Welcome back to We Came From Celluloid, where film and music collide in the messiest, most honest way possible. I'm Nicky P, here with Brian Pritchard, and this week we're dealing with some heavy shit - the kind of losses that make you question everything while simultaneously getting excited about what comes next.   August has been a month, folks. We lost Ozzy Osborne, Brent Hines from Mastodon, and earlier this year, David Lynch passed away. These aren't just dead heroes - they're creative voids that need to be filled. But here's the thing: loss creates opportunity. When giants fall, space opens up for new voices to emerge.   What We Cover:

• Processing the deaths of musical and cinematic legends
• Why mass appeal usually makes Nicky stop liking things
• Brian's Danny Boyle deep dive and the Slumdog Millionaire Oscar backlash
• Our ongoing Jordan Peele debates (yes, we're still beating this dead horse)
• The Key & Peele legacy and why Keegan never found his footing
• Bad movies with musical components that are actually amazing
• Why Rob Zombie is talented but unwatchable
• House of 1000 Corpses and the lost cuts we'll never see
• The death of concise filmmaking in the digital age
• Movies that go into production without scripts (looking at you, Marvel)
• Hudson Hawk appreciation and Easter egg obsessions

  The Deep Stuff: Brian gets philosophical about creative vacuums and how loss creates space for new artists. We talk about Aldous Huxley's "mind at large" theory and how friction in the creative process is essential - just like how everything in nature grows on the edges, where different environments meet.   Music Talk:

• Why Nicky needs someone to rein in his creative indulgences
• The plan to bury a "Nights in White Satin" sample in our song "1212"
• How Easter eggs connect everything from movies to music
• The importance of having that "everyman" perspective in a band

  Film Geek Moments: From Lynch's four-hour Dune cut to deleted scenes that are lost to time, we dive into the stuff that gets salvaged and what disappears forever. Plus, why modern movies are too damn long and how digital filmmaking enables creative indulgence.   Key Takeaway: Death sucks, but it creates space. Whether it's Ozzy, Brent, or Lynch, their absence means new voices get a chance to step up. And that's actually pretty exciting, even when you're mourning the loss of your heroes.   This episode is for anyone who's ever lost an artistic hero and wondered who would fill that void. It's for people who understand that the best art comes from friction, resistance, and those uncomfortable edges where different worlds collide.   Ready to argue about Jordan Peele some more? Follow us everywhere and tell us we're wrong. We can take it.

Welcome back to We Came From Celluloid, where two middle-aged guys from Ohio continue to prove that you can combine your obsessions and somehow make it work. I'm Nicky P, back with Brian Pritchard for another deep dive into the beautiful intersection of music and movies - and this week, we're getting practical about it.   Brian just got back from Nashville (Music City, as they insist on calling it), and what started as tourist observations quickly spiraled into the kind of conversation that only happens when two marketing guys decide to overthink the music business. Spoiler alert: we're still trying to figure out how to make money at this.   What We Dive Into:  

• Brian's Nashville adventure and the economics of Broadway's music scene
• Why cover gigs are actually paid practice (and why some musicians are too precious to get it)
• The great Nashville vs. Cleveland musician talent reality check
• My master plan to integrate movie clips into our live performances
• Technical proficiency vs. songwriting ability: the eternal struggle
• How Brian's been making "found footage" music videos since middle school
• Why KISS, Slipknot, Ghost, and Sleep Token are basically the same lineage (fight us)
• The deeper meaning behind our "Children of the Corn" song that nobody asked for

  The Real Talk: Look, we've been doing this for over 20 years, and we still haven't cracked the code on making money from music. But we're marketing guys, so we know there's got to be a way. This episode is basically us workshopping our latest scheme: turn every Puma Thurman show into a multimedia experience where movie quotes and film clips create a narrative between songs.   Key Moments:  

• Brian's "retirement plan" of being a drummer in Nashville instead of a Walmart greeter
• My confession about performing half our songs with completely made-up lyrics
• The moment we realize technical skill doesn't equal songwriting ability
• Our heated debate about whether Ghost and Sleep Token deserve to be mentioned with KISS
• Brian revealing the hidden addiction metaphor in our horror movie song

  The Bottom Line: We're essentially trying to become the masters of ceremonies for our own shows, creating experiences that people can't get from Spotify. Because let's face it - if someone wants good songs, they can find them at home. If they want a show that combines their love of movies and music into something they've never seen before, they need to come see us.   Fair Warning: We get into some deep discussions about the nature of emotion vs. intellect in art creation, the economics of regional music scenes, and why Built to Spill writes complete nonsense for lyrics (which, honestly, is aspirational for me). Also, Brian makes some controversial statements about masked metal bands that might get us canceled in certain circles.   This episode is for anyone who's ever wondered if you can make a living playing music, anyone who's tried to balance artistic integrity with paying the bills, and definitely anyone who's ever thought "What if we just added more movie references to everything?"

Welcome back to We Came From Celluloid, where film and music crash together like a beautiful disaster that somehow works. I'm Nicky P, back with Brian Pritchard for another deep dive into the stuff that keeps us up at night - and trust me, after this conversation, you're gonna understand why we can't just talk about movies like normal people.   This week started simple enough: Brian saw Superman three times in a week. Not because it was life-changing cinema, but because he's got that Regal Unlimited pass and three different friend groups wanted the IMAX experience. But what started as a James Gunn love-fest quickly spiraled into the kind of conversation that gets people unfriended on Facebook.   What We Dive Into:

• Why James Gunn's Superman works (and why Brian will defend it to the death)
• The difference between storytelling with a point of view versus agenda-driven filmmaking
• How Jessica Jones Season 2 became the poster child for "how to destroy your own show"
• Black Panther, representation, and why marketing messages can backfire
• The fine line between celebrating culture and creating division
• Why good exposition matters more than politics
• Our completely unplanned journey from Superman to Jordan Peele to Queens of the Stone Age

The Real Talk: Look, we went places this episode. We talked about representation in ways that might make some folks uncomfortable, but that's kind of the point. Brian and I don't agree on everything, but we're both parents trying to raise kids in a world where every piece of entertainment comes with a dissertation attached. Sometimes you just want to watch a movie without getting lectured.   Key Moments:

• Brian's defense of James Gunn's timely-but-timeless approach to Superman
• My rant about Jessica Jones Season 2 and why bad writing ruins everything
• Our discussion on whether pride movements help or hurt long-term progress
• Why I still haven't seen Black Panther (and it's not for the reasons you think)
• The moment we realize we've been talking for an hour and haven't mentioned collectibles once

The Bottom Line: Good storytelling transcends politics. Bad storytelling ruins everything, regardless of how noble your intentions. James Gunn understands this. The writers of Jessica Jones Season 2 did not. And somehow this all connects to why Queens of the Stone Age sounds different live than on record.   This episode is for anyone who's tired of having to choose between enjoying art and agreeing with the artist's politics. It's for parents trying to figure out how to raise kids who can think critically without being cynical. And it's definitely for anyone who's ever wondered why some directors get to keep making movies while others disappear after one studio disaster.   Fair Warning: We get into some heavy topics around representation, politics in media, and cultural division. If you're looking for light entertainment commentary, maybe skip to the part where we talk about Nicholas Hoult as Lex Luthor. But if you're ready for an honest conversation about how entertainment shapes culture (and vice versa), buckle up.   Ready to argue with us in the comments? Follow us everywhere and tell us why we're wrong. We can take it.

Welcome to We Came From Celluloid, the podcast that exists at the nexus between film and music - because why choose just one obsession when you can have them all? I'm Nicky P, here with my partner-in-crime Brian Pritchard, and we're basically trying to create the Voltron of pop culture commentary.

This inaugural episode dives deep into our recent punk show experience, where we supported longtime friend Joey Steel's band Cop Out. It's been years since either of us stepped into that raw, unfiltered punk scene, and the reflections are... well, let's just say they're honest.

What We Cover:

• Our recent DIY punk show experience - storefront venues, broken mics, and all

• The difference between professional polish and punk authenticity

• Why technical proficiency isn't always the point (and when it matters)

• How Puma Thurman fits into the spectrum between Weird Al and Queens of the Stone Age

• The evolution from trying to be "serious musicians" to embracing controlled chaos

• Why front men feel unapproachable (even to other musicians)

• Reconnecting with old friends who became touring punk warriors

• The beauty of simple song structures vs. 10-minute prog epics

Key Takeaways: Brian breaks down why seeing old friends succeed in their artistic vision feels so rewarding, even when their paths diverge from yours. I reflect on rediscovering the joy of not taking yourself too seriously while still caring deeply about the craft. We both grapple with the tension between wanting to sound "professional" and embracing the beautiful messiness that makes punk special.

The Puma Thurman Philosophy: We're somewhere between comedy and sincerity, between technical prowess and emotional truth. Think Tenacious D's earnestness mixed with Ween's genre-hopping, but with a healthy dose of film obsession thrown in for good measure.

This episode is for anyone who's ever wondered if they can go home again to scenes they've outgrown, or if growth means leaving authenticity behind. Spoiler alert: the answer is complicated, and that's exactly what makes it interesting.

Ready to join the conversation? Follow us on all platforms and tell us about your own experiences navigating artistic evolution while staying true to your roots.