The Business

In the wake of Disney’s big night at the Emmys, Kim Masters and Matt Belloni take a look at the New York Times article chronicling the chaotic succession endeavors at Disney.

Plus, Masters speaks with writer-director J.T. Mollner and producer Roy Lee about their cat-and-mouse thriller Strange Darling. The film currently sits at 95% on Rotten Tomatoes and was called a “clever masterpiece” by Stephen King. But the road to such acclaim was not an easy one for the filmmakers. Mollner and his producers faced constant pushback from studio executives at Miramax, including having production shut down two days into shooting. Plus, the pair tells us about editorial clashes in post-production that would ultimately result in Mollner being given final cut.

Kim Masters and Matt Belloni break down a letter signed by hundreds of SAG-AFTRA members calling on union leaders to protect Pro-Palestine members from being blacklisted. 

Plus, Masters speaks to Warsaw-based filmmaker Maciek Hamela, whose documentary In The Rearview traces the stories of refugees fleeing Ukraine. The film originated from Hamela’s personal experience of repeatedly driving into the war-torn country in a small van, picking people up, and driving them to safety in his native Poland.

Kim Masters and Matt Belloni examine the secret battle for succession among the family of billionaire Rupert Murdoch. They also take a look at a curious Wall Street Journal profile on Disney Parks Chairman Josh D’Amaro. 

Plus, we revisit Masters’ conversation with writer Justin Kuritzkes about the rollout of his first screenplay, Challengers, now a full-fledged film directed by Luca Guadagnino. He talks about how the Zendaya-led project was inspired by a US Open match that eventually led to him becoming a tennis obsessive. And he shares how he and his wife Celine Song — who experienced a similar career whirlwind last year with her Oscar-nominated feature Past Lives — manage to keep their work separate from their relationship.

Kim Masters and Matt Belloni banter about the summer box office, noting that it started with a whimper but is ending with a bang thanks to a sequel and two superheroes. Edgar Bronfman Jr. has withdrawn his bid for Paramount, and as the Venice Film Festival kicks off, Italy's increasingly right-wing government is courting Hollywood productions.

Additionally, Meg LeFauve and Dave Holstein, the writers of the Pixar megahit Inside Out 2, join Kim Masters to discuss the importance of putting animated movies in theaters instead of only on streaming platforms — as former Disney CEO Bob Chapek did during his tenure. They also address whether the culture at Pixar has changed since John Lasseter’s 2018 departure amid misconduct allegations.

Matt Belloni and Alex Weprin discuss Edgar Bronfman Jr.'s unexpected bid for Paramount Studios, challenging the existing agreement with Skydance Media.

Plus, Slow Horses kicks off its new season with nine Emmy nominations, including Best Drama Series and Best Actor in a Drama for Gary Oldman. Eric Deggans revisits his interview with Oldman, where the actor shares insights into his career, the challenges of his craft, and what drew him to his latest role. This conversation offers a fascinating glimpse into the life of one of Hollywood's most acclaimed actors.

Kim Masters and Matt Belloni discuss recent Hollywood developments, including Joaquin Phoenix's sudden exit from a film just days before shooting and Paramount Pictures' decision to shut down a studio and layoff 2,000 workers. The industry grapples with uncertainty as Paramount and other major players navigate shifting dynamics. 

Plus, NPR’s TV critic and media analyst, Eric Deggans speaks with ‘Dear White People’ creator Justin Simien. His new docuseries Hollywood Black chronicles over a century of Black experiences in Hollywood, exploring the contributions of Black actors, writers, and directors. Simien discusses the pivotal pioneers like Donald Bogle and Oscar Micheaux while sharing personal insights on navigating racial barriers in the industry. 

Kim Masters and Matt Beloni discuss Hollywood’s second quarter earnings reports. Disney turned an early profit for streaming service ESPN+, but amusement park attendance still worried Wall Street. Meanwhile, Warner Bros. Discovery cites struggling TV business for $9 Billion loss. 

Plus, Kim Masters speaks with filmmaker Greg Kwedar about his new film “Sing Sing.” Everyone involved in the production was paid the same daily rate, a model that Kwedar hopes could bring more parity to film sets. The movie stars Colman Domingo as an wrongly-convicted man staging a play inside the real Sing Sing. Much of the cast includes formerly incarcerated actors who play versions of themselves.

Kim Masters banters with Bloomberg’s Lucas Shaw about the future of Apple’s place in the streaming landscape. Apple TV+ has produced some of the most expensive series and movies in recent years. Now, the company wants to reign in spending after struggling to grow their audience.

Plus, The Daily Show’s Jordan Klepper joins us to talk about mining comedy from the increasingly “bonkers” political news. These days, he travels with a security team to report on MAGA rallies, a situation he never anticipated as an improv comedian. Klepper also shares his thoughts on the future of late night television.

Episode Photo: (Full sentence caption + credit) Photo captions should be formatted as "Photo by __" whoever took the photos. Or "Photo courtesy of ____" if the person provided the photo and or did not take the photo.

It’s been more than two years since anyone watched the second season finale of HBO’s “Euphoria.” Season three was delayed by the strikes that shut down Hollywood, and a series of dramatic events surrounding the creator Sam Levinson. The network has confirmed its return, but will the audience stay tuned-in?

Plus, Comcast and its streaming service Peacock are hoping the Olympic games can reverse a recent subscriber shrinkage. It’s just one example of the television industry’s troubles. Low production, delayed premieres and a sense of uncertainty have plagued T.V. land this year. Kim Masters speaks with the Hollywood Reporter’s Scott Feinberg about what the latest Emmy nominations say about the state of the industry. Then NPR’s Eric Deggans breaks down what he learned at this month’s gathering with the Television Critics Association.

The 2024 Emmy nominations are here, with lots of record-breaking nods and surprises to unpack — along with the strategy behind Disney’s acquisition of FX. What does the success of Shōgun and The Bear say about streaming? And does a new Bank of America report on Warner Bros. Discovery suggest… “unbundling”? Kim Masters and Matt Belloni break it down. 

Plus, in honor of Shōgun’s 25(!) Emmy nominations, Masters revisits her conversation with creators Justin Marks and Rachel Kondo. The series made history this week with its Emmy nomination for Outstanding Drama, becoming only the second non-English show ever considered. The husband-and-wife creative team talk about how they’ve been granted more control writing for television over feature films, and explain why FX took the risk on their very expensive, and heavily subtitled, period epic.

Kim Masters and Matt Belloni discuss the Paramount-Skydance merger. They also look at CNN’s digital future after the company lays off 100 employees, and weigh in on Kevin Costner’s sad “Horizon” rollout. 

Plus, Masters speaks to Muta’Ali, director of the HBO documentary “MoviePass, MovieCrash.” The filmmaker talks about his desire to center the story of the company’s two Black founders, while detailing the complex business dealings that led to MoviePass’s meteoric rise and fall.

Kim Masters and guest Banterer Lucas Shaw of Bloomberg News discuss the latest twist in the Paramount saga: Just after billionaire Barry Diller raised his hand as a potential buyer, the Skydance-Paramount deal is resurrected from the dead.

Plus, Masters returns with an encore of her 2021 interview with Paul W. Downs and Jen Statsky, two of the three showrunners behind the award-winning HBO Max series "Hacks." Downs and Statsky talk about how lead actress Jean Smart insisted the cameras keep rolling when her husband passed away with a week of shooting the first season left.

Kim Masters and Matt Belloni discuss the tentative deal reached by the major Hollywood studios and IATSE, the union representing below-the-line workers. They also break down NBC’s effort to boost streaming numbers with Olympics recaps from an A.I.-generated version of sports broadcaster Al Michaels.

Plus, Masters speaks to Lance Oppenheim, director of the new HBO docu-series Ren Faire, about honing his intimate, uniquely collaborative style of filmmaking, and his interest in subjects who become “entombed” by their own fantasies. The filmmaker also talks about how he cold emailed his way into director Darren Aronofsky’s inner circle. 

Kim Masters and Matt Belloni examine the dissolution of the Paramount-Skydance merger after Shari Redstone calls it quits on the deal. They also discuss Sony’s purchase of Alamo Drafthouse theaters.

Plus, Masters speaks to Rob Reiner and Albert Brooks about Reiner’s HBO documentary, Albert Brooks: Defending My Life. The legendary filmmakers talk about their early years in the industry and they talk about the drastically changing landscape of entertainment. 

Kim Masters and Matt Belloni examine the complicated situation developing at Paramount as controlling shareholder Shari Redstone determines the future of the company. 

Plus, Eric Deggans speaks to comedian and Chappelle’s Show co-creator Neal Brennan about his Netflix standup special, Crazy Good. Brennan talks about what he and friends Dave Chappelle and Chris Rock have taught each other about their craft over the years, and he argues that people shouldn’t always care what comedians have to say.

Kim Masters and Matt Belloni break down the latest NBA news at Warner Bros. Discovery. They also discuss activist investor Nelson Peltz’s decision to sell his entire stake in Disney, and why Netflix CEO Ted Sarandos thinks last summer’s biggest theatrical hits would have fared as well on the streamer. 

Plus, Masters speaks to the head of domestic distribution at Paramount, Chris Aronson. The long-serving executive explains why he believes that movie theaters will survive despite industry-wide gloom over waning box office numbers, and he argues that the lack of consensus about the length of the theatrical window isn't helping consumers or studios.

A frighteningly lackluster summer box office, human ScarJo dukes it out with OpenAI’s ‘definitely-not-supposed-to-sound-like-ScarJo’ ScarJo, and the movies making noise at this year’s Cannes Film Festival–not necessarily in a good way. Kim Masters and Matt Belloni break down this week’s news in a special Spring Megabanter episode of The Business.

Kim Masters and Matt Belloni break down the biggest stories to come out of the 2024 Upfronts. They also take a look at the latest streaming bundle announcement between Netflix, Apple TV+, and Peacock.

Plus, Masters speaks with Jane Schoenbrun about their film, I Saw the TV Glow. The director talks about how growing up in the suburbs was the inspiration for the sinister setting in their A24-backed film, produced by Emma Stone and husband Dave McCary. Schoenbrun also shares why the nuances of gender and identity play a major role in their work, and how they realized they were transgender after taking a mushroom trip with friends.

Kim Masters and Matt Belloni discuss the latest at Warner Bros. Discovery following the company’s Q1 earnings report. They also dive into the announced streaming package bundling Max, Disney+, and Hulu.

Plus, Eric Deggans speaks to writer Russell T Davies about the new season of Doctor Who on Disney+. Davies talks about casting Sex Education’s Ncuti Gatwa as the latest Doctor, why having Disney on his side is such a big deal, and he explains why he thinks writing Doctor Who is one of the hardest jobs in television.

Kim Masters and Matt Belloni discuss why Comcast’s proposed bid for NBA TV rights put Warner Bros. Discovery in a tight spot. They also get into the latest at Paramount as a potential merger inches closer. 

Plus, Eric Deggans speaks to legendary actress Pam Grier about her storied career in filmmaking and appearing in Prime Video’s horror anthology series, Them. The pioneering female action star explains the origins of the term “Blaxploitation” and shares how she accidentally left Quentin Tarantino hanging for three weeks after he sent her his script for Jackie Brown.

Kim Masters and Matt Belloni examine the surprising decision made by the New York State Court of Appeals to overturn Harvey Weinstein’s 2020 rape conviction. 

Plus, Masters speaks to writer Justin Kuritzkes about the rollout of his first effort at writing a movie, Luca Guadagnino’s Challengers. He talks about how the Zendaya-led film was inspired by a particular US Open match that turned him into a tennis obsessive. And he shares how he and his wife, Celine Song — known for her Oscar-nominated Past Lives — manage to keep their work separate from their relationship.

Kim Masters and Matt Belloni take a look at Jeff Skoll’s decision to close Participant Media after 20 years. And the banter partners break down why two congress members sent a letter addressed to the heads of Disney, Fox, and Warner Bros. Discovery about their in-development joint sports streamer affectionately nicknamed “Spulu.” 

Plus, Masters speaks to Mary Robertson and Emma Schwartz about their investigative documentary series, Quiet on Set: The Dark Side of Kids TV. The filmmakers talk about working with Business Insider contributor Kate Taylor to uncover years of inappropriate behavior that took place on the sets of Nickelodeon producer Dan Schneider. They also share how Investigation Discovery went from ordering a three episode series to five episodes with more on the way as the cameras continue rolling.

Kim Masters and Matt Belloni dive into the challenges faced by legendary filmmaker Francis Ford Coppola as he struggles to find distribution for his self-financed passion project, Megalopolis. The Banter partners also take a look at the risks behind David Ellison’s bid to acquire Paramount parent company National Amusements.

Plus, Eric Deggans speaks to comedian Mike Birbiglia and documentary filmmaker Eddie Schmidt about their new special, Good One: A Show About Jokes. They share how they approached adapting a popular Vulture podcast into their Peacock special, and talk about sticking with the truth in autobiographical comedy following allegations that Hasan Minaj falsified elements of his award-winning special Homecoming King.

Kim Masters and Matt Belloni take a quick look at Ari Emanuel-led Endeavor going private, and the banter partners break down the outcome of the long battle between Nelson Peltz and Disney. 

Plus, on this special episode of The Business, Kim Masters speaks to director James Hawes about his film One Life, which tells the story of Sir Nicholas Winton, who saved more than 600 children, including Masters’ own mother, from Nazi-occupied Czechoslovakia. Hawes talks about how after years as a television director, he found his feature directorial debut in One Life, and Masters shares her deeply personal family stories connected to Winton’s rescue efforts.

Kim Masters and Matt Belloni report on the latest in the Disney proxy battle, and the banter partners examine the outrage of NBC staff following the brief, yet confounding, hiring of former RNC chair Ronna McDaniel.

Plus, Masters speaks to writers Justin Marks and Rachel Kondo about their FX limited series, Shōgun. The husband and wife creative team talk about how they’ve been granted more control writing for television over feature films. They also explain why the risk FX took on their very expensive—and heavily subtitled—period epic tops any hurdles they experienced on the show’s massive production.

Matt Belloni and Lucas Shaw examine four Disney executives poised to take the throne in 2026 following CEO Bob Iger’s proposed retirement.  

Plus, we revisit our conversation with Steven Yeun, who joined Kim Masters to talk about his Emmy winning limited series, Beef. The actor talks about his initial fears of not living up to expectations after being cast in what would become an Academy Award-nominated performance for Minari, why he and his Beef co-star Ali Wong broke out in hives after production wrapped, and how Netflix approached the A24 limited series with an offer that was too good to turn down.

Kim Masters and Matt Belloni discuss the alleged years of abuse and inappropriate behavior on Nickelodeon sets as shown in ID’s new docuseries, Quiet on Set: The Dark Side of Kids TV. 

Plus, Eric Deggans talks to actors Andrew Lincoln and Danai Gurira about reprising their breakout roles as Rick and Michonne Grimes on The Walking Dead: The Ones Who Live. Gurira shares why writing an episode of the new spinoff series opened her eyes to the challenges of writing for television, and co-star Lincoln talks about how streaming affected the flagship show’s viewership over the years.  

Kim Masters and Matt Belloni examine the latest developments in the Disney proxy fight. They also take a look at a peculiar lawsuit filed against CBS Studios and Paramount. 

Plus, Masters speaks to writer Tony McNamara about his Academy Award-nominated screenplay for the Yorgos Lanthimos film, Poor Things. He talks about how he and Lanthimos managed to take a book about Scottish nationalism and turn it into their film, which is nominated for 11 Academy Awards this weekend. He also shares why he likes splitting his time between film and TV, and why the voices he hears in his head dictate how he writes a screenplay.

Kim Masters and Matt Belloni break down the latest executive hires at Netflix and Disney. They also take a look at Kevin Costner’s ambitious plans to theatrically release a four-part film saga set in the Old West. 

Plus, NPR contributor Jeff Lunden speaks to composer Laura Karpman about her work on two vastly different 2023 films: the Disney juggernaut The Marvels, and Cord Jefferson’s sharp comedy-drama, American Fiction, which led to her first Academy Award nomination.

PREVIEW: Kim Masters speaks to writer Tony McNamara, who adapted a 1992 Alasdair Gray novel into the Oscar nominated Yorgos Lanthimos film, Poor Things. Tune in to The Business on March 8th to hear the full interview with McNamara, where he shares how his toddler inspired him to write Emma Stone’s favorite line in the Academy Award nominated screenplay.  

Kim Masters and Matt Belloni examine FuboTV’s $1 billion lawsuit seeking to halt the development of the recently announced Fox, Disney, and Warner Brothers Discovery sports streaming service. They also take a look at Sony’s struggles with live action Marvel films.

Plus, Masters speaks to filmmaker and war correspondent Mstyslav Chernov about his documentary, 20 Days in Mariupol. The BAFTA-winning director shares how an Associated Press assignment in war-torn Ukraine turned into a devastating Oscar contender for best documentary. He also talks about the importance of keeping the world’s eyes on the war in Ukraine.

Kim Masters and Matt Belloni examine the latest updates in the Disney proxy vote saga. Also, has peak TV officially ended? The banter partners break down FX chairman John Landgraf’s recent remarks on the current state of television.  

Plus, Masters speaks to Oppenheimer writer and director Christopher Nolan and American Prometheus co-author Kai Bird about adapting the film’s Pulitzer Prize winning source material. Bird talks about the 25 years it took to complete the sprawling biography with co-author Martin Sherwin, and Nolan shares how he approached adapting their 700-page book into a summer blockbuster hit.

Kim Masters and Matt Belloni take a look at the big surprises revealed during Disney’s Q1 earnings call. They also dive into the announcement of ESPN, Warner Bros. Discovery, and Fox’s joint sports streaming service set to debut this year.

Plus, Masters speaks to writer-director Ed Zwick about his new memoir, Hits, Flops and Other Illusions: My Fortysomething Years in Hollywood. The filmmaker shares lessons learned from his decades-spanning career in the industry, and he reads excerpts from the book, including stories from the making of the 1989 film Glory and how he nearly directed an early iteration of Shakespeare in Love, which he would later end up producing and winning an Oscar for Best Picture.

Kim Masters and Matt Belloni examine media mogul Byron Allen’s offer to acquire Paramount Global. They also take a closer look at the Netflix-WWE deal in the wake of WWE founder Vince McMahon’s resignation following allegations of battery and sex trafficking.

Plus, Masters is joined by The Hollywood Reporter’s Executive Awards Editor Scott Feinberg to discuss the frontrunners, surprises, and snubs of the 2024 Academy Awards.

Kim Masters and Matt Belloni examine the latest happenings at Netflix and Jon Stewart’s surprise return to The Daily Show. 

Plus, Masters speaks with Matthew Heineman about directing American Symphony. The filmmaker describes the process of documenting musician Jon Batiste and his wife Suleika Jaouad through her battle with leukemia. Heineman also shares how he snuck into the Grammys to film Batiste’s big night, and how he whittled down 1,500 hours of footage into the film that ended up being acquired by Netflix and the Obamas’ production company, Higher Ground.

Kim Masters and Matt Belloni look into the Tom Cruise-Warner Bros. deal and what that means for his projects at Paramount. 

Plus, Masters speaks to Jon Batiste about being the subject of American Symphony. The musician explains how the documentary was originally conceived to follow his composition and performance of a symphony, but following his wife’s recurrence of leukemia, the project evolved into an intimate portrait of the couple coping with a life-threatening illness. Batiste shares how director Matthew Heineman spent eight months with the couple, resulting in over 1500 hours of footage, a premiere at Telluride, and distribution by Netflix.

Kim Masters and Matt Belloni take stock of layoffs at Amazon as a result of consolidation and reorganizing across its studios. Eric Deggans speaks to Fargo creator Noah Hawley about the fifth season of his anthology series. The writer and director talks about the challenges of writing 51 hours of television based on the Coen Brothers film of the same name. He also teases his upcoming FX series based on Ridley Scott's Alien franchise.

Eric Deggans speaks to Gary Oldman about starring in Apple TV+’s spy thriller series, Slow Horses. He also talks about the joys of briefly reuniting with Christopher Nolan in Oppenheimer, how he worked around being typecast in over-the-top roles, and why he’s considering stepping away from acting after Slow Horses wraps. 

Plus, the Disney proxy fight continues, with CEO Bob Iger gearing up to stave off advances from activist shareholder Nelson Peltz, former Marvel chairman and CEO Ike Perlmutter, and former Disney exec Jay Rasulo. 

What will 2024 hold for Paramount, Warner Bros. Discovery, Disney, Netflix, and mega-agencies CAA and Endeavor?

Hollywood’s messy year: Strikes disrupted show biz, the box office surprised, studios and execs struggled, and streamers started licensing. Kim Masters, Matt Belloni, and Lucas Shaw look into the main Hollywood events of 2023.

Netflix released its first report revealing viewership patterns. Why does it matter? What does the data reveal — and what happens next?

Then, Past Lives writer-director Celine Song and producer Christine Vachon discuss Song’s foray into filmmaking, their partnership, and the journey of the awards circuit.

SAG-AFTRA members ratify a three-year contract with studios. Plus, actors promote work post-strike, studios license content, and streamers bundle services.

Then, Kim Masters revisits a 2014 conversation with legendary television producer Norman Lear, who died Dec. 5 at the age of 101. The force behind TV shows like All in the Family, Maude, Good Times and Mary Hartman, Mary Hartman, among many others, Lear discusses his memoir Even This I Get to Experience, and shares stories about how he got his first job in television and the line that almost caused CBS to pull the plug on All in the Family.

Disney CEO Bob Iger talks about the company’s many struggles, including his succession, selling ABC, and Marvel troubles during the New York Times’ DealBook Summit.

Then, we’re taking it to Broadway: Contributor Jeff Lunden speaks to Tony-winning producers Stewart F. Lane and Bonnie Comley about their streaming platform, BroadwayHD. Lunden also talks with Waitress star Sara Bareilles and producer Jessie Nelson about the live capture and theatrical distribution of their hit musical show.

Kim Masters and Matt Belloni discuss what’s shaping up to be a lean holiday box office and what success for movies looks like — and how it’s perceived — when it comes to theatrical versus streaming releases.

Then, filmmaker and SAG-AFTRA generative AI advisor Justine Bateman joins to share her concerns over the union's new contract, while Chief Negotiator Duncan Crabtree-Ireland explains why it’s the best deal possible.

WBD is looking for a buyer for its Coyote vs. Acme film. Can it find one? Plus, an AI-generated Édith Piaf biopic is in the works at Warner Music.

Filmmaker Kristoffer Borgli talks with Kim Masters about his Nicolas Cage-led film, “Dream Scenario,” directing commercials, and how the Norwegian Film Institute unknowingly funded his projects conceived in LA.

SAG-AFTRA reaches a tentative deal with studios after 118 days on strike. Was the deal a win? What is in it? Plus, WBD and Disney earnings news. Legendary sitcom director James Burrows talks with Eric Deggans, NPR TV critic and guest-host on The Business, about the revival of Frasier, his directing career, and whether sitcoms can endure on streaming services.

First, HBO CEO Casey Bloys asked staffers to create fake Twitter accounts to fight critics of the network. What’s all the attention about? Plus, Disney is finally buying Hulu.

Actress-comedian Leslie Jones discusses her tell-all memoir, overcoming personal and career obstacles, and her relationship with ‘SNL’ creator, Lorne Michaels.

The actors’ strike forges on as Hollywood reckons with the impact of the Hamas-Israel conflict and streamers raise prices — again. NPR TV Critic Eric Deggans talks with comic-book-author-turned-showrunner Robert Kirkman about the new animated adaptation of his print series Invincible, modernizing the superhero genre, and why he’s not worried about comic book adaptation fatigue.

The CEO of Endeavor, Ari Emanuel, attacked rival Bryan Lourd, head of the talent agency CAA, at Bloomberg’s Screentime conference. What’s behind the feud? 

Documentarian Ken Burns talks about his latest project, The American Buffalo,  his career, financing projects, and controversies, including a recently surfaced photo of him posing along Clarence Thomas and David Koch.

Taylor Swift’s The Eras Tour concert film is out in theaters. Was this a good deal for Swift and AMC? And will this become a trend with other artists? This week on The Business, Kim Masters revisits an interview with Sterlin Harjo, co-creator of the hit comedy series Reservation Dogs on FX.

As the actors’ strike continues, Netflix announces a price hike. What does this mean for subscribers and the streamer? 

Then, Oscar-winning costume designer Ruth E. Carter talks about her new book, collaborating with Spike Lee and Steven Spielberg, and the joys and challenges of costume designing for Black Panther.

WGA leaders reached a deal this week with Hollywood studios, ending 148 days of work stoppage. What did they get? Where did they compromise? And will SAG-AFTRA be next? Plus, director Gareth Edwards discusses his new AI-centric film The Creator and its timeliness within our current cultural climate. He also gets real about behind-the-scenes drama on Rogue One: A Star Wars Story.

First, Rupert Murdoch has announced that he is stepping down as the head of both Fox Corp. and News Corp. What will this mean for the Murdoch family line of succession? Plus, Warner Brothers Discovery announces a new paid tier to offer live sports coverage on Max. Then, Ladies First executive producer Dream Hampton talks to NPR’s Eric Deggans about why she doesn’t hesitate to call out misogynists by name in her new documentary series spotlighting women in hip-hop. Plus, she gets real about initially not wanting to do the project at all.

First, what lasting damage to the entertainment industry will the extended impasse between striking Hollywood creatives, and the Alliance of Motion Pictures and Television Producers leave in its wake? 

Then, in an encore interview, Navalny director Daniel Roher and investigative journalist Christo Grozev discuss how they came to pursue a film about Alexei Navalny, Russian opposition leader. They also talk about the risks they faced to make the Oscar-winning documentary, and the eventual arrest and sentencing of the politician in Russia. 

First, the Walt Disney Co. has pulled all programming from Charter Spectrum in early September. What ripples does this create for Disney, other networks, and the cable industry?

Then, Reservation Dogs director Danis Goulet talks about working on the final season of the FX hit, representation in Hollywood, and Taika Waititi’s integral role in creating a platform for Indigenous stories.

First, Warner Bros. CEO David Zaslav hires former New York Times executive Mark Thompson to head CNN. Will Thompson turn the struggling network around?

Then, directors Sam Lipman-Stern and Adam Lough talk with NPR TV critic Eric Deggans about their HBO documentary, Telemarketers and share how their work helped investigate fraudulent charitable organizations. They also discuss how the Safdie brothers came on board to executive produce the series, and how HBO came to be at the helm.

First, the AMPTP released its latest offer to the WGA in a press release this week. Will the studio’s move work or backfire? Then, actor, comedian, musician, and producer Steve Martin and co-creator of Only Murders in the Building, John Hoffman, explain how they met and what it took to get this idea from paper onto the screen.

First, Hollywood strikes throttle on, despite recent talks between AMPTP and WGA, complicating industry plans for the season ahead.  What will this mean for upcoming film festivals and fall television? 

Then, Jason Blum, founder and CEO of Blumhouse, discusses the latest on the work stoppages, and the (spooky) current state of Hollywood. But it’s not all horror talk with one of our leading experts on the genre — the powerhouse producer has advice on amplifying profitability across the industry.

The 2023 Emmy ceremony has been rescheduled for January 2024. How will it contend with the NFL playoffs? And Disney presents more changes via its latest investor call.

Political analyst Bill Kristol joins to break down an FCC petition to deny a Fox Corp. affiliate’s license renewal and his larger role in seeking accountability for the organization.

After months of stagnation, the AMPTP has asked the Writers Guild back to the negotiating table. Is there a deal to be made? Plus, Disney re-hires some familiar faces as consultants.

Then, director Sam Pollard discusses his new doc The League, which pairs his love of baseball with his ongoing examination of Black history, and discusses working with producer Questlove and the “uphill climb” of documentary filmmaking. 

Barbie and Oppenheimer have proven to be massively successful at the box office, but where does that leave the comparatively underwhelming performance of Mission: Impossible – Dead Reckoning Part One and other tentpole hopefuls? 

Then, The Horror of Dolores Roach Executive Producer Gloria Calderón Kellett talks to NPR TV critic Eric Deggans about the challenges of making a screen adaptation of a hit podcast. She also explains the significant impact of residuals throughout her career, and why she thinks writers need a better deal in the streaming age.

On the strike lines, rhetoric from studios and guilds makes it difficult to reach a resolution, while Disney’s CEO digs in. Plus, Netflix and streaming services face growth challenges. 

Then, Emmy-nominated VFX specialist and AI expert Mike Seymour talks about the various ways Hollywood has benefited from AI. He discusses the risks of human misuse of the technology and the need for regulation, and explains how AI can be harnessed — and in some cases, already is — to help rather than hurt creatives. 

The Business analyzes SAG-AFTRA’s strike, which will effectively shut down Hollywood at an already perilous time. Plus, Bob Iger announces a contract extension until 2026, and the summer box office heats up.

Amazon CEO Andy Jassy asks for detailed budgets of all the biggest shows made by its Hollywood studios. Why now? Plus, another polemic involving David Zaslav. Oscar-nominated screenwriter and director Billy Ray talks with Kim Masters about the guilds' battle surrounding AI, its limitations and dangers in the workplace, and whether it can really take over the WBD CEO’s job. 

Following the decision to fire top execs at Warner Bros. Discovery’s TCM, WB’s CEO David Zaslav feels the blowback and is forced to reverse the channel’s course. Plus, Netflix’s union busting tactics, exposed. Kim Masters and Matt Belloni discuss. 

Plus, diving into her debut book ‘Burn It Down,’ journalist Maureen Ryan dispels myths about Hollywood, exposes industry misconducts and coverups, and offers fixes.

To pay debt, Warner Bros. Discovery CEO David Zaslav is licensing HBO original series to Netflix, and fires the head of TCM. Meanwhile, Disney/Pixar’s “Elemental” underperforms at the box office. Kim Masters and Matt Belloni break down what it all means and the potential impacts.

NPR contributor and guest interviewer Jeff Lunden talks to music supervisor Randall Poster about his career in film and television, his work with Martin Scorsese over the years, his long relationship with Wes Anderson, and why finding the right music for a project is a deeply collaborative process.

A summer banter: Will the season bring the big box office returns studios are hoping for? Plus, Disney pushes back franchise releases, and The Golden Globes undergoes another massive change. Kim Masters and Matt Belloni break it down.

Then, as the 2023 Emmy Awards voting begins — with nominations announced July 12 — Masters and Scott Feinberg, The Hollywood Reporter’s Executive Director of Awards Coverage, talk about the award show’s recent voting changes, and Feinberg gives a special preview of what to expect.

CNN CEO Chris Licht is out from the network following a damning article in The Atlantic reporting his “alienating” behavior towards his staff. Was he a bad match for the job?  

Then, Kim Masters speaks to legendary actress, singer, writer, and comedian Carol Burnett about her sprawling career in entertainment, her close relationship with friend and mentor Lucille Ball, how she created her long running CBS variety show, and why she says working with "Better Call Saul" creator Vince Gilligan was one of the greatest experiences she’s ever had.

While the WGA strike continues in the U.S., many writer-directors, actors were off promoting their films at Cannes. Did that weaken the WGA effort? 

Then, former National Association of Theatre Owners CEO John Fithian speaks about the industry navigating the pandemic, and why he is optimistic about its future. 

As week three of the writer’s strike continues, other unions and guilds show solidarity while studios cut costs to see quarter stock increase. Plus, we revisit our long pre-strike conversation with Tony McNamara, whose viciously satirical series “The Great” has just returned for its third season on Hulu. McNamara talks about his fascination with Catherine the Great, working with Hulu, and how he transported a world he originally created for the theater stage to the small screen.

“Wild Life” directors Jimmy Chin and his wife Chai Vasarhelyi discuss mortality, making the film, and its uncanny parallels with their own lives. 

Plus, guest host Matt Belloni of Puck News speaks with Lucas Shaw, head of entertainment at Bloomberg, about the stakes for streamers and striking writers at the 2023 Upfronts in New York this week.

Director Allen Hughes discusses his five-part FX documentary series “Dear Mama: The Saga of Afeni and Tupac Shakur,” his relationship with the late rapper, and why examining the life story of Tupac’s mother, Afeni Shakur was integral to the documentary series. 

Plus, after a dismal Q1 earnings report, Paramount’s shares fell 30%. It shut MTV News and cut 25% of its network staff. Will the company break?

“Tiny Beautiful Things” series creator and showrunner Liz Tigelaar and author Cheryl Strayed discuss the kismet of their collaboration and adapting the acclaimed book into a Hulu limited series.

First — you might have heard — the Writers Guild of America is on strike. How will other guilds react? And when and how could the strike end?

Scandals! Legal duels! Ousters! Looming strikes! Even by Hollywood standards, this week’s industry news has been fit for, well, Hollywood. To make sense of it all, The Business presents a special spring Megabanter in which host Kim Masters teams up with Banter compatriot and Puck News founder Matt Belloni and Bloomberg entertainment and media head Lucas Shaw to break down some of the biggest Hollywood stories of 2023 so far — from a misconduct shakeup at NBCUniversal and Disney’s tête-à-tête with Florida Governor Ron DeSantis to Tucker Carlson’s Fox departure  and the latest on the impending writers’ strikes. 

This week, The Business revisits a conversation with actor Aubrey Plaza and director John Patton Ford about their film “Emily the Criminal.” When Plaza’s colleague handed her the script for the drama thriller, she was immediately struck by it. “It was just one of those scripts that I started to read, and I just flew through it,” she says. “It's so readable and fun … it has this momentum that propels you forward.” While Plaza had found her next great project, Ford explains why it took 12 years to write the story. With Plaza, they discuss the struggles of making “Emily The Criminal” and independent movies in general, and the film’s unexpected success. First, Kim Masters and Matt Belloni look into how the Writers Guild of America has voted to authorize strike, while Netflix details its plans for a crackdown on password sharing in the United States, and Fox News and Dominion reach a settlement. 

This week, The Business revists a conversation with the creators of “Marcel the Shell With Shoes On.” After almost an eight-year hiatus, actor Jenny Slate and director Dean Fleischer-Camp are bringing their lovable Marcel the Shell back to life. This time audiences will see the seashell with two pink shoes and one plastic eye, who babbles insightful and funny life-observations, in the stop-motion, feature-length mockumentary, “Marcel the Shell With Shoes On.”

Steven Yeun discusses his fears in taking “Minari,” why he and his “Beef” co-star broke out in hives after production wrapped, and how Netflix’s offer for the series was too good to turn down. First, Amazon Studios’ lack of vision, and unlimited resources sets up a brandless streaming service. Does Amazon care about the bang that they're getting for their buck?

This week, The Business revisits a conversation with Ashley Lyle and Bart Nickerson, co-creators and co-executive producers of the series “Yellowjackets,” just out with its second season on Showtime. 

“Daisy Jones & The Six” co-writer and co-creator Scott Neustadter talks about his early career, writing book adaptations, and the making of the sprawling rock ‘n’ roll limited series for Amazon. First, Kim Masters and Matt Belloni look into Disney’s announcement of a LGBTQ+ summit in Florida in September. Is Disney’s CEO Bob Iger clapping back at Governor Ron DeSantis?

New York Times Presents’ reporters and producers Rachel Abrams and Liz Day discuss “Sin Eater: The Crimes of Anthony Pellicano” two-part documentary on FX and Hulu. They explain the infamous Hollywood private investigator’s rise and fall, his 15-year sentence for illegal wiretapping and other crimes, campaigns of intimidation, and how almost all of his powerful clients walked away unscathed.

Director-producer Elizabeth Banks understood the challenges of making the mixed-genre horror-comedy “Cocaine Bear.”

 “I knew that if we could just create inside the movie the sense of chaos that the bear represented, that the title represented, that the ride was for theater goers, the comedy really came second to me,” she states. “I didn't want to make a comedy, if you will. It ended up being really funny, though.”

Banks talks about hearing the call of destiny with “Cocaine Bear,” releasing the raunchy R-rated horror-comedy in theaters, working with Ray Liotta, and how she has dealt with failures in her career.

But first, Fox Corporation CEO Lachlan Murdoch defends company against Dominion Voting Systems’ defamation lawsuit. Kim Masters and Matt Belloni discuss if his justification is surprising.

Director Daniel Roher is over the moon with the Oscar nom for his bio-doc “Navalny.” “How bittersweet this experience has been for me personally, as [a] filmmaker,” he affirms. “This film has put my life on a rocket ship, [and] has empowered creative career opportunities I never could have dreamed of.” Investigative journalist Christo Grozev, however, took one of the biggest risks imaginable: working on a film about Alexei Navalny, Russian opposition leader, has landed him on Putin’s wanted list. “When Navalny and I were saying our goodbyes, when he was about to leave for Berlin, he literally turned to me and said, ‘Well, until now I was number one on Putin's list, and from now on, you're number one on Putin's kill list.’ And it seems that he was not joking,” Grozev says. Roher and Grozev discuss how they came to pursue a film about Navalny, the risks they faced, and the eventual arrest and sentencing of the politician in Russia. 

For director Shaunak Sen documentary filmmaking is like a “fever dream,” in that when he starts he “sort of jumps off a cliff.” The same goes for his latest documentary “All That Breathes,” as he didn’t know where the film “would land.” “Everything that has happened with the film was utterly and entirely outside of my orbit of predictive reasoning as well.” In this interview, Sen discusses the creation of “All That Breathes,” the rescue work of black kites in New Delhi, the challenges of filming it, and the recognition it has received. But first, Kim Masters and Matt Belloni look at the possible exit of Kevin Costner from “Yellowstone.” Where does the franchise go without him? 

Irish actor Brendan Gleeson has received his first Oscar nomination for Best Supporting Actor for playing Colm Doherty in the black tragicomedy “The Banshees of Inisherin.” “It's a thrill… I'm not in the springtime of my career,” he notes. In this in-depth conversation, the 35-year TV and film veteran discusses his early acting career, two of his four sons becoming actors, fame from the “Harry Potter” movies, and his award-nominated role in The Banshees of Inisherin.” First, Kim Masters and Matt Belloni look into Steven Spielberg and Tom Cruise’s rekindled friendship. Is it genuine or a marketing stunt? Plus, a new book about the Redstone family empire.

Jerry Bruckheimer has credits on some of the most successful TV shows and movies of the last five decades. One thing he’s learned is that this business is unpredictable, so much that even he couldn’t have guessed that “Top Gun: Maverick” would be a breakout hit.

Writer-director Sarah Polley had a successful career as a child actor. By eight, she had appeared in several TV series and films and was cast to play Sally Salt in the notorious “The Adventures of Baron Munchausen,” Terry Gilliam’s adventure fantasy film. While Polley’s family was thrilled about it, she recalls an out-of-control production, with “unsafe and scary situations” on set. 

Before “Glass Onion: A Knives Out Mystery” saw a limited theatrical release last November, Producer Ram Bergman wasn’t sure if audiences would be back in theaters. Bergman is grateful that Netflix decided to premiere it on 600-odd screens for a week, and hopes the experiment moves the needle.  

With “Avatar: The Way of Water” charting a course for a $1.9 billion international gross, co-writer, producer and director James Cameron can now continue working on the following three sequels of the franchise, a project he compares to having kids. “Once you've done that, you're kind of stuck,” he jokes. 

Filmmaker James Cameron started pre-production of “Avatar: The Way of Water” in 2014. Though sequels two and three to the 2009 “Avatar” had been greenlit by then 20th Century Fox head Jim Gianopulos, Cameron knew change was coming. In early 2019, The Walt Disney Company acquired the studio and with it, Cameron’s latest project. “We sort of were led to believe that the ‘Avatar’ overall [intellectual property] was one of the jewels in the crown of what Disney was acquiring, so we expected them to be leaning forward and wanting to see what we were all about,” says Cameron. “They were excited by the potential of the new films, especially as it was planned out to be a series of films, a saga over time played out in four movies.” In the first installment of a two-part conversation with Cameron, the filmmaker shares what changes affected the production of the movie, and why what he calls an “arranged marriage” with Disney turned out better than expected. He also discusses the importance of theaters and repeat views for the film’s success, and how he views streaming services. But first, Kim Masters discusses with Matt Belloni how the “Avatar” and “Top Gun” sequels brought droves to the theaters. Will audiences go back in 2023, or will studios continue to focus on streaming?

The Business revisits its most popular episode of 2022: part two of a conversation with multi-hyphenate Bradley Cooper. To get a shot at directing his remake of “A Star is Born,” Cooper passed on an upfront payday in exchange for a piece of the profit. And that gamble paid off. But as Cooper is painfully aware, the movie business has changed. “Those days are completely gone,” Cooper says. “So, there is trepidation I have with that, no question. And I have thought: I really have to actively start thinking about other ways of making revenue that have maybe nothing to do with movie making.” In part two of this interview with Cooper, he shares his worries about the streaming future. He also remembers picking up filmmaking tips on the set of “Alias.” And he shares how he created the memorable voice of Marvel’s Rocket Raccoon.

It’s time for The Business’ annual year-in-review Megabanter. Kim Masters, Matt Belloni, founding partner of Puck News, and Lucas Shaw, entertainment reporter at Bloomberg, discuss the biggest Hollywood stories of 2022. 

Ruben Östlund’s latest film “Triangle of Sadness,” a satirical dark comedy that takes  place in a luxury yacht, has gained considerable recognition since it came out, including a Palme d’Or at the 2022 Cannes Film Festival in the spring. Now, Östlund delves into his directing, shooting during the pandemic, funding, and the aftermath of the film’s success, while Filipina actress Dolly De Leon discusses her career and how being in the film has changed her life. But first, the “Avatar” sequel premieres worldwide, including a coveted theatrical release in China. Can it gross more than $2 billion to succeed? Plus, Warner Bros. Discovery pulls the plug on “Minx” season 2. Matt Belloni and Kim Masters analyze.

Italian filmmaker Luca Guadagnino stays busy with his projects, which lately have stacked up on top of each other throughout their production cycles. After recovering from a broken foot, he’s flown to Brazil, Argentina, the United States, and around Europe in a months-long global press tour to promote two most recent films that he produced and directed.  

When actor, writer, and producer Kumail Nanjiani was 18, he moved from Karachi, Pakistan - a city of more than 9 million people - to the United States to attend Grinnell College, a small, private liberal arts college in Iowa in 1997. The town of Grinnell’s population was about 9,000 then. Though he had visited New York as a teenager, and “sort of knew America the way it is in movies,” he was not prepared for the cultural shock. 

After writing and starring in the film “The Big Sick” in 2017, actor and comedian Kumail Nanjiani says writer-director and producer Robert Siegel (“Pam and Tommy,” “Big Fan,” “The Wrestler”) approached him with an idea to make a drama film about the American stripper troupe Chippandales. At the time, Nanjiani turned it down.

For Peter Kujawski, chairman of Focus Features, it was “very simple and easy” to greenlight James Gray’s drama “Armageddon Time.” Gray had written the script before the pandemic shut down of March 2020. By that Summer, Kujawski got a call from Roeg Sutherland, a talent agent from CAA, saying he had something that he should look at. Sutherland knew Kujawski was a “gigantic fan” of Gray’s work and he was in a position to say yes to the project. “I was predisposed because of my fanship,” Kujawski reveals. “The movie literally could have been about young James Gray just building a model rocket, and I would have wanted to do it.” Gray, who also produced and directed the film, says he didn’t know of Kujawski’s admiration. “This is fabulous to hear!” Now Gray and Kujawski discuss “Armageddon Time,” the challenges of making the film during the pandemic, their careers, and Gray’s bad experience working with former film producer Harvey Weinstein. But first, Kim Masters and Matt Belloni talk about another producer, Eric Weinberg, the criminal charges against him, and the “club” culture of complicity that allowed him to keep getting jobs in Hollywood.

Actor, comedian, writer, and producer Larry Wilmore has been in show biz for four decades. He has written for dozens of iconic TV shows, including “In Living Color,” “The Office,” and “Black-ish.” But early in his career, he says a Black comedian who didn’t fit a stereotype didn’t have a job. 

This week, The Business revisits a conversation with filmmaker Sharmeen Obaid-Chinoy, who is now being tapped to direct an upcoming “Star Wars” movie, along with Damon Lindelof, who will develop and co-write it. Obaid-Chinoy will be the first woman and person of color at the helm of this movie franchise. Recently, the two-time Academy Award winner directed two episodes of Disney’s limited series “Ms. Marvel.” She shares with Kim Masters her path from making intimate documentary shorts in her home country of Pakistan, to animated features, to “Ms. Marvel” – her first live-action, narrative fiction series. “I know what ‘Black Panther’ did for communities across the world. And this is exactly what ‘Ms. Marvel’ is going to do for South Asian communities,” says Obaid-Chinoy. The mini series portrays a teenage, Pakistani-American superhero, and within its first week on Disney+, it received a 97% score – the best reviewed Marvel series and film production on Rotten Tomatoes, a record previously held by “Black Panther.” The filmmaker also talks about how the real life heroes she has depicted over the years in documentary form are tied to “Ms. Marvel.” “Kamala Khan/Ms. Marvel is a superhero who … is very much in line with the other characters that I had been filming throughout my career,” she explains, adding she desires to continue telling important stories in the future. First, Masters and Matt Belloni have a fresh banter about Lucasfilm and how its leadership’s lack of creative vision is running the franchise into the ground. Plus, Peacock has growing problems. 

Documentary filmmaker Margaret Brown was born and raised in Mobile, Ala., and has had an absorbing interest in the American South, including her 2004 documentary “Be Here to Love Me: A Film About Townes Van Zandt.” But only while filming “The Order of Myths,” in 2008, she learned of the last known slave ship brought to the United States in the late 1850s, and the nearby community former slaves formed. “I didn't remember learning about that in school. That was the first time I had heard of the Clotilda [ship] or Africatown,” she states. That was the moment when she came across the topic of her newest project, the film “Descendant.” Now, Brown shares how she created partnerships to make the film, and got Questlove, Netflix and the Obamas to become involved in it. But first, Kim Masters banters with Matt Belloni about Warner Bros. Discovery’s unpredictable decision to hire filmmaker James Gunn and producer Peter Safran to run the DC Universe. 

It’s been five years since The New York Times and Ronan Farrow, contributing writer for The New Yorker, broke Havey Weinstein’s story of criminal conduct. “There was a lot of frustration in the national conversation about gender and sexual violence, and then, Harvey's place in Hollywood changed, and maybe in some subtle ways Hollywood started to change,” he says. 

After AMC acquired the rights to Anne Rice’s major literary works in 2020, the network tasked producer Mark Johnson (“Breaking Bad” and “Better Call Saul”) to oversee its ambitious new project of making shows out of the author’s 18 supernatural novels. First is “Anne Rice’s Interview with the Vampire” on AMC+, telling the love story of two vampires, Louis de Pointe du Lac (Jacob Anderson) and Lestat de Lioncourt (Sam Reid) in early 20th century New Orleans. For the more sensual scenes, an intimacy coordinator was hired. “They make all of us feel just what they're supposed to do, get more comfortable,” Johnson says, “then it's up to wonderful actors who make it all seem ad lib, spontaneous.” For Anderson, who played Grey Worm on the HBO series “Game of Thrones,” having an intimacy director to guide his character’s more sizzling sequences has been an important asset. “[Johnson and I] were talking about demystifying the idea of storytelling as being just purely magic and in the moment and all about feeling, but I think when it comes to intimate scenes, you can't do that,” he says, “there’s things that can really get into your head if you don't prepare properly.” IWTV’s Executive Producer, Johnson, and actor, Anderson, discuss the making of the new AMC series with Kim Masters. But first, Warner Bros. Discovery CEO David Zaslav laid off about a quarter of the company’s television division staff this week. What does this mean for the company’s future? Matt Belloni discusses with Lucas Shaw. 

Steven Levitan was still working on his ABC’s hit-show “Modern Family'' when the network decided to revive the sitcom “Roseanne” after a 20-year hiatus. But after finishing its 10th season, the show was canceled under a cloud of internal rift between cast members and turmoil with ABC executives. That incident made Levitan reflect on the industry. “It made me think about what an interesting situation it is for people to come back together again after many years, and [how] in this business, sometimes when a project ends everybody has high hopes about what's up for them next, and maybe there are some deep feelings about each other,” he says. From that reflection, Levitan used the behind-the-scenes drama as inspiration to create “Reboot.” Now, he talks about some of the challenges of launching the show, having Hulu as its home, and the joys of having his show live on a streamer versus network television. First, Kim Masters and Matt Belloni look into Apple’s decision to release the film “Emancipation” starring Will Smith, as well as the “Rust” civil lawsuit settlement.

Mike Rinder spent most of his life as a member of the Church of Scientology International. He joined as a child, and by the age of 18, he signed the organization's Sea Org contract, pledging loyalty and allegiance to the church, while committing all of his future lifetimes to it as well. But after years of emotional and physical abuse, he left the organization in 2007. “I didn't make it all the way through to the end, that's for sure,” he says. Now, Rinder discusses his just released memoir “A Billion Years: My Escape From a Life in the Highest Ranks of Scientology,” in which he exposes a harrowing account about the church that only someone of his former high rank could provide. But first, Netflix has made several adjustments recently due to competition. Kim Masters and Matt Belloni look into whether they will need to make more changes to survive. 

Comedy is not exactly in vogue among big studios, so when filmmakers Judd Apatow and Nicholas Stoller approached actor Billy Eichner about making ‘Bros,’ the first big-studio, big-screen LGBTQ+ rom-com for Universal Pictures, he was skeptical. “I have an openly gay man in comedy for over 20 years,” he said, “and I am telling you that even the most gay-friendly execs at a major studio are not going to greenlight this movie. And even if they do, they're not going to let me tell it in an authentic, honest way.” The movie was greenlit, and now Eichner talks about starring on a feature film for the first time, the thrill of co-writing the script with Stoller and how a major movie studio came on board to make a gay romatic comedy came to life. But first, Kim Masters and Matt Belloni look into the return of The Golden Globes to NBC in 2023, and what it means for next year’s awards season.

When Aubrey Plaza’s colleague handed her the script for “Emily the Criminal,” she was immediately struck by it. “It was just one of those scripts that I started to read, and I just flew through it,” she says. “It's so readable and fun…it has this momentum that propels you forward.” While Plaza had found her next great project, director John Patton Ford explains why it took 12 years to write the story. With Plaza, they discuss the struggles of making “Emily The Criminal” and independent movies in general, and the film’s unexpected success. But first, Kim Masters talks to Matt Belloni about her 15-minute interview with Disney’s head Bob Chapek at the D23 Expo, as well as the PR effort to give the embattled CEO an image reboot at the event.

In 1994 Kevin Smith wrote, produced, and directed his first feature “Clerks.” The movie became a cult classic, and Smith introduced the audience to Jay and Silent Bob, the fictional friends portrayed by Jason Mewes and Smith, respectively. Despite the film’s success, the filmmaker reveals he didn’t necessarily have a plan moving forward. “There's never been a career path,” he says. “There's never been, ‘One day I'll get to the Oscar.’ No, not at all.” Almost three decades later, Smith discusses his latest movie “Clerks III,” his work in animation, and changes in the movie industry. First, Kim Masters and Matt Balloni detail yet another setback for Warner Bros. Discovery on its quest to find a head to run DC Films. And, more about Disney+ perks.

Documentarian Alex Pritz didn’t have a background in film. He studied environmental science in college and was certain he wanted to be a scientist to “work on these big problems plaguing our planet,” he says. But at the end of his time at university, he realized that film was a better way to engage with big issues. “I have always been interested in participatory video working with communities that are experiencing conflicts and challenges to help them use film as a method of advocacy and also self expression,” he remarks. With that approach in mind, he went to the western part of Brazil’s Amazon rainforest to direct “The Territory.” The filmmaker discusses how he was introduced to the Uru-eu-wau-wau people, a small indigenous community that is fighting to protect their land, the challenges and accessibility issues he faced to make the documentary. But first Kim Masters and Matt Belloni look into the competition between Amazon and HBO for more viewers. Which series will win: ‘The Rings of Power’ or ‘House of the Dragon?’

This week, The Business revisits a conversation with Danny Strong, writer, producer, and creator of “Dopesick,” which has 14 Emmy nominations for the portrayal of the evils of Purdue Pharma. Before co-creating the hit show “Empire,” Strong won accolades for writing two HBO movies based on real events: “Recount” and “Game Change,” as well as “Lee Daniels’ The Butler.” So when he decided to make a series about the opioid epidemic based on Beth Macy’s book “Dopesick,” he thought he’d be met with open arms. “I was going around to these pitches like, ‘I’m coming back to my nonfiction roots, like ‘Recount’ and ‘Game Change,’ and I’ve got a bestselling book,” he recalls. But the reaction he got was, “No one cares. ‘Oh, ‘Recount?’ Cute. That was 14 years ago’... if no one cares who you are, or what you've done… or if they don't want the project, they're not going to engage. It's not it's not an easy business. It's a tough racket.” Hollywood can be cold, but “Dopesick” eventually found a home on Hulu. Strong tells Kim Masters about falling down the Sackler family rabbit hole while researching Purdue Pharma and its deadly drug, OxyContin, and the many challenges he faced to get the show made. First, KCRW has fresh banter with guest-hosts Matt Belloni and Lucas Shaw about how two major theater chain operators AMC and Regal have recently made desperate financial moves to stay afloat.

Ashley Lyle and Bart Nickerson are co-creators and co-executive producers of the series “Yellowjackets” on Showtime. The married team say they bonded over a revision class and have been collaborating ever since, but they write the series from the retreat of their own spaces. “We definitely cannot be in the same room when we're working,” Lyle quips. Writing this complex show is a joint effort where they pick a different starting point, and repeatedly review each other’s work. But their thinking is not always fully aligned, so Nickerson explains that with the back and forth process, “we kind of find a shared point of view.” With Yellowjackets’ seven Emmys nominators, the duo is now working on season two of the hit series. They join The Business to discuss the show’s conceptualization, their hit-and-miss pitches, and how Showtime proved to be the right home for their vision.  First, Kim Masters and Matt Belloni, founding partner of Puck News, delve into the latest decisions Warner Bros. Discovery CEO Zaslav has made, and how the industry is responding. 

Filmmaker Peter Jackson was 3 years old when The Beatles first appeared on “The Ed Sullivan Show” on February 9,1964. His family didn’t own a television and he didn’t see the original airing because he believes New Zealand didn’t broadcast the TV show. “Even though I was born in 1961, I kind of don't really have a story or any memory of The Beatles in the ‘60s, which is crazy because I lived all the way through that period,” Jackson remarks. His parents were not “rock and rollers,” he says, but he recalls hearing the band “endlessly through ‘65, ‘66, ‘67 because the radio was playing nothing else.” Sixty years later, he produced and directed the Disney+ docuseries “The Beatles: Get Back,” about the making of the 1970 documentary “Let It Be.” Jackson’s series has been nominated for several Emmys, and the award-winning director discusses what led him to tackle this documentary project, and how his labor of love morphed from being a feature film to a series. But first, Kim Masters and Matt Belloni, founding partner of Puck News, discuss the Disney+ positive quarterly results, and what the decision to raise subscription prices mean for consumers, and the future of its streaming services. 

Actor, comedian, musician, and producer Steve Martin had been invited to one of talent manager’s Sandy Gallin’s showbiz parties in New York. There, he recalls seeing a lot of actors, including three older ones, when Gallin suggested he should write something for them. “I thought, ‘That's a good idea: three older guys who live in a building and solve murders because they don't have anything else to do,’” Martin recalls. His premise was: “They're too tired to go downtown to investigate things, so they limit it to only murderers in the building, so they could just stay home to solve the crime.” From that idea, Martin was introduced to John Hoffman and the two created “Only Murders in the Building,” the biggest comedy hit on Hulu. Now, the duo share how they met, and what it took for them to get Martin’s idea from paper onto the screen. But first, Warner Bros. Discovery CEO David Zaslav cancels “Batgirl.” Kim Masters and Matt Balloni discuss what this means for the DC brand and the studio. 

Filmmaker Antoneta Alamat Kusijanovic’s debut feature “Murina” won best first film at Cannes last year. Though it may seem like a story of instant success, the Croatian director says she spent years educating and establishing herself. When something happens “out of the blue and overnight, it's actually ten years of work behind it,” she explains. Kusijanovic had worked at different film companies and affirms those connections helped her finance the 2017 short film “Into the Blue.” The path to fund “Murina,'' she says, seemed easier, as she presented RT Features with only a letter of intent.  “Everybody already knew me, how I am in business, so I was already familiar to all of these people that were involved in the project,” she says. Now, Kusijanovic discusses her love for theater and the path that took her to co-writing and directing the coming-of-age drama “Murina.” But first, movie theaters will start to feel the summer cool-off, with moviegoers banking on streaming services’ shows, including the first $1-billion series. Plus, former Disney executive John Lasseter returns. Kim Masters discusses with guest-host Lucas Shaw from Bloomberg.

B.J. Novak knows a thing or two about comedic writing. He spent a lot of time in the writers’ room and starred as Ryan Howard on NBC’s hit series “The Office.” Now, he’s taking his writing skills to the big screen, debuting as a director in the comedy-thriller, “Vengeance.” “When you realize someone has a little regret in their eyes… you could be very careful with an actor and see how you could capture that in a shot,” he says. For him, it’s all the same, but “being able to learn how to write directorially is a very special and exciting opportunity.” On this episode of The Business, Novak discusses “The Office” origins, his standup comedy career and first acting job on MTV, and how he teamed up with Blumhouse producer Jason Blum to write and direct “Vengeance.” But first, Kim Masters and Matt Belloni banter about Netflix’s Q2 numbers. Netflix was projected to lose 2 million subscribers, but only lost nearly 1 million, which its CEO believes it’s “less bad” than feared. Is the streaming service really over the hump?

After almost an eight-year hiatus, actor Jenny Slate and director Dean Fleischer-Camp are bringing their lovable Marcel the Shell back to life. This time audiences will see the seashell with two pink shoes and one plastic eye, who babbles insightful and funny life-observations, in the stop-motion, feature-length mockumentary, “Marcel the Shell With Shoes On.” The online shorts were a smash-hit at the time, so for Fleischer-Camp it was important for the film to maintain Marcel’s original online integrity. That is why, he explains, “it took a while for us to find the right partners to do that, in a way that was really holistic to what we had made and what and how we like to work.” And because Fleischer-Camp invented much of the filmmaking process, Slate remarks that they wanted to take that to the film production, “so we took the risk to try to create that [environment] for ourselves.” The duo now share the story behind how “Marcel the Shell” was created, and their trajectory of taking this tiny character from being a YouTube sensation to the big screen. But first, Kim Masters and Matt Belloni banter about the Emmys group-like nominations this year. And while Hulu got 58 nods, its future as a streaming platform remains uncertain. 

Filmmaker Sara Dosa’s childhood fascination and fear of volcanoes shaped her career. While finishing her last film “The Seer and the Unseen” about an Icelandic woman fighting to save a lava field from becoming a road, she came across archival footage from Katia and Maurice Krafft, the renowned French volcanologists. “They had shot hundreds of hours of footage, and Iceland was one of their absolute favorite places, so they did have extraordinary images of volcanoes,” she says. The scientist couple were killed in a pyroclastic blast at Mount Unzen in Japan in 1991. And though the documentarian doesn’t remember their tragic deaths, she and her team became transfixed by the duo. “Once we learned more about them as people, both as these unique, idiosyncratic, hilarious, and philosophical individuals [who had] this extraordinary life where they chased erupting volcanoes all around the world, we thought, this is a world we want to dwell in.” Dosa pieces together their imagery to make “Fire of Love.” It is an homage to the French couple, their love for each other, and devotion and fearlessness to studying volcanoes – a job that ultimately led to their deaths. The film also explores the Kraffts’ travels, writings, and lectures on the beauty and dangers of molten lava and blasts of hot gasses, and their ability to document and share their findings with a wide audience. But first, Hollywood media and tech moguls reconvene in Sun Valley Idaho this week, where large deals used to be brokered, but are now less likely.

To some members of the Church of Jesus Christ of Latter-day Saints, creator Dustin Lance Black’s FX series “Under the Banner of Heaven” is an unfair depiction of their religion. Having grown up in the church, Black says he is not surprised. “As I grew older, and got to know more that this is a church that does not like anything questioned,” Black says. “They have the saying to ‘doubt your doubts.’ And one of the things I know the church is most uncomfortable with is outsiders discussing the faith, and I'm seen as an outsider now.” Black explains his approach to adapt Jon Krakauer’s nonfiction book into the FX series, and how his Mormon upbringing helped him shape and explore the history of the Mormon church. He also discusses advocacy, and having failures, and successes in his career. But first, Disney renews Bob Chapek’s contract for another three years, despite his turbulent tenure. Has Disney given him a full vote of confidence, or will they keep an eye on him?

Kim Masters and Matt Belloni celebrate the Disney-Pixar film Inside Out 2, which knocked the box office out of its summer slump with a whopping $155 million domestic debut. They also discuss Netflix’s latest venture into “immersive entertainment centers.”

Plus, Masters speaks to Reggie Rock Bythewood and Gina Prince-Bythewood, two executive producers behind National Geographic’s anthology series Genius: MLK/X. The husband-and-wife duo talk about the challenge of dramatizing the lives of Martin Luther King Jr. and Malcolm X, two towering historical figures who met just once during their lifelong fights for equality.

Comedians Desus Nice and The Kid Mero have careers that span from social media to television’s late-night show scene. Today, they host “Desus & Mero” on Showtime. The duo started being funny on Twitter, which opened doors, but also made them understand their craft. “Sometimes you’re just tweeting away and it’s not getting you anywhere. You see people and they have really great tweets, and they’re basically just giving away genius ideas, or genius jokes for free, then you don't even technically own your tweets after you put them up,” says Desus. Desus and Mero join Kim Masters to discuss their progress from tweeting at their day jobs to a career in podcasting, to web series, to their self-titled “Desus & Mero” TV show, and what’s next.  “I'm a father of four, so I see stuff like ‘Captain Underpants’ or ‘Dog Man,’ and it's not just a book. It's a cartoon, it's merchandise,” Mero remarks. “I'm particularly interested in the children's book space because it's something that can create an empire.”

Twice Academy Award winner Sharmeen Obaid-Chinoy directed two episodes of Disney’s limited series “Ms. Marvel.” She shares with Kim Masters her path from making intimate documentary shorts in her home country of Pakistan, to animated features, to “Ms. Marvel” – her first live-action, narrative fiction series. “I know what ‘Black Panther’ did for communities across the world. And this is exactly what ‘Ms. Marvel’ is going to do for South Asian communities,” says Obaid-Chinoy. The mini series portays a teenage, Pakistani-American superhero, and within its first week on Disney+, it received a 97% score – the best reviewed Marvel series and film production on Rotten Tomatoes, a record previously held by “Black Panther.” The filmmaker also talks about how the real life heroes she has depicted over the years in documentary form are tied to “Ms. Marvel.” “Kamala Khan/Ms. Marvel is a superhero who … is very much in line with the other characters that I had been filming throughout my career,” she explains, adding she desires to continue telling important stories in the future. But first, Bob Chapek’s latest miscalculated decision may have cost Disney subscribers. 

Brothers Aaron and Adam Nee are the directing-duo behind the hit movie “The Lost City,” starring Sandra Bullock, Channing Tatum, Daniel Radcliffe, and Brad Pitt. They’ve been collaborators since childhood. Adam says, “In prepping, we really get inside of each other's heads – and we just know each other so well, and have the same kind of ideas and taste, so that allows us to be on the same page on set.” And in another Disney shakeup, CEO Bob Chapek fired head of television content Peter Rice. Dana Walden is now the Chairman of Disney General Entertainment Content, where she will oversee original programming for Disney’s broadcast, cable, and streaming networks.

It took Samuel L. Jackson years to find a home for his passion project, “The Last Days of Ptolemy Grey.” He’s the star and executive producer of the miniseries, based on a novel by Walter Mosley. Apple TV+ finally stepped up, but Jackson says once the project got going, the trillion-dollar-plus company still pinched pennies when he came to them with budget requests. “You go, ‘Wait a minute, did you stop selling phones in the last hour or something? In the time we're having this conversation, you've made enough money to do this thing that I need you to do,’” Jackson says. Jackson talks about his mid-career stardom, the team he’s had around him for decades, and the bumpy road to bringing “The Last Days of Ptolemy Grey” to life.

“Squid Game” creator Hwang Dong-hyuk had never written a TV series before, but after a decade conceptualizing it, he created an unprecedented global sensation. “Squid Game” is about a dystopian survival competition where hundreds of cash-strapped players aim for a multi-million dollar cash prize. The show has become No. 1 in 90 countries and the most-watched Netflix program of all time. The USC-trained filmmaker had big ambitions for the project, but was blown away by how many people worldwide are fans. “I wanted to make a global TV show. My goal was hitting number one in the U.S. Netflix rank. But I never expected this kind of big success,” he says. When Hwang proposed “Squid Game,” it was considered too weird and too violent. So while he searched for investors for that project, he directed three acclaimed films: “The Crucible,” “Miss Granny,” and “The Fortress.” In 2018, Netflix took a closer look, “got hooked,” and greenlit the show. The streaming service’s global platform gave the show visibility and a massive audience. With all the achievements, Hwang has agreed to work on season two, which could be out by the end of 2023 or 2024. And the streaming service may be spawning a “Squid Game” universe.

Tony McNamara's viciously satirical Hulu series “The Great” follows young Empress Catherine's adventures in her adopted country: 18th century imperial Russia. McNamara’s version is one with a lot of swearing, sex, and violence, and the series is now in production on its third season. As is typical for a streamer, Hulu doesn’t tell McNamara much about who’s watching. But he’s fine with that. “You sort of assume it’s going well because they renew it,” McNamara says. “But you're not locked into ‘what's the ratings this week? What's the data?’ So there’s a freedom in that.” McNamara talks about his fascination with Catherine the Great,  working with Hulu, and how he transported a world he originally created for the theater stage to the small screen.

Before he co-created the FX comedy series “Reservation Dogs,” Sterlin Harjo directed three micro-budget films in his home state of Oklahoma. He had knocked on Hollywood’s door but somehow he never could find financing. "I even heard, like, this film’s just a little too Indian," Harjo says. "Or, this film’s not Indian enough. So, it was very confusing." Now, FX is preparing to release a second season of “Reservation Dogs" and the series is looking to nab Emmy nominations this year.

Natasha Rothwell played Kelli on HBO’s “Insecure,” and the  beleaguered spa manager in “The White Lotus.” Now, she’s in the hit sequel “Sonic The Hedgehog 2.” With her own production company and an overall deal at ABC Signature, she plans to create movies and TV that skip the tired tropes and feature diverse casts. "I think so many scripts use page real estate in Act One just to justify someone's Blackness, or fatness or womanness, and then the story can start," Rothwell says. "We have to acclimate the audience to our otherness before we can tell a story, and I think that's bullshit." Natasha Rothwell talks about blossoming in the "Insecure" writers room, and says that she has big plans for her company, Big Hattie Productions.

The longest-running original series on Netflix is coming to an end. Jane Fonda and Lily Tomlin have played “Grace and Frankie” for seven seasons, telling raunchy and honest stories of older women. After co-creating “Friends,” Marta Kauffman thought up the Netflix hit “Grace and Frankie,” which made it to an unheard-of 94 episodes. While Netflix has been offering a high volume of shows, only to drop many scripted series after a couple of seasons,  Kauffman is not surprised that the big-volume approach has led to problems. “We’re going to do a little bit of everything in the hopes they’ll be a niche audience for every show,” Kauffman says. “And there isn’t a niche audience for every single show.”

In 1970, a 21-year-old heir to a margarine fortune became a nationwide sensation when he vowed to give away his money to anyone who needed it. Michael Brody was deluged with thousands of letters, most of which sat unopened for decades, until documentarian Keith Maitland and his team decided to read them. “We started researching people, and we started tracking them down,” Maitland says. “And over and over, we kept discovering that almost nobody remembered having written these letters.” Director Keith Maitland and Executive Producer Ed Pressman talk about exploring a strange, poignant, and all but forgotten story with the film “Dear Mr. Brody.” 

Talent agent-turned-producer Theresa Kang Lowe had a pretty good idea of the challenges she’d face in adapting the novel “Pachinko” for television. A series almost entirely subtitled, largely set 100 years ago in Korea, with a huge budget — it wasn’t an obvious greenlight. “At the time when I was an agent and I came across a book, my job was to think about strategy. How are we gonna sell this?” Kang Lowe says. “So the immediate no’s were: period piece. The budget has to be significant for it to have scope and scale from a cinematic point of view. It also had to be an all Asian-led cast. And it had to be told in Korean, Japanese and English.” Kang Lowe was able to use her decades of experience to land the budget and support she needed at Apple. Kang Lowe discusses her career—including an interesting time as Ari Emanuel’s assistant, her rise to partner at William Morris Endeavor, and her move to become executive producer of the new Apple TV+ series “Pachinko.”

“CODA” won three Oscars this year: Best Picture, Best Actor in a Supporting Role, and Writing (Adapted Screenplay). When making “CODA,” Marlee Matlin, who won an Oscar in 1987 for “Children of a Lesser God,” realized she was usually the only Deaf person on a set. She told KCRW in January: “I’m the one typically going to my trailer by myself, and it’s just me and my interpreter. But in all honesty, I never thought of it until I got on the set of ‘CODA’ and realized there’s a whole different world out there I’ve been missing all this time. Realizing that here I am, on the set of ‘CODA,’ in my element at lunch time, because everybody is signing. The hearing crew — they’re signing, there’s Deaf cast members, and most importantly, our director learned sign language.” KCRW reairs its conversation with director Siân Heder and Matlin. Also in a new Banter, Matt Belloni talks to Lucas Shaw about what happens now as the WarnerMedia Discovery merger is imminent. 

Writer Ellen Rapoport’s workplace comedy “Minx,” about a Playgirl-style magazine, was hard to sell. Set in 1972, the series follows an idealistic young Vassar graduate who teams up with with a pornographer to create a magazine featuring feminist articles alongside photos of naked men. With “Bridesmaids” director Paul Feig as a producer, Rapoport was pretty sure the show was a slam dunk. “We took it to everyone. Every buyer. Buyers I didn’t even know existed. Networks I’ve never heard of. And everyone said no,” Rapoport says. Ellen Rapoport describes how “Minx” eventually found a home on HBO Max, and how she made her way from Harvard Law to Hollywood.   

The downfall of Theranos founder Elizabeth Holmes has inspired books, podcasts, and now the hit limited series “The Dropout.” Showrunner Liz Meriwether (“New Girl”) admits she was surprised when Hulu asked her to pitch her vision for the project. “I was a playwright before I was a screenwriter, and maybe they had some belief in my ability to do something besides write sitcoms. I really don’t know why they came to me. And in fact, when they called me, I was like, ‘really?’”

Bringing Frank Herbert's sci-fi novel “Dune” to the big screen was considered a daunting proposition. But Mary Parent, a top Legendary Entertainment executive, gave filmmaker Denis Villeneuve the biggest budget of his career to realize his vision. Still, it wasn’t Marvel-sized funding and Villeneuve says he’s actually grateful for that. “It’s good to have restrictions, it brings discipline. And I needed that discipline. I’m serious about that. I don’t think I would be comfortable to make a movie without limits,” says Villeneuve. “Dune” was a success, and it’s now up for 10 Oscars, including Best Picture.

Hollywood has dominated in making global blockbusters for years, whereas China isn’t making those hits yet, but it’s now the biggest generator of box office revenue worldwide. The book “Red Carpet: Hollywood, China and the Global Battle for Cultural Supremacy” explains that China is playing a long game. Plus, director Jessica Kingdon talks about her Oscar-nominated documentary, “Ascension,” which focuses on social class and consumption in modern China.

Filmmaker Ryusuke Hamaguchi’s “Drive My Car” is the first Japanese film to be nominated for Best Picture at the Academy Awards. He’s also the first from his country to be up for Best Director since Akira Kurosawa back in 1986. And for Hamaguchi, the success is a lot.  “I have been working with very small budgets, very small films,” Hamaguchi says through an interpreter. “So to think that my own work is lined up in a place like the Oscars where Hollywood stars are all there, and to think that my film is part of that — it’s really hard not to feel some kind of hesitation, not knowing what to do with myself.”

Before he even landed the job, director Reinaldo Marcus Green could tell that the film “King Richard” was a special project for the superstar sitting across the table from him – Will Smith. “I could sense that this was a really, really important role for him,and that he was going to give everything to it, and that I was the guy to help him get there.”   Though he had only directed two features before, Green was hired and got to work building his filmmaking dream team. Although filming hit snags because of pandemic shutdowns, “King Richard” has nabbed six Academy Award nominations, including Best Actor for Will Smith. The story of tennis legends Venus and Serena Williams, and the family effort behind their success, is also up for Best Picture.

ViacomCBS has rebranded as Paramount, but investors did not respond well. How long will Shari Redstone hang onto control of the company her father built? Plus, there’s chaos at CNN following the ouster of executive Jeff Zucker. A mega-banter with Matt Belloni of Puck News and Lucas Shaw of Bloomberg gets into all the details. Also, who could win the big prize at this year’s Oscar Awards when there’s no clear frontrunner for Best Picture? The Hollywood Reporter’s Scott Feinberg gives predictions.

Kamau Bell talks about his new documentary, “We Need to Talk About Cosby.” Also, the Oscars won’t require COVID vaccinations to attend, and Disney+ boasts a growth in subscribers.

Filmmaking team Phil Lord and Chris Miller have been making movies together for years. “Cloudy with a Chance of Meatballs,” “21 Jump Street,” and “The Lego Movie” are just some of their many credits. In 2017 they were fired from the Star Wars spinoff movie “Solo,” but bounced back with an Oscar for Best Animated Feature with “Spider-Man: Into the Spider-Verse.” And they’re currently working on the two sequels for that. Meanwhile, they’ve just dropped the murder-mystery spoof “The Afterparty” on Apple TV+. Chris Miller admits it’s a lot. “The trick is not to sleep,” Miller says. “There were days when we were shooting ‘The Afterparty’ where — I have pictures of Phil in a field with a laptop, rewriting a scene for ‘Spider-Verse.’ … That’s the kind of balancing act we have to do to try and make these things be as good as they can be.”

Oscar-winning actress Marlee Matlin is usually the only Deaf person on a set. Matlin came to a big realization when making “CODA,” a breakthrough film featuring Deaf actors. “I’m the one typically going to my trailer by myself, and it’s just me and my interpreter. But in all honesty, I never thought of it until I got on the set of ‘CODA’ and realized there’s a whole different world out there I’ve been missing all this time,” Matlin says. “Realizing that here I am, on the set of ‘CODA,’ in my element at lunch time, because everybody is signing. The hearing crew — they’re signing, there’s Deaf cast members, and most importantly, our director learned sign language.” Director Siân Heder and Matlin tell KCRW about making their family drama “CODA,” which scored a record-breaking deal at Sundance last year and has already made history. For the first time, a film featuring a Deaf cast has been nominated for Outstanding Performance at the SAG Awards.

To get a shot at directing his remake of “A Star is Born,” Bradley Cooper passed on an upfront payday in exchange for a piece of the profit. And that gamble paid off. But as Cooper is painfully aware, the movie business has changed. “Those days are completely gone,” Cooper says. “So, there is trepidation I have with that, no question. And I have thought: I really have to actively start thinking about other ways of making revenue that have maybe nothing to do with movie making.” In part two of KCRW’s interview with Bradley Cooper, he shares his worries about the streaming future. He also remembers picking up filmmaking tips on the set of “Alias.” And he shares how he created the memorable voice of Marvel’s Rocket Raccoon.

Multi-hyphenate Bradley Cooper is out with two new films. There’s “Licorice Pizza,” in which he plays real-life wild man producer Jon Peters, and “Nightmare Alley,” where he stars as carnival worker-turned-con man Stanton Carlisle. Cooper commits to all his roles but says it was a challenge to bare all in Guillermo del Toro's dark drama, “Nightmare Alley.” “It demanded that we be naked — emotionally and soulfully and even physically for me, which actually was a big deal,” Cooper says. “I still remember that day, just to be naked in front of the crew for six hours. … It was pretty heavy.” In the first of a two-part interview, Cooper talks about how he prepared for each role. His short but memorable turn as Jon Peters was just nominated for a SAG Award. And Cooper has another connection to Peters — Cooper made 2018’s “A Star is Born,” a remake of a 1954 film that producer Jon Peters had already re-made in 1976 with his then-girlfriend, Barbra Streisand. Cooper tells KCRW why he was so committed to writing and directing a remake of a remake, even though everyone told him not to do it.

Iranian director Asghar Farhadi has won two Oscars and could be up for a third. His new movie “A Hero” is on this year’s shortlist for Best International Film. Working in his home country, Farhadi makes compelling cinema despite strict government censorship.

Actress and now director Maggie Gyllenhaal wanted to set her new drama “The Lost Daughter” in Maine, but New Jersey offered a better tax credit. So the plan was to shoot in New Jersey until Gyllenhaal decided it just didn’t feel right. Gyllenhaal tells KCRW about finding her power as a director and how she ended up making “The Lost Daughter” in Greece.

It's time for the 2021 Megabanter! The streaming wars ramped up. Scarlett Johansson sued Disney. And Netflix was the envy of all with “Squid Game.”

Mahershala Ali has worked for 20 years, earning Oscars for “Moonlight” and “Green Book.” But the new drama “Swan Song” is his first leading film role. He’s also a producer on the project, which came naturally since he feels he’s been doing some of that work — without the credit — for years. Ali tells us why “Swan Song” was the right film for him to take on a role behind the camera too.

Documentarian Jonas Poher Rasmussen long wanted to tell the story of his friend, who fled Afghanistan as a child and ended up alone in a Danish town. But that friend didn’t want his identity revealed, and there was no footage of his journey. The answer was animation. Rasmussen’s movie “Flee” is now Denmark’s Oscar submission for Best International Film. 

KCRW resumes its conversation with James Andrew Miller, author of “Tinderbox,” the new book about HBO. He talks about more recent HBO history, including the 2020 launch of Warner Media’s streaming service. When asked whether he thought naming the streamer HBO Max was a good or bad idea, Miller responded, “I think it’s one of the great branding disasters of all time.”

For his exhaustive new book on HBO, James Andrew Miller talked to 600 people about the network that brought us “The Sopranos,” “The Wire” and “Veep.” Behind the scenes, executives were playing their own “Game of Thrones.” In the first of a two-part conversation, Miller tells KCRW about his new HBO oral history, “Tinderbox: HBO’s Ruthless Pursuit of New Frontiers.”

The new Netflix documentary “Procession” follows Dan Laurine and five other victims of sexual abuse by Catholic priests, as they use drama to ease the burden of their traumatic childhoods. They write and re-enact scenes from their past — scenes that are not at all graphic but still carry a powerful emotional charge. Laurine and “Procession” director Robert Greene tell KCRW how they hope their film can help facilitate change for other survivors. 

Kieran Culkin has found a defining role playing Roman Roy, the snarkiest of the siblings on HBO’s “Succession.” Culkin tells KCRW about acting from an early age, facing his fears while fulfilling a dream as host of “Saturday Night Live,” and how he sometimes finds it hard to turn off that very snarky Roman Roy persona.

The Netflix documentary “Found” follows three Chinese cousins, adopted as babies by very different American families. Thanks to DNA, the teen girls found each other. Then they travelled to China seeking clues about their past, and got the help of a young Chinese genealogist with her own complicated family history. Director Amanda Lipitz and producer Anita Gou tell us how their emotional film “Found” benefitted from a big helping of kismet from start to finish.

Bryan Carpenter has worked as an armorer  — the person responsible for overseeing weapons — on series such as “Queen of the South” and “Cloak & Dagger.” He has a lot of thoughts about what appears to have gone wrong on the set of the Alec Baldwin movie “Rust.” The biggest issue of all? The apparent presence of live ammunition. “That never should occur,” Carpenter says. “That would be the worst case scenario — to introduce a live round onto a movie set that’s using firearms.”Carpenter details the circumstances that contributed to the tragic death of cinematographer Halyna Hutchins, and he shares his hope that this nightmare will lead to more standardized gun safety training across the film industry. 

KCRW revisits its conversation with filmmaker Edgar Wright. His music documentary “The Sparks Brothers” celebrates two musicians whose work he loves. Ron and Russell Mael are brothers who make up the band Sparks, and they’re a pair of complete originals. Wright is an original, too. His hit movie “Baby Driver” and upcoming thriller “Last Night in Soho” are based on ideas he made up. And he can’t help but wonder why movie studios aren’t willing to take a few more chances on fresh ideas. Plus, KCRW has fresh banter about internal strife at Netflix, HBO Max numbers, and IATSE. The below-the-line Hollywood union has a contract, but will its members ratify it?

The third season of HBO’s award-winning black comedy “Succession” was supposed to premiere a year ago, but the pandemic halted production for many months. Series creator Jesse Armstrong says despite the delay, the cast was soon back in the zone when they finally reunited. Armstrong tells KCRW how the road to “Succession” began with a script about an imagined Murdoch family dinner, and explains why he re-writes his scripts — full of lacerating insults — throughout the production process. 

Before he co-created the hit show “Empire,” writer Danny Strong won accolades for two HBO movies based on real events. So when he wanted to make a series about the opioid epidemic based on Beth Macy’s book “Dopesick,” he thought he’d be met with open arms. Instead, he found no one was much interested in his pitch. He tells KCRW about his quest to make a limited series version of “Dopesick,” which eventually found a home on Hulu. 

After budget blowups, a leadership change and many delays, the long-awaited Academy Museum is finally open. KCRW takes a whirlwind tour with museum president Bill Kramer to hear how exhibits cover all aspects of the movie business. And there are lots of fun sightings, including ruby red slippers, the typewriter used to write “Psycho,” Leo’s “Revenant” body cast, and even the famous Rosebud. 

For the first time in decades, the crew members who make movies and TV shows are threatening to strike. Members of IATSE — the union that covers cinematographers, editors, costumers and many more behind-the-camera jobs — say they’ve had enough of low wages and long hours without sufficient breaks. Script coordinator and IATSE member Shawn Waugh tells KCRW why he will vote to authorize a historic strike.

Natalie Morales built up a bunch of acting credits on shows including “Parks and Recreation” and “The Grinder.” But what she really wanted to do was direct. When her agents didn’t get on board, she dropped them and got new ones. Now she’s made not one but two features. Morales tells KCRW about her double directorial debut with the films “Plan B” and “Language Lessons.”

Before he co-created the FX comedy series “Reservation Dogs,” Sterlin Harjo directed three micro-budget films in his home state of Oklahoma. He had knocked on Hollywood's door, but somehow he never could find financing. No one wanted Native films, and Harjo almost left the industry entirely. Then he teamed up with his friend Taika Waititi to make a coming-of-age show about four Native teenagers. FX liked “Reservation Dogs” so much, they’ve already ordered a second season.

The critically beloved sitcom “The Other Two” follows the trials of the older, struggling siblings of a 13-year-old overnight pop sensation. The series creators knew the first season got lost in the shuffle when it ran on Comedy Central. For season two, the show moved to HBO Max, and is a lot easier to find. Chris Kelly and Sarah Schneider tell KCRW about the return of “The Other Two,” and how they decide which celebrities to skewer.  

Jen Statsky and Paul W. Downs are two of the three creators of the Emmy-nominated comedy series “Hacks.” The HBO Max show features Jean Smart as a veteran comedian fighting to hold onto her long-running Las Vegas gig. In real life, Smart also wanted the show to go on — even when her husband died unexpectedly with a week of shooting left. Downs tells KCRW, “We knew from working with [Smart] that she is all in, she is fully committed. And so in that way, we looked to her in this time as well.”

Jeff Bergman’s name may not ring a bell, but he has some very recognizable alter egos: Bugs Bunny, Sylvester the Cat and Yogi Bear, to name a few. Bergman is the voice of many of the cartoon stars of “Space Jam: A New Legacy.” His repertoire includes nearly 200 voices, including Donald Trump and Joe Biden in Showtime’s “Our Cartoon President.” He tells KCRW about some of the challenges of this often overlooked profession. 

Director and producer Shawn Levy’s new movie “Free Guy” — a big-budget original starring Ryan Reynolds as a video game character — had its release date pushed three times because of the pandemic. The film is finally opening exclusively in theaters. But heading into opening weekend, Levy wasn’t sure if people would go. 

“I have to confess, I don’t know,” Levy says. “I don’t know what the reaction will be to going to theaters, and going to theaters for a new movie.”

The producer-director tells KCRW about the ups and downs of making “Free Guy.”

Producer Jason Blum thinks stars and filmmakers deserve a piece of the profit from their work. So naturally he opposes a push from studios to pay Netflix-style flat fees instead. But that didn’t stop him from taking a big flat fee to make three new “Exorcist” films. Blum weighs in on big battles underway in the industry, including Scarlett Johansson's lawsuit against Disney. He hopes it’s the first of many. 

For nearly the past decade, media mogul Barry Diller has backed award-winning movies and Broadway shows from now embattled mega-producer Scott Rudin. Asked about allegations that Rudin engaged in a decades-long pattern of abusive behavior, Diller pushes back. In part two of KCRW’s conversation with the Diller, he emotionally defends Rudin and decries cancel culture.

Barry Diller, who made his name as a powerful studio boss, recently told NPR that “the movie business is over.” Expanding on those views, the legendary mogul and former chairman of Paramount and Fox tells KCRW why, with the pandemic and rise of streaming, Hollywood will never go back to what it once was. In the first of a two-part conversation, Diller — now the chairman of online empire IAC — weighs in on a transforming industry and its future.

The new HBO series “Catch and Kill: The Podcast Tapes” includes a 2019 interview between Kim Masters and Ronan Farrow for his podcast “Catch and Kill,” which explores the fall of Harvey Weinstein. The Business airs a portion of that interview in which Masters elaborated on her interactions with Weinstein over the years.

Multi-hyphenate Daveed Diggs has a lot going on, including writing and producing his new series on Starz, “Blindspotting.” The broadway hit “Hamilton” launched his career, but at this point, he’s moved beyond the version of himself that won a Tony and a Grammy. “That Daveed Diggs that everybody fell in love with in that show does not exist anywhere but on that stage,” he says. Daveed Diggs tells KCRW about developing the version of himself after “Hamilton.”

Investigative reporter and documentary producer David Holthouse was sexually assaulted as a child. He says that trauma led him to devote his life to unmasking monsters, both real and imagined. His newest project took him to a dangerous part of Northern California — the supposed home of Bigfoot. Holthouse tells KCRW about investigating a more than 25-year-old triple homicide for the Hulu series “Sasquatch.”

Filmmaker Edgar Wright's new music documentary “The Sparks Brothers” celebrates two musicians whose work he loves. Ron and Russell Mael are brothers who make up the band Sparks, and they’re a pair of complete originals. Wright is an original, too. His hit movie “Baby Driver” and upcoming thriller “Last Night in Soho” are based on ideas he made up. And he can’t help but wonder why movie studios aren’t willing to take a few more chances on fresh ideas.

Writer Nida Manzoor wanted “We Are Lady Parts,” her series about an all-female Muslim punk band, to be funny. But as a Muslim woman writing about very underrepresented characters, she also felt some heavy responsibility. Manzoor shares her process for writing comedy while also breaking new ground with “We Are Lady Parts,” now on Peacock.

Kim Masters and Matt Belloni offer a fresh banter about the current awkwardness at WarnerMedia. The company is set to spin off from AT&T and merge with Discovery, but the deal will be delayed while undergoing federal review. And The Business replays a conversation with director Sam Feder and executive producer Laverne Cox about their documentary “Disclosure,” which explores the history of trans representation in Hollywood.

Earlier in his career, Hugh Grant played the charming lead in romantic comedies. But lately, Grant has relished performing the role of the bad guy, including in the HBO series “The Undoing.” 

He talks about embracing his dark side on screen and reflects on his decade of work as an activist following the UK phone hacking scandal that engulfed the Murdoch clan a decade ago and continues to reverberate today.

Veteran producer David Friendly’s many film credits include three “Big Momma’s House” movies. But as Hollywood became less friendly towards his type of mid-budget pictures, he pivoted to television. Now with his USA TV series “Queen of the South” wrapping up after five seasons, he is finding that adapting yet again in an industry obsessed with streaming is hard, even after years of success.

When Meredith Scardino pitched her musical comedy series “Girls5eva,” about an all-but-forgotten late 1990s girl group that reunites in their forties, she made a fake CD case, complete with track listing, cellophane wrapper and discount stickers.

That fake album generated real interest, and now “Girls5eva” is a buzzy new show for Peacock.

It’s a mid-May mega banter! NBC bounces the 2022 Golden Globes, Disney subscriber numbers disappoint, the stars of “A Quiet Place 2” make some noise over the movie’s theatrical run, and Ellen DeGeneres calls it quits. Kim Masters tackles it all with banter buddy Matt Belloni and Buzzfeed reporter Krystie Lee Yandoli, who broke the story on Degeneres’ alleged toxic workplace.

Producer Scott Rudin’s bullying has been an open secret in Hollywood for decades, and now it’s going public.  Former Scott Rudin staffers Evan Davis, Max Hoffman and Eileen Klomhaus remember being yelled at, belittled, and gaslighted. And they call out the stars who have been silent.

When the pandemic hit London, director Simon Godwin's National Theatre production of “Romeo & Juliet” shut down before it could open. So Godwin shot the play as a movie — never mind that he had never picked up a camera and couldn’t film outside the theater. Even without a trip to fair Verona, Godwin shot his movie, starring Josh O’Connor and Jessie Buckley, in a mere 17 days. 

Chloé Zhao made history as the first woman of color to win Best Director and Best Picture, but the 2021 Oscars will be remembered for the awkward, COVID-era ceremony and blunt ending. Producers expected Chadwick Boseman to win Best Actor, but instead the Oscar went to Anthony Hopkins, who was asleep in Wales. 

After filmmaker Raoul Peck made his award-winning James Baldwin documentary “I Am Not Your Negro,” he had a lot of suitors in Hollywood. But it was HBO that didn’t blink when Peck explained what he wanted to do next: a project about colonization, extermination and genocide. That evolved into "Exterminate All the Brutes," a four-part series that zigzags through 700 years of colonial history.

Four days into shooting his tragic-comic film, “Another Round,” Danish director Thomas Vinterberg’s 19-year-old daughter — who was supposed to appear in the movie — was killed by a reckless driver. His screenwriter temporarily took over, but Vinterberg soon came back to the project. He says making the movie kept him from insanity. “Another Round” is Oscar-nominated for Best International Film, and Vinterberg is up for Best Director. 

Awards columnist Scott Feinberg explains why this is such a strange year for the Oscars, and how the event’s producers are attempting to keep the glitz and glamour for this year’s ceremony. The Business also replays a conversation with directors Nicole Newnham and Jim LeBrecht about their now Oscar-nominated documentary “Crip Camp.”

Documentarian Cullen Hoback maxed out his credit cards in his quest to unmask the person behind the pro-Trump QAnon conspiracy theory. He talks about spending three years circling the globe on a shoestring budget and meeting people who dwell in some of the darkest corners of the internet, all in an attempt to pinpoint the identity of Q.

With the world starting to open up after a year-long pandemic shutdown, six workers in Hollywood share how they made it through, and explain how the entertainment industry may have changed for good.

Ted Sarandos is the co-CEO and chief content officer of the streaming giant that has everyone else playing catch-up. Sarandos says he sees Netflix as the outsider in Hollywood, but the streamer just landed 35 Oscar nominations. He shares the results of a recent Netflix diversity study and talks about streaming wars, the future of theaters, talent relations, viewership data, and more.

When the Writers Guild went to war against the agencies two years ago, few thought the union would prevail. But when WME, the final agency holdout, signed a deal with the Guild last month, it marked a decisive victory for the writers. WGA West Executive Director David Young and President David Goodman explain how they stayed the course through an emotional struggle and heated negotiations. And they look ahead to the Guild’s future battles. 

Today, director Channing Godfrey Peoples and producer Neil Creque Williams finish each other’s sentences. More than a decade ago, they were just two graduate film students at USC. They’d each heard about the other’s work, but didn’t actually meet until a chance encounter in an elevator 11 years ago. They've been working together ever since. Now married, Peoples and Williams have made their first feature, the mother-daughter coming-of-age drama "Miss Juneteenth." 

The new movie “Minari” is a personal story from filmmaker Lee Isaac Chung. It’s about a Korean American family struggling to run a small Arkansas farm in the 1980s. Chung says he thought “Minari” was going to be the last script he ever wrote before leaving the industry entirely. He’s joined by Christina Oh, the producer at Plan B Entertainment who read Chung's script and fell for it.

Eliza Hittman was at the Berlin Film Festival last February with her art-house abortion drama “Never Rarely Sometimes Always.” She thought about staying for the awards ceremony, but instead flew back to New York. As soon as she landed, she got an email asking her to come back. Hittman had won the Silver Bear in Berlin, and now her film is in awards contention stateside. Kim Masters spoke to “Never Rarely Sometimes Always” director Eliza Hittman last year. 

“The White Tiger,” Aravind Adiga's darkly comedic novel about a clever servant’s rise out of poverty in India, won the Booker Prize in 2008. Thirteen years later, “The White Tiger” is a big hit for Netflix. The film adaptation is written and directed by Adiga's friend from college, filmmaker Ramin Bahrani.

Austin Winsberg, creator of the NBC series “Zoey’s Extraordinary Playlist,” and producer-choreographer Mandy Moore check in from Canada, where they had just finished shooting the show’s 100th musical number. After working on season two under new COVID guidelines, Moore and Winsberg say they’ve become experts at reading each other’s eyes while working with masks on. 

Garrett Bradley's documentary “Time,” about one woman’s fight to release her husband from prison, was an award winner at Sundance last year and is considered a top Oscar contender. Bradley says “Time” was originally going to be a short film until it demanded more … time. Rahdi Taylor is one of the people who convinced Bradley that “Time” should be a full-length feature. Taylor supported the film as head of the Artists in Residence fellowship program at Concordia Studio, where Bradley was one of Concordia's first fellows.

The Romanian movie “Collective” is in Oscar contention for both Best International Film and Best Documentary. Directed by Alexander Nanau, “Collective” follows a group of sports reporters in Bucharest who uncovered a massive scandal in Romanian hospitals that led to dozens of needless deaths.

George Clooney and his long-time producing partner Grant Heslov talk about their new movie “The Midnight Sky,” a post-apocalyptic sci-fi drama, now on Netflix. Heslov and Clooney discuss recent sea changes in the industry, especially at Warner Brothers, the studio they called home for 20 years. Plus, the politically engaged pair addresses the recent insurrection at the U.S. Capitol. 

Bryan Fogel won Netflix its first feature documentary Oscar with his Russian doping exposé “Icarus.” Critics at Sundance raved about his latest film, “The Dissident,” about the murder of journalist Jamal Khashoggi. So why didn’t Netflix call to lock up the rights? Fogel shares why his new documentary had streamers running scared. And Tom Ortenberg, the executive who had the guts to distribute the film, explains why his company Briarcliff Entertainment wanted to take it on. 

Abigail Disney’s father Roy was Walt's nephew. For her, being a Disney came with so much baggage that she almost ditched the name altogether. In part two of our interview, Abigail Disney explains why she feels it’s her duty to speak out when the company that bears her family’s name seems to have gone astray. And banter buddies Matt Belloni and Lucas Shaw look at the year to come in Hollywood. 

The pandemic pummeled production. WarnerMedia started a war with its windows-shattering sneak attack. And Quibi, we hardly knew you. Banter buddies Matt Belloni and Bloomberg’s Lucas Shaw join Kim Masters for a 2020 mega banter. Plus, NPR TV critic Eric Deggans ranks the streamers. 

Abigail Disney's father was Walt’s nephew Roy. He led a shareholder revolt in 2004, when he got fed up with Michael Eisner's management of the Mouse House. Abigail Disney keeps close tabs on the company and has lots to say about current management. As 32,000 theme park workers lost their jobs while top executives had their full salaries restored, Disney says, “I don’t believe the company and the magic can survive this kind of corporate behavior.”

With Hollywood fuming following WarnerMedia’s announcement that all its 2021 movies will stream on HBO Max the same they open in theaters, prolific producer Jason Blum weighs in. Blum has long thought the theatrical window should be shorter, but not totally smashed. And Kim Masters and Matt Belloni banter about the continued industry blowback directed at WarnerMedia and Disney’s recent investor presentation.

WarnerMedia announced it will put Warner Bros.’ entire 2021 movie slate on HBO Max the same day those films open in theaters. The move will change theater-going as we know it. Then, Kamilah Forbes created a stage version of Ta-Nehisi Coates’s powerful book “Between the World and Me” in 2018. She explains why and how she adapted again, this time for the screen. Her film version of “Between the World and Me” is now on HBO Max.

Director Aneesh Chaganty wanted an actress who really uses a wheelchair to star as a teenaged girl with disabilities in his new thriller, “Run.” And she needed to be able to do action scenes. He found Columbia University student Kiera Allen. Now on Hulu, “Run” tells the story of a mother-daughter relationship gone extremely awry. It’s the first thriller to star an actor who uses a wheelchair since the 1940s.

Paramount Pictures chairman and CEO Jim Gianopulos has weathered some big storms in the movie business, though nothing compares with COVID. But even as productions struggle and theaters are shuttered, Gianopulos has faith that one day, people will go back to the movies.

Greta Thunberg began a school strike movement in 2018 outside the Swedish parliament. It gained momentum in Sweden, then spread through the rest of Europe and the world. Filmmaker Nathan Grossman documents her rise to become one of the world’s most prominent climate change activists. His new Hulu documentary is “I Am Greta.”

Danika Kohler Doman, a production supervisor who has been working as a “COVID manager,” talks about what it’s like to enforce Hollywood’s new coronavirus protocols.

Steve James, the filmmaker behind “Hoop Dreams,” is out with a new series called “City So Real,” which documents Chicago’s political landscape and the lives of its residents.

Following Quibi’s announcement of closing, The Business e revisits an  interview with founder Jeffrey Katzenberg on his gamble to launch Quibi.

Alex Gibney ’s documentaries often delve into high-level corruption. He’s out this fall with two projects that focus on the Trump administration.

“The Good Lord Bird” started with a handshake deal between Ethan Hawke and author James McBride. The witty, irreverent telling of John Brown’s life story is now airing on Showtime.

The Hollywood Commission, a new organization chaired by Anita Hill, is out with a survey on harassment in Hollywood and plans to launch a reporting platform next year.

Writer/director Billy Ray talks about the making of his Showtime limited series “The Comey Rule,” which stars Jeff Daniels as former FBI director James Comey and Brendan Gleeson as Donald Trump.

COVID-19 has buffeted the entertainment industry. The Business looks at major challenges, such as how to release big-budget pictures and how to manage the awards season. 

Isabel Sandoval’s new indie drama “Lingua Franca” arrived on Netflix this month. She produced, wrote, and stars in the film as an undocumented trans Filipina living in New York City.

The Netflix series “Cheer” earned six nominations at this year’s Emmys, including Outstanding Unstructured Reality Program. The Business revisits its interview with director Greg Whiteley.

Amanda McBaine and Jesse Moss made their biggest documentary yet with “Boys State,” a process that required many leaps of faith, from securing funding to showing up at Sundance without a distributor.

Sometimes our guests have so much good stuff to say that we can’t fit it all into one show. So this week, we’re bringing you some leftovers from this summer’s interviews: Gina Prince-Bythewood, director of Netflix’s summer smash “The Old Guard;” Prentice Penny, showrunner of HBO’s “Insecure;” and Peter Medak, who talks about his documentary, “The Ghost of Peter Sellers.”

Don Hahn’s documentary “Howard” looks at the life of Howard Ashman, the lyricist behind the soundtracks for “The Little Mermaid,” “Beauty and the Beast,” and “Little Shop of Horrors.” Ashman died of AIDS in 1991, leaving a mark on his collaborators, including his songwriting partner Alan Menken.

HBO’s “Insecure” just received its first Emmy nomination for Outstanding Comedy Series. Prentice Penny, the show’s executive producer, talks about how he got his start in Hollywood, and his personal connection to the show’s creator and star Issa Rae.

The nominations for the 2020 Emmy Awards have been released, and HBO’s “Watchmen” leads with 26 nominations, including Outstanding Limited Series. KCRW revisists host Kim Masters’ interview with showrunner Damon Lindelof.

“The Old Guard is director Gina Prince-Bythewood’s first action movie, and it’s made the list of 10 most-watched original movies on the platform. Prince-Bythewood talks about how she broke into the action world, and how she trained her actors to make her fight scenes believable.

CNN’s Jake Tapper and director Rod Lurie discuss the making of “The Outpost,” a new film based on Tapper's book about American soldiers who faced a deadly Taliban attack in Afghanistan. The film ran into obstacles every step of the way — including the unexpected death of Lurie's son Hunter.

In the new documentary “The Ghost of Peter Sellers,” director Peter Medak revisits the nightmarish production of his 1974 film, “Ghost in the Noonday Sun.” The  biggest challenge was the behavior of Medak’s star, Peter Sellers. “The Ghost of Peter Sellers” reveals how Sellers stymied and manipulated Medak and his crew, even faking a heart attack to get time off. 

David France’s new HBO documentary, “Welcome to Chechnya” looks at the ongoing campaign to eradicate gay people in the Chechen Republic. France talks about the dangers he faced in making the film, traveling to Russia on a tourist visa, shooting on iPhones and GoPros, and using digital face-swapping technology to hide his subjects’ identities.

The new Netflix documentary “Disclosure” examines Hollywood’s portrayal of trans people over the years. Director Sam Feder uses decades of archival footage and personal anecdotes from trans people who were deeply affected by these depictions to tell the story of the industry’s evolving relationship with trans representation. Feder and executive producer Laverne Cox, who is also featured in the film, share why these on-screen portrayals are so powerful, especially for trans people coming of age. 

Judd Apatow's latest film “The King of Staten Island,” stars comedian Pete Davidson in a story inspired by Davidson's real life. Apatow is a comedy icon but he’s admittedly not funny on Twitter. As his more than 2 million followers know, he rains scorn not only on Trump, but on Fox CEO Lachlan Murdoch, whose news network relentlessly bolsters the administration. Apatow wonders why others in the entertainment industry don’t do the same. 

As protests continue across the country, we look at the way policing is depicted on television. It's a topic dream hampton has spent years thinking about and worked on a recent report on the issue. It found that often, even good cops are shown trampling the rules, and that’s presented as heroism. And Dan Taberski made a podcast devoted to the reality show "Cops." What he found was disturbing. Now, "Cops" and its spiritual successor "Live PD" have been canceled. 

James Graham wrote the play “Quiz” — about an alleged cheating scandal on the British version of “Who Wants to Be a Millionaire?” — before he adapted it for TV.  Graham talks about starting to doubt the conventional wisdom about Charles and Diana Ingram, a couple accused of cheating on the popular game show in 2001 and in effect stealing 1 million pounds in front of a studio audience. Plus, how is Hollywood responding to a week of protests and police brutality?

Veteran documentary filmmakers Kirby Dick and Amy Ziering lived the dream of having Oprah Winfrey sign on as executive producer of their film “On the Record,” which focuses on several women who say they were raped by music mogul Russell Simmons. But the dream turned dark just days before “On the Record” was set to premiere at Sundance. Oprah withdrew her support and Apple dropped its deal to release the movie.

ESPN’s Michael Jordan docuseries "The Last Dance" has wrapped. The series has drawn record-breaking ratings and given ESPN something to celebrate in a world without live sports. Radio host and sports fanatic Hayes Permar speaks with director Jason Hehir. 

The new Netflix film “The Half of It” is writer-director Alice Wu’s second movie. She wrote a $1000 check to the National Rifle Association, an organization she does not support, and told her friends if the script wasn’t done in five weeks, that check was going in the mail. Wu talks about her extreme method for overcoming writer’s block and picking Netflix as the home for her new movie. 

Rob West usually spends his days building sets and making props. But once the pandemic hit, he started using his skills to devise and manufacture reusable face shields for medical personnel. West, the founder of LA Face Shields, shares his thoughts on the future of Hollywood production, and talks about running his face shield operation out of a well-stocked American Legion bar. 

The new series “Mrs. America” is about the 1970s battle over the Equal Rights Amendment. It’s available via FX on Hulu. Dahvi Waller created this series after she wrote for “Mad Men” and “Halt and Catch Fire.” She talks about tackling the complicated character of Phyllis Schlafly, the woman who led the movement that ultimately blocked ratification of the ERA. She also shares the complications of finishing post-production while under stay-at-home orders.

“Parasite” made history as the first foreign language movie to win Best Picture at the Oscars. The movie is now streaming on Hulu, so we’re revisiting our conversation with Director Bong Joon Ho, who also won Oscars for Best Director, Best Original Screenplay and Best Foreign Language Film. Plus, an all new banter: Some Southern states want to reopen businesses, but movie theater owners say not so fast.

Jeffrey Katzenberg ran Walt Disney Studios when it made hits like “The Little Mermaid” and “The Lion King.” He also co-founded DreamWorks. Now he’s launched Quibi, which lets you stream short shows on your phone. He remembers  his early days in the industry, and tells us why he believes Quibi will work.

The coronavirus pandemic has shuttered studio productions of every major late- night talk show. Samantha Bee and Jason Jones — her husband, producer and fellow former “Daily Show” correspondent — tell us about taking  Bee's show, “Full Frontal,” into the woods outside their house in upstate New York. Jones is the crew, and Bee still opens every episode with her trademark speedy monologue. They now have no audience — except for woodland creatures. 

Filmmaker Eliza Hittman knew she’d have trouble getting financing for her art house abortion drama, “Never Rarely Sometimes Always.”  She didn’t think it helped that she kept finding herself pitching to rooms full of men. Even companies that were supposed to focus on "issue movies" weren't interested in an abortion storyline. But Hittman eventually found her money, and her award-winning film is now available to stream on demand.

With Hollywood mostly shut down, we check in with people dealing with this difficult time across the industry. We hear from an actor, cinematographer, writers’ room production assistant, costumer, and filmmaking team. They tell us how their lives have suddenly changed, how they’re coping while out of work, and how they think this pandemic could change Hollywood forever. 

In 1971, when sound designer Jim LeBrecht was 15, he had a summer of love  at a camp for disabled kids. It was a place that fostered a spirit of history-changing activism. He and his friend, filmmaker Nicole Newnham, agreed that this was a movie. They didn’t anticipate that Barack and Michelle Obama would think so too. Newnham and LeBrecht tell us about their Netflix documentary “Crip Camp,” and partnering with the Obamas’ production company. 

In July 2016, more than a year before the #MeToo movement began, Gretchen Carlson made a bold decision to sue Fox News chief Roger Ailes for sexual harassment. Now she and Julie Rogisnky, a former Fox News contributor who also sued Ailes, have made it their mission to end nondisclosure agreements (NDAs) that can muzzle those who sue over misconduct. Their initiative is called Lift Our Voices. 

Autumn de Wilde has more than 20 years of experience photographing rock bands and directing commercials, but she’d never made a feature film. Then out of the blue, a British production company asked her to pitch ideas for a new version of the Jane Austen classic, “Emma.” De Wilde tells us how she made her light and bright version of “Emma,” the famous comedy of manners.  

“Sonic the Hedgehog” is director Jeff Fowler’s first feature film, and it looked like it was going to be his first bomb when the trailer dropped last spring. Fans of the video game emphatically rejected the too-realistic look of the lead character. “Sonic” director Jeff Fowler tells us how he brought the speedy blue hedgehog from the brink of disaster to big box office success.

We look at high-profile movies that had their theatrical releases delayed for months. Tim Miller talks about dealing with the online blowback related to “Terminator: Dark Fate,” which he directed, and “Sonic the Hedgehog,” which he executive produced. And we revisit a chat with Damon Lindelof, co-writer of the movie “The Hunt.” Universal pushed the theatrical release of “The Hunt” from September 2019 to March 2020.  

Twelve jurors found Hollywood producer Harvey Weinstein guilty on two counts: criminal sexual assault in the first degree and rape in the third degree.

American independent filmmakers might envy Céline Sciamma, director of the French film, “Portrait of a Lady on Fire.” Sciamma had no problem getting funding for her lesbian romance set in the 18th century, and for that she credits France’s support for directors. But she says the system is far from perfect. She tells us about the three-year-long process of planning her newest movie and the heightened political environment surrounding French filmmaking at the moment. 

Kim and Matt met up the morning after the Oscars to talk "Parasite" making history, Netflix nearly striking out, and hold on, what was Eminem doing there?

The Netflix series “Cheer” focuses on the stressful lives of junior college cheerleaders fighting for their next national championship. Director Greg Whiteley says he could’ve done a better job of portraying one set of cheer parents, who came off as controlling. 

Filmmaker Waad al-Kateab spent years documenting the horror and humanity of life in Aleppo, Syria. When she fled with her family, she smuggled 12 hard drives of footage past a Syrian checkpoint. That footage became the Oscar-nominated documentary “For Sama.” Al-Kateab and her collaborator Edward Watts tell us how they crafted an intimate 90-minute film dedicated to al-Kateab’s daughter. 

“Parasite” has already made history as the first Korean film nominated for Oscar -- or six Oscars to be exact, including Best Picture. Director Bong Joon Ho tells us about clashing with Harvey Weinstein over cuts to his 2013 film “Snowpiercer,” and explains how that led him to make “Okja” for Netflix, even though he prefers to watch films in theaters. And he shares his thinking behind the planned “Parasite” TV series. 

It’s a podcast crossover event! Recently, Kim Masters sat on the other side of the mic as Ronan Farrow interviewed her for an episode of his “Catch and Kill Podcast.” They talked about why it was so hard to reveal the allegations against Harvey Weinstein for so many years. This week, we play sections from Episode Five of Farrow’s "Catch and Kill Podcast" and Kim adds a few additional memories of her own.

This week, some very tasty leftovers from three filmmakers reflecting on the early, not-so-easy days of their careers. "Star Wars" second unit director Victoria Mahoney, "Little Women" filmmaker Greta Gerwig and Nanfu Wang, director of "One Child Nation" share some of the ups and downs from when they were first starting out. 

When filmmaker Lulu Wang set out to write and direct a personal movie based on a real-life family saga, she had a clear vision for an American film, largely set in China, mostly in Mandarin. But buyers weren’t biting. Wang tells us about her circuitous route to finally making “The Farewell,” which turned into an indie success story and now, an awards contender.

The streaming wars got real, writers fired their agents and time was up--or was it? Matt Belloni, editorial director of The Hollywood Reporter, and Lucas Shaw, entertainment reporter for Bloomberg, join Kim Masters to discuss top industry news stories of 2019. 

Victoria Mahoney literally went through homelessness to direct a small indie feature in 2011 and then became a TV director. She wanted to make more movies, sure, but she certainly wasn’t expecting a call from "Star Wars" director J.J. Abrams. As the second unit director on "The Rise of Skywalker," Mahoney's made history: the first woman and first person of color to direct in the "Star Wars" movie universe. 

“One Child Nation,” a documentary about the devastating effects of China’s one-child policy, has been nominated for many awards. But director Nanfu Wang says any film buff who has to rely on Chinese media to follow these competitions wouldn’t even know her film exists -- it's totally banned in China. Wang tells us about making “One Child Nation,” which started as a personal story and grew into something broader. 

When a studio executive “suggested” that Greta Gerwig change the ending she had devised for her version of "Little Women," Gerwig channeled Jo March, the fiery heroine of the Louisa May Alcott classic. Gerwig who was Oscar-nominated for best director in 2018 with "Lady Bird." She tells us about making "Little Women"-- her way. 

This week, we talk with a Hollywood assistant who, like many, has not only been underpaid, but has had staplers and markers thrown at her. She came to the studio with former assistant Liz Alper, who created the #PayUpHollywood hashtag. Alper and script coordinator Joelle explain why assistants feel now is the time to demand change, for the sake of the assistants themselves and the future of the industry. 

Most filmmakers hide for a while after a bomb, but not ‘Terminator: Dark Fate’ director Tim Miller. Miller tries to figure why audiences were not saying “I’ll be back”...for another Terminator movie. And he walks us through his career post-‘Deadpool,’ from departing ‘Deadpool 2’ to seizing what seemed like the opportunity of a lifetime--directing a Terminator movie with James Cameron producing. 

Peter Jackson generated whole worlds for his ‘Lord of the Rings’ and ‘Hobbit’ trilogies. Last year he made a documentary that magically brought to life old footage shot on the front lines of World War I. It was no easy feat. This week we’re revisiting our conversation with Peter Jackson about ‘They Shall Not Grow Old,’ which returns to theaters for 3 nights in December. Plus, an all new banter!

In part two of our interview with Damon Lindelof, he and Kim Masters have a heart to heart about ‘The Hunt.’ In August, following back-to-back mass shootings, Masters co-wrote a story in The Hollywood Reporter about the movie--a satire in which elites hunt so-called deplorables for sport. Days later, Universal canceled the film’s release. Lindelof, who co-wrote ‘The Hunt,’ tells us what happened from his perspective. 

The writer of the 1980s ‘Watchmen’ comic books, Alan Moore, has been very clear: no ‘Watchmen’ movie or TV show will ever get his blessing--and that includes the new series on HBO. Keenly aware of that, ‘Watchmen’ showrunner Damon Lindelof believes Moore may have put a curse on him. Seriously. Lindelof tells us about risking curses to make his updated take on ‘Watchmen’ for HBO. 

Josh Schwartz and Stephanie Savage made ‘The O.C.’ and ‘Gossip Girl’--some of the most defining young adult shows of the early 2000’s. They continue to create series about young-person angst, including a ‘Gossip Girl’ reboot for HBO Max. They tell us about their new young adult series on Hulu, ‘Looking for Alaska,’ which they first had dreams of making into a movie 14 years ago.

Almost a decade ago, Feras Fayyad was imprisoned and tortured by the Assad regime in Syria for filming anti-government protests. But after his release, he kept making documentaries. Fayyad became the first Syrian director to be nominated for Oscar with 'Last Men in Aleppo.' His new film, ‘The Cave,’ profiles a courageous young doctor as she runs an underground hospital in a besieged area outside Damascus. 

With even more new streaming services launching in the months ahead, we talk with opinionated analyst Rich Greenfield about the transforming media landscape and the challenges facing giants Disney, Comcast and AT&T. 

This week, how filmmaker Kevin Smith set out to rescue his hero, the legendary Stan Lee. Last year, Smith began to fear that the elderly Marvel creator was being abused. Smith acted, though felt strongly there could be no good outcome. He tells us about doing his best for Lee in what would be Lee’s final year. Plus, reporter Gary Baum on his investigation into the battle for control of Lee's life. 

Twenty-five years after ‘Clerks,’ Kevin Smith is shook. Despite his insistence that he's behind the times, he's always found ways to get his movies made. Smith tells us about doing it his way--which includes embarking on a 60-date roadshow for his new movie, ‘Jay and Silent Bob Reboot.’ He also reflects on his long relationship with Harvey Weinstein and the heart attack that almost did Smith in last year. 

The Netflix series 'Unbelievable' is based on a true story about how one team of cops pursued a serial rapist while another disbelieved and bullied a victim. Showrunner Susannah Grant tells us about turning a Pulitzer Prize winning news story into a scripted series. She also shares her thoughts on how to depict rape on screen and talks about speaking with the victim whose story is at the heart of the series.

Hot off Toronto, where ‘Hustlers’ won raves, Lorene Scafaria tells us about her fight to direct the movie, which is based on her script about a real-life group of strippers who robbed their Wall Street clientele. She finally won that battle, then the picture got dropped by Annapurna and then saved by STX. Scafaria also talks Jennifer Lopez's intense training to do that insane pole dance. 

Five months after firing their agents, members of the Writers Guild are still at war with the major agencies over packaging fees. In the heat of the ongoing union election, we explore a couple of perspectives on the two groups competing for Guild leadership. 

For years, Ryan O’Connell was in the closet: not because he’s gay, which he is, but because he was ashamed of having cerebral palsy.  His cover? He’d been hit by a car--which was true. But eventually, that lie took a toll. With his Netflix series ‘Special,’ O’Connell is out in a big way. He tells us about the 4-year struggle to find a home for his autobiographical comedy, which is now nominated for 4 Emmys. 

When Ben Berman set out to make ‘The Amazing Johnathan Documentary,’ he figured it would be a poignant film about an ailing comedian and magician. But very quickly, Berman found himself wondering: was he making a movie about Jonathan, or was Johnathan roping him into a project of his own. Berman shares the crazy story of making ‘The Amazing Johnathan Documentary,’ which is now available on Hulu. 

Julianne Moore joins us with her husband, writer-director Bart Freundlich, to talk about their careers and their new drama, ‘After the Wedding,’ the fourth film they’ve made together. Moore offers some advice to actors just starting out, tells us how she picks her projects, and she and Freundlich discuss the struggle that comes with trying to get an indie melodrama like ‘After the Wedding’ financed.

When Gurinder Chadha set out to make a movie based on journalist Sarfraz Manzoor’s memoir about the effect of Bruce Springsteen music on his life, she had one small problem. The movie couldn’t work without Springsteen’s songs. So when she and Manzoor snagged a moment with The Boss on a red carpet, they took their shot. Incredibly, it worked. Chadha and Manzoor tell the tale of their film ‘Blinded by the Light.'

When filmmaker Lulu Wang set out to write and direct a personal movie based on a real-life family saga, she had a clear vision for an American film, largely set in China, mostly in Mandarin. But buyers weren’t biting. Wang tells us about her circuitous route to finally making ‘The Farewell,’ which has turned into the indie success story of the summer.

In Lynn Shelton’s new comic caper film 'Sword of Trust,' Marc Maron plays a pawnbroker who gets caught up in a scheme to sell a Civil War artifact of dubious provenance. Shelton and Maron tell us about making the movie in 12 days in Alabama, and about shooting an extended, improvised, soul-baring monologue in the back of a sweltering box truck...for nine hours. 

Sarah Scott was a working actress in Hollywood with the usual ups and downs of a life in the entertainment industry. But, last year while shooting a pilot, Scott says she was harassed and assaulted by a fellow actor. She took the case to her union and the result was not completely satisfying. 

Filmmaker Reginald Hudlin recently directed the new documentary ‘The Black Godfather’ for Netflix, but he’s held a lot of other jobs, including writing ‘Black Panther’ comics and running BET...at the same time. He tells us about those years, plus, working with Quentin Tarantino. We’ve also got some goodies from cinematographer Caleb Deschanel on Disney’s new ‘Lion King.’

Actress, director, producer Elizabeth Banks is a member of a very small club: women who make commercial big-studio movies. After directing ‘Pitch Perfect 2’ and a ‘Charlie’s Angels’ reboot set for release this fall, plus producing the heartfelt Hulu comedy ‘Shrill,’ Banks has even bigger ambitions. She talks about getting bored with acting and moving into producing, directing, and making it in the mainstream.

In 1989, a young sailor named Tracy Edwards made history when she skippered the first all-female crew in a round-the-world race aboard a secondhand yacht named Maiden. Twenty-five years later, Edwards learned Maiden had been abandoned, and at the same time, someone wanted to make a film about her. Sailor Tracy Edwards and director Alex Holmes tell us about saving Maiden the boat, and making ‘Maiden’ the movie.

Over the course of its record-breaking 15 seasons, ABC's 'Grey's Anatomy' has never shied away from tough subjects. When a recent script included a scene of a patient undergoing a rape kit exam, the network wanted some changes. 'Grey's Anatomy' showrunner Krista Vernoff and writer Elisabeth Finch tell us how, with an assist from Shonda Rhimes, they got their powerful episode about consent to air as written.

Writer-producer Simon Kinberg has worked on the X-Men movie franchise since 2006. ‘Dark Phoenix’ was his directorial debut. The film got panned by critics and opened to only $33 million in the U.S. We talked to Kinberg a few days after that brutal weekend. He shares his perspective on what went wrong and tells us about the reshoots, release date changes, and working at Fox in the midst of Disney's takeover.

A week after TV writer Liz Feldman lost a family member unexpectedly and found out her fertility treatment had failed again, she took a meeting with some producers, having been told she didn’t need to come with ideas. So she was immersed in loss and blindsided when she was asked for ideas after all. A seasoned improvisor, Feldman delivered. That quick pitch turned into the Netflix series ‘Dead to Me,’ a funny show about grief.

You may have never heard of Clarence Avant, but this enigmatic manager, producer and record executive has touched the lives of a wide array of people you have heard of: Bill Withers, Hank Aaron, Barack Obama. Director Reginald Hudlin tells us about his new Netflix documentary ‘The Black Godfather,’ which profiles the now 88-year-old Clarence Avant, the ultimate unseen mover in music, movies, politics and more.

This week, Jemele Hill tells us about her years at ESPN, where she had a good career until she drew the wrath of the White House by tweeting that Trump is a white supremacist. She thought she was stating the obvious, but eventually, Trump tweeted about her. Jemele Hill tells us about her tumultuous final year at ESPN, becoming a "walking think piece," and what happened next: producing, podcasting and more.  

Growing up in Rockford, Illinois, Bing Liu was obsessed with making skateboarding videos with his friends. Over the course of more than a decade, one of those mini-movies morphed into a feature-length documentary, ‘Minding the Gap.’ This week, as the film is being honored with a Peabody award, we’re revisiting Matt Holzman’s conversation with Liu.

It’s TV staffing season: when writers look for jobs. But this year, writers have fired their agents in their battle over packaging fees. Still, showrunners Mike Royce and Valentina Garza say the seats in the writers rooms will be filled. They tell us about building a writing staff without agents, and Royce gives us an update on 'One Day at a Time.'

As a follow-up to his podcasts about exercise guru Richard Simmons and then Y2K, Dan Taberski set out to investigate the darker aspects of the long-running show ‘Cops.’ Taberski tells us about making ‘Running from COPS,’ the product of an 18-month deep-dive into in the show. Turns out, if you live in a town where it films, ‘Cops’ might come for you whether you’re a bad boy or not.

Growing up, Sally Wainwright visited Shibden Hall, a historic house and park in West Yorkshire. But she wasn’t taught much about Anne Lister, who had lived there in the 19th century. Years later, Wainwright learned that Lister was truly ahead of her time: a businesswoman and a gay-marriage pioneer. Wainwright tells us about ‘Gentleman Jack,’ her new HBO-BBC series based on the extraordinary life of Lister.

For years, Ryan O’Connell was in the closet: not because he’s gay, which he is, but because he was ashamed of having cerebral palsy.  His cover? He’d been hit by a car--which was true. But eventually, that lie took a toll. O'Connell wrote a book about it, and now, with his Netflix show ‘Special,’ O’Connell is out in a big way. He tells us about the 4-year struggle to find a home for his autobiographical comedy.

Elise Pearlstein has dedicated her life to non-fiction film, first as award-winning producer, and since 2013, as SVP of Documentary at Participant Media. Her career in docs wasn’t always a foregone conclusion--she used to keep lists of other jobs she could do--but now says there's no place she'd rather be. She talks to Matt Holzman about an industry in transition and some of Participant's newest projects.

Stephen Falk thought he had gotten his big break in 2012, when NBC picked up his series ‘Next Caller.’ But after he’d shot just 4 episodes, NBC pulled the plug. He vowed for his next project, he'd write what he wanted. That would be the dark rom-com, ‘You’re the Worst’--it just wrapped its final season on FXX. Falk talks about the road to making ‘You’re the Worst,’ which critics concur is actually the best.

Actress, director, producer Elizabeth Banks is a member of a very small club: women who make commercial big-studio movies. After directing ‘Pitch Perfect 2’ and a ‘Charlie’s Angels’ reboot set for release this fall, plus producing the heartfelt Hulu comedy ‘Shrill,’ Banks has even bigger ambitions. She talks about getting bored with acting and moving into producing, directing, and making it in the mainstream.

Earlier this year, actor Steven Yeun joined us to talk about his role in the Oscar-shortlisted Korean film, ‘Burning.’ We talked about other topics too, and this week, for the first time, we’re airing that part of the conversation. Yeun tells us about getting his start in the industry and what he’s looking for in future roles. Plus, a visit to the set of Sebastian Lelio’s new film ‘Gloria Bell.’

When comedian Kathy Griffin posed for a photo holding what appeared to be the bloody head of Donald Trump, she became a pariah overnight. So she did the only thing she could do: turned her story into an act, and took it around the world. This week, we revisit our conversation with Griffin, whose movie version of her stand-up special just premiered at SXSW.

A potentially epic confrontation is on the horizon, pitting the Writers Guild against the talent agencies. And, after Todd Douglas Miller made a short film about Apollo 17, he figured he was done with outer space. Then he got an email from an employee at the National Archives who had found some old reels labeled: Apollo 11. Miller talks about the never-before-seen footage that led to his new movie, ‘Apollo 11.’

Dan Reed’s documentary ‘Leaving Neverland’ features interviews with two men who say Michael Jackson sexually abused them for years when they were children. Initially conceived as just one hour of television, Reed soon realized it’d have to be longer. He talks about making this unflinching four-hour film and how, despite a lawsuit from the Jackson estate, HBO is standing behind ‘Leaving Neverland.’

Without a host, the night moved right along but then, it came to best picture. How did it come to be that Julia Roberts was announcing 'Green Book' as the winner when the film had endured scandal after scandal? Scott Feinberg explains what makes the ballot for best picture different from all the other categories. And the other takeaway? The Academy is not the same as "film Twitter"--far from it, in this case!

With ‘One Day at a Time’ having just dropped its third season on Netflix, showrunner Gloria Calderón Kellett hoped to launch another series this year. Knowing that pilot season is not for the faint of heart, Calderón Kellett decided to share different aspects of the experience via tweets. She gives us a dramatic reading of some of her recent threads. Plus, a bonus Oscars banter!

And he gives us a glimpse of the future too! Deschanel is just back from shooting Disney’s new ‘Lion King’ in London. He’s now Oscar-nominated for his work on ‘Never Look Away.’ That makes his sixth nomination--his previous five were for ‘The Right Stuff,’ ‘The Natural,’ ‘Fly Away Home,’ ‘The Patriot’ and ‘The Passion of the Christ.’ He talks about his long career, plus his penchant for working with animals.

When ‘Surviving R. Kelly’ showrunner dream hampton was conducting interviews with women who had been in the thrall of the infamous singer-songwriter, she had to choose her words. She tells us about having difficult conversations with survivors while lawyers listened to every question and about other challenges of making the docuseries, plus the recognition and blowback she’s experienced since.

For his new film ‘Never Look Away,’ director Florian Henckel von Donnersmarck spent weeks cozying up to German artist Gerhard Richter, whose remarkable life story inspired the movie. Richter seemed OK with the script, but then trashed the film based just on the trailer. Von Donnersmarck is taking it in stride--Richter may not like ‘Never Look Away,’ but the Academy nominated it for best foreign language film.

When actor Steven Yeun, best known for AMC’s ‘The Walking Dead, was asked on a Korean talk show which filmmaker from that country he’d most like to work with, he knew his answer right away: the author-turned-director Lee Chang-dong. He didn’t expect it’d ever happen, but before he knew it, he was meeting the filmmaker in Korea. Lee Chang-dong and Steven Yeun tell us about their experiences making ‘Burning.’

Lebanese filmmaker Nadine Labaki cast street children as the stars of ‘Capernaum,’ her gritty tale of 12-year-old Zain, who runs away from home and ultimately sues his parents for condemning him to a life of poverty and desperation. Labaki tells us what drew her to the story and describes the scramble to get her cast members the paperwork they needed to go to Cannes, where ‘Capernaum’ won the Jury Prize.

Could this be the year the Academy finally nominates Spike Lee for Best Director or Best Picture? ‘BlacKkKlansman’ is looking like a contender. The film is based on the true  story of black police officer Ron Stallworth, who went undercover with the KKK in the 1970s. Lee and his ‘BlacKkKlansman’ star John David Washington join us to talk about the film and get a little philosophical along the way.

With 2018 in the history books, we’re revisiting some of our favorite moments from last year’s interviews. Stories of big breaks, trails blazed and getting back in the saddle...an actual saddle on a literal horse. We have ‘Blockers’ director Kay Cannon, rodeo star turned actor Brady Jandreau, ‘Dear White People’ creator Justin Simien, ‘Vida’ showrunner Tanya Saracho and ‘Crazy Rich Asians’ director Jon M. Chu.

Four years ago, director Paweł Pawlikowski won the best foreign language Oscar for his film 'Ida.' His new movie is 'Cold War,' a black-and-white period film based on the tumultuous marriage of his Polish parents that has him in the awards race again. He tells us about making 'Cold War,' getting encouragement from his friend Alfonso Cuaron, and gives the backstory of that memorable Oscar speech from 2015.

The Mouse swallows the Fox, Netflix keeps turning into the Stay Puft Marshmallow Man, but are its rivals figuring out how to cross the streams? Old tweets cause new trouble, and a king of Hollywood falls from his throne. Banter buddies Matt Belloni and Lesley Goldberg join Kim Masters for a 2018 mega banter.

Peter Jackson generated whole worlds for his ‘Lord of the Rings’ and ‘Hobbit’ trilogies. His latest project? A documentary that magically brings to life old footage shot on the front lines of World War One. The restoration of 100-year-old film was no easy feat. He tells us about his newest film, ‘They Shall Not Grow Old.’

In 2015, actor Kristoffer Polaha booked what he thought would be a one-off gig in a Hallmark TV movie. Now, he’s got 5 Hallmark films under his belt. He tells us how he and the Hallmark Channel fell in love. Then, KCRW's Matt Holzman sits down with Netflix's Lisa Nishimura. The head of original documentaries and comedy programming for the streamer tells us how she decides what will become a Netflix original.

For his Netflix kids show ‘Beat Bugs’, Josh Wakely worked a miracle: he got the rights to use Beatles music in the series. Never afraid of going big, Wakely now has a new animated show on Netflix called ‘Motown Magic,’ which features another set of iconic songs and Smokey Robinson as the music supervisor. Wakely tells us about his years-long pursuit of the rights to some of the world’s most famous music.

Sometimes our guests have so much good stuff to say that we can’t fit it all into one show. So let out your belt a notch. This week we’re bringing you delicious leftovers from Ethan Hawke, George Tillman Jr., Kathy Griffin, and Aneesh Chaganty and John Cho. Plus, some early Oscar forecasting.

In his career as a documentary filmmaker, Matthew Heineman has criss-crossed the country, followed Syrian activists in exile and embedded with vigilantes fighting Mexican drug cartels. His newest film, ‘A Private War’ is an adventure of a different kind--a narrative feature about war correspondent Marie Colvin. He tells us about using techniques he learned doing documentaries to make his first narrative film.