I'd never seen Texas Chainsaw Massacre before this episode.&nbsp; I had also never seen Texas Chainsaw Massacre II. Regrets, I have a few. And this apparent chainsaw-sized hole in my film-going life is at the heart the Brad Caleb Kane Experiment In Terror that are our Cannon Fodder series of episodes. Find out what happened in this chaotic mess of an episode. &nbsp; &nbsp; &nbsp;

232. 'Texas Chainsaw Massacre' & 'Texas Chainsaw Massacre II'

The first of my four-part series on Stanley Kubrick's '2001: A Space Odyssey' covers some introductory approach notes and the first sequence in the film: 'The Dawn Of Man'. In these episodes I want to avoid a nerdy technical discussion about how the filmmakers did what they did in this extraordinary, still-vital film masterpiece and instead focus on the remarkable ability of the film to inspire thoughts and feelings in its viewers.&nbsp;&nbsp; For a bibliography of resources consulted in the research of these episodes, check out  for links to materials you might find of interest.

233. '2001- A Space Odyssey', Part 1

In part 2 of my four-part series on 2001, I am going through the TMA-1 (Tycho Magnetic Anomaly One) sequence in which Dr. Haywood Floyd of "The Council" visits the International Space Station, diverts some Russian scientist attentions, presents a specious, US Governmental coverup of the Clavius discovery to a group of cowed committee members, and then embarks to Clavius base on the Moon to visit the Monolith. This sequence famously uses Johann Strauss' 'The Blue Danube' as well as additional modern pieces by Ligeti. Here's the  Tom, we kid because we love! . It's full of recommendations and podcast-adjacent ephemera. Also it's a place to hear from you!

234. '2001: A Space Odyssey', Part 2

In Part 3, I geek out into how incredible and evocative the HAL sequences are in this film; what an amazing sense of character and personality Kubrick creates through the use of Doug Rain's iconic, best-in-class voiceover and the varying cutaways to HAL's electronic eye in scenes featuring the computer. Be sure to check out my other episodes covering the other sections of 2001. Next up: THE STAR GATE sequence in Jupiter And Beyond The Infinite.

235. '2001: A Space Odyssey', Part 3

We've come to the end...or is it the beginning?&nbsp; This is part 4 of my series of episodes about the emotional and intellectual contact Stanley Kubrick made between movie-goers and his epic science-fiction film of 1968. Here's .  if you haven't; it's free and filled with random recommendations based on what I'm reading, watching and listening to on a given week. Some of it podcast-adjacent and some totally unrelated.

236. '2001: A Space Odyssey', Part 4

Well, it's come to this. Was it curiosity? Was is discovery? A sense of completism?&nbsp; &nbsp;Oxygen deprivation? Whatever it was, I've now watched '2010: The Year We Make Contact' and I leave it for you to decide whether I'm any better for it. &nbsp;

237. '2010 The Year We Make Contact'

In 1996, Francis Ford Coppola needed the money. He was coming off a run of films that included The Godfather Part III, Bram Stoker's Dracula, and Jack.&nbsp; His critical and box office results were at a career nadir. So he agreed to direct an adaptation of the John Grisham bestseller 'The Rainmaker' for Paramount.&nbsp; He wouldn't direct another film for 10 years.&nbsp; And he'd make only four more, including the epic disaster 'Megalopolis'. Curious then that 'The Rainmaker' is a superlative example of a courtroom thriller, a&nbsp; big-business-versus-the-little-guy movie that features fantastic performances from a large cast of total pros; a film that deserves to be considered among Coppola's best, and maybe a film whose constraints brought out the best in a filmmaker not know for personal or professional restraint.

238. John Grisham's The Rainmaker

JC Chandor's 2nd feature film after 'Margin Call' was 2013's sailing-catastrophe film 'All Is Lost', and it's a unique film in that it has virtually no dialogue and a single cast member in Robert Redford, who delivers a tour-de-force of non-verbal acting filled with pathos, regret, and rueful recognition of one's own self-delusions. As we continue to contemplate Redford after his death last week, it feels right and necessary to devote a few episodes to some Redford films that might be slightly off the well-worn pathways of The Sting and Butch &amp; Sundance. Listen to  &nbsp;

246. Robert Redford & 'All Is Lost' (2013)

Continuing the Redford Appreciation Episodes with a revisit of Sydney Pollack and Robert Redford's 1972 deceptively revisionist Western, 'Jeremiah Johnson'. Shaped by Redford and Pollack from an apparently off-the-wall John Milius screenplay, and only shot on location in the Utah wilderness through Redford's intervention with the studio, 'Jeremiah Johnson' is, I think, secretly one of everybody's favorite comfort watches.

247. 'Jeremiah Johnson' (1972)

Gus Van Sant's 2nd feature, starring Matt Dillon, Kelly Lynch, James Le Gros, Heather Graham, William S. Burroughs, James Remar, and Max Perlich. &nbsp;

248. 'Drugstore Cowboy' (1989)

(Werner Herzog voice) FULL CAST & CREW is a podcast that awards a film the coveted honor of our going down the rabbit hole of the Full Cast & Crew section of its IMDB page, coaxing forth meaning, dancing with its animal spirits, divining the divine fire that burns at its very heart, and reading, like runes, the unlikely connections, weird trivia, and strange quotes to determine where this film sits in the grand cave painting that is human culture. All done in the patented FCAC way that has made hosts Chris and Jason household names. Or will make them household names. By March. At the latest. Maybe early April.

New tracks tagged #Full Cast And Crew