Bill speaks with Tracks Of The Damned podcast host Patrick Ripoll.  In addition to talking about both his current show and his years co-hosting the Director’s Club podcast, they discuss Woody Allen, the C.H.U.D.com forums, standup comedy, the “Loveline” radio call-in program, what makes Letterboxd less evil than other social media sites, Buster Keaton, midnight movies, building cinephile monasteries within oneself, preserving pan and scan VHS transfers for historical purposes, TERMS OF ENDEARMENT, video store culture in 2016, Nicolas Winding Refn and the value of studying improv as it pertains both to podcasting and dating.

This week Bill speaks with the film critic Violet Lucca, Digital Editor of Film Comment Magazine and host of The Film Comment Podcast, about her experiences in film culture. Some of the topics discussed include: hybrid documentaries, Vine filmmakers, Nate Parker, DCPs and New York repertory cinemas, identity politics in film criticism, Rotten Tomatoes, prestige television, Film Comment’s relationship to The Film Society Of Lincoln Center, torrents and the myth of availability, the difference between Marvel and DC comic book adaptations, David Lynch, Violet’s forays into filmmaking, protests against animal testing and the potential for violence at Yasujiro Ozu screenings.

Bill speaks with Danny Peary, the author of Cult Movies, Cult Movies 2, Cult Movies 3, Guide For The Film Fanatic, and Cult Movie Stars, among others. They talk about Peary’s long history with movies: childhood viewing that ranged from Abbott & Costello to Ingmar Bergman, discovering Andrew Sarris in high school and spending afternoons at theatres like The Thalia, starting a campus film society while immersed in the student protest culture of the late 1960s, making silent short-subject comedies, his years of freelance writing for underground publications, developing books like Close-Ups and Cult Movies that established his reputation.

Bill speaks with Jeremy Richey, editor and co-creator of the quarterly print journal Art Decades. They talk about the origins of this publication and his litany of film-related blogs, among them Moon In The Gutter, Fascination: The Jean Rollin Experience, Nostalgia Kinky and Harry Moseby Confidential. They also discuss plagiarism, influential books, Jean Rollin, feminism, Tim Lucas, Jeremy’s documentary appearances, Kimberly Kane, discouraging freelance writing experiences and details about his upcoming book focusing on the European film career of Sylvia Kristel.

Bill speaks with Black On Black Cinema host and TNP Studios founder Jay Jacksonrao. In addition to talking about the origins of his Nerdpocalypse and Black On Black Cinema shows, they discuss blockbuster spectacle cinema and the post-9/11 appeal of superhero movies, Baltimore film culture, FRUITVALE STATION and how the economy can inform the kinds of stories told in black films.

Bill speaks with Director’s Club host and Now Playing Network founder Jim Laczkowski. In addition to talking about podcasts, both his own and those of others, they discuss his early years directing short comedies to make his classmates laugh, his long history with WGN Radio film critic Nick Digilio, near-death experiences, PUMP UP THE VOLUME, bandwagon mentality, the Chicago film critic community, drive-in theatres, MIDNIGHT SPECIAL, experiences touring as a solo musician, critic screenings and the enduring scent of Roger Ebert’s sandwich.

Bill speaks with Exhumed Films co-founder and Diabolik DVD co-owner Joseph A. Gervasi about how the DIY ethos of hardcore punk informed his endeavors in film culture. They discuss the origins of his various projects, from early ventures like The Cabbage Collective and Bizarre Videos to later efforts like The Valerie Project and the ongoing Loud! Fast! Philly! series. Other topics addressed include Phil Hardy’s Overlook Film Encyclopedia, entitled genre film collectors, CAFÉ FLESH, the subtle homage to Joseph’s father on the Criterion Collection edition of VALERIE AND HER WEEK OF WONDERS, and how declining nude modeling opportunities can negatively impact the distribution of one's fanzine.

Bill speaks to writer/film programmer Kier-La Janisse about her many contributions to film culture, from her Cannibal Culture fanzine and Cinemuerte film festival to co-founding venues like the Blue Sunshine Psychotronic Film Centre, schools like The Miskatonic Institute Of Horror Studies and her small-press publishing company with fellow writer Paul Corupe, Spectacular Optical Publications. We talk about the origins of her books A VIOLENT PROFESSIONAL - THE FILMS OF LUCIANO ROSSI and the acclaimed HOUSE OF PSYCHOTIC WOMEN, and her experiences in documentary film, whether as a co-producer, an interviewee or as the subject. Other topics covered include movie parties, bootleg collecting, the peculiar boasts of Rico Boido, programming for the Alamo Drafthouse, objectifying Richard Stanley (and subsequently apologizing for it), “elevated horror”, the Bloodshots 48-hour horror movie challenge, the economic realities of a life in film culture and details about some of her upcoming projects. It’s likely the time you’ll hear the names Manny Farber, Jorg Buttgereit AND David Cassidy mentioned within the same conversation.

Bill speaks to writer/podcaster Mike White about his various projects and pursuits in the world of film culture, from WHO DO YOU THINK YOU’RE FOOLING? and Super Happy Fun to Cashiers du Cinemart and The Projection Booth. They also discuss film festivals, bootleg culture of the early 2000s, adult films, Bruce Campbell, underappreciated filmmakers, Mike’s documentary appearances, unhelpful publicists, Greydon Clark, film theory, pranking the IMDB and much more.

Bill talks to documentary filmmaker Daniel Griffith of Ballyhoo Motion Pictures. Griffith explains how his independently-made documentary on film producer K. Gordon Murray opened the door to an ongoing career producing DVD/Blu-Ray supplements (for companies like Synapse Films, VCI Entertainment and Shout Factory) and documentary features on subjects like John Carpenter’s DARK STAR, Florida filmmaker William Grefe, Charles Band’s Empire International Pictures, and teenagers making Super 8 genre movies in the 1970s.