Kelly Reichardt

Christopher Blauvelt, a cinematographer known for natural-light, collaborative camera work, and Kelly Reichardt, an acclaimed director who often edits her own films. They recount how they met, their prep and natural-light lighting approach, creating 1970s atmosphere for The Mastermind, and the practical realities that shaped shooting and editing choices.

In this discussion, Lucas Shaw, Chair of the Media and Entertainment Group at Bloomberg News, shares insights on Netflix's Q3 performance and explores the speculative market regarding its interest in Warner Bros. Meanwhile, Kelly Reichardt, a veteran independent filmmaker noted for her unique approach, reveals her journey from financing her first film with credit cards to advocating for theatrical releases. The conversation touches on the industry's changing dynamics and why meaningful projects, rather than blockbusters, drive her creative passion.

Kelly Reichardt, Director known for unique and beautiful filmmaking with a subtle sentimentality, discusses the minimalism and expressive nature of her movies, her reluctance to talk about certain topics, and her role as a professor. They also explore the value of immersing oneself in unfamiliar experiences, the balance between academia and filmmaking in Los Angeles, and the presence of sentiment in film. Kelly reflects on her time working in a mail room and the challenges of post-college life.

Sean and Amanda discuss ‘How to Blow Up a Pipeline’ and Kelly Reichardt’s ‘Showing Up’ (1:00) before checking in on several 2023 releases they missed on the show this year. Then, Sean is joined by Michelle Williams and Reichardt to discuss their fourth collaboration, ‘Showing Up’ (1:07:00).Hosts: Sean Fennessey and Amanda DobbinsGuests: Michelle Williams and Kelly ReichardtProducer: Bobby Wagner Learn more about your ad choices. Visit podcastchoices.com/adchoices

Kelly Reichardt and Kenneth Lonergan discuss following Todd Haynes to Portland, cattle politics, the nature of the American Experiment, the challenges of making period films, lessons from Lyndon Johnson, the randomness of art, and the actor/movie star dichotomy.