Podcasts about german new wave

We got an extra hour on our FM radio home WXOX before That Driving Beat, so we brought in some other records we like that don't fit in our regular show. We spun The Stranglers and The Damned, Jarvis Cocker solo, Suede, Swamp Dogg, Charlie Rich, Blondie, some German New Wave, and Tina Turner covering Kris Kristofferson. Hosted on Acast. See acast.com/privacy for more information.

2023 was the year that Overlapping Dialogue went out of control. No one knew where it might land. It soared above the ozone layer like a lethal bird of prey. The whole world was alarmed. Only Kyle & Levi couldn't care less... In our second episode celebrating the cinema of the 1990s, we hitch a ride in the way-back machine and head straight ahead into the year of 1991 with a double feature that would collectively captivate you for nearly 9 hours: A Brighter Summer Day & Until the End of the World! But before we travel through the weighty contexts surrounding both films, we dig into a Blue Plate Special that belatedly celebrates the 2008 HBO miniseries John Adams and finds a distressing degree of comfort in the two most recent entries in the Evil Dead franchise (2013's Evil Dead and the newly released Evil Dead Rise). We make quick work of the deadites and eventually arrive to this episode's marquee pairing: listen as we marvel at the revelatory slice of life cinema of Edward Yang, the reflective yet rollicking magnum opus of Wim Wenders, and ponder the ways in which both works reflect upon and conclude a 20th century reaching its uncertain conclusion. Stay till the at once sweet yet bitter end for a very special gift, Mr. Wenders himself! In his his second appearance on the pod (albeit his first as a communicatory android), the German New Wave auteur reflects on a whole host of topics, ranging from Sam Neill Pop Funko vinyls, his failed attempt to remake Fantasia in live action in the late 90s, and the unforeseen ways Gary Busey impacted his life forever. As always, please like, subscribe, rate, and review us on all of our channels, which include Apple Podcasts, Spotify, and YouTube! Contact us at huffmanbrothersproductions@gmail.com with your questions, comments, and requests.

On this edition of Parallax Views, controversial German-born filmmaker Uwe Boll has alternately been called "the world's worst director", potentially "the most misunderstood filmmaker in the business" and a "legitimate auteur", "a brutish bully inclined to lash out against his detractors", "the only filmmaker interested in investigating the likelihood of a violent response to political powerlessness" and "the only director taking the events the media treats as the country's worst tragedies seriously", and an "asshole". He's taken on his critics in a boxing match. He's worked with A-list Hollywood talents like Jason Statham, Michelle Rodriguez, Ben Kingsley, Christian Slater, Elizabeth Moss, Ray Liotta, J.K. Simmons, and Burt Reynolds. He's become known for his adaptation hit video game properties like House of the Dead, Bloodrayne, Alone in the Dark, Dungeon Siege, and Postal into movies that were slammed by gamers and critics. He's been a lightning rod for controversy due to some of his movies being financed by German tax shelters. He's also made more personal films dealing with or reflecting on social issues like Wall Street corruption and the financial crisis of 2009 (Assault on Wall Street), school shootings (Heart of America), spree murders and political violence (Rampage, Rampage: Capitol Punishment, and Rampage: President Down), prison brutality (Stoic), the Holocaust (Auschwitz), the genocide in Sudan's Darfur region (Attack on Darfur), and the absurdities of war (1968 Tunnel Rats). Boll announced his retirement from directing in in 2016 with the release of Rampage: President Down, the last movie in his trilogy following the exploits of spree killer turned political terrorist Bill Williamson (played by Brendan Fletcher). During this retirement Boll kept helping produce films made by other directors, including the opioid epidemic documentary The Decline, as well as opening his own highly-lauded Vancouver-based restaurant Bauhaus. In 2022, however, Boll returned to the director's chair with Hanau (Deutschland im Winter - Part 1) or Hanau: Germany in Winter, a docudrama exploring the disturbed mind of Tobias R. and the descent into radicalization that led him to become the first recorded mass shooter inspired by the far-right wing conspiracy theory movement known as QAnon. Now, Boll is continuing his return to cinema vis-a-vis his company Event Film. His next project is First Shift, a New York City crime/cop drama set to feature Sons of Anarchy's Kristen Renton and Shades of Blue's Gino Anthony. Also in the works for the filmmaker's comeback is a biopic of Elliot Ness of The Untouchables fame dealing with the Prohibition-era law enforcement agent's attempts to solve the Mad Butcher of Kingsbury Road or Cleveland Torso Murders case. In addition to all of this the cult film distributor Unearthed Films' is soon releasing the 2013 horror anthology The Profane Exhibit containing the Boll-directed segment "The Basement" about the depraved Austrian criminal Josef Fritzl that stars noted character actor Clint Howard and The Texas Chainsaw Massacre Part II's Caroline Williams. Despite his busy schedule, Boll made time to chat with me for this edition of Parallax Views. I'll admit that I'm not completely objective in this conversation. I think Boll's gotten a raw deal in terms of how his films have been evaluated/perceived and I make that known in this extended discussion of his career. Rather than covering the video game adaptations he's notorious for or the infamous boxing match between Boll and his critics, this conversation focuses on Boll's early German film career, his transition to making films in Hollywood, his politics and explorations of social issues like men who "run amok", a great deal of discussion about his non-video game based movies, and more. Among the topics covered throughout this episode: - Uwe's early cinematic influences; Hollywood vs. the German New Wave cinema; Werner Herzog - Uwe's German films: the irreverent comedy German Fried Movie and the arthouse spree shooter movie Amoklauf - Uwe's dealing with the theme of people, particularly men, who "run amok" (going on rampages or killing sprees); fascination with what leads people to snap mentally - Assault on Wall Street as a subversion of the Death Wish and similar revenge movies (ie: the vigilante goes after white collar criminal than pretty street thugs); the slow-burn nature of Assault on Wall Street; the 2008 financial crisis, Bernie Madoff, and what inspired Assault on Wall Street - The overt, "in your face" politics of Assault on Wall Street and the Rampage movies - Boll's school shooting drama Heart of America; the dark side of suburbia; Brendan Fletcher's portrayal of the school bully in Heart of America; Heart of America vs. Gus Van Sant's Elephant; the narrow view a teenaged mind can have about the future and how this relates to Heart of America; sometimes we change our way too late as a theme in Heart of America - Boll's prison drama Stoic; Boll made the actors, including Terminator 2: Judgment Day's Edward Furlong, sleep in a prison cell in preparation for the film; relying on the improvisation of actors to create realism; Stoic and it's scary examination of how easy it is for people to dehumanize others - Uwe's thoughts on Russia and the war in Ukraine - Was there a specific moment that led to Uwe's political awakening?; NATO, Germany, and the Cold War; the East vs. West Germany divide; the Red Army Faction and the debated death of Ulrike Meinhof - The Rampage trilogy and its main character, the teenager turned terrorist Bill Williamson; Williamson as a character who commits violent acts that disturb the viewer but also is, disturbingly, relatable in other ways (telling certain truths about the problems with society); the realism of the violence in Rampage as a deliberate contrast to Boll's early films trying to emulate unrealistic video game-style violence - The evolution of the Bill Williamson character in the Rampage sequels; 2016's Rampage 3: President Down and the Jan 6th riots; Julian Assange and Wikileaks, Edward Snowden, the NSA, and the persecution of whistleblowers; Donald Trump's lack of pardons for the aforementioned whistleblowers - Boll's Holocaust documentary Auschwitz; portraying the dehumanization of the camps and why the film included nudity (although not nudity that was meant to titillate but rather depict the stripping of human dignity that the Nazis perpetrated against Jews; the Israeli reception to Boll's exploration of Nazi death camps in Auschwitz; why Boll played an SS guard in the film - Casting real life refugees in Attack on Darfur - Films like Auschwitz and Attack on Darfur as attempts to force us to confront the reality of atrocities and genocides; why did no one intervene in Darfur?; war, profits, and exploitation; political violence, terrorism, and state violence - Who was Tobias R., the German QAnon spree shooter? Why tell his story in the docudrama Hanau: Winter in Germany; Tobias R.'s mental disturbance, isolation, manifesto, and racist, xenophobic father; the rise of Trump and the radicalization of Tobias R.; the problem of misinformation, disinformation, and the destabilization game; are we getting screwed by all sides politically?; figures like Tobias R. are not alone (ie: QAnon is a social phenomena) - The lack of common sense in the geopolitical power struggle in the world (some talk about the U.S., Russia, and China); the decline of diplomacy and the horrors of war; weapons manufacturers and war profiteering; climate change and the need to address the issues facing the environment - The historical context of Boll's irreverent comedy Postal; the War on Terror, the George W. Bush administration, and 9/11 - The censorship of the first Rampage movie in Germany - Boll's work as a producer; tax incentives and Boll's use of tax shelters (and the misperceptions people have about the use of those tax shelters); the money Boll made from DVD sales; movies like Stoic and Rampage would not have been made without the video game movies allowing Boll to make some cash to fund the later non-video game features - Advice to young filmmakers; Boll's approach to directing actors; the state of cinema today; the importance of storytelling; the problem of self-censorship in cinema; it is cheaper to shoot a movie today in many ways than it was for when Boll first started filmmaking; how to foster a good relationship with actors; taking a straightforward approach with actors; Ron Perlman's assessment of Boll's approach to working with actors - High-octane filmmaking, working on tights schedules, and practical struggles Boll and his crew face making films like House of the Dead and In the Name of the King: A Dungeon Siege Tale; taking into account the role of money in film production and being able to make one's money back; working with budgetary restraints as a filmmaker; filming Alone in the Dark and anecdote about Bryan Singer, Halle Berry, and the X-Men movies - Boll's future projects; First Shift follows a day in the life of Brooklyn cops during a 12-hour shift; making a new movie about The Untouchables' Elliot Ness and the sad story of "Mad Butcher of Kingsbury Run"; a little info about the Boll-produced documentary The Decline about the North American opioid epidemic and fentanyl deaths (Boll saw the epidemic first hand while running his restaurant Bauhaus in Vancouver); Boll's documentary on the Bandidos Motorcycle Club gang - And more!

POP ART, WHERE WE FIND THE POP CULTURE IN ART AND THE ART IN POP CULTURE. ON THE ROAD AGAIN: Join me and my guests, filmmakers Richard and Holly Soriano (My Apocalyptic Thanksgiving) as we talk The Peanut Butter Falcon and Alice of the Cities, two films about an adult stuck with a child while on a road trip. “You are not invited to my birthday party!” Don't you hate when this happens? You're on the road, minding your own business, trying to get someplace and you run into this…kid, this unaccompanied, on their own, no adult supervision…kid. What do you do?…Sounds like it's time for Episode 91 of Pop Art, where we find the pop culture in art and the art in pop culture. It's the podcast where my guest chooses a movie from popular culture, and I'll select a film from the more art/classic/indie side of cinema with a connection to it. For this episode, I am happy to welcome as my guests, filmmakers Holly and Richard Soriano, who have chosen as their film the modern day Huckleberry Finn update, The Peanut Butter Falcon, while I have chosen the German new wave Alice in the Cities, both films about adults suddenly finding themselves on a road trip with a child or someone childlike. And in this episode we answer such questions as: What director is also almost as well known for being a hand model? German New Wave or The New German Cinema? Has the portrayal of people disabilities changed in film? Could Alice in the Cities be done today? How far back to road stories date? Genre meets Diversity? How does F. Scott Fitzgerald fit in? What's wrong with the geography in Peant Butter…? Where are Wim Wenders and Peter Haneke in the film? And don't forget to check out Richard and Holly's film My Apocalyptic Thanksgiving, not seen on multiple streaming platforms including Amazon. For more information go to https://www.facebook.com/MyApocalypticThanksgiving/ Check out my blog at https://howardcasner.wordpress.com/ My books, More Rantings and Ravings of a Screenplay Reader, The Starving Artists and Other Stories and The Five Corporations and One True Religion can be found at https://www.amazon.com/s?k=howard+casner&ref=nb_sb_noss --- Support this podcast: https://anchor.fm/howard-casner/support

Thanks to  Freeze Pipe at https://bit.ly/FreezePipes use code BINGE for 10% off your next order.Just Your Average German New Wave Cinema Leopard Skin Rock Star Story.Guilty pleasures and opening a jar of Stress Berries! Comedy podcast joke recalls.What is German New Wave Cinema ( Neuer Deutscher Film ) Tusk 2 rumors. What a weird horror movie Tusk was.Apple TV series Lady In The Lake shut down due to extortion threats in Baltimore.Blockbuster Netflix show drops November 3  and why we miss working at Blockbuster.Kamikaze ‘89 is a German New Wave Cinema neon nightmare about a detective trying to solve a mystery played by a German New Wave Cinema icon, Rainer Fassbinder.Rainer needs a biopic because his life is way more wild.How to find movies no one else can find.And binge-watching Welcome To Wrexham.Listen now at: https://www.bwpodcast.com/recent-episodesSubscribe for new content: https://bit.ly/SUBBWPODHorror movies. Movie News. Movie Stories and More. Adventures in Binge-Watching From the Professional Binge-Watchers on this Late Night Comedy and Movie Podcast Hosted by JOHNNY SPOILER. Joined by his film-making buddies, DANGEROUS DAVE and JORDAN SAVAGE#podcasts #bingewatcherspodcast Support the show

One minute you're playing expert spoiler to would-be forgers at an art auction, the next minute you're saving one such forger before he falls to his death off a speeding bullet train. As disgraced British Prime Minister Boris Johnson would say, "...them's the breaks!" This week's episode, perhaps the most special in our history, has us palling alongside a delightful pack of miscreants with 1977's The American Friend! But before we get around to our latest entry in our series of crime films, this week's Blue Plate Special finds us contrasting the listless Airport 1975 with the eclectic brilliance of The Red Shoes, Menace II Society, and Moulin Rouge! before celebrating the lives of James Caan and Tony Sirico. Upon checking off all our boxes and stocking up on all the essentials, we finally hit the open road with none other than director of The American Friend himself, Wim Wenders- who joined us live and in person at the Huffman Brothers Productions Studios! Listen as the German New Wave icon dishes on the arduous production process with madman Dennis Hopper, his tempestuous collaboration with Patricia Highsmith, where his relationship with Francis Ford Coppola currently stands, and what he remembers about Caldwell County's own Willard Blevins from the early 1980s. We were incredibly honored to have Mr. Wenders on the pod and I think our conversation with him lived up to the hype! Feel free to skip to 2:33:35 for our conversation with Wim Wenders and 3:06:05 for the beginning of our audio commentary. As always, please like, subscribe, rate, and review us on all of our channels, which include Apple Podcasts, Spotify, and YouTube! Contact us at huffmanbrothersproductions@gmail.com with your questions, comments, and requests.

Here we go again. Season 3 of Songwriting Idiots is here and oh boy – what a strong start it is! This month, you asked us to tackle to iconic German genre of "Neue Deutsche Welle" or German New Wave. It's pure 80s bliss all about the relatable song topic "The floor is lava". Enjoy!

Will and Matt have the time to discuss CHUD baby German New Wave character designs, the best place to strike your enemy, and Ron Silver's return as himself in what is possibly the most philosophical thinker of any JCVD movie... DISCLAIMER: Language and Spoilers!TIMECOPdir. Peter Hyamsstarring: Jean-Claude Van Damme, Mia Sara, Ron Silver

“After a couple of years as an engineer, of course, the routine bored me. One night, I was driving after work in downtown Seattle, and I saw a billboard outside a movie theater with the words, German New Wave, and the title, Aguirre: The Wrath of God [a 1972 West German film directed by Werner Herzog--R.S.]. It made me curious, so I went in. I was fortunate. I came out a different person. That two hours just blew me away. It restored my sense of competence that I could be a filmmaker. This is what I thought a film should be. Film school would never teach you to make those kinds of shots. That was one of the crucial moments of my life. I had turned thirty, I thought I was getting old, and three more years passed before I got the chance to work on a film project with a friend who asked me to write a script for him. I went back to Taipei, and also visited Hong Kong for the first time, and the film was shot in Japan. I got an offer to write and direct a made-for-TV movie in Taiwan, so I didn't go back to Seattle. After ten years my mom was still calling and asking, 'When are you coming back to your regular job?'”

When he's not tearing faces off in various musical projects - 'To Live and Shave in LA' & 'NH Meth' to name two - Tom Smith leads a genteel life in Hanover, Germany, so it's only fitting that he brought Hanover's own 39 Clocks and their sophomore classic "Subnarcotic" to the table for perusal. Their songs of urban decay and rainy night insanities sung - subversively for 1982 - in English set them apart from the German New Wave of the time, and they managed to turn their love of the Velvets, Suicide and 60's garage-rock into their own "psycho-beat" sound that STILL sounds weirdly ahead of its time! Spotify Episode Playlist: https://open.spotify.com/playlist/0nuGkgwlbGudOR86XRbPhV?si=a0087348127e4e82

The “Cinephile Cuties” are ready to walk around the desert alone. That’s because they’re chatting about Wim Wenders’ Paris, Texas. In this episode, Patrick inquires as to why he’s never seen Casey cry. And Casey tells a story about his uncle. In addition to that, they put The Paris, Texas through their proprietary “Fartsy Test.” Patrick recommends a drink pairing. And they give each other notes to improve the show. Listen in to see if it’s working!If you like this show, tell a friend!If you’d like to sponsor the show, Venmo Patrick at Patrick-Mallon$10 for episode sponsorship$25 for sponsorship AND the boys will imbibe a drink of your choosing.Follow Farthouse on Twitter and InstagramFollow Patrick and Casey and TwitterAnd follow Patrick and Casey and on Letterboxd

In tonight's episode of Pudding On The Wrist, the control room is a rockin' so don't come a knockin'.  With choice cuts from such far out cats including Annette Peakcock, Quintron, La Femme, Twerps, Steve Gunn, La Femme, and so many more.Dig the spacey sounds of old school hip hop, doo wop, Malaysian psychedelic rock, German New Wave, and everything in between. Here at Pudding On The Wrist, we've been giving you what the algorithms won't since February 2020.

Dan and Raul dive into another European filmmaker, but this time who hales from the 70's era German New Wave. Wim Wenders is discussed and the focus is his most successful United States-based film, Paris, Texas from 1984. Winner of the Cannes Palme D'or for Best Film, Wenders uses this film as a culmination of all he has learned in filmmaking before it to produce this visually rich and thematically thick yet simple story.

Dan and Raul dive into another European filmmaker, but this time who hales from the 70's era German New Wave. Wim Wenders is discussed and the focus is his most successful United States-based film, Paris, Texas from 1984. Winner of the Cannes Palme D'or for Best Film, Wenders uses this film as a culmination of all he has learned in filmmaking before it to produce this visually rich and thematically thick yet simple story.

Dan and Raul dive into another European filmmaker, but this time who hales from the 70's era German New Wave. Wim Wenders is discussed and the focus is his most successful United States-based film, "Paris, Texas" from 1984. Winner of the Cannes Palme D'or for Best Film, Wenders uses this film as a culmination of all he had learned in filmmaking up until this point in his career to produce this visually rich and thematically thick, yet simple and straightforward story. --- Send in a voice message: https://anchor.fm/downtocast/message

In this episode Dylan, Jana, and Nick discuss the German New Wave feature Ali: Fear Eats the Soul from 1974.

@der-goldene-reiter Freddy was born in the countryside of Westfalia and moved to Berlin in 2011. He got sucked into the world of electronic music, eventually began djing, then after getting a Roland Juno 60 from his mum and watching a lot of youtube videos started to explore the world of producing the soft balearic music. His first releases were 2 edits of German New Wave tracks together with Cochon D’isco (@cochondisco) on Luettje Luise (sublabel of Laut & Luise (@lautundluise). And right now Der Goldene Reiter is launching his own balearic tape label called Tropical Europe (@tropical-europe). Der Goldene Reiter made a Christmas gift for our listeners. It has become a little less balearic soft-house and gone more into the direction of "drum'n'haze", how he likes to call it”.

Are Propaganda more German than Kraftwerk? At what point must a band record under a different name? We're back from our summer break, and we tackle this and more in our most German episode yet!

We've reached the moment everyone has been waiting for: we get to talk about '80s German New Wave music! Oh, also some new guy. And various blue boxes. And we have our first ever listener-submitted animal trivia!

On episode 2 we watch Rainer Werner Fassbinder's 1974 film "Ali: Fear Eats the Soul", hailed by many as a masterpiece and a touchstone of German New Wave cinema of the 1970s. Check us out: Patreon: http://bit.do/eSgD8 Insta: @desperatelyseekingcinema Twitter: @desperatecinema Facebook: Desperately Seeking Cinema Jimmy: Insta @jimmydbarnes Twitter @jimmydbarnes

Bill speaks to writer/director, Trailers From Hell guru and podcaster Josh Olson about his many endeavors, from writing screenplays like the Oscar-nominated A HISTORY OF VIOLENCE and the audio drama BRONZEVILLE to co-hosting shows like The Movies That Made Me and The West Wing Thing. Topics include: Harlan Ellison, Werner Herzog and the German New Wave, NIGHT WATCH, Randy Frakes, landing professional opportunities through mistaken identity, MAD Magazine, Anthony Bourdain, screening UNFORGIVEN for David Cronenberg, The Cinefamily and whether or not people still approach him to read their scripts.   Watch Josh Olson on Trailers From Hell: https://trailersfromhell.com/gurus/olson-josh/ Listen to The Movies That Made Me: https://trailersfromhell.com/podcast/ Listen to Bronzeville: http://bronzevilleseries.com/ Listen to The West Wing Thing: https://westwingthing.libsyn.com/ Read “I Will Not Read Your Fucking Script”: https://www.villagevoice.com/2009/09/09/i-will-not-read-your-fucking-script/ Watch Josh Olson on I Blame Dennis Hopper: https://www.youtube.com/watch?v=An--XX-5o0Y Hear Josh Olson on Pure Cinema Podcast: http://www.nowplayingnetwork.net/purecinema/episode11 Buy DARK OF THE SUN, featuring an audio commentary by Josh Olson, Larry Karaszewski, Elric Kane and Brian Saur: https://www.wbshop.com/products/dark-of-the-sun-bd

For our A.I.R. with Wales Arts Review we wanted to create live improvised pieces of music and this is our first work. We often use this process, as part of our writing, to create new ideas. This time we are sharing these off the cuff ideas and vibes with you. This is part of our musical development, as a two piece. American Teeth, was our first album, we created it with some level of experimentation, but also with traditional songwriting methods. You write the song, then produce it, or produce the music, and sing a song over it...etc. During this process, we created a big sound, which included lots of live instrumentation: live drums, bass, strings, horns, organs, synths, and then (obviously, in hindsight) we found this hard to recreate in a live setting. Since that time, we have been working more, and more with electronic equipment, evolving and experimenting more in the electronic field. Technology is moving fast, and there are loads of new toys which we are discovering to use to create an interesting sound as a two piece. We have been listening to and are influenced by experimental music from the 60's/70's and the German New Wave era - people like: Neu, Can, Faust, also the improvised work of Yoko Ono. We like the freedom in these musical movements. As a group we experiment with making sonic loops and capturing live moments. This track was made using a Moog Sub37 and a Moog Modular 15 synthesiser, Elektron and Korg drum machines, vintage and modern delay effects and Roland and Korg looping machines. It was recorded as a live improvised performance. Warning #explicitlyricalcontent. Please play at maximum volume and set aside 15 minutes to experience this work.