u/Few-Engineer-9791

Did my semi-annual Spider-Man rewatch of all 8 movies and it got me thinking about the directing and storytelling that Jon Watts brings. Raimi is obviously the blue print. We love Raimi and what he brings. I think Marc Web faulted but the first AMAZING SPIDER MAN has some great incorporating of “real New York” with the fake movie sets and the actors.
I saw Homecoming at 19 and followed since but feel everything I like about them (outside of actors) feels either like things I like from the previous movies or from Marvel in general. People who know more about the behind the scenes or his other work. What does Watts bring outside of things from the MARVEL machine?

Friedkin is one of those guys whose drop-off is sort of legendary. SORCERER, CRUSING, and TO LIVE AND DIE... have turned around to be seen as cult classics, and then he comes around to people if nothing else, saying, "Oh, those last two were pretty good".
I want him to be covered, but those 20 years between seem from an outsider perspective to be some of the most "does not exist" movies I can see. This is just from not really being there when they came out and them not really getting shout-outs in the history books. JADE seems to have been brought up the most, but as a bad movie or as part of the Joe Eszterhas run.
Love what I've seen of his classics, so will get around to them eventually or if he's covered. What do others think?

Whilst it can be annoying, I do enjoy how in love with New York the hosts are. I watched Igby Goes Down, which Griffin has said he loved, as well as Margaret and am craving the 2000s New York. Specifically, ones about young people.

A fun thing about nepo babies is that you can see the touches of their parents. The fact that M. Night's daughter Ishana's debut was a high-concept horror mostly set in one location felt like the apple did not fall far from the tree. Panos Cosmatos does not have a lot in common with his dad, but as his father's work is peak VHS and Panos makes movies that feel like you are watching the cursed VHS from the ring with a plot, I kind of see it.
I have basically followed Sam now for a decade, and his love of pushing the envelope and disjusting or graphic imagery has become tiring even as he pushes his aesthetic as much as possible. I have now started watching his father's films and am shocked by how different they are. Especially as a writer, his work is nostalgic, comforting and extremly tame/wholesome. It almost feels like Sam saw Diner and said, "Shut up, old man, I'll show you how real kids talk", then had them only reference movies from the 90's.
Are there any other Nepo baby directors or writers this different? Is he influenced by his dad at all? I've only seen Vietnam, The 4 Baltimore movies and Justice for All so far, so very possible I'm missing something.

One of the best things about this podcast is how much of film history it covers.
Indies, mid-budget and blockbusters of the 80's to today are the most discussed, but we have popped in on Hollywood in the past. We have covered almost every decade and movement in someway but not the 30's and 40's. Kubrick and Keaton in the 50's and 20's sandwich the only era we have not really covered in Hollywood history. Sturgess and Welles are the two most discussed as the people that they would cover. A few others have been discussed. Is anyone else rooting for this time to get covered

Was thinking about how the guys won't cover Joe Dante until he passes in the hope he will make "just one more film" so they don't end on "Burying the Ex".
I was filling in what I had not seen and decided to re-watch "Looney Tunes Back in Action" for the first time in 23 years, and though it's definitely flawed, after binge-watching his career, it feels like the perfect final film for him. He finally fulfils his Looney Tunes obsession, makes his biggest budget and most self-referential film in movie history. It has satire on capitalism and even a cameo from Roger Coreman, who started Dante's career. Felt like a swan song more so than a third-to-last movie.
Are there any other ones people feel this way about? It just felt like their moment to walk off into the sunset

The John Carpenter Series is maybe my personal favourite mini-series. I got into film history mostly because horror film history was so well preserved in the 2000s, so I grew up with Carpenter, Craven, and Hooper, as big to me as Spielberg or Kubrick. I think both series would be very doable and pretty fun

Hooper is 15 movies, but you could easily do some doubling up toward the end (Crocodile + Toolbox Murders, Mortuary + Djin), which feels most in line with Joe Dante as a big film nerd with a campy sensibility but without the kid-friendly appeal. Cursed with both a massive hit that did not actually fit his personal sensibilities (Texas Chainsaw Massacre) and his biggest hit still being debated to this day if he made it or not (Poltergeist). His career also spans a microcosm of independent horror films from regional horror productions, to Canon Group films, to Stephen King adaptations, to Weird international investment movies. With a researcher, this could be a great history of filmmaking series.
Plus, if he has not seen it already, Texas Chainsaw 2 is the most ben coded movie ever made. Hands down, no question. A major reason not to do him is that, outside of 4 to 5 movies, he probably has the most obscure filmography, regardless of quality.

Craven is a full 20 films covering three franchises. A workhorse and student of the masters with a strong sense of character and basic filmmaking that makes stuff go crazy, hits you way more than it does in most other slasher films. Constantly trying to prove he's more of a horror guy with experimentation with visuals, tone and concept. The man arguably redefined horror three times with The Last House on the Left, Nightmare on Elm Street and Scream. The sheer amount of actor context and behind-the-scenes nonsense that went on with Cursed alone is worth it. More so then carpenter, probably the defining horror director of the Slasher era.
His long filmography and connection to franchises might make him more coverable on Patreon, and his duds are far more spread out throughout his career, leading to them not being able to double episodes without taking away time from some great ones.

I love the show, but the Coen, Ramsey, Weir, and soon Scorsses onslaught is making me crave some really goofy, fun genre directors