The A24 Podcast

Topics covered include:
NPR podcast voice, evangelical upbringings, Beef creator Lee Sung Jin's incredible observations of things that are both really painful and really funny, little mullets, Ali's love of Ex Machina, parallel play, the impressive amount of bodily fluids in Beef, Oscar first meeting Carey Mulligan on set of Drive, getting to play really bad people, going down a YouTube rabbit hole to learn how people respond to psychedelic toad venom, the intricacies of staging a masturbation scene, Ali competing for roles with Stanley Tucci, and Sonny’s trick of taking you to Korea so you have nobody to complain to.

Topics covered include:
Aidan first becoming aware of Charli, early demos of “I Love It,” Scandi accents, the whelks at Caroline Polachek’s birthday, silliness as high art, imposing structure, growing up on Tumblr, voyeurism, Aidan’s work with Timothée on the Marty Supreme campaign, a general sense of FOMO, teapot necklaces, Aidan’s mom’s notes on the “Guess” music video, not wanting to present yourself as an entrepreneur, embracing embarrassment, Charli’s early tracks like “Dinosaur Sex” and “I Wanna Be Darth Vader,” being a tiny bit hungover, and a brief round of the Cauldron Game.

Topics covered include:
Voice memos as audio documentaries, the difficulty of keeping things small, Sean seeing Marty Supreme three times in theaters, maximalist territory, swimming in bigger lakes, moviemaking as time travel, Jack Fisk set stories, directors’ knee health, Jennifer Venditti’s wildly original casting process, feeling afraid of the script, Sean perfectly timing his edible intake at the Oscars, Darius Khondji as the “Prince of Darkness,” hunting down period accurate Cinemascope lenses, Ronnie Bronstein’s love of Shark Tank, and Marty Supreme’s epic alternate ending.

Topics covered include:
Car rides to and from set, Emily’s special nickname for Dwayne Johnson, performing with a camera inches from your face, delicately handling playing a real person, Wonderbras, The Rock as the most patient man on Earth, not being concerned with being likable, Mary Bronstein’s intimate rehearsal process, audiences inherent distrust of a woman misbehaving, Emily reconnecting Dwayne and Benny on set of Oppenheimer, wanting to feel terror when choosing projects, and being hyper aware of the ocean.

Topics covered include: Getting comfortable in the chaos, moments of brevity, John writing his directorial debut on set of Eternity, double-fisting at TIFF, attending Interlochen at the exact same time, training in opera, Da’Vine’s stint as a camp counselor for child prodigies, ill-informed southern accents for The Laramie Project, witnessing the greatness of Audra McDonald in Gypsy, a shared love of Company, John’s huge plans for Da’Vine’s career, vocal tics, Da’Vine losing her voice on Broadway after she got nominated for a Tony, choosing to be the clown, and the great problem with contemporary musicals.