Special two-part episode of the podcast this week! The big news in Hollywood this week has been the burgeoning effort by Hollywood creatives to fight the purchase of Warner Bros. by Paramount Skydance. Thousands of names—including some of the biggest in the business—have signed an open letter in the hopes of demonstrating that not everyone in the industry is on board with the potential deal. So I wanted to talk to some of the folks behind it.

First up is an interview with Ted Hope, indie producer extraordinaire and author of the Hope for Film Substack. We talked about how indie production has changed over the last few decades and what could be lost if Warner Bros. and Paramount are allowed to merge.

Then I got Jon Reiss and Jax Deluca of the Future Film Coalition on the horn. We discussed what concrete steps could be taken to help fight this merger and what media consolidation means to the indie filmmakers out there.

If you found this podcast interesting or informative, I hope you share it with your friends!

I’m joined on this week’s episode by Ed Solomon, the writer of the new Steven Soderbergh feature, The Christophers, which is in limited release this weekend and going wider next. It’s the story of an aging artist, played by Ian McKellen, and his new assistant, played by Michaela Cole, who has been hired by the artist’s son and daughter to forge a series of paintings from an earlier, more successful period in his career. The idea being that, when he dies, the kids can sell the “found” works for millions.

Solomon discussed the idea for the film, which began with a single sentence from Steven Soderbergh, and blossomed from a twisty noir into something more emotionally resonant. We also discussed their previous collaboration, No Sudden Move, and why he wishes more people had had a chance to see it; the difference between more conceptual art and actual paintings; and the joy of working with McKellen and Cole in shaping the voice of the characters on the screen in The Christophers.

It was a wide-ranging chat, is what I’m saying, and we didn’t even get a chance to discuss Men in Black or the Bill & Ted series of films, which he co-wrote. Maybe next time! If you enjoyed this episode, please share it with a friend!

On this week’s episode, I’m joined by Steve Starkey to discuss his new book, On the Set of Forrest Gump. Steve won an Oscar for best picture as producer on that film, but he has a career that, as I told him, has meant a lot to me, with credits on, among other pictures, Empire Strikes Back and Return of the Jedi, Who Framed Roger Rabbit, the two Back to the Future sequels, Contact, Cast Away, and, of course, Forrest Gump.

We discussed all sorts of stuff here, from the movie magician who made Lt. Dan’s legs disappear, to his work as second unit director, to the early days of using digital trickery to fake the words and faces of famous people, to the worst note he’s ever gotten after an audience test, to the difficulties facing California’s film industry in the face of global tax rebates and production credits.

On the Set of Forrest Gump is laid out like a coffee table book and is beautifully illustrated with 250 or so full-color stills from set. So it’s nice to look at. But the story he tells is a fascinating glimpse into the push and pull of art and business, the struggle between the producer on the ground trying to make sure his director has the resources he needs and the studio bankrolling the whole thing and worried about losing tens of millions of dollars on a movie that isn’t a guaranteed hit.

Anyway, I hope you check it out. And if you enjoyed this episode, I hope you share it with a friend!

On this week’s episode, I’m very pleased to be rejoined by Rod Blackhurst (we had him on a couple of years back to discuss his indie crime drama Blood for Dust) and joined for the first time by Ethan Suplee, veteran character actor we all know and love from films like Mallrats, Remember the Titans, and The Wolf of Wall Street and TV shows like My Name Is Earl.

We’re discussing their new film, Dolly, a true indie endeavor made in the spirit of American classics like The Texas Chain Saw Massacre and The Evil Dead or the New French Extremity’s High Tension. Rod and his partners raised some money, brought some folks to the woods of Tennessee, and put together something he hopes will be memorable for the audiences who see it. It’s hitting theaters this weekend, playing around 800 or so screens across the country, and if you’re a horror head—or just someone looking for something different—I hope you’ll check it out. (It is a horror movie, though, so I cannot provide any refunds if the onscreen terror sparks a walkout.)

As I said, getting Ethan on the show is a real treat because I’ve been a fan for years and it’s been interesting to watch him dip his toes into some darker waters in recent years in films like Dolly, Babylon, Blood for Dust, and God Is a Bullet. It was fun to pick his brain about consciously making that shift and why his film work often gives him a little more space to stretch than his TV work.