Podcast appearances and mentions of David Lean

In this episode, Brian talks about some Imprint films Boxsets.   This week's episode is also brought to you by the fine folks at DiabolikDVD - a great place to buy your discs from! https://www.diabolikdvd.com/ Just the Discs Now has a YouTube Channel! Check it out here and subscribe! https://www.youtube.com/channel/UCffVK8TcUyjCpr0F9SpV53g Follow the Show on Twitter here for Episode previews and new Blu-ray News! https://bsky.app/profile/justthediscs.bsky.social Brian's Directed By shirts can be found here: https://www.teepublic.com/user/filmmakershirts We're also on Instagram! instagram.com/justthediscspod/

Pete and Hannah review the David Lean epic Doctor Zhivago

Continuing Epic Month we watched the 1962 biograpohical drama Lawrence of Arabia. Directed by David Lean and produced by Sam Spiegel it is based on the life of T. E. Lawrence and his 1926 book Seven Pillars of Wisdom (also known as Revolt in the Desert). It stars Peter O’Toole, Alec Guinness, Jack Hawkins, Anthony Quinn, Omar Sharif, Anthony Quayle, Claude Rains, Jose Ferrer and Arthur Kennedy. Come join us!! Website : https://tortelliniatnoon.com/ Instagram: https://www.instagram.com/tortelliniatnoonpodcast/ Facebook: https://www.facebook.com/TortelliniAtNoon Twitter: https://twitter.com/PastaMoviePod

https://m.ebay.co.uk/sch/i.html?sid=tindogpodcast&_pgn=1&isRefine=true&_trksid=p4429486.m3561.l49496 Atlantis: The Lost Empire is a 2001 American animated science fiction adventure film directed by Gary Trousdale and Kirk Wise, produced by Don Hahn, and written by Tab Murphy. Produced by Walt Disney Feature Animation, it stars Michael J. Fox, James Garner, Cree Summer, Don Novello, Phil Morris, Claudia Christian, Jacqueline Obradors, Florence Stanley, David Ogden Stiers, John Mahoney, Jim Varney, Corey Burton and Leonard Nimoy. Set in 1914, the film follows young linguist Milo Thatch, who gains possession of a sacred book, which he believes will guide him and a crew of mercenaries to the lost city of Atlantis. Development of the film began after production had finished on The Hunchback of Notre Dame (1996). Instead of another musical, directors Trousdale and Wise, producer Hahn, and screenwriter Murphy decided to do an adventure film inspired by the works of Jules Verne. Atlantis: The Lost Empire was notable for adopting the distinctive visual style of comic book artist Mike Mignola, one of the film's production designers. The film made greater use of computer-generated imagery (CGI) than any of Disney's previous traditionally animated features and remains one of the few to have been shot in anamorphic format. Linguist Marc Okrand constructed an Atlantean language specifically for use in the film. James Newton Howard provided the film's musical score. The film was released at a time when audience interest in animated films was shifting away from traditional animation toward films with full CGI. Atlantis: The Lost Empire premiered at the El Capitan Theatre in Hollywood, Los Angeles, on June 3, 2001, and went into its general release on June 15. The film received mixed reviews from critics. Budgeted at around $90–120 million, Atlantis grossed over $186 million worldwide, $84 million of which was earned in North America; its lackluster box office response was identified as a result of being released in competition with Shrek, Lara Croft: Tomb Raider, The Fast and the Furious and Dr. Dolittle 2. As a result of the film's box office failure, Disney cancelled a planned spin-off animated television series, Team Atlantis; an underwater Disneyland attraction; and a volcanic Magic Kingdom attraction based on it. Atlantis was nominated for several awards, including seven Annie Awards, and won Best Sound Editing at the 2002 Golden Reel Awards. The film was released on VHS and DVD on January 29, 2002, and on Blu-ray on June 11, 2013. Despite its initial reception, reception in later years became favorable and has given Atlantis a cult following[5] and reappraisal from critics as a mistreated classic, due in part to Mignola's unique artistic influence.[6][7] A direct-to-video sequel, Atlantis: Milo's Return, was released in 2003. Plot In 1914 Washington, D.C., archaeo-linguist Milo Thatch obsesses over finding the legendary lost city of Atlantis, believed to have sunk thousands of years ago. His employers ridicule his theories, but he gains an unexpected ally in eccentric millionaire Preston B. Whitmore, a friend of Milo's deceased adventurer grandfather who also sought the city. Determined to honor his old friend's quest, Whitmore recruits Milo for an expedition to Atlantis, having recently uncovered the Shepherd's Journal, an ancient Atlantean manuscript that contains directions to the lost city. Aboard the submarine Ulysses, Milo meets his teammates: Commander Lyle Tiberius Rourke, Lieutenant Helga Sinclair, demolitions expert Vincenzo Santorini, geologist Gaetan "Mole" Molière, medical officer Joshua Sweet, mechanic Audrey Ramirez, radio operator Wilhelmina Packard, mess cook Jebidiah "Cookie" Farnsworth, and a platoon of mercenaries. Upon reaching a cave entrance leading to the lost city, the submarine is destroyed by a massive mechanical leviathan, killing most of the crew. Milo and the survivors escape in smaller craft, navigating through the cave to emerge among ancient ruins. Milo translates the journal, guiding the team through caves beneath a dormant volcano until they reach the worn remains of Atlantis. There, they are greeted by Princess Kidagakash "Kida" Nedakh, who, despite being around 8,500 years old, has the appearance of a young woman. She leads them to her father, King Kashekim, who orders them to leave. Learning that Milo can read their language—a skill lost to the Atlanteans over millennia—Kida asks for his help in uncovering their forgotten history and highly-advanced technology, without which the city has declined and resources have dwindled. Milo learns that Atlantis is powered by the Heart of Atlantis, a massive crystal that grants longevity and health to its citizens through the smaller crystals they carry. Rourke betrays Milo and the Atlanteans, revealing his true intention to steal the Heart for profit, despite knowing the Atlanteans will perish without it. He mortally wounds the King while seizing control and uncovers the crystal's hidden location beneath the city. Sensing the danger, the crystal merges with Kida, who is then captured by Rourke. He departs with the crystallized Kida and his mercenaries, except for Vincenzo, Molière, Sweet, Audrey, Packard, and Cookie, who refuse to take part in the Atlanteans' destruction. Before dying, the King reveals that Atlantis was devastated by a megatsunami after he attempted to weaponize the crystal's vast power. To protect the city, the crystal merged with a royal family member, Kida's mother. This created a protective dome over the city's inner district, shielding it from total destruction as Atlantis sank beneath the waves, but Kida's mother never returned. To prevent the crystal from ever merging with Kida, the King hid it, inadvertently accelerating Atlantis' decline. He warns Milo that Kida will be lost forever if she is not soon separated from the crystal and pleads with him to save her. Alongside his allies, Milo rallies the Atlanteans to reactivate their long-dormant flying machines. Together, they eliminate Rourke and his mercenaries in the volcano. Milo and the others fly the crystallized Kida back to Atlantis as the volcano erupts. Kida ascends into the air and awakens Stone Guardians, who erect a barrier that shields the city from the lava flow. With Atlantis saved, the crystal separates from Kida and remains suspended in the sky. Milo chooses to stay in Atlantis with Kida, having fallen in love with her. Before returning to the surface, Vincenzo, Molière, Sweet, Audrey, Packard, and Cookie each receive a small crystal and a share of treasure. The six reunite with Preston on the surface and agree to keep their adventure a secret to protect Atlantis. Preston opens a package from Milo containing his own crystal and a note thanking him. The newly crowned Queen Kida and Milo carve a stone effigy of her father to join those of past rulers floating beside the Heart of Atlantis, as the city stands restored to its former glory. Voice cast Production layout sketch of Milo and Kida. Milo's character design was based in part on sketches of the film's language consultant, Marc Okrand. Michael J. Fox as Milo James Thatch, a linguist and cartographer at the Smithsonian who was recruited to decipher The Shepherd's Journal while directing an expedition to Atlantis. James Garner as Commander Lyle Tiberius Rourke, the leader of the band of mercenaries for the Atlantean expedition. Cree Summer as Kidagakash "Kida" Nedakh, the Princess of Atlantis and Milo's love interest. Natalie Strom provided dialogue for Kida as a young child. Summer also voiced the unnamed Queen of Atlantis, Kida's mother and Kashekim's wife who was "chosen" by the Crystal during the sinking of the city. John Mahoney as Preston B. Whitmore, an eccentric millionaire who funds the expedition to Atlantis. Lloyd Bridges was originally cast and recorded as Whitmore, but he died before completing the film. Mahoney's zest and vigor led to Whitmore's personality being reworked for the film.[8] Claudia Christian as Lieutenant Helga Katrina Sinclair, Rourke's German-born second-in-command. Don Novello as Vincenzo "Vinny" Santorini, an Italian demolitions expert. Phil Morris as Dr. Joshua Strongbear Sweet, a medic of African-American and Arapaho descent. Jacqueline Obradors as Audrey Rocio Ramirez, a Puerto Rican mechanic and the youngest member of the expedition. Corey Burton as Gaetan "Mole" Molière, a French geologist who acts like a mole. Jim Varney as Jebidiah Allardyce "Cookie" Farnsworth, a Western-style chuckwagon chef. Varney died in February 2000, before the production ended, and the film was dedicated to his memory. Steven Barr recorded supplemental dialogue for Cookie. Florence Stanley as Wilhelmina Bertha Packard: an elderly, sarcastic, chain-smoking radio operator who is also the expedition's photographer. Leonard Nimoy as Kashekim Nedakh, the King of Atlantis and Kida's father. David Ogden Stiers as Fenton Q. Harcourt, a board member of the Smithsonian Institution who dismisses Milo's belief in the existence of Atlantis. Production Development The production team visited New Mexico's Carlsbad Caverns to get a sense of the underground spaces depicted in the film. The idea for Atlantis: The Lost Empire was conceived in October 1996 when Don Hahn, Gary Trousdale, Kirk Wise, and Tab Murphy lunched at a Mexican restaurant in Burbank, California. Having recently completed The Hunchback of Notre Dame,[9] the producer, directors and screenwriter wanted to keep the Hunchback crew together for another film with an "Adventureland" setting rather than a "Fantasyland" setting.[10] Drawing inspiration from Jules Verne's Journey to the Center of the Earth (1864) and Twenty Thousand Leagues Under the Seas (1870), they set out to make a film which would fully explore Atlantis (compared to the brief visit depicted in Verne's novel).[11] While primarily utilizing the Internet to research the mythology of Atlantis,[12] the filmmakers became interested in the clairvoyant readings of Edgar Cayce and decided to incorporate some of his ideas—notably that of a mother-crystal which provides power, healing, and longevity to the Atlanteans—into the story.[13] They also visited museums and old army installations to study the technology of the early 20th century (the film's time period), and traveled underground in New Mexico's Carlsbad Caverns to view the subterranean trails which would serve as a model for the approach to Atlantis in the film.[14] The filmmakers wanted to avoid the common depiction of Atlantis as "crumbled Greek columns underwater", said Wise.[15] "From the get-go, we were committed to designing it top to bottom. Let's get the architectural style, clothing, heritage, customs, how they would sleep, and how they would speak. So we brought people on board who would help us develop those ideas."[16] Art director David Goetz stated, "We looked at Mayan architecture, styles of ancient, unusual architecture from around the world, and the directors really liked the look of Southeast Asian architecture."[17] The team later took ideas from other architectural forms, including Cambodian, Indian, and Tibetan works.[18] Hahn added, "If you take and deconstruct architecture from around the world into one architectural vocabulary, that's what our Atlantis looks like."[19] The overall design and circular layout of Atlantis were also based on the writings of Plato,[18] and his quote "in a single day and night of misfortune, the island of Atlantis disappeared into the depths of the sea"[20] was influential from the beginning of production.[9] The crew wore T-shirts which read "ATLANTIS—Fewer songs, more explosions" due to the film's plan as an action-adventure (unlike previous Disney animated features, which were musicals).[21] Language The Atlantean letter A, created by artist John Emerson. Kirk Wise noted that its design was a treasure map showing the path to the crystal, "The Heart of Atlantis". Main article: Atlantean language Marc Okrand, who developed the Klingon language for the Star Trek television and theatrical productions, was hired to devise the Atlantean language for Atlantis: The Lost Empire. Guided by the directors' initial concept for it to be a "mother-language", Okrand employed an Indo-European word stock with its own grammatical structure. He would change the words if they began to sound too much like an actual, spoken language.[16] John Emerson designed the written component, making hundreds of random sketches of individual letters from among which the directors chose the best to represent the Atlantean alphabet.[22][23] The written language was boustrophedon: designed to be read left-to-right on the first line, then right-to-left on the second, continuing in a zigzag pattern to simulate the flow of water.[24] The Atlantean [A] is a shape developed by John Emerson. It is a miniature map of the city of Atlantis (i.e., the outside of the swirl is the cave, the inside shape is the silhouette of the city, and the dot is the location of the crystal). It's a treasure map. — Kirk Wise, director[25] Writing Joss Whedon was the first writer to be involved with the film but soon left to work on other Disney projects. According to him, he "had not a shred" in the movie.[26] Tab Murphy completed the screenplay, stating that the time from initially discussing the story to producing a script that satisfied the film crew was "about three to four months".[27] The initial draft was 155 pages, much longer than a typical Disney film script (which usually runs 90 pages). When the first two acts were timed at 120 minutes, the directors cut characters and sequences and focused more on Milo. Murphy said that he created the centuries-old Shepherd's Journal because he needed a map for the characters to follow throughout their journey.[28] A revised version of the script eliminated the trials encountered by the explorers as they navigated the caves to Atlantis. This gave the film a faster pace because Atlantis is discovered earlier in the story.[29] The directors often described the Atlanteans using Egypt as an example. When Napoleon wandered into Egypt, the people had lost track of their once-great civilization. They were surrounded by artifacts of their former greatness but somehow unaware of what they meant. — Don Hahn, producer[30] The character of Milo J. Thatch was originally supposed to be a descendant of Edward Teach, otherwise known as Blackbeard the pirate. The directors later related him to an explorer so he would discover his inner talent for exploration.[31] The character of Molière was originally intended to be "professorial" but Chris Ure, a story artist, changed the concept to that of a "horrible little burrowing creature with a wacky coat and strange headgear with extending eyeballs", said Wise.[32][33] Don Hahn pointed out that the absence of songs presented a challenge for a team accustomed to animating musicals, as action scenes alone would have to carry the film. Kirk Wise said it gave the team an opportunity for more on-screen character development: "We had more screen time available to do a scene like where Milo and the explorers are camping out and learning about one another's histories. An entire sequence is devoted to having dinner and going to bed. That is not typically something we would have the luxury of doing."[16] Hahn stated that the first animated sequence completed during production was the film's prologue. The original version featured a Viking war party using The Shepherd's Journal to find Atlantis and being swiftly dispatched by the Leviathan. Near the end of production, story supervisor John Sanford told the directors that he felt this prologue did not give viewers enough emotional involvement with the Atlanteans. Despite knowing that the Viking prologue was finished and it would cost additional time and money to alter the scene, the directors agreed with Sanford. Trousdale went home and completed the storyboards later that evening after visiting a strip club where he boarded the new sequence on a napkin.[34] The opening was replaced by a sequence depicting the destruction of Atlantis, which introduced the film from the perspective of the Atlanteans and Princess Kida.[35] The Viking prologue is included as an extra feature on the DVD release.[36] Casting Kirk Wise, one of the directors, said that they chose Michael J. Fox for the role of Milo because they felt he gave his characters his own personality and made them more believable on screen. Fox said that voice acting was much easier than his past experience with live action because he did not have to worry about what he looked like in front of a camera while delivering his lines.[37] The directors mentioned that Fox was also offered a role for Titan A.E.; he allowed his son to choose which film he would work on, and he chose Atlantis.[38] Viewers have noted similarities between Milo and the film's language consultant, Marc Okrand, who developed the Atlantean language used in the film. Okrand stated that Milo's supervising animator, John Pomeroy, sketched him, claiming not to know how a linguist looked or acted.[24] Kida's supervising animator, Randy Haycock, stated that her actress, Cree Summer, was very "intimidating" when he first met her; this influenced how he wanted Kida to look and act on screen when she meets Milo.[39] Wise chose James Garner for the role of Commander Lyle Tiberius Rourke because of his previous experience with action films, especially war and Western films, and said the role "fits him like a glove". When asked if he would be interested in the role, Garner replied: "I'd do it in a heartbeat."[40] Producer Don Hahn was saddened that Jim Varney, the voice of Jebidiah Allardyce "Cookie" Farnsworth, never saw the finished film before he died of lung cancer in February 2000, but mentioned that he was shown clips of his character's performance during his site sessions and said, "He loved it." Shawn Keller, supervising animator for Cookie, stated, "It was kind of a sad fact that [Varney] knew that he was not going to be able to see this film before he passed away. He did a bang-up job doing the voice work, knowing the fact that he was never gonna see his last performance." Steven Barr recorded supplemental dialogue for Cookie.[41] John Mahoney, who voiced Preston Whitmore, stated that doing voice work was "freeing" and allowed him to be "big" and "outrageous" with his character.[42] Dr. Joshua Sweet's supervising animator, Ron Husband, indicated that one of the challenges was animating Sweet in sync with Phil Morris' rapid line delivery while keeping him believable. Morris stated that this character was extreme, with "no middle ground"; he mentioned, "When he was happy, he was really happy, and when he's solemn, he's real solemn."[43] Claudia Christian described her character, Lieutenant Helga Katrina Sinclair, as "sensual" and "striking", and was relieved when she finally saw what her character looked like, joking, "I'd hate to, you know, go through all this and find out my character is a toad."[44] Jacqueline Obradors said her character, Audrey Rocio Ramirez, made her "feel like a little kid again" and she always hoped her sessions would last longer.[45] Florence Stanley felt that her character, Wilhelmina Bertha Packard, was very "cynical" and "secure": "She does her job, and when she is not busy, she does anything she wants."[46] Corey Burton mentioned that finding his performance as Gaetan "Mole" Molière was by allowing the character to "leap out" of him while making funny voices. To get into character during his recording sessions, he stated that he would "throw myself into the scene and feel like I'm in this make-believe world".[47] Kirk Wise and Russ Edmonds, supervising animator for Vincenzo "Vinny" Santorini, noted Vinny's actor Don Novello's unique ability to improvise dialogue while voicing the role. Edmonds recalled, "[Novello] would look at the sheet, and he would read the line that was written once, and he would never read it again! And we never used a written line, it was improvs, the whole movie."[48] Michael Cedeno, supervising animator for King Kashekim Nedakh, was astounded at Leonard Nimoy's voice talent in the role, stating that he had "so much rich character" in his performance. As he spoke his lines, Cedeno said the crew would sit there and watch Nimoy in astonishment.[49] Animation For comparison, the top image (panoramic view of Atlantis) is cropped to Disney's standard aspect ratio (1.66:1); the bottom image was seen in the film (2.35:1). At the peak of its production, 350 animators, artists and technicians were working on Atlantis[50] at all three Disney animation studios: Walt Disney Feature Animation (Burbank, California), Walt Disney Feature Animation Florida (Orlando), and Disney Animation France (Paris).[51] The film was one of the few Disney animated features produced and shot in 35mm anamorphic format. The directors felt that a widescreen image was crucial, as a nostalgic reference to old action-adventure films presented in the CinemaScope format (2.35:1), noting Raiders of the Lost Ark as an inspiration.[52] Because switching to the format would require animation desks and equipment designed for widescreen to be purchased, Disney executives were at first reluctant about the idea.[16] The production team found a simple solution by drawing within a smaller frame on the same paper and equipment used for standard aspect ratio (1.66:1) Disney-animated films.[52] Layout supervisor Ed Ghertner wrote a guide to the widescreen format for use by the layout artists and mentioned that one advantage of widescreen was that he could keep characters in scenes longer because of additional space to walk within the frame.[53] Wise drew further inspiration for the format from filmmakers David Lean and Akira Kurosawa.[16] The film's visual style was strongly based upon that of Mike Mignola, the comic book artist behind Hellboy. Mignola was one of four production designers (along with Matt Codd, Jim Martin, and Ricardo Delgado) hired by the Disney studio for the film. Accordingly, he provided style guides, preliminary character, and background designs, and story ideas.[54] "Mignola's graphic, the angular style was a key influence on the 'look' of the characters," stated Wise.[55] Mignola was surprised when first contacted by the studio to work on Atlantis.[56] His artistic influence on the film would later contribute to a cult following.[57] I remember watching a rough cut of the film and these characters have these big, square, weird hands. I said to the guy next to me, "Those are cool hands." And he says to me, "Yeah, they're your hands. We had a whole meeting about how to do your hands." It was so weird I couldn't wrap my brain around it. — Mike Mignola[56] The final pull-out shot of the movie, immediately before the end-title card, was described by the directors as the most difficult shot in the history of Disney animation. They said that the pull-out attempt on their prior film, The Hunchback of Notre Dame, "struggled" and "lacked depth"; however, after making advances in the process of multiplaning, they tried the technique again in Atlantis. The shot begins with one 16-inch (40.6 cm) piece of paper showing a close-up of Milo and Kida. As the camera pulls away from them to reveal the newly restored Atlantis, it reaches the equivalent of an 18,000-inch (46,000 cm) piece of paper composed of many individual pieces of paper (24 inches [61 cm] or smaller). Each piece was carefully drawn and combined with animated vehicles simultaneously flying across the scene to make the viewer see a complete, integrated image.[58] Scale model of Ulysses submarine by Greg Aronowitz, used by digital animators as reference during production.[59] At the time of its release, Atlantis: The Lost Empire was notable for using more computer-generated imagery (CGI) than any other Disney traditionally animated feature. To increase productivity, the directors had the digital artists work with the traditional animators throughout the production. Several important scenes required heavy use of digital animation: the Leviathan, the Ulysses submarine and sub-pods, the Heart of Atlantis, and the Stone Giants.[60] During production, after Matt Codd and Jim Martin designed the Ulysses on paper, Greg Aronowitz was hired to build a scale model of the submarine, to be used as a reference for drawing the 3D Ulysses.[59] The final film included 362 digital-effects shots, and computer programs were used to seamlessly join the 2D and 3D artwork.[61] One scene that took advantage of this was the "sub-drop" scene, where the 3D Ulysses was dropped from its docking bay into the water. As the camera floated toward it, a 2D Milo was drawn to appear inside, tracking the camera. The crew noted that it was challenging to keep the audience from noticing the difference between the 2D and 3D drawings when they were merged.[62] The digital production also gave the directors a unique "virtual camera" for complicated shots within the film. With the ability to operate in the z-plane, this camera moved through a digital wire-frame set; the background and details were later hand-drawn over the wireframes. This was used in the opening flight scene through Atlantis and the submarine chase through the undersea cavern with the Leviathan in pursuit.[63] Music and sound Since the film would not feature any songs, the directors hired James Newton Howard to compose the score after they heard his music on Dinosaur. Approaching it as a live-action film, Howard decided to have different musical themes for the cultures of the surface world and Atlantis. In the case of Atlantis, Howard chose an Indonesian orchestral sound incorporating chimes, bells, and gongs. The directors told Howard that the film would have a number of key scenes without dialogue; the score would need to convey emotionally what the viewer was seeing on screen.[64] Gary Rydstrom and his team at Skywalker Sound were hired for the film's sound production.[65] Like Howard, Rydstrom employed different sounds for the two cultures. Focusing on the machine and mechanical sounds of the early industrial era for the explorers, he felt that the Atlanteans should have a "more organic" sound utilizing ceramics and pottery. The sound made by the Atlantean flying-fish vehicles posed a particular challenge. Rydstrom revealed that he was sitting at the side of a highway recording one day when a semi-truck drove by at high speed. When the recording was sped up on his computer, he felt it sounded very organic, and decided to use it in the film. Rydstrom created the harmonic chiming of the Heart of Atlantis by rubbing his finger along the edge of a champagne flute, the sound of sub-pods moving through the water with a water pick, while a ceramic pot from a garden store was used for the sounds of the movement of the Giant stone guardians.[66] Release Atlantis: The Lost Empire had its world premiere at Disney's El Capitan Theatre in Hollywood, Los Angeles, on June 3, 2001[67] and a limited release in New York City and Los Angeles on June 8; a wider release followed on June 15.[4][61] At the premiere, Destination: Atlantis was on display, featuring behind-the-scenes props from the film and information on the legend of Atlantis with video games, displays, laser tag, and other attractions. The Aquarium of the Pacific also loaned a variety of fish for display within the attraction.[68] Promotion Atlantis was among Disney's first major attempts to utilize internet marketing. The film was promoted through Kellogg's, which created a website with mini-games and a movie-based video game give-away for UPC labels from specially marked packages of Atlantis breakfast cereal.[50] The film was one of Disney's first marketing attempts through mobile network operators, and allowed users to download games based on the film.[69] McDonald's (which had an exclusive licensing agreement on all Disney releases) promoted the film with Happy Meal toys, food packaging and in-store decor. The McDonald's advertising campaign involved television, radio, and print advertisements beginning on the film's release date.[70] Frito-Lay offered free admission tickets for the film on specially marked snack packages.[71] Home media Atlantis: The Lost Empire was released on VHS and DVD on January 29, 2002.[72] During the first month of its home release, the film led in VHS sales and was third in VHS and DVD sales combined.[73] Sales and rentals of the VHS and DVD combined would eventually accumulate $157 million in revenue by mid-2003.[74] Both a single-disc DVD edition and a two-disc collector's edition (with bonus features) were released. The single-disc DVD gave the viewer the option of viewing the film either in its original theatrical 2.39:1 aspect ratio or a modified 1.33:1 ratio (utilizing pan and scan). Bonus features available on the DVD version included audio and visual commentary from the film team, a virtual tour of the CGI models, an Atlantean-language tutorial, an encyclopedia on the myth of Atlantis, and the deleted Viking prologue scene.[72] The two-disc collector's edition DVD contained all the single-disc features and a disc with supplemental material detailing all aspects of the film's production. The collector's-edition film could only be viewed in its original theatrical ratio, and also featured an optional DTS 5.1 track. Both DVD versions, however, contained a Dolby Digital 5.1 track and were THX certified.[72][75] Disney digitally remastered and released Atlantis on Blu-ray on June 11, 2013, bundled with its sequel Atlantis: Milo's Return.[76] Reception Box office Before the film's release, reporters speculated that it would have a difficult run due to competition from Shrek and Lara Croft: Tomb Raider. Regarding the market's shift from traditional animation and competition with CG-animated films, Kirk Wise said, "Any traditional animator, including myself, can't help but feel a twinge. I think it always comes down to story and character, and one form won't replace the other. Just like photography didn't replace painting. But maybe I'm blind to it."[61] Jeff Jensen of Entertainment Weekly noted that CGI films (such as Shrek) were more likely to attract the teenage demographic typically not interested in animation, and called Atlantis a "marketing and creative gamble".[77] With a budget of $100 million,[3] the film opened at #2 on its debut weekend, behind Lara Croft: Tomb Raider, earning $20.3 million in 3,011 theaters.[78] During its second weekend, it would drop into fourth place behind the latter film, Dr. Dolittle 2 and The Fast and the Furious, making $13.2 million.[79] The film's international release began September 20 in Australia and other markets followed suit.[80] During its 25-week theatrical run, Atlantis: The Lost Empire grossed over $186 million worldwide ($84 million from the United States and Canada).[4] Responding to its disappointing box-office performance, Thomas Schumacher, then-president of Walt Disney Feature Animation, said, "It seemed like a good idea at the time to not do a sweet fairy tale, but we missed."[81] Critical response Atlantis: The Lost Empire received mixed reviews from critics,[82][83][84] many of whom criticized its story.[85] The review aggregator website Rotten Tomatoes reports that 48% of 144 professional critics have given Atlantis: The Lost Empire a positive review; the average rating is 5.5/10. The site's consensus is: "Atlantis provides a fast-paced spectacle, but stints on such things as character development and a coherent plot".[86] Metacritic assigned the film a weighted average score of 52 out of 100 based on 29 reviews from critics, indicating "mixed or average" reviews.[87] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.[88] While critics had mixed reactions to the film in general, some praised it for its visuals, action-adventure elements, and attempt to appeal to an older audience. Roger Ebert gave Atlantis three-and-a-half stars out of four. He praised the animation's "clean bright visual look" and the "classic energy of the comic book style", crediting this to the work of Mike Mignola. Ebert gave particular praise to the story and the final battle scene and wrote, "The story of Atlantis is rousing in an old pulp science fiction sort of way, but the climactic scene transcends the rest, and stands by itself as one of the great animated action sequences."[89] In The New York Times, Elvis Mitchell gave high praise to the film, calling it "a monumental treat", and stated, "Atlantis is also one of the most eye-catching Disney cartoons since Uncle Walt institutionalized the four-fingered glove."[90] Internet film critic James Berardinelli wrote a positive review of the film, giving it three out of four stars. He wrote, "On the whole, Atlantis offers 90 minutes of solid entertainment, once again proving that while Disney may be clueless when it comes to producing good live-action movies, they are exactly the opposite when it comes to their animated division."[91] Wesley Morris of the San Francisco Chronicle wrote positively of the film's approach for an older audience: "But just beneath the surface, Atlantis brims with adult possibility."[92] Other critics felt that the film was mediocre in regards to its story and characters, and that it failed to deliver as a non-musical to Disney's traditional audience. Owen Gleiberman of Entertainment Weekly gave the film a C+ rating, writing that the film had "gee-whiz formulaic character" and was "the essence of craft without dream".[93] Kenneth Turan of the Los Angeles Times said the storyline and characterizations were "old-fashioned" and the film had the retrograde look of a Saturday-morning cartoon, but these deficiencies were offset by its "brisk action" and frantic pace.[94] Todd McCarthy of Variety wrote, "Disney pushes into all-talking, no-singing, no-dancing and, in the end, no-fun animated territory."[95] Stephanie Zacharek of Salon wrote of Disney's attempt to make the film for an adult audience, "The big problem with Disney's latest animated feature, Atlantis: The Lost Empire, is that it doesn't seem geared to kids at all: It's so adult that it's massively boring."[96] Rita Kempley of The Washington Post panned the film, calling it a "new-fashioned but old-fangled hash" and wrote, "Ironically Disney had hoped to update its image with this mildly diverting adventure, yet the picture hasn't really broken away from the tried-and-true format spoofed in the far superior Shrek."[97] In 2015, Katharine Trendacosta at io9 reviewed the film and called it a "Beautiful Gem of a Movie That Deserved Better Than It Got" and said that the film deserves more love than it ended up getting.[6] Lindsay Teal considers "Atlantis" to be "a lost Disney classic". Describing the film as highly entertaining, she praises the writing and characterisation – in particular, Sweet, Helga and Kida.[7] In particular, much praise has been given to the character of Kida.[98] Summer has regarded the character of Kida as one of her favourite roles and even considers the character among the official Disney Princess line-up. Themes and interpretations Several critics and scholars have noted that Atlantis plays strongly on themes of anti-capitalism and anti-imperialism. M. Keith Booker, academic and author of studies about the implicit messages conveyed by media, views the character of Rourke as being motivated by "capitalist greed" when he pursues "his own financial gain" in spite of the knowledge that "his theft [of the crystal] will lead to the destruction of [Atlantis]".[99] Religion journalist Mark Pinsky, in his exploration of moral and spiritual themes in popular Disney films, says that "it is impossible to read the movie ... any other way" than as "a devastating, unrelenting attack on capitalism and American imperialism".[100] Max Messier of FilmCritic.com observes, "Disney even manages to lambast the capitalist lifestyle of the adventurers intent on uncovering the lost city. Damn the imperialists!"[101] According to Booker, the film also "delivers a rather segregationist moral" by concluding with the discovery of the Atlanteans kept secret from other surface-dwellers in order to maintain a separation between the two highly divergent cultures.[102] Others saw Atlantis as an interesting look at utopian philosophy of the sort found in classic works of science fiction by H. G. Wells and Jules Verne.[103] Nadia: The Secret of Blue Water controversy When the film was released, some viewers noticed that Atlantis: The Lost Empire was similar to the 1990-91 anime Nadia: The Secret of Blue Water, particularly in its character design, setting, and story.[104] The similarities, as noted by viewers in both Japan and America, were strong enough for its production company Gainax to be called to sue for plagiarism. According to Gainax member Yasuhiro Takeda, they only refrained from doing so because the decision belonged to parent companies NHK and Toho.[105] Another Gainax worker, Hiroyuki Yamaga, was quoted in an interview in 2000 as saying: "We actually tried to get NHK to pick a fight with Disney, but even the National Television Network of Japan didn't dare to mess with Disney and their lawyers. [...] We actually did say that but we wouldn't actually take them to court. We would be so terrified about what they would do to them in return that we wouldn't dare."[105] Although Disney never responded formally to those claims, co-director Kirk Wise posted on a Disney animation newsgroup in May 2001, "Never heard of Nadia till it was mentioned in this [newsgroup]. Long after we'd finished production, I might add." He claimed both Atlantis and Nadia were inspired, in part, by the 1870 Jules Verne novel Twenty Thousand Leagues Under the Seas.[106] However, speaking about the clarification, Lee Zion from Anime News Network wrote, "There are too many similarities not connected with 20,000 Leagues for the whole thing to be coincidence."[107] As such, the whole affair ultimately entered popular culture as a convincing case of plagiarism.[108][109][110] In 2018, Reuben Baron from Comic Book Resources added to Zion's comment stating, "Verne didn't specifically imagine magic crystal-based technology, something featured in both the Disney movie and the too similar anime. The Verne inspiration also doesn't explain the designs being suspiciously similar to Nadia's."[110] Critics also saw parallels with the 1986 film Laputa: Castle in the Sky from Hayao Miyazaki and Studio Ghibli (which also featured magic crystals, and Atlantis directors Trousdale and Wise both acknowledged Miyazaki's works as a major influence on their own work)[104] and with the 1994 film Stargate as Milo's characteristics were said to resemble those of Daniel Jackson, the protagonist of Stargate and its spinoff television series Stargate SG-1 — which coincidentally launched its own spinoff, titled Stargate Atlantis; the plot of the 1994 film is also paralleled involving a group visiting an unknown world, a fictional language made for the other world's people, the main protagonist having apparent knowledge of the people's culture, falling in love with one of the female locals and electing to stay behind when the others return home.[111] Accolades Award Category Name Result 29th Annie Awards[112] Individual Achievement in Directing Gary Trousdale and Kirk Wise Nominated Individual Achievement in Storyboarding Chris Ure Nominated Individual Achievement in Production Design David Goetz Nominated Individual Achievement in Effects Animation Marlon West Nominated Individual Achievement in Voice Acting – Female Florence Stanley Nominated Individual Achievement in Voice Acting – Male Leonard Nimoy Nominated Individual Achievement for Music Score James Newton Howard Nominated 2002 DVD Exclusive Awards[113] Original Retrospective Documentary Michael Pellerin Nominated 2002 Golden Reel Award[114] Best Sound Editing – Animated Feature Film Gary Rydstrom, Michael Silvers, Mary Helen Leasman, John K. Carr, Shannon Mills, Ken Fischer, David C. Hughes, and Susan Sanford Won Online Film Critics Society Awards 2001[115] Best Animated Feature Nominated 2002 Political Film Society[116] Democracy Nominated Human Rights Nominated Peace Nominated World Soundtrack Awards[117] Best Original Song for Film Diane Warren and James Newton Howard Nominated Young Artist Awards[118] Best Feature Family Film – Drama Walt Disney Feature Animation Nominated Related works Main article: Atlantis (franchise) Atlantis: The Lost Empire was meant to inspire an animated television series entitled Team Atlantis, which would have presented the further adventures of its characters. The series would have been akin to an animated steampunk version of The X-Files and feature a crossover with Gargoyles. However, because of the film's underperformance at the box office, the series was not produced.[119] On May 20, 2003, Disney released a direct-to-video sequel titled Atlantis: Milo's Return, consisting of three episodes planned for the aborted series.[120] Disneyland planned to revive its Submarine Voyage ride with an Atlantis: The Lost Empire theme with elements from the movie. These plans were canceled and the attraction was re-opened in 2007 as the Finding Nemo Submarine Voyage, its theme based on the 2003 Pixar film Finding Nemo, which was far more successful commercially and critically.[121] In addition, after the Submarine Voyage's Magic Kingdom counterpart, 20,000 Leagues Under the Sea: Submarine Voyage, closed down in 1994, four years before Disneyland's, there were proposals of a new attraction that would take its place, with one of them a volcano attraction inspired by that film's Vulcania location, being approved for the Magic Kingdom's Adventureland area. Around 1999, during development of Atlantis: The Lost Empire, it was decided that it would be themed to the movie, with it taking place in 1916, two years after the film's events. The ride would have focused on Preston Whitmore, a character from the film, seeking to make Atlantis existence public and offer expeditions to visitors in newly developed vehicles. However, due to mishaps, the vehicles would be forced to make a detour through the lava-filled caverns of the volcano. The attraction would have used a unique hybrid ride system, in which it would start as a standard coaster before the trains hook up to a suspended track midway through to fly through the caverns. The attraction would have been accessed by a new canyon path in between Pirates of the Caribbean and a re-routed Jungle Cruise that would have led to a Whitmore Enterprises base camp at the edge of the Walt Disney World Railroad path, with the mountain itself being built outside the berm. However, like the previous Submarine Voyage retheme, the ride was cancelled due to the film's disappointment in the box office.[122]

https://daredaniel.com/wp-content/uploads/2026/03/CANON-FODDER_S01_E57.mp3 Brief Encounter (1945; Dir.: David Lean) Canon Fodder Episode 57 On this very stiff-upper-lip episode, Daniel and Corky make a date to review David Lean’s masterful romance Brief Encounter. A seemingly simple yet remarkably complex story of an illicit affair elevated by Lean’s cinematic mastery, Brief Encounter set a standard that few tragic romances have ever matched. But did the film ignite cinematic Flames of Passion for your hosts? BRIEF ENCOUNTER FACTS & FIGURES Sight & Sound 2022 Critics Poll Ranking: #211 [tied] World premiere: Nov. 26, 1945 (London) IMDB synopsis: “Meeting a stranger in a railway station, a woman is tempted to cheat on her husband.” CLIPS & CLIPPINGS Original theatrical trailer for Brief Encounter “Shall I see you again?” Over the bridge Runnin’ in the rain NEXT EPISODE’S MOVIE The Night of the Hunter (1955; Dir.: Charles Laughton) IMDB synopsis: “A self-proclaimed preacher marries a gullible widow whose young children are reluctant to tell him where their real dad hid the $10,000 he’d stolen in a robbery.” Our review of The Night of the Hunter comes out Tuesday, March 31! Follow Dare Daniel & Canon Fodder on Facebook and Instagram. Be sure to listen, rate, review and subscribe to the show on Pandora, Apple Podcasts, Spotify, Listen Notes, Castbox and more. New episodes every other Tuesday! Please help support the show by clicking the Donate button on the homepage or find “Support the Show” in the main menu. Read more of Daniel’s movie reviews at Dare Daniel and Rotten Tomatoes. The post Canon Fodder – Brief Encounter appeared first on Dare Daniel Family of Podcasts.

It's Oscar Night and Front Row Classics is taking a look at one of the most nominated films from 1965. Brandon is joined by Emmett Stanton and Matt Duffy to discuss Doctor Zhivago. The hosts chat about the epic nature of David Lean's storytelling, the wonderful performances of the ensemble cast and the stunning locations. The conversation also focuses on place Zhivago now holds in the pop culture zeitgeist

Dr Zhivago It’s Oscar Night and Front Row Classics is taking a look at one of the most nominated films from 1965. Brandon is joined by Emmett Stanton and Matt Duffy to discuss Doctor Zhivago. The hosts chat about the epic nature of David Lean’s storytelling, the wonderful performances of the ensemble cast and the … Continue reading Ep. 431- Doctor Zhivago →

"This can't last. This misery can't last." For Episode 391, Brandon and Thomas are joined by the incredibly talented film editor and former CineNation regular, Anna Catley. With Anna being a massive fan of BRIEF ENCOUNTER, she decided to join them in discussing one of David Lean and Noel Coward's best films for CineNation's Brief Encounter series. Listen as they discuss Coward's early life in theater, why the casting was so unique for the film, how World War II had an impact on the film's production, the struggles of filming in the countryside, why it was such a big hit in the United States, and so much more! Use the code cinenation15 on thecinevault.com to get 15% off your online purchase! Also, don't forget to join our Patreon for more exclusive movie content: https://www.patreon.com/cinenation Opening - The Muppets (00:00:10) Introducing Anna Catley (00:06:30) Recap of the Brief Encounter Genre (00:09:30) Intro to Brief Encounter (00:14:34) How Brief Encounter Got to Production (00:24:13) Favorite Scenes (00:37:28) On Set Life - (01:13:53) Aftermath: Release and Legacy (01:21:19) What Worked and What Didn't (01:27:50) Film Facts (01:40:05) Awards (01:43:11) Final Questions on the Movie (01:48:41) Wrapping Up the Episode (01:54:44) Contact Us: Facebook: @cinenation Instagram: @cinenationpodcast Twitter/X: @CineNationPod TikTok: @cinenation Letterboxd: CineNation Podcast

Recordamos al querido actor Roy Scheider. Hicimos un contrapunto entre "Hamnet" de Chloe Zao y "Sueños de trenes" Clint Bentley. A propósito de lo anterior hicimos una lista espontánea de películas para llorar: "Breve encuentro" de David Lean, "Los puentes de Madison" de Clint Eastwood y muchas más.

Don't be shy, send me a message!Thomas Felix Creighton talks to Alex Lamas ( Instagram @sifu_lamas / Youtube @ @yestoadventure007 ) about his love of movies set in the British Empire.This includes Zulu (1964), Zulu Dawn (1979), Breaker Morant (1980), Four Feathers (1939), Gunga Din (1939), The Wind and the Lion (1975), and two we focus on particularly; The Man Who Would Be King (1979) with Sean Connery and Micheal Caine and Lawrence of Arabia (1962) with Peter O'Toole and Omar Sharif. He also talks about the joy of visiting some of the historic locations seen in some of these films, which you can see more of on his Instagram and Youtube channels. This includes Aït Benhaddou, Morocco, which was used for:Lawrence of Arabia (1962)The Man Who Would Be King (1975)The Living Daylights (1987)The Mummy (1999)Gladiator (2000)Alexander (2004)Kingdom of Heaven (2005) Prince of Persia: The Sands of Time (2010) Game of Thrones (2011-2019)Do check out: https://www.youtube.com/@yestoadventure007 Books I would recommend:Jan Morris, the ‘Pax Britannica Trilogy' of books about the art and popular depiction of the British Empire: 'Heaven's Command: An Imperial Progress', 'Pax Britannica: Climax of an Empire', 'Farewell the Trumpets: An Imperial Retreat'.Many, many books by Rudyard Kipling, including the original short story ‘The Man Who Would Be King' (1888) and ‘Kim' (1901). And, T.E. Lawrence's ‘The Seven Pillars of Wisdom' (1926).I reference the following; Lawrence of Arabia: A Film's Anthropology by Steven C. Caton (1999), a great insight into the critical reception of David Lean's classic movie.Support the showhttps://www.albionneverdies.com/

Au sommaire de cette spéciale cinéma classique : Évocation de trois films de Wim Wenders disponibles chez Carlotta Films, à savoir, L'Angoisse du gardien de but au moment du penalty (1972), L'État des choses (1982) & The End of Violence (1997) ; Retour sur quelques films de guerre sortis chez Elephant Films tels Ceux qui servent en mer (1942) de Noël Coward et David Lean & Opération Walkyrie (2004) de Joe Baïer ; Chronique du polar crépusculaire de Peter Yates sorti chez Rimini Editions intitulé Les Copains d'Eddie Coyle (1973) ; Recension de Le Locataire (1976) de Roman Polanski (Carlotta Films) ; Échanges hilares autour d'une comédie culte signée Ron Underwood en 1992, La Vie, l'amour, les vaches (Bubbel Pop' Édition). Bonne écoute à toutes et tous !

In this installment of our We Didn't Start the Fire series, we're digging into one of the most cinematic lines in Billy Joel's anthem: "Bridge over the River Kwai." Most of us know the iconic whistling tune and the 1957 Best Picture winner, but how much of the story is Hollywood magic, and how much is a dark chapter of World War II history? This week, we bridge the gap between David Lean's epic film and the brutal reality of the "Death Railway."In this episode, we discuss:The Silver Screen vs. The Jungle: Why the real Allied POWs actually hated the fictionalized portrayal of Colonel Nicholson.The Burma Railway: The staggering human cost of building 250 miles of track through some of the most unforgiving terrain on Earth.Pierre Boulle's Irony: How a French novelist who never visited the river created a global phenomenon.Billy's Timeline: Why this specific 1957 reference marks a pivot point in the song's transition from the post-war boom to the complexities of the late 50s."The Bridge over the River Kwai is more than just a movie title; it's a monument to endurance and a reminder of the thin line between duty and obsession."Send us a text

Trahisons, surveillances, agents doubles... Jusqu'au 4 janvier, retrouvez les épisodes qui ont marqué cette année !Pendant la Première Guerre mondiale, les reportages du journaliste américain Lowell Thomas firent la notoriété de Thomas Edward Lawrence, écrivain et officier de liaison britannique durant la grande révolte arabe de 1916-1918. Après la guerre, la version abrégée de son témoignage sur cette campagne, Les Sept Piliers de la sagesse, qui en décrit le caractère aventureux, fut un succès de librairie. La version intégrale, publiée cinquante ans après sa mort, confirma son talent littéraire. Le film Lawrence d'Arabie, réalisé par David Lean en 1962 avec Peter O'Toole dans le rôle-titre, acheva de le faire entrer dans la légende...

Regresamos sobre el clasico de David Lean a proposito de su 60º aniversario. Una pelicula rodada sobre todo en Espana, en Granada, Madrid y sobre todo la provincia de Soria, pese a la ausencia de las nevadas previstas. Como lo solucionaron? Que lugares madrilenos aparecen en la pelicula? Y que otras opciones de casting se manejaron? La comentamos, como siempre, con Carlos Alsina, Ruben Amon, Rosa Belmonte, Guillermo Altares, Sergio del Molino y Nacho Vigalondo. Ademas, despedimos al director Rob Reiner ('Cuado Harry encontro a Sally', 'La princesa prometida', 'Algunos hombres buenos').

Regresamos sobre el clasico de David Lean a proposito de su 60º aniversario. Una pelicula rodada sobre todo en Espana, en Granada, Madrid y sobre todo la provincia de Soria, pese a la ausencia de las nevadas previstas. Como lo solucionaron? Que lugares madrilenos aparecen en la pelicula? Y que otras opciones de casting se manejaron? La comentamos, como siempre, con Carlos Alsina, Ruben Amon, Rosa Belmonte, Guillermo Altares, Sergio del Molino y Nacho Vigalondo. Ademas, despedimos al director Rob Reiner ('Cuado Harry encontro a Sally', 'La princesa prometida', 'Algunos hombres buenos').

Join Chris and Susan for a very special holiday episode honoring director Peter Medak whose prolific career included working with directors Alfred Hitchcock and David Lean and film industry icons Peter O'Toole and Peter Sellers, to directing six episodes of 'Homicide: Life on the Street' over the course of four seasons. We're also excited to offer a very special holiday treat for our listeners. Enjoy! And have a great holiday season! And if you'd like to contribute to the podcast, you can "Buy us a coffee," at https://buymeacoffee.com/homicidepoq Thanks for listening! Connect with us on Social Media BlueSky https://bsky.app/profile/homicidepod.bsky.social Instagram https://www.instagram.com/homicidepod/ Threads https://www.threads.net/@homicidepod X

In Cineversary podcast episode #89, host ⁠Erik J. Martin⁠ celebrates the 80th birthday of Brief Encounter, directed by David Lean. He and his guest David Thomson – the distinguished film critic, historian, and author of Sleeping with Strangers: How the Movies Shaped Desire – climb aboard the romance express and discuss why this film still matters, its impact on cinema, relevant themes, and more. Learn more about the Cineversary podcast at www.cineversary.com and email show comments or suggestions to cineversarypodcast@gmail.com.

Terence Young's 1963 sophomore installment in the James Bond franchise, FROM RUSSIA WITH LOVE, is our feature presentation this week! We discuss key lore beginnings with S.P.E.C.T.R.E, the director's dislike of Daniela Bianchi's legs, Sean Connery, the helicopter crash that nearly brought David Lean onto the film, and more! We also pick our Top 7 Russian-Related Movies in this week's Silver Screen 7!  Join our Patreon ($2.99/month) here linktr.ee/brokenvcr to watch the episodes LIVE in video form day/weeks early. Find us on Instagram @thebrokenvcr and follow us on LetterBoxd! Become a regular here at THE BROKEN VCR!

It's sweeping, it's romantic, it's nearly three and a half hours long. Doctor Zhivago was a box office smash and an Oscar darling, but does it actually work? David Lean gave us snow-covered melodrama, endless longing glances, and Omar Sharif's eternally furrowed brow to ask: is this epic a masterpiece or just a beautifully shot soap opera? Guest Paul Kind returns to sort it out for the 60th anniversary of Doctor Zhivago.___Please consider joining our Patreon: https://www.patreon.com/wwibofficialYouTube: https://www.youtube.com/@whywasntitbetterLetterboxd: https://letterboxd.com/wwibpodcastInstagram: https://www.instagram.com/wwib_officialX: https://x.com/WWIBpodcastSubscribe! Rate! Review! Tell a friend!

Welcome To Horror Presents: “The Power of We Have Been Watching”. Yes! Get it here. If by “it” you mean a rundown of all the stuff the Welcome To Horror team have been sticking in their faces in between episodes. We discuss Guillermo del Toro's “Frankenstein” (2025); Korean horror “The Wailing” (2016); true crime/folk horror documentary “The Last Sacrifice” (2024); “From Dusk Til Dawn” (1996); “Heretic” (2024); 70s anthology series “Orson Welles' Great Mysteries”; “The Substance” (2024); David Lean's “Blithe Spirit” (1945); and Brontë Schiltz's Miskatonic Institute of Horror Studies lecture on “Televisual Gothic”. There should be no need to prep for this ep, but listeners beware, as here be (possible) spoilers and (definite) swearing. Join us!

Passamos tanto tempo preocupados em separar surfe do bodyboard que esquecemos fazer parte da mesma turma obstinada, salubre e salgada, curtida frente e verso nas areias escaldantes daqui e dali.Júlio Adler, João Valente e Bruno Bocayuva receberam nesse episódio o Alexandre Iglesias (ex e eterno) editor da revista Style Bodyboard, hoje dedicado ao universo caótico dos documentários.Versamos sobre os absurdos 62 do Mike Stewart, título mundial do Uri Valadão, estado atual do BB e Fela Kuti e David Lean.A trilha teve de tudo, de When The Lights Gone Out (Jamaican Stylee) com Ziggy Marley And The Melody Makers, Black Times com Seun Kuti & Egypt 80 e Carlos Santana, Mangetout com Wet Leg e Tango Till They're Sore do bardo Tom Waits.

"Mi amiga Eva", la nueva película de Cesc Gay, le lleva a Javier Ocaña a acordarse de "Breve encuentro" de David Lean. Ambas películas, sin duda, dejan en un segundo plano lo nuevo de Darren Aronofsky, "Bala perdida", que hace honor a su nombre y no llega a convencer.

The Road to Episode 100In this episode, the hosts delve into the theme of forbidden love through the lens of classic cinema, specifically focusing on David Lean's A Brief Encounter and Wong Kar Wai's In the Mood for Love. They explore the complexities of the characters' relationships, the emotional weight of the narrative, and the cinematic techniques that enhance the storytelling. The discussion also touches on cultural reflections and societal norms of the 1940s, providing a comprehensive analysis of how these elements contribute to the film's enduring impact. Through comparative analysis with modern films, the hosts highlight the evolving perspectives on relationships and the moral quandaries that arise from them. In this conversation, Jonny and Jamie explore various themes in film, including the cultural phenomenon of K-Pop Demon Hunters, their favorite movie couples, and the anticipation of upcoming horror films. 00:00:00 Intro/ movie chat / In the Mood for Love01:04:28 Introduction to Brief Encounter01:06:45Synopsis and Character Dynamics01:09:28 Cinematography and Visual Metaphors01:13:06 Themes of Love and Infidelity01:17:01 Societal Norms and Moral Quandaries01:20:22 Emotional Impact and Character Sympathy01:24:40 Juxtaposition in Film: The Power of Black and White01:27:09 Exploring Classic Cinema: A Journey Through Hitchcock01:29:49 The Complexity of Movie Couples: Love and Melodrama01:33:20 Upcoming Episodes: A Look Ahead at Horror Classics

What a year it was! Some great, legendary classics came out in 1957.  But it was The Bridge on the River Kwai that came out on top at the Academy Awards for that year. David Lean's WWII classic about obsession is still as riveting as it was almost seven decades later. With brilliant performances by the entire cast, especially Alec Guinness and Sessue Hayakawa, the film is captivating in every aspect ... including the legendary whistling tune Colonel Bogey March. However, was it deserving of the five Oscars it won, including the Best Picture prize?Listen to film critic Jack Ferdman's take on it as he analyzes everything about The Bridge on the River Kwai, as well as many other films from that year, and hear which film he gives his Rewatch Oscar of 1957.Download, listen, and share ALL Rewatching  Oscar episodes.SUBSCRIBE and FOLLOW Rewatching Oscar:Website: https://rewatchingoscar.buzzsprout.comApple Podcasts/iTunesSpotifyGoogle PodcastsiHeart RadioPodchaserPodcast AddictTuneInAlexaAmazon Overcasts Podcast Addict Player FMRSS Feed: https://feeds.buzzsprout.com/1815964.rssWebsite: https://rewatchingoscar.buzzsprout.comSocial Media Links: Facebook, Twitter, LinkedIn, Instagram, BlueSkyShare your thoughts and suggestions with us through:Facebook Messenger or email us atjack@rewatchingoscar.com or jackferdman@gmail.comMusic by TurpacShow Producer: Jack FerdmanPodcast Logo Design: Jack FerdmanMovie (audio) trailer courtesy of MovieClips Classic TrailersMovie (audio) clips courtesy of YouTubeSupport us by downloading, sharing, and giving us a 5-star Rating.  It helps our podcast continue to reach many people and make it available to share more episodes with everyone.Send us a text

Movie Review #52Comin right at you.First up today yer crew takes on (Ryan's Daughter 1970) here famous British director David Lean makes a movie with Robert Mitchum about Ireland in the early 20th century “Brit's out now!”Next up Al Pacino and Kitty Winn are working hard for their medication in (Panic in Needle Park 1971) “Vice cops out!”Moving on we review Diana Ross in (Lady sings the Blues 1972) We also get Lando and Richard Pryor who's flippin good in this apparently not too accurate bio pic of Billie Holiday.4th movie today is (Say Goodbye Maggie Cole 1972) Which gives us silver screen Diva Susan Hayward runnin around in the 70's bein fierce and very very busy!Next today is (Jabberwocky 1977) that non Monty Python Monty Python movie you might have wondered about. The Middle Ages were such a blast, oh my.Finally today we review the mighty (Deer Hunter 78) I could use a lil more Streep here please, always! Trigger warning, that war and all wars, are Harsh! Oh, also Russian Roulette Ummmmmmm No thank you! Thanks for listening friends Let's hear from you. Why not?

For September's episode, Mandy welcomes back Sects, Lies, and Videotape maven Gavin McDowell, who decided to take a very different approach from his last visit and assign Mandy a movie he was pretty sure (but not positive) she'd like: David Lean's 222-minute epic and perennial greatest-film-ever candidate Lawrence of Arabia. Tune in to hear the struggles of a parent trying to find three hours and forty-two minutes for a movie night, many musings on camel sartoriality, and whether Mandy did, in fact, enjoy watching two unbelievably gorgeous men make goo-goo eyes at each other for such a long time. There may also be discussion of the film.

Un proyecto de Castilla y León Film Commission en colaboración con Fuera de Series. En este octavo programa de Castilla y León en Fuera de Series, hablamos del 60 aniversario de "Doctor Zhivago', la película de David Lean ganadora de 5 Oscars, y de su rodaje en Soria. Para ello C.J. Navas conversa en primer lugar con Julián de la Llana, historiador, crítico de cine e impulsor del Cine Club UNED Soria Después lo hace con Lucas Caraba, fotógrafo, cineasta y director del documental sobre el impacto de la película en la provincia que se realizó con motivo de su 50 aniversario. Learn more about your ad choices. Visit megaphone.fm/adchoices

We've been so excited to discuss the newest release from Paraphrase Perfumes, Fruit Thieves, which was totally worth all the customs delays. Thanks to Josh who kindly sent it to us as a gift. We also dip our toes in the water of the ever-present topic of dupes and how they play into the manosphere and Reddit sales. As fun as that seems, most of this episode is heavy on Parfum d'Empire as we talk about a few we've been testing and really enjoying. Plus, our scents of the week and pretty solid round of The Game.Scents Mentioned in this Episode:Fruit Thieves by Paraphrase / Pulp by Byredo / Seminalis by Orto Parisi / Burrow and Sex & Jasmine by Paraphrase /Molecules 01 + Iris by Escentric Molecules / Blue Talisman by Ex Nihilo / 3 Fleurs, Musc Tonkin, Amber Russe, Eau Suave, Mal Aime, Tabac Tabou, Vetiver Bourbon, and Raude by Parfum d'Empire / French Affair by Ex Nihilo / Rosarine by Dusita / Fumerie Turque and Daim Blond by Serge Lutens / Spell 125 by Papillon Perfumery / Oeilleres by Roberto Greco / Oudh Infini by Dusita / Rimbaud by Celine / Reptile, Nightclubbing, and Black Tie by Celine / Musc Ravageur by Frederic Malle / Sellier by Byredo / Tempo by Diptque / Fils de Joie by Serge Lutens / Eau Capitale by Diptyque / Pistil by MiskeoThe Game:Mossy Glen by Villa Erbatium / La Bague d'O by Jouissance / Chambre Secrète by Reservation / Blue Tea by The Merchant of Venice / Rosae Mundi by Profumum Roma / Nº 7 by Rosendo Mateu(00:00) - - Fruit Thieves by Paraphrase (07:06) - - Thoughts on Dupes (16:30) - - Parfum D'Empire (38:03) - - Scents of the Week (52:17) - - The Game Shoutouts:Panda Go Panda by Isao Takahata (1972)Summertime by David Lean (1955)Thank you, Danielle (@perfumeglow_danielle) for the samplesPlease feel free to email us at hello@fragraphilia.com - Send us questions, comments, or recommendations. We can be found on TikTok and Instagram @fragraphilia

Mirror, mirror on the wall. If only my mirror could show me all. We humans love our mirrors. At some deep-rooted level, we love to see ourselves. Maybe you remember the famous scene in the movie Lawrence of Arabia when Peter O'Toole playing Lawrence first puts on the white Arab robes and headdress. He is for the moment all by himself in the desert, so there is no dialogue. According to the film's director, David Lean, the only instruction he gave O'Toole was to improvise what this young man Lawrence might have done in this situation. O'Toole experiments with the sweep of his robes by running and spinning, feeling the gleaming white cloth swirl about him. Then he stops, and with no mirror to hand in the desert, takes out his shiny silver dagger from his belt and tries to use it as a mirror to see how he looks. David Lean remembers remarking under his breath during the filming, “Clever boy!”  Looking into a mirror, though, only gives us a limited perspective. We can only see what is in front of us. It takes multiple mirrors for us to be able to see our backs. Frankly, we have blindspots, spots that are difficult or nearly impossible to see. I always rely on a friend who can tell me if my hair looks okay in the back or if the tag on my shirt is sticking out. From time to time it's a good idea to check your harp blindspots too. These blindspots are usually related to inefficiencies in our practice or skills we need to develop. They may be hampering or slowing down our progress. And the good news is that once you see the blindspot, just like the tag that is sticking out, you can fix it. So in today's show, we'll review 7 common blindspots. If none of them are yours, at least not right now, that's great. You'll have some additional knowledge you can use to keep them in check. But if you think your harp playing should be moving faster than it is, perhaps one or more of these blindspots will show you what you haven't seen before, and you can get started removing that spot right away. Links to things I think you might be interested in that were mentioned in the podcast episode:  New blindspot courses in the Harp Mastery® app! Want to take the Blindspot Quiz? Click here.  Harpmastery.com Get involved in the show! Send your questions and suggestions for future podcast episodes to me at podcast@harpmastery.com Looking for a transcript for this episode? Did you know that if you subscribe to this podcast on Apple Podcasts you will have access to their transcripts of each episode? LINKS NOT WORKING FOR YOU? FInd all the show resources here: https://www.harpmastery.com/blog/Episode-223  

Alexei and Talal finish their run of live shows at the Museum of Comedy in front of a packed house! They discuss ancient myths, improv comedy, nice Tories, David Lean and much more. Be a comrade and support the show! Become a Patron and get access to the video version of the podcast, live episodes and more - patreon.com/AlexeiSaylePodcast Send your fan art, thoughts and questions to alexeisaylepodcast@gmail.com Please consider leaving us a review on Apple Podcasts or wherever you get your podcasts. Subscribe to Alexei's YouTube channel here and join him for his Bike Rides. The Alexei Sayle Podcast is produced and edited by Talal Karkouti Music by Tarboosh Records Photograph from the Andy Hollingworth Archive 

Les Cine-Buddies sont dans le desert depuis trop longtemps avec le chef d'oeuvre de David Lean, starring Peter O'Toole. La nouvelle fantastique video de Romain Lehnhoff maintenant disponible sur la chaine abracadaPod de Youtube. Son Katia Lazareva. Likez et souscrivez.

How Kate got her groove back… could be an alternate title to David Lean's Katherine Hepburn-starring romance set in the canals of mid-century Venice.  An aging single American lady, looking for a little bit of culture and beauty, discovers far more than just a bit of Murano glass in this visual stunner… By which I mean that she finds no-strings-attached sex with hot Italian dudes. Join the Random Acts of Cinema Discord server here! *Come support the podcast and get yourself or someone you love a random gift at our merch store.  T-shirts, hoodies, mugs, stickers, and more! If you'd like to watch ahead for next week's film, we will be discussing and reviewing Kon Ichikawa's An Actor's Revenge(1962).

Feast your ears on a special release of the Patreon-only hit podcast Are You Friedkin Kidding Me? where your intrepid hosts (plus Alexandra!) watch the films of William Friedkin.  This episode…. The poster, wherein a lady is sitting upon the face of a gentleman, says it all. But you may as well also know that it features a thrillingly slow car chase through the city of San Francisco (which is kind of a character in this film, if you think about it.) Join the Random Acts of Cinema Discord server here! *Come support the podcast and get yourself or someone you love a random gift at our merch store.  T-shirts, hoodies, mugs, stickers, and more! If you'd like to watch ahead for next week's film, we will be discussing and reviewing David Lean's Summertime (1955).

"Nothing is written." For Episode 368, Brandon and Thomas finish off CineNation's series on World War I with one of the most epic movies...LAWRENCE OF ARABIA. Listen as the duo discuss watching the movie on the big screen, the history of the real T.E. Lawrence, the challenges of the screenplay, which A-list American actor almost played Lawrence, the amount of injuries on set, the struggles of filming in the Middle East, and the overall legacy of the film. And one topic regarding this movie created some division within the CineNation family.  Also, don't forget to join our Patreon for more exclusive content: Opening - Watching Long Movies -  (00:00:10) Recap of World War I Movies (00:05:26) Intro to War Horse (00:08:28) The History of T.E. Lawrence (00:13:36) How Lawrence of Arabia Got to Production (00:24:15) Favorite Scenes (00:34:21) On Set Life - (01:03:44) Aftermath: Release and Legacy (01:20:45) What Worked and What Didn't (01:29:46) Film Facts (01:39:46) Awards (01:43:38) Final Questions on the Movie (01:50:52) Final Genre Questions (01:58:25) Wrapping Up the Episode (02:02:31) Contact Us: Facebook: @cinenation Instagram: @cinenationpodcast Twitter/X: @CineNationPod TikTok: @cinenation Letterboxd: CineNation Podcast

Feast your ears on a special release of the Patreon-only hit podcast Are You Friedkin Kidding Me? where your intrepid hosts (plus Alexandra!) watch the films of William Friedkin.  This episode…. Well it's only his timeless 1990s erotic/thriller/horror masterpiece The Guardian!  You'll never look at Los Angeles architecture the same way ever again! Join the Random Acts of Cinema Discord server here! *Come support the podcast and get yourself or someone you love a random gift at our merch store.  T-shirts, hoodies, mugs, stickers, and more! If you'd like to watch ahead for next week's film, we will be discussing and reviewing David Lean's Summertime (1955).

Fresh off of his iconic career topping Dracula, director Tod Browning returns to his roots with a domestic drama/crime film cast almost entirely with side-show performers with little-to-no screen acting experience.  The viewers are asked - and very much confronted with the question of - who are the REAL freaks? Join the Random Acts of Cinema Discord server here! *Come support the podcast and get yourself or someone you love a random gift at our merch store.  T-shirts, hoodies, mugs, stickers, and more! If you'd like to watch ahead for next week's film, we will be discussing and reviewing David Lean's Summertime (1955).

This is a free sample from our conversation on David Lean's Lawrence of Arabia (1962), the sweeping desert epic that looms large over George Lucas's vision for his Star Wars saga as a whole. We dig into the film's imperial critique, Peter O'Toole's mesmerizing performance, and how Lean turns scale into a tool of psychological storytelling. For the full episode head to our Patreon at the link below.The Extra Credits YouTube Channel⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Become a member of The Extra Credits+ on Patreon ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Letterboxd: ⁠The Extra Credits⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok: The Extra Credits⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Reddit: r/TheExtraCredits⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram: ⁠@theextracredits⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter: ⁠@theextracredits⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Send requests, questions, and thoughts to our email: extracreditspod@gmail.com

Send us a textOn the podcast this time, Steven and Sean are sweating rivers down our backsides in this heat! We watched the 1962 film from David Lean, Lawrence of Arabia.What a storied life this T.E. Lawrence guy had! Get a load of this: he once walked 1,100 miles in three months across Middle East mountains and deserts, he was only about 5'5” tall, and he designed a set of stamps for the Grand Sharif of Mecca (where are my philatelists at?).Oh, and there's all the other stuff depicted in this film, but you knew about that stuff anyway, right? If not, then give this classic a watch before enjoying this week's episode.(Recorded on June 04, 2025)Links to Stuff We Mentioned:Lawrence of Arabia - The Movie Database (TMDB)Lawrence of Arabia trailer - YouTubePeter O'Toole — The Movie Database (TMDB)Omar Sharif — The Movie Database (TMDB)Alec Guinness — The Movie Database (TMDB)T. E. Lawrence - WikipediaThe Last Samurai (2003) — The Movie Database (TMDB)Follow Us:Give us a rating and review on Apple Podcasts!Sean's Letterboxd profile!Steven's Letterboxd profile!Our Buzzsprout site!Our Instagram profile!Support the show

“Eat the ravioli!” Summertime (1955) directed by David Lean and starring Katharine Hepburn and Rossano Brazzi Next Time: Grand Prix (1966)  

Today on the podcast we will be revisiting David Lean's 'Brief Encounter' (1945)! Joining me on this episode is the co-host of the Movie Friends Podcast, Seth Vargas. You can find his social channels and podcast below: Seth Vargas: https://x.com/ohsethy https://letterboxd.com/sethvargas/ Movie Friends Podcast: https://podcasts.apple.com/us/podcast/movie-friends/id1662559445 https://open.spotify.com/show/2O5TcFC9k4VSyxBnb99tap?si=e44be42529244601&utm_medium=share&utm_source=linktree&nd=1&dlsi=ca260574a5e84290 ------------------------------ Intro/outro music created by Patrick Baxter! You can find his social channels below as well: https://spamcaller.bandcamp.com/

Hola Gerardo aquí en otro episodio de Simplemente Yo; La selección de esta semana es Lawrence of Arabia, es una película épica biográfica de aventuras dramáticas de 1962 dirigida por David Lean y producida por Sam Spiegel a través de su compañía británica Horizon Pictures y distribuida por Columbia Pictures. Se basó en la vida de T. E. Lawrence y su libro de 1926, Seven Pillars of Wisdom.   El podcast analiza la compleja historia de producción de la película, desde los diversos intentos de llevar la historia de Lawrence a la gran pantalla hasta los desafíos que se enfrentaron durante el rodaje, como problemas logísticos y la reescritura del guion. También se destaca la banda sonora de Maurice Jarre, lo que subraya su estatus icónico en la historia del cine y subraya la combinación de hechos históricos e interpretación artística que ofrece la película.   Plot: La historia de T. E. Lawrence, el oficial inglés que unió y dirigió con éxito a las tribus árabes durante la Primera Guerra Mundial para luchar contra los turcos.   Espero que lo disfruten ;)   Información adicional del podcast: Enlace del website official de Filmic Notion Podcast: https://filmicnotionpod.com/ Enlace a nuestra página de Letterboxd: https://boxd.it/446nl  

Tandis que Lawrence s'enfonce dans les étendues brûlantes du désert d'Arabie, que le docteur Jivago dérive au gré des vents glacés des steppes russes, la fille de Ryan s'éveille à l'amour sur les rivages tourmentés de l'Irlande, et l'Empire britannique chancelle aux confins de l'Inde… Ces destins lointains ont deux points communs : la ferveur avec laquelle David Lean les porte à l'écran, et l'âme musicale qui leur est donnée par Maurice Jarre...Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

In 1957, David Lean took audiences to a Japanese prisoner-of-war camp in Burma and somehow turned bridge building into one of cinema's great psychological dramas. The Bridge on the River Kwai became a massive hit, but behind the scenes was almost as chaotic as life in the jungle.We're unpacking two stories about the WWII epic: The wild production tale - from Lean's obsessive filmmaking in the Sri Lankan jungle to the controversy over who really wrote the screenplay (Hollywood politics got messy). Second, we dig into the craft behind the sweeping war film - the massive practical bridge construction, Alec Guinness's iconic performance, and how Lean created visual poetry out of warfare (not for the last time, either). Through segments like The Director, The Cast, and The Crew, we explore how a film about building a bridge became a meditation on honor, madness, and the absurdity of war - all while somehow making the "Colonel Bogey March" permanently stuck in your head.Telling the story of Hollywood, one movie at a time.Connect with ATRM: To support what we do, access our archive and listen to exclusive episodes, become an ATRM patron:Listen on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Listen on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Listen on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter/X: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@ATRightMovies⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Subscribe to our channel⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@allthe_rightmovies ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads: ⁠⁠⁠⁠⁠⁠⁠⁠⁠@allthe_rightmovies⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Join our movie group⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Bluesky: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@alltherightmovies.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@alltherightmovies⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠alltherightmovies.com⁠⁠⁠

Alors que l'esprit s'amuse d'une brève rencontre avec Madeleine, trouvant enfin chaussure à son pied au détour de vacances à Venise, les amants passionnés franchissent allègrement le mur du son, tandis que ceux qui servent en mer nourrissent les grandes espérances de voir Oliver Twist traverser un jour le pont de la rivière Kwaï. Pendant ce temps, David Lean écoute le tout premier épisode de Total Trax qui lui est consacré.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Andy and Elton sit down to review In Which We Serve, the 1942 wartime classic directed by Noël Coward and David Lean. This “story of a ship”, the British destroyer H.M.S. Torrin, is told in flashbacks by survivors as they cling to a life raft. We are NOT experts, veterans or master tacticians of World...

The boys are together again! They discuss what they're watching and the upcoming summer movies. Fill the sack: noonerpodcast@gmail.com

In this episode we try our damnedest to avoid the golden path. But no matter how much emo teenage pouting we do it still all ends up in genocide and our kid turning into an immortal homicidal worm. That's right, it's Frank Herbert's seminal epic Dune. We will once again look for Satan in Science Fiction through the lens of the Christ Myth. The idea of a chosen one, a demi god, not exactly god but more than human with supernatural powers coming to rescue us all from evil. Special guest star appearances from The Justice League, Alabama, University of Washington, Paul Atreides, Caladan, David Lynch, Kwisatz Haderach, Zendaya, George Lucas, The Phantom Menace, Bene Gesserit, Baron Vladimir Harkkonnen, Geidi Prime, Timothée Chalamet, Palpatine, Vladimir Putin, Chris Angel, Feyd-Rautha, Austin Butler, Freman, Don't Look Up, Katnis, Marjorie Taylor Greene, David Lean, Ridley Scott, Orson Welles, Cannonball Run II, Exterminator II, Breakin II: Electric Boogaloo, Stinkers Bad Movie Award, Hollywood, Gene Siskel, Syfy Channel, Denis Villeneuve, Dune 2000, ornithopter, Marvel, Ralph Macchio, Leto,   #666 #SketchComedy #Sketch #Comedy #Sketch Comedy #Atheist #Science #History #Atheism #Antitheist #ConspiracyTheory #Conspiracy #Conspiracies #Sceptical #Scepticism #Mythology #Religion #Devil #Satan #Satanism #Satanist #Skeptic #Debunk #Illuminati #Podcast #funny #sketch #skit #comedy #comedyshow #comedyskits #HeavyMetal #weird #leftist #SatanIsMySuperhero #ScienceFiction #SciFiSend us a text

EPISODE #448-- We return to the wild world of 1990's indie cinema with the sit-around-and-chat-based movie SMOKE (1995), staring Harvey Kietel, Forest Whitaker, and, like, ten other 1990's guys. It's a real who's-who of That Guys. We also chat about the documentary SOUNDTRACK TO A COUP D'ETAT (2024), David Lean's LAWRENCE OF ARABIA (1962), DEN OF THIEVES 2: PANTERA (2025), Netflix's THE QUEEN'S GAMBIT (2020), and David Mamet's HOUSE OF GAMES (1987). A solid little episode with some solid little movies. Join the cause at Patreon.com/Quality. Follow the us on on Bluesky at kislingconnection and cruzflores, on Instagram @kislingwhatsit, and on Tiktok @kislingkino. You can watch Cruz and show favorite Alexis Simpson on You Tube in "They Live Together." Thanks to our artists Julius Tanag (http://www.juliustanag.com) and Sef Joosten (http://spexdoodles.tumblr.com). The theme music is "Eine Kleine Sheissemusik" by Drew Alexander. Also, I've got a newsletter, so maybe go check that one out, too. Listen to DRACULA: A RADIO PLAY on Apple Podcasts, at dracularadio.podbean.com, and at the Long Beach Playhouse at https://lbplayhouse.org/show/dracula And, as always, Support your local unions! UAW, SAG-AFTRA, and WGA strong and please leave us a review on iTunes or whatever podcatcher you listened to us on!

This week, the guys at Film Seizure takes a look at a very special epic from the great director David Lean. Join us as we dive into 1962's Lawrence of Arabia. Episodes release on Wednesday at www.filmseizure.com "Beyond My Years" by Matt LaBarber LaBarber The Album Available at https://mattlabarber.bandcamp.com/album/labarber-the-album Copyright 2020 Like what we do? Buy us a coffee! www.ko-fi.com/filmseizure Follow us on Facebook: www.facebook.com/filmseizure/ Follow us on BlueSky: https://bsky.app/profile/filmseizure.bsky.social Follow us on Mastodon: https://universeodon.com/@filmseizure Follow us on Instagram: www.instagram.com/filmseizure/ You can now find us on YouTube as well! The Film Seizure Channel can be found here: https://www.youtube.com/c/FilmSeizure

Join us as we talk about working with Stanley Kubrick, when Bette David requests you by name, The Shining, 2001 A Space Odyssey, working with David Lean, and so much more. As a bonus, we shot video of this interview and it can be found here. Kelvin's IMDB To see pictures and things we discussed in todays episode check out the podcast page of The Op. Please check us out on the web and instagram and like us and review us if you enjoyed the episode. Theme Music - Tatyana Richaud Theme Mix - Charles Papert