Best Podcast Episodes About Original Film
Everything podcasters are saying about Original Film — curated from top podcasts
Updated: Apr 26, 2026 – 37 episodes
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Ridealong has curated the best and most interesting podcasts and clips about Original Film.
Top Podcast Clips About Original Film
“episode of this show by asking filmmakers what's the last great thing they have seen as i as i mentioned you consume a lot of movies uh i'd forgotten about this because i haven't had much sleep and i've been doing so much press this week and then um uh my assistant who's also a producer on the movie mal texted me and she goes so what's your what are you going to say at the end about your favorite thing i was like oh fuck and then i immediately for some reason what i thought of …”
“episode of this show by asking filmmakers what's the last great thing they have seen as i as i mentioned you consume a lot of movies uh i'd forgotten about this because i haven't had much sleep and i've been doing so much press this week and then um uh my assistant who's also a producer on the movie mal texted me and she goes so what's your what are you going to say at the end about your favorite thing i was like oh fuck and then i immediately for some reason what i thought of and it feels also connected to the movie is i watched wick is pain again have you seen i have so when i was on my way to south by i put it on my ipad and explain what it is so wick is pain is this documentary about the making of the john wick series which uh i have like a lot of strong feelings about those movies and i could talk about them for like …”
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The documentary 'Wick Is Pain' offers a candid look at the making of the 'John Wick' series, showcasing the hard work and conflicts behind the scenes. It’s a fascinating exploration for fans of action filmmaking, especially those who admire the artistry behind the 'John Wick' movies. The film is not just a behind-the-scenes glimpse; it serves as an inspiring reminder of the dedication involved in creating cinematic masterpieces.
“… to give you all a Hunt for Gollum update. The first of many that we'll do, little blogs along the way. And Andy Serkis has been busy designing the film. He's going to direct it and obviously play Gollum. We've got a lot of the old team back again, familiar faces and some new faces. But Andy's doing a terrific job. It's looking amazing. The script is coming together really well, and I think it's going to be a really good film. A really good film. So pause here. But that is not the only talking movie that we're doing. He's talking about a movie we already knew about that was already announced …”
“… this to me this week. I put it in the notes specifically. This is Peter Jackson, Warner Brothers, New Line. They announced a new Lord of the Rings. It's like a sequel and a prequel. Here's Peter Jackson making the announcement. I thought it was time to give you all a Hunt for Gollum update. The first of many that we'll do, little blogs along the way. And Andy Serkis has been busy designing the film. He's going to direct it and obviously play Gollum. We've got a lot of the old team back again, familiar faces and some new faces. But Andy's doing a terrific job. It's looking amazing. The script is coming together really well, and I think it's going to be a really good film. A really good film. So pause here. But that is not the only talking movie that we're doing. He's talking about a movie we already knew about that was already announced called The Hunt for Gollum that Andy Serkis is making. This is set between The Hobbit and Lord of the Rings. It's about Aragorn hunting down The Hobbit or hunting down Gollum, looking for him, seeking information about the One Ring. So that's a prequel to Lord of the Rings. That's in production now that's coming out next year. But here's where Peter …”
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Peter Jackson reveals not just one, but two new Lord of the Rings films in the works, including a prequel titled 'The Hunt for Gollum.' This film, set between 'The Hobbit' and 'The Lord of the Rings,' follows Aragorn as he searches for Gollum to uncover secrets about the One Ring. Fans can expect familiar faces and a fresh take under the direction of Andy Serkis, who also reprises his role as Gollum.
“… oh, it's going to be a little stinger on this that's going to be really interesting. You know what I mean? And so for people who are tapped into film language, I think they end up staying. And for people who maybe they got to go, maybe they had a babysitter or what have you, and they get up. And that's cool. I'm fully comfortable with somebody leaving. you know what I mean like um uh and and they saw you know um uh Sammy go from Miles Caden to Buddy Guy that's that's you know he made it to Chicago you know you know what I'm saying like he lived he lived a full life as a as a as a it became …”
“… bro. Can't wait. Yeah, bro. Run, bro. Don't walk. But yeah, his movie has an end credit scene after the credits. And I knew it was coming. You know what I'm saying? For somehow how he set his music up, how he was running his credits, I was like, oh, it's going to be a little stinger on this that's going to be really interesting. You know what I mean? And so for people who are tapped into film language, I think they end up staying. And for people who maybe they got to go, maybe they had a babysitter or what have you, and they get up. And that's cool. I'm fully comfortable with somebody leaving. you know what I mean like um uh and and they saw you know um uh Sammy go from Miles Caden to Buddy Guy that's that's you know he made it to Chicago you know you know what I'm saying like he lived he lived a full life as a as a as a it became the blues man that Delta Slim said he wasn't yet you know you know I mean like that that is a that is a that is a great ending to a movie you know I'm saying like very satisfying like um and I think people that I gotta imagine people that went home you know i'm saying didn't feel like they missed anything you know but but but yes like that that end …”
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Ryan Coogler discusses the importance of the end credits in his film, emphasizing the trust he places in the audience to stay engaged. He reflects on how the music and cinematic language are crafted to keep viewers in their seats for a significant scene that follows the credits. This approach highlights a deep connection between music, storytelling, and audience experience in filmmaking.
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The final scene of 'To Live and Die in L.A.' is a shocking twist that highlights the film's gritty realism, culminating in the unexpected death of a key character, which the studio initially wanted to change. This 1985 crime thriller directed by William Friedkin features intense chase scenes and a raw portrayal of undercover FBI work, making it a memorable watch. The conversation reflects on the film's rewatchability and how its shocking moments still resonate today.
“… the documentary winners because there's just a very obvious and easy way for them to speak to how their work has relevance. The overtly political films, the films about Russia and Putin and about school shootings in America. Yeah. Yeah. And, you know, I feel like and maybe this is just me being too generous, but like. There was just a definite definite feeling in the room more so this time of being like everyone understands, like everyone is like on an approximately same page about their feelings about what's happening in the world right now, at least certainly like within like the …”
“But I feel like it was telling that the first really political speeches came from the documentary winners because there's just a very obvious and easy way for them to speak to how their work has relevance. The overtly political films, the films about Russia and Putin and about school shootings in America. Yeah. Yeah. And, you know, I feel like and maybe this is just me being too generous, but like. There was just a definite definite feeling in the room more so this time of being like everyone understands, like everyone is like on an approximately same page about their feelings about what's happening in the world right now, at least certainly like within like the presidential regime. and that kind of provides you don't need to keep saying it out loud you know I mean like when Jimmy Kimmel came up and like told his yeah his his jokes like his late night jokes uh he's gonna hate this right and I was just it felt kind of like it feels a little glib and pat I think there's another thing too which is like everyone's …”
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At the 2026 Oscars, the first political speeches came from documentary winners, highlighting the relevance of their work amidst current global issues. The atmosphere in the room reflected a shared understanding of political sentiments, with presenters like Jimmy Kimmel facing the challenge of addressing serious topics without losing the audience's attention. Director Paul Thomas Anderson's acceptance speech encapsulated the struggle of the next generation, making a poignant statement about responsibility and the state of the world.
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In a hilariously absurd analysis of 1992's 'Live Wire,' the hosts question the logic of a couple reuniting in a bathtub after their daughter's tragic drowning. The comedic highlight comes when they ponder how a fully clothed woman getting into a tub for a massage is somehow supposed to be sexy, leading to a wild discussion about the film's bizarre relationship dynamics.
“… we were going let's figure out how this works we basically I was laying on my back on the tunnel floor this is the only time I think in the entire film that I laid down because the only way that I realized I could really operate Rocky was to basically sort of hug him to my chest I'm my head is usually over his and there were handles that would be on whichever side was his backside for that shot because of course Rocky rotates right so there would be a handle either coming from his undercarriage or from his other carriage and we called it the fighter pilot because I would basically operate his …”
“… like, try it again, try it again. But in that scene, it's a great thing that you're bringing this up. for that one because of course the camera shot is behind Rocky and it's and it's going over Rocky's shoulder into Grace through the glass right so we were going let's figure out how this works we basically I was laying on my back on the tunnel floor this is the only time I think in the entire film that I laid down because the only way that I realized I could really operate Rocky was to basically sort of hug him to my chest I'm my head is usually over his and there were handles that would be on whichever side was his backside for that shot because of course Rocky rotates right so there would be a handle either coming from his undercarriage or from his other carriage and we called it the fighter pilot because I would basically operate his body that way which gave me the most freedom of movement and when I was that close when I was further away and we tried it it it kind of moved like a sad marionette and it just killed the performance so I kind of had to sort of tell Greg Fraser very depressingly, like, I have to be really close to him. Otherwise, the performance is going to be bad. …”
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The puppeteering techniques used in 'Project Hail Mary' are nothing short of magical. During a key scene, the puppeteer describes how they operated the character Rocky in real-time, collaborating closely with Ryan Gosling while navigating the challenges of performance capture. This unique blend of puppetry and live interaction highlights the innovative filmmaking process behind the film.
“… obviously movie stardom is what we're talking about here but Cooper Hoffman did star in the long walk last year right and and very much carried the film with david johnson the industry star um and he was you know he's going to be in gregor aki's new movie i want your sex opposite olivia wilde and charlie xcx uh i think he also has the look so to speak obviously also from a lineage of great acting he not here did you know he an artificial it did yes he playing greg brockman co of open ai yes of course and i definitely knew that well i thought after you watched your one ai documentary and you're …”
“… here put this up and was like here are the 35 best actors under 35 and everybody was like you guys should kill yourselves because these are not the 35 best actors and that's the only time that's happened that one was particularly difficult because obviously movie stardom is what we're talking about here but Cooper Hoffman did star in the long walk last year right and and very much carried the film with david johnson the industry star um and he was you know he's going to be in gregor aki's new movie i want your sex opposite olivia wilde and charlie xcx uh i think he also has the look so to speak obviously also from a lineage of great acting he not here did you know he an artificial it did yes he playing greg brockman co of open ai yes of course and i definitely knew that well i thought after you watched your one ai documentary and you're like the expert you know that man's name did not come up okay there's a lot of so sam altman and greg brockman listen listen like fake names here's what i'm doing is i have i'm hovering the cursor over his name on the artificial page and reading the like pop-up biography so he's uh his screenshot his wikipedia photo is him with a tiny britney mike …”
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Cooper Hoffman, the son of late filmmaker Philip Seymour Hoffman, is making waves in Hollywood with his performance in 'The Long Walk.' As he enters the spotlight, he’s also set to star in a new film alongside Olivia Wilde and Charlie XCX, showcasing his potential as a significant movie star under 35.
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In a hilarious recount of behind-the-scenes drama, Ethan Hawke reveals how he felt overshadowed by Philip Seymour Hoffman during filming. The punchline? Director Sidney Lumet was just messing with them, making both actors go all out while he sat back at 92 years old, enjoying the chaos!
“… the basic Disney release screencard keynote. I don't own Dead Poets. Do you not like it? I... Sims is on the same page. It's my least favorite weird film. Yeah, I think mine too. Fearless, I think, is a Warner Archive. Truman, basic Paramount 4K. Master and Commander got the steel book but i assume you don't have that yet i have it i just haven't bought it yeah interesting and then way back's an image release so i have that as well yeah i don't think i've seen the way do you like brit shit you know what i mean like so like demastering commander kind of passed you by just because it was like sort …”
“… Yeah. You know, like there's other movies that get put out. Well, that's a touchy movie. That's a movie people touching each other the whole time. Versus grabbing everyone. And I got the rest of it. I got the Arrow Witness. I got the Dead Poets, the basic Disney release screencard keynote. I don't own Dead Poets. Do you not like it? I... Sims is on the same page. It's my least favorite weird film. Yeah, I think mine too. Fearless, I think, is a Warner Archive. Truman, basic Paramount 4K. Master and Commander got the steel book but i assume you don't have that yet i have it i just haven't bought it yeah interesting and then way back's an image release so i have that as well yeah i don't think i've seen the way do you like brit shit you know what i mean like so like demastering commander kind of passed you by just because it was like sort of a big blockbuster at the time and you were like like like how did it pass you by i wonder based on those books right i have no i've never had no grounding in the book to those books i don't go out to see a movie just because russell crowe's in it i don't not see a movie because russell crowe's in it but he's not an automatic do you go out to …”
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Despite its cultural significance, Peter Weir's film The Year of Living Dangerously has no legitimate Blu-ray release, leading to a passionate discussion among fans. Tracy Letts and his co-hosts explore the irony of owning lesser films on physical media while this classic remains elusive. Their conversation dives into the complexities of film rights and the peculiarities of physical media collection.
“… of what the King Arthur saga is. So it was called the Pendragon Cycle, I think. And basically it was like a Game of Thrones. They were going to film it. It was going to be their answer to Game of Thrones. It was going to be King Arthur. And this had been the longtime dream of Daily Wire CEO Jeremy Boring. Well, actually it wasn't that bad, but it was way too expensive. And so they got rid of it. They had kind of a knockoff of like Bluey, the children's show, that all they got rid of. But now they're back in the Hollywood game and they love picking up these canceled actors and actresses. So …”
“… the new Hollywood. Now, famously, they tried this with the King Arthur saga. It was hugely expensive. Their CEO, as far as I can tell, was pushed out over it. Wait, hold on. You've got to explain that a little bit to the listeners who might not be aware of what the King Arthur saga is. So it was called the Pendragon Cycle, I think. And basically it was like a Game of Thrones. They were going to film it. It was going to be their answer to Game of Thrones. It was going to be King Arthur. And this had been the longtime dream of Daily Wire CEO Jeremy Boring. Well, actually it wasn't that bad, but it was way too expensive. And so they got rid of it. They had kind of a knockoff of like Bluey, the children's show, that all they got rid of. But now they're back in the Hollywood game and they love picking up these canceled actors and actresses. So previously they got Gina Carano, who got in trouble with Disney, I believe, over some like a COVID thing or maybe a trans thing. She was on the Mandalorian, right? Yes, that's right. Exactly. And now they've got they got a Hollywood A-lister, formerly Jonathan Majors, who, of course, famously faced some, I believe, domestic violence charge. And now …”
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Jonathan Majors fell through a window while filming for a Daily Wire action movie, prompting crew to walk off set due to safety concerns. The production faced multiple hazards, including a special effects supervisor with a criminal history and a location filled with black mold, raising questions about the Daily Wire's commitment to safety standards in their film projects.
“… fucking sucks Everybody was on drugs. And she hints to being actually mistreated on the movie in a way if you watch how viciously she treats the film Hurt my feelings Wendell dies right into Eddie crying and being able to sing Tender Years Yeah. My best friend died last night. Season hell going sideways. This is what I've been waiting a year for. A bunch of jerk-offs making weird sounds.”
“… Into Frank and Maggie Which I think every scene with Berenger and Barker is just really good And I had this coming later But Barker hates this movie Yes Hates it She shit all over it That was to pay the rent We didn't know who was in charge The movie fucking sucks Everybody was on drugs. And she hints to being actually mistreated on the movie in a way if you watch how viciously she treats the film Hurt my feelings Wendell dies right into Eddie crying and being able to sing Tender Years Yeah. My best friend died last night. Season hell going sideways. This is what I've been waiting a year for. A bunch of jerk-offs making weird sounds.”
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In 'Eddie and the Cruisers', the song 'Tender Years' serves as a pivotal emotional anchor, showcasing the character Sal's heartfelt performance that resonates with the audience. The segment humorously highlights the over-the-top dedication of an extra and the film's behind-the-scenes dynamics, including Ellen Barkin's disdain for the project. This discussion captures the essence of 1980s nostalgia while revealing the darker realities of film production.
“… this is obviously la la land um or gaga land it known in my house handmaiden oh yeah it a great one we were still considering oj made in america film at that time Sure I think that gone I love 20th Century Women Love Yeah Not my favorite Mike Mills but that okay Hell or Hot Water. Nominated. Nice, guys. Oh, sure. That made it into Sierra Month, right? It did. They just recorded it. That's exciting. Okay. Let's keep going. We'll finish this very quickly. 2017, absolutely not. Not The Shape of Water. 2018, Green Book. No. 2019, I put Parasite at number one. I know that it was not. I did. I did …”
“… for me yes let's see this is so moonlight arrival moonlight wasn't my number one movie of 2016 there's no way manchester by the sea could be in there it's kind of like too depressing to be your favorite movie of the year this was a pretty strong year this is obviously la la land um or gaga land it known in my house handmaiden oh yeah it a great one we were still considering oj made in america film at that time Sure I think that gone I love 20th Century Women Love Yeah Not my favorite Mike Mills but that okay Hell or Hot Water. Nominated. Nice, guys. Oh, sure. That made it into Sierra Month, right? It did. They just recorded it. That's exciting. Okay. Let's keep going. We'll finish this very quickly. 2017, absolutely not. Not The Shape of Water. 2018, Green Book. No. 2019, I put Parasite at number one. I know that it was not. I did. I did not. I called it. I had Once Upon a Time in Hollywood. But listen, that was also the year of the Irishman, Little Women, and Marriage Story, along with Once Upon a Time in Hollywood. Banger year. Used to be a proper country. Yeah. 2020 Nomadland. Nomadland was pretty high on 2020 list for me. Wasn't number one. I mean, mine too. But sure. I just. …”
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In a lively discussion, the hosts debate their favorite films from the Oscars over the years, revealing surprising preferences. They compare nominees like '12 Years a Slave' and 'Moonlight' with personal favorites such as 'The Wolf of Wall Street' and 'Arrival.' This segment showcases their unique takes on what truly deserves recognition at the Oscars.
“… stick to the lines that I write So and then I would maybe throw in an ad lib and he be like okay that funnier so we say that the next take So Clerks originally what was the plan if there was a plan I mean, Kevin wanted to make a film. Was there a plan to do something with the film after he made it? Yeah, I think for him it was just to edit it and try to submit it to film festivals. and I do know and again he knows better but I know that the first time he screened it there was like a New York Film Festival he got in I guess it was only on like two screens and both screenings there was like ten people …”
“But for the most part Kevin was like you have to stick to the lines that I write So and then I would maybe throw in an ad lib and he be like okay that funnier so we say that the next take So Clerks originally what was the plan if there was a plan I mean, Kevin wanted to make a film. Was there a plan to do something with the film after he made it? Yeah, I think for him it was just to edit it and try to submit it to film festivals. and I do know and again he knows better but I know that the first time he screened it there was like a New York Film Festival he got in I guess it was only on like two screens and both screenings there was like ten people in the theater watching it and there was a gentleman named Bob Hawk that was in the theater luckily who passed it on to another gentleman was like you have to see this movie and that gentleman submitted to Sundance and got them to watch it and all of that and that's when Kevin went to Sundance and Miramax bought it at Sundance. It really became a …”
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In this segment, Jay Mewes hilariously recounts the humble beginnings of 'Clerks' and how it almost went unnoticed at a New York Film Festival with just ten viewers. The twist? A chance encounter with a film enthusiast led to its submission to Sundance, turning it into an indie sensation—proving that sometimes, luck is just as important as talent!
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Creating a co-lead character without a face in 'Project Hail Mary' posed significant challenges for filmmakers, as studios feared audiences would struggle to connect. The collaboration between puppeteers and actors, reminiscent of classic films like 'Star Wars,' led to innovative solutions that brought the character to life. This segment highlights the intricate process of creature design and the importance of tangible interactions in filmmaking.
“… referencing that make it maybe slightly more palatable as a best picture winner than say the master might have been i to me they just open the film and they enrich it and they are i mean i still really ride for the master but i thought that they were paul thomas anderson kind of widening the lens and um and widening what he can do yeah widening the tent for who can come in to hit one of his exactly yeah and so and i really responded to that. I'm with you in that I don't know what to do with an Oscars that rewards my tastes. And this was our favorite film of the year. Pretty far down the …”
“I still think that it part of it's it is doing what Paul Thomas Anderson does best. and the openings or the decisions that you're referencing that make it maybe slightly more palatable as a best picture winner than say the master might have been i to me they just open the film and they enrich it and they are i mean i still really ride for the master but i thought that they were paul thomas anderson kind of widening the lens and um and widening what he can do yeah widening the tent for who can come in to hit one of his exactly yeah and so and i really responded to that. I'm with you in that I don't know what to do with an Oscars that rewards my tastes. And this was our favorite film of the year. Pretty far down the line, too. I mean, that's the other thing is there's not a lot of what I would you and I are pretty unafraid to be like, this is a bad winner when something like that happens. It's nothing against the person. Not a lot of bad winners this year. Some of them might have been predictable. No one or two still. We can talk about those as we get there. …”
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The 2026 Academy Awards saw 'One Battle After Another' take home the Best Picture award, a win that resonated with movie enthusiasts. The discussion highlights how this year's Oscars felt more inclusive and reflective of diverse cinematic tastes, contrasting with past years where major films were overlooked. The segment invites listeners to consider how future generations might perceive this year's winners compared to iconic films of the past.
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The creator economy is reshaping how films are marketed, with production designers becoming the new stars. Kyle Hjelmeseth argues that studios should embrace this shift, allowing creators to share their journeys openly to attract audiences. This could lead to moviegoers being drawn in not just by actors, but by the creative minds behind the scenes.
“It's a really, really important reminder. Do you think that the film captured that as much as you did in your TED Talk? I think it hints at it because, as you know, Marty's main adversary is a Japanese person who seems very unemotional, very stoical, doesn't register any emotion when he wins or when he loses. And he probably comes from that background in Japan, whereby the only way to be a loser is to think too much about winning. and Marty scores wonderful victories here and there, but what is the cost of that …”
“It's a really, really important reminder. Do you think that the film captured that as much as you did in your TED Talk? I think it hints at it because, as you know, Marty's main adversary is a Japanese person who seems very unemotional, very stoical, doesn't register any emotion when he wins or when he loses. And he probably comes from that background in Japan, whereby the only way to be a loser is to think too much about winning. and Marty scores wonderful victories here and there, but what is the cost of that victory and what is he losing in terms of his soul? So I think that's an undercurrent in the film and it struck me when I was watching the film. It's set in 1952, as you know, and in some ways that was when the American Empire was at its peak. America had just helped win the war. They helped to revive Japan with the occupation The Marshall Plan had …”
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The film 'Marty Supreme' subtly critiques America's obsession with winning, contrasting it with Japan's harmonious approach to competition. Pico Iyer, who plays a character in the film, reflects on how the 1952 setting mirrors America's peak and its underlying divisions, raising questions about the cost of victory. This dynamic resonates today as society grapples with the binary of winners and losers.
“Well I want to congratulate you because i watched uh your film newborn oh uh and i very much enjoyed it and it was not what i expected which is rare usually when i watch a movie i think oh i can see where this is going and i was uh completely surprised by how this unfolded it's very powerful movie and you am i right this movie was made a while was it made a while ago when was the movie made yeah it was made it was made a little while ago and it was uh one of those the alchemy of making movies man it's it's …”
“Well I want to congratulate you because i watched uh your film newborn oh uh and i very much enjoyed it and it was not what i expected which is rare usually when i watch a movie i think oh i can see where this is going and i was uh completely surprised by how this unfolded it's very powerful movie and you am i right this movie was made a while was it made a while ago when was the movie made yeah it was made it was made a little while ago and it was uh one of those the alchemy of making movies man it's it's uh we made it with a company that went into insolvency and so we had to get the film back and you know all that and then there was a the writer's strike and all this stuff before we're now getting the movie out. But weirdly, I've had so many instances like this. Like Selma took seven years to get made. Is that true? Yeah, yeah, yeah, yeah. From …”
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David Oyelowo shares the wild ride of getting his film 'Newborn' made, including the unexpected twists like a company going bankrupt and a writer's strike. He humorously reflects on how the most impactful stories often take ages to unfold, making the audience think, 'Wow, this was a slam dunk!' while it took years of struggle behind the scenes.
“And this is a very hallowed and important film. Yeah. Um, never one of my favorites. Uh, I can, I think the, the magnitude of the performance is at minimum a yellow for this because the movie is so. She also wins her second Oscar in five years of work. Yes. Which is. It is the, it is like clearly the hour, like the new Catherine Hepburn is here. Yeah. You know, like this is, this is the American film actress who can do anything. an immaculate um accent work sure and then she's also acting …”
“And this is a very hallowed and important film. Yeah. Um, never one of my favorites. Uh, I can, I think the, the magnitude of the performance is at minimum a yellow for this because the movie is so. She also wins her second Oscar in five years of work. Yes. Which is. It is the, it is like clearly the hour, like the new Catherine Hepburn is here. Yeah. You know, like this is, this is the American film actress who can do anything. an immaculate um accent work sure and then she's also acting in i think is it german or polish in polish yeah but though she's in but then i think people are speaking no she has german because that's why she gets to be the secretary oh you're right yeah so i mean it could be both anyway acting in another language in the flashbacks um i re-watched everything up until until the scene And I was like, I've seen …”
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Meryl Streep's performance in 'Silkwood' is a powerful testament to her acting prowess, earning her another Oscar nomination shortly after her success in 'Sophie's Choice.' The film, directed by Mike Nichols, tells the true story of Karen Silkwood, a whistleblower at a nuclear power plant, showcasing Streep's ability to portray complex, emotional characters. Despite the film's slower pacing, Streep's undeniable talent shines through, making it a crucial entry in her Hall of Fame.
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