Hey everyone, so: This posted in the Takes feed over the weekend. (You can watch the video on Substack here or YouTube here.) I Just wanted to make sure this episode got into the Bulwark Goes to Hollywood feed in case you don’t subscribe to the Takes feed (though you should!) and also to give everyone a heads up that Mona Charen and I will be doing an episode of her podcast on A Man for All Seasons. You can watch that movie for free on YouTube, so long as you don’t mind ads.
Episodes
284
Transcripts
0
0% coverage
Missing Transcripts
284
With Chapters
0
Episodes
On this week’s episode, I’m rejoined by Scott Mendelson of The Outside Scoop to preview the summer movie season and address some of the hottest questions in the biz. Why did Netflix push Greta Gerwig’s Narnia movie to next year and give it a full(ish) theatrical window? What’s shaping up to be the biggest flop of the summer? Is box office health finally back on the upswing after some down years post-COVID and post-strikes? And what the heck is “Infinity Vision”? All that and more on this week’s episode. Leave your most-anticipated film in the comments!
Occasionally, someone will ask me if I think they should invest in a movie. My answer is, invariably, the same: you should only invest in movies you really believe in; you should understand that even if you invest, the movie will likely never get made because most movies never do; and you should only invest if you’re willing to lose everything you put in, because even those movies that do get made tend to show a loss.
I lead with this because today I’m talking to Jeff Annison of Legion M, a production and distribution company built on the idea that fan investments are a great way to both develop seed capital and drive enthusiasm at theaters. Legion M is not a fly-by-night company and has a number of productions under its belt, including My Dead Friend Zoe and The Man in the White Van. Jeff will be the first to tell you that investing is risky and should only be done if you’re comfortable with losing it all, though he obviously has staked his claim with Legion M and put no small amount of his own capital at risk. And they’ve certainly seen some successes with films like the Nic Cage-starring Mandy (one of my favorites of the 2010s).
We discussed how changes to investment laws in 2016 helped spur a shift in indie fundraising from crowdfunding models to models that allow individuals to earn equity in the movies they contribute to the production of. We also discussed the Legion M Film Fund, their distribution-minded arm that provides last-in, first-out money for films seeking a domestic release. And we chatted about the effort to build a consistent fan base via the cultivation of retail investors.
On this week’s episode, I’m joined by Lou Diamond Phillips, who you know from … well, tons of stuff. La Bamba, Young Guns, Longmire, and last year’s best new TV show, The Chair Company. He’s on the show this week to discuss his new film, Keep Quiet, which is playing this Saturday evening at the Dallas International Film Festival and should hit theaters this summer. We talked about all sorts of stuff, but one thing I find really fascinating is Keep Quiet’s place in the burgeoning mini-genre we might think of as Native Noir: films like this, Killers of the Flower Moon, and Wind River, TV shows like Reservation Dogs, Dark Winds, and Longmire, etc. It’s an interesting moment, and Keep Quiet is a key part of it. I hope you’ll seek it out once it hits theaters … don’t worry, I’ll remind you when it’s about to happen.
Special two-part episode of the podcast this week! The big news in Hollywood this week has been the burgeoning effort by Hollywood creatives to fight the purchase of Warner Bros. by Paramount Skydance. Thousands of names—including some of the biggest in the business—have signed an open letter in the hopes of demonstrating that not everyone in the industry is on board with the potential deal. So I wanted to talk to some of the folks behind it.
First up is an interview with Ted Hope, indie producer extraordinaire and author of the Hope for Film Substack. We talked about how indie production has changed over the last few decades and what could be lost if Warner Bros. and Paramount are allowed to merge.
Then I got Jon Reiss and Jax Deluca of the Future Film Coalition on the horn. We discussed what concrete steps could be taken to help fight this merger and what media consolidation means to the indie filmmakers out there.
If you found this podcast interesting or informative, I hope you share it with your friends!
I’m joined on this week’s episode by Ed Solomon, the writer of the new Steven Soderbergh feature, The Christophers, which is in limited release this weekend and going wider next. It’s the story of an aging artist, played by Ian McKellen, and his new assistant, played by Michaela Cole, who has been hired by the artist’s son and daughter to forge a series of paintings from an earlier, more successful period in his career. The idea being that, when he dies, the kids can sell the “found” works for millions.
Solomon discussed the idea for the film, which began with a single sentence from Steven Soderbergh, and blossomed from a twisty noir into something more emotionally resonant. We also discussed their previous collaboration, No Sudden Move, and why he wishes more people had had a chance to see it; the difference between more conceptual art and actual paintings; and the joy of working with McKellen and Cole in shaping the voice of the characters on the screen in The Christophers.
It was a wide-ranging chat, is what I’m saying, and we didn’t even get a chance to discuss Men in Black or the Bill & Ted series of films, which he co-wrote. Maybe next time! If you enjoyed this episode, please share it with a friend!
On this week’s episode, I’m joined by Steve Starkey to discuss his new book, On the Set of Forrest Gump. Steve won an Oscar for best picture as producer on that film, but he has a career that, as I told him, has meant a lot to me, with credits on, among other pictures, Empire Strikes Back and Return of the Jedi, Who Framed Roger Rabbit, the two Back to the Future sequels, Contact, Cast Away, and, of course, Forrest Gump.
We discussed all sorts of stuff here, from the movie magician who made Lt. Dan’s legs disappear, to his work as second unit director, to the early days of using digital trickery to fake the words and faces of famous people, to the worst note he’s ever gotten after an audience test, to the difficulties facing California’s film industry in the face of global tax rebates and production credits.
On the Set of Forrest Gump is laid out like a coffee table book and is beautifully illustrated with 250 or so full-color stills from set. So it’s nice to look at. But the story he tells is a fascinating glimpse into the push and pull of art and business, the struggle between the producer on the ground trying to make sure his director has the resources he needs and the studio bankrolling the whole thing and worried about losing tens of millions of dollars on a movie that isn’t a guaranteed hit.
Anyway, I hope you check it out. And if you enjoyed this episode, I hope you share it with a friend!
On this week’s episode, I’m very pleased to be joined by McKay Coppins, author of April’s cover story in The Atlantic: “Sucker: My Year as a Degenerate Gambler.” We discussed the rise of sports betting apps, why his boss gave him $10,000 to lose, how the wild proliferation of sports gambling could destroy faith in the sports we watch, and why Kalshi/Polymarket could wind up getting people killed. If you enjoyed this episode, please share it with a friend! And make sure to read McKay’s story! It’s really quite good.
I’m very pleased to be rejoined by Kevin Goetz, who is the guru of movie testing to discuss his latest book, How to Score in Hollywood. When you spend nine figures on a film and another eight figures marketing it, you want to know what works for audiences and what doesn’t, and Kevin’s the guy who can help you do that. He believes that nearly every movie—if it’s made for the right price and marketed to the right people—should be able to make money, and he’s happy to explain how his company, Screen Engine/ASI, can help make that hope a reality. Our discussion runs the gamut—from concept testing to post-screening focus groups to some Oscar chatter—and I hope you enjoy.
On this week’s episode, I’m very pleased to be joined by David Streitfeld to discuss his new book, Western Star: The Life and Legends of Larry McMurtry. Amongst the topics discussed: McMurtry’s obsession with book buying and selling; how his books and the films they were made from helped shape the view of the west; and why Lonesome Dove—both the book and the miniseries—endures more than 40 years later. From The Last Picture Show to Brokeback Mountain, McMurtry rests alongside Cormac McCarthy one of the great modern voices of the American west.
On this week’s episode, I’m very pleased to be rejoined by Rod Blackhurst (we had him on a couple of years back to discuss his indie crime drama Blood for Dust) and joined for the first time by Ethan Suplee, veteran character actor we all know and love from films like Mallrats, Remember the Titans, and The Wolf of Wall Street and TV shows like My Name Is Earl.
We’re discussing their new film, Dolly, a true indie endeavor made in the spirit of American classics like The Texas Chain Saw Massacre and The Evil Dead or the New French Extremity’s High Tension. Rod and his partners raised some money, brought some folks to the woods of Tennessee, and put together something he hopes will be memorable for the audiences who see it. It’s hitting theaters this weekend, playing around 800 or so screens across the country, and if you’re a horror head—or just someone looking for something different—I hope you’ll check it out. (It is a horror movie, though, so I cannot provide any refunds if the onscreen terror sparks a walkout.)
As I said, getting Ethan on the show is a real treat because I’ve been a fan for years and it’s been interesting to watch him dip his toes into some darker waters in recent years in films like Dolly, Babylon, Blood for Dust, and God Is a Bullet. It was fun to pick his brain about consciously making that shift and why his film work often gives him a little more space to stretch than his TV work.
We have a special bonus episode this week: I’m joined by Óliver Laxe, the director of the Oscar-nominated Sirāt, to discuss his film about a rave at the end of the world and how we can find community in an age of dislocation and isolation. I wanted to get this out now because a.) the film is expanding this weekend, b.) Laxe himself will be in attendance at a handful of shows across the country over the next week or two here, and c.) it really is the sort of movie you need to see in a theater. For the sound system and the big picture, yes, but also the sense of community a packed theatrical showing can generate. You’ll want to experience it with other people, believe me.
I’m joined by Paul Fischer on this week’s episode to discuss his new book, The Last Kings of Hollywood: Coppola, Lucas, Spielberg—and the Battle for the Soul of American Cinema. It’s a fascinating look at a pivotal moment in film history, when the breakdown of the studio system gave rise to the auteurist 1970s, the first half of which was dominated by Francis Ford Coppola, only to cede the landscape to the blockbuster entertainments that George Lucas and Steven Spielberg mastered in the back half of the decade and beyond.
This week, I’m joined by Andrew Jarecki and Charlotte Kaufman to discuss their Oscar-nominated documentary, The Alabama Solution. Currently streaming on HBO, their documentary combines interviews, investigative journalism, and footage from within the prisons themselves obtained via contraband cellphones to reveal the horrible and dangerous living conditions of those serving time in the Alabama correctional system. It’s a documentary primed to shock the conscience, and I hope everyone out there watches it.
You can also go to the documentary’s website, TheAlabamaSolution.com, to learn more about the deaths inside Alabama’s prisons. And if you think this is an important film and an important issue, please share it with a friend.
Remember that weird moment in the 2024 campaign cycle where Donald Trump started referring to how much he loved and identified with “the late, great Hannibal Lecter”? That was odd, right? I discussed that and more with Brian Raftery, whose new book Hannibal Lecter: A Life is both the perfect Valentine’s Day gift for the love consuming your heart and a fascinating portrait of a bizarre creation from a reclusive writer. Indeed, the most interesting part of the book is the early deep dive into the life and writing of Thomas Harris, who has given just a handful of interviews over his nearly 50-year career.
I’m very pleased to be joined this week by Matthew Robinson, who is the screenwriter of the new film, Good Luck, Have Fun, Don’t Die. It is the rarest of things: a mid-budget, high-concept, sci-fi action-comedy. Starring Sam Rockwell as a time-traveler from a ruined future (or possibly just a bum with a fake bomb strapped to his chest), Robinson and director Gore Verbinski (The Ring, Pirates of the Caribbean) have crafted a piercingly satirical take on our obsession with screens, our inability to deal with the tragedy of modern living, and the creeping fire that all-powerful AI will wind up killing half of us and enslaving the rest.
It’s opening wide on February 13, and I really hope you check it out. I may write a hair more about it in my newsletter though I probably won’t review it properly as I try not to review movies made by people I’ve interviewed so as to avoid the appearance of a conflict of interest. (Ethics, baby!) That said, I strongly recommend going to see it in a movie theater if for no other reason then to demonstrate that there is an audience for original films with a clear point of view and something to say about our world and our moment.
On this week’s episode, I’m very pleased to be joined by Ric Roman Waugh, the director of the new film Shelter, starring Jason Statham. We talked a lot about making that movie and how he best utilized Statham’s skills as opposed to Dwayne Johnson’s in the movie Snitch or Gerard Butler’s in the Greenland films, Kandahar, and Angel Has Fallen. Shelter, which is in theaters now, is a little more meditative than some of Statham’s recent work, though no less effective for it. We discussed why Statham was attracted to the part and how his fatherhood helped inform his role as the protector of an orphaned young girl.
Then we discussed making the transition from stuntman to director: Waugh worked with Tony Scott on a number of pictures, and had some interesting insights into the methods of the great action director. And I’d be lying if I said I didn’t have to practically restrain myself from just doing 30 minutes on Waugh’s Shot Caller, a gritty prison drama.oo
The Oscar nominations dropped yesterday morning and I grabbed our favorite Oscar prognosticators, Katey Rich and Christopher Rosen of The Ankler’s Prestige Junkie, to chat about what it all means. Does Sinners’s 16 nominations mean it could upset One Battle After Another for best picture? What does it mean that Wicked: For Good took home zero nods? Perhaps most importantly: Will Delroy Lindo get his dang Oscar, as we demanded back in October? All that and more on this week’s episode, including a SHOCKING prediction by Christopher at the end of this podcast. If you enjoyed this episode, make sure to check out their podcast. And please share this one with a friend! (And Delroy Lindo’s agent, we gotta get him on this show to talk about his career, amirite?)
On this week’s episode, I’m joined by Chuck Klosterman to discuss all things football and his new book, aptly titled Football. (Please buy a copy for yourself and your friends; you’ll thank me, and then your friends will thank you.) We hit on an array of topics, including but not limited to the potential demise of the sport, the ways in which television and football are a perfect match, why streaming services are spending billions to acquire the rights to NFL and NCAA games, how gambling and fantasy football have fundamentally changed our relationship to the sport, and trying to think through how we think about football and why it matters.
On this week’s episode, I’m pleased to be joined by W. David Marx, author of the new book Blank Space: A Cultural History of the Twenty-First Century. Alongside Marx’s Status and Culture, this book is one of the key texts to understanding how and why the culture has shifted so radically so quickly: the combination of “poptimism” (we discuss what, precisely, this is early on) and cultural omnivorism (the merging of all genres and all forms into a sort of equally viable mass entertainment) and the internet’s flattening of culture have led to a stagnant culture and a revanchist counter-counterculture eager to exact revenge and facing no real opposition in that effort.
If you enjoyed our conversation, or simply want to understand how we wound up in the world we wake up to every morning, I strongly recommend picking up Marx’s book. And if anything was unclear from our chat, drop me a line in the comments and hopefully I can help clear things up!
On Monday, Sam Stein DMed me and asked if we could put together a little livestream event celebrating the work of Rob Reiner; he described it as sitting shiva, and I was happy to take the lead on putting this group of mourners together. I was joined by my colleague Bill Kristol, The Ankler’s Richard Rushfield (whose great column on Reiner you can read here), and Semafor’s Dave Weigel (whose book on prog rock is a must-read for fans of the genre).
On this week’s episode, I’m joined by Vulture’s Nicholas Quah to discuss his and Savannah Salazar’s piece on what Netflix might do with Warner Bros.'s tie-ins with Universal Studios and Six Flags, and then expanded the conversation to consider the vast universe of WB’s entanglements. The studio also owns an enormous video game company, the second-biggest comic book company in DC Comics, and all sorts of other stuff. What is Netflix going to do with all these disparate pieces? Who knows! But we do some rank speculation.
On this week’s episode, I’m rejoined by Scott Mendelson of The Outside Scoop, whom I’ve tasked with answering a very simple question: Is there a good business case to be made for rebooting the Rush Hour franchise or is it merely a (very odd) sop to Donald Trump and his wife’s chronicler, Brett Ratner? (:47). Then we discussed Zootopia’s crazy popularity in China. (14:16) We taped this episode before news broke that Netflix had completed its purchase of the studio and streaming assets of Warner Bros., but we were prescient enough to discuss what might happen if Netflix picked up a controlling stake in WB. Spoiler: Nothing good for competition in Hollywood! (33:15)
On this week’s episode, I’m rejoined by David Coggeshall (previously on to discuss Orphan: First Kill and the first Family Plan) to discuss his sequel to the surprise 2023 hit for AppleTV+. We talked shooting in London and Paris, the inspirations this holiday-season film, and what might come next for this series (and his career!). If you enjoyed this episode—or need a “drunk uncle movie” to watch with the family, as David described his film—make sure you check out The Family Plan 2, streaming on AppleTV now. And please share this with a friend!
For a goofy franchise that started with gangsters stealing DVD players and wound up with a Pontiac Fiero going into space, The Fast and the Furious movies are a pretty fantastic lens through which to view the last quarter-century of Hollywood economics. From the DVD boom and bust to the internationalization and diversification of ticket-buyers to questions of propriety surrounding the digital resurrection of deceased actors to the desire for all-encompassing franchise-based “cinematic universes,” the series has ridden every economic wave buffeting the movie business since the original’s release in 2001.
Author Barry Hertz does a wonderful job of weaving that story amidst the tangle of egos and artistic energy that makes up the Fast series in his new book, Welcome to the Family: The Explosive Story Behind Fast & Furious, the Blockbusters that Supercharged the World. Full disclosure: I’m not a particularly big fan of the series, so I was a little skeptical when I agreed to check out Barry’s book. But even if you don’t really care about the Fast and Furious movies, there’s more than enough behind-the-scenes drama and economic intrigue to keep you riveted. And it’s a must-buy stocking stuffer for anyone in your life who lives their life a quarter mile at a time.
Author Barry Hertz does a wonderful job of weaving that story amidst the tangle of egos and artistic energy that makes up the Fast series in his new book, Welcome to the Family: The Explosive Story Behind Fast & Furious, the Blockbusters that Supercharged the World. Full disclosure: I’m not a particularly big fan of the series, so I was a little skeptical when I agreed to check out Barry’s book. But even if you don’t really care about the Fast and Furious movies, there’s more than enough behind-the-scenes drama and economic intrigue to keep you riveted. And it’s a must-buy stocking stuffer for anyone in your life who lives their life a quarter mile at a time.
Published 2025-11-14
Printing the Legend: The surprising political 'The Man Who Shot Liberty Valance.'
42 min
On this week’s episode, I’m rejoined by Chris Yogerst, author of the new book from the University of New Mexico’s “Reel West” series on The Man Who Shot Liberty Valance. We discussed the making of the film, its place in the western canon as a sort of natural ending point for the traditional westerns made by John Wayne and John Ford, and the surprisingly political nature of the film’s central struggle between the frontier and civilization. If you enjoyed the episode, check out the book (or pick up the pristine 4K, on which Paramount did a fine job of making the film look good as new). And make sure to share it with a friend!
I’m joined by Dave Itzkoff on this week’s episode to discuss Paddy Chayefsky’s classic film, Network. Dave literally wrote the book on Network in his history of the film, Mad As Hell, and had lots to say about the making of the movie, the minds behind it, and its ongoing relevance to our daily lives. I know what you’re thinking, I can practically hear your thoughts: A movie about corporations taking over news divisions and fearing problems from the FCC holding up mergers because they don’t like coverage? What does that have to do with anything happening today? But I think we can squeeze out a similarity or two to our current moment.
On this week’s episode, I’m joined by Tom Nichols—staff writer at the Atlantic, professor emeritus at the U.S. Naval War College, and all-around nuclear arms expert—to discuss Kathryn Bigelow’s new nuclear war film A House of Dynamite. On this episode, we discuss how his students reacted to previous nuclear panic films like The Day After and Threads, what the new film from Bigelow and writer Noah Oppenheim gets right about the current state of our nuclear preparedness, and what keeps Tom up at night about the current White House’s nuclear posture.
You can read Tom’s pieces on A House of Dynamite here and here, and he has another up about what the Trump White House doesn’t understand about nuclear weapons here. You can read my review of the film here. And if you have thoughts, please sound off in the comments or share this episode with a friend!
You can read Tom’s pieces on A House of Dynamite here and here, and he has another up about what the Trump White House doesn’t understand about nuclear weapons here. You can read my review of the film here. And if you have thoughts, please sound off in the comments or share this episode with a friend!
On this week’s episode, I’m joined by Katey Rich and Christopher Rosen of The Ankler to preview the awards season and give you tips on what to check out (spoiler: Hamnet’s gonna be a big one this year) and discuss the exquisite art of Oscar prognostication. (If you enjoy this episode, make sure to check out The Ankler’s Prestige Junkie newsletter and show.) For the record, you can see my nomination guesses here at the Ankler Pundits site.
One of the things we delve into is the weird position Oscar pundits find themselves in, as they are torn between portraying the world as it is and trying to subtly change things to reshape the world in their image, as the predictions themselves have been known to shape the outcome of races. And that’s why I am staking a claim here: Delroy Lindo deserves a god-dang Oscar nomination for his work in Sinners.
Look, don’t get me wrong: Lindo has deserved Oscar gold for some time. He absolutely deserved it for his work in Da Five Bloods, for instance. But I celebrate the man’s entire body of work. I would give him a lifetime achievement award simply for his pronunciation of “sesame cake” in Congo. The man’s a damn legend and it’s about time the Academy gave him his due.
But he especially deserves it for the work he does in Sinners, a movie that seems lined up to snag a whole boatload of Oscar nominations, including best picture. Yes, yes: Michael B. Jordan’s dual performance as Smoke and Stack is the showcase of the film. But Lindo’s turn as Delta Slim embodies the soul of the movie; he is the embodiment of the life of a musician, of a black musician, in the American South at a time when simply being black could mark you for death. And he’s just funny as hell in the role, delivering these slightly off-kilter line reads that no one else could have pulled off.
Give the man his Oscar gold already! At the very least, give him the nomination. The people demand it! Leave your favorite Lindo performance in the comments, if you would. I’d like to prove that this man deserves his plaudits.
One of the things we delve into is the weird position Oscar pundits find themselves in, as they are torn between portraying the world as it is and trying to subtly change things to reshape the world in their image, as the predictions themselves have been known to shape the outcome of races. And that’s why I am staking a claim here: Delroy Lindo deserves a god-dang Oscar nomination for his work in Sinners.
Look, don’t get me wrong: Lindo has deserved Oscar gold for some time. He absolutely deserved it for his work in Da Five Bloods, for instance. But I celebrate the man’s entire body of work. I would give him a lifetime achievement award simply for his pronunciation of “sesame cake” in Congo. The man’s a damn legend and it’s about time the Academy gave him his due.
But he especially deserves it for the work he does in Sinners, a movie that seems lined up to snag a whole boatload of Oscar nominations, including best picture. Yes, yes: Michael B. Jordan’s dual performance as Smoke and Stack is the showcase of the film. But Lindo’s turn as Delta Slim embodies the soul of the movie; he is the embodiment of the life of a musician, of a black musician, in the American South at a time when simply being black could mark you for death. And he’s just funny as hell in the role, delivering these slightly off-kilter line reads that no one else could have pulled off.
Give the man his Oscar gold already! At the very least, give him the nomination. The people demand it! Leave your favorite Lindo performance in the comments, if you would. I’d like to prove that this man deserves his plaudits.
Hey, so, I wanted to pull an episode from the archive this week because it’s relevant to the big movie hitting theaters this weekend: Black Phone 2 follows up the surprise 2022 hit, The Black Phone, resurrecting The Grabber (Ethan Hawke) and his iconic mask. Back before that movie came out, I talked to Jason Baker of Callosum FX Studios about helping design the mask for that movie (as well as for WWE stars and the band, Slipknot) and his work with the legendary Tom Savini. We also discussed Jason’s documentary about Savini, Smoke and Mirrors, which you can rent for just 99 cents from Apple (or buy for just $1.99) or stream for free on Tubi. And if you enjoyed this re-run, please share it with a friend!
On this week’s episode, I’m joined by Raoul Peck (I Am Not Your Negro) to discuss his new documentary, Orwell: 2+2=5. We talked about his upbringing in Haiti and having to flee a dictatorial regime there, how social media and AI manipulations help degrade the idea of objective truth, and what can be done to combat this scourge. If you enjoyed the episode, I hope you check out his documentary: it’s playing in New York City and Los Angeles now, and you can find showtimes here. It should be expanding across the country here in the coming weeks, including showtimes in Dallas, Atlanta, Minneapolis-St. Paul, and elsewhere.
Hey, before you listen to this week’s episode, do me a favor and watch the short film we’re going to be discussing. It’s only 17 minutes long, and if you’re between the age of 31 and 45 or so, I think it’ll trip a lot of your nostalgia circuits. (It’s fun for all ages, but Yourgo said this was the age range that best responded to the movie.) Here's a link: https://www.youtube.com/watch?v=snpT2i7B6Mk
Fun right? OK, now you can listen to the episode. It’s a good chat about the nature of online trolling and a simpler time when we believed our votes (for the top songs on Total Request Live) really mattered. If you enjoyed our discussion, share all this with a friend, would you?
Fun right? OK, now you can listen to the episode. It’s a good chat about the nature of online trolling and a simpler time when we believed our votes (for the top songs on Total Request Live) really mattered. If you enjoyed our discussion, share all this with a friend, would you?
On this week’s episode, I’m joined by Nate Soares to talk about his new book, cowritten with Eliezer Yudkowsky, If Anyone Builds It, Everyone Dies: Why Superhuman AI Would Kill Us All. It’s a fascinating book—some will say fearmongering and sensationalist; I, frankly, think they’re overly optimistic about our ability to constrain the development of general intelligence in AI—in large part because of how it’s structured. Each chapter is preceded by a fable of sorts about the nature of intelligence and the desires of intelligent beings that look and think very differently from humans. The point in each of these passages is less that AI will want to eliminate humanity and more that it might do so incidentally, through natural processes of resource acquisition.
This made me think about how AI is typically portrayed in film; it is all too often a Terminator-style scenario, where the intelligence is antagonistic in human ways and for human reasons. We talked some about how storytellers could do a better job of thinking about AI as it might actually exist versus how it might be like us; Ex Machina is a movie that came in for special discussion due to the thoughtful nature of the treatment of its robotic antagonist’s desires. If this episode made you think, I hope you share it with a friend!
This made me think about how AI is typically portrayed in film; it is all too often a Terminator-style scenario, where the intelligence is antagonistic in human ways and for human reasons. We talked some about how storytellers could do a better job of thinking about AI as it might actually exist versus how it might be like us; Ex Machina is a movie that came in for special discussion due to the thoughtful nature of the treatment of its robotic antagonist’s desires. If this episode made you think, I hope you share it with a friend!
On this week’s episode, I’m joined by Matt Roller, the creator and showrunner of the new Netflix animated show Haunted Hotel. We discussed his background in television, how it helped prepare him for the long (shockingly long!) process of creating a full season of animated television, and why he is reading the comments. The show is live on Netflix now and I hope you check it out … and give it the preferred two (not one!) thumbs up, for the reasons Roller laid out in this episode. And if you enjoyed THIS episode, I hope you share it with a friend! (I could also use a thumbs up or two myself, you know.)
On this week’s episode, I’m joined by Tony Gilroy to discuss his work on Andor, the hit Disney+ series that’s a prequel to Rogue One but has ambitions beyond telling the backstory of the Death Star. It is, in a very real way, a TV show about our moment and the mounting tension felt throughout the political order: from Imperial troops on the streets of civilian cities attempting to provoke conflict to Luthen Rael’s (Stellan Skarsgård) campaign of violent resistance, one can’t help but draw parallels to this increasingly fraught point in American history.
On this week’s episode, I’m joined by Rep. Laura Friedman, the congresswoman from the area we colloquially refer to as “Hollywood,” to discuss her push for a national film tax credit of the sort used by the United Kingdom and other countries to lure production of movies back to the United States.
We discuss her career in the TV and film industry before her move into politics, how DC is not unlike Los Angeles, and why the U.S. needs a national film tax credit more than a cost-increasing tariff on movies. If you enjoyed this episode, please share it with a friend!
We discuss her career in the TV and film industry before her move into politics, how DC is not unlike Los Angeles, and why the U.S. needs a national film tax credit more than a cost-increasing tariff on movies. If you enjoyed this episode, please share it with a friend!
On this week’s episode, I’m joined by Tim League, one of the founders of the Alamo Drafthouse and the man behind Metro Private Cinemas in New York’s Chelsea neighborhood. It’s a pretty cool concept—half fine dining, half private cinema auditorium—and I was excited to discuss the evolution of movie theaters as both viewing and gastronomic experiences. League is planning to open the theater in a few weeks, and they’re accepting reservations now; you can check out the offerings here. If you go, let me know: I’ll be very jealous, as it will likely be a while before I am able to make it up to New York again. But when I do, it’s the first stop on my tour of the city.
On this week’s episode, I’m thrilled to be joined by Toby Huss, star of the summer’s most surprising smash hit, Weapons, as well as the rebooted King of the Hill on Hulu and Americana, in theaters and VOD now. We talked about all those, plus his weird and lovely photography book, American Sugargristle, which you can (and should!) order here. Toward the end of the episode, I went full Chris Farley and did a “Hey, remember The Adventures of Pete and Pete and Carnivale? You were awesome in those” segment. Luckily, Mr. Huss was insightful and, frequently, quite poignant while discussing his work as an artist across multiple disciplines, from acting to music to photography. If you enjoyed the episode—and I hope you did—please share it with a friend!
On this week’s episode, I’m joined by New York Magazine’s Bilge Ebiri, who has an enormous, career-spanning interview with Ron Howard in the latest issue. We discussed what makes a Ron Howard movie a “Ron Howard Movie,” the incredibly under-appreciated Thirteen Lives, and that movie about J.D. Vance. And then we talked a bit about his fascinating history of a key element of film technology in the latest issues of Mubi’s quarterly film journal, Notebook. Why is 24 frames per second the accepted frame rate? And why does our eye revolt when the image, paradoxically, gets closer to “reality”? If you enjoyed this episode, please share it with a friend!
I asked David Poland (read his Substack!) to come on this week to pick his brain about the state of the big studio comedy, a genre that has diminished in recent years as international grosses became more important and a lot of comedy releases shifted to streaming in an effort to reduce advertising costs. Which led to us talking about the states of various genres (including horror and superhero pictures) as well as the state of play around the world. If you learned something this week, I hope you share this episode with a friend!
On this week’s episode, I’m rejoined by Puck media correspondent Julia Alexander to discuss the absurdities of Jubilee. You might not recognize the name of the company but you’ve probably seen some of their clips; most recently, Mehdi Hasan went up against 20 self-described far-right conservatives that resulted in at least one of the participants losing his job after he proudly declared himself an autocrat and downplayed Nazi crimes during the Holocaust. Is this brand of debate spectacle lucrative? Maybe! Is it bad for society? Undoubtedly. We examine why on this week’s episode. If you enjoyed it, please share it with a friend!
On this week’s episode, I’m rejoined by Crunchyroll EVP Mitchel Berger to talk about anime’s increasing popularity with those yearning for community. We reference a report on the state of anime several times; you can read it here. The long and the short of it, though, is that anime is increasingly popular with Gen Z and Gen Alpha, which will likely come as no surprise to anyone who has seen the wall of manga in their local Barnes and Noble. From theatrical rollouts in the United States and around the world to the 17-million-subscriber-strong Crunchyroll streaming service to the sold-out Anime Expo in Los Angeles earlier this month, it’s an enormous segment of the market that holds a deep attachment to younger audiences. If you enjoyed this week’s episode, I hope you share it with a friend!
On this week’s episode, I talked to Christian Swegal, the writer-director of the new film Sovereign, about his new film and its focus on the cult-like behavior of the Sovereign Citizen movement. We discussed Nick Offerman’s commanding lead performance, how you adapt a movie with an ending and setting as tragic as this one, and the difficulty of finding compassion even for those who seem to deserve it least. If you enjoyed this episode, make sure to check out Sovereign, which is in theaters and on VOD now. And please, share this with a friend!
Movies like this don’t have huge ad budgets; they need word of mouth to thrive. It’s a tough story with some great performances by Offerman, Jacob Tremblay, and Dennis Quaid. If you want to see something a little different from the standard franchise fare flooding the multiplex, you have to support movies like Sovereign.
Movies like this don’t have huge ad budgets; they need word of mouth to thrive. It’s a tough story with some great performances by Offerman, Jacob Tremblay, and Dennis Quaid. If you want to see something a little different from the standard franchise fare flooding the multiplex, you have to support movies like Sovereign.
Always glad to talk to the Entertainment Strategy Guy (read him here!) about the state of play in the world of streaming and beyond. Among the topics discussed this week: Whether or not F1: The Movie is a hit (and what being a “hit” means for a $200 million original for Apple as opposed to a different type of movie for a different type of studio); whether F1, the sport, is a butts-in-seats phenomenon in the United States; why the streaming wars are tightening and other streaming services are closing the originals gap with Netflix; and how sports rights are going to shake out over the next few years as the ESPN streaming service comes online and regional sports networks start to dwindle. If you enjoyed this episode, please share it with a friend!
On this week’s episode, I’m joined by Daniel Drezner—cohost of the Space the Nation podcast with Ana Marie Cox and proprietor of the Drezner’s World Substack—to discuss the eternal popularity of zombies (most recently via the hit movie 28 Years Later, which I reviewed here) and the continued relevance of his book, Theories of International Politics and Zombies, which is now in its third edition. We chatted about the ways different political theories might confront waves of the undead and discussed how this book can help explain basic problems of international relations to even lay audiences. If you enjoyed this episode, I hope you share it with a friend!
(And, as a bonus, here’s a link to a video starring Dan, me, and Across the Movie Aisle’s Alyssa Rosenberg that asked what Star Wars would have looked like if it had been shot in the style of Ken Burns’s Civil War. Enjoy!)
(And, as a bonus, here’s a link to a video starring Dan, me, and Across the Movie Aisle’s Alyssa Rosenberg that asked what Star Wars would have looked like if it had been shot in the style of Ken Burns’s Civil War. Enjoy!)
On this week’s episode, I’m rejoined by Bart Weiss to discuss the evolution of the iPhone-shot movie from Tangerine to 28 Years Later and his recent book, Smartphone Cinema: Making Great Films with Your Mobile Phone. You have the power to make a movie in the palm of your hand: will you use it? If you enjoyed this episode, please share it with a friend!
On this week’s episode, I’m joined by Lane Brown of New York magazine to discuss his feature on an increasingly rare phenomenon: the film or TV show shot in Los Angeles. From foreign tax credits to the cost of permits, Los Angeles is getting more expensive to shoot in, meaning that more productions are moving out of Los Angeles altogether. If you enjoyed this episode, make sure to read Lane’s piece. And please, share this with a friend!
On this week’s episode, I’m joined by New York Magazine features writer Lila Shapiro to discuss her feature story on the growing utilization of generative AI by Hollywood studios to cut costs and speed up production times. From a party hosted by an AI studio to the work being done by Runway to the growing sense that, hey man, this is just The Future, it seems like AI is, as several folks in the piece put it, “inevitable.” If you enjoyed this episode or learned something in it, please share it with a friend!
On this week’s episode, I strayed a bit from Hollywood to talk to David C. Lowery of the bands Cracker and Camper Van Beethoven about his new album, Fathers, Sons, and Brothers. You can check out the album here and peruse the accompanying Substack here. We had a fascinating chat about how the industry has changed over the last 40 years (for better and worse), how folks discover new music, and how his experiences growing up helped shape his musical tastes and self-conception as an American. If you enjoyed the episode, I hope you check out his album and his Substack. And please share this with a friend!
I’m joined by Ann Foley this week to discuss her work as costume designer on the hit HBO show The Last of Us. From sourcing vintage clothes to weaving the infected’s fungal-explosions in with the clothes they were wearing when they died to her graduate school on the sets of Agents of SHIELD, Ann’s insights into translating the world of the game to the world of the screen are pretty fascinating. At the end of the episode, Ann mentions Ellie’s Converse sneakers; you can see what Bella Ramsey scribbled on them here. And if you enjoyed this episode, please share it with a friend!
I’m joined by Matthew Specktor, author of The Golden Hour: A Story of Family and Power in Hollywood. Part novel, part memoir, and entirely entertaining, Matthew’s book is a revealing look at life in Hollywood when you’re not on the A-list but occasionally adjacent to it. In addition to relating the drama that makes any family intriguing, Matthew’s book is a keen look at Hollywood in a time of flux, as the rise of the super agencies and the internationalization of the Hollywood studios radically altered the American cinematic landscape. If you enjoyed the episode, I hope you check out his book. And please, share this with a friend!
On this week’s episode, I’m joined by Evan Jonigkeit, the star and producer of Henry Johnson. Based on the play of the same name by David Mamet, Henry Johnson is Mamet’s first film in a dozen years and a beguiling provocation; I greatly enjoyed discussing not only the meaning of the movie with Jonigkeit but also how difficult it is to get a picture like this—a series of Socratic dialogues, a movie of complex ideas made for adults—in front of audiences.
Henry Johnson is available to rent now from the film’s website and is playing in a handful of locations (including a one-night stop at the Aero in Los Angeles and a residency at Bryn Mawr). I hope you check it out. And if you enjoyed this episode, please share it with a friend!
Henry Johnson is available to rent now from the film’s website and is playing in a handful of locations (including a one-night stop at the Aero in Los Angeles and a residency at Bryn Mawr). I hope you check it out. And if you enjoyed this episode, please share it with a friend!
On this week’s episode, I’m joined by Jeremy Workman, the director and producer of Secret Mall Apartment. We discussed the difficult process of getting your subjects to trust you, the trickiness of distributing an indie documentary in the modern cinematic landscape, and the importance of having a big star like Jesse Eisenberg willing to do a little press for you. The movie’s playing in theaters now; you can see if it’s in a cinema near you here. And if you enjoyed this episode, please share it with a friend!
On this week’s episode I’m rejoined by Scott Mendelson of The Outside Scoop to talk about the state of the box office thus far through 2025. It’s better than 2024—thank you, Minecraft—but not as good as 2023. Plus, we delve into some of the discussion surrounding Sinners’s box office, particularly the foreign and domestic splits. Does its strength in North America demonstrate that Hollywood should be less concerned with appealing to foreign audiences and more worried about making big bucks (and better movies) for the homegrown crowd? All that and more on this episode; if you enjoyed it, I hope you share it with a friend!
On this week’s episode, I talked to Andrew Ortenberg of Briarcliff Entertainment about distributing tricky movies like The Apprentice and Magazine Dreams. How have the economics of cinematic distribution improved for distributors with the infrastructure in place to handle it? How have the various video-on-demand tiers shifted over the last few years? What should folks keep in mind before they declare a movie a hit or a flop? And why are family movies an under-utilized resource for the indie set? All that and more on this week’s episode. If you enjoyed it, please share it with a friend!
On this week’s episode, I’m joined by New York Times film critic Alissa Wilkinson to discuss her new book about Joan Didion, We Tell Ourselves Stories. I mentioned the book in a newsletter a couple of weeks back, but I wanted to focus on the ways in which the political world has borrowed showbiz’s penchant for image calibration, from the ways in which issues are decided upon to the means by which politicians decide which voters to target. Didion, of course, was a natural observer of these shifts, having spent years in Hollywood before becoming one of the nation’s most interesting political observers. If you enjoyed this episode, I hope you both pick up a copy of Alissa’s book and share this with friends!
On this week’s episode, I’m joined by Ray Mendoza, who cowrote and codirected the new A24 movie Warfare with Alex Garland (Civil War, Ex Machina). We discussed the journalistic process of rebuilding the day’s actions portrayed in the film from the memory of those who participated, Mendoza’s work with Garland on Civil War, and the cinematic experience of trying to help people understand what it’s like to go into battle after getting your brain rattled. The movie releases on April 11, and I strongly recommend watching it in a theater to get that fully immersive sonic effect. And if you enjoyed this episode, I hope you share it with a friend.
I am pleased to be rejoined this week by Bobby Miller to discuss his new novel, Situation Nowhere. Imagine Brazil by way of Idiocracy but goopier: That’s Situation Nowhere. We talked about some of his influences, the state of our increasingly recursive culture, and why we need to bring back shaming folks for selling out. If you’re in Los Angeles, check out Bobby’s event on Saturday at The Redwood Bar! And if you enjoyed this episode, please share it with a friend. (And listen to last year’s episode with Bobby about the Blu-ray release of his film, The Cleanse.)
On this week’s episode I’m joined by Ross Benes, the author of the forthcoming book 1999: The Year Low Culture Conquered America and Kickstarted Our Bizarre Times. It comes out in a few weeks and I hope you take a gander at it; we spent most of our time discussing the ways in which professional wrestling and the Insane Clown Posse help explain the phenomenon that is Donald J. Trump and his ascent through the political landscape, but there’s more to the book than that. And if you enjoyed this episode, I hope you share it with a friend!
Sonny Bunch sits down with filmmaker Jonathan Gruber to discuss his new documentary, Centered, which explores the life and legacy of Joe Lieberman. As the first Jewish Vice Presidential candidate, Lieberman made history—only to later shake up politics by breaking with his own party. With the film releasing today, they dive into his career, key political battles, and the impact of centrism in modern politics.
A weird question I sometimes get is this: “I want to get into buying movies on disc, Sonny, but I don’t know where to start.” I say it’s weird because the answer seems obvious to me: just buy movies you like to watch! But there are issues I take for granted like formats and resolutions, so I thought it would be useful to talk to Aidan Ryan of the Boston Globe about his recent piece in that newspaper’s magazine focused on the Gen Z/Young Millennial cohort that has gotten really into collecting movies on disc. From the dollar DVD bins to the high-quality UHD 4K collectors sets put out by the boutique labels, these younger collectors run the gamut. If you have questions of your own, feel free to leave them in the comments and I’ll do my best to answer them. And if you enjoyed this episode, please share it with a friend!
On this week’s episode, I’m plesaed to be rejoined by Brandon Struessnig to discuss one of my favorite packages of the year, Vulture’s annual stunt awards. Who were the big winners? What were some of the surprises? Just how long did it take George Miller to shoot that war rig sequence in Furiosa anyway? All that and more on this week’s episode. Make sure to check out the winners before listening to us discuss them. And if you enjoyed this episode, please share it with a friend!
This week I was joined by Jake Rademacher, the director of Brothers After War to talk about his new documentary checking in with folks who have returned from the conflicts in Afghanistan and Iraq and how they are reintegrating into society. It’s a powerful and moving documentary, and I highly recommend checking it out if you get the chance, particularly if you have a veteran in your life. You can find showtimes nearest you here. And if you’re a veteran, you should still be able to get free tickets to the film by signing up at VetTix.org and searching for Brothers After War. If you enjoyed this episode, I hope you share it with a friend!
On this week’s episode, I’m joined by the New York Times’s James Poniewozik to discuss SNL’s (rather lengthy) 50th anniversary celebration. (Here’s a gift link to James’s piece on his favorite episode of SNL.) We discuss the show, how it has changed, and how changes in how people watch the show change its meaning (and our relationship to it). I also asked James about his book, Audience of One: Donald Trump, Television, and the Fracturing of America and how to best cover Trump without succumbing to the siren song of scolding; that clip starts a little before minute 30 if you want to skip all the SNL chatter. (But why would you?) If you enjoyed the episode, I hope you share it with a friend!
On this week’s episode, I’m joined by Jake VerKesen—some of you in the comments might know him by his handle, Jake VK—on the long and winding road to turning an idea for a micro-budgeted indie movie like I Agree With You from a dream into a reality. We discuss the paperwork, the delays, the fundraising, the shooting, the food, the editing, and, finally, the showing, that goes into getting an indie movie made and delivered to the people.
As discussed on the episode, the movie’s not out just yet, but hopefully y’all will get a chance to see it soon. You can follow the film’s progress on its Substack and add I Agree With You to your Letterboxd watchlist.
As discussed on the episode, the movie’s not out just yet, but hopefully y’all will get a chance to see it soon. You can follow the film’s progress on its Substack and add I Agree With You to your Letterboxd watchlist.
On this week’s episode, I’m rejoined by writer/director Philip Gelatt and novelist Paul Tremblay (author of Horror Movieand The Cabin at the End of the World, among other scary books) to discuss the new Substack-hosted docu-horror series Etch. The concept is pretty cool: Philip has interviewed a quintet of horror authors—Tremblay, Stephen Graham Jones, Laird Barron, Elizabeth Hand, and Mariana Enriquez—and every week he’s dropping another episode that combines that interview with a reading of a short story and video illustration. (Not quite a movie, exactly, more like creepy imagery.)
I’ll say, as a longtime user/reader of Substack, it’s exciting to see folks push the boundaries of what the site can be. I think most people see Substack as a newsletter/podcast site, and most of the video I’ve seen on Substack has been, more or less, video versions of podcasts. (We have a lot of those here at The Bulwark!) But this is a great example of a creator deciding to bypass the studios and the streamers and just make something he wants to see in the world using the broadcast tools provided by Hamish McKenzie and his team at Substack and doing so in a way that allows you to “own” the readers/followers, a stark contrast from YouTube, TikTok, and other user-generated video sites. (It’ll be great when they drop a streaming-style app.) If you are into horror, I highly recommend checking this out. And if you enjoyed this episode, I hope you share it with a friend!
I’ll say, as a longtime user/reader of Substack, it’s exciting to see folks push the boundaries of what the site can be. I think most people see Substack as a newsletter/podcast site, and most of the video I’ve seen on Substack has been, more or less, video versions of podcasts. (We have a lot of those here at The Bulwark!) But this is a great example of a creator deciding to bypass the studios and the streamers and just make something he wants to see in the world using the broadcast tools provided by Hamish McKenzie and his team at Substack and doing so in a way that allows you to “own” the readers/followers, a stark contrast from YouTube, TikTok, and other user-generated video sites. (It’ll be great when they drop a streaming-style app.) If you are into horror, I highly recommend checking this out. And if you enjoyed this episode, I hope you share it with a friend!
On this week’s episode, Sonny Bunch is rejoined by Jesse Nelson of DiabolikDVD and Cauldron Films to discuss the state of home video. We get to the tariff discussion around 32 minutes in, but before that, Jesse dispels some of the concerns about Sony’s recent announcement that they’re discontinuing recordable media like Blu-ray, what collectors are looking for from his store, and how he and his business partner go about deciding out what titles to distribute via their label, Cauldron Films. As mentioned on the episode, I enjoy Diabolik’s “Browse by Label” page to see what weird stuff is hitting Blu-ray and UHD in the upcoming months. Make sure to check out Cauldron’s lineup; that Mad Foxes set seems pretty cool. If you enjoyed the episode, please share it with a friend!
On this week’s supersized episode of The Bulwark Goes to Hollywood, I’m rejoined by Matthew Ball to discuss his epic examination of the state of the video game industry and how its growing pains reflect what we’ve seen in other entertainment industries like film. I’d recommend at least scanning his report (you can download the pdf here) even if you’re not a gamer—I am, as discussed in the opening moments, at best a “filthy casual”—because if you’re familiar with the growth patterns of nearly any industry, you’ll likely find some congruences.
On this week’s episode, I’m joined by Bill Ryan and Dennis Cozzalio to discuss their contribution to the new Arrow Limited Edition release of Inglourious Basterds on 4K. The booklet features a blog-era (remember blogs?) conversation about the film that occurred when it was initially released, in addition to, among other things, a postcard with a recipe for apple strudel (whip cream NOT optional). It’s a great set with lots of extras and I highly recommend picking it up if you can find a copy. We discussed the initial response to the film and our own feelings about it some 15 years or so later, as well as that weirdly exciting moment of online film criticism. If you enjoyed the episode, I hope you share it with a friend!
This week I’m joined by Richard Rushfield and Katey Rich of The Ankler to discuss the state of the awards season post-Golden Globes and in the midst of the Los Angeles fires. (Indeed, Los Angeles resident Richard is in the city to give us an on-the-ground update of the state of things from his perspective. Please excuse any background noise/distortion that you may hear as a result!) We talked about how the Globes might affect the Oscars, how the Globes has devolved into an incestuous web of self-dealing, and how the fires might affect Academy Award voting patterns. We also discussed the new Ankler Pundits prediction site, which I am honored to have been asked to take part in. Check it out and feel free to mock my picks.
And look: I understand the impulse to avoid discussing awards given everything that’s going on out west. I want to reiterate that there are good charities that can be donated to if you’re looking to help out:
If you enjoyed this show, I hope you share it with a friend.
And look: I understand the impulse to avoid discussing awards given everything that’s going on out west. I want to reiterate that there are good charities that can be donated to if you’re looking to help out:
If you can’t wait to donate, you can never go wrong with José Andrés’s World Central Kitchen, which has teams on the ground helping feed first responders. Two additional charities I’ve had folks recommend are Global Empowerment Mission and the California Community Foundation. I’m sure they’ll all make good use of every penny.I also think halting the awards will do little to improve anyone’s financial standing and will in fact hurt the folks who work for all the ancillary events. Not just the awards shows themselves, but the parties, the limo drivers, the caterers, the dress designers, people whose whole year is made or broken by this stretch in Los Angeles. Awards may feel silly but even silly things can be worthwhile, particularly when your livelihood depends on it.
If you enjoyed this show, I hope you share it with a friend.
On this week’s episode, I’m joined by Steven Hyden, who—in addition to being the author of books on Bruce Springsteen, Pearl Jam, and Radiohead, and a prolific author at Uproxx—served as the story producer on HBO’s new film, Yacht Rock: A Dockumentary. In addition to discussing just what it means to be a story producer on a documentary, we discussed the making of this film, the evolution of the term “yacht rock,” and why (some) artists have (slowly) warmed to the term. I really can’t recommend the documentary enough: it’s both entertaining and informative. And if you enjoyed this episode, I hope you share it with a friend!
On this week’s episode, I’m joined by Brandon Wainerdi to discuss DK’s hefty and handsome new reference book, Star Wars Encyclopedia: The Comprehensive Guide to the Star Wars Galaxy. We discussed how he broke into writing about Star Wars, researching his entries for the book, and why so much of what we obsessives know about Star Wars comes not from the films but the surrounding products. Brandon’s interview podcast, Talking Bay 94, is a must-listen if you’re a fan of the series. I’ll just say, on a personal note, that this is a really beautiful book: lots of illustrations, tons of information. If you have a precocious tween who loves Star Wars in your life, you could do much worse than this as a gift for them this Christmas. And if you enjoyed this episode, I hope you share it with a friend!
On this week’s episode, I’m joined by novelist and Broadway producer Michael Wolk to discuss his new interactive novel, Devil’s Game. You can check it out yourself here; it’s an interesting mix of web-first design and apocalyptic airport thriller. We talked about what drove him to write this novel and also discussed the state of Broadway and live theater more generally. If you enjoyed this episode, please share it with a friend!
On this week’s episode, I talked to Alex Reisner about his pieces in The Atlantic highlighting the copyrighted material being hoovered into large language models to help AI chatbots simulate human speech. If you’re a screenwriter and would like to see which of your work has been appropriated to aid in the effort, click here; he has assembled a searchable database of nearly 140,000 movie and TV scripts that have been used without permission. (And you should read his other stories about copyright law reaching its breaking point and “the memorization problem.”) In this episode, we also got into the metaphysics of art and asked what sort of questions need to be asked as we hurtle toward the future. If you enjoyed this episode, please share it with a friend!
This week I’m rejoined by Sean McNulty of The Ankler’s morning roundup newsletter, The Wakeup, to discuss the big news in cable land: ComcastNBCUniversal’s decision to spin (most of!) their cable properties into a new, separate company, called SpinCo for now. What does this mean for MSNBC, USA, and the rest of the impacted channels? Why is Bravo staying under the Comcast umbrella? What impact will this have on NBC? All of these questions are asked and some answers are given. Warning: There is a fair amount of rank speculation in this episode, but that couldn’t be avoided.
This week I’m thrilled to be joined by Jacob Navok, the CEO of Genvid Entertainment, to discuss his company’s new partnership with DC Comics, DC Heroes United. A combination mobile game and Justice League television show, DC Heroes United is a fascinating hybrid entertainment experience, one that Navok has been working on in various forms for years now.
The first 20 minutes or so of the show are largely about DC Heroes United; after that, we discuss the evolution of this sort of interactive gaming/viewing more broadly, including earlier experiments on Facebook and with properties like The Walking Dead and Silent Hill. It’s a fascinating new arena of entertainment, and I hope you learn something about how the next generation is interacting with media even if you’re not that interested in the properties themselves.
If you enjoyed this episode, please share it with a friend!
The first 20 minutes or so of the show are largely about DC Heroes United; after that, we discuss the evolution of this sort of interactive gaming/viewing more broadly, including earlier experiments on Facebook and with properties like The Walking Dead and Silent Hill. It’s a fascinating new arena of entertainment, and I hope you learn something about how the next generation is interacting with media even if you’re not that interested in the properties themselves.
If you enjoyed this episode, please share it with a friend!
This week I’m joined by Russell Hainline, the screenwriter of the forthcoming Netflix original Hot Frosty as well as a whole bunch of Hallmark original Christmas movies (including last year’s The Santa Summit and the forthcoming The Santa Class). I asked him on today to talk about the burgeoning market for Christmas movies on channels like Hallmark and streaming services like Netflix, and we had a great chat about how Hallmark resembles a cable network less than the old Hollywood studios like RKO and MGM. What lessons can the rest of the industry learn from them? If you enjoyed this episode, share it with a friend!
This week I’m joined by Mark Cousins, the writer and director of the new documentary, My Name Is Alfred Hitchcock. We talked about his movie’s unorthodox presentation, why Hitchcock remains eternally relevant, and how he puts together his incredible video essays. (If you’ve never seen his The Story of Film: An Odyssey, you really should.) And then he turned the tables on me with some closing questions! If you enjoyed this episode, please share it with a friend!
Good show, long show today with the Entertainment Strategy Guy (subscribe to his Substack here). I’m going to offer up timestamps here, which I don’t usually do, because there’s a ton of stuff covered in this podcast.
Amongst the topics we discussed: Marvel vs. DC in the TV realm (:40); Tulsa King’s status as a surprise hit for Paramount+ (11:40); what the data about Netflix’s second season of Monsters suggests about its completion rate and why that matters (16:06); why horror has a lower streaming ceiling than theatrical ceiling (21:29); Prime Video’s moves into sports and news (30:56); the four horsemen of the media apocalypse (38:41); and a cautious defense of embattled WB-Discovery honcho David Zaslav (56:17).
Phew! If you enjoyed this episode, please share it with a friend!
Amongst the topics we discussed: Marvel vs. DC in the TV realm (:40); Tulsa King’s status as a surprise hit for Paramount+ (11:40); what the data about Netflix’s second season of Monsters suggests about its completion rate and why that matters (16:06); why horror has a lower streaming ceiling than theatrical ceiling (21:29); Prime Video’s moves into sports and news (30:56); the four horsemen of the media apocalypse (38:41); and a cautious defense of embattled WB-Discovery honcho David Zaslav (56:17).
Phew! If you enjoyed this episode, please share it with a friend!
On this week’s episode, I’m joined by Thomas Negovan, who oversaw the reconstruction of Caligula: The Ultimate Cut. Combing through 96 hours of the original negatives, Tom rebuilt the film from the ground up in order to bring it closer in line with the vision of writer Gore Vidal, director Tinto Brass, and star Malcolm McDowell. We discussed some of the technical challenges of tracking down source materials, the challenge of reconstructing a film that felt entirely different from every version previously known, and how McDowell and costar Helen Mirren responded to the reconstituted picture.
The Ultimate Cut debuted at Cannes last year and is available now via streaming, Blu-ray, and 4K from Drafthouse Films and Unobstructed View. (The Blu-ray and 4K sets also include a previous cut of the film; for more on that cut and its odd provenance, I’d recommend reading this note at Diabolik DVD.) And if you enjoyed this episode, please share it with a friend!
The Ultimate Cut debuted at Cannes last year and is available now via streaming, Blu-ray, and 4K from Drafthouse Films and Unobstructed View. (The Blu-ray and 4K sets also include a previous cut of the film; for more on that cut and its odd provenance, I’d recommend reading this note at Diabolik DVD.) And if you enjoyed this episode, please share it with a friend!
I’m joined by Gabriel Sherman, the writer of The Apprentice, on this week’s episode. Sebastian Stan plays Donald Trump in this movie in theaters now about the future president’s relationship with noted legal fixer and possible evil supervillain Roy Cohn (Jeremy Strong). The movie’s path to distribution is almost as interesting as the film itself: following production and a decent response at Cannes, it found itself in limbo as the original financier got cold feet and studios worried about reprisals from Donald Trump if he were to win the presidency again. We discussed all that and more in our chat; if you found it interesting, I hope you share it with a friend!
On this week’s episode, I’m rejoined by Parrot Analytics’s Brandon Katz to discuss a vexing issues for streaming channels and audiences alike: why do the services have such a difficult time helping people find more things on the service to watch? Our chat is based in part on his column in the Observer, and you should read it if you have a second. But the long and the short of it is that streaming services are dealing with customers signing up for a month or two, binging what they want to watch, and then canceling their sub, over and over, hopping from service to service. Is this anyway for folks to live?
This week I’m talking to a friend here in Dallas, Bart Weiss, about the Ernie Kovacs Award taking place this weekend at the Texas Theatre. This year’s honoree is Jerry Casale from the band Devo, and we’re discussing his work both with the band and as a pioneer of the music video artform. Check out the links above for tickets to the various events (the screening tonight is going to be pretty fun, I think, as the movie is super-interesting). If you’re in the Dallas area I hope you check it out. And if you enjoyed this episode, I hope you share it with a friend!
NOTE: This is the correct audio file! Apologies, crossed my Audioboom streams the first time around.
On this week’s episode, I’m rejoined by Jason Pargin to discuss his latest novel, I’m Starting to Worry About This Black Box of Doom, a standalone comic adventure about life in the age of interconnectivity. It’s out Tuesday; you can preorder it now. And I really hope you do: Pargin is among the most precise observers of life as it is lived in the digital age, and one of the things we really dive into in this episode is the way in which social media and smartphone living have really altered how we not only interact with each other but also ourselves.
On this week’s episode, I’m rejoined by Jason Pargin to discuss his latest novel, I’m Starting to Worry About This Black Box of Doom, a standalone comic adventure about life in the age of interconnectivity. It’s out Tuesday; you can preorder it now. And I really hope you do: Pargin is among the most precise observers of life as it is lived in the digital age, and one of the things we really dive into in this episode is the way in which social media and smartphone living have really altered how we not only interact with each other but also ourselves.
This week I’m joined by Amy Nicholson, the director of the documentary Happy Campers, which is now available for rental or purchase on VOD at Apple. We discussed the ragtag oceanside community Amy documented, how she came to find herself in a position to tell their story, and some of the stranger reactions to the film’s decision to be less didactic and more emotionally compelling. If you’re intrigued by what you hear here, make sure to check out the movie. And if you enjoyed this episode, please share it with a friend!
This week I talked to Steven Watts about his new book, Citizen Cowboy: Will Rogers and the American People. Rogers was a fascinating figure, one who straddled America’s status as a largely agrarian, frontier-expanding nation to the more urban, cosmopolitan nation we have today. He helped people manage the cultural change with his humor and became one of the most famous (and beloved) men in America by riding the new mass media wave and gently sticking it to politicians of all stripes. If you want to learn more about Rogers, make sure to check out Steven’s book. And if you enjoyed this episode, share it with a friend!
On this week’s episode, I’m joined by John Magary, editor of the new film Between the Temples. We discuss how he got into the editing business, the role of the editor in building the rhythm and flow of a picture, the aesthetic choices an editor can make in shaping the meaning of a movie, and a little about his work with the Criterion Channel. If you enjoyed this episode, try to find a theater playing the movie near you; it’s in 500 or so screens, which means there’s a decent chance there’s a showing somewhere in your neighborhood. And make sure to share it with a friend!
My guest this week is Valentina El Harizi, an 18-year-old first-time filmmaker who has an entry at the DIFF Shorts Film Festival. (If you get this email early enough and happen to live in the Dallas area, you can head over to the Angelika Film Center Dallas on Mockingbird Lane and catch the film; the “High School Shorts” program starts at 3PM local time.) We discussed her film, “Behind the Scenes,” as well as the difficulties of growing up in a world where social media is the first, second, and third option most kids have to interact with each other. If you enjoyed this episode—or think someone with kids surrounded by social media should hear it—please share it with a friend!
On this week’s episode, I’m joined by Robbie Whelan, who covers the wide world of Disney for the Wall Street Journal. We talked about all the stuff Disney rolled out at D23 (Sequels! Theme park additions! New Cruise ships!) and discussed the ways in which the softness in Disney’s “Experiences” division (which includes, among other endeavors, the theme parks) may suggest general economic softness that’s hidden by the success of movies like Inside Out 2 and Deadpool & Wolverine. If you enjoyed this episode, please share it with a friend!
This week I met with novelist (and Bulwark+ member!) Brad Thor in a shadowy location (upstairs at Dallas’s magnificent flagship Half Price Books) to discuss his latest book of international intrigue, Shadow of Doubt. We also talked about the idea that men don’t buy novels, smuggling real-world ideas into the universe of his fiction while maintaining their entertainment value, and a potential adaptation of his Scot Harvath novels into a streaming hit. If you’re looking for a late-summer read, make sure to pick up Brad’s book. And if you enjoyed this episode, please share it with a friend!
I’m joined this week by Thomas Doherty, Brandeis professor and author of Hollywood and Hitler, 1933-1939, and Maria Elena de las Carreras, lecturer in film studies at the UCLA School of Film and Television, at the CSUN Department of Cinema and Television Arts,* to talk about the recent restoration and Blu-ray release of two documentaries by Herbert Kline: Crisis: A Film of ‘The Nazi Way’ and Lights Out in Europe. Doherty and de las Carreras provided commentary tracks on the films and were kind enough to join me to discuss the historical import and context of these two important films, which chronicled the German annexation of Czechoslovakia and the beginning of Hitler’s assault on Poland.
Both movies are available on one Blu-ray directly from Flicker Alley (or Amazon), and they are must-owns for folks interested both in documentary film from the period and World War Two more broadly; I’d heard of Crisis before but had never seen it, and it was a real treat to finally get to watch it.
* Maria Elena de las Carreras’s title has been corrected.
Both movies are available on one Blu-ray directly from Flicker Alley (or Amazon), and they are must-owns for folks interested both in documentary film from the period and World War Two more broadly; I’d heard of Crisis before but had never seen it, and it was a real treat to finally get to watch it.
* Maria Elena de las Carreras’s title has been corrected.
This week I’m being rejoined by the Los Angeles Times’s Ryan Faughnder to discuss the sale of Paramount to David Ellison. What does this mean for the various arms of Viacom? Then we discussed the collapse of Redbox and the state of the box office. If you enjoyed this episode, please sign up for Ryan’s newsletter, The Wide Shot, here. It’s free! And if you enjoyed this episode, share it with a friend!
On this week’s episode I’m joined by Jennifer Esposito, the director, writer, and star of Fresh Kills, a mob movie told from the perspective of mob wives and mob daughters. We discussed her career in the movies and how that helped prep her to stand behind the camera, why it’s hard to find audiences for original movies telling stories aimed at adults, how social media is helping build a base of support, and the powerfully feral performance of Odessa A’zion. You can watch Fresh Kills right now from the comfort of your own home on your preferred VOD provider. And if you enjoyed this episode, please share it with a friend!
Often, when people discuss television viewing these days they’ll conclude their chat with something like “But we just don’t know what people are watching.” That is an increasingly outdated view of the data, however. On this week’s episode, I’m joined by Dierdre Thomas, the Chief Product Officer for Nielsen’s Audience Measurement business unit. We talked about the evolution of Nielsen’s business measuring market share, how the company captures what people are watching and where, and how overall viewing habits have changed in the streaming age.
On this week’s episode, I’m joined by Stephen Robert Morse and Seth Porges, the producers and directors of How to Rob a Bank. Streaming now on Netflix, the true-crime doc’s subject, Scott Scurlock (aka, the Hollywood Bandit), calls to mind Point Break in his commitment to living his life however he pleased and funding it through criminal activities. But, as Porges told me in our interview, How to Rob a Bank is also a subversion of the cinematic trope of the noble bank robber, a rejection of that idealized vision of criminality. It’s a reminder that what filmmakers portray has some impact on how we see—and take part in—the world. If you enjoyed this episode, make sure to watch their movie. And if you enjoyed this episode, share it with a friend!
On this week’s episode, I’m joined by John DeVore, author of Theatre Kids: A True Tale of Off-Off Broadway. In addition to discussing his life in the arts and the different species of theatre children—from the stage to politics to religion, theatre kids come in all shapes and size—we also talked a bit about the evolution of media in the post-9/11, pre-iPhone age. And we went back to one of my favorite topics: why no one can behave themselves in public these days! Get off our lawns! If you enjoyed this episode, you should pick up a copy of John’s book; it’s a quick read with just the right amount of melancholy. And please share this episode with a friend!
On this week’s episode, I’m rejoined by Sean O’Connell to discuss his new book, Bruce Willis: Celebrating the Cinematic Legacy of an Unbreakable Hollywood Icon. Breaking down Willis’s career—which has been sadly cut short following his diagnosis of aphasia—by comedies, action movies, work with auteurs, and “Die Hards,” the book is an exhaustive look at, mostly, the highs (and some of the lows) of Willis’s career. If you enjoyed this episode, please share it with a friend!
On this week’s episode, I invited David Poland on so he could talk us all of the ledge about the state of theatrical exhibition. And while he didn’t quite do that—his opening words: “It’s, it’s bad! Things are bad”—he did highlight why things aren’t necessarily disastrous and how both the studios and the exhibitors can help get everything back on track. If you enjoyed this episode, please share it with a friend!
Published 2024-05-24
Bobby Miller on his film, 'The Cleanse,' finally getting a Blu-ray release.
35 min
This week, I’m joined by Bobby Miller, the writer/director of The Cleanse, to talk about the film’s long and winding path to a Blu-ray release. (You can buy it at Amazon or for five bucks less at the great DiabolikDVD.) We discussed getting that film made, the struggle to secure a release, and why owning a physical copy of a movie packed with special features like commentary tracks and making-of docs is a real thrill for a filmmaker who grew up absorbing the extras on features like Boogie Nights. We also discussed his voice-directing and editing work and why he wrote a novel. If you enjoyed this episode, please check out Bobby’s movie. And make sure to share it with a friend!
On this week’s episode, I’m joined by Sean Fine and Andrea Nix-Fine to discuss their searing look at the assault on the Capitol on January 6 perpetrated by supporters of Donald Trump attempting to disrupt the peaceful transfer of power. We discussed how they got their footage, why the events are being memory-holed by embarrassed Republican politicians, and how you can help spread the word about this documentary so people aren’t allowed to forget what, and who, they’re supporting when they support Donald Trump. If this interview gets your blood boiling like it got mine boiling, you can watch The Sixth on your VOD provider of choice. And if you enjoyed this episode, please share it with a friend.
I’m thrilled to have Adrienne LaFrance of The Atlantic on the show this week to discuss her profile of Albert Brooks and more generally celebrate his greatness. From movies like Broadcast News and Defending Your Life, to voicework on The Simpsons and Finding Nemo, to his under-appreciated villainy in Drive, Brooks’s talents have wowed multiple generations of moviegoers and TV watchers.
This week, I’m rejoined by Glenn Kenny to discuss his new book The World Is Yours: The Story of Scarface. Among the topics discussed: What a Scarface directed by Sidney Lumet might have looked like; how the movie secured an R rating rather than a commercially disastrous X; and whether or not Scarface is a “political” movie. If you enjoyed this episode, make sure to listen to our previous encounter (and pick up his book Made Men: The Story of Goodfellas, it’s a hoot). And please share this with a friend!
On this week’s episode, I’m rejoined by the Los Angeles Times’s Ryan Faughnder (read and sign up for his newsletter here!) to discuss Netflix’s big data change, why some in Hollywood are hoping for David Ellison to take over Paramount (though shareholders have a different view), and more. If you liked what you heard, share this episode with a friend!
As readers may remember, The Beekeeper has been one of my favorite movies of the year thus far. One thing in particular I loved about it was the costume design: It’s an underappreciated artform, conveying character through clothing, and the costuming in this film perfectly conveyed a range of characters, from “taciturn hero” to “crazed killer” to “crypto douchebag.”
Which is why I’m very excited to have Kelli Jones, the film’s costume designer, on this week to talk about The Beekeeper and her work elsewhere. From previous collaborations with director David Ayer on movies like Bright to the long-running FX biker gang show The Sons of Anarchy to Oscar-nominated biopics like Straight Outta Compton and Nyad, Jones’s work is a striking example of the importance of clothing in bringing a cinematic world to life.
And I have a favor to ask you. The next time you’re watching a movie, think about the silent—but very visible—work that costume design is doing. Look at the suits, soak in the dresses, think about how fabrics can convey period with a simple glance.
Which is why I’m very excited to have Kelli Jones, the film’s costume designer, on this week to talk about The Beekeeper and her work elsewhere. From previous collaborations with director David Ayer on movies like Bright to the long-running FX biker gang show The Sons of Anarchy to Oscar-nominated biopics like Straight Outta Compton and Nyad, Jones’s work is a striking example of the importance of clothing in bringing a cinematic world to life.
And I have a favor to ask you. The next time you’re watching a movie, think about the silent—but very visible—work that costume design is doing. Look at the suits, soak in the dresses, think about how fabrics can convey period with a simple glance.
On this week’s show I talked to Rod Blackhurst, the director of the new film Blood for Dust, about … well, a whole bunch of stuff. From his early shorts on the comedy website Funny or Die starring Dave Franco and Christopher Mintz-Plasse, to a documentary about Amanda Knox, to the horror short “Night Swim” (which recently received the feature-length treatment), to his new picture with the great Scoot McNairy and an all-star supporting cast that includes Ethan Suplee, Stephen Dorff, Josh Lucas, and Kit Harrington, we cover his whole career.
Blood for Dust hits VOD and has a limited theatrical engagement six days from now, and if you’re in the mood for a western neo-noir that deals with people who feel real (and have real-feeling problems), you’re not going to want to miss it.
Blood for Dust hits VOD and has a limited theatrical engagement six days from now, and if you’re in the mood for a western neo-noir that deals with people who feel real (and have real-feeling problems), you’re not going to want to miss it.
I’m very excited to be rejoined by the Entertainment Strategy Guy (subscribe to his newsletter!) to discuss the year in streaming. What were the biggest hits in TV and film? What were the biggest misses? Could linear-like ad-supported streaming services be the future for big services like Netflix and Disney+? Is there a double standard for the tech-based streamers and the studio-owned streamers? All that and more on this week’s episode. If you enjoyed it, share it with a friend!
This week I was thrilled to chat with star David Krumholtz and writer-director Bob Byington about their new movie, Lousy Carter. It’s a wide-ranging conversation, touching on topics from shooting during the age of Covid to where Krumholtz was when he got the call to audition for Oppenheimer, and I hope you find it as fun to listen to as it was for me to conduct. If you enjoyed it, I hope you share it with a friend.
A little extra this week: I hope you check out both Lousy Carter and Byington’s body of work. Everyone says they’re tired of the same old mush at the multiplex; well, here’s a chance to dive into a body of work you may not be familiar with. Some highlights:
A little extra this week: I hope you check out both Lousy Carter and Byington’s body of work. Everyone says they’re tired of the same old mush at the multiplex; well, here’s a chance to dive into a body of work you may not be familiar with. Some highlights:
- Byington and Krumholtz previously worked together on Frances Ferguson, which you can watch for free on Amazon Prime; it is charmingly dry and occasionally cutting without coming across as meanspirited. Star Kaley Wheless gives a realistic and somewhat complicated performance as the substitute teacher convicted of sleeping with an (of-legal-age) student, while Krumholtz’s turn at the end as a group therapist is both humorous and humane.
-
Somebody Up There Likes Me (available for free on Peacock and for rental elsewhere) is an amusing look at a slacker floating through life starring Nick Offerman and Keith Poulson, and the framing device—we skip ahead five years each sequence, giving us 35 years in the life of Poulson’s character—is weirdly affecting. The passage of time comes for us all, or some such.
-
Infinity Baby (streaming on Kanopy and Amazon) is probably the oddest of these four films: set in the not-too-distant future, Kieran Culkin’s Ben works for a pharmaceutical company that accidentally made babies that never grow older. He’s interesting as a free-floating cad—and Culkin is an absolutely magnetic screen presence—but I think the best performance belongs to Martin Starr (Silicon Valley, Party Down). He’s playing slightly against type here: rather than a sure-of-himself-know-it-all, he’s a little more fidgety, a little unsteady. And that unsteadiness pays off in the film’s closing moments, as we see the results of an unexpected responsibility.
On this week’s episode I’m thrilled to be rejoined by Brandon Struessnig and Bilge Ebiri, who spearhead Vulture’s annual Stunt Awards. We talked about the year’s big winner, John Wick Chapter 4, how folks kind of have to decide for themselves how much CGI is too much CGI when determining what counts as practical and what counts as digital, and compiling the 100 most influential fight scenes of all time. Some important links for you:
- The winners of the 2024 stunt awards;
- Brandon’s tribute to Henry Kingi;
- The 100 most influential fights in action cinema;
- And a preview of The Fall Guy.
This week I’m honored to be joined by Dallas Film Commissioner Tony Armer to discuss what, precisely, a film commissioner does. On this episode he discusses his own path to getting involved in the film industry, breaks down different kinds of incentives cities and states use to woo productions, and talks about how Dallas has made itself more attractive to major productions looking for a place to shoot. We also talk a bit about Tony’s podcast; do yourself a favor and check out the episode featuring a post-screening Q&A with cinematographer Roger Deakins, who was in town a few months back for a showing of Blade Runner 2049. And if you enjoyed this podcast, please share it with a friend!
This week I’m pleased to be joined by Abe Goldfarb, who is currently playing Otho for the touring company of Beetlejuice: The Musical and both starred in and co-directed First Time Caller (which I reviewed here). You may remember a few months back that Colorado Rep. Lauren Boebert got kicked out of a showing of Beetlejuice: The Musical; well, Abe happened to be onstage when all that went down. After having a few laughs about that, we get into the world of indie filmmaking and his recently released project, First Time Caller. Turns out that one of the best ways to make money on a project like this is to make it and release it on an ad-supported streaming channel, yet more evidence that we’ve torn down the whole system just to reinvent cable. If you enjoyed this episode, make sure to check out First Time Caller and Beetlejuice: The Musical, on tour now. And make sure to share this with a friend!
A couple years back I had Ian and Eshom Nelms on the show to talk about their new Christmas classic, Fatman. We had a great talk, so I was thrilled when their people reached out to see if I’d like to discuss their new flick, a sort of southern revenge thriller/neo-noir by the name of Red Right Hand. We discussed getting Orlando Bloom and Andie MacDowell to play somewhat against type, how drone usage helps expand the scale and scope without blowing up the budget on a picture like this, and the unpredictable vibe of Jonathan Easley’s script that attracted them to the project in the first place.
You can watch Red Right Hand on Apple, Amazon, YouTube, and wherever else you might watch a video on demand. It’s worth the price of admission just to watch Andie MacDowell play a vicious southern queenpin; trust me, you’ve never seen her quite like this before. If you enjoyed our chat, I hope you’ll check it out. And please share this episode with a friend!
You can watch Red Right Hand on Apple, Amazon, YouTube, and wherever else you might watch a video on demand. It’s worth the price of admission just to watch Andie MacDowell play a vicious southern queenpin; trust me, you’ve never seen her quite like this before. If you enjoyed our chat, I hope you’ll check it out. And please share this episode with a friend!
On this week’s episode, we have the original Bulwark Goes to Hollywood guest, Richard Rushfield of The Ankler, returning to discuss his fabulous Hollywood Field Guide. How do you assuage actors, reassure writers, and make your way through the rest of Hollywood? Richard will guide you. Plus, we discuss the state of the box office, how Oscar season is shaping up, and more! If you enjoyed this episode, make sure to share it with a friend!
This week Julian Schlossberg returns to tell more tales of life in the arts. From reading his life story as the narrator of the new audiobook version of his memoir, Try Not to Hold It Against Me, to his work with the great Elaine May, to keeping the classic 1970s picture Mikey and Nicky in circulation, we had tons to discuss. Make sure to check out his new podcast, “Julian Schlossberg’s Movie Talk,” the first episode of which is an interview with the great F. Murray Abraham. And if you enjoyed this episode, share it with a friend!
This week I’m joined by Karyn Temple, Senior Executive Vice President and Global General Counsel for the Motion Picture Association, to discuss how the trade group wages the global war on intellectual property infringement. A couple of months back we had the MPA’s Terri Davies on the show to talk about the Trusted Partners Network and how the film industry could help cut down on piracy before a film is released. But what do you do when it’s out in the world and starts showing up on BitTorrents? How do you shut down feeds showing live sporting events in real-time? This is the other side of the 360-degree protection against internet piracy the MPA is striving to implement. If you enjoyed this episode, make sure to share it with a friend!
This week I’m thrilled to be joined by Peter Biskind to discuss his new book, Pandora’s Box: How Guts, Guile, and Greed Upended TV. From the rise of HBO to the streaming boom, how we watch TV—and what gets shown on TV—has radically changed over the last few decades. We discuss the role of technology, advertising, and changing audience tastes, and muse about the role TV’s antiheroes played in paving the way for Donald Trump. If you’re a fan of Biskind’s previous books, Easy Riders, Raging Bulls and Down and Dirty Pictures, you’ll love Pandora’s Box. (If you haven’t read Easy Riders, Raging Bulls, do yourself a favor and pick up a copy today.) And if you enjoyed this podcast, please share it with a friend!
Very excited to have James Emanuel Shapiro, President of U.S. distribution at XYZ Films, back on the show with a recap of all the action at Cannes and a discussion about the state of the film festival scene writ large. Then we discuss some of his upcoming releases, including the new sci-fi flick Restore Point and XYZ’s exciting acquisition of Skyline: Warpath, starring action bigshots Scott Adkins and Iko Uwais.
This week, I’m re-joined by David Coggeshall to talk The Family Plan, AppleTV+’s high-concept action-comedy about a dad, Mark Wahlberg, who has to take his family on the run when his past life as a hitman rears its ugly head. Released over the Christmas holiday season—as David notes in today’s episode, the perfect time to capture families looking for something everyone age 10 to 100 can enjoy—the film “debuted as the most watched movie ever,” according to Deadline’s sources at Apple. But the film was far from a sure thing. Find out why David’s agents dropped him when they got the script, why the film’s breakout character almost got cut from the picture altogether, and why Ciarán Hinds is one of the best in the business.
This week, I’m joined by Brandon Katz to talk about Parrot Analytics’s new report on the state of streaming and why the “winner take all” theory of the so-called streaming wars was always a little bit silly. We discuss what attracts viewers to the streaming services, what keeps them there once they sign up, and how Parrot Analytics measures “demand” for a show. If you love charts and data visualization, you’ll love Parrot’s new report; I highly recommend checking it out if that’s your cup of tea. And if you enjoyed this episode, I hope you’ll share it with a friend!
This week I’m joined by Sam Wasson to discuss his new book The Path to Paradise: A Francis Ford Coppola Story, which chronicles the making of Apocalypse Now and the rise and fall of Coppola’s revolutionary studio, American Zoetrope. From technological innovations to the madness of Coppola’s effort to capture America’s first “Rock and Roll War,” the book is a fascinating glimpse into a radically different idea of filmmaking than was pursued by the Hollywood studios.
This week I’m thrilled to be joined by Whit Stillman, the director of, among other features, The Last Days of Disco, Barcelona, and Love and Friendship. He’s on the show today to discuss Metropolitan and the way it has been embraced as a classic Christmas movie, as well as the evolution of the indie film business over the last 40 years or so.
If you’re in Rochester or the surrounding environs, make sure to pop over to the Dryden Theatre at the George Eastman Museum tonight for a special showing of Metropolitan with Mr. Stillman in attendance for a Q&A. If you enjoyed this chat, I strongly recommend picking up a copy of Fireflies Press’s book, Whit Stillman: Not So Long Ago, as they are nearly sold out and will not be reprinted. (Yes, you can order it directly from the European publisher; I did and it arrived unharmed.) And if you’ve never seen Metropolitan, you really should! It’s available via streaming on the Criterion Channel and Max (aka HBO Max), and it’s also on sale for 30% off now (either individually or as part of the collection of his first three films).
If you enjoyed this episode, please share it with a friend!
If you’re in Rochester or the surrounding environs, make sure to pop over to the Dryden Theatre at the George Eastman Museum tonight for a special showing of Metropolitan with Mr. Stillman in attendance for a Q&A. If you enjoyed this chat, I strongly recommend picking up a copy of Fireflies Press’s book, Whit Stillman: Not So Long Ago, as they are nearly sold out and will not be reprinted. (Yes, you can order it directly from the European publisher; I did and it arrived unharmed.) And if you’ve never seen Metropolitan, you really should! It’s available via streaming on the Criterion Channel and Max (aka HBO Max), and it’s also on sale for 30% off now (either individually or as part of the collection of his first three films).
If you enjoyed this episode, please share it with a friend!
On this week’s episode, Scott Mendelson returns to the show to discuss how 2023 shook out at the box office, why niche films and niche audiences became more important than ever to movie theaters, and whether or not studios are hiding that Wonka, The Color Purple, and next year’s Mean Girls remake are musicals because they’re worried about the impact on box office. Make sure to check out Scott’s new Substack, The Outside Scoop. I’ve long loved his breakdowns of the weekend box office and look forward to seeing what he’s putting together here on Substack. And if you enjoyed thispodcast, I hope you share it with a friend!
This week I’m joined by Zach Schonfeld to discuss his new book, How Coppola Became Cage. Zach’s look at the early years of Nicolas Cage’s career is deeply researched, featuring interviews with directors like David Lynch (Wild at Heart), Mike Figgis (Leaving Las Vegas), and Cage’s own brother, Christopher Coppola (Deadfall). We talked about Cage’s mythmaking, his anger at being accused of benefitting from nepotism, and his befuddlement at becoming a meme, among other topics. If you’re a fan of the Raising Arizona star or need a Christmas gift for the Vampire’s Kiss fan in your life, How Coppola Became Cage is a must-have. And if you enjoyed this episode, please share it with a friend!
This week, I’m rejoined by Scott Eyman, author of Charlie Chaplin Vs. America: When Art, Sex, and Politics Collided. We discussed the great silent star’s exile from America, how the press and the government conspired against Charlie Chaplin, the personal and professional perils of being prematurely anti-fascist, and why Buster Keaton seems to be more fashionable than The Tramp these days. If you enjoyed this episode, make sure to check out Scott’s book, available at all fine booksellers now. And please share it with a friend!
This week I’m joined by Glenn Gordon Caron, the creator and showrunner of Moonlighting, to talk about that series’s long-awaited arrival on streaming. We discussed the show’s creation, the discovery of Bruce Willis, how he and costar Cybil Shepherd kept up with the show’s trademark rapid-fire patter, the difficulty in clearing music rights (and how Moonlighting was one of the first shows to heavily incorporate pop music into the show), working with legends like Orson Welles and Stanley Donen, and so much more.
If you’ve never watched the show, I highly recommend checking it out on Hulu; the folks at Disney have done an amazing job restoring the episodes. A handful of highlights, if you’re trying to figure out where to start:
If you’ve never watched the show, I highly recommend checking it out on Hulu; the folks at Disney have done an amazing job restoring the episodes. A handful of highlights, if you’re trying to figure out where to start:
-
Season 1, Episode 1: The Pilot. Tonally this is a bit different from what would follow, but it’s genuinely kind of wild to see Willis show up onscreen fully formed as Bruce Willis, Star in what was almost literally his first role.
-
Season 1, Episode 2: Gunfight at the So-So Corral. Again, the show is still finding its footing, but it’s a pretty good representation of the combination of smart dialogue, great casting, and clever resolutions to the onscreen mysteries.
-
Season 2, Episode 4: The Dream Sequence Always Rings Twice. Orson Welles introduced this episode—which is structured with a mysterious intro and then two dream sequences (one dreamt by Shepherd’s Maddie Hayes as a sort of MGM musical; the other by Willis’s David Addison as a sort of 1940s noir)—in part because the network was terrified no one would want to watch a black-and-white episode of TV.
-
Season 2, Episode 18: Camille. Whoopi Goldberg and Judd Nelson co-starred, and their mystery is all well and good, but it’s the closing sequence in which the (fourth) walls of reality come crashing in on the cast that makes this second season finale a must-watch.
-
Season 3, Episode 6: Big Man on Mulberry Street. The mid-show dance sequence was done by Stanley Donen, and, again, I just can’t imagine what it was like to have this sequence pop up in the middle of network TV in the 1980s. Wild stuff.
-
Season 3, Episode 10: Poltergeist III — Dipesto Nothing. One of the show’s episodes focusing on the adventures of Ms. Dipesto (Allyce Beasley) and Mr. Viola (Curtis Armstrong), who make for a delightful pairing.
-
Season 4, Episode 2: Come Back Little Shiksa. Shepherd had to leave the show for a while due to her pregnancy, which led to a series of episodes that separated her and Willis. But the creators used some clever ways to get them in the same room. Plus: John Goodman’s in this one!
This week I’m joined by Terri Davies. Terri heads up the Motion Picture Association’s Trusted Partners Network, which helps studios and other partners develop best practices for avoiding leaks of films and TV shows pre-release, from pre- to post-production. We discussed her time at Sony Pictures from 2000 to 2015, a period of time during which the business of distribution was revolutionized (and digitized), how the MPA helps studios reduce the likelihood of a movie leaking before its release date, and how different solutions are tailored for content creators of different sizes. If you enjoyed this episode, share it with a friend!
This week I’m joined by Walt Hickey, the author of You Are What You Watch: How Movies and TV Affect Everything. Among the many topics discussed on this show: the surprisingly durable effect of Warner Bros.’s merchandising efforts aimed at adults; how identity and pop culture become hopelessly (and negatively) intertwined; and how violent movies can help stop violence from occurring. If you find this podcast interesting, I hope you check out Walt’s book; it has tons of charts (one of which is reproduced above) and many fascinating nuggets I simply did not have time to dig into with him today. And make sure to share this episode with a friend!
This week I’m rejoined by Jason Pargin to discuss his new novel, Zoey Is Too Drunk for This Dystopia, and the ways in which the futuristic panopticon he envisions for Zoey and the other citizens of Tabula Ra$a is a little like now, but moreso. We talk for a bit about how book marketing has evolved over the last decade-plus, why TikTok became a must for novelists like himself, and why despite the word “dystopia” being in the title of the book, he doesn’t necessarily think of his vision of the near future as a downer.
Unpaid endorsement: I really enjoy Jason’s novels (he is also the author of the John Dies at the End series), and the Zoey Ashe books (the first two of which are available on Kindle Unlimited) are pretty compulsively readable, a pleasing melange of ideas and imagery and just enough suspense from moment to moment to activate the “okay, just one more chapter” portion of my brain. Zoey Is Too Drunk for This Dystopia is understandable if you’ve not read the other books in the series, but you can’t go wrong by picking up copies of the previous entries. And if you want a signed copy of his latest, you can get one from Parnassus Books in Nashville, but you have to order by Monday.
Unpaid endorsement: I really enjoy Jason’s novels (he is also the author of the John Dies at the End series), and the Zoey Ashe books (the first two of which are available on Kindle Unlimited) are pretty compulsively readable, a pleasing melange of ideas and imagery and just enough suspense from moment to moment to activate the “okay, just one more chapter” portion of my brain. Zoey Is Too Drunk for This Dystopia is understandable if you’ve not read the other books in the series, but you can’t go wrong by picking up copies of the previous entries. And if you want a signed copy of his latest, you can get one from Parnassus Books in Nashville, but you have to order by Monday.
I’m joined by Matt Singer this week, author of Opposable Thumbs: How Siskel and Ebert Changed Movies Forever. The book, out this Tuesday, is a wide-ranging look at the myriad ways in which Roger Ebert and Gene Siskel’s seminal show—or, really, three shows, which ran across multiple networks over multiple decades—changed not only film criticism but film marketing as well. We talked about the introduction of the thumb system—which, shockingly, was not with the duo from the beginning—and why their genuinely antagonistic relationship hasn’t really translated to the YouTube/podcast era of film criticism. If you enjoyed the episode, make sure to share it with a friend!
This week, I’m thrilled to be joined by David Zucker, Jim Abrahams, and Jerry Zucker to discuss their new oral history, Surely You Can’t Be Serious: The True Story of Airplane! In this episode we discuss, among other topics, what set the ZAZ style apart from other titans of the 1970s/1980s comedy boom, how the serious actors on set nailed their deadpan comic patter, trying to nail comic timing in test screenings that weren’t generating many laughs, and how Jeffrey Katzenberg and Michael Eisner helped change the face of comedy by championing the movie during their tenure at Paramount. I cannot recommend this book enough if you love Airplane! and it’d make a great gift for the person in your life who never stops telling you they picked the wrong week to stop sniffing glue. If you enjoyed this episode please share it with a friend!
This week I’m joined by Elaine Low of The Ankler and its Strikegeist newsletter to talk about the end of the WGA strike and what the writers won, from performance-based residuals on streaming originals to minimum writers room sizes to AI protections. We also discussed how the picket line and social media helped maintain solidarity and, briefly, how things are looking in the SAG-AFTRA strike. Make sure to sign up for Strikegeist if you haven’t already: it’s free and a great digest of what’s happening on the lines on a day-to-day basis. And if you enjoyed this episode, share it with a friend!
Before we get started: apologies for the downgrade in my audio quality about 10 minutes into this episode. My computer, unappreciative of the coffee I spilled on it earlier in the week, decided to restart itself mid-recording in protest. It shall be punished greatly.
——
This week I’m joined by Brian Abrams, author of “You Talkin’ to Me?”: The Definitive Guide to Iconic Movie Quotes. We discussed how he pared his list down, the research that went into making this more than a mere list of his personal favorites, and the evolution of the iconic movie quote into a versatile form of meme-creation. If you enjoyed the episode, make sure to share it with a friend!
——
This week I’m joined by Brian Abrams, author of “You Talkin’ to Me?”: The Definitive Guide to Iconic Movie Quotes. We discussed how he pared his list down, the research that went into making this more than a mere list of his personal favorites, and the evolution of the iconic movie quote into a versatile form of meme-creation. If you enjoyed the episode, make sure to share it with a friend!
This week I’m rejoined by Jonathan Taplin, author of The End of Reality: How 4 Billionaires Are Selling a Fantasy Future of the Metaverse, Mars, and Crypto, to discuss the ways in which popular culture may be leading the public down a dark road. Mr. Taplin has previously been on the show to talk about his career in the entertainment business, from tour manager for Bob Dylan to producer of early Martin Scorsese classics Means Streets and The Last Waltz to his early efforts to introduce video streaming, so he knows a thing or two about the ways in which politics is downstream from culture. If you enjoyed this episode, make sure to share it with a friend!
This week I talk to Ben Dreyfuss, formerly in charge of audience acquisition at Mother Jones and currently the author of the Calm Down Substack, about the promise and the peril of complete data transparency. Ben watched what happened firsthand as data about what readers wanted became more and more available to journalists: how it shaped what was written, and how, and for whom, and how this race for virality wound up decimating the advertising market that newsrooms relied on.
I wanted to talk to Ben about this because I remember living through this data revolution and, while I'm supportive of the labor unions and their desire to get more data about what is successful in order to divvy up a more equitable share of streaming revenue, I’m also nervous about some of the knock-on consequences of full data transparency. Besides, more creatives really should be asking themselves if they want everyone to know precisely how many—or, more likely, how few—people are watching the vast majority of streaming offerings.
If you enjoyed this episode, share it with a friend! And sign up for Ben’s Substack; it’s a hoot.
I wanted to talk to Ben about this because I remember living through this data revolution and, while I'm supportive of the labor unions and their desire to get more data about what is successful in order to divvy up a more equitable share of streaming revenue, I’m also nervous about some of the knock-on consequences of full data transparency. Besides, more creatives really should be asking themselves if they want everyone to know precisely how many—or, more likely, how few—people are watching the vast majority of streaming offerings.
If you enjoyed this episode, share it with a friend! And sign up for Ben’s Substack; it’s a hoot.
Anthony Penta, director of 'We Kill for Love,' on the history—and present—of an unfairly denigrated genre.
This week I’m joined by Chris Yogerst to discuss The Warner Brothers, his fascinating new look at the life of Jack, Harry, Sam, and Albert Warner, who collectively formed the Warner Bros. studio. From the technological innovations such as sound pursued by Sam, to the moral case for cinema made by Harry, to the classic mogul behavior of Jack, the journey of the brothers Warner makes for an interesting glimpse into the world of Hollywood. Amongst the topics discussed: how Warner Bros. went to war against the Nazis; labor strife in the 1940s; and the ugly breakup of the family dynasty. If you enjoyed this episode, share it with a friend!
The Entertainment Strategy Guy returns to discuss the importance of failure.
This week I’m joined by Roy Price, the founder of Prime Video and Amazon Studios, to discuss what it would look like in 2023 to start a brand-new movie studio. Which genres are under-served? What price points should budgets be aimed at? And which audiences are looking for something they aren’t getting from the big studios? We also talk a bit about streaming networks and audience acquisition/retention, and why low-budget horror might wind up being a crowded space in the coming years. If you enjoyed the episode, please share it with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
Some backstory to this episode: last month I bought a ticket for Sound of Freedom because I was curious about the year’s most unexpected box office sensation. As the credits rolled, star Jim Caviezel came on the screen and gave a speech to the audience about the importance of theatrical exhibition; it’s the sort of thing you typically see at the start of movies these days, actors and directors thanking audiences for coming to the theater. Here’s the wrinkle: during his speech, Caviezel tells audience members they can “pay it forward,” buy a ticket for someone who otherwise wouldn’t be able to afford to go. When the QR code allowing audiences to do this came on the screen, a woman who had lingered by the exit when she heard Caviezel talking pulled out her phone, scanned the code, and bought a ticket.
I’ve never seen anything like that in a movie theater. Ever. So I asked Jeffrey Harmon, Angel Studios’s Chief Content Officer, on the show to talk about his studio’s unique business mode...
I’m rejoined this week by The Wall Street Journal’s Erich Schwartzel, author of Red Carpet: Hollywood, China, and the Global Battle for Cultural Supremacy, to talk about Hollywood’s disastrous summer in China, where virtually every American movie released so far has underperformed. We also talk briefly about why Meg 2: The Trench may end up being one of the lone bright spots for Hollywood this year. If you enjoyed this episode, make sure to share it with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s episode Ryan Faughnder, author of the Wide Shot newsletter, returns to the show to talk about Netflix’s softer-than-expected earnings report, the momentary bright spot at the box office, and the possibility that this strike is going to be going on for quite some time. If you enjoyed the episode, share it with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week I’m rejoined by Jake Tapper, who is on the show to discuss his new historical novel All the Demons Are Here, the third book in the Charlie and Margaret Marder Mysteries. It’s a great beach read and works as a standalone, but I still recommend checking out his previous novels as well to get the full scope of of the Marder family’s story. On this episode we discuss how the books have evolved, the research that went into writing them, and which big name is circling an adaptation of The Hellfire Club for a big streamer. If you enjoyed the episode, make sure to pick up a copy of Jake’s book. And share this episode with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
I’m happy to be rejoined by the first (and, perhaps one day, final) Bulwark Goes to Hollywood guest, Richard Rushfield of The Ankler (subscribe today!), to talk about Hollywood’s shaky summer. Nine-figure flops, the collapse of IP, labor woes, c-suite shakeups: it’s a weird time out west. How is the industry going to handle it? And what might the future look like? All that and more on this week’s episode. If you enjoyed it, share it with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week I’m joined by Nick de Semlyen, the editor of Empire magazine and author of the new book The Last Action Heroes: The Triumphs, Flops, and Feuds of Hollywood's Kings of Carnage. We talk Sly, Arnold, Bruce, and the other big names of the 1980s, how the cinematic heroes of the decade dovetailed in a way with the presidency of Ronald Reagan, and how a second-rate Chuck Norris feature may have inspired a revolution. If you enjoyed the episode, check out the book. And share this podcast with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week I’m joined by Ken Harbaugh, the producer of Against All Enemies, to discuss his new documentary about the disproportionate number of military and police personnel attracted to extremist groups like the Oath Keepers. How did so many end up at the vanguard of the mob that stormed the Capitol on January 6? And what role do lies about elections play in radicalizing this cohort? We also discuss the film’s glowing reception at Tribeca and the work that goes into getting a documentary like this not only produced but also distributed. If you enjoyed the episode, make sure to share it with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week I’m joined by Brooks Barnes of the New York Times to discuss his story on Universal’s efforts to build what amounts to a new release window, the premium video on demand (PVOD) window. For the first time, Brooks has some real numbers, and they’re pretty interesting. For instance, The Super Mario Bros. Movie, pictured above, has made more than $75 million since May 16 despite still being in theaters and being the seventh-highest-grossing film last weekend. You should read the whole thing and then listen to our chat. (Or vice versa.) And if you enjoyed the episode, share it with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s show, I’m joined by Arthur Smith, chairman of A. Smith and Co. Productions, the company behind long-running hits like Hell’s Kitchen and American Ninja Warrior. In addition to explaining why he shies away from the label “reality TV,” he’s here to talk about his career and his fascinating new book Reach: Hard Lessons and Learned Truths from a Lifetime in Television. Arthur has one of the most interesting careers of anyone I’ve ever spoken to: he got his start at the CBC, working his way up to the head of sports, before moving to Dick Clark’s production company in the States, then getting in on the ground floor at Fox Sports, and then founding A. Smith and Co. where he’s produced shows for the major networks, cable companies, and streamers alike. He’s seen every facet of the business over the last 40-some years and has great insights into how things have changed—and how they’ve stayed the same. If you learned something from this episode and think others would enjoy it, ...
This week I’m joined by Cara Cusumano, Festival Director and VP of Programming at the Tribeca Festival, for a wide-ranging chat about the nature of the modern film festival, how a festival’s sense of place can coexist with efforts to make the festival’s programming available to people around the world, and how Tribeca has expanded beyond film into a multimedia extravaganza. We also talked about a subject near and dear to my own heart, as a parent of younger children: What can festivals do to get families more involved and encourage the next generation’s love of film? Tickets for a number of the events Cara and I discussed today are still available at TribecaFilm.com. And if you enjoyed this episode, I hope you share it with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s episode, I’m joined by the Entertainment Strategy Guy to talk about the state of streaming data. What do we know? What don’t we know? Do movies fare better on streaming after getting a theatrical run? How does the data help determine what we watch? What is the “binge curve”? All that and more on this week’s episode. If you found it illuminating, make sure to sign up for his Substack! And if you enjoyed this episode make sure to share it with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
I am pleased to be joined this week by screenwriter Colby Day to discuss all the unapid work that goes into getting paid work. I loved reading Colby’s diaries of annual pitch meetings and the such for 2021 and 2022, and thought I might share them, and him, with you as a way to help you understand some of the frustrations that writers have with the current state of Hollywood. How many pitches does a writer have to make to land one paying gig? Why does it take an endless amount of time to get paid after drafts have been submitted? How could the strike help alleviate some of these problems? All that and more on this week’s episode. If you enjoyed it, please share with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week I’m rejoined by Scott Mendelson of The Wrap to talk about the state of the box office. Is the comic book boom over? What should we be looking for from Guardians of the Galaxy Vol. 3 if we want to assess the health of Disney’s cash cow? What did Scott make of The Flash at Cinemacon? When will the mid-level movie recover? Why is 2017 a better comparison point than 2019? All that and more on this week’s show! If you enjoyed it, share it with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week I’m joined by Judah Miller, showrunner of the new Peacock dramedy Bupkis, to talk about bringing Pete Davidson’s life to the small screen. Bupkis is fascinatingly hard to describe in shorthand, given the way it mixes tones and genres, and also the manner in which it blends Pete Davidson’s ripped-from-the-headlines life with a fictionalized version of his family and day-to-day existence. The first season is streaming in its entirety now on Peacock, and I strongly recommend checking it out: it’s a fascinating portrait of fame in the age of social media and also the business of showbiz. If you enjoyed this episode, share it with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week I’m joined by Matthew Ball, CEO of Epyllion, former global head of strategy for Amazon Studios, and the author of The Metaverse and “The Streaming Book,” which you can read at that link there. And you should read it if you want to understand how we got where we are in the streaming wars, why it’s early yet in the contest between the companies vying for your attention, and where we’re headed as consolidation occurs.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week I’m rejoined by David Herrin of The Quorum—a must-visit site for any amateur or professional box office nerd—to talk about a new study The Quorum put together in partnership with The Cinema Foundation about the value proposition of going to the movies. We talked all sorts of stuff on this episode: why audiences are three times more excited to return to theaters now than they were at the same time last year; how going to the movies stacks up against going to concerts and other out-of-the-home events; the percentage of consumers who get concessions; and why Barbie’s surprisingly high unaided awareness might still be a cause for concern.
If you enjoyed this episode, please share it with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
I’m rejoined this week by Frank Pallotta, formerly of CNN, to preview the summer box office. Have we already seen the year’s biggest movie debut with The Super Mario Bros. Movie? Will audiences show up for big-budget blockbusters like the new Mission: Impossible and Guardians of the Galaxy? Will adults ready for raunchier fare come out for Jennifer Lawrence’s new romcom? Who’s going to win the Battle of July 21, when Christopher Nolan’s Oppenheimer and Greta Gerwig’s Barbie debut? All that and more on this week’s episode! If you enjoyed this episode, please share it with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week I’m joined by Sean McNulty of The Ankler to talk about the week’s biggest entertainment news: the merger of the WWE and UFC into a $21 billion sports-entertainment company. But this move is just a piece of the puzzle if you want to understand the complex dance between sports leagues, streaming companies, and cable bundles. Are sports leagues the ultimate “arms dealers” in the streaming wars, moving from company to company as these services try to find content that makes sense for viewers and advertisers alike? Or are teams with revenue tied to regional sports network deals kind of … well, screwed? All this and more—including a chat about the actual king of televised sports; and no, I’m not talking about the NFL—on this week’s show!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week I’m joined by Gene Park, video game reporter at the Washington Post, to talk about the oncoming video game boom and how our current moment feels reminiscent of 2008, when the comic book boom kicked off for real. Yes, there had been comic book successes before that, your Batmans and your Spider-Mans. But 2008 saw the release of The Dark Knight (which smashed opening weekend records) and Iron Man (which inaugurated the single most successful franchise of all time, the Marvel Cinematic Universe), recalibrating how Hollywood thought of superhero cinema. Between The Last of Us’s popularity with critics and audiences alike and projections that The Super Mario Bros. Movie will be one of the highest-grossing movies of the year, it feels like we’re hitting a similar inflection point with video game adaptations.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s episode, I’m joined by Cinema Foundation President Jackie Brenneman to discuss the group’s new report on the state of the cinema industry. Among the many topics discussed this week are the ways in which theatrical exhibition help tamp down piracy by keeping pristine copies off the pirating sites, the success of National Cinema Day, how the ongoing domestic box office recovery is tied to increases in wide releases, and the slightly complicated way average ticket prices are calculated. (Exciting news: We now have a new average ticket price, after a couple of years of using 2019 averages! Now all the inflation scolds have new data to deploy.)
If you enjoyed the episode, please share it with a friend!
Bulwark+ members can comment on the show here.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s episode, I’m joined by April Wright, director of Back to the Drive-In. We discuss the ways in which drive-in theaters kinda-thrived during the pandemic, but also have been hit by some of the same problems plaguing every industry in the post-pandemic era: labor shortages, supply chain issues, and nonsensical mandates from local governments. Make sure to check out Back to the Drive-In, which is on VOD now. And if you enjoyed this episode, share it with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s episode, I’m joined by Bilge Ebiri and Brandon Streussnig to talk about Vulture’s enormous feature on the best stunts of 2022. Part celebration of the year in action, part plea for the Oscars to finally recognize stunt performers and performances as a category worthy of notice, the inaugural Stunt Awards is a feast for any lover of action (and action-adjacent) cinema. Among the issues discussed this week are why some professionals think an Oscar for stunts is a bad—even potentially dangerous—idea, how to think about rewarding these performers, and the sad fact that some of the best, most kinetic action you’ll find never makes it to theaters at all. If you enjoyed this episode, make sure to share it with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week, I’m joined by Michael Schulman to discuss his new book, Oscar Wars: A History of Hollywood in Gold, Sweat, and Tears. What were some of the ulterior motives for making the Oscars? How did the ceremony help break the blacklist? And was Rob Lowe’s duet with Snow White really the worst thing that’s ever happened on the show? Or, you know, in the history of existence? All that and more on this week’s episode. If you enjoyed our chat, make sure to pick up his book and share this episode with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week I’m rejoined by Richard Rushfield—fresh off a nice little profile in Vanity Fair—to talk about the oncoming train of a WGA strike. Seventy days out, Richard put the odds of a work stoppage at 65 percent. What are the two sides looking for? How might the industry change? And is the fate of civilization itself at stake? All that and more on this week’s episode. If you enjoyed this episode, make sure to share it with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s episode, Sonny is pleased to welcome David Thomson back to the show to discuss his new book, Acting Naturally: The Magic in Great Performances. In this episode we discuss the difficulty of describing what, precisely, actors do onscreen; the trickiness of writing about appearances; why Method Acting was the biggest thing since the advent of sound; and why audiences feel uncomfortable when they find out a filmmaker is less-than-perfect in their personal lives. If you enjoyed this episode, make sure to check out Mr. Thomson’s previous appearance to discuss his history of movie directors. And make sure to share the show with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
I was very excited to get Julian Schlossberg on the show this week to talk about his new book, Try Not to Hold it Against Me: A Producer’s Life, in large part because he is intimately involved with a part of showbiz that I do not understand at all, at least financially: Broadway and live theater. But Julian’s career stretches beyond the stage: he booked theaters in New York City where he helped Warren Beatty save McCabe and Mrs. Miller from obscurity; he had a radio show that brought him into the orbit of George C. Scott, among others; and he did some time at Paramount, one of his more frustrating experiences in his career. After you listen, make sure to check out his book; Elaine May, the director of Mikey and Nicky and a comedic power, wrote a very nice (and funny!) introduction for it. And, as always, share this episode with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
When I saw that Shawn Ryan—the creator of The Shield,* the hit CBS show S.W.A.T., and the forthcoming Netflix show The Night Agent—had penned a letter to the editor in The Ankler disputing an agent’s characterizations of past Writers Guild of America negotiations with producers, I knew I had to get him on the show. Ryan, who in addition to running and writing some fantastic TV was also on the WGA negotiating committees in 2007, 2011, 2014, 2017, and 2020, shared his thoughts on the state of the business and made a very important point at the end of this interview: It’s not the writers who are saying there’s going to be a strike.
This is a must-listen episode if you want to understand some of the fundamentals of the most important business story in Hollywood in 2023. If you found it illuminating, please share with a friend!
*I feel like you can make a very convincing case that The Shield is roughly as important to the business and artistry of prestige TV as The Sopranos for a whole ...
This week I’m pretty excited to be joined by Dean Devlin, whose work in movies like Universal Soldier, Stargate, and Independence Day I grew up loving. He works mostly in television now on series like The Librarians and Leverage, and has a new one out on SyFy debuting February 3: The Ark. We talk about his new show, how the business has evolved these last 30 years, and more on this week’s episode. If you enjoyed it, please share it with a friend! And make sure to check out The Ark, new episodes which will also hit Peacock a day after debuting on SyFy.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week I’m rejoined by Rene Reyes, Vice President of Public Programming and Festivals at the Paley Center, to talk about PaleyFest 2023. It’s the year’s most entertaining celebration of television, from prestige cable hits to broadcast mainstays to the wild world of streaming. Tickets are on sale now for this year’s festival, and some of the highlights look great; I’d kill to be able to attend the opening night celebration of The Mandalorian, and I imagine the Yellowstone tickets will go quick if they haven’t disappeared already.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
Kevin Goetz, author of the must-read book Audience-ology, joins me this week to talk about the science of getting audiences to theaters. Can marketing help teach audiences “how” to watch a movie? Why might studios get excited about something as simple as a reply ratio to a free screening before even a single frame of film has unspooled? And how can you measure … movie love?
I mentioned this on the show, but I don’t really listen to a ton of podcasts because I don’t have time, what with all the podcasts I’m doing. But one I do carve out time for is Kevin’s, which is called Don’t Kill the Messenger. A good introductory point is his episode with Jason Blum, I guarantee you’ll learn a lot. Subscribe to it, leave a rating and a review if you have time: it should be far more popular than it is.
If you enjoyed this episode, please share it with a friend! And if you’d prefer to listen on Apple or another podcast service, click here and find your favorite.
Learn more about your ad choices. ...
This week, I’m rejoined by Tony Davis of Tessive to talk about the science behind some of the movie magic in James Cameron’s return to Pandora. What is high frame rate? How did we settled on 24 frames per second as the “standard” frame rate? Why do European audiences notice the effect less? And why have exhibitors made it so difficult to know which format Avatar: The Way of Water is showing in and which screens it is showing on? All this and more discussed on this week’s episode; if you enjoyed it or learned something, please share it with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week, I'm rejoined by Ryan Faughnder of the Los Angeles Times to discuss his newsletter highlighting the ten biggest Hollywood business fiascoes of the year. From Neil Young's war on Spotify to The Slap to the shift of focus on streaming profitability, it's been a wild year for businesses trying to navigate difficult business and political waters.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s episode I talk to Sean O’Connell, the author of With Great Power: How Spider-Man Conquered Hollywood during the Golden Age of Comic Book Blockbusters, about the webslinger’s long and winding path to the big screen, early box office dominance, middle-aged faltering, and renewed success under the aegis of the Marvel Cinematic Universe. We also discuss the rise of fan culture and the balancing act studios have to play between making movies that work for the masses and movies that work for the hardcore fans. If you have a Spider-fan in your life, send them this episode or pick up Sean’s book as a stocking stuffer!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week I talked to Robbie Whelan of the Wall Street Journal about the not-so-secret cash cow of the Walt Disney empire: the parks. For years now, the joke about Disney has been that it’s a parks and TV company with a movie studio attached to it; as the theatrical business continues to struggle, cord-cutting continues apace, and the streaming side of the business racks up huge losses, the parks are more important than ever. But as Robbie reported, cracks are beginning to show in that fiscal bulwark, and unhappiness over the state of the parks—from investors and, more interestingly, super-fans—is one of several reasons that CEO Bob Chapek was forced out.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week episode I’m pleased to be joined by Simon Abrams, author of the gorgeous new book The Northman: A Call to the Gods. In it, we discuss how the book came about, some of the fascinating tidbits he picked up while interviewing cast and crew of the viking epic, and how Robert Eggers helped transport audiences back to both a different time and a different mindset. If you haven’t seen The Northman on the big screen, you really should: it’s monumental in every sense of the world. Folks who live in New York City will have a chance to do just that at the Museum of the Moving Image this Sunday: there’s a double feature of The Northman and Shadows of Forgotten Ancestors, which Eggers cites as an inspiration for his Viking epic. Sandwiched between the showings will be a book signing. So if you like what you hear here, head over to get a copy of the book! And make sure to share this episode with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s episode, I’m rejoined by Julia Alexander of Parrot Analytics and Puck to talk about what’s working, and what’s flopping, in the wild world of streaming. Seinfeld is a huge hit for Netflix, particularly with younger audiences. What’s the deal with that? Meanwhile, Peacock made a smart call by adding the Hallmark Channel as a vertical, and Disney+ added a huge number of subs … while also dipping in revenue. Then, we discuss the massive hit that was Hocus Pocus 2 and ask if Disney was right to keep it streaming-exclusive. All this and more on an entertaining and informative episode of The Bulwark Goes to Hollywood. If you learned something, share it with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s episode, I’m joined by Scott Mendelson. For nearly a decade at Forbes, Scott wrote one of the best, most in-depth looks at the box office on a day-in, day-out basis; he’s now headed to The Wrap where he’ll hang up his box office spurs and write about the industry more broadly. But I wanted to pick his brain about how things have changed since he started doing this way back in 2008 with his Mendelson’s Memos: from the rise of the MCU and the monster opening weekend to the death of the high-concept star-driven vehicle to the pandemic’s acceleration of streaming dominance to the monetary potential of the premium video on demand (PVOD) window, a great deal has changed over his run, and he’s here to provide his insights.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week I talk to Scott Meslow about From Hollywood with Love: The Rise and Fall (and Rise Again) of the Romantic Comedy, his critical appreciation of the genre. From When Harry Met Sally to Crazy Rich Asians, with stopovers in the land of raunch-coms like There’s Something About Mary and Brit-roms like Richard Curtis’s oeuvre, to the modern tendency to overthink the genre and why it works (or doesn’t!), Meslow’s book is a thorough examination of the last 30-plus years of onscreen romance. If you enjoyed the episode, make sure to share it with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s episode, CNN’s Frank Pallotta rejoined the show to talk about horror’s big summer, the winners and losers of summer, the ratings war between House of the Dragon and Rings of Power, and much more. If you enjoyed this episode, make sure to share it with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s episode, I talk to The Washington Post’s Geoff Edgers about his latest feature, “The Search for the Perfect Sound.” The boom in vinyl has led to a lot of questions about whether or not the new pressings hitting store shelves at astronomical costs are, you know, any good. Purists are distraught at the very thought of digital techniques being used in the creation of analog sound. Why do some records sound better than others? And how much can it cost to achieve sonic perfection? If this episode left you feeling nostalgic for the stacks of records you grew up spinning, make sure to share it with a similarly inclined friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s episode, Sonny is joined by Jason Pargin for a wide-ranging and freewheeling discussion about, among other things, the propriety of jokes about nuclear war, how a cult classic movie kicked off his literary career, and the ways in which social media algorithms have possibly led you to believe that your favorite writers have disappeared and/or died. (As the former executive editor of Cracked dot com, Jason has some experience with this.) Oh, we also talk about his new novel—If This Book Exists, You’re in the Wrong Universe, out October 18—and why you don’t need to read the three previous books in the series to enjoy it.
That said: I would recommend reading them! The first, John Dies at the End, is probably the easiest to skip since you can get the basics by watching the movie (streaming now on Hulu) but basics are, well, basic, and you don’t want to be Basic, now do you? (You can buy a new copy here and a used copy here). The second, This Book Is Full of Spiders, is my ...
David Coggeshall, the writer and co-producer of Orphan: First Kill, joins Sonny this week to talk about the making of the legacy sequel, the difficulties and opportunities presented by shooting in the midst of the pandemic, and the theatrical vs. streaming debate.
And if you haven’t watched Orphan: First Kill, you can check it out now on Paramount+ or rent it on VOD; I put a spoiler warning up before we got to talking about the plot of the film in-depth, but you should watch it anyway. If you enjoyed this episode, share it with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s episode, Sonny broaches the topic of China and gaming with Colin Moriarty, founder and CEO of Last Stand Media, the world's most popular fan-funded games podcast network, co-host of Sacred Symbols: A PlayStation Podcast, and 20-year veteran of the gaming industry. Colin has firsthand experience in this realm as a game developer and relays a pretty interesting story about the chilling effect China can have on the art of gaming. Beyond that, there’s much to consider about the dangers of mergers and consolidation. Does the government have a role to play in keeping Chinese Communist Party-controlled firms like Tencent from dominating the gaming space? Should the Committee on Foreign Investment in the United States play a firmer role? These are some of the questions we ask, but don’t necessarily have answers for, on this week’s episode. If you found this episode informative and entertaining, please share it with a friend!
Learn more about your ad choices. Visit podcastchoi...
On this week’s episode, Sonny asks Sean McNulty—author of The Ankler’s excellent morning roundup newsletter, The Wakeup—who, exactly, the Emmys are for in an age of audience fracturing. The answer, at least according to the Nielsen ratings, is “very few people.” Many, many more people are watching football, as sports remains the one savior of linear TV (that is: non-streaming, watched-live TV). We also talk about the news out of D23, the weird, aborted push by an activist investor to spin ESPN off of Disney, and much more. If you enjoyed the episode, share it with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s episode, Sonny is joined by Broadside Books’s Eric Nelson to take a look at a slightly different end of the entertainment industry: political non-fiction. Eric is the editor of Tim Miller’s bestselling book Why We Did It as well as Jared Kushner’s bestselling book Breaking History, so he understands how to appeal to both sides of the book-buying aisle. Almost as importantly, he has heard, and can debunk, just about any myth you can come up with to explain away why a book by someone you don’t like is a bestseller. (Spoiler: The basements of the RNC and DNC are not filled with moldering copies of books by pols.) You’ll learn tons of interesting stuff here (which TV hits matter; what the perfect Amazon review looks like) and, hopefully, come away with a better understanding of just how the book business works. If you enjoyed the episode, make sure to share it with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s episode, Sonny talks to Mitchel Berger, SVP of global commerce at Crunchyroll, about the continually “surprising” success of Crunchyroll’s (and, previously, Funimation’s) anime theatrical releases. Dragon Ball Super: Super Hero opened atop the box office a couple of weekends ago with $20 million; last year Demon Slayer The Movie: Mugen Train grossed nearly $50 million during its run. How did Crunchyroll help create and nurture this fandom to the point where they can open a movie on traditionally dead weekends with a fraction of the advertising spend of your typical mid-or-low-budget release? If you enjoyed this episode, share it with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s episode, Sonny steps back from Hollywood a bit to look at the broader state of free expression in America and around the world. PEN America’s Summer Lopez joins the show to discuss a range of topics: from the heinous assault on Salman Rushdie in New York to efforts to pressure libraries to remove books across the United States to foreign oppression of writers and thinkers to concerns over the ability of a handful of Internet-based companies to determine what can be expressed. If you enjoyed this episode and want to help get the word out, please share it with a friend.
A brief plug: I am a member of PEN America and have been so (on and off, mostly dependent on remembering to pay my dues) since the group stood up for the journalists killed during the Charlie Hebdo massacre. They do great work to help shine a light on the limits of free expression around the world; a couple years back, I had PEN’s James Tager on the show a couple years back to talk about their report on ...
On this week’s episode, Sonny is joined by Brian Gewirtz to talk about his tenure as a writer for the WWE. His new book, There's Just One Problem...: True Tales from the Former, One-Time, 7th Most Powerful Person in WWE, is a must-read for anyone interested in the world of “sports entertainment." Brian was there for the rise of Dwayne “The Rock” Johnson, the tail end of the Monday Night Wars, the so-called Attitude Era, and beyond. He suffered through celebrity guest hosts of Monday Night Raw, some great, some terrible. He lived through the real-life beef between John Cena and Dwayne Johnson. And he came out the other side as part of Johnson’s production house, Seven Bucks Productions.
I really can’t recommend Brian’s book enough, and I can’t help but feel like wrestling—with its baby faces (heroes) and heels (villains); with its emphasis on “kayfabe” (that is, playing along with a storyline even though everyone on all sides knows its scripted)—on some level is a key to understandin...
On this week’s episode, Sonny is joined by Julia Alexander of Parrot Analytics and Puck to discuss the wild couple of weeks in streaming. From HBO Max to Netflix to Disney+ and unbundling to rebundling, there’s a ton to discuss. Of particular interest to folks interested in how the business of streaming works is Julia’s expertise as a consultant who helps studios and producers understand why streamers like Netflix will renew a show; you won’t want to miss that discussion about 40 minutes in. Spoiler: Eyeballs-captured and hours-watched aren’t the only thing that matters.
This is one of my favorite episodes of the show thus far; if you found it as interesting as I did, make sure to follow Julia on Twitter and read her stuff at Puck. And please share this episode with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s episode, Sonny is joined by Aaron Reynolds, creator of Effin’ Birds. Having a daily comic read by half-a-million people is cool and all, but what’s really cool is criss-crossing North America to sell merch featuring that comic and other various designs. Aaron talks about the economics of convention life, how COVID has shaped the way conventions work, what it’s like to have a booth at San Diego Comic Con, the crazy economics of attracting huge stars to cons, and, most importantly, what it was like to be endorsed by pop star Britney Spears on her 41.8-million-follower-strong Instagram account. You can follow Effin’ Birds on Twitter and Instagram and Aaaron on Twitter and Instagram.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s episode of The Bulwark Goes to Hollywood, Sonny is joined by longtime New Yorker writer Ken Auletta, who stops by to discuss his new book Hollywood Ending: Harvey Weinstein and the Culture of Silence. Both a biography of Weinstein and a tick-tock of the trial that ended with the Oscar-winning producer’s imprisonment, Auletta’s new book is a fascinating glimpse at the life and times of a man whose predatory instinct was allowed to go unchecked thanks to the caliber of the movies he made and the way he distributed favors to filmmakers, cultivated journalists, and ingratiated himself to politicians. If you enjoyed the episode, make sure to share it with a friend … and pick up a copy of the book! It’s a must-read for anyone who lived through the Miramax era.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s episode, Sonny is joined by Edward Gross and Mark A. Altman to discuss their new history of the John Wick franchise, They Shouldn’t Have Killed His Dog: The Complete Uncensored Ass-Kicking Oral History of John Wick, Gun Fu, and the New Age of Action. (Listen to the podcast to hear how to properly announce this title.) In addition to talking John Wick and the history of the action film art form referred to as “Gun Fu,” we talked about the tricky art of authoring a compelling oral history. Believe it or not, it entails more than just cutting and pasting long chunks of interviews into a Word document! If you’re in San Diego for Comic Con this week, make sure to swing by Ed and Mark’s panel on Friday (you can find it on the full convention schedule here), which will be followed by a signing at the Saint Martin’s booth. Tell them I sent you! And if you enjoyed this episode, share it with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s episode of The Bulwark Goes to Hollywood, Sonny is joined by Ron Shelton, the writer/director of Bull Durham, to talk about his new book on the making of the film, The Church of Baseball. In addition to discussing the fights over casting, the weirdly lackluster response from test audiences, and the movie’s impact on the minor league game writ large, we also chatted about some of Mr. Shelton’s other films like White Men Can’t Jump and Dark Blue.
Make sure to pick up his book; while you’re doing that, the excellent Blu-ray release of Bull Durham is 50 percent off as part of Barnes and Noble’s 50 percent off sale on all Criterion discs. (In the podcast, I also mentioned the Arrow Video release of Dark Blue, but you should only pick it up in the United States if you have a region-free Blu-ray player; luckily it’s streaming on Prime Video right now for free.)
Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week, CNN’s Frank Pallotta rejoins the episode to do a box office victory lap. The movies are back, baby! Older audiences are showing up for Top Gun: Maverick and Elvis; younger audiences are showing up for Minions: The Rise of Gru; and no one’s showing up for Lightyear. Why are the first three hits and the last a miss? What’s the most successful way to sell moviegoing audiences on future movies? And what are theaters going to do over the next few months as COVID-related production slowdowns mean fewer big movies hitting theaters before the Thanksgiving season? All that and more on this week’s episode of The Bulwark Goes to Hollywood. If you enjoyed the episode, share it with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s episode, The Ankler’s Richard Rushfield returns to talk tumult at Disney, what Hollywood might be looking for in a studio head, and how the town is feeling about Netflix. If you enjoyed the episode, share it with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s episode, Sonny is joined by Jason Baker of Callosum Studios, the house that helped design the sure-to-be-iconic mask from the upcoming horror film The Black Phone. They also discussed designing masks for the WWE, pandemic-related slowdowns, working with FX legend Tom Savini, and Jason’s documentary about said legend, Smoke and Mirrors: The Story of Tom Savini. You can stream that now on Tubi or YouTube or hold off until the special edition Blu-ray drops in October. Make sure to check out Jason’s handiwork in The Black Phone, dropping next week. And if you enjoyed the show share it with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s episode of The Bulwark Goes to Hollywood, Sonny talks to the CEO of Creative Future, Ruth Vitale, about the costs of piracy. A longtime producer in Hwood, Ruth has seen firsthand the costs of theft on productions big and large, but in an age where stealing a movie or a book or a song is just as easy as popping onto Google and punching in some search terms, how do you convince folks that stealing is, in fact, wrong? And what can the government do to help stop the scourge of Internet-based IP theft? All that and more on this episode of BGTH. If you’ve got any ideas, feel free to leave them in the comments.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
Over Memorial Day weekend, Netflix released a new stand-up special from Norm Macdonald, who unexpectedly died in September of last year. Unexpected to us and his friends; perhaps more expected to the comedian, who had kept his cancer diagnosis incredibly secret. On the occasion of the release of Norm Macdonald’s “Nothing Special,” Washington Post national arts reporter Geoff Edgers published a new piece featuring interviews with his friends and colleagues about the special and his life’s work. I’m very happy to have Geoff on today to talk about Norm specifically and the art of profiling more generally.
Back in 2016, Geoff wrote a longish feature about Norm that, I think, helped spark something of a reappraisal or reconsideration of his work: though beloved—almost revered—by fellow comedians, Norm had fallen out of the spotlight with normal folks, and this well-read feature reminded them of what they were missing. (The publication of his absolutely brilliant book around the same tim...
Sonny takes a break from talking to industry experts this week to kvetch about something that’s been bothering him and JVL: Why are theaters so empty of movies for kids? A nearly two-month gap between The Bad Guys and Lightyear feels like studio malpractice; why didn’t Chip ’n Dale: Rescue Rangers get at least a token run in theaters?
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s episode, Sonny is rejoined by CNN’s Frank Pallotta to preview summer movie season. Blockbusters, big horror, comic books, and kid-friendly films are coming to the multiplex—but they’re doing so at a slower clip than years past. What’s changed since the pandemic and how is the industry reacting to it? Plus: Netflix, Disney+, and the evolving streaming situation.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week, Sonny is joined by Suzanne Joe Kai to discuss her documentary, Like a Rolling Stone: The Life and Times of Ben Fong Torres. New to Netflix, her doc is a pleasantly vibrant look at the life and work of Ben Fong Torres, who is best known for his era-defining work at Rolling Stone magazine. This documentary covers that ground—just looking at Torres’s box of archival tapes is enough to make one’s mouth water—as well as his family’s story. How did this child of immigrants who came to the country by skirting anti-Chinese laws become one of the most important musical journalists of his, or any, generation? Listen now to find out. Then go watch the movie! It’s on Netflix now. If you enjoyed the show, share it with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week, Sonny talks to Dade Hayes, co-author of Binge Times: Inside Hollywood’s Furious Billion-Dollar Battle to Take Down Netflix, about the rise of streaming in the face of technological change and a population forced to stay home thanks to COVID. Among the many topics discussed: how will sports factor into the future of streaming; why are so many of the channels leaning toward ad-based models; and why did everyone think Netflix would be the only man standing when the dust settled? All that and more on this week’s episode of The Bulwark Goes to Hollywood. If you enjoyed it, share it with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
David Herrin of The Quorum—a must-check site for movie-data nerds—joins us live from the corridors of CinemaCon to discuss the mood of theater owners, the vibes of theatergoers, and the state of the industry as we exit the pandemic. If you enjoyed our chat, share it with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s episode, Sonny talks to Eric Hoyt, a professor at the University of Wisconsin-Madison, about his new book on the rise of the Hollywood trade press and how these papers helped shape the movie business as we know it. From covering labor disputes to navigating the waters between big-city and small-town movie houses to engaging in some of the earliest film criticism, the topics covered in this book can help us understand how the movie business evolved into what it is today. You can read the book yourself for free right now by clicking here, and you can check out some of the trade papers examined by Hoyt at the Media History Project, where they are digitizing out-of-copyright publications. And if you enjoyed this episode, share it with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s episode, Sonny is joined by John Fithian, president and CEO of the National Association of Theater Owners, to talk about post-pandemic moviegoing, the evolution of theatrical dining, the excitement of CinemaCon, and the potential of theaters as sites for esports and gaming events—both as spectators and as participants. If you enjoyed this episode, share it with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s episode, Sonny is very pleased—and a little star struck!—to be joined by Lloyd Kaufman, the mind behind Troma Entertainment, to discuss his latest film, #ShakespearesShitstorm, as well as his 50 years in the business as one of the few truly independent indie filmmakers. Kaufman is probably best known for directing The Toxic Avenger, its sequels, and Tromeo and Juliet, as well as producing Class of Nuke ’Em High. But his company, Troma, has been a hot spring of talent for decades, serving as early homes for James Gunn (The Guardians of the Galaxy, The Suicide Squad), Trey Parker and Matt Stone (South Park), and Eli Roth (Hostel, Knock Knock).
Warning: This episode contains slightly saltier language than usual, but what else would you expect from a mind whose greatest film prominently involves gym rats running over a kid on a bike for fun?
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s episode, Sonny talks to Keith Phipps about his new book, Age of Cage: Four Decades of Hollywood Through One Singular Career. Looking at the trends of Hollywood through the lens of Nic Cage’s various personae—as an oddball actor catching the tail end of the 70s auteur wave; transitioning to a “normal guy”; hitting action star peaks in the 1990s; and settling into a series of more-interesting-than-they’re-given-credit-for turns on VOD—the book is a useful glimpse at the changing tastes in Hollywood. If you enjoyed the episode, make sure to check out Keith and Scott Tobias’s Substack, The Reveal. And share this with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week, Sonny talks to the Los Angeles Times’s Ryan Faughnder about a new poll showing that Coda and The Power of the Dog, the frontrunners for the Best Picture Oscar at this weekend’s Academy Awards, have been seen by just four and six percent of entertainment consumers, respectively. Then they discuss the walkout at Disney over the Mouse House CEO’s failure to speak up more vocally against Florida’s so-called “Don’t Say Gay” bill, as well as charges of hypocrisy that ethnic cleansing in China didn’t spark similar protests. And, finally, they talk about Amazon’s purchase of MGM and what that means for James Bond and Prime Video. If you enjoy the episode, share it with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
Published 2022-03-17
Why the 'Head of Story' at One of Hollywood's Biggest Agencies Writes His Own
39 min
On this week’s episode, Sonny talks to Adam Novak, head of story at one of the biggest agencies in Hollywood, WME. Adam is also the author of the novel Rat Park, out this week, as well as three other novels. Adam discusses his three-plus decades in the industry as a script reader for stars like Bruce Willis and directors like John McTiernan. What’s the role of a good reader in Hollywood? How do they help serve their clients and the world of entertainment writ large? And then Sonny and Adam discuss Adam’s novels and the intricate universe he’s woven around the fictional Omniscence agency.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
Sonny is joined this week by Andrea Chalupa, the screenwriter of Mr. Jones, the true story of Gareth Jones’s efforts to bring the horrifying reality of the Stalin-made famine in Ukraine that killed between 3.3 and 3.9 million people. They talk about getting that film written and financed, the response to it, and how best to push back against Russian disinformation via the arts.
Mr. Jones is streaming now on Hulu and is a must-watch for anyone who wants to understand why Ukraine is fighting tooth and nail against reabsorption into the nascent Russian empire. After you watch Mr. Jones, make sure to sign up for the online panel this Friday with director Agnieszka Holland, star James Norton, and the folks at the Kyiv Independent; proceeds go to support both the Independent and Ukrainian nonprofit Proliska.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s episode, CNN media reporter Frank Pallotta returns to the show to talk about studios boycotting Russia, why AMC is charging you a little more too see The Batman (but not a little less to see Dog), and Disney’s decision to put Turning Red directly on Disney+. Plus: Oscars talk!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s episode, Sonny talks to George Folsey Jr about his career as an editor. From the blaxploitation classics Black Caesar and Hammer to the great comedies of the 1970s and 1980s like Animal House and The Blues Brothers to assists on classics like Michelangelo Antonioni’s The Passenger and cult classics like Karyn Kusama’s Jennifer’s Body, Folsey has had a hand in a number of the movies you love.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s episode, Sonny is joined by Deadline’s Dominic Patten to talk about Village Roadshow’s lawsuit against Warner Bros. for killing the profitability of the Matrix franchise, the newly filed wrongful death suit against Alec Baldwin, and the Super Bowl’s big (but maybe not surprisingly big?) ratings. You can see Dominic’s archive here and follow him on Twitter here. And if you enjoyed this episode, make sure to share it with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s episode of The Bulwark Goes to Hollywood, Sonny Bunch is joined by John Zaozirny of literary management company Bellevue Productions. You can see John’s bona fide’s here, but his clients have written scripts set up with virtually every major studio. Bellevue has had 42 screenplays make the last seven Black Lists—an important compilation of un-produced screenplays voted on by people in the filmmaking business—and he details some of his strategies for securing those spots on this show. Sonny and John also talked about the decline of the spec script market, the difference between agents and managers, and a host of other topics. If you enjoyed the show, make sure to share it with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s episode, Sonny talks to Erich Schwartzel, author of Red Carpet: Hollywood, China, and the Global Battle for Cultural Supremacy. Erich’s book is a fairly exhaustive look at the sweep of Chinese influence on Hollywood, from Mao’s shutting the industry out during the Cultural Revolution to the return of blockbusters to the fact that Chinese investment funded the very recliners you sit on in theaters. We also talked about Chinese censorship of American films, American censorship of American films out of fear of losing Chinese marketshare, and the weird ways studios have exerted influence in the country. (Did you know Disney runs a chain of English schools in the country? You will after listening to this!)
If you’re interested in the business of Hollywood, Erich’s book is a must-own. And this episode is a must-listen! You cannot understand the current business climate in Hollywood without understanding the influence the biggest movie market in the world has on American fil...
This week on the show, Sonny is joined by Janice Min, who has teamed up with BGTH favorite Richard Rushfield to beef up Richard’s fabulous newsletter, The Ankler. Sonny and Janice discussed her career from US Weekly to the Hollywood Reporter to the wild world of Substack newsletters, how the Hollywood trades are defying the death of advertising, their strategy for spinoff newsletters, and why the folks at Y Combinator reached out to her and Richard about the potential of The Ankler to become a billion-dollar property. It’s a fascinating, in-depth look into the business, and the future, of entertainment reporting.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s episode, Sonny Bunch talks to Rene Reyes, the Paley Center for Media’s Vice President of Public Programming and Festivals. Among other duties, Rene plans the much-loved PaleyFest LA, which has panels featuring some of the biggest and most critically acclaimed shows on television. We talked about the joys (and COVID-related challenges) of in-person festivals and ran through some of the panels that will take place at this year’s event. You can see this year’s full lineup here; highlights include panels on Hacks, black-ish, and a salute to the NCIS franchise. Paley Center members can buy tickets now and they go on sale to the general public tomorrow.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s episode, Sonny talks to Kevin Goetz of Screen Engine/ASI and the author of Audienceology: How Moviegoers Shape the Films We Love. Kevin is one of the masters of the art of audience testing, that stressful period of time in a film’s life when it leaves the loving arms of its director and enters the world for approval by the folks who will be paying to see it. Sonny and Kevin discussed how audiences are chosen, what the screening process is like, how COVID has changed how all this works, and a few examples of how movies have been helped by the screening process over the years. Make sure to read Kevin’s book if you want a fuller understanding of one of the most important, and least visible, steps of a film’s distribution.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
Sonny is joined by Philip Gelatt this week. In addition to talking about the art of rotoscoping and the years-long effort to get his new film The Spine of Night made, and then released, we also discuss the state of animation more broadly in America and beyond. As a script adapter on Love, Death + Robots, Netflix’s hit animated anthology, he has a lot of experience and wisdom to share in this realm. And if you’re curious about The Spine of Night, check out the trailer here. Full disclosure: it’s not safe for work and not safe for kids. But it is pretty great, especially if you’re into cult classics like Heavy Metal and Ralph Bakshi’s animated Lord of the Rings adaptation.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s episode, Sonny is joined by Chris McKenna who, along with his writing partner Erik Sommers, wrote Spider-Man: No Way Home, which has grossed about $1.2 billion around the world … so far. In this in-depth interview, Chris discusses how a blockbuster of this nature gets made, from pitch meetings to brainstorming sessions to rewrites during the shoot to additional photography to tightening the ship following test screenings. We also talk a bit about the state of the business and why it’ll be a real bummer if the theatrical experience dies off. Plus, we learn that a very special Spider-Villain is a listener of this podcast! (Or, well, has listened to AN episode.)
Learn more about your ad choices. Visit podcastchoices.com/adchoices
Last month the Criterion Collection kicked off its new 4K lineup with what is, arguably, the greatest movie ever made: Citizen Kane. And the disc is absolutely loaded with special features, including a rarely seen BBC documentary on the making of the movie, multiple commentary tracks, and numerous interviews—including one with film historian Farran Smith Nehme. She joined Sonny to talk about Citizen Kane, how it got made, how William Randolph Hearst tried to smother it in the crib, and why it’s considered to be one of the great films. We also talked about her new Substack, which you can check out here, and the transformation of blogs into newsletters.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
Special bonus episode this week, as The Bulwark’s Tim Miller stops by to talk about Don’t Look Up, the new satire from Adam McKay (Vice, Step Brothers), as well as how it felt to return to the multiplex and take in some movies. (You can read Sonny’s review of Don’t Look Up and Red Rocket, two films that are very much about the last five or six years of American life, at The Bulwark's website.) If you enjoy this episode, please share it with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s episode, Tony Davis of Tessive returns to the show just in time for Christmas to walk you through the upgrades and lateral movements you need to be thinking about if you have home theater gear on your Christmas wishlist. We discuss HDR formats (what’s the difference between Dolby Vision and HDR10, and does it really matter?), why movies and TV shows on Amazon look so bad (hint: they’re compressed to death), and why you desperately need to upgrade those HDMI cables (because we can’t have nice things, that’s why).
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s episode, Sonny talks to David Herrin the CEO and founder of The Quorum, a film research firm that has done something rather remarkable in making tracking data available to the public in the same way that box office data is available to the public. “Tracking” numbers are the data points used by studios to help determine how a film will perform in theaters, and The Quorum is building a hearty database for movie nerds to dive into. In addition to discussing The Quorum’s new study examining why audiences are hesitant to return to theaters—spoiler: cost and COVID remain the two biggest factors—we also chat about the state of the business and what’s likely to come. I encourage you to poke around at The Quorum’s website if you’re a fan of sites like Box Office Mojo; there’s all sorts of interesting stuff there. And share this post with a friend if you enjoyed our chat!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s episode, Sonny is joined by Wil Haygood, author of the new book Colorization: One Hundred Years of Black Films in a White World. Haygood’s book is a must-read for anyone who wants to learn about largely forgotten trailblazers such as Oscar Micheaux, better-known figures like Sidney Poitier and Harry Belafonte, the controversies over movies as diverse as The Birth of a Nation and Sweet Sweetback's Baadasssss Song, the odd fate of Porgy and Bess, and so much more. Colorization is both breezy and in-depth—the best sort of popular history—and our conversation only scratched the surface of his book. If you enjoyed this episode, please share it with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week's episode, Sonny is joined by Christian Blauvelt, author of Hollywood Victory: The Movies, Stars, and Stories of World War II. From the pre-war skittishness of the big studios about alienating German markets—and potentially alienating an isolationist homefront, pre-Pearl Harbor—to the wartime efforts to raise funds and produce works of art that inspired Americans to resist the fascist menace, Christian's book tells a wide-ranging and fascinating story.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s episode, Sonny is joined by Jim Cummings, whose new feature The Beta Test drops on VOD and in select theaters Friday, Nov. 5. In addition to discussing his few film and its acidic take on the dispute between talent agencies and the WGA, Jim also talks about landing a featured role in Halloween Kills, how he financed and distributed his first feature, Thunder Road, and his horror-comedy The Wolf of Snow Hollow (which topped Sonny’s best-of list in 2020). If you enjoyed this episode, share it with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
When you click “buy” on a digital product at Amazon or Apple, as opposed to “rent,” what do you think that means? Most folks think of it like buying a physical copy of a thing: they can sell it or pass it down to heirs. But as Aaron Perzanowski, a professor at Case Western, notes in his sit-down with Sonny Bunch, that’s not really the case: you’re just buying a license to a thing. And if that license to Amazon or Apple ends? Well, so does your access to the thing you think you “bought.” On this week’s Bulwark Goes to Hollywood, Sonny discusses the tricky nature of ownership in an increasingly digital world—and what you need to know before you click “Buy.” If you enjoy this episode, please share it with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week on The Bulwark Goes to Hollywood, CNN’s Frank Pallotta rejoins Sonny to talk about Netflix’s big week! New subscriber numbers, new data numbers, and a newly controversial gloss to the biggest thing in entertainment. Plus, we talk a bit about Halloween Kills, Dune, and the impact of streaming on box office numbers. If you enjoyed the show, share it with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
Ryan Faughnder of the Los Angeles Times’s Wide Shot newsletter rejoins the show this week to discuss the boon—and burden—of sports betting ads. What are some of the rewards, and the risks, of this enormous advertising market? We also discussed Squid Game and Netflix’s efforts to internationalize entertainment as well as the age-old debate: subtitling versus dubbing. Make sure to sign up for Ryan’s newsletter (it’s free!) and if you enjoyed this episode please share it with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s episode, Sonny talks to Scott Eyman about his new book, 20th Century Fox: Darryl F. Zanuck and the Creation of the Modern Film Studio. Zanuck’s reign as a Hollywood mogul ran through nearly every major technological and business innovation Hollywood saw in the first half of the 20th century and beyond, and Mr. Eyman’s book paints a compelling portrait of a producer as both businessman and artist. You can pick up a copy wherever books are sold (here’s an Amazon link for ease’s sake), and I cannot recommend it highly enough.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s episode, Sonny talks to Scott Tobias, formerly of The AV Club and The Dissolve, about his new Substack endeavor with Keith Phipps, The Reveal, as well as the evolving world of film criticism. With so many local newspapers cutting back on movie reviewers for budgetary reasons and so many websites merely hitting the most popular of topics to generate clicks, it’s interesting—and, frankly, heartening—to see Substack using their Pro program to help critics like Tobias and Phipps (along with Ty Burr and Jerry Saltz) stand up their own newsletters to chase their own idiosyncratic interests. Can the “Thousand True Fans” theorem save the world of interesting film writing?
Learn more about your ad choices. Visit podcastchoices.com/adchoices
Welcome back to the show! Please check out last week’s episode if you missed it; Rod Lurie (The Contender, The Last Castle) had a ton of great stories about transitioning from the Army to the world of film criticism to the world of filmmaking. This week we talked about shooting The Outpost: the difficulty of bringing such a sensitive story to the big screen and trying to decide what to cut and what to keep; shooting the film in Bulgaria; and casting actors like Caleb Landry Jones and Scott Eastwood in key roles. For more on The Outpost, make sure to check out my interview with the author of the source book, Jake Tapper. And please share this episode with a friend if you enjoyed it!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week (and next week!) Sonny talks to Rod Lurie, the director of The Contender, The Last Castle, and The Outpost, among other films and television shows. This week’s episode is all about Rod’s early efforts to break into the business, from Army officer to film critic to writer/director. He tells a great story about his first meeting with Bill Paxton, fills us in on the difficulty of getting funding for just about anything (spoiler: you’re always one actor away from a green light), and the difference between being a showrunner and a director-for-hire on a TV series. Make sure to tune in next week when we talk about The Outpost. And if you enjoy this episode, please share it with a friend!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
Richard Rushfield, proprietor of The Ankler, returns to the show this week to fill us in on the declining fortunes of CinemaCon in an age of streamers and theater-threatening diseases. We also discuss low-budget horror and why studios seem loathe to fill their slate with surefire hits in addition to checking in on the minions celebrating the downfall of Mike Richards, Jeopardy scourge.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s episode Sonny is joined by Jake Tapper, CNN anchor and author of The Outpost: An Untold Story of American Valor, to talk about his book on Combat Outpost Keating and its adaptation into the defining movie of the Afghanistan War by Rod Lurie. Why did the book expand from coverage of the rare battle that saw two living Medal of Honor winners emerge to a book about the life an ill-advised and ill-placed outpost in the wilds of Afghanistan? How did the troops feel about American attention, or lack thereof, to the war effort? And what was it like seeing the story brought to life for viewers on screens big and small? After listening to the show, make sure to watch the movie (it’s on Netflix now!) and please: read the book. As the child of a military family, I can assure you it’s both heartrending and, occasionally, more than a little infuriating. But it’s a must-read to understand the War in Afghanistan from a soldier’s-level view.
Learn more about your ad choices. ...
Very excited to have on Zak Penn this week, who, in addition to being one of the writers of Free Guy, is also a credited writer on a series of HBO classics from my younger days: Last Action Hero, PCU, and Behind Enemy Lines, among others. On this episode we talked a lot about Free Guy and the state of Hollywood’s internal struggle between IP-branded ventures and original films, but we also dove into some of his other work: What happened with the writing of Last Action Hero, the first script Penn sold; the gratifying legacy of PCU as a cult classic and the oddity of its unavailability now; and why X-Men: The Last Stand gets a bad rap. It’s a super-sized episode because we had a ton of ground to cover; if you enjoy what you hear, please share it with a friend! If this episode does well maybe we can convince the studio swells to put out that 4K Blu-ray collector’s set of PCU we’ve all been clamoring for.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week, Sonny is joined by Matthew Belloni, author of the newsletter “What I’m Hearing” for the exciting new web publication Puck.news. Formerly an entertainment lawyer and editor for The Hollywood Reporter, Matt joins the show today to talk about Scarlett Johansson’s lawsuit, the ways in which streaming economics are upending traditional compensation packages, and Disney’s new “socialism.” Are the days of superstar show runners earning hundreds of millions over? And what lies ahead for actors and audiences alike? We discuss all this and more, and if you enjoy this episode, I really cannot recommend Matt’s newsletter enough: I always learn something new when I read it, which is the nicest thing I can say about anyone’s newsletter.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s episode, Sonny talks to Clayton Childress, an Associate Professor in the Dept. of Sociology of University of Toronto who studies taste, decision, and meaning making in the creation, production, and reception of culture. Clayton is on to discuss a recent study he coauthored with Shyon Baumann, Craig M. Rawlings, and Jean-François Nault about the strange ways elite tastes have both grown more inclusive and more exclusive. What does it mean that those with more education say they enjoy every genre (e.g., horror) but only certain films within that genre (e.g., A24’s horror films like Hereditary or The Witch)? And what does that mean for studios trying to figure out what to make—and what to market?
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this episode of The Bulwark Goes to Hollywood, Sonny talks to Ray Subers, a vice president at NRG, which has helped Hollywood studios with polling about movies for decades. Currently, NRG’s most interesting and informative efforts have to do with polling audiences on their comfort levels with going back to theaters during the age of COVID and its variants. How are audiences feeling right now as case numbers surge? How nervous is Hollywood? Also: If you’ve ever wondered how movie studios figure out the “tracking” numbers—that is, the awareness levels for upcoming movies—that help them decide on release dates and advertising strategies, Ray’s the guy to listen to. It’s a fascinating science with stakes that involve tens of millions of dollars every single week.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week Sonny is joined by John Mass, Executive Vice President of Content Partners, LLC, to talk about the business of acquiring intellectual property and figuring out how to make the business side of show business work. We had a great chat about the future of streaming, the shifting world of windows, and the (potentially limited) future of physical media. Content Partners is the leading independent owner of major studio distributed films, televisions shows, and related participations with over 500 studio release films and more than 3,000 hours of television. The company owns many notable titles, such as 13 Going on 30, Black Hawk Down, Black Swan, and is co-owner of the CSI franchise.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week on The Bulwark Goes to Hollywood, Sonny talks to the Los Angeles Times’s Ryan Faughnder about arr-poo (that is, RPU, or revenue per user) and how such calculations figure into the value of a subscriber, as well as all sorts of other topics. Make sure to subscribe to Ryan’s newsletter (it’s free!) if you’re into the whole “business of Hollywood” thing, which you are since you’re listening to this show. And if you enjoy this episode, share it with your friends! Everyone loves getting a new podcast to listen to.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s episode we ask a very important question of The Ankler’s Richard Rushfield: Is Vin Diesel a star? Really, what does it mean to be a star these days anyway? How are the streaming wars shaping up? What’s the deal with Universal’s new pay window? And how beloved is Quentin Tarantino? All this and more on this week’s episode of The Bulwark Goes to Hollywood.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week, Sonny talks to James White, the Head of Restoration at Arrow Films. On this episode, we dive into the tricky nature of rescuing older films and getting them ready for appreciation on Blu-ray and UHD 4K. What is the actual mechanical process of restoring a film like? Beyond getting elements like the original negatives, how does James work with directors and cinematographers to make sure the color timing is right? What’s the deal with film grain? All that and more on this week’s episode!
By happy coincidence, Arrow happens to be having a sale right now. (I didn’t plan this, I swear!) But if you’re an American and own an out-of-region player, make sure to check out Arrow’s site for some great deals; Bring Me the Head of Alfredo Garcia, pictured above, is just £8, as is Time Bandits, about which James had a very funny story toward the end of this week’s pod. (Eight pounds is roughly eleven dollars at the moment, so it’s a good deal.) If you don’t have an out-of-region playe...
On this week’s episode, Sonny Bunch is joined by Bulwark contributor Bill Ryan and Turner Classic Movie writer Greg Ferrara to talk about some of their favorite film books. This episode was inspired in part by a recurring question Sonny gets about books that can help people better understand film or become better film writers.
Obviously, you should listen to the episode; we wouldn’t be sending it to you otherwise. But here’s a cheat sheet with links to the recommended titles. (Pro tip: I’ve linked to Amazon pages, but do yourself a favor and check out the used prices if you want to save some money. Often you’ll find offerings that are “like new” at huge discounts that have little more than a remainder mark. I’ve managed to build a pretty decent library at a fraction of the price by searching for used books.)
NOTE: IF YOU WANT THE LINKS HEAD OVER TO THE SUBSTACK: bulwarkhollywood.thebulwark.com
Greg’s Picks
Vivien Leigh: An Intimate Portrait, by Kendra Bean
Steven Spielber...
(Note: This is a two-episode week since apparently I did not upload this episode to Apple last week. But if you're listening via the Substack, you would've gotten it fine! The lesson, as always: sign up for the Substack!) Sonny is joined by Jonathan Taplin to discuss his new must-read book, The Magic Years: Scenes from a Rock-and-Roll Life. Jon was there when Dylan went electric; he was there when Martin Scorsese needed some cash to get his first early classic, Mean Streets, made; and he was there when the Stones needed someone to do the art for Exile on Main Street. He’s spent more than 50 years in the business of culture and has a great deal of insight into all the ways in which the business of art has changed over the years. And he has tons of stories to share, including one we didn’t get to on this show about a literal fight with Harvey Weinstein (you’ll have to get the book for that one). If you enjoyed the show, please share it with a friend who will also dig it.
Learn...
On this week’s episode, James Emanuel Shapiro returns to the show to talk about the return of Cannes and what it’s like to be on the business side of a film festival. We all know about the great premieres and the fancy parties, but what about the actual business of these festivals, the markets where films are bought and sold? Plus, we’ll talk about Amazon’s purchase of MGM and, at the end, James shares some interesting data about Prime Video and iTunes’s relative place in the transactional VOD market.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
Published 2021-05-27
Frank Pallotta on the MGM/Amazon Deal, F9 in China, and the Summer Movie Season
31 min
CNN Media Reporter Frank Pallotta returns to the show to talk about a huge week in movie business news. Amazon has acquired MGM (and half of James Bond) for $8.45 billion. Summer movie season has kicked off in China, with the release of F9 and kicks off this weekend in America with A Quiet Place 2: what do new benchmarks for success look like? All this and more on a news-and-analysis packed episode. If you found the episode interesting and informative, please subscribe to Bulwark+ to help keep the show sustainable and share it with a friend! A recommendation from a friend remains the best way to grow a podcast’s audience.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week Sonny is joined by Eddie Muller, the host of TCM’s “Noir Alley” and the founder and president of the Film Noir Foundation. We discussed the Foundation’s reliance on the Golden Globes for the funding it procures to help restore long-lost film noirs to something approaching their original condition. We also talked about the world of film restoration more generally and Eddie offered up some picks for those looking to dive into the world of film noir. And make sure to pick up Eddie’s newly revised and expanded edition of Dark City: The Lost World of Film Noir. I’ve already ordered my copy!
And please: If there’s a noir lover in your life—or someone you hope to convert into a noir lover—make sure to share this episode with them. Just click that little button and pass it along; they’ll surely thank you for it.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week Sonny is joined by Jon Finkel, author of 1996: A Biography: Reliving the Legend-Packed, Dynasty-Stacked, Most Iconic Sports Year Ever. This is a movie podcast, not a sports podcast, so I understand if you’re confused. But 1996 was also notable for having some great sports movies (Jerry Maguire, Tin Cup) and some … not-so-great sports movies (The Fan, Space Jam). Plus: Happy Gilmore! We also talked about how athletes perceive their portrayals onscreen and had a quick lightning round about which classic sports flicks are better. Some controversial choices in that segment, I guarantee you; Hoosiers fans should feel forewarned.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week Sonny is pleased to be joined by Jesse Nelson, the co-owner of Diabolik DVD and Cauldron Films. Diabolik is one of the best places to pick up boutique Blu-ray discs from outlets like Vinegar Syndrome, Arrow, and Shout/Scream Factory, and he had a number of interesting thoughts about the state of the physical media industry. We also talked a bit about his own label, Cauldron Films, which released a wonderful Blu-ray set of the pictured movie: American Rickshaw. If you’re a fan of physical media or have one in your life, make sure to share this episode with them!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
Chris Fenton, author of Feeding the Dragon: Inside the Trillion Dollar Dilemma Facing Hollywood, the NBA, & American Business, returns to the show to talk about China’s influence on Hollywood, and vice versa. Why is the Chinese Communist Party censoring news about Chloe Zhao’s historic win on Oscar night? Should Disney be worried about the fact that she’s the director on the forthcoming MCU tentpole, The Eternals? What to make of recent misfires in the Middle Kingdom like Mulan and Raya and the Last Dragon? And why did the CCP not really care that Hong Kong got destroyed by Godzilla and King Kong? All this and more on this week’s episode of The Bulwark Goes to Hollywood! If you enjoy the chat, please hit that button below and share this post with a friend who also loves talking about movies! They’ll thank you later, trust me.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
Published 2021-04-22
Nicholas Jarecki on 'Crisis,' Opioids, Releasing a Movie During COVID, and Armie Hammer
50 min
Nicholas Jarecki—the writer and director of the opioid crisis thriller Crisis—talks to Sonny about the making and casting of Crisis, the evolving international market for feature films, and the difficulties of promoting a movie when one of the actors is undergoing a PR crisis of his own. We also talk a bit about the evolving nature of film criticism, how one researches a project about drugs while tens of thousands are dying from overdoses, and more. If you enjoy the show, please share it with a friend! Podcasts need love too.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week Sonny is joined by Megan Ganz, an executive producer and creator of Mythic Quest, AppleTV+’s workplace comedy about life at the studio behind an MMORPG. Megan has worked on a number of great shows, including It’s Always Sunny in Philadelphia and Community, so it was fun to pick her brain about the differences in production cycles on a network, basic cable, and streaming service, as well as what it’s like to produce a big show like this in the age of Covid. (Spoiler: It’s tricky!) If you aren’t watching Mythic Quest, you should be. And if you know someone who does watch that, or Always Sunny or Community, but doesn’t listen to this podcast for some reason, please share it with them! Hopefully they’ll find it entertaining and informative.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
The show’s first ever guest, Richard Rushfield, returns to the program to discuss all sorts of stuff. Super-Producer Scott Rudin: bad boss, or something worse? What went down with Ray Fisher and Warner Bros.? Are theaters coming back? What’s the industry hoping for in terms of Oscars viewership? All this and more on this week’s episode of The Bulwark Goes to Hollywood!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s episode, Sonny talks to David Thomson about his new book, A Light in the Dark: A History of Movie Directors. The book is a look at the evolution of the very idea of a “director,” from the workmanlike efforts out of studio system craftsmen to the auteur theory to the world of TV, where directors get very little notice and writers get all the glory. It’s a personal history, in a way—you see who Thomson enjoys and who he respects—as well as an economic history. The business of building up directors is a fascinating one, given all the financial and social and artistic imperatives that come with identifying a singular vision and person as the author of a massive project like a feature film.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
Snyder Cut week at the Bulwark wraps up with Sean O’Connell, author of Release the Snyder Cut: The Crazy True Story Behind the Fight that Saved Zack Snyder’s Justice League. We talk about his new book, the social media campaign that not only secured the release of Zack Snyder’s four-hour version of Justice League but also raised more than half a million dollars for suicide prevention charities, and how the rise of streaming helped ensure this film could be released at all.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week, Sonny is joined by Tom Shone, film critic for the Sunday Times, to talk about his recent book The Nolan Variations: The Movies, Mysteries, and Marvels of Christopher Nolan. The book is a must-own if you’re a fan of Nolan, as Shone spent hours with the director of The Dark Knight trilogy, Memento, and Inception. On this episode we talk about influences on Nolan’s work like Jorge Luis Borges (whose collected fiction is also a must-own for those looking to understand the director), how fatherhood has influenced his work, and the politics of The Dark Knight.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s episode, Sonny talks to Mike Malloy about the home video landscape, what it’s like to make supplements for specialty Blu-ray purveyors, and the world of tough-guy cinema writ large. Mike began as a film journalist for newspapers, magazines and the occasional book. After the decline of print media, he moved into filmmaking with larger projects like his EUROCRIME! documentary. But with budgets hard to come by, he has lately settled into the groove of producing—and appearing in—bonus content for Blu-Rays. You can find his YouTube channel here and his Instagram account here.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week Scott Feinberg, the Hollywood Reporter’s awards columnist and host of the excellent podcast Awards Chatter, joins Sonny to talk about the business of awards season. How corrupt are the Golden Globes? What could improve them? And Sonny asks Scott about his absolute favorite part of Oscars season: The Brutally Honest Oscar Voter Ballots! All this and more on this week’s episode of The Bulwark Goes to Hollywood.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
Joining Sonny on this week’s episode of The Bulwark Goes to Hollywood is Abraham Riesman, the author of the excellent new biography True Believer: The Rise and Fall of Stan Lee. We discuss the long-running fight for credit between Stan Lee and Jack Kirby as well as Lee’s greatest contribution to the world: the character of Stan Lee, a catchphrase-spouting mascot whose ability to connect with fans and create a sense of community helped shape the idea of fandom to this day. For more on Riesman and his book, make sure to check out his website, abrahamriesman.com.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week on The Bulwark Goes to Hollywood, Sonny is very excited to have the president of CinemaScore, Harold Mintz, on the show. CinemaScore is the fantastically useful company that polls opening weekend moviegoers for their grades on new releases, and it’s a more accurate and unbiased measure of audience opinion than just about any other easily available metric.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
Alan Zilberman, a critic for the Washington City Paper and the Washington Post, joins Sonny Bunch for a very special episode of The Bulwark Goes to Hollywood in which the two discuss life as a part-time film critic during awards season. Both Sonny and Alan are members of the Washington, D.C. Area Film Critics Association, and both Sonny and Alan slaved away on our annual year-end nominations for the WAFCA awards. No one knows the struggles we’ve seen—until now! What’s it like to have to watch multiple movies a day in order to futilely try to impact an award that’s just going to go to an Oscar frontrunner anyway? How are the awards in 2020 different from the awards in almost every other year? Why is everyone so in love with Nomadland anyway?
For the full list of WAFCA winners and nominees, go here: http://wafca.com/awards/index.htm You’ll notice a disturbing absence of both Fatman and The Wolf of Snow Hollow from the nominees. It’s like most critics can’t recognize great art unless...
Published 2021-02-04
Glenn Kenny on 'Goodfellas,' Martin Scorsese, and the Business of Movie Books
63 min
This week’s guest is Glenn Kenny, the author of the excellent new book Made Men: The Story of Goodfellas. Glenn is is a film critic whose work appears in the New York Times and Roger Ebert dot com. He has also written for The Current, Rolling Stone, the Village Voice, the New York Daily news, Playboy, Film Comment, and other publications. In addition to Made Men, Glenn is the author of Robert De Niro: Anatomy of an Actor and the editor of an excellent collection of essays about Star Wars, A Galaxy Not So Far Away.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this episode, Sonny talks to CNN’s Frank Pallotta about the state of streaming. What does it mean that the WWE Network is headed to the Peacock? Are HBO Max’s conversion numbers good enough? Why is Disney trying to charge people $30 to rent a cartoon? All this and more on this week’s episode.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week Sonny is joined by Peter Labuza to talk about the past, present, and future of antitrust as it relates to Hollywood. In an age of consolidation and technological advance, how will the end of the Paramount Decrees influence what happens in filmmaking? Peter is a Postdoctoral Fellow at the University of Southern California, where he also earned his PhD in Cinema and Media Studies. His research explores the legal, financial, and political history of creative industries.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week on The Bulwark Goes to Hollywood, Sonny is joined by Chris McKenna. Chris was the co-showrunner on NBC’s (and later Yahoo’s) Community, earning an Emmy nomination for his classic episode “Remedial Chaos Theory.” He’s also the co-writer of the most recent series of Spider-Man films, Ant-Man and the Wasp, Jumanji: Welcome to the Jungle, and Lego Batman. On this week’s podcast, he discusses the differences between writing for TV and movies, his winding path to screenwriting success, and what it’s like to work with the great Chevy Chase.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this episode of the Bulwark Goes to Hollywood, David C. Lowery — the singer and guitarist for the bands Camper van Beethoven and Cracker — talks to Sonny Bunch about the economics of the music business, the difficulties of making a living as a middle class musician, and why what’s happening in the world of movies may resemble what happened to the music business in the early 2000s. How does TikTok resemble Spotify, and what dangers does it present to the world? Most importantly: How much would it cost Sonny to license the opening riff of “Teen Angst,” the hit song on Cracker’s debut album, “Cracker”? (Spoiler: way too much for Sonny to be able to afford.)
Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this week’s episode, James Emanuel Shapiro, the COO of Drafthouse Films who started the analytics department at the Alamo Drafthouse and also works as a distribution consultant, talks with Sonny about the epic, amazing, spectacular, disastrous mess that is the decision made by Warner Bros. to release their whole 2021 slate on HBO Max and in theaters simultaneously. Will theaters play ball? Does a shrinking window mean Netflix originals might show up on big screens owned by AMC, Regal, and Cinemark? Will anyone want to work with Warners ever again? All this and more will be discussed on this week’s episode!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
Sonny talks this week to Ian and Eshom Nelms, the fraternal directorial team behind 'Fatman,' about the circuitous path to making that film, the vagaries of indie economics and budgeting, the clash between critics and audiences on the film, and the possibility of a sequel on the horizon after its surprisingly strong VOD performance. There’s some spoiler-y conversation in the last 10 minutes or so of the show, so you should rent the movie before listening if that sort of thing bothers you!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
You may remember Tony Davis as the guy who explained to us why popcorn grease is destroying movie theater projectors. (He also had lots of interesting thoughts on 3D and the economics of the theater business, but mostly, judging by responses I received: popcorn grease.) He’s back this week to explain why the home theater set you can build in your home looks about as good as a standard (read: non-IMAX or Dolby) theater. (Whether or not it sounds as good is a separate issue.) And he has a few suggestions for theater owners as to how they could step up their game.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
Sonny talks to the Austin-based Alison Macor this week about the life and times of Warren Skaaren this week. Skaaren’s battles with the studios and the Writer’s Guild to get proper credit for his work on Top Gun, Batman, Beverly Hills Cop 2, and Beetlejuice are the subject of her excellent book, Rewrite Man. Consider picking it up after listening to this podcast; it’s a quick read and a great view into a professional script doctor’s process.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week Sonny talks to Derek Dye, the Senior Brand Manager for Highland Ventures, which is the parent company of the iconic Family Video brand. The chain is spearheading the #SaveTheVideoStore campaign, which hopes to raise awareness for those remaining stores. Derek and Sonny discuss the difficulties of operating a video store in general, the extra hardships created by a lack of new content coming from Hollywood, and a good way to save a few bucks while you build up your home video library. Plus: Stranger Things, which will feature the store in their forthcoming season!
Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week, Sonny talks to Alyssa Rosenberg (The Washington Post) and Peter Suderman (Reason Magazine), his old friends from Across the Movie Aisle, about the world of movies and movie writing post-Trump. Is Christopher Nolan right that Hollywood studios should be looking to foreign box office dollars? Does Netflix have buyer's remorse about their mega-deals with super-producers? And now that The Trump Show is coming to a close, will the world of cultural writing be able to focus a bit more on, you know, the culture?
Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week on the show, Sonny talks to Shannon Moore, the Director of Field Marketing at Allied Global Marketing’s Washington, DC office. Sonny’s been a working film critic for 15 years or so, and the first question he always gets—after “What’s your favorite movie?” which he refuses to answer on general principle—is “How do you see the movies? Do you, like, get a private screening?” So he decided to have Shannon on to talk about this and other facets of marketing movies.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
Sonny is joined today by Natalie Metzger, VP of development and production at Vanishing Angle. She is a Spirit Award nominated producer whose credits include GREENER GRASS, THUNDER ROAD, THE ROBBERY, and THE WOLF OF SNOW HOLLOW. Metzger is currently in post-production on Josh Ruben’s horror comedy WEREWOLVES WITHIN (Ubisoft), Jim Cummings’ thriller THE BETA TEST, and Sean Mullin’s baseball documentary IT AIN’T OVER. Metzger’s feature directing credits include AT&T original documentary ALONE IN THE GAME (AFI Docs, Outfest) and healthcare documentary SPECIAL BLOOD, which won the Dolores Huerta Award for Best Director at the Long Beach Indie Festival and Best Feature Documentary at California Women’s Film Festival.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week, Sonny is joined by Mark Graham, the Editor-in-Chief of Decider, a website dedicated to helping solve one of society's most pressing and important issues: What movies and shows should I watch? They discuss how Mark and his team decide what to cover for Decider and why, looking at the ways in which non-traditional audience metrics can help determine what’s worth writing about. Plus! Mark offers up some tips for would-be freelancers on getting your work published.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
Sonny is joined this week by Phil Contrino, the Director of Media and Research for the National Association of Theatre Owners. Topics of discussion include the state of the movie theater business (spoiler: it’s kind of dire at the moment, given news that Regal’s U.S. screens are shuttering again), the relative safety of moviegoing as opposed to dining out or attending church (spoiler: it’s much safer!), and what role the government might play in helping ensure theaters don’t go out of business.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week, Sonny talks to Zack Stentz (“X-Men: First Class,” “Thor,” “Terminator: The Sarah Connor Chronicles”) about his work with Netflix on the film “Rim of the World” and the hit new show, “Jurassic World: Camp Cretaceous.” What’s it like pitching the service that has everything? How is the world of TV evolving as different streaming services aim for different markets? And how can filmmakers working with kids protect them from being exploited?
Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week, on the Bulwark Goes to Hollywood, Sonny talks to Chris Yogerst about his new book, “Hollywood Hates Hitler: Jew-Baiting, Anti-Nazism, and the Senate Investigation into Warmongering in Motion Pictures.” Chris is an assistant professor of communication at the University of Wisconsin-Milwaukee in the department of Arts & Humanities. He has written for the Washington Post, Hollywood Reporter, and most frequently at the Los Angeles Review of Books.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week, Sonny talks to “Feeding the Dragon” author Chris Fenton. For seventeen years, Fenton served as president of DMG Entertainment Motion Picture Group and GM of DMG North America, internationally orchestrating the creative and business activities of DMG—a multi-billion dollar global media company headquartered in Beijing. He is currently CEO of Media Capital Technologies and a Trustee of the US-Asia Institute.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week, Sonny talks to Gerry Daly, who has 15 years experience in home entertainment sales, including 13 years with 20thCentury Fox, working in Category Management. Also, at one time was an elections & politics blogger with a fairly sizeable audience, quoted in the Wall Street Journal, Washington Post, and New York Post.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
Sonny Bunch talks to David Guglielmo, who in only a few years has cast over 20 feature films, including the critically acclaimed THE STANDOFF AT SPARROW CREEK as well as the upcoming RUN HIDE FIGHT, premiering at this year’s Venice International Film Festival. Additionally Guglielmo writes, directs, and produces his own independent films such as NO WAY TO LIVE and HOSPITALITY.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
Sonny is joined today by James Emanuel Shapiro, who has been an executive in the entertainment industry for 20 years working in home video entertainment, exhibition festival programming and in distribution. He most recently worked at the Alamo Drafthouse where he started their analytics department and contributed to Alamo forming their internal booking department.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
Sonny Bunch talks to PEN America’s James Tager, the lead author of PEN’s new report, “Made in Hollywood, Censored by Beijing,” to talk about the ways in which China uses the levers of business to ensure that Hollywood’s products reflect the Communist Party line.
Special Guest: James Tager.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week on The Bulwark Goes to Hollywood, Sonny talks to Tessive founder Tony Davis, who until last year headed the technology group at RealD, the company that enables 3D movie presentation in over 30,000 theaters around the world, about 3D’s successes, failures, and future in an uncertain exhibition landscape
Special Guest: Tony Davis.
Learn more about your ad choices. Visit podcastchoices.com/adchoices
In the inaugural episode of The Bulwark Goes to Hollywood, Sonny Bunch talks to Richard Rushfield about Disney’s decision to charge for early access to MULAN, the future of streaming, and the death of theaters.
Special Guest: Richard Rushfield.
Learn more about your ad choices. Visit podcastchoices.com/adchoices