With “We Are the Shaggs,” the film and TV director, previously known for comedies like “He Said, She Said” and “The Office,” tells a true story that raises intriguing questions about art, authenticity, and how we judge creative endeavors.
Jonathan Gray, Susan Margolin, Jennifer Tiexiera and Katie Townsend Join IDA Board of Directors
idastaff
Wed, 03/11/2026 – 14:03
Jonathan Gray, Susan Margolin, Jennifer Tiexiera and Katie Townsend Join IDA Board of Directors
idastaff
Wed, 03/11/2026 – 14:03
Gandbhir’s Message Pictures is teaming up with Imagine Documentaries on the film that expands on Goldberg’s autobiography “Bits and Pieces.”
Where exactly has director Bennett Miller been all these years? Supposedly, he’s gone down the rabbit hole and become obsessed with the advent of A.I. technology. I don’t blame him—it’s an endlessly fascinating topic that seems to be growing in relevance with each passing month.
It’s been twelve years since “Foxcatcher” premiered at the Cannes Film Festival, which remains Miller’s last film. He has been trying to make another one—tackling AI and written by Charlie Kaufman—but the last I heard, Kaufman dropped out of the project, and there’s been no update since.
It also turns out that Miller has spent these past twelve years working on a documentary tackling “how technology has altered our realities in ways we know and, more terrifyingly, don’t yet know.” The upcoming film essentially examines the costs and benefits of AI technology.
Sadly, the doc, which features interviews with the likes of Henry Kissinger, Sam Altman, the Dalai Lama, and Reid Hoffman, has been in post-production limbo due to legal wrangling.
Some good news, finally: in a profile for the French newspaper Le Monde, Miller reveals that the judicial hurdles that prevented his documentary about A.I. from being shown have been cleared up and that it will be screened in the spring.
Miller reveals that it will be shown in an undisclosed New York cinema, but “in a fluid way.” “It will change every night,” with the screening of different segments depending on the guests. He hopes to screen it in Paris, too.
We’ll be keeping an eye on this one, and maybe a Cannes premiere will be in store for it in May.
Miller has directed three features in his strange but fascinating three-decade filmmaking career: 2005’s “Capote,” 2011’s “Moneyball,” and 2014’s “Foxcatcher.” All three were critically acclaimed. It’s time he makes a new film—despite the limited output, Miller is one of the great American filmmakers of the 21st century.
André Is an Idiot chronicles a San Francisco ad guru suffering from terminal cancer. It’s the funniest doc about death you’ll ever see
André Is an Idiot chronicles a San Francisco ad guru suffering from terminal cancer. It’s the funniest doc about death you’ll ever see
Editor Viridiana Lieberman joins Adobe Video’s Morgan Prygrocki in this exclusive interview to reflect on her ACE Eddie-winning work in the film ‘The Perfect Neighbor.’ This unconventional documentary, up for Best Documentary at this year’s Oscars, uses real-life footage including police body cams and Ring cameras to reinvents the “true crime” genre. Viridiana shares her beginnings as an editor, her process tackling this intricate project in Premiere, her advice to aspiring editors, and more, in this deep dive.
Chapters
00:00 – Intro
01:05 – How Did You Become an Editor?
02:48 – From Footage to Final: Editing The Perfect Neighbor
06:50 – Were Any Scenes Particularly Challenging to Edit?
07:56 – The Collaborative Process Outside the Cutting Room
09:16 – How Was the Sundance Submission Process?
10:55 – What Advice Would You Give to Aspiring Editors?
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Academy Award winner Morgan Neville profiles the TV legend for Focus Features.
Lorne Michaels won the Mark Twain Prize for Humor, but he’s never told a joke we can remember.
Michaels doesn’t do impressions or stand-up comedy, and his deadpan delivery hardly screams “laughter.” His oversized presence on the comedy scene, though, is undeniable.
He created “Saturday Night Live” in the mid-1970s, the show that revolutionized TV comedy and spawned some of the biggest movie stars in Hollywood.
Murphy. Ferrell. Murray. Chase. Aykroyd. Rock. Poehler. Sandler. Myers. Fey.
Now, he’s getting the feature film treatment.
“Lorne,” in theaters April 17, recounts the consequential life of “SNL’s” brainchild. He’s still hard at work at 81, overseeing a show in its fifth decade.
And, yes, “SNL” is a shell of its old self. The series no longer produces A-list comedy stars. In fact, most Americans would be hard-pressed to name more than two current cast members.
Even worse?
“SNL” no longer rocks the zeitgeist, in part due to its extreme liberal bias. The show once hammered both sides of the aisle without mercy, swatting President Bill Clinton and Gov. Sarah Palin with equal glee.
Now, as former cast member Jay Pharoah recalled, the show gave up on “the Obama thing” and every subsequent Democrat.
That’s the biggest question hanging over “Lorne.” Will the film press Michaels on the show’s undeniable transformation?
So far, no journalist has been able to do just that. A few have teased that political question over the years, allowing Michaels to insist the show doesn’t take sides.
That’s hilarious.
RELATED: ROB SCHNEIDER ON ‘SNL’ – IT’S OVER
“What I wanted was a voice in the culture,” Michaels says in the trailer. That can be interpreted in two distinct ways. He got what he wanted in one regard, influencing humor beyond his wildest dreams.
Did he succeed on the latter front? For a while, yes.
Chevy Chase’s “SNL” take on President Gerald Ford branded him a klutz, a far cry from the former athlete’s actual demeanor. The show’s withering takedown of Gov. Palin, courtesy of Tina Fey, made her a laughingstock, whether you like the unorthodox politician or not.
Today?
The show’s far-Left skits get traction in the media and on left-leaning social accounts, but the show no longer sways the masses.
Sadly,that’s the legacy Michaels is leaving in minds of many, and he doesn’t deserve that fate. But he has only himself to blame.
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