The Frame

Hello from Park City! Host John Horn, editor Darby Maloney and producer Michelle Lanz check in to talk about a few of the standout films they've seen so far, as well as which filmmakers you can look forward to hearing on The Frame in the coming weeks.

The Frame host John Horn reports from Sundance on the festival's opening night and he interviews director Sydney Freeland (“Deidra and Laney Rob a Train”) and the husband-and wife team of Janicza Bravo and Brett Gelman ("Lemon").

Sundance's new initiative, "The New Climate," features documentaries that are focused on the environment; Solange Knowles dissects “Cranes In the Sky” from her breakthrough album, “A Seat at the Table.”

Composer Nicholas Britell talks about combining classical music with hip-hop production techniques to create his compelling score; the 2017 Sundance festival is expecting nearly 50,000 movie lovers, Hollywood executives, filmmakers and entertainment journalists.

After John Lewis was criticized by President-elect Donald Trump, the Congressman's grahic novel trilogy about the Civil Rights Movement shot to the top of Amazon's best-seller list; Netflix has a new version of the Norman Lear sitcom that puts a 21st Century spin on matters.

Andrew Garfield, who can be seen in two current films,"Silence" and "Hacksaw Ridge," reflects on Meryl Streep's Golden Globes speech and opens up about how he finds meaning in his work as an artist; Oscar-winning editor William Goldenberg shares secrets from the editing room; and a new exhibit at the J. Paul Getty Museum has artists turning their attention to the news as a muse.

News that filmmaker George Lucas will build a museum for his personal art collection in Los Angeles has a lot of people talking about "Star Wars" but this passion project will house more than memorabilia, says L.A. Times architecture critic Christopher Hawthorne; and Jeffrey Kahane, the musician and conductor who led the LA Chamber Orchestra for two decades now leads the Lift Every Voice music festival which challenges racial and religious injustice.

A new study reports that there is more violence in PG-13 films than ever — even more than in R-rated movies; you may not recognize Finn Wittrock by name, but you surely know his face from FX's "American Horror Story" to big films such as "The Big Short;" Sarah Megan Thomas is adapting her female-centric film, "Equity," for the small screen.

The new comic book anthology, "Love Is Love," was curated by Marc Andreyko, who marshaled an army of artists in the wake of the 2016 massacre at the Pulse nightclub in Orlando; meet a music supervisor who worked with Issa Rae and Solange Knowles on HBO's "Insecure;" the Producers Guild of America makes its picks for the best films of 2016.

Is Hollywood pushing a liberal agenda through the entertainment it makes? If you watched Meryl Streep’s speech at the Golden Globes last night you might think so. Mary McNamara of the LA Times and James Poniewozik of the New York Times join The Frame to discuss; Then theater director Pam MacKinnon shares how she turned the beloved film "Amélie" into a stage musical with "Hamilton" star Phillipa Soo in the lead.

In "Girl" director Lukas Dhont tells the true story of trans dancer Nora Monsecour and he defends his choice to cast a cis-male in the lead role; Hollywood Screenwriters argue with their talent agencies saying they're putting their companies' interests ahead of their clients.

Laure de Clermont-Tonnerre's feature film debut is about a former inmate sent to a rehab program to train wild horses; a new study from the Berklee School examines at women in the music industry; a report from the SxSW Film Festival in Austin.

The filmmaker directs an HBO docu-series about the murder case made famous in the podcast, "Serial"; drummer Antonio Sanchez, who created the percussion score for the film, "Birdman," is performing his album, "Bad Hombre," live for the first time.

The playwright's drama, set in Northern Ireland during "The Troubles," is based on a real story; Spotify and other streaming services balk at paying more to songwriters; "Captain Marvel" is female-centric, down to the music.

It's hard to gain traction in the oversaturated podcast market, but Wondery has become know for its deep dives into true crime stories; one-half of Kevin & Bean is calling it quits; comedian Angelina Spicer found humor in her darkest moments.

A new documentary includes never-before-seen footage and newly discovered audio recordings to dramatize the 1969 moon landing.

"Gloria Bell," starring Julianne Moore, is a remake of the 2013 Chilean film "Gloria." Both are directed by Sebastián Lelio who celebrates a character usually sidelined in traditional movies. And we meet the Portland-based group Y LA BAMBA and we what learn what China can teach the world about music streaming.

He's a co-founder of the rock band The National, but also a sought-after composer of contemporary classical works; Dan Reed, director of the Michael Jackson documentary, "Leaving Neverland," on how his film came together; celebrating the 100th anniversary of the theremin.

Series co-creators Anna Konkle and Maya Erskine talk about capturing the awkward and hilarious middle school experience; Martin Scorsese may be forcing Netflix to change its theatrical screening strategy.

The actor didn't imagine he would write and direct the adaptation of "The Boy Who Harnessed The Wind," but that's what happened; composer, conductor and pianist André Previn has died; Van Nuys High School students collaborate with the L.A. Master Chorale.

Musicians Inara George and Eleni Mandell host an occasional performance and conversation series with songwriters of all genres composing music around a common theme; is R. Kelly still getting paid?; TV composer Kurt Farquhar was once homeless.

The veteran R&B singer finds the soul in classics such as "It AIn't Me Babe" and "Mama, You Been On My Mind" on her latest album, "Things Have Changed"; Emma Thompson went public with her decision to pull out of a movie produced by the company that recently hired a disgraced former Pixar executive.