1979
How well do the filmmakers use the location, cinematography, and music to create a tone for this film? Does the film make sense once the secrets are revealed? How well does this film work as social commentary of life under the Soviet rule in the 70s? Tune in to this week’s show to get answers to these questions and more!
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Does this work as well for people seeing it now for the first time? How do Steve Martin and Bernadette Peters do in it? Why’s it called The Jerk? Tune in to this week’s show to get answers to these questions and more!
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Is Cronenberg finally hitting his stride with this film? How much did Cronenberg’s life inform this art? And what’s up with those rage babies? Tune in to this week’s show to hear answers to these questions and more.
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Why did Cronenberg make a film so different from his other films? Does it work as a Cronenberg film? Does it even work as a genre picture? Tune in to this week’s show to get these answers and more.
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Sylvester Stallone’s directorial debut, Paradise Alley, was a flop and the studio didn’t want to give him another shot when he said he wanted to direct Rocky II. Luckily, Rocky was such a success and the producers knew he was largely the man behind it, so they gave him another chance.
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The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, cinematographer and inventor Nic Sadler joins us to talk about one of his favorite films, Bob Fosse’s 1979 film All That Jazz.
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It wasn’t until syndication that Paramount realized that it had a property they could continue milking in Gene Roddenberry’s Star Trek TV series. Even then, however, they struggled to get a film adaptation made. So is it a worthy start to the film franchise? Join us as we kick off our biggest series to date – The Star Trek series – with 1979’s Star Trek: The Motion Picture.
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Francis Ford Coppola’s successes in the 70s put him in a place where he was able to help a good number of people get projects off the ground. One of those people was his friend from college, Carroll Ballard. Nearly broke, Coppola’s call came just in time and Ballard found himself on board to direct The Black Stallion. Another person was Melissa Mathison, a friend who started working as an assistant on The Godfather, Part II. Coppola suggested to her that she start writing and asked her to help with the script for The Black Stallion. Next thing you know, she and Ballard are working on it together. Join us – Pete Wright and Andy Nelson – as we kick off our Melissa Mathison series with 1979’s The Black Stallion.
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The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, cinematographer Paul Cameron joins us to talk about one of his favorite films, Apocalypse Now.
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Whether you’re a creative person, or someone who cringes at the thought of art, you’re going to find something to enjoy about this month’s three of a kind.
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