Jason and the Movienauts

In the latest episode of their discussion of Robert Altman's classic Nashville, Bud steers Opal next door to Studio B, where Lily Tomlin's Linnea is singing with a gospel choir from Fisk University.

Jason Sacks and Dan Story compare the loose, joyful energy there with Haven's tightly controlled session, unpack Opal's improvised missionary story and Bud's barely-straight-faced reactions, and wonder whether that's screenwriter Joan Tewkesbury on the couch. Plus Geraldine Chaplin on playing Opal, the Fisk Jubilee Singers tradition, and the many sides of Linnea in Robert Altman's Nashville.

01:30 Studio A vs. Studio B

07:44 Opal's "cozy" studio

11:03 Geraldine Chaplin on Opal

16:46 Is that Joan Tewkesbury?

27:53 The Fisk University choir

32:53 The many sides of Linnea

Jason and Michelle wrap up their series on Douglas Sirk, Hollywood's master of melodrama, by counting down all 13 Sirk films they covered, from the noir thrills of Lured to the towering tearjerker Imitation of Life. They agree on seven spots, including #1 and #13, but the biggest fight is over Written on the Wind: Jason puts it at #6, while Michelle, for whom it's her all-time favorite Sirk, puts it at #2.How would you rank them? Tell us your top Sirk in the comments, and like and subscribe for more director deep dives.CHAPTERS0:00 Intro0:33 #13 Taza, Son of Cochise (1954)1:33 #12 Sleep, My Love (1948)2:46 #11 Shockproof (1949)3:47 #10 Lured / All I Desire4:35 #9 All I Desire / Lured6:52 #8 Interlude / Magnificent Obsession8:11 #7 Magnificent Obsession / Interlude11:27 #6 Written on the Wind / A Time to Love and A Time to Die13:15 #5 The Tarnished Angels (1957)15:10 #4 A Time to Love and A Time to Die / There's Always Tomorrow16:33 #3 All That Heaven Allows (1955)18:14 #2 There's Always Tomorrow / Written on the Wind21:54 #1 Imitation of Life (1959)26:20 More Sirk worth seeking out27:59 Fassbinder and Sirk29:22 The final rankingsAlso discussed: Battle Hymn, Thunder on the Hill, Hitler's Madman, Never Say Goodbye and Meet Me at the Fair, plus Rainer Werner Fassbinder with Douglas Sirk.Music: "Together We Stand" by Kaazoom.#DouglasSirk #ImitationOfLife #WrittenOnTheWind #AllThatHeavenAllows #ClassicFilm #Melodrama #MoviePodcast

In the latest episode of their minute by minute discussion of Robert Altman's epochal film Nashville, Haven stops everything to have Opal thrown out of his studio, and Nashville gives us its first burst of overlapping dialogue.

Jason Sacks and Dan Story explain the Lion's Gate 8-track sound system behind it, ask how far "I'm Opal from the BBC" could get you in 1975, and look at Bud snapping to attention when his father calls him "Buddy." Plus Haven's double standard about studio guests, Henry Gibson's career, and the what-if of Robert Duvall playing Haven Hamilton.

00:50 Altman's overlapping dialogue

01:55 "I'm Opal from the BBC"

07:08 The 8-track sound system

10:12 Bud and "Buddy"

16:01 Henry Gibson's performance

21:44 What if Robert Duvall played Haven?

Jason Sacks, Paul McCoy and Shawn Hill continue their journey through the films of John Carpenter with his late-’90s pair: Village of the Damned (1995) and Vampires (1998). Neither is anyone’s new favorite Carpenter. The verdict is “very, very okay.” But there’s plenty to dig into.

Village of the Damned was a work-for-hire job. Universal offered it in exchange for a Creature from the Black Lagoon remake that never happened, and Carpenter stuck close to the 1960 original he loved as a kid. The guys weigh a strong cast (Christopher Reeve, Kirstie Alley, Linda Kozlowski, Mark Hamill, Meredith Salenger) against blank, robotic children and a flat look.

Vampires started as a $60 million Dolph Lundgren project and became a $20 million James Woods movie. It’s gorgeously shot by Gary B. Kibbe and full of Carpenter finally getting to make his Western, with Sheryl Lee bringing Fire Walk with Me energy. Plus: casting stars who later became problematic, Maximilian Schell’s cameo, and a look ahead to Ghosts of Mars and The Ward.

Next time: Ghosts of Mars and The Ward.

#JohnCarpenter #VillageOfTheDamned #Vampires #HorrorMovies #MoviePodcast #JasonAndTheMovienauts

In the latest discussion of Robert Altman's brilliant Nashville, Haven Hamilton finally takes the mic, recording his bicentennial anthem "200 Years," and Jason Sacks and Dan Story ask whether it's the most pandering song in Robert Altman's Nashville.

They read Joan Tewkesbury's screenplay description of Haven, size up Henry Gibson's controlling star and meet Bud and Lady Pearl, the family in his orbit. Plus Altman's assistant directors Tommy Thompson and Alan Rudolph, the background extras with stories of their own, Geraldine Chaplin's Opal wandering in, and some unforgettable 1970s outfits.

00:24 "200 Years"

07:22 Tewkesbury on Haven

14:15 Bud and Lady Pearl

20:03 Altman's assistant directors

25:04 Opal arrives

31:23 Those 1970s outfits

Jason Sacks and Michelle wrap up their Douglas Sirk series with his most personal film, 1958's A Time to Love and A Time to Die. Based on Erich Maria Remarque's novel, it follows a young German soldier on a three-week furlough through a bombed-out Germany in 1944, where he falls fast and hard for Elizabeth.

Is Sirk imagining the life of the son he lost on the Eastern Front? Do American actors like John Gavin, Don DeFore and Keenan Wynn work as Germans? Would Paul Newman have been better in the lead? Plus Oscar, the SS man who's living large; Dorothea Wieck of Mädchen in Uniform as the landlady; the producer's cut Sirk never saw; why the film flopped in Germany; and comparisons to Billy Wilder's A Foreign Affair and Judgment at Nuremberg. Spoiler warning: we discuss the devastating ending.

00:40 Sirk's most personal film

04:27 1950s hair in 1944 Germany

06:17 Oscar and the banality of evil

09:00 Dorothea Wieck as the landlady

10:12 Americans playing Germans

14:05 The Don DeFore problem

16:10 The wounded soldiers' kindness

18:03 What if Paul Newman had starred?

21:52 Love on a three-week furlough

28:19 Sirk and his son

29:53 The cut Sirk never saw

30:45 The ending (spoilers)

34:56 Émigré directors look back at Germany

38:02 Why Germany didn't want this film

41:55 Sirk's wounded soldiers

Twelve musicians. Four backup singers. One man in white rhinestones watching every one of them like a hawk.

In episode 3 of It Don't Worry Us, Jason Sacks and Dan Story step into Haven Hamilton's dark, cramped recording studio. That's minutes 2:30 to 4:00 of Robert Altman's Nashville, where one elegant tracking shot tells you everything about the king of country music.

Is "200 Years" a heartfelt bicentennial anthem or Altman's sharpest joke? How did a Laugh-In comedian become one of the film's most commanding presences? Plus: the unsung people who pushed Altman's boulder uphill.

Hashtags

#ItDontWorryUs #Nashville #RobertAltman #HenryGibson #HavenHamilton #Nashville1975 #FilmPodcast #MoviePodcast #ClassicFilm #70sCinema #CountryMusic #RichardBaskin #Altman

Timestamps

• 0:00 – Welcome and recap: where we left the Hal Phillip Walker van
• 1:34 – Altman's first classic tracking shot through Haven's studio
• 5:16 – "200 Years": sincere patriotism or Altman poking fun?
• 11:17 – Henry Gibson, from Laugh-In and The Long Goodbye to Haven Hamilton
• 14:59 – Richard Baskin ("Frog"), Scott Bushnell and the editors behind the film

Jason Sacks and Eric Hoffman dig into Shohei Imamura's first and third films, both from 1958: Stolen Desire and Endless Desire.

Made as Nikkatsu studio assignments with titles that have nothing to do with the movies, they're still unmistakably Imamura: energetic, earthy, darkly funny portraits of Japan's underclass.

We compare Stolen Desire's chaotic traveling theater troupe to Floating Weeds by Imamura's old boss Yasujirō Ozu, debate whether studio interference softened its ending, and celebrate Endless Desire as a pulpy heist-gone-wrong caper in the spirit of The Ladykillers and The Killing.

Plus: how the Japanese New Wave pushed Imamura toward Pigs and Battleships.

#ShoheiImamura #JapaneseCinema #JapaneseNewWave #StolenDesire #EndlessDesire #Nikkatsu #Ozu #ClassicFilm #FilmPodcast #MoviePodcast #CriterionCollection #HeistMovies

In this second episode of It Don't Worry Us, Jason Sacks and Dan Story dig into the opening scene of Robert Altman's Nashville, where Hal Phillip Walker's campaign van pulls out and winds through the city.

They unpack the Replacement Party's populist, folksy rhetoric against the backdrop of Watergate-era distrust and 1970s inflation, comparing Walker to Ross Perot and modern outsider candidates.

The hosts also trace the van's route through Nashville's now-vanished lower Broadway district, marveling at Altman's background details — stray pedestrians, mismatched parked cars, a beeping Volkswagen — that give the film its documentary-like texture and lived-in realism.Timestamps:

• 00:00:28 – Introducing the scene: the Walker van as a recurring "character" throughout the film
• 00:03:01 – The Replacement Party and its Watergate/Nixon-era political context
• 00:12:06 – Walker's folksy, "dumbed-down" rhetorical style and the era's inflation anxieties
• 00:19:00 – Frame-by-frame analysis of parked cars and Altman's background details
• 00:25:02 – The van turns onto Broadway, touring Nashville's lost lower Broadway district

Announcing a new podcast from the people who brought you Jason and the Movienauts! Search for "It Don't Worry Us" in your podcast feeds!

What happens when two movie obsessives decide that watching Nashville once—or even a dozen times—isn't enough?

Jason Sacks and Dan Story begin their minute-by-minute journey through Robert Altman's sprawling 1975 masterpiece. Along the way, they dig into the battered Paramount logo, Altman's war with the studios, the bizarre opening credits, K-Tel records, 24 unforgettable characters, and the visual madness that launches the movie.

Nashville contains multitudes—and this is just the first minute and a half. Come along for the rabbit hole.

TIMESTAMPS

00:00 — Welcome to The Nashville Minute

03:00 — How We Discovered Nashville

06:25 — Why Nashville Still Feels So Current

09:40 — That Battered Paramount Logo & Altman's War With the Studios

15:56 — The Mystery Hidden in the Opening Credits

22:00 — K-Tel, Chaos & The Insane Opening