Podcast appearances and mentions of Bernardo Bertolucci

Last month, we waltzed through mid – 19th Century Italy. Today, we jump forward a half – century --- royalty continues its decline, the middle – class and powerful industrial leaders are ascendant in Europe. It's a new century and the dawn of a new, perhaps golden era. But is it? Where still a force, European royalty is having its last hurrah in controlling lands far beyond their borders through vicious policies of imperialism. A minor Prince in Germany (who calls himself the German language derivation of Caesar) is going to overstep his bounds and plunge Europe and some of the rest of the world into a butcher's shop of a conflict, known airily as WWI. As a result, the world further shunts royalty into the wastebin of history. But the desire for power, for rule over lands beyond your own borders? That remains. The eyes that lust after it, the hands that seek to grasp it, change from supposedly holy royal hands to an unholy alliance between politicians and industrial and financial might. And the world again sends its military off to slaughter one another. We saw the seeds of the downfall of royalty during the unification of Italy in Luchino Visconti's film, The Leopard. This month, we follow two men from very different backgrounds who emerge from a unified Italy. They face the fallout of WWI and the rise of cooperation between autocracy and industrial might that forms fascism. Another decorated Italian director, Bernardo Bertolucci, mounted an ambitious film to follow their path and that of Italy as a five – hour epic, 1900. The film, which debuted in 1976, not only portrayed another turning point for Italy and the world but was a significant change for Bertolucci as he moved away from a scandalous and dark part of his career. But this is just a light story travelling over decades --- nothing to teach the US and the world in 2025…Website and blog: www.thosewonderfulpeople.comIG: @thosewonderfulpeopleTwitter: @FilmsInTheDark

Welcome to The B-Side! Here we talk about movie stars! Not the movies that made them famous or kept them famous, but the ones that they made in between.  Today we talk about the great Debra Winger! Our B-Sides include Legal Eagles, Betrayed, The Sheltering Sky, and Forget Paris. Our guest is the inestimable Murtada Elfadl, Culture Writer, Critic, and Film Curator. We discuss Winger's stratospheric rise to stardom, her indescribable performance in Terms of Endearment, and her (unfair?) reputation for being “difficult.” There's also plenty of discussion about Rosanna Arquette's documentary Searching for Debra Winger, a film in which Arquette speaks with many famous actresses about aging in Hollywood. The motivation of the piece was partly motivated by Winger's exodus from the business for over half a decade in the mid-1990s. There's also conversation about Shirley MacLaine's 1984 Oscars speech, Tom Berenger being deeply proud of Betrayed and his performance in the film, and all those NBA players that appear in Forget Paris. Janet Maslin and Roger Ebert's superb reviews of Betrayed are mentioned, as is Debra's perfect laugh. Finally, we touch on when Raquel Welch sued MGM and won for being fired from Cannery Row (Winger replaced her in the role), Winger's dropping out of A League of Their Own after Madonna was cast (bonus Patti LuPone on Evita clip here!), Melanie Griffith and William Hurt being director Bernardo Bertolucci's first choices for the leads in The Sheltering Sky, and Debra Winger's infamous Watch What Happens Live episode.

Welcome to The B-Side! Here we talk about movie stars! Not the movies that made them famous or kept them famous, but the ones that they made in between. Today we talk about the great Debra Winger! Our B-Sides include Legal Eagles, Betrayed, The Sheltering Sky, and Forget Paris. Our guest is the inestimable Murtada Elfadl, Culture Writer, Critic, and Film Curator. We discuss Winger's stratospheric rise to stardom, her indescribable performance in Terms of Endearment, and her (unfair?) reputation for being “difficult.” There's also plenty of discussion about Rosanna Arquette's documentary Searching for Debra Winger, a film in which Arquette speaks with many famous actresses about aging in Hollywood. The motivation of the piece was partly motivated by Winger's exodus from the business for over half a decade in the mid-1990s. There's also conversation about Shirley MacLaine's 1984 Oscars speech, Tom Berenger being deeply proud of Betrayed and his performance in the film, and all those NBA players that appear in Forget Paris. Janet Maslin and Roger Ebert's superb reviews of Betrayed are mentioned, as is Debra's perfect laugh. Finally, we touch on when Raquel Welch sued MGM and won for being fired from Cannery Row (Winger replaced her in the role), Winger's dropping out of A League of Their Own after Madonna was cast, Melanie Griffith and William Hurt being director Bernardo Bertolucci's first choices for the leads in The Sheltering Sky, and Debra Winger's infamous Watch What Happens Live episode. Be sure to give us a follow on Bluesky at @tfsbside.bsky.social. Enjoy!

-Durch ihre Rolle in "Der letzte Tango in Paris" (1972) von Bernardo Bertolucci wurde Maria Schneider mit 19 Jahren über Nacht zum Weltstar. An der Seite von Marlon Brando spielte sie eine junge Frau, die in einem Pariser Appartement animalischen Sex mit einem älteren Mann hat. "Der letzte Tango in Paris" wurde zum Skandalfilm. Doch die improvisierten Vergewaltigungsszenen prägten Maria Schneiders gesamtes Leben. Eigentlich wollte sie ihre Geschichte zusammen mit ihrer Cousine, der Journalistin Vanessa Schneider, erzählen. Nach Maria Schneiders Tod hat Vanessa Schneider das Buch nun allein geschrieben - unsere Literaturkritikerin Katharina Döbler hat es gelesen.

Citações e trechos do livro “O que ‘não' faz de você Budista”, de Dzongsar Khyentse Rinpoche.Dzongsar Jamyang Khyentse Rinpoche ou Thubten Chökyi Gyamtso, é um grande mestre da linhagem Nyingma do budismo tibetano, cineasta e escritor.Nascido em 1961, em Khenpajong (leste do Butão), é o filho mais velho de Thinley Norbu.Aos sete anos, foi reconhecido por Sua Santidade Sakya Trizin como a principal encarnação de Dzongsar Jamyang Khyentse Chökyi Lodrö, o herdeiro espiritual de uma das mais influentes e admiradas encarnações de Manjushri (o Buda da Sabedoria).Até a idade de doze anos, Dzongsar estudou no Mosteiro do Palácio do Rei de Sikkim no nordeste da Índia, onde estudou com vários mestres contemporâneos influentes como Dudjom Rinpoche, Dalai Lama e Dilgo Khyentse que considera ser seu principal mestre. Ainda adolescente, Dzongsar construiu um pequeno centro de retiro em Ghezing em Sikkim e logo começou a viajar e ensinar pelo mundo.Em 1989, Dzongsar fundou a Siddhartha's Intent, uma associação budista internacional de centros sem fins lucrativos, a maioria das quais são sociedades e instituições de caridade, com a intenção principal de preservar os ensinamentos budistas, bem como aumentar a conscientização e a compreensão dos muitos aspectos do ensinamento budista além dos limites das culturas e tradições.Como cineasta, Dzongsar estudou com o italiano Bernardo Bertolucci; e seus dois filmes principais são “A Copa” (1999) e “Traveller e Magicians” (2003).Dzongsar Rinpoche é famoso pela liberdade descontraída com que se move entre culturas e povos e por sua dedicação incansável em trazer a filosofia e o caminho da iluminação para qualquer pessoa com um coração aberto.

This week we're excited to present a conversation from the 20205 edition of the just-concluded Rendez-vous with French Cinema with Being Maria cast members Matt Dillon and Anamaria Vartolomei. Being Maria is now in select theaters, courtesy of Kino Lorber. Actors don't choose roles,” actor Daniel Gélin (Yvan Attal) tells his daughter Maria Schneider (Anamaria Vartolomei). “Roles choose them!” After her galvanizing performance as a young woman seeking out an illegal abortion in Audrey Diwan's Happening (ND/NF 2022), Vartolomei delivers another indelible portrait of a woman in extremis with writer-director Jessica Palud's second feature, moving beyond Schneider's encounter with director Bernardo Bertolucci on the set of Last Tango in Paris, during the shoot of the infamous “get the butter” scene (which the actress repeatedly identified as a violation of her consent), to contemplate the actress's larger life and legacy. The shoot itself is meticulously reconstructed—featuring a remarkable turn by Matt Dillon as Schneider's significantly more famous costar and scene partner, Marlon Brando—in order to contextualize the private and public fallout from Schneider's equally iconic and traumatizing breakout performance. Palud was herself an assistant director for Bertolucci at age 19 (the same age Schneider was during the production of Last Tango) and brings a welcome eye for complexity to an unsparing, compassionate reframing of a much-discussed incident—rooted firmly in the perspective of the actress at its center. This conversation was moderated by FLC Assistant Programmer Madeline Whittle.

Gay homosexuals Nick and Joseph discuss Last Tango in Paris - a 1972 erotic drama film directed by Bernardo Bertolucci, starring Marlon Brando, Maria Schneider and Jean-Pierre Léaud. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Additional topics include:North Macedonia nightclub fireWendy WilliamsJames and Randy DeBargeDawn Robinson living in her carBlack filmmakers who are not Tyler Perry: Euzhan Palcy, Adamma Ebo, Jerrod Carmichael, Cauleen Smith, and Hype WilliamsJoin us on Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/FishJellyFilmReviews⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Want to send them stuff? Fish Jelly PO Box 461752 Los Angeles, CA 90046Find merch here: https://fishjellyfilmreviews.myspreadshop.com/allVenmo @fishjellyVisit their website at www.fishjellyfilms.comFind their podcast at the following: Anchor: https://anchor.fm/fish-jelly Spotify: https://open.spotify.com/show/388hcJA50qkMsrTfu04peH Apple Podcasts: https://podcasts.apple.com/us/podcast/fish-jelly/id1564138767Find them on Instagram: Nick (@ragingbells) Joseph (@joroyolo) Fish Jelly (@fishjellyfilms)Find them on Letterboxd: https://letterboxd.com/ragingbells/ https://letterboxd.com/joroyolo/Nick and Joseph are both Tomatometer-approved critics at Rotten Tomatoes: https://www.rottentomatoes.com/critics/nicholas-bell https://www.rottentomatoes.com/critics/joseph-robinson

The Blockbuster Babes reunite with Breakfast host Pam Boland for the latest edition of Movie Squad, discussing a couple of films about… couples! First up, Tristan Fidler leads a review of Bong Joon-ho's long-awaited Mickey 17, starring Robert Pattinson as a regularly-reprinted ‘expendable' clone who survives his '17th death' on a remote ice planet and accidentally meets his successor, Mickey 18, also played by Pattinson. Mark Ruffalo and Toni Collette star alongside the double Roberts in the latest from the South Korean director of Parasite. Then, Simon Miraudo reviews the second Steven Soderbergh film of 2025 (after last month's Presence): the slinky espionage thriller Black Bag, in which Michael Fassbender's married MI5 agent begins investigating his spy wife, played by Cate Blanchett, of a suspected betrayal. Black Bag also features Marisa Abela, Regé-Jean Page and Naomie Harris. Both films are now in Australian cinemas. Stay tuned for a pod-exclusive review of Grand Theft Hamlet, the hilarious new documentary about out-of-work actors attempting to stage a production by William Shakespeare entirely within the open world video game GTA. Then, hear Simon's chat with Jessica Palud, director of Being Maria, which stars Anamaria Vartolomei as actress Maria Schneider and follows Maria as a 19-year-old on the set of Last Tango in Paris, and how her life was altered by a shocking and unprompted on-camera violation by her co-star Marlon Brando and director Bernardo Bertolucci. Being Maria makes its Australian Premiere at the Alliance Francaise French Film Festival. Check out its showtimes here. Be sure to tune in to RTRFM every Friday at 7:30am to hear Movie Squad live on Breakfast with Pam! And find out more about Movie Squad's curation of Throwback Thursdays at Joondalup Festival in March!

You can now text us anonymously to leave feedback, suggest future content or simply hurl abuse at us. We'll read out any texts we receive on the show. Click here to try it out!Welcome back to Bad Dads Film Review!This episode takes us on a journey through grand castles and mystical kingdoms as we dive into the majestic world of Top 5 Palaces, the breathtaking fantasy epic Princess Mononoke, and the delightful children's series Sofia the First.Palaces in film aren't just settings—they're symbols of power, magic, and intrigue. Whether steeped in history or conjured from fantasy, these cinematic castles and palaces have left a lasting impression on audiences.1. The Imperial Palace – The Last Emperor (1987)The Forbidden City in Beijing serves as the breathtaking backdrop for Bernardo Bertolucci's historical masterpiece. Its grandeur reflects the isolation and opulence of the young emperor's life. 2. Hogwarts – Harry Potter Series (2001-2011)A magical castle rather than a traditional palace, but let's be honest—Hogwarts is as grand and majestic as any royal residence.3. The Grand Budapest Hotel – The Grand Budapest Hotel (2014)Though fictional, its lavish design and color palette make it one of the most memorable cinematic palaces. (Ed: is it though?)4. The Castle in the Sky – Castle in the Sky (1986)Studio Ghibli's floating fortress, Laputa, is an awe-inspiring mix of magic, history, and mystery. It serves as both a relic of the past and a symbol of lost power, perfectly embodying the themes of the film.5. The Palace of Agrabah – Aladdin (1992 & 2019)Disney's shimmering golden palace, home to the Sultan and Princess Jasmine, captures the magic and adventure of the Arabian Nights. Its lavish domes and sprawling gardens make it one of the most iconic palaces in animation.Directed by Hayao Miyazaki, Princess Mononoke is an epic that blends mythology, environmental themes, and breathtaking animation into a powerful tale of conflict and coexistence.The story follows Ashitaka, a young prince cursed by a demon after defending his village. Seeking a cure, he embarks on a journey that leads him to a battle between humans, led by the ambitious Lady Eboshi, and the spirits of the forest, including the fierce warrior Princess Mononoke (San).While darker and more mature than some of Ghibli's other films, Princess Mononoke is a masterpiece that older kids and adults can appreciate for its depth and emotional weight.For younger viewers, Sofia the First offers a charming introduction to the world of princesses and magic, wrapped in fun adventures and valuable life lessons.Sofia, an ordinary girl, becomes royalty overnight when her mother marries the king. As she navigates palace life, she learns about kindness, responsibility, and courage—often with the help of magical amulets and familiar Disney princesses.From grand palaces to mystical forests, this episode celebrates the magic and wonder of cinema's most enchanting worlds. So grab your crown, saddle up your wolf, and join us for a royal adventure!

In questo episodio del format Casabiamo con... Leo e Sacco incontrano Cecilia Cenciarelli, "cinefila di professione", cercatrice di film per Immagine Ritrovata e The Film Foundation (sì, quella creata da Martin Scorsese), curatrice di fondi archivistici dedicati a Charlie Chaplin, Buster Keaton e ora Bernardo Bertolucci. Da venticinque anni dentro Cineteca di Bologna, è co-direttrice del festival Il Cinema Ritrovato. Cenciarelli racconterà della vita a tratti avventurosa di chi si prende cura della conservazione e del restauro di cinematografie anche lontane, remote nello spazio e nel tempo e sempre a rischio di oblio. Avventure che possono far incontrare anche qualche animale selvatico, possono, come le pantegane a passeggio tra le poltrone di un cinema di Londra, o macachi non proprio socievoli.0:00:41 - Chi è Cecilia Cenciarelli, con le sue parole00:02:53 - Il rapporto con Scorsese e The Film Foundation00:08:44 - Il lavoro per il Fondo Bernardo Bertolucci00:12:30 - La cinefilia oggi00:15:35 - Forse si deve essere un po' meno romantici00:16:06 - Sing-alone e pantegane a Londra00:18:38 - La questione del desiderio00:19:46 - Educazione cinefila con Fuori Orario00:22:47 - Il festival Il Cinema Ritrovato e il suo pubblico00:26:15 - Conoscere i tuoi spettatori…00:28:42 - … E come non far diventare un festival “museo di sé stesso”00:32:32 - La riapertura del Cinema Modernissimo a Bologna00:35:06 - Aprire un cinema quando chiudono i cinema00:38:12 - Essere in un luogo molto libero00:41:29 - La cosa più strana che ti è capitata in una sala cinematografica00:42:30 - In India, in missione per Martin Scorsese00:47:21 - Proiettare The Gold Rush in una penisola tropicale… attenzione ai macachi00:52:52 - I guilty pleasures cinematografici di Cecilia Cenciarelli00:53:56 - Imparare a dire: “Io questo film non lo conosco”00:56:03 - Quando un autore ritorna ad essere solo tuo: Broken Page di Takeshi Kitano00:59:22 - Emilia Pérez01:03:01 - The Brutalist01:07:36 - Contributo dal pubblico

Wild at Heart. Adiós y hasta siempre David Lynch. En 1990 David Lynch presentó en el Festival de Cannes una película visionaria: Wild at Heart. Una historia de amor y muerte salpicada de referencias pop y brutalmente honesta que, como todas las películas visionarias, incomodó a más de uno, aunque a pesar de todo e impulsada por el presidente del jurado de ese año, Bernardo Bertolucci, se hizo con la Palma de Oro, el mayor premio de ese festejo. El pasado 15 de enero David Lynch falleció, dejando un hueco enorme en el mundo pero también un legado cinematográfico robusto, poderoso y sobre todo (mil gracias señor Lynch), indescifrable. El cine de Lynch es eso, indescifrable, inabarcable para las superficiales lógicas de la opinología del siglo XXI y, sobre todo, voraz contra las formas convencionales a las que peleó desde el intestino de su industria. Lynch, en persona y en obra, luchó contra el monstruo desde el interior de ese monstruo. Y probablemente Salvaje de corazón, con su rabia, su lluvia eterna de sexo, amor loco y desencanto, sea el mejor ejemplo de ello. Y si no lo es, la usaremos de pretexto para hablar del cine del genio al que siempre recordaremos como David Lynch. Para repasar el improbable y muy violento road trip que es Salvaje de corazón invitamos a este episodio al guionista y director Antón Goenechea, quien de Lynch sabe, y sabe mucho. Adiós y hasta siempre David Lynch. Learn more about your ad choices. Visit megaphone.fm/adchoices

Insieme a Michela Gorini ripassiamo alcune delle parti più interessanti di un libro intitolato "L'occhio del regista" dove il critico cinematografico Laurent Tirard ha raccolto in una serie di interviste le rivelazioni e i consigli pratici di tanti importanti registi che hanno fatto la storia del cinema. In particolare parleremo di Martin Scorsese, Pedro Almodovar, Woody Allen, Sidney Pollack, Fratelli Coen, Win Wenders, David Lynch, Bernardo Bertolucci, David Cronenberg, Takeshi Kitano e Roman Polanski.

Susan Minot is an award-winning novelist, short-story writer, poet, playwright, and screenwriter. She also paints watercolors and makes collages. She was born in Boston and grew up in Manchester-by-the-sea, Massachusetts, with six siblings who are all artists. Her first novel was Monkeys, published in 1986. She wrote the screenplay for Bernardo Bertolucci's “Stealing Beauty” (1995.) Her novel Evening, nominated for the Los Angeles Times Book Award, was a worldwide bestseller and became a major motion picture in 2007. Her stories have received O. Henry Awards and have been anthologized widely, including The Best American Short Stories. Her eighth book, a collection of stories, Why I Don't Write, was published in 2020. Her daughter, Ava, was born in 2001. She teaches in the graduate writing program at Stony Brook University and privately at her kitchen table. She lives in both New York City and on North Haven, an island off the coast of Maine. Her new book is Don't Be a Stranger, and is the focus of today's show.  Susan joins Barbara DeMarco-Barrett to discuss naming characters, the hubbub that surrounds September to May trysts, Lolita, epigraphs, the conflict between motherhood and desire, structure, book covers, and more. For more information on Writers on Writing and extra writing perks, visit our Patreon page. For a one-time donation, visit Ko-fi. To listen to past interviews, visit our website. Support the show by buying books at our bookstore on bookshop.org. We've stocked it with titles from our guests, as well as some of our personal favorites. You support independent bookstores and our show when you purchase books through the store. And on Spotify, you'll find to an album's worth of typewriter music like what you hear on the show. Look for the artist, Just My Type. Email the show at writersonwritingpodcast@gmail.com. We love to hear from our listeners. (Recorded on November 12, 2024)  Host: Barbara DeMarco-BarrettHost: Marrie StoneMusic and sound editing: Travis Barrett (Stream his music on Spotify, Apple Music, Etc.)

Hemos estado cerca... ¡Pero no hemos conseguido resolver el caso que tenemos abierto! Con Raquel Mascaraque analizamos la importancia de escuchar nuestra voz interna y hablarnos bien. Con Laura Martínez repasamos la carrera cinematográfica de Bernardo Bertolucci, uno de los cineastas italianos contemporáneos más influyentes y una de las voces más representativas del nuevo cine italiano de los 60. Marta Centella nos explica el origen de la expresión "por h o por b". 

Yeah Uh Huh Rotisserie Cinema Take 7 is the movies of 1987 Part 1! In another place and another time a collection of uneducated nincompoops decided to wield immense power to name The Last Emperor Best Motion Picture. Of course, at Yeah Uh Huh we are greatly offended by this misguided decision, and have come up with 21 movies made that same year that surpassed the greatness of Bernardo Bertolucci's epic about the reign of Puyi. Masterpieces like Spaceballs, Hellraiser, Running Man... Ah man,, I can't keep up this charade any longer. Lost Emperor was probably better than Predator. But, you get the point. It's time for one of our classic movie episodes wit an all star cast!⁠ ⁠#spaceballs #runningman ⁠#predator ⁠#hellraiser ⁠#fullmetaljacket⁠ ⁠#lethalweapon⁠ ⁠#barfly ⁠#walker ⁠#raisingarizona YUH Theme by David T and Mojo 3 ⁠https://www.amazon.com/Insanity-Sobri...⁠ Movies Nominated for the Felix in this episode: Spaceballs Barfly The Lost Boys Broadcast News Raising Arizona La Bamba Hellraiser Full Metal Jacket Predator 84 Charing Cross Road The Princess Bride The Hidden Lethal Weapon Walker The Running Man Where Is the Friend's House The Untouchables RoboCop Princess from the Moon Evil Dead II Throw Momma from the Train Rock and Roll Heaven ⁠https://open.spotify.com/show/02fL1Vg...⁠ Maniacal Music Musings on Spotify ⁠https://open.spotify.com/show/1JnX3TT...⁠ Yeah Uh Huh Social Stuff: Yeah Uh Huh on TikTok ⁠https://www.tiktok.com/@yeahuhhuhpod⁠ Yeah Uh Huh on Facebook ⁠https://facebook.com/YeahUhHuhPod⁠ Yeah Uh Huh on Twitter ⁠https://twitter.com/YeahUhHuhPod⁠ Yeah Uh Huh on Spotify ⁠https://open.spotify.com/show/7pS9l71...⁠

Hemos estado cerca... ¡Pero no hemos conseguido resolver el caso que tenemos abierto! Con Raquel Mascaraque analizamos la importancia de escuchar nuestra voz interna y hablarnos bien. Con Laura Martínez repasamos la carrera cinematográfica de Bernardo Bertolucci, uno de los cineastas italianos contemporáneos más influyentes y una de las voces más representativas del nuevo cine italiano de los 60. Marta Centella nos explica el origen de la expresión "por h o por b". 

Is there one simple thing that would fix the world?    Building on recent discussions around monolithic goals and sympathising with emerging rivals, this week's episode examines Luchino Visconti's 'The Leopard' to consider the impermanence of permanence on both the political and personal level. We also briefly discuss: 'Tokyo Story' (1953) d. Yasujirō Ozu 'The Last Emperor' (1987) d. Bernardo Bertolucci    Contact Us E: ⁠contact@jimmybernasconi.com⁠ IG: ⁠https://www.instagram.com/filmsfortoday/⁠ 

Oggi a Cult: una nuova Prova Aperta della Filarmonica della Scala a favore di Children in Crisis Italy; al Festival dell'Economia Critica in Fondazione Feltrinelli, Guido Alfani parla del suo libro "Come dèi tra gli uomini. La sotria dei ricchi in Occidente"; la Fondazione Bertolucci e il Teatro Regio di Parma dedicano una giornata e una mostra a Bernardo Bertolucci e al suo rapporto con il melodramma; Francesca Comencini sul suo film "Il tempo che ci vuole"; la rubrica Extracult a cura di Chawki Senouci...

Returning special guest Cecilia Conti joins Torie and Maggie to discuss three eminent coming of age narratives with some solid silver screen sex.  Cringe comedy has integrity and dick poking gets literal in TURN ME ON, GODDAMMIT/FÅ MEG PÅ, FOR FAEN! (2011), a Norwegian hidden gem Torie incorrectly refers to as Swedish. Horney men run amok and Torie fails to distinguish Italian character names in Bernardo Bertolucci's mid-90s Liv Tyler flick, STEALING BEAUTY (1996). Cinema's most legendary ménage à trois crowns the gut-wrenchingly moving, multi-layered masterwork Y TU MAMÁ TAMBIÉN (2001). Bonus - Cecilia shares her story of meeting Diego Luna who, we are thrilled to report, is genuinely a sweet guy!!

durée : 01:35:00 - Les Nuits de France Culture - par : Philippe Garbit - Mardis du cinéma - Bernardo Bertolucci (1ère diffusion : 08/09/1987) - réalisation : Alexandre Fougeron

For our 250th episode this week, the boys headed to Peking to discuss the Bernardo Bertolucci masterpiece ‘The Last Emperor.'  The random year generator spun 1987, and we set up the film year, noted some world events, and then discussed how great it is to no longer have fantastic films set in Chinese spoken in English. John, with full CoVid immunity, also caught ‘Beetlejuice Beetlejuice' and gave us a spoiler-free mini-review.  Our phone number is 646-484-9298. It accepts texts or voice messages.  0:00 Intro; 1:25 250th Episod8:58 “Beetlejuice Beetlejuice” mini review;16:16 Gripes; 20:54 1987 Year in Review; 40:58 Films of 1987: The Last Emperor; 1:21:36 What You Been Watching?; 1:33:10 Next Week's Movie Announcement Additional Cast/Crew: Enzo Ungari, Mark Peploe, John Lone, Joan Chen, Peter O'Toole, Hans Zimmer, David Byrne, Ruocheng Ting, Victor Wong, Dennis Dun, Ryuichi Sakamoto, Maggie Han, Ric Young, Vivian Wu, Richard Vuu, Tsou Tijger, Tao Wu, Guang Fan, Henry Kyi, Puyi, Vittorio Storaro, Cong Su, Gabriella Cristiani, Ferdinando Scarfiotti, Jeremy Thomas. 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: SAG-AFTRA, The Emmys, iPhones, Peking, Mao Zedong, The Forbidden City, Queensland, Australia, Melbourne, Sydney, Sisu, Auckland, New Zealand, Wilhelm Yell, Wilhelm Scream, Prince Charles, King Charles, John Wayne, Charleton Heston, Preparation H. 

Directors John Carpenter, John Milius & Alex Cox, film Historians Sir Christopher Frayling & Dr. Sheldon Hall, writer Bernardo Bertolucci and actress Claudia Cardinale

BOOKS:WISHFUL DRINKING by CARRIE FISHER FORBIDDEN NOTEBOOK by ALBA DE CESPEDES YELLOWFACE by REBECCA F KUANGHarriett's guests today are comedian and writer Helen Lederer known for so many roles including as Catrionia in Absolutely Fabulous. Recently she has published her memoir Not That I'm Bitter and set up the Comedy Writing In Print Prize. She has opted for the hugely witty and knowing memoir Wishful Drinking by Carrie Fisher detailing her tumultuous life as the child of two Hollywood stars who often couldn't separate fantasy from reality. Ilaria Bernardini is an Italian novelist and screenwriter. She is currently working on Bernardo Bertolucci's final script which Ilaria co-wrote with hi -The Echo Chamber. Her choice is the seminal feminist Italian novel Forbidden Notebook by the Italian-Cuban writer Alba de Cespedes about the inner life of an Italian housewife and Mama of the family. Harriett's choice is Yellowface by Rebecca F Kuang - a cautionary tale for our times of plagiarism, cultural appropriation, social media storms and more.Producer: Maggie Ayre

Donald Sutherland, in memoriam El pasado 20 de junio el actor Donald Sutherland falleció a los 88 años. El mundo se conmovió ante este hecho por la sencilla razón de que Sutherland, fue, es y será uno de los actores emblemáticos del planeta, de esos que presumiremos cuando los extraterrestres nos invadan. Su carrera incluye trabajos en televisión y cine, mismos que lo llevaron del drama a la comedia, cine de acción, bélico, de terror, con carga política, la sátira, el doblaje y hasta la fantasía felliniana. Hablando de Fellini, otros directores con los que trabajó incluyen tanto a James Gray como a Robert Redford, igual que a Giuseppe Tornatore y Bernardo Bertolucci o Denys Arcand y Robert Altman. Es decir, no le tenía miedo a nada. Para este in memoriam invitamos al no menos talentoso y multifacético René García, actor, actor de doblaje, conocedor del medio y amigo entrañable de Cinegarage aunque nos hable con la voz de Vegeta. Hablemos del recientemente fallecido Donald Sutherland. Learn more about your ad choices. Visit megaphone.fm/adchoices

durée : 00:06:05 - Le Masque et la Plume - La cinéaste adapte le livre de la journaliste Vanessa Schneider, cousine de la comédienne Maria Schneider dont la vie a basculé sur le tournage de "Dernier Tango à Paris" de Bernardo Bertolucci, durant lequel elle avait été victime d'un abus sexuel lors d'une scène avec Marlon Brando.

Italian literature is widely known for its rich tradition of passion, intellect and innovation, and it has always been a standard-bearer for imaginative & emotive literature. This week I'm speaking with the Italian author, screenwriter and BAFTA Award nominee, Ilaria Bernardini. One of Italy's leading contemporary novelists, Ilaria has penned nine novels, one graphic novel, and two collections of short stories, as well as being a screenwriter collaborating with the legendary director Bernardo Bertolucci. Two of her novels, including We Will Be Forest – her most recent book, which we're discussing today – have been longlisted for the Strega Prize, the most prestigious book award in Italy.  In today's episode, Ilaria and I discuss, as always, the four books which have had the biggest influence on her life and creative development, along with her experience writing fiction drawn from her own life, and the process of translating a book from one language to another. The books she chose are eclectic and inspirational so it was a really fun discussion with some great recommendations.  Lit with Charles loves reviews. If you enjoyed this episode, I'd be so grateful if you could leave a review of your own, and follow me on Instagram at @litwithcharles. Let's get more people listening – and reading!

Ilaria Bernardini is one of Italy's leading novelists, now writing novels in the English language, and an exciting emerging screenwriter. She has film and television projects in development and in production with Lorenzo Mieli's The Apartment, Andy Harries' Left Bank Pictures, The Russo Brothers/Amazon Studios, Francesco Melzi D'Eril's (SUSPIRIA, BECKETT) MeMo Films. Ilaria helped adapt her own novel CORPO LIBERO for producers Indigo/ALL3MEDIA and Rai & Paramount+. She is also continuing to develop Bernardo Bertolucci's final script (which Ilaria co-wrote with him) THE ECHO CHAMBER. For Amazon Studios, the Russo Brothers (as directors and creators) & Cattleya she is writing the international science fiction TV series, CITADEL. Her book, WE WILL BE FOREST, is just out in the UK.We enjoyed speaking with Ilaria and hearing about her unusual route into publishing via approaching publishers and then authors directly (not a route that she recommends others follow!) Plus, we hear why she chooses to write some books in Italian and some in English, why she translated her own English novel, The Portrait, into Italian, and what it is like working with the Russo brothers on Amazon's CITADEL series.Links:Follow Ilaria on Twitter/XBuy Ilaria's books nowPage One - The Writer's Podcast is brought to you by Write Gear, creators of Page One - the Writer's Notebook. Learn more and order yours now: https://www.writegear.co.uk/page-oneFollow us on Twitter/XFollow us on FacebookFollow us on InstagramFollow us on BlueskyFollow us on Threads Hosted on Acast. See acast.com/privacy for more information.

Comment ce biopic signé Jessica Palud évoque le traumatisme du viol qu'a subi l'actrice de dix-neuf ans sur le tournage du « Dernier tango à Paris » de Bernardo Bertolucci ? Comment le film « Un amor » marque-t-il le retour de la cinéaste espagnole Isabel Coixet ? Quel rôle étonnant endosse Cate Blanchett dans « The new boy » ? Quelle initiative originale dépeint le documentaire « Mo'zar mon style » ? Les découvertes musicales : - Saleka -Disillusion - Helmut Lotti - Que Je T'aime - Dani - Rouge - Moby feat Akemi - Fox - Fall back - Lindsey Stirling - Purpose Merci pour votre écoute La semaine des 5 Heures, c'est également en direct tous les jours de la semaine de 19h à 20h00 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes de La semaine des 5 Heures avec les choix musicaux de Rudy dans leur intégralité sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/1451 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

durée : 00:07:49 - Nouvelles têtes - par : Mathilde Serrell - Alors que le mouvement #MeToo secoue le monde du cinéma, "Maria" de Jessica Palud, revient sur le tournage éprouvant pour Maria Schneider du "Dernier tango à Paris". Le film scandaleux du maître Bernardo Bertolucci, la révèlera au grand public autant qu'il brisera sa carrière. - réalisé par : Lucie Lemarchand

Gabriella Pozzetto"Bernardo Bertolucci"Cinema di mistero e bellezzaAncora Editricewww.ancoralibri.it«So benissimo che non sono mai io a scegliere la storia di un film: è il film che sceglie me. So anche che le ragioni di un film sono sempre più misteriose e complicate delle spiegazioni che uno può trovare».Bernardo BertolucciQuesto testo ci immerge nel mondo di un gigante del cinema: Bernardo Bertolucci, il regista che non ha mai dimenticato la sua terra natale, la piccola ma raffinata città di Parma a cui resta profondamente legato affettivamente. Quel fazzoletto di terra compreso tra il fiume Po e gli Appennini sembra trasformarsi in un piccolo osservatorio da cui vedere e interpretare il mondo, descritto poeticamente nelle sue più diverse vicende, che spaziano da epiche narrazioni storiche a intime riflessioni sulla condizione umana. E l'autrice fa emergere in modo esemplare come l'«uomo»  – indagato in tutta la sua complessità psicologica – sia il protagonista, il centro della filmografia del regista. Il libro, che unisce alla profondità di analisi una lettura scorrevole quanto avvincente, è una ricca miniera di riflessioni e di intuizioni che possono essere rilette e meditate per vedere – attraverso il mistero e la bellezza del cinema di un grande artista – la bellezza del mistero dell'essere umano.(dalla Prefazione di Andrea Dall'Asta) Gabriella Pozzetto ha insegnato Semiotica dello spettacolo e multimediale presso l'Università del Piemonte Orientale. Collabora con la cattedra di Semiotica delle arti presso l'Università di Pavia e il Collegio Nuovo di Pavia. Tra i suoi libri: Ultimo tango, il mistero svelato. Con una intervista a Bernardo Bertolucci (Cucinema.com, 2004). Con Àncora ha pubblicato: «Il “perduto amor” tra cinema e canzoni», in Paolo Jachia, E ti vengo a cercare. Franco Battiato sulle tracce di Dio (2005); «Lo cerco dappertutto». Cristo nei film di Pasolini (2007); Vasco Stadio Infinito. Un viaggio sorprendente tra angeli e rock'n'roll (2008).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 is our 70th BPC Episode! Wow. Wild stuff as we are here to talk about this Bernardo Bertolucci film that took home the big crown in 1987. Kieran B and Jay Dowski return to join Kieran B in a conversation about THE LAST EMPEROR. Lots of conflicting points of views on this one, we hope you enjoy the conversation! As always please rate and review! Check out our Best Picture Merch: https://best-picture-cast.creator-spring.com/ Follow us on Social Media, Twitter, Facebook, Instagram, Letterboxd: @bestpicturecast Email us bestpicturepodcast@yahoo.com Follow The Co Hosts on Twitter: Artie B: @heyyyitssme Chris G: @chrisgallant17 Joey R: @joey0314 Grant Z: @Grant_Zep Jay Dowski: @JayDowski Grant's Art on Instagram: @exit28studios Chris G's Art on Instagram: @popvultureart Some of our friends: Cinemusts: @cinemusts 1001 by 1: @1001by1 Below Freezing: @BelowFreezing32 Revisionist Almanac: @RevAlmanac Greatest Movie of All Time Podcast:@gmoatpodcast Shea Cinema: @sheacinema

Ep. 246: Cannes 2024: Bilge Ebiri on Lanthimos's Kinds of Kindness, Schrader's Oh Canada, Furiosa, plus Bertolucci Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. For the latest episode on the 2024 Cannes Film Festival, I was happy to chat with Bilge Ebiri of New York Magazine for his inaugural Cannes appearance on the podcast. We discuss the much-anticipated new films from Yorgos Lanthimos (Kinds of Kindness), Paul Schrader (Oh Canada), and for a well-deserved encore, George Miller (Furiosa: A Mad Max Saga). Our conversation also explores a few facets of the phenomenon that is Cannes, and the enduring inspiration of Bernardo Bertolucci. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Can the thirst for the alternative devolve into chaos? Do we ever search too far inward for bohemian values? Is there an ideal time to depart from the unconventional? Building on a brief discussion from last week, this week's episode examines the curious reoccurrence of bohemian culture being explored on screen through 'triangular' character dynamics. Contact us at contact@jimmybernasconi.com --- Send in a voice message: https://podcasters.spotify.com/pod/show/2xxfm-sacredcinema/message

SEASON 2 - EPISODE 85 - HANS ZIMMER - COMPOSER Composer Hans Zimmer (DUNE, INTERSTELLAR, THE LION KING) joins us on this episode of the Team Deakins Podcast. Hans takes us back to his early career working the espresso machine for composer Stanley Myers and later making runs for director Bernardo Bertolucci on THE LAST EMPEROR before reflecting on his experience composing the score for the South Africa-set, anti-apartheid film A WORLD APART. We later discuss the purpose of score in a film and how Hans works to create an environment in which a director's story can unfold, as does a cinematographer. We learn what Hans is really doing when he's procrastinating, and we weigh the value of being original and being good. We also trade notes on working with director Denis Villeneuve, and Hans reveals his deeply personal connection to the score and story of THE LION KING. Towards the end, Hans opines that the Hollywood sound is really made in London, and he revels in the joy of conducting an orchestra that has played everything until he brings his original score to their stands. - This episode is sponsored by the Dallas Film Commission & Godox

¡Mubi está de vuelta en el FlimCast! Y hoy les tenemos cuatro (4) recomendaciones para ver en el streaming de los que saben: Los productores (1967) de Mel Brooks, Los soñadores (2003) de Bernardo Bertolucci, Los delincuentes (2023) de Rodrigo Moreno y Los colonos (2023) de Felipe Gálvez. Esperamos les gusten estas recomendaciones, ¡gracias por escuchar/comentar/compartir! Les recordamos que pueden acceder a 30 días gratis de Mubi en este enlace: https://mubi.com/es/flimcast Y si quieren pre-estrenos y contenido exclusivo, suscríbanse en https://www.patreon.com/hermeselsabio

In this episode we discuss the sixtieth Best Picture winner, The Last Emperor, the big six-decade milestone for the Academy, the lackluster ceremony and poor performance by host Chevy Chase, the predictability of a historical epic winning Best Picture, and Bernardo Bertolucci's experience making The Last Emperor in The Forbidden City.  -- Instagram: https://www.instagram.com/thanktheacademypodcast X: https://www.twitter.com/thankacademypod Email us your thoughts: thanktheacademypod@gmail.com --- Support this podcast: https://podcasters.spotify.com/pod/show/thank-the-academy/support

Producer Jeremy Thomas remembers the making of 1987's legendary film THE LAST EMPEROR. Jeremy was a young indie producer with an eager spirit and a history of ingenuity when iconic director Bernardo Bertolucci approached him about making a film about the last Emperor of China. Jeremy knew it would be a feat to accomplish such an undertaking, but instead of shying away from the challenge, he leaned in and got the support of the Chinese government. A true international collobration, the film's authenticity is evident and it remains a classic.Become a supporter of this podcast: https://www.spreaker.com/podcast/hollywood-gold--5670584/support.

Armando Cattarinich"Backstage. Mimmo Cattarinich e la magia del fotografo di scena"Una mostra antologica dedicata al grande fotografo di scena italiano testimone dell'opera di Maestri assoluti del cinema da Pasolini a Fellini,da Bertolucci ad Almodovar, da Dino Risi a Michelangelo Antonioni.Circa 100 fotografie provenienti dall'immenso archivio dell'AssociazioneCulturale Mimmo Cattarinich di Roma per raccontare il cinema e i suoiprotagonisti dagli anni Sessanta a oggi. Fino al 16 giugno 2024 Museo Villa Bassi RathgebVia Appia Monterosso, 52 - Abano Terme (PD)I volti di grandi attori e registi della storia del cinema internazionale come Federico Fellini, Pier Paolo Pasolini, Bernardo Bertolucci, Anthony Quinn, Marcello Mastroianni, Alberto Sordi, Capucine, Catherine Deneuve, Roberto Benigni, Claudia Cardinale, Maria Callas ma anche protagonisti contemporanei come Giuseppe Tornatore, Pedro Almodovar, Antonio Banderas, Javier Bardem, Isabelle Huppert, Rupert Everett, Rutger Hauer, Carlo Verdone, Monica Bellucci, Natalie Portman e Penelope Cruz sono soltanto alcuni dei protagonisti delle fotografie di Mimmo Cattarinich, al quale il Museo Villa Bassi Rathgeb di Abano Terme dedica fino al 16 giugno 2024 la mostra "Backstage". Mimmo Cattarinich e la magia del fotografo di scena a cura di Dominique Lora. Cinema e fotografia, linguaggi visivi nati quasi simultaneamente, da sempre condividono e scambiano tecniche narrative e ispirazioni estetiche, generando quella complessa rete di rapporti che stimola sperimentazione e creatività, una dicotomia narrativa nata da un dialogo naturale in cui immaginario, ispirazione e sovversione sono atti di reciprocità e di scambio. La fotografia documenta il cinema e ne rivela il gesto celato, l'emozione rubata, ritraendo in immagini istanti di vita dietro le quinte: è un linguaggio complementare capace di mettere a nudo i soggetti, svelandone i misteri e raccontandone la vulnerabilità. Guardare il cinema attraverso l'obiettivo del fotografo di scena è un'esperienza complessa, interdisciplinare e organizzata attorno a tre grandi soggetti che, smascherando la finzione cinematografica, rivelano tutta l'essenza umanistica di questa ricerca: la rappresentazione del reale dietro le quinte, il ritratto dell'attore all'interno e oltre la scena e il rapporto tra cinema e arte.Ad accomunare i soggetti ritratti da Mimmo Cattarinich è la tensione alla diversità: alterazioni corporee, atteggiamenti di sfida o di esibizione, caratteristiche che contribuiscono a renderli veri, trasparenti e vulnerabili. Il fotografo traspone su pellicola sogni ed emozioni dei singoli individui, rivelandone la realtà presente e le aspirazioni.Pubblicato in occasione della mostra, il catalogo, edito da Sagep Editori – Genova (2024, italiano, 96 pagine) presenta le fotografie esposte con i testi critici della curatrice Dominique Lora e dello sceneggiatore Gianfranco Angelucci, e in apertura, un ritratto personale e privato scritto dal figlio Armando Cattarinich.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Our first Best Picture winner in this year's Oscar Month, The Last Emperor, went 9 for 9 at the awards that year. John Lone, Joan Chen and Peter O'Toole are all solid in the starring roles, but there's something fairly soulless and even a little opaque about this spectacular production...especially for a Bernardo Bertolucci film. Bertolucci and his team were the rare Western filmmakers to be allowed to shoot in The Forbidden City in China, as they told a story about a sheltered child surrounded by devious sycophants. Puyi might be a royal, but his comfortable life is spent in effectively a prison. The biggest problem we couldn't get past with this film, though, is that this was what the Oscars told us was the pinnacle of 1987 filmmaking, even though Broadcast News, Moonstruck, Robocop, Predator and Lethal Weapon were all out that year. So don't you dare try to leave the 575th edition of Have You Ever Seen---not until you get kicked out---as we marvel and moan in equal measure about The Last Emperor. Well, Actually: Maggie Han was born in Rhode Island, but her parents were South Korean. Also, Licence To Kill was released in 1989, not 1987. They can't get Sparkplug Coffee in China, but people in America and Canada can. And if you use our "HYES" promo code, you'll save 20%. Go to "sparkplug.coffee/hyes". Drop us a line via email (haveyoueverseenpodcast@gmail.com) and/or follow us on Twi-X (@moviefiend51 and @bevellisellis) and also look for Bev on Threads (@bevellisellis). Rate, review, subscribe, do all those things on your app, but also hunt us down on the web via YouTube. We post all our shows there. The destination in your browser is @hyesellis.

Behind these steamy sequences, there are body doubles, pubic wigs, legal documents, and dedicated choreographers who make sure everyone is comfortable. Zachary Crockett fast-forwards straight to the good parts.  SOURCES:Alicia Rodis, intimacy coordinator.Matthew Swanlund, founder and principal attorney at Aesthetic Legal. RESOURCES:"Romance or Nomance? Adolescents Prefer to See Less Sex, More Friendships, Platonic Relationships on Screen," by Elizabeth Kivowitz (UCLA Newsroom, 2023)."You're Not Seeing Things —'Nudity Creep' in Streaming TV Reveals More of Its Stars," by Neda Ulaby (All Things Considered, 2023)."Jennifer Aniston Rejected Offer for an Intimacy Coordinator in Sex Scenes with 'Gentleman' Jon Hamm," by Esther Kang (People, 2023)."How the Sausage Gets Made: Inside Hollywood's Prosthetic Penis Craze," by Emma Fraser (Thrillist, 2022)."The Disturbing Story Behind the Rape Scene in Bernardo Bertolucci's Last Tango in Paris, Explained," by Anna North (Vox, 2018)."Two James Francos. Porn. 1970s New York. The Deuce Could Go So Wrong — but It Doesn't," by Emily St. James (Vox, 2017)."Shooting Film and TV Sex Scenes: What Really Goes On," by Melena Ryzik (The New York Times, 2015)."Sexually Explicit Casting Contract for HBO's ‘Westworld' Extras Has SAG-AFTRA Concerned," by Jonathan Handel (The Hollywood Reporter, 2015). EXTRAS:"Why is Everyone Having Less Sex?" by No Stupid Questions (2023).

Pour a glass, get in the bathtub and listen to our first Bertolucci! After the boys go through some mini reviews to bring our 2023 podcast year to a close, we discuss 1970 in cinema and culture before our featured conversation discussing the tumultuous Bernardo Bertolucci film ‘The Conformist'. Do you like 'The Godfather'? 'The Sopranos'? See how they were inspired by this WWII-era Italian rise-of-fascism character study shot by 3-time Oscar winner and frequent mention on this podcast, Vittorio Storaro. Mini reviews include ‘Godzilla Minus One', ‘Leave The World Behind', and ‘May December'. See you in 2024, film fans!  Find all of our Socials at: https://linktr.ee/theloveofcinema.  
Our phone number is 646-484-9298, it accepts texts or voice messages.  0:00 Intro, Gripes + Mini Reviews; 24:44 1970 + The Conformist; 01:16:12 What You Been Watching? Additional Cast/Crew: Jean-Louis Trintignant, Stefania Sandrelli, Gastone Moschin, Alberto Moravia, Enzo Tarascio Jose Quagliom, Pierre Clémenti, Dominique Sanda, Georges Delerue, Julianne Moore, Natalie Portman, Charles Melton, Sam Esmail, Julia Roberts, Ethan Hawke, Mahershala Ali, Takashi Yamazaki, Minami Hamabe, Ryunosuke Camici, Sakura Ando. Dasein on Spotify: https://open.spotify.com/artist/77H3GPgYigeKNlZKGx11KZ  Dasein on Apple Music: https://music.apple.com/us/artist/dasein/1637517407 Additional Tags: Oscars, Academy Awards, The Golden Globes, Past Lives, Monarch: Legacy of Monsters, The Holiday, The Crown: Season 6 part 2, Napoleon, Ferrari, Beer, Scotch, The Weekend, Clifford Odets, Travis Scott, U2, Apple, Apple Podcasts, 101 Dalmations, The Parent Trap, Switzerland, West Side Story, Wikipedia, Australia, Queensland, 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.  

In his first film, renowned director Bernardo Bertolucci prowls through the not-so-innocent lives of strangers who just happened to be in a park on the night of a murder.  Each have good reason to embellish and omit details as they recount their day leading up to the murder to the police interrogator, but the director unsparingly shows all of the petty choices and disastrous missteps of them all. Join our  Patreon and support the podcast!  Join the Random Acts of Cinema Discord server here! *Come support the podcast and get yourself or someone you love a random gift at our merch store.  T-shirts, hoodies, mugs, stickers, and more! If you'd like to watch ahead for next week's film, we will be discussing and reviewing Alfred Hitchcock's The Lodger: A Story of the London Fog (1927).

It is neither a question of where Seijun Suzuki got his ideas from nor who got their ideas from him.  Rather it is simply the plain fact that there were the movies that came before his 1967 art/hitman freak-out masterpiece and then there were the movies that came after. Join our  Patreon and support the podcast!  Join the Random Acts of Cinema Discord server here! *Come support the podcast and get yourself or someone you love a random gift at our merch store.  T-shirts, hoodies, mugs, stickers, and more! If you'd like to watch ahead for next week's film, we will be discussing and reviewing Bernardo Bertolucci's La Commare Secca (1962).

durée : 01:35:00 - Les Nuits de France Culture - par : Philippe Garbit - Par Francesca Piolot - Avec Michel Estève, Jean-Antoine Gili et Gérard Rancinan - Avec en archives, les voix de Jean Renoir et Bernardo Bertolucci - Réalisation Claude Giovannetti

Black Friday is gone but maybe Cyber Monday will extend to add these titles to your shopping list or your personal library. Peter Sobczynski joins Erik Childress to talk about remastered films from Bernardo Bertolucci, Michael Mann and an ‘80s cult classic from Fred Dekker and Shane Black. There are films with early roles for Annette Bening, Theresa Russell and a campy sci-fi classic with Jane Fonda. We've got a Peppard alert! Plus maybe one of the better horror anthologies, one of the better straight-to-video sequels and, without debate, one of the funniest films of all-time getting the 4K upgrade. 0:00 - Intro 2:17 - Arrow Films (Barbarella (4K), Blackhat (4K), Tremors 2: Aftershocks (4K)) 27:57 - RaroVideo (The Conformist) 30:58 - Kino (The Emerald Forest, The Last Tycoon, The Carpetbaggers, Valmont, The Monster Squad (4K)) 1:00:13 - Shout! Factory (Death Wish (NEW) (4K), Tales from the Darkside: The Movie (4K)) 1:20:18 - Paramount (The Naked Gun (4K)) 1:31:16 – New Theatrical and TV Titles 1:34:52 - New Blu-ray Announcements 1:37:09 - Outro

The eleventh episode of our season on the awesome movie year of 1987 features the Academy Awards Best Picture winner, Bernardo Bertolucci's The Last Emperor. Directed and co-written by Bernardo Bertolucci and starring John Lone, Joan Chen, Peter O'Toole and Ying Ruocheng, The Last Emperor was nominated for nine Oscars and won them all.The contemporary reviews quoted in this episode come from Roger Ebert (https://www.rogerebert.com/reviews/the-last-emperor-1987), Sheila Benson in the Los Angeles Times (https://www.latimes.com/archives/la-xpm-1987-11-20-ca-15017-story.html), and Pauline Kael in The New Yorker.Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comPlease like, share, rate and comment on the show and this episode, and tune in for the next 1987 installment, featuring our producer David Rosen's pick, Sam Raimi's Evil Dead 2.

The tenth episode of our season on the awesome movie year of 1987 features a special Halloween selection, Joel Schumacher's The Lost Boys. Directed by Joel Schumacher and starring Jason Patric, Corey Haim, Kiefer Sutherland, Dianne Wiest, Jami Gertz and Corey Feldman, The Lost Boys had a major influence on the development of the vampire genre.The contemporary reviews quoted in this episode come from Roger Ebert (https://www.rogerebert.com/reviews/the-lost-boys-1987), Caryn James in The New York Times (https://www.nytimes.com/1987/07/31/movies/film-the-lost-boys.html), and Michael Wilmington in the Los Angeles Times (https://www.latimes.com/archives/la-xpm-1987-07-31-ca-188-story.html).Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comPlease like, share, rate and comment on the show and this episode, and tune in for the next 1987 installment, featuring the Academy Awards Best Picture winner, Bernardo Bertolucci's The Last Emperor.

We finally complete our mini-series on the 1980s movies released by Miramax Films in 1989, a year that included sex, lies, and videotape, and My Left Foot. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we complete our look back at the 1980s theatrical releases for Miramax Films. And, for the final time, a reminder that we are not celebrating Bob and Harvey Weinstein, but reminiscing about the movies they had no involvement in making. We cannot talk about cinema in the 1980s without talking about Miramax, and I really wanted to get it out of the way, once and for all.   As we left Part 4, Miramax was on its way to winning its first Academy Award, Billie August's Pelle the Conquerer, the Scandinavian film that would be second film in a row from Denmark that would win for Best Foreign Language Film.   In fact, the first two films Miramax would release in 1989, the Australian film Warm Night on a Slow Moving Train and the Anthony Perkins slasher film Edge of Sanity, would not arrive in theatres until the Friday after the Academy Awards ceremony that year, which was being held on the last Wednesday in March.   Warm Nights on a Slow Moving Train stars Wendy Hughes, the talented Australian actress who, sadly, is best remembered today as Lt. Commander Nella Daren, one of Captain Jean-Luc Picard's few love interests, on a 1993 episode of Star Trek: The Next Generation, as Jenny, a prostitute working a weekend train to Sydney, who is seduced by a man on the train, unaware that he plans on tricking her to kill someone for him. Colin Friels, another great Aussie actor who unfortunately is best known for playing the corrupt head of Strack Industries in Sam Raimi's Darkman, plays the unnamed man who will do anything to get what he wants.   Director Bob Ellis and his co-screenwriter Denny Lawrence came up with the idea for the film while they themselves were traveling on a weekend train to Sydney, with the idea that each client the call girl met on the train would represent some part of the Australian male.   Funding the $2.5m film was really simple… provided they cast Hughes in the lead role. Ellis and Lawrence weren't against Hughes as an actress. Any film would be lucky to have her in the lead. They just felt she she didn't have the right kind of sex appeal for this specific character.   Miramax would open the film in six theatres, including the Cineplex Beverly Center in Los Angeles and the Fashion Village 8 in Orlando, on March 31st. There were two versions of the movie prepared, one that ran 130 minutes and the other just 91. Miramax would go with the 91 minute version of the film for the American release, and most of the critics would note how clunky and confusing the film felt, although one critic for the Village Voice would have some kind words for Ms. Hughes' performance.   Whether it was because moviegoers were too busy seeing the winners of the just announced Academy Awards, including Best Picture winner Rain Man, or because this weekend was also the opening weekend of the new Major League Baseball season, or just turned off by the reviews, attendance at the theatres playing Warm Nights on a Slow Moving Train was as empty as a train dining car at three in the morning. The Beverly Center alone would account for a third of the movie's opening weekend gross of $19,268. After a second weekend at the same six theatres pocketing just $14,382, this train stalled out, never to arrive at another station.   Their other March 31st release, Edge of Sanity, is notable for two things and only two things: it would be the first film Miramax would release under their genre specialty label, Millimeter Films, which would eventually evolve into Dimension Films in the next decade, and it would be the final feature film to star Anthony Perkins before his passing in 1992.   The film is yet another retelling of the classic 1886 Robert Louis Stevenson story The Strange Case of Doctor Jekyll and Mister Hyde, with the bonus story twist that Hyde was actually Jack the Ripper. As Jekyll, Perkins looks exactly as you'd expect a mid-fifties Norman Bates to look. As Hyde, Perkins is made to look like he's a backup keyboardist for the first Nine Inch Nails tour. Head Like a Hole would have been an appropriate song for the end credits, had the song or Pretty Hate Machine been released by that time, with its lyrics about bowing down before the one you serve and getting what you deserve.   Edge of Sanity would open in Atlanta and Indianapolis on March 31st. And like so many other Miramax releases in the 1980s, they did not initially announce any grosses for the film. That is, until its fourth weekend of release, when the film's theatre count had fallen to just six, down from the previous week's previously unannounced 35, grossing just $9,832. Miramax would not release grosses for the film again, with a final total of just $102,219.   Now when I started this series, I said that none of the films Miramax released in the 1980s were made by Miramax, but this next film would become the closest they would get during the decade.   In July 1961, John Profumo was the Secretary of State for War in the conservative government of British Prime Minister Harold Macmillan, when the married Profumo began a sexual relationship with a nineteen-year-old model named Christine Keeler. The affair was very short-lived, either ending, depending on the source, in August 1961 or December 1961. Unbeknownst to Profumo, Keeler was also having an affair with Yevgeny Ivanov, a senior naval attache at the Soviet Embassy at the same time.   No one was the wiser on any of this until December 1962, when a shooting incident involving two other men Keeler had been involved with led the press to start looking into Keeler's life. While it was never proven that his affair with Keeler was responsible for any breaches of national security, John Profumo was forced to resign from his position in June 1963, and the scandal would take down most of the Torie government with him. Prime Minister Macmillan would resign due to “health reasons” in October 1963, and the Labour Party would take control of the British government when the next elections were held in October 1964.   Scandal was originally planned in the mid-1980s as a three-part, five-hour miniseries by Australian screenwriter Michael Thomas and American music producer turned movie producer Joe Boyd. The BBC would commit to finance a two-part, three-hour miniseries,  until someone at the network found an old memo from the time of the Profumo scandal that forbade them from making any productions about it. Channel 4, which had been producing quality shows and movies for several years since their start in 1982, was approached, but rejected the series on the grounds of taste.   Palace Pictures, a British production company who had already produced three films for Neil Jordan including Mona Lisa, was willing to finance the script, provided it could be whittled down to a two hour movie. Originally budgeted at 3.2m British pounds, the costs would rise as they started the casting process.  John Hurt, twice Oscar-nominated for his roles in Midnight Express and The Elephant Man, would sign on to play Stephen Ward, a British osteopath who acted as Christine Keeler's… well… pimp, for lack of a better word. Ian McKellen, a respected actor on British stages and screens but still years away from finding mainstream global success in the X-Men movies, would sign on to play John Profumo. Joanne Whaley, who had filmed the yet to be released at that time Willow with her soon to be husband Val Kilmer, would get her first starring role as Keeler, and Bridget Fonda, who was quickly making a name for herself in the film world after being featured in Aria, would play Mandy Rice-Davies, the best friend and co-worker of Keeler's.   To save money, Palace Pictures would sign thirty-year-old Scottish filmmaker Michael Caton-Jones to direct, after seeing a short film he had made called The Riveter. But even with the neophyte feature filmmaker, Palace still needed about $2.35m to be able to fully finance the film. And they knew exactly who to go to.   Stephen Woolley, the co-founder of Palace Pictures and the main producer on the film, would fly from London to New York City to personally pitch Harvey and Bob Weinstein. Woolley felt that of all the independent distributors in America, they would be the ones most attracted to the sexual and controversial nature of the story. A day later, Woolley was back on a plane to London. The Weinsteins had agreed to purchase the American distribution rights to Scandal for $2.35m.   The film would spend two months shooting in the London area through the summer of 1988. Christine Keeler had no interest in the film, and refused to meet the now Joanne Whaley-Kilmer to talk about the affair, but Mandy Rice-Davies was more than happy to Bridget Fonda about her life, although the meetings between the two women were so secret, they would not come out until Woolley eulogized Rice-Davies after her 2014 death.   Although Harvey and Bob would be given co-executive producers on the film, Miramax was not a production company on the film. This, however, did not stop Harvey from flying to London multiple times, usually when he was made aware of some sexy scene that was going to shoot the following day, and try to insinuate himself into the film's making. At one point, Woolley decided to take a weekend off from the production, and actually did put Harvey in charge. That weekend's shoot would include a skinny-dipping scene featuring the Christine Keeler character, but when Whaley-Kilmer learned Harvey was going to be there, she told the director that she could not do the nudity in the scene. Her new husband was objecting to it, she told them. Harvey, not skipping a beat, found a lookalike for the actress who would be willing to bare all as a body double, and the scene would begin shooting a few hours later. Whaley-Kilmer watched the shoot from just behind the camera, and stopped the shoot a few minutes later. She was not happy that the body double's posterior was notably larger than her own, and didn't want audiences to think she had that much junk in her trunk. The body double was paid for her day, and Whaley-Kilmer finished the rest of the scene herself.   Caton-Jones and his editing team worked on shaping the film through the fall, and would screen his first edit of the film for Palace Pictures and the Weinsteins in November 1988. And while Harvey was very happy with the cut, he still asked the production team for a different edit for American audiences, noting that most Americans had no idea who Profumo or Keeler or Rice-Davies were, and that Americans would need to understand the story more right out of the first frame. Caton-Jones didn't want to cut a single frame, but he would work with Harvey to build an American-friendly cut.   While he was in London in November 1988, he would meet with the producers of another British film that was in pre-production at the time that would become another important film to the growth of the company, but we're not quite at that part of the story yet. We'll circle around to that film soon.   One of the things Harvey was most looking forward to going in to 1989 was the expected battle with the MPAA ratings board over Scandal. Ever since he had seen the brouhaha over Angel Heart's X rating two years earlier, he had been looking for a similar battle. He thought he had it with Aria in 1988, but he knew he definitely had it now.   And he'd be right.   In early March, just a few weeks before the film's planned April 21st opening day, the MPAA slapped an X rating on Scandal. The MPAA usually does not tell filmmakers or distributors what needs to be cut, in order to avoid accusations of actual censorship, but according to Harvey, they told him exactly what needed to be cut to get an R: a two second shot during an orgy scene, where it appears two background characters are having unsimulated sex.   So what did Harvey do?   He spent weeks complaining to the press about MPAA censorship, generating millions in free publicity for the film, all the while already having a close-up shot of Joanne Whaley-Kilmer's Christine Keeler watching the orgy but not participating in it, ready to replace the objectionable shot.   A few weeks later, Miramax screened the “edited” film to the MPAA and secured the R rating, and the film would open on 94 screens, including 28 each in the New York City and Los Angeles metro regions, on April 28th.   And while the reviews for the film were mostly great, audiences were drawn to the film for the Miramax-manufactured controversy as well as the key art for the film, a picture of a potentially naked Joanne Whaley-Kilmer sitting backwards in a chair, a mimic of a very famous photo Christine Keeler herself took to promote a movie about the Profumo affair she appeared in a few years after the events. I'll have a picture of both the Scandal poster and the Christine Keeler photo on this episode's page at The80sMoviePodcast.com   Five other movies would open that weekend, including the James Belushi comedy K-9 and the Kevin Bacon drama Criminal Law, and Scandal, with $658k worth of ticket sales, would have the second best per screen average of the five new openers, just a few hundred dollars below the new Holly Hunter movie Miss Firecracker, which only opened on six screens.   In its second weekend, Scandal would expand its run to 214 playdates, and make its debut in the national top ten, coming in tenth place with $981k. That would be more than the second week of the Patrick Dempsey rom-com Loverboy, even though Loverboy was playing on 5x as many screens.   In weekend number three, Scandal would have its best overall gross and top ten placement, coming in seventh with $1.22m from 346 screens. Scandal would start to slowly fade after that, falling back out of the top ten in its sixth week, but Miramax would wisely keep the screen count under 375, because Scandal wasn't going to play well in all areas of the country. After nearly five months in theatres, Miramax would have its biggest film to date. Scandal would gross $8.8m.   The second release from Millimeter Films was The Return of the Swamp Thing. And if you needed a reason why the 1980s was not a good time for comic book movies, here you are. The Return of the Swamp Thing took most of what made the character interesting in his comic series, and most of what was good from the 1982 Wes Craven adaptation, and decided “Hey, you know what would bring the kids in? Camp! Camp unseen in a comic book adaptation since the 1960s Batman series. They loved it then, they'll love it now!”   They did not love it now.   Heather Locklear, between her stints on T.J. Hooker and Melrose Place, plays the step-daughter of Louis Jourdan's evil Dr. Arcane from the first film, who heads down to the Florida swaps to confront dear old once presumed dead stepdad. He in turns kidnaps his stepdaughter and decides to do some of his genetic experiments on her, until she is rescued by Swamp Thing, one of Dr. Arcane's former co-workers who got turned into the gooey anti-hero in the first movie.   The film co-stars Sarah Douglas from Superman 1 and 2 as Dr. Arcane's assistant, Dick Durock reprising his role as Swamp Thing from the first film, and 1980s B-movie goddess Monique Gabrielle as Miss Poinsettia.   For director Jim Wynorski, this was his sixth movie as a director, and at $3m, one of the highest budgeted movies he would ever make. He's directed 107 movies since 1984, most of them low budget direct to video movies with titles like The Bare Wench Project and Alabama Jones and the Busty Crusade, although he does have one genuine horror classic under his belt, the 1986 sci-fi tinged Chopping Maul with Kelli Maroney and Barbara Crampton.   Wynorski suggested in a late 1990s DVD commentary for the film that he didn't particularly enjoy making the film, and had a difficult time directing Louis Jourdan, to the point that outside of calling “action” and “cut,” the two didn't speak to each other by the end of the shoot.   The Return of Swamp Thing would open in 123 theatres in the United States on May 12th, including 28 in the New York City metro region, 26 in the Los Angeles area, 15 in Detroit, and a handful of theatres in Phoenix, San Francisco. And, strangely, the newspaper ads would include an actual positive quote from none other than Roger Ebert, who said on Siskel & Ebert that he enjoyed himself, and that it was good to have Swamp Thing back. Siskel would not reciprocate his balcony partner's thumb up. But Siskel was about the only person who was positive on the return of Swamp Thing, and that box office would suffer. In its first three days, the film would gross just $119,200. After a couple more dismal weeks in theatres, The Return of Swamp Thing would be pulled from distribution, with a final gross of just $275k.   Fun fact: The Return of Swamp Thing was produced by Michael E. Uslan, whose next production, another adaptation of a DC Comics character, would arrive in theatres not six weeks later and become the biggest film of the summer. In fact, Uslan has been a producer or executive producer on every Batman-related movie and television show since 1989, from Tim Burton to Christopher Nolan to Zack Snyder to Matt Reeves, and from LEGO movies to Joker. He also, because of his ownership of the movie rights to Swamp Thing, got the movie screen rights, but not the television screen rights, to John Constantine.   Miramax didn't have too much time to worry about The Return of Swamp Thing's release, as it was happening while the Brothers Weinstein were at the 1989 Cannes Film Festival. They had two primary goals at Cannes that year:   To buy American distribution rights to any movie that would increase their standing in the cinematic worldview, which they would achieve by picking up an Italian dramedy called, at the time, New Paradise Cinema, which was competing for the Palme D'Or with a Miramax pickup from Sundance back in January. Promote that very film, which did end up winning the Palme D'Or.   Ever since he was a kid, Steven Soderbergh wanted to be a filmmaker. Growing up in Baton Rouge, LA in the late 1970s, he would enroll in the LSU film animation class, even though he was only 15 and not yet a high school graduate. After graduating high school, he decided to move to Hollywood to break into the film industry, renting an above-garage room from Stephen Gyllenhaal, the filmmaker best known as the father of Jake and Maggie, but after a few freelance editing jobs, Soderbergh packed up his things and headed home to Baton Rouge.   Someone at Atco Records saw one of Soderbergh's short films, and hired him to direct a concert movie for one of their biggest bands at the time, Yes, who was enjoying a major comeback thanks to their 1983 triple platinum selling album, 90125. The concert film, called 9012Live, would premiere on MTV in late 1985, and it would be nominated for a Grammy Award for Best Long Form Music Video.   Soderbergh would use the money he earned from that project, $7,500, to make Winston, a 12 minute black and white short about sexual deception that he would, over the course of an eight day driving trip from Baton Rouge to Los Angeles, expand to a full length screen that he would call sex, lies and videotape. In later years, Soderbergh would admit that part of the story is autobiographical, but not the part you might think. Instead of the lead, Graham, an impotent but still sexually perverse late twentysomething who likes to tape women talking about their sexual fantasies for his own pleasure later, Soderbergh based the husband John, the unsophisticated lawyer who cheats on his wife with her sister, on himself, although there would be a bit of Graham that borrows from the filmmaker. Like his lead character, Soderbergh did sell off most of his possessions and hit the road to live a different life.   When he finished the script, he sent it out into the wilds of Hollywood. Morgan Mason, the son of actor James Mason and husband of Go-Go's lead singer Belinda Carlisle, would read it and sign on as an executive producer. Soderbergh had wanted to shoot the film in black and white, like he had with the Winston short that lead to the creation of this screenplay, but he and Mason had trouble getting anyone to commit to the project, even with only a projected budget of $200,000. For a hot moment, it looked like Universal might sign on to make the film, but they would eventually pass.   Robert Newmyer, who had left his job as a vice president of production and acquisitions at Columbia Pictures to start his own production company, signed on as a producer, and helped to convince Soderbergh to shoot the film in color, and cast some name actors in the leading roles. Once he acquiesced, Richard Branson's Virgin Vision agreed to put up $540k of the newly budgeted $1.2m film, while RCA/Columbia Home Video would put up the remaining $660k.   Soderbergh and his casting director, Deborah Aquila, would begin their casting search in New York, where they would meet with, amongst others, Andie MacDowell, who had already starred in two major Hollywood pictures, 1984's Greystoke: The Legend of Tarzan, Lord of the Apes, and 1985's St. Elmo's Fire, but was still considered more of a top model than an actress, and Laura San Giacomo, who had recently graduated from the Carnegie Mellon School of Drama in Pittsburgh and would be making her feature debut. Moving on to Los Angeles, Soderbergh and Aquila would cast James Spader, who had made a name for himself as a mostly bad guy in 80s teen movies like Pretty in Pink and Less Than Zero, but had never been the lead in a drama like this. At Spader's suggestion, the pair met with Peter Gallagher, who was supposed to become a star nearly a decade earlier from his starring role in Taylor Hackford's The Idolmaker, but had mostly been playing supporting roles in television shows and movies for most of the decade.   In order to keep the budget down, Soderbergh, the producers, cinematographer Walt Lloyd and the four main cast members agreed to get paid their guild minimums in exchange for a 50/50 profit participation split with RCA/Columbia once the film recouped its costs.   The production would spend a week in rehearsals in Baton Rouge, before the thirty day shoot began on August 1st, 1988. On most days, the shoot was unbearable for many, as temperatures would reach as high as 110 degrees outside, but there were a couple days lost to what cinematographer Lloyd said was “biblical rains.” But the shoot completed as scheduled, and Soderbergh got to the task of editing right away. He knew he only had about eight weeks to get a cut ready if the film was going to be submitted to the 1989 U.S. Film Festival, now better known as Sundance. He did get a temporary cut of the film ready for submission, with a not quite final sound mix, and the film was accepted to the festival. It would make its world premiere on January 25th, 1989, in Park City UT, and as soon as the first screening was completed, the bids from distributors came rolling in. Larry Estes, the head of RCA/Columbia Home Video, would field more than a dozen submissions before the end of the night, but only one distributor was ready to make a deal right then and there.   Bob Weinstein wasn't totally sold on the film, but he loved the ending, and he loved that the word “sex” not only was in the title but lead the title. He knew that title alone would sell the movie. Harvey, who was still in New York the next morning, called Estes to make an appointment to meet in 24 hours. When he and Estes met, he brought with him three poster mockups the marketing department had prepared, and told Estes he wasn't going to go back to New York until he had a contract signed, and vowed to beat any other deal offered by $100,000. Island Pictures, who had made their name releasing movies like Stop Making Sense, Kiss of the Spider-Woman, The Trip to Bountiful and She's Gotta Have It, offered $1m for the distribution rights, plus a 30% distribution fee and a guaranteed $1m prints and advertising budget. Estes called Harvey up and told him what it would take to make the deal. $1.1m for the distribution rights, which needed to paid up front, a $1m P&A budget, to be put in escrow upon the signing of the contract until the film was released, a 30% distribution fee, no cutting of the film whatsoever once Soderbergh turns in his final cut, they would need to provide financial information for the films costs and returns once a month because of the profit participation contracts, and the Weinsteins would have to hire Ira Deutchman, who had spent nearly 15 years in the independent film world, doing marketing for Cinema 5, co-founding United Artists Classics, and co-founding Cinecom Pictures before opening his own company to act as a producers rep and marketer. And the Weinsteins would not only have to do exactly what Deutchman wanted, they'd have to pay for his services too.   The contract was signed a few weeks later.   The first move Miramax would make was to get Soderbergh's final cut of the film entered into the Cannes Film Festival, where it would be accepted to compete in the main competition. Which you kind of already know what happened, because that's what I lead with. The film would win the Palme D'Or, and Spader would be awarded the festival's award for Best Actor. It was very rare at the time, and really still is, for any film to be awarded more than one prize, so winning two was really a coup for the film and for Miramax, especially when many critics attending the festival felt Spike Lee's Do the Right Thing was the better film.   In March, Miramax expected the film to make around $5-10m, which would net the company a small profit on the film. After Cannes, they were hopeful for a $15m gross.   They never expected what would happen next.   On August 4th, sex, lies, and videotape would open on four screens, at the Cinema Studio in New York City, and at the AMC Century 14, the Cineplex Beverly Center 13 and the Mann Westwood 4 in Los Angeles. Three prime theatres and the best they could do in one of the then most competitive zones in all America. Remember, it's still the Summer 1989 movie season, filled with hits like Batman, Dead Poets Society, Ghostbusters 2, Indiana Jones and the Last Crusade, Honey I Shrunk the Kids, Lethal Weapon 2, Parenthood, Turner & Hooch, and When Harry Met Sally. An independent distributor even getting one screen at the least attractive theatre in Westwood was a major get. And despite the fact that this movie wasn't really a summertime movie per se, the film would gross an incredible $156k in its first weekend from just these four theatres. Its nearly $40k per screen average would be 5x higher than the next closest film, Parenthood.   In its second weekend, the film would expand to 28 theatres, and would bring in over $600k in ticket sales, its per screen average of $21,527 nearly triple its closest competitor, Parenthood again. The company would keep spending small, as it slowly expanded the film each successive week. Forty theatres in its third week, and 101 in its fourth. The numbers held strong, and in its fifth week, Labor Day weekend, the film would have its first big expansion, playing in 347 theatres. The film would enter the top ten for the first time, despite playing in 500 to 1500 fewer theatres than the other films in the top ten. In its ninth weekend, the film would expand to its biggest screen count, 534, before slowly drawing down as the other major Oscar contenders started their theatrical runs. The film would continue to play through the Oscar season of 1989, and when it finally left theatres in May 1989, its final gross would be an astounding $24.7m.   Now, remember a few moments ago when I said that Miramax needed to provide financial statements every month for the profit participation contracts of Soderbergh, the producers, the cinematographer and the four lead actors? The film was so profitable for everyone so quickly that RCA/Columbia made its first profit participation payouts on October 17th, barely ten weeks after the film's opening.   That same week, Soderbergh also made what was at the time the largest deal with a book publisher for the writer/director's annotated version of the screenplay, which would also include his notes created during the creation of the film. That $75,000 deal would be more than he got paid to make the movie as the writer and the director and the editor, not counting the profit participation checks.   During the awards season, sex, lies, and videotape was considered to be one of the Oscars front runners for Best Picture, Best Director, Best Screenplay and at least two acting nominations. The film would be nominated for Best Picture, Best Actress and Best Supporting Actress by the Golden Globes, and it would win the Spirit Awards for Best Picture, Soderbergh for Best Director, McDowell for Best Actress, and San Giacomo for Best Supporting Actress. But when the Academy Award nominations were announced, the film would only receive one nomination, for Best Original Screenplay. The same total and category as Spike Lee's Do the Right Thing, which many people also felt had a chance for a Best Picture and Best Director nomination. Both films would lose out to Tom Shulman's screenplay for Dead Poet's Society.   The success of sex, lies, and videotape would launch Steven Soderbergh into one of the quirkiest Hollywood careers ever seen, including becoming the first and only director ever to be nominated twice for Best Director in the same year by the Motion Picture Academy, the Golden Globes and the Directors Guild of America, in 2001 for directing Erin Brockovich and Traffic. He would win the Oscar for directing Traffic.   Lost in the excitement of sex, lies, and videotape was The Little Thief, a French movie that had an unfortunate start as the screenplay François Truffaut was working on when he passed away in 1984 at the age of just 52.   Directed by Claude Miller, whose principal mentor was Truffaut, The Little Thief starred seventeen year old Charlotte Gainsbourg as Janine, a young woman in post-World War II France who commits a series of larcenies to support her dreams of becoming wealthy.   The film was a modest success in France when it opened in December 1988, but its American release date of August 25th, 1989, was set months in advance. So when it was obvious sex, lies, and videotape was going to be a bigger hit than they originally anticipated, it was too late for Miramax to pause the release of The Little Thief.   Opening at the Lincoln Plaza Cinemas in New York City, and buoyed by favorable reviews from every major critic in town, The Little Thief would see $39,931 worth of ticket sales in its first seven days, setting a new house record at the theatre for the year. In its second week, the gross would only drop $47. For the entire week. And when it opened at the Royal Theatre in West Los Angeles, its opening week gross of $30,654 would also set a new house record for the year.   The film would expand slowly but surely over the next several weeks, often in single screen playdates in major markets, but it would never play on more than twenty-four screens in any given week. And after four months in theatres, The Little Thief, the last movie created one of the greatest film writers the world had ever seen, would only gross $1.056m in the United States.   The next three releases from Miramax were all sent out under the Millimeter Films banner.   The first, a supernatural erotic drama called The Girl in a Swing, was about an English antiques dealer who travels to Copenhagen where he meets and falls in love with a mysterious German-born secretary, whom he marries, only to discover a darker side to his new bride. Rupert Frazer, who played Christian Bale's dad in Steven Spielberg's Empire of the Sun, plays the antique dealer, while Meg Tilly the mysterious new bride.   Filmed over a five week schedule in London and Copenhagen during May and June 1988, some online sources say the film first opened somewhere in California in December 1988, but I cannot find a single theatre not only in California but anywhere in the United States that played the film before its September 29th, 1989 opening date.   Roger Ebert didn't like the film, and wished Meg Tilly's “genuinely original performance” was in a better movie. Opening in 26 theatres, including six theatres each in New York City and Los Angeles, and spurred on by an intriguing key art for the film that featured a presumed naked Tilly on a swing looking seductively at the camera while a notice underneath her warns that No One Under 18 Will Be Admitted To The Theatre, The Girl in a Swing would gross $102k, good enough for 35th place nationally that week. And that's about the best it would do. The film would limp along, moving from market to market over the course of the next three months, and when its theatrical run was complete, it could only manage about $747k in ticket sales.   We'll quickly burn through the next two Millimeter Films releases, which came out a week apart from each other and didn't amount to much.   Animal Behavior was a rather unfunny comedy featuring some very good actors who probably signed on for a very different movie than the one that came to be. Karen Allen, Miss Marion Ravenwood herself, stars as Alex, a biologist who, like Dr. Jane Goodall, develops a “new” way to communicate with chimpanzees via sign language. Armand Assante plays a cellist who pursues the good doctor, and Holly Hunter plays the cellist's neighbor, who Alex mistakes for his wife.   Animal Behavior was filmed in 1984, and 1985, and 1987, and 1988. The initial production was directed by Jenny Bowen with the assistance of Robert Redford and The Sundance Institute, thanks to her debut film, 1981's Street Music featuring Elizabeth Daily. It's unknown why Bowen and her cinematographer husband Richard Bowen left the project, but when filming resumed again and again and again, those scenes were directed by the film's producer, Kjehl Rasmussen.   Because Bowen was not a member of the DGA at the time, she was not able to petition the guild for the use of the Alan Smithee pseudonym, a process that is automatically triggered whenever a director is let go of a project and filming continues with its producer taking the reigns as director. But she was able to get the production to use a pseudonym anyway for the director's credit, H. Anne Riley, while also giving Richard Bowen a pseudonym of his own for his work on the film, David Spellvin.   Opening on 24 screens on October 27th, Animal Behavior would come in 50th place in its opening weekend, grossing just $20,361. The New York film critics ripped the film apart, and there wouldn't be a second weekend for the film.   The following Friday, November 3rd, saw the release of The Stepfather II, a rushed together sequel to 1987's The Stepfather, which itself wasn't a big hit in theatres but found a very quick and receptive audience on cable.   Despite dying at the end of the first film, Terry O'Quinn's Jerry is somehow still alive, and institutionalized in Northern Washington state. He escapes and heads down to Los Angeles, where he assumes the identity of a recently deceased publisher, Gene Clifford, but instead passes himself off as a psychiatrist. Jerry, now Gene, begins to court his neighbor Carol, and the whole crazy story plays out again. Meg Foster plays the neighbor Carol, and Jonathan Brandis is her son.    Director Jeff Burr had made a name for himself with his 1987 horror anthology film From a Whisper to a Scream, featuring Vincent Price, Clu Gulager and Terry Kiser, and from all accounts, had a very smooth shooting process with this film. The trouble began when he turned in his cut to the producers. The producers were happy with the film, but when they sent it to Miramax, the American distributors, they were rather unhappy with the almost bloodless slasher film. They demanded reshoots, which Burr and O'Quinn refused to participate in. They brought in a new director, Doug Campbell, to handle the reshoots, which are easy to spot in the final film because they look and feel completely different from the scenes they're spliced into.   When it opened, The Stepfather II actually grossed slightly more than the first film did, earning $279k from 100 screens, compared to $260k for The Stepfather from 105 screens. But unlike the first film, which had some decent reviews when it opened, the sequel was a complete mess. To this day, it's still one of the few films to have a 0% approval rating on Rotten Tomatoes, and The Stepfather II would limp its way through theatres during the Christmas holiday season, ending its run with a $1.5m gross.   But it would be their final film of the decade that would dictate their course for at least the first part of the 1990s.   Remember when I said earlier in the episode that Harvey Weinstein meant with the producers of another British film while in London for Scandal? We're at that film now, a film you probably know.   My Left Foot.   By November 1988, actor Daniel Day-Lewis had starred in several movies including James Ivory's A Room With a View and Philip Kaufman's The Unbearable Lightness of Being. He had even been the lead in a major Hollywood studio film, Pat O'Connor's Stars and Bars, a very good film that unfortunately got caught up in the brouhaha over the exit of the studio head who greenlit the film, David Puttnam.   The film's director, Jim Sheridan, had never directed a movie before. He had become involved in stage production during his time at the University College in Dublin in the late 1960s, where he worked with future filmmaker Neil Jordan, and had spent nearly a decade after graduation doing stage work in Ireland and Canada, before settling in New York City in the early 1980s. Sheridan would go to New York University's Tisch School of the Arts, where one of his classmates was Spike Lee, and return to Ireland after graduating. He was nearly forty, married with two pre-teen daughters, and he needed to make a statement with his first film.   He would find that story in the autobiography of Irish writer and painter Christy Brown, whose spirit and creativity could not be contained by his severe cerebral palsy. Along with Irish actor and writer Shane Connaughton, Sheridan wrote a screenplay that could be a powerhouse film made on a very tight budget of less than a million dollars.   Daniel Day-Lewis was sent a copy of the script, in the hopes he would be intrigued enough to take almost no money to play a physically demanding role. He read the opening pages, which had the adult Christy Brown putting a record on a record player and dropping the needle on to the record with his left foot, and thought to himself it would be impossible to film. That intrigued him, and he signed on. But during filming in January and February of 1989, most of the scenes were shot using mirrors, as Day-Lewis couldn't do the scenes with his left foot. He could do them with his right foot, hence the mirrors.   As a method actor, Day-Lewis remained in character as Christy Brown for the entire two month shoot. From costume fittings and makeup in the morning, to getting the actor on set, to moving him around between shots, there were crew members assigned to assist the actor as if they were Christy Brown's caretakers themselves, including feeding him during breaks in shooting. A rumor debunked by the actor years later said Day-Lewis had broken two ribs during production because of how hunched down he needed to be in his crude prop wheelchair to properly play the character.   The actor had done a lot of prep work to play the role, including spending time at the Sandymount School Clinic where the young Christy Brown got his education, and much of his performance was molded on those young people.   While Miramax had acquired the American distribution rights to the film before it went into production, and those funds went into the production of the film, the film was not produced by Miramax, nor were the Weinsteins given any kind of executive producer credit, as they were able to get themselves on Scandal.   My Left Foot would make its world premiere at the Montreal World Film Festival on September 4th, 1989, followed soon thereafter by screening at the Toronto International Film Festival on September 13th and the New York Film Festival on September 23rd. Across the board, critics and audiences were in love with the movie, and with Daniel Day-Lewis's performance. Jim Sheridan would receive a special prize at the Montreal World Film Festival for his direction, and Day-Lewis would win the festival's award for Best Actor. However, as the film played the festival circuit, another name would start to pop up. Brenda Fricker, a little known Irish actress who played Christy Brown's supportive but long-suffering mother Bridget, would pile up as many positive notices and awards as Day-Lewis. Although there was no Best Supporting Actress Award at the Montreal Film Festival, the judges felt her performance was deserving of some kind of attention, so they would create a Special Mention of the Jury Award to honor her.   Now, some sources online will tell you the film made its world premiere in Dublin on February 24th, 1989, based on a passage in a biography about Daniel Day-Lewis, but that would be impossible as the film would still be in production for two more days, and wasn't fully edited or scored by then.   I'm not sure when it first opened in the United Kingdom other than sometime in early 1990, but My Left Foot would have its commercial theatre debut in America on November 10th, when opened at the Lincoln Plaza Cinemas in New York City and the Century City 14 in Los Angeles. Sheila Benson of the Los Angeles Times would, in the very opening paragraph of her review, note that one shouldn't see My Left Foot for some kind of moral uplift or spiritual merit badge, but because of your pure love of great moviemaking. Vincent Canby's review in the New York Times spends most of his words praising Day-Lewis and Sheridan for making a film that is polite and non-judgmental.    Interestingly, Miramax went with an ad campaign that completely excluded any explanation of who Christy Brown was or why the film is titled the way it is. 70% of the ad space is taken from pull quotes from many of the top critics of the day, 20% with the title of the film, and 10% with a picture of Daniel Day-Lewis, clean shaven and full tooth smile, which I don't recall happening once in the movie, next to an obviously added-in picture of one of his co-stars that is more camera-friendly than Brenda Fricker or Fiona Shaw.   Whatever reasons people went to see the film, they flocked to the two theatres playing the film that weekend. It's $20,582 per screen average would be second only to Kenneth Branagh's Henry V, which had opened two days earlier, earning slightly more than $1,000 per screen than My Left Foot.   In week two, My Left Foot would gross another $35,133 from those two theatres, and it would overtake Henry V for the highest per screen average. In week three, Thanksgiving weekend, both Henry V and My Left Foot saw a a double digit increase in grosses despite not adding any theatres, and the latter film would hold on to the highest per screen average again, although the difference would only be $302. And this would continue for weeks. In the film's sixth week of release, it would get a boost in attention by being awarded Best Film of the Year by the New York Film Critics Circle. Daniel Day-Lewis would be named Best Actor that week by both the New York critics and the Los Angeles Film Critics Association, while Fricker would win the Best Supporting Actress award from the latter group.   But even then, Miramax refused to budge on expanding the film until its seventh week of release, Christmas weekend, when My Left Foot finally moved into cities like Chicago and San Francisco. Its $135k gross that weekend was good, but it was starting to lose ground to other Oscar hopefuls like Born on the Fourth of July, Driving Miss Daisy, Enemies: A Love Story, and Glory.   And even though the film continued to rack up award win after award win, nomination after nomination, from the Golden Globes and the Writers Guild and the National Society of Film Critics and the National Board of Review, Miramax still held firm on not expanding the film into more than 100 theatres nationwide until its 16th week in theatres, February 16th, 1990, two days after the announcement of the nominees for the 62nd Annual Academy Awards. While Daniel Day-Lewis's nomination for Best Actor was virtually assured and Brenda Fricker was practically a given, the film would pick up three other nominations, including surprise nominations for Best Picture and Best Director. Jim Sheridan and co-writer Shane Connaughton would also get picked for Best Adapted Screenplay.   Miramax also picked up a nomination for Best Original Screenplay for sex, lies, and videotape, and a Best Foreign Language Film nod for the Italian movie Cinema Paradiso, which, thanks to the specific rules for that category, a film could get a nomination before actually opening in theatres in America, which Miramax would rush to do with Paradiso the week after its nomination was announced.   The 62nd Academy Awards ceremony would be best remembered today as being the first Oscar show to be hosted by Billy Crystal, and for being considerably better than the previous year's ceremony, a mess of a show best remembered as being the one with a 12 minute opening musical segment that included Rob Lowe singing Proud Mary to an actress playing Snow White and another nine minute musical segment featuring a slew of expected future Oscar winners that, to date, feature exact zero Oscar nominees, both which rank as amongst the worst things to ever happen to the Oscars awards show.   The ceremony, held on March 26th, would see My Left Foot win two awards, Best Actor and Best Supporting Actress, as well as Cinema Paradiso for Best Foreign Film. The following weekend, March 30th, would see Miramax expand My Left Foot to 510 theatres, its widest point of release, and see the film made the national top ten and earn more than a million dollars for its one and only time during its eight month run.   The film would lose steam pretty quickly after its post-win bump, but it would eek out a modest run that ended with $14.75m in ticket sales just in the United States. Not bad for a little Irish movie with no major stars that cost less than a million dollars to make.   Of course, the early 90s would see Miramax fly to unimagined heights. In all of the 80s, Miramax would release 39 movies. They would release 30 films alone in 1991. They would release the first movies from Jean-Pierre Jeunet, Quentin Tarantino and Kevin Smith. They'd release some of the best films from some of the best filmmakers in the world, including Woody Allen, Pedro Almadovar, Robert Altman, Bernardo Bertolucci, Atom Egoyan, Steven Frears, Peter Greenaway, Peter Jackson, Neil Jordan, Chen Kaige, Krzysztof Kieślowski, Lars von Trier, and Zhang Yimou. In 1993, the Mexican dramedy Like Water for Chocolate would become the highest grossing foreign language film ever released in America, and it would play in some theatres, including my theatre, the NuWilshire in Santa Monica, continuously for more than a year.   If you've listened to the whole series on the 1980s movies of Miramax Films, there are two things I hope you take away. First, I hope you discovered at least one film you hadn't heard of before and you might be interested in searching out. The second is the reminder that neither Bob nor Harvey Weinstein will profit in any way if you give any of the movies talked about in this series a chance. They sold Miramax to Disney in June 1993. They left Miramax in September 2005. Many of the contracts for the movies the company released in the 80s and 90s expired decades ago, with the rights reverting back to their original producers, none of whom made any deals with the Weinsteins once they got their rights back.   Harvey Weinstein is currently serving a 23 year prison sentence in upstate New York after being found guilty in 2020 of two sexual assaults. Once he completes that sentence, he'll be spending another 16 years in prison in California, after he was convicted of three sexual assaults that happened in Los Angeles between 2004 and 2013. And if the 71 year old makes it to 107 years old, he may have to serve time in England for two sexual assaults that happened in August 1996. That case is still working its way through the British legal system.   Bob Weinstein has kept a low profile since his brother's proclivities first became public knowledge in October 2017, although he would also be accused of sexual harassment by a show runner for the brothers' Spike TV-aired adaptation of the Stephen King novel The Mist, several days after the bombshell articles came out about his brother. However, Bob's lawyer, the powerful attorney to the stars Bert Fields, deny the allegations, and it appears nothing has occurred legally since the accusations were made.   A few weeks after the start of the MeToo movement that sparked up in the aftermath of the accusations of his brother's actions, Bob Weinstein denied having any knowledge of the nearly thirty years of documented sexual abuse at the hands of his brother, but did allow to an interviewer for The Hollywood Reporter that he had barely spoken to Harvey over the previous five years, saying he could no longer take Harvey's cheating, lying and general attitude towards everyone.   And with that, we conclude our journey with Miramax Films. While I am sure Bob and Harvey will likely pop up again in future episodes, they'll be minor characters at best, and we'll never have to focus on anything they did ever again.   Thank you for joining us. We'll talk again soon, when Episode 119 is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Torie and Maggie dive into cinematic rarity of films bold enough to tackle the taboo of full frontal male nudity. Torie has difficulty separating the art from the artist with Vincent Gallo's The Brown Bunny whereas Maggie mines empathy for toxic masculinity. We celebrate the wonder of prosthetics in Paul Thomas Anderson's Boogie Nights, talk twincest (and the double D showcase) in Bernardo Bertolucci's The Dreamers, and tackle the ever-burning question - does size really matter?

David and guests share their thoughts on this sensational, scandalous landmark film from 1972 that still stirs up strong reactions today.