143 – The Muse (Focus Features – Part One)

We’re kicking off our May miniseries on Focus Features with the winner of our Listeners’ Choice poll, 1999′s The Muse. To kick things off, we’re looking at how Focus was birthed from the previous companies of USA Films, October Films, Gramercy Pictures and Good Machine. Written and directed by Albert Brooks, The Muse stars Sharon Stone as the titular eccentric tasked with reviving the career of a once-celebrated Hollywood screenwriter (also played by Brooks). The antics result in a slew of cameos, Andie MacDowell baking cookies, and multiple trips to an aquarium, and it all resulted in a Golden Globe nomination for Stone before Oscar looked elsewhere.

But that Globe nomination is now remembered as one of the many bumps in the history of the Hollywood Foreign Press Association’s practices, namely for the watches they received as part of Stone’s FYC campaign. This episode, we look at the lineup of films from the companies that merged into Focus Features, Brooks’ surprisingly limited Oscar history, and Stone’s ascension in the 1990s.

Topics also include our other Listeners’ Choice film options, the film’s datedness even for 1999, and Elton John’s abysmal original song for the film.

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014 – The Door in the Floor

This week’s episode is the sound of something trying to not make a sound. It’s our first failed Oscar buzz movie that we genuinely love and it’s 2004’s The Door in the Floor. Adapted from the first segment of John Irving’s A Widow for One Year, this film stars Jeff Bridges as a grieving novelist, Kim Basinger as his estranged wife, and Jon Foster as the young student spending the summer between them.

The Door in the Floor also introduced us to Elle Fanning and gave us what might be the best adaptation of Irving’s work. The film feels like a crucial stop on the path to Bridges’ eventual Oscar for Crazy Heart, and is best remembered for his performance. Or maybe, it’s just his muumuu caftan. Listen along as we obsess over the lore of Focus Features, gush over its underappreciated and oft-repurposed score, and gasp over the film’s cameo from a beloved Tony winner.

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@Had_Oscar_Buzz
Joe: @joereid
Chris: @chrisvfeil