Credit Offset: Recent Episodes
Chay Collins
As the lights come up during the credits Chay Collins turns to you and expresses something they personally found interesting or affecting about the film.
A Podcast by Chay Collins Logo by Ross Becker http://www.rossbecker.co.uk/
Chay gives their top 25 films of the year. (And it's completely unedited because I'm so late with this)
Chay discusses how Soderbergh's style serves story.
Films mentioned in order: Contagion (Steven Soderbergh, 2011)
Chay discusses theories of comedy.
Films mentioned in order: Happiness (Todd Solondz, 1998)
Chay discusses cinema snobs.
Films mentioned in order: 2001: A Space Odyssey (Stanley Kubrick, 1968) Embrace of the Serpent (Ciro Guerra, 2015)
Chay discusses a moment in A Ghost Story that reminds them of how they feel about film.
Films mentioned in order: A Ghost Story (David Lowery, 2017) Baby Driver (Edgar Wright, 2017) Three Colours: Blue (Krzysztof Kieslowski, 1993) Heat (Michael Mann, 1995) 2001: A Space Odyssey (Stanley Kubrick, 1968)
Chay talks about world building.
Films mentioned in order: Wet Hot American Summer (David Wain, 2001) They Came Together (David Wain, 2014) The One I Love (Charlie McDowell, 2014) Dunkirk (Christopher Nolan, 2017)
Chay has anxieties about watching films.
Films Mentioned in order: Baby Driver (Edgar Wright, 2017)
Chay discusses Kevin Smith films and the sincerity of Smith's voice.
Films mentioned in order: Cop Out (Kevin Smith, 2010) Jersey Girl (Kevin Smith, 2004) Yoga Hosers (Kevin Smith, 2016) The Neon Demon (Nicolas Winding Refn, 2016) Zach and Miri Make a Porno (Kevin Smith, 2008) Clerks (Kevin Smith, 1994) Tusk (Kevin Smith, 2014) Dogma (Kevin Smith, 1999)
Chay discusses trailers.
Films mentioned in order: Night on Earth (Jim Jarmusch, 1991) The Other Side of Hope (Aki Kaurismäki, 2017) Spider-man: Homecomeing (Jon Watts, 2017)
Chay compares Little Miss Sunshine to Seven Samurai.
Films mentioned in order: Little Miss Sunshine (Johnathan Dayton & Valerie Faris, 2006) Seven Samurai (Akira Kurosawa, 1954)
Chay discusses why they're watching films on an exercise bike... technically it's an eliptical.
Films mentioned in order: Ice Age: The Meltdown (Carlos Saldanha, 2006) Cars 2 (John Lasseter & Brad Lewis, 2011) Ice Age: Dawn of the Dinosaurs (Carlos Saldanha, 2009) Ice Age (Chris Wedge & Carlos Saldanha, 2002) Cars (John Lasseter & Joe Ranft, 2006) Seven Samurai (Akira Kurosawa, 1954)
Chay discusses how their whiteness affects their view on story.
Films mentioned in order: Get Out (Jordan Peele, 2017)
Chay discusses falling into traps when trying to tell a progressive message.
Films mentioned in order: The Handmaiden (Chan-wook Park, 2016)
Chay discusses why the frame of mind you approach a film is important.
Films mentioned in order: Magic Mike XXL (Gregory Jacobs, 2015) Magic Mike (Steven Soderbergh, 2012)
Chay discusses intertextuality.
Films mentioned in order: The LEGO Batman Movie (Chris McKay, 2017) The LEGO Movie (Phil Lord & Christopher Miller, 2014)
Chay discusses how Moonlight's structure emphasises the films motifs.
Films mentioned in order: Moonlight (Barry Jenkins, 2016)
Chay discusses how Do the Right Thing's structure works and how it's similar to a Netflix TV show.
Films mentioned in order: Do the Right Thing (Spike Lee, 1989)
Chay discusses how nice it is to see a 2D animation tradition in 3D.
Films mentioned in order: The Lion King (Roger Allers & Rob Minkoff, 1994) Aladdin (Ron Clements & John Musker, 1992) Dumbo (Ben Sharpsteen, Norman Ferguson, Wilfred Jackson, Bill Roberts, Jack Kinney & Samuel Armstrong, 1941) Moana (Ron Clements & John Musker, 2016) The Little Mermaid (Ron Clements & John Musker, 1989)
Chay compares The Intern to Sympathy for Mr. Vengeance
Films mentioned in order: Sympathy for Mr. Vengeance (Park Chan-wook, 2002) The Intern (Nancy Meyers, 2015)
Chay talks about film's themes and the engagement it can give you.
Films mentioned in order: Arrival (Denis Villeneuve, 2016) Money Monster (Jodie Foster, 2016) Nerve (Henry Joost & Ariel Schulman, 2016)
Chay is excited by the creation of cinematic language.
Films mentioned in order: Napoleon (Abel Gance, 1927)
Chay discusses the #52filmsbywomen project.
Films mentioned in order: What Happened, Miss Simone? (Liz Garbus, 2015) Butter on the Latch (Josephine Decker, 2013) Thou Wast Mild and Lovely (Josephine Decker, 2014) Jupiter Ascending (Lana & Lilly Wachowski, 2015) Money Monster (Jodie Foster, 2016) Mustang (Deniz Gamze Ergüven, 2015) Cleo from 5 to 7 (Agnès Varda, 1962) Losing Ground (Kathleen Collins, 1982) No Home Movie (Chantal Ackerman, 2015)
Chay discusses jump scares.
Films mentioned in order: Nocturnal Animals (Tom Ford, 2016)
Chay escapes for a moment.
Films mentioned in order: Maverick (Richard Donner, 1994) The Blues Brothers (John Landis, 1980) Van Helsing (Stephen Sommers, 2004) The Purple Rose of Cairo (Woody Allen, 1985)
Chay discusses the narrative of failure.
Films mentioned in order: Doctor Strange (Scott Derrickson, 2016) Monsters University (Dan Scanlon, 2013) Don't Think Twice (Mike Birbiglia, 2016)
Chay talks about narratives outside of films.
Films mentioned in order: The Wizard of Oz (George Cukor, 1939)
Chay talks about why diversity in children's media is so important.
Films mentioned in order: Space Jam (Joe Pytka, 1996)
Chay tries to define dynamic in relation to the Wachowskis
Films mentioned in order: Bound (Lana & Lilly Wachowski, 1996)
Chay talks about cinemas offering validation through audiences.
Films mentioned in order: Mustang (Deniz Gamze Ergüven, 2015)
Chay talks taste as an essential empathetic tool.
Films mentioned in order: Our Little Sister (Hirokazu Koreeda, 2015)
Chay talks about why crowds are better with real people rather than CGI.
Films mentioned in order: Ran (Akira Kurosawa, 1985) The Warriors (Walter Hill, 1979) Up (Pete Doctor & Bob Peterson, 2009)
Chay discusses how the Wachowskis are aware of their style being called formally different.
Films mentioned in order: Speed Racer (Lana & Lilly Wachowski, 2008) The Horse in Motion (Eadweard Muybridge, 1878)
Chay discusses an experience of a theatre beyond just a big screen.
Films mentioned in order: 2001, A Space Odyssey (Stanley Kubrick, 1968) Anomalisa (Charlie Kaufman & Duke Johnson, 2015)
Chay discusses a debut capturing energy and youth.
Films mentioned in order: A Fistful of Fingers (Edgar Wright, 1995)
Chay discusses the most basic of film language - Cuts.
Films mentioned in order: Oki's Movie (Sang-soo Hong, 2010)
Chay discusses a want for a film to be a TV series.
Films mentioned in order: Mad Detective (Johnnie To & Ka-Fai Wai, 2007) Starbuck (Ken Scott, 2011)
Chay went to the ICO's event The 'D' word on diversity in film programming. They briefly rambles about that and the democratisation of film production.
Films mentioned in order: Beyond the Lights (Gina Prince-Bythewood, 2014) Tangerine (Sean Baker, 2015)
Chay discusses their dislike for how the film form of Formula 1 has evolved.
Films mentioned in order: Senna (Asif Kapadia, 2010)
Chay discusses the truley shocking end of Masculin féminin
Films mentioned in order: Masculin féminin (Jean-Luc Godard, 1966)
Chay talks about feeling down. (Taking a small break whilst I move and reorganise and thought I'd end for the time being on a nice down note, like all the best films)
Films mentioned in order: Salesman (Albert Maysles, David Maysles & Charlotte Zwerin, 1968) In the Mood for Love (Wong Kar-Wai, 2000) 8 1/2 (Federico Fellini, 1963) An Autumn Afternoon (Yasujirô Ozu, 1962) News from Home (Chantal Ackerman, 1977) Symbiopsychotaxiplasm: Take One (William Greaves, 1968) Persona (Ingmar Bergman, 1966) Juno (Jason Reitman, 2007)
Chay tries to discuss what keeps Symbiopsychotaxiplasm together
Films mentioned in order: Symbiopsychotaxiplasm: Take One (William Greaves, 1968)
Chay discusses feeling mediative.
News from Home (Chantal Ackerman, 1977) Samsara (Ron Fricke, 2011) Mad Max: Fury Road (George Miller, 2015)
Chay discusses choreographed office scenes.
Films mentioned in order: Anna Karenina (Joe Wright, 2012) Brazil (Terry Gilliam, 1985) One, Two, Three (Billy Wilder, 1961) The Producers (Susan Stroman, 2005)
Chay discusses how you can hate a director’s style and then love it.
Films mentioned in order: Tokyo Story (Yasujirô Ozu, 1953) An Autumn Afternoon (Yasujirô Ozu, 1962) Rashômon (Akira Kurosawa, 1950) Ran (Akira Kurosawa, 1985) 8½ (Federico Fellini, 1963) City of Women (Federico Fellini, 1980) Some Like It Hot (Billy Wilder, 1959) The Apartment (Billy Wilder, 1960)
Chay discusses a film going beyond the vocabulary of cinema.
Films mentioned in order: The Stranger (Satyajit Ray, 1991)
Chay discusses how slowness and stillness hides the pain.
Films mentioned in order: L’argent (Robert Bresson, 1983) Jeanne Dielman, 23 Commerce Quay, 1080 Brussels (Chantal Akerman, 1975)
Chay discusses how Inherent Vice tells us what we need to know
Films mentioned in order: Inherent Vice (Paul Thomas Anderson, 2014)
Chay discusses their experiences with movie marathons.
Films mentioned in order: Chinatown (Roman Polanski, 1974) The Naked Gun: From the Files of Police Squad (David Zucker, 1988) The Big Lebowski (Joel Coen, 1998) The Long Goodbye (Robert Altman, 1973) Zabriske Point (Michelangelo Antonioni, 1970) Inherent Vice (Paul Thomas Anderson, 2014) The Lord of the Rings: The Fellowship of the Ring (Peter Jackson, 2001) The Twilight Saga: Breaking Dawn - Part 2 (Bill Condon, 2012)
Chay discusses films that make you want to participate in taking drugs through an empathetic association.
Films mentioned in order: The Long Goodbye (Robert Altman, 1973) Inherent Vice (Paul Thomas Anderson, 2014) Pineapple Express (David Gordon Green, 2008)
Chay discusses a parodic moment done right
Films mentioned in order: The Big Lebowski (Joel & Ethan Coen, 1998)
Chay discusses when laughter isn't infectious
Films mentioned in order: The Naked Gun: From the Files of Police Squad (David Zucker, 1988)
Chay discusses minor characters
Films mentioned in order: Chinatown (Roman Polanski, 1974)
Chay discusses watching a film with a dirty screen
Films mentioned in order: Citizenfour (Laura Poitras, 2014) Her (Spike Jonze, 2013) The Great Beauty (Paolo Sorrentino, 2013) Napoleon (Abel Gance, 1927) 2001: A Space Odyssey (Stanley Kubrick, 1968)
Chay discusses their environmental worries.
Films mentioned on order: Pom Poko (Isao Takahata, 1994)
Chay discusses why ugliness in films is compelling
Films mentioned in order: End of the Wicked (Teco Benson, 1999) Antichrist (Lars Von Trier, 2009) Cannibal Holocaust (Ruggero Deodato, 1980) Funny Games (Michael Haneke, 1997)
Chay discusses how characters talking over each other and then to silence can work well.
Films mentioned in order: Mo' Better Blues (Spike Lee, 1990)
Chay discusses why Tati's film is perfect for the hungover.
Films mentioned in order: Les vacances de Monsieur Hulot (Jacques Tati, 1953)
Chay discusses abortion as a plot point.
Films mentioned in order: Obvious Child (Gillian Robespierre, 2014)
Chay discusses why they might not have found a film funny.
Films mentioned in order: Bridesmaids (Paul Feig, 2011)
Chay discusses forgiving films.
Films mentioned in order: The Spongebob Movie: Sponge Out of Water (Paul Tibbitt & Mike Mitchell, 2015) Adaptation (Spike Jonze, 2002) Seven Psychopaths (Martin McDonagh, 2012) Stranger Than Fiction (Marc Forster, 2006)
Chay discusses opening credits.
Films mentioned in order: Branded to Kill (Seijun Suzuki, 1967) Psycho (Alfred Hitchcock, 1960) Vertigo (Alfred Hitchcock, 1958) It’s a Mad Mad Mad Mad World (Stanley Kramer, 1963)
Chay discusses how great it is for a film to affect you physically.
Films mentioned in order: Mad Max: Fury Road (George Miller, 2015) Gravity (Alfonso Cuarón, 2013)
Chay expresses how they've become proud of becoming a better film watcher and also offers up a gendered reading on Death Proof.
Films mentioned in order: Death Proof (Quentin Tarantino, 2007)
Chay discusses binocular shots.
Films mentioned in order: Mad Max 2: The Road Warrior (George Miller, 1981)
Chay discusses if directors should frame for a small screen.
Films mentioned in order: Far from the Madding Crowd (Thomas Vinterberg, 2015)
Chay discusses continuity errors.
Films mentioned in order: Shutter Island (Martin Scorsese, 2010)
Chay discusses why watching James Mason is fascinating.
Films mentioned in order: Child's Play (Sidney Lumet, 1972) Lolita (Stanley Kubrik, 1962)
Chay discusses the unexpected laughs that films sometimes give us.
Films mentioned in order: 20 Feet from Stardom (Morgan Neville, 2013) Pirates of the Caribbean: At World's End (Gore Verbinski, 2007) Death Wish 3 (Michael Winner, 1985)
Chay Collins discusses the romanticism of other eras through their technologies and their deaths.
Films mentioned in order: Two-Lane Blacktop (Monte Hellman, 1971) Inherent Vice (Paul-Thomas Anderson, 2014) Taxi Driver (Martin Scorsese, 1976) Midnight in Paris (Woody Allen, 2011) The Royal Tenenbaums (Wes Anderson, 2001) The Grand Budapest Hotel (Wes Anderson, 2014)
Chay talks about an excellent shot demonstrating a masterful knowledge of how perspective works.
Films mentioned in order: Yojimbo (Akira Kurosawa, 1961)
Chay discusses why the feeling of hunger is so important to a film viewing experience.
Films Mentioned in order: Chef (Jon Favreau, 2014) Ratatouille (Brad Bird, Jan Pinkava, 2007) The Wayward Cloud (Ming-liang Tsai, 2005) Annie Hall (Woody Allen, 1977) Einstein and Einstein (Baoping Cao, 2013)
Chay discuses why they're starting a podcast talking about film.
Films mentioned in order: Life Itself (Steve James, 2014) Synecdoche, New York (Charlie Kaufman, 2008) Girlhood (Céline Sciamma, 2014) How the West Was Won (Henry Hathaway, John Ford & George Marshall, 1962) City of Women (Federico Fellini, 1980) The Fisher King (Terry Gilliam, 1991)