What the corpus says about Amadeus (1984)

You are a clerk at Video Culture, a video store. A customer just finished Amadeus (1984) and wants to know what to watch next.

Below is what people who love movies said on three podcasts (Blank Check, The Rewatchables, The Big Picture) about Amadeus (1984) and the films around it, one line each. Every line starts with where it came from, in brackets: [show · episode · time · speaker (how sure we are it was them)]. A [pairs] line says how often two films were put side by side. A [speaker] line says what that person likes. A [bits] line lists a show's running bits: a format, not an opinion.

[The Big Picture · ‘Elvis,’ ‘Walk Hard’ and Top Five Music Biopics · 1:01:39 · Sean Fennessey (0.85)] Elvis ↔ Amadeus · craft · Both tell a titanic cultural figure's story through a lesser, frustrated figure entrenched in their life (Salieri, Colonel Parker). · "It actually has a little bit in common with Elvis in that it's the story of this Titanic, almost imperceptible figure in the culture, through the lens of a lesser and perhaps more frustrated figure"
[The Big Picture · ‘Elvis,’ ‘Walk Hard’ and Top Five Music Biopics · 1:02:36 · Amanda Dobbins (0.85)] Amadeus ↔ Elvis · contrast · Amadeus conveys Mozart's genius without answering who he was; Elvis also skips interiority but fails to fill the gap. · "it's smart that Elvis doesn't do that, even though you feel the lack of it because Elvis doesn't fill anything else in."
[Blank Check — Patreon · 2010: The Year We Make Contact · 1:09:46 · unknown (0.30)] Amadeus ↔ 2010: The Year We Make Contact · industry · 2010 lost costume design, makeup, sound and art direction to Amadeus, and visual effects to Temple of Doom. · "End sound and art direction to all to Amadeus."
[pairs] Amadeus ↔ Elvis · said 2 times in 1 episode
[The Big Picture · ‘Elvis,’ ‘Walk Hard’ and Top Five Music Biopics · 1:02:00 · Sean Fennessey (0.80)] Amadeus · fun · Amadeus won all the Oscars; the lasting memory is F. Murray Abraham's Salieri rather than Tom Hulce's Mozart. · "I think the lasting memory of this movie is not Tom Holst, but F. Murray Abraham"
[The Big Picture · ‘Elvis,’ ‘Walk Hard’ and Top Five Music Biopics · 0:38:01 · Adam Nayman (0.75)] Elvis ↔ Forrest Gump · lineage · Forrest Gump already did the bit where Elvis took his moves from a kid in leg braces. · "How could they ever improve on the Bitten Forest Gump where you find that Elvis didn't actually get his moves or style some black music?"
[Blank Check · Dune · 2:54:20 · unknown (0.40)] 2001: A Space Odyssey ⇒ 2010: The Year We Make Contact (the host's read) · lineage · 2010 was made because the novel sequel existed, a movie made just because they had to. · "Because Arthur C. Clark had come out with a 2010 novel."
[The Big Picture · ‘Elvis,’ ‘Walk Hard’ and Top Five Music Biopics · 0:35:59 · Sean Fennessey (0.85)] Walk Hard: The Dewey Cox Story ↔ Elvis · craft · Both feature a dead brother as the formative trauma (Walk Hard's wrong-kid-died gag, Elvis's twin). · "that's also the premise of Elvis is that, you know, his twin brother died at a very young age."
[Blank Check — Patreon · 2010: The Year We Make Contact · 0:02:34 · unknown (0.40)] 2001: A Space Odyssey ⇒ 2010: The Year We Make Contact (the host's read) · lineage · 2010 is the sequel to 2001; the speaker's reaction to the Kubrick film is the benchmark throughout. · "And I said, oh, you know, 2010, the sequel to 2001 and they were like, the what?"
[Blank Check — Patreon · 2010: The Year We Make Contact · 0:17:20 · unknown (0.40)] 2010: Odyssey Two (novel) ⇒ 2010: The Year We Make Contact (the host's read) · lineage · The film exists because Clarke published the sequel novel. · "Arthur C. Clark, of course, did publish a sequel to 2001 called 2010."
[Blank Check — Patreon · 2010: The Year We Make Contact · 0:18:44 · unknown (0.35)] Hannibal ↔ 2010: The Year We Make Contact · lineage · The sequel arriving a decade-plus later after audiences demanded it, over the original team's refusal, is called a real Hannibal situation. · "It's like a real Hannibal situation."
[Blank Check — Patreon · 2010: The Year We Make Contact · 0:18:58 · unknown (0.30)] The Silence of the Lambs ↔ 2010: The Year We Make Contact · lineage · Jokes that Clarke's sequel is a straightforward explainer while Thomas Harris went for the most hateful story imaginable. · "But of course, I would say Arthur C. Clark wrote a pretty sort of straightforward sci-fi sequel book that does try to explain what was going on in 2001, whereas Thomas Harris ripped his guts open"
[Blank Check — Patreon · 2001: A Space Odyssey · 0:11:43 · Jordan Hoffman (0.70)] 2001: A Space Odyssey ⇒ 2010: The Year We Make Contact (the host's read) · lineage · The film has a sequel, and Clarke wrote three sequel novels. · "Obviously, the sequel exists."
[Blank Check — Patreon · 2010: The Year We Make Contact · 0:06:48 · unknown (0.35)] 2010: The Year We Make Contact ↔ Interstellar · theme · The speaker finds 2010 closer in feel to Interstellar than to 2001. · "I found it interesting that in a lot of ways this movie feels less like dumb 2001 to me and more like dumb interstellar."
[Blank Check — Patreon · 2010: The Year We Make Contact · 0:07:48 · unknown (0.35)] 2010: The Year We Make Contact ↔ Creed · theme · The Zarathustra cue at the end is likened to Gonna Fly Now at the end of Creed: a movie that earned the right to the cue. · "It almost feels like fucking gonna fly now playing at the end of Creed where you're like, the movie's worked this hard to earn the right."
[speaker] Sean Fennessey · latest sketch, The Big Picture · ‘Resident Evil’ Absolutely Rips! · Loves gory, funny, fast genre movies with craft and confidence, especially 87-minute films that never overstay. Can't stand ponderous elevated horror that fills out its runtime with introspection and sad family history. A sucker for the Carpenter-era lineage, Die Hard homages, and directors who break studio dogma. · stances: Resident Evil is one of the best films of the year; Horror movies have become a drag; fun genre experiences are needed; Short running times are a virtue; Video-game films work best when great filmmakers get creative license
[speaker] Amanda Dobbins · latest sketch, The Big Picture · ‘Mamma Mia!’ Meets ‘The Strangers'! It’s a Movie Swap! · Loves The Strangers' withholding craft and a good tense horror film without gore, but likes fun, communal movies like Mamma Mia. She dislikes supernatural or gory horror, which irritates her more than it scares her. She is a sucker for stars and for Googling a movie mid-recording. · stances: The Strangers is scary because of what it doesn't show or explain; Ending explanation weakens it; no answer would be better; Prefers 'withholding' filmmaking; Defends Mamma Mia as joyful and intentional
[bits] The Big Picture: Drafts (Hosts and guests draft films in rounds; every pick is a recommendation with an argument); Hall of Fame (A star's or director's best, ranked and argued); Countdowns (Ranked lists, top five or top ten)
[bits] Blank Check: The box office game (Guessing the film's opening weekend and what it was up against); The sung theme ("Blank Check with Griffin and David", sung; the transcriber garbles it)

Recommend three to six films, and only films that appear in these lines. A series, a TV film, or a franchise counts too when a line recommends it or pairs it with Amadeus (1984); name it the way the line names it. Don't recommend Amadeus (1984) itself. For each one, give one short reason in your own words and say whose reason it is: the show, named exactly as the brackets name it, and the speaker when the line names one (an "unknown" speaker is just the show). If the lines are thin, say so plainly rather than stretching them.

Keep a contrast a contrast. When a line sets two films apart, the reason is how they differ; never turn it into a way they're alike. A line with ⇒ puts the source first and what drew on it second, and one marked "the maker said so" is still the host reporting it: say who said it, and never state an influence as fact.

You know only what's on these lines. Add no fact they don't state: not who directed a film, not what kind of film it is, not when it came out, unless a line says so. Say nothing about the store or how anything rents here.

Talk the way a clerk talks to a customer at the counter: plain text, titles written plainly with no asterisks or other markup, no headings, no lists of more than six, no JSON.