The Film Experience™ was created by Nathaniel R. All material herein is written by our team. (This site is not for profit but for an expression of love for cinema & adjacent artforms.)
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Friday, December 12, 2014 at 8:00PM The one & only Missi Pyle does The Film Experience.
The Film Exp "The Missi Experience" kicks Off Sunday December 14th at 1 PM EST. Pass it on and be here... Missi will.
Gone Girl, Missi Pyle Friday, December 12, 2014 at 5:21PM 
We're recording again soon. As I update the Oscar charts tonight, what questions would you like to ask Nathaniel, Nick, Joe and Katey about the race as it stands post critics and televised award show nominations?
ALSO
The Oscar eligibility list is out. Here's the annual list that tells us which movies we've never heard of bothered to do stealth qualifying runs (though sometimes its inaccurate if they bail on their runs that are set for December)
Oscars (14), precursor awards Friday, December 12, 2014 at 12:28PM 
It's almost the weekend and if you're reeling from nominations from SAG, the Globes, the NAACP Image Awards, OFCS, lists from AFI, Time & EW, might we ask you to pause and amuse us with a comment on the premiere of Inherent Vice?
What's Reese thinking?
<= Do you think she, Maya Rudolph and Jenna Malone('s shoes) color-coordinated on purpose?
Thursday, December 11, 2014 at 10:00PM Editor's Note: We're featuring individually chosen FYC's for various longshots in the Oscar race. Here's Teo on the sound work in Golden Globe nominee, The Grand Budapest Hotel.
By now, Wes Anderson's house style has become so familiar that it can be easy to take it (and him) for granted. But for fans, the surface similarity of his films is just an invitation to look for the differences. And in every way, a closer look at The Grand Budapest Hotel pays off.
I had the opportunity to sound edit a film over the summer. It was a documentary, but in a process like sound editing, the difference between documentary and fiction film is generally negligible. You fix what the on-set mics couldn't capture. You try to find or create sounds that can approximate what you lost. What's unique about Anderson's sound editing is that he doesn't try to make his films sound like reality any more than he tries to make his films look like reality. Instead, Wes Anderson's films are filled with sounds that are almost hyper-real. They're crisply recorded and minimal in their design...
Thursday, December 11, 2014 at 7:00PM 
Tim here, with another look at one of the lower-profile submissions to the Academy in the Best Animated Feature category. This time around, we’ve got Cheatin’, the sixth feature-length animated movie from Bill Plympton (seven if we count an anthology made of his earlier shorts), one of most iconic names in independent American animation. I will not say that to see his work is to love his work – there’s too much aggressive grotesquerie in his character designs and morbid humor for that to be true – but I do think that it’s pretty hard to imagine anyone watching his beloved Oscar-nominated 2004 short Guard Dog and not walking out a committed fan.
In the meanwhile, we’re here to talk about Cheatin’, and what an absolutely wonderful film it is, too. It would be hard to defend it as Plympton’s best work: his sense of humor works so perfectly in the context of a short, where he can run in, land a few quick sucker punches, and run back out again. But “best” or not, it’s still a stunning work of unexpected emotional complexity and images scratched out in Plympton’s customary aesthetic, looking like delicately-shaded color pencil sketches of distorted, unyielding human forms.
