Podcasts about The English Patient

“If you’re someone who’s always dreamed of going to Mars but you don’t have the time to become an astronaut, you can just visit the Atacama Desert.” –Mark Johanson In this episode of Deviate, Rolf and Mark talk about how Mark became interested in the Atacama Desert, and his experience in other world deserts (1:45); what Mark sought when he traveled through the region (16:00); what it’s like to experience the area, and why it’s known as “Mars on Earth” (26:00); what travelers can do there, and what it’s like for Mark to live in Chile (36:30). Mark Johanson (@markonthemap) is an American journalist and travel writer based in Santiago, Chile. His first book is Mars on Earth: Wanderings in the World's Driest Desert. Notable Links: Atacama Desert (desert plateau located in Chile) Coober Pedy (town in the Australian Outback) Desert Solitaire, by Edward Abbey (book) The English Patient, by Michael Ondaatje (book) The Songlines, by Bruce Chatwin (book) Man in the Landscape, by Paul Shepard (book) Chinchorro mummies (ancient remains in the Atacama Desert) Qhapaq Ñan (Inca road system) Arica (province in Chile) Altiplano (Andean Plateau) Lands of Lost Borders, by Kate Harris (book) Pan-American Highway (road network) Cusco (city in Peru) San Pedro de Atacama (town in Chile) Elqui Valley (wine and astronomy region in Chile) Gabriela Mistral (Nobel Prize-winning poet) Pisco (fermented spirit made from grapes) Pisco sour (cocktail) The Deviate theme music comes from the title track of Cedar Van Tassel's 2017 album Lumber. Note: We don't host a “comments” section, but we're happy to hear your questions and insights via email, at deviate@rolfpotts.com.

Llévame contigo es una ópera fronteriza donde Hyland convierte el cuerpo humano en territorio de conquistas y resistencias. Entre Como agua para chocolate y The English Patient, la novela afirma que las verdaderas fronteras no están en los mapas, sino en nuestra capacidad (o incapacidad) de entender al otro. Como dice Diego: "A veces basta un gesto para salvar una vida, y a veces ni todo un diccionario alcanza."AVISO LEGAL: Los cuentos, poemas, fragmentos de novelas, ensayos y todo contenido literario que aparece en Crónicas Lunares di Sun podrían estar protegidos por derecho de autor (copyright). Si por alguna razón los propietarios no están conformes con el uso de ellos por favor escribirnos al correo electrónico cronicaslunares.sun@hotmail.com y nos encargaremos de borrarlo inmediatamente. Si te gusta lo que escuchas y deseas apoyarnos puedes dejar tu donación en PayPal, ahí nos encuentras como @IrvingSun  https://paypal.me/IrvingSun?country.x=MX&locale.x=es_XC  Síguenos en:  Telegram: Crónicas Lunares di Sun  ⁠Crónicas Lunares di Sun - YouTube⁠ ⁠https://t.me/joinchat/QFjDxu9fqR8uf3eR⁠  ⁠https://www.facebook.com/cronicalunar/?modal=admin_todo_tour⁠  ⁠Crónicas Lunares (@cronicaslunares.sun) • Fotos y videos de Instagram⁠  ⁠https://twitter.com/isun_g1⁠  ⁠https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy9lODVmOWY0L3BvZGNhc3QvcnNz⁠  ⁠https://open.spotify.com/show/4x2gFdKw3FeoaAORteQomp⁠  https://mx.ivoox.com/es/s_p2_759303_1.html⁠ https://tunein.com/user/gnivrinavi/favorites⁠ 

For their 195th episode, two imposter film critics, two murderous dads, and two non-Italian school teachers, Will Johnson and Don Shanahan, stay in the monumental year of 1999 for one more week with another cornerstone film. Lapped at the time by the likes of "The Matrix," "American Beauty," "Magnolia," and "Fight Club," stands the late Anthony Minghella's salacious "The Talented Mr. Ripley" starring the early white-hot coals of Matt Damon, Jude Law, Gwyneth Paltrow, and Philip Seymour Hoffman. Minghella's follow-up to his Oscar-winning "The English Patient," might have aged better than those previously mentioned 1999 bangers, and our guys are here to dote on its top-to-bottom lavishness. Come learn more and stay for the mutual love and respect that fun movies encapsulate. Enjoy our podcast!https://discord.gg/N6MKWXU2https://www.teepublic.com/user/ruminationsradionetworkhttps://www.instagram.com/cinephilehissyfit/https://www.instagram.com/casablancadon/Twitter: https://twitter.com/CinephileFitwww.RuminationsRadioNetwork.comwww.instagram.com/RuminationsRadioNetworkTwitter: RuminationsRadioNetwork@RuminationsNProduction by Mitch Proctor for Area 42 Studios and SoundEpisode Artwork by Charles Langley for Area 42 Studios and Soundhttps://www.patreon.com/RuminationsRadiohttps://everymoviehasalesson.com/https://ruminationsradio.transistor.fm/ ★ Support this podcast on Patreon ★

Seinfeld Podcast Interview With Joe Urla. Joe played "Dugan" in six "Seinfeld" episodes, including "The Foundation" "The Fatigues" "The English Patient" and "The Cartoon."You Know Joe from, “Sleepers” “Deep Impact” “The Wire” “Homeland” “The Americans” “Blue BloodsThis Podcast Is Making Me Thirsty is a podcast dedicated to Seinfeld, the last, great sitcom of our time. We are The #1 Destination for Seinfeld Fans.We talk with those responsible for making Seinfeld the greatest sitcom in TV history. Our guests are Seinfeld writers, Seinfeld actors and actresses and Seinfeld crew.We also welcome well-known Seinfeld fans from all walks of life including authors, entertainers, and TV & Radio personalities.We analyze Seinfeld and breakdown the show with an honest insight. We rank every Seinfeld episode and compare Seinfeld seasons. If you are a fan of Seinfeld, television history, sitcoms, acting, comedy or entertainment, this is the place for you.Do us a solid, support the Podcast

This week's episode of the Empire Podcast is jam-packed etc. etc. Bumper-sized, and so on and so forth. But it's true, perhaps this week more than ever as Chris Hewitt sits down for chats with two pairs — first, there's Ralph Fiennes and Juliette Binoche, who reunite almost 30 years after The English Patient for this week's Odyssey-sampling drama, The Return. [24:05 - 38:32 approx] Then, there's Rami Malek and Laurence Fishburne, stars of the new spy thriller The Amateur, who reflect upon where they met, their working relationship, and the influence of Event Horizon upon modern cinema. [1:03:32 - 1:17:24 approx] Finally, Ben Travis has a lovely chat with Christopher Landon, the always affable director of this week's thriller, Drop. [1:38:53 - 1:53:53 approx] Either side of those, Chris welcomes Ben and James Dyer into the podbooth, as well as our returning geek queen, Helen O'Hara, back after that small business of getting married. They talk about that, discuss the great movie weddings they'd like to attend, run their eye over the week's movie news (including a whole bunch of trailers), and review The Amateur, The Return, Holy Cow, Drop, and One To One: John & Yoko. Also, Chris unleashes a new and almost instantly unwanted impression, and the question is asked: who is the funniest person Helen knows? The answer may shock you. Enjoy.

Classics professor Edith Hall and writer Lawrence Norfolk join Tom to review The Return, a retelling of the end of Homer's Odyssey, where the hero Odysseus returns to his kingdom decades after the battle of Troy to find his wife Queen Penelope fending off suitors out to take his throne. The film stars Ralph Fiennes and Juliette Binoche talk to Tom about being reunited on screen for the first time since The English Patient.Tom and guests also review Holy Cow, an award winning film about youth, agriculture, and the comté cheese-making competition, in the Jura region of south-east France. Plus time-looping novel The Calculation of Volume by Solvej Balle. Shortlisted for the International Booker Prize, Book I is the first of a planned septology, which was originally self-published in Denmark. Presenter: Tom Sutcliffe Producer: Claire Bartleet

Dame Kristin Scott Thomas is one of our best, most distinctive, and most watchable actresses, and we're delighted that she's our guest on Rosebud today. Dame Kristin tells Gyles about her childhood, which was at times idyllic but was coloured by the tragic deaths of both her father and step-father. She talks about her impressive and highly talented mother, who brought up five children in the midst of loss. She talks about her move to Paris as a teenager, how she met and married her first husband, and how important her new French family became to her. She talks about her career, working with Prince, how she was cast in The English Patient and her work on stage in The Audience and Elektra. Kristin's life is fascinating, and this is a fascinating, and moving, episode. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Happened In the 90's hosted by Steve and Matt picks a day, any day, and then goes back in time to that magical decade we all know and love the 90's, to revisit episodes of tv, movies that premiered, or cultural events that occurred on that day in the 90's. This week Steve & Matt discuss teenage rejection and the overrated Oscar movies!SEGMENT 1Show: Family MattersEpisode: "Stop! In the Name of Love” (Season 3 | Episode: 21)Premiere Date: 3/13/1992Story: Laura had enough problems trying to give Urkel the brush-off. Now, Waldo is the one who's head over heels in love with the Winslow girl ... especially after she tried to encourage down-on-his-luck Waldo.SEGMENT 2Show: SeinfeldEpisode: ""The English Patient”” (Season 8 | Episode: 17)Premiere Date: 3/13/1997Story: Elaine hates “The English Patient.” A beautiful woman mistakes George for her boyfriend. An older man challenges Jerry to a weightlifting contest.

On this episode of Ten Hundred, our journey through the 1990s best picture nominees and winners continues. The Sixth Sense continues to haunt Dave...The English Patient dominated its year, leaving Jerry Maguire in the dust. Then came a little movie about a great, big ship - Titanic. It was flanked by two that Timmer and Dave think put up a fight though, Good Will Hunting and As Good As It Gets.Then, don't even get us started on Saving Private Ryan NOT winning....

It's 1996, and Dan is yelling "Elaine was right" as Claire, Erin, and he dissect Harvey Weinstein's first big Oscar win, The English Patient. Was this an early example of the current hip category fraud, where a co-lead ran as a supporting actress for an easier Oscar? Does cheating on young, hot Colin Firth make sense? Those questions answered, the far less clever but far more fun Independence Day claims the box office, which gives our hosts way more emotions in a surprisingly close amount of time. Ralph Fiennes vs Will Smith, join us for the fight!Find all of our episodes and the rest of Writing Therapy Productions' various entertainments at www.writingtherapyproductions.com

The End of the Affair was released on Dec 3, 1999 in just 7 theaters so that it could bait some Oscars and then going wide on January 21. It would ultimately bring in just shy of 11 million dollars on 23 million dollar budget, though it did open with an astonishing $28,000 per screen average, so maybe a wider initial release would have been wise. The End of the Affair was the second 1999 film in 11 months (after January's psychological thriller In Dream) from auteur Neil Jordan, best known for 1992's Oscar winning film The Crying Game as well as 1994's Interview with the Vampire. It was also the second sweeping period romance in just a couple years for star Ralph Fiennes after The English Patient, leading to many critics and audiences drawing comparisons between the two films. It was also the one film for which 1999's busiest woman, Julianne Moore, was nominated for an Oscar, despite her equal performances in A Map of the World, An Ideal Husband, and Magnolia. Joining John and Julia to talk about this second (incredibly horny) adaptation of Graham Greene's The End of the Affair is film critic, writer, and podcaster Kristin Battestella (I Think Therefore I Review) Kristin is on Bluesky @thereforereview

You can't have sex in a bucket. Katy wants bro instagram chefs to pour sauce on themselves. Derek's English Patient is the Sixth Sense.

THIS IS A PREVIEW PODCAST. NOT THE FULL REVIEW. Please check out the full podcast review on our Patreon Page by subscribing over at - https://www.patreon.com/NextBestPicture With the release of "Conclave," Ralph Fiennes is finally an Oscar nominee once again after nearly thirty years since his last nomination for Anthony Minghella's 1996 film "The English Patient." The epic romance WWII drama went on to win a leading 9 Academy Awards, including Best Picture, and was a critical and box office success. Starring Fiennes, Juliette Binoche, Willem Dafoe, Kristin Scott Thomas, Naveen Andrews, Colin Firth, Julian Wadham, and Jürgen Prochnowwe, the film has had a bit of a divisive reaction as the years have gone on. What did we think of it upon this latest rewatch? Please tune in this Valentine's Day as Josh Parham, Dan Bayer, and I discuss the direction, writing, performances, craftsmanship, its awards season run, and more in our SPOILER-FILLED review. Thank you for all your support, and enjoy! Check out more on NextBestPicture.com Please subscribe on... Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices

“Conclave,” an adaptation of a speculative novel, is from award-winning director Edward Berger (“All Quiet on the Western Front”). Ralph Fiennes (“The English Patient”) leads a stellar cast in a […] The post Take Two: “Conclave” (PG) appeared first on KKFI.

How can men find their way to war but not find their way to a good podcast? Like suitors around Penelope's megaron, we assemble our biggest survey panel ever to court Uberto Pasolini's latest re-imagining of Homer's Odyssey (or the back half at least): The Return (2024). Joining us are guesting hall-of-famers Joel Christensen and Amy Pistone, as well as super-special new suitor, Joe Goodkin. We talk about reception and storytelling, whether it's better sometimes to forget than to remember, and Ralph Fiennes' naked bod. Put on your best beggar disguise, string you bow and get ready to grapple with the horror of war in this stealth sequel to The English Patient (2 English 2 Patient).You can can find more from Amy on her website and on social media, Joel via Sententiae Antiquae (@sentantiq), and listen to Joe's folk opera, The Blues of Achilles. Hosted on Acast. See acast.com/privacy for more information.

How can men find their way to war but not find their way to a good podcast? Like suitors around Penelope's megaron, we assemble our biggest survey panel ever to court Uberto Pasolini's latest re-imagining of Homer's Odyssey (or the back half at least): The Return (2024). Joining us are guesting hall-of-famers Joel Christensen and Amy Pistone, as well as super-special new suitor, Joe Goodkin. We talk about reception and storytelling, whether it's better sometimes to forget than to remember, and Ralph Fiennes' naked bod. Put on your best beggar disguise, string you bow and get ready to grapple with the horror of war in this stealth sequel to The English Patient (2 English 2 Patient). You can can find more from Amy on her website and on social media, Joel via Sententiae Antiquae (@sentantiq), and listen to Joe's folk opera, The Blues of Achilles.

“It's 9am… This is a 1955 Margaux.”We are once again asking you to listen to us talk about the movies and TV that feature wines in an important role… we are also drinking.  Today, filmmaker Jason Wise and winemaker Jonah Beer discuss pivotal scenes in “Seinfeld, The English Patient, Steve Jobs, and The Newsroom” that feature wine and we break down if they got it right.  This episode is brought to you by our coverage of the Napa Valley 2024 Vintage report and our original Film “Inheriting the Future” about Bourgogne's next generation ~ both streaming free now on sommtv.com and all of our apps.  

Helen and Gavin chat about Silo, A Real Pain, and Wicked Part 1, and it's Week 35 of the list of Oscar Best Picture Winners from 1997 and 1998; The English Patient, and Titanic.

We're kicking off the Renee-ssaince in earnest after our lost episode last time, it's time to visit COLD MOUNTAIN. Directed by Anthony Minghella (The Talented Mr. Ripley, The English Patient) and starring Jude Law, Nicole and our focus of this mini series, Renee Zellweger, will this be a stirring epic or a significant snooze? In this classic story of love and devotion set against the backdrop of the American Civil War, a wounded Confederate soldier named W.P. Inman deserts his unit and travels across the South, aiming to return to his young wife, Ada, who he left behind to tend their farm. As Inman makes his perilous journey home, Ada struggles to keep their home intact with the assistance of Ruby, a mysterious drifter sent to help her by a kindly neighbor. Also featuring a murderer's row of supporting actors, will the trio be warmed by the mountain or left cold by its charms?  

Send us a textGeorge Miller's Bold Vision: A True Story Unfolds features an insightful interview with renowned cinematographer John Seale, hosted by Joath from the Kingdom of Dreams podcast. Seale, known for his work on films like Lorenzo's Oil, English Patient, and Harry Potter, discusses his collaboration with director George Miller. The conversation delves into Miller's unique directing style, lighting techniques, and the compelling story of Lorenzo's Oil, starring Nick Nolte and Susan Sarandon. Kingdom of Dreams is a podcast about cinema and the art of storytelling.  #cinematiclighting #practicallightinginfilm #directorofphotography #visualstorytelling  http://twitter.com/dreamingkingdomhttp://instagram.com/kingdomofdreamspodcasthttp://facebook.com/kingdomofdreamspodcast Watch the feature films that I have directedCitizen of Moria - https://rb.gy/azpsuIn Search of My Sister - https://rb.gy/1ke21Official Website - www.jawadmir.com

Welcome to another Cinema Sounds & Secrets Tribute episode! This week Janet, John, (and Pen) explore the life and career of British film director and playwright Anthony Minghella. Minghella was born in 1954 in Ryde, Isle of Wight, England, and later studied drama at the University of Hull. He's known for incredible films like The English Patient (1996), Truly, Madly, Deeply (1991), The Talented Mr. Ripley (1999), and Cold Mountain (2003), receiving the Academy Award for Best Director for The English Patient, and many other nominations.  To learn more about this episode and others, visit the Official Cinema Sounds & Secrets website. And check out our Instagram, @cinemasoundspod!

Four wounded souls try to endure the end of WW2 in a bombed out Tuscan monastery. Ondaatje's novel digs into these liminal lives as they project themselves onto the blank slate that is [dramatic music] the English patient.This episode is sponsored by BetterHelp. Give online therapy a try at betterhelp.com/overdue and get on your way to being your best self.Our theme music was composed by Nick Lerangis.Follow @overduepod on Instagram and BlueskyAdvertise on OverdueSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Donald Trump was maybe kinda almost targeted for assassination again, and the pets-eating discourse has entered its second week and shows no sign of getting smarter. CIB has some thoughts on why it doesn't actually matter if any pets were or were not consumed in a town in Ohio, along with plenty of our other usual silliness. Listen, if you must! Has something we said, or failed to say, made you FEEL something? You can tell us all about it by joining the conversation on our Substack or you can send us an email here. Enjoy!Show RundownOpen — Mr. Aalen Goes to Washington16:05 — WGAS NewsBag: Another Trump assassination attempt, and JD Vance doubles down on the pets-eating nonsense1:03:08 — Thinking about our relationship to AI tools1:23:01 — The Billboard Hot 100 Game1:38:14 — Wrap-up! The English Patient and BeetlejuiceRelevant Linkage can be found by visiting https://brainiron.substack.com/, where, if you would like to support this and the other podcasting and blogging endeavors of the Brain Iron dot com media empire, you can also become a paying subscriber.

In this episode we discuss the sixty-ninth Best Picture winner, The English Patient! We discuss Gil Cates's and Billy Crystal's return to producing and hosting the Academy Awards Ceremony, Miramax's grassroots campaign strategies for convincing voters to favor The English Patient, and Francis McDormand's exciting Oscar win. We talk about Saul Zaents's struggles finding a studio partner, director Anthony Minghella's insistence on casting decisions, and Kristin Scott Thomas's thoughts on the expectations for women in Hollywood. -- Instagram: https://www.instagram.com/thanktheacademypodcast X: https://www.twitter.com/thankacademypod Email us your thoughts: thanktheacademypod@gmail.com Follow us on Letterboxd: https://letterboxd.com/thanktheacademy/ --- Support this podcast: https://podcasters.spotify.com/pod/show/thank-the-academy/support

This week on the blog, a podcast interview with playwright and screenwriter Jeffrey Hatcher on Columbo, Sherlock Holmes, favorite mysteries and more!LINKSA Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6Fast, Cheap Film Website: https://www.fastcheapfilm.com/Jeffrey Hatcher Facebook Page: https://www.facebook.com/jeffrey.hatcher.3/The Good Liar (Trailer): https://youtu.be/ljKzFGpPHhwMr. Holmes (Trailer): https://youtu.be/0G1lIBgk4PAStage Beauty (Trailer): https://youtu.be/-uc6xEBfdD0Columbo Clips from “Ashes to Ashes”Clip One: https://youtu.be/OCKECiaFsMQClip Two: https://youtu.be/BbO9SDz9FEcClip Three: https://youtu.be/GlNDAVAwMCIEli Marks Website: https://www.elimarksmysteries.com/Albert's Bridge Books Website: https://www.albertsbridgebooks.com/YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcastTRANSCRIPTJohn: Can you remember your very first mystery, a movie, book, TV show, play, a mystery that really captured your imagination? Jeffrey: You know, I was thinking about this, and what came to mind was a Disney movie called Emile and the Detectives from 1964. So, I would have been six or seven years old. It's based on a series of German books by Eric Kastner about a young man named Emile and his group of friends who think of themselves as detectives. So, I remember that—I know that might've been the first film. And obviously it's not a play because, you know, little kids don't tend to go to stage thrillers or mysteries and, “Daddy, please take me to Sleuth.But there was a show called Burke's Law that I really loved. Gene Barry played Captain Amos Burke of the Homicide Division in Los Angeles, and he was very rich. That was the bit. The bit was that Captain Burke drove around in a gorgeous Rolls Royce Silver Ghost, and he had a chauffeur. And every mystery was structured classically as a whodunit.In fact, I think every title of every episode was “Who Killed Cock Robin?” “Who Killed Johnny Friendly?” that kind of thing. And they would have a cast of well-known Hollywood actors, so they were all of equal status. Because I always think that's one of the easiest ways to guess the killer is if it's like: Unknown Guy, Unknown Guy, Derek Jacobi, Unknown Guy, Unknown Guy. It's always going to be Derek Jacobi. John: Yeah, it's true. I remember that show. He was really cool. Jim: Well, now I'm going to have to look that up.Jeffrey: It had a great score, and he would gather all of the suspects, you know, at the end of the thing. I think my favorite was when he caught Paul Lynde as a murderer. And, of course, Paul Lynde, you know, kept it very low key when he was dragged off. He did his Alice Ghostly impersonation as he was taken away.John: They did have very similar vocal patterns, those two.Jeffrey: Yep. They're kind of the exact same person. Jim: I never saw them together. John: You might have on Bewitched. Jim: You're probably right.Jeffrey: Well, I might be wrong about this, either Alice Ghostly or Charlotte Ray went to school with Paul Lynde. And Charlotte Ray has that same sound too. You know, kind of warbly thing. Yes. I think they all went to Northwestern in the late 40s and early 50s. So maybe that was a way that they taught actors back then. John: They learned it all from Marion Horne, who had the very same warble in her voice. So, as you got a little older, were there other mysteries that you were attracted to?Jeffrey: Yeah. Luckily, my parents were very liberal about letting me see things that other people probably shouldn't have. I remember late in elementary school, fifth grade or so, I was reading Casino Royale. And one of the teachers said, “Well, you know, most kids, we wouldn't want to have read this, but it's okay if you do.”And I thought, what's that? And I'm so not dangerous; other kids are, well they would be affected oddly by James Bond? But yeah, I, I love spy stuff. You know, The Man from Uncle and The Wild Wild West, all those kind of things. I love James Bond. And very quickly I started reading the major mysteries. I think probably the first big book that I remember, the first novel, was The Hound of the Baskervilles. That's probably an entrance point for a lot of kids. So that's what comes in mind immediately. Jim: I certainly revisit that on—if not yearly basis, at least every few years I will reread The Hound of the Baskervilles. Love that story. That's good. Do you have, Jeffrey, favorite mystery fiction writers?Jeffrey: Oh, sure. But none of them are, you know, bizarre Japanese, Santa Domingo kind of writers that people always pull out of their back pockets to prove how cool they are. I mean, they're the usual suspects. Conan Doyle and Christie and Chandler and Hammett, you know, all of those. John Dickson Carr, all the locked room mysteries, that kind of thing. I can't say that I go very far off in one direction or another to pick up somebody who's completely bizarre. But if you go all the way back, I love reading Wilkie Collins.I've adapted at least one Wilkie Collins, and they read beautifully. You know, terrifically put together, and they've got a lot of blood and thunder to them. I think he called them sensation novels as opposed to mysteries, but they always have some mystery element. And he was, you know, a close friend of Charles Dickens and Dickens said that there were some things that Collins taught him about construction. In those days, they would write their novels in installments for magazines. So, you know, the desire or the need, frankly, to create a cliffhanger at the end of every episode or every chapter seems to have been born then from a capitalist instinct. John: Jeff, I know you studied acting. What inspired the move into playwriting?Jeffrey: I don't think I was a very good actor. I was the kind of actor who always played older, middle aged or older characters in college and high school, like Judge Brack in Hedda Gabler, those kind of people. My dream back in those days was to play Dr. Dysart in Equus and Andrew Wyke in Sleuth. So, I mean, that was my target. And then I moved to New York, and I auditioned for things and casting directors would say, “Well, you know, we actually do have 50 year old actors in New York and we don't need to put white gunk in their hair or anything like that. So, why don't you play your own age, 22 or 23?” And I was not very good at playing 22 or 23. But I'd always done some writing, and a friend of mine, Graham Slayton, who was out at the Playwrights Center here, and we'd gone to college together. He encouraged me to write a play, you know, write one act, and then write a full length. So, I always say this, I think most people go into the theater to be an actor, you know, probably 98%, and then bit by bit, we, you know, we peel off. We either leave the profession completely or we become directors, designers, writers, what have you. So, I don't think it's unnatural what I did. It's very rare to be like a Tom Stoppard who never wanted to act. It's a lot more normal to find the Harold Pinter who, you know, acted a lot in regional theaters in England before he wrote The Caretaker.Jim: Fascinating. Can we talk about Columbo?Jeffrey: Oh, yes, please. Jim: This is where I am so tickled pink for this conversation, because I was a huge and am a huge Peter Falk Columbo fan. I went back and watched the episode Ashes To Ashes, with Patrick McGowan that you created. Tell us how that came about. Jeffrey: I too was a huge fan of Columbo in the 70s. I remember for most of its run, it was on Sunday nights. It was part of that murder mystery wheel with things like Hec Ramsey and McCloud, right? But Columbo was the best of those, obviously. Everything, from the structure—the inverted mystery—to thw guest star of the week. Sometimes it was somebody very big and exciting, like Donald Pleasence or Ruth Gordon, but often it was slightly TV stars on the skids.John: Jack Cassidy, Jim: I was just going to say Jack Cassidy.Jeffrey: But at any rate, yeah, I loved it. I loved it. I remembered in high school, a friend and I doing a parody of Columbo where he played Columbo and I played the murderer of the week. And so many years later, when they rebooted the show in the nineties, my father died and I spent a lot of time at the funeral home with the funeral director. And having nothing to say to the funeral director one day, I said, “Have you got the good stories?”And he told me all these great stories about, you know, bodies that weren't really in the casket and what you can't cremate, et cetera. So, I suddenly had this idea of a Hollywood funeral director to the stars. And, via my agent, I knew Dan Luria, the actor. He's a close friend or was a close friend of Peter's. And so, he was able to take this one-page idea and show it to Peter. And then, one day, I get a phone call and it's, “Uh, hello Jeff, this is Peter Falk calling. I want to talk to you about your idea.” And they flew me out there. It was great fun, because Falk really ran the show. He was the executive producer at that point. He always kind of ran the show. I think he only wrote one episode, the one with Faye Dunaway, but he liked the idea.I spent a lot of time with him, I'd go to his house where he would do his drawings back in the studio and all that. But what he said he liked about it was he liked a new setting, they always liked a murderer and a setting that was special, with clues that are connected to, say, the murderer's profession. So, the Donald Pleasant one about the wine connoisseur and all the clues are about wine. Or the Dick Van Dyke one, where he's a photographer and most of the clues are about photography. So, he really liked that. And he said, “You gotta have that first clue and you gotta have the pop at the end.”So, and we worked on the treatment and then I wrote the screenplay. And then he asked McGoohan if he would do it, and McGoohan said, “Well, if I can direct it too.” And, you know, I've adored McGoohan from, you know, Secret Agent and The Prisoner. I mean, I'd say The Prisoner is like one of my favorite television shows ever. So, the idea that the two of them were going to work together on that script was just, you know, it was incredible. John: Were you able to be there during production at all? Jeffrey: No, I went out there about four times to write, because it took like a year or so. It was a kind of laborious process with ABC and all that, but I didn't go out during the shooting.Occasionally, this was, you know, the days of faxes, I'd get a phone call: “Can you redo something here?” And then I'd fax it out. So, I never met McGoohan. I would only fax with him. But they built this whole Hollywood crematorium thing on the set. And Falk was saying at one point, “I'm getting pushback from Universal that we've got to do all this stuff. We've got to build everything.” And I was saying, “Well, you know, 60 percent of the script takes place there. If you're going to try to find a funeral home like it, you're going to have all that hassle.” And eventually they made the point that, yeah, to build this is going to cost less than searching around Hollywood for the right crematorium, And it had a great cast, you know, it had Richard Libertini and Sally Kellerman, and Rue McClanahan was our murder victim.Jim: I'll tell you every scene that Peter Falk and Mr. McGoohan had together. They looked to me as an actor, like they were having a blast being on together. Jeffrey: They really loved each other. They first met when McGoohan did that episode, By Dawn's Early Light, where he played the head of the military school. It's a terrific episode. It was a great performance. And although their acting styles are completely different, You know, Falk much more, you know, fifties, methody, shambolic. And McGoohan very, you know, his voice cracking, you know, and very affected and brittle. But they really loved each other and they liked to throw each other curveballs.There are things in the, in the show that are ad libs that they throw. There's one bit, I think it's hilarious. It's when Columbo tells the murderer that basically knows he did it, but he doesn't have a way to nail him. And, McGoohan is saying, “So then I suppose you have no case, do you?” And Falk says, “Ah, no, sir, I don't.” And he walks right off camera, you know, like down a hallway. And McGoohan stares off and says, “Have you gone?” And none of that was scripted. Peter just walks off set. And if you watch the episode, they had to dub in McGoohan saying, “Have you gone,” because the crew was laughing at the fact that Peter just strolled away. So McGoohan adlibs that and then they had to cover it later to make sure the sound wasn't screwed up. Jim: Fantastic. John: Kudos to you for that script, because every piece is there. Every clue is there. Everything pays off. It's just it is so tight, and it has that pop at the end that he wanted. It's really an excellent, excellent mystery.Jim: And a terrific closing line. Terrific closing line. Jeffrey: Yeah, that I did right. That was not an ad lib. Jim: It's a fantastic moment. And he, Peter Falk, looks just almost right at the camera and delivers that line as if it's, Hey, check this line out. It was great. Enjoyed every minute of it. Can we, um, can I ask some questions about Sherlock Holmes now?Jeffrey: Oh, yes. Jim: So, I enjoyed immensely Holmes and Watson that I saw a couple summers ago at Park Square. I was completely riveted and had no, absolutely no idea how it was going to pay off or who was who or what. And when it became clear, it was so much fun for me as an audience member. So I know that you have done a number of Holmes adaptations.There's Larry Millet, a St. Paul writer here and I know you adapted him, but as far as I can tell this one, pillar to post was all you. This wasn't an adaptation. You created this out of whole cloth. Am I right on that? Jeffrey: Yes. The, the idea came from doing the Larry Millet one, actually, because Steve Hendrickson was playing Holmes. And on opening night—the day of opening night—he had an aortic aneurysm, which they had to repair. And so, he wasn't able to do the show. And Peter Moore, the director, he went in and played Holmes for a couple of performances. And then I played Holmes for like three performances until Steve could get back. But in the interim, we've sat around saying, “All right, who can we get to play the role for like a week?” And we thought about all of the usual suspects, by which I mean, tall, ascetic looking actors. And everybody was booked, everybody was busy. Nobody could do it. So that's why Peter did it, and then I did it.But it struck me in thinking about casting Holmes, that there are a bunch of actors that you would say, you are a Holmes type. You are Sherlock Holmes. And it suddenly struck me, okay, back in the day, if Holmes were real, if he died—if he'd gone over to the falls of Reichenbach—people probably showed up and say, “Well, I'm Sherlock Holmes.”So, I thought, well, let's take that idea of casting Holmes to its logical conclusion: That a couple of people would come forward and say, “I'm Sherlock Holmes,” and then we'd wrap it together into another mystery. And we're sitting around—Bob Davis was playing Watson. And I said, “So, maybe, they're all in a hospital and Watson has to come to figure out which is which. And Bob said, “Oh, of course, Watson's gonna know which one is Holmes.”And that's what immediately gave me the idea for the twist at the end, why Watson wouldn't know which one was Holmes. So, I'm very grateful whenever an idea comes quickly like that, but it depends on Steve getting sick usually. Jim: Well, I thoroughly enjoyed it. If it's ever staged again anywhere, I will go. There was so much lovely about that show, just in terms of it being a mystery. And I'm a huge Sherlock Holmes fan. I don't want to give too much away in case people are seeing this at some point, but when it starts to be revealed—when Pierce's character starts talking about the reviews that he got in, in the West End—I I almost wet myself with laughter. It was so perfectly delivered and well written. I had just a great time at the theater that night. Jeffrey: It's one of those things where, well, you know how it is. You get an idea for something, and you pray to God that nobody else has done it. And I couldn't think of anybody having done this bit. I mean, some people have joked and said, it's kind of To Tell the Truth, isn't it? Because you have three people who come on and say, “I'm Sherlock Holmes.” “I'm Sherlock Holmes.” “I'm Sherlock Holmes.” Now surely somebody has done this before, but Nobody had. Jim: Well, it's wonderful. John: It's all in the timing. So, what is the, what's the hardest part about adapting Holmes to this stage?Jeffrey: Well, I suppose from a purist point of view‑by which I mean people like the Baker Street Irregulars and other organizations like that, the Norwegian Explorers here in Minnesota‑is can you fit your own‑they always call them pastiches, even if they're not comic‑can you fit your own Holmes pastiche into the canon?People spend a lot of time working out exactly where Holmes and Watson were on any given day between 1878 and 1930. So, one of the nice things about Holmes and Watson was, okay, so we're going to make it take place during the three-year interregnum when Holmes is pretending to be dead. And it works if you fit Holmes and Watson in between The Final Problem and The Adventure of the Empty House, it works. And that's hard to do. I would say, I mean, I really love Larry Millett's book and all that, but I'm sure it doesn't fit, so to speak. But that's up to you to care. If you're not a purist, you can fiddle around any old way you like. But I think it's kind of great to, to, to have the, the BSI types, the Baker Street Irregular types say, “Yes, this clicked into place.”Jim: So that's the most difficult thing. What's the easiest part?Jeffrey: Well, I think it's frankly the language, the dialogue. Somebody pointed out that Holmes is the most dramatically depicted character in history. More than Robin Hood, more than Jesus Christ. There are more actor versions of Holmes than any other fictional character.We've been surrounded by Holmes speak. Either if we've read the books or seen the movies or seen any of the plays for over 140 years. Right. So, in a way, if you're like me, you kind of absorb that language by osmosis. So, for some reason, it's very easy for me to click into the way I think Holmes talks. That very cerebral, very fast, sometimes complicated syntax. That I find probably the easiest part. Working out the plots, you want them to be Holmesian. You don't want them to be plots from, you know, don't want the case to be solved in a way that Sam Spade would, or Philip Marlowe would. And that takes a little bit of work. But for whatever reason, it's the actor in you, it's saying, all right, if you have to ad lib or improv your way of Sherlock Holmes this afternoon, you know, you'd be able to do it, right? I mean, he really has permeated our culture, no matter who the actor is.Jim: Speaking of great actors that have played Sherlock Holmes, you adapted a movie that Ian McKellen played, and I just watched it recently in preparation for this interview.Having not seen it before, I was riveted by it. His performance is terrific and heartbreaking at the same time. Can we talk about that? How did you come to that project? And just give us everything.Jeffrey: Well, it's based on a book called A Slight Trick of the Mind by Mitch Cullen, and it's about a very old Sherlock Holmes in Surrey, tending to his bees, as people in Holmesland know that he retired to do. And it involves a couple of cases, one in Japan and one about 20 years earlier in his life that he's trying to remember. And it also has to do with his relationship with his housekeeper and the housekeeper's son. The book was given to me by Anne Carey, the producer, and I worked on it probably off and on for about five years.A lot of time was spent talking about casting, because you had to have somebody play very old. I remember I went to meet with Ralph Fiennes once because we thought, well, Ralph Fiennes could play him at his own age,‑then probably his forties‑and with makeup in the nineties.And Ralph said‑Ralph was in another film that I'd done‑and he said, “Oh, I don't wear all that makeup. That's just far too much.” And I said, “Well, you did in Harry Potter and The English Patient, you kind of looked like a melted candle.” And he said, “Yes, and I don't want to do that again.” So, we always had a very short list of actors, probably like six actors in the whole world And McKellen was one of them and we waited for him to become available And yeah, he was terrific. I'll tell you one funny story: One day, he had a lot of prosthetics, not a lot, but enough. He wanted to build up his cheekbones and his nose a bit. He wanted a bit, he thought his own nose was a bit too potatoish. So, he wanted a more Roman nose. So, he was taking a nap one day between takes. And they brought him in, said, “Ian, it's time for you to do the, this scene,” and he'd been sleeping, I guess, on one side, and his fake cheek and his nose had moved up his face. But he hadn't looked in the mirror, and he didn't know. So he came on and said, “Very well, I'm all ready to go.” And it was like Quasimodo.It's like 5:52 and they're supposed to stop shooting at six. And there was a mad panic of, Fix Ian's face! Get that cheekbone back where it's supposed to be! Knock that nose into place! A six o'clock, we go into overtime!” But it was very funny that he hadn't noticed it. You kind of think you'd feel if your own nose or cheekbone had been crushed, but of course it was a makeup. So, he didn't feel anything. Jim: This is just the, uh, the actor fan boy in me. I'm an enormous fan of his work straight across the board. Did you have much interaction with him and what kind of fella is he just in general?Jeffrey: He's a hoot. Bill Condon, the director, said, “Ian is kind of methody. So, when you see him on set, he'll be very decorous, you know, he'll be kind of like Sherlock Holmes.” And it was true, he goes, “Oh, Jeffrey Hatcher, it's very good to meet you.” And he was kind of slow talking, all that. Ian was like 72 then, so he wasn't that old. But then when it was all over, they were doing all those--remember those ice Dumps, where people dump a tub of ice on you? You have these challenges? A the end of shooting, they had this challenge, and Ian comes out in short shorts, and a bunch of ballet dancers surrounds him. And he's like, “Alright, everyone, let's do the ice challenge.” And, he turned into this bright dancer. He's kind of a gay poster boy, you know, ever since he was one of the most famous coming out of the last 20 some years. So, you know, he was suddenly bright and splashy and, you know, all that old stuff dropped away. He has all of his headgear at his house and his townhouse. He had a party for us at the end of shooting. And so, there's a Gandalf's weird hat and there's Magneto's helmet, you know, along with top hats and things like that. And they're all kind of lined up there. And then people in the crew would say, can I take a picture of you as Gandalf? “Well, why, of course,” and he does all that stuff. So no, he's wonderful. Jim: You do a very good impression as well. That was great. Now, how did you come to the project, The Good Liar, which again, I watched in preparation for this and was mesmerized by the whole thing, especially the mystery part of it, the ending, it was brilliant.How did you come to that project?Jeffrey: Well, again, it was a book and Warner Brothers had the rights to it. And because Bill and I had worked on Mr. Holmes--Bill Condon--Bill was attached to direct. And so I went in to talk about how to adapt it.This is kind of odd. It's again based in McKellen. In the meeting room at Warner Brothers, there was a life size version of Ian as Gandalf done in Legos. So, it was always, it'll be Ian McKellen and somebody in The Good Liar. Ian as the con man. And that one kind of moved very quickly, because something changed in Bill Condon's schedule. Then they asked Helen Mirren, and she said yes very quickly.And it's a very interesting book, but it had to be condensed rather a lot. There's a lot of flashbacks and going back and forth in time. And we all decided that the main story had to be about this one con that had a weird connection to the past. So, a lot of that kind of adaptation work is deciding what not to include, so you can't really be completely faithful to a book that way. But I do take the point with certain books. When my son was young, he'd go to a Harry Potter movie, and he'd get all pissed off. Pissed off because he'd say Dobby the Elf did a lot more in the book.But if it's a book that's not quite so well-known—The Good Liar isn't a terribly well-known book, nor was A Slight Trick of the Mind--you're able to have a lot more room to play. Jim: It's a very twisty story. Now that you're talking about the book, I'll probably have to go get the book and read it just for comparison. But what I saw on the screen, how did you keep it--because it was very clear at the end--it hits you like a freight train when it all sort of unravels and you start seeing all of these things. How did you keep that so clear for an audience? Because I'll admit, I'm not a huge mystery guy, and I'm not the brightest human, and yet I was able to follow that story completely.Jeffrey: Well, again, I think it's mostly about cutting things, I'm sure. And there are various versions of the script where there are a lot of other details. There's probably too much of one thing or another. And then of course, you know, you get in the editing room and you lose a couple of scenes too. These kinds of things are very tricky. I'm not sure that we were entirely successful in doing it, because you say, which is more important, surprise or suspense? Hitchcock used to have that line about, suspense is knowing there's a bomb under the table. And you watch the characters gather at the table. As opposed to simply having a bomb blow up and you didn't know about it.So, we often went back and forth about Should we reveal that the Helen Mirren character knows that Ian's character is doing something bad? Or do we try to keep it a secret until the end? But do you risk the audience getting ahead of you? I don't mind if the audience is slightly ahead. You know, it's that feeling you get in the theater where there's a reveal and you hear a couple of people say, “Oh, I knew it and they guessed it may be a minute before. But you don't want to get to the point where the audience is, you know, 20 minutes or a half an hour ahead of you.Jim: I certainly was not, I was not in any way. It unfolded perfectly for me in terms of it being a mystery and how it paid off. And Helen Mirren was brilliant. In fact, for a long time during it, I thought they were dueling con men, the way it was set up in the beginning where they were both entering their information and altering facts about themselves.I thought, “Oh, well, they're both con men and, and now we're going to see who is the better con man in the end.” And so. when it paid off. In a way different sort of way, it was terrific for me. Absolutely. Jeffrey: Well, and I thank you. But in a way, they were both con men. Jim: Yes, yes. But she wasn't a professional con man.Jeffrey: She wasn't just out to steal the money from him. She was out for something else. She was out for vengeance. Jim: Yes. Very good. Very, if you haven't seen it, The Good Liar folks, don't wait. I got it on Amazon prime and so can you.Jeffrey: I watched them do a scene, I was over there for about five days during the shooting.And watching the two of them work together was just unbelievable. The textures, the tones, the little lifts of the eyebrow, the shading on one word versus another. Just wonderful, wonderful stuff. Jim: Yeah. I will say I am a huge Marvel Cinematic Universe fan along with my son. We came to those together and I'm a big fan of that sort of movie. So I was delighted by this, because it was such a taut story. And I was involved in every second of what was going on and couldn't quite tell who the good guys were and who the bad guys were and how is this going to work and who's working with who?And it was great. And in my head, I was comparing my love for that sort of big blow it up with rayguns story to this very cerebral, internal. And I loved it, I guess is what I'm saying. And, I am, I think, as close to middle America as you're going to find in terms of a moviegoer. And I thought it was just dynamite. Jeffrey: It was very successful during the pandemic--so many things were when people were streaming--but it was weirdly successful when it hit Amazon or Netflix or whatever it was. And, I think you don't have to be British to understand two elderly people trying to find a relationship. And then it turns out that they both have reasons to hate and kill each other. But nonetheless, there is still a relationship there. So, I pictured a lot of lonely people watching The Good Liar and saying, “Yeah, I'd hang out with Ian McKellen, even if he did steal all my money.” John: Well, speaking of movies, I am occasionally handed notes here while we're live on the air from my wife. And she wants you to just say something about the adaptation you did of your play, Stage Beauty, and what that process was like and how, how that process went.Jeffrey: That was terrific because, primarily Richard Eyre--the director who used to run the National Theater and all that--because he's a theater man and the play's about theater. I love working with Bill Condon and I've loved working with Lassa Hallstrom and other people, but Richard was the first person to direct a film of any of my stuff. And he would call me up and say, “Well, we're thinking of offering it to Claire Danes.” or we're thinking…And usually you just hear later, Oh, somebody else got this role. But the relationship was more like a theater director and a playwright. I was there on set for rehearsals and all that.Which I haven't in the others. No, it was a wonderful experience, but I think primarily because the, the culture of theater saturated the process of making it and the process of rehearsing it and—again--his level of respect. It's different in Hollywood, everybody's very polite, they know they can fire you and you know, they can fire you and they're going to have somebody else write the dialogue if you're not going to do it, or if you don't do it well enough. In the theater, we just don't do that. It's a different world, a different culture, different kind of contracts too. But Richard really made that wonderful. And again, the cast that he put together: Billy Crudup and Claire and Rupert Everett and Edward Fox and Richard Griffiths. I remember one day when I was about to fly home, I told Richard Griffiths what a fan Evan-- my son, Evan--was of him in the Harry Potter movie. And he made his wife drive an hour to come to Shepperton with a photograph of him as Mr. Dursley that he could autograph for my son. John: Well, speaking of stage and adaptations, before we go into our lightning round here, you did two recent adaptations of existing thrillers--not necessarily mysteries, but thrillers--one of which Hitchcock made into a movie, which are Dial M for Murder and Wait Until Dark. And I'm just wondering what was that process for you? Why changes need to be made? And what kind of changes did you make?Jeffrey: Well, in both cases, I think you could argue that no, changes don't need to be made. They're wildly successful plays by Frederick Knott, and they've been successful for, you know, alternately 70 or 60 years.But in both cases, I got a call from a director or an artistic director saying, “We'd like to do it, but we'd like to change this or that.” And I'm a huge fan of Frederick Knott. He put things together beautifully. The intricacies of Dial M for Murder, you don't want to screw around with. And there are things in Wait Until Dark having to do just with the way he describes the set, you don't want to change anything or else the rather famous ending won't work. But in both cases, the women are probably not the most well drawn characters that he ever came up with. And Wait Until Dark, oddly, they're in a Greenwich Village apartment, but it always feels like they're really in Westchester or in Terre Haute, Indiana. It doesn't feel like you're in Greenwich Village in the 60s, especially not in the movie version with Audrey Hepburn. So, the director, Matt Shackman, said, why don't we throw it back into the 40s and see if we can have fun with that. And so it played out: The whole war and noir setting allowed me to play around with who the main character was. And I know this is a cliche to say, well, you know, can we find more agency for female characters in old plays or old films? But in a sense, it's true, because if you're going to ask an actress to play blind for two hours a night for a couple of months, it can't just be, I'm a blind victim. And I got lucky and killed the guy. You've got a somewhat better dialogue and maybe some other twists and turns. nSo that's what we did with Wait Until Dark. And then at The Old Globe, Barry Edelstein said, “well, you did Wait Until Dark. What about Dial? And I said, “Well, I don't think we can update it, because nothing will work. You know, the phones, the keys. And he said, “No, I'll keep it, keep it in the fifties. But what else could you What else could you do with the lover?”And he suggested--so I credit Barry on this--why don't you turn the lover played by Robert Cummings in the movie into a woman and make it a lesbian relationship? And that really opened all sorts of doors. It made the relationship scarier, something that you really want to keep a secret, 1953. And I was luckily able to find a couple of other plot twists that didn't interfere with any of Knott's original plot.So, in both cases, I think it's like you go into a watch. And the watch works great, but you want the watch to have a different appearance and a different feel when you put it on and tick a little differently. John: We've kept you for a way long time. So, let's do this as a speed round. And I know that these questions are the sorts that will change from day to day for some people, but I thought each of us could talk about our favorite mysteries in four different mediums. So, Jeff, your favorite mystery novel”Jeffrey: And Then There Were None. That's an easy one for me. John: That is. Jim, do you have one?Jim: Yeah, yeah, I don't read a lot of mysteries. I really enjoyed a Stephen King book called Mr. Mercedes, which was a cat and mouse game, and I enjoyed that quite a bit. That's only top of mind because I finished it recently.John: That counts. Jim: Does it? John: Yeah. That'll count. Jim: You're going to find that I am so middle America in my answers. John: That's okay. Mine is--I'm going to cheat a little bit and do a short story--which the original Don't Look Now that Daphne du Murier wrote, because as a mystery, it ties itself up. Like I said earlier, I like stuff that ties up right at the end. And it literally is in the last two or three sentences of that short story where everything falls into place. Jeff, your favorite mystery play? I can be one of yours if you want. Jeffrey: It's a battle between Sleuth or Dial M for Murder. Maybe Sleuth because I always wanted to be in it, but it's probably Dial M. But it's also followed up very quickly by Death Trap, which is a great comedy-mystery-thriller. It's kind of a post-modern, Meta play, but it's a play about the play you're watching. John: Excellent choices. My choice is Sleuth. You did have a chance to be in Sleuth because when I directed it, you're the first person I asked. But your schedule wouldn't let you do it. But you would have been a fantastic Andrew Wyke. I'm sorry our timing didn't work on that. Jeffrey: And you got a terrific Andrew in Julian Bailey, but if you wanted to do it again, I'm available. John: Jim, you hear that? Jim: I did hear that. Yes, I did hear that. John: Jim, do you have a favorite mystery play?Jim: You know, it's gonna sound like I'm sucking up, but I don't see a lot of mystery plays. There was a version of Gaslight that I saw with Jim Stoll as the lead. And he was terrific.But I so thoroughly enjoyed Holmes and Watson and would love the opportunity to see that a second time. I saw it so late in the run and it was so sold out that there was no coming back at that point to see it again. But I would love to see it a second time and think to myself, well, now that you know what you know, is it all there? Because my belief is it is all there. John: Yeah. Okay. Jeff, your favorite TV mystery?Jeffrey: Oh, Columbo. That's easy. Columbo.John: I'm gonna go with Poker Face, just because the pace on Poker Face is so much faster than Columbo, even though it's clearly based on Columbo. Jim, a favorite TV mystery?Jim: The Rockford Files, hands down. John: Fair enough. Fair enough. All right. Last question all around. Jeff, your favorite mystery movie? Jeffrey: Laura. Jim: Ah, good one. John: I'm going to go with The Last of Sheila. If you haven't seen The Last of Sheila, it's a terrific mystery directed by Herbert Ross, written by Stephen Sondheim and Anthony Perkins. Fun little Stephen Sondheim trivia. The character of Andrew Wyke and his house were based on Stephen Sondheim. Jeffrey: Sondheim's townhouse has been for sale recently. I don't know if somebody bought it, but for a cool seven point something million, you're going to get it. John: All right. Let's maybe pool our money. Jim, your favorite mystery movie.Jim: I'm walking into the lion's den here with this one. Jeffrey, I hope this is okay, but I really enjoyed the Robert Downey Jr. Sherlock Holmes movies. And I revisit the second one in that series on a fairly regular basis, The Game of Shadows. I thought I enjoyed that a lot. Your thoughts on those movies quickly? Jeffrey: My only feeling about those is that I felt they were trying a little too hard not to do some of the traditional stuff. I got it, you know, like no deer stalker, that kind of thing. But I thought it was just trying a tad too hard to be You know, everybody's very good at Kung Fu, that kind of thing.Jim: Yes. And it's Sherlock Holmes as a superhero, which, uh, appeals to me. Jeffrey: I know the producer of those, and I know Guy Ritchie a little bit. And, I know they're still trying to get out a third one. Jim: Well, I hope they do. I really hope they do. Cause I enjoyed that version of Sherlock Holmes quite a bit. I thought it was funny and all of the clues were there and it paid off in the end as a mystery, but fun all along the road.Jeffrey: And the main thing they got right was the Holmes and Watson relationship, which, you know, as anybody will tell you, you can get a lot of things wrong, but get that right and you're more than two thirds there.

Elaine's hatred of a film triggers some harsh consequences from getting dumped to losing her job. This is easily one of my favorite Elaine episodes of the series with JLD showing a wide range of why she's such a comedic genius. Who else can say the word "sucked" in such a way that you feel it in your soul? Enjoy!

Welcome to the Instant Trivia podcast episode 1251, where we ask the best trivia on the Internet. Round 1. Category: E-Readers. With E in quotes 1: This novel by Sinclair Lewis caused an uproar for its satiric indictment of fundamentalist religion. Elmer Gantry. 2: The original title of this Steinbeck novel was "Salinas Valley". East of Eden. 3: Longfellow's "Tale of Acadie", it begins, "This is the forest primeval". Evangeline. 4: Thomas Gray said, "The paths of glory lead but to the grave" in this sad poem "Written in a Country Churchyard". Elegy. 5: Hana is the nurse who takes care of the nameless and terribly burned man in this novel by Michael Ondaatje. The English Patient. Round 2. Category: 4Th 1: 1983's "Billie Jean" was his 4th solo No. 1 hit. Michael Jackson. 2: When it held its 1904 exhibition, this Missouri city was the USA's 4th largest. St. Louis. 3: No joke, it's the 4th-largest bone in the skeleton of an average adult male. the humerus. 4: In 1992 Andre Marrou came in 4th in this election with 291,612 votes. the election for the presidency of the United States. 5: In terms of area, it's the 4th largest of the 5 Great Lakes. Lake Erie. Round 3. Category: The Spirit Of '76 1: In 1976 you could reassemble the painting from 3 of these, on sale for 13 cents each. stamps. 2: The artist, Archibald Willard, didn't serve in the Revolution, but with the 86th Ohio Volunteers in this war. the Civil War. 3: An early version is in a diplomatic reception room at this cabinet department's headquarters. the State Department. 4: Hugh Mosher was the model for the man blowing on this and his family still has the instrument. the fife. 5: Appropriately, the painting first gained wide notice in this 1876 exhibition in Philadelphia. the Centennial Exhibition. Round 4. Category: The Roles Of My Lifetime 1: He put in 20 seasons as Frasier Crane and 2 as a ruthless mayor on "Boss". Kelsey Grammer. 2: Mudka's Meat Hut waitress and girl at pool were fine roles but Hannah Montana got a little more press. Miley Cyrus. 3: Who? Her, as Mrs. Which, and also as Deborah Lacks. Oprah. 4: We'd give an "A" to his work as Oscar Grant and Killmonger, but he's going to get a "B." from you. (Michael B.) Jordan. 5: High schooler Kyle and Elio Perlman; call him by his name. (Timothée) Chalamet. Round 5. Category: Acting Presidents 1: In a 1995 film he played Andrew Shepherd, "The American President" who romanced Annette Bening. Michael Douglas. 2: (I'm Sam Waterston) I starred in a 1988 miniseries based on Gore Vidal's book about this president. Abraham Lincoln. 3: James Gregory played this post-Civil War president on the classic TV series "The Wild Wild West". Ulysses S. Grant. 4: Then-president John F. Kennedy chose this actor to play him in the 1963 film "PT 109". Cliff Robertson. 5: Peter Sellers had 3 roles in this film, U.S. President Merkin Muffley, Captain Lionel Mandrake and this title character. Dr. Strangelove. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

Welcome to the Instant Trivia podcast episode 1242, where we ask the best trivia on the Internet. Round 1. Category: The Lyin' King 1: This mythical king whose name now refers to a never-ending task lied to get out of Hades. Sisyphus. 2: The False Dmitrys were 3 men who tried to rule Russia by pretending to be sons of this brutal czar. Ivan the Terrible. 3: One story says this king of Ithaca told Clytemnestra her daughter could marry Achilles, but it was a lie. Odysseus. 4: Leopold II of this country created the Congo Free State, which the world would later realize was anything but free. Belgium. 5: Troubadour Bertran said of this man who tried to steal the throne from crusading brother Richard, "No man may ever trust him". King John. Round 2. Category: A Samantha Bee 1: Elizabeth Montgomery had viewers in a spell as the magical Samantha Stephens on this classic sitcom. Bewitched. 2: Before going "Full Frontal", Samantha Bee was a correspondent for this Comedy Central series. The Daily Show. 3: Samantha, the operating system in this 2013 film, shares a name with Samantha Morton, who was its original voice. Her. 4: After her years as Kelly Bundy, she played the amnesiac title character of "Samantha Who?". Christina Applegate. 5: She played the lusty Samantha Jones on "Sex and the City". Kim Cattrall. Round 3. Category: Books And Their Movies 1: The title of this 2007 film adapted from a novel comes from a Yeats poem that says, "An aged man is but a paltry thing". No Country for Old Men. 2: The first line of Winston Groom's novel about this guy mentions a box of chocolates; the Tom Hanks film mentioned them too. Forrest Gump. 3: The title of this Michael Ondaatje novel and film actually refers to a Hungarian count, badly burned after a plane crash. The English Patient. 4: When Hitler saw this 1940 movie based on a Steinbeck novel, he saw Americans as pushovers; Stalin relished the misery of the proletariat. The Grapes of Wrath. 5: This Ridley Scott film based on Eric Jager's true story of medieval France saw Matt Damon tilting against Adam Driver. The Last Duel. Round 4. Category: Mountain / Man 1: Why ask about this mountain named for a British surveyor in 1865? Because it's there. Everest. 2: A 16,000-foot Venezuelan mountain is known as Pico this last name, honoring a noted liberator. Bolívar. 3: In 1792 George Vancouver named this mountain, the tallest in Wash., after a British navy man who never even saw it. Rainier. 4: In 1792 William Broughton named this mountain, the tallest in Oregon, after a British navy man who never even saw it. Mount Hood. 5: Around 1890 I.C. Russell named this mountain, the tallest in Canada, for a geologist. Logan. Round 5. Category: A Tough Food Category 1: Biltong is a South African version of this tough and salty 5-letter food, thin strips of meat that's been dried. jerky. 2: Eating this organ meat can be tough but does help ward off anemia; an oil is also made from the cod's. liver. 3: Large pods of this gumbo ingredient may be tough and fibrous. okra. 4: It's the Italian name for squid, whose meat is firm and chewy. calamari. 5: Tough and requiring long cooking, it's the lining of beef stomach. tripe. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

Read by Terry Casburn Production and Sound Design by Kevin Seaman

This week on And the Runner-Up Is, Kevin welcomes AwardsWatch podcaster Jay Ledbetter to discuss the 1996 Oscar race for Best Actress, where Frances McDormand won for her performance in "Fargo," beating Brenda Blethyn in "Secrets & Lies," Diane Keaton in "Marvin's Room," Kristin Scott Thomas in "The English Patient," and Emily Watson in "Breaking the Waves." We discuss all of these nominated performances and determine who we think was the runner-up to McDormand. 0:00 - 15:35 - Introduction 15:35 - 39:48 - Brenda Blethyn 39:49 - 58:17 - Diane Keaton 58:18 - 1:20:18 - Kristin Scott Thomas 1:28:19 - 1:49:30 - Emily Watson 1:49:31 - 2:16:01 - Frances McDormand 2:16:02 - 3:00:47 - Why Frances McDormand won / Twitter questions 3:00:48 - 3:07:58 - Who was the runner-up? Buy And the Runner-Up Is merch at https://www.teepublic.com/stores/and-the-runner-up-is?ref_id=24261! Support And the Runner-Up Is on Patreon at patreon.com/andtherunnerupis! Follow Kevin Jacobsen on Twitter Follow Jay Ledbetter on Twitter Follow And the Runner-Up Is on Twitter and Instagram Theme/End Music: "Diamonds" by Iouri Sazonov Additional Music: "Storming Cinema Ident" by Edward Blakeley Artwork: Brian O'Meara

The Worthy Boys are being institutionalized in honor of  "One Flew Over the Cuckoo's Nest," the groundbreaking Best Picture of 1975!

We journey back to the pivotal year of 1962 to unpack two monumental films that left an indelible mark on the movies. First up, Jake brings to the table "The Manchurian Candidate," a political thriller that weaves a tale of intrigue and brainwashing, mirroring the tense Cold War atmosphere of its time. Its blend of suspense and political commentary continues to resonate today. Plus, Frank Sinatra runs funny. Then, shifting gears, Brad introduces David Lean's "Lawrence of Arabia," a sweeping epic renowned for its grand storytelling and breathtaking cinematography. This film's portrayal of T.E. Lawrence's enigmatic character and the intricate dynamics of wartime alliances offers much for the group to dissect. Hosted by Brad Garoon & Jake Ziegler, with guest Ryley Trahan from Nerd It Here First. And apologies to Lord of the Rings cinematographer Andrew Lesnie, who is the person who actually said, "Same place as the music." Movies mentioned in this episode: "The Ten Commandments" (1956), "Voice in the Mirror" (1958), "Cleo from 5 to 7" (1962), "Dr. No" (1962), "The Fabulous Baron Munchausen" (1962), "Hara Kiri" (1962), "Lolita" (1962), "Lonely Are the Brave" (1962), "The Man Who Shot Liberty Valance" (1962), "To Kill a Mockingbird" (1962), "Whatever Happened to Baby Jane" (1962), "A Guide for the Married Man" (1967), "El Topo" (1970), "That's Entertainment" (1974), "Network" (1976), "Death on the Nile" (1978), "Stop Making Sense" (1984), "Silence of the Lambs" (1991), "A Dangerous Man: Laurence After Arabia" (1992), "The English Patient" (1996), "The Manchurian Candidate" (2004), "Dune Part 1" (2021), "John Wick: Chapter 4" (2023), and "Dune Part 2" (2024).

Siobhan and Marcelo talk the Best Pictures and Best Directors of 2023 in the almost-last episode of their awards season series. They also discuss the movie of the week, The English Patient, the Oscar winner for Best Picture and Best Director. Plus, they talk Dune: Part Two, Problemista, Hannibal, The Fugitive, Thanksgiving, Wonka, Salvador, and a whole lot more!

Le Patient Anglais, The English Patient, dʹAnthony Minghella sorti en 1996 est un film passionnant, passionnel, qui a touché le cœur de million de spectatrices et de spectateurs et récolté une floppée dʹOscars. Tiré dʹun roman, lʹHomme flambé de Michael Ondaatje, Le Patient anglais raconte une histoire dʹamour fou sur fond de Seconde Guerre mondiale Une histoire entre les sables du Sahara, les rues grouillantes du Caire, et les collines verdoyantes de la Toscane. Un conte fait dʹintrigues et dʹaventures où des personnages se croisent autour dʹun homme, énigmatique, un grand brûlé qui, étonnamment, va bouleverser le cours de leur vie. Amoureux du roman, Anthony Minghella en tire un film épique qui porte en lui le souffle de Casablanca et de Lawrence dʹArabie. Un film à grande échelle avec un casting exceptionnel : Ralph Fiennes dans le rôle du patient anglais Kristin Scott Thomas, Juliette Binoche, Willem Dafoe, Colin Firth et Naveen Andrews. Et ça plaît. Lyrique, épique, romantique, le film détonne dans le paysage cinématographique des années 90. Il est plébiscité par la critique et par le public. Il reçoit de nombreux Oscars en 1997 dont celui du meilleur film, du meilleur réalisateur, du meilleur son, de la meilleure musique, de la meilleure actrice de second rôle pour Juliette Binoche et le césar du Meilleur film étranger. Le Patient anglais, ce sont des êtres détruits qui tente le tout pour le tout dans ce monastère toscan en 1945 pour se reconstruire, enfin, et raconteur leur vérité. Il ne nous reste plus mettre nos oreilles dans leurs pas et à suivre leur destinée. REFERENCES Le making of https://www.youtube.com/watch?v=cshbPTP9FeA masterclass avec Anthony Minghella https://www.youtube.com/watch?v=dZbuxAYt2Z0 Antony Minghella reading The English patient fort the first Time https://www.youtube.com/watch?v=bzsAa0I-tmc The English Patient: Author Michael Ondaatje and Director Anthony Minghella interview (1996) https://www.youtube.com/watch?v=ScjsILH9Ud4

Welcome back to the second of our Booker at the Oscars mini-series where we explore Booker Prize novels whose silver screen adaptations went on to experience Academy Award success. This time we're revisiting The English Patient, the joint Booker Prize 1992 winner by Michael Ondaatje (the other winner was Barry Unsworth's Sacred Hunger) and its silver screen counterpart, directed by Anthony Minghella. In this episode Jo and James: Share a brief biography of Michael Ondaatje Summarise the plot of the book, and discuss their thoughts on it Explore the four main characters we meet in the novel Delve into Anthony Minghella's film adaptation and the differences between book and film Reading list: The English Patient by Michael Ondaatje: https://thebookerprizes.com/the-booker-library/books/the-english-patient Sacred Hunger by Barry Unsworth: https://thebookerprizes.com/the-booker-library/books/sacred-hunger Black Dogs by Ian McEwan: https://thebookerprizes.com/the-booker-library/books/black-dogs Butcher Boy by Patrick McCabe: https://thebookerprizes.com/the-booker-library/books/the-butcher-boy Warlight by Michael Ondaatje: https://thebookerprizes.com/the-booker-library/books/warlight Anil's Ghost by Michael Ondaatje The Histories by Herodotus In the Skin of a Lion by Michael Ondaatje A full transcript of the episode is available at our website. Follow The Booker Prize Podcast so you never miss an episode. Visit http://thebookerprizes.com/podcast to find out more about us, and follow us on Twitter, Instagram, Facebook and Tiktok @thebookerprizes. Learn more about your ad choices. Visit megaphone.fm/adchoices

Our Best Picture Series continues with a 90s classic, The English Patient! Sean and I have strong opinions.

The most game review stuffed episode to date. This week we talk about going to South Bend, Xbox considering porting their exclusives, playing Tekken 8, looking at Tekken characters, Like A Dragon Infinite Wealth, Persona 3 Reload, the Playstation State of Play reveals, Carl Weathers, Team America, The Terminal, The Adventures of Sharkboy and Lavagirl, Robert Rodriguez, Cowboys and Aliens, The English Patient, rewatching Black Panther Wakanda Forever, Badlands Hunter, Waterworld, Orion and The Dark, and Fire in the Sky. Deep in your nightmare, the demon pot. We're dining in hell, party night! Site: https://podcasters.spotify.com/pod/show/deadpixelsoftheinternet Youtube: https://www.youtube.com/channel/UC6DRMrv0PIxafjvjWH9rT8g Spotify: https://open.spotify.com/show/6ROO69EAySRoc7Ag7SEtq7 Joe's Twitter: https://twitter.com/joerckpeko Lorne's Twitter: https://twitter.com/BrokenHexagram

French actor Juliette Binoche is known for her portrayal of emotionally complex characters. Over a forty year career, her films have included Three Colours Blue, Les Amants de Pont Neuf, Chocolat, and The English Patient, for which she won her Academy Award. Her most recent film is The Taste of Things, a French drama about a cook and the gourmet she works for, in which she stars opposite Benoît Magimel.Juliette Binoche talks to John Wilson about an early moment of revelation, watching Peter Brookes' production of Alfred Jarry's play Ubu Roi at in Paris in 1977, which first made her realise she wanted to act. She explains the influence of her acting coach Véra Gregh, who helped her to understand the difference between "acting" and "being". She also recalls her experiences working with some of the most acclaimed film directors; Jean-Luc Godard on Hail Mary; Leos Carax on Les Amants du Pont-Neuf; Krzysztof Kieślowski on Three Colours: Blue; and Anthony Minghella on The English Patient.Producer: Edwina Pitman

Matt Damon, Jude Law, Gwyneth Paltrow and the rest of the terrific cast of The Talented Mr. Ripley were all in the middle of a remarkable run of greatness in the late '90s, but this is the thriller that sometimes gets forgotten. Is this Damon's best performance? It's certainly the rare killer he's played...and he's really good at being bad. The boring leech is a top-notch liar...and, oh, there's that ever-fascinating angle where an actor plays a character who has to act. This is Anthony Minghella at his best, both his clever screenplay and his direction. And this is the guy who directed the Oscar juggernaut that was The English Patient. Fun ride. So realize it's better to be a fake somebody than a real nobody as our 564th European jaunt takes Have You Ever Seen into the sinister world of The Talented Mr. Ripley. The talented purveyors of beans at Sparkplug Coffee offer our audience a 20% discount. Just use our "HYES" promo code. So it's "sparkplug.coffee/hyes". Feedback is welcome. Comment, rate, review and subscribe to us on YouTube (@hyesellis). Write an email (haveyoueverseenpodcast@gmail.com). Look for Bev on Threads @bevellisellis)...or find either of us on Twitter-x (@moviefiend51and @bevellisellis).

No one knows his real identity. Is he a spy who helped the Germans in WWII? Or an honest man willing to do anything for the love of his life? Join me as I discuss the 1996 Oscar winner for Best Picture:  The English Patient

It's time to celebrate two legends. As Michael (our lovely co-host and producer) celebrates his birthday, he wanted to focus an episode on one his absolute favourite actors... Kristin Scott Thomas! Kristin is our second official 'Dame' for the podcast but somehow she never seems to get the appreciation of her contemporaries. Not here! Join us as we cover Kristin's film career including Four Wedding And A Funeral (Mike Newell, 1994), her Oscar-nominated performance in The English Patient (Anthony Minghella, 1996), Keeping Mum (Niall Johnson, 2005), I've Loved You So Long (Philippe Claudel, 2008), Only God Forgives (Nicolas Winding Refn, 2013) and Military Wives (Peter Cattaneo, 2019).  Beyond this we look into the future and dream up some roles we would love to see Kristin get the opportunity to tackle. We hope you all can come away with as much love for Kristin as we have and maybe discover a few gems along the way to add to your watchlists. Follow us on social media to stay updated! We're @dontknow_her on⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. And you can support us⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. --- Send in a voice message: https://podcasters.spotify.com/pod/show/dontknowherpod/message

It'd be hard to find a more successful movie - at least upon release - than Miramax's "The English Patient." This late-1996 pic made tons of money, swept the Oscars, and was one of the most critically acclaimed movies of the decade. Case settled, right? Not so fast. On World War II Movie Night we like to look past the luster. Does TEP hold up? Is it an actual WWII movie? Join us as we ponder the deeper questions... Asides include the shenanigans of Harvey Weinstein, "Seinfeld" as a cultural barometer, and the weird connetion between TEP and an obsucre, 1981 slasher-in-the-woods flick.  Drop us a line at worldwartwomovienight@gmail.com Check out our X/Twitter at http://twitter.com/WWIIMovieNight

Texas-based Bulgarian writer Miroslav Penkov wasn't sure if anyone would pay attention to his first English-language novel, Stork Mountain. However, when the Rolex Mentor and Protégé Arts Initiative paired him with The English Patient author Michael Ondaatje, it gave him the boost he needed. Listen to A Word in Your Ear to hear an excerpt from Penkov's The Half-Blood.See omnystudio.com/listener for privacy information.

Nick Babakitis from Corner Spati (@cornerspaeti) joins Milo (@milo_edwards) and Phoebe to discuss an episode about a movie he didn't know was real... Sign up for our Patreon to support the show and receive bonus episodes and more, from $3 per month here: https://www.patreon.com/mastersofpod Follow us on twitter @mastersofpod!

Welcome to another riveting conversation with our guest, Karen Schless Pressley, who offers an intimate look into her experiences with the enigmatic Shelly Miscavige and the secretive world of Scientology. With firsthand knowledge about Shelly's life under the guardianship of L. Ron Hubbard and an insider's view of the Religious Technology Center, Karen dissects complex layers of this controversial organization.This episode uncovers the in-depth details about the inner working of Scientology, from the peculiar office spaces - complete with custom-sized furniture - to the contradicting practices against fundraising. Prepare to be fascinated as we shine a light on the paranoia that grips the organization's leadership and influences its policies. The conversation also touches on the disturbing culture within Scientology, the concerns surrounding Shelly's mental state, and the ripple effects these have on its members.Karen also explores the perplexing transformation of the organization over the years, peculiarities such as the demand for a uniform based on the movie 'The English Patient' and the questionable financial activities that comprise the functioning of the Religious Technology Center. This journey concludes with a prognosis of David Miscavige's paranoia and the restrictive policies he implemented within the Religious Technology Center, all intended to isolate members from the outside world. This episode is a trove of intriguing revelations and thought-provoking discussions, not just for those interested in Scientology, but for any curious mind intrigued by the complexities of human behavior and belief systems.Support the showBFG Store - http://blownforgood-shop.fourthwall.com/Blown For Good on Audible - https://www.amazon.com/Blown-for-Good-Marc-Headley-audiobook/dp/B07GC6ZKGQ/ref=tmm_aud_swatch_0?_encoding=UTF8&qid=&sr=Blown For Good Website: http://blownforgood.com/PODCAST INFO:Podcast website: https://www.buzzsprout.com/2131160/shareApple Podcasts: https://podcasts.apple.com/us/podcast/blown-for-good-behind-the-iron-curtain-of-scientology/id1671284503 Spotify: ...

WTOP Entertainment Reporter Jason Fraley interviews Juliette Binoche to mark the 30th anniversary of Krzysztof Kieślowski's acclaimed “Three Colors Trilogy,” which began with “Three Colors: Blue” on Sept. 8, 1993. They spoke in 2015 when Binoche starred in “Antigone” at the Kennedy Center in Washington D.C., ending the convo with rapid-fire memories of her Oscar-winning career from “The English Patient” to “Chocolat” to “Cache.” (Theme Music: Scott Buckley's "Clarion") Learn more about your ad choices. Visit podcastchoices.com/adchoices

WTOP Entertainment Reporter Jason Fraley interviews Juliette Binoche to mark the 30th anniversary of Krzysztof Kieślowski's acclaimed “Three Colors Trilogy,” which began with “Three Colors: Blue” on Sept. 8, 1993. They spoke in 2015 when Binoche starred in “Antigone” at the Kennedy Center in Washington D.C., ending the convo with rapid-fire memories of her Oscar-winning career from “The English Patient” to “Chocolat” to “Cache.” (Theme Music: Scott Buckley's "Clarion") Learn more about your ad choices. Visit megaphone.fm/adchoices

Notes and Links to Jared Beloff's Work      For Episode 198, Pete welcomes Jared Beloff, and the two discuss, among other topics, an early reading challenge that supercharged his voraciousness, contemporary and not-so contemporary writers who left an imprint on him with their visceral work and distinctive worldbuilding, his quick rise to published and acclaimed poet, and pertinent themes in his collection, including nostalgia, indifference, a fading and changing ecosystem, and the myriad effects of climate change.         Jared Beloff is the author of the Who Will Cradle Your Head (ELJ Editions, 2023).    He earned degrees at Rutgers University (BA in English) Johns Hopkins University (MA in English Literature, specializing in the novel and Romantic/18th Century Literature).    Jared has been an adjunct professor at Queensborough Community College, an English teacher and a teacher mentor in NYC public schools for 16 years.    Jared is currently a peer reviewer for The Whale Road Review. His poetry can be found in Contrary Magazine, Barren Magazine, KGB Bar Lit, The Shore, Rise Up Review, Bending Genres and elsewhere. His work has been nominated for Best of the Net and the Pushcart Prize. He lives with his wife and two daughters in Queens, NY. Buy Who Will Cradle Your Head   Jared's Website   From Identity Theory: “Cracking Open Clams: A Conversation Between Jared Beloff and Candice Kelsey” At about 2:35, Jared talks about a reading challenge that put his reading intake into high-gear   At about 4:25, Jared updates on his reading this summer/including The Sealey Challenge   At about 5:25, Jared reflects on the psychological/philosophical roots of his reading, especially his early reading   At about 7:35, Jared lists some formational and transformational works and writers, like Angels in América and English Patient, as well as Pablo Neruda, Bishop, and Forche's work   At about 10:00, Jared reflects on how his own work reflects that which he has read and enjoyed throughout his life   At about 11:30, Jared responds to Pete's questions about how he has been inspired and moved by fiction and poetry written about climate change; he cites Allegra Hyde's impressive work, as well as work by Hila Ratzabi, Craig Santos-Perez, and Claire Wahmanholm;    At about 14:40, Jared shouts out Diane Seuss, who blurbed his collection, and how her work informs his, as well as how Obit and its metaphors “blew [him] away”   At about 15:20, Deaf Republic by Ilya Kaminsky is highlighted as a stimulus for Jared's writing   At about 16:25, Pete highlights Mai Der Vang's Yellow Rain, and Nguyen and Anthony Cody are shouted out by Jared as influential in his work   At about 17:35, Jared talks about seeds for his collection, especially the “Swamp Thing” poems by Jack Bedell and the ways Todd Dillard uses “wonder”   At about 23:05, Pete highlights the collection's first poem, one “After” Aimee Nezhukumatathil; Jared discusses the methodology of these “After” poems, the ideas of a “muse,” and how he often writes after what/who he teaches   At about 27:50, Jared discusses the background and content of “Animal Crackers”   At about 30:45, Pete compliments Jared on his work regarding his children, and Jared talks about thinking through poems and “allowing wonder to stay” despite “grief-laden” poems   At about 34:30, Jared explains how he used climate change as a proxy a(or vice versa?) for other types of grief both personal and societal    At about 35:40, Pete highlights profound lines and asks about Sasquatch's importance throughout the collection   At about 39:50, Pete and Jared talk structure in Jared's collection, including the diamond/pyramid structure and its uniqueness and power    At about 41:30, Jared shouts out Diana Khoi Nguyen's work and using some structural stimuli   At about 45:05, Pete cites meaningful lines revolving around nostalgia and ideas of energy; he asks Jared about a cool and clever and depressing poem involving the Golden Girls   At about 48:15, Pete asks Jared his views on nostalgia in his work; Jared connects nostalgia with climate change circumstances    At about 51:15, Indifference in the face of climate emergencies is discussed, and Jared discusses “complic[ity]” and political choices   At about 53:00, Jared responds to Pete's questions about climate change advocacy in the system  “tied/tired” as used in a poem   At about 54:00, Jared gives history on Freshkills and its history and eccentric future   At about 55:30, Jared reads the portion of the above poem that features the collection's title and explains the title's genesis    At about 59:00, Jared discusses exciting new projects    At about 1:01:30, Jared shouts out places to buy his book    You can now subscribe to the podcast on Apple Podcasts, and leave me a five-star review. You can also ask for the podcast by name using Alexa, and find the pod on Stitcher, Spotify, and on Amazon Music. Follow me on IG, where I'm @chillsatwillpodcast, or on Twitter, where I'm @chillsatwillpo1. You can watch this and other episodes on YouTube-watch and subscribe to The Chills at Will Podcast Channel. Please subscribe to both my YouTube Channel and my podcast while you're checking out this episode.    Sign up now for The Chills at Will Podcast Patreon: it can be found at patreon.com/chillsatwillpodcastpeterriehl     Check out the page that describes the benefits of a Patreon membership, including cool swag and bonus episodes. Thanks in advance for supporting my one-man show, my DIY podcast and my extensive reading, research, editing, and promoting to keep this independent podcast pumping out high-quality content!    NEW MERCH! You can browse and buy here: https://www.etsy.com/shop/ChillsatWillPodcast    This is a passion project of mine, a DIY operation, and I'd love for your help in promoting what I'm convinced is a unique and spirited look at an often-ignored art form.    The intro song for The Chills at Will Podcast is “Wind Down” (Instrumental Version), and the other song played on this episode was “Hoops” (Instrumental)” by Matt Weidauer, and both songs are used through ArchesAudio.com.    Please tune in for Episode 200 with Adam Vitcavage, who is the founder of Debutiful, a website and podcast where readers can discover debut authors. The podcast was named one of the Best Book Podcasts by Book Riot, Town and Country, and Los Angeles Review of Books in 2022. His criticism and interviews have also been featured in Electric Literature, Paste Magazine, Literary Hub, Phoenix New Times, among others.     The episode will air on August 22.  

Our return series continues, where we travel back to our original first season episodes recorded 3 years ago. Like it or not we are headed back to the wild world of Paul Haggis' CRASH. Kieran B and Grant sit down to hash things out exactly how they did back in January of 2020. We rewatched the movie, listened to our original podcast, and prepared all the hits and misses for discussion. This time around we are joined by a special guest you have heard before on our Ben Hur, English Patient and Out of Africa Episodes Adam St John from Below Freezing and 1001 by 1! Adam does his best to provide justice for a much malignied film in the annals of Best Picture Winners. Check out our Best Picture Merch: https://best-picture-cast.creator-spring.com/ Follow us on Social Media, Twitter, Facebook, Instagram, Letterboxd: @bestpicturecast Email us bestpicturepodcast@yahoo.com Follow The Co Hosts on Twitter: Grant Z: @Grant_Zep Hear Adam on: Below Freezing @belowfreezing32 1001by1 @1001by1 Grant's Art on Instagram: @exit28studios Chris G's Art on Instagram: @popvultureart

One of the world's most celebrated writers, Michael Ondaatje is the author of such acclaimed works as Running in the Family, Anil's Ghost, In the Skin of a Lion and The English Patient, which won the 2018 Golden Man Booker Prize, named the best novel of the Booker's 50-year history. His writing, both poetry and prose, is often rooted in history – from Toronto in the early 1900s, to North Africa during the Second World War, to Ondaatje's childhood in Sri Lanka. He recently won the Grand Prix for lifetime achievement from Montreal's Blue Metropolis International Literary Festival.