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This week on the blog, a podcast interview with filmmaker Amy Scott, discussing her terrific documentary, “Hal,” which takes a deep dive into the life and films of director Hal Ashby (“Harold and Maude,” “Being There,” Coming Home,” “Shampoo”). LINKS A Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6 Fast, Cheap Film Website: https://www.fastcheapfilm.com/ Amy Scott Website: https://www.amyelizabethscott.com/ “Hal” Documentary website: https://hal.oscilloscope.net/ “Hal” Trailer: https://youtu.be/GBGfKan2qAg “Harold and Maude Two-Year Anniversary” Documentary: https://youtu.be/unRuCOECvZM Eli Marks Website: https://www.elimarksmysteries.com/ Albert's Bridge Books Website: https://www.albertsbridgebooks.com/ YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcastAmy Scott Transcript First, I want to say thank you for making the movie and thank you for making such a great movie because he totally deserved it. I would always wonder why of all the directors of the 70s and 80s, he was never really heralded the way he should have been. I think part of it has to do with that he had no discernible style. So, you couldn't really pick him for something. But before we dive into that, tell me a little bit about your background before you made Hal?Amy Scott: Well, I'm from Oklahoma. I moved to Chicago, out of college and in college, we studied a lot of, I had a great professor at ODU at the University of Oklahoma. I don't think he's there anymore. But he really hipped us to the coolest documentaries. I had no idea that you could be a documentary filmmaker, like from Chris Marker to the 7-Up series to Hands on a Hard Body. It was just a really great, great, well-rounded Film and Media Program. Anyway, I moved to Chicago. I wanted to be a director and a DP, but I fell down, I had gotten a job at the University of Chicago. I think I faked my way into it. I was supposed to start on a Monday, and I fell on the ice and broke my arm on a Friday. So I was like, “I can't shoot. I can't film. I can't use my arm to film and hold the camera. I need to learn how to edit. So I learned how to edit with my right hand, and I loved it. And then I just did that for like 10 years. Well, I mean, I still do it. But it was like this accidental career path.You're an accidental editor.Amy Scott: An accidental editor. That became something that later, I just valued as such an important skill set. I use it now. I have wonderful editors that I work with. But we speak the same language. And I think with the story structure, that you have an eye for things in the edit bay and now it really, really helps my ability to break down a three-act structure or figure out where the narrative arc is, and things like that. I think would have taken me a lot longer, had I not fallen and broken my arm.It was sort of a similar path for Hal Ashby, starting in editing.Amy Scott: Totally. I loved his films and then when I read Nick Dawson's book, and I started to learn more about him, I really, really connected with him. Because of things that he would say about filmmaking and editing and being in the edit bay and being obsessed with every frame. I felt like, being seen and heard. Like, “Oh, this is how I feel about it, too. I don't feel like such a freak of nature, and lots of people feel this way.” I really connected with Hal and he didn't make The Landlord I believe until he was 40 years old. He was up there. Amy Scott: Yeah, up there. For a first-time filmmaker, that's a late start.Amy Scott: And that was about the same age that I made the Hal movie. What was your first experience with a Hal Ashby movie?Amy Scott: The first film that I saw that I can remember was with my friend Jason in college. I was watching Truffaut and Cassavetes and so I thought that I had a very well-rounded understanding of the new Hollywood. And my friend Jason said, “Have you ever seen Harold and Maude?” I had no idea what he was talking about. He was a couple years older, and he was like, “Oh, honey, you're gonna skip school today. We're gonna watch it.” And I swear to God, we watched it. I couldn't believe what it was. I couldn't believe I'd never seen it. It somehow gone past me. As soon as it was over, I was like, “Stop. Start it again.” We have to rewatch it. We where there for like eight hours, watching it on a loop. David Russell compares it to The Catcher in the Rye as a sort of like rite of passage for people at that age. It hit me right straight through the heart. And then from there, I think I saw The Landlord, someone had screen of The Landlord in Oklahoma City. And I was like, oh my god, this is incredible.I live in Minneapolis, where Harold and Maude ran at The Westgate theater for two and a half years. I saw the movie quite a bit there. And then, because I was in a film program, and knew someone who knew the film critic for the local paper, when Ruth and Bud came to town for the two-year anniversary, he sorts of dragged me along with him. So, I had dinner with Bud Cort and hung out a little bit with Ruth Gordon. I made a little documentary on Super 8mm of my perspective on their experiences. I was 15 years old or something and although I knew their itinerary, I couldn't drive. And so I would go to the TV station and shoot some stuff there with them and then they were on to something else. I had to hop on a bus to keep up with them.Amy Scott: That's incredible.Yes, my only regret was on that when I had dinner with Bud that I didn't ask better questions. I was sort of starstruck and there's a lot of question. I would ask him now—that I've tried to ask him—but you know, he's not too communicative.Amy Scott: Yeah. That's incredible that you that you have that footage and I would love to see it.It was really, really fun and interesting. Ruth Gordon was very much Ruth Gordon, very much Maude. She didn't suffer fools. So, you've seen Harold and Maude, seen The Landlord. At what point did you decide that a documentary had to be made?Amy Scott: Well, okay, I was pregnant with my first child, and was finishing up Nick Dawson's book on Hal, you know, on Hal's life. And I thought, I just couldn't believe there was a documentary. But this is before the market became oversaturated with a story about everyone's life. At the time, I just thought, oh my gosh, there's so much here. This guy, his films should be really celebrated. And he should be more known and revered in the canon of American 70s New Hollywood, because he's so influential.And that's why it was important that we include David O Russell and Adam McKay, and Allison Anders, Judd Apatow. They could draw a direct connections, like the film family tree. When you see the wide shots in Harold and Maude, you think of Wes Anderson. Or, you know, the music, you think of David O Russell. I mean, his influence was everywhere. I started to connect the dots and I thought, oh, my gosh, we've got to, we've got to make a film here. But I'd never done anything like that. I had directed smaller documentaries. I tried to make a film about this band called The Red Crayola and that was a hilarious attempt on my part. To try to chase them around the globe and on no money. That was my only experience outside of editing. So, fortunately, I had hooked up with my producing partners that I still work with now. I just met them at the time and they hired me to edit some cat food commercials. So it was editing Friskies or Purina, I don't know what it was. It was just looking at cats all day.And I was about to give birth but I was working trying to lock down the rights And the rights came through one afternoon and I just pulled them (the producers) in and I was like, let's do this together. We didn't know what the hell we were doing, but it was so great and so fun. We approached it, like, all hands-on deck, and we were a little family making this thing. So, that spirit has continued, thank goodness, because of what we put into the Ashby movie.What do you think were his unique qualities as a director?Amy Scott: Gosh, so much. I just think he really had an eye. He could see stories. You said something earlier, that all of his films are not the same and therefore it's hard to go, oh, he's this style of filmmaker. But the thing that they all have in common is that he has a very real and raw approach at looking at humanity. Sort of holding the mirror up and showing us who we are, with all of our faults and complexities and layers of contradictions and failures. So he's able to see that and find the stories of humanity. And that's the connective tissue for me. He also had a sick musical taste; I mean, he sort of found Cat Stevens. The soundtrack to Shampoo—I think that's why it's not in wide release right now, as I can't imagine having to license Hendrix and Janis and the Beach Boys, you know?That's true. But I'll also say he had the wisdom to let Paul Simon do the small musical things he did in Shampoo, which are just as powerful or if not more powerful.Amy Scott: So, powerful. So much restraint. Incredibly powerful. I feel like Hal, because he was not—from all of our research and talking to everyone and girlfriends and collaborators—he wasn't a dictatorial director. He didn't lay down mandates. He was really open to hearing from everybody and making it feel like it was a democratic scene and everyone has an equal voice. If you had an idea, speak up.But at the end of the day, he was like, okay, here's the vision. And once he had that vision, I think that's where he really got into problems with the studio system. Because that was such a different time. The studio guys thought that they were also the director, that they were also the auteur. I cannot imagine a world where you throw your entire life into making a film and then a studio head comes along and tries to seize it from you. I mean, that would give me cancer, you know, from the stress. I can't imagine.It certainly didn't match with his personality at all.Amy Scott: No, not at all. What I thought was so fascinating was how open he was to ideas. I love that about him and it resonates in my microscopic ways of connecting to that now. Man, every time it pops up, I'm like, I feel this little Hal Ashby devil angel on my shoulders. Yes, but it's odd. Because it's not like they didn't know what they were getting. It's not like he hid that part of his personality. You would know, immediately from meeting him that...Amy Scott: Yeah.With Harold and Maude, it was just a weird perfect storm of a crazy executive like Robert Evans saying yes to all these weird things. And then the marketing team at Gulf and Western/Paramount going, “we have no idea what to do.” You know, I had the Harold and Maude poster hanging for years. And it's the most obvious example of a studio that cannot figure out how to market a movie. The Harold and Maude different color name thing. It's just so obviously they didn't know what do.Amy Scott: I know I love when Judd Apatow was talking about that. That's really funny.So, what was the biggest thing that surprised you as you learned more about Hal?Amy Scott: What surprised me was that side of his temperament. He did look like this peace love guy. He was an attractive man but, you know, this long hair and long beard and so cool and I had a really myopic like view of what I thought his personality was. I thought he was a super mellow guy. And then I got in and started reading the letters. My producer, Brian would read the letters in his voice as a temp track that we would use that to edit to cut the film. And we were rolling, dying, laughing, like falling down, like, oh, my God, I cannot believe that Hal would write some of this shit to the head of Paramount or whoever. It was like, wow, this guy is not at all who I thought. These were fiery missives that he was shooting off into space.It wasn't like just getting mad and writing an email. I mean, he had to sit on a typewriter.Amy Scott: Typewriter and they were very, very long. I mean, the sections that we used in the film, were obviously heavily cut. We couldn't show like six pages of vitriol. The best part about the vitriol though, he wasn't just vomiting, anger. It was a very poetic. He had a very poetic way of weaving together his frustration and expletives in a way that I just loved.And then we turned the papers over to Ben Foster. That's why we wanted him to narrate—be the voice of Hal—because he's always struck me as an artist that totally gets it. Not a studio guy and he was all over it. He was right. You can really identify with this sort of, you're either with us or against us artists versus, the David and Goliath. So, that was most fascinating to me. I knew—because of the book, because Nick did such a great job—I knew Hal's story. Leaving his child, leaving Leigh. It's one thing to read about it in a book and it's a completely different thing to go meet that person, to sit with her. She's since become a dear friend to me. I feel like she'd never really spoken about that, about her dad and that time of her of her life. I think revisiting trauma on that level, and working through a lot of those emotions with her, was really heavy and not what I intended. When I set out to make the film, I was thinking about the films of Hal Ashby. I didn't think it would get as heavy as it did. I'm glad that we went there and that she took us with her. I feel really, really thankful. I think she got a lot out of it. We certainly did.It really did show you just how complicated he was, the reality of his life, when you see the child. And she was so eloquent on screen. Amy Scott: So great. He had some generational trauma too and then you put it all together, and you're like, okay, well, this is somebody that's really adept at looking deep into the human condition. He'd been through a lot. He'd made a lot of mistakes and he's been through a lot. So, of course, this checks out. And he's just so talented and creative, that he can make these films that are this really accurate, fun and funny and sad and tragic and beautiful portrayals of humanity.Well, let's just if we can't dive into a couple of my favorites just to see if anything you walked away with.Obviously, Harold and Maude hold a special place in my heart. I've just loved reading Nick's book and reading and hearing in your film and in listening to commentaries about what Hal did to wrestle Harold and Maude into the movie that it is. I forget who it was on one of the commentaries who said there were so many long speeches by Maude that you just ended up hating her. And Hal's editor's ability to go and just trim it and trim it and trim it. I compare what he did there to what Colin Higgins went on to do when he directed and he simply didn't have it. He had the writing skill, obviously, and the directing skills. He didn't have that editor's eye. I don't think there's a Colin Higgins movie made that couldn't be 20 minutes shorter. If Hal had gone into Foul Play and edited it down, it would have been a much stronger comedy. 9 to 5 would have been 20 minutes shorter. Probably a little stronger. Anyway, you don't recognize that. It's all hidden. It's the edit. You don't know what he threw away and that's the beauty of Harold and Maude: within this larger piece he found that movie and found the right way to express it. So, what did you learn about that movie that might have surprised you?Amy Scott: Everything surprise me about it. You know, we were never able to get Bud Cort. You know Bud Curt, he's so special and so elusive and we thought we thought we were gonna get him a couple times and then it was just a real difficult thing. But you have him from the memorial service, and that's a great thing.Amy Scott: Oh, yeah. Anytime he's on camera, he's bewitching. He's incredible. So we went again with the letters. I just didn't realize that Bud and Hal we're so close. I mean, obviously, they were close. But they were very tight. They had a real father son, sort of bond.Charles Mulvehill, the producer, also talked about how difficult it was to make the film. I didn't know that Charles ended up marrying one of the women that is on the dating service that Harold's mom tries to set up. That was interesting, too. It's hard for me, to tell you the truth. We did so much research on all the films, so there's little bits and pieces of all.Jumping away from Harold and Maude—just because my brain is disorganized—Diane Schroeder was with Hal for a number of years and she's in the film. She was sort of a researcher archivists, she wore many hats. I did not realize that on Being There, she really needed to nail down what was on the television Chauncey Gardiner learned everything from TV, so it was really important what was on it. When he's flipping, it's not random. She and Hal would take VHS tapes in or I guess it would have been Beta at the time, whatever the fidelity was, but they would record hundreds of hours of TV and watch it. She got all these TV Guides from that year, 1981. But what was a three year's span, she had all the TV Guides. She had everything figured out. It was like creating the character of Chauncey Gardiner, with Hal and then Peter Sellars got involved, and he had certain thoughts about it, too. I was just so blown away by the fact that that much care and effort and painstaking detail would go into it. When you see it on screen, it's definitely a masterpiece because of those things. Just the defness of editing, of leaving things out, is what makes it good. That is such a such a really hyper detailed behind the scenes thing to know that. When we were going through his storage space. I remember asking Diane, why are there boxes and boxes and boxes of TV. She said, “oh, yeah, that's Chancy Gardener's.” I said, I cannot believe you guys saved this. Really funny. It's interesting because they would have done all that in post now. And they had to get that all figured out, before they were shooting it. That's a lot of pre-production.Amy Scott: Oh, an immense amount of pre-production. Hal set up an edit bay in his bedroom. It's the definition of insanity. I had that going on at one point in my life and it's not good. It's not good thing to roll over and it's like right there like right next to pillows staring at you. You need some distance.When I saw Being There for the first time for some reason I was in Los Angeles/ I saw it and of course loved it. And then came back to Minneapolis and someone had seen it and said, “don't you love the outtakes?” And I said, “What outtakes?” They said, “over the end credits, all those outtakes with Peter Sellars.” And I said, “there were no outtakes.” In the version in LA, they didn't do that.Amy Scott: I wanted to add this, but we just ran out of time. We found all these Western Union telegrams that Peter Sellars wrote to Hal, just pissed, just livid, furious about that. He said, “You broke the spell. You broke the spell. God dammit, you broke the spell.” He was so pissed that they included those outtakes and I agree with them.It's not a real normal Hal move, is it?Amy Scott: No, it's honestly the first time that I'd ever seen blooper outtakes in a film like that. That's such an interesting 80s style, shenanigans and whatnot. But, yeah, no, you want them to walk out on the water after watching him dip umbrella in the water and think about that for the rest of your life. Exactly. I think they left it out of the LA version for Academy purposes, thinking that would help with the awards. But then years later to look at the DVD and see the alternate ending and go, well, that's terrible. I'm glad you guys figured that out. And then apparently, was it on the third take that somebody said, he should put his umbrella down into the water? Amy Scott: That's so smart.It's so smart. Alright. Shampoo is another favorite. I'm curious what you learned about that one, because you had three very strong personalities making that movie with Robert Towne on one side and Warren Beatty on the other and Hal in the middle. It's amazing that it came out as well as it did. Somehow Hal wrangled it and did what he did. What did you learn there that sort of surprised you?Amy Scott: Well, that aspect is what we wanted to really investigate. Because Hal had a pretty singular vision. Hal as a director—at that stage—was becoming a very important filmmaker. So, then how do you balance the styles of Robert Towne and Warren Beatty? These guys are colossal figures in Hollywood, Alpha dogs. I wish that we could have sat with Warren. It was not for lack of trying. I think a lot of these guys that we couldn't get, it's like, yeah, that's what makes him so cool. Bruce Dern. I was trying to chase down Bruce Dern at the Chase Bank, and he got up one day and I was just like, I knew, let it go. But Shampoo, everything we learned, we put in the film. Robert Towne talked to us. And then there was the audio commentary that Hal had from his AFI seminars. Caleb Deschanel spoke pretty eloquently about it being like watching a ping pong match going back and forth between Robert and Warren about what the direction should be. And then the director sitting in a chair probably smoking a joint, waiting for them to finish. It seems like they might have needed a sort of mediator type presence to guide the ship, like have a soft hand with it, you know? You can't have three alphas in the room at the same time. Nothing would get done. You need a neutralizing force and it seems like that's what Hal was it. He just had a really great taste, you know? My favorite element of that movie—besides Julie Christie's backless dress—would be Jack Warden. Anytime Jack Warden comes on screen, I'm like, just want to hang with him for another half hour. I can just watch that man piddle around and be funny.I remember reading an interview with Richard Dreyfus after Duddy Kravitz came out, in which he was blasting the director, saying that they ruined Jack Warden's performance in post-production. And Jack Warden is amazing in Duddy Kravitz. I don't know what they he thinks they did to it, because he's just fantastic.Amy Scott: He must have just been astronomically amazing and funny, which is what I imagined he's was like.I took away two things from Shampoo. One was—having seen Harold and Maude as often as I did—recognizing that the sound effects of the policeman's motorcycle as being the same one as George's motorcycle as he's going up the Hollywood Hills. Exact same ones.But the last shot as he's looking down on Julie Christie's house and the use of high-angle shot, it is one of the saddest things I've ever seen. It's just a guy standing on an empty lot looking down onto the houses below, but it's … I don't know. Given the guys he was dealing with, I don't know how he made that into a Hal Ashby movie, but he did.Amy Scott: He did. Well, it seems like it's moments like that yeah, there's so much melancholy loaded into that moment. Because George is such an interesting character. Now, I'm realizing that you and I have just blown, we've just spoiled the ending shots of both Being There and Shampoo.Anybody listening to this who hasn't seen those movies deserves to be spoiled.Amy Scott: Get on the boat. But yeah, that always got me. I think it's all of those really like, foggy misty Mulholland Drive shot of George on his motorcycle, anytime he's alone. Because he crams his life so full of women to try to fill the hole or the void or whatever he's got going on that's missing in his life. And he's just trying to shove it full of women. So, when he's alone, and he has nothing and no one you're like, oh, my God, this is the saddest thing I've ever seen.It really is. I don't know. Maybe you can fill me in on this. I remember reading somewhere that the scene—his last scene with Goldie Hawn—they went back and they reshot it because somebody said he's standing. He should be sitting. And I'm always interested in directors who hear that and are willing to go back and do it. The other example is Donald Sutherland in Ordinary People in his last scene. Telling Redford, “I did it wrong. I should be done crying. I was crying when I should have been done crying.” and they went back and reshot. His portion of it is no longer crying because the director went, you're right. And that simple notion of Warren Beatty should be sitting down, and she should be standing over him. Amy Scott: She's got the power. Yes. But I'm not sure a lot of directors would have said yes to that. Like, “We don't need to go back and do that. We're overscheduled we got other stuff to do …”Amy Scott: Oh, I don't think Hal cared about the schedule at all. Everything that I read or, you know, even Jeff Bridges talked about, like them being over budget and he's like, “you know, all right, let's figure out a creative solution to this. It's going to take as long as it's going to take.” He never seemed to really get riled onset or let those sorts of parameters hold all the power and guide the filmmaking. He was in complete control of that. Having that sort of attitude about things, that just spreads to the whole set. That spreads everywhere and makes it easier for everybody to work.Amy Scott: It does.Let's do one last one. Coming Home is interesting for me because I had friends who ran a movie theater here in town. It was just a couple of running it and I would come by from time to time if they were busy. I'd go up and run the projector for them. They had one of those flat plate systems, so you only had to turn the projector on. It wasn't that big a deal. But you know, I was young and it's like okay, now I'm going to turn the house lights down … I got to see the first five minutes of Coming Home a lot. Probably more than I saw the rest of the movie. Was there anything you learned about the making of that film that surprised you?Amy Scott: Yeah, I didn't realize how hard it was to get that film made. Jane Fonda is the one that's really responsible for Coming Home even existing. Nancy Dowd had a book and Jane really fought hard to get it made. By the time it got to Hal, it was different, there was a number of rewrites. And it obviously had to be cut down significantly. I never think—it's never my go-to—to think that one of the actors is the one responsible. Usually it comes to you in a different way, and especially if he's working with Robert Towne and the like. But I thought that was really cool and really interesting that Jane spoke about showing what our veterans were going through. This wasn't new, because you had like The Deer Hunter would have been the comparable. And that's a wildly different take on what coming home from the Vietnam War was like. But also, the woman's journey in that film, and the sexuality of all of that was just like, wow. Only Jane Fonda can speak about it eloquently as Jane Fonda does. I also didn't realize— when we were sitting with John Voigt—that he was really method in the way that he didn't get out of his chair, I mean, for days on end. Going into crafty in the chair, learning how to do go up ramps and play basketball and all the things that you see was because he wouldn't get out of the chair, which was wonderful. I really enjoyed talking with Jeff Wexler, and Haskell. That interview that we did with Haskell, I'm so thankful for because, you know, Haskell passed away, not that long after we film. That was one of his last interviews. So, it was really special. He came to the set and Haskell is like, a film God to me and my team. For me, I lived in Chicago so Medium Cool, was one of the coolest things ever. Meeting him and talking with him was so interesting. I loved hearing about the opening. You can just tell it's Haskell Wexler. You know it's a Hal Ashby film, but the way it starts and having seen Medium Cool, and going into that opening scene, where the all the vets are non-professional actors. They were actual vets that had come home and those were their true real stories. Now we would say it's sort of hybrid documentary and scripted, but it was like a really early use of that kind of style. And that's what made it feel so real and then you start in with the Rolling Stones, it's just such a masterly, powerful film.I'm always curious about that sort of thing where he has a lot of footage and he's creating the movie out of it and what would Hal Ashby be like today? How different would his life be if he had everything at his fingertips and it's not hanging out a pin over in a bin and he had to remember where everything was? I don't know if that would have been any made any difference at all?Amy Scott: He was an early pioneer of digital editing. He was building his giant rigs and was convincing everyone that digital is the way to go. Which is so cool and so mind blowing. But I think it was born out of a place of independent film, of democratizing the access and taking the power away from the studios. And knowing that you could do this cheaply in your home. It was so actually tragic to learn that. What could he have done? Because his output was just, he put out so much so many great movies. So, what could he have done if the infrastructure was even more accessible and sped up technologically?Imagine an 8-part streaming series directed by Hal Ashby, what would that be?Amy Scott: Just be incredible. Well, I know that he was wanting to work. He had so many films that we found. And we found script after script. One of them, I was so, “damn, that would have been cool,” was The Hawkline Monster. A Richard Brautigan science fiction Western novel. It's so trippy and so cool. I feel like every couple of years, I hear about some directors says, “we got the rights, we're gonna make it.” And I'm like, when are they gonna make it? It's so long.And imagine what his version of Tootsie would have been.Amy Scott: Oh, I know. Yeah. No joke.Just seeing those test shots. Wow. Amy Scott: I know, it would have been a different film.I read a quote somewhere that one of the producers or maybe it was Sydney Pollack, who said, they took the script to Elaine May. And she said, “yeah, it just needs…” And then she listed like five things: He needs a roommate that he can talk to … the girl on the TV show, she needs a father, so he can become involved with him … there also has to be a co-worker who is interested in him as a woman … the director needs to be an ass, he should probably be dating the woman. It was like five different things. She said the script is fine, but you need these five things. So, what did they have? She just listed the whole movie.Amy Scott: Right. Well, we're talking about Elaine May. She's someone that needs a film. She does. And why aren't you doing that?Amy Scott: Listen, I'm telling you. I've tried. This is another one that I've tried for years. You know, here's a real shocker: It's hard to get a film about a female filmmaker funded. It's a hard sell.She probably wouldn't want to do it anywayAmy Scott: She's so cool. My approach has always been that she has so much to teach us still. So, I would love to get her hot takes on all those films. A New Leaf. I mean, the stories behind that thing getting made.Like the uncut version of A New Leaf.Amy Scott: Exactly. I want to hear it from her. So, yeah, that's high up on my list. I really, really want to make one with Elaine.Was there anyone else you really wanted to get to? You mentioned Warren didn't want to talk to you. Anybody else?Amy Scott: I would have loved Julie Christie or, you know, more women would have been great. Bruce Dern was so great and so funny and I'd seen him a number of times. I saw he was at a screening of one of his movies. He talked for like, an hour and a half before they even screened the film. He was whip smart in his memories. I was so upset that we couldn't work it out because I knew that he would be incredible.Just his knowledge of movie industry, having been in it so long.Amy Scott: My gosh, yeah.He even worked with Bette Davis.Amy Scott: Yeah, he's national treasure. Exactly. I was just staring at a poster. I have framed poster of Family Plot in my kitchen. That's the movie that was going to make him a star, according to Hitchcock. It still has one of the greatest closing shots of all time. I think I read that Barbara Harris improvised the wink, and that's another person who you should make a documentary about.Amy Scott: Oh my gosh. Barbara Harris is something. Do you remember what was the film that she was in with? Dustin Hoffman and Dr. Hook scored it. It's a really long title. Who Is Harry Kellerman And Why Is He Saying These Terrible Things About Me?Amy Scott: That is such a phenomenal Barbara Harris performance. I mean, Dustin Hoffman is incredible. He's always great. But Barbara Harris really shines and I guess I'm like, that's who she was. Yeah, I think she was difficult. Well, I don't know, difficult. She had stuff she was dealing with.Amy Scott: She had issues and Hal had to deal with those on Second Hand Hearts too.From a production standpoint, people are interested in hearing what your Indiegogo process was Any tips you'd have for someone who wants to fund their film via Indiegogo?Amy Scott: Oh, boy. Well, that was a different time, because I really don't know how films are funded at the moment. This came out five years ago, but it took us like six years to make. So, during in that time, you could at least raise enough capital to get through production.The Indiegogo campaign enabled it so that we could even make the movie, because everything past that point, nobody ever got paid at all. But at least that way, we could buy film stock and pay the camera operators and our DPs and stuff. So, that was hugely important.At the time, I remember thinking like, oh, no, how are we ever going to get anybody to because you had to make these—I don't know if this is still the case—but you had to make these commercials for your project or like a trailer to get people's attention. And you had to be all over Facebook and crap like that. So, I was like, oh, no, how am I going to make a thing that shows that Hal Ashby's important to people that want to give money?A friend somehow knew John C. Reilly and mentioned it to him. It was like, we just need a celebrity to come in for like, you know, half a day or one hour. And he said, I'll come on down and do that. And he came. I couldn't believe it. The generosity of this man. He didn't know us at all. But he knew and loved the films of Hal Ashby and wanted to give back and pay it forward. So, he came down and because of him, we have a really funny, awesome little commercial trailer. I have no idea where that thing even is. I'd love to see it because I had to do it with him, which was terrifying, because I am not a front of camera person. I didn't know what to say. And he said, All you have to do is ask for money. I'll all do the rest of the talking.I remember seeing it. Amy Scott: It's been stripped from Indiegogo which probably means that we used a song that we weren't able to. That was back in the early days of crowdfunding, where you could just take images or songs and I'm sure I used the music of Cat Stevens, and then, loaded up with a bunch of photos that we never paid for.Well, that brings up a question of how did you get all the rights to the stuff you got for the finished movie? Was that a huge part of your budget?Amy Scott: No. The most expensive thing always to this day is music. Music is going to get you. Outside of that, thank goodness, there's this little thing called fair use now, which wasn't the case in documentary filmmaking for a very long time. But now you can fair use certain elements, photographs, or news clips, video clips, anything that sort of supports your thesis that you're making about your subject and supports your storyline falls under the category of fair use. So, I think what our money did pay for is the fair use attorneys that that really go over your product. They went over out fine cut, because we couldn't afford to pay for multiple lawyers to look at it. So you give them a fine cut, you hold your breath and hope that they say, oh, you know, you only have to take out a couple things. And you're like, oh, thank God. Okay, and then you change it.I believe, because we never had any money, that we submitted to Sundance and got in on a wing and a prayer. And then had, you know, two weeks to turn the film around and get it, finished. I remember we were like, you know, pulling all these all nighters, trying to change the notes that the legal said XY and Z was not fair use and trying to swap out music with our composer. It was a wild, wild run.Isn't that always the way? You work on it for six years and then suddenly you have two weeks to finish it.Amy Scott: That's how it shook out for us. It was like really, really pretty funny, because you're going on a leisurely pace until you're not. And then it's like, alright, it's real now. I thought for years, I think my friends and casual acquaintances thought that I've lost my mind. Because every year, I'd see people that I would see occasionally and they're like, hey, how's it going? What are you working on? I'm like, I'm just working on this Ashby's movie. And they were like, year after year, like damn. She's like, we need to reel her in and we need to throw her a lifeline. No, really, I really, really am. So, it was pretty funny. We were. We did it.People have no idea how long these things take. Amy Scott: It's unfunded. But you know, then we got lucky after that, because we nearly killed ourselves on Hal. Then we kind of fell into the era of streaming deals and streamers. And then people were like, oh, we want to make biopics and we want to give you money to make a biopic. And that was truly our first rodeo. We're like, oh, my gosh, what? This is incredible. We can get paid for this. Now that's falling away. This streaming industry is, you know, collapsing in on itself as it should, because there's no curation anymore. And it's like, let's return to form a little bit here, guys. So, we're just riding the wave. I say it's like we're riding trying to learn how to ride a mechanical bull this industry. I'm a tomboy. So, every local Oklahomans is up for the ride.Let me ask you one last question. I'll let you go then. So, as a filmmaker, what did you learn doing a deep dive into the work of this director and editor and you are a director and editor? So, that's sort of a scary thing to do anyway, to be the person who's going to edit Hal Ashby. What did you learn in the process that you can still take away today?Amy Scott: Well, listen, we joke about it all the time. My producer, Brian Morrow and I are constantly going, oh, what would Hal do? Everything that he stood for, as a filmmaker. The film will tell you what to do. Get in there, be obsessed be the film, all of those things.I get this man because I feel the same way. So, when we like took a real bath in Hal Ashby's words for years, that sort of that shapes the rest of your life as a filmmaker. You're not like a casual filmmaker after going through like the Ashby's carwash. That stuff's sticks.But I'm proud. I'm proud that that we pulled it off. I'm proud that we were able to make the movie. Somebody would have done it, because Hal is too great and too good, and he just has deserved it for so long.The only thing that we've ever wanted was that we wanted people to go back and watch his films, or to watch him for the first time if they had never seen him. And then to take his creative spirit forward. Be in love with the thing that you make. It's your lifeforce. So, otherwise, what is it all for, you know? So, yeah, that's what I got from him.

In Episode 122, Gen and Jette keep up their CanCon with a discussion of Canadian authors. Show NotesIf you're unfamiliar with CanCon, it's the stipulation that all Canadian media contain a certain percentage of content produced, written, etc. by Canadians. It turns out we have a lot of episodes about books by Canadian authors (though not 35% as dictated by CanCon...we're working on it LOL). Find them all listed below.Listen to the CBC Massey Lectures for free on the CBC Radio website Alicia Elliot's new novel, And Then She Fell, is expected September 26.Anne Michael's new novel, Held, is expected November 9.Should we do an episode on Marian Engle's Bear?We did our best to list everything we talked about below, but it's very likely that we left something out since we talked about a lot. (Buckle in, she's a long one)Our next episode we'll be talking about Tegan and Sara's new graphic novel, Junior High (more CanCon!)Books & Authors MentionedRobert MunschFiona Staples (Saga)Chip Zdarsky (Sex Criminals)Mariko Tamaki (This One Summer)Margaret AtwoodLeonard Cohen (Beautiful Losers)Carol Shields (The Stone Diaries)Margaret Laurence (The Stone Angel)L.M. Montgomery (Anne of Green Gables)Roberston DaviesAlice MunroMordecai Richler (The Apprenticeship of Duddy Kravitz, Barney's Version, Jacob Two-Two Meets the Hooded Fang)Lawrence Hill (The Book of Negroes)Yann Martel (Life of Pie)Michael Ondaatje (The English Patient)Miriam Toews (A Complicated Kindness, Women Talking, All My Puny Sorrows)Esi Edugyan (Hald-Blood Blues, Washington Black)Emily St. John Mandel (Station Eleven, The Glass Hotel, Sea of Tranqulity)Courtney Summers (Sadie, The Project)Silvia-Moreno Garcia (Mexican Gothic, Certain Dark Things, Velvet Was the Night, Silver Nitrate)Madeleine Thein (Do Not Say We Have Nothing)Anne Michaels (Fugitive Pieces)Marian Engle (Bear)Douglas Coupland (Generation X, Girlfriend in a Coma, Hey Nostradamus, All Families Are Psychotic, Terry, Microserfs)Episodes with Canadian Authors & Books10: Heartbreaker by Claudia Dey20: House of Anansi Press 2019 Spring Books (Autopsy of a Boring Wife by Marie-Renée Lavoie & Dual Citizens by Alix Ohlin)25: Sadie by Courtney Summers26: Paper Houses by Dominique Fortier36: Disfigured by Amanda Leduc39: House of Anansi New Releases (Coming Up for Air by Sarah Leipciger &Pallbearing Stories by Michael Melgaard)42: The Shale Project (Two Dark Moons by Avi Silver & The Heretic's Guide to Homecoming by Sienna Tristen)43: You Are Not What We Expected by Sidura Ludwig50: From the Ashes by Jesse Thistle51: Coach House Books 2021 Fall Releases (Imago Stage by Karoline Georges & Fauna by Christiane Vadnais)59: Mexican Gothic by Silvia Moreno-Garcia62: Because the Sun by Sarah Burgoyne70: A Boring Wife Settles the Score by Marie-Renée Lavoie74: And Miles To Go Before I Sleep by Jocelyne Saucier82: Pegamoose Press88: Lesser Known Monsters of the 21st Century by Kim Fu92: Interview with Stephanie Cooke Don't forget to follow us on Instagram, TikTok, and Twitter or email us at hello@anotherbookontheshelf.com. We'd love to hear from you! Sign up for our newsletter and add us to Pinterest!

The Jockey Club is a scene by scene look at the 1989 movie Let It Ride.Here to discuss the 18th scene of the movie is Dr. Sean Munger. Sean and Dan discuss Trotter's attempts to fit in to a place he likely doesn't belong, extols the virtues of The Apprenticeship of Duddy Kravitz, and learn about inter-library loans.LinksDan on Twitter: @_dan_delgadoSean on Twitter: @sean_mungerGet the Limited Edition Blu-ray from Imprint Films: https://t.co/fgn76QoLWQGreen Screen podcast: https://podcasts.apple.com/us/podcast/green-screen/id1498340402Sean's appreance on The Industry: https://www.industrypodcast.org/staring-at-the-sunn/Sean's YouTube channel: https://www.youtube.com/c/SeanMungerBuy Me A Coffee: https://www.buymeacoffee.com/theindustry

Rick Rule shares sage mining stock investing advice in 40-minute discussion with Bill Powers and Brian Leni of JuniorStockReview.com. He discusses jurisdictional risk generally and analyzes G Mining's finance package which included a gold stream. Rick provides somewhat of an autopsy of Alexco Resources which is being “taken under” by Hecla and discloses why he sold his shares a long time ago. He provides his view on juniors taking bridge loans and explains why rights offers are “the fairest of all financing mechanisms”. Rick shares his thoughts on deep sea and asteroid mining. He reveals where some of the best risk/reward opportunities are in the resource sector right now. Finally, Rick explains why he likes “The Apprenticeship of Duddy Kravitz” and shares about his upcoming symposium and offers to review listener's mining portfolios. 0:00 Introduction 1:00 Jurisdictional risk 4:24 When deals began to seek Rick out, not vice versa 11:05 G Mining's finance package including a gold stream 13:06 Alexco Resources' autopsy 17:04 Exiting a position when there is change of mission 19:22 Thoughts on juniors financing via bridge loans 22:09 Rights offering: the fairest of all financing mechanisms 27:04 Will & when will financial system go back to gold standard? 31:23 Deep Sea mining or asteroid mining? 32:58 Best risk/reward opportunity in resource sector now? 38:08 Why Rick likes “The Apprenticeship of Duddy Kravitz” 40:10 Rick Rule's Symposium (July 26-29 in Boca Rotan, FL) Rick's Symposium: https://opptravel.zohobackstage.com/TheRuleSymposiumofNaturalResourceInvesting#/ If you would like Rick to review your mining stock portfolio reach out to him at: https://ruleinvestmentmedia.com/ Rule Investment Media YT channel: https://www.youtube.com/user/SprottGlobal Brian Leni's website: https://www.juniorstockreview.com/ Sign up for our free newsletter and receive interview transcripts, stock profiles and investment ideas: http://eepurl.com/cHxJ39 The content found on MiningStockEducation.com is for informational purposes only and is not to be considered personal legal or investment advice or a recommendation to buy or sell securities or any other product. It is based on opinions, SEC filings, current events, press releases and interviews but is not infallible. It may contain errors and MiningStockEducation.com offers no inferred or explicit warranty as to the accuracy of the information presented. If personal advice is needed, consult a qualified legal, tax or investment professional. Do not base any investment decision on the information contained on MiningStockEducation.com or our videos. We may hold equity positions in and/or be compensated by some of the companies featured on this site and therefore are biased and hold an obvious conflict of interest. MiningStockEducation.com may provide website addresses or links to websites and we disclaim any responsibility for the content of any such other websites. The information you find on MiningStockEducation.com is to be used at your own risk. By reading MiningStockEducation.com, you agree to hold MiningStockEducation.com, its owner, associates, sponsors, affiliates, and partners harmless and to completely release them from any and all liabilities due to any and all losses, damages, or injuries (financial or otherwise) that may be incurred.

Jeremy Goldschmidt reveals DIY property management insights for investors. Somewhere between 400,000 and 660,000 Aussie property investor landlords manage their own properties. This is great while everything is fine, until suddenly, it's not. Because it is not a matter of if you're going to have problems with your investment properties, it's a matter of when, how big and how often.  There's a good reason why over half of first time investors sell their property within the first five years, and a lot of this has to do with the ongoing, time consuming and life sucking headache and hassles of managing the property. And when it comes to property management, often you just don't know what you don't know - and ignorance is certainly not bliss – in fact it is downright dangerous! With residential tenancies legislation in each and every state differing, constantly changing and increasingly stacked in the favour of the rights of the tenants, how can you control the property, protect yourself and minimise the risks without giving yourself a second job? Many, like myself, have traditionally responded by deferring to professional property managers, but this can be hit and miss, so what if there's a way you can still do it all yourself, providing you have the time, the knowledge and the inclination? This is where the RentBetter platform now comes to your rescue, and to explore this and dive into the world of DIY property management, we're joined by the Founder & CEO of RentBetter Jeremy Goldschmidt. RentBetter: 1. DIY Self property management platform https://rentbetter.com.au/  Two core offering enabling landlords to find tenants and manage their own properties. A. Finding a tenant includes advertising on the major property sites, handling enquiries and applications, running tenant checks and creating lease agreements. B. Managing a property includes the ability to collect, track and receipt rental payments and expenses, handle tenant bills and maintenance, as well as offering reports and statements for tax time (or any time). 2. DIY Property self-management ebook – If you have the time and knowledge and you're interested in investigating self management of your rental properties and want to learn more, have a read of Jeremy's ebook: https://services-2.rentbetter.com.au/v2/files/ebook.pdf  3. To find out more about self property management workshop series called 'The Path to Managing Your Own Rental Property' and landlords can register here - https://rentbetter.com.au/register/ there are some free resources (pricing report, ebook, switch from agent kit) available at https://rentbetter.com.au/ Hour of power with Bushy: If you'd like an hour of power to talk with me personally on any questions, queries or issues you'd like to discuss about your investment strategy, finance or property portfolio delivery, whether you're an aspiring investor or an experienced investor with a substantial property portfolio, just go here https://knowhowproperty.com.au/contact-us then click on the ‘Lets Zoom, DeepDive Meeting with Bushy' 1 hour  option to book in your preferred time. For a small investment of just $295 you can ask me anything you want about property for a full 60 minutes.  Jeremy's book recommendation: The Apprenticeship of Duddy Kravitz by Moredcai Richler Join the Get Invested community: And if you want to continue investing in your knowledge, join me and many other like minded investors in our Get Invested community right now. I send a free and exclusive monthly email full of practical ‘Self, Health and Wealth' wisdom that our current Freedom Fighter subscribers can't wait to get each month. It's full of investment and lifestyle tips, my personal book recommendations, apps I use to enhance life and so much more. Just visit bushymartin.com.au and sign up at the bottom of the page … because this is just the beginning! Get Invested is the leading weekly podcast for Australians who want to learn how to unlock their full ‘self, health and wealth' potential. Hosted by Bushy Martin, an award winning property investor, founder, author and media commentator who is recognised as one of Australia's most trusted experts in property, investment and lifestyle, Get Invested reveals the secrets of the high performers who invest for success in every aspect of their lives and the world around them. Remember to subscribe on your favourite podcast player, and if you're enjoying the show please leave us a review. Find out more about Get Invested here https://bushymartin.com.au/get-invested-podcast/  Want to connect with Bushy? Get in touch here https://bushymartin.com.au/contact/  This show is produced by Apiro Media - http://apiropodcasts.com

Gary Wells returns with Words With Wellsy for the last time this year with a new book recommendation for us. Some news on Tony Bennett. The World Of Swank Gig Guide Deep Thoughts and some social commentary.   www.cocktailnation.net   Jetset Unlimited-Man From UNCLE Nicholas Godin-Casbah Lounge Henry Mancini-it Had Better Be Tonight Melanchrinio Strings-You Stepped Out Of A Dream Tiki Delights-Cosmopolitan James Spencer-Summer Song Vibes On Velvet-Tainted Bells Bill Conti-Cocktails Tony Bennett-Love For Sale Swingadelic-El Blues Esa Mujer Lalo Schifrin-Bullitt Ran Blake-Moonride Richard Cheese-Careless Whisper Gary Burton-Did You Get It Daniel Pemberton-Into The Lair Tucker Brothers-Warm Heart Barbara Levy Daniels -I Thought About You

In a bid to gain respect, the neglected younger son of a working-class Jewish family in Montréal embarks on a series of get-rich-quick schemes to buy land surrounding a lake. --- Send in a voice message: https://anchor.fm/kelly-kassia/message

Sustainable producer Antonio Saillant maintains a close friendship with his mentor Ted Kotcheff, former executive producer of NBC's “Law & Order: SVU”, as well as director and producer of Wake in Fright and acclaimed films, First Blood, Fun with Dick and Jane and Weekend at Bernies. It all began when Saillant became Kotcheff’s mentee and Saillant shadowed Kotcheff in his persona whose directorial style and creativity is well respected in the film industry. Saillant, along with many peers, have stated that Kotcheff has great vision, compassion and a deep understanding of every possible detail in film making. Saillant's intrigue and determination led him to work with his mentor Kotcheff, absorbing every detail of a director‘s job. To date, Saillant remains an ardent fan of Kotcheff's works. Newly restored Wake in Fright is an outrageous Australian film classic that was screened at Film Forum some time ago. Saillant worked diligently on the restored version of Wake in Fright and played a key role in publicizing the film which was believed to be lost for many years.The film’s editor, Anthony Buckley, was able to locate the last remaining print of Wake in Fright in a storage depot, scheduled for destruction in just weeks. It took considerable work to salvage the print and restore the film so that it would run smooth and clean. The materials were then restored frame-by-frame at Sydney’s AtLabDeluxe with the aid of the National Film and Sound Archives of Australia. It all began with Saillant's idea to present Kotcheff with a perfect gift for his 80th birthday celebration. Saillant approached Kotcheff's wife, Laifun, about doing a screening of Wake in Fright. Together, they located a decent film print with the aid of the National Film and Sound Archives and obtained permission to screen it. Saillant and Laifun secured The Museum of Modern Art in New York City for the screening of Wake in Fright. Wake in Fright was not an immediate hit. It languished. Enter Tony Timpone, editor emeritus of Fangoria and co-director of international programming of Fantasia Film Festival. As per Saillant's invitation, Timpone had attended the screening of Wake in Fright in New York City at the MOMA and took a liking to the film. Timpone then met with Saillant to discuss the possibility of screening Wake in Fright in Fantasia Film Festival. Thereafter, Saillant and Kotcheff met in Kotcheff's office where Saillant pitched the idea of bringing Wake In Fright to Fantasia Film Festival. At first, Kotcheff seemed hesitant but Saillant insisted it would create a buzz with a new audience of film makers around the world. Kotcheff agreed. Timpone screened Wake in Fright at his Fantasia Film Festival, and an audience immediately began to build. In Germany, Wake in Fright was screened at the Oldenburg Film Festival, along with other Kotcheff films like Who is Killing the Great Chefs of Europe? His later films included The Apprenticeship of Duddy Kravitz (1973), Fun with Dick and Jane (1977), First Blood (1982) and Weekend at Bernie’s (1988). Saillant's persistence of Wake in Fright paid off big and created a domino effect. Australians were attracted to the amazing qualities of the film made in their own Outback. An explosion of interest has now established and the film played in New York, LA, and Texas. Kotcheff’s continued success landed this past weekend at the Fantasia Film Festival where he reunited with Timpone to receive the inaugural Canadian Trailblazer Award as well as present screenings of THE APPRENTICESHIP OF DUDDY KRAVITZ and FIRST BLOOD. For More Information on Thinking Smart Article email Antonio at angellightpictures@me.com. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/celebrity-spotlight-radio/support

Volvemos con el segundo volumen dedicado al compositor Alan Menken, completando su etapa inicial de la que ya nos ocupamos en el podcast anterior y que ahora abarcaremos desde el año 1997 a la actualidad, arrancando con "Hércules" y terminando con algunas curiosidades y temas rechazados para que os hagáis una idea de la capacidad de este músico que quería ser un cantante como sus idolatrados Billy Joel o Elton John, hasta que descubrió las enormes posibilidades que le ofrecía el teatro musical. En este volumen conoceremos otros trabajos no tan conocidos pero cuya calidad no admite duda y ahí tenéis para demostrarlo desde el oratorio de "King David", películas como "Encantada", "Enredados" o "Zafarrancho en el rancho" a musicales como "Sister act", "Leap of faith", " A Bronx tale" o "The apprenticeship of Duddy Kravitz" que compuso en 1987 y pudo estrenar por fin en 2015 en Canada. También hemos incluido una selección de las canciones para la serie televisiva  "Galavant" y algunas curiosidades como temas que compuso para "Rocky V", musicales que no llegó a terminar como "Baby" o "The little princess" y cerramos el podcast  con tres temas rechazados para "Little shop of horrors". Esta es la relación de trabajos con los letristas e intérpretes de las canciones incluidas 00h 00'00" Presentación 00h 01'29" Cabecera 1997 HERCULES (Stephen Schwartz) 00h 02'05" Go the distance (Roger Bart) 00h 04'22" Zero to hero (Lilias White & Muses) 00h 06'39" I won't say (I'm in love) (Susan Egan & Muses) 00h 08'54" A star is born (Lilias White & Muses) 1997 KING DAVID (Tim Rice) 00h 10'55" Saul has slain his thousands (Stephen Bogardus & Company) 00h 14'34" Never again (Judy Kuhn) 00h 17'40" Warm spring night (Marcus Lovett) 00h 21'00" The long, long day (Marcus Lovett) 00h 23'43" This New Jerusalem (Cast) 2004 HOME ON THE RANGE (Glenn Slater) 00h 25'09" Will the sun ever shine again? (Belinda Carlisle) 00h 27'40" Little patch of Heaven (kd lang) 00h 30'22" Anytime you need a friend (Alan Menken) 2007 ENCHANTED (Stephen Schwartz) 00h 32'48" True love's kiss (Amy Adams & James Marsden) 00h 35'32" Happy working song (Amy Adams) 00h 37'33" That's how you know (Amy Adams) 00h 41'19" Ever ever after (Carrie Underwood) 00h 44'40" So close (Jon McLaughlin) 2009 SISTER ACT (Glenn Slater) 00h 48'19" Take me to Heaven (Patina Miller, Debbie Kurup & Amy Both Steel) 00h 51'17" Fabulous, Baby (Patina Miller, Debbie Kurup & Amy Both Steel) 00h 54'50" Here within these walls (Sheila Hancock) 00h 58'47" Raise your voice (Patina Miller & Nuns) 01h 05'06" Sunday morning fever (Cast) 2010 TANGLED (Glenn Slater) 01h 10'35" When will my life begin? (Mandy Moore) 01h 13'06" Mother knows best (Donna Murphy) 01h 16'09" I see the light (Mandy Moore & Zachary Levi) 2012 LEAP OF FAITH (Glenn Slater) 01h 19'46" Rise up (Kecia Lewis-Evans, Krystal Joy Brown, Raúl Esparza) 01h 26'30" Lost (Kecia Lewis-Evans & Angels of Mercy) 01h 29'12" Are you on the bus? (Krystal Joy Brown, Kendra Kassebaum & Kecia Lewis-Evans) 2015 GALAVANT (Glenn Slater) 01h 35'24" Galavant (Ben Presley) 01h 37'33" The happiest day of your life (Robert Lindsay) 01h 39'54" As good as it gets (Darren Evans & Sophie McShera) 01h 41'55" Serenade (Joshua Sasse, Timothy Clare Foster) 01h 44'02" Goodnight my friend (Timothy Omundson) 2015 THE APPRENTICESHIP OF DUDDY KRAVITZ (David Spencer) 01h 45'46" I'm gonna buy this lake (Danny Burstein & Jenny Glering) 01h 51'17" Welcome home (Jenny Glering & Danny Burstein) 2016 A BRONX TALE (Glenn Slater) 01h 55'20" Bellmont Avenue (Bobby Conte & Cast) 02h 00'31" Look to your heart (Richard H. Blake & Hudson Loverro) 02h 03'13" I like it (Hudson Loverro & Ensemble) 02h 05'43" One of the great ones (Nick Cordero) RAREZAS (temas rechazados, proyectos inacabados, encargos para TV, etc) 02h 09'29" Growin boy (Debbie Gravite) - musical "Babe" 02h 12'30" Take care of my heart (Debbie Gravite) - película "The little princess" 02h 15'42" Howling at the moon (James Carrington) - "Jock, the hero dog" 02h 18'44" By your side (Keshia Knight Pullam) - "Polly" 02h 20'44" The measure of a man (Elton John) - "Rocky V" 02h 24'40" This only happen in the movies (Menken) - precuela para "Rogger Rabbit" 02h 26'35" Crystal, Ronette and Chiffon (Debbie Gavite) - "Little shop of Horrors" 02h 29'26" We'll have tomorrow (Debbie Gravite) - "Little shop of Horrors" 02h 32'36" Bad  (Ron Taylor, Howard Ashman & Menken) - "Little shop of Horrors" Espero os haya gustado

Volvemos con el segundo volumen dedicado al compositor Alan Menken, completando su etapa inicial de la que ya nos ocupamos en el podcast anterior y que ahora abarcaremos desde el año 1997 a la actualidad, arrancando con "Hércules" y terminando con algunas curiosidades y temas rechazados para que os hagáis una idea de la capacidad de este músico que quería ser un cantante como sus idolatrados Billy Joel o Elton John, hasta que descubrió las enormes posibilidades que le ofrecía el teatro musical. En este volumen conoceremos otros trabajos no tan conocidos pero cuya calidad no admite duda y ahí tenéis para demostrarlo desde el oratorio de "King David", películas como "Encantada", "Enredados" o "Zafarrancho en el rancho" a musicales como "Sister act", "Leap of faith", " A Bronx tale" o "The apprenticeship of Duddy Kravitz" que compuso en 1987 y pudo estrenar por fin en 2015 en Canada. También hemos incluido una selección de las canciones para la serie televisiva  "Galavant" y algunas curiosidades como temas que compuso para "Rocky V", musicales que no llegó a terminar como "Baby" o "The little princess" y cerramos el podcast  con tres temas rechazados para "Little shop of horrors". Esta es la relación de trabajos con los letristas e intérpretes de las canciones incluidas 00h 00'00" Presentación 00h 01'29" Cabecera 1997 HERCULES (Stephen Schwartz) 00h 02'05" Go the distance (Roger Bart) 00h 04'22" Zero to hero (Lilias White & Muses) 00h 06'39" I won't say (I'm in love) (Susan Egan & Muses) 00h 08'54" A star is born (Lilias White & Muses) 1997 KING DAVID (Tim Rice) 00h 10'55" Saul has slain his thousands (Stephen Bogardus & Company) 00h 14'34" Never again (Judy Kuhn) 00h 17'40" Warm spring night (Marcus Lovett) 00h 21'00" The long, long day (Marcus Lovett) 00h 23'43" This New Jerusalem (Cast) 2004 HOME ON THE RANGE (Glenn Slater) 00h 25'09" Will the sun ever shine again? (Belinda Carlisle) 00h 27'40" Little patch of Heaven (kd lang) 00h 30'22" Anytime you need a friend (Alan Menken) 2007 ENCHANTED (Stephen Schwartz) 00h 32'48" True love's kiss (Amy Adams & James Marsden) 00h 35'32" Happy working song (Amy Adams) 00h 37'33" That's how you know (Amy Adams) 00h 41'19" Ever ever after (Carrie Underwood) 00h 44'40" So close (Jon McLaughlin) 2009 SISTER ACT (Glenn Slater) 00h 48'19" Take me to Heaven (Patina Miller, Debbie Kurup & Amy Both Steel) 00h 51'17" Fabulous, Baby (Patina Miller, Debbie Kurup & Amy Both Steel) 00h 54'50" Here within these walls (Sheila Hancock) 00h 58'47" Raise your voice (Patina Miller & Nuns) 01h 05'06" Sunday morning fever (Cast) 2010 TANGLED (Glenn Slater) 01h 10'35" When will my life begin? (Mandy Moore) 01h 13'06" Mother knows best (Donna Murphy) 01h 16'09" I see the light (Mandy Moore & Zachary Levi) 2012 LEAP OF FAITH (Glenn Slater) 01h 19'46" Rise up (Kecia Lewis-Evans, Krystal Joy Brown, Raúl Esparza) 01h 26'30" Lost (Kecia Lewis-Evans & Angels of Mercy) 01h 29'12" Are you on the bus? (Krystal Joy Brown, Kendra Kassebaum & Kecia Lewis-Evans) 2015 GALAVANT (Glenn Slater) 01h 35'24" Galavant (Ben Presley) 01h 37'33" The happiest day of your life (Robert Lindsay) 01h 39'54" As good as it gets (Darren Evans & Sophie McShera) 01h 41'55" Serenade (Joshua Sasse, Timothy Clare Foster) 01h 44'02" Goodnight my friend (Timothy Omundson) 2015 THE APPRENTICESHIP OF DUDDY KRAVITZ (David Spencer) 01h 45'46" I'm gonna buy this lake (Danny Burstein & Jenny Glering) 01h 51'17" Welcome home (Jenny Glering & Danny Burstein) 2016 A BRONX TALE (Glenn Slater) 01h 55'20" Bellmont Avenue (Bobby Conte & Cast) 02h 00'31" Look to your heart (Richard H. Blake & Hudson Loverro) 02h 03'13" I like it (Hudson Loverro & Ensemble) 02h 05'43" One of the great ones (Nick Cordero) RAREZAS (temas rechazados, proyectos inacabados, encargos para TV, etc) 02h 09'29" Growin boy (Debbie Gravite) - musical "Babe" 02h 12'30" Take care of my heart (Debbie Gravite) - película "The little princess" 02h 15'42" Howling at the moon (James Carrington) - "Jock, the hero dog" 02h 18'44" By your side (Keshia Knight Pullam) - "Polly" 02h 20'44" The measure of a man (Elton John) - "Rocky V" 02h 24'40" This only happen in the movies (Menken) - precuela para "Rogger Rabbit" 02h 26'35" Crystal, Ronette and Chiffon (Debbie Gavite) - "Little shop of Horrors" 02h 29'26" We'll have tomorrow (Debbie Gravite) - "Little shop of Horrors" 02h 32'36" Bad  (Ron Taylor, Howard Ashman & Menken) - "Little shop of Horrors" Espero os haya gustado

Joining the conversation on Cue To Cue today is Actor/Singer/Producer and current member of the Toronto cast of hit Musical Come From Away! To say I enjoyed my time with George would be an understatement. You can always tell I am having a good time when my voice always seems like it is one millisecond away from laughter.    Along with his years of knowledge and wisdom in the entertainment industry, George brings his gigantic heart to this episode. He leaves nothing on the table as we explore his journey as an artist and human being navigating his way through an artist’s lifestyle. George talks about how he used to think to himself, if I could just get one job then he could leave it alone. Well, he got hired and clearly, he did not leave! Here is to many more stories to be told by you, George!   In the episode:   the importance of maintaining your health as an artist and how to get back to health how to work effectively under pressure the impact of being a part of Come From Away has had on him how to know you are on your authentic path How to take the stage and own it! A little about George:   Currently playing Claude (and others) in the hit Toronto Production of Come From Away, George’s other recent appearances include: Matthew in Anne of Green Gables for the Charlottetown Festival; the world premiere of the Alan Menken/David Spencer musical adaptation of The Apprenticeship of Duddy Kravitz at Montreal’s Segal Centre; Sweeney Todd with Newfoundland’s Opera on the Avalon and the Vancouver Opera Company; The Canadian Stage Company’s groundbreaking production of London Road (Dora Award); Tevye in Fiddler on the Roof at Stage West Mississauga; Seussical for YPT/The Citadel (Dora nomination); The Winter’s Tale for Canadian Stage Company; Parade for Studio 180/Acting Up Stage; and Oh, What a Lovely War! for Soulpepper (Dora nomination). Other credits include Fiddler on the Roof, The Threepenny Opera and Guys and Dolls for The Stratford Festival; A Little Night Music and Follies for the Shaw Festival; Sweeney Todd for Canadian Stage (Dora nomination), Showboat for Livent, and Time and Again for the Manhattan Theatre Club. George also manages, records, and tours with his baritone trio BRAVURA.  Connect with George! bravurabaritones.com   Twitter: @georgorama Instagram: @gmass67

Peter Bart discusses the recent trend of directors being fired off of big Hollywood movies over creative differences. Then, he talks to director Ted Kotcheff (First Blood, Weekend at Bernie's) about his film The Apprenticeship of Duddy Kravitz. Learn more about your ad choices. Visit megaphone.fm/adchoices

Adam Abrams joins William Lee to talk about The Apprenticeship of Duddy Kravitz. The 1974 movie starring Richard Dreyfuss, directed by Ted Kotcheff and written by Mordecai Richler chronicles a young man's efforts to make a name for himself in 1950s Montreal. We recorded on a sunny day and could not resist sitting outside so please excuse the background noise in this episode.Download this episode here. (36 MB) For more about the movie discussed in this episode, follow the IMDb link to The Apprenticeship of Duddy Kravitz.

Including selections from the Off-Broadway musicals "Himself and Nora" and "Cagney;" the 1957 musical, "Simply Heavenly;" & the musical "The Apprenticeship of Duddy Kravitz."

Mission encre noire Tome 17 Chapitre 222 Purity de Jonathan Franzen paru en 2016 aux éditions Boréal est un roman très attendu après le succès international des Corrections (2002, Boréal). Qui est donc Purity ? Purity Tyler est une jeune femme de 23 ans. Elle ignore tout de ses origines, sa mère lui dissimule l'essentiel et en particulier la véritable identité de son père. Au détour d'une rencontre fortuite avec des militants anarchistes allemands, au sein de sa collocation, son destin va prendre une autre tournure. Purity va partir à la recherche de son père. Militantisme, trajectoires amoureuses complexes et contrariées, réseaux sociaux engagés, Pip, comme la surnomme sa mère, va se confronter aux maux de notre époque. Purity est un roman fleuve, captivant qui nous éclaire sur les dérives de nos sociétés modernes post 11 septembre, si connectées et paranoïaques à la fois, à grand renforts d'autodérision et de scénario catastrophe. Extrait: «Leila secoua de nouveau la tête. Chaque fois qu'elle devait vomir, ce n'était pas uniquement l'idée de la nourriture qui l'écoeurait ; c'était l'idée d'avoir envie de quoi que ce soit. La nausée, négation de tout désir. De même, aussi, que la dispute. Elle se souvenait de ce vieil abattement et l'éprouvait à présent encore, la conviction que l'amour était impossible, qu'aussi profond qu'ils enterreraient leur conflit, celui-ci ne disparaitrait jamais. Le problème d'une vie librement choisie chaque jour, une vie de Nouveau Testament, c'était qu'elle pouvait se terminer à tout moment.» L'apprentissage de Duddy Kravitz de Mordecai Richler paru en 2016 aux éditions du Boréal est une nouvelle réédition avec Lori Saint-Martin et Paul Gagné à la baguette pour la traduction. Leur travail a été salué internationalement, plus précisément en ce qui concerne les romans Joshua et Solomon Gursky du même auteur. Quoi de plus envoûtant que de replonger dans le Montréal d'après guerre, Maurice Richard enflamme le Forum, et Duddy Kravitz fait les 400 coups. Élevé dans les quartiers pauvres de la ville, fatigué de se morfondre dans la médiocrité de ces tristes faubourgs, Duddy a de l'ambition: devenir riche. Il se fiche bien du regard de la communauté juive, et tout les moyens seront bons pour y arriver. Premier roman de Mordecai Richler, je vous invite à découvrir sous un nouveau jour, cet écrivain si contreversé.  Extrait: «Regarde-moi bien, songea-t-il, regarde-moi vraiment bien parce que, d'accord, je suis peut-être un moins que rien, en ce moment. Je ne suis jamais allé à Paris et je sais pas faire la différence entre Picasso et un barbouilleux de clôture. Je sais pas jouer au tennis comme les autres garçons d'ici, mais je passe pas non plus mon temps à verser du Ketchup sur le lit des autres. J'arrache pas de promesses débiles à des types qui sont soûls. Je suis pas non plus une sale langue comme toi. Tu te moques de ton père. Tu l'aimes pas. Ça me fait une belle jambe. Mais il t'envoie en Europe et au Mexique, et qui paie tous les verres que tu siffles l'après-midi? Tu regrettes d'avoir fait de moi le dindon de la farce? Mautadit, mon coeur saigne. Regarde-moi, espèce de salope. Aujourd'hui, je suis peut-être un moins que rien, d'accord. Ce salaud de Cohen, qui fait du marché noir à tour de bras, me donne vingt dollars, me fait la morale sur le jeu et va se sentir bien fier pendant une semaine. Mais écoute-moi bien, petite. Ça va pas toujours être comme ça. Si tu dois parier sur quelqu'un, je te conseille de parier sur moi. Je vais être quelqu'un. Ça c'est sûr.» Agenda Culturel de la semaine: The Thing et James Blood Ulmer le dimanche 16 juin 2016 à la Sala Rossa dans le cadre du festival Suoni per il popolo.

Mission encre noire Tome 17 Chapitre 222 Purity de Jonathan Franzen paru en 2016 aux éditions Boréal est un roman très attendu après le succès international des Corrections (2002, Boréal). Qui est donc Purity ? Purity Tyler est une jeune femme de 23 ans. Elle ignore tout de ses origines, sa mère lui dissimule l'essentiel et en particulier la véritable identité de son père. Au détour d'une rencontre fortuite avec des militants anarchistes allemands, au sein de sa collocation, son destin va prendre une autre tournure. Purity va partir à la recherche de son père. Militantisme, trajectoires amoureuses complexes et contrariées, réseaux sociaux engagés, Pip, comme la surnomme sa mère, va se confronter aux maux de notre époque. Purity est un roman fleuve, captivant qui nous éclaire sur les dérives de nos sociétés modernes post 11 septembre, si connectées et paranoïaques à la fois, à grand renforts d'autodérision et de scénario catastrophe. Extrait: «Leila secoua de nouveau la tête. Chaque fois qu'elle devait vomir, ce n'était pas uniquement l'idée de la nourriture qui l'écoeurait ; c'était l'idée d'avoir envie de quoi que ce soit. La nausée, négation de tout désir. De même, aussi, que la dispute. Elle se souvenait de ce vieil abattement et l'éprouvait à présent encore, la conviction que l'amour était impossible, qu'aussi profond qu'ils enterreraient leur conflit, celui-ci ne disparaitrait jamais. Le problème d'une vie librement choisie chaque jour, une vie de Nouveau Testament, c'était qu'elle pouvait se terminer à tout moment.» L'apprentissage de Duddy Kravitz de Mordecai Richler paru en 2016 aux éditions du Boréal est une nouvelle réédition avec Lori Saint-Martin et Paul Gagné à la baguette pour la traduction. Leur travail a été salué internationalement, plus précisément en ce qui concerne les romans Joshua et Solomon Gursky du même auteur. Quoi de plus envoûtant que de replonger dans le Montréal d'après guerre, Maurice Richard enflamme le Forum, et Duddy Kravitz fait les 400 coups. Élevé dans les quartiers pauvres de la ville, fatigué de se morfondre dans la médiocrité de ces tristes faubourgs, Duddy a de l'ambition: devenir riche. Il se fiche bien du regard de la communauté juive, et tout les moyens seront bons pour y arriver. Premier roman de Mordecai Richler, je vous invite à découvrir sous un nouveau jour, cet écrivain si contreversé.  Extrait: «Regarde-moi bien, songea-t-il, regarde-moi vraiment bien parce que, d'accord, je suis peut-être un moins que rien, en ce moment. Je ne suis jamais allé à Paris et je sais pas faire la différence entre Picasso et un barbouilleux de clôture. Je sais pas jouer au tennis comme les autres garçons d'ici, mais je passe pas non plus mon temps à verser du Ketchup sur le lit des autres. J'arrache pas de promesses débiles à des types qui sont soûls. Je suis pas non plus une sale langue comme toi. Tu te moques de ton père. Tu l'aimes pas. Ça me fait une belle jambe. Mais il t'envoie en Europe et au Mexique, et qui paie tous les verres que tu siffles l'après-midi? Tu regrettes d'avoir fait de moi le dindon de la farce? Mautadit, mon coeur saigne. Regarde-moi, espèce de salope. Aujourd'hui, je suis peut-être un moins que rien, d'accord. Ce salaud de Cohen, qui fait du marché noir à tour de bras, me donne vingt dollars, me fait la morale sur le jeu et va se sentir bien fier pendant une semaine. Mais écoute-moi bien, petite. Ça va pas toujours être comme ça. Si tu dois parier sur quelqu'un, je te conseille de parier sur moi. Je vais être quelqu'un. Ça c'est sûr.» Agenda Culturel de la semaine: The Thing et James Blood Ulmer le dimanche 16 juin 2016 à la Sala Rossa dans le cadre du festival Suoni per il popolo.

Mission encre noire Tome 17 Chapitre 222 Purity de Jonathan Franzen paru en 2016 aux éditions Boréal est un roman très attendu après le succès international des Corrections (2002, Boréal). Qui est donc Purity ? Purity Tyler est une jeune femme de 23 ans. Elle ignore tout de ses origines, sa mère lui dissimule l'essentiel et en particulier la véritable identité de son père. Au détour d'une rencontre fortuite avec des militants anarchistes allemands, au sein de sa collocation, son destin va prendre une autre tournure. Purity va partir à la recherche de son père. Militantisme, trajectoires amoureuses complexes et contrariées, réseaux sociaux engagés, Pip, comme la surnomme sa mère, va se confronter aux maux de notre époque. Purity est un roman fleuve, captivant qui nous éclaire sur les dérives de nos sociétés modernes post 11 septembre, si connectées et paranoïaques à la fois, à grand renforts d'autodérision et de scénario catastrophe. Extrait: «Leila secoua de nouveau la tête. Chaque fois qu'elle devait vomir, ce n'était pas uniquement l'idée de la nourriture qui l'écoeurait ; c'était l'idée d'avoir envie de quoi que ce soit. La nausée, négation de tout désir. De même, aussi, que la dispute. Elle se souvenait de ce vieil abattement et l'éprouvait à présent encore, la conviction que l'amour était impossible, qu'aussi profond qu'ils enterreraient leur conflit, celui-ci ne disparaitrait jamais. Le problème d'une vie librement choisie chaque jour, une vie de Nouveau Testament, c'était qu'elle pouvait se terminer à tout moment.» L'apprentissage de Duddy Kravitz de Mordecai Richler paru en 2016 aux éditions du Boréal est une nouvelle réédition avec Lori Saint-Martin et Paul Gagné à la baguette pour la traduction. Leur travail a été salué internationalement, plus précisément en ce qui concerne les romans Joshua et Solomon Gursky du même auteur. Quoi de plus envoûtant que de replonger dans le Montréal d'après guerre, Maurice Richard enflamme le Forum, et Duddy Kravitz fait les 400 coups. Élevé dans les quartiers pauvres de la ville, fatigué de se morfondre dans la médiocrité de ces tristes faubourgs, Duddy a de l'ambition: devenir riche. Il se fiche bien du regard de la communauté juive, et tout les moyens seront bons pour y arriver. Premier roman de Mordecai Richler, je vous invite à découvrir sous un nouveau jour, cet écrivain si contreversé.  Extrait: «Regarde-moi bien, songea-t-il, regarde-moi vraiment bien parce que, d'accord, je suis peut-être un moins que rien, en ce moment. Je ne suis jamais allé à Paris et je sais pas faire la différence entre Picasso et un barbouilleux de clôture. Je sais pas jouer au tennis comme les autres garçons d'ici, mais je passe pas non plus mon temps à verser du Ketchup sur le lit des autres. J'arrache pas de promesses débiles à des types qui sont soûls. Je suis pas non plus une sale langue comme toi. Tu te moques de ton père. Tu l'aimes pas. Ça me fait une belle jambe. Mais il t'envoie en Europe et au Mexique, et qui paie tous les verres que tu siffles l'après-midi? Tu regrettes d'avoir fait de moi le dindon de la farce? Mautadit, mon coeur saigne. Regarde-moi, espèce de salope. Aujourd'hui, je suis peut-être un moins que rien, d'accord. Ce salaud de Cohen, qui fait du marché noir à tour de bras, me donne vingt dollars, me fait la morale sur le jeu et va se sentir bien fier pendant une semaine. Mais écoute-moi bien, petite. Ça va pas toujours être comme ça. Si tu dois parier sur quelqu'un, je te conseille de parier sur moi. Je vais être quelqu'un. Ça c'est sûr.» Agenda Culturel de la semaine: The Thing et James Blood Ulmer le dimanche 16 juin 2016 à la Sala Rossa dans le cadre du festival Suoni per il popolo.

Each week, comedian Gilbert Gottfried and comedy writer Frank Santopadre share their appreciation of lesser-known films, underrated TV shows and hopelessly obscure character actors -- discussing, dissecting and (occasionally) defending their handpicked guilty pleasures and buried treasures. This week: Exit Paul Newman, enter Ryan O'Neal! Richard Dreyfuss comes of age! And the enigma of Randy Quaid! If you've got a car and a license, put 'em both to work for you and start earning serious, life-changing money today. Sign up to drive with Uber. Visit http://www.DriveWithUber.com Learn more about your ad choices. Visit megaphone.fm/adchoices

This week: We discuss the dino blockbuster, interview art icon Peaches, and learn why a musical changed the end of a Richler classic The post The Thrill: Jurassic World, Peaches, and a Duddy Kravitz musical appeared first on Macleans.ca.

We are still looking for a name for this podcast and we may continue to do so until one or both of us are dead. If you still have a suggestion, let us know on Twitter: @darrengroth and @simongroth. Hat tip to John Birmingham who has made a decent suggestion, which we may or may not modify. Vale the Groth Bros Chevrolet Dealership in Livermore, California. The Yelp reviews do not suggest our podcast is at fault. The Books We Could Not Put Down: I’m not Scared by Niccolo Ammaniti (Darren) The Road by Cormac McCarthy (Simon and Darren) The Diving Bell and the Butterfly by Jean-Domnique Bauby (Simon…oh and Bauby was the editor of Elle, not Vogue) Laugh, I Thought I’d Die: My Life with ALS by Dennis Kaye (Darren) The Books We Couldn’t Finish…oh man… here we go: Player Piano by Kurt Vonnegut (Darren) Death of a River Guide by Richard Flanagan (Simon) The Cold Six-Thousand by James Ellroy (Darren) The Apprenticeship of Duddy Kravitz by Mordecai Richler (Darren)

El aprendizaje de Duddy Kravitz

Jay's appeared in numerous TV shows but fantasy-action fans recognize him from his appearances on "Stargate Atlantis." He's also an accomplished film actor, with a long list of credits. Mordecai Richler cast Brazeau in "Duddy," a musical based on Richler's "The Apprenticeship of Duddy Kravitz." He's won a Pittsburgh Press Critic's Award for his performance as Cyrano and critical acclaim for his portrayal of Edna Turnblad in the Toronto and Vancouver productions of "Hairspray." We talk about all of the above but I was particularly interested in Jay's work with the Winnipeg office of The National Film Board. Jay was the male voice in animated short film "The Big Snit," which was nom­i­nated for an Oscar award and voted num­ber 25 of the 50 Great­est Car­toons of all time by ani­ma­tion professionals.

During this episode we talk to Director Ted Kotcheff. Mr. Kotcheff’s directing credits include First Blood, North Dallas Forty, The Apprenticeship of Duddy Kravitz, and Who Is Killing the Great Chefs of Europe? Get More Legends of Film Subscribe to Legends of Film by RSS | iTunes