Podcast appearances and mentions of Charlotte Gainsbourg

Send us a textOn our 107th podcast, we here at the Triple FFF thought we'd try to once again attempt relevance and discuss a current big release, this time Wes Anderson's 2025 father-daughter high stakes business and espionage caper The Phoenician Scheme starring Benicio Del Toro, Mia Threapleton, Michael Cera, Tom Hanks, Bryan Cranston, Riz Ahmed, Scarlet Johansson, Mathieu Amalric, Jeffrey Wright, Rupert Friend and Benedict Cumberbatch. As well as Mr. Anderson's troupe of good-natured bit players and walk ons which includes Bill Murray, F. Murray Abraham, Wilem Dafoe and now Charlotte Gainsbourg.  I'm your host Gino Caputi and my guests this week are the always dependable show regulars Joe Field, David Johnson DMD and Gordon Alex RobertsonThe Phoenician Scheme's plot unfolds as follows: After surviving yet another assassination attempt, this time with a glimpse of the afterlife, wealthy arms dealer and industrialist Anatole Zsa-Zsa Korda realizes his days are numbered and possibly without purpose. Hoping to reconnect with his estranged daughter Liesl—now on the verge of taking her final vows as a Catholic nun—he names her the sole heir to his estate. In exchange for long-withheld truths about her mother's murder, Korda convinces Liesl to accompany him on a whirlwind journey to secure funding from several colorfully shady investors for his grand, multi-layered Phoenician Scheme—plans for which are ingeniously stored in a series of shoeboxes.Where does this film rank within Wes Anderson's collection of stories about larger-than-life, big talking fathers of dubious emotional and financial sincerity?  Find out!Watch the video podcast on Youtube:https://youtu.be/QVYj2zTif5o

The Phoenician Scheme is a 2025 espionage black comedy film produced, written and directed by Wes Anderson from a story he conceived with Roman Coppola. The film features an ensemble cast that includes Benicio del Toro, Mia Threapleton, Michael Cera, Riz Ahmed, Tom Hanks, Bryan Cranston, Mathieu Amalric, Richard Ayoade, Jeffrey Wright, Scarlett Johansson, Benedict Cumberbatch, Rupert Friend, Hope Davis, F. Murray Abraham, Charlotte Gainsbourg, Willem Dafoe, and Bill Murray. An international co-production between the United States and Germany, it was produced by Anderson's company American Empirical Pictures and Steven Rales's company Indian Paintbrush.Anderson talked about the film in June 2023 while promoting Asteroid City; he said it had already been written before the 2023 WGA strike began. That September, he revealed that del Toro and Cera were planned to join the cast, and he hoped to begin filming soon after the 2023 SAG-AFTRA strike ended. The rest of the cast signed on between January and June 2024. Filming took place at Babelsberg Studio in Germany, between March and June 2024, with cinematographer Bruno Delbonnel. Frequent Anderson collaborator Alexandre Desplat returned to compose the score.The Phoenician Scheme had its world premiere in the main competition of the 2025 Cannes Film Festival on May 18, 2025,[3] and was released theatrically in the United States by Focus Features on May 30, with a release date of June 29, 2025 set for Germany by Universal Pictures. The film received generally positive reviews.

Der phönizische Meisterstreich | Viele Stars, noch mehr Symmetrie Es wird wieder einmal symmetrisch – Wes Anderson kehrt am 29. Mai mit seinem neuen Film „Der phönizische Meisterstreich“ auf die Kinoleinwand zurück. In der skurrilen Komödie spielt Benicio del Toro einen exzentrischen Geschäftsmann, der gemeinsam mit seiner Tochter Liesl (gespielt von Mia Threapleton), einer Nonne, und einem Insektenexperten einen raffinierten Coup plant. Wie Schlogger, Stu und ihre Gästin Laura vom WILD Magazin den Film fanden, verraten wir an dieser Stelle nicht. Stattdessen nutzen wir den Raum, um all die illustren Namen zu nennen, die sich im hochkarätigen Ensemble tummeln. Also: einmal tief Luft holen, denn es folgt ein echtes Star-Feuerwerk. Mit dabei sind: Tom Hanks, Scarlett Johansson, Willem Dafoe, Michael Cera, Riz Ahmed, Bryan Cranston, Benedict Cumberbatch, Charlotte Gainsbourg, Jeffrey Wright, Bill Murray, F. Murray Abraham, Mathieu Amalric, Hope Davis, Rupert Friend und Richard Ayoade. Viel Spaß mit der neuen Folge vom Tele-Stammtisch! Trailer Werdet Teil unserer Community und besucht unseren Discord-Server! Dort oder auch auf Instagram könnt ihr mit uns über Filme, Serien und vieles mehr sprechen. Wir liefern euch launige und knackige Filmkritiken, Analysen und Talks über Kino- und Streamingfilme und -serien - immer aktuell, informativ und mit der nötigen Prise Humor. Website | Youtube | PayPal | BuyMeACoffee Großer Dank und Gruß für das Einsprechen unseres Intros geht raus an Engelbert von Nordhausen - besser bekannt als die deutsche Synchronstimme Samuel L. Jackson! Thank you very much to BASTIAN HAMMER for the orchestral part of the intro! I used the following sounds of freesound.org: 16mm Film Reel by bone666138 wilhelm_scream.wav by Syna-Max backspin.wav by il112 Crowd in a bar (LCR).wav by Leandros.Ntounis Short Crowd Cheer 2.flac by qubodup License (Copyright): Attribution 4.0 International (CC BY 4.0)

She practically invented jeans, literally had a bag named after her, and charmed the world with her breathy voice and carefree attitude. Not to mention she was the original Penny Lane, before Almost Famous! This week's Doll is actress, singer, activist, style icon, and one of Emma's greatest muses, Jane Birkin. From her schoolgirl years in England through her career as a French icon, her famous friends, three great loves, and her love for her family, Jane truly lived her life to the fullest. After all, “When you're recognizing you're having fun, life can be delightful.” Hear all about Jane B. on this week's episode of the Dolls Podcast, available wherever you stream your podcasts

Of the three new series this week, The Four Seasons is the only one Andrew and James have both seen. Andrew also tuned into Duster and James was working his way through Étoile. The Four Seasons (Netflix, 8 episodes): New from Tina Fey who also stars alongside Steve Carrell and Will Forte. Three couples who spend a vacation together every year are tested when one of the couples splits. Duster (Max, 8 episodes) New from producer JJ Abrams it tells the story of the life of a gutsy getaway driver for a growing crime syndicate that goes from awful to wildly, stupidly, dangerously awful. Étoile (Prime Video, 8 episodes) New from the creators of The Gilmore Girls and The Marvelous Mrs Maisel is this ambitious drama series about a partnership between the Metropolitan Ballet Theatre in New York and Le Ballet National in Paris. Luke Kirby and Charlotte Gainsbourg star. See omnystudio.com/listener for privacy information.

La série "Sam" revient sur TF1 pour une huitième saison, Amazon Prime propose "Etoile" une série sur l'univers de la danse avec Charlotte Gainsbourg Ecoutez Laissez-vous tenter - Première avec Le Service Culture du 28 avril 2025.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

"Étoile" is the newest show from the brilliant creative minds of Amy Sherman-Palladino and Daniel Palladino ("The Marvelous Mrs. Maisel"). Set within the world of elite ballet, two world-renowned ballet companies in New York City and Paris swap their most talented stars in an attempt to save their institutions. Stars Luke Kirby, Charlotte Gainsbourg, and the Palladinos were all kind enough to spend some time speaking with us about their work on the debut season, which you can listen to below. Please be sure to check out the series, which is set to premiere on Amazon Prime Video on April 24th. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices

You didn't know we would cover this one? We gave you all the clues! This week, the guys try to wrap their heads around the nonsensical mess that is The Snowman starring a very sleepy Michael Fassbender. They talk about naming your main character Harry Hole, the multiple subplots that are unfinished or illogical, Val Kilmer (RIP) getting ADR'ed by an 1850s prospector, Chloë Sevigny playing twin farmers and much more. Next week: ANDREW, not Andy. What We've Been Watching: Assault on Precinct 13 (1976) "Adolescence" Patreon: www.patreon.com/wwttpodcast Facebook: www.facebook.com/wwttpodcast Twitter: www.twitter.com/wwttpodcast Instagram: www.instagram.com/wwttpodcast Theme Song recorded by Taylor Sheasgreen: www.facebook.com/themotorleague Logo designed by Mariah Lirette: www.instagram.com/its.mariah.xo Montrose Monkington III: www.twitter.com/montrosethe3rd The Snowman stars Michael Fassbender, Rebecca Ferguson, Charlotte Gainsbourg, J.K. Simmons, Toby Jones, Adrian Dunbar, David Dencik, Chloë Sevigny, James D'Arcy, Jamie Clayton and Val Kilmer; directed by Tomas Alfredson. Learn more about your ad choices. Visit megaphone.fm/adchoices

La série : “Étoile” est une plongée captivante dans les coulisses du monde du ballet. La rigueur, l'acharnement, l'effort physique des danseurs, les enjeux artistiques mais aussi le combat pour maintenir vivant un art en danger, boudé par le public. De quoi pousser deux compagnies de renommée mondiale, à Paris et à New York à se lancer dans un projet commun. Échanger leurs meilleurs danseurs le temps d'une saison. Pour nous en parler, écoutez Charlotte Gainsbourg & Lou de Laâge pour la série : “Étoile” disponible le 24 avril sur Prime vidéo.Tous les soirs, du lundi au vendredi à 20h sur France 5, Anne-Elisabeth Lemoine et toute son équipe accueillent les personnalités et artistes qui font l'actualité.

À l'âge de 8 ans, Sarah a intégré, avec sa famille, une « communauté charismatique » aux dérives sectaires. Elle s'en est enfuie à 18 ans.
il y a 5 ans, Elle a raconté son histoire dans le sublime film Les Éblouis, avec Camille Cottin.
Dans cet épisode, elle nous confie comment sa famille a intégré cette communauté et pourquoi elle a toujours su, au fond d'elle, que cette vie n'était pas normale…Après sa fuite, Sarah a tout mis en œuvre pour faire de sa passion son métier. Elle revient sur ses débuts dans le monde du cinéma : les belles rencontres, le travail acharné…
Aujourd'hui, Sarah travaille sur son deuxième film. Elle vient d'être nommée dans la catégorie Meilleure actrice aux César pour son rôle dans le film à succès En fanfare, et elle jouera prochainement dans Gisèle Halimi, aux côtés de Charlotte Gainsbourg et Cécile de France.Merci Sarah pour ce beau parcours qui donne de l'espoir et prouve que les passions peuvent tracer des chemins lumineux.
Ton parcours est admirable, et pour moi, à travers ton travail, ta manière de raconter et d'interpréter les histoires, tu contribues largement à faire bouger les lignes.
Merci de t'être confiée sur un sujet aussi intime et douloureux.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

À l'âge de 8 ans, Sarah a intégré, avec sa famille, une « communauté charismatique » aux dérives sectaires. Elle s'en est enfuie à 18 ans.
il y a 5 ans, Elle a raconté son histoire dans le sublime film Les Éblouis, avec Camille Cottin.
Dans cet épisode, elle nous confie comment sa famille a intégré cette communauté et pourquoi elle a toujours su, au fond d'elle, que cette vie n'était pas normale…Après sa fuite, Sarah a tout mis en œuvre pour faire de sa passion son métier. Elle revient sur ses débuts dans le monde du cinéma : les belles rencontres, le travail acharné…
Aujourd'hui, Sarah travaille sur son deuxième film. Elle vient d'être nommée dans la catégorie Meilleure actrice aux César pour son rôle dans le film à succès En fanfare, et elle jouera prochainement dans Gisèle Halimi, aux côtés de Charlotte Gainsbourg et Cécile de France.Merci Sarah pour ce beau parcours qui donne de l'espoir et prouve que les passions peuvent tracer des chemins lumineux.
Ton parcours est admirable, et pour moi, à travers ton travail, ta manière de raconter et d'interpréter les histoires, tu contribues largement à faire bouger les lignes.
Merci de t'être confiée sur un sujet aussi intime et douloureux.Retrouvez l'épisode complet Dimanche soir. Musique : Stolen Heart - Henry and the WaiterHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Arriva nelle sale tanto nuovo cinema da vedere e molte novità arrivano dal nostro cinema. È il caso del nuovo film del regista Gabriele Mainetti, che viene a trovarci in studio per presentarci "La città proibita", che mischia crime e arti marziali con un cast che vede tra gli altri Marco Giallini e Sabrina Ferilli accanto ai protagonisti Enrico Borello e Yaxi Liu.Altro film italiano della settimana è "Gioco pericoloso" diretto da Lucio Pellegreini, con Adriano Giannini e Elodie, di cui ci parla il nostro Boris Sollazzo che ci racconta anche "Il caso Belle Steiner", diretto Benoit Jacquot, con Charlotte Gainsbourg e Guillaume Canet.Esce anche "Dreams", il vincitore della 75ma edizione della Berlinale, diretto Dag Johan Haugerud, con Ane Dahl Torp e Selome Emnetu. Vi facciamo ascoltare l'intervista esclusiva con il regista Dag Johan Haugerud raccolta appunto a Berlino.Dagli Stati Uniti arriva un classico biopic con Kate Winslet nei panni della protagonista, incentrato sulla grande fotografa della seconda guerra mondiale Lee Miller. Lo ha visto e ce lo racconta Chiara Pizzimenti

Le pouvoir de la musique, c'est de rassembler, de toucher les cœurs et de porter des messages forts. Et c'est exactement ce que propose "Grand Soleil", le titre inédit du Sidaction, disponible dès aujourd'hui, 14 mars. Porté par Damso et une constellation d'artistes venus des scènes rap et pop, ce morceau s'annonce comme un véritable hymne à la solidarité, au respect et à la tolérance. Pas moins de 18 artistes ont répondu présent, accompagnés d'une chorale gospel pour donner encore plus de puissance au message. Parmi eux : Adèle Castillon, Amadou et Mariam, Charlotte Gainsbourg, Eddy de Pretto, Hoshi, Louane, Pomme ou encore Youssoupha. Une diversité d'horizons qui illustre bien l'ambition de ce projet : rassembler au-delà des différences pour une cause commune. Damso, qui assure la direction artistique et la co-écriture du morceau, insuffle ainsi son talent au... • La suite sur https://www.radiomelodie.com/podcasts/12988-sidaction-2025-un-hymne-collectif-pour-faire-briller-la-solidarite.html

Send us a text4X4: Lars von Trier #3Breaking our own arbitrary rules just like Lars von Trier, the enfant terrible final director of Season 13's 4x4, the TGTPTU crew for our final pairing breaks with release date order to review the later paired film earlier, giving you this week ANTICHRIST (2009).  From the throes of depression, LVT emerged to sink the world into his vision of grief, anxiety, and madness with the horror story of a couple (played by Willem Dafoe and Charlotte Gainsbourg), their gendered power dynamics, and a totally normal depiction of married sex life. Not only are these two main husband-wife characters unnamed (something host Jack hates), with the exception their child who won't survive the movie's Prologue, all other characters are extras who appear with faces blurred, maintaining the isolation and focus on the archetypes of a controlling male and a woman who cannot find herself in the narratives of motherhood. Or, that's one interpretation of many readings Antichrist allows as it questions, potentially: whether human nature is good or evil, if there is a different nature for women than men, how nature influences nurture, and if nature itself can be framed in terms of good or evil. Also left to questioning: the crew on this film as to whether LVT would finish the movie as his struggle with depression persisted. But what is not open to question is how visually arresting the film is. In combination with the Dogme 95-inspired handheld camerawork complemented by the time-cut style discussed last episode with Dancer in the Dark (also with no preproduction rehearsals for actors), LVT introduces two visual styles new to his filmography. The first, shot in a repetitive extreme close-ups, is a sequence reminiscent of Aronofsky's hip-hop montage (see Season 11) and 2024's Cuckoo (see future Season 19 Singer vs. Singer) that captures the feelings of anxiety experienced, initially, by the wife. The second stylist tone, and the one that opens the tragedy of their neglected child falling from a window while they are having black-and-white penetrative sex, uses high resolution slow motion for gorgeously crisp imagery that later is repeated but spectrally layered as if in a dream. From the hosts this week: Thomas demonstrates effectively totally knows what sex is; Ryan goes Cartesian; Jack receives a visit from the Sight and Sound people about putting Audition on his list; and Ken is a grump who wants LA to burn to the ground. Join one pair of hosts in praising the film or perhaps pose the question as a reporter for the Daily Mail did at Cannes (available on the Blu-ray) to LVT: “Would you please, for my benefit, explain and justify why you made this movie?”  What does it really matter? Chaos reigns.  Content Note: While a forest retreat where Dafoe's character discovers a mommy deer, a helpful crow, and a talking fox might sound like a family-friend animated film, the genital mutilation in the film definitely veers toward adult content. So CONTENT WARNING: while you might enjoy this film as two TGTPTU hosts did, you're not going to leave this film content.  Final Note: At the release of this episode (late-January 2025), Bob's Big Boy in LA has been booked solid and the front of the building covered with flowers, but at the time of this episode's recording David Lynch had yet to slip into the ether. THEME SONG BY: WEIRD A.I.Email: thegoodthepodandtheugly@gmail.comFacebook: https://m.facebook.com/TGTPTUInstagram: https://instagram.com/thegoodthepodandtheugly?igshid=um92md09kjg0Bluesky: @mrkoral.bsky.socialYouTube: https://www.youtube.com/channel/UC6mI2plrgJu-TB95bbJCW-gBuzzsprout: https://thegoodthepodandtheugly.buzzsprout.com/Letterboxd (follow us!):Ken: Ken KoralRyan: Rya

Russ and Jared are back from playing in the snow to bring you the finale of this chaotic flick, The Snowman (2017), starring Michael Fassbender, Rebecca Ferguson, Charlotte Gainsbourg, Jonas Karlsson, Michael Yates, J.K. Simmons, Val Kilmer, David Dencik, Toby Jones, James D'Arcy, and Chloë Sevigny. Stay tuned for an all-new Trailer Trash next week! Hint: it's a "good" movie that the guys won't like, our annual holiday special tradition!

If you're in the northern hemisphere, it is indeed the season of snow! And what better way to get into the winter spirit than with a chaotic, un-thrilling thriller with your old pals, Russ and Jared. The guys are diving headfirst (emphasis on head) into The Snowman (2017), starring Michael Fassbender, Rebecca Ferguson, Charlotte Gainsbourg, Jonas Karlsson, Michael Yates, J.K. Simmons, Val Kilmer, David Dencik, Toby Jones, James D'Arcy, and Chloë Sevigny. Stay tuned for part 2 on Thursday!

Russ and Jared are back with a star-studded trailer that's sure to disappoint! The guys are melting for The Snowman (2017), starring Michael Fassbender, Rebecca Ferguson, Charlotte Gainsbourg, Jonas Karlsson, Michael Yates, J.K. Simmons, Val Kilmer, David Dencik, Toby Jones, James D'Arcy, and Chloë Sevigny. Stay tuned for the full, scene-by-scene breakdown of this chilling thriller next week!

What a journey. We're rolling through our ninth discussion in our year-long theme of A DREARY YEAR OF VON TRIER. This US election year was guaranteed to feel heavy and hopeless and it's lived up to that spectacularly. Add a dozen Lars von Trier movies to that because why not? Today we talk of his third in his “Depression Trilogy” and it's definitely a fun one to trick your in-laws into watching. If you can talk your mother-in-law into watching the complete 5 hour and 20 minute director's cut of the 2013 film “NYMPHOMANIAC” then you deserve a large trophy at the very least. That's what Bob and Angela did. The whole damn thing. Charlotte Gainsbourg plays Joe, a nymphomaniac. She's found beaten and pissed on by Seligman, played by Stellan Skarsgård, an asexual and learned man who helps her out and hears her sordid stories of BJs, DPs, S&Ms, MMFs and you figure you would hear more about VDs, STDs and other things after sleeping with hundreds, maybe thousands, of people but not really. HPV at the very least. I think most of us have that one except Seligman. There is a home abortion in this movie so make sure you don't miss that. We got quite the ensemble that includes Shia LeBeouf, Stacy Martin, Christian Slater, Jamie Bell, Uma Thurman, Willem Dafoe, Mia Goth and more. The movie is called “Nymphomaniac” and it's by Lars von Trier and it's what you would expect so let's get up in them guts and talk about it. Subscribe to us on YOUTUBE: https://www.youtube.com/channel/UCuJf3lkRI-BLUTsLI_ehOsg Contact us here: MOVIEHUMPERS@gmail.com Check our past & current film ratings here: https://moviehumpers.wordpress.com Hear us on podcast: https://open.spotify.com/show/6o6PSNJFGXJeENgqtPY4h7 Our OG podcast “Documenteers”: https://podcasts.apple.com/us/podcast/documenteers-the-documentary-podcast/id1321652249 Soundcloud feed: https://soundcloud.com/documenteers Twitch: https://www.twitch.tv/culturewrought

Our month's theme and our year's theme have crossed over. You could call it “LARS VON TRIER'S BULLSHIT TOMORROW” but it may not be bullshit for Lars or the character of Justine so much as cathartic. Imagine being overwhelmed with crippling depression and then you discover a rogue planet is hurtling towards Earth. Guys who get their astronomy news from Joe Rogan aren't too worried about it but you know exactly what's going to happen. The end of the world. The world is shitting itself and you're basking peacefully in the sun's reflection off of the planetoid Melancholia as it looms towards Earth. Yes, we are discussing von Trier's 2011 examination of extreme depression in “MELANCHOLIA” starring Kirsten Dunst and Charlotte Gainsbourg. Personally I would spend all of that time collecting as many Beanie Babies as I can. It's a passion of mine and I'd rather go out doing what I love the most. I just hope the stores will be open until the very end. I want my last moments to be me handing my credit card to a cashier for a tie-dye Iggy Iguana. Signing that receipt right as I'm misted into nothing. I may need to borrow some money though. Subscribe to us on YOUTUBE: https://www.youtube.com/channel/UCuJf3lkRI-BLUTsLI_ehOsg Contact us here: MOVIEHUMPERS@gmail.com Check our past & current film ratings here: https://moviehumpers.wordpress.com Hear us on podcast: https://open.spotify.com/show/6o6PSNJFGXJeENgqtPY4h7 Our OG podcast “Documenteers”: https://podcasts.apple.com/us/podcast/documenteers-the-documentary-podcast/id1321652249 Soundcloud feed: https://soundcloud.com/documenteers Twitch: https://www.twitch.tv/culturewrought

We're doubling down this week on selections for our overarching year's theme called “A DREARY YEAR OF LARS VON TRIER”. By the end of what is already a complete shithole year, we will have discussed a dozen movies by the dreary Danish auteur Lars von Trier. We're now over halfway there. Today's film discussion is one of his most notorious and amongst the smallest casts we've ever discussed for a movie. It only stars Willem Dafoe and Charlotte Gainsbourg (and somebody's little German kid) as “He and She” who are struggling to cope with the loss of their child who crawled out the window while they were love tunneling. “He” decides to dedicate psychiatric techniques upon his wife and go out to a secluded cabin in the woods called Eden. It's there when the nature of evil, and the evil of nature, unravel all around them. Hold onto your dicks and clits, folks. Von Trier's psychological horror ‘ANTICHRIST” from 2009 lives up to its brutal reputation. Don't mind the stillborn fawn and the fox eating itself. They will check up on us later. They say this was the talk of Cannes that year. When are we gonna get to go to Cannes? Do I gotta cum blood to get into a prestigious film festival or what? Here's a link we found: https://www.effedupmovies.com/antichrist-2009/ Subscribe to us on YOUTUBE: https://www.youtube.com/channel/UCuJf3lkRI-BLUTsLI_ehOsg Contact us here: MOVIEHUMPERS@gmail.com Check our past & current film ratings here: https://moviehumpers.wordpress.com Hear us on podcast: https://open.spotify.com/show/6o6PSNJFGXJeENgqtPY4h7 Our OG podcast “Documenteers”: https://podcasts.apple.com/us/podcast/documenteers-the-documentary-podcast/id1321652249 Soundcloud feed: https://soundcloud.com/documenteers Twitch: https://www.twitch.tv/culturewrought

We got a cheeky one this week with AN IMPUDENT GIRL (1985)! Natalia Keogan (Filmmaker Magazine, Paste Movies) returns to discuss Charlotte Gainsbourg, our memories of gym class and find the best title for a film yet. Twitter: @⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠AlmostMajor⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Kevin: @⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠kevbonesy on Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ / ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Letterboxd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Bryden: @⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BrydenDoyle on Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ + @⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠JDoyle on Letterboxd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Charlie: @⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ctnash91 on Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ / ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Letterboxd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Our guest, Natalia: @⁠nataliakeogan on Twitter

Send us a Text Message.Was it really that bad?  It's something you might ask yourself after a negative experience, when facing regret or to seek closure.  You might ask the same question after watching a traumatizing or really bad movie.  It's also our new theme for this round.Touching on pretty much all of those points, we have the 2009 Lars Von Trier film Antichrist.  Starring Willem Dafoe and Charlotte Gainsbourg, this film takes viewers on an incredibly uplifting journey of a couple working through their grief and pain after a tragic loss. Amidst their time in a picturesque cabin in the woods, they confront deep emotional and psychological challenges, which ultimately leads them to face their inner demons.  There is also a talking fox.Sorry, just kidding.  Watching this film is a traumatic experience without any worthwhile payoff, despite having a good discussion afterward and we apologize in advance if you watch along with us.There really is a talking fox though.

It's only another new release review!This time, Josh reviewed The Almond and the Seahorse starring Rebel Wilson and Charlotte Gainsbourg.The film is out in UK cinemas on Friday 10th May (tomorrow) Check it out!All the usual links below:Apple/iPhone:https://podcasts.apple.com/gb/podcast/films-n-that/id1470141261Spotify:https://open.spotify.com/show/1C4LiOrMZTD90e9tbB5EQOAcast:https://feeds.acast.com/public/shows/6071ac061216e55e7a95b11bYouTube: https://www.youtube.com/channel/UCIZopXPQHmlSnpgwtr2_ROQIf you'd like to get in touch, then the email is filmsandthatpod@gmail.com and we're on all the usual social media platforms  if just search for Just Films & that and you should find us!Our Website ishttps://www.justfilmsandthatpod.com/Our Patreon is:https://www.patreon.com/justfilmsandthatCheers!The Just Films & That team Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Grâce a leur talent, les photographes de mode capturent les grandes tendances vestimentaires et les mannequins les plus connus. Cependant derrière la caméra, ce métier prend un angle différent. Nous avons flashé sur Luna, qui nous a raconté son parcours, son style et son shooting avec Charlotte Gainsbourg...Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Bienvenue dans La Leçon, le podcast sur l'art d'échouer. Cette semaine, je suis ravie de recevoir the one and only Florent Bernard, du podcast Floodcast, qui réalise l'hilarant "Nous, les Leroy" avec José Garcia et Charlotte Gainsbourg. (sortie en salle prévue le 10 avril) Vous allez ADORER cet épisode Bonne écoute les copains

The Shirts [mm:ss] "Teenage Crutch" The Shirts Capitol Records SW-11791 1978 (US pressing) (see below) The Shirts [mm:ss] "Reduced to a Whisper" The Shirts Harvest 5C 062-06 717 1978 (Netherlands pressing) That's right, not one but 2 (two!) tracks from The Shirts' debut album. Normally, I am not one to buy 2 copies of the same album, but when I was in Amsterdam a couple of years ago, I came across the Netherlands pressing with a more stylized cover and couldn't resist. They were one of the original CBGB bands that saw more success in Europe. You can also spot lead singer Annie Golden in the film adaptation of Hair (Forman, 1979) (https://youtu.be/VN5zup3b7fw?si=859TcqBo5ArA0iD2). Philharmonic Symphony of New York, Dimitri Mitropoulos [mm:ss] "Second Movement: Allegretto" Shostakovich: Symphony No. 5 Op. 47 Columbia Masterworks ML 4739 1962 Composed by the Soviet Russian Shostakovich in 1937, this recording dates to 1953. Robyn Hitchcock [mm:ss] "Socrates in Thin Air" Shufflemania! Tiny Ghost Records TINY GHOST 07 2022 Great outing from Mr. Hitchcock from a couple of years ago. Joined here by Soft Boy cohort Kimberley Rew on guitar. Los Campesinos! [mm:ss] "5 Flucloxacillin" Sick Scenes Wichita WEBB500LP 2017 The wonderful 6th album from these Cardiff folks. Self-financed, no less! There is a supercute video for this song done in the style of the BBC show Flog It! (https://youtu.be/aoqs0PJ12zM?si=rIefWNr2Mwj3F3-d) Thompson Twins [mm:ss] "We Are Detective" Side Kicks Arista AL 6607 1983 So much floppy hair. The trio's third single from their third album. A suitably 80s video was also made for this track. (https://youtu.be/l2SMSoblH3Y?si=jw9yBHEFqSlCRxvH) Raspberries [mm:ss] "Tonight" Side 3 Capitol Records SMAS-11220 1973 Speaking of third albums. This song was the first of three singles from the album and reached number 69 on the Hot 100. Rush [mm:ss] "New World Man" Signals Mercury SRM-1-4063 1982 Rush's only Top 40 single, oddly enough. From the last album produced by Terry Brown. Sure, I could have chosen "Subdivisions" but if you were like me and were a suburban early-teenage male when this album came out, it was pretty inescapable and hence not really necessary to revisit. Boz Scaggs [mm:ss] "Lido Shuffle" Silk Degrees Columbia PC 33920 1976 Speaking of ubiquitous songs from my youth. With Mr. Scaggs himself on the Moog riffs. Sqürl [mm:ss] "John Ashbery Takes a Walk" Silver Haze Sacred Bones Records SBR-316 2023 Jim Jarmusch and Carter Logan, assisted here by Charlotte Gainsbourg in an homage to the poet John Ashbery. There's a nice moody video to accompany this song as well (https://youtu.be/EdlCG4aw7Q4?si=nQisL8r1JTM_vHrk). Klaus Nomi [mm:ss] "Falling in Love Again" Simple Man RCA Victor PL 37702 1982 A contemporary update of the Marlene Dietrich classic (https://youtu.be/8gAo2aR_tUw?si=jpfY2F2guahlnPea) from the iconic Klaus Nomi's second album. Kris Kristofferson [mm:ss] "The Pilgrim - Chapter 33" The Silver Tongued Devil and I Monument Z 30679 1971 If I were Donnie Fritts (which I can only aspire to), I would have definitely had my name legally changed to Funky Donnie Fritts. Nine Inch Nails [mm:ss] "Sin (Short)" Sin TVT Records TVT2617-1 1990 Why it seems like 33 1/3 years ago that this album was released. Frank Sinatra [mm:ss] "When Somebody Loves You" Sinatra '65 Reprise RS-6167 1965 That is some bizarre stereo separation. Frank Sinatra [mm:ss] "Witchcraft" Sinatra's Sinatra Reprise Records R9-1010 1963 Some of Frank's big hits, recompiled here for his own label. Dwight Twilley Band [mm:ss] "I'm on Fire" Sincerely Shelter Records SRL-52001 1976 Some primo power pop kicking off Dwight Twilley Band's debut outing on the already-doomed at the time Shelter Records. Music behind the DJ: "Diamonds Are Forever (Instrumental)" by John Barry

À l'affiche ce mercredi, la comédie "Nous les Leroy" avec un duo inédit au cinéma : Charlotte Gainsbourg et José Garcia. Critique de Stéphane Boudsocq. Ecoutez Laissez-vous tenter - Première du 10 avril 2024 avec Le Service Culture.

- Laurent Voulzy est notre invité en tête-à-tête au micro de Steven Bellery. Il évoque les 50 ans de son amitié avec Alain Souchon et sa participation à un album hommage au répertoire de Michel Polnareff. - Le Grand Prix du dernier Festival International du Film de Comédie de l'Alpe d'Huez, arrive sur nos écrans ce mercredi : "Nous les Leroy" de Florent Bernard. Stéphane Boudsocq a adoré cette comédie tendre sur le couple, et a rencontré : Charlotte Gainsbourg et José Garcia. - Le géant du polar, John Grisham, publie "Le Réseau", la suite de son bestseller "La Firme". Il s'est confié à Bernard Lehut. - L'édito télé d'Isabelle Morini Bosc : Le handicap à la télé, peut mieux faire. Ecoutez Laissez-vous tenter du 07 avril 2024 avec Le Service Culture.

Si hi ha un productor que exemplifica l'esclat del pop indie de guitarres a l'escena anglesa dels 90,

Si hi ha un productor que exemplifica l'esclat del pop indie de guitarres a l'escena anglesa dels 90,

Si hi ha un productor que exemplifica l'esclat del pop indie de guitarres a l'escena anglesa dels 90,

Have you felt sad, lethargic, and are experiencing a lack of interest in things you're usually invested in? It's probably because you've listened to our discussion on Lars von Trier's 2011 psychological-drama 'Melancholia'. We've just come out of three months straight of bleak grayness with no sun in sight, but the heavens aligned when we got together for this session with a warm sunny day...thank god, we needed it considering the emotionally heavy subject matter. For this episode we're drinking 'Beat' by Heart State Brewing,. This film stars Kirsten Dunst, Charlotte Gainsbourg, Kiefer Sutherland, Alexander Skarsgård, Stellan Skarsgård, John Hurt, Charlotte Rampling, and Udo Kier.

L'enregistrement de l'année est allé à Miley Cyrus pour "Flowers". Cyrus qui a gagné aussi le prix de la Meilleure prestation solo pop. C'est la première fois que la chanteuse était récompensée aux Grammys. La Chanson de l'année est allée, elle à Billy Eilish pour sa chanson extraite de la B.O. de "Barbie" : "What Was I Made For". Autre Grammy prestigieux : Album de l'année. Qui est allé - pour la quatrième fois et c'est un record - à Taylor Swift pour "Midnight". Le visage de Jane Birkin est apparu cette nuit aux Grammys dans la séquence hommage aux chanteurs disparus. Ses amis s'étaient donné rendez-vous samedi soir sur la scène de l'Olympia, à Paris. "Jane Birkin By Friends", c'était le nom de cette soirée très émouvante. Jane devait initialement se produire ce 3 février. Son producteur a maintenu la soirée. Catherine Ringer a repris "Ex-fan des sixties". Lou Doillon et Charlotte Gainsbourg ont repris le titre "Quoi".

It's a good bet that this year will be a very dreary year. We're trucking on into it so why not spend the year talking about no less than a dozen Lars von Trier movies? All throughout the year, mostly every month and maybe a few twice a month, we will be talking about a dozen movies by the Unsane Dane himself. A polarizing man. Controversial. His movies? Heavily contemplated, quite scrutinized and often beloved. Everyone might have a von Trier movie they are partial too. What keeps Charlotte Gainsbourg and Stellan Skarsgård coming back? We'll find out soon enough but there's no more obvious a place to start off the YEAR OF VON TRIER than with his 1984 film debut and the first of the “EUROPE TRILOGY” (he likes trilogies). We're discussing Von Trier's drowned dystopian noir “THE ELEMENT OF CRIME”. Fisher is missing some memories of a previous police case so a hypnotist in Cairo drags him back to his experience hunting a serial killer with the help of an old mentor's book. Interesting visuals, excellent shots and as muddy as the world it displays. Let's get this year of von Trier drear popped off right! Subscribe to us on YOUTUBE: https://www.youtube.com/channel/UCuJf3lkRI-BLUTsLI_ehOsg Contact us here: MOVIEHUMPERS@gmail.com Hear us on podcast: https://open.spotify.com/show/6o6PSNJFGXJeENgqtPY4h7 Our OG podcast “Documenteers”: https://podcasts.apple.com/us/podcast/documenteers-the-documentary-podcast/id1321652249 Soundcloud feed: https://soundcloud.com/documenteers Twitch: https://www.twitch.tv/culturewrought

Etienne Daho aime les duos, il a chanté avec Charlotte Gainsbourg, avec Marianne Faithfull. Il retrouve Vanessa Paradis sur ce titre extrait de son dernier album du même nom sorti en mai dernier.

Toss up the glitter and dust off that harmonica: that's right, we're celebrating two of Todd Haynes's most iconic films, a pair of musical dramas with Velvet Goldmine and I'm Not There. We do wade into the relatively shallow yet agreeable enough waters of the new horror flick Night Swim but primarily dedicate this episode to Haynes's explorations of fame, musicianship, fandom, the divergent yet similarly heavy legacies of glam rock and folk music, find joy in Velvet Goldmine's opaque approximation of David Bowie before puzzling over I'm Not There's narratively muddled yet aesthetically exceptional approach to adapting the Troubadour of Conscience. Come for some hot takes on the wildcard round of the NFL playoffs and predictions about the forthcoming Royal Rumble, stay for above average Bob Dylan impressions. As always, please like, subscribe, rate, and review us on all of our channels, which include Apple Podcasts, Spotify, and YouTube! Contact us at huffmanbrothersproductions@gmail.com with your questions, comments, and requests.

For this week's episode, Amanda and Wade are joined by our good friend Shelley Ollig to discuss the 2006 indie gem The Science of Sleep.  The three talk about the refreshing authenticity of Gael Garcia Bernal and Charlotte Gainsbourg, the incredible disorientation this film invokes in the viewer, and the ups and downs of managing life and relationships when one is in crisis.  Shelley was such a fun guest and we can't wait for you to enjoy this episode! Credits: https://www.instagram.com/dontworrybmovies/ Logo – John Capezzuto https://www.creativecap.net/ Intro and Outro Music – Andrew Wolfe of Darling Overdrive https://www.instagram.com/darlingoverdrive/?hl=en Additional Music: Note: Some songs may have been adapted from their original form to fit the length of our segments All songs were obtained through www.FreeMusicArchive.com “20/20 (Instrumental Version)” by Josh Woodward (www.freemusicarchive.org/music/Josh_Woodward/Breadcrumbs/JoshWoodward-Breadcrumbs-NoVox-02-2020/) (CC BY) “Pink Soul” by Beat Mekanik (www.freemusicarchive.org/music/beat-mekanik/single/pink-soul/) (CC BY) “Flat Lining (Instrumental)” by HoliznaRAPS (www.freemusicarchive.org/music/holiznaraps/flat-lining/flat-lining-instrumental/) (CC BY)

Cade and Diane discuss two films featuring apocolyptic visions: Take Shelter (2011) and Melancholia (2011). Watch the video version at: ⁠⁠⁠⁠⁠YouTube.com/@CadeThomas/streams⁠⁠⁠⁠⁠ Double Feature Movie Club is a weekly movie review show with a retro vibe. Two movies. Two hosts. One rambling conversation. Each film is our first time watching them. We often go off-topic. Take Shelter is a 2011 American psychological thriller film, written and directed by Jeff Nichols and starring Michael Shannon and Jessica Chastain. The plot follows a young husband and father (Shannon) who is plagued by a series of apocalyptic visions, and questions whether to shelter his family from a coming storm, or from himself and his increasing worries over having paranoid schizophrenia. Melancholia is a 2011 apocalyptic psychological drama thriller art film written and directed by Lars von Trier and starring Kirsten Dunst, Charlotte Gainsbourg, and Kiefer Sutherland, with Alexander Skarsgård, Brady Corbet, Cameron Spurr, Charlotte Rampling, Jesper Christensen, John Hurt, Stellan Skarsgård, and Udo Kier in supporting roles. The film's story revolves around two sisters, one of whom marries just before a rogue planet is about to collide with Earth.

País México Dirección Michel Franco Guion Michel Franco Reparto Tim Roth, Charlotte Gainsbourg, Iazua Larios Fotografía Yves Cape Sinopsis La adinerada familia británica Bennett disfruta de unas relajadas vacaciones en un resort en Acapulco cuando una llamada anuncia un fatal suceso. Alice (Charlotte Gainsbourg) decide interrumpir el viaje de inmediato mientras que Neil (Tim Roth) finge haber perdido el pasaporte y se queda en México, indiferente a una noticia tan trágica. Esta actitud agudiza las diferencias entre ellos hasta llegar a límites insospechados.

« On ne peut pas rester silencieux devant le fait que le jour de pogrom du 7 octobre, les femmes ont été traitées différemment en Israël que les hommes.». C'est ce que dénonce Sophie Durocher au micro de Benoît Dutrizac à la suite d' une lettre signée par Marc Lévis et Charlotte Gainsbourg et plusieurs autres dans un média français. Le conflit Israélo-palestinien fait ouvre aussi le débat sur les propos d'Adil Charkaoui, les mots chargé de cour à l'UdeM et bien plus. Tout ça, et plus encore, dans cet épisode.   Dans cet épisode intégral du 10 novembre en entrevue :    Patrick Jutras, président des studios MELS. Jean-François Dumas, président d'Influence Communications.  Une production QUB Radio Novembre 2023  Pour de l'information concernant l'utilisation de vos données personnelles - https://omnystudio.com/policies/listener/fr

32 ans après sa mort, le refuge parisien de Serge Gainsbourg a ouvert ses portes depuis septembre au public, sous l'initiative de Charlotte Gainsbourg, et en partenariat avec la maison Saint Laurent.

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.

durée : 02:30:54 - Les Matins - par : Guillaume Erner - .

durée : 00:22:50 - France Culture va plus loin (l'Invité(e) des Matins) - par : Guillaume Erner - À la fois foyer familial et lieu de création, le 5 bis Rue de Verneuil est indissociable de l'œuvre de Serge Gainsbourg. Le 20 septembre, la maison de l'artiste ouvrira ses portes au public, 32 ans après la mort du chanteur. - invités : Charlotte Gainsbourg Actrice et chanteuse franco-britannique

Michel Gondry writes and directs this 2006 film, starring Gael García Bernal & Charlotte Gainsbourg. Joe & Adam discuss Eternal Sunshine of the Spotless Mind, people's responses to the subconscious, and film critics. Plus other stuff, I can't remember. 

喜歡張大春主持的「聽說張大春」嗎？歡迎小額贊助我們，讓我們繼續產出優質節目＞https://bit.ly/3dzJX7V 主持人：張大春 來賓：資深電影人 褚明仁 主題：珍寶金 Jane Birkin 播放歌曲： 1. La Course à l'échalote 2. Serge Gainsbourg / Serge Gainsbourg ft. Jane Birkin 3. Di doo dah / Jane Birkin 4. Elisa / Jane Birkin 5. Elisa（原曲 Gainsbourg） 6. Lemon Incest / Serge Gainsbourg, Charlotte Gainsbourg 7. Ex fan des sixties / Jane Birkin ----- ▍聽更多：https://flow.page/thehearsay ▍粉絲團：https://www.facebook.com/TheHearSayChannel ▍合作贊助：thehearsaytw@gmail.com Powered by Firstory Hosting

Jane B, "ojos azules, inglesa, de sexo femenino, edad entre 20 y 21", el retrato que Serge Gainsbourg hizo de una ninfa adolescente con cierto recorrido como pareja de John Barry, inmersa en el "swinging London”. Su voz inequívoca, jadeante, aplicada a "Je T´aime, Moi non Plus”, escrita por Serge para el mito erótico del momento BB, la convirtió en un éxito instantáneo. Hija de Judy Campbell, madre de Charlotte Gainsbourg, pero el hombre que la modeló y escribió un repertorio glorioso, determinante. Un domingo 16 de Julio apareció muerta Jane B. "Tu dors au bord du chemin, une fleur, à la main”, decía "Jane B..” La más dolorosa y tierna despedida. Puedes hacerte socio del Club Babel y apoyar este podcast: mundobabel.com/club Si te gusta Mundo Babel puedes colaborar a que llegue a más oyentes compartiendo en tus redes sociales y dejar una valoración de 5 estrellas en Apple Podcast o un comentario en Ivoox. Para anunciarte en este podcast, ponte en contacto con: mundobabelpodcast@gmail.com.

Rachel is head of Because Music's film and television team for the United States. Because is one of the foremost French independent music companies and home to Justice, Christine and the Queens, Charlotte Gainsbourg and Breakbot, among many others. Rachel gives us her insights into working with a French music company, what you really need to bring when if are coming overseas, and what she thinks of the LGBT scene in Paris.Join us on Patreon: patreon.com/parisundergroundradio Find Us OnlineWebsite: https://www.parisundergroundradio.com/mollieonatrip-musicaroundparisFacebook: https://www.facebook.com/parisundergroundradioInstagram: https://www.instagram.com/parisundergroundradio/Credits Host: Mollie Lehman. @mollieonatrip; @molliemogoProducer: Jennifer Geraghty. @jennyphoria; Website: http://jennyphoria.comMusic CreditsGlamor, by AShamaluevMusic; www.ashamaluevmusic.com About Us Music industry expat Mollie Lehman has moved to Paris and taken her love of music with her! Each episode, Mollie sits down with local French artists or touring musicians from all over the world to talk about what's going on in their careers and what inspires them. Get insights on what these musicians love most about Paris, from their favorite haunts to places to play live, as well what new music and tours are in the works.

Welcome back to ParaPower Mapping—to tide you over until the next part of the Rosicrucian Road Trip drops in a few days & to build anticipation for the next installment of the "Fin De Siècle Symbolists, Satanists, & French-British Sex Trafficking Networks" miniseries, it's the very first unlocked EP from the Boston Brahmin Watch Premium Feed! Make sure to subscribe to the Patreon to access the full version of Pt. II & Pt. III when it drops next week. patreon.com/ParaPowerMapping This is Part I of a multipart descent into the Decadent Symbolist, Rosicrucian, and Satanic underground of fin de siècle Paris and Victorian London, as well as the related sex trafficking & pedophilia networks that catered to the abhorrent appetites of the monstrous aristocratic elite of the time. This EP covers: the Symbolist writer, son of diplomats, and possible-occultist Marcel Schwob; Aleister Crowley's connections to Schwob; Oscar Wilde + Schwob once again; J.K. Huysmans; Maurice Maeterlinck; Sar Peladan; Peladan's Catholic Rosicrucian order and "Salon de la Rose + Croix"; Robert Louis Stevenson; Schwob's "syphilitic rectal sores"; Wilde's play Salome (which Schwob translated); the Biblical story of Salome, Herod, & John the Baptist; Crowley's assimilation of Salome into Babalon/ Scarlet Woman and his "Jezebel"; the influence of Decadent & Symbolist misogyny on Crowley's writing and occultism; aristocratic traditions of taboo-breaking and pederasty; Crowleyian Thelemic ideas of "justification by sin"; proto-surrealist Alfred Jarry; Ubu Roi; his semi-Satanic closet play Caesar Antichrist; the first-and-only production of Ubu Roi during his lifetime, which devolved into a riot; the fact that W.B. Yeats was in the audience, demonstrating the interconnectedness between the Victorian British & French occult scenes at the time; Crowley's formative time in France; sonnets for Rodin; Schwob connections; shitting on Oscar Wilde; callback to Levenda; Maeterlinck's connection to the French symbolists & his play serving as inspiration for Sheffield Edward's PROJECT BLUEBIRD (MK-ULTRA predecessor); H. Montgomery Hyde—former spy, protege & biographer of Sir William Stephenson (Little Bill), Ulster Unionist MP, and cousin of Henry James... plus H. Montgomery Hyde's strange proclivity for writing book-length works on pederasts, pornography, and homosexuality; the fact that he was deselected around the time of the Wolfenden Report when calling for the decriminalization of homosexuality in the U.K.; Hyde as the source of the rumor that Marcel Schwob died from constipation caused by syphilis from his book The Love that Dared Not Speak It's Name; Joris-Karl Huysmans apostasy and odyssey from Naturalism to Symbolism to Decadent Satanism to Mystic Catholicism; feuding b/w Symbolist occultists & Emile Zola; J.K. Huysmans' A rebours (Against Nature) and its influence on Wilde's Salome and The Picture of Dorian Gray; especially Huysmans' handling of Gustave Moreau's Salome series; preparation to descend into the Satanic underground of Huysmans' Là-bas(The Damned); and finally, Wilde's allusions in The Picture of Dorian Gray to Thelemic, Rabelaisian "Do What Thou Wilt" hedonism and the Cleveland Street Scandal (a scandal where numerous aristocratic men including Lord Arthur Somerset, Earl of Euston Fitzroy, and Prince Albert Victor of Wales were discovered to be frequenting a male brothel that employed young boys)... Songs:  | Kate Bush - "Waking the Witch" | | Alan Tew - "The Detectives" | | Alain Goraguer - "Ten Et Tiwa" | | Françoise Hardy - "Mon Amie La Rose |  | Nicolas Godin - "Quartier General" |  | Serge Gainsbourg, Charlotte Gainsbourg - "Lemon Incest" | 

Welcome back to ParaPower Mapping and the first episode of the BOSTON BRAHMIN WATCH Premium Feed! I'm chuffed, Brahmin Watchers, because the Patreon has finally launched, I managed to relocate the keys to the Boston Brahmin Watch Office, and I'm really excited for y'all to get your hands on this newest research (as dark, enervating, & soul-crushing as it may be). Here's the first half of the first premium feed EP for you to enjoy; and here's hoping your interest is piqued! If you're dying to listen to this EP in its entirety, go to Patreon and subscribe to ParaPower Mapping to unlock it and all sorts of extracurricular goodness. This is Part I of a multipart descent into the Decadent Symbolist, Rosicrucian, and Satanic underground of fin de siècle Paris and Victorian London, as well as the related sex trafficking & pedophilia networks that catered to the abhorrent appetites of the monstrous aristocratic elite of the time. This EP covers: the Symbolist writer, son of diplomats, and possible-occultist Marcel Schwob; Aleister Crowley's connections to Schwob; Oscar Wilde + Schwob once again; J.K. Huysmans; Maurice Maeterlinck; Sar Peladan; Peladan's Catholic Rosicrucian order and "Salon de la Rose + Croix"; Robert Louis Stevenson; Schwob's "syphilitic rectal sores"; Wilde's play Salome (which Schwob translated); the Biblical story of Salome, Herod, & John the Baptist; Crowley's assimilation of Salome into Babalon/ Scarlet Woman and his "Jezebel"; the influence of Decadent & Symbolist misogyny on Crowley's writing and occultism; aristocratic traditions of taboo-breaking and pederasty; Crowleyian Thelemic ideas of "justification by sin"; proto-surrealist Alfred Jarry; Ubu Roi; his semi-Satanic closet play Caesar Antichrist; the first-and-only production of Ubu Roi during his lifetime, which devolved into a riot; the fact that W.B. Yeats was in the audience, demonstrating the interconnectedness between the Victorian British & French occult scenes at the time; Crowley's formative time in France; sonnets for Rodin; Schwob connections; shitting on Oscar Wilde; callback to Levenda; Maeterlinck's connection to the French symbolists & his play serving as inspiration for Sheffield Edward's PROJECT BLUEBIRD (MK-ULTRA predecessor); H. Montgomery Hyde—former spy, protege & biographer of Sir William Stephenson (Little Bill), Ulster Unionist MP, and cousin of Henry James... plus H. Montgomery Hyde's strange proclivity for writing book-length works on pederasts, pornography, and homosexuality; the fact that he was deselected around the time of the Wolfenden Report when calling for the decriminalization of homosexuality in the U.K.; Hyde as the source of the rumor that Marcel Schwob died from constipation caused by syphilis from his book The Love that Dared Not Speak It's Name; Joris-Karl Huysmans apostasy and odyssey from Naturalism to Symbolism to Decadent Satanism to Mystic Catholicism; feuding b/w Symbolist occultists & Emile Zola; J.K. Huysmans' A rebours (Against Nature) and its influence on Wilde's Salome and The Picture of Dorian Gray; especially Huysmans' handling of Gustave Moreau's Salome series; preparation to descend into the Satanic underground of Huysmans' Là-bas (The Damned); and finally, Wilde's allusions in The Picture of Dorian Gray to Thelemic, Rabelaisian "Do What Thou Wilt" hedonism and the Cleveland Street Scandal (a scandal where numerous aristocratic men including Lord Arthur Somerset, Earl of Euston Fitzroy, and Prince Albert Victor of Wales were discovered to be frequenting a male brothel that employed young boys)... Songs: | Kate Bush - "Waking the Witch" | | Alan Tew - "The Detectives" | | Alain Goraguer - "Ten Et Tiwa" | | Françoise Hardy - "Mon Amie La Rose | | Nicolas Godin - "Quartier General" | | Serge Gainsbourg, Charlotte Gainsbourg - "Lemon Incest" |