Watching The Directors

After 60 podcasts, 52 directors and too many films to count, Watching The Directors is bowing out. On this, our second anniversary show and series finale, we try to go out with a frenzy of lists, listener mail, reviews and discussion. Join us as we follow last year's anniversary with our Season 2 10 lists of essential films and insider films.We also add a couple final reviews with a look at the most requested films of the year: The Coen Brothers' No Country For Old Men and P.T. Anderson's There Will Be Blood.Plus, just to show we won't be completely gone forever, we talk a bit about upcoming episodes of our lingering podcast Watching Theology.(Next Watching Theology: Lars and the Real Girl, July 11)Music by Sufjan Stevens from The AvalancheCourtesy of Asthmatic Kitty Records

Now, after great confusion, comes the single-most requested episode of WTD: the elusive Part 1 (of 3) in Hitchcock's filmography. Beginning with prototypical mistaken identity/murder suspense thriller of Blackmail, and moving through landmarks like The Lady Vanishes, we look over the formative years of one of the most iconic directors of the twentieth century. On this episode we explore the British era of Hitch's work, culminating in the bizarre, romantic thriller, Rebecca.And, we also make an important announcement about the future (a short future) of the show.(Next WTD: Anniversary Show, July 8)(Next Watching Theology: Lars and the Real Girl)Music by My Brightest Diamond from A Thousand Shark's TeethCourtesy of Asthmatic Kitty Records

In the collective genius that is the Ten Quiz, we take a gander at the second-most forgotten era of a great director's work. Along with the hosts' own insights, listeners have provided true insight into Sir Alfred's films, from the first murder with sound in Blackmail to the last British film (or first American), Rebecca.

It's not hard to list directors from the studio era that are considered greats: Welles, Hawks, Wilder, Capra and Ford. But if you ask modern giant Martin Scorsese, he might remind you about a British director named Michael Powell. Together with long-time partner Emerich Pressburger, Powell formed the production company "The Archers." That team produced remarkable films that are generally underwatched and underappreciated in the United States. Whether it's the epic The Life and Death of Colonel Blimp, the dance masterpiece The Red Shoes or the mystic psychological tale of nuns in the Himalayas (Black Narcissus), The Archers have created an impressive body of work that deserves greater attention.On this episode, we look at the work of Powell & Pressburger and are joined by John Damer, host of the podcast For Lack of a Better Word. Together, we try to get a handle on a large and substantial body of work.(Next WTD: Alfred Hitchcock Part 1: The British Talkies, June 24)(Next Watching Theology: Lars and the Real Girl, June 13)Music by DM SMITH from an upcoming workCourtesy of Asthmatic Kitty Records

This is a mono edition of the lengthy and large Powell episode (35 MB vs. 71 MB).

The Powell & Pressburger show presents a challenge for viewers in Region 1 North America. Several of the films in the official "Archers" catalog are unavailable through normal channels here in the states. So if you have a multi-region DVD player and a few contacts in the UK, you may want to call in some favors. If not, consider a few available Michael Powell, non-Archers projects like The Thief of Bagdad (1940), 49th Parallel or Peeping Tom. We will be joined on this episode by John Damer (For Lack of a Better Word podcast).Also, special thanks to Steve Crook from The Powell and Pressburger Appreciation Society for his assistance in defining The Archers filmography.

There aren't many directors who get to be called "cool" as often as Mr. Steven Soderbergh. But the de facto chronicler of the new Rat Pack didn't start that way. Before Ocean's 11 (12 and 13), he was best known for a little indie film called Sex, Lies, and Videotape. That movie's frank dialogue and personal filmmaking style helped secure the power of Sundance and the rise of independent filmmakers everywhere. But Soderbergh also has some interest in how films are made, including the cameras and actors he uses - or if he should even use traditional cameras or actors.In the nearly twenty years since he burst onto the scene, Soderbergh has become a new icon of American filmmaking. (Note: The Ten Quiz program is slightly delayed. It will post soon.)(Next WTD: The ArchersâPowell and Pressburger, June 2)(Next Watching Theology: Raiders of the Lost Ark, May 27)Music by SHAPES & SIZES from the album Split Lips, Winning Hips, A ShinerCourtesy of Asthmatic Kitty Records

If you spend a little time with Woody Allen, you start to see things in a different way. New York is a city of romance, music, farce and love. And behind every relationship is a disfunction waiting to happen. On this episode, we look through Mr. Allen's eyes and come away shaped by a Freudian perspective. With comedies like Bananas and Sleeper, Allen demonstrated his appreciation for the old comics. With Manhattan, Annie Hall and The Purple Rose of Cairo, he showed he had his own ideas. On this episode we look through the formative years into the glory age of Oscar nominations and Diane Keaton.(Next WTD: Steven Soderbergh, May 15)(Next Watching Theology: A Scanner Darkly, April 29)Music by RAFTER from the album Sex Death CassetteCourtesy of Asthmatic Kitty Records

Judging by a few listener submitted lists, Woody Allen - in the period between 1966 and 1985 - is either one of the greatest filmmakers of all time, or a hack that should be resigned to direction late-night infommercials. We do all that we can to get to the truth through a stack of Ten Quizes and our own little insights.

No offense against Mr. Demme (who has directed THE essential concert film), but we have tabled his show. While reading an excellent overview of the three Spalding Gray films on notcoming.com, I was reminded that Mr. Steven Soderbergh also directed one of those monologues. And, as way led onto way, we couldn't get Soderbergh out of our head. So May 13's episode 41 is now devoted to his work, and not only so we can justify getting around to watching Ocean's Thirteen... really.

We all have a list of movies we keep meaning to watch: Citizen Kane, Birth of a Nation, anything from Fellini. But maybe there's some room on that list for Salaam Bombay!, Monsoon Wedding or The Namesake. In this episode we talk about the director of those films, Mira Nair, and her contribution to cinema. Nair's feature work over the last twenty years has been momentarily noticed and then neglected. But does it deserve more attention? Join us as we talk about the immigrant experience, literary filmmaking and perhaps suggest that Denzel Washington made a movie worse.(Next WTD: Woody Allen 1966-1985, April 22)(Next Watching Theology: The Wicker Man 1973, April 15)Music by LIZ JANES from her album Poison & SnakesCourtesy of Asthmatic Kitty Records