Welcome back to ThinkTalk's Hump Day Movie Day. Every Wednesday we're going to pull a favorite interview from the archives. This week, our feature showing is a Director's Cut interview with Jared Hess, the creative and comic genius behind films like Napoleon Dynamite and Nacho Libre. The director and producer sat down in the ThinkTalk studios to answer questions from the University of Maryland. He talks about how he became successful as a director, and also gives tips on scriptwriting.

Welcome back to ThinkTalk's Hump Day Movie Day. Every Wednesday we're going to pull a favorite interview from the archives. This week, our feature showing is a Director's Cut interview with Richard Linklater, the man behind Fast Food Nation. He sat down in the ThinkTalk studios to answer questions from the University of the District of Columbia. He talks about how he became successful as a director, and also gives tips on becoming a good playwright.

Hey all! I wanted to give everyone a heads-up for an upcoming Director's Cut guest, Robert Stone. He'll be visiting the ThinkTalk studios next week to talk with our host Erika about his career in the film business and his advice for students, and you can submit a question for the interview at Stone's bio page.

Since the early days of cinema, there has always been a creative marriage between film and music. Before movies had built in sound or dialogue, live music was played in movie theaters to add atmosphere and emotion. When you watch a lot of the early post silent era movies from the 1930's, you'll still hear music but you won't hear it from beginning to end. It wasn't necessary because the viewers could now hear sounds coming from the mouths of the characters. Most of the music in those movies is played during the beginning, the end, and during transitions.

Even though the face of cinema keeps changing for better or for worse, film scores have not lost their power. In 1975, "Jaws" made a lot of people afraid to swim in the ocean. The "Jaws" score by John Williams definitely makes the appearance of that shark all the more frightening. Bernard Herrmann's score was very effective in the shower sequence from the Alfred Hitchcock thriller "Psycho". The score for "Back to The Future" composed by Alan Silvestri added extra excitement to the time travel adventure that only had about 32 special effects. "Avatar" will not only be remembered for the lifelike 3D special effects but it will also be remembered for the powerful score by James Horner. Last year, my father introduced me to the classic "The Great Escape". Everytime I talk to him about the movie, he whistles that joyful score from that movie by Elmer Bernstein.

There are many TV shows from the past and present that are remembered for their theme songs. Certain products are remembered not only for their trademarks but also for their catchy jingles. Soap operas will always be remembered for their cheap and cheesy music. There are many movies that will always be remembered for their score.

If you are a filmmaker, or aspire to be one, remember how much impact your film's musical score can have.

"Fast musical notes on a music sheet" courtesy Horia Varlan via Flickr Creative Commons

John Badham's "I'll Be in My Trailer: The Creative Way Between Directors and Actors", is a book every film maker should own. "I'll Be in My Trailer" was published in 2006. I came across the book when one of my teachers used it as a text book for my 'Directing With Actors' class at the Art Institute. This is one of the few text books that most students don't sell back after finals. In this book, film director John Badham discusses first hand directorial experiences including the bridge scene in "Saturday Night Fever". When John Travolta showed up for that scene, Badham had already filmed Travolta's stunt double crawling across a bridge to stop a friend from jumping. The stunt double had already gone home for the day but Travolta told Badham that his character would never crawl. After much heated discussion, Travolta told Badham, "I'll Be in My Trailer". Badham ended up filming the scene with Travolta walking and had to correct the continuity errors in post production.

"I'll Be in My Trailer" also includes interviews with other directors including John Frankenheimer discussing how Frank Sinatra's insisted on completing his performances in just one take on the set of "The Manchurian Candidate". Francis Ford Coppola also talks about living out every director's worst nightmare when he was directing "Apocalypse Now". If you're an actor, this book is especially useful because you get to read about actors being directed including Jenna Elfman, Dennis Haysbert, Michael Caine, Betty Thomas, and Martin Sheen.

Badham defines the language directors use when speaking with actors as "Actor-Speak". Otherwise, directors need to realize that actors are human beings whether they are multimillionaires or amateurs. It seems that there has to be a certain level of sensitivity when offering constructive criticism to the actor because a lot of actors tend to be very sensitive. Providing a healthy and comfortable environment is also essential. Being what Badham refers to as a "Stealth Director", or a passive aggressive director, creates a distance between the director and actor. That sounds like a shot in the foot for the director because if the actor doesn't remember their director on a certain project, how can the director's reputation flourish? Actors often mention in DVD interviews about certain directors making an impression on them. The more aggressive directors are Badham refers to as "War Horses". If I ever decided to be a director, I'd like to be in the middle ground between the "Stealth" and the "War Horse". Even though I've only done stage acting and directing, I can still see it from both sides. I would want to create an environment where I'm working with my actors and they are comfortable asking me for help.

Even if you don't want to direct or act, buy this book. A cinematographer or assistant director would also benefit from reading this book because they also work on the set when the actors are present. Being that I want to be an editor, I still have that actor inside that wants to come out and play every now and then. Directing a huge production sounds like the challenge of all challenges but I'm sure I would get some kind of satisfaction out of it. After all, the first line in the book is, "Making a movie can be a first-class blast most days." Find out what he says next when you buy it!

"HVR-V1P Front" courtesy Jaymis via Flickr Creative Commons

We were very excited to welcome SHE.E.O and entrepreneur Marla Malcolm Beck to the ThinkTalk studios today. Erika talked to her about her experience founding Bluemercury as a 29-year-old businesswoman. Marla answered student questions from the University of Maryland's Dingman Center for Entrepreneurship. Marla has a great story- a Harvard graduate, she went from a career in the financial industry to founding a luxury product internet store to being CEO of 26 spa and retail locations around the country. If you are thinking about starting your own business someday, definitely check back in January to watch the show.

Zack passed along a video he spotted last week on Kottke.org. In a 1960s interview in Paris, Orson Welles is talking about his films and his work/life balance. In the first few minutes of the video, the interviewer asks Welles if, in his experience, he has worked to live or lived to work. Welles has a fascinating answer.

"I regard working as part of life. I don't know how to distinguish between the two." Incredible man and a great quote. Even in an antique armchair sipping tea, Welles is an imposing figure and I really enjoyed watching the interview. His opinion on work being an extension of life, not separate from life, made me think of something director John Hillcoat said during a ThinkTalk interview about the importance of passion for your work.

There you have it: your deep thoughts Monday at ThinkTalk. If you're not already done, good luck with finals!

At least, I think he was a Republican. He certainly talked like one. And he had the matching t-shirt

Yesterday was the day of our big Question and Answer session with Michael Moore at George Washington University. The Q & A, held in conjunction with the GWU College Democrats had around 400 students and featured some great conversation, a little debate and even a little bi-partisan love.

Moore was in town to talk about his newest documentary, Capitalism: A Love Story. I moderated the hour-long discussion, but luckily had very little talking to do (better for everyone involved, I think) because we had so many students ask so many great questions. We discussed Michael's problems with our current financial system, the hypocrisy of Wall Street corporations asking for a tax-payer bailout, health care and the role of media in politics. Plus a lot lot more.

Granted, the show was a little more political than we tend to get on ThinkTalk. But every once in a while it's good to mix things up. And as the image shows, it wasn't all arch-liberal propaganda. I think we actually had a very good mix of students and covered a lot of sides of the economic debate. To whet your appetite a bit, I've included a short clip below of the event.

If that's not enough, don't worry, the entire interview will be available on ThinkTalk.com this Friday, October 2nd, which - not coincidentally - is the day that the film opens nationwide. Check back Friday (well, check back every day but Friday for Michael Moore) to see the full show.

Welcome to the Daily Roundup. Each day at the ThinkTalk Blog we will post some links that we find informative, interesting, or just plain funny. The goal is to let you know what else is going on out there, and ultimately help you with the development of your career.

While ThinkTalk does its best to provide students with insight into the world of careers that await graduation, I think it is important for us to sometimes step back and gain perspective. College isn't trade school. You aren't learning a craft. More than anything, a Liberal Arts education teaches you how to think and provides a perspective on the world. It prepares you for life, the challenges you will face and the careers you will have.

Simply because you major in econ or poly sci or journalism does not mean that these are the fields in which you will work. Life has a funny way of screwing up your plans, and you never know where you'll end up with your career.

Today's Wall Street Journal features a Q & A with Reality TV producer Sara Mast. The interview details how Mast went from a B.A. in Women's Studies, to an M.A. in Screenwriting and a career producing "The Hills." Sara addresses some great questions from starting at the bottom to making the jump to reality.

Q. How do you distinguish yourself when doing menial tasks like getting coffee or sweeping floors? A. It was my eagerness to do whatever was asked without question. I also had an interest in camera and lighting and so I worked for free on some other small productions. So I also apprenticed in the camera department. And I found somebody who mentored me. I kept asking him a lot of questions until he saw that I had a passion for the work, and so did he. That helped my career a lot.

If TV or film is something that you would like to pursue, I would highly recommend reading the entire article for a great perspective on how to make it in a tough industry (also, you know, check out Director's Cut). Of course, even if you don't think you will pursue this career, you may want to read the piece anyway. After all, you never know where you are going to end up.

Acclaimed director Danny Boyle joined the Director’s Cut recently to discuss his newest film Slumdog Millionaire. The film tells the story of an 18 year-old orphan who receives the chance of a lifetime by appearing on India’s most popular game show, “Who Wants To Be A Millionaire.” The well-told story deals largely with fate, destiny, friendship, and love. Slumdog Millionaire won the People’s Choice Award at the 2008 Toronto International Film Festival and has been met with critical and popular acclaim.