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Descubre un mundo infinito de historias

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Higher Ground

Talk Easy with Sam Fragoso is a weekly series of intimate conversations with artists, activists, and politicians. Where people sound like people. Hosted by Sam Fragoso. New episodes every Sunday.

Talk Easy with Sam Fragoso

For over thirty years, Kate Winslet has been one of the most beloved performers on screen.

We discuss her directorial debut in Goodbye June (5:00), the loss that inspired this personal screenplay (10:00), and how her experiences in Hollywood shaped her approach to directing (20:00). Then, Winslet reflects on her vivid upbringing in Reading, England (23:00), landing her breakout role in Peter Jackson’s Heavenly Creatures (30:00), and the encouragement of her artistic father (33:00).

On the back-half, we walk through how she crafted her performance in Sense and Sensibility (35:00), her Titanic audition (38:00), the scrutiny she endured in the film’s aftermath (40:00), and the body of work she ultimately made as a refutation of the industry that tried to define her: namely, Eternal Sunshine of the Spotless Mind (48:00) and Mare of Easttown (52:00).

Watch this conversation on YouTube. Thoughts or future guest ideas? Email us at mail@talkeasypod.com.

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Kate Winslet Is Home for the Holidays

In the first 100 years of The New Yorker, only five have edited the magazine. Since 1998, it’s been David Remnick at the helm, shepherding the publication into the 21st century. 

We discuss Zohran Mamdani’s mayoral win in New York City (3:24), the new documentary, The New Yorker at 100, chronicling the magazine’s evolution (11:00), how comedian Jon Stewart understands the rising influence of the podcast Manosphere (26:20), and the future of media (47:00).

Then, we turn to our first talk with Remnick from 2023, reflecting on the art that influenced him growing up in New Jersey (54:00) to his pathway to journalism at Princeton University (1:03:30) and his start at The Washington Post under the tutelage of legendary editor Ben Bradlee (1:09:00). We close with lessons from his early days running The New Yorker (1:14:30), why he cautions against despair (1:26:20), and a tribute to the creative longevity of musician Joni Mitchell (1:34:00).

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The New Yorker at 100 (with David Remnick)

What happens when a house is not a home? It's the question pulsating at the heart of the new film, Sentimental Value, and one that actor Renate Reinsve reckons with in the lead role of Nora.

We discuss her process connecting the ‘puzzle’ of each character (7:00), how she balances dark and light themes in this new film (8:20), and her creative childhood in Norway (12:00). Then, Renate describes how David Lynch’s Mulholland Drive impacted her as a young performer (20:20), her liberating teen years in Edinburgh (22:00), and how her longtime collaboration with writer-director Joachim Trier came to be—beginning with her supporting role in Oslo, August 31st (25:00).

On the back-half, she reflects on her early years in the theatre (36:20), how she recalibrated herself from stage to screen (39:15), and her spiritual tribute to the late Diane Keaton in The Worst Person in the World (42:53). To close, we talk about the final day on the set of Sentimental Value (49:40), her desires for the years ahead (55:00), and what it meant to bring her family to the film’s premiere at Cannes (58:39).

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Renate Reinsve Delivers the Performance of the Year in ‘Sentimental Value’

Following the success of The Worst Person in the World, writer-director Joachim Trier returns this fall with a candid family story in Sentimental Value.

We begin with the guiding words from writer Philip Roth (7:20), how Trier arrived at this intimate new film (8:40), and why he was drawn to father-daughter dynamics (his own, and others) in making this new project (10:00). Then, we talk about Joachim’s early observations growing up in Norway (25:00), why he prefers to be present with performers on set, rather than watching from a far-off monitor (32:00), and how he parlayed skating into his early work as a filmmaker (35:00).

On the back-half, Trier reflects on meeting longtime collaborator, screenwriter and director Eskil Vogt (37:00), the essayistic qualities of his sophomore film, Oslo, August 31st (40:00), and how that style fully solidified in Louder Than Bombs and The Worst Person in the World (42:00). To close, we revisit a recurring monologue in Sentimental Value (48:00), his last day on set with actor Renate Reinsve (50:00), and how director Martin Scorsese has inspired Trier to continue ‘stirring the sauce’ (56:00).

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Filmmaker Joachim Trier’s ‘Sentimental’ Family Affair

Filmmaker Noah Baumbach has spent the past three decades transmuting his experiences into cinema, culminating in his latest film, Jay Kelly, his love letter to movies (and the memories they evoke).
 
We begin with the “quiet crisis” Baumbach found himself in on the heels of releasing White Noise (5:30), finding his way back to the page, with co-writer Emily Mortimer, to create Jay Kelly for George Clooney (10:20), the films that defined his early years (15:00), and the week that Mike Nichols’ production of Heartburn took over his Park Slope childhood home (22:45). Then, we walk through his early, funny work in Kicking and Screaming (29:00) and Mr. Jealousy (30:45), how art imitated life in The Squid and the Whale (32:00), and the start of his lasting collaboration with Greta Gerwig in Greenberg (43:00).
 
On the back-half, Baumbach talks about his love of working with actors (45:30), setting the stage for the infamous Marriage Story fight scene (47:00), his process of writing personal stories (51:30), and how his subconscious seems to always be one step ahead of him (52:00). To close, the influence of Noah’s Hollywood mentor, the late Peter Bogdanovich (58:45) and a prescient essay from Baumbach’s mother, former film critic of The Village Voice, Georgia Brown (1:05:00).
 
Subscribe to our new YouTube channel. Thoughts or future guest ideas? Email us at mail@talkeasypod.com.
 
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The Noah Baumbach Retrospective

For your Thanksgiving inspiration: a favorite episode from Wiser Than Me, where Julia sits down with legendary cook and author Ina Garten.
 
Over the course of her 76 years, Ina has lived a few lives: she worked on nuclear policy at the White House, ran the beloved food store Barefoot Contessa, and went on to write best-selling cookbooks and host her own hit TV shows. But what’s always defined her isn’t just the food—it’s the way she brings people together around it. In this conversation, Ina reflects on how aging has reshaped her taste, the art of simplicity, and what she’s learned about handling those quietly difficult, passive-aggressive types we all know too well.
 
To hear more episode of Wiser Than Me with Julia Louis-Dreyfus, follow wherever you get your podcasts or head to: https://lemonada.lnk.to/wiserthanmefd

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For the Holidays, Ina Garten (Wiser Than Me with Julia Louis-Dreyfus)

This week, cook and writer Alison Roman published her fourth cookbook, Something from Nothing—a collection of over one hundred simple, timeless recipes inspired by the items you may already have in your pantry.

On the heels of its release, we return to our conversation with the culinary force. We discuss her dessert cookbook Sweet Enough (4:55), her early years as a restaurant pastry chef (12:24), and the chaotic conditions of working in the service industry (14:50). Then, Roman describes working at the experimental bakery Milk Bar in New York City (18:09), hosting cooking videos at Bon Appétit (22:40), and eventually working as a food columnist at The New York Times (25:18).

On the back-half, we walk through the criticism she faced in 2020 (32:20), the subsequent fallout from her remarks (38:52), the personal newsletter that emerged (47:12), the connective power of cooking (55:08), the time capsule of writing (58:30), and what she hopes for in the years to come (1:01:45).

Original air date: April 23, 2023.

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Cook Alison Roman Creates ‘Something from Nothing’

Today, we’re sharing an episode from Fail Better with David Duchovny, featuring filmmaker and writer Judd Apatow. Together, they trace the arc of Judd’s career, from Anchorman and Bridesmaids to Superbad and The 40-Year-Old Virgin, before diving into his new visual memoir, Comedy Nerd: A Lifelong Obsession in Stories and Pictures.
 
 
 
Throughout their conversation, Judd reflects on what’s driven him all these years—not the need to prove he’s funny, but the desire to understand if he has anything to say in the first place. It’s something David relates to as a writer, and it runs through the pages of Judd’s new book: a collection of everything he’s made and gathered while trying to make sense of this life he’s made.
 
 
 
They also talk about the sting of bad reviews, why they’ve both stopped Googling themselves, and how Judd’s documentary on Garry Shandling became a final act of friendship and legacy.
 
 
 
Hear more episodes of Fail Better with David Duchovny wherever you get your podcasts, or head to https://lemonada.lnk.to/failbetterfd 

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Judd Apatow’s Guide to Failure and Success (Fail Better with David Duchovny)

Director Edgar Wright hit the ground running. For most filmmakers it takes many years (and many films) to find their voice, but Wright’s seemed to be fully formed upon arrival, with 2004’s Shaun of the Dead.
 
 
 
The beloved British filmmaker joins us this week to discuss his new adaptation of Stephen King’s The Running Man (5:38), the inspiration he took from director Sam Raimi’s career path (17:30), and Wright’s moviegoing childhood in Somerset, England (20:24). Then, we dive into Wright’s own movies: the start of his collaboration with Simon Pegg (25:42), their breakout with Shaun of the Dead (28:17), and the local lore that informed Hot Fuzz (39:59).
 
 
 
On the back-half, Edgar recounts the unlikely origin story of Scott Pilgrim vs. the World—which began in Quentin Tarantino’s guest house (46:46)—his ups and downs inside the studio system (43:00), including his brief foray into the Marvel Cinematic Universe with Ant-Man (42:53), and how art ultimately imitated life in The World’s End (58:20). To close, we talk about how he sees the future of filmmaking and artificial intelligence (1:06:11) and why, after all these years, Edgar still believes in the magic of going to the cinema (1:13:55).
 
 
 
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At the Movies with Director Edgar Wright (‘The Running Man’)

For more than three decades, author Salman Rushdie has lived under threat. In 1989, a fatwa forced him into hiding. In 2022, he was stabbed more than a dozen times while speaking on stage—and nearly killed.

 

Less than two years later, he recounted the attack (and remarkable recovery) in his memoir Knife: Meditations After an Attempted Murder. Now, at seventy-eight, Rushdie returns to fiction with The Eleventh Hour, a collection of five interlinked stories that explore anger, peace, mortality, and legacy.

 

We begin with the inspirations behind the new quintet (5:52), Rushdie’s formative, bookish years in Bombay (14:20), and the tumultuous family life that shaped his early writing (21:20). Then, he reflects on his time at Cambridge (29:30), his stint as a copywriter (35:32), and the lightbulb moment that led to his breakout novel, Midnight’s Children (39:40).

 

On the back half, we discuss the fatwa (50:15) and book burning of The Satanic Verses (53:30), threats to free speech (56:36), and the slippery slope of political censorship (1:04:30). We also talk about Rushdie’s recovery and return to the page (1:14:10), his meta Curb Your Enthusiasm appearance (1:08:37), and the lasting power of literature (1:24:00).

 

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Novelist Salman Rushdie at ‘The Eleventh Hour’

Writer/director Radha Blank joins us! We talk about taking back control of her voice in her debut film, now available via Netflix, The 40-Year-Old Version (6:04), the catharsis of rapping under the moniker Radhamus Prime (11:11), the experience of coming out as an artist to the world (20:52), the personal family archiving within the film itself (26:56), the importance of portraying a different version of Black life on screen (34:25), and why she needed to make a love-letter to New York City. (41:02) 

 
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Radha Blank: The Forty-Year-Old Version

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