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The REAL Reason Trump is Rushing to Disclose UFO Files | Dan Farah
2:34that out, right? And no one ever made that film. Um my career ended up going into mainstream producing. Um, I had a3:05in my opinion, he's the greatest filmmaker that's ever lived. and watching him direct was just unbelievably inspiring. And I started I started thinking then in the back of my4:56with these intelligence officials I had met and their colleagues that I wanted to I wanted to make a film that would bring the the truth out about what is
Ryan Gosling, Phil Lord, Chris Miller, & James Ortiz talk Project Hail Mary, IMAX, Fraser, Pemberton
0:08a film that I am absolutely in love with and I hope that everybody has a chance to see it. If you do live in an area0:22out to see it there if you can. Greg Fraser did some incredible, incredible work on this film. He's one of my0:29favorite cinematographers of all time and he really did beautiful and brilliant work on this film. Um, so this
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Ben Schwartz: Sonic, Improv, Parks and Rec, Star Wars, Auditions, Letterman, SNL, Writing, Comedy
Ben Schwarz discusses his multifaceted career as an actor, writer, and improviser, highlighting the technical precision required in voice acting for Sonic and the collaborative nature of film scoring.summaryThe conversation emphasizes the importance of genuine curiosity in interviews, the emotional impact of film scores, and the value of preserving ephemeral art forms like improv.summaryInterview Strategy: Ben Schwarz avoids pre-planning unique questions to avoid appearing contrived; instead, he relies on genuine curiosity and immediate reactions to an actor's performance or physicality during the film takeaway
BS Live: Sam Reviews 'The Odyssey' + Shane Gillis Breaks Record + Epstein New Mexico Investigation
Sam Tripoli and Johnny Woodard review Christopher Nolan's 'The Odyssey,' arguing that the film is a masterpiece that subverts audience expectations of 'woke' casting by using diversity as a Trojan horse to deliver a tradsummaryThey critique the cultural polarization surrounding the film, asserting that critics who haven't seen it are driven by political agendas rather than cinematic merit, and highlight the film's technical excellence and emotsummaryThe 'Trojan Horse' Theory: Sam Tripoli and guest Jonathan Piggo argue that Nolan uses the appearance of DEI casting (Elliot Page, Lupita Nyong'o) as a bait-and-switch. The film actually contains strong traditionalist thetakeaway
Chris Stuckmann talks Shelby Oaks, Collecting Ticket Stubs, Movie Reviews, Catharsis in Filmmaking
Chris Stuckmann details his transition from YouTube film critic to feature film director with 'Shelby Oaks,' leveraging a viral marketing campaign inspired by the 'Cloverfield' found-footage strategy to secure funding ansummaryHe discusses the personal catharsis of transforming his traumatic experience with religious excommunication into fiction, while also providing technical insights into low-budget filmmaking, including the use of pickups fsummaryProduction Reality: The film was shot on a very low budget (one of the lowest of the year), resulting in the loss of several planned shots due to overtime costs during the 20-day principal photography shoot.takeaway
RZA on Wu-Tang's Rock and Roll Hall of Fame Induction, Quentin Tarantino, and His Favorite Anime
RZA discusses the creation of his new film 'One Spoon of Chocolate,' detailing how he overcame writer's block by leveraging the momentum of a tour with Nas and financing the project through his company, 36 Cinema.summaryBusiness Model for Indie Film: RZA uses his company 36 Cinema to self-finance and distribute films, aiming to reduce the '30 hurdle jump' of traditional Hollywood into a '12 hurdle jump' to help independent creators get takeawayMentorship Dynamics: RZA views Quentin Tarantino as his professor, noting that Tarantino provided all the tools for his first film but now treats RZA as a master, allowing him creative freedom while existing within Tarantakeaway
Bobby Krlic (The Haxan Cloak) interview - Midsommar, Eddington, Him, Anemone, Blue Beetle, Triple 9
Bobby Krilic discusses his transition from indie producer (Hudson Mohawke) to acclaimed film composer, detailing his breakthrough with Atticus Ross on Michael Mann's 'Black Hat' and subsequent collaborations with Ari AstsummaryKrilic distinguishes his artistic output by using 'Bobby Krilic' for film scoring (service-oriented, narrative-driven) and 'Hudson Mohawke' for solo production (ego-driven, personal expression), allowing him to explore dtakeawayHe utilizes specific musical callbacks and thematic variations (e.g., the four-note theme in 'Anemone') to create subconscious narrative arcs, planting seeds early in the film that pay off emotionally or dramatically at takeaway
