Angus MacLane

Angus MacLane is the director of Pixar's latest venture Lightyear, returning the studio to their rightful place in theaters, and expanding upon the meta fiction of the Toy Story franchise. MacLane was previously co-director on Finding Dory (2016) and notably has directed a series of shorts and significant pieces of animation for the studio. Join us as we discuss the path to directing at Pixar, why Buzz needed his own origin story, what it's like to develop a major animated film during a pandemic, and much more.

Angus MacLane is the director of Pixar's latest venture Lightyear, returning the studio to their rightful place in theaters, and expanding upon the meta fiction of the Toy Story franchise. MacLane was previously co-director on Finding Dory (2016) and notably has directed a series of shorts and significant pieces of animation for the studio. Join us as we discuss the path to directing at Pixar, why Buzz needed his own origin story, what it's like to develop a major animated film during a pandemic, and much more.

Angus MacLane, Lightyear

Charles Roxburgh

It's our honor to welcome Charles Roxburgh to the show. As the director mastermind behind the Motern Media vehicle, Charles is responsible for so many of our new favorite cult movies and is just as amiable on our show as is apparent in all of his lovely movies. Join us for a longform open-hearted conversation discussing yet another gem in the Motern canon, but also our collective love of cult and outsider films as a whole. There are many details here you're just not gonna get anywhere else!

It's our honor to welcome Charles Roxburgh to the show. As the director mastermind behind the Motern Media vehicle, Charles is responsible for so many of our new favorite cult movies and is just as amiable on our show as is apparent in all of his lovely movies. Join us for a longform open-hearted conversation discussing yet another gem in the Motern canon, but also our collective love of cult and outsider films as a whole. There are many details here you're just not gonna get anywhere else!

Charles Roxburgh, Monsters, Marriage and Murder in Manchvegas

Matt Farley

The incomparable Matt Farley joins the regular Moterncast crew to highlight a gem from the Motern catalogue: 2007’s Freaky Farley, a rare throwback to ultra specific horror tropes. You won’t want to miss our interview, full of new details you won’t find anywhere else about the slate of upcoming Motern projects!

The incomparable Matt Farley joins the regular Moterncast crew to highlight a gem from the Motern catalogue: 2007’s Freaky Farley, a rare throwback to ultra specific horror tropes. You won’t want to miss our interview, full of new details you won’t find anywhere else about the slate of upcoming Motern projects!

Matt Farley, Freaky Farley

Panah Panahi's Hit the Road is an emotional new journey from Iran. Directed by the son of one of Iran's great filmmakers, we had the pleasure to chat with Panahi about family ties, becoming a great director himself, controversy and Iranian cinema, and a profound love of Stanley Kubrick's 2001: A Space Odyssey (1968). 

Panah Panahi's Hit the Road is an emotional new journey from Iran. Directed by the son of one of Iran's great filmmakers, we had the pleasure to chat with Panahi about family ties, becoming a great director himself, controversy and Iranian cinema, and a profound love of Stanley Kubrick's 2001: A Space Odyssey (1968).

Panah Panahi, Hit the Road

Mark Cousins is a foremost chronicler of the new film canon, expanding our culture and understanding of cinema in innovative and diverse new directions. With The Story of Film (2011) and Women Make Film (2018), Cousins has provided us with new pathways for discovery and a more diverse appreciation of film. With his new project, The Story of Looking, premiering at Telluride, Cousins creates a more internal document: exploring the gift of looking and what it means to observe the world. In The Story of Looking, wherein Cousins is preparing for a risky eye surgery, the camera is turned inward, examining what it means to see the world, through the lens of cinematic language. Our conversation covers all this and more, in our latest entry of our Interviews series.

Mark Cousins is a foremost chronicler of the new film canon, expanding our culture and understanding of cinema in innovative and diverse new directions. With The Story of Film (2011) and Women Make Film (2018), Cousins has provided us with new pathways for discovery and a more diverse appreciation of film. With his new project, The Story of Looking, premiering at Telluride, Cousins creates a more internal document: exploring the gift of looking and what it means to observe the world. In The Story of Looking, wherein Cousins is preparing for a risky eye surgery, the camera is turned inward, examining what it means to see the world, through the lens of cinematic language. Our conversation covers all this and more, in our latest entry of our Interviews series.

Telluride 2021: Mark Cousins

We have a chat with Jesse Blanchard, creator of Frank &amp; Zed, a puppet horror film with analogues to Frankenstein and the history of puppet cinema. We chat about the Pacific Northwest puppetry scene, the technical side of working exclusively with puppets, and do a bit of show and tell with some of the puppets created for the feature.View the interview and our show and tell with the puppets on The Twin Geeks YouTubehttps://www.youtube.com/watch?v=GJINgApKpYE&amp;t=283s

We have a chat with Jesse Blanchard, creator of Frank &amp; Zed, a puppet horror film with analogues to Frankenstein and the history of puppet cinema. We chat about the Pacific Northwest puppetry scene, the technical side of working exclusively with puppets, and do a bit of show and tell with some of the puppets created for the feature.View the interview and our show and tell with the puppets on The Twin Geeks YouTube<a href="https://www.youtube.com/watch?v=GJINgApKpYE&amp;t=283s" rel="nofollow" target="_blank">https://www.youtube.com/watch?v=GJINgApKpYE&amp;t=283s</a>

Fantasia 2021: Frank & Zed

Bill Morrison

Bill Morrison is a director devoted to the lost films. His long-running filmography explores what often gets left behind. It’s a filmography of revival and preservation, with painstaking aesthetic attention paid to recovering films. This is a story about more than films. It’s about filling the gaps in our cinematic history. It’s about the intrinsic beauty of degrading nitrate film stocks and how that can all come to life, given just the right musical backing.Morrison’s latest film, let me come in, is the subject of today’s discussion. Using recovered footage of the lost German silent film Pawns of Passion (1928), the short boldly asserts its themes of separation, connection, and discovery. Working with Pulitzer Prize-winning composer David Lang and the incredible soprano voice of Angel Blue, it’s a short film driven by the music.In our interview, we’ll explore Morrison’s filmography, from the remarkable site favorite Dawson City: Frozen Time (2016) to his new short, let me come in, premiering at the Turner Classic Movie festival.

Bill Morrison is a director devoted to the lost films. His long-running filmography explores what often gets left behind. It’s a filmography of revival and preservation, with painstaking aesthetic attention paid to recovering films. This is a story about more than films. It’s about filling the gaps in our cinematic history. It’s about the intrinsic beauty of degrading nitrate film stocks and how that can all come to life, given just the right musical backing.Morrison’s latest film, let me come in, is the subject of today’s discussion. Using recovered footage of the lost German silent film Pawns of Passion (1928), the short boldly asserts its themes of separation, connection, and discovery. Working with Pulitzer Prize-winning composer David Lang and the incredible soprano voice of Angel Blue, it’s a short film driven by the music.In our interview, we’ll explore Morrison’s filmography, from the remarkable site favorite Dawson City: Frozen Time (2016) to his new short, let me come in, premiering at the Turner Classic Movie festival.

Bill Morrison, let me come in

Alien on Stage is the best kind of success story. It is about a troop of bus drivers moonlighting as amateur entertainers who want to put on a stage production of Ridley Scott’s Alien (1979). The documentary is the story of how their workmanlike production began on a small stage in Dorset before maximizing the show’s notoriety online, and landing a prime spot on stage in London’s West End. It is the story of workers creating the most amazing fan art. It was all I could do to write a glowing review. Everything about the film resounded beautifully with what I value about the incredible original film and keyed into something crucial about workers making art. So, inspired by their work, the next step was to interview both of its directors, Danielle Kummer and Lucy Harvey, about their wonderful new film.

Alien on Stage is the best kind of success story. It is about a troop of bus drivers moonlighting as amateur entertainers who want to put on a stage production of Ridley Scott’s Alien (1979). The documentary is the story of how their workmanlike production began on a small stage in Dorset before maximizing the show’s notoriety online, and landing a prime spot on stage in London’s West End. It is the story of workers creating the most amazing fan art. It was all I could do to write <a href="https://thetwingeeks.com/2021/03/18/sxsw-alien-on-stage/" rel="nofollow" target="_blank">a glowing review</a>. Everything about the film resounded beautifully with what I value about the incredible original film and keyed into something crucial about workers making art. So, inspired by their work, the next step was to interview both of its directors, Danielle Kummer and Lucy Harvey, about their wonderful new film.

SXSW 2021: Alien on Stage

Recovery and representation are the topics of the day, in our audio interview with Blackwater director Boise Esquerra. A series of short films, the first of which is showing at Slamdance, Blackwater is the story of a country musician who has bottomed out and returned to her reservation, finding that addiction does not discriminate. We swap stories about our own personal journeys of recovery and what it means to put those stories on screen. There's also a great conversation about de-stereotyping Native Americans on film and what it means to create effective representation. Blackwater's a great, and important, short series, an early highlight of this year's Slamdance.

Recovery and representation are the topics of the day, in our audio interview with Blackwater director Boise Esquerra. A series of short films, the first of which is showing at Slamdance, Blackwater is the story of a country musician who has bottomed out and returned to her reservation, finding that addiction does not discriminate. We swap stories about our own personal journeys of recovery and what it means to put those stories on screen. There's also a great conversation about de-stereotyping Native Americans on film and what it means to create effective representation. Blackwater's a great, and important, short series, an early highlight of this year's Slamdance.

Slamdance 2021: Blackwater

Bleeding Audio is the story of Oakland punk rock band The Matches. It’s not only about a group of talented young musicians bringing the band back together. It’s a narrative about the democratization of music and the challenges facing any band when the market shifted toward online file sharing and distribution. In the story of The Matches is the heroes journey, the story of every band with a dream of finding their audience. We’re honored to speak with director Chelsea Christer, producer Erin Persley, and The Matches bassist Justin SanSouci.

Bleeding Audio is the story of Oakland punk rock band The Matches. It’s not only about a group of talented young musicians bringing the band back together. It’s a narrative about the democratization of music and the challenges facing any band when the market shifted toward online file sharing and distribution. In the story of The Matches is the heroes journey, the story of every band with a dream of finding their audience. We’re honored to speak with director Chelsea Christer, producer Erin Persley, and The Matches bassist Justin SanSouci.

Slamdance 2021: Bleeding Audio

Interviews within the film industry from your friends at thetwingeeks.com

1980s training videos have carved out a peculiar niche on the internet. Searching for a purpose for his new picture, director Quinn Armstrong utilized these training videos as a lens to tell a different kind of police story. Given recent events, the context of his film has landed differently than planned at inception. Between a wide-ranging change in the discourse on police and the shifting realities of COVID, there has never been a stranger time to shop such a film to the market. We’re proud to present an interview with Armstrong about his new film — the talk of this year’s Fantasia, Survival Skills takes VHS de-making to another level in this intriguing experimental film, with a great theatrical turn by dramatist Stacy Keach. Listen to our interview for all this, and much more.

1980s training videos have carved out a peculiar niche on the internet. Searching for a purpose for his new picture, director Quinn Armstrong utilized these training videos as a lens to tell a different kind of police story. Given recent events, the context of his film has landed differently than planned at inception. Between a wide-ranging change in the discourse on police and the shifting realities of COVID, there has never been a stranger time to shop such a film to the market. We’re proud to present an interview with Armstrong about his new film — the talk of this year’s Fantasia, Survival Skills takes VHS de-making to another level in this intriguing experimental film, with a great theatrical turn by dramatist Stacy Keach. Listen to our interview for all this, and much more.

Fantasia 2020: Survival Skills

Maïmouna Doucouré’s feature film debut has provoked a firestorm of controversy. The story of Cuties (Mignonnes) began favorably. The French-Senegalese director picked up the Directing Award at Sundance, landing a deal with Netflix for an amplified international release, and enjoyed a broadly acclaimed release in her home of France. Then the Netflix marketing arm spun the controversy out of proportion — they have since recorded record-high cancelation figures and the film has become a hotbed for online debate about the exploitation of children in film. Cuties is more than the controversy, a story about precocious youthful rebellion against conservative parents, what it means to be Black and Muslim, and finding out what truly matters in life. It’s an uncomfortable film, to be sure, but one adamantly against what it’s accused of promoting. We’re proud to present an in-depth chat with our friend Renee, who brings her own deeply personal perspectives to the coming of age story.

Maïmouna Doucouré’s feature film debut has provoked a firestorm of controversy. The story of Cuties (Mignonnes) began favorably. The French-Senegalese director picked up the Directing Award at Sundance, landing a deal with Netflix for an amplified international release, and enjoyed a broadly acclaimed release in her home of France. Then the Netflix marketing arm spun the controversy out of proportion — they have since recorded record-high cancelation figures and the film has become a hotbed for online debate about the exploitation of children in film. Cuties is more than the controversy, a story about precocious youthful rebellion against conservative parents, what it means to be Black and Muslim, and finding out what truly matters in life. It’s an uncomfortable film, to be sure, but one adamantly against what it’s accused of promoting. We’re proud to present an in-depth chat with our friend <a href="https://twitter.com/pixie_bomber?s=21%2C" rel="nofollow" target="_blank">Renee</a>, who brings her own deeply personal perspectives to the coming of age story.

Cuties Cast: An Open Conversation

Director Hirokazu Kore-eda is one of the most respected auteurs of the Japanese cinema. An heir to the legacy of Yasujirō Ozu, Kore-eda has found universal acclaim for his heartfelt family dramas. Expanding his international lens, this year finds the release of his first non-Japanese-language film, The Truth. We're honored to present a conversation about his new film, touching on the shifting realities of a long career in filmmaking, and what is so tangibly elemental and human about Kore-eda's own work. The Truth is a different kind of family drama: this time, concerning the family of a famed French actress (Catherine Denueve), and how success has adjusted her relationship with daughter (Juliette Binoche). Also starring Ethan Hawke, as the English-speaking husband absorbed in these dicey family dynamics. Listen to our interview for more on The Truth, premiering July 3 online.

Director Hirokazu Kore-eda is one of the most respected auteurs of the Japanese cinema. An heir to the legacy of Yasujirō Ozu, Kore-eda has found universal acclaim for his <a href="http://thetwingeeks.com/2019/01/29/shoplifters/" rel="nofollow" target="_blank">heartfelt family dramas</a>. Expanding his international lens, this year finds the release of his first non-Japanese-language film, <a href="http://thetwingeeks.com/2019/11/07/chicago-international-film-festival-2019-the-truth/" rel="nofollow" target="_blank">The Truth</a>. We're honored to present a conversation about his new film, touching on the shifting realities of a long career in filmmaking, and what is so tangibly elemental and human about Kore-eda's own work. The Truth is a different kind of family drama: this time, concerning the family of a famed French actress (Catherine Denueve), and how success has adjusted her relationship with daughter (Juliette Binoche). Also starring Ethan Hawke, as the English-speaking husband absorbed in these dicey family dynamics. Listen to our interview for more on The Truth, premiering July 3 online.

Hirokazu Kore-eda, The Truth

The Penny Black is an intriguing new documentary fresh out of the Slamdance circuit. A man has left a stamp collection from a mysterious, potentially dangerous neighbor. The collection stays with him for years as his neighbor fades out of existence at the apartment complex. In the meantime, director Joe Saunders has filmed the story of the multi-million dollar bag of stamps, tracing the new ownership of his friend, a son of a conman who seems to be constantly wrestling with an urge to sell the collection. Some of them going missing and a noir-ish documentary emerges in the process. We're delighted to speak with Joe Saunders, the film's director, along with producer Alexander Greer.

The Penny Black is an intriguing new documentary fresh out of the Slamdance circuit. A man has left a stamp collection from a mysterious, potentially dangerous neighbor. The collection stays with him for years as his neighbor fades out of existence at the apartment complex. In the meantime, director Joe Saunders has filmed the story of the multi-million dollar bag of stamps, tracing the new ownership of his friend, a son of a conman who seems to be constantly wrestling with an urge to sell the collection. Some of them going missing and a noir-ish documentary emerges in the process. We're delighted to speak with Joe Saunders, the film's director, along with producer Alexander Greer.

Slamdance 2020: The Penny Black

Jennifer Reeder

Jennifer Reeder's Knives and Skin is a great victory for compassion. The director weaponizes empathy as though it were her blade and directs the hell out of this new mystery picture. What truly elevates her voice is a great sense of accessible feminism. Knives and Skin is feminism for everyone. It invites all of us to engage fully with its principles as such and succeeds fully in voicing its feminine characters. The feeling is that Jennifer knows what it is like. She works predominantly with strong female characters and has lived their experiences. Hailing from Ohio, she has deeply felt the need to escape, the outsider impulse she so wonderfully captures here. We're delighted to have the opportunity to chat with Jennifer about her new picture, her experience moving from short films to a feature-length mystery, and the nature of feminism in her work.

Jennifer Reeder's Knives and Skin is a great victory for compassion. The director weaponizes empathy as though it were her blade and directs the hell out of this new mystery picture. What truly elevates her voice is a great sense of accessible feminism. Knives and Skin is feminism for everyone. It invites all of us to engage fully with its principles as such and succeeds fully in voicing its feminine characters. The feeling is that Jennifer knows what it is like. She works predominantly with strong female characters and has lived their experiences. Hailing from Ohio, she has deeply felt the need to escape, the outsider impulse she so wonderfully captures here. We're delighted to have the opportunity to chat with Jennifer about her new picture, her experience moving from short films to a feature-length mystery, and the nature of feminism in her work.

Jennifer Reeder, Knives and Skin

Interviews within the film industry from your friends at <a href="http://thetwingeeks.com" rel="nofollow" target="_blank">thetwingeeks.com</a>

The Twin Geeks Interviews

The best podcasts about ourselves as well as the world through the lense of Science. Specific topics include things about our brain, emotions to biology, physics and more!

Best Episodes on Science, Humans & The World

The best podcast episodes on romantic relationships. Episodes talk about the 5 love languages, intimacy, and the taboo topics of sexual desires and infidelity. This topic is a deep dive into the science and complexities that face us in our relationships with others. Add episodes you're interested into your queue below!