Podcast appearances and mentions of Gordon Willis

Rent a whole ass new apartment and purchase a 3 ft. telescope because we are spying on Gordon Willis' controversial queer thriller, Windows (1980) for its 45th anniversary. C/W: sexual assault and the cat does die. Up for discussion: the creative team's pedigree, disabled women in jeopardy films, an unnecessary romance, Razzie nominations, comparisons to Carpenter's Someone's Watching Me! and Elizabeth Ashley's iconic queer villain performance. Questions? Comments? Snark? Connect with the boys on Instagram, BlueSky, Youtube, Letterboxd, Facebook, or join the Facebook Group to get in touch with other listeners > Trace: @tracedthurman > Joe: @bstolemyremote  Be sure to support the boys on Patreon!   Theme Music: Alexander Nakarada     Learn more about your ad choices. Visit megaphone.fm/adchoices

Join us as we talk about the Local 600 Trainee Program, operating your first shot on the wheels, The Perfect Storm, Midnight Run, Gordon Willis's apple box, and so much more.  Dan's IMDB Watch Dan's Breakdown of a shot from Air Force One To see pictures and things we discussed in todays episode check out the podcast page of The Op. Please check us out on the web and instagram and like us and review us if you enjoyed the episode. Theme Music - Tatyana Richaud Theme Mix - Charles Papert  

On our election day special in America, Nate and Adam invited filmmaker and podcaster Devan Scott (How Would Lubitsch Do It?) to dissect the painfully relevant political thriller All the President's Men (1976) and its Simpsons send-up in “Sideshow Bob Roberts” (S6E5). Join us as we try to laugh through the nausea and exorcize the ghosts of elections past!Also in this episode:• The Simpsons' surprisingly timeless satire of populism and corruption in American politics• Why they call cinematographer Gordon Willis the “Prince of Darkness” and why they shouldn't• The delightful chemistry and realism of Robert Redford's Woodward and Dustin Hoffman's Bernstein• Is it a bad sign that a movie about a real-life government conspiracy orchestrated by one of the most corrupt presidents in American history makes us feel nostalgic about simpler times?• Plus, check out our show notes for a complete list of Simpsons references, double feature suggestions, and further readingNext time, Adam and Nate explore the film adaptation of Terry Southern's cult classic novel, The Magic Christian (1969) and Homer and Mr. Burns's reenactment in “Homer vs. Dignity” (S12E5). Peter Sellers. Ringo Starr. Elaborate practical jokes. Pow.For more of Devan Scott's film content, check out the complete podcast How Would Lubitsch Do It? and his video essays on YouTube, or follow him on Twitter, Letterboxd, and Instagram.Discover more great podcasts on the That Shelf Podcast Network. Follow us @simpsonsfilmpod on Instagram, TikTok, YouTube, Twitter, and Letterboxd.

Felicia is joined by Bryan and Hannah Loomis to discuss a film about hope and making the most out of the life you've been given in Vittorio De Sica's Miracle in Milan (1951). We chat about De Sica and Zavattani's (his long time writing partner) communist ideals and how they translate to the importance of community and choosing your own family. Along with the mix of realism and fantasy to create a story that leaves the viewer feeling hopeful. This is the series two opening film and I think this is the perfect example of how layered De Sica's work often was, and how he could easily blend comedy and drama. Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Bryan and Hannah here: Website: PODCAST | What a Picture (whatapicturepod.com) Bryan on Bluesky: @bryanwhatapic Bryan on Letterboxd: @bryan_whatapic Catch up on our previous episodes with Bryan and Hannah: All The President's Men (D.O.P. Gordon Willis 1976)I Was Born, But… (Yasujirō Ozu 1932) Sources: https://www.criterion.com/current/posts/7755-miracle-in-milan-it-is-goodness https://www.nytimes.com/1951/12/18/archives/the-screen-in-review-miracle-in-milan-an-italian-fable-directed-by.html https://www.theguardian.com/film/2010/aug/01/beeban-kidron-miracle-in-milan https://www.sensesofcinema.com/2020/cteq/miracle-in-milan-vittorio-de-sica-1951/ OUTRO SONG: Miracolo a Milano (Suite) by Alessandro Cicognini FILMS MENTIONED: All the President's Men (Alan J. Pakula 1976) I Was Born, But… (Yasujirō Ozu 1932) Shoah (Claude Lanzmann 1985) Histories of Cinema (Jean-Luc Godard 1989-1999) Bicycle Thieves (Vittorio De Sica 1948) The Earrings of Madame De… (Max Ophüls 1953) Umberto D. (Vittorio De Sica 1952) Shoeshine (Vittorio De Sica 1946) Divorce Italian Style (Pietro Germ 1961) Marriage Italian Style (Vittorio De Sica 1964) It's a Wonderful Life (Frank Capra 1946) The Phantom Carriage (Victor Sjöström 1921) Divorce of Lady X (Tim Whelan 1938) Happy as Lazzarro (Alice Rohrwacher 2018) Nomadland (Chloé Zhao 2020) La chimera (Alice Rohrwacher 2023) Yoyo (Pierre Étaix 1965) Yi Yi (Edward Yang 2000)

Writer Ally Hord (Late Night with Seth Meyers) joins our Political Thriller series to discuss Alan J. Pakula's 1974 paranoia-fest, THE PARALLAX VIEW starring Warren Beatty, Hume Cronyn, and Paula Prentiss. Beatty stars as an investigative newspaper reporter uncovering a sinister shadow organization that specializes in political assassination. Released in the wake of several real life political assassinations and the Watergate scandal, THE PARALLAX VIEW typifies the stylish disillusionment of '70s era cinema, soberly shading an outlandish premise with cinematographer Gordon Willis's low-light moodiness. Join us as we contrast our different views on PARALLAX, along with diversions into Donald Trump, Home Improvement, the Burbank airport, The Paper, Harrison Ford, Glenn Close, and much, much more! THE PARALLAX VIEW is currently available to stream for free on Kanopy and PlutoTV. 

President Richard M. Nixon resigned August 9, 1974, and fifty years later the events surrounding his time in office still reverberate. Chief among them, the Watergate scandal and reporting by The Washington Post's Bob Woodward and Carl Bernstein who began their work in 1972, dramatized in All the President's Men. Pentagram partner Michael Bierut explains why the movie matters, and praises William Goldman's adaptation of the original story by Woodward and Bernstein. Plus, learn about Goldman's Butch Cassidy and the Sundance Kid, Marathon Man, and The Princess Bride, as well as David Fincher movies Zodiac with The Social Network and Radiohead thrown into the mix. We also discuss cinematographer Gordon Willis, who worked on All the President's Men and was featured in the documentary Keepers of the Magic.

Send us a Text Message.From Dune 2 to Deadpool and Wolverine, there have been a surprising number of hit sequels this year. So this week we're asking the question, what makes that cinematic blue moon of a part 2 that is better than part 1? ReferencesThe Strasberg school's definition of method actingOn Location with The Godfather: A Discussion with Gordon Willis (director of photography), theasc.comAn oral history of The Terminator 2-----------If you love what we do, please like, subscribe and leave a review!Original music by James BrailsfordLogo design by Abby-Jo SheldonFollow usEmail us

Felicia is joined by Bryan Loomis (from What a Picture Podcast) to discuss Yasujirō Ozu's silent comedy about two brothers who begin to see their father in a new light. Send us your thoughts on the episode - do you prefer Ozu's silent or talkies era? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Listen to our previous episode: All The President's Men (D.O.P. Gordon Willis 1976) Follow Bryan here: Website: PODCAST | What a Picture (whatapicturepod.com) What a Picture Podcast: https://anchor.fm/what-a-picture Sources: https://www.highonfilms.com/i-was-born-but-1932-ozu/ http://www.midnighteye.com/reviews/i-was-born-but/ https://blogs.iu.edu/establishingshot/2020/02/17/sublime-tragicomedy-i-was-born-but-1932/ https://www.slantmagazine.com/film/i-was-born-but/ https://harvardfilmarchive.org/calendar/i-was-born-but-2023-06 https://www.nytimes.com/2010/06/25/movies/25iwas.html OUTRO SONG: Birthday by The Sugarcubes FILMS MENTIONED: All The President's Men (Alan J. Pakula 1976) Perfect Days (Wim Wenders 2023) Pather Panchali (Satyajit Ray 1955) Horse Money (Pedro Costa 2014) Trust (Hal Hartley 1990) Late Spring (Yasujirô Ozu 1949) Tokyo Story (Yasujirô Ozu 1953) Walk Cheerfully (Yasujirô Ozu 1930) Good Morning (Yasujirô Ozu 1959) Early Summer (Yasujirô Ozu 1951) Autumn Afternoon (Yasujirô Ozu 1962) Trouble in Paradise (Ernst Lubitsch 1932) Lady Bird (Greta Gerwig 2017) Miracle in Milan (Vittorio De Sica 1951) Housekeeping (Bill Forsyth 1987)

Richard Crudo began his career in New York City, learning from some of the best in the business, including László Kovács and Gordon Willis, and helping shoot movies such as Ghostbusters 2, Raising Arizona, and Broadway Danny Rose. He then served as cinematographer on movies including American Pie, Out Cold, and Brooklyn Rules, as well as television series such as FX Network's Justified, The CW's Jane the Virgin, and CBS's SWAT.  In this podcast, Richard discusses the transition of motion pictures from film to digital, and the concurrent rise of new visual effects techniques. He also talks about being president of the American Society of Cinematographers, the popularity of dark shots in Netflix TV series, and the rise of artificial intelligence and the democratization of movie making. It's an enlightening and entertaining discussion, and it's great to get another perspective on the filmmaking process.  

So Woody Allen, huh? One of the most controversial men in show business wasn't always that way...at least not publicly. He made many funny classics back in his salad days. Manhattan is certainly one of them. Woody and Marshall Brickman wrote plenty of great lines and hilarious scenes, plus Gordon Willis' cinematography is fantastic. The story and themes in this complicated love rhombus, however, are at least partially ruined by the director's real-life issues. Ryan's solo show addresses the controversies about Woody's dating life, his marriage to his step-daughter and what he may have done to another step-daughter when she was a child. Yeah, Manhattan wasn't an easy one to review. In any case, this 568th episode in the Have You Ever Seen series has one man trying to figure out how to feel about another man's oddball love life. There's nothing complicated about Sparkplug Coffee. Buy some. You can take advantage of a 20% discount by using our "HYES" promo code. Go to "sparkplug.coffee", then add "/ hyes" to the address. This review might inspire you to agree or to strongly disagree. Fire off a Twi-x to Ryan (@moviefiend51) or even throw out an email (haveyoueverseenpodcast@gmail.com). Bev is contactable too, via a Twi-x (@bevellisellis) and her handle is the same on Threads. Rate our podcast, review it, like it, subscribe to it either in your app or find us on YouTube (@hyesellis) and do those same things there.

Felicia is joined once again by José Roldan (listen to our episode on The Gleaners & I) to discuss Gordon Willis' work on Woody Allen's controversial but groundbreaking film, Zelig (1983). We chat about how Willis and team were able to succeed in making this film, and the blocking, lighting and camera techniques that were used to achieve its look. We also discuss how this story would be perceived in today's world and why the subject matter doesn't really hold up. This is our Gordon Willis closer, and I think an important one to study as it shows how important lighting really is to a film - specifically for a one needing to match with found footage. Send us your thoughts on the episode - how do you think this film reads in today's society ? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow José here: IG: @channel.jose Tik Tok: @channel.jose Sources: Gordon Willis: An Annotated Webliography • Cinephilia & Beyond (cinephiliabeyond.org) The Willis Frame • Cinephilia & Beyond (cinephiliabeyond.org) HOW THE GRAPHIC ARTS FEATS IN 'ZELIG' WERE DONE - The New York Times (nytimes.com) FILM: 'ZELIG,' WOODY ALLEN'S STORY ABOUT A 'CHAMELEON MAN' - The New York Times (nytimes.com) OUTRO SONG: Doin' The Chameleon by Dick Hyman FILMS MENTIONED: The Gleaners and I (Agnès Varda 2001) Vortex (Gaspar Noé 2021) Jackie Brown (Quentin Tarantino 1997) Napoleon (Ridley Scott 2023) Fight Club (David Fincher Forrest Gump (Robert Zemeckis 1994) Take the Money and Run (Woody Allen 1969) Barbie (Greta Gerwig 2023) The Godfather (Francis Ford Coppola 1972) The Godfather Part II (Francis Ford Coppola 1974) Manhattan (Woody Allen 1979) Annie Hall (Woody Allen 1977) Eternal Sunshine of the Spotless Mind (Michel Gondry 2004) Land Without Bread (Luis Buñuel 1933) Klute (Alan J. Pakula 1971) All the President's Men (Alan J. Pakula 1976) La jetée (Chris Marker 1962) Reds (Warren Beatty 1981) Interiors (Woody Allen 1978) Night and Fog (Alain Resnais 1956) Dead Men Don't Wear Plaid (Carl Reiner 1982) The Purple Rose of Cairo (Woody Allen 1985)

Felicia is joined once again by Martin Kessler (listen to our episode on Cassavetes' Opening Night) to discuss Gordon Willis' photography that would shape the rest of 1970s American cinema, in Hal Ashby's The Landlord (1970). We chat about Gordon Willis' ability to light both darker and lighter skin tones within the same frame and ensure everyone is visible to the audience. Along with his portrayal of 1970s New York and how it shaped the way the decade would look on film. Send us your thoughts on the episode - what is your favourite Hal Ashby film? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Martin here: Twitter: @MovieKessler Website: The Pink Smoke Sources: Hal Ashby's The Landlord: the classic film evicted from cinema history | Drama films | The Guardian The Landlord: Whose Dream Is It, Anyway? - Slant Magazine The Landlord movie review & film summary (1970) | Roger Ebert “It was a genius director and it was a genius actress and a genius script… It was a blessing” • Cinephilia & Beyond (cinephiliabeyond.org) TCM Comments on The Landlord (1970) (youtube.com) OUTRO SONG: Brand New Day by Al Kooper FILMS MENTIONED: Opening Night (JohnCassavettes 1977) Louie Bluie (Terry Zwigoff 1985) Ghost World (Terry Zwigoff 2001) Crumb (Terry Zwigoff 1994) Lethal Weapon 2 (Richard Donner 1989) Black Mask (Daniel Lee 1996) Fist of Legend (Gordon Chan 1994) Harold and Maude (Hal Ashby 1971) Being There (Hal Ashby 1979) The Last Detail (Hal Ashby 1973) Coming Home (Hal Ashby 1978) Ganja and Hess (Bill Gunn 1973) Personal Problems (Bill Gunn 1980) Losing Grounds (Kathleen Collins 1982) Annie Hall (Woody Allen 1977) Klute (Alan J. Pakula 1971) Space Jam (Joe Pytka 1996) An Officer and a Gentleman (Taylor Hackford 1982) Iron Eagle (Sidney J. Furie 1986) Story of a Three Day Pass (Melvin Van Peebles 1967) Guess Who's Coming to Dinner (Stanley Kramer 1967) Green Book (Peter Farrelly 2018) Resident Evil (Paul W.S. Anderson 2002) Scott Pilgrim vs. The World (Edgar Wright 2010) 8 Million Ways to Die (Hal Ashby 1986) Bound for Glory (Hal Ashby 1976) Shampoo (Hal Ashby 1975) A Raisin in the Sun (Daniel Petrie 1961) Claudine (John Berry 1974) Sugar Hill (Leon Ichaso 1994) The Paper Chase (James Bridges 1973) Malice (Harold Becker 1993) Presumed Innocent (Alan J. Pakula 1990) Manhattan (Woody Allen 1979) Stardust Memories (Woody Allen 1980) Watermelon Man (Melvin Van Peebles 1970) My Geisha (Jack Cardiff 1962) Diary of a Mad Housewife (Frank Perry 1970) Love with the Proper Stranger (Robert Mulligan 1963) The Other (Robert Mulligan 1972) Same Time Next Year (Robert Mulligan 1978) Inside Daisy Clover (Robert Mulligan 1965) The Swimmer (Frank Perry 1968) David and Lisa (Frank Perry 1962) Mommie Dearest (Frank Perry 1978)

Felicia is joined by Ryan Ritter to chat about Gordon Willis' dark imagery in Alan J. Pakula's detective thriller in Klute (1971). We chat about how Gordon Willis uses the camera in service of the actors performance and gives them the space they require to explore their characters. Along with the darkness of the scenery and how that mirrors the dread that is slowly building for our lead protagonists. Send us your thoughts on the episode - what are your thoughts on the use of shadows in this film? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Ryan here: Letterboxd: @ryanritter Twitter: @popculturehistorians IG: @crittical_analysisblog IG: @popculturehistorianspodcast Website: Crittical Analysis (crittical-analysis.com) Sources: Isabel Sandoval's Top 10 | Current | The Criterion Collection Klute: Trying to See Her | Current | The Criterion Collection Klute at 50: a thriller less interested in a killer and more in character | Jane Fonda | The Guardian Nothing Is Wrong:  Notes on Costume in Klute (1971) – Offscreen "Oh, My Angel!": Why It's Called Klute - Film Cred (film-cred.com) ‘Klute': Alan J. Pakula and the Lewis Brothers' Thriller-Disguised Exploration of Human Interactions, Relationships and Psyche • Cinephilia & Beyond (cinephiliabeyond.org) OUTRO SONG: Bankman by Blerta FILMS MENTIONED: Priscilla (Sofia Coppola 2023) Swamp Thing (Wes Craven 1982) Batman and Robin (Joel Schumacher 1997) Romeo & Juliet (Franco Zeffirelli 1968) The Parallax View (Alan J. Pakula 1974) All the President's Men (Alan J. Pakula 1976) Barry Lyndon (Stanley Kubrick 1975) Annie Hall (Woody Allen 1977) Manhattan (Woody Allen 1979) Jaws (Steven Spielberg 1975) All That Jazz (Bob Fosse 1979) Sorcerer (William Friedkin 1977) The Seven-Ups (Philip D'Antoni 1973) MASH (Robert Altman 1970) The Godfather (Francis Ford Coppola 1972) The Money Pit (Richard Benjamin 1986) The Conversation (Francis Ford Coppola Wait Until Dark (Terrence Young 1967) Funny Face (Richard Benjamin 1957) Mirage (Edward Dmytryk 1965) Body Double (Brian De Palma 1984) Rear Window (Alfred Hitchock 1954)

Felicia is joined by Bryan Loomis and Hannah Loomis to discuss Gordon Willis' visual take on the Watergate scandal in Alan J. Pakula's All the President's Men (1976). We chat about how the camera mirrors the mundanity of office life, and how inconsequential these two reporters were until they broke this story. We also discuss how the natural lighting of a setting has an effect on the energy of the film. This is our Gordon Willis opener, and I think it's a great example of why he was a master at truly understanding the material he was shooting, and using the camera to highlight the script and performances. Send us your thoughts on the episode - how well do you know the ? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Bryan & Hannah here: What a Picture Podcast: https://anchor.fm/what-a-picture Sources: Photographing All the President's Men - The American Society of Cinematographers (en-US) (theasc.com) ‘All the President's Men': Bob Woodward explains key scenes - Washington Post https://cinephiliabeyond.org/presidents-men-following-money-become-one-remarkable-american-films-date/ https://hollywoodsuite.ca/all-the-presidents-men/ https://www.washingtonpost.com/news/comic-riffs/wp/2016/04/09/as-all-the-presidents-men-turns-40-woodward-and-bernstein-share-their-favorite-shots-from-the-movie/ OUTRO SONG: Concerto for Two Trumpets in C Major by Vivaldi FILMS MENTIONED: Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles (Chantal Akerman 1976 Rashomon (Akira Kurosawa 1950) Before Sunrise (Richard Linklater 1995) Before Sunset (Richard Linklater 2004) Manhattan (Woody Allen 1979) Spotlight (Tom McCarthy 2015) 13 Going on 30 (Gary Winick 2004) The Shawshank Redemption (Frank Darabont 1994) The Color Purple (Steven Spielberg 1986) The Passion of Joan of Arc (Carl Theodor Dreyer 1928) Klute (Alan J. Pakula 1971) Rififi (Jules Dassin 1956) Le cercle rouge (Jean-Pierre Melville 1970) Le deuxième souffle (Jean-Pierre Melville 1966) Straight Time (Ulu Grosbard 1978) Bohemian Rhapsody (Bryan Singer 2018) Dick (Andrew Fleming 1999) The Godfather (Francis Ford Coppola 1972) Manhattan (Woody Allen 1979) The Parallax View (Alan J. Pakula 1974) The Money Pit (Richard Benjamin 1986) Mr. Blandings Builds His Dream House (H. C. Potter 1948) Raging Bull (Martin Scorsese 1980) Taxi Driver (Martin Scorsese 1976) Space Jam (Joe Pytka 1996) Stardust Memories (Woody Allen 1980) Anatomy of a Murder (Otto Preminger 1959) The Pelican Brief (Alan J. Pakula 1993) Seven Days in May (John Frankenheimer 1964) All The King's Men (Robert Rossen 1949) The Best Man (Franklin J. Schaffner 1964) Ace in the Hole (Billy Wilder 1950) She Said (Maria Schrader 2022)

Jackie and Greg pull up a seat at the lake house for their episode on Francis Ford Coppola's THE GODFATHER PART II from 1974. Topics of discussion include comparisons to the first film, how it pioneered the movie sequel, the more muted palette yet more sprawling canvas, and how Nino Rota's score is even more powerful the second time around. Is it that rare sequel that bests the original? You'll have to listen to find out.#31 on Sight & Sound's 2012 "The 100 Greatest Films of All Time" list.https://www.bfi.org.uk/sight-and-sound/polls/greatest-films-all-time-2012#104 on Sight & Sound's 2022 "The Greatest Films of All Time" list.  https://www.bfi.org.uk/sight-and-sound/greatest-films-all-timeCheck us out on Instagram: https://www.instagram.com/sceneandheardpodDeaf Crocodile on Instagram: https://www.instagram.com/deafcrocodileCheck us out at our official website: https://www.sceneandheardpod.comJoin our weekly film club: https://www.instagram.com/arroyofilmclubJP Instagram/Twitter: jacpostajGK Instagram: gkleinschmidtPhotography: Matt AraquistainMusic: Andrew CoxGet in touch at hello@sceneandheardpod.comSupport the showSupport the show on Patreon: patreon.com/SceneandHeardPodorSubscribe just to get access to our bonus episodes: buzzsprout.com/1905508/subscribe

Jackie and Greg are joined by cinephile extraordinaire Daisuke Beppu in their discussion of Francis Ford Coppola's epic depiction of life in the mafia, THE GODFATHER from 1972. Topics include the films origins as a "trashy" novel, the casting of Marlon Brando and Al Pacino, Coppola's expansive and nuanced storytelling, oranges as a harbinger of death, and the subtlety of Michael's transformation from family outsider into the new Don. #21 on Sight & Sound's 2012 "The 100 Greatest Films of All Time" list.bfi.org.uk/sight-and-sound/polls/greatest-films-all-time-2012#12 on Sight & Sound's 2022 "The 100 Greatest Films of All Time" list.  bfi.org.uk/sight-and-sound/greatest-films-all-timeCheck us out on Instagram: instagram.com/sceneandheardpodCheck us out at our official website: sceneandheardpod.comJoin our weekly film club: instagram.com/arroyofilmclubJP Instagram/Twitter: jacpostajGK Instagram: gkleinschmidtPhotography: Matt AraquistainMusic: Andrew CoxSpecial Thanks: Daisuke BeppuCheck out his YouTube channel: youtube.com/@DaisukeBeppuGet in touch at hello@sceneandheardpod.comVisit our Patreon: patreon.com/SceneandHeardPod

En este episodio de Cineteca Perdida conversamos sobre la película del año 1990, “The Godfather Part III” (El Padrino III) del director Francis Ford Coppola, protagonizada por Al Pacino, Diane Keaton, Andy Garcia, Talia Shire, Eli Wallach y Sofia Coppola.

En este episodio de Cineteca Perdida conversamos sobre la película del año 1974, “The Godfather Part II” (El Padrino II) del director Francis Ford Coppola, protagonizada por Al Pacino, Robert De Niro, John Cazale, Diane Keaton, Robert Duvall y Talia Shire.

En este episodio de Cineteca Perdida conversamos sobre la película del año 1972, “The Godfather” (El Padrino) del director Francis Ford Coppola, protagonizada por Marlon Brando, Al Pacino, James Caan, Diane Keaton, John Cazale, Talia Shire y Robert Duvall.

STREEPS OF FIRE: THEY WHO SHALL NOT BE NAMED in MANHATTAN and SHE-DEVIL!   We here at The Good, The Pod and The Ugly, like all serious fans of the four arts, struggle with separating the Art from the Artist these days. It's not easy when great works come from noxious, odious people who are later cancelled because of that stuff becoming public. Meryl Streep has worked steadily in film for nearly 50 years (!!!!) so it stands to reason she has made a few movies with people who are, today, persona non grata in popular culture. We have paired two of them for this week's episode. MANHATTAN (1979) was Woody Allen's follow-up to his Oscar-winning smash ANNIE HALL. Paired with one of the best scores ever to jaw-dropping black and white visuals supplied by Gordon Willis (one of the all time best who considers Manhattan his best), the film nevertheless boils down to, er, Allen, here playing a thinly-veiled version himself at 42, dating a 17-year-old girl and coming to accept he is in love with her. Super cool... if you squint hard enough and focus solely on the visuals and the score. It wasn't a great conceit in 1979, despite that plot point being gravely overlooked by critics, but in 2023? Nope.   Streep was shooting Kramer vs. Kramer at the same time and would sometimes shuttle between sets, playing an ex to two different small men she had a son with (in the films). She is great in her few scenes here, no surprise. Ken, Jack, Thomas and Andi go all-in tearing the morality of the film down to the ground nevertheless. Manhattan truthers, you have been warned. Manhattan may have shown us the real Allen a good decade before it got extremely public. Allen has announced his retirement to making films earlier this year to which many of us film fans asked, "He's still making movies?" NOTE: Andre Previn did NOT compose any of the music in the film as stated on the episode. It was in an article on the film and we did not get secondary sourcing on that info. Apologies. Is SHE-DEVIL (1989) the worst film we've EVER watched for the podcast? That is a hot discussion and quite an honor given some of the crap we have watched. Filmed after Roseanne Barr had finished her first season of the legendary ROSEANNE series, Streep plays a successful romance novelist who steals (why?) Ed Begley Jr. away from  Barr's mole-y housewife character, who then gets rid of her kids (baby boomer conceit right there) and focuses on a truly moronic revenge scheme. Is it really that bad? It's 80s kitsch, right? It's Susan Seideleman's follow-up to Desperately Seeking Susan, which was... kinda good, right? Find out all about it on the episode! Roseanne has, since '89, had a tumultuous personal and professional life, briefly back on top with a reboot of her seminal Roseanne series in 2018. She went off the rails not long after, spewing racist tweets/statements, then doubling down when confronted about them. It was an ugly scene. She was removed from her own show (her character was sent to space or something) and it has gone on successfully without her. Hey, she has a comedy special coming in 2023 that will air on *checks notes* the Fox Nation streaming service. So, um, yeah.  THEME SONG BY: WEIRD A.I.Email: thegoodthepodandtheugly@gmail.comFacebook: https://m.facebook.com/TGTPTUInstagram: https://instagram.com/thegoodthepodandtheugly?igshid=um92md09kjg0Twitter: https://twitter.com/thegoodthepoda1YouTube: https://www.youtube.com/channel/UC6mI2plrgJu-TB95bbJCW-gBuzzsprout: https://thegoodthepodandtheugly.buzzsprout.com/Letterboxd (follow us!):Ken: Ken KoralJack: jackk1096

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

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

On a special double feature/dual podcast episode of 70 Movies We Saw in the 70s/Cinematalk commemorating the screenings of both films at UW Cinematheque, Ben Reiser and Jim Healy take a deep dive into a “Fistful of Feiffers”, discussing both LITTLE MURDERS (1971) and CARNAL KNOWLEDGE (1971). ‘71 was a big year for screenwriter/playwright/cartoonist Jules Feiffer, with Alan Arkin's LITTLE MURDERS and Mike Nichols' CARNAL KNOWLEDGE both hitting screens within six months of each other. Listen along as Jim and Ben try to suss out Feiffer's inspirations, figure out what genres these films do and don't fall into, Elliott Gould on top of the world, Candice Bergen's best work, waiting for Godard, Gordon Willis goes wild, Nicholson as man-baby, magnificent Ann Margret, and much more, including not one, but TWO rounds of “What else was playing that week?”.

Phil and Dave discuss another special relationship as Phil takes 1976's All the President's Men. Woodward and Bernstein took down Nixon and Robert Redford and Dustin Hoffman take those roles and create amazing characters with brilliant performance. Gordon Willis shot this gorgeous movie and Alan Pakula directs it perfectly. Sadly, the content is still relevant all these later but this movie is a towering achievement and worth spending your time. Phil talks about becoming interested in Journalism, Nixon and newspaper movies and Dave finds the tone, atmosphere and performances to be compelling.

En el año 2, celebramos un aniversario que cambió la historia del cine: hace 50 años se estrenó «El Padrino» de Francis Ford Coppola. Para esto, les explicamos todas las apuestas y elementos que hicieron de esta película un modelo para “narrar historias” en el séptimo arte. Hablaremos de Francis Ford Coppola, del cine de autor, de Marlon Brando, de la Italia en América, de la cocina, de los actores y actrices que despuntaron en esta película, del sueño americano, de los claroscuros del arte fotográfico, de Mario Puzo, del gato de Don Corleone, de la banda sonora de Nino Rota y de todo lo demás que hace de este filme una obra digna de repetir cada vez que se pueda.   Notas del episodio: 50 años de «El Padrino», una ocasión para celebrar al cine La novela de Mario Puzo, una obra fruto de un «acto desesperado» Las «balas» que esquivó Francis Ford Coppola durante la grabación del «El Padrino» Las actrices y los actores que terminaron en el estrellato gracias a la película Gordon Willis, el genio detrás de la fotografía de «El Padrino» Y aquí les dejamos la banda sonora completa de la película   ¡Síguenos en nuestras Redes Sociales! Facebook: https://www.facebook.com/DianaUribe.fm/ Instagram: https://www.instagram.com/dianauribef... Twitter: https://twitter.com/dianauribefm?lang=es Pagina web: https://www.dianauribe.fm  

The Mikes are going to law school in the early 70's! And probably flunking "Contracts" class with Professor Kingsfield. That's right! It's The Paper Chase. Mike Butler believes that you are unlikely to ever see a mainstream film geared more directly at a particular subset of a particular kind of school. To Butler this film is for first year law students (possibly only those in the 70's) and that is about it. While Mike Field can enjoy the craft of the film and the fantastic cinematography by Gordon Willis, he can't really disagree. However, this film is filled with great performances, direction, and writing enough to keep you watching a long even if you could care less how many pages someone's outline is. So, take out your textbooks, please turn to page 385 for the case of Butler v Field, and settle down for https://www.forgottencinemapodcast.com/ (Forgotten Cinema). 

This week's episode, an offer we simply couldn't refuse, has us celebrating the fiftieth anniversary of quite literally the greatest film to ever grace the collective medium of cinema: The Godfather. We do our best to explore the endless number of facets that elevated Francis Ford Coppola's 1972 masterwork as the natural evolution of the gangster genre (one of America's purest artforms), situate its status within the New Hollywood canon, place each and every brilliant performance in their context of coexistence with one another, and weigh its various historical and political contexts to uncover what exactly about it continues to capture the attention of all who interact with it- past, present, and future. Above all else, this is just a podcast of two movie lovers giggling with joy talking about the work that made them fall in love with motion pictures in a deep and fundamental way. We hope it's but a fraction of a delight to listen to as it was for us to produce. Feel free to skip to 2:36:40 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.

After a rest and a surprise visit from the Rona, we're back with a slightly different format for a look at Alan J. Pakula (1928-1998) and his Paranoia Trilogy. This trio of classic 70s films includes Klute, a murder mystery and character study carried by an incredible performance from Jane Fonda, the slow-burning conspiracy thriller The Parallax View, and All the President's Men, which dramatized two journalists' efforts to uncover the machinations behind the Watergate Scandal. Thanks to riveting performances, voyeuristic cinematography from Gordon Willis, and eerie scores, these films still hold up as singular depictions of paranoia, intricate yet nebulous criminal conspiracies, and mistrust of American political administrations. NOTE: A few of the clips used in this episode came from an interview Pakula gave in 1974. The audio quality of this interview is serviceable, but not ideal. Apologies if it gives you a bit of a hard time. Kisses many.

New York City went through many infamous changes in the 1970s, but director Woody Allen held an affection for the city's past life. Arthur and Andrew welcome self-appointed Woody Allen expert Noah Cannon to the show to talk about Manhattan and the life of its director, writer, and star. We discuss why so many people hate Woody Allen and why Woody Allen hates himself. We also lavish praise on Gordon Willis' cinematography and look back on the decade to discuss our favorite and least favorite films we watched for the podcast.And in our bonus episode available to Patreon subscribers, we ask the question: how would Manhattan fare in today's box office?Join our Patreon for bonus contentWhere to watch ManhattanVincent Canby's NYT review of ManhattanWhere to watch Kagemusha (1980)

Düster-bedrohlicher Psychothriller um einen Privatdetektiv, der nach einem verschwundenen Freund sucht. Eine heiße Spur führt ihn zur abgebrühten Edelprostituierten Bree Daniels.

Best Pick with John Dorney, Jessica Regan and Tom Salinsky Episode 210: The Godfather Part III Released 15 December 2021 For this episode, we watched The Godfather Part III, or to be exact, we watched The Godfather, Coda: The Death of Michael Corleone. The film was written by Mario Puzo and Francis Ford Coppola and was directed by Coppola with cinematography by Gordon Willis and music by Carmine Coppola. The stars were Al Pacino, Diane Keaton, Talia Shire, Eli Wallach, Joe Mantegna, Bridget Fonda, George Hamilton and Sofia Coppola. The original cut was released in December 1990 and it was nominated for seven Oscars, winning none of them. https://www.goodhousekeeping.com/life/a27116831/rebecca-schaeffer-murder/ https://youtu.be/c5nW-uP0Tt0 BEST PICK – the book is out in February 2022 and is available now for pre-order. From the publisher https://tinyurl.com/best-pick-book-rowman UK Amazon https://amzn.to/3zFNATI US Amazon https://www.amzn.com/1538163101 UK bookstore https://www.waterstones.com/book/9781538163108 US bookstore https://www.barnesandnoble.com/w/best-pick-john-dorney/1139956434 To send in your questions, comments, thoughts and ideas, you can join our Facebook group, Tweet us on @bestpickpod or email us on bestpickpod@gmail.com. You can also Tweet us individually, @MrJohnDorney, @ItsJessRegan or @TomSalinsky. You should also visit our website at https://bestpickpod.com and sign up to our mailing list to get notified as soon as a new episode is released. Just follow this link: http://eepurl.com/dbHO3n. If you enjoy this podcast and you'd like to help us to continue to make it, you can now support us on Patreon for as little as £2.50 per month. Thanks go to all of the following lovely people who have already done that. Alex Frith, Alex Wilson, Alison Sandy, Andrew Jex, Andrew Straw, Ann Blake, Anna Barker, Anna Coombs, Anna Elizabeth Rawles, Anna Jackson, Anna Joerschke, Annmarie Gray, Anthea Murray, Ben Squires, Brad Morrison, Carlos Cajilig, Caroline Moyes Matheou, Catherine Jewkes, Chamois Chui, Charlotte, Claire Carr, Claire Creighton, Claire McKevett, Craig Boutlis, Daina Aspin, Dave Kloc, David Crowley, David Gillespie, David Hanneford, Della, Drew Milloy, Elis Bebb, Elizabeth McClees, Elizabeth McCollum, Elspeth Reay, Esther de Lange, Evelyne Oechslin, Fiona, Flora, frieMo, Gavin Brown, Greg Barker, Helen Cousins, Helle Rasmussen, Henry Bushell, Ian C Lau, Imma Chippendale, Jane Coulson, Jess McGinn, Joel Aarons, Jonquil Coy, Joy Wilkinson, Judi Cox, Julie Dirksen, Kate Butler, Kath, Katy Espie, Kurt Scillitoe, Lawson Howling, Lewis Owen, Linda Lengle, Lisa Gillespie, Lucinda Baron von Parker, Margaret Browne, Mark Bostridge, Mary Traynor, Matheus Mocelin Carvalho, Michael Walker, Michael Wilson, Mike Evans, nötnflötn, Pat O'Shea, Peter, Rebecca O'Dwyer, Richard Ewart, Robert Heath, Robert Orzalli, Sally Grant, Sam Elliott, Sarah, Sharon Colley, Simon Ash, Sladjana Ivanis, Tim Gowen, Tom Stockton, Wayne Wilcox, Zarah Daniel.

EPISODE 161 - Peter Kohn - First Assistant Director  Team Deakins sits down with first assistant director Peter Kohn (LA LA LAND, BIRDMAN, PIRATES OF THE CARIBBEAN) for a conversation. In this episode, Peter tells us how his father's career in the industry influenced his aspirations and his taste in films– he loves watching and working on musicals. Peter shares stories from working on the Pirates of the Caribbean trilogy and Birdman, working with Gordon Willis, and doing smoke on the set of Ridley Scott's The Duellists. Together we talk about what makes a successful assistant director, having a big first day on set, the many factors that dictate the shooting schedule, and even car work. Peter also sneaks in a few questions about 1917!  

Today on the Ellroy Boys, we're discussing a couple of films concerned with assassins, their networks and men who attempting to stop them. One, is a lean home invasion flick starring Frank Sinatra & Sterling Hayden, Suddenly, the other is The Parallax View, a film Alex Cox called the “greatest JFK conspiracy film of the all”. Whether or not you agree with said statement, Pakula's labyrinthine thriller, gorgeously photographed by Gordon Willis, is entertaining and wonderfully well put together. We discuss our favorite moments from each film and naturally, further extrapolate on how and why these movies are tied to themes so explicitly examined by our favorite writer.

In 1977 James Bridges cashed in his “Paper Chase” cred to make this deeply personal film about the effect of James Dean's death on a group of young Arkansans played by a supremely talented gang of newcomers to the screen. Alex Simon of The Hollywood Interview is our guest co-host for this episode Written and Directed by James Bridges. Cinematographer Gordon Willis. Starring Richard Thomas, Susan Tyrrell, Lisa Blount, Thomas Hulce, Dennis Quaid, Dennis Christopher How is the world wrong about this movie? From Andras: Released with little fanfare the same year as “Star Wars” toward the end of the wave of cinematic nostalgia for the 50's that was kicked off with “American Graffiti” you could say this film is both a beneficiary and the victim of George Lucas's success. Find all of our episodes at www.theworldiswrongpodcast.com Follow us on Instagram @theworldiswrongpodcast Follow us on Twitter @worldiswrongpod The World Is Wrong theme written, produced and performed by Andras Jones Check out: The Director's Wall with Bryan Connolly & AJ Gonzalez & The Radio8Ball Show hosted by Andras Jones See omnystudio.com/listener for privacy information.

Film historian and writer Gautam Chintamani joins us for a deep dive into Ramesh Sippy's Shakti (1982).  A film that Sippy is most proud of, by some accounts. A film that's Salim Khan's personal favorite among the films he co-wrote with Javed Akhtar.  A film that pits together two giants of Hindi cinema, Dilip Kumar and Amitabh Bachchan.  Gautam and I tried to unpack why Shakti is one of Dilip Kumar's greatest films and how the legendary actor was able to elevate the performances of his co-actors. We also discussed the craft of Shakti, the women of Shakti and how they are projected as the mature counterparts of their partners, how the film can be seen as an amalgamation of Salim-Javed's films, the film's terrific score by R D Burman, and how Bachchan was neither overshadowed nor overshadowing in the film. Feedback/comments/questions: loveofcinemasf@gmail.comCredits:Produced and hosted by: Himanshu Joglekar (@loveofcinemasf8)Editor: Devika JoglekarMusic: Nakul AbhyankarCopyrights © Love of Cinema 2021Support the show (https://www.paypal.me/LoveOfCinema)

A l'aube de ses cinquante ans, le Maestro se plaçait désormais, et sans conteste, parmi les compositeurs incontournables pour le cinéma mondial. L'année suivante, il signa L'Île sanglante (The Island) de Michael Ritchie avant d'aborder Fenêtres sur New York (Windows) de Gordon Willis en 1980, puis Les Fesses à l'air (So fine) d'Andrew Bergman et surtout The Thing de John Carpenter en 1982. Toujours en 1982, il travailla sur trois autres films : Dressé pour tuer (White dog) de Samuel Fuller, Butterfly de Matt Cimber, V comme Vengeance (A Time to Die) de Matt Cimber. De 1984 à 1989, il composa encore neuf musiques de films américains, dont un nouveau avec Samuel Fuller Les Voleurs de la nuit en 1984, et un autre avec William Friedkin, le réalisateur du premier Exorciste, pour un film dispensable intitulé Le sang du châtiment (Rampage) en 1987.

O terceiro episódio de Aforismos Espaciais é dedicado ao Arquitecto Paulo Mendes da Rocha, falecido recentemente, para quem o objectivo da arquitectura, como o próprio disse, é o de “amparar a imprevisibilidade da vida”. A partir de quatro fragmentos do filme Interiors, de Woody Allen, estreado em 1978, iremos pensar sobre a criação do informe ou vago, em arquitectura (entre outras ideias que o filme coloca).Créditos:Imagens: Interiors, Woddy Allen, 1978; Director de fotografia: Gordon Willis.Música: What do you go home to?, Explosions in the SkyPrograma sobre a poética da arquitetura. Enquanto o aforismo filosófico procura expressar uma verdade, o aforismo literário é caracterizado pela sua expressividade. O programa pretende evidenciar esse habitar poético que a palavra propicia, remetendo-a para a relação dos espaços e dos corpos com a vida. Susana Ventura é arquiteta e doutora em Filosofia na especialidade de Estética. É investigadora, escritora e curadora independente. Gosta de pensar sobre arte, arquitetura, fotografia, cinema e dança, e ensaiar, ora em textos, ora em exposições, outras possibilidades de pensamento. Este podcast tem som e edição de Francisco Petrucci.

We've got a big one today, folks. To kick off our new series on the films of Francis Ford Coppola, we're discussing his seminal 1972 film, The Godfather. Widely regarded as one of the Great American Films, it is also, much like Citizen Kane, a film specifically about America - signaled immediately with its famous opening line, "I believe in America." It's a story about capitalism, the pursuit of power, and the attendant loss of innocence and ethics. A foundational immigrant story, the dark side of the American Dream. It is also one of the most perfectly crafted films of the last 50 years, overflowing with artistry in every frame, the product of a superlative visionary who has been given his first real opportunity to make a major artistic statement. Aiding him in making said statement are what Stanley Kubrick referred to as the greatest cast ever assembled, an iconic score by the incomparable Nino Rota, and wonderfully expressive photography by Gordon Willis. Please join us as we discuss one of the true treasures of film history.

On this edition of Parallax Views, for a period in the 1970s a conspiracy-drenched genre known alternately as the paranoid thriller or paranoid political came into vogue. The aftermath of the political assassinations of the 1960s, which saw the violent deaths of public figures like Civil Rights leader Martin Luther King, Jr., black radical Malcolm X, Sen. Robert F. Kennedy, and President John F. Kennedy, combined with the tumult of the Vietnam War, the Presidency of Richard Nixon, the saga of Daniel Ellsberg and the Pentagon Papers, and the scandal of the Watergate break-in created the perfect storm for critical, bleak reassessments of the American political system that stood in stark contrast to the seeming innocence of the "Camelot years" that preceded it. Meanwhile, the collapse of the Old Hollywood studio system led to a period (often referred to as New Hollywood) of daring and creative flourishing in American cinema that produced such modern classics as Bonnie and Clyde, Easy Rider, and Midnight Cowboy among others. It was from this fertile ground that the conspiracy-drenched 1970s paranoid thriller rose to prominence. Among the classics of this particular genre are such features as Three Days of the Condor, The Boys from Brazil, The Conversation, Soylent Green, Serpico, Capricorn One, and the film that's been referred to as "The Godfather of paranoid political thrillers", The Parallax View. Following in the footsteps of 1973's Executive Action, The Parallax View dealt with questions of conspiracy as they related to political assassinations. But whereas the Burt Lancaster starring Executive Action offered a conspiratorial explanation for the JFK assassination, The Parallax View took a different approach. Although the film featured veiled references to real life matters like the Warren Commission, the death of journalist Dorothy Kilgallen, the PERMINDEX trade organization believed by New Orleans DA Jim Garrison to have played a pivotal role in the JFK assassination, and the "girl in the polka dot dress" of the RFK assassination, its characters and events are ultimately constructions of its makers imaginations. In other words, The Parallax View is a fictional exploration of political assassinations and the conspiracy theories that arise from them. The Parallax View stars Warren Beatty as dogged reporter Joseph Frady, who, after the fatal shooting of a presidential candidate, stumbles upon a vast conspiracy involving a shadowy organization known as the Parallax Corporation. As Frady falls deeper down the proverbial rabbit hole in his search for the truth he finds that the Parallax Corporation seemingly specializes in the recruitment of assassins for highly-valued hits on political leaders. Will Frady be able to bust the story wide open by staying one-step ahead of the Parallax Corporation? Or is the Parallax Corporation already one step ahead of him? Based on the novel of the same name by Lorenzo Singer, The Parallax View was adapted for the silver screen by David Giler and Three Days of the Condor's Lorenzo Semple, Jr. with a rewrite by Robert Towne amidst a looming Writer's Guild of America strike. The film marks the second entry in director Alan J. Pakula's "Paranoia Trilogy" that started with Klute and ended with All the President Men. Although The Parallax View received mix reviews upon it initial release, today it is generally considered a classic of its genre that reflects America in the 1970s and the worst fears many had about its political system during that turbulent moment in the nation's history. Although the film does deal with political assassinations and conspiracy, it also provides a powerful meditation, specifically through its infamous montage scene known as the "Parallax Test Sequence", on the U.S.'s often spoken of "loss of innocence" after the assassination of John F. Kennedy. Additionally the film's cinematography by Gordon Willis and soundtrack by Michael Small have been praised as well. It is, perhaps, for this reason that The Parallax View, all these years later in 2021, received the coveted Criterion Collection treatment in a new Blu-Ray release. To coincide with this Parallax Views, which takes its name in part from this film, is offering up a three part retrospective of the classic 1970s paranoid thriller. In part three, Jon Boorstin, who worked as an intern/assistant to director Alan J. Pakula on The Parallax View, joins us to reminisce about the film and its significance in light of the January 6th riots. In addition to The Parallax View Jon also served as the director for the Oscar-nominated 1974 short documentary Exploratorium and has written such books as Mabel and Me: A Novel About the Movies and Making Movies Work: Thinking Like a Filmmaker. For Jon The Parallax View is more than a movie dealing with conspiracy. It is, he believes, a movie that uses conspiracy as a launching off point to explore the best and worst aspects of the human condition and how we can be manipulated by without realizing it. We talk about Gordon Willis's cinematography, Alan Pakula's vision intent when making the movie, comparing The Parallax View to Pakula's All the President's Men (which Jon helped produce), the character of Joseph Frady and what he has in common with the Parallax Corporation's assassins, the infamous "Parallax Test Sequence" and its meaning, and much, much more!

On this edition of Parallax Views, for a period in the 1970s a conspiracy-drenched genre known alternately as the paranoid thriller or paranoid political came into vogue. The aftermath of the political assassinations of the 1960s, which saw the violent deaths of public figures like Civil Rights leader Martin Luther King, Jr., black radical Malcolm X, Sen. Robert F. Kennedy, and President John F. Kennedy, combined with the tumult of the Vietnam War, the Presidency of Richard Nixon, the saga of Daniel Ellsberg and the Pentagon Papers, and the scandal of the Watergate break-in created the perfect storm for critical, bleak reassessments of the American political system that stood in stark contrast to the seeming innocence of the "Camelot years" that preceded it. Meanwhile, the collapse of the Old Hollywood studio system led to a period (often referred to as New Hollywood) of daring and creative flourishing in American cinema that produced such modern classics as Bonnie and Clyde, Easy Rider, and Midnight Cowboy among others. It was from this fertile ground that the conspiracy-drenched 1970s paranoid thriller rose to prominence. Among the classics of this particular genre are such features as Three Days of the Condor, The Boys from Brazil, The Conversation, Soylent Green, Serpico, Capricorn One, and the film that's been referred to as "The Godfather of paranoid political thrillers", The Parallax View. Following in the footsteps of 1973's Executive Action, The Parallax View dealt with questions of conspiracy as they related to political assassinations. But whereas the Burt Lancaster starring Executive Action offered a conspiratorial explanation for the JFK assassination, The Parallax View took a different approach. Although the film featured veiled references to real life matters like the Warren Commission, the death of journalist Dorothy Kilgallen, the PERMINDEX trade organization believed by New Orleans DA Jim Garrison to have played a pivotal role in the JFK assassination, and the "girl in the polka dot dress" of the RFK assassination, its characters and events are ultimately constructions of its makers imaginations. In other words, The Parallax View is a fictional exploration of political assassinations and the conspiracy theories that arise from them. The Parallax View stars Warren Beatty as dogged reporter Joseph Frady, who, after the fatal shooting of a presidential candidate, stumbles upon a vast conspiracy involving a shadowy organization known as the Parallax Corporation. As Frady falls deeper down the proverbial rabbit hole in his search for the truth he finds that the Parallax Corporation seemingly specializes in the recruitment of assassins for highly-valued hits on political leaders. Will Frady be able to bust the story wide open by staying one-step ahead of the Parallax Corporation? Or is the Parallax Corporation already one step ahead of him? Based on the novel of the same name by Lorenzo Singer, The Parallax View was adapted for the silver screen by David Giler and Three Days of the Condor's Lorenzo Semple, Jr. with a rewrite by Robert Towne amidst a looming Writer's Guild of America strike. The film marks the second entry in director Alan J. Pakula's "Paranoia Trilogy" that started with Klute and ended with All the President Men. Although The Parallax View received mix reviews upon it initial release, today it is generally considered a classic of its genre that reflects America in the 1970s and the worst fears many had about its political system during that turbulent moment in the nation's history. Although the film does deal with political assassinations and conspiracy, it also provides a powerful meditation, specifically through its infamous montage scene known as the "Parallax Test Sequence", on the U.S.'s often spoken of "loss of innocence" after the assassination of John F. Kennedy. Additionally the film's cinematography by Gordon Willis and soundtrack by Michael Small have been praised as well. It is, perhaps, for this reason that The Parallax View, all these years later in 2021, received the coveted Criterion Collection treatment in a new Blu-Ray release. To coincide with this Parallax Views, which takes its name in part from this film, is offering up a three part retrospective of the classic 1970s paranoid thriller. In part two, filmmaker Alex Cox, who has directed such cult classics as Sid and Nancy, Repo Man, and Walker among many others, joins us to discuss both The Parallax View from a filmmaker's viewpoints and in relation to politics. Alex has a keen interest in the Kennedy assassination as evidenced by his book The President and the Provocateur: The Parallel Lives of JFK and Lee Harvey Oswald. In addition, Alex fills us in on Dorothy Kilgallen, the journalist upon whom the Paula Prentiss character Lee Carter seems to be based as well as what he calls "elite system maintenance", political solutions for the problems facing us today, QAnon and Russiagate, and the obscure film The Mattei Affair about a non-fictional, mysterious political assassination that may have involved the oil industry.

On this edition of Parallax Views, for a period in the 1970s a conspiracy-drenched genre known alternately as the paranoid thriller or paranoid political came into vogue. The aftermath of the political assassinations of the 1960s, which saw the violent deaths of public figures like Civil Rights leader Martin Luther King, Jr., black radical Malcolm X, Sen. Robert F. Kennedy, and President John F. Kennedy, combined with the tumult of the Vietnam War, the Presidency of Richard Nixon, the saga of Daniel Ellsberg and the Pentagon Papers, and the scandal of the Watergate break-in created the perfect storm for critical, bleak reassessments of the American political system that stood in stark contrast to the seeming innocence of the "Camelot years" that preceded it. Meanwhile, the collapse of the Old Hollywood studio system led to a period (often referred to as New Hollywood) of daring and creative flourishing in American cinema that produced such modern classics as Bonnie and Clyde, Easy Rider, and Midnight Cowboy among others. It was from this fertile ground that the conspiracy-drenched 1970s paranoid thriller rose to prominence. Among the classics of this particular genre are such features as Three Days of the Condor, The Boys from Brazil, The Conversation, Soylent Green, Serpico, Capricorn One, and the film that's been referred to as "The Godfather of paranoid political thrillers", The Parallax View. Following in the footsteps of 1973's Executive Action, The Parallax View dealt with questions of conspiracy as they related to political assassinations. But whereas the Burt Lancaster starring Executive Action offered a conspiratorial explanation for the JFK assassination, The Parallax View took a different approach. Although the film featured veiled references to real life matters like the Warren Commission, the death of journalist Dorothy Kilgallen, the PERMINDEX trade organization believed by New Orleans DA Jim Garrison to have played a pivotal role in the JFK assassination, and the "girl in the polka dot dress" of the RFK assassination, its characters and events are ultimately constructions of its makers imaginations. In other words, The Parallax View is a fictional exploration of political assassinations and the conspiracy theories that arise from them. The Parallax View stars Warren Beatty as dogged reporter Joseph Frady, who, after the fatal shooting of a presidential candidate, stumbles upon a vast conspiracy involving a shadowy organization known as the Parallax Corporation. As Frady falls deeper down the proverbial rabbit hole in his search for the truth he finds that the Parallax Corporation seemingly specializes in the recruitment of assassins for highly-valued hits on political leaders. Will Frady be able to bust the story wide open by staying one-step ahead of the Parallax Corporation? Or is the Parallax Corporation already one step ahead of him? Based on the novel of the same name by Lorenzo Singer, The Parallax View was adapted for the silver screen by David Giler and Three Days of the Condor's Lorenzo Semple, Jr. with a rewrite by Robert Towne amidst a looming Writer's Guild of America strike. The film marks the second entry in director Alan J. Pakula's "Paranoia Trilogy" that started with Klute and ended with All the President Men. Although The Parallax View received mix reviews upon it initial release, today it is generally considered a classic of its genre that reflects America in the 1970s and the worst fears many had about its political system during that turbulent moment in the nation's history. Although the film does deal with political assassinations and conspiracy, it also provides a powerful meditation, specifically through its infamous montage scene known as the "Parallax Test Sequence", on the U.S.'s often spoken of "loss of innocence" after the assassination of John F. Kennedy. Additionally the film's cinematography by Gordon Willis and soundtrack by Michael Small have been praised as well. It is, perhaps, for this reason that The Parallax View, all these years later in 2021, received the coveted Criterion Collection treatment in a new Blu-Ray release. To coincide with this Parallax Views, which takes its name in part from this film, is offering up a three part retrospective of the classic 1970s paranoid thriller. In part one, noted film historian Joseph McBride returns to the show to give his thoughts on The Parallax View as well as to discuss the film in the context of the Kennedy assassination, the Nixon Presidency and Watergate, and the rise of New Hollywood. He also offers some personal stories about The Parallax View's director Alan J. Pakula, discusses the technical aspects of the film such as the lauded cinematography done by Gordon Willis, and much, much more.

When you're searching for something new to watch on Netflix, Amazon Prime, Hulu or even Shudder, search no further: subscribe to Man Bites Film. We bring you a comedic conversation about movies streaming on the main services. Our twisted humor is brought to you by William Phoenix, the man that taps his way into your heart one pun at a time, with his obsession of Harry Potter and Marvel; then the film snob of the group, Luis Lacau, that will bleed his film heart out for Kubrick and Lord of the Rings, but nothing else; finally our host with not the most, Branden Lacau. He's the ringmaster to our circus or the driver of the dumpster fire, keeping us on track, but will always stop to weeb out on AnimeAnnie Hall is a 1977 American romantic comedy film directed by Woody Allen from a screenplay he co-wrote with Marshall Brickman. Produced by Allen's manager, Charles H. Joffe, the film stars the director as Alvy Singer, who tries to figure out the reasons for the failure of his relationship with the film's eponymous female lead, played by Diane Keaton in a role written specifically for her.Principal photography for the film began on May 19, 1976, on the South Fork of Long Island, and continued periodically for the next ten months. Allen has described the result, which marked his first collaboration with cinematographer Gordon Willis, as "a major turning point",[2] in that unlike the farces and comedies that were his work to that point, it introduced a new level of seriousness. Academics have noted the contrast in the settings of New York City and Los Angeles, the stereotype of gender differences in sexuality, the presentation of Jewish identity, and the elements of psychoanalysis and modernism.Annie Hall was screened at the Los Angeles Film Festival in March 1977, before its official release on April 20, 1977. The film was highly praised, and along with winning the Academy Award for Best Picture, received Oscars in three other categories: two for Allen (Best Director and, with Brickman, Best Original Screenplay), and Best Actress for Keaton. The film additionally won four BAFTA awards and a Golden Globe, the latter being awarded to Keaton. The film's North American box office receipts of $38,251,425 are fourth-best of Allen's works when not adjusted for inflation.Considered to be one of the best films ever made, it ranks 31st on AFI's List of the greatest films in American cinema, 4th on their list of greatest comedy films and 28th on Bravo's "100 Funniest Movies". Film critic Roger Ebert called it "just about everyone's favorite Woody Allen movie".[3] The film's screenplay was also named the funniest ever written by the Writers Guild of America in its list of the "101 Funniest Screenplays".[4] In 1992, the United States Library of Congress selected the film for preservation in the National Film Registry as being "culturally, historically, or aesthetically significant."Movie Trivia GamePops Corner: Entertainment NewsMain Review: Annie HallBranden's Joystick: Comics, Anime and Video GamesBaldBox: Redbox movie pick "Max Reload and the Nether Blasters"Join our Man Bites Media Family every Friday as we bring you 5 films each week and the latest movie news.www.ManBitesFilm.com#Comedy #Horror #Netflixmovies #Amazonprime #Hulumovies #Luislacau #Manbitesmedia #Manbitesfilm #Brandenlacau #williamphoenix #Hulu #Shudder #Netflixoriginal #Hulu #Scifi #Comedies #Dramaseries #mbm #podcast #fandom #nerds #geeks #Rushhour

When you're searching for something new to watch on Netflix, Amazon Prime, Hulu or even Shudder, search no further: subscribe to Man Bites Film. We bring you a comedic conversation about movies streaming on the main services. Our twisted humor is brought to you by William Phoenix, the man that taps his way into your heart one pun at a time, with his obsession of Harry Potter and Marvel; then the film snob of the group, Luis Lacau, that will bleed his film heart out for Kubrick and Lord of the Rings, but nothing else; finally our host with not the most, Branden Lacau. He's the ringmaster to our circus or the driver of the dumpster fire, keeping us on track, but will always stop to weeb out on AnimeAnnie Hall is a 1977 American romantic comedy film directed by Woody Allen from a screenplay he co-wrote with Marshall Brickman. Produced by Allen's manager, Charles H. Joffe, the film stars the director as Alvy Singer, who tries to figure out the reasons for the failure of his relationship with the film's eponymous female lead, played by Diane Keaton in a role written specifically for her.Principal photography for the film began on May 19, 1976, on the South Fork of Long Island, and continued periodically for the next ten months. Allen has described the result, which marked his first collaboration with cinematographer Gordon Willis, as "a major turning point",[2] in that unlike the farces and comedies that were his work to that point, it introduced a new level of seriousness. Academics have noted the contrast in the settings of New York City and Los Angeles, the stereotype of gender differences in sexuality, the presentation of Jewish identity, and the elements of psychoanalysis and modernism.Annie Hall was screened at the Los Angeles Film Festival in March 1977, before its official release on April 20, 1977. The film was highly praised, and along with winning the Academy Award for Best Picture, received Oscars in three other categories: two for Allen (Best Director and, with Brickman, Best Original Screenplay), and Best Actress for Keaton. The film additionally won four BAFTA awards and a Golden Globe, the latter being awarded to Keaton. The film's North American box office receipts of $38,251,425 are fourth-best of Allen's works when not adjusted for inflation.Considered to be one of the best films ever made, it ranks 31st on AFI's List of the greatest films in American cinema, 4th on their list of greatest comedy films and 28th on Bravo's "100 Funniest Movies". Film critic Roger Ebert called it "just about everyone's favorite Woody Allen movie".[3] The film's screenplay was also named the funniest ever written by the Writers Guild of America in its list of the "101 Funniest Screenplays".[4] In 1992, the United States Library of Congress selected the film for preservation in the National Film Registry as being "culturally, historically, or aesthetically significant."Movie Trivia GamePops Corner: Entertainment NewsMain Review: Annie HallBranden's Joystick: Comics, Anime and Video GamesBaldBox: Redbox movie pick "Max Reload and the Nether Blasters"Join our Man Bites Media Family every Friday as we bring you 5 films each week and the latest movie news.www.ManBitesFilm.com#Comedy #Horror #Netflixmovies #Amazonprime #Hulumovies #Luislacau #Manbitesmedia #Manbitesfilm #Brandenlacau #williamphoenix #Hulu #Shudder #Netflixoriginal #Hulu #Scifi #Comedies #Dramaseries #mbm #podcast #fandom #nerds #geeks #Rushhour

*** This episode contains adult themes and dialog ***"Klute" 1971 is the first installment in Director Alan Pakula's paranoid trilogy. The other two films are "The Parallax View" 1974 and "All the President's Men" 1976."Klute" is a neo film noir murder thriller with dark and foreboding elements. The film takes us into the life of Bree Daniels prostitute and aspiring model/actress played by Jane Fonda. As Bree, Ms. Fonda won the Academy Award for Best Actress. The film explores Bree's life and possible involvement in the disappearance of a Pennsylvania company executive while in New York City.Peter Cable played by Charles Cioffinot is a friend of the missing person and hires John Klute played by Donald Sutherland to investigate the disappearance. "Klute" and Bree become entangled in the investigation and three murders that are somehow connected. Roy Scheider as the pimp Frank Ligourin, Rita Gam as Trina and Vivian Nathan as the Psychiatrist are among the excellent cast for this tense and entertaining movie. The mood and tension is ratched up with the music of Michael Small and the cinematography by Gordon Willis.We keep this episode spoiler-free and resist the urge to talk about the ending. You’ll need to watch the film to find out what happens.Check us out on Patreon at www.patreon.com/classicmoviereviews for even more content and bonus shows.

Different eras of film can often be traced to specific "generations" of directors who came up together and had similar mindsets, and while that's true, sometimes they can be attached to technological advances, some of them not initially part of the industry. For example, with the rise of teen culture and a general boom in consumerism, the drive-in movie exploded in popularity, which meant that studios had to create film prints that were very bright so they could project a long distance. This, in turn, led to advances in film stock and gave directors and cinematographers the ability to create more subtle lighting schemes. And one of the pioneers of using light and color was Gordon Willis. His cinematography shaped the look of films such as All the President's Men, Annie Hall (and several other Woody Allen films), and Pennies From Heaven. But he's probably best known for his work on the three films in the Godfather series he did with Francis Ford Coppola. In this episode we look at the first two films (mostly) from a cinematography standpoint, and talk about how Willis's use of light and color shaped the look of the films but also heralded a change to the way movies were going to look for the foreseeable future. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/wordsandmovies/support

This week we're strolling down gritty 1970s New York City streets with Bill Scurry from the I Don't Get It podcast stopping by to talk about watching the Jane Fonda/Donald Sutherland noir classic Klute for the first time.  Join us as we break down Jane Fonda's amazing performance, marvel at Gordon Willis' gorgeous cinematography, wonder if the film should actually be called "Bree," discuss rotary phones versus cellphones in movies and much more. Seriously, this movie is amazing and Fonda is incredible. If you haven't seen it, watch it now!  Follow Bill on Twitter and check out his video essays and short films on American Cesar Enterprises. Here's Sylvester Stallone's disco dancing cameo in Klute.  Listen to the show on Apple Podcasts, Spotify, Soundcloud and Stitcher. Or paste the RSS feed into the preferred podcast player of your choice to get new episodes when they're released.   

Welcome all to another 70's film deep dive with us, your decade under the influence crew. Today's offering is KLUTE (1971) directed by Alan J Pakula and starring The 80's work out lady, the guy that Joss Whedon says ruined the Buffy movie, the man in need of a bigger boat, and Charles Cioffi. Don't you forget the rad cinematography by Gordon Willis. All Jokes aside Jane Fonda is the best, Donald Sutherland is rad, and Alan Pakula is tops (see our watch n review of all the presidents men movie #26) Will we love this film about a cop investigator lost in New York looking for a missing friend and finding Fonda. Will they survive the clutches of a murderer with crazy vintage tape recorders? Listen with us, or even grab your copy of Klute and watch with us. We watch a ton of 70's films and we like to gab, you just might learn something, or you may just scream at your phone or computer that we suck, and don know shit, who can tell. This film is part one, in what is known as Pakula's paranoid trilogy. Klute, all the presidents men and the parallax view. Fonda who plays Bree Daniels here has some of the best Fiercest dialogue ever! She won the academy award for best actress for Klute in 1972 and her acceptance speech was one the shortest ever, getting up and sayin that there is a lot to say and she is not going to say it here tonight, thank you.

Welcome all to another 70's film deep dive with us, your decade under the influence crew. Today's offering is KLUTE (1971) directed by Alan J Pakula and starring The 80's work out lady, the guy that Joss Whedon says ruined the Buffy movie, the man in need of a bigger boat, and Charles Cioffi. Don't you forget the rad cinematography by Gordon Willis. All Jokes aside Jane Fonda is the best, Donald Sutherland is rad, and Alan Pakula is tops (see our watch n review of all the presidents men movie #26) Will we love this film about a cop investigator lost in New York looking for a missing friend and finding Fonda. Will they survive the clutches of a murderer with crazy vintage tape recorders? Listen with us, or even grab your copy of Klute and watch with us. We watch a ton of 70's films and we like to gab, you just might learn something, or you may just scream at your phone or computer that we suck, and don know shit, who can tell. This film is part one, in what is known as Pakula's paranoid trilogy. Klute, all the presidents men and the parallax view. Fonda who plays Bree Daniels here has some of the best Fiercest dialogue ever! She won the academy award for best actress for Klute in 1972 and her acceptance speech was one the shortest ever, getting up and sayin that there is a lot to say and she is not going to say it here tonight, thank you.

All the President's Minutes is a podcast where conversations about movies, journalism, politics and history meet. Each show we use the seminal and increasingly prescient 1976 film All The President's Men as a portal, to engage with the themes and the warnings of the film resonating since its release. For minute 72, I join DC film and theatre critic with bylines at The Av Club, Guardian, MUBI and Film Comment, Beatrice Loayza. Beatrice and I discuss Gordon Willis' chiaroscuro stylings, being dwarfed by the Washington DC architecture and appreciating that *President's* has no interested in the affairs of the powerful. --------------------- About Beatrice Loayza --------------------- Beatrice Loayza is a freelance film writer. She is a regular contributor to the AV Club, MUBI, and Brightest Young Things. In the past, she has contributed to Sight & Sound Magazine, The Brooklyn Rail, Ebert Voices, i-D, Hyperallergic, Remezcla, Bitch Media, and Another Gaze. *Twitter:* @bealoayza ( https://twitter.com/bealoayza ) *Outlets* : The AV Club, Guardian, Film Comment *Website:* beatriceloayza.com ( https://t.co/m4Yvtsp8Zf?amp=1 ) Support this podcast at — https://redcircle.com/one-heat-minute-productions/donations Advertising Inquiries: https://redcircle.com/brands

episode notesCinematographer Style Volume 1 and 2 - Jon FauerInterviews with some of the best DPs like Roger Deakins, Bill Pope, Nancy Schreiber, John Seale, Haskell Wexler, Gordon Willis, and many more.The 5 Cs of Cinematography - Joseph V. MascelliCamera angle, continuity, cutting, close-up, and compositionCinematography: Theory and Practice - Blaine BrownMaster Shots - Christopher KenworthyGreat examples for setting up scenes with camera angles and blockingLighting for Cinematography - David LandauFilm Lighting: Talks with Hollywood's Cinematographers and Gaffers - Kris MalkiewiczInterviews with Janusz Kaminski, Matthew Libatique, Rodrigo Prieto, Harris Savides, and many more.

“I want to live in a world where the songs come true.” It may have seemed more strange at the time than it does now, but after his success of his comedy film The Jerk, comedian Steve Martin used his career momentum to next make… a depressing musical in which he’s a completely unlikeable character. In context of the career path that Martin has taken and the variety of projects he’s been a part of, it’s clear that it was a smart decision, but he’s lucky the flop of Pennies From Heaven didn’t kill his career completely. Join us – Pete Wright and Andy Nelson – as we continue our Steve Martin series with his next film, Herbert Ross’ 1981 film Pennies From Heaven. We talk about the peculiarities of this film and why so much of it seems like it isn’t working, but how enough of it does where it’s a flawed but unique project. We chat about the lip synced musical numbers and debate why they chose to do the music this way instead of having everyone sing. We discuss the brilliant direction by Ross, cinematography by Gordon Willis, and production design by Philip Harrison, and how beautiful the film is, particularly during the dance numbers. And we debate if this film and its structure makes us more interested or less in watching the original BBC TV series from 1978. It’s a flawed film, one that Andy likes more than Pete, but it’s certainly worth watching and discussing. So check it out, then tune in to this week’s show. The Next Reel – when the movie ends, our conversation begins. Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel! Film Sundries Watch this film: iTunes • Amazon • YouTube Script Transcript Original theatrical trailer Original poster artwork Flickchart Letterboxd

“I want to live in a world where the songs come true.” It may have seemed more strange at the time than it does now, but after his success of his comedy film The Jerk, comedian Steve Martin used his career momentum to next make… a depressing musical in which he's a completely unlikeable character. In context of the career path that Martin has taken and the variety of projects he's been a part of, it's clear that it was a smart decision, but he's lucky the flop of Pennies From Heaven didn't kill his career completely. Join us – Pete Wright and Andy Nelson – as we continue our Steve Martin series with his next film, Herbert Ross' 1981 film Pennies From Heaven. We talk about the peculiarities of this film and why so much of it seems like it isn't working, but how enough of it does where it's a flawed but unique project. We chat about the lip synced musical numbers and debate why they chose to do the music this way instead of having everyone sing. We discuss the brilliant direction by Ross, cinematography by Gordon Willis, and production design by Philip Harrison, and how beautiful the film is, particularly during the dance numbers. And we debate if this film and its structure makes us more interested or less in watching the original BBC TV series from 1978. It's a flawed film, one that Andy likes more than Pete, but it's certainly worth watching and discussing. So check it out, then tune in to this week's show. The Next Reel – when the movie ends, our conversation begins. Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Watch this film: iTunes • Amazon • YouTube Script Transcript Original theatrical trailer Original poster artwork Flickchart Letterboxd

Raised in the Bronx New York, the son of a printer, Alan J. Pakula would become on of the most important film makers of the 1960’s and 70’s. In 1962, as the producer of To Kill A Mockingbird he earned his first Oscar nomination for best Picture. In the years to come, Oscar nominations and wins were frequent for films such as The Sterile Cuckoo, Klute, All the Presidents Men, Comes A Horseman and Sophie’s Choice. His frequent collaborators included cinematographer Gordon Willis and Nestor Almendros, composers Marvin Hamlisch and Michal Small and the New York post-productions teams who he called his family.In this episode, re-recording mixer, Lee Dichter, supervising sound editors, Chic Ciccolini and Ron Bochar, ADR supervisor Deborah Wallach and music editor Todd Kasow talk about working with Alan Pakula on the films Rollover, See You In The Morning, DreamLover, Sophie’s Choice, Orphans, The Pelican Brief and The Devil’s Own.

Nueva entrega de La Gran Evasión, la número 220. Cerramos la trilogía más grande del cine con El Padrino III, Francis Ford Coppola acometía en 1990 el final de la saga, como él mismo diría: “La muerte de Michael Corleone”. Coppola nos muestra a un Michael Corleone prematuramente envejecido, vulnerable, enfermo, como le dice el cardenal Lamberto (Raf Vallone), ”El alma sufre y el cuerpo se resiente”. Una huida hacia adelante para completar el propósito de toda su vida, convertir el apellido Corleone en legítimo, alejarlo de los negocios sucios, pero como siempre, sus métodos son maquiavélicos y horribles, su familia sigue siendo el fin por el que lucha y, paradójicamente, la va destruyendo en cada nuevo paso. Utiliza sin escrúpulos a su hija y el nombre de su padre para la fundación benéfica, compra su redención social a través de la propia Iglesia, al tiempo que intenta dejar atrás un pasado de sangre. Coppola golpea mas arriba que en el Padrino II, de la política y los estados corruptos saltamos a la misma Iglesia de Roma, al Vaticano, a lo mas sagrado, a las finanzas, manejadas en la sombra por las logias secretas (Pi2), otra gran frase de la película: “las finanzas son un arma, y la política es saber cuando apretar el gatillo”, que recita ese vampiro, trasunto de Andreotti…Lucchesi. Asistimos a la aparición del hijo ilegítimo de Sonny, Vincent Mancini, buen Andy García, apoyado por su tía Connie, extraordinaria Talia Shire, como una Lady Macbeth que conspira en la sombra para conseguir el poder de los Corleone, con su adalid, Vincent. De nuevo la acción transcurre en Nueva York, Joe Mantegna y su Joey Zasa representan ese pasado mafioso, el gran Elli Wallace, otro sibilino conspirador, que da vida a ese viejo Don, Altobello, son los propios demonios del pasado sangriento de los Corleone. Para cerrar el círculo hay que pagar un precio, la culpa y los pecados toman cuerpo. El pasado siempre vuelve, las imágenes de lago Tahoe abandonado, el eco del disparo que acabó con Fredo y terminó de condenar a Michael, son el leit motive de la historia, un recorrido por los recuerdos, que fluyen y dan continuidad al presente. Gordon Willis vuelve a llenar de tinieblas la película, con hermosas alegorías que representan la oscuridad del alma de los Corleone, esos interiores en penumbra, el contraste con la luz ocre de Sicilia, las calles de Nueva York, todo el tramo final con la opera….una autentica maravilla. La renuncia al amor es otro de los puntos que trata la historia, el mismo Michael dice: “cuando vienen, vienen a por lo que más quieres”, el precio a pagar por el poder es nada mas y nada menos que el amor. Todo el tramo final, con la opera de Mascagni interactuando con la realidad y a su misma vez, la vida real fundiéndose con el libreto, es simplemente grandiosa, el eje central de la ópera Cavalleria Rusticana, son los mismos temas que la película ha tratado, incluso las mismas escenas ya vistas, con la procesión y el asesinato, o las que se presienten, con el velo… la felicidad que asoma en los ojos de Michael y Kay, viendo a su hijo triunfar, ese atisbo de paz, truncado por el destino, el fatum, por los pecados del pasado, por los demonios que vienen a cobrar su deuda. En definitiva, una gran película, no sublime o excelsa como sus predecesoras, pero, tomándola como lo que es, el tercer acto de una ópera, como una profunda e intensa búsqueda de redención, es un dignísimo final para este personaje legendario, Michael Corleone, que aquí recibe el castigo por sus actos. Magistral interpretación de Al Pacino, que también venía de atravesar su infierno particular, un prodigio de contención que explota en la escena final, para quedarse en la retina de los espectadores por siempre. La película supera los obstáculos del tiempo, las ausencias del gran Nino Rota, de Robert Duvall, las prisas con el guión, la elección de Sofia Coppola, para mí, algo inevitable, pues Coppola debía exorcizar la muerte de su hijo Gio, filmando la de su hija Sofia, es su propia catarsis, para poder dormir por las noches y cerrar la historia de Michael Corleone y la suya propia. Desde la escalinata, a los pies de la Torre de Radiopolis, conmocionados por la desgarradora historia que acabamos de presenciar, nos acurrucamos en la penumbra…José Miguel Moreno, Dani Corleone, Gervi Navío…mientras, tendido en las escaleras, gritando sin sonidos desde lo más hondo de su alma, con la pluma del cine ensangrentada entre sus manos….nos mira, sin vernos….nuestro crítico de cine… César Bardés. Gervasio Navío Flores. La Gran Evasión.

Entrega 210 de La Gran Evasión, esta noche os realizamos una oferta que no podéis rechazar, El Padrino, Francis Ford Coppola, 1972. “I Believe in America…” empieza diciendo Bonasera, el funerario, cree en America pero acude a Don Vito Corleone pidiendo justicia….se abre el plano, poco a poco retrocede la cámara y nos encontramos con la figura del Don, Marlon Brando, en uno de sus papeles más portentosos, en la penumbra del despacho de Vito Corleone se piden favores y se rinden pleitesías, fuera, la Luz ilumina la boda de su hija Connie, un despliego de maestría y montaje por parte de Coppola para un arranque excepcional, en la fiesta nos presenta a los personajes de ese mundo que gira entorno al poder. Vemos a Sonny el impetuoso hijo mayor, increíble James Caan, Fredo el más débil, vaya aura que crea Cazale, Tom, el hijo adoptivo de origen irlandés, no acaba de pertenecer, aun siendo Consigliere, no es siciliano, está dentro de la familia pero sigue sin estarlo completamente, magnífico Duvall, hasta llegar a Michael, un imponente y joven Al Pacino, que despliega todo su talento para encarnar al hijo pequeño de Vito Corleone, el más inteligente, al que le tenía reservado un futuro lejos de los gánsters, pero el destino, como siempre, persigue su presa sin piedad, y a Michael le reserva una oscura travesía… La película que salvo Hollywood, que devolvió la gente a los cines en masas, un proyecto de la Paramount, con un joven director, un Best Seller y un presupuesto mediocre, pero Coppola tenia otra cosa en mente, desde su amor al cine clásico elevó su propuesta a otro nivel, se rodeó de auténticos genios, Gordon Willis en la fotografía, Tavoularis en el diseño de Producción, Nino Rota en la banda sonora y sobre todo, de un elenco de actores formidable, los citados Brando, Pacino, Caan, Duvall y una pléyade de desconocidos que dotan de vida a sus personajes, Tesio (Abe Vigoda), Clemenza (Castellano), Sollozzo (Al Lettieri), viejas glorias como Sterling Hayden y su inolvidable Capitan McCluskey, etc. En conclusión, estamos ante una absoluta obra maestra, que atravesó dificultades y vicisitudes hasta convertirse en una leyenda. Sin olvidar uno de los puntos más importantes, la escena entre Al Pacino y Marlon Brando, rodada meses después y que dotaba de alma a la historia, ese traspaso de sabiduría y consejos que tuvo que escribir Robert Towne, al solicitarle ayuda Coppola, una escena formidable, el jardín, un padre y un hijo, hablando del futuro, de la experiencia, un episodio que completa el puzzle. El Padrino es un ensayo sobre el poder, sobre los conflictos morales de la familia, sobre la soledad, la traición, las conspiraciones, en fin, Shakespeare, la Antigua Roma, el Viejo Testamento….la esencia de los hombres. Esta noche, en la tiniebla del estudio de Radiopolis, besamos la mano de Francis Ford Coppola, Manuel Broullón, Raúl Gallego y Gervi Navío. Gervasio Navío Flores.

Best Pick with John Dorney, Jessica Regan and Tom Salinsky Episode 22: The Godfather (1972) Released 21 November For this episode, we watched The Godfather, written by Francis Ford Coppola and Maria Puzo, from the novel by Puzo; directed by Coppola; music by Nino Rota; cinematography by Gordon Willis. It stars Marlon Brando, Al Pacino, James Caan, Robert Duval, John Cazale and Diane Keaton. Although the film has become legendary, it only won three Oscars – Best Picture, Best Adapted Screenplay and Best Actor for Brando. Clint Eastwood stands in for Charlton Heston https://www.youtube.com/watch?v=zY6y-NFiSec&t=736s Structure is Character in Conflict https://www.writershelper.com/character-in-conflict.html Next time we will be discussing On the Waterfront. If you want to watch it before listening to the next episode you can buy the DVD or Blu-Ray on Amazon.co.uk, or Amazon.com, or you can download it via iTunes (UK) or iTunes (USA). To send in your questions, comments, thoughts and ideas, you can join our Facebook group, Tweet us on @bestpickpod or email us on bestpickpod@gmail.com. You can also Tweet us individually, @MrJohnDorney, @ItsJessRegan or @TomSalinsky. You should also sign up to our mailing list to get notified as soon as a new episode is released. Just follow this link: http://eepurl.com/dbHO3n

Best Pick with John Dorney, Jessica Regan and Tom Salinsky Episode 22: The Godfather (1972) Released 21 November For this episode, we watched The Godfather, written by Francis Ford Coppola and Maria Puzo, from the novel by Puzo; directed by Coppola; music by Nino Rota; cinematography by Gordon Willis. It stars Marlon Brando, Al Pacino, James Caan, Robert Duval, John Cazale and Diane Keaton. Although the film has become legendary, it only won three Oscars – Best Picture, Best Adapted Screenplay and Best Actor for Brando. Clint Eastwood stands in for Charlton Heston https://www.youtube.com/watch?v=zY6y-NFiSec&t=736s Structure is Character in Conflict https://www.writershelper.com/character-in-conflict.html Next time we will be discussing On the Waterfront. If you want to watch it before listening to the next episode you can buy the DVD or Blu-Ray on Amazon.co.uk, or Amazon.com, or you can download it via iTunes (UK) or iTunes (USA). To send in your questions, comments, thoughts and ideas, you can join our Facebook group, Tweet us on @bestpickpod or email us on bestpickpod@gmail.com. You can also Tweet us individually, @MrJohnDorney, @ItsJessRegan or @TomSalinsky. You should also sign up to our mailing list to get notified as soon as a new episode is released. Just follow this link: http://eepurl.com/dbHO3n

El podcast que le hace piquete al ventilador de techo 00:00:01 Lamentablemente falta poco para arrancar el verano y por esta razón, no nos quedó otra que sacarle la careta a los ventiladores de techo. Creo que nunca imaginamos que seríamos parte de la liga de Odiadores de estos artefactos del demonio. 00:11:04 Susanette sale a aclarar algunos dichos polémicos del podcast anterior. Sí, como lo leen… nos mandaron carta documento y acá estamos, con las barbas en remojo. 00:20:01 “Si no es gratis, no me interesa”, dice Willy en relación a internet y se arma un nuevo debate sobre la gratuidad o no de las cosas. 00:29:14 Ahora sí, nos metemos de cabeza en la polémica y comentamos brevemente el escándalo del conejo de Anahí Berneri. 00:34:01 Planificando nuestra serie de Netflix, decidimos que no vamos a usar gatos reales sino gatos animados porque nos sobra el presupuesto. 00:46:56 Bloque sobre la adolescencia, intenso y despelotado. Espero que sepan tenernos paciencia, eh!00:56:00 Visto y considerando que estar tranquilos no es lo nuestro, Susanette dice que tiene problemas para entender lenguaje inclusivo. Ya la putearon en tuiter por esto, ahora vendrán por ella acá. Dios nos libre. 1:17:06 Si no cerrábamos el episodio con un momento bien felino nos iban a cambiar el nombre del podcast. Ilustramos este episodio con fotos de ventiladores de techo; un gato negro hermoso y amigable; Gordon Willis; el gran Vittorio Storaro; Anahí Berneri; Rodolfo Mutuverría posando con su creación; Cecilia GIspert; Big Mouth

FXF3002 Alan J Pakula : Ron Bochar, Chic Ciccolini, Lee Dichter, Todd Kasow, Deborah Wallach PLAY PODCAST Raised in the Bronx New York, the son of a printer, Alan J. Pakula would become on of the most important film makers of the 1960's and 70's. In 1962, as the producer of To Kill A Mockingbird he earned his first Oscar nomination for best Picture. In the years to come, Oscar nominations and wins were frequent for films such as The Sterile Cuckoo, Klute, All the Presidents Men, Comes A Horseman and Sophie's Choice. His frequent collaborators included cinematographer Gordon Willis and Nestor Almendros, composers Marvin Hamlisch and Michal Small and the New York post-productions teams who he called his family. In this episode, re-recording mixer, Lee Dichter, supervising sound editors, Chic Ciccolini and Ron Bochar, ADR supervisor Deborah Wallach and music editor Todd Kasow talk about working with Alan Pakula on the films Rollover, See You In The Morning, DreamLover, Sophie's Choice, Orphans, The Pelican Brief and The Devil's Own. Frame By Frame is a podcast series hosted by editor Isabel Sadurni, that introduces you to the most influential, respected and accomplished cinema post-production professionals working in New York today. Through intimate, informal discussions between collaborators about post-production craft, aesthetics, process and technique, we'll recognize and celebrate the iconic films and people that have made New York film history as well as those contemporaries who continue to make important contributions to the art of filmmaking. In conversations anchored by the film editor, we'll share the stories that define New York as an essential ongoing capital of the global film industry. Proudly presented by the Post New York Alliance and the New York Motion Picture Editors Guild. Produced by Isabel Sadurni and Ben Baker.

FXF3002 Alan J Pakula : Ron Bochar, Chic Ciccolini, Lee Dichter, Todd Kasow, Deborah Wallach PLAY PODCAST Raised in the Bronx New York, the son of a printer, Alan J. Pakula would become on of the most important film makers of the 1960’s and 70’s. In 1962, as the producer of To Kill A Mockingbird he earned his first Oscar nomination for best Picture. In the years to come, Oscar nominations and wins were frequent for films such as The Sterile Cuckoo, Klute, All the Presidents Men, Comes A Horseman and Sophie’s Choice. His frequent collaborators included cinematographer Gordon Willis and Nestor Almendros, composers Marvin Hamlisch and Michal Small and the New York post-productions teams who he called his family.   In this episode, re-recording mixer, Lee Dichter, supervising sound editors, Chic Ciccolini and Ron Bochar, ADR supervisor Deborah Wallach and music editor Todd Kasow talk about working with Alan Pakula on the films Rollover, See You In The Morning, DreamLover, Sophie’s Choice, Orphans, The Pelican Brief and The Devil’s Own. Frame By Frame is a podcast series hosted by editor Isabel Sadurni, that introduces you to the most influential, respected and accomplished cinema post-production professionals working in New York today. Through intimate, informal discussions between collaborators about post-production craft, aesthetics, process and technique, we’ll recognize and celebrate the iconic films and people that have made New York film history as well as those contemporaries who continue to make important contributions to the art of filmmaking. In conversations anchored by the film editor, we’ll share the stories that define New York as an essential ongoing capital of the global film industry. Proudly presented by the Post New York Alliance and the New York Motion Picture Editors Guild. Produced by Isabel Sadurni and Ben Baker.

"Blood's a big expense." It was never a movie that was meant to be as big as it became. Robert Evans, Paramount head at the time, thought it would be a fun mobster movie designed to make a quick buck, capitalizing on the recent novel “The Godfather” by Mario Puzo. But Francis Ford Coppola saw something in Puzo's novel; he saw a family chronicle that was a metaphor for capitalism in America. He saw a crime epic. And he set out to make that version of the book. In the end, despite the fights with the studio that he had while making it, he stuck to his guns and The Godfather still stands as arguably one of the greatest films of all time. Join us – Pete Wright and Andy Nelson – as we kick off our Godfather trilogy with the movie that started it all, Coppola's 1972 film The Godfather.  We talk about why the film works so well and how Coppola and Puzo crafted the story, giving the audience an interesting entry into the Mafia world. We look at Coppola as a director and writer and what he brings to the table here. We chat about the incredible cast – from Marlon Brando and Al Pacino to James Caan and Diane Keaton, even the nepotism of casting Talia Shire (and his own daughter Sophia!). We look at Gordon Willis' mind-bogglingly dark cinematography and why it, paired with the film's sepia tones, create this world as much as anything Coppola does. We chat about Nino Rota's haunting score, and the big controversy surrounding it. And we look at the struggles Coppola had in getting the film made contrasted with how well it did at the box office.  It's a film that's spurred countless famous quotes, not the least of which is “I'm going to make him an offer he can't refuse.” The movie is everywhere and has become as much a part of our culture as Coppola's Italian heritage had become a part of the film when he made it. It's a fantastic film that certainly deserves to be looked at multiple times and discussed often. We have a great (and lengthy) conversation about it on the show this week. So check out the movie then tune in!  Film Sundries Watch this film: iTunes • Amazon Script Transcript Original theatrical trailer Original poster artwork The Godfather by Mario Puzo Flickchart Letterboxd Alex Rocco Audi A8 Super Bowl Spot Fortunella — You have to hear it… — 1958 Trailers of the Week Andy's Trailer: Ghost in the Shell Pete's Trailer: Silence

"Blood’s a big expense." It was never a movie that was meant to be as big as it became. Robert Evans, Paramount head at the time, thought it would be a fun mobster movie designed to make a quick buck, capitalizing on the recent novel “The Godfather” by Mario Puzo. But Francis Ford Coppola saw something in Puzo’s novel; he saw a family chronicle that was a metaphor for capitalism in America. He saw a crime epic. And he set out to make that version of the book. In the end, despite the fights with the studio that he had while making it, he stuck to his guns and The Godfather still stands as arguably one of the greatest films of all time. Join us – Pete Wright and Andy Nelson – as we kick off our Godfather trilogy with the movie that started it all, Coppola’s 1972 film The Godfather.  We talk about why the film works so well and how Coppola and Puzo crafted the story, giving the audience an interesting entry into the Mafia world. We look at Coppola as a director and writer and what he brings to the table here. We chat about the incredible cast – from Marlon Brando and Al Pacino to James Caan and Diane Keaton, even the nepotism of casting Talia Shire (and his own daughter Sophia!). We look at Gordon Willis’ mind-bogglingly dark cinematography and why it, paired with the film’s sepia tones, create this world as much as anything Coppola does. We chat about Nino Rota’s haunting score, and the big controversy surrounding it. And we look at the struggles Coppola had in getting the film made contrasted with how well it did at the box office.  It’s a film that’s spurred countless famous quotes, not the least of which is “I’m going to make him an offer he can’t refuse.” The movie is everywhere and has become as much a part of our culture as Coppola’s Italian heritage had become a part of the film when he made it. It’s a fantastic film that certainly deserves to be looked at multiple times and discussed often. We have a great (and lengthy) conversation about it on the show this week. So check out the movie then tune in!  Film Sundries Watch this film: iTunes • Amazon Script Transcript Original theatrical trailer Original poster artwork The Godfather by Mario Puzo Flickchart Letterboxd Alex Rocco Audi A8 Super Bowl Spot Fortunella — You have to hear it… — 1958 Trailers of the Week Andy's Trailer: Ghost in the Shell Pete's Trailer: Silence

Edición número 86 de la Gran Evasión, 24/5/2016. La soledad camina por las noches sin hacer ruido, mientras, la depravación, la oscuridad del alma de los hombres, hace llamadas intempestivas, el oficio más viejo del mundo, la mujer que se convierte en actriz, que escucha y que es tu fantasía durante una hora, por un precio, la carne es lo de menos, la irremediable soledad de los tipos que deambulan por la gran ciudad es el fondo de la historia, los trajes, el dinero, la oportunidad de vivir otras vidas, los instintos más oscuros, las pasiones más inconfesables, la maldad aflora y siempre está en penumbras, siempre es de noche, siempre hay alguien observando y el opio no calma lo suficiente... Alan Jay Pakula desarrolla en Klute una historia negra, partiendo de un inicio clásico, de una desaparición, pero que se aleja del misterio y la intriga para ahondar en los personajes, para contarnos otras cosas, Bree, una magistral Jane Fonda, es la prostituta, todo y todos giran en torno a ella, Klute, genial Donald Sutherland, es el detective callado, integro, profesional, que abrirá a Bree la puerta del amor, Roy Scheider es Frank, el proxeneta, el dueño de la mercancía...Un Reparto espléndido con una fotografía increíble del maestro Gordon Willis, las penumbras al servicio de las vidas solitarias, destacar también las banda sonora de Michael Small, el complemento perfecto para recrear la atmósfera de perdida y desencanto que envuelve toda la película. Vida desoladas, vidas incompletas que pululan como hormigas por las calles de una gran ciudad, a merced de los depredadores, de los hombres con traje que torturan y matan la inocencia, así de simple, así de real, así de descarnado. Nos sumergimos en el submundo de los deseos y las fantasías sexuales, a la dirección José Miguel Moreno, contertulios, Chari, Gervi Navío, Elio Cubiles y observando desde el techo, a través de la claraboya del cine, siempre al acecho, nuestro crítico César Bardés

We sit down with famous focus puller Doug Hart to talk about his experiences with Woody Allen and Gordon Willis.

A fascinating discussion with Adam Kimmel about his influences and the beautiful films he’s shot including Capote, Never Let Me Go, and Spike Jonze’s short I’m Here. Other posts you may enjoy: Gordon Willis, cinematographer The Godfather Sam Levy, cinematographer Frances Ha Sal Totino, cinematographer Any Given Sunday And if you like what you hear, ... The post Adam Kimmel Uncut appeared first on Craft Truck.

Matthew Socey reviews the new X-MEN film, replays his chat with MST3K's Joel Hodgson, plus an appreciation of cinematographer Gordon Willis.

En la primera mitad de los años 70, mientras Estados Unidos trataba de escapar de la Guerra de Vietnam y se encaminaba hacia el bicentenario, el cineasta Alan J. Pakula y su director de fotografía Gordon Willis, crearon tres de los mejores testimonios de paranoia fílmica de los que tengamos memoria. ¿Cómo es que un país se hunde en la desconfianza, en la duda y finalmente en la oscuridad? La respuesta esta contenida en: Klute (1971) The Parallax View (1974) All the president's men (1976)

Little known fact: when he was in grad school, Dr. Ian Malcolm was friends with Tony LaceyRC-2013-109: Annie Hall (1977) Your browser does not support this audioRecently, Turner Classic Movies aired Annie Hall, and I was reminded of just how extraordinary a picture it is—a romantic comedy that's exceedingly romantic and funny. This commentary was inevitable. As you watch Alvy's hangups doom his love life, you'll hear me marvel at the film's wildness, the way it breaks every rule. Along the way, I explain how Ralph Rosenblum and Gordon Willis influenced Allen's artistic vision, why the film's non-chronological structure works so well, and the background on Marshall McLuhan's cameo. Freud gets discussed, as does Shelly Duvall.To sync up, pop in your copy of the film, and hit "pause" when the United Artists logo fades to black.Show NotesRobert B. Weide's Woody Allen documentaryThe Film That Changed My Life book by Robert K. ElderRosenblum's book, When the Shooting Stops, the Cutting BeginsListen to the mp3. Or be an iTunes person.

Hey, movie lovers! We're taking a leap back to the 70s with this next series—Alan J. Pakula's paranoia trilogy. First up, 1971's "Klute," a dark and gritty character study/thriller about a small town detective trying to get information from a call girl about his missing friend. Join us this week as we talk about this fantastic film! We chat about the nature of 70s films and why they feel so dark and gritty. We talk about the amazing and dark cinematography of Gordon Willis. We discuss the nature of paranoia in the 70s and how this film plays into it, whether through the script, the acting, the directing, or the cinematography. And we talk about the performances, particularly Jane Fonda's Oscar-winning turn as Bree Daniels. She stands out in this film so much that we didn't give enough kudos to the brilliantly underplayed performance by Donald Sutherland in the title role. It's a great film that stands out as a movie we like (and tying it into previous podcasts, it's one of David Fincher's faves as well). So check out the movie and listen in!

Hey, movie lovers! We're taking a leap back to the 70s with this next series—Alan J. Pakula's paranoia trilogy. First up, 1971's "Klute," a dark and gritty character study/thriller about a small town detective trying to get information from a call girl about his missing friend. Join us this week as we talk about this fantastic film! We chat about the nature of 70s films and why they feel so dark and gritty. We talk about the amazing and dark cinematography of Gordon Willis. We discuss the nature of paranoia in the 70s and how this film plays into it, whether through the script, the acting, the directing, or the cinematography. And we talk about the performances, particularly Jane Fonda's Oscar-winning turn as Bree Daniels. She stands out in this film so much that we didn't give enough kudos to the brilliantly underplayed performance by Donald Sutherland in the title role. It's a great film that stands out as a movie we like (and tying it into previous podcasts, it's one of David Fincher's faves as well). So check out the movie and listen in!

Hey, movie lovers! We're taking a leap back to the 70s with this next series—Alan J. Pakula's paranoia trilogy. First up, 1971's "Klute," a dark and gritty character study/thriller about a small town detective trying to get information from a call girl about his missing friend. Join us this week as we talk about this fantastic film! We chat about the nature of 70s films and why they feel so dark and gritty. We talk about the amazing and dark cinematography of Gordon Willis. We discuss the nature of paranoia in the 70s and how this film plays into it, whether through the script, the acting, the directing, or the cinematography. And we talk about the performances, particularly Jane Fonda's Oscar-winning turn as Bree Daniels. She stands out in this film so much that we didn't give enough kudos to the brilliantly underplayed performance by Donald Sutherland in the title role. It's a great film that stands out as a movie we like (and tying it into previous podcasts, it's one of David Fincher's faves as well). So check out the movie and listen in!

Hey, movie lovers! We're taking a leap back to the 70s with this next series—Alan J. Pakula's paranoia trilogy. First up, 1971's "Klute," a dark and gritty character study/thriller about a small town detective trying to get information from a call girl about his missing friend. Join us this week as we talk about this fantastic film! We chat about the nature of 70s films and why they feel so dark and gritty. We talk about the amazing and dark cinematography of Gordon Willis. We discuss the nature of paranoia in the 70s and how this film plays into it, whether through the script, the acting, the directing, or the cinematography. And we talk about the performances, particularly Jane Fonda's Oscar-winning turn as Bree Daniels. She stands out in this film so much that we didn't give enough kudos to the brilliantly underplayed performance by Donald Sutherland in the title role. It's a great film that stands out as a movie we like (and tying it into previous podcasts, it's one of David Fincher's faves as well). So check out the movie and listen in!

Tyler and David discuss the career of Gordon Willis as well as summer movie surprises.

All The President's Minutes is a podcast where conversations about movies, journalism, politics and history meet. Each show we use the seminal and increasingly prescient 1976 film All The President's Men as a portal, to engage with the themes and the warnings of the film resonating since its release. For minute fourteen host, Blake Howard joins an incredible film mind and film critic on sabbatical, Brendan Hodges. Blake and Brendan discuss that this movie is addictive, engrossing, as well as a profoundly humanising film for its characters; Gordon Willis' "gorgeous, shadow-tinged frames"; and using procedural devices to paint an impressionistic portrait of this web of paranoia.About Brendan Hodges Film Critic on sabbatical, bylines at Roger Ebert dot com - @ebertvoices, and The Metaplex - http://TheMetaplex.com. Lover of the B movie and prone to ramble about aspect ratios at parties.Support this podcast at — https://redcircle.com/one-heat-minute-productions/donations

 All The President's Minutes is a podcast where conversations about movies, journalism, politics and history meet. Each show we use the seminal and increasingly prescient 1976 film All The President's Men as a portal, to engage with the themes and the warnings of the film resonating since its release. For minute 40, I join film critic with bylines at the New York Times, Vulture (and more); editor in chief at Crooked Media and author of Pulp Fiction: The Complete Story of Quentin Tarantino's Masterpiece and It's Okay With Me: Hollywood, The 1970s, and the Return of the Private Eye (and more), Jason Bailey. Jason and I discuss letting Gordon Willis off the leash for this scene, the fact that President's is a terrible background movie and Pakula making a leading man as an everyman with Parallax View and President's. About Jason Bailey Jason Bailey is contributing editor-at-large at Flavorwire, with bylines at The New York Times, Vulture, VICE, Slate, Rolling Stone, and more. He is currently writing his fifth book. Twitter: @jasondashbaileyOutlets: New York Time, The Playlist, Vulture, Flavorwire, Vice, Slate and CNN Support this podcast at — https://redcircle.com/one-heat-minute-productions/donations