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2 episodes with Ari Folman
2 episodes with Ari Folman
2 episodes with Ari Folman
2 episodes with Ari Folman
2 episodes with Ari Folman
2 episodes with Ari Folman
2 episodes with Ari Folman
2 episodes with Ari Folman
2 episodes with Ari Folman
Lámparas de Oriente"Me pregunto, Lucía, si la guerra siempre es la misma a pesar de ir cambiando de forma. Se ha cumplido un año de los brutales atentados contra Israel que me helaron el corazón. A partir de hoy, cada día es una onomástica cruel, un recuerdo de ciudades destruidas, de refugios aéreos, de gritos de dolor. Caravanas de tristeza, Lucía, que van recorriendo las fronteras de Oriente Medio, esa tierra antigua y sabia, a la que no le cabe más dolor. Me refiero a una geografía embrutecida por las armas, sorda y ciega de fes enloquecidas, de alianzas medievales con el odio. Hay un mundo que aspira a vivir en paz, que quiere desprenderse de la tiranía, de la exaltación religiosa, que cierra los ojos ante el nuevo día para no escuchar el silbido de las bombas sobre sus cabezas. Sin embargo, soy pesimista cuando miro el mapa del Mediterráneo oriental. Trazo con un dedo los trayectos de una ciudad a otra, de Tel Aviv a Teherán, de Beirut a El Cairo. En el centro Jerusalén, con su puerta dorada abierta a todas las épocas. Es una quimera, Lucía, pero me gusta imaginar que camino por todas esas calles, por Jerusalén, por Yafo, por Haifa, en una tarde de verano de aires suaves.Por eso me refugio en mi biblioteca, para intentar entender. Los libros no solucionan los conflictos, pero sí acercan el entendimiento, nos ayudan a comprender lo que sucede y por qué sucede. En mi biblioteca hay autores judíos y musulmanes, israelíes, libaneses, egipcios e iraníes, y todos conviven bajo la luz de una lámpara. Los visito de vez en cuando. Los mantengo vivos en el recuerdo. Conversan entre ellos, como un simulacro de paz que nace en mi hogar y que querría para Oriente Medio.Y si quieres, Lucía, los abro para ti y para todos en esta tarde mediterránea:-Una historia de amor y oscuridad. Amos Oz. (Siruela).-El naufragio de las civilizaciones. Amin Maalouf. (Alianza).-Persépolis. Marjane Satrapi. (Reservoir Books).-Lejos de Egipto. André Acimán. (Libros del asteroide).-Vals con Bashir. Ari Folman."
Gościem audycji "Rozmowy po zmroku" był Ari Folman - izraelski reżyser filmowy i scenarzysta, współautor komiksu "Dziennik Anne Frank".
In which our fellas head back to Lebanon this time without the steel armour. Ari Folman was there in 1982 as a young man in the Israeli Defense Forces. His memories are fragmented, however sometimes crystal clear, others bits and pieces and some blank altogether. He knows he was present at the infamous Sabra and Shatila massacre but he remembers only a few images. Through conversations with memory experts and wartime comrades, rendered in a distinct animated style, Ari begins to reveal a bigger picture of what he experienced in those years. Next week: the final days of a monster. Questions? Comments? Suggestions? You can always shoot us an e-mail at forscreenandcountry@gmail.com Full List: https://www.pastemagazine.com/movies/war-movies/the-100-greatest-war-movies-of-all-time Facebook: https://www.facebook.com/forscreenandcountry Twitter: https://www.twitter.com/fsacpod Our logo was designed by the wonderful Mariah Lirette (https://instagram.com/its.mariah.xo) Waltz with Bashir is directed by Ari Folman. Learn more about your ad choices. Visit megaphone.fm/adchoices
Jessica Cohen is an independent translator born in England, raised in Israel, and living in Denver. She translates contemporary Hebrew prose and other creative work. In 2017, she shared the Man Booker International Prize with David Grossman for her translation of A Horse Walks Into a Bar. She has also translated works by major Israeli writers including Amos Oz, Etgar Keret, Ronit Matalon and Maya Arad, and by filmmakers Ari Folman and Nadav Lapid. She is the recipient of a National Endowment for the Arts fellowship in translation, and a Guggenheim Fellowship. Cohen works with the Authors Guild and the American Literary Translators Association to advocate for literary translators' recognition, rights, and working conditions.She spoke about Hebrew Literature, the Authors Guild and working with David Grossman, the famous Israeli Author in this episode. Transcript:Harshaneeyam: Welcome to HarshaniumHarshaneeyam, Jessica. Such a pleasure. Jessica Cohen: Thank you. It's really a pleasure to be here. Harshaneeyam: Your father, Professor Stanley Cohen, was a human rights activist and your mother too, Ruth Cohen,. Sshe was an artist. And what kind of impact did your parents have on you as far as your literary sensibilities are concerned?Jessica Cohen: I'm not sure if it's entirely accurate to describe him as an activist. He was definitely an intellectual. And I think his activism was in the form of writing and thinking and calling things out that he saw. My mother was more of an activist in the sense that she was that sort of out on the barricades protesting and, and organizing.They both grew up in South Africa and I think developed a sense of the world and of justice or injustice, what they saw growing up under apartheid. And that was something they carried with them very much. And so I think Tthere was a way in which growing up in that household, I think I absorbed this sense of the importance of empathy with people who were not like us or who were less fortunate than us.And that's something they both definitely felt strongly about. And I, the reason I think that's connected to a literary sensibility is that I think Ggood writing necessitates empathy, both on the part of the writer, definitely, and the reader. That's really, I think, what most good fiction does, its allows you to step into someone else's life, someone who you could never be, but might be through reading.I was born in England, but we moved to Israel when I was seven. And so my schooling was always in Hebrew and my social life was in Hebrew, but everything at home was in English. My parents were both voracious readers. My sister and I also grew up reading a lot. The house was full of books everywhere you looked.And so I definitely, I think was raised with an appreciation for literature and reading and writing. And that's something I've always had. So I assume that. Tthat in some ways affected my choice of career, to live with literature. My dad, when I think of both of them, some of their biggest heroes were writers.Pictures up in my dad's office were Samuel Beckett, George Orwell. My mother had a framed portrait of Virginia Woolf up on her wall. Writers were who they looked to, I think, for inspiration and inspiration. Nnot just entertainment. Harshaneeyam: So what made you get into translation? And, interestingly, your first customer was Microsoft.Jessica Cohen: That's true. That's true. Which is very, it seems very incongruous with what I do now. Yeah. I think that a lot of people who hasof my generation and above who are literary translators, we all fell into it by chance or through various other previous lives that we had, that's changing quite a bit now because there are so many...
Émission spéciale et fleuve pour fêter nos 15 années sur les ondes et notre 16ème saison. On a la mémoire qui flanche, on ne souvient plus très bien, tout entre nous a commencé, un 10 octobre 2008, et depuis nos yeux sont faits pour l'amour d'aimer et ne sont que le reflet d'un monde d'objets. Sans rêve et sans réalité, aux images nous sommes condamnés.Enfin bref, pour reprendre nos classiques, il est 19h et comme disait Peter… c'est l'heure !573ème émission, enregistrée au Cinéma Arvor in Rain City le 08 mai dernier, avant la projection du chef d'œuvre de Sam Peckinpah, Croix de fer, dans ce même cinéma. Moults remerciements à l'Arvor, bien évidemment, pour avoir accepté de nous accueillir et pour la carte blanche, et notamment à notre meilleur ennemi le Docteur Moreau (qui apparemment fait aussi de la radio).On tente de faire le bilan de nos 15 années de radio, en passant en revue le cinéma mondial (rien que ça), même si évidemment on y va à toute berzingue, trop vite, trop furieux. Pour le détail de tout ce qui n'a pas été évoqué, vous pouvez vous reporter aux différentes listes ci-dessous. Forcément, le cinéma étatsunien nous obsède, malgré tout, mais son l'état déplorable de son cinéma spectaculaire a permis de faire ressortir d'autres cinématographies, jusqu'à présent trop caché par l'éléphant hollywoodien.Emission également disponible sur le tube.Etaient présents lors de cette émission : El Comandante Thomas, Le Grand Timonier Er Force Wan, Carrément Fleuret, Docteur Erwan, Docteur JB, Simon D. « L'Ancien », Simon G. « Le Jeune » et JP.Nos créateurs Mathieu B. « Il Padrino » et Yannick K auraient dû être des nôtres, mais parfois la vie met des bâtons dans les roues de la liberté… (ie : les enfants).Nos dames étaient également malheureusement absentes (Maitresse Carla, Justeen, Laure) pour la simple raison qu'elles voguent désormais vers de véritables horizons professionnels chronophages et que le salariat est aussi une sacrée saloperie.Notre mixtake spéciale 15 ans – best & worst of, toujours disponible et toujours soyeuse.Pour préparer tout ce bazar, certains membres se sont pliés à l'exercice de faire un top 15 de leurs films préférés depuis l'année 2008. Les films préférés, et non pas nécessairement les plus importants (le choc industrialo-esthético-technique Avatar n'y figure pas par exemple), ou même les meilleurs, mais simplement nos préférés. Le concept de top 15 ayant été allégrement explosé par tous les participants.Les six listes reçues, pour aperçu de ce que la rédaction a retenue de ces 15 ans et dont nous n'avons pas eu le temps de parler. Ce qui est bien, c'est que chaque liste correspond vraiment à chaque membre !THOMAS « EL COMANDANTE »Speed racer (The Wachowskis – 2008)Mad Max : Fury road (George Miller – 2015)Dernier Maquis / Les Chants de Mandrin (Rabah Ameur-Zaïmeche – 2008 / 2011)The Bad Lieutenant: Port of Call New Orleans / Au cœur des volcans (Werner Herzog – 2009 / 2023)Balada Triste de Trompeta (Alex de la Iglesia – 2010)The Counselor (Ridley Scott – 2013)Cameraperson (Kirsten Johnson – 2019)Mektoub my love : Canto Uno (Abdellatif Kechiche – 2017)Small Axe – Lovers Rock (Steve McQueen – 2021)Transformers 2 : Revenge of the Fallen / 13 Hours : The Secret Soldiers of Benghazi (Michael Bay – 2009 / 2016)GI Joe : Rise of Cobra (Stephen Sommers – 2009)Hypernormalisation (Adam Curtis – 2015)La Loi de la Jungle (Antonin Peretjatko – 2016)Lincoln (Spielberg – 2012)Boyhood / Everybody Wants Some !! (Richard Linklater – 2014 / 2016)Nostalgie de la Lumière (Patricio Guzmán – 2010)Unstoppable (Tony Scott – 2010)La Bataille de la Montagne du Tigre (THRTW – 2014)The Grandmaster (Wong Kar-Wai – 2013)The Strangers (Na Hong-jin – 2016)Le Congrès (Ari Folman – 2013)RRR (S.S Rajamouli – 2022)Max et les maximonstres (Spike Jonze – 2009)The House that Jack Built (Lars Von Trier – 2018)Fast 5 (Justin Lin – 2011)Mange tes morts : Tu ne diras point (Jean-Charles Hue – 2014)Midnight Special (Jeff Nichols – 2016)The night comes for us (Timo Tjahjanto – 2018)First Reformed (Paul Schrader – 2017)Hors Champs aka La Révolution jusqu'à la victoire (Mohanad Yaqubi – 2016)L'Enlèvement de Michel Houellebecq (Guillaume Nicloux – 2013)Sympathie pour le Diable (Guillaume de Fontenay – 2019)Clint (pour tout, même le moins bon)Fire of Love (Sara Dosa – 2022)FLOPSucker PunchWatchmenCosmopolis / Maps to the StarsTabouBande de fillesP'tit QuinquinThe RevenantJaujaHateful EightLe ConcoursGraveLes garçons sauvagesJokerGolden GloveUncut GemsEverything everywhere all at onceER FORCE WAN « LE GRAND TIMONIER » FLOCH'LAY45 films / œuvres par ordre d'intensité dans la mémoire:[On ne se refait pas...]-Adieu au langage 3D (JLG)-Twin Peaks Saison 3 (Lynch / Frost)-La Flor (Llinás)-Southland Tales (Kelly)-Hypernormalisation (Curtis)-Mad Max — Fury Road (Miller)-Et maintenant ? (Pinto)-First Reformed (Schrader)-4h44 — Dernier jour sur Terre (Ferrara)-Bad Lieutenant — Escale à La Nouvelle Orléans (Herzog)-Holy Motors (Carax)-Spring Breakers (Korine)-The Assassin (Hou Hsiao-hsien)-Cavalo Dinheiro (Costa)-Les Chiens errants (Tsaï Ming-liang)-A la folie (Bing)-Sophia Antipolis (Vernier)-Memoria (Weerasethakul)-Hill of Freedom (Hong Sang-soo)-La femme qui est partie (Diaz)-Certaines femmes (Reichardt)-Le Congrès (Folman)-Mourir comme un homme (Rodrigues)-Bangkok Nites (Tomita)-High Life (Denis)-In The Family (Wang)-Pacifiction (Serra)-Le Gang des bois du temple (RAZ)-Le Loup de Wall-Street (Scorsese)-The Social Network (Fincher)-Va, Toto ! (Creton)-L'Héroïque Lande — La frontière brûle (Klotz / Perceval)-La Tierce des paumés (Alazard)-Il Buco (Frammartino)-Rester vertical (Guiraudie)-Carol (Haynes)-Bad Luck Banging or Loony Porn (Jude)-Speed Racer (Wachowski)-L'Apollonide — Souvenirs de la maison close (Bonello)-It Follows (Mitchell)-The Strangers (Na Hong-jin)-Hacker (Mann)-Frangins malgré eux (McKay)-La ligne de partage des eaux (Marchais)-Everybody Wants Some !! (Linklater)SIMON « L'ANCIEN » DANIELLOUTops 2008-2023 : Impossible de choisir 15 films, alors voici 15 entrées… - Label « Et là, ils accélèrent » : Mad Max Fury Road et Drive - Le daron Eastwood pour Richard Jewel et Sully - Les jeunes vieux du Nouvel Hollywood : Redacted et Passion, Le Loup de Wall Street, The Post, Tetro - Auteurs ricains : Trainé sur le bitume, Everybody wants some!!, First Reformed, First Cow/Showing Up, 4h44, un First Man et un autre Serious, Inherent Vice et Licorice Pizza + une poignée de scènes chez ce salopard de Tarantino (la partie de cartes d'Inglourious Basterds, le dîner de Django Unchained, le générique d'ouverture des Huit Salopards) - Les coups d'éclats de M. Night Shyamalan, mais aussi ses errances, qui seront toujours mille fois plus belles que les ternes pensums d'un Nolan ou d'un Villeneuve - Tropisme coréen : Burning, The Strangers, Le Transperceneige et plusieurs Hong Sang-soo : Ha Ha Ha, The Day He Arrives, Yourself and Yours, Juste sous vos yeux, De nos jours… (points de suspension qui font partie du titre mais qui sont aussi très opportuns ici !) - Des géants hongkongais (Les Trois Royaumes, The Grandmaster, Trilogie Detective Dee, Sparrow) et taïwanais (The Assassin, Les Chiens errants) - L'Odyssée de Pi d'Ang Lee et ses recherches inabouties sur Un jour dans la vie de Billy Lynn et Gemini Man - Le cinéma hypnagogique de Weerasethakul - Tout Hamaguchi, en particulier Happy Hour, Asako I & II, Contes du hasard et autres fantaisies - Les derniers Kiarostami (Copie conforme, Like Someone in Love) et Le Poirier sauvage de son voisin Nuri Bilge Ceylan - Il était une fois en Europe : Elle, Bronson, Au cœur des volcans : Requiem pour Katia et Maurice Krafft, La Zone d'intérêt, Vincere, Il Buco, Cavalo Dinheiro, As Bestas - Vive le cinéma français ? Eh oui ! Sophia Antipolis et tout Virgil Vernier en fait, Mange tes morts, Mektoub my Love : Canto Uno, Les Chants de Mandrin, Adieu au langage, La Bataille de Solferino, Paul Sanchez est revenu, le cinéma de Guiraudie (et son Roi de l'évasion en particulier), - Génie de Pixar : Là-haut, Toy Story 3, Vice versa, Soul - Sus aux séries !, sauf celles-ci : Twin Peaks saison 3, True Detective saison 1, Louie saison 3, Horace and Pete, P'tit Quinquin, Generation Kill SIMON « LE JEUNE » GOSSELINTraîné sur le bitume (Craig S. Zalher)Bad Lieutenant : Escale à la Nouvelle-Orléans (Werner Herzog)Two Lovers (James Gray)La Bataille de la Montagne du Tigre (Tsui Hark)Le Gang des bois du temple (Rabah Ameur-Zaïmèche)13 Hours (Michael Bay)Warrior (Gavin O'connor)Cellule 211 (Daniel Monzon)Que Dios nos perdone (Rodrigo Sorogoyen)True Grit (Joël & Ethan Coen)Primal (Genndy Tartakovsky), saisons 1 et 2True Detective (Cary Joji Fukanaga), saison 1Neds (Peter Mullan)Passion (Brian De Palma)Mowgli (Andy Serkis)Tabou (Miguel Gomez)Pacifiction (Albert Serra)Unstoppable (Tony Scott)Le Transperce-neige (Bong Joon-Ho)Mad Max (George Miller)Everybody wants some!! (Richard Linklater)THIBAUT « CARREMENT » FLEURETBon....On y va...Dans le désordre...15 entrées...1/ La reine : Kathryn Bigelow (Zero Dark Thirty, Detroit)2/ Hommes américains => James Gray (Two Lovers, The Lost City Of Z), Ad Astra, Armageddon Time), Jeff Nichols (Take Shelter, Mud, Midnight Special, Loving), David Robert Mitchell (The Myth Of The American Sleepover, It Follows, Under The Silver Lake), Quentin Tarantino (Inglorious Basterds, Django Unchained, Les 8 Salopards, Once Upon A Time In Hollywood), David Fincher (Benjamin Button, The Social Network, Millenium, Gone Girl, Mank, The Killer), Adam McKay (Frangins malgré eux, Very Bad Cops, The Big Short, Vicce, Don't Look Up)3/ Corée du Sud => Na Hong-jin (The Chaser, The Murderer, The Strangers + The Medium), Bong Joon-ho (Mother, Snowpiercer, Okja, Parasite + Sea Fog)4/ Cosmogonie => Mad Max Fury Road (George Miller), The Tree Of Life (Terrence Malick)5/ Ibère => Kleber Mendonça Filho, Rodrigo Sorogoyen6/ NW Refn (Bronson, Le Guerrier silencieux, Drive, Only God Forgives, Drive, The Neon Demon)7/ Le travail de Spectrum Films8/ Mélomanes => Todd Haynes (Carol, Dark Waters, The Velvet Underground, May December + Mildred Pierce), Cameron Crowe (Aloha)9/ L'autre reine : Céline Sciamma (Pauline, Tomboy, Bande de filles, Portrait de la jeune fille en feu, Petite maman + Les Revenants et Ma Vie de courgette)10/ Pot pourri cinéma français => Les Misérables, L'Ordre et la morale, Des Hommes et des dieux, Climax L'Apollonide11/ Art contemporain => Virgil Vernier, Clément Cogitore12/ Pot pourri documentaire : Retour à Forbach, Cameraperson, I Am Not Your Negro, Ne Croyez surtout pas que je hurle, A La folie, Sud Eau Nord Déplacer, Jim & Andy13/ Marco Bellochio (Vincere, La Belle endormie, Le Traitre, Marx peut attendre, L'Enlèvement + Esterno Notte)14/ Point séries : True Detective, Tchernobyl15/ Diversité : The Witch, Only Lovers Left Alive, A Ghost Story, Monsters, Spring Breakers, Oslo 31 août, The Grandmaster, Notre Petite soeur, A Touch Of Sin, Bad Lieutenant : Escale à NoLa, La Loi de Téhéran, Le Caire Confidentiel, Le Conte de la princesse Kaguya, Le Vent se lèveps : Je mets où Kelly Reichardt ?Voilà, voilà, ça ne ressemble à rien mais en même temps, 15 ans, c'est l'adolescence, c'est le bordel. JEAN-BAPTISTE « JAY-BALLS » MASSUETEvidemment, pas d'ordre du tout dans tout ça... (ah la la, tout ce que je laisse de côté, c'est hard quand même)Twin Peaks – The Return (David Lynch)Speed Racer / Matrix Resurrections (Lilly et Lana Wachowski)A Ghost Story (David Lowery)Mission Impossible : Rogue Nation (Christopher McQuarrie) / Top Gun Maverick (Joseph Kosinski)Portrait de la jeune fille en feu (Céline Sciamma)Oncle Boonmee, celui qui se souvient de ses vies antérieures (Apichatpong Weerasethakul)Vice-Versa / Là-haut (Pete Docter)Bienvenue à Marwen / Le Drôle de Noël de Scrooge (Robert Zemeckis)Ponyo sur la falaise (Hayao Miyazaki)Rubber / Wrong Cops (Quentin Dupieux)El Reino / As Bestas (Rodrigo Sorogoyen)Les Aventures de Tintin / The Fabelmans (Steven Spielberg)Fast and Furious 5 (Justin Lin)Le Loup de Wall Street (Martin Scorsese)Mad Max – Fury Road / Happy Feet 2 (George Miller)RRR / La Légende de Bahubali (S.S. Rajamouli)L'Odyssée de Pi (Ang Lee)DOC ERWAN CADORET1- Mad Max : Fury Road (2015) – George Miller2- Twin Peaks, saison III (2017) – David Lynch3- Under the Skin (2013) – Jonathan Glazer4- The Strangers (2016) – Na Hong-jin/As Bestas (2022) – Rodrigo Sorogoyen5- La Bataille de la montagne du tigre (2014) – Tsui Hark/Take Shelter (2011) – Jeff Nichols6- Balada Triste (2010) – Alex De La Iglesia/Mademoiselle (2016) – Park Chan-wook7- Vortex (2021) – Gaspard Noé8- A Serious Man (2009) – Joel & Ethan Coen9- Le Transperceneige (2013) – Bong Joon-ho10- La Loi de Téhéran (2019) – Saeed Roustayi11- Il Etait une fois à Hollywood (2019) – Quentin Tarantino12- Drive (2011) – Nicolas Winding Refn13- Outrage (2010) – Takeshi Kitano14- The Grand Budapest Hotel (2014) – Wes Anderson15- Her (2013) – Spike Jonze/The Witch (2015) – Robert Eggers
Nel suo libro “Dalla parte giusta. La storia di Guido Ucelli di Nemi e Carla Tosi che sfidarono le SS e il regime per aiutare gli ebrei” (Neri Pozza) (192 p., € 18,00), Ugo Savoia racconta l'impresa di un industriale e di sua moglie, che durante l’occupazione nazista nel Nord Italia organizzarono la fuga in Svizzera di molti ebrei milanesi. RECENSIONI“Anne Frank - Diario” di Ari Folman e David Polonski(Einaudi 160 p., € 15,00)“La mia amica Anne Frank” di Hannah Pick-Goslar(De Agostini, 336 p., € 20,00)“Sempre con me. Le lezioni della Shoah” di Emanuele Fiano(Piemme, 176 p., € 18,90)“La lista di Kersten. Un giusto tra i demoni” di François Kersaudy(Rizzoli, 416 p., € 22.00)“One life” di Barbara Winton(Garzanti, 272 p., € 18,60)“Oltre Auschwitz” di Frediano Sessi(Marsilio, 400 p., € 30,00)IL CONFETTINO”Cara Kitty. Romanzo epistolare” di Anne Frank(Einaudi Ragazzi, 252 p., € 12,50)
Algunos apuntes sobre la guerra después de ver un par de películas tomadas del disco duro que tienen que ver con el conflicto de Palestina e Israel. “Vals con Bashir” de Ari Folman y “Five Broken Cameras” de Emad Burnat y Guy Davidi. ¿Cómo retratar la barbarie?
For show notes for any episode, go to our website at perksofbeingabooklover.com. You can email us throught the contact button on the website. We are also on Instagram @perksofbeingabookloverpod and on FB Perks of Being a Book Lover. It is officially Halloween season so we're talking all about witches this week. We'll each share 5 bewitching books, 10 total, that you should put on your TBRs. Books Mentioned in this Episode: 1- Leslie “F*cking” Jones by Leslie Jones 2- Killers of the Flower Moon by David Grann 3- My Friend Anne Frank by Hannah Pick-Goslar 4- Anne Frank's Diary: The Graphic Adaptation by Ari Folman 6- Everything/Nothing/Someone by Alice Carriere 7- Circe by Madeline Miller 8- Practical Magic by Alice Hoffman 9- Nettle and Bone by T. Kingfisher 10- Wicked: The Life and Times of the Wicked Witch of the West by Gregory Maguire 11- The Wizard of Oz by L. Frank Baum 12- Cackle by Rachel Harrison 13- Akata Witch–Nnedi Okorafor 14- Akata Warrrior by Nnedi Okorafor 15- Hester by Laura Lico Albanese 16- The Scarlet Letter by Nathaniel Hawthorne 17- The Last Witch by Andrzej Sapkowski (The Witcher series) 18- Blood of Elves by Andrzej Sapkowski (The Witcher series) 19- A Discovery of Witches by Deborah Harkness 20- Outlander by Diana Gabaldon 23- The Weird Sisters by Eleanor Brown 24- Macbeth by William Shakespeare 25- Dragons in a Bag by Zetta Elliott 26- The Witch of Blackbird Pond by Elizabeth George Speare 27- My Evil Mother by Margaret Atwood (Amaaon Original Story) 28- Beaverland: How One Weird Rodent Made America by Leila Philip 29- Loot by Tania James 30- Night watch by Jayne Anne Phillips *5 Star Read Recommended by Book Lover Meghan Geary @biblioactivist203 Celine by Peter Heller Movies and or TV series mentioned— 1- Ghostbusters (2016) 2- Killers of the Flower Moon (2023) 3- The Witcher (2019 - present, Netflix)) 4- Discovery of Witches - (2018-2022 AMC) Shows Mentioned— Wicked (Broadway)
Daniel and Harry are joined by Elan Golod, director of "Nathan-ism," to discuss the 2008 film "Waltz with Bashir" directed by Ari Folman.They cover the film's exploration of memory and its malleability, dive deep into the distinction between historical truth vs story truth (and its relation to Jewish Midrash and the Seder), and make the case for why this film might be more Israeli than strictly Jewish.As always, they close out the episode by ranking the film's "Jewishness" in terms of its cast & crew, content, and themes._____________________Waltz with Bashir TrailerWaltz with Bashir on IMDb_____________________Nathan-ism websiteNathan-ism on Instagram_____________________Connect with Jews on Film online:Instagram - https://www.instagram.com/jewsonfilm/Twitter - https://twitter.com/jewsonfilmpodYouTube - https://www.youtube.com/@jewsonfilmTikTok - https://www.tiktok.com/@jewsonfilmpod
This week we're discussing the incredibly timely sci-fi film The Congress (2013), in which Robin Wright, playing herself, is faced with the choice of whether to sell her likeness to a Hollywood studio that will use it to make artificially generated movies. Sound familiar? Ari Folman's prescient work also explores drug use, virtual reality, and class division in a society crumbling under late stage capitalism. Join John, Dixon, and Ryan as they embark on this trippy animated journey into the not so distant future.
This week kicks off our exploration of films produced by NON-AMPTP studios to support the striking writers and actors who bring to life the stories we love watching. There is no better candidate to start with than 2013's “The Congress”. The mixed medium film directed by Ari Folman stars Robin Wright in a world where movie studios have started scanning actors to continue “creating” movies without the actors. 20 years pass and contract negotiations require her attendance of the futurological Congress, presented in the film as an acid trip soaked tribute to the animation styles of the 20s and 30s.It's an odd film that predicted some of the largest changes to both the industry as well as technology in general. It's clear that studios are already attempting to achieve a similar process via scanning background actors and the way that virtual reality has become more of a social platform.Featuring: Bob Rudenborg, Jon MarekEditing: Jon MarekTheme: Brian Adams-Find Us Across the Web: https://www.thebutchandthebi.com/links
Hey, everybody! In this week's episode, Wickham and Colleen are discussing animated non-fiction films in the context of their recommendations of "Waltz with Bashir" (2008, dir. Ari Folman) and "Persepolis" (2007, dir. Marjane Satrapi & Vincent Paronnaud).
"For me, the creative process is a sort of a continuous thing in the sense that I'm writing kind of all the time, at some level. And that doesn't mean I'm sitting at my desk all the time, but it does mean that I've got a continuous thought process, a continuous engagement with the material I'm trying to shape. And it's many different kinds of processes. First of all, obviously an intention. You need to have an intention. What is it I'm trying to do? But then you get a process of making things, and then you get into a process of dialogue with the things you've made where they start to take on properties and it feels like the material has intentions of its own.So then you are trying to - it's like herding cats, you know? - sort of corralling this material into some kind of structure, some kind of formed object. Then it becomes like a sculptural process on the large scale. But time is a super important part of that process. You know, there are things which are just not ready. And you have to just wait until they make sense to you in a new way, or you can discover them almost as though someone else had written them. That sort of trying to achieve a kind of objectivity about the material."Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community.www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter's music featured in this episode is "On the Nature of Daylight” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.
Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community."For me, the creative process is a sort of a continuous thing in the sense that I'm writing kind of all the time, at some level. And that doesn't mean I'm sitting at my desk all the time, but it does mean that I've got a continuous thought process, a continuous engagement with the material I'm trying to shape. And it's many different kinds of processes. First of all, obviously an intention. You need to have an intention. What is it I'm trying to do? But then you get a process of making things, and then you get into a process of dialogue with the things you've made where they start to take on properties and it feels like the material has intentions of its own.So then you are trying to - it's like herding cats, you know? - sort of corralling this material into some kind of structure, some kind of formed object. Then it becomes like a sculptural process on the large scale. But time is a super important part of that process. You know, there are things which are just not ready. And you have to just wait until they make sense to you in a new way, or you can discover them almost as though someone else had written them. That sort of trying to achieve a kind of objectivity about the material."www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter's music featured in this episode in order of appearance "On the Nature of Daylight” from The Blue Notebooks, Path 19: Yet Frailest” from Sleep, “Spring 1” from The New Four Seasons – Vivaldi Recomposed, "Lullaby From The Westcoast Sleepers” from 24 Postcards in Full Colour, Vladimir's Blues” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.
"At the Studio Richter Mahr, we're trying to make it as 360 degrees as possible. So the center of the building is a cafe, and that cafe is fueled, if you like, from the organic garden. So there are no food miles. We grow everything. The electricity comes from the solar on the roof. The building itself was upcycled from a big old tractor shed. And we took the insides out and put new insides in, which are all the studios.It's a project which really is the outcome of an idealistic vision of how creativity can coexist with the broader community, but it's something that Yulia and I passionately believe in. We believe in the possibility of creative work having an elevating effect in society more broadly.It's a challenging time, I feel like the next half a dozen decades maybe are the kind of pinch point where things can either start to get better or a lot worse. And that's to do with large-scale ideas about what society is and what it should do. And how we distribute wealth, power, opportunity, education, and creativity. And creative work, I think, can be a catalyst that can help us to see bigger contexts, and engage with deeper meanings. And these are all ways to figure out what's important and what isn't important.The world is very busy and we too tend to get sort of a bit sidetracked by things that are not important. Creativity is a way to reconnect with important things. So our children, they're facing probably some of the biggest challenges we've ever faced, in the way, they're existential. And I think the kinds of narratives, the kinds of perspectives that we put into the world with creativity can be a way to sort of elevate the gaze a little bit. You know, Beethoven, somebody who lived 250 years ago, makes my life better just every day. It's not huge, but it's a little bit better every day. And I think that's what creativity can do. And, if you multiply that across time and populations, you can make a little change, and I think that's what creativity can do."Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community.www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter's music featured in this episode is "On the Nature of Daylight” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.
Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community."At the Studio Richter Mahr, we're trying to make it as 360 degrees as possible. So the center of the building is a cafe, and that cafe is fueled, if you like, from the organic garden. So there are no food miles. We grow everything. The electricity comes from the solar on the roof. The building itself was upcycled from a big old tractor shed. And we took the insides out and put new insides in, which are all the studios.It's a project which really is the outcome of an idealistic vision of how creativity can coexist with the broader community, but it's something that Yulia and I passionately believe in. We believe in the possibility of creative work having an elevating effect in society more broadly.It's a challenging time, I feel like the next half a dozen decades maybe are the kind of pinch point where things can either start to get better or a lot worse. And that's to do with large-scale ideas about what society is and what it should do. And how we distribute wealth, power, opportunity, education, and creativity. And creative work, I think, can be a catalyst that can help us to see bigger contexts, and engage with deeper meanings. And these are all ways to figure out what's important and what isn't important.The world is very busy and we too tend to get sort of a bit sidetracked by things that are not important. Creativity is a way to reconnect with important things. So our children, they're facing probably some of the biggest challenges we've ever faced, in the way, they're existential. And I think the kinds of narratives, the kinds of perspectives that we put into the world with creativity can be a way to sort of elevate the gaze a little bit. You know, Beethoven, somebody who lived 250 years ago, makes my life better just every day. It's not huge, but it's a little bit better every day. And I think that's what creativity can do. And, if you multiply that across time and populations, you can make a little change, and I think that's what creativity can do."www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter's music featured in this episode in order of appearance "On the Nature of Daylight” from The Blue Notebooks, Path 19: Yet Frailest” from Sleep, “Spring 1” from The New Four Seasons – Vivaldi Recomposed, "Lullaby From The Westcoast Sleepers” from 24 Postcards in Full Colour, Vladimir's Blues” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.
"And literature is indeed a big part of what I'm about, in a way. I love stories. Both music, literature, and visual art. These are ways to experience how another mind encounters the world. And that, for me, is really the most exciting thing about it. You know, when you are reading a piece of writing by someone or you are seeing a piece of visual art, you are seeing a window into that person's encounter with reality. That person's biography, what things mean to them. and then you can compare notes, you can compare notes with that person. How is it that person sees these things? And how do I see these things? And it's a way to understand one another. And I think that's really one of the most important things that creativity does in our world.Sleep was a great long conversation between us. You know, we've sat around over the kitchen table for 20 years having ideas and talking to one another about creative ideas and approaches to how creativity can sit in the world, and what should we do next.And how is her work going? And how is my work going? I mean, this is what we do. So if we're talking about sources, then I guess that's really the primary source. And then of course we're also on our own creative journeys, exploring, researching, and thinking."Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community.www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast
Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community."And literature is indeed a big part of what I'm about, in a way. I love stories. Both music, literature, and visual art. These are ways to experience how another mind encounters the world. And that, for me, is really the most exciting thing about it. You know, when you are reading a piece of writing by someone or you are seeing a piece of visual art, you are seeing a window into that person's encounter with reality. That person's biography, what things mean to them. and then you can compare notes, you can compare notes with that person. How is it that person sees these things? And how do I see these things? And it's a way to understand one another. And I think that's really one of the most important things that creativity does in our world.Sleep was a great long conversation between us. You know, we've sat around over the kitchen table for 20 years having ideas and talking to one another about creative ideas and approaches to how creativity can sit in the world, and what should we do next.And how is her work going? And how is my work going? I mean, this is what we do. So if we're talking about sources, then I guess that's really the primary source. And then of course we're also on our own creative journeys, exploring, researching, and thinking."www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast
"I only do cinema and film and TV projects which really matter to me, where I think that it's important, there's something being said here which I want to support. So mostly I will start with just making some sketches from the script.Of course, it's a journey, and it's a fundamentally collaborative journey. So, once the images start to happen, then there's a whole dialogue process with the rest of the creative team about how music can best inhabit, support, and serve the rest of the material. And it's really a series of experiments. It's to do with keeping a very open mind, trying things, and seeing what happens. It's an exciting kind of collaborative laboratory experiment, I think, working on film and television, and I enjoy it, the sort of puzzle solving, the questioning. It's good fun."Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community.www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter's music featured in this episode is "On the Nature of Daylight” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.
Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community."I only do cinema and film and TV projects which really matter to me, where I think that it's important, there's something being said here which I want to support. So mostly I will start with just making some sketches from the script.Of course, it's a journey, and it's a fundamentally collaborative journey. So, once the images start to happen, then there's a whole dialogue process with the rest of the creative team about how music can best inhabit, support, and serve the rest of the material. And it's really a series of experiments. It's to do with keeping a very open mind, trying things, and seeing what happens. It's an exciting kind of collaborative laboratory experiment, I think, working on film and television, and I enjoy it, the sort of puzzle solving, the questioning. It's good fun."www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter's music featured in this episode in order of appearance "On the Nature of Daylight” from The Blue Notebooks, Path 19: Yet Frailest” from Sleep, “Spring 1” from The New Four Seasons – Vivaldi Recomposed, "Lullaby From The Westcoast Sleepers” from 24 Postcards in Full Colour, Vladimir's Blues” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.
"I think there's something about our culture which sort of erodes those connections to those experiences. And I think particularly large-scale creative works can allow us to reconnect to them because they feel like alternate realities. So when you go to a Sleep performance, you are entering a kind of different world.You are, as an audience member, you've made a decision to go into a room with 500 people and be vulnerable, going to sleep with strangers in this kind of altered space, altered state. And it's a kind of community which goes on a journey together. So all of these basic human things are encapsulated in the piece.The world is very busy, and we tend to get a bit sidetracked by things that are not important. Creativity is a way to reconnect with important things. And I think the kinds of narratives, the kinds of perspectives that we put into the world with creativity can be a way to elevate the gaze a little bit. And it's true that literature is a big part of what I'm about in a way. I love stories, music, literature, visual art… These are ways to experience how another mind encounters the world. And that, for me, is really the most exciting thing about when you are reading a piece of writing by someone or you are seeing a piece of visual art – you are seeing a window into that person's encounter with reality. That person's biography. What things mean to them. And then you can compare notes with that person. How is it that person sees these things, and how do I see these things? And it's a way to understand one another. And I think that's really one of the most important things that creativity does in our world."Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community.www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter's music featured in this episode is "On the Nature of Daylight” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.
Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community."I think there's something about our culture which sort of erodes those connections to those experiences. And I think particularly large-scale creative works can allow us to reconnect to them because they feel like alternate realities. So when you go to a Sleep performance, you are entering a kind of different world.You are, as an audience member, you've made a decision to go into a room with 500 people and be vulnerable, going to sleep with strangers in this kind of altered space, altered state. And it's a kind of community which goes on a journey together. So all of these basic human things are encapsulated in the piece.The world is very busy, and we tend to get a bit sidetracked by things that are not important. Creativity is a way to reconnect with important things. And I think the kinds of narratives, the kinds of perspectives that we put into the world with creativity can be a way to elevate the gaze a little bit. And it's true that literature is a big part of what I'm about in a way. I love stories, music, literature, visual art… These are ways to experience how another mind encounters the world. And that, for me, is really the most exciting thing about when you are reading a piece of writing by someone or you are seeing a piece of visual art – you are seeing a window into that person's encounter with reality. That person's biography. What things mean to them. And then you can compare notes with that person. How is it that person sees these things, and how do I see these things? And it's a way to understand one another. And I think that's really one of the most important things that creativity does in our world."www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter's music featured in this episode in order of appearance "On the Nature of Daylight” from The Blue Notebooks, Path 19: Yet Frailest” from Sleep, “Spring 1” from The New Four Seasons – Vivaldi Recomposed, "Lullaby From The Westcoast Sleepers” from 24 Postcards in Full Colour, Vladimir's Blues” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.
"At the Studio Richter Mahr, we're trying to make it as 360 degrees as possible. So the center of the building is a cafe, and that cafe is fueled, if you like, from the organic garden. So there are no food miles. We grow everything. The electricity comes from the solar on the roof. The building itself was upcycled from a big old tractor shed. And we took the insides out and put new insides in, which are all the studios.It's a project which really is the outcome of an idealistic vision of how creativity can coexist with the broader community, but it's something that Yulia and I passionately believe in. We believe in the possibility of creative work having an elevating effect in society more broadly.It's a challenging time, I feel like the next half a dozen decades maybe are the kind of pinch point where things can either start to get better or a lot worse. And that's to do with large-scale ideas about what society is and what it should do. And how we distribute wealth, power, opportunity, education, and creativity. And creative work, I think, can be a catalyst that can help us to see bigger contexts, and engage with deeper meanings. And these are all ways to figure out what's important and what isn't important.The world is very busy and we too tend to get sort of a bit sidetracked by things that are not important. Creativity is a way to reconnect with important things. So our children, they're facing probably some of the biggest challenges we've ever faced, in the way, they're existential. And I think the kinds of narratives, the kinds of perspectives that we put into the world with creativity can be a way to sort of elevate the gaze a little bit. You know, Beethoven, somebody who lived 250 years ago, makes my life better just every day. It's not huge, but it's a little bit better every day. And I think that's what creativity can do. And, if you multiply that across time and populations, you can make a little change, and I think that's what creativity can do."Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community.www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast
Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community."At the Studio Richter Mahr, we're trying to make it as 360 degrees as possible. So the center of the building is a cafe, and that cafe is fueled, if you like, from the organic garden. So there are no food miles. We grow everything. The electricity comes from the solar on the roof. The building itself was upcycled from a big old tractor shed. And we took the insides out and put new insides in, which are all the studios.It's a project which really is the outcome of an idealistic vision of how creativity can coexist with the broader community, but it's something that Yulia and I passionately believe in. We believe in the possibility of creative work having an elevating effect in society more broadly.It's a challenging time, I feel like the next half a dozen decades maybe are the kind of pinch point where things can either start to get better or a lot worse. And that's to do with large-scale ideas about what society is and what it should do. And how we distribute wealth, power, opportunity, education, and creativity. And creative work, I think, can be a catalyst that can help us to see bigger contexts, and engage with deeper meanings. And these are all ways to figure out what's important and what isn't important.The world is very busy and we too tend to get sort of a bit sidetracked by things that are not important. Creativity is a way to reconnect with important things. So our children, they're facing probably some of the biggest challenges we've ever faced, in the way, they're existential. And I think the kinds of narratives, the kinds of perspectives that we put into the world with creativity can be a way to sort of elevate the gaze a little bit. You know, Beethoven, somebody who lived 250 years ago, makes my life better just every day. It's not huge, but it's a little bit better every day. And I think that's what creativity can do. And, if you multiply that across time and populations, you can make a little change, and I think that's what creativity can do."www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter's music featured in this episode in order of appearance "On the Nature of Daylight” from The Blue Notebooks, Path 19: Yet Frailest” from Sleep, “Spring 1” from The New Four Seasons – Vivaldi Recomposed, "Lullaby From The Westcoast Sleepers” from 24 Postcards in Full Colour, Vladimir's Blues” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.
Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community."At the Studio Richter Mahr, we're trying to make it as 360 degrees as possible. So the center of the building is a cafe, and that cafe is fueled, if you like, from the organic garden. So there are no food miles. We grow everything. The electricity comes from the solar on the roof. The building itself was upcycled from a big old tractor shed. And we took the insides out and put new insides in, which are all the studios.It's a project which really is the outcome of an idealistic vision of how creativity can coexist with the broader community, but it's something that Yulia and I passionately believe in. We believe in the possibility of creative work having an elevating effect in society more broadly.It's a challenging time, I feel like the next half a dozen decades maybe are the kind of pinch point where things can either start to get better or a lot worse. And that's to do with large-scale ideas about what society is and what it should do. And how we distribute wealth, power, opportunity, education, and creativity. And creative work, I think, can be a catalyst that can help us to see bigger contexts, and engage with deeper meanings. And these are all ways to figure out what's important and what isn't important.The world is very busy and we too tend to get sort of a bit sidetracked by things that are not important. Creativity is a way to reconnect with important things. So our children, they're facing probably some of the biggest challenges we've ever faced, in the way, they're existential. And I think the kinds of narratives, the kinds of perspectives that we put into the world with creativity can be a way to sort of elevate the gaze a little bit. You know, Beethoven, somebody who lived 250 years ago, makes my life better just every day. It's not huge, but it's a little bit better every day. And I think that's what creativity can do. And, if you multiply that across time and populations, you can make a little change, and I think that's what creativity can do."www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter's music featured in this episode in order of appearance "On the Nature of Daylight” from The Blue Notebooks, Path 19: Yet Frailest” from Sleep, “Spring 1” from The New Four Seasons – Vivaldi Recomposed, "Lullaby From The Westcoast Sleepers” from 24 Postcards in Full Colour, Vladimir's Blues” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.
"At the Studio Richter Mahr, we're trying to make it as 360 degrees as possible. So the center of the building is a cafe, and that cafe is fueled, if you like, from the organic garden. So there are no food miles. We grow everything. The electricity comes from the solar on the roof. The building itself was upcycled from a big old tractor shed. And we took the insides out and put new insides in, which are all the studios.It's a project which really is the outcome of an idealistic vision of how creativity can coexist with the broader community, but it's something that Yulia and I passionately believe in. We believe in the possibility of creative work having an elevating effect in society more broadly.It's a challenging time, I feel like the next half a dozen decades maybe are the kind of pinch point where things can either start to get better or a lot worse. And that's to do with large-scale ideas about what society is and what it should do. And how we distribute wealth, power, opportunity, education, and creativity. And creative work, I think, can be a catalyst that can help us to see bigger contexts, and engage with deeper meanings. And these are all ways to figure out what's important and what isn't important.The world is very busy and we too tend to get sort of a bit sidetracked by things that are not important. Creativity is a way to reconnect with important things. So our children, they're facing probably some of the biggest challenges we've ever faced, in the way, they're existential. And I think the kinds of narratives, the kinds of perspectives that we put into the world with creativity can be a way to sort of elevate the gaze a little bit. You know, Beethoven, somebody who lived 250 years ago, makes my life better just every day. It's not huge, but it's a little bit better every day. And I think that's what creativity can do. And, if you multiply that across time and populations, you can make a little change, and I think that's what creativity can do."Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community.www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter's music featured in this episode is "On the Nature of Daylight” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.
Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community."So Studio Richter Mahr is a project which really is the outcome of an idealistic vision of how creativity can coexist with the broader community, but it's something that Yulia and I passionately believe in. We believe in the possibility of creative work having an elevating effect in society more broadly. And in a way, it's a laboratory. We're excited by other minds, other people with their own ideas, their own thoughts coming in. So it's a space where we can exchange ideas.Well, Yulia is really important in everything I do because we have collaborated explicitly on some projects, for example, on Voices, that's very much the outcome of a million conversations we had. And she's made some beautiful visual material for that project. Sleep was a great long conversation between us. You know, we've sat around over the kitchen table for 20 years having ideas and talking to one another about creative ideas and approaches to how creativity can sit in the world, and what should we do next. And how's her work going and how's my work going? I mean, this is what we do. So if we're talking about sources, then I guess that's really the primary source. And then of course we're also on our own creative journeys, exploring, researching, and thinking.A piece like Voices, this comes out of conversations Yulia and I were having in 2017, 2018 in a sort of Trump era, I guess, where you just think, hang on, this isn't right. What's going on here? Okay, so in the way that somebody who isn't an artist, they would just say that to their friends. They would have a conversation, "I don't like what's happening here. This is all wrong." Well, as artists, we also want to have those conversations. We also want to convey our thoughts and feelings about the world we're living in. And it was very simple, in a way, an intuitive response to the things we saw happening around us in our daily lives. Artists are of course just ordinary people, too. And it so happens that instead of having a conversation or having a coffee with a friend, making a piece of music about it - it's the same impulse."www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter's music featured in this episode in order of appearance "On the Nature of Daylight” from The Blue Notebooks, Path 19: Yet Frailest” from Sleep, “Spring 1” from The New Four Seasons – Vivaldi Recomposed, "Lullaby From The Westcoast Sleepers” from 24 Postcards in Full Colour, Vladimir's Blues” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.
"So Studio Richter Mahr is a project which really is the outcome of an idealistic vision of how creativity can coexist with the broader community, but it's something that Yulia and I passionately believe in. We believe in the possibility of creative work having an elevating effect in society more broadly. And in a way, it's a laboratory. We're excited by other minds, other people with their own ideas, their own thoughts coming in. So it's a space where we can exchange ideas.Well, Yulia is really important in everything I do because we have collaborated explicitly on some projects, for example, on Voices, that's very much the outcome of a million conversations we had. And she's made some beautiful visual material for that project. Sleep was a great long conversation between us. You know, we've sat around over the kitchen table for 20 years having ideas and talking to one another about creative ideas and approaches to how creativity can sit in the world, and what should we do next. And how's her work going and how's my work going? I mean, this is what we do. So if we're talking about sources, then I guess that's really the primary source. And then of course we're also on our own creative journeys, exploring, researching, and thinking.A piece like Voices, this comes out of conversations Yulia and I were having in 2017, 2018 in a sort of Trump era, I guess, where you just think, hang on, this isn't right. What's going on here? Okay, so in the way that somebody who isn't an artist, they would just say that to their friends. They would have a conversation, "I don't like what's happening here. This is all wrong." Well, as artists, we also want to have those conversations. We also want to convey our thoughts and feelings about the world we're living in. And it was very simple, in a way, an intuitive response to the things we saw happening around us in our daily lives. Artists are of course just ordinary people, too. And it so happens that instead of having a conversation or having a coffee with a friend, making a piece of music about it - it's the same impulse."Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community.www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter's music featured in this episode is "On the Nature of Daylight” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.
"You know, so much of it is about trying to get to a situation where you can sort of uncover the work. It is sort of out there, and it's about having enough patience, peace of mind, concentration, and opportunity to kind of let it come into the foreground somehow. I think Picasso says that: "I hope that when inspiration strikes, it finds me sitting in the chair." You know, so you do have to be in the chair in order for that process to happen. Or in some way in the chair, maybe not literally, but you need to be ready.Creative work in some way feels like a dialogue with something else. But you know, whether that's something else that is kind of out there, or whether that's something else that is actually just a part of our mind which is normally inaccessible to us, it sort of doesn't matter, in a way. It's sort of not important. But I do think that feeling of there being a dialogue or some sort of inquiry into something else, that's fundamental to creativity.So again, it's something which is about tabula rasa, something which is about fundamentals, things which are universal, kind of the origin of being, in a way. So all of these sorts of gestures, all of these kinds of ideas in Sleep, they all point to the idea of sleep as being, in some ways, a negotiation. A conversation between a kind of existence and non-existence, you know? "Our little life is rounded with a sleep." You know, this idea of being a kind of fundamental state. So all of the musical language, all the musical objects suggest that sort of feeling. And I think we all need that. We all need to connect to these fundamentals, to the big things which are sort of pre-civilization, the things which are before all the noise, the things which are shared, very simple human experiences.I think there's something about our culture which sort of erodes those connections to those experiences. And I think particularly large-scale creative works can allow us to reconnect to them because they feel like alternate realities. So when you go to a Sleep performance, you are entering a kind of a different world.”Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community.www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter's music featured in this episode is "On the Nature of Daylight” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.
Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community."You know, so much of it is about trying to get to a situation where you can sort of uncover the work. It is sort of out there, and it's about having enough patience, peace of mind, concentration, and opportunity to kind of let it come into the foreground somehow. I think Picasso says that: "I hope that when inspiration strikes, it finds me sitting in the chair." You know, so you do have to be in the chair in order for that process to happen. Or in some way in the chair, maybe not literally, but you need to be ready.Creative work in some way feels like a dialogue with something else. But you know, whether that's something else that is kind of out there, or whether that's something else that is actually just a part of our mind which is normally inaccessible to us, it sort of doesn't matter, in a way. It's sort of not important. But I do think that feeling of there being a dialogue or some sort of inquiry into something else, that's fundamental to creativity.So again, it's something which is about tabula rasa, something which is about fundamentals, things which are universal, kind of the origin of being, in a way. So all of these sorts of gestures, all of these kinds of ideas in Sleep, they all point to the idea of sleep as being, in some ways, a negotiation. A conversation between a kind of existence and non-existence, you know? "Our little life is rounded with a sleep." You know, this idea of being a kind of fundamental state. So all of the musical language, all the musical objects suggest that sort of feeling. And I think we all need that. We all need to connect to these fundamentals, to the big things which are sort of pre-civilization, the things which are before all the noise, the things which are shared, very simple human experiences.I think there's something about our culture which sort of erodes those connections to those experiences. And I think particularly large-scale creative works can allow us to reconnect to them because they feel like alternate realities. So when you go to a Sleep performance, you are entering a kind of a different world.”www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast
The Creative Process in 10 minutes or less · Arts, Culture & Society
"For me, the creative process is a sort of a continuous thing in the sense that I'm writing kind of all the time, at some level. And that doesn't mean I'm sitting at my desk all the time, but it does mean that I've got a continuous thought process, a continuous engagement with the material I'm trying to shape. And it's many different kinds of processes. First of all, obviously an intention. You need to have an intention. What is it I'm trying to do? But then you get a process of making things, and then you get into a process of dialogue with the things you've made where they start to take on properties and it feels like the material has intentions of its own.So then you are trying to - it's like herding cats, you know? - sort of corralling this material into some kind of structure, some kind of formed object. Then it becomes like a sculptural process on the large scale. But time is a super important part of that process. You know, there are things which are just not ready. And you have to just wait until they make sense to you in a new way, or you can discover them almost as though someone else had written them. That sort of trying to achieve a kind of objectivity about the material."Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community.www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter's music featured in this episode is "On the Nature of Daylight” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.
Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community."The idea of Studio Richter Mahr connecting with the local school, it's not like everyone has to be a musician, but even if you're not a musician, having the experience of being around music is a positive. It is a gain, it's a thing which just seems to illuminate the rest of life in some way. Again, it goes back to the sort of puzzle of how music works and what it is we were talking about at the beginning. There's something about being around music or being involved with it in whatever way that just seems to lift everything else up. And I think, if we can offer that to local kids, then we should do it. The world is very busy, and we tend to get a bit sidetracked by things that are not important. Creativity is a way to reconnect with important things. And I think the kinds of narratives, the kinds of perspectives that we put into the world with creativity can be a way to elevate the gaze a little bit. And it's true that literature is a big part of what I'm about in a way. I love stories, music, literature, visual art… These are ways to experience how another mind encounters the world. And that, for me, is really the most exciting thing about when you are reading a piece of writing by someone or you are seeing a piece of visual art – you are seeing a window into that person's encounter with reality. That person's biography. What things mean to them. And then you can compare notes with that person. How is it that person sees these things, and how do I see these things? And it's a way to understand one another. And I think that's really one of the most important things that creativity does in our world."www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast
"The idea of Studio Richter Mahr connecting with the local school, it's not like everyone has to be a musician, but even if you're not a musician, having the experience of being around music is a positive. It is a gain, it's a thing which just seems to illuminate the rest of life in some way. Again, it goes back to the sort of puzzle of how music works and what it is we were talking about at the beginning. There's something about being around music or being involved with it in whatever way that just seems to lift everything else up. And I think, if we can offer that to local kids, then we should do it. The world is very busy, and we tend to get a bit sidetracked by things that are not important. Creativity is a way to reconnect with important things. And I think the kinds of narratives, the kinds of perspectives that we put into the world with creativity can be a way to elevate the gaze a little bit. And it's true that literature is a big part of what I'm about in a way. I love stories, music, literature, visual art… These are ways to experience how another mind encounters the world. And that, for me, is really the most exciting thing about when you are reading a piece of writing by someone or you are seeing a piece of visual art – you are seeing a window into that person's encounter with reality. That person's biography. What things mean to them. And then you can compare notes with that person. How is it that person sees these things, and how do I see these things? And it's a way to understand one another. And I think that's really one of the most important things that creativity does in our world."Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community.www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast
Armando Besio"Il bello dell'orrido"BellanoRicomincia “Il bello dell'orrido”, con la formula già sperimentata con ottimo riscontro di pubblico nello scorso anno: raddoppia quindi l'appuntamento dell'ultimo sabato di ogni mese, con un approfondimento cinematografico – di venerdì - del tema trattato. Si parte infatti con una proposta legata al Giorno della Memoria: “Storie personali dentro una storia senza fine” si declina sabato 28 gennaio (ore 17.00) con l'incontro con Emanuele Fiano, autore di “Ebreo” (PIEMME) e Federica Fracassi con il reading “Deve trattarsi di autentico amore per la vita” tratta dal “Diario di Etty Hillesum" (Adelphi).Gli incontri sul palco sono preceduti venerdì 27 gennaio (ore 21, Cinema di Bellano - ingresso gratuito) dalla proiezione di “Anna Frank e il diario segreto”, film d'animazione del regista israeliano Ari Folman: un racconto delicato e avvincente che ripropone in chiave più moderna e accessibile una storia che forse oggi rischia di essere percepita come polverosa dai più giovani, presentato fuori concorso al Festival di Cannes e accolto con grande favore dal pubblico e dalla critica.Sabato 28 gennaio (ore 17) con Armando Besio dialoga Emanuele Fiano, architetto e politico, il cui padre Nedo è l'unico sopravvissuto della sua famiglia al campo di sterminio di Auschwitz-Birkenau. Nel suo libro in uscita in questi giorni, intitolato “Ebreo – Una storia personale dentro una storia senza fine” (PIEMME), Fiano, deputato della Repubblica, già consigliere comunale a Milano dal 1997 al 2006, e poi in Parlamento con il Partito democratico, riflette sul significato profondo di una parola antica e ricca di suggestioni, mettendo in ordine i pensieri ad alta voce. Si interroga sulla sua identità, una domanda che non conosce confini perchè – scrive Fiano - “è il racconto di un viaggio sempre in corso che mi porta a sentirmi così orgogliosamente ebreo, e a volte dolorosamente ebreo”. Perché in fondo, tutti noi siamo in viaggio, verso noi stessi, verso gli altri.IL POSTO DELLE PAROLEAscoltare fa Pensarehtttps://ilpostodelleparole.itQuesto show fa parte del network Spreaker Prime. Se sei interessato a fare pubblicità in questo podcast, contattaci su https://www.spreaker.com/show/1487855/advertisement
Rundown - Ari Folman - 16:23 Gino Geraci - 53:20 Troubadour Dave Gunders - 02:49:09 "Looking Down" by Dave Gunders - 03:02:46 Show begins with rundown of 11-4-22 sentencing of monstrous man who murdered Isabella Thallas and gravely wounded Darian Simon. Michael Close was sentenced to Life plus 48 years by Judge Lisa Arnold and the courtroom scene is described. Find out the chilling words spoken Friday afternoon in Denver District Courtroom 5A. Are we on the threshold of widespread political violence in America? Is this unique to the USA or is something going on all around the world as climate change and new economic realities roil societies? Social media, especially Twitter (Elon Musk), plays its role, and is examined. Filmmaker Ari Folman directed the Oscar-nominated animated documentary film, Waltz with Bashir (2008). Folman's latest project is another animated film based on the life of Anne Frank during the Holocaust, named Where Is Anne Frank? We discuss the return of Bibi Netanyahu and whether he's on the take. Folman's movie, Where is Anne Frank?, is being distributed worldwide and been purchased by many countries but not by USA, Israel, or Germany. Hmmm. Learn filmmaker Folman's perspective on these decisions, and his upcoming eleven-city American tour including Denver on November 9. https://www.du.edu/events/20th-annual-fred-audrey-f-marcus-holocaust-lecture War is hell and Folman ought to know. The scars of his four year service in the IDF is apparent in this interview and his art. Folman is a wise man discouraged about the right turn politics has taken in Israel, and in America. We learn this Israeli's downcast view now of our country and our former president. Gino Geraci has a more favorable view of former President Trump and is a longtime broadcaster on the Christian radio side of the Salem Media Group. Geraci's daily show delivers a mixture of news and culture from a Biblical Worldview and answers questions from a Scriptural perspective. Gino Geraci and host go at it, discussing history and then current events. Radio hosts Dennis Prager, Hugh Hewitt, Dan Caplis and Jenna Ellis are discussed. The political strains between former friends is addressed and Geraci advocates love. Is that possible? https://947fmtheword.com/radioshow/crosswalk We discuss the hate displayed toward poor Paul Pelosi who was struck in the head by a hammer wielding intruder bent on kneecapping the man's 80 year old wife, Nancy Pelosi. How low can our society go? What kind of sickos would perpetrate such disinformation? Why are they often prominent Christians? Show Troubadour Dave Gunders delivers perfect song titled, Looking Down, which is the way current polling looks for Dem chances to retain Congress. Election deniers are poised to win in GA and AZ. Great discussion of disturbing current events including Kyrie Irving, Kanye West and 6th Ave. icy smashups. What is the origin of antisemitism? Do Jews look down on non-Jews or vice versa? And what does the certainty of an eternal afterlife for Christians mean for the rest of us? Does that mean Jews are expendable because they're going to hell anyway? Now, that's looking down. The Craig Silverman Show - every Saturday morning at 9 a.m. Colorado time
After presenting it at the Festival de Cannes, out of competition, Ari Folman is in Italy to present Where is Anna Frank.Ari Folman – Where is Anna Frank was first posted on September 29, 2022 at 9:09 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
This week… Jordan Peele is back and you'll never look up at the sky the same way again with his latest horror, NOPE (6:30); Romain Duris builds a monument for future generations and future Instagram users in EIFFEL (25:22); and Ari Folman's reimagines the story of Anne Frank's imaginary friend Kitty in WHERE IS ANNE FRANK (38:31). Plus, in our “HOT TAKE” (50:23), we ask: should critics be more empathetic towards how hard it is to make a film? And we're doing a live podcast at the London Podcast Festival on Thursday September 15! Book your tickets here You can also pre-order Hanna's book STRONG FEMALE CHARACTER here! If you'd like to join the conversation or suggest a Hot Take for the gang to discuss tweet us at @FadeToBlackPod Follow us: @amonwarmann, @clarisselou, @hannaflint If you like the show do subscribe, leave a review and rate us too!
This week's Empire Podcast sees Chris Hewitt have two fascinating natters with two very different directors: first, Jordan Peele talks about his mysterious third movie, Nope (which gets a big Yep from us), and anoints Chris as the new Oprah Winfrey (you'll have to listen for it to make some kind of sense), and then Ari Folman, the director of Waltz With Bashir and new animated movie Where Is Anne Frank, talks about the state of animation, why it took him eight years to make it, and Liverpool Football Club. Yes, fair warning to non-Reds, but this time it wasn't Chris' fault! Then, in the podbooth, Chris is joined by Helen O'Hara, James Dyer, and Neel Bhatt, making his pod-debut proper and marking the occasion with a box of freshly-baked cookies. Together, our intrepid quartet discuss a freshly-baked listener question about the DCEU, discuss the week's movie news, and review Nope, Eiffel, and Where Is Anne Frank. Enjoy!
In this week's Stream It, Ruby Stokes and Ari Folman chat about the amazing new animated film 'Where is Anne Frank?' Plus, listener Max reviews his favourite film...and Robyn gives the brand-new Stream It 30 Second Challenge a go! And, as always, our Top 5 picks on what you NEED to be watching this week. Want to get involved? Give us five stars and leave us a comment (we read them all!) or head over to funkidslive.com/streamit to hear your voice on the podcast!See omnystudio.com/listener for privacy information.
Nope is the latest film from Oscar-winning writer-director Jordan Peele, whose breakthrough was the critically acclaimed 2017 horror Get Out. Tom Sutcliffe speaks to Jordan about reinventing genre- from black horror to sci-fi-western- and examining the exploitation of black talent in Hollywood's history. When the trombonist Peter Moore plays at the Proms next Tuesday it will be the first time that the trombone has featured as a solo instrument at the Proms in twenty years. The former Young Musician of the Year and now Professor of Trombone at the Guildhall School of Music performs live in the studio. Ari Folman, director of the Oscar-nominated film Waltz with Bashir, has a new animated movie coming out this month. Where Is Anne Frank is based on the diary written by Jewish teenager Anne Frank, while she and her family lived in hiding in Nazi-occupied Amsterdam during World War Two. Film critic Tara Judah joins Tom to review the film for Front Row. Jan Patience, visual art columnist for the Sunday Post, has been taking in this year's Edinburgh Art Festival. With over 100 artists presenting their work and 35 exhibitions, it's been no small task. She tells Tom about the highlights including the work of Japanese photographer Ishiuchi Miyako, a centenary celebration of the Scottish artist Alan Davie, and Matisse's Jazz series as it's never been seen before. Presenter: Tom Sutcliffe Producer: Jerome Weatherald Image: Daniel Kaluuya as OJ in the film Nope Credit: Universal Studios
Episode Seven - This week were headed to the Middle East as we review Ari Folman's 2008 First Lebanon war epic - Waltz with Bashir.Facebook - https://www.facebook.com/ScuttlebuttMovieReviewsInstagram- https://www.instagram.com/scuttlebuttreviews/?hl=enYoutube -https://www.youtube.com/channel/UCwbgZzUyQc--6MUwA_CtFvQPatreon -https://www.patreon.com/Scuttlebuttpodcast
Po komikse izraelský režisér Ari Folman upravil príbeh slávneho denníka aj do animovaného filmu, ktorý zasadil do moderného Amsterdamu. Veľmi netradične v ňom ožije Kitty - imaginárna kamarátka Anny Frankovej.
Además del estreno de 'Alcarràs', la película que hay que ver en cine esta semana, en este episodio charlamos con Aitana Sánchez Gijón de su nueva cinta, 'La jefa', nos lo pasamos pipa con el slasher de Ti West y comentamos 'Dónde está Anne Frank', la nueva obra de animación con Ari Folman. También recordamos a Juan Diego y hacemos repaso de las nuevas series de estreno
Es uno de los eventos cinematográficos del año para el cine español. El estreno de ‘Alcarràs', la segunda película de Carla Simón que ganó el Oso de Oro en Berlín. Una obra monumental sobre la tierra, el campo, la agricultura y la familia con su visión humanista y transparente. A las salas llega también la segunda película de ‘Downton Abbey', un divertido slasher que mezcla gore y porno en ‘X' o la nueva cinta de animación de Ari Folman sobre Ana Frank. En series, volvemos a Baltimore con David Simon, el creador de ‘The Wire', y visitamos el rodaje de ‘La ruta'.
Hoy viajamos a territorio metarreferencial con esta loca reflexión sobre la fama, el cine y la obsesión por el consumo de ficción. En "El congreso", Robin Wright se interpreta a si misma en un mundo futuro en el que actrices como ella son escaneados y usados digitalmente por la industria del cine. Ari Folger usó como base una novela de Stanislav Lem para facturar una película de animación épica y lisérgica que homenajea a los dibujos animados clásicos de Estados Unidos.
Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. We are back talking about the highlights of the Cannes film festival with critic Amy Taubin. Last time we talked about the Velvet Underground and now we move on to another musical selection, Annette, the new film from Leos Carax, starring Adam Driver and Marion Cotillard. We also devote some time to two movies that haven't been talked about as much in the frenzy of the festival's first week: A Chiara, from Jonas Carpinagno, and Ari Folman's newest animated feature, Where Is Anne Frank. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass
Muchas recomendaciones para esta semana. De Nail Bomber y El hombre que mató al Quijote (de Terry Gilliam) en Netflix a documentales sobre Pink, Coldplay y Juanes en Prime Video, además de una joya de Jim Jarmusch, Only Lovers Left Alive. También comentamos 1971, el año que cambio a la música, disponible en AppleTV+, películas de Tatiana Huezo en FilmInLatino (La Tempestad y El lugar más pequeño), y El Congreso de Ari Folman en Mubi. Y cerramos con un repaso de la filmografía de Clint Eastwood, quien cumplo 91 años, disponible en distintas plataformas, tanto de suscripción, como de renta/venta: Unforgiven, Mystic River, Richard Jewel, A Perfect World, Medianoche en el Jardín del Bien y el Mal, Absolute Power, Gran Torino, Million Dollar Baby, Jersey Boys, American Sniper, Los Puentes de Madison County, Sully, J. Edgar, Invictus, Flags of our fathers, Letters from Iwo Jima, Bird, El Bueno, El Malo y El Feo, Por un puñado de dólares, Where eagles dare y Harry, el Sucio. See acast.com/privacy for privacy and opt-out information.
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