British playwright and screenwriter
POPULARITY
2 episodes with Alice Birch
4 episodes with Alice Birch
2 episodes with Alice Birch
2 episodes with Alice Birch
2 episodes with Alice Birch
2 episodes with Alice Birch
3 episodes with Alice Birch
Megan Hunter is a prizewinning novelist, dramatist and screenwriter. Her first novel, The End We Start From was shortlisted for Novel of the Year at the Books Are My Bag Awards, longlisted for the Aspen Words Prize, was a Barnes and Noble Discover Awards finalist and won the Forward Reviews Editor's Choice Award. It was adapted into a major motion picture by Alice Birch, starring Jodie Comer and directed by Mahalia Belo. Her second novel, The Harpy, was Indie Book of the Month; she is currently adapting it for television with Red Planet Pictures. Her dramatic monologue Salt of the Earth premiered at Venice Film Festival. Megan's other writing has appeared in the White Review, the TLS, Literary Hub, Vogue, Elle, BOMB, and elsewhere. On this episode of Little Atoms she talks to Neil Denny about her new novel Days of Light. Hosted on Acast. See acast.com/privacy for more information.
durée : 00:04:05 - Le Zoom de France Inter - Le directeur du théâtre des Amandiers à Nanterre Christophe Rauck se penche sur le texte de l'autrice britannique Alice Birch. Une variation exigeante sur l'héritage familial, ou comment rompre le cycle de la souffrance.
Naomi Waring started out writing for the theatre and was part of the young writer's program at the Royal Court, an invite-only group with Stacy Gregg and Alice Birch with her first play showing at London's BAC. Her first film Little Ones, an autobiographical documentary was supported by Film London and the Kevin Spacey Foundation and went to various international festivals. She holds an MA degree from the London Film School and her graduation film won best short film and screened at top BAFTA and Oscar qualifying festivals. Her work is usually set in working-class communities and is influenced by social realism, with a particular interest in youth culture and the female perspective. In 2019 Naomi was selected for Bela Tarr's directing workshop, where she developed and shot the film Ascend, The film got screened at Locarno Film Festival as part of the anthology Under the God. She was also selected for the Encounters Widening the Lens and Go Shorts writing program as well as mentoring by Raising Films in 2016 at The Edinburgh Film Festival. In 2020 Naomi was commissioned by BBC N.I and Screen N.I to shoot a short film, Ode, which was screened on BBC Arts, BBC Iplayer, and various international film festivals, such as Aesthetica, Dublin Film Festival, Uppsala, and Underwire. She is currently shadowing director, Alex Winkler on the HETV series Mary and George. Naomi is currently developing her debut feature film: which was shortlisted for the Torino Script Lab and LIM. Naomi is a visiting lecturer at the Royal Central School of Speech and Drama, and GSA teaching screen Acting on the BA acting course. Other clients include Hatch Films, The Paper Birds, The Round House, The Lyric Hammersmith, and ISSA. Her Films have screened at BBC I Player, Dublin Film Festival, Cork International Film Festival, Galway Film Festival, Belfast Film Festival, Manchester International Film Festival, Underwire, Aesthetica, Locarno Film Festival, Kerry International Film Festival, Richard Harris International Film Festival, Shiny winner, Off Line Best International Short, Finalist European Cinematography Awards.
'The End We Start From' director Mahalia Belo chats with Dom Lenoir about making he Jodie Comer starring debut feature and why cinema is a healing machine. Mahalia discusses screening at Toronto and the feeling of releasing a movie to audiences. Adapting a novel, working with a screenwriter Alice Birch & collaborations. Trying to keep an emotional truth within storytelling. Writing letters to cast potentials. Useful or not? The push and pull between cast and financial . Working with babies . Working with cinematographer Susie Lavelle and flooding a set. Music and score And why even after a Sundance and BIFA success there are difficulties for filmmakers and nothing is an instant success story. The End we Start From is OUT NOW in CINEMAS Produced by Liza Marshall who's excellent episode on TFP you can listen to here GIVEAWAY Get a FREE copy of the excellent Shotlister App. Just download the App using this link and you can get Shotlister App now (usually $99). Only 100 copies available so be quick and GET IT NOW! They need to be redeemed on an iPhone or iPad. But once redeemed Pro will also work on the Mac. shotlister.com/filmmakerspod PODCAST MERCH Get your very own Tees, Hoodies, onset water bottles, mugs and more MERCH. https://my-store-11604768.creator-spring.com/ COURSES Want to learn how to finish your film? Take our POST PRODUCTION COURSE https://cuttingroom.info/post-production-demystified/ PATREON Big thank you to: Serena Gardner Mark Hammett Lee Hutchings Marli J Monroe Karen Newman Want your name in the show notes or some great bonus material on film-making? Join our Patreon for bonus episodes, industry survival guides and feedback on your film projects! SUPPORT THE PODCAST Check out our full episode archive at TheFilmmakersPodcast.com CREDITS The Filmmakers Podcast is hosted, produced, and written by Giles Alderson @gilesalderson Edited by @tobiasvees Logo and Banner Art by Lois Creative Theme Music by John J. Harvey CONTACT THE PODCAST email us: thefilmmakerspodcast@gmail.com Learn more about your ad choices. Visit podcastchoices.com/adchoices
The End We Start From is a 2023 British survival film directed by Mahalia Belo and starring Jodie Comer, with Benedict Cumberbatch, Katherine Waterston and Mark Strong. It is adapted by Alice Birch from the novel of the same name by Megan Hunter. The film premiered at the Toronto International Film Festival on 10 September 2023 --- Send in a voice message: https://podcasters.spotify.com/pod/show/popcorn-junkies/message
Embark on a journey through the realms of love, passion, and reclusive mystery in the latest episode of our podcast. Kristin Scott Thomas and Lily James lead the cast in Penelope Skinner's searingly funny and passionate new play, Lyonesse, directed by Ian Rickson. Join Elaine, a talented but reclusive actress, as she summons Kate, a young film executive, to her remote Cornish home, unravelling a story that remained hidden for 30 years. Experience the magic of Matthew Bourne's dance production of Edward Scissorhands, a tale that has captured hearts worldwide since its premiere in 2005. Based on Tim Burton's classic movie, this production, featuring the enchanting music of Danny Elfman and Terry Davies, weaves a bittersweet story of an incomplete boy navigating a strange new world. Journey back to communist-controlled Poland in Cold War at Almeida Theatre, a tender and tragic love story brilliantly translated to the stage by Conor McPherson. Adapted from Paweł Pawlikowski's Academy Award-nominated film, the play spans decades and the divided breadth of Europe. With traditional Polish songs, stirring choral arrangements, and music from Grammy Award-winner Elvis Costello, witness a doomed love story brilliantly told, featuring lead performances to die for from Anya Chalotra and Luke Thallon. Explore the intense and oppressive world of House of Bernarda Alba at the National Theatre, where disobedience is no longer tolerated. Harriet Walter plays the formidable matriarch, navigating the consequences of oppressing women in this pitch-black drama. Directed by Rebecca Frecknall, this radical adaptation by Alice Birch of Federico García Lorca's modern masterpiece promises a gripping exploration of family, desire, and the boundaries of societal expectations. Tune in for an episode filled with theatrical brilliance, featuring stellar performances, poignant stories, and the transformative power of stagecraft. It's a journey through time, emotions, and the human experience you won't want to miss.
Embark on a risqué festive adventure with Sleeping Beauty Takes A Prick! The latest adults-only pantomime from the brilliant minds behind Above The Stag Theatre's legendary queer Christmas shows. Prepare for a riotous treat, filled with Matthew Baldwin's hilarious antics as Queen Gertrude. If you crave interactive hilarity, dive into the unpredictable world of Faulty Towers Dining Experience, where Basil, Sybil, and Manuel serve up mayhem alongside a 3-course meal, delivering non-stop laughter and unexpected surprises. For a south London pantomime extravaganza, join the journey through Jack and the Beanstalk, written and directed by Susie Mckenna. With a funky Giant, magic beans, and soulful songs, this is a pantomime tailored for the local audience. In Hackney, Clive Rowe directs and stars as Widow Twankey in the magical world of Aladdin, featuring an incredible cast, dazzling costumes, and plenty of laughter. Clive is joined by Natasha Lewis as Abby-na-zaaar!, Ruth Lynch as Spirit of the Ring, Fred Double as Aladdin, Isabella Mason as Jazz, George Heyworth as Mildew Funk, Rishi Manuel as Wishy, and Kat B as the Genie. Entertainers dazzled audiences with live shows at the Adelphi Theatre, featuring cover bands paying tribute to music legends. An Evening of Burlesque brought world-class entertainers, feathers, and fabulous costumes, setting the stage for a night of glitz and glamour. Radio GaGa honoured Freddie Mercury with hit after hit, while Thank You For The Music - ABBA Tribute celebrated two decades of ABBA's timeless tunes with harmonies, colourful costumes, and dazzling performances. At the National Theatre, witness the intense drama of House of Bernarda Alba, where Olivier Award-winner Harriet Walter portrays a formidable matriarch navigating the complexities of her family's desires. Director Rebecca Frecknalland writer Alice Birch bring a radical twist to Federico García Lorca's modern masterpiece. In an exclusive interview, actor and writer Joshua Maughan provides insights into his upcoming play, Our 1972, set to captivate audiences at the Hope Theatre in January 2024. Get ready for a podcast episode brimming with laughter, drama, and fascinating conversations with some of the brightest stars in London's theatre scene!
Oklahoma! star Patrick Vaill, who's starring as Dr Brenner in the new stage production of Stranger Things - The First Shadow, joins us to discuss everything from the upside down.We review Alice Birch's adaptation of Lorca's The House of Bernarda Alba, starring Dame Harriet Walter and Isis Hainsworth, directed by Rebecca Frecknall.And for our second review it's Oliver Goldsmith's She Stoops to Conquer at the Orange Tree theatre in Richmond. This is a Christmas set version of the play, but is it a festive treat or a load of baubles?We discuss A Mirror coming to the West End in 2024, Andrew Lloyd Webber's comments about more investment needed for British shows, and we ask you what your first memory of theatre is. Let us know at theatrepod@standard.co.uk. Hosted on Acast. See acast.com/privacy for more information.
Women in the villages of Spain and the repression and passions of five daughters are at the heart of Lorca's last play the House of Bernarda Alba, completed two months before he was assassinated in 1936. Rana Mitter looks at the life and writing of Lorca, with guests including The Observer's theatre critic, Susannah Clapp and Professor Maria Delgado of the Central School of Speech and Drama and Professor Duncan Wheeler, Chair of Spanish Studies at the University of Leeds and Dr Federico Bonaddio who teaches Spanish literature at King's College London.Producer: Ruth WattsThe House of Bernarda Alba in a version by Alice Birch and starring Harriet Walter runs at the National Theatre until 6 January 2024. You can find more discussions about Prose, Poetry and Drama in a collection on the Free Thinking programme website including episodes looking at Ibsen, Moliere, Shakespeare, Lorraine Hansberry, John McGrath, George Bernard Shaw all available as Arts & Ideas podcasts
It's 'Day 10' and @EchoChamberFP https://www.instagram.com/echochamberfp/ has two films to look at, as we keep 67th BFI London Film Festival (4th to 15th October 2023), coverage rolling!!! Delving into the 'Journey' and 'Official Competition' strands, these are very different offerings, but both very captivating!!! 'All Dirt Roads Taste of Salt' is written & directed by Raven Jackson. Mack (Kaylee N. Johnson, Charleen McClure, Zainab Jah) has been taught to know the earth – the woods, the water and the clay, which her ancestors drew sustenance from. But life itself, in all its messy beauty, is less predictable. 'The End We Start From' is directed by Mahalia Belo which he co-wrote with Alice Birch, it's an adaptation of Megan Hunter 2017 book of the same name. After an ecological crisis, a couple (Jodie Comer & Joel Fry) and their newborn baby abandon their home in flooded London and flee northwards looking for safety and a place to re-start their lives. Today we have: All Dirt Roads Taste of Salt Watch Review: Here. https://youtu.be/FaL9zoacEIs 2023 Sundance Film Festival: 22nd January 2023 BFI London Film Festival Film Strand: Journey Friday, 13th 2023 at 20:55 BFI Southbank Sunday, 15th 2023 at 12:00 Curzon Soho Cinema Ticket Info: Here. https://whatson.bfi.org.uk/lff/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=9A831706-CA24-4A95-B272-9F0D6728F983&BOparam::WScontent::loadArticle::context_id=034AB09D-CBAC-4A98-85B7-839C5BAC620A Director: Raven Jackson Cast: Charleen McClure, Kaylee Nicole Johnson, Zainab Jah, Moses Ingram, Jayah Henry, Reginald Helms Jr, Preston McDowell, Sheila Atim, Chris Chalk Credit: A24, Pastel Productions, Tender Genre: Biography, Drama, Music Running Time: 92 min Cert: 18 Trailer: Here. https://youtu.be/qiQvFKfpCi4?si=yd9OLr-dk-P5LFQV Website: Here. https://a24films.com/films/all-dirt-roads ------------ The End We Start From Watch Review: Here. https://youtu.be/SBSnLXpDYSI 50th Telluride Film Festival: 31st August 2023 BFI London Film Festival Film Strand: Official Competition Friday, 13th 2023 at 18:00pm Royal Festival Hall Saturday, 14th 2023 at 11:30am Royal Festival Hall Ticket Info: Here. https://whatson.bfi.org.uk/lff/Online/default.asp?BOparam::WScontent::loadArticle::permalink=end-we-start-from-lff23 USA Theatrical Release Date: 8th December 2023 UK Theatrical Release Date: 19th January 2024 Director: Mahalia Belo Cast: Jodie Comer, Joel Fry, Katherine Waterston, Benedict Cumberbatch, Mark Strong, Gina McKee, Nina Sosanya Credit: SunnyMarch, Hera Pictures, Anton, BBC Film, BFI Film Fund, C2 Motion Picture Group, Signature Entertainment Genre: Drama, Thriller Running Time: 102 min Cert: 18 Trailer: Here. https://youtu.be/o4ponAmK1vQ ------------ *(Music) 'Wake Up' by Arcade Fire - 2004 --- Send in a voice message: https://podcasters.spotify.com/pod/show/eftv/message
ALL Y'ALL, WE BACK! That's right, season two has begun and we're so happy you're here! And it's the letter - A! Justin gets to talk about Annie Baker, Erika dives into her thesis role with Alice Birch, and the two recount a recent wonderful trip to NYC to see Annie Baker's Infinite Life at Atlantic Theatre Company! Get ready, get set, SEASON TWO!SOME BUSINESS: Thank you to the two playwrights we featured in this episode! You can find some of their plays in the links below. Erika's play, Kill The Bird, can be found on her New Play Exchange and you can purchase and produce Justin's play, Community Garden, through his publisher, Playscripts. Finally, you can check out Justin's YouTube channel for more longform theatre content!Links to our playwrights:Annie Baker's ConcordAnnie Baker's DramatistAnnie Baker's Infinite Life at Atlantic Theatre Company (now running to October 14th)Alice Birch's ConcordIf you like the show, feel free to subscribe and give us a five star review! Also, follow us on instagram @justinborak and @actualerikakuhn and Justin on TikTok for any news and notes on upcoming episodes and more theatre reccomendations!
In this episode I speak about watching two Broadway Musicals: MJ and Back to the Future! I also speak about watching the HBO series, Succession and wrap it up with another addition to our legendary segment “GOATs doing GOAT $hit” where we celebrate the true champions of greatness and highlight the phenomenal achievements of extraordinary individuals. The Spun Today Podcast is a Podcast that is anchored in Writing, but unlimited in scope. Give it a whirl. 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I'll share your insight and motivation on the Podcast: http://www.spuntoday.com/questionnaire/ Shop on Amazon using this link, to support the Podcast: http://www.amazon.com//ref=as_sl_pc_tf_lc?&tag=sputod0c-20&camp=216797&creative=446321&linkCode=ur1&adid=104DDN7SG8A2HXW52TFB&&ref-refURL=http%3A%2F%2Fwww.spuntoday.com%2Fcontact%2F Shop on iTunes using this link, to support the Podcast: https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewTop?genreId=38&id=27820&popId=42&uo=10 Shop at the Spun Today store for Mugs, T-Shirts and more: https://viralstyle.com/store/spuntoday/tonyortiz Background Music: Autumn 2011 - Loxbeats Outro Background Music: https://www.bensound.com Spun Today Logo by: https://www.naveendhanalak.com/ Sound effects are credited to: http://www.freesfx.co.uk Listen on: iTunes | Spotify | Stitcher | Pocket Casts | Google Podcasts | YouTube | Website EPISODE TRANSCRIPT [00:00:00] What up? What up, folks? What's going on? Welcome to the Spun Today podcast, the only podcast that is anchored in writing, but unlimited in scope. I'm your host, Tony Ortiz, and I appreciate you listening. This is episode 243 of the Spun Today podcast. And in this episode, I speak about two Broadway musicals, which I can't believe I took this long to mention them, especially for one in particular. So definitely stay tuned for that. I also speak about watching the Succession Series. An HBO series that I was definitely late to, but had the added benefit of being late in that it allowed me to binge the entire series. And lastly, I wrap it up with another addition to our legendary segment goats doing goat shit where we celebrate the true champions of greatness and highlight the phenomenal achievements of extraordinary individuals. Stay tuned for all that good stuff. But first I wanted to tell you [00:01:00] guys about a. Quick way that you can help support the spun today podcast. Your support is greatly appreciated. Not only can it help out financially to help keep the lights on in good old spun today studios, but it definitely adds fuel to the motivational fire that I rely on to continue putting out episodes. And even more importantly, finding time to write. Nay, making time to write. So thank you. Thank you. Thank you to each and one of you, to each and every one of you that have shown your support to date. And thank in advance to each of you that will show support in the future. Here is one quick way that you can help support the Spun Today podcast. Definitely stay tuned for the outro of the episode where I'll tell you about a bunch of other ways that you can show your support. But here is one of those ways. And we'll jump right into the episode. The first musical that I wanted to tell you guys about was MJ, the [00:02:00] musical. Here is the official synopsis. He's one of the greatest entertainers of all time. Now, Michael Jackson's unique and unparalleled artistry has finally arrived on Broadway in a brand new musical centered around the making of his 1992 dangerous world tour. And created by Tony award winning director, choreographer, Christopher And two time Pulitzer Prize winner Lynn Nottage, MJ goes beyond the singular moves and signature sound of the star, offering a rare look at the creative mind and collaborative spirit that catapulted Jackson into legendary status. I went to check this out with my best friend, Steven. Shout out to Steven's Spun Today alumni, who has been on the pod several times in the past. We thought it would be cool to check out. You know, kid touching and molestation and all that, which has obviously [00:03:00] tarnished Michael Jackson and how we view him, all that aside. And I know in and of itself, it's like a controversial topic where some folks are like, no, they're all 100 percent rumors and nothing like that ever happened. Nothing was ever proven in court. And then the other folks on the other side where say. You know, the rumors have been rumors for decades for a reason. It's all true. It was even worse. I know the audience is split when it comes to that. From an artistic body of work perspective, he's obviously, as the little synopsis says there, one of the most legendary entertainers of all time. Now from attending and, you know, watching this musical, And for someone who likes going to like Broadway plays and musicals and enjoys that genre of art and acting and singing and stuff like that as a consumer, from that perspective, [00:04:00] we had a great time. And Michael Jackson in his heyday, I was a kid for that, a little kid, but I obviously know his music and his body of work and I think you'd be hard pressed not to find. Or to find someone that wasn't aware of any of it, but I obviously never saw him live or anything like that going to see this play, though, the way they did it, you definitely get that experience, albeit at a much smaller scale, but you definitely get the, like, you feel you're watching Michael Jackson. That's how good of a performance, not just the Michael Jackson characters did with it. But just the entire cast and the world that they built and created around it. And from a storytelling perspective, it was interesting how they did it. Because it is this very, and I guess, makes sense. In terms of it being like a deliberate conscious [00:05:00] move to do it this way. So you don't have to bring in a lot of like the things we know about Michael now. The allegations and court cases and... Drug abuse and, and stuff like that. So they didn't have to bring too much of that into the story because again, from a storytelling perspective, it's a very myopic focused view of his time around his 1992 dangerous world tour, which is his biggest tour ever. One of the biggest tours ever. And it was chronicling, the buildup to that, all the practice sessions. And how he was as an artist getting ready for that performance. And in the play, there is an MTV crew that was given access to chronicle this whole thing to do a, a piece on, you know, this very much anticipated world tour, which was based on true events that MTV [00:06:00] piece. Actually exists and I'll link to it in the episode notes for you guys to check out. So we got to see this interesting view of. That MTV camera crew. Trying to put together their creative vision of this documentary. While also getting close enough. Access to Michael Jackson to see his inner workings and stuff like that and picking up on. Certain things like. The beginnings of his drug addictions, which we know now ultimately led to his death in that he had a private doctor giving him shots or like IVs of trim butyral or something like that. I forget the exact medication name of what he ultimately died of, but it's supposed to be a strong ass, sleep aid. And so much so that he was getting that shit [00:07:00] injected on a nightly basis just to be able to try to get some sleep. And ultimately that's what he died of. And the doctor that was prescribing him the medication wanted him to go to jail for a few years and losing his medical license, I believe. But in the play, it shows him getting drugs from his manager or other folks like that were part of the stage team. I think it was his manager. And you get some insight into the all too common story of, you know, people in positions of power, whether it's in our music, politics, whatever, just having a circle of yes men and women around them that do what they want and don't really check them. And we saw that through the lens of, again, the beginnings of his drug addiction. And we also saw that same dynamic playing out with his financial team and how he wanted to pay for [00:08:00] this over the top concert and do like never before happened things like him being shot out of not a cannon, but something that shoots, shoots him out and onto the stage and him running out of money. And then Pushing his accountant and his financial team to mortgage Neverland Ranch, where he lived just to continue funding this artistic vision that he had, even though all the financial folks around him, lawyers, accountants, financial advisors warned him against it, he still ultimately got his way, i. e. via these yes men. So that was definitely interesting to see. They also showed. A direct correlation between his abusive childhood with how Joseph Jackson, the father was always depicted as, you know, being super, super hard stage dad, forcing them to practice [00:09:00] all the kids when they were the Jackson five for hours and hours on end, no breaks, didn't really have a childhood. You know, they had fame when they were young. So they didn't have a, you know, especially Michael being the youngest. Of them, of the Jackson 5, or second youngest, I believe. But never really having a childhood, or traditional childhood. They showed correlations of that, instilled hard work ethic. And they kind of papered over the, physical abuse in the play. With how hard Michael Jackson was on his crew and the choreographers and everything. And the dance team around him and how they were all exhausted and he would force them to to work hours on end just like his dad did to him and kind of showing that traumatic shift, trauma shift of, you know, him being the recipient of that and then dishing it out as he got older in the same exact way [00:10:00] and then seeing himself as, you know, becoming his father in that sense. But the play did a great job in also showing different. Stages within Michael Jackson's life, they showed him as a child, you know, as a flashback scene, because the entire thing again takes place around him working up to this dangerous world tour and being interviewed by the MTV crew and them filming and interviewing him in between rehearsals, etc. But while they were interviewing him, he would flash back and tell stories of childhood, of his mother and his father, Jackson 5, transitioning, going solo. And you got to see different actors, which did a phenomenal job of playing Michael Jackson. Now we did go on an off day, I think it was like a Tuesday or Wednesday. So every cast member, including Michael Jackson, wasn't necessarily the best. Number ones, if you will. I believe the young Michael [00:11:00] was, but I don't believe the middle Michael that they showed as well as the older Michael Jackson that's being interviewed. I think he was also the understudy, but I mean, these are all top tier phenomenal actors, right? All did an amazing job. And we got to hear all the hits, all Michael Jackson's hits, all Jackson five hits. And it really did feel like a Michael Jackson concert experience as a narrative choice. Again, it does seem to me to have been a deliberate choice to tell this story from a specific point in time. And in doing so not have to, or I guess they had the ability to paper over all the negatives that we know of Michael, like the drug abuse and child molestation allegations, so on and so forth. So you definitely lose something historically. From that perspective, but as a piece of [00:12:00] entertainment, we do wind up enjoying a shitload of music and just how they put the musical together. It was definitely an entertaining watch. And I definitely recommend it. MJ the musical, check it out back to the future. The musical, if you guys know anything about me, I am a huge, Back to the Future fan. I've spoken about the movie multiple times. I've highlighted how the screenplay for Back to the Future 1 is considered a perfect screenplay and I think it's taught in theater classes. It's my personal favorite trilogy of any genre, any movies, all time. And I've also said, controversial to some, that it's one of the rare occasions where the sequel, Back to the Future 2. is even better than the first movie. And I know that's blasphemous for some folks to hear. And even I myself go back and forth [00:13:00] between that thought from time to time. But just from the creativity of it alone to delve back into the first movie through the second movie and find ways to tie into the first movie, And make things that already existed within the first movie, make them that way because of the actions of the second movie, which was filmed and created. I think it was something like five years later. It's just fucking amazing from, from that standpoint. And I'm such a fan that my debut novel fractal Available now, SpunToday. com forward slash books, so you can find all the links of all the different places where you can find it. Back to the Future is an inspiration for that story. It is a time travel tale, as I like to say. Furthermore, I dedicated that book to my first [00:14:00] born Aiden, and the quote, the very first quote after the dedication section of the book, is a quote. From back to the future, part one from George McFly to Marty McFly, stating, if you put your mind to it, you can accomplish absolutely anything in him speaking to writing his first novel. So there's a complete tie in on multiple levels there. I fucking love it. I literally have a life size replica of the hoverboard immediately to my left right now. That said, I signed up, or, like, I follow all the different Back to the Future fan pages, official, unofficial. And I saw months before that they were developing the musical. I also subscribed to a bunch of different newsletters having to do with Back to the Future and the DMC newsletter, even from the DeLorean Motor Company. And I signed up to be alerted when the pre sales went on, [00:15:00] and I bought these tickets months in advance, I think something like seven months in advance. That's how much I was anticipating going. So I copped the tickets and my wife and I, shout out to Zoila, sponsored alum, went to go see it and had an amazing time. Being such a fan holding, I'm both holding the musical to a very high bar. I don't want them to fuck it up while at the same time being completely biased and knowing that I'll find a way to love it some way or another. So holding my love for the story. And the history of the film aside, as much as is humanly possible and attempting to be objective, I personally thought they knocked it out the park. Now they clearly didn't have, I'm not sure if Back to the Future, if it's old enough, I think it came out in 89, where the story itself is public domain or if they actually got the rights to [00:16:00] retell the story in this format. Because I don't believe that Robert Zemeckis and Bob Gale were involved with the musical. I could be wrong, but I don't believe they were. And I wonder if certain choices that they made throughout the musical had to do with not having the full rights, or if they had to do with just trying to retell the story on the stage. Because although it was still very, very, very true to the original Back to the Future 1 film, which was another thing that I was curious about if they were going to try to encapsulate all three films within the musical, but it wasn't. It was just a retelling of the first one. But everything is not, you know, word for word, verbatim, although it does have a lot of the same key scenes. But then... Certain other key, certain other key scenes. For example, the famous skateboard [00:17:00] scene in front of the diner, when Biff and his crew chase Marty and wind up crashing into the manure truck and Marty's getting around the skateboard, they didn't redo that scene, but in its place, they kind of extend the scene of the lunchroom where. Marty first confronts Biff, you know, where they both kind of grab each other and make fists and they're about to punch each other, but then Strickland shows up and breaks it up, essentially. And Biff tells him, why don't you make like a tree and, and get out of here. They elongated that scene instead and made that the chase scene and made it so that Biff was chasing Marty throughout the lunchroom. He was jumping over tables and hitting him with lunch trays and running through the school. And they had an original musical number there. So they took certain liberties that way. I guess it was easier to do [00:18:00] it that way. If it wasn't a licensing issue or concern, it was easier, it must have been easier to put that together versus the actual skateboard scene and having multiple cars and etc. But it was something that I was curious about. It was kind of interactive in that, you know, like they had the enchantment on the the sea dance and during it when Marvin Barry and the Starlighters are playing Earth Angel there were in the actual theater there was Bubbles, there was a bubble machine or something. There was bubbles going all throughout so we were in the first few rows and you know, we could swat the bubbles and that kind of built the atmosphere around around the whole thing And of course he did the Johnny B. Good scene in terms of the cast, all phenomenal. The gentleman who plays doc killed it. Oh, and that was another thing also, they did not do the, you know, terrorist Libyan terrorist [00:19:00] shooting scene, which I guess to make it more PG they made it that doc was using the plutonium for the 1. 21 gigawatt reaction that he needs. Within the flux capacitor to make the time travel possible, but that he was using an old radiation suit, which wasn't completely insulated. And that's how he wound up dying initially versus getting shot by the terrorists. But yeah, the gentleman who played doc amazing, super funny, steals the show. The guy who plays Marty's spot on, did a great job. But the person who played Crispin Glover's character of George McFly dead on balls accurate to quote Marissa Tomei fucking amazing spot on like they could reshoot back to the future drop this gentleman in place of [00:20:00] Kristen Crispin Glover who legend has it was like an absolute asshole on set and that's why he wasn't in part two or three, but. Drop him into that role and you wouldn't tell the difference. He was amazing. Fucking awesome. The guy who played Biff was really good. Really looked the part. Which brings me to the number one star of the show. The DeLorean. They did it so ill that it looked like an actual real DeLorean that was up there. I guess they just, you know, it's just like the outsides or whatever, but it really looked like an actual replica real DeLorean. And it's obviously the moment that all the fans are anticipating the most, you know, when they first see the DeLorean, which they did the big reveal and like the same same way at Twin Pines mall, [00:21:00] which then becomes Lone Pines mall at the end when Marty runs over. Old Man Peabody's Pine Tree. Symbolizing how the littlest change in the past could affect have a ripple effect on the future. But they did an amazing job with the car itself and then with the actual time travel sequence. So the theater, the decor of it, can't also, this is how it also immersed the, the crowd aside from the bubbles thing from, from earlier. The decor. The balconies on the sides, on the left, on the left and the right, they were also part of the decor. Like there weren't people sitting in the seats there. Instead, they had this metal widgets and circuitry spanning all of the balconies. And during the time travel sequence, like when Marty accidentally goes back to 1955, all those start lighting up in different [00:22:00] colors and it's reminiscent of the flux capacitor and the lights around the actual DeLorean, which they also show and really immerse you and bring you into it in that way. And then at the end, which was even more amazing because they could have just done that again. They with like a crane or something, something you couldn't see, but some sort of lift, they lift up the DeLorean. For the scene where, you know, the clock tower scene when he's going back to the future. They lift up the DeLorean and push it forward into the crowd. So it's hovering above us almost. Like above, the first couple rows. Not completely, but just enough for it to be off of the stage. Can you imagine the fucking lawsuit that thing would have fallen or something? But obviously it was secure and it was just so ill the way they did it. And I couldn't have been happier with Back to the Future the musical. I definitely, definitely highly recommend.[00:23:00] If I have the chance to see it again, I definitely will. Tickets should be a lot more reasonable now. That's the only issue I had with it. Although I was willing to pay, so whatever. But apparently it's not doing well, or as well as anticipated. And the. Ticket prices. I checked the day of for my same seat and it Was like 40 percent less in terms of the actual pricing But that aside it was an amazing experience. I Loved every bit of it. If you're back to the future fan as I am you will too Back to the future the musical Check it out HBO's original series succession Is a series that ran from 2018 to 2023. Like I mentioned in the intro, I didn't start watching the series until 2023. Literally while the final season was, was airing. [00:24:00] So, that came with the benefit of being able to binge it and see it all the way through. But in terms of sharing some of my personal takeaways and tidbits here. It's it shows a bit out of the zeitgeist. And some references might be dated, but we'll share them nonetheless for posterity. Here is the official synopsis. The Roy family is known for controlling the biggest media and entertainment company in the world. However, their world changes when their father steps down from the company. And as we like to do here on the Spun Today podcast, I wanted to shout out each and every one of the writers, starting with the show's creator, Jesse Armstrong. Followed by Jamie Carragher, Susan Soon Hee Stanton, Alice Birch, Miriam Batty, She a Batty, she knows she a 10. Georgia Pritchett, Tony Roche, Nathan Elston, Callie Hirshaway, [00:25:00] John Brown, Will Tracy, Lucy Preble, Jonathan Glaser, Ted Cohen, Anna Jordan, Mary Laws, and Will Arbery. Shout out to each and every one of the writers on Succession who put together an amazing show. And I particularly want to shout out the, the writers in this particular series, because they took what is the embodiment of quote unquote evil rich people, you know, just like the vile borderline sociopathic Narcissistic archetype of, you know, the greedy, quote, unquote, greedy, rich people. And they made us, the viewers, through the strong characters that they created, that the writers created, and that the actors, which were phenomenal, and I'll speak to it in a minute, brought to life. They made us, as the audience, connect [00:26:00] with those characters, and in some cases, in a lot of cases, actually root for them to win. Which, if you take a step back and look at the ruthlessness with how they navigate the world with little to no care of who or how they affected others. When you look at it objectively through that lens, it's like, fuck these people. But since they're developed so richly as characters, and it's such a character driven show in my opinion. we still connect with them and root for them on a human level. And that I think is a testament again to just amazing writing. So shout out again to the writers there. Now the cast absolutely killed it. Kieran Culkin is one of my favorite characters. He plays Roman Roy, the youngest of the four children. Brian Cox is the matriarch, the Rupert Murdoch like character who [00:27:00] created this Conglomerate multi billion dollar company. He's just amazing. Tom Wombs Gans played by Matthew McFadden. Such a cool character. Very selfish. It turns out as, as all of them have traits of selfishness, but he was in it for himself from the jump and. He plays possum throughout, so much so that he's married to Shiv Roy, the daughter, played by Sarah Snook, also does a great job, but she's like a, you know, princess, always gets what she wants, kinda has the quote unquote trophy husband, cheats on him, and he just takes it all, and his character is such that you hate him at first, so. because he's such a pushover and you're like yo stand up for yourself you fucking pussy then you wind up rooting for [00:28:00] him then you wind up finding out that either he's been running a game the entire time or he just got caught up in it and began running a game somewhere along the line and became fed up great characters both in real life British I believe it's a good job with the American accents there Same as Logan Logan Roy's character, Brian Cox. And by British, that's just my dumb American interpretation of their accent. You know, it could be Australian, Zealand, or who knows. Conroy, the eldest half brother played by Alan Ruck. Shout out to Ferris Bueller's Day Off. Really cool character. Shout out to the Conheads out there. Jeremy Strong. Not the eldest, but the eldest of the full siblings of the three, you know, Kieran Culkin's character, Sarah Snook's character, and himself, Kendall Roy. He was the heir to the throne, if you will. And in the very [00:29:00] first episode, which sets the stage for the entire series, the first half of the episode is him going through The process of getting ready to take over the company because the father had announced his retirement. He was gonna step down Kendall Roy is gonna take over and in that very first episode the father winds up Literally fucking him over and saying nah, I changed my mind. He's like, wait, what my You changed your mind. I'm supposed to take over next week. He was like now let's give it a couple more years I decided to stay on He was like, but we announced it to the world and the, you know, it's a publicly traded company and the stock and this and that and blah blah blah. He was like, yeah, that's all bullshit. Don't worry about it. And you have this tension within the family always throughout the entire series of the son trying to take over from the father, the father trying to maintain control, the father getting sick, the other siblings trying to vie for control, sometimes being on the same page with each other, most of the time not, and just like this complete [00:30:00] dysfunction. And it was such an interesting, family dynamic that really keeps you hooked. I also thought it was particularly interesting the way that the show was shot. And I got this from some of the, not behind the scenes, but the extras of the show where they, you know, interview different characters and they also have a podcast, et cetera. So I don't remember if it's from one of the extras or from the actual podcast, but one of the directors, I think the main one Mark Millard. Maybe it was Jesse Armstrong, the creator of the show, but they were breaking down how they shot in a way where they zoom in to the actual characters for emotional exclamation points. So they called it. And you notice that throughout the entire series where they'll, you know, they'll shoot a scene and then. For the character reaction, they'll zoom in to the character's face, which is pretty interesting. And he also mentioned that on set, they [00:31:00] always kept live cameras around so that the art, the actors themselves, they didn't know when they were being shot or not. So it forced them essentially to stay in character. And he likened it to filming theater, similar to when you go see a play. How all the characters, as long as they're on stage, they're in character, you know, that whether they're the main focus of a scene or not, or a background character, they're always doing something. They're always on, if you will, then I'm going to jump to in season two, episode 10, I jetted down here. There was a dope line that Logan Roy said again, the matriarch of the family played by Brian Cox, and he was speaking to money and wealth and how most things don't exist. Or companies rather. And he said that the Ford motor company hardly exists. He said that it's just a time saving expression for a collection of financial [00:32:00] interests. Again, all the Ford motor company was to this psychopath was just a time saving expression for a collection of financial interests. I thought that was such an interesting way, such a financially motivated lens to view the world through. And I just love the way that was phrased. All the four Ford Motor Company is, is just a time saving expression for a collection of financial interests. Jesus. There's a lot of double crossing in the show the siblings with each other, the father to the, to the kids, the kids to the father. There's a point in the season two finale where you think Kendall is going to rise to the occasion and, you know, be the heir to the throne that the father, [00:33:00] you know, wants him to be, that is grooming him to be. But he winds up double crossing his father again, as he did multiple times throughout the series. And I thought it was interesting that he had a lot of ups and downs, you know, he had addiction issues in the show. They reference all the time that he had a stint in rehab. And just from a mindset perspective, he was always either completely out of it and crying and in the dumps or completely manic and on the fucking ball. He reminded me a lot of Kanye. And or the public version of Kanye that we've been seeing in. You know, recent news and media cycles and all the drama around the Kardashians and all that shit and his manic episodes. That's what he was reminiscent of to me. I loved the relationship between two main characters, both outsiders of the family in their own right, which was Tom Wamskantz, which I [00:34:00] mentioned earlier, which was the husband of the daughter, Shiv Roy. His relationship with Greg Hirsch, played by Nicholas Braun, which is a second cousin, extended cousin to the family that they barely know, but that works his way into the fold and Tom brings him under his wing kind of because he sees himself in, in Greg in some ways, you know, being an outsider of the family, but also because he wants to have someone to have power over. And he finally found someone lower than him on the totem pole, if you will, within this family structure. And they just have a back and forth, funny, quippy, really interesting dynamic throughout the entire series. And I'll wrap it up with a, a line of dialogue from Alan Ruck's character, Connor Roy, when it spoiler alert, this happened in season four, episode seven. But Connor, who decides to run for president, out of all things, of the [00:35:00] United States, and Kieran Culkin's character, Roman Roy, hilariously tells him, don't you think you should try for something smaller first? You know, maybe like running a CVS or something? But Connor gets himself in a position where... essentially his actual, you know, the two rivals for, for president, the Democrat and the Republican running, they're neck and neck, like razor sharp, you know, 49 percent to 49 percent margins. And Connor is polling at like 1 percent or something like that. It's something, something sick that pretty much put him in a position to make a deal with one of the other guys where he would drop out of the race and His supporters would vote for that person, and that person would essentially become the, the president. And he's trying to see what he can get, you know, what position he could get from the person that would ultimately win. And one of them offers him to be the diplomat of Alman, which is a [00:36:00] country that I had never heard of. And he tells him that it's an interesting thought. He'll, he'll definitely mull it over. And that Oman is the poor man's Saudi Arabia and the rich man's Yemen. And again, I just thought what an interesting way to view the world and view things. But yeah, yo succession dope show. I definitely recommend you guys check it out if you're into that type of thing. It's supposed to be loosely based on Rupert Murdoch and you know, Fox news, that type of billion dollar conglomerate company and the tension and dynamics. Within his children, for example Rupert Murdoch, I think I've spoken about here on the past. One of them is like liberal, liberal leaning, which is kind of like Shiv's character in succession. And the other one is very conservative. Then they're both vying for succession of Fox, for example. So this show is loosely based on that, or at the very least, it's like one of those are imitates life imitates art type of things. [00:37:00] But that is my little recap and review on Succession, streaming now on HBO Max. Check it out. Goat doing goat shit. And I want to create a drop for, specific to this segment of the podcast because it is a recurring one. And I have some things that I've been tinkering with and working on. But speaking it aloud to see if I can hold myself to task because I've been meaning to do that, , forever. I just haven't gotten around to it, but the goats doing goat shit segment is a segment where I like to celebrate the true champions of greatness and highlight the phenomenal achievements of extraordinary individuals, especially when they do things that they do not have to do. And in this episode's edition of goats doing goat shit, I'd like to welcome none other Then Sean P. Diddy Combs to the list. Now, for the longest time, and still, [00:38:00] Puffy is known as being a ruthless businessman, if you will. Someone who hustled and busted his ass and built and created bad boy entertainment, which has brought us countless acts and music that we all love to this day. And many, many artists, but one thing that he did in building his empire from the ground up was recreate the, what some may say myself included, archaic, traditional, let's call them music artist deals, where the label that signs an artist winds up owning their publishing their masters, essentially making the lion's share of the money that is to be made from the art created by the actual artist. And the artist is often times in doing this type of bad business left fending for scraps. And music artists, [00:39:00] historically, this has happened to across different genres since the beginning of time. Some but few and far between have had more savvy, you know, teams and lawyers and sound financial advice around them and just the foresight of ownership. of your creation, being able to reap the benefits of it in perpetuity versus, you know, taking a bigger bag up front, but then never being able to profit from it down the line. So that's definitely been the biggest knock, in my opinion, on, on Puffy over the years in this respect. As of September of 2023, it became public that Puffy was returning his publishing rights. Which, by the way, he did not legally have to do. Returning the publishing rights to the artists and songwriters that helped him build Bad Boy Entertainment. Folks like Ma$e, which was the most vocal, [00:40:00] and actually recently dropped, and by recently I mean within the last year or two, diss tracks and did a lot of interviews and references to all of this, which are actually pretty good. Faith, The Locks, which is another vocal components of, you know, Puffy's business practices, 112, and the estate of Biggie, the Notorious B. I. G. They are all getting, or have gotten, their publishing back because the paperwork and agreements have all been signed and are actually finalized. And according to Puffy, in an interview that he gave to Billboard. He had a lot of offers back in like 2021 when, you know, like folks like Justin Timberlake and Shakira and a lot of folks were selling their, their publishing, their, their catalogs for like a hundred million dollars, $300 million, et cetera. He got an offer, an alleged nine figure [00:41:00] offer. To purchase his catalog, which included all the publishing that he owned, owned legally from all these artists. And that's when he supposedly decided to not sell and give the publishing back to the respective artists. It just took a lot of time between then and now to actually execute the legal documentation, etc. But I thought that was a dope move. It wasn't something that he had to legally do. Did Puffy make, over the decades, a shitload of money off everybody's catalog? Yes, of course he did. Was he legally correct to do so? Yes, he was. Whether it was ethical or moral or not, and hypocritical in some sense, those are all valid criticisms in my opinion, but he wasn't technically or legally... it wasn't something he had to do. So I definitely applaud him for doing [00:42:00] so. I'm always of the mentality of just own your shit and be of the mindset that if someone, a publishing company, a label, if you're in music, a publishing company, if you're in, you know, writing or creating different types of art, a platform, et cetera, if they're coming to you with a bag, To purchase outright, whatever it is that you created big bag, small bag, whatever. They would also pay you for just licensing it. It'll be a smaller bag, but in my opinion, and I'm not the fucking Messiah here, but in my opinion, if you're offering me a big bag to just own my shit outright, it's because you from a financial standpoint, believe that you're going to make that money back and more over time. So it would also be a sound business move from your perspective to license [00:43:00] it for a smaller bag for a shorter period of time, because you will also make your money back within that shorter period of time. And then some, and in that type of scenario, you keep your shit then afterwards, license it out to someone else, make money off of it yourself, maintain the ownership. So you could do whatever it is that you want with it in the future. Turn your book into a movie, turn it into a TV series after that, do both at the same time, turn it into a fucking VR spectacle that hasn't even been created yet, but will exist in 10, 15 years. And since you have the ownership of your IP, you could do that instead of handing it over for a bit bigger bag now, and then the company that purchased it from you. Maintains that ability moving forward. So again, with that said, I'd like to welcome Sean P. Diddy Combs officially onto the Spuntoday goats doing goat shit list. [00:44:00] And that folks was episode 243 of the Spuntoday podcast. Thank each and every one of you very much for listening. I really, really appreciate it. Before I let you go, just wanted to tell you guys about a Few quick ways that you can help support the spun today podcast. If you so choose, you continue support is amazing. I appreciate it very, very much. Whether you're using my affiliate link to shop on Amazon, which you can find that spun today. com forward slash support, or you're buying t shirts or coffee mugs or my books sponsored. com forward slash books, or using any of my affiliate links that all can be found that spun today. com forward slash support. Which will get you a discount on whatever said thing that it is that you're looking for that I have an affiliate link for. Whichever way you choose to support, it means a ton. I really, really appreciate it and just wanted to say thank you. Here's a breakdown of a few of the different ways you can help support the [00:45:00] Spun Today podcast if you so choose. And I'll check you all out next time. Peace.
The leftover stories from this week:Cher is launching a gelato brandKylian Mbappe turns down an absurd amount of moneyPolly Pocket movie starring Lily Collins coming soonAdidas is selling Yeezy shoes againTravis Kelce fumbles with Taylor SwiftTaylor Swift allegedly working with Alice Birch on a new show
She's so bored she could KILL. Lady Macbeth (2017) Dir. William Oldroyd. Adapted by Alice Birch from the 1865 novella Lady Macbeth of the Mtsensk District by Nikolai Leskov. Starring Florence Pugh, Cosmo Jarvis, and Naomi Ackie. That's So Gothic releases episodes on the first and third Thursday every month. Email sogothicpod@gmail.com. Follow Chance and Amanda on Letterboxd @mrchancelee and @mcavoy_amanda. Instagram @sogothicpod Closing music "Gothic Guitar" by Javolenus 2014 - Licensed under Creative Commons Attribution Noncommercial (3.0)
The iOtians chat about From Season 2 on MGM+ formerly EPIX! Also, they watched Rachel Weisz in the new Dead Ringers mini-series, created and developed by the BAFTA and Emmy-nominated writer Alice Birch, on Prime. Jake and Ron also offer their thoughts on Silo on Apple TV+. From Season 2 on MGM+https://www.imdb.com/title/tt9813792/?ref_=fn_al_tt_1Dead Ringers on Prime (2023)https://www.imdb.com/title/tt12923632/Silo on Apple TV+https://www.imdb.com/title/tt14688458/?ref_=fn_al_tt_1The Wrath of the iOtiansEmail: thewrathoftheiotians@gmail.comInstagram: thewrathoftheiotiansTwitter: @OfiOtiansWebsite: https://thewrathoftheiotians.buzzsprout.com/MusicLand Of The Me-me by Aleksandar Dimitrijevic (TONO)
Analisamos a minissérie do Amazon Prime Video estrelada por Rachel Weisz e baseada no filme "Gêmeos: Mórbida Semelhança" (1988), de David Cronenberg, e no livro de Bari Wood e Jack Geasland. - Visite a página do podcast no site e confira material extra sobre o tema do episódio - Junte-se ao Cineclube Cinematório e tenha acesso a conteúdo exclusivo de cinema Nesta edição do podcast cinematório café, nós analisamos "Gêmeas: Mórbida Semelhança" (Dead Ringers, 2023), minissérie do Amazon Prime Video estrelada por Rachel Weisz e baseada no filme "Gêmeos: Mórbida Semelhança" (1988), dirigido por David Cronenberg, e no livro "Twins", de Bari Wood e Jack Geasland (que, por sua vez, se inspiraram nas vidas dos irmãos ginecologistas Stewart e Cyril Marcus). Diferente do filme, em que os protagonistas são homens e interpretados por Jeremy Irons, a produção da Amazon Studios traz Rachel Weisz nos papéis principais. A atriz vive as irmãs Beverly e Elliot Mantle, gêmeas idênticas e médicas obstetras cuja missão é revolucionar a forma como as mulheres dão à luz. A minissérie foi desenvolvida por Alice Birch (roteirista dos filmes "Lady Macbeth" e "O Milagre" e das séries "Succession" e "Normal People"). A direção dos seis episódios ficou a cargo de Sean Durkin (dos filmes "O Refúgio" e "Martha Marcy May Marlene"), Karyn Kusama (filmes "O Convite" e "O Peso do Passado"), Lauren Wolkstein (séries "Queen Sugar", "Não Provoque" e "Manto e Adaga") e Karena Evans (séries "Gossip Girl" e "Y: O Último Homem"). No podcast, nós discutimos os temas que foram atualizados pela minissérie e analisamos as diferenças que justificam a necessidade de fazer um remake do filme de 1988. Quem se senta à mesa conosco neste episódio é Ana Lúcia Andrade, professora de Cinema da Escola de Belas Artes da UFMG. O cinematório café é produzido e apresentado por Renato Silveira e Kel Gomes. A cada episódio, nós propomos um debate em torno de filmes recém-lançados e temas relacionados ao cinema, sempre em um clima de descontração e buscando refletir sobre imagens presentes no nosso dia a dia. Quer mandar um e-mail? Escreva para contato@cinematorio.com.br. A sua mensagem pode ser lida no podcast!
Dans Dead Ringers ou Faux semblants en français, Rachel Weisz incarne les jumelles Beverly et Elliot Mantle, toutes deux gynécologues, héritant ainsi du double rôle principal qu'avait Jeremy Irons dans le long métrage de 1988. Faux semblants, le film de Cronenberg, entre dérangeant et terrifiant, avait reçu plusieurs prix à l'époque. En 2005, HBO avait décidé d'en faire une adaptation télévisée en réponse à une série rivale autour de deux médecins, ou plutôt de deux chirurgiens plasticiens, le légendaire Nip/Tuck. Malheureusement, le projet n'avait pas été concrétisé. Jusqu'en 2020, date à laquelle Amazon s'est emparé des droits et a commencé la production de cette mini-série. Une production pas facile et entravée par la pandémie, qui fait que Dead Ringers n'arrive qu'aujourd'hui sur nos écrans. Présentée en avant-première à Canneséries, découvrez désormais les six épisodes sur Prime Video. https://youtu.be/FA_XOruRFfU Créée et écrite par la scénariste nommée aux Emmy Awards, Alice Birch (Normal People, Conversations With Friends), Dead Ringers suit des sœurs jumelles qui partagent tout : drogues, amants et un désir éhonté de faire tout ce qu'il faut - même repousser les limites de l'éthique médicale - afin de remettre en question les pratiques désuètes et de mettre les soins de santé des femmes au premier plan. Adapté à la base du roman de Bari Wood et Jack Geasland, il s'agit en fait d'une inspiration à partir d'une histoire vraie survenue en 1975, avec les jumeaux Marcus. Birch prend une autre voie, changeant le genre des personnages et mettant à l'honneur le féminin, dans une revisite moderne. Passer d'un format l'autre permet à l'histoire de développer plus en détails certains points de l'intrigue, disséquer la psychologie des personnages, insérer des flashbacks et bien plus encore. L'atmosphère bizarre voire malsaine est toujours présente, et même si dans la réalisation, on se démarque bien d'un Cronenberg, ce n'est pas forcément plus mal. Les jumelles sont des sages-femmes brillantes et prospères, travaillant côte à côte dans un hôpital des quartiers chics de New York. Elles représentent les deux faces d'une même médaille : Beverly, qui s'occupe de la plupart des femmes enceintes, est calme et ordonnée, tandis qu'Elliot, qui étudie les problèmes de fertilité, est effrontée et téméraire. Tous deux partagent l'objectif d'ouvrir leur propre maison de naissance, un endroit où elles pourront prendre des décisions et créer un environnement qui "changera la façon dont les femmes accouchent". L'inversion de genre des protagonistes sert complètement à cette relecture de l'histoire, mettant l'accent sur des questions sociales telles que la santé des mères ainsi que la liberté de disposer de son corps. [bs_show url="dead-ringers-2021"] Ne serait-ce que pour la prestation de Rachel Weisz, le visionnage vaut le détour sur Prime Video.
Our latest guests on Soundtracking are Rachel Weisz and Alice Birch, who together are instrumental in bringing us the TV remake of David Croneburg's classic chiller, Dead Ringers. As well as reprising the Jeremy Irons role as the central twins, Rachel also produced the show, while Alice developed the concept for Amazon Prime and was a driving force behind the script. Here they discuss some of their musical choices and decisions.
Based on the 1988 David Cronenberg film, the new six-part TV series Dead Ringers tells the story of identical twin doctors - played by Rachel Weisz - as they explore innovations in childbirth and fertility.In this bonus episode of the podcast, our TV columnist Bethan Ackerley speaks to the show's lead writer, Alice Birch, about how she took on Cronenberg's twisted tale, why it was important to include graphic and realistic depictions of birth in the series, and about the emerging medical technologies that play a part in the show.To read about subjects like this and much more, you can subscribe to New Scientist magazine at newscientist.com. Hosted on Acast. See acast.com/privacy for more information.
This week, Amon chats to AV Rockwell about the rapidly changing face of New York City and working with Teyana Taylor on her debut feature A THOUSAND AND ONE (6:33); while we rev up our chainsaws for EVIL DEAD RISE (26:38), boot up our laptops for MISSING (40:24), and the lay down the charge for HOW TO BLOW UP A PIPELINE (56:05). Plus, Hanna talks to the star and creator of Prime Video's DEAD RINGERS (1:10:38), Rachel Weisz and Alice Birch, all about how they drew fresh blood from David Cronenberg's 1988 psychosexual thriller. And, in our HOT TAKE, we chat the finale of season 3 of THE MANDALORIAN (1:31:36). If you'd like to join the conversation or suggest a Hot Take for the gang to discuss tweet us at @FadeToBlackPod Follow us: @amonwarmann, @clarisselou, @hannaflint If you like the show do subscribe, leave a review and rate us too!
In Bochum inszeniert die aus Tirol kommende Regisseurin derzeit [BLANK], ein hartes, dunkles Stück der britischen Autorin Alice Birch. Mit Kornelia Bittmann spricht Nora Schlocker über Darstellung von Gewalt, Frauen im Theater und ihre Heimat Österreich. Von Kornelia Bittmann.
Rachel Weisz joins Girls On Film to talk about playing twin sisters in the new Prime Video series Dead Ringers, along with writer Alice Birch. Both women executive produced the series and tell host Anna Smith about the collaboration that brought the show to the screen. Rachel tells how her love of the 1988 film inspired the idea of a gender flip of the central two characters, and explains the intricacies of playing twins. She and Alice discuss establishing the show's unique tone, and share behind-the-scenes stories. The pair then take questions from the audience, who are members of Women in Film and TV (UK). Find out more about Women in Film and TV (UK) here: https://www.wftv.org.uk/ Watch Dead Ringers on Prime Video now Become a patron of Girls On Film on Patreon here: www.patreon.com/girlsonfilmpodcast Follow us on socials: www.instagram.com/girlsonfilm_podcast/ www.facebook.com/girlsonfilmpodcast www.twitter.com/GirlsOnFilm_Pod www.twitter.com/annasmithjourno Watch Girls On Film on the BFI's YouTube channel: www.youtube.com/playlist?list=PLX…L89QKZsN5Tgr3vn7z Girls On Film is an HLA Production Executive Producer: Hedda Archbold Audio editor: Cam Griffiths Assistant Producer: Eleanor Hardy Principal Partners Vanessa Smith and Peter Brewer House band: MX Tyrants
Rachel Weisz and Alice Birch discuss remaking David Cronenberg's chiller ‘Dead Ringers' and the importance of depictions of birth on screen. Super subs Rhianna Dhillon and Robbie Collin stand in whilst Mark and Simon are away. Robbie reviews ‘How To Blow Up A Pipeline' - about a group of environmental activists who want to make their voices heard and disrupt an oil pipeline; ‘Evil Dead Rise' an American supernatural horror film written and directed by Lee Cronin, which is the fifth installment of the Evil Dead film series; as well as Prime Video series ‘Dead Ringers'. Time Codes (relevant only when you are part of the Vanguard): 09:18 Evil Dead Rise Review 19:30 Box Office Top 10 36:14 Rachel Weisz and Alice Birch interview 52:53 Dead Ringers Review 59:22 Laughter Lift 01:02:26 How To Blow Up A Pipeline 01:10:17 What's On EXCLUSIVE NordVPN Deal ➼ https://nordvpn.com/take Try it risk-free now with a 30-day money-back guarantee! You can contact the show by emailing correspondence@kermodeandmayo.com or you can find us on social media, @KermodeandMayo A Somethin' Else & Sony Music Entertainment production. Find more great podcasts from Sony Music Entertainment at sonymusic.com/podcasts and follow us @sonypodcasts To bring your brand to life in this podcast, email podcastadsales@sonymusic.com Learn more about your ad choices. Visit podcastchoices.com/adchoices
Not only do we have Rachel Weisz and Alice Birch on this week's show to talk all about Prime Video's resurrection of '80s Cronenberg thriller Dead Ringers, but Melanie Lynskey joins us for an update on how Yellowjackets Season 2 is going. Plus the team head off to A&E with Niamh Algar in Malpractice on ITV, and try a little oenology with Apple's manga adaptation Drops Of God. All of which leads to a slightly anarchic discussion of super-tasters, Boyd's tea-making technique, and the time Kay knocked herself out with Sambuca shots.
Oggi a Cult: al Piccolo Teatro Grassi debutta "Anatomia di un suicidio" di Alice Birch, per la regia di Lisa Ferlazzo Natoli e Alessandro Ferroni di lacasadargilla; Mario Gomboli e Astorina Editore celebrano il 60° compleanno di Eva Kant con tre nuove uscite e una moneta coniata dalla Zecca di Stato; Massimo Recalcati introduce il suo nuovo libro "Il lapsus della lettura. Leggere i libri degli altri" (ed. Castelvecchi); la rubrica di lirica e dintorni di Giovanni Chiodi... Cult è condotto da Ira Rubini e realizzato dalla redazione culturale di Radio Popolare. Cult è cinema, arti visive, musica, teatro, letteratura, filosofia, sociologia, comunicazione, danza, fumetti e graphic-novels… e molto altro! Cult è in onda dal lunedì al venerdì dalle 11.30 alle 12.30. La sigla di Cult è “Two Dots” di Lusine. CHIAMA IN DIRETTA: 02.33.001.001
No podcast de hoje conversamos sobre Aftersun (2022), o filme de estreia da cineasta Charlotte Wells, protagonizado por Paul Mescal e Frankie Corio, indicado ao Oscar de melhor ator e premiado ano passado com 5 Alices de Ouro e 1 Alice de Prata no nosso Troféu Alice. Abordamos a identificação geracional, a fragmentação de um retrato de memória difusa, a questão da paternagem, passando pelo roteiro, montagem, direção de arte e atuação. O programa é apresentado por Rosana Íris, Camila Vieira e Stephania Amaral. Feedback: contato@feitoporelas.com.br Mais informações: https://feitoporelas.com.br/feito-por-elas-182-aftersun Feedback: contato@feitoporelas.com.br Pesquisa, pauta e roteiro: Rosana Íris, Camila Vieira e e Stephania Amaral Produção do programa e arte da capa: Isabel Wittmann Edição: Domenica Mendes Vinheta: Felipe Ayres Locução da vinheta: Deborah Garcia (deh.gbf@gmail.com) Música de encerramento: Bad Ideas - Silent Film Dark de Kevin MacLeod está licenciada sob uma licença Creative Commons Attribution (https://creativecommons.org/licenses/by/4.0/) Origem: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100489 Artista: http://incompetech.com/ Agradecimento: Carolina Ronconi, Leticia Santinon, Lorena Luz, Isadora Oliveira Prata, Helga Dornelas, Larissa Lisboa, Tiago Maia e Pedro dal Bó Assine nosso financiamento coletivo: https://orelo.cc/feitoporelas/apoios Links patrocinados (Como associado da Amazon, recebemos por compras qualificadas): [LIVRO] Cinema Soviético de Mulheres https://amzn.to/3lnC37b [LIVRO] Mulheres Atrás das Câmeras- As cineastas brasileiras de 1930 a 2018 https://amzn.to/3AC6wnl [LIVRO] Pessoas Normais, de Sally Rooney https://amzn.to/3lqZrCH [LIVRO] Controle, da Natalia Borges Polesso https://amzn.to/3IsgxJH [LIVRO] Os Tais Caquinhos, da Natercia Pontes https://amzn.to/40OWw74 Mencionados: [FILME] Meu Primeiro Amor (My Girl, 1991), dir. Howard Zieff [FILME] Um Lugar Qualquer (Somewhere, 2010), dir. Sofia Coppola [FILME] Tuesday (2015), dir. Charlotte Wells [FILME] As Faces de Toni Erdmann (Toni Erdmann, 2016), dir. Maren Ade [FILME] The Souvenir (2019), dir. Joanna Hogg [FILME] The Souvenir : Part II (2019), dir. Joanna Hogg [FILME] Aftersun (2022), dir. Charlotte Wells [SERIADO] Fleabag (2016-2019), criado por Phoebe Waller-Bridge [SERIADO] Normal People (2020), criado por Sally Rooney, Alice Birch, Mark O'Rowe [LIVRO] Controle, da Natalia Borges Polesso [LIVRO] Os Tais Caquinhos, da Natercia Pontes Relacionados: [PODCAST] Feito por Elas #31 Sofia Coppola https://feitoporelas.com.br/feito-por-elas-31-sofia-coppola/ [PODCAST] Fleabag por Elas https://feitoporelas.com.br/tag/fleabag-por-elas/ [PODCAST] Feito por Elas #178 The Souvenir Part I & Part II https://feitoporelas.com.br/feito-por-elas-178-the-souvenir-part-i-part-ii/
Playwright Zinnie Harris, author Isabelle Schuler and New Generation Thinker Emma Whipday and Michelle Assay have looked at the murdering husband and wife of Shakespeare's Scottish play. Chris Harding hosts a discussion about the Macbeth story from Kurosawa and Shostakovich to a novel called Lady MacBethad and a play called Macbeth an Undoing. Macbeth - an Undoing by Zinnie Harris runs at the Lyceum Edinburgh from Feb 4th to 25th 2023. Throne of Blood Akira Kurosawa's 1957 film is part of a BFI season celebrating the director which runs across February. https://whatson.bfi.org.uk You can find Free Thinking discussions about Rashomon https://www.bbc.co.uk/programmes/b0b01vwk and Seven Samurai https://www.bbc.co.uk/programmes/b03yqt07 available on BBC Sounds Lady MacBethad by Isabelle Schuler is published March 2023. Calixto Beito's production of Lady Macbeth of Mtsensk is being staged at the Geneva Theatre this spring. Alice Birch's 2016 version of this story relocated to Yorkshire is a film available for rent. Michelle Assay is a musician and has researched Shakespeare. A collection called Free Thinking explores Shakespeare are all available to download as the Arts & Ideas podcast and on BBC Sounds https://www.bbc.co.uk/programmes/p06406hm Producer: Ruth Watts
Novelist Emma Donoghue joins writer-director and male ally Sebastián Lelio to talk with Anna Smith about his new film based on Emma's book, co-written by Alice Birch. The Wonder, which has earned a BAFTA nomination for Outstanding British Film (and Girls On Film Award nominations for Best Feature Film sponsored by EON Productions, The Girls On Film Ally Award sponsored by IMDb for Sebastián Lelio, Best Cinematographer for Ari Wegner, and Best Female Orgasm sponsored by Intimacy on Set for Florence Pugh) is available to watch on Netflix now. This powerful film stars Florence Pugh as Lib, an English nurse who in 1862, following the Great Famine, is called to Ireland and asked to watch over an 11-year-old girl called Anna, who claims not to have eaten for four months, played by brilliant newcomer Kila Lord Cassidy. In this episode, Emma Donoghue, whose previous novel Room was made into an Oscar-winning film, talks about the thrill of becoming a fan of her own work as brilliant and expert collaborators create films of her stories, and why Sebastián Lelio is a true ally. Also, Sebastián Lelio discusses with Anna the brutality of filmmaking and why creating a precise and delicate set is so important. He also talks about casting the “warrior-like” Florence Pugh, with her unique connection with the audience, and discovering the astonishing Kila Lord Cassidy to star opposite Pugh. UK listeners can watch The Wonder on Netflix now. Information and advice on eating disorders can be found on the NHS website: https://www.nhs.uk/mental-health/feelings-symptoms-behaviours/behaviours/eating-disorders/overview/ Other films mentioned in this episode include: A Fantastic Woman, Sebastián Lelio, 2017 Gloria Bell, Sebastián Lelio, 2018 Disobedience, Sebastián Lelio, 2017 Room, Lenny Abrahamson, 2015 Lady Macbeth, William Oldroyd, 2016 Television series mentioned in this episode include: Station Eleven, 2021-2022 Normal People, 2020 Become a patron of Girls On Film on Patreon here: www.patreon.com/girlsonfilmpodcast Follow us on socials: www.instagram.com/girlsonfilm_podcast/ www.facebook.com/girlsonfilmpodcast www.twitter.com/GirlsOnFilm_Pod www.twitter.com/annasmithjourno Watch Girls On Film on the BFI's YouTube channel: www.youtube.com/playlist?list=PLX…L89QKZsN5Tgr3vn7z Girls On Film is an HLA production. Host: Anna Smith. Executive Producer: Hedda Archbold Producer: Lydia Scott Audio Producer: Nic Wassell Intern: Eleanor Hardy House band: MX Tyrants This episode is in partnership with Netflix.
Intimacy coordinator Ita O'Brien talked with Girls On Film co-founder Hedda Archbold at last summer's Latitude Festival about the work of her company, Intimacy On Set. She explains the way their work is transforming on-set working practices, and the kind of intimate scenes we see on screen – as well as how we think about consent in our everyday lives. In this episode we announce that on 23 February 2023, the second Girls On Film Awards will be held at the Garden Cinema in Covent Garden, co-hosted once again by Girls On Film host Anna Smith, and co-founder and exec producer Hedda Archbold. We are delighted to champion the amazing work done by women in film over the past year. We'll be joined by some brilliant female filmmakers, and Ita O'Brien will be a special guest at the event, giving industry context to our Best Female Orgasm Award. In this episode of Girls On Film you can hear all about Ita O'Brien's approach to the portrayal of sexuality on screen. Films and television series mentioned in this episode include: Normal People, Directed by Lenny Abrahamson and Hettie Macdonald, written by Alice Birch, Mark O'Rowe and Sally Rooney (based on the novel by Sally Rooney) I May Destroy You, written, directed, produced by and starring Michaela Coel It's a Sin, created by Russell T Davies, starring Olly Alexander and Lydia West Lady Chatterley's Lover, directed by Laure Clermont de Tonnere, screenplay by David Magee based on the novel by DH Lawrence, starring Emma Corrin and Jack O'Connell Become a patron of Girls On Film on Patreon here: www.patreon.com/girlsonfilmpodcast Follow us on socials: www.instagram.com/girlsonfilm_podcast/ www.facebook.com/girlsonfilmpodcast www.twitter.com/GirlsOnFilm_Pod www.twitter.com/annasmithjourno Watch Girls On Film on the BFI's YouTube channel: www.youtube.com/playlist?list=PLX…L89QKZsN5Tgr3vn7z Girls On Film is an HLA production. Host: Anna Smith. Executive Producer: Hedda Archbold Audio Producer: Benjamin Cook Intern: Eleanor Hardy House band: MX Tyrants
First up, take a listen as writer/director MICHAEL KOCH talks about A PIECE OF SKY, Switzerland's submission for the 95th Academy Awards as Best Foreign Language Film. A quiet, reflective, and thoughtful film that tacitly explores the relationship between man and nature, life and death, A PIECE OF SKY is one of the most emotionally beautiful films of the year; not to mention that stunning multi-season imagery of the Swiss mountains. Set in a remote alpine village, (Michèle Brand) works both as a waitress and mail carrier to support her young daughter. She has fallen deeply in love with the village newcomer, Marco (Simon Wisler), a strong and silent farmhand from the lowlands. But soon after their wedding, Marco is diagnosed with a brain tumor. As the seasons change, his behavior grows increasingly erratic, leading up to a severe transgression that threatens to tear the young family apart. Then listen to writer/director SEBASTIAN LELIO discuss the award-worthy film THE WONDER. Directed by Lelio and co-written with Alice Birch based on Emma Donoghue's acclaimed novel and inspired by the 19th-century phenomenon of the "fasting girls", THE WONDER is a stunning psychological thriller set in The Irish Midlands in 1862 where eleven-year-old Anna has stopped eating for months but remains miraculously alive and in relatively well state. Tourists have flocked to the small village to bear witness to Anna, believing her to be a miracle destined for sainthood. In an effort to discover the truth, the village council brings in English nurse Lib Wright to observe Anna and report her findings. Is this a miracle or is there something else afoot? http://eliasentertainmentnetwork.com
The Wonder is a 2022 psychological period drama film directed by Sebastián Lelio from a screenplay by Emma Donoghue, Lelio, and Alice Birch, based on the 2016 novel of the same name by Donoghue. Florence Pugh leads an ensemble cast that includes Tom Burke, Elaine Cassidy, Kíla Lord Cassidy, Niamh Algar, Toby Jones, and Ciarán Hinds. It had its world premiere at the Telluride Film Festival on September 2, 2022, and was released in select cinemas on November 2, 2022 before streaming on Netflix on November 16, 2022. It received positive reviews from critics who praised the production design and cast performances, particularly Pugh's. --- Send in a voice message: https://anchor.fm/popcorn-junkies/message
This week we start by reviewing the surprising feminist horror film RUN SWEETHEART RUN (2:43), which involves much more than just a woman running for her life from a business dinner turned date that becomes violent. Then we cover Sebastián Lelio's eerie period thriller THE WONDER (25:27), which takes place in 1862, and stars Florence Pugh as an English nurse investigating an Irish girl who has supposedly survived for months without eating. And in this week's Patreon exclusive audio, we honor the late Angela Lansbury by discussing John Frankenheimer's 1962 political thriller THE MANCHURIAN CANDIDATE! Join Our Patreon Buy Spoilerpiece Merch
Rozhovory s přáteli je nový seriál podle stejnojmenné knižní předlohy spisovatelky Sally Rooney. Podařilo se týmu, který pracoval na kladně hodnocené minisérii Normální lidi, navázat na předchozí úspěch s novým romantickým dramatem na pokračování? „Obě přepracování se povedla hodně. Zásluhu na tom má irský all star tým s režisérem Lennym Abrahamsonem a scenáristkou Alice Birch,“ shrnuje publicistka Táňa Zabloudilová a dodává, že o klasický romantický seriál rozhodně nejde.
Rozhovory s přáteli je nový seriál podle stejnojmenné knižní předlohy spisovatelky Sally Rooney. Podařilo se týmu, který pracoval na kladně hodnocené minisérii Normální lidi, navázat na předchozí úspěch s novým romantickým dramatem na pokračování? „Obě přepracování se povedla hodně. Zásluhu na tom má irský all star tým s režisérem Lennym Abrahamsonem a scenáristkou Alice Birch,“ shrnuje publicistka Táňa Zabloudilová a dodává, že o klasický romantický seriál rozhodně nejde.Všechny díly podcastu On Air můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.
In this Mothering Sunday episode of Popcorn Podcast, there's more than just cinematography and sex on the agenda as Leigh and Tim bring you frank discussion on nude meanderings, the order in which one should dress themselves and the stratospheric excellence of Olivia Colman and Colin Firth in the sensual British drama. It's an unmissable movie review. Plus, Popcorn Podcast chats to The Lost City directors Adam and Aaron Nee about their upcoming Masters of the Universe project; new trailers for Thor: Love and Thunder, Mission: Impossible – Dead Reckoning – Part 1, Three Thousand Years of Longing and Beast blow us away; and a first look at the fifth instalment of Indiana Jones 5.Know someone who loves movies? Please share Popcorn Podcast with your friends.Visit popcornpodcast.com for more movie reviews, celebrity interviews and news.Popcorn Podcast interviews the biggest stars, including Hugh Jackman and more, on YouTube: Popcorn Podcast
Written in 2019 and originally premiering at the Aldeburgh Festival in 2020, Tom Coult and Alice Birch's 'Violet' tells the 24-day story of a village discovering the gradual loss of time. Recorded at rehearsals in the Jerwood Space in London in May 2022. 'Violet' opens the 2022 Aldeburgh Festival on 3 June.
A conversation with playwright and BAFTA-nominated screenwriter Alice Birch whose credits include Lady Macbeth, Succession, Normal People and the upcoming Conversation with Friends. In this episode, Alice discusses her career, the craft of writing and sharing some of her experiences and expertise with fellow screenwriter Kam Odedra. Guru Live Online: Spring 22 was brought to you by BAFTA in Scotland and Wales.
Gampert, Christianwww.deutschlandfunk.de, Kultur heuteDirekter Link zur Audiodatei
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Mothering Sunday is a radical period drama and portrait of an artist as a young woman. During a sweltering summer in Britain between the wars, it follows domestic servant Jane Fairchild on the titular day off-duty – the day of a secret visit to her illicit upper-class lover. Starring Odessa Young, Josh O'Connor, Colin Firth and Olivia Colman, the superbly acted drama explores themes of grief, class, sexuality and creativity. Our host Anna Smith sat down with the women whose collaboration brought it to the screen – director Eva Husson, producer Elizabeth Karlsen, and composer Morgan Kibby – in a special live webinar Q&A last week. In this podcast version, you'll hear the panel in conversation with Anna and answering questions from our listeners. Sharing their motivations and inspirations during the filmmaking process, and their memories of the movie's pandemic-blighted shoot, they give a fascinating insight into the female creative force behind this quietly rebellious tale. One of a small but growing group of female film composers, Morgan unpacks her longtime collaboration with Eva, who she has been working with since the director's 2015 feature debut Bang Gang. Plus, she discusses the issue of gender in film composition, and the secrets of an emotional score. Eva shares her approach to depicting intimacy onscreen, and creating a heroine in control of her sexuality. We hear how her hands-on approach to the whole production helped craft the film's immersive atmosphere. Elizabeth tells us how the film took shape from Graham Swift's source novel, and talks working with Normal People screenwriter Alice Birch. Plus plenty more snapshots from the set, including what one standout sequence from the 20s-set tale has in common with a 70s punk band… Mothering Sunday is available to watch at home on digital download and on DVD and Blu-ray now. Become a patron of Girls on Film on Patreon here: www.patreon.com/girlsonfilmpodcast Follow us on socials: www.instagram.com/girlsonfilm_podcast/ www.facebook.com/girlsonfilmpodcast www.twitter.com/GirlsOnFilm_Pod www.twitter.com/annasmithjourno Watch Girls On Film on the BFI's YouTube channel: www.youtube.com/playlist?list=PLX…L89QKZsN5Tgr3vn7z Girls On Film is an HLA production. Executive producer: Hedda Archbold. Producer: Heather Dempsey. Audio producer: Benjamin Cook. Assistant Producer: Shanaiya Pithiya. House band: MX Tyrants. Thanks to Cristina Garcia at Bird's Eye View. This episode was produced in partnership with Lionsgate.
In his conversation with Lance Pettitt, Visiting Professor in Irish Studies at the University of Wuppertal, Lenny Abrahamson explores the challenges of creating dramatic stories for television, showing how - in his view - the aesthetics, structures and intimacy of film and TV intersect in the compelling viewing experience that is the hallmark of a hit show. He talks about the upcoming series Conversations with Friends and about how we can recognize the themes, form and patterns of Normal People, while at the same time Conversations with Friends pushes further and strives to be a more polyphonic story. Lenny discusses working in a creative and generous environment with, among others, writer Alice Birch and director Leanne Welham; trying to render the characters' experiences in a truthful way; giving the audience the feeling of being inside the frame; and thinking of episodes as small films. He also lifts the veil on some of the projects he is currently working on.
"Bit of fiddly-widdly" This week we were joined by a very special guest, Billy Rae Stevens, and we discussed the 2018 film The Favourite, starring Olivia Colman, Emma Stone and Rachel Weisz. We also chatted about International Non-Binary People's Day & Awareness Week, Demi Lovato's take on misgendering and Billy's directorial debut Revolt. She Said. Revolt Again. by Alice Birch. Thanks for listening! x instagram: @gaytozpod twitter: @gaytozpod email: gaytozpod@gmail.com
Seguimos com a nossa Parada Cultural das Nações, série especial do podcast do site NERVOS que aproveita a contagem regressiva para as Olimpíadas de Tóquio a fim de apresentar a culturas dos países que participarão do evento esportivo. Em vez de atletas, o cinema, a TV e a música dessas delegações desfilam por aqui. E, de acordo com a ordem da Parada das Nações que ocorrerá nos Jogos Olímpicos de 2020 – que foram adiados para 2021 por causa da pandemia de Covid-19 –, os destaques deste segundo episódio são a Islândia e a Irlanda. Ouça no lugar que você quiser: SoundCloud | Spotify | Deezer | iTunes | Google Podcasts | Orelo | Feed | Download Parada Cultural das Nações #2 > A partir de 9s Islândia > A partir de 1min38s - Porta-bandeira: a compositora Hildur Guðnadóttir - Destaques: a música "Húsavík"; os filmes Heartstone (2016), de Guðmundur Arnar Guðmundsson; Inspire, Expire (2018), de Ísold Uggadóttir; A Resistência de Inga (2019), de Grímur Hákonarson; e Um Dia Muito Claro (2019), de Hlynur Pálmason; e as séries Trapped (2015-), de Baltasar Kormákur; e O Assassino de Valhalla (2019-20), de Thordur Palsson - Citados: o escritor Halldór Laxness; a banda The Sugarcubes, a cantora Björk, e os grupos Sigur Rós, Of Monsters and Men e Kaleo; os filmes Filhos da Natureza (1991), de Friðrik Þór Friðriksson; Nói, o Albino (2003), de Dagur Kári; Sobrevivente (2012), de Baltasar Kormákur; Síðasti bærinn / The Last Farm (2004) e Pardais (2015), de Rúnar Rúnarsson; e A Ovelha Negra (2015), de Grímur Hákonarson Irlanda > A partir de 6min44s - Porta-bandeira: a animação Wolfwalkers (2020), de Tomm Moore e Ross Stewart - Destaques: séries O Levante da Páscoa (2016-19), de Colin Teevan; Dublin Murders (2019-), de Sarah Phelps; e a minissérie Normal People (2020), de Alice Birch, Mark O'Rowe, Sally Rooney, Lenny Abrahamson e Hettie Macdonald; e os cantores Hozier e Niall Horan - Citados: os filmes Ventos da Liberdade (2006), de Ken Loach; The Commitments – Loucos pela Fama(1991), de Alan Parker; Meu Pé Esquerdo (1989) e Em Nome do Pai (1993), de Jim Sheridan; Traídos pelo Desejo (1992), de Neil Jordan; Apenas Uma Vez (2007) e Sing Street: Música e Sonho (2016), de John Carney; Uma Viagem ao Mundo das Fábulas (2009), de Tomm Moore e Nora Twomey, e A Canção do Oceano (2014), de Tomm Moore; e os grupos The Dubliners, The Pogues, U2, as cantoras Enya e Sinéad O'Connor, as bandas The Cranberries, Thin Lizzy, My Bloody Valentine, The Corrs e as boy bands Westlife e Boyzone Encerramento > A partir de 11min45s Confira a transcrição completa deste podcast no site: https://www.nervos.com.br/post/paradaculturaldasnacoes2-islandia-irlanda *Músicas presentes no podcast: “Brazilian Fantasy (Standard Version)”, de Alexandre de Faria; “Hino da Islândia”, de Matthías Jochumsson e Sveinbjörn Sveinbjörnsson; "Bathroom Dance" (From "Joker"), de Hildur Guðnadóttir; “Hino da Irlanda”, de Peadar Kearney e Patrick Heeney; “Wolfwalkers Theme”, de Bruno Coulais; e “Dinner & Diatribes”, de Hozier
Important LinksLouisville Community GroceryNAMI - LouisvilleAmpersand - Crisis Center of the BluegrassBlack Art Futures FundLouisville Bail Fund Plays DiscussedRevolt. She Said. Revolt Again. By Alice BirchNSFW By Lucy KirkwoodThe Sewing Group by E.V. CroweThe Nether by Jennifer Haley BonusMidsummer Mischief - Four Radical New PlaysLucy Kirkwood: Plays One
Nancy and Sam smash the patriarchy (or at least try to understand just how massive and far-reaching it is) with a look at this form-smashing play. Okay, so we don't smash the patriarchy, and 50 minutes is no time at all to cover everything, but we think this play is fantastic and had a blast diving deep into all the intense and challenging themes it presents.Have some feedback? A play you'd like us to cover?Visit the official podcast twitter @playgroundpoddyChat to host Nancy @N_NetherwoodChat to host Sam in person if you happen to recognise him
2020 touche (enfin) à sa fin, il est donc temps de faire le bilan ! Dans cet épisode, Clémentine, Anne-Laure, Pauline, Emeline et Kaoutar se retrouvent masquées en studio pour revenir sur cette année confinée. Elles reviendront sur leurs tops, leurs flops mais aussi les recommandations culturelles qui leur ont permis de survivre à 2020. Références entendues dans l'épisode :Pauline Verduzier, Vilaines filles, Anne Carrière (2020)Page Facebook « Féminicides par compagnons ou ex » Marion Tillous, « Violences conjugales, un « confinement sans fin » », Libération (2020)Dilnur Reyhan, « J’attends toujours la solidarité des féministes envers les femmes ouïgoures », tribune dans Le Monde (2020) Gisèle Halimi, Le lait de l’oranger, Pocket (2001)Marcia Burnier, Les Orageuses, Cambourakis (2020)Perrine Kervran, Clémence Allezard, « Violé-e-s: une histoire de domination », LSD, la série documentaire, France Culture (2020)Les meurtres d’Alcasser de Elías León Siminiani, Netflix (depuis 2019)La Déferlante, la revue des révolutions féministesGaze magazine, la revue des regards féministesCharlotte Pudlowski, « Ou peut-être une nuit », Louie média (2020)Axelle Jah Njiké, « La fille sur le canapé », Nouvelles EcoutesPauline Harmange, Moi les hommes, je les déteste, Monstrograph (2020)Laylow, Trinity (2020) Dinos, Stamina (2020)Shay, Lost in It (2020)Lala &ce, Dodow&ve (2020)Aya Nakamura, Aya (2020)Normal, de Sally Rooney, Alice Birch et Mark O’Rowe, BBC Three (2020)This way up, de Aisling Be, Channel 4 (2020)I may destroy you, de Michaela Coel, HBO (2020)Industry, de Konrad Kay et Mickey Down, HBO (2020)Feel Good, de Mae Martin et Joe Hampson, Netflix (2020)Deborah Levy est romancière, dramaturge et poétesse britannique. Elle est l’autrice Le coût de la vie (éditions du Sous-sol 2020) et Ce que je ne veux pas savoir (éditions du Sous-sol 2020).Euphoria, de Sam Levinson, HBO (depuis 2019) L’effondrement, de Guillaume Desjardins, Jérémy Bernard et Bastien Ughetto, Canal+ (depuis 2019) Tout le monde peut-être féministe, Bell Hooks, Divergences (2020) Bertoulle Beaurebec, Balance ton corps, La Musardine (2020) « The last of Us », Naughty DogLa soupe aux choux, de Jean Girault (1981)Quatre mariages et un enterrement, de Mike Newell (1994) Hugo Lindenberg, Un jour ce sera vide, Christian Bourgois éditeur (2020)Camille Laurens, Fille, Gallimard (2020)Le jeu de la dame, de Scott Franck et Allan Scott, Netflix (2020)Adolescentes, de Sébastien Liftshitz (2020)Petite fille, de Sébastien Lifshitz (2020)Josep, de Aurel (2020)Énorme, de Sophie Letourneur (2020)Unorthodox, de Anna Winger, Netflix (2020)Romain Gary, La vie devant soi, Gallimard (1982)Lola Lafon, Chavirer, Actes sud (2020) Dua Lipa, Angèle « Fever » (2020) Love is blind, de Chris Coelen, Netflix (2020)Virginie Despentes, Luz, Vernon Subutex, Albin Michel (2020)Lisa Mandel, Une année exemplaire, Lisa Mandel (2020)Moderna del pueblo, (Dés)enchantées: un conte fées-ministes, First Editions (2020)Audre Lorde, Zami: une nouvelle façon d’écrire mon nom, Mamamelis (2001) Luce Lebart, Marie Robert, Une histoire mondiale des femmes photographes, Textuel (2020) Edward Ross, Les mondes du jeu, ça et là (2020)Brigitte Minne, Trui Chielens, Princesse Pimprenelle se marie, CotCotCot éditions (2020)Fatima Daas, La petite dernière, Noir sur blanc (2020) Sarah Mazouz, Race, Anamosa (2020) Quoi de Meuf est une émission de Nouvelles Ecoutes. Cet épisode est conçu par Clémentine Gallot et présenté avec Emeline Amétis, Anne-Laure Pineau, Pauline Verduzier et Kaoutar Harchi. Mixage Laurie Galligani.Générique réalisé par Aurore Meyer Mahieu. Prise de son par Adrien Beccaria à l’Arrière Boutique. Montage et coordination Ashley Tola.
In this fourth episode of The Acting for Stage and Screen Podcast, James chats with the Head of New Work at the celebrated Donmar Warehouse Theatre in London; Clare Slater. Prior to joining The Donmar, Clare worked as the Assistant Literary manager at The National Theatre and then as the Executive Director of The Gate Theatre in Notting Hill. They discuss Clare's involvement with productions such as a recent new version of Brecht's 'The Resistible Rise of Arturo Ui', adapted by the Pulitzer prize winner Bruce Norris, her role in the development of Alice Birch's extraordinary play [Blank], and of the multiple award winning 'Grounded' by George Brant. Clare tells us about her experiences running a theatre and we learn all about the concept of dramaturgy.
Dove Alice, Andrea e Alice provano a districarsi in questo tempo senza tempo e tutto uguale che è la coesistenza con la pandemia, e ripercorrono alcune delle serie più interessanti del 2020 so far. Parte 1 di 2. [TW: nel segmento su I May Destroy You si parla di violenza sessuale] Abbiamo parlato di: - Run (HBO, 2020) di Vicki Jones - Snowpiercer (TNT, 2020-in corso) di Josh Friedman, Greame Mason - The Eddy (Netflix, 2020) di Jack Thorne - The Great (Hulu, 2020-in corso) di Tony McNamara - I May Destroy You (BBC/Hulu, 2020) di Michaela Coel - Normal People (BBC/Hulu) di Sally Rooney, Alice Birch, Mark O'Rowe
Dove Alice, Andrea e Alice provano a districarsi in questo tempo senza tempo e tutto uguale che è la coesistenza con la pandemia, e ripercorrono alcune delle serie più interessanti del 2020 so far. Parte 1 di 2.[TW: nel segmento su I May Destroy You si parla di violenza sessuale]Abbiamo parlato di:- Run (HBO, 2020) di Vicki Jones- Snowpiercer (TNT, 2020-in corso) di Josh Friedman, Greame Mason- The Eddy (Netflix, 2020) di Jack Thorne- The Great (Hulu, 2020-in corso) di Tony McNamara- I May Destroy You (BBC/Hulu, 2020) di Michaela Coel- Normal People (BBC/Hulu) di Sally Rooney, Alice Birch, Mark O'Rowe
Dove Alice, Andrea e Alice provano a districarsi in questo tempo senza tempo e tutto uguale che è la coesistenza con la pandemia, e ripercorrono alcune delle serie più interessanti del 2020 so far. Parte 1 di 2. [TW: nel segmento su I May Destroy You si parla di violenza sessuale] Abbiamo parlato di: - Run (HBO, 2020) di Vicki Jones - Snowpiercer (TNT, 2020-in corso) di Josh Friedman, Greame Mason - The Eddy (Netflix, 2020) di Jack Thorne - The Great (Hulu, 2020-in corso) di Tony McNamara - I May Destroy You (BBC/Hulu, 2020) di Michaela Coel - Normal People (BBC/Hulu) di Sally Rooney, Alice Birch, Mark O'Rowe
Dove Alice, Andrea e Alice provano a districarsi in questo tempo senza tempo e tutto uguale che è la coesistenza con la pandemia, e ripercorrono alcune delle serie più interessanti del 2020 so far. Parte 1 di 2.[TW: nel segmento su I May Destroy You si parla di violenza sessuale]Abbiamo parlato di:- Run (HBO, 2020) di Vicki Jones- Snowpiercer (TNT, 2020-in corso) di Josh Friedman, Greame Mason- The Eddy (Netflix, 2020) di Jack Thorne- The Great (Hulu, 2020-in corso) di Tony McNamara- I May Destroy You (BBC/Hulu, 2020) di Michaela Coel- Normal People (BBC/Hulu) di Sally Rooney, Alice Birch, Mark O'Rowe
This week, Joe Murphy is joined by Playwright Ella Hickson.Ella tells Joe why her PlayCrush is the experimental and provocative Revolt. She Said. Revolt Again. by Alice Birch.Contains strong language and adult content. See acast.com/privacy for privacy and opt-out information.
On this week's episode, Brynn tells us about Alice Birch's Revolt. She Said. Revolt Again. Heather McConnell movingly performs a monologue from Act Two of Revolt..., and NYC based director and dramaturg Anne Karyna Bakan gives us insight into how this work talks about feminism, female anger, and modern society. Heather McConnell can be contacted with professional inquiries at heathermcconnellsop@gmail.com. Anne Karyna Bakan can be contacted through her website, www.annekarynabakan.com. Email: theplaymatespodcast@gmail.com Instagram: @playmatespodcast --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/brynn-hambley/support
Tuvimos la gran oportunidad de hablar con Ed Guiney productor de la serie "Normal People", producida por la compañía de producción ganadora de premios Oscar y BAFTA, Element Pictures, y basada en la novela best-seller del New York Times de Sally Rooney (“Gente Normal”), ha sido elogiada por su hermosa escritura y la increíble actuación de los personajes principales de Daisy Edgar-Jones (War of the Worlds, Cold Feet) como Marianne y Paul Mescal, en su primer papel de televisión, como Connell. Adaptada por Sally Rooney junto a los escritores Alice Birch y Mark O’Rowe, "Normal People" es un drama de 12 episodios de 30 minutos producida por la galardonada Element Pictures. La serie es producida por Ed Guiney (The Favourite, Room, The Lobster, Dublin Murders), Andrew Lowe (The Favourite, Room, The Lobster), Emma Norton (Rosie, A Date for Mad Mary) y Anna Ferguson (No Offense, Prisoners’ Wives) para Element Pictures. Follow us: Facebook: https://www.facebook.com/revistaAcine Instagram: https://www.instagram.com/revistaacine/ Twitter: https://bit.ly/TwitterAcine
Mark & Louie have a conversation with Dan Bye – a theatre maker, writer, director and ultra runner. They chat to Dan about activism, process and of course running really long distances. They also chat about his latest show These Hills Are Ours, which would have been at Northern Stage this month. Transcript available to download here. Resource links: Daniel Bye website: www.danielbye.co.uk Breach "It's True, It's True, It's True": www.breachtheatre.com/shows/its-true-its-true-its-true/ Barbican website: www.barbican.org.uk/read-watch-listen/watch-its-true-its-true-its-true-by-breach Royal Court Theatre website: royalcourttheatre.com "Enron" by Lucy Prebble: www.waterstones.com/book/enron/lucy-prebble/9781408124673 "The Effect" by Lucy Prebble, Miriam Gillinson: www.waterstones.com/book/the-effect/lucy-prebble/miriam-gillinson/9781474272018 Ella Hickson: www.casarotto.co.uk/clients/ella-hickson BBC interview with Alice Birch: www.bbc.co.uk/mediacentre/mediapacks/normalpeople/alice Lucy Kirkwood: www.casarotto.co.uk/clients/lucy-kirkwood We're Gonna Die (contains strong language): https://vimeo.com/160685914
In this podcast Natasha Waugh talks to director Lenny Abrahamson about his work on the BBC series Normal People. Adapted by Sally Rooney from her acclaimed 2018 novel alongside writers Alice Birch and Mark O’Rowe, Normal People is a 12-part drama for BBC Three in partnership with Hulu. It will star Daisy Edgar-Jones (War Of The Worlds, Cold Feet) as Marianne and Paul Mescal in his first television role as Connell, in an exquisite and compulsive modern love story about how two people can profoundly impact each others’ lives. Lenny Abrahamson directs episodes 1 – 6. Hettie Macdonald directs episodes 7 – 12. Normal People will land as a complete boxset on BBC Three on Sunday, 26th April . It will also air on BBC One from Monday, 27th April at 9pm with weekly double episodes. Normal People will air on RTE One on Tuesday, 28th April . Normal People consists of 12 episodes, with each episode half an hour long. http://filmireland.net/
Love in a feed store lost in down the rabbit-hole of time. In their final episode, Ali and Emma return to one of their favourite authors, Jon Steiner to discuss 'Liebostod' narrated by Joel Horwood. Leave your feedback on this episode or on the series generally at the Coffee Pod|cast Facebook page. 'Liebestod' is published in Jon Steiner's debut collection, The Last Wilkie's and other stories (Spineless Wonders, 2016). About The Author Jon Steiner grew up in Washington, D.C. He went to Vassar College in Poughkeepsie, New York, graduating in 1993 with a Bachelors Degree in Film. After a few years in Texas and a few years in New York City, he migrated to Australia in 2000. In 2008, he completed a Graduate Diploma in Creative Writing at the University of Technology Sydney. He lives in the Sydney suburb of Tempe with his wife and daughter. About The Actor Joel Horwood trained in Western Australia and since moving to Sydney has performed in a number of independent theatre productions. These include the devising and subsequent premiere of Decay by award-winning playwright Melissa Lee Speyer and the Australian premiere of Alice Birch's Many Moons with English theatre company Said&Done. Most recently Joel peformed the lead role of Ort Flack in the stage adaptation of Tim Winton's That Eye, The Sky. Credits Presenters: Ali Morris and Emma Walsh Producer: Bronwyn Mehan Theme music: James Seymour Coffee Pod|cast has been produced with the support of the Australian Government through the Australia Council, its arts funding and advisory body and we wish to also acknowledge the support of Little Fictions by the Copyright Agency’s Cultural Fund and the City of Sydney Matching Grants program.
What does a speech look like stripped of the craft of speechwriting? HBO's hit show Succession gave us a glimpse with a hilarious eulogy delivered by character Connor Roy... and in the process, helps speechwriters and speakers avoid delivering dull, lifeless speeches. Links: Here's that eulogy: https://www.youtube.com/watch?v=VEdOB9OIh70. Succession on HBO: https://www.hbo.com/succession. The writing credits for that episode of Succession go to series creator Jesse Armstrong (https://twitter.com/jessearmstrong1), writer Georgia Pritchett (https://twitter.com/georgiapudding) and story editor Alice Birch (https://www.unitedagents.co.uk/alice-birch). Music: Theme: "Good Times" by Podington Bear (http://freemusicarchive.org/music/Podington_Bear/). Incidental music by Lee Rosevere (https://leerosevere.bandcamp.com/) including "Drive 'til Dawn," "Thought Bubbles," "More on That Later" and "Where Was I." Used under a Creative Commons license. Photo: Humam on Unsplash
Kastesigten er tilbage i de københavnske teatre og det er med sværvægtere som: James Joyce, Alice Birch, Kim Larsen og Christian Lollike. Vi skal høre om Revolt på Husets teater, Midt om Natten i Tivoli, 68 på det kongelige, Møller og Larsen ligeledes i Skuespilhuset og Hospitalet på teater Sort/Hvid. Men vi begynder på Deutsche Theater
This is a strange episode, documenting my immediate response to Alice Birch's adaptation of Margeurite Duras' play "La Maladie de la Mort", playing as part of the International Festival at the Edinburgh Fringe. This play upset me more than any theatre that I have seen for a long time, and I wanted to document this response without finesse. Don't expect coherence.
Lady Macbeth (writer: Alice Birch, director: William Oldroyd) stole our hearts, and she's capable of a lot more. This episode focuses on why this film resonates so much with women and what it says about feminism, given that it barely passes the Bechdel test. How amazing is Florence Pugh's accent?! And we'd like to give a quick apology to Amy Jump.... Bafta interview with Alice Birch can be found here: http://guru.bafta.org/lady-macbeth-telling-stories-guru-live More on Becky Matthews here: https://www.becky-matthews.com/ Remember, if you don't listen...through hell and high water, we'll follow you...
This time around we're watching British film Lady Macbeth, shot in 2016. This episode has been in the vaults for quite a while; since early last May when the film was in cinemas in the UK, in fact. The film's director William Oldroyd, writer Alice Birch, and producer Fodhla Cronin O’Reilly have been jointly nominated for the BAFTA for Outstanding Debut by a British director, writer, or producer. The film stars Florence Pugh, Cosmo Jarvis, Paul Hilton, and Naomi Ackie To discuss the film, Ally is again joined by film fan and owner of car Lyn Setchell. This episode contains SIGNIFICANT SPOILERS from 4 minutes in until the end. If you're planning to watch the film, you should be aware that it contains scenes of domestic violence and sexual assault. If you'd like to get in touch and tell us what you thought of the film and/or the podcast episode, here are some options: Twitter: @RussophilesU Email: russophilesunite@gmail.com Facebook: www.facebook.com/russophilesunite/
The play that lives with me most this year, as I talk in August 2017, is Alice Birch’s remarkable Anatomy of a Suicide.
Lady Macbeth is the debut film by William Oldroyd, written by Alice Birch and based on the novella Lady Macbeth of the Mtsensk District by Nikolai Leskov. It's set in the mid-19th century, though it transposes the original narrative from Russia to the Northern English moors. The film stars Florence Pugh as Katherine, a young woman who enters into a loveless marriage with an older industrialist. He gives her no attention, and when he leaves for a business trip she looks to one of her husband's workers, Sebastian, played by Cosmo Jarvis, for the affection she so desperately needs. Soon after, however, things turn harsh and murderous, putting into motion events that earn Katherine the unspoken fitting nickname of Lady Macbeth. Shot by Melbourne cinematographer Ari Wegner, the camerawork, which alternates between still and handheld, has an effective but obvious role of mirroring characters' emotional states. The colour palette is also suitably cold except in the more tender moments between Katherine and Sebastian – even the poster features Katherine in a long, piercingly blue dress. It also has some very interesting ways of dealing with space. We never see the front of the house and indeed most of the action takes place inside with Katherine looking out through the windows. In fact if I have any criticisms about this film it's that most of it seems effective but obvious. The puritanical, patriarchal setting of mid-19th Century Britain, for example, is an easy conduit for its necessary statements about gender politics. However, Oldroyd and the rest of the cast and crew should be commended for creating a tense and modestly troubling film. A solid and promising debut, Lady Macbeth is in cinemas now. Written by Ben Volchok
Lady Macbeth is the debut film by William Oldroyd, written by Alice Birch and based on the novella Lady Macbeth of the Mtsensk District by Nikolai Leskov. It's set in the mid-19th century, though it transposes the original narrative from Russia to the Northern English moors. The film stars Florence Pugh as Katherine, a young woman who enters into a loveless marriage with an older industrialist. He gives her no attention, and when he leaves for a business trip she looks to one of her husband's workers, Sebastian, played by Cosmo Jarvis, for the affection she so desperately needs. Soon after, however, things turn harsh and murderous, putting into motion events that earn Katherine the unspoken fitting nickname of Lady Macbeth. Shot by Melbourne cinematographer Ari Wegner, the camerawork, which alternates between still and handheld, has an effective but obvious role of mirroring characters' emotional states. The colour palette is also suitably cold except in the more tender moments between Katherine and Sebastian – even the poster features Katherine in a long, piercingly blue dress. It also has some very interesting ways of dealing with space. We never see the front of the house and indeed most of the action takes place inside with Katherine looking out through the windows. In fact if I have any criticisms about this film it's that most of it seems effective but obvious. The puritanical, patriarchal setting of mid-19th Century Britain, for example, is an easy conduit for its necessary statements about gender politics. However, Oldroyd and the rest of the cast and crew should be commended for creating a tense and modestly troubling film. A solid and promising debut, Lady Macbeth is in cinemas now. Written by Ben VolchokSee omnystudio.com/listener for privacy information.
Stream episodes on demand from www.bitesz.com (mobile friendly). Lady Macbeth - despite the name, it has nothing to do with the Shakespearean 'play that shall not be named', but viewers will quickly understand why once the machinations start. Lady Macbeth (Drama) Set in 19th century rural England, young bride who has been sold into marriage to a middle-aged man discovers an unstoppable desire within herself as she enters into an affair with a worker on her estate. Director: William Oldroyd Writers: Nikolai Leskov (based on the novel by), Alice Birch (screenplay) Stars: Florence Pugh, Cosmo Jarvis, Christopher Fairbank – (IMDb) RSS feed: https://audioboom.com/channels/4673419.rss For more, follow Movies First on Facebook, twitter, Google+, and Clammr: Facebook - @moviesfirst twitter - @ moviesfirst Google+ - https://plus.google.com/u/2/collection/8p-OaB Clammr - http://www.clammr.com/app/moviesfirst If you're enjoying Movies First, please share and tell your friends. Your support would be appreciated...thank you. #movies #cinema #entertainment #podcast #reviews Learn more about your ad choices. Visit megaphone.fm/adchoices See acast.com/privacy for privacy and opt-out information.
Un bel film di Alice Birch e William Oldroyd. L'ospite speciale di questa puntata è Lucia "Spoiler!" Rinolfi, che nonostante abbia visto il film non ne parla :) Federica ha trovato un bel pezzo di Steve Rose del Guardian sulla questione degli attori di colore nei film in costume: https://www.theguardian.com/film/2017/apr/15/lady-macbeth-black-racial-diversity-british-costume-period-drama E per la serie: notizie accessorie, spendiamo cinque minuti buoni a fare illazioni sul perché siano stati licenziati i registi del film su Han Solo, come riporta per esempio Variety: http://variety.com/2017/film/news/star-wars-han-solo-kathleen-kennedy-director-fired-1202473919/ (E per quelli che sono stati incuriositi dal personaggio di Wonder Woman: nei commenti di Spreaker alla scorsa puntata ci sono informazioni interessanti!)
Un bel film di Alice Birch e William Oldroyd. L'ospite speciale di questa puntata è Lucia "Spoiler!" Rinolfi, che nonostante abbia visto il film non ne parla :)Federica ha trovato un bel pezzo di Steve Rose del Guardian sulla questione degli attori di colore nei film in costume:https://www.theguardian.com/film/2017/apr/15/lady-macbeth-black-racial-diversity-british-costume-period-dramaE per la serie: notizie accessorie, spendiamo cinque minuti buoni a fare illazioni sul perché siano stati licenziati i registi del film su Han Solo, come riporta per esempio Variety: http://variety.com/2017/film/news/star-wars-han-solo-kathleen-kennedy-director-fired-1202473919/(E per quelli che sono stati incuriositi dal personaggio di Wonder Woman: nei commenti di Spreaker alla scorsa puntata ci sono informazioni interessanti!)
Interview with Yolanda Mercy and Jade Lewis: writer/performer and director of 'Quarter Life Crisis', plus our recommendations for Underbelly Cowgate at Edinburgh Fringe, and shows opening in London and touring this summer. Yolanda Mercy is a London based Actor and Playwright. She trained at the renowned Brit school, Laban and Royal Central School of Speech and Drama. Yolanda is a winner of the Rich Mix Small Story Big City Award and Associate Artist at OvalHouse Theatre. Jade Lewis is a director who has worked at Southwark Playhouse, The Bush Theatre and The Royal Court (where she assisted debbie tucker green). Jade is a Creative Associate at The Gate Theatre and Emerging Artist at Ovalhouse Theatre, and also runs workshops in schools and youth groups. Yolanda’s #FeministFaves: The Secret book by Rhonda Byrne, Lilly Singh Youtuber. Jade’s #FeministFaves: Nina Simone and Shelley-Ann Fraser-Pryce We also talked about... The Scar Test by Hannah Khalil - The Place Theatre, Bedford June 21st, The Bohemian Balcony Swindon June 26-27th, and Soho Theatre July 5-22nd. Anatomy of a Suicide at the Royal Court June 3 - July 8th Alice Birch and Katie Mitchell collaborate again after last year's production of Ophelia's Zimmer, with a play about 3 generations of women. Rotterdam at The Arts Theatre June 21 - July 15th The Globe’s Summer of Love, including Emma Rice’s Twelfth Night, until August 5th Herstory Feminist Theatre Festival at Balham N16, including Lekhani Chirwa peforming ‘Can I Touch Your Hair?’ June 18-19th Bechdel Testing Life at The Bunker. Four short plays based on real conversations by Isley Lynn, Guleraana Mir, Rabiah Hussain and Lizzie Milton. July 22-23rd. Underbelly Cowgate at Edinburgh Fringe recommendations... Quarter Life Crisis 14:40 Joan (August 21-27th) 19:20 Prom Kween 20:35
With less than a week to go before the General Election we hear what is in the political party manifestos for the arts and creative industries? What can we expect from the rise of creative hubs, zones and platforms? Kirsty Lang talks to Caroline Julian, from the Creative Industries Federation and cultural policy commentator David Powell.As the entire collection of 301 works by the Dutch painter Piet Mondrian (1872-1941) go on public display for the first time at the Gemeentemuseum in The Hague, critic Jonathan Jones assesses the work of the artist. Best known for his grid-like abstract paintings with a white background, black vertical and horizontal lines and blocks of three primary colours, Mondrian also painted landscapes and portraits.Can the inclination to suicide be inherited? Playwright Alice Birch explores the legacy of what has happened to three generations of women in 'Anatomy of a Suicide'. The script is written with the precision and orchestration of a musical score to allow different times and locations to appear simultaneously on the same stage.And we celebrate the 40th Anniversary of Bob Marley and The Wailers recording the album Exodus.
Alice Lowe (writer/director/actor, Prevenge), Alice Birch (writer, Lady Macbeth), Will Sharpe (writer/director, Flowers + Black Pond) dish out advice on how to get from the page to the big screen.
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