Podcasts about annette insdorf

This week we're excited to present a conversation from the 2025 edition of the New York Jewish Film Festival with Elie Wiesel: Soul on Fire director Oren Rudavsky and co-producer Annette Insdorf. This conversation was moderated by Rachel Chanoff. With his unforgettable and shattering 1958 memoir Night, Elie Wiesel forever changed the way the Holocaust would be written about. A survivor of Auschwitz and Buchenwald as a teenager, the Romanian-born Wiesel became an international spokesperson and renowned author, eloquently transforming his trauma into literature of the highest and most profound order. In this enthralling new documentary, filmmaker Oren Rudavsky goes deeper into Wiesel's philosophically abundant inner life, depicted with nuance and tenderness, and enriched by access to his personal archives. In many ways a private man despite being one of the most public voices of Holocaust remembrance, Wiesel is presented here in newly intimate ways known only to his closest friends. Elie Wiesel: Soul on Fire stands as a crucial testament to an extraordinary man who helped shape our collective memory of the darkest chapter of the 20th century.

In this episode of 92NY talks, Reel Pieces moderator Annette Insdorf interviews Saoirse Ronan after a screening of her new film, The Outrun. Even before reaching 30, Saoirse Ronan received 4 Oscar nominations, beginning with Atonement (2007) at the age of 13, and continuing with Brooklyn (2015), followed by Greta Gerwig's Lady Bird and Little Women. Her other notable credits include Hanna (2011), Mary Queen of Scots (2018), Ammonite (2020), and Steve McQueen's historical drama, Blitz, the closing-night selection of the 2024 NY Film Festival. The conversation was recorded on Oct 1st 2024, at The 92nd Street Y, New York.

In this episode of 92NY Talks, we remember and honor Dr. Ruth Westheimer with one of her last appearances at the 92nd Street Y in 2019. Reel Pieces moderator Annette Insdorf interviews Dr. Ruth about Ask Dr. Ruth, the acclaimed documentary about the trailblazing sex therapist and educator, which premiered at the Sundance Film Festival.   The conversation was recorded on November 20, 2019 in front of a live audience at The 92nd Street Y, New York.

This week we're excited to present two conversations. First up, with our retrospective celebrating the films of the late Polish director Wojciech Jerzy Has currently running through March 31, listen to Digital Marketing Manager Erik Luers discuss the career of the filmmaker with Annette Insdorf, a celebrated scholar and author of the book Intimations: The Films of Wojech Has. Get tickets to The Long Strange Trips of Wojciech Jerzy Has retrospective at filmlinc.org/has Following that conversation, we're happy to share a Q&A from the 61st New York Film Festival with La Chimera director Alice Rohrwacher and actors Josh O'Connor & Isabella Rossellini, moderated by NYFF Advisor Michelle Carey. With her customarily bewitching mixture of earthiness and magical realism, Alice Rohrwacher conjures a marvelous entertainment set in a rural Italy eternally caught between the ancient and the modern. La Chimera opens at FLC next Friday, March 29. View showtimes and get tickets now at filmlinc.org/chimera

In this episode of 92NY Talks, join legendary filmmaker Martin Scorsese and Reel Pieces moderator Annette Insdorf for a discussion of his latest acclaimed movie, Killers of the Flower Moon, and much more. The conversation was recorded on January 23, 2024 in front of a live audience at The 92nd Street Y, New York.

In Cineversary podcast episode #60, host Erik Martin honors the 30th anniversary of Schindler's List and the 25th anniversary of Saving Private Ryan, both directed by Steven Spielberg. Joining him this month is Annette Insdorf, professor in the Graduate Film Program of Columbia's School of the Arts and author of Indelible Shadows: Film and the Holocaust; and James Kendrick, professor of film at Baylor University and author of Darkness in the Bliss-Out: A Reconsideration of the Films of Steven Spielberg. Erik, Annette, and James will explore why these films still resonate all these years later, ways they were inspiring and innovative, what they reveal about Spielberg, and more.Learn more about the Cineversary podcast at www.cineversary.com and email show comments or suggestions to cineversarypodcast@gmail.com. --- Support this podcast: https://podcasters.spotify.com/pod/show/cineversary/support

This is your friendly neighborhood Cineversary podcast host, Erik Martin, here to let you know that we will not be posting a Cineversary episode for June, in case you were patiently waiting for this month's installment. And the reason being is that I've been doing some vacationing with family and then recuperating from some minor surgery – nothing serious, rest assured – which means I've not had the bandwidth or ability to create an episode for June. But the good news is that Cineversary will be back a month from now with a double feature of sorts – we will be celebrating major anniversaries of two different Spielberg works in July: the 30th anniversary of Schindler's list, and the 25th birthday of Saving Private Ryan. I've got a pair of fantastic guests lined up for that show, the first being acclaimed film historian Annette Insdorf, and the second our go to Spielberg expert Baylor University film professor James Kendrick, who returns for his third consecutive summer time appearance on Cineversary. --- Support this podcast: https://podcasters.spotify.com/pod/show/cineversary/support

In this episode of 92NY Talks, Annette Insdorf interviews star Bill Nighy and director Oliver Hermanus, following a preview screening of their new film Living. Acclaimed at film festivals including Sundance and Telluride, it's the touching portrait of a joyless civil servant in 1953 London — a magnificently understated performance by Nighy — whose dire diagnosis leads him to transformation. The conversation was recorded on December 6th, 2022 in front of a live audience at The 92nd Street Y, New York.

In this episode of 92NY Talks, Annette Insdorf interviews star Bill Nighy and director Oliver Hermanus, following a preview screening of their new film Living. Acclaimed at film festivals including Sundance and Telluride, it's the touching portrait of a joyless civil servant in 1953 London — a magnificently understated performance by Nighy — whose dire diagnosis leads him to transformation. The conversation was recorded on December 6th, 2022 in front of a live audience at The 92nd Street Y, New York.

We take a look at the Antoine Doinel cycle of five films made about the same character over a twenty year period by director François Truffaut and actor Jean-Pierre Léaud. We're then joined by Truffaut scholar Annette Insdorf for some detail on the iconic French New Wave filmmaker and her insights into these particular films.

Annette Insdorf is a renowned film historian, professor, and moderator of the Reel Pieces series at New York City's 92nd Street Y, where she talks with the biggest names in Hollywood from Meryl Streep to Andrew Garfield to Jason Reitman and beyond.Learn how she prepares to interview these masters of their craft in front of a live audience, which star has actually audited her film classes at Columbia University, and many more priceless stories in this exciting conversation.-Follow Alex on Instagram

In this episode of 92Y Talks, Reel Pieces moderator Annette Insdorf interviews Andrew Garfield, star of tick, tick...Boom!, the hit film based on an adaptation of the autobiographical musical by Jonathan Larson who revolutionized theater as the creator of Rent. The conversation was recorded on February 22, 2022 in front of a live audience at New York's 92nd Street Y.

What you'll learn in this episode: How Jonathan moved from sculpture to jewelry to drawing, and why he explores different ideas with each medium How the relationship between craft and fine art has evolved over the years Why people became more interested in jewelry during the pandemic Why jewelers working in any style benefit from strong technical skills How you can take advantage of the 92nd Street Y's jewelry programming and virtual talks About Jonathan Wahl Jonathan Wahl joined 92nd Street Y in July 1999 as director of the jewelry and metalsmithing program in 92Y's School of the Arts, the largest program of its kind in the nation. He is responsible for developing and overseeing the curriculum, which offers more than 60 classes weekly and 15 visiting artists annually. Jonathan is also responsible for hiring and supervising 25 faculty members, maintaining four state-of-the-art jewelry and metalsmithing studios, and promoting the department locally and nationally as a jewelry resource center. Named one of the top 10 jewelers to watch by W Jewelry in 2006, Jonathan is an accomplished artist who, from 1994 to 1995, served as artist-in-residence at Hochschule Der Kunst in Berlin, Germany. He has shown his work in the exhibitions Day Job (The Drawing Center), Liquid Lines (Museum of Fine Arts Houston), The Jet Drawings (Sienna Gallery, Lenox MA, and SOFA New York), Formed to Function (John Michael Kohler Arts Center), Defining Craft (American Craft Museum), Markers in Contemporary Metal (Samuel Dorsky Museum of Art), Transfigurations: 9 Contemporary Metalsmiths (University of Akron and tour), and Contemporary Craft (New York State Museum). Jonathan was awarded the Louis Comfort Tiffany Emerging Artist Fellowship from the Louis Comfort Tiffany Foundation, two New York Foundation for the Arts Fellowships in recognition of "Outstanding Artwork," and the Pennsylvania Society of Goldsmiths Award for "Outstanding Achievement." As part of the permanent collections of The Metropolitan Museum of Art in New York, The Museum of Fine Arts in Houston, TX, and The Museum of Arts and Design in New York, his work has been reviewed by Art in America (June, 2000), The New York Times (June 2005), and Metalsmith Magazine (1996, 1999, 2000 2002, 2005, 2009); his work was also featured in Metalsmith Magazine's prestigious "Exhibition in Print" (1994 and 1999). Jonathan's art work can be seen at Sienna Gallery in Lenox, Massachusetts, which specializes in contemporary American and European art work, and De Vera in Soho, New York. His work can also be seen in the publications The Jet Drawings (Sienna Press, 2008), and in three collections by Lark Books: 1,000 Rings, 500 Enameled Objects and 500 Metal Vessels. Before joining 92Y, Jonathan was, first, director of the jewelry and metalsmithing department at the YMCA's Craft Students League, and later assistant director of the League itself. Mr. Wahl holds a B.F.A. in jewelry and metalsmithing from Temple University's Tyler School of Art and an M.F.A. in metalsmithing and fine arts from the State University of New York at New Paltz. He is a member of the Society of North America Goldsmiths. Additional Resources: Website: www.jonathanwahl.com Website: www.92y.org/jewelry LinkedIn: www.linkedin.com/in/jonathancwahl Instagram: @jonathancwahl/   Photos: Available at TheJewelryJourney.com Transcript: With more than 60 jewelry classes offered weekly, the 92nd Street Y's Jewelry Center is by far the largest program of its kind in the country—and it's all run by award-winning sculptor, jeweler and artist Jonathan Wahl. He joined the Jewelry Journey Podcast to talk about the different relationships he has with jewelry and sculpture; why craftsmanship should be embraced by the art world; and what he has planned for 92Y in 2022. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. Here at the Jewelry Journey, we're about all things jewelry. With that in mind, I wanted to let you know about an upcoming jewelry conference, which is “Beyond Boundaries: Jewelry of the Americas.” It's sponsored by the Association for the Study of Jewelry and Related Arts, or, as it's otherwise known, ASJRA. The conference takes place virtually on Saturday and Sunday May 21 and May 22, which is around the corner. For details on the program and the speakers, go to www.jewelryconference.com. Non-members are welcome. I have to say that I attended this conference in person for several years, and it's one of my favorite conferences. It's a real treat to be able to sit in your pajamas or in comfies in your living room and listen to some extraordinary speakers. So, check it out. Register at www.jewelryconference.com. See you there.   This is a two-part Jewelry Journey podcast. Please make sure you subscribe so you can hear part two as soon as it comes out later this week. Today, my guest is Jonathan Wahl, Director of the Jewelry Center at the 92nd Street Y in New York City. The program is the largest of its kind in the country. In addition to his life in jewelry, Jonathan is an award-winning artist whose work is in the permanent collections of prestigious museums. It has been exhibited nationally and internationally. We'll hear more about his jewelry journey today and how art fits into that. Jonathan, welcome to the program.   Jonathan: Thank you, Sharon. It's a pleasure to be here. It's a pleasure to see you.   Sharon: It's nice to see you. Hopefully next time, it'll be in person.    Jonathan: I would love that.   Sharon: Jonathan, tell us about your jewelry journey. How did you get to jewelry? Was that where you originally started out?   Jonathan: Recently I've been doing a lot of interviews myself with artists around the world—virtually since the pandemic—as Director of the Jewelry Center, and one of the questions I always ask them is “How did you find your way to jewelry?” It's one of the questions I love to be asked because, at least for myself, it was interesting. I think all of us start out as artists, unless we're born into a jewelry family. Everyone learns how to draw. Everyone paints on their own. Maybe they have classes in high school. If you're lucky, you have a jewelry class in high school. I didn't, so like many people, I discovered jewelry in college at Tyler School of Art, which has one of the best jewelry programs in the country, but I didn't know jewelry existed until I went to art school.    When I went to art school, I thought I was going to be a graphic designer. Being the son of a banker and coming from a prep school, I figured I was going to be an artist, but I had to make a living. I wasn't going to be a painter, so I was thinking I was going to be a graphic designer when I grew up. At the college, I discovered jewelry in my sophomore year. Stanley Lechtzin said to me—I'll never forget it—“After you graduate you could design, if you wanted, costume jewelry in New York City,” and I thought, “That sounds kind of exotic and fun in New York City.” That's how my jewelry journey really began, in an elective class as a sophomore at Tyler School of Art.   Sharon: Where is Tyler? I'm not familiar with it.   Jonathan: In Philadelphia. It's part of Temple University.   Sharon: And Stanley Lechtzin, is he one of the professors there? I don't know that name.   Jonathan: Stanley Lechtzin really put the program on the map. He's in collections internationally. He pioneered the use of electroforming in individual objects. Electroforming was a commercial process used throughout the country for many different industrial applications, but Stanley figured out how to finetune it for the individual artist. His work has recently had some new-found appreciation because of the aesthetics from the 60s and 70s that are also coming back into vogue. His pieces are extraordinary.   Sharon: Before you came to the Y, did you design jewelry? Did you do art? Did you come home from your banking job and work on that stuff?   Jonathan: My father was a banker. I was not a banker. The closest I got to banking was working at a casino in Atlantic City one summer. My family has a house in Ocean City, New Jersey, so I could get to Atlantic City. I had to count a bank of anywhere between $30,000 and $70,000 a night. That's the closest I got to being a banker.    I quickly then moved to London. This was the summer of my senior year after Tyler. After I graduated from Tyler, I moved to London briefly and worked for a crafts gallery in northern London. Then I decided I wanted to go to graduate school. I came back for about a year to work towards applying to graduate school, which ultimately became SUNY New Paltz. I graduated Tyler in 1990, so most of my undergraduate years were in the 80s. If you're familiar with 80s jewelry, it was no holds barred. It was any kind of jewelry you wanted. My work—or at least my practice—quickly started to veer away from jewelry and towards objects and what I would call small sculpture. My choice to go SUNY New Paltz was specific because I didn't really want to make jewelry, but I was interested in the field and decorative arts, the material culture of jewelry and metalsmithing. That's what I pursued while I was in graduate school. I was recreating early American tinware about my experience as a gay American at that time. I wish there were visuals included, but that's what I was doing at SUNY New Paltz.    Sharon: How did you find that material?   Jonathan: The tinware was a metaphor for America, for traditionalism. The pieces were metaphors for the function or dysfunction of America. These objects were a little perverse, a little sublime and really honest about how frustrated I felt about being an American and growing up in Philadelphia during the bicentennial. I thought life, liberty and the pursuit of happiness was for everybody, but I found myself not really able to access the full extent of that saying, like many people in our country even today. But I'm happy to report that a piece from that era was just acquired by the Museum of Fine Arts in Boston. I'm thrilled that the older work is getting some interest. There's some interest from the New York Historical Society, which is not finalized yet, but it's interesting to see that work with new eyes 20-some years later.   Sharon: Congratulations!   Jonathan: When I was in Germany, my partner at the time was finishing his master's degree, and I was an artist in residence there at the Hochschule der Künste, which is now the Academy of Art, I think it's called. That was an interesting experience because Europeans in general, and Germans in particular, approach craft differently. They have a much longer and supportive tradition of craft of all kinds, so when they saw my tinware, it was a little confusing to them. I ended up in a program called small sculpture as an artist in residence because there was no jewelry program at this art university. It was interesting. It was curious.   Sharon: Tell us how you came to jewelry.   Jonathan: Jewelry eventually gets into my story. After leaving Berlin, I moved to New York. I knew I wanted to be a New York artist. That's the place I had to go. That's the place I had to find my destiny. I was walking around looking for positions in a gallery, which was what I thought I was supposed to do. I walked into one gallery and the director there said, “I don't have any gallery work for you, but I'm on the board of a not-for-profit gallery at the YWCA. That's the home of the Craft Students League. They are looking for a program associate, which pays a ridiculously low hourly wage but has health benefits.” I thought, “O.K., I can do that.”    That's when I found myself in the not-for-profit arts administration position that was developed into what I do now, at least part time. I was the program coordinator for the Craft Students League, which is unfortunately gone now, but had a wonderful ceramics, jewelry, painting, and book arts department. I ultimately became director of the jewelry studio and metalsmithing studio there, and then I became the assistant director of the whole program before I moved to the 92nd Street Y to become the director of the Jewelry Center here.   Sharon: Did they have an opening? How did you enter the 92nd Street Y?   Jonathan: Yes, there was an opening. There was John Cogswell. The Jewelry Center has some wonderful previous directors. It was Thomas Gentile from the late 60s to mid-70s, who really put this program on the map. He was followed by John Cogswell until the early 90s. Then briefly Shana Kroiz took over. She was between Baltimore and New York, and when she left the department, there was a call for a new director. That's when I joined the program here.   Sharon: Wow! I didn't know that Thomas Gentile was one of the—I don't know if you want to call it the founders, but one of the names that launched it.    Jonathan: Yeah. The program began in 1930 in its earliest form as a class in metalworking and slowly evolved into a few more classes. It became part of the one of the largest WPA programs in the country here at the 92nd Street Y, but it kind of floated along until Thomas came—and Thomas, forgive me if I get this wrong—in the mid-60s, I think, maybe later. He came in and really started to formulate a program of study here. He was the one who really created the Jewelry Center as a center.   Sharon: Was he emphasizing art jewelry or all jewelry?   Jonathan: There was a great book put out by the Museum of Modern Art in the 50s about how to make modern jewelry. Now, I don't know if the MOMA realized that they put out a book on how to make jewelry, but my point is in New York, I think there was still this idea of the modernist aesthetic and the artist as jeweler or jeweler as artist. I would say that Thomas was focused more on artist-made jewelry, the handmade, the one-of-a-kind object. It was still not looking in any way towards traditional or commercial jewelry.   Sharon: Jonathan, tell us what the 92nd Street Y is, because people may not know.   Jonathan: The 92nd Street Y is a 140-year-old institution here on the Upper East Side of New York City. It is one of New York City's most important cultural anchors. It has many different facets. We have a renowned lecture series. The November before the pandemic, I remember we had back-to-back Ruth Bader Ginsburg and Lizzo. Wednesday night it was Ruth Bader Ginsburg, and Thursday night it was Lizzo. Last night we had Outlander here, and I think we had a full house of 900 people plus 2,000 people online. We also have a world-renowned dance center that has a long history with Martha Graham and Bill T. Jones. In many ways, modern dance coalesced at the 92nd Street Y. The Jewelry Center has had a presence here at the Y since 1930. We have a wonderful ceramic center. We also have one of the most prestigious nursery schools in New York City. You name it.    The 92nd Street Y is a Jewish cultural center. It's part of the UJA Association, but it's kind of its own thing. It's a whole other story about what Ys are and the difference between YWCAs, YMCAs and YM-WHAs, which is what we are, but the 92nd Street Y is really a cultural center.   Sharon: When are you opening your West Coast branch in Los Angeles? Because you have such an incredible number of speakers and programs.   Jonathan: Many of them come from the West Coast. We had Andrew Garfield here the week before last to talk about his amazing performance for a Reel Pieces program with Annette Insdorf. I think that was a full house of 900 people for a performance from “Tick Tick Boom,” which was great. I don't know when we're coming to LA. We're just reemerging from the pandemic here in New York.   Sharon: This is not related to jewelry, but do you think that without the pandemic, you would have gone online to such an extent? Would it have been possible for people around the world, including on the West Coast, to see what's going on?   Jonathan: The pandemic was the catalyst to do something we'd always thought about, but yes, the pandemic definitely forced us to do it. On March 13, New York City shut down. That Monday, we flipped all of our classes, every single one of our classes in the Art Center, which is about 200 classes, to be virtual. That worked for some classes better than others, obviously for painting and drawing. It was fine for jewelry. It's tough if you don't have a studio. What we did through the summer is offer online classes. We still offer online classes to some extent, but my focus is on building back our in-person class schedule, which we're doing. We're over about half enrollment now from the pandemic and moving quickly towards three-quarters.   Sharon: Did the people who enrolled in hands-on jewelry classes, did that just stop with the pandemic?   Jonathan: Yes, it stopped from March 2020 until September 2020. In September, we actually opened back up for in-person classes. We wore masks. We were socially distanced. We were unvaccinated. I was taking the subway and it worked. It was slow at first, but I think this process is a part of many people's lives and this program is so meaningful for so many people. Being in New York, access to a studio is important, and very few people have studios at home. This is not only an important part emotionally of their lives, it's also literally, physically, an important part of making jewelry their practice.   Sharon: Since you started as director of the program, I know you've been responsible for growing it tremendously. Was that one of your goals? Did you have that vision, or there was just so much opportunity? What happened?   Jonathan: All of the above. There was a lot of opportunity. Unfortunately, the Crafts Students League closed shortly after I left. Parsons closed their department. There were a number of continuing education programs that left Manhattan, and this is before the country of Brooklyn was discovered, even though I lived there. There were no schools in Brooklyn, really. The 92nd Street Y became one of the few places to study when I came on.    Also, to my point about studying jewelry in art school, you're studying to be an artist generally in art school; you're not really studying to be a jeweler in the way most people understand jewelers to be. Although certainly at Tyler, it was a great technical education and I learned a lot of hard skills, many people, including myself, were not adept at those hard skills. We're not taught at a trade school, and I found that most of the people who were looking for jewelry classes wanted to make more traditional jewelry than the classes we were offering. Most of our faculty came from art school. There were some amazing people, Bob Ebendorf and Lisa Grounick(?) to name just a few, but as the 90s wore on and the aesthetic changed, I found that people really wanted to learn how to work in gold, how to set a stone. The aesthetics of jewelry shifted. You probably know yourself that the art jewelry world shifted a little bit too. For myself, I wanted to learn more hard skills, and I basically started creating classes that reflected my interests in how to make better wax carvings, how to set a brilliant-cut stone. I can then make that into what I want: studio jewelry, art jewelry, whatever, but those hard skills were lacking.    I've said this many times: I don't know that this program would exist in another city other than New York because there was so much talent here. There were people from the industry here. There were artists who were studio jewelers and art jewelers all at my fingertips. I think that was one of the ways it grew, not because I reduced the perspective of what was being made here, but because I enlarged the perspective of what was being made here or taught here.   Sharon: How did you do that? Did you do that by identifying potential teachers and attracting them? What did you do?   Jonathan: I was lucky to have some wonderful people in New York City at that time. We had a wonderful faculty to begin with, but we also were able to expand the faculty with incredible people who had recently resigned. Pamela Farland, who was a master goldsmith and was the goldsmith at the Metropolitan Museum of Art for many years, was on our stuff. Klaus Burgel, who was trained at the Academy of Munich, was here in New York and came to us as a faculty member. Tovaback Winnick(?), who was a master wax carver and worked for Kieselstein-Cord for many years, came on as well. Some people work here for a shorter period of my time. My good friend, Lola Brooks, was here and taught stone setting. There was some really stellar talent around that helped me build this program.   Sharon: That's quite a lineup you're mentioning.   Jonathan: And a really diverse lineup.   Sharon: Diverse in what sense?   Jonathan: Klaus' work is pure art jewelry: the iconic object, incredibly crafted, but what one would consider as art jewelry in its most essential sense. Lola Brooks, her work crosses the lines of both art and jewelry, and she's got a beautiful studio jewelry line. Then there are people like Pamela Farland, who made very classical, Greco-Roman, high-carat granulated stones, classical goldsmithing. Then there was Tovaback Winnick who teaches carving, which is how the majority of commercial jewelry is made. We had real range as well as your regular Jewelry 1, Jewelry 2, Jewelry 3 classes where we're teaching the basics of sawing, forming and soldering.   Sharon: You answered my question in part, but if somebody says, “I'm tired of working as a banker; I want to be a jeweler,” can you come to the Y and do that? Can you go through Jewelry 1, Jewelry 2, Jewelry 3 and then graduate into granulation? I don't know if there's a direct line.   Jonathan: Absolutely. We don't have a course of study. We don't have a certificate, but you can definitely come here and put your own skillset together. That's also what I found strong about the program, that it gave people access to put their skillsets together without going through art school or going through college. You're able to learn those hard skills in an environment where it's no frills.   Sharon: Are they mostly younger people, older people, people of all ages?   Jonathan: It's people of all ages. When I joked about the country of Brooklyn not being discovered yet, I lived in Williamsburg, Brooklyn for my whole New York life, so I'm speaking the truth. There really wasn't anything out there. If you were young and hip and cool when I lived in Brooklyn, you had to come here. So, for a long time, we had a much younger population that was cool, hip. Now, everybody has moved to the country called Brooklyn. That demographic has aged a little bit for us.    We have three classes during the day. We have a morning class, an afternoon class, a late afternoon class and then an evening class. If you're a younger person, it's most likely that you have a job, so you're going to come at night for our classes. That's only one-quarter of the population that can take a class here, because there's only one slot of night classes. There could be four classes happening at the same time, but all from 7:00-9:30. So, in general our population skews old because those are the people who are generally available during the day.    That being said, it's New York City. There are lots of different ways to make a living here. There are definitely people who are actors or bartenders or artists or what have you who do have time during the day and come here. It really depends on what class, but absolutely; we have all ages for sure. We also have kids' classes in the afternoon from 4:00-6:30.

In this episode of 92Y Talks, Reel Pieces moderator Annette Insdorf interviews Jeremy Irons about the new Netflix film, Munich: The Edge of War. Based on the international bestseller by Robert Harris, the film is an engrossing drama set during the Munich Agreement of 1938, with Europe on the brink of World War II. The conversation was streamed live as part of the 92nd Street Y's online talks series on January 17, 2022.

As we approach the great Kieslowski's birthday on June 27th- we are fortunate to have Prof. Annette Insdorf sharing about the work, life and making of Kieslowski's masterpieces - Blue, White, and Red and The Double Life of Veronique. She also shares similarities between the two masters- Truffaut and Kieslowski- who she had closely worked with and authored books on them- Double Lives, Second Chances: The Cinema of Krzystzof Kieslowski . We ask: 1) Knowing the Master- Kieslowski- what was he like as a person? - dry sense of humor/ skeptical/ non didactic. 2) Metaphysical/ spiritual/ rich in tonality - style. 3) Shooting his 3 masterpieces- BLUE/ WHITE/ RED- SIMULTANEOUSLY 4) Making the masterpiece- THE DOUBLE LIFE OF VERONIQUE 5) Writing the intangible structure 6) Composing Music- PRETEXT and the importance of it in his process 7) Directing his actors. 8) Similarities between Truffaut and Kieslowski 9) Kieslowski saw Citizen Kane 100 times-but the real masters for him were- Shakespeare/ Camus/ Tolstoy. Enjoy! A Small Note: The last year or more has been a tough one for all of us. And the second wave of COVID-19 has been much worse. To help those affected by the pandemic in India, the podcasting community has come together under the #PodForChange banner to raise funds through an exclusive NGO partner, Give India. Join Ep.Log and #PODFORCHANGE as we look to make a positive impact in the lives of those affected by COVID19. Please visit the link: tinyurl.com/PodForChangeIndia. Remember, someone really needs the help.   The Artists is a self-funded podcast, if the information and has helped you consider supporting us. Consider supporting us with the amount you choose that can help us in our basic operations! Email id: metaphysicallab@gmail.com/  You can follow us and leave us feedback on Facebook, Instagram, and Twitter @eplogmedia, For partnerships/queries send you can send us an email at bonjour@eplog.media   Image credits: © La Biennale di Venezia/Foto ASAC/Andrea Avezzù Intro Music: "Hard Boiled" by Kevin MacLeod (https://incompetech.com) License: CC BY (http://creativecommons.org/licenses/by/4.0/ Outro Music: Shades of Spring by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4342-shades-of-spring License: https://filmmusic.io/standard-license   DISCLAIMER: The views expressed on all the shows produced and distributed by Ep.Log Media are personal to the host and the guest of the shows respectively and with no intention to harm the sentiments of any individual/organization. The user acknowledges and agrees that Ep.Log Media shall not in any manner whatsoever be responsible or liable for the content. The said content is not obscene or blasphemous or defamatory of any event and/or person deceased or alive or in contempt of court or breach of contract or breach of privilege, or in violation of any provisions of the statute, nor hurt the sentiments of any religious groups/ person/government/non-government authorities and/or breach or be against any declared public policy of any nation or state. See omnystudio.com/listener for privacy information.

Reel Pieces moderator Annette Insdorf interviews Academy Award®-winner Barry Jenkins about his acclaimed new series, The Underground Railroad. Based on Colson Whitehead's Pulitzer Prize winning novel, the ten episodes — currently streaming on Amazon Prime Video — trace the journey of Cora Randall, a slave who escapes a Georgia plantation and struggles for freedom in the antebellum South. The conversation was streamed live as part of the 92nd Street Y's online talks series on June 7, 2021.

In this episode of 92Y Talks, Annette Insdorf interviews director and co-writer Thomas Vinterberg and co-writer Tobias Lindholm about their film Another Round, which is Denmark’s official submission for the Best International Feature Film category of the 93rd Academy Awards. The dark comedy has already swept the European Film Awards — winning Best Film, Director, Screenplay, and Actor for Mads Mikkelsen — and received a Golden Globe nomination for Best Foreign Language Film. Another Round is about four middle-aged teachers and friends, who test a theory that their lives will improve if they maintain a constant level of alcohol in their blood. The conversation was streamed live as part of the 92nd Street Y's online talks series on March 7, 2021.

In this episode of 92Y Talks, Annette Insdorf interviews filmmaker Ramin Bahrani about his film The White Tiger. Netflix, which is currently streaming the film, describes it as an “epic journey of a poor Indian driver,” played by Adarsh Gourav, “who uses his wit and cunning to break free from servitude to his rich masters,” played by Rajkummar Rao and Priyanka Chopra Jonas, “and rise to the top of the heap.” The conversation was streamed live as part of the 92nd Street Y’s online talks series on February 8, 2021.

In this episode of 92Y Talks, Liz Garbus and Lisa Cortés, the directors of All In: The Fight for Democracy, discuss their documentary film with Annette Insdorf. The film is a powerful exploration of the struggle for voting rights in the United States, featuring Stacey Abrams, the former Minority Leader of the Georgia House of Representatives, and is available to watch on Amazon Prime Video. The conversation was streamed live as part of the 92nd Street Y’s online talks series on September 21, 2020.

In this episode of 92Y Talks, acclaimed playwright, producer, screenwriter and director Aaron Sorkin discusses his latest film, The Trial of the Chicago 7, and his extensive body of work with Annette Insdorf. The Trial of the Chicago 7 features an evocative recreation of the late 1960s trial following arrests at the Democratic National Convention in Chicago, and is currently available to watch on Netflix. The conversation was streamed live as part of the 92nd Street Y’s online talks series on November 9, 2020.

Moderator Annette Insdorf interviews Jonathan Pryce and director Fernando Meirelles about their Netflix film, The Two Popes. Pryce plays Pope Francis –– a liberal humanist from Argentina –– alongside Anthony Hopkins as his conservative predecessor Pope Benedict. The conversation was recorded on December 17, 2019 in front of a live audience at New York's 92nd Street Y.

Greta Gerwig discusses her film Little Women with Reel Pieces moderator Annette Insdorf. Gerwig received Oscar nominations for directing and writing Lady Bird, which starred Saoirse Ronan –– who also plays the spirited Jo March in this fresh adaptation of Louisa May Alcott's classic novel. The conversation was recorded on December 21, 2019 in front of a live audience at New York's 92nd Street Y.

On Day 13 of our New York Film Festival daily podcast, Eugene Hernandez, FLC's Deputy Director and Co-Publisher of Film Comment, is joined by Alexandra Siladi, FLC's Membership Manager, to discuss NYFF favorites and her work in developing our membership program, including New Wave. Learn more about becoming a member here: filmlinc.org/members If you join during NYFF, you will receive an exclusive Pedro Almodóvar tote bag and save 15% at the Contributor, Friend, Angel, and New Wave levels of membership. Join today on-site or online with code LOVEFILM.(Offer valid for new members only; while supplies last.) Then we go to yesterday's tribute to exhibitor, producer, and distributor Ben Barenholtz, a titan of independent cinema who died earlier this year. A panel of New Yorkers who knew him well–Columbia University film professor Annette Insdorf, and collaborators Ethan Coen, John Turturro, and film distributor Eamonn Bowles–discussed their memories working with Barenholtz and more. The 57th NYFF continues through October 13! See all available tickets at filmlinc.org/nyff This podcast is brought to you by Film at Lincoln Center.

On Day 10 of our New York Film Festival daily podcast, Eugene Hernandez, FLC's Deputy Director and Co-Publisher of Film Comment, shares an overview of two free tributes happening at the festival this Tuesday: at 2pm, we honor Ben Barenholtz, titan of independent cinema, with Annette Insdorf, Ethan Coen, John Turturro, and Eamonn Bowles in person; then at 7pm, Rosalie Varda and other special guests join us to reflect on the legacy of Agnès Varda. We dedicated the 57th NYFF to the legendary director  and ahead of a comprehensive retrospective this winter, join us for this in-depth conversation on her unwavering spirit and radical body of work. See more details on these events and all free events at Film at Lincoln Center here: filmlinc.org/free Then we go to yesterday's Q&A following The Cotton Club Encore. Director and co-writer Francis Ford Coppola was joined by Maurice Hines and James Remar as they discussed their restored and "reawakened" version of the stylish throwback to 1930s Hollywood. They talked about the ambitious production and the response to the film upon its release, as well as what's been added to this new cut. The 57th NYFF continues through October 13! See all available tickets at filmlinc.org/nyff This podcast is brought to you by Film at Lincoln Center.

In this episode, I explore Krzysztof Kieslowski's 1993 film, "Three Colors: Blue." Juliette Binoche plays a woman who loses her husband and daughter in a tragic car accident. Overwhelmed by grief, she tries to cut herself off from human connection and sever ties with the past and her memories. I provide behind-the-scenes information about the making-of the film and discuss key scenes and why they emotionally resonate with me. I also talk about the devastating loss of my father when I was just a teenager and detail my own struggle with grief. This episode contains spoilers. Consider making this podcast sustainable by supporting it on Patreon. Subscribe to the Her Head in Films Newsletter. Follow me on Facebook, Twitter, and Instagram. Original logo by Dhiyanah Hassan Full Show Notes: My episode on Birth My episode on Jackie My episode on Cleo from 5 to 7 My guest appearance on The Complete Podcast to talk about "No End" (1985) My episode on Dekalog My episode on The Diving Bell and the Butterfly My episode on L'avventura My episode on House of Sand and Fog All My Sources The Criterion Collection boxset of the Three Colors Trilogy Three Colors: A Hymn to European Cinema by Colin MacCabe Blue: Bare Necessities by Nick James 10 Things I Learned: Three Colors by Abbey Lustgarten The Cinema of Krzysztof Kieslowski: Variations on Destiny and Chance (Directors' Cuts) Krzysztof Kieslowski: Interviews, edited by Renata Bernard and Steven Woodward (Conversations with Filmmakers Series) Double Lives, Second Chances by Annette Insdorf

For episode #11 of the Cineversary podcast, host Erik Martin takes a trip to France (let's call it an audio journey) with Columbia University film studies professor Annette Insdorf, author of the book "Francois Truffaut" and former personal translator for the late director. She's the ideal guest to help celebrate the 60th anniversary of "The 400 Blows." In this installment, Erik and Annette explore why the movie is worth celebrating all these years later, its cultural impact and legacy, what we can learn from the picture today, how it has stood the test of time, and more. Learn more about the Cineversary podcast at tinyurl.com/cineversarypodcast, like us on Facebook at facebook.com/cineversarypodcast, and email show comments or suggestions to cineversegroup@gmail.com.

Matthew Broderick, along with two special guests — co-star Géza Röhrig and director Shawn Snyder, discuss their new film, To Dust, with Reel Pieces moderator Annette Insdorf. The conversation was recorded on January 20, 2019 in front of a live audience at New York’s 92nd Street Y.

Actors Steve Coogan, John C. Reilly and director Jon S. Baird discuss the making of Stan & Ollie - an endearing bio-pic about the world’s most famous comedy duo, Laurel & Hardy - with Reel Pieces moderator Annette Insdorf. The conversation was recorded on December 8, 2018 in front of a live audience at New York’s 92nd Street Y.

Hugh Jackman and director Jason Reitman sit down with Reel Pieces moderator Annette Insdorf to discuss their new film, The Front Runner, a riveting docudrama about the scandal that engulfed Senator Gary Hart's run for President in 1988. The conversation was recorded on October 30, 2018 in front of a live audience at New York’s 92nd Street Y.

Academy-Award winning actress Rachel Weisz sits down with Reel Pieces moderator Annette Insdorf to discuss her new film Disobedience and a career that includes mainstream successes like The Bourne Legacy and independent prize-winners. The conversation was recorded on April 23, 2018 in front of a live audience at New York's 92nd Street Y.

Legendary actor Nick Nolte discusses his career spanning five decades and hundreds of roles, and new memoir, REBEL: My Life Outside the Lines, with Reel Pieces moderator Annette Insdorf. The conversation was recorded on March 12, 2018 in front of a live audience at New York's 92nd Street Y.

Andie MacDowell - the star of films including Sex, Lies and Videotape, Groundhog Day, Short Cuts and Four Weddings and a Funeral - discusses her career and latest role in Russell Harbaugh’s contemporary domestic drama, Love After Love, with Reel Pieces moderator Annette Insdorf. The conversation was recorded on March 28, 2018 in front of a live audience at New York's 92nd Street Y.

The Mexican auteur reflects on the supernatural experiences that shaped him, lessons he learned from films that got derailed and why his latest work — "a musical-thriller-drama Douglas Sirk version of a monster movie" about "outsiders" striving to save "a filthy thing that came from South America" — is not only his favorite but "me, in my totality." But first: Annette Insdorf, a professor in the Graduate Film Program of Columbia University's School of the Arts, joins Scott to talk about her new book Cinematic Overtures: How to Read Opening Scenes, great opening scenes of 2017 films and the differences between Academy members in New York and LA. Credits: Hosted by Scott Feinberg, recorded and produced by Matthew Whitehurst.

In this episode, I talk about Krzysztof Kieślowski's "The Double Life of Veronique," which is my favorite film. I discuss why I love the film so much and why Krzysztof Kieślowski is my favorite director. I do apologize if the volume is low. You might have to increase the volume on your speaker or headphones. Consider making this podcast sustainable by supporting it on Patreon. Subscribe to the Her Head in Films Newsletter. Follow me on Facebook, Twitter, Instagram, and Tumblr. Original artwork by Dhiyanah Hassan Full show notes: Listen to my episode on Kieślowski's "Dekalog" Double Lives, Second Chances: The Cinema of Krzystzof Kieslowski by Annette Insdorf (affiliate link) More about FilmStruck Mariela Sancari's "Moisés"

Richard Gere and writer-director Joseph Cedar discuss their new film, Norman: The Moderate Rise and Tragic Fall of a New York Fixer, with Reel Pieces moderator Annette Insdorf. The conversation was recorded on Mar 23, 2017 in front of a live audience at New York's 92nd Street Y.

Annette Bening and director Mike Mills discuss their new film, 20th Century Women, with Reel Pieces moderator Annette Insdorf. The conversation was recorded on Dec 6, 2016 in front of a live audience at New York's 92nd Street Y.

Actor Dev Patel discusses his role in one of the most anticipated releases of the year, Lion, with Reel Pieces moderator Annette Insdorf. The conversation was recorded on Nov 21, 2016 in front of a live audience at New York's 92nd Street Y.

Actors Ewan McGregor, Jennifer Connelly and Dakota Fanning discuss their new film American Pastoral - adapted from the Pulitzer Prize-winning novel by Philip Roth - with Reel Pieces moderator Annette Insdorf. The conversation was recorded on Oct 18, 2016 in front of a live audience at New York's 92nd Street Y.

Meryl Streep, Hugh Grant and Simon Helberg discuss their film, Florence Foster Jenkins, with Reel Pieces moderator Annette Insdorf. The conversation was recorded on August 1, 2016 at New York's 92nd Street Y.

Natalie Portman discusses her acting career and directorial debut, A Tale of Love and Darkness, with Reel Pieces moderator Annette Insdorf. The conversation was recorded on Aug 18, 2016 in front of a live audience at New York's 92nd Street Y.

In this episode of 92Y Talks, Ethan Hawke talks with Reel Pieces moderator Annette Insdorf about his role as Chet Baker in Born to Be Blue, a cinematic riff on musical genius. The conversation was recorded on Mar 17, 2016 in front of a live audience at New York's 92nd Street Y.

In this episode of 92Y Talks, Law & Order star Sam Waterston and director Tim Blake Nelson sit down with Reel Pieces moderator Annette Insdorf to discuss their new film, Anesthesia. The Oscar nominee and Emmy winner talks about the making of the new drama, with an ensemble of stars featuring Glenn Close and Kristen Stewart. The conversation was recorded on January 5, 2016 in front of a live audience at New York’s 92nd Street Y.

After the huge success of his Oscar-nominated films The Fighter, Silver Linings Playbook and American Hustle, David O. Russell is back with his latest, Joy, starring Jennifer Lawrence. In this episode of 92Y Talks, the director sits down with Reel Pieces moderator Annette Insdorf to discuss the drama, which is based on a true story, with actress Isabella Rossellini. The conversation was recorded on December 15, 2015 in front of a live audience at New York's 92nd Street Y.

Rising actress Brie Larson stars in the critically-acclaimed new film, Room, in which she plays a young woman locked in a single room with her 5-year-old son since his birth. She sits down with Reel Pieces moderator Annette Insdorf to discuss her moving performance, which is already generating Oscar buzz. The conversation was recorded in front of a live audience on October 22, 2015 at New York’s 92nd Street Y.

In his new film, Learning to Drive, Academy Award winner Ben Kingsley plays an Indian-American driving instructor who builds a surprising friendship with a woman, played by Patrica Clarkson, recently dumped by her husband. In this episode of 92Y Talks, these two acclaimed stars sit down with Reel Pieces moderator Annette Insdorf to discuss their on screen chemistry as well as their most memorable performances. The conversation was recorded on August 18, 2015 at New York's 92nd Street Y.

Screen favorite Alan Rickman directs and stars in a new period film about Louis XIV, co-starring Oscar winner Kate Winslet. In this episode of 92Y Talks, he discusses A Little Chaos with Reel Pieces moderator Annette Insdorf. The conversation was recorded on June 18, 2015 in front of a live audience at New York's 92nd Street Y.

Academy Award winner Helen Hunt sits down with Reel Pieces moderator Annette Insdorf to discuss her latest film, Ride. Written, directed by, and starring Hunt, the actress plays a literary agent who takes up surfing and embarks on a journey of self-discovery. Recorded on April 29, 2015 in front of a live audience at New York's 92nd Street Y.

Ethan Hawke takes the director's chair for his new documentary about Seymour Bernstein, an accomplished musician who became equally extraordinary as a music educator. Hawke and Bernstein sit down with 92Y Reel Pieces moderator Annette Insdorf to discuss the film and the genius of creativity. Recorded on March 7, 2015 at 92nd Street Y.

Reel Pieces moderator Annette Insdorf interviews Hugh Grant and director Marc Lawrence about their new comedy, The Rewrite. The two reunite after previous collaborations on Two Weeks Notice, Music and Lyrics, and Did You Hear About the Morgans? The Rewrite is a smart contemporary comedy about a once-successful Hollywood screenwriter who, in desperation, accepts a visiting professorship at an upstate college. Politically incorrect and clueless about how to teach, he gets into scrapes with colleagues played by seasoned players like Allison Janney and J.K. Simmons. More important, he learns a lot from an older student, beautifully played by Marisa Tomei, including romance. Recorded February 11, 2015 at 92nd Street Y.

Hollywood leading man Kevin Costner is back in a film about race, family, and forgiveness. In this episode, the Oscar winner discusses Black or White with Reel Pieces moderator Annette Insdorf. Recorded January 29, 2015 at 92nd Street Y.

Award-winning actor Benedict Cumberbatch discusses his mesmerizing performance in The Imitation Game. His portrayal of Alan Turing, the British cryptanalyst who helped break the Nazi code and was persecuted for his sexual identity, has earned raves from critics. The Sherlock and Star Trek Into Darkness star talks about his determination to tell Turing’s story and the amazing facts of his legacy. Recorded November 16, 2014 at 92nd Street Y.

There has never been a film quite like Birdman—a movie about theater, and a comedy about tragedy. Star Michael Keaton sits down with moderator Annette Insdorf, along with the brilliant supporting cast—Edward Norton, Emma Stone, and Zach Galifianakis—to discuss the challenges of shooting the film’s uncommonly long takes and examine the movie’s themes of the price of fame. Recorded October 13, 2014 at 92nd Street Y.

Geoffrey Rush is one of Australia’s most celebrated exports, a protean character actor whose roles have ranged from the mentally frail pianist David Helfgott (his Oscar-winning performance in “Shine”) to George VI’s speech therapist Lionel Logue (“The King’s Speech”) to the Marquis de Sade (“Quills”).    Courtesy of the 92nd Street Y He most recent film, in which he is pictured above, is “The Eye of the Storm,” directed by Fred Schepisi, and also starring Judy Davis. The film is based on a novel by the Nobel Prize-winning writer Patrick White, about a domineering matriarch and her alienated adult children. Last Wednesday, Rush paid homage to this less well-known Australian genius as part of the 92Y’s long-running film screening and discussion series, “Reel Pieces.”  Rush, director Schepisi, and Schepisi’s daughter Alexandra, who has a featured role in the film, were interviewed before a live audience by Dr. Annette Insdorf, the head of undergraduate film studies at Columbia University.   Bon Mots Geoffrey Rush on Patrick White:  "Here was somebody writing about the Australian landscape and the Australian psyche with big, bold, fat novels." Fred Schepisi on White’s characters:  "Patrick White believes that everyone is an actor, that you’re one way with your family, another way with your friends, another way with your work colleagues.  You present all those different faces to the world." Geoffrey Rush on Australian films of the 1970s:  "There were a lot of pioneering films.  Guys used to have to be on horseback with their shirts off, with picks." Fred Schepisi on his cast:  "It was a great collaboration, and by the end I really did love them all." To listen to an excerpt from the “Reel Pieces” talk, click on the player above.