Podcast appearances and mentions of eric rohmer

Eric Rohmer's adaptation of the novel by Heinrich Kleist

Był zawsze trochę z boku, jednak każdy z młodych twórców liczył się z jego zdaniem. Gdy większość szła na barykady w 1968 roku, on stał z boku. Nie był gwiazdą nowej fali francuskiej, ale do końca zachował nowofalowe ideały. Jego intymne opowieści są wciąż aktualne, a styl określany rohmerowskim, jest stylem do którego dąży niejeden reżyser. W kinie Nowe Horyzonty właśnie zaczyna się cykl opowieści czterech pór roku w reżyserii Erica Rohmera. Z Piotrem Czerkawskim, krytykiem filmowym, znawcą kina francuskiego i fanem filmów Rohmera rozmawia Mateusz Nowak.

durée : 00:51:56 - Les Nuits de France Culture - par : Mathilde Wagman - Eric Rohmer raconte la genèse de son film "Perceval le Gallois", au micro de Claude-Jean Philippe, dans l'émission "Le Cinéma des cinéastes" de février 1979. - réalisation : Virginie Mourthé - invités : Eric Rohmer Réalisateur français de cinéma; Caroline Champetier Directrice de la photographie; Pierre Donnadieu

"Les métiers du costume touchent au vêtement, à l'intimité, mais aussi beaucoup au prendre soin de l'autre. C'est un métier du care, et c'est pour cela que ces professions sont très féminines et que l'on se dit qu'elles sont suffisamment payées."Aure Lebreton est conférencière à la Cinémathèque Française, doctorante, et présidente de CinéFil, Association d'étude et valorisation du costume de cinéma et d'audiovisuel : vêtements, maquillage, coiffures, accessoires.C'est une cinéphile, passionnée de costumes et experte de ceux qui traversent les films d'Eric Rohmer et Alain Resnais.Dans cet épisode, elle décrypte les costumes des films de Rohmer (3:19) et de Resnais (23:44), puis nous parle de l'association Cin&Fil, qu'elle a co-fondée et préside. Aure nous partage ensuite ses costumes préférés (44:42) et ses projets (48:00). Retrouvez Profession : costumière sur Instagram  Un podcast signé Céleste Durante Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

durée : 00:54:52 - Les Nuits de France Culture - par : Philippe Garbit - Pierre Girard et Richard Rein nous font découvrir Eric Rohmer - réalisation : Virginie Mourthé

Ep. 277: Shonni Enelow on Acting: We're All Going to the World's Fair, Mid-to-Late Rohmer, The Beast Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. This week I'm happy to welcome back scholar Shonni Enelow for another thoughtful chat about acting and performance, and how they reflect or respond to changing times. Enelow, a professor at Fordham University who just published a new book on Joanna Hogg, writes an acting column at Reverse Shot. We talk about realism in 21st-century acting and direct address through her first column's subject, We're All Going to the World's Fair, as well as I Saw the TV Glow, both directed by Jane Schoenbrun. Then we discuss the distinctive performances and styles of self-presentation in Bertrand Bonello's The Beast and two mid-to-late films of Eric Rohmer. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

durée : 00:42:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - A l'occasion de la rétrospective des films d'Eric Rohmer au Festival "Premiers plans" d'Angers en 1997, Michel Ciment recevait Charlotte Véry, Amanda Langlet et Rosette : souvenirs croisés de trois comédiennes qui racontent leurs rencontres et leur amitié avec le cinéaste. - réalisation : Virginie Mourthé - invités : Rosette Actrice de cinéma française; Amanda Langlet; Charlotte Véry Comédienne

For Chris Marker, writing came before filmmaking. A decade after Marker's death, critics continue to rediscover his remarkable oeuvre, which comprised writing, photography, film, video, radio, and digital media. Associated with the Left Bank subset of the French New Wave, Marker is perhaps best recognized for directing La Jetée (1962). To celebrate the publication of the first English translation of Marker's early writings (published between 1948 and 1955), Steven Ungar, the editor of Chris Marker: Early Film Writings, with translator Sally Shafto, have joined Jean-Michel Frodo and Sam Di Iorio in conversation.“The French Cinema has its dramatists and its poets, its technicians, and its autobiographers, but only has one true essayist: Chris Marker.”—film theorist Roy ArmesChris Marker (born Christian Hippolyte François Georges Bouche-Villeneuve, 1921–2012) was a French writer, artist, and director. His time-travel film La Jetée (1962) is one of the most celebrated shorts ever made. A true polymath, his later creations ranged from videos and the interactive CD-ROM Immemory to the multimedia digital platform Second Life.Steven Ungar is professor emeritus of cinematic arts, French, and comparative literature at the University of Iowa. He is author of several books including Critical Mass: Social Documentary in France from the Silent Era to the New Wave.Sally Shafto is a French film scholar and translator and assistant professor of English at Framingham State University. She is author of The Zanzibar Films and the Dandies of May 1968, and her translations include Jean-Marie Staub and Danièle Huillet's Writings. She teaches at Framingham State University.Jean-Michel Frodon is a journalist and one of the most influential film critics and film historians in the world. He is author or contributor of several books including The World of Jia Zhangke and Le Cinéma Français de la Nouvelle Vague a Nos Jours, and wrote the foreword to “Night and Fog”: A Film in History by Sylvie Lindeperg. Frodon blogs at Projection Publique.Sam Di Iorio is Associate Professor of French at Hunter College and Deputy Executive Officer of the Ph.D. Program in French at the CUNY Graduate Center. He has written about postwar films and filmmakers, political theory, and cultural history for Screen, Trafic, Film Comment and the Criterion Collection. His essay “Comolli's Detours: Free Jazz, Film Theory, Cinéma Direct” is forthcoming with Amsterdam University Press. EPISODE REFERENCES AND RECOMMENDED READING:-André Bazin-Robert Cannon's Gerald McBoing-Boing-Alain Resnais-Agnès Varda-Jean Rouch-René Leibowitz-Joseph Rovan (born Joseph Adolph Rosenthal)-Nicole Védrès-Eternal Current Events (translated by Jackson B. Smith)-Le Dépays / Chris Marker-Camera Obscura piece by Ivan Cerecina translating Nicole Védrès's “Les feuilles bougent” (“The Leaves Are Stirring”) and an accompanying essay-Republic of Images / Alan Williams-Le Cinéma Français de la Nouvelle Vague a Nos Jours / Jean-Michel Frodon-The Fragile Present: Statues Also Die with Night and Fog by Sam Di Iorio; article in South Central Review.-Trafic N°105 (Printemps 2018), with article by Sam Di IorioMORE CHRIS MARKER:chrismarker.chGorgomancy.netThe Criterion ChannelChris Marker: Early Film Writings is available from University of Minnesota Press."One of the pleasures of Chris Marker's films is the singular literary voice of his inimitable commentaries, in all its wit and quicksilver intelligence. That voice is present here, being honed through contact with others' images and before Marker moved from the page to the screen himself. This groundbreaking collection introduces aficionados old and new to work likely unknown to them and allows us all to discover another dimension of this prodigious artist: Marker the film critic."—Chris Darke, author of La Jetée (BFI Film Classics)

Could you tell me how your favorite film tastes? This week we talk with Emily Neff who makes custom ice cream flavors in Paris about making a flavor for the beach films of Éric Rohmer. Emily unpacks the allure of these films as summertime staples of French cinematic culture while Manon Kerjean and ARBL Murray (Alex Brook Lynn) ask questions trying to get to the heart of what these movies taste like as ice cream. I scream, you scream, we all scream for ice cream! ARBL, Emily, and Manon sit in the lush lobby of the L'Arlequin right in the heart of Saint-Germain-des-Prés, a beautiful art deco theater which was once owned by Jacques Tati. They discuss French cinema, Éric Rohmer, French new wave, and old-time sayings.    IN THIS EPISODE: Movies We Talk About: Summer's Tale/Conte d'été (1996) -Éric Rohmer Clair's Knee/Le Genou de Claire (1970) -Éric Rohmer The Green Ray/Le Rayon vert (1986)  - Éric Rohmer Benedetta (2021)- Paul Verhoeven Simple Comme Sylvain/The Nature of Love (2023)- Monia CHOKRI Le Deuxième Acte/The Second Act  (2024) - Quentin Dupieux  Call Me by your name (2017)- Luca Guadagnino La Piscine (1969) - Jacques Deray   Ice Cream Shop Recommendations in Paris: Folderol 10 Rue du Grand Prieuré, 75011 Paris, France   JJ Hings  46 Rue Bichat, 75010 Paris, France (@jjhings)   Movie Theaters in Paris We Discuss: Summer Program Eric Rohmer: https://www.epeedebois.com/   L'Arlequin 76 Rue de Rennes, Paris 75006 https://dulaccinemas.com/cinema/2625/l-arlequin/seances   A Few Good Reads on Éric Rohmer: New Yorker Article on Eric Rohmer's Movie Music  https://www.newyorker.com/culture/richard-brody/eric-rohmers-movie-music   NYT Article on  “Make This an ‘Eric Rohmer Summer.' https://www.nytimes.com/2023/07/18/style/summer-fashion-eric-rohmer.html   NYT review of Clair's Knee in 1971 https://www.nytimes.com/1971/03/07/archives/-claires-knee-close-to-a-perfect-movie-claire-close-to-a-perfect.html   Lost in Frenchlation with Éric Rohmer at L'Epée de Bois movie theater: 100 Rue Mouffetard, 75005 Paris, France July 23rd Le Genou de Claire (Clair's Knee) July 30th Pauline à la Plage (Pauline at the Beach) August 6th Conte D'été (Summer's Tale)   For more information about Lost in Frenchlation and to buy tickets go to: https://lostinfrenchlation.com/

There's an extended version of this episode tucked behind the paywall this week! To listen to a longer (and ad-free) chat, join the Hogg Hive on Patreon.We're taking Qs from you for a future episode! DM us at @seealsopodcast to have your Q A'd.This week, Kate and Brodie are in the realms of magic. Namely, ordering magic coffees, watching Practical Magic and experiencing The Power of Three. We do a quick check-in on The Bear season 3 – full chat coming next week! – and then report back on two recent watches: Under The Bridge (excellent!) and Industry (not!).Then we duck behind the paywall to step out how we're going on our Q3 goals and aspirations. Dream big, baby!See AlsoCargo Crew sent us their aprons and Yes Chef hats – thank you!Buy a pillow head scarf like Syd wore in season 2 from Etsy seller AnotherHatBagAlso AlsosJinxy's Winter Also playlist is on Spotify and Apple MusicSerendib all you can eat Sri Lankan buffetKabocha French Lentil Soup recipeOpen House Melbourne tours of Wildwood House by Robin Boyd + the Cairo flatsEvenings with Eric Rohmer at Golden AgeSave the date for Brodie's A Plus market stall – 4 August at Coburg Town Hall 10am-3pm Hosted on Acast. See acast.com/privacy for more information.

On this episode, we were joined by author Lauren to discuss her hypnotising debut novel, 'Scaffolding', which charts the lives of two couples, both living in the same Paris apartment almost fifty years apart.Lauren spoke to us about the decades-long journey towards bringing this novel to life, and how her career as a translator and non-fiction writer allowed her to freedom to craft this book in precisely the way she envisioned it. We also spoke about monogamy and relationships, and how the novel was crafted 'in the key of Eric Rohmer,' the idiosyncratic 20th-century filmmaker who told Paris-set stories following the romantic and moral conflicts of glamorous young people. 

durée : 00:42:06 - Les Nuits de France Culture - par : Christine Goémé - Projection privée - Eric Rohmer (1ère diffusion : 26/03/1995) - réalisation : Virginie Mourthé

durée : 00:44:59 - Les Nuits de France Culture - Projection privée - Eric Rohmer (1ère diffusion : 26/03/1995)

durée : 00:54:59 - Les Nuits de France Culture - par : Philippe Garbit - Pourquoi le réalisateur Eric Rohmer a-t-il choisi de porter à l'écran la nouvelle d'Heinrich von Kleist, "La Marquise d'O" ? C'est ce qu'il raconte, en compagnie de son chef-opérateur Nestor Almendros, à Claude-Jean Philippe dans son émission "Le cinéma des cinéastes" en 1976. - invités : Eric Rohmer Réalisateur français de cinéma; Claude-Jean Philippe Auteur, réalisateur et producteur de télévision et de radio; Nestor Almendros Directeur de la photographie, chef-opérateur;

In this episode, we discuss Eric Rohmer's Claire's Knee, including how Jerôme's actions contradict his words, the characters' lack of maturity, and how the blocking communicates character relationships.See where Claire's Knee is available to watch.Supplemental Material:The Criterion Collection's Six Moral Tales Blu-rayVideo Essay: How the French New Wave Changed CinemaCinema of Our Time with Eric Rohmer Part 1Cinema of Our Time with Eric Rohmer Part 2Eric Rohmer Interviews (Conversations with Filmmakers Series) (Book)Claire's Knee: Rohmer's Women by Molly HaskellAdditional Audio Sources:Claire's Knee TrailerThe Criterion Collection's Six Moral Tales Blu-rayIf you'd like to support the show, subscribe to the podcast on Apple Podcasts, Spotify, or wherever you listen to your podcasts, leave a review on Apple Podcasts, and share the podcast with someone who might enjoy it.If you have any thoughts, comments, or questions about the show, you can email us at scenebyscenepodcast@gmail.comFollow us on Letterboxd: Joe | Justin

Welcome to our first Physical Media episode of 2024. Joining me today, we have a terrific quartet of movie minds discussing a handful of titles newly released on disc, including novelist Alison Gaylin on TO DIE FOR, podcaster-critic Blake Howard on CONTAGION, filmmaker Chris McKay on THE SHOOTIST & THE MAN WHO SHOT LIBERTY VALANCE, & podcaster-critic Rachel Wagner on FOOTLOOSE (1984). Additionally, you'll hear me cover the new Criterion box set of Eric Rohmer's TALES OF THE FOUR SEASONS & the new Blu-ray edition of the Anthony Mann western THE TIN STAR solo. A wonderful compilation episode that provides lively commentary, excellent film references, & double feature ideas, plus hilarity & tangents galore, I hope you have as much fun listening to this series of conversations as I did having them. Note: This is the last new episode of Watch With Jen before a brief April hiatus but rest assured, we have so much more in store for you this season when we return in May. Also, Patreon subscribers will begin finding more writing & other surprises waiting for them shortly. Originally Posted on Patreon (4/10/24) here: https://www.patreon.com/posts/102095895Theme Music: Solo Acoustic Guitar by Jason Shaw, Free Music ArchiveShop Watch With Jen logo Merchandise in Logo Designer Kate Gabrielle's Threadless Shop

Cette semaine on vous propose trois films : Big Night de Stanley Tucci (1996)Ce que veulent les femmes de Nancy Meyers (2000)Les nuits de la pleine lune de Eric Rohmer (1984) Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Peter Sobczynski again joins Erik Childress to tell you what's available in physical media this week. You can stock up on your French auteurs, Eric Rohmer and Jean-Luc Godard. There are lions and Cagneys and Willy's, oh my! They go through the good and mediocre in the pricey new 4K set from Sony and Peter offers his two cents on his choice for the best film of 2023. Plus nobody puts Kevin Bacon in the corner as both recall their experiences with the film that tried to stop him from dancing. 0:00 - Intro 0:59 – Criterion (Eric Rohmer's Tales of Four Seasons) 6:39 – Kino (Godard Cinema and Trailer of a Film That Will Never Exist: Phony Wars, Madame DuBarry, Blood on the Sun, Man-Eater of Kumaon, Let's Dance) 22:20 – Paramount (Footloose 4K) 32:01 – Shout! Factory (Tenacious D and the Pick of Destiny, Willy's Wonderland) 40:56 – Sony (Columbia Classics Collection: Volume 4) 54:30 - New Theatrical Titles & TV on Blu-ray 1:02:39 – New Blu-ray Announcements

If there's any magic in this world, it's in the space between Mark and a great movie as he tries to figure out what makes Before Sunrise so romantic, how the film is a masterpiece of understated structure, and why nobody has described the brilliance of Richard Linklater better than Richard Linklater describing the brilliance of Eric Rohmer.https://markoveranalysesfilm.buzzsprout.com/https://www.markoveranalysesstory.com/https://twitter.com/overanalysefilm

We finish up the Complete Jean Vigo boxset and the year 2023 this week, covering Vigo's final film L'Atalante. Vigo pressed himself for his first feature length, and perhaps too hard, dying of complications of tuberculosis before the premier. The studio took the opportunity of his demise to re-cut the movie, add different music, and try desperately to make it a pop culture smash in an era where France was obsessed with stories of barges. Despite the studio's efforts, a slightly restored L'Atalante and the other works of Vigo went on to be a major influence on the French New Wave, namely Truffaut who speaks with Eric Rohmer about L'Atalante in one of this boxset's special features.

00:00 - 27:55 - Boyfriends and Girlfriends 27:55 - 51:01 - Malcolm in the Middle 51:02 - 1:01:26 - email Ricky Romeo is back -- that's right, we're talking about another film by Eric Rohmer on this week's clip. Boyfriends and Girlfriends (or, My Girlfriend's Boyfriend) slides right into the comedic side of his Comedies and Proverbs series, a classic partner-swapping romcom setup. We get into the characters, the differences/similarities with other Rohmers, the costuming, and more. Then, on MiTM, we talk Scrubs, The Killer, Kubi, and podcast banquet activities (?). Finally, an email about fashion. support the show: https://www.patreon.com/Extended_Clip email: extendedclippodcast@gmail.com

Michael Glover Smith returns to discuss his third feature, an anthology film set in the greatest city in the world, RENDEZVOUS IN CHICAGO.The film can be streamed through Freevee on Amazon, Tubi, or Vudu Free! We discuss lessons learned from past productions, how to effectively crowdfund, and how the special cameo from the star of Eric Rohmer's La collectionneuse, Haydée Politoff, came to be!Special appearance by the practice jets for the Chicago Air and Water Show

A continuation of our very Rohmerian summer, Eric has us nearly convinced that life is but a collection of ecstatic, unfortunate, and otherwise oddball afflictions of the heart. Check out our pod on Boyfriends and Girlfriends to see where we began in our Eric Rohmer retrospective. What could be better than walking, talking, brooding, cheating, and philosophizing in Paris?

Eric Rohmer's best film and Wes Anderson's worst. We spend the majority of our time exalting Rohmer 1987 summertime classic -- a charming escapist meditation on lovers, or as the New Yorker puts it, "matters of the heart". Vincent has temporarily returned to Taiwan, a thankful break for New York City women who spent the majority of June and July swooning after him. As Vincent puts it, "I was so disgusted by Anderson's latest excuse for a picture, it seemed the only logical course of action was to leave the country. Perhaps, by the time I return, he will have learned that films demand storytelling". Boyfriends and Girlfriends (0:00) Asteroid City (29:53)

Priya and Enoch discuss the cultural impact of the spiderverse, why watch movies when you can practice psychic remote viewing and are Eric Rohmer films still deeply riveting or Pinterest screen grabs for white womenSee omnystudio.com/listener for privacy information.

On Saturdays, we usually make pizzas and watch a movie, the 5 of us.  Last Saturday, we chose to watch a film by Eric Rohmer a famous French director part of the French New Wave. T his movie is Conte de Printemps. It was timed in 1990, a time where there was no mobile phone, though the phone is often used in this movie.  This episode tells you about the story of the movie and what was Micaela and Lisa's reaction to this type of movie.  It will also be the occasion to imagine what could have said some of the characters, based on what I tell you in the text using the indirect speech.  Of course, I will also highlight for you 3 expressions that you could use in your own French conversations and show you how to use them.  So to cultivate your French, you could subscribe to the transcript at www.cultivateyourfrench.com.  The subscription cost 4 euros a month.  Ah, before we start, for the next 2 weeks, the podcast will be on pause, but if you are a subscriber you will receive episodes as usual.  www.cultivateyourfrench.com  

durée : 00:49:59 - Les Nuits de France Culture - par : Albane Penaranda - En vacances en Normandie, Marion, Pierre, Henri et Pauline dissertent sur l'amour. Tel est le point de départ de "Pauline à la plage", dixième film d'Eric Rohmer. En 1983, quelques jours après sa sortie, le cinéaste confiait à Claude-Jean Philippe ses sources d'inspiration pour cette histoire. Qui trop parole, il se méfait. Chrétien de Troyes, Perceval C'est sur cette citation que s'ouvre Pauline à la plage d'Eric Rohmer (1983), troisième opus d'un cycle intitulé Comédies et proverbes. Justement, bavards, les personnages du film qui se retrouvent en Normandie par une belle fin d'été le sont tous. Chacun donne, dans l'une des toutes premières scènes du film, sa vision de l'amour : la belle Marion - Arielle Dombasle - rêve de vivre une passion dévorante, Pierre - Pascal Grégory - croit lui à l'âme sour. Quant à Henri - Fédor Atkine - il chérit sa liberté plus que tout. Seule Pauline l'adolescente, la jeune cousine de Marion, se refuse à trop en dire... Elle est la plus jeune mais se révélera bientôt être la plus sage de tous. Quelques jours après la sortie du film, Eric Rohmer racontait à Claude-Jean Philippe les sources de cette histoire. Le cinéma des cinéastes, par Claude-Jean Philippe Avec Eric Rohmer, Caroline Champetier et Pierre Donnadieu Le cinéma des cinéastes - Eric Rohmer pour "Pauline à la plage" (1ère diffusion : 27/03/1983) Edition Web : Documentation de Radio France Archive Ina-Radio France

Welcome to the SEASON TWO FINALE of RohmerCast: the podcast about Eric Rohmer, his films, his working methods, and anything else we want to talk about related to Eric Rohmer. In our eighth episode we discuss Rohmer's production methods via LA COLLECTIONNEUSE, PERCEVAL, and THE GREEN RAY. This leads to the following tangents: monster trucks named after Rohmer movies, post-dubbing naturalism, sound recording as a practical AND aesthetic choice, functional light, different approaches to working with actors, and connections to Dogme 95. At the time of this episode's release, La Collectionneuse and The Green Ray are on The Criterion Channel; Perceval is on Tubi. Listen wherever you listen to podcasts (or go to RohmerCast.com). #ericrohmer #frenchnewwave #cinema #nouvellevague #filminstagram #filmtwitter #frenchcinema #cinephile #criterioncollection @criterioncollection @metrograph @mubi #podcast #filmpodcast @filmforum @screenslate #explore #arthouse #filmproduction Hosted on Acast. See acast.com/privacy for more information.

Was there a role that you really wanted but didn't get? How did you feel about that experience?  It's ok to have a good cry about it! Actor/Coach/Creative Lucy Russell enlightens us in this week's episode that when we lose a role that we really want, it's the same as losing a person; our hearts do not know the difference. Let's be kinder to ourselves and allow these feelings to come up in a wave and get them out of our body.  You are not alone in going through these seasons of rejection; what's meant for you will come to you. In this episode: Lucy's journey in being her own compassionate critic when watching her performance. The biggest and most beautiful thing about films is that any story can touch people in really unexpected ways. How the uncertainty brought by the pandemic lead us to crave for stories with predictable endings. Lucy's plan of developing the incredible stories created by actors who didn't think they could write. Share This Episode >>  www.thisischelseajohnson.com/224 A little about Lucy: Lucy Russell started acting in her late twenties, having tried too many other jobs to count and having got a degree in Italian and Business at UCL in London. Her first feature was also Christopher Nolan and Emma Thomas's first film, Following. After a couple of years of drama school, she played the title role in Eric Rohmer's French language film The Lady and the Duke, (which had the most insanely beautiful hand-sewn costumes designed by Pierre-Jean Larroque). She played Missy LeHand in CineNord's Atlantic Crossing, which won the 2021 International Emmy for TV Movie/Miniseries and Steph in Toni Erdmann, the German nominee for Best International Feature at the 89th Academy Awards, named best film of 2016 by Sight and Sound magazine, by Film Comment and by Cahiers du Cinema. She's worked across genres with incredible directors in French and English: she's been head of the CIA and MI5; a trophy wife; a serial killer; a UN delegate; a toxic mother; leader of a galactic empire; a cult member; generally been like a pig in sh*t exploring as many facets of human expression as she can get her dirty paws on. She's also a real person outside acting and has a life there, too, which, frankly, is not to be sniffed at. Follow Lucy! Twitter: @LucyRussellAct Instagram: @lucyrussellact Watch the Official Trailer of Andor!  

Welcome to RohmerCast; the podcast about Eric Rohmer, his films, his working methods, and anything else we want to talk about related to Eric Rohmer. In our seventh episode we discuss Le rayon vert (The Green Ray), his entirely improvised film from 1986. This leads to the following tangents: summertime sadness, different kinds of holidays, traveling alone, the feeling of a documentary, premiering on television, The Worst Person in the World, personal superstitions, others dictating your life choices, tv interviews as the basis for improvisation, weird titles, poetic ideals, feeling invisible, and White Stripes vs Dashboard Confessional. At the time of release, you can stream the movie on The Criterion Channel. Listen wherever you listen to podcasts (or go to RohmerCast.com). #ericrohmer #frenchnewwave #cinema #nouvellevague #filminstagram #filmtwitter #frenchcinema #cinephile #criterioncollection @criterioncollection @metrograph @mubi #podcast #filmpodcast @filmforum @screenslate Hosted on Acast. See acast.com/privacy for more information.

“Don't you think maybe they are the same thing? Love and attention?"–Lady Bird, written and directed by Greta Gerwig "I really love that line in the script. It's an incredible script that Greta Gerwig wrote. It's not obvious, that sentiment that she says. I think that's why she has to point it out to the Lady Bird character, but I think if we're lucky in our lives, we can choose the path that we want to go down, whether it's something creative or in the arts or something else. And I think if you're lucky, you can spend your life or your career following something you really love or spending time following the path, whether it's a hobby or your career. And spending that time paying the attention that the craft or the hobby or the creative pursuit wants."Sam Levy studied film in Paris with French New Wave director Eric Rohmer and began his career as an apprentice to legendary cinematographer Harris Savides. Sam first gained recognition as a cinematographer when he photographed Wendy and Lucy for director Kelly Reichardt - voted “One of the Best 25 Films of the 21st Century” by The New York Times. He went on to shoot Frances Ha, Mistress America and While We're Young for director Noah Baumbach, Changers and Frank Ocean's Blonded for Spike Jonze, Sermon on The Mount for Jerrod Carmichael, Maggie's Plan for Rebecca Miller and Green Porno for Isabella Rossellini. Sam also photographed Lady Bird for writer/director Greta Gerwig - nominated for 5 Academy Awards including Best Picture and winner of The Golden Globe for Best Picture. Other new films include Mayday, which he also produced, Confess, Fletch, and She Came to Me.https://samlevydp.comwww.imdb.com/name/nm1240085/ www.instagram.com/samlevydp/ www.creativeprocess.info www.oneplanetpodcast.org Instagram @creativeprocesspodcast

Sam Levy studied film in Paris with French New Wave director Eric Rohmer and began his career as an apprentice to legendary cinematographer Harris Savides. Sam first gained recognition as a cinematographer when he photographed Wendy and Lucy for director Kelly Reichardt - voted “One of the Best 25 Films of the 21st Century” by The New York Times. He went on to shoot Frances Ha, Mistress America and While We're Young for director Noah Baumbach, Changers and Frank Ocean's Blonded for Spike Jonze, Sermon on The Mount for Jerrod Carmichael, Maggie's Plan for Rebecca Miller and Green Porno for Isabella Rossellini. Sam also photographed Lady Bird for writer/director Greta Gerwig - nominated for 5 Academy Awards including Best Picture and winner of The Golden Globe for Best Picture. Other new films include Mayday, which he also produced, Confess, Fletch, and She Came to Me.“Don't you think maybe they are the same thing? Love and attention?"–Lady Bird, written and directed by Greta Gerwig "I really love that line in the script. It's an incredible script that Greta Gerwig wrote. It's not obvious, that sentiment that she says. I think that's why she has to point it out to the Lady Bird character, but I think if we're lucky in our lives, we can choose the path that we want to go down, whether it's something creative or in the arts or something else. And I think if you're lucky, you can spend your life or your career following something you really love or spending time following the path, whether it's a hobby or your career. And spending that time paying the attention that the craft or the hobby or the creative pursuit wants."https://samlevydp.comwww.imdb.com/name/nm1240085/ www.instagram.com/samlevydp/ www.creativeprocess.info www.oneplanetpodcast.org Instagram @creativeprocesspodcast

“Every movie is different. Every story is different. We've been talking about Lady Bird, and you mentioned Francis Ha. So we made Francis Ha first, and there's an interesting relationship between her and her best friend that is almost like a romance, but it's not actually romantic, but the way the story is told, it's like two lovers, but they get into arguments and there's a lot of conflict. And then Ladybird, there's a lot of conflict between the mother and the daughter. And in some sense, I remember thinking, Well, I've made things before and with Greta where there's conflict and maybe there's some overlap here, but there wasn't. It's just every time you start from scratch, and you might think, Well, if we use a certain camera or if we use certain tools, maybe that will help. But that's really the last step. And then I think, you have to have a more, a sort of less practical approach in the initial discussions.I find it helpful to speak with the director and all the collaborators on the project and just to have what I'd call a more dreamy conversation when you get together in a cafe or in the office and just talk through more emotional aspects of the story. There's these very earthly concerns that making a film requires, and you have to really leave all that stuff for later. All the stuff is important, just like in any creative process or business where there's a finite amount of resources. But how do you show certain relationships? The fact is you just have to talk about them first and figure out what they are. It's really important to understand specifically what the emotional notes are of the story. And then, little by little, we just figure out the technique of like the brush strokes, if it were painting, or the notes, if it were music. In cinematography, it's a visual medium, so eventually, we're moving towards: What is in the frame or what isn't in the frame? And how will these frames transition to each other?”Sam Levy studied film in Paris with French New Wave director Eric Rohmer and began his career as an apprentice to legendary cinematographer Harris Savides. Sam first gained recognition as a cinematographer when he photographed Wendy and Lucy for director Kelly Reichardt - voted “One of the Best 25 Films of the 21st Century” by The New York Times. He went on to shoot Frances Ha, Mistress America and While We're Young for director Noah Baumbach, Changers and Frank Ocean's Blonded for Spike Jonze, Sermon on The Mount for Jerrod Carmichael, Maggie's Plan for Rebecca Miller and Green Porno for Isabella Rossellini. Sam also photographed Lady Bird for writer/director Greta Gerwig - nominated for 5 Academy Awards including Best Picture and winner of The Golden Globe for Best Picture. Other new films include Mayday, which he also produced, Confess, Fletch, and She Came to Me.https://samlevydp.comwww.imdb.com/name/nm1240085/ www.instagram.com/samlevydp/ www.creativeprocess.info www.oneplanetpodcast.org Instagram @creativeprocesspodcast

Sam Levy studied film in Paris with French New Wave director Eric Rohmer and began his career as an apprentice to legendary cinematographer Harris Savides. Sam first gained recognition as a cinematographer when he photographed Wendy and Lucy for director Kelly Reichardt - voted “One of the Best 25 Films of the 21st Century” by The New York Times. He went on to shoot Frances Ha, Mistress America and While We're Young for director Noah Baumbach, Changers and Frank Ocean's Blonded for Spike Jonze, Sermon on The Mount for Jerrod Carmichael, Maggie's Plan for Rebecca Miller and Green Porno for Isabella Rossellini. Sam also photographed Lady Bird for writer/director Greta Gerwig - nominated for 5 Academy Awards including Best Picture and winner of The Golden Globe for Best Picture. Other new films include Mayday, which he also produced, Confess, Fletch, and She Came to Me.“Every movie is different. Every story is different. We've been talking about Lady Bird, and you mentioned Francis Ha. So we made Francis Ha first, and there's an interesting relationship between her and her best friend that is almost like a romance, but it's not actually romantic, but the way the story is told, it's like two lovers, but they get into arguments and there's a lot of conflict. And then Ladybird, there's a lot of conflict between the mother and the daughter. And in some sense, I remember thinking, Well, I've made things before and with Greta where there's conflict and maybe there's some overlap here, but there wasn't. It's just every time you start from scratch, and you might think, Well, if we use a certain camera or if we use certain tools, maybe that will help. But that's really the last step. And then I think, you have to have a more, a sort of less practical approach in the initial discussions.I find it helpful to speak with the director and all the collaborators on the project and just to have what I'd call a more dreamy conversation when you get together in a cafe or in the office and just talk through more emotional aspects of the story. There's these very earthly concerns that making a film requires, and you have to really leave all that stuff for later. All the stuff is important, just like in any creative process or business where there's a finite amount of resources. But how do you show certain relationships? The fact is you just have to talk about them first and figure out what they are. It's really important to understand specifically what the emotional notes are of the story. And then, little by little, we just figure out the technique of like the brush strokes, if it were painting, or the notes, if it were music. In cinematography, it's a visual medium, so eventually, we're moving towards: What is in the frame or what isn't in the frame? And how will these frames transition to each other?”https://samlevydp.comwww.imdb.com/name/nm1240085/ www.instagram.com/samlevydp/ www.creativeprocess.info www.oneplanetpodcast.org Instagram @creativeprocesspodcast

“Don't you think maybe they are the same thing? Love and attention?"–Lady Bird, written and directed by Greta Gerwig "I really love that line in the script. It's an incredible script that Greta Gerwig wrote. It's not obvious, that sentiment that she says. I think that's why she has to point it out to the Lady Bird character, but I think if we're lucky in our lives, we can choose the path that we want to go down, whether it's something creative or in the arts or something else. And I think if you're lucky, you can spend your life or your career following something you really love or spending time following the path, whether it's a hobby or your career. And spending that time paying the attention that the craft or the hobby or the creative pursuit wants."Sam Levy studied film in Paris with French New Wave director Eric Rohmer and began his career as an apprentice to legendary cinematographer Harris Savides. Sam first gained recognition as a cinematographer when he photographed Wendy and Lucy for director Kelly Reichardt - voted “One of the Best 25 Films of the 21st Century” by The New York Times. He went on to shoot Frances Ha, Mistress America and While We're Young for director Noah Baumbach, Changers and Frank Ocean's Blonded for Spike Jonze, Sermon on The Mount for Jerrod Carmichael, Maggie's Plan for Rebecca Miller and Green Porno for Isabella Rossellini. Sam also photographed Lady Bird for writer/director Greta Gerwig - nominated for 5 Academy Awards including Best Picture and winner of The Golden Globe for Best Picture. Other new films include Mayday, which he also produced, Confess, Fletch, and She Came to Me.https://samlevydp.comwww.imdb.com/name/nm1240085/ www.instagram.com/samlevydp/ www.creativeprocess.info www.oneplanetpodcast.org Instagram @creativeprocesspodcast

Sam Levy studied film in Paris with French New Wave director Eric Rohmer and began his career as an apprentice to legendary cinematographer Harris Savides. Sam first gained recognition as a cinematographer when he photographed Wendy and Lucy for director Kelly Reichardt - voted “One of the Best 25 Films of the 21st Century” by The New York Times. He went on to shoot Frances Ha, Mistress America and While We're Young for director Noah Baumbach, Changers and Frank Ocean's Blonded for Spike Jonze, Sermon on The Mount for Jerrod Carmichael, Maggie's Plan for Rebecca Miller and Green Porno for Isabella Rossellini. Sam also photographed Lady Bird for writer/director Greta Gerwig - nominated for 5 Academy Awards including Best Picture and winner of The Golden Globe for Best Picture. Other new films include Mayday, which he also produced, Confess, Fletch, and She Came to Me.“Don't you think maybe they are the same thing? Love and attention?"–Lady Bird, written and directed by Greta Gerwig "I really love that line in the script. It's an incredible script that Greta Gerwig wrote. It's not obvious, that sentiment that she says. I think that's why she has to point it out to the Lady Bird character, but I think if we're lucky in our lives, we can choose the path that we want to go down, whether it's something creative or in the arts or something else. And I think if you're lucky, you can spend your life or your career following something you really love or spending time following the path, whether it's a hobby or your career. And spending that time paying the attention that the craft or the hobby or the creative pursuit wants."https://samlevydp.comwww.imdb.com/name/nm1240085/ www.instagram.com/samlevydp/ www.creativeprocess.info www.oneplanetpodcast.org Instagram @creativeprocesspodcast

"I think one of the things in Lady Bird that's interesting is she is incredibly vulnerable, especially in relationship to her mom, and then she starts to come out of her shell and becomes more and more empowered and less and less vulnerable, in a sense. And so how do you convey that on screen? And a lot of it is just wanting that sense to be there. Every movie is different. Every story is different. We've been talking about Ladybird, and Francis Ha. So we made Francis Ha first, and there's an interesting relationship between her and her best friend that is almost like a romance, but it's not actually romantic, but the way the story is told, it's like two lovers, but they get into arguments and there's a lot of conflict. And then Ladybird, there's a lot of conflict between the mother and the daughter. I was very lucky to have a wonderful mom who's an attorney. And growing up, my mom worked very long hours, and my father was a musician who did most of the cooking. And I think just having a strong mother with a career and a very distinctive point of view has something to do with all of this. Like I'm looking for my mom in some of these projects. Someone who really shaped my worldview. That her relationship with her friends or possibly with her mom, and I think it just feels very familiar and fun. I was lucky to have a great relationship with my mom, who is all of those things, and who also would feel very guilty working long hours. And I always loved that. I loved that it was my dad who would cook, and my mom had this interesting career, and still does."Sam Levy studied film in Paris with French New Wave director Eric Rohmer and began his career as an apprentice to legendary cinematographer Harris Savides. Sam first gained recognition as a cinematographer when he photographed Wendy and Lucy for director Kelly Reichardt - voted “One of the Best 25 Films of the 21st Century” by The New York Times. He went on to shoot Frances Ha, Mistress America and While We're Young for director Noah Baumbach, Changers and Frank Ocean's Blonded for Spike Jonze, Sermon on The Mount for Jerrod Carmichael, Maggie's Plan for Rebecca Miller and Green Porno for Isabella Rossellini. Sam also photographed Lady Bird for writer/director Greta Gerwig - nominated for 5 Academy Awards including Best Picture and winner of The Golden Globe for Best Picture. Other new films include Mayday, which he also produced, Confess, Fletch, and She Came to Me.https://samlevydp.comwww.imdb.com/name/nm1240085/ www.instagram.com/samlevydp/ www.creativeprocess.info www.oneplanetpodcast.org Instagram @creativeprocesspodcast

Sam Levy studied film in Paris with French New Wave director Eric Rohmer and began his career as an apprentice to legendary cinematographer Harris Savides. Sam first gained recognition as a cinematographer when he photographed Wendy and Lucy for director Kelly Reichardt - voted “One of the Best 25 Films of the 21st Century” by The New York Times. He went on to shoot Frances Ha, Mistress America and While We're Young for director Noah Baumbach, Changers and Frank Ocean's Blonded for Spike Jonze, Sermon on The Mount for Jerrod Carmichael, Maggie's Plan for Rebecca Miller and Green Porno for Isabella Rossellini. Sam also photographed Lady Bird for writer/director Greta Gerwig - nominated for 5 Academy Awards including Best Picture and winner of The Golden Globe for Best Picture. Other new films include Mayday, which he also produced, Confess, Fletch, and She Came to Me."I think one of the things in Lady Bird that's interesting is she is incredibly vulnerable, especially in relationship to her mom, and then she starts to come out of her shell and becomes more and more empowered and less and less vulnerable, in a sense. And so how do you convey that on screen? And a lot of it is just wanting that sense to be there. Every movie is different. Every story is different. We've been talking about Ladybird, and you mentioned Francis Ha. So we made Francis Ha first, and there's an interesting relationship between her and her best friend that is almost like a romance, but it's not actually romantic, but the way the story is told, it's like two lovers, but they get into arguments and there's a lot of conflict. And then Ladybird, there's a lot of conflict between the mother and the daughter. I was very lucky to have a wonderful mom who's an attorney. And growing up, my mom worked very long hours, and my father was a musician who did most of the cooking. And I think just having a strong mother with a career and a very distinctive point of view has something to do with all of this. Like I'm looking for my mom in some of these projects. Someone who really shaped my worldview. That her relationship with her friends or possibly with her mom, and I think it just feels very familiar and fun. I was lucky to have a great relationship with my mom, who is all of those things, and who also would feel very guilty working long hours. And I always loved that. I loved that it was my dad who would cook, and my mom had this interesting career, and still does."https://samlevydp.comwww.imdb.com/name/nm1240085/ www.instagram.com/samlevydp/ www.creativeprocess.info www.oneplanetpodcast.org Instagram @creativeprocesspodcast

"I've always thought that filmmaking rhymes with classical music, the process of making classical music that I observed as a child. When I discovered filmmaking, I thought these things, they're very similar. They rhyme with each other. I hope this doesn't sound pretentious, but what operating a camera does resemble the physicality of conducting an orchestra. I was in a certain proximity to my father's orchestra playing on Stephen Spielberg's and Clint Eastwood's soundtracks, and I grew up playing the cello.My favorite conductor that I ever got to see was Seiji Ozawa, who was the musical director of the Boston Symphony and the Tokyo Symphony. But he was my father's orchestra was the Boston Symphony, and he was musical director for 35 years or something like that. And this was like, he was like a dancer, really beautiful, elegant movements. And I watched him rehearse and perform for so many hours when I was a child. And I think subconsciously as a camera operator, that it informed my sensibility, and maybe if I'm able to pull off like an elegant, smooth camera move, like on Noah Baumbach's Mistress America movie we did a lot of big flourishy movements all in one shot. And I think Seiji was a huge influence on me in terms of movement. And even if, Confess, Fletch, I didn't operate the camera, but I had an amazing operator named Julian Delacruz. And just being able to communicate like what the movement should be and just speak that language, I think getting to watch Seiji as a kid really helped that for me.”Sam Levy studied film in Paris with French New Wave director Eric Rohmer and began his career as an apprentice to legendary cinematographer Harris Savides. Sam first gained recognition as a cinematographer when he photographed Wendy and Lucy for director Kelly Reichardt - voted “One of the Best 25 Films of the 21st Century” by The New York Times. He went on to shoot Frances Ha, Mistress America and While We're Young for director Noah Baumbach, Changers and Frank Ocean's Blonded for Spike Jonze, Sermon on The Mount for Jerrod Carmichael, Maggie's Plan for Rebecca Miller and Green Porno for Isabella Rossellini. Sam also photographed Lady Bird for writer/director Greta Gerwig - nominated for 5 Academy Awards including Best Picture and winner of The Golden Globe for Best Picture. Other new films include Mayday, which he also produced, Confess, Fletch, and She Came to Me.https://samlevydp.comwww.imdb.com/name/nm1240085/ www.instagram.com/samlevydp/ www.creativeprocess.info www.oneplanetpodcast.org Instagram @creativeprocesspodcast

Sam Levy studied film in Paris with French New Wave director Eric Rohmer and began his career as an apprentice to legendary cinematographer Harris Savides. Sam first gained recognition as a cinematographer when he photographed Wendy and Lucy for director Kelly Reichardt - voted “One of the Best 25 Films of the 21st Century” by The New York Times. He went on to shoot Frances Ha, Mistress America and While We're Young for director Noah Baumbach, Changers and Frank Ocean's Blonded for Spike Jonze, Sermon on The Mount for Jerrod Carmichael, Maggie's Plan for Rebecca Miller and Green Porno for Isabella Rossellini. Sam also photographed Lady Bird for writer/director Greta Gerwig - nominated for 5 Academy Awards including Best Picture and winner of The Golden Globe for Best Picture. Other new films include Mayday, which he also produced, Confess, Fletch, and She Came to Me."I've always thought that filmmaking rhymes with classical music, the process of making classical music that I observed as a child. When I discovered filmmaking, I thought these things, they're very similar. They rhyme with each other. I hope this doesn't sound pretentious, but what operating a camera does resemble the physicality of conducting an orchestra. I was in a certain proximity to my father's orchestra playing on Stephen Spielberg's and Clint Eastwood's soundtracks, and I grew up playing the cello.My favorite conductor that I ever got to see was Seiji Ozawa, who was the musical director of the Boston Symphony and the Tokyo Symphony. But he was my father's orchestra was the Boston Symphony, and he was musical director for 35 years or something like that. And this was like, he was like a dancer, really beautiful, elegant movements. And I watched him rehearse and perform for so many hours when I was a child. And I think subconsciously as a camera operator, that it informed my sensibility, and maybe if I'm able to pull off like an elegant, smooth camera move, like on Noah Baumbach's Mistress America movie we did a lot of big flourishy movements all in one shot. And I think Seiji was a huge influence on me in terms of movement. And even if, Confess, Fletch, I didn't operate the camera, but I had an amazing operator named Julian Delacruz. And just being able to communicate like what the movement should be and just speak that language, I think getting to watch Seiji as a kid really helped that for me.”https://samlevydp.comwww.imdb.com/name/nm1240085/ www.instagram.com/samlevydp/ www.creativeprocess.info www.oneplanetpodcast.org Instagram @creativeprocesspodcast

“Don't you think maybe they are the same thing? Love and attention?"–Lady Bird, written and directed by Greta Gerwig "I really love that line in the script. It's an incredible script that Greta Gerwig wrote. It's not obvious, that sentiment that she says. I think that's why she has to point it out to the Lady Bird character, but I think if we're lucky in our lives, we can choose the path that we want to go down, whether it's something creative or in the arts or something else. And I think if you're lucky, you can spend your life or your career following something you really love or spending time following the path, whether it's a hobby or your career. And spending that time paying the attention that the craft or the hobby or the creative pursuit wants."Sam Levy studied film in Paris with French New Wave director Eric Rohmer and began his career as an apprentice to legendary cinematographer Harris Savides. Sam first gained recognition as a cinematographer when he photographed Wendy and Lucy for director Kelly Reichardt - voted “One of the Best 25 Films of the 21st Century” by The New York Times. He went on to shoot Frances Ha, Mistress America and While We're Young for director Noah Baumbach, Changers and Frank Ocean's Blonded for Spike Jonze, Sermon on The Mount for Jerrod Carmichael, Maggie's Plan for Rebecca Miller and Green Porno for Isabella Rossellini. Sam also photographed Lady Bird for writer/director Greta Gerwig - nominated for 5 Academy Awards including Best Picture and winner of The Golden Globe for Best Picture. Other new films include Mayday, which he also produced, Confess, Fletch, and She Came to Me.https://samlevydp.comwww.imdb.com/name/nm1240085/ www.instagram.com/samlevydp/ www.creativeprocess.info www.oneplanetpodcast.org Instagram @creativeprocesspodcast

“I studied for a year under Eric Rohmer at The University of Paris-Michelet, and his class was called Cinematography with Eric Rohmer, but we didn't shoot anything. We just watched films, mostly his films, and he would turn the sound off and just talk. It was fantastic. And then we would write papers and discuss. And he talked a lot about his cinematographer Néstor Almendros who shot My Night at Maud's, Pauline at the Beach, Claire's Knee, most of his better-known films.I think the big thing that I got from studying with Rohmer was just his movies are extremely dialogue-heavy, but they're very cinematic. And the way that he would talk about shooting scenes and n a film like My Night at Maud's, that's like largely in one apartment, dialogue spoken between two people, and how to shoot a story that's told through dialogue, but not have it feel like television.And that came in handy later when I did meet Noah Baumbach and Greta Gerwig. Noah's a huge, huge Rohmer fan, so we talked about him a lot. And I think that helped me a lot to have confidence that if a film has a lot of dialogue, for it to feel cinematic and interesting, you don't just need many different angles for the scene to play well. You can kind of show some restraint and even have a scene unfold in one shot and be dynamic, even if people are talking a lot."Sam Levy studied film in Paris with French New Wave director Eric Rohmer and began his career as an apprentice to legendary cinematographer Harris Savides. Sam first gained recognition as a cinematographer when he photographed Wendy and Lucy for director Kelly Reichardt - voted “One of the Best 25 Films of the 21st Century” by The New York Times. He went on to shoot Frances Ha, Mistress America and While We're Young for director Noah Baumbach, Changers and Frank Ocean's Blonded for Spike Jonze, Sermon on The Mount for Jerrod Carmichael, Maggie's Plan for Rebecca Miller and Green Porno for Isabella Rossellini. Sam also photographed Lady Bird for writer/director Greta Gerwig - nominated for 5 Academy Awards including Best Picture and winner of The Golden Globe for Best Picture. Other new films include Mayday, which he also produced, Confess, Fletch, and She Came to Me.https://samlevydp.comwww.imdb.com/name/nm1240085/ www.instagram.com/samlevydp/ www.creativeprocess.info www.oneplanetpodcast.org Instagram @creativeprocesspodcast

Sam Levy studied film in Paris with French New Wave director Eric Rohmer and began his career as an apprentice to legendary cinematographer Harris Savides. Sam first gained recognition as a cinematographer when he photographed Wendy and Lucy for director Kelly Reichardt - voted “One of the Best 25 Films of the 21st Century” by The New York Times. He went on to shoot Frances Ha, Mistress America and While We're Young for director Noah Baumbach, Changers and Frank Ocean's Blonded for Spike Jonze, Sermon on The Mount for Jerrod Carmichael, Maggie's Plan for Rebecca Miller and Green Porno for Isabella Rossellini. Sam also photographed Lady Bird for writer/director Greta Gerwig - nominated for 5 Academy Awards including Best Picture and winner of The Golden Globe for Best Picture. Other new films include Mayday, which he also produced, Confess, Fletch, and She Came to Me.“I studied for a year under Eric Rohmer at The University of Paris-Michelet, and his class was called Cinematography with Eric Rohmer, but we didn't shoot anything. We just watched films, mostly his films, and he would turn the sound off and just talk. It was fantastic. And then we would write papers and discuss. And he talked a lot about his cinematographer Néstor Almendros who shot My Night at Maud's, Pauline at the Beach, Claire's Knee, most of his better-known films.I think the big thing that I got from studying with Rohmer was just his movies are extremely dialogue-heavy, but they're very cinematic. And the way that he would talk about shooting scenes and n a film like My Night at Maud's, that's like largely in one apartment, dialogue spoken between two people, and how to shoot a story that's told through dialogue, but not have it feel like television.And that came in handy later when I did meet Noah Baumbach and Greta Gerwig. Noah's a huge, huge Rohmer fan, so we talked about him a lot. And I think that helped me a lot to have confidence that if a film has a lot of dialogue, for it to feel cinematic and interesting, you don't just need many different angles for the scene to play well. You can kind of show some restraint and even have a scene unfold in one shot and be dynamic, even if people are talking a lot."https://samlevydp.comwww.imdb.com/name/nm1240085/ www.instagram.com/samlevydp/ www.creativeprocess.info www.oneplanetpodcast.org Instagram @creativeprocesspodcast

Dans le 6e arrondissement de Paris, une petite rue pavée à deux pas de la mairie. On pousse une très lourde porte en bois. Pascal Greggory nous reçoit quelques semaines après la sortie d'Un beau matin de Mia Hansen-Love chez lui, un espace dans lequel il vit depuis trente-cinq ans et qui lui ressemble : « secret, isolé, avec une vue sur la ville, une ouverture ».Le comédien âgé de 68 ans évoque son enfance dans le 16e arrondissement à Paris dans une famille bourgeoise protestante, son intérêt très jeune pour les déguisements, ses débuts à 12 ans à l'opéra, son rapport autodidacte à la culture, ses sorties au New Jimmy's, la boîte de Régine boulevard du Montparnasse, puis au Palace, sa peur du vieillissement, sa passion pour la photographie et l'art africain, sa visite surprenante chez Michel Houellebecq... Il revient aussi longuement sur ses rencontres déterminantes avec André Téchiné, Eric Rohmer et Patrice Chéreau et comment elles ont modelé son travail d'acteur : « Rohmer ne nous faisait pas jouer, on était ce qu'on était. Il ne cherchait pas la performance, il fallait lire les mots, il était très vigilant avec ses phrases. Chéreau, lui, m'a appris à être extrêmement libre, à proposer le plus de choses possibles. Tout ce qu'on faisait de mauvais était constructif. »Depuis quatre saisons, la productrice Géraldine Sarratia interroge la construction et les méandres du goût d'une personnalité. Qu'ils ou elles soient créateurs, artistes, cuisiniers ou intellectuels, tous convoquent leurs souvenirs d'enfance, tous évoquent la dimension sociale et culturelle de la construction d'un corpus de goûts, d'un ensemble de valeurs.Un podcast produit et présenté par Géraldine Sarratia (Genre idéal)préparé avec l'aide de Diane Lisarelli et Imène BenlachtarRéalisation : Guillaume GiraultMusique : Gotan Project Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Il est quatorze heures au Perchoir, restaurant haut perché dans le 11e arrondissement à Paris. On prend l'ascenseur direction le sixième étage. Manon Fleury nous reçoit à cette adresse où elle est en résidence jusqu'en décembre, un lieu qui lui ressemble en partie, « très lumineux, avec de l'espace, où l'on se sent à l'aise ». La cheffe âgée de 31 ans évoque son enfance en Bourgogne auprès de parents tous deux employés du trésor public, les confitures et la croûte aux morilles de sa grand-mère, son déclic pour l'escrime, discipline pour laquelle elle intégrera le pôle espoir, ses premières expériences en cuisine auprès de William Ledeuil, Alexandre Couillon et Dan Barber, sa découverte aux Etats-Unis du potentiel des céréales puis du végétal, son envie de valoriser au maximum les bons produits, son admiration pour le cinéma naturaliste d'Abdellatif Kechiche et Eric Rohmer, son goût pour les plats qui cachent des choses plus complexes qu'ils n'y paraissent et sa défense d'une vision politique de son travail jusque dans la manière d'exercer son métier : « Il est possible d'avoir une carrière tout en ayant des vies privées. C'est ce que je veux démontrer en ayant des femmes avec moi en cuisine. »Depuis quatre saisons, la productrice Géraldine Sarratia interroge la construction et les méandres du goût d'une personnalité. Qu'ils ou elles soient créateurs, artistes, cuisiniers ou intellectuels, tous convoquent leurs souvenirs d'enfance, tous évoquent la dimension sociale et culturelle de la construction d'un corpus de goûts, d'un ensemble de valeurs.Un podcast produit et présenté par Géraldine Sarratia (Genre idéal)préparé avec l'aide de Diane Lisarelli et Imène BenlachtarRéalisation : Emmanuel BauxMusique : Gotan Project Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Hello everybody! And welcome to RohmerCast, a podcast about Eric Rohmer: his films, his working methods, and anything else we want to talk about related to Eric Rohmer. Listen to our trailer to hear about the films we're going to talk about in season two!Primary Sources:Eric Rohmer: Interviews edited by Fiona HandysideEric Rohmer: A Biography by Noël Herpe and Antoine De Baecque#ericrohmer #frenchnewwave #cinema #nouvellevague #filminstagram #filmtwitter #frenchcinema #cinephile #criterioncollection @criterioncollection @metrograp Hosted on Acast. See acast.com/privacy for more information.

durée : 00:51:00 - Les Nuits de France Culture - par : Albane Penaranda - C'était à l'automne 1984, Pascale Ogier, Bulle Ogier et André Dussollier étaient les invités du "Cinéma des cinéastes" pour parler de leur métier d'acteur et des grands cinéastes avec lesquels ils venaient de tourner, à savoir Eric Rohmer, Jacques Rivette et Alain Resnais. Le 21 octobre 1984, peu après le Prix de la meilleure interprète décerné à Pascale Ogier à Venise pour son rôle dans Les Nuits de la pleine lune d'Eric Rohmer, et quelques jours avant sa disparition survenue le 25 octobre 1984, la veille de son 26ème anniversaire, la comédienne était l'invitée de l'émission "Le cinéma des cinéastes" en compagnie de sa mère Bulle Ogier et d'André Dussollier. Tous les trois évoquent les trois grands metteurs en scène avec lesquels ils viennent de tourner : Eric Rohmer, Jacques Rivette et Alain Resnais. La vocation de devenir comédien Claude-Jean Philippe tient tout d'abord à dire l'importance grandissante du jeu des acteurs dans un film, lui-même y est de plus en plus sensible et ne se contente plus d'aller au cinéma pour voir "un film de...". Il interroge alors ses invités sur leur vocation, sur ce qui les animait dans leur jeunesse pour devenir comédien. Pour Bulle Ogier, il s'agissait plus de "casser" sa timidité, de gagner en assurance et c'est la présence du public qui l'a révélée. Pascale Ogier ne pensait pas vraiment "faire quelque chose", elle devait suivre des études après le baccalauréat et c'est la rencontre avec Eric Rohmer qui l'a faite basculer vers le cinéma et le théâtre. Après cette expérience devenue aventure, elle dit qu'elle a "tricoté petit à petit". André Dussollier, lui, a commencé très jeune, au collège, "le jeu a toujours été une seconde nature, très tôt, très jeune", se souvient-il. Grâce au théâtre, il pouvait montrer ses sentiments qu'il avait du mal à dévoiler dans la vie. Comédiens et metteurs en scène, une collaboration étroite Pascale Ogier raconte les huit mois de préparation du film d'Eric Rohmer Les Nuits de la pleine lune, comment elle est intervenue sur l'écriture de Louise, son personnage, et aussi pour les décors et les costumes. Elle insiste sur le travail de repérage pour tourner un film sur les années 80, comment on pouvait représenter l'air du temps. Jacques Rivette, "c'était magique" de travailler avec homme comme lui, un grand cinéphile dit Pascale Ogier qui a joué dans Le Pont du Nord. Bulle et sa fille racontent leur collaboration sur ce film, comment Rivette prenait des notes sur des petits bouts de papier qu'il mettait dans ses poches, "il est comme un computer", s'amuse Bulle Ogier. Tout en étant très proche de ses comédiens, Rivette gardait ce pouvoir de décision du metteur en scène. C'est au tour d'André Dussolier de nous parler des tournages avec Alain Resnais et Eric Rohmer, ce sont des metteurs en scène avec lesquels les acteurs se sentent choisis, explique t-il, ils pensent aux comédiens quand ils écrivent les personnages. Il a ainsi eu l'impression d'avoir été photographié par Rohmer quand ce dernier lui a apporté le scénario du Beau mariage. Par Claude-Jean Philippe  Le cinéma des cinéastes - Le métier d'acteur, avec Pascale Ogier, Bulle Ogier et André Dussollier Première diffusion : 21/10/1984 Archive Ina / Radio France

durée : 01:26:15 - Nuits magnétiques - Crise ou comment l'avoir 5/5 : Le barbare et le sauvage, Tendance 80 : La femme rédemptrice (1ère diffusion : 01/02/1980) - Par Pascal Dupont - Avec Jean Rouzaud, Patrice Bollon, Loulou de la Falaise, Eric Rohmer, Claudine Eizykman, Anne Cauquelin, Louis-Vincent Thomas et Alain Finkielkraut - Réalisation Medhi El Hadj

Spine number #342: Eric Rohmer's SIX MORAL TALES Part 3: CLAIRE'S KNEE from 1970, and LOVE IN THE AFTERNOON from 1972. Podcast's intro song 'Here Come the Creeps' by Ugly Cry Club. You can check out her blossoming body of work here: uglycryclub.bandcamp.com/releases Like us on Facebook! www.facebook.com/criterioncreeps/ Follow us on that Twitter! twitter.com/criterioncreeps Follow us on Instagram! instagram.com/criterioncreeps We've got a Patreon too, if you are so inclined to see this podcast continue to exist as new laptops don't buy themselves: patreon.com/criterioncreeps You can also subscribe to us on Soundcloud, iTunes, Google Play, and Stitcher!

Spine number #342: Eric Rohmer's SIX MORAL TALES Part 2: MY NIGHT AT MAUD'S from 1969 and LA COLLECTIONNEUSE from 1967, and we're joined by returning co-host Sam Loveland! Podcast's intro song 'Here Come the Creeps' by Ugly Cry Club. You can check out her blossoming body of work here: uglycryclub.bandcamp.com/releases Like us on Facebook! www.facebook.com/criterioncreeps/ Follow us on that Twitter! twitter.com/criterioncreeps Follow us on Instagram! instagram.com/criterioncreeps We've got a Patreon too, if you are so inclined to see this podcast continue to exist as new laptops don't buy themselves: patreon.com/criterioncreeps You can also subscribe to us on Soundcloud, iTunes, Google Play, and Stitcher!