I unpack my thoughts on one of our most exciting filmmakers and contextualize the claim that Jordan Peele is the "next Hitchcock."

follow me on letterboxd, instagram, and youtube:@parkergehring

Sources: "Eric Rohmer: a Biography" by Antoine de Baecque and Noël Herpe, "Hitchcock/Truffaut" by Francois Truffaut, and Variety Magazine. 

Music from Jordan Peele and Hitchcock films.  All the love to Michael Abels and Bernard Hermann.  Ending song "Les Fleurs" by Minnie Riperton. Also sunglasses at night. :)

Today I am joined by my dear sister Julia Gehring as we unpack and rank the final vestiges of grace in this slaughterhouse once known as humanity: the films of Wes Anderson.

follow me on letterboxd, instagram, and youtube:@parkergehring

follow Julia Gehring on letterboxd and instagram:@juliagehring 

Music: a whole ton of stuff from Wes Anderson films. 

today we're sharing a drink we call loneliness, but it's better than drinking alone. 

follow me on letterboxd, instagram, and youtube:@parkergehring

follow Ethan Knowlton on letterboxd:@ethanknowlton and youtube:@eefboy

Music: Tons of Billy Joel

Fully utilizing the opportunity of Shane live "in the studio," we decided to pick a topic and just talk about it, seeing where it would lead us! The topic: Rating Films.  Is it good to give films ratings?  How does that effect their perception?  Does it effect how they're made?

Song: "Cut to the Feeling" by Carly Rae Jepsen

What? Spider-Man 3? Yes the Sam Raimi 2007 Spider-Man 3 of internet fame.  You love that movie?  You're defending it on your podcast? 

Films mentioned: Spider-Man Trilogy (2002, 04, 07) directed by Sam Raimi, Shrek the Third (2007).  

Music: "They Say it's Wonderful" by Doris Day, "Main Title" by Danny Elfman, "Drive that Funky Soul" by James Brown, "Transformations" by Christopher Young, "You May be Right" by Billy Joel, and "Signal Fire" by Snow Patrol 

Now for a discussion about non-conventional or avant garde film featuring two of my good friends Shane Huang and Ethan Knowlton.  

Films mentioned: 

Ikiru directed by Akira Kurosawa, It’s a Wonderful Life directed by Frank Capra, Jean de Florette and Manon of the Spring directed by Claude Berri, 2001: A Space Odyssey directed by Stanley Kubrick, Koyaanisqatsi directed by Godfrey Reggio, H20 directed by Ralph Steiner, Water for Maya directed by Stan Brakhage, Parasite directed by Bong Joon-Ho, Shoplifters directed by Hirokazu Kore-eda, Knowlton Family Videos, The Lumiere Films, F for Fake directed by Orson Welles, Stray Dogs and Days directed by Tsai Ming-liang, Mulholland Drive and Twin Peaks directed by David Lynch, Tenet directed by Christopher Nolan, Spider-Man: No Way Home (no spoilers) directed by Jon Watts, Meshes of the Afternoon directed by Maya Deren, and briefly Sherlock Jr. directed by Buster Keaton

Opening and Closing Music from Twin Peaks: The Return by Angelo Badalamenti

For the inaugural episode of the show, I have an audio essay exploring, via stories and otherwise, the core reasons that I love non-conventional or avant garde cinema.  

Films mentioned: 2001: A Space Odyssey directed by Stanley Kubrick

Twin Peaks (The Original Series), Twin Peaks: Fire Walk with Me, and Twin Peaks: The Return directed by David Lynch

Music from Twin Peaks: Fire Walk with Me, Twin Peaks (the Original Series), and Mulholland Drive by Angelo Badalamenti, Do Not Avert the Face (Sacred Russian Music) by Andrea Johnson, and all other music taken directly from the 2001: A Space Odyssey soundtrack.  The final track played in its entirety is called The Voice of Love by Angelo Badalementi from Twin Peaks: Fire Walk with Me.