October 5, 2026 | 123 min
Latest EpisodeJonathan Goldman called CAA to find out if his agent still worked there, and the replies to his Threads post said more about Hollywood's middle layer than most trade coverage this year. Jonathan has spent thirty years on the development side of the business. He started as Phillip Noyce's assistant, directed second unit for him, then rose from story producer to showrunner at Thom Beers' Original Productions on series including Ice Road Truckers. Last year he pitched six projects with CAA packaging and A-list partners. One got a development step, and the network passed a year later. Chris and Daniel get their answer about CAA. Jonathan's version is that the people who greenlight shows aren't paid to take risks, in a town that gamblers built. The route there runs through Noyce handing him second unit at Shea Stadium once he'd fetched the coffee, a Phoenix strip club series he pitched as the Sopranos of the Southwest, a Terlingua, Texas murder trial he covered for Nat Geo, and why Obsession, Backrooms, Widow's Bay and Coyote vs. Acme all made the same case for leaving creatives alone. He also predicts the next studio mistake, which is plucking a YouTube director for the full studio treatment and then declaring YouTube filmmaking over when the movie tanks. Guest links Jonathan Goldman on IMDB > Jonathan Goldman on Threads > Jonathan Goldman on LinkedIn > Companies, films and shows mentioned: CAA, WGA, DGA, Original Productions, Fremantle, Warner Bros. Discovery, National Geographic, Apple TV, HBO, Imagine Entertainment, Netflix, A24, Neon, Miramax, Paramount, The Saint, Clear and Present Danger, The Bone Collector, Dead Calm, Rabbit-Proof Fence, Ice Road Truckers, Deadliest Catch, Badlands, Texas, Obsession, Backrooms, Widow's Bay, Coyote vs. Acme, The Bourne Supremacy, Apocalypse Now Premier Sponsor Center Grid Virtual Studio >
September 28, 2026 | 102 min
Warner Bros. was ready to write off Coyote vs. Acme , and after a sale to another company it has taken in about $85 million as of this episode's release. That sits inside a summer that put $4.7 billion through the box office, a record in dollars with ticket sales still short of the peak, and theaters full of young people lining up for smaller originals like Buddy alongside Nolan's Odyssey and Spider-Man . Chris, Daniel, and James Blevins read it as proof that the majors can no longer pick winners. Daniel adds that Neon and A24 now sell what the studios used to sell, an identity people buy tickets on. Daniel said on an earlier episode that if Backrooms hit, everyone should look into SCP and liminal space horror. A24, the studio behind Backrooms , has since taken worldwide rights to V/H/S: SCP , set for a 2027 theatrical release. Daniel says Spielberg is producing The Mandela Catalogue and Siren Head is headed for a major movie, all from a horror genre born on YouTube that the studios missed while they skipped two generations of filmmakers. He expects There Is No Antimemetics Division to be the next book bought for a film. Chris asks whether anyone can own Backrooms at all. The panel also talks through the Paramount and Warner Bros. deal just days before the settlement was announced. AI gets its own stretch, starting with the AI film festival running alongside Venice and the new guild agreements, and turning into an argument over whether the flood of mediocre AI work corrects itself. James says it does. Chris points to ZBrush and its identical alien creatures. The show ends on Daniel's lineup for a Monstrous Moonshine Film Festival, where Stripes and Full Metal Jacket count as the same movie. Tools and companies mentioned: Warner Bros., Paramount, A24, Neon, Spooky Pictures, Image Nation Studios, ZBrush, Panavision, SAG-AFTRA, WGA Premier Sponsor: Center Grid Virtual Studio >
September 21, 2026 | 85 min
Kane Parsons was 19, had never worked inside a professional visual effects pipeline, and had taught himself the shots he needed in Blender in his bedroom. Edward Douglas, VFX supervisor on Backrooms (also Long Legs , Keeper , and multiple Oz Perkins films), built the production pipeline to fit him: direct access to vendor files, animation, and cameras, so Kane could work the same way he always had. The film delivered 600 VFX shots inside an 830 shot runtime, on an indie budget and timeline. Chris and Daniel connect this to the same shift they discussed with Peter Timberlake on Obsession : movies built on constraint outperforming movies built on scale. Douglas walks through the CG grounding rule that shaped the film (the practical hat that never gets replaced), the VHS pass every found footage frame ran through, and why horror keeps producing the year's most interesting visual effects work while franchise budgets keep climbing. Guest links Edward Douglas on IMDB > Edward Douglas on LinkedIn > Tools and companies mentioned Blender, A24, Roxel Creative, Zoic, Red Komodo, After Effects, Electronic Arts, BioWare, Long Legs, Pig, The Monkey, Keeper, Oz Perkins films Special thanks to our premier sponsor: CenterGrid Virtual Studio >
September 14, 2026 | 75 min
Chris and Daniel are thrilled that Widow's Bay is now shooting its second season, and they've brought on Brian Drewes, the man whose team at Zero VFX made the show's VFX disappear, to talk about how they did it. Drewes and his crew are based in Massachusetts, and the show's authentic New England vibe, the peeling paint, the real fishing towns, the moldy-book-smell houses, comes from a team that actually lives there and knows the difference between real and Disneyland-fisherman. They walk through the twin-boat rig, the night the crew knocked on doors across a real town to kill practical lights instead of shooting a split screen, and why the darkest, cheapest choice on set is usually the right one. The conversation turns hard on AI provenance. Drewes is building Somantix, a system for embedding C2PA policy data directly into delivered files. He says the terms of service governing AI tools change almost weekly, and that studios have no central record of which vendor used what tool under what rules. He and Daniel dig into who actually owns the risk when generative tools get involved, and why treating AI policy as infrastructure is the only way any of this makes sense. Brian Drewes on IMDB > Brian Drews on LinkedIn > Somantix AI > Zero VFX > Tools and companies mentioned: Zero VFX, Zinc, Google, EC2, GCE, Dream Machine, C2PA, Somantix, ElevenLabs, TurboSquid, robots.txt Thank you to our premier sponsor: Center Grid Virtual Studio : https://cgvirtualstudio.com/
September 7, 2026 | 91 min
Nobody thinks Obsession has visual effects. That's the point. Peter Timberlake, the VFX supervisor behind one of the year's biggest indie breakouts, joins Chris and Daniel to break his silence on work so subtle most audiences never register it as VFX at all. The centerpiece is the character Nikki: rather than fighting to escape the uncanny valley, director Curry Barker asked Timberlake to push straight into it, mismatching her facial expressions on purpose so her eyes tell one emotional story while the rest of her face tells another. The result reads as a performance choice, not an effect, and it's exactly the kind of restraint the team wanted. Peter walks through why the studio debated whether to talk about this work publicly at all, and lands on a simple answer: nothing he says can take anything away from the lead actress's performance. Before Obsession , Peter built his career the hard way: driving to LA with two thousand dollars, sleeping in a parking lot, and landing his first industry job cleaning dishes at Framestore. He went on to found his own studio, Queen Studio, in 2018, work at Weta and The Mill, and eventually build the small, scrappy team that shot Obsession in twenty days after blocking the entire film shot for shot in Unreal Engine before a single frame was captured. Chris and Daniel dig into what indie filmmakers can actually learn from this: planning replaces budget, ownership replaces plug-and-play pipelines, and the best VFX work is often the kind the audience never notices. Guest links: Peter Timberlake LinkedIn > Peter Timberlake IMDB > Peter Timberlake Instagram > Queen Studio LinkedIn > Focus Features LinkedIn > Focus Features Instagram > Tools and companies mentioned: Framestore LA, Weta, The Mill, Sony Imageworks, Queen Studio, Maya, Cinema 4D, TurboSquid, DaVinci Resolve, Embergen, Unreal Engine, Arri Alexa 65, Panavision, Peacock, TIFF (Toronto International Film Festival), Focus Features People mentioned: Curry Barker (director, Obsession ), Taylor Clemens (DP), Haley Johnson (producer), Michael Rolla (comp supervisor, mutual connection), Janelle Croshaw Ralla (VFX supervisor colleague, Spike Jonze collaborator), Edward Douglas (upcoming guest re: Backrooms ) Thank you to our sponsor: CenterGrid Virtual Studio >
August 31, 2026 | 83 min
Easy Rider is not a good movie. It's a chaotic, half-improvised, drug-fueled mess that stumbles for its first half and only becomes a movie in retrospect, once the ending lands. And that's exactly why Chris and Daniel keep coming back to it. Joining them is Richard Crudo, ASC, who spent years in friendship with László Kovács, the film's cinematographer, and brings firsthand insight into how a low-budget biker-movie veteran ended up accidentally rewriting what cinematography was allowed to look like. Flares, handheld chaos, a single zoom lens pushed past its limits, film stock literally dropped in a bathtub. Every mistake became doctrine. The conversation keeps circling back to a bigger question: why does a movie built entirely out of accidents still work, and what does that tell filmmakers chasing polish today? Kovács shot on instinct and natural light because the budget demanded it, not because he planned a movement, and Crudo, Chris, and Daniel trace how that constraint produced a documentary rawness no amount of intentional design has matched since. It's a conversation about permission: what happens when the people trained to avoid every mistake in the book stop caring what the old guard thinks. Reference: Richard Crudo, ASC > Gear referenced: Arriflex IIC, Angenieux 25-250mm zoom, Bolex 16mm, Kodak 5254 film stock, 9-light fixtures Sponsors: Center Grid Virtual Studio: https://cgvirtualstudio.com/
August 24, 2026 | 62 min
Alana Newell is CEO of Crafty Apes, a company that grew through the worst stretch this industry has seen in decades. She got there the rare way. She came up as a compositor, ran 2D, and took on what was effectively a chief operating officer (COO) role at Rising Sun Pictures because she was tired of watching the end of the pipeline absorb every problem created upstream. Then she went and got a master's in business to understand how the machine actually works. She still holds both jobs. Her read on why most visual effects companies struggle is uncomplicated: the business is people, and the paycheck is not what motivates them. Alana walks Chris and Daniel through the three values she reverse engineered by watching the founders work instead of putting them in a room and asking, the one company one profit and loss rule that keeps a dozen satellite offices from competing against each other, and why agility beats chasing tax subsidies. She makes the case that machine learning is a feature of the visual effects pipeline and not a bug to be engineered out, argues that pretending you do or do not use AI is equally dishonest, and explains why the projects nobody could afford to attempt before are the real opportunity. Plus Wizard of Oz at Sphere, the VES Award for The Residence, Jumanji, the Australia expansion, and why the only operational problem she has never solved is the speed of the Earth's rotation. Alana's LinkedIn Crafty Apes' Website Crafty Apes' Instagram Mentioned in this episode: Crafty Apes founders Chris LeDoux, Tim LeDoux, and Jason Sanford Sphere and The Wizard of Oz at Sphere The Residence, VES (Visual Effects Society) Award Jumanji Autodesk Maya Blender The Backrooms Life of Pi The Odyssey Obsession CG Garage: CG Garage website: https://www.cggarage.com/ Podcast page: https://podcast.cggarage.com/ Instagram: https://www.instagram.com/mmstudios71 LinkedIn: https://www.linkedin.com/company/monstrous-moonshine Facebook: https://www.facebook.com/cggaragepodcast Threads: https://www.threads.net/@mmstudios71 Special thanks to our sponsor: CenterGrid Virtual Studio: https://cgvirtualstudio.com/
August 17, 2026 | 85 min
Spider-Man just posted the biggest opening weekend in box office history, and Chris, Daniel, and returning panelist Todd Perry dig into why, right after a year of everyone insisting the superhero genre was dead. From there the panel tackles Kitbash3D's surprise acquisition of ArtStation and Sketchfab from Epic Games, the strange history of ArtStation's own anti-AI protest era, a visibly shrinking Siggraph 2026 show floor that still delivered on the research side, and the growing push to label AI-generated video content on social media, including where the EU's regulatory reach is headed and the murky line between VFX and deepfakes. In the second half, Todd Perry, VFX supervisor on For All Mankind, pulls back the curtain on the unwritten rules of working on a film set. He's spent seasons quietly compiling a running list of roughly forty five lessons on surviving the day to day chaos of a shoot, from managing the assistant director relationship to knowing exactly when to call for balls and charts. He walks Chris and Daniel through the ones that matter most for anyone stepping onto a set as a VFX supervisor for the first time. Links & mentions: Todd Perry on IMDB > Todd Perry on LinkedIn > ArtStation > The EU AI Act is Here > Siggraph > Sponsors: Center Grid Virtual Studio: https://cgvirtualstudio.com/
August 10, 2026 | 70 min
Steven Spielberg doesn't want you to know his aliens aren't real. That's the standard Matthew Butler had to hit on Disclosure Day : total photographic believability, zero tolerance for anything that reads as fantasy, even when the story is about a supposed decades-long government cover-up of extraterrestrial contact. Butler has been Spielberg's go-to VFX supervisor for grounded, "make it real" work since Ready Player One , and before that, he was Chris's first VFX supervisor ever, on The Day After Tomorrow . Back in Episode 557, Chris and Daniel broke down Disclosure Day as fans, tracing its DNA back through Close Encounters and Sugarland Express . This time they bring on the person who actually built it, for a conversation about matching digitally-replaced train sequences to real-world reference plates, a shot count that came in smaller than planned going in, and why the biggest emotional gut-punch in the movie has almost nothing to do with visual effects at all. Butler walks through how Spielberg directs VFX without ever really discussing VFX, and the two of them dig into what makes his process so different: a shot list that shrank instead of ballooning, something Butler says has never happened on any other project in his career, a director who wants to solve problems himself rather than have them solved for him, and a 30-year veteran realizing mid-conversation that the AI moment VFX is living through right now feels exactly like the unsolved chaos of the 1990s. A conversation about restraint, trust, and knowing when the effects work is actually done when nobody notices it. Mentioned in this episode: Digital Domain, James Cameron, Titanic, Poltergeist, Tobe Hooper, Eric Barba, Doug Roble, Janusz Kamiński, Chris Columbus, Gremlins reboot, The Odyssey, Dune Guest links: Mattew Butler on IMDB > Matthew Butler on LinkedIn > Special thanks to our sponsor: Center Grid Virtual Studio: https://cgvirtualstudio.com/
August 3, 2026 | 103 min
Is it a good movie if you have to watch it ten times? That's the question Chris and Daniel keep circling back to as they take on Christopher Nolan's The Odyssey, skipping the marketing noise and the wireframe-cyclops conspiracy theories to actually ask whether the thing works as a film. They dig into what Nolan is doing as a filmmaker, structurally and emotionally, in his adaptation of the oldest story in Western literature, and why a three hour runtime built around a decade-long wait might be the whole point rather than a flaw. The real conversation is about adaptation itself: what happens when a director spends the entire movie making an audience feel exactly what an intractable wait feels like, and why Nolan's obsession with time connects everything from Memento through Tenet to this one. Daniel makes the case that Nolan has finally figured out how to deliver Tenet's disorienting rewatch effect without forcing anyone to actually rewatch anything. Chris and Daniel also compare Nolan's spectacle-forward approach to what a Denis Villeneuve version might have looked like, and get into why single-vision directors are becoming Hollywood's new IP. Mentioned in this episode: The Odyssey (Christopher Nolan), Tenet, Dunkirk, Interstellar, Memento, Oppenheimer, Denis Villeneuve, Dune, Avatar, James Cameron, Peter Jackson, Annihilation (Alex Garland), Starship Troopers (Paul Verhoeven), Inglourious Basterds, Jackie Brown, Frank Gehry, Steven Spielberg, Disclosure Day, Zack Kreger, Ryan Coogler, Hoyte van Hoytema, Wally Pfister, David Lynch, Jack Fisk, Paris, Texas, O Brother, Where Art Thou?, Master and Commander, Winnie the Pooh: Blood and Honey, Neuromancer (trailer) Special thanks to our sponsor: Center Grid Virtual Studio: https://cgvirtualstudio.com/
July 27, 2026 | 72 min
Something is shifting in independent film right now, and Ron Cohen, one of the producers on June July and a veteran of physical production, is exactly the person to make sense of it. Chris and Daniel bring him in for a wide-ranging conversation that touches on everything from The Odyssey 's marketing to the A24 backlash of the moment, but the real news is that the team just wrapped a shoot on June July, and Ron walks through how it actually went. The conversation moves into the details of that shoot, where fully ray traced and relightable Gaussian splats, an unplanned split diopter, and a crew that improvised through a rough second day produced a shot nobody storyboarded. Ron also weighs in on private equity's growing role in indie film financing, the five to ten million dollar sweet spot for creative freedom, and what the Warner Bros/Paramount consolidation could open up for smaller studios willing to bet on story over stars. References mentioned: A24 Google DeepMind The Odyssey Warner Bros / Paramount Sponsors: Center Grid Virtual Studio: https://cgvirtualstudio.com/
July 20, 2026 | 92 min
Steven Spielberg is the most famous filmmaker alive, which is exactly why almost nobody actually understands him. Chris and Daniel use Disclosure Day , Spielberg's new alien chase thriller with Emily Blunt, to argue that the "safe, mainstream" reputation is a decades-long misdirection: underneath the crowd-pleasing surface is a genuinely weird, deeply personal artist who has been smuggling strange, uncomfortable ideas inside blockbuster packaging since at least Close Encounters . They trace it through Fabelman's casting David Lynch as John Ford, the theory that Kubrick handed Spielberg AI specifically because Spielberg's glossy reputation could disguise a bleak, unnerving film, and the moment James Lipton caught Spielberg off guard by connecting his parents directly to Close Encounters on camera. Disclosure Day itself is proving strangely divisive, and Chris and Daniel dig into why. They break down its Sugarland Express -style chase structure, an Emily Blunt performance that starts as broad comedy and quietly transforms into something much stranger, a train sequence built to feel genuinely dangerous rather than stylized, and the VFX work from longtime collaborator Matthew Butler. Along the way, a detour into Spielberg's actual filmmaking journey, from Close Encounters to Poltergeist to AI , makes the case that his reputation as the "obvious" director has always been the biggest misdirection in his own filmography. Referenced in this episode: Disclosure Day Close Encounters of the Third Kind Poltergeist A.I. Artificial Intelligence War of the Worlds Minority Report The Fabelmans Sugarland Express Matthew Butler, VFX Supervisor Sponsors: Center Grid Virtual Studio: https://cgvirtualstudio.com/
July 13, 2026 | 95 min
A24 announced a $75 million research partnership with Google DeepMind and framed it as R&D for production tools, not a content deal. Nobody cared about the distinction. Chris, Daniel, and James Blevins spend the first half of this Rough Cut on why that announcement landed like a betrayal anyway, then pull the same thread through the Paramount Skydance and Warner Bros. Discovery merger, Mark Ruffalo's New York Times op-ed on quiet industry retaliation, and what it means that four studios now control what used to take six. From there the panel turns to Christopher Nolan's press tour for The Odyssey and the practical-versus-VFX marketing dance that VFX artists roll their eyes at every single time it resurfaces. They close with a Monstrous Moonshine state of the union, walking through the June July shoot and a quick, lighthearted aside on why the show still uses AI tools like Suno for its own theme song. Mentioned this episode: A24, Google DeepMind Paramount Skydance, Warner Bros. Discovery, Mark Ruffalo, Matt Stoller Christopher Nolan, The Odyssey, D-Neg, Weta Workshop Monstrous Moonshine June July Suno Special thanks to our sponsor: Center Grid Virtual Studio: https://cgvirtualstudio.com/
July 6, 2026 | 68 min
Doug Trumbull spent fifty years trying to convince Hollywood that the way movies are projected is fundamentally broken, and most of the industry never listened. The visual effects supervisor behind 2001: A Space Odyssey , Close Encounters of the Third Kind , Blade Runner , and Star Trek: The Motion Picture , and the director of Silent Running and Brainstorm , Trumbull passed away in 2022. This conversation originally aired in July 2020, before a lot of you were listening, and it's one of the fullest records of him explaining his life's obsession in his own words. We're pulling it back out of the archives because it deserves a wider audience than it got the first time around. Chris and Doug cover the whole arc: getting hired at Graphic Films off a satellite painting, cold calling Stanley Kubrick's secret phone number to get on 2001, the accidental discovery of double stars that led him toward persistence of vision research, and the Showscan process he patented at Paramount. They also get into Trumbull's MAGI process, 4K stereo at 120 frames per second, representing 40 times the data of a traditional HD video, and Chris's own experience helping produce a piece of content rendered through it as a proof of concept. Trumbull gives his blunt account of Ang Lee allegedly misusing his patented process on Gemini Man . This is a conversation about a man who understood something about how movies work that almost nobody in the industry, including some of its biggest directors, ever fully grasped. Guest: Doug Trumbull > Referenced in this episode: 2001: A Space Odyssey Close Encounters of the Third Kind Star Trek: The Motion Picture Blade Runner Silent Running Brainstorm Showscan process > Future General Corporation (Paramount R&D division) > MAGI process > Special thanks to our sponsor: Center Grid Virtual Studio: https://cgvirtualstudio.com/
June 29, 2026 | 74 min
Hnedel Maximore did not come up through the traditional VFX pipeline. He started drafting floor plans in Liberia, studied architecture in Michigan, got laid off during the housing crash, and worked his way across industries before landing at Speed Shape in Detroit doing automotive commercials. That's also where he and Chris first crossed paths, years before either of them could have predicted where things would end up. What Hnedel built along the way was not just a technical skillset but a spatial intelligence that became the secret weapon behind one of the most visually distinctive streaming shows in recent memory. Spider-Man Noir is shot in color and black and white simultaneously, built on sets too small for the scripted action, and executed with a noir discipline that its showrunner and director Harry Bradbeer summed up as: what if Orson Welles had a Steadicam? Hnedel breaks down how previs shaped what they could actually afford to build, how the stunt team and VFX department merged into a single production unit, and why the dual delivery format put black and white monitors at video village for the entire shoot. He also gets direct about where VFX gets siloed too late in the process, and what it means when the VFX supervisor is employee number four. Guest: Hnedel Maximore on LinkedIn > Hnedel Maximore on IMDB > References: Spider-Man Noir (Amazon / Sony) > Speed Shape Torchlight (previs) V-Ray > ILM > Fuse FX Zero VFX Scanline VFX Digital Domain > Sway Chinatown (1974) Wicked Is Pain (documentary) Backrooms Obsession Honey Don't (Ethan Coen) Blender This episode is sponsored by: Center Grid Virtual Studio Kitbash 3D (Use promocode "CGGarage" for 10% off)
June 22, 2026 | 113 min
For years Chris and Daniel have been saying the corner was going to turn, that history would repeat itself the way it did in the 1970s. It turned. Jason Blum said the same thing last week. Two horror films made by twenty-something YouTubers just proved everything the studio system has been getting wrong, and the box office numbers are not being polite about it. Obsession cost under a million dollars. Backrooms cost ten million. Both are outperforming movies that cost a hundred times more. Chris and Daniel break down both films as filmmakers. They get into what Obsession borrows from Takashi Miike's Audition and why that works, how Backrooms uses the architecture of infinite scroll and TikTok as genuine psychological horror, why sound design and shadows are a more effective budget tool than any AI pipeline, what the economics of AMC A-list are doing to studio revenue models, and why the wrong lesson from all of this is to go hire these directors to make a Texas Chainsaw Massacre sequel. Referenced in this episode: Obsession (2025) Backrooms (2026) Audition (1999, dir. Takashi Miike) Avatar 3 (2025) The Odyssey (Christopher Nolan) (2026) Mandalorian and Grogu (2026) AMC A-list > A24 > Blumhouse > This episode is sponsored by: Center Grid Virtual Studio Kitbash 3D (Use promocode "CGGarage" for 10% off)
June 15, 2026 | 101 min
Hollywood is having a Marie Antoinette moment. The people running studios and making AI announcements have no idea how their decisions are landing with the audience that actually buys tickets, and the backlash to Jorge R. Gutierrez announcing Punky Duck as an AI project is just the most recent and visible proof. Chris and Daniel are joined by Trina Renee, a studio-side post producer whose client credits run through Warner Brothers and Fox, and Julianna Medina-Politsky, who spent a decade as an executive at Legendary Entertainment and now runs Station X Ventures, for a conversation that is more grounded in the realities of production and finance than most discussions of this subject ever get. The episode tracks what is actually happening right now. Obsession got made with private equity because Universal passed, and it worked. The Backrooms built a decade of community before anyone put it in a theater, and the studios still haven't figured out what that means for distribution. Gareth Edwards keeps coming up as the filmmaker who understands this moment best, someone who always worked like he was discovering the movie rather than executing a plan, and who is now using AI the same way. The conversation keeps landing on the same uncomfortable truth: taste is the only thing that cannot be automated, and the industry keeps trying to route around it. Guests: Trina Renee on IMDB > Julianna Medina-Politsky > Referenced in this episode: Station X Ventures > Legendary Entertainment > Latina Squad > Jorge R. Gutierrez / Punky Duck AI on the Lot (Amazon) Obsession (Blumhouse / Universal) The Backrooms Gareth Edwards / Monsters Iron Lung / Markiplier This episode is sponsored by: Center Grid Virtual Studio Kitbash 3D (Use promocode "CGGarage" for 10% off)
June 8, 2026 | 61 min
Sergio Cilli is going to get hate from both sides. The pro-AI crowd thinks he's mocking their tools. The anti-AI crowd thinks he's a hypocrite for using them. He's fine with that. Cilli is a director and writer who came up through sketch comedy and the writers' room of a David Spade Comedy Central show, went on to the Late Late Show as a segment producer, built a commercial directing career through Funny or Die, and has been making people laugh on the internet for twenty years. His Instagram series Will AI Replace Us? has become one of the sharpest, funniest pieces of AI criticism online precisely because he's doing both at once -- using the tools seriously enough to know exactly where they fall apart, then putting that failure on camera and reacting to it live. The comedy isn't a take. It's a demonstration. Chris and Daniel sit with Sergio and get into how the series actually started, why the joke stops being funny the second you swap in a human actor, what the gaps in AI performance reveal about what real acting actually is, and why all those viral "Hollywood is cooked" demo reels conveniently avoid putting anyone on camera with a speaking part. They also dig into the moat question -- why AI has flattened every competitive advantage in the industry except the one that always mattered: knowing what's good. Links Sergio Cilli on Instagram > Sergio Cilli on IMDb > Sergio Cilli on YouYube > Will AI Replace Us? > Will AI replace us Merch Store! > We Got That B-Roll > Ruairi Robinson's Brad Pitt and Tom Cruise video > Ruairi Robonson's "Are we Not Men" > This episode is sponsored by: Center Grid Virtual Studio Kitbash 3D (Use promocode "CGGarage" for 10% off)
June 1, 2026 | 89 min
Gothic horror is having a moment, and Justin Denton got there before the wave. His feature The Curse of the Sin Eater is now streaming on Prime, built for under a million dollars with 19 shooting days, a single private benefactor, Chicago theater actors, an English manor that half-burned down and got rebuilt by hand, and a composer found on Spotify who bowed his guitar like a cello because he didn't own one. Justin is a VFX veteran who has worked on $200 million productions, directed VR experiences for Legendary, and now has a completed independent feature with a Samuel Goldwyn distribution deal to show for a process that looks nothing like what Hollywood taught him and everything like what filmmaking actually requires. Chris and Daniel dig into the full journey with Justin: how the sin eater mythology stuck with him through COVID, why he pitched it as a drama dressed in horror clothing, what it costs to make a real film in a union town, how distribution actually gets done in the backroom deals before AFM (American Film Market) even opens, and why not having a recognizable name in your cast is the one decision that follows a first-time director all the way to the release screen. The conversation ranges from the Philippou Brothers grinding out horror on YouTube in rural Australia to Demi Moore chasing a script nobody thought she would want, to why the studios are wrong about Gen Z and the movies. This is a real-world map of what it takes to make a feature right now. Links and References: Justin Denton on IMDB > Justin Denton on LinkedIn > Justin Denton on Instagram > The Curse of the Sin Eater Trailer > The Curse of the Sin Eater on Amazon Prime > Film discussed: Talk to Me (dirs. Danny and Michael Philippou) The Substance (dir. Coralie Fargeat) My Old Ass (dir. Megan Park) Weapons (dir. Zach Cregger) Obsession (dir. Cory Barker) The Bride (dir. Maggie Gyllenhaal) Widows Ba y (Apple TV+) Honey Don't (dir. Ethan Coen) This episode is sponsored by: Center Grid Virtual Studio Kitbash 3D (Use promocode "CGGarage" for 10% off)
May 25, 2026 | 96 min
The man who invented nonlinear editing is not done disrupting filmmaking. Bill Warner, founder of Avid Technology and the engineer behind the tool that unlocked the indie film revolution of the 1990s, has spent the last several years pushing a new idea at Lightcraft: a CAD system for movies, built to take a filmmaker from first idea to final pixel without ever losing control to the technology along the way. If Avid gave editors the freedom to try things, Lightcraft is designed to give everyone on a production the freedom to stop asking permission. Chris and Daniel get deep into Bill's full origin story, from a spinal injury at 18 that he describes as the thing that set him free, to building a whistle-controlled device for a paralyzed roommate that eventually landed in the inventor's hall of fame, to getting into MIT with grades that had no business getting him there, to the moment in a video editing suite in 1987 when he decided he was going to build Avid because no one else had done it yet. Along the way, Bill lays out exactly what Lightcraft's Spark Story is designed to do, why he thinks prompting your way to a movie is a fantasy that will drive people insane, and why the goal is not AI that makes the movie but AI that says, "You're the boss of me." Links and References Bill Warner on LinkedIn > Lightcraft / Spark Story > Avid Wikipedia > USD (Universal Scene Description) > This episode is sponsored by: Center Grid Virtual Studio Kitbash 3D (Use promocode "CGGarage" for 10% off)
