POPULARITY
11 episodes with Gaumont
9 episodes with Gaumont
7 episodes with Gaumont
5 episodes with Gaumont
13 episodes with Gaumont
7 episodes with Gaumont
4 episodes with Gaumont
5 episodes with Gaumont
6 episodes with Gaumont
57 ans après "Yellow Submarine", Paul McCartney va à nouveau être associé à un film d'animation, mais cette fois-ci en tant qu'auteur et producteur. Il travaille depuis 8 ans avec la firme Gaumont à l'adaptation pour le cinéma du livre pour enfant "High in the clouds" qu'il a écrit et publié en 2005. Le film animé en 3D est en cours de fabrication, il arrivera au cinéma en 2027... Ecoutez La star du jour avec Anthony Martin du 16 juin 2025.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.
En el nuevo episodio, comentamos Lo Que Escribimos Juntos, escrita y dirigida por Nicolás Teté @nicoteteJuan (@ezequiel.ez ) y Mariano ( @sanmagarinos ) son una pareja de varios años que decide mudarse de la ciudad a un lugar más tranquilo.La visita de una amiga (@nazarenaprozas) desatará un cuestionamiento entre los dos.Cine nacional, cine de trolos, como nos gusta: la pueden ver actualmente en el cine Gaumont de Buenos Aires (próximamente en otros lugares).La comentamos SIN SPOILERS.Además, leemos sus mensajes y comentarios de episodios anteriores.Dejen vuestros comentarios para Sodomarama acá abajo o en nuestras redes y si les gusta nuestro contenido pueden dejarnos una donación!https://cafecito.app/sodomaramaSi no pueden mandar cafecitos aca esta nuestro paypal amigueshttps://www.paypal.com/donate/Instagram:@SODOMARAMA@axelfritzler_@pabloataboadaO en Twitter:@NoSoyAlexOk@EnAfter Email: sodomarama@gmail.com
La société de production de films Gaumont fête ses 130 ans. Laurent Marsick a pu visiter l'entrepôt secret dans lequel sont conservés les costumes des plus grands films, les décors, les accessoires, les affiches... Un voyage exceptionnel dans l'histoire du cinéma. Depuis plus d'un an, les élèves de la "Star Ac'" cartonnent avec leurs singles et leurs albums. Trois filles se font remarquer en ce moment : Héléna, Marine, et Marguerite. Nos idées de lecture du dimanche avec Antoine Leiris et une sélection de nouveautés au rayon Livre de Poche. L'édito de Isabelle Morini-Bosc : le changement de numérotation des chaînes télé, c'est pour vendredi prochain. Ecoutez Laissez-vous tenter avec Le Service Culture du 01 juin 2025.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.
Le cinéma fête en 2025 ses 130 ans, qui est aussi l'année de naissance de la plus ancienne société cinématographique au monde (6 juillet 1895) : Gaumont. Pour l'occasion Gaumont a ouvert pour RTL en exclusivité et pour la première fois un hangar secret situé quelque part en France, où sont conservés des milliers de costumes, des décors, appareils photographiques. Visite avec Mélanie Éric, chargée de la collection Gaumont. Le cinéma sera à l'honneur de Nuit Blanche le 7 juin, et Gaumont s'est associé à la FEMIS (grande école de cinéma) pour proposer une soirée spéciale au Petit palais. Dans "Tout savoir sur", du lundi au vendredi, la rédaction de RTL revient sur un fait marquant de l'actualité avec les reporters, les correspondants et les experts de RTL. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.
Le cinéma fête en 2025 ses 130 ans, qui est aussi l'année de naissance de la plus ancienne société cinématographique au monde (6 juillet 1895) : Gaumont. Pour l'occasion Gaumont a ouvert pour RTL en exclusivité et pour la première fois un hangar secret situé quelque part en France, où sont conservés des milliers de costumes, des décors, appareils photographiques. Visite avec Mélanie Éric, chargée de la collection Gaumont. Le cinéma sera à l'honneur de Nuit Blanche le 7 juin, et Gaumont s'est associé à la FEMIS (grande école de cinéma) pour proposer une soirée spéciale au Petit palais. Dans "Tout savoir sur", du lundi au vendredi, la rédaction de RTL revient sur un fait marquant de l'actualité avec les reporters, les correspondants et les experts de RTL. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.
En cette année 2025, le cinéma fête ses 130 ans, l'âge également de la société Gaumont, qui a ouvert à Laurent Marsick pour RTL les portes d'un endroit très secret... Ecoutez La star du jour avec Laurent Marsick du 30 mai 2025.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.
Le cinéma fête en 2025 ses 130 ans, qui est aussi l'année de naissance de la plus ancienne société cinématographique au monde (6 juillet 1895) : Gaumont. Pour l'occasion Gaumont a ouvert pour RTL en exclusivité et pour la première fois un hangar secret situé quelque part en France, où sont conservés des milliers de costumes, des décors, appareils photographiques. Visite avec Mélanie Éric, chargée de la collection Gaumont. Le cinéma sera à l'honneur de Nuit Blanche le 7 juin, et Gaumont s'est associé à la FEMIS (grande école de cinéma) pour proposer une soirée spéciale au Petit palais. Dans "Tout savoir sur", du lundi au vendredi, la rédaction de RTL revient sur un fait marquant de l'actualité avec les reporters, les correspondants et les experts de RTL. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.
Le cinéma fête en 2025 ses 130 ans, qui est aussi l'année de naissance de la plus ancienne société cinématographique au monde (6 juillet 1895) : Gaumont. Pour l'occasion Gaumont a ouvert pour RTL en exclusivité et pour la première fois un hangar secret situé quelque part en France, où sont conservés des milliers de costumes, des décors, appareils photographiques. Visite avec Mélanie Éric, chargée de la collection Gaumont. Le cinéma sera à l'honneur de Nuit Blanche le 7 juin, et Gaumont s'est associé à la FEMIS (grande école de cinéma) pour proposer une soirée spéciale au Petit palais. Dans "Tout savoir sur", du lundi au vendredi, la rédaction de RTL revient sur un fait marquant de l'actualité avec les reporters, les correspondants et les experts de RTL. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.
Le cinéma fête en 2025 ses 130 ans, qui est aussi l'année de naissance de la plus ancienne société cinématographique au monde (6 juillet 1895) : Gaumont. Pour l'occasion Gaumont a ouvert pour RTL en exclusivité et pour la première fois un hangar secret situé quelque part en France, où sont conservés des milliers de costumes, des décors, appareils photographiques. Visite avec Mélanie Éric, chargée de la collection Gaumont. Le cinéma sera à l'honneur de Nuit Blanche le 7 juin, et Gaumont s'est associé à la FEMIS (grande école de cinéma) pour proposer une soirée spéciale au Petit palais. Dans "Tout savoir sur", du lundi au vendredi, la rédaction de RTL revient sur un fait marquant de l'actualité avec les reporters, les correspondants et les experts de RTL. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.
Le cinéma fête en 2025 ses 130 ans, qui est aussi l'année de naissance de la plus ancienne société cinématographique au monde (6 juillet 1895) : Gaumont. Pour l'occasion Gaumont a ouvert pour RTL en exclusivité et pour la première fois un hangar secret situé quelque part en France, où sont conservés des milliers de costumes, des décors, appareils photographiques. Visite avec Mélanie Éric, chargée de la collection Gaumont. Le cinéma sera à l'honneur de Nuit Blanche le 7 juin, et Gaumont s'est associé à la FEMIS (grande école de cinéma) pour proposer une soirée spéciale au Petit palais. Dans "Tout savoir sur", du lundi au vendredi, la rédaction de RTL revient sur un fait marquant de l'actualité avec les reporters, les correspondants et les experts de RTL. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.
André Labbouz, directeur technique de Gaumont depuis 1990, revient pour nous, le temps d'un café, sur les coulisses de quelques sorties mythiques.Aujourd'hui, Dédé revient sur la restauration d'un des films les plus cultes de la firme à la Marguerite, Les Tontons Flingueurs. Avec, en prime, un focus sur une version du film devenue invisible...Un podcast Debriefilm. 2025. Hébergé par Audion. Visitez https://www.audion.fm/fr/privacy-policy pour plus d'informations.
A l'occasion des 130 ans de Gaumont, Laurent Marsick a eu le privilège de visiter les archives cachées de la plus vieille société de production française. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.
André Labbouz, directeur technique de Gaumont depuis 1990, revient pour nous, le temps d'un café, sur les coulisses de quelques sorties mythiques.Aujourd'hui, Dédé nous invite en 1991 à l'avant-première en plein air à Orange du film Atlantis de Luc Besson.Un podcast Debriefilm. 2025. Hébergé par Audion. Visitez https://www.audion.fm/fr/privacy-policy pour plus d'informations.
The Stone of Scone, an oblong block of red sandstone used for centuries in the coronation of British monarchs, was recovered by Police on April 11th, 1951; three and a half months after its removal from Westminster Abbey on Christmas Day. Four Scottish students from the University of Glasgow (Ian Hamilton, Gavin Vernon, Kay Matheson and Alan Stuart) stole the stone in the hope it could boost interest in Scottish nationalism. Instead, it seemed to provoke a national discussion about where the stone - which they'd accidentally split in two before bungling it into their Ford Anglia - should now reside. In this episode, Arion, Rebecca and Olly decode the religious myths surrounding this ‘stone of destiny'; explain why Charles III *will* want it to ‘groan' when he sits on it; and reveal the ingenious way the authorities tracked the stone up to Arbroath… Further Reading: • ‘Theft of the Stone of Scone' (The Guardian, 2007): https://www.theguardian.com/books/2007/dec/29/featuresreviews.guardianreview • ‘The students who stole the Stone of Destiny' (BBC News): https://www.bbc.co.uk/news/uk-scotland-tayside-central-63130942 • ‘Coronation Stone of Scone discovered in Scotland' (Gaumont, 1951): https://www.youtube.com/watch?v=4-ni0XrAmtA Love the show? Support us! Join
I have never been a fan of standardized testing or evaluations, as I simply refuse to believe there is such a thing as a standard or average person. I was a successful teacher, well liked by most students, respected by my colleagues and despised by my enemies. I took professional and personal development very seriously, … Continue reading "Dear Mr. Gaumont"
Dans son apéro, JiC nous parle du match Bruins - Canadiens et d'Alex Ovechkin. Anthony Martineau nous résume la journée du tricolore Jean-Nicolas Blanchet y va de son analyse hebdomadaire Tony Marinaro nous donne son opinion sur l'actualité sportive On discute baseball avec Rodger Brulotte Anthony Martineau fait une deuxième intervention pour nous parler du CH En entrevue, JiC reçoit la mairesse de Granby, Julie Bourdon Dans son billet de saison, JiC nous parle de la transaction Pacioretty Michel Therrien est l'invité du segment «Les Coachs» Antoine Roussel analyse les dernières nouvelles de la Ligue Nationale Renaud Lavoie nous parle de trios inchangés, de Nick Suzuki, du Lightning de Tampa Bay et des Red Wings de Detroit Philippe Boucher aborde plusieurs sujets concernant la LNH On parle de boxe avec Russ Anber En entrevue, JiC reçoit le boxeur Alexandre Gaumont Une production QUB Avril 2025Pour de l'information concernant l'utilisation de vos données personnelles - https://omnystudio.com/policies/listener/fr
In this episode Alex Stolz sits down with Pierre-Alexandre (Alex) Labelle, co-founder of Under the Milky Way, the global digital distribution company helping studios, filmmakers and rights holders bring their films to VOD platforms worldwide. Alex shares his journey in the film industry, from the early days of digital distribution to working with major platforms like Apple, Google, and Amazon. He dives into the industry's evolving landscape, discussing the rise of SVOD, the ongoing relevance of transactional VOD, and the growing impact of AVOD and FAST channels (although cautioning that this may be less than has been claimed!). The conversation also explores Claudia, Under the Milky Way's latest initiative, designed to streamline the distribution process for independent filmmakers through automation and strategic insights. Alex emphasizes the importance of data in shaping film distribution strategies and how AI could revolutionize industry decision-making. Closing with a fascinating analogy comparing the predicting the future to a game of Tetris, Alex leaves listeners with thought-provoking insights on how filmmakers and distributors can adapt to a constantly shifting digital environment.
André Labbouz, directeur technique de Gaumont depuis 1990, revient pour nous, le temps d'un café, sur les coulisses de quelques sorties mythiques. Aujourd'hui, Dédé nous invite sur la tournée dans le Sud-Ouest du film Le fils à Jo.L'occasion de revenir avec lui sur un pari qui a valu à toute l'équipe de jouer une troisième mi-temps...Un podcast Debriefilm. 2025. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.
Episode #225 hosts Dave Bossert and Aljon Go share part 3 of a 3-part interview with animator, Darlie Brewster. The duo also chat up the latest entertainment news, streaming content reviews, Disney news, and the latest travel deal. Darlie Brewster was born in Canada. She is known for her work on The Prince of Egypt (1998) , Road to El Dorado (2000) , Land Before Time (1988) , All Dogs go to Heaven (1989) FernGully: The Last Rainforest (1992), The Prince of Egypt (1998), Looney Tunes Back In Action (2003), Osmosis Jones (2001) , Curious George The Movie (2006) and The Hunchback of Notre Dame (1996). She was one of the directing three animators on the original CareBears Movie (1985) and animated the test promo that sold the project to American Greeting Cards. She has worked for European companies like Passion Pictures , Gerhard Hahn and Gaumont on commercials and the Asterix features. She single handedly did all the character animation in the "Anime Sequence" of Blue Sky's Horton Hears A Who ( 2008) and did the majority of the "Disney Sequence " in Foxes Family Guy :Road to the Multiverse. . She also was one of the facial animation designers for Laika's Paranorman. 2014 she was inducted into the Academy of Motion Picture Arts and Sciences . *Source IMDb. We are now on Patreon! Click this link to support the show - Skull Rock Podcast | Join our crew! | Patreon. Exciting news, listeners! Skull Rock Podcast is thrilled to announce that we are now on Patreon. Dive deeper into the world of animation, films, and behind-the-scenes stories with your favorite hosts. By supporting us on Patreon, you help keep the magic alive and will be part of our special community. We are developing perks in the days to come! Let's make this journey even more extraordinary with your support!
Zimran Jacob is an Indian American drama television writer originally from the San Francisco Bay Area. After graduating Cum Laude from Chapman University with a B.A. in Screenwriting and studying at NYU, USC, and UCLA, he moved out to Los Angeles where he began to work in the finance department at Gaumont Television, which released Narcos, Hannibal, Hemlock Grove, and F is for Family during his tenure at the company. Zimran's job at Gaumont led him to Marvel in the writer's room on the Netflix show, The Punisher where he was able to contribute to the story in his role on the support staff as the Showrunner's Assistant. During his time at Marvel, he pitched two stories which became produced episodes. Zimran sold his feature SWAG to 19f Productions where Kevin Pollak is attached to direct. He was a PGA Diversity Workshop Fellow in 2019 and was a Semi-Finalist in both the 2018 and 2019 Austin Film Festival. Most recently, he brought enthusiasm to his job as Showrunner's Assistant for October Faction on Netflix. He writes dark Shakespearean dramas featuring Machiavellian characters, tribal power struggles, and is addicted to crime stories. Zimran brings a breadth of knowledge and a unique background to all his projects. He created a software company that he sold. He has worked as a financial advisor and an NBA journalist. On top of that, he was a nationally ranked chess player and can do that cool thing where you play a few games at the same time. https://milliondollarscreenplay.com/ www.instagram.com/zimranjacob/ www.youtube.com/@decodinghollywood8175 Adulterous Villagers Learn more about your ad choices. Visit megaphone.fm/adchoices
We are now on Patreon! Click this link to support the show - Skull Rock Podcast | Join our crew! | Patreon. Exciting news, listeners! Skull Rock Podcast is thrilled to announce that we are now on Patreon. Dive deeper into the world of animation, films, and behind-the-scenes stories with your favorite hosts. By supporting us on Patreon, you help keep the magic alive and will be part of our special community. We are developing perks in the days to come! Let's make this journey even more extraordinary with your support!
We are now on Patreon! Click this link and support the show - Skull Rock Podcast | Join our crew! | Patreon. Exciting news, listeners! Skull Rock Podcast is thrilled to announce that we are now on Patreon. Dive deeper into the world of animation, films, and behind-the-scenes stories with your favorite hosts. By supporting us on Patreon, you not only help keep the magic alive but will be part of our special community. We are developing perks in the days to come! Let's make this journey even more extraordinary with your support!
“Ce sera la prochaine révolution technologique”. L'IA, le métavers, les voitures autonomes, les cryptomonnaies... Ces dernières années, on nous promet régulièrement qu'une innovation va bouleverser notre quotidien. Mais nombre d'entre elles n'ont pas (encore) produit l'effet attendu. Dans cette série, le service Tech de L'Express nous raconte l'emballement et la chute de quatre de ces innovations. Pour finir, on s'arrête sur un rêve qu'on nous vend depuis des décennies et qui n'est toujours pas arrivé : les robots humanoïdes à domicile. Retrouvez tous les détails de l'épisode ici et inscrivez-vous à notre newsletter. L'équipe : Présentation et écriture : Charlotte BarisRéalisation et montage : Jules KrotCrédits : Canal +, Gaumont, Europe 1, NBC, DPCcars, MetropoleFilms Musique et habillage : Emmanuel Herschon / Studio Torrent Logo : Jérémy CambourPour nous écrire : laloupe@lexpress.fr Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.
“Ce sera la prochaine révolution technologique”. L'IA, le métavers, les voitures autonomes, les cryptomonnaies... Ces dernières années, on nous promet régulièrement qu'une innovation va bouleverser notre quotidien. Mais nombre d'entre elles n'ont pas (encore) produit l'effet attendu. Dans cette série, le service Tech de L'Express nous raconte l'emballement et la chute de quatre de ces innovations. Pour ce troisième épisode, on s'intéresse aux objets connectés, qui ont envahi notre quotidien et ne semblent pourtant pas convaincre les utilisateurs. Retrouvez tous les détails de l'épisode ici et inscrivez-vous à notre newsletter. L'équipe : Présentation et écriture : Charlotte BarisRéalisation et montage : Jules KrotCrédits : Canal +, Gaumont, Europe 1 Musique et habillage : Emmanuel Herschon / Studio Torrent Logo : Jérémy CambourPour nous écrire : laloupe@lexpress.fr Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.
“Ce sera la prochaine révolution technologique”. L'IA, le métavers, les voitures autonomes, les cryptomonnaies... Ces dernières années, on nous promet régulièrement qu'une innovation va bouleverser notre quotidien. Mais nombre d'entre elles n'ont pas (encore) produit l'effet attendu. Dans cette série, le service Tech de L'Express nous raconte l'emballement et la chute de quatre de ces innovations. Aujourd'hui, on s'intéresse aux NFT, qui comptaient révolutionner la propriété et surtout l'art, mais qui semblent avoir fait pschitt...Retrouvez tous les détails de l'épisode ici et inscrivez-vous à notre newsletter. L'équipe : Présentation et écriture : Charlotte BarisRéalisation et montage : Jules KrotCrédits : CNN, Canal +, Gaumont, Europe 1 Musique et habillage : Emmanuel Herschon / Studio Torrent Logo : Jérémy CambourPour nous écrire : laloupe@lexpress.fr Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.
Watch the video version of this podcast here: https://www.youtube.com/watch?v=DPSRHGeYmT4 Zimran Jacob is an Indian American drama television writer originally from the San Francisco Bay Area. After graduating Cum Laude from Chapman University with a B.A. in Screenwriting and studying at NYU, USC, and UCLA, he moved out to Los Angeles where he began to work in the finance department at Gaumont Television, which released Narcos, Hannibal, Hemlock Grove, and F is for Family during his tenure at the company. Zimran's job at Gaumont led him to Marvel in the writer's room on the Netflix show, The Punisher where he was able to contribute to the story in his role on the support staff as the Showrunner's Assistant. During his time at Marvel, he pitched two stories which became produced episodes. Zimran sold his feature SWAG to 19f Productions where Kevin Pollak is attached to direct. He was a PGA Diversity Workshop Fellow in 2019 and was a Semi-Finalist in both the 2018 and 2019 Austin Film Festival. Most recently, he brought enthusiasm to his job as Showrunner's Assistant for October Faction on Netflix. He writes dark Shakespearean dramas featuring Machiavellian characters, tribal power struggles, and is addicted to crime stories. MORE VIDEOS WITH ZIMRAN JACOB https://tinyurl.com/mr2za7wf CONNECT WITH ZIMRAN JACOB https://www.imdb.com/name/nm5900463 https://www.instagram.com/zimranjacob https://x.com/zimranjacob https://www.youtube.com/@decodinghollywood8175 MORE VIDEOS LIKE THIS Lessons From A 40-Year-Old Production Assistant - https://youtu.be/hTDbOtV8F0c Why 'Write Every Day' Is Brilliant Advice - https://youtu.be/1X5fb3Bk8ZY Harsh Advice On Writing Your Passion Project - https://youtu.be/e40BVZItCAQ Harsh Advice For Anyone Who Wants To Be A Writer - https://youtu.be/ahIa6jwyDYo CONNECT WITH FILM COURAGE http://www.FilmCourage.com http://twitter.com/#!/FilmCourage SUBSCRIBE TO THE FILM COURAGE YOUTUBE CHANNEL http://bit.ly/18DPN37 PERSONALLY SPONSOR FILM COURAGE https://ko-fi.com/filmcourage SUPPORT FILM COURAGE BY BECOMING A MEMBER https://www.youtube.com/channel/UCs8o1mdWAfefJkdBg632_tg/join SUPPORT FILM COURAGE BY BECOMING A PATRON https://www.patreon.com/filmcourage LISTEN TO THE FILM COURAGE PODCAST https://soundcloud.com/filmcourage-com (Affiliates) ►FILMMAKER STARTER KIT BLACKMAGIC Design Pocket Cinema Camera 4K - https://amzn.to/4gDU0s9 ZOOM H4essential 4-Track Handy Recorder - https://amzn.to/3TIon6X SENNHEISER Professional Shotgun Microphone - https://amzn.to/3TEnLiE NEEWER CB300B 320W LED Video Light - https://amzn.to/3XEMK6F NEEWER 160 LED CN-160 Dimmable Ultra High Power - https://amzn.to/3XX57VK ►SCRIVENER FREE TRIAL https://tinyurl.com/43uuumc6 ►WE USE THIS CAMERA (B&H) – https://buff.ly/3rWqrra ►WE USE THIS SOUND RECORDER (AMAZON) – http://amzn.to/2tbFlM9 ►STUFF WE USE LENS - Most people ask us what camera we use, no one ever asks about the lens which filmmakers always tell us is more important. This lens was a big investment for us and one we wish we could have made sooner. Started using this lens at the end of 2013 - http://amzn.to/2tbtmOq ►AUDIO Rode VideoMic Pro - The Rode mic helps us capture our backup audio. It also helps us sync up our audio in post https://amzn.to/425k5rG Audio Recorder - If we had to do it all over again, this is probably the first item we would have bought - https://amzn.to/3WEuz0k ►LIGHTS - Although we like to use as much natural light as we can, we often enhance the lighting with this small portable light. We have two of them and they have saved us a number of times - http://amzn.to/2u5UnHv *Disclaimer: This video and description contains affiliate links, which means that if you click on one of the product links, we'll receive a small commission. This helps support the channel and allows us to continue to make videos like this. Thank you for your support!
Billy Graham's Los Angeles Crusade started modestly on 25th September, 1949. But after newspaper giant William Randolph Hearst told his editors to "puff Graham", the nightly revival meetings exploded in popularity, becoming a ‘sin-smashing sensation', and Graham soon became America's favourite preacher. His style was perfect for the Hollywood backdrop. At just 30 years old, Graham had a youthful, energetic presence, dashing good looks, and a flair for the dramatic. His sermons, packed with urgency and fast-paced delivery, connected worldly threats like communism with personal struggles, and always offered a strikingly simple answer: Jesus. By the end of this first eight-week crusade, 350,000 people had attended, with 3,000 recorded conversions. In this episode, Arion, Rebecca and Olly consider the skills that set Graham apart from other evangelists; consider his global influence, including a record-breaking run at London's Haringey Arena; and recall how a singing cowboy transformed Graham's fortunes… Further Reading: • ‘Billy Graham's star was born at his 1949 revival in Los Angeles' (Los Angeles Times, 2007): https://www.latimes.com/archives/la-xpm-2007-sep-02-me-then2-story.html • ‘How Billy Graham became the most famous preacher in America' (CNN, 2018): https://edition.cnn.com/2018/02/21/us/how-billy-graham-became-famous/index.html • ‘WEMBLEY: BILLY GRAHAM IN LONDON' (Gaumont, 1955): https://www.youtube.com/watch?v=uGPQpQb_dDM Love the show? Support us! Join
Cet été dans Pépites, on vous propose un hors série consacré à l'histoire de la première réalisatrice de l'histoire, Alice Guy. Il s'agit de la saison 1 de notre podcast Une Autre Histoire, diffusée en octobre 2019. Bonne écoute !Paris, 1895.C'est la fin du XIXème siècle, siècle de la révolution industrielle, de la course au progrès technique, de la naissance de la photographie, du train, du télégraphe et du téléphone. Edison vient d'inventer l'ampoule électrique et le phonographe, Eiffel de finir sa tour en fer, Pierre et Marie Curie de découvrir le Radium. Pourtant, dans cette effusion d'inventions, personne n'a encore réussi à enregistrer et projeter des images en mouvement. Ils sont nombreux pourtant nombreux s'y essayer. Edison, en tête avec son kinétographe, la toute première caméra de cinéma, qui permet d'enregistrer des films et le kinétoscope qui permet de les visionner dans une boîte, mais pas de les projeter sur écran.Alice Guy a 22 ans, elle est secrétaire de Léon Gaumont au Comptoir général de la photographie. Quand deux de leurs fournisseurs, Auguste et Louis Lumière, invitent Léon et Alice à assister à une « surprise ». Les deux frères projettent des images animées de leur usine lyonnaise sur un drap blanc. Les images bougent, elles semblent réelles. L'assemblée reste scotchée : ces deux frères ont réussi là où tout le monde a échoué, ils ont inventé le cinématographe. Alice Guy a reçu une éducation bourgeoise. Elle est polie, bien élevée, elle ne fait pas de vagues. Mais sous le vernis de ses bonnes manières Alice est une aventurière. Elle a traversé l'Atlantique sur un paquebot à 4 ans, est passée des bras des nounous chiliennes au couvent, et aussi, elle est fille d'éditeur. En cette fin de XIXème siècle, les maudits Rimbaud et Verlaine viennent de s'éteindre, Buster Keaton de naître, Zola de terminer le dernier volet des Rougon-Macquart et Monet de peindre ses cathédrales. Alice a lu, rêvé, voyagé. Elle a envie d'autre chose que de ces images qui se contentent d'imprimer le réel. Alice Guy veut utiliser le cinématographe pour inventer des images, créer, raconter des histoires. Son patron Léon Gaumont n'y voit pas d'inconvénients. Sa secrétaire pourra utiliser l'appareil et faire « ses trucs de fille », à condition que ça n'empiète pas sur son travail et que ce soit hors des horaires de bureau. Alors, en cet été 1896, dans l'Est de Paris, à Belleville, sur une petite terrasse cimentée, avec quelques amis, un pied photo brinquebalant et un décor découpé dans du carton, Alice Guy tourne La fée aux choux, considéré comme le premier film de fiction de l'Histoire.Vous pouvez vous abonner à Une Autre Histoire sur Apple Podcasts, Spotify, Soundcloud et Youtube. Vous pouvez aussi suivre Louie Media sur Twitter et Instagram. Retrouvez toutes les références utilisées pour ce podcast sur cette page.Article tiré d'un texte écrit par Yasmine Benkiran. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.
Cet été dans Pépites, on vous propose un hors série consacré à l'histoire de la première réalisatrice de l'histoire, Alice Guy. Il s'agit de la saison 1 de notre podcast Une Autre Histoire, diffusée en octobre 2019. Bonne écoute !Dans cet épisode 2 d'Une Autre Histoire, nous sommes en 1896, ça ne fait même pas un an qu'a eu lieu la première projection publique d'images en mouvement. Alice Guy vient de tourner le premier film de fiction de l'histoire, La fée aux choux. Le cinéma est une terre en friche. Aucune règle n'a été écrite, tout est à inventer Comment avoir un sens du cinéma, quand il n'y a pas encore de cinéma ? Comment avoir un sens de quelque chose quand on ne sait pas ce que c'est ? Walter Benjamin qui a vécu les premières années du cinéma, écrit « Le cinéma n'est rien d'autre qu'un effet technique de l'industrie. C'est parce qu'ont été mises au point des technologies de l'enregistrement et de la reproduction de l'image et du son que le cinéma est possible. » On aimerait que ce soit faux, mais le cinématographe est bien le produit du XIXème siècle, siècle des inventions, siècle de la révolution industrielle, siècle qui assoit durablement le capitalisme. La faillite de Méliès mettra fin à sa carrière de cinéaste. Quinze ans plus tôt, le succès industriel de Gaumont permettra à Alice Guy d'expérimenter, tester, créer et contribuer à inventer le cinéma. Industrie, création. Les deux peuvent s'opposer, ou au contraire, créer un nouveau champ des possibles.Vous pouvez vous abonner à Une Autre Histoire sur Apple Podcasts, Spotify, Soundcloud et Youtube. Vous pouvez aussi suivre Louie Media sur Twitter et Instagram. Retrouvez toutes les références utilisées pour ce podcast sur notre site internet.Article tiré d'un texte écrit par Yasmine Benkiran. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.
Cet été dans Pépites, on vous propose un hors série consacré à l'histoire de la première réalisatrice de l'histoire, Alice Guy. Il s'agit de la saison 1 de notre podcast Une Autre Histoire, diffusée en octobre 2019. Bonne écoute !L'épisode 3 d'Une Autre Histoire vous raconte comment le son est arrivé au cinéma. En 1927 le comédien Al Jolson s'adresse à la caméra « Attendez un peu, vous n'avez encore rien entendu ! ». C'est une des toutes premières répliques parlantes du cinéma. Le « chanteur de jazz » est considéré comme le premier film sonore de l‘histoire. Mais bien avant ça, le cinéma a toujours été accompagné de nombreux sons. Déjà, lorsqu'on glissait l'œil kinétoscope d'Edison, on pouvait mettre ce qui ressemblait à des écouteurs et voir les images défiler en musique. Pendant les kermesses, des fanfares locales accompagnent la projection des films. Mais surtout, pour produire de l'électricité, les forains de toute l'Europe utilisent des locomobiles, des grosses machines qui faisaient un boucan énorme. C'est à peine si un musicien à côté de l'écran peut se faire entendre. Et puis, dans tous les pays, du monde, il y a des commentateurs de films, sortes de maîtres de cérémonie chargés d'animer la projection en racontant ce qui se passe à l'écran. Léon Gaumont est hanté par un désir : celui de donner un son aux images en mouvement. En 1905 il a une idée : séparer la prise de son de l'enregistrement d'images et les synchroniser ensuite. Pour cela, il invente une machine : le chronophone. Le principe est le suivant : on enregistre un son à l'avance, dans une salle où le silence règne, puis on filme des comédiens qui jouent en playback. Enfin, on synchronise le son et l'image grâce au chronophone pour obtenir ce qu'on appelle une phonoscène, un des premiers essais du cinéma parlant.On dit souvent que les petites histoires font la grande. Pour Alice, c'est presque l'inverse. Sa vie sera toujours être portée par l'histoire du cinéma avec un grand H. Et tout particulièrement par ce chronophone auquel son destin est intimement lié. Mais, ça. Elle ne le sait pas encore.Vous pouvez vous abonner à Une Autre Histoire sur Apple Podcasts, Spotify, Soundcloud et Youtube. Vous pouvez aussi suivre Louie Media sur Twitter et Instagram. Retrouvez toutes les références utilisées pour ce podcast sur notre site internet.Article tiré d'un texte rédigé par Yasmine Benkiran. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.
Cet été dans Pépites, on vous propose un hors série consacré à l'histoire de la première réalisatrice de l'histoire, Alice Guy. Il s'agit de la saison 1 de notre podcast Une Autre Histoire, diffusée en octobre 2019. Bonne écoute !L'épisode 4 d'Une Autre Histoire débute en 1907. Il est quatre heures du matin. Sur son paquebot, en pleine traversée de l'Atlantique, Alice Guy ne pourrait pas dire quel jour on est tant cette traversée lui semble interminable. Elle a le mal de mer, elle sort sur le pont du paquebot. Une nuit sans lune, une brume épaisse. Mais on distingue enfin des lumières au loin : des gratte-ciel et bientôt la statue de la liberté. Autour d'Alice, on crie, on applaudit, on se réjouit. Alice ne parle pas l'anglais. Elle n'a pas envie d'être là. Les studios Gaumont, les équipes de tournages, les comédiens lui manquent déjà. Pourtant les policiers d'Ellis Island ne se montrent pas désagréables avec Alice et Herbert, son tout nouveau mari, qui a près de dix ans de moins qu'elle. Ils semblent être des candidats idéaux à l'immigration. Le couple remplit le formulaire qu'on leur donne. Les questions leur semblent absurdes : oui, leur casier judiciaire est vierge, non, ils ne sont pas bigames.Tout est nouveau pour Alice. A Broadway, des centaines de passants se bousculent. Elle croit à une révolution. C'est simplement l'heure de pointe. Après quelques jours à New York, il faut partir pour Cleveland, dans le Midwest, sur les rives du lac Erié. C'est là que les clients de Gaumont résident. Ils ont acquis le chronophone, cette machine qui tente de synchroniser le son et l'image. Herbert a été envoyé aux Etats Unis pour les aider à faire fonctionner l'appareil. Encore 650 km de voyage. En train cette fois-ci. Alice a l'impression que tous les villages qu'elle traverse se ressemblent : une grande épicerie, des bars, un hôtel avec une véranda où les hommes se balancent sur des rocking-chairs. Et ce paysage qui recommence sans cesse.Alice a 34 ans. La vie dans le Midwest est douce... mais terriblement ennuyeuse pour celle qui a participé à la naissance du cinéma. Alice s'inscrit à l'Alliance française pour apprendre l'anglais, elle adopte la robe à l'américaine : courte et plus pratique. Bientôt, elle accouche de sa première fille, Simone. C'est un grand bonheur pour le couple Guy-Blaché mais Alice n'en peut plus de ne pas travailler. Elle trépigne. Le cinéma lui manque terriblement. Elle est faite pour ça.Nous sommes aux Etats Unis au début du XXème siècle et le rêve américain existe bel et bien. Surtout lorsqu'on a s'appelle Alice Guy e3t qu'on a le talent, l'expérience, et l'audace des pionniers.Vous pouvez vous abonner à Une Autre Histoire sur Apple Podcasts, Spotify, Soundcloud et Youtube. Vous pouvez aussi suivre Louie Media sur Twitter et Instagram. Retrouvez toutes les références utilisées pour ce podcast sur notre site internet.Article tiré d'un texte rédigé par Yasmine Benkiran. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.
This week we're excited to present a conversation between My Dinner with André lead actor Wallace Shawn and Janet Planet filmmaker Annie Baker. When Dan Talbot, the pioneering distributor and exhibitor of international art films, read playwrights Wallace Shawn and André Gregory's script for My Dinner with André, he was so excited about the project that he helped director Louis Malle procure production funding from Gaumont. The concept was to depict an encounter between the two writers, playing fictionalized versions of themselves, as they discuss mortality, money, despair, and love over a meal at an Upper West Side restaurant—according to Gregory, Malle's one direction was to “talk faster.” By turns entertaining, confessional, funny, and moving, suffused with melancholy and joy alike, the film became a sensation at the art house upon its release, playing to packed theaters for a solid year, and went on to endure as a perennial favorite on the home video circuit. Now please enjoy the conversation between Annie Baker and Wallace Shawn.
Stevie, Pappy, Mikey, Josh and Brett are also professionals. ******* Mathilda (Natalie Portman) is only 12 years old, but is already familiar with the dark side of life: her abusive father stores drugs for corrupt police officers, and her mother neglects her. Léon (Jean Reno), who lives down the hall, tends to his houseplants and works as a hired hitman for mobster Tony (Danny Aiello). When her family is murdered by crooked DEA agent Stansfield (Gary Oldman), Mathilda joins forces with a reluctant Léon to learn his deadly trade and avenge her family's deaths. Release date: November 18, 1994 (USA) Director: Luc Besson Distributed by: Gaumont, Columbia Pictures Adapted from: Silas Marner Box office: $45.3 million Cinematography: Thierry Arbogast
Vous connaissez sûrement Léon Gaumont, Charles Pathé, George Méliès, les frères Lumière ? Ces grands hommes ont bien sûr en commun d'avoir laissé leur empreinte dans l'histoire du cinéma. Pourtant, un nom a été effacé de la liste. Celui d'une femme qui a, elle aussi, bouleversé l'industrie de l'image. Une femme qui a été la première cinéaste et qui a réalisé plus de 700 films. Son nom : Alice Guy. Derrière la caméra, découvrez sa True Story. Une femme singulière mais une histoire méconnue Après avoir fait ses premiers pas en France, à la fin du 19ème siècle, Alice Guy passe son enfance dans les rayons de la librairie de son père, à Santiago du Chili. A six ans, elle doit retourner en France pour aller en pension, comme ses deux grandes sœurs. Elle est encore adolescente quand le sort s'abat sur sa famille. La librairie fait faillite, son frère meurt d'une maladie cardiaque et, peu de temps après, son père s'éteint lui aussi. Alice se retrouve donc seule avec sa mère, ses sœurs ayant déjà quitté le domicile parental pour fonder leurs familles. Alice, elle, préfère prendre une autre voie que celle du mariage. Pour subvenir aux besoins de sa mère, elle veut travailler et ainsi mettre sa créativité débordante au service du cinéma et de son développement. Son histoire incroyable est à écouter dans ce podcast. Pour découvrir d'autres récits passionnants, cliquez ci-dessous : Le crash du vol Fuerza 571, l'une des pires tragédies humaines : un accident dramatique (1/4) Le crash du vol Fuerza 571, l'une des pires tragédies humaines : des restes humains comme dernier repas (2/4) Le crash du vol Fuerza 571, l'une des pires tragédies humaines : seuls en enfer (3/4) Le crash du vol Fuerza 571, l'une des pires tragédies humaines : l'expédition du dernier espoir (4/4) Ecriture : Karen Etourneau Réalisation : Celia Brondreau Voix : Andréa Brusque Première diffusion le 9 mars 2021. Learn more about your ad choices. Visit megaphone.fm/adchoices
durée : 00:07:17 - Info médias - Après Omar Sy dans "Lupin", c'est à une autre vedette du cinéma, Daniel Brühl, que Gaumont a fait appel pour sa nouvelle série "Becoming Karl Lagerfeld" qui sortira en juin sur Disney+.
Cet épisode vous est proposé gratuitement en partenariat avec ISpeakSpokeSpoken.com la plus grande communauté d'apprentissage de l'anglais en France sponsorise cet épisode. Recevez gratuitement votre challenge PDF pour vous (re)mettre à l'anglais en 4 semaines en suivant le lien créé pour vous : www.ispeakspokespoken.com/timeline Alice Guy (1873-1968) a été pionnière dans le domaine du cinéma, souvent oubliée dans les annales de l'histoire cinématographique. Née en France, elle débute sa carrière dans l'industrie naissante du cinéma à la fin du 19e siècle. En 1896, alors qu'elle travaille pour la société de photographie Gaumont, elle réalise ce qui est considéré comme l'un des premiers films narratifs de l'histoire, "La Fée aux Choux". Cette réalisation marque le début d'une carrière prolifique et novatrice. Alice Guy a été la première à expérimenter de nombreux aspects du cinéma, notamment le genre narratif, les effets spéciaux et la couleur. Elle a réalisé plus de 1000 films au cours de sa carrière, abordant une grande variété de sujets allant du drame à la comédie en passant par le documentaire. En tant que pionnière, elle a également été une des premières femmes à diriger un studio de cinéma, créant son propre studio, la Solax Company, aux États-Unis en 1910. Son influence a été immense, mais malheureusement, une grande partie de son travail a été perdue ou attribuée à d'autres au fil du temps, ce qui a conduit à son relatif oubli. Mais, grâce aux efforts de chercheurs et de passionnés de cinéma, l'héritage d'Alice Guy est en train d'être redécouvert et célébré. Son rôle de pionnière dans l'industrie cinématographique continue d'inspirer les générations futures et de rappeler l'importance des contributions des femmes à l'histoire du cinéma. Explorez la vie et le travail de cette figure emblématique de l'histoire du cinéma. #AliceGuy #PionnièreDuCinéma #FemmeAuCinéma
Cet épisode vous est proposé gratuitement en partenariat avec ISpeakSpokeSpoken.com la plus grande communauté d'apprentissage de l'anglais en France sponsorise cet épisode. Recevez gratuitement votre challenge PDF pour vous (re)mettre à l'anglais en 4 semaines en suivant le lien créé pour vous : www.ispeakspokespoken.com/timeline Alice Guy (1873-1968) a été pionnière dans le domaine du cinéma, souvent oubliée dans les annales de l'histoire cinématographique. Née en France, elle débute sa carrière dans l'industrie naissante du cinéma à la fin du 19e siècle. En 1896, alors qu'elle travaille pour la société de photographie Gaumont, elle réalise ce qui est considéré comme l'un des premiers films narratifs de l'histoire, "La Fée aux Choux". Cette réalisation marque le début d'une carrière prolifique et novatrice. Alice Guy a été la première à expérimenter de nombreux aspects du cinéma, notamment le genre narratif, les effets spéciaux et la couleur. Elle a réalisé plus de 1000 films au cours de sa carrière, abordant une grande variété de sujets allant du drame à la comédie en passant par le documentaire. En tant que pionnière, elle a également été une des premières femmes à diriger un studio de cinéma, créant son propre studio, la Solax Company, aux États-Unis en 1910. Son influence a été immense, mais malheureusement, une grande partie de son travail a été perdue ou attribuée à d'autres au fil du temps, ce qui a conduit à son relatif oubli. Mais, grâce aux efforts de chercheurs et de passionnés de cinéma, l'héritage d'Alice Guy est en train d'être redécouvert et célébré. Son rôle de pionnière dans l'industrie cinématographique continue d'inspirer les générations futures et de rappeler l'importance des contributions des femmes à l'histoire du cinéma. Explorez la vie et le travail de cette figure emblématique de l'histoire du cinéma. #AliceGuy #PionnièreDuCinéma #FemmeAuCinéma
Cet épisode vous est proposé gratuitement en partenariat avec ISpeakSpokeSpoken.com la plus grande communauté d'apprentissage de l'anglais en France sponsorise cet épisode. Recevez gratuitement votre challenge PDF pour vous (re)mettre à l'anglais en 4 semaines en suivant le lien créé pour vous : www.ispeakspokespoken.com/timeline Alice Guy (1873-1968) a été pionnière dans le domaine du cinéma, souvent oubliée dans les annales de l'histoire cinématographique. Née en France, elle débute sa carrière dans l'industrie naissante du cinéma à la fin du 19e siècle. En 1896, alors qu'elle travaille pour la société de photographie Gaumont, elle réalise ce qui est considéré comme l'un des premiers films narratifs de l'histoire, "La Fée aux Choux". Cette réalisation marque le début d'une carrière prolifique et novatrice. Alice Guy a été la première à expérimenter de nombreux aspects du cinéma, notamment le genre narratif, les effets spéciaux et la couleur. Elle a réalisé plus de 1000 films au cours de sa carrière, abordant une grande variété de sujets allant du drame à la comédie en passant par le documentaire. En tant que pionnière, elle a également été une des premières femmes à diriger un studio de cinéma, créant son propre studio, la Solax Company, aux États-Unis en 1910. Son influence a été immense, mais malheureusement, une grande partie de son travail a été perdue ou attribuée à d'autres au fil du temps, ce qui a conduit à son relatif oubli. Mais, grâce aux efforts de chercheurs et de passionnés de cinéma, l'héritage d'Alice Guy est en train d'être redécouvert et célébré. Son rôle de pionnière dans l'industrie cinématographique continue d'inspirer les générations futures et de rappeler l'importance des contributions des femmes à l'histoire du cinéma. Explorez la vie et le travail de cette figure emblématique de l'histoire du cinéma. #AliceGuy #PionnièreDuCinéma #FemmeAuCinéma
Alice Guy (1873-1968) a été pionnière dans le domaine du cinéma, souvent oubliée dans les annales de l'histoire cinématographique. Née en France, elle débute sa carrière dans l'industrie naissante du cinéma à la fin du 19e siècle. En 1896, alors qu'elle travaille pour la société de photographie Gaumont, elle réalise ce qui est considéré comme l'un des premiers films narratifs de l'histoire, "La Fée aux Choux". Cette réalisation marque le début d'une carrière prolifique et novatrice. Alice Guy a été la première à expérimenter de nombreux aspects du cinéma, notamment le genre narratif, les effets spéciaux et la couleur. Elle a réalisé plus de 1000 films au cours de sa carrière, abordant une grande variété de sujets allant du drame à la comédie en passant par le documentaire. En tant que pionnière, elle a également été une des premières femmes à diriger un studio de cinéma, créant son propre studio, la Solax Company, aux États-Unis en 1910. Son influence a été immense, mais malheureusement, une grande partie de son travail a été perdue ou attribuée à d'autres au fil du temps, ce qui a conduit à son relatif oubli. Mais, grâce aux efforts de chercheurs et de passionnés de cinéma, l'héritage d'Alice Guy est en train d'être redécouvert et célébré. Son rôle de pionnière dans l'industrie cinématographique continue d'inspirer les générations futures et de rappeler l'importance des contributions des femmes à l'histoire du cinéma. Explorez la vie et le travail de cette figure emblématique de l'histoire du cinéma. #AliceGuy #PionnièreDuCinéma #FemmeAuCinéma
Alice Guy (1873-1968) a été pionnière dans le domaine du cinéma, souvent oubliée dans les annales de l'histoire cinématographique. Née en France, elle débute sa carrière dans l'industrie naissante du cinéma à la fin du 19e siècle. En 1896, alors qu'elle travaille pour la société de photographie Gaumont, elle réalise ce qui est considéré comme l'un des premiers films narratifs de l'histoire, "La Fée aux Choux". Cette réalisation marque le début d'une carrière prolifique et novatrice. Alice Guy a été la première à expérimenter de nombreux aspects du cinéma, notamment le genre narratif, les effets spéciaux et la couleur. Elle a réalisé plus de 1000 films au cours de sa carrière, abordant une grande variété de sujets allant du drame à la comédie en passant par le documentaire. En tant que pionnière, elle a également été une des premières femmes à diriger un studio de cinéma, créant son propre studio, la Solax Company, aux États-Unis en 1910. Son influence a été immense, mais malheureusement, une grande partie de son travail a été perdue ou attribuée à d'autres au fil du temps, ce qui a conduit à son relatif oubli. Mais, grâce aux efforts de chercheurs et de passionnés de cinéma, l'héritage d'Alice Guy est en train d'être redécouvert et célébré. Son rôle de pionnière dans l'industrie cinématographique continue d'inspirer les générations futures et de rappeler l'importance des contributions des femmes à l'histoire du cinéma. Explorez la vie et le travail de cette figure emblématique de l'histoire du cinéma. #AliceGuy #PionnièreDuCinéma #FemmeAuCinéma
Alice Guy (1873-1968) a été pionnière dans le domaine du cinéma, souvent oubliée dans les annales de l'histoire cinématographique. Née en France, elle débute sa carrière dans l'industrie naissante du cinéma à la fin du 19e siècle. En 1896, alors qu'elle travaille pour la société de photographie Gaumont, elle réalise ce qui est considéré comme l'un des premiers films narratifs de l'histoire, "La Fée aux Choux". Cette réalisation marque le début d'une carrière prolifique et novatrice. Alice Guy a été la première à expérimenter de nombreux aspects du cinéma, notamment le genre narratif, les effets spéciaux et la couleur. Elle a réalisé plus de 1000 films au cours de sa carrière, abordant une grande variété de sujets allant du drame à la comédie en passant par le documentaire. En tant que pionnière, elle a également été une des premières femmes à diriger un studio de cinéma, créant son propre studio, la Solax Company, aux États-Unis en 1910. Son influence a été immense, mais malheureusement, une grande partie de son travail a été perdue ou attribuée à d'autres au fil du temps, ce qui a conduit à son relatif oubli. Mais, grâce aux efforts de chercheurs et de passionnés de cinéma, l'héritage d'Alice Guy est en train d'être redécouvert et célébré. Son rôle de pionnière dans l'industrie cinématographique continue d'inspirer les générations futures et de rappeler l'importance des contributions des femmes à l'histoire du cinéma. Explorez la vie et le travail de cette figure emblématique de l'histoire du cinéma. #AliceGuy #PionnièreDuCinéma #FemmeAuCinéma
Alice Guy (1873-1968) a été pionnière dans le domaine du cinéma, souvent oubliée dans les annales de l'histoire cinématographique. Née en France, elle débute sa carrière dans l'industrie naissante du cinéma à la fin du 19e siècle. En 1896, alors qu'elle travaille pour la société de photographie Gaumont, elle réalise ce qui est considéré comme l'un des premiers films narratifs de l'histoire, "La Fée aux Choux". Cette réalisation marque le début d'une carrière prolifique et novatrice. Alice Guy a été la première à expérimenter de nombreux aspects du cinéma, notamment le genre narratif, les effets spéciaux et la couleur. Elle a réalisé plus de 1000 films au cours de sa carrière, abordant une grande variété de sujets allant du drame à la comédie en passant par le documentaire. En tant que pionnière, elle a également été une des premières femmes à diriger un studio de cinéma, créant son propre studio, la Solax Company, aux États-Unis en 1910. Son influence a été immense, mais malheureusement, une grande partie de son travail a été perdue ou attribuée à d'autres au fil du temps, ce qui a conduit à son relatif oubli. Mais, grâce aux efforts de chercheurs et de passionnés de cinéma, l'héritage d'Alice Guy est en train d'être redécouvert et célébré. Son rôle de pionnière dans l'industrie cinématographique continue d'inspirer les générations futures et de rappeler l'importance des contributions des femmes à l'histoire du cinéma. Explorez la vie et le travail de cette figure emblématique de l'histoire du cinéma. #AliceGuy #PionnièreDuCinéma #FemmeAuCinéma
durée : 00:10:21 - L'invité de 7h50 du week-end - Après des années difficiles durant le Covid, "les spectateurs sont revenus en 2023" dans les salles de cinéma "parce que nous avons besoin de partager ensemble des émotions", estime dimanche sur France Inter Nicolas Seydoux, président de Gaumont et auteur du livre “Le cinéma, 50 ans de passion”.
For those who haven't heard the announcement I just posted , songs from this point on will sometimes be split among multiple episodes, so this is the first part of a multi-episode look at the Byrds in 1966-69 and the birth of country rock. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode on "My World Fell Down" by Sagittarius. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud at this time as there are too many Byrds songs in this chunk, but I will try to put together a multi-part Mixcloud when all the episodes for this song are up. My main source for the Byrds is Timeless Flight Revisited by Johnny Rogan, I also used Chris Hillman's autobiography, the 331/3 books on The Notorious Byrd Brothers and The Gilded Palace of Sin, For future parts of this multi-episode story I used Barney Hoskyns' Hotel California and John Einarson's Desperadoes as general background on Californian country-rock, Calling Me Hone, Gram Parsons and the Roots of Country Rock by Bob Kealing for information on Parsons, and Requiem For The Timeless Vol 2 by Johnny Rogan for information about the post-Byrds careers of many members. Information on Gary Usher comes from The California Sound by Stephen McParland. And this three-CD set is a reasonable way of getting most of the Byrds' important recordings. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript When we left the Byrds at the end of the episode on "Eight Miles High", they had just released that single, which combined folk-rock with their new influences from John Coltrane and Ravi Shankar, and which was a group composition but mostly written by the group's lead singer, Gene Clark. And also, as we mentioned right at the end of the episode, Clark had left the group. There had been many, many factors leading to Clark's departure. Clark was writing *far* more material than the other band members, of whom only Roger McGuinn had been a writer when the group started, and as a result was making far more money than them, especially with songs like "She Don't Care About Time", which had been the B-side to their number one single "Turn! Turn! Turn!" [Excerpt: The Byrds, "She Don't Care About Time"] Clark's extra income was making the rest of the group jealous, and they also didn't think his songs were particularly good, though many of his songs on the early Byrds albums are now considered classics. Jim Dickson, the group's co-manager, said "Gene would write fifteen to twenty songs a week and you had to find a good one whenever it came along because there were lots of them that you couldn't make head or tail of. They didn't mean anything. We all knew that. Gene would write a good one at a rate of just about one per girlfriend." Chris Hillman meanwhile later said more simply "Gene didn't really add that much." That is, frankly, hard to square with the facts. There are ten original songs on the group's first two albums, plus one original non-album B-side. Of those eleven songs, Clark wrote seven on his own and co-wrote two with McGuinn. But as the other band members were starting to realise that they had the possibility of extra royalties -- and at least to some extent were starting to get artistic ambitions as far as writing goes -- they were starting to disparage Clark's work as a result, calling it immature. Clark had, of course, been the principal writer for "Eight Miles High", the group's most experimental record to date: [Excerpt: The Byrds, "Eight Miles High"] But there he'd shared co-writing credit with David Crosby and Roger McGuinn, in part because that was the only way he could be sure they would agree to release it as a single. There were also internal rivalries within the band unrelated to songwriting -- as we've touched on, Crosby had already essentially bullied Clark off the guitar and into just playing tambourine (and McGuinn would be dismissive even of Clark's tambourine abilities). Crosby's inability to get on with any other member of any band he was in would later become legendary, but at this point Clark was the major victim of his bullying. According to Dickson "David understood when Gene left that ninety-five percent of why Gene left could be brought back to him." The other five percent, though, came from Clark's fear of flying. Clark had apparently witnessed a plane crash in his youth and been traumatised by it, and he had a general terror of flying and planes -- something McGuinn would mock him for a little, as McGuinn was an aviation buff. Eventually, Clark had a near-breakdown boarding a plane from California to New York for a promotional appearance with Murray the K, and ended up getting off the plane. McGuinn and Michael Clarke almost did the same, but in the end they decided to stay on, and the other four Byrds did the press conference without Gene. When asked where Gene was, they said he'd "broken a wing". He was also increasingly having mental health and substance abuse problems, which were exacerbated by his fear, and in the end he decided he just couldn't be a Byrd any more. Oddly, of all the band members, it was David Crosby who was most concerned about Clark's departure, and who did the most to try to persuade him to stay, but he still didn't do much, and the group decided to carry on as a four-piece and not even make a proper announcement of Clark's departure -- they just started putting out photos with four people instead of five. The main change as far as the group were concerned was that Hillman was now covering Clark's old vocal parts, and so Crosby moved to Clark's old centre mic while Hillman moved from his position at the back of the stage with Michael Clarke to take over Crosby's mic. The group now had three singer-instrumentalists in front, two of whom, Crosby and McGuinn, now thought of themselves as songwriters. So despite the loss of their singer/songwriter/frontman, they moved on to their new single, the guaranteed hit follow-up to "Eight Miles High": [Excerpt: The Byrds, "5D (Fifth Dimension)"] "5D" was written by McGuinn, inspired by a book of cartoons called 1-2-3-4 More More More More by Don Landis, which I haven't been able to track down a copy of, but which seems to have been an attempt to explain the mathematical concept of higher dimensions in cartoon form. McGuinn was inspired by this and by Einstein's theory of relativity -- or at least by his understanding of relativity, which does not seem to have been the most informed take on the topic. McGuinn has said in the past that the single should really have come with a copy of Landis' booklet, so people could understand it. Sadly, without the benefit of the booklet we only have the lyrics plus McGuinn's interviews to go on to try to figure out what he means. As far as I'm able to understand, McGuinn believed -- completely erroneously -- that Einstein had proved that along with the four dimensions of spacetime there is also a fifth dimension which McGuinn refers to as a "mesh", and that "the reason for the speed of light being what it is is because of that mesh." McGuinn then went on to identify this mesh with his own conception of God, influenced by his belief in Subud, and with a Bergsonian idea of a life force. He would talk about how most people are stuck in a materialist scientific paradigm which only admits to the existence of three dimensions, and how there are people out there advocating for a five-dimensional view of the world. To go along with this mystic view of the universe, McGuinn wanted some music inspired by the greatest composer of sacred music, and he asked Van Dyke Parks, who was brought in to add keyboards on the session, to play something influenced by Bach -- and Parks obliged, having been thinking along the same lines himself: [Excerpt: The Byrds, "5D (Fifth Dimension)"] Unfortunately for the group, McGuinn's lyrical intention wasn't clear enough and the song was assumed to be about drugs, and was banned by many radio stations. That plus the track's basically uncommercial nature meant that it reached no higher than number forty-four in the charts. Jim Dickson, the group's co-manager, pointed to a simpler factor in the record's failure, saying that if the organ outro to the track had instead been the intro, to set a mood for the track rather than starting with a cold vocal open, it would have had more success. The single was followed by an album, called Fifth Dimension, which was not particularly successful. Of the album's eleven songs, two were traditional folk songs, one was an instrumental -- a jam called "Captain Soul" which was a version of Lee Dorsey's "Get Out My Life Woman" credited to the four remaining Byrds, though Gene Clark is very audible on it playing harmonica -- and one more was a jam whose only lyrics were "gonna ride a Lear jet, baby", repeated over and over. There was also "Eight Miles High" and the group's inept and slightly-too-late take on "Hey Joe". It also included a third single, a country track titled "Mr. Spaceman": [Excerpt: The Byrds, "Mr. Spaceman"] McGuinn and, particularly, Hillman, had some country music background, and both were starting to think about incorporating country sounds into the group's style, as after Clark's departure from the group they were moving away from the style that had characterised their first two albums. But the interest in "Mr. Spaceman" was less about the musical style than about the lyrics. McGuinn had written the song in the hopes of contacting extraterrestrial life -- sending them a message in his lyrics so that any aliens listening to Earth radio would come and visit, though he was later disappointed to realise that the inverse-square law means that the signals would be too faint to make out after a relatively short distance: [Excerpt: The Byrds, "Mr. Spaceman"] "Mr. Spaceman" did better on the charts than its predecessor, scraping the lower reaches of the top forty, but it hardly set the world alight, and neither did the album -- a typical review was the one by Jon Landau, which said in part "This album then cannot be considered up to the standards set by the Byrds' first two and basically demonstrates that they should be thinking in terms of replacing Gene Clark, instead of just carrying on without him." Fifth Dimension would be the only album that Allen Stanton would produce for the Byrds, and his replacement had actually just produced an album that was a Byrds record by any other name: [Excerpt: Gene Clark, "So You Say You've Lost Your Baby"] We've looked at Gary Usher before, but not for some time, and not in much detail. Usher was one of several people who were involved in the scene loosely centred on the Beach Boys and Jan and Dean, though he never had much time for Jan Berry and he had got his own start in the music business slightly before the Beach Boys. As a songwriter, his first big successes had come with his collaborations with Brian Wilson -- he had co-written "409" for the Beach Boys, and had also collaborated with Wilson on some of his earliest more introspective songs, like "The Lonely Sea" and "In My Room", for which Usher had written the lyrics: [Excerpt: The Beach Boys, "In My Room"] Usher had built a career as a producer and writer for hire, often in collaboration with Roger Christian, who also wrote with Brian Wilson and Jan Berry. Usher, usually with Christian, and very occasionally Wilson wrote the songs for several of American International Pictures' Beach Party films: [Excerpt: Donna Loren, "Muscle Bustle"] And Usher and Christian had also had bit parts in some of the films, like Bikini Beach, and Usher had produced records for Annette Funicello, the star of the films, often with the Honeys (a group consisting of Brian Wilson's future wife Marilyn plus her sister and cousin) on backing vocals. He had also produced records for the Surfaris, as well as a whole host of studio-only groups like the Four Speeds, the Super Stocks, and Mr. Gasser and the Weirdoes, most of whom were Usher and the same small group of vocalist friends along with various selections of Wrecking Crew musicians making quick themed albums. One of these studio groups, the Hondells, went on to be a real group of sorts, after Usher and the Beach Boys worked together on a film, The Girls on the Beach. Usher liked a song that Wilson and Mike Love had written for the Beach Boys to perform in the film, "Little Honda", and after discovering that the Beach Boys weren't going to release their version as a single, he put together a group to record a soundalike version: [Excerpt: The Hondells, "Little Honda"] "Little Honda" made the top ten, and Usher produced two albums for the Hondells, who had one other minor hit with a cover version of the Lovin' Spoonful's "Younger Girl". Oddly, Usher's friend Terry Melcher, who would shortly produce the Byrds' first few hits, had also latched on to "Little Honda", and produced his own version of the track, sung by Pat Boone of all people, with future Beach Boy Bruce Johnston on backing vocals: [Excerpt: Pat Boone, "Little Honda"] But when Usher had got his version out first, Boone's was relegated to a B-side. When the Byrds had hit, and folk-rock had started to take over from surf rock, Usher had gone with the flow and produced records like the Surfaris' album It Ain't Me Babe, with Usher and his usual gang of backing vocalists augmenting the Surfaris as they covered hits by Dylan, the Turtles, the Beach Boys and the Byrds: [Excerpt: The Surfaris, "All I Really Want to Do"] Usher was also responsible for the Surfaris being the first group to release a version of "Hey Joe" on a major label, as we heard in the episode on that song: [Excerpt: The Surfaris, "Hey Joe"] After moving between Capitol, Mercury, and Decca Records, Usher had left Decca after a round of corporate restructuring and been recommended for a job at Columbia by his friend Melcher, who at that point was producing Paul Revere and the Raiders and the Rip Chords and had just finished his time as the Byrds' producer. Usher's first work at Columbia was actually to prepare new stereo mixes of some Byrds tracks that had up to that point only been issued in mono, but his first interaction with the Byrds themselves came via Gene Clark: [Excerpt: Gene Clark, "So You Say You've Lost Your Baby"] On leaving the Byrds, Clark had briefly tried to make a success of himself as a songwriter-for-hire in much the same mould as Usher, attempting to write and produce a single for two Byrds fans using the group name The Cookie Fairies, while spending much of his time romancing Michelle Phillips, as we talked about in the episode on "San Francisco". When the Cookie Fairies single didn't get picked up by a label, Clark had put together a group with Bill Rinehart from the Leaves, Chip Douglas of the Modern Folk Quartet, and Joel Larson of the Grass Roots. Just called Gene Clark & The Group, they'd played around the clubs in LA and cut about half an album's worth of demos produced by Jim Dickson and Ed Tickner, the Byrds' management team, before Clark had fired first Douglas and then the rest of the group. Clark's association with Douglas did go on to benefit him though -- Douglas went on, as we've seen in other episodes, to produce hits for the Turtles and the Monkees, and he later remembered an old song by Clark and McGuinn that the Byrds had demoed but never released, "You Showed Me", and produced a top ten hit version of it for the Turtles: [Excerpt: The Turtles, "You Showed Me"] Clark had instead started working with two country singers, Vern and Rex Gosdin, who had previously been with Chris Hillman in the country band The Hillmen. When that band had split up, the Gosdin Brothers had started to perform together as a duo, and in 1967 they would have a major country hit with "Hangin' On": [Excerpt: The Gosdin Brothers, "Hangin' On"] At this point though, they were just Gene Clark's backing vocalists, on an album that had been started with producer Larry Marks, who left Columbia half way through the sessions, at which point Usher took over. The album, titled Gene Clark with the Gosdin Brothers, featured a mix of musicians from different backgrounds. There were Larson and Rinehart from Gene Clark and the Group, there were country musicians -- a guitarist named Clarence White and the banjo player Doug Dillard. Hillman and Michael Clarke, the Byrds' rhythm section, played on much of the album as a way of keeping a united front, Glen Campbell, Jerry Cole, Leon Russell and Jim Gordon of the Wrecking Crew contributed, and Van Dyke Parks played most of the keyboards. The lead-off single for Gene Clark with the Gosdin Brothers, "Echoes", is one of the tracks produced by Marks, but in truth the real producer of that track is Leon Russell, who wrote the orchestral arrangement that turned Clark's rough demo into a baroque pop masterpiece: [Excerpt: Gene Clark, "Echoes"] Despite Clark having quit the band, relations between him and the rest were still good enough that in September 1966 he temporarily rejoined the band after Crosby lost his voice, though he was gone again as soon as Crosby was well. But that didn't stop the next Byrds album, which Usher went on to produce straight after finishing work on Clark's record, coming out almost simultaneously with Clark's and, according to Clark, killing its commercial potential. Upon starting to work with the group, Usher quickly came to the conclusion that Chris Hillman was in many ways the most important member of the band. According to Usher "There was also quite a divisive element within the band at that stage which often prevented them working well together. Sometimes everything would go smoothly, but other times it was a hard road. McGuinn and Hillman were often more together on musical ideas. This left Crosby to fend for himself, which I might add he did very well." Usher also said "I quickly came to understand that Hillman was a good stabilising force within the Byrds (when he wanted to be). It was around the time that I began working with them that Chris also became more involved in the songwriting. I think part of that was the fact that he realised how much more money was involved if you actually wrote the songs yourself. And he was a good songwriter." The first single to be released from the new sessions was one that was largely Hillman's work. Hillman and Crosby had been invited by the great South African jazz trumpeter Hugh Masekela to play on some demos for another South African jazzer, singer Letta Mbulu. Details are sparse, but one presumes this was for what became her 1967 album Letta Mbulu Sings, produced by David Axelrod: [Excerpt: Letta Mbulu, "Zola (MRA)"] According to Hillman, that session was an epiphany for him, and he went home and started writing his own songs for the first time. He took one of the riffs he came up with to McGuinn, who came up with a bridge inspired by a song by yet another South African musician, Miriam Makeba, who at the time was married to Masekela, and the two wrote a lyric inspired by what they saw as the cynical manipulation of the music industry in creating manufactured bands like the Monkees -- though they have both been very eager to say that they were criticising the industry, not the Monkees themselves, with whom they were friendly. As Hillman says in his autobiography, "Some people interpreted it as a jab at The Monkees. In reality, we had immense respect for all of them as singers and musicians. We weren't skewering the members of the Monkees, but we were taking a shot at the cynical nature of the entertainment business that will try to manufacture a group like The Monkees as a marketing strategy. For us, it was all about the music, and we were commenting on the pitfalls of the industry rather than on any of our fellow musicians." [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star?"] The track continued the experimentation with sound effects that they had started with the Lear jet song on the previous album. That had featured recordings of a Lear jet, and "So You Want to be a Rock 'n' Roll Star?" featured recordings of audience screams. Those screams were, according to most sources, recorded by Derek Taylor at a Byrds gig in Bournemouth in 1965, but given reports of the tepid response the group got on that tour, that doesn't seem to make sense. Other sources say they're recordings of a *Beatles* audience in Bournemouth in *1963*, the shows that had been shown in the first US broadcast of Beatles footage, and the author of a book on links between the Beatles and Bournemouth says on his blog "In the course of researching Yeah Yeah Yeah: The Beatles & Bournemouth I spoke to two people who saw The Byrds at the Gaumont that August and neither recalled any screaming at all, let alone the wall of noise that can be heard on So You Want To Be A Rock 'n' Roll Star." So it seems likely that screaming isn't for the Byrds, but of course Taylor had also worked for the Beatles. According to Usher "The crowd sound effects were from a live concert that Derek Taylor had taped with a little tape recorder in London. It was some outrageous crowd, something like 20,000 to 30,000 people. He brought the tape in, ran it off onto a big tape, re- EQ'd it, echoed it, cleaned it up and looped it." So my guess is that the audience screams in the Byrds song about the Monkees are for the Beatles, but we'll probably never know for sure: [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star?"] The track also featured an appearance by Hugh Masekela, the jazz trumpeter whose invitation to take part in a session had inspired the song: [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star?"] While Hillman was starting to lean more towards folk and country music -- he had always been the member of the band least interested in rock music -- and McGuinn was most interested in exploring electronic sounds, Crosby was still pushing the band more in the direction of the jazz experimentation they'd tried on "Eight Miles High", and one of the tracks they started working on soon after "So You Want to be a Rock 'n' Roll Star?" was inspired by another jazz trumpet great. Miles Davis had been partly responsible for getting the Byrds signed to Columbia, as we talked about in the episode on "Mr. Tambourine Man", and so the group wanted to pay him tribute, and they started working on a version of his classic instrumental "Milestones": [Excerpt: Miles Davis, "Milestones"] Sadly, while the group worked on their version for several days -- spurred on primarily by Crosby -- they eventually chose to drop the track, and it has never seen release or even been bootlegged, though there is a tiny clip of it that was used in a contemporaneous documentary, with a commentator talking over it: [Excerpt: The Byrds, "Milestones (TV)"] It was apparently Crosby who decided to stop work on the track, just as working on it was also apparently his idea. Indeed, while the biggest change on the album that would become Younger Than Yesterday was that for the first time Chris Hillman was writing songs and taking lead vocals, Crosby was also writing more than before. Hillman wrote four of the songs on the album, plus his co-write with McGuinn on "So You Want to be a Rock 'n' Roll Star?", but Crosby also supplied two new solo compositions, plus a cowrite with McGuinn, and Crosby and McGuinn's "Why?", the B-side to "Eight Miles High", was also dug up and rerecorded for the album. Indeed, Gary Usher would later say "The album was probably 60% Crosby. McGuinn was not that involved, nor was Chris; at least as far as performing was concerned." McGuinn's only composition on the album other than the co-writes with Crosby and Hillman was another song about contacting aliens, "CTA-102", a song about a quasar which at the time some people were speculating might have been evidence of alien life. That song sounds to my ears like it's had some influence from Joe Meek's similar records, though I've never seen McGuinn mention Meek as an influence: [Excerpt: The Byrds, "CTA-102"] Crosby's growing dominance in the studio was starting to rankle with the other members. In particular two tracks were the cause of conflict. One was Crosby's song "Mind Gardens", an example of his increasing experimentation, a freeform song that ignores conventional song structure, and which he insisted on including on the album despite the rest of the group's objections: [Excerpt: The Byrds, "Mind Gardens"] The other was the track that directly followed "Mind Gardens" on the album. "My Back Pages" was a song from Dylan's album Another Side of Bob Dylan, a song many have seen as Dylan announcing his break with the folk-song and protest movements he'd been associated with up to that point, and his intention to move on in a new direction: [Excerpt: Bob Dylan, "My Back Pages"] Jim Dickson, the Byrds' co-manager, was no longer on speaking terms with the band and wasn't involved in their day-to-day recording as he had been, but he'd encountered McGuinn on the street and rolled down his car window and suggested that the group do the song. Crosby was aghast. They'd already recorded several songs from Another Side of Bob Dylan, and Fifth Dimension had been their first album not to include any Dylan covers. Doing a jangly cover of a Dylan song with a McGuinn lead vocal was something they'd moved on from, and he didn't want to go back to 1964 at the end of 1966. He was overruled, and the group recorded their version, a track that signified something very different for the Byrds than the original had for Dylan: [Excerpt: The Byrds, "My Back Pages"] It was released as the second single from the album, and made number thirty. It was the last Byrds single to make the top forty. While he was working with the Byrds, Usher continued his work in the pop field, though as chart pop moved on so did Usher, who was now making records in a psychedelic sunshine pop style with acts like the Peanut Butter Conspiracy: [Excerpt: The Peanut Butter Conspiracy, "It's a Happening Thing"] and he produced Chad and Jeremy's massive concept album Of Cabbages and Kings, which included a five-song "Progress Suite" illustrating history from the start of creation until the end of the world: [Excerpt: Chad and Jeremy, "Editorial"] But one of the oddest projects he was involved in was indirectly inspired by Roger McGuinn. According to Usher "McGuinn and I had a lot in common. Roger would always say that he was "out of his head," which he thought was good, because he felt you had to go out of your head before you could really find your head! That sums up McGuinn perfectly! He was also one of the first people to introduce me to metaphysics, and from that point on I started reading everything I could get my hands on. His viewpoints on metaphysics were interesting, and, at the time, useful. He was also into Marshall McLuhan; very much into the effects of electronics and the electronic transformation. He was into certain metaphysical concepts before I was, but I was able to turn him onto some abstract concepts as well" These metaphysical discussions led to Usher producing an album titled The Astrology Album, with discussions of the meaning of different star signs over musical backing: [Excerpt: Gary Usher, "Leo"] And with interviews with various of the artists he was working with talking about astrology. He apparently interviewed Art Garfunkel -- Usher was doing some uncredited production work on Simon and Garfunkel's Bookends album at the time -- but Garfunkel declined permission for the interview to be used. But he did get both Chad and Jeremy to talk, along with John Merrill of the Peanut Butter Conspiracy -- and David Crosby: [Excerpt: Gary Usher, "Leo"] One of the tracks from that album, "Libra", became the B-side of a single by a group of studio musicians Usher put together, with Glen Campbell on lead vocals and featuring Bruce Johnston of the Beach Boys prominently on backing vocals. "My World Fell Down" was credited to Sagittarius, again a sign of Usher's current interest in astrology, and featured some experimental sound effects that are very similar to the things that McGuinn had been doing on recent Byrds albums: [Excerpt: Sagittarius, "My World Fell Down"] While Usher was continuing with his studio experimentation, the Byrds were back playing live -- and they were not going down well at all. They did a UK tour where they refused to play most of their old hits and went down as poorly as on their previous tour, and they were no longer the kings of LA. In large part this was down to David Crosby, whose ego was by this point known to *everybody*, and who was becoming hugely unpopular on the LA scene even as he was starting to dominate the band. Crosby was now the de facto lead vocalist on stage, with McGuinn being relegated to one or two songs per set, and he was the one who would insist that they not play their older hit singles live. He was dominating the stage, leading to sarcastic comments from the normally placid Hillman like "Ladies and gentlemen, the David Crosby show!", and he was known to do things like start playing a song then stop part way through a verse to spend five minutes tuning up before restarting. After a residency at the Whisky A-Go-Go where the group were blown off the stage by their support act, the Doors, their publicist Derek Taylor quit, and he was soon followed by the group's co-managers Jim Dickson and Eddie Tickner, who were replaced by Crosby's friend Larry Spector, who had no experience in rock management but did represent Peter Fonda and Dennis Hopper, two young film stars Crosby was hanging round with. The group were particularly annoyed by Crosby when they played the Monterey Pop Festival. Crosby took most lead vocals in that set, and the group didn't go down well, though instrumentally the worst performer was Michael Clarke, who unlike the rest of the band had never become particularly proficient on his instrument: [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star (live at Monterey)"] But Crosby also insisted on making announcements from the stage advocating LSD use and describing conspiracy theories about the Kennedy assassination: [Excerpt: David Crosby on the Warren Commission, from the end of "Hey Joe" Monterey] But even though Crosby was trying to be the Byrds' leader on stage, he was also starting to think that they maybe didn't deserve to have him as their leader. He'd recently been spending a lot of time hanging out with Stephen Stills of the Buffalo Springfield, and McGuinn talks about one occasion where Crosby and Stills were jamming together, Stills played a blues lick and said to McGuinn "Can you play that?" and when McGuinn, who was not a blues musician, said he couldn't, Stills looked at him with contempt. McGuinn was sure that Stills was trying to poach Crosby, and Crosby apparently wanted to be poached. The group had rehearsed intensely for Monterey, aware that they'd been performing poorly and not wanting to show themselves up in front of the new San Francisco bands, but Crosby had told them during rehearsals that they weren't good enough to play with him. McGuinn's suspicions about Stills wanting to poach Crosby seemed to be confirmed during Monterey when Crosby joined Buffalo Springfield on stage, filling in for Neil Young during the period when Young had temporarily quit the group, and performing a song he'd helped Stills write about Grace Slick: [Excerpt: Buffalo Springfield, "Rock 'n' Roll Woman (live at Monterey)"] Crosby was getting tired not only of the Byrds but of the LA scene in general. He saw the new San Francisco bands as being infinitely cooler than the Hollywood plastic scene that was LA -- even though Crosby was possibly the single most Hollywood person on that scene, being the son of an Oscar-winning cinematographer and someone who hung out with film stars. At Monterey, the group had debuted their next single, the first one with an A-side written by Crosby, "Lady Friend": [Excerpt: The Byrds, "Lady Friend"] Crosby had thought of that as a masterpiece, but when it was released as a single, it flopped badly, and the rest of the group weren't even keen on the track being included on the next album. To add insult to injury as far as Crosby was concerned, at the same time as the single was released, a new album came out -- the Byrds' Greatest Hits, full of all those singles he was refusing to play live, and it made the top ten, becoming far and away the group's most successful album. But despite all this, the biggest conflict between band members when they came to start sessions for their next album wasn't over Crosby, but over Michael Clarke. Clarke had never been a particularly good drummer, and while that had been OK at the start of the Byrds' career, when none of them had been very proficient on their instruments, he was barely any better at a time when both McGuinn and Hillman were being regarded as unique stylists, while Crosby was writing metrically and harmonically interesting material. Many Byrds fans appreciate Clarke's drumming nonetheless, saying he was an inventive and distinctive player in much the same way as the similarly unskilled Micky Dolenz, but on any measure of technical ability he was far behind his bandmates. Clarke didn't like the new material and wasn't capable of playing it the way his bandmates wanted. He was popular with the rest of the band as a person, but simply wasn't playing well, and it led to a massive row in the first session: [Excerpt: The Byrds, "Universal Mind Decoder (alternate backing track)"] At one point they joke that they'll bring in Hal Blaine instead -- a reference to the recording of "Mr. Tambourine Man", when Clarke and Hillman had been replaced by Blaine and Larry Knechtel -- and Clarke says "Do it. I don't mind, I really don't." And so that ended up happening. Clarke was still a member of the band -- and he would end up playing on half the album's tracks -- but for the next few sessions the group brought in session drummers Hal Blaine and Jim Gordon to play the parts they actually wanted. But that wasn't going to stop the bigger problem in the group, and that problem was David Crosby's relationship with the rest of the band. Crosby was still at this point thinking of himself as having a future in the group, even as he was increasingly convinced that the group themselves were bad, and embarrassed by their live sound. He even, in a show of unity, decided to ask McGuinn and Hillman to collaborate on a couple of songs with him so they would share the royalties equally. But there were two flash-points in the studio. The first was Crosby's song "Triad", a song about what we would now call polyamory, partly inspired by Robert Heinlein's counterculture science fiction novel Stranger in a Strange Land. The song was meant to portray a progressive, utopian, view of free love, but has dated very badly -- the idea that the *only* reason a woman might be unhappy with her partner sleeping with another woman is because of her mother's disapproval possibly reveals more about the mindset of hippie idealists than was intended. The group recorded Crosby's song, but refused to allow it to be released, and Crosby instead gave it to his friends Jefferson Airplane, whose version, by having Grace Slick sing it, at least reverses the dynamics of the relationship: [Excerpt: Jefferson Airplane, "Triad"] The other was a song that Gary Usher had brought to the group and suggested they record, a Goffin and King song released the previous year by Dusty Springfield: [Excerpt: Dusty Springfield, "Goin' Back"] Crosby was incandescent. The group wanted to do this Brill Building pap?! Hell, Gary Usher had originally thought that *Chad and Jeremy* should do it, before deciding to get the Byrds to do it instead. Did they really want to be doing Chad and Jeremy cast-offs when they could be doing his brilliant science-fiction inspired songs about alternative relationship structures? *Really*? They did, and after a first session, where Crosby reluctantly joined in, when they came to recut the track Crosby flat-out refused to take part, leading to a furious row with McGuinn. Since they were already replacing Michael Clarke with session drummers, that meant the only Byrds on "Goin' Back", the group's next single, were McGuinn and Hillman: [Excerpt: The Byrds, "Goin' Back"] That came out in late October 1967, and shortly before it came out, McGuinn and Hillman had driven to Crosby's home. They told him they'd had enough. He was out of the band. They were buying him out of his contract. Despite everything, Crosby was astonished. They were a *group*. They fought, but only the way brothers fight. But McGuinn and Hillman were adamant. Crosby ended up begging them, saying "We could make great music together." Their response was just "And we can make great music without you." We'll find out whether they could or not in two weeks' time.
durée : 00:31:24 - À voix nue - par : Caroline Broué - De ses fonctions d'animatrice de salle à celles de distributrice aux Films du Losange en passant par le développement du cinéma d'art et d'essai auprès du public scolaire à Gaumont. - invités : Régine Vial Productrice et distributrice de films
Jean-Claude Van Damme the movie game is back! It's not spooky but Stevie, Josh, Brett, Mikey, Korey, and pappy review the 2008 Belgian classic: JCVD! Big Dumb Movie (now 100 episodes!): https://www.youtube.com/@BigDumbMovie When a washed-up actor returns to Belgium to find tranquillity, he finds himself involved in a bank robbery. Police believe him to be the perpetrator of the robbery, so he plays both roles of criminal to the police and hero to the hostages. Release date: November 7, 2008 (USA) Director: Mabrouk El Mechri Executive producers: Jean-Claude Van Damme, Marc Fiszman, Patrick Quinet, Arlette Zylberberg, Fiszman Marc Box office: 2.3 million USD Distributed by: Gaumont, Peace Arch Entertainment Music by: Gast Waltzing Release date: November 7, 2008 (USA) Director: Mabrouk El Mechri Executive producers: Jean-Claude Van Damme, Marc Fiszman, Patrick Quinet, Arlette Zylberberg, Fiszman Marc Box office: 2.3 million USD Distributed by: Gaumont, Peace Arch Entertainment Music by: Gast Waltzing
In Concert! ATOS Marketplace for 2023 Highlights CDs Start Name Artist Album Year Comments 0:00 Way Down Yonder In New Orleans George Wright Live At The Rialto [Banda 109759-2] 1971 2-10 Wurlitzer, Rialto Theatre, South Pasadena 1:56 Easy To Love Ed Gress Concert: Metropolitan Theatre, Boston 1958 1958 4-26 Wurlitzer, Metropolitan Theatre, Boston, MA 4:46 The Runaway Rocking Horse Simon Gledhill ATOS 2023 Chicago 2023 4-26 Barton hybrid, Rialto Square Theatre, Joliet, IL; final convention concert 2023-07-06 9:15 Till There Was You Zach Frame ATOS 2023 Chicago 2023 3-30 Wurlitzer, Organ Piper Pizza, Milwaukee, WI; console from Seneca Theatre, Buffalo, NY; concert 2023-07-07 14:53 I Go To Extremes Brett Valliant ATOS 2023 Chicago 2023 4-21 Hybrid, St. Mary of the Lake Seminary, Mundelein, IL; Concert 2023-07-06 17:42 Moonlight in Vermont Alec Leader Concert: Plough, Great Munden 1984 1984 3-12 Compton plus Melotone, Plough Public House, Great Munden, Herts; ex-Gaumont, Finchley, London 22:37 The Glow Worm Allen Mills Concert: NY Military Academy 1991-05-04 (Saying Goodbye) 1991 4-31 Moller, New York Military Academy, Cornwall-On-Hudson, NY; Recording © 1988-2021 Skilled Shot LLC - All Rights Reserved - Recording Engineer: Marc R. Erickson AES 27:47 Me Minus You Bill Vlasak ATOS 1996 Pasadena 1996 3-23 Wurlitzer, Sexson Auditorium, City College, Pasadena, CA; July 2, 1996 30:46 Kalmar and Ruby: Who's Sorry Now?; Nevertheless; Thinking Of You; I Wanna Be Loved By You; Three Little Words Bob Ralston Concert: Keystone Oaks High School 2000-09-09 2000 3-19 Wurlitzer, Keystone Oaks High School, Dormont, PA 35:59 Unknown Don Simmons Concert: Andriesian Residence 1965 1965 4-21 Barton-Wurlitzer Hybrid, Dr. Dan Andriesian Residence, Cottage Grove, OR; April 1965 39:43 Beautiful Love Chris Elliott ATOS 1994 Fresno 1994 2-10 Wurlitzer, Fox Theatre, Hanford, CA; 1 July 1994 43:28 Cavalcade of Martial Songs Dudley Savage Concert: Dreamland Margate 1993-06-06 1993 4-19 Compton Noterman, Dreamland Cinema, Margate; (8 Compton 11 Noterman) Installed 1935 48:10 I Dreamed A Dream David Redfern Concert: Astoria Centre, Barnsley 2021-02-12 (At The Astoria 3) 2021 3-18 Compton, Astoria Centre, Barnsley, Yorks 52:55 Poet and Peasant Overture Jonas Nordwall Omnificent [Organ Grinder JN-106] 1980 4-37 Wurlitzer, Organ Grinder Restaurant, Denver, CO (1979-1988); based on 4-20 Publix 1 from Paramount, Portland.
durée : 00:52:47 - Parcours Critiques - À la fin des années 1990, Godard a conclu une œuvre somme commandée par Gaumont et Canal+, "Histoire(s) du cinéma", série en huit épisodes élaborés pendant dix ans, où l'auteur brasse un siècle d'images cinématographiques dans un maëlstrom de citations, de collages et de fulgurances poétiques
© 2020-2025 Ivy Podcast Discovery LLC
