The Formative Films Project

Braden Shaw
  • 5.0 (4)
  • Film Interviews
  • Updated Biweekly

The Formative Films Project exists to share the firsthand accounts of how the movies we watch shape us, entertain us and help tell the stories of our lives.

  1. 3d ago

    Emma. (2020) with Jillian Leiby

    First-time guest Jillian Leiby joins the show to discuss Autumn de Wilde's debut feature, Emma., from 2020. Featured in this episode: LA Times feature on Autumn de Wilde ⁠Chicago International Film Festival⁠ JagWire movie reviews from 2015 Sheila O'Malley's review Persuasion (2022) trailer

  2. Jul 21

    Sinners with Terrell Henderson

    This week I welcome longtime friend Terrell Henderson back on the pod to talk about Ryan Coogler's 2025 film, Sinners. Featured in this episode: Guy in the Chair Reacts on TikTok ⁠Ryan Coogler breaking down film formats with Kodak⁠ Coogler/Christopher Nolan post-screening Q&A Michael B. Jordan's Oscar speech Ryan Coogler's Oscar speech Autumn Durald Arkapaw Oscar speech

  3. Jul 14

    C'mon C'mon with EJ Paras

    The Formative Films Project is BACK for season two, starting with Mike Mills' 2021 film, C'mon C'mon, starring Joaquin Phoenix, Gaby Hoffmann and Woody Norman. Featured in this episode: NYFF Q&A with Joaquin Phoenix, Mollie Webster and Mike Mills I Am Easy to Find by The National Ethan Hawke TED Talk Angelica Jade Bastien's review from 2021 Angelica on Disclosure Day

  4. 07/29/2021

    Auteur Corner: Paul Schrader, Paul Thomas Anderson, Alfonso Cuarón, Bong Joon-ho

    After all this buildup — months of interviews, editing, a trailer, and 19 previous episodes — we’ve made it to the season finale of The Formative Films Project. And what better way to cap it off than with a celebration of five of the best filmmakers working today? We’ll look at the iconoclastic Paul Schrader, who’s built not only a successful career as a gun-for-hire screenwriter, but also an accomplished director in his own right. There’s also Paul Thomas Anderson, a Robert Altman disciple who’s leaned heavily into his influences while still crafting his own wholly original stories, whether it be in the San Fernando Valley or 1950s London. Alfonso Cuarón — a third of the Academy Awards' beloved "Three Amigos" — has perfected the balance between mainstream and arthouse, from the Harry Potter franchise and big-budget science fiction, to poignant, authentically Mexican stories you might find in the Criterion Collection. And finally, there’s Bong Joon-ho, the South Korean auteur who’s mastered police procedurals, monster movies, family dramas, and high-concept sci-fi, all featuring commentary on class inequality. He even has three Oscars and a Palme d’Or to show for it. While the work speaks for itself, this episode is truly a celebration of some of the best films — and filmmakers — of the past decade. 3:14 - 35:02: First Reformed (Liam Quinn) 35:04 - 1:04:29: The Master (Ishan Parikh) 1:04:30 - 1:35:23: Phantom Thread (Oscar Pavlove) 1:35:44 - 2:07:02: Roma (Stephanie Morales Macedo) 2:07:03 - 2:36:34: Parasite (Jay Tapaoan)

  5. 07/26/2021

    Auteur Corner: David Lynch and Darren Aronofsky

    A name that kept popping up throughout my conversations was David Lynch, the enigmatic, reclusive auteur whose films have been known to confuse and captivate. Because of that, it was no surprise his 2001 film Mulholland Drive was highly sought after as a “favorite film” worthy of dissection. We’ll finally talk about it later in this episode, but the reason two of his films are topics of discussion here are that he’s such a singular storyteller; for better or worse, a David Lynch film is a DAVID LYNCH film. The rich color palette, the Angelo Badalamenti score, the surrealism, his unique sense of humor — it all makes for great conversation after the fact. The same could be said for Darren Aronofsky, another writer/director with a sparse film resume, yet one that’s made noise at both the Academy Awards and in cult fandoms alike. His intense films delve into some rather dark and/or serious subject matter — artistic struggle, biblical allegories, climate change — but again, still very much thought provoking, if not somewhat controversial. 2:30 - 33:47: Blue Velvet (Taylor Weber) 33:48 - 1:05:53: Mulholland Drive (Nat Hoopes) 1:06:15 - 1:35:07: Black Swan (Margarita Madu) 1:35:08 - 2:08:02: mother! (Faith Maddox)

  6. 07/22/2021

    Auteur Corner: Wes Anderson and Quentin Tarantino

    As we’ve discussed throughout this series, filmmaking is a collaborative medium. We all tend to look toward the director as the captain of the ship and a key reason why a movie succeeds or fails, but it is a “team sport” at the end of day. Having said that, fully realizing your vision as a writer/director is admirable and, ultimately, should be a main goal when making any film. There’s something to be said for having a distinct visual storytelling style that’s recognizable from film to film — as much a trademark of a director’s legacy and talent as it is a formalistic choice to best tell the story. For our final three episodes, we’ll look at a group of writer/directors — better known as auteurs — that have reached this creative peak over the course of their respective careers. To start, we’ll look at two favorites of Film Bros and #FilmTwitter alike: Wes Anderson and Quentin Tarantino. Both lean into their influences proudly — Éric Rohmer, Jacques Tati, and Michael Mann films for Anderson, and everything from Kung Fu to French New Wave to Blaxploitation for Tarantino — yet both have paved their own way to distinctive directorial signatures of their own. From the 90s Sundance boom, to the grand stages at Cannes and the Oscars, these two filmmakers have captivated audiences for nearly 30 years and are still two of the best working today. 3:07 - 23:52: Fantastic Mr. Fox (Sophia Belshe) 23:53 - 50:09: Moonrise Kingdom (Ryan Njenga) 50:10 - 1:14:15: The Grand Budapest Hotel (Noah Mercer) 1:14:37 - 1:43:09: Reservoir Dogs (Sam Kingma) 1:43:10 - 2:08:14: Pulp Fiction (Jack Dodd) 2:08:15 - 2:36:15: Once Upon a Time...In Hollywood (Mitch Osterlund)

  7. 07/19/2021

    Some Good (And Very Bad) Fellas (Part 2)

    Last episode we talked about some (at least mostly) heroic figures in this “Dudes Rock Cinema” sub-genre, featuring leading men executing their jobs to save the town, those they love, and themselves. We also touched on the blurred lines between “good” and “evil” with Miami Vice, and we’ll further blur those lines this episode. Some of these men are well-intentioned; there’s an argument to be made that Ryan Gosling’s Driver is a hero of some sorts even if he is brutally violent with an icy demeanor. And the McManus Brothers have an oath to rid the streets of evil, even if they commit several murders while doing so. As for Lou Bloom and Henry Hill, I wouldn’t exactly consider them role models. Either way, each of these films depict moral dilemmas, and how each of these men react when they’re pushed to their limits and forced to make the choice to either stay where they are, or get ahead. 2:14 - 32:34: Drive (Gus Hunninghake) 32:35 - 1:03:11: Nightcrawler (Adam Cole) 1:03:33 - 1:27:48: The Boondock Saints (Andrew Lee) 1:27:49 - 1:57:06: GoodFellas (Joey Mulinaro)

  8. 07/15/2021

    Some Good (And Very Bad) Fellas (Part 1)

    I somewhat recently discovered the existence of a sub-genre of films called “Dudes Rock Cinema,” which basically equates to '80s, '90s, and '00s action and crime films, leading men executing their jobs at a high level, and/or anything your dad might watch on a Sunday afternoon.  Over the next two episodes, we'll look at a group of male-centric films that operate in this lane. Some portray heroic figures who, even if they bend the rules of heroism and/or the law, we still root for them — think Wyatt Earp, John McClane, and The Dude. On the flip side, we have some nefarious folks who choose a slightly darker path, oftentimes getting involved in criminal activity — think Lou Bloom, The MacManus Brothers, and Henry Hill. Either way, they're each unique portraits of masculinity on the big screen. 2:55 - 28:51: The Big Lebowski (Gavin Miller-Broomfield) 28:52 - 54:45: Tombstone (Ryan Arey) 55:09 - 1:21:31: Die Hard (Robert Mays) 1:21:32 - 1:56:26: Miami Vice (Lukas Fryer)

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The Formative Films Project exists to share the firsthand accounts of how the movies we watch shape us, entertain us and help tell the stories of our lives.

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