Podcast appearances and mentions of diane kurys

Depuis des années, le cinéma tente de s'emparer de l'histoire d'amour passionnelle et tumultueuse entre Simone Signoret et Yves Montand, mais cela n'a jamais abouti. Il y a même un projet qui a traîné pendant 15 ans avec les comédiens Thierry Neuvic et Céline Sallette, mais qui n'a jamais vu le jour. Il aura donc fallu attendre 2025 pour enfin voir un film sur Signoret et Montand : "Moi qui t'aimais", c'est le titre du biopic réalisé par Diane Kurys. Ecoutez La star du jour avec Anthony Martin du 13 mai 2025.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Stand Up is a daily podcast. I book,host,edit, post and promote new episodes with brilliant guests every day. Please subscribe now for as little as 5$ and gain access to a community of over 700 awesome, curious, kind, funny, brilliant, generous souls Check out StandUpwithPete.com to learn more Get Peter's new book  Zen in the Vernacular Things As It Is PETER COYOTE began his film career at 39, after living nearly a dozen years in the counter-culture during the 1960s and 70s. Since then, he has performed as an actor for some of the world's most distinguished filmmakers, including: Barry Levinson, Roman Polanski, Pedro Almodovar, Steven Spielberg, Walter Hill, Martin Ritt, Steven Soderberg, Diane Kurys, Sidney Pollack and Jean Paul Rappeneau. To date he has made over 150 films.   In 2006 he had a major role in three televison series: The Inside on Fox-TV, the 4400 on USA Channel and played the Vice-President to Geena Davis's President on Commander in Chief for ABC-TV until the show's end. In 2011 he starred as the District Attorney in the new version of Law and Order – LA. In 2000 year he was the on-camera announcer of the Academy Awards Ceremony, taking the heavy-lifting off co-host Billy Crystal's shoulders for the detailed announcements and data which played live to an estimated one billion listeners. In 2007 he was prominently featured as an old boxing promoter in Rod Lurie's “Resurrecting the Champ” with Samuel. L. Jackson and Josh Hartnett, and also as Sally Field's disreputable writing teacher on the television series, “Brothers and Sisters.” He recently completed a six hour series called The Disappearance which aired last year. Most recently, he played Robert Mueller to Jeff Daniel's Jim Comey, and Brendan Gleeson's Donald Trump. The series is called The Comey Rule and will be released this year on SHOWTIME.   Mr. Coyote has written a memoir of his counter-culture years called Sleeping Where I Fall which received universally excellent reviews, appeared on three best-seller lists and sold five printings in hardback after being released by Counterpoint Press in 1999, it was re-released in November of 2010 and has been in continuous release ever since. It is currently in use as a source text for Sixties Studies in a number of universities including Harvard where he was invited to teach “The Theater of Protest” last year.. An early chapter from that book, “Carla's Story, won the 1993/94 Pushcart Prize for Excellence in non-fiction. His new book, The Rainman's Third Cure, released in April, 2015 is a study of mentors and the search for wisdom and he is currently readying a new book for publication in 2021-(TITLE) The I Behind the Mask: The Lone Ranger and Tonto meet the Buddha.   Mr. Coyote is well-known for his narration work, and has voiced 150 documentaries and TV specials, including the nine-hour PBS Special, The West. In 1992 he won an EMMY as the “Host” for a nine-hour series, called, The Pacific Century which also won the prestigious duPont-Columbia Award for Excellence in Broadcast Journalism. In 2010 he recorded the12 hour series on The National Parks for Ken Burns and has recently completed the voice-work on Mr. Burns most recent series—a 16 hour special on The History of Country Music. He won a second Emmy for his narration on The Roosevelts, and has also done Prohibition, The Dust Bowl, and an 18 Hour series on Vietnam with Ken Burns. Mr Coyote and Mr Burns just completed a long series on Ernest Hemingway.   In 2011 he was ordained as a Zen Buddhist priest and in 2015 received “transmission” from his teacher, making him an independent Zen teacher. He makes his home on a farm in Northern California, and considers working on his 1952 Dodge Power-Wagon his longest lasting addiction. He has 40 fruit trees and loves to make jam and walk with his two dogs. Join us Thursday's at 8EST for our Weekly Happy Hour Hangout! The Stand Up Community Chat is always active with other Stand Up Subscribers on the Discord Platform.   Join us Thursday's at 8EST for our Weekly Happy Hour Hangout!  Pete on Threads Pete on Tik Tok Pete on YouTube  Pete on Twitter Pete On Instagram Pete Personal FB page Stand Up with Pete FB page All things Jon Carroll  Follow and Support Pete Coe Buy Ava's Art  Hire DJ Monzyk to build your website or help you with Marketing

Extrait : « … Au début je voulais mettre la chanson du film Diabolo menthe, tourné en 77 par Diane Kurys. En fait c'était surtout en souvenir de la jolie Éléonore Klarwein, la jeune actrice qui mettait le feu dans mes rêves adolescents. Mais c'eut été selon moi rendre un moindre hommage à ce dandy discret et lettré, aussi j'ai finalement choisi J'ai rêvé New York, sortie en 74 sur l'album « Respirer, chanter », une vision onirique et romantique de New York … »Pour commenter les épisodes, tu peux le faire sur ton appli de podcasts habituelle, c'est toujours bon pour l'audience. Mais également sur le site web dédié, il y a une section Le Bar, ouverte 24/24, pour causer du podcast ou de musique en général, je t'y attends avec impatience. Enfin, si tu souhaites me soumettre une chanson, c'est aussi sur le site web que ça se passe. Pour soutenir Good Morning Music et Gros Naze :1. Abonne-toi2. Laisse-moi un avis et 5 étoiles sur Apple Podcasts, ou Spotify et Podcast Addict3. Partage ton épisode préféré à 3 personnes autour de toi. Ou 3.000 si tu connais plein de monde. Good Morning Music Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Soutenez nous sur PatreonForfait 3€ épisode en accès anticipé sans pubForfait 5 € épisode en accès anticipé sans Pub + Accès aux Podcasts Exclusifs A l'occasion de la sortie en salle du premier film de la nouvelle trilogie de La Planète des Singes intitulé le Nouveau royaume. On en profite pour revenir sur le légendaire film de 2001, réalisé par Tim Burton qui a l'air d'avoir passé un sacré bon moment à le faire puisque selon ses mots :“Je préférerais me jeter par la fenêtre plutôt que de m'imaginer de faire une suite!” Pourtant tout était parti pour être un chef d'œuvre de science fiction avec une équipe de rêve qui travaillait sur le projet mais malheureusement parasité par un délai de production absolument aberrant. Pouvons-nous, plus de Vingt ans après l'impact de ce film, le réhabiliter ? c'est ce qu'on va entendre dans ce numéro. Produit par Richard D Zanuck pour le compte de la Fox avec un budget de 100 millions de dollars.Librement adapté du roman de Pierre Boulle du même nom sorti en 1963, script écrit par William Broyles Jr, un ex militaire du vietnam qui a écrit Seul au monde et Haute Voltige et écrira par la suite Jarhead, Lawrence Konner et Mark Rosenthal qui ont écrit pour les films superman, star trek et quelques épisodes des Sopranos. Réalisé par Tim Burton épaulé à la photo par le français Philippe Rousselot, le chef op de Bertrand Blier, Jean-Jacques Beineix et Diane Kurys qui finira avant sa retraite à éclairer les Animaux Fantastiques. La Planète des singes selon Burton nous raconte l'histoire du capitaine Leo Davidson interprété par Mark Wahlberg, un astronaute qui s'écrase sur une planète inconnue après avoir voulu sauver un singe perdu dans le cosmos. Capturé par des singes évolués, il découvre que ceux-ci dominent la planète et réduisent en esclavage les humains qui s'y trouvent. Leo décide alors de s'enfuir pour reprendre contact avec la station spatiale sur laquelle il était stationné mais également pour retrouver la civilisation humaine qui domine les singes sur Terre. Soutenez nous sur PatreonForfait 3€ épisode en accès anticipé sans pubForfait 5 € épisode en accès anticipé sans Pub + Accès aux Podcasts Exclusifs La liste de la Shitlist sur Senscritique https://www.senscritique.com/liste/la_shitlist/3657768? La liste de la Shitlist sur Letterboxd par WongKarWaifu https://boxd.it/pQN3e Soutenez nous sur PatreonForfait 3€ épisode en accès anticipé sans pubForfait 5 € épisode en accès anticipé sans Pub + Accès aux Podcasts Exclusifs Si vous souhaitez soutenir ou aider notre Podcast Shitlist gratuitementNous vous demandons simplement de mettre des commentaires 5 étoiles avec un joli commentaire sur Apple Podcasts, Itunes ou Podcast Addict en vous remerciant par avance. Par ailleurs vous avez toujours la possibilité de nous envoyer vos suggestions de sujet pour qu'on en parle dans l'émission à l'adresse suivante shitlistpodcast@gmail.com Enregistré en live sur notre chaîne twitch ABONNEZ-VOUS ! Rattrapez le live sur notre chaine youtube Ne ratez aucun numéro, suivez-nous sur Twitter et Instagram Chroniqueur : Emmanuel Peudon, Karim Berradia et présenté par Luc LE GONIDEC Host : Luc LE GONIDECMusique Jean Baptise BLAISMontage et mixage son : Luc LE GONIDEC

Une flopée de chefs d'œuvre japonais peut cacher un chef d'œuvre russe, Dersou Ouzala d'Akira Kurosawa est de retour en salle. Courrez-y !Et car il n'y a pas que les vieux messieurs dans la Taïga dans la vie, on vous cause aussi du très chouette Diabolo Menthe de Diane Kurys édité chez Rimini. A vos agendas !Samedi 16 mars à 17h00 : MONUMENTAL : Dersou Ouzala au Cinéma ArvorDimanche 31 mars à 20h15 : Le Film du Dimanche Soir : The Big Lebowski des frères Coen.

Une flopée de chefs d'œuvre japonais peut cacher un chef d'œuvre russe, Dersou Ouzala d'Akira Kurosawa est de retour en salle. Courrez-y !Et car il n'y a pas que les vieux messieurs dans la Taïga dans la vie, on vous cause aussi du très chouette Diabolo Menthe de Diane Kurys édité chez Rimini. A vos agendas !Samedi 16 mars à 17h00 : MONUMENTAL : Dersou Ouzala au Cinéma ArvorDimanche 31 mars à 20h15 : Le Film du Dimanche Soir : The Big Lebowski des frères Coen.

Une flopée de chefs d'œuvre japonais peut cacher un chef d'œuvre russe, Dersou Ouzala d'Akira Kurosawa est de retour en salle. Courrez-y !Et car il n'y a pas que les vieux messieurs dans la Taïga dans la vie, on vous cause aussi du très chouette Diabolo Menthe de Diane Kurys édité chez Rimini. A vos agendas !Samedi 16 mars à 17h00 : MONUMENTAL : Dersou Ouzala au Cinéma ArvorDimanche 31 mars à 20h15 : Le Film du Dimanche Soir : The Big Lebowski des frères Coen.

Sortie en DVD du film de Diane Kurys, Diabolo menthe, remasterisé en 4K pour l'occasion avec un superbe DVD Bonus passionnant, le tout disponible chez Rimini éditions.

On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s, specifically looking at the films they released between 1984 and 1986. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s.   And, in case you did not listen to Part 1 yet, let me reiterate that the focus here will be on the films and the creatives, not the Weinsteins. The Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and that Miramax logo and the names associated with it should not stop anyone from enjoying some very well made movies because they now have an unfortunate association with two spineless chucklenuts who proclivities would not be known by the outside world for decades to come.   Well, there is one movie this episode where we must talk about the Weinsteins as the creatives, but when talking about that film, “creatives” is a derisive pejorative.    We ended our previous episode at the end of 1983. Miramax had one minor hit film in The Secret Policeman's Other Ball, thanks in large part to the film's association with members of the still beloved Monty Python comedy troupe, who hadn't released any material since The Life of Brian in 1979.   1984 would be the start of year five of the company, and they were still in need of something to make their name. Being a truly independent film company in 1984 was not easy. There were fewer than 20,000 movie screens in the entire country back then, compared to nearly 40,000 today. National video store chains like Blockbuster did not exist, and the few cable channels that did exist played mostly Hollywood films. There was no social media for images and clips to go viral.   For comparison's sake, in A24's first five years, from its founding in August 2012 to July 2017, the company would have a number of hit films, including The Bling Ring, The Lobster, Spring Breakers, and The Witch, release movies from some of indie cinema's most respected names, including Andrea Arnold, Robert Eggers, Atom Egoyan, Daniel Kwan and Daniel Scheinert, Lynn Shelton, Trey Edward Shults, Gus Van Sant, and Denis Villeneuve, and released several Academy Award winning movies, including the Amy Winehouse documentary Amy, Alex Garland's Ex Machina, Lenny Abrahamson's Room and Barry Jenkins' Moonlight, which would upset front runner La La Land for the Best Picture of 2016.   But instead of leaning into the American independent cinema world the way Cinecom and Island were doing with the likes of Jonathan Demme and John Sayles, Miramax would dip their toes further into the world of international cinema.   Their first release for 1984 would be Ruy Guerra's Eréndira. The screenplay by Nobel Prize winner Gabriel García Márquez was based on his 1972 novella The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother, which itself was based off a screenplay Márquez had written in the early 1960s, which, when he couldn't get it made at the time, he reduced down to a page and a half for a sequence in his 1967 magnum opus One Hundred Years of Solitude. Between the early 1960s and the early 1980s, Márquez would lose the original draft of Eréndira, and would write a new script based off what he remembered writing twenty years earlier.    In the story, a young woman named Eréndira lives in a near mansion situation in an otherwise empty desert with her grandmother, who had collected a number of paper flowers and assorted tchotchkes over the years. One night, Eréndira forgets to put out some candles used to illuminate the house, and the house and all of its contents burn to the ground. With everything lost, Eréndira's grandmother forces her into a life of prostitution. The young woman quickly becomes the courtesan of choice in the region. With every new journey, an ever growing caravan starts to follow them, until it becomes for all intents and purposes a carnival, with food vendors, snake charmers, musicians and games of chance.   Márquez's writing style, known as “magic realism,” was very cinematic on the page, and it's little wonder that many of his stories have been made into movies and television miniseries around the globe for more than a half century. Yet no movie came as close to capturing that Marquezian prose quite the way Guerra did with Eréndira. Featuring Greek goddess Irene Papas as the Grandmother, Brazilian actress Cláudia Ohana, who happened to be married to Guerra at the time, as the titular character, and former Bond villain Michael Lonsdale in a small but important role as a Senator who tries to help Eréndira get out of her life as a slave, the movie would be Mexico's entry into the 1983 Academy Award race for Best Foreign Language Film.   After acquiring the film for American distribution, Miramax would score a coup by getting the film accepted to that year's New York Film Festival, alongside such films as Robert Altman's Streamers, Jean Lucy Godard's Passion, Lawrence Kasdan's The Big Chill, Francis Ford Coppola's Rumble Fish, and Andrzej Wajda's Danton.   But despite some stellar reviews from many of the New York City film critics, Eréndira would not get nominated for Best Foreign Language Film, and Miramax would wait until April 27th, 1984, to open the film at the Lincoln Plaza Cinemas, one of the most important theatres in New York City at the time to launch a foreign film. A quarter page ad in the New York Times included quotes from the Village Voice, New York Magazine, Vincent Canby of the Times and Roger Ebert, the movie would gross an impressive $25,500 in its first three days. Word of mouth in the city would be strong, with its second weekend gross actually increasing nearly 20% to $30,500. Its third weekend would fall slightly, but with $27k in the till would still be better than its first weekend.   It wouldn't be until Week 5 that Eréndira would expand into Los Angeles and Chicago, where it would continue to gross nearly $20k per screen for several more weeks. The film would continue to play across the nation for more than half a year, and despite never making more than four prints of the film, Eréndira would gross more than $600k in America, one of the best non-English language releases for all of 1984.   In their quickest turnaround from one film to another to date, Miramax would release Claude Lelouch's Edith and Marcel not five weeks after Eréndira.   If you're not familiar with the name Claude Chabrol, I would highly suggest becoming so. Chabrol was a part of the French New Wave filmmakers alongside Jean-Luc Godard, Jacques Rivette, Éric Rohmer, and François Truffaut who came up as film critics for the influential French magazine Cahiers [ka-yay] du Cinéma in the 1950s, who would go on to change the direction of French Cinema and how film fans appreciated films and filmmakers through the concept of The Auteur Theory, although the theory itself would be given a name by American film critic Andrew Sarris in 1962.   Of these five critics turned filmmakers, Chabrol would be considered the most prolific and commercial. Chabrol would be the first of them to make a film, Le Beau Serge, and between 1957 and his death in 2010, he would make 58 movies. That's more than one new movie every year on average, not counting shorts and television projects he also made on the side.   American audiences knew him best for his 1966 global hit A Man and a Woman, which would sell more than $14m in tickets in the US and would be one of the few foreign language films to earn Academy Award nominations outside of the Best Foreign Language Film race. Lead actress Anouk Aimee would get a nod, and Chabrol would earn two on the film, for Best Director, which he would lose to Fred Zimmerman and A Man for All Seasons, and Best Original Screenplay, which he would win alongside his co-writer Pierre Uytterhoeven.   Edith and Marcel would tell the story of the love affair between the iconic French singer Edith Piaf and Marcel Cerdan, the French boxer who was the Middleweight Champion of the World during their affair in 1948 and 1949. Both were famous in their own right, but together, they were the Brangelina of post-World War II France. Despite the fact that Cerdan was married with three kids, their affair helped lift the spirits of the French people, until his death in October 1949, while he was flying from Paris to New York to see Piaf.   Fans of Raging Bull are somewhat familiar with Marcel Cerdan already, as Cerdan's last fight before his death would find Cerdan losing his middleweight title to Jake LaMotta.   In a weird twist of fate, Patrick Dewaere, the actor Chabrol cast as Cerdan, committed suicide just after the start of production, and while Chabrol considered shutting down the film in respect, it would be none other than Marcel Cerdan, Jr. who would step in to the role of his own father, despite never having acted before, and being six years older than his father was when he died.   When it was released in France in April 1983, it was an immediate hit, become the second highest French film of the year, and the sixth highest grosser of all films released in the country that year. However, it would not be the film France submitted to that year's Academy Award race. That would be Diane Kurys' Entre Nous, which wasn't as big a hit in France but was considered a stronger contender for the nomination, in part because of Isabelle Hupert's amazing performance but also because Entre Nous, as 110 minutes, was 50 minutes shorter than Edith and Marcel.   Harvey Weinstein would cut twenty minutes out of the film without Chabrol's consent or assistance, and when the film was released at the 57th Street Playhouse in New York City on Sunday, June 3rd, the gushing reviews in the New York Times ad would actually be for Chabrol's original cut, and they would help the film gross $15,300 in its first five days. But once the other New York critics who didn't get to see the original cut of the film saw this new cut, the critical consensus started to fall. Things felt off to them, and they would be, as a number of short trims made by Weinstein would remove important context for the film for the sake of streamlining the film. Audiences would pick up on the changes, and in its first full weekend of release, the film would only gross $12k. After two more weeks of grosses of under $4k each week, the film would close in New York City. Edith and Marcel would never play in another theatre in the United States.   And then there would be another year plus long gap before their next release, but we'll get into the reason why in a few moments.   Many people today know Rubén Blades as Daniel Salazar in Fear the Walking Dead, or from his appearances in The Milagro Beanfield War, Once Upon a Time in Mexico, or Predator 2, amongst his 40 plus acting appearances over the years, but in the early 1980s, he was a salsa and Latin Jazz musician and singer who had yet to break out of the New Yorican market. With an idea for a movie about a singer and musician not unlike himself trying to attempt a crossover success into mainstream music, he would approach his friend, director Leon Icasho, about teaming up to get the idea fleshed out into a real movie. Although Blades was at best a cult music star, and Icasho had only made one movie before, they were able to raise $6m from a series of local investors including Jack Rollins, who produced every Woody Allen movie from 1969's Take the Money and Run to 2015's Irrational Man, to make their movie, which they would start shooting in the Spanish Harlem section of New York City in December 1982.   Despite the luxury of a large budget for an independent Latino production, the shooting schedule was very tight, less than five weeks. There would be a number of large musical segments to show Blades' character Rudy's talents as a musician and singer, with hundreds of extras on hand in each scene. Icasho would stick to his 28 day schedule, and the film would wrap up shortly after the New Year.   Even though the director would have his final cut of the movie ready by the start of summer 1983, it would take nearly a year and a half for any distributor to nibble. It wasn't that the film was tedious. Quite the opposite. Many distributors enjoyed the film, but worried about, ironically, the ability of the film to crossover out of the Latino market into the mainstream. So when Miramax came along with a lower than hoped for offer to release the film, the filmmakers took the deal, because they just wanted the film out there.   Things would start to pick up for the film when Miramax submitted the film to be entered into the 1985 Cannes Film Festival, and it would be submitted to run in the prestigious Directors Fortnight program, alongside Mike Newell's breakthrough film, Dance with a Stranger, Victor Nunez's breakthrough film, A Flash of Green, and Wayne Wang's breakthrough film Dim Sum: A Little Bit of Heart. While they were waiting for Cannes to get back to them, they would also learn the film had been selected to be a part of The Lincoln Center's New Directors/New Films program, where the film would earn raves from local critics and audiences, especially for Blades, who many felt was a screen natural. After more praise from critics and audiences on the French Riviera, Miramax would open Crossover Dreams at the Cinema Studio theatre in midtown Manhattan on August 23rd, 1985. Originally booked into the smaller 180 seat auditorium, since John Huston's Prizzi's Honor was still doing good business in the 300 seat house in its fourth week, the theatre would swap houses for the films when it became clear early on Crossover Dreams' first day that it would be the more popular title that weekend. And it would. While Prizzi would gross a still solid $10k that weekend, Crossover Dreams would gross $35k. In its second weekend, the film would again gross $35k. And in its third weekend, another $35k. They were basically selling out every seat at every show those first three weeks. Clearly, the film was indeed doing some crossover business.   But, strangely, Miramax would wait seven weeks after opening the film in New York to open it in Los Angeles. With a new ad campaign that de-emphasized Blades and played up the dreamer dreaming big aspect of the film, Miramax would open the movie at two of the more upscale theatres in the area, the Cineplex Beverly Center on the outskirts of Beverly Hills, and the Cineplex Brentwood Twin, on the west side where many of Hollywood's tastemakers called home. Even with a plethora of good reviews from the local press, and playing at two theatres with a capacity of more than double the one theatre playing the film in New York, Crossover Dreams could only manage a neat $13k opening weekend.   Slowly but surely, Miramax would add a few more prints in additional major markets, but never really gave the film the chance to score with Latino audiences who may have been craving a salsa-infused musical/drama, even if it was entirely in English. Looking back, thirty-eight years later, that seems to have been a mistake, but it seems that the film's final gross of just $250k after just ten weeks of release was leaving a lot of money on the table. At awards time, Blades would be nominated for an Independent Spirit Award for Best Actor, but otherwise, the film would be shut out of any further consideration.   But for all intents and purposes, the film did kinda complete its mission of turning Blades into a star. He continues to be one of the busiest Latino actors in Hollywood over the last forty years, and it would help get one of his co-stars, Elizabeth Peña, a major job in a major Hollywood film the following year, as the live-in maid at Richard Dreyfuss and Bette Midler's house in Paul Mazursky's Down and Out in Beverly Hills, which would give her a steady career until her passing in 2014. And Icasho himself would have a successful directing career both on movie screens and on television, working on such projects as Miami Vice, Crime Story, The Equalizer, Criminal Minds, and Queen of the South, until his passing this past May.   I'm going to briefly mention a Canadian drama called The Dog Who Stopped the War that Miramax released on three screens in their home town of Buffalo on October 25th, 1985. A children's film about two groups of children in a small town in Quebec during their winter break who get involved in an ever-escalating snowball fight. It would be the highest grossing local film in Canada in 1984, and would become the first in a series of 25 family films under a Tales For All banner made by a company called Party Productions, which will be releasing their newest film in the series later this year. The film may have huge in Canada, but in Buffalo in the late fall, the film would only gross $15k in its first, and only, week in theatres. The film would eventually develop a cult following thanks to repeated cable screenings during the holidays every year.   We'll also give a brief mention to an Australian action movie called Cool Change, directed by George Miller. No, not the George Miller who created the Mad Max series, but the other Australian director named George Miller, who had to start going by George T. Miller to differentiate himself from the other George Miller, even though this George Miller was directing before the other George Miller, and even had a bigger local and global hit in 1982 with The Man From Snowy River than the other George Miller had with Mad Max II, aka The Road Warrior. It would also be the second movie released by Miramax in a year starring a young Australian ingenue named Deborra-Lee Furness, who was also featured in Crossover Dreams. Today, most people know her as Mrs. Hugh Jackman.   The internet and several book sources say the movie opened in America on March 14th, 1986, but damn if I can find any playdate anywhere in the country, period. Not even in the Weinsteins' home territory of Buffalo. A critic from the Sydney Morning Herald would call the film, which opened in Australia four weeks after it allegedly opened in America, a spectacularly simplistic propaganda piece for the cattle farmers of the Victorian high plains,” and in its home country, it would barely gross 2% of its $3.5m budget.   And sticking with brief mentions of Australian movies Miramax allegedly released in American in the spring of 1986, we move over to one of three movies directed by Brian Trenchard-Smith that would be released during that year. In Australia, it was titled Frog Dreaming, but for America, the title was changed to The Quest. The film stars Henry Thomas from E.T. as an American boy who has moved to Australia to be with his guardian after his parents die, who finds himself caught up in the magic of a local Aboriginal myth that might be more real than anyone realizes.   And like Cool Change, I cannot find any American playdates for the film anywhere near its alleged May 1st, 1986 release date. I even contacted Mr. Trenchard-Smith asking him if he remembers anything about the American release of his film, knowing full well it's 37 years later, but while being very polite in his response, he was unable to help.       Finally, we get back to the movies we actually can talk about with some certainty. I know our next movie was actually released in American theatres, because I saw it in America at a cinema.   Twist and Shout tells the story of two best friends, Bjørn and Erik, growing up in suburbs of Copenhagen, Denmark in 1963. The music of The Beatles, who are just exploding in Europe, help provide a welcome respite from the harsh realities of their lives.   Directed by Billie August, Twist and Shout would become the first of several August films to be released by Miramax over the next decade, including his follow-up, which would end up become Miramax's first Oscar-winning release, but we'll be talking about that movie on our next episode.   August was often seen as a spiritual successor to Ingmar Bergman within Scandinavian cinema, so much so that Bergman would handpick August to direct a semi-autobiographical screenplay of his, The Best Intentions, in the early 1990s, when it became clear to Bergman that he would not be able to make it himself. Bergman's only stipulation was that August would need to cast one of his actresses from Fanny and Alexander, Pernilla Wallgren, as his stand-in character's mother. August and Wallgren had never met until they started filming. By the end of shooting, Pernilla Wallgren would be Pernilla August, but that's another story for another time.   In a rare twist, Twist and Shout would open in Los Angeles before New York City, at the Cineplex Beverly Center August 22nd, 1986, more than two years after it opened across Denmark. Loaded with accolades including a Best Picture Award from the European Film Festival and positive reviews from the likes of Gene Siskel and Michael Wilmington, the movie would gross, according to Variety, a “crisp” $14k in its first three days. In its second weekend, the Beverly Center would add a second screen for the film, and the gross would increase to $17k. And by week four, one of those prints at the Beverly Center would move to the Laemmle Monica 4, so those on the West Side who didn't want to go east of the 405 could watch it. But the combined $13k gross would not be as good as the previous week's $14k from the two screens at the Beverly Center.   It wouldn't be until Twist and Shout's sixth week of release they would finally add a screen in New York City, the 68th Street Playhouse, where it would gross $25k in its first weekend there. But after nine weeks, never playing in more than five theatres in any given weekend, Twist and Shout was down and out, with only $204k in ticket sales. But it was good enough for Miramax to acquire August's next movie, and actually get it into American theatres within a year of its release in Denmark and Sweden. Join us next episode for that story.   Earlier, I teased about why Miramax took more than a year off from releasing movies in 1984 and 1985. And we've reached that point in the timeline to tell that story.   After writing and producing The Burning in 1981, Bob and Harvey had decided what they really wanted to do was direct. But it would take years for them to come up with an idea and flesh that story out to a full length screenplay. They'd return to their roots as rock show promoters, borrowing heavily from one of Harvey's first forays into that field, when he and a partner, Corky Burger, purchased an aging movie theatre in Buffalo in 1974 and turned it into a rock and roll hall for a few years, until they gutted and demolished the theatre, so they could sell the land, with Harvey's half of the proceeds becoming much of the seed money to start Miramax up.   After graduating high school, three best friends from New York get the opportunity of a lifetime when they inherit an old run down hotel upstate, with dreams of turning it into a rock and roll hotel. But when they get to the hotel, they realize the place is going to need a lot more work than they initially realized, and they realize they are not going to get any help from any of the locals, who don't want them or their silly rock and roll hotel in their quaint and quiet town.   With a budget of only $5m, and a story that would need to be filmed entirely on location, the cast would not include very many well known actors.   For the lead role of Danny, the young man who inherits the hotel, they would cast Daniel Jordano, whose previous acting work had been nameless characters in movies like Death Wish 3 and Streetwalkin'. This would be his first leading role.   Danny's two best friends, Silk and Spikes, would be played by Leon W. Grant and Matthew Penn, respectively. Like Jordano, both Grant and Penn had also worked in small supporting roles, although Grant would actually play characters with actual names like Boo Boo and Chollie. Penn, the son of Bonnie and Clyde director Arthur Penn, would ironically have his first acting role in a 1983 musical called Rock and Roll Hotel, about a young trio of musicians who enter a Battle of the Bands at an old hotel called The Rock and Roll Hotel. This would also be their first leading roles.   Today, there are two reasons to watch Playing For Keeps.   One of them is to see just how truly awful Bob and Harvey Weinstein were as directors. 80% of the movie is master shots without any kind of coverage, 15% is wannabe MTV music video if those videos were directed by space aliens handed video cameras and not told what to do with them, and 5% Jordano mimicking Kevin Bacon in Footloose but with the heaviest New Yawk accent this side of Bensonhurst.   The other reason is to watch a young actress in her first major screen role, who is still mesmerizing and hypnotic despite the crapfest she is surrounded by. Nineteen year old Marisa Tomei wouldn't become a star because of this movie, but it was clear very early on she was going to become one, someday.   Mostly shot in and around the grounds of the Bethany Colony Resort in Bethany PA, the film would spend six weeks in production during June and July of 1984, and they would spend more than a year and a half putting the film together. As music men, they knew a movie about a rock and roll hotel for younger people who need to have a lot of hip, cool, teen-friendly music on the soundtrack. So, naturally, the Weinsteins would recruit such hip, cool, teen-friendly musicians like Pete Townshend of The Who, Phil Collins, Peter Frampton, Sister Sledge, already defunct Duran Duran side project Arcadia, and Hinton Battle, who had originated the role of The Scarecrow in the Broadway production of The Wiz. They would spend nearly $500k to acquire B-sides and tossed away songs that weren't good enough to appear on the artists' regular albums.   Once again light on money, Miramax would sent the completed film out to the major studios to see if they'd be willing to release the movie. A sale would bring some much needed capital back into the company immediately, and creating a working relationship with a major studio could be advantageous in the long run. Universal Pictures would buy the movie from Miramax for an undisclosed sum, and set an October 3rd release.   Playing For Keeps would open on 1148 screens that day, including 56 screens in the greater Los Angeles region and 80 in the New York City metropolitan area. But it wasn't the best week to open this film. Crocodile Dundee had opened the week before and was a surprise hit, spending a second week firmly atop the box office charts with $8.2m in ticket sales. Its nearest competitor, the Burt Lancaster/Kirk Douglas comedy Tough Guys, would be the week's highest grossing new film, with $4.6m. Number three was Top Gun, earning $2.405m in its 21st week in theatres, and Stand By Me was in fourth in its ninth week with $2.396m. In fifth place, playing in only 215 theatres, would be another new opener, Children of a Lesser God, with $1.9m. And all the way down in sixth place, with only $1.4m in ticket sales, was Playing for Keeps.   The reviews were fairly brutal, and by that, I mean they were fair in their brutality, although you'll have to do some work to find those reviews. No one has ever bothered to link their reviews for Playing For Keeps at Rotten Tomatoes or Metacritic. After a second weekend, where the film would lose a quarter of its screens and 61% of its opening weekend business, Universal would cut its losses and dump the film into dollar houses. The final reported box office gross on the film would be $2.67m.   Bob Weinstein would never write or direct another film, and Harvey Weinstein would only have one other directing credit to his name, an animated movie called The Gnomes' Great Adventure, which wasn't really a directing effort so much as buying the American rights to a 1985 Spanish animated series called The World of David the Gnome, creating new English language dubs with actors like Tom Bosley, Frank Gorshin, Christopher Plummer, and Tony Randall, and selling the new versions to Nickelodeon.   Sadly, we would learn in October 2017 that one of the earliest known episodes of sexual harassment by Harvey Weinstein happened during the pre-production of Playing for Keeps.   In 1984, a twenty year old college junior Tomi-Ann Roberts was waiting tables in New York City, hoping to start an acting career. Weinstein, who one of her customers at this restaurant, urged Ms. Roberts to audition for a movie that he and his brother were planning to direct. He sent her the script and asked her to meet him where he was staying so they could discuss the film. When she arrived at his hotel room, the door was left slightly ajar, and he called on her to come in and close the door behind her.  She would find Weinstein nude in the bathtub,  where he told her she would give a much better audition if she were comfortable getting naked in front of him too, because the character she might play would have a topless scene. If she could not bare her breasts in private, she would not be able to do it on film. She was horrified and rushed out of the room, after telling Weinstein that she was too prudish to go along. She felt he had manipulated her by feigning professional interest in her, and doubted she had ever been under serious consideration. That incident would send her life in a different direction. In 2017, Roberts was a psychology professor at Colorado College, researching sexual objectification, an interest she traces back in part to that long-ago encounter.   And on that sad note, we're going to take our leave.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1987.   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.

On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s, specifically looking at the films they released between 1984 and 1986. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s.   And, in case you did not listen to Part 1 yet, let me reiterate that the focus here will be on the films and the creatives, not the Weinsteins. The Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and that Miramax logo and the names associated with it should not stop anyone from enjoying some very well made movies because they now have an unfortunate association with two spineless chucklenuts who proclivities would not be known by the outside world for decades to come.   Well, there is one movie this episode where we must talk about the Weinsteins as the creatives, but when talking about that film, “creatives” is a derisive pejorative.    We ended our previous episode at the end of 1983. Miramax had one minor hit film in The Secret Policeman's Other Ball, thanks in large part to the film's association with members of the still beloved Monty Python comedy troupe, who hadn't released any material since The Life of Brian in 1979.   1984 would be the start of year five of the company, and they were still in need of something to make their name. Being a truly independent film company in 1984 was not easy. There were fewer than 20,000 movie screens in the entire country back then, compared to nearly 40,000 today. National video store chains like Blockbuster did not exist, and the few cable channels that did exist played mostly Hollywood films. There was no social media for images and clips to go viral.   For comparison's sake, in A24's first five years, from its founding in August 2012 to July 2017, the company would have a number of hit films, including The Bling Ring, The Lobster, Spring Breakers, and The Witch, release movies from some of indie cinema's most respected names, including Andrea Arnold, Robert Eggers, Atom Egoyan, Daniel Kwan and Daniel Scheinert, Lynn Shelton, Trey Edward Shults, Gus Van Sant, and Denis Villeneuve, and released several Academy Award winning movies, including the Amy Winehouse documentary Amy, Alex Garland's Ex Machina, Lenny Abrahamson's Room and Barry Jenkins' Moonlight, which would upset front runner La La Land for the Best Picture of 2016.   But instead of leaning into the American independent cinema world the way Cinecom and Island were doing with the likes of Jonathan Demme and John Sayles, Miramax would dip their toes further into the world of international cinema.   Their first release for 1984 would be Ruy Guerra's Eréndira. The screenplay by Nobel Prize winner Gabriel García Márquez was based on his 1972 novella The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother, which itself was based off a screenplay Márquez had written in the early 1960s, which, when he couldn't get it made at the time, he reduced down to a page and a half for a sequence in his 1967 magnum opus One Hundred Years of Solitude. Between the early 1960s and the early 1980s, Márquez would lose the original draft of Eréndira, and would write a new script based off what he remembered writing twenty years earlier.    In the story, a young woman named Eréndira lives in a near mansion situation in an otherwise empty desert with her grandmother, who had collected a number of paper flowers and assorted tchotchkes over the years. One night, Eréndira forgets to put out some candles used to illuminate the house, and the house and all of its contents burn to the ground. With everything lost, Eréndira's grandmother forces her into a life of prostitution. The young woman quickly becomes the courtesan of choice in the region. With every new journey, an ever growing caravan starts to follow them, until it becomes for all intents and purposes a carnival, with food vendors, snake charmers, musicians and games of chance.   Márquez's writing style, known as “magic realism,” was very cinematic on the page, and it's little wonder that many of his stories have been made into movies and television miniseries around the globe for more than a half century. Yet no movie came as close to capturing that Marquezian prose quite the way Guerra did with Eréndira. Featuring Greek goddess Irene Papas as the Grandmother, Brazilian actress Cláudia Ohana, who happened to be married to Guerra at the time, as the titular character, and former Bond villain Michael Lonsdale in a small but important role as a Senator who tries to help Eréndira get out of her life as a slave, the movie would be Mexico's entry into the 1983 Academy Award race for Best Foreign Language Film.   After acquiring the film for American distribution, Miramax would score a coup by getting the film accepted to that year's New York Film Festival, alongside such films as Robert Altman's Streamers, Jean Lucy Godard's Passion, Lawrence Kasdan's The Big Chill, Francis Ford Coppola's Rumble Fish, and Andrzej Wajda's Danton.   But despite some stellar reviews from many of the New York City film critics, Eréndira would not get nominated for Best Foreign Language Film, and Miramax would wait until April 27th, 1984, to open the film at the Lincoln Plaza Cinemas, one of the most important theatres in New York City at the time to launch a foreign film. A quarter page ad in the New York Times included quotes from the Village Voice, New York Magazine, Vincent Canby of the Times and Roger Ebert, the movie would gross an impressive $25,500 in its first three days. Word of mouth in the city would be strong, with its second weekend gross actually increasing nearly 20% to $30,500. Its third weekend would fall slightly, but with $27k in the till would still be better than its first weekend.   It wouldn't be until Week 5 that Eréndira would expand into Los Angeles and Chicago, where it would continue to gross nearly $20k per screen for several more weeks. The film would continue to play across the nation for more than half a year, and despite never making more than four prints of the film, Eréndira would gross more than $600k in America, one of the best non-English language releases for all of 1984.   In their quickest turnaround from one film to another to date, Miramax would release Claude Lelouch's Edith and Marcel not five weeks after Eréndira.   If you're not familiar with the name Claude Chabrol, I would highly suggest becoming so. Chabrol was a part of the French New Wave filmmakers alongside Jean-Luc Godard, Jacques Rivette, Éric Rohmer, and François Truffaut who came up as film critics for the influential French magazine Cahiers [ka-yay] du Cinéma in the 1950s, who would go on to change the direction of French Cinema and how film fans appreciated films and filmmakers through the concept of The Auteur Theory, although the theory itself would be given a name by American film critic Andrew Sarris in 1962.   Of these five critics turned filmmakers, Chabrol would be considered the most prolific and commercial. Chabrol would be the first of them to make a film, Le Beau Serge, and between 1957 and his death in 2010, he would make 58 movies. That's more than one new movie every year on average, not counting shorts and television projects he also made on the side.   American audiences knew him best for his 1966 global hit A Man and a Woman, which would sell more than $14m in tickets in the US and would be one of the few foreign language films to earn Academy Award nominations outside of the Best Foreign Language Film race. Lead actress Anouk Aimee would get a nod, and Chabrol would earn two on the film, for Best Director, which he would lose to Fred Zimmerman and A Man for All Seasons, and Best Original Screenplay, which he would win alongside his co-writer Pierre Uytterhoeven.   Edith and Marcel would tell the story of the love affair between the iconic French singer Edith Piaf and Marcel Cerdan, the French boxer who was the Middleweight Champion of the World during their affair in 1948 and 1949. Both were famous in their own right, but together, they were the Brangelina of post-World War II France. Despite the fact that Cerdan was married with three kids, their affair helped lift the spirits of the French people, until his death in October 1949, while he was flying from Paris to New York to see Piaf.   Fans of Raging Bull are somewhat familiar with Marcel Cerdan already, as Cerdan's last fight before his death would find Cerdan losing his middleweight title to Jake LaMotta.   In a weird twist of fate, Patrick Dewaere, the actor Chabrol cast as Cerdan, committed suicide just after the start of production, and while Chabrol considered shutting down the film in respect, it would be none other than Marcel Cerdan, Jr. who would step in to the role of his own father, despite never having acted before, and being six years older than his father was when he died.   When it was released in France in April 1983, it was an immediate hit, become the second highest French film of the year, and the sixth highest grosser of all films released in the country that year. However, it would not be the film France submitted to that year's Academy Award race. That would be Diane Kurys' Entre Nous, which wasn't as big a hit in France but was considered a stronger contender for the nomination, in part because of Isabelle Hupert's amazing performance but also because Entre Nous, as 110 minutes, was 50 minutes shorter than Edith and Marcel.   Harvey Weinstein would cut twenty minutes out of the film without Chabrol's consent or assistance, and when the film was released at the 57th Street Playhouse in New York City on Sunday, June 3rd, the gushing reviews in the New York Times ad would actually be for Chabrol's original cut, and they would help the film gross $15,300 in its first five days. But once the other New York critics who didn't get to see the original cut of the film saw this new cut, the critical consensus started to fall. Things felt off to them, and they would be, as a number of short trims made by Weinstein would remove important context for the film for the sake of streamlining the film. Audiences would pick up on the changes, and in its first full weekend of release, the film would only gross $12k. After two more weeks of grosses of under $4k each week, the film would close in New York City. Edith and Marcel would never play in another theatre in the United States.   And then there would be another year plus long gap before their next release, but we'll get into the reason why in a few moments.   Many people today know Rubén Blades as Daniel Salazar in Fear the Walking Dead, or from his appearances in The Milagro Beanfield War, Once Upon a Time in Mexico, or Predator 2, amongst his 40 plus acting appearances over the years, but in the early 1980s, he was a salsa and Latin Jazz musician and singer who had yet to break out of the New Yorican market. With an idea for a movie about a singer and musician not unlike himself trying to attempt a crossover success into mainstream music, he would approach his friend, director Leon Icasho, about teaming up to get the idea fleshed out into a real movie. Although Blades was at best a cult music star, and Icasho had only made one movie before, they were able to raise $6m from a series of local investors including Jack Rollins, who produced every Woody Allen movie from 1969's Take the Money and Run to 2015's Irrational Man, to make their movie, which they would start shooting in the Spanish Harlem section of New York City in December 1982.   Despite the luxury of a large budget for an independent Latino production, the shooting schedule was very tight, less than five weeks. There would be a number of large musical segments to show Blades' character Rudy's talents as a musician and singer, with hundreds of extras on hand in each scene. Icasho would stick to his 28 day schedule, and the film would wrap up shortly after the New Year.   Even though the director would have his final cut of the movie ready by the start of summer 1983, it would take nearly a year and a half for any distributor to nibble. It wasn't that the film was tedious. Quite the opposite. Many distributors enjoyed the film, but worried about, ironically, the ability of the film to crossover out of the Latino market into the mainstream. So when Miramax came along with a lower than hoped for offer to release the film, the filmmakers took the deal, because they just wanted the film out there.   Things would start to pick up for the film when Miramax submitted the film to be entered into the 1985 Cannes Film Festival, and it would be submitted to run in the prestigious Directors Fortnight program, alongside Mike Newell's breakthrough film, Dance with a Stranger, Victor Nunez's breakthrough film, A Flash of Green, and Wayne Wang's breakthrough film Dim Sum: A Little Bit of Heart. While they were waiting for Cannes to get back to them, they would also learn the film had been selected to be a part of The Lincoln Center's New Directors/New Films program, where the film would earn raves from local critics and audiences, especially for Blades, who many felt was a screen natural. After more praise from critics and audiences on the French Riviera, Miramax would open Crossover Dreams at the Cinema Studio theatre in midtown Manhattan on August 23rd, 1985. Originally booked into the smaller 180 seat auditorium, since John Huston's Prizzi's Honor was still doing good business in the 300 seat house in its fourth week, the theatre would swap houses for the films when it became clear early on Crossover Dreams' first day that it would be the more popular title that weekend. And it would. While Prizzi would gross a still solid $10k that weekend, Crossover Dreams would gross $35k. In its second weekend, the film would again gross $35k. And in its third weekend, another $35k. They were basically selling out every seat at every show those first three weeks. Clearly, the film was indeed doing some crossover business.   But, strangely, Miramax would wait seven weeks after opening the film in New York to open it in Los Angeles. With a new ad campaign that de-emphasized Blades and played up the dreamer dreaming big aspect of the film, Miramax would open the movie at two of the more upscale theatres in the area, the Cineplex Beverly Center on the outskirts of Beverly Hills, and the Cineplex Brentwood Twin, on the west side where many of Hollywood's tastemakers called home. Even with a plethora of good reviews from the local press, and playing at two theatres with a capacity of more than double the one theatre playing the film in New York, Crossover Dreams could only manage a neat $13k opening weekend.   Slowly but surely, Miramax would add a few more prints in additional major markets, but never really gave the film the chance to score with Latino audiences who may have been craving a salsa-infused musical/drama, even if it was entirely in English. Looking back, thirty-eight years later, that seems to have been a mistake, but it seems that the film's final gross of just $250k after just ten weeks of release was leaving a lot of money on the table. At awards time, Blades would be nominated for an Independent Spirit Award for Best Actor, but otherwise, the film would be shut out of any further consideration.   But for all intents and purposes, the film did kinda complete its mission of turning Blades into a star. He continues to be one of the busiest Latino actors in Hollywood over the last forty years, and it would help get one of his co-stars, Elizabeth Peña, a major job in a major Hollywood film the following year, as the live-in maid at Richard Dreyfuss and Bette Midler's house in Paul Mazursky's Down and Out in Beverly Hills, which would give her a steady career until her passing in 2014. And Icasho himself would have a successful directing career both on movie screens and on television, working on such projects as Miami Vice, Crime Story, The Equalizer, Criminal Minds, and Queen of the South, until his passing this past May.   I'm going to briefly mention a Canadian drama called The Dog Who Stopped the War that Miramax released on three screens in their home town of Buffalo on October 25th, 1985. A children's film about two groups of children in a small town in Quebec during their winter break who get involved in an ever-escalating snowball fight. It would be the highest grossing local film in Canada in 1984, and would become the first in a series of 25 family films under a Tales For All banner made by a company called Party Productions, which will be releasing their newest film in the series later this year. The film may have huge in Canada, but in Buffalo in the late fall, the film would only gross $15k in its first, and only, week in theatres. The film would eventually develop a cult following thanks to repeated cable screenings during the holidays every year.   We'll also give a brief mention to an Australian action movie called Cool Change, directed by George Miller. No, not the George Miller who created the Mad Max series, but the other Australian director named George Miller, who had to start going by George T. Miller to differentiate himself from the other George Miller, even though this George Miller was directing before the other George Miller, and even had a bigger local and global hit in 1982 with The Man From Snowy River than the other George Miller had with Mad Max II, aka The Road Warrior. It would also be the second movie released by Miramax in a year starring a young Australian ingenue named Deborra-Lee Furness, who was also featured in Crossover Dreams. Today, most people know her as Mrs. Hugh Jackman.   The internet and several book sources say the movie opened in America on March 14th, 1986, but damn if I can find any playdate anywhere in the country, period. Not even in the Weinsteins' home territory of Buffalo. A critic from the Sydney Morning Herald would call the film, which opened in Australia four weeks after it allegedly opened in America, a spectacularly simplistic propaganda piece for the cattle farmers of the Victorian high plains,” and in its home country, it would barely gross 2% of its $3.5m budget.   And sticking with brief mentions of Australian movies Miramax allegedly released in American in the spring of 1986, we move over to one of three movies directed by Brian Trenchard-Smith that would be released during that year. In Australia, it was titled Frog Dreaming, but for America, the title was changed to The Quest. The film stars Henry Thomas from E.T. as an American boy who has moved to Australia to be with his guardian after his parents die, who finds himself caught up in the magic of a local Aboriginal myth that might be more real than anyone realizes.   And like Cool Change, I cannot find any American playdates for the film anywhere near its alleged May 1st, 1986 release date. I even contacted Mr. Trenchard-Smith asking him if he remembers anything about the American release of his film, knowing full well it's 37 years later, but while being very polite in his response, he was unable to help.       Finally, we get back to the movies we actually can talk about with some certainty. I know our next movie was actually released in American theatres, because I saw it in America at a cinema.   Twist and Shout tells the story of two best friends, Bjørn and Erik, growing up in suburbs of Copenhagen, Denmark in 1963. The music of The Beatles, who are just exploding in Europe, help provide a welcome respite from the harsh realities of their lives.   Directed by Billie August, Twist and Shout would become the first of several August films to be released by Miramax over the next decade, including his follow-up, which would end up become Miramax's first Oscar-winning release, but we'll be talking about that movie on our next episode.   August was often seen as a spiritual successor to Ingmar Bergman within Scandinavian cinema, so much so that Bergman would handpick August to direct a semi-autobiographical screenplay of his, The Best Intentions, in the early 1990s, when it became clear to Bergman that he would not be able to make it himself. Bergman's only stipulation was that August would need to cast one of his actresses from Fanny and Alexander, Pernilla Wallgren, as his stand-in character's mother. August and Wallgren had never met until they started filming. By the end of shooting, Pernilla Wallgren would be Pernilla August, but that's another story for another time.   In a rare twist, Twist and Shout would open in Los Angeles before New York City, at the Cineplex Beverly Center August 22nd, 1986, more than two years after it opened across Denmark. Loaded with accolades including a Best Picture Award from the European Film Festival and positive reviews from the likes of Gene Siskel and Michael Wilmington, the movie would gross, according to Variety, a “crisp” $14k in its first three days. In its second weekend, the Beverly Center would add a second screen for the film, and the gross would increase to $17k. And by week four, one of those prints at the Beverly Center would move to the Laemmle Monica 4, so those on the West Side who didn't want to go east of the 405 could watch it. But the combined $13k gross would not be as good as the previous week's $14k from the two screens at the Beverly Center.   It wouldn't be until Twist and Shout's sixth week of release they would finally add a screen in New York City, the 68th Street Playhouse, where it would gross $25k in its first weekend there. But after nine weeks, never playing in more than five theatres in any given weekend, Twist and Shout was down and out, with only $204k in ticket sales. But it was good enough for Miramax to acquire August's next movie, and actually get it into American theatres within a year of its release in Denmark and Sweden. Join us next episode for that story.   Earlier, I teased about why Miramax took more than a year off from releasing movies in 1984 and 1985. And we've reached that point in the timeline to tell that story.   After writing and producing The Burning in 1981, Bob and Harvey had decided what they really wanted to do was direct. But it would take years for them to come up with an idea and flesh that story out to a full length screenplay. They'd return to their roots as rock show promoters, borrowing heavily from one of Harvey's first forays into that field, when he and a partner, Corky Burger, purchased an aging movie theatre in Buffalo in 1974 and turned it into a rock and roll hall for a few years, until they gutted and demolished the theatre, so they could sell the land, with Harvey's half of the proceeds becoming much of the seed money to start Miramax up.   After graduating high school, three best friends from New York get the opportunity of a lifetime when they inherit an old run down hotel upstate, with dreams of turning it into a rock and roll hotel. But when they get to the hotel, they realize the place is going to need a lot more work than they initially realized, and they realize they are not going to get any help from any of the locals, who don't want them or their silly rock and roll hotel in their quaint and quiet town.   With a budget of only $5m, and a story that would need to be filmed entirely on location, the cast would not include very many well known actors.   For the lead role of Danny, the young man who inherits the hotel, they would cast Daniel Jordano, whose previous acting work had been nameless characters in movies like Death Wish 3 and Streetwalkin'. This would be his first leading role.   Danny's two best friends, Silk and Spikes, would be played by Leon W. Grant and Matthew Penn, respectively. Like Jordano, both Grant and Penn had also worked in small supporting roles, although Grant would actually play characters with actual names like Boo Boo and Chollie. Penn, the son of Bonnie and Clyde director Arthur Penn, would ironically have his first acting role in a 1983 musical called Rock and Roll Hotel, about a young trio of musicians who enter a Battle of the Bands at an old hotel called The Rock and Roll Hotel. This would also be their first leading roles.   Today, there are two reasons to watch Playing For Keeps.   One of them is to see just how truly awful Bob and Harvey Weinstein were as directors. 80% of the movie is master shots without any kind of coverage, 15% is wannabe MTV music video if those videos were directed by space aliens handed video cameras and not told what to do with them, and 5% Jordano mimicking Kevin Bacon in Footloose but with the heaviest New Yawk accent this side of Bensonhurst.   The other reason is to watch a young actress in her first major screen role, who is still mesmerizing and hypnotic despite the crapfest she is surrounded by. Nineteen year old Marisa Tomei wouldn't become a star because of this movie, but it was clear very early on she was going to become one, someday.   Mostly shot in and around the grounds of the Bethany Colony Resort in Bethany PA, the film would spend six weeks in production during June and July of 1984, and they would spend more than a year and a half putting the film together. As music men, they knew a movie about a rock and roll hotel for younger people who need to have a lot of hip, cool, teen-friendly music on the soundtrack. So, naturally, the Weinsteins would recruit such hip, cool, teen-friendly musicians like Pete Townshend of The Who, Phil Collins, Peter Frampton, Sister Sledge, already defunct Duran Duran side project Arcadia, and Hinton Battle, who had originated the role of The Scarecrow in the Broadway production of The Wiz. They would spend nearly $500k to acquire B-sides and tossed away songs that weren't good enough to appear on the artists' regular albums.   Once again light on money, Miramax would sent the completed film out to the major studios to see if they'd be willing to release the movie. A sale would bring some much needed capital back into the company immediately, and creating a working relationship with a major studio could be advantageous in the long run. Universal Pictures would buy the movie from Miramax for an undisclosed sum, and set an October 3rd release.   Playing For Keeps would open on 1148 screens that day, including 56 screens in the greater Los Angeles region and 80 in the New York City metropolitan area. But it wasn't the best week to open this film. Crocodile Dundee had opened the week before and was a surprise hit, spending a second week firmly atop the box office charts with $8.2m in ticket sales. Its nearest competitor, the Burt Lancaster/Kirk Douglas comedy Tough Guys, would be the week's highest grossing new film, with $4.6m. Number three was Top Gun, earning $2.405m in its 21st week in theatres, and Stand By Me was in fourth in its ninth week with $2.396m. In fifth place, playing in only 215 theatres, would be another new opener, Children of a Lesser God, with $1.9m. And all the way down in sixth place, with only $1.4m in ticket sales, was Playing for Keeps.   The reviews were fairly brutal, and by that, I mean they were fair in their brutality, although you'll have to do some work to find those reviews. No one has ever bothered to link their reviews for Playing For Keeps at Rotten Tomatoes or Metacritic. After a second weekend, where the film would lose a quarter of its screens and 61% of its opening weekend business, Universal would cut its losses and dump the film into dollar houses. The final reported box office gross on the film would be $2.67m.   Bob Weinstein would never write or direct another film, and Harvey Weinstein would only have one other directing credit to his name, an animated movie called The Gnomes' Great Adventure, which wasn't really a directing effort so much as buying the American rights to a 1985 Spanish animated series called The World of David the Gnome, creating new English language dubs with actors like Tom Bosley, Frank Gorshin, Christopher Plummer, and Tony Randall, and selling the new versions to Nickelodeon.   Sadly, we would learn in October 2017 that one of the earliest known episodes of sexual harassment by Harvey Weinstein happened during the pre-production of Playing for Keeps.   In 1984, a twenty year old college junior Tomi-Ann Roberts was waiting tables in New York City, hoping to start an acting career. Weinstein, who one of her customers at this restaurant, urged Ms. Roberts to audition for a movie that he and his brother were planning to direct. He sent her the script and asked her to meet him where he was staying so they could discuss the film. When she arrived at his hotel room, the door was left slightly ajar, and he called on her to come in and close the door behind her.  She would find Weinstein nude in the bathtub,  where he told her she would give a much better audition if she were comfortable getting naked in front of him too, because the character she might play would have a topless scene. If she could not bare her breasts in private, she would not be able to do it on film. She was horrified and rushed out of the room, after telling Weinstein that she was too prudish to go along. She felt he had manipulated her by feigning professional interest in her, and doubted she had ever been under serious consideration. That incident would send her life in a different direction. In 2017, Roberts was a psychology professor at Colorado College, researching sexual objectification, an interest she traces back in part to that long-ago encounter.   And on that sad note, we're going to take our leave.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1987.   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.

Hey Guys!  I am back from my west coast trip and it was AMAZING. I got to meet 4 guys who have been listening to the show for a long time and we all hung out and had a great time and went for a hike that was unforgettable. I LOVE San Francisco. I also went to stay with Peter Coyote for a night and it was simply amazing and wonderful and enlightening. I just love the guy. Here is our latest talk from his him about an hour north of San Francisco Stand Up is a daily podcast. I book,host,edit, post and promote new episodes with brilliant guests every day. Please subscribe now for as little as 5$ and gain access to a community of over 800 awesome, curious, kind, funny, brilliant, generous souls Check out StandUpwithPete.com to learn more PETER COYOTE began his film career at 39, after living nearly a dozen years in the counter-culture during the 1960s and 70s. Since then, he has performed as an actor for some of the world's most distinguished filmmakers, including: Barry Levinson, Roman Polanski, Pedro Almodovar, Steven Spielberg, Walter Hill, Martin Ritt, Steven Soderberg, Diane Kurys, Sidney Pollack and Jean Paul Rappeneau. To date he has made over 150 films. In 2006 he had a major role in three televison series: The Inside on Fox-TV, the 4400 on USA Channel and played the Vice-President to Geena Davis's President on Commander in Chief for ABC-TV until the show's end. In 2011 he starred as the District Attorney in the new version of Law and Order – LA. In 2000 year he was the on-camera announcer of the Academy Awards Ceremony, taking the heavy-lifting off co-host Billy Crystal's shoulders for the detailed announcements and data which played live to an estimated one billion listeners. In 2007 he was prominently featured as an old boxing promoter in Rod Lurie's “Resurrecting the Champ” with Samuel. L. Jackson and Josh Hartnett, and also as Sally Field's disreputable writing teacher on the television series, “Brothers and Sisters.” He recently completed a six hour series called The Disappearance which aired last year. Most recently, he played Robert Mueller to Jeff Daniel's Jim Comey, and Brendan Gleeson's Donald Trump. The series is called The Comey Rule and will be released this year on SHOWTIME.   Mr. Coyote has written a memoir of his counter-culture years called Sleeping Where I Fall which received universally excellent reviews, appeared on three best-seller lists and sold five printings in hardback after being released by Counterpoint Press in 1999, it was re-released in November of 2010 and has been in continuous release ever since. It is currently in use as a source text for Sixties Studies in a number of universities including Harvard where he was invited to teach “The Theater of Protest” last year.   An early chapter from that book, “Carla's Story, won the 1993/94 Pushcart Prize for Excellence in non-fiction. His new book, The Rainman's Third Cure, released in April, 2015 is a study of mentors and the search for wisdom and he is currently readying a new book for publication in 2021-(TITLE) The I Behind the Mask: The Lone Ranger and Tonto meet the Buddha.   Mr. Coyote is well-known for his narration work, and has voiced 150 documentaries and TV specials, including the nine-hour PBS Special, The West. In 1992 he won an EMMY as the “Host” for a nine-hour series, called, The Pacific Century which also won the prestigious duPont-Columbia Award for Excellence in Broadcast Journalism.   In 2010 he recorded the12 hour series on The National Parks for Ken Burns and has recently completed the voice-work on Mr. Burns most recent series—a 16 hour special on The History of Country Music. He won a second Emmy for his narration on The Roosevelts, and has also done Prohibition, The Dust Bowl, and an 18 Hour series on Vietnam with Ken Burns. Mr Coyote and Mr Burns just completed a long series on Ernest Hemingway. In 2011 he was ordained as a Zen Buddhist priest and in 2015 received “transmission” from his teacher, making him an independent Zen teacher. He makes his home on a farm in Northern California, and considers working on his 1952 Dodge Power-Wagon his longest lasting addiction. He has 40 fruit trees and loves to make jam and walk with his two dogs.   Peter Coyote Episode 276 Peter Coyote Wikipedia Peter Coyote Movies IMDB Peter Coyote Books Peter Coyote with me on Episode 14   Check out all things Jon Carroll Follow and Support Pete Coe Pete on YouTube Pete on Twitter Pete On Instagram Pete Personal FB page  

Marc and Peter explore Peter's story of how he came to his acting path, as well as his path to Zen practice. They talk about "precise forms for a flexible mind" vs. "flexible forms for a precise mind", meditation, the power of ritual, the liberating effect of mask work, as well as bringing Zen practice into everyday life. Peter Coyote has performed as an actor for some of the world's most distinguished filmmakers, including: Barry Levinson, Roman Polanski, Pedro Almodovar, Steven Spielberg, Walter Hill, Martin Ritt, Steven Soderberg, Diane Kurys, Sidney Pollack and Jean Paul Rappeneau. He is an ordained Buddhist priest who has been practicing for 34 years. Mr. Coyote has been engaged in political and social causes since his early teens and is a long time passionate advocate for wildlife and wild nature.

Dans « Au bonheur des livres » cette semaine, Denis Olivennes reçoit Pierre Nora. Historien, éditeur, membre de l'Académie française, il a été témoin mais aussi acteur de la vie intellectuelle des cinquante dernières années.Dans son dernier ouvrage, « Une étrange obstination » publié chez Gallimard, il invite le lecteur à feuilleter l'album des trente glorieuses, période qui a notamment vu l'essor des sciences humaines, l'histoire mais aussi la sociologie, la linguistique ou encore l'ethnologie.L'invité :Pierre Nora :Auteur de « Une étrange obstination » Ed. GallimardBibliographie de l'émission :« Une étrange obstination » de Pierre Nora – Ed. Gallimard« Jeunesse » de Pierre Nora – Ed. Poche Folio« Gouverner la France » de Michel Winock et Mona Ozouf - Ed Quarto Gallimard« La Petite Menteuse » de Pascale Robert-Diard - Ed. de l'Iconoclaste« Diabolo Menthe » de Diane Kurys et Cathy Karsenty - Ed Dargaud« Jacqueline Jacqueline » de Jean-Claude Grumberg - Ed du Seuil Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

L'émission 28 Minutes du 25/10/2022 Au programme de l'émission du 25 octobre 2022 ⬇ D'“Intouchables” à “Ne le dis à personne”, François Cluzet, tourmenté et généreux Pilier du cinéma français, l'acteur François Cluzet apparaît pour la première fois sur le grand écran en 1980 dans “Cocktail Molotov”, de Diane Kurys. Il joue dans de nombreux films d'auteurs avant de connaître un énorme succès pour son rôle dans “Ne le dis à personne” pour lequel il obtient le César du meilleur acteur en 2007. Quelques années plus tard, il se hisse en tête d'affiche dans “Intouchables”, l'un des plus gros succès français au box-office mondial dans lequel il interprète un tétraplégique au côté d'Omar Sy. Engagé, l'acteur signe la tribune contre le réchauffement climatique intitulée “Le Plus Grand Défi de l'histoire de l'humanité”. Après avoir joué dans près de 80 films, il revient dans “Mascarade”, de Nicolas Bedos, où il incarne un chef d'entreprise qui tombe sous le charme d'une arnaqueuse au plan machiavélique. François Cluzet est notre invité. Gaz de schiste, minerais rares : faut-il relancer l'exploitation des sous-sols ? Faut-il rouvrir des mines en France ? L'échec des négociations européennes sur l'énergie, vendredi 21 octobre, et l'incapacité des 27 à se mettre d'accord pour contenir les prix, inquiètent. Alors que l'Union européenne souhaite une transition des voitures thermiques au 100 % électrique d'ici à 2035, la demande en métaux indispensables dans le processus de production des batteries va exploser, notamment le lithium. Pour pallier les besoins de ce dernier, estimés 35 fois plus élevés en 2050 selon une étude de l'université de Louvain, le groupe minier Imerys a annoncé l'ouverture de “l'un des plus grands projets d'extraction de lithium de l'Union européenne”. S'ajoute à la problématique des batteries, l'augmentation du prix de l'énergie. Alors que les entreprises cherchent à faire des économies, l'Europe risque une nouvelle désindustrialisation face à de potentielles délocalisations. À quel coût environnemental sommes-nous prêts à aller pour pallier la crise énergétique ? Faut-il relancer l'exploitation des sous-sols ? On en débat avec nos invités.       Enfin, retrouvez également les chroniques de Xavier Mauduit et d'Alix Van Pée. 28 Minutes est le magazine d'actualité d'ARTE, présenté par Elisabeth Quin du lundi au vendredi à 20h05. Renaud Dély est aux commandes de l'émission le samedi. Ce podcast est coproduit par KM et ARTE Radio  Enregistrement : 25 octobre 2022 - Présentation : Élisabeth Quin - Production : KM, ARTE Radio

Les plus cinéphiles et les plus âgés d'entre nous se souviendront du film Diabolo menthe, sorti en 1977 et qui était devenu pour toute une génération un film culte. Et ce film était signé… Diane Kurys.Cela dit, rien d'étonnant puisque le scénario s'appuie sur la propre histoire de la réalisatrice; celle d'une jeune fille de 13 ans en 1963 qui entrent en quatrième au lycée pour fille Jules Ferry avec sa sœur aînée Frédérique qui elle rentre en seconde.La vie au lycée est rythmée par les cours plus ou moins ennuyeux, les punitions, mais surtout par les copines, les premiers flirts, les boums et l'éveil à une conscience politique. C'est l'âge de toutes les rébellions contre l'autorité parentale ou scolaire dans un monde en plein bouleversement.Et au fond, cet album est la réinterprétation, peut-être même la réinvention du film éponyme 45 ans après sa sortie en salles.

Les plus cinéphiles et les plus âgés d'entre nous se souviendront du film Diabolo menthe, sorti en 1977 et qui était devenu pour toute une génération un film culte. Et ce film était signé… Diane Kurys.Cela dit, rien d'étonnant puisque le scénario s'appuie sur la propre histoire de la réalisatrice; celle d'une jeune fille de 13 ans en 1963 qui entrent en quatrième au lycée pour fille Jules Ferry avec sa sœur aînée Frédérique qui elle rentre en seconde.La vie au lycée est rythmée par les cours plus ou moins ennuyeux, les punitions, mais surtout par les copines, les premiers flirts, les boums et l'éveil à une conscience politique. C'est l'âge de toutes les rébellions contre l'autorité parentale ou scolaire dans un monde en plein bouleversement.Et au fond, cet album est la réinterprétation, peut-être même la réinvention du film éponyme 45 ans après sa sortie en salles.

Dans le 137e épisode du podcast Le bulleur, on vous présente Les pizzlys, album que l'on doit à Jérémie Moreau, édité chez Delcourt. Cette semaine aussi, on revient sur l'actualité de la bande dessinée et des sorties avec : - La sortie du du premier tome de La belle espérance intitulé Le temps des fruits verts, série que l'on doit au scénario de Chantal Van den Heuvel, au dessin d'Anne Teuf et c'est édité chez Delcourt - La sortie de l'album La chambre des merveilles, adapté d'un roman de Julien Sandrel, par Philippe Pelaez qui en signe le scénario, Patricio Delpeche le dessin et c'est édité chez Grand angle - La sortie de l'album Le matin de Sarajevo que l'on doit au scénario de Jean-Charles Chapuzet, au dessin de Christophe Girard et c'est édité chez Glénat dans la collection 1000 feuilles - La sortie du premier tome d'Hollywoodland, album édité chez Fluide glacial que l'on doit au scénario de Zidrou et au dessin d'Éric Maltaite - La sortie de Marilyn dernières séances tirés du livre de Michel Schneider qu'adapte Louison au scénario et au dessin et qu'édite Futuropolis - L'adaptation en bande dessinée du film Diabolo menthe de Diane Kurys, adaptation que l'on doit à Cathy Karsenty et c'est édité chez Dargaud

durée : 00:54:12 - La librairie francophone - par : Emmanuel Kherad - Ce samedi, la célèbre autrice de livres pour la jeunesse, Susie Morgenstern, la réalisatrice Diane Kurys, Édouard Manet, raconté par Guillaume Durand, et l'écrivaine suisse Anne-Sophie Subilia.

Hi there Kim and apparently Melanie who also reads the show notes. These show notes are for you 2 unless someone else wants to show themselves! I will see you at our next secret meeting and I will invite your favorite guest to join us! How about that for a bonus!  I wanted today's conversation with Peter Coyote to be evergreen or always relevant whenever you decide to listen to it so I eschewed the normal production elements and news and got right to my chat with the legend. Special thanks to Mark Nolte and his ban City Park in Iowa City who wrote this song for Peter. Please go listen or stream it! My previous conversations with Peter are linked below Stand Up is a daily podcast. I book,host,edit, post and promote new episodes with brilliant guests every day. Please subscribe now for as little as 5$ and gain access to a community of over 800 awesome, curious, kind, funny, brilliant, generous souls Check out StandUpwithPete.com to learn more PETER COYOTE began his film career at 39, after living nearly a dozen years in the counter-culture during the 1960s and 70s. Since then, he has performed as an actor for some of the world's most distinguished filmmakers, including: Barry Levinson, Roman Polanski, Pedro Almodovar, Steven Spielberg, Walter Hill, Martin Ritt, Steven Soderberg, Diane Kurys, Sidney Pollack and Jean Paul Rappeneau. To date he has made over 150 films. In 2006 he had a major role in three televison series: The Inside on Fox-TV, the 4400 on USA Channel and played the Vice-President to Geena Davis's President on Commander in Chief for ABC-TV until the show's end. In 2011 he starred as the District Attorney in the new version of Law and Order – LA. In 2000 year he was the on-camera announcer of the Academy Awards Ceremony, taking the heavy-lifting off co-host Billy Crystal's shoulders for the detailed announcements and data which played live to an estimated one billion listeners. In 2007 he was prominently featured as an old boxing promoter in Rod Lurie's “Resurrecting the Champ” with Samuel. L. Jackson and Josh Hartnett, and also as Sally Field's disreputable writing teacher on the television series, “Brothers and Sisters.” He recently completed a six hour series called The Disappearance which aired last year. Most recently, he played Robert Mueller to Jeff Daniel's Jim Comey, and Brendan Gleeson's Donald Trump. The series is called The Comey Rule and will be released this year on SHOWTIME.   Mr. Coyote has written a memoir of his counter-culture years called Sleeping Where I Fall which received universally excellent reviews, appeared on three best-seller lists and sold five printings in hardback after being released by Counterpoint Press in 1999, it was re-released in November of 2010 and has been in continuous release ever since. It is currently in use as a source text for Sixties Studies in a number of universities including Harvard where he was invited to teach “The Theater of Protest” last year.   An early chapter from that book, “Carla's Story, won the 1993/94 Pushcart Prize for Excellence in non-fiction. His new book, The Rainman's Third Cure, released in April, 2015 is a study of mentors and the search for wisdom and he is currently readying a new book for publication in 2021-(TITLE) The I Behind the Mask: The Lone Ranger and Tonto meet the Buddha.   Mr. Coyote is well-known for his narration work, and has voiced 150 documentaries and TV specials, including the nine-hour PBS Special, The West. In 1992 he won an EMMY as the “Host” for a nine-hour series, called, The Pacific Century which also won the prestigious duPont-Columbia Award for Excellence in Broadcast Journalism.   In 2010 he recorded the12 hour series on The National Parks for Ken Burns and has recently completed the voice-work on Mr. Burns most recent series—a 16 hour special on The History of Country Music. He won a second Emmy for his narration on The Roosevelts, and has also done Prohibition, The Dust Bowl, and an 18 Hour series on Vietnam with Ken Burns. Mr Coyote and Mr Burns just completed a long series on Ernest Hemingway. In 2011 he was ordained as a Zen Buddhist priest and in 2015 received “transmission” from his teacher, making him an independent Zen teacher. He makes his home on a farm in Northern California, and considers working on his 1952 Dodge Power-Wagon his longest lasting addiction. He has 40 fruit trees and loves to make jam and walk with his two dogs.   Peter Coyote Episode 276 Peter Coyote Wikipedia Peter Coyote Movies IMDB Peter Coyote Books Peter Coyote with me on Episode 14   SUPPORT THE SHOW BY SUPPORTING  one of the sponsors of the show!   Indeed.com/StandUp   Check out all things Jon Carroll Follow and Support Pete Coe Follow and Support Gareth Sever  Pete on YouTube Pete on Twitter Pete On Instagram Pete Personal FB page

1ère invitée de la #Session Live, #1 Ana Carla Maza pour présenter l'album Bahia (Persona Editorial 2022).   Bahia est le deuxième album studio d'Ana Carla Maza. Il s'ouvre sur Habana, hommage à la capitale cubaine, où elle est née il y a 26 ans, d'un père chilien, musicien luxuriant, Carlos Maza, et d'une mère cubaine, guitariste, Mirza Sierra. "Cuba est un volcan", disait le père. "La Havane est une folie", répond la fille. Bien sûr, La Havane, c'est le Malecon, ce boulevard en façade atlantique, qui reçoit les embruns des Everglades. Pourtant, la ville se love autour d'une baie, très fermée, protégée, sûre : la Bahia, partie arrière d'une Habana Vieja humaine, portuaire, cosmopolite, parcourue des mélanges qui ont essaimé de l'Afrique au Brésil.  Voir le clip A Tomar Cafe.     Titres interprétés - Todo Ira Bien  Live RFI - A Tomar Cafe, extrait de l'album Bahia - Le Petit Français Live RFI   Ana Carla Maza, violoncelle, chant. Son : Benoît Letirant & Mathias Taylor.   Puis #Session Live #2 avec Guillaume de Chassy et Élise Caron qui présentent l'album L'âme des Poètes (Nomadmusic 2022).   Note d'intention autour de L'âme des poètes, voir le clip.   "Longtemps, longtemps, longtemps Après que les poètes ont disparu Leurs chansons courent encore dans les rues" Charles Trénet   L'art de créer de belles mélodies est un don inégalement distribué chez les musiciens. Trénet, Schubert, Evans, Misraki, Prokofiev et Frisell font partie de ceux qui, sans nul doute, ont reçu cette grâce poétique. Au-delà des styles, des époques et des lieux, leurs mélodies ont le pouvoir mystérieux de toucher nos âmes et nos cœurs. Qu'elles soient écrites pour la voix ou, sans paroles, pour tout autre instrument, ces chansons universelles sont mes viatiques pour traverser l'existence. Je souhaitais les célébrer à ma façon sur un même disque. Pour entreprendre ce voyage, Thomas Savy (clarinette) et Arnault Cuisinier (contrebasse) sont des compagnons irremplaçables. Comme moi, ils enjambent les frontières entre musique classique, jazz et chanson. Comme moi, ils révèrent la Mélodie – avec un grand M. Lorsque nous jouons ensemble, la notion de soliste est abolie au profit d'une conversation à voix égales où prévalent l'écoute, la confiance et la liberté. Au fil des années, notre trio a rencontré des voix remarquables : celles de Natalie Dessay, Laurent Naouri ou David Linx. Dernièrement, Élise Caron nous a entraînés dans son monde où se côtoient étrangeté, fantaisie et mélancolie. Pour nous, elle a convoqué les souvenirs délicieux de Danielle Darrieux, Lucienne Delyle, Suzy Delair et Yves Montand. Nous avons peu ou pas répété, nous abandonnant face aux micros au risque de l'instant présent. Nous avons souhaité cette fragilité, marchant main dans la main au-dessus du vide. Trop de préméditation eût peut-être effarouché les fantômes rêveurs qui circulaient parmi nous. L'âme des poètes est parfois délicate à apprivoiser... Guillaume de Chassy     Biographie de Guillaume de Chassy À la croisée du jazz et de la musique classique, le pianiste et compositeur Guillaume de Chassy a créé un univers poétique et singulier. Il est considéré comme un artiste majeur de la scène musicale française. Mélodiste et coloriste, son style privilégie la sobriété dans une esthétique sonore raffinée. Guillaume de Chassy a collaboré avec des personnalités du jazz américain et européen, comme Paul Motian, Andy Sheppard, Mark Murphy, Paolo Fresu, André Minvielle, Élise Caron, David Linx, Daniel Yvinec… Guillaume de Chassy se produit dans le monde entier au gré de ses multiples projets, du piano solo à la forme symphonique. Régulièrement saluée par la presse, sa discographie est le reflet d'une personnalité qui échappe aux classifications et d'une créativité sans cesse en éveil. Curieux de toute forme artistique, il s'investit également dans des créations alliant texte, images et musique, notamment avec les comédiennes Kristin Scott Thomas (avec laquelle il a enregistré l'album Shakespeare Songs), Vanessa Redgrave et Katja Riemann.     Biographie d'Élise Caron Élise étudie l'art dramatique, le chant et la flûte traversière au Conservatoire à rayonnement régional de Rouen, puis le chant au Conservatoire national supérieur de musique de Paris. Soliste et improvisatrice à l'Orchestre national de jazz, elle collabore également à de nombreuses créations de grands noms de la musique contemporaine, du jazz et de la chanson. Au théâtre, elle interprète Shakespeare, Sophocle, Ramuz, Brecht... Sous la direction Jérôme Savary (pour La Périchole d'Offenbach), Jean-Louis Martinelli (pour L'Opéra de quat'sous et Le Brave Soldat Švejk). Plus récemment, elle a été dirigée par David Lescot pour La Chose commune – concert-spectacle sur la Commune de Paris. Au cinéma, elle a joué le premier rôle de Cocktail Molotov sous la direction de Diane Kurys et tourné avec Jean-Paul Civeyrac, Franck Guérin, Stan Neumann, Xavier Giannoli et Leos Carax. Elle a également participé à No Land's Song – documentaire d'Ayat et Sarah Najafi sur le combat contre l'interdiction faite aux femmes de chanter devant un public mixte en Iran. Auteure-compositrice, Élise Caron chante ses chansons depuis plus de vingt ans et enregistre sous son nom.   Titres interprétés - À l'Étang Live RFI - Danse Avec moi, extrait de l'album L'Âme des Poètes - Adieu Chérie Live RFI   Musiciens - Élise Caron, chant - Guillaume de Chassy, piano   Son : Benoît Letirant & Mathias Taylor.

Ce 13 février, une émission à la fois historique et d'actualité. Ce même 13 février, il y a 60 ans tout juste aujourd'hui, se déroulait à Paris un des plus grands rassemblements populaires du 20 è siècle, les obsèques des 9 manifestants tués lors d'une manifestation pour la paix et contre le fascisme, le 8 février. Parce que je craignais qu'on ne les oublie, Parce que finalement, la République leur a rendu hommage …mais en 5 lignes, Parce que leur mémoire est plus importante que jamais aujourd'hui. Je remercie vivement toutes les personnes qui m'ont permis de réaliser ce documentaire : Emmanuel Blanchard, historien, Maître de conférences en sciences politiques de l'Université de Versailles-Saint-Quentin, spécialiste de l'histoire de la police, auteur notamment de « L'histoire de l'immigration algérienne en France », aux Editions La Découverte, Alain Dewerpe, historien, pour son livre « Charonne, 8 février 62, anthropologie d'un massacre d'état » aux éditions Gallimard, Maryse Douek- Tripier, sociologue, manifestante, François Kaldor, avocat honoraire, manifestant, Daniel Kupferstein, documentariste, auteur de « Mourir à Charonne, pourquoi ? « Pierre Mansat, président de l'Association Josette et Maurice Audin, Charlotte Perry, documentariste, autrice de « Non, non rien de rien, non les anciens de l'OAS ne regrettent rien » pour Là-bas si j'y suis, Fabrice Riceputi, historien, chercheur associé à l'IHTP, co- animateur des sites histoirecoloniale.net et 1000autres.org et auteur d' Ici on noya les Algériens ed.Le passager clandestin, 2021, Benjamin Stora, historien, professeur à l'Université Paris 13 , spécialiste de l'histoire du Maghreb et des guerres de décolonisations, auteur notamment d'un rapport sur « Les questions mémorielles portant sur la colonisation et la guerre d'Algérie », Sylvie Thenault, historienne, directrice de recherche au CNRS, spécialiste de la guerre d'indépendance algérienne, autrice du livre » Les Ratonnades d'Alger. Une histoire sociale du racisme colonial aux Editions du Seuil, 2022. et mon père, José Luis Sanchez, manifestant. “Charonne, 1962” est un documentaire de création de Muriel KS . Extraits des films « Diabolo Menthe » de Diane Kurys et de « Mourir à Charonne, pourquoi? » de Daniel Kupferstein. Cette émission a été préparée et présentée par Muriel KS .

Ce 13 février, une émission à la fois historique et d'actualité. Ce même 13 février, il y a 60 ans tout juste aujourd'hui, se déroulait à Paris un des plus grands rassemblements populaires du 20 è siècle, les obsèques des 9 manifestants tués lors d'une manifestation pour la paix et contre le fascisme, le 8 février. Parce que je craignais qu'on ne les oublie, Parce que finalement, la République leur a rendu hommage …mais en 5 lignes, Parce que leur mémoire est plus importante que jamais aujourd'hui. Je remercie vivement toutes les personnes qui m'ont permis de réaliser ce documentaire : Emmanuel Blanchard, historien,  Maître de conférences en sciences politiques de l'Université de Versailles-Saint-Quentin, spécialiste de l'histoire de la police, auteur notamment de "L'histoire de l'immigration algérienne en France", aux Editions La Découverte, Alain Dewerpe, historien, pour son livre "Charonne, 8 février 62, anthropologie d'un massacre d'état" aux éditions Gallimard, Maryse Douek- Tripier, sociologue, manifestante, François Kaldor, avocat honoraire, manifestant, Daniel Kupferstein, documentariste, auteur de "Mourir à Charonne, pourquoi ? " Pierre Mansat, président de l'Association Josette et Maurice Audin, Charlotte Perry, documentariste, autrice de "Non, non rien de rien, non les anciens de l'OAS ne regrettent rien" pour Là-bas si j'y suis, Fabrice Riceputi, historien, chercheur associé à l'IHTP, co- animateur des sites histoirecoloniale.net et 1000autres.org et auteur d' Ici on noya les Algériens ed.Le passager clandestin, 2021, Benjamin Stora, historien, professeur à l'Université Paris 13 , spécialiste de l'histoire du Maghreb et des guerres de décolonisations, auteur notamment d'un rapport sur "Les questions mémorielles portant sur la colonisation et la guerre d'Algérie", Sylvie Thenault, historienne, directrice de recherche au CNRS, spécialiste de la guerre d'indépendance algérienne, autrice du livre " Les Ratonnades d'Alger. Une histoire sociale du racisme colonial aux Editions du Seuil, 2022. et mon père, José Luis Sanchez, manifestant. “Charonne, 1962” est un documentaire de création de Muriel KS .  Extraits des films "Diabolo Menthe" de Diane Kurys et de "Mourir à Charonne, pourquoi?" de Daniel Kupferstein. Cette émission a été préparée et présentée par Muriel KS .

Ce 13 février, une émission à la fois historique et d'actualité.     Ce même 13 février, il y a 60 ans tout juste aujourd'hui, se déroulait à Paris un des plus grands rassemblements populaires du 20 è siècle, les obsèques des 9 manifestants tués lors d'une manifestation pour la paix et contre le fascisme, le 8 février.     Parce que je craignais qu'on ne les oublie, Parce que finalement, la République leur a rendu hommage …mais en 5 lignes, Parce que leur mémoire est plus importante que jamais aujourd'hui.                     Je remercie vivement toutes les personnes qui m'ont permis de réaliser ce documentaire : Emmanuel Blanchard, historien,  Maître de conférences en sciences politiques de l'Université de Versailles-Saint-Quentin, spécialiste de l'histoire de la police, auteur notamment de "L'histoire de l'immigration algérienne en France", aux Editions La Découverte, Alain Dewerpe, historien, pour son livre "Charonne, 8 février 62, anthropologie d'un massacre d'état" aux éditions Gallimard, Maryse Douek- Tripier, sociologue, manifestante, François Kaldor, avocat honoraire, manifestant, Daniel Kupferstein, documentariste, auteur de "Mourir à Charonne, pourquoi ? " Pierre Mansat, président de l'Association Josette et Maurice Audin, Charlotte Perry, documentariste, autrice de "Non, non rien de rien, non les anciens de l'OAS ne regrettent rien" pour Là-bas si j'y suis, Fabrice Riceputi, historien, chercheur associé à l'IHTP, co- animateur des sites histoirecoloniale.net et 1000autres.org et auteur d' Ici on noya les Algériens ed.Le passager clandestin, 2021, Benjamin Stora, historien, professeur à l'Université Paris 13 , spécialiste de l'histoire du Maghreb et des guerres de décolonisations, auteur notamment d'un rapport sur "Les questions mémorielles portant sur la colonisation et la guerre d'Algérie", Sylvie Thenault, historienne, directrice de recherche au CNRS, spécialiste de la guerre d'indépendance algérienne, autrice du livre " Les Ratonnades d'Alger. Une histoire sociale du racisme colonial aux Editions du Seuil, 2022. et mon père, José Luis Sanchez, manifestant. “Charonne, 1962” est un documentaire de création de Muriel KS .  Extraits des films "Diabolo Menthe" de Diane Kurys et de "Mourir à Charonne, pourquoi?" de Daniel Kupferstein. Cette émission a été préparée et présentée par Muriel KS .

Stand Up is a daily podcast. I book,host,edit, post and promote new episodes with brilliant guests every day. Please subscribe now for as little as 5$ and gain access to a community of over 800 awesome, curious, kind, funny, brilliant, generous souls Check out StandUpwithPete.com to learn more Robert “Rob” Serra's first day as a New York City firefighter was Sept. 11, 2001. Having completed the FDNY training on Sept. 10, the 2001 Hobart graduate expected to have the day off. On his way to try out for a FDNY hockey team, Serra crossed the Verrazano Bridge and saw the World Trade Center's twin towers on fire. He immediately grabbed his gear and made his way downtown – where he checked in with the first “white helmet” he saw, an identifier of FDNY Fire Chiefs. Despite having no experience, Serra says, “it never crossed my mind not to go.” The day changed his life forever. “Pretty much as soon as I got down there, I started to bleed from my nose.” Like thousands of first responders, emergency workers and civilians on Sept. 11, Serra suffers from illnesses as a result of exposure to toxic ash and debris on the day of the attacks and in the months following, when he worked at the Staten Island recovery site to search for the personal effects of victims. Having undergone surgery to remove nasal polyps, Serra now faces neurological damage– including neuropathy and fibromyalgia, which has led to intense bouts of shaking, nerve pain and trouble walking. Learn more about Rob Serra  The Firefighters Podcast is the hottest podcast in America, literally. Host Rob Serra, FDNY (ret.) is a 9/11 First Responder, an advocate, a dad and an all around great guy. Recored in Staten Island the pod will inform and connect a hungry audience and create a home for the country's 1.15 million firefighters — and their friends, families and fans. And they've got a lot of fans. Host Rob Serra is authentic as it gets. Born and raised in Staten Island, New York, his first day on the job was September 11th. He's been directly involved advocating for the health issues first responders have experienced as a result ever since. The show will include interviews with firefighters and first responders, celebrities, and the always popular and delicious Firehouse cooking segment. Everybody loves firefighters. Now they have a podcast. PETER COYOTE began his film career at 39, after living nearly a dozen years in the counter-culture during the 1960s and 70s. Since then, he has performed as an actor for some of the world's most distinguished filmmakers, including: Barry Levinson, Roman Polanski, Pedro Almodovar, Steven Spielberg, Walter Hill, Martin Ritt, Steven Soderberg, Diane Kurys, Sidney Pollack and Jean Paul Rappeneau. To date he has made over 150 films. In 2006 he had a major role in three televison series: The Inside on Fox-TV, the 4400 on USA Channel and played the Vice-President to Geena Davis's President on Commander in Chief for ABC-TV until the show's end. In 2011 he starred as the District Attorney in the new version of Law and Order – LA. In 2000 year he was the on-camera announcer of the Academy Awards Ceremony, taking the heavy-lifting off co-host Billy Crystal's shoulders for the detailed announcements and data which played live to an estimated one billion listeners. In 2007 he was prominently featured as an old boxing promoter in Rod Lurie's “Resurrecting the Champ” with Samuel. L. Jackson and Josh Hartnett, and also as Sally Field's disreputable writing teacher on the television series, “Brothers and Sisters.” He recently completed a six hour series called The Disappearance which aired last year. Most recently, he played Robert Mueller to Jeff Daniel's Jim Comey, and Brendan Gleeson's Donald Trump. The series is called The Comey Rule and will be released this year on SHOWTIME.   Mr. Coyote has written a memoir of his counter-culture years called Sleeping Where I Fall which received universally excellent reviews, appeared on three best-seller lists and sold five printings in hardback after being released by Counterpoint Press in 1999, it was re-released in November of 2010 and has been in continuous release ever since. It is currently in use as a source text for Sixties Studies in a number of universities including Harvard where he was invited to teach “The Theater of Protest” last year.   An early chapter from that book, “Carla's Story, won the 1993/94 Pushcart Prize for Excellence in non-fiction. His new book, The Rainman's Third Cure, released in April, 2015 is a study of mentors and the search for wisdom and he is currently readying a new book for publication in 2021-(TITLE) The I Behind the Mask: The Lone Ranger and Tonto meet the Buddha.   Mr. Coyote is well-known for his narration work, and has voiced 150 documentaries and TV specials, including the nine-hour PBS Special, The West. In 1992 he won an EMMY as the “Host” for a nine-hour series, called, The Pacific Century which also won the prestigious duPont-Columbia Award for Excellence in Broadcast Journalism.   In 2010 he recorded the12 hour series on The National Parks for Ken Burns and has recently completed the voice-work on Mr. Burns most recent series—a 16 hour special on The History of Country Music. He won a second Emmy for his narration on The Roosevelts, and has also done Prohibition, The Dust Bowl, and an 18 Hour series on Vietnam with Ken Burns. Mr Coyote and Mr Burns just completed a long series on Ernest Hemingway. In 2011 he was ordained as a Zen Buddhist priest and in 2015 received “transmission” from his teacher, making him an independent Zen teacher. He makes his home on a farm in Northern California, and considers working on his 1952 Dodge Power-Wagon his longest lasting addiction. He has 40 fruit trees and loves to make jam and walk with his two dogs.   Peter Coyote Episode 276 Peter Coyote Wikipedia Peter Coyote Movies IMDB Peter Coyote Books Peter Coyote with me on Episode 14   SUPPORT THE SHOW BY SUPPORTING  one of the sponsors of the show!   Indeed.com/StandUp TrueBill.com/standup     Check out all things Jon Carroll Follow and Support Pete Coe   Pete on YouTube Pete on Twitter Pete On Instagram

Please subscribe now for as little as 5$ and gain access to a community of over 800 awesome, curious, kind, funny, brilliant, generous souls Check out StandUpwithPete.com to learn more All this month and next I will be promoting GiveWell.org and I hope you will consider sending them a donation. They will match new donors up to $250! Please go to GiveWell.org/StandUp Today's show is pretty Awesome. I was just gonna have the legend on and do the news but I wanted to chat with Michael Cohen who has been writing some very important and interesting stuff as always so its a bonus that I got him to join me too. I have about 35 minutes of news then I start with Michael at about 36 minutes and Peter and I begin at about 55 minutes but def listen to the very last 15 minutes or so. Michael A. Cohen has been a columnist for the Boston Globe on national politics and foreign affairs since 2014. He is also the author of “American Maelstrom: The 1968 Election and the Politics of Division,” “Live From the Campaign Trail: The Greatest Presidential Campaign Speeches of the 20th Century and How They Shaped Modern America” and is the co-author with Micah Zenko of “Clear and Present Safety: The World Has Never Been Better and Why That Matters to Americans.” Michael has written for dozens of news outlets, including as a regular columnist for the Guardian, Foreign Policy, the London Observer, and World Politics Review. He previously worked as a speechwriter at the US State Department, on Capitol Hill, and at NBC; was a Senior Fellow at the New America Foundation and a fellow at the Century Foundation, the American Security Project, and the World Policy Institute; and has also been a lecturer at Columbia University's School of International and Public Affairs. PETER COYOTE began his film career at 39, after living nearly a dozen years in the counter-culture during the 1960s and 70s. Since then, he has performed as an actor for some of the world's most distinguished filmmakers, including: Barry Levinson, Roman Polanski, Pedro Almodovar, Steven Spielberg, Walter Hill, Martin Ritt, Steven Soderberg, Diane Kurys, Sidney Pollack and Jean Paul Rappeneau. To date he has made over 150 films. In 2006 he had a major role in three televison series: The Inside on Fox-TV, the 4400 on USA Channel and played the Vice-President to Geena Davis's President on Commander in Chief for ABC-TV until the show's end. In 2011 he starred as the District Attorney in the new version of Law and Order – LA. In 2000 year he was the on-camera announcer of the Academy Awards Ceremony, taking the heavy-lifting off co-host Billy Crystal's shoulders for the detailed announcements and data which played live to an estimated one billion listeners. In 2007 he was prominently featured as an old boxing promoter in Rod Lurie's “Resurrecting the Champ” with Samuel. L. Jackson and Josh Hartnett, and also as Sally Field's disreputable writing teacher on the television series, “Brothers and Sisters.” He recently completed a six hour series called The Disappearance which aired last year. Most recently, he played Robert Mueller to Jeff Daniel's Jim Comey, and Brendan Gleeson's Donald Trump. The series is called The Comey Rule and will be released this year on SHOWTIME. Mr. Coyote has written a memoir of his counter-culture years called Sleeping Where I Fall which received universally excellent reviews, appeared on three best-seller lists and sold five printings in hardback after being released by Counterpoint Press in 1999, it was re-released in November of 2010 and has been in continuous release ever since. It is currently in use as a source text for Sixties Studies in a number of universities including Harvard where he was invited to teach “The Theater of Protest” last year.. An early chapter from that book, “Carla's Story, won the 1993/94 Pushcart Prize for Excellence in non-fiction. His new book, The Rainman's Third Cure, released in April, 2015 is a study of mentors and the search for wisdom and he is currently readying a new book for publication in 2021-(TITLE) The I Behind the Mask: The Lone Ranger and Tonto meet the Buddha. Mr. Coyote is well-known for his narration work, and has voiced 150 documentaries and TV specials, including the nine-hour PBS Special, The West. In 1992 he won an EMMY as the “Host” for a nine-hour series, called, The Pacific Century which also won the prestigious duPont-Columbia Award for Excellence in Broadcast Journalism. In 2010 he recorded the12 hour series on The National Parks for Ken Burns and has recently completed the voice-work on Mr. Burns most recent series—a 16 hour special on The History of Country Music. He won a second Emmy for his narration on The Roosevelts, and has also done Prohibition, The Dust Bowl, and an 18 Hour series on Vietnam with Ken Burns. Mr Coyote and Mr Burns just completed a long series on Ernest Hemingway. In 2011 he was ordained as a Zen Buddhist priest and in 2015 received “transmission” from his teacher, making him an independent Zen teacher. He makes his home on a farm in Northern California, and considers working on his 1952 Dodge Power-Wagon his longest lasting addiction. He has 40 fruit trees and loves to make jam and walk with his two dogs. Peter Coyote Episode 276 Peter Coyote Wikipedia Peter Coyote Movies IMDB Peter Coyote Books Peter Coyote with me on Episode 14   SUPPORT THE SHOW BY SUPPORTING  one of the sponsors of the show!   GetQuip.com/STANDUP Indeed.com/STANDUP and start a store or shop at Shopify.com/Standup   Check out all things Jon Carroll Follow and Support Pete Coe   Pete on YouTube Pete on Twitter Pete On Instagram

durée : 00:54:56 - Le Masque et la Plume - par : Jérôme Garcin - Vos critiques vous disent ce qu'ils pensent de "Oxygène" le dernier film de Alexandre Aja sur Netflix, "The Nightingale" de Jennifer Kent, et ces classiques : "Black Jack" de Ken Loach, "Batman" de Tim Burton, "Les Grandes manœuvres" de René Clair et "La Baule Les Pins" de Diane Kurys.

Margot reçoit Adrien Philippe de TFT Label, l'association qui accompagne les artistes Normands. Il explique comment la structure poursuit cet accompagnement, dans ce contexte de crise sanitaire. Margot présente sa dernière découverte ciné : La Baule-les-Pins de Diane Kurys avec Jean-Pierre Bacri. Elle fait aussi le point sur les dernières actualités culturelles. Le son du jour : Buck Week - Second Sight

Cornell Communications' Specialist, Carrie Chalmers returns to the show for a discussion focused on several women film directors. First up is Rungano Nyoni's spellbinding 2017 film, I Am Not A Witch. A semi-satyrical look at women in bondage with a spellbinding lead performance by Maggie Mutubwa. A film with so many twists and turns Jim decided to cut out some of the reveals mentioned during the program to avoid spoiling it for those who may watch this film later. It is currently playing on The Criterion Channel. The next film discussed is available to rent, and it is The Assistant, directed by Kitty Green. Julia Garner is a recent college graduate who lands her dream job in a New York City film production office working for a powerful film mogul (sound familiar?) The action takes place during one day at the office where the assistant will have to make a choice about her future--stay quiet about the abuse surrounding her, or be part of the problem. While Jim, Teal and Carrie each had their issues with the movie, they definitely feel there was a lot to talk about. This month The Criterion Channel features three films by French Film director, Diane Kurys. Jim, Carrie, and Teal all sampled her first feature, the 1978 coming-of-age film, Peppermint Soda. Jim enjoyed it the most, but all three found it to be an enjoyable film. Then Jim and Carrie saw Kurys' 1983 film, and possibly the movie she's most known for, Entre Nous. This feature has a lot of elements to discuss. For the final leg of the show, Teal shows his appreciation for the only woman in Oscar history to win Best Director, Kathryn Bigelow. Carrie found herself re-watching The Hurt Locker and Zero Dark Thirty with a new appreciation of what traditionally masculine material looks like in the hands of a woman filmmaker. Lots of laughs and insight packed into this 76 min episode.

C’est la rentrée, nous sommes ravies de vous retrouver pour cette seconde saison de YESSS ! Et on commence en fanfare car nous allons parler de menstrues, de ragnoutes, de ragnagnas, d’anglaises, de rouges, de sang, de muqueuse, de tampon, de coupe menstruelle, de serviettes, d’utérus, d’ovaires, de douleurs, de galères... Mais surtout, de victoires en cette douce période du mois, celle où tu tentes de mener une vie absolument normale alors qu’un combat de freefight est en train de dégénérer dans ton bide... Références : Diabolo menthe, un film réalisé par Diane Kurys et sorti en 1977. Article Buzzfeed : “Biba a demandé à des mecs ce qu’ils pensent des règles” https://www.buzzfeed.com/fr/mariekirschen/biba-a-demande-a-des-mecs-ce-quils-pensent-des-regles-et Association Règles Élémentaires https://www.regleselementaires.com Article Slate «Il a fallu que je choisisse: j’achète des protections hygiéniques ou je mange?» http://www.slate.fr/story/174876/precarite-menstruelle-tabou-regles-cout-protections-hygieniques Compte Insta @irenevrose et @spmtamere https://www.instagram.com/irenevrose https://www.instagram.com/spmtamere/ Le livre de Martin Winckler disponible en ligne gratuitement : Tout ce que vous avez toujours voulu savoir sur les règles http://martinwinckler.com/IMG/pdf/tout_sur_les_re_gles_pdf_final.pdf Epsidoe enregistré dans les studios de Radio BAM / http://radiobam.org  ------- Présenté par @Margaidq, @ZazeM et @anaisbourdet Produit par la Podcast Factory.  Musique : Matthieu Pernaud (www.matthieupernaud.net)

Diane Kurys est une réalisatrice, scénariste, actrice et productrice française, née le 3 décembre 1948 à Lyon (France). En 2016, elle produit et réalise son treizième film, adapté du livre de Sylvie Testud C'est le métier qui rentre (publié chez Fayard), une comédie qui raconte les déboires d'une actrice célèbre à qui deux productrices extravagantes proposent de réaliser un film.  N'oubliez pas de vous abonner ! 

Les titres du flash:- « Gilets jaunes »: Des «moyens exceptionnels» mobilisés samedi en plus des 65.000 forces de l’ordre, annonce Edouard Philippe devant les sénateurs.- Des policiers disent craindre des événements «inédits par leur ampleur», affirme sur franceinfo le secrétaire général du Syndicat des commissaires de la police nationale.- Le syndicat Vigi-Ministère de l’Intérieur appelle à la grève samedi, explique-t-il auprès de 20 Minutes.- Mouvement des lycéens: Environ 200 établissements bloqués ou perturbés aujourd’hui. Après des incidents, 146 personnes interpellées devant un lycée de Mantes-la-Jolie, dans les Yvelines.- Dans une note que s’est procurée 20 Minutes, les policiers du renseignement évoquent «des actes de plus en plus violents de guérilla urbaine» de certains lycéens.- Craignant les débordements, plusieurs événements bousculés ce week-end. Le Téléthon enregistré dans les studios de France Télévision, plusieurs musées parisiens fermés samedi, report de deux matchs supplémentaires de foot de Ligue 1. - L’écrivain Joseph Joffo, auteur du livre autobiographique Un sac de bille est mort à l’âge de 87 ans.- Jeux de société, figurines, drones... Plus d'un jouet sur dix acheté l’année dernière était destiné à un adulte...Notre journaliste Delphine Bancaud s’est penchée sur les raisons de ces achats.- Fanny Ardant démente ? Son personnage dans le film Ma mère est folle de Diane Kurys, est en tout cas déjanté. Un caractère qui lui ressemble, nous a-t-elle confié. Son interview sur 20 Minutes.Pour accéder aux précédents flashs de « Minute Papillon ! » sur mobile, avec :AndroidiOSPar l’onglet « 20 Minutes Podcast » sur la page d’entrée de notre site.Crédits sons : Longing - Joakim Karud/Musique libre de droits – Vibe With Me Joakim Karud/Audio Library - Density & Time/Audio Library- Rock Angel Joakim Karud/Bisquit soul de Noodgroove - Fugue Icons8.com/Looking in my eyes de Ann Abel - Fugue Icons8.com Pour plus d'informations sur la confidentialité de vos données, visitez Acast.com/privacy See acast.com/privacy for privacy and opt-out information.

Le 5 décembre 2018, Fanny Ardant sera à l'affiche de "Ma mère est folle", comédie de la réalisatrice Diane Kurys. Aux côtés du chanteur Vianney dans le rôle de son fils, elle incarne une mère déjantée qui s'essaie au narcotrafic aux Pays-Bas.Dans la vie comme à l'écran, Fanny Ardant est une femme qui aime sortir du cadre des conventions. Elle nous raconte sa passion pour le cinéma, en tant qu'actrice mais aussi que spectatrice, ses loisirs et son amour pour la folie et le désordre.Crédits : Un Fauteuil pour deux est un podcast de Séance radio, proposé par Goom (Go on media), animé par Didier Audebert. Produit à Goom Radio, le mercredi 31 octobre 2018. Directeur des contenus : Omar Erraïs. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

durée : 01:18:01 - La Bande originale - par : Nagui - Ce matin Fanny Ardant et Vianney sont les invités de la bande originale pour le film “Ma mère est folle” de Diane Kurys en salles le 5 décembre.

Antoine Jullien propose cette semaine un entretien exceptionnel avec la réalisatrice Diane Kurys à l’occasion de la ressortie de « Cocktail Molotov » le 20 juin en salles et en DVD ainsi que la ressortie DVD d’ « Un Homme Amoureux ». La réalisatrice revient pour Flashback avec beaucoup de vérité sur ces deux œuvres majeures de sa riche filmographie. Deux films très différents qui témoignent chacun à leur façon de leur époque et mettent en lumière le regard acéré et sensible de leur créatrice sur l’humain… Une artiste passionnée et accessible, qui nous confie en outre son « besoin » toujours plus grand de réaliser et son amour de la rencontre avec le public. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

La cinéaste française, réalisatrice d'un Sagan de grande mémoire, consacrée pour la première fois à l'heure où son premier film, Diabolo menthe, ressort en salles. Avec Coup de foudre, film tourné à Lyon avec quatre merveilleux artistes (Isabelle Huppet, Miou-Miou, Jean-Pierre Barci et Guy Marchand), spécialement restauré par Studio Canal pour le festival. N'oubliez pas de vous abonner ! 

Cette semaine, Antoine Jullien et Antoine Sire nous font voyager au coeur de l'adolescence avec l'histoire toujours fraîche et acidulée du cultissime "Diabolo Menthe" de Diane Kurys. Voyage dans le temps également puisque le film fête dignement ses 40 ans cette année en ressortant dans les salles ce 16 août 2017, entre flirts de vacances et approche de la rentrée des classes... L'occasion de se replonger dans une évocation cinématographique fine et juste du passage vers l'âge adulte grâce au talent de conteur d'Antoine Sire. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

On today's show, Lady P is joined by the woman who penned one of the greatest movies of the decade: Carol (2015). The funny and brilliant Phyllis Nagy is here to talk about adapting Carol's screenplay from Patricia Highsmith's original source material and the lengthy, and at times frustrating, process of getting the film into production. They chat about Cate Blanchett and Rooney Mara's rendering of the two lead characters, as well as the standout performance from supporting players, Sarah Paulson and Kyle Chandler. Plus, Phyllis offers a scoop on what happened to a few scenes from the book that didn't make the final cut of the film. Longtime listeners are by this point well aware of Lady P's total adoration of things Carol. Listen up to see if she manages to keep her composure throughout the entire interview. In addition to filling us in on details from behind-the-scenes of Carol, Phyllis is also here to discuss a pair of standout performances by the incomparable French actress, Isabelle Huppert. This year Huppert was, at long last, nominated for her first Academy Award. However, Huppert has been giving Oscar-worthy performances well before she ever worked with Verhoeven. If you are unfamiliar with her work up to this point, you might not know where to begin, as her filmography is quite extensive. Fortunately, Phyllis is here to offer up two of her favorite Huppert films as suggestions for your watch list: Claude Chabrol's 1988 film: Story of Women, and Diane Kurys 1983 film: Entre Nous.  Both Story of Women and Entre Nous are period dramas which find Huppert playing malcontented married women, both of whom form deep attachments to their closest female friends. In Story of Women she plays Marie Latour, a woman who, despite her husband's objections, traffics in abortions and other illegal dealings in German occupied France. In Entre Nous, Huppert plays Lena Weber, a woman who falls into an expedient marriage in order to escape Nazi control, but after the war is over falls in the love with another woman. Both of these movies were heralded by critics upon their initial release. However, only Story of Women, is readily available. You can purchase it on DVD and it's also streamable on FilmStruck. However, Entre Nous (you know, the one directed by a woman) is currently unavailable in the US. If you're lucky enough to have a region 2 DVD player, you can purchase it here. Listeners, your mission is now to bug the right people, and get this wonderful film back in circulation.