Podcast
The How NOT To Make A Movie Podcast
Hosted by A L Katz · EN
Now in our FIFTH SEASON! Join us for a deep, inside baseball, nuts-n-bolts dive into the creative process. Guests include actors like MALCOLM MCDOWELL and BRANDON ROUTH, writers LARRY WILSON (BEETLEJUICE) and CY VORIS & ETHAN REIFF (DEMON KNIGHT) and everyone I know who's ever collaborated to create content. We talk a lot about TALES FROM THE CRYPT and why, in so many ways, that epitomized the creative process at its best... and why Bordello Of Blood (the second Crypt-branded feature film, Demon Knight was the first) was its antithesis. Talk about how NEVER to make a movie!
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24episodes
Episodes
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S3E3 It's Forbidden
Feb 16, 202401:25:55Tap to summarizeTHE BLURB: Among the incredibly talented directors we got to work with on Crypt (the lst included EP's Robert Zemeckis, Walter Hill and Richard Donner, William Friedkin, John Frankenheimer, Tobe Hooper, Tom Hanks and Michael J. Fox), was horror meister William Malone. Bill directed two episoides including one considered by the people making Crypt as one of its best - Skin Deep. The title of this episode refers to the fact that, movie devotee Bill managed to buy Robby The Robot - from the classic sci-fi movie Forbidden Planet - for almost nothing and then sell it years later (though he loved having it in his house!) for literally millions of dollars.SHOW NOTESIf you enjoy this podcast, please check out our others at https://costardandtouchstone.com. Hosted on Acast. See acast.com/privacy for more information.
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S3E2 The Importance Of Being Ernest
Feb 9, 202401:33:12Tap to summarizeTHE BLURB: Ernest Dickerson is a great filmmaker, a great DP (director of photography/cinematographer) and a truly lovely person. We had the pleasure of working together on the first Crypt branded feature film that we put out as part of our Universal 3 picture deal. Ernest was an inspired choice. His talent and vision are a given. But, it was Ernest's love for and encyclopaedic knowledge of horror movies that truly shows up in every frame. But, there's more to Ernest than just his relationship with Tales From The Crypt. There are all his projects with Spike Lee and his own growing body of work as a director.SHOW NOTESIf you enjoyed this podcast, you might enjoy one of our other podcasts - we make lots! Please visit us at https://costardandtouchstone.com. Hosted on Acast. See acast.com/privacy for more information.
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S3E1 Crypt In London
Feb 1, 202401:10:29Tap to summarizeTHE BLURB: In its final season - and for various reasons, some good, some not-so-good, we produced the last season of Crypt in London. All the good reasons were really, really good: locations we couldn't get in LA, cast we couldn't get in LA, and, hey - just the pleasures of living in London on the company's dime. But the not-so-good had to do with being American fishes in English water and the continuiing ripple effect Bordello Of Blood was having on the whole Tales From The Crypt creative team. For more great storytelling podcasts, please visit https://costardandtouchstone.com/. Hosted on Acast. See acast.com/privacy for more information.
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The Cutting Room Floor
Apr 28, 2022Tap to summarizeTHE BLURB: You've heard the Frankenstein's monster story, now stick around for a look at all the spare body parts that didn't make the cut (as it were). There's even MORE to the Bordello Of Blood saga!SHOW NOTESThe Cutting Room Floor is legendary in Hollywood. Whole careers have happened there. In fact, there's a whole weird history in Hollywood of scenes and actors who famously never made "the cut". Kevin Costner, for instance, was entirely cut out of "The Big Chill". Video and DVD's changed everything. One could rent or buy the studio's cut or "The Director's Cut". Finally, the director could put out the extended movie they envisioned with all the scenes the studio cut out. Often that was great. Sometimes though you saw the studio's wisdom.Film v VideoBack then, we shot on film, cut on digital then transferred back to film for the release. Digital editing began in 1985 when Quantel produced its limited "Harry" compositor. Things got rolling two years later (1987) when Avid released its Avid/1 Media Composer. Cutting on video was revolutionary of course. You could see dissolves and freeze frames in real time. Before, you'd see dissolves laid out in yellow grease paint drawn across the literal film.Filming the movie gets all the attention. But, it won't be until we deliver all the filmed footage to the editing suite - and the editor performs their magic - that it will become "a movie". Or a TV show.And it can blow your mind what exactly can happen in an editing suite. There's a story in this episode about executive producer Bob Zemeckis cobbling together a scene we never shot. He took scraps from the cutting room floor to imply a lesbian sexual encounter between Angie's character and Erika's. One pickup shot was all it took to marry it all together in the audience's head.That simple cross (filmed using two extras instead of the actors) ties it together perfectly. It really is like seeing how magic tricks work. And at the hands of a magician - our boss Bob Zemeckis.In a sense, this episode really is a monster made up of spare parts - rescued from the cutting room floor But, don't be afraid! It won't hurt you. Much.. Hosted on Acast. See acast.com/privacy for more information.
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