Frodo had Sam. Luke had Artoo. Harry had Ron and Hermione. Side characters are just as important to a well-told story as the main characters are. So, how do you make a great one? And what's the trap, sometimes, of a side character who's more interesting, more active than even your hero? We discuss! Also, Josh recommends Love On The Spectrum on Netflix, and Ira recommends The Last Repair Shop on Disney+

If you could travel anywhere in the world, where would you go? What would top your list? Money is no object, neither is time. Dream as big as you want. Also, Josh recommends Deep Space Nine on Pluto TV and Paramount+, and Ira recommends both versions of Suspiria; the new film is on Prime, and the original is on Tubi.

Beautiful, mysterious woman pursued by gunmen. Sounds like a spy story... Widely considered to be the first modern spy movie ever made, Hitchcock is leaning into his strengths yet again (huzzah!): murder, conspiracy, and a man on the run. This time, its Robert Donat who's world is turned upside down in a single night when a mysterious woman asks for his help, and then ends up killed in his apartment. Can he clear his name before the police lock him up? Perhaps. But first, he has to figure...

Framing devices can be a powerful storytelling tool...but what ARE they? What is an "epistolary," or a "flashback" or an "unreliable narrator"? And whyyyy would we use them? What effect can they have on a story? We talk about it! Also, Josh recommends the animated series Justice League which is currently on Netflix and Max, and Ira recommends Andor, which is currently on Disney+.

Goodbye for the last time. What could be more touching than that? Peter Lorre. That's the first thing to know about this movie: Peter. Lorre. Hitch teams up with his first truly enduring star, someone we still know to this day, and they're off on an adventure of spies, murders, conspiracies, and kidnappings. Off the heels of what even he calls his lowest point career-wise and artistically, Alfred scores a massive hit, a film frequently referred to as his 'breakthrough.' So...does Hitch...

We all know the power of a personal story when we encounter one. Nothing cuts like the truth. But, turning that lens to our own work...just how personal should our own work be? Is it possible to be too personal? Sure seems like it is. By the same token, it seems even easier to not be nearly personal enough, which leaves our audience cold and confused. So, how to we navigate getting personal with our work? We discuss! Also, Josh recommends Rifftrax on PlutoTV, and Ira recommends Babylon 5 and...

And now the polka, you worms. Hitchcock makes a musical! ...kinda. It's an operetta, which were very much in fashion at the time; a little music, a little dancing, and a love story at the center. This one centers around a highly-fictionalized version of how "The Blue Danube" was written in 19th-century Vienna. So, can Hitchcock do song and dance? We watch and find out!

Who are the heroes that got under your skin, that live with you well past watching or reading the story, the heroes that changed you? Why? Why did they stick with you? And in thinking about/asking those questions, how can we apply the answers to our own storytelling? This week, we dive in on how to create a great protagonist. Also, Josh recommends WWE Wrestling on Peacock, and Ira recommends Only Murders in the Building on Hulu.

Ya don't have to do nothin' in this 'ere house - ya stand still and things happen! Cutting to the chase here: this miiight be Hitchcock's first truly terrible film. It's a bit baffling how clumsy it is given how many films he's made before this, several of them decent, and perhaps one or two of them even good. But this one...it's so convoluted, so full of cliche, non sequitur, reveal, and reverse uno after reverse uno that it ends up completely nonsensical. This week, we dive into...

Do you have a time of day (or night) where you find that you're the most creative? What about times that are consistently free? Or have the least number of distractions? Finding a reliable pocket of your day in which you can do your creative work can be a superpower. On this episode, Josh and Ira discuss what's worked and not worked for them. Also, Josh recommends Star Trek: Voyager on PlutoTV, and Ira recommends Buried on Netflix.

I want some of the good things of life... Hitch definitely tries something a little different with this one: it's a comedy drama this time--not nearly the silly farces he's tried to this point on the comedy side, and certainly nothing as dark as murder on the drama side. It's a rags to riches to rags tale with the beating heart of a love story. So, does it work? Let's watch and find out!

There's much ado these days about making your villain's point of view a sympathetic one. After all, everyone is the hero of their own narrative. But...what about all those villains who are just, you know, assh*les? DO you have to make your villain sympathetic??? We discuss! Also, Josh recommends Seinfeld on Netflix, and Ira recommends Cheers on PlutoTV.

What's gentility worth if it can't stand fire? This film is about the revolution in "Industrial Revolution." An old school landowning family finds their idyllic country world being invaded by a young-money industrialist. A feud develops. And grows. And grows until it sucks everyone down into the muck. It's very...high-minded, prestige-type fare for the young Hitch. How does he handle it? We watch and find out!

Not everyone is aware that Hitchcock actually started making movies all the way back in Britain’s 1920s silent era. Now that we’ve watched all of those films (that are available, anyway), we take a look back and think about what we’ve learned. What takeaways can we glean, not just about Hitchcock, but about the film industry in general, and–dare we say–ourselves? We discuss! Also, Josh recommends Peaky Blinders on Netflix, and Ira recommends Andor on Disney+. (note: for anyone listening...

Das ist kein Theaterstück, das ist das Leben. The 1930s were a wild era in film. The industry was exploding; there was a ton of money to be made, especially in foreign markets...if you could figure out a way to get your movie into the local language...like German! Because sound couldn't be added after the fact yet, this meant literally making your movie over again with a different (German) script, different (German) actors, on the same sets. Hence, Mary, the German version of Murder!, a...

Happy New Year! Lots of fun stuff to come on the podcast this year, and for Josh and Ira personally. We talk about what the year-to-come has in store. What’s on the horizon for you?

As we turn the page on 2023, we take a look back on the last FIVE YEARS that we've done this exercise, and we consider how far we've come, and how that affects what we think of this year. It was a banner year in some ways, and a difficult one in others. We discuss what this year means for us, and we invite you to consider how 2023 has been for you. How far have you come? What will you remember 2023 for? What were the highs and lows? We talk about it all. Join us in!

God bless us, everyone! Jim Henson's Muppets take on the Dickens classic holiday tale of the humbug-miser who discovers that generosity is not only the way to live Christmas, but to live your entire life. Michael Caine plays Scrooge, Kermie plays Bob Cratchit, and Gonzo is our narrator...shenanigans, hilarity, and life lessons ensue. It was the first muppet movie made without Jim. Is the magic still there? (yes.) We discuss!

I'm dreaming of a white christmas... Kinda wild we haven't watched this classic yet. Not all old musical, romantic comedies translate to the modern era. So much has changed in how we feel about love, what is good comedy, and the holidays. AND YET...there is something absolutely magical about the way old movies are able to transport us somewhere warm, fuzzy, charming, and irresistable. White Christmas certainly falls into that category. It's a must-watch, and worthy of a place on our TV...

Does what you watch, read, or listen to influence what you're creating? YES! So, is that a good thing? A bad thing? Perhaps both? What does that depend on? And how exactly does it influence our work in those ways? If that influence is tehre, SHOULD we be watching, reading, and/or listening to stuff while we're working? We discuss all the above for ourselves. Also, Josh recommends The Rings of Power which is streaming on Amazon Prime, and Ira recommends Dungeons & Dragons: Honor Among...

Any answer to that, sir John??? See, now this seems like something Hitchcock: a woman is found beside a dead body with the knife that killed them in her hand. But...did she do it? One juror doesn't think so, even after agreeing to convict her. So, he launches his own investigation. Can he discover the truth in time? THIS is the Hitchcock premise we're used to. The question is: does it work? How does young Alfred do with it? We watch to find out!

Now that we're decently far into our second filmmaker deep dive, let's take a moment to think about what we've seen thus far. What are the differences and similarities between the two of them. Are there any patterns we can see between David Lynch and Alfred Hitchcock? Where to do they align, and where do they depart? And what can we as writers, filmmakers, and film lovers learn or take away from that? We discuss! Also, Josh recommends AEW wrestling which is on TBS/TNT and Pay-Per-View, and...

It's miraculous. Whenever he senses a job in front of him, his legs begin to fail him. Alfred takes on the beloved (at the time) play about the Irish Civil War and modern times with this one. There's fast talking, heavy drinking, rags and riches, frivolity and tragedy, slaptstick and drama. It's a lot. Is it too much? And just what in the feck are they saying, anyway?

As soon as we learned there was ANOTHER version of Hitchcock's Blackmail--the silent version, which was actually more popular at the time than the "talkie" version was--we knew we had to set aside the time to watch it. It's not exactly a different movie. Most of the cast is the same. Most of the shots are the same. But it IS different. Substantially so; it's the original way the film was shot, and it's silent. Even though its not its own movie, not really, a deep dive into Hitchcock's...

Morning, Alice. 'Eard about the murder? The talkies have arrived! Alfred Hitchcock has the distinction of making Britain's very first. So, how does Hitch do with a full-on script, and TALKING actors? The subject certainly seems like Alfred's cup of tea. So...how does it turn out? We watch and find out. A particularly fascinating watch and discussion this week; not to be missed!