POP ART

POP ART SAYS: Good Help is Hard to Find – Episode 112, Parasite/La Ceremonie

POP ART SAYS MERRY XMAS: I know, I know, I’m coming down the chimney late on this one. I’ve been slowed down by some various health issues, and the holidays, though I’m feeling a lot better now, thanks for asking. I hope I don’t get coal in my stocking for this.

But on to Pop Art, the podcast where we find the pop culture in art and the art in pop culture. It’s the podcast where my guest chooses a movie from popular culture, and I’ll select a film from the more art/classic/indie/foreign side of cinema with a connection to it.

LONESOME HIGHWAYS: “I just forgot the number to 9-1-1!” For episode 113, I welcome back my annual Christmas guest, Jay Cluitt (of The Deep Blue Sea podcast), who really loves holiday movies. We have chosen to discuss two Christmas adjacent horror films: Wind Chill and Dead End. Blizzards, stalled cars, dead ends, getting lost, ghosts, dead people. What is worse than coming home for Christmas? It’s the drive home for Christmas.

In this episode we discuss why Christmas adjacent films are so popular. We also discuss the rise of Christmas horror films; just what is it with that? Jay liked Dead End more than Wind Chill, but both are quite scary and we certainly agree Emily Blunt was great. In the end, we learned the moral of the story is that if you come across a baby carriage on a lonely road, do not, DO NOT, stop. Drive off.

POP ART 111 says SOAPY SALES: Join me and my guest Sam Homrig (attorney by day, murder mystery host by night as well as co-host of “The Cabot Cove Confab Podcast”, “The Columbo Confab Podcast”, and “The Best Picture Podcast”)

“We were just playing a game called Photography. You turn off the lights and see what develops.” Lies, deceit, adultery, murder, teen sex, drugs, abortion by proxy, incest by proxy, illegitimate children, coded gay characters…Sounds like it’s time for Episode 111 of Pop Art, the podcast where we find the pop culture in art and the art in pop culture. It’s the podcast where my guest chooses a movie from popular culture, and I’ll select a film from the more art/classic/indie/foreign side of cinema with a connection to it.

For this episode, I am happy to welcome as my guest, Sean Homrig, who has chosen as his film Ang Lee’s dissection of suburban life in 1970s Connecticut, The Ice Storm, while I have chosen Mark Robson’s dissection of small town New England life in the 1940s, Peyton Place, both soap opera looks at small towns.  

And in this episode, we answer such questions as: What scandal made Peyton Place one of the top grossing movies of that year? Why are soap operas so appealing? What rating from the Catholic Church was given to Peyton Place? What are the anachronisms and historical inaccuracies of both films? What Cannes award did The Ice Storm receive? What changes from the book did they make in bringing Peyton Place to the screen? What is inaccurate about the death in The Ice Story? How many Oscar acting nominations did Peyton Place receive?

Be sure and check out Sean’s various podcasts, “The Cabot Cove Confab Podcast”, “The Columbo Confab Podcast”, and “The Best Picture Podcast”.

HAPPY HALLOWEEN

NEW EPISODE: POP ART 110 says CURSES, FOILED AGAIN: Join me and my annual Halloween guest Lisa Leaheey as we talk The Ring and Curse of the Demon.

“Seven days.” Don’t you hate when this happens? You’re going about your day. Minding your own business. You watch a video and the phone rings telling you, you only have seven days to live. Or, someone secretly passes you a curse in runes giving you only a certain amount of time before you die. It is just so annoying…Sounds like it’s time for Episode 110 of Pop Art, where we find the pop culture in art and the art in pop culture. It’s the podcast where my guest chooses a movie from popular culture, and I’ll select a film from the more art/classic/indie/foreign side of cinema with a connection to it.

And this episode is my yearly Halloween one. For this episode, I am happy to welcome back film lover and horror enthusiast, and my annual guest for my Halloween episode, Lisa Leaheey, who has chosen as her film the American remake of the Japanese horror film The Ring, while I have chosen Jacques Tournier’s Night of the Demon, both films about an object that if passed to someone only gives that person a certain amount of time to live.

And in this episode, we answer such questions as: Which is better, suggesting a monster or showing it? What are the differences between the Japanese and American version of The Ring? What is the difference between the English and American release of Night of the Demon? What was the original ending to The Ring and what happened to it? Why is Night of the Demon called Curse of the Demon in the US? What did screenwriter Charles Bennett say he would do to the producer of Night of the Demon if he saw him in his driveway? Where do The film The Burbs, Rocky Horror Picture Show and Rear Window fit in? What does the name Samara reference?  

ANIMAL CRACKERS. Join me and screenwriter and book author C. Courtney Joyner as we talk Alfred Hitchcock’s The Birds and Byron Haskin’s The Naked Jungle, two nature horror films.

“They're coming! They're coming!” Sharks, Piranha, Spiders, Frogs, Snakes, Wolves, Lions and Tigers and Bears, oh my…Sounds like it’s time for Episode 109 of Pop Art, where we find the pop culture in art and the art in pop culture. It’s the podcast where my guest chooses a movie from popular culture, and I’ll select a film from the more art/classic/indie/foreign side of cinema with a connection to it. For this episode, I am happy to welcome as my guest, screenwriter and book author C. Courtney Joyner, who has chosen as his film Alfred Hithcock’s classic The Birds, while I have chosen Byron Haskin’s guilty pleasure The Naked Jungle, both films about animals attacking humankind.

And in this episode, we answer such questions as: What is nature horror? How did they produce the sounds of the ants in The Naked Jungle? How do both films differ from their source material? Why did Eleanor Parker get top billing in The Naked Jungle? What is the best written scene in The Birds? Where was The Naked Jungle filmed? What did Daphne du Maurier think of The Birds? What was the Mad Magazine version of The Birds called?

PEEK A BOO: Join me and blogger and film lover James S. Wilson as we talk two masterpieces, Alfred Hitchcock’s Rear Window and Krzysztof Kieslowski’s A Short Film About Love, two films about voyeurs and voyeurism.

“Why would a man leave his apartment three times on a rainy night with a suitcase and come back three times?” You’re alone in your own apartment. Doing your thing. Maybe you’ve murdered someone. Or maybe you’re having sex. When suddenly you get this feeling…Am I…being watched? Probably…Sounds like it’s time for Episode 108 of Pop Art, where we find the pop culture in art and the art in pop culture. It’s the podcast where my guest chooses a movie from popular culture, and I’ll select a film from the more art/classic/indie/foreign side of cinema with a connection to it.

MATCHES, MATCHES, WE DON’T NEED NO STINKING MATCHES: Join me and filmmaker Elizabeth Blake-Thomas as we talk Amy Heckerling’s classic Clueless and George Cukor’s hidden gem, The Model and the Marriage Broker.

“As if”. Matchmaker, matchmaker, make me a match. Find me a find, catch me a catch…Sounds like it’s time for Episode 107 of Pop Art, the podcast where we find the pop culture in art and the art in pop culture. It’s the podcast where my guest chooses a movie from popular culture, and I’ll select a film from the more art/classic/indie side of cinema with a connection to it. For this episode, I am happy to welcome as my guest, director, writer, producer and actor Elizabeth Blake-Thomas, who has chosen as her film Clueless, while I have chosen The Model and the Marriage Broker, both films about matchmakers who may or may not be that good at their job.  

And in this episode, we answer such questions as: What was Paul Rudd’s film debut? Why do we play matchmaker? What is it about these adaptations of classics of literature placed in high school? Why did Fox’s head Daryl F. Zanuck not push Model… preventing it from becoming more successful than it was? What did film execs at Warners want changed in the roles at first that put Clueless into turnaround? Who is the lead in The Model… and what is their billing? How much was the costume budget on Clueless? What TV star debuted in The Model…? Where does Amy Heckerling appear?

HOUSE HAUNTING: Join me and filmmaker Derek Wayne Johnson (the upcoming Bloodstreams, 40 Years of Rocky: The Birth of a Classic, John G. Avildsen: King of the Underdogs), as we talk Poltergeist and House, two movies about, well, haunted houses. 

First, I have to apologize to my audience and my guest. I was recording this on an old computer because my main computer got wet and couldn’t be used. I made a mistake and at about 11 minutes in, you can hear an echo when my guest speaks. I tried to erase it, but couldn’t figure out how, so I’ve just minimized it the best I can. So, please forgive me and I don’t think it’s so disruptive you can’t enjoy a really great discussion of these two seminal films.

“They’re here.” From Ghoulies and Ghoosties, long-leggety Beasties, and Things that go Bump in the Night, Good Lord, deliver us!…Sounds like it’s time for Episode 105 of Pop Art, where we find the pop culture in art and the art in pop culture. It’s the podcast where my guest chooses a movie from popular culture, and I’ll select a film from the more art/classic/indie side of cinema with a connection to it. For this episode, I am happy to welcome as my guest, Hollywood hyphenate, director, writer, editor, producer Derek Wayne Johnson, who has chosen as his film the Steven Spielberg produced haunted house movie Poltergeist, while I have chosen the cult classic Japanese haunted house movie Hausu or House, both films about, well, haunted houses. 

And in this episode, we answer such questions as: What is it about haunted houses anyway? What changed when it came to where horror films took place in the 1960s and 70s in Hollywood and why? Just WTF is happening in this House movie anyway? Who directed Poltergeist: Hooper or Spielberg? How successful was House in Japan? What happened in Denver in the late 19th century that might have influenced the plot of Poltergeist; and what about that Twilight Zone episode? Where is the director’s daughter in House and what influence did she have on the film? Where is the Wilhelm Scream in Poltergeist?

Check out Derek’s IMDB page at https://www.imdb.com/name/nm2361932/?ref_=nv_sr_srsg_0_tt_1_nm_2_q_derek%2520wayne%2520johnson%2520

And be on the lookout for the upcoming Blood Streams

POP ART, WHERE WE FIND THE POP CULTURE IN ART AND THE ART IN POP CULTURE.

IT’S HARD TO BE THE BARD: Join me and filmmaker David Au (Eat With Me, Don’t Be Sorry), as we talk My Own Private Idaho and Chimes at Midnight, two adaptations of William Shakespeare’s Falstaff stories.

“I only have sex with a guy for money” What’s a father to do? You’re rich and powerful, maybe a king even—hey, it could happen; but your son, your heir, would rather become a male prostitute or hang out with some lazy ne’er do wells, drinking and bedding wenches. Sounds like it’s time for Episode 104 of Pop Art, where we find the pop culture in art and the art in pop culture. It’s the podcast where my guest chooses a movie from popular culture, and I’ll select a film from the more art/classic/indie/foreign side of cinema with a connection to it. For this episode, I am happy to welcome back as my guest, filmmaker David Au, who has chosen as his film Gus Van Sant’s indie My Own Private Idaho, while I have chosen Orson Welles’ indie, Chimes at Midnight, both films that are based on some history plays by a guy named William Shakespeare.

And in this episode, we answer such questions as: What is it with adaptations of Shakespeare? What is the one scene in each film that helps the films achieve transcendence? What’s odd about the statue of the elk in Portland when the characters in …Idaho first arrive? Why did Welles have such a difficult time getting films made? Where can the director be seen in …Idaho? What do the titles mean? Why did Chimes at Midnight flop? What is the new queer cinema? What is historically incorrect about knights getting on their horses in Chimes at Midnight?

POP ART, WHERE WE FIND THE POP CULTURE IN ART AND THE ART IN POP CULTURE.

TOM AND JERRIES: Join me and editor, filmmaker and blogger David Brook (Blueprint Review), as we talk Master and Commander: The Far Side of the World and The Enemy Below, both films about naval vessels playing cat and mouse with each other.

“To wives and sweethearts, may they never meet.” I must go down to the seas again, to the lonely sea and the sky, And all I ask is a tall ship and a star to steer her by…Sounds like it’s time for Episode 103 of Pop Art, where we find the pop culture in art and the art in pop culture. It’s the podcast where my guest chooses a movie from popular culture, and I’ll select a film from the more art/classic/indie side of cinema with a connection to it.

POP ART, WHERE WE FIND THE POP CULTURE IN ART AND THE ART IN POP CULTURE.

DEVILICIOUS: Join me and producer, writer and Chairman of Here Media, Inc., Stephen Jarchow, as we talk Chinatown and The Third Man, two noirs with two of the most memorable villains of all time.

“Forget it, Jake. It’s Chinatown” Simon Wiesenthal once said, For evil to flourish, it only requires that good men do nothing. Is that true? Perhaps…Sounds like it’s time for Episode 102 of Pop Art, where we find the pop culture in art and the art in pop culture. It’s the podcast where my guest chooses a movie from popular culture, and I’ll select a film from the more art/classic/indie side of cinema with a connection to it. For this episode, I am happy to welcome as my guest, producer and writer and Chairman of Here Media Inc., Stephen Jarchow, who has chosen as his film the new Hollywood neo noir, Chinatown, while I have chosen the classic British noir, The Third Man, both films about people investigating a murder only to find out just how deep evil and corruption can run.

And in this episode, we answer such questions as: What is the attraction of evil and villains like this? Is Chinatown the perfect screenplay? Who is more influential on The Third Man, Hitchcock or Welles? What is odd about the depiction of Chinatown in Chinatown? How did Austria feel about The Third Man when it opened? Whose famous fathers appear in Chinatown? How did the Dutch angle get its name? What were the original endings to both movies and why were they changed? What happened to Polanski’s career?

POP ART, WHERE WE FIND THE POP CULTURE IN ART AND THE ART IN POP CULTURE.

ARMYGEDDON: Join me and podcasters and film lovers Anna Keiser and Derek Dehanke (The 80s Movie Montage) as we talk Stripes and No Time for Sergeants, two comedies about basic training.

"Do wah diddy diddy dum diddy do" “You’re in the army now, you’re not behind a plow, you’ll never get rich, a diggin’ a ditch, you’re in the army now.” Sounds like it’s time for Episode 101 of Pop Art, where we find the pop culture in art and the art in pop culture. It’s the podcast where my guest chooses a movie from popular culture, and I’ll select a film from the more art/classic/indie side of cinema with a connection to it.

For this episode, I am happy to welcome back as my guests for the third time, Anna Keiser and Derek Dehanke, who have chosen as their film, the new Hollywood army comedy, Stripes, while I have chosen what may be many a listener’s grandfather’s version of Stripes, No Time For Sergeants, both comedies about basic training.

And in this episode, we answer such questions as: Who was cast before Harold Ramis? Where was the n-word used in connection to No Time for Sergeants? What is it about war comedies anyway? What is the connection of …Sergeants to Invasion of the Body Snatchers? How does Bill Murray feel about making Stripes today? Who is Joseph X. Flaherty? What was the Country Broadcasting Network? What is it about toilets? Why did Andy Griffith get nominated as supporting actor at the Tonys rather than lead for the stage version of …Sergeants?

POP ART, WHERE WE FIND THE POP CULTURE IN ART AND THE ART IN POP CULTURE.

That’s right, it’s episode 100. I’ve reached a milestone.

WHAT A DRAG: Join me and filmmaker and podcaster Donald McKinney, III (The Real Short Box, The Blue Beetle) as we talk The Flight of Dragons and Dragonslayer,two films about young people fighting dragons.  

“All hail Casiodorus Rex, dragonslayer!” Look. Up in the sky. It’s a bird. It’s a plane. It’s super…No, it’s a…dragon?…

Sounds like it’s time for Episode 100 of Pop Art. Yes, you heard that right. This is the 100th episode of my podcast. Huzzah, huzzah. I can’t believe I got here, but here I am. It’s the podcast where we find the pop culture in art and the art in pop culture. It’s the podcast where my guest chooses a movie from popular culture, and I’ll select a film from the more art/classic/indie/foreign side of cinema with a connection to it.

Today, I am happy to welcome as my guest, filmmaker and podcaster Donald McKinney, III, who was my very first guest on Pop Art and who showed me the ropes. Donald has chosen as his film the animated The Flight of Dragons, while I have chosen the more SFX spectacular Dragonslayer, both films about young people who have to battle a dragon.

And in this episode, we answer such questions as: What is it about dragons anyway? What are our favorite dragons? Nudity in a Disney film? What was it about the sexualization of teens in the 70s and 80s? Why was Flight of Dragons banned on Israeli TV? What does "Vermithrax Pejorative" translate as? What are the differences between the book The Dragon and the George and the film Flight of Dragons? What is the connection of Dragonslayer to the Star War series? What is a George? How did Peter MacNicol get this role?

THE WRONG MANS: Join me and filmmaker, podcaster, author and film scholar, Steven Jay Rubin (The James Bond Encyclopedia) as we talk North by Northwest and Tell No One, two films about men accused of a murder they didn’t commit and have to go on the run to prove their innocence.

“You gentlemen aren't REALLY trying to kill my son, are you?” It happens to the best of us. We’re just going our merry way when someone gets murdered. We get blamed for it when we’re totally innocent. So do we work with the authorities and hire a good lawyer and private investigator? Of course not. We do what any normal person would. We go on the run and find the murderer ourselves. Ah, fun times, fun times…

POP ART, WHERE WE FIND THE POP CULTURE IN ART AND THE ART IN POP CULTURE.

REBELS WITH AND WITHOUT A CAUSE: Join me and filmmaker Derek Nguyen (The Housemaid, now available on Amazon) as we talk Hair and No Regrets for Our Youth, two films about young people protesting a war.

“It’s the age of Aquarius.” War. What is it good for. Absolutely nothing, except maybe munitions manufacturers, politicians, war contractors, oh, and of course movies, can’t forget movies…Sounds like it’s time for Episode 98 of Pop Art, where we find the pop culture in art and the art in pop culture. It’s the podcast where my guest chooses a movie from popular culture, and I’ll select a film from the more art/classic/indie side of cinema with a connection to it. For this episode, I am happy to welcome as my guest, writer, director, producer Derek Nguyen, who has chosen as his film the Milos Foreman musical Hair, while I have chosen an early Akira Kurosawa film, No Regrets for Our Youth, both films about young people protesting war.

And in this episode we answer such questions: Why is there such a dearth of war protest films? What great songs did they leave out of Hair? What is the real history behind the events in No Regrets…? What did the authors of the original Broadway version of Hair think of the movie? Is Henry David Thoreau full of it? What musical pieces are played on piano in No Regrets…? Where is the lyric The Rest is Silence from? What doesn’t quite compute about the ending of Hair? Where does Nicholas Ray appear in Hair?

POP ART, WHERE WE FIND THE POP CULTURE IN ART AND THE ART IN POP CULTURE.

FATALE ATTRACTION: Join me and film enthusiast The Vern of Cinema Recall as we discuss two movies about film fatales, To Die For and Ossessione.

“You're not really anybody in America unless you're on TV.” You meet someone. You fall in love. She’s married. She manipulates you into killing her husband so you can be with her forever. She betrays you. Hey, it’s happened to the best of us…Sounds like it’s time for Episode 97 of Pop Art, where we find the pop culture in art and the art in pop culture. It’s the podcast where my guest chooses a movie from popular culture, and I’ll select a film from the more art/classic/indie side of cinema with a connection to it. For this episode, I am happy to welcome back as my guest, film enthusiast and podcaster The Vern, who has chosen as his film the dark comedy, Gus Van Sant’s To Die For, while I have chosen Luchino Visconti’s feature film debut, Ossessione, both films about woman manipulating men to commit murder for them. Fun times. Fun times.

And in this episode we answer the following questions: What did the writers get wrong about driving in New Hampshire? Why was Ossessione banned in Italy and then prohibited in the US after the war? What happened in real life that was different in To Die For? Who ran screaming from the film festival premier of Ossessione screaming—This is not Italy? What is the appeal of femme fatales? What is a homme fatale? Who is G. Clifford Prout? Why didn’t Anna Magani play the lead in Ossessione? Where does the author of the book To Die For appear in the movie? Is there a coded gay character in Ossessione? Why does Illeana Douglas have a cast on in the second half of the movie?

Meanwhile look up The Vern’s podcast CinemaRecall at Cinemarecall.net.

The Vern has been a previous guest on my podcast. For episode 6, we discussed two films revolving around roboticized police forces, Robocop and THX1138.

POP ART, WHERE WE FIND THE POP CULTURE IN ART AND THE ART IN POP CULTURE.

TRAINSUBSTANTIATION: Join me and screenwriter Jordan Trippeer as we discuss two movies that take place on trains, Bullet Train and TransSiberian.

“You’re a diesel.” Oh, for the days when people traveled by train. The scenery, the comfort, the luxury, the smuggling, the murders, the crashes.…Sounds like it’s time for Episode 96 of Pop Art, where we find the pop culture in art and the art in pop culture. It’s the podcast where my guest chooses a movie from popular culture, and I’ll select a film from the more art/classic/indie side of cinema with a connection to it. For this episode, I am happy to welcome back as my guest, screenwriter Jordan Trippeer, who has chosen as her film the action packed Brad Pitt led comedy Bullet Train, while I have chosen the more indie Woody Harrelson/Emily Mortimer crime drama, TransSiberian, both films about criminal goings on a train.

And in this episode we answer such questions as:  What’s so great about train movies anyway? What are the different moral universes the two movies take place in? Why was Bullet Train accused of whitewashing? Why did a sign in TransSiberian read All Abroad? What is the character of Hello Kitty? What are the McGuffin in both films? Why was Bullet Train filmed on studio sound stages? What are some differences between the book and screenplay of Bullet Train?

POP ART, WHERE WE FIND THE POP CULTURE IN ART AND THE ART IN POP CULTURE.

TIMELESS: Join me and podcaster and movie lover Nick Rehak of Rehak Radio as we discuss two time travel movies, Looper and Predestination.

Nick was previous a guest of Pop Art for Ep 76 where we discussed two horror films revolving around hotels—The Shining and The Innkeepers—The guests check in, but do they check out. Check it out.

Not happy with the way things are now? Would you like a change of pace? Of place? How about a change of time?…Sounds like it’s time for Episode 95 of Pop Art, where we find the pop culture in art and the art in pop culture. It’s the podcast where my guest chooses a movie from popular culture, and I’ll select a film from the more art/classic/indie side of cinema with a connection to it. I am your “This time travel crap, just fries your brain like an egg” host, Howard Casner. For this episode, I am happy to welcome back, podcaster and movie lover Nick Rehak, who has chosen as his film the Rian Johnson time travel movie, Looper, while I have chosen the Spierig brothers time travel movie, Predestination, both films not just about time travel, but movies about people encountering themselves and ironically affecting their own lives.

And in this episode we answer such questions as: What is it about time travel movies anyway, why are they so popular? Are both movies Greek tragedy? Is Rian Johnson a hipster? What are the basic themes explored by time travel movies and these movies in particular? How was Looper changed for release in China and why? What’s intriguing about the bathroom signs in Predestination? What happened on Joseph Gordon-Levitt’s 30th birthday? How does the Chernobyl Power Plant fit in?

POP ART, WHERE WE FIND THE POP CULTURE IN ART AND THE ART IN POP CULTURE.

OOPS, I DID IT AGAIN: Join me and my guest, playwright, director and screenwriter Steven Peros (The Cat’s Meow, Footprints), as we talk Psycho/Peeping Tom, two films about serial killers that changed movies forever.

It happens to the best of us. You get these urges. You can’t help yourself. Someone dies. Then someone else dies. Then someone else dies. What’s a serial killer to do…Sounds like it’s time for Episode 93 of Pop Art, where we find the pop culture in art and the art in pop culture. It’s the podcast where my guest chooses a movie from popular culture, and I’ll select a film from the more art/classic/indie side of cinema with a connection to it. I am your “A boy’s best friend is his mother” host, Howard Casner. Today, I am happy to welcome as my guest, playwright, director and screenwriter Steven Peros, who has chosen as his film the Alfred Hitchcock classic Psycho, while I have chosen the Michael Powell thriller Peeping Tom, both voyeuristic films about characters who go a little mad sometimes.

And in this episode, we answer such questions as: Why was Psycho such a hit and Peeping Tom such a flop? What is it about serial killer movies anyway? Is Psycho postmodern? Why was Rebecca such an important film in Hitchcock’s history? Why did Peeping Tom get reevaluated? From a Freudian standpoint, what is interesting about the Bate’s House? Why does the central character in Peeping Tom have a German accent when he is supposed to be British? Was Psycho really responsible for Perkin’s and Leigh’s lackluster careers afterwards? Who was compared to the Marquis de Sade? Why does Psycho start on Friday, December 11th?

POP ART, WHERE WE FIND THE POP CULTURE IN ART AND THE ART IN POP CULTURE.

FILM FLAM: Join me and my guest, podcaster and film enthusiast Todd Liebenow, of the Forgotten Filmcast, as we talk Ed Wood/Sullivan’s Travels, two films about filmmakers trying to get their films made.

“But with a little sex”: Don’t you hate it when this happens. You have an artistic vision. But no one else sees it. No one else will finance it. They call you crazy, a crackpot, or the worst insult possible—uncommercial. What do you do…Sounds like it’s time for Episode 92 of Pop Art, where we find the pop culture in art and the art in pop culture. It’s the podcast where my guest chooses a movie from popular culture, and I’ll select a film from the more art/classic/indie side of cinema with a connection to it. This time, I am happy to welcome back as my guest, film enthusiast and podcaster, Todd Liebenow, who has chosen as his film Tim Burton’s comedy biopic, Ed Wood, while I have chosen the Preston Sturges farce, Sullivan’s Travels, both films about filmmakers trying to make movies that reflect their vision.

And in this episode, we answer such questions as: What was inaccurate about the portrayal of Bela Lugosi in Ed Wood? Why did the NAACP write a letter to Preston Sturges after seeing Sullivan’s Travels? What is postmodern about both Ed Wood and Sullivan’s Travels? What did Raymond Chandler call Veronica Lake? Why was Ed Wood’s girlfriend the most successful of Wood’s entourage? Why is Preston Sturges so important in the history of screenwriting? What actors from Plan 9 From Outer Space appear in Ed Wood? Why is the cinematographer of Sullivan’s Travels so important in film history?

POP ART, WHERE WE FIND THE POP CULTURE IN ART AND THE ART IN POP CULTURE.

ON THE ROAD AGAIN: Join me and my guests, filmmakers Richard and Holly Soriano (My Apocalyptic Thanksgiving) as we talk The Peanut Butter Falcon and Alice of the Cities, two films about an adult stuck with a child while on a road trip.

“You are not invited to my birthday party!” Don’t you hate when this happens? You’re on the road, minding your own business, trying to get someplace and you run into this…kid, this unaccompanied, on their own, no adult supervision…kid. What do you do?…Sounds like it’s time for Episode 91 of Pop Art, where we find the pop culture in art and the art in pop culture. It’s the podcast where my guest chooses a movie from popular culture, and I’ll select a film from the more art/classic/indie side of cinema with a connection to it. For this episode, I am happy to welcome as my guests, filmmakers Holly and Richard Soriano, who have chosen as their film the modern day Huckleberry Finn update, The Peanut Butter Falcon, while I have chosen the German new wave Alice in the Cities, both films about adults suddenly finding themselves on a road trip with a child or someone childlike.

And in this episode we answer such questions as: What director is also almost as well known for being a hand model? German New Wave or The New German Cinema? Has the portrayal of people disabilities changed in film? Could Alice in the Cities be done today? How far back to road stories date? Genre meets Diversity? How does F. Scott Fitzgerald fit in? What’s wrong with the geography in Peant Butter…? Where are Wim Wenders and Peter Haneke in the film?

MERRY XMAS-POP ART, WHERE WE FIND THE POP CULTURE IN ART AND THE ART IN POP CULTURE.

HOME FOR THE HELLIDAYS: Yes, it’s that time of year for the Pop Art Christmas Episode. So join me and my annual yuletide guest Jay Cluitt (Deep Blue Sea-the Podcast; Con Air-The Podcast; Life v. Film blog) as we talk National Lampoon’s Christmas Vacation/A Christmas Tale.

“Yule crack up”: Ah, Christmas. It’s that time when we gather all our loved ones around in one location so that we can remind ourselves why we never spend time with them the other 364 days of the year. It’s the time for airing old grievances, swearing we’ll never see that person again, get drunk because it’s the only way to get through it, and eat until we puke. And then a month later we remember what a wonderful time we had and can’t wait again until next year. …Sounds like it’s time for Episode 90 of Pop Art, where we find the pop culture in art and the art in pop culture. It’s the podcast where my guest chooses a movie from popular culture, and I’ll select a film from the more art/classic/indie side of cinema with a connection to it. And this episode is the Christmas special. For this episode, I am happy to welcome back as my guest, podcaster and film enthusiast Jay Cluitt, who has become my annual holiday guest. Jay has chosen as his film the raucous comedy National Lampoon’s Christmas Vacation, while I have chosen Arnaud Desplechin’s French dramedy, A Christmas Tale, both films about family gatherings at Christmas.

As noted, Jay his been my annual Christmas guest, so don’t forget to check out episodes 35, Kiss Kiss Bang Bang/The Thin Man and 70, Home Alone/Code Pierre Noel.

And in this episode, we answer such questions as: Why didn’t Chris Columbus do …Christmas Vacation? Who the hell is Arnaud Desplechin anyway? Whatever happened to Chevy Chase and does anyone care? Why does Henri faceplant himself on the street? How does Betty Boop fit in? Is the answer It’s French? Where do Legos come in? Where does the director of …Christmas Vacation appear in the movie? Would you want to have dinner with any of the people?

POP ART, WHERE WE FIND THE POP CULTURE IN ART AND THE ART IN POP CULTURE.

GO WESTERN, YOUNG MAN: Join me and film producer Colin Vaines (Gangs of New York, Young Victoria, My Week with Marilyn, Film Stars Don’t Die in Liverpool) as we talk The Wild Bunch/Once Upon a Time in America.

First, a mea culpa caveat. There were some technical issues, so at the end, some things were cut short, mainly in how I listed my suggested films, and then I left out what’s coming up for me and the podcast. But other than that, it was a great recording venture.

“When you side with a man, you stay with him!” Oh, the good old days of the west where it was easy to tell the good buys from the bad guys. The bad guys wore black hats; robbed and killed innocent people; and hated Indians; the good guys wore white hats, brought law and order to the community, and hated Indians …Sounds like it’s time for Episode 89 of Pop Art, where we find the pop culture in art and the art in pop culture. It’s the podcast where my guest chooses a movie from popular culture, and I’ll select a film from the more art/classic/indie side of cinema with a connection to it. For this episode, I am happy to welcome as my guest, producer and filmmaker Colin Vaines, who has chosen as his film the existentialist revisionist western, Sam Peckinpah’s The Wild Bunch, while I have chosen the more postmodern revisionist western, Sergio Leone’s Once Upon a Time in the West, both films not just about the changing West, but about the change in Westerns.

And in this episode we answer such questions as: Why did the two filmmakers make so few films? What is the connection between the Mexican warlord Mapache and the Oscar statuette? Who dubbed Claudia Cardinale’s voice and what is she most famous for? What movie did Lee Marvin turn down The Wild Bunch to do? Dario Argento and Bernardo Bertolucci…together? What did John Wayne say about The Wild Bunch? Why did a French movie projectionist hate Once Upon a Time…? What did Peckinpah do after Robert Ryan wouldn’t stop complaining about not getting top billing? What fashion influence did Once Upon a Time… have and what did it have to do with escalators?

POP ART, WHERE WE FIND THE POP CULTURE IN ART AND THE ART IN POP CULTURE.

DUMMY AND DUMMIER: Join me and frequent guest and host of the LAMBcast and Richard’s Film a Day blog Richard Kirkham, as we talk Magic and Dead of Night, two films with ventriloquists with, shall we say, some personal issues.

“Just room for one inside, sir”. So, you have a friend. He’s a dummy, but he’s smarter than you. He’s wooden, but he has more personality than you. He says awful things, but he’s way more liked than you. He’s not real…or is he…Sounds like it’s time for Episode 88 of Pop Art, where we find the pop culture in art and the art in pop culture. It’s the podcast where my guest chooses a movie from popular culture, and I’ll select a film from the more art/classic/indie side of cinema with a connection to it. Today, I am happy to welcome as my guest, podcaster, film enthusiast and the host of the Lambcast podcast, Richard Kirkham, who has chosen as his film the Anthony Hopkins starrer Magic, while I have chosen the portmanteau horror film Dead of Night, both having ventriloquists with mental issues.

And in this episode, we answer such questions as: Why did Anthony Hopkins leave Hollywood after Magic? How did Dead of Night influence physics? What is so creepy about ventriloquists anyway? Why did William Goldman bow out of Hollywood for a while? Who died just a year before the release of Dead of Night and what is her connection to the film? Which actor gets credited twice at the close of Magic? What stopped Dead of Night being made earlier than 1945? Who was the original choice to play Corky? What is the connection of Dead of Night to A Fish Called Wanda and Indiana Jones? Who are Lilian Ross and Elisabeth Welch?

HAPPY HALLOWEEN

THE DEVIL MADE ME DO IT: For the annual Pop Art Halloween Show, join me and my guest, teacher by day, horror aficionado by night, Lisa Leaheey, as we discuss two films about exorcisms, The Exorcism of Emily Rose and Requiem, both films based on the same real life incident.

“Crazy people don’t know they’re crazy” You have a friend. They seem fine, normal, just like the next person. Then, suddenly, they start having fits. They start hearing and seeing things. They speak in foreign languages. Is it epilepsy? Is it schizophrenia? Or is it, could it be, maybe it’s…Sounds like it’s time for Episode 87 of Pop Art, where we find the pop culture in art and the art in pop culture. It’s the podcast where my guest chooses a movie from popular culture, and I’ll select a film from the more art/classic/indie side of cinema with a connection to it. For this episode, I am happy to welcome back as my guest, teacher by day, horror aficionado by night, Lisa Leaheey, who has chosen as her selection The Exorcism of Emily Rose, while I have chosen the German film Requiem, both films, not just about exorcisms, but about exorcisms based on the same real life incident.

Lisa has been my guest twice before. So be sure to check out Episode 59 where we talked Memento and Spellbound, and her first time on for Halloween, Episode 67, where we talked Hell House, LLC and Man Bites Dog.

And in this episode, we answer such questions as: Who did Jennifer Carpenter’s contortions? Who is a fan of Deep Purple? Why did Derrickson choose Boardman to help write …Emily Rose? What’s a Lola and would you want to be one? What urban legend has sprung up relating to …Emily Rose? What is true horror? Who are Campbell Scott’s parents? What is it about exorcisms anyway? What is the coincidence behind Carpenter being cast? Why are there no MRIs in the two movies?

THE FEMALE OF THE SPECIES: Join me and film enthusiast and blogger James Wilson, Blogging by Cinema Light, as we talk Vertigo/Mississippi Mermaid, two films about woman who are one thing in the first half, but something else in the second half.

“You shouldn’t keep souvenirs of a killing.” You meet someone. You fall in love. But something seems…off. In fact, you begin to wonder, is this the person they claim to be or are they somebody totally different…Sounds like it’s time for Episode 85 of Pop Art, where we find the pop culture in art and the art in pop culture. It’s the podcast where my guest chooses a movie from popular culture, and I’ll select a film from the more art/classic/indie side of cinema with a connection to it. For this episode, I am happy to welcome as my guest, film enthusiast and blogger James Wilson, who has chosen as his film Alfred Hitchcock’s masterpiece, Vertigo, while I have chosen Francois Truffaut’s tribute to Hitchcock, Mississippi Mermaid, both films about men who become involved with women who appear to be one thing in the beginning, but turn out to be something entirely different by the end.

And in this episode, we answer the such questions as: Why were Vertigo and four other movies taken out of circulation and why wasn’t Psycho? What is a Cornell Woolrich and would you want to be one? How and why did Hitchcock go from being a pop culture filmmaker to an artist? How do Truffaut and Hitchcock treat women differently? What is the Vertigo effect? What about the French? What is a before and after picture? Red, green, red, green, red, green…? What was the alternative ending to Vertigo?

SOMETHING FISHY’S GOING ON: Join me and novelist, film enthusiast and podcaster, Heather Baxendale-Walsh, as we talk Lost in Translation/Toby Dammit, two fish out of water stories about actors in an existential crisis while visiting another country. What could go wrong?

It’s difficult to be a fish. It’s even more difficult to be a fish out of water. It’s even more difficult to be a fish out of water actor having a mid-life crisis on the verge of a breakdown suffering jet leg and not speaking the native language…Sounds like it’s time for Episode 84 of Pop Art, where we find the pop culture in art and the art in pop culture. It’s the podcast where my guest chooses a movie from popular culture, and I’ll select a film from the more art/classic/indie side of cinema with a connection to it. This time, I am happy to welcome as my guest, novelist, film enthusiast and podcaster, Heather Baxendale-Walsh, who has chosen as her film Sofia Coppola’s existential exploration of alienation, Lost in Translation, while I have chosen Federico Fellini’s surrealist classic Toby Dammit, both films about actors in crisis in a foreign country.

And in this episode, we answer such questions as: Who is the part Anna Faris played not, definitely not, most definitely not, based on? Who was originally cast in the Terence Stamp? What is it about portmanteau films? Where did the idea for the Suntory commercial come from? Is there a Mandela effect here? What do the two Germans say in the sauna? Where does Silent Hill fit in? What did the elderly man in the hospital say?

POP ART, WHERE WE FIND THE POP CULTURE IN ART AND THE ART IN POP CULTURE.

WHO DOOD IT: Join me and founder and editor in chief at For Reel, Thomas Stoneham-Judge, as we talk Knives Out/Gosford Park, two locked door, closed circle of suspects murder mysteries.

“We have the nanny cam footage.” It’s a remote mansion. Someone has been murdered. It has to be someone who is staying there. What do you do?…Sounds like it’s time for Episode 83 of Pop Art, where we find the pop culture in art and the art in pop culture. It’s the podcast where my guest chooses a movie from popular culture, and I’ll select a film from the more art/classic/indie side of cinema with a connection to it. For this episode, I am happy to welcome back as my guest, founder and editor in chief at For Reel, Thomas Stoneham-Judge, who has chosen as his film Rian Johnson’s modern day locked room/closed circle of suspects murder mystery, Knives Out, while I have chosen Robert Altman’s period locked room/closed circle of suspects murder mystery, Gosford Park, both murder mysteries that take place at remote mansions with a limited number of suspects.

And in this episode, we answer such questions as: What is a locked room, closed circle of suspects murder mystery? Who did Ryan Philippe replace in Gosford Park? What does Benoit Blanc’s name in Knives Out translate as? What did Raymond Chandler say about these types of murder mysteries? Why did Robert Altman use two cameras constantly moving in every scene? Is Gosford Park a bait and switch? How did Knives Out get around the reading of the will cliche? What is the relationship between Gosford Park and Downton Abbey?

POP ART, WHERE WE FIND THE POP CULTURE IN ART AND THE ART IN POP CULTURE.

ONE DOWN AND…: Join me and animator/writer Glenn Dion (King of the Hill/Big Mouth/Human Resources) while we talk two films about people eliminating one’s enemies one by one.

“Don’t you talk to me about grammar.” We all have obstacles in our lives. Roadblocks that keep us from achieving our goals. But how do we deal with them? Do we work around them? Outsmart them? Manipulate them to our advantage? Or do we do everything to completely obliterate them, destroy their utter existence, ground them to complete dust, so they no longer pose the remotest impediment to our journey?

Sounds like it’s time for Episode 82 of Pop Art, the podcast where we find the pop culture in art and the art in pop culture. It’s the podcast where my guest chooses a movie from popular culture, and I’ll select a film from the more art/classic/indie side of cinema with a connection to it. This time round, I am happy to welcome as my guest, animator and writer Glenn Dion, who has chosen as his film the graphic novel and video game influenced Scott Pilgrim v. The World, while I have chosen the classic Ealing comedy, Kind Hearts and Coronets, both films about someone needing to eliminate a series of people who are stopping them from achieving their goal.

And in this episode we answer such questions as: Why are comic book/graphic novels so popular to adapt to films today? What is it about serial killer comedies? What is transmedia storytelling? Why are the 40s and 50s in film much more cynical than people think? What changes were made to the endings of both films and why? What problematic element of Kind Hearts… had to be changed for US distribution? Who are the unsung heroes of Scott Pilgrim…? What was difficult about the special effects in both films? Why did Scott Pilgrim… bomb? From where do we get the phrase, Revenge is a dish best served cold? What is it about that light switch?

POP ART, WHERE WE FIND THE POP CULTURE IN ART AND THE ART IN POP CULTURE. 

OTHERWORDLY: Join me and writer Caitlin Duffy (Reacher, untitled Arnold Schwarzenegger Netflix series) while we talk two films about contact with another world, Contact and Another Earth.

“Boy, this is really going to change the Miss Universe Contest”. Are we alone in the universe? And if not, what does that mean? And what would aliens be like? And what would they want? To destroy us? To bring peace? To gain knowledge?…Sounds like it’s time for Episode 81 of Pop Art, where we find the pop culture in art and the art in pop culture. It’s the podcast where my guest chooses a movie from popular culture, and I’ll select a film from the more art/classic/indie side of cinema with a connection to it. This time I am happy to welcome as my guest, writer Caitlin Duffy, who has chosen as her film the hard sci-fi Jody Foster film Contact, while I have chosen soft sci-fi Brit Marling film Another Earth, both films about first contact with beings from another planet.

And in this episode, we answer such questions as: What is SETI? What is hard sci-fi as opposed to soft sci-fi? Who do they want to play the president in Contact? Who is the Saw Lady? Why did they use Bill Clinton? What is special about the opening shot in Contact? Cyanide pill or no cyanide pill? Who is Steven Ford’s father? How does Gianni Versace fit in?

SPACED: I know what you are going to say. Episode 77, shouldn’t this be episode 81? Good eye. My guest and I tried to record this episode twice and Skype let us down. But three’s the charm and Skype came through, but I decided to keep the original episode number because…let’s just say HAL made me do it.

Also, we have already covered a Tarkovsky film and a Kubrick film. So while waiting for this one, use the time to listen to Episode 76, The Shining/The Innkeepers with podcaster and film enthusiast Nicholas Rehak, as well as Episode 37, Annihilation/Stalker with filmmaker Gustavo A. Garzon.

“Open the pod bay doors, Hal” What is space? The final frontier? A place where no one can hear you scream? Or, as the introduction to one guide to the galaxy says, it’s big, really big. You just won't believe how vastly, hugely, mind bogglingly big it is…Sounds like it’s time for Episode 77 of Pop Art, where we find the art in pop culture and the pop culture in art. For Pop Art, my guest chooses a movie from popular culture, and I’ll select a film from the more art/classic/indie side of cinema with a connection to it. For this episode, I am happy to welcome as my guest, Hollywood hyphenate, producer, director, actor, writer Adam Benish, who has chosen as his film Stanley Kubrick’s masterpiece, 2001: A Space Odyssey, while I have chosen as my film Andrei Tarkovsky’s masterpiece, Solaris, both films about odd occurrences in outer space.

PRETTY AS A PICARESQUE: Join me and filmmaker Steve Herold (Death of an Umbrella Salesman, Walmea) while we talk two films inspired by Voltaire’s Candide, The Jerk and O Lucky Man!

“I was born a poor black child”: It’s a tale as old as the Spanish Golden Age and made perhaps most famous in the west by Voltaire’s Candide. Take a somewhat naïve innocent, usually of lower social class, thrust him out in the world, and have him navigate the slings and arrows he encounters, trying to survive in an essentially corrupt society. Or as I call it, Episode 80 of Pop Art, where I and my guest find the pop culture in art and the art in pop culture. It’s the podcast where my guest chooses a movie from popular culture, and I’ll select a film from the more art/classic/indie side of cinema with a connection to it. For this episode, I am happy to welcome as my guest, filmmaker Steve Herold, who has chosen as his film the Steve Martin vehicle, Carl Reiner’s The Jerk, while I have chosen Lindsay Anderson’s cult favorite, O Lucky Man!, both picaresque films with a naïve innocent having to go out on his own to discover the world.

And in this episode we answer such questions as: Quentin Tarantino’s The Jerk? Reactive, active or passive? What is white male protestant comedy? What are the problematic aspects of both films? How does Stanley Kubrick fit in? How many slaps did McDowell endure in the final scene? What is Steve Martin’s favorite line? What is the French title of O Lucky Man!? Where was Hartounian’s gas station located? How does Star Wars fit in and what does it have to do with Pig Man? Where does Rob Reiner appear in the film?

WANTED DEAD OR ALIVE:  Join filmmaker Nicole Jones-Dion, one of the winners of the Fox Writers Incubator Program, as we discuss two films about people caught between life and death-the horror/thriller Jacob’s Ladder and the romantic fantasy A Matter of Life and Death, aka Stairway to Heaven.

“Jake. New York is filled with creatures”. Don’t you hate when this happens? You’re dead. No, you’re still alive. No, you’re dead. No, you’re alive. No, you’re…Sounds like it’s time for Episode 79 of Pop Art, where we find the pop culture in art and the art in pop culture. It’s the podcast where my guest chooses a movie from popular culture, and I’ll select a film from the more art/classic/indie side of cinema with a connection to it. Today, I am happy to welcome as my guest, filmmaker Nicole Jones-Dion, who has selected, as her choice, the Adrian Lyne/Bruce Joel Rubin expressionistic thriller Jacob’s Ladder, while I have chosen Michael Powell and Emeric Pressburger’s epic fantasy A Matter of Life and Death, aka Stairway to Heaven, both films about characters caught between life and death.

And in this episode we answer such questions as: Why do these sorts of films fascinate people? Why did Lyne change the location of the courtroom scene between Tim Robbins and Jason Alexander from a hallway to a stairwell? What was the original purpose in making A Matter of Life and Death? What is the major difference between Lyne’s vision and Rubin’s vision of Jacob’s Ladder? Why was the title A Matter of Life and Death changed to Stairway to Heaven in the US? Why did Rubin do that sent him on a spiritual quest and led him to write about these themes of life and death? How does WWII and Viet Nan play into the two films? How does Planet of the Apes fit in? The Tibetan Book of the Dead? On what day did they begin filming A Matter of Life and Death and what is its significance? Who is Tom Rolf and why is he the unsung hero of Jacob’s Ladder? How do the James Bond films fit in? What does the title Jacob’s Ladder refer to? Who is Jezebel?

POP ART, WHERE I FIND THE POP CULTURE IN ART AND THE ART IN POP CULTURE. Join me and podcaster, blogger and film enthusiast Richard Kirkham as we discuss Bull Durham and This Sporting Life, two films about athletes in existential crises.

I know what you’re thinking. What happened to Episode 77. Well, we recorded that episode on 2001 and Solaris twice, but Skype failed to download it. But everything seems fine now and we should be doing that episode in the near future. For some illogical reason, I decided to keep it Episode 77. Don’t ask me.

IT TAKES A LOT OF BALLS: I believe in the Church of Baseball. It’s spring when a young man’s fancy turns to thoughts of…sports; or sport for our English listeners. Yes, sounds like it’s time for Episode 78 of Pop Art, where we find the pop culture in art and the art in pop culture. It’s the podcast where my guest chooses a movie from popular culture, and I’ll select a film from the more art/classic/indie side of cinema with a connection to it. This time round, I am happy to welcome back, for the fourth time, Richard Kirkham, who has chosen as his film the Ron Shelton low key classic Bull Durham, while I have chosen the Lindsay Anderson’s angry young man, kitchen sink drama This Sporting Life, both films about athletes going through an existential crisis.

And in this episode we answer such questions as: What is it about sports films? What does it mean to win by losing? What do the writers of both films have in common? What happened during the Broadway production of David Storey’s The Changing Room that didn’t shock little old ladies? Where did the names come from? If a baseball player hits the bull do they really get a free steak dinner? How does Ron Shelton resemble his Bull Durham hero? How does Lawrence Olivier fit in? Who did the producers of Bull Durham want for Tim Robbin’s role first and how did Ron Shelton react? Why were young men angry in Britain?

POP ART, WHERE I FIND THE POP CULTURE IN ART AND THE ART IN POP CULTURE. Join me and podcaster and film enthusiast Nick Rehak as we discuss two films about haunted hotels, The Shining and The Innkeepers.

THEY CHECK IN, BUT DO THEY CHECK OUT: All work and no play makes Jack a dull boy. It’s vacation time. You make your reservations. You find what you think is the perfect get away. You register. And then…well, I can’t say because it’s just that gruesome…Sounds like it’s time for Episode 76 of Pop Art, the podcast where my guest chooses a movie from popular culture, and I’ll select a film from the more art/classic/indie side of cinema with a connection to it. This time round, I am happy to welcome as my guest, podcaster and film enthusiast, Nick Rehak, who has chosen as his film the Stanley Kubrick horror classic The Shining, while I have chosen new filmmaker Ti West’s small indie The Innkeepers, both films about haunted hotels.

And in this episode we ask such questions as: Does Kubrick believe in ghosts? What are the two kinds of haunted house/buildings movies? Who said: God is a big, black slab from outer space and the devil is a bartender named Lloyd? What did Ti West have to say about The Shining? Why did Kubrick make The Shining? What did co-writer Diane Johnson think of Stephen King? Why do horror movies focus so much on female characters? How long did it take to shoot The Innkeepers? What Razzie Awards did The Shining get nominated for? Why is it wrong to call the two girls in The Shining twins? Who dubbed Jack Nicholson in Italy?

POP ART, WHERE I FIND THE POP CULTURE IN ART AND THE ART IN POP CULTURE, SAYS HAPPY ANNIVERSARY POP ART:  Yes, it’s the 75th episode of Pop Art, which means diamonds.

DIAMONDS ARE A GIRLS’ BEST FRIEND. “Cops! What the hell do they want? I haven't done anything... lately!” Traditionally, the gift for 75th anniversaries is diamonds. So my gift to you are two films about the search for precious jewels. Yes, it’s time for Episode 75 of Pop Art, the podcast where we find the pop culture in art and the art in pop culture. On Pop Art, my guest chooses a movie from popular culture, and I’ll select a film from the more art/classic/indie side of cinema with a connection to it. This time round, I am happy to welcome back as my guest, Donald McKinney, who has chosen as his selection the 1980s tongue in cheeky, postmodern Romancing the Stone, while I have chosen 1950’s MGM epic King Solomon’s Mines, both about a dangerous search for lost treasure.

And in this episode, we answer such questions as: What is it about the hair? Why did Diane English only have one screenplay produced in her lifetime? What does the name Quatermain mean? What did the critics misunderstand about Romancing the Stone when it first came out? Where does Valley of the Dolls come in? What does the phrase “romancing the stone mean”? What beat out King Solomon’s Mines for best picture? What’s the in joke about American Express Travelers Checks?

POP ART SAYS HAPPY VALENTINE’S DAY: LOVE AND DEATH

POP ART, WHERE I FIND THE POP CULTURE IN ART AND THE ART IN POP CULTURE: LOVE AND DEATH: “Don’t be creepy. Don’t be creepy. Don’t be creepy.” This time round, Pop Art has a very special episode for the holiday. The question? Is love dead? Is romance dead? Is being dead dead? Sounds like it’s time for Episode 74 of Pop Art, the podcast where we find the pop culture in art and the art in pop culture. On Pop Art, my guest chooses a movie from popular culture, and I’ll select a film from the more art/classic/indie side of cinema with a connection to it. Today, I am happy to welcome as my guest, film enthusiast and movie blogger Rishabh Vashishtha, who has chosen as his selection the teen romance living dead film Warm Bodies, while I have chosen the classic Val Lewton/Jaques Tournier classic I Walked with a Zombie, both about love stories revolving around dead people.

And in this episode we address such questions as: What are the source materials for both films? What is important about Val Lewton and Jacque Tournier to horror film history? How did they change the ending of Warm Bodies from the book? Is it Theresa Harris or Teresa Harris? What is the difference between a zombie and the living dead? Who are Frances Dee and Edith Barrett married to? What is a post and post post modern zombie movie? Why don’t the living dead rot away?

POP ART, WHERE I FIND THE POP CULTURE IN ART AND THE ART IN POP CULTURE: IT WAS A DARK AND STORMY NIGHT

“I’m not a Frenchie, I’m a Belgie” Don’t you hate when this happens? You’re invited to a remote mansion. You don’t know why, but, hey, it’s a free meal. It’s a dark and stormy night. The doors and windows lock. You can’t get out. And then someone starts killing off the guests. So annoying. Sounds like it’s time for Episode 73 of Pop Art, the podcast where we find the pop culture in art and the art in pop culture. On Pop Art, my guest chooses a movie from popular culture, and I’ll select a film from the more art/classic/indie side of cinema with a connection to it. This time, I am happy to welcome as my guest, filmmaker Jonathan Wysocki, who has chosen as his selection the cult favorite Clue, based on the popular board game, while I have chosen the Neil Simon spoof of locked room detective stories, Murder By Death, both about people invited to a remote location only to encounter homicide.

And in this episode we answer such questions as: Why is the original name of the game Clue? What is problematic about Murder by Death? Who are our favorite performers in each? Who was originally thought of to play the butler in Clue? Which is funnier and why? What is the difference between high brow and low brow? Which is more post and post post modern? What happened to Neil Simon? Who had his feature debut in Murder by Death and whose last feature film appearance was in MBD? Why is Hill House called Hill House? Clue had a fourth ending and Murder By Death had a different ending; what are they? What happened to the sets in Clue?

POP ART, WHERE I FIND THE POP CULTURE IN ART AND THE ART IN POP CULTURE: HIT AND MYTH

“I’m you’re huckleberry.” In John Ford’s movie The Man Who Shot Liberty Valance, we have the famous line, “This is the West, sir. When the legend becomes fact, print the legend.”  Sounds like it’s time for Episode 72 of Pop Art, the podcast where we find the pop culture in art and the art in pop culture. On Pop Art, my guest chooses a movie from popular culture, and I’ll select a film from the more art/classic/indie side of cinema with a connection to it. This time, I am happy to welcome back as my guest film enthusiast and fellow podcaster Todd Liebenow, who has chosen as his selection the epic 1990s version of Wyatt Earp, the widescreen Tombstone, while I have chosen the John Ford classic, My Darling Clementine, both about the mythical figure of the Earp brothers and the gunfight at the OK Corral.

And in this episode, we’ll ask the questions: Where did the gunfight at the OK Corral take place? What is it about westerns, anyway? Who directed Tombstone? Are you sure? Whose favorite movie is My Darling Clementine? Who is Kevin Jarre’s famous step-father? What did director John Ford think of My Darling Clementine? Who does the term “cowboy” refer to? What is a Mae Marsh and would you want to be one? Why does Robert Mitchum do the voiceover?

POP ART, WHERE I FIND THE POP CULTURE IN ART AND THE ART IN POP CULTURE: CARRY ON CAMPING-The Bridge on the River Kwai/King Rat

“What have I done?” People do it different ways. Some use sleeping bags under the stars. Some use tents. Some use air mattresses and bring along TVs. Some dress up in drag. Others do it spending time as POWs. Sounds like it’s time for Episode 71 of Pop Art, the podcast where we find the pop culture in art and the art in pop culture. On Pop Art, my guest chooses a movie from popular culture, and I’ll select a film from the more art/classic/indie side of cinema with a connection to it. For this episode, I am happy to welcome back as my guest, blogger and podcaster movierob, who has chosen as his selection the David Lean/Alec Guinness epic The Bridge on the River Kwai, while I have chosen the more cynical Bryan Forbes angry young man film, King Rat, both about prisoners in a Japanese internment camp during World War II.

And in this episode we answer such questions as: Who was the first actor considered for the Alec Guiness role in The Bridge on the River Kwai? What happened to George Segal’s career? What mistake did Pierre Boulle make about the location of the river and what did the government of Burma do in response? Where was King Rat filmed? Where did the Corporal Bogey march come from and how did it end up in the movie? Are both films about being at war, or are they really about the British class system? What did William Holden have to do to his body to take the role in …Kwai? What game show host appeared at the end of King Rat? What horror film did author James Clavell write that launched his screenwriting career?

POP ART, WHERE I FIND THE POP CULTURE IN ART AND THE ART IN POP CULTURE: HOME INVASION FOR THE HOLIDAYS

“Keep the change, ya filthy animal”. It’s Christmas time. Trees decorated with fairy lights and tinsel. Stockings hung up on the mantelpiece with care. Mistletoe. Presents. Snow. Thieves breaking into the house to steal everything. A psychotic Santa breaking in to kill everyone. Ah, the holidays. Sounds like it’s time for Episode 70 of Pop Art, the podcast where we find the pop culture in art and the art in pop culture. On Pop Art, my guest chooses a movie from popular culture, and I’ll select a film from the more art/classic/indie side of cinema with a connection to it. This time round, I am happy to welcome back as my guest, blogger, podcaster and Xmas film enthusiast, Jay Cluitt, who has chosen as his selection the yuletide classic Home Alone, while I have chosen the French cult thriller 3615 Code Pere Noel, both about kids threated by bad guys breaking into their home during the holidays, because nothing says Christmas like home invasion. And I should also add that we are doing something a little different in that the film I chose, neither Jay nor I have seen before this podcast. So we shall see how that goes.

And in this episode, we answer such questions as: What is it about Christmas movies anyway? What happened to that kid in 3615 Code Pere Noel and what does Batman have to do with it? What happened to that kid in Home Alone? Who plagiarized who? Bare feet anyone? How much did John Candy get paid for being in Home Alone? What were all the aka’s for 3615 Code Pere Noel? Why was Pesci so difficult to work with in Home Alone? What is “responsible stock”? What was the most difficult scene to film in Home Alone?

Meanwhile, check out Jay’s podcast Deep Blue Sea (about Renny Harlin’s film) on Apple, Spotify, Podomatic and many other streaming services.

POP ART, WHERE I FIND THE POP CULTURE IN ART AND THE ART IN POP CULTURE: PUTTING THE FUN IN FUNERALS

UPCOMING EPISODE (to be uploaded 11/26/21): “That’s not my father”. It’s fall. The leaves are dying. The plants are dying. The earth is dying. It’s nothing but death, death, death. But is that going to get us down? Well, we shall see. Sounds like it’s time for Episode 69 of Pop Art, the podcast where my guest chooses a movie from popular culture, and I’ll select a film from the more art/classic/indie side of cinema with a connection to it. This time, I am happy to welcome back as my guest, film enthusiast, blogger, and host of the LAMBCast podcast Richard Kirkham, who has chosen as his selection the Frank Oz farce, Death at a Funeral, while I have chosen the perhaps more subtle, but no less effective Japanese film by Juzo Itami, The Funeral, two films that put the fun in funerals.

And in this episode, we answer such questions as: What’s so funny about funerals? Why did Juzo Itami make so few films? Where have I seen that actor before? Why was Japanese comedy so oxymoronic for such a long time? What is Frank Oz’s best film? Who is Itami’s brother-in-law? What are the here remakes of Death at a Funeral? Where does 55 Days at Peking and Lord Jim come in? What married couple play a married couple in what film? Who was Itami married to?

MALLED: Join me and The Vern of Cinema Recall as we discuss George Romero’s Dawn of the Dead and the controversial French film Nocturna, both films about people stuck at a mall.

“When there’s no more room in hell, the dead walk the earth”. When was the last time you’ve been to an enclosed mall? It’s a dying cultural artifact, empty sepulchers. But at one time, it seemed the center of the known universe. So much so, that many movies revolved around this iconic location. Sounds like it’s time for Episode 68 of Pop Art, the podcast where my guest chooses a movie from popular culture, and I’ll select a film from the more art/classic/indie side of cinema with a connection to it. For this episode, I am happy to welcome as my guest, film enthusiast, blogger and podcaster The Vern, of Cinema Recall, who has chosen as his selection George Romero’s follow up to his classic film Night of the Living Dead, Dawn of the Dead, while I have chosen Bertrand Bonello’s controversial French film, Nocturama, both about groups of people stuck at a mall.

And in this episode we answer such questions as: What went wrong with the make-up in Dawn of the Dead? What is the French extremity movement? Who played the elf zombie? Why was Nocturama so controversial? What mall gave Romero the idea for Dawn of the Dead? Why did Nocturama change its name? How does Dawn of the Dead relate to January 6? What three movies influenced Nocturama? What was the original ending of Dawn of the Dead? Why was Nocturama rejected at Cannes? What is the difference between the Romero and Argento version of Dawn of the Dead? What is the major flaw in living dead movies?

Meanwhile look up The Vern’s podcast CinemaRecall at Cinemarecall.net.

HAPPY HALLOWEEN—LOST AND FOUND: For my Halloween episode, join me and my guest, teacher by day, horror aficionado by night and someone who makes a career of being on other people’s podcasts as well as being a podcaster herself, Lisa Leaheey, as we talk two found footage films Hell House LLC and Man Bites Dog.

“Usually, I start the month with a postman”. It ain’t easy being a new filmmaker these days. First there’s the money. Then you have to assemble a crew. Of course, you need actors. And if all that’s not difficult enough, then you have demons trying to kill you or a serial killer who gets you involved in his gleeful crime spree. What’s an artist to do? Sounds like it’s time for Episode 67 of Pop Art, the podcast where my guest chooses a movie from popular culture, and I’ll select a film from the more art/classic/indie side of cinema with a connection to it. For this episode, I am happy to welcome as my guest for the Pop Art Halloween special, teacher by day, horror aficionado by night and someone who makes a career of being on other people’s podcasts as well as being a podcaster herself, Lisa Leaheey, who has chosen as her selection the horror found footage film Hell House LLC, while I have chosen the Belgian dark comedy found footage film, Man Bites Dog, both films about documentarians who discover that their subject matter is a little more than they bargained for.

And in this episode, we answer such questions as: What is found footage film and how has the meaning changed? Why should first time filmmakers watch Man Bites Dog? Clowns, why is it always clowns? What is one of the faults often found in found footage films, especially in Man Bites Dog? What are the literary precedents of found footage films? What does the phrase Man Bites Dog mean? What is the first found footage film? Where was Man Bites Dog banned? 2C or not 2C? What rating did Man Bites Dog get and how did it end up in Blockbusters? What really happened in the basement?

MATCHES, MATCHES, WE DON’T NEED NO STINKIN’ MATCHES. Join me and my guest filmmaker David Au (Eat With Me) as we discuss The Wedding Banquet and Late Spring, what we’re calling matchmaking Asian style.

THEY’RE REVOLTING: “It’s a trap.” Join filmmaker and fellow podcaster Derek Diamond (The Derek Diamond Experience) as we talk The Empire Strikes Back and The Battle of Algiers, two films about a revolutionary forced trying to throw off the yoke of their empire owners.

MONSTERBATING: “You can hop, but you can’t hide”. Join film enthusiast and blogger Tony Cogan (Coogs Reviews) as we discuss Wallace and Gromit: Curse of the Were Rabbit and the 1931 Dr. Jekyll and Mr. Hyde, two films about experiments that go wrong and result in the creation of a monster (don’t you hate when that happens?).