Podcast appearances and mentions of Franklin J Shaffner

Cerramos con este programa los dedicados al maestro Jerry Goldsmith. Terminamos así con este repaso que hemos hecho a su carrera como compositor de cine y televisión. Fue director de orquesta además de compositor versátil y creativo, capaz de componer bandas sonoras intimistas como “PURA ENERGÍA”, amenazadoras como “LA PROFECÍA”, románticas como “EL VIENTO Y EL LEÓN”, o enérgicas como “DESAFÍO TOTAL”, cuyo tema puede que os suene por haber sido utilizado a menudo en televisión. Tras los programas que dedicamos a sus trabajos para el cine del Oeste y el de algunas de sus temas de películas hechos canción, preparamos otros dos recopilatorios de sus bandas sonoras más famosas aparte de los westerns. El mes pasado dimos un repaso a sus composiciones para películas de corte dramático, policíaco y bélico. En este cuarto y último programa recogemos algunas muestras de sus originales composiciones dentro del cine de fantasía, aventuras y de acción. La ciencia ficción llenó gran parte de su filmografía y sus repetidas colaboraciones con directores como Peter Hyams, Franklin J. Shaffner, Joe Dante o Paul Verhoeven dieron muy buenos resultados tanto en pantalla como en taquilla. Goldsmith encontró el sonido para un planeta desconocido y gobernado por simios. Partió de cero, de los sonidos de la naturaleza. Era 1968 y aún no había llegado “La guerra de las galaxias” con las fanfarrias y el sinfonismo de John Williams. Hemos reducido a un tema por película para poder dar cabida a un mayor número de temas, si bien es cierto que Goldsmith escribía mucho más que un solo tema por película, pero no podemos dilatar tanto en el tiempo este homenaje porque sabemos que siempre quedarán fuera muchos de sus trabajos. Para terminar añadiré que tampoco estuvo muy acertada la Academia de Artes y Ciencias de Hollywood con Jerry Goldsmith al que tras haberle nominado hasta en dieciocho ocasiones, sólo ganó el Oscar por su banda sonora para “La profecía”. Esperamos disfrutes con la capacidad creativa del maestro Jerry Goldsmith. 00h 00’00” Presentación 00h 02’15” Cabecera 00h 02’52” 1963 EL PREMIO (The prize) 00h 04’46” 1966 FLINT AGENTE SECRETO (Our man Flint) 00h 06’37” 1967 IN LIKE FLINT (F de Flint) 00h 09’09” 1968 EL PLANETA DE LOS SIMIOS (Planet of the apes) 00h 11’13” 1975 EL VIENTO Y EL LEÓN (The wind and the lion) 00h 15’10” 1976 LA PROFECIA (The omen) 00h 17’25” 1976 LA FUGA DE LOGAN (Logan’s run) 00h 20’26” 1978 LOS NIÑOS DEL BRASIL (The boys from Brazil) 00h 23’16” 1978 COMA (Coma) 00h 25’50” 1979 ALIEN (Alien) 00h 35’59” 1979 STAR TREK 00h 39’12” 1979 EL PRIMER GRAN ASALTO AL TREN (The first train robbery) 00h 41’43” 1981 LEGEND (Legend) 00h 46’43” 1981 ATMÓSFERA CERO (Outland) 00h 50’33” 1982 ACORRALADO (First blood) 00h 54’26” 1982 FUGA DE NOCHE (Night crossing) 01h 00’34” 1982 POLTERGEIST, Fenómenos extraños (Poltergeist) 01h 04’39” 1982 EL SECRETO DE NIMH (The secreto f Nimh) 01h 07’49” 1983 EN LOS LÍMITES DE LA REALIDAD (Twilight zone) 01h 13’56” 1984 BABY, La leyenda perdida (Baby) 01h 17’50” 1984 GREMLINS (Gremlins) 01h 25’29” 1984 SUPERGIRL (Supergirl) 01h 28’06” 1985 EXPLORADORES (Explorers) 01h 30’31” 1985 LAS MINAS DEL REY SALOMÓN (King Solomon’s mines) 01h 34’05” 1987 EL CHIP PRODIGIOSO (Innerspace) 01h 36’13” 1987 LIONHEART The children’s crusade) 01h 44’45” 1988 NO MATARÁS … AL VECINO (The burbs) 01h 47’15” 1990 DESAFÍO TOTAL (Total recall) 01h 50’44” 1992 ETERNAMENTE JOVEN (Forever Young) 01h 54’42” 1994 RIO SALVAJE (The river wilde) 02h 00’24” 1995 EL PRIMER CABALLERO (First Knight) 02h 04’21” 1996 LOS DEMONIOS DE LA NOCHE ((The ghost and the darkness) 02h 06’26” 1997 AIR FORCE ONE, El avión del Presidente (Air Force One) 02h 11’42” 1997 EL DESAFÍO (The edge) 02h 14’35” 1998 MULAN (Mulan) 02h 19’29” 1998 PEQUEÑOS GUERREROS (Small soldiers) 02h 24’05” 1999 LA MOMIA (The mummy)00h 00’00” Presentación

Benvenuti nella raccolta in formato Podcast delle puntate di #CloseUp, a cura di Matteo Righi, aka Houssy. #CloseUp è la rubrica di recensioni cinematografiche in onda su Radio Italia Anni 60 Emilia-Romagna.

This week, Rob and Duncan are marching through Europe, led by a certifiable madman. It's Patton! Franklin J. Shaffner's 1970 film (from a Francis Ford Coppola script) won George C. Scott an Oscar for his portrayal of the WWII general (an Oscar that he turned down) but how much did Richard Nixon like this film? How much did Patton hate Montie? And, finally, have be arrived at the operation that changed the course of the war?? Presented by Robert Hutton and Duncan Weldon. Produced and edited by Podot. Hosted on Acast. See acast.com/privacy for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices

Well Sundance 2022 has begun and so has our coverage. Today on the show we have writer/director Chloe Okuno. Chloe is a graduate of UC Berkeley with a masters degree from the American Film Institute Conservatory. There she received the Franklin J. Shaffner Fellow Award, and directed the award-winning horror short film SLUT. Her recent work includes writing a remake of “Audrey Rose” for Orion Pictures and writing and directing a segment of the anthology series V/H/S/94.She's the director of this year's Sundance feature film Watcher. Julia joins her husband when he relocates to his family's native Romania for a new job. Having recently abandoned her acting career, she finds herself frequently alone and unoccupied. One night, people-watching from her picture window, she spots a vague figure in an adjacent building, who seems to be looking back at her. Soon after, while alone at a local movie theater, Julia's sense of being watched intensifies, and she becomes certain she's being followed — could it be the same unknown neighbor? Meanwhile, a serial killer known as The Spider stalks the city.Below iIn making “Watcher,” I wanted to capture a kind of constant, uncomfortable dread that accompanies many women throughout their lives- one that is expressed through the character of Julia. Julia moves into this apartment building with her husband and quickly begins to believe she is being watched.She recognizes that the Watcher is a threat. She feels it very clearly- even if it's difficult to articulate the extent of that threat to the people around her. It's a situation that's probably quite familiar to most women. We experience the world in a different way than men and then when we try to express that experience, we're often doubted- written off as paranoid, irrational, or overly sensitive… which in turn can make us begin to doubt ourselves. This has always been at the core of a story that in other ways has evolved greatly since I was first hired to direct it in 2017. Initially, the script was set in New York City, but when it became clear that we would be shooting the movie in Romania, I decided to rewrite it to take place in Bucharest.There are times as a filmmaker where practical limitations end up being creatively very freeing- unlocking something great when you're willing to embrace the unexpected. This was one of those times. Suddenly, Julia's experience as a foreigner in this new city heightens all her other feelings of unease and uncertainty.She finds herself increasingly isolated- largely unable to speak the language and therefore alienated from everyone around her. There were of course natural (sometimes uncomfortable) parallels shooting the movie on location in Romania: unable to speak the language, oftentimes sequestered in a hotel room amidst the raging pandemic, and occasionally fighting against the doubt that surrounds you as a woman working in a male dominated profession.Fortunately, life didn't fully imitate art. I finished the movie without any nightmarish descent into Watcher-style darkness, content with the hope that all of the tension found its way on screen. The filmmakers I admire are the ones who are able to create a language for emotion through their craft, translating what they feel into a form that other people can see and experience for themselves.For Watcher I was inspired by the work of David Fincher, Sofia Coppola, Satoshi Kon, Roman Polanski, Krzysztof Kieslowski, and Mary Harron- filmmakers who have excelled at translating fear, loneliness, and alienation. The hope is always that there will be someone else who can empathize- telling stories so that we can take comfort in the recognition of ourselves in others. As a person filled with seemingly endless anxieties, making films is the best- and possibly the only- way I've found to confront them.I've done my best to portray them honestly in this film, and I can only hope that those who have experienced similar fears and anxieties will find solace in the knowledge that they are not alone. Enjoy my conversation with Chloe Okuno.

What does it take for an older film to be considered completely inappropriate and dated, to the point where you find no enjoyment in it? Should we forgive a classic comedy for it's 50 year old offenses? Listen along and find out! Up Next: Patton (1970) directed by Franklin J. Shaffner Special thanks to Sean C. for being generous supporter of Once Upon a Time at the Oscars! You can find more info on the show as well as the full film list and watch order on our website: www.outaopodcast.com Or use our Letterboxd list! Support for Once Upon a Time at the Oscars is provided by our Patreon backers. For as little as $2 a month you can help support our show as well as receive fun benefits, including the chance to vote for what film you think deserves to win Best Picture every year! Subscribe to the show – Apple, Google, Spotify, Feed (Copy the url into the podcast app of your choice) If you like the show, please consider leaving a rating or review on iTunes or your podcast player of choice! Help us reach more listeners! You can stay up to date with the show by following us at: facebook.com/outaopodcast twitter.com/outaopodcast instagram.com/onceuponatimeattheoscars Once Upon a Time at the Oscars is the weekly podcast where we take on the gauntlet of watching every single film that was nominated for Best Picture at the Academy Awards! Starting with the films of 1927, Kyle and Marilee break down these movies every week. Each episode is part review, part trivia, and part critique. This podcast is intended for anybody that loves movies. We have zero background in the film industry, we're just a film-loving couple that thought it'd be fun to go on this odyssey together, with all of you! Let us know what you thought of the film! You can send your thoughts and we'll read them on an upcoming ceremony episode: outaopodcast@gmail.com Thanks for tuning in! See you at the movies, Kyle and Marilee

Based on a novel by Pierre Boulle and Directed by Franklin J. Shaffner. Starring Charlton Heston, Roddy McDowall, Kim Hunter and Maurice Evans.