Podcast appearances and mentions of Anthony Hopkins

CHRISTOPHER BICKEL, underground filmmaker, punk rocker and artist joins Death By DVD to discuss their most recent film PATER NOSTER AND THE MISSION OF LIGHT, why they make movies, art and MORE on this fresh from the grave episode celebrating all things Christopher Bickel. We have been very luck to have had Mr. Bickel on Death By DVD previously, and now they are back for a ghoulish interview I think you'll enjoy! Well, at least I hope you enjoy it. We discuss the films of Christopher Bickel and what makes them tick as an artist, how they create art and of course we discuss who they are as an artist. Strap in and get ready, this is an action packed episode filled with laughter and joy. I hope you click play and hear it today. Would you like to see a behind the scenes video with footage from the recording of this interview? TAP HERE or copy and paste the link : https://www.patreon.com/posts/death-by-dvd-at-131273256Wanna hear my first interview with Christopher Bickel? TAP HERE or copy and paste the link : https://listentodeathbydvd.transistor.fm/episodes/death-by-dvd-presents-six-feet-under-the-underground-art-of-christopher-bickelWatch PATER NOSTER AND THE MISSION OF LIGHT ON NIGHT FLIGHT. TAP HERE or copy and paste the link : https://www.nightflightplus.com/videos/pater-noster-and-the-mission-of-light/670d3d1a2d57b50001a4f878Learn all about Christopher Bickel's new film PATER NOSTER AND THE MISSION OF LIGHT HERE : Https://www.paternostermovie.comChristopher Bickel on IMDb : https://www.imdb.com/name/nm3355435/PATER NOSTER AND THE MISSION OF LIGHT ON IMDb : https://m.imdb.com/title/tt33064297/WATCH BAD GIRLS BY CHRISTOPHER BICKEL ON AMAZON : https://www.amazon.com/Bad-Girls-Morgan-Shaley-Renew/dp/B09LQ42SX3WATCH THE THETA GIRL BY CHRISTOPHER BICKEL ON AMAZON : https://www.amazon.com/Theta-Girl-Victoria-Elizabeth-Donofrio/dp/B07HSMHVDLSUPPORT CHRISTOPHER BICKEL BY SHOPPING PAPA JAZZ RECORD SHOPPE : https://www.papajazz.com/Did you know that you can watch episodes of DEATH BY DVD and much much more on the official Patreon of Death By DVD? ★ Support this podcast on Patreon ★ subscribe to our newsletter today for updates on new episodes, merch discounts and more at www.deathbydvd.comHEY, while you're still here.. have you heard...DEATH BY DVD PRESENTS : WHO SHOT HANK?The first of its kind, (On this show, at least) an all original narrative audio drama exploring the murder of this shows very host, HANK THE WORLDS GREATEST! Explore WHO SHOT HANK, starting with the MURDER! A Death By DVD New Year Mystery WHO SHOT HANK : PART ONE WHO SHOT HANK : PART TWO WHO SHOT HANK : PART THREE WHO SHOT HANK : PART FOUR WHO SHOT HANK PART 5 : THE BEGINNING OF THE ENDWHO SHOT HANK PART 6 THE FINALE : EXEUNT OMNES  ★ Support this podcast on Patreon ★

This week on Shat the Movies, we're cracking open Instinct (1999), the psychological thriller where Anthony Hopkins goes full jungle hermit and Cuba Gooding Jr. tries to figure out why. It's part Gorillas in the Mist, part Good Will Hunting, and totally off the rails. Tune in as we try to make sense of the madness, the monkeys, and the message! Plot SummaryYears after he goes missing in the jungles of Africa, anthropologist Ethan Powell (Anthony Hopkins) resurfaces when it's discovered that he has murdered two poachers who were killing the gorillas he was studying. After spending an extended time living with the primates and without any human contact, Powell seems to be unhinged, and psychiatrist Theo Caulder (Cuba Gooding Jr.) is called in to try to get through to the withdrawn and angry man, who may be wiser and saner than he appears. Subscribe Now Android: https://www.shatpod.com/android Apple/iTunes: https://www.shatpod.com/apple Help Support the Podcast Contact Us: https://www.shatpod.com/contact Commission Movie: https://www.shatpod.com/support Support with Paypal: https://www.shatpod.com/paypal Support With Venmo: https://www.shatpod.com/venmo Shop Merchandise: https://www.shatpod.com/shop Theme Song - Die Hard by Guyz Nite: https://www.facebook.com/guyznite

Reel Britannia - a very British podcast about very British movies...with just a hint of professionalism.   This week, join Scott and Steven as they discuss'The Father'. A movie that poignantly depicts an elderly man's descent into dementia, masterfully portraying his disorienting reality. As Anthony's memory fractures, his daughter Anne struggles to care for him. The film uniquely places the audience within Anthony's confused perspective, where timelines shift and faces change, creating a deeply moving and unsettling exploration of aging, memory, and loss.   Episode 170 - The Father (2020)   All episodes at: https://directory.libsyn.com/shows/view/id/reelbritannia   Florian Zeller's 2020 film, The Father, is a poignant and unsettling cinematic experience that immerses the audience directly into the disorienting world of an elderly man grappling with dementia. The story centers on Anthony (Anthony Hopkins), a fiercely independent and proud 80-year-old living in a spacious London flat. His daughter, Anne (Olivia Colman), struggles to care for him as his grasp on reality deteriorates, yet he vehemently rejects every caregiver she hires. The film's brilliance lies in its innovative narrative structure, which eschews a conventional linear plot for a fragmented and subjective perspective. We see the world through Anthony's eyes, a confusing and ever-shifting landscape where time and space are fluid. Familiar faces inexplicably change, as different actors portray Anne and her husband, Paul. The layout of the apartment morphs, with rooms and furniture appearing and disappearing without warning, mirroring Anthony's internal turmoil and profound sense of loss. This clever and disquieting approach masterfully conveys the frustration, fear, and confusion that dementia inflicts. The audience is placed in the same bewildering position as Anthony, questioning the reality of events and the identities of those around him. We share his moments of lucidity, which are heart-wrenchingly interspersed with paranoia and accusations, particularly his recurring belief that his cherished watch has been stolen. As the narrative unfolds, it becomes devastatingly clear that Anthony's perception is unreliable. The flat we believe to be his is actually somwhere else, and his timeline of events is a jumble of memories, anxieties, and present moments. The film's climax is not a singular event but a gradual and heartbreaking erosion of Anthony's identity with some final gut wrenching scenes and a powerhouse performance from Anthony Hopkins. The Father is a powerful and empathetic exploration of dementia, leaving a lasting impression of the profound human tragedy of a mind unraveling.   "I don't need any help from anyone. And I'm not going to leave my flat. All I want is for everyone to fuck off. Having said that... it's been a great pleasure. Au revoir. Toodle-oo."   This and previous episodes can be found everywhere you download your podcasts Follow us on Twitter @rbritanniapod    Thanks for listening Scott and Steven

En este especial de Misterios en Viernes, y como no podía ser de otra forma en un viernes 13, Sheila y Miguel nos sumergen en un recorrido escalofriante por los objetos malditos del cine de terror, aquellos elementos cargados de oscuridad que han sembrado el miedo tanto dentro como fuera de la pantalla. Desde muñecos poseídos y libros prohibidos, hasta artefactos inspirados en leyendas reales, este episodio recopila y analiza una selección de películas icónicas, rarezas de culto y casos que, a pesar de su envoltorio ficticio, tienen raíces en hechos y creencias reales. Con títulos como Ringu (y su conexión con los inquietantes estudios del profesor Fukurai en el Japón de principios del siglo XX), Silencio desde el mal, o la enigmática Magic, protagonizada por Anthony Hopkins, los conductores exploran cómo el cine ha sabido capturar y amplificar el temor ancestral a los objetos malditos. Además, nos sorprenden con una curiosa noticia arqueológica sobre marionetas de cerámica prehispánicas halladas en El Salvador, cuyo aspecto cambia según el ángulo desde el que se las mire, pareciendo cobrar vida ante nuestros ojos. Un episodio repleto de referencias cinematográficas, datos históricos, leyendas y momentos inquietantes, ideal para los amantes del misterio, el cine de terror… y las casualidades escalofriantes del calendario.

Bill Skarsgård er låst inde i en bil. Det er mere eller mindre, hvad Locked går ud på. Skarsgård spiller tyven Eddie, der bryder ind i den forkerte bil og opdager, at han ikke kan komme ud igen! Anthony Hopkins er manden, der har arrangeret denne grumme situation. https://www.ikassenshow.dk/2025/06/i-kassen-1168-locked-2025.html

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

Tyler Huckabee returns to the show and the late, great Hannibal Lecter makes his Substance debut!In 1991, Jonathan Demme shocked critics and audiences alike with his sleek, stylish, unsettling, and genuinely fantastic film The Silence of the Lambs. It went on to be the third film in cinematic history to win all 5 of the big awards come Oscar season. The film won Best Picture, Demme won Best Director, screenwriter Ted Tally won Best Screenplay, and Jodie Foster & Anthony Hopkins each won Best Actor/Actress. It was a true cultural phenomenon and in the last 30 years or so, it has lost none of its power or wonder. We had a great time welcoming Tyler back for this one, one of his self-proclaimed all-time Top 10 films. In this episode we cover:The technical mastery of TSotL just as a filmThe power of perspectiveClarice & Hannibal's unique relationshipHow the film's bold feminism is key to its strengthBuffalo Bill and his "deadly sin"And much more!We hope you enjoy and if you do, please consider rating/reviewing the show and sharing it with your friends!Substantive Cinema Episode ListShoutouts:Lonesome Dove by Larry McMurtryRaiders of the Lost ArkBlack BagO Pagador de PromessasWatchmenFollow Tyler:BlueSkyInstagramSojourners"Sin of Empathy" ReviewSubstackFollow Us:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Philip's Letterboxd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BlueSkyShare Your Questions/Suggestions/Feedback With Us:Email: thesubstancepod@gmail.comDM on InstagramSupport Us: Support the show with an individual donation on CashApp to $TheSubstancePod or become a monthly Patreon supporter at patreon.com/TheSubstancePod

Mário Abbade fala sobre o novo suspense protagonizado por Anthony Hopkins. Uma intensa e claustrofóbica história sobre sobrevivência e senso de justiça.

Ce mercredi 4 juin 2025 sort le film "Freud, la dernière confession", avec Anthony Hopkins dans le rôle du père de la psychanalyse. L'occasion pour Florian Gazan de vous expliquer pourquoi Freud aurait eu son mot à dire dans le débat sur la fin de vie... Dans "Ah Ouais ?", Florian Gazan répond en une minute chrono à toutes les questions essentielles, existentielles, parfois complètement absurdes, qui vous traversent la tête.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

"The Kid Detective", directed by Evan Morgan and starring Adam Brody, is an AMAZING neo-noir that you should see immediately. "The Father", directed by Florian Zeller and starring Anthony Hopkins is a tough hang but also a technical masterpiece that should see immediately.Connect with us:Never Did It on Letterboxd: https://letterboxd.com/bradgaroon/list/never-did-it-podcast/Brad on Letterboxd: https://letterboxd.com/bradgaroon/Jake on Letterboxd: https://letterboxd.com/jake_ziegler/Never Did It on Facebook: https://www.facebook.com/neverdiditpodcast Hosted by Brad Garoon & Jake Ziegler

Nielen Lionel Messi, Anthony Hopkins, Sheldon Cooper, ale aj ľudia na autistickom spektre z nášho okolia sú jedineční. Myslia logicky, orientujú sa na detail a sú verní jednej oblasti, no líšia sa schopnosťou nadväzovať vzťahy, záujmami, citlivosťou na podnety či spôsobom komunikácie. S psychoterapeutkou a koučkou Zuzanou Oravcovou z platformy Univerzitka sa rozprávame o ich výzvach pri dospievaní či hľadaní uplatnenia, no predovšetkým poukazujeme na to, ako svojou kreativitou a originálnym myslením prispievajú k obohateniu sveta.

Megan is off this week, so Evan and Dave tackle LOST IN STARLIGHT (2:14), an animated romantic sci-fi drama about a dedicated scientist determined to go to space - but she meets the love of her life just before her departure. Then it's TORNADO (19:13). Set in the 1860s Scottish highlands, it's part western, part Samurai film, part heist flick, and all killin'. Over on Patreon, our second May poll movie is FRACTURE (2007) starring Anthony Hopkins and Ryan Gosling.

Dans ce nouvel épisode de MONSTER SQUAD, Marie Casabonne reçoit Fabien Mauro, auteur de Ishiro Honda. Humanisme monstre (Rouge Profond) et Kaiju, Envahisseurs & Apocalypse: L'âge d'or de la science-fiction japonaise (Aardvark) et Stéphane Moïssakis pour disséquer un nouveau monstre : Hannibal Lecter.Éminent et brillant psychiatre, homme cultivé et raffiné, esthète et excellent cuisinier, le Dr Lecter est aussi un serial killer cannibale. Sorti de l'esprit de l'auteur américain Thomas Harris, Hannibal Lecter apparaît dans 4 romans, 5 films et une série, et a pris tour à tour les traits de différents acteurs (Brian Cox, Anthony Hopkins, Gaspard Ulliel et Mads Mikkelsen).Retrouvez toutes nos émissions sur http://www.capturemag.frPrésentation : Marie Casabonne Rédacteur en chef : Stéphane Moïssakis Chroniqueurs : Stéphane Moïssakis et Fabien MauroRéalisation : Alain Mercier Production : Stéphane Moïssakis et Alain Mercier Montage et mixage : Anthony Navarro Musiques : Magic And Ecstasy et Rite Of Magic par Ennio MorriconeLogo "Monster Squad" par Ninon C Maufé : https://www.instagram.com/ninoncmaufe/Pour nous soutenir, il y a deux adresses :PATREON : https://www.patreon.com/capturemagTIPEEE : https://www.tipeee.com/capture-magLISEZ CAPTURE MAG !Toutes nos revues sont disponibles dans les librairies, les magasins de produits culturels et sites marchands.Akileos : https://bit.ly/AkilsCMCapture Mag est sur LETTERBOXD : https://letterboxd.com/CaptureMag/En MP3 sur Acast : https://bit.ly/3v6ee7sSur SPOTIFY : https://spoti.fi/3PJYnF3Sur DEEZER : https://bit.ly/2wtDauUSur APPLE podcasts : https://apple.co/2UW3AyO#hanniballecter #anthonyhopkins #thomasharris Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Twenty-five years ago, director John Woo (Hard Boiled, Face/Off) joined this franchise to helm this long-awaited sequel to the first cinematic adaptation from '96.  And whereas the first film was a paranoid espionage thriller, he and star/producer/mastermind Tom Cruise decided to shift THIS entry in the direction of ramped up operatic action mixed with forbidden romance.  Ethan Hunt (Tom Cruise) is back for his next mission where he must prevent a now disavowwed former IMF-rival Sean Ambrose (Dougray Scott) from doing something nefarious with a mysterious bio-weapon/virus nicknamed "Chimera."  And to get closer to this new villain's burgeoning operation, Ethan must enlist a beautiful jewel thief named Nyah (Thandiwe Newton) who has a past with Ambrose but....the ONE thing he didn't count on was falling in love. :o And what results is a rip-roaring, mostly-set-in-Australia action EPIC filled with rock climbing, fast cars, roundhouse kicks, and.....DOVES.  This was a major smash upon release and remains one of the more successful films in this long-running franchise....however a backlash has developed since then with many now calling it the WORST of the Mission: Impossible saga.  Our mission - should we choose to accept it - is to determine as to whether it lives up OR down to the hype!See below for a link where you can hear the rare instrumental version of this movie's theme song, cited within this review:https://www.youtube.com/watch?v=mfBiktIrDnQHost & Editor: Geoff GershonProducer: Marlene GershonSend us a texthttps://livingforthecinema.com/Facebook:https://www.facebook.com/Living-for-the-Cinema-Podcast-101167838847578Instagram:https://www.instagram.com/livingforthecinema/Letterboxd:https://letterboxd.com/Living4Cinema/

Jay is joined by Howard Casner ( @howardcasner on X ) to discuss the 1974 British aquatic disaster thriller Juggernaut, directed by Richard Lester and starring Richard Harris, Anthony Hopkins, Omar Sharif, Ian Holm and a boatload of recognisable faces! In this episode they talk about a cruise ship under threat from a gentleman terrorist, bad child actors, drunken bomb defusal and wire cutting!

Harold Perrineau, acclaimed actor best known for roles in Lost, Oz, and Romeo + Juliet, joins the show for an inspiring and deeply personal conversation. From humble beginnings and being misunderstood as a “weird dancer” to becoming a staple in some of television and film's most groundbreaking projects, Harold opens up about the grit, passion, and occasional luck that shaped his path. He reflects on his time in theater, challenges in breaking out of typecasting, and what it was like to work with legendary talents like Baz Luhrmann, Leonardo DiCaprio, and Anthony Hopkins.Throughout the interview, Harold dives into his evolution not just as an actor, but as an entrepreneur and creator. He shares unforgettable moments—like being recognized by Morgan Freeman and getting praise from Denzel Washington—and how they affirmed his journey. He also discusses his recent hit show FROM, what's next for his production projects, and drops empowering advice for anyone building a career or business from the ground up: stay engaged, stay interested, and never stop building. It's a masterclass in passion and perseverance.CHAPTERS02:12 – Early Struggles and Theater Roots04:46 – Being Typecast and Breaking Out07:11 – Acting in 'Oz' and Its Challenges09:32 – Playing Mercutio in ‘Romeo + Juliet'12:07 – Working with Leonardo DiCaprio & Baz Luhrmann14:29 – Landing Iconic Roles and Staying Grounded16:59 – The Power of Luck in an Acting Career19:03 – Meeting Morgan Freeman & Denzel Washington21:00 – Advice for Aspiring Entrepreneurs23:17 – ‘FROM' and Unexpected SuccessConnect with Rudy Mawer:LinkedInInstagramFacebookTwitter

In this episode, Hollywood actor Corey Johnson takes us behind the scenes of his dynamic career, sharing powerful insights from working alongside acting legends like Anthony Hopkins. From his early days in theater to conquering the big screen, Corey reveals the evolution of his craft and the unique challenges of transitioning from stage to film. He opens up about the unsung elements of filmmaking—trust, collaboration, and vulnerability—that make or break a performance. Aspiring actors and directors will walk away with actionable advice on how to thrive in the competitive world of film, with tips on navigating the business side of acting, adapting to new mediums, and mastering the art of collaboration. Tune in as Corey and host Christian Taylor dive deep into the nuances of acting, the power of vulnerability, and the essential role directors play in shaping unforgettable performances. Whether you're a theater lover or a film buff, this conversation is packed with valuable lessons for anyone passionate about storytelling, the craft of acting, and the film industry's fast-paced world.DocuView Déjà VuCorey Johnson:Strangest Things Series, 2 Seasons 2021-2022, Watch on MAX and Prime IMDB Link: Strangest Things (TV Series 2021–2022) ⭐ 7.0 | DocumentaryTiananmen Square, 2019 - This documentary was done by Corey's father and is no longer available.00:00 Introduction and Early Career02:52 Lessons from Working with Anthony Hopkins05:56 The Changing Landscape of Acting09:00 The Nature of Trust in Acting12:03 Advice for Aspiring Actors and Directors14:56 The Differences Between Theater and Film17:58 The Importance of Collaboration in Directing20:58 Experiences with Renowned Actors24:03 Reflections on Genius in the Arts30:20 The Mystery of Film Production31:52 The Business of Acting33:44 The Craft of Acting36:44 Learning Through Experience40:36 The Role of Self-Critique43:40 Acting as Reacting48:11 Vulnerability in Performance49:59 DocuView Déjà Vu Segment Sponsor: http://ArtillerySports.com Use the code DocFirst for 10% off your order today!

Success is stumbling from failure to failure with no loss of enthusiasm. Speech by: Phil Heath, John Cena, Ed Mylett, Les Brown, Greg Plitt, Eric Thomas, Steve Harvey, David Goggins, T.D Jakes, Jocko Willink, Mike Tyson, Tyrese Gibson, Chadwick Aaron Boseman, Arnold Schwarzenegger, Geoff Collins, Michael B. Jordan, Robert Madu, Mel Robbins, Moojij, John Maxwell, Tim Grover, Ray Lewis, Rick Ross, Gabor Matè, Kevin Hart, Matthew McConaughey, J. K. Rowling, Tony Robbins,  Anthony Hopkins, Tom O'Bedlam, Michael Caine, Jim Carrey. Don't forget to RATE, SHARE, and FOLLOW for more Instagram - @daily_motivationsorg Facebook- @daily_motivationsorg

This week we are joined by Sales Agent Itzchak Maghen! Itzchak has works on indie gems to studio movies including THE ABSENCE OF EDEN starring Zoë Saldana and Adria Arjona, DREAMIN' WILD with Casey Affleck and Zooey Deschanel, THE CUT featuring Orlando Bloom and John Turturro, and MASERATI: THE BROTHERS with Anthony Hopkins, Jessica Alba. He talks to Giles Alderson and Dom Lenoir about why he picks projects, what filmmakers should do when speaking to sales agents. They also talk: Does your project suck? Industry Changes. Ask and Takes. Sales Estimates. If concept art and promos are good (or not). His consulting AND working in Cannes with 'Quantify'. Why you should ask questions to your sales agent before signing. Why 'networking' is building friendships. Itchak Maghen can be contacted for consultancy work here https://www.consultingim.com FILM FORGE FILM COURSES info here. SUPPORT new indie film Fairy Dust's crowdfunder here. Stage32 CANNES info here. —- FOOD FOR THOUGHT documentary out NOW | Watch it HERE. A documentary exploring the rapid growth and uptake of the vegan lifestyle around the world.  And if you enjoyed the film, please take a moment to share & rateit on your favourite platforms. Every review & every comment helpsus share the film's important message with more people. Your supporttruly makes a difference! PODCAST MERCH Get your very own Tees, Hoodies, onset water bottles, mugs and more MERCH. https://my-store-11604768.creator-spring.com/   COURSES Want to learn how to finish your film? Take our POST PRODUCTION COURSE https://cuttingroom.info/post-production-demystified/   PATREON Big thank you to: Serena Gardner Mark Hammett Lee Hutchings Marli J Monroe Karen Newman Want your name in the show notes or some great bonus material on film-making? Join our Patreon for bonus episodes, industry survival guides, and feedback on your film projects!   SUPPORT THE PODCAST Check out our full episode archive on how to make films at TheFilmmakersPodcast.com   CREDITS The Filmmakers Podcast is written, edited and produced by Giles Alderson @gilesalderson Logo and Banner Art by Lois Creative  Theme Music by John J. Harvey Learn more about your ad choices. Visit podcastchoices.com/adchoices

#movies #lockedmovie #havocmovie  #thecriticaldrinker #2025 #chrisstuckman #netflix #cinema #theflixterspodcast #podcasts #bitcoinHello and thank you for downloading another episode of The Flixters Podcast!In this week's show we review two movies.First is 'Locked', starring Bill Skarsgård and Anthony Hopkins.Second movie is 'Havoc', starring Top Hardy and directed my 'The Raid' Gareth Evans.Our anniversary corner pick is 2010's 'Buried'We also look at movie news, new on streaming and trailers.Thank you for supporting us and we hope you enjoy the show! linktree:https://linktr.ee/theflixtersEnjoy

Grab your fava beans and your garrote piano wire as NostalgiaCast takes a deep-dive into Martin Scorsese's CAPE FEAR and Jonathan Demme's THE SILENCE OF THE LAMBS, two killer thrillers from two American masters not typically known for their horror chops. Jason of The Slashers and Binge Movies podcasts joins us to discuss the terror, torture, uncompromising head games, and oppressive existential dread that defines not just these two box office behemoths but also the current state of film criticism today. TRIGGER WARNING: This episode includes frank discussions of violence and sexual abuse as associated with the horror genre.

“I'M NOT AN ANIMAL! I'M A HUMAN BEING!”As you may already know, we lost one of the great ones this year. In honor of David Lynch, we decided to go back to one of the earlier films in his career, The Elephant Man from 1980, starring John Hurt and Anthony Hopkins. The film was nominated for eight Academy Awards, is considered to be one of the greatest films of all time, a critical and commercial success in what would have been David Lynch's second film and put a lot of eyes on his future, incredibly influential body of work. However, despite Lynch being Austin's favorite director of all time, he has never seen The Elephant Man! Well, on this episode, we fix that.The Elephant Man is not known to be an incredibly surreal film, but we discuss the various similarities and signature iconography Lynch can't help but include in all his films, including The Elephant Man. We talk about the use of dreams, the use of sound, and how his sense of humor shines through in a film that more linear than his other body of work.We also talk about how the film approaches the topic of how society treats an outcast with a deformity/disability. It's not uncommon for the Academy to pay attention to this genre of film, but something about The Elephant Man is very different. What might be contrived and cliche in other films feels deeply moving in this one. How does The Elephant Man stand out and distinguish itself from “Oscar bait“ films?We also talk about the way the film was made and how the film differs from the reality of life for Joseph Merrick, the real life person who lived with this condition that lead people to refer to him as The Elephant Man. How does David Lynch go from making a surrealist art film, Eraserhead, to a narratively linear biopic that tugs on the heart? How does comedy legend Mel Brooks go from making Blazing Saddles to producing The Elephant Man? How did a babysitter get her boyfriend nominated for an Oscar? How did this movie invent an entirely new category the Academy had to pay attention to? We talk about all of this and more!This episode was very special for us and took a little bit of time to brew. With the changes in technology one would think more films would be more accessible to view at our convenience, but in fact that not the case for some films that are culturally significant like The Elephant Man. As of recording the episode we couldn't find the film digitally streaming/renting anywhere, but with luck we did manage to find the film on DVD at a reasonable price. After watching the film we might actually spring for that premium Criterion Collection version, because this film really is that special. In fact, the late John Hurt said in the making of documentary “If anyone isn't moved by the end of the film, I don't think I'd want that person in my life.“ We hope you enjoy this episode and seek the film out yourself, or hit us up about a potential screening!Music is from Triune Digital and audio clips pulled from movies we will be reviewing in other episodes.Artwork by @jannelle_o

Chris and Neil are back to their regular routine as they talk 1 streaming and 1 theater movie all oozing with bantery goodness. First, after an intro, they talk Bill Skarsgard and Anthony Hopkins in the Sam Raimi produced thriller- Locked. Then, after some fresh off the press news they swear brotherly love as they talk The Accountant 2 starring Ben Affleck, Jon Bernthal and Cynthia Addai-Robinson. Are they good? Do they suck? They form words with their mouths and vocal chords and project into a mic that records what they say to let you know. Oh yeah , if you want a 100% free sticker (we even pay postage) send us a message! www.moviesthatdontsuck.net https://w2mnet.com/category/podcasts/movies-that-dont-suck-and-some-that-do www.patreon.com/moviesthatdontsuck https://www.bonfire.com/movies-that-dont-suck-and-some-that-do-logo/ FB: facebook.com/moviesthatdontsuckpodcast Bluesky: @moviesthatdontsuck.bsky.social https://www.youtube.com/@moviesthatdontsuckpodcast

Dios mio! It's May 5th and you know what that means… It's Cinco de Masko! Join us on a nostalgic, and quite romantic, deviation this week with MASK OF ZORRO. Antonio Banderas and Anthony Hopkins bring a Tornado of swashbuckling action! In this, our highest budget blockbuster yet! Find us online: Instagram: @bmoviebeatFacebook: The B Movie BeatdownEmail: thebmoviebeatdown@gmail.com Letterboxd: @Petedown @SlenderJames  

Mike Manning is breaking new ground on the Paramount+ series Beyond the Gates, starring as one-half of a biracial gay couple raising two adopted children. His work on the series delivers heart, drama, and representation in a way rarely seen on screen. Manning started his career on Real World DC which ultimately changed the trajectory of his life. He came out on the series, began working with organizations like HRC and became involved in the politics of things like go green initiatives, workplace discrimination and civil rights. Now, 15 years later he is starring on a series where he playing a gay man in an interracial relationship with a politician with who he shares two children. Beyond his work on television, Manning is making moves in film—co-writing, producing, and starring in Eyes in the Trees opposite the legendary Anthony Hopkins. And in another upcoming project, he takes on an out-of-this-world role—literally—playing an alien. Manning's impact extends far beyond Hollywood. A dedicated philanthropist, he serves on the board of The Thirst Project and has worked closely with organizations like HRC and Legacy Youth Leadership, using his platform to drive meaningful change. Mike is also known for his work on This is Us and The Bay.  Want to watch: YouTube Meisterkhan Pod (Please Subscribe)  

Eric Goldman is joined in discussion about "One Life," the film by James Hawes in which Anthony Hopkins stars as Nicholas Winton, a man who rescued over 600 children from Nazi-occupied Czechoslovakia.  He is joined by the director, James Hawes, as well as Nicholas Winton's son, Nick Winton, and one of "Nicky's Children," Eva Paddock, a woman who was saved as a child from certain death in the Holocaust by Nicholas Winton.

Hello to you listening all over the world, and especially Ukranians here and abroad. Coming to you from Whidbey Island, Washington this is Stories From Women Who Walk with 60 Seconds for Motivate Your Monday and your host, Diane Wyzga.  Feeling completely broken down after having witnessed the world-wide-televised brutality by our so-called leaders shamefully berating President Zelensky and, by extension Ukraine and its citizens, while the rest of them sat mute on the sidelines, I turned for a little comfort to a move I had been wanting to watch.The 2023 BBC movie, One Life, starring Anthony Hopkins, Helena-Bonham Carter and others brought me face-to-face with an ordinary person doing extraordinary things in a dark-as-hell time in 1938. Nicolas (Nicky) Winton, a British stockbroker orchestrated the escape of 669 Czeck Jewish children out of Nazi-occupied Czechoslovakia. But it wasn't until 50 years later in 1988 when his wife discovered a scrapbook detailing the rescue of these children that his work came to light, and he was able to come to terms with the burden he carried of not being able to “do enough.”BONUS: You can read more about Sir Nicholas Winton and how rescuing 669 refugee children eventually gave 6,000 people their lives HEREBefore I leave you I want to read about Nicky's legacy:“Nicky's legacy is primarily the more than 6000 people now alive because of the Kindertransport rescue; however, his history demonstrates his conviction that living a good life involves more than just doing no harm.  He believed strongly that a meaningful and ethical life involved reaching out to help others in need, whether in the local community or further afield.  He felt that learning about history was only worthwhile if it led to positive action today and his legacy includes inspiring others to give their time to those in need.Encouraging the public to help save child refugees in 1939 in a letter to a newspaper, Nicky stated the following: “… there is a difference between passive goodness and active goodness which is, in my opinion, the giving of one's time and energy in the alleviation of pain and suffering. It entails going out, finding and helping those in suffering and danger and not merely leading an exemplary life in the purely passive way of doing no wrong.”CTA: For those of you who are moved by his story, taking positive action to help others would be the finest way to honour him.You're invited: “Come for the stories - stay for the magic!” Speaking of magic, I hope you'll subscribe, share a nice shout out on your social media or podcast channel of choice, (including Android, Amazon Music, Audible & Pandora Radio) and join us next time! Remember to stop by the Quarter Moon Story Arts website, check out the Services I offer, arrange a Discovery Call, and Opt In to stay current with Diane and Quarter Moon Story Arts as well as on LinkedIn and Substack as Wyzga on Words Stories From Women Who Walk Production TeamPodcaster: Diane F Wyzga & Quarter Moon Story ArtsMusic: Mer's Waltz from Crossing the Waters by Steve Schuch & Night Heron MusicAll content and image © 2019 to Present: for credit & attribution Quarter Moon Story Arts

Si sale una remake hollywoodense de una película argentina tenemos que cubrirla. Y si es de 4x4, más todavía, claro. Vimos Locked (2025) de David Yarovesky, con Anthony Hopkins haciendo de Dady Brieva y Bill Skarsgård de Peter Lanzani. Por las dudas se entusiasmen de más: no, no hay camiseta de Boquita, pero casi.

https://solvitryggva.is/ Guðmundur Ingi Þorvaldsson leikari hefur leikið fjölda hlutverka bæði hér heima og erlendis á farsælum ferli. Nýlega lék Guðmundur lykilhlutverk í stórmyndinni Mary ásamt Anthony Hopkins. Í þættinum ræða Sölvi Og Gummi um listir, ævintýri, fíknisjúkdóma, hvað það er sem einkennir okkur sem þjóð og margt margt fleira. Þátturinn er í boði; Caveman - https://www.caveman.global/ Nings - https://nings.is/ Myntkaup - https://myntkaup.is/ Kaja Organic - https://www.kajaorganic.com/ Biofit - https://biofit.is/

This week we continue our David Lynch season with his second film, 1980's "The Elephant Man." We discuss how exactly Lynch came to this project as well as all of the backstage machinations that made this film possible. We then dive into the plot of the film, exploring everything we love about this extremely empathetic film.  Thank you so much for listening!Created by Spike Alkire & Jake KelleyTheme Song by Breck McGoughFollow us on Instagram: @DoubleBillChillLetterboxd: FartsDomino44

In this episode, we kick off April with the 1993 drama from director James Ivory, "The Remains of the Day", starring Anthony Hopkins, Emma Thompson and Christopher Reeve. Listen now!

Totally by coincidence, both of our movies this week are about characters who are stuck inside. But we hope you're getting out and about and enjoying the springtime, and that you'll take us with you here at Breakfast All Day. We begin with a review of "The Woman in the Yard," which Universal didn't screen for critics before opening day. The latest Blumhouse horror movie stars the always great Danielle Deadwyler as a widow and mother of two, dealing with a mysterious and menacing ... woman in the yard. In theaters. We also catch up with "Locked," which came out last weekend. Bill Skarsgård finds himself trapped in a fancy SUV when he picks the wrong car to steal from a Vancouver parking lot. Anthony Hopkins is the voice of the car owner who torments him remotely. Also in theaters. And we finally did Movie News LIVE! for the first time in about three weeks. Things have been a little crazy around here. Among the topics we talked about were "No Other Land" director Hamdan Ballal, Sundance leaving Park City, Rachel Zegler, "Avengers: Doomsday" and more. We won't be back for another livestream until April 18 because of spring break, but we look forward to seeing you then, and we're so happy you're here now. Subscribe to Christy's Saturday matinee newsletter: https://christylemire.beehiiv.com/

Grab a drink and join us this week for our newest installment of the Modern Class of Casting Visionaries with the amazing Casting Director, Finnian Tweed!Finnian Tweed is a Casting Director specialising in film and TV with 14 years of industry experience. In 2020 he set up Finnian Tweed Casting. Finnian has extensive experience working on American & UK/EU based projects. Recent credits include the action film DEN OF THIEVES 2: PANTERA starring Gerard Butler (released  in January 2025), the latest David Ayer movie ‘A WORKING MAN' starring Jason Statham (releasing March 2025) and the biblical epic ‘MARY' starring Anthony Hopkins and directed by D.J. Caruso – currently a huge hit on Netflix. He is also casting ‘THE GUN ON SECOND STREET' which Guy J. Louthan is producing. Currently we have a roster of exciting feature films in development for 2025.From 2018-2020 Finnian worked alongside Sophie Holland as her Casting Associate on 2 seasons of the hugely successful 8 part series 'The Witcher' for Netflix. He was also Sophie's Casting Associate on 'Young Wallander' for Yellow Bird UK/ Netflix and scores of other exciting projects including NBC pilot seasons 2019 and 2020. In 2018 he worked with Gary Davy on a number of shows including 'The Spanish Princess' for Starz. Prior to that he worked with Suzanne Smith on ‘Outlander' and at the BBC in house casting dept where his Casting Director credits included ‘Doctors', ‘The Break' Series 2 (BBC3 iplayer online) and the October 2017 ‘Sky Drama Table Read', hosted by the BBC Writersroom. In this episode we dive in and discuss...-Finnian's foray into acting and how he eventually ended up in casting-How he has found starting his own company-What are the positives and challenges in being a Casting Director post pandemic/strike-How he finds new talent-His favorite audition stories-What's coming up for him in the future!Make sure to subscribe, rate and review! Follow us @tipsycastingResources: Finnian Tweed Casting WebsiteFinnian Tweed IMDBCasting Networks Article────────────────────────────⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Stay Tuned with Tipsy Casting on IG⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Watch the ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Tipsy Casting YouTube Channel⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow Jessica ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ & ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow Jenn ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Learn More About ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Jess ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠& ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Jenn's⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Casting Journeys ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Get Casting Life Away Merch here!⁠⁠⁠

Send us a textThis week on the show!The fairest of them all the classic comes to life….but does it though….in Disney's Snow WhiteCrime is a family affair in:Riff Raff And finallyBills Bill Skarsgård goes up against Anthony Hopkins, inside a luxury vehicle in Locked Ready for my verdict. Let's get into it. **Help support the show by leaving a review on Apple podcast or Spotify! **You can now listen to The Movie Wire on YouTube! Listen and subscribe here!Make sure you check out The Super Familiar with Wilson's Podcast!Listen Here!If you haven't tuned in, followed, or subscribed to The Cultworthy Cinema Podcast and The Movie Wire's new crossover show Back 2 the Balcony, now is your time, because this week we continue Musical March with the Dolly Parton and Burt Reynolds musical, The Best Little Whorehouse in Texas! YouTubeSupport the show

Kids get creepy as we look at these fan suggestions from Tracey. First, Anthony Hopkins shows up with a creepy beard as he says a little girl with night terrors is his reincarnated daughter in AUDREY ROSE. Then, a young girl finds that what she draws comes alive in her dreams in PAPERHOUSE.

This week on Office Ladies 6.0 we're breaking down the second part of the 1997 survival movie “The Edge” starring Anthony Hopkins and Alec Baldwin. Charles and Bob are now alone together in the wilderness trying to make their way back to civilization and decide to take matters in their own hands with some “luring”. Jenna does a deep dive on how to survive a bear attack along with sharing more Charles wisdom, and Angela tracks the wind and some Bob sass. Will Charles and Bob make it out alive despite being hunted by a man eating bear? Find out in this episode of Office Ladies 6.0!  Office Ladies Website - Submit a fan question: https://officeladies.com/submitaquestion  Follow Us on Instagram: OfficeLadiesPod To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

This week on Office Ladies 6.0 we're breaking down the movie “The Edge”! The ladies had so much to say that we split it into two parts. “The Edge” is a 1997 survival movie starring Anthony Hopkins and Alec Baldwin, and it's also Jenna's favorite movie. Jenna has lots of information about her fave flick ranging from casting, stunts and a small deep dive on why watches in movies are worn a specific way. Angela puts on her tracker hat to track many things like what word is said the most and... the wind! The fun is just getting started in part one of “The Edge”, enjoy!  Check out Office Ladies Merch at Podswag: https://www.podswag.com/collections/office-ladies  Office Ladies Website - Submit a fan question: https://officeladies.com/submitaquestion  Follow Us on Instagram: OfficeLadiesPod To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices