The Big Picture

The Movie Business Freak-Out Mailbag and ‘Wake Up Dead Man: A Knives Out Mystery,’ With Rian Johnson!

December 16, 2025

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  • The hosts dedicated a significant portion of the opening segment of "The Movie Business Freak-Out Mailbag and ‘Wake Up Dead Man: A Knives Out Mystery,’ With Rian Johnson!" to mourning the tragic passing of filmmaker Rob Reiner, celebrating his formative impact on their cinematic tastes. 
  • Listeners' anxieties regarding the potential Netflix acquisition of Warner Brothers are unlikely to influence the upcoming Oscar voting, as Academy members prioritize personal connections and film quality over overt economic or political statements. 
  • The mailbag segment confirmed that the future health of theatrical business hinges on the performance of major 2026 franchise blockbusters, though the hosts remain more interested in the success of four key original/adaptation films slated for that year. 
  • The hosts and guest Rian Johnson explored how personal appreciation for films, like *Birdman*, can change over time due to age, experience, or new context regarding production/culture, contrasting with initial reactions. 
  • The value of movie stars lies in their ability to serve as human portals for dreams and emotional investment in storytelling, a quality increasingly threatened by the rise of AI in media. 
  • Rian Johnson intentionally structured *Wake Up Dead Man: A Knives Out Mystery* to focus heavily on the priest character's spiritual conflict, allowing the mystery element to serve as a backdrop for exploring complex personal ideas about faith, logic, and belief. 
  • Filmmaker Rian Johnson advocates for a career approach based on following one's immediate excitement and next desired experience, rather than adhering to a long-term projection plan. 
  • T-Street, Rian Johnson's production company, focuses on supporting early or first-time filmmakers who are passionate about making engaging, commercially viable films, operating with faith that good work will find its audience. 
  • Rian Johnson expressed that his favorite phases of filmmaking are shooting, editing, post-production, and audience engagement/discussion, while he dislikes the writing phase the most, despite currently being engaged in it. 

Segments

Rob Reiner Tribute and Career
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(00:01:23)
  • Key Takeaway: Rob Reiner’s directorial run from 1984 through the mid-1990s, including films like This Is Spinal Tap and A Few Good Men, represents an ideal era for well-made, emotionally connected American studio filmmaking.
  • Summary: Rob Reiner’s career is honored, noting his significant contribution to formative movie tastes through classic studio fare. His work, alongside co-founding Castle Rock, fostered an environment that supported other filmmakers like Nora Ephron and shepherded younger talent in the early 90s. Key films cited include The Princess Bride, When Harry Met Sally, and Misery.
Netflix/Warner Bros. Oscar Impact
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(00:08:15)
  • Key Takeaway: Academy members are unlikely to vote against Netflix films in the Oscars as a protest against the potential Warner Brothers acquisition, as voters prioritize personal relationships and film quality over industry politics.
  • Summary: The general industry dread surrounding the Netflix acquisition of Warner Brothers is not expected to translate into strategic Oscar voting against Netflix nominees. Academy voters typically support friends and films they genuinely love, rather than making overt economic or political statements with their ballots. Furthermore, Netflix employs many of the people who vote for the Academy Awards.
Viewing ‘Marty Supreme’ with Parents
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(00:12:59)
  • Key Takeaway: Marty Supreme is considered a relatively safe film to watch with parents during the holidays, despite its intense anxiety and sensuality, because it functions as a period sports movie.
  • Summary: The anxiety generated by Josh Safdie’s filmmaking style is present in Marty Supreme, but the film lacks explicit sexual content that would cause extreme mortification when viewed with a parent. Its nature as a period piece and a sports movie makes it a surprisingly good choice for family viewing, unlike potentially awkward past experiences like watching Jerry Maguire at a young age.
Chalamet’s ‘Athlete Mentality’
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(00:16:07)
  • Key Takeaway: Timothy Chalamet’s current ‘athlete mentality’ press tour, invoking figures like Michael Jordan and Michael Phelps, is seen as a savvy appeal to his younger, internet-savvy demographic rather than a detriment to his Oscar chances for Marty Supreme.
  • Summary: Chalamet’s confident statements about his recent performances are viewed as ‘rad’ and in line with a modern playbook learned from observing celebrity press tours online. While older voters might find this approach off-putting, it effectively targets the younger audience for whom Marty Supreme is primarily aimed. The hosts enjoy the showmanship, regardless of its effect on traditional Oscar campaigning.
2026 Blockbuster Slate Concerns
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(00:19:23)
  • Key Takeaway: The performance of the 2026 slate, dominated by 12 major franchise films from Disney, Universal, and Sony, will determine the level of panic regarding the theatrical business next year, contrasting sharply with four anticipated original/adaptation films.
  • Summary: If major 2026 releases like Toy Story, Moana, The Mandalorian and Grogu, and Shrek 5 underperform, significant industry panic is expected. The hosts are more invested in the potential success of four non-franchise-driven films: Christopher Nolan’s The Odyssey, Steven Spielberg’s new film, Emerald Fennell’s Wuthering Heights, and Project Hail Mary.
Megan Ellison’s Potential Paramount Role
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(00:24:32)
  • Key Takeaway: It is highly unlikely that Megan Ellison will emerge to take a leadership role at Paramount, despite her past success with Annapurna Pictures, given the reported family dynamics and lack of current involvement.
  • Summary: The hosts dismiss the idea of Megan Ellison taking a role at Paramount as wishful thinking, noting that her time at Annapurna was a chaotic but positive force for auteur-driven cinema. Annapurna funded critically acclaimed films like Zero Dark Thirty and Phantom Thread during its peak, but its economic strategy was unsustainable. The current reporting suggests no reconciliation or immediate involvement for her within the Paramount structure.
Letterboxd Video Rental Launch
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(00:28:03)
  • Key Takeaway: Letterboxd’s new video rental store is a significant positive development for independent cinema, offering distribution access for smaller films that otherwise lack wide visibility.
  • Summary: The Letterboxd feature functions as a streaming service focused on films with no current distribution, exemplified by the existential sci-fi drama It Ends. This platform provides a necessary avenue for filmmakers to get their work seen, capitalizing on the accessibility benefits of the streaming age without focusing on major blockbusters. The user experience on connected devices like Roku and Apple TV is reported to be clean and easy.
Improving the Oscars Telecast
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(00:31:03)
  • Key Takeaway: The Oscars telecast continues to suffer from bloat because producers are attempting to recapture the high live ratings of the 1980s and 90s, rather than leaning into the modern reality where viral moments drive engagement.
  • Summary: The recent telecast hosted by Conan O’Brien was generally viewed positively for injecting new energy, contrasting with the perfunctory nature of past shows. The key to improving viewership lies in creating memorable, viral moments—like the Ryan Gosling ‘I’m Just Ken’ performance—rather than forcing every nominated song to be performed. Producers should treat the broadcast like the Super Bowl by showcasing major movie trailers during commercial breaks to engage the core audience.
2026 Stock Picks and Charlie XCX
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(00:37:07)
  • Key Takeaway: Three emerging horror directors—Kane Parsons (The Backrooms), Curry Barker (Obsession), and Sebastian Vanicek (Evil Dead Burn)—are recommended as strong early buys for 2026, while musician Charlie XCX is noted for her growing film engagement via Letterboxd.
  • Summary: Kane Parsons, a former YouTube creator, is making his feature debut with an A24 horror film starring established actors. Charlie XCX’s Letterboxd activity shows she is actively engaging with cinema, having recently rated Before Sunrise five stars and watched Pillion and Wake Up Dead Man. Anne Hathaway is holding her stock due to a robust slate of six films, including The Odyssey and Devil Wears Prada 2.
Film Opinion Evolution and Birdman
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(00:53:30)
  • Key Takeaway: Initial positive reaction to Birdman’s technical wizardry faded over time, revealing underlying depressive self-satisfaction in Iñárritu’s work.
  • Summary: The speaker recalled liking Birdman initially due to its technical execution, despite later feeling disinterest in director Alejandro G. Iñárritu’s style, particularly after Babel. The critic scene with Lindsey Duncan was noted as overwrought. Subsequent reflection suggested the film aligned more closely with Iñárritu’s earlier, less favored works.
Accountability for Past Takes
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(01:00:05)
  • Key Takeaway: Past positive reception of Green Book was re-evaluated negatively after revelations about its writing and production context, especially concerning its Best Picture win over Roma.
  • Summary: The hosts acknowledged being held accountable for immediate reactions, citing their charmed but ultimately insufficient defense of Green Book. The subsequent negative context surrounding the film’s creation shattered their initial perception. They noted that the film’s Best Picture win, which they hadn’t fully supported initially, further complicated their view.
Changing Movie Appreciation Over Time
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(01:00:56)
  • Key Takeaway: Appreciation for movies often changes due to age and experience, sometimes manifesting as recognizing the artifice in childhood favorites like The Princess Bride.
  • Summary: The speaker rarely finds themselves connecting to a film later that they initially disliked, suggesting fundamental reactions stick. However, viewing childhood films like The Princess Bride reveals production design cracks when seen on modern home systems rather than in the immersive world of a childhood theater experience.
Disruptive Needle Drops in Film
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(01:07:01)
  • Key Takeaway: Overused or contextually jarring song placements, such as The Pretenders’ “Angel of the Morning” during a demon vomiting scene or a whispered cover of “Skinny Love,” can pull the audience out of the movie.
  • Summary: A listener cited the use of “On the Nature of Daylight” in Hamnet as overly emphatic. The speakers recalled a bewildering use of The Pretenders in one film and a moment in It Ends With Us where a whispered cover of “Skinny Love” caused audible laughter in a screening.
Performances in ‘Meh’ Films
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(01:08:48)
  • Key Takeaway: Towering, shattering performances, such as Joaquin Phoenix in Joker or Marion Cotillard in La Vie en Rose, can exist within films the viewer ultimately finds mediocre or uninteresting.
  • Summary: The question addressed whether a brilliant performance should be devalued if the surrounding film fails to impress. Cotillard’s transformative work in La Vie en Rose was cited as a prime example, often seen in the Best Actress category where singular female figures are honored in films lacking broader acclaim. Renee Zellweger’s performance in Judy was deemed merely ‘okay’ despite the win.
Justification for Movie Star Preservation
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(01:01:59)
  • Key Takeaway: Movie stars are vital because they provide a human conduit for cinematic dreams and emotional connection, acting as a necessary counterpoint to the rise of artificial intelligence in storytelling.
  • Summary: Stars manifest cinematic dreams by allowing audiences to feel those dreams through a captivating human presence, citing Robin Wright as an early example. This human element is crucial, especially given the concerning legitimization of AI tools like OpenAI and Sora by major studios. Even massive IP like Spider-Man requires the human Peter Parker under the mask to resonate emotionally.
Classics Deserving IMAX Re-release
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(01:07:35)
  • Key Takeaway: Films with immense scope or movement, such as The Good, the Bad and the Ugly or musicals like West Side Story, are ideal candidates for premium large format re-releases.
  • Summary: The speaker missed the Apollo 13 IMAX re-release but suggested Sergio Leone’s epic scale in The Good, the Bad and the Ugly would benefit greatly. The methodology of re-releasing classics is seen as a potential backstop for the current state of moviegoing. Musicals featuring choreography are also highlighted as visually enhanced by the largest possible screen format.
Initial Impressions of Wake Up Dead Man
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(01:11:21)
  • Key Takeaway: The third Knives Out film is enjoyable due to Rian Johnson’s humor and the chemistry between Daniel Craig and Josh O’Connor, but the heavy focus on Catholicism and faith felt unengaging to one host.
  • Summary: The host enjoys the Knives Out series for its Agatha Christie-esque humor and the pairing of Craig and O’Connor, noting a delightful buddy comedy element. However, the film is deeply embedded in Catholic themes, which one host found unmoving despite being raised Catholic. The mystery mechanics were deemed less compelling than the exploration of faith.
Johnson’s Thematic Progression in Series
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(01:14:14)
  • Key Takeaway: Rian Johnson uses the Knives Out genre to explore increasingly personal and complex themes, moving from wealth critique in the first film to faith exploration in the third.
  • Summary: Johnson attempts to inject deep personal ideas into what are typically light entertainments, contrasting with Agatha Christie’s focus on money. Glass Onion addressed influencers and technology, while the third film focuses on faith, specifically the dialogue between belief and logic. The moment Blanc is stumped by the mystery’s final step mirrors the feeling of logic failing when confronting big existential questions.
Josh O’Connor’s Casting and Priest Portrayal
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(01:18:07)
  • Key Takeaway: Josh O’Connor’s portrayal of Father Judd is the most realized character in the trilogy, offering a nuanced, emotional, and funny depiction of a priest that contrasts with typical cinematic stereotypes.
  • Summary: O’Connor and Daniel Craig share great chemistry, leading to a hope for a future buddy-cop dynamic. Johnson’s research, including dinner with young priests, informed the film’s realistic portrayal of priests being ‘always on stage’ in public. The character of Father Judd, a priest wrestling with past violence and faith, is seen as a strong counterpoint to the broader, less realized suspect characters.
Johnson’s Career Trajectory and Philosophy
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(01:53:11)
  • Key Takeaway: Rian Johnson operates without a long-term career projection, instead choosing the next project based on what is most exciting and challenging, following Joseph Campbell’s advice to ‘follow your bliss.’
  • Summary: Johnson did not have a clear plan for the Knives Out sequels when making the initial deal, preferring to react to the previous film’s experience. He aims for each new installment to be distinct, avoiding the feeling of ’turning the crank.’ His production company, T-Street, focuses on supporting early-career filmmakers by fostering a collaborative, fun set environment reminiscent of making movies with friends.
Career Philosophy and Bliss
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(01:53:51)
  • Key Takeaway: The only sustainable approach to a career is to follow one’s bliss by taking the next most exciting step, rejecting long-term projection plans.
  • Summary: Filmmaking careers should be approached by focusing only on the very next experience or story that feels most exciting. This philosophy means not looking much further than the immediate next step in one’s professional journey. This approach is cited as the only way that works for the speaker.
T-Street Filmmaker Support
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(01:54:51)
  • Key Takeaway: T-Street aims to support early filmmakers who are passionate about creating engaging, ‘commercial’ films, distinguishing itself from purely art-house focused endeavors.
  • Summary: T-Street was started around or after 2017 to boost independent or early filmmakers. The company specifically seeks voices dedicated to making films that audiences will enjoy, even while appreciating art-house cinema. The speaker credits his producing team for handling the difficult work of getting these challenging films in front of audiences.
Faith in Good Filmmaking
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(01:56:58)
  • Key Takeaway: Filmmakers must operate from a feeling of faith that truly interesting and good work will eventually find its intended audience, even if through a roundabout path.
  • Summary: Despite the current challenges in getting movies seen, creators must maintain faith that quality and interesting content will connect with people. This belief is essential for anyone making movies. The audience that needs to see the film will find it, even if the process takes time.
Favorite Filmmaking Phases
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(01:57:43)
  • Key Takeaway: Rian Johnson finds the most comfort and joy in shooting, editing, post-production magic, and audience engagement, while viewing writing as the least favorite phase.
  • Summary: The speaker loves shooting, stating there is no place he feels more comfortable than on his own set during production. The post-production phase, where technical elements finalize the movie, is consistently viewed as magic. He also enjoys the current phase of showing Wake Up Dead Man and having conversations about it.
Film Recommendations
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(01:59:03)
  • Key Takeaway: The film Pillion, a British relationship drama starring Harry Mellish and Alexander Skarsgård, uses explicit sexual dynamics effectively to reveal character and relationship structure.
  • Summary: Rian Johnson recommended several recent films, including Edgar Wright’s The Running Man and Guillermo del Toro’s Frankenstein movie. He highly praised Pillion, a feature debut by director Harry Lighton, for being funny, sweet, and a beautiful love story. The film’s explicit scenes are noted for serving the narrative by teaching the audience the dynamics of the central dom/sub relationship.