Matt Gourley and Matt Mira love James Bond so much they decided to make a podcast about it. Each episode they invite a guest to dive deep into one movie from the greatest film franchise known to man. The entire James Bonding catalogue is now being re-released for free, one week at a time, starting 10/5/22. We never left. Hosted on Acast. See acast.com/privacy for more information.
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Conteúdo fornecido por Christian Genzel. Todo o conteúdo do podcast, incluindo episódios, gráficos e descrições de podcast, é carregado e fornecido diretamente por Christian Genzel ou por seu parceiro de plataforma de podcast. Se você acredita que alguém está usando seu trabalho protegido por direitos autorais sem sua permissão, siga o processo descrito aqui https://pt.player.fm/legal.
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Mining the depths of film entertainment for all mankind. With Scott Johnson, Brian Dunaway, Randy Jordan, and Brian Ibbott. Hosted on Acast. See acast.com/privacy for more information.
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The Ringer’s Mallory Rubin and Jason Concepcion return to take their signature deep dives into the Marvel Cinematic Universe, covering all 23 films!
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Werewolf Ambulance is a horror movie comedy podcast. Allen and Katie watch horror movies from all eras and of all qualities and then discuss them in a not-so-academic way (just as the name "Werewolf Ambulance" might imply!) and then discuss and rate them. The episodes do contain spoilers, so please watch the films before listening if that bothers you!
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In The Filmcast, hardcore geeks David Chen, Devindra Hardawar, and Jeff Cannata debate, pontificate, and delve into the latest films, TV shows, and other entertainment-related items from the past week. Weekly guests include everyday bloggers, webmaster luminaries, film directors, and movie stars from all walks of life. You can reach us at slashfilmcast@gmail.com and find more podcast episodes at http://www.thefilmcast.com
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DumTeeDum is a weekly podcast about The Archers featuring fans of Ambridge. Hosted on Acast. See acast.com/privacy for more information.
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In a unique weekly podcast, Edith Bowman sits down with a variety of film directors, actors, producers and composers to talk about the music that inspired them and how they use music in their films, from their current release to key moments in their career. The music chosen by our guests is woven into the interview and used alongside clips from their films. https://itunes.apple.com/gb/playlist/soundtracking-with-edith-bowman-episode-132-mary-j-blige/pl.u-6mo4l9mhpzG6x https://play.spotify.co ...
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Comedian and actor Gilbert Gottfried, a man Stephen King once called “a national treasure,” talks with the show business legends, icons and behind-the-scenes talents who shaped his childhood and influenced his comedy. Along with co-host and fellow pop culture fanatic Frank Santopadre, Gilbert is joined by comics, actors, musicians, talk show hosts, writers and other eyewitnesses to Hollywood history, including Bruce Dern, Chevy Chase, “Weird Al” Yankovic, Adam West, Steve Buscemi, Micky Dole ...
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Discover movies you may have missed and be warned about others you should. Hosts Anderson Cowan (Loveline) and Bryan Bishop (The Adam Carolla Show) hash out their contrasting film tastes in the form of weekly Top 5 lists and recent screening reviews of both new and old titles. With numerous recommendations each episode, The Film Vault is entertainment about entertainment and as a result is a show that keeps on giving.
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1 QUALIFIED: How Competency Checking and Race Collide at Work with Shari Dunn | 284 33:58
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CurtidoIn this episode, we delve into the concept of being "qualified" in the workplace, examining who gets labeled as such, who doesn't, and the underlying reasons. We explore "competency checking"—the practice of scrutinizing individuals' abilities—and how it disproportionately affects underrepresented groups, often going unnoticed or unchallenged. Our discussion aims to redefine qualifications in a fair, equitable, and actionable manner. Our guest, Shari Dunn , is an accomplished journalist, former attorney, news anchor, CEO, university professor, and sought-after speaker. She has been recognized as Executive of the Year and a Woman of Influence, with her work appearing in Fortune Magazine, The Wall Street Journal, Ad Age, and more. Her new book, Qualified: How Competency Checking and Race Collide at Work , unpacks what it truly means to be deserving and capable—and why systemic barriers, not personal deficits, are often the real problem. Her insights challenge the narratives that hold so many of us back and offer practical solutions for building a more equitable future. Together, we can build workplaces and communities that don’t just reflect the world we live in, but the one we want to create. A world where being qualified is about recognizing the talent and potential that’s been overlooked for far too long. It’s not just about getting a seat at the table—it’s about building an entirely new table, one designed with space for all of us. Connect with Our Guest Shari Dunn Website& Book - Qualified: https://thesharidunn.com LI: https://www.linkedin.com/today/author/sharidunn TikTok: https://www.tiktok.com/@thesharidunn Related Podcast Episodes: How To Build Emotionally Mature Leaders with Dr. Christie Smith | 272 Holding It Together: Women As America's Safety Net with Jessica Calarco | 215 How To Defy Expectations with Dr. Sunita Sah | 271 Share the Love: If you found this episode insightful, please share it with a friend, tag us on social media, and leave a review on your favorite podcast platform! 🔗 Subscribe & Review: Apple Podcasts | Spotify | Amazon Music…
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Conteúdo fornecido por Christian Genzel. Todo o conteúdo do podcast, incluindo episódios, gráficos e descrições de podcast, é carregado e fornecido diretamente por Christian Genzel ou por seu parceiro de plataforma de podcast. Se você acredita que alguém está usando seu trabalho protegido por direitos autorais sem sua permissão, siga o processo descrito aqui https://pt.player.fm/legal.
TALKING PICTURES is an interview series in which filmmaker and film journalist Christian Genzel talks to the people behind some of his favorite movies.
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Conteúdo fornecido por Christian Genzel. Todo o conteúdo do podcast, incluindo episódios, gráficos e descrições de podcast, é carregado e fornecido diretamente por Christian Genzel ou por seu parceiro de plataforma de podcast. Se você acredita que alguém está usando seu trabalho protegido por direitos autorais sem sua permissão, siga o processo descrito aqui https://pt.player.fm/legal.
TALKING PICTURES is an interview series in which filmmaker and film journalist Christian Genzel talks to the people behind some of his favorite movies.
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1 #40 – “He Would Have Been So Happy About This Notoriety”: Ed Wood Heir Bob Blackburn on the PLAN 9 FROM OUTER SPACE Director’s Legacy
Today’s guest is Bob Blackburn – he’s the son of the famous sportscaster by the same name, Bob Blackburn, who was the play-by-play voice of the Seattle SuperSonics of the NBA and was inducted into the Sports Halls of Fame in both Oregon and Washington. Bob, the son, also has a background in radio, but the reason I’m talking to him today is the book he just released: KATHY WOOD & I – HOW I FELL DOWN THE ED WOOD JR. ANGORA RABBIT HOLE. Bob, you see, is the custodian of the estate of the independent filmmaker Ed Wood – the legendary, famous or infamous director, writer and producer of films like PLAN 9 FROM OUTER SPACE, GLEN OR GLENDA and BRIDE OF THE MONSTER, which are sometimes called cult classics, sometimes called “the worst movies of all time”, but in both cases are appreciated and celebrated for offering a kind of cinema that’s wonderfully different and unique. Bob became friends with Ed Wood’s widow, Kathy Wood, and in his book, he paints a vivid picture of a very unusual friendship and talks a lot about Ed Wood’s work and his legacy. In our interview, Bob discusses the legacy of Ed Wood, his friendship with Kathy, the Tim Burton biopic starring Johnny Depp which came out in 1994, and much more. Bob Blackburn with Kathy Wood, Ed Wood’s widow. My interview with Bob Blackburn was conducted in connection with our German-language podcast Lichtspielplatz, so if you speak German, check out episode #74 , which features an in-depth discussion of Burton’s ED WOOD and the Ed Wood movies. If you enjoy my interviews here on Talking Pictures, please consider heading over to patreon.com/TalkingPicturesPodcast to support the production of new episodes. So without any further ado, here’s Bob Blackburn! The mp3 file can be downloaded HERE . Photos courtesy of Bob Blackburn Editing: Christoph Schwarz Music: Clark Kent The post #40 – “He Would Have Been So Happy About This Notoriety”: Ed Wood Heir Bob Blackburn on the PLAN 9 FROM OUTER SPACE Director’s Legacy appeared first on Talking Pictures .…
1 #39 – “I Still Don’t Feel the Code Has Been Cracked on How to Adapt These Things”: Screenwriter Dave Callaham on DOOM
Today’s guest is screenwriter Dave Callaham, and our conversation revolves around one of his early screenwriting assignments: the adaptation of the influential video game DOOM by id Software, turned into an action movie starring The Rock in 2005. Dave quickly became an in-demand writer in Hollywood, and his credits include a ton of high-profile action movies and blockbusters – he wrote the initial script of what would then became Sylvester Stallone’s THE EXPENDABLES, he worked on films like GODZILLA and ZOMBIELAND: DOUBLE TAP, he was a screenwriter on big comic book movies like WONDER WOMAN 1984, SHANG-CHI AND THE LEGEND OF THE TEN RINGS and SPIDER-MAN: ACROSS THE SPIDER-VERSE, and apart from that, he was the creator of the Amazon series JEAN-CLAUDE VAN JOHNSON and the writer and producer of a satirical animation film, AMERICA: THE MOVIE. Our interview, however, focuses on DOOM. Dave talks about the aspects of the game which he wanted to bring to the screen and about some of the changes that were made, He also discusses the film’s legacy and his collaboration with original director Enda McCallion – who was replaced by Andrzej Bartkowiak during pre-production – and he talks about his work on another video game adaptation, the 2021 action film MORTAL KOMBAT. Please note that the connection during our interview was a bit shaky, so the sound quality may be a bit wobbly at some points during the interview – but you won’t have any problems following our conversation. My interview with Dave Callaham was conducted in connection with our German-language podcast Lichtspielplatz, so if you speak German, please visit lichtspielplatz.at and check out episode #71 , which features an in-depth discussion of the two DOOM movies. Also, make sure to listen to my conversation with original DOOM director Enda McCallion and my interview with Tony Giglio , the writer/director of the second DOOM movie DOOM: ANNIHILATION. If you enjoy my interviews, please consider heading over to Patreon and supporting the production of new episodes. So without any further ado, here’s screenwriter Dave Callaham! The mp3 file can be downloaded HERE . Photo courtesy of Dave Callaham Editing: Christoph Schwarz Music: Clark Kent The post #39 – “I Still Don’t Feel the Code Has Been Cracked on How to Adapt These Things”: Screenwriter Dave Callaham on DOOM appeared first on Talking Pictures .…
1 #38 – “I Started Becoming Very Irresponsible”: Director Enda McCallion Explains How He Got Fired from DOOM (and What He’s Up to Now)
Today’s guest is Irish filmmaker Enda McCallion, and our interview was prompted by his involvement in the 2005 horror film DOOM starring The Rock, an adaptation of the influential video game by id Software. Enda was attached to the project in its initial stages and during pre-production, but was then fired and replaced by Andzrej Bartkowiak as the new director. Here, for maybe for the first time, Enda talks about his experience developing DOOM and explains what happened during pre-production, and he also gives us a glimpse of what his version of DOOM would have looked like and what remains in the finished film. Enda McCallion originally garnered attention as a director of very unusual, daring, funny and often subversive commercials. His best-known work is the Judderman commercial for the Metz alcopop drink, shot in a silent movie-inspired fashion and featuring a strange creature, the Judderman, luring a hapless wanderer deep into the woods with the Metz drink. Other notable commercials include two edgy spots for Gervais, featuring a lesbian couple with one girl torturing her lover by denying her access to the Gervais ice cream, or a McDonald’s spot depicting a group of aliens ready to attack humans coming out of a McDonald’s restaurant because, as they say, “they taste better afterwards”. Enda also made spots for companies like Nestea, Fanta, Citroen, Renault, Opel, Samsung, and he directed one of the most lavish commercials ever made, the “Ryder Cup 2006” for Allied Irish Bank, which was shot on over 20 locations with hundreds of extras. Enda also created a music video for Nine Inch Nails, “Deep”, and a few years after his DOOM experience, he directed a horror film called HIT AND RUN, an intense low-budget film which displays the same dark sense of humor and visual pizzaz that could be seen in his commercials. In our interview, Enda moves beyond DOOM to discuss his style and his approach to storytelling and directing, he shares anecdotes about several of his projects, and he talks in-depth about several projects which never came to be, and some which are currently in development. My interview with Enda McCallion was conducted in connection with our German-language podcast Lichtspielplatz, so if you speak German, please visit lichtspielplatz.at and check out episode #71 , which features an in-depth discussion of the two DOOM movies. Also, make sure to listen to my conversation with DOOM screenwriter Dave Callaham , and my interview with Tony Giglio , the writer/director of the second DOOM movie DOOM: ANNIHILATION, here on Talking Pictures. If you enjoy my interviews, please consider heading over to Patreon and supporting the production of new episodes. So without any further ado, here’s director Enda McCallion! The mp3 file can be downloaded HERE . Photos courtesy of Enda McCallion Editing: Christoph Schwarz Music: Clark Kent The post #38 – “I Started Becoming Very Irresponsible”: Director Enda McCallion Explains How He Got Fired from DOOM (and What He’s Up to Now) appeared first on Talking Pictures .…
1 #37 – “You’re Never Going to Meet Up with Expectations”: Director/Writer Tony Giglio on His Video Game Adaptation DOOM: ANNIHILATION
Today’s guest is filmmaker Tony Giglio, and our conversation revolves around his 2019 film DOOM: ANNIHILATION which he wrote and directed. Unlike the 2005 DOOM movie starring The Rock, this newer adaptation of the infamous and influential ego shooter video game by id Software was made on a very small budget, and it’s not a sequel or remake, but basically a new take on the story of a marines team fighting a horde of demons which infiltrated a space station on Phobos, one of the moons of Mars. DOOM: ANNIHILATION is a well-made, fun action film which finds a good balance between thrills, carnage, horror and excitement – and it has a lot of details capturing the spirit of the game. In our interview, Tony talks about the development of the film, the adaptation process, the budgetary restraints of the production and the appeal of the game. He also discusses why id Software weren’t involved and how a miscommunication caused premature negative reactions, and for the first time, he talks about the sequel he wanted to do, which was essentially greenlit, then postponed during the pandemic and eventually and unfortunately cancelled. Tony Giglio started out in Hollywood as an assistant on several cult classics, including Michael Mann’s HEAT, Sam Raimi’s THE QUICK AND THE DEAD, and John Carpenter’s ESCAPE FROM L.A. As a writer and director, Tony’s made several other cool low-budget movies, some of which he also discusses during our conversation – most notably his 2005 action thriller CHAOS starring Jason Statham, Ryan Philippe and Wesley Snipes. He also directed movies like the tense submarine thriller IN ENEMY HANDS starring William H. Macy and Til Schweiger or the dark backwoods horror film TIMBER FALLS, and as a screenwriter, he worked on the DEATH RACE sequels for Paul Anderson. My interview with Tony Giglio was conducted in connection with our German-language podcast Lichtspielplatz, so if you speak German, please visit lichtspielplatz.at and check out episode #71 , which features an in-depth discussion of the two DOOM movies. Also, make sure to listen to our interviews with the original director of the 2005 DOOM movie, Enda McCallion , and my conversation with DOOM screenwriter Dave Callaham here on Talking Pictures. If you enjoy my interviews, please consider heading over to Patreon and supporting the production of new episodes. So without any further ado, here’s director Tony Giglio! The mp3 file can be downloaded HERE . Photos courtesy of Tony Giglio Editing: Christoph Schwarz Music: Clark Kent The post #37 – “You’re Never Going to Meet Up with Expectations”: Director/Writer Tony Giglio on His Video Game Adaptation DOOM: ANNIHILATION appeared first on Talking Pictures .…
1 #36: “Nobody Said: Wow, We’re Doing Something Revolutionary Here”: Ron Bonk on his Early Found-Footage Film STRAWBERRY ESTATES
Today’s guest is Ron Bonk, best known as the owner of the New York-based underground production and distribution company SRS Cinema. Ron started out as a filmmaker in the shot-on-video world of the 1990’s, writing and directing low-budget genre films like CITY OF THE VAMPIRES and THE VICIOUS SWEET. He went on to direct several independent horror films like CLAY, MS. CANNIBAL HOLOCAUST or the tongue-in-cheek HOUSE SHARK. With SRS Cinema, he’s produced and distributed numerous other films with splendid titles such as AMITYVILLE BIGFOOT, PUPPET SHARK or COCAINE CRABS FROM OUTER SPACE. Our conversation revolves around a found footage film Ron Bonk made in the late 90’s called STRAWBERRY ESTATES, the story of a professor and his student who, along with a medium and a cameraman, venture into an abandoned insane asylum to communicate with the dead – what could possibly go wrong? Ron made the film twice – once in 1997, and then again in 1999, for a mere $400, to capitalize on the success of THE BLAIR WITCH PROJECT. In our conversation, Ron talks about the making of both versions, and how he approached the found footage aesthetic and its spirit of authenticity. He also talks about his first ventures into the world of filmmaking, and how his film poked fun at the conventions of no-budget films while embracing the shot-on-video aesthetic which has very much become a standard these days. The interview was conducted in connection with our German-language podcast Lichtspielplatz, so if you speak German, please check out Lichtspielplatz episode #68 , which features an in-depth discussion of STRAWBERRY ESTATES and many other found footage horror films. Also, make sure to listen to our interviews with found footage filmmakers Ted Nicolaou, Brian Leslie, Stefan Avalos and Dean Alioto here on Talking Pictures. So without any further ado, here’s director Ron Bonk! The mp3 file can be downloaded HERE . Photo courtesy of Dean Alioto Editing: Christoph Schwarz Music: Clark Kent The post #36: “Nobody Said: Wow, We’re Doing Something Revolutionary Here”: Ron Bonk on his Early Found-Footage Film STRAWBERRY ESTATES appeared first on Talking Pictures .…
1 #35: “It’s Good to Be Ahead of Your Time, But Not a Decade”: Director Dean Alioto on Pioneering Found Footage Film UFO ABDUCTION
Today’s guest is Dean Alioto, writer and director of the groundbreaking found footage horror film UFO ABDUCTION, which also became known as THE MCPHERSON TAPE. The film tells the story of a family whose house is surrounded by alien creatures one night, and while the panicked people inside the house become more and more frightened and try to deal with the situation, a family members records the entire event with a 1980’s-style home video camera. Dean made the film on a shoestring budget in 1989 while he was in his mid-Twenties, and while there have been several found footage and pseudo-documentary precursors since the 1960’s, what is striking about UFO ABDUCTION is how much it anticipates the aesthetic and the storytelling that was popularized ten years later by THE BLAIR WITCH PROJECT and other found footage horror films. In our interview, Dean Alioto talks about the making of this unusual, pioneering film, and which strategies he used to make the material more authentic. He relates the incredible and hilarious story of how the film disappeared, then reappeared and was thought to be a real recording of an actual close encounter of the third kind – which then, through many strange coincidences, led to the production of a remake called ALIEN ABDUCTION: INCIDENT AT LAKE COUNTY, which was released in 1998, again directed by Dean. We also talk about some of Dean’s other projects, including his latest horror film PORTAL, and some of his upcoming productions. The interview was conducted in connection with our German-language podcast Lichtspielplatz, so if you speak German, please check out Lichtspielplatz episode #68 , which features an in-depth discussion of UFO ABDUCTION and ALIEN ABDUCTION and many other found footage horror films. Also, make sure to listen to our interviews with found footage filmmakers Ted Nicolaou, Brian Leslie, Stefan Avalos and Ron Bonk here on Talking Pictures. So without any further ado, here’s director Dean Alioto! The mp3 file can be downloaded HERE . Photo courtesy of Dean Alioto Editing: Christoph Schwarz Music: Clark Kent The post #35: “It’s Good to Be Ahead of Your Time, But Not a Decade”: Director Dean Alioto on Pioneering Found Footage Film UFO ABDUCTION appeared first on Talking Pictures .…
1 #34: “It’s very easy for me to scare myself”: Director Ted Nicolaou on THE ST. FRANCISVILLE EXPERIMENT
Today’s guest is Ted Nicolaou, best known for his many collaborations with producer Charles Band, including the popular SUBSPECIES series. Ted started out as a sound recordist on Tobe Hooper’s cult classic THE TEXAS CHAIN SAW MASSACRE and then went into editing, working on films like ROAR, TRANCERS and GHOULIES. As a director, and ofentimes as a writer, too, he made films like the offbeat horror comedy TERRORVISION, charming fantasy movies for children like DRAGONWORLD or LEAPIN’ LEPRECHAUNS, and, of course, the aforementioned SUBSPECIES films – a series of vampire horror films which made perfect use of their impressive Romanian locations and managed to mix vampire lore, dramatic horror and a dose of eroticism with just the right amount of tongue-in-cheek B-movie attitude. Our conversation, however, revolves around a lesser-known film which Ted directed: THE ST. FRANCISVILLE EXPERIMENT – a found-footage horror film that came out shortly after THE BLAIR WITCH PROJECT made its mark on the horror genre. The film tells the story of a group of filmmakers who set out to spend the night in a haunted Louisiana mansion, hoping to encounter the ghosts of the victims of Delphine LaLaurie, the real-life New Orleands socialite who brutally tortured slaves in the 1800s. Ted was brought onto the film after some elements had already been shot, and he encountered a production that wasn’t as carefully prepared as it should have been. In our interview, Ted relates how he came on board of the film, how the handled the initial shoot without much room for directorial influence, and how he and the production team then went about to restructure the film and add elements in reshoots – resulting in a horror film which wears the influence of BLAIR WITCH on its sleeve, but manages to create a chilly, atmospheric mood and several effective scare scenes of its own. The interview was conducted in connection with our German-language podcast Lichtspielplatz, so if you speak German, please check out Lichtspielplatz episode #68 , which features an in-depth discussion of THE ST. FRANCISVILLE EXPERIMENT and many other found footage horror films. Also, make sure to listen to our interviews with found footage filmmakers Dean Alioto, Brian Leslie, Stefan Avalos and Ron Bonk here on Talking Pictures. So without any further ado, here’s director Ted Nicolaou! The mp3 file can be downloaded HERE . Photos courtesy of Ted Nicolaou Editing: Christoph Schwarz Music: Clark Kent The post #34: “It’s very easy for me to scare myself”: Director Ted Nicolaou on THE ST. FRANCISVILLE EXPERIMENT appeared first on Talking Pictures .…
1 #33: “We Didn’t Think Anyone Would Watch 1½ Hours of Crappy Video of Running Around in the Woods”: Stefan Avalos on Found Footage Precursor THE LAST BROADCAST
Today’s guest is Stefan Avalos, who was once profiled by Wired magazine as “one of the twenty five people helping to reinvent entertainment”. Together with Lance Weiler, he wrote, produced, directed and starred in the found footage thriller THE LAST BROADCAST, a film which they also shot, edited and scored themselves – and which became the first feature film that was released digitally in commercial cinemas in 1998. The film is a true crime documentary about the two hosts of a cable access show called Fact or Fiction who disappear in search of the mythical Jersey Devil creature. A strange fan who accompanied them and returned unharmed is seen as a murder suspect, but the documentarian believes that the footage will reveal a different story. Before making THE LAST BROADCAST, Stefan Avalos directed his feature film debut THE GAME in 1993, an edgy crime thriller about two college boys who become involved in a deadly counterfeiting scheme. Later on, Stefan directed the supernatural horror film THE GHOSTS OF EDENDALE, produced films like Paul Tarantino’s black-humored horror comedy HEADHUNTER, and worked as a visual effects creator. His documentary STRAD STYLE about a man from Ohio trying to make a perfect copy of a Stradivarius-quality violin without any formal training in violin making, was released in 2017 and won several awards at festivals like Slamdance. In our conversation, Stefan Avalos relates the true story behind his first feature film THE GAME and talks about the development and thought process behind creating THE LAST BROADCAST – including the surprise ending and the documentaries which inspired the film. He discusses the strategies he and Lance Weiler used to make their film look authentic, and remembers a few incidences where people were somewhat confused about the reality of the story. He also talks about the ideas behind THE GHOSTS OF EDENDALE and discusses his future projects. In our conversation, we also dive into a fascinating discussion of what AI will be capable of and how that might affect the future of filmmaking – and the future of film consumption. The interview was conducted in connection with our German-language podcast Lichtspielplatz, so if you speak German, please check out Lichtspielplatz episode #68 , which features an in-depth discussion of THE LAST BROADCAST and many other found footage horror films. Also, make sure to listen to our interviews with found footage filmmakers Dean Alioto, Ted Nicolaou, Brian Leslie and Ron Bonk here on Talking Pictures. So without any further ado, here’s director Stefan Avalos! The mp3 file can be downloaded HERE . Photo courtesy of Stefan Avalos Editing: Christoph Schwarz Music: Clark Kent The post #33: “We Didn’t Think Anyone Would Watch 1½ Hours of Crappy Video of Running Around in the Woods”: Stefan Avalos on Found Footage Precursor THE LAST BROADCAST appeared first on Talking Pictures .…
1 #32: “In 1999, There’s a Lot of Things People Don’t Know About”: Brian Leslie on Producing the BLAIR WITCH Follow-up THE BLACK DOOR
Today’s guest is Brian Leslie, producer of the found footage horror film THE BLACK DOOR, which came out in 2001 on the heels of the success of the genre-defining THE BLAIR WITCH PROJECT. THE BLACK DOOR was directed by Kit Wong, and Brian Leslie was brought on board by his production partner Lucas Lowe. Lowe, best known as the director of martial arts action films like KING OF THE KICKBOXERS and AMERICAN SHAOLIN, had worked with Brian on a horror/mystery anthology series which was originally called THE LEGENDS OF THE BUSHWALKER and was then renamed DIARIES OF DARKNESS, with Lowe as director, Brian Leslie as producer, and both as creators and writers. There is an interesting and somewhat ironic connection between THE LEGENDS OF THE BUSHWALKER and THE BLAIR WITCH PROJECT, but I’ll leave it up to Brian to tell this story. Both Lowe and Leslie then worked on THE BLACK DOOR, the creepy story of an investigation into the mysterious background of a severely wounded hospital patient, which leads to an old satanic sect – and one of the film’s highlights is a “found” 8mm film of a ritual performed in the 1930’s, which easily counts as one of the most effective set pieces in the history of found footage. In our conversation, Brian discusses his background as a producer, the development of THE LEGENDS OF THE BUSHWALKER and its surprising connection to the film which kickstarted the first wave of found footage horror back in 1999. He talks about the making of THE BLACK DOOR and its individual elements, including a haunted house. And he relates a bizarre, frightening and ultimately very sweet encounter during the production of THE BLACK DOOR. The interview was conducted in connection with our German-language podcast Lichtspielplatz, so if you speak German, please check out Lichtspielplatz episode #68 , which features an in-depth discussion of THE BLACK DOOR and many other found footage horror films. Also, make sure to listen to our interviews with found footage directors Dean Alioto, Ted Nicolaou, Stefan Avalos and Ron Bonk here on Talking Pictures. So without any further ado, here’s producer Brian Leslie! The mp3 file can be downloaded HERE . Photo courtesy of Brian Leslie Editing: Christoph Schwarz Music: Clark Kent The post #32: “In 1999, There’s a Lot of Things People Don’t Know About”: Brian Leslie on Producing the BLAIR WITCH Follow-up THE BLACK DOOR appeared first on Talking Pictures .…
Today’s guest is director Carl Schultz, and our conversation revolves around his work on the TV series THE YOUNG INDIANA JONES CHRONICLES, or THE ADVENTURES OF YOUNG INDIANA JONES, as it’s later been retitled. This lavishly produced early 90’s show, a spin-off of the popular Indiana Jones movies, follows the adventures of Indy as a boy, played by Corey Carrier, and as a young man, played by Sean Patrick Flanery, encountering numerous famous historical figures and events. Carl directed several episodes of the show, including the first few episodes which has the protagonist meeting contemporaries like Pancho Villa, Winston Churchill, Theodore Roosevelt, and learning about the Mexican Revolution and the suffragette movement, among others. He also made the famous “Mystery of the Blues” two-part episode set in Chicago where Indy meets jazz musician Sidney Bechet and gangster Al Capone. Furthermore, Carl directed many of the bookends of the show, segments with a 93-year old Indy reminiscing about his earlier adventures. Carl Schultz (left) on the set of YOUNG INDIANA JONES with executive producer George Lucas. Carl Schultz was born in Budapest but left Hungary in the 1950’s and moved to Australia, where he established himself as a versatile storyteller. He directed several TV productions, including the mini-series RIDE ON STRANGER from 1979, based on the novel by Kylie Tennant set in the 1930’s, and the mini-series LEVKAS MAN from 1981, based on a book by Hammond Innes. Carl also directed several notable theatrical features, including the 1983 drama CAREFUL HE MIGHT HEAR YOU, the quiet story of a young kid caught in a custody battle between his two aunts, which won eight Australian Film Institute Awards, plus the David Williamson adaptation TRAVELLING NORTH from 1987, the deeply human story of an old curmudgeon who tries to enjoy his retirement days without going through the pains of addressing his health problems, and Carl’s American debut, THE SEVENTH SIGN from 1988, an apocalyptic horror movie starring Demi Moore and Michael Biehn. In our conversation, Carl recalls the freedom he enjoyed as a director and his impressions of the show’s writer’s room. He also discusses his thoughts on the Old Indy bookend segments and his general approach as a filmmaker to the Young Indy stories. The interview was conducted in connection with our German-language podcast Lichtspielplatz, so if you speak German, please check out Lichtspielplatz episode #67 , which features an in-depth look at the Young Indiana Jones TV series. Also, make sure to listen to my interview with actor Sean Patrick Flanery here on Talking Pictures! So without any further ado, here’s Carl Schultz discussing how he came on board of YOUNG INDIANA JONES! The mp3 file can be downloaded HERE . Photos courtesy of Carl Schultz Editing: Christoph Schwarz Music: Clark Kent The post #31: “I Don’t Need Cute” – Director Carl Schultz on THE ADVENTURES OF YOUNG INDIANA JONES appeared first on Talking Pictures .…
1 #30: “It Made Me Read THE TRIAL by Franz Kafka”: Actor Sean Patrick Flanery on THE ADVENTURES OF YOUNG INDIANA JONES
Today’s guest is actor Sean Patrick Flanery, and our conversation revolves around his work on the TV series THE YOUNG INDIANA JONES CHRONICLES, later re-titled as THE ADVENTURES OF YOUNG INDIANA JONES– a lavishly produced spin-off of the popular Indiana Jones movies which ran from 1992 to 1996, following the adventures of Indy as a boy, played by Corey Carrier, and as a young man, played by Sean Patrick Flanery, encountering numerous famous historical figures and events. Sean appeared in the lion’s share of the episodes, with Indy fighting numerous battles in World War I, joining Sidney Bechet’s jazz band in Chicago, getting involved with the Easter Rising in Ireland, going to Hollywood to work with John Ford and Erich von Stroheim, and meeting other legendary people like Albert Schweitzer, Ernest Hemingway, George Gershwin or Charles de Gaulle. After some commercials and smaller roles, YOUNG INDIANA JONES was Sean Patrick Flanery’s first big role in a major production. He also appeared in movies ranging from the cult success THE BOONDOCK SAINTS (1999) and its sequel (2009) to films like SUICIDE KINGS (1997), BODY SHOTS (1999), D-TOX (2002), SAW 3D (2010), the seventh part of the horror movie series, to the recently released horror film NEFARIOUS. On TV, Sean was part of the show THE DEAD ZONE based on the Stephen King novel, where he appeared in several episodes from 2002 to 2007, and he joined the show DEXTER in 2013 for its 8 th season. He’s also a martial artist and a writer – his debut novel JANE TWO was published in 2016. On the book’s webpage, Sean’s bio includes the charmingly tongue-in-cheek statement: “He has appeared in over 100 movies and television shows, some of which he hopes you’ve seen, and some of which he hopes you haven’t.” In our conversation, Sean recalls how the Young Indy series juggled all sorts of different storytelling approaches, and how he experienced the show as an actor. He discusses the educational part of the series and remembers his favorite episodes and directors. The interview was conducted in connection with our German-language podcast Lichtspielplatz, so if you speak German, please check out Lichtspielplatz episode #67 , which features an in-depth look at the Young Indiana Jones TV series. Also, make sure to listen to my interview with Young Indy director Carl Schultz here on Talking Pictures. So without any further ado, here’s Sean Patrick Flanery recalling the audition process of Young Indiana Jones. The mp3 file can be downloaded HERE . Photo courtesy of Sean Patrick Flanery Editing: Christoph Schwarz Music: Clark Kent The post #30: “It Made Me Read THE TRIAL by Franz Kafka”: Actor Sean Patrick Flanery on THE ADVENTURES OF YOUNG INDIANA JONES appeared first on Talking Pictures .…
Just like in our last episode, today’s guest is not a filmmaker but a novelist. In our last episode, I spoke to Rob MacGregor who wrote several Indiana Jones novels at the beginning of the Nineties – this time, I’m talking to writer Max McCoy who continued the series from 1995 to 1999 with four original Indiana Jones stories, starting with INDIANA JONES AND THE PHILOSOPHER’S STONE and continuing with INDIANA JONES AND THE DINOSAUR EGGS, THE HOLLOW EARTH and THE SECRET OF THE SPHINX. Before his Indy series, Max had already written several novels in the Western genre, including THE SIXTH RIDER, SONS OF FIRE and its sequel HOME TO TEXAS and THE WILD RIDER. After the Indiana Jones books, he wrote several other Western novels like HELLFIRE CANYON, DAMNATION ROAD or the Ophelia Wylde Paranormal Mystery series and the Ghost Rifle series, but also thrillers like HINTERLAND, non-fiction books like ELEVATIONS: A PERSONAL EXPLORATION OF THE ARKANSAS RIVER, and the novelization of the Steven Spielberg-produced TV series INTO THE WEST. Max has won not only several awards for his novels, including three Spur Awards, but also for his investigative reporting – because in his other career, Max also works as a journalist and for many years taught as a professor of journalism at Emporia State University in Kansas. In our conversation, Max recalls how he became involved with the world of Indiana Jones, and how he distilled the ideas of George Lucas into a series of stories that feel very close to the original Indy movies. He discusses the importance and the appeal of the Indy character, the input from Lucasfilm and some ideas that didn’t make it into his novels. He also talks about his research process, his literary influences, and much more. The interview was conducted in connection with our German-language podcast Lichtspielplatz, so if you speak German, please check out episode #64 , which features an in-depth discussion of the Indiana Jones novels by Rob MacGregor, Max McCoy and Wolfgang Hohlbein. Also, make sure to listen to my interview with Rob MacGregor here on Talking Pictures – the novelist who six original Indiana Jones novels in the early 90’s. So without any further ado, here’s Max McCoy! The mp3 file can be downloaded HERE . Photos courtesy of Max McCoy Editing: Christoph Schwarz Music: Clark Kent The post #29: “We Need the Indiana Jones Character”, Says Novelist Max McCoy appeared first on Talking Pictures .…
Today’s guest is not a filmmaker – but his best-known work is closely connected to one of the most popular movie series of all time. It is novelist Rob MacGregor, who wrote the novelization of Steven Spielberg’s third Indiana Jones movie, INDIANA JONES AND THE LAST CRUSADE – and then went on to write six more original Indy adventures shortly afterwards, starting with INDIANA JONES AND THE PERIL AT DELPHI in 1991 and then continuing with DANCE OF THE GIANTS, THE SEVEN VEILS, THE GENESIS DELUGE, THE UNICORN’S LEGACY and INDIANA JONES AND THE INTERIOR WORLD throughout 1991 and 1992. Rob also wrote many other novels, including the Will Lansa Young Adult series which started with PROPHECY ROCK in 1995 and the Nicholas Pierce series which started with CRYSTAL SKULL in 1991. He also published many other mysteries, adventure stories and sci-fi & fantasy stories, including SEVENTH BORN and TULPAS; he wrote books together with Peter Benchley and with Billy Dee Williams and he wrote novelizations for movies like THE PHANTOM and SPAWN. He also wrote numerous non-fiction books, many of them with his wife Trish MacGregor – including books on synchronicity, psychic powers and paranormal mysteries. In our conversation, Rob recalls his early days as a writer and his journey into the world of Indiana Jones. He talks about working on the six Indy novels and the connections between the stories, the input of George Lucas and Lucasfilm, the popularity of the Indy books and some of his influences in terms of mythology and writing. The interview was conducted in connection with our German-language podcast Lichtspielplatz, so if you speak German, please check out episode #64 , which features an in-depth discussion of the Indiana Jones novels by Rob MacGregor, Max McCoy and Wolfgang Hohlbein. Also, make sure to listen to my interview with Max McCoy here on Talking Pictures – the novelist who continued the Indiana Jones novel series with four more books in the late 90’s. So without any further ado, here’s Rob MacGregor – who is unsure whether he should re-read his Indy books after all those years … The mp3 file can be downloaded HERE . Portrait photo courtesy of Rob MacGregor Editing: Christoph Schwarz Music: Clark Kent The post #28: Mythology and Spirituality: Rob MacGregor on his Indiana Jones Novels appeared first on Talking Pictures .…
1 #27: “Nothing Would Ever Top the Ark of the Covenant”: Screenwriter Menno Meyjes on INDIANA JONES AND THE LAST CRUSADE
Today’s guest is screenwriter and director Menno Meyjes, best known for his collaboration with Steven Spielberg in the 80’s. Menno was born in the Netherlands but moved to the United States in 1972 to study at the San Francisco Art Institute. After writing a script for one of the best-known episodes of Spielberg’s AMAZING STORIES TV series – “The Mission”, starring a young Kevin Costner and directed by Spielberg himself – Menno received an Academy Award nomination for his adaptation of Alice Walker’s Pulitzer Prize-winning novel THE COLOR PURPLE, as directed by Spielberg. As a screenwriter, he also worked on films like Franklin Schaffner’s LIONHEART, Russell Mulcahy’s RICOCHET and Edward Zwick’s THE SIEGE. After THE COLOR PUPLE, Menno was brought in to work on the third Indiana Jones movie, INDIANA JONES AND THE LAST CRUSADE, taking over from writer Chris Columbus whose MONKEY KING script had been rejected. In our conversation, Menno talks about his collaboration with George Lucas and Steven Spielberg and how elements like the search for the Holy Grail and Indy’s father were introduced. He also discusses some of the other films he’s worked on, including his directorial debut MAX, an independent gem starring John Cusack as a Jewish art dealer based in Munich who, shortly after WWI, encounters a young, struggling painter named Adolf Hitler whose anger and disillusionment is slowly finding other, more harmful outlets. Menno also talks about his work on MANOLETE, a biopic starring Adrien Brody as the popular Spanish bullfighter, and he discusses his more recent move back to the Netherlands to direct independent films like THE DINNER and THE REUNION. So without any further ado, here’s Menno Meyjes recalling how he came on board of INDIANA JONES AND THE LAST CRUSADE. The mp3 file can be downloaded HERE . Editing: Christoph Schwarz Music: Clark Kent The post #27: “Nothing Would Ever Top the Ark of the Covenant”: Screenwriter Menno Meyjes on INDIANA JONES AND THE LAST CRUSADE appeared first on Talking Pictures .…
Today’s guest is Barry Opper, best known as the producer of the CRITTERS series, the tongue-in-cheek sci-fi horror series about furry little creatures from outer space creating havoc here on Earth. Barry started out, together with his business partner Rupert Harvey, as the producer of Aaron Lipstadt’s 1982 sci-fi cult film ANDROID, which was made in collaboration with Roger Corman and starred Klaus Kinski and Barry’s brother Don, who also wrote the screenplay. Barry and Rupert went on to produce the CRITTERS series, which also starred Don as Critter hunter Charlie, and they also made Aaron Lipstadt’s post-apocalyptic film CITY LIMITS and the noir-ish crime thriller SLAM DANCE, both also written by Don. Later on, Barry worked as a producer on the first instalment of Victor Salva’s JEEPERS CREEPERS series and co-produced video director Marc Klasfeld’s feature-film debut, the biting satire THE L.A. RIOT SPECTACULAR. In our conversation, Barry recalls how he went from working as a teacher in West Africa to joining the Company Theater group in Los Angeles and then becoming a movie producer. He tells numerous anecdotes from his various movies – for example, how a young and unknown teenager named Leo DiCaprio became one of the stars of CRITTERS 3. He discusses some of the problems that the productions ran into – including creative differences on SLAM DANCE and a difficult situation on JEEPERS CREEPERS which led to Barry being fired from the film. Barry also talks about his personal and his creative relationship with his Brother Don, and he discusses some of the projects he is currently working on. The interview was conducted in connection with our German-language podcast Lichtspielplatz, so if you speak German, please visit lichtspielplatz.at and check out episode #63 , which features an in-depth discussion of Barry’s first film ANDROID. Also, make sure to listen to my interview with ANDROID director Aaron Lipstadt here on Talking Pictures. So without any further ado, here’s Barry Opper discussing how he became interesting in the world of movies. The mp3 file can be downloaded HERE . Photos courtesy of Barry Opper Thanks to Dr. Wily, my Lichtspielplatz podcasting partner for audio editing. The music was created by Clark Kent . The post #26: CRITTERS, CREEPERS & Other Impossible Projects: A Conversation with Producer Barry Opper appeared first on Talking Pictures .…
Today’s guest is Aaron Lipstadt, best known from the mid-80’s onwards as a director on popular TV shows like MIAMI VICE, QUANTUM LEAP, LAW & ORDER, CROSSING JORDAN, THE 4400, BOSCH or ELEMENTARY. As a producer/director, he also worked on shows like THE MARSHAL, THE DIVISION, MEDIUM and GRIMM. In our interview, however, we go back to the beginning of Aaron’s career – to an independent little science-fiction gem called ANDROID, which came out in 1982 and was compared by film critic Roger Ebert to cult debut films like George Lucas’ THX 1138 and John Carpenter’s DARK STAR. ANDROID was produced by Roger Corman and starred Klaus Kinski as a mad scientist working on a life-like robot called Max. The android was played by Don Opper, who also co-wrote the screenplay and then, a few years later, became a cult figure as bounty hunter Charlie in the CRITTERS series. In our conversation, Aaron recalls how he learned the ropes at Roger Corman’s company and how ANDROID came together, he discusses working with Kinski, talks about the ideas and themes of the movie and much more. Aaron also discusses his follow-up film CITY LIMITS, a post-apocalyptic action picture that, as he says, almost killed his career – and he recalls how he became involved with television directing, starting with an episode of MIAMI VICE. The interview was conducted in connection with our German-language podcast Lichtspielplatz, so if you speak German, please check out our episode #63 , which features an in-depth discussion of ANDROID. Also, make sure to listen to my interview with Barry Opper, the producer of ANDROID and CRITTERS, which will be released shortly here on Talking Pictures. So without any further ado, here’s Aaron Lipstadt! The mp3 file can be downloaded HERE . Photo courtesy of Aaron Lipstadt Thanks to Dr. Wily, my Lichtspielplatz podcasting partner for audio editing. The music was created by Clark Kent . The post Talking Pictures #25: Aaron Lipstadt, Director of ANDROID appeared first on Talking Pictures .…
Today’s guest is the amazing writer and director Nicholas Meyer. While Meyer is probably best known as the writer and director of the beloved sci-fi sequels STAR TREK II: THE WRATH OF KHAN and STAR TREK VI: THE UNDISCOVERED COUNTRY and also as the director of the sci-fi adventure TIME AFTER TIME and the devastating nuclear disaster TV movie THE DAY AFTER, our conversation revolves around his Sherlock Holmes stories. In 1974, Meyer published the bestselling novel THE SEVEN PER-CENT SOLUTION, presented as a rediscovered manuscript in which Arthur Conan Doyle’s famous detective meets Sigmund Freud in Vienna who cures him of his cocaine addiction. Meyer received an Academy Award nomination for adapting his book into a screenplay for the movie version directed by Herbert Ross, which was released in 1976 and starred Nicol Williamson, Robert Duvall, Alan Arkin, Vanessa Redgrave and Sir Laurence Olivier. Meyer wrote four more Holmes novels in the following years, starting with THE WEST-END HORROR, in which Holmes and Watson solve a case in London’s theatre district and meet famous artists like George Bernard Shaw, Oscar Wilde and Bram Stoker. In the third Holmes novel, THE CANARY TRAINER, Holmes works undercover as a violinist at the Paris Opera and crosses paths with Gaston Leroux’s famous Phantom of the Opera. More recently, Meyer wrote THE ADVENTURE OF THE PECULIAR PROTOCOLS, in which Holmes is on the trail of the infamous Protocols of the Elders of Zion, a vicious forgery which is supposed to document a Jewish plan for world domination. The fifth Holmes novel, THE RETURN OF THE PHARAOH, is set in Egypt and has an older Holmes working with archeologist Howard Carter on solving a mystery revolving around a previously undiscovered pharaoh’s tomb. Meyer’s Sherlock Holmes novels and his insightful autobiography THE VIEW FROM THE BRIDGE. In our conversation, Nicholas Meyer discusses how he developed the ideas of his Holmes novels and how he found the connection between Arthur Conan Doyle and Sigmund Freud. He talks about the process of adapting the book for the film version of THE SEVEN PER-CENT SOLUTION and about his discussions with director Herbert Ross revolving around several changes. We also discuss the other Holmes novels and take a brief detour into Meyer’s STAR TREK movies. Meyer also explains why the job of a psychoanalyst is similar to that of a movie editor, and he shares a story that revolves around his take on the concept of originality. The interview was conducted in connection with our German companion podcast Lichtspielplatz, so if you speak German, make sure to check out episode #57 which features an in-depth discussion of the film THE SEVEN PER-CENT SOLUTION and all five of Meyer’s Holmes novels. So without any further ado, here’s the brillant Holmes to my ordinary Watson – Nicholas Meyer! The mp3 file can be downloaded HERE . Photo of Nicholas Meyer: Leslie Fram Photo of Meyer books: Christian Genzel Thanks to Dr. Wily, my Lichtspielplatz podcasting partner for audio editing. The music was created by Clark Kent . The post Talking Pictures #22: Nicholas Meyer, Writer of THE SEVEN PER-CENT SOLUTION appeared first on Talking Pictures .…
This is the second part of our CHINATOWN series where we discuss the making of Roman Polanski’s 1974 masterpiece, and today’s guest is character actor Allan Warnick. CHINATOWN is Allan’s best-known role, and if you’ve seen the film, you remember Allan from the perfect and very funny scene in the Hall of Records where he plays the stuck-up clerk who tells Jack Nicholson that “This is not a lending library”. Allan worked on several other films during the era, starting with Dennis Hopper’s EASY RIDER follow-up THE LAST MOVIE and then appearing in films like MOTHER, JUGS & SPEED by Peter Yates alongside actors like Harvey Keitel and Raquel Welch, POSSE by and with Kirk Douglas, ROCKY II by and with Sylvester Stallone – and also in the CHINATOWN sequel THE TWO JAKES, directed by Jack Nicholson, where he appears as another snooty clerk. In our conversation, Allan shares his memories of the CHINATOWN shoot and his other appearances as an actor, and he provides a captivating glimpse of the era itself – including a run-in with Charles Manson! Allan Warnick. Make sure to also listen to my interview with CHINATOWN assistant director Hawk Koch in Talking Pictures #19 . The third CHINATOWN interview, a conversation with editing expert Bobbie O’Steen, the wife of late CHINATOWN editor Sam O’Steen, will be online shortly. The CHINATOWN interviews were conducted in connection with our German-language podcast Lichtspielplatz, so if you speak German, please check out episode #56 , which features an in-depth discussion of Polanski’s film. So without any further ado, here’s Allan Warnick recalling how he became an actor. The mp3 file can be downloaded HERE . Photos courtesy of Allan Warnick. Thanks to Dr. Wily, my Lichtspielplatz podcasting partner for audio editing. The music was created by Clark Kent . The post Talking Pictures #20: Allan Warnick, Supporting Actor in CHINATOWN appeared first on Talking Pictures .…
Our third season starts with three interviews where we discuss the making of one of the most revered New Hollywood classics, Roman Polanski’s CHINATOWN, originally released in 1974 and now considered to be one of the best American movies of all time. Today’s episode features my conversation with Hawk Koch, who worked on CHINATOWN as an assistant director and had previously worked with Polanski as a dialogue coach on ROSEMARY’S BABY in 1968. Hawk Koch is the son of Hollywood producer Howard Koch, best known as the producer of THE MANCHURIAN CANDIDATE and THE ODD COUPLE. Originally known as Howard Koch Jr., Hawk worked as a road manager for the Supreses and the Dave Clark Five before he entered the film business as an assistant director during the New Hollywood era, working with legends like John Schlesinger on THE MARATHON MAN, Sydney Pollack and Robert Redford on THE WAY WE WERE, Alan Pakula and Warren Beatty on THE PARALLAX VIEW and, again with Beatty, HEAVEN CAN WAIT. Hawk later became a producer who was responsible for terrific films like WAYNE’S WORLD, SLIVER, PRIMAL FEAR, KEEPING THE FAITH and SOURCE CODE. Like his father in the late 70’s, Hawk Koch served as the President of the Academy of Motion Pictures Arts and Sciences from 2012 and 2013. Hawk Koch (left) with director Roman Polanski. Hawk Koch with Mia Farrow on the set of Polanski’s ROSEMARY’S BABY. In our interview, Hawk remembers the shooting of CHINATOWN and working with Roman Polanski. He also has vivid memories of working on films like THE PARALLAX VIEW, Richard Rush’s GETTING STRAIGHT or Peter Fonda’s THE HIRED HAND. We also discuss Hawk’s wonderful Hollywood memoir MAGIC TIME – if you want to know more about his adventures in Hollywood and learn more about the relationship with his famous father, make sure to read it as Hawk is a gifted storyteller. Make sure to also check out my interview with Allan Warnick, the actor from the famous “Hall of Records” scene, in Talking Pictures episode #20 . There will be another CHINATOWN interview online soon, a conversation with Bobbie O’Steen, the wife of late CHINATOWN editor Sam O’Steen. The CHINATOWN interviews were conducted in connection with our German-language podcast Lichtspielplatz – so if you speak German, please check out Lichtspielplatz episode #56 , which features an in-depth discussion of Polanski’s film.So without any further ado, here’s Hawk Koch remembering the changes brought along by the New Hollywood movement. The mp3 file can be downloaded HERE . Photos courtesy of Hawk Koch. Thanks to Dr. Wily, my Lichtspielplatz podcasting partner for audio editing. The music was created by Clark Kent . The post Talking Pictures #19: Hawk Koch, Assistant Director of CHINATOWN appeared first on Talking Pictures .…
For today’s episode, I had the honor and pleasure of talking to John Ottman, best known as the editor and composer of several X-MEN films – X-MEN 2, DAYS OF FUTURE PAST and APOCALYPSE – and of other Bryan Singer movies like THE USUAL SUSPECTS, VALKYRIE and SUPERMAN RETURNS. In 2019, he won an Academy Award for editing the Queen biopic BOHEMIAN RHAPSODY. He’s also scored numerous other well-known films like THE NICE GUYS, HOUSE OF WAX, GOTHIKA, UNKNOWN and NON-STOP. Our conversation, however, revolves around John’s feature film debut as a director: URBAN LEGENDS: FINAL CUT from 2000, the sequel to Jamie Blanks’ successful neo-slasher film URBAN LEGEND. Where the original film focused on killings inspired by urban legends, John’s sequel was set in a film school where the students are murdered because of their connection to a certain movie, so the film features numerous creative sequences which playfully comment on the mechanisms of making movies and the tropes of horror movies. In our interview, John recalls how he got on board as a director, how the project developed and how an added scene changed the tone of the movie. He talks about working with a young Eva Mendes, discusses how his own experiences in film school found their way into the film, how he ended up editing the movie himself, and much more. John also recalls how he missed out on the very first X-MEN movie because of his commitment to URBAN LEGENDS: FINAL CUT, and he discusses a new project currently in development with him as a director. John Ottman with the cast & crew of URBAN LEGENDS: FINAL CUT. The interview with John Ottman was conducted in connection with our German-language podcast Lichtspielplatz, so if you speak German, check out episode #51 , which features an in-depth discussion of the first two URBAN LEGEND movies. Also, make sure to listen to Talking Pictures episode #17 in which I talk to the director of the original film, Jamie Blanks. So without any further ado, here’s Talking Pictures with John Ottman! The mp3 file can be downloaded HERE . Photos courtesy of John Ottman. Photo credit for Ottman portrait: Photo by Michael Buckner/Variety/REX/Shutterstock (9953559dr) John Ottman at Variety’s Music for Screens Summit at NeueHouse Hollywood on October 30, 2018. Variety Music for Screens summit, Los Angeles, USA – 30 Oct 2018 Thanks to Dr. Wily, my Lichtspielplatz podcasting partner for audio editing. The music was created by Clark Kent . Thanks to Michael Hollands from Sound of the Movies . The post Talking Pictures #18: John Ottman, Director of URBAN LEGENDS: FINAL CUT appeared first on Talking Pictures .…
Today’s guest is Australian horror movie director and genre aficionado Jamie Blanks. Jamie made a name for himself with his 1998 feature film debut URBAN LEGEND, a neo-slasher movie that came out in the wake of Wes Craven’s SCREAM movies and which told the story of a madman whose killings are based on popular urban legends. With a great cast of people like Alicia Witt, Jared Leto, Joshua Jackson, Robert Englund and Brad Dourif and a keen sense of style, the film became a hit which spawned two sequels. Jamie then made another stylish slasher movie, VALENTINE, which took its cues from the Italian giallo movies and again featured an excellent cast of actors like Marley Shelton, Jessica Capshaw, Denise Richards and Katherine Heigl. Jamie directed two more movies in his home country, the grim, intense backwoods horror movie STORM WARNING, and a remake of an Australian 70’s cult classic, LONG WEEKEND. In recent years, he’s worked as an editor and composer, most notably for popular Mark Hartley B-movie documentaries like ELECTRIC BOOGALOO or NOT QUITE HOLLYWOOD. Jamie Blanks (left) with URBAN LEGEND producer Neil H. Moritz (middle) and star Jared Leto. Jamie Blanks discussing a scene with URBAN LEGEND star Rebecca Gayheart. In our conversation, Jamie discusses how he got the opportunity to direct URBAN LEGEND after he was originally briefly involved with another well-known horror film of that era, he talks about his stylistic choices and the screen history of some his actors, and he recalls receiving some very good advice from Wes Craven himself. We also discuss Jamie’s other movies and talk about how his student short film SILENT NUMBER paved the way for URBAN LEGEND, we talk about the feminist tendencies of VALENTINE, the extreme aspects of STORM WARNING, the challenges of remaking LONG WEEKEND, his influences, the appeal of Australian horrors, and much more. Jamie even teases a new project he’s working on a as a director. On the set of VALENTINE, with star Marley Shelton. Directing a particularly gruesome sequence on the set of STORM WARNING. The interview with Jamie Blanks was conducted in connection with our German-language podcast Lichtspielplatz, so if you speak German, check out episode #51 , which features an in-depth discussion of the first two URBAN LEGEND movies. Also, make sure to listen to Talking Pictures episode #18 in which I talk to the director of the URBAN LEGEND sequel, renowned editor and composer John Ottman. So without any further ado, here’s Talking Pictures with Jamie Blanks! The mp3 file can be downloaded HERE . All photos courtesy of Jamie Blanks. Thanks to Dr. Wily, my Lichtspielplatz podcasting partner for audio editing. The music was created by Clark Kent . The post Talking Pictures #17: Jamie Blanks, Director of URBAN LEGEND appeared first on Talking Pictures .…
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Talking Pictures
Filmmaker Jan de Bont became famous as one of the most creative and exciting cinematographers of the 70’s, 80’s, and 90’s. He started out in the Netherlands where he worked on Wim Verstappen’s controversial film BLUE MOVIE and quickly became known for his collaborations with director Paul Verhoeven on movies like TURKISH DELIGHT, KEETJE TIPPEL and THE FOURTH MAN. He continued working with Verhoeven in America on FLESH & BLOOD and BASIC INSTINCT and became a sought-after DP for blockbusters like DIE HARD, THE HUNT FOR RED OCTOBER, LETHAL WEAPON 3 and FLATLINERS. But Jan de Bont is also a very talented and unique director in his own right. He made his 1994 directorial debut with the wonderfully tense action thriller SPEED, which he quickly followed up with the amazing adventure/disaster movie TWISTER, which was written by Michael Crichton and his wife and produced by Steven Spielberg. He also made the much-maligned sequel SPEED 2, which is actually a very fun action thriller if taken on its own terms; he directed the Spielberg-produced horror movie THE HAUNTING, which features one of the greatest horror houses in recent horror history, and the video game movie TOMB RAIDER 2 which features numerous inventive action sequences. I spoke with Jan de Bont about the making of TWISTER and his philosophies of creating realism on screen. Our conversation took place in connection with a video featurette I produced for a 25 th anniversary re-release of TWISTER for the German label Turbine who created a beautiful mediabook issue of the film with a new Dolby Atmos & Auro 3D soundtrack. More info on the release can be found here , my interview featurette is called STORM CHASERS – JAN DE BONT ON TWISTER. We also talked about Jan’s casting choices, his admiration of Stanley Kubrick’s movies, and much more. Please forgive a couple of moments where the sound quality isn’t ideal, but I feel the conversation is definitely insightful and also entertaining enough to ignore a few background noises. If you speak German, make sure to also listen to our companion podcast Lichtspielplatz and check out episode #50 , which features an in-depth discussion of TWISTER in German. So with no further ado, here’s Talking Pictures with maestro Jan de Bont! The mp3 file can be downloaded HERE . Photo of Jan de Bont conversation (C) Ghost Light Productions/Turbine Medien GmbH. Portrait of Jan de Bont courtesy of Jan de Bont & Trish de Bont. Thanks to Dr. Wily, my Lichtspielplatz podcasting partner for audio editing. The music was created by Clark Kent . The post Talking Pictures #16: Jan de Bont, Director of TWISTER appeared first on Talking Pictures .…
Filmmaker Steve Beck created two notable horror movies in the early 2000’s: THIRTEEN GHOSTS, which came out in 2001, and GHOST SHIP, which followed in 2002 – both of them produced by Robert Zemeckis, Joel Silver and Gilbert Adler for their company Dark Castle Entertainment. THIRTEEN GHOSTS was a remake of William Castle’s B-movie classic by the same name from 1960, whereas GHOST SHIP was an original story. Both movies are effective ghost stories starring several recognizable actors like F. Murray Abraham, Gabriel Byrne, Tony Shalhoub, Matthew Lillard, and even a young Emily Browning. The real star of both films, however, is the production design – both movies take place in fascinating, unusual horror houses: THIRTEEN GHOSTS is set in a house made of glass that works like an intricate, demonic machine, while GHOST SHIP is set on an abandoned 1960’s ocean liner that is reminiscent of the underwater wreckage of the Titanic. Steve Beck directing Alec Roberts in THIR13EN GHOSTS. Steve Beck discussing a scene with young Emily Browning on the set of GHOST SHIP. Unfortunately, THIRTEEN GHOSTS and GHOST SHIP were Steve’s only feature films. In his main career, he was an award-winning commercial director who created several SuperBowl commercials and worked for clients such as First Union, Pepsi, Gatorade, Toyota, Ford, BMW, Intel, Burger King, and other large brands. Steve also worked as a graphic designer and worked as a visual effects art director for Industrial Light & Magic, where he was involved with movies like INDIANA JONES AND THE LAST CRUSADE, THE ABYSS and THE HUNT FOR RED OCTOBER. He also worked as a theme park designer and producer, as an illustrator, and a sculptor, and more. In our interview, Steve shares his memories of the making of both THIRTEEN GHOSTS and GHOST SHIP, talks about the cast and the incredible spaces that were created for both films, discusses some of the unmade projects he worked on afterwards, and more. Steve Beck (left) with John DeSantos, who played the Juggernaut ghost, and Gil Adler (right), who produced both movies, on the set of THIR13EN GHOSTS. Steve Beck (left) on the set of GHOST SHIP with DP Gale Tattersall, who also worked on THIR13EN GHOSTS, and 2nd AD Jennifer Leacey. The interview with Steve Beck was conducted in connection with our German-language podcast Lichtspielplatz, so if you speak German, please visit www.lichtspielplatz.at and check out episode #49 , which features an in-depth discussion of both THIR13EN GHOSTS and GHOST SHIP. So with no further ado, here’s Talking Pictures with Steve Beck! The mp3 file can be downloaded HERE . Photos courtesy of Steve Beck Thanks to Dr. Wily, my Lichtspielplatz podcasting partner for audio editing. The music was created by Clark Kent . The post Talking Pictures #15: Steve Beck, Director of THIR13TEN GHOSTS and GHOST SHIP appeared first on Talking Pictures .…
Our latest episode features a very special interview with a legendary filmmaker who put his own unique stamp on horror movies. His initials are B.I.G., and size is also one of the major themes of his movies which featured giant lizards, giant grasshoppers, giant cats, giant spiders, giant rats, giant ducks and yes, even giant teenagers. I’ve had the pleasure of talking to Mr. Bert I. Gordon, who, starting in the Fifties, created many beloved B movies like THE CYCLOPS, THE AMAZING COLOSSAL MAN, BEGINNING OF THE END, EARTH VS. THE SPIDER, ATTACK OF THE PUPPET PEOPLE, VILLAGE OF THE GIANTS, FOOD OF THE GODS, and many others as a director, writer, producer, and special effects creator. He’s also done fantasy movies like THE MAGIC SWORD, thrillers like THE MAD BOMBER, and even sex comedies like HOW TO SUCCEED WITH SEX or THE BIG BET. In 2009, he released his autobiography, THE AMAZING COLOSSAL WORLDS OF MR. B.I.G., and in 2014, at age 92, and sixty years after his first feature, he released a wonderful new black-humored psychological thriller called SECRETS OF A PSYCHOPATH. The amazing Mr. Gordon is now 98 years young, and I was able to talk to him over the phone about his life and his movies with a little help from his daughter Christina. Bert even teases a new screenplay that he has been working on! The interview was conducted in connection with our German-language companion podcast Lichtspielplatz – so if you speak German, make sure to check out our episode #48 , which features an entertaining journey through the monster movies of the Fifties and Sixties, including several of Mr. Gordon’s films and also movie by contemporaries such as Jack Arnold. So without further ado, here’s Talking Pictures with Bert I. Gordon! The mp3 file can be downloaded HERE . Photos: (C) Bert I. Gordon Special thanks to Christina Gordon for her help in setting up and conducting the interview. Thanks to Dr. Wily, my Lichtspielplatz podcasting partner for audio editing. The music was created by Clark Kent . The post Talking Pictures #14: Bert I. Gordon, Director of THE AMAZING COLOSSAL MAN appeared first on Talking Pictures .…
Today’s guest is Zak Penn, best known as a screenwriter on several big-budget superhero movies like X-MEN 2, X-MEN: THE LAST STAND, THE INCREDIBLE HULK and THE AVENGERS. Zak also wrote the 1993 comedy LAST ACTION HERO starring Arnold Schwarzenegger, and he directed a wonderful mockumentary called INCIDENT AT LOCH NESS, in which he, together with German director Werner Herzog, ventures out to find the Loch Ness monster. My conversation with Zak focuses on his work on Steven Spielberg’s 2018 sci-fi movie READY PLAYER ONE, which Zak adapted from Ernest Cline’s novel by the same name. The story is set in 2045 and revolves around a virtual reality world called the Oasis, which is largely based on the pop culture of the 1980’s, recreating early video games, cult movies and the pop music of the decade. The story follows a teenager named Parzival and his friends and their quest to find and solve a series of hidden clues and puzzles, so-called “Easter Eggs”, hidden within the Oasis by its late creator, a Steve-Jobs-like figure by the name of Jim Halliday who promised that whoever solves his game will gain complete control over the Oasis. Along the way, Parzival falls in love with a girl he meets in the Oasis named Art3mis, receives a little help from Halliday’s former business partner Ogden Morrow, and he fights the so-called “Sixers”, an army of treasure hunters led by the evil Nolan Sorrento, whose company IOI seeks control over the Oasis for commercial gain. In our interview, Zak discusses how he adapted Ernie Cline’s book and how certain choices and changes were made to make the story more cinematic. He talks about the characters and the pop culture that informs the story, and he discusses how one of the movie’s best scenes came about – a segment where the characters enter a recreation of Stanley Kubrick’s THE SHINING in order to solve a puzzle. Zak also talks about his 2014 documentary ATARI: GAME OVER, which was in many ways a precursor to his work on READY PLAYER ONE – it’s the story of digging up the infamous Atari 2600 game E.T., which was buried in a landfill in New Mexico, and it features not only several themes which are connected to READY PLAER ONE, but it also stars Ernie Cline as one of the protagonists. The interview with Zak Penn was conducted in connection with our German-language podcast Lichtspielplatz, so if you speak German, you’ll find an in-depth discussion of READY PLAYER ONE in episode #46 . So here’s Talking Pictures with Zak Penn! The mp3 file can be downloaded HERE . Photo: (C) Zak Penn Special thanks to Dr. Wily, my Lichtspielplatz podcasting partner for audio editing. The music was created by Clark Kent . The post Talking Pictures #13: Zak Penn, Screenwriter of READY PLAYER ONE appeared first on Talking Pictures .…
Today’s guest is screenwriter Jeremy Pikser, best known as the co-writer of Warren Beatty’s political satire BULWORTH for which they got both an Academy Award and a Golden Globe nomination. In BULWORTH, a senator decides to end his life and spend his last few days telling the truth wherever he goes during his re-election campaign – which, naturally, completely disrupts the world of politics. Jeremy talks about the genesis of the movie, which came out in 1998, during Bill Clinton’s 2 nd term, about the difficult writing process with Warren Beatty, about truth in politics, about the often-discussed ending of the movie, about Aaron Sorkin’s contributions to the screenplay, and about the idea of a Bulworth figure in today’s political landscape. We also talk about some of the other projects Jeremy’s been involved in. His career started as a contributor to Warren Beatty’s REDS, a film about the life of communist activist John Reed, he wrote the Diane Keaton movie THE LEMON SISTERS, and more recently, he was the co-writer of another political satire, WAR, INC., starring John Cusack. The interview was conducted in connection with our German-language companion podcast Lichtspielplatz. If you speak German, you’ll find an in-depth discussion of BULWORTH in episode #45 . So here’s Talking Pictures with Jeremy Pikser! The mp3 file can be downloaded HERE . Pikser’s photo was taken from the website of Johns Hopkins University . Special thanks to Dr. Wily, my Lichtspielplatz podcasting partner for audio editing. The music was created by Clark Kent . The post Talking Pictures #12: Jeremy Pikser, Co-Writer of BULWORTH appeared first on Talking Pictures .…
Today’s guest is director and screenwriter Joshua Michael Stern, best known for his 2013 biopic of Steve Jobs starring Ashton Kutcher, and his 2016 TV series GRAVES starring Nick Nolte as a former president of the United States. In our conversation, we focus on Stern’s 2008 movie SWING VOTE which stars Kevin Costner as a working-class man who suddenly finds himself in a very curious position: through several circumstances, the outcome of the current presidential election will depend on his vote – and so both political parties try to win him over by tailoring their campaigns to what they think will appeal to this one individual person. A satirical movie about the election process, SWING VOTE emphasizes the importance of voting and engaging with politics – and so our discussion of the film quickly opened up to include many of the issues of the political reality of today’s America. The conversation was recorded at the end of September 2020, and when we mention “yesterday’s debate”, we are referring to the first TV debate of Donald Trump and Joe Biden. Joshua talks about the necessity of being involved, the ideas of democracy and the challenges it’s currently facing, the impact of social media, the themes of his work, and much more. The interview was conducted in connection with our German-language companion podcast Lichtspielplatz. If you speak German, go to www.lichtspielplatz.at , where you’ll find an in-depth discussion of SWING VOTE in episode #44. So here’s Talking Pictures with Joshua Michael Stern! The mp3 file can be downloaded HERE . Photo (C) Joshua Michael Stern. Special thanks to Dr. Wily, my Lichtspielplatz podcasting partner for audio editing. The music was created by Clark Kent . The post Talking Pictures #11: Joshua Michael Stern, Director/Writer of SWING VOTE appeared first on Talking Pictures .…
Today’s guest is cult filmmaker Jackie Kong, best known for her outrageous horror comedy BLOOD DINER – the charming story of two homicidal brothers who dig up their uncle’s corpse and follow the instructions from his undead brain to kill a large number of people so that they can use the body parts to resurrect the ancient Lumerian goddess Sheetar. The film, which came out in 1987, is now well-regarded as an underground cult movie which has seen quite a few successful revival screenings in the past few years. Jackie Kong directing Carl Crew on the set of BLOOD DINER. Kong made her first film in her early twenties: a monster movie called THE BEING, shot in 1980, released in 1983, starring Martin Landau, Jose Ferrer, and Howard Ziehm ‘s former producing partner Bill Osco. Jackie also made two comedies, both in the vein of the POLICE ACADEMY movies: NIGHT PATROL, starring The Unknown Comic Murray Langston and Linda Blair, and THE UNDERACHIEVERS, starring Edward Albert and Barbara Carrera. And then, after four films, she stopped making movies and mostly disappeared from the public eye, briefly resurfacing in 2001 with an early webseries called KARAOKE NIGHTS. In recent years, she’s launched a website where she addressed rumors about herself, she attended many screenings of her films, she recorded audio commentaries for re-releases of her movies, and she’s currently working on a new project. In our interview, Jackie talks about the making of BLOOD DINER, her aesthetic and her characters, she discusses her particular twisted brand of Americana, and she teases a new project she’s currently working on. You can find out more about Jackie on her website jackiekongdirector.com . BLOOD DINER is available on Hulu . So here’s Talking Pictures with Jackie Kong! The mp3 file can be downloaded HERE . All photos (C) Jackie Kong. Special thanks to Dr. Wily, my Lichtspielplatz podcasting partner for audio editing. The music was created by Clark Kent . The post Talking Pictures #10: Jackie Kong, Director of BLOOD DINER appeared first on Talking Pictures .…
Today’s guest is screenwriter Charlie Haas, best known for his work with cult filmmaker Joe Dante. Our conversation focuses on their movie MATINEE, released in 1993 – a love letter to the horror films of the 50’s and 60’s set during the Cuban Missile Crisis: John Goodman plays Lawrence Woolsey, a producer not unlike William Castle, who comes to Key West, Florida, to promote his new monster movie MANT! – half man, half ant, all terror! The story is told from the perspective of a young boy who loves horror cinema, and who befriends the eccentric producer while out in the real world, the United States and the Soviet Union come close to a full-scale nuclear war during the October Crisis of 1962. In our interview, Charlie talks about his own movie-going experiences and his memories of the Cold War, about working with a film scholar like Joe Dante, about the development of MATINEE and the inspiration behind the Lawrence Woolsey character. We also talked about some of Charlie’s other work, including the teen rebellion drama OVER THE EDGE, the sci-fi cult classic TRON, Joe Dante’s anarchic sequel GREMLINS 2, their TV movie RUNAWAY DAUGHTERS – and an exciting project they worked on which unfortunately didn’t come to fruition. The interview was conducted in connection with the German-language podcast Lichtspielplatz where we produced an entire episode on MATINEE, so if you speak German, check out our Lichtspielplatz episode #43 at www.lichtspielplatz.at . So here’s Talking Pictures with Charlie Haas! The mp3 file can be downloaded HERE . All photos (C) Charlie Haas. Special thanks to Dr. Wily, my Lichtspielplatz podcasting partner for audio editing. The music was created by Clark Kent . The post Talking Pictures #9: Charlie Haas, Screenwriter of MATINEE appeared first on Talking Pictures .…
Today’s guest is sound editor-turned-filmmaker Midge Costin. Midge worked as a sound and dialogue editor on some of the biggest films of the Nineties – ARMAGEDDON, CON AIR, THE ROCK, BROKEN ARROW, CRIMSON TIDE – but also on films like CRY-BABY, LEAP OF FAITH or SWING KIDS. She later became a teacher at the University of Southern California – and most recently, she created a brilliant documentary called MAKING WAVES – THE ART OF CINEMATIC SOUND which I became aware of when she ran a very successful Kickstarter campaign to finish the film. The film premiered at the Tribeca film festival in 2019 and also ran at the Munich Film Festival, at Cannes, and other film festivals. MAKING WAVES discusses the history and the art of sound design and features interviews with filmmakers like Steven Spielberg, Christopher Nolan, Ryan Coogler or Barbra Streisand – but more to the point, it features dozens of interviews with excellent sound artists like Ben Burtt, Walter Murch, Gary Rydstrom, Anna Behlmer, Ai-Ling Lee, Cecilia Hall, and many others, taking an in-depth look at scenes from movies like SAVING PRIVATE RYAN, STAR WARS or APOCALYPSE NOW, and many others. Midge Costin with legendary sound designer Walter Murch. I first contacted Midge because I was writing an article on the documentary for the German trade magazine Film & TV Kamera (a shortened version can be found online here ). In our interview, Midge not only discusses the importance of good sound design and the individual creative roles of the sound artists – she also explains why it took the team nine years to finish the film, why there is a strong focus on the New Hollywood era, and she discusses the sound design of the documentary itself. You can learn more about the movie at makingwavesmovie.com . So here’s Talking Pictures with Midge Costin! The mp3 file can be downloaded HERE . All photos (C) Ain’t Heard Nothin’ Yet/Dogwoof. Special thanks to Dr. Wily, my Lichtspielplatz podcasting partner for audio editing. The music was created by Clark Kent . The post Talking Pictures #8: Midge Costin, Director of MAKING WAVES appeared first on Talking Pictures .…
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