Classic Coverage: Recent Episodes
Max Davison
Join writer, director, producer, playwright, MFA graduate, and (more relevantly) unpaid Hollywood intern Max Davison as he dives into the vault and discovers early script notes for classic movies back when they were just original screenplays.
In our series (season?) finale, a desperate Max barricades himself in the Vault in a last ditch effort to get his job back. As security attempts to break down the door, we’ll look at the original notes on Die Hard, which question Hans Gruber's intentions. This episode is Air Force One meets Adaptation in what might very well be the end of the podcast. Unless we come back for a cash grab sequel. With a Vengeance.
On the season (series?) finale, the future of Hollywood development hangs in the balance as we look at a script that takes a love story and turns it into the fate of the free world.
This episode will answer all your questions: Will Max finally quit Hollywood and go back to law school? Who wrote the Roger Goodell script? How did Caleb get hired? What year is this? Who is down in the hatch? Who shot Mr. Burns? And what’s in the box?!?
And if this is the end of the road, at least we’ll always have Paris.
Due to the events of last week, we are unable to record a new episode. Instead, we flashback to the very first episode of Classic Coverage, recorded five years ago when Max first started as an unpaid script reader. Does Alien's simple plot outweigh its lack of character development? How the hell did Prometheus get made? And do all prequels inherently suck? Find out in our prequel episode!
The production company is losing its deal at the studio, sending the podcast into turmoil. But since it might be last call, let's take a look at the savage studio notes for Road House. Also, the interns form a dystopian band of nomads and Max makes an ultimatum.
Is The Godfather a comprehensive look at a mafia family? Or is it a script that is far too long with too many characters? Meanwhile at the studio, Max reads a script with a truly complicated and unlikeable protagonist: Roger Goodell.
This episode is MOST DEFINITELY NOT SPONSORED BY Stamps.com.
As we learn the shocking truth behind last week's sponsor, we examine a script that forces us to question reality (as well as what the hell "We move into bullet time" means when included in a spec script’s scene description).
Can men and women be friends? And is that enough conflict to drive a feature film? Meanwhile at the studio, we ponder the death of the romantic comedy and this show finally gets a sponsor! And is Caleb the intern actually just a figment of Max's imagination? All that and more this week on Classic Coverage.
After a mysterious "incident" shuts down the production of Thaw, we're back in the copy room, reading script for little to no money. This week, as we attempt to stomach our way through Max Landis' latest seven-figure spec sale, we dive into the vault and look at another experimental script: Pulp Fiction.
Did Max get fired for leaking trade secrets? Will Thaw go into production? Was there anything redeemable about Cocktail other than the song "Kokomo?" All that and more will be revealed on the season (possibly series) finale of Classic Coverage.
This week we look at The Shawshank Redemption, a script that tells instead of shows due to excess voiceover narration. Meanwhile, Max is about to get fired for a crime he didn't commit. Or maybe he did. It's unclear.
As Max tries to read the Coach K biopic, we take a look at another "ripped from the headlines" script: Titanic. Also, an update on Thaw and we attempt to land a sponsor!
As we look at the lack of narrative closure at the end of "The Graduate," Max attempts to stomach the script for the upcoming summer tentpole "The Jenga Movie."
We look at the 1975 sci-fi spec screenplay “Star Wars” by George Lucas, while at the studio, Max attempts to write coverage on “Thaw," a script about a cryogenically-frozen detective.