weight that permeates each scene. Though Deborah did not work on this film, she provides an insider's appreciation for Enrico Sabbatini’s period costumes which also help transport viewers to 18th century South America.

Deborah’s Legendary Career in Costume Design

Deborah also discusses highlights from her amazing career in costume design, including unforgettable films like Titanic, Back to the Future, Avatar, Heat, and yes, even Armed and Dangerous. She shares fascinating stories about how iconic costumes were created and working with visionary directors like James Cameron, Robert Zemeckis, and Michael Mann.

The Mission is a powerful and unforgettable film that stays with you long after the credits roll. Deborah and Andy's insightful conversation highlights why the movie remains so impactful decades later. Plus, hearing Deborah's stories provides a fascinating look behind-the-scenes at her legendary costume design career. 

Join the conversation with movie lovers from around the world in our Discord community!

Film Sundries

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]]> “If might is right, then love has no place in the world.”

Talking About The Mission with our guest, Academy Award-winning costume designer Deborah L. Scott

Andy and legendary costume designer Deborah L. Scott dive deep into Roland Joffé’s 1986 masterpiece The Mission, an intense and emotional story of faith, colonialism, and redemption. Set in 18th century South America, this Best Picture Oscar nominee boasts an incredible cast and a stunning visual style.

Jeremy Irons delivers an incredible performance as Father Gabriel, a Jesuit priest trying to build a mission in the jungle and protect the indigenous Guarani people. Robert De Niro is unforgettable as Rodrigo Mendoza, a mercenary and slaver who murdered his own brother and seeks forgiveness and redemption by becoming a Jesuit priest. The complex story deftly explores the intersection of religion, politics, and colonialism during this volatile historical period. 

From the lush South American jungles to the thundering Iguaçu Falls, the movie is a visual feast, thanks in large part to Chris Menges' Oscar-winning cinematography. Ennio Morricone’s haunting, Golden Globe-winning score adds an emotional weight that permeates each scene. Though Deborah did not work on this film, she provides an insider's appreciation for Enrico Sabbatini’s period costumes which also help transport viewers to 18th century South America.

Deborah’s Legendary Career in Costume Design

Deborah also discusses highlights from her amazing career in costume design, including unforgettable films like Titanic, Back to the Future, Avatar, Heat, and yes, even Armed and Dangerous. She shares fascinating stories about how iconic costumes were created and working with visionary directors like James Cameron, Robert Zemeckis, and Michael Mann.

The Mission is a powerful and unforgettable film that stays with you long after the credits roll. Deborah and Andy's insightful conversation highlights why the movie remains so impactful decades later. Plus, hearing Deborah's stories provides a fascinating look behind-the-scenes at her legendary costume design career. 

Join the conversation with movie lovers from around the world in our Discord community!

Film Sundries

Learn more about supporting Movies We Like through your own membership with The Next Reel family of podcasts.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Mon, 25 Sep 2023 03:00:00 -0700 TruStory FM TruStory FM 4416 “If might is right, then love has no place in the world.”

Talking About The Mission with our guest, Academy Award-winning costume designer Deborah L. Scott

Andy and legendary costume designer Deborah L. Scott dive deep into Roland Joffé’s 1986 masterpiece The Mission, an intense and emotional story of faith, colonialism, and redemption. Set in 18th century South America, this Best Picture Oscar nominee boasts an incredible cast and a stunning visual style.

Jeremy Irons delivers an incredible performance as Father Gabriel, a Jesuit priest trying to build a mission in the jungle and protect the indigenous Guarani people. Robert De Niro is unforgettable as Rodrigo Mendoza, a mercenary and slaver who murdered his own brother and seeks forgiveness and redemption by becoming a Jesuit priest. The complex story deftly explores the intersection of religion, politics, and colonialism during this volatile historical period. 

From the lush South American jungles to the thundering Iguaçu Falls, the movie is a visual feast, thanks in large part to Chris Menges' Oscar-winning cinematography. Ennio Morricone’s haunting, Golden Globe-winning score adds an emotional weight that permeates each scene. Though Deborah did not work on this film, she provides an insider's appreciation for Enrico Sabbatini’s period costumes which also help transport viewers to 18th century South America.

Deborah’s Legendary Career in Costume Design

Deborah also discusses highlights from her amazing career in costume design, including unforgettable films like Titanic, Back to the Future, Avatar, Heat, and yes, even Armed and Dangerous. She shares fascinating stories about how iconic costumes were created and working with visionary directors like James Cameron, Robert Zemeckis, and Michael Mann.

The Mission is a powerful and unforgettable film that stays with you long after the credits roll. Deborah and Andy's insightful conversation highlights why the movie remains so impactful decades later. Plus, hearing Deborah's stories provides a fascinating look behind-the-scenes at her legendary costume design career. 

Join the conversation with movie lovers from around the world in our Discord community!

Film Sundries

Learn more about supporting Movies We Like through your own membership with The Next Reel family of podcasts.


Support The Next Reel Family of Film Shows:

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]]> 1986, 1980s, Deborah L. Scott, Roland Joffé No The Reflecting Skin • A Conversation with Storyboard and Concept Artist Anson Jew 5 5 1 1 The Reflecting Skin • A Conversation with Storyboard and Concept Artist Anson Jew full ef8f2d9c-65eb-4a97-8827-043b4bebff3a https://share.transistor.fm/s/de0d3888 “Any vampires around these parts, Pa?”

Talking About The Reflecting Skin with our guest, storyboard and concept artist Anson Jew

There’s a lot going on in this story of childhood. It’s a story about vampirism and nuclear devastation. It’s about a town’s secrets and the perspective of children. Homosexuality in a time when it was far from being accepted. Dealing with loss. Growing old. Finding love. Writer/director Philip Ridley not only crafted a gorgeous film that’s alive from start to finish, but he crafted a story about childhood that captures all the strangeness and complexity we should expect and want in a story about a kid making his way in the world.


Storyboard and concept artist Anson Jew joins us to talk about this film, which has stuck with him since he first saw it. It’s a fantastic film and one certainly worth discussing. We have a great time talking with Anson about it, so check it out then tune in. 


Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!


Film Sundries

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]]> “Any vampires around these parts, Pa?”

Talking About The Reflecting Skin with our guest, storyboard and concept artist Anson Jew

There’s a lot going on in this story of childhood. It’s a story about vampirism and nuclear devastation. It’s about a town’s secrets and the perspective of children. Homosexuality in a time when it was far from being accepted. Dealing with loss. Growing old. Finding love. Writer/director Philip Ridley not only crafted a gorgeous film that’s alive from start to finish, but he crafted a story about childhood that captures all the strangeness and complexity we should expect and want in a story about a kid making his way in the world.


Storyboard and concept artist Anson Jew joins us to talk about this film, which has stuck with him since he first saw it. It’s a fantastic film and one certainly worth discussing. We have a great time talking with Anson about it, so check it out then tune in. 


Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!


Film Sundries

Learn more about supporting The Next Reel’s Movies We Like through your own membership with The Next Reel.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> Mon, 28 Aug 2023 03:00:00 -0700 TruStory FM TruStory FM 3624 “Any vampires around these parts, Pa?”

Talking About The Reflecting Skin with our guest, storyboard and concept artist Anson Jew

There’s a lot going on in this story of childhood. It’s a story about vampirism and nuclear devastation. It’s about a town’s secrets and the perspective of children. Homosexuality in a time when it was far from being accepted. Dealing with loss. Growing old. Finding love. Writer/director Philip Ridley not only crafted a gorgeous film that’s alive from start to finish, but he crafted a story about childhood that captures all the strangeness and complexity we should expect and want in a story about a kid making his way in the world.


Storyboard and concept artist Anson Jew joins us to talk about this film, which has stuck with him since he first saw it. It’s a fantastic film and one certainly worth discussing. We have a great time talking with Anson about it, so check it out then tune in. 


Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!


Film Sundries

Learn more about supporting The Next Reel’s Movies We Like through your own membership with The Next Reel.


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]]> 1990, 1990s, Anson Jew, Philip Ridley No The Thin Red Line • A Conversation with Cinematographer Ross Riege 4 4 5 5 The Thin Red Line • A Conversation with Cinematographer Ross Riege full ff20ef1d-3bd2-40e0-a97a-a413b1fd3561 https://share.transistor.fm/s/f9827bfa “We're living in a world that's blowing itself to hell as fast as everybody can arrange it.”

Talking About Terrence Malick’s 1998 film The Thin Red Line with our guest, cinematographer Ross Riege

While Terrence Malick’s war film came out five months after Steven Spielberg’s Saving Private Ryan, it couldn’t be more different. They’re both exceptional films, but Malick’s takes a more pensive, thoughtful, esoteric approach with his. At its basest level, the story follows a military unit on the Melanesian island of Guadalcanal as they work to take it from Japanese troops. While that story’s there, in Malick’s hands, the film is more about the balance between man and nature and how the war machine destroys men’s souls. 


Not only is the way Malick crafts the story haunting, it’s also done in a way that fits perfectly with his themes and views. Cinematographer Ross Riege is a big fan, having first seen this and a number of other Malick films when prepping Redland, an early film he worked on, as well as his big break as cinematographer for The Kings of Summer. It’s fitting then that that film’s look was described as feeling Malickian. 


We talk more with Riege about his career, starting with smaller films and moving up to films like Weird: The Al Yankovic Story and the TV series The Afterparty. We also get some impressions from him on the switch from film to digital, working with his crews, and more. It’s a fantastic conversation about a great movie with a great cinematographer. 


Film Sundries


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]]> “We're living in a world that's blowing itself to hell as fast as everybody can arrange it.”

Talking About Terrence Malick’s 1998 film The Thin Red Line with our guest, cinematographer Ross Riege

While Terrence Malick’s war film came out five months after Steven Spielberg’s Saving Private Ryan, it couldn’t be more different. They’re both exceptional films, but Malick’s takes a more pensive, thoughtful, esoteric approach with his. At its basest level, the story follows a military unit on the Melanesian island of Guadalcanal as they work to take it from Japanese troops. While that story’s there, in Malick’s hands, the film is more about the balance between man and nature and how the war machine destroys men’s souls. 


Not only is the way Malick crafts the story haunting, it’s also done in a way that fits perfectly with his themes and views. Cinematographer Ross Riege is a big fan, having first seen this and a number of other Malick films when prepping Redland, an early film he worked on, as well as his big break as cinematographer for The Kings of Summer. It’s fitting then that that film’s look was described as feeling Malickian. 


We talk more with Riege about his career, starting with smaller films and moving up to films like Weird: The Al Yankovic Story and the TV series The Afterparty. We also get some impressions from him on the switch from film to digital, working with his crews, and more. It’s a fantastic conversation about a great movie with a great cinematographer. 


Film Sundries


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The Next Reel Family of Film Shows:

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Shop & Stream:

]]> Mon, 31 Jul 2023 15:00:00 -0700 TruStory FM TruStory FM 4036 “We're living in a world that's blowing itself to hell as fast as everybody can arrange it.”

Talking About Terrence Malick’s 1998 film The Thin Red Line with our guest, cinematographer Ross Riege

While Terrence Malick’s war film came out five months after Steven Spielberg’s Saving Private Ryan, it couldn’t be more different. They’re both exceptional films, but Malick’s takes a more pensive, thoughtful, esoteric approach with his. At its basest level, the story follows a military unit on the Melanesian island of Guadalcanal as they work to take it from Japanese troops. While that story’s there, in Malick’s hands, the film is more about the balance between man and nature and how the war machine destroys men’s souls. 


Not only is the way Malick crafts the story haunting, it’s also done in a way that fits perfectly with his themes and views. Cinematographer Ross Riege is a big fan, having first seen this and a number of other Malick films when prepping Redland, an early film he worked on, as well as his big break as cinematographer for The Kings of Summer. It’s fitting then that that film’s look was described as feeling Malickian. 


We talk more with Riege about his career, starting with smaller films and moving up to films like Weird: The Al Yankovic Story and the TV series The Afterparty. We also get some impressions from him on the switch from film to digital, working with his crews, and more. It’s a fantastic conversation about a great movie with a great cinematographer. 


Film Sundries


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]]> 1998, 1990s, Terrence Malick, Ross Riege No Working Girl • A Conversation with Writer/Producer Rachel Lewis 4 4 4 4 Working Girl • A Conversation with Writer/Producer Rachel Lewis full 64d2fc23-2b50-4aba-b4a9-f503475339fc https://share.transistor.fm/s/89ef6c57 “You don’t get anywhere in this world by waiting for what you want to come to you. You make it happen.”

Talking About Working Girl with our guest, writer/producer Rachel Lewis

Mike Nichols’ film has been in all of our lives for decades now, and there are reasons it stands out as a classic. It’s a Cinderella story dealing with the sexism in the 80s workplace, and how one woman proves she has the stuff to break out of the secretary role in which she’d been stuck. It’s full of laughs, but also full of heart. And lest we forget the magnificent big 80s hair. It’s a sight to behold. 


Sure, the movie has some dated elements that don’t work quite as well, but that’s looking through today’s eyes. For its place in the late 80s, it works perfectly and delivers a solid film. Writer/producer Rachel Lewis is a big fan, and we have a great conversation with her about the movie. We chat through the cast and the themes. And then there’s Carly Simon’s fantastic and anthemic song that’s as inspiring as the movie is itself. 


Rachel tells us about her career and how she got started in the world of improv comedy before moving to LA and working her way into pitch meetings. As a writer, WGA team captain, and lot coordinator for the current strike, she also breaks down some of the reasons for it and what the writers are collectively working toward.


It’s a fantastic conversation about a great movie and the importance of this current strike. Check it out! 


Film Sundries


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The Next Reel Family of Film Shows:

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Shop & Stream:

]]> “You don’t get anywhere in this world by waiting for what you want to come to you. You make it happen.”

Talking About Working Girl with our guest, writer/producer Rachel Lewis

Mike Nichols’ film has been in all of our lives for decades now, and there are reasons it stands out as a classic. It’s a Cinderella story dealing with the sexism in the 80s workplace, and how one woman proves she has the stuff to break out of the secretary role in which she’d been stuck. It’s full of laughs, but also full of heart. And lest we forget the magnificent big 80s hair. It’s a sight to behold. 


Sure, the movie has some dated elements that don’t work quite as well, but that’s looking through today’s eyes. For its place in the late 80s, it works perfectly and delivers a solid film. Writer/producer Rachel Lewis is a big fan, and we have a great conversation with her about the movie. We chat through the cast and the themes. And then there’s Carly Simon’s fantastic and anthemic song that’s as inspiring as the movie is itself. 


Rachel tells us about her career and how she got started in the world of improv comedy before moving to LA and working her way into pitch meetings. As a writer, WGA team captain, and lot coordinator for the current strike, she also breaks down some of the reasons for it and what the writers are collectively working toward.


It’s a fantastic conversation about a great movie and the importance of this current strike. Check it out! 


Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> Mon, 12 Jun 2023 03:00:00 -0700 TruStory FM TruStory FM 3385 “You don’t get anywhere in this world by waiting for what you want to come to you. You make it happen.”

Talking About Working Girl with our guest, writer/producer Rachel Lewis

Mike Nichols’ film has been in all of our lives for decades now, and there are reasons it stands out as a classic. It’s a Cinderella story dealing with the sexism in the 80s workplace, and how one woman proves she has the stuff to break out of the secretary role in which she’d been stuck. It’s full of laughs, but also full of heart. And lest we forget the magnificent big 80s hair. It’s a sight to behold. 


Sure, the movie has some dated elements that don’t work quite as well, but that’s looking through today’s eyes. For its place in the late 80s, it works perfectly and delivers a solid film. Writer/producer Rachel Lewis is a big fan, and we have a great conversation with her about the movie. We chat through the cast and the themes. And then there’s Carly Simon’s fantastic and anthemic song that’s as inspiring as the movie is itself. 


Rachel tells us about her career and how she got started in the world of improv comedy before moving to LA and working her way into pitch meetings. As a writer, WGA team captain, and lot coordinator for the current strike, she also breaks down some of the reasons for it and what the writers are collectively working toward.


It’s a fantastic conversation about a great movie and the importance of this current strike. Check it out! 


Film Sundries


Support The Next Reel Family of Film Shows:

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Shop & Stream:

]]> 1988, 1980s, Mike Nichols, Rachel Lewis No There Will Be Blood • A Conversation with Filmmaker Uwe Boll 4 4 3 3 There Will Be Blood • A Conversation with Filmmaker Uwe Boll full b4638cb4-4695-42b8-b03b-86b6c5be6fd4 https://share.transistor.fm/s/dde5f6cb “I have a competition in me. I want no one else to succeed. I hate most people.”

Talking About Paul Thomas Anderson’s 2007 film There Will Be Blood with our guest, filmmaker Uwe Boll

There are many films filmmaker Uwe Boll could’ve picked to discuss with us on the show, but the most recent film that’s affected him as much as some of his all-time favorites is Paul Thomas Anderson’s 2007 film There Will Be Blood. 


Before we dig into the film, we talk a bit about Boll’s career. Sure, he’s made some cinematic video game adaptations that weren’t received well by critics, but he’s also made some films that satirize modern society, whether in a comedic vein like Postal or a more serious tone like his Rampage films. There’s a change in society as to how people react to their buttons being pushed. That’s certainly reflected in films of the time. Who knows – some of that may come from the rise of the streaming services. Regardless, it all makes for a fascinating discussion.


From there, we jump into Anderson’s film. Boll has had some fairly unlikeable protagonists in his films, so we use that as a starting point with Daniel Plainview, the greedy, hateful protagonist of this film. Why is he still likable in some capacity? The film explores greed, capitalism, religion, family, and more. Everything stands out with the film as exemplary, from the performances (Daniel Day-Lewis and Paul Dano are in top form) to Johnny Greenwood’s score to Robert Elswit’s cinematography. We look at the complex story and ponder that the film got made in the first place. A film that doesn’t have dialogue until nearly 15 minutes have passed? How did Anderson sneak it past the studio heads? 


It’s a wonderful conversation with an insightful filmmaker. Tune in!


Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!


Film Sundries

Learn more about supporting The Next Reel’s Movies We Like through your own membership with The Next Reel.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “I have a competition in me. I want no one else to succeed. I hate most people.”

Talking About Paul Thomas Anderson’s 2007 film There Will Be Blood with our guest, filmmaker Uwe Boll

There are many films filmmaker Uwe Boll could’ve picked to discuss with us on the show, but the most recent film that’s affected him as much as some of his all-time favorites is Paul Thomas Anderson’s 2007 film There Will Be Blood. 


Before we dig into the film, we talk a bit about Boll’s career. Sure, he’s made some cinematic video game adaptations that weren’t received well by critics, but he’s also made some films that satirize modern society, whether in a comedic vein like Postal or a more serious tone like his Rampage films. There’s a change in society as to how people react to their buttons being pushed. That’s certainly reflected in films of the time. Who knows – some of that may come from the rise of the streaming services. Regardless, it all makes for a fascinating discussion.


From there, we jump into Anderson’s film. Boll has had some fairly unlikeable protagonists in his films, so we use that as a starting point with Daniel Plainview, the greedy, hateful protagonist of this film. Why is he still likable in some capacity? The film explores greed, capitalism, religion, family, and more. Everything stands out with the film as exemplary, from the performances (Daniel Day-Lewis and Paul Dano are in top form) to Johnny Greenwood’s score to Robert Elswit’s cinematography. We look at the complex story and ponder that the film got made in the first place. A film that doesn’t have dialogue until nearly 15 minutes have passed? How did Anderson sneak it past the studio heads? 


It’s a wonderful conversation with an insightful filmmaker. Tune in!


Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!


Film Sundries

Learn more about supporting The Next Reel’s Movies We Like through your own membership with The Next Reel.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> Mon, 22 May 2023 03:00:00 -0700 TruStory FM TruStory FM 3977 “I have a competition in me. I want no one else to succeed. I hate most people.”

Talking About Paul Thomas Anderson’s 2007 film There Will Be Blood with our guest, filmmaker Uwe Boll

There are many films filmmaker Uwe Boll could’ve picked to discuss with us on the show, but the most recent film that’s affected him as much as some of his all-time favorites is Paul Thomas Anderson’s 2007 film There Will Be Blood. 


Before we dig into the film, we talk a bit about Boll’s career. Sure, he’s made some cinematic video game adaptations that weren’t received well by critics, but he’s also made some films that satirize modern society, whether in a comedic vein like Postal or a more serious tone like his Rampage films. There’s a change in society as to how people react to their buttons being pushed. That’s certainly reflected in films of the time. Who knows – some of that may come from the rise of the streaming services. Regardless, it all makes for a fascinating discussion.


From there, we jump into Anderson’s film. Boll has had some fairly unlikeable protagonists in his films, so we use that as a starting point with Daniel Plainview, the greedy, hateful protagonist of this film. Why is he still likable in some capacity? The film explores greed, capitalism, religion, family, and more. Everything stands out with the film as exemplary, from the performances (Daniel Day-Lewis and Paul Dano are in top form) to Johnny Greenwood’s score to Robert Elswit’s cinematography. We look at the complex story and ponder that the film got made in the first place. A film that doesn’t have dialogue until nearly 15 minutes have passed? How did Anderson sneak it past the studio heads? 


It’s a wonderful conversation with an insightful filmmaker. Tune in!


Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!


Film Sundries

Learn more about supporting The Next Reel’s Movies We Like through your own membership with The Next Reel.


Support The Next Reel Family of Film Shows:

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]]> 2007, Paul Thomas Anderson, Movies We Like, Uwe Boll No Bambi • A Conversation with Screenwriter Todd Alcott • Movies We Like 4 4 2 2 Bambi • A Conversation with Screenwriter Todd Alcott • Movies We Like full 32e5563e-3924-4c06-8a49-55c2c9b028ad https://share.transistor.fm/s/0c35780b “Your mother can’t be with you anymore.”

Talking About Bambi with our Guest Todd Alcott, Screenwriter

When released in 1942 during WWII, Walt Disney’s Bambi struggled to find its audience. It still did well enough for itself, but it wasn’t until its subsequent releases over the decades when Disney would bring its classics back to theatres where it really found its audience. Since that time, it’s often cited as one of the best animated films out there. Why does this simple film about a young deer learning about life in the forest work so well?


Screenwriter and graphic artist Todd Alcott joins us to talk about Bambi, one of his favorites. But as he says, even that didn’t happen over night. It took decades and multiple viewings to realize what the story was really about and why it clicked so suddenly. And for a film from 1942, there are elements within that make it feel somewhat subversive. It’s a story with little plot about a passive protagonist that doesn’t have any clearly established goal, after all. What screenwriting handbook said that was okay? 


The film is about life, the mistakes we make, and how we try learning from them. It’s also a reminder that there’s no clear path for life. Just when things make sense, life changes the rules. It’s quite a lot to absorb from what seems like a simple little film. But that’s why we like it, and are thrilled that Todd brought it for us to talk about on Movies We Like. 


Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!

Film Sundries

Learn more about supporting The Next Reel’s Movies We Like through your own membership with The Next Reel.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> “Your mother can’t be with you anymore.”

Talking About Bambi with our Guest Todd Alcott, Screenwriter

When released in 1942 during WWII, Walt Disney’s Bambi struggled to find its audience. It still did well enough for itself, but it wasn’t until its subsequent releases over the decades when Disney would bring its classics back to theatres where it really found its audience. Since that time, it’s often cited as one of the best animated films out there. Why does this simple film about a young deer learning about life in the forest work so well?


Screenwriter and graphic artist Todd Alcott joins us to talk about Bambi, one of his favorites. But as he says, even that didn’t happen over night. It took decades and multiple viewings to realize what the story was really about and why it clicked so suddenly. And for a film from 1942, there are elements within that make it feel somewhat subversive. It’s a story with little plot about a passive protagonist that doesn’t have any clearly established goal, after all. What screenwriting handbook said that was okay? 


The film is about life, the mistakes we make, and how we try learning from them. It’s also a reminder that there’s no clear path for life. Just when things make sense, life changes the rules. It’s quite a lot to absorb from what seems like a simple little film. But that’s why we like it, and are thrilled that Todd brought it for us to talk about on Movies We Like. 


Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!

Film Sundries

Learn more about supporting The Next Reel’s Movies We Like through your own membership with The Next Reel.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> Mon, 24 Apr 2023 15:00:00 -0700 TruStory FM TruStory FM 3559 “Your mother can’t be with you anymore.”

Talking About Bambi with our Guest Todd Alcott, Screenwriter

When released in 1942 during WWII, Walt Disney’s Bambi struggled to find its audience. It still did well enough for itself, but it wasn’t until its subsequent releases over the decades when Disney would bring its classics back to theatres where it really found its audience. Since that time, it’s often cited as one of the best animated films out there. Why does this simple film about a young deer learning about life in the forest work so well?


Screenwriter and graphic artist Todd Alcott joins us to talk about Bambi, one of his favorites. But as he says, even that didn’t happen over night. It took decades and multiple viewings to realize what the story was really about and why it clicked so suddenly. And for a film from 1942, there are elements within that make it feel somewhat subversive. It’s a story with little plot about a passive protagonist that doesn’t have any clearly established goal, after all. What screenwriting handbook said that was okay? 


The film is about life, the mistakes we make, and how we try learning from them. It’s also a reminder that there’s no clear path for life. Just when things make sense, life changes the rules. It’s quite a lot to absorb from what seems like a simple little film. But that’s why we like it, and are thrilled that Todd brought it for us to talk about on Movies We Like. 


Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!

Film Sundries

Learn more about supporting The Next Reel’s Movies We Like through your own membership with The Next Reel.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> 1942, 1940s, Todd Alcott, Walt Disney, David Hand No Movies We Like: The Speakeasy Retrofit 4 4 Movies We Like: The Speakeasy Retrofit trailer a9b01334-0102-4304-b723-87644a471a50 https://share.transistor.fm/s/634cde0c When we started our movie podcast, the original name was Movies We Like. Eventually, as we began talking about some movies we didn't like, we figured we should rebrand. Hence, The Next Reel Film Podcast was born. But we never could let go of the name Movies We Like. We just didn't have a place for it at the time.

Then, as we were looking at rebranding this podcast as we worked to bring more guests from the industry to join us in talking about a movie they liked, we realized that this would be the perfect show to use the name Movies We Like! 

So here we are – a new era of the Speakeasy, now rebranded as Movies We Like. We're looking forward to the future conversations!

]]> When we started our movie podcast, the original name was Movies We Like. Eventually, as we began talking about some movies we didn't like, we figured we should rebrand. Hence, The Next Reel Film Podcast was born. But we never could let go of the name Movies We Like. We just didn't have a place for it at the time.

Then, as we were looking at rebranding this podcast as we worked to bring more guests from the industry to join us in talking about a movie they liked, we realized that this would be the perfect show to use the name Movies We Like! 

So here we are – a new era of the Speakeasy, now rebranded as Movies We Like. We're looking forward to the future conversations!

]]> Mon, 03 Apr 2023 02:00:00 -0700 TruStory FM TruStory FM 254 When we started our movie podcast, the original name was Movies We Like. Eventually, as we began talking about some movies we didn't like, we figured we should rebrand. Hence, The Next Reel Film Podcast was born. But we never could let go of the name Movies We Like. We just didn't have a place for it at the time.

Then, as we were looking at rebranding this podcast as we worked to bring more guests from the industry to join us in talking about a movie they liked, we realized that this would be the perfect show to use the name Movies We Like! 

So here we are – a new era of the Speakeasy, now rebranded as Movies We Like. We're looking forward to the future conversations!

]]> film, filmcommentary, moviereview, movies, review No A Woman Under the Influence — Tami Reiker • Movies We Like 4 4 1 1 A Woman Under the Influence — Tami Reiker • Movies We Like full 60f80e59-a6a5-45ca-9dcd-22a347f80e5c https://share.transistor.fm/s/27186eb7 Talking About John Cassavetes’ 1974 film ‘A Woman Under the Influence with our guest Tami Reiker

In this episode of Movies We Like, we’re joined by award-winning cinematographer Tami Reiker to talk about one of her favorite movies, John Cassavetes’ 1974 film A Woman Under the Influence. This is a film Tami has often shown to directors she’s worked with as they discuss the projects that influence them and what they want to pull from it to bring in as influences on the project. It’s a powerful film that’s full of incredible moments brought by both leads – Gena Rowlands and Peter Falk – not to mention fascinating direction by Cassavetes himself. How has it influenced Tami over her career and what does she pull from it?


Tami’s Current Project Surface on Apple TV+

We also talk about the new series she’s worked on with director Sam Miller and star Gugu Mbatha-Raw, Surface. For the episodes she worked on, Tami and Miller wanted to use swing shift lenses to amplify the disconnection Mbatha-Raw’s character has from the world due to post-accident amnesia. It’s a powerful tool and connects directly with their authorial voice.


There’s a lot to talk about with Tami about both A Woman Under the Influence and Surface on The Speakeasy. Tune in!


Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!


About Tami

Award-winning cinematographer Tami Reiker, ASC, made history by becoming the first woman to win an American Society of Cinematographers award. She took home the ASC Outstanding Achievement in Cinematography Award for her work on the HBO pilot, Carnivalé. 


Reiker recently worked on the highly anticipated new Apple TV+ series Surface starring Gugu Mbatha-Raw and created by Veronica West, bringing together innovative technology and breathtaking visuals for the first two episodes of the psychological thriller, each with director Sam Miller. She also lensed Regina King’s directorial debut One Night In Miami, chronicling a fictional account of a real night when the lives of Cassius Clay, Sam Cooke, Jim Brown and Malcolm X are forever changed. The drama already made history at the 2020 Venice Film Festival as the first film directed by a Black woman to be selected and is also an official selection at the 2020 Toronto International Film Festival.


Previously, Reiker photographed the action epic The Old Guard for Netflix and frequent collaborator director Gina Prince-Bythewood. Based on the graphic novel series of the same name, the film follows a group of immortal soldiers who must defeat a corrupt man trying to expose their secret. The feature shattered records after its release, becoming one of the top ten most streamed films in Netflix’s history, with Prince-Bythewood becoming the first Black female director to land a spot on the list.


Reiker’s additional feature credits include: Beyond the Lights for Gina Prince-Bythewood, starring Minnie Driver, Danny Glover and Gugu Mbatha-Raw; the critically praised Pieces of April for director Peter Hedges; and High Art, a visual collaboration with director Lisa Cholodenko, which earned Reiker a Best Cinematography nomination at the Independent Spirit Awards.


For television, Reiker lensed: episode one of Woman of The Movement, directed by Gina Prince-Bythewood; HBO Max’s Delilah pilot for director James Griffiths; Marvel’s Cloak and Dagger pilot; CBS’s Charmed pilot, with director Brad Silberling; the pilot for Fox’s Shots Fired, the critically praised ten-part series chronicling the investigation of a police shooting; and HBO’s Getting On pilot for director Miguel Arteta.


After beginning her career and making a name for herself in the New York film community, Reiker moved to Los Angeles where she still lives now, with her son. She is represented worldwide by DDA.


Film Sundries

Learn more about supporting Movies We Like and TruStory FM’s other entertainment podcasts through your own membership.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Talking About John Cassavetes’ 1974 film ‘A Woman Under the Influence with our guest Tami Reiker

In this episode of Movies We Like, we’re joined by award-winning cinematographer Tami Reiker to talk about one of her favorite movies, John Cassavetes’ 1974 film A Woman Under the Influence. This is a film Tami has often shown to directors she’s worked with as they discuss the projects that influence them and what they want to pull from it to bring in as influences on the project. It’s a powerful film that’s full of incredible moments brought by both leads – Gena Rowlands and Peter Falk – not to mention fascinating direction by Cassavetes himself. How has it influenced Tami over her career and what does she pull from it?


Tami’s Current Project Surface on Apple TV+

We also talk about the new series she’s worked on with director Sam Miller and star Gugu Mbatha-Raw, Surface. For the episodes she worked on, Tami and Miller wanted to use swing shift lenses to amplify the disconnection Mbatha-Raw’s character has from the world due to post-accident amnesia. It’s a powerful tool and connects directly with their authorial voice.


There’s a lot to talk about with Tami about both A Woman Under the Influence and Surface on The Speakeasy. Tune in!


Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!


About Tami

Award-winning cinematographer Tami Reiker, ASC, made history by becoming the first woman to win an American Society of Cinematographers award. She took home the ASC Outstanding Achievement in Cinematography Award for her work on the HBO pilot, Carnivalé. 


Reiker recently worked on the highly anticipated new Apple TV+ series Surface starring Gugu Mbatha-Raw and created by Veronica West, bringing together innovative technology and breathtaking visuals for the first two episodes of the psychological thriller, each with director Sam Miller. She also lensed Regina King’s directorial debut One Night In Miami, chronicling a fictional account of a real night when the lives of Cassius Clay, Sam Cooke, Jim Brown and Malcolm X are forever changed. The drama already made history at the 2020 Venice Film Festival as the first film directed by a Black woman to be selected and is also an official selection at the 2020 Toronto International Film Festival.


Previously, Reiker photographed the action epic The Old Guard for Netflix and frequent collaborator director Gina Prince-Bythewood. Based on the graphic novel series of the same name, the film follows a group of immortal soldiers who must defeat a corrupt man trying to expose their secret. The feature shattered records after its release, becoming one of the top ten most streamed films in Netflix’s history, with Prince-Bythewood becoming the first Black female director to land a spot on the list.


Reiker’s additional feature credits include: Beyond the Lights for Gina Prince-Bythewood, starring Minnie Driver, Danny Glover and Gugu Mbatha-Raw; the critically praised Pieces of April for director Peter Hedges; and High Art, a visual collaboration with director Lisa Cholodenko, which earned Reiker a Best Cinematography nomination at the Independent Spirit Awards.


For television, Reiker lensed: episode one of Woman of The Movement, directed by Gina Prince-Bythewood; HBO Max’s Delilah pilot for director James Griffiths; Marvel’s Cloak and Dagger pilot; CBS’s Charmed pilot, with director Brad Silberling; the pilot for Fox’s Shots Fired, the critically praised ten-part series chronicling the investigation of a police shooting; and HBO’s Getting On pilot for director Miguel Arteta.


After beginning her career and making a name for herself in the New York film community, Reiker moved to Los Angeles where she still lives now, with her son. She is represented worldwide by DDA.


Film Sundries

Learn more about supporting Movies We Like and TruStory FM’s other entertainment podcasts through your own membership.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Tue, 09 Aug 2022 03:00:00 -0700 TruStory FM TruStory FM 2990 Award-winning cinematographer Tami Reiker joins us in the Speakeasy today to talk about one of her favorite films, John Cassavetes’ 1974 film ‘A Woman Under the Influence’, as well as the new Apple TV+ show she worked on called ‘Surface.’ Award-winning cinematographer Tami Reiker joins us in the Speakeasy today to talk about one of her favorite films, John Cassavetes’ 1974 film ‘A Woman Under the Influence’, as well as the new Apple TV+ show she worked on called ‘Surface.’ Tami Reiker, John Cassavetes, 1974, 1970s No The Sound of Music — Catherine Hand • Movies We Like 3 3 4 4 The Sound of Music — Catherine Hand • Movies We Like full b0c8f227-1f43-422e-af9d-13d1d841b435 https://share.transistor.fm/s/39be7d40 "You brought music back into the house. I’d… forgotten."

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, producer Catherine Hand joins us to talk about one of her favorite films, Robert Wise’s 1965 film The Sound of Music.

We talk about how the story made it from Maria Von Trapp’s memoirs about her family to the big screen, with several detours along the way. We chat about the movie’s longevity and why it’s had such a long life. We discuss the performances of Julie Andrews and Christopher Plummer, not to mention Plummer’s disdain for the project until recently. And we spend some time looking at Catherine’s career, notably her decades-long pursuit to bring A Wrinkle in Time to the big screen.

It’s a wonderful conversation with Catherine that ranges all over, so check out A Wrinkle in Time, revisit The Sound of Music, then tune in to the show!

Film Sundries


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]]> "You brought music back into the house. I’d… forgotten."

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, producer Catherine Hand joins us to talk about one of her favorite films, Robert Wise’s 1965 film The Sound of Music.

We talk about how the story made it from Maria Von Trapp’s memoirs about her family to the big screen, with several detours along the way. We chat about the movie’s longevity and why it’s had such a long life. We discuss the performances of Julie Andrews and Christopher Plummer, not to mention Plummer’s disdain for the project until recently. And we spend some time looking at Catherine’s career, notably her decades-long pursuit to bring A Wrinkle in Time to the big screen.

It’s a wonderful conversation with Catherine that ranges all over, so check out A Wrinkle in Time, revisit The Sound of Music, then tune in to the show!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

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]]> Tue, 12 Jun 2018 06:00:00 -0700 TruStory FM TruStory FM 4512 The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, producer Catherine Hand joins us to talk about one of her favorite films, Robert Wise’s 1965 film The Sound of Music. The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, producer Catherine Hand joins us to talk about one of her favorite film, filmcommentary, moviereview, movies, review No All That Jazz — Nic Sadler • Movies We Like 3 3 3 3 All That Jazz — Nic Sadler • Movies We Like full 9ffde158-ab77-4370-8e83-c44c8d26fdb3 https://share.transistor.fm/s/44c74ff7 "I think we just lost the family audience."

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, cinematographer and inventor Nic Sadler joins us to talk about one of his favorite films, Bob Fosse’s 1979 film All That Jazz.

We talk about the incredible honesty with which Fosse made this semi-autobiographical film and why it resonates so well with us. We discuss how challenging the film is and why that might be a good thing. We talk about the incredible editing by Alan Heim which the Motion Picture Editors Guild lists as the 4th best edited film, and why it sets a high bar. We of course chat about one of our favorites – Roy Scheider – and how he truly ruled the 70s. We dig into why cinematographer Giuseppe Rotunno shot scenes the way he did, notably the readthrough where Joe has his heart attack. And we talk to Sadler about his own cinematography, notably the recent film Coherence, and how the filmmakers accomplished so much with so little.

It’s a brilliant (but challenging) film that celebrates filmmaking as much as it shows the negative side of success. We have a blast talking about it with Sadler so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

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]]> "I think we just lost the family audience."

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, cinematographer and inventor Nic Sadler joins us to talk about one of his favorite films, Bob Fosse’s 1979 film All That Jazz.

We talk about the incredible honesty with which Fosse made this semi-autobiographical film and why it resonates so well with us. We discuss how challenging the film is and why that might be a good thing. We talk about the incredible editing by Alan Heim which the Motion Picture Editors Guild lists as the 4th best edited film, and why it sets a high bar. We of course chat about one of our favorites – Roy Scheider – and how he truly ruled the 70s. We dig into why cinematographer Giuseppe Rotunno shot scenes the way he did, notably the readthrough where Joe has his heart attack. And we talk to Sadler about his own cinematography, notably the recent film Coherence, and how the filmmakers accomplished so much with so little.

It’s a brilliant (but challenging) film that celebrates filmmaking as much as it shows the negative side of success. We have a blast talking about it with Sadler so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Tue, 10 Apr 2018 06:00:00 -0700 TruStory FM TruStory FM 5196 The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, cinematographer and inventor Nic Sadler joins us to talk about one of his favorite films, Bob Fosse’s 1979 film All That Jazz. The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, cinematographer and inventor Nic Sadler joins us to talk about one film, filmcommentary, moviereview, movies, review No Local Hero — Andy Nelson • Movies We Like 3 3 2 2 Local Hero — Andy Nelson • Movies We Like full 84edda01-d424-4e7f-89c8-6f5acd328af7 https://share.transistor.fm/s/da71bac4 "I’m watching the sky, sir, and it’s doing some amazing things!"

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, one of the many Andy Nelsons in the film world — specifically Andy Nelson the re-recording mixer — joins us to talk about one of his favorite films, Bill Forsyth’s 1983 film Local Hero.

We talk about why the film resonates to this day and why the film is such a wonderful celebration of the little things, the details that make life so memorable. We chat about the cast and what they bring to the table, notably Peter Riegert and Burt Lancaster. We ponder the webbed feet of Jenny Seagrove and are presented with a new thought – what if it’s only how the character of Oldsen sees them? We look at the final moments of the film and why it breaks our hearts so much. We talk about Mark Knopfler’s wonderful score and why it hits so well for us. We debate the title and ponder who specifically is the eponymous character. And, of course, we chat with Nelson about his career and what specifically a re-recording mixer does.

It’s a magical little film that warms our hearts and provides for a wonderful conversation. Check it out then tune in! The Next Reel. When the movie ends, our conversation begins.

Film Sundries

Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> "I’m watching the sky, sir, and it’s doing some amazing things!"

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, one of the many Andy Nelsons in the film world — specifically Andy Nelson the re-recording mixer — joins us to talk about one of his favorite films, Bill Forsyth’s 1983 film Local Hero.

We talk about why the film resonates to this day and why the film is such a wonderful celebration of the little things, the details that make life so memorable. We chat about the cast and what they bring to the table, notably Peter Riegert and Burt Lancaster. We ponder the webbed feet of Jenny Seagrove and are presented with a new thought – what if it’s only how the character of Oldsen sees them? We look at the final moments of the film and why it breaks our hearts so much. We talk about Mark Knopfler’s wonderful score and why it hits so well for us. We debate the title and ponder who specifically is the eponymous character. And, of course, we chat with Nelson about his career and what specifically a re-recording mixer does.

It’s a magical little film that warms our hearts and provides for a wonderful conversation. Check it out then tune in! The Next Reel. When the movie ends, our conversation begins.

Film Sundries

Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel


Support The Next Reel Family of Film Shows:

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]]> Tue, 13 Mar 2018 06:00:00 -0700 TruStory FM TruStory FM 4377 What makes this Scottish town so stinkin’ charming? What’s up with the webbed feet? And what does a re-recording mixer actually do? Tune in to this episode of The Next Reel’s Speakeasy with re-recording mixer Andy Nelson to hear answers to these questions and more! What makes this Scottish town so stinkin’ charming? What’s up with the webbed feet? And what does a re-recording mixer actually do? Tune in to this episode of The Next Reel’s Speakeasy with re-recording mixer Andy Nelson to hear answers to these questions film, filmcommentary, moviereview, movies, review No Dunkirk — Toby Oliver • Movies We Like 3 3 1 1 Dunkirk — Toby Oliver • Movies We Like full b46608b4-6a4b-49a9-984b-36a368a18fdb https://share.transistor.fm/s/bb8b5620 "We let you all down, didn’t we?"

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, cinematographer Toby Oliver joins us to talk about one of his favorite films, Christopher Nolan’s 2017 film Dunkirk.

We talk about Nolan’s decision to shoot on IMAX 65mm largely and how this affected the overall tone of the film and informed some of their decisions as to how it was shot. We chat about the nature of the story told across three separate time windows and how the structure gave us a fascinating perspective on how to look at this war story. We discuss the use of mostly new faces for the cast, barring a few key roles, and how that works effectively in a story with no real protagonist. We touch on Hans Zimmer and his tonal score and why it, paired with the incessant use of a ticking sound, is such a key part of the film. And we talk about Nolan’s insistence on using practical effects and why it likely helped inform the performances throughout the film by having real elements to which to react.

It’s a fascinating and powerful war film that feels very different and will be one to stand the test of time. We have a great time talking about it with Toby Oliver, as well as touching on his career. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> "We let you all down, didn’t we?"

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, cinematographer Toby Oliver joins us to talk about one of his favorite films, Christopher Nolan’s 2017 film Dunkirk.

We talk about Nolan’s decision to shoot on IMAX 65mm largely and how this affected the overall tone of the film and informed some of their decisions as to how it was shot. We chat about the nature of the story told across three separate time windows and how the structure gave us a fascinating perspective on how to look at this war story. We discuss the use of mostly new faces for the cast, barring a few key roles, and how that works effectively in a story with no real protagonist. We touch on Hans Zimmer and his tonal score and why it, paired with the incessant use of a ticking sound, is such a key part of the film. And we talk about Nolan’s insistence on using practical effects and why it likely helped inform the performances throughout the film by having real elements to which to react.

It’s a fascinating and powerful war film that feels very different and will be one to stand the test of time. We have a great time talking about it with Toby Oliver, as well as touching on his career. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> Tue, 16 Jan 2018 06:00:00 -0800 TruStory FM TruStory FM 3782 The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, cinematographer Toby Oliver joins us to talk about one of his favorite films, Christopher Nolan’s 2017 film Dunkirk. The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, cinematographer Toby Oliver joins us to talk about one of his favor film, filmcommentary, moviereview, movies, review No Silver Linings Playbook — Harry Gregson-Williams • Movies We Like 2 2 2 2 Silver Linings Playbook — Harry Gregson-Williams • Movies We Like full dfc5396a-19ae-437f-b137-9c006e4c963b https://share.transistor.fm/s/07959fbe “I can’t apologize. I’m not going to apologize for this. You know what I will do? I will apologize on behalf of Ernest Hemingway because that’s who’s to blame here."

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this episode, film composer Harry Gregson-Williams joins us to talk about one of his favorite films, David O. Russell’s 2012 film Silver Linings Playbook.

We talk about why the film works so well and how Russell really infuses some serious energy into the film, almost as if the film is expressing the mental state of the two lead characters. We touch on how Russell’s experience with his son – who’s dealing with similar issues to our lead character – drew him to this story to help make mental health more accessible, which he does brilliantly. We discuss the brilliant cast and how perfect they all are in their roles, notably the four leads: Bradley Cooper, Jennifer Lawrence, Robert De Niro and Jackie Weaver. We look at what Russell does musically, bringing in an eclectic mix of songs and Danny Elfman’s score to help drive the story along. And we chat about how the movie blew up at the box office, making more than 11 times its budget.

It’s an incredible film that seems to get better with age and Gregson-Williams brings a lot of insight to the conversation. Plus, we have a great chat with him about his career and how he got to where he is. So check out the movie then join us on the show!

Film Sundries


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The Next Reel Family of Film Shows:

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]]> “I can’t apologize. I’m not going to apologize for this. You know what I will do? I will apologize on behalf of Ernest Hemingway because that’s who’s to blame here."

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this episode, film composer Harry Gregson-Williams joins us to talk about one of his favorite films, David O. Russell’s 2012 film Silver Linings Playbook.

We talk about why the film works so well and how Russell really infuses some serious energy into the film, almost as if the film is expressing the mental state of the two lead characters. We touch on how Russell’s experience with his son – who’s dealing with similar issues to our lead character – drew him to this story to help make mental health more accessible, which he does brilliantly. We discuss the brilliant cast and how perfect they all are in their roles, notably the four leads: Bradley Cooper, Jennifer Lawrence, Robert De Niro and Jackie Weaver. We look at what Russell does musically, bringing in an eclectic mix of songs and Danny Elfman’s score to help drive the story along. And we chat about how the movie blew up at the box office, making more than 11 times its budget.

It’s an incredible film that seems to get better with age and Gregson-Williams brings a lot of insight to the conversation. Plus, we have a great chat with him about his career and how he got to where he is. So check out the movie then join us on the show!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Tue, 09 May 2017 06:00:00 -0700 TruStory FM TruStory FM 3847 The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this episode, film composer Harry Gregson-Williams joins us to talk about one of his favorite films, David O. Russell’s 2012 film Silver Linings Playbook. The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this episode, film composer Harry Gregson-Williams joins us to talk about one of his favo film, filmcommentary, moviereview, movies, review No Groundhog Day — Jim Jermanok • Movies We Like 2 2 1 1 Groundhog Day — Jim Jermanok • Movies We Like full 7b6a64a0-52b0-4ece-b0ef-1e04c91b0bfa https://share.transistor.fm/s/171e9e33 "You couldn’t plan a day like this."

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, writer, producer, director and former agent Jim Jermanok joins us to talk about one of his favorite movies, Harold Ramis’ 1993 film Groundhog Day. 

We talk about how this film was received at the time of its release, why this film holds up so well and perhaps why it took people some time to really find the meaning in the movie. We look at what Bill Murray is doing here and discuss why his character, Phil Connor, is easy to connect to despite the fact that he starts out as horribly unlikeable. We chat about Andie MacDowell, Chris Elliott and Stephen Tobolowsky, as well as the rest of the cast, and what they bring to the table. We look at the evolution of Danny Rubin’s original script and how he and Ramis reworked it to create a timeless classic. And we ponder the strangeness of the actual Groundhog Day holiday and how it may have been just the perfect holiday to celebrate for a film like this.

It’s a great film and Jim brings plenty of perspective to the conversation, having worked both the creative and business sides of the industry. So check out the movie then tune in to this month’s Speakeasy again… and again… and again….

Film Sundries


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]]> "You couldn’t plan a day like this."

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, writer, producer, director and former agent Jim Jermanok joins us to talk about one of his favorite movies, Harold Ramis’ 1993 film Groundhog Day. 

We talk about how this film was received at the time of its release, why this film holds up so well and perhaps why it took people some time to really find the meaning in the movie. We look at what Bill Murray is doing here and discuss why his character, Phil Connor, is easy to connect to despite the fact that he starts out as horribly unlikeable. We chat about Andie MacDowell, Chris Elliott and Stephen Tobolowsky, as well as the rest of the cast, and what they bring to the table. We look at the evolution of Danny Rubin’s original script and how he and Ramis reworked it to create a timeless classic. And we ponder the strangeness of the actual Groundhog Day holiday and how it may have been just the perfect holiday to celebrate for a film like this.

It’s a great film and Jim brings plenty of perspective to the conversation, having worked both the creative and business sides of the industry. So check out the movie then tune in to this month’s Speakeasy again… and again… and again….

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]]> Tue, 10 Jan 2017 06:00:00 -0800 TruStory FM TruStory FM 4016 The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, writer, producer, director and former agent Jim Jermanok joins us to talk about one of his favorite movies, Harold Ramis’ 1993 film Groundhog Day. The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, writer, producer, director and former agent Jim Jermanok joins us t film, filmcommentary, moviereview, movies, review No 101 Dalmatians — Tom and Tony Bancroft • Movies We Like 1 1 12 12 101 Dalmatians — Tom and Tony Bancroft • Movies We Like full b9cf8fb2-6b95-40a5-a31d-6517c29df3d6 https://share.transistor.fm/s/ffaa5c3d "Such perfectly beautiful coats!"

The Next Reel’s Speakeasy is our ongoing series in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, we’re honored to have two guests join us to discuss one of their favorite films – it’s the Bancroft Brothers! That’s right, twin brothers Tom and Tony Bancroft, both of whom are animators, are here to chat about Disney’s 1961 classic One Hundred and One Dalmatians. 

We talk about why they picked this film and why this film is a key shift in the world of animation at Walt Disney Studios (hint: it involves xeroxing!). We look at the animators involved – Milt Kahl, Frank Thomas, Marc Davis, etc. – and how they all fit into the looks of characters like Cruella De Vil, Pongo, Perdita, Jasper, Horace and more, really bringing them to life. We discuss the importance of what art director/production designer Ken Anderson and color stylist Walt Peregoy did with the impressionistic backgrounds. We chat about what the film’s three directors – Clyde Geronimi, Hamilton Luske and Wolfgang Reitherman – did to bring the film together and how they likely split up tasks. We dig into the really amazing 3D modeling Ub Iwerks helped come up with to make Cruella De Vil’s car look more realistic. And, of course, we can’t talk about this movie without discussing Cruella’s cheekbones, which we do.

It’s a fantastic conversation with two gentlemen who really know what they’re talking about helping us – Pete Wright and Andy Nelson – sound like we know what we’re doing. The conversation will really make you look at this movie and animation with so much more respect. So rewatch this Disney gem then tune in to this month’s Speakeasy!

Film Sundries


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]]> "Such perfectly beautiful coats!"

The Next Reel’s Speakeasy is our ongoing series in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, we’re honored to have two guests join us to discuss one of their favorite films – it’s the Bancroft Brothers! That’s right, twin brothers Tom and Tony Bancroft, both of whom are animators, are here to chat about Disney’s 1961 classic One Hundred and One Dalmatians. 

We talk about why they picked this film and why this film is a key shift in the world of animation at Walt Disney Studios (hint: it involves xeroxing!). We look at the animators involved – Milt Kahl, Frank Thomas, Marc Davis, etc. – and how they all fit into the looks of characters like Cruella De Vil, Pongo, Perdita, Jasper, Horace and more, really bringing them to life. We discuss the importance of what art director/production designer Ken Anderson and color stylist Walt Peregoy did with the impressionistic backgrounds. We chat about what the film’s three directors – Clyde Geronimi, Hamilton Luske and Wolfgang Reitherman – did to bring the film together and how they likely split up tasks. We dig into the really amazing 3D modeling Ub Iwerks helped come up with to make Cruella De Vil’s car look more realistic. And, of course, we can’t talk about this movie without discussing Cruella’s cheekbones, which we do.

It’s a fantastic conversation with two gentlemen who really know what they’re talking about helping us – Pete Wright and Andy Nelson – sound like we know what we’re doing. The conversation will really make you look at this movie and animation with so much more respect. So rewatch this Disney gem then tune in to this month’s Speakeasy!

Film Sundries


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]]> Tue, 13 Dec 2016 06:00:00 -0800 TruStory FM TruStory FM 4997 The Next Reel’s Speakeasy is our ongoing series in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, we’re honored to have two guests join us to discuss one of their favorite films – it’s the Bancroft Brothers! That’s right, twin brothers Tom and Tony Bancroft, both of whom are animators, are here to chat about Disney’s 1961 classic One Hundred and One Dalmatians. The Next Reel’s Speakeasy is our ongoing series in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, we’re honored to have two guests join us to discuss one of their favorite film, filmcommentary, moviereview, movies, review No The Philadelphia Story — Steve Miner • Movies We Like 1 1 11 11 The Philadelphia Story — Steve Miner • Movies We Like full 1a092469-f0c8-4af8-95fe-4e9e5b9f67b0 https://share.transistor.fm/s/932cba4c "The prettiest sight in this fine, pretty world is the privileged class enjoying its privileges."

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, director Steve Miner joins us to talk about one of his favorites, George Cukor’s 1940 film The Philadelphia Story.

We talk about the nature of this story and how it’s so much more than a screwball comedy, which is how it’s often billed. We look at how Katharine Hepburn was intrinsic in getting both the original play and this film made, what it meant for her career at the time and how well it holds up today (despite one potentially nasty depiction of abuse). We discuss Hepburn, Cary Grant and Jimmy Stewart and how well they work together in this story. We look at what director George Cukor brings to the table, finding the right ways to bring the script to life. We talk about the nature of the media and paparazzi and how things really haven’t changed all that much. And we look at how the film did not just in the box office and during Awards season, but more importantly how it’s really proven that it can stand the test of time.

It’s a marvelous film, one that’s well worth watching. We had a great time talking about it with Steve and hearing his perspective on why it’s one of his favorites. So check out the movie then tune in!

Film Sundries


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]]> "The prettiest sight in this fine, pretty world is the privileged class enjoying its privileges."

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, director Steve Miner joins us to talk about one of his favorites, George Cukor’s 1940 film The Philadelphia Story.

We talk about the nature of this story and how it’s so much more than a screwball comedy, which is how it’s often billed. We look at how Katharine Hepburn was intrinsic in getting both the original play and this film made, what it meant for her career at the time and how well it holds up today (despite one potentially nasty depiction of abuse). We discuss Hepburn, Cary Grant and Jimmy Stewart and how well they work together in this story. We look at what director George Cukor brings to the table, finding the right ways to bring the script to life. We talk about the nature of the media and paparazzi and how things really haven’t changed all that much. And we look at how the film did not just in the box office and during Awards season, but more importantly how it’s really proven that it can stand the test of time.

It’s a marvelous film, one that’s well worth watching. We had a great time talking about it with Steve and hearing his perspective on why it’s one of his favorites. So check out the movie then tune in!

Film Sundries


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]]> Tue, 01 Nov 2016 06:00:00 -0700 TruStory FM TruStory FM 5038 This month in the Speakeasy, director Steve Miner (Friday the 13th Part 2, Halloween H20: 20 Years Later) joins us to talk about one of his favorites, George Cukor’s 1940 film The Philadelphia Story. This month in the Speakeasy, director Steve Miner (Friday the 13th Part 2, Halloween H20: 20 Years Later) joins us to talk about one of his favorites, George Cukor’s 1940 film The Philadelphia Story. film, filmcommentary, moviereview, movies, review No Apocalypse Now — Paul Cameron • Movies We Like 1 1 10 10 Apocalypse Now — Paul Cameron • Movies We Like full 1f3d0a90-0a1f-409d-82ea-9ce0121de5be https://share.transistor.fm/s/d376e7b5 "You’re an errand boy sent by grocery clerks to collect a bill."

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, cinematographer Paul Cameron joins us to talk about one of his favorite films, Apocalypse Now.

We talk about why this film is such a key film for us and why Paul picked it, specifically the darkly poetic journey we go on with the characters, both internally and externally. We look at what Francis Ford Coppola went through to get this film made and how he, his crew and his cast all took their own dark journeys to make it happen. We discuss the script and what John Milius, Coppola and Michael Herr built into it as they adapted Joseph Conrad’s novella “Heart of Darkness” into a Vietnam setting. We chat about what the actors – notably Martin Sheen, Marlon Brando, Robert Duvall, Frederic Forrest, Larry Fishburne, Sam Bottoms, Albert Hall and Dennis Hopper – bring to the table. We discuss the importance of the look of the film, beautifully shot by Vittorio Storaro; and of the sound, designed by Walter Murch, Mark Berger, Richard Beggs and Nathan Boxer, and how it’s the grandfather of Dolby 5.1 Surround Sound. We touch on the original cut and Apocalypse Now Redux, not to mention Coppola’s wife’s documentary Hearts of Darkness: A Filmmaker’s Apocalypse and how all of the behind the scenes stories may affect one’s views of the film (if at all). And we look at how well the film did, assuaging any concerns Coppola had during the making (especially since it was self-financed and required him to mortgage his vineyards). 

It’s a brilliant film, truly one of the great American classics and well worth talking about. We have a great chat with Paul about it, so check out the movie then tune in!

Film Sundries


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]]> "You’re an errand boy sent by grocery clerks to collect a bill."

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, cinematographer Paul Cameron joins us to talk about one of his favorite films, Apocalypse Now.

We talk about why this film is such a key film for us and why Paul picked it, specifically the darkly poetic journey we go on with the characters, both internally and externally. We look at what Francis Ford Coppola went through to get this film made and how he, his crew and his cast all took their own dark journeys to make it happen. We discuss the script and what John Milius, Coppola and Michael Herr built into it as they adapted Joseph Conrad’s novella “Heart of Darkness” into a Vietnam setting. We chat about what the actors – notably Martin Sheen, Marlon Brando, Robert Duvall, Frederic Forrest, Larry Fishburne, Sam Bottoms, Albert Hall and Dennis Hopper – bring to the table. We discuss the importance of the look of the film, beautifully shot by Vittorio Storaro; and of the sound, designed by Walter Murch, Mark Berger, Richard Beggs and Nathan Boxer, and how it’s the grandfather of Dolby 5.1 Surround Sound. We touch on the original cut and Apocalypse Now Redux, not to mention Coppola’s wife’s documentary Hearts of Darkness: A Filmmaker’s Apocalypse and how all of the behind the scenes stories may affect one’s views of the film (if at all). And we look at how well the film did, assuaging any concerns Coppola had during the making (especially since it was self-financed and required him to mortgage his vineyards). 

It’s a brilliant film, truly one of the great American classics and well worth talking about. We have a great chat with Paul about it, so check out the movie then tune in!

Film Sundries


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]]> Tue, 04 Oct 2016 06:00:00 -0700 TruStory FM TruStory FM 3730 The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, cinematographer Paul Cameron joins us to talk about one of his favorite films, Apocalypse Now. The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, cinematographer Paul Cameron joins us to talk about one of his favo film, filmcommentary, moviereview, movies, review No Heat — Jayson Crothers • Movies We Like 1 1 9 9 Heat — Jayson Crothers • Movies We Like full 11ce9e30-1a34-4d0a-8b1e-bf4155941b5c https://share.transistor.fm/s/fe8695e4 "All I am is what I’m going after."

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, cinematographer Jayson Crothers joins us to talk about one of his favorite films, Michael Mann’s epic 1995 crime drama Heat.

We talk about the world-building that Mann does here, giving us fascinating characters on both sides of the law along with the families they struggle to please. We chat about the powerhouse moment when Robert De Niro and Al Pacino finally end up on screen together for the first time and deliberate about Mann’s careful choice of when they’re fully in the same frame together. We discuss the rest of the amazing cast, notable because every role seems to be inhabited by yet another incredible actor. We chat about the nature of women in Mann’s films and why they may seem afterthoughts as compared to the men. We look at Dante Spinotti’s cinematography and the incredible work he does creating a relatively normal-looking Los Angeles. We touch on the editing, the music, the locations, and many other things that went into creating this rich tapestry. And we ponder an alternate universe where Tone Lōc might have played Pacino’s role. 

It’s an incredible conversation about an incredible film that certainly has stood the test of time. If you haven’t seen it, you definitely need to watch it right now, then join us in our conversation with Crothers about it!

Film Sundries


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]]> "All I am is what I’m going after."

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, cinematographer Jayson Crothers joins us to talk about one of his favorite films, Michael Mann’s epic 1995 crime drama Heat.

We talk about the world-building that Mann does here, giving us fascinating characters on both sides of the law along with the families they struggle to please. We chat about the powerhouse moment when Robert De Niro and Al Pacino finally end up on screen together for the first time and deliberate about Mann’s careful choice of when they’re fully in the same frame together. We discuss the rest of the amazing cast, notable because every role seems to be inhabited by yet another incredible actor. We chat about the nature of women in Mann’s films and why they may seem afterthoughts as compared to the men. We look at Dante Spinotti’s cinematography and the incredible work he does creating a relatively normal-looking Los Angeles. We touch on the editing, the music, the locations, and many other things that went into creating this rich tapestry. And we ponder an alternate universe where Tone Lōc might have played Pacino’s role. 

It’s an incredible conversation about an incredible film that certainly has stood the test of time. If you haven’t seen it, you definitely need to watch it right now, then join us in our conversation with Crothers about it!

Film Sundries


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]]> Tue, 13 Sep 2016 06:00:00 -0700 TruStory FM TruStory FM 5668 This month in the Speakeasy, cinematographer Jayson Crothers (The Ghost and The Whale, Chicago Fire) joins us to talk about one of his favorite films, Michael Mann’s epic 1995 crime drama, Heat. This month in the Speakeasy, cinematographer Jayson Crothers (The Ghost and The Whale, Chicago Fire) joins us to talk about one of his favorite films, Michael Mann’s epic 1995 crime drama, Heat. film, filmcommentary, moviereview, movies, review No Fat City — Sam Levy • Movies We Like 1 1 8 8 Fat City — Sam Levy • Movies We Like full 690cd4d7-bcb3-41fb-ab69-b5afc5c7511b https://share.transistor.fm/s/6e9f0f6f "How’d you like to wake up in the morning and be him?"

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, cinematographer Sam Levy joins us to talk about one of his favorite films, John Huston’s 1972 boxing film Fat City. 

We talk about the depressing story presented here as these characters try to reach the good life and why some of us can connect easier to it than others. We look at the incredible (and incredibly dark) cinematography by Conrad L. Hall and discuss the importance of a cinematographer getting to time their own film. We chat about the brilliant cast, from the actors like Stacy Keach, Jeff Bridges, Susan Tyrrell and Nicholas Colasanto; to the real-life boxers like Curtis Cokes and Sixto Rodriguez. We discuss Kris Kristofferson’s song “Help Me Make It Through the Night” and why it works so well in this movie. And we touch on what critics thought of the movie compared with how it did at the box office. 

John Huston was at a period in his career where he’d been making some duds so it’s great to see him return to top form with Fat City. It’s a master class in cinematic realism and a boxing film well worth watching and discussing. Check it out then tune in!

Film Sundries


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]]> "How’d you like to wake up in the morning and be him?"

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, cinematographer Sam Levy joins us to talk about one of his favorite films, John Huston’s 1972 boxing film Fat City. 

We talk about the depressing story presented here as these characters try to reach the good life and why some of us can connect easier to it than others. We look at the incredible (and incredibly dark) cinematography by Conrad L. Hall and discuss the importance of a cinematographer getting to time their own film. We chat about the brilliant cast, from the actors like Stacy Keach, Jeff Bridges, Susan Tyrrell and Nicholas Colasanto; to the real-life boxers like Curtis Cokes and Sixto Rodriguez. We discuss Kris Kristofferson’s song “Help Me Make It Through the Night” and why it works so well in this movie. And we touch on what critics thought of the movie compared with how it did at the box office. 

John Huston was at a period in his career where he’d been making some duds so it’s great to see him return to top form with Fat City. It’s a master class in cinematic realism and a boxing film well worth watching and discussing. Check it out then tune in!

Film Sundries


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]]> Tue, 09 Aug 2016 06:00:00 -0700 TruStory FM TruStory FM 5109 The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, cinematographer Sam Levy joins us to talk about one of his favorite films, John Huston’s 1972 boxing film Fat City. The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, cinematographer Sam Levy joins us to talk about one of his favorite film, filmcommentary, moviereview, movies, review No Never Let Me Go — Alana Morshead • Movies We Like 1 1 7 7 Never Let Me Go — Alana Morshead • Movies We Like full b8ebd5a7-2162-4d29-af46-1e2bbe1afde2 https://share.transistor.fm/s/0a9f140f "You have to know who you are and what you are. It’s the only way you’ll lead decent lives."

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, costume designer Alana Morshead joins us to talk about one of her favorite films, Mark Romanek’s 2010 film “Never Let Me Go” based on the book by Kazuo Ishiguro.

We talk about the science fiction nature of this story and how it really operates more as a minor element of the world-building, allowing the viewers to focus so much more on the three main characters in the film and their relationships. We discuss the choices made by Romanek in the look of the film, the way the camera moved, and the nature of the love story. We look at what Carey Mulligan, Andrew Garfield and Keira Knightley bring to the table as the three principal characters, and how they compare with their youthful counterparts. And we struggle with the fact that this film didn’t connect with its audience, leaving it in the red by the time it left theatres, which really is a disappointment considering how much we really enjoyed it. 

It’s a touching film and a fascinating glimpse at what strong writers can do with their science fiction. It’s something we enjoyed then found we connected to it more and more as time wore on. And it’s a thrill to have had it introduced to us finally as we’d both clearly missed it when it was released. So hopefully you’ll check it out, then tune in to the show!

Film Sundries


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]]> "You have to know who you are and what you are. It’s the only way you’ll lead decent lives."

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, costume designer Alana Morshead joins us to talk about one of her favorite films, Mark Romanek’s 2010 film “Never Let Me Go” based on the book by Kazuo Ishiguro.

We talk about the science fiction nature of this story and how it really operates more as a minor element of the world-building, allowing the viewers to focus so much more on the three main characters in the film and their relationships. We discuss the choices made by Romanek in the look of the film, the way the camera moved, and the nature of the love story. We look at what Carey Mulligan, Andrew Garfield and Keira Knightley bring to the table as the three principal characters, and how they compare with their youthful counterparts. And we struggle with the fact that this film didn’t connect with its audience, leaving it in the red by the time it left theatres, which really is a disappointment considering how much we really enjoyed it. 

It’s a touching film and a fascinating glimpse at what strong writers can do with their science fiction. It’s something we enjoyed then found we connected to it more and more as time wore on. And it’s a thrill to have had it introduced to us finally as we’d both clearly missed it when it was released. So hopefully you’ll check it out, then tune in to the show!

Film Sundries


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]]> Tue, 05 Jul 2016 06:00:00 -0700 TruStory FM TruStory FM 4231 The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, costume designer Alana Morshead joins us to talk about one of her favorite films, Mark Romanek’s 2010 film “Never Let Me Go” based on the book by Kazuo Ishiguro. The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, costume designer Alana Morshead joins us to talk about one of her f film, filmcommentary, moviereview, movies, review No Terminator 2: Judgment Day — Sarah Trost • Movies We Like 1 1 6 6 Terminator 2: Judgment Day — Sarah Trost • Movies We Like full 121358c0-67f7-49c2-ab3f-8fecf2555eaf https://share.transistor.fm/s/0ce62780 "Hasta la vista, baby."

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, costume designer Sarah Trost joins us to talk about one of her favorite films, Terminator 2: Judgment Day. 

We talk about why we all love this film so much and where this movie fits into our feelings for the entire franchise, and look at why James Cameron’s entries seemingly hold up so much better than the rest. We chat about the script that Cameron and William Wisher, Jr., put together here and the way they smartly chose to parallel elements from the first in the franchise. We look at how Cameron crafts films and why this film still holds up so incredibly well. We discuss the actors – Linda Hamilton, Arnold Schwarzenegger, Edward Furlong, Robert Patrick and Joe Morton primarily – and talk about what they all bring to the table, even commenting which of the actors delivers a performance that might have warranted an Oscar nomination. We look at the amazing cinematography, stunts, effects, makeup, costumes, models, music, editing – honestly, everyone involved in this film seems to be working at the top of their form and we talk about that. And we talk about the brilliant metal man effects work they did here bringing the T-1000 to life (and pushing this budget over $100 million, the first time a film cost that much). 

It truly is an action film that’s set a standard for all action films to follow and a film that hardly shows its age. We have a great time talking with Sarah about this one so tune in! (Oh, and be prepared for some explicit language in this one.)

Film Sundries


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]]> "Hasta la vista, baby."

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, costume designer Sarah Trost joins us to talk about one of her favorite films, Terminator 2: Judgment Day. 

We talk about why we all love this film so much and where this movie fits into our feelings for the entire franchise, and look at why James Cameron’s entries seemingly hold up so much better than the rest. We chat about the script that Cameron and William Wisher, Jr., put together here and the way they smartly chose to parallel elements from the first in the franchise. We look at how Cameron crafts films and why this film still holds up so incredibly well. We discuss the actors – Linda Hamilton, Arnold Schwarzenegger, Edward Furlong, Robert Patrick and Joe Morton primarily – and talk about what they all bring to the table, even commenting which of the actors delivers a performance that might have warranted an Oscar nomination. We look at the amazing cinematography, stunts, effects, makeup, costumes, models, music, editing – honestly, everyone involved in this film seems to be working at the top of their form and we talk about that. And we talk about the brilliant metal man effects work they did here bringing the T-1000 to life (and pushing this budget over $100 million, the first time a film cost that much). 

It truly is an action film that’s set a standard for all action films to follow and a film that hardly shows its age. We have a great time talking with Sarah about this one so tune in! (Oh, and be prepared for some explicit language in this one.)

Film Sundries


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]]> Tue, 07 Jun 2016 06:00:00 -0700 TruStory FM TruStory FM 5858 The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, costume designer Sarah Trost joins us to talk about one of her favorite films, Terminator 2: Judgment Day. The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, costume designer Sarah Trost joins us to talk about one of her favo film, filmcommentary, moviereview, movies, review No Snatch. — Michael B. Koff • Movies We Like 1 1 5 5 Snatch. — Michael B. Koff • Movies We Like full b667d5b1-3c48-4d74-ada0-5ac835dbbbb8 https://share.transistor.fm/s/dc889f79 "Is that a tea cozy on his head?"

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, sound mixer Michael B. Koff joins us to talk about one of his favorite films, Guy Ritchie’s crime comedy thriller from the year 2000, “Snatch!” 

We talk about Guy Ritchie’s style, why it works for us, and why some people complained at the time that it felt like “Lock, Stock and Two Smoking Barrels” redux. We discuss the incredible talent onscreen here – from Jason Statham and Brad Pitt to Dennis Farina Andolan Ford – and what they all bring to the table, not to mention how much balance there is with all of their parts. We chat about the blending of the two storylines throughout the film and why it's effective in the ‘hyperlink cinema’ style. And we look at the technical aspects of the film – the sound, the cinematography and the editing in particular – and how it ties into the storytelling style overall. 

It’s a raucous ride of a film that’s not talked about enough, so check it out then grab a drink and join us in the Speakeasy!

Film Sundries


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]]> "Is that a tea cozy on his head?"

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, sound mixer Michael B. Koff joins us to talk about one of his favorite films, Guy Ritchie’s crime comedy thriller from the year 2000, “Snatch!” 

We talk about Guy Ritchie’s style, why it works for us, and why some people complained at the time that it felt like “Lock, Stock and Two Smoking Barrels” redux. We discuss the incredible talent onscreen here – from Jason Statham and Brad Pitt to Dennis Farina Andolan Ford – and what they all bring to the table, not to mention how much balance there is with all of their parts. We chat about the blending of the two storylines throughout the film and why it's effective in the ‘hyperlink cinema’ style. And we look at the technical aspects of the film – the sound, the cinematography and the editing in particular – and how it ties into the storytelling style overall. 

It’s a raucous ride of a film that’s not talked about enough, so check it out then grab a drink and join us in the Speakeasy!

Film Sundries


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]]> Tue, 03 May 2016 11:03:00 -0700 TruStory FM TruStory FM 4260 The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, sound mixer Michael B. Koff joins us to talk about one of his favorite films, Guy Ritchie’s crime comedy thriller from the year 2000, “Snatch!” The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, sound mixer Michael B. Koff joins us to talk about one of his favor film, filmcommentary, moviereview, movies, review No The Silent Partner — Craig Anderson • Movies We Like 1 1 4 4 The Silent Partner — Craig Anderson • Movies We Like full 7ac891f0-c8da-43f5-8100-6dd925e99998 https://share.transistor.fm/s/4425b237 “If you decide you’re not going to be reasonable, then one night when you come home, you’ll find me on the inside waiting for you, and that’ll be the night you’ll wish you’d never been born.”

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, actor, comedian and director Craig Anderson joins us to talk about one of his favorites, Daryl Duke’s Canadian bank heist thriller from 1978, “The Silent Partner.” We talk about the tone of films in the 70s and the nature of crime depicted in this film, not just of bank heists but also rampant infidelity and violent murder. We chat about the performances from Elliott Gould and Christopher Plummer and what they bring to the table, as well as those from Susannah York, John Candy and Céline Lomez to name a few. We discuss the taut screenplay adaptation by Curtis Hanson and the efficiency with which he crafts this story so as to avoid unnecessary exposition. And we ponder the manliness of Gould at this time in his career paired with the evil of Plummer. It’s a great film that isn’t talked about enough, so check it out then grab a drink and join us in the Speakeasy!

Film Sundries


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]]> “If you decide you’re not going to be reasonable, then one night when you come home, you’ll find me on the inside waiting for you, and that’ll be the night you’ll wish you’d never been born.”

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, actor, comedian and director Craig Anderson joins us to talk about one of his favorites, Daryl Duke’s Canadian bank heist thriller from 1978, “The Silent Partner.” We talk about the tone of films in the 70s and the nature of crime depicted in this film, not just of bank heists but also rampant infidelity and violent murder. We chat about the performances from Elliott Gould and Christopher Plummer and what they bring to the table, as well as those from Susannah York, John Candy and Céline Lomez to name a few. We discuss the taut screenplay adaptation by Curtis Hanson and the efficiency with which he crafts this story so as to avoid unnecessary exposition. And we ponder the manliness of Gould at this time in his career paired with the evil of Plummer. It’s a great film that isn’t talked about enough, so check it out then grab a drink and join us in the Speakeasy!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Tue, 19 Apr 2016 06:00:00 -0700 TruStory FM TruStory FM 4524 The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, actor, comedian and director Craig Anderson joins us to talk about one of his favorites, Daryl Duke’s Canadian bank heist thriller from 1978, “The Silent Partner.” The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, actor, comedian and director Craig Anderson joins us to talk about film, filmcommentary, moviereview, movies, review No Room — Dee Wallace • Movies We Like 1 1 3 3 Room — Dee Wallace • Movies We Like full 397cacd7-96b7-40d8-a205-d941eba9c2b5 https://share.transistor.fm/s/e57cb575 “When I was small, I only knew small things, but now I’m five – I know everything!”

The Next Reel’s Speakeasy is a new ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, actress Dee Wallace joins us to talk about one of her relatively new favorites, Lenny Abrahamson’s amazing film “Room.” We talk about the brilliant performances of Jacob Tremblay and Brie Larson and the fascinating exploration of this pair forced to live in the titular room. We talk about Abrahamson’s work, paired with DP Danny Cohen, to tell the film from 5-year-old Jack’s perspective and how well that works for this movie. We chat about the other actors, notably the trio of ‘villains’ played by William H. Macy, Sean Bridgers and Wendy Crewson. We touch on the origins of the story and how it translated to the film. And we debate the strength of the Oscars when a performance like Tremblay’s doesn’t get nominated. It’s a movie that can break you if you’re wusses like us, or at least can move you if you’re made of stronger stuff like Dee, so check it out then grab a drink and join us in the Speakeasy!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> “When I was small, I only knew small things, but now I’m five – I know everything!”

The Next Reel’s Speakeasy is a new ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, actress Dee Wallace joins us to talk about one of her relatively new favorites, Lenny Abrahamson’s amazing film “Room.” We talk about the brilliant performances of Jacob Tremblay and Brie Larson and the fascinating exploration of this pair forced to live in the titular room. We talk about Abrahamson’s work, paired with DP Danny Cohen, to tell the film from 5-year-old Jack’s perspective and how well that works for this movie. We chat about the other actors, notably the trio of ‘villains’ played by William H. Macy, Sean Bridgers and Wendy Crewson. We touch on the origins of the story and how it translated to the film. And we debate the strength of the Oscars when a performance like Tremblay’s doesn’t get nominated. It’s a movie that can break you if you’re wusses like us, or at least can move you if you’re made of stronger stuff like Dee, so check it out then grab a drink and join us in the Speakeasy!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Tue, 01 Mar 2016 06:00:00 -0800 TruStory FM TruStory FM 4322 The Next Reel’s Speakeasy is a new ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, actress Dee Wallace joins us to talk about one of her relatively new favorites, Lenny Abrahamson’s amazing film “Room.” The Next Reel’s Speakeasy is a new ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, actress Dee Wallace joins us to talk about one of her relatively film, filmcommentary, moviereview, movies, review No Casino Royale — Matthew Gratzner • Movies We Like 1 1 2 2 Casino Royale — Matthew Gratzner • Movies We Like full 2e525c61-b65f-4f32-a722-8e3dbd56df94 https://share.transistor.fm/s/a51a543f “I would ask you if you could remain emotionally detached, but I don’t think that’s your problem. Is it, Bond?”

The Next Reel’s Speakeasy is a new ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, visual effects supervisor and director Matthew Gratzner joins us to talk about one of his faves, Martin Campbell’s reboot of the James Bond franchise that introduced us to Daniel Craig’s 007, “Casino Royale.” We talk about Craig and the rest of the cast, including Dame Judy Dench, Eva Green and Mads Mikkelsen, and look at what they bring to the table. We discuss the story and its origins, from Ian Fleming’s original novel and the rights to the book, to where the franchise had been with Pierce Brosnan as the previous Bond, and finally to the screenwriters Neal Purvis, Robert Wade and Paul Haggis and what they delivered here. We chat about Barbara Broccoli and Michael G. Wilson and how they’ve worked so hard as a driving force to keep the franchise alive, consistent and relevant. And we chat effects, from the amazing stuntwork and the incredibly limited CGI to the model work. It’s a fantastic movie in a franchise we all love and we have a great time talking about it, so grab a drink and join us in the Speakeasy!

About Matthew Gratzner

 @MatthewGratzner

Matthew Gratzner is a triple threat talent who balances directing, design and technology fluidly when creating content. Matthew has a pioneering spirit and is always willing to create with new tools while remaining grounded in story and character.

Best known for his visual effects work on the biggest feature films over the last decade as Visual Effects Supervisor and co-founder New Deal Studios, Matthew is also an accomplished director. He has two feature films in post, several commercials, huge visual effects sequences, digital shorts and is now pioneering cinematic virtual reality content. He was the first to direct a cinematic live action virtual reality short called The Mission. He has directed live sports VR for the NHL. HIs Music Video for Galvanized Souls for the song “New Generation” that has been hugely popular this summer. His latest is virtual reality short is Mutiny for Nokia and their OZO camera. 

Film Sundries


Support The Next Reel Family of Film Shows:

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]]> “I would ask you if you could remain emotionally detached, but I don’t think that’s your problem. Is it, Bond?”

The Next Reel’s Speakeasy is a new ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, visual effects supervisor and director Matthew Gratzner joins us to talk about one of his faves, Martin Campbell’s reboot of the James Bond franchise that introduced us to Daniel Craig’s 007, “Casino Royale.” We talk about Craig and the rest of the cast, including Dame Judy Dench, Eva Green and Mads Mikkelsen, and look at what they bring to the table. We discuss the story and its origins, from Ian Fleming’s original novel and the rights to the book, to where the franchise had been with Pierce Brosnan as the previous Bond, and finally to the screenwriters Neal Purvis, Robert Wade and Paul Haggis and what they delivered here. We chat about Barbara Broccoli and Michael G. Wilson and how they’ve worked so hard as a driving force to keep the franchise alive, consistent and relevant. And we chat effects, from the amazing stuntwork and the incredibly limited CGI to the model work. It’s a fantastic movie in a franchise we all love and we have a great time talking about it, so grab a drink and join us in the Speakeasy!

About Matthew Gratzner

 @MatthewGratzner

Matthew Gratzner is a triple threat talent who balances directing, design and technology fluidly when creating content. Matthew has a pioneering spirit and is always willing to create with new tools while remaining grounded in story and character.

Best known for his visual effects work on the biggest feature films over the last decade as Visual Effects Supervisor and co-founder New Deal Studios, Matthew is also an accomplished director. He has two feature films in post, several commercials, huge visual effects sequences, digital shorts and is now pioneering cinematic virtual reality content. He was the first to direct a cinematic live action virtual reality short called The Mission. He has directed live sports VR for the NHL. HIs Music Video for Galvanized Souls for the song “New Generation” that has been hugely popular this summer. His latest is virtual reality short is Mutiny for Nokia and their OZO camera. 

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Tue, 02 Feb 2016 10:59:00 -0800 TruStory FM TruStory FM 4722 The Next Reel’s Speakeasy is a new ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, visual effects supervisor and director Matthew Gratzner joins us to talk about one of his faves, Martin Campbell’s reboot of the James Bond franchise that introduced us to Daniel Craig’s 007, “Casino Royale.” The Next Reel’s Speakeasy is a new ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, visual effects supervisor and director Matthew Gratzner joins us film, filmcommentary, moviereview, movies, review No My Favorite Year — Abraham Benrubi • Movies We Like 1 1 1 1 My Favorite Year — Abraham Benrubi • Movies We Like full dc97f1e3-8e87-4d1e-a800-9e3ed6d65775 https://share.transistor.fm/s/fba4084c “I’m not an actor, I’m a movie star!”

The Next Reel’s Speakeasy is a new ongoing series of ours in which we invite an industry guest to join us and, instead of bringing their favorite cocktail, we have them bring along one of their favorite movies to talk about. In this inaugural episode, actor Abraham Benrubi joins us to talk about one of his faves, Richard Benjamin’s 1982 comedy gem “My Favorite Year,” starring Peter O’Toole and Mark Linn-Baker. We talk about the cast – from the brilliant (and Oscar-nominated) performance by O’Toole and the fantastic Linn-Baker to everyone else involved like Jessica Harper, Joseph Bologna, Bill Macy, Lainie Kazan, George Wyner, Selma Diamond and even an appearance by queen of the “Titanic” herself, Gloria Stewart. We chat about the origins of the story from writers who worked for Sid Caesar’s “Show of Shows” and how this fits in the world of live TV from the 50s. And we discuss the script and how it moves assuredly from the madcap comedy antics to some wonderfully poignant moments that really tug at your heartstrings. It’s a wonderful film to kick off this new series, so check it out then tune in!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

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]]> “I’m not an actor, I’m a movie star!”

The Next Reel’s Speakeasy is a new ongoing series of ours in which we invite an industry guest to join us and, instead of bringing their favorite cocktail, we have them bring along one of their favorite movies to talk about. In this inaugural episode, actor Abraham Benrubi joins us to talk about one of his faves, Richard Benjamin’s 1982 comedy gem “My Favorite Year,” starring Peter O’Toole and Mark Linn-Baker. We talk about the cast – from the brilliant (and Oscar-nominated) performance by O’Toole and the fantastic Linn-Baker to everyone else involved like Jessica Harper, Joseph Bologna, Bill Macy, Lainie Kazan, George Wyner, Selma Diamond and even an appearance by queen of the “Titanic” herself, Gloria Stewart. We chat about the origins of the story from writers who worked for Sid Caesar’s “Show of Shows” and how this fits in the world of live TV from the 50s. And we discuss the script and how it moves assuredly from the madcap comedy antics to some wonderfully poignant moments that really tug at your heartstrings. It’s a wonderful film to kick off this new series, so check it out then tune in!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Wed, 06 Jan 2016 06:00:00 -0800 TruStory FM TruStory FM 3564 The Next Reel’s Speakeasy is a new ongoing series of ours in which we invite an industry guest to join us and, instead of bringing their favorite cocktail, we have them bring along one of their favorite movies to talk about. In this inaugural episode, actor Abraham Benrubi joins us to talk about one of his faves, Richard Benjamin’s 1982 comedy gem “My Favorite Year,” starring Peter O’Toole and Mark Linn-Baker. The Next Reel’s Speakeasy is a new ongoing series of ours in which we invite an industry guest to join us and, instead of bringing their favorite cocktail, we have them bring along one of their favorite movies to talk about. In this inaugural episode, act film, filmcommentary, moviereview, movies, review No