Podcasts about fellini

Olivia Laing is known as one of the most distinctive voices in contemporary literature. Their work is renowned for its capacity to make abstract ideas feel precise, intimate, and beautifully thought through without ever talking down to the reader. Their books include the number one Sunday Times bestseller The Garden Against Time, Funny Weather: Art in an Emergency and, most recently, The Silver Book: a bewitching love story set during the making of Fellini's Casanova and Pasolini's Salò. In June 2026 Laing came to Intelligence Squared for a one-off celebration of the ten-year anniversary of their seminal work, The Lonely City. Hailed as ‘a new kind of literature' when first published, The Lonely City is both a personal quest to master the art of being alone, and an investigation into how artists have reckoned with isolation. The book asks questions that resonate in our increasingly digital and divided world. What does it mean to be lonely? How do we connect with others? Does technology draw us closer together, or keep us apart?         Laing was joined live at Union Chapel in London by Charlie Porter, as they reflected on the legacy of The Lonely City, the paperback publication of The Silver Book and what loneliness, intimacy, solidarity and connection mean in a world of rising fascism. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Olivia Laing is known as one of the most distinctive voices in contemporary literature. Their work is renowned for its capacity to make abstract ideas feel precise, intimate, and beautifully thought through without ever talking down to the reader. Their books include the number one Sunday Times bestseller The Garden Against Time, Funny Weather: Art in an Emergency and, most recently, The Silver Book: a bewitching love story set during the making of Fellini's Casanova and Pasolini's Salò. In June 2026 Laing came to Intelligence Squared for a one-off celebration of the ten-year anniversary of their seminal work, The Lonely City. Hailed as ‘a new kind of literature' when first published, The Lonely City is both a personal quest to master the art of being alone, and an investigation into how artists have reckoned with isolation. The book asks questions that resonate in our increasingly digital and divided world. What does it mean to be lonely? How do we connect with others? Does technology draw us closer together, or keep us apart?         Laing was joined live at Union Chapel in London by Charlie Porter, as they reflected on the legacy of The Lonely City, the paperback publication of The Silver Book and what loneliness, intimacy, solidarity and connection mean in a world of rising fascism. --- This is the first instalment of a two-part episode. If you'd like to become a Member and get access to all our full ad free conversations, plus all of our Members-only content, just visit intelligencesquared.com/membership to find out more. For £4.99 per month you'll also receive: - Full-length and ad-free Intelligence Squared episodes, wherever you get your podcasts - Bonus Intelligence Squared podcasts, curated feeds and members exclusive series - 15% discount on livestreams and in-person tickets for all Intelligence Squared events ... Or Subscribe on Apple for £4.99: - Full-length and ad-free Intelligence Squared podcasts - Bonus Intelligence Squared podcasts, curated feeds and members exclusive series … Already a subscriber? Thank you for supporting our mission to foster honest debate and compelling conversations! Visit intelligencesquared.com to explore all your benefits including ad-free podcasts, exclusive bonus content and early access. … Subscribe to our newsletter here to hear about our latest events, discounts and much more. https://www.intelligencesquared.com/newsletter-signup/ Learn more about your ad choices. Visit podcastchoices.com/adchoices

Kurt Angle grabs the mic before the main event and announces he has an apology to make for kissing Stephanie McMahon. He's sorry he didn't do it sooner. Tommy Blacha and Rob Pasbani recap SummerSlam 2000, live from Raleigh, North Carolina on August 27, 2000.The love triangle runs through the whole show. Stephanie tells her makeup artist backstage that Kurt is a good kisser. Angle's pre-match promo drops the line "I gave your wife the kind of passion you could never give her." Then the Spanish announce table breaks early, Angle is immediately concussed, and the main event somehow has to keep going.The match of the night is the first-ever Tables, Ladders and Chairs match between Edge and Christian, the Hardy Boyz, and the Dudley Boyz, which Tommy and Rob call a blueprint for an even better version at WrestleMania the following year. Earlier, Shane McMahon climbs 75 feet up the entrance scaffolding trying to escape Steve Blackman, takes a kendo stick to the back, and falls in one of the biggest bumps either host has ever seen.Other major discussion points include:- Chyna pins Trish Stratus to become two-time Intercontinental Champion in a mixed tag with a stipulation that creates more problems than it solves- JR pays Tazz back by smashing the same candy jar Tazz used on Lawler weeks earlier over his head to help the King get the win, though Tommy and Rob agree Tazz deserved better from the whole feud- Road Dogg and X-Pac finally collide but their slow-burn DX breakup never generated enough heat for the match to land- Jericho and Benoit put on a solid two-out-of-three falls match in 13 minutes, though Tommy argues the stipulation demands more time and the feud deserved a cleaner finish- The show opens with a Fellini-inspired David Sahadi short film that Tommy and Rob call one of the most interesting pay-per-view cold opens of the Attitude Era- Kane and Undertaker brawl on the outside with the bell never ringing, in a match the hosts agree did nothing to elevate either man---Just announced! Rob and Tommy announce the launch of their brand new Patreon featuring watch-alongs for classic matches. New watch along added: Dick the Bruiser vs. Verne GagneThe first watch along includes Rock vs Hogan and Buddy Rogers vs. Pat O'Connor.Please subscribe at https://patreon.com/talesfromtheattitudeera---00:00 Intro and Welcome to SummerSlam 2000 / Raleigh, NC / Gate Figures05:27 Card Structure Discussion and the David Sahadi Opening Film11:44 Meltzer and Keller Review SummerSlam14:53 Right to Censor vs Too Cool & Rikishi19:44 Heat Recap: The Kiss Aftermath / Kurt Angle Arrives21:01 Road Dogg vs X-Pac / The DX Breakup Falls Flat24:26 Chyna & Eddie Guerrero Backstage / Trish and Val's Tension30:09 Intercontinental Championship: Chyna & Eddie vs Val Venis & Trish Stratus37:33 Stephanie in the Makeup Chair: Kurt Is a Good Kisser38:23 Jerry Lawler vs Tazz / JR's Candy Jar Revenge47:18 Steve Blackman vs Shane McMahon (Hardcore Championship) / The Scaffold Fall52:22 Chris Jericho vs Chris Benoit (Two-Out-of-Three Falls)57:08 The First-Ever TLC Match: Edge & Christian vs Hardy Boyz vs Dudley Boyz1:03:19 Triple H Confronts Stephanie About the Kiss1:04:03 Thong Stinkface Match: Cat vs Terry1:08:39 Kane vs Undertaker (The Bell Never Rings)1:11:50 WWF Championship Triple Threat: The Rock vs Triple H vs Kurt Angle1:19:01 Overall Show Breakdown and Final Thoughts Hosted on Acast. See acast.com/privacy for more information.

La Fondation Fellini réunit trois grands artistes dans le cadre du 40e anniversaire du film Le Nom de la rose de Jean-Jacques Annaud et du 10e anniversaire de la disparition dʹUmberto Eco, auteur du célèbre roman paru en 1980, qui fut adapté au cinéma en 1986, puis en BD par Milo Manara en deux albums parus en 2023 et 2025 dans leurs éditions originales. Lʹexposition "Le Nom de la rose 1986 – 2026" est à voir aux Arsenaux - Centre culturel - Rue de Lausanne 45 – Sion jusqu'au 15 juillet 2026. Visites libres durant les heures dʹouverture des Arsenaux. www.mediatheque.ch Lʹexposition "Milo Manara/Umberto Eco Le Nom de la rose" est à voir à lʹEspace culturel de la Maison du diable à Sion jusqu'au 2 septembre 2026. Ouverture du mardi au samedi - 15 heures - 19 heures. www.fondation-fellini.ch Le Président de la Fondation Fellini, Stéphane Marti, est l'invité d'Anne Laure Gannac.

Alessandro Carrera"Il vagoncino rosso"Crocetti Editorewww.crocettieditore.itIl “vagoncino rosso” di Alessandro Carrera conduce il lettore in un mondo che spazia dalla campagna lombarda agli Stati Uniti e al Canada, dai miti classici a quelli dei nativi americani, dalla complessità del modernismo all'ironia che ne stempera le pretese. Inizia in Italia, ma è l'incontro con l'America a determinarne la svolta narrativa. L'autore si fa esploratore del nuovo mondo come di sé stesso, di paesaggi e ricordi nei quali il sentimento è sempre mitigato da un consapevole distacco. Che abbia come sfondo la Lombardia o il Texas, New York o Vancouver, la poesia di Carrera indaga il mistero di come giungiamo a essere ciò che siamo, anche quando crediamo di esserci allontanati dalle nostre radici. Per vastità di ambizioni e ricchezza di riferimenti, per forza lirica e disarmante sincerità, rappresenta un'esperienza unica nella poesia italiana contemporanea. Mi hai chiesto se mai inventeranno una macchina del tempo e io ti ho detto no, perché il passato non esiste. Ma in anni remoti guardandoci alle spalle vedremo un cristallo svanire, il cristallo profumato del chissà.Alessandro Carrera è professore di Italian Studies e World Cultures and Literatures all'Università di Houston, in Texas. Ha scritto opere di saggistica, narrativa e poesia. Tra i suoi ultimi libri, Il colore del buio (il Mulino, 2019), Fellini's Eternal Rome: Paganism and Christianity in Federico Fellini's Films (Bloomsbury, 2019) e Lo studente di medicina (Passigli, 2021). Per Feltrinelli ha pubblicato Musica e pubblico giovanile (1980), La voce di Bob Dylan. Una spiegazione dell'America (2001; nuova edizione, 2021), Canzoni d'amore e misantropia (unito al DVD del film Io non sono qui, 2008), La consistenza della luce (2010), ha tradotto le canzoni e le prose di Bob Dylan e ha curato Pop di Andy Warhol.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Mimmo Di Marzio"Gli insospettabili"Da Goethe a David Bowie, la pittura come seconda vitaGiunti Editorewww.giunti.itGli acquerelli nostalgici di Hermann Hesse, i ritratti rock di Paul McCartney e David Bowie, i disegni erotici di Federico Fellini, i paesaggi della campagna inglese di Winston Churchill, le litografie pop di Johnny Deep. Tanti personaggi celebri, un'unica (quasi) segreta grande passione: la pittura. Quasi un saggio romanzato, il libro racconta la storia umana e psicologica di coloro che non hanno saputo accontentarsi della propria celebrità nella letteratura, nello spettacolo o nella politica, ma hanno cercato e trovato sulla tela la via per raggiungere il proprio equilibrio interiore. Questa “necessità pittorica” ha in molti casi generato risultati sorprendenti, al punto che oggi molti di questi artisti paralleli sono finiti nelle collezioni dei musei o nelle grandi collezioni private. Il libro si snoda attraverso una serie di ritratti che narrano, non senza aneddoti divertenti e immagini delle opere, il percorso avventuroso da outsider nell'affascinante mondo dell'arte.Mimmo Di Marzio è giornalista, critico d'arte, curatore e pittore. Da molti anni firma le pagine culturali de Il Giornale, dove si occupa di arte e di mercato dell'arte. È stato docente di Editoria per l'Arte all'Accademia di Brera e ha al suo attivo numerosi saggi critici. Come curatore ha firmato mostre in sedi prestigiose — tra cui il Castello Sforzesco di Milano (Homo Faber), lo Spazio Oberdan e la Fondazione Stelline — spaziando dall'arte contemporanea alla street e lowbrow art. Affianca all'attività critica una propria ricerca pittorica, presentata in personali come Vite parallele. Nel maggio 2026 ha pubblicato per Giunti Gli insospettabili. Da Goethe a David Bowie, la pittura come seconda vita, saggio narrativo dedicato a personaggi celebri che hanno coltivato l'arte come "seconda vita" creativa.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Claudia Cardinale a illuminé les années 60 avec des chefs d'oeuvres comme Il était une fois dans l'Ouest de Sergio Leone, près de 15 millions d'entrée en france en 1968, Huit et demi de Fellini en 1963, Rocco et ses frères en 1960, et Le Guépard en 63. Au moment de la sortie du film en 1963 elle portait des boucles d'oreille marguerite en saphirs et diamants. Ils font partie des bijoux de Claudia Cardinale vendus aux enchères en ce moment par sa fille Claudia Squitieri au profit notamment de l'association Fondazione qui soutient les jeunes artistes. Elle est ce soir notre invité pour présenter cette vente unique.Tous les soirs, du lundi au jeudi à 20h sur France 5, Anne-Elisabeth Lemoine et toute son équipe accueillent les personnalités et artistes qui font l'actualité.

A comienzos de la década del 50, el binomio artístico-sentimental de Ingrid Bergman y Roberto Rossellini estaba plenamente consolidado. Pese al escándalo en Hollywood, a la mala prensa en Italia y la excomunión del Vaticano a ambos, el dúo se lanzó a explorar un terreno totalmente nuevo en la historia del audiovisual: el drama sicólogico existencial. Hijo directo de la inmensa crisis social y personal gatillada tras la posguerra, este nuevo tipo de filme indagaba en el trayecto social y espiritual de personajes sometidos a tensiones imposibles. Se trataba, en esencia, de un viaje interior que bebía de raíces melodramáticas, pero que superaba con mucho las convenciones del cine de género. En cierta forma, se trataba del origen de lo que alguna vez se conoció como cine arte, cine de autor o cine ensayo. La primera muestra de algo que más tarde desarrollarían multitud de cineastas, artistas como Bresson, Bergman, Fellini, Antonioni, Erice, Wenders, Kiarostami, Kieslowski y un largo listado que llega hasta nuestros días. Incluso así, y dicho todo lo anterior, Europa '51 todavía sorprende al narrar la historia de una mujer de clase alta quien, tras la muerte de su hijo, comienza a ver el mundo de una forma que nadie, ni siquiera sus más cercanos, pueden compartir. Es como si, de un momento a otro, el velo que tiene sobre los ojos se descorriese y comenzara a ver el mundo en términos totalmente espirituales, sin concesión alguna. Sobre esa situación imposible, sobre este logro artístico absoluto, sde discute en este podcast.

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Habibollah Qaderi – eller bare «Habib» – er mannen bak Det Lille Kjøkken, et av Altas mest folkekjære spisesteder. Men veien dit har vært alt annet enn enkel.I denne episoden forteller han om reisen fra å komme til Norge som tenåring i 2003, uten språk og uten nettverk, til å bygge opp sin egen virksomhet i Alta. Vi snakker om de første tunge årene, tiden som ansatt på Fellini der han lærte seg faget, den første kebabvogna i sentrum, og hvordan det etter hvert ble til Det Lille Kjøkken slik vi kjenner det i dag.Det er en historie om pågangsmot, om å starte på nytt, og om hva kundene i Alta har betydd underveis. 

Send us a text or a voicemailA reckless Patreon Supporter goes dangerously rogue to catch a group of hardened podcasters. He explores a corrupt world where the lines between fantasy and reality completely blur. On Episode 724 of Trick or Treat Radio we are joined by Joshua Libre for the June Patreon Takeover! Josh has selected the films; To Live and Die in L.A. from director William Friedkin, and The Convent (2000) from director Mike Mendez for us to discuss! We also find out what a four robot lion Voltron would look like, learn what horrifying selections have been curated on our Tubi recommendations, and we react to trailers for the films; Fall 2: Deadpoint, and Night Nurse. So grab your bags of neon blood, make sure to have unique serial numbers on your counterfeit money, and strap on for the world's most dangerous podcast!Stuff we talk about: George A. Romero, Day of the Dead, Tom Savini, Scream Factory, Cine-Strange, AI upscaling, Voltron, forming the blazing sword, a one-armed Jack Palance push-up, City Slickers, Rescue from Gilligan's Island, Martin Landau, The Professionals, Qui-Gon Libre, The Covenant, Tubi or not Tubi, Megan is Missing, Salo, Massage Parlor Murders, Debbie Does Demons, A Clockwork Shining, Donald Farmer, 8 1/2, Fellini, Amityville Spa, Bob Kraft, Donna Speir, Ted Lasso, World Cup, The Oblong Box, E.T. The Extraterrestrial, Humongus, Witchcraft 4: The Virgin Heart, Jurassic Park, Blink, The Chronicles of Riddick, Open Water, The Stepford Wives, The Originals, The Vampire Diaries, Shia Lebouf, The Transformers, Joshua Jackson, Shutter, Fringe, The Facts of Life, being a Cloney, Peter Dinklage, The Toxic Avenger, Adrienne Barbeau, The Fog, Creepshow, Escape From New York, Open House, Back to School, Young Frankenstein, Gene Wilder, Richard Todd, The House of Long Shadows, Sly Stallone, Fall 2: Deadpoint, The Spierig Brothers, My Bloody Valentine, Undead, Bad Taste, Night Nurse, Masters of the Universe, Wang Chun, Laura Branigan, To Live and Die in L.A., Willem Dafoe, William Friedkin, William Peterson, Michael Mann, Cruising, Al Pacino, Sorcerer, Sirat, American Ninja, Dead Stockwell, Quantum Leap, Steve James, Griffin Dunne, Asia Argento, the history of the Secret Service, Invasion USA, Die Hard, Cobra, Barton Fink, John Turturro, Oliver Stone, Natural Born Killers, John McTiernan, Neon Demons, The Convent, Mike Mendez, Dead Alive, Evil Dead II, Night of the Demons, Nunsploitation, Hokum, Patreon Takeover, Iron Lung, Backrooms, CSI DSO, Brian May, I'm Prince Albert Prince of Eternia, Nipsey Muscle, and the details are a lie.Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: discord.trickortreatradio.comSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: http://instagram.com/TrickorTreatRadioSupport the show

Roy Menarini, Marco Leonetti"Fellini, la scrittura, gli scrittori"I Saggi Fellini StudiesCuePresswww.cuepress.comMolto noto e al tempo stesso poco studiato, il complesso rapporto di Federico Fellini con la scrittura e gli scrittori ha un ruolo fondamentale per la comprensione del suo immaginario.Da una parte, infatti, lo studio della dimensione della scrittura nei suoi film merita nuovi aggiornamenti rispetto alla dimensione iconografica e visuale.Dall'altra, la promozione di Fellini a soggetto culturale legittimato al confronto con intellettuali e scrittori del calibro di Italo Calvino, Milan Kundera, Georges Simenon (solo per citare i più noti) è un luogo di elaborazione critico-teorica degna di ulteriori approfondimenti.Il volume esplora le avventurose relazioni tra Fellini, stampa, editoria, letteratura, adattamento, attraverso saggi trasversali e studi di caso.Roy MenariniInsegna Cinema e Industria Culturale all'Università di Bologna.Ha pubblicato numerosi saggi sul cinema contemporaneo e su temi come la critica cinematografica, la cinefilia, l'immaginario hollywoodiano.È senior editor della rivista «Cinergie» e dirige il sito «Cinefilia Ritrovata».Contribuisce a diversi gruppi di ricerca nazionali e internazionali come Inc – International Research Network on Celebrity Culture e Cfc (Culture, Fashion, Communication).Collabora con «Film Tv» ed è consulente della Cineteca di Bologna oltre che di altre istituzioni e associazioni.Dirige programmi di film and audiovisual education per le scuole.È inoltre critico cinematografico, saggista e conferenziere.Marco LeonettiDirige il Fellini Museum e la Cineteca comunale di Rimini.Si occupa della valorizzazione dell'archivio Fellini, della cura e dello sviluppo delle collezioni bibliografiche e audiovisive, nonché della progettazione di attività culturali dedicate al cinema.Coordina iniziative espositive e progetti di ricerca, promuovendo il dialogo tra patrimonio pubblico e comunità.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Matt and Jordan punch their tickets to an alternate reality to review Ladies First, the new Netflix comedy starring Sacha Baron Cohen and Rosamund Pike. They break down the film's (mostly good!) relentless barrage of gags, its terrifyingly plausible marketing pitches, and whether it successfully navigates the edgy tightrope of workplace comedy. But before they talk Ladies First, they have to talk about leaving the couch. Matt recounts his mind-bending, leaf-in-the-face trip to the Las Vegas Sphere watching The Wizard of Oz, while Jordan counters with an equally dramatic story about his allergy-inflicted screening ofThe Mandalorian and Grogu at his local AMC. For Rec Seg!, the multiversal madness continues as the duo pairs Ladies First with Jet Li martial arts mayhem and surrealist cinema from Fellini. Plus, a listener writes in looking for a sleek, under-the-radar romantic thriller, prompting two very different caper recommendations. Finally, Producer Sam takes over the board as "Dungeon Master" to premier a brand-new, slow-teasing visual trivia game called Strip Poster. (Ep. #173) (Timecodes/chapters may not be precise with ads.) Intro, Wizard of Oz at Sphere, The Mandalorian & Grogu (00:00:00–00:15:05) Ladies First (00:15:06–00:35:26) Rec Seg! (00:35:27–00:50:23) Personalized Recs (00:50:24–01:02:16) Game (01:02:17–01:16:36) New to Streaming / Credits (01:16:37–01:29:00) Notes: Matt on “The Wizard of Oz” at Sphere https://screencrush.com/wizard-of-oz-sphere-review/ Now Streaming on Bazooga - A Filmspotting: SVU Archive ⁠⁠https://letterboxd.com/samvanhallgren/list/now-streaming-on-bazooga-a-filmspotting-svu/⁠⁠ Matt's book "Funny Business: The Old-School Wedding Crashers and Knocked-Up Virgins Who Changed Comedy Forever" comes to bookstores everywhere on October 6th. Pre-Order now! ⁠⁠https://www.penguinrandomhouse.com/books/790241/funny-business-by-matt-singer/⁠⁠ The Flop House Podcast: “The One” https://www.flophousepodcast.com/2025/11/episode-467-the-one-with-michael-shanks/ Feedback: -Email us at feedback@filmspottingSVU.com⁠⁠ Follow: ⁠⁠https://www.instagram.com/superpulse/⁠⁠ ⁠⁠https://www.facebook.com/FilmspottingSvu⁠⁠ ⁠⁠https://letterboxd.com/superpulse/⁠⁠ ⁠⁠https://letterboxd.com/jhoffman6/⁠⁠ ⁠⁠https://bsky.app/profile/mattsinger.bsky.socialSee omnystudio.com/listener for privacy information.

Donald Trump took Elon Musk and Jensen Huang to Beijing with him for 48 hours. But rather than the frat boy big weekend of their autistic dreams, the trip turned into a sequel to The Hangover.A dressing down from President Xi on Iran, a few more soybeans flogged, and some Boeings on order: was it worth Jensen's $17 000 an hour time?Meanwhile, the Japanese 10 year bond yield has climbed above the Chinese one. This is something of a sorpasso. As the country struggles to keep its debt load manageable, there's a sense of sag to the economy. Does the Japan of our techno-futurist imaginations now bear the same degree of relation to reality – as the Italy of our Fellini fantasies?Finally – another sorpasso – Mexican birth rates have dipped below those of America for the first time. Problem being, if the Mexicans don't have sex, they can't supply the US with a constant source of surplus labour.US conservatives have long been scornful of European immigration patterns, falling back on the cultural compatibility of their southern neighbours – but unless Pablo and Maria get back in the bedroom, they'll soon be receiving the same rich blend of Africans and Middle Easterners as the EU.Do check out our Substack if you can - https://multipolaritypod.substack.com/

En esta primera parte dedicada a la relación entre cómic y cine, Alberto Azcueta nos guía por una fascinante selección de novelas gráficas y biografías ilustradas sobre los grandes nombres del séptimo arte. Desde pioneras como Alice Guy hasta leyendas como Charles Chaplin, Fritz Lang, Bela Lugosi, Orson Welles, Akira Kurosawa o Fellini, descubrimos cómo el cómic se convierte en una herramienta única para narrar la historia del cine y sus sombras. También hablamos de expresionismo alemán, Hollywood clásico, true crime, Pasolini, Metrópolis y obras imprescindibles como Filmish, el ensayo gráfico que analiza el lenguaje cinematográfico. ️ Una conversación imprescindible para amantes del cine, el cómic y la cultura visual. ☕ Hazte socio/a de El Café de la Lluvia y forma parte de nuestra comunidad: https://elcafedelalluvia.com/hazte-socio-a-de-el-cafe-de-la-lluvia/ Escúchanos y léenos en nuestra web: https://elcafedelalluvia.com/ ▶️ Suscríbete a nuestro canal de YouTube: https://www.youtube.com/c/ElCafédelaLluvia Recibe nuestros contenidos en tu correo: https://elcafedelalluvia.com/suscripcion-newsletter/ Síguenos en redes sociales: Twitter: https://twitter.com/cafelluvia Instagram: https://www.instagram.com/elcafedelalluvia/ Facebook: https://www.facebook.com/Cafedelalluvia Tu apoyo nos ayuda a seguir dando voz a la cultura, la literatura y el pensamiento crítico. Gracias por acompañarnos ☕✨

Il giorno è infine giunto e quindi ecco la lunga filmografia di Woody Allen, regista e autore di un cinema tragicomico e che parla per davvero di noi esseri umani e delle nostre vulnerabilità.Classico. Allen ha la possibilità di girare un film a Roma e ne esce fuori uno dei suoi film più stupidi."To Rome with love" vorrebbe essere il sentito omaggio di Allen alla "Dolce Vita" tanto decantata da Fellini in passato ma è soltanto un pessimo film. Uno dei peggiori tra quelli che Woody Allen ha proposto al pubblico in tanti anni di carriera.

Did you know American music legend Nile Rodgers is helping the Trust plant and protect woodland in Northern Ireland? Alongside generous donations to Faughan Valley Woodlands from the We Are Family Foundation (WAFF), Nile has got stuck in with planting on site. Nile and the foundation he co-founded with his partner, Nancy Hunt, are working with us to reconnect fragmented native woods in a region where less than 1% of ancient woodland remains. We caught up with the multiple Grammy Award winner on his latest visit to find out why. We also hear from David Saddington, trustee of both WAFF and the Trust, on why empowering young people to take direct action is key to this work, and we chat to some of those volunteering at this special event. Please note this episode contains references to drugs. Don't forget to rate us and subscribe! Learn more about the Woodland Trust at woodlandtrust.org.uk  Transcript You are listening to Woodland Walks, a podcast for the Woodland Trust, presented by Adam Shaw. We protect and plant trees for people to enjoy, to fight climate change and to help wildlife thrive. Nile: But it just made me feel so good. It was so real, it was almost like a drug. So my parents were doing heroin, I was doing music *laughs*. Nile: So I always thought that an artist was the guy trying to be the smartest person in the room, that everybody said, 'well, I wish I could play like him, I wish I could do that'. No, it was the person who touched people's hearts. Nile: We actually had them locked out the studio because we still hadn't finished the lyrics to We Are Family. Nile: Trees do, all plants, but trees, you know, especially, do so much for life. Let's not just talk about the overall environment, life, all life forms that exist. Adam: For 40 years, if you've been on a dance floor, you'll have been dancing to the music of one of our guests today. He co-founded Chic, produced and collaborated with David Bowie, Madonna, Richard Jackson, and well, to be honest, too many others to mention. But to give you an idea of the sort of musical success he's had, I can say that he has produced and performed on records which have sold more than 750 million albums and 100 million singles. Born to teenage parents in an environment where drug use was very much part of his every day, he has come from that background with an attitude to life which is as upbeat and as positive as his music. And together with his partner, Nancy Hunt, they have established the We Are Family Foundation, focused on empowering young people around the world. Together, they're in Northern Ireland, in Derry, to support and protect and indeed restore woodland in this country, and indeed Nile is on the Woodland Walks sofa and joined by one of the trustees of the We Are Family Foundation and indeed the Woodland Trust, David. So we'll come to David in a moment. Why don't we start now where it all started with the music? Reading about you and listening to stuff you've done, my impression is you're the most positive person I've read about and that surprises me because of the disjointed background you grew up in. So two questions. Do you think that's a fair description and if so, why? Nile: So the... the interesting thing about my childhood was that though my parents were heroin addicts, they were extremely loving and they believed in me so much so that, believe it or not, I was never, ever told what to do. They knew that I instinctively would figure it out. Or I was just one of those nerdy, nice kids that they knew would never get into trouble. I mean, I have never stolen anything. I've never, I bullied one kid once and the reason why is because everybody bullied me because I was a nerd. And when I bullied this kid, he started crying and I started crying. He's probably forgotten that incident. I will never forget it. It'll bother me my entire life. I could not believe that I did that. So my childhood was actually on one level very happy, but at the exact same time, and I don't know how these two situations could have coexisted, except only now forensically, but it was super happy, but then I actually called my childhood a fear-based childhood. I was afraid of things, so I did things to make me unafraid or happy. And music was that thing. But it just made me feel so good. It was so real. It was almost like a drug. So my parents were doing heroin. I was doing music *laughs*. Adam: I mean, it's weird you describe yourself as a nerd. You're the least nerdy-looking nerd I've ever come across, but fair enough. Nile: Oh God, test me. Adam: Oh really, okay, we'll do a nerd off *both laugh*. Fair, fair enough. But that positivity, I mean, you talk about being nice, but what I think is striking about your music, and perhaps problematic for some of it, is that it's relentlessly positive. And I think sometimes it's seen as sort of very surface level because of that and yet you talk about the deeper meaning behind the music, which I think some fans of yours perhaps don't see, or that's not what they're getting from it. Nile: But that's okay, though. Adam: That's fine. Nile: It's okay. Yeah, you're so correct. I mean, I'll try and quickly just tell you this story. So when I said I was a nerd, believe me, I studied music on a level that was so intense, that was ridiculous. So I thought it was my job to prove to my tutors and various teachers how smart I was, how well I learned the rules and the discipline of music. I wrote symphonic music when I was a child, I wasn't even 10 years old yet. And I remember I was going to one of my tutors. I was around 22 years old and I was a very serious jazz student. And I went into him one day with a very sourpuss attitude and look, and that was not me. He just was like, no, you're always so happy and you're always so upbeat. What's wrong with you today? And I said, well, look at this ******** pop music that I have to play tonight. Now, maybe I thought it was sort of ******** but maybe I was just trying to score brownie points with him because I always thought being a great musician was being the smartest guy or the greatest virtuoso in the room. So what happened was my teacher, I showed him the list of songs that I was playing that night. And I said, look at what I have to start my set with. This song by The Archies called Sugar, Sugar. He said, yeah, but now what's wrong? Why are you so sad? And I said, because I got to play Sugar, Sugar. You know, I want to play straight ahead jazz. He was like, that's okay that you want to play straight ahead jazz, that's what I love. But why is it bothering you to play Sugar, Sugar? And I said, because it goes, *sings* Honey, do, do, do, do, do, do, oh sugar, sugar, do, do, do, do, do, do, you are my candy girl, and you got me wanting you. And he said, Nile, that's a great composition. I went, you call Sugar, Sugar a great composition? He said, absolutely. He said, what do you think about it? He says, and I went, well, it sucks. It's some ******** bubblegum pop music. And he went, now, do you know that Sugar Sugar's been number one for about three weeks? And I said, yeah, but what does that got to do with anything? And he went, so those millions of people around the world, they're wrong, but you, Nile Rodgers, are right? And all of a sudden I felt, uh-oh, *laughs* something weird's getting ready to happen. So he held me behind my head and he pulled my face close to him and he said, Nile, let me explain something to you. Every record in the top 20 is a great composition. And so remember, we're going back now 50 years. I'm 73 years old, so we're going back a long time. And I say, every record in the top 20 is a great composition? He says, yes. I said, why would you say something so absurd? He says, Nile, because it speaks to the souls of a million strangers. And I literally started crying at that moment because in one spark, in a nanosecond, he explained to me what an artist was. So I always thought that an artist was the guy trying to be the smartest person in the room, that everybody said, well, I wish I could play like him. I wish I could do that. No, it was the person who touched people's hearts. It was the person who made people feel something, be it happiness, be it sadness or whatever. But a lot of my friends who are virtuosos, we just would go, wow, he can play his *** off. That was the thing. We didn't feel anything necessarily. Sometimes we did, but I was determined to try and make people feel something every time. And to me, I wanted people to feel happy because I wanted to feel happy. Why do I want to write sad music? Adam: So that phrase, speaking to the souls of a million strangers, it's clearly an iconic thing about your music. The other striking thing, I think, which you've talked about, is about life, not just your music, but I think obviously connected, is not about surviving the storm, but learning how to dance in the rain. Is that one of the tenets of your approach to music and life? Are they the same thing? Nile: That's exactly it. That's why people wonder why I do so much music, and it's because I believe that I could always, I honestly, and this is not an egotistical statement, I always believe that I can add something to the song. I believe that I can make it better, even if it's just a little better, but you can hear it. I mean, five minutes before I came down here, I asked an artist that I sent a piece of music to, I said, you never wrote me back. How do you feel about the guitar streams that I sent you? And Kygo just wrote me, he said, he just literally just wrote me, where the hell is it? I went, cool. He went, oh, yes sir, sounding really cool *laughs*. Minutes ago. Adam: Okay. So look, we need to talk more about that, but I want, you're here not for the music, but for the work of your, and Nancy, your partner's, foundation. And David Saddington, sitting next to you, is a trustee of that foundation. You also happen to be a trustee of the Woodland Trust as well. So the purpose of the We Are Family Foundation is what? David: I mean, the We Are Family Foundation, Nile and Nancy started 20, 25 years ago now, which is insane *both laugh*. And Nile, I mean, you'll tell it better than me in terms of sort of your origin story, which came from, you know, a horrendous event of 9/11. And Nile and Nancy wanted to do something positive for the world, to heal the world. And thankfully, you know, when they sort of asked that question around how do we sort of have more peace in the world, how do we have more harmony, young people came out as the answer and actually finding that hope, finding that positivity, finding those solutions. So the foundation really is built upon curating, nurturing and growing this talent and giving these young people visibility. Adam: And the work that the We Are Family Foundation is starting to do in Northern Ireland, we were today at a planting with Nile and Nancy and you. What is the project here? David: Yeah, my God, like, you know, I work on climate change every day. It's really sort of hard and difficult, but actually by doing something very local with the Woodland Trust, you make such a tremendous difference, not only just about place, but the communities which you bring along. So this partnership just made a lot of sense. And then when we started talking after that visit around sort of why it made sense to support from the foundation, Northern Ireland came out really as a winner. And the beautiful site we visited earlier in the Faughan Valley is so special because, in a sad way really, because so little of the ancient woodland is left in Northern Ireland, less than 1%. And the vision of the Woodland Trust in Northern Ireland to preserve those tiny fragments of ancient woodland, but protect them by restoring the land around it, letting them expand, is so special. And particularly given that site is, what, I mean, like 10 minutes away from Derry? That's so cool. It is right on the doorstep of so many people to restore such a precious habitat, but make sure that people can actually enjoy it and be part of that as well. Amazing. Adam: A little before Nile and I sat down to speak, we both visited Faughan Valley Woodlands with a group of young people who were there to help plant some trees. Now, this is an important area. Since 2000, the Woodland Trust has brought small clusters of native woodlands, including Brackfield, Oaks, Red Brae, Burntollet, Killaloo and Auter, all fragmented along the Faughan Valley, which is a site of special scientific interests. And it's been a vision of the Woodland Trust Northern Ireland for well over a decade, really, to try and connect these fragments for both people and nature. And so when I met the younger people who are busy planting trees, I asked them why they felt what they were doing was important. Speaker 1: So usually it's around every Sunday morning. We go around and it's just odd jobs, like it's never the same thing every week. It's usually planting trees, but recently we've been building fences to keep sheep out and removing tree guards. Adam: And why are you interested in that instead of watching TV or playing Xbox or whatever? Speaker 1: Well, I've always kind of liked outdoorsy stuff in nature and usually I wouldn't really do much on a Sunday. So it's just better to get out rather than do nothing on a Sunday morning so. Adam: And you're about to plant a tree. Speaker 1: Yeah. Adam: Do we know what type of tree that is? Speaker 1: I think it's oak. Adam: Oh, there we are see, I don't know, but you know, go on plant away. Speaker 2: I'm Sophie McGee. Adam: And what are you doing, Sophie? Speaker 2: Well, we're planting trees today for the 30th anniversary. It's just more interesting because we're actually doing something that's worthwhile for the environment and for ourselves. Adam: And do you feel you're making a difference? Speaker 2: Yes, every tree will help. No matter if it's a wee tiny stick or a big massive one. Speaker 3: Well my name is Evie, I'm 13 years old and I've always been interested in nature and plants and animals and stuff and then my auntie decided, or she showed me the Woodland Trust young volunteers so I thought that sounds right up my street. So I joined, I've only been here for a few weeks and so far I've really enjoyed it. We've been trimming down, we've been trimming away trees that'll grow back to let light into the forest floor. We've been looking at different kinds of moths and caterpillars and we've been for walks and here we are planting trees and meeting celebrities! Speaker 4: My name's Milo and you know we're with the Woodland Trust, you know, planting trees and stuff because, well, you know, trees are important and they support a lot of species and insects and wildlife and it's great for the water quality and soil erosion in general. And in my opinion personally, I think biodiversity is really important, especially in, the UK and Northern Ireland in general. It's just seem to be really sort of nature depleted and, you know, I kind of want to change that. I think it doesn't seem fair, you know? Adam: Nile, I think the phrase we've already used many times is We Are Family, the name of one of your most successful songs, but obviously the name of your foundation. And we've talked about your family. That's an obvious theme, family. I'm struck by that because of a disjointed background, even though loving and literarily full. Your family were artists and you had a full and rich literary life. The connection to family, clearly a theme for you. Why? Nile: It wasn't my idea. It was other people's ideas. And they talked me into it. I, as an artist, I wrote We Are Family for Sister Sledge and for Sister Sledge alone. I didn't write it for the world. I wrote it for them. And they, it was their job to now take it out into the world, which they did very well. But what happened as a byproduct of the composition was just the love that I put into the song that my partner Bernard Edwards and I put into the song, we were trying to talk about this wonderful family, you won't believe this, that we never met. We never met Sister Sledge until they came in to sing the song. The entire album was already produced. We didn't know any other way to make records except for by ourselves. So we made the record and said, okay, now sing this. And they were like, what? We've never been treated like this. We're like, we don't know any other way to make records. Me and Luther Vandross and Bernard Edwards and Tony Thompson, and we go in and we write and produce, and there you go, here's your record. But so the love that we projected onto Sister Sledge was something that we superimposed upon them. We don't know whether they liked each other or not. We just presupposed that they did. And that's what we wrote, this loving, anthemic, wonderful dance song. And Kathy Sledge, at 15 years old, came in and just gave the performance of her life. We actually had them locked out the studio because we still hadn't finished the lyrics to We Are Family *both laugh*. It was the final song that we wrote, right? So we wouldn't let them come in. We're inside trying to be professional. And they're like, why can't we come in and hear what you guys are making as demos? Making as demos? No, we made, it's the record. But anyway, what happened was, as a result of the popularity of the song, this baseball team in America, the Pittsburgh Pirates, adopted it as their theme song. And they're not women, they're men. And we saw these big burly men going, we are family, I got all my sisters with me. And I was like, whoa. And anyway, they won the World Series *laughs*. Adam: But I mean, that's a fascinating insight how you made that song. But what I'm struck by is that you have talked about this deeper hidden meaning, your phrase, right, behind your songs. So that's an obvious question to ask. You talk about family. It's a key song in your career. It hints of the deeper meaning here is about the importance of your family. And your family are unusual. Super talented people, not particularly stable, I hope that's not insulting or anything. But it's sort of, I'd expect you to maybe be more traumatised by that or to have, but no, it's all good. It's all good. Nile: It wasn't, you see, it wasn't traumatic because I developed my own survival mechanism and it was actually good. But I don't think you realise this. I said, everybody told me, oh, you got Grammys, you got this, you're the head of the Songwriters Hall of Fame, you're the Rock and Roll Hall of Fame, I said, you know what? The thing that I am the most proud of in my life is at seven years old, I set the national truancy record for the United States of America *both laugh*. I cut school 75 days in a row and went to the movies. I learned more at the cinema in 75 days than everybody in my class learned in an entire semester. You could see Fellini, you could see Truffaut, you could see anything. My mom, when she had her second child, suffered from postpartum depression and threatened to murder my brother every day. So after a few weeks, and I can't remember how long it took because I was a child, but after her going to psychiatrist every day, that's how bad it was, they decided that she had to be separated from her children. She was a danger to herself and others. So they sent me off to Los Angeles to live with my maternal grandmother. And my youngest brother, who was just born, was sent to live with his paternal grandparents. And so while I was in Los Angeles, I was treated ah man, boy, talk about bullying. Every place in LA was sort of run by gangs. And I didn't know anything about the gang culture. And I spoke like a New Yorker. And everybody in LA was, you know, street slang. And, you know, and now look at how big hip hop is. You know, that's the way that that everyone spoke. I didn't know half the stuff they were saying. So kids would try and beat me up. They only beat me up once, no, twice, sorry, twice. And then I just decided, I'm not going to where those kids are. I'm going to where adults are. Because I got along with adults and I went to the cinema every day for 75 days straight. Adam: There's lots to talk about, not much time. But I do want to ask one more question around this sort of area. In actually the podcast we've just done, I spoke to quite a significant business leader who has ADHD. And I said to him at the end of the chat we had, if you had a magic wand and could wave away your ADHD, would you do it? And he went, no, I absolutely wouldn't do it because it's part of who I was, I am, and it's informed and helped me. And I wonder if there's a similar question about your drug past, whether if you could wipe it away, would you? Nile: Never, never, ever, ever, ever. I, you know, I developed a very horrible drug habit. I actually, my heart stopped six times in one night. I don't remember the medical phrase, but it's called something like multiple drug interaction. Like, so if you take cocaine and then you take alcohol and then you take either LSD or something else, your brain doesn't know which one is dominant, right? So it starts going, it tells your heart, do I expand or contract? I don't know. And every time they tried to revive me, I would only stay alert or alive, my heart would only pump a couple of times and then stop again. Adam: So what did that bring you as an artist in retrospect? Nile: Nothing. Because to me, all I remember was driving home, Not getting into an accident, not getting a ticket, driving home, parking in my same parking space, going up to my apartment. However, I mistakenly pushed the number 14 instead of 28. That saved my life. I didn't know that I did, I didn't know I made a mistake. I was so high, I thought 14 was 28. The way that they emptied the garbage in my building, they started at the top and they went down floor by floor. When the elevator hit 14, the doors opened, I fell out onto the floor dead. They just happened to be on the 14th floor and they saw me lying there dead. They go over, I have no pulse. They probably tried to do, I don't know any of this for a fact because I was, out, yeah. So I just assumed they must have tried to help me. They liked me, so they must have tried to do something. Fortunately, the hospital was two blocks away from my house. And they get me to the hospital. The doctors revived me six times. After the sixth time, they figured this is hopeless because they did everything they could possibly do. And he said that, we worked so hard to save your life, but in fact, I was filling out the death certificate and the orderly in the room said, hey doc, we got a live one here. And my heart just started going automatically again by itself. Adam: Amazing. I want to bring you back to your foundation. So we're here because of the good work you're doing for the environment. But the environmental issue may be relatively new, but you've been a political activist since your early days. This is not a recent conversion. You're super plugged in to these sort of big debates, aren't you? Part of the Black Panthers in your early age? Nile: Yeah, I was a subsection of the Black Panther Party when I was 16 years old. Adam: So lots of political issues. Why now the environment? Nile: It's just one of many issues that We Are Family Foundation supports. You asked me about being a nerd. So I grew up as a scientist. I have a scientific background. So I understand how these things in our environment are fundamentally to life itself. That, if you think about it, in today's world, there are a million different species on this planet, but that's only 1% of all the life that's ever lived on this planet. So it just goes up and down and up and down. And prior to humans, we were never the cause. Now we're the cause of things dying and species going away. Before, it was just the fact that Earth was this very volatile planet and over millions, billions, in fact, years, things were changing. But now we're doing the bad stuff. We're killing ourselves, which is incredible. And it's mainly because most people don't know that all these life forms are dependent upon one another. Last night I heard someone talking about plankton. And I was saying, yeah, well, look at how important plankton is. You know, like hydrogen, we need, we don't have hydrogen, we have no life. You know, it's like, so, I mean, trees do, all plants, but trees, you know, especially, do so much for life. Let's not just talk about the overall environment, life, all life forms that exist. Adam: We're running out of time. Just one last question each. David, first, you set the context of what that foundation is doing here and what the Trust is doing here. What are your hopes for if Nile, us, we all gather, come back in ten years' time? Your hope for the project by then would be what? David: I mean, my hope for the project in that time is to see the forest grow, because what I find so encouraging is when you let nature recover with a little bit of help from us, it doesn't take that long to actually start putting it right, you know, to restore those habitats, to protect that ancient woodland, to let it regrow, rejuvenate, with the help of people supporting communities at the same time. It can recover in such a remarkable amount of time, which I just find really quite hopeful and empowering in the world we're in at the moment. Will it restore very precious nature here in Northern Ireland? Will it inspire people to make a difference with all the volunteers we're bringing in? Absolutely. And who knows what the catalytic sort of nature of that will be, which I think is sort of magical to see. So it's a pleasure to bring this partnership together between the We Are Family Foundation and the Woodland Trust and see that grow and grow over the years. Adam: And I think often with trees, people think it's 100 years, their great-grandchildren will come. That's not the case, is it? 10, 20 years is a reasonable time frame to see significant change in this landscape we just visited this morning. David: Yeah, absolutely. I mean, some of the trees we were walking around this morning, the beautiful silver birches, which looked like a woodland, were 20 years old. And actually, it is incredible, actually, it doesn't take a huge amount of time for nature to recover. Adam: Nile, last question. It's been an amazing life. It is an amazing life, perhaps a great life. Your third act? Hard to imagine what new things you could do, but do you, what are the, how do you see your future and what you want to spend that third act doing? Nile: Wow, I'm doing so much now. I'm almost going back to where I started, which was with theatre performances that are more story-ented instead of just going out and playing a whole bunch of hit songs. I think I got super inspired completely accidentally. I wrote a song for Diana Ross years ago. And the first time I worked for the Prince's Trust, he said, now, my dear fellow, I wish I knew more of your music, everybody seems to love it so much. And then he became the King and he printed out his top 10 favorite songs. Number 3 was one of my songs. And he didn't realise it because, you know, the King, what have you got time to sit around and read, you know *laughs* And I said to him, I said, you know, Your Majesty, I promise you, you know some of my songs. But then his list comes out and my #3 song, I mean my song, Upside Down by Diana Ross is #3. He was like, that's one of my favorite songs, and there's a whole video that we put out of him sort of like doing his best dance to Upside Down. It's quite funny. I just thought that the one thing I've not really explored or worked hard on, I'm at the part of my life where I really do want to do all the music that I can do. And I want it to have the same effect as the pop music that I do. So I want my jazz music to make people feel good. So I did Candy Dulfer's last record and she's just unreal. So that's really, I think, where I want to be. And honestly, and I'm being very, very honest, I never keep track of any of this stuff. I did a conference a few weeks ago, and it was all these billionaires and all these tech guys and blah, blah, blah. And I said, you know, I did the biggest selling Madonna album in the world, we sold 10 million copies. All of my memories are from when I first heard this stuff. And somebody hollered out from the back of the room, 23 million copies, you know Nile, it keeps selling and keeps adding up. And I went, oh. In the first few weeks, we sold 10 million copies. And that's all I remember. And I move on to the next record and the next record and the next record. I had huge success with the last two Beyoncé records. But I've done that, and obviously you can see with Kygo, I continue to do that. That's never going to go away. But when I think in terms of full projects, it's going to be more theatrical and maybe more film. David: There's about two things as well. There's one thing that you said to me before, which I think is just so great about the foundation, about how you want the foundation to be bigger than the song, which I think is a pretty epic aspiration there to have, the We Are Family Foundation and We Are Family the song, but I just think that's amazing to think around, the impact which has been achieved over twenty-five years and thinking about the years to come, and then secondly, because with your audience, Adam, we have so many obviously sort of people who love getting out on walks and nature. And my goodness, you won't be up as early as this guy doing his morning walks. And you definitely need to follow him on Instagram at a moment because he's on a roll doing sort of walks all over the world. Nile: It's true. I love, you know, I wake up every morning very, very early. Right now, life and enjoying nature and being out in it is really exciting. Like when I was younger, being indoors, like I used to, there was a joke I used to say, I used to go to like clubs every night and go, ah the great indoors *all laugh*. Adam: Well, look, a sample of how busy you are is I know you have other meetings to go to and other jobs to do, so I won't keep you anymore. Here's to the good times. Thank you very much indeed, both of you. Nile: Thank you. I hope I wasn't too long-winded. David: Thank you. Adam: You were brilliant. It's a real treat to talk to you. David: A pleasure. Thank you for listening to the Woodland Trust Woodland Walks. Join us next month when Adam will be taking another walk in the company of Woodland Trust staff, partners and volunteers. And don't forget to subscribe to the series on iTunes or wherever you are listening. And do give us a review and a rating. If you want to find out more about our woods and those that are close to you, check out the Woodland Trust website. Just head to the Visiting Woods pages. Thank you.

Insieme a Massimiliano Bolcioni si torna a parlare di Federico Fellini e del suo "Roma" un film-documentario visionario e autobiografico in cui Fellini stesso esplora la città eterna in modo frammentato e onirico, senza una trama lineare.Un film che alterna episodi ambientati negli anni '30-'40 (con un giovane provinciale che arriva a Roma per la prima volta) a sequenze girate nel presente degli anni '70, mostrando i lavori della metropolitana, il traffico caotico del Grande Raccordo Anulare, i varietà popolari, i bordelli di periferia e una memorabile sfilata di moda ecclesiastica.

Le Talentueux Mr Ripley, The Talented Mr Ripley, est un film dʹAnthony Minghella, sorti en 1999. Anthony Minghella est un réalisateur fort sympathique qui vient de faire un carton avec son film précédent le Patient Anglais. En 1999, il revient sur le devant de la scène avec lʹadaptation du roman Monsieur Ripley de Patricia Highsmith publié en 1955. Déjà adapté en 1960 par René Clément, sous le titre Plein Soleil avec Alain Delon, lʹadaptation dʹAnthony Minghella est légèrement différente, moins noire et plus existentialiste peut-être. Mais son adaptation est remarquée autant que remarquable mettant en lumière à nouveau le roman indémodable de Patricia Highsmith. À lʹécran, des jeunes comédiennes et comédiens aussi talentueux que le titre du film : jʹai nommé Matt Damon, Gwyneth Paltrow, Cate Blanchett, Jude Law et Philip Seymour Hoffman. Lʹhistoire est celle de Tom Ripley qui par un concours de circonstance est envoyé en Italie pour aller rechercher un fils à papa noceur, cynique et millionnaire, Dickie, et le ramener sur le droit chemin, cʹest-à-dire en Amérique. Mais Dickie coule la belle vie en Italie, cette fameuse Dolce Vita que lʹon voit dans les films de Fellini et nʹentend pas rentrer au bercail. Et Ripley non plus dʹailleurs qui commence à beaucoup, beaucoup, beaucoup aimer la vie de Dickie au point de prendre sa place. Il y a lʹesprit de Scott Fitzgerald qui plane sur le film avec des jeunes gens trop beau, un peu trop riches, un peu ambivalent sexuellement. Minghella capture lʹItalie, la lumière, le jazz des années 50, mais également la noirceur dʹun homme prêt à tout pour être aimé, en quête de sa propre identité. Le talentueux Mr Ripley est un drame qui sʹinscrit dès le départ dans une gaité factice. Il nʹy a pas de rédemption, juste une noirceur qui engloutit tous les personnages. REFERENCES Le Talentueux Mr Ripley, The Talented Mr Ripley, Notes de production du film, Frenetic Films Loving Patricia Highsmith, documentaire RTS de Eva Vitija, 2022 https://www.playsuisse.ch/fr/show/3084980?wt_mc=paid.sea.google.srg.playsuisse.campaign:15460614881.adgroup:130070889069.term:&wt_mc=paid.sea.google.srg.playsuisse.campaign:15460614881.adgroup:130070889069.term:&gad_source=1&gad_campaignid=15460614881&gbraid=0AAAAAB58tGDTk-9vCjDXqaUmU2B5AqGGv&gclid=Cj0KCQjwyr3OBhD0ARIsALlo-OmhoN4tt5U50MfSYAak5xIqJ0IG_oQ_DvkhY-kF9V0M_fWi2VYgYk8aAtQnEALw_wcB Anthony Minghella for "The Talented Mr. Ripley" 1999 - Bobbie Wygant Archive: https://www.youtube.com/watch?v=Xienb_sdgGA The Talented Mr. Ripley: Director Anthony Minghella interview (2000): https://www.youtube.com/watch?v=4GvL057TRI8 The Talented Mr. Ripley: Jude Law Exclusive Interview | ScreenSlam: https://www.youtube.com/watch?v=4-RBPJ9DYKY Interview with Matt Damon - Mr. Ripley: https://www.youtube.com/watch?v=PriR6NunC88 Matt Damon "The Talented Mr. Ripley" 1999 - Bobbie Wygant Archive: https://www.youtube.com/watch?v=qwVlQpngpj0

Alexandre, Fred e o crítico Rafael Amaral (Blog “Palavras de Cinema”) começam neste episódio a primeira parte da homenagem do PFC ao centenário de Federico Fellini, diretor dos mais influentes do cinema mundial, daqueles que virou adjetivo. Esta primeira parte de dois episódios chega para você neste dia 20 de janeiro, data em que Fellini completaria 100 anos se estivesse vivo, e neste áudio conversamos sobre a obra e vida do diretor, desde seu primeiro filme, passando com destaque por “A Estrada da Vida” (La Strada, 1954), “Noites de Cabíria” (Le notti di Cabiria, 1957) e fechando com um dos longas que mais representa o próprio diretor, “A Doce Vida” (La Dolce Vita, 1960). Não trataremos nestes áudios de “Oito e Meio”, pois este clássico já teve episódio dedicado, basta acessar aqui.----------------------ATENÇÃO: TIVEMOS QUE REPUBLICAR ESTE EPISÓDIO EM FUNÇÃO DO SPOTIFY CONTESTAR O USO DE MÚSICAS ESPECÍFICAS. ESTE EPISÓDIO FOI LANÇADO ORIGINALMENTE EM 20 DE JANEIRO DE 2020.-------------------------------LINKS PARA ADQUIRIR O LIVRO DO PFC ("Uma Jornada pelo Cinema - Anos 1950"):UICLAP - ⁠⁠⁠⁠https://loja.uiclap.com/titulo/ua98290/⁠⁠⁠⁠AMAZON (capa dura e e book) - ⁠⁠⁠⁠https://www.amazon.com.br/dp/6501481376⁠⁠⁠⁠-------------------------------Acesse nosso site: ⁠⁠⁠⁠⁠http://www.filmesclassicos.com.br⁠⁠⁠⁠⁠Instagram: @podcastfcProcure "Podcast Filmes Clássicos" no seu aplicativo de podcast do celular, no Spotify, YouTube, Anchor ou iTunes.

It's recommendin' and refutin' time. John explores the Madonna starring sexy thriller Body of Evidence (1993), Ryan goes completely off the rails and talks about some fucking video game called Clair Obscur: Expedition 33 (2025), and Dixon dissects Orson Welles' favorite Fellini film The White Sheik (1952).

durée : 00:18:43 - Les Nuits de France Culture - par : Albane Penaranda - Magali Noël, actrice pour Fellini et voix inoubliable de "Fais-moi mal Johnny", évoque au micro de France Culture son parcours entre cinéma, théâtre et chanson. Elle revient sur ses souvenirs et son amitié avec Boris Vian. - réalisation : Emily Vallat - invités : Magali Noël Comédienne et chanteuse française (1931-2015)

Beyond Midnight 69-08-15 (40) The Great FelliniBecome a supporter of this podcast: https://www.spreaker.com/podcast/harold-s-old-time-radio--4206392/support.

Here's the music video we discussed on the new episode! Watch along with us! SPACE DRUGS (Sean Connery Only Lives Twice remix)dir. Sean Byron / prod. Junk Food Dinner (2026)Space Drugs are an important topic to discuss with your family and loved ones who may fall prey to their lurid, spacely allures. Take a moment today to address this subject with the next person you suspect of ingesting alien inebriants. CHECK IT OUT NOW! - Full Quality Download Link, or preview below (select 1080p for best experience) SAMPLED SOURCE MATERIALS: Dr. No (1962)From Russia With Love (1963)Goldfinger (1964)Thunderball (1965)Diamonds Are Forever (1971)The Offence (1972)Murder in a Blue World (1973)Zardoz (1974)Ransom (1975)The Image (1975)Wham Bam Thank You Spaceman (1975)Fellini's Casanova (1976)A Man, a Woman, and a Bank (1979)Meteor (1979)Sunny (1979)The Hand (1981)Blonde Ambition (1981)Heavy Metal (1981)Outland (1981)Blonde Goddess (1982)Space Raiders (1983)The Untouchables (1987)The Prodigy: Smack My Bitch Up (1997)Sean Connery Interview (Barbara Walters, 1987)Sean Connery Interview (Mark Greczmiel, 1996)Sean Connery Interview (Mark Greczmiel, 1999)Sean Connery Interview (Associated Press, 9/29/2004)Original track: Space Drugs - Wee-O Ft. DoZay (2017)https://www.youtube.com/watch?v=rdouOdDJ9uIand of course The Prodigy - Smack My Bitch Up (1997)https://www.youtube.com/watch?v=4bfrTHAlkz0

Paolo Sorrentino estrena "La Grazia" y Javier Ocaña explica por qué es una película portentosa, qué tiene el cine de este director que le hace infalible con 11 trabajos en 25 años de carrera. Un filósofo de lo cotidiano que crea en su último trabajo a un gobernante, aparentemente duro, ante una triple decisión. La crítica bajo demanda une este estreno con Il Casanova de Fellini y sumamos dos opciones para ir a las salas estos días; "Laponia" y "Calle Málaga"

Around 1830, opera houses stopped using castrati, and Rome and the Vatican became home to their glorious singing, engineered by surgery and intensive vocal training. Castrati were long mired in secrecy, obfuscations, and lies about their origin and conditions, not least the last of them, Alessandro Moreschi. In Castrato Phantoms: Moreschi, Fellini, and the Sacred Vernacular in Rome (Zone Books, 2026), musicologist Professor Martha Feldman declines to accept these deep-seated mysteries and concealments. After a decade and more of digging through archives and family histories comes her exciting transdisciplinary and quasi-cinematic account of Moreschi, whose recordings preserve the only sonic trace of a solo castrato.Yet Moreschi's story extends far beyond him. It opens up intrigues, politics, and histories of the Vatican, everyday histories of nineteenth- and twentieth-century Rome, the world of Roman opera, the city's unique mélange of sacred and vernacular tropes, and representations of Rome by iconic film director Federico Fellini. Moreschi and Fellini turn out to have been related by marriage, but also to share synergies grounded in Rome's persistent inclination to vernacularize the sacred. Far from telling of one anomalous figure, Professor Feldman's gripping history convinces readers that Moreschi, like Fellini, can be read as an improbable index of Roman consciousness, both during his own life and well beyond. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Around 1830, opera houses stopped using castrati, and Rome and the Vatican became home to their glorious singing, engineered by surgery and intensive vocal training. Castrati were long mired in secrecy, obfuscations, and lies about their origin and conditions, not least the last of them, Alessandro Moreschi. In Castrato Phantoms: Moreschi, Fellini, and the Sacred Vernacular in Rome (Zone Books, 2026), musicologist Professor Martha Feldman declines to accept these deep-seated mysteries and concealments. After a decade and more of digging through archives and family histories comes her exciting transdisciplinary and quasi-cinematic account of Moreschi, whose recordings preserve the only sonic trace of a solo castrato.Yet Moreschi's story extends far beyond him. It opens up intrigues, politics, and histories of the Vatican, everyday histories of nineteenth- and twentieth-century Rome, the world of Roman opera, the city's unique mélange of sacred and vernacular tropes, and representations of Rome by iconic film director Federico Fellini. Moreschi and Fellini turn out to have been related by marriage, but also to share synergies grounded in Rome's persistent inclination to vernacularize the sacred. Far from telling of one anomalous figure, Professor Feldman's gripping history convinces readers that Moreschi, like Fellini, can be read as an improbable index of Roman consciousness, both during his own life and well beyond. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

Around 1830, opera houses stopped using castrati, and Rome and the Vatican became home to their glorious singing, engineered by surgery and intensive vocal training. Castrati were long mired in secrecy, obfuscations, and lies about their origin and conditions, not least the last of them, Alessandro Moreschi. In Castrato Phantoms: Moreschi, Fellini, and the Sacred Vernacular in Rome (Zone Books, 2026), musicologist Professor Martha Feldman declines to accept these deep-seated mysteries and concealments. After a decade and more of digging through archives and family histories comes her exciting transdisciplinary and quasi-cinematic account of Moreschi, whose recordings preserve the only sonic trace of a solo castrato.Yet Moreschi's story extends far beyond him. It opens up intrigues, politics, and histories of the Vatican, everyday histories of nineteenth- and twentieth-century Rome, the world of Roman opera, the city's unique mélange of sacred and vernacular tropes, and representations of Rome by iconic film director Federico Fellini. Moreschi and Fellini turn out to have been related by marriage, but also to share synergies grounded in Rome's persistent inclination to vernacularize the sacred. Far from telling of one anomalous figure, Professor Feldman's gripping history convinces readers that Moreschi, like Fellini, can be read as an improbable index of Roman consciousness, both during his own life and well beyond. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Around 1830, opera houses stopped using castrati, and Rome and the Vatican became home to their glorious singing, engineered by surgery and intensive vocal training. Castrati were long mired in secrecy, obfuscations, and lies about their origin and conditions, not least the last of them, Alessandro Moreschi. In Castrato Phantoms: Moreschi, Fellini, and the Sacred Vernacular in Rome (Zone Books, 2026), musicologist Professor Martha Feldman declines to accept these deep-seated mysteries and concealments. After a decade and more of digging through archives and family histories comes her exciting transdisciplinary and quasi-cinematic account of Moreschi, whose recordings preserve the only sonic trace of a solo castrato.Yet Moreschi's story extends far beyond him. It opens up intrigues, politics, and histories of the Vatican, everyday histories of nineteenth- and twentieth-century Rome, the world of Roman opera, the city's unique mélange of sacred and vernacular tropes, and representations of Rome by iconic film director Federico Fellini. Moreschi and Fellini turn out to have been related by marriage, but also to share synergies grounded in Rome's persistent inclination to vernacularize the sacred. Far from telling of one anomalous figure, Professor Feldman's gripping history convinces readers that Moreschi, like Fellini, can be read as an improbable index of Roman consciousness, both during his own life and well beyond. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Around 1830, opera houses stopped using castrati, and Rome and the Vatican became home to their glorious singing, engineered by surgery and intensive vocal training. Castrati were long mired in secrecy, obfuscations, and lies about their origin and conditions, not least the last of them, Alessandro Moreschi. In Castrato Phantoms: Moreschi, Fellini, and the Sacred Vernacular in Rome (Zone Books, 2026), musicologist Professor Martha Feldman declines to accept these deep-seated mysteries and concealments. After a decade and more of digging through archives and family histories comes her exciting transdisciplinary and quasi-cinematic account of Moreschi, whose recordings preserve the only sonic trace of a solo castrato.Yet Moreschi's story extends far beyond him. It opens up intrigues, politics, and histories of the Vatican, everyday histories of nineteenth- and twentieth-century Rome, the world of Roman opera, the city's unique mélange of sacred and vernacular tropes, and representations of Rome by iconic film director Federico Fellini. Moreschi and Fellini turn out to have been related by marriage, but also to share synergies grounded in Rome's persistent inclination to vernacularize the sacred. Far from telling of one anomalous figure, Professor Feldman's gripping history convinces readers that Moreschi, like Fellini, can be read as an improbable index of Roman consciousness, both during his own life and well beyond. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/italian-studies

Plongez dans l'histoire des grands personnages et des évènements marquants qui ont façonné notre monde ! Avec enthousiasme et talent, Franck Ferrand vous révèle les coulisses de l'histoire avec un grand H, entre mystères, secrets et épisodes méconnus : un cadeau pour les amoureux du passé, de la préhistoire à l'histoire contemporaine.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Beyond Midnight - The Great FelliniBecome a supporter of this podcast: https://www.spreaker.com/podcast/harold-s-old-time-radio--4206392/support.

Como transformar em projeto algo que nos toca, que nos emociona profundamente? O escritor Cadão Volpato, entrevistado do novo episódio do Podcast da Semana, escreveu o livro “Notícias do Trânsito" (Seja Breve, 2025) como parte do seu processo de entendimento da transição de gênero da sua filha. "Você teve uma pessoa que agora é outra pessoa. Até você entender isso, há um luto nessa nesse caminho", diz.Volpato é escritor, jornalista, músico e autor de uma dúzia de livros de ficção e não ficção, entre eles os romances "Pessoas que Passam pelos Sonhos" (Cosac Naify, 2013) e "Abaixo a Vida Dura" (Faria e Silva, 2024). Foi um dos fundadores da banda Fellini nos anos 1980 e, ao lado de Bernardo Ajzenberg, criou em 2025, a Seja Breve, uma editora de livros curtos.Na conversa com Gama, Cadão fala do crescente interesse por esse tipo de publicação, conta como chegou ao projeto do seu novo livro, que ele considera o melhor até agora, e o que aprendeu sobre filhos, e a vida, escrevendo “Notícias do Trânsito”.Roteiro e apresentação: Luara Calvi Anic

Dimitri and Khalid answer questions from the Grotto of Truth Discord, including: the Report From Iron Mountain, the relationship between Canadian Intelligence and ISIS, whether phone radiation is microwaving our brains, the long strange life of Woody Allen's teenage girlfriend/Fellini's muse/New Age psychic Christina Engelhardt, and more… For access to full-length premium SJ episodes, upcoming installments of DEMON FORCES, and the Grotto of Truth Discord, subscribe at https://patreon.com/subliminaljihad.

The Big Mates discuss Cameron, Kubrick, Fellini, and Tranquility Base Hotel & Casino by Arctic Monkeys. Adam, Steve, and Lucas begin their dissection of the band's seixth album by talking about pianos, conspiracy theories, the desire to make a different kind of album, and how Alex overcame writer's block. They discuss the writing and initial recording of the album, explore the overall themes and sound, and begin their track-by-track analysis, exploring the composition, tone, lyrics, meaning, and context for each song in turn - all from three differing perspectives, from being deeply into music and analysis, to not caring for art or critique, and everything in between!How mean is the album teaser? Were Arctic Monkeys always going to be like that? Is the moon hotel real? Find out on this episode of What Is Music?Our next episode is out next week, Monday February 9th, and will continue the deep-dive into Tranquility Base Hotel & Casino!Join the conversation on:Bluesky: https://bsky.app/profile/whatismusicpod.bsky.socialThreads: https://www.threads.net/@whatismusicpodInstagram: https://www.instagram.com/whatismusicpodE-mail: whatismusicpod@gmail.comGet access to more shows, exclusive bonus content, ad-free episodes of this show, and more music discussion by subscribing to our Patreon!Head to patreon.com/whatismusicpod and receive up to two new episodes of our various shows every week (including our album club and monthly themed playlists!), ad-free archives of What Is Music?, and access to our Patron-only Discord server for even more music (and non-music) discussion!Support our show when starting your own podcast!By signing up to Buzzsprout with this link: https://www.buzzsprout.com/?referrer_id=780379Check out our merch!https://whatismusicpod.redbubble.comDonate to our podcast!https://ko-fi.com/whatismusichttp://whatismusic.buzzsprout.com/Support the show

Adam McKay, director of Step Brothers, Anchorman, The Big Short, Vice, Don't Look Up, RETURNS for a special friday episode!!! Forrest, Conan Neutron, Kristina Oakes and Adam McKay talk about Federico Fellini's Nights of Cabiria!!!Starring Fellini's wife and muse, Giulietta Masina, as Cabiria a role she had played in the 1952 Fellini film "The White Sheik" as well. Nights of Cabiria is Fellini's last neorealist style film, right before the surrealist avant-garde period that would create films like La Dolce Vita and 8 1/2. Some of that has to do with where Italy was, just three years after Nights of Cabiria was released, Italy would be in the Economic Miracle that created the conditions for a film like La Dolce Vita. But, we see the beginnings of that change, with Nights of Cabiria highlighting the deep inequality permeating Italian Society at this time. It was difficult to get a film made where sex workers were the protagonists, only Luigi and Dino De Laurentiis would end up financing it, and yet at the Oscars it would receive Best International Film. #fellini #nightsofcabiria #filmpodcast #moviepodcast #dinodelaurentiis #bestinternationalfilm #oscars #1957 #giullianamassina #sexworkers #anora #ladolcevita #rome #romehistory #adammckay #stepbrothers #dontlookup #thebigshort #vice #vertical #livestream #livestreaming

Mauro Francesco Minervino"Le strade, la vita"Storie, luoghi, antropologieScholéwww.morcelliana.netLa strada, spazio fondativo dell'esperienza umana e luogo materiale e simbolico, è analizzata in queste pagine come un grande dispositivo di relazione e di spaesamento, intrecciando diverse prospettive. Innanzitutto la storia: dalle vie dell'antichità alle autostrade della modernità, dai cammini dei pellegrini alle rotte digitali. Poi, il confronto con autori come Jack Kerouac, Jorge Luis Borges, Elsa Morante, Pier Vittorio Tondelli, James G. Ballard, Albert Camus, Italo Calvino e con capolavori del cinema come La strada di Federico Fellini e Il sorpasso di Dino Risi permette di comprendere le trasformazioni e le tensioni legate alla mobilità nella contemporaneità.Infine, seguendo la traccia del pensiero di Marc Augé e degli studi dedicati alla strada in ambito etnografico e antropologico, questo libro – anche grazie alla originale impostazione che abbina il rigore scientifico del saggio all'attenzione al racconto e al dettaglio narrativo – propone una rilettura critica e inedita della strada nell'epoca della postmodernità e delle sue complesse implicazioni culturali, esistenziali e sociali.«Con sempre maggiore invadenza materiale e discorsiva, con altrettanta crescente ridondanza tecnologica e digitale, la presenza della strada si impone oggi inarrestabilmente nelle nostre esistenze individuali e collettive. E ciò accade ben oltre le pretese di dominio, separazione e controllo imposte artificialmente da muri e confini, reali o immaginari».Mauro Francesco Minervino è professore di Antropologia Culturale, Etnologia, Sociologia dei Nuovi Media presso le Accademie di Belle Arti di Catanzaro e Bari. Tra le sue pubblicazioni: In fondo a Sud (Philobiblon, 2005, con prefazione di Marc Augé); Statale 18 (Fandango, 2010); Stradario di uno spaesato (Melville, 2016). Ha tradotto e curato il volume di George Gissing, Verso il Mar Ionio. Il Sud di un vittoriano (Exòrma, 2023). Nel 2014 gli è stato conferito il Premio Internazionale di Filosofia Karl-Otto Apel. È autore di programmi RAI e collaboratore ed editorialista del «Corriere della Sera».Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Actor, writer, translator, and founder of Bronx World Film Walter Krochmal joins me to talk about his incredible journey, from studying theater on a scholarship in New England, to performing, translating, and building one of New York's most quietly essential film organizations. We discuss how Bronx World Film was born in the basement of Cannes' Short Film Corner, the post World War II European idea of cinema as a tool for social reconstruction, and why Walter believes true festivals must serve both filmmakers and neighborhood audiences, not the cash grab mentality that's overtaken so many indie fests. In the final segment we dive into two unforgettable film moments: Fellini's LA STRADA, which he calls a paragon of empathy and craft, and the timeless comedy of THE NAKED GUN, where Leslie Nielsen's deadpan genius turns “Nice beaver” into a masterclass in visual timing. Films discussed: LA STRADA (1954) and THE NAKED GUN: FROM THE FILES OF POLICE SQUAD! (1988) Guest links: bronxworldfilm.org and Instagram @bronxworldfilm

La cantante brasileña, de familia italiana, Zizi Possi publicó en 1997 'Per amore' con canciones italianas como la que le dio título de Mariella Nava, 'Senza fine' de Gino Paoli y 'Ho capito che ti amo' de Luigi Tenco. La brasileño-japonesa Lisa Ono publicó cinco años después 'Questa bossa mia...' con 'Ti guarderò nel cuore', 'Piove' (Ciao ciao bambina)' de Domenico Modugno y 'Questi vent´anni miei' de Morricone. En su reciente 'Italia', el trompetista y vocalista alemán Till Brönner ha grabado canciones italianas de Lucio Battisti, Paolo Conte o Ennio Morricone como 'Travolti da un insolito destino', 'La donna invisibile', 'Amarsi un po', 'Via con me' -con la voz de Mario Biondi- o 'Parole parole' -con la de Chiara Civello-. Y Caetano Veloso, en su concierto homenaje a Fellini, 'Federico e Giulietta', cantando 'Come prima', 'Come tu mi vuoi' y 'Luna rossa'. Escuchar audio

LISTEN and SUBSCRIBE on:Apple Podcasts: https://podcasts.apple.com/us/podcast/watchdog-on-wall-street-with-chris-markowski/id570687608 Spotify: https://open.spotify.com/show/2PtgPvJvqc2gkpGIkNMR5i WATCH and SUBSCRIBE on:https://www.youtube.com/@WatchdogOnWallstreet/featured  Trump cuts a deal with Xi Jinping to allow China to buy Nvidia's H200 chips — the same chips the U.S. government says will determine who controls the future of AI and modern warfare. And somehow we're supposed to pretend this all makes sense? You'd have an easier time decoding a Fellini film.In this episode, we break down: • The deal: China gets access to Nvidia's H200s as long as the U.S. keeps 25% of the sales • The contradiction: DOJ says these chips are the “building blocks of AI superiority” • The confusion: Why sell strategic tech to an adversary we're told to fear? • The chaos: DOJ shuts down a China-linked chip-smuggling network the same day • The twist: China now says it might restrict access to the very chips we just approvedAnd the reality: None of this adds up — not strategically, not economically, not politically!

This week, Film Comment Editors Devika Girish and Clinton Krute sit down with writer-director Noah Baumbach, whose new feature, Jay Kelly, is in select theaters now. The movie stars George Clooney as an aging Hollywood star reckoning with the choices he's made on his way to the top. The action unfolds on a trip Jay takes to a tribute to his career in Tuscany, trailed by an entourage of handlers (played by Adam Sandler, Laura Dern, and others), and haunted by his missteps as a friend, lover, and parent. Jay Kelly blends Fellini-esque memory theater, a screwball-inspired train journey, and a self-reflexive contemplation on the world of filmmaking to arrive at something universal; as Noah says in our conversation, the theme at the heart of the film is one that has animated many of his works: coming to terms with an irretrievable past. We also talked about his remarkable casting choices, how he and his crew built sets to facilitate the dreamlike flashback sequences without the use of CGI, and much more.

From its nearly three-hour runtime to its deployment of some of the most deranged CGI you've ever seen committed to screen, Radu Jude's DRACULA often feels like an extended act of trolling, but is it art? The answer to that question is inextricable from the film's presentation of AI-derived art as grotesque, inhuman, and unsatisfying, and it makes DRACULA arguably more entertaining to discuss than it is to watch. So after attempting to pull some meaning out of what the critic in 8 1/2 might describe as DRACULA's “series of gratuitous episodes,” we move into Connections for a study in contrasts between Fellini's portrait of an artist struggling to make a personal work, and Jude's evisceration of a charlatan trying to outsource artistry to a machine. Then in Your Next Picture Show, we discuss another film we considered as a DRACULA pairing that may not be quite as celebrated as 8 1/2, but we nonetheless recommend as another depiction of a filmmaker in creative crisis: Christopher Guest's debut feature, THE BIG PICTURE. Please share your thoughts about 8 1/2, DRACULA, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. Next episode: A celebration of Peter Bogdanovich's THE LAST PICTURE SHOW, and 500 episodes of a niche film podcast named after it. Intro: 00:00:00-00:01:57 Dracula discussion: 00:01:57 - 00:27:20 Dracula/8 1/2 Connections: 00:27:20 - 00: 48:11 Your Next Picture Show and goodbyes: 00:48:11-end Learn more about your ad choices. Visit megaphone.fm/adchoices

Radu Jude's DRACULA is, technically speaking, yet another movie about one of the most depicted antagonists in all of cinema, but in actuality it's about a different beast that has fascinated filmmakers for nearly as long: filmmaking. Within the grand tradition of “movies about moviemaking,” DRACULA's surreal humor, combined with its focus on a struggling filmmaker fantasizing about the film he might make, gave us an excuse to revisit an all-time classic of the form, Federico Fellini's 8 1/2. So this week we search for meaning within 8 1/2's reveries of a blocked creative mind, interrogate the “semi” part of Fellini's semi-autobiographical approach, and touch on some of the other films that exist in the shadow of this one. Then in Feedback, our recent pairing of RUNNING ON EMPTY and ONE BATTLE AFTER ANOTHER inspires a supplementary-listening suggestion for the former, and a head canon explanation for one of our questions about the latter.Please share your thoughts about 8 1/2, DRACULA, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.Intro: 00:00:00-00:05:128 1/2 Keynote: 00:05:12-00:11:398 1/2 Discussion: 00:11:39-48:26Feedback/outro: 00:48:26-end Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode, we had the pleasure of sitting down with Olivia Laing to discuss their extraordinary new novel, The Silver Book, which has been selected as a Hatchards Book of the Month for November. Set amid the turbulence of Italy's Years of Lead, the novel is full of rich and deliberate contradictions: it's a love story coloured by political extremism; a journey through Rome's legendary film studio, Cinecittà, that sidesteps glamour in favour of the artisans and craftspeople who brought cinematic illusions to life. At its heart is a character who recalls Patricia Highsmith's Tom Ripley, though driven more by naïveté than malice. Olivia spoke with us about the deep immersion in Italian history and culture that informed their writing, and about the figures of Federico Fellini and Pier Paolo Pasolini — both major characters in the novel — whose contrasting creative visions shaped modern Italian art and cinema. They also reflected on how Italy's fraught political history continues to resonate today, offering unexpected parallels with contemporary Britain. Hosted by Ryan Edgington and Matt Hennessey.

In Episode 513, Ryan and Jose are joined by David Blair for another Book Club of Blood. This time, we cover "Son of Celluloid".  This is the Clive Barker Podcast, where long-time fans Ryan and Jose interview guests, bring you the news, and take deep dives into Barker-related stuff.  This episode will be available in Podcast Audio and Youtube Video. Sponsor : Don Bertram's Celebrate Imagination | Pinterest | ETSY Store Check out his recent paintings, The Waiting Room II, "Tulips III",   "Date Night", Texas Friends: Don will hbe at an art Show in Pearland, November 22nd at Country Place Soclal Hall Sponsor : Ed Martinez YouTube Channel Hellraiser 2022 Short about the new puzzle box configurations Sponsor : The Now Playing Podcast Patreon (Live Thanks)    Patreon Members Shout-Out (Become a Patron) David Anderson Erik Van T' Holt Daniel Elven Amanda Stewart Bradley Gartz Matthew Batten Bennett Jesse Clara Leslie Timothy Ramakers Terry Murdock Sponsor: Don Bertram's Celebrate Imagination Sponsor, Ed Martinez YouTube Channel Sponsor : The Now Playing Podcast New from Patreon Extended interview with Peter Atkins Texas Frightmare Memories The Lost World of the EctoSphere Kickstarter Update New Sponsor - Now Playing Podcast Survey Needed -  Nathan Smith   Book Club of Blood Discussion: Books. Of Blood Vol. 3 | Son of Celluloid   Show Notes Eclipse Graphic Novel adaptation Les Edwards' Site Son Of Celluloid on Revelations & early attempt at Film Adaptation   Feedback / Questions Thoughts from Reddit Thoughts from Discord Coming Next Hellraiser Revival Discord Interviews and news Book Club of Blood: Rawhead Rex And this podcast, having no beginning will have no end.   web www.clivebarkercast.com Apple Podcasts,  Android,  Amazon Music, Spotify, Pandora, Libsyn, Tunein, iHeart Radio, Pocket Casts, Radio.com, and YouTube and Facebook: | BarkerCast Listeners Group | Occupy Midian  BlueSky | Reddit | Discord Community   Support the show Buy Our Book: The BarkerCast Interviews Occupy Midian  Hardcover | Kindle | Apple Become a Patreon Patron | Buy a T-Shirt   Music is by Ray Norrish   All Links and show notes in their Entirety can be found at https://www.clivebarkercast.com   ----------   AI Summary   The group began transitioning into an in-depth analysis of Clive Barker's "Son of Celluloid," exploring its narrative structure, themes, and character development. They examined various aspects of the story, including its cinematic references, character motivations, and the decline of traditional movie theaters, while sharing personal memories of past theater experiences. The discussion concluded with an exploration of the story's themes of illusions and reality, monster encounters, and the challenges of adapting Barker's work into different media formats.    They then began analyzing Clive Barker's "Son of Celluloid," discussing its narrative structure divided into three acts and its themes of ambition and cancer as metaphors. The story follows Barbario, a fugitive criminal who hides in an old movie theater and watches a Fellini film while bleeding to death, unaware that his cancer is the result of his dangerous lifestyle. The group noted that while the story contains dated references to Marilyn Monroe and John Wayne, it effectively captures the nostalgia of old movie theaters and the magic of cinema.     The group discussed Clive Barker's story about a theater that became haunted after changing from a place of worship to a cinema, with José explaining how the building accumulated decades of audience emotions and became a "cathedral of collective dreams." They explored the character development of Birdie, the ticket lady who is bored and self-conscious about her weight, and how her intelligence becomes her strength when facing the antagonist. The conversation also touched on the decline of cinema attendance and the specific details of the Tron Ares movie, including Bruce Boxleitner's decision not to reprise his role as Tron.   Memories of Classic Movie Theaters The group discussed their memories of old movie theaters, including the smell of cigarettes and popcorn, torn seats, and pre-movie slides advertising local businesses. They shared their first movie theater experiences, with Ryan remembering "Sinbad and the Eye of the Tiger" and Blair recalling "Star Wars" at a drive-in. José shared his fond memories of watching "E.T." as a child and mentioned the original darker treatment for the film. The conversation then shifted to Ricky's investigation of Lindy Lee's boyfriend in the bathroom, where he unexpectedly finds himself in a Western-themed setting. Monster's Failed Illusion Tactics The group discussed the story's themes of illusions manifesting in reality, particularly focusing on a scene where a monster creates a John Wayne illusion to threaten characters. They analyzed how the monster's aggressive approach failed when Ricky punched the illusion, leading to its dissolution. The discussion highlighted Ricky's character contrast with Birdie's correct choices, and noted that the monster would likely try a different tactic after this failed attempt at intimidation. Horror at the Movie Theater The group discussed a horror story involving a movie theater, where Birdie discovers a bloody scene and an unconscious man, while Lindy Lee disappears after seeing a bunny. Birdie attempts to call for help but is thwarted by a mysterious voice that locks the doors, forcing her to retrieve keys from Ricky. Despite her initial fear, Birdie wisely decides to seek help rather than stay trapped, and she eventually finds the body of a victim whose eyes have been violently removed. Marilyn Monster Seduction Analysis The group discussed a scene from a graphic novel where a monster in the form of Marilyn Monroe seduces Ricky, leading to his death. They analyzed the visual and narrative elements, including the use of flickering lights to create the illusion and the monster's need for attention. The conversation touched on themes of immortality through pop culture icons and Ricky's foolish decision to engage with the monster despite the danger. They also briefly mentioned Birdie's attempt to defend herself with a crowbar. Psychic Monster Comic Adaptation The group discussed the comic adaptation of a story involving a monster that feeds on psychic energy from moviegoers. They analyzed key plot points, including Birdie's armed defense against attackers, her escape attempt through a theater fire exit, and her confrontation with the monster. José highlighted the monster's transformation and its connection to the character Barbario, while Ryan and Blair noted the story's exploration of themes like ambition, waste, and the impact of movies on people's lives. The discus Adapting 'Son of Celluloid The group discussed Clive Barker's "Son of Celluloid," focusing on its themes of body horror, celebrity worship, and the dangers of spectatorship. They explored the challenges of adapting the story into a film, particularly regarding the use of real celebrities' likenesses. José shared insights from Barker's early attempts to pitch the story to studios and the eventual difficulties in securing funding. The conversation also touched on the graphic novel adaptation by Steve Niles and Les Edwards, highlighting its painted artwork and the availability of original pages for sale. The group agreed to explore the story further in their next episode, which will focus on "Rawhead Rex."

Ola Mafaalani is toneel- en operaregisseur. Ze was van 2009 tot 2016 artistiek directeur van het Noord Nederlands Toneel en was artistiek leider bij Female Economy in Amsterdam. Met Female Economy maakte Mafaalani de producties ‘Cheikhats, a ritual beyond binarythinking' en ‘Vrouwen in bad'. Ook maakte ze producties als ‘Hemel boven Berlijn' en ‘Fellini'. In 2016 ontving Mafaalani de Prosceniumprijs voor haar gehele oeuvre. Nu focust zij zich fulltime op haar eigen kunstenaarschap. Onlangs ging haar nieuwe voorstelling ‘Phaedra in vlammen' in première. De voorstelling is een moderne versie van het klassieke liefdesdrama van Phaedra, geschreven door Nino Haratischwili. Femke van der Laan gaat met Ola Mafaalani in gesprek.

Jackie and Greg shed a solitary tear for Federico Fellini's NIGHTS OF CABIRIA from 1957. Topics of discussion include the wide-eyed central performance from Giulietta Masina, the film as a transitional work for Fellini, its episodic structure, and how it continues to ripple through the ensuing decades of cinema as a defining work.The continuation of our "Personal Prints" series where Jackie and Greg venture off the Sight & Sound list to explore films that are special and/or formative to them.Check us out on Instagram: instagram.com/sceneandheardpodCheck us out at our official website: sceneandheardpod.comGraphic 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

The Second Anniversary Show w/ Kate Pierson of The B-52sThis week, I am honored to celebrate the second anniversary of Revolutions Per Movie with one of my top musical heroes: the one and only Kate Pierson of The B-52s!!!We discuss the influence of Fellini on Kate & The B-52s (who were originally going to call themselves 'Fellini's Children'), the early sounds and films that made a young Kate Pierson into who she is, film noir, the protest folk music of her first band 'The Sun Donuts', what drew Kate to Athens, GA; Kate finding her unique singing style, French New Wave films, how The B-52s were not allowed to play bars in Athens and instead opted for house parties, the early jobs of the band members, how Club 57 and The Mudd Club in NYC embraced the band, how much a wig cost back in 1978, how the band worked out the vocal phrasing and melody parts of the three vocalists, Jeremy Ayers being a pied piper of the Athens scene, The Plastics, the original house that The B-52s bought and lived in together, why there were no early B-52s music videos until Whammy, Kate's first music equipment and her amazing guitar parts, how different it is making music videos now vs. in the 80s and so much more.So let's dance this mess around on this week's episode of Revolutions Per Movie!KATE PIERSON:https://www.katepierson.com/https://www.theb52s.com/showsREVOLUTIONS PER MOVIE:Host Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.The show is also a completely independent affair, so the best way to support it is through our Patreon at patreon.com/revolutionspermovie. By joining, you can get weekly bonus episodes, physical goods such as Flexidiscs, and other exclusive goods.Revolutions Per Movie releases new episodes every Thursday on any podcast app, and additional, exclusive bonus episodes every Sunday on our Patreon. If you like the show, please consider subscribing, rating, and reviewing it on your favorite podcast app. Thanks!SOCIALS:@revolutionspermovieBlueSky: @revpermovieTHEME by Eyelids 'My Caved In Mind'www.musicofeyelids.bandcamp.com ARTWORK by Jeff T. Owenshttps://linktr.ee/mymetalhand Hosted on Acast. See acast.com/privacy for more information.

Writer/director James DeMonaco discusses his top ten films that evoke the surreal, hallucinatory feel of dreams/nightmares, while not actually depicting dream/or nightmares with Josh Olson and Joe Dante. Show Notes: Movies Referenced In This Episode A History Of Violence (2005) The Home (2025) 52 Pick-Up (1986) The Purge (2013) The Purge: Anarchy (2014) The Purge: Election Year (2016) Staten Island (2009) This Is The Night (2021) Glengarry Glen Ross (1992) 3 Women (1977) Apocalypse Now (1979) Apocalypse Now Redux (2001) Jack (1996) The Godfather (1972) The Godfather Part II (1974) The Godfather Part III (1990) Dementia 13 (1963) Star Wars (1977) THX 1138 (1972) Blood Simple (1984) Megalopolis (2024) Mandy (2018) Beyond The Black Rainbow (2010) Nightmare Alley (2021) Blue Velvet (1986) Mulholland Drive (2001) The Accused (1988) The Swimmer (1968) Dune (1984) Dune (2021) Jodorowsky's Dune (2014) Crash (2005) *Ghost Dog: Way of the Samurai (2000) Paterson (2016) Fellini's Roma (1972) Amarcord (1973) La Strada (1954) Nights of Cabiria (1957) 8 ½ (1963) Dirty Harry (1971) Gremlins (1984) Irreversible (2002) Antichrist (2009) Play It As It Lays (1972) Nashville (1975) Boom! (1968) Mr. Blandings Builds His Dream House (1948) Punch Drunk Love (2002) The Long Goodbye (1973) Phantom Thread (2017) One Battle After Another (2025) Happy Gilmore (1995) Happy Gilmore 2 (2025) March of the Wooden Soldiers a.k.a. Babes in Toyland (1934) Beetlejuice (1988) Monkey Trouble (1994) Prizzi's Honor (1985) Vertigo (1958) Invaders From Mars (1953) The Woman in the Window (1944)  Inception (2010) Eternal Sunshine of the Spotless Mind (2004) Dreamscape (1984) What Dreams May Come (1998) The Truman Show (1998) Minority Report (2002) Other Notable Items Our ⁠Patreon⁠! Our pals at ⁠Movies Unlimited⁠ ⁠The Hollywood Food Coalition⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices