Wednesday, January 14, 2009

Film Podcasts - Vol. 1: Cinemaslave

by ERIK MCCLANAHAN

This series of extended interviews will feature a different film podcast with every volume. I’ve been collecting interviews with the creators and hosts of the shows since mid-summer. Subsequent volumes will be published in the near future. For the uninitiated, podcasts are like radio shows only they’re broadcast over the internet via download. It’s a great (and free!) medium that is growing in popularity with every passing year. Film podcasts are growing in numbers; it seems a new show pops up all the time. The really good film podcasts provide insight, news and criticism in a unique, informed style and voice. This series of interviews will highlight my personal favorite film podcasts in the hope of making more people aware of their existence and benefits, and provide a window in to this young and exciting medium for cinephiles and novices looking for new critical voices out there. Also, a lot of the film podcasts I enjoy feature aspiring filmmakers and writers. This is a great avenue for them to get the word out on their work and to be creative in another medium.

For the first volume, I talk with Joe Barlow of the Cinemaslave podcast. Joe’s show is different from the average film podcast, typically eschewing the format of most film podcasts by ignoring new releases almost completely. Instead, he reviews, rants, and discusses on a myriad of (fairly) obscure film subjects whether it be a newly discovered print of a long-thought-to-be-lost silent film or a recent DVD box set of horror films from the 40’s.

The Aspect Ratio: Tell me a little about yourself and the show.

Joe Barlow: I was born in Durham, North Carolina, in a hospital that has subsequently been shut down and turned into the North Carolina School of Science and Math. I lived most of my live in the Raleigh, NC area, with a little time spent in Virginia during my teen years, before moving to Pennsylvania in 2000. I have a wonderful wife, and twin sons, age 7. I work full-time as a technical writer. I sold my first screenplay in 2002, but it never got made. I continue to write new scripts, and direct film and TV projects, as often as I can. I started the Cinemaslave podcast in 2005 as a way to stay connected to movies while I was in between film projects.

The Aspect Ratio: Where did you get the idea for the show's title?

JB: Actually, Cinemaslave was my 4th or 5th choice for the name.... but it was the first one where the web site domain hadn't already been taken! I've come to love the name, though. It really conveys my attitude about movies. I eat, drink, and sleep cinema -- not just watching films, but writing them, write about them, and reading everything I can get my hands on about film history.

The Aspect Ratio: How did the idea for the show come along? What got you into podcasting?

JB: If I discovered the concept of podcasting today, I probably wouldn't have started my own show. There's such a wide variety of film podcasts out there now that you can't possibly listen to everything. But that wasn't the case in 2005. And while there were a number of film-related shows even then, I didn't find too many programs that reflected my personal film tastes. See, I like everything, from silent film to westerns to horror to documentaries to avant-garde psychedelic freak outs. But most of the podcasts at that time only seemed interested in the movies that were playing *that week* in movie theaters. Or they were only interested in one particular type of film. There are a lot of great horror podcasts, for example, but they don't cover anything else. I wanted a show that would cover everything, so I decided to create one. I like to say that there are a lot of movie "specialists" in the podcast community, but Cinemaslave is a "general practitioner" for film lovers.

The Aspect Ratio: How long has your podcast been running?

JB: The first episode came out in September 2005, but I recorded it months earlier. It took a while to figure out the RSS feed and web hosting stuff.

The Aspect Ratio: Why a film podcast?

JB: Movies are what I know and love best. The thing I wanted to bring to Cinemaslave was passion, and there's nothing else that interests me as much as film, with the possible exception of politics. Plus, I'd already been covering film on a freelance basis for a number of newspapers, magazines, and web sites, so it just seemed like a natural fit for me.

The Aspect Ratio: What is your goal or mission statement with the podcast?

JB: Passionate discussion about ALL types of cinema, with no prejudice against country of origin, genre, or the year in which the movie was made. The only qualification is that the film must inspire some kind of passionate response in me, either positive or negative. There's nothing worse than listening to someone talk about a movie to which they're indifferent. The other thing that perhaps makes Cinemaslave a little unusual is that I gave approximately half the show over to the listeners each week. I play a LOT of listener feedback on the show, and invite listeners to submit their own guest reviews and show topics. I love talking *with* people much more than talking to them. I've gotten some flack from that -- not everyone is comfortable with a show that allows the listeners to have such latitude, but most folks seem happy. I equate myself with the ringmaster of the circus: I'm the guy in charge, but I'm not the focus of the show.

The Aspect Ratio: Give me some insight in to the state of podcasting. Since it is such a young medium, where do you see it going?

JB: Podcasting has made tremendous strides, and will continue to do so, as more and more people obtain high-speed Internet access and portable MP3 players. The number of downloads my show gets on a weekly basis has gone up nearly every week since 2005, as more and more people discover the medium. Where do I see it going? Eventually, it will move to a more financially oriented model. Most shows are free, including Cinemaslave, but as listenership increases, so will the opportunities for in-show advertising and ancillary income, like t-shirt sales.

The Aspect Ratio: What can we expect of podcasting in the future? Will it become more than a free downloadable internet radio show?

JB: It's already on its way. Podcasting is no longer solely the purview of the amateur hobbyist. George W. Bush has a weekly podcast, as do Hillary Clinton, Barack Obama, and John Edwards. I don't see entertainment-based podcasts going away, but I do see an increase in message, or issue, oriented podcasts.

The Aspect Ratio: What do you love about your podcast, and the act of podcasting itself?

JB: I love the communication. I insist, and almost demand, that my listeners participate, and they don't let me down. Cinemaslave is not a passive show, either in terms of audience input or in terms of my own passion. Somebody left a comment on Podcast Alley recently that my show sounds like demented ramblings from a guy on the verge of a nervous breakdown, but I don't think anyone would ever say I don't care about my topics. I rant because I care, folks. HA! And even after three years, the novelty of doing the show hasn't worn off. I'm still astonished that I can talk into a microphone while sitting in my Pennsylvania kitchen, and a few hours later I'll have dozens of e-mail and voicemail responses from all around the world. I love to travel, even though I rarely have the chance, but my voice gets to go all around the world each week. Unfortunately, the rest of me has to stay home and do laundry.

The Aspect Ratio: What do you hate (or what bothers you) about podcasts and podcasting?

JB: The expense of it bothers me. It doesn't take a lot of money to get started, but paradoxically, the more successful your show becomes; the more it costs to produce each subsequent episode. Bandwidth costs skyrocket with listenership. I pay for a voicemail line. I pay hosting fees. I have a PayPal account where listeners can make a voluntary donation to help cover expenses, and a few of my listeners have been extremely generous in that regard... but the sad fact is, most people don't care to help cover the costs. And on a show that prides itself in being so democratic, I find that a little frustrating on occasion. I must admit, that dampens my enthusiasm from time to time. And of course I deal with the inevitable harsh words on occasion. I get at least 90% positive feedback, probably closer to 95%, but I seem to obsess over the handful of unkind, and sometimes downright cruel, messages that I receive. But that comes with the territory, I suppose.

The Aspect Ratio: Where do see your show going? How long do you think it will last?

JB: I think the show has found its stride in terms of format. I'd love to find a way to parlay the show's success into... something. Lecturing on film, or teaching a class on film history, maybe. How long do I see the show lasting? As long as it serves as a purpose, I guess. As long as it doesn't become too much of a financial burden, which, given the current economy, is an increasing worry. But there's no danger that the show is going to vanish tomorrow.

The Aspect Ratio: Do you think podcasts should follow a set of rules (length, structure, etc.)?

JB: Absolutely not, and I've railed against this concept on numerous occasions. One of the things that positively infuriates me when listening to other shows is when the host or hosts try to "play radio". There's a particular, and very popular, film podcast that's a horrendous offender in this regard: whenever their conversation gets interesting, one of the hosts invariably says "Well, we're about out of time on this topic, so let's move on." Madness! The whole point of podcasting is that the show is NOT beholden to the rules of broadcasting! If the topic is interesting, talk about it as long as you like. And if the topic ISN'T interesting, cut your losses and put out a shorter episode that week. I hate padding, and podcasters shouldn't feel compelled to keep talking about a subject about which they don't know jack. Cinemaslave tends to run about 50 minutes each week, but I've had 30 minute episodes, and I've had 90 minute episodes, based on how much I've had to say about a topic. I wish were shows would toss off the "arbitrary show length" mantle.

The Aspect Ratio: Would this particular podcast you’re talking about be Filmspotting?

JB: Actually, it isn’t Filmspotting I was thinking of, but yeah, they do it too.

The Aspect Ratio: Tell me more about what infuriates you about these podcasts “playing radio.”

JB: Let me choose my words carefully here, because I’ve gotten in trouble with this in the past. Here goes:

I have absolutely nothing against Filmspotting. But I personally find their format frustrating, because every time the hosts really get rolling on a topic, one of them will invariably say something to the effect of “Well, we’re out of time for this review. We’ll be back in a moment.” Then they’d go to a fake commercial break, complete with music swells. It just seemed so… arbitrary, I guess. Why end the conversation there just because some fixed number of minutes has passed? As I said before, the great appeal of podcasting to me is the ability to determine how long you talk about something. If you have a lot to say, SAY IT. Don’t pretend that you have to abide by the FCC’s rules. Just don’t be BORING. However, let the record show that whatever the Filmspotting guys are doing, it’s working for them. Their show is far more successful than Cinemaslave is ever likely to be, and I understand that at least in Chicago they are on the radio now, so they clearly know something I don’t. I wish them continued success in the future.

The Aspect Ratio: What podcasts (filmic or not) do you listen to?

JB: I listen to dozens of podcasts, but some of my very favorites include The Hollywood Saloon, Mondo Movie, Horror Etc., Outside the Cinema, Battleship Pretension, The B-Movie Cast, the BBC's Mark Kermode and Simon Mayo, and Stolen Moments (devoted exclusively to silent film). For sheer comedy, I never miss The Paul Goebel Show, or the highly profane but utterly hilarious Nobody Likes Onions. And as a proud liberal Democrat, I really enjoy The Bugle (a British show co-hosted by John Olliver of "The Daily Show" fame), Best of the Left, The Young Turks, and The Rachel Maddow Show. That list is far from complete, but those are some of my most regular listens. Nowhere in Mulberry and (Cool) Shite on the Tube are really fun, too. I'm really lucky to have a job that allows me to listen to my iPod at work...otherwise I wouldn't be able to listen to so many great shows!

The Aspect Ratio: Tell me about the recent news of your podcast, why the hiatus? And how long can we expect you to be out?

JB: It’s not so much a hiatus, just a re-shifting of priorities. Cinemaslave hasn’t gone anywhere. But I’ve decided to record new episodes only when I feel I truly have something worthwhile to say, rather than because it’s “time” for a new show. I don’t want to feel obligated to pick up the microphone. I’ve tried that, and those were inarguably my worst episodes. The whole point of Cinemaslave is passionate film discussion. You can’t have passion if you’re not looking forward to hitting the “record” button each week.

And let’s not underestimate the amount of time it takes to do the show. Cinemaslave is supposed to be a hobby, not a second job, but it definitely crossed the line for a while. Plus my kids (and my wife, who is a teacher) are out of school for the summer, and I’ve been spending a lot more time with them.

Finally, as I mentioned on a recent episode, I plan to donate a substantial amount of time to a certain US presidential campaign in the months to come, and I want to be free to do that without having to worry about show deadlines getting in the way. As much as I love movies, getting this country back on track is far more important to me at the moment. I’ll get off my soapbox now.

The Aspect Ratio: Tell me about the state of your television show. What other film and TV work have you done?

JB: Ah, that would be Extra Extra. The show is presently dormant. We had the misfortune to try pitching a sitcom pilot right around the time of the WGA strike. We thought this would work to our benefit (less competition!), but no. Due to the strike, most networks had shifted their emphasis to reality television, which is cheap to make, gets good ratings, and doesn’t need as many of those pesky writer people. Absolutely no one is looking for sitcoms at the moment. Most of the comments we got back were very positive, but no one wanted to give us the green-light. So it’s indefinitely shelved.

As for other film and TV work: I’ve done a series of locally oriented political commercials that aired in the Philadelphia market; I wrote a feature-film screenplay that got optioned, but never made (It was a spoof of the monster movies of the ‘50s and ‘60s. My intention was to do for Godzilla and Gamera what the Scream movies did for slashers. I hope it doesn’t sit on the shelf forever, but I’m a realist.); I’ve shot and edited more wedding videos than any person should have to endure; And I’ve made a number of short films for my own amusement, some of which can be found on YouTube.

The Aspect Ratio: I really remember the episode where you spoke about a good friend of yours passing away. Did you use your show as a means to deal with the obvious grief and sadness you were feeling from his death?

JB: That was John Polonia, one half of the legendary Polonia Brothers filmmaking team, who made several dozen direct-to-video no-budget horror/gore films with his brother Mark over the last 20 years. Man, what a loss, and I’m not talking about the movies. He was one of the nicest, funniest, and most generous people I ever met, and Mark is the exact same kind of person. I talked about John’s death on the show partly because it was film-related news, but mostly because I was in major shock. This guy was a really good friend of mine, in great shape, and hadn’t even reached his 40th birthday. You just don’t expect that kind of thing to happen, and I needed to talk through some of what I was feeling. People have repeatedly said that some of their favorite Cinemaslave moments are the one where I’m candid and open, and so this seemed a very appropriate way to celebrate my friend’s life. I got lots of comments about that episode, and every single one of them was positive.

The Aspect Ratio: Do you see the podcast as a means to deal with personal issues as well as exploring the art you love? Could this be a reason why you're so adamant about podcasts not going the route of radio shows?

JB: That could be part of it, though I’m not consciously thinking that way. Podcasting by its very nature allows people to be more off the cuff and less scripted in their interactions with their audience, and I think personalities come through a little better than they do on “real” radio. There’s no censorship. You can swear like a sailor, or say things that conventional radio would call controversial, and you don’t have to adopt a “persona” if you don’t want to.

I’ve become friends with a lot of other podcasters by listening to their shows. I feel as if I “know” them, though I haven’t met any of them face to face. But I talk frequently with Andy at the Hollywood Saloon, Louis at Doctor Who: Podshock, Vince at the B-Movie Cast, and several members of the (Cool) Shite on the Tube crew. I think it’s because we all heard something in each other’s shows that we could relate to – something which might not have been as obvious if we weren’t so free to be ourselves.

And I get a lot of e-mail from listeners who seem to respond to the same thing in Cinemaslave. People feel like they know me. They enjoy my personality, and the fact that I really get angry when I come across a horrible movie. I’ll definitely slap the living hell out of a movie if I think it deserves it, but I can fall hard for them, too. A listener suggested I watch Grave of the Fireflies a while back. I did, and when I discussed the movie on the podcast, I nearly broke down in tears because I’d loved it so much. You won’t hear that kind of thing on most shows. And it wouldn’t have happened if I didn’t feel like I could be myself.

One more thing: the interpretation of all art is personal and highly subjective. I can’t tell you what’s good or bad, only what worked for me and why. If you can’t talk honestly and from the heart about film, why in the world should anyone care what you have to say? The podcasts I respond to are the ones where the hosts aren’t trying so hard to be clinical but to convey enthusiasm, no matter if it’s positive or negative.

The Aspect Ratio: Do you find it more difficult to attract listeners to your shows on more obscure films and film history?

JB: On the contrary! The less mainstream the topic, the more feedback I tend to get. It’s deliberate niche programming. If you want to hear a review of the latest Jack Black comedy, you have 50 other podcasts to choose from, not to mention the various movie blogs and conventional print outlets. But if you want to hear a lengthy three-part series on Harold Lloyd’s finest work, or a two-part exploration of cinematic racism over the past hundred years, then Cinemaslave is pretty much the only game in town. That’s why I made a deliberate choice earlier this year to pretty much ignore what’s playing in the multiplexes and focus on other kinds of cinema. (I’m a HUGE fan of silent film and the Universal monster movies, for instance, and I love to talk about them.)

The Aspect Ratio: What is your listenership?

JB: I haven’t looked in a while, but each new episode gets a few thousand downloads when it’s first released. As new people discover Cinemaslave, they often go back and check out some of the older shows. I get feedback occasionally on episodes that were released almost three years ago!

The Aspect Ratio: How does your Web site function with the show? Are the forums important to Cinemaslave?

JB: I don’t know if the forums are important to the show, but they’re important to me. It’s another avenue of communication between me and the listeners. Some people send e-mail, some send voicemail, some post on the forum – whatever works best for them. It helps foster the sense of community that has become the show’s trademark.

The web site itself is currently in the process of being updated. My webmaster Justin has written some new blogging software that will soon allow me to post much more regular updates, and have them all centrally located to boot. Can’t wait!

The Aspect Ratio: What are you watching these days?

JB: I’ve been watching a lot of documentaries lately. (I’m going through a bit of burnout with the three-act structure!) I’ve been enjoying stuff like Ric Burns’ multi-part documentary New York, and I loved HBO’s John Adams miniseries.

In terms of contemporary movies, I saw and loved The Dark Knight and Iron Man, but this summer has largely been one of disappointment for me. Indy 4, for instance.

Best recent DVD purchases: Kino’s American Silent Horror box set, and Criterion’s stunning two-disc edition of Vampyr, which is absolutely mandatory viewing. (Imagine if Sam Raimi directed Nosferatu! And I’m talking about the GOOD Sam Raimi, not the Spiderman 3 Sam Raimi.)

The Aspect Ratio: What inspires you to be creative?

JB: No clue. It’s like asking me what inspires me to sleep. I just do it when I feel it’s time.