Podcasts about hitchcock truffaut

Join Ryan & I as “Hitchcock Abridged ” begins! We discuss 2015's “Hitchcock/ Truffaut”. Support The Conner & Smith Show on Patreon here: https://www.patreon.com/ConnerandSmith and follow Ryan on Letterboxd here: Letterboxd.com/ryanthedean/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/connerandsmithshow/message

One of the most influential people in film history Alfred Hitchcock...for 3 Dudes that love film this was a treat to watch and may spark a heck of a lot more Hitchcock watching in the future. --- Send in a voice message: https://podcasters.spotify.com/pod/show/threedudespod/message

It's Part II with Christian Perez as he and Randy talk about their show “The Vinyl Floor”. Christian talks of the show's conception, his growing record collection and how Randy became the cohost. Listen to The Vinyl Floor HERE! Hear Randy's band HERE! And find Christian's band HERE! Films: Farce of the Penguins (2006), Gummo (1997), Hitchcock/Truffaut (2015), Final Destination 3 (2006), Saw X (2023), Spiral (2021), Saw 3D (2010), Hoochie Daddies (Series), Mission: Impossible - Dead Reckoning Part One (2023), John Wick: Chapter 4 (2023), Barbie (2023) Hey, we're on YouTube!  Listening on an iPhone? Don't forget to rate us on iTunes!   Fill our fe-mailbag by emailing us at OverlookHour@gmail.com   Reach us on Instagram (@theoverlooktheatre) Facebook (@theoverlookhour) Twitter (@OverlookHour)

Notorious, une histoire d'amour malade pour l'un des plus beaux films du monde    Cette semaine, nous explorons Notorious d'Alfred Hitchcock, un thriller de 1946 avec Ingrid Bergman, Cary Grant et Claude Rains.   Notorious est un film où il est question de clé, de bouteille de vin et de long, très long baiser.     Notorious raconte l'histoire d'Alicia Huberman, fille d'un dignitaire allemand, interprétée par Ingrid Bergman qui va rejoindre les services d'espionnage américains pour déjouer un complot nazi au Brésil. Pour cela, elle travaille avec l'espion qui l'a recruté : TR Devlin, interprété par Cary Grant. Et ces deux-là ne vont pas tarder à tomber amoureux l'un de l'autre. Sous couvert de thriller et de film d'espionnage, Notorious est avant tout une histoire d'amour. Mais une histoire d'amour tordue, malade, pour ne pas dire malsaine comme les aime Alfred Hitchcock.  Notorious : La Suspecte Idéale     (ATTENTION CET EPISODE CONTIENT DES SPOILERS)   Notorious met en scène un triangle amoureux qui dépeint une mécanique où la femme prétendument aimée devient une martyre.  Dans Notorious, l'amour est toxique au sens premier du terme et peut mener à la mort. Alicia Huberman, jouée par Ingrid Bergman, est la cible de tous les désirs masculins mais aussi de toutes les suspicions.  Elle est la suspecte idéale, en tant qu'allemande par son père, en tant que femme et en tant qu'épouse. “- Alicia: This is a very strange love affair.   - Devlin: Why? - Alicia: Maybe the fact that you don't love me.” "Le démon de la suspicion" Le soupçon est selon la définition du dictionnaire d'Alain Rey, "une conjecture par laquelle on attribue à quelqu'un des actes blâmables, des intentions mauvaises, plus ou moins fondées"(Alain Rey, 2005).  Tout est dans le « plus ou moins fondé » La suspicion renvoie à un a priori, un savoir invérifiable et donc imparable et comme un ogre, il s'autonourrit d'une défiance sans limite.  Quoiqu'elle fasse, Alicia sera toujours suspecte.  Malgré tout son courage, toutes ses preuves d'amour, Devlin se méfiera toujours. Et il faudra que la mort la frôle littéralement pour qu'enfin il reconnaisse la sincérité d'Alicia. Dans le livre d'entretien Hitchcock/Truffaut , celui-ci dit que "La grande réussite de Notorious c'est probablement qu'il atteint au comble de la stylisation et au comble de la simplicité". En effet, Notorious, grâce àsa pureté esthétique et son romantisme pervers, continue de nous hanter bien longtemps après l'avoir visionné.    CREDITS: Extraits films: Notorious, Alfred Hitchcock, 1946 Autres extraits : Extrait d'un séminaire AFI, 1970 Extrait de l'émission The Dick Cavett Show, 1972 Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Martin Scorsese presented a documentary he directed at The 60th NYFF (New York Film Festival) called PERSONALITY CRISIS: ONE NIGHT ONLY.  The film is centered on David Johansen who's best known as a member of the seminal proto-punk band the New York Dolls.  It was co-directed by David Tedeschi (THE 50 YEAR ARGUMENT). + Bonus throwback 2020 Podcast w/ former Director of New York Film Festival -- Writer & Director, Kent Jones, who made the film DIANE 2018 (Starring Mary Kay Place & Executive Producer Martin Scorsese). It won three awards at the Tribeca Film Festival including Best Narrative Feature, Best Screenplay and Best Cinematography.  Prior to that he directed the acclaimed documentary HITCHCOCK/TRUFFAUT, and also served as Director of The New York Film Festival until 2019.

durée : 00:37:00 - Les Nuits de France Culture - En 1962, Alfred Hitchcock donnait une série d'entretiens à François Truffaut. En 1999, ces entretiens sont diffusés en 25 épisodes sur France Culture. Dans le 24ème épisode, il parle des "Oiseaux", puis dans le 25ème, et dernier épisode, Hitchcock évoque le bien, le mal, le sexe dans ses films. Hitchcock/Truffaut, ou Le Cinéma selon Alfred Hitchcock, surnommé également "le Hitchbook", est un livre de François Truffaut, paru en 1966. Ce livre est principalement constitué d'une série d'entretiens entre Alfred Hitchcock et François Truffaut qui a eu lieu en 1962 avec l'aide d'Helen Scott, une amie de Truffaut qui traduisait simultanément le dialogue entre les deux cinéastes. En 1999, Serge Toubiana et Nicolas Saada proposaient de réécouter les bandes de ces entretiens,  remontées en une série de 25 épisodes. Nous vous proposons d'écouter le début du 24ème épisode dont le thème est le film Les Oiseaux puis ensuite l'intégralité du 25ème épisode où il sera question, en particulier, de la représentation de la sexualité dans les films d'Hitchcock. En août 1962, au moment des entretiens entre François Truffaut et Alfred Hitchcock, celui-ci achevait la post-production de son 48ème film, Les Oiseaux. Le matin même du 24ème entretien Hitchcock avait montré le film, dans une version inachevée, à Truffaut. Inquiet, soucieux, attentif aux réactions de son interlocuteur, Hitchcock décrivait une expérience inédite, l'utilisation de sons électroniques qui remplaçaient la musique. Pour la première fois au cours de ces entretiens Hitchcock parlait d'une oeuvre en train de se faire et non pas achevée.  Nous avons fait des expériences avec des sons électroniques allemands quand les oiseaux attaquent à l'extérieur. (...) Quand je filmais, de manière à ce que les acteurs répondent à l'idée qu'il y avait un bruit extérieur d'oiseaux, j'avais installé un petit tambour sur le plateau connecté à un haut-parleur, ainsi, à chaque fois que les acteurs jouaient, je mettais en marche ce battement de tambour, pour que les acteurs puissent réagir à quelque chose, plutôt qu'à rien.Dans le 25ème, et dernier épisode, Alfred Hitchcock parle de la place de la sexualité dans ses films, "mon attitude à propos de montrer du sexe à l'écran ? Je pense qu'il doit y avoir du suspense, je pense que la scène ne doit pas être évidente, ne doit pas trop montrer". Hitchcock évoquait la scène de Psychose quand Janet Leigh, jouant le rôle de Marion Crane, apparaissait en soutien-gorge avec son amant, Sam Loomis interprété par John Gavin, dans une chambre à coucher :  Je ressentais le besoin de faire une scène de ce type car le public avait changé. Les scènes de baisers classiques sont méprisées par les jeunes gens. De nos jours vous devez leur donner à voir la façon dont ils se conduisent eux-mêmes. (.) En vérité, la fille n'aurait pas dû porter ce soutien-gorge.A propos de la représentation du bien et du mal au cinéma, il résumait ainsi sa façon de voir : Basically, the better the villain, the better the  film or the stronger the evil the stonger the film. (En principe, meilleur le méchant est, meilleur le film est, ou pour le dire autrement, plus le mal est puissant, plus le film est puissant). Par Serge Toubiana Réalisation : Claude Giovannetti Entretiens avec Alfred Hitchcock par François Truffaut - Entretien 24 et 25/25 (1ère diffusion : 04/11/1999 et 05/11/1999) Rédaction web : Documentation sonore de Radio France Archive Ina-Radio France

This week we're taken over by the first of 3 consecutive guest hosts, Terrell Trotty. Clark joins the show in spirit while attending a depressing college basketball game in person. After checking in with David Lynch and going over another edition of the TBR Report, engineer Randy retreads The Sparks Brothers and calls it the only good Edgar Wright film that was released this year. Oksana gets the most air-time since covering Bloody Mary films. Terrell ain't afraid of no ghosts and enjoys the latest in the Ghostbusters franchise. He also expresses concern for a scene in the original film where Dan Ackroyd receives fellatio from a ghostly figure. Russell takes an autumnal journey to Tootz Pizza with The Pizzagate Massacre.    Films: Leatherface (2017), Dexter: New Blood (TV), The Sparks Brothers (2021), The French Dispatch (2021), Ghostbusters: Afterlife (2021), The Feast (2021), A House on the Bayou (2021), The Pizzagate Massacre (2020), Kwaidan Kataribe (2014), The McPherson Tape (1989), The Road Movie (2016), Dune (2021), Hitchcock/Truffaut (2015), A Record of Sweet Murderer (2014), Noroi (2005), Ju-on: The Grudge (2002), Squid Game (TV), Annette (2021), Last Night in Soho (2021), Spencer (2021), Underwater (2020), The Canyons (2013), Under the Skin (2013), Shang-Chi and the Legend of the Ten Rings (2021), Halloween Kills (2021), Texas Chainsaw (2013), Swallow (2019), C.O.R.N. (2021), Hide and Seek (2021), Jessabelle (2014), Black Christmas (2019), Clifford the Big Red Dog (2021), Home Sweet Home Alone (2021), Ghostbusters (1984), Behind the Monsters (TV), Dexter's Laboratory (TV), The Boulet Brothers' Dragula (TV), Heavy Metal 2000 (2000)   Hey, we're on YouTube!  Listening on an iPhone? Don't forget to rate us on iTunes!   Fill our fe-mailbag by emailing us at Podcast@TheOverlookTheatre.com    Intro Music by Engineer Randy Reach us on Instagram (@theoverlooktheatre) Facebook (@theoverlookhour) Twitter (@OverlookHour)

LOST ANGELES Episode 12 features a fascinating conversation with special guest MATT SEVERSON, Director of the Academy of Motion Picture Arts & Sciences' MARGARET HERRICK LIBRARY.  LOST ANGELES host Laura Craven sits down for an exclusive interview at this world-renowned, non-circulating reference and research collection devoted to the history and development of the motion picture as an art form and an industry.  Established in 1928 and now located in Beverly Hills, the library is open to the public and used year-round by students, scholars, historians and industry professionals.  Matt and Laura get into the library's massive collection, including original scripts, drawings, sketches, interviews, objects, papers, documents and more from Hollywood's most legendary studios, films and filmmakers.  Matt also talks about how he landed his dream job there and the films that inspired him to become a reference historian for this esteemed organization.  Check out www.oscars.org/library for more information. Included at the end of the episode is an exclusive piece of audio from the library's Alfred Hitchcock Papers collection, Francois Truffaut's interview with Hitchcock, originally recorded for the classic film book Hitchcock/Truffaut.  In this segment, the two directors (and their french/english translator!) discuss some important details about “Rear Window.”  Special thanks to Matt and the Margaret Herrick Library/AMPAS for the use of this fascinating piece of film history! For an exclusive site-only "extra" go to the LOST ANGELES page on the jasoncharles.net Podcast Network Arts & Culture Channel to hear another excerpt from "Hitchcock/Truffaut" about "The Birds," courtesy of the Alfred Hitchcock Papers, Margaret Herrick Library/AMPAS.   See omnystudio.com/listener for privacy information.

Analysons le scénario du film Mary et Max (2009) : que permet et requiert l'authenticité de ses personnages ? SOURCES MENTIONNÉES DANS CE NUMÉRO : ➡ Michael Ardnt (Pandemonium) : http://www.pandemoniuminc.com/endings-video ➡ Masterclass de David Mamet : https://www.masterclass.com/classes/david-mamet-teaches-dramatic-writing ➡ Story (Robert McKee) : http://amzn.to/2snymA3 ➡ Ecriture, mémoires d'un métier (Stephen King) : https://amzn.to/3fD6OBX ➡ Le Rire (Henri Bergson) : http://amzn.to/2E3ju2G ➡ Masterclass de Charlie Kaufman aux BAFTAs : https://youtu.be/eRfXcWT_oFs ➡ Les Emotions et leurs expressions (Anna Tcherkassof) : https://amzn.to/2RNNjxq ➡ Clément Viktorovich dans Un Bon Moment : https://youtu.be/y6yC_irb6O8 ➡ Wired for Story (Lisa Cron) : https://amzn.to/3utFcDb ➡ La Dramaturgie (Yves Lavandier) : https://amzn.to/2NGttxl ➡ Telling your own Stories (Donald Davis) : https://amzn.to/3uwav07 ➡ Hitchcock Truffaut : https://amzn.to/3fywgIB ➡ On Film-Making (Alexander Mackendrick) : https://amzn.to/3vCRVVu ➡ Leçons de Cinéma (Laurent Tirard) : https://amzn.to/2R26Ut6 ➡ Une Renaissance Américaine (Michel Ciment) : https://amzn.to/34vZth8 ➡ Pourquoi y-a-t-il si peu de smartphones dans les films populaires ? (Nerdwriter1) : https://youtu.be/PCWg6KJgjeI ➡ La porno-misère (Videodrome) : https://youtu.be/Lorwo4nDPos ➡ Story - Ecrire des dialogues pour la scène et l'écran (Robert McKee) : https://amzn.to/34xwo4G ➡ Entretiens sur le Cinématographe (Jean Cocteau) : https://amzn.to/2TwCDUp ➡ Evaluer un Scenario (Yves Lavandier) : https://amzn.to/3vLXSQl ➡ L'Ecriture de Scenarios (Jean-Marie Roth) : https://amzn.to/2SE1Gip VERSION RETRANSCRITE DE CE NUMÉRO : ➡ https://bit.ly/3uHEcf7 LE FILM MARY ET MAX : ➡ BLURAY : https://amzn.to/3p4BYF3 ➡ DVD : https://amzn.to/3uA5kfV S'ABONNER AU PODCAST : ➡ Apple Podcasts : https://itunes.apple.com/fr/podcast/comment-cest-racont%C3%A9/id1289058024?l=fr ➡ Spotify : https://open.spotify.com/show/5xwhFW5X3MatC15rvNoibd ➡ YouTube : https://goo.gl/vWg5VP ➡ RSS : http://feeds.soundcloud.com/users/soundcloud:users:325404655/sounds.rss SUIVRE LE PODCAST : ➡ Site web : http://ccrpodcast.fr ➡ Instagram : https://instagram.com/commentcestraconte/ ➡ Facebook : https://facebook.com/commentcestraconte/ ➡ Twitter : https://twitter.com/Baptiste_Rmbd ➡ SensCritique : https://senscritique.com/serie/Comment_c_est_raconte/27787059 ➡ Medium : https://medium.com/comment-cest-racont%C3%A9 Habillage musical par RÉMI LESUEUR : ➡ https://soundcloud.com/remilesueur AVIS : MES LIVRES PRÉFÉRÉS SUR L'ÉCRITURE DE SCÉNARIOS : ➡ https://goo.gl/mouqJQ

Among those of us who watch cable television, everyone’s favorite copywriter bad boy is Don Draper of the show ‘Mad Men.’ Along with his secretary who became a copywriter, Peggy Olson, Don Draper is the reason this is the first edition of the Fictional Old Masters Series. Yes, they are fictional characters. But a lot of factual research went into creating these characters, And I was able to pluck out a few gems from the hours and hours of dialogue they spoke on the show. My goal today is to make this useful as well as maybe a little entertaining. So to talk about ‘Mad Men,’ we really have to begin with Matt Weiner. The show was his brainchild. Now Weiner was not an ad man, much less a Mad Man. In fact, he was a cable TV drama writer. He wrote the pilot for ‘Mad Men,’ on spec, in 1999. David Chase, who was doing ‘The Sopranos’ for HBO at the time, was so impressed with the script that he hired Weiner to write and executive produce that show. Weiner joined ‘The Sopranos’ team and had a lot of success. Eight years later, in 2007, Weiner got his show with ‘Mad Men.’ The first episode launched six weeks after the last episode of ‘The Sopranos,’ but on a different cable network, AMC. ‘Mad Men’ won tons of awards, and continued to 2015. I bring up all this history because it leads to an important question: Consider it was fiction, how authentic was Mad Men, compared to real Madison Avenue advertising? To answer that question, let’s turn to the acclaimed high-drama film producer Alfred Hitchcock. Weiner has said that Hitchcock was a major influence on him. And Hitchcock was a much stronger believer in facts that most people would expect. In the 1967 book ‘Hitchcock/Truffaut,’ Hitchcock muses, “What is drama, after all, but life with the dull bits cut out.” So he was pretty much saying drama should be close to real life. But not like real life, because drama should never be boring. And Weiner seems to have adopted that attitude. The scenes from ‘Mad Men’ were artistically enhanced, for sure, but they weren’t from a different universe than the one we live in. Weiner did a lot of research, and he acknowledged in interviews that the character Don Draper was based in part on the famous Chicago copywriter Draper Daniels. Here’s something Draper Daniels wrote: NOW… AT LAST… THE NEW AMAZING Gem of genius slowly blazing. The one man who, without a doubt Knows what this business is about. The man who screams, when words are changed, That all the changers are deranged. Still, were he quieter or politer, He wouldn’t be a copywriter. So, finally, before we dive into the takeaways, let me introduce you to our two Fictional Old Masters. Don Draper begins the show as a creative director and junior partner of a Madison Avenue ad agency in New York. He’s a hard drinker and a chain smoker. He has some deep secrets in his past and he has a lot of sex partners besides his wife. Not what you would call a boy scout, back in the day. He was also what we call a genius copywriter. He had an uncanny knack for coming up with really good advertising ideas. We’ll be focusing more on his copywriter chops and less on his lifestyle. Peggy Olson started out as Draper’s secretary and moved up to becoming a copywriter, where she got her own office with a door that closed. It may sound trite now. But I worked in a big Rockefeller Center building in New York very close to the fictional Mad Men office, and I had an office with a door that closed. Some of the other writers I worked with didn’t. Not only was it status, but it made a huge difference when you needed to concentrate and write something. Draper was always pushing Peggy to be better. For as broken a man as he was, in that era, his behavior would be called “supportive,” at times. When he switched agencies, he asked her to go with him. In her character in the show, you can see how difficult it was for women at the time, but even so, how it was possible to grow and succeed. In the show, we then proceed to the five takeaways.Download.

En el episodio de hoy hablamos de la nueva adaptación de MORTAL KOMBAT (2021). Increíble, pero si, estrenó. También hablamos de películas como SAINT MAUD (2019), una de terror traída por, obviamente, el aprendiz del terror, Elías Velásquez. Después Cali nos trajo su recomendación netflixeana semanal, esta vez con un estreno sci-fi recién salido del horno llamado STOWAWAY (2021) que le voló la cabeza y nos cuenta por qué deberíamos verla. Finalmente Nico nos trae, con un poco de trampa, el documental HITCHCOCK/TRUFFAUT (2015), donde hablan del célebre libro escrito en los 60 que analizó la filmografía completa de Hitchcock y encima nos contó que onda eso del cine. En el segundo bloque, aprovechamos el estreno de la película de la semana para que cada uno traiga un videojuego para adaptar al cine. 3 propuestas distintas. 1 solo ganador.

Con Antonio Banderas como arqueólogo aficionado llega "Altamira". También "Orgullo + prejuicio + zombis"; el humor de "Hermanísimas" con Amy Poehler y Tina Fey; "Madame Marguerite"; "Iparraldeko Norman" y "Hitchcock Truffaut".

Con Antonio Banderas como arqueólogo aficionado llega "Altamira". También "Orgullo + prejuicio + zombis"; el humor de "Hermanísimas" con Amy Poehler y Tina Fey; "Madame Marguerite"; "Iparraldeko Norman" y "Hitchcock Truffaut".

As one of Hitchcock's most iconic films, and perhaps the most definitive take on his favorite "Wrong Man" narrative theme, North by Northwest perseveres as an influential titan of globe-trotting adventure thriller. Bearing all the hallmarks of the famed Master of Suspense's signature style, Cary Grant is bounced from one luxurious locale to another, mistaken as an international spy and on the run for his life soon after threatened by the menacing James Mason. Traversing from train cars to hotel rooms, from the grandeur of the United Nations building to the titanic emblems of Americana in the visages of Mount Rushmore, North by Northwest is truly Hitchcock's most epic endeavor. It's packed with his usual brand of suspenseful spectacle, and loaded with the kind of rhetorical comedy he most preferred. With the indelible talents of Grant carrying us from place to place, soaring on the back of a triumphant Bernard Herrmann score, North by Northwest is a quintessential classic from Hitchcock's oeuvre that stands the test of time and continues to grip and entertain us through all the years and endless indulgent rewatches. Timestamps: 0:00: Intro 2:38: SXSW 12:43: Atlanta (2016-Present) 17:04: Zack Snyder’s Justice League 26:26: Hitchcock/Truffaut (2015) 30:02: North by Northwest

Sevin Okyay bugün gerilim ustası Alfred Hitchcock hakkındaki iki belgeseli anlatıyor: Psycho filmi hakkındaki "78/52" ile 2015 yapımı "Hitchcock ve Truffaut". Hitchcock'un üslubu, Psycho'nun efsanevi duş sahnesinin dünya sinemasında yarattığı etki, kendisi için yazdığı roller, hiç Oscar almayışı ama şövalye unvanı verilmesi… İyi dinlemeler

Sevin Okyay bugün gerilim ustası Alfred Hitchcock hakkındaki iki belgeseli anlatıyor: Psycho filmi hakkındaki "78/52" ile 2015 yapımı "Hitchcock ve Truffaut". Hitchcock'un üslubu, Psycho'nun efsanevi duş sahnesinin dünya sinemasında yarattığı etki, kendisi için yazdığı roller, hiç Oscar almayışı ama şövalye unvanı verilmesi… İyi dinlemeler (Yayın tarihi 24 Ocak 2021)

Episode 102 - Hitchcock and Directing ActorsToday way briefly discuss a soundbite from the documentary Hitchcock Truffaut. We also talk about directing actors, improvisation, and blocking.LINKSHere's the trailer for 'What We Don't Say' : https://www.youtube.com/watch?v=YMyyahzziVo&t=1sFollow us on the socials! Or check out any of our many links!https://www.instagram.com/matt_ralston_film/https://www.instagram.com/latif_8/https://twitter.com/FilmCraftPodcasthttps://www.facebook.com/whatwedontsaymovie/https://www.youtube.com/watch?v=rrnCW... See acast.com/privacy for privacy and opt-out information.

Leonardo Curcino e Pedro Xudre recomendam livros para quem quer estudar cinema. 50 anos: Luz, câmera e ação por Edgar Peixoto de Moura https://www.amazon.com.br/50-anos-Luz-câmera-ação-ebook/dp/B07G4N2ZLX/ Revolução do Cinema Novo por Glauber Rocha https://www.amazon.com.br/Revolução-Cinema-Novo-Coleção-Glauberiana/dp/8575033794 Cinema. Direção de Atores por Carlos Gerbase https://www.amazon.com.br/Cinema-Direção-Atores-Carlos-Gerbase/dp/8574211028 Como a geração sexo drogas e rock n roll salvou Hollywood por Peter Biskind https://www.amazon.com.br/Como-geração-drogas-salvou-Hollywood-ebook/dp/B00C314O3S/ Conversas Com Kubrick por Michel Ciment https://www.amazon.com.br/Conversas-Com-Kubrick-Michel-Ciment/dp/8540505673 Conversas com Scorsese por Richard Schickel https://www.amazon.com.br/Conversas-com-Scorsese-Coleção-Internacional/dp/8540500175 Conversas com Woody Allen por Eric Lax https://www.amazon.com.br/Conversas-com-Woody-Allen-Eric/dp/8575038370 Da criação ao roteiro por Doc Comparato https://www.amazon.com.br/Criação-ao-Roteiro-Doc-Comparato/dp/8532305407 Hitchcock / Truffaut : entrevistas por François Truffaut e Helen Scott com tradução de Rosa Freire Aguiar https://www.amazon.com.br/Hitchcock-Truffaut-entrevistas-François/dp/8535905294 Manual de animação por Richard Williams https://www.amazon.com.br/Animação-Princípios-Fórmulas-Animadores-Clássicos/dp/8539610507 Master Shots Volumes 1, 2 e 3 por Christopher Kenworthy https://www.amazon.com.br/Master-Shots-Vol-2nd-Techniques/dp/1615930876 https://www.amazon.com.br/Master-Shots-Shoot-Dialogue-Scenes/dp/1615930558 https://www.amazon.com.br/Master-Shots-Directors-Vision-Breakthrough/dp/1615931546 Meu Ultimo Suspiro por Luis Bunuel https://www.amazon.com.br/Meu-Ultimo-Suspiro-Coleção-Internacional/dp/8575038451 Moviemakers' Master Class: Private Lessons from the World's Foremost Directors por Laurent Tirard https://www.amazon.com.br/Moviemakers-Master-Class-Foremost-Directors/dp/057121102X/ O Clube do Filme por David Gilmour https://www.amazon.com.br/Clube-do-Filme-David-Gilmour/dp/8598078433/ O Herói de Mil Faces por Joseph Campbell https://www.amazon.com.br/Herói-Mil-Faces-Joseph-Campbell/dp/8531502942 Quentin Tarantino. Arquivos De Um Fanático Por Cinema por Paul A. Woods e Santiago Nazarian https://www.amazon.com.br/Quentin-Tarantino-Arquivos-Fanático-Cinema/dp/8580444578 Save the Cat!: The Last Book on Screenwriting You'll Ever Need por Blake Snyder https://www.amazon.com.br/Save-Cat-Last-Screenwriting-Youll/dp/1932907009/ Story: substância, estrutura, estilo e os princípios da escrita de roteiro por Robert Mckee https://www.amazon.com.br/Substância-Estrutura-Princípios-Escrita-Roteiro/dp/8560499008 This podcast is powered by Pinecast.

Bill speaks to writer, filmmaker, and New York Film Festival director Kent Jones. They discuss his path from writing film reviews as a teenager to directing the new film DIANE. Topics include: William Wyler, collaborating with Martin Scorsese on documentaries like MY VOYAGE TO ITALY and A LETTER TO ELIA, programming at venues like Film Forum and Film Society Of Lincoln Center, moderating Q & As, Jean-Luc Godard, Netflix, John Ford, Elia Kazan, Manny Farber, ZODIAC, New Video, Monte Hellman and the importance of costume designers.  Visit IFC Films site for DIANE: http://www.ifcfilms.com/films/diane Read Kent Jones at Criterion.com: https://www.criterion.com/current/author/81-kent-jones Read Kent Jones’ essay “Intolerance”: https://www.filmcomment.com/article/intolerance-quentin-tarantino-john-ford/ Read Kent Jones in Film Comment: https://www.filmcomment.com/author/kent-jones/ Watch Noah Baumbach interview Kent Jones about HITCHCOCK/TRUFFAUT: https://www.youtube.com/watch?v=A6o8uZPYuXc&fbclid Hear Kent Jones on The Cinephiliacs: http://www.thecinephiliacs.net/2014/02/episode-33-kent-jones-spawn-of-north.html Buy Physical Evidence by Kent Jones: https://www.amazon.com/Physical-Evidence-Selected-Criticism-Wesleyan/dp/0819568449 Attend the Kent Jones Dream Double Feature at Metrograph – 3/23 http://metrograph.com/series/series/214/kent-joness-dream-double-feature

This week we're talking Kanopy, Hitchcock/Truffaut, Civilizations, and Frozen Hell. Show music by Reed Love and OGRE. Support the show!

In a new episode of Kinotes, we explore the music of the “Master of Suspense”, Alfred Hitchcock, in part one of a two-part series entitled “Hitchcock: The Music of Suspense, Obsession, & Murder". There’s been so much discussion about Hitchcock’s use of visuals in the movies, but less so his soundtracks. In this first part, we’ll talk about Hitchcock’s use of music before his collaboration with Bernard Herrmann (with one exception), beginning with his first sound film BLACKMAIL and including films like THE MAN WHO KNEW TOO MUCH, REBECCA, SUSPICION, SHADOW OF A DOUBT, SPELLBOUND, NOTORIOUS, ROPE, STRANGERS ON A TRAIN, REAR WINDOW, and many others. We’ll talk about his early sound and music innovations, his constant return to the waltz as a musical form, his technique of threading a song throughout a story, and his collaboration with a variety of accomplished composers including Franz Waxman, Dimitri Tiomkin, and Miklos Rozsa. Show Notes: 0:00:00 - Introduction 0:02:36 - Advent of Talkies: BLACKMAIL, MURDER, JUNO & THE PAYCOCK 0:21:00 - The Waltz & Development of a Song: WALTZES FROM VIENNA, REAR WINDOW 0:26:48 - Public Performance, Music for Life and Death: THE MAN WHO KNEW TOO MUCH ('34 & '56), SECRET AGENT 0:40:58 - Earworms: THE 39 STEPS & THE LADY VANISHES 0:48:14 - Musical Performances & Guilt: YOUNG & INNOCENT, ROPE, STAGEFRIGHT 0:55:43 - Waxman's Seductive Feminine Themes: REBECCA, THE PARADINE CASE, BRIDE OF FRANKENSTEIN, SUNSET BLVD 01:06:04 - Piano Symbolism: PARADINE CASE, WESTWORLD, SABOTEUR 01:09:00 - Themes for Villains: SUSPICION, SHADOW OF A DOUBT, & STRANGERS ON A TRAIN 01:21:08 - Ticking Tiomkin: HIGH NOON, DIAL M FOR MURDER, Boris Gudonov 1:24:56 - The Two Sides of Love: SPELLBOUND, NOTORIOUS 1:32:30 - Outro / Sources / Social Media / Suite from REBECCA Please subscribe, rate, review and/or leave a comment on iTunes. For other queries, email us at kinotes.podcast@gmail.com. We’re also on Twitter: @kinotespodcast and @nicknylen (my personal handle). All episodes are written and produced by Nick Nylen. Sources: * Books: HITCHCOCK’S MUSIC by Jack Sullivan, SILENT SCREAM: ALFRED HITCHCOCK’S SOUNDTRACK By Elisabeth Weis, A HEART AT FIRE’S CENTER: THE LIFE AND MUSIC OF BERNARD HERRMANN by Stephen C. Smith, and HITCHCOCK/TRUFFAUT by Francois Truffaut. * Film commentary from the PARADINE CASE Blu-ra by Stephen Rebello and Bill Krohn. * The documentary film, HITCHCOCK/TRUFFAUT about the conception of the book of the same name. * If you liked this podcast, I have a few other deep dives on music in specific Hitchcock films to recommend: “Settling the Score’s” episodes on VERTIGO and PSYCHO, “Underscore”’s episodes on VERTIGO and on Bernard Herrmann, and “The Soundtrack Show’s” episode on PSYCHO.

Movie Meltdown - Episode 439 (For our Patreon supporters.) This week we sit down and talk... about many, many things. Even some movies. And while we pin down exactly what meta-pandering means, we also discuss... The Sonora Pine, Ursula K. Le Guin, Ready Player One, Silence, weird Technicolor psychosis, once the Slint is in your system, hyper science, Superman mentality, the motionless picture, everyone was turning into Larry King, every other one... we know the rule, the American business, Martin Scorsese, adjusting stories, on the edge of town, Mark Hamill, Super 8, serialized storytelling, weird fetishization with our own social circle, we go home after popcorn, the sounds that kind of happen in your soul on those really dark nights, don't worry... I'm wearing a mask and gloves, Rian Johnson, Dickens novels, I don't know what winning looks like for our heroes, Star Trek culture, fanfiction, nothing but pop culture references, smart people from other countries want to come here, undercooked characters, Hitchcock/Truffaut, aww man... do I have to defeat the dark lord, Horatio Hornblower, pop culture looking at pop culture, growing up in the post-George Lucas world, the vault that may not have anything in it, finding Luke Skywalker and getting Capt. Kirk back in charge of the Enterprise, a new sonic territory, the biggest fluff for me, J.J. Abrams, villain-verse, the prequels, Steven Spielberg, colonialist viewpoint, worthy of literary endeavor and being hopped up on Lucozade and Jaffa Cakes.   "Speaking as a man for whom, like half of my friends are imaginary and the other half are on podcasts... yours is one of my favorite."   Go to: https://www.patreon.com/moviemeltdown and support the show!  

One of James's favorite books of 2018 inspires one of his favorite conversations. Jon Pineda, author of LET'S NO ONE GET HURT, joins the show to talk about being worried for your characters, maintaining a sense of wonder, fooling yourself into writing, inventing the Voltron of fathers, becoming a cobbler (!) and living a life with fewer disclaimers. Plus, Miciah Bay Gault chats about HUNGER MOUNTAIN and the MFA in publishing and writing at Vermont College of Fine Arts.  - Jon Pineda: http://www.jonpineda.com/ Jon and James discuss: HITCHCOCK/TRUFFAUT dir by Kent Jones  HITCHCOCK by Francois Truffaut  NORTH BY NORTHWEST dir by Alfred Hitchcock Voltron  The Incredible Hulk  WE THE ANIMALS by Justin Torres  Marilynne Robinson  JESUS' SON by Denis Johnson  GIOVANNI'S ROOM by James Baldwin  IF THE SKY FALLS by Nicholas Montemarano THE LOVER by Marguerite Duras  Amy Hempel  ANGEL HEAD: A MEMOIR by Greg Bottoms  HELL AT THE BREECH by Tom Franklin  -  Miciah Bay Gault: https://vcfa.edu/ http://hungermtn.org/   Miciah and James discuss: Vermont College of Fine Arts Emerson College  Syracuse University  Melissa Febos  Donika Kelly  EPHEMERAL ARTERY  - http://tkpod.com / tkwithjs@gmail.com / Twitter: @JamesScottTK Instagram: tkwithjs / Facebook: https://www.facebook.com/tkwithjs/

In which Thom Bowers and Travis J Coleman meet in the meatspace to swap real life stories of music and moving, discuss a bunch of summer movie fare, and say goodbye to Mssrs Heard, Landau, and Romero.  TRAV's Watch Purging: Baby Driver, The Mummy, Cars 3, Rough Night, Spider-Man Homecoming, Hitchcock/Truffaut, The Take, Hawiaii 5-0, CSI Miami Season 3 Got a question for the SER FAQ?  Thom on Facebook  Thom on Twitter  Travis on Facebook E-mail: superenthusiastradio@gmail.com Subscribe via iTunes

In this episode we discuss the big Hollywood documentaries, like Patriots Day, United 93, 13 hours and the many others. We discuss if they should be made and who should be involved.      Intro 1'30 Wonder Woman Hype 4' Rotten Tomatoe's Influence 8'30 The Witch 10' Cabin in the Woods 11'30 Alien: Covenant/Box Office 13' Baywatch 16'30 The Seven Five 19'30 Serpico 20'30 Heat new transfer 22' Hitchcock/Truffaut 23' Rope Pros and Cons 26' Birdman 27' More Rope talk 30' The Invitation comparison 33' Hitchcock critical of himself 35' Hitchcock Bluray releases coming 35'30 The Changeling 37'30 The Monster Squad 40' Documetary Blockbusters 41' United 93 45' Concerns about sensationalism/Patriot's Day 49' 13 Hours 50' Should Victim's Families have input

It’s where it’s at! Steve Cavanagh and Luca Veste present a brand new podcast for readers and writers which will bring you the latest news in the book world, interviews with the best writers, agents, publicists, editors, and literary agents in the business. Also, each week we'll hear from some of the best book reviewers around, who'll give us their reads of the week. This week Steve and Luca discuss an article examining the use of the word “girl” in book titles, the Collins dictionary words of 2016, Donald Trump, and more. Noelle Holton of Crimebookjunkie fame gives this week’s recommendations including I Know Your Secret by Graham Smith, and Exclusion Zone by JM Hewitt. Sunday Times Bestselling author and all round legend Craig Robertson is the star this week. He chats to Steve and Luca about Murderabalia, his brand new thriller, and gives us an intriguing insight into his past as a journalist. This is a fantastic interview which swings from laugh-out-loud stuff to quiet moments of real emotion. Steve and Luca’s recommendations this week are Hitchcock/Truffaut, and Story Of Your Life by Ted Chiang. Stay tuned to the end for an Inspector Mallard update. Credits. Produced by: Twenty Inches of Monkey Productions. Original Music by: Stuart Neville

¡Bienvenidos al cuarto programa de nuestra sexta temporada (o el 193 contando todos)! ¡Hola amiguitos! Esta semana tenemos series hasta en la cocina, con muchas cosas variadas que nos han llamado la atención, histórico, surrealista, apetitoso, cómico, didáctico... Para todos los gustos. Este es el menú, ¡a ver si os gusta! Si queréis saltaros alguna o ir a otra directamente, aquí os dejamos los tiempos para que podáis escuchar fácilmente lo que más os interese: 00'34 PRESENTACIÓN 02'05 SEMANA EN SERIE: 03'18 - Good Girls Revolt, 1x01-1x02 [Amazon]. 24'19 - Atlanta, s01 [FX]. 53'14 CATA DE PELIS: 54'06 - Hitchcock/Truffaut [2015]. 1:01'03 A LA COCINA: 1:02'19 - Midnight Diner: Tokyo Stories, 1x01-1x04 [Netflix]. 1:14'39 SOBREMESA 1:36'13 DISCLAIMER Puedes comentar libremente detalles de las tramas de las series o películas de las que hablamos, escribiendo entre las etiquetas de spoiler el texto que queráis ocultar, tal como muestra la imagen: Nos puedes escuchar (y dejar reseñas) en iVoox, en iTunes y en Spreaker. Déjanos tus mensajes para La sobremesa en Twitter, Facebook e Instagram o mándanos un Email. La música de nuestras cortinillas la hemos sacado de Jamendo y los temas son, por orden de aparición: Mai en l'oblit (Clepton/Seguint el joc), FunkyYeahYeah (Rod/You Are The One), Not in service (Freeze/Freeze - Volume 2), VoxyClavi (Rod/Yoy Are The One) y À la légère (Chriss Onac/Resonance).  

From the latest news and reviews to undiscovered gems – Join Duncan Eastwood & Simon Lambert as they discuss everything they love and hate about cinema. Episode 57: October 2016 In which your hosts focus on the Master of Suspense with the meeting of two cinema giants in the latest doco ‘Hitchcock/Truffaut’, peep at the Top 5 Hitchcock […]

We do our own stunts with Skiptrace and discuss Weiner, Hitchcock/Truffaut, House on Haunted Hill, Pete's Dragon and Beauty and the Beast. 0:00 – Intro 11:20 – Review: Skiptrace 40:35 – Other Stuff We Watched: Pete's Dragon (2016), Hitchcock/Truffaut, Weiner, Beauty and the Beast (1946), Better Late Than Never, Microwave Massacre, House on Haunted Hill (1959) 58:35 – Junk Mail: Movies That Make You Cry, Ghost Dog + Leon: The Professional + Matt Damon v Mark Wahlberg, Christoph Waltz's Samsung Ad, The Boardroom + Favourite Celebrity Apprentice Moments, The Lack of 6/5s in 2016 1:25:10 – This Week on DVD and Blu-ray / Outro

We do our own stunts with Skiptrace and discuss Weiner, Hitchcock/Truffaut, House on Haunted Hill, Pete's Dragon and Beauty and the Beast. 0:00 – Intro 11:20 – Review: Skiptrace 40:35 – Other Stuff We Watched: Pete's Dragon (2016), Hitchcock/Truffaut, Weiner, Beauty and the Beast (1946), Better Late Than Never, Microwave Massacre, House on Haunted Hill (1959) 58:35 – Junk Mail: Movies That Make You Cry, Ghost Dog + Leon: The Professional + Matt Damon v Mark Wahlberg, Christoph Waltz's Samsung Ad, The Boardroom + Favourite Celebrity Apprentice Moments, The Lack of 6/5s in 2016 1:25:10 – This Week on DVD and Blu-ray / Outro

On Hot Date 35, Dan and Vicky discuss 1994's White, the middle film in the Three Colors trilogy from late Polish director Krzysztof Kieślowski.  Zbigniew Zamachowski plays a man shunned by his spouse (Julie Delpy), adrift in his adopted country of Paris and longing for a return to his Polish homeland.  When a chance encounter leads him back to Poland, he uses the opportunity to exact an insidious revenge on his estranged wife.   Dan talks about his recent stay in Maryland, his upcoming show at BAM and recent watches like 1984's RepoMan, the HBO doc Hitchcock/Truffaut, the new film Lights Out, Bryan Cranston's Trumbo and the awful Boy Next Door.  Vicky reports back on Suicide Squad, Sausage Party, Ben-Hur, the Netflix series Stranger Things, older films Magnificent Seven and The Misfits and her run in with Madonna! You'll also hear the pop music of February 1994, a little Hakuna Matata, and learn how Vicky feels about the Hamilton soundtrack.  And be warned, there will be SPOILERS for the film.   Take a listen to Hot Date 35 and leave us some feedback on iTunes or Facebook.  

The Movie Geeks review a slew of new releases including Hell or High Water, Don't Breathe, Southside With You, Florence Foster Jenkins, Sausage Party and Hitchcock/Truffaut.

The Movie Geeks review a slew of new releases including Hell or High Water, Don't Breathe, Southside With You, Florence Foster Jenkins, Sausage Party and Hitchcock/Truffaut. Support this podcast

Como parte de su celebración de 50 años Alianza Editorial re-editó el libro El cine según Hitchcock, obra de François Truffaut y producto de sus 50 horas de entrevistas con el director de Psicosis. En este episodio Erick Estrada y Saraí Campech invitaron a Norma Bautista a hablar de este libro y a compararlo con el documental que sobre él hizo Kent Jones: Hitchcock-Truffaut. Learn more about your ad choices. Visit megaphone.fm/adchoices

Como parte de su celebración de 50 años Alianza Editorial re-editó el libro El cine según Hitchcock, obra de François Truffaut y producto de sus 50 horas de entrevistas con el director de Psicosis. En este episodio Erick Estrada y Saraí Campech invitaron a Norma Bautista a hablar de este libro y a compararlo con el documental que sobre él hizo Kent Jones: Hitchcock-Truffaut.

The 1966 book Hitchcock/Truffaut was as intriguing and exciting a read as its title suggested. Based on Francois Truffaut's 8-day interview with Alfred Hitchcock, it offered readers the chance to feel like a fly on the wall for the meeting of two of the most avant-garde film directors of the decade. At the time of their meeting at Hitchcock's Universal Studios office in 1962, the British auteur had recently released his fortieth feature, the hugely successful Psycho, while the young man from across the chanel had completed his directorial debut, The 400 blows, only 3 years ago. Hitchcock was arguably more open and generous with Truffaut than he was with any of his press interviewers, which was surely a testament to the depth of their shared love and understanding of the art form they were both dedicating their lives to. Present day filmmaker Kent Jones is evidently on this same level of cinematic appreciation. His documentary, which shares the same title as Truffaut's book, is much more than just a companion piece. This is partly because it is one thing to read a transcript of this mysterious conversation, but it is quite another thing to hear a recording of the exchange, to absorb the nuances of the interaction that took place through a French-English interpreter. This coupled with the pictures that were taken from the meeting almost make you feel that you are in that office with them. More importantly though, Jones has invited some of the most interesting, influential working filmmakers of the day to discuss how the “Master of Suspense" has inspired them and what they have admired most about his work. Bringing on board the likes of David Fincher, Wes Anderson, Richard Linklater and Martin Scorsese is no small feat. It is unfortunately a very homogeneous group, an all-white, all-male ensemble cast, sometimes saying very similar things. The lack of diversity is certainly felt strongly towards the end, when the conversation turns towards Psycho and Vertigo. As interesting and insightful as these men are, there are some perspectives they simply don't have. French director Olivier Assayas has plenty to say about the New Wave cinema of Truffaut's time, Scorsese is the ideal person to comment on on the history of the crime genre and on the nature of a directing career that spans several decades, but no one seems very well equipped to discuss the characters played by Janet Leigh or Kim Novak. It feels very strange for there to be no thorough discussion of the director's trademark casting of blonde actresses in roles that were much more femme fatale than ingenue. When it comes to Vertigo, the interviewees excel at describing how it harks back to the pure cinema of the silent era and how its impact extends far beyond its mediocre opening weekend, but their examination of the lead female is very a much a male perspective on Hitchcock's male perspective on the Jimmy Stewart character's male perspective of her character. An informed critique of the Hitchcockian blondes should really be sitting alongside this documentary's great sections on the man's famous fear of police and his often quoted belief that "actors are cattle." This documentary is excellent at providing the context surrounding this statement and the background to that very recurrent theme of false criminal suspicion. Cinema Nova will be screening Hitchcock/Truffaut from July 14, a week before the beginning of their upcoming festival featuring most of the highlights from Hitchcock's filmography. It will be opening with the 1954 drawing room thriller Dial M For Murder, in 3D funnily enough. When this little tidbit was announced at the critics screening I attended, the fellow next to me cried "oh Fuck off!" I wonder if that was Hitchcock's response when Warner Brothers told him to shoot it in 3D, or when he found out that they actually released it that way, or even when they asked him to make it. This wasn't a project he chose, he was under contract, and indeed, it is difficult to imagine him choosing this one for himself, despite it having the word "murder" in the title. Hitchcock/Truffaut purported that you could watch any Hitchcock film with the sound on mute and still understand 90% of what was happening. This film might just be the exception to that rule. It's definitely one of the most dialogue-heavy and dialogue-driven films that he made, with suitable theatrical performances from every member of the cast. It was quite obviously an adaptation of a play, in this case written by Frederick Knott. It follows the diabolical plot of a jealous husband (Ray Milland) to murder his wealthy adulterous wife (Grace Kelly) in order to get her money, a plan that of course goes terribly wrong. As tends to happen with plays, this one takes place almost entirely in one room, inside the couple's apartment. However, rather than being restricted creatively by the setting, Hitchcock of course knew how to work with this claustrophobia rather than against it in this very different medium. This film is also a prime example of another of his great skills that the documentary points out, his knowledge of when to draw out a moment that would normally fly by an instant, and when to contract an event we are used to seeing being played long. A devastating murder trial is one such moment, naturally because it is this film's centrepiece of the staple false conviction theme, the perfect opportunity to fully demonise the character of Chief Inspector Hubbard (John Williams), before it is shown that me might not actually be all that bad as far as policemen in Hitchcock films go. The conviction scene appears more like a psychedelic dream than a reality. As such it is one of the few dated parts of this now 62 year old film. As is also observed in the documentary, his films really haven't dated at all since they're very much human stories that aren't focused on any particular time period. Meanwhile, the scene of the pivotal telephone call of the title is markedly extended, to the point where we even see the lines being connected in the control room. The murder scene that immediately follows is naturally of the high standard that you would expect from this director, and was clearly the scene that was most important to him. However, the rest of the film is also well-paced and absolutely engrossing, even as Knott's writing becomes more gleefully convoluted by the second. This detailed documentary and uproarious crime thriller are both perfect for whetting your appetite before seeing North by Northwest, Strangers on a Train, Rear Window and all the others on the big screen. Review written by Christian TsoutsouvasSee omnystudio.com/listener for privacy information.

The 1966 book Hitchcock/Truffaut was as intriguing and exciting a read as its title suggested. Based on Francois Truffaut's 8-day interview with Alfred Hitchcock, it offered readers the chance to feel like a fly on the wall for the meeting of two of the most avant-garde film directors of the decade. At the time of their meeting at Hitchcock's Universal Studios office in 1962, the British auteur had recently released his fortieth feature, the hugely successful Psycho, while the young man from across the chanel had completed his directorial debut, The 400 blows, only 3 years ago. Hitchcock was arguably more open and generous with Truffaut than he was with any of his press interviewers, which was surely a testament to the depth of their shared love and understanding of the art form they were both dedicating their lives to. Present day filmmaker Kent Jones is evidently on this same level of cinematic appreciation. His documentary, which shares the same title as Truffaut's book, is much more than just a companion piece. This is partly because it is one thing to read a transcript of this mysterious conversation, but it is quite another thing to hear a recording of the exchange, to absorb the nuances of the interaction that took place through a French-English interpreter. This coupled with the pictures that were taken from the meeting almost make you feel that you are in that office with them. More importantly though, Jones has invited some of the most interesting, influential working filmmakers of the day to discuss how the “Master of Suspense" has inspired them and what they have admired most about his work. Bringing on board the likes of David Fincher, Wes Anderson, Richard Linklater and Martin Scorsese is no small feat. It is unfortunately a very homogeneous group, an all-white, all-male ensemble cast, sometimes saying very similar things. The lack of diversity is certainly felt strongly towards the end, when the conversation turns towards Psycho and Vertigo. As interesting and insightful as these men are, there are some perspectives they simply don't have. French director Olivier Assayas has plenty to say about the New Wave cinema of Truffaut's time, Scorsese is the ideal person to comment on on the history of the crime genre and on the nature of a directing career that spans several decades, but no one seems very well equipped to discuss the characters played by Janet Leigh or Kim Novak. It feels very strange for there to be no thorough discussion of the director's trademark casting of blonde actresses in roles that were much more femme fatale than ingenue. When it comes to Vertigo, the interviewees excel at describing how it harks back to the pure cinema of the silent era and how its impact extends far beyond its mediocre opening weekend, but their examination of the lead female is very a much a male perspective on Hitchcock's male perspective on the Jimmy Stewart character's male perspective of her character. An informed critique of the Hitchcockian blondes should really be sitting alongside this documentary's great sections on the man's famous fear of police and his often quoted belief that "actors are cattle." This documentary is excellent at providing the context surrounding this statement and the background to that very recurrent theme of false criminal suspicion. Cinema Nova will be screening Hitchcock/Truffaut from July 14, a week before the beginning of their upcoming festival featuring most of the highlights from Hitchcock's filmography. It will be opening with the 1954 drawing room thriller Dial M For Murder, in 3D funnily enough. When this little tidbit was announced at the critics screening I attended, the fellow next to me cried "oh Fuck off!" I wonder if that was Hitchcock's response when Warner Brothers told him to shoot it in 3D, or when he found out that they actually released it that way, or even when they asked him to make it. This wasn't a project he chose, he was under contract, and indeed, it is difficult to imagine him choosing this one for himself, despite it having the word "murder" in the title. Hitchcock/Truffaut purported that you could watch any Hitchcock film with the sound on mute and still understand 90% of what was happening. This film might just be the exception to that rule. It's definitely one of the most dialogue-heavy and dialogue-driven films that he made, with suitable theatrical performances from every member of the cast. It was quite obviously an adaptation of a play, in this case written by Frederick Knott. It follows the diabolical plot of a jealous husband (Ray Milland) to murder his wealthy adulterous wife (Grace Kelly) in order to get her money, a plan that of course goes terribly wrong. As tends to happen with plays, this one takes place almost entirely in one room, inside the couple's apartment. However, rather than being restricted creatively by the setting, Hitchcock of course knew how to work with this claustrophobia rather than against it in this very different medium. This film is also a prime example of another of his great skills that the documentary points out, his knowledge of when to draw out a moment that would normally fly by an instant, and when to contract an event we are used to seeing being played long. A devastating murder trial is one such moment, naturally because it is this film's centrepiece of the staple false conviction theme, the perfect opportunity to fully demonise the character of Chief Inspector Hubbard (John Williams), before it is shown that me might not actually be all that bad as far as policemen in Hitchcock films go. The conviction scene appears more like a psychedelic dream than a reality. As such it is one of the few dated parts of this now 62 year old film. As is also observed in the documentary, his films really haven't dated at all since they're very much human stories that aren't focused on any particular time period. Meanwhile, the scene of the pivotal telephone call of the title is markedly extended, to the point where we even see the lines being connected in the control room. The murder scene that immediately follows is naturally of the high standard that you would expect from this director, and was clearly the scene that was most important to him. However, the rest of the film is also well-paced and absolutely engrossing, even as Knott's writing becomes more gleefully convoluted by the second. This detailed documentary and uproarious crime thriller are both perfect for whetting your appetite before seeing North by Northwest, Strangers on a Train, Rear Window and all the others on the big screen. Review written by Christian Tsoutsouvas

Dave and Alonso get it together enough to discuss what's fun and what's scary (and what's not). Like us on Facebook, follow us @linoleumcast on Twitter and Instagram, leave us an iTunes review, can you tell me why. Join our club, won't you? Dave's DVD pick of the week: MOON Alonso's DVD pick (which apparently isn't out on DVD yet) of the week: HITCHCOCK/TRUFFAUT

Incontriamo Alfred Hitchcock, Francois Truffaut e... il "MacGuffin". Meccanismi della suspense e umorismo, cinture di castità e thriller nella nuova puntata del podcast.

Mi reportaje sobre el Cine de Suspense. Lo dividí en dos reportajes, el primero habla sobre ALFRED HITCHCOCK. Un repaso a la filmografía de Hitchcock, con películas como Los 39 Escalones, Rebeca, Recuerda, Extraños en un tren, La ventana indiscreta, Vértigo, Psicosis, Los Pájaros, etc. Y el documental Hitchcock-Truffaut.

Mi reportaje sobre el Cine de Suspense. Lo dividí en dos reportajes, el primero habla sobre ALFRED HITCHCOCK. Un repaso a la filmografía de Hitchcock, con películas como Los 39 Escalones, Rebeca, Recuerda, Extraños en un tren, La ventana indiscreta, Vértigo, Psicosis, Los Pájaros, etc. Y el documental Hitchcock-Truffaut.

Angelo Molica Franco, critico letterario e traduttore, ci parla di "Gay Berlin" di Robert Beachy, un libro che parla del ruolo di Berlino nella creazione dell'identità gay. Paolo Mereghetti, critico cinematografico e autore del celebre "Dizionario dei film", ci parla di "Hitchcock/Truffaut", il documentario di Kent Jones che uscirà nelle sale italiane il 4-5-6 aprile.

Se acabó la paz. Tras la calma que precedió al estreno más sonado de lo que va de año, las distribuidoras se vuelven locas y sacan a la calle más de diez títulos distintos. Nosotros hacemos lo que podemos y rescatamos lo que pensamos, puede ser más interesante para vosotros. Tras el recuento de estrenos [01:00], os hablaremos de: Hermanísimas [03:35] Hitchcock/Truffaut [08:30] El infierno verde [15:40] Orgullo + Prejuicio + Zombies [23:22] Concluiremos con los mensajes que nos habéis enviado con respecto a Batman v Superman y analizando la taquilla del fin de semana pasado [32:47]

"Madame Marguerite" i "Hitchcock/Truffaut" son dues de les estrenes destacades de la setmana. Tampoc ens podem oblidar de "Kiki, el amor se hace", l'

The Witch (2015) & Hitchcock/Truffaut (2015) See acast.com/privacy for privacy and opt-out information.

Andy and Sean touch on the Oscars, Grimsby, Hitchcock/Truffaut, Hail Caesar, House of Cards and The X Files.

There's a new documentary out today based on the famous interviews between Alfred Hitchcock and François Truffaut - it's a fascinating and revealing piece of filmmaking.

Kase Allen and Van Connor look at action sequel London Has Fallen, Coen Brothers romp Hail Caesar!, journalism drama Truth, homeless tale Time Out Of Mind, documentary Hitchcock/Truffaut, and horror drama Goodnight Mommy. See acast.com/privacy for privacy and opt-out information.

Professor Sir Peter Cook received a knighthood for services to architecture and was awarded the Royal Gold Medal from the Royal Institute of British Architecture, yet he has never designed a building in Britain - until now. He shows us around the drawing studio he's created for the Arts University Bournemouth.In 1962, Francois Truffaut persuaded fellow film director Alfred Hitchcock to sit with him for a week-long interview in which they discussed the secrets of cinema. Hannah McGill reviews a new documentary about this meeting, which resulted in Truffaut's seminal book "Hitchcock/Truffaut".The Barbican is staging Shakespeare as we've never seen it before; each of his 36 plays have been condensed and are presented on a table top using a cast of everyday objects. Macbeth is a cheese grater, Pericles a light bulb and Hamlet's a bottle of ink. Tim Etchells from Forced Entertainment explains why.The Hepworth Wakefield gallery has announced details of one of the UK's largest bequests. It's one of the most significant gifts received from a private collector. Tim Sayer was a passionate collector, a self-confessed 'art-oholic', and a retired BBC Radio 4 newswriter. So how did he acquire such an important collection?Presenter: John Wilson Producer: Angie Nehring.

After watching the documentary "Hitchcock/Truffaut'" together, Stephen & Carsten engage in a lengthy discussion about Hitchcock's breath-taking body of work. This episode is live before a studio audience as part of  CARBON ARC's cinema series at the Nova Scotia Museum of Natural History in Halifax, Nova Scotia!   HELP SUPPORT THE PODCAST BY VISITING OUR PATREON PAGE!!!! Follow us on twitter, Like us on Facebook:  Email us 

Kent Jones dropped out of film school but then started working in Martin Scorsese's office. That led to a series of documentaries on movies. Now Jones talks about "Hitchcock/Truffaut" (opening at Landmark's Ken Cinema).

What should you look for when revising a scenario? The Gaming Hut holds the answers. Cinematic technique, legacy and mortality all come out to play in the darkened space of the Cinema Hut as we delve into Robin’s powerful response to the documentary Hitchcock/Truffaut. Then Ken and Robin Recycle Audio, specifically more clips from Robin’s […]

It may not be quite as momentous as Hitchcock and Truffaut getting together in 1962, but on this week's show, Adam speaks with HITCHCOCK/TRUFFAUT director Kent Jones about the legacy of Truffaut's seminal film book about the Master of Suspense. Plus, Adam and Josh take care of the holiday shopping for the budding film snob in your life with their own Top 5 Film Books. This episode is brought to you by MUBI, Audible and Vermont College of Fine Art MFA.   0:00-2:42 - Billboard / Sponsors 2:42-28:51 - Interview: Kent Jones Music: Ryan Adams, "Bad Blood" 29:56-31:51 - Audible / MUBI 31:51-42:58 - Notes / Massacre Theatre 42:58-51:15 - Polls Music: Ryan Adams, "Blank Space" 52:22-1:01:43 - Donations 1:01:43-1:29:26 - Top 5: Film Books 1:29:26-1:32:17 - Close / Outtake MUSIC - Ryan Adams NOTES - MT winner: Brian Fontanilla, San Leandro, CA LINKS - Hitchcock/Truffaut info - Chicago Serbian Film Festival Learn more about your ad choices. Visit megaphone.fm/adchoices

Based on a true story and made in the same decade as Hitchcock masterpieces "Strangers on a Train," "Rear Window" and "Vertigo," 1956's THE WRONG MAN with Henry Fonda is an often overlooked title in the Hitchcock filmography – as it was until recently by Adam and Josh, who discuss for this special Blindspotting prelude to Adam's conversation with HITCHCOCK/TRUFFAUT director Kent Jones and their Top 5 Film Books.   LINKS - Josh's review of The Wrong Man Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, Adam and Kevin take a look at two critically praised international films with reviews of The Assassin and Mustang. Additional films discussed include: Red Road, Hitchcock/Truffaut, Love & Mercy, A Morning Light, Submerged, The Man From U.N.C.L.E, Tangerine, Dementia, and The Russian Woodpecker. They also give their thoughts on the recently released Independent Spirit Award nominees and the Sight & Sound top 20 of 2015. 00:01:00 - Movie news00:13:35 - The Assassin review00:33:05 - Mustang review00:53:55 - Watch list: Red Road, Hitchcock/Truffaut, Love & Mercy, A Morning Light, Submerged, The Man From U.N.C.L.E, Tangerine, Dementia, and The Russian Woodpecker01:22:45 - Movie predictions, new on VOD, Blu-ray releases Please consider supporting Film Pulse by contributing to our Patreon page at: http://patreon.com/filmpulse web: http://filmpulse.nettwitter: http://twitter.com/filmpulsenetfacebook: http://facebook.com/filmpulse intro music by: Matt Oakleyoutro music by: SJMellia

Noah Baumbach talks to Kent Jones about his new film HITCHCOCK/TRUFFAUT, which opens in select theaters on December 2, and Rick Alverson discusses his dark comedy ENTERTAINMENT, which opens here at the Film Society of Lincoln Center on November 13. 00:00 - 01:06 – Intro 01:06 - 25:20 – Kent Jones Q&A 25:20 - 53:10 – Rick Alverson Q&A This podcast is brought to you by the Film Society of Lincoln Center. Film Lives Here. www.filmlinc.org Photo by Sean DiSerio

In this episode Sean & Vito will discuss trailers for the following 3 films and 1 documentary: Trumbo, Entertainment, Altered Minds, and Hitchcock/Truffaut.

Stasera con noi Paola Cortellesi per Scusate se esisto, la commedia di Riccardo Milani da oggi nelle sale. E sempre in sala da oggi il nuovo film del maestro Jean-Luc Godard, Adieu au langage - Addio al linguaggio, in 3d -anche se non in tutte le sale. E dopo il maestro francese, un altro maestro francese che incontra uno inglese, Jacques Peyrac e Paolo Lombardi sono per noi, e per gli spettatori dell'Auditorium di Roma il 25 novembre, Truffaut e Hitchcock. Danno voce infatti a quelle famose conversazioni dell'estate del 1962 e che sono poi diventate Il cinema secondo Hitchcok. E infine un ricordo del regista Mike Nichols - Il laureato, Conoscenza Carnale, Closer...- scomparso oggi.