Switchblade Sisters

Identical twins Sylvia and Jen Soska, known as The Soska Sisters, are an unstoppable force. You may know them best from their films Dead Hooker in a Trunk and American Mary. You may also know them as the hosts of the Blumhouse game show, 'Hellevator.' Or even as the writers for the most recent installment of the Black Widow comics. They are on the program this week for a very special Max Fun Drive episode talking about David Cronenberg's masterpiece, Dead Ringers. The sisters are avid Cronenberg devotees and, not to mention, this film centers around identical twins Beverly and Elliot Mantle. The pairing of guest and movie is truly a match made in heaven. The sisters also discuss what went into making their body modification horror, American Mary, and why agents and managers warn actors about working with them. And in celebration of the Max Fun Drive, we have an additional segment this week. April talks to writer and filmmaker Michele Meek about her new book, Independent Female Filmmakers: A Chronicle Through

Debra was a Boston independent filmmaker before she picked up and left for NYU’s graduate film program. Her first short film there, “Snake Feed,” was accepted into the Sundance Labs, where she developed the concept into her first narrative feature, Down to the Bone, starring Vera Fermiga. From there, Debra and her creative partner Anne Rossellini developed a film based on Daniel Woodrell’s 2006 novel, Winter's Bone. The film was released in 2010 and tells the story of a girl who’s the sole caretaker of her family who must hunt down her missing father to avoid being kicked out of her house and losing everything. The girl was played by Jennifer Lawrence. Lawrence was nominated for an Academy Award, as was Debra’s film and screenplay. In 2018, she directed Leave No Trace, a story about a father with PTSD trying to raise his teen daughter off the grid when some well-meaning people intervene and change the course of their lives. Starring Ben Foster and newcomer Thomasin Mckenzie Harcourt, Leave No Trace has been o

Katie Tibaldi is a writer, director and producer born and raised in Michigan. She also has the distinction of being childhood best friends with the host, April Wolfe! Between working on shows such as Broad City, Nurse Jackie and Damages, Katie's already worked on over 300 episodes of television. She’s currently producing the documentary feature Street Fighting Men, which will be distributed by First Run Features later this year. Her work on that made her a 2016 Sundance Institute Doc Fellow. She’s also Co-Producer on truTV's Emmy-Nominated comedy series, At Home With Amy Sedaris. She recently directed the independent half-hour comedy pilot, Ian Owes U, that had its world premiere at the New York Television Festival in July. She is also the writer, director and executive producer of Seeking Sublet, a comedy series with 9 full episodes debuting later this year. The series has been showcased by MovieMaker Magazine, Script Magazine, Tumblr and Funny or Die. The movie that Katie has chosen to discuss this week is

Ondi is a Floridian, born in Miami, but she studied film, literature, and theater at Yale University. Her 2004 documentary Dig! made waves on the indie circuit, winning her the Grand Jury Prize at Sundance. Dig! followed two indie bands — The Brian Jonestown Massacre and The Dandy Warhols — on a journey that would bring art and commerce to collision points. She then directed Join Usbefore returning to Sundance with 2009’s documentary We Live in Public, about the work of Josh Harris, an “internet visionary” and dot-com entrepreneur who was one of the most prominent people to sacrifice his privacy and peace for a very public internet life. We Live in Public also took home the Grand Jury Prize, making her the sole director to do it twice. This year, though, she’s releasing her first narrative feature, Mapplethorpe, a look at the life of photographer Robert Mapplethorpe from his rise to fame in the 1970s to his untimely death in 1989. The movie that Ondi chose to discuss this week is Alex Garland's Ex Machina. Ba

Born in Singapore, Sandi began her career as a film critic at The Straits Times, Singapore’s largest newspaper. She then threw that all away to run off to film school at Columbia University. Sandi most recently wrote, directed, produced, and co-edited Shirkers (2018) which won the World Cinema Documentary Directing Award after its Sundance 2018 premiere. It was picked up as a Netflix Original Documentary and was on the shortlist for the 2019 Best Documentary Academy award. Shirkers reconstructs the story of an unfinished feature film Sandi made as a teenager using actual footage from the film combined with personal interrogations exploring how exactly the film came to be before it went missing. The movie that Sandi chose to discuss this week is David Lynch's Twin Peaks: Fire Walk with Me. Although this film may not seem to have much to do with her own film, Shirkers, throughout the conversation she and April discover a great deal of overlap. Both movies are steeped in murder, reconciling the past, and mysteri

Tchaiko graduated from Columbia University before going on to intern for Spike Lee and Mira Nair. While assisting directors George C. Wolfe and Tom Vaughan she directed several short-form projects, including America's Shadows: HIV Risk in Black & Latino Youth. In 2012, she wrote the script called Solace, which would eventually become her feature debut. At that time, it was a semi-finalist for the Sundance Writers Lab. In 2015, the project became a recipient of the Panavision New Filmmakers Program. Solace premiered at the LA Film Festival 2018, winning Special Jury Mention Best Ensemble Cast. Tchaiko was a 2017 School of Making Thinking resident fellow where she created the VR film Shapeshifters. In between her independent projects she produces and directs commercials and branded content. The movie that Tchaiko has chosen to discuss this week is the wonderful, wacky, goblin-y, Labyrinth. April and Tchaiko touch upon the arousing gender fluidity of David Bowie's character "Jerith." Tchaiko talks about how

Kansas is a born-and-raised-in-Hollywood writer and director. She wrote her first feature when she was only 15, and then went on to direct it for release at 17. The film, titled, B.C. Butcher, is a “pre-historic slasher” starring Kato Kaelin. B.C. Butcher was distributed by Troma Entertainment, and Kansas was inducted into the Troma Institute for Gifted Youth. Since then, she has directed 25 music videos for artists including Collapsing Scenery, Boyd Rice, Iggy Pop, and the Death Valley Girls. Aside from directing, Kansas also acts. She’s appeared in more than 30 projects, including the upcoming directorial debut of Glenn Danzig, and also Quentin Tarantino’s Once Upon a Time In Hollywood. She also starred in a short film series called 'Curious Females', which premiered on Refinery29 in 2017. The movie that Kansas has chosen to discuss on this week's episode is the 1968 freak-out fest by The Monkees called, Head. It's evident immediately that Kansas has a deep love for The Monkees and this film. She points out

What a fascinating episode we have in store for you this week. We are so lucky to be joined by writer/director, Emma Forrest. Emma has lived a life. She started out as very young journalist in London, when at the age of 15, she wrote a lauded story on Madonna for The Sunday Times, which prompted her to leave school at 16 to become a full-time writer for the Times. In 1998, she moved into writing fiction with the publication of her novel Namedropper. From there Emma began writing screenplays, selling one to Plan B, another to Miramax, and subsequently being named by Variety as one of the "Top Ten Screenwriters to Watch in 2009." Emma, however, has taken her screenwriting into her own hands and in 2018 debuted her first feature, Untogether, at the TriBeca Film Festival. Untogether stars Jemima and Lola Kirke, Ben Mendelsohn, Jamie Dornan, and Billy Crystal, and tells the story of two sisters in the middle of their own artistic and life crises — one a recovering addict, and the other in a withering relationship

This week we are graced by the presence of the wonderful writer/director, DeMane Davis (Lift, 'Queen Sugar', 'How to Get Away with Murder'). She's on the program this week to discuss The Wiz. She and April begin the conversation by fawning over the performance of the one and only Diana Ross as Dorothy. They also cover the technical prowess of director Sidney Lumet, and why he considers this film somewhat of a failure. The conversation then turns towards DeMane's work as a TV director. They go in depth on what a day on set actually looks like. DeMane tells a story about a time when the producers of her feature Lift brought on another editor. But she also stresses that the most important thing is getting your work out in to the world. And lastly, DeMane emphasizes the lessons she learned from The Wiz about believing in yourself, and that when you are comfortable and confident in the work that you're doing, that's when you become really dangerous. You can see DeMane's episode of How to Get Away with Murder on Fe

This week we have the amazing writer/director Vicky Jewson (Lady Godiva, Born of War) on the program. Her new film, Close, stars Noomi Rapace as a counter-terrorism expert and bodyguard tasked to protect a wealthy heiress. It's a gritty, intimate action film, and that's why the movie Vicky has chosen to discuss is so apt. This week Vicky will be discussing 2002's, The Bourne Identity. Vicky elaborates on the influence this film had on her, and how the Bourne series has had a huge influence on the current iterations of the Bond movies. Vicky goes in depth on mapping out action sequences and working with stunt coordinators to achieve a spontaneous feel in her film. She also talks about working with Noomi Rapace, and why it was difficult for her to call "cut." Vicky and April also go behind the scenes of The Bourne Identity and outline Doug Liman's career trajectory from indie films to directing an unorthodox blockbuster action film. You can see Close on Netflix. If you haven't seen it yet, go watch The Bourne I

We are so lucky to have on the program this week, cinematographer and director Skye Borgman. Her most recent documentary, Abducted in Plain Sight, follows the story of a young girl in a tight-knit LDS community, who is abducted twice by her neighbor and parent's best friend. It's an intense and serious film, which makes Skye's chosen genre movie all the more interesting. She has decided to discuss 2015's Polish, horror, mermaid musical, The Lure. She and April pinpoint how this film is able to deftly deliver harsh truths about female sexualization within the framework of a mythic fairytale. The two also marvel at the director Agnieszka Smoczynska, and what she was able to do in terms of pushing the limits of the mermaid's fin designs. Skye also touches upon working with the Broberg family on her doc, and how she was able to get them to discuss incredibly difficult subjects like pedophilia and child abuse. You can see Abducted in Plain Sight on Netflix. If you haven't seen it yet, go watch The Lure. With April

This week we slice and dice with writer/director Logan Kibens. She's on the program to discuss Albert Brooks' Defending Your Life. This is one of Logan's favorite films as well, and she explains the philosophical aspects of it that keep her coming back to watch over and over again. She and April point out how this film is a precursor to shows like 'The Good Place.' Logan elaborates on working with actors and getting past the intimidation phase. She discusses convincing people to invest in her first feature, even though she'd never directed one before. Logan also talks about working on that debut feature, Operator, starring Martin Starr and Mae Whitman. Plus, they examine how even though Defending Your Life flopped upon its release, it has endured due to its universal message of living without fear. You can see Operator on Netflix. If you haven't seen it yet, go watch Defending Your Life. With April Wolfe and Logan Kibens. You can let us know what you think of Switchblade Sisters on Twitter or Facebook. Or ema

This week we've got director Jen McGowan (Rust Creek, Kelly & Cal) on the program to discuss Jonathan Glazer's Under the Skin. Jen takes April deep into the world of filmmaking as she discusses the concept of "process dictating product." They examine the differences between making films in Europe and the US. They break down the genius of Jonathan Glazer and the exact steps he took to complete this film. Jen explains what it's like pitching as a director for hire. Plus, she and April dissect Scarlett Johansson's risky performance and how she's both sexy and scary at the same time. You can see Rust Creek in limited theaters and VOD on January 4th. And if you haven't seen it yet, go watch Under the Skin on Netflix. With April Wolfe and Jen McGowan. You can let us know what you think of Switchblade Sisters at @SwitchbladePod on Twitter. Or email us at switchbladesisters@maximumfun.org Produced by Casey O'Brien and Laura Swisher for MaximumFun.org.

This week we've got writer and director Shaz Bennett on the program to talk about Kathryn Bigelow's classic, Point Break. As Shaz says on the show, this is the movie she most wishes she had directed. She and April also discuss Shaz's newest film, Alaska Is a Drag, which follows an aspiring drag queen turned boxer stuck working at a cannery in Alaska. The two of them dissect the masterful directing of Bigelow during the visceral chase scenes. They look at the unconventional casting of Patrick Swayze and Keanu Reeves. They praise the performance and genius of Lori Petty. And Shaz elaborates on being yourself while directing, and being close to your actors on set. April has a special connection with this film as well, having written a retrospectivefor Rolling Stone last year. If you haven't seen it yet, go watch Point Break. With April Wolfe with Shaz Bennett. You can let us know what you think of Switchblade Sisters at @SwitchbladePod on Twitter. Or email us at switchbladesisters@maximumfun.org Produced by Cas

This week we are so lucky to have on director, actress, and dancer, Delila Vallot. Delila is a prolific worker and has too many credits to list. But some of her films as director include the thriller Tunnel Vision and the documentary Can You Dig This? which won a Jury Award at the Los Angeles Film Festival. On this episode she is here to discuss Black Panther. She and April talk about Michael B. Jordan's acting techniques and the effects of going method for a role. They touch upon how director Ryan Coogler was able to take a huge property like Black Panther and still make it personal. And they cover the intentional use of the actor's natural hair in the film and the importance of representing it in media. If you haven't seen it yet, go watch Black Panther. With April Wolfe with Delila Vallot. You can let us know what you think of Switchblade Sisters at @SwitchbladePod on Twitter. Or email us at switchbladesisters@maximumfun.org Produced by Casey O'Brien and Laura Swisher for MaximumFun.org.

This episode specializes in creepy haunted houses with potentially crazy women living inside them. And who better to have on the show than director and actor, Bridey Elliott. She's on to discuss her new film Clara's Ghost. Her film features Bridey's own mother, Paula Niedert Elliott, playing Clara, an isolated woman who begins seeing a ghost around the house. And appropriately, the film Bridey chose to discuss today is Hush...Hush, Sweet Charlotte starring Bette Davis. Davis' character Charlotte also believes she's seeing ghosts in her family's plantation home. These movies work well together thematically as they both touch upon paranoia, disbelief of women, and a real confusion on who is actually going crazy. Bridey talks about making her new film with her entire family, including her mother who had never acted before. She even shares a story about how she was able to shoot a scene with a naked woman walking around her childhood neighborhood. April and she also discuss the history of Hush...Hush, Sweet Charl

We've got a truly fascinating conversation on this week's episode with 'Dirty John' showrunner Alexandra Cunningham. Her new show is based upon the wildly popular LA Times true crime podcast of the same name. It deals with deception, seduction, and intrigue. These are all themes found in the film that Alexandra chose to discuss, the 1945 technicolor noir classic Leave Her to Heaven. As 'Dirty John' deals with the mind of a manipulative conman, Alexandra has become somewhat of an expert on the mindset of villains. And she has some enlightening words on Gene Tierney's coldhearted Ellen in Leave Her to Heaven. Alex comes from a playwriting background and explains how she learned to show rather than to tell. April and she dissect the famous drowning scene in the film. And Alex has a fascinating story about working for a suicide hotline, and reveals how sometimes the scariest things happen in the light of day. Check out Dirty John on Bravo. And if you haven't seen it yet, go watch Leave Her to Heaven. With April W

A great new episode coming your way with the director of the new road comedy The Long Dumb Road, Hannah Fidell. Her film follows the sheltered Nat (played by Tony Revolori) as he drives cross country to attend art school in Los Angeles. On his way he picks up a hitchhiker (played by Jason Mantzoukas) who shakes up Nat's close minded worldview. The movie that Hannah has chosen to discuss this week is Michael Haneke's Funny Games. She sort of picks both the American and Austrian version since they are almost perfectly identical films. April calls Hannah's own film The Long Dumb Road a comedic Funny Games, since both deal with an intruder breaking the unwritten rules of politeness and social decency. Hannah and April really dig into the genius of Haneke and his masterful filmmaking. They elaborate on how Funny Gamesis eerily prescient in its prediction of the emergence of "alt-right trolls." April also reveals that this movie was somewhat born out of Haneke's hatred for Natural Born Killers and how this Austrian

In this season of Thanksgiving, we give thanks for our wonderful guest this week. We've got the writer and producer of the new film Cam, Isa Mazzei. We're so excited about having her on the show that we dropped the episode a day early! She's on the program to talk about the much under appreciated Jennifer's Body. Isa is a former camgirl herself and discusses the expertise she brought in creating her film. She also discusses her role on set and how she needed to direct some scenes to maintain the female gaze. She and April also discuss Jennifer's Body and how it subverts the expectations of a teen comedy. They elaborate on the role of director Karyn Kusama and screenwriter Diablo Cody and the results of having an all female creative team. This a great episode and one that should be recommended to your in-laws over Thanksgiving dinner. Check out Cam, now streaming on Netflix. And if you haven't seen it yet, go watch Jennifer's Body on HBO Go. With April Wolfe with Isa Mazzei. You can let us know what you think

On today's episode, we're talking about the movie for which the masses have been clamoring. That's right, we've got comedian Emily Heller on to talk about The Mask. Emily is a stand-up comedian, but also an actor and Emmy nominated writer. She's written for 'Crowded', 'People of Earth', and most recently 'Barry.' On this episode, she gives April an inside look of what it is like to be in a writer's room. She discusses how she got started as a TV writer, what she did to get hired, and what kind of pilot's people are looking to read. She and April also dive right into the mixed messages of The Mask and how the movie is basically one giant meme. This is a hilarious episode and one not to be missed. Some would say it's "SMOKIN'!" (Sorry). Check out Emily's new stand-up album, Pasta, which is out November 19th. Also check out Emily's podcast on Maximum Fun, Baby Geniuses. And if you haven't seen it yet, go watch The Mask on HBO Go. With April Wolfe with Emily Heller. You can let us know what you think of Switchbla