What the corpus says about Pan (2015)

You are a clerk at Video Culture, a video store. A customer just finished Pan (2015) 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 Pan (2015) 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 · Joe Wright Bounces Back From His Darkest Hour | The Big Picture · 0:02:29 · Joe Wright (0.95)] Pan ⇒ Darkest Hour (the maker said so: Wright, on the show) · career · Wright says Pan's failure and his own doubt are what made the doubt-ridden Churchill script resonate. · "I had made a film called Pan, which had lost about $100 million, and had been slated, really, by most everyone, and I was suffering my own crisis of confidence"
[The Big Picture · Joe Wright Bounces Back From His Darkest Hour | The Big Picture · 0:03:05 · Joe Wright (0.95)] Pan ⇒ Darkest Hour (the maker said so: Wright, on the show) · career · After Pan he decided he was not cut out for big studio movies and wanted to return to his wheelhouse. · "I realized after Pan that I wasn't cut out necessarily for the kind of big studio movies, and I wanted to return to something that was closer to my wheelhouse."
[pairs] Pan ↔ Darkest Hour · said 2 times in 1 episode
[The Big Picture · Joe Wright Bounces Back From His Darkest Hour | The Big Picture · 0:02:29 · Joe Wright (0.95)] Pan · fun · Wright says Pan lost about $100 million and was slated by most everyone; it drove him toward giving up. · "had lost about $100 million, and had been slated, really, by most everyone"
[The Big Picture · Joe Wright Bounces Back From His Darkest Hour | The Big Picture · 0:15:27 · Joe Wright (0.95)] Andrei Tarkovsky ⇒ Darkest Hour (the maker said so: Wright, on the show) · lineage · Wright wants his work called cinematic and cites Tarkovsky's 'sculpting in time'. · "as Tarkovsky put it, sculpting in time."
[The Big Picture · Joe Wright Bounces Back From His Darkest Hour | The Big Picture · 0:04:10 · Joe Wright (0.95)] Darkest Hour ↔ Black Mirror (TV episode directed by Wright) · theme · Both are scripts of people talking in rooms, which challenged him to find cinema in conversation. · "it was men in rooms talking to each other, the creative challenge of that thrilled me."
[The Big Picture · Joe Wright Bounces Back From His Darkest Hour | The Big Picture · 0:12:20 · Joe Wright (0.95)] The Soloist ↔ Darkest Hour · theme · On real-life stories: you cannot change events, so The Soloist got a smaller ending of friendship; Darkest Hour seeks truth over fact. · "you're not necessarily wanting the facts, you're wanting the truth, and they sometimes are different things"
[The Big Picture · Joe Wright Bounces Back From His Darkest Hour | The Big Picture · 0:05:00 · Joe Wright (0.95)] Max Richter ⇒ Darkest Hour (the maker said so: Wright speaking of his own film on the show) · craft · Wright says he wanted a cinematic equivalent of the minimalist music he was listening to, including Max Richter. · "I was also listening to a lot of minimalist music at the time, Max Richter and Niels Fram and, of course, the great Philip Glass and so on."
[The Big Picture · Joe Wright Bounces Back From His Darkest Hour | The Big Picture · 0:05:00 · Joe Wright (0.95)] Nils Frahm ⇒ Darkest Hour (the maker said so: Wright speaking of his own film on the show) · craft · Wright says he wanted a cinematic equivalent of the minimalist music he was listening to, including Nils Frahm. · "I was also listening to a lot of minimalist music at the time, Max Richter and Niels Fram and, of course, the great Philip Glass and so on."
[The Big Picture · Joe Wright Bounces Back From His Darkest Hour | The Big Picture · 0:05:08 · Joe Wright (0.95)] Philip Glass ⇒ Darkest Hour (the maker said so: Wright, on the show) · craft · Wright aimed for a cinematic equivalent of minimalist music by Richter, Frahm and Glass. · "I wanted to try and achieve some kind of cinematic aesthetic equivalent to that music."
[The Big Picture · Joe Wright Bounces Back From His Darkest Hour | The Big Picture · 0:05:23 · Joe Wright (0.95)] Bruno Delbonnel ↔ Darkest Hour · craft · With DP Bruno Delbonnel he developed a simple, honest, truthful style. · "together we we developed a style that was trying to just be as simple and as honest and as dramatic as possible"
[The Big Picture · Joe Wright Bounces Back From His Darkest Hour | The Big Picture · 0:06:18 · Joe Wright (0.95)] Joe Wright ↔ Darkest Hour · craft · Wright thinks film is like music, happening in time, and gives actors rhythm notes by singing them. · "Film for me is most like music."
[speaker] Joe Wright · latest sketch, The Big Picture · Joe Wright Bounces Back From His Darkest Hour | The Big Picture · Loves cinematic beauty, rhythm and music, minimalist composers, and 1970s-80s auteurs plus British TV drama. Can't stand being called painterly, box-office tracking, or superhero movies. A sucker for emotional sets, singalongs and performances from unusual actors. · stances: Film is most like music; it happens in time; Prefers cinematic to painterly; Doubt is a component of wisdom; Does not compare himself to other artists; Not snobbish about television
[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)

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 Pan (2015); name it the way the line names it. Don't recommend Pan (2015) 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.