Episode 28: Tyler Perry episode artwork

EPISODE · Jan 24, 2012 · 2H 34M

Episode 28: Tyler Perry

from Director's Club

UGO and BadAssDigest writer Evan Saathoff joins us for a fascinating discussion on the controversial, yet highly successful filmmaker Tyler Perry. We focus on his most recent film, MADEA'S BIG HAPPY FAMILY, as well as his dramatic departure, FOR COLORED GIRLS, which was the adaptation of an incredibly significant series of poems. Most importantly, we elaborate in great detail, our bewilderment while watching WHY DID I GET MARRIED and its sequel. In addition, Evan reviews HAYWIRE, Jim travels back to reclaim his love of RAMBO: FIRST BLOOD PART 2, and Patrick decides to inquire to us about certain movie-watching biases or "raw materials" that we consider. In a couple weeks, musician and avid film buff, Jordaan Mason joins us to talk about the long, interesting career of director Gus Van Sant. Thank you again for a year of support, emails and listenership! This month marks our one-year anniversary for Director’s Club and we couldn’t be happier with our fans for being so complementary and sticking with us. Please be sure to leave us a voicemail to play on the show at 224-366-9528. If you’re a movie blogger/podcaster and would like a guest spot on the show to talk about a filmmaker whose work you admire (or despise). Thanks again for listening and be sure to check out our updated upcoming schedule in the sidebar to see which directors we’ll be talking about soon! Questions are always welcome via email: [email protected] is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit directorsclub.substack.com/subscribe

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Episode 28: Tyler Perry

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This episode is 2 hours and 34 minutes long.

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This episode was published on January 24, 2012.

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UGO and BadAssDigest writer Evan Saathoff joins us for a fascinating discussion on the controversial, yet highly successful filmmaker Tyler Perry. We focus on his most recent film, MADEA'S BIG HAPPY FAMILY, as well as his dramatic departure, FOR...

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