Screencast

Hey guys,

What is the last memorable film score you can think of besides Drive? Mine is Carter Burwell's A Serious Man soundtrack. It caught my attention immediately because of it's atypical composition and because it stood out from the crowd of bombastic, over the top, Michael Bay-like soundtracks that most movies rely on today.

I have no idea if this question has been asked before but i'll ask it anyway:

If you could live the life of ONE character out of a movie, who would it be? You'd have to become that person, and carry on living their life after the events of the movie.

I'm interested in your opinions on the issues surrounding how movies (and tv shows) are distributed to different countries, especially when it comes to online distribution. An example: I used to watch the Daily Show from the official website, but now I can no longer access it in the UK. Similarly, Netflix is only available in the US, so although I used to have an account, I no longer do. So now I pirate the Daily Show and if I can't find something on lovefilm or iTunes (the UK's netflix) then I pirate that too. I can only assume that the reason I can't watch the Daily Show in the UK anymore, or access Netflix, is something to do with copyright law. So the very thing that was created to protect intellectual property has now created an internet pirate (me). Go figure.

Obviously you guys aren't experts on copyright law, but I'd still like to hear what you guys think.

@hrn212: There is a UK netflix now.. Doesn't have the same stuff as the US though.

@Christina: Ah okay. Well the question still works, I think. Or maybe not.

Hey guys,

I'm currently embarking on a quest to watch and review all of Hayao Miyazaki's and Studio Ghibli's films. From that list, what is your personal favorite and why? Thanks!

Do you guys have any interest in covering more Film festivals like you did/do SXSW? So like Sundance, Toronto etc.

Sorry if that has been answered before.

The Coen Brothers, more so than any other film makers, have a propensity to polarise an audience with their endings. Some feel they don't know how to end their movies, abruptly brining each story to a close and leaving many questions unanswered; while others take great satisfaction in the lack of closure and the, often times, hidden meanings and symbolism therein. What are your opinions on this directorial trait: for or against, and what are some of your favourite Coen Brothers endings, if any?

I watched A Serious Man last night, and my friends pointed it out recently after watching Fargo for the first time, so it got me thinking.

What's up with Melencholia, Take Shelter, Shame, and Drive not getting any attention or nominations for acting, directing, or best picture? I live in LA and saw all these movies at a local theatre, but were they just not released anywhere else? Every lead in these movies gave an amazing performance (particularly Micheal Shannon in Take Shelter) and it makes me lose all faith in the oscars seeing these people left out. Thoughts?

What is your favorite Buddies movie? Alex you can groan or something.

This ground may have been covered by Ryan Davis in the past, but I am wondering what video game movies you guys find the most palpable?

There have been many movies made into video games and vice versa, (some better done than others). Which movies would be best left alone, and which could possibly do ok as interactive entertainment?

I was watching TV last weekend and happened upon the last half of GiJoe: The Rise of Cobra. I saw this movie in the theater and remembered it being ok. However as I watched I was surprised at how bad the acting was and how nearly every line of dialog was stilted and badly written. I couldn’t believe I had ever liked this movie. So my question is: Are there any movies you liked on your first viewing but realized were crap after seeing it again?

So I guess this topic will be rolled into next week's podacast, right? In that case, I have two questions for you guys:

1) I watched Indie Game: The Movie at it's first post-Sundance screening, and was unsurprised to see the crowd an even mix of dudes in Internet T-shirts and your standard artsy crowd, with their fancy polos and impeccable grooming. I was a bit more surprised at it's universal praise from the audience. Can you guys share more examples of a film/documentary with a 'set' target audience branch out and gain widespread appeal?

2) Somewhat related to question one... Bronies, yay or... neigh nay?

hey guys, I've always wondered who the other two guys in background picture are, the gimp and the astronaut are, i know Alex is commando and I'm assuming Matt is the Ninja, although it could be someone else, my guess is the gimp is Drew because he's the only guy at whiskey media that does any work and the astronaut is Ryan because he pops in on the BtSD every once in awhile like astronaut do coming back to earth. Or are they someone else and you know but don't what to tell us.

I was thinking about the Avengers movie, and why they choose Joss Whedon to direct. Everybody has a lot of love for him and he knows his comics, but his last theatrical debut was Serenity. A fine movie for what is was but not a high profit Transformer/Iron man. Why would Marvel put him on the reigns of such a big blockbuster movie that is already an unproven concept, the group Superhero movie.

Hearing Alex talk casually about interviewing the likes of Michael Fassbender and Nicolas Winding Refn, I have to ask, and I get that you're professionals, but is there a celebrity (actor, writer, director etc) that you could see yourself geeking out over to the point that you'd have trouble keeping your composure in an interview? I'd like to think that if I met the likes of Warren Ellis or Michael J. Nelson that I'd keep my bladder in check, but I also know that's a lie.