Podcast appearances and mentions of frank bascombe

Pendant quinze jours, alors qu'ils traversent les États-Unis, Miguel Allo et Jérôme Colin vont chaque jour à la rencontre des écrivains majeurs de l'Amérique d'aujourd'hui. Aujourd'hui, l'immense Richard Ford, prix Pulitzer, pour son roman "Le Paradis des fous" (L'Olivier). Il sera question des quatre Présidents du Mont Rushmore, cette sculpture monumentale taillée dans les Black Hills dans le Dakota du Sud : George Washington, Thomas Jefferson, Abraham Lincoln et Theodore Roosevelt. Résumé du livre : À soixante-quatorze ans, Frank Bascombe se porte comme un charme. En dépit d'une vie marquée par les deuils, les échecs et les séparations, cet optimiste invétéré ne désespère pas de trouver le bonheur. Lorsqu'il apprend que son fils est atteint d'une maladie incurable, il lui propose une virée à la rencontre des monuments d'une Amérique vouée au kitsch : le Palais du Maïs, un hôtel-casino indien, les effigies des « dead presidents» sculptées dans le mont Rushmore… Un dernier voyage au cours duquel père et fils parviendront – peut-être? – enfin à se rapprocher. Bavard, touchant, égoïste et doué d'un sens inné de la comédie, Frank Bascombe accompagne Richard Ford de livre en livre depuis plus de trente ans. Dans Le Paradis des fous, cet ancien journaliste sportif reconverti dans l'immobilier continue à observer l'Amérique avec férocité. Pour notre plus grand plaisir. Merci pour votre écoute Entrez sans Frapper c'est également en direct tous les jours de la semaine de 16h à 17h30 sur www.rtbf.be/lapremiere Retrouvez l'ensemble des épisodes et les émission en version intégrale (avec la musique donc) de Entrez sans Frapper sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/8521 Abonnez-vous également à la partie "Bagarre dans la discothèque" en suivant ce lien: https://audmns.com/HSfAmLDEt si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Vous pourriez également apprécier ces autres podcasts issus de notre large catalogue: Le voyage du Stradivarius Feuermann : https://audmns.com/rxPHqEENoir Jaune Rouge - Belgian Crime Story : https://feeds.audiomeans.fr/feed/6e3f3e0e-6d9e-4da7-99d5-f8c0833912c5.xmlLes Petits Papiers : https://audmns.com/tHQpfAm Des rencontres inspirantes avec des artistes de tous horizons. Galaxie BD: https://audmns.com/nyJXESu Notre podcast hebdomadaire autour du 9ème art.Nom: Van Hamme, Profession: Scénariste : https://audmns.com/ZAoAJZF Notre série à propos du créateur de XII et Thorgal. Franquin par Franquin : https://audmns.com/NjMxxMg Ecoutez la voix du créateur de Gaston (et de tant d'autres...)

Jennifer Khakshouri, Usama Al Shahmani, Daniela Strigl und – als Gast – Micha Lewinsky diskutieren über «Kamala Harris. Ein Porträt» von Marie-Astrid Langer, «Valentinstag» von Richard Ford, «Tabak und Schokolade» von Martin R. Dean sowie «Der beste Tag seit langem» von Jana Volkmann. Wer ist Kamala Harris? Marie-Astrid Langer, USA-Korrespondentin der «Neuen Zürcher Zeitung», hat ein Porträt über die erste schwarze Präsidentschaftskandidatin verfasst. Dabei zeichnet sie den Aufstieg der Juristin und Politikerin nach, von der Bezirksstaatsanwältin bis zur Vizepräsidentin. Richard Ford gilt als literarischer Langzeit-Chronist der USA. In seinen Romanen beschreibt er den Alltag in den USA, meist aus der Perspektive eines gewissen Frank Bascombe. Im jüngsten Roman «Valentinstag» wirkt Bascombe alt und abgekämpft. Mit seinem todkranken Sohn unternimmt er eine Reise zum symbolträchtigen Mount Rushmore. Es ist ein Trip zwischen Komik und Verzweiflung. Im US-Wahlkampf werden persönliche Geschichten erzählt, die Wahlveranstaltungen sind wie Theaterstücke inszeniert, nichts ist dem Zufall überlassen. Die Katze von Popstar Taylor Swift heisst Benjamin Button – wie der Titelheld im Roman von F. Scott Fitzgerald. Elisabeth Bronfen erklärt im Gespräch, wieso der Wahlkampf ein literarischer ist. Der Schweizer Schriftsteller Martin R. Dean hat einen Roman über seine unterschiedlichen Herkünfte geschrieben: die Mutter eine Schweizerin, der Vater aus Trinidad und Tobago. Er unternimmt eine Reise vom Aargau zu den indischen Vorfahren in der Karibik – und erzählt nicht nur seine Familiengeschichten, sondern auch viel über Zeitgeschichte. Ist das Verhältnis zwischen Tier und Mensch noch zu retten? In Jana Volkmanns Roman finden zwei Frauen durch ein entlaufenes Pferd zu einer neuen Haltung gegenüber Natur und Kreatur. «Der beste Tag seit langem» kreist um das Thema Tierrechte – mit Sprachwitz, feinem Humor und ohne Aktivismus. Zugeschaltet aus New York ist Kulturwissenschaftlerin Elisabeth Bronfen.

  Marcia Franklin talks with author Richard Ford, who won a Pulitzer Prize for Independence Day, a book in his Frank Bascombe series, and who was nominated for a Pulitzer for his most recent book in the series Let Me Be Frank With You. Ford talks with Franklin about his themes, his writing style, his muse and his thoughts on race relations. Don't forget to subscribe, and visit the Dialogue website for more conversations that matter. Originally Aired: 11/6/2015 The interview is part of Dialogue's series “Conversations from the Sun Valley Writers' Conference” and was taped at the 2015 conference. Since 1995, the conference has been bringing together some of the world's most well-known and illuminating authors to discuss literature and life.

Álex Serrano viene a celebrar el lujoso episodio número 50 de niños gratis*, dedicado a la pentalogía de Frank Bascombe, el Atticus Finch moderno, el predecesor de Don Draper, el arquetipo del hombre heterosexual blanco demócrata que no se ha desprendido del todo del legado de John Wayne. el personaje en el que Richard Ford ha reflejado a USA a lo largo de cuarenta años.

Tillsammans med Andres Lokko och Rebecka Åhlund tar Lundströms Bokradio sig an den amerikanska författaren Richard Fords sista roman om sin stora romanhjälte, den nu åldrande Frank Bascombe. Lyssna på alla avsnitt i Sveriges Radio Play. Lundströms Bokradio gräver sig in i Richard Fords romanvärld om ”vardagsmannen” Frank Bascombe. I den nya romanen på svenska ”Bli min”, som är sagt är den sista, söker den nu 74-årige Bascombe efter svaret på vad lycka är, samtidigt som han tar hand om sin nu medelålders son Paul, som drabbats av nervsjukdomen ALS. Med den berättarkonst som kännetecknar Ford, får vi följa med när Frank Bascombe ger sig ut på en sista lång bilfärd med sonen, nu till Mount Rushmore. Richard Ford är född 1944 och debuterade med boken ”En bit av mitt hjärta”, och vann Pulizerpriset för Självständighetsdagen, som är den andra delen i Bascombe-serien. Både Richard Ford och hans romanfigur Frank Bascombe har en bakgrund som sportjournalist.Våra bokcirkelgäster denna vecka är Andres Lokko, musikjournalist på Svenska Dagbladet och programledare för ”Lokko i P2”, och Rebecka Åhlund, författare till böckerna “Jag som var så rolig att dricka vin med” och “Någon måste vattna tomaterna”.Richard Fords roman Bli min är översatt till svenska av Niclas Nilsson. Skriv till oss! bokradio@sverigesradio.seProgramledare: Marie LundströmProducent: Andreas Magnell Ljuddesign: Maria Askerfjord Sundeby

With Nicole Abadee | Richard Ford's new novel is the fifth featuring "arch-ordinary American" Frank Bascombe – a character who describes the aphorism of 'yeah-no' as "the entire human condition in two words". Ford discusses his oeuvre with Nicole Abadee. Event details: Sat 02 Mar, 1:15pm

Richard Ford is a true literary luminary. The author of eight novels and four short story collections, Ford's illustrious career spans nearly five decades and numerous accolades, including the Pulitzer Prize for Fiction for Independence Day.At this special Melbourne event hosted by journalist Jonathan Green, Ford discusses his exceptional career and examines his most famous protagonist: the enigmatic Frank Bascombe, who has been hailed as one of the most unforgettable characters in American literature.This event was recorded on Tuesday 27 February 2024 at The Wheeler Centre.The official bookseller was Mary Martin Bookshop.Featured music is 'Different Days' by Chill Cole.Support the Wheeler Centre: https://www.wheelercentre.com/support-us/donateSee omnystudio.com/listener for privacy information.

Eine Wiederentdeckung von Maria Kuncewiczowa aus dem Jahr 1933 und neue Bücher von Goran Vojnović aus Slowenien und von Rafik Schami. Richard Ford beendet mit "Valentinstag" seine Roman-Reihe um "Frank Bascombe".

Indeed, it's our 50th episode, which is a wicked big deal, and Sam and Hannah are high on the successful Andre Dubus III event they have just completed, and so you get a recaap of that and some behind-the-scenes stuff (he is very charming; throws out Ezra Pound quotes off the top of his head), but no worries, we quickly move into talk of similar dude-lit writer Richard Ford's "Be Mine," the third Frank Bascombe book. It touches off a discussion of the "shitty dad" trope and the relative rarity of father-son stories in contemporary lit. Just because you're privileged doesn't mean bad things don't happen to you and you don't deserve empathy (but not Jann Wenner; that guy deserves ridicule). But it's not all quite that serious — Hannah just read "Business or Pleasure," which is about just what you think it is (a ghostwriter hooks up with her boss and teaches him how to have sex; that's what you thought, right?). Just make sure you keep the windows rolled up for the audiobook. And "North Woods," by Daniel Mason, is seriously good, but way too weird to be "serious." Sam praises it as "like a David Mitchel novel." Finally, we wrap with the new "Square of Sevens," the plot of which reminds Sam of Zadie Smith's new novel (but with a lot of fortune telling), and a BIG ANNOUNCEMENT.

Das ist Richard Fords fünfter Roman über Frank Bascombe, aber man muss die anderen nicht kennen, um diesen hier zu lesen. Von WDR4 Funktion (Köln).

American writer Richard Ford talks to Kim Hill about dyslexia, death, writing and Be Mine - the final book in his award-winning Frank Bascombe series.

Mit "Valentinstag" bringt Richard Ford seinen großen Helden Frank Bascombe noch einmal - vielleicht zum letzten Mal - zurück auf die literarische Bühne. Eine Rezension von Andreas Wirthensohn. Von Andreas Wirthensohn.

El periodista deportivo Richard Ford Anagrama: El periodista deportivo es la novela que consagró internacionalmente a Richard Ford, de quien Raymond Carver escribió que era «el mejor escritor en activo en nuestro país» y el crítico francés Bernard Géniès afirmó, en una encuesta en Le Nouvel Observateur, que «se está convirtiendo tranquilamente en el mejor escritor norteamericano». Frank Bascombe tiene treinta y ocho años y un magnífico porvenir como escritor a sus espaldas. Hace tiempo disfrutó de un breve instante de gloria, tras la publicación de un libro de cuentos, pero luego abandonó la literatura, o fue abandonado por ella. Ahora escribe sobre deportes y entrevista a atletas, a quienes admira porque «no tienen tiempo para las dudas o la introspección».Y escribir sobre victorias y derrotas, sobre triunfadores del futuro o del ayer, le ha permitido aprender una escueta lección: «En la vida no hay temas trascendentales. Las cosas suceden y luego se acaban, y eso es todo.»

Richard Ford talks to Neil about his fifth and final Frank Bascombe novel Be Mine. Hosted on Acast. See acast.com/privacy for more information.

Our guest on this episode Richard Ford is one of the masters of American literary fiction. Frequently compared to Updike, Faulkner and Hemingway; he's the author of The Sportswriter, Let Me Be Frank With You, and the Pulitzer Prize winning Independence Day - all of which chart the life of his imperfect everyman Frank Bascombe. Ford's new novel Be Mine is the last of the Frank Bascombe books and finds his protagonist in his later years embarking on a trip to Mt Rushmore with his terminally ill son. In this conversation with Esme Bright, Ford reflects on the responsibility of the writer, the politics of language and the prospect of happiness in an imperfect world.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Richard Ford tells Dearbhail about his character Frank Bascombe's final outing in his latest novel 'Be Mine'

On this episode, we travel back to 1984, and the days when a "young adult" novel included lots of drugs and partying and absolutely no sparkly vampires or dystopian warrior girls. We're talking about Jay McInerney's groundbreaking novel, Bright Lights, Big City, and its 1988 film version starring Michael J. Fox and Keifer Sutherland. ----more---- Hello, and welcome to The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. The original 1984 front cover for Jay McInerney's Bright Lights, Big City If you were a young adult in the late 1980s, there's a very good chance that you started reading more adult-y books thanks to an imprint called Vintage Contemporaries. Quality books at an affordable paperback price point, with their uniform and intrinsically 80s designed covers, bold cover and spine fonts, and mix of first-time writers and cult authors who never quite broke through to the mainstream, the Vintage Contemporary series would be an immediate hit when it was first launched in September 1984. The first set of releases would include such novels as Raymond Carver's Cathedral and Thomas McGuane's The Bushwhacked Piano, but the one that would set the bar for the entire series was the first novel by a twenty-nine year old former fact checker at the New Yorker magazine. The writer was Jay McInerney, and his novel was Bright Lights, Big City. The original 1984 front cover for Raymond Carver's Cathedral Bright Lights, Big City would set a template for twenty something writers in the 1980s. A protagonist not unlike the writer themselves, with a not-so-secret drug addiction, and often written in the second person, You, which was not a usual literary choice at the time. The nameless protagonist, You, is a divorced twenty-four year old wannabe writer who works as fact-checker at a major upscale magazine in New York City, for which he once dreamed of writing for. You is recently divorced from Amanda, an aspiring model he had met while going to school in Kansas City. You would move to New York City earlier in the year with her when her modeling career was starting to talk off. While in Paris for Fashion Week, Amanda called You to inform him their marriage was over, and that she was leaving him for another man. You continues to hope Amanda will return to him, and when it's clear she won't, he not only becomes obsessed with everything about her that left in their apartment, he begins to slide into reckless abandon at the clubs they used to frequent, and becoming heavily addicted to cocaine, which then affects his performance at work. A chance encounter with Amanda at an event in the city leads You to a public humiliation, which makes him starts to realize that his behavior is not because his wife left him, but a manifestation of the grief he still feels over his mother's passing the previous year. You had gotten married to a woman he hardly knew because he wanted to make his mother happy before she died, and he was still unconsciously grieving when his wife's leaving him triggered his downward spiral. Bright Lights, Big City was an immediate hit, one of the few paperback-only books to ever hit the New York Times best-seller chart. Within two years, the novel had sold more than 300,000 copies, and spawned a tidal wave of like-minded twentysomething writers becoming published. Bret Easton Ellis might have been able to get his first novel Less Than Zero published somewhere down the line, but it was McInerney's success that would cause Simon and Schuster to try and duplicate Vintage's success, which they would. Same with Tana Janowitz, whose 1986 novel Slaves of New York was picked up by Crown Publishers looking to replicate the success of McInerney and Ellis, despite her previous novel, 1981's American Dad, being completely ignored by the book buying public at that time. While the book took moments from his life, it wasn't necessarily autobiographical. For example, McInerney had been married to a fashion model in the early 1980s, but they would meet while he attended Syracuse University in the late 1970s. And yes, McInerney would do a lot of blow during his divorce from his wife, and yes, he would get fired from The New Yorker because of the effects of his drug addiction. Yes, he was partying pretty hard during the times that preceded the writing of his first novel. And yes, he would meet a young woman who would kinda rescue him and get him on the right path.  But there were a number of details about McInerney's life that were not used for the book. Like how the author studied writing with none other than Raymond Carver while studying creative writing at Syracuse, or how his family connections would allow him to submit blind stories to someone like George Plimpton at the Paris Review, and not only get the story read but published. And, naturally, any literary success was going to become a movie at some point. For Bright Lights, it would happen almost as soon as the novel was published. Robert Lawrence, a vice president at Columbia Pictures in his early thirties, had read the book nearly cover to cover in a single sitting, and envisioned a film that could be “The Graduate” of his generation, with maybe a bit of “Lost Weekend” thrown in. But the older executives at the studio balked at the idea, which they felt would be subversive and unconventional. They would, however, buy in when Lawrence was able to get mega-producer Jerry Weintraub to be a producer on the film, who in turn was able to get Joel Schumacher, who had just finished filming St. Elmo's Fire for the studio, to direct, and get Tom Cruise, who was still two years away from Top Gun and megastardom, to play the main character. McInerney was hired to write the script, and he and Schumacher and Cruise would even go on club crawls in New York City to help inform all of the atmosphere they were trying to capture with the film. In 1985, Weintraub would be hired by United Artists to become their new chief executive, and Bright Lights would be one of the properties he would be allowed to take with him to his new home. But since he was now an executive, Weintraub would need to hire a new producer to take the reigns on the picture. Enter Sydney Pollack. By 1985, Sydney Pollack was one of the biggest directors in Hollywood. With films like They Shoot Horses, Don't They?, Jeremiah Johnson, Three Days of the Condor, The Electric Horseman and Tootsie under his belt, Pollock could get a film made, and get it seen by audiences. At least, as a director. At this point in his career, he had only ever produced one movie, Alan Rudolph's 1984 musical drama Songwriter, which despite being based on the life of Willie Nelson, and starring Nelson, Kris Kristofferson and Rip Torn, barely grossed a tenth of its $8m budget. And Pollock at that moment was busy putting the finishing touches on his newest film, an African-based drama featuring Meryl Streep and longtime Pollock collaborator Robert Redford. That film, Out of Africa, would win seven Academy Awards including Best Picture and Best Director, in March 1986, which would keep Pollock and his producing partner Mark Rosenberg's attention away from Bright Lights for several months. Once the hype on Out of Africa died down, Pollock and Rosenberg got to work getting Bright Lights, Big City made. Starting with hiring a new screenwriter, a new director, and a new leading actor. McInerney, Schumacher and Cruise had gotten tired of waiting. Ironically, Cruise would call on Pollock to direct another movie he was waiting to make, also based at United Artists, that he was going to star in alongside Dustin Hoffman. That movie, of course, is Rain Man, and we'll dive into that movie another time. Also ironically, Weintraub would not last long as the CEO of United Artists. Just five months after becoming the head of the studio, Weintraub would tire of the antics of Kirk Kerkorian, the owner of United Artists and its sister company, MGM, and step down. Kerkorian would not let Weintraub take any of the properties he brought from Columbia to his new home, the eponymously named mini-major he'd form with backing from Columbia. With a new studio head in place, Pollock started to look for a new director. He would discover that director in Joyce Chopra, who, after twenty years of making documentaries, made her first dramatic narrative in 1985. Smooth Talk was an incredible coming of age drama, based on a story by Joyce Carol Oates, that would make a star out of then seventeen-year-old Laura Dern. UA would not only hire her to direct the film but hire her husband, Tom Cole, who brilliantly adapted the Oates story that was the basis for Smooth Talk, to co-write the screenplay with his wife. While Cole was working on the script, Chopra would have her agent send a copy of McInerney's book to Michael J. Fox. This wasn't just some random decision. Chopra knew she needed a star for this movie, and Fox's agent just happened to be Chopra's agent. That'd be two commissions for the agent if it came together, and a copy of the book was delivered to Fox's dressing room on the Family Ties soundstage that very day. Fox loved the book, and agreed to do the film. After Alex P. Keaton and Marty McFly and other characters he had played that highlighted his good looks and pleasant demeanor, he was ready to play a darker, more morally ambiguous character. Since the production was scheduled around Fox's summer hiatus from the hit TV show, he was in. For Pollock and United Artists, this was a major coup, landing one of the biggest stars in Hollywood. But the project was originally going to be Toronto standing in for New York City for less than $7m with a lesser known cast. Now, it was going to be a $15m with not only Michael J. Fox but also Keifer Sutherland, who was cast as Tad, the best friend of the formerly named You, who would now known as Jamie Conway, and would be shot on location in New York City. The film would also feature Phoebe Cates as Jamie's model ex-wife, William Hickey, Kelly Lynch. But there was a major catch. The production would only have ten weeks to shoot with Fox, as he was due back in Los Angeles to begin production on the sixth season of Family Ties.  He wasn't going to do that thing he did making a movie and a television show at the same time like he did with Back to the Future and Family Ties in 1984 and 1985. Ten weeks and not a day more. Production on the film would begin on April 13th, 1987, to get as much of the film shot while Fox was still finishing Family Ties in Los Angeles. He would be joining the production at the end of the month. But Fox never get the chance to shoot with Chopra. After three weeks of production, Chopra, her husband, and her cinematographer James Glennon, who had also shot Smooth Talk, were dismissed from the film. The suits at United Artists were not happy with the Fox-less footage that was coming out of New York, and were not happy with the direction of the film. Cole and Chopra had removed much of the nightlife and drug life storyline, and focused more on the development of Jamie as a writer. Apparently, no one at the studio had read the final draft of the script before shooting began. Cole, the screenwriter, says it was Pollock, the producer, who requested the changes, but in the end, it would be not the Oscar-winning filmmaker producing the movie that would be released but the trio of newer creatives. Second unit footage would continue to shoot around New York City while the studio looked for a new director. Ironically, days after Chopra was fired, the Directors Guild of America had announced that if they were not able to sign a new agreement with the Producers Guild before the end of the current contract on June 30th, the directors were going on strike. So now United Artists were really under the gun. After considering such filmmakers as Belgian director Ulu Grosbard, who had directed Meryl Streep and Robert De Niro in Falling in Love, and Australian director Bruce Beresford, whose films had included Breaker Morant and Tender Mercies, they would find their new director in James Bridges, whose filmography included such critical and financial success as The Paper Chase, The China Syndrome and Urban Cowboy, but had two bombs in a row in 1984's Mike's Murder and 1985's Perfect. He needed a hit, and this was the first solid directing offer in three years. He'd spend the weekend after his hiring doing some minor recasting, including bringing in John Houseman, who won a Best Supporting Actor Oscar for his role in The Paper Chase, as well as Swoosie Kurtz, Oscar-winning actors Jason Robards and Dianne Weist, and Tracy Pollan, Fox's co-star on Family Ties, who would shortly after the filming of Bright Lights become Mrs. Michael J. Fox, although in the film, she would be cast not as a love interest to her real-life boyfriend's character but as the wife of Keifer Sutherland's character. After a week of rewriting McInerney's original draft of the screenplay from the Schumacher days, principal photography re-commenced on the film. And since Bridges would be working with famed cinematographer Gordon Willis, who had shot three previous movies with Bridges as well as the first two Godfather movies and every Woody Allen movie from Annie Hall to The Purple Rose of Cairo, it was also decided that none of Chopra's footage would be used. Everything would start back on square one. And because of the impending Directors Guild strike, he'd have only thirty-six days, a tad over five weeks, to film everything. One of the lobby cards from the movie version of Bright Lights, Big City And they were able to get it all done, thanks to some ingenious measures. One location, the Palladium concert hall on the Lower East Side of Manhattan, would double as three different nightclubs, two discotheques and a dinner club. Instead of finding six different locations, which would loading cameras and lights from one location to another, moving hundreds of people as well, and then setting the lights and props again, over and over, all they would have to do is re-decorate the area to become the next thing they needed. Bridges would complete the film that day before the Directors Guild strike deadline, but the strike would never happen. But there would be some issue with the final writing credits. While Bridges had used McInerney's original screenplay as a jumping off point, the writer/director had really latched on to the mother's death as the emotional center of the movie. Bridges' own grandmother had passed away in 1986, and he found writing those scenes to be cathartic for his own unresolved issues. But despite the changes Bridges would make to the script, including adding such filmmaking tropes as flashbacks and voiceovers, and having the movie broken up into sections by the use of chapter titles being typed out on screen, the Writers Guild would give sole screenwriting credit to Jay McInerney. As post-production continued throughout the fall, the one topic no one involved in the production wanted to talk about or even acknowledge was the movie version of Bret Easton Ellis's Less Than Zero that rival studio 20th Century Fox had been making in Los Angeles. It had a smaller budget, a lesser known filmmaker, a lesser known cast lead by Andrew McCarthy and Jami Gertz, and a budget half the size. If their film was a hit, that could be good for this one. And if their film wasn't a hit? Well, Bright Lights was the trendsetter. It was the one that sold more copies. The one that saw its author featured in more magazines and television news shows. How well did Less Than Zero do when it was released into theatres on November 6th, 1987? Well, you're just going to have to wait until next week's episode. Unless you're listening months or years after they were published, and are listening to episodes in reverse order. Then you already know how it did, but let's just say it wasn't a hit but it wasn't really a dud either. Bridges would spend nearly six months putting his film together, most of which he would find enjoyable, but he would have trouble deciding which of two endings he shot would be used. His preferred ending saw Jamie wandering through the streets of New York City early one morning, after a long night of partying that included a confrontation with his ex-wife, where he decides that was the day he was going to get his life back on track but not knowing what he was going to do, but the studio asked for an alternative ending, one that features Jamie one year in the future, putting the finishing touches on his first novel, which we see is titled… wait for it… Bright Lights, Big City, while his new girlfriend stands behind him giving her approval. After several audience test screenings, the studio would decide to let Bridges have his ending. United Artists would an April 1st, 1988 release date, and would spend months gearing up the publicity machine. Fox and Pollan were busy finishing the final episodes of that season's Family Ties, and weren't as widely available for the publicity circuit outside of those based in Los Angeles. The studio wasn't too worried, though. Michael J. Fox's last movie, The Secret of My Success, had been released in April 1987, and had grossed $67m without his doing a lot of publicity for that one, either. Opening on 1196 screens, the film would only manage to gross $5.13m, putting it in third place behind the previous week's #1 film, Biloxi Blues with Matthew Broderick, and the Tim Burton comedy Beetlejuice, which despite opening on nearly 200 fewer screens would gross nearly $3m more. But the reviews were not great. Decent. Respectful. But not great. The New York-based critics, like David Ansen of Newsweek and Janet Maslin of the Times, would be kinder than most other critics, maybe because they didn't want to be seen knocking a film shot in their backyard. But one person would actually would praise the film and Michael J. Fox as an actor was Roger Ebert. But it wouldn't save the film. In its second week, the film would fall to fifth place, with $3.09m worth of tickets sold, and it would drop all the way to tenth place in its third week with just under $1.9m in ticket sales. Week four would see it fall to 16th place with only $862k worth of ticket sales. After that, United Artists would stop reporting grosses. The $17m film had grossed just $16.1m. Bright Lights, Big City was a milestone book for me, in large part because it made me a reader. Before Bright Lights, I read occasionally, mainly John Irving, preferring to spend most of my free time voraciously consuming every movie I could. After Bright Lights, I picked up every Vintage Contemporary book I could get my hands on. One of the checklists of Vintage Contemporary books listed in the back of a Vintage Contemporary book. And one thing that really helped out was the literal checklist of other books available from that imprint in the back of each book. Without those distinct covers, I don't know if I would have discovered some of my favorite authors like Raymond Carver and Don DeLillo and Richard Ford and Richard Russo. Even after the Vintage Contemporary line shut down years later, I continued to read. I still read today, although not as much as I would prefer. I have a podcast to work on. I remember when the movie came out that I wasn't all that thrilled with it, and it would be nearly 35 years before I revisited it again, for this episode. I can't say it's the 80s as I remember it, because I had never been to New York City by that point in my life, I had never, and still never have, done anything like cocaine. And I had only ever had like two relationships that could be considered anything of substance, let alone marriage and a divorce. But I am certain it's an 80s that I'm glad I didn't know. Mainly because Jamie's 80s seemed rather boring and inconsequential. Fox does the best he can with the material, but he is not the right person for the role. As I watched it again, I couldn't help but wonder what if the roles were reversed. What if Keifer Sutherland played Jamie and Michael J. Fox played the friend? That might have been a more interesting movie, but Sutherland was not yet at that level of stardom. Thank you for joining us. We'll talk again next week, when Episode 95, on the novel and movie version of Less Than Zero is released. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Bright Lights, Big City, both the book and the movie, as well as other titles in the Vintage Contemporary book series. The full cover, back and front, of Richard Ford's 1986 The Sportswriter, which would be the first of four novels about Frank Bascombe, a failed novelist who becomes a sportswriter. The second book in the series, 1995's Independence Day, would win the Pulitzer Prize for Fiction, as well as the PEN/Faulkner Award for Fiction, the first of only two times the same book would win both awards the same year. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.  

On this episode, we travel back to 1984, and the days when a "young adult" novel included lots of drugs and partying and absolutely no sparkly vampires or dystopian warrior girls. We're talking about Jay McInerney's groundbreaking novel, Bright Lights, Big City, and its 1988 film version starring Michael J. Fox and Keifer Sutherland. ----more---- Hello, and welcome to The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. The original 1984 front cover for Jay McInerney's Bright Lights, Big City If you were a young adult in the late 1980s, there's a very good chance that you started reading more adult-y books thanks to an imprint called Vintage Contemporaries. Quality books at an affordable paperback price point, with their uniform and intrinsically 80s designed covers, bold cover and spine fonts, and mix of first-time writers and cult authors who never quite broke through to the mainstream, the Vintage Contemporary series would be an immediate hit when it was first launched in September 1984. The first set of releases would include such novels as Raymond Carver's Cathedral and Thomas McGuane's The Bushwhacked Piano, but the one that would set the bar for the entire series was the first novel by a twenty-nine year old former fact checker at the New Yorker magazine. The writer was Jay McInerney, and his novel was Bright Lights, Big City. The original 1984 front cover for Raymond Carver's Cathedral Bright Lights, Big City would set a template for twenty something writers in the 1980s. A protagonist not unlike the writer themselves, with a not-so-secret drug addiction, and often written in the second person, You, which was not a usual literary choice at the time. The nameless protagonist, You, is a divorced twenty-four year old wannabe writer who works as fact-checker at a major upscale magazine in New York City, for which he once dreamed of writing for. You is recently divorced from Amanda, an aspiring model he had met while going to school in Kansas City. You would move to New York City earlier in the year with her when her modeling career was starting to talk off. While in Paris for Fashion Week, Amanda called You to inform him their marriage was over, and that she was leaving him for another man. You continues to hope Amanda will return to him, and when it's clear she won't, he not only becomes obsessed with everything about her that left in their apartment, he begins to slide into reckless abandon at the clubs they used to frequent, and becoming heavily addicted to cocaine, which then affects his performance at work. A chance encounter with Amanda at an event in the city leads You to a public humiliation, which makes him starts to realize that his behavior is not because his wife left him, but a manifestation of the grief he still feels over his mother's passing the previous year. You had gotten married to a woman he hardly knew because he wanted to make his mother happy before she died, and he was still unconsciously grieving when his wife's leaving him triggered his downward spiral. Bright Lights, Big City was an immediate hit, one of the few paperback-only books to ever hit the New York Times best-seller chart. Within two years, the novel had sold more than 300,000 copies, and spawned a tidal wave of like-minded twentysomething writers becoming published. Bret Easton Ellis might have been able to get his first novel Less Than Zero published somewhere down the line, but it was McInerney's success that would cause Simon and Schuster to try and duplicate Vintage's success, which they would. Same with Tana Janowitz, whose 1986 novel Slaves of New York was picked up by Crown Publishers looking to replicate the success of McInerney and Ellis, despite her previous novel, 1981's American Dad, being completely ignored by the book buying public at that time. While the book took moments from his life, it wasn't necessarily autobiographical. For example, McInerney had been married to a fashion model in the early 1980s, but they would meet while he attended Syracuse University in the late 1970s. And yes, McInerney would do a lot of blow during his divorce from his wife, and yes, he would get fired from The New Yorker because of the effects of his drug addiction. Yes, he was partying pretty hard during the times that preceded the writing of his first novel. And yes, he would meet a young woman who would kinda rescue him and get him on the right path.  But there were a number of details about McInerney's life that were not used for the book. Like how the author studied writing with none other than Raymond Carver while studying creative writing at Syracuse, or how his family connections would allow him to submit blind stories to someone like George Plimpton at the Paris Review, and not only get the story read but published. And, naturally, any literary success was going to become a movie at some point. For Bright Lights, it would happen almost as soon as the novel was published. Robert Lawrence, a vice president at Columbia Pictures in his early thirties, had read the book nearly cover to cover in a single sitting, and envisioned a film that could be “The Graduate” of his generation, with maybe a bit of “Lost Weekend” thrown in. But the older executives at the studio balked at the idea, which they felt would be subversive and unconventional. They would, however, buy in when Lawrence was able to get mega-producer Jerry Weintraub to be a producer on the film, who in turn was able to get Joel Schumacher, who had just finished filming St. Elmo's Fire for the studio, to direct, and get Tom Cruise, who was still two years away from Top Gun and megastardom, to play the main character. McInerney was hired to write the script, and he and Schumacher and Cruise would even go on club crawls in New York City to help inform all of the atmosphere they were trying to capture with the film. In 1985, Weintraub would be hired by United Artists to become their new chief executive, and Bright Lights would be one of the properties he would be allowed to take with him to his new home. But since he was now an executive, Weintraub would need to hire a new producer to take the reigns on the picture. Enter Sydney Pollack. By 1985, Sydney Pollack was one of the biggest directors in Hollywood. With films like They Shoot Horses, Don't They?, Jeremiah Johnson, Three Days of the Condor, The Electric Horseman and Tootsie under his belt, Pollock could get a film made, and get it seen by audiences. At least, as a director. At this point in his career, he had only ever produced one movie, Alan Rudolph's 1984 musical drama Songwriter, which despite being based on the life of Willie Nelson, and starring Nelson, Kris Kristofferson and Rip Torn, barely grossed a tenth of its $8m budget. And Pollock at that moment was busy putting the finishing touches on his newest film, an African-based drama featuring Meryl Streep and longtime Pollock collaborator Robert Redford. That film, Out of Africa, would win seven Academy Awards including Best Picture and Best Director, in March 1986, which would keep Pollock and his producing partner Mark Rosenberg's attention away from Bright Lights for several months. Once the hype on Out of Africa died down, Pollock and Rosenberg got to work getting Bright Lights, Big City made. Starting with hiring a new screenwriter, a new director, and a new leading actor. McInerney, Schumacher and Cruise had gotten tired of waiting. Ironically, Cruise would call on Pollock to direct another movie he was waiting to make, also based at United Artists, that he was going to star in alongside Dustin Hoffman. That movie, of course, is Rain Man, and we'll dive into that movie another time. Also ironically, Weintraub would not last long as the CEO of United Artists. Just five months after becoming the head of the studio, Weintraub would tire of the antics of Kirk Kerkorian, the owner of United Artists and its sister company, MGM, and step down. Kerkorian would not let Weintraub take any of the properties he brought from Columbia to his new home, the eponymously named mini-major he'd form with backing from Columbia. With a new studio head in place, Pollock started to look for a new director. He would discover that director in Joyce Chopra, who, after twenty years of making documentaries, made her first dramatic narrative in 1985. Smooth Talk was an incredible coming of age drama, based on a story by Joyce Carol Oates, that would make a star out of then seventeen-year-old Laura Dern. UA would not only hire her to direct the film but hire her husband, Tom Cole, who brilliantly adapted the Oates story that was the basis for Smooth Talk, to co-write the screenplay with his wife. While Cole was working on the script, Chopra would have her agent send a copy of McInerney's book to Michael J. Fox. This wasn't just some random decision. Chopra knew she needed a star for this movie, and Fox's agent just happened to be Chopra's agent. That'd be two commissions for the agent if it came together, and a copy of the book was delivered to Fox's dressing room on the Family Ties soundstage that very day. Fox loved the book, and agreed to do the film. After Alex P. Keaton and Marty McFly and other characters he had played that highlighted his good looks and pleasant demeanor, he was ready to play a darker, more morally ambiguous character. Since the production was scheduled around Fox's summer hiatus from the hit TV show, he was in. For Pollock and United Artists, this was a major coup, landing one of the biggest stars in Hollywood. But the project was originally going to be Toronto standing in for New York City for less than $7m with a lesser known cast. Now, it was going to be a $15m with not only Michael J. Fox but also Keifer Sutherland, who was cast as Tad, the best friend of the formerly named You, who would now known as Jamie Conway, and would be shot on location in New York City. The film would also feature Phoebe Cates as Jamie's model ex-wife, William Hickey, Kelly Lynch. But there was a major catch. The production would only have ten weeks to shoot with Fox, as he was due back in Los Angeles to begin production on the sixth season of Family Ties.  He wasn't going to do that thing he did making a movie and a television show at the same time like he did with Back to the Future and Family Ties in 1984 and 1985. Ten weeks and not a day more. Production on the film would begin on April 13th, 1987, to get as much of the film shot while Fox was still finishing Family Ties in Los Angeles. He would be joining the production at the end of the month. But Fox never get the chance to shoot with Chopra. After three weeks of production, Chopra, her husband, and her cinematographer James Glennon, who had also shot Smooth Talk, were dismissed from the film. The suits at United Artists were not happy with the Fox-less footage that was coming out of New York, and were not happy with the direction of the film. Cole and Chopra had removed much of the nightlife and drug life storyline, and focused more on the development of Jamie as a writer. Apparently, no one at the studio had read the final draft of the script before shooting began. Cole, the screenwriter, says it was Pollock, the producer, who requested the changes, but in the end, it would be not the Oscar-winning filmmaker producing the movie that would be released but the trio of newer creatives. Second unit footage would continue to shoot around New York City while the studio looked for a new director. Ironically, days after Chopra was fired, the Directors Guild of America had announced that if they were not able to sign a new agreement with the Producers Guild before the end of the current contract on June 30th, the directors were going on strike. So now United Artists were really under the gun. After considering such filmmakers as Belgian director Ulu Grosbard, who had directed Meryl Streep and Robert De Niro in Falling in Love, and Australian director Bruce Beresford, whose films had included Breaker Morant and Tender Mercies, they would find their new director in James Bridges, whose filmography included such critical and financial success as The Paper Chase, The China Syndrome and Urban Cowboy, but had two bombs in a row in 1984's Mike's Murder and 1985's Perfect. He needed a hit, and this was the first solid directing offer in three years. He'd spend the weekend after his hiring doing some minor recasting, including bringing in John Houseman, who won a Best Supporting Actor Oscar for his role in The Paper Chase, as well as Swoosie Kurtz, Oscar-winning actors Jason Robards and Dianne Weist, and Tracy Pollan, Fox's co-star on Family Ties, who would shortly after the filming of Bright Lights become Mrs. Michael J. Fox, although in the film, she would be cast not as a love interest to her real-life boyfriend's character but as the wife of Keifer Sutherland's character. After a week of rewriting McInerney's original draft of the screenplay from the Schumacher days, principal photography re-commenced on the film. And since Bridges would be working with famed cinematographer Gordon Willis, who had shot three previous movies with Bridges as well as the first two Godfather movies and every Woody Allen movie from Annie Hall to The Purple Rose of Cairo, it was also decided that none of Chopra's footage would be used. Everything would start back on square one. And because of the impending Directors Guild strike, he'd have only thirty-six days, a tad over five weeks, to film everything. One of the lobby cards from the movie version of Bright Lights, Big City And they were able to get it all done, thanks to some ingenious measures. One location, the Palladium concert hall on the Lower East Side of Manhattan, would double as three different nightclubs, two discotheques and a dinner club. Instead of finding six different locations, which would loading cameras and lights from one location to another, moving hundreds of people as well, and then setting the lights and props again, over and over, all they would have to do is re-decorate the area to become the next thing they needed. Bridges would complete the film that day before the Directors Guild strike deadline, but the strike would never happen. But there would be some issue with the final writing credits. While Bridges had used McInerney's original screenplay as a jumping off point, the writer/director had really latched on to the mother's death as the emotional center of the movie. Bridges' own grandmother had passed away in 1986, and he found writing those scenes to be cathartic for his own unresolved issues. But despite the changes Bridges would make to the script, including adding such filmmaking tropes as flashbacks and voiceovers, and having the movie broken up into sections by the use of chapter titles being typed out on screen, the Writers Guild would give sole screenwriting credit to Jay McInerney. As post-production continued throughout the fall, the one topic no one involved in the production wanted to talk about or even acknowledge was the movie version of Bret Easton Ellis's Less Than Zero that rival studio 20th Century Fox had been making in Los Angeles. It had a smaller budget, a lesser known filmmaker, a lesser known cast lead by Andrew McCarthy and Jami Gertz, and a budget half the size. If their film was a hit, that could be good for this one. And if their film wasn't a hit? Well, Bright Lights was the trendsetter. It was the one that sold more copies. The one that saw its author featured in more magazines and television news shows. How well did Less Than Zero do when it was released into theatres on November 6th, 1987? Well, you're just going to have to wait until next week's episode. Unless you're listening months or years after they were published, and are listening to episodes in reverse order. Then you already know how it did, but let's just say it wasn't a hit but it wasn't really a dud either. Bridges would spend nearly six months putting his film together, most of which he would find enjoyable, but he would have trouble deciding which of two endings he shot would be used. His preferred ending saw Jamie wandering through the streets of New York City early one morning, after a long night of partying that included a confrontation with his ex-wife, where he decides that was the day he was going to get his life back on track but not knowing what he was going to do, but the studio asked for an alternative ending, one that features Jamie one year in the future, putting the finishing touches on his first novel, which we see is titled… wait for it… Bright Lights, Big City, while his new girlfriend stands behind him giving her approval. After several audience test screenings, the studio would decide to let Bridges have his ending. United Artists would an April 1st, 1988 release date, and would spend months gearing up the publicity machine. Fox and Pollan were busy finishing the final episodes of that season's Family Ties, and weren't as widely available for the publicity circuit outside of those based in Los Angeles. The studio wasn't too worried, though. Michael J. Fox's last movie, The Secret of My Success, had been released in April 1987, and had grossed $67m without his doing a lot of publicity for that one, either. Opening on 1196 screens, the film would only manage to gross $5.13m, putting it in third place behind the previous week's #1 film, Biloxi Blues with Matthew Broderick, and the Tim Burton comedy Beetlejuice, which despite opening on nearly 200 fewer screens would gross nearly $3m more. But the reviews were not great. Decent. Respectful. But not great. The New York-based critics, like David Ansen of Newsweek and Janet Maslin of the Times, would be kinder than most other critics, maybe because they didn't want to be seen knocking a film shot in their backyard. But one person would actually would praise the film and Michael J. Fox as an actor was Roger Ebert. But it wouldn't save the film. In its second week, the film would fall to fifth place, with $3.09m worth of tickets sold, and it would drop all the way to tenth place in its third week with just under $1.9m in ticket sales. Week four would see it fall to 16th place with only $862k worth of ticket sales. After that, United Artists would stop reporting grosses. The $17m film had grossed just $16.1m. Bright Lights, Big City was a milestone book for me, in large part because it made me a reader. Before Bright Lights, I read occasionally, mainly John Irving, preferring to spend most of my free time voraciously consuming every movie I could. After Bright Lights, I picked up every Vintage Contemporary book I could get my hands on. One of the checklists of Vintage Contemporary books listed in the back of a Vintage Contemporary book. And one thing that really helped out was the literal checklist of other books available from that imprint in the back of each book. Without those distinct covers, I don't know if I would have discovered some of my favorite authors like Raymond Carver and Don DeLillo and Richard Ford and Richard Russo. Even after the Vintage Contemporary line shut down years later, I continued to read. I still read today, although not as much as I would prefer. I have a podcast to work on. I remember when the movie came out that I wasn't all that thrilled with it, and it would be nearly 35 years before I revisited it again, for this episode. I can't say it's the 80s as I remember it, because I had never been to New York City by that point in my life, I had never, and still never have, done anything like cocaine. And I had only ever had like two relationships that could be considered anything of substance, let alone marriage and a divorce. But I am certain it's an 80s that I'm glad I didn't know. Mainly because Jamie's 80s seemed rather boring and inconsequential. Fox does the best he can with the material, but he is not the right person for the role. As I watched it again, I couldn't help but wonder what if the roles were reversed. What if Keifer Sutherland played Jamie and Michael J. Fox played the friend? That might have been a more interesting movie, but Sutherland was not yet at that level of stardom. Thank you for joining us. We'll talk again next week, when Episode 95, on the novel and movie version of Less Than Zero is released. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Bright Lights, Big City, both the book and the movie, as well as other titles in the Vintage Contemporary book series. The full cover, back and front, of Richard Ford's 1986 The Sportswriter, which would be the first of four novels about Frank Bascombe, a failed novelist who becomes a sportswriter. The second book in the series, 1995's Independence Day, would win the Pulitzer Prize for Fiction, as well as the PEN/Faulkner Award for Fiction, the first of only two times the same book would win both awards the same year. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.  

Marcia Franklin talks with author Richard Ford, who won a Pulitzer Prize for Independence Day, a book in his Frank Bascombe series, and who was nominated for a Pulitzer for his most recent book in the series Let Me Be Frank With You. Ford talks with Franklin about his themes, his writing style, his muse and his thoughts on race relations. Don't forget to subscribe, and visit the Dialogue website for more conversations that matter. Originally Aired: 11/6/2015 The interview is part of Dialogue's series “Conversations from the Sun Valley Writers' Conference” and was taped at the 2015 conference. Since 1995, the conference has been bringing together some of the world's most well-known and illuminating authors to discuss literature and life.

Watch the video here. In conversation with Andy Kahan, Ruth W. and A. Morris Williams director of author events. ''A talent as strong and varied as American fiction has to offer" (The New York Review of Books), Richard Ford won the 1995 Pulitzer Prize and PEN/Faulkner Award for Independence Day, the sequel to his bestselling 1986 novel The Sportswriter. In 2006 and 2014 he returned to his most indelible character, famed everyman protagonist Frank Bascombe, in The Lay of the Land and the Pulitzer Prize finalist Let Me Be Frank With You. He is also the author of several other novels and story collections. His first memoir is an intimate portrait of his parents' travails across the panorama of mid-20th century America.  Natalie Cohn Memorial Lecture (recorded 5/2/2017)

Come along with us as we enter Frank Bascombe's beguiling and irreconciled Existence Period, which plays out over 450 pages in Richard Ford's Independence Day. Then, at the hour mark, we chat about the trade that sent Carmelo Anthony from the Knicks to the OKC Thunder, and how that changes the landscape of the Western Conference. Join us next week as we talk Lydia Davis and get excited for the fast-approaching start of the NBA season.

New Jersey stands in for Algeria, not that Frank Bascombe would have noticed, living the good life and everything’s okay and nothing bears too much looking into – like the giant chasm of nothingness opening up beneath his feet. With guest appearances from Steinbeck, Faulkner and AC himself. Download the mp3 file Subscribe in iTunes >>> From recent débuts to classics, fiction to non-fiction, memoirs, philosophy, science, history and journalism, Burning Books separates the smoking from the singeworthy, looking at the pleasures (and pains) of reading, the craft of writing, the ideas that are at the heart of great novels as well as novels that try to be great, but don’t quite make it. http://litopia.com/shows/burn/

New Jersey stands in for Algeria, not that Frank Bascombe would have noticed, living the good life and everything’s okay and nothing bears too much looking into – like the giant chasm of nothingness opening up beneath his feet. With guest appearances from Steinbeck, Faulkner and AC himself. Download the mp3 file Subscribe in iTunes >>> From recent débuts to classics, fiction to non-fiction, memoirs, philosophy, science, history and journalism, Burning Books separates the smoking from the singeworthy, looking at the pleasures (and pains) of reading, the craft of writing, the ideas that are at the heart of great novels as well as novels that try to be great, but don’t quite make it. http://litopia.com/shows/burn/

Richard Ford discusses his book, Let Me Be Frank With You: A Frank Bascombe Book.

Frank Bascombe, who's been making appearances since Ford's breakthrough novel, appears again in Richard Ford's latest novel.

Last year, Richard Ford published a book called "Let Me Be Frank With You." It's the fourth book he's written about his most famous protagonist, the New Jersey-dwelling former sportswriter, Frank Bascombe. One of these books, "Independence Day," won the Pulitzer Prize. We talk to him about his celebrated career and what keeps drawing him back to Frank.

0:00: Intro2:00: Author Daniel H. Wilson, who brought us “Robopocalypse,” talks about the launch of his new mobile game, “Mayday! Deep Space!” with collaborator of Nick Lambert from Mountain Machine Studios.11:00: Pulitzer Prize and PEN/Faulkner Award winner Richard Ford talks about his new book “Let Me Frank With You,” which catches up with his most famous character, Frank Bascombe. We also talk about Ford’s approach to social issues.

Richard Ford and I don't always see eye to eye on his long-running protagonist Frank Bascombe, and he thinks that's OK, even a good thing. Amidst differing readings and some good-natured contrariety, I learned a lot about Richard the writer, his craft and the man himself. With Frank Bascombe's return in Richard's new collection of stories, this interview feels as timely as it did when first broadcast eight years ago to the day.

This week, we welcome novelist Richard Ford, the Pulitzer Prize-winning author of "The Sportswriter," "Independence Day," and "The Lay of the Land." Ford comes to NYPL to talk about his latest book, "Let Me Be Frank with You," a fourth installment in his bestselling Frank Bascombe series, which now finds its protagonist struggling to make sense of his past in the wake of Hurricane Sandy.

Richard Ford talks about how the commotion of Hurricane Sandy led him to publish another work featuring Frank Bascombe, what Emerson taught him about character, and why the middle section of TO THE LIGHTHOUSE earned the novel a spot on his desert island booklist.

Celebrated American writer Richard Ford discusses his new novel Let Me Be Frank With You - which continues the story of his much loved character Frank Bascombe. A notebook of Dylan Thomas's poetry has been rediscovered after 70 years. It offers a unique insight into the creative workings of Dylan during one of his most creative periods. Sotheby's manuscript expert Gabriel Heaton brings the book into the Front Row studio and discusses its importance. Queen Forever is a new album out this week. It's produced by William Orbit who describes creating a track using previously unheard vocals by Michael Jackson as well as a new mix of an unreleased Queen song. Theatre director Kate Hewitt discusses her new production of Caryl Churchill's Far Away, funded by her receipt of the James Menzies-Kitchin award for young directors of thrilling promise.

Nightcrawler is a movie about the ambulance-chasing camera crews who film at the site of traffic accidents, shootings etc and sell the footage to TV stations for their news bulletins. Starring Jake Gyllenhaal, we see him begin his nightcrawling career, but will it make a good man turn bad? 'Tis Pity She's a Whore is being staged at London's Globe Theatre. Written in the early 1600s by John Ford, the plot includes incest which made it extremely controversial at the time. And it was so controversial in fact that it wasn't revived in London until 1923. How will 21st century London audiences respond? Richard Ford's new book Let Me Be Frank With You is a collection of short stories all featuring the same main character: Frank Bascombe who has appeared in Ford's previous work. He's getting older and returns in all his imperfect glory, dealing with the mess of life. The Queen recently opened the latest gallery at London's Science Museum. It's called The Information Age and it's the first permanent gallery dedicated to the history of information and communication technologies. How have they managed to bring Translatlantic cable-laying to life? BBC1's latest World War 1 drama, Passing Bells follows the lives of two young recruits, one English, one German as they take part in and are affected by the conflict. Tom Sutcliffe is joined by Linda Grant, Emma Woolf and David Benedict. The producer is Oliver Jones.