Adam Howard
speaker
179 appearances
10 recordings
1 series
first heard Dec 2024
last heard 7 Jul
Adam Howard’s voice in public audio — every appearance, attributed to the second.
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recordings per month · last 12 monthsRecordings per month over the last 12 months — 2 in all, peaking in Jul 2026 with 1.
Appearances
Yeah, that's not the right question.
Everybody. Ha.
You are so prolific. I mean, I think last year you were in seven films alone. It seems like you're, correct me if I'm wrong, but it seems like you're ramping up lately instead of slowing down. Is there a reason for that? Or you're just finding more projects that excite you?
Yeah. This past year, you mentioned the variety of the work you do. And you were in one of the biggest blockbuster type movies, Beetlejuice, Beetlejuice. And then you've been in sort of smaller, more intimate movies I've seen. You know, Saturday Night comes to mind. What do you think about the state of the theatrical moviegoing experience right now?
There's a lot of concern, obviously, post-COVID and with streaming kind of taking over. How do you feel about it?
On that upbeat note. Upbeat note. Sorry. Even doing things like this, like promoting this movie, doing interviews like these, I'm sure that's changed substantially since you got started in the business, just trying to raise awareness about a film. Can you speak to that and what that's been like for you?
Thank you so much, Willem, for doing this. I really appreciate it. It's been a thrill to talk to you. Okay.
Thank you so much.
Actor Willem Dafoe. His latest film, Nosferatu, improbably opens on Christmas Day. If you're going to see it, you might want to read the profile of director Robert Eggers, one of the most interesting young filmmakers in Hollywood. You can find it at newyorker.com. That's the New Yorker Radio Hour for today. Thank you for listening. David Remnick will be back next week.
The New Yorker Radio Hour is a co-production of WNYC Studios and The New Yorker. Our theme music was composed and performed by Meryl Garbus of Tune Arts, with additional music by Louis Mitchell.
This episode was produced by Max Balton, Adam Howard, David Krasnow, Jeffrey Masters, Louis Mitchell, Jared Paul, and Ursula Sommer, with guidance from Emily Botin and assistance from Michael May, David Gable, Alex Barish, and Alejandra Deckett.
We had help this week from Aaron Dalton.
The New Yorker Radio Hour is supported in part by the Cherena Endowment Fund.
The New Yorker Radio Hour · From the Archive: James Taylor Will Teach you Guitar · 18 Dec 2024
podcast
James, this evening runs the risk of being an episode in the Chris Farley show. I don't know if you remember Chris Farley on Saturday Night Live, when he would have people he admired on, he would just say, do you remember when you wrote Fire and Rain? And say, that was great. And I could go through everything you've done and simply stand here and sweat and say, that was great.
But I will try at least to find out why it's all been so great. Thinking about your music, one of the things that's always sort of stunned me about it is when you first appeared, you had a distinctive way of playing the guitar, which wasn't like anybody else. It's distinctive kind of voicings. And you had an amazing harmonic language.
You know, I always think when I go through your sheet music and see that a wonderful song like Don't Let Me Be Lonely Tonight starts with an E minor ninth chord. and then goes to a major seventh chord. Those weren't the C, A minor, F, G progressions of pop music at the time. Did you study music? How was it that the language of music came to be the language you speak so naturally?
And the cello never did it. You sold the cello at that point and pawned it on 46 Train.
And you started to compose just the way kids do, teenagers do on the guitar. You just chord to chord and idea to idea. What was the first song you ever wrote that you thought was a good song?
Would you please? I don't think this is ever here. James Taylor's first song. Has this been widely covered, James?
But you know, the strange thing is, James, I never heard that, it sounds like a James Taylor song. You know, I mean. Yeah, it does. You know, I mean, not the oompa part, maybe so much at the beginning, but the way that the bass line goes down and all of that. And it's on the minor. And it's on the minor, exactly, yeah. And that... Yeah, it does.
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