Podcast appearances and mentions of hiroshi teshigahara

Based on a prize-winning novel of the same name, this poetic film illustrates the frustration of being trapped into a system you had no part in creating. SUPPORT THE SHOW: PATREONSHOP THE SHOW: TEE PUBLICFOLLOW THE SHOW: INSTAGRAM // TIKTOK // YOUTUBEEMAIL THE SHOW: abreathoffreshmovie@gmail.com    

Josh and Drusilla discuss the 1962 Japanese film, Pitfall. From wiki: “Pitfall (おとし穴, Otoshiana), a.k.a. The Pitfall and Kashi To Kodomo, is a 1962 Japanese film directed by Hiroshi Teshigahara, written by Kōbō Abe. It was Teshigahara's first feature, and the first of his four film collaborations with Abe, the others being Woman in the Dunes, The Face of Another and The Man Without a Map. Unlike the others, which are based on novels by Abe, Pitfall was originally a television play called Purgatory (Rengoku).[2] The film has been included in The Criterion Collection. It is known for its surreal, often avant-garde storytelling structure and themes of hopelessness, exploitation, and human suffering.Also discussed: Summer Camp Nightmare (1987), In the Spirit (1990), Free to Be You and Me, Sinners, Babylon, and more!NEXT WEEK: Eve's Bayou (1997) Bloodhaus:https://www.bloodhauspod.com/https://twitter.com/BloodhausPodhttps://www.instagram.com/bloodhauspod/ Drusilla Adeline:https://www.sisterhydedesign.com/https://letterboxd.com/sisterhyde/ Joshua Conkelhttps://www.joshuaconkel.com/https://bsky.app/profile/joshuaconkel.bsky.socialhttps://www.instagram.com/joshua_conkel/https://letterboxd.com/JoshuaConkel/  

Abe is Bae? The wonderful Emily VanKoughnett (Los Angeles Review of Books; LIT ANGELES) returns to Better Than the Movie with a classy pick: Kobo Abe's existential psychological thriller The Woman in the Dunes. The novel, from 1962, was made a few years later into an Oscar-nominated film adapted by Abe and directed by the inimitable Hiroshi Teshigahara. Both are considered top-tier classics... but which is better?  Hosted by Justin Remer, Allan Traylor, and Tyler Austin.  Produced by Justin Remer.  Recorded at the LAPL Octavia Lab.  Opening music: "Optimism (Instrumental)" by Duck the Piano Wire.  Closing music: "Rule of 3s (Solemnity Child)" by Elastic No-No Band.

Fans often sleep on the late films of Hiroshi Teshigahara, the man who directed Woman in the Dunes and The Face of Another. But, as guest Eric reminds us, Teshigahara's late films are equally as powerful. Rikyu and Basara: The Princess Goh represent a magnificent and unexpected late career peak from the master filmmaker. They are the kinds of masterful films one would expect from a Kurosawa and are startling to watch as delivered by a formalist like Teshigahara. Jason also especially liked the pseudo-documentary Summer Soldiers, a morally ambiguous story about Americans stationed in Japan during the Vietnam War. This obscure film crystallizes everything likes about this director: a constant quest for innovation, a drive for deep moral truths, and an exploration of the transience of ego and identity.Great films and a great discussion -- as always.

Eric is back and this time he and Jason are talking about the brilliant short films of Hiroshi Teshigahara (or at least the ones which are actually available). Teshigahara⁠ may be best known for his features like The Face of Another and Woman in the Dunes, but his short subjects are beautiful meditations on art and the power of the arts.As usual, Jason and Eric connect the dots and really bring the director's obsessions and power to life in this chat.

In Walden (1854), Henry David Thoreau said he wanted to “drive life into a corner” and “reduce it to its lowest terms.” We often feel the appeal of that idea: to get away from civilization and really “live.” But would that always be a pleasurable series of epiphanies? Would the natural world always provide a backdrop against which we could explore our “real” selves? Thoureau also said that “a man is free in proportion to the number of things he can let alone.” Sounds good–unless that freedom from society and materialism reduces one to a new and worse kind of servant. Hiroshi Teshigahara's Woman in the Dunes (1964) toys with these questions while simultaneously keeping its audience surprised and off-balance. It's a movie in which everything is buried in sand and the sand is a metaphor for everything. Woman in the Dunes is based on Kobo Ave's novel, which you can find here. Incredible bumper music by John Deley. Please consider leaving us a rating or review. You can find our hundreds of episodes here on the New Books Network. Follow the show on X and on Letterboxd–and email us at fifteenminutefilm@gmail.com with requests and recommendations. Also check out Dan's substack Pages and Frames where he writes about books and movies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In Walden (1854), Henry David Thoreau said he wanted to “drive life into a corner” and “reduce it to its lowest terms.” We often feel the appeal of that idea: to get away from civilization and really “live.” But would that always be a pleasurable series of epiphanies? Would the natural world always provide a backdrop against which we could explore our “real” selves? Thoureau also said that “a man is free in proportion to the number of things he can let alone.” Sounds good–unless that freedom from society and materialism reduces one to a new and worse kind of servant. Hiroshi Teshigahara's Woman in the Dunes (1964) toys with these questions while simultaneously keeping its audience surprised and off-balance. It's a movie in which everything is buried in sand and the sand is a metaphor for everything. Woman in the Dunes is based on Kobo Ave's novel, which you can find here. Incredible bumper music by John Deley. Please consider leaving us a rating or review. You can find our hundreds of episodes here on the New Books Network. Follow the show on X and on Letterboxd–and email us at fifteenminutefilm@gmail.com with requests and recommendations. Also check out Dan's substack Pages and Frames where he writes about books and movies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Eric is back and this time he and Jason are starting their looks at the brilliant, mysterious fictional films of Hiroshi Teshigahara. This time they look at his first full-length features, Pitfall and Woman in the Dunes, two of the more fascinating films of any time period but especially the 1960s. Lots of interesting debate and perspectives in this episode!

Unsere erste Live-Folge! Lucas und Christian sprechen mit Patrick Holzapfel im Zeughaus-Kino Berlin über "Arbeit im Film". Wieso sehen wir im Kino so selten Arbeiter:innen? Stimmt das überhaupt? Sind manche Jobs einfach besser dramatisierber, oder ist das direkt eine Klassenfrage? Der Live-Podcast fand im Rahmen von Patricks Bergbau-Filmreihe "Schlagende Wetter" statt. Vorher haben wir zusammen die Filme "Pitfall" von Hiroshi Teshigahara und "Pedreira de São Diogo" von Leon Hirszman geschaut. Wir sind am 10. Oktober wieder live zu hören! Im Filmrauschpalast in Berlin wird der neue Film von Betrand Bonello "The Beast" gezeigt. Danach diskutieren Christian und Lucas mit Christoph Dobbitsch über "KI im Film". Tickets gibt es hier: filmrausch.de

Hey friends, CUTS geht bis zum 6.9. in die Sommerpause. Falls ihr uns bis dahin vermisst, könnt ihr eine Mitgliedschaft auf https://steadyhq.com/cuts abschließen, dann erhaltet ihr nächste Woche eine Mailbag-Folge und Ende des Monats unser Francis-Ford-Coppola-Special. Außerdem gibt es am 1. September unseren ersten Live-Auftritt! Um 18:00 Uhr schauen wir zusammen im Zeughauskino Berlin den Film "Pitfall" von Hiroshi Teshigahara an und nehmen danach eine Folge auf, in der Lucas und Christian mit Patrick Holzapfel über "Arbeit im Film" diskutieren werden. Tickets kosten 5€ und gibt es da: https://www.dhm.de/zeughauskino/vorfuehrung/otoshi-ana-11913/. Habt einen schönen Sommer!

Join host Aaron Strand live at the historic Plaza Theatre in Atlanta, GA as he presents Hiroshi Teshigahara's 1964 film 'Woman in the Dunes'. Aaron gives an opening monologue giving a brief historical background of the filmmaker. After the screening, we open up the conversation for a lively audience discussion!If you would like to join us for future live events, please visit plazaatlanta.com for tickets!Email us: behindtheslatepod@gmail.comInstagram: @behindtheslatepodTikTok: @behindtheslatepodYouTube: @behindtheslatepodcastProducer: Greg Kleinschmidt Hosted on Acast. See acast.com/privacy for more information.

MAIL BAG HERE We're back with a movie episode this week: The Face of Another (1966) d. Hiroshi Teshigahara. Listen to hear what we thought about it, as well as some other fun stuff. Intro (00:00) All about our weeks (1:45) Mailbag (12:27) The Face of Another (12:40) What's Next on the Pod (45:18) Our Album Recs (50:10) Other Episodes mentioned: The Devil All the Time Ep. 30 100 episode special Eps. 99-101 Thanks for listening !

Original Air Date: Monday 8 April, 9 pm Eastern    Description:   With Dean in the "Zone of Totality" for Monday's solar event taking place over much of the contiguous USA, will this week's show ECLIPSE all those that have come before?! Decide for yourself as your friends in podcasting & broadcasting discuss a great story about how people getting stuck in an elevator changed history, discuss D.W. Giffith's Intolerance, discuss Kelly Reichardt's 2006 breakthrough Old Joy, discuss French actor Marcel Dalio, discuss Christopher Nolan's proposed big screen version of "The Prisoner", discuss the “renaissance man” artistry of Hiroshi Teshigahara, discuss the poem that inspired "Game of Thrones" AND Ghostbuters: Frozen Empire, discuss the terrific new horror film Late Night with the Devil and the delightful surrealist classic Céline and Julie Go Boating. All that plus "SCTV" great Joe Flaherty gets remembered in "Celebrity Deaths".

Original Air Date: Monday 1 April, 9 pm Eastern    Description:   It's April Fools' Day, and what better way to celebrate than by spending an hour enjoying the spirited, irreverent conversation of two fools who have been changing the way people listen to the internet since May of 2007? This week, Dean and Phil discuss the stand-up comedy of Ali Wong, the performance artistry of Laurie Anderson, the beauty of the Fox Theatre in Detroit, the Orpheum Theatre in DTLA, the significance of the Tower Theatre just down the street from the Orpheum, and the Apple Store it now houses. They dig into "True Detective: Night Country", and celebrate the great Japanese suspense picture Woman in the Dunes, marveling at the fascinating life of its director, Hiroshi Teshigahara. Two Francis Coppola epics, one disastrous, one just completed, both go under the microscope, and in "Celebrity Deaths", two all-time great actors get remembered.

Zach and Rashmi get under the skin and over the langer lines as they take a close look at Hiroshi Teshigahara's 1966 New Wave existenstial terror piece, THE FACE OF ANOTHER (Tanín no Kao). Tune in as we unravel the bandages and sift through the origins of Teshigahara, take a scalpel and dissect the plot and its many themes, and take extensive note of the Ikebana laden set design. PLUS: Yes.... Zach found a way to connect something to the Robert Langdon films.

We continue our request month with one from Patreon Donor Ludo Round. This week we're discussing Hiroshi Teshigahara's Woman in the Dunes. Based on a novel by, and adapted by the author Kobo Abe, the film stars Eiji Okada as teacher and amateur entomologist Niki Jumpei. On a sea-side vacation, he spends the night with the titular Woman played by Kyoko Kishida. In the morning he finds that he is trapped in the pit that holds her home. He's now expected to help her shovel sand every night in a kind of Sissyphea nightmare.Samm Deighan and Beth Accomando join Mike to talk about this beautiful film.Become a supporter of this podcast: https://www.spreaker.com/show/the-projection-booth-podcast_2/support.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5513239/advertisement

We continue our request month with one from Patreon Donor Ludo Round. This week we're discussing Hiroshi Teshigahara's Woman in the Dunes. Based on a novel by, and adapted by the author Kobo Abe, the film stars Eiji Okada as teacher and amateur entomologist Niki Jumpei. On a sea-side vacation, he spends the night with the titular Woman played by Kyoko Kishida. In the morning he finds that he is trapped in the pit that holds her home. He's now expected to help her shovel sand every night in a kind of Sissyphea nightmare.Samm Deighan and Beth Accomando join Mike to talk about this beautiful film.Become a supporter of this podcast: https://www.spreaker.com/show/the-projection-booth-podcast_2/support.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5513239/advertisement

Bonus episode alert! In today's Special Features episode Felicia is joined by Seth Vargas (check out our previous episode on Le Bonheur), and Ben Vargas to discuss one of the most gripping desert films, Hiroshi Teshigahara's Woman in the Dunes (1964). They chat about the how the sand engulfs the characters and the screen, how the score highlights the horrors they are facing, and the concept of eroticism as it relates to loneliness and desperation. This was a first watch for Felicia and spoilers it was one of the best films she has ever seen! Send us your thoughts on the episode - what are your thoughts on the characters decisions in the final scenes? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Ben here: IG: @macefffron Twitter: @bensower Twitter: @cinemashitshow Follow Seth here: IG: @moviefriendspodcast Twitter: @moviefriendspod Sources: https://www.criterion.com/current/top-10-lists/377-isabel-sandovals-top-10 Head in the sand: the ending of Woman of the Dunes | Sight and Sound (bfi.org.uk) Midnight Eye review: Woman in the Dunes (Suna no Onna, 1964, Hiroshi TESHIGAHARA) https://www.rogerebert.com/reviews/great-movie-woman-in-the-dunes-1964 Woman in the Dunes Blu-ray - Kyôko Kishida (dvdbeaver.com) https://screenmusings.org/movie/blu-ray/Woman-in-the-Dunes/pages/Woman-in-the-Dunes-083.htmOUTRO MUSIC by Tôru Takemitsu FILMS MENTIONED: The NeverEnding Story (Wolfgang Petersen 1984) The Goonies (Richard Donner 1985) Bloodsport (Newt Arnold 1988) Le bonheur (Agnès Varda 1965) Bottoms (Emma Seligman 2023) Holy Mountain (Alejandro Jodorowsky 1973) G.I. Joe: The Movie (Don Jurwich 1987) Shiva Baby (Emma Seligman 2021) Faces Places (Agnès Vara & J.R. 2017) Bacurau (Juliano Dornelles, Kleber Mendonça Filho 2019) Police Story (Jackie Chan, Chi-Hwa Chen 1985) A Man Escaped (Robert Bresson 1957) Zabriskie Point (Michelangelo Antonioni 1970) Workingman's Death (Michael Glawogger 2005) Straw Dogs (Sam Peckinpah 1971) Deliverance (John Boorman 1972) Misery (Rob Reiner 1990) Wages of Fear (Henri-Georges Cluzot 1953) Who's Afraid of Virginia Woolf (Mike Nichols 1966) Eyes Wide Shut (Stanley Kubrick 1999) The Mask (Chuck Russell 1994) Possessed (Curtis Bernhardt 1947) Leave Her to Heaven (John M. Stahl 1945) Angel Face (Otto Preminger 1952) Sunset Boulevard (Billy Wilder 1950)

we start with a few RIPS before getting into our latest Highs & Lows double feature of Chuck Russell's THE MASK (1994) and Hiroshi Teshigahara's THE FACE OF ANOTHER (1966), playing tonight at the Music Box Theatre in Chicagohttps://musicboxtheatre.com/films-and-events/the-mask-the-face-of-anotherpatreon.com/Oscarbate

A man spends a night in an isolated woman's desert shack, and loses his identity in the process, in WOMAN IN THE DUNES (1964), Hiroshi Teshigahara and Kōbō Abe's resonant parable about... what, exactly? Your hosts are not entirely sure, but forge ahead anyway with this seminal work of postwar Japanese cinema.Michael and Us is a podcast about political cinema and our crumbling world hosted by Will Sloan and Luke Savage. Hosted on Acast. See acast.com/privacy for more information.

A man spends a night in an isolated woman's desert shack, and loses his identity in the process, in WOMAN IN THE DUNES (1964), Hiroshi Teshigahara and Kōbō Abe's resonant parable about... what, exactly? Your hosts are not entirely sure, but forge ahead anyway with this seminal work of postwar Japanese cinema. Join us on Patreon for an extra episode every week: https://www.patreon.com/michaelandus

Two 1966 ass-crushers—Johnny Frankenheimer's SECONDS and Hiroshi Teshigahara's THE FACE OF ANOTHER inspire a philosophical deliberation on love, loss, and the meaning of manhood in a post World War II global society.

Hosts Josh and Jamie and special returning guest Violet Lucca (of Harper's Magazine) discuss the arthouse existentialism of post-war Japan with a double feature of Hiroshi Teshigahara's absurdist horror fable WOMAN IN THE DUNES (1964) and Kinji Fukasaku's apocalyptic wartime drama UNDER THE FLAG OF THE RISING SUN (1972). Next week's bonus episode is a patron-exclusive bonus episode on David Cronenberg's CRASH (1996) and Paul Verhoeven's SHOWGIRLS (1995), you can get access to that episode (and all past + future bonus episodes) by subscribing to our $5 tier on patreon: www.patreon.com/sleazoidspodcast Intro // 00:00-10:03 WOMAN IN THE DUNES // 10:03-1:06:17 UNDER THE FLAG OF THE RISING SUN // 1:06:17-2:04:12 Outro // 2:04:12-2:07:08 MERCH: www.teepublic.com/stores/sleazoids?ref_id=17667 WEBSITE: www.sleazoidspodcast.com/ Pod Twitter: twitter.com/sleazoidspod Pod Letterboxd: letterboxd.com/SLEAZOIDS/ Josh's Twitter: twitter.com/thejoshl Josh's Letterboxd: letterboxd.com/thejoshl/ Jamie's Twitter: twitter.com/jamiemilleracas Jamie's Letterboxd: letterboxd.com/jamiemiller/

¿Está la identidad a flor de piel? Si cambias la cara, ¿cambias a la persona? Cosas así se pregunta LA CARA DE OTRO (a veces EL ROSTRO AJENO), la película de 1966 de Hiroshi Teshigahara. Una fascinante exploración de lo que es la identidad individual y, por qué no, la nacional. ¿Está la identidad a flor de piel? Si cambias la cara, ¿cambias a la persona? Cosas así se pregunta LA CARA DE OTRO (a veces EL ROSTRO AJENO), la película de 1966 de Hiroshi Teshigahara. Una fascinante exploración de lo que es la identidad individual y, por qué no, la nacional. «La cara de otro» https://www.filmaffinity.com/es/film437677.html Esta película la puedes ver en YouTube (hasta que la retiren): https://www.youtube.com/watch?v=iI-uorZVy0E Usando este enlace puedes probar MUBI, nuestro servicio de streaming favorito. Y si te suscribes, uno de nosotros consigue un mes gratis. Pero no te vamos a decir cuál de los dos… https://mubi.com/es/t/web/global/KUv5-JK8 Pedro, ese enlace es el de Pedro. Paco ya tiene MUBI para rato… Puedes usar Twitter para comentar, quejarte o lo que sea…: @devuelta, @pjorge y @GuionAusente. Y si te gusta más el email: guionausente@gmail.com. Puedes usar Twitter para comentar, quejarte o lo que sea…: @devuelta, @pjorge y @GuionAusente. Y si te gusta más el email (¿de verdad?): callateya@guionausente.com y yotengoalgoquedecir@guionausente.com. Elige la dirección que mejor encaje con tu personalidad.

A Kurbli adásában Hiroshi Teshigahara 1964-ben készült, A homok asszonya című, japán filmdráma-thrillere következik. A kultfilm Abe Kôbô azonos című, 1962-es regénye nyomán készült. Hangzásvilágát az egyik leghíresebb japán filmzeneszerző Takemitsu Toru komponálta.

I denne episoden snakker vi om japanske Hiroshi Teshigahara og hans modernistiske mesterverk Kvinnen i sanden (1964). På sekstitallet begynte japanske regissører for alvor å ta innover seg høymodernismen i europeisk film, og Kvinnen i sanden er merkbart inspirert av for eksempel Michelangelo Antonioni (L'avventura) og Alain Resnais (Hiroshima mon amour). Dette står i kontrast til tradisjonene som ble etablert av den japanske gullalderens mestere, og er emblematisk for den såkalte «nybølgen». Teshigaharas magnum opus er skapt i tett samarbeid med forfatter Kôbô Abe, og drar nytte av avantgarde-musikerens Tôru Takemitsus uttrykksfulle komposisjoner, og ikke minst Teshigaharas bakgrunn som billedkunstner for å levendegjøre en absurd fortelling om hobby-entomologen Niki Jumpei (Eiji Okada, kjent for sin rolle i Hiroshima, min elskede) som tas til fange av en metaforisk sandgrop. Ved mikrofonene sitter Karsten Meinich og Lars Ole Kristiansen. God lytting!

[The Outpost won the Gold Mark Time Award for best sci fi audio drama for 2008] You wake up, millions of light years away, in a place nothing like home.  ...What do YOU do? Cast List Grant Hickey - Gene Thorkildsen Vanessa 98949 - Julie Hoverson Lassiter - Russell Gold Yasmin - Melissa D. Johnson Recorder - Beverly Poole Episode and incidental music from the album "...go..." by Sulatus (www.sulatus.cbl.pl).  (available on Jamendo.com) [Used under a Creative Commons license.] Show theme:  Kevin MacLeod (Incompetech.com) Recorded with the assistance of Ryan Hirst of Neohoodoo Studio Editing and Sound:   Julie Hoverson Cover Design:  Brett Coulstock "What kind of a place is it?  Would you believe it's a habitat, in an asteroid cloud, in a distant corner of the galaxy?" ********************************************************* The Outpost This story was very loosely inspired by the movie Suna No Onna (Woman in the Dunes), from 1964; directed by Hiroshi Teshigahara from the novel by Kôbô Abe, as adapted by Eiko Yoshida, starring Eiji Okada and Kyôko Kishida and the sand.  It's an awesome film - superficially about a man who is trapped by a small town and placed with a woman as her new husband.  In the film, he's an office worker and amateur entymologist seeking to make some kind of name for himself by finding a new species of bug on his day trip to a beach.  He falls asleep and wakes to find he missed the last bus, but a local town has someone who will take him in for the night  - a woman who lives at the bottom of this odd huge sand pit.  The whole town live at the bottoms of these pits, and we slowly realize that the sand has built up over the town for generations, and they just dig out the areas around the huts by night and have the sand taken away. The woman lost her husband and child in a sandslide and cannot handle the work of digging the sand all by herself, so they have placed the man with her as her new husband - letting him down and taking away the ladder.  The man also finds out that he's not the only one - other men in other houses were similarly abducted. I didn't want to work with any of that for my story, specifically since I had determined to make it a gender reverse, and a woman kidnapped and handed to a man to be trapped as his wife is kind of ... a lot of real history. So I focused on the subtext and themes of the movie.  At its heart, it's a culture clash, the man representing "modern japan" (in the 60s) and the town and woman being so traditional that they won't even leave ancient homes that are being devoured by the sand.  In modern life, people are cogs, and he's coming from a life where he's basically interchangeable - hardly even missed when he vanishes - into one where the good of the community and the comfort of the partner are directly affected by the actions of the individual and each person is therefore important. That gave me a more satisfying framework to play with.  By creating these two cultures - the efficient and interchangeable people she comes from - where even her personal achievements are somewhat generic - and the humble, personal, and individual life in the asteroids, where he takes time to respect the dead, and is proud of his little triumphs. I also wanted an equivalent to the sand.  The film is basically a three character piece, with the sand as much a presence as the two people in it.  I made the outpost, with its gripes and problems, sounds, and needs, as similar to that as I could.   I like to think it's the writing that makes this episode really great but I give a lot of credit to my costar, for being able to bring to life a male character that is strong without being overbearing, who is in control without being controlling, and who is never ashamed to feel. That left me free to be a bitch.  Of course the climax comes in both stories when the captive has a chance to walk away.  I won't spoil it. **************************************************************** THE OUTPOST Cast: Olivia (host) Grant Hickey (M20s-30s), calm and lonely. Stoic, eager. Vanessa 98949 (F20s-30s), sharp and commanding, modern Recorder (any) Lassiter (M20s-30s), on Janice (another nearby outpost) Yasmin (20s), another survivor of the Xanadu OLIVIA     Did you have any trouble finding it?  What do you mean, what kind of a place is it?  Why, it's an outpost in an asteroid cloud, can't you tell?  MUSIC AMBIANCE     INSIDE OUTPOST MU LAMBDA EPSILON [Millie] SOUND    MACHINE AND ELECTRONIC NOISES, SLOSHING OF LIQUID VANESSA    [waking up noises, then with a start, coughing] GRANT    Easy now.  Just breathe. VANESSA    [breathing, coughing a bit] GRANT    Tell me.  Do you know your name? VANESSA    My what?  Of course. GRANT    Tell me your name. VANESSA    Vanessa 9 [breaks into coughing] GRANT    [incredulous]  Your name is Vanessa 9? VANESSA    Don't be stupid.  It's Vanessa 98949.  How old do I look? [coughing] GRANT    [not a clue] Um... VANESSA    Where am I? GRANT    I'll tell you whatever you wanna know.  Later.  You're all wrung out. VANESSA    Nonsense.  I am ordering you to tell me-- GRANT    Now there ain't no call to get huffy, miss. VANESSA    [offended]  Where is your Vox?  I plan to let her know precisely-- GRANT    My what? VANESSA    [altering slightly] Your Vox?  The one who gives you orders? GRANT    Ain't got none.  VANESSA    There must be a female around here somewhere! GRANT    Nope.  Just me.  And you. VANESSA    What the hell kind of place is this?  [pain]  ooh....  ah. GRANT    There, now.  You lie back down and get yourself some rest.  [fogging out]  Waking from deepsub is no cakewalk... MUSIC VANESSA    [waking sharply again, gasp] Ohh. SOUND    SWOOSH OF POD HATCH OPENING, HESITANT FOOTSTEPS, A STUMBLE VANESSA    Where is that throwback?  Hmm? SOUND    SHE PICKS UP A NOTE AND A RADIO VANESSA    [reading] Frequency 12.  great.  [louder, commanding]  Frequency 12. SOUND    NOTHING VANESSA    [more strident] Frequency 12.  [Ugh!] SOUND    RADIO UNIT BEING SHAKEN, CRACKLES TO LIFE VANESSA    [hesitant] Frequency 12?  Is there anyone here? GRANT    [on filter]  No need to holler.  VANESSA    Your comm unit isn't set to recognize my voice! GRANT    [baffled] Oh.  I'll... see what I can do.  You need anything? VANESSA    [snap] No.  Well, I could use something to eat. GRANT    All righty.  I have to finish up something, and I'll be down as soon as I can.  SOUND    CLICK RADIO OFF VANESSA    What?  You get down here immediately!  Ugh! SOUND    THROWS RADIO UNIT - SOMETHING SNAPS MUSIC SOUND    SHE PACES SOUND    DOOR SWOOSHES OPEN, HE ENTERS, DOOR SHUTS GRANT    [sigh] All righty.  Brought you some chow. VANESSA    [seething]  It's been almost an entire hour! GRANT    [matter of fact]  You caught me outside.  Was quicker to finish what I was doing than to come in and get back out again later. VANESSA    Give me that. SOUND    TRAY RATTLES GRANT    [grunt of effort] No. VANESSA    What?  How dare you? GRANT    You're in my home, and if you can't be civil, then ... well, I can be downright rude too. VANESSA    There must be someone else here - I will report your behavior--! GRANT    Nope.  Just me.  Like I told you. VANESSA    Take me to your comm unit-- GRANT    No.  VANESSA    [faltering] But I-- GRANT    You can ask nicely. VANESSA    [indignant] What?  How can you even look me in the face and say such a thing, male? GRANT    [beat, then sigh]  Call me again when you're in a better mood. SOUND    FOOTSTEPS, DOOR SWOOSHES OPEN VANESSA    [up]  The-- [deep breath, forces herself to a nicer tone] The radio is broken.  GRANT    Broken?  Hold up. SOUND    SETS TRAY DOWN. PICKS UP RADIO VANESSA    I... shook it.  It wouldn't listen to me! SOUND    RADIO SHAKES, RATTLES GRANT    Hmm.  Looks like I'm gonna have to get in there. SOUND    VANESSA TRIES TO BE SNEAKY, GRABBING SOMETHING TO EAT GRANT    But I still don't understand what you're saying about-- [sees her eating, makes an impatient noise] VANESSA    [around a mouthful]  You expect me to starve?  I just woke from deepsub.  I require caloric intake. GRANT    [sigh, tsks]  SOUND    HIS FOOTSTEPS LEAVE, DOOR SWOOSHES SHUT MUSIC SOUND    TINKERING WITH MACHINERY - LITTLE ZAP NOISES, ETC. VANESSA    Just ...about ...there! SOUND    BLIP AS SOMETHING TURNS ON RECORDER    [crackly] Life pod B-L-T-L-1-4-5, ship Xanadu, designated X-14-Z-3-J--2-0-5-- VANESSA    [real relief]  Finally - a civilized voice!  Recorder.  Play back the Xanadu's final entry. RECORDER    Final log entry of star cruiser Xanadu.  G-vector, Delta quadrant, encountered space debris.  Explosion.  Unknown cause.  Xanadu evac mandated.  Pods loosed at ship day 172, T-vector, speed normal. VANESSA    Calculate time in transit. RECORDER    Calculating.  One thousand, three hundred and eighty two days since Xanadu Evac. SOUND    DOOR OPENS VANESSA    Four years--? GRANT    [off] You were on a star cruiser?  VANESSA    [gasp] SOUND    BONKS HEAD AS SHE REACTS GRANT    That musta been interesting. VANESSA    Yes, I am part of the crew of the Star Cruiser Xanadu, bound for Ganymede 800 in the Gargon nebula.  There will be people looking for me. GRANT    [rueful]  Not here they won't. VANESSA    What do you mean? GRANT    I don't know what all your specs there are, but first, no one much comes this far out, and second, well, I do know the Gargon Nebula is hellagone from here. VANESSA    You have to let me contact someone. GRANT    Nope.  I don't have to do anything. VANESSA    I order you!  As third under-lieutenant subchief, engineering bay 5 of the star cruiser Xanadu, I command you to take me to your comm room. GRANT    Pff.  SOUND    DOOR OPENS, FOOTSTEPS LEAVE VANESSA    [very last second] Please. GRANT    [off, leaning in]  Wish I could.  Left you some food there.  SOUND    DOOR SHUTS MUSIC SOUND    ELECTRONIC MENDING NOISES SOUND    DOOR OPENS GRANT    Whatcha doing? VANESSA    Keeping busy.  What do you want? GRANT    You about ready to come out?  VANESSA    Out of what? GRANT    The room here? VANESSA    The room? [working up] You kept me locked up in here, and now you ask-- GRANT    Door don't even lock.  I was wondering why you never-- SOUND    HER STOMPING FOOTSTEPS VANESSA    Door open!  See?  Nothing happens! GRANT    Well o'course not.  Doors don't have ears. VANESSA    Normal doors take orders.  Radios too. GRANT    You're an underengineer sub chief thingee and you don't even know how to work a door? VANESSA    Normal doors take orders! GRANT    Well, I guess we're all a bit old fashioned here.  This is how you open the door.  Wave your hand right here-- SOUND    WhoooosH.  DOOR OPENS VANESSA    [sullen] Oh.  I see.  Wait! GRANT    What? SOUND    SLAMS HIM UP AGAINST THE WALL VANESSA    You said we're all a bit old fashioned - who is "we"? GRANT    [controlling some strong emotion, at being slammed against a wall] Well - um - I was including the doors and all.  [deep breath] Since you like t'talk to them all. SOUND    SHE LETS GO MUSIC GRANT    [off] To the left there. SOUND    DOOR SWOOSHES OPEN. A COUPLE OF FOOTSTEPS, THEY SLOW VANESSA    This is it? GRANT    [pride] Yup.  Millie's brain center.  There are 42 more like her spread throughout the cloud - um, here. SOUND    BUTTONS PUSH. SCREEN HUMS TO LIFE GRANT    Pretty, huh? VANESSA    It's rubbish. GRANT    [hurt, but covering]  Millie has 12 chambers - each a self-sealing unit, in case of breaches - and a backup-- VANESSA    How do you call out? GRANT    Hmm? VANESSA    Out!  How do you call out!  I need to make arrangements to get the hell out of here! GRANT    It don't quite work that-- VANESSA    Nothing here works!  Nothing works at all! [almost hysterical] SOUND    SLAP VANESSA    [stunned gasp] GRANT    Now I'm real sorry about that, but you need to breathe.  And let me finish my sentences. VANESSA    I could have you up on charges so fast! GRANT    Well, not here, you couldn't.  [sigh]  Now, as I was about to say, you can call the other habitats, or the quarterly supply ship - if he's in range.  Just might be - he come through here only last week. VANESSA    Another male?  What is this, throwback central? GRANT    What you got against fellows? VANESSA    [disgusted noise] Males have been proven inferior and in the civilized galaxy have been effectively relegated to a purely functional capacity. GRANT    You mean where you come from is all ladies?  Don't it get boring? VANESSA    What?  What are you implying--? GRANT    Just - well, how do you have kids? VANESSA    GRANT    So everyone has to have kids?  VANESSA    No one "has" children. [shrugs, indifferent] Everyone donates genetic material, and it's automatically matched up with compatible fertilizing agents.  Children belong to the community, and are raised in a proper safe environment, under supervision.  GRANT    But - those poor little boys and girls-- VANESSA    Girls. GRANT    [sigh] Them poor little kids, never knowing who their - mommas are. VANESSA    They're cared for by properly trained personnel.  Much better for their long-term physical and mental health.  How would someone like me, with a career on a star cruiser, ever find that sort of time? GRANT    That's real sad. VANESSA    Not to mention, I haven't spent my life immersed in study of childhood ailments and development. GRANT    Well, neither did my mama. VANESSA    Yes.  I'm sure. GRANT    [hurt, slightly annoyed]  Look, you can mock me, and turn your nose up at Millie, but don't you never speak ill of my mama.  SOUND    CRACKLE OF STATIC LASSITER    [scratchy, on filter] Hey Grant?  You there?  Grant?  You there?  SOUND    SQUEAK OF CHAIR, CLICK GRANT    Yup.  Whatcha need? LASSITER    [scratchy, on filter] That capsule thing you sold me - you got yours to work OK? GRANT    [hurried] Ah, hell.  Let me call you back, Lassiter. SOUND    CLICK VANESSA    [absolute fury] Sold? GRANT    I got work to do. SOUND    SLIGHT SCUFFLE, SHE BLOCKS HIM FROM LEAVING VANESSA    [not quite screaming] Was he talking about a deepsub pod like mine?  GRANT    [muttered] I find all sorts of things. VANESSA    You sold a - a - a PERSON to that - that male? GRANT    What makes you think the pod weren't empty? VANESSA    That's slavery!  And you know what that means? GRANT    Don't matter.  Sides, what would I do with two of y'all out here? VANESSA    The same as you're doing with one - nothing at all! GRANT    [standing up to her a bit]  Yup.  long as I'm talking to you, I'm doing nothing at all.  Like I said, I got work to do. SOUND    HE LEAVES, DOOR MUSIC VANESSA    It was one of these switches-- SOUND    RADIO STATIC VANESSA    Yes!  [lower, into the mike] Lassiter?  Come in Lassiter? LASSITER    [scratchy, on filter]  Huh?  Who's this?  VANESSA    I'm at .... Millie.  LASSITER    [scratchy, on filter]  Excellent - it did work!  You tell Grant to let me know what he did, y'hear? VANESSA    To wake up the woman in the pod? LASSITER    [scratchy, on filter] Yeah.  [eager] I can't wait. VANESSA    [warning] Lassiter.  You do know it's vastly illegal to rescue someone and then force them into slavery, don't you? LASSITER    [scratchy, on filter]  What? VANESSA    If you press her into service, you are committing high seas slavery, according to Rule 4715 D of the unitary code. LASSITER    [scratchy, on filter]  Is Grant there?  Can you put him on? VANESSA    Shut up! LASSITER    [scratchy, on filter]  Jeez. VANESSA    Lassiter.  I will make a bargain with you. LASSITER    [scratchy, on filter]  I dunno-- VANESSA    I will help you revive the survivor, if you will --  let me talk to her as soon as she wakes up. LASSITER    [scratchy, on filter]  Sure. VANESSA    And if you understand that I will find a way to come over there and kill you if you hurt her in any way. LASSITER    [scratchy, on filter]  Hurt her?  Hey!  I paid good money for-- VANESSA    Agh! MUSIC YASMIN    [scratchy, on filter]  What do I do? VANESSA    Be placating - we have to try and get together, make our way home. YASMIN    Aye-aye, Vox.  Data mode for now.  I await your word. VANESSA    Remind him I will kill him if he hurts you. YASMIN    He doesn't seem very threatening.  I could put him down if I have to. VANESSA    Good.  Engineer Vanessa 98949 Out. YASMIN    Yasmin 222338 Out. GRANT    [sad] Whatcha doing? SOUND    CHAIR WHIPS AROUND VANESSA    Huh? GRANT    I see you found your friend. VANESSA    We were part of the same crew.  I have rank, so I told her I would protect her.  It's my duty. GRANT    Protect her?  From Lassiter?  He ain't some kinda --  of -- I ain't even sure what you're thinking he is. VANESSA    A man. SOUND    GETS UP FROM CHAIR GRANT    [realizing]  Are you afraid of me? VANESSA    [thinks, then] You hold all the cards.  All you have to do is refuse me food, and I'm helpless. GRANT    I wouldn't do that! VANESSA    You already did. GRANT    I was trying to get you to-- Look, if I wanted to actually hurt you, I gotta blaster for that.  I just wanted you to think twice and act civil. VANESSA    How many more were there? GRANT    More? VANESSA    Of the deepsub pods.  Did you just find the two? GRANT    [grudging]  Four.  Total.  Lassiter's was the last to revive, so all of y'all are all right. VANESSA    All right?  Let me talk to them! GRANT    You gotta learn to stop giving me orders.  You're not my momma. VANESSA    Your mother is--? GRANT    She died.  Since then... [shrug]  I got work to do. VANESSA    [belligerent] What is this work that seems to constantly demand your attention? GRANT    You ask nice, you'll get a lot more answers. VANESSA    [beat, then making an effort]  What is it that you do all day? GRANT    Salvage.  Used to be mining, but the cloud here grabs every lump of crap out of the nearest 10-20 sectors, so salvage pays a helluva lot better.  VANESSA    Salvage? GRANT    And maintenance.  Millie here's old.  I keep her limping along, but it's truly full time.  SOUND    DOOR OPENS GRANT    Come on.  I'll show you where the food units are.  Then you ain't gotta wait on me if you get hungry. MUSIC GRANT    So this switch here changes the band - you gotta jiggle it a bit, here, sometimes.  And this list here shows all the other habitats  - the ones up top are closest - most reliable for contact.  Next down, these three - well - I ain't heard from them in a while.  Not even sure they're still... functional.  VANESSA    Vacated? GRANT    No one vacates.  Not unless--  But [trying to convince himself] comm equipment goes down sometimes - a lot - and it's a bitch to get the right parts. VANESSA    All the habitats are as old as ...this one? GRANT    Yeah, they were built for miners - never really meant to be permanent, but you know how things go. VANESSA    Why don't you leave? GRANT    Leave? VANESSA    If you sell your salvage, it must go somewhere.  Someone must be buying it.  Why don't you just go, too? GRANT    Why? VANESSA    You say it's a full time job just keeping this place from falling down around your ears.  So find another place. GRANT    But this is my home.  I was born right here in Millie. VANESSA    It is falling apart.  I hope you don't think I plan to stay here with you. GRANT    [beat, then neutral] Course not.  But you do owe me. VANESSA    [indignant again] Owe you? GRANT    I rescued you.  I pulled your damn pod in here and I woke you up.  VANESSA    That's -- GRANT    And I've been feeding you and letting you breathe my air - which ain't cheap, I should point out. VANESSA    Then let me get out of your air. GRANT    First you gotta ... you know...pay me back. VANESSA    [suspicious] How, exactly? MUSIC SOUND    ELECTRONIC REPAIR NOISES VANESSA    Damn!  Bloody stone-age tools! SOUND    CLICK RADIO TURNS ON, VERY CLEAR AND NO STATIC VANESSA    Ha! GRANT    [on radio] What? VANESSA    [a little winded] I patched your antenna into the router from the pod's emergency signal - some serious interface issues, let me tell you - but you should get much clearer signals now. GRANT    [on radio] [congratulatory]  Damn. MUSIC SOUND    CLANK OF METAL DROPPED VANESSA    Damn. GRANT     Everything all right? VANESSA    Half my damn solar cells were damaged in the landing.  GRANT    So? VANESSA    I was thinking I'd jury rig them into something, get you a little extra free power.  Bloody hell. MUSIC SOUND    SOLDERING IRON SPARKS, STOPS, FACEPLATE UP GRANT    That's a nice bead right there. VANESSA    Yeah, I think I'm getting the hang of it.  Now watch this.  [command] Chicken! SOUND    VENDING MACHINE RUMBLES, THEN CLUNKS GRANT    Holy cow! VANESSA    Well, chicken, but yes - you get the idea.  I still have to code the machine's other foodstuff options in for voice.  I'll need to get your voice into the system sometime, too. GRANT    [mood dropping] Right.  O'course.  So I can do it myself. VANESSA    [not noticing] Absolutely.  MUSIC VANESSA    You didn't have any trouble making contact?  I appear to be at the very arse end of the cloud, so they're out of my range from here.  Damn these archaic -- YASMIN    I... got them.  You may be disappointed, though.  VANESSA    Why? YASMIN    Helen 74589, and Griselda 80281 ... um... do not ... wish to participate. VANESSA    What are you saying? YASMIN    They have become attached to this place. VANESSA    How the blazes--? YASMIN    Griselda declined any details, but Helen seems to find some - companionship in the man Conrad and his children. VANESSA    [disparaging]  Children.  At least we've only got men to deal with. YASMIN    [iffy note] Yes. MUSIC SOUND    MACHINE DISPENSES FOOD VANESSA    Sit down. GRANT    Sit?  Why?  I always eat standing. VANESSA    You practically sleep standing.  I have never seen you relax. GRANT    Last time I just sat and waited was... VANESSA    Yes? GRANT    [evasive] Don't know.  doesn't matter. VANESSA    Why not sit? GRANT    Too much to do. VANESSA    Please. SOUND    BEAT, THEN SQUEAK OF A CHAIR VANESSA    Haven't I helped at all? GRANT    Oh, yeah - many hands make light work, like momma used to say, but there's always more to do.  [beat]  But the repairs are real good.  If this keeps up, I can maybe repressurize capsule 14.  [trails off] VANESSA    Do you need the space? GRANT    [hurt but covering] Never hurts - could put some more hydroponics in there, maybe put in some greens and generate oxy of my own.  Why not?  It's like minting money. VANESSA    You'd be better off with algae tanks.  They take more processing to make them palatable for eating - much more - but they've been genetically manipulated to give a much higher O2 to cubic foot ratio, and they require less nutrient. GRANT    I'd have to get it from somewhere-- VANESSA    Shouldn't be difficult - most cruisers have algae tanks, and all you need is a dip to start with and some growth media.  The tank - well you could pretty much put anything together, if you're not too concerned about sterile edible conditions - but for oxy production, anything that will contain the growth medium and keep the temp stable will do.  You'll need U-V simulators, too-- GRANT    Yeah.  [sigh]  Maybe you can send me some when you get home. VANESSA    --you could re-make one room for food plant growth and have the algae - What?  GRANT    Nothing.  VANESSA    There's even better technology out there, you know.  I'm surprised you're not more curious. GRANT    Well, I figure it's like this - of all you've talked about so far, doors that listen and whatever, this algae thing is the only one that seems like it'd fit into my life.  Everything else is like - so far beyond me, I don't see it mattering much. VANESSA    But you would know.  You would have something to - to work toward. GRANT    Something to chase?  Something to... miss.  Something to worry about not having?  Nah.  I figure, easier just to assume you're gonna tell me you can shit blueberry cobbler - it's all well and good, but I don't wanna do it.  And goodness knows I don't wanna eat it.  VANESSA    [laughing] Cobbler? GRANT    I-I got things to do. VANESSA    Let me help. GRANT    [breath] Nah.  It's all outside - I gotta hawk in some stuff. VANESSA    [brightening a bit] Outside?  In a suit? GRANT    [very unhappy] Yes. VANESSA    Let me help! GRANT    No. VANESSA    Why?  Are you afraid I'll run away? GRANT    [muttered] No, just ...float away. VANESSA    What? SOUND    HE GETS UP GRANT    It's my job.  I have to do it. VANESSA    Do you have two suits? GRANT    Yes. VANESSA    Many hands make light work. GRANT    [thinks, then] No. VANESSA    Look, I've put in my 100 hours on simulators, plus over 300 hours working on the hull in stagnant space.  Goodness - you've even got gravity here-- GRANT    Minimal gravity. VANESSA    Point is, I know my way around a suit! GRANT    [finally snappish] Look!  If things didn't have to be done, I'd never get into one of those damn things myself!  There's no way I'd put you in that kind of danger. VANESSA    You don't - you don't like being out there? SOUND    DOOR WHOOSHES OPEN VANESSA    But - but I enjoy-- SOUND    HIS FOOTSTEPS EXIT GRANT    You don't want to be here and that's fine.  I'd rather see you leave on the cargo ship than [barely controlled] floating off into blackness... SOUND    DOOR SHUTS MUSIC VANESSA    Can you ask your Lassiter something? YASMIN    [on filter]  You can talk to him yourself. VANESSA    I just want to know about suit drifts in this area. YASMIN    Why? VANESSA    [overly casual]  Just something Grant said. YASMIN    Ah, here he is - You can help Vanessa, can't you?  [teasing, fond noise] Hmm? LASSITER    [on filter] Sure.  What you need? [snickers, then aside]  Stop that!    MUSIC GRANT    Chicken.  SOUND    DISPENSER DISPENSES FOOD VANESSA    How old were you? GRANT    [completely startled] what? VANESSA    When your father drifted? GRANT    [tightly controlled]  Why do you care?  You don't even have a father.  [beat]  I should get back to-- VANESSA    No.  Unless you actually physically move me, you're not leaving this room.  Talk to me.  GRANT    [mumbled]  I don't want to talk to you. VANESSA    Why? GRANT    [swallows, then sighs, speaks very quietly]  The more I talk to you, the more I'll miss having someone to talk to - later.  [sniff] Get out of my way. VANESSA    No.  I've lost people in space too - I did my time in the corps, shipboard accidents...  I- I understand. GRANT    It's different with family. VANESSA    Show me. GRANT    I was 12 when my father's line got tangled, and he had to cut it - then something in the piece he was salvaging blew, and - it took forever for him to be completely out of sight - he kept talking right up to the edge of radio range.... VANESSA    [pause, then sincere, if dry] I feel for you. GRANT    Thank you.  VANESSA    I wish I knew what to say. GRANT    That's all right.  [deep breath]  I've got work to do.  SOUND    HE WALKS AWAY VANESSA    Your food? SOUND    HE DOESN'T SLOW - DOOR SHUTS MUSIC VANESSA    How do you talk to them? YASMIN    [arch] It's not always in the talking.  What's wrong? VANESSA    I want to - offer him sympathy, but he just walks out of the room.  He says he... just wants to ignore me until I leave. YASMIN    Are you still planning to leave? VANESSA    Aren't you? YASMIN    Well.  No.  VANESSA    Why?  Is it the sex? YASMIN    Well... That's part of it - you have to admit it's kind of fun. VANESSA    I don't - haven't. YASMIN    Maybe that's why he's avoiding you. VANESSA    But don't you want to go back to your job?  Your home?  Don't you want your life to have some meaning? YASMIN    Meaning?  What meaning? VANESSA    I was on the way to making full chief engineer - and I would have been the youngest to reach that grade.  Ever, YASMIN    [dry] You would have impressed everyone. VANESSA    Don't talk like that about my goal.  The point of ... everything. YASMIN    And who benefited from this goal? VANESSA    I would.  The ship would.  Everyone on it. YASMIN    And someday someone would reach that rank even younger, and when you retired, someone else who could do the job just as well would take over, and no one would even remember you. VANESSA    I would-- YASMIN    Unless you did something like - I don't know - discover an alien race or die to save a bunch of people - but how often does that really happen? VANESSA    I once prevented an explosion because I spotted a faulty valve. YASMIN    And I'll bet every person you saved came and thanked you.  VANESSA    [somewhat dissatisfied]  The point of preventing a disaster is so that no one knows they were ever in danger. YASMIN    [sigh] MUSIC AMBIANCE     SPACESUIT.  BUZZ, BREATHER, ECHO SOUND    BOTH - this scene - on filter throughout VANESSA    You needed help--?  Oh! GRANT    It's jammed.  I can't shift it alone. VANESSA    I see.  Hold on. SOUND    METAL IMPACT GRANT    Is your line secure? VANESSA    Yes.  I checked and double checked.  Hmm.  GRANT    Do you think the person inside is still all right? VANESSA    Won't know if she is till we clear some of this debris.  [beat]  Looks like it still has some power. GRANT    Help me shift this plate - I think it'll clear some of this. VANESSA    Hold on - No, not that.  There's too much leaning on it, and we don't know which way it'll fall.  GRANT    What then? VANESSA    Um.... This.  I think this is the key piece, and I don't see anything it can bring down with it. BOTH    [Grunt with effort] SOUND    A BUNCH OF STUFF SHIFTS GRANT    Ah hell. VANESSA    What? [seeing the damage] Oh. GRANT    At least we should be able to get it clear, now.  VANESSA    Let's lighten the load - get the corpse out of there. GRANT    No. VANESSA    Why? GRANT    You want to just dump her out, right here? VANESSA    Why not?  She's dead. GRANT    She still deserves some respect.  I'll do it, if you don't want to be bothered. VANESSA    Do what? GRANT    Bury her. MUSIC SOUND    HATCH SHUTS, HELMETS COME OFF.  SOUND OF REMOVING SPACE SUITS SOUND    SOMETHING DROPS VANESSA    [sharp gasp] GRANT    Hey?  What's wrong? VANESSA    [in pain] Nothing. GRANT    Let me-- [sigh] You shoulda come back in earlier - your fingers are nearly blue.  I told you the heat circulation in that suit ain't up to snuff. VANESSA    I'm fine. GRANT    Give me your hands. VANESSA    What?  GRANT    Let me warm your hands fro you. SOUND    BEAT, THEN SKIN ON SKIN, AS HE SLOWLY CHAFES HER HAND. VANESSA    How do you do that? GRANT    Hmm? VANESSA    [gasp] Your hands are... warm. GRANT    They just come that way.  Here, hold your hand here while I-- VANESSA    In your jacket? GRANT    Just do it.  Give me the other one. SOUND    SLOW CHAFING AGAIN VANESSA    They're fine now.  I'll go and-- GRANT    I don't like that nail color there.  Can you feel this? VANESSA    Yes.  I'm perfectly capable of-- GRANT    This? VANESSA    [a bit more irritated] Yes.  I know what the-- GRANT    This? VANESSA    --difficulties with cold can be, and--  what? GRANT    This? VANESSA    [startled] No. GRANT    Here.  [puts her finger into his mouth] VANESSA    [long gasp, startled, amazed, and aroused] GRANT    [talking around her finger] Stop squirming.  VANESSA    Let - let go.  Let go! GRANT    Need to get the circulation back.  Heat and suction. VANESSA    Ahh! SOUND    SLIGHT STRUGGLE, SHE PULLS HER HAND FREE GRANT    [mouth noise] Look.  Whatever it is you don't like about this - is it worth losing a finger over? VANESSA    [long beat, erratic breathing]  No.  [gasp as he takes her finger again]  MUSIC GRANT    [talking on the radio]  Thanks for the heads up Lassiter, but it'll happen or it won't.  Glad you're doing well, and... and congrats. LASSITER    We're real happy. GRANT    Out. SOUND    CHAIR TURNS GRANT    [startled] Oh! VANESSA    Congrats? GRANT    Lassiter and Yasmin are pregnant. VANESSA    [bothered] Oh. GRANT    Well, they're pleased. VANESSA    I didn't mean to sound... I'm just confused. GRANT    Well, it won't be for much longer.  Quarterly cargo ship will be here in the next couple of hours.  VANESSA    Grant? GRANT    Don't worry - by my calculations - we're pretty much square, in fact you're a bit ahead, hooking up those solar panels and all-- VANESSA    Grant-- GRANT    So I'll just cover the cost of your trip, at least as far as-- VANESSA    Grant! GRANT    Damn, now you got me lost.  VANESSA    Grant, I-- GRANT    I appreciate your help here... Vanessa.  Got me ahead of my schedule.  [cracking a little]  Um, I should go and get the cargo ready. SOUND    CHAIR SQUEAK, FOOTSTEPS, THEY STOP VANESSA    Grant.  I need to know something. GRANT    Whatever I can help with. VANESSA    Would you--  Do you-- [a breath] What will you do? GRANT    When? VANESSA    If - when - if I go. GRANT    Same as I done before.  Nothing's gonna  change. VANESSA    You should have kept Yasmin or Helen - they love it here. GRANT    Yasmin loves Lassiter. And Helen-- VANESSA    [snapping him back] Grant.  Why me? GRANT    [muttered] You're ...the prettiest. VANESSA    I ...am? GRANT    Yup.  I looked at you and I knew that if I was ever gonna take a chance, it'd have to be on that one.  [sniff] VANESSA    Tell me you want me to stay. GRANT    N-no. VANESSA    You don't - want - ? GRANT    You go home.  Have a good life.  I got cargo to move. SOUND    HE SHOVES PAST HER MUSIC SOUND    RADIO TURNS ON LASSITER    Grant?  You there? GRANT    Um - yeah.  LASSITER     How'd it go? GRANT    I'm doing all right.  Even ordered an algae starter culture.  LASSITER    But your ...lady--? GRANT    Oh, I'm still ahead, even after her ticket-- LASSITER    Ticket?  Ticket?  You let her leave? GRANT    Course.  [breaking down] She - sh-she don't belong to me.  LASSITER    She woulda gotten used to it. GRANT    I had to get used to being all alone.  How could I do that to--? VANESSA    --to me? SOUND    CHAIR TURNS FAST GRANT    What-- What happened?  Did they-?  Did you miss it? LASSITER    Grant?  Grant? VANESSA    I decided there was a better use for the cost of my passage - negotiated for three more solar panels, and a couple more oxygen tanks for the suits. GRANT    I don't understand. VANESSA    It was what Yasmin said, about being important to someone. GRANT    But I never said you were-- VANESSA    You said it every time you couldn't look me in the face.  GRANT    But what do we do now? VANESSA    We build a tank for the algae.  Many hands make light work. GRANT    Many hands make light work. VANESSA    Oh, yes, and-- GRANT    And? VANESSA    This-- SOUND    NOISY KISS, RUSTLE OF AN EMBRACE VANESSA    Not bad.  You could use a little practice. GRANT    [gasping a bit for breath, making a joke] Well - I may have had my 100 - and then some - hours of simulation, but I never actually took one of those there out for a spin. VANESSA    [chuckles] Wait till you see the rest of the equipment...! CLOSER OLIVIA    Now that you know how to find us, you'll have to come back.  Maybe next week?  Don't be a stranger - we have enough of those already...  

Nick Sheehan sits in for Ron, and he and Clive talk two stone classic existential collaborations between maestros Hiroshi Teshigahara and Kobo Abe. But fear not, there are dick jokes too. MMW theme by Mike Powell Musical break: Fear And A Handful Of Sand by Bassholes Musical outro: A New Face In Hell by The Fall

“The more you struggle, the more new passages you make in the labyrinth, the more the box is like another layer of outer skin that grows from the body, and the inner arrangement is made more and more complex.” On this episode, hosts John Cribbs & Christopher Funderburg climb into a corrugated cardboard nightmare and explore Kobo Abe's delightfully bizarre The Box Man. Best known for his work with Hiroshi Teshigahara on the film adaptation of his novels (including The Face of Another and Woman in the Dunes), Abe was one of the most brilliant and original novelists of the 20th century. The conversation covers the book's elliptical, elusive, free-flowing structure and evasive narrative truth, whether Abe is unfairly overlooked due to his association with Teshigahara, and where the book fits into the history of literature (in the context of Abe's aggressive rejection of Japanese culture). Listen as Funderburg, a total Abe novice, discovers a new favorite author and Cribbs offers suggestions on how to approach Abe's intimidating oeuvre. Support our Patreon:
 www.patreon.com/thepinksmoke The Pink Smoke site:
 www.thepinksmoke.com The Pink Smoke on Twitter: 
twitter.com/thepinksmoke Christopher Funderburg on Twitter:
 twitter.com/cfunderburg John Cribbs on Twitter: 
twitter.com/TheLastMachine Intro music: Unleash the Bastards / “Tea for Two” 
Outro music: Marcus Pinn / “Vegas”

What do you get when you thrust a Grand Master florist with a burgeoning sociopolitical film movement in 1960's Japan? Most likely Hiroshi Teshigahara, who directed this allegorical film. I've heard many great things about it, some of it putting this into "best movie ever made" territory, but where will I stand after checking it out? I'm intrigued!

Justin Daashuur Hopkins is a multidisciplinary storyteller (Director and Cinematographer, Musician and Composer, Graphic Designer, and Gallerist). Born into an artistic household, to renowned Illustrator Chris Hopkins and internationally collected sculptor Jan Hopkins, Justin was raised in Mukilteo, Washington, but now lives and works in Los Angeles. At the age of fifteen, he was already doing professional work for multiple clients, including conceptual merchandising and design for Costco, sound design and illustration for RedBull, and music for ESPN TV spots. He also shot the short film “Baristas,” which played to enthusiastic audiences in New York, LA, and Seattle. At the age of eighteen, Justin was hired at Olio Inc, an architectural firm specializing in major hotels in places like Vegas and Dubai. He spent the next five years doing architectural and sound design for international clients. In 2009, he struck out on his own, working as a freelance illustrator and fine art painter. He moved to New York and began showing in numerous international exhibitions, in addition to garnering attention for his commercial work. Upon his return to Los Angeles, Justin co-founded NOH/WAVE, an art agency, and production company, with gallery space downtown. This has given him the opportunity to curate shows by internationally acclaimed artists. His unique aesthetic and attention to detail have made him a sought-after director of film and mixed media video for clients including Universal, RCA, Warner Brothers, Atlantic, Def Jam, and Domino Records. Show Notes: 0:00:00 - Introduction  0:05:00 - Analysis of “Woman in the Dunes” by Hiroshi Teshigahara 0:11:56 - Lineage of NOH/WAVE 0:13:19 - Being A Multidisciplinary Artist  0:16:15 - Justin's Transition From Music to Film 0:17:50 - Justin’s Family Allowed For Freedom of Expression  0:22:10 - Gravitating Toward The Arts 0:24:17 - Yoshino’s Filmmaking and Photography 0:26:39 - Professional Careers, Making Money, and Artistic Struggle 0:30:51 - Romanticizing Artists VS Personal Experiences 0:35:23 - Sacrificing For The Work 0:40:04 - Learning From Each Other 0:41:12 - Evolution of The Self & More “Woman in the Dunes” 0:48:58 - Analysis of “Tokyo Sonata” by Kiyoshi Kurosawa 0:55:21 - Not Examining Just From Surface Level 0:58:10 - “An Artist Says a Hard Thing in a Simple Way” 1:00:27 - All About The Subtext of Information 1:03:55 - Demonization of Drugs and Art 1:05:17 - Investing and Monetization of Ignorance 1:08:58 - Mythology and Psychology 1:10:32 - Film and Book Recommendations 1:11:26 - Advice to Artists and Creatives 1:14:02 - Wrap Up www.artistdecoded.com www.justindaashuurhopkins.com www.instagram.com/justindaashuurhopkins

For their 16th mission, the Cinenauts travel back to 1964 to discuss Hiroshi Teshigahara's Japanese art-house film, WOMAN IN THE DUNES. Also discussed in this episode: The ever-growing #BoomArmy, Ctcher's love for "The Expanse" and much more! Send us an email or voicemail at cinenautspod@gmail.com. Follow Cinenauts on social media: Twitter Instagram

Hiroshi Teshigahara went on a trip to Spain with his dad and made a short, silent vacation movie during it. Years later, after his father's death, Teshigahara essentially reshot it, elongated it, and focused it on the Barcelona-area works of architect Antonio Gaudi. It is, arguably, unlike any other movie we've seen in the Collection in good and bad ways.

Hiroshi Teshigahara went on a trip to Spain with his dad and made a short, silent vacation movie during it. Years later, after his father’s death, Teshigahara essentially reshot it, elongated it, and focused it on the Barcelona-area works of architect Antonio Gaudi. It is, arguably, unlike any other movie we’ve seen in the Collection in good and bad ways.

Cal and Chris discuss the Best Director nominees of 1965, which were David Lean for Doctor Zhivago, John Schlesinger for Darling, Hiroshi Teshigahara for Woman in the Dunes, Robert Wise for The Sound of Music, and William Wyler for The Collector. Download as mp3 Listen on:Apple Podcasts | Google Podcasts | Pocket CastsPodcast Addict | […]

Cal and Chris discuss the Best Director nominees of 1965, which were David Lean for Doctor Zhivago, John Schlesinger for Darling, Hiroshi Teshigahara for Woman in the Dunes, Robert Wise for The Sound of Music, and William Wyler for The Collector. Download as mp3 Listen on:Apple Podcasts | Google Podcasts | Pocket CastsPodcast Addict | […]

Dekadraj'ın yeni bölümünde Güvenç Atsüren ve konuğun Kaan Karsan, 1960'lı yıllarda devrim niteliğinde filmlere imza atan, Japon Yeni Dalgası'nın en önemli isimlerinden Hiroshi Teshigahara'nın sinemasını konuşuyor. İkili, yönetmenin kariyerinin ilk döneminde işbirliği yaptığı yazar Kôbô Abe ve müzisyen Tôru Takemitsu'yu da es geçmiyor.

Dekadraj'ın yeni bölümünde Güvenç Atsüren ve konuğun Kaan Karsan, 1960'lı yıllarda devrim niteliğinde filmlere imza atan, Japon Yeni Dalgası'nın en önemli isimlerinden Hiroshi Teshigahara'nın sinemasını konuşuyor. İkili, yönetmenin kariyerinin ilk döneminde işbirliği yaptığı yazar Kôbô Abe ve müzisyen Tôru Takemitsu'yu da es geçmiyor.

Coming to the first episode...We introduce ourselves (hello!) and then proceed to navigate around work from home, HR, and the corporate jungle. What makes villains and booby traps attractive? How are Jason Bourne and John Wick different? Colleges and hostels, guys and girls, sloshed and stoned, and trip-sitting in the Narsapur forest. We talk about Richard Pryor and Mike Tyson, and why Aryabhatta's zero matters. So, you know, all so closely interconnected topics. We also give you our top picks from pop culture to explore and experience in these dark times, as you're sat on your behinds. Give us your intelligent feedback/two cents/money.We upload every Thursday.

Musician Sarah Lipstate discusses her recommendation for an at home double feature (as well as her recent experiences collaborating with Iggy Pop). Sarah's selections include the Criterion Collection combo, Woman in the Dunes (1964) directed by Hiroshi Teshigahara and Picnic at Hanging Rock (1975) directed by Peter Weir. Produced by: Eric Mahoney Music by: O-matic --- Support this podcast: https://anchor.fm/kontikipodcast/support

We finish up the 3 Films by Teshigahara boxset with four more films. Aside from the three collaborations with surrealist novelist Kobo Abe on the Criterion release are four shorts, three documentaries on a variety of subjects, and Teshigahara's portion of an international anthology on the lives of teenage girls: Hokusai (1953) Ikebana (1956) Tokyo 1958 (1958) Ako (1965)

3 short documentaries and the story of a teenage girl.

The Face of Another seems to distill the political identity aspects we loved in the previous two films into a discussion on personal identity, and that's disappointing. We really liked the political identity stuff, so we spend this week trying to come to a more political understanding of this film. This is one of those films where its hard to say what we think of it, as aside from the confused messaging in the context of the other films, it's a beautiful and inventive movie, incredibly stylistically interesting. This is the final film in the 3 Films by Hiroshi Teshigahara boxset, though we will spend one more week with the set as next week we discuss the four short films also included.

The second of our Hiroshi Teshigahara films, his 1964 masterpiece The Woman in the Dunes gets even more into our wheelhouse than Pitfall did. This week we talk Japanese society and “friendly authoritarianism”, societal structure in general, the plight of lower classes, an anthropological study of friendship, and a movie that makes Adam a bit nervous about his planned trip to visit Japan and what might happen if he visits the wrong small town.

We kick off a month-worth of films from filmmaker and flower artist Hiroshi Teshigahara this week with Pitfall. The boxset Three Films by Hiroshi Teshigahara doesn't just contain three films, but also four shorts which we'll cover in their own episode at the end, but this week we get started with Pitfall (1962) a movie that seems made for us? Surrealist drama about labor politics in a Japan with an absurd eschatology? Yeah, it checks a lot of our boxes.

Socrates Podcasts ve FilmLoverss işbirliğiyle hazırlanan Sinema Var'ın sezon finalini Esen Tan, Güvenç Atsüren ve Sezen Sayınalp'in özel bir saygı duruşunda bulunmayı gerekli gördükleri yönetmenlerle yapıyoruz. İkinci sezonda görüşmek üzere…  --- spoiler --- Listede yer alan yönetmenler: Susan Seidelman, Hiroshi Teshigahara, Ettore Scola, Hollis Frampton, Peter Watkins, Maurice Pialat, Stanley Kramer, Jacques Becker, Tarsem Singh.

Socrates Podcasts ve FilmLoverss işbirliğiyle hazırlanan Sinema Var'ın sezon finalini Esen Tan, Güvenç Atsüren ve Sezen Sayınalp'in özel bir saygı duruşunda bulunmayı gerekli gördükleri yönetmenlerle yapıyoruz. İkinci sezonda görüşmek üzere… --- spoiler --- Listede yer alan yönetmenler: Susan Seidelman, Hiroshi Teshigahara, Ettore Scola, Hollis Frampton, Peter Watkins, Maurice Pialat, Stanley Kramer, Jacques Becker, Tarsem Singh.

Socrates Podcasts ve FilmLoverss işbirliğiyle hazırlanan Sinema Var’ın sezon finalini Esen Tan, Güvenç Atsüren ve Sezen Sayınalp’in özel bir saygı duruşunda bulunmayı gerekli gördükleri yönetmenlerle yapıyoruz. İkinci sezonda görüşmek üzere…  --- spoiler --- Listede yer alan yönetmenler: Susan Seidelman, Hiroshi Teshigahara, Ettore Scola, Hollis Frampton, Peter Watkins, Maurice Pialat, Stanley Kramer, Jacques Becker, Tarsem Singh.

In this episode, the friends discuss films such as The Forty-First (1956); Branded to Kill (1967), by Seijun Suzuki; and Woman in the Dunes (1964), by Hiroshi Teshigahara.

In this week’s episode, Chris and the returning Aruba wander the arid deserts of entrapment and identity with Hiroshi Teshigahara’s Woman in the Dunes (1964). They talk about the influential Japanese New Wave and Teshigahara’s place in it, the themes of identity and obligation within an uncaring society, whether or not this can be considered a love story, the crossover appeal of this important cult hit, and of course SAAAAAAANNNNNNNDDDDDD!!! If you enjoyed please give a like or share and make sure to follow us on all the social media sites and help us grow.

Welcome to 1.21 in Flux, our movie discussion show about movies from the past. Some will be classic films, others obscure and occasionally fun bad B-movies.This episode is about acclaimed Japanese classic 'Woman in the Dunes,' AKA 'Woman of the Dunes.' It's directed by Hiroshi Teshigahara and stars Eiji Okada & Kyôko Kishida.patreon: https://www.patreon.com/mildfuzztv twitter: https://twitter.com/Mild_Fuzz facebook: https://www.facebook.com/mildfuzznetwork Audio: https://mild-fuzz-movies.pinecast.co/ THE VAULT: https://mildfuzztv.weebly.com/the-vault.html

Hiroshi Teshigahara et l'existentialisme nippon.Ce n'est pas la première fois que nous parlons de Teshigahara au 7ème. Ce ne sera pas la dernière. Peut-être sommes nous un peu présomptueux, mais cette semaine, nous tenterons de faire l'émission définitive sur celui que nous avons nommé "le jardinier des images".

Hiroshi Teshigahara et l'existentialisme nippon.Ce n'est pas la première fois que nous parlons de Teshigahara au 7ème. Ce ne sera pas la dernière. Peut-être sommes nous un peu présomptueux, mais cette semaine, nous tenterons de faire l'émission définitive sur celui que nous avons nommé "le jardinier des images".

An interview with DENNIS DOROS of MILESTONE FILMS and ROSS LIPMAN film preservationist at the UCLA FILM AND TELEVISION ARCHIVE. Milestone Films is an independent company, founded in 1990 in the United States by Dennis Doros and Amy Heller, dedicated to researching and distributing quality cinematographic material from around the world, including silent movies, films of the postwar foreign film renaissance, to contemporary American independent features, documentaries and foreign films. Some of the films that Milestone has distributed are by Alfred Hitchcock, Hiroshi Teshigahara, Luchino Visconti, Pier Paolo Pasolini, F.W. Murnau, Orson Welles, Mikhail Kalatozov and Luis Bunuel. Among the modern day films are works by Takeshi Kitano, Jane Campion, Hirokazu Kore-eda, Alan Berliner and Philip Haas. Lipman has restored and preserved some landmark works of independent cinema including The Times of Harvey Milk, some of Kenneth Anger's most prominent titles, and Milestone's Killer of Sheep and The Exiles. He is the winner of the National Society of Film Critics Special Film Heritage Award.