Podcasts about The Grand Budapest Hotel

The Design Museum's landmark exhibition Wes Anderson: the Archives charts the evolution of Anderson's films from early experiments in the 1990s to more recent productions. Through the up-coming audio described tour of the exhibition on Friday 27 February at 10.30am blind and partially sighted people will get the opportunity to explore the design stories behind some of his award-winning and iconic films including; The Grand Budapest Hotel, Fantastic Mr. Fox and Isle of Dogs to just name a few.RNIB Connect Radio's Toby Davey was joined by Nao Zaragoza, Assistant Curator: Public Practice at the Design Museum and Johanna Agerman Ross the Curator of the Wes Anderson: the Archives exhibition to find out more about what blind and partially sighted people can expect and explore during the audio described tour on Friday 27 February 2026 at 10.30am.More about the Wes Anderson: the Archives exhibition and the audio described tour along with how to book a place on the tour can be found by visiting -  https://designmuseum.org/whats-on/talks-courses-and-workshops/audio-described-tour-of-wes-anderson-the-archivesImage shows the RNIB Connect Radio logo. On a white background ‘RNIB' written in bold black capital letters and underline with a bold pink line. Underneath the line: ‘Connect Radio' is written in black in a smaller font. 

Joe takes the guys on their first adventure into the wild mind of Wes Anderosn with: The Grand Budapest Hotel.

Episode Notes Full descrptions from the Library of Congress “The Tramp and the Dog” (1896)                                                          "The Tramp and the Dog," a silent film from Chicago's Selig Polyscope Company, is considered director William Selig's most popular early work. Filmed in Rogers Park, it is recognized as the first commercial film made in Chicago. Previously a lost film, it was rediscovered in 2021 at the National Library of Norway. The film depicts a tramp who attempts to steal a pie from a backyard windowsill, only to be met by a broom-wielding housewife and her dog, who foils the crime. The film is one of the first known as “pants humor,” where a character loses (or almost loses) his pants during an altercation. This scene inspired future comedy gags showing drifters and tramps losing their pants to dogs chasing them. “The Oath of the Sword” (1914)                                                                        A three-reel silent drama, "The Oath of the Sword" depicts the tragic story of two young lovers separated by an ocean. Masao follows his ambitions, studying abroad at the University of California, Berkeley, while Hisa remains in Japan, caring for her ill father. This earliest known Asian American film production featured Japanese actors playing Japanese characters and was produced by the Los Angeles-based Japanese American Film Company. Made at a time when Hollywood studios were not yet the dominant storytellers of the American film industry, "The Oath of the Sword" highlights the significance of early independent film productions created by and for Asian American communities. James Card, the founding curator at the George Eastman Museum, acquired “The Oath of the Sword” in 1963. The museum made a black and white photochemical preservation in 1980. In 2023, a new preservation reproducing the original tinting was done in collaboration with the Japanese American National Museum, and the film has since become widely admired. “The Maid of McMillan” (1916)Known to be the first student film on record, this whimsical, silent romance film was shot on campus in 1916 by students in the Thyrsus Dramatic Club at Washington University in St. Louis, Missouri. Club members Donald Stewart (Class of 1917) and George D. Bartlett (Class of 1920) wrote the screenplay. The original nitrate print of “The Maid of McMillan” was rediscovered in 1982, and two 16mm prints were made; the original nitrate was likely destroyed at this time. In 2021, with funding from the National Film Preservation Foundation, one of those 16mm prints was scanned at 4k and reprinted onto 35mm helping to secure the film's survival and legacy. “The Lady” (1925)When “The Lady” debuted in theaters in 1925, the silent film era had hit its stride, and this movie represents a powerhouse of artists at their peak. Director Frank Borzage was a well-established expert in drawing out intense expressions of deep emotion and longing in his actors. He did just that with the film's lead actress, Norma Talmadge, also at the height of her career, both in front of and behind the camera. Talmadge produced “The Lady” through her production company and commissioned one of the most prolific screenwriters, Frances Marion, to deliver a heartfelt story of a woman seeking to find the son she had to give up, to protect him from his evil grandfather. “The Lady” was restored by the Library of Congress in 2022. “Sparrows” (1926)As a silent actress, producer and key founder in the creation of the American film industry, Mary Pickford's performance in “Sparrows” represents her ability to master the genre she helped nourish: sentimental melodramas full of adventure and thrills, with dashes of comedy and heartfelt endings. Pickford plays Molly, the eldest orphan held within the swampy squalor of the Deep South, who moves heaven and earth to save the other orphan children from a Dickensian world of forced labor. The film takes some departures from the visual styles found in Pickford's other films, invoking an unusual tone of despair while deploying camera angles and lighting akin to German Expressionist cinema. “Sparrows” was preserved by the Library of Congress in collaboration with the Mary Pickford Company in 2020. “Ten Nights in a Barroom” (1926)                                                                     Featuring an all-Black cast, “Ten Nights in a Barroom” was produced in 1926 by the Colored Players Film Corporation of Philadelphia and is the earliest of only two surviving films made by the company. This silent film is based on the stage melodrama adapted from the 1854 novel “Ten Nights in a Bar-Room and What I Saw There” by Timothy Shay Arthur. Released in 2015 by Kino Lorber as part of the five-disc set “Pioneers of African-American Cinema,” the compilation was produced by the Library of Congress, in association with the British Film Institute, George Eastman Museum, Museum of Modern Art, National Archives, Smithsonian's National Museum of African American History and Culture, Southern Methodist University and the UCLA Film & Television Archive. Preserved by George Eastman Museum. “White Christmas” (1954)                                                           While the chart-topping song "White Christmas" was first performed by Bing Crosby for the 1942 film "Holiday Inn," its composer, Irving Berlin, was later inspired to center the song in the 1954 musical "White Christmas." Crosby, along with Danny Kaye, Rosemary Clooney, Vera-Ellen Rohe and director Michael Curtiz, embedded "White Christmas" in American popular culture as a best-selling single and the top-grossing film of 1954, as well as regular holiday viewing throughout the decades. The story of two World War II veterans-turned-entertainers and a singing sister act preparing a show for a retired general, the film and its grand musical numbers were captured in VistaVision, a widescreen process developed by Paramount Pictures and first used for "White Christmas." “High Society” (1956)                                                                  Often referred to as the last great musical of the Golden Age of Hollywood, “High Society” features an all-star cast including Bing Crosby, Grace Kelly, Frank Sinatra and Louis Armstrong (and his band), along with a memorable score of Cole Porter classics. Set in Newport, Rhode Island, the film showcases the Newport Jazz Festival (established in 1954) and features a remarkable version of Cole Porter's “Now You Has Jazz.” It includes the first big-screen duet by Frank Sinatra and Bing Crosby, singing “Well, Did You Evah?” This was Grace Kelly's last movie before she retired from acting and married the Prince of Monaco; she wore her Cartier engagement ring while filming. “Brooklyn Bridge” (1981)                                               With “Brooklyn Bridge,” Ken Burns introduced himself to the American public, telling the story of the New York landmark's construction. As with later subjects like the Civil War, jazz and baseball, Burns connects the building of the Brooklyn Bridge to American identity, values and aspirations. Released theatrically and nominated for an Academy Award for Best Documentary Feature, “Brooklyn Bridge” marked the beginning of Burns' influential career in public media*.* More than just a filmmaker, Burns has become a trusted public historian. His storytelling presents facts, but maybe more importantly, invites reflection on what America is, where it's been, and where it's going. His influence is felt not only in classrooms and through public broadcasting, but across generations who see history as something alive and relevant. “Say Amen, Somebody” (1982)George Nierenberg's documentary is a celebration of the historical significance and spiritual power of gospel music. With inspirational music, joyful songs and brilliant singers, the movie focuses on the men and women who pioneered gospel music and strengthened its connections to African American community and religious life. Prior to production, Nierenberg, who is white, spent over a year in African American churches and communities, gaining the trust of the performers. Restored by the Smithsonian's National Museum of African American History and Culture in 2020, the film features archival footage, photographs, stirring performances and reflections from the father of gospel Thomas A. Dorsey and its matron Mother Willie Mae Ford Smith. Nierenberg shows the struggles and sacrifices it takes to make a living in gospel, including criticism endured by women who sought to pursue careers as professional gospel singers while raising their families. “The Thing” (1982)Moody, stark, often funny and always chilling, this science fiction horror classic follows Antarctic scientists who uncover a long-dormant, malevolent extraterrestrial presence. “The Thing” revolutionized horror special effects and offers a brutally honest portrait of the results of paranoia and exhaustion when the unknown becomes inescapable. “The Thing” deftly adapts John W. Campbell's 1938 novella “Who Goes There?” and influenced “Stranger Things” and “Reservoir Dogs.” It remains a tense, thrilling and profoundly unsettling work of cinema. “The Big Chill” (1983)Lawrence Kasdan's best picture-nominated “The Big Chill” offers an intimate portrait of friends reunited after the suicide of one of their own and features actors who defined cinema in the 1980s – Glenn Close, William Hurt, Jo Beth Williams, Kevin Kline, Jeff Goldblum and Meg Tilly. This powerful ensemble portrays American stereotypes of the time – the yuppie, the drug dealer, the TV star – and deftly humanizes them. Through humor, tenderness, honesty and an amazing soundtrack, it shows formerly idealistic Americans making and dealing with the constant compromises of adulthood, while buoying one another with uncompromising love and friendship. “The Karate Kid” (1984)An intimate story about family and friendship, “The Karate Kid” also succeeds as a hero's journey, a sports movie and a teen movie – a feel-good movie, but not without grit. The film offers clearly defined villains, romance and seemingly unachievable goals, but also an elegant character-driven drama that is relatable and touching. A father who has lost his son meets the displaced son of a single mother and teaches him about finding balance and avoiding the pitfalls of violence and revenge. Race and class issues are presented honestly and are dealt with reasonably. Our hero practices a lot, gets frustrated, gets hurt, but still succeeds. It's as American as they come, and it's a classic. “Glory” (1989)“Glory,” described by Leonard Maltin as “one of the finest historical dramas ever made,” portrays a historical account of the 54th Regiment, a unit of African American soldiers who fought for the North in the Civil War. Authorized by the Emancipation Proclamation of 1863, the regiment consisted of an all-Black troop commanded by white officers. Matthew Broderick plays the young colonel who trains the troop, and Denzel Washington (in an Academy Award-winning performance) is among an impressive cast that includes Morgan Freeman, Cary Elwes and Andre Braugher. American Civil War historian James M. McPherson said the film "accomplishes a remarkable feat in sensitizing a lot of today's Black students to the role that their ancestors played in the Civil War in winning their own freedom.” “Philadelphia” (1993)                                                                  “Philadelphia” stars Tom Hanks in one of the first mainstream studio movies to confront the HIV/AIDS crisis. In the film, law partner Andrew Beckett (Hanks) is fired from his firm when they discover that he is gay and has AIDS. He hires personal attorney Joe Miller (Denzel Washington) to help him with litigation against his former employer. Director Jonathan Demme is quoted as saying, “The film is not necessarily just about AIDS, but rather everyone in this country is entitled to justice.” The film won two Oscars: one for Hanks and the other for Bruce Springsteen's original song, “The Streets of Philadelphia.” Through the song's mainstream radio and MTV airplay, it brought the film and its conversation around the HIV/AIDS pandemic to a wider audience. “Before Sunrise” (1995)                                                              Richard Linklater has explored a wide range of narrative storytelling styles while consistently capturing ordinary, everyday American life. However, his innovative use of time as a defining and recurring cinematic tool has become one of his most significant accomplishments. As the first film in his “Before” trilogy – three films, each shot nine years apart – “Before Sunrise” unfolds as one of cinema's most sustained explorations of love and the passage of time, highlighting the human experience through chance encounters and conversation. With his critically acclaimed 12-year production of the film “Boyhood” (2014) and a new 20-year planned production underway, his unique use of the medium of film to demonstrate time passing demonstrates an unprecedented investment in actors and narrative storytelling. “Clueless” (1995)                                                             A satire, comedy and loose Jane Austen literary adaptation dressed in teen movie designer clothing, “Clueless,” directed by Amy Heckerling, rewards both the casual and hyper-analytical viewer. It's impossible to miss its peak-1990s colorful, high-energy, soundtrack-focused on-screen dynamism, and repeated viewings reveal its unpretentiously presented and extraordinarily layered and biting social commentary about class, privilege and power structures. Heckerling and the incredible cast never talk down to the audience, creating main characters that viewers root for, despite the obvious digs at the ultrarich. The film centers on Cher (Alicia Silverstone) as a well-intentioned, fashion-obsessed high school student who is convinced she has life figured out. In the age of MTV, the film's popularity launched Paul Rudd's career and Silverstone's iconic-1990s status. The soundtrack, curated by Karyn Rachtman, helped solidify the film as a time capsule of clothing, music, dialogue and teenage life. “The Truman Show” (1998)Before social media and reality television, there was “The Truman Show.” Jim Carrey breaks from his usual comedic roles to star in this dramatic film about a man who, unbeknownst to him, is living his life on a soundstage filmed for a popular reality show. Adopted at birth by the television studio, Truman Burbank (Carrey) grew up in the (fictitious) town of Seahaven Island with his family and friends playing roles (paid actors). Cameras are all over the soundstage and follow his activities 24/7. Almost 30 years since its release, the film continues to be a study in sociology, philosophy and psychology, and has inspired university classes on media influence, the human condition and reality television. “Frida” (2002)Salma Hayek produced and starred in this biopic of Frida Kahlo, adapted from the book “Frida: A Biography of Frida Kahlo” by Hayden Herrera. The film explores Kahlo's rise as an artist in Mexico City and the impact disability and chronic pain from an accident as a young adult had on her life and work. The film centers around her tumultuous and passionate relationships, most significantly with her husband, painter Diego Rivera (Alfred Molina). Directed by Julie Taymor, the film was nominated for six Academy Awards, including Best Actress. It won awards for Best Makeup and Best Original Score for Elliot Goldenthal, who also won a Golden Globe in the same category. “The Hours” (2002)Director Stephen Daldry's “The Hours” weaves the novel “Mrs. Dalloway” into three women's stories of loneliness, depression and suicide. Virginia Woolf, played by Nicole Kidman (who won an Oscar and a Golden Globe for her performance), is working on the novel while struggling with what is now known as bipolar disorder. Laura, played by Julianne Moore (nominated for Best Actress in a Supporting Role), is unfulfilled in her life as a 1950s housewife and mother. Clarissa (played by Meryl Streep) is – like Mrs. Dalloway – planning a party, but for her close friend who is dying of AIDS. The film is based on Michael Cunningham's Pulitzer Prize-winning novel. It earned nine Academy Award nominations, including Best Picture, and won a Golden Globe for Best Picture. “The Incredibles” (2004)                                                 With an all-star cast and memorable soundtrack, this Academy Award-winning Pixar hit uses thrilling action sequences to tell the story of a family trying to live normal lives while hiding their superpowers. For the first time, Pixar hired an outside director, Brad Bird, who drew inspiration from spy films and comic books from the 1960s. The animation team developed a new design element to capture realistic human anatomy, hair, skin and clothing, which Pixar struggled with in early films like “Toy Story.” The film spawned merchandise, video games, Lego sets and more. The sequel, “Incredibles 2,” was also a huge hit, and together, both films generated almost $2 billion at the box office. “The Wrecking Crew” (2008)                                                     “The Wrecking Crew” is a documentary that showcases a group of Los Angeles studio musicians who played on many hit songs and albums of the 1960s and early 1970s, including “California Dreamin',” “The Beat Goes On,” “You've Lost That Lovin' Feeling” and “These Boots Are Made for Walkin'.” Through interviews, music, footage and his own narration, director Denny Tedesco reveals how the Wrecking Crew members – including his father, guitarist Tommy Tedesco – were the unsung heroes of some of America's most famous songs. Production for the film began in 1996, and the film was completed in 2008. Due to the high cost of song licenses, the official release was delayed until 2015, when a successful Kickstarter campaign raised over $300,000 to pay for the music rights. “Inception” (2010)                                                                         Writer and director Christopher Nolan once again challenges audiences with multiple interconnected narrative layers while delivering thrilling action sequences and stunning visual effects. “Inception” asks the question, “Can you alter a person's thoughts by manipulating their dreams?” Taking almost 10 years to write, the film was praised for its aesthetic significance and Nolan's ability to create scenes using cameras rather than computer-generated imagery. A metaphysical heist film with an emotional core driven by grief and guilt, “Inception” offers a meditation on how dreams influence identity, and it resonates deeply in an age of digital simulation, blurred realities and uncertainty. The film earned $830 million at the box office and won four Academy Awards. “The Loving Story” (2011)Nancy Buirski's acclaimed documentary gives an in-depth and deeply personal look at the true story of Richard Loving (a white man) and Mildred Loving (a Black and Native American woman), who were forbidden by law to marry in the state of Virginia in the 1960s. Their Supreme Court case, Loving vs. Virginia, was one of the most significant in history, and paved the way for future multiracial couples to marry. The movie captures the immense challenges the Lovings faced to keep their family and marriage together, through a combination of 16mm footage, personal photographs, accounts from their lawyers and family members, and audio from the Supreme Court oral arguments. “The Grand Budapest Hotel” (2014)“The Grand Budapest Hotel” stands as one of Wes Anderson's most successful films and demonstrates his own brand of unique craftsmanship, resulting in a visually striking and emotionally resonant story. As one of the most stylistically distinctive American filmmakers of the last half-century, Anderson uses historically accurate color and architecture to paint scenes to elicit nostalgia and longing from audiences, while at the same time weaving in political and social upheaval into the film. The film is an example of Anderson as a unique artist who uses whimsy, melancholy, innovative storytelling and a great deal of historical research, which is on display in this visually rich gem of a movie. Find out more at https://registry-a-podcast.pinecast.co

CineCouch - 043 - Grand Budapest Hotel

This week on PREVIOUSLY ON…, Jason and Rosie break down the teaser trailer for season two of Daredevil: Born Again, which premieres on Disney+ on March 24. They also react to the news that Odessa A’zion has exited A24’s adaptation of Deep Cuts following fan concerns about the casting of A'zion as Zoe Gutierrez, a character who is half Mexican and half Jewish. The conversation continues with a look at the latest films added to the National Film Registry, including Clueless, The Karate Kid, The Grand Budapest Hotel, and more, before diving into the major news that Brandon Sanderson’s Cosmere fantasy universe is coming to Apple TV, with Mistborn set for a film adaptation and The Stormlight Archive headed to television. Finally, they discuss Netflix’s Skyscraper Live event, which featured legendary free solo climber Alex Honnold scaling Taipei 101 in Taiwan. Follow Jason: IG & Bluesky Follow Rosie: IG & Letterboxd Follow X-Ray Vision on Instagram Join the X-Ray Vision DiscordSee omnystudio.com/listener for privacy information.

The Decade Project is an ongoing One Heat Minute Productions Patreon exclusive podcast looking back at the films released ten years ago to reflect on what continues to resonate and what's ripe for rediscovery. The third year being released on the main podcast feed is the films of 2015. To hear a fantastic chorus of guests and I unpack the films of 2016 in 2026, subscribe to our Patreon here for as little as $1 a month. In the latest episode, delightful and moving artist and primo Wes Anderson connisseur - Brianna Ashby - and I discuss THE GRAND BUDAPEST HOTEL, and we don't know what sort of cream they've put on you down at the morgue, but... we want some.Brianna AshbyThe profoundly talented artist who has helped define the look of not only the seminal independent film publication BRIGHT WALL DARK ROOM, but also for ONE HEAT MINUTE PRODUCTIONS.WEBSITE: brianna-ashby.comOne Heat Minute ProductionsWEBSITE: oneheatminute.comTWITTER: @OneBlakeMinute & @OHMPodsMERCH: https://www.teepublic.com/en-au/stores/one-heat-minute-productionsSupport this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Min 5: REPASO NOMINACIONES OSCAR + HAMNET (4 ESTRELLAS) 'Hamnet', la nueva película de Chloé Zhao, con 8 nominaciones a los Óscar, es una de las películas más esperadas del año y una de las sensaciones de la semana en cartelera. La autora de Nomadland (2020) adapta con maestría la novela homónima de Maggie O'Farrell mediante una mirada íntima, sobria y visceral sobre el amor y el duelo. Ambientada en la Inglaterra del XVI, la historia sigue a Agnes Shakespeare (Jessie Buckley) y a William Shakespeare (Paul Mescal) antes y después de la muerte de su hijo de once años, Hamnet, una tragedia que imagina el germen humano de la futura Hamlet. El estreno de más quilates de la semana ha entusiasmado a los críticos de Estamos de Cine. Min 20: ARCO: LA PELI ANIMADA FAVORITA AL ÓSCAR (4 estrellas) “Arco” es una de las sorpresas llamativas de la temporada de premios y una muestra vibrante de la animación europea contemporánea. Una fábula de ciencia ficción que, bajo la apariencia de aventura infantil, articula un discurso profundo sobre la identidad, la responsabilidad y nuestra relación con el planeta y el paso del tiempo. Dirigida por Ugo Bienvenu —ilustrador y narrador visual debutando en el largo cinematográfico—, la película sigue a Arco, un niño de diez años que vive en el año 2932 en una sociedad tecnológicamente avanzada donde la humanidad ha alcanzado las nubes tras la devastación de la Tierra. Por accidente, Arco activa un dispositivo de viaje en el tiempo y aterriza en 2075, una versión del mundo marcada por crisis medioambientales y desequilibrios ecológicos. Allí conoce a Iris, otra niña de su edad que, acompañada por un robot niñera, decide ayudarle a encontrar la forma de regresar a su futuro mientras ambos enfrentan preguntas sobre sus respectivos mundos y sus propios miedos y esperanzas. Min 25: ÍDOLOS ( 3 estrellas) "Ídolos' es un intento ambicioso y vibrante de acercar el cine español al gran espectáculo deportivo, sumergiéndose de lleno en el universo del motociclismo profesional para contar una historia de superación personal, reconciliación familiar y amor desafiante. Dirigida por Mat Whitecross y con guión de Inma Cánovas, Jordi Gasull y Ricky Roxburgh, la película sitúa al espectador en el corazón del Campeonato Mundial de Moto2 y MotoGP, donde ritmos narrativos propios del cine de acción se entrelazan con la emoción íntima de sus personajes. Alberto Luchini la compara sin tapujos con F1 y le otorga la misma calificación en nuestro panel de crítica. Min 31: SIN PIEDAD (3 estrellas) 'Sin Piedad' es una propuesta de ciencia ficción que parte de una idea provocadora y con enorme potencial simbólico: en Los Ángeles del año 2029, la justicia ya no la imparten jurados ni jueces humanos, sino una inteligencia artificial capaz de dictar sentencia en cuestión de minutos. El detective Chris Raven (Chris Pratt), que en el pasado defendió ese sistema automatizado, despierta una mañana rodeado de cables y pantallas y descubre que ha sido acusado de asesinar a su propia esposa. Con la sentencia casi asegurada, Raven dispone de 90 minutos para demostrar su inocencia ante la jueza de IA Maddox (Rebecca Ferguson), un programa que él contribuyó a perfeccionar. Min 39: RETORNO A SILENT HILL (2,5 estrellas) “Retorno a Silent Hill” vuelve a llevar la niebla, el horror psicológico y la iconografía inquietante de Silent Hill a la gran pantalla bajo la dirección de Christophe Gans, responsable de la primera adaptación cinematográfica de la saga en 2006. Inspirada de manera libre en el legendario videojuego Silent Hill 2, la película sigue a James Sunderland (Jeremy Irvine), un artista emocionalmente destrozado que, tras recibir una carta aparentemente de su esposa fallecida, Mary (Hannah Emily Anderson), regresa a la ciudad maldita en busca de respuestas entre ruinas envueltas en niebla, criaturas grotescas y símbolos oníricos que parecen sacados directamente del subconsciente. Min 43: LA PELÍCULA DE TU VIDA, CON VEGA HERNÁNDEZ La periodista de Radio Castilla-La Mancha y directora del espacio La Colmena, Vega Hernández, es la protagonista de esta sección y la encargada de contarnos por qué "Orgullo y Prejuicio" (Joe Wright. 2005) es su película favorita. Min 45: ESPECIAL BSO: DESPLAT Y SU 'HOMBRE MENGUANTE' (3 estrellas) La música de Alexandre Desplat para El hombre menguante (L'homme qui rétrécit, 2025) se erige como una partitura que acompaña y amplifica el viaje íntimo y existencial del protagonista en una cinta que explora la fragilidad humana desde la ciencia ficción y la aventura cotidiana. Compuesta y dirigida por el propio Desplat —uno de los compositores más influyentes del cine contemporáneo, con una carrera que incluye The Grand Budapest Hotel y The Shape of Water—, la banda sonora fue editada por Milan Records y publicada en plataformas digitales desde el 22 de octubre de 2025.

This week's Go To is another film discussion between Kelly and Tammy, this time exploring creativity through Wes Anderson's The Grand Budapest Hotel. They break down what makes the film a masterclass in creative choices: the strict candy-store palette, the impeccable production design/hair/makeup and the intentional postures and snappy pacing from the actors. Kelly reflects on what it takes to hold the line on daring creative choices and why collaboration that comes too early can make something special become ordinary. It's about trusting your audience, the miracle of hundreds of people doing their jobs superbly at once, and proof that radical creativity can also be commercially successful. This Go To is supported by a grant from the John Templeton Foundation. To learn more, visit: templeton.org. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

28 DAYS LATER FRANCHISE CONTINUES! 28 Years Later: The Bone Temple Movie Review (Non-Spoiler) - the post-apocalyptic horror saga returns with a bold new chapter as Greg & John dig into 28 Years Later: The Bone Temple, the fourth installment in the 28 Days Later franchise! Directed by Nia DaCosta (Candyman, The Marvels) from a screenplay by Alex Garland (Ex Machina, Annihilation), this sequel takes the Rage Virus world into even darker, stranger, more thoughtful, & more psychologically intense territory. Download PrizePicks today at https://www.prizepicks.onelink.me/LME... & use code REJECTS to get $50 instantly when you play $5! 28 Years Later Out of Theatre Review:    • Holy Crap...Just Watched 28 YEARS LATER!! ...   28 Days Later (2002) Movie Reaction (Aaron & Andrew):    • 28 DAYS LATER (2002) MOVIE REACTION!! | Fi...   28 Days Later (2002) Movie Reaction (Tara & Roxy):    • 28 DAYS LATER (2002) MOVIE REACTION!! Dann...   28 Weeks Later (2007) Movie Reaction:    • 28 WEEKS LATER (2007) IS CRAZY INTENSE!! M...   28 Years Later (2025) Movie Reaction:    • 28 YEARS LATER (2025) IS FRIGGIN' WILD!! M...   Gift Someone (Or Yourself) A Stranger Things RR Tee! https://shorturl.at/hekk2 The film stars Ralph Fiennes (The English Patient, The Grand Budapest Hotel) as Dr. Ian Kelson, a former GP trying to make sense of humanity amid devastation, Jack O'Connell (Sinners) as the chilling cult leader Sir Lord Jimmy Crystal, and Alfie Williams reprising Spike, whose journey continues with shocking consequences. Also featured are Erin Kellyman (The Falcon and the Winter Soldier) and Chi Lewis-Parry as the imposing Alpha-infected “Samson.” Cillian Murphy (28 Days Later, Peaky Blinders) makes a surprise return as Jim in a key role that sets up the next chapter of the franchise. Shot back-to-back with 28 Years Later and scored by Hildur Guðnadóttir (Joker, Chernobyl), The Bone Temple explores how survivors rebuild belief systems and power structures in a world ravaged by the Rage Virus — where human cruelty may be as terrifying as the infected themselves. Our review breaks down DaCosta's haunting direction, Garland's layered storytelling, the cast's standout performances, and the unsettling themes of evil, survival, and the human condition that make this sequel one of the most anticipated horror films of 2026! Intense Suspense by Audionautix is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Follow Us On Socials:  Instagram: https://www.instagram.com/reelrejects/  Tik-Tok: https://www.tiktok.com/@reelrejects?lang=en Twitter: https://x.com/reelrejects Facebook: https://www.facebook.com/TheReelRejects/ Music Used In Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Happy Alley by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

Last year, Film Ireland presented Screen Sessions Live, an afternoon of in-depth conversations on craft, career and creativity between talent from the Irish screen industries - made possible with the support of Screen Ireland and hosted by our partners Griffith College.In this special live podcast recording, graphic artist Annie Atkins (The Grand Budapest Hotel, The French Dispatch, Bridge of Spies) is in conversation with production designer, art director, and concept illustrator Jill Beecher (Babylon, Elvis, The Revenant). Both creatives are key voices in the art department on some of Hollywood's most ambitious and visually distinctive films. In this discussion, Annie and Jill explore the creative realities of working behind the scenes - from collaboration and artistry to problem-solving on set - and discuss how design shapes the stories we see on screen.Visit Film Ireland here to check out the images mentioned during the discussion: https://www.filmireland.net/screen-sessions-live-podcast-on-design-with-annie-atkins-the-grand-budapest-hotel-jill-beecher-babylon/Annie AtkinsAnnie Atkins has created graphic props and set pieces for multiple Oscar-nominated and winning movies such as Wes Anderson's The Grand Budapest Hotel, Isle of Dogs, and The French Dispatch; Spielberg's Bridge of Spies and West Side Story; and the map for the latest Indiana Jones movie, The Dial of Destiny.Her first book, Fake Love Letters, Forged Telegrams, and Prison Escape Maps, was published by Phaidon and drew critical acclaim as a behind-the-scenes look at film design, winning accolades from Jeff Goldblum, among others: “Annie makes the unreal seem hyperreal, and the real more supremely alive and utterly magical...” Her latest book, Letters from the North Pole, is a children's picture book and is available now.Jill BeecherJill was born in Dublin, Ireland, in 1984. She is a production designer, art director, and concept illustrator who has worked across Hollywood productions and local Irish projects (Once Upon a Time... in Hollywood, The Revenant, Alien: Covenant, Babylon, Elvis). Jill is now represented by William Morris Endeavour and is a member of the British and American Art Directors Guilds. She is also a visual artist who has exhibited in Europe, America, and Australia.Subscribe now on SoundCloud, Apple, Spotify and Amazon, or subscribe to Film Ireland wherever you get your podcasts. Hosted on Acast. See acast.com/privacy for more information.

Let it snow, let it snow, let it snow!  This week on Cinema in Seconds, Ian, Daniel and Cathryn look at movies set in the snow.  So put on your headphones, mitts and toque, and listen. Merry Christmas!Grand Budapest Hotel – 3:00Little Women – 12:00Life and Death of Col. Blimp – 27:00Wind River – 38:00Hundreds of Beavers – 51:30The Great Silence – 1:04:30

THE ORIGINS OF THE KINGSMAN!! The King's Man Full Movie Reaction Watch Along:   / thereelrejects   Rula patients typically pay $15 per session when using insurance. Connect with quality therapists and mental health experts who specialize in you at https://www.rula.com/REJECTS #rulapod Kingsman: The Secret Service (2014) Reaction:    • KINGSMAN: THE SECRET SERVICE (2015) IS FRI...   Kingsman: The Golden Circle (2017) Reaction:    • KINGSMAN: THE GOLDEN CIRCLE (2017) IS TOTA...   Gift Someone (Or Yourself) A Stranger Things RR Tee! https://shorturl.at/hekk2 With rumors circling around both The King's Man: The Traitor King & Kingsman: The Blue Blood, Tara Erickson (The Rage Pod) & Andrew Gordon (Cinepals) RETURN to complete their Kingsman Marathon (for now..) w/ their The King's Man Reaction, Recap, Commentary, Analysis & Spoiler Review! Matthew Vaughn (Kingsman: The Secret Service, X-Men: First Class) rewinds the clock to the origins of the secret spy organization. Set during the chaos of World War I, the film explores how global conflict, shadowy conspiracies, and larger-than-life villains gave birth to the Kingsman legacy. The story centers on Ralph Fiennes (Schindler's List, The Grand Budapest Hotel) as Orlando, Duke of Oxford, a pacifist aristocrat drawn into a worldwide plot manipulating nations into war. Alongside him is Djimon Hounsou (Gladiator, Blood Diamond) as the fiercely loyal Shola, and Gemma Arterton (Quantum of Solace, Prince of Persia) as Polly, whose intelligence and resolve prove just as vital as brute force. The next generation steps forward through Harris Dickinson (Triangle of Sadness, Beach Rats) as Conrad Oxford, whose journey from idealism to brutal reality forms the emotional backbone of the film. Follow Andrew Gordon on Socials:  YouTube: https://www.youtube.com/@MovieSource Instagram:  https://www.instagram.com/agor711/?hl=en Twitter:  https://twitter.com/Agor711 Follow Tara Erickson: Youtube: https://www.youtube.com/@TaraErickson Instagram:  https://www.instagram.com/taraerickson/ Twitter:  https://twitter.com/thetaraerickson Intense Suspense by Audionautix is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Follow Us On Socials:  Instagram: https://www.instagram.com/reelrejects/  Tik-Tok: https://www.tiktok.com/@reelrejects?lang=en Twitter: https://x.com/reelrejects Facebook: https://www.facebook.com/TheReelRejects/ Music Used In Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Happy Alley by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

THE ORIGINS OF THE KINGSMAN!! The King's Man Full Movie Reaction Watch Along: ⁠  / thereelrejects  ⁠ Rula patients typically pay $15 per session when using insurance. Connect with quality therapists and mental health experts who specialize in you at ⁠https://www.rula.com/REJECTS⁠ ⁠#rulapod⁠ Kingsman: The Secret Service (2014) Reaction: ⁠   • KINGSMAN: THE SECRET SERVICE (2015) IS FRI...  ⁠ Kingsman: The Golden Circle (2017) Reaction: ⁠   • KINGSMAN: THE GOLDEN CIRCLE (2017) IS TOTA...  ⁠ Gift Someone (Or Yourself) A Stranger Things RR Tee! ⁠https://shorturl.at/hekk2⁠ With rumors circling around both The King's Man: The Traitor King & Kingsman: The Blue Blood, Tara Erickson (The Rage Pod) & Andrew Gordon (Cinepals) RETURN to complete their Kingsman Marathon (for now..) w/ their The King's Man Reaction, Recap, Commentary, Analysis & Spoiler Review! Matthew Vaughn (Kingsman: The Secret Service, X-Men: First Class) rewinds the clock to the origins of the secret spy organization. Set during the chaos of World War I, the film explores how global conflict, shadowy conspiracies, and larger-than-life villains gave birth to the Kingsman legacy. The story centers on Ralph Fiennes (Schindler's List, The Grand Budapest Hotel) as Orlando, Duke of Oxford, a pacifist aristocrat drawn into a worldwide plot manipulating nations into war. Alongside him is Djimon Hounsou (Gladiator, Blood Diamond) as the fiercely loyal Shola, and Gemma Arterton (Quantum of Solace, Prince of Persia) as Polly, whose intelligence and resolve prove just as vital as brute force. The next generation steps forward through Harris Dickinson (Triangle of Sadness, Beach Rats) as Conrad Oxford, whose journey from idealism to brutal reality forms the emotional backbone of the film. Follow Andrew Gordon on Socials:  YouTube: ⁠https://www.youtube.com/@MovieSource⁠ Instagram:⁠ ⁠ ⁠https://www.instagram.com/agor711/?hl=en⁠ Twitter:  ⁠https://twitter.com/Agor711⁠ Follow Tara Erickson: Youtube:⁠ https://www.youtube.com/@TaraErickson⁠ Instagram: ⁠ https://www.instagram.com/taraerickson/⁠ Twitter: ⁠ https://twitter.com/thetaraerickson⁠ Intense Suspense by Audionautix is licensed under a Creative Commons Attribution 4.0 license. ⁠https://creativecommons.org/licenses/...⁠ Support The Channel By Getting Some REEL REJECTS Apparel! ⁠https://www.rejectnationshop.com/⁠ Follow Us On Socials:  Instagram: ⁠https://www.instagram.com/reelrejects/⁠  Tik-Tok: ⁠https://www.tiktok.com/@reelrejects?lang=en⁠ Twitter: ⁠https://x.com/reelrejects⁠ Facebook: ⁠https://www.facebook.com/TheReelRejects/⁠ Music Used In Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. ⁠https://creativecommons.org/licenses/by/4.0/⁠ Happy Alley by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. ⁠https://creativecommons.org/licenses/...⁠ POWERED BY @GFUEL Visit⁠ https://gfuel.ly/3wD5Ygo⁠ and use code REJECTNATION for 20% off select tubs!! Head Editor:⁠ https://www.instagram.com/praperhq/?hl=en⁠ Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license.⁠ https://creativecommons.org/licenses/by/4.0/⁠ Ask Us A QUESTION On CAMEO:⁠ https://www.cameo.com/thereelrejects⁠ Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  ⁠https://www.facebook.com/TheReelRejects/⁠ INSTAGRAM: ⁠ https://www.instagram.com/reelrejects/⁠ TWITTER:  ⁠https://twitter.com/thereelrejects⁠ Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  ⁠https://www.instagram.com/thegregalba/⁠ TWITTER:  ⁠https://twitter.com/thegregalba⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

Kim and Elwood's re-evaluation of Wes Anderson's filmography comes to The Grand Budapest Hotel which is not only his most critically acclaimed but also brings together his largest ensemble cast to date. The film also gives us the most quirkest creation to date in Gustave H, a concierge who works at a famous European hotel and who along with his lobby boy must prove his innocence when he is framed for a murder.

On pourrait croire que la pâtisserie, au cinéma, n'est que sucre, consolation et gourmandise.Pourtant, lorsqu'on regarde de plus près, les gâteaux sont parfois les complices silencieux de la mort.Ils empoisonnent, dissimulent, symbolisent des rapports de pouvoir, ou annoncent la chute d'un personnage.Dans cet épisode, nous allons analyser comment The Grand Budapest Hotel, Parasite et Mathilda associent le dessert à la destruction.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

F. Murray Abraham has appeared in more than 80 films including Amadeus (Academy Award, Golden Globe, and L.A. Film Critics Awards), The Phoenician Scheme, The Name of the Rose, Finding Forrester, Scarface, The Ritz, The Grand Budapest Hotel, and Inside Llewyn Davis. A veteran of the stage, he has appeared in more than 90 plays, among them Uncle Vanya (Obie Award), Krapp's Last Tape, Trumbo, A Christmas Carol, the musical Triumph of Love, Cyrano de Bergerac, King Lear, Macbeth, The Merchant of Venice, Angels in America (Broadway), Waiting for Godot, and It's Only a Play. Mr. Abraham's work in experimental theater includes collaborations with Joe Chaiken, Pina Bausch, Time and Space Ltd, and Richard Foreman. He made his NY debut as a Macy's Santa Claus. He starred in the second season of HBO's “The White Lotus,” for which he received Emmy and Golden Globe nominations for Outstanding Supporting Actor in a Drama Series. Previously, he was a series regular on “Homeland” (2 Emmy nominations). He's appeared with Luciano Pavarotti, Maestros Levine, Tilson Thomas, Mazur, and Bell, and he made his solo singing debut at Carnegie Hall's Weill Recital Hall. Mr. Abraham's book, A Midsummer Night's Dream: Actors on Shakespeare, is published by Faber & Faber. He is proud to be the spokesman for the MultiFaith Alliance for refugees worldwide. Learn more about your ad choices. Visit podcastchoices.com/adchoices

우주 대통합을 그리는 수작 of 수작. 명작 of 명작. 역작 of 역작. "I saw my life without you. I wish you could have seen it."

Finally, finally, Sean convinced Andy to discuss a Wes Anderson film. As it's Episode 237, we discussed Hotels in films with Kubrick's classic The Shining and Wes Anderson's Oscar-winning The Grand Budapest Hotel. Timings for this week are: The Shining (03:29) The Grand Budapest Hotel: (40:37) Next week we will be exploring Thanksgiving Movies Follow us on social media: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Bluesky⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Letterboxd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Email: frame.to.frame250@gmail.com Join our Discord: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Frame to Framers⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and that of the wider ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Film Stories Podcast Network⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Support Film Stories Podcast Network on Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/simonbrew⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Twitter: @filmstories Facebook/Instagram/Threads: Film Stories Website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://filmstories.co.uk/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Gothamlicious by Kevin MacLeod ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Link⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠License⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Leave us a review on Podchaser or Apple Podcasts! Learn more about your ad choices. Visit megaphone.fm/adchoices

Few actors can claim a career as rich and varied as F. Murray Abraham. From his classical theater roots to his unforgettable Oscar-winning turn as Salieri in Amadeus, from Tony-nominated Broadway performances to his recent scene-stealing work in The White Lotus, Homeland, and Star Trek: Discovery—Abraham has mastered the art of reinvention without ever compromising his craft. In this intimate conversation, the 85-year-old legend opens up about the highs and lows of a six-decade journey through American entertainment. He reveals why winning an Academy Award didn’t guarantee stardom, how he’s chosen challenging roles over commercial success, and what it means to still be delivering career-best performances in his ninth decade—including his current starring role in the new Broadway production of The Queen of Versailles. Abraham discusses what drew him back to live theater at this stage of his career and the unique electricity of performing before an audience eight times a week. He shares insights from working with the Coen Brothers on Inside Llewyn Davis, reflects on his rigorous classical training, and explains the discipline required to sustain a working actor’s life across film, television, and stage. He offers behind-the-scenes stories from iconic productions spanning Amadeus to The Grand Budapest Hotel, discusses the art of playing complex villains and antiheroes, and provides hard-won wisdom about longevity, artistry, and staying relevant across generations. Whether you’re an aspiring actor, a film buff, or simply a fan of great storytelling, this episode offers a masterclass in dedication, versatility, and the power of choosing substance over flash. F. Murray Abraham proves that the best careers aren’t built overnight—they’re crafted one brilliant performance at a time. Listen now to hear from one of the most respected character actors of our time.Support the show: https://takinawalk.com/See omnystudio.com/listener for privacy information.

Few actors can claim a career as rich and varied as F. Murray Abraham. From his classical theater roots to his unforgettable Oscar-winning turn as Salieri in Amadeus, from Tony-nominated Broadway performances to his recent scene-stealing work in The White Lotus, Homeland, and Star Trek: Discovery—Abraham has mastered the art of reinvention without ever compromising his craft. In this intimate conversation, the 85-year-old legend opens up about the highs and lows of a six-decade journey through American entertainment. He reveals why winning an Academy Award didn’t guarantee stardom, how he’s chosen challenging roles over commercial success, and what it means to still be delivering career-best performances in his ninth decade—including his current starring role in the new Broadway production of The Queen of Versailles. Abraham discusses what drew him back to live theater at this stage of his career and the unique electricity of performing before an audience eight times a week. He shares insights from working with the Coen Brothers on Inside Llewyn Davis, reflects on his rigorous classical training, and explains the discipline required to sustain a working actor’s life across film, television, and stage. He offers behind-the-scenes stories from iconic productions spanning Amadeus to The Grand Budapest Hotel, discusses the art of playing complex villains and antiheroes, and provides hard-won wisdom about longevity, artistry, and staying relevant across generations. Whether you’re an aspiring actor, a film buff, or simply a fan of great storytelling, this episode offers a masterclass in dedication, versatility, and the power of choosing substance over flash. F. Murray Abraham proves that the best careers aren’t built overnight—they’re crafted one brilliant performance at a time. Listen now to hear from one of the most respected character actors of our time.Support the show: https://musicsavedme.net/See omnystudio.com/listener for privacy information.

This podcast may not be an institution yet, but that hotel in the spa town of Nebelsbad below the Alpine Sudetenwaltz certainly is.

This week, the great Genevieve Jacobson returns along with first time (and equally great) guest Langston Young to discuss The Grand Budapest Hotel. Arguments are had and technical issues abound as we discuss the broader career of Wes Anderson, the film's Oscar run and notorious Ralph Fiennes snub, Saoirse's frustratingly small role and its oddly fruitful afterlife, and, of course, 28 Years Later. Hosted on Acast. See acast.com/privacy for more information.

왜 살고 왜 죽는가? 화 내고 울 수 있으면 그게 능력이다. P.S. “폭군의 셰프” 주인공은 엄지영이 아니라 연지영입니다… // 제가 찾던 “로맨스”의 번역에 적합한 한국어 단어는 “낭만”이었습니다.“The Grand Budapest Hotel” (2014) (영화)웨스 앤더슨“The Social Network” (영화)알렉상드르 데스플라“The Shape of Water” (영화)“반지의 제왕” (영화)“위대한 개츠비” (책)테너 듀크 킴“폭군의 셰프” (드라마)---녹취록: https://aimdreaming.imaginariumkim.com/the-grand-budapest-hotel-에픽-판타지-업-로맨스-낭만-자기-관심/한아임한테 ☕️ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠커피 사주기⁠⁠⁠⁠

Wes Anderson's follow up to The Grand Budapest Hotel has him revisiting the stop motion and animated genre with ISLE OF DOGS.  Please send any and all feedback to anotherlookpod@gmail.com.  Please follow us on Instagram @anotherlookpod, and rate/review/subscribe where ever you get your podcasts.

Summer rewind: Hydro Ottawa recently unveiled its largest investment plan ever, with a five-year focus on modernizing and strengthening the grid. The way we're consuming energy is changing, and this investment plan focuses on four key areas that highlight why Hydro Ottawa is taking action, and how they plan on doing it.   Hydro Ottawa's Chief Operating Officer, Guillaume Paradis, joins thinkenergy to dive a little deeper into those focus areas, and why they matter, with host Trevor Freeman.   Related links   ●       Guillaume Paradis on LinkedIn: https://www.linkedin.com/in/guillaume-paradis-30a47721 ●       Trevor Freeman on LinkedIn: https://www.linkedin.com/in/trevor-freeman-p-eng-8b612114 ●       Hydro Ottawa: https://hydroottawa.com/en    To subscribe using Apple Podcasts: https://podcasts.apple.com/us/podcast/thinkenergy/id1465129405   To subscribe using Spotify: https://open.spotify.com/show/7wFz7rdR8Gq3f2WOafjxpl   To subscribe on Libsyn: http://thinkenergy.libsyn.com/ --- Subscribe so you don't miss a video: https://www.youtube.com/user/hydroottawalimited   Follow along on Instagram: https://www.instagram.com/hydroottawa   Stay in the know on Facebook: https://www.facebook.com/HydroOttawa -- Transcript: Trevor Freeman  00:00 Hi everyone. Well, summer is here, and the think energy team is stepping back a bit to recharge and plan out some content for the next season. We hope all of you get some much needed downtime as well, but we aren't planning on leaving you hanging over the next few months, we will be re releasing some of our favorite episodes from the past year that we think really highlight innovation, sustainability and community. These episodes highlight the changing nature of how we use and manage energy, and the investments needed to expand, modernize and strengthen our grid in response to that. All of this driven by people and our changing needs and relationship to energy as we move forward into a cleaner, more electrified future, the energy transition, as we talk about many times on this show. Thanks so much for listening, and we'll be back with all new content in September. Until then, happy listening.   Trevor Freeman  00:55 Welcome to think energy, a podcast that dives into the fast changing world of energy through conversations with industry leaders, innovators and people on the front lines of the energy transition. Join me, Trevor Freeman, as I explore the traditional, unconventional and up and coming facets of the energy industry. If you have any thoughts, feedback or ideas for topics we should cover, please reach out to us at think energy at hydroottawa.com.   Trevor Freeman  01:19 hi everyone, and welcome back. A few episodes back I talked about some of the important work that happens at the distribution level to maintain and expand our grid, and I tried to connect the dots between that work and the broader societal energy transition that is happening at all levels. How the work we do at the distribution level is really important and tied to some of those larger projects that may get a little bit more news and attention that energy transition, which, as you're hopefully aware by now, is ongoing right now. It's not something of the future. It's happening today. That energy transition is multifaceted, but from an electricity and electrification perspective, the distribution utility, ie the Hydro Ottawa, of whatever jurisdiction you're in, is at the very leading edge of many of the changes we need to see within our electricity system to support that transition. So today, I'd like to go a little bit further with that topic and focus on Hydro Ottawa's next five year investment plan, which covers the 2026 to 2030 period. This will be the largest investment plan in our history as a company. And I wanted to dig into what we have identified as key focus areas for investment in the coming five years, with more than 100 years of operating a large, complex distribution network, Hydro Ottawa is embarking on a pretty significant journey to modernize and strengthen our grid for the challenges and opportunities ahead of us. We have filed our 2026, to 2030, Electricity Distribution rate application, as it's called, with the Ontario Energy Board, and this is a standard practice for all local distribution companies in Ontario. That's what we have to do. As a reminder for our listeners, the Ontario Energy Board, or OEB, as we often call it, is our independent regulator. Their mission in this process is to strike a balance between ensuring the financial health and operational needs of utilities like Hydro Ottawa, while also safeguarding the affordability and reliability of the service for the customer. So they want to make sure that we're spending enough to tackle the right projects on the grid, to make sure it stays operational while not spending too much. They meticulously scrutinize every detail of these applications to ensure that the proposed rates are just and reasonable, and that all investments are prudent and really in the public interest. So we have gotten a number of questions about the plan and specifically around where is the money going to go? What are you going to actually spend these dollars that you're requesting on? And why are these investments necessary? What benefits are they actually going to bring to our community? And often we get the question of, does this mean less outages or shorter outages? So I want to dig into that. I want to talk a little bit about what we've got planned and what the impact will be, and what the impact would be if we don't do those things, and to help me walk through that energy roadmap, that plan that we've put together. I've got Guillaume Paradis joining me today. Guillaume is the Chief Operating Officer of generation and distribution here at Hydro Ottawa, and he's going to join me, and we're going to talk through this. Guillaume and his teams are responsible for the planning, design, operation, construction and maintenance of our electrical power distribution system, and in his role, he leads the teams that are directly accountable for ensuring the safe, efficient and reliable delivery of electricity to our customers. Today, I'm going to ask Guillaume, really, to walk us through the details of. Our investment plan, how it was shaped, how we came up with these specific areas, and what benefits are going to be realized by our community and the broader energy landscape. Guillaume, Paradis, welcome to the show. Pleasure to be here. Trevor, okay, so, Guillaume, this is Hydro Ottawa's largest investment plan ever, and I'd like you to start by talking us through the primary drivers behind what our five year investment plan is.   Guillaume Paradis  05:29 Yeah, so as you've heard, as you've seen, we're in a historical, or historically, you know, unique point in the evolution of our industry. Electricity underpins most of our societal aspirations with respect to creating, you know, a more sustainable future, creating the future we want to leave for the next generations. And our distribution system underpins a lot of those aspirations in simple ways and in more complex ways. So, you know, a simple way is that essentially, for, you know, the well being of our society, for our customers, the residents of Ottawa, and really any area, to live the lives they're hoping to live, to, you know, enjoy the benefits of modern life. Electricity is a critical underpinning in any way you can imagine and you know, think about so. Our service has always been very important. It's just become even more critical as a foundational block for you know, the lives that we're hoping to live and we're living today in our modern society. So that, combined with other aspirations related to where we can reducing our carbon footprint and integrating more renewable energy resources within our footprint, it creates a situation where there's a significant need for us to invest, continue to invest and reinvest in our infrastructure to deliver those outcomes for customers.   Trevor Freeman  07:16 Yeah, I think, I mean, we talk a lot about the energy transition on the show, and if, if you think about, you know, let's say our previous rate application five years ago, the energy transition was a thing we knew about it, but it was like a thing of tomorrow where, hey, that's going to come soon. The difference now, I assume, and maybe you can speak to this, is we're seeing that. We're seeing the change now.   Guillaume Paradis  07:40 Yeha, you're exactly correct, like we're in it now. So we've been talking about it for some time, both from a like a general societal aspiration standpoint, but also from a technological standpoint. For a very long time, we talked about electric vehicles having an impact and becoming more commonplace. We talked about leveraging automation to deliver our services. We talked about two way power flows. So we've been building toward this moment, and now we're essentially in it, if you will, and we're seeing all those things, the confluence of all those longer term trends, sort of manifest themselves in real demand for our system, in real changes in our customers want to use energy, and we're in the middle of that, and we're, you know, to enable those things happening in our community here in Ottawa.   Trevor Freeman  08:36 Yeah. So it's like the business as usual, a lot of the same things, and we're going to talk about some of this. About some of the specifics, but a lot of the same thing, things we would normally do just a lot more of at the same time, as like also pivoting a little bit to meet some of these new needs, like charging transportation and like heating our spaces, more of electricity, like some of these new needs that didn't exist are not to the same extent. So it's like more of the same plus other new stuff, and we're gonna talk about that in a minute.   Guillaume Paradis  09:11 Yeah. So, you know, we always would say that the future of the energy sector was very exciting, and things were coming and like, change was upon us, and now, essentially, we're, we're living it, right? So you have to carry on with the responsibilities that you always had, and meanwhile, figure out how to deliver those new outcomes, those new services that previously weren't required or expected, right?   Trevor Freeman  09:39 So let's, let's kind of get into some of the details here. So there are four key capital investment categories in this plan, so growth and electrification, aging, infrastructure, grid modernization and grid resilience. So we're going to dive into the specifics of these in a minute, but we're. To start off with why these four? How did we land on these four as the main categories?   Guillaume Paradis  10:07 Yeah, so there's, there's various ways you can categorize investments. There's a lot of drivers that will lead us to invest in an area or replace some infrastructure somewhere in our system, these categories capture quite well. What is at the core of various investments. So for one specific investment, there will be multiple drivers, but these ones sort of in an elegant way, I would say, capture. You know why investments are occurring, what the primary driver is for those investments, and they help translate that for folks who are not involved day to day in planning the electricity system, that's our responsibility. What we're trying to communicate is why we're taking action where we're taking action. So those categories, in my mind, capture that really well. They also tie our investments to broad trends that people should be aware of, and they're a way to make sure that we have, you know, a clear baseline for a conversation as we proceed with those plans.   Trevor Freeman  11:18 Yeah, one thing I find, and you know, in my role, I talk to customers a lot, and I find these are fairly easy to explain, or at least, I hope they are, if you're listening and you disagree, let us know. But people can kind of get their heads around why the utility needs to do each of these four things, and some, in some ways, they align with other sectors as well. So I think, and I hope, as we carry on our conversation here, it'll be easy to sort of build out the picture of what we're doing in each of those four areas. So why don't we? Let's dive right in then and look at the specifics. And starting with growth and electrification, what are the specific investments that are planned to support the growing energy needs of our community, you know. And we've already started talking about electric vehicles, other electrified aspects of our lives, like, what? What falls into this category?   Guillaume Paradis  12:11 Yeah, so with respect to growth and electrification, um, there's a few underlying trends that drive the investment requirements. So as you've suggested, as you mentioned, you know, there's an evolution of how our customers use energy at home, day to day. EVS being obviously a primary example that everyone will be very aware of. Just, you know, driving around town, frankly, the difference in how regularly you'll see electric vehicles in our community relative to even five years ago is is pretty dramatic, and that is having a long term, you know, impact over time, likewise for technologies like heat pumps at home, and just generally, the growth of our community. So those elements just drive a longer-term trend of more demand being present in our community, within our system. And in addition to that, one big change that we've seen over the last few years is more large scale demand request coming into our service territory, typically, that will be large customers wanting to do something different with energy. So it could go. It could be driven by a few different kinds of corporate aspirations. What we're seeing a lot of are instances where large corporations decide, or institutions decide, to do away with more carbon intensive energy sources, so they will look to us and electricity to replace what previously would have been another fuel source that maybe is less green. So we're seeing that affecting choices some of those type of customers are making, and then at the same time, we're seeing just large requests related to a different type of energy demand. So companies wanting to, for example, bring back their R and D efforts to a data center that they operate and they control, so that they have more control over cybersecurity elements, and then, likewise, with where their data flows to and how it's being managed. So we're seeing large requests at a rate that we didn't previously, and that those requests are significant enough that they require us to make very major investments, like new substations, like building a. New feeders again at a pace that far outpaces what we've seen historically. So the underlying trend of more small demand creating an impact at the aggregate level, combined with those larger requests, that's creating a significant need for us to invest in responding to that growth in the electrification drivers within our system.   Trevor Freeman  15:29 Yeah, so this is in response to what we're seeing our customers do. And that's it's something that has come up before in conversation here. Of you know, we we respond to what we see our customers doing and what our customers are asking us. They're asking for more power. We have to respond to provide that more power. So this, this kind of area of investment, is really just building out the grid and all of the assets and infrastructure that are that make up the grid to be able to meet the needs of our customers, which are growing faster than they were previously? Is that fair to say?   Guillaume Paradis  16:05 Yeah, and for us, it's an interesting balancing act we have to find where we have to anticipate our customers' needs and the demand that's upon us, but we can't get ahead of it, because that would draw investments that potentially would, you know, later become stranded, or, you know, create a cost burden for our customers. So we have to know where the demand is going, and we have to be ready to respond and connect new customers, but we can't get too far ahead of it, because ultimately, you know, if we invest too soon, that's, you know, a burden for all our customers. So sometimes I, I would say there's that misconception that somehow, we're, we're creating our own forecast and believing our own forecast. And really, it's a bit simpler than that, we take in the request and we respond to those requests. We have to be able to look out a few years to make sure that we're not missing, you know, anything significant that would have an impact on our system, but we don't get too far ahead from an investment standpoint.   Trevor Freeman  17:19 Okay, so Guillaume, we've been talking about the more traditional aspects of our grid, you know, pulls, wires, transformers, et cetera. But I know that we're also looking at how we can deploy what we call non wire solutions to also help manage capacity on our grid. Can you just explain what some of these solutions are and how we're going to use them in conjunction with our traditional assets to manage grid needs.   Guillaume Paradis  17:43 Yeah, so normal alternatives are essentially the concept that without having to install traditional infrastructure, think poles, new Transformers, new cables, underground, you may be able to harvest existing resources within your footprint to help you manage operational needs. Be it like certain peaks that have a short duration, other scenarios of constraints where, rather than building net new infrastructure, which is expensive and time consuming, you might be able to optimize I'll call it the use of embedded resources in a manner that actually meets your operational objectives. So the way you would do that is by using combination of resources. Typically, you would look at small scale embedded storage. So if it exists in the system, you would actually leverage it if, if you could, otherwise, you might install some in a very targeted manner that helps you meet those operational needs. And then otherwise, you would leverage customer resources. So that's either existing generation that is owned by customers, or which is more typical, you know their ability to adjust their demand at certain times to meet your operational constraints. So the idea there is that you can do a business case, you can do an evaluation of what it would take to engage all these resources to get the same operational outcome as you would if you build the new infrastructure, and compare the two on a cost basis. And actually, in some instances, see scenarios where those non wire alternatives actually beat out large scale infrastructure upgrades from a financial standpoint. So it's, it's an evolving area. We have a few pockets within the city that we're targeting for programs like those ones, and we expect, over time, as more embedded resources proliferate, as more customer devices become controllable, we'll have a great. Greater opportunity, in fact, to leverage those non wire alternatives, or those non traditional solutions to meet our operational requirements.   Trevor Freeman  20:08 Great. So this is a combination of you know, Hydro Ottawa is planning to invest in in some assets, you know, be they battery or otherwise, on our side of the meter. We call that in front of the meter to help manage grid needs, while also looking for opportunities to partner with customers you know in the aggregate, so you know 100 or 1000 customers at once, to say if we need to call on your devices to either inject into the grid or to ramp back your operations, that will help us manage grid needs while the customer still maintains control. Is that fair to say?   Guillaume Paradis  20:47 Yeah, that's fair, and that's an emerging capacity we have. So if our ability to control and call upon a very large number of small devices and customer devices has grown and is growing and will be over the next few years. And with that, our capacity to then draw from those resources to respond to operational circumstances is also increasing and will give us options we just wouldn't have had in the past. So it's just a better way of utilizing available energy resources a more refined way, and one that probably wasn't available to us at scale 10 years ago.   Trevor Freeman  21:29 Yeah, and the driver behind all this is what's the best, most cost effective way to address that grid need? Some cases it's going to be the poles and wires and transformers. In some cases, it's going to be these non wire solutions, and it's part of the planning of the grid to identify where does each technology make sense.   Guillaume Paradis  21:50 Absolutely. So again, it's a more refined way of assessing options and ensuring that we identify the most cost effective strategies possible.   Trevor Freeman  22:02 Perfect, great. Okay, so that's the growth and electrification section. Let's move to aging infrastructure, which is about a third of this investment plan. So this may seem like a softball to start with, but what are some of the challenges posed by aging infrastructure? Maybe talk to us a little bit about what that infrastructure is when it comes to utility grid, and then what are what are we doing with this investment plan to address that aging infrastructure?   Guillaume Paradis  22:31 Yeah, so aging infrastructure is a very clear and appropriate descriptor here. So we invest in assets that are long lived, think 5060, years plus in some instances, and you know, eventually you use them, you leverage them over, you know, many decades. And at some point, those assets deteriorate beyond a point where they're no longer able to provide the service that our customers expect. So that would be failures, which leads to reliability issues in parts of our system. So one at one point or another in the life cycle of those assets, depending on how they're being used, what environment they are operated in, you have to replace them. What we try to do is assess them on a risk basis. And when we say risk, we mean, what impact can they have on our customers if they were to fail? Impacts can be things like safety risk. It could be, of course, reliability issues. It could limit our ability to service our customers. And so we assess risk on an ongoing basis, looking at those assets over decades. And eventually we get to a point where the risk has to be addressed, and that typically takes the form of or it can take the form of an outright replacement through the life cycle of all those assets, all of our assets. We do maintenance, we inspect them, we try to see if there are other things we can do before we replace them. But you get to a point ultimately, where the only option that's viable is to actually replace and then you have to go in and take action, physically in the field. Now what becomes a little complicated is, as you can imagine, it's one thing to put infrastructure up when a field being converted to a subdivision, or the city's growing and it's all brand new. You know, infrastructure being developed to support the growth, but decades later, when you come back, 60-70, years plus, in some cases, you're in someone's backyard. You're in the middle of an intersection where multiple utilities have installed their own infrastructure. So you have to coordinate that things have been moved over time. So getting access to the infrastructure is more difficult. Difficult, and so replacing many decades later is a lot more involved than putting up new infrastructure in the first place, and the type of infrastructure that we're talking about here probably falls into three major categories. So there's the overhead infrastructure you see around town. So really, when you and you shouldn't do that while you're driving, but if you're walking ideally, and you're looking at the beautiful hydro infrastructure around Ottawa, what you'll see are very old poles that need attention. So that's very visible, right? We have wood poles, you know, in a lot of the areas of our city, and you get to a point where structurally, they're not as strong as they used to be. They've weathered many storms, and they need attention. And then otherwise, it's the Transformers you might see on those poles. And that would be the boxes that are hanging from the poles, the ones that look like they, you know, predate the Cold War are the ones we're going after, and we need to give some attention to today. And then on the underground side, similar infrastructure, it's cables in in the ground, so in some instances, it's buried directly in someone's backyard. That was a an approach people took many decades back. Now, you can imagine it's very convenient when you're building it, but not so much when you're trying to get it out of the ground and put new cables into the ground. So there's cables that need replacing. They've, you know, been damaged or creating reliability issues. The transformers that go with that as well might need attention. And again, as I mentioned before, you know, decades later, that transformer may be right behind someone's pool in their backyard, and they've done some real nice landscaping, and accessing it for a replacement is a lot more complicated. So underground infrastructure, in fact, is one of the more complicated replacements to execute. And then, you know, if you move up from there, you're looking at substation equipment. So that's the stuff that's fenced in across the city where power is being delivered from to our customers across the city. And so those assets may be a bit less complicated in terms of managing sites and access, but certainly complicated in terms of logistics costs of the equipment. Those are very, very large assets that require a lot of planning to replace, because they're critical to our system, and we can't afford to have them be out of service too long.   Trevor Freeman  27:49 Got you and just for our listeners, while Guillaume talking, I pulled up a few quick stats here. So we, Hydro Ottawa on our service territory, has over 6000 kilometers of conductor so of wires and just under 50,000 poles out in our service territory. So as you can imagine, a lot of that is in great shape, and some of it isn't, and some of it needs to be addressed, just like you're talking about here Guillaume.   Guillaume Paradis  28:17 Yeah, and that's helpful. Trevor. The thing that we often forget, especially for electricity distribution, is the sheer number of assets that can create a risk. So it's one thing to manage one large transformer and make sure it doesn't fail, but when you're talking about 1000s of assets dispersed around a very large service territory like Ottawa, making sure that we keep an eye on all of them at all times, making sure that we intervene at the exact time prior to a failure, to make sure we deliver the best service possible for our customers. That's really the essence of our challenge and what makes distribution unique versus other parts of our business, where it's maybe more centralized and you may be looking at a smaller set of assets.   Trevor Freeman  29:04 Yeah, absolutely okay, so obviously, it's important to maintain what we've got, in addition to building out that new stuff that we talked about earlier, maintaining and replacing what we have, so that you know our existing grid remains reliable. The next section of our investment plan is what we call grid modernization. Now that's something that we've talked about to varying levels of detail on this show before, but I'd like you to talk us through what is in this investment plan over the next five years. When we talk about grid modernization, what are we actually doing? What are some of the specific things that we're gonna put some of our investment towards?   Guillaume Paradis  29:45 Yeah, so grid monetization is, is a category that gets talked about a lot, but maybe is, I would say, a bit misunderstood, I think, because it sounds futuristic, people assume we're doing a. And very different things. And ultimately, in my mind, it's better leveraging technology to get good outcomes for our customers. It's really that simple. So as you can imagine, you know, as I talked about, we're looking at assets that have expected life of 50- 60-70, years when some of our assets were first installed, things like communication technology, things like IT, operational technology, weren't as advanced as they are today. Our ability to collect data in real time was not what it is today, and so nada we're we have an opportunity to reinvest and replace all assets. It's important that we do so in a manner that will allow us to drive essentially more performance or better performance out of the assets we put in our system, so that can take various forms. As I mentioned, getting better real time information is one of those ways in which we can leverage technology, what that allows us to do is better respond to outages, offer a better service by being more aware of what's happening at any given point in time, getting better information in near real time as to what assets are posing a risk to reliability because they've been utilized heavily, or they've seen a lot of faults, for example. And so building in that technological infrastructure as a layer that enhances the traditional investments that we've always made is sort of the right thing to do in a context where you want to optimize where you spend your dollars, and you don't want to have to go back and reinvest on the same assets or in the same parts of our system multiple times, uh, over, you know, the coming years, in the coming decades. So the grid monetization portfolio, essentially is our opportunity to, you know, very strategically, identify where we can put in technology that will allow us to get more of our assets and provide a better service for our customers. So simple things like automated devices that would be automated switches that we install on our overhead infrastructure, underground infrastructure that gives us a capacity during an outage to shift demand around and resupply our customers more rapidly than we would have been able to otherwise, and that gives us a capacity to provide a better service under contingency scenario. So very simple, right? It's telemetry. It's communication to a device. And rather than have someone physically go in the field and, you know, switch customers and try to move demand around, we can do that remotely from our control center, likewise, in the control center, putting in more telemetry to identify and proactively suggest to our operators how to restore power to customers. Again, is a simple thing in by today's standard, right? It's not competent technology. It's not complicated software, but it's a layer that didn't exist previously, where we can have software, you know, model based. Its tool suggest how best to optimize the restoration of power. And as we do that, our trade operators get to review and take action in an informed manner. So grid, modernization, again, is about making the most of today's available technology while we reinvest in our distribution system to make sure that the quality of our service, and the breadth of the services we can provide align, well, going forward, with our customers aspirations, and provide a quality service for many decades to come.   Trevor Freeman  34:15 Yeah, and I think it's important to remember, and you know this, this little saying has been out there in the industry, and I've used it before. Of the electricity grid is the world's largest machine. Like the grid itself is a piece of technology, and like any technology, we would not be happy if it stayed stagnant, like we want it to evolve with the latest and greatest and operate better and more efficiently, and the grid is no different, and so part of grid modernization is just keeping up with what's out there to make sure we are delivering the service that we deliver in the best way, in the most advanced way, in the most efficient way possible. With that. Guillaume, what about things like, you know, we hear a lot about more distributed energy resources, so more small-scale generation or storage out there on the grid that might be owned by the utility, but it might not be. It might be customer owned. What are we doing from a grid modernization perspective, to enable more distributed energy resources to utilize that those assets more on our grid?   Guillaume Paradis  35:28 Yeah, so that's core to the evolution and we're proposing and working toward and and really, if you boil it down to, you know, simple kind of concept, it's really that traditionally, we've had a static model of how our grid needs to operate, and we planned accordingly. So, you know, power flows in one direction to certain size customers. They use electricity to use our energy, and then we protect, we coordinate, we control accordingly, and we're moving into an environment where customer behavior evolves in a dynamic fashion in near real time, depending on what prices are available in the electricity market, depending on what aspirations various Customers have, depending on what technology they want to deploy to manage their energy footprint, a customer may look different, really, from one day to the next, as far as the electricity system is concerned, because their demand might be less significant on a day where their solar panels are better able to generate energy on a day where they choose to leverage a large battery system that they've installed at their facilities to manage their demand. And so from an electricity system standpoint, we need a much better awareness of what is happening in near real time to be able to control and then respond and ultimately offer the right service for our customers. So that's a big change again, going back to the how we're going to enable that. It's again, the core elements of communication infrastructure, more telemetry, so that we can see what's happening in real time. Think sensors. Think smart meters. Think, you know, software system within our control room to take all that information, information in in real time and make sense of it, and then ultimately drive our decision making and support our customers in leveraging energy resources in an optimal way for their needs, by making sure that we're aware of what's happening and not create barriers that are artificial because we're not Sure, and when we're not sure, safety is paramount, and when you prioritize safety and you don't have information, you have to be very conservative in the decisions you make, and you may limit customers choices and behavioral, you know choices, by having to have that safety margin and that safety conscience kind of override everything else. So better telemetry, better real time information, more dynamic ways of controlling energy allow us to enable customers and support their aspirations ultimately,   Trevor Freeman  38:38 I mean, it really comes kind of full circle back to our job is to let our customers do what they want to do when it comes to energy, enable that, and that may be just making sure the power is there and available, but it also may be making sure that our grid is set up to allow them to generate and store and sort of interact with energy in the way that they want to. So those two things are quite parallel. Okay, great. Last category here is grid resilience, and this is an important one, and especially in the eyes of our customers, because, you know, we're that unique industry where most of the time, people don't think of us when they really do think about us, it's because the lights have gone off, because there's some event that has resulted in an outage. And I just want to ensure our customers, we try very, very hard to make sure that doesn't happen as much as we can't control everything. So we have this category of grid resilience in our investment plan, and we know that we're going to be seeing and we have already started to see more frequent extreme weather events that is increasing. It's not going down. So what are we doing in our investment plan, or what are we planning to do in order to enhance grid resiliency and withstand those extreme weather event?   Guillaume Paradis  40:01 Yeah, so the need for resilience, in my mind, comes from a couple places. So, you know, there are drivers that are external, so the operating environment is evolving to your point. We've seen a number of very impactful weather events over the last few years, whether it be historically impactful ice storms, we've seen tornadoes in our service territory in a way that we didn't previously. We saw derecho a couple years ago, which was, you know, by some measure, the most impactful storm in the history of our company. And so, we know what we plan to withstand has evolved, and we need to reflect that in the decisions we make when we invest in our infrastructure. That can take a few forms, but for grid resilience, we're targeting specific investments so we can identify, and have identified areas of our system that are more vulnerable. Imagine overhead infrastructure that is more exposed to stronger winds. And so, we can go in there and then target those areas, target those segments of our system and make them more robust, more resistant to those external factors. And so, we have assessed our entire service territory. We've studied, you know, our vulnerability to changing patterns, to changing weather events, and in a very targeted manner, identified areas where we'll take action over the next five years to boost resilience of our electricity system in those scenarios, and really just generally. The other element is, you know, while those external factors are evolving and creating a stress on our system, we're also seeing people's dependence on electricity is availability continue to grow, right? So, you know, we've been through this many times at this point, and I'm sure it's been covered on on this podcast a number of times. But you know, people's, you know, need for highly and readily available electricity continues to go up. Think, you know, remote work. Think our utilization of, you know, the internet and the technologies that support that people need access to power, you know, on an ongoing basis for a variety of reasons that support their lifestyles. And so, while the external factors have become and are becoming more challenging and creating a stress, we're also seeing customers relying more heavily on our service being available, and so those things combined make it sort of an imperative that we take action and ensure that our system is robust and can withstand those conditions that are upon us. So, we change our planning approach. We evolve our choices with respect to investments. It could be simpler things than you know, targeting areas and replacing specific infrastructure. It could be as simple as changing our standards so that when we install a new poll, we know that it can withstand harsher winds and heavier ice loading parameters, and we do that across all our investments. So that's a key point here, with respect to grid resilience. Yes, we have a targeted, sort of very strategic approach to building resilience, but we also do that across all our investment categories when we put money in our distribution system to make sure that, similar to the point we made about technology, you know, we invest in assets that will, you know, outlive many of us, and they need to be adequate and appropriate for the environment in which they will operate long term. So we change, you know, the choices we make. We change the materials we use to build the infrastructure that we put in our system, so that ultimately the service levels and service quality that our customers get to enjoy, you know, meets their expectations for decades to come.   Trevor Freeman  44:47 I think the idea like it's good that we have called out specifically some activities targeted at group resilience, but some of the other stuff that we've already talked about all. Support resilience. And you mentioned in the grid modernization part, you know, part of that is restoring power to most customers quicker in our growth and electrification part, I mean making sure that our grid can handle the new loads also lends itself to resiliency. So, all of this is in service of making sure that power is there for our customers when they need it, how they need it, and done in a sort of safe and affordable way. That's the goal of all these categories together.   Guillaume Paradis  45:33 Yeah, absolutely the you know, going back to the earlier point, the categories are helpful in identifying the major drivers. But ultimately, to your point, Trevor, they all support each other, and when our team plans the future of electricity system, they do so in an integrated manner that considers the various benefits that we can achieve by taking action and putting more money in our distribution system?   Trevor Freeman  46:02 Yeah, great. So that's a nice segue into his next question, which is, of course, there's a cost for this, and this is why it is an investment plan. We're out there outlining, these are our targets. This is what we want to do, but there's a cost to that. And so if we don't do this. If we said, look, we just can't put that extra investment into these areas. What are the implications on the grid, on our service? And let's look at kind of like quality of service, reliability, safety, et cetera, if we don't make these investments that we are identifying right now.   Guillaume Paradis  46:41 Yeah, so it's pretty direct, right? We what we've done for the in preparation for our rate application, in preparation for to develop our plans for 2026 to 2030 is we've considered all the needs. We've looked at how old the assets are, how quickly they're deteriorating, how many might require replacement over the next five years. What would be an appropriate race rate of replacement to ensure that we don't let let risk build up in our system, we don't cause reliability issues. We've looked at making how we make sure that we can provide service to our customers, that we can connect them in a timely, timely manner, that we can do all those things in a fashion that is safe and ensures the safety of the public, our customers. And so a lot of thought goes into what is required over the next five years, and then on top of those factors and considerations, we also look at what impact will this have financially on our customers, because we're mindful that our service does affect, you know, our customers lives, yes, in a positive manner When our services reliable and power is available, but also financially from a cost standpoint, we add to other pressures that everyone experiences in their lives. And so we want to be very judicious in setting the size of our programs the level of investments in managing those various factors, right? So we have a multifaceted responsibility, and we weigh all those factors in in our or in setting the plans for the future. So doing so looking five years out, as you can probably imagine, you know, if we didn't constrain the plans. If we just did everything our planning engineers would like to do, we would have spent probably another 50% more than what is in the current plan. So looking at old assets, looking at the service levels we want to deliver, we could have spent a significantly larger amount of money if it was purely based on, we'll call them planning, you know, drivers. But as I said, we are mindful that we're responsible for the quality of our service on behalf of all our customers. And we took a very deliberate, you know, extensive approach to adjusting the program size to match the various considerations and ultimately manage the impact on our customers from a financial standpoint. And so we landed where we are after some measure of restraint, some measure of adjustments, down to the plans that would otherwise have been put in place. So thinking about what the outcomes would be if we didn't take the actions we're proposing. You know, it's pretty direct, if you think about it, and we've covered most of them, but it. Just from difficulties in connecting and delivering power to new customers in a timely manner, so that can have impacts with respect to economic development and growth of our community so fairly direct, and frankly, it's our obligation to connect. So we would do everything we can to provide power, but it might just be more difficult take more time on the reliability front. Again, what happens when you don't replace old assets is the failure risks continue to build in your system. So an 80 year old wood pole doesn't get any younger and does it get any stronger if you wait five, six more years? And so as I said, we do a risk assessment before we choose to invest, and our risk assessments tell us that we need to take action on those type of assets. And, you know, take action in a timely manner. If we don't, what is likely to happen is that in a storm scenario, those polls that are deteriorated are more likely to fail, even in normal conditions, it's likely that we would see more failures that could lead to reliability issues, and so just a direct impact on the quality of our service for customers with respect to other outcomes like enabling customers and supporting them in integrating more embedded energy resources. That might just become more difficult, as I said earlier, when we're don't have good real time awareness, we have to err on the side of caution and be more conservative in our management of the system, and that might mean restrictions on where and how we can integrate renewable energy resources. And then ultimately, you know, the paramount consideration for us is always safety, and that's an area where we would just have to be even more vigilant if we couldn't reinvest so old assets, you know, are inherently more likely to create failure risks, and failures can lead to undesirable outcomes from a safety standpoint. So we would have to, and already do, but be very vigilant in monitoring those assets, looking at them, looking at what we can do from a maintenance standpoint to ensure that they don't fail in a manner that would be problematic. So we would be, and are always, very active in looking at those riskier assets, those older assets, to make sure they don't cause problems. But reducing investment levels from what is being proposed now, reducing them further relative to, as I said, the planning levels we would have liked to put forward would have real consequences, and of course, we would do everything we can to manage those consequences and ensure that, you know, we continue to deliver the best service we can. But that would become more difficult than it is today.   Trevor Freeman  53:15 I appreciate that that context of you know, you like me, like energy, and we want to do all the cool things, and we want to have the system that is absolutely able to handle every eventuality, but we have to balance that with what is the right level of investment, what is the right pace to go at? And I think, you know, having seen the process, there's been a lot of work over the last year plus to find that balance, and I think we've, we've hit that balance in terms of being able to move the ball forward while trying to maintain that sort of affordability aspect for customers. Last question here to kind of wrap it all up, and we've touched on this a few times in some of the other questions, but how does our investment plan align with that broader energy transition that that we talk about? You know, decarbonizing, reducing emissions, increasing sort of customer flexibility when it comes to their own generation and storage. And what role do you see Hydro Ottawa playing moving forward in that? And I know that this has already gotten a little bit of attention, but I'll give you a chance just to kind of tie a nice little bow around it at the end.   Guillaume Paradis  54:39 Yeah. So to your point, we did cover a few elements, how we enable those you know, sustainability aspirations. But you know it ranges from making it possible for large customers to shift a significant portion of their energy demand to a lower. A carbon source like electricity. So again, think a customer who would use natural gas for their facilities, and you know, for corporate reasons, decides to use electricity instead us connecting that extra demand and delivering power to them allows them to lower their foot their carbon footprint. So that would be on high end in terms of size and impact, all the way to enabling customers to install different technologies on their homes, within their homes, to reduce their carbon footprint and change how they use energy. So it could be as simple as buying EV and making sure that power is available within that neighborhood to supply demand from that EV. It could be them installing solar panels on their roof and try to export power back to us. And so that would tie to the earlier point around visibility and real time awareness that we need to have to make sure that we can make that possible. So again, you know the energy system, the electricity system is integrated in so many ways, and enabling our customers to achieve their sustainability outcomes, their desired outcomes in terms of energy use, comes from planning the energy system, the electricity distribution system, in a manner that supports that and that permits it. So again, going back to some categories, the grid modernization that we spoke about earlier fits right in there. So being aware allows us to allow and enable customers, and that becomes critical again, in an environment where things are very dynamic, and we want to support that dynamism, and we need to do so in a manner that's safe. So we need information, and we need technology that allows us to go get that information to support the decision making. So as we said, all the investments we're proposing in one way or another will support our supporting those decarbonization and emission reduction objectives that we all have.   Trevor Freeman  57:26 Right, yeah, it really comes back to the idea of us being and this is something that I certainly talk to our customers about. A lot of us being partners with our customers when it comes to their energy journeys, and that can be very active partners in the sense of the word, where we are involved in helping make decisions together on technology or strategies, or it can be very passive in that kind of residential model that you talked about, of just making sure the grid can be there in the way that the customer wants it to be there, and that's still a partnership that that we need to lean into and that we are kind of through this investment plan.   Guillaume Paradis  58:07 We're essentially underpinning people's aspirations when it comes to energy, and so we're there to make it possible for them to do what they're hoping to do. And you're absolutely right. We're seeing both ends of those conversations where some you know, go about their own choices and really don't need us involved, and our responsibility there is to make sure that we don't create a roadblock by not being prepared and not being equipped to respond to you know how they want to change their behavior, all the way to that partnership, where it's a very involved conversation, we're being brought in to fully explore all the options and work with stakeholders in essentially demystifying, or maybe more specifically, sort of see through some of the complexity that exists today in an environment that is much more dynamic again and offers a lot more options than people would have seen a few decades ago.   Trevor Freeman  59:11 Fantastic. Well, Guillaume, I think we'll leave it there. This has been great, and I appreciate you taking the time to help pick apart you know what? What can be a pretty complex, lengthy plan, but really boils down to building out the grid, continuing to do the great work that that the folks at Hydro Ottawa do, while also preparing for the future. So I appreciate your insight into this. As our listeners know we always end these interviews with a series of questions, and you're no different. So I'm going to dive, dive right into that. So Guillaume, what is a book that you've read that you think everyone should read?   Guillaume Paradis  59:54 Yeah, so I'm probably going to get his name wrong, or at least the pronunciation, but it's a book called How The World Really Works by Vaclav Smil. Essentially, you know, he's a very pragmatic thinker with respect to how systems work, how our world is integrated, from a supply standpoint, from a geopolitical standpoint, and how that leads to outcomes in the real world. And think things like energy, think things like food supply. And what I like with his approach is that he breaks thing that things down, sort of from a first principle standpoint, to try to help explain why certain things may or may not be possible, and in an environment where, and maybe that's just my perspective, but I think today, there's a lot of big picture, you know, broad opinions being shared by people who may or may not always be very knowledgeable or have the expertise in certain fields. It's nice to see someone kind of break things down to then try to support, or in some cases, dispel certain misconceptions. So really nice approach. He has a number of books that are similar in nature, some cases a bit dense to read through, frankly, but I would say the how the world really works, book is easier to digest and it's it's a good entry into kind of his works and his approach to his studies. The other thing that's a plus maybe, is that he's based out of Winnipeg in Canadians, so it's great to have a mind like his, you know, contributing to the discourse in Canada.   Trevor Freeman  1:01:59 Awesome. So same question, but for a movie or a show, what's a movie or show that you think everyone should check out?   Guillaume Paradis  1:02:05 Yeah, that's a little harder. I think maybe I'll go to an old classic. For me. I'm always impressed with extreme creativity, I'll call it - in whatever forms. I think it's neat to see how people can envision a world - or create a world. And so an example for me was the Grand Budapest Hotel movie by Wes Anderson, so I think people are familiar with his work by now. I just like the combination of humor color, color like the creation of a world that doesn't quite exist but resembles one we might know. And just, you know, it's, it's a way of expressing oneself that is so interesting, so different. He does it really, really well. And, you know, I find it sort of like awe inspiring to go back to those kinds of movies and look at, certainly, there's all sorts of good content these days that's being produced, but I think this one is kind of withstood the test of time so far and kind of brings you to a different place. So I'll point to that.   Trevor Freeman  1:03:17 Yeah, it's one of those where it's not just about the story. Watching that movie is a bit of an experience. And all the ways that you just said, you know, there's like, an artificial aspect to it. There's that sort of mental, emotional side of it, and then there's the story itself, with the humor and everything. So yeah, that's a great one. I really like that.   Guillaume Paradis  1:03:35 Always fascinating to think someone was able to come up with that, right? Like that. Yeah, totally have all like, the attention to details, the way in which the storylines are integrated, the way in which the decors, the images are graphed like it's just remarkable. And, and I think in anything, it's really cool to see people who are sort of masters at their art, right? And whatever for and there's all sorts of other examples. But that one, you know, came to mind.   Trevor Freeman  1:04:09 Yeah, very cool. If you had a free round trip flight anywhere in the world, where would you go?   Guillaume Paradis  1:04:13 I think for me, it'd be somewhere very far north. I think it's on the list somewhere for the next few years, but just getting access to lands scenery that you wouldn't otherwise is really cool concept, maybe even spaces that are a bit less impacted by human you know, behavior and presence. So I just think a flight to somewhere random that maybe doesn't even have a name, but is in between two small villages that can only be accessed by a plane. I think that would be cool.   Trevor Freeman  1:04:58 Yeah, that does sound very cool. I like that. Who is someone that you admire?   Guillaume Paradis  1:05:03 Yeah, so my wife, for sure, I think that's sort of the foundation of a healthy relationship. You should have some admiration for your partner, and I absolutely do more generally. I would just point to anyone in our lives, and I think we all know people like that who spend a large amount of their time making other people's lives better. I could pick, you know, a celebrity of some kind, or politician of some kind, or even a historical figure, but, you know, I think in general, it doesn't have to be that complicated, people who just invest a lot of their time making sure others lives are better. I think that's something we should all admire, aspire to, you know, emulate, if we can, and just recognize as well. Because a lot of the times people do that, the people who do it well, don't do it for recognition. It doesn't mean they don't deserve it. And I think we should kind of try to promote it, you know, recognize it in our lives, and encourage it and emulate it, if we can.   Trevor Freeman  1:06:20 Fantastic. Well said. Last question, what is something about the energy sector or its future that you are particularly excited about?   Guillaume Paradis  1:06:25 Yeah, so I've been in the sector for about 20 years now, in fact, longer than that. My father worked for Hydro Quebec for many decades. So think we spent a lot of time talking about the future and getting excited about a future that was to come, and just the fact that we're living it now that we're actually shaping it, is pretty exciting, maybe even not appreciated to its full extent. And I think having a chance to contribute now is really awesome, and to whatever extent we can as well, I'm trying to encourage as many people as possible to join our sector, bring various backgrounds, you know, expertise, knowledge to helping us make decisions about how energy is going to be used in our society going forward, and how we can make the most this confluence of factors that create the window of opportunity to change things and make them evolve. And so for those of us who are part of it, let's not take it for granted, and let's make sure that we contribute to the full extent of our capabilities.   Trevor Freeman  1:07:45 Awesome, great, great way to wrap this up, I agree completely. Guillaume, thanks so much for your time. I really appreciate it. And sharing your thoughts with us. Really appreciate you coming on the show.   Guillaume Paradis  1:07:56 Thanks. Trevor, pleasure.   Trevor Freeman  1:07:59 Great take care. Well, there you have it everybody that was our last episode of the season before our summer break. Our regular listeners will know that we typically take a break over the summer to regroup and work on content and plan out the next year. But don't worry, we will be still releasing episodes every two weeks. They will just be rewind episodes, and we'll take a look back at some of our favorite episodes or things that we feel are particularly relevant for what's going on right now. So keep tuning in and listen to those, and we will be back with brand new content in September. Take care and have a safe summer. Thanks for tuning in to another episode of the thinkenergy podcast. Don't forget to subscribe wherever you listen to podcasts, and it would be great if you could leave us a review and review. It really helps to spread the word. As always, we would love to hear from you, whether it's feedback, comments or an idea for a show or a guest. You can always reach us at thinkenergy@hydroottawa.com.

There's still blood in that old dog, red and thick, pumping black upon the earth. still faith beneath the warding snarl. still devotion. coal black in the sunken snow, soon to find rest in the soil. "No, the hotel I keep for Agatha. We were happy here, for a little while."

This week's episode has us discussing Wes Anderson's most critically successful film, and to many one of his best as we talk THE GRAND BUDAPEST HOTEL.  Please send any and all feedback to anotherlookpod@gmail.com.  Please follow us on Instagram @anotherlookpod, and rate/review/subscribe where ever you get your podcasts.

Send us a textIn our most demure and mindful episode to date, Guest: Sam Bullington checks in for a stay at “The Grand Budapest Hotel,” (2014 d. Anderson / Writings - Zweig) by way of a Review Review. Starring: Ralph Finnes, F. Murray Abraham, and Adrien Brody. This episode gets almost as charming as this clearly (that's Willem Dafoe) Wes Anderson film, until Corporate Overlord Gerrah Joees comes in to make us talk football, for no compensation. And we talk what he tells us to talk. Cause, “That's, Dallas.” 8/5!**All episodes contain explicit language**Artwork - Ben McFaddenReview Review Intro/Outro Theme - Jamie Henwood"What Are We Watching" & "Whatcha been up to?" Themes - Matthew Fosket"Fun Facts" Theme - Chris Olds/Paul RootLead-Ins Edited/Conceptualized by - Ben McFaddenProduced by - Ben McFadden & Paul RootConcept - Paul Root

For the year 2025, we wanted to explore the directors who created the magical movie moments and see how these legendary directors left their stamp on cinematography  for years to come.Intro Music: Fly Forward by YariThe Talkers:HoppocalypseItisdpayne⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitch.tv/itisdpayne⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

This week Craig and Alex continue their BEST AND WORST month with Saoirse Ronan by watching Grand Budapest Hotel and Foe! Next week we're watching Judas and the Black Messiah and Death Note! 

This week Craig and Alex start their first week of BEST AND WORST movies with Call Me By Your Name and Bones and All!   Next week we're watching Grand Budapest Hotel and Foe!

Netflix introduces the new documentary A King Like Me, which follows the New Orleans Zulu Social Aid & Pleasure Club -- the legendary 116-year-old original Black Mardi Gras Krewe -- as they work to bring the Zulu parade back for Mardi Gras 2022 in the face of Hurricane Ida, a global pandemic and the tragic loss of several members to COVID. The film paints a modern portrait of Black brotherhood, leadership and community;  explores health and social inequities in the U.S. tied to race; and highlights the ways Black culture has shaped both New Orleans and the nation. (See a preview). The film was executive produced by Fisher Stevens. In addition to his dozens of well-known roles in movies & TV (Short Circuit, The Grand Budapest Hotel, The French Dispatch, Asteroid City, Succession, Lost, etc.), Fisher is also an Oscar-winning documentarian (The Cove, Crazy Love, Beckham). A King Like Me marks the directorial debut of Emmy winner Matthew O. Henderson who produced films such as True Justice: Bryan Stevenson's Fight for Equality, The Soul of America and Obama: In Pursuit of a More Perfect Union.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

Netflix introduces the new documentary A King Like Me, which follows the New Orleans Zulu Social Aid & Pleasure Club -- the legendary 116-year-old original Black Mardi Gras Krewe -- as they work to bring the Zulu parade back for Mardi Gras 2022 in the face of Hurricane Ida, a global pandemic and the tragic loss of several members to COVID. The film paints a modern portrait of Black brotherhood, leadership and community;  explores health and social inequities in the U.S. tied to race; and highlights the ways Black culture has shaped both New Orleans and the nation. (See a preview). The film was executive produced by Fisher Stevens. In addition to his dozens of well-known roles in movies & TV (Short Circuit, The Grand Budapest Hotel, The French Dispatch, Asteroid City, Succession, Lost, etc.), Fisher is also an Oscar-winning documentarian (The Cove, Crazy Love, Beckham). A King Like Me marks the directorial debut of Emmy winner Matthew O. Henderson who produced films such as True Justice: Bryan Stevenson's Fight for Equality, The Soul of America and Obama: In Pursuit of a More Perfect Union.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

There's a new Wes Anderson movie in theaters, but that's only part of the reason we were inspired to cover The Grand Budapest Hotel for this latest edition of Time on Screen. Faithful readers might remember a recent release from Maurice de Mauriac with a pretty direct link to the film. There's also Anderson's recent collaboration with Montblanc (timed to coincide with the release of The Phoenician Scheme) that certainly appeals to our own interest in writing instruments as well. Gear Patrol has the full story on the pen – is there anything more Wes Anderson than the layout of that limited edition packaging? But ultimately, we just really love The Grand Budapest Hotel and didn't need much of a reason to discuss it. Zach Kazan is joined by Kyle Snarr for this episode (they also covered The Life Aquatic here, which you should listen to if you haven't already), and the focus the conversation on where Grand Budapest sits in Anderson's filmography. More than a decade removed from the film's release, it now seems pretty clear that it represents a dividing line in Anderson's career. Zach and Kyle also spend some time talking about the great Ralph Fiennes performance in this film, as well as their favorite scenes. To stay on top of all new episodes, you can subscribe to The Worn & Wound Podcast on all major platforms including Apple Podcasts, Stitcher, Spotify, and more. You can also find our RSS feed here.And if you like what you hear, then don't forget to leave us a review.If there's a question you want us to answer you can hit us up at info@wornandwound.com, and we'll put your question in the queue.

Once again Ryanless, Dylan reviews Wes Anderson's The Phoenician Scheme as well as ranking and the filmmaker's filmography.

Send us a textLet's pack our bags and travel to Zubrowka, as the hosts check into their favorite popular ski resort while being welcomed by its legendary concierge, to bring you another fun movie review, the classic comedy drama, The Grand Budapest Hotel, starring Ralph Fiennes, written, directed, and co-produced by Wes Anderson. Many audience agree with its's ensemble cast of charming and eccentric characters, this is considered Anderson's best work to date. The hosts pair the film with the Appletini cocktail. So let's join hosts as they partner with the Society of the Crossed Keys on this wild mystery adventure and celebrate one of the most visually striking and unique film of our times.Come listen and follow the hosts on their Instagram and YouTube channel @the.gentlemenpodcast

28 Years Later Review – with a Dead Meat & Wuz Good Cameo! The long-awaited third entry in Danny Boyle's post-apocalyptic zombie trilogy is finally here. Set decades after 28 Days Later (2002) and 28 Weeks Later (2007), 28 Years Later delivers a chilling, action-packed, and emotional return to a Rage-infected world. Directed by Danny Boyle (Slumdog Millionaire, Trainspotting) and written by Alex Garland (Ex Machina, Annihilation, The Last of Us video game influence), the film brings back the gritty realism and raw energy that helped redefine the zombie genre. The cast features Aaron Taylor-Johnson (Bullet Train, Kick-Ass) as the lead survivor, Jodie Comer (Killing Eve, Free Guy), Jack O'Connell (Unbroken, Skins), Ralph Fiennes (Harry Potter, The Grand Budapest Hotel), and the return of Cillian Murphy (Oppenheimer, Peaky Blinders) as Jim. In this video, we dive into first impressions, standout performances, jaw-dropping scenes, the terrifying evolution of the Rage virus, and how 28 Years Later stacks up against modern survival horror hits like The Last of Us and A Quiet Place. We also reflect on the full trilogy's progression—from the raw chaos of 28 Days Later, the military dread of 28 Weeks Later, to the emotional weight and larger scale of 28 Years Later. Is this the best zombie movie since The Last of Us? Did it live up to the massive expectations? Let us know your thoughts in the comments—and which scene left you breathless! Don't forget to subscribe for more out-of-theater reviews, reactions, and horror breakdowns! #28YearsLater #28DaysLater #28WeeksLater #ZombieMovies #OutOfTheaterReaction#MovieReview #CillianMurphy #DannyBoyle #AlexGarland #TheLastOfUs #HorrorMovies#Apocalypse #ZombieApocalypse #SurvivalHorror #Zombie #Tlou Intense Suspense by Audionautix is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Follow Us On Socials:  Instagram: https://www.instagram.com/reelrejects/  Tik-Tok: https://www.tiktok.com/@reelrejects?lang=en Twitter: https://x.com/reelrejects Facebook: https://www.facebook.com/TheReelRejects/ Music Used In Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Happy Alley by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

THE FINAL CHAPTER BEFORE LIVE ACTION!! How to Train Your Dragon: The Hidden World Full Reaction Watch Along:   / thereelrejects   Start your online business with a $1 per-month trial when you visit https://www.shopify.com/rejects! With Dreamworks' Live Action Reimagining of the Original How to Train Your Dragon in theaters now, Aaron & John return to Berk ONE more time to give their How to Train Your Dragon 3 Reaction, Recap, Commentary, Analysis, & Spoiler Review!! Join Aaron Alexander & John Humphrey as they return to Berk for DreamWorks' epic trilogy finale How to Train Your Dragon: The Hidden World (2019). Now chief and dragon rider, Hiccup Horrendous Haddock III (Jay Baruchel, Entourage, This Is the End) struggles to build a peaceful dragon utopia while fending off the ruthless dragon hunter Grimmel (F. Murray Abraham, Amadeus, The Grand Budapest Hotel). Alongside him, fearless Astrid Hofferson (America Ferrera, Ugly Betty, Onward) leads the dragon patrol, and Hiccup's father Stoick the Vast (Gerard Butler, 300, Olympus Has Fallen) returns in flashback to guide his son. Gobber (Craig Ferguson, The Late Late Show), Fishlegs (Christopher Mintz-Plasse, Kick-Ass), Snotlout (Jonah Hill, Superbad), and Ruffnut (Kristen Wiig, Bridesmaids) supply comic relief and heart. A-A-Ron & Johnald break down every soaring highlight—from the breathtaking reveal of the Hidden World's bioluminescent caverns and Hiccup's first encounter with the elusive Light Fury, to the thrilling “Titan Wing” escape and the climactic showdown where Toothless and the Light Fury defend their nest against Grimmel's armada. Don't miss the emotional “farewell” moment that cements the bond between Hiccup and Toothless as they lead the last dragons to freedom. Follow Aaron On Instagram: https://www.instagram.com/therealaaronalexander/?hl=en Intense Suspense by Audionautix is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Follow Us On Socials:  Instagram: https://www.instagram.com/reelrejects/  Tik-Tok: https://www.tiktok.com/@reelrejects?lang=en Twitter: https://x.com/reelrejects Facebook: https://www.facebook.com/TheReelRejects/ Music Used In Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Happy Alley by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

Continuing Travis's Wes Anderson education, Amy Frost and Phil Keating are back this week to talk bout 2014's The Grand Budapest Hotel. Starring Ralph Fiennes, Tony Ravoloni, and a host of others, it's as Wes Anderson as Wes Anderson movies can get. But, is it really as good as people claim it to be? Or is it just pretentious, art house fodder. And how emotionally devistating is it? Let's find out...Head over to https://www.botchedpodcast.com to find what Phil is working on, and https://www.achewillow.com for Amy's story podcast with JF DubeauThanks go out to Audie Norman (@TheAudieNorman) for the album art. Outro music In Pursuit provided by Purple-Planet.comSupport the show by going to patreon.com/wyhsVisit tvstravis.com for more shows and projects from TVsTravis Hosted on Acast. See acast.com/privacy for more information.

Send us a textGraphic design for film might be one of the coolest creative jobs you've never heard of, and today's guest, Gina Alessi, is here to break it down. From making Civil War-era bedspreads to designing posters in under two hours, Gina shares what it's really like to work behind the scenes of film and TV production as a graphic designer.We dive into the surprisingly misunderstood world of design in the art department, the lightning-fast timelines of production work, and why a poster you made today might be filmed (or cut!) tomorrow. Gina also opens up about discovering her dream job through Wes Anderson's Grand Budapest Hotel, what it took to break into the industry, and why she now teaches others how to do it, too. Plus, we get honest about the myth of the perfect job, surviving unpredictable cycles of the entertainment industry, and why it's okay if your dream role comes with tough days. Whether you're a design student, a film fan, or just curious about hidden creative careers, this episode is packed with insight, inspiration, and a few laughs along the way. All that and more when you listen to this episode:What a graphic designer actually does on a film or TV setWhy design for the screen is so misunderstood (even inside the industry) The Grand Budapest Hotel moment that changed everythingHow Gina reverse-engineered a career that didn't exist on GoogleThe role of props, branding, and graphic storytelling in productionWhy historical research and print methods still matter for digital designsThe dream job myth: what happens when your dream is still hardTips for dipping your toe into film graphics even without industry contactsConnect with our guest: Gina AlessiInstagram: https://www.instagram.com/ginamadethis Website: https://www.ginamadethis.com/ IMDB: https://www.imdb.com/name/nm7722613/ Mentioned in this episode:Try Flodesk for FREE! https://flodesk.com/c/GOODTYPE A Graphic Designer Made That (Gina's Course) https://agdmadethat.com/ Manhunt (Apple TV)Annie Atkins https://www.annieatkins.com/ Grand Budapest HotelCamtasia https://www.techsmith.com/camtasia/ Connect with Katie & Ilana from Goodtype Goodtype Website Goodtype on Instagram Goodtype on Youtube Love The Typecast and free stuff? Leave a review, and send a screenshot of it to us on Slack. Each month we pick a random reviewer to win a Goodtype Goodie! Goodies include merch, courses and Kernference tickets! Leave us a review on Apple PodcastsSubscribe to the showTag us on Instagram @GoodtypeFollow us on Tiktok @lovegoodtypeLearn from Katie and IlanaGrab your tea, coffee, or drink of choice, kick back, and let's get down to business!

LOW-KEY BEST WES ANDERSON?? The Grand Budapest Hotel Full Reaction Watch Along:   / thereelrejects   With The Phoenician Scheme in Theatres NOW, Andrew & Roxy reunite for The Grand Budapest Hotel Reaction, Recap, Commentary, Analysis, & Spoiler Review!! Visit https://www.liquidiv.com & use Promo Code: REJECTS to get 20% off your first order. Join Andrew Gordon & Roxy Striar as they step into the pastel-hued halls of Wes Anderson's 2014 masterwork The Grand Budapest Hotel. When legendary concierge M. Gustave H. (Ralph Fiennes, The English Patient, Harry Potter and the Goblet of Fire) is framed for the murder of dowager Madame D. (Tilda Swinton, Michael Clayton, Snowpiercer), young lobby boy Zero Moustafa (Tony Revolori, Dope, The French Dispatch) embarks on a whirlwind quest across the snowy Republic of Zubrowka to clear his mentor's name. Along the way, they're aided by pastry-chef Agatha (Saoirse Ronan, Lady Bird, Little Women), who crafts the iconic Courtesan au Chocolat, and pursued by the vengeful heir Dmitri (Adrien Brody, The Pianist, Midnight in Paris). The stellar ensemble also features F. Murray Abraham (Yuri, Amadeus, Scarface) as the ruthless jailer who leads the prison break; Willem Dafoe (Jopling, Spider-Man, The Lighthouse) as the cold-blooded henchman; Jeff Goldblum (Deputy Kovacs, Jurassic Park, Thor: Ragnarok) as the skeptical prosecutor; Jude Law (The Author, Sherlock Holmes, Fantastic Beasts) as the narrating novelist; and cameos from Bill Murray, Edward Norton, Harvey Keitel, Lea Seydoux, and Owen Wilson. Aaron & Roxy break down every meticulously framed moment—from the snowy Alpine ski chase and the thrilling jail break to the decadent Mendl's pastry montage and the bittersweet final framing device. Don't miss their take on why The Grand Budapest Hotel remains one of the most highly searched and endlessly rewatchable films of the 2010s! Follow Andrew Gordon on Socials:  YouTube: https://www.youtube.com/@MovieSource Instagram:  https://www.instagram.com/agor711/?hl=en Twitter:  https://twitter.com/Agor711 Follow Roxy Striar YouTube:https://www.youtube.com/@TheWhirlGirls Instagram: https://www.instagram.com/roxystriar/?hl=en Twitter:  https://twitter.com/roxystriar Intense Suspense by Audionautix is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Follow Us On Socials:  Instagram: https://www.instagram.com/reelrejects/  Tik-Tok: https://www.tiktok.com/@reelrejects?lang=en Twitter: https://x.com/reelrejects Facebook: https://www.facebook.com/TheReelRejects/ Music Used In Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Happy Alley by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

Get your hands off my lobby boy! A new Wes Anderson film will soon be upon us, so the boys dive into the RCR Top 100 to tackle 'The Grand Budapest Hotel'. The boys discuss this feels like the most accessible Anderson film, his sense of style and filmmaking, the strong ensemble performances, and where it ranks amongst the Top 100.

Benicio Del Toro talks about playing a business tycoon in Wes Anderson's The Phoenician Scheme. This aesthetically stylised film, by the director who also made The Royal Tenenbaums and The Grand Budapest Hotel, is reviewed by Tom and critics Larushka Ivan-Zadeh and Rachel Cooke. They also give their verdict on Mission: Impossible - The Final Reckoning, the 8th and final film in the franchise, and discuss fictional portrayals of food as Aftertaste by Daria Lavelle is published.Presenter: Tom Sutcliffe Producer: Harry Graham

Zach, Andrew, Grace and Michael celebrate the 500th episode of Cinematary with a live podcast about 2014's The Grand Budapest Hotel at Central Cinema in Knoxville, Tennessee. In part two, they are joined by Darren Hughes to reflect on 11 years and 500 episodes of the podcast.See movies discussed in this episode here.Don't want to listen? Watch the podcast on our YouTube channel.Also follow us on:InstagramLetterboxd

In which Devin Diazoni and Ewa Mykytyn discuss the first third of The Buffalo Hunter Hunter by Stephen Graham Jones.Please support the podcast on Patreon!Follow Film Literate on Instagram!Find your hosts on social media:Devin Diazoni (Letterboxd|StoryGraph)Ewa Mykytyn (Goodreads|Armchair Chat on IG)

Adrien Brody is an Academy Award-winning actor. Known for his nuanced performances across a wide range of films, such as The Grand Budapest Hotel, Detachment, and multiple collaborations with film director Wes Anderson, he became the youngest recipient of the Academy Award for Best Actor for his role in The Pianist by age 29. In addition to his 2025 Academy Award nomination for Best Actor for his performance as László Tóth in Brady Corbet's The Brutalist, he has also earned the Golden Globe and Critics Choice Award for Best Actor, solidifying his reputation as a powerhouse in film. ------ Thank you to the sponsors that fuel our podcast and our team: Athletic Nicotine https://www.athleticnicotine.com/tetra Use code 'TETRA' ------ Squarespace https://squarespace.com/tetra Use code 'TETRA' ------ Vivo Barefoot http://vivobarefoot.com/tetra Use code 'TETRA25' ------ LMNT Electrolytes https://drinklmnt.com/tetra Use code 'TETRA' ------ Sign up to receive Tetragrammaton Transmissions https://www.tetragrammaton.com/join-newsletter

Makeup, Prosthetics, and Hair..oh my! Fellow Ozians! We've got more to share from our conversation with the Hair, Makeup, and Prosthetics designer of Wicked, Frances Hannon! We had so much fun talking to Frances, there was no possible way we could fit everything we talked about into one little (green) baby episode. Today, we're talking more about Elphaba's HMU, the nuts and bolts of Ozian body doubles & stand-ins, and which collaboration left Frances starstruck. Let's go down to the Ozdust ballroom…. Famous in the entertainment industry for her ability to transform any face, makeup and hair designer Frances Hannon first entered the realm of film and TV with a job working on the British sketch comedy series "The Kenny Everett Television Show" (on the BBC, 1981-88). Cut to her ongoing collaboration with Wes Anderson which began with 1998's : “Rushmore.” Hannon quickly became one of the most sought after makeup and hair designers in Hollywood, loved and appreciated by directors and actors alike for her rigorous research. She won an Oscar for her work on Wes Anderson's The Grand Budapest Hotel, and has worked on major blockbusters like World War Z, Indiana Jones and the Dial of Destiny, and most recently…Wicked. Frances Hannon is on Instagram @frances_hannon_official  and you can follow the Wicked Movie @wickedmovie Follow us on Instagram @CuriousWithJVN to learn more about the products from this episode, or head to JonathanVanNess.com for the transcript. Jonathan is on Instagram @JVN. Find books from Getting Curious and Pretty Curious guests at bookshop.org/shop/curiouswithjvn. Our Senior Producer is Chris McClure. Our editor & engineer is Nathanael McClure. Our theme music is also composed by Nathanael McClure. Production support from Julie Carrillo, Anne Currie, and Chad Hall. Curious about bringing your brand to life on the show? Email podcastadsales@sonymusic.com. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Something has changed within us, curious people, something is not the same. We'll never know a world without our episode speaking with Oscar winner, Frances Hannon, who just so happens to be the Hair, Makeup, and Prosthetics designer for the upcoming film adaptation of Wicked. We're talking all about the alchemy Frances used to find the perfect shade of green for Elphaba, how Cynthia Erivo incorporated her own nail game into her character, and which of Ariana Grande's R.E.M. products made the final cut. Plus - blue horses???  It's all too much for our gay bones! Famous in the entertainment industry for her ability to transform any face, makeup and hair designer Frances Hannon first entered the realm of film and TV with a job working on the British sketch comedy series "The Kenny Everett Television Show" (on the BBC, 1981-88). Cut to her ongoing collaboration with Wes Anderson which began with 1998's : “Rushmore.” Hannon quickly became one of the most sought after makeup and hair designers in Hollywood, loved and appreciated by directors and actors alike for her rigorous research. She won an Oscar for her work on Wes Anderson's The Grand Budapest Hotel, and has worked on major blockbusters like World War Z, Indiana Jones and the Dial of Destiny, and most recently…Wicked. Frances Hannon is on Instagram @frances_hannon_official  and you can follow the Wicked Movie @wickedmovie Follow us on Instagram @CuriousWithJVN to learn more about the products from this episode, or head to JonathanVanNess.com for the transcript. Jonathan is on Instagram @JVN. Find books from Getting Curious and Pretty Curious guests at bookshop.org/shop/curiouswithjvn. Our Senior Producer is Chris McClure. Our editor & engineer is Nathanael McClure. Our theme music is also composed by Nathanael McClure. Production support from Anne Currie, and Chad Hall. Curious about bringing your brand to life on the show? Email podcastadsales@sonymusic.com. Learn more about your ad choices. Visit podcastchoices.com/adchoices

The Ringer's Chris Ryan, Sean Fennessey, and Andy Greenwald apply a few squirts of L'air de Panache before rewatching Wes Anderson's 2014 hit comedy adventure ‘The Grand Budapest Hotel,' starring Ralph Fiennes, Tony Revolori, F. Murray Abraham, and Adrien Brody. Watch this episode on video on our YouTube channel, Ringer Movies! Producer: Craig Horlbeck Learn more about your ad choices. Visit podcastchoices.com/adchoices