The Questlove Show - Autumn Durald Arkapaw

Episode Date: November 19, 2025

The Questlove Show sits down with acclaimed cinematographer Autumn Durald Arkapaw for an in-depth conversation on filmmaking, visual storytelling, and creative purpose. Autumn traces her path from photography to shaping films like Sinners, Black Panther: Wakanda Forever, and The Last Showgirl, while reflecting on how family, heritage, and collaborations with Ryan Coogler and Spike Jonze have influenced her style. She breaks down the importance of trust on set, building meaningful partnerships, and inspiring the next generation. Go behind the camera with one of today’s most visionary creators.See omnystudio.com/listener for privacy information.

A win is a win. A win is a win. I don't care what I'm saying. Yep, that's me. Clivert Taylor the 4th. You might have seen the skits, my basketball and college football journey, or my career in sports media.

Well, now I'm bringing all of that excitement to my brand new podcast, The Clifers Show. This is a place for raw, unfills of conversations with athletes, creators, and voices that not only deserve to be heard, but celebrated. So let's get to it. Listen to The Clivert Show on the I-Hard Radio app,

Apple Podcast, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok podcast network on TikTok. When a group of women discover they've all dated the same prolific con artist, they take matters into their own hands. I vowed. I will be his last target. He is not going to get away with this. He's going to get what he deserves. We always say that trust your girlfriends.

Listen to the girlfriends. Trust me, babe. On the IHart Radio app, Apple Podcasts, all. wherever you get your podcast. This week on the Sports Slice podcast, it's all about the NFL draft, and we've got a special guest. The director of the NFL's

East-West Shrine Bowl, Eric Galco, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects. From hidden traits teams look for to the biggest mistakes franchises make, to the players flying under the radar.

This is the insight you won't hear anywhere else. If you want to understand the draft like an insider, you don't want to understand. miss this episode. Listen to the Sports Slice podcast on the Iheart Radio app, Apple Podcasts, or wherever you get your podcast. And for more, follow Timbo Slica Life 12 and TikTok

podcast network on TikTok. In 2023, Bachelor star Clayton Eckerd was accused of fathering twins. But the pregnancy appeared to be a hoax. You doctor this particular test twice Ms. Owens, correct? I doctored the test ones. It took an army of

internet detectives to uncover a disturbing pattern. Two men who'd been through the same thing. Greg Gillespie and Michael Mancini. My mind was blown. I'm Stephanie Young. This is Love Trapped. Laura, Scottsdale Police.

As the season continues, Laura Owens finally faces consequences. Listen to Love Trapped podcast on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. What's up, everyone? I'm Ego Vodam. My next guest, it's Will Ferrell. Woo, woo, woo, woo, woo. My dad gave me the best advice. ever he goes just give it a shot but if you ever reach a point where you're banging your head

against the wall and it doesn't feel fun anymore it's okay to quit if you saw it written down it would not be an inspiration it would not be on a calendar of you know the cat just hang in there yeah it would not be right it wouldn't be that there's a lot of luck yeah listen to thanks dad on the iHeart radio app apple podcast or wherever you get your podcasts the quest love show is a of I Heart Radio. What's up y'all? Welcome to the Quest Love Show, a new era and format for QLS.

After close to a decade of award-winning podcast that you know and love, I'm back from a lengthy hiatus to have conversations with people I always wanted to get to know on a deeper level. Earlier this week, I spoke to Autumn derald Archipal.

If you've seen sinners or Black Panther Wakanda forever, you've experienced Autumn's incredible work as a cinematographer. She also shot Beastie Boy Story and The Last Showgirl, Anne Aziz and Sars right now special. She collaborates on a higher level with Brian Cougler and Spike Jones.

Autumn is a maverick, and I love how she was open about setting boundaries in her work, her influences, and how she finds joy and family and tennis. Yes, tennis. As you'll hear in this conversation, Autumn is soulful, innovative, and deeply passionate about her craft. I told her at the end of our talk that I want to work with her someday, and I meant that to the fullest. That feeling only deepened after learning how she builds a vision, welcomes improvisation, and captures a wider perspective on life and art. My vision for this new chapter of QLS is to get to know people I already do on a different plane,

and, you know, we get to meet new voices who inspire me, in Autumn Dorout, Archipal, inspires me first with the work and then with this conversation. So please enjoy. Make sure you've seen sinners as award season is approaching. I highly recommend it. And look out for her upcoming collaboration with Ryan Coogler, which is The X-Files. All right. Thank you for joining this today.

How are you? Thank you. No, your voice is so familiar to me. It's like, you know, when you don't know somebody, but you've seen them so much and listened to them. Wow. Makes you feel like you're. know them, but you don't know them. So it's nice to meet you. It's not false modesty, but I'm always under the impression that no one knows me. So I'm approaching this as if you

never heard of me or don't know who I am or, you know, but yeah, we're meeting. We've, we've never met before, correct? I don't think, no, we actually haven't met before. No, the appreciation is ditto. So thank you for all of that. I appreciate that. Thank you. Thank you. All right. My first question to you is, can you describe to me? the first 20 minutes of your morning this morning. I have a son. He's nine years old, but my husband's also a DP. When we're both in town, it is my job to get up and do all the things that you would to get a child ready.

So I woke up and I did set an alarm because I just got back from SCAD film festival, where we got to screen centers and talk about it. So I woke up. I woke him up. I got his lunch ready. I got his breakfast ready. He has long hair, so I brushed his hair. And I chased him out the door and his father took him to school. Then I rushed to get ready for the Zoom. And that's what it was. Okay. So as a child who grew up with parents that did the same thing for living, I got tricked into the family business. Both my parents were singers. By the time I was born, they were nightclub lounge acts. So, you. Yeah, in the 70s, I was there from like five until, you're really when the root started. So like from age five to 18, I got tricked into the family business, mostly because they didn't trust the idea of a babysitter wasn't a thing until the late 80s.

So in the 70s, you just, it's like farm work. You just, and I'm in the nightclub at one in the morning, like operating lights, cutting gels, monitors, all those things. If both of you do the same thing, is there a hope that there's a creative epigenetic passing of the torch? Are you leaving camera equipment? His version of my first Sony, like, you know. No, I mean, I think for me, the allure is if he does have an interest when he say 13, 14, in operating a camera, then I get to be close to him because we only have. one child, and then I can bring him with me on all my jobs, right? So if he's really into it, it just allows me to spend time with him because, you know, when we make these films, as you know

when you do music, you're away for long periods of time. You have to juggle life and, you know, schedule. So he is interested. I wouldn't say it's like his top thing. You know, he's kind of a builder. He likes building stuff, but he did bring his camera, because he has a nice camera, to his camping trip recently and made a bunch of videos. And he was the only kid doing it. So it's there. I'm just not, you know, on the cusp. It's just like, maybe it will take off, maybe.

What was your first creative project in life? What I can remember the most, I think, is being in high school and, you know, they have the labs, the photography labs. Yeah. The first time I felt like ownership of something that I made was the, black and white photography class I took and having to go out there, you know, the assignment, like, go take some pictures, whatever you like, go talk to some people. And I remember taking a bunch of pictures and I still have them printed in a book and they're black and white. And I felt like a sense

of power because I had made something, but also it was my own, right? It was my perspective. I've never been asked that, but it immediately came to mind. So I feel like it had to be that class because that was the first time I think I did anything. Like I wasn't a painter. I wasn't good at drawing. So that photography class, I think, was important in, like, I guess that would be like ninth grade. Okay. What year was that? Do you remember? Let's call it 94, 94, 95. Before then, was there a passion for photography? Were you reading magazines and seeing, like, her Brits or Annie Leibowitz or any, like, did you have a North Star for photography? It's interesting because I don't have anyone.

My mom works in business. She always traveled a lot. She raised me. It was just me and my mom. I'm just myself. And she was a single mom until she remarried when I was in eighth grade. But as far as like she would take me to films, she would go to museums. I always had art around me.

But my grandparents, my mother's side's Filipino. And she was born in England and he was in the service. And they traveled the world for his job, like he would be stationed in. in London and then he would go to the Americas in New York. And my grandmother always took photographs. I can't show you right now. It's on a wall. But a lot of the photographs are black and white photographs where they're center punched.

And it's just like single shots of like my grandmother in New York or my grandmother in London. And they were always around. Like my mom always had them around. And that must have had an impact because until this day, like the way that I frame, I find that there's similarities. But that's like the first relationship I had with photography. before doing art history in in LMU undergrad, where you're learning about Rothko,

where you're learning about Eggleston and then you're more versed in it. But they always had photos around our house growing up. You went to LMU? I did. I went to LMU for undergrad, yeah. Okay, despite my quest loveness, I have a major fear of public speaking, kind of a therapeutic challenge.

This was like December of the year before in 2024. My therapist was like, she knew that no was my favorite word when it came to, Hey, Quest, come speak to the kids. Hey, Quest, you want to talk to these, you know, like. And so it just so happened that LMU had given me an offer to speak to the graduating class. And I begrudgingly did it. Weird enough, I made it about me by just. telling that class how scared I was to do this and somehow it became like...

Yeah. When was that? Obviously, before the podcast, like before you did more... Oh, really? This year. Yeah. Well, okay, you know, previously with the podcast, you know, I had four other co-hosts with me. Like, I like community work, but when it's like one-on-one, that's like, er, there's too much intimacy.

So even this is more or less like a... somewhat cathartic therapeutic exercise. Yeah, I was going to say. Yeah. I like that no thing. I specifically wanted to talk to people like, one that I didn't know like the back of my hand and, you know, kind of two strangers meeting.

So that's what I'm doing. What is your favorite childhood memory from your home? It doesn't have to be in a major event. Like, oh, that time we went to Disneyland or whatever. But just like, what's your version of a happy moment from your childhood? it. Gave me all emotional and shit. I think it's mostly like my, it was always me and my mom, you know, together. Yeah. What traits of yours do you think that you've gotten from your parents, either creative or personal? I think she's pretty resilient and very determined person. I think being

raised by someone and always listening to her on the phone and doing her business work because she does international trade business and interacting with people. I was always worried about her, I think, early on, you know, going out by herself because you become kind of the caretaker, you know, if it's just you and her. She's pretty tough. So I always tried to follow in those footsteps. And yeah, I mean, we spent a lot of time together. You know, it's just us too. like I grew up in northern California. What city specifically? Well, we first started out in San Leandro.

I lived in Hayward as well. Bay Area, you know, near Oakland. And we had a little apartment, you know, so I shared a room with her early on. And then she moved me to Danville, which is a less diverse community to go to a better school because it had a really good public school program. So you kind of move from like a diverse area into, you know, most, you know, I was probably the only mixed-race kid. Maybe there were a couple black people, a couple Asians. But it was way, you know, nicer environment for her to be okay with, like,

single parenting and having good education. But that's my favorite, yeah, I think just spending time with her because I'm that quality time kind of person, you know, that, uh, that fills me up. You, uh, said that you were parent. Is there a trade of yours that you feel like you've passed on to one word to your child? Yeah, I think my husband and I are always telling him, like, and I believe it, because I think, you know, my mom told me, but you can do anything you want to do. You know, you really, anything that inspires you, anything that you feel in your bones, make sure you know we're there to help you with that, but also that, like, you have the ability to do that. And I think I was told that my husband grew up in a very supportive.

He's Australian, but he has a big family, a very loving family. And I do feel like I reiterate that to my son a lot. So is it true that a friend of yours gifted you or purchased you a cinematography class at UCLA? Yeah, isn't that crazy? I haven't emailed him for a while. But when I graduated LMU, I got a job for AOL Time Warner. I was a temp. You know, I had to like graduate, get some money, and I got a temp job through a friend.

And I had to input, like, you remember when AOL, had banners. Like it was early stages and the banners would pop up all over the place like on the sides and the top. And it would be like, right? Like buy this car, buy this Honda. I used to put together spreadsheets for those banners and support someone who was doing auto sales online. So I had a cubicle at a desk and I would do that. I would input all the stuff and, you know, a nice little paycheck. And I just started to be interested in cinematography. And I remember telling him and his father owned ELS, which is one of the same. of the biggest lighting companies that works with the premieres or big events around Los Angeles.

So there's like this weird through line. And then on the side, he's like, you know what? I'll help you buy that class. Like I looked into a night class. So when I would get off work, I would go to UCLA for the cinematography class, like a little semester class. And I would learn what being a DP meant. I did the class. I loved it. And then I decided to quit. And he got me a job working at ELS to help lay the red carpet and put up the lights for the premieres. So I did like Mission Impossible, Devil Wears Prada. You were on the night shift. So I'll know if you've been to a premiere a little early, but you see people crawling around,

taping up the carpet, putting the lights up. Totally. I do that. I'm the DJ that they'll hire sometimes for events. Oh, yes, of course. So I'll have to be there early to set up. Like, I love how the sausage is made and any thing that I go to. So as a new director, speaking of myself, I'm learning fast that my, you know, team has to be intact.

I initially thought that as a director, that I'm part of the starting five players on the floor. And I learned quickly that I'm the coach and the cinematographer, the editor, the writer, the soundman, the colorist. like all those people are the starting five and you're the coach. So because I came in backwards at the top of the pyramid. Yeah. You know, for most people in film, I noticed that, yes, there's a pecking order. For you, was the desired destination always cinematography? My comfort zone is definitely where I'm at.

I mean, I get asked a lot, I think being a female DP at this level, because there aren't that many of us, you know, shooting this level of film. historically. So the question comes up a lot, well, are you interested in directing? And I think why that is is because, you know, you get to a point on set where you're very versed in how a set's run. You're next to the director all the time. I work with, you know, I do the big budget films with a lot of the effects. So they always just imagine, okay, well, well, you must be interested in directing now. You know, and I think it's an interesting thing because I've now gotten to the point in my career where you've worked so hard as a female DP to be able to do those things. And then now they're already trying to like ask you to go

this direction. So I hear that question a lot. But I'm so I think passionate about the way things are shot and lighting that I could never give that up. Right. So it's easy for me to position myself. And Ryan's like, hey, do you want to do this Rihanna video? That's up my alley because it's music related. It's beauty related. I get to work one on one with a star and make them look beautiful and and to make them feel comfortable. But no, I think I'm lucky to have found a partner in Ryan because we have similar tastes and we like the same things and I understand him really well. But to do his job, like it is a very, very difficult position to be in, as you know, I don't have a story that's like so in my bones that I have to tell and only I'm the only one that can tell it, not yet.

you know, maybe in the future there is something that only I can tell as a director. But I really do enjoy supporting him and the other directors I work with because, as you know, it's just, it's a very complex job to do everything. Well, number one, you mentioned Rihanna's Lift Me Up video. What was the creative decision behind doing that handheld as opposed to, you know, Crane and, you know, this is Rihanna, like. I feel like every director has their Lawrence of Arabia dream of like the, or Citizen Kane, like the sprawling opening scene thing. And, you know, handheld is more of a raw, personal, intimate things. But what was your decision behind shooting it that way?

Yeah, we had a crane that we used. You know, the opening is a water shot. We shot some more stuff that I didn't use with the, like, wide. shots of the water before we went into intimate stuff. So that was done on a crane to kind of crawl over the sand. But I mean, I came up in Indies. I came up shooting music videos, fashion films that didn't have any money. So when you have a camera in your hands and it is an extension of yourself and your point of view, that's how you learn to find where the camera needs to be, right? And so I'm very much an operator. I've operated most of my films, all the stuff that I do. So when I'm having to

be in a situation where light is falling quickly, I want to be with her. I want her to move freely and do what she wants, but I also want to capture and get the right shots. Then you want to take as much control as you can, right? I don't want to worry about it being on a dolly and moving the dolly, then I have to worry about the dolly grip, then I have to worry about all the stuff. So I put it in my hands, so I have the most control and I'm most intimate with her, similar to last showgirl, you know, with Pamela, like being close to the woman so you can move with her and find her beauty easily. In general, I want to know how much leeway or access or preparation are you given to your subjects that you're going to film? Like, how do you even map out the choreography of how

you're going to shoot that, what their strengths are, what their weaknesses are, or is this just taking direction from your director and you executing? Like, how much leeway are you given to, well, actually, why don't we try this and da-da-da-da. Like, specifically, I want to know for the last show, girl. Okay. Well, I'll start with that scene. I think the best thing that you can do is work with people that allow you to exercise your creativity and have trust in you, right?

When I work with Gia, we started out running around. We shot Palo Alto. We're running around with a bunch of kids with her friends. She's my best friend, so we talk every day. But it's someone I know really well, and I know what they like, and I know where they want the camera. It's intuitive. I choose people to collaborate with that we have that connection.

So when it's with her, there's a lot of trust in camera that she gives me, and that's why that kind of relationship works. Also, with that scene, I remember, you have to be, the best thing you can be as a DP is quick to make decisions and have solutions. So I remember I didn't have any prep there. I think Gia came up and said, Jamie wants to dance on that thing in the middle of the casino.

Right. Like we have some time, you know, in between some other scene we were shooting. She wants to dance. She's going to dance to this song. We're going to shoot it. I'm like, all right, cool. So then I told me,

tell my gaffer like to position the light in a good spot. I just evaluate, you know, that kind of podium that she wanted. I picked a direction. I said, I'm going to shoot it from here because it was the best direction for lighting. And I moved a little bit of a key light for her. And then we just let her do her thing. And I captured it, you know, while she was dancing and handheld. And that was it.

And I think there are a lot of those types of moments that in the film like that because you want to be free and vulnerable to like what the actor may want to do, but you also want to get those moments that the director wants because Gia loves those non-communication moments where it's just following women around and letting them like Pamela, we went on the parking lot on a weekend and Pamela just started dancing around

and being funny and cute and we just captured it. So there's a lot of that. For you, though, how do you decide the thin line of what would be deemed an unflattering shot but staying true to what's needed? it to really make that film come alive. Because, of course, a lot of us know Pamela Anderson for all these slow motion glam shots

and everything's perfectly edited and whatnot. But for you, how aware of you on how this has to look to make this film come alive? We had been discussing it, Gia and I, for a long time prior to when we actually ended up shooting it. So she was always looking for someone to, to be vulnerable and not have a lot of makeup on to not go through makeup at the top of the day, because that can be time consuming, to just be themselves, right?

To just be raw. And so that was the directive. That was someone she wanted to play it. We knew that we didn't have a lot of money to make this film. We knew that we'd make it with a small group with friends on film. It would be very intimate where we would have all the control. And that was the most important thing because we made a film before that where we didn't have as much. control and we wanted to make a film where we had control. She has all the control. I have all the

control and we make it. And that's very rare. As you know, it shouldn't be rare because we're the filmmakers and we both have director in our title, but it does happen and it's unfortunate when you don't. So with this film, it's very much our retelling of that story, which is nice. You can watch it and only you made those mistakes. You weren't forced into anything. As you know, Pamela, But, I mean, she's just amazing. And same with Jamie. It's like they're okay with just being themselves. They're at that point where they're so confident in who they are that it's so enlightening to be able to shoot women like that.

And so they put their trust in you that you know what it should be lit like. You know where the camera should be. So for that, like I wanted to have a lower footprint, which meant using a lot of available light, which meant going into spaces, using a lot of practicals. And then just how I exposed it, you just need to know your exposure, right? What you can push and what you can't. And that's just like having experience and trial and error, I think, in the spaces. And then as a woman, like, I know where the beauty shots are.

You know what someone will look powerful or where the camera needs to be. And then I also made lenses for that picture. So Hannah Vision and I made some lenses that had never been made before, anamorphic 16 lenses because I couldn't find any lenses that I liked. So we made some. So it has a very particular look that I feel is very flattering because it's very soft old vintage glass. But I detuned it in a way that has a lot of fall off and is more dreamy. So that also helps when you're thinking about how this should look to pair the film stock with a beautiful lens.

Which also in turn, I think, as you know, lighting and lensing are in conversation with each other. The lighting can only look great if the camera is in the right position. It depends on what that lens is. So, yeah, it was very thought-through, but always with the intention of having a small footprint and not getting in the way of the process. What is your attraction to the anamorphic style of shooting? Like, did you see it happen before, or are you in a place where you're just like, I want to push forward the things that I'm not seeing that I wish I seen?

Yeah, well, see, I went to AFI. So, you know, it's a playground for you to explore an actual. questions and you have access to like camera houses and stuff. So early on before AFI, I was in love with the format because I saw films like Manhattan, the last emperor, these films are shot on anamorphic. They have a lot of scope. And I didn't exactly knew like the logistics of that format at the time. But it was like, what am I responding to that makes me feel like this is cinematic?

What is this? Because I saw a similarity in this format, right? You have twice the field of view. Faces look different. There's more fall off, like all these characteristics that come with it. And then when I was at film school, I looked into it more and started shooting my own animorphic. And then you figure out how to use the format. But for me, it's just something that I think early on when I was researching film making,

I was responding more to film shot in anamorphic. And now it's just like kind of my thing. But I don't push it on directors. That's the thing. A win is a win. A win. I don't care where you're saying. Yep, that's me, Cliver Taylor the 4th.

You might have seen the skits, the reactions, my journey from basketball to college football, or my career in sports media. Well, somewhere along the way, this platform became bigger than I ever imagined. And now I'm bringing all of that excitement to my brand new podcast, The Clifford Show. This is a place for raw, unfiltered conversations with some of your favorite athletes, creators, and voices that not only deserve to be heard, but celebrated. One week, I'll take you behind the scenes of the biggest moments and sports and entertainment, and the next

we'll talk about life, mental health, purpose, and even music. The Clifford Show isn't just a podcast. It's a space for honest conversations, stories that don't always get told, and for people who are chasing something bigger. So, if you've ever supported me or you're just chasing down a dream,

this is right where you need to be. Listen to the Clifford show on the IHeard Radio app, Apple Podcast, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok Podcast Network on TikTok. There's two golden rules that any man should live by. Rule one, never mess with a country girl.

You play stupid games, you get stupid prizes. And rule two, never mess with her friends either. We always say that, trust your girlfriends. I'm Anna Sinfield, and in this new season of the girlfriends... Oh my God, this is the same man. A group of women discover they've all dated the same prolific con artist. I felt like I got hit by a truck. I thought, how could this happen to me?

The cops didn't seem to care. So they take matters into their own hands. I said, oh, hell no. I vowed. I will be his last target. He's going to get what he deserves. Listen to the girlfriends. Trust me, babe.

On the Iheart radio app, Apple Podcasts, or wherever you get your podcasts. What's up, everyone? I'm Ego Wode. My next guest, you know from Step Brothers, Anchorman, Saturday Night Live, and the Big Money Players Network. It's Will Farrell.

Woo. Woo. My dad gave me the best advice ever. I went and had lunch with them one day. And I was like, and Dad, I think I want to really give this a shot. I don't know what that means, but I just know the groundlings.

I'm working my way up through, and I know it's a place that come look for up and coming talent. He said, if it was based solely on talent, I wouldn't worry about you, which is really sweet. Yeah. He goes, but there's so much luck involved. Mm. and he's like, just give it a shot.

He goes, but if you ever reach a point where you're banging your head against the wall and it doesn't feel fun anymore, it's okay to quit. If you saw it written down, it would not be an inspiration. It would not be on a calendar of, you know, the cat. Just hang in there. Yeah, it would not be. Right, it wouldn't be that. There's a lot of luck.

Listen to Thanks Dad on the IHeart Radio app, Apple Podcast, or wherever you get your podcast. This week on the Sports Sliced podcast, it's all about the NFL draft, and we've got a special guest. The director of the NFL's East West Shrine Bowl, Eric Galko, joins the Sports Sliced podcast to break down what really matters when evaluating draft prospects. From hidden traits teams look for to the biggest mistakes franchises make to the players flying under the radar, this is the insight you won't hear anywhere else. If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice podcast on the Iheart radio app, Apple Podcasts, or wherever you get your podcast. And for more, follow Timbo Slica Life 12 and TikTok podcast network on TikTok.

In 2023, former bachelor star Clayton Eckerd found himself at the center of a paternity scandal. The family court hearings that followed revealed glaring inconsistencies in her story. This began a years-long court battle to prove the truth. You doctored this particular test twice in someone, correct? I doctored the test ones. It took an army of internet detectives to crack the case. I wanted people to be able to see what their tax dollars were being used for. Sunlight's the greatest disinfected.

They would uncover a disturbing pattern. Two more men who'd been through the same thing. Greg Alespian and Michael Marantini. My mind was blown. I'm Stephanie Young. This is Love Trap. Laura, Scottsdale Police. As the season continues, Laura Owens finally faces consequences.

Ladies and gentlemen, breaking news at Americopa County as Laura Owens has been indicted on fraud charges. This isn't over until justice is served in Arizona. Listen to Love Trapped podcast on the Iheart Radio app, Apple Podcasts, or wherever you get your podcasts. The director has to want to shoot in that format. You don't want to like push them into it if they're not into it. A win is a win. A win is a win.

I don't care which I'm saying. Yep. That's me, Cliver Taylor the fourth. You might have seen the skits, the reactions, my journey from basketball to college football, or my career in sports media. Well, somewhere along the way, this platform became bigger than I ever imagined. And now I'm bringing all of that excitement to my brand new podcast, The Clifford Show. This is a place for raw, unfiltered conversations with some of your favorite athletes,

creators, and voices that not only deserve to be heard, but celebrated. One week, I'll take you behind the scenes of the biggest moments in sports and entertainment, and the next we'll talk about life, mental health, purpose, and even music. The Clifford Show isn't just a podcast, it's a space for honest conversations, stories that don't always get told, and for people who are chasing something bigger. So if you've ever supported me or you're just chasing down a dream, this is right where you need to be. Listen to the Clifford Show on the IHeart Radio app, Apple Podcast, or wherever you get your podcast.

And for more behind the scenes, follow at Clifford and at TikTok Podcast Network on TikTok. There's two golden rules that any man should live by. Rule one, never mess with a country girl. You play stupid games, you get stupid prizes. And rule two, never mess with her friends either. We always say that trust your girlfriends. I'm Anna Sinfield, and in this new season of the girlfriends... Oh my God, this is the same man.

A group of women discover they've all dated the same prolific con artist. I felt like I got hip-hift. by a truck. I thought, how could this happen to me? The cops didn't seem to care. So they take matters into their own hands. I said, oh, hell no. I vowed. I will be his last target. He's going to get what he deserves. Listen to the girlfriends. Trust me, babe. On the Iheart radio app, Apple Podcasts, or wherever you get your podcast. I'm Ego Wadam. My next guest, you know from Step Brothers, Anchorman, Saturday Night Live and The Big Money Players Network, It's Will Farrell

My dad gave me the best advice ever I went and had lunch with him one day And I was like And dad I think I want to really give this a shot I don't know what that means But I just know the groundlings I'm working my way up through And I know it's a place that come

Look for up and coming talent He said if it was based solely on talent I wouldn't worry about you Which is really sweet Yeah He goes but there's so much luck involved And he's like Just give it a shot

He goes but if you ever reach a point where you're banging your head against the wall and it doesn't feel fun anymore, it's okay to quit. If you saw it written down, it would not be an inspiration. It would not be on a calendar of, you know, the cat. Just hang in there. Yeah, it would not be. Right, it wouldn't be that.

There's a lot of luck. Listen to Thanks Dad on the IHeart Radio app, Apple Podcast, or wherever you get your podcast. This week on the Sports Slice podcast, it's all about the NFL draft, and we've got a special guest. The director of the NFL's East West Shrine Bowl,

Eric Galko, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects. From hidden traits teams look for to the biggest mistakes franchises make to the players flying under the radar,

this is the insight you won't hear anywhere else. If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice podcast on the IHeartRadio app, Apple Podcasts, or wherever you get your podcast.

And for more, follow Timbo Slice of Life 12 and TikTok Podcast Network on TikTok. In 2023, former bachelor star Clayton Eckerd found himself at the center of a paternity scandal. The family court hearings that followed revealed glaring inconsistencies in her story. This began a years-long court battle

to prove the truth. You doctored this particular test twice in so-ins, correct? I doctored the test once. It took an army of internet detectives to crack the case. I wanted people to be able to see what their tax dollars were being used for.

Sunlight's the greatest disinfected. They would uncover a disturbing pattern. Two more men who'd been through the same thing. Greg Gillespie and Michael Marantini. My mind was blown. I'm Stephanie Young. This is Love Trap. Laura, Scottsdale Police.

As the season continues, Laura Owens finally faces consequences. Ladies and gentlemen, breaking news at Maricopa County as Laura Owens has been indicted on fraud charges. This isn't over until justice is served in Arizona. Listen to Love Trapped Podcast on the Iheart Radio app, Apple Podcasts, or wherever you get your podcasts. From 1 to 10, what is your tolerance level for a micromanaging director versus someone that just lets you have the

to do what you do? I mean, have you had an experience with a micromanaging director that's always, oh, damn, you didn't even let me get it. Okay. And the opposite, we could say a more pleasant situation where you're given the leeway to show what you know and your education and it works out fine. Like, you've been on both sides of the fence. Is there a way for you to describe both to me without compromising and putting yourself?

No, no, of course. I think the thing about it is when you get to a point where you feel like you have something to offer, right? And you can relate in music where it's like you have something to say. It's inside. It's in your bones. And the people that recognize that and see it in you and see it in your work and then ask you to come break bread with them and join their family and say, you know what? I see that magic. And I want you to join me to help me tell this story. Because only you can be the person. person to tell it. And those are the people that I want to work with. And I've been lucky enough to work with those people, like A Gia, like Orion, even with Spike, like, you know, even though it was in a movie, like, these are very collaborative people. They're very talented people. And they have their own point of view, and they know how to kind of explain it to you. And then they want to collaborate with you, right? So they have a vision that they hand off to you, that you work together with them. And it's very clear. And it's a great relationship. And on the other hand, I've been in situation where I think I've been hired because of my work, but then when we get to the point

at which I need to execute my, you know, and help them, they want to micromanage me. And so I'm not even allowed to get that out, right? So it's already a conflict because it's like, you know, come play this music. Oh, wait, don't play that. Like, well, the motherfucker, why am I here? Why am I? You know, so it. Now you're from the Bay Area. I was waiting for Ella or motherfucker. All right, good. So I'm like, I think for me, I don't put myself in those situations anymore. Life is too short. I have a family. I have to be away.

And that's what's so beautiful with Ryan. It's like, you know, we go and we make these films. Wakanda took a year long. And it's like, he protects my time. He protects the effort that I put in. I know it will be worthy. I know I will be respected. I know that I will be able to collaborate on the highest level.

So I tend to look for that opportunity because it is hard. as an artist to just be, you know, told no all the time or the trust isn't there or not being able to be brave. Like, I want to work with brave people. I don't want to work with restricted people, like scared people. Is that answer? Now going off on a tangent. Talk your shit. Talk your shit. Yeah. I like that. All right. If you were to recommend me three films that probably touches you the most, what would those three films be? Hannah and her sisters is the Woody Allen film

the Last Emperor, Bertolucci and Barry Lyndon, Kubrick. Have you seen any of those? Yes, of course. Well, that's great. Yeah, some people say, like, oh, I haven't seen Last Emperor. But that means, yeah, a cinephile, I suppose, yeah.

I lived on a tour bus for 20-plus years. And the thing is, yeah, I'm not going to just pretend that we were all these criterion collection nerds. It just became the point where I got tired of watching Friday and Juice and Scarface on the tour bus. Yeah. So I live in the East Coast. So in Philadelphia, New York, there's, you know, independent places, like a TLA video

or Kim's video, where a lot of those. And even when I go to, like, to L.A., like going to Rasputin's. or going to Sunset Boulevard, they just shut down. The tower, like it used to be Tower Records and it turned into Amoeba. Yeah, yeah, tower, but also Amoeba. Yeah. Yeah, and then that's when I discovered, oh, Criterion Collection. Now I want to watch, you know, things that I haven't seen before.

Well, I'll ask you, are you a Criterium person or a To Be person? To be honest, I didn't do the deep dive on Tube yet. And Criterion, I think I would. was after college, but now I'm just like, you know, Apple TV, which doesn't give you any of the extras, obviously. Ah, don't you need that? Yeah. Well, and I do, I'm not going to lie to you.

Like, and I've talked a lot about this with my husband, the more and more you shoot movies or work on film sets, unfortunately, the less and less you watch movies, especially how they're made because you, you, I mean, you're there. You start to, you know, you get to a point where. but I did when I was coming up like a thin red line is another one that I'd add to that three where I remember watching the criterion of a thin red line to find out, you know, how they made that

and I was just blown away because I didn't know anything at the time, so I think it was more alluring when I didn't know stuff. I have to rapify you on your profession. For the Aziz special, I was just so obsessed with the diacist, and old framing, just the unorthodox framing of it. You just walked me through just the creative of that special. Spike and I met because he wanted to do a music video that didn't end up happening. We did that

before Beastie Boys. Who was it for, by the way? You know who it's for, but I forget. Can't say. But you would know. You would know. But it's escaping me now. Like, so on important. And I was very excited. We went and scouted it. It didn't happen. So then we did Aziz. together and what was cool about it was Aziz was performing in Manhattan Beach in a smaller comedy club down by the beach. And so that was our first kind of, I guess, dress rehearsal. So Spike took me down there. I met him there. He had a camera on his back the whole show. And this is like hour and a half, I guess, hour and a half show. And I had a camera on my back digital. And we shot the show as like a dress rehearsal of like, let's see how we vibe with Aziz. And this is something Spike wanted to do to

kind of see the angles that would be good. It's not the space that we were going to shoot it, but it was kind of just learning, like a learning process. And what was so funny was, you know, having a camera on your back for an hour and a half is pain in the ass. But I remember thinking, like, well, Spike's doing it. I'm not taking this camera off my back. You know what I mean?

Because we were rolling the whole time. We rolled the whole show. And it just forced you to kind of find perspectives and angles that were interesting. Because, you know, it is when you hold on an angle for a long time, you know, it can get boring and then you, it makes you think about where's the better angle. So you're always one-uping yourself trying to figure out what those angles are, but you're also keeping an eye on the other operator to see where they are, right? So you can kind of dance with each other.

And it's only the two of you? There's only two of us. And you didn't do a pre, this is my zone, this is your zone. I think that was the point of that dress rehearsal. Like, we definitely had a talk when we went into the space, right? It's an empty comedy space. You know, we knew you'd be on stage. he'd have a little stool.

And then Spike obviously was like, okay, well, I think this or that. Because I remember adjusting some lights. So there was a conversation about it. But I think in the moment when you're trying to move around, you also have to just think on your feet too, even though we would say like, okay, I'll take this side or that side. Because I allowed him like he was, I think, you know, you want to make sure you're not stacking up.

And sometimes I think he might have told me like we can go to the audience. Sometimes I'll stay on him, watch me. If I stay on him, then you go here. You know, so there's a conversation that you would have with that operator. And so that was our dress rehearsal. Then fast forward, we're in New York. And, you know, we also did a dress rehearsal there, but we're shooting on film. And I think in conversations with Aziz, you know, they wanted to shoot it on film.

And one of the biggest references, I think, Spike gave me was those old Richard Pryor shows that were shot on 16. So I watched those. Obviously, it made sense to me. But it was a tall order because shooting, I think we had six cameras. shooting simultaneously, knowing when you have to change the mag so you don't miss a beat on each angle, right? You have to coordinate all of that.

So it was a lot of prep in the sense. Like I remember with Spike, he's very specific, but also he wants to try things. So like we would set the camera up in different zones and we would figure out that was the right zone and then we mapped it out. We also did a lighting test

where we lit it, we lit the backstage. We tried some things. developed it. We watched it to see if he liked it. So there was a lot of prep, I would say, in that sense, because when you take it to film, you know, accidents can happen. So you need to be on top of your game and make sure all the operators and all the mag switches are on time. We had all the monitors set up, HD tap, and I would, you know, you're doing a little bit of coordination. Spike did operate the onstage camera for one of the shows, I believe. And I think

We shot two nights. Am I tripping, maybe? But yeah, I mean, it was all coordinated. And so I think it was nice to do that smaller show with him. But he wanted it to feel alive, right? He wanted it to have the texture and the kind of quality that came from those old Richard Pryor shows where you can feel the grain alive. And so, yeah, there was a lot of discussion. But we got very lucky.

I mean, I wouldn't say we had like a bunch of jams or, you know, because that shit is like, you're sweating. trust me just when. I wish concert films were shot that way. Like, I just, Spike is an idol of mine. Yeah. He's so fun. Like, I would say that, right? It's like, it was fun to work on, and it's fun to watch

because he creates that environment when you're making a film. Like, let's just do this. Let's go here. Let's, you know, like, I'm an operator. And, you know, it was fun. So. So I experienced sinners. Flew out to L.A.

My preferred destination points in Los Angeles is either the new Beverly to watch movies and Vista House to watch, both owned by Quentin Tarantino. Pretty much from, not since I was a child, I come from also a place where before the VCR, you would go to a movie house at 11 in the morning and just stay all day. It's sometimes watching two, three times in a row of film, because you're like, there's no way I'm going to see this ever get in life. And I watch sinners three times in a row. What are you talking about?

What? I was obsessed. That's amazing. I love it. I was obsessed. So how much experience did you have with the large format, 65 millimeter. Well, one, that format, but also with IMAX, like, is 65 millimeter the same, or is it two different cameras that you have to operate at once?

Yeah, no, so it's the same negative running through both cameras, but in different ways. So two different cameras, like you just said. The anamorphic format is the widescreen, which is that 276, hateful eight format that people are familiar with. And that is a 65 millimeter negative running vertically through a camera, which is a Panavision camera called a System 65 camera. that camera is very heavy. That camera is not necessarily a handheld camera, right?

It's a studio camera. It's on a dolly or whether it's on a crane or stuff like that. There's a high-speed version of that that allows you to shoot high-speed that's a little bit lighter that we put on a steady-cam sometimes. For instance, the oner that goes and follows Mrs. Chow across the street and her daughter in the grocery store scene. So that's steady-cam. And then you have the IMAX camera, which is 65-negative, same negative. but it's going through the camera horizontally, and it's 15 perfs, not five perfs.

So much bigger, negative real estate, different cameras. So that's IMAX camera. I had not shot any of these before, and neither had my team. So Ryan, myself. First timer? Yeah. Not even for Black Panther.

Was that used at all? No. So when you see, that's the thing, I think what was so great about Ryan's video where he explained all the formats, is that a lot of people get a, bit confused about when they go see an iMacs film if it's digital iMacs or if it's film iMacs. The only team that we're familiar with, like you know, you and I that are shooting this format

would be Hoyta and, well, Christopher Nolan, Christopher Nolan and Hoytah. And then obviously Wally Fister with the Dark Night was the first IMAX film I went to see at the citywalk. And so that's the filmmaking team that's shooting film imax in a large format that goes in between the formats. So, yeah, so when it came time to do this, we did our own testing, but it's not available to everyone. To be honest, those cameras that we use, there's only four of them for the system cameras. So it's not like multiple movies can be shot at the same time, because those are the cameras that are used. So if that team is not using those cameras,

then, you know, we were lucky enough to get to use those cameras. So yeah, that's the format thing. And yeah, it came up. I don't know if you read, but Ryan originally saw, as a 16 millimeter picture. I can't even imagine. That's what we were supposed to do it as. That's why I made those lenses for last showgirl because I was kind of thinking ahead and thinking like, oh, let me test these out. And then we can use them on that film because we shot right after.

But then we, you know, obviously Ryan up the ante as he does. And we went, you know, we tested 35 and then we tested large format. So, yeah, how much rehearsal do you get before it's the day of, not the day, of reckoning, not to make you sound apocalyptic, but it has to be intimidating, no? Like, are mistakes allowed? I mean, I go back to what you, that question you asked me before about my lane. I don't like how you said public speaking, you get nervous and stuff. Like, I would assume when you're in your element and you're playing music, like, that is your space. And I feel very confident in what I do. And when I'm doing, that's where I feel most comfortable. Correct

is a pain in the act, right? When you do it, you have, you do all the tests and you have to, like, figure everything out. That's very tedious. But if you put a camera in my hand and I now know how to use it, game on, right? So I think for us, we always have on movies, let's call it like eight to 12 weeks of prep. That's just rough number. But you have a lot of weeks to go over this stuff. You do not have eight to 12 weeks of prep to just mess around with the camera because

obviously there's a cost to that prep, right? So say you prep that kind of camera package for five weeks, something like that. So what that means is you're at the camera house, your ACs are at the camera house, they're testing the lenses that you want to use. We're running film through all of the magazines through the camera. We're looking at the film gate. We're doing shutter tests. So there's a lot of logistics that go into making sure that these cameras are going to behave properly. You have a lot of technicians that are helping you do that. And I always feel like for me, I said this to the students recently. When I came up in film school, I didn't know as much as everybody else. So I was learning

from a bunch of people. Most of them were men. And I hated the feeling when someone was staring at me, look at me in the eyes, saying, like, well, I don't understand what you're saying. Like, I don't know what you want me to do. Like, they were forcing me to, like, figure out how to explain what I wanted, you know, how I wanted the lighting to look, how I wanted to move the camera. And I felt very uncomfortable, right? And you can imagine, like, there's not, you know, many of us. So I bowed to not have that happen to me throughout my career. So I had to go out, always make sure I knew the cameras, as long as make sure I knew exactly what I wanted for lighting. And I learned.

So I'm a very technical person. So I make sure that my shit is tight because I don't want anyone staring at me and being like, well, I don't understand what the fuck you're talking about. You know, I don't know what you want. So I find that like when I have that prep time, it becomes like a very tedious thing where I'm working with my team, making sure that like I know the shit so that when we get on set and it's D-Day, like you say, then nothing can get in the way of Ryan telling his story,

that all the people that I've brought to support him, the focus pullers, the G&E, everyone is tight. Then that gives us the creative, you know, freedom to do what we want. So we're not having mistakes happen. In that situation, how are you adaptable to freestyling or your plan B, your plan C, in case something goes awry? Is that also a part of the process of doing this? Yes.

No, 100%. Because I think what Ryan loves to do too, and I appreciate this, is like in prep, we board everything. He wanted to board the whole film, so we boarded it. We do previs for the most, you know, complex sequences, like the one or the musical oneer or the train sequence, stuff that we need to like guide a bunch of different teams, but also see ahead of time how it's going to plan out so we know how we're shooting it. But it doesn't mean that we get there, we don't change it. And that's what I love is like, you have a plan because you're, you're going to be a plan. because you have to with that many people

and this complex stuff we're doing. But we can throw it out if we want to because we're in the space. Michael B. Jordan is, we're doing a blocking with him and all of a sudden, you know, the sun's coming in or you see these special moments that you want to adapt quickly to because the actor is now in the actual space

giving you shit in the rehearsal. So you don't want to stick to maybe what you thought of on the page in an office like six weeks ago. So yeah, we adapt. And I love that about Ryan because we have a plan but we also feel it out as well. And that's where you can get extra stuff or you can have different versions of things.

But no, I think the more you know, the more you can play jazz on set, right? Like if you prep your shit tight before, then you can be more free-flowing and not be erratic, I guess. A win is a win. A win is a win. I don't care what I'm saying.

Yep, that's me, Cliver Taylor the 4th. You might have seen the skits, the reactions, my journey from basketball to college football or my career in sports media. Well, somewhere along the way, this platform became bigger than I ever imagined. And now I'm bringing all of that excitement to my brand new podcast, The Clifford Show.

This is a place for raw, unfiltered conversations with some of your favorite athletes, creators, and voices that not only deserve to be heard, but celebrated. One week, I'll take you behind the scenes of the biggest moments in sports and entertainment. And the next, we'll talk about life, mental health, purpose, and even music. The Clifford Show isn't just a podcast.

It's a space for honest conversations, stories that don't always get told, and for people who are chasing something bigger. So, if you've ever supported me or you're just chasing down a dream, this is right where you need to be. Listen to The Clifford show on the IHeart Radio app, Apple Podcast, or wherever you get your podcast.

And for more behind the scenes, follow at Clifford and at TikTok Podcast Network on TikTok. There's two golden rules that any man should live by. Rule one, never mess with a country girl. You play stupid games, you get stupid prizes. And rule two, never mess with her friends either. We always say that trust your girlfriends. I'm Anna Sinfield, and in this new season of the girlfriends,

Oh my God, this is the same man. A group of women discover they've all dated the same prolific con artist. I felt like I got hit by a truck. I thought, how could this happen to me? The cops didn't seem to care. So they take matters into their own hands. I said, oh, hell no. I vowed I will be his last target.

He's going to get what he deserves. Listen to the girlfriends. Trust me, babe. On the Iheart radio app, Apple Podcasts, or wherever you get your podcasts. What's up, everyone? I'm Ego Vodom. My next guest, you know from Stepbrothers Anchorman,

Saturday Night Live and the Big Money Players Network. It's Will Farrell. Wooo, whoo, who, who. My dad gave me the best advice ever. I went and had lunch with him one day, and I was like, and Dad, I think I want to really give this a shot. I don't know what that means, but I just know the groundlings. I'm working my way up through, and I know it's a place that come,

look for up-and-coming talent. He said, if it was based solely on talent, I wouldn't worry about you, which is really sweet. Yeah. He goes, but there's so much luck involved. And he's like, just give it a shot. He goes, but if you ever reach a point where you're banging your head against the wall and it doesn't feel fun anymore, it's okay to quit. If you saw it written down, it would not be an inspiration. It would not be on a calendar of, you know, the cat.

Just hang in there. Yeah, it would not be. Right, it wouldn't be that. There's a lot of luck. Listen to Thanks Dad on the IHeart Radio app, Apple Podcast, or wherever you get your podcast. This week on the Sports Slice podcast, it's all about the NFL draft, and we've got a special guest. The director of the NFL's East West Shrine Bowl, Eric Galco, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects. From hidden traits teams look for to the biggest mistakes franchises make to the players flying under the radar, this is the insight you won't hear anywhere else.

If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice podcast on the Iheart radio app, Apple Podcasts, or wherever you get your podcast. And for more, follow Timbo Slica Life 12 and TikTok podcast network on TikTok. In 2023, former bachelor star Clayton Eckerd found himself at the center of a paternity scandal. The family court hearings that followed revealed glaring inconsistencies in her story. This began a years-long court battle to prove the truth. You doctored this particular test twice in someone's, right? I doctored the test ones.

It took an army of internet detectives to crack the case. I wanted people to be able to see what their tax dollars were being used for. Sunlight's the greatest disinfected. They would uncover a disturbing pattern. Two more men who'd been through the same thing. Gregalespian and Michael Marantini. My mind was blown. I'm Stephanie Young.

This is Love Trap. Laura, Scottsdale Police. As the season continues, Laura Owens finally faces consequences. Ladies and gentlemen, breaking news at Americopa County as Laura Owens has been indicted on fraud charges. This isn't over until justice is served in Arizona. Listen to Love Trapped podcast on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. I would assume that music sequence. I mean, there's so many iconic sequences, but for me, that's the one that grabbed me the most.

And it came so early. So I don't know if I should call that the epicenter of the heartbeat of the film. But that's one of the things we're obsessed about where it's like, how did that look on page? Because I feel like what was captured wasn't specifically written on page. Like, it just, I'll ask you, what was the most difficult sequence to shoot in that film? Yeah, it wasn't that one. I answered this once because I think someone asked me when I was talking about IMAX on something. And, well, to go back to how it was written, it was beautifully written.

But, you know, something like that is written in description. right? Because it's so like ethereal and surreal. And so when I first read it, it has so much imagination. So you read it, it makes you think like on your own by yourself, right, when you read it. And then I have a meeting with Ryan and then he's explaining what he wants to do with it, right? How it makes him feel, what his drive is for the scene. And then that's when it starts to fill itself out and then you have meetings about it. He also did some rough drawings, boards, you know, prior to us fleshing it out fully. So I kind of After you see those, you have a bit of an idea of what he wants. But it is a kind of evolves, you know, based off of what he read. If you read that, which I'm sure the script will come out at some point, it's beautifully written. And so it is actually that cool on the page. But visually, I think it turned into something much greater, obviously. But no, I think for me, the hardest scene was the last scene that we shot the fight in the river, the night fight.

And I think for me, why I say that's the hardest is because, number one, it's night. those are always difficult. But when there is VFX involved, I find it difficult because with VFX, we try to get as most as we can in camera, but there's a lot of stuff that's being done way later, right? And as a DP on set, you want to know what that's going to look like. You want to know how they're going to manipulate the image.

You want to know the kind of the path that it's going. And so when I don't have control, that's when I find it difficult because I need control. So that scene, I think, in itself, was more complex because we did some work on it, obviously. We did most of it in camera. We did burn him. But you can see there's a lot of collaboration between makeup, the effects, the actors, how we shot it.

So that was the trickiest thing for me, I think, because it has an evolution. There's a fire tornado, all this stuff like that. Where did you watch it for the first time with an audience? A real audience. I don't want to call it real because it was a premiere. You know how premieres are. Right. But did you go to see it with non-industry people?

I did after the premiere. So I would say the first time I saw it, well, the first, you know, we watch it 100 million times because we're doing the QC. I got to watch the print. I got to do the HDR. I got to watch the digital projection. So I see it a bunch with Ryan. So you're tired of it. A film like this, you aren't because it makes you so happy.

You know, it speaks to you. Like it speaks to your history, your culture, your family, your relatives. So I didn't have a problem with it, you know, like watching it a bunch of times. I was very proud of it. So you're like, when you watch it, you're like, But no, I watched it with a regular crowd, in quotes, regular at the premiere in New York. And then the first time I really watched it was that city walk. I went to city walk.

And I watched it with a real crowd. And, you know, I get it. I think I get emotional every time I watch it for sure. Yeah. I assume that the X-Files are next, right? Yeah. How familiar were you with the series before you signed on to it? Like, were you obsessive or like, what was the?

process of tackling that. I was not. I was and am not. My mom loved that show. It's funny because I think Ryan said something in the media recently that he's making it for his mom or like that, you know, she really loved that show so he wants to do right by her. But my mom, I guess it was like in a time and her place like to watch that and be obsessive about like next week is this. And she would do that. But I never got that into it. I mean, I'm not versed in it.

I did watch it throughout my life sometimes. I found myself watching it. But I'm okay with that because I feel like what's nice about maybe not knowing everything is you can be more imaginative because when he hands me the script, it's a new version of that, right? Right. But same roots. I think not too long ago I watched the first the pilot episode to revisit it. But I try not to get too much in my head. Like I'm more big on like him having a conversation with him about what things mean and doing my own homework than like watching it all and fill in my head with like what was.

It's to make sense. So you didn't like watch the box set 12 times over to make sure. No, no, no. We're about to get into prep. So I'm not in prep officially yet. So I'm going to have to revisit that. Well, especially with your line of work, how long do you give yourself in between projects to even commit to another project and go through the process of like sitting with it,

doing some research and starting your notes? No, no, it's such a good question because I think, because my husband also a DP and he does bigger movies as well that I don't want to work all the time

you know like I don't I'm not like a back to back to back person I think last showgirl and sinners these are like my two best friends so I you know that had to happen like that I wasn't going to not do those ones but it's not something that

like I pour so much of myself into it that it's very draining by the end of it so I'm not even thinking about like calling my agent, like, what else you got for me, you know? Oh, so I'm not doing that. You're not a stacker. I'm not a stacker, yeah.

But I do commercials. I'm a stacker. You're a stack. Well, you'd be, yeah, that's the thing. I think many people are. There are reasons why I'm not. But I also, like, fill it in with commercials. So, like, for instance, you know, I finish sinners.

I'm back at home. And now I'm flying to Barcelona to shoot a soccer commercial. So I get to exercise, you know, shooting. I'm not doing a narrative, which is my favorite. But because we get to do commercials in between, I've been doing commercials since sinners wrapped. And the pilot, like our dates have shifted a bit. So the pilot I was supposed to, you know, it's like when things shift, you kind of run with

it. So I haven't put anything in front of that. Our commercials, your version of me going to a jam session at a jazz club to try new things out? Yes. Then you get to work with your friends, right? Like, your friend can call you like, come jam with me. And they're like, okay, I'll come jam with me.

for a week. What is your other talent that's not film-related? Tennis. I play tennis. Okay. But I'm not like going pro or anything, but I find that, like, is very helpful to me. Like, I have a coach. I'll go play. Like, I'm going to go play after this. What is your go-to movie theater snack? Oh, popcorn or raisinets. Mixed together. Mixed together. Okay. What's the film that you've seen the most in your life? Probably heat. I'm showing that for my birthday this year. Oh, you are? I ran out a movie theater the Saturday before my birthday.

And I curate not a 24-hour, but like 16 to 17-hour all-day film festival, like cartoons in the morning, and then a musical, whatever I liked in the 80s, something in the 90s, a gangster flick and usually ends with like a really horrible B-film or like that. How do you manage stress? Like, how do you, what's your self-care routine? I like to be, I'm a homebody because I spend so much time outside. You know, like, I just did that film festival. I'll push myself to go do things because I think they're important.

And like being at that festival, you know, as a representative, you know, they had me there. They gave me, like, I was part of a panel, but also the students that were there. Like, I was texting Ryan and I was telling him, I was like, I could count on two hands how many black women came up to me and said, thank you for what you do. And they wanted to meet me. That was unheard of, on two hands. So I had more than five.

And they were lovely students. And then when I have those experiences, it makes me go, you know what, this is why I'm going to go out and talk. This is why I'm going to do the interviews because some girl is going to read it. And it's going to be something that is important to her. And so all that stress, you know, because you got to stack all this stuff, you know how it is for this time and period. It's worth it. And I do see Ryan doing that too. He's very inspirational in that regard where like he gives a lot of people his time and energy and also his family.

He's a great family person. And I see that in him. So I want to extend that as well because I've been given this opportunity that many people do not get. So my self-care is I'll do all the stuff. But then when it's time to rest, I like to be in my home by myself. If my son's at school or whatever it is, but I need alone time. I need some space and time for myself. Or I'll go play tennis.

tennis is my, yeah. But if I'm on set and I'm stressed, someone might, you know, I might get upset, yell at somebody, go out of a cigarette, maybe something like that. You know, this has been really educational. And I thank you for giving me the honor of this conversation. I am such a fan of your work. Thank you so much. And I hope to one day to work with you.

Very cool. I would like that. I've like six. You got a stack of shit that you need to do. I am. I'm definitely working until like 2032. So I really appreciate it. And thank you very much.

Ladies and gentlemen, this is Autumn Archipal. Am I pronouncing that correctly? Yeah. It's actually, well, you could say Archipa. Archipa. I think they, it's my husband's last name, but they changed it. It's Archipov. But when they immigrated it, they changed it to Archipa.

You know? Okay. But yes, Archipal. Beautiful. Well, thank you very much for talking to the Questlove show. And ladies and gentlemen, I will see you on the next go around. All right.

Thank you. Thank you. Questlove show is hosted by me. Amir Questlove Thompson. Executive producers are Sean G. Brian Calhoun and me. Produced by Brittany Benjamin and Jake Payne. Produced for Iheart by Noel Brown.

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I don't care what you're saying. Yep, that's me, Clifford Taylor the 4th. You might have seen the skits, my basketball and college football journey, or my career in sports media. Well, now I'm bringing all of that excitement to my brand new podcast, the Clifford Show. This is a place for raw, unfilled conversations with athletes, creators, and voices that not only deserve to be heard, but celebrated. So let's get to it. Listen to The Clifford Show on the IHeard Radio app, Apple Podcasts, or wherever you get your podcast.

And for more behind the scenes, follow at Clifford and at TikTok podcast network on TikTok. When a group of women discover they've all dated the same prolific con artist, they take matters into their own hands. I vowed. I will be his last target. He is not going to get away with this. He's going to get what he deserves. We always say that trust your girlfriends. Listen to the girlfriends.

Trust me, babe. On the Iheart radio app, Apple Podcasts, or wherever you get your podcast. This week on the Sports Slice podcast, it's all about the NFL draft. And we've got a special guest. The director of the NFL's East West Shrine Bowl, Eric Galco, joins the Sports Slice podcast to break down what really matters. when evaluating draft prospects. From hidden traits teams look for to the biggest mistakes franchises make

to the players flying under the radar. This is the insight you won't hear anywhere else. If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice podcast on the iHeartRadio app, Apple Podcasts, for wherever you get your podcast. And for more, follow Timbo Slica Life 12 and TikTok podcast network on TikTok.

In 2023, Bachelor star Clayton Eckerd was accused of fathering twins. But the pregnancy appeared to be a hoax. You doctored this particular test twice, Ms. Owens, correct? I doctored the test ones. It took an army of internet detectives to uncover a disturbing pattern. Two more men who'd been through the same thing. Greg, a lesbian.

Michael Marantini. My mind was blown. I'm Stephanie Young. This is love trapped. Laura, Scottsdale Police. As the season continues, Laura Owens finally faces consequences. Listen to Love Trapped podcast on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. What's up, everyone?

I'm Ego Vodam. My next guest, it's Will Ferrell. Woo, woo, woo, woo, woo. My dad gave me the best advice ever. He goes, just give it a shot. But if you ever reach a point where you're banging your head against the wall and it doesn't feel fun anymore, it's okay to quit. If you saw it written down, it would not be an inspiration. It would not be on a calendar.

of, you know, the cat, just hang in there. Yeah, it would not be. Right, it wouldn't be that. There's a lot of luck. Listen to Thanks, Dad, on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. This is an IHeart podcast. Guaranteed human.