Spelade
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We're back with pages 5-6. This week we bring you a wide-ranging discussion about a recurring Coens motif: when there's a little guy and there's a big guy, and they go versus on each other.
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Byrd and Matt start their full series recap of the entire Godzilla series by taking a look at the first six films in the series. But first, some quick Daimajin news and the run down on how exactly we're going to recap the series.
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On the premiere episode of Kaiju Transmissions, Byrd and Matt discuss just what made them Godzilla/kaiju fans to begin with. They'll talk about their first exposure to the genre and what has kept them involved through all these years. But first they share their reactions to the Godzilla Resurgence trailer, the first images from the Power Rangers movie and more!
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We read pages 3-4 and discuss how the Coens build story and character through a particular type of montage sequence.
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In our first episode, we read pages 1-2 and discuss cold open monologues in the Coens’ films.
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What if there was a 13th Warrior? What if there was a version of Beowulf so grounded in reality that the climactic battle with Grendel just kind of felt like a shrug? What if Antonio Banderas was the lead in Gladiator instead of Russell Crowe? We’re just asking questions! Filmmaker David Lowery makes his long-awaited return to the podcast to talk about John McTiernan’s Michael Crichton adaptation, a movie that should have kept the title of the original book - Eaters of the Dead. Such a sick title! Anyway, prepare yourself for plenty of Banderas talk, a loving deep-dive into the famous “Banderas learns the Viking language” scene, and a reveal of some Blank Check-related easter eggs in Lowery’s filmography (!).
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We're back with our first post-hiatus numbered episode and what a show we've got for you. Today we welcome actor, comedian, podcaster and our good friend Griffin Newman to the study group. Griffin walks us through his process as an actor, and what he calls behavioral acting—the use of secondary actions, latent desires, and bottled-up nervous energy to shape a performance and create a character that feels real. It's all about doing two or more things at once, and being as interesting as a cat.
On another important note, last week we told the story of the finding of the lost pages, and this week we actually debut the text of a lost page—PAGE 40—which we hope you enjoy!!
Coens covered: Burn After Reading, The Hudsucker Proxy, Fargo, The Big Lebowski
Plus: World War Z, Interview with a Vampire, The Tao of Steve, Jurassic Park 3D
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A Fiji water bottle. “Sinnerman” by Nina Simone. That Magritte painting with the bowler hat. A SCINTILLATING, AGE-APPROPRIATE ROMANCE WITH TWO OF THE GREATEST HEIST SEQUENCES IN MOVIE HISTORY. We’re talking Tommy C (1999), baby! The delightful Amanda Dobbins joins us for her long-awaited Blank Check debut, and this episode is about as fun as you’d expect. Do we think this movie is better than the Norman Jewison original? Yes. Do we go long on the filmography of Rene Russo? Yes. Do we explain how Pierce Brosnan fit the Monet canvas into his briefcase? Sort of. Does Amanda know the plot of “Wicked”? Surprisingly, no!
This episode is sponsored by:
ExpressVPN (ExpressVPN.com/check)
MUBI (mubi.com/blankcheck)
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When Humphrey Bogart died, Lauren Bacall was just 32 years old. This is the story of how Bacall spent the remaining 57 years of her life, and her lifelong struggle to find a balance between being Mrs. So-and-So, and being Lauren Bacall.
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Theda Bara might be the most significant celebrity pioneer whose movies you’ve never seen. She was the movie industry’s first sex symbol; the first femme fatale; and she might have been America’s first homegrown goth.
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There have been four Hollywood films made under the name and/or with the basic story of A Star is Born. The most reviled version is the one starring Barbra Streisand, made in 1976 and produced by Barbra’s hair dresser-turned-boyfriend Jon Peters.
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Errol Flynn arrived in Hollywood in 1934 and almost immediately became a massive star, his swashbuckler-persona propelling many of the decades biggest action hits. But his dashing good looks and life-of-the-party personality masked a shady past.
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Today’s episode tells the secret, forgotten, and highly disputed story of the making of Marilyn Monroe, arguably the most potent Hollywood sex symbol of all time.
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During the last year of his life, Nirvana’s Kurt Cobain was obsessed with Frances Farmer, an actress from his hometown of Seattle who died in 1970. Farmer’s beauty and unique screen presence made her a star, but her no-bullshit ballsiness made her a pariah — and a target of the hostile media — in 1930s Hollywood. Farmer’s career went down the tubes in the 1940s when a couple of incidents of inconvenient drunkenness led to her being committed to an insane asylum by her own mother, and given a lobotomy. Or, so Cobain and his wife, Courtney Love, frequently told journalists while Cobain was promoting In Utero, the Nirvana album that includes Cobain’s tribute to the actress, “Frances Farmer Will Have Her Revenge on Seattle” (Love also claimed to have been married to Cobain whilst wearing a dress once owned by Farmer, and the couple named their daughter Frances, although that was likely at least co-inspired by Frances McKee of The Vaselines). Unbeknownst to them, the notion that Farmer was lobotomized was a fiction invented by a biographer with ties to Scientology, a lie which was then dramatized in an Oscar-nominated, Mel Brooks-produced movie which helped to make Jessica Lange a star. By the time Kurt and Courtney were championing Farmer as a proto-punk martyr in the 1990s, the legend of Frances Farmer as patron saint of…well, women like Courtney Love, had been printed so many times that it had swallowed up the truth of Farmer’s experience, and loomed much larger than her actual body of movie work. Today we’ll explore how, and why, that legend got printed, and try to explain how Frances Farmer became the patron saint of beautiful, bright, potentially batshit women whose self-destruction can be traced back to their signing of a studio contract. We have special guest stars! Nora Zehetner (Brick, Grey’s Anatomy, Mad Men and most recently IFC’s Maron) played Frances Farmer; Brian Clark played Kurt Cobain, and Noah Segan IS Rex Reed.
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The Citizen Kane boy wonder's second wife was the former Margarita Cansino -- a dancer-turned-actress whose Hispanic heritage Hollywood went to great lengths to obscure.
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The luminous star of a number of key film noirs and melodramas of the 1940s, Gene Tierney's personal life was highly dramatic and heartbreakingly tragic.
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In May 1938, the Independent Theater Owners Association published a full-page paid editorial in The Hollywood Reporter, branding a number of big stars — including Mae West, Marlene Dietrich, Greta Garbo, Joan Crawford, Katherine Hepburn and others — as “poison at the box office,” and urging the studios to cut their ties to expensive names who no longer had the drawing power they once did at the box office, in part because they symbolized a type of glamour which seemed, in 1938, to be falling out of fashion. All of the above named stars, while damaged by the bad press in the moment, went on to make “comeback” movies that helped to cement their legacies. That wasn’t the case for another actress mentioned in the ad, Kay Francis, who in 1938 was still Warner Brothers’ highest paid star — even though she had tried to sue the studio the previous year for casting her in too many bad movies. After roaring her way through New York in the 1920s as a flapper it girl, Kay Francis hit her career peak in 1932, the year she starred in Ernst Lubitsch’s Trouble in Paradise, but eventually she essentially lost her spot in the movie star firmament to Bette Davis. Today we’ll talk about the idea of box office poison, trace how and why Kay Francis became the embodiment of the meeting of 1930s movie star glamour and a devil-may-care pursuit of pleasure that marked pre-Code Hollywood, and explain why that magical combination wasn’t long for the world of the studio star system.
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This micro-episode sets up a topic we’ll be exploring throughout the summer: the films, stars and scandals of 1938. By midway through that year, Hollywood was in such a desperate downswing — and so concerned that Americans were losing interest not just in specific movies but in moviegoing as a habit — that the studios banded together to launch a massive PR campaign to convince the public that 1938 was Motion Pictures’ Greatest Year. It wasn’t. This episode was inspired by Hollywood 1938: Motion Pictures' Greatest Year by Catherine Jurca.
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She was the raven-haired beauty whose lily white persona was forged by supporting roles in Gone With the Wind and several Errol Flynn swashbucklers. He was the real-life swashbuckler whose directorial debut, The Maltese Falcon, was an enormous success.
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Raquel Welch, a former cocktail waitress and divorced mother of two, found herself in the odd position of being an old-fashioned sex goddess in the age of flower children and feminism.
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