Calls Last Temptation his college-era favorite Scorsese; loves Scorsese's smaller 80s and the film's closing transcendence and Gabriel score. Cannot stand fundamentalist outrage at it. A sucker for casting trivia and Tom Cruise-silliness.
Stances
Hot take: Last Temptation structurally mirrors New York, New York as a better version
Outrage over the film is stupid; it is respectful to Jesus
Scorsese's smaller 80s work beats his later baroque phases
Humor: Riffs and character bits on the Willem de ___ names and ongoing running gags.
In their words
“I find the ending so incredibly movie.” (0:19:45)
Loves quirky or deep-cut cinema and playful franchise lore (Muppets, Species, Pink Panther sequels), and enjoys the abjectly stressful pool-hall world. Is a sucker for movie-star mannerisms and for fan trivia. Cannot stand Cars 2 or Zemeckis's Pinocchio.
Stances
Color of Money is a stabilizer, not a pure paycheck gig
Cars is bad and indefensible; Cars 2 is worse
Wants Lorraine Bracco redeemed via a Goodfellas episode
Adds stabilizer to the Blank Check lexicon
Humor: Rapid pop-culture riffing and running bits, playing unpredictably with franchise absurdities and mock-serious proposals.
In their words
“But stabilizer is a term we haven't used before. And you're right. Let's add it to the lexicon” (0:19:50)
“Cars is Doc Hollywood basically beat for beat.” (0:07:08)
Treats After Hours as a personal vibe movie and loves oddball details, Scorsese lore and downtown New York. Fond of Pee-wee and Griffin Dunn, plays bits about being named after Dunn. Cannot stand wasteful nostalgia and hates auto-flush toilets.
Stances
After Hours is a downtown, very Griffin movie
Modern remakes fail because phones and piled-up incident ruin it
Wicked 2 killed Wicked
Humor: Deadpan bits that run on, mock outrage, and wordplay about the Griffin theme.
In their words
“This movie also, let's just say, is very much reflective of my temperament.” (0:07:22)
A film completist who loves the weird 1980 corners of the box office and the Scorsese-De Niro dynamic. Cannot stand Jimmy Doyle as a date and worries about Hollywood executives. A sucker for obscure titles and good trivia and for Casavetes.
Stances
Raging Bull is a funny tragedy
Studio decisions based on metrics are ruining movies
Scorsese uses comedy to implicate the audience
Humor: Playful, riffing, bit-prone, with running gags like Hollywood 3.0.
In their words
“We've coined Hollywood 3.0 today for to describe just like the fucking nonsense that goes on day to day.” (0:13:41)
“The problem is those people who make the decisions now are like, it's like saber metrics.” (1:35:40)
He came to the film bored at 14 (no monsters or puppets) and now respects it without it being his kind of movie; he adores Peter Weir's craft, Pirates of the Caribbean-era trivia and Oscar and career-arc analysis. He is a sucker for genre-bending Weir details and franchise history.
Stances
Revisited the film and understands its value though it is not innately his kind
Pirates of the Caribbean hurt this movie
Insists on playing the box office game
Weir is a patient director
Humor: Self-deprecating, quick riffs, bits about his own childhood tastes.
In their words
“It is innately not my kind of film, but I was not disengaged from it in the way I was as a 14 year old.” (0:36:16)
Loves physical media, 4K steelbooks, and calling unlikely films masterpieces. Prone to over-planning and lateness. An anxious flyer who relies on Klonopin and researches crashes. Has a blind spot for studio comedies he has not seen.
Stances
Fearless is excellent but not a three-hour oil-drilling episode
movies are great again
Small Soldiers and Sliver defended as masterpieces by friends
Humor: Rapid-fire riffs, self-roasts, and elaborate hypothetical bits.
In their words
“They announce they announce small soldiers 4K steel book. and I go, obviously, inarguable masterpiece.” (1:00:59)
A heavy researcher who comes with a 'dossier' of production history, interview quotes and box-office data, and loves Coens details, McDormand and Macy's performances, and deep-cut trivia. He is a sucker for the Mike Yanagita scene and the film's tonal balance, and delights in the weekly box-office game.
Stances
Fargo is the best encapsulation of the Coens, the way Blue Velvet is of Lynch
Macy should have been nominated for lead
Searches for essays-worthy meaning in the editing choices
Defends Jurassic Park III
Humor: Dry, bit-driven, and loves a running gag about podcast mechanics and Ben.
In their words
“I'm going to open the dossier now” (0:40:11)
“directing is about tone management.” (0:32:35)
“Okay, now I need to sidebar here for a 2nd because David and I are both Jurassic Park 3 defenders” (1:19:12)
Loves puppet-baby and in-utero comedy, rewatching movies on Letterboxd, and weird Blu-ray ephemera. He is a Shelley Long Cheers loyalist who was cool on Kirstie Alley until this movie, and has a parent's eye on infant safety. He prefers movies that feel made by one person.
Stances
The in-utero Mikey is peak comedy and the infant middle is lazy
Authorship is the show's central criterion for a director
Rebecca-era Cheers was a shadow of the show
Humor: Escalating riffs and tangents (Rugrats connections, Renaissance prequel pitch) delivered in dry mock-formal register.
In their words
“I think this is both such a good movie star performance from him and such a great example of what I would call a movie star movie” (0:37:06)
“everything about this feels like it was made by one person.” (1:49:39)
Passionate about Spielberg's autobiographical psychology and Oscar-race history; loves Lincoln, Catch Me If You Can, ensemble casts, and Malkovich as a flavor. Cannot stand Always and Spielberg's pure comedies; a sucker for deep-dive trivia and dossier research.
Stances
Empire is a very good movie where Spielberg starts subverting his own style
Fabelmans explains Spielberg's trauma
1941 and Always are weak spots
Spielberg suffers from being compared to his own canon
Humor: Self-aware riffs, callbacks, and long absurd comparisons (sun-dried tomatoes on a sandwich), plus bits about Ben's resolutions.
In their words
“I think this movie's excellent.” (0:38:38)
“He's sun dried tomatoes on a sandwich.” (0:01:21)
“I do not have a single happy memory of my childhood.” (1:52:20)
Came to Indiana Jones late, via box sets before Crystal Skull, and prefers Last Crusade for its silent-comedy streak, with reservations about Temple of Doom. Fascinated by how movies were made and by fandom history; a sucker for Spielberg staging, action craft and comics-era nostalgia.
Stances
Raiders is a lightning-in-a-bottle movie the sequels cannot recapture
Modern action imitators reverse-engineer surface elements
Treats Crystal Skull as half working
Humor: Does self-aware impressions and cranky-David riffs, mixes film nerd rigor with asides.
In their words
“Whereas I think, you know, David and I always felt like weird kids were we were paying attention to this at a time when like people were not.” (0:17:08)
He is the first-time Return viewer on this episode, so his taste shows in reactions: he loves Lynch's plainness, simple low-tech tricks and the sense that reality is ripping apart. He wants spoiler-free viewing, the proper Criterion/box-set version, and cannot stand being told to read recaps. A sucker for bits and for a gift-worthy game of ratings guessing.
Stances
Wants to be unspoiled and refuses to read recaps or the behind-the-scenes documentary yet
Treats Part 8 as hypnotic and nearly unsummarizable until the others explain it
Believes in extended bits (Wonka 2, Gethard cut) over discussion
Humor: He builds long running bits and follows riffs to absurd conclusions, sometimes holding straight faces.
In their words
“I'm going to ask dumb questions because you guys have been thinking on these things for years, if not decades, and I'm new to all of this, right?” (1:09:38)
“I felt like I, as a viewer, had like lost control of my point of view watching.” (0:52:12)
Reads the show's research dossier aloud and loves film-history trivia, particularly how directors get hired and what the studios did to them. Identified from lines addressed to him and dossier reads; many individual attributions with David are uncertain. Enjoys the Dune film as a design and sound object.
Stances
Dune '84 is fascinating as the one bounce that redirected Lynch's career
Respects the dossier's production details over speculation
Humor: Dry riffing and callbacks, running bits with Ben and the dossier-researcher JJ.
In their words
“So in the dossier, David.” (1:05:21)
“JJ, while we were recording, texted David and I hope the Dune dossier still made sense once you reach the deeper pages, LOL.” (2:29:32)
Loves plot-driven noir, weird procedural details (chain mail gloves, pockets, eyedrops) and Park's stranger visual gags. He prepares the director-biography research and box-office game. Is a sucker for bits that run for minutes, like the sand-beach and Wheel of Fortune riffs.
Stances
Park's best scenes are the quietly bizarre ones, ten per film
Decision to Leave works because the hero cannot see her directly
Likes long-running meta bits more than the ad-reads
Humor: Absurdist escalation and puns, running a single detail (chain mail, sand beach) into the ground.
In their words
“Okay, so yeah, let's talk about the plot of the movie. Guy falls off a mountain.” (0:54:04)
“Oh, can I just Shout out to she, young Kim.” (1:34:01)
Treats Sherlock Jr. as a perfect film and loves seeing silent comedy in a theater, where he says it transformed him at CalArts. Prefers Chaplin's One A.M. to his features, and is a sucker for meta jokes about film language and for Cabin Boy-style references. He sours on The Navigator's cannibal-island finale for its racism.
Stances
Sherlock Jr. is one of the best movies ever made and a contender for best film covered on the show
Certain films must be seen in a theater with an audience
Short runtimes of 40 to 50 minutes suit these comedies best
The Navigator is Keaton in play-the-hits mode and the racist finale kills it
Humor: Riffs on running bits and pop-culture parallels, then happily trips himself up in his own jokes.
In their words
“which, for my money, is still the best thing Chaplain ever did, over his features.” (0:58:42)
“you can watch rear window at home and appreciate it.” (1:00:20)
“Chris Elliott and Adam Resnick's cabin boy is such a Buster Keaton setup.” (1:51:04)
Loves Selick's visual inventiveness and thinks Wendell & Wild eventually satisfies despite its density; steeped in film-business history and trivia. Defends big sci-fi blockbusters with heavy exposition like Inception and Avatar. Rankings: Nightmare 1, Coraline 2, Peach 3, Wendell & Wild 4, Monkeybone 5.
Stances
Wendell & Wild works in spite of itself
Netflix botched the release
Nightmare edges Coraline on the ranking
Monkeybone is an odd, likable bad object
Humor: Riffs on streaming-era absurdity and takes self-aware swipes at the show's own running gags.
In their words
“I do think it is cohesive by the end of the movie.” (1:54:06)
“I would say it works in spite of itself.” (1:53:03)
Respects the craft of Fosse and defends Star 80 as powerful and aware of its own evil, while admitting it nearly unbearable. Loves the structural play of Fosse's films and Alan Ladd-era filmmaker faith. Cannot endorse or recommend Star 80, hates the soundtrack and dwells on true-crime and victim culture.
Stances
Star 80 is great but almost unwatchable and not recommendable
Fosse is underrated as a filmmaker
Fosse hates himself and does not seek forgiveness
Ranks Cabaret first with All That Jazz a close second
Humor: Self-deprecating, dark and quick, with pop-culture riffs and jokes about his own podcast.
In their words
“I think this movie is like staring into the sun.” (0:04:19)
“He, I do think, is incredibly underrated as a as a filmmaker.” (0:05:55)
Loves the film's elusive, memory-like childhood section and its refusal to explain itself; is invested in Campion's research quotes and festival lore. Can't stand the bedsheet-to-armpits sex scene and heavy-handed biopic cliches. A sucker for oddball 90s trivia like FX2 and Brian Bosworth.
Stances
The film should be a movie, not a three-part TV series
Likes biopics that focus on one slice of life
Wants to protect young Janet and root for her
Collects odd details and quotes from Campion interviews
Humor: Self-deprecating and digressive, jokes about his own obsessions and failures.
In their words
“I was so like moonlight pilled watching this movie” (0:20:22)
“I just wanted to protect her in this sort of 1st half of the movie.” (0:51:46)
Loves classic-Hollywood trivia, obsessive research dossiers, practical effects and the unfussy craft of Bridges' performance. Worships Dean Cundy and wishes he had shot Starman. Cannot stand overstuffed jukebox movies like the Amazon Cinderella. A sucker for Moulin Rouge, Romeo + Juliet and Oscar-clip nostalgia.
Stances
Starman is a good dorky movie; the poster and home-video art are bad
Cundy would have made it better
Carpenter's unsentimental filmmaking helped it age well
Coppola should make Megalopolis now
Humor: Riffs on voices, absurd imagined scenes and dad jokes, then goes deep on obscure Hollywood trivia.
In their words
“I love a road trip movie.” (1:33:30)
“I'm trying to do Jeff Bridges in this movie” (0:04:43)
Loves a good character-driven film with specificity and is a sucker for franchise action (Mission: Impossible) and spirited bad-movie obsessions. Can't stand Joy and Jason Reitman's tone-deaf fan-service sequels, and gets wary when a movie loses its human focus.
Stances
Ricki and the Flash is a good premise executed poorly
Defends Tully until its twist
Blames some Demme decisions for Ricki's flatness
Humor: Quick pop-culture riffs, fake-announcer bits and absurd puns, often at his own expense.
In their words
“Jason Reitman has given Ghostbusters back to the fans.” (0:02:48)
“I was like, we need to ban children from films forever.” (0:05:16)
Loves practical movie-making and visible seams, and gets emotionally floored by sincere pictures like The Farewell and Spirited Away. Cannot stand dense plotting without a map, gun fetishism, and 'Western catharsis'. A sucker for John Wick, Keanu Reeves, heroic dogs, and a perfect sandwich.
Stances
Nausicaä is busy and he would like it better in sequence after Lupin, Cagliostro and Sky
John Wick: Chapter 3 is the best Wick and one of the year's best
Practical animation cheats are charming, not a flaw
Dubs are fine and he regrets not using the dub for the plot
Humor: Self-deprecating, tangential, and bit-driven, he tends to run an absurd joke (the Disney Store greeter, Galactus-sized puppeteer) until the others stop him.
In their words
“I love practical shit. I love the seams of movie making, you know?” (0:55:15)
“this movie doesn't understand that this is fucked up now.” (1:37:12)
“I think it's maybe the best work of Keanu's entire career.” (1:50:14)
Their shows' recurring bits
Running bits, not opinions; a critic read aloud is cited, not present.
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.
Blank Check with Griffin & David
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.
Their claims
Showing 101–200 of 1,162 claims.
lineage (origin of project):
David Lean → Empire of the Sun.
Lean asked Spielberg to check on the rights, then lost interest and handed the novel to him.
“He asks Spielberg to check in on the rights for him.”
unmapped (screenwriting):
Tom Stoppard → Empire of the Sun.
Stoppard became the sole credited writer and said it taught him where dialogue is unnecessary.
“I learned a lot working on that in terms of like where you don't need dialogue.”
unmapped (scene reference):
Empire of the Sun → Gone with the Wind.
Jim stands before the Gone with the Wind poster, echoing Spielberg's remark to Alice Walker that it is one of his favorites.
“I mean, you have that moment where he's standing in front of the giant gone with the wind poster, right?”
lineage (inspiration):
Empire of the Sun → Tropic Thunder.
Ben Stiller, on the Empire set as a young actor, was inspired by actors playing at suffering to make Tropic Thunder two decades later.
“Which, of course, this is one of this movie's greatest, like, lasting legacies is that this, this is what inspires Tropic Thunder.”
unmapped (psychology key):
Empire of the Sun → The Fabelmans.
Griffin reads Empire through The Fabelmans: Spielberg's core trauma was being pulled into the adult world, like Jim in the camp.
“I mean, here's here's my big post-fableman's take on this movie.”
unmapped (dark twin):
Empire of the Sun → E.T. the Extra-Terrestrial.
Griffin pairs E.T. and Empire as two stabs at the same childhood material at the front and back of the 80s.
“I do think they're like him sort of like at the front and end of the 80s taking 2 stabs at a similar thing.”
people (performance):
Miranda Richardson → Kansas City.
Griffin saw the Altman film at a repertory screening where the audience was blown away by Richardson.
“holy shit, the Miranda Richardson performance in this.”
“They fail to make the, um, the plot, the sort of like Indiana Jones-S McGuffin of what they're up against directly relate to Wallace and Gromit's relationship.”
unmapped (stylistic shift):
Saving Private Ryan → Minority Report.
Saving Private Ryan was the biggest shift in Spielberg's signature style, letting him change languages for films like Minority Report and Munich.
“Saving Private Ryan is, in my opinion, the single biggest shift in his signature style up until that point”
unmapped (historical context):
Come See the Paradise → Empire of the Sun.
A reminder that America had its own internment camps, as in Alan Parker's film.
industry (industry):
Raiders of the Lost Ark → Spider-Man.
The big 2002 superhero films were limited by effects budgets in action; Raiders felt like it exceeded what was possible.
“this is more movie than you thought was previously possible.”
unmapped (experience):
Raiders of the Lost Ark → Spider-Man 2.
Seeing Spider-Man 2's subway chase felt to him like watching Raiders' escalating set pieces in 1981.
“I imagine this is what it would have felt like to watch Raiders in the theater at the time, but seeing Spider-Man 2 opening nights”
unmapped (weirdest-ever):
Twin Peaks: The Return, Part 8 → Twin Peaks season 2 finale.
Part 8 is Lynch topping his own season 2 finale as the weirdest thing ever on prime time, building something weird in relation to the template of weirdness he already set.
“he's like, no, I need to make the thing that is weird and relation to the template of weirdness I have already set, much like the season 2 finale”
craft (structural echo):
Twin Peaks: The Return, Part 8 → 2001: A Space Odyssey.
The abstract atomic-origin sequence is likened to 2001 for television, and the speakers note 2001 also comes after two hours of conventional narrative.
“you're like, oh, we're watching something that is 2001, a Space Odyssey for television.”
lineage (lineage):
Tender Mercies → The Straight Story.
Tender Mercies was a quiet drama offered to Lynch, a sensibility that foreshadows The Straight Story.
“but somebody like the straight story speaks to him.”
craft (craft):
David Lynch → The Elephant Man.
Lynch planned to do the Elephant Man makeup effects himself, as he had on Eraserhead, until the production insisted on a professional.
“Like his plan was to do the makeup effects entirely himself because he was used to working that way on Elephant Man, or not Elephant Man, Eraserhead.”
“He got attached to a very famous blacklist script, a notorious blacklist script called The Brigands of Raffle Borg, which is written by S. Craig Zoller.”
career (career context):
Decision to Leave → The Little Drummer Girl.
The film was made after Park's English-language TV show, which left him homesick for a Korean film.
lineage (source song):
Decision to Leave → Mist (1967 Korean hit song).
Park loved the 1967 song The Mist since childhood and the movie is built around it and the lady-in-the-mist idea.
“A Korean 1967 hit song called The Miss. Yeah. which is about a protagonist who's trying to understand the world around them.”
career (career context):
Decision to Leave → Stoker.
Stoker was Park's only American film and he took someone else's script; Decision to Leave is the first fully original thing after a run of adaptations.
“This is the 1st time he's completely regenering something.”
lineage (source character):
Decision to Leave → Martin Beck novels (Swedish).
The anti-macho gentleman cop concept comes from Martin Beck, the Swedish police novels, falling for the lady from the mist.
“So basically, what if Martin Beck, this Swedish police officer character falls in love with, like the lady from the Mist, sort of, right?”
unmapped (writing partner):
Park Chan-wook → Chung Seo-kyung.
Chung is his frequent co-writer; she initially refused a melodrama about an abused woman and he talked her into it.
“I said no, I didn't want to write a melodrama about an abused woman.”
people (prior role):
Park Hae-il → The Host.
Park Hae-il is known from the Bong Joon-ho movie The Host and had never worked with Park Chan-wook before.
lineage (influence):
Decision to Leave → Brief Encounter.
Park cites David Lean's Brief Encounter as the romantic vibe he was thinking of instead of Vertigo.
“He says, brief encounter, the David Lean film. is more what he's thinking of in terms of vibe.”
craft (visual gag comparison):
Decision to Leave → RoboCop.
The husband's cartoon fall off the mountain is compared to the Dick Jones stop-motion fall at the end of Robocop.
“He does like a like a end of Robocop Dick Jones fall, basically.”
lineage (genre lineage):
Decision to Leave → Insomnia.
A sleepless cop is called part of the sleepy-cop canon, with Pacino's Insomnia as the reference.
“But this movie is in the detective dormer canon of sleepy cops who can't go to sleep.”
unmapped (fight realism):
Decision to Leave → Eastern Promises.
Eastern Promises has similarly clumsy, human fight sequences where skin is actually pierced, like the knife-and-chain-mail scene.
“That movie has some similarly, like, very, very human fight sequences”
craft (plot structure):
Decision to Leave → Strangers on a Train.
The pills and Slappy-kills-the-husband arrangement is called a Strangers on a Train swap by the detective and the hosts.
“I've seen my Hitchcock movies. This is some fucking strangers on a train ship.”
unmapped (borrowed magic bits):
Sherlock, Jr. → Houdini.
The dream sequence let Keaton use vaudeville and Houdini-style magic bits in a movie grounded in reality.
“there were magic bits that he knew from vaudeville, from Houdini and other magicians”
verdict (best work):
Charlie Chaplin → One A.M..
Griffin says Chaplin's one-man drunk-on-the-staircase short is the best thing Chaplin ever did, better than his features.
“which, for my money, is still the best thing Chaplain ever did, over his features.”
unmapped (theater-viewing):
Sherlock, Jr. → Rear Window.
A CalArts teacher argued certain films, like Sherlock Jr., should be seen in a theater while Rear Window can be appreciated at home.
“you can watch rear window at home and appreciate it.”
unmapped (coincidence gag):
Sherlock, Jr. → Pulp Fiction.
The wrong-man-walks-by coincidence in the pawn shop is compared to Ving Rhames walking by in Pulp Fiction.
“much like Ving Reims and Pulp Fiction, just happens to walk by at that moment.”
craft (effects analysis):
Sherlock, Jr. → Corridor Crew (YouTube channel).
A YouTube channel was stumped by three of the film's special-effects sequences, more than by modern movies.
“they were more stump trying to figure out the special effects of Sherlock Jr. than most modern movies.”
unmapped (cartoon logic):
Sherlock, Jr. → Wile E. Coyote cartoons.
Keaton riding the handlebars without noticing the driver is gone follows Wile E. Coyote logic.
unmapped (childlike innocence):
Sherlock, Jr. → Dumb and Dumber.
Keaton's baffled reaction to the sudden babies is compared to a childlike, non-sexual innocence like Dumb and Dumber.
“where he has a childlike innocence, so he is not drawn towards sexual situations, if I may be permitted in comparison.”
unmapped (same setup):
The Navigator → Cabin Boy.
A fancy lad must prove he is a tough man at sea, a setup that Cabin Boy repeats while looking like a Harryhausen movie.
“Chris Elliott and Adam Resnick's cabin boy is such a Buster Keaton setup.”
craft (craft):
Cabin Boy → Ray Harryhausen.
Cabin Boy is coded visually and tonally as a Ray Harryhausen movie, with stop motion and forced-perspective giants, even as its story is a Keaton setup.
“that movie is obviously so coded like visually and tonally as a Ray Harryhausen movie, but Chris Elliott and Adam Resnick's cabin boy is such a Buster Keaton setup”
craft (reaction style):
The Navigator → Harold Lloyd.
In the ghost-painting bit Keaton panics like a Harold Lloyd character instead of staying deadpan.
“He actually had kind of a Harold Lloyd reaction to this.”
craft (craft):
The Navigator → Victor Herbert.
A Navigator title card jokes about singing Kiss Me Again to the music of Alice, Where Art Thou; the speaker looked up that Kiss Me Again is by Victor Herbert.
“Kiss Me Again is an up-tempo, like, waltz. That I can imagine. I can basically picture what that's written by Victor Herbert”
unmapped (Rube Goldberg gag):
The Navigator → Pee-wee Herman.
The pulleys-and-ropes kitchen sequence is described as Pee-wee Herman and Rube Goldberg stuff.
lineage (remake):
Seven Chances → Chris O'Donnell.
Seven Chances is one of the rare Keaton films that was remade, with Chris O'Donnell as the Buster Keaton of our day.
“Yes, with the with the Buster Keaton of our day.”
industry (beat it at the Oscars):
Roddy McDowall → Citizen Kane.
Griffin says he used to think the Roddy McDowall film shouldn't have beaten Citizen Kane, then saw it and changed his mind.
“oh, that's the movie that shouldn't have beaten Season K.”
unmapped (shadow):
Henry Selick → Tim Burton.
A host says Burton's name overshadows Selick; people hear Nightmare Before Christmas and assume it is Burton's.
“It does really feel like the Burton thing is a shadow.”
contrast (documentary type contrast):
Claydream → The Sparks Brothers.
David assumed Claydream was a Sparks Brothers-style career overview but it is really about art within capitalism.
“I assumed it was maybe more of a Sparks Brothers type.”
unmapped (takeover fallout):
Will Vinton → Henry Selick.
After Vinton was pushed out of Will Vinton Studios by Nike's Knight, the company (Laika) went after Selick.
“They go after Henry Selleck, who's like the other giant stop motion, at least in America, right?”
unmapped (unfinished predecessor):
The Shadow King → Wendell and Wild.
The Shadow King combined stop motion with shadow animation; some of that is used in Wendell & Wild.
“And they use some of that in this film, Wendell and Wild.”
unmapped (protagonist note):
Monkeybone → Wendell and Wild.
Selick's pattern is to choose an adult / unconventional lead (retired pitchmen, a middle-aged nun) until a producer pushes for the kid.
“Anyway, with monkey bone, I wanted every character to be a 60s, you know, retired pitch man.”
fun, about
Vanilla Sky:
Griffin's casting story: a casting director warned him not to joke about 'can you hear me now?' when the Verizon actor wrote and directed a film.
“the writer and director of this film, who's going to be in the audition is the can you hear me now, guy?”
fun, about
Vanilla Sky:
The recording was spread over years because the hosts kept leaving the country, so references to a breakup will be five weeks stale on release.
“Having to re-listen to me make references to how sad I am right now 5 weeks from now when this episode's released.”