Podcasts about american new wave

In this episode we delve into one of the signature commercial and critical flops of New Hollywood: Dennis Hopper's The Last Movie. This gorgeous yet impenetrable film was a crucial turning point bridging the early hippie-influenced films of the late 60s with the more cynical and popular mainstream cinema that came to define the 1970s. We are joined by Stephen Lee Naish, author of two different books discussing this week's subject - Create or Die: Essays on the Films of Dennis Hopper, and Music and Sound in the Films of Dennis Hopper. So enjoy listening to someone actually qualified to talk about this stuff for a change! Topics include: American New Wave vs. New Hollywood, Jorge Luis Borges, and Charles Manson.

The New Hollywood era (also known as Hollywood Renaissance, American New Wave, or New American Cinema) was a period in film history from the mid 1960s to the early 1980s . Famous directors like Martin Scorsese, Francis Ford Coppola, Steven Spielberg, and George Lucas were founding fathers of the movement, changing the face of cinema forever. Star Wars came out in 1977, and in this episode we discuss how the epic space opera full of lightsabers and magic (aka the Force) did and didn't fit into this gritty era in cinema history. It's a fascinating discussion you won't want to miss!Support us on Patreon for as little as $3/month: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/MostThingsKenobi⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠most_things_kenobi⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠mostthingskenobi.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠MostThingsKenobi⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠most_things_kenobi⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Tumblr: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠MostThingsKenobi

Vintage Sand listeners this month will get something of a twofer, a BOGO episode. Since we really have not had the chance to do a full necrology since July, Michael takes the time to relate the accomplishments of some very bright lights in the film business that have gone out over the past four months. These include artists who leave behind a great legacy and holes that can never really be filled, including people like Dame Maggie Smith, James Earl Jones and Alain Delon. Before we get to that point, though, we begin with a very different kind of eulogy: our reflections on Francis Ford Coppola's summa, the egregious "Megalopolis". We felt, as we did for Scorsese in our episodes on both "The Irishman" and "Killers of the Flower Moon", that a sprawling work by one of our greatest filmmakers, in this case a film that had a gestation period of nearly fifty years, deserved to be examined both in its own right as a work of art and in context as part of its creator's career. In hindsight, it's risible to think that at the end of the 70's, film fans were heatedly debating who among the heroes of the American New Wave would end up with the greater career: Scorsese or Coppola? (Let's not even talk about some of the others around the periphery of that conversation at the time, like De Palma, Bogdanovich, Friedkin, Rafelson, Cimino, Lucas and yes, perhaps even Spielberg—although, surprisingly, Paul Schrader has been coming up with a few late-period masterpieces). Megalopolis ends that debate, and stands, as I referred to "Eyes Wide Shut" relative to Kubrick's career in our episode devoted to that film, as a cardboard tombstone to the career of a gifted filmmaker. While the members of Team Vintage Sand, whose bottomless intrepidity was confirmed by each of us successfully wading through (a la Andy Dufresne) the 2 ½ hours of dreck that is "Megalopolis", did find the occasional positive to light on, for the most part it was an example of a work of incredible consistency, in that just about every choice Coppola makes as writer and director was the wrong one. Perhaps the comparison with Scorsese is unfair, and certainly nothing could ever erase the impact of Coppola's four films of the 1970's, or even the smaller delights of his later work (Mike's a fan of "The Cotton Club", and I've always thought that "Tucker" was a much better film than its reputation dictates). But for us, the truth is that between the gratuitous literary and high culture references, the sophomoric philosophizing that would make any actual 10th grader cringe, the derivative film tributes sprinkled throughout (including, unbelievably, a moment where the film appears to physically burn up in the projector—a brilliant idea had Bergman not done it 60 years ago in "Persona"), and a script that even good actors like Adam Driver and Giancarlo Esposito can't save, "Megalopolis" was, quite unintentionally, the funniest film of the year—and given how much we love and admire its creator, the most painful. Once can only hope that this is not Coppola's final statement, and that in future efforts he will trust his audience, not try so hard to impress us with his erudition, and remember what made him so great in the first place

On this episode we're looking at the myth of mobsters with two films that explore power through violence. Both films follow Italian- Americans characters, and are directed by Italian-American directors who were leaders of the American New Wave. Today we're comparing The Godfather (1972) Versus Goodfellas (1990).

Our Alternate Oscars episodes, based on Danny Peary's fantastic 1992 book of the same name, have always been among our most popular. Over the course of the podcast, we've covered the 1930's, 1950's, 1970's, 1980's, 1990's, and the 2000's. Comparing what films actually won Best Picture to what we believe should have won is always a fun challenge, and it has given us a chance over the years to open or reopen some doors for our listeners to movies that are overlooked and forgotten. When we came to the 1950's episode, in an (eerily prophetic) split decision, we chose to include only English-language works, since the sheer volume of brilliant films from around the world in that decade would overwhelm both us and you, dear listeners. As we approached the 1960's for this episode, however, we reasoned that the relative lack of great American films from the decade suggested that this time around, we should open our tent to the entire world. We could not stand idly by, for instance while "A Man for All Seasons", lovely though it is, walked away with Best Picture in the year of films like "Persona", "Masculin/Feminin" and "Blow-Up". Our worries about the length of the episode, however, turned out to be justified and then some; therefore, we needed to split the episode into two parts. So with that, we are thrilled to present our first episode(s) since our triumphant, celebratory live recording of Episode 50 in March: thus Episodes 51A (1960-1964) and 51B (1965-1969), Alternate Oscars: The 1960's Edition. There were a couple of things that really hit us as we were creating this entry in the Vintage Sand catalogue. The first is that an unexpectedly high number of our choices were, in fact, American films, suggesting that while common wisdom avers that Hollywood suffered a creative decline in the 60's, there were a lot of great things happening just below the surface that were, unwittingly perhaps, paving the way for the revolution of the American New Wave that would come in the early 1970's. And the deeper we dove into the cinema of the 60's, we came to really understand the fundamental difference between those works and film today. Simply put, it was a time when directors really seemed to trust their audience's intelligence and imagination. This is most obvious in structurally elliptical puzzle films like Resnais' "Last Year at Marienbad", Buñuel's "The Exterminating Angel", Antonioni's "L'Avventura" and "Blow-Up", Bergman's "Persona" and even Kubrick's "2001: A Space Odyssey". But in ways big and small, and in terms both of performance and filmmaking technique, there is in 60's film a refreshing absence of rat-on-the-balcony-rail-at-the-end-of-"Departed" heavy-handedness that seems to be a common thread in the work of even our greatest directors today. So with all this in mind, strap in and join us for our odyssey through 60's cinema. It promises to be highly irregular, Dave…

Our Alternate Oscars episodes, based on Danny Peary's fantastic 1992 book of the same name, have always been among our most popular. Over the course of the podcast, we've covered the 1930's, 1950's, 1970's, 1980's, 1990's, and the 2000's. Comparing what films actually won Best Picture to what we believe should have won is always a fun challenge, and it has given us a chance over the years to open or reopen some doors for our listeners to movies that are overlooked and forgotten. When we came to the 1950's episode, in an (eerily prophetic) split decision, we chose to include only English-language works, since the sheer volume of brilliant films from around the world in that decade would overwhelm both us and you, dear listeners. As we approached the 1960's for this episode, however, we reasoned that the relative lack of great American films from the decade suggested that this time around, we should open our tent to the entire world. We could not stand idly by, for instance while A Man for All Seasons, lovely though it is, walked away with Best Picture in the year of films like Persona, Masculin/Feminin and Blow-Up. Our worries about the length of the episode, however, turned out to be justified and then some; therefore, we needed to split the episode into two parts. So with that, we are thrilled to present our first episode(s) since our triumphant, celebratory live recording of Episode 50 in March: thus Episodes 51A (1960-1964) and 51B (1965-1969), Alternate Oscars: The 1960's Edition. There were a couple of things that really hit us as we were creating this entry in the Vintage Sand catalogue. The first is that an unexpectedly high number of our choices were, in fact, American films, suggesting that while common wisdom avers that Hollywood suffered a creative decline in the 60's, there were a lot of great things happening just below the surface that were, unwittingly perhaps, paving the way for the revolution of the American New Wave that would come in the early 1970's. And the deeper we dove into the cinema of the 60's, we came to really understand the fundamental difference between those works and film today. Simply put, it was a time when directors really seemed to trust their audience's intelligence and imagination. This is most obvious in structurally elliptical puzzle films like Resnais' Last Year in Marienbad, Buñuel's The Exterminating Angel, Antonioni's L'Avventura and Blow-Up, Bergman's Persona and even Kubrick's 2001: A Space Odyssey. But in ways big and small, and in terms both of performance and filmmaking technique, there is in 60's film a refreshing absence of rat-on-the-balcony-rail-at-the-end-of-Departed heavy-handedness that seems to be a common thread in the work of even our greatest directors today. So with all this in mind, strap in and join us for our odyssey through 60's cinema. It promises to be highly irregular, Dave…

Karaoke, time travel, screen chemistry and art as activism: As his new, satirical time-travel web series Command Z drops (starring an A.I. Michael Cera and a time-travelling tumble-dryer), Oscar-winning filmmaker Steven Soderbergh tells Gemma Gracewood about activist art, why he loves the reality show Below Deck, how he dealt with being bullied as a child, why governments should give tax credits for doing karaoke and watching comedy, why bad ideas travel faster than good, Steven's “no assholes” policy, how to create better film sets, and the 25th anniversary of Out of Sight. Plus: Gemma shares how Contagion got her through the pandemic, Steven reveals his favorite time-travel devices in movies, the enduring influence of film critic Pauline Kael and the American New Wave, using your juice to help other people, and a debate about which song should be Soderbergh's karaoke go-to. Watch Command Z online for a small fee — proceeds go to several good causes. Note: This episode contains explicit language (f-bombs and assholes). The interview was recorded during the SAG-AFTRA and WGA strike in accordance with the DGA agreement with AMPTP. Sponsor: LG OLED Credits: Hosted by Gemma Gracewood, edited by Slim, production manager Sophie Shin, editorial producer Brian Formo. The Letterboxd Show is a TAPEDECK production. Links: The Letterboxd list of films mentioned; Soderbergh's Extension 765 merch store; Steven Soderbergh is thanked in the end credits” list; a list of Steven Soderbergh's Command Z film recommendations. Reviews of Command Z by Josh Lagle, Stephen Gillespie, and Dan Scannan. Books mentioned: The Heat Will Kill You First; Assholes: A Theory; Evil Geniuses.

Dwayne Epstein is the author of the New York Times bestseller Lee Marvin: Point Blank and other acclaimed biographies. Prior to writing biographies, Epstein contributed articles to Filmfax Magazine, Cahiers Du Cinema's “Serious Pleasures,” and film reviews for Hearst Community Newspapers. Follow him on Twitter: @DwayneEpstein Join Robert Manni, author of The Guys' Guy's Guide To Love as we discuss life, love and the pursuit of happiness. Subscribe to Guy's Guy Radio on YouTube, iTunes and wherever you get your podcasts! Buy The Guys' Guy's Guide to Love now!

Dwayne Epstein is the author of the New York Times bestseller Lee Marvin: Point Blank and other acclaimed biographies. Prior to writing biographies, Epstein contributed articles to Filmfax Magazine, Cahiers Du Cinema's “Serious Pleasures,” and film reviews for Hearst Community Newspapers. Follow him on Twitter: @DwayneEpstein Join Robert Manni, author of The Guys' Guy's Guide To Love as we discuss life, love and the pursuit of happiness. Subscribe to Guy's Guy Radio on YouTube, iTunes and wherever you get your podcasts! Buy The Guys' Guy's Guide to Love now!

We all want to love and accept ourselves. But how can we do that when we don't know who we are? What else gets in the way of us loving ourselves? Listen in as Diane explore the truth of who we are, what comes after the fog and much more in this empowering episode.Here's more about Diane from her website:Diane Bay has had a lifelong, unquenchable creative drive. It wasn't until she entered her fifties that she discovered where it may have come from: her artistic birth mother and birth father.The natural world has always felt like home to Diane. As a child she spent hours in the climbing tree in her suburban Chicago back yard, often daydreaming of her birth mother. Little did she know that, at the same time, her birth mom was becoming a famous actress in Hollywood. Karen Black was an icon of the American New Wave cinema of the seventies, starring in prominent films including Easy Rider, Five Easy Pieces and The Great Gatsby.But just as Diane longed for her natural maternal connection, Karen's heart ached for the child she gave away. But after Karen signed the closed adoption papers and a nurse carried away her daughter, all the information about the child was sealed away, and her searches turned up empty.Diane tried to find her birth mother also, but sealed adoption records made this impossible until 2011, when Illinois finally opened these records. In July of 2012 Diane received her original birth certificate and saw her birth mother's name for the first time. A quick Google search provided the facts she'd sought for decades, and a face she was familiar with from the silver screen. Right away Diane sent a Facebook message to Karen's fan page.Sadly, at the time Illinois passed the law that unsealed these records, Karen heard the terrible news that she had a rare form of cancer. Her time was running out.But then on August 8, 2012, she read Diane's message and responded with acceptance and joy. And just like that, decades of heartache for both of them vanished, and a reunion was in place. They met in September, in Karen's Hollywood home, with hugs and tears, feeling like family right away. Karen introduced her to her birth father, Robert Benedetti, still a good friend. He has also spent his life in the acting world as a TV producer, theatre director and much more.At the time of their meetings, Diane was producing excellent, nostalgic works with graphite pencils. Karen was immediately impressed, and encouraged her daughter to pursue oil painting. During the weeks Diane spent caring for Karen, she soaked up her birth mothers joie de vivre, her rich and enthusiastic love of life's moments even in the face of her own mortality. Diane's goal is to imbue her artwork with this energetic spirit.On August 8, 2013, Karen passed away. She and Diane had exactly one calendar year together.Diane Bay now lives with her husband on a forested lot near Kentucky Lake. She paints the rural nostalgic countryside of the Mid South. Diane has taken workshops from the Southeast region's fine plein air artists such as Bill Fletcher and Kathie Odom, and online tutorials by national artists such as Scott Christensen and Kathleen Dunphy. She is a member of PAPA Gallery in Paducah, KY and The Chestnut Group in Leiper's Fork, TN, and associate member of Oil Painters of America.For information on Diane's  book, please visit FindingKarenBlack.com. See her artwork here: DianeBay.comhttps://www.facebook.com/findingkarenblackhttps://www.instagram.com/dianebaydesign/

The Secret Movie Club Team (Connor Lloyd Crews, Edwin Gomez, Daniel Ott, Craig Hammill) discusses Wes Anderson's 1996 debut feature BOTTLE ROCKET as well as the moviemakers cited as part of the 1990's American New Wave-Steven Soderbergh, Quentin Tarantino, Paul Thomas Anderson, Sofia Coppola, Robert Rodriguez, Allison Anders, Richard Linklater-among others. The Team talks about what makes a generation of moviemakers unique as well as their own personal feelings, affinities for specific moviemakers. 

Watch your back because in this episode Alex and Jonathan, talk about the history of American gangster films through four classic and contemporary tales within the genre: Scarface (1932), Angels with Dirty Faces (1938), Scarface (1983), and Goodfellas (1990). We discuss the origins of gangster stories being pulled from the contemporary headlines, how the genre was affected by the strict regulations under the production code, and the resurgence of the genre through the American New Wave. Skip to: 11:39 – Scarface (1932) 41:40 – Angels with Dirty Faces 1:00:18 – Scarface (1983) 1:19:09 – Goodfellas 1:37:44 – Overall 1:49:41 – Coming Attractions Coming Attractions: The Killer (1989) Hard Boiled (1992) Face/Off (1997) Red Cliff (2008) For more information, visit the blog: https://thefilmlings.wordpress.com/2022/02/23/gangsters Join us on Discord for ongoing film discussion: https://discord.gg/MAF6jh59cF Support the Show! Patreon: https://patreon.com/thefilmlings Ko-fi: https://ko-fi.com/thefilmlings

A movie written by American screenwriters about a mythical American story in the style of some of the most prolific French (?) movies ever made. It must be Bonnie & Clyde! The Warren Beatty and Faye Dunaway Hollywood classic led the American New Wave and opened the door to European cinematic style in mainstream American film, sending ripple effects for decades to come. Join Luke and Sophia as they dive into the plot, background, and historical accuracies/inaccuracies in the tale of the two most notorious outlaws in American history.

Don't forget to Rate & Review! Twitter - @ReelOfThieves Instagram - @ReelOfThieves Hey everybody! Welcome back to Reel of Thieves, the show where we go over all the references, riffs and history of your favorite stuff and this week, we're doing a tour in Nam with Apocalypse Now! This is a loose adaptation of Heart of Darkness by Sir Joseph Conrad made by Francis Ford Coppola, one of the biggest names of the American New Wave. This was an artistic film movement attempting to replicate the French New Wave in the US. It's typically known for lackadaisical structure, elements of Italian Neorealism mixed with Interpretive, improvisational, method-style acting and cinematography. So while there is the spirit and some pieces of the Novella here, it is not the same kind of adaptation we analyzed last week. Which is exactly why I chose it. We'll go over the plot of both pieces, what I found to be interesting in the film, and go over some of the history behind the making of Apocalypse Now! Don't Be a Troll, Be an Artist! Show Support Team Jan Brofka-Berends Sources 24 Apocalypse Now from The Cine-Files Apocalypse Now (Directed by Francis Ford Coppola) - Boys with (Horror) Toys from Show Me the Meaning! Hearts of Darkness: A Filmmaker's Apocalypse by Eleanor Coppola --- Send in a voice message: https://anchor.fm/reel-of-thieves/message Support this podcast: https://anchor.fm/reel-of-thieves/support

There was a HUGE turning point from the mid 60's through the late 70's in American film history. It gave birth and new meaning to film directors, uniquely bold storytelling, and indie filmmaking as we know it today. Join Dillon and Fortune as they tumble down the rabbit hole into the world of the New Hollywood Renaissance or The American New Wave as some people like to call it...ok most people call it that.Film Discussed:Rosemary's Baby, The Wild Bunch, Network, ChinatownAs always, thanks for joining us movie, video game, and television lovers and we hope you enjoy the episode.                                                                                                      -Dillon & Fortune                                                                                                        Cinescussion.com

People of Earth, welcome! Don't forget to leave a review for this episode, tell a friend, and follow us on social media. All the links are below! This week, Marc and Pete discuss the new Mortal Kombat movie and violence in media before diving into The American New Wave. This is an era we think can be best described as "Film's Adolescence." Gone are the days of the Hays Code and here are the days of Haze Strains, because its sex, drugs and Rock N' Roll, Baby! We discuss The Graduate, Easy Rider, Who's Afraid of Virginia Woolf, and the emergence of Method Acting and American Auteur directors. Finally, we talk about how people might misinterpret this movement as only about the explicit content of sex and violence, but more as a statement on how the world was, where it was going, and trying to answer questions most people didn't even care to think about. It's time to throw that fist in the air and tell The Man he's a square, because its Guerilla Film History NOW! Twitter: @gfilmhistorynow Instagram: @gfilmhistorynow --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/g-film-history-now/message

People of Earth, welcome! Don't forget to rate, follow, and leave a review wherever you're listening today. It helps the show a trillion times more than you expect, and we're great at math...We're not but it helps. This week, we start off talking to Marc about his upcoming project, Bar'd: The Prison Diaries of Edwin Drake. You can find the teaser trailer here: https://www.youtube.com/watch?v=Cco7RT9sckE&t=4s We discuss the formation of The French New Wave and its effects on the Film Industry and art form. Along the way, we relate the New Wave to South Korean Horror, and muse if the American New Wave was behind, or affected, by the French New Wave. Get your surfboards ready for this Brand New Wave, it's Guerilla Film History NOW! Sources: https://www.youtube.com/watch?v=AtiHHy20w3U --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/g-film-history-now/message

In this episode, we delve into William Friedkin's curious follow-up to The Exorcist and adaptation of the Georges Arnaud novel The Wages of Fear: Sorcerer. Hint: It's not about magic. Michael and Dustin bond over getting their shared preconceived notions, about how interesting a movie that's "just about driving trucks" could be, completely shattered. Jason breaks down the American New Wave and the situation that allowed such a film to get created. And so much more! What We've Been Watching: -Jason: Queen of Black Magic (1981) & Remake (2019) -Dustin: Zero Woman: Red Handcuffs (1974) -Michael: The Red Wolf (1995) Show Notes: -Sorcerer Trailer -The Wages of Fear Trailer -Rent Sorcerer on Amazon Next Time: The Fifth Cord (1975)

The best way we thought to celebrate the great writer Mark Harris's new book Mike Nichols: A Biography, a book about the famed director filled with the instructive anecdotes he used as tools for directing actors, was to find the best examples the public has to those anecdotes in Nichols' own voice. In the DVD audio commentaries for Who's Afraid of Virginia Woolf?, The Graduate, and Catch-22, all conducted by audio commentary-innovator Steven Soderbergh, Nichols masterclasses his way through his celebrated first three films as director. On today's episode, Ted Haycraft is back to discuss:- how innovative it was for a commentary to have Nichols to discuss his perceived failures on Catch-22;- if these first three films were indeed his peak, his reputation on New York stage and on film as the “Michael Jordan” of directing actors;- how he runs a rehearsal;- and what particular directing questions and techniques he reveals in these commentaries.Also:- Last year's oral-history biography Life Isn't Everything: Mike Nichols, as Remembered by 150 of His Closest Friends by Ash Carter and Sam Kashner;- Nichols's editor Sam O'Steen's great book on editing Cut to the Chase: Forty-Five Years of Editing America's Favorite Movies;- Soderbergh's other incisive commentaries for his and others' films;- how Elizabeth Taylor inspired a scene on a toilet in Catch-22;- if The Graduate is the Citizen Kane of the American New Wave;- and where Nichols stands among that New Wave.Ted Haycraft is film critic for Evansville's WFIE-14 and co-hosts Cinema Chat on its Midday show. He can also be found on Cinema Chat's Facebook page.The Who's Afraid of Virginia Woolf? commentary is available on Blu-ray from Warner Archive. The Graduate commentary is available from Criterion on DVD and Blu-ray. Catch-22's commentary is available from Paramount on DVD.

Talking Heads keyboardist-turned-record producer Jerry Harrison recalls the many memories made during the making of the American New Wave band's 1978 sophomore album More Songs About Buildings and Food.This episode is sponsored by Super Speciosa. Get 20% off your first order of Kratom here:http://getsuperleaf.com/500 Join The 500 Club on Patreon to get merch and watch videos with music every Wednesday:https://www.patreon.com/500podcastWatch videos without music for free on YouTube every Thursday:https://www.youtube.com/c/JoshAdamMeyers500podcastFollow Jerry on Instagram:https://www.instagram.com/jerryharrisonofficial/Follow Jerry on Facebook: https://www.facebook.com/jerryharrisonofficial/Check out Jerry's website: https://www.ophirex.com/jerry Follow Josh on Instagram: https://www.instagram.com/joshadammeyers/ Follow Josh on Twitter: https://twitter.com/JoshAdamMeyers Follow Josh on Facebook:https://www.facebook.com/joshameyers Follow The 500 on Instagram:https://www.instagram.com/the500podcast/ Follow The 500 on Twitter:https://twitter.com/the500podcast Follow The 500 on Facebook:https://www.facebook.com/The500PodcastWithJAM/ Email the show: 500podcast@gmail.com Check the show website: http://the500podcast.com

Nico and Adam travel back to the early days of the American New Wave with a discussion of Love Story (14:30), Performance (31:55), Patton (45:30), M*A*S*H… The post Movie Hall of Fame: Class of 1970 appeared first on Too Many Thoughts.

Nico and Adam travel back to the early days of the American New Wave with a discussion of Love Story (14:30), Performance (31:55), Patton (45:30), M*A*S*H (56:30) and Five Easy Pieces (1:08:43). Chat with the TMT Community on Discord! For More TMT Shenanigans: toomanythoughtsmedia.com Twitter: @funnynicotweets, @someadamhall, @TMT_Media E-mail: toomanythoughtsmedia@gmail.com Subscribe and Rate on Apple Podcasts!

Near the end of the American New Wave a group of filmmakers burst on Hollywood with a distinct style and they have since been named "The Movie Brats." Today Alex and Jonathan discuss three films from this group: Jaws (1975), Apocalypse Now (1979), The Untouchables (1987). We talk about how Golden Age Hollywood and the American New Wave impacted these films, the innovations brought to the table by the Brats, and how these directors pointed cinema to the current era of blockbusters. Skip to: 6:44 – Jaws 36:29 – Apocalypse Now 56:58 – The Untouchables 1:16:59 – Overall 1:32:27 – Coming Attractions Coming Attractions: The Night of the Hunter (1955) The Silence of the Lambs (1991) Zodiac (2007) For more information, visit the blog: https://thefilmlings.wordpress.com/2020/07/07/movie-brats/ Support the Show! Patreon: https://patreon.com/thefilmlings Ko-fi: https://ko-fi.com/thefilmlings

An epic exploration of the question: was there an American New Wave?

The Suns podcast takes a look at the 1968 Best Picture nominations to look at a changing Hollywood in the wake of the counter-culture, civil rights, and revolutions of the mid 60's. Powered and distributed by Simplecast

Peter Henry Fonda (1940 - 2019) was an actor that defined the counterculture generation. Peter wasn’t just an artist trying to escape the looming shadow of his legendary father but an American trying to stick it to the man. Along his path to becoming a movie star Peter would team up with Dennis Hopper and finally find his way out of the confines of The Golden Age of Hollywood only to usher in The American New Wave.   Aaron and Brad celebrate the life and times of Peter Fonda by growing their hair long and riding their choppers through America in EASY RIDER, blowing away some satanists in RIDE WITH THE DEVIL, getting busy with the bees in ULEE’S GOLD, and more!

After the studio system ended in the 1960s a new era of American cinema was born known as the American New Wave. Today Alex and Jonathan take a look at three milestones of that era: Bonnie and Clyde (1967), The French Connection (1971), and The Deer Hunter (1978). We talk about how Bonnie and Clyde took advantage of the relaxed production codes, the introduction of auteur styles in American film, and how the American New Wave gave rise to the current state of blockbuster film. Skip to: 13:37 – Bonnie and Clyde 30:40 – The French Connection 49:57 – The Deer Hunter 1:11:18 – Overall 1:25:20 – Coming Attractions Coming Attractions: Reservoir Dogs (1992) Inglorious Basterds (2009) The Hateful Eight (2015) For more information, visit the blog: thefilmlings.wordpress.com/2019/07/23/american-new-wave Support the Show! Patreon: patreon.com/thefilmlings Ko-fi: ko-fi.com/thefilmlings

Returning guest Benjamin Angrisano joins Alex and Jonathan to discuss the early film collaborations between director Martin Scorsese and actor Robert DeNiro in Mean Streets (1972), Taxi Driver (1976), and Raging Bull (1980). We talk about the American New Wave, recurring themes in Scorsese's work, and DeNiro's ability to adapt to different roles. Skip to: 7:17 – Mean Streets 34:10 – Taxi Driver 1:08:23 – Raging Bull 1:38:40 – Overall 1:45:41 – Coming Attractions Coming Attractions: The Hound of the Baskervilles (1939) The Sign of Four (1987) A Study in Pink (2010) For more information, visit the blog: thefilmlings.wordpress.com/2018/08/07/shooting-scorsese

Around the turn of the 21st Century, a group of directors emerged who seemed destined to take the place of the American New Wave directors of the 1970's. This new group, led by such filmmakers as P.T. Anderson, Wes Anderson, David Fincher, Chris Nolan, Darren Aronofsky, the Wachowskis, David O. Russell, Todd Haynes, the Jonze/Gondry/Kaufman nexus, Kim Pierce, Alexander Payne and Sofia Coppola, to name a few, were poised to stake their claim. And in the last two decades...well, it has not exactly worked out as hoped. Join our intrepid trio as we explore the careers of some of these gifted directors and discuss what went right and what went a bit awry.

This week we're talking about basketball's biggest celebrity fan - Jack Nicholson! In addition to looking at some of Nicholson's hijinks on the sidelines of Lakers games, we talk about his directorial debut, an obscure gem from the American New Wave of cinema, 1971's "Drive, He Said" - a film that mixes college basketball with the paranoia of Vietnam and campus counterculture.

Play Pause Support the PodcastDownloadShare var srp_player_params_677258c0766f7 = {"title":"","store_title_text":"","albums":[],"hide_artwork":"true","sticky_player":"true","show_album_market":0,"show_track_market":"true","hide_timeline":0,"player_layout":"skin_boxed_tracklist","orderby":"date","order":"DESC","hide_album_title":"true","hide_album_subtitle":"true","hide_player_title":"true","hide_track_title":"true","show_publish_date":"false","show_skip_bt":"false","show_volume_bt":"false","show_speed_bt":"false","show_shuffle_bt":"false","use_play_label":"true","use_play_label_with_icon":"true","progressbar_inline":"true","spectro":"","hide_progressbar":"true","main_settings":"||"} var srp_player_params_args_677258c0766f7 = {"before_widget":"","after_widget":"","before_title":"","after_title":"","widget_id":"arbitrary-instance-677258c0766f7"} if(typeof setIronAudioplayers !== "undefined"){ setIronAudioplayers("arbitrary-instance-677258c0766f7"); } Blondie is an American New Wave and Punk band formed in the late 70s by frontwoman Debbie Harry and guitarist Chris Stein. While their first two albums performed well in the UK and Australia, they were largely considered an underground band in the US. It wasn't until the release of "Parallel Lines" in 1978 and several single releases that varied in the US and UK that the group struck gold with the massively successful disco-infused "Heart Of Glass." Shortly after, everyone's focus was on the lead singer Debbie Harry who soon became a fixture at Studio 54 and one of several muses for Andy Warhol. In performances, she could easily glide between sexy and sensual to outright punk and don't give a fuck. For a queer boy like me, she was the main fixture next to Chrissie Hynde hung up on my bedroom wall as I entered high school. She was one of my idols. In fact, "Eat To the Beat" is one of my all-time favorite albums that I'd play religiously until I wore it out and had to purchase a new copy. This tribute to Debbie Harry and Blondie focuses on the group's career as well as Ms. Harry's solo work. I've taken the best of the remixes from various official collections released over the years and disregarded the worst. Then I pulled in more recent releases along with a few bootlegs to paint a complete picture of her and the band's work, as it pertains to the dancefloor. Love her or hate her, Debbie Harry is the consummate DIVA who paved the way for many female artists. It is with complete love and devotion that Party Favorz recognizes those achievements and inducts the one and only Debbie Harry into the Diva Hall of Fame.    Album: Debbie Harry + Blondie | The Diva Series     Genre: House, Dance, Club   Year: 2018   Total Time: 02:11:11 Backfired (Bruce Forest & Frank Heller Remix) Rapture (DJ Agent 86 Remix) Atomic (Diddy's 12'' Mix) French Kissin' In The USA (12'') Dreaming (The Sub-Urban Dream Mix) Long Time (Eric Kupper Remix) Two Times Blue (The Stonebridge Vocal) Good Boys (Giorgio Moroder Extended Mix) Union City Blue (Diddy's Power & Passion Mix) I Want That Man (Almighty Mix) Heart Of Glass (Shep Pettibone Remix) I Can See Clearly (D-Remix) New York New York (Armand Van Helden Long Version) [with Moby] In Love With Love (London Extended Mix) Fun (Eric Kupper Disco Remix) Rush Rush (Sandy Turnbull Mix) The Tide Is High (Sand Dollar Mix) Maria (Soul Solution Full Remix) Command & Obey (The Barry Harris Remix) [with Groove Thing] Call Me (Joe Gauthreaux Summer of Love Mix) Nothing Is Real But The Girl (Danny Tenaglia Club Mix)

Blondie is an American New Wave and Punk band formed in the late 70's by frontwoman Debbie Harry and guitarist Chris Stein. While their first two albums performed well in the UK and Australia, they were largely considered an underground band in the US. It wasn't until the release of "Parallel Lines" in 1978 and several single releases that varied in the US and UK that the group struck gold with the massively successful disco-infused "Heart Of Glass." Shortly after, everyone's focus was on the lead singer Debbie Harry who soon became a fixture at Studio 54 and one of several muses for Andy Warhol. In performances, she could easily glide between sexy and sensual to outright punk and don't give a fuck. For a queer boy like me, she was the main fixture next to Chrissie Hynde hung up on my bedroom wall as I entered high school. She was one of my idols. In fact, "Eat To the Beat" is one of my all-time favorite albums that I'd play religiously until I wore it out and had to purchase a new copy. [metaslider id=45763] This tribute to Debbie Harry and Blondie focuses on the group's career as well as Ms. Harry's solo work. I've taken the best of the remixes from various official collections released over the years and disregarded the worst. Then I pulled in more recent releases along with a few bootlegs to paint a complete picture of her and the band's work, as it pertains to the dancefloor. Love her or hate her, Debbie Harry is the consummate DIVA who paved the way for many female artists. It is with complete love and devotion that Party Favorz recognizes those achievements and inducts the one and only Debbie Harry into the Diva Hall of Fame.    Album: Debbie Harry + Blondie | The Diva Series      Genre: House, Dance, Club    Year: 2018    Total Time: 02:11:11 Backfired (Bruce Forest & Frank Heller Remix) Rapture (DJ Agent 86 Remix) Atomic (Diddy's 12'' Mix) French Kissin' In The USA (12'') Dreaming (The Sub-Urban Dream Mix) Long Time (Eric Kupper Remix) Two Times Blue (The Stonebridge Vocal) Good Boys (Giorgio Moroder Extended Mix) Union City Blue (Diddy's Power & Passion Mix) I Want That Man (Almighty Mix) Heart Of Glass (Shep Pettibone Remix) I Can See Clearly (D-Reamix) New York New York (Armand Van Helden Long Version) [with Moby] In Love With Love (London Extended Mix) Fun (Eric Kupper Disco Remix) Rush Rush (Sandy Turnbull Mix) The Tide Is High (Sand Dollar Mix) Maria (Soul Solution Full Remix) Command & Obey (The Barry Harris Remix) [with Groove Thing] Call Me (Joe Gauthreaux Summer of Love Mix) Nothing Is Real But The Girl (Danny Tenaglia Club Mix)

Host Stuart Wright speaks with filmmaker and author Sean Hogan about a book he's written about one of the best British horror films ever made - DEATH LINE (1972). Or does it have more in common with the American New Wave of horror that exploded in the 70s with the likes of Night Of The Living Dead and Last House On The Left? The book is OUT NOW Get one of the 500 limited hardback copies at http://www.pspublishing.co.uk/death-line-hardcover-by-sean-hogan-4388-p.asp Podcast from www.britflicks.com "Carefree" Kevin MacLeod (incompetech.com) 
Licensed under Creative Commons: By Attribution 3.0
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incompetech.com/music/royalty-fre…isrc=USUAN1100826.

Delve into the fascinating background of classic horror film Rosemary’s Baby and learn how it was made. In 1968, Rosemary’s Baby debuted in theaters and terrified unsuspecting audiences. The film was a box-office success and was widely acclaimed for its dark plot and disturbing realism. Moreover, many of the controversial issues it grappled with, such as Satanism and pregnancy, quickly made it one of the most iconic films of its generation. But in the aftermath of the film’s release, this story of success quickly becomes one of tragedy and mystery. In this episode, we present the story of an innovative film that completely changed Hollywood and our understanding of how films should be made. You’ll learn about the origins of the film and how a little known director revolutionized Hollywood. We’ll discuss why this film was so unique in terms of style and aesthetic. Finally, we’ll look into the mysteries surrounding the film and the so-called curse of Rosemary’s Baby. Like our show? Sign up for our newsletter! Time stamps [02:33] Our guest and film expert Michał Oleszczyk paints the scene [04:27] Why was a little known European director chosen to direct an adaptation of the best selling novel? [08:55] What makes the film stand out? [14:31] Why there are hardly any special effects in Rosemary’s Baby? [16:39] How does the film comment on the current issues of its time? [19:10] Why’s the movie rumored to be cursed? [23:16] Did Rosemary’s Baby changed the horror genre? Further reading Rosemary’s Baby: The Devil Was Not Only in the Details / on Culture.pl Krzysztof Komeda / on Culture.pl 45th Anniversary of Rosemary’s Baby Image Gallery / on Culture.pl Roman Polański Acts First / on Culture.pl The Many Faces of Rosemary’s Baby / on Culture.pl 8 Classic Polish Directed Horrors You Need To Know / on Culture.pl 5 Reasons Why ‘Rosemary’s Baby’ Is a Typical Film of American New Wave / on tasteofcinema.com 'Rosemary's Baby' Thrills With Unfathomable Mystery / on NPR.org Rosemary’s Baby : Whimper Against the Machine / on Ruthless Culture Thanks Michał Oleszczyk / for inviting us to Collegium Artes Liberales and telling us everything we wanted to know about Rosemary's Baby but were afraid to ask. Michał is a film critic, University professor, and programmer. Following Michał's social media profiles is definitely a good idea. For English follow twitter/michaloleszczyk and we recommend following his facebook.com/michal.oleszczyk for Polish speaking audience.    SFTEW Team: Wojciech Oleksiak, Adam Zulawski, Nitzan Reisner, John Beauchamp & Michael Keller

This is part 2 of 2 for our series on the film movement known as American New Wave.  We discuss Hal Ashby's Vietnam film COMING HOME, and then dive into William Friedkin's SORCERER.  We also announce what 2 movies we will be discussing on our Bonus Episode at the end of September.  E-mail any, and all feedback to anotherlookpod@gmail.com.

For the first time on ANOTHER LOOK, we are discussing a movement in cinema.  This is part 1 of 2 in our series on the movement in cinema titled American New Wave (also referred to as New Hollywood).  In this episode we discuss what is regarded as the film that kicked off this movement, BONNIE & CLYDE, and then we move to legendary cinematographer Haskell Wexler's directorial debut, MEDIUM COOL. E-mail anotherlookpod@gmail.com to give your choices for our special bonus episode for the end of the month. Let us know what movies you would like us to discuss.

Greetings and welcome to yet another episode of Directors of Cinema. If you’re unfamiliar with our podcast, this is a show dedicated to the discussion of selected works of prominent filmmakers. Each week, host Matt Goudreau and guest talk about a particular director chosen by the co-host.On this episode, Matt is joined by first time guest Lesley Coffin. Coffin, a dedicated film enthusiast, agreed to come aboard to discuss the career of one of the great American auteurs. His name? Francis Ford Coppola, a director with multiple masterpieces to his name. A graduate of the "Roger Corman school of filmmaking, Coppola has gone on to become one of the most important filmmakers of the American New Wave. Given that The Godfather Trilogy is arguably his most famous achievement, most of the discussion is centered around those films. As a result, this is a much longer episode than usual but the conversation (no pun intended) is as in depth as ever. Some of the talking points discussed during the podcast include:Does one need to see The Godfather to fully appreciate The Godfather Part II?What does the ending of Apocalypse Now represent? Is The Godfather Part III deserving of its rather negative reputation?How effectively does Bram Stoker's Dracula balance camp with extravagent horror? Does Jack prove the theory that a great director cannot salvage a poor script?As always, feel free to download the show for later enjoyment or listen to it directly on Shoutengine. 

Cinematographer Reed Morano is the Director of Photography for HBO’s hit new show Vinyl, executive produced by Martin Scorcese and Mick Jagger. In early 2013, Reed was invited to become the youngest member of the American Society of Cinematographers; she is one of very few women out of approximately 340 active members in the organization. She has been named one of variety's"10 Cinematographers to Watch", one of ioncinema.com's "American New Wave 25", and one of five innovative cinematographers in icg magazine's "generation next" spotlight. In 2012, reed's work was featured in Indiewire's "On the Rise '12: 5 Cinematographers Lighting Up Screens in Recent Years" and "Heroines of Cinema: An A-Z of Women in Film in 2012." Some of Reed's thoughts on the digital revolution and how it has affected filmmaking are featured in Keanu Reeves' acclaimed documentary Side by Side. She was honored to be featured in Kodak's long-running OnFilm series. Reed's work appears regularly at the Sundance Film Festival including the premieres of Little Birds, Shut Up and Play the Hits, and For Ellen. Frozen River won the Grand Jury prize at the 2008 Sundance Film Festival and went on to be nominated for two Academy Awards (Best Actress for Melissa Leo and Best Screenplay) and seven Independent Spirit Awards, including Best Picture; Reed's work on the film was the subject of an article in American Cinematographer. In 2013, Kill Your Darlings, a 35mm period piece about the beat poets set in 1943, starring Daniel Radcliffe, Michael C. Hall and Jennifer Jason Leigh was released theatrically and premiered at Sundance, as well as the Toronto and Venice film festivals. Also in 2013, The Inevitable Defeat of Mister & Pete, premiered at Sundance and was released theatrically that fall; the drama was directed by George Tillman Jr. and stars Jennifer Hudson, Anthony Mackie, and Jeffrey Wright. In January of 2014, HBO premiered the first season of its new original series, Looking, shot by Reed. Reed's other theatrical premieres of 2014 include The Skeleton Twins, War Story, Autumn Blood, and Rob Reiner's latest feature, And So It Goes, starring Michael Douglas and Diane Keaton, written by Mark Andrus of As Good As It Gets. In the summer of 2014, Reed began production on her first feature as both the director and DP; Cinedigm's dark drama "Meadowland" stars Olivia Wilde, Luke Wilson, Giovanni Ribisi, Elisabeth Moss, Juno Temple and John Leguizamo. Reed is currently leading the charge on a movement to control motion interpolation a.k.a. "the soap opera effect" on our HDTVs; Reed's change.org petition is supported by nearly 10,000 signatures and has gained momentum, attracting the attention of both the film and technology communities. Reed currently lives in Brooklyn, New York with her husband and two children. Notes from the show: Her dad suggested NYU film school to her because of her love of photography. All DPs develop an intuition so they can tell from a script how it wants to be shot. No one teaches you in film school what the etiquette is for a cinematographer. It takes years and years to find the right combination of your style, the director's ideas, and what's right for the story. Vinyl's pilot had already been shot before Reed's interview for the HBO series. Reed likes to light a whole space and yield to amazing spontaneous moments more than planning every shot. There's a fear of not having enough light. Reed left film school in no rush to direct. Reed started working in the grip and electric departments on local shoots. Her first "big" film was Returning Mickey Stern, shot on Fire Island, NY. Fellow filmmaker and college buddy Toshiro Yamaguchi invited Reed to join the crew of Mickey Stern. Gripping gave Reed a real understanding of the set. It also provided a paycheck while she shot films on the side. You build up stamina and muscle memory over time. She feels like "just one of the guys"- you have to "have a trucker's mentality... you have to be chill." That time she saw Conrad Hall, ASC speak. The moment she found out she had been invited into the ASC. How she got into the ASC. Her partnership with Olivia Wilde. The American Cinematographer Manual The photography of Philip-Lorca diCorcia Find Reed on Instagram at ReedMorano This podcast hosted by New York attorney Michael Prywes was sponsored by Prywes Schwartz, PLLC, a law firm devoted to artists and entrepreneurs. This podcast may contain attorney advertising. Prior results do not guarantee future outcomes.