Best Podcast Episodes About Original Film
Everything podcasters are saying about Original Film — curated from top podcasts
Updated: Apr 01, 2026 – 22 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.
“… 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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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.
“… 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.
“so hanson held a mini film festival for the people in the movie and showed them the bad and the beautiful in a lonely place Don Siegel the lineup Private Health 36 and Kiss Me Deadly I don't know if Sean had any thoughts. I haven't read your substack today. Can I ask you? I don't know if you covered those. Would the most fun part about directing a film be like programming the pre-film festival? The film festival for the cast? That would underline the fact that I don't …”
“so hanson held a mini film festival for the people in the movie and showed them the bad and the beautiful in a lonely place Don Siegel the lineup Private Health 36 and Kiss Me Deadly I don't know if Sean had any thoughts. I haven't read your substack today. Can I ask you? I don't know if you covered those. Would the most fun part about directing a film be like programming the pre-film festival? The film festival for the cast? That would underline the fact that I don't know how to make films, but I do know how to program a festival of old movies. We brought in Sean Fennessey for film festival. did you have any thoughts on those five I've seen all the movies and I love all of them I think Don Siegel is like I don't know if you mentioned him as a director that Hanson really likes but that's clearly a you know kind of …”
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The most enjoyable part of directing a film might just be curating a pre-film festival for the cast, as discussed in the context of Curtis Hanson's 'L.A. Confidential.' The conversation highlights classic noir films like 'The Bad and the Beautiful' and 'Kiss Me Deadly,' showcasing the influence of directors like Don Siegel and Stanley Kubrick. This unique perspective emphasizes the joy of sharing cinematic history with actors and crew.
“… 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.
“… 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.
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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!
“… 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.
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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.
“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.
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In discussing the impact of cinematography, Charlie Cox highlights a pivotal scene from 'American Beauty' where the framing of characters reveals deeper emotional truths. He emphasizes how the camera's perspective can shape audience perception and character dynamics, particularly in the over-the-shoulder shot that juxtaposes the characters' presence. This analysis showcases the intricate relationship between acting and visual storytelling.
“… the most part i mean really at all i mean k-pop demon hunters is the funniest movie i saw last year and not nominated for any of the top awards um original screenplay what is wrong with y'all um but i think that one of the interesting things to think about is i thought i don't want a genre category that bring back the MTV movie awards for that. But what I do think would be interesting, Bill, is removing the genders from the acting categories. Oh, wow. I think we got to call these people's bluff. We got to call the industry's bluff. You're losing too much history with that, though. I think that's …”
“… would you turn the TV off when they were awarding them I would not If we are talking about going down this Really bad idea route No because It's true there were no comedies there were no best picture nominees that were like pure comedies this year for the most part i mean really at all i mean k-pop demon hunters is the funniest movie i saw last year and not nominated for any of the top awards um original screenplay what is wrong with y'all um but i think that one of the interesting things to think about is i thought i don't want a genre category that bring back the MTV movie awards for that. But what I do think would be interesting, Bill, is removing the genders from the acting categories. Oh, wow. I think we got to call these people's bluff. We got to call the industry's bluff. You're losing too much history with that, though. I think that's the only issue. I think you're creating new history. We're creating new history. Yeah, that's a brain breaker for me. I just think we got to try it. We got to try it because because at least then we will know something about this organization because it's not like it the oscars it not like people i mean i sure there will be industry people who would …”
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Imagine a world where the Oscars no longer separate awards by gender! In this segment, Bill Simmons and his guests discuss the implications of removing gender distinctions in acting categories, suggesting it could create new history and challenge the industry's norms. They also ponder what it would mean for future award winners and the overall landscape of the Oscars.
“… like you you are a director in the sense of that. chicken shop day exactly and i've directed other short form things i actually did direct a short film you do passenger princess as well do you direct that as well uh yeah oh no i don't direct it i don't direct it but um i'm like the the creative behind the idea and i just directed my first music video what wait which one yeah for an artist called maizey peters and that was amazing yeah i loved it it was such a fun experience and i just got i was like this is what i want to be doing. I mean, you're amazing. I, what you said in this entire …”
“… more realistic and also so fun I mean I want to get behind the camera You want to direct. I want to start. I want to I want to go behind the camera. Yeah. When you talk to directors, like are you kind of fishing for learning about how because I mean, like you you are a director in the sense of that. chicken shop day exactly and i've directed other short form things i actually did direct a short film you do passenger princess as well do you direct that as well uh yeah oh no i don't direct it i don't direct it but um i'm like the the creative behind the idea and i just directed my first music video what wait which one yeah for an artist called maizey peters and that was amazing yeah i loved it it was such a fun experience and i just got i was like this is what i want to be doing. I mean, you're amazing. I, what you said in this entire conversation that I'm beyond happy about is what you said about your legacy and giving back. Like that's absolutely incredible because I mean, we live in a world with social media where we're all posting about ourselves constantly, but the idea that you really, that you actually have other, the youth in your mind and like giving back and then kind of how …”
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The importance of mentorship in the film industry is highlighted by a young director who shares her journey of giving back to youth aspiring to work behind the camera. She emphasizes that creating a meaningful impact on even a small group of people can be more fulfilling than seeking mass recognition. This conversation showcases how mentorship not only nurtures talent but also builds a legacy of support in a world dominated by self-promotion.
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Imagine a film reminiscent of 'Jerry Maguire' but with a Nancy Meyers twist, exploring themes of love versus money. The discussion dives into nostalgic 1988 movie experiences, highlighting the cultural significance of films during that era, like 'Good Morning Vietnam' and the excitement of VHS rentals. The hosts reflect on how these films shaped their childhood and the cinematic landscape of the time.
“… in front of a green screen because that's exactly what's actually happening. They had more convincing and more authentic car chases than 1960s. Films like Bullet were much more interesting and watchable than whatever this is. In 2005, before the streaming era, the budget didn't go entirely to CGI. It went to scenes like this one, which you can see here. It's from the first season of the HBO series Rome. the crew built a five acre set which is part of the reason the production cost was over a hundred million dollars the goal was to make everything look as believable as possible and they …”
“… it's one of those single take sequences that isn't actually a single take. Really, it's completely unconvincing in every way. You could tell these people aren't really in a car. There's no sense of physics or momentum at all. It looks like they're in front of a green screen because that's exactly what's actually happening. They had more convincing and more authentic car chases than 1960s. Films like Bullet were much more interesting and watchable than whatever this is. In 2005, before the streaming era, the budget didn't go entirely to CGI. It went to scenes like this one, which you can see here. It's from the first season of the HBO series Rome. the crew built a five acre set which is part of the reason the production cost was over a hundred million dollars the goal was to make everything look as believable as possible and they succeeded now it's kind of the goal is to make everything look like a video game or at least they don't care if it looks like a video game because the assumption again is that you're not paying attention to what you're watching anyway so that's what you get when you watch streaming films and shows these days a video game is what you're paying an ever …”
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Streaming services are producing increasingly mindless content, exemplified by a recent film that feels algorithmically generated. This shift from artistic vision to generic, video game-like experiences reflects a broader trend in the industry where production quality is sacrificed for viewer engagement. As a result, audiences are paying for a diluted cinematic experience that prioritizes quantity over quality.
“… michael b jordan they definitely deserve a little bit more to me um they got they just do man they did a hell of a job with that movie especially as original screenplay it was dope to see them get their flowers man i wish delroy would have got his as well uh sean penn with crazy in the movie i went to um amused by the movie that won picture of the year uh another i forgot the name of it with um sean penn and um tiana taylor yeah another battle of another I wasn't the biggest fan of that movie It was definitely a solid movie I didn't think it was better than Sinners One battle after another It had …”
“… unhinged on the show Even Debbie Morgan is wild She was hooping on a nigga And then she killed him afterwards It's a wild show Speaking of movies man shout out to sinners man getting those oscars man for sure man shout out to ryan kugler shout to michael b jordan they definitely deserve a little bit more to me um they got they just do man they did a hell of a job with that movie especially as original screenplay it was dope to see them get their flowers man i wish delroy would have got his as well uh sean penn with crazy in the movie i went to um amused by the movie that won picture of the year uh another i forgot the name of it with um sean penn and um tiana taylor yeah another battle of another I wasn't the biggest fan of that movie It was definitely a solid movie I didn't think it was better than Sinners One battle after another It had Tiana Taylor It was about to war or some shit Nah I mean Leonardo Zinn he did a good job as well It had some good actors in it as well I just wasn't as sold it It was the best movie But shout out to them They did their job great as well But Sinners Megan They just did I said that shit on the plane They had that on the plane Are you tapped in on the …”
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The Oscars left many disappointed this year, especially with the snub of the film 'Sinners,' which deserved more recognition. Jeff Teague passionately discusses how Ryan Coogler and Michael B. Jordan crafted a masterpiece that deserved accolades, unlike some other films that didn't resonate as strongly with him. This highlights the unpredictable nature of award shows and the subjective experience of film appreciation.
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