The Filmographers

After the box-office failure of Kiss Me, Stupid, Billy Wilder decided to leave sex out of The Fortune Cookie (1966). He went back to the premise that made him an A-list director twenty years earlier: insurance fraud!

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When a star singer stops for gas in small-town Nevada, two struggling songwriters hatch a plot that is in no way problematic: they hire a local prostitute to pose as the piano player’s wife and offer her to the singer, hoping he’ll buy one of their songs.

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Sixteen years after winning an Oscar for writing “The Social Network,” Aaron Sorkin follows up by writing AND directing “The Social Reckoning.” He claims it’s not a sequel, but it IS a look at what happens when Mark Zuckerberg—and Facebook—are all grown up. Keir Graff and guest co-host Scott Dummler break it down and tell you whether you should friend, block, or report.

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Paul Diamond knew Billy Wilder well—his dad was Wilder’s writing partner, I. A. L. Diamond. A novelist, screenwriter, and movie producer himself, Paul spoke to Keir about meeting Marilyn Monroe, the true story behind his dad’s initials, and who wrote the line, “Nobody’s perfect.”

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Billy Wilder’s last film, a savage satire of capitalism, was a flop. With Irma la Douce, he returned to the subject that gave him his greatest successes—sex!—by making a movie about a hooker with a heart of gold.

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It's no secret that Billy Wilder was an important inspiration in Cameron Crowe's life and work. Crowe did, after all, write a book on Wilder. But how much of Wilder shows up in Crowe's movies? We look at Crowe's 1997 smash-hit Jerry Maguire and ask the most important question: Does Crowe show Wilder the money?

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Part existential road trip, part liminal horror nightmare, It Ends captivated audiences during its festival run and is hoping to build on that success with a theatrical release. We explore writer/director Alex Ullom's micro-budget effort and how it might give voice to the Covid generation. Also, we share two updates on our main squeeze, Steven Soderbergh!

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It's 1961, and Hollywood is changing. Foreign films are wooing critics and audiences alike, and a new wave of filmmakers is starting to emerge. But while movies are taking a step forward, Wilder is taking a step back with One, Two, Three, a throwback comedy featuring an aging star. Grab yourself a Coca-Cola and find out if audiences would travel back with the classic auteur, of if he was, for the first time, out of step. 

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Kiyoshi Kurosawa's The Samurai and the Prisoner is an equally epic and intimate story of war, nobility, and murder in 16th-century Japan. Mike and Kevin explore its many layers, its narrative construction, and how Kurosawa taps into Sydney Lumet's rich tradition of "moral claustrophobia" to create something truly compelling.

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By 1960, nearly twenty years into his career as a writer/director, Billy Wilder had made one unforgettable film after another. And yet, his latest effort might just be his best yet--it is, some say, the quintessential Wilder movie: The Apartment.  But nothing's easy with Wilder, and making his groundbreaking comedy was no exception.

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