Aimee Mann - News Poster



Network: Comedy Central. Episodes: Ongoing (half-hour). Seasons: Ongoing. TV show dates: January 17, 2018 — present. Series status: Has not been cancelled. Performers include: Matt Ingebretson, Jake Weisman, Anne Dudek, Adam Lustick, Aparna Nancherla, Lance Reddick, Anna Akana, Jon Daly, Philip Baker Hall, Natasha Lyonne, Aimee Mann, Rory Scovel, Baron Vaughn, Kate Walsh, and Fred Willard. TV show description: A dark, scripted comedy from Pat Bishop who co-created the series with stars Matt Ingebretson and Jake Weisman, the Corporate TV show explores life as a Junior-Executive-in-Training. At the profitable multi-national corporation, Hampton DeVille, Matt and Jake (Ingebretson and Weisman) are just two more cogs in the machine. Confrontational criticism is the rule of law, under the iron fist
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Mondo is Bringing Paul Thomas Anderson’s ‘Magnolia’ Original Score to Vinyl For the First Time

Mondo is Bringing Paul Thomas Anderson’s ‘Magnolia’ Original Score to Vinyl For the First Time
Mondo is celebrating the release of Paul Thomas Anderson’s “Phantom Thread” by bringing the iconic score to his character epic “Magnolia” to vinyl for the first time. The 3-lp set features all of the film’s songs by Aimee Mann and the complete score by Jon Brion. The vinyl goes on sale January 17.

Read More:The 50 Best Mondo Movie Posters

Magnolia” was released in 1999 following the crossover success of “Boogie Nights.” The sprawling saga featured Anderson’s most star-studded ensemble, including Julianne Moore, Tom Cruise, Philip Seymour Hoffman, Philip Baker Hall, William H. Macy, John C. Reilly, and more. Cruise was nominated for the Best Supporting Actor Oscar.

Mondo will release the original songs and score not only on vinyl for the first time, but also for the first time in a single release. The collection features new artwork from Joao Ruas and is pressed on 180 gram colored vinyl. The
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Soundtracking: "Magnolia"

With a new Paul Thomas Anderson film waiting in the wings, Chris looks at the music of Magnolia...

Rarely is a film and musician as inextricable from one another as Paul Thomas Anderson’s Magnolia and Aimee Mann. The singularity of her voice repeated throughout helps streamline Anderson’s massively expansive vision, like a tidy bow pulling together the film’s many untidy pieces. With the film’s religious themes and allegories, her omniscient voice makes Mann the film’s watchful angel, perhaps a messenger of God. She's as much as character as everyone else, if a far more enlightened one.

“One is the loneliest number...” and Anderson announces his ensemble as a collection of “ones”. The Harry Nilsson track is a smart choice, establishing that no matter their twisty associations to one another, each is essentially isolated. Having Mann cover the classic song marries the old and the new,
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The Complete Paul Thomas Anderson Music Video Collection, From Fiona Apple to Radiohead — Watch

The Complete Paul Thomas Anderson Music Video Collection, From Fiona Apple to Radiohead — Watch
If you’re looking for a crash course in what makes Paul Thomas Anderson an auteur filmmaker, look no place else but his music videos. Anderson has directed 15 music videos throughout the course of his career so far, and each one is a succinct lesson in all of his best trademarks, from those technically-dazzling tracking shots to the intimate textures of his extreme closeups.

Anderson’s music video career has always intertwined with his film career. His first video arrived in 1997 with Michael Penn’s “Try,” just a year after his breakout directorial debut “Hard Eight.” Over the next 20 years, the filmmaker would go on to collaborate with Fiona Apple, Joanna Newsom, and Radiohead multiple times. Most recently, Anderson has joined forces with the band Haim to direct several music videos for tracks off their second album, “Something to Tell You.” Three of these videos were edited into a 16-minute short film called “Valentine.
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Immersive ‘Indiana Jones’ + L.A. Actor Events This Week

You probably already know there are tons of ways to hone your craft as an actor and explore opportunities, but in a city like L.A., these chances seem to lurk in the strangest places. This week, gain new perspectives on podcasting as an actor, see forgotten films, and even chow down on delicious pickles as a way to unwind. Your days should be balanced to enjoy your surroundings while working hard to accomplish your goals, so enjoy these fun and fulfilling activities! See how a podcast becomes a variety show.Like many actors these days, Kevin McDonald decided that his unique brand of comedy (honed on Canadian ‘90s sketch show “The Kids in the Hall”) would translate well into a podcast. Instead of following a rote formula of straight-up interviews or stand up, though, McDonald decided to pursue a variety-show format for his “Kevin McDonald’s Kevin McDonald Show.
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Katherine Dieckmann on Crafting an Unconventional Female Protagonist in “Strange Weather”

Strange Weather

Katherine Dieckmann’s films include “Motherhood,” “Diggers,” and “A Good Baby.” She began her career as a journalist, writing for such publications as Rolling Stone, The Village Voice, and Vogue before going on to direct music videos for bands including R.E.M., Aimee Mann, and Wilco. Dieckmann is an Associate Professor at Columbia University’s graduate School of the Arts Film Program, where she has taught screenwriting for over 15 years, and a Creative Advisor for the Sundance Institute.

Strange Weather” hits theaters and VOD July 28.

W&H: Describe the film for us in your own words.

Kd: “Strange Weather” is a lyrical, emotionally rich drama tracking a woman (Holly Hunter) as she travels the deep south with her best friend (Carrie Coon) in an effort to process her grief over the loss of her son. It’s a story about how to be fully alive while facing death, about forgiveness, grace, and redemption.

W&H: What drew you to this story?

Kd: I wanted to explore the complicated path of an unconventional female protagonist in a way that felt real to me in terms of the women I actually know in my life — women I rarely if ever get to see represented on the big screen. They have reached a certain age but remain unresolved, alive, contradictory, compelling, and not prone to stereotyping.

Strange Weather” deals with female friendship, learning to see outside the sphere of your own personal pain, and finding ways to overcome that pain in the process. These are all ideas that I was interested in exploring in a feature, and this story allowed me the context to dive into all of them.

I also wanted to set a story about one woman’s turbulence within the climactic instability we all live with now, so that the outer world reflects the inner world, and vice versa.

W&H: What do you want people to think about when they are leaving the theater?

Kd: Hopefully people who have experienced some seismic loss — which is probably almost everybody — will find something in the story and its execution that allows them to breathe a little bit more deeply and feel less isolated in their own lingering grief, and to reach out and connect with others.

The path to redemption is often a crooked and unexpected one. And even though my main character has a traditional love interest with whom she can reconcile, what ultimately delivers her to a better place is her own tenacity and willingness to become open to both her pain and her foibles, and the constancy of her best friend, who supplies what is truly the most important relationship explored in the film.

W&H: What was the biggest challenge in making the film?

Kd: The biggest challenge was having 21 not-terribly-long days to realize a movie with a road trip spanning several southern states and different weather conditions, not to mention to shoot a script that contained a number of extended, emotionally complicated scenes that put great demands on my actors — which, I have to add, they met beautifully, especially Holly Hunter, who carried every one of them.

W&H: How did you get your film funded? Share some insights into how you got the film made.

Kd: My film got funded through the sheer stubbornness of my two female producers, Jana Edelbaum and Rachel Cohen (iDeal Partners), who were tireless in their search for financing and in their conviction that this was a film that needed to get made. Eventually they found a financier, Great Point Media, that appreciated the script for what it was and allowed me to make exactly the film I wanted to make, with zero interference, which is such a rarity in indie filmmaking these days that I can still barely believe it happened.

My executive producer Caroline Kaplan also provided steady and unconditional support.

And beyond essential was my lead actress and stalwart collaborator, Holly Hunter, who came aboard about a year before we found our backing, and fought hard for the project in that interval and beyond, whether that meant reaching out personally to potential supporting cast or simply keeping the film alive in her heart and mind and helping to will it into being.

Great Point then affirmed that Holly alone was a valuable enough element to warrant our small budget, which one would want to believe is a no-brainer, but sadly it isn’t. That was a major gift, as it allowed us to cast freely for the rest of the parts.

W&H: What’s the best and worst advice you’ve received?

Kd: The best advice I’ve received is to never give up: never abandon hope with a cherished project because only the person who wrote it and will direct it is going to care about it enough to keep it alive when the odds are looking dire, and at some point they inevitably do. Robert Altman said something like you have to love every film as though it were your own child — and you have to love even the ugly ones, meaning you can’t disown a misfire.

The worst advice I’ve ever received was to be encouraged to bend my vision and what I knew would be best for my film by miscasting to secure financing. I take full responsibility for those mistakes [because I let it happen.]

That is something I will never, ever do again — I’d rather just not make a movie at all if it comes down to that. But it’s hard to resist the temptation to get your film financed, always, even if in your heart you know you could compromise it by making dubious decisions.

Again to reference Altman, casting is everything, and if you make sure to cast intelligently — and I would add, have a solid script going in — you’d have to work really hard to screw up your film.

W&H: What advice do you have for other female directors?

Kd: Write the strongest script you can write — something you care about passionately and can wholly believe in — and then keep rewriting it. Good writing will rise to the surface at the end of the day, I truly believe that. Get to know other filmmakers, not just female ones, and forge bonds and support each other, especially to better face disappointments along the path.

I feel that many independent filmmakers I know whose work I love and admire are right there behind me, cheering me on, as I also do for them. When anyone smart and decent who has a way with material gets to make a film, it is a good thing for everybody.

But for women specifically, I think the best thing is to be fearless, stubborn, and kind — even if you’re faced with unkindness. Rise above it. Do and be better, because the world is less forgiving of women: that’s just a stone cold fact. Surround yourself with people who understand what you are up to completely independent of your gender, because if they’re the right people, that will be the last thing they’ll focus on.

W&H: Name your favorite woman-directed film and why.

Kd: “An Angel at My Table” by Jane Campion. It speaks so clearly and poetically to why I wanted to become a writer, and how one woman writer came into existence, with a specificity that somehow makes it feel entirely universal.

I also have to co-cite the long-lost film “High Tide” by Gillian Armstrong, whose work remains criminally underappreciated today, especially “My Brilliant Career” and “Mrs. Soffel.” Judy Davis gives one of the most searing and singular portraits of a vexing woman ever committed to the screen in “High Tide.” You can find it on YouTube, but I wish Criterion would dig that one up and properly restore it.

W&H: What are the filmmaking opportunities for women in your country? Have you seen recent improvements? What do you think needs to be done see some significant change?

Kd: I think the situation for female filmmakers in the U.S. is improving markedly now, although more in television than in features. There’s still a long way to go in terms of getting smart, complex female-driven stories on the screen, and for women to be able to feel free to take on any subject matter they want, which isn’t necessarily woman-centric or “personal.”

[And progress still needs to be made for women to] get taken seriously and be given the opportunities that men with way less experience and chops get handed everyday.

We are far from parity. But compared to when I made my first feature, “A Good Baby,” nearly 20 years ago, it’s night and day.

Katherine Dieckmann on Crafting an Unconventional Female Protagonist in “Strange Weather” was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story.
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Sharon Van Etten and Katherine Dieckmann on Scoring Strange Weather

In 2015, the year this story begins, Sharon Van Etten had never scored a film. She’d also never heard the name Katherine Dieckmann. Van Etten had just released I Don’t Want to Let You Down, the follow-up Ep to her exquisite 2014 album Are We There. Van Etten’s music does things to people, and it did a number on Dieckmann, a former music video director for Aimee Mann, R.E.M., and Wilco. Enchanted by her songs of muted melancholy, Dieckmann became convinced that Van Etten had to score her latest feature, a road movie set in the American South. The two […]
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10 Best Movies and TV Shows to Stream in May

10 Best Movies and TV Shows to Stream in May
It's a battleground month, people, as streaming platforms bust out the big guns to keep viewers glued to their sofas while temperatures climb back into clemency. Three of Netflix's more notable original programs trot out new seasons; Amazon brings one of 2016's finest films to couch potatoes, as well as what may be the most radical show of 2017; and Hulu unveils a pair of documentaries shedding some well-deserved light on obscure corners of pop culture. And hey, Acorn's getting in the mix as well, importing a BBC gem for stateside viewing pleasure.
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Paul Thomas Anderson Directs Haim in One Intimate Long Take in ‘Right Now’ Music Video — Watch

Paul Thomas Anderson Directs Haim in One Intimate Long Take in ‘Right Now’ Music Video — Watch
It was already going to be a great year for Paul Thomas Anderson fans given that his London fashion drama with Daniel Day-Lewis opens this Christmas, but it turns out we’re getting some surprise new Anderson content today. Pop rock band Haim has released the new music video for “Right Now” and lo and behold: It’s directed by Paul Thomas Anderson.

Read More: What Paul Thomas Anderson Movies Really Have to Say About Finding Purpose in Life — Watch

Anderson is well-versed in the music video space, having worked with artists like Fiona Apple, Aimee Mann and Joanna Newsom in the past. He collaborated with “Radiohead” on three videos last year for songs off their acclaimed album “A Moon Shaped Pool.” The “Right Now” video for Haim captures the same intimate performance vibe of his Radiohead clip for “The Numbers.”

Haim rocketed to stardom in 2013 with their breakout debut album “Days are Gone,
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Aimee Mann Talks Embracing Her Acoustic Side on Mental Illness: ‘It’s a Person Talking to You in an Intimate Way’

Aimee Mann Talks Embracing Her Acoustic Side on Mental Illness: ‘It’s a Person Talking to You in an Intimate Way’
For good or ill, Aimee Mann has earned a stellar reputation as a purveyor of introspective, softly-strummed acoustic ballads that will make you reflect and possibly weep. That her two most recent albums—2012’s deliciously electro-poppy Charmer, and her seriously rocked-up 2014 partnership with Ted Leo for The Both—stray far from this territory apparently matters little. Her role as the tortured troubadour largely originated with her Academy Award-nominated work on the soundtrack to Paul Thomas Anderson’s 1999 film Magnolia (hear the gorgeous “Save Me“),if not the pair of engaging, critically acclaimed solo albums that proceeded it. 1993’s Whatever and
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Watch Aimee Mann Perform Silky 'Goose Snow Cone' on 'Colbert'

Watch Aimee Mann Perform Silky 'Goose Snow Cone' on 'Colbert'
Aimee Mann performed a moving rendition of her new single "Goose Snow Cone" on The Late Show With Stephen Colbert Monday. The song will appear on Mann's new album, Mental Illness, out March 31st via SuperEgo Records.

Mann partnered with Late Show band Jon Batiste and Stay Human for the performance, singing over an arrangement that opened with a simple acoustic guitar melody. The arrangement included strings, silky background vocals, simple percussion and the occasional piano twinkle, all of which paired beautifully with Mann's affecting vocals.

Mental Illness marks Mann's first album in five years,
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The Ultimate Buffy the Vampire Slayer Playlist

Buffy the Vampire Slayer gave the world a hell of a lot. With incomparable dialogue, strong female characters, and complex storylines, it's hands down still one of the best TV shows of all time. Buffy terrified us (remember "Hush"?), made us laugh until it hurt, and made us cry until all we could do was laugh, but it also blessed us with an amazing and amazingly '90s soundtrack for our lives. We've rounded up some of the best songs featured on episodes of the show or by bands who contributed in a big way to the Buffyverse. Here's the listing, and a Spotify playlist is at the end! "Pain," Four Star Mary "Out of This World," Bush "Transylvanian Concubine," Rasputina "It Doesn't Matter," Alison Krauss & Union Station "The Devil You Know (God Is a Man)," Face to Face "Virgin State of Mind," K's Choice "Vivian," Nerf Herder "Wild Horses,
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‘The Edge of Seventeen’ Sweepstakes: Enter to Win the Critical Darling on Blu-ray

‘The Edge of Seventeen’ Sweepstakes: Enter to Win the Critical Darling on Blu-ray
After Kelly Fremon Craig’s wonderful and unflinchingly real debut feature “The Edge of Seventeen” closed the Toronto International Film Festival, critics came out in force in support of the coming-of-age dramedy. IndieWire’s David Ehrlich called the movie an “instant high school movie classic” in his A- review, praising the “wryly hilarious and unflinchingly honest” screenplay and the career-best performance from Hailee Steinfeld. Not nearly enough people saw this gem when it was released in the fall, but luckily it’s coming to Blu-ray February 14.

Read More: Hailee Steinfeld Gives a Generation-Defining Performance in ‘The Edge of Seventeen’ — Consider This

IndieWire is giving five readers the chance to win their own free copy of “The Edge of Seventeen.” Now through Friday, February 10 at 10am Et, readers can enter to win using the registration form embedded below. All that is required is your name, valid email address and follows on our social media pages.
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The Best Musical Moments of 2016

  • Cineplex
The Best Musical Moments of 2016The Best Musical Moments of 2016Adriana Floridia12/28/2016 4:41:00 PMThere's nothing quite as beautiful as when a film has an extraordinary musical moment. It's especially impressive in films that aren't musicals, as these moments are often risky, out-of-the-blue, and special moments that catch us off guard but add another dimension to the whole. Oftentimes musical moments become iconic: think Ferris Bueller singing in the parade, the cast of Magnolia mouthing to Aimee Mann's "Wise Up" or the spontaneous dance scene in The Breakfast Club. Countless moments like these have become stand-out aspects of the films in which they live, and 2016 was no exception. While many of the films on this list are music themed, just as many are not. Whether or not the film's plot or genre centered around music, all of these 2016 entries were the most memorable moments from their films. We compiled
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Run the Jewels, B-52's Top 'Portlandia' Season Seven Guest List

Run the Jewels, B-52's Top 'Portlandia' Season Seven Guest List
Run the Jewels and the B-52's are among the numerous special guests set to join Fred Armisen and Carrie Brownstein on Season Seven of Portlandia, which begins January 5th.

IFC announced the show's full slate of guest stars which features plenty of big comedy names including Broad City's Abbi Jacobson, Saturday Night Live's Vanessa Bayer and alum Rachel Dratch, Tim Heidecker, Andy Richter, Judy Greer (Archer), Jessica St. Clair (Bridesmaids), Maria Bamford (Lady Dynamite) and Laurie Metcalf (Horace and Pete). NBA star and Portland Trail Blazers point
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IndieWire’s Holiday Playlist — Get in the Spirit with ‘White Christmas,’ ‘Holiday Road’ and More

  • Indiewire
IndieWire’s Holiday Playlist — Get in the Spirit with ‘White Christmas,’ ‘Holiday Road’ and More
With December just two days away, Christmas music will soon be even more ubiquitous than it has been for the last month. Here to assist in that effort is the IndieWire Holiday Playlist, a selection of 16 popularized by seasonally appropriate films and TV shows. Listen below.

Read More: Channing Tatum, Kristen Bell and More Join Jimmy Kimmel’s Charity Song ‘We’re Going To Hell’ – Watch

Selections range from standards whose origins are self-evident (“White Christmas” was made famous by the film of the same name, while “Frosty the Snowman” and “Rudolph the Red-Nosed Reindeer” are from the respective television specials) to a few you may recognize without instantly recalling where they’re from: Remember “Christmas Treat,” from the “I Wish It Was Christmas Today” skit on “Saturday Night Live”? Or Phoenix’s cover of “Alone on Christmas Day” that was in “A Very Murray Christmas”?

Read More: ‘The Edge of Seventeen
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IndieWire’s Movie Podcast: Screen Talk (125) – Surprises and Snubs from the 2016 Independent Spirit Awards Nominations

  • Indiewire
IndieWire’s Movie Podcast: Screen Talk (125) – Surprises and Snubs from the 2016 Independent Spirit Awards Nominations
The awards season keeps moving along with more nominations adding to speculation about the Oscar race. This week’s announcement of the Independent Spirit Award nominations includes a number of movies that have been a big part of the conversation for months — but a few surprises as well. On the latest episode of Screen Talk, Eric Kohn and Anne Thompson review the nominations and assess how much they matter in the grand scheme of things. They also touch on Hailee Steinfeld’s impressive performance in “The Edge of Seventeen,” mixed feelings about “Patriot’s Day,” and some exciting personal news.

Listen to the full episode above.

Screen Talk theme song written by Keegan DeWitt.

Screen Talk is available on iTunes. You can subscribe here or via RSS. Share your feedback with Thompson and Kohn on Twitter or sound off in the comments. Browse previous installments here, review the show on
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Hailee Steinfeld Gives a Generation-Defining Performance in ‘The Edge of Seventeen’ — Consider This

Hailee Steinfeld Gives a Generation-Defining Performance in ‘The Edge of Seventeen’ — Consider This
Thousands of women auditioned for the role of angsty teen Nadine Byrd in Kelly Fremon Craig’s “The Edge of Seventeen,” but none of them fit the part. Fremon Craig’s directorial debut had a lot going for it: a lively screenplay in tune with the John Hughes movies that inspired it, and legendary comedy guru James L. Brooks as a producer. However, without a young woman able to convey Nadine’s frustrations with the world, its tricky comedy-drama balance would fall apart.

“The part is hard,” Brooks said. “We needed to have someone who could make it seem true and natural, and nobody could nail it.”

Fremon Craig was growing despondent. “We’re never going to make this,” she recalled thinking at the time.

Read More: ‘The Edge of Seventeen’ Resurrects the Teen Comedy: How Filmmaker Kelly Fremon Craig Pulled It Off — Toronto

Then Hailee Steinfeld showed up, and everything changed.
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How Composer Jóhann Jóhannsson Found a New Musical Language for Denis Villeneuve’s ‘Arrival’

  • Indiewire
How Composer Jóhann Jóhannsson Found a New Musical Language for Denis Villeneuve’s ‘Arrival’
Everything came together for film composer Jóhann Jóhannsson on “Arrival,” his third score with director Denis Villeneuve (following “Prisoners” and “Sicario”). Here he was able to broaden his avant-garde musical expression in a way that was totally in sync with the alien contact movie about language and communication.

“I have the luxury of working in pre-production with Denis, and the primary inspiration for the score came from the concept art,” Jóhannsson told IndieWire. “One of the main themes was written during the first week of shooting when the helicopter approaches the alien shell ship] for the first time.

“I did a session in Berlin where I was working with a 16-track tape loop and I recorded layers and layers of piano drones (sustained without the attack) at different speeds and slowed them down. So it took on the texture of the very tense drone with almost no processing. These were analog
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