Hell is for Hyphenates: Billy Wilder

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I was stoked to be the June 2013 guest on the Hell is for Hyphenates film podcast with Paul Anthony Nelson and Lee Zachariah. Each month they discuss new releases and then explore the filmography of a director/filmmaker suggested by their guest. I chose Billy Wilder, because his films (though varied) all have an intelligent, pessimistic backbone, which makes the comedies sharp, and the dramas dark (but often with moments of humour).

I’m fascinated that the same director is behind the best comedy of all time Some Like it Hot, prime example of film noir Double Indemnity, and films so poignant as The Lost WeekendThe Apartment and Sunset Boulevard. Also appealing to me is the absurdity (even silliness), dress-ups, mistaken identities and inversions in the films. And I’m so glad he developed a working relationship with Jack Lemmon. I fell in love with him all over again watching and re-watching those Wilder films. He just seems so nice. ❤  If you’d like to skip to the Wilder discussion, that starts at 25:30.

It was great to get to indulge in my passion for MOVIES! In fact, I’m a bit excitable on the podcast…

I hope you enjoy it. And thanks again to Lee and Paul for having me!

Can *I* have the key to your apartment?

Can *I* have the key to your apartment?

6 thoughts on “Hell is for Hyphenates: Billy Wilder

  1. Rosalie Village, Brissie – some enterprising genius turned the old RSL hall into a movie theatre one Saturday night. They showed “Some like it Hot” and served dessert from “Freestyle Flowers” at half time. Epic night!
    Footnote: the restaurant and the hall have moved on, but a great movie just goes on and on.

  2. Just listened to the podcast – had never thought about Wilder’s deep seated cynicism before but you’re right…but the breath and depth of his work is staggering. Did he have more freedom than film makers today or just more talent?

    • I think talent and intelligence were certainly factors, but he did also manage to have a lot of control over many of his films. And studios were less obsessed with ‘the blockbuster’ then, too. Budgets for ‘talky’ films were healthy.

      • I can see that there was less pressure on every film to make a killing at the box office in the days when audience figures were strong and going to the cinema once a week wasn’t unusual. Enjoyed the podcast & your insights.

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