Podcast appearances and mentions of erich von stroheim

I was invited to a screening of Sunset Blvd. A dark comedy made by Billy Wilder in 1950.  William Holden, Gloria Swanson, Erich Von Stroheim - at the last minute I was going to see it by myself, thought twice about it - but something or someone insisted I go. At the screening, Nancy Olson who starred in the film as the girlfriend of William Holden was there. She had wonderful stories about her experience on the film - her second movie.  After the screening I had an urge to go to the Chateau Marmont hotel... I didn't know why, but couldn't talk myself into doing it. Later, I discovered that Billy Wilder, the director and writer of the film wrote it while he was living in the hotel, and the room that Holden lives in with a Murphy bed was identical to the one that Wilder lived in when he wrote it. Then for the past few days, I have been hearing, getting messages from Mr. Wilder, about my own career, about films I've written and scripts I haven't yet gotten into production.   So that was the genesis of this conversation. First Carl Weathers, who was an active member of the DGA, my pal whom I wrote a script with (Apollo Creed in Rocky) started the conversation, which then drifted to Luana Anders - where I asked if this Billy fellow wanted to be interviewed. He did.  He said he was greeted by his mother on the flipside - which was poignant because she had not come with him to the US and when he went back to extricate her from Germany, she and her husband and Billy's grandmother were victims of the Nazis. He expressed sadness at not trying harder to get her to join him in America.  I had a million questions to ask him about his writing partner and others - but he spoke about the fast times and laughs (and booze) that he and William Holden shared.  At some point I asked Walter Matthau some questions, since I was his dialog coach on a Charles Grodin film "Movers and Shakers."  It was a treat to meet him - part of Hollywood royalty. Billy talked about the great times they had back then, and how being back home was like "being in a Fred Astaire movie."  He noted that he'd made "about 30 movies" (for the record he directed 27 films, including Spirit of St. Louis, the Apartment, Some Like It Hot, etc).  He said that in the afterlife, it was like being on a back lot and each sound stage was filled with all the people he'd made a film with - and so each sound stage was another "chapter in his life."  Amazing description.  We asked him about Marilyn Monroe and other folks he worked with - and he knew them all.   When I mentioned what a great screenwriter he was, Robert Towne showed up to talk a bit about the process, and how on the flipside, he's still honing his writing skills. He said that he was learning how to be more open to the muse - and agreed that was something for every artist, painter, musician... that we are always honing our skills either onstage or offstage. And when talking about it, he pointed out that he was in the "before life" zone and not an "after life" arena.  Because we can and do return when we want to. Another mind bending episode. 

durée : 00:26:00 - Les Nuits de France Culture - par : Philippe Garbit - Rendez-vous à cinq heures - Erich von Stroheim à Maurepas (1ère diffusion : 06/09/1954 Paris Inter) - réalisation : Virginie Mourthé

Emigré d'Autriche à Hollywood, Erich von Stroheim prétendra toute sa vie être un ancien officier aristocratique.Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Back from a hiatus and recording with a dog sitting beside her, The Old Movie Lady is ready to tell you all about 7 of the 15 (!!) Wampas Baby Stars of 1932! Listen for stories about a panther girl, systemic racism, a lawyer who pulled some strings, why Erich Von Stroheim should have been publicly shamed, and stardom some 65 years in the making!This episode contains mention of racism, sexual assault, statutory rape (in reference to a film), as well as (mild) language that may be inappropriate for some listeners. Hosted on Acast. See acast.com/privacy for more information.

Jackie and Greg pull into the crumbling mansion of Hollywood's past for Billy Wilder's SUNSET BLVD. from 1950. Topics of discussion include the film's gothic atmosphere and pulpy narration, which actors came close to playing the lead roles, Gloria Swanson's larger-than-life performance, and how it set the stage for the acidic anti-Hollywood films that would follow in its wake.#63 on Sight & Sound's 2012 "The 100 Greatest Films of All Time" list.https://www.bfi.org.uk/sight-and-sound/polls/greatest-films-all-time-2012#78 on Sight & Sound's 2022 "The Greatest Films of All Time" list.  https://www.bfi.org.uk/sight-and-sound/greatest-films-all-timeCheck us out on Instagram: https://www.instagram.com/sceneandheardpodCheck us out at our official website: https://www.sceneandheardpod.comJoin our weekly film club: https://www.instagram.com/arroyofilmclubJP Instagram/Twitter: jacpostajGK Instagram: gkleinschmidtGraphic Design: Molly PintoMusic: Andrew CoxEditing: Greg KleinschmidtGet in touch at hello@sceneandheardpod.comSupport the showSupport the show on Patreon: patreon.com/SceneandHeardPodorSubscribe just to get access to our bonus episodes: buzzsprout.com/1905508/subscribe

Día 3 del Calendario de Adviento, continuamos desempolvando clásicos... La historia del cine está llena de grandes películas, pero hay una, de entre todas ellas, que pudo llegar a ser la mejor de todas. Por desgracia, nunca lo sabremos. Esta es la historia de Avaricia, y de su maldito director, Erich Von Stroheim... CONTACTO _____________________________ cinefiloselpodcast@gmail.com

This week's film is the Jean Renoir (yes, the son of the famous painter) film La Grande Illusion. Brendan and Jason talk about the film's breakdown of the fall of the aristocracy as exemplified by Boldieu and Rauffenstein, the use of subtitles and lack thereof which figure significantly into the narrative, Renoir using the contemporary world of World War II to comment on World War I as portrayed in the film and much more.   Next week: American Sniper. Questions? Comments? Suggestions? You can always shoot us an e-mail at forscreenandcountry@gmail.com   Full List: https://www.pastemagazine.com/movies/war-movies/the-100-greatest-war-movies-of-all-time Facebook: https://www.facebook.com/forscreenandcountry Twitter: https://www.twitter.com/fsacpod Our logo was designed by the wonderful Mariah Lirette (https://instagram.com/its.mariah.xo) La Grande Illusion stars Jean Gabin, Marcel Dalio, Pierre Fresnay, Dita Parlo, Julien Carette and Erich Von Stroheim; directed by Jean Renoir. Is It Streaming? USA: Criterion Channel and available to rent. Canada: Criterion Channel and available to rent on Apple TV. UK: ITVX, Studio Canal Amazon Channel and available to rent. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jackie and Greg arrive at the third Jean Renoir on the list, GRAND ILLUSION (LA GRANDE ILLUSION) from 1937. Topics of discussion include the film's gentle satire, Erich von Stroheim as the Tin Man, Renoir's obsession with race and class, and why Strauss waltzes are the most romantic.#73 on Sight & Sound's 2012 "The 100 Greatest Films of All Time" list.bfi.org.uk/sight-and-sound/polls/greatest-films-all-time-2012#146 on Sight & Sound's 2022 "The 100 Greatest Films of All Time" list.  bfi.org.uk/sight-and-sound/greatest-films-all-timeCheck us out on Instagram: instagram.com/sceneandheardpodCheck us out at our official website: sceneandheardpod.comJoin our weekly film club: instagram.com/arroyofilmclubJP Instagram/Twitter: jacpostajGK Instagram: gkleinschmidtPhotography: Matt AraquistainMusic: Andrew CoxGet in touch at hello@sceneandheardpod.comSupport the show on Patreon: patreon.com/SceneandHeardPodorSubscribe just to get access to our bonus episodes: buzzsprout.com/1905508/subscribe

The hosts take a look at two infamous examples of films altered and changed by studio intervention. One of the earliest and most egregious alterations happened to Erich von Stroheim's 1924 Greed. Does the remaining footage yield as close to a masterpiece as its fabled original 9-hour cut?Despite the prestige of Citizen Kane, Orson Welles' The Magnificent Ambersons was not saved from the butchering hands of meddlers. Does the end product carry the gut punches the original was intended to have?

In today's episode, we conclude our discussion of the television show The Adventures of Young Indiana Jones with Chapter 22, Hollywood Follies. After heading out to California, Indy gets a job working at Universal City, but his enthusiasm is short lived when he realizes that he is no match for the eccentric director Erich Von Stroheim. Later on, Indy eventually becomes captivated by filmmaking when he gets to team up with western legends John Ford and Wyatt Earp to work as an assistant and stuntman for their new film Six Steps to Hell. Opening music excerpt was composed by Laurence Rosenthal and is titled "Broadway to Hollywood"

In the Season Premiere of Season 6 (Heists, Cons, & Grifters) Kyle is joined by script supervisor Katy Baldwin and fellow podcaster Ben Thelen (of the Dead Reckoner Podcast) to discuss the machiavellian undercurrents of Erich von Stroheim's elaborate and opulent con artist study in the silent film Foolish Wives (1922).

durée : 00:26:00 - Les Nuits de France Culture - Par Micheline Sandrel - Avec Erich von Stroheim et Denise Vernac

Invitée : Sarah Ohana Au programme de cette année 1919 :  Charlie Chaplin, D.W. Griffith, Douglas Fairbanks, Mary Pickford et la création de la United Artists Le Lys Brisé de D.W. Griffith J'accuse d'Abel Gance : l'acte de naissance du film de guerre ? La loi des montagnes (Blind Husbands), le premier film d'Erich von Stroheim Fritz Lang, Ernst Lubitsch, Robert Wiene... ou le nouveau cinéma allemand Recommandations : La Cigarette (Germaine Dulac), Les Araignées (Fritz Lang)

Bart koos voor Jean Renoir als zijn John June waardoor de drie Gremlins La Grande Illusion (1937), La Bête Humaine (1398) en La Règle du Jeu (1939) voor de kiezen kregen. Er wordt met zoveel lof over ene Erich Von Stroheim, de cameravoering en montage gepraat dat de charismatische Jean Gabin bijna vergeten wordt. Thematiek en sub-context zijn termen die vaak over de lippen rollen al lijkt de opeenvolging van Renoir zijn films misschien zijn tol te eisen bij de drie hosts. Lichtvoetigheid troef in het tweede deel van de aflevering wanneer er in maar liefst vijf decennia door elk van de hosts een Summer Double Bill voorgesteld wordt, ideaal dus om onze zomerstop mee door te komen!

In questo episodio parliamo della sciagurata vita di colui che può essere considerato il terzo incomodo fra Charlie Chaplin e Buster Keaton. Il terzo maestro del cinema muto. Il regista che è passato alla storia come il padre del cinema d'autore. Il suo nome è Erich von Stroheim. Cover: Erich von Stroheim. Ti piace La Storia del Cinema? Seguila anche su Instagram: bit.ly/IG_LSDC La Storia del Cinema fa parte dell'universo di VOISLAND, il primo network di podcast italiano. Fatti un giretto su voisland.com

Goffredo Fofi racconta "La vedova allegra" nella duplice versione di Erich von Stroheim (1925) e di Ernst Lubitsch (1934).

Dans une forteresse pénitentiaire construite sur un îlot en mer adriatique, un commandant despotique et sa femme vivent liés autant par l’amour que par la haine, pendant que leur fille tombe amoureuse d’un prisonnier politique placé en détention.Avec : Erich Von Stroheim, Denise Vernac, Maria Denis, Jean Servais, Pierre Palau, Massimo SeratoD'après la pièce d'August StrindbergDans ce huit clos carcéral, Marcel Cravenne propose une histoire d’amour-haine où chacun sera tour à tour le bourreau, puis la victime.Numérisé et restauré en 2 K avec le soutien du CNC.Langue : français - Format : 1:37 - Son mono - Noir & Blanc

Emily Kubincanek returns to Extra Milestone at last, and in no small fashion! We're diving headfirst into the most Classic of Cinema with two brilliant films that connect to the Silent Era! First up is Charlie Chaplin's The Gold Rush, a dramatic comedy featuring Chaplin's 'Little Tramp' that cemented many dramatic traditions while simultaneously telling a heartfelt and humorous story! From there, we jump forward to Billy Wilder's Sunset Boulevard, which examines the world of showbusiness, the remnants of the Silent Era, and the widespread sacrifices found in Hollywood living through a melancholy lens steeped in Film Noir tradition. SHOW NOTES: 00:02:25 – The Gold Rush 00:28:44 – Sunset Boulevard 01:14:35 – Recommendations of similar films to seek out MUSIC IN THIS EPISODE: "Dance of the Rolls/Auld Lang Syne" from The Gold Rush, "Interview with DeMille" from Sunset Boulevard composed by Franz Waxman, trailers for The Gold Rush and Sunset Boulevard CINEMAHOLICS IN THIS EPISODE:Sam Noland and Emily Kubincanek NEXT WEEK: Jon Negroni returns once again to discuss two enormous classics: Martin Scorsese's Goodfellas and Sidney Lumet's Dog Day Afternoon!   Support the show on Patreon: https://www.patreon.com/cinemaholics See omnystudio.com/listener for privacy information.

Emily Kubincanek returns to Extra Milestone at last, and in no small fashion! We're diving headfirst into the most Classic of Cinema with two brilliant films that connect to the Silent Era! First up is Charlie Chaplin's The Gold Rush, a dramatic comedy featuring Chaplin's 'Little Tramp' that cemented many dramatic traditions while simultaneously telling a heartfelt and humorous story! From there, we jump forward to Billy Wilder's Sunset Boulevard, which examines the world of showbusiness, the remnants of the Silent Era, and the widespread sacrifices found in Hollywood living through a melancholy lens steeped in Film Noir tradition. SHOW NOTES: 00:02:25 – The Gold Rush 00:28:44 – Sunset Boulevard 01:14:35 – Recommendations of similar films to seek out MUSIC IN THIS EPISODE: "Dance of the Rolls/Auld Lang Syne" from The Gold Rush, "Interview with DeMille" from Sunset Boulevard composed by Franz Waxman, trailers for The Gold Rush and Sunset Boulevard CINEMAHOLICS IN THIS EPISODE:Sam Noland and Emily Kubincanek NEXT WEEK: Jon Negroni returns once again to discuss two enormous classics: Martin Scorsese's Goodfellas and Sidney Lumet's Dog Day Afternoon!   Support the show on Patreon: https://www.patreon.com/cinemaholics See omnystudio.com/listener for privacy information.

"A HOLLYWOOD STORY: Sensational...Daring...Unforgettable...Sunset Blvd." With the National Film Registry's mission to preserve cinematic history, there's no better place to start than a film about the fading glory of the Golden Age of Hollywood. Writer Phil Iscove (Sleepy Hollow, Podcast Like It's 1999) joins the show to talk about Billy Wilder's 1950 film Sunset Boulevard. Hosts:Michael NataleTwitterInstagramLetterboxd Tom LorenzoTwitterInstagramLetterboxd Producer:Kyle LamparTwitterInstagram Guest:Phil IscoveTwitterPodcast Like It’s 1999 Follow the Show:TwitterInstagramWebsite Music:“Into the J (ft. Geoffpeters)” & “Isolation” by Admiral Bob 77

Where we fight (almost) all things Billy Wilder and zero in on ‘Sunset Blvd.,’ ‘Ace in the Hole’ and ‘The Apartment;’ nobody’s perfect, but some of these came close (Part Two)

Where we fight (almost) all things Billy Wilder and zero in on ‘Sunset Blvd.,’ ‘Ace in the Hole’ and ‘The Apartment;’ nobody’s perfect, but some of these came close (Part One)

Costume Designer Karyn Wagner’s work can be seen in the iconic films of luminary directors, such as Frank Darabont’s The Green Mile, starring Tom Hanks; The Majestic, starring Jim Carrey; Nick Cassavettes’ The Notebook, starring Ryan Gosling and Rachel McAdams; D.J.Caruso’s The Salton Sea, with Val Kilmer and Vincent D’Onofrio; Eve’s Bayou, directed by Kasi Lemmons and starring Samuel L. Jackson; and Steven Soderbergh’s Underneath, starring Peter Gallagher.  Her television credits include the Antoine Fuqua directed Murder Book, and the wildly successful Friday Night Lights series. Karyn is a third generation film industry veteran and a native of California, whose grandfather met her grandmother on the set of an Erich Von Stroheim film. Karyn’s father, Richard Wagner, was a Sound Mixer, so she grew up on Hollywood studio backlots.  Armed with a degree in Art History from University of California Davis, Karyn first worked in Production, and then in the Camera Department before finding her true passion of Costume Design, where her thirst for knowledge of the culture and sociology of a film’s period informs her designs. Karyn’s recent credits include Lovelace, with Amanda Seyfried, James Franco and Peter Sarsgaard, Cake, starring Jennifer Aniston, and Underground, the historical antebellum drama from WGN America. Karyn’s most recent work can be seen in the AMC series Preacher, and in Mr. Church, a feature from Bruce Beresford starring Eddie Murphy and Britt Robertson.  

Cine mudo: El arte de la seducción en el cine mudo (VIII). Presentación de "La marcha nupcial" (1928) de Erich von Stroheim. Manuel Rodríguez Rivero. La marcha nupcial ("The Wedding March", 1928, EE. UU.) de Erich von Stroheim, con Fay Wray, Zasu Pitts, George Fawcett y Maude George (114') Presentación: Manuel Rodríguez Rivero En la Viena de 1914, el príncipe Nicki, mujeriego y arruinado, tiene un idilio con Mitzi, una joven plebeya. Erich von Stroheim interpreta al protagonista, representante de la decadente aristocracia de su Viena natal, cuyo desenfrenado ritmo de vida y los problemas económicos de su familia llevarán a negociar un matrimonio de conveniencia, teniendo que decidir entre el amor verdadero y una holgada situación económica. Von Stroheim realizó un metraje de más de seis horas, que hubo de ser recortado y dividido en dos filmes de dos horas para que fuese exhibido ante el gran público. Sin embargo, el que iba a ser el segundo episodio de la historia, titulado La luna de miel, se encuentra desaparecido. El sábado se proyecta el vídeo de la presentación del día anterior. Explore en www.march.es/conferencias/anteriores el archivo completo de Conferencias en la Fundación Juan March: casi 3.000 conferencias, disponibles en audio, impartidas desde 1975.

After a year hiatus, Peter returns to the Castro Theatre alongside Victor Morton to check back in with the good folks at the San Francisco Silent Film Festival, now in their 24th iteration. It's more proof that this cinephile culture is alive and well and always expanding toward new avenues despite its century longevity. This year includes discoveries from both the studio era of filmmaking as well as unique corners of the globe, featuring narratives of fallen women, activist women, and women willing to push their vanity to death itself (also the occasional man). The surprise of the festival in part is seeing this period of history both in its innovations as well as its regressions, which sometimes work to turn seemingly simple works into complex objects. Within this, great artists appear: some known and others now reclaimed. Join Peter and Victor as they work their way through this excellent set of films. 0:00–2:41 Opening2:42–15:00 The Signal Tower (Clarence Brown, 1924) 16:36–30:56 Tonka of the Gallows (Karel Anton, 1931) 32:11–49:33 Color Extravaganza! 50:30–53:30 Sponsorship Section 54:16–1:05:08 Goona Goona (André Roosevelt and Armand Denis, 1932) 1:06:03–1:24:03 Romance, Comedy and Otherwise 1:24:52–1:37:38 The Wedding March (Erich Von Stroheim, 1928) 1:37:42–1:26:52 Close

Jean Renoir enters the ring to take on the undefeated heavyweight champ SPEED! If you'd like to view the internationally beloved anti-war classic GRAND ILLUSION, you can find it streaming in beautiful high definition on Amazon Video. You can also find THE GREAT ESCAPE and SUNSET BOULEVARD on there too. Erich Von Stroheim's four hour silent film GREED is available on FilmStruck, as well as Jean Renoir's gorgeous melancholy ode to India, THE RIVER. While you're there, take a walk on the wild side and watch Jean Gabin's underworld crime thriller, PEPE LO MOKO. The film selection for our next episode, John Woo's HARD BOILED, isn't available on most legal streaming services. But if you want to treat yourself, there is an affordable Blu-ray available for purchase at most online vendors. We promise to make it worth your while.  And finally, a huge thanks to our guest on this episode, Bryce Abood. Check out his excellent Americana rock band Molly Hanmer and the Midnight Tokers. Need a dinosaur and laser fix? You can stream Bryce's righteous animated film GODZILACTUS on YouTube. And stay tuned for his upcoming live action film, the bloody spectacle FOOD. You can check out some gnarly production stills on Bryce's Instagram feed. As always, thanks for joining us on the Speed bus. We love having you all aboard!

Billy Wilder’s painful salute to the crumbling facade of “old Hollywood” bears watching again and again. Gloria Swanson, who truly was a symbol of all that was grand and glitzy truly shows just how good an actress can be as the doomed Norma Desmond. William Holden and Erich Von Stroheim also shine as her unwilling and all-to-willing minions.

Special Guest: Nick MacdonaldGuest Co-Hosts: Tom Jennings, Ken Stanley Set during World War One, Jean Renoir's La Grande Illusion (1937) stars Jean Gabin as Lt. Marechal, an airman who, along with Captain Boeldieu (Pierre Fresnay), are shot down by Captain Rauffenstein, who’s played by Erich von Stroheim. The two Frenchmen then spend most of the rest of the film in POW camps, primarily Hallbach and Wintersborn where they meet an array of fellow prisoners.Tom Jennings and Ken Stanley join Mike to discuss this seminal humanist film.

Esta película es la protagonista de uno de los cercenamientos más célebres e infames de la historia del cine, cuyo mito ha sido alimentado tanto por la víctima (el cineasta Stroheim) como por los victimarios (los productores Thalberg y Mayer). Esto se explica en parte porque la versión cortada es tan potente, precisa e inolvidable, que la desaparecida (para siempre) versión larga es percibida como una especie de Santo Grial más grande que la vida misma. De esto y más hablamos en el podcast.