Podcast appearances and mentions of Anne V Coates

Just in time for election season, we're kicking off our Political Thriller series with IN THE LINE OF FIRE starring Clint Eastwood, John Malkovich and Rene Russo. Wolfgang Petersen directed this 1993 suspense actioner about a Secret Service agent trying to thwart a would-be assassin targeting the U.S. President. Upon release, IN THE LINE OF FIRE was a critical and commercial hit, garnering Oscar nominations for Malkovich, screenwriter Jeff Maguire and editor Anne V. Coates. From now until Election Day, Mama Needs a Movie will delve into paranoia-driven political thrillers, starting with this pulse-pounding episode on IN THE LINE OF FIRE which contains the premiere of a new segment, Poetry Corner, the return of Let's Talk Physical, and diversions into Law & Order, the Olympics, Dermot Mulroney, incels, the 2024 election cycle and much, much more! IN THE LINE OF FIRE is available from most streaming rental platforms and can also be streamed with a subscription to MGM+.

We'll Always Have Aqaba - David Lean's Lawrence of Arabia Few films are able to live up to the label of "epic".  In 1962 David Lean created one of the great epic masterpieces of cinema, Lawrence of Arabia. Based on the life of British archaeologist, army officer, diplomat, and write, T.E. Lawrence, Lean's film chronicles Lawrence's involvement in the Arab Revolt (1916-1918), his life among his adopted tribal families and his struggles with loyalty to the Arab tribes, the dessert, and his ties to his British roots. Lean's film is an epic in every way; from beautiful 70mm cinematography (lensed by the great Freddie Young) majestic and engrossing music from Maurice Jarre, and the incredible editing of Anne V. Coates (all three Academy Award winners for the film). Introducing Peter O'Toole and Omar Shariff, Lean would help create two of the great international stars Cinema has known. It's a thrill for Mr. Chavez and I to sit down, watch, remember, and discuss this powerful, overwhelming, and life-changing film. Take a listen as we dig into the history of The Middle East, the reception and legacy of this film, and comparisons to other "White Saviour" stories. It's a damn good talk. We hope you'll enjoy. Let us know what you think - gondoramos@yahoo.com.  For those of you who would like to donate to this undying labor of love, you can do so with a donation at https://www.buymeacoffee.com/watchrickramos  - Anything and Everything is appreciated, You Cheap Bastards.

Editors - Lee Smith ACE and Tom Harrison-Read Although ARGYLLE editors Lee Smith ACE and Tom Harrison-Read have never worked together before, they do have a mutual connection in the Matthew Vaughn universe.  It was Eddie Hamilton ACE, Smith's co-editor on Vaughn's X-MEN: FIRST CLASS (2011) who recommended that Tom, his former assistant on MISSION: IMPOSSIBLE - ROGUE NATION (2015), join the cutting crew for ARGYLLE.  Alongside editor Col Goudie, Smith and Harrison-Read collaborated to realize Vaughn's vision for an action-comedy where the quips come as fast as the cuts. LEE SMITH, ACE Known for his work with directors such as Christopher Nolan, Sam Mendes and Peter Weir, Australia-native Lee Smith won an Oscar® and an ACE Eddie award for his work on Nolan's DUNKIRK (2018).  Smith also received Oscar® nominations for his work on MASTER AND COMMANDER: THE FAR SIDE OF THE WORLD (2004) and THE DARK KNIGHT (2009). TOM HARRISON-READ Prior to his work on ARGYLLE, Tom also edited such features as TOMB RAIDER (2018), IN DARKNESS (2018) and CHILDREN OF THE CORN (2020).  In addition to his work as an editor, Tom has worked as an assistant in the cutting rooms of such notable editors as Anne V. Coates, Kevin Tent ACE, Conrad Buff ACE, Eddie Hamilton ACE, Pietro Scalia ACE, Paul Machliss ACE, Chris Rouse ACE, Rick Pearson ACE and Matt Chessé ACE. Editing ARGYLLE In our discussion with ARGYLLE editors Lee Smith, ACE and Tom Harrison-Read, we talk about: Revisiting Chaos Cary Grant...action hero? How fun wins every time A tentative approach to head stomping Putting your wrong foot forward The Credits Visit ExtremeMusic for all your production audio needs Check out the Frame.io blog for an enhanced transcription of The Rough Cut. Learn all about what's new with Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

“But where is Becket's honour?”Before cameras could roll on Becket, the film's producers had to secure the screen rights to Jean Anouilh's original French play. Anouilh was initially hesitant to sell the rights, but the persistence of producer Hal B. Wallis convinced him to sign on. With the acclaimed playwright on board, the next task was finding a director who could bring the theatrical story to life on the big screen. The producers eventually landed on Peter Glenville, an experienced theater director who had recently made the jump to film. With Glenville set to direct, Wallis turned his attention to casting the two crucial lead roles. Several big names were considered, but it ultimately came down to Richard Burton and Peter O'Toole. The two actors had never worked together before, but their chemistry and talent made them the perfect choices to embody this complex medieval tale of friendship and betrayal. Join us – Pete Wright and Andy Nelson – as we kick off the 1965 BAFTAs Best Film From Any Source Nominees series with a conversation about Glenville's 1964 film Becket.Here's a hint at what we talk about:We dive deep into the fascinating central relationship between King Henry II and Thomas Becket. Their intimate friendship takes surprising twists and turns, and we examine how Burton and O'Toole bring nuance, humor, and gravitas to their performances. We also discuss how Becket grapples with weighty themes like loyalty, honor, and the separation of church and state. Though we take issue with some historical inaccuracies, we find the film an engrossing character study bolstered by its two talented leads.Here are a few other points in our discussion: Appreciating Becket's unexpected comedic tone and banter The riveting confrontations between Henry and Becket Questioning the importance of the Saxon/Norman divide Assessing Peter Glenville's brisk direction and Anne V. Coates' editing Burton and O'Toole's captivating performances Becket gives a revealing look at how friendship, politics, and religion collide for two powerful men. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Film Sundries Watch this on Apple or Amazon, or find other places at JustWatch Script Options Theatrical trailer Original Material Letterboxd Find source material for The Next Reel's family of podcasts – and thousands of other great reads – at Audible! Get your free audiobook and 30-day free trial today.Learn more about CODA and how it can work for you!Read more about the results of the WGA strike here.Learn more about the SAG-AFTRA strike here.Join the conversation with movie lovers from around the world on The Next Reel's Discord channel!Here's where you can find us around the internet: The Web Letterboxd Facebook Instagram X YouTube Flickchart Check out poster artwork for movies we've discussed on our Pinterest page Pete  Andy We spend hours every week putting this show together for you, our dear listener, and it would sure mean a lot to us if you considered becoming a member. When you do, you get early access to shows, ad-free episodes, and a TON of bonus content. To those who already support the show, thank you. To those who don't yet: what are you waiting for?Become a Member here: $5 monthly or $55 annuallyWhat are some other ways you can support us and show your love? Glad you asked! You can buy TNR apparel, stickers, mugs and more from our MERCH PAGE. Or buy or rent movies we've discussed on the show from our WATCH PAGE. Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT. Or sign up for AUDIBLE.

“But where is Becket's honour?”Before cameras could roll on Becket, the film's producers had to secure the screen rights to Jean Anouilh's original French play. Anouilh was initially hesitant to sell the rights, but the persistence of producer Hal B. Wallis convinced him to sign on. With the acclaimed playwright on board, the next task was finding a director who could bring the theatrical story to life on the big screen. The producers eventually landed on Peter Glenville, an experienced theater director who had recently made the jump to film. With Glenville set to direct, Wallis turned his attention to casting the two crucial lead roles. Several big names were considered, but it ultimately came down to Richard Burton and Peter O'Toole. The two actors had never worked together before, but their chemistry and talent made them the perfect choices to embody this complex medieval tale of friendship and betrayal. Join us – Pete Wright and Andy Nelson – as we kick off the 1965 BAFTAs Best Film From Any Source Nominees series with a conversation about Glenville's 1964 film Becket.Here's a hint at what we talk about:We dive deep into the fascinating central relationship between King Henry II and Thomas Becket. Their intimate friendship takes surprising twists and turns, and we examine how Burton and O'Toole bring nuance, humor, and gravitas to their performances. We also discuss how Becket grapples with weighty themes like loyalty, honor, and the separation of church and state. Though we take issue with some historical inaccuracies, we find the film an engrossing character study bolstered by its two talented leads.Here are a few other points in our discussion: Appreciating Becket's unexpected comedic tone and banter The riveting confrontations between Henry and Becket Questioning the importance of the Saxon/Norman divide Assessing Peter Glenville's brisk direction and Anne V. Coates' editing Burton and O'Toole's captivating performances Becket gives a revealing look at how friendship, politics, and religion collide for two powerful men. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Film Sundries Watch this on Apple or Amazon, or find other places at JustWatch Script Options Theatrical trailer Original Material Letterboxd Find source material for The Next Reel's family of podcasts – and thousands of other great reads – at Audible! Get your free audiobook and 30-day free trial today.Learn more about CODA and how it can work for you! Read more about the results of the WGA strike here. Read more about the results of the SAG-AFTRA strike here. Join the conversation with movie lovers from around the world on The Next Reel's Discord channel!Here's where you can find us around the internet: The Web Letterboxd Facebook Instagram X YouTube Flickchart Check out poster artwork for movies we've discussed on our Pinterest page Pete  Andy We spend hours every week putting this show together for you, our dear listener, and it would sure mean a lot to us if you considered becoming a member. When you do, you get early access to shows, ad-free episodes, and a TON of bonus content. To those who already support the show, thank you. To those who don't yet: what are you waiting for?Become a Member here: $5 monthly or $55 annuallyWhat are some other ways you can support us and show your love? Glad you asked! You can buy TNR apparel, stickers, mugs and more from our MERCH PAGE. Or buy or rent movies we've discussed on the show from our WATCH PAGE. Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT. Or sign up for AUDIBLE.

This week, I was so pleased to welcome one of the best film writers currently working today - the wonderful Sheila O'Malley - back to the podcast. A regular film critic for RogerEbert.com and a member of the prestigious New York Film Critics Circle, Sheila's work has also appeared in Film Comment, The New York Times, The L.A. Times, Criterion Collection, Sight & Sound, and other outlets. Additionally, a scene from her full-length script JULY AND HALF OF AUGUST was turned into a short film, which played at the Albuquerque Film and Music Experience, as well as at EbertFest. She's also written the narration scripts for two tribute reels played at the Lifetime Achievement Oscar ceremony, one for recipient Gena Rowlands (read by Angelina Jolie) and one for recipient Anne V. Coates (read by Diane Lane). Always a must-read, when she isn't doing everything else, Sheila writes about actors, movies, and Elvis at her outstanding personal site, The Sheila Variations. Returning for the first time since last winter when she joined me to discuss BLUE HAWAII on one of our winter physical media episodes, we had so much fun cracking each other up about Elvis movies that we couldn't resist tackling five more together this time. Focusing on a group of films that Sheila considers to be underrated for one reason or another, whether that's because it's a western, features a remarkable performance, or is the epitome of what a '60s Elvis romcom musical could be when it's done well, in this sparkling conversation, we cover KING CREOLE, FLAMING STAR, GIRL HAPPY, LIVE A LITTLE LOVE A LITTLE, & THE TROUBLE WITH GIRLS. Originally Posted on Patreon (9/24/23) here: https://www.patreon.com/posts/89764018 Theme Music: Solo Acoustic Guitar by Jason Shaw, Free Music Archive Logo: KateGabrielle.com

In this episode we discuss the 1962 film Birdman of Alcatraz and female editors in the film industry, Burt Lancaster's stirring performance as inmate Robert Stroud, more Hollywood animal wrangling, Anne V. Coates and her Academy Award win for Best Editing for Lawrence of Arabia, the history of women working as editors in Hollywood, and the immense expertise that female editors have contributed to some of the most well known films in Hollywood history. -- Instagram: https://www.instagram.com/thanktheacademypodcast Twitter: https://www.twitter.com/thankacademypod Email us your thoughts: thanktheacademypod@gmail.com --- Support this podcast: https://anchor.fm/thank-the-academy/support

This week, I was so pleased to welcome one of the best film writers currently working today - the wonderful Sheila O'Malley - to the podcast. A regular film critic for RogerEbert.com and a member of the prestigious New York Film Critics Circle, Sheila's work has also appeared in Film Comment, The New York Times, The L.A. Times, Criterion Collection, Sight & Sound, and other outlets.Additionally, a scene from her full-length script July and Half of August was turned into a short film, which played at the Albuquerque Film and Music Experience, as well as at EbertFest. She's also written the narration scripts for two tribute reels played at the Lifetime Achievement Oscar ceremony, one for recipient Gena Rowlands (read by Angelina Jolie) and one for recipient Anne V. Coates (read by Diane Lane). Always a must-read, when she isn't doing everything else, Sheila writes about actors, movies, and Elvis at her outstanding personal site, The Sheila Variations.Extremely knowledgeable when it comes to the art of acting and classic film, in this richly researched episode, Sheila joins me to dissect the movies (and mores!) of Hollywood's notorious pre-code era, including The Public Enemy, the original Scarface, Three on a Match, Baby Face, and Design for Living.Theme Music: Solo Acoustic Guitar by Jason Shaw, Free Music ArchiveOriginally Posted on Patreon (7/21/21) with links to items discussed here: https://www.patreon.com/posts/53958553

The SMC team (Connor Lloyd Crews, Edwin Gomez, Daniel Ott, Craig Hammill) return to their occasional series about elements of cinema. Today we discuss the art of editing, examples of great cuts in movies like Point Blank, The Wild Bunch, Raiders of the Lost Ark, Little Women, Hostel and great all-time editors like Dede Allen, Paul Hirsch, Sergei Eisenstein, Michael Kahn, Anne V. Coates among others. 

Our guests on this edition of The Rough Cut, editor John Axelrad ACE and his assistant editor Jared Simon, can certainly speak eloquently on the subjects of storytelling and editing techniques, but when you listen to their interview, it absolutely comes through how methodical they are in their organization and communication, because success with that is what frees them up to be as creative as possible and to think about all those wonderful storytelling conundrums. John and Jared first teamed up on the film Ad Astra, and they are back together again on their new film, Antebellum.  Originally scheduled for a theatrical release earlier in the year, the film was delayed until now as a video on demand release due to the impact of the pandemic. It’s not often that we have both the editor and the assistant, or assistants, on the show together.  And that’s a shame because it really adds a lot in terms of what we can learn from them.  And with mentoring and career building and "passing the torch" to a new generation being so vital to this industry, hearing the assistant share their experience on how the editor, or any mentor, helped to bring them along, is very cool.  We even get to talk about one of the editors John learned under, the amazing Anne V. Coates, who won an Oscar in 1963 for her work on Lawrence of Arabia, and then went on to be nominated four more times; the last being for Steven Soderbergh’s Out of Sight, the first picture John worked on with her.  And we get into all that plus; the importance of a good editing room "codebook", making the most of markers, how to properly prep material for 5.1, and much more! Visit ExtremeMusic for all your production audio needs Learn Avid for free with Media Composer | First Subscribe to Media Composer | Ultimate and get the best Avid has to offer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

This week on the Culture Gabfest, Stephen Metcalf, Dana Stevens, and Julia Turner discuss Mindy Kaling’s new television show Never Have I Ever. Next, they talk about Twitter beefs in the time of COVID-19—from Alison Roman to Lana del Rey. Finally, the panel dives into Steve’s comfort watch for this week: Out of Sight. On the Slate Plus segment this week, Dana and Steve try Sudoku for the first time, as inspired by this recent captivating video.  Podcast production by Cameron Drews. Production assistance by Rachael Allen. Outro Music: Woke by SINY Endorsements Dana: Anne V. Coates’s interview on Out of Sight. Charlotte Brontë’s Villette, especially as an audiobook. Julia: “The Miracle Sudoku” video, as discussed in our Plus segment. “How to Make Wylie Dufresne’s Incredibly Creamy Scrambled Egg Sandwich,” by Wylie Dufresne, as told to Emma Wartzman in Bon Appétit. Steve: “The Painting Behind the Door,” by Emily Benedek in Tablet magazine. Singer Laura Marling’s breaking down her guitar chords on social media.

This week on the Culture Gabfest, Stephen Metcalf, Dana Stevens, and Julia Turner discuss Mindy Kaling’s new television show Never Have I Ever. Next, they talk about Twitter beefs in the time of COVID-19—from Alison Roman to Lana del Rey. Finally, the panel dives into Steve’s comfort watch for this week: Out of Sight. On the Slate Plus segment this week, Dana and Steve try Sudoku for the first time, as inspired by this recent captivating video.  Podcast production by Cameron Drews. Production assistance by Rachael Allen. Outro Music: Woke by SINY Endorsements Dana: Anne V. Coates’s interview on Out of Sight. Charlotte Brontë’s Villette, especially as an audiobook. Julia: “The Miracle Sudoku” video, as discussed in our Plus segment. “How to Make Wylie Dufresne’s Incredibly Creamy Scrambled Egg Sandwich,” by Wylie Dufresne, as told to Emma Wartzman in Bon Appétit. Steve: “The Painting Behind the Door,” by Emily Benedek in Tablet magazine. Singer Laura Marling’s breaking down her guitar chords on social media. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week on the Culture Gabfest, Stephen Metcalf, Dana Stevens, and Julia Turner discuss Mindy Kaling’s new television show Never Have I Ever. Next, they talk about Twitter beefs in the time of COVID-19—from Alison Roman to Lana del Rey. Finally, the panel dives into Steve’s comfort watch for this week: Out of Sight. On the Slate Plus segment this week, Dana and Steve try Sudoku for the first time, as inspired by this recent captivating video.  Podcast production by Cameron Drews. Production assistance by Rachael Allen. Outro Music: Woke by SINY Endorsements Dana: Anne V. Coates’s interview on Out of Sight. Charlotte Brontë’s Villette, especially as an audiobook. Julia: “The Miracle Sudoku” video, as discussed in our Plus segment. “How to Make Wylie Dufresne’s Incredibly Creamy Scrambled Egg Sandwich,” by Wylie Dufresne, as told to Emma Wartzman in Bon Appétit. Steve: “The Painting Behind the Door,” by Emily Benedek in Tablet magazine. Singer Laura Marling’s breaking down her guitar chords on social media. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of the "Sight, Sound & Story" Podcast we will go Inside the Cutting Room with author and film historian Bobbie Osteen for a panel highlighting the career of legendary Oscar-winning feature film editor Anne Coates, ACE. Five Academy Award Nominations and one Academy Award, an editor of 54 films; Anne made huge waves thanks to her incredible eye for a good cut and her talent for adapting to the needs of a variety of directors. This is from our Post Production Summit on June 11th, 2016 in New York City. Moderator: Bobbie O'Steen, "Cut to the Chase," "The Invisible Cut" Speaker: Anne V. Coates, ACE ("Lawrence of Arabia," "The Elephant Man," "Out of Sight," "Erin Brockovich") About Anne V. Coates, ACE: Anne was a renowned British editor who has worked on over sixty films, including the classic epic "Lawrence of Arabia," for which she received an Academy Award. She has garnered four additional Academy Award nominations for "Becket," "The Elephant Man," "In the Line of Fire," and "Out of Sight." She was awarded BAFTA’s highest honor, The Academy Fellowship, as well as the Career Achievement Award from American Cinema Editors - and in 2015 Coates was only the second editor besides Dede Allen to receive a career achievement award from the Los Angeles Film Critics Association. About Bobbie O’Steen: Bobbie is a writer and film historian, dedicated to sharing the editor’s invisible art. She is an Emmy-nominated editor and author of two acclaimed books: "Cut to the Chase," based on interviews with her late husband and colleague, legendary editor Sam O’Steen; and "The Invisible Cut," which deconstructs classic movie scenes through a cut-by-cut analysis. She is a frequent moderator for American Cinema Editors’ EditFest panels and host of her own “Inside the Cutting Room” event series. She has also taught at the American Film Institute, graduate film workshops at NYU’s Tisch School of the Arts and has created an ongoing course, “Making the Cut,” based on her interviews with over sixty editors. O’Steen’s next project is a media-rich eBook called "Making the Cut at Pixar" about the editor's pioneering role in computer animation. To find out more information on her speaking events go to http://:www.bobbieosteen.com. Produced by Manhattan Edit Workshop (MEWShop), “Sight, Sound & Story” is an ongoing high-profile speaker series that brings audiences “behind the scenes” with legends of visual storytelling. For more information go to https://:www.SightSoundandStory.com.

Wanna start a fight with a cinephile? Ask whether the match cut (which is NOT a match cut) from Lawrence of Arabia, or the bone cut from 2001: A Space Odyssey, is the greatest single edit of all time. Regardless, Anne V. Coates is one hell of an editor.

The endlessly fascinating Jennifer Engstrom graces us in the Booth today. Jen is a long-time ensemble member of A Red Orchid Theatre (as is our last guest, playwright Brett Neveu). She has appeared in over a dozen productions there and at many other great Chicago theaters (as well as in productions in London and New York). She grew up on a farm outside of Huxley, Iowa and made her way to the big city via the College of DuPage theatre program, where she soon became active in the speech department. And who coached and encouraged her in a career in the performing arts? None other than our own Frank Tourangeau! Frank was a professor and head of the speech department during Jennifer's time there and served as her mentor and teacher. Frank relates how he cast her in the play Whose Life is it Anyway? as the lead made famous on Broadway and the West End by Tom Conti, and revived some years later with Mary Tyler Moore in the starring role. By all accounts, Jen was luminous in the part. BTW, when Gary was working in Emanuel Azenberg's office, he was a stand-in for Tom Conti for several rehearsals on the Broadway production. In addition to her numerous acting roles, Jennifer has had an interesting career as an understudy around Chicago. We discuss her going on as Blanche DuBois at the last minute in a Writers Theatre production of A Streetcar Named Desire, directed by David Cromer. Though she knew the blocking and the lines well, her costumes had not been finished and there was a mad scramble to devise a proper wardrobe track for that performance (which Gary and producer Betsy were privileged to see!). She also stepped in for Amy Morton in the Steppenwolf Theatre production of Taylor Mac's HIR when Ms. Morton turned her ankle on stage prior to the first preview. Jennifer had learned all the lines and after a rushed blocking rehearsal, kept the curtain up for the first preview audience in stellar fashion. To quote the wonderful stage manager, Laura Glenn, "She was a total professional and I was so grateful she was there." Among Jennifer's favorite playwrights are Tennessee Williams, Edward Albee and newcomer Jen Silverman, whose play Witch will get a world premiere production at Writers Theatre in the fall. Two items of show biz interest - The Play That Goes Wrong is closing on Broadway in August. One of the most hilarious shows that Gary and Frank have ever seen, a national tour is scheduled so don't miss this gem of a show if it comes to your town. And the five-and-a-half hour adaptation of Roberto Bolano's mammoth novel 2066 can be seen on streaming video soon. In an unusual arrangement, a filmed version of the Goodman Theatre's production will be available free, unlimited streaming for at least two years. Frank was a big fan of this production. You may have to watch in installments given it's extraordinary length, but you're unlikely to see another production of it anywhere any time soon. Jennifer has created and performs a one-woman show called Excuse My Dust, A Dorothy Parker Portfolio, in which she embodies the writer and humorist in an evening of theatrical monologues from Parker's writings. Dorothy Parker was an original member of the Algonquin Round Table and a unique coiner of the cutting remark. Gary and Betsy are going to the Red Orchid spring fundraiser at which Jennifer is performing selections from Excuse My Dust. More to report on our next episode. We play a little Chat Pack with Jennifer and find that she would like to be a rock star for a month, a la Beyonce. And people often ask her how she learns all those lines! Kiss of Death: Anne V. Coates, Admired Editor of Acclaimed Movies One of the most celebrated film editors of her era, Ms. Coates won an Oscar for her work on Lawrence of Arabia directed by David Lean and starring Peter O'Toole. The film editor's craft is often called "the invisible art," but is one of the most vital ingredients in the alchemy of filmmaking.

On the Senses of Cinema podcast Eloise and Mark are joined once again by our brand new editor Cesar Albarran Torres. We're talking the re-imagining of Peter Weir's classic film with Picnic at Hanging Rock the mini-series and then we talk abattoirs, deer and shared dreams in Ildiko Enyedi's On Body and Soul. Finally we celebrate the career of Anne V Coates and we discuss her incredible editing work on films such as Lawrence of Arabia and The Elephant Man. We end as always with our recommendations for the month of May, and for our patron bonus we discuss the Cinema and the Museum dossier published in the March issue of Senses of Cinema.

Mike (@mumbles3k) and John (@kesseljunkie) discuss the Wall Street Journal's article about Solo strife, the legendary work of film editor Anne V. Coates, disagree about Akira Kurosawa's Seven Samurai, and discuss footwear of the rich & famous.??JOIN THE MISSION!Subscribe in Apple PodcastsFeedback: TheNerdParty.com/ContactFacebook: facebook.com/TheNerdPartyTwitter: @JoinNerdParty #GreatShotKidInstagram: @TheNerdParty #GreatShotKid

In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Erik Luers discuss the opening of the 71st annual Cannes Film Festival and how Netlifx is playing nice—or are they? We also cover the first results of the Academy’s ethics enforcements, and say a sad goodbye to prolific editor of ‘Lawrence of Arabia’ and over 50 more films, Anne V. Coates. Jon also answers an Ask No Film School question about whether or not a short film should be used as an industry “calling card.” Charles Haine joins us for gear news, including a hot take on why 8K is a good thing. As always, we also bring you the latest gear news, upcoming grant and festival deadlines, new indie film releases, weekly words of industry wisdom, and other notable things you might have missed while you were busy making films. You can see all the links from this show in this week’s podcast post at nofilmschool.com

The acclaimed film editor Anne V. Coates died yesterday at the age of 92. Born in England in 1925, Coates began training as an editor in the late 1940s and went on to work in Hollywood with numerous renowned directors including David Lean, Steven Soderbergh and Sidney Lumet. In addition to her Oscar win for "Lawrence of Arabia" (1962), Coates received scores of BAFTA and Oscar nominations for her work on films including "Erin Brockovich," "The Elephant Man," "Becket," "Murder on the Orient Express," "In the Line of Fire," and "Out of Sight." In 2016, she was awarded the Governor's Award by the Academy of Motion Picture Arts and Sciences, as well as the Los Angeles Film Critics Association's award for career achievement. She is survived by her three children, all of whom also work in the film industry: Anthony Hickox, Emma E. Hickox and James D.R. Hickox. Fishko Files with Sara Fishko Assistant Producer: Olivia BrileyMix Engineer: Merritt Jacob

本期主创团队&音频主播： 玉年（个人公众号“柚子年华”；前新浪娱乐著名记者，现从事电影项目开发工作） 荡科长（资深媒体人，前知名视频网站主编） 波米 音频后期制作：Siyuan/波米；编辑排版：波米； 本期话题：2017年第89届奥斯卡提名名单 流程与具体话题： 话题1：三位主播简单谈及对今年奥斯卡提名的感受，玉年认为“比较失望，近年再无《老无所依》对撞《血色将至》的佳片对撞”，荡科长认为“没什么意外”；波米认为今年提名名单过于强调“政治正确”； 话题2：三位主播分别谈及本次提名中的“最大惊喜”和“最大遗珠”；玉年提及《雄狮》拿到6项提名以及《凯撒万岁》拿到最佳艺术指导提名，荡科长惊喜《神奇动物》入围最佳服装； 话题3：三位着重讨论艾米·亚当斯为何无缘提名名单：两位嘉宾均肯定艾米在《降临》中的表演，玉年认为“给梅姨第20个提名不如给艾米”，荡科长认为“给《爱恋》的黑人女主角不如给艾米”； 话题4：“《爱乐之城》还是《月光男孩》？”三位主播均发表对《月光男孩》的失望之情；玉年力挺《爱乐之城》横扫；荡科长则强调《月光男孩》仍有机会，并称《爱乐之城》未能拿到演员工会奖“最佳群戏”提名是其问鼎奥斯卡的隐患；两位嘉宾都强调颁奖季最后阶段“公关的重要性”，玉年举例《聚焦》去年的问鼎； 片头曲： 片尾曲：（林佳树） 第89届奥斯卡金像奖提名名单： 最佳影片： 《降临》《血战钢锯岭》《隐藏人物》《雄狮》《月光男孩》《藩篱》《爱乐之城》《赴汤蹈火》《海边的曼彻斯特》 最佳导演： 丹尼斯·维伦纽瓦《降临》梅尔·吉布森《血战钢锯岭》达米恩·查泽雷《爱乐之城》肯尼斯·罗纳根《海边的曼彻斯特》巴里·杰金斯《月光男孩》 最佳男主角： 卡西·阿弗莱克《海边的曼彻斯特》安德鲁·加菲尔德《血战钢锯岭》瑞恩·高斯林《爱乐之城》维果·莫特森《神奇队长》丹泽尔·华盛顿《藩篱》 最佳女主角： 伊莎贝尔·于佩尔《她》鲁丝·内伽《爱恋》娜塔莉·波特曼《第一夫人》艾玛·斯通《爱乐之城》梅丽尔·斯特里普《跑调天后》 最佳男配角： 马赫沙拉·阿里《月光男孩》杰夫·布里吉斯《赴汤蹈火》卢卡斯·赫奇斯《海边的曼彻斯特》戴夫·帕特尔《雄狮》迈克尔·珊农《夜行动物》 最佳女配角： 维奥拉·戴维斯《藩篱》娜奥米·哈里斯《月光男孩》妮可·基德曼《雄狮》奥克塔维亚·斯宾瑟《隐藏人物》米歇尔·威廉姆斯《海边的曼彻斯特》 最佳原创剧本： 《赴汤蹈火》《爱乐之城》《龙虾》《海边的曼彻斯特》《二十世纪女人》 最佳改编剧本： 《降临》《藩篱》《隐藏人物》《雄狮》《月光男孩》 最佳动画长片： 《魔弦传说》《海洋奇缘》《西葫芦的生活》《红海龟》《疯狂动物城》 最佳纪录长片： 《海上火焰》《我不是你的黑鬼》《生活，动画》《O.J.：美国制造》《第十三修正案》 最佳外语片： 《地雷区》（丹麦）《一个叫欧维的男人决定去死》（瑞典）《推销员》（伊朗）《禁忌之恋》（澳大利亚）《托尼·厄德曼》（德国） 最佳摄影： 《降临》《爱乐之城》《雄狮》《月光男孩》《沉默》 最佳剪辑： 《降临》《血战钢锯岭》《赴汤蹈火》《爱乐之城》《月光男孩》 最佳视觉效果： 《深海浩劫》《奇异博士》《奇幻森林》《魔弦传说》《星球大战外传：侠盗一号》 最佳音效剪辑： 《降临》《深海浩劫》《血战钢锯岭》《爱乐之城》《萨利机长》 最佳音响效果： 《降临》《血战钢锯岭》《爱乐之城》《星球大战外传：侠盗一号》《危机13小时》 最佳艺术指导： 《降临》《神奇动物在哪里》《凯撒万岁》《爱乐之城》《太空旅客》 最佳服装设计： 《间谍同盟》《神奇动物在哪里》《跑调天后》《第一夫人》《爱乐之城》 最佳化妆&发型设计： 《一个叫欧维的男人决定去死》《星际迷航3： 超越星辰》《X特遣队》最佳原创配乐： 《第一夫人》《爱乐之城》《雄狮》《月光男孩》《太空旅客》 最佳原创歌曲： “Audition”《爱乐之城》“Can‘t Stop the Feeling”《魔发精灵》“City Of Stars”《爱乐之城》“The Empty Chair”《吉姆：詹姆斯·弗雷的故事》“How Far I'll Go”《海洋奇缘》 最佳真人短片： 《内部敌人》《女人与高铁》《沉默的夜晚》《歌唱》《时间代码》 最佳动画短片： 《Blind Vaysba》《回光返照》《梨酒与香烟》《珍珠》《鹬》 最佳纪录短片： 《人生陌路》《4.1英里》《乔的小提琴》《Watani，我的故乡》《白盔》 终身成就奖/Honorary Award (已颁发)： 成龙 弗雷德里克·怀斯曼（Frederick Wiseman） 林恩·斯塔马斯特（Lynn Stalmaster） 安妮·考特斯（Anne V. Coates）

Earlier this year celebrated architect Zaha Hadid died suddenly in Miami. Now, as the Serpentine Gallery exhibits a collection of her early drawings and a new wing of the Science Museum designed by the architect opens to the public, Front Row considers the breadth of her work.Last month, 90-year-old British film editor Anne V Coates received an honorary Oscar - her second statuette. She won an Oscar for editing Lawrence of Arabia in 1963. Anne discusses her remarkable career which has included cutting David Lynch's The Elephant Man, Stephen Soderbergh's Out of Sight and, just last year, Sam Taylor-Johnson's 50 Shades of Grey. In Jennifer Aniston's new film the office Christmas bash, that annual opportunity for excruciating embarrassment, assumes new significance. The office workers have to host an epic Christmas do in an effort to impress a potential client and close the sale that will save their jobs. The cast includes Kate McKinnon, of Saturday Night Live. Laroushka Ivan-Zadeh reviews Office Christmas Party, and casts her eye over the other Christmas films.Producer: Julian May.