Podcast appearances and mentions of Bernard Herrmann

In a show packed, as always, with quality music, your host Jason Drury begins the show with THE JAMES BOND SUITE from the compilation album JOHN BARRY - THE POLYDOR YEARS: THE CONCERT JOHN BARRY (Quartet Records) by John Barry Jason then continues with THE REIVERS (CONCERT SUITE) by John Williams from La La Land Records new 2-CD set release of music from the classic 1969 film starring Steve McQueen. That is followed by a concert suite of music from the 1980s Gerry Anderson ‘Supermacromation' series TERRAHAWKS (Silva Screen Records) by Richard Harvey. Jason then continues with the "Main Title" from the original 1963 film THE PINK PANTHER by Henry Mancini, released in a new 2-CD set by Quartet Records over Christmas 2024. Afterwards, you'll hear selections from Laurie Johnson's swashbuckling score for THE LADY AND THE HIGHWAYMAN (Dragon Domain Records), ABBOTT AND COSTELLO MEET FRANKENSTEIN from the crowdfunded re-recording of Frank Skinner's score from Intrada Records and a suite from the 1961 Disney family drama GREYFRIARS BOBBY from the album THE FILM MUSIC OF FRANCIS CHARGIN from Naxos Records. Jason then rounds off the show with ‘The End' from another recent release from Quartet Records, another 2-disc reissue, this time from the 1991 Martin Scorsese remake of CAPE FEAR by Bernard Herrmann, adapted, arranged and conducted by Elmer Bernstein. Enjoy! —— Special thanks to our Patreon supporters: Matt DeWater, David Ballantyne, Joe Wiles, Maxime, William Welch, Tim Burden, Alan Rogers, Dave Williams, Max Hamulyák, Jeffrey Graebner, Don Mase, Victor Field, Jochen Stolz, Emily Mason, Eric Skroch, Alexander Schiebel, Alphonse Brown, John Link, Andreas Wennmyr, Matt Berretta, Eldaly Morningstar, Jim Wilson, Glenn McDorman, Chris Malone, Steve Karpicz, Deniz Çağlar, Brent Osterberg, Jérôme Flick, Sarah Brouns, Aaron Collins, Randall Derchan, Angela Rabatin, Michael Poteet, Larry Reese, Thomas Tinneny, William Burke, Rudy Amaya, Stacy Livitsanis, Rick Laird, Carl Wonders, Nathan Blumenfeld, Lee Wileman, Daniel Herrin, Scott Bordelon, James Alexander, Brett French, Ian Clark, Ron, Andy Gray, Joel Nichols, Steve Daniel, Corey O'Brien —— Cinematic Sound Radio is fully licensed to play music by SOCAN. Support us on Patreon https://www.patreon.com/cinematicsoundradio Check out our NEW Cinematic Sound Radio TeePublic Store! https://www.teepublic.com/stores/cinematic-sound-radio Cinematic Sound Radio Web: http://www.cinematicsound.net Twitter: http://www.twitter.com/cinsoundradio Facebook: http://www.facebook.com/cinematicsound Cinematic Sound Radio Fanfare and Theme by David Coscina https://soundcloud.com/user-970634922 Bumper voice artist: Tim Burden http://www.timburden.com

Travis Bickle, a lonely Vietnam War veteran working as a NYC taxi driver, descends into violent vigilantism as his mental state deteriorates and his disgust with urban decay intensifies. Martin Scorsese's legendary 1976 character study features an iconic performance by Robert De Niro that continues to influence cinema decades later.• Robert De Niro's transformative performance as Travis Bickle remains the film's standout element• Scorsese's portrayal of 1970s New York City creates a character of its own through gritty, atmospheric cinematography• Bernard Herrmann's jazz-influenced score perfectly enhances the film's sense of isolation and brewing violence• The film's ambiguous portrayal of its protagonist has led to controversial interpretations over the decades• Travis Bickle's character has influenced numerous films about isolated, disturbed individuals, most notably 2019's "Joker"• The "You talkin' to me?" mirror scene has become one of cinema's most referenced and parodied moments• Modern viewers may find the pacing deliberately slow compared to contemporary filmsLetterbox'd Synopsis: A mentally unstable Vietnam War veteran works as a night-time taxi driver in New York City where the perceived decadence and sleaze feed his urge for violent action.

Ochenta años después de su histórica emisión, Onda Cero presenta la primera adaptación en español de On a Note of Triumph, el mítico programa de radio escrito y dirigido por Norman Corwin que la cadena CBS emitió el 8 de mayo de 1945, en pleno Día de la Victoria en Europa. En Viento de triunfo, Carlos Alsina recupera aquel libreto inolvidable —con la música original de Bernard Herrmann— para ofrecer una versión fiel en tono, forma y espíritu. Más que un homenaje a la victoria, es una reflexión profunda sobre el coste de la guerra, la memoria colectiva y el papel de Estados Unidos en el nuevo orden mundial. Un especial sonoro con alma de documental y textura de archivo, en el que han participado más de 40 profesionales de Onda Cero, y que revive uno de los momentos más impactantes de la historia de la radio. Porque en 1945, la radio fue mucho más que un medio: fue la conciencia de un país.

Episode 199 – Blitz//Berlin: From Punk Gigs to Horror ScoresOn this episode of Another Goddamn Horror Podcast, we sit down with Martin McPhail of the acclaimed composing trio Blitz//Berlin to talk about the craft of scoring some of our favorite horror films. Known for their work on cult hits like The Void and Psycho Goreman, Martin gives us a detailed look into their creative process, breaking down how they build suspense, emotion, and atmosphere through music. He shares how the group went from playing in a small punk band to becoming one of the most in-demand teams in modern horror composition.The conversation also drifts into our own favorite horror composers. Ryan explains why he thinks Jaws is both the best and worst horror score of all time. Jonas talks about the soundtracks that shaped his love for the genre. Graham goes deep on his appreciation for Frankie Freako and the weird gems that deserve more recognition. We touch on the influence of legends like John Carpenter, Bernard Herrmann, and Goblin, and how their legacy continues to inspire new generations of horror musicians.This episode is packed with insight, stories from behind the scenes, and a whole lot of love for the music that makes horror movies truly terrifying. If you're into horror soundtracks, independent genre films, or just want to hear how punk rock energy can evolve into cinematic brilliance, this one's for you.

Jackie and Greg ascend Mount Rushmore for Alfred Hitchcock's NORTH BY NORTHWEST from 1959. Topics of discussion include Hitchcock's controlled direction, the film as a series of set pieces, how its outlandishness is pitched just right, and why it's his horniest film.#53 on Sight & Sound's 2012 "The 100 Greatest Films of All Time" list.https://www.bfi.org.uk/sight-and-sound/polls/greatest-films-all-time-2012#45 on Sight & Sound's 2022 "The Greatest Films of All Time" list.  https://www.bfi.org.uk/sight-and-sound/greatest-films-all-timeCheck us out on Instagram: instagram.com/sceneandheardpodCheck us out at our official website: sceneandheardpod.comGraphic Design: Molly PintoMusic: Andrew CoxEditing: Greg KleinschmidtGet in touch at hello@sceneandheardpod.comSupport the showSupport the show on Patreon: patreon.com/SceneandHeardPodorSubscribe just to get access to our bonus episodes: buzzsprout.com/1905508/subscribe

It shouldn't be any surprise that extortion is a common practice in government. After the 1980 to 1988 war, Saddam Hussein asked President George H. Bush what he was going to give him for fighting Iran. Bush replied, "Nothing. You didn't win," So Hussein invaded Kuwait for its oil, which made Bush invade Iraq. Extortion can have serious consequences. President Trump says he'll stop the Ukraine/Russia war if Ukraine will give back 350 billion. MUSIC James Newton Howard, Lalo Schifrin, John Barry, Bernard Herrmann, David Shirer

We cover Marnie this week. Hitchcock's controversial 1964 psychodrama about a thief and the man who loves her...err perhaps that should be desires her. Or covets het. We get into it.***SPOILER ALERT*** We do talk about this movie in its entirety, so if you plan on watching it, we suggest you watch it before listening to our takes.Details: A Universal Picture, produced and directed by Alfred Hitchcock. Written by Jay Presson Allen, based on the Winston Graham novel. Starring Tippi Hedren, Sean Connery, Diane Baker, Martin Gabel, Mariette Hartley, Bruce Dern, Lousie Latham. Cinematography by Robert Burks. Music by Bernard Herrmann. Ranking: 20 out of 52. Ranking movies is a reductive parlor game. It's also fun. And it's a good way to frame a discussion. We aggregated over 70 ranked lists from critics, fans, and magazines Marnie got 1,957 ranking points.

MONSTER PARTY HAS A SONG IN ITS HEART.  NOW WE'LL NEVER GET IT BACK IN ITS JAR! JAMES GONIS, SHAWN SHERIDAN, LARRY STROTHE, and MATT WEINHOLD, get their toes a tappin' for this monstrous music festival of an episode. Follow the bouncing ball as we present… SOUNDTRACKS: THE SONGS!!! Soundtracks are usually remembered for the emotion-evoking melodies that gracefully punctuate the moments of a film. There are many masters of this remarkable craft: Jerry Goldsmith, John Williams, Tangerine Dream, Vangelis, John Barry, Lalo Schifrin, Goblin, John Carpenter, Bernard Herrmann, and countless others that only James Gonis could remember. But occasionally, plopped in the middle of all this symphonic pageantry, is an actual song with lyrics that makes us wish for a Karaoke bar strictly for nerds. Get ready for a sinister sing-a-long as we chart the hits from campy sci-fi favorites like The Blob and The Green Slime, bawdy beach films, 70's and 80's horror classics, genre TV shows, classic kaiju films, the world of James Bond, Star Trek and Star Wars, an odd sampling of Jerry Lewis films, and sooooo much more! Helping us DJ this shindig of shocks is a friend of the show, who was our last in-studio guest before COVID 19 screwed everything up. He's a soundtrack journalist, editor, genre columnist, podcaster, and supervises soundtrack temp tracks for many films. He's also a really great actor! Please welcome back… DANIEL SCHWEIGER! (FILM MUSIC LIVE, ON THE SCORE, FANGORIA, CINEFANTASTIQUE, HORROR FAN, THE NEW YORK REVIEW OF RECORDS, FILM SCORE MONTHLY, BUBBA HO-TEP, PHANTASM RAVAGER, HAPPY HORROR DAYS, BLOODY BLOODY BIBLE CAMP, PACIFIC BREEZE, HE'S FOR THE STREETS) THIS EPISODE IS SO CATCHY, IT MIGHT JUST RAISE DICK CLARK FROM THE DEAD! HE IS DEAD, RIGHT?

The Mercury Theatre on the Air || Treasure Island | Broadcast: July 18, 1938Orson Welles radio adaptation of the Robert Louis Stevenson story, with its setting being half in England and half on the Island. The broadcast, which omits "My Sea Adventure", included music by Bernard Herrmann.: : : : :My other podcast channels include: MYSTERY x SUSPENSE -- DRAMA X THEATER -- SCI FI x HORROR -- COMEDY x FUNNY HA HA -- VARIETY X ARMED FORCES.Subscribing is free and you'll receive new post notifications. Also, if you have a moment, please give a 4-5 star rating and/or write a 1-2 sentence positive review on your preferred service -- that would help me a lot.Thank you for your support.https://otr.duane.media | Instagram @duane.otr#orsonwelles #oldtimeradio #otr #radioclassics #citizenkane #oldtimeradioclassics #classicradio #mercurytheatre #duaneotr:::: :This podcast uses the following third-party services for analysis: Podtrac - https://analytics.podtrac.com/privacy-policy-gdrp

My name is Frank Herrlinger. I've created and run an online academy that teaches composers how to master Interval Theory—a groundbreaking and intuitive approach to composition. Join me in a live Intro Event: https://musicintervaltheory.academy/intro/ My mission is to help composers break free from generic progressions and write music that truly stands out. Many of our academy members, who range from aspiring to professional composers, go on to compose original scores for films, TV, and video games. And they love their competitive advantage!

Marco Testoni"Come si ascolta un film?"Guida all'ascolto per inconsapevoli spettatori di colonne sonoreEdizioni Efestowww.edizioniefesto.itMarco Testoni – compositore, music supervisor e didatta – ci conduce alla scoperta della più invisibile e misteriosa delle forme d'arte: la colonna sonora. Una guida che rispondendo a una semplice domanda rovescia il senso dell'esperienza cinematografica, uno spettacolo che dovrebbe essere goduto appieno non solo con la vista ma anche l'udito. Come si ascolta un film? è un libro che con naturalezza e levità vuole raccontare la musica per cinema liberandoci dal ruolo di ascoltatori inconsapevoli. Una storia che parte dalle rumorose sale del cinema muto fino ad arrivare alle soluzioni musicali più tecnologiche dei nostri giorni. Dal mickey mousing al sound design, da Bernard Herrmann, Ennio Morricone, John Williams, Vangelis, Ryuichi Sakamoto, Hans Zimmer e Johann Johannsson passando per il post rock, l'elettronica, il minimalismo e tutti gli altri protagonisti che nel giro di cento anni hanno descritto l'evoluzione di un linguaggio musicale popolare divenuto universale.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

This week we take a look at the only Alfred Hitchcock movie that was based on fact. The Wrong Man stars Henry Fonda as a night club musician who gets mistakenly identified as an at-large armed thief.***SPOILER ALERT*** We do talk about this movie in its entirety, so if you plan on watching it, we suggest you watch it before listening to our takes.Details: A Warner Brothers Picture, produced and directed by Alfred Hitchcock. Written by Maxwell Anderson and Angus MacPhail, based on The True Story of Christopher Emmanuel Balestrero by Maxwell Anderson. Starring Henry Fonda, Vera Miles, Anthony Quayle, Esther Minciotti. Cinematography by George Tomasini. Music by Bernard Herrmann. Ranking: 21 out of 52. Ranking movies is a reductive parlor game. It's also fun. And it's a good way to frame a discussion. We aggregated over 70 ranked lists from critics, fans, and magazines The Wrong Man got 1,881 ranking points.

durée : 00:59:22 - Les musiques du Nouvel Hollywood (3/4) - par : Thierry Jousse - Au menu de ce troisième épisode, quelques ténors du Nouvel Hollywood qui ont laissé des traces musicales inoubliables. L'occasion de croiser, par exemple, Bernard Herrmann ou Nino Rota…

Interpreten: Stefan & Daniel Gottfried Label: gottfried music EAN: 4069493128086 Haben Sie sich vielleicht auch schon einmal gefragt, was in Wiener Kirchen abends und nachts passiert, wenn die Türen und Tore verschlossen sind? Zugegeben, meistens gar nichts. Aber hin und wieder finden sich Musikerinnen und Musiker mit ihren Tontechnikern und einem Haufen Technik-Equipment ein und produzieren tolle Aufnahmen. Wie jene von Stefan und Daniel Gottfried, entstanden in der Wiener Jesuitenkirche. Michael Gmasz hat auch dazu wieder die weiterführenden Infos. Mit Debussy und Ravel …  ins Kino – so lautet der etwas ungewöhnliche Titel unserer dieswöchigen CD-Empfehlung. So ungewöhnlich der Titel und die Stückauswahl, von den beiden Genannten hin zu Nino Rota, John Williams, Ennio Morricone, Bernard Herrmann und dem Schlager Mona Lisa von Evans und Livingston, so ungewöhnlich mutet auf den ersten Blick auch die Besetzung an – Saxophon und Orgel. Doch die beiden Brüder Stefan Gottfried, der Saxophonist, und Daniel Gottfried, der Organist, musizieren schon seit Jahren miteinander und beweisen nun auch auf CD ein erstes Mal, wie gut die beiden Instrumente harmonieren. Sämtliche Werke auf dieser CD sind eigens für die Besetzung Saxophon und Orgel arrangiert, mit den französischen Impressionisten Claude Debussy und Maurice Ravel haben sich die Gottfried Brüder Musik ausgesucht, die schon selbst Bilder im Kopf entstehen lässt, noch bevor es den Kinematographen und erste Filmmusiken gegeben hat. So beginnt die CD mit dem Nachmittag eines Fauns schon so, als hätte es Debussy nie anders gedacht. Mit dem Solosaxophon, dem bald darauf die Orgel einen misterioso Teppich legt, fast wie bei einer Herrmann'schen Filmmusik. Ganz andere Farben dann bei der ersten Arabeske und der Sonatine von Maurice Ravel. Stefan Gottfried wechselt immer wieder zwischen Alt- und Sopransaxophon, während Daniel im wahrsten Sinne des Wortes alle Register der modernen Späth-Orgel in der Wiener Jesuitenkirchen zieht. Apropos Hermann, seine Psycho Filmmusik eröffnet den zweiten Teil der CD, bei dem dann tatsächlich das Kino im Mittelpunkt steht. Herrlich hier vor allem die Suite zusammengestellt und arrangiert aus Ausschnitten von Nino Rotas legendärer Filmmusik zu Francis Ford Coppolas Paten-Trilogie. (mg)

The Hitchhiker is a chilling horror drama that aired on the Suspense series in 1942 and has gripped listeners ever since. Written by the brilliant Lucille Fletcher and featuring haunting music by Fletcher's husband, Bernard Herrmann, this timeless tale is a masterclass in tension and atmosphere. Orson Welles delivers a tour-de-force performance as Ronald Adams, a young man on a cross-country road trip who encounters something that he cannot understand.Considered one of the greatest old time radio dramas, The Hitchhiker has left a lasting legacy, inspiring countless adaptations in film, radio, and graphic novels. In this episode, Greg and Mary dive deep into the eerie themes and meaning behind this remarkable story. They also talk about the sound effects, the genius of Lucille Fletcher's writing, and what inspired Fletcher to create this unforgettable piece of suspense. Listen now and immerse yourself in a truly legendary radio experience.Thank you for listening! If you like the show, please share us with your friends and family AND give us a review! If you have a suggestion for a show or a question, please drop it in the comments!Watch us on YouTube:https://www.youtube.com/@shivershowpodcastFollow The Shiver Show https://www.facebook.com/theshivershowor check out our website at https://www.timewarpstudios.com Other podcast platforms: https://linktr.ee/theshivershow

En este episodio recuperamos los reportajes sobre cuatro de las mejores bandas sonoras de la historia de la música cinematográfica: “La guerra de las galaxias” de John Williams, “Doctor Zhivago” de Maurice Jarre, “Vértigo” de Bernard Herrmann y la llamada “Trilogía del dólar” que incluye las bandas sonoras de “Por un puñado de dólares”, “La muerte tenía un precio” y “El bueno, el feo y el malo”, las tres compuestas por Ennio Morricone.

En este episodio recuperamos los reportajes sobre cuatro de las mejores bandas sonoras de la historia de la música cinematográfica: “La guerra de las galaxias” de John Williams, “Doctor Zhivago” de Maurice Jarre, “Vértigo” de Bernard Herrmann y la llamada “Trilogía del dólar” que incluye las bandas sonoras de “Por un puñado de dólares”, “La muerte tenía un precio” y “El bueno, el feo y el malo”, las tres compuestas por Ennio Morricone.

Encerrando o ano, o nosso tradicional episódio sobre grandes trilhas para filmes, assim, polêmicos. Este ano, vamos de A Fúria, onde Kirk Douglas encontra John Cassavetes que encontra Brian De Palma que encontra John Williams que encontra o seu Bernard Herrmann interior. É pra explodir qualquer um!

It's all come down to this: Episode IX, The Rise of Skywalker. Drew had PROBLEMS with this movie… so many problems. Eric thought John Williams ripped off Bernard Herrmann 60 years later. J thought there was nothing new and nothing surprising. Along the way they reference Ronnie James Dio, Drew's Roomba, and Spinco. Housekeeping begins at 1:12:25 during which they discuss Father and Mother Anderson's Thanksgiving Adventures in Willow, the kindness of strangers, the perils of being an old man, Jonbenet Ramsey, and tech advice from Brother J.   File length 1:40:49 File Size 64.8 MB   Theme by Jul Big Green via SongFinch Subscribe to us on Apple Podcasts Listen to us on Stitcher Like us on Facebook Follow us on Twitter Send your comments to show@notinacreepyway.com Visit the show website at Not In A Creepy Way

Bernard Herrmann und Alfred Hitschock waren Hollywoods Dreamteam in Sachen Hochspannung. Höhepunkt ihrer Zusammenarbeit war 1960 "Psycho". Herrmann verarbeitet seinen Soundtrack mit der legendären Duschszene später zu einer Suite für Streichorchester. Von Michael Arntz.

This week, we're launching a new monthly series called Meet the Contributors. It's where you can meet some of the many creative people who help make this magazine, our podcasts and our events possible. We'll profile the writers, photographers, filmmakers and creatives who make the FJ special...and hear about what other projects they're working on. This month, we're talking to Vancouver-based editor and writer Brian Lynch. Over the years, he's profiled Paul Pigat and builder Warren Murfitt for us. Of course, when he's not writing or editing, he's playing guitar. Brian just released a wild new record where he interprets the soundtrack music of Bernard Herrmann. He tells us all about it, how he got started as a writer/editor, and more. Check out Lynch's new album here: https://blynch1.bandcamp.com/album/circle-spiral We'll be sharing future Meet the Contributors installments over on our Patreon page: https://www.patreon.com/fretboard_journal  

This week, after John briefly discusses "Goodrich", the new Michael Keaton picture written and directed by Hallie Meyers-Shyer, the boys take on another Hitchcock classic to highlight the film year 1959. Chosen by our random year generator, 1959 was a doozy for world and civil news, making a mistaken identity spy thriller the perfect film to highlight. You'll have to listen to see if the boys think this film sits on the Mount Rushmore (get it?) of Hitchcock's classics. Our phone number is 646-484-9298. It accepts texts or voice messages.  0:00 Intro;4:48 “Goodrich” mini-review; 7:09 Gripes; 12:39 1959 Year in Review; 26:28 Films of 1959: “North By Northwest”; 1:04:16 What You Been Watching?; 1:14:14 Next Week's Movie Announcement Additional Cast/Crew: Cary Grant, Eva Marie Saint, James Mason, Jessie Royce Landis, Leo G/ Carroll, Martin Landau, Bernard Herrmann, Ernest Lehman, Gerald Devries, Herbert Coleman, George Tomasini, Robert Burks, Andie MacDowell, Mila Kunis, Laura Benanti, Carmen Ejogo, Michael Urie. Hosts: Dave Green, Jeff Ostermueller, John Say Edited & Produced by Dave Green. Beer Sponsor: Carlos Barrozo Music Sponsor: Dasein Dasein on Spotify: https://open.spotify.com/artist/77H3GPgYigeKNlZKGx11KZ 
Dasein on Apple Music: https://music.apple.com/us/artist/dasein/1637517407 Additional Tags: The Wizard of Oz, Michigan kicking GM's ass, Michael Moore, Syrian Aramaic, Matilda, The Sopranos, Star Wars, Acolyte, Uncle Buck, Godzilla Minus One, Auckland, New Zealand, Wilhelm Yell, Wilhelm Scream, Prince Charles, King Charles, John Wayne, Charleton Heston, Preparation H, hemorrhoids, Harr yDean Stanton, CVS, Duane Reade, Walgreens, Road Rash, The Lion King, Pivot, Ross, Friends, Couch, NASA, Killers of the Flower Moon, Leonardo DiCaprio, Robert DeNiro, Martin Scorcese, Lily Gladstone, Jesse Plemmons, David Ellison, David Zazlav, Al Jolson, Oscars, Academy Awards, BFI, BAFTA, BAFTAS, British Cinema. England, Vienna, Leopoldstadt, The Golden Globes, Past Lives, Monarch: Legacy of Monsters, The Holiday, The Crown: Season 6 part 2, Napoleon, Ferrari, Beer, Scotch, Travis Scott, U2, Apple, Apple Podcasts, 101 Dalmatians, The Parent Trap, Switzerland, West Side Story, Wikipedia, Adelaide, Australia, Queensland, New South Wales, Melbourne, Indonesia, Java, Jakarta, Bali, Guinea, The British, England, The SEC, Ronald Reagan, Stock Buybacks, Marvel, MCU, DCEU, Film, Movies, Southeast Asia, The Phillippines, Vietnam, America, The US, Academy Awards, WGA Strike, SAG-AFTRA, SAG Strike, Peter Weir. 

This week, we read the novel by Robert Bloch and then rewatched the timeless classic horror film, chocolate syrup and all!From the nail biting suspense of Miss Crane's flight with the stolen money, to Norman's assurance that “a boy's best friend is his mother”, the film transcends the horror genre as practically a perfect picture.Today's root beer is Route 66.Intro and Outro music by Stereoalex on Pond5Send us a text

Min 4: Los Anillos de poder 2x7 ¿el mejor capítulo? Menudo revuelo- júbilo entre los más seguidores, indignación entre los más puristas- el que ha provocado el capítulo “Condenados a morir” en The Rings of Power. La ambiciosa génesis con la que se ha atrevido Prime Video emboca su final con guerra y asedio colosal y prometiendo sensaciones para el recuerdo. Raquel Hernández y Roberto Lancha analizan el que ya se define como el mejor capítulo de la serie. Min 15: DOS NOVEDADES Y UNA RECUPERACIÓN PREMIUM La experta en series de Hobby Consolas nos trae además tres títulos muy interesantes y diferentes entre sí. Uno lo rescatamos de Movistar +, se titula “La Fiebre”, lleva el sello de Canal + Francia y se ha ido haciendo fuerte desde este verano por la calidad y la valentía de su propuesta. Y los otros dos son novedades recién subidas al catálogo de Apple TV y de Netflix: el thriller mejicano sobre médicos “Familia de Medianoche” y la comedia romántica “Nadie quiere esto”. Min 33: BSO “BATMAN: EL CRUZADO ENMASCARADO” Y atención al as en la manga que de forma sorpresiva pone sobre el diván de la música de series nuestro crítico Ángel Luque. Lleva la silueta de un murciélago y tiene que ver con la apuesta de Prime Video que está hacinedo las delicias de los puristas de “Batman”. El murciélago de DC resucita en formato animado y con sabor a comic vintage bajo el título de Batman: El cruzado enmascarado”. Y el porqué de la elección tiene una marca de agua, la del compositor alemán Frederick Wiedmann, que fusiona ecos de cine negro con toques de Elfman y de Bernard Herrmann que nos dejarán un curioso sabor de boca.

GGACP celebrates National Piano Month (yes, National Piano Month) by revisiting this 2017 interview with songwriter/composer-turned-dramatist (and lifelong pianist!) Rupert Holmes. In this episode, Rupert discusses (among other essential topics) the brilliance of Bernard Herrmann, the lesser-known films of Boris Karloff and the fine art of “cracking” celebrity impressions. Also, Frank Gorshin channels George Burns, Gilbert mimics Sydney Greenstreet, Bob Hope goes psychedelic and Rupert remembers his childhood hero, Jerry Lewis. PLUS: “House of Wax”! The Great Gildersleeve! Grandpa Munster rocks out! Rupert” collaborates” with Mickey Rooney! And the boys pay tribute to “Old Dark House” movies! Learn more about your ad choices. Visit megaphone.fm/adchoices

Pre-order The Memory Palace book now, pal. On Bookshop.org, on Amazon.com, on Barnes & Noble, or directly from Random House.The Memory Palace is a proud member of Radiotopia from PRX. Radiotopia is a collective of independently owned and operated podcasts that's a part of PRX, a not-for-profit public media company. If you'd like to directly support this show and independent media, you can make a donation at Radiotopia.fm/donate. I have recently launched a newsletter. You can subscribe to it at thememorypalacepodcast.substack.com. Music Pure (Ride the World) by (the extraordinary) Brendan Eder Ensemble Violette... from Philippe Sarde's score to Violette et Francois Merry-go-Round and People on Sunday by Domenique Dumont Dane by Nils Frahm Two different versions of Debussy's Passepied, the piano one is performed by Seong-Jin Cho, the synth one by Isao Tomita Love from Matthew Herbert Memorial Park from Bernard Herrmann's score to Obsession. Phantom Signals by Tvarvargen NotesThere's plenty written about Ken Allen, but I particularly appreciated Jason Hribal's book Fear of the Animal Planet: The Hidden History of Animal Resistance.

You talkin' to me? No, NostalgiaCast is talking to you about Martin Scorsese's TAXI DRIVER, one of the most controversial films of the 1970s and still one of the most divisive films of its esteemed director's career. Listen as Jonny and Darin discuss the subjective camerawork and brutal violence that immerse you in New York City as hell on earth, plus the nuances and performances that continue to fascinate (and repel) audiences today.

Support Breaking Walls at https://www.patreon.com/thewallbreakers Willam Spier was born on 10/16/1906 in New York City. He began his career as an editor at Musical America Magazine, eventually becoming its chief critic. His radio career began in 1929, when he produced and directed The Atwater-Kent Hour, a Met Opera presentation. He soon became a valuable member of BBD&O's growing staff of radio writers & directors. In 1931 Spier went to Hollywood to direct one of the first big budget radio programs in southern California. Coming back to New York, he was one of the people responsible for the creation of The March of Time. In 1940 Spier left BBD&O & began working for CBS. He was soon their story editor. Meanwhile, CBS decided to bring Forecast back. Season two premiered on 7/14/1941, with a play from Hollywood called The Arabian Nights. It starred Marlene Dietrich & was directed by Charles Vanda. The following week Kay Thompson starred in 51 East 51 from New York. It was an on-the-scene comedy at a fictitious upscale New York bar. Her director that evening was Bill Spier. The two were soon dating, marrying in 1942. Two weeks later, Spier produced & directed a Forecast episode called Song Without End, starring Burgess Meredith & Margo. It was to be a biopic on musicians and composers. That autumn Vanda & Spier were in New York, pushing for the launch of Suspense as a CBS cost-sustained show. On Sunday 12/71941 Japan attacked Pearl Harbor & Manilla, finally thrusting the US into World War II. The next Sunday, as CBS prepared for the Monday multi-network broadcast of Norman Corwin's We Hold These Truths, Bill Paley finally approved Suspense's launch as a thirteen-week summer series in 1942. Vanda got Harold Medford to come East to write. Although Bill Spier was head of CBS's New York Story Department, it was Harold Medford who polished the first seven shows. Vanda also got CBS musician Bernard Herrmann to compose the show's score. Suspense premiered on Wednesday June 17th, 1942 at 10:30PM eastern time. The first episode, “The Burning Court” was adapted from a story by John Dickson Carr. Seeking a star, Vanda chose Charlie Ruggles. Known for his comedic flair, Ruggles was in New York for the opening of his latest film, Friendly Enemies. Vanda believed that Suspense could cast against type. It came to be a show staple. Charles Vanda wound up only being in charge of the first five shows. He went into the army. The second show was the John Collier mystery “Wet Saturday,” a grim tongue-in-cheek tale of murder. The final three shows by Vanda were a take on the Lizzie Borden case, a murder story aboard a train, & a thrill kill, “Rope” that Alfred Hichcock later shot with James Stewart. With Vanda entering the service Bill Spier took over the production. Spier's first episode as producer was on 7/22/1942. On 9/2 Suspense broadcast Lucille Fletcher's “The Hitchhiker.” At the time Fletcher was married to Bernard Herrmann. “The Hitchhiker” starred Orson Welles. Welles & Spier had known each other since The March of Time. Welles just returned from Brazil where he'd been promoting greater Pan-Americanism on behalf of RKO. It was his first appearance on Suspense. When the thirteen-week summer run ended, CBS was set to cancel the series. The last episode was called, “One Hundred In the Dark.” It aired on September 30th, 1942. In the end Suspense was saved by the amount of fan mail & phone calls to CBS. Spier pushed to link the show with a prestigious mystery author. He approached the agent of John Dickson Carr, who'd written “The Burning Court,” & a deal was soon in place for him to write exclusively for the program. CBS picked up Suspense for the fall season and put it on the air Tuesdays at 9:30PM beginning 10/27. John Dietz returned as director and a foreboding narrator, “The Man In Black,” was played by Ted Osborne.

Un dernier tour de piste en compagnie du grand Franz Waxman pour l'équipe de Total Trax, avec rien de moins que le chef d'œuvre absolu du compositeur, qualifié par son ami Bernard Herrmann de "partition d'une vie", parmi les nombreuses merveilles qui parsèment cet ultime chapitre.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Movie Meltdown - Episode 628 (For our Patreon "Horror Club") After taking care of our nuptials we are finally back to discuss our previously announced (quite a while ago) feature - Alice, Sweet Alice. And as we recap how we may have gotten lost and murdered during the post-ceremony activities, we also address… The First Omen, Them, Near Dark, that's a huge chapel, The Howling, Luke James, the crazy age reveal, don't play with matches, the creepy landlord, Don't Look Now, memorable settings, acting dialed to eleven, in the rain, Alfred Sole, Catholicism is weird, this is a hospital… you have to stop screaming, Brooke Shields, Bernard Herrmann, making it rain, X-rated movies, New Jersey, Beef, Ralph Ineson, spooky kids and nuns, Diabolique, having no money makes you creative, I was creeped out the whole time, Psycho, Lillian Roth, getting roaches, Aliens, funeral grifting and Paula E. Sheppard.  Spoiler Alert: Full spoilers for "Alice, Sweet Alice", so go watch the movie before you listen.  “The honeymoon doesn't start yet!”

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Associate producer Herbert Coleman, restoration team Robert A. Harris and James C. Katz, commentary producer Laurent Bouzereau, co-screenwriter Samuel Taylor, Bernard Herrmann biographer Steven Smith, actor Kim Novak, art director Henry Bumstead, Paramount publicity director Herbert Steinberg, director's daughter Patricia Hitchcock O'Connell, and script supervisor Peggy Robertson

GGACP marks the 60th anniversary of the FINAL episode of CBS' “The Twilight Zone” (aired June 19, 1964) by revisiting this panel discussion from 2019, featuring author-historian Gary Gerani, Rod Serling Memorial Foundation founder Nick Parisi and Rod Serling's daughter Anne Serling. In this episode, the panel looks back at one of the most groundbreaking and influential programs in television history — and the visionary behind it. Also: Desi Arnaz leads the way, Ray Bradbury lends a hand, Richard Matheson joins the team and Anne reveals her dad's favorite Twilight Zone actors. PLUS: “Rod Serling's Night Gallery”! The brilliance of Bernard Herrmann (and Jerry Goldsmith)! Gilbert sends up Ed Wynn! And the panel picks their most underrated TZ episodes! Learn more about your ad choices. Visit megaphone.fm/adchoices

Pucker up, listeners - Daddy's here! That's right: accomplished Brian De Palmist and official Daddy of the show, Hit Factory co-host Aaron Casias, is back to help us unpack De Palma's Schrader-scripted 1976 VERTIGO riff OBSESSION! We kind of did a one-episode De Palma podcast, honestly, because there's a bit more BDP here than Paul Schrader. Join us for more Bernard Herrmann talk, more Geneviève Bujold talk (from TIGHTROPE, remember?), and very informed New Orleans opinions. Check it out! You don't really have to watch the movie tbh!!! Topics include: Vilmos Zsigmond, Hitchcock riff, Tony Scott's DEJA VU, voyeurism, women in genre film, "The New South", Cliff Robertson being a pain in the ass, OLDBOY, Aaron's impassioned plea for us to cover BDP, and only a little bit of bathroom talk, we promise. Further Reading: Hollywood from Vietnam to Reagan by Robin Wood "Repeat Performance": Brad Westcott on Obsession   Further Viewing: VERTIGO (1958) DEJA VU (2006) DE PALMA (2015)   Follow Aaron Casias: https://twitter.com/HitFactoryPod   https://www.podcastyforme.com/ Follow Pod Casty For Me: https://twitter.com/podcastyforme https://www.instagram.com/podcastyforme/ https://www.youtube.com/@podcastyforme Support us on Patreon: https://www.patreon.com/PodCastyForMe Artwork by Jeremy Allison: https://www.instagram.com/jeremyallisonart  

Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.

“This is one of those movies I wish I could've seen opening night in 1960” - Eric On this week's episode, We ❤️ Movies Month kicks off with a total banger as the guys discuss the prequel to Psycho II, Alfred Hitchcock's Psycho! How great is this Bernard Herrmann score? Is Marion eating a cheese and mayonnaise sandwich? Would the film have been as good if Norman was cast more book-accurate (middle-aged drunk)? And would Hitch have enjoyed modern fast food like the baconator? PLUS: Norman Bates tangles with the Skeleton League and their new ally, Swamp Thing! Psycho stars Anthony Perkins, Janet Leigh, Vera Miles, John Gavin, John McIntire, Simon Oakland, Frank Albertson, Patricia Hitchcock, Vaughn Taylor, Lurene Tuttle, John Anderson, Mort Mills, and Martin Balsam as Det. Milton Arbogast; directed by Alfred Hitchcock. Today's episode is sponsored by Factor. Head to FACTOR MEALS dot com slash whm50 and use code whm50 to get 50% off. That's code whm50 at FACTOR MEALS dot com slash whm50 to get 50% off! Be sure to get tickets for the WHM Holiday Extravaganza where we're talking The Santa Clause on 12/7 at White Eagle Hall in Jersey City! Want more WHM? Join our Patreon fam today and instantly unlock hours and hours of exclusive bonus content, including Ad-Free WHM Prime at the $8 level and up! Check out the WHM Merch Store featuring new Polish Decoy, ‘Jack Kirby', and Forrest the Universal Soldier designs! 

Face cream, a Bristol liquor business, and a lifelong reverence for the elderly are just a few of the rather ordinary and disparate inspirations Paul McCartney brought together in the creation of a masterpiece: “Eleanor Rigby.” In this episode, McCartney and Paul Muldoon tease out the song's lyrical inspirations and discuss the influence a Bernard Herrmann score for a Hitchcock film had on the lead single from 1966's “Revolver." “McCartney: A Life in Lyrics” is a co-production between iHeart Media, MPL and Pushkin Industries. The series was produced by Pejk Malinovski and Sara McCrea; written by Sara McCrea; edited by Dan O'Donnell and Sophie Crane; mastered by Jason Gambrell with sound design by Pejk Malinovski. The series is executive produced by Leital Molad, Justin Richmond, Lee Eastman and Scott Rodger. Thanks to Lee Eastman, Richard Ewbank, Scott Rodger, Aoife Corbett and Steve Ithell.See omnystudio.com/listener for privacy information.