Podcasts about Jacques Rivette

We discuss the work of Jacques Rivette, one of the core French New Wave Directors, and his films PARIS BELONGS TO US, CELINE AND JULIE GO BOATING, LA BELLE NOISEUSE, and VA SAVOIR. Send us stuff like zines, movie related books, physical media or memorabilia c/o Justin Decloux, Unit 1010, 3230 Yonge St, Toronto, ON, M4N 3P6, Canada Join the Patreon now for an exclusive episode every week, access to our entire Patreon Episode back catalogue, your name read out on the next episode, and the friendly Discord chat: patreon.com/theimportantcinemaclub Subscribe, Review and Rate Us on Apple Podcasts: podcasts.apple.com/us/podcast/the-…ub/id1067435576 Follow the Podcast: twitter.com/ImprtCinemaClub Follow Will: twitter.com/WillSloanESQ Follow Justin: twitter.com/DeclouxJ Check out Justin's other podcasts, THE BAY STREET VIDEO PODCAST (@thebaystreetvideopodcast), THE VERY FINE COMIC BOOK PODCAST (www.theveryfinecomicbookpodcast.com) and NO SUCH THING AS A BAD MOVIE (@nosuchthingasabadmovie), as Will's MICHAEL AND US (@michael-and-us).

Our topic this week is the very embodiment of "discovering good movies, one bad movie at a time": finding the scenes that actually work in movies that mostly don't Tim is joined by Mandy, whose Your Movie Rocks podcast makes her the perfect expert at finding the diamonds in a pile of coal (or a pile of... something else, as she describes on the episode), and we're also very thrilled to welcome back to the Alternate Ending podcast world Rioghnach Robinson. Before they talk about the subject of the day, as part of our movie roundtable Mandy (goaded by Tim) goes long on the new The Luckiest Man in America, Rioghnach goes back a couple of years to the unjustly overlooked I Want You Back from 2022, and thanks to Patreon supporter Hallvarður, Tim finally caches up with Jacques Rivette's iconic 1974 masterpiece Céline and Julie Go Boating.

The eleventh episode of our special retrospective 20th season looks back to the awesome movie year of 1953 with the third of Josh's three picks, Max Ophüls' The Earrings of Madame de…. Directed by Max Ophüls and starring Danielle Darrieux, Charles Boyer and Vittorio De Sica, The Earrings of Madame de… is based on the novel by Louise de Vilmorin.The contemporary reviews quoted in this episode come from A.H. Weiler in The New York Times (https://www.nytimes.com/1954/07/20/archives/the-screen-in-review-new-french-film-bows-at-little-carnegie.html), Variety (https://variety.com/1952/film/reviews/madame-de-1200417461/), and Jacques Rivette in Cahiers du Cinema.Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason,

Friend of the pod and official New York Correspondent Nick Newman returns for this episode on Jacques Rivette's infinite rabbit hole, Céline and Julie Go Boating. We talked about the film's sense of play, style, participation and spectatorship, and more. Get an extra episode every week for $5/mo at https://www.patreon.com/c/Extended_Clip Send your questions to extendedclippodcast@gmail.com and we'll answer them on the show. And don't forget to rate/review us wherever you listen to podcasts!

149 - La Religieuse aka The Nun (1966) / L'altro Inferno aka The Other Hell (1981) This week we're taking our vows and entering convent life as we descend into madness with Bruno Mattei and try to escape with Jacques Rivette and Anna Karina

The last of the Cahiers du Cinéma critics-turned-directors to discuss is Jacques Rivette. Alex and Jonathan take a look at his films Paris Belongs to Us (1961), L'amour fou (1969), and Céline and Julie Go Boating (1974) and discuss Rivette's obsession with the individual aspects of cinema, his blend of cinematic instinct and collaborative improvisation, and how letting go and having fun resulted in his most popular film. Skip to: (38:30) – Paris Belongs to Us (1:02:32) – L'Amour fou (1:26:45) – Celine and Julie Go Boating (1:49:28) – Overall (2:03:31) – Coming Attractions Coming Attractions: Stay tuned for a new series about tragedy films when we return in July! For more information, visit the blog: https://thefilmlings.com/2024/05/31/rivette/ Join us on Discord for ongoing film discussion: https://discord.gg/MAF6jh59cF

durée : 00:55:00 - Les Nuits de France Culture - par : Philippe Garbit, Claude-Jean Philippe - En 1982, Jacques Rivette vient de terminer son film "Le Pont du Nord" avec Bulle et Pascale Ogier. Invité de Claude-Jean Philippe dans l'émission "Le cinéma des cinéastes", il évoque son parcours, ses influences et sa vision de l'époque. - invités : Jacques Rivette Réalisateur de cinéma français

Felicia is joined by Nathan Cowles to discuss Éric Rohmer's first film in his A Tale of Four Season series, about a man being tossed around by three different women in A Summer's Tale (1996). We chat about Rohmer's way of writing women, his choice to work with a woman cinematographer and how that lends to a unique gaze behind the camera. Along with the importance of the script and the quiet moments that expose the protagonists inner truth. This is the Rohmer series opener and I'm beyond excited to share this series with you - we've got four great guests to cover a wide range of Rohmer's work this month - I hope you follow along! Send us your thoughts on the episode - are you satisfied with our protagonist's ending? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Nathan here: Letterboxd: @cowles YouTube: @Cowles IG: @cowles.mov Sources: https://agoodmovietowatch.com/a-summers-tale-1996/ https://variety.com/1996/film/reviews/a-summer-s-tale-1200445995/#! https://mubi.com/en/notebook/posts/dangling-man-close-up-on-eric-rohmers-a-summers-tale https://www.criterion.com/films/29650-a-tale-of-summer https://cinemasentries.com/a-summers-tale-movie-review-dissecting-love-and-sex-with-philosophical-precision/ https://www.nytimes.com/2014/06/20/movies/a-summers-tale-from-eric-rohmers-seasons-cycle.html https://www.criterion.com/current/posts/8387-eric-rohmer-s-tales-of-the-four-seasons-another-year https://www.youtube.com/watch?v=hHoU9_3pmq4&t=128s&ab_channel=TIFFOriginals OUTRO SONG: Fille de corsaire by Sebastien Erms FILMS MENTIONED: A Clockwork Orange (Stanley Kubrick 1972) Eraserhead (David Lynch 1978) Inglorious Basterds (Quentin Tarantino 2009) Funny Games (Michael Haneke 1997) My Night at Maud's (Éric Rohmer 1970) The Green Ray (Éric Rohmer 1986) Suzanne's Career (Éric Rohmer 1963) Breathless (Jean-Luc Godard 1961) Call Me By Your Name (Luca Luca Guadagnino 2017) Aftersun (Charlotte Wells 2022) The Bakery Girl of Monceau (Éric Rohmer 1963) Claire's Knee (Éric Rohmer 1971) La belle noiseuse (Jacques Rivette 1991) The Fifth Seal (Zoltán Fábri 1976) Design For Living (Ernst Lubitsch 1933) Les amours imaginaires (Xavier Dolan 2010) Mommy (Xavier Dolan 2014) Tom at the Farm (Xavier Dolan 2015)

On this episode of What a Picture, Bryan and Hannah discuss Céline and Julie Go Boating, forget the conversation, and suck on a candy to remember it again. Céline and Julie Go Boating is a 1974 movie directed by Jacques Rivette that ranks #78 on Sight and Sound's 2022 Greatest Films of All Time Critics' Poll. Email us at podcast@whatapicturepod.com What a Picture website: https://whatapicturepod.com The replica of the victorian set from 2001: A Space Odyssey: https://mossandfog.com/an-exact-replica-from-the-surreal-bedroom-of-2001-a-space-odyssey/ Bryan's Bluesky: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://bsky.app/profile/bryanwhatapic.bsky.social⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Bryan's Letterboxd: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://letterboxd.com/bryan_whatapic⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Bryan's Twitter: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/bryan_whatapic⁠⁠⁠⁠⁠⁠⁠⁠⁠ Music is "Phaser" by Static in Verona.

Nous sommes le 22 août 1922 dans le 5e arrondissement de Paris où une certaine Micheline Chassagne ouvre les yeux sur le monde. Quinze ans plus tard, c'est une toute jeune fille qui fait ses premiers pas au cinéma dans une comédie intitulée « La fessée ». Trois films encore et elle devient Micheline Presle adoptant le nom du personnage qu'elle incarne dans « Jeunes filles en détresse ». S'ouvre alors une riche carrière marquée par la diversité des univers qu'elle partage avec ses metteurs en scènes : Christian Jacques et Claude-Autant Lara qui la font tourner dans les adaptations des œuvres de Maupassant et Raymond Radiguet : « Boule de suif » et « Le diable au corps » qui seront d'énormes succès. L'actrice travaillera aussi avec Philippe de Broca, Jacques Rivette, Edouard Molinaro avant de devenir extrêmement populaire, à la fin des années soixante, avec la série télé « Les Saintes Chéries ». Micheline Presle a tiré sa révérence le 21 février dernier, elle allait avoir 102 ans. Elle est inoubliable, retrouvons-là au travers des archives de la Sonuma, dans une séquence réalisée par Laurence Ayrianoff… Sujets traités : Micheline Presle, Micheline Chassagne, Christian Jacques , Claude-Autant Lara, Maupassant, Raymond Radiguet, Philippe de Broca, Jacques Rivette, Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/5936 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

I denne Filmfrelst-episoden presenterer vi et nytt kapittel i vår podkast-serie Fysisk format, og denne gangen setter vi fokus på spesialvisningen av Jacques Rivettes Out 1 i Oslo 2.-3. mars, og utgivelsen av en ny essaybok om Rivette. Under etiketten Fysisk format retter vi blikket mot filmkulturens fysiske formater, og diskuterer de mange håndfaste objektene som så lenge har vært et av filmformidlingens viktigste redskap. I tidligere episoder har vi snakket mest inngående om fysiske utgivelser av film på Blu-ray/DVD, men i denne episoden utvider vi fokuset vårt ved å løfte frem et fysisk arrangement (med «ekstramateriale») og en ny bokutgivelse. En av de mest kjente enhjørningene i europeisk filmkanon – som aldri har vært vist på kino i Oslo, før nå! – nybølgeregissøren Jacques Rivettes trettentimers filmserie Out 1 (1971) blir endelig vist på Cinemateket i Oslo. Arrangementet går av stabelen lørdag 2. mars kl. 13.00 i Tancred-salen, og fortsetter gjennom søndag 3. mars helt til kl. 19.40, da hele filmen er ferdig vist. Underveis blir det introduksjoner og faglige innlegg av Montages-redaktør Hedda Robertsen og kritiker Benjamin Yazdan, samt forfatter Hans Petter Blad. Her kan dere studere hele Out 1-visningsprogrammet, og billettene kan kjøpes hos Cinemateket i Oslo. Robertsen og Yazdan er våre gjester i denne podkastepisoden, og snakker med Karsten Meinich om hvordan dette Out 1-arrangementet ble til, deres forhold til Jacques Rivette sine filmer og på hvilken måte han skiller seg ut blant regissørene vi forbinder med den franske nybølgen, og ikke minst hvordan Out 1 er plassert innad i Rivettes eklektiske filmografi. Vi får også høre om Robertsens nye essaybok, Jacques Rivette. Tre tekster (2024, Forlaget H//O//F) som utgis i anledning Out 1-visningen. God lytting!

This week on FilmBabble, Charlie and Antonio Go Babbling. Join them as they babble away on the 1974 French hangout classic: Céline and Julie Go Boating! Kick your feet up, take a chill pill, and enjoy their ride through French New Wave director Jacques Rivette's singular vision. This is a good one, folks. Pass it on! Intro/outro music: "I Just Threw Out The Love of My Dreams", originally by Weezer, cover by REACH CÉLINE AND JULIE GO BOATING (1974), written by Jacques Rivette, Dominique Labourier, Juliet Berto, Eduardo de Gregorio, Bulle Ogier, and Mari-France Pisier, directed by Jacques Rivette, cinematography by Jacques Renard, featuring Dominique Labourier, Juliet Berto, Bulle Ogier, and Mari-France Pisier.  

Thu, 18 Jan 2024 09:45:39 +0000 https://efm-industry-insights.podigee.io/47-international-film-sales-the-now-and-the-next 0cdd42704e4406bd8556a9ff9998a62b Industry Insights – The EFM Podcast is presented by the European Film Market of the Berlinale. Hosted by journalist, moderator and film festival consultant Wendy Mitchell, it delves deep into the rapidly evolving film industry. This episode explores the dynamic world of film sales as three industry experts delve into the post-pandemic landscape. Gain valuable insights into the evolving business in the theatrical and digital space, hear success stories in the realm of Arthouse cinema, and discover the pivotal role of a strong relationship to filmmakers. Guest speakers Alice Lesort, Katarzyna Siniarska and Jean-Christophe Lamontagne explore the importance of data, converse about regional nuances, and shed light on the growing interest of a new generation for Arthouse films. Tune in for a captivating discussion on current developments and the future of film sales! Katarzyna Siniarska is a sales agent and producer, a Co-President of Europa International, European sales agents association (2021 -) and a frequent collaborator of ACE, EPI and First Cut Lab+ programmes. Since January 2013, she has been a part of Warsaw-based boutique world sales agency New Europe Film Sales; first as a sales executive then the head of sales and a partner at the company. Jean-Christophe J. Lamontagne is passionate about promoting cinema and founded h264 in 2015. His goal: to increase the influence of works by forging close links between audiences and creators. He also directs and co-founds the Festival Plein(s) Écran(s), the first festival in the world to take place on Facebook. h264 is diversifying its activities and in 2019 launched a new aggregation service offering in a bid to improve the accessibility and distribution of works on digital platforms. 2021 marks a new stage for h264, which launches into feature film distribution following the acquisition of Fragments, with the aim of offering an innovative, integrated distribution model. Alice Lesort started her career as a sales agent at Le Pacte. Since 2018, she is Head of the International Sales department at the production, distribution, and sales company Les Films du Losange, which supports filmmakers from all over the world through a vast catalogue of over 300 films (including the works of Eric Rohmer, Barbet Schroeder, Jacques Rivette, Jean Eustache, Michael Haneke, Mia Hansen-Løve, Alain Guiraudie, Nicolas Philibert…). On top of managing the sales team, she oversees sales in America, French and German speaking Europe, the United Kingdom and for multinational platforms. Alice Lesort is co-president of Europa International (European organization for films' international distributors) since 2021, and is also part of the Advance on Receipts committee of the CNC. The host Wendy Mitchell is a journalist, moderator and film festival consultant. She is a contributing editor and Nordic correspondent at Screen International, the producer of the Sundance London film festival, the UK and Nordic delegate for San Sebastian, consultant for San Sebastian's Creative Investors' Conference, curator at Lübeck Nordic Film Days and frequent moderator for Cannes Marché du Film and Berlinale's European Film Market. The Berlinale's European Film Market is the first international film market of the year, where the film industry starts its business. Industry Insights - The EFM Podcast puts a spotlight on highly topical and trendsetting industry issues, thereby creating a compass for the forthcoming film year. The year-round podcast is produced in cooperation with Goethe-Institut and co-funded by Creative Europe MEDIA. full no Film Sales,EFM,Film Market,Industry Insights,Wendy Mitchell,Katarzyna Siniarska,Distribution,Jean-Christophe Lamontagne,Alice Lesort,Berlinale European Film Market

“Every film is a documentary of its own making,” Jacques Rivette famously said, pointing to the mix of fabrication and truth that lies at the heart of every movie. As images increasingly permeate our lives, these questions are ever more complex. What constitutes truth when the camera intervenes? How do we decide to accept—or question—what we see? Film Comment editors Devika Girish and Clinton Krute were joined on stage at the 61st New York Film Festival by World Records editor Jason Fox and NYFF61 filmmakers Kleber Mendonça Filho (Pictures of Ghosts), Rosine Mbakam (Mambar Pierrette), and Frederick Wiseman (Menus-Plaisirs Les Troisgros) for a discussion about the ways in which filmmakers engage both documentary and narrative techniques to invite and challenge viewers' trust in images. This panel expanded on the ideas in Trust Issues, a new audio series by World Records. Watch a video of this event here: https://www.youtube.com/watch?v=8cH06adWHQs

Pour commencer cette nouvelle saison, nous accueillons Caroline Champetier, directrice de la photographie connue et reconnue sur les plateaux de tournages (elle a collaboré avec Chantal Akerman, Jean-Luc Godard, Leos Carax, ou encore aujourd'hui avec Wang Bing…) mais aussi dans les laboratoires de restauration de film. C'est notamment grâce à son oeil expert que nous pouvons enfin redécouvrir L'Amour Fou de Jacques Rivette, évènement patrimoine de cette rentrée cinéma rendu possible par les historiques Films du Losange. A cette occasion, Caroline Champetier nous a parlé de technique, certes, mais aussi de lumière, de regard et de la façon dont son plaisir de spectatrice infuse dans son travail. Avec nous, elle évoque entre autres l'oeil acéré de Jane Campion, les noirs de David Lynch, la lumière du directeur de la photographie Vilmos Szigmond et bien sûr, le cinéma de Jacques Rivette. Inscrivez-vous à la newsletter en cliquant sur ce lien : https://forms.gle/HgDMoaPyLd6kxCS48 Pour nous soutenir, rendez-vous sur https://www.patreon.com/cinephilesdnt I. PORTRAIT 6'55 Un regard au cinéma : celui de Jane Campion - 6'55 Une ombre ou un noir au cinéma : les noirs de David Lynch - 11'15 II. CIRCONSTANCES & CONDITIONS DE VISIONNAGE 18'04Le souvenir d'une séance spéciale de Stromboli (R. Rossellini, 1950)L'importance de la météo dans le cinéma de Šarūnas Bartas et particulièrement dans Few of us (1996) - 23'21 III. MEMOIRE & SOMMEIL 27'51 Une révélation qui hante Caroline Champetier : la lumière de Vilmos Szigmond dans Le Privé (R. Altman, 1973) - 27'51 Un film qui a tenu Caroline Champetier éveillée “toute une nuit” : Ludwig ou le crépuscule des Dieux (L Visconti, 1973) - 35'46 IV. CINEMA & TRANSMISSION 39'18La restauration de L'amour fou (J. Rivette, 1967) REFUGE 54'29La porte du Paradis (M. Cimino, 1980) EXTRAITSStromboli (R. Rossellini, 1950), Société parisienne de production / Bac Film DistributionThe Long Goodbye (John Williams, 1973)L'amour Fou (J. Rivette, 1967), Les Films du Losange CRÉDITSMerci à Audrey Grimaud (Agence Valeur Absolue) d'avoir rendu cet épisode possible.Patreons : un grand merci à Paul, Corentin, Irène, Dominique, Bernard et Clara pour leur soutien !Musique : Gabriel RénierGraphisme : Lucie AlvadoCréation & Animation : Phane Montet & Clément Coucoureux

durée : 00:35:13 - Les Nuits de France Culture - par : Albane Penaranda - Dans l'émission "La radio dans les yeux", alors que venait de sortir en salle "La Belle Noiseuse" de Jacques Rivette, auréolé de son succès cannois, on entendait le cinéaste et les comédiens parler du film, ainsi que Bernard Dufour dont on voyait les peintures à l'écran. La Belle Noiseuse de Jacques Rivette sortait sur les écrans en septembre 1991. Inspiré par Le Chef-d'ouvre inconnu de Balzac, ce film, récompensé du Grand Prix du jury au Festival de Cannes, allait être le plus important succès critique et public de Rivette. C'était le peintre Bernard Dufour qui était la main de Michel Piccoli dans ce film, celui qui dessinait et peignait réellement le nu pour lequel posait Marianne, interprétée par Emmanuelle Béart. Un film sur le peintre et son modèle Sur France Culture, lors de la sortie du film, Thierry Jousse soulignait l'importance de cette relation du peintre et de son modèle, écho de celle du réalisateur avec ses actrices. Le réalisateur Jacques Rivette, peu friand d'interviews, s'exprimait lors de la conférence de presse qui accompagnait la projection du film à Cannes. C'est l'occasion de l'entendre présenter son film et livrer ses impressions sur les personnages et notamment sur ce rapport du modèle au peintre, l'un des moteurs de l'idée du film. Rivette raconte aussi comment s'es fait le choix de Bernard Dufour s'est fait, en connaisseur de ses ouvres, de ces corps féminins "décapités" : "C'était évident qu'il devait être la main de Frenhofer." Tellement liés l'un à l'autre que Rivette les voit comme "une chimère, le visage de Michel et la main de Bernard"., Peindre la nudité Dessinant pour de vrai un nu sur la toile devant la caméra, c'est le travail de Bernard Dufour que l'on voit à l'écran, "il n'y a jamais eu de deuxième prise avec Bernard", souligne Rivette qui a voulu aussi montrer la tension, voire l'angoisse qui se forment entre le peintre et son modèle. Au cours de cette conférence de presse, on y entend également l'actrice Emmanuelle Béart s'exprimer sur ce rôle difficile dont elle dit que la pause la plus pénible fut la première, celle où elle est debout, nue, les bras ballants, sans aucun esthétisme, dans un "sentiment de vulnérabilité terrible". Retrouvez l'intégralité de la série "A voix nue" avec Bernard Dufour Retrouvez l'ensemble du programme d'archives Bernard Dufour, la poursuite du réel, proposé par Albane Penaranda. Par Alain Veinstein Extrait : La radio dans les yeux - "La Belle Noiseuse" de Jacques Rivette (1ère diffusion : 02/09/1991) Avec Thierry Jousse Avec un extrait de la conférence de presse du Festival de Cannes 1991 avec Jacques Rivette, Michel Piccoli, Bernard Dufour, Pascal Bonitzer et Emmanuelle Béart Réalisation Bernard Treton Édition web : Documentation de Radio France Archive Ina-Radio France

durée : 00:47:21 - Les Nuits de France Culture - par : Albane Penaranda - Le peintre Bernard Dufour s'entretenait en 1995 avec Alain Veinstein dans son émission "Du jour au lendemain" à l'occasion de la parution de son livre "Des collectionneurs tels André Breton" dans lequel il disait son admiration pour le grand amateur d'art et collectionneur qu'avait été André Breton. En 1995, c'est pour son ouvrage Des collectionneurs tels André Breton, que le peintre mais aussi écrivain Bernard Dufour était l'invité d'Alain Veinstein dans son émission "Du jour au lendemain". Bernard Dufour peintre mais aussi écrivain Peintre ou écrivain ? C'est ainsi que débute l'entretien, question à laquelle Bernard Dufour répond : "Je suis un peu écrivain." Il dit avoir toujours eu envie d'écrire, il s'y attelle d'ailleurs pour des revues d'art et a déjà fait paraître deux livres autobiographiques, L'Oranger des Osages et Au fur. Mais c'est le tournage de La Belle Noiseuse de Jacques Rivette, où il était la "main" de Michel Piccoli, qui l'a "décollé" de son atelier. Il explique avoir eu du mal à se remettre de cette coupure et a décidé de se remettre à écrire en partageant ses journées en deux : le matin la peinture, les après -midis écriture dans son bureau qu'il appelle le "cagibi". Ecrire sur sa vie et prendre des photos de ses tableaux en train de se faire, l'ont fait réfléchir au sens qu'il donne à sa vie. "Ma vie est une suite de rebondissements" où "les choses s'emboîtent les unes sur les autres, c'est assez excitant", confie-t-il. Et d'ajouter, "il y a quelques fois des coups de théâtre qui sont plutôt des tragédies" et qui coupent sa vie en deux, la fracturent. André Breton, un collectionneur passionné Dans son ouvrage Des collectionneurs tels André Breton, Bernard Dufour montre son enthousiasme pour l'amateur d'art et le collectionneur passionné qu'a été le chef de file des surréalistes, André Breton. Tout en affirmant n'avoir jamais été surréaliste lui-même, Bernard Dufour s'est attaché à comprendre le fonctionnement de Breton collectionneur qu'il trouve "hallucinant" et "fabuleux". Incohérent dans ses choix artistiques, André Breton revendiquait ce que certains lui reprochaient. Il pouvait être ébloui et aveuglé par une ouvre d'art comme quand on tombe amoureux. C'est tout ce processus qui se déroule comme un rite de possession, une épreuve initiatique envers un tableau que raconte avec fascination Bernard Dufour. C'est aussi un livre qui en glorifiant ce qu'avait été le rapport d'André Breton à l'ouvre d'art, permet à Bernard Dufour d'évoquer le rôle de l'argent dans l'art et ses propres relations avec les marchands et les collectionneurs dans ce qu'il appelle "la triade féconde". Retrouvez l'ensemble du programme d'archives Bernard Dufour, la poursuite du réel, proposé par Albane Penaranda. Par Alain Veinstein Du jour au lendemain - Bernard Dufour pour son livre "Des collectionneurs tels André Breton" (1ère diffusion : 17/01/1995) Avec Bernard Dufour, peintre Réalisation Bernard Treton Édition web : Documentation de Radio France Archive Ina-Radio France

durée : 00:29:01 - Les Nuits de France Culture - par : Albane Penaranda - Dans ce quatrième temps de la série "À voix nue", le peintre Bernard Dufour parle de sa participation au film "La Belle Noiseuse" de Jacques Rivette sorti en 1991, et ce faisant de sa manière de travailler la toile et d'explorer la structure de ses tableaux. Dans le quatrième des entretiens "À voix nue" que Catherine Millet a réalisés avec Bernard Dufour en 1993, l'évocation du tournage de La Belle Noiseuse est l'occasion d'entendre le peintre parler très concrètement de la manière dont il travaille. Bernard Dufour, la main de Michel Piccoli Bernard Dufour raconte avoir activement participé au tournage de La Belle Noiseuse, le film de Jacques Rivette, s'impliquant exactement comme il l'aurait fait seul dans son atelier. D'ailleurs c'est bien son atelier qui a été reconstitué pour le film. Quand Michel Piccoli, alias Édouard Frenhofer dans le film, peint, c'est la main de Bernard Dufour qui tient le pinceau et travaille au nu de Marianne incarnée par Emmanuelle Béart. "Jamais aucun film n'avait montré ça", affirme Bernard Dufour alors qu'on y voit la progression du travail d'un peintre, les détails des gestes, même si ce peintre est en l'occurrence caché. Devenir le maître d'une forme en dessinant par cour Organiser la peinture à partir de la première chose fixée sur la toile, c'est ce qui est important pour Bernard Dufour et c'est ce qu'il nous apprend dans cette émission. Il détaille sa façon de travailler : "Je ne gomme jamais, je dessine toujours à la plume et à l'encre noire pour donner quelque chose de complètement décisif." Il cherche à constituer "quelque chose de totalement irrémédiable" comme point de départ. Peintre des corps des femmes, il parle du "plaisir de tracer une grande courbe", comme si sa main parcourait réellement le corps d'une femme, "dessiner des fesses à la grandeur nature c'est les caresser", ajoute-t-il. Pour arriver à cela, il n'hésite pas à beaucoup dessiner jusqu'à devenir "maître d'une forme" en la dessinant par cour. Retrouvez l'intégralité de la série "A voix nue" avec Bernard Dufour Retrouvez l'ensemble du programme d'archives Bernard Dufour, la poursuite du réel, proposé par Albane Penaranda. Par Catherine Millet A voix nue - Bernard Dufour 4/5 (1ère diffusion : 06/05/1993) Avec Bernard Dufour, peintre Réalisation Nicole Salerne Édition web : Documentation de Radio France Archive Ina-Radio France

durée : 00:29:59 - Les Nuits de France Culture - par : Albane Penaranda - Dans ce dernier entretien d'"À voix nue", le peintre Bernard Dufour parle à nouveau de son expérience du film tourné avec Jacques Rivette, de l'écriture de son autobiographie dans une recherche de totale franchise, puis de sa relation avec ses modèles qu'il tient à distance. Dans le cinquième et dernier des entretiens d'"À voix nue" que lui consacrait Catherine Millet en 1993, le peintre Bernard Dufour revient sur l'expérience qu'avait été pour lui sa participation au tournage de La Belle Noiseuse, le film de Jacques Rivette, et les difficultés qu'il avait eu à se remettre au travail à la suite de ce tournage. Un moment de creux dans sa peinture qu'il avait mis à profit en se consacrant à l'écriture d'un texte autobiographique qui l'occupait encore à l'époque de l'enregistrement de cette série d'"À voix nue" et qui sera publié deux ans plus tard sous le titre Au fur. Son projet autobiographique était de tout dire Après le tournage du film La Belle Noiseuse pendant lequel Bernard Dufour dit s'être senti dépossédé de lui-même et avoir créé un grand désordre dans son travail de peintre, il a décidé de continuer son autobiographie entamée avec L'Oranger des Osages publié en 1990. "Mon objet autobiographique était de tout dire", affirme-t-il y compris des choses dangereuses pour lui. C'est cela qu'il recherche dans les écrits autobiographiques, une franchise totale, sinon cela n'a pas d'intérêt. Bernard Dufour et ses modèles, "un rapport complexe et énigmatique" La relation avec les modèles qui, comme Emmanuelle Béart dans La Belle Noiseuse, posent nues pour lui, fait partie des questions que Bernard Dufour aborde dans cet ultime entretien. Ses modèles ne sont jamais des professionnelles mais il sait que ces femmes "vont aimer être regardées nues". S'il peut éprouver du désir pour elles, surtout elles "doivent restées très lointaines", à distance, dans "un rapport complexe et énigmatique". "Les heures où j'attends le modèle sont des heures de fantasmes délirants", se plait-il à révéler. Retrouvez l'intégralité de la série "A voix nue" avec Bernard Dufour Retrouvez l'ensemble du programme d'archives Bernard Dufour, la poursuite du réel, proposé par Albane Penaranda. Par Catherine Millet A voix nue - Bernard Dufour 5/5 (1ère diffusion : 07/05/1993) Avec Bernard Dufour, peintre Réalisation Nicole Salerne Édition web : Documentation de Radio France Archive Ina-Radio France

On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s, specifically looking at the films they released between 1984 and 1986. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s.   And, in case you did not listen to Part 1 yet, let me reiterate that the focus here will be on the films and the creatives, not the Weinsteins. The Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and that Miramax logo and the names associated with it should not stop anyone from enjoying some very well made movies because they now have an unfortunate association with two spineless chucklenuts who proclivities would not be known by the outside world for decades to come.   Well, there is one movie this episode where we must talk about the Weinsteins as the creatives, but when talking about that film, “creatives” is a derisive pejorative.    We ended our previous episode at the end of 1983. Miramax had one minor hit film in The Secret Policeman's Other Ball, thanks in large part to the film's association with members of the still beloved Monty Python comedy troupe, who hadn't released any material since The Life of Brian in 1979.   1984 would be the start of year five of the company, and they were still in need of something to make their name. Being a truly independent film company in 1984 was not easy. There were fewer than 20,000 movie screens in the entire country back then, compared to nearly 40,000 today. National video store chains like Blockbuster did not exist, and the few cable channels that did exist played mostly Hollywood films. There was no social media for images and clips to go viral.   For comparison's sake, in A24's first five years, from its founding in August 2012 to July 2017, the company would have a number of hit films, including The Bling Ring, The Lobster, Spring Breakers, and The Witch, release movies from some of indie cinema's most respected names, including Andrea Arnold, Robert Eggers, Atom Egoyan, Daniel Kwan and Daniel Scheinert, Lynn Shelton, Trey Edward Shults, Gus Van Sant, and Denis Villeneuve, and released several Academy Award winning movies, including the Amy Winehouse documentary Amy, Alex Garland's Ex Machina, Lenny Abrahamson's Room and Barry Jenkins' Moonlight, which would upset front runner La La Land for the Best Picture of 2016.   But instead of leaning into the American independent cinema world the way Cinecom and Island were doing with the likes of Jonathan Demme and John Sayles, Miramax would dip their toes further into the world of international cinema.   Their first release for 1984 would be Ruy Guerra's Eréndira. The screenplay by Nobel Prize winner Gabriel García Márquez was based on his 1972 novella The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother, which itself was based off a screenplay Márquez had written in the early 1960s, which, when he couldn't get it made at the time, he reduced down to a page and a half for a sequence in his 1967 magnum opus One Hundred Years of Solitude. Between the early 1960s and the early 1980s, Márquez would lose the original draft of Eréndira, and would write a new script based off what he remembered writing twenty years earlier.    In the story, a young woman named Eréndira lives in a near mansion situation in an otherwise empty desert with her grandmother, who had collected a number of paper flowers and assorted tchotchkes over the years. One night, Eréndira forgets to put out some candles used to illuminate the house, and the house and all of its contents burn to the ground. With everything lost, Eréndira's grandmother forces her into a life of prostitution. The young woman quickly becomes the courtesan of choice in the region. With every new journey, an ever growing caravan starts to follow them, until it becomes for all intents and purposes a carnival, with food vendors, snake charmers, musicians and games of chance.   Márquez's writing style, known as “magic realism,” was very cinematic on the page, and it's little wonder that many of his stories have been made into movies and television miniseries around the globe for more than a half century. Yet no movie came as close to capturing that Marquezian prose quite the way Guerra did with Eréndira. Featuring Greek goddess Irene Papas as the Grandmother, Brazilian actress Cláudia Ohana, who happened to be married to Guerra at the time, as the titular character, and former Bond villain Michael Lonsdale in a small but important role as a Senator who tries to help Eréndira get out of her life as a slave, the movie would be Mexico's entry into the 1983 Academy Award race for Best Foreign Language Film.   After acquiring the film for American distribution, Miramax would score a coup by getting the film accepted to that year's New York Film Festival, alongside such films as Robert Altman's Streamers, Jean Lucy Godard's Passion, Lawrence Kasdan's The Big Chill, Francis Ford Coppola's Rumble Fish, and Andrzej Wajda's Danton.   But despite some stellar reviews from many of the New York City film critics, Eréndira would not get nominated for Best Foreign Language Film, and Miramax would wait until April 27th, 1984, to open the film at the Lincoln Plaza Cinemas, one of the most important theatres in New York City at the time to launch a foreign film. A quarter page ad in the New York Times included quotes from the Village Voice, New York Magazine, Vincent Canby of the Times and Roger Ebert, the movie would gross an impressive $25,500 in its first three days. Word of mouth in the city would be strong, with its second weekend gross actually increasing nearly 20% to $30,500. Its third weekend would fall slightly, but with $27k in the till would still be better than its first weekend.   It wouldn't be until Week 5 that Eréndira would expand into Los Angeles and Chicago, where it would continue to gross nearly $20k per screen for several more weeks. The film would continue to play across the nation for more than half a year, and despite never making more than four prints of the film, Eréndira would gross more than $600k in America, one of the best non-English language releases for all of 1984.   In their quickest turnaround from one film to another to date, Miramax would release Claude Lelouch's Edith and Marcel not five weeks after Eréndira.   If you're not familiar with the name Claude Chabrol, I would highly suggest becoming so. Chabrol was a part of the French New Wave filmmakers alongside Jean-Luc Godard, Jacques Rivette, Éric Rohmer, and François Truffaut who came up as film critics for the influential French magazine Cahiers [ka-yay] du Cinéma in the 1950s, who would go on to change the direction of French Cinema and how film fans appreciated films and filmmakers through the concept of The Auteur Theory, although the theory itself would be given a name by American film critic Andrew Sarris in 1962.   Of these five critics turned filmmakers, Chabrol would be considered the most prolific and commercial. Chabrol would be the first of them to make a film, Le Beau Serge, and between 1957 and his death in 2010, he would make 58 movies. That's more than one new movie every year on average, not counting shorts and television projects he also made on the side.   American audiences knew him best for his 1966 global hit A Man and a Woman, which would sell more than $14m in tickets in the US and would be one of the few foreign language films to earn Academy Award nominations outside of the Best Foreign Language Film race. Lead actress Anouk Aimee would get a nod, and Chabrol would earn two on the film, for Best Director, which he would lose to Fred Zimmerman and A Man for All Seasons, and Best Original Screenplay, which he would win alongside his co-writer Pierre Uytterhoeven.   Edith and Marcel would tell the story of the love affair between the iconic French singer Edith Piaf and Marcel Cerdan, the French boxer who was the Middleweight Champion of the World during their affair in 1948 and 1949. Both were famous in their own right, but together, they were the Brangelina of post-World War II France. Despite the fact that Cerdan was married with three kids, their affair helped lift the spirits of the French people, until his death in October 1949, while he was flying from Paris to New York to see Piaf.   Fans of Raging Bull are somewhat familiar with Marcel Cerdan already, as Cerdan's last fight before his death would find Cerdan losing his middleweight title to Jake LaMotta.   In a weird twist of fate, Patrick Dewaere, the actor Chabrol cast as Cerdan, committed suicide just after the start of production, and while Chabrol considered shutting down the film in respect, it would be none other than Marcel Cerdan, Jr. who would step in to the role of his own father, despite never having acted before, and being six years older than his father was when he died.   When it was released in France in April 1983, it was an immediate hit, become the second highest French film of the year, and the sixth highest grosser of all films released in the country that year. However, it would not be the film France submitted to that year's Academy Award race. That would be Diane Kurys' Entre Nous, which wasn't as big a hit in France but was considered a stronger contender for the nomination, in part because of Isabelle Hupert's amazing performance but also because Entre Nous, as 110 minutes, was 50 minutes shorter than Edith and Marcel.   Harvey Weinstein would cut twenty minutes out of the film without Chabrol's consent or assistance, and when the film was released at the 57th Street Playhouse in New York City on Sunday, June 3rd, the gushing reviews in the New York Times ad would actually be for Chabrol's original cut, and they would help the film gross $15,300 in its first five days. But once the other New York critics who didn't get to see the original cut of the film saw this new cut, the critical consensus started to fall. Things felt off to them, and they would be, as a number of short trims made by Weinstein would remove important context for the film for the sake of streamlining the film. Audiences would pick up on the changes, and in its first full weekend of release, the film would only gross $12k. After two more weeks of grosses of under $4k each week, the film would close in New York City. Edith and Marcel would never play in another theatre in the United States.   And then there would be another year plus long gap before their next release, but we'll get into the reason why in a few moments.   Many people today know Rubén Blades as Daniel Salazar in Fear the Walking Dead, or from his appearances in The Milagro Beanfield War, Once Upon a Time in Mexico, or Predator 2, amongst his 40 plus acting appearances over the years, but in the early 1980s, he was a salsa and Latin Jazz musician and singer who had yet to break out of the New Yorican market. With an idea for a movie about a singer and musician not unlike himself trying to attempt a crossover success into mainstream music, he would approach his friend, director Leon Icasho, about teaming up to get the idea fleshed out into a real movie. Although Blades was at best a cult music star, and Icasho had only made one movie before, they were able to raise $6m from a series of local investors including Jack Rollins, who produced every Woody Allen movie from 1969's Take the Money and Run to 2015's Irrational Man, to make their movie, which they would start shooting in the Spanish Harlem section of New York City in December 1982.   Despite the luxury of a large budget for an independent Latino production, the shooting schedule was very tight, less than five weeks. There would be a number of large musical segments to show Blades' character Rudy's talents as a musician and singer, with hundreds of extras on hand in each scene. Icasho would stick to his 28 day schedule, and the film would wrap up shortly after the New Year.   Even though the director would have his final cut of the movie ready by the start of summer 1983, it would take nearly a year and a half for any distributor to nibble. It wasn't that the film was tedious. Quite the opposite. Many distributors enjoyed the film, but worried about, ironically, the ability of the film to crossover out of the Latino market into the mainstream. So when Miramax came along with a lower than hoped for offer to release the film, the filmmakers took the deal, because they just wanted the film out there.   Things would start to pick up for the film when Miramax submitted the film to be entered into the 1985 Cannes Film Festival, and it would be submitted to run in the prestigious Directors Fortnight program, alongside Mike Newell's breakthrough film, Dance with a Stranger, Victor Nunez's breakthrough film, A Flash of Green, and Wayne Wang's breakthrough film Dim Sum: A Little Bit of Heart. While they were waiting for Cannes to get back to them, they would also learn the film had been selected to be a part of The Lincoln Center's New Directors/New Films program, where the film would earn raves from local critics and audiences, especially for Blades, who many felt was a screen natural. After more praise from critics and audiences on the French Riviera, Miramax would open Crossover Dreams at the Cinema Studio theatre in midtown Manhattan on August 23rd, 1985. Originally booked into the smaller 180 seat auditorium, since John Huston's Prizzi's Honor was still doing good business in the 300 seat house in its fourth week, the theatre would swap houses for the films when it became clear early on Crossover Dreams' first day that it would be the more popular title that weekend. And it would. While Prizzi would gross a still solid $10k that weekend, Crossover Dreams would gross $35k. In its second weekend, the film would again gross $35k. And in its third weekend, another $35k. They were basically selling out every seat at every show those first three weeks. Clearly, the film was indeed doing some crossover business.   But, strangely, Miramax would wait seven weeks after opening the film in New York to open it in Los Angeles. With a new ad campaign that de-emphasized Blades and played up the dreamer dreaming big aspect of the film, Miramax would open the movie at two of the more upscale theatres in the area, the Cineplex Beverly Center on the outskirts of Beverly Hills, and the Cineplex Brentwood Twin, on the west side where many of Hollywood's tastemakers called home. Even with a plethora of good reviews from the local press, and playing at two theatres with a capacity of more than double the one theatre playing the film in New York, Crossover Dreams could only manage a neat $13k opening weekend.   Slowly but surely, Miramax would add a few more prints in additional major markets, but never really gave the film the chance to score with Latino audiences who may have been craving a salsa-infused musical/drama, even if it was entirely in English. Looking back, thirty-eight years later, that seems to have been a mistake, but it seems that the film's final gross of just $250k after just ten weeks of release was leaving a lot of money on the table. At awards time, Blades would be nominated for an Independent Spirit Award for Best Actor, but otherwise, the film would be shut out of any further consideration.   But for all intents and purposes, the film did kinda complete its mission of turning Blades into a star. He continues to be one of the busiest Latino actors in Hollywood over the last forty years, and it would help get one of his co-stars, Elizabeth Peña, a major job in a major Hollywood film the following year, as the live-in maid at Richard Dreyfuss and Bette Midler's house in Paul Mazursky's Down and Out in Beverly Hills, which would give her a steady career until her passing in 2014. And Icasho himself would have a successful directing career both on movie screens and on television, working on such projects as Miami Vice, Crime Story, The Equalizer, Criminal Minds, and Queen of the South, until his passing this past May.   I'm going to briefly mention a Canadian drama called The Dog Who Stopped the War that Miramax released on three screens in their home town of Buffalo on October 25th, 1985. A children's film about two groups of children in a small town in Quebec during their winter break who get involved in an ever-escalating snowball fight. It would be the highest grossing local film in Canada in 1984, and would become the first in a series of 25 family films under a Tales For All banner made by a company called Party Productions, which will be releasing their newest film in the series later this year. The film may have huge in Canada, but in Buffalo in the late fall, the film would only gross $15k in its first, and only, week in theatres. The film would eventually develop a cult following thanks to repeated cable screenings during the holidays every year.   We'll also give a brief mention to an Australian action movie called Cool Change, directed by George Miller. No, not the George Miller who created the Mad Max series, but the other Australian director named George Miller, who had to start going by George T. Miller to differentiate himself from the other George Miller, even though this George Miller was directing before the other George Miller, and even had a bigger local and global hit in 1982 with The Man From Snowy River than the other George Miller had with Mad Max II, aka The Road Warrior. It would also be the second movie released by Miramax in a year starring a young Australian ingenue named Deborra-Lee Furness, who was also featured in Crossover Dreams. Today, most people know her as Mrs. Hugh Jackman.   The internet and several book sources say the movie opened in America on March 14th, 1986, but damn if I can find any playdate anywhere in the country, period. Not even in the Weinsteins' home territory of Buffalo. A critic from the Sydney Morning Herald would call the film, which opened in Australia four weeks after it allegedly opened in America, a spectacularly simplistic propaganda piece for the cattle farmers of the Victorian high plains,” and in its home country, it would barely gross 2% of its $3.5m budget.   And sticking with brief mentions of Australian movies Miramax allegedly released in American in the spring of 1986, we move over to one of three movies directed by Brian Trenchard-Smith that would be released during that year. In Australia, it was titled Frog Dreaming, but for America, the title was changed to The Quest. The film stars Henry Thomas from E.T. as an American boy who has moved to Australia to be with his guardian after his parents die, who finds himself caught up in the magic of a local Aboriginal myth that might be more real than anyone realizes.   And like Cool Change, I cannot find any American playdates for the film anywhere near its alleged May 1st, 1986 release date. I even contacted Mr. Trenchard-Smith asking him if he remembers anything about the American release of his film, knowing full well it's 37 years later, but while being very polite in his response, he was unable to help.       Finally, we get back to the movies we actually can talk about with some certainty. I know our next movie was actually released in American theatres, because I saw it in America at a cinema.   Twist and Shout tells the story of two best friends, Bjørn and Erik, growing up in suburbs of Copenhagen, Denmark in 1963. The music of The Beatles, who are just exploding in Europe, help provide a welcome respite from the harsh realities of their lives.   Directed by Billie August, Twist and Shout would become the first of several August films to be released by Miramax over the next decade, including his follow-up, which would end up become Miramax's first Oscar-winning release, but we'll be talking about that movie on our next episode.   August was often seen as a spiritual successor to Ingmar Bergman within Scandinavian cinema, so much so that Bergman would handpick August to direct a semi-autobiographical screenplay of his, The Best Intentions, in the early 1990s, when it became clear to Bergman that he would not be able to make it himself. Bergman's only stipulation was that August would need to cast one of his actresses from Fanny and Alexander, Pernilla Wallgren, as his stand-in character's mother. August and Wallgren had never met until they started filming. By the end of shooting, Pernilla Wallgren would be Pernilla August, but that's another story for another time.   In a rare twist, Twist and Shout would open in Los Angeles before New York City, at the Cineplex Beverly Center August 22nd, 1986, more than two years after it opened across Denmark. Loaded with accolades including a Best Picture Award from the European Film Festival and positive reviews from the likes of Gene Siskel and Michael Wilmington, the movie would gross, according to Variety, a “crisp” $14k in its first three days. In its second weekend, the Beverly Center would add a second screen for the film, and the gross would increase to $17k. And by week four, one of those prints at the Beverly Center would move to the Laemmle Monica 4, so those on the West Side who didn't want to go east of the 405 could watch it. But the combined $13k gross would not be as good as the previous week's $14k from the two screens at the Beverly Center.   It wouldn't be until Twist and Shout's sixth week of release they would finally add a screen in New York City, the 68th Street Playhouse, where it would gross $25k in its first weekend there. But after nine weeks, never playing in more than five theatres in any given weekend, Twist and Shout was down and out, with only $204k in ticket sales. But it was good enough for Miramax to acquire August's next movie, and actually get it into American theatres within a year of its release in Denmark and Sweden. Join us next episode for that story.   Earlier, I teased about why Miramax took more than a year off from releasing movies in 1984 and 1985. And we've reached that point in the timeline to tell that story.   After writing and producing The Burning in 1981, Bob and Harvey had decided what they really wanted to do was direct. But it would take years for them to come up with an idea and flesh that story out to a full length screenplay. They'd return to their roots as rock show promoters, borrowing heavily from one of Harvey's first forays into that field, when he and a partner, Corky Burger, purchased an aging movie theatre in Buffalo in 1974 and turned it into a rock and roll hall for a few years, until they gutted and demolished the theatre, so they could sell the land, with Harvey's half of the proceeds becoming much of the seed money to start Miramax up.   After graduating high school, three best friends from New York get the opportunity of a lifetime when they inherit an old run down hotel upstate, with dreams of turning it into a rock and roll hotel. But when they get to the hotel, they realize the place is going to need a lot more work than they initially realized, and they realize they are not going to get any help from any of the locals, who don't want them or their silly rock and roll hotel in their quaint and quiet town.   With a budget of only $5m, and a story that would need to be filmed entirely on location, the cast would not include very many well known actors.   For the lead role of Danny, the young man who inherits the hotel, they would cast Daniel Jordano, whose previous acting work had been nameless characters in movies like Death Wish 3 and Streetwalkin'. This would be his first leading role.   Danny's two best friends, Silk and Spikes, would be played by Leon W. Grant and Matthew Penn, respectively. Like Jordano, both Grant and Penn had also worked in small supporting roles, although Grant would actually play characters with actual names like Boo Boo and Chollie. Penn, the son of Bonnie and Clyde director Arthur Penn, would ironically have his first acting role in a 1983 musical called Rock and Roll Hotel, about a young trio of musicians who enter a Battle of the Bands at an old hotel called The Rock and Roll Hotel. This would also be their first leading roles.   Today, there are two reasons to watch Playing For Keeps.   One of them is to see just how truly awful Bob and Harvey Weinstein were as directors. 80% of the movie is master shots without any kind of coverage, 15% is wannabe MTV music video if those videos were directed by space aliens handed video cameras and not told what to do with them, and 5% Jordano mimicking Kevin Bacon in Footloose but with the heaviest New Yawk accent this side of Bensonhurst.   The other reason is to watch a young actress in her first major screen role, who is still mesmerizing and hypnotic despite the crapfest she is surrounded by. Nineteen year old Marisa Tomei wouldn't become a star because of this movie, but it was clear very early on she was going to become one, someday.   Mostly shot in and around the grounds of the Bethany Colony Resort in Bethany PA, the film would spend six weeks in production during June and July of 1984, and they would spend more than a year and a half putting the film together. As music men, they knew a movie about a rock and roll hotel for younger people who need to have a lot of hip, cool, teen-friendly music on the soundtrack. So, naturally, the Weinsteins would recruit such hip, cool, teen-friendly musicians like Pete Townshend of The Who, Phil Collins, Peter Frampton, Sister Sledge, already defunct Duran Duran side project Arcadia, and Hinton Battle, who had originated the role of The Scarecrow in the Broadway production of The Wiz. They would spend nearly $500k to acquire B-sides and tossed away songs that weren't good enough to appear on the artists' regular albums.   Once again light on money, Miramax would sent the completed film out to the major studios to see if they'd be willing to release the movie. A sale would bring some much needed capital back into the company immediately, and creating a working relationship with a major studio could be advantageous in the long run. Universal Pictures would buy the movie from Miramax for an undisclosed sum, and set an October 3rd release.   Playing For Keeps would open on 1148 screens that day, including 56 screens in the greater Los Angeles region and 80 in the New York City metropolitan area. But it wasn't the best week to open this film. Crocodile Dundee had opened the week before and was a surprise hit, spending a second week firmly atop the box office charts with $8.2m in ticket sales. Its nearest competitor, the Burt Lancaster/Kirk Douglas comedy Tough Guys, would be the week's highest grossing new film, with $4.6m. Number three was Top Gun, earning $2.405m in its 21st week in theatres, and Stand By Me was in fourth in its ninth week with $2.396m. In fifth place, playing in only 215 theatres, would be another new opener, Children of a Lesser God, with $1.9m. And all the way down in sixth place, with only $1.4m in ticket sales, was Playing for Keeps.   The reviews were fairly brutal, and by that, I mean they were fair in their brutality, although you'll have to do some work to find those reviews. No one has ever bothered to link their reviews for Playing For Keeps at Rotten Tomatoes or Metacritic. After a second weekend, where the film would lose a quarter of its screens and 61% of its opening weekend business, Universal would cut its losses and dump the film into dollar houses. The final reported box office gross on the film would be $2.67m.   Bob Weinstein would never write or direct another film, and Harvey Weinstein would only have one other directing credit to his name, an animated movie called The Gnomes' Great Adventure, which wasn't really a directing effort so much as buying the American rights to a 1985 Spanish animated series called The World of David the Gnome, creating new English language dubs with actors like Tom Bosley, Frank Gorshin, Christopher Plummer, and Tony Randall, and selling the new versions to Nickelodeon.   Sadly, we would learn in October 2017 that one of the earliest known episodes of sexual harassment by Harvey Weinstein happened during the pre-production of Playing for Keeps.   In 1984, a twenty year old college junior Tomi-Ann Roberts was waiting tables in New York City, hoping to start an acting career. Weinstein, who one of her customers at this restaurant, urged Ms. Roberts to audition for a movie that he and his brother were planning to direct. He sent her the script and asked her to meet him where he was staying so they could discuss the film. When she arrived at his hotel room, the door was left slightly ajar, and he called on her to come in and close the door behind her.  She would find Weinstein nude in the bathtub,  where he told her she would give a much better audition if she were comfortable getting naked in front of him too, because the character she might play would have a topless scene. If she could not bare her breasts in private, she would not be able to do it on film. She was horrified and rushed out of the room, after telling Weinstein that she was too prudish to go along. She felt he had manipulated her by feigning professional interest in her, and doubted she had ever been under serious consideration. That incident would send her life in a different direction. In 2017, Roberts was a psychology professor at Colorado College, researching sexual objectification, an interest she traces back in part to that long-ago encounter.   And on that sad note, we're going to take our leave.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1987.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s, specifically looking at the films they released between 1984 and 1986. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s.   And, in case you did not listen to Part 1 yet, let me reiterate that the focus here will be on the films and the creatives, not the Weinsteins. The Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and that Miramax logo and the names associated with it should not stop anyone from enjoying some very well made movies because they now have an unfortunate association with two spineless chucklenuts who proclivities would not be known by the outside world for decades to come.   Well, there is one movie this episode where we must talk about the Weinsteins as the creatives, but when talking about that film, “creatives” is a derisive pejorative.    We ended our previous episode at the end of 1983. Miramax had one minor hit film in The Secret Policeman's Other Ball, thanks in large part to the film's association with members of the still beloved Monty Python comedy troupe, who hadn't released any material since The Life of Brian in 1979.   1984 would be the start of year five of the company, and they were still in need of something to make their name. Being a truly independent film company in 1984 was not easy. There were fewer than 20,000 movie screens in the entire country back then, compared to nearly 40,000 today. National video store chains like Blockbuster did not exist, and the few cable channels that did exist played mostly Hollywood films. There was no social media for images and clips to go viral.   For comparison's sake, in A24's first five years, from its founding in August 2012 to July 2017, the company would have a number of hit films, including The Bling Ring, The Lobster, Spring Breakers, and The Witch, release movies from some of indie cinema's most respected names, including Andrea Arnold, Robert Eggers, Atom Egoyan, Daniel Kwan and Daniel Scheinert, Lynn Shelton, Trey Edward Shults, Gus Van Sant, and Denis Villeneuve, and released several Academy Award winning movies, including the Amy Winehouse documentary Amy, Alex Garland's Ex Machina, Lenny Abrahamson's Room and Barry Jenkins' Moonlight, which would upset front runner La La Land for the Best Picture of 2016.   But instead of leaning into the American independent cinema world the way Cinecom and Island were doing with the likes of Jonathan Demme and John Sayles, Miramax would dip their toes further into the world of international cinema.   Their first release for 1984 would be Ruy Guerra's Eréndira. The screenplay by Nobel Prize winner Gabriel García Márquez was based on his 1972 novella The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother, which itself was based off a screenplay Márquez had written in the early 1960s, which, when he couldn't get it made at the time, he reduced down to a page and a half for a sequence in his 1967 magnum opus One Hundred Years of Solitude. Between the early 1960s and the early 1980s, Márquez would lose the original draft of Eréndira, and would write a new script based off what he remembered writing twenty years earlier.    In the story, a young woman named Eréndira lives in a near mansion situation in an otherwise empty desert with her grandmother, who had collected a number of paper flowers and assorted tchotchkes over the years. One night, Eréndira forgets to put out some candles used to illuminate the house, and the house and all of its contents burn to the ground. With everything lost, Eréndira's grandmother forces her into a life of prostitution. The young woman quickly becomes the courtesan of choice in the region. With every new journey, an ever growing caravan starts to follow them, until it becomes for all intents and purposes a carnival, with food vendors, snake charmers, musicians and games of chance.   Márquez's writing style, known as “magic realism,” was very cinematic on the page, and it's little wonder that many of his stories have been made into movies and television miniseries around the globe for more than a half century. Yet no movie came as close to capturing that Marquezian prose quite the way Guerra did with Eréndira. Featuring Greek goddess Irene Papas as the Grandmother, Brazilian actress Cláudia Ohana, who happened to be married to Guerra at the time, as the titular character, and former Bond villain Michael Lonsdale in a small but important role as a Senator who tries to help Eréndira get out of her life as a slave, the movie would be Mexico's entry into the 1983 Academy Award race for Best Foreign Language Film.   After acquiring the film for American distribution, Miramax would score a coup by getting the film accepted to that year's New York Film Festival, alongside such films as Robert Altman's Streamers, Jean Lucy Godard's Passion, Lawrence Kasdan's The Big Chill, Francis Ford Coppola's Rumble Fish, and Andrzej Wajda's Danton.   But despite some stellar reviews from many of the New York City film critics, Eréndira would not get nominated for Best Foreign Language Film, and Miramax would wait until April 27th, 1984, to open the film at the Lincoln Plaza Cinemas, one of the most important theatres in New York City at the time to launch a foreign film. A quarter page ad in the New York Times included quotes from the Village Voice, New York Magazine, Vincent Canby of the Times and Roger Ebert, the movie would gross an impressive $25,500 in its first three days. Word of mouth in the city would be strong, with its second weekend gross actually increasing nearly 20% to $30,500. Its third weekend would fall slightly, but with $27k in the till would still be better than its first weekend.   It wouldn't be until Week 5 that Eréndira would expand into Los Angeles and Chicago, where it would continue to gross nearly $20k per screen for several more weeks. The film would continue to play across the nation for more than half a year, and despite never making more than four prints of the film, Eréndira would gross more than $600k in America, one of the best non-English language releases for all of 1984.   In their quickest turnaround from one film to another to date, Miramax would release Claude Lelouch's Edith and Marcel not five weeks after Eréndira.   If you're not familiar with the name Claude Chabrol, I would highly suggest becoming so. Chabrol was a part of the French New Wave filmmakers alongside Jean-Luc Godard, Jacques Rivette, Éric Rohmer, and François Truffaut who came up as film critics for the influential French magazine Cahiers [ka-yay] du Cinéma in the 1950s, who would go on to change the direction of French Cinema and how film fans appreciated films and filmmakers through the concept of The Auteur Theory, although the theory itself would be given a name by American film critic Andrew Sarris in 1962.   Of these five critics turned filmmakers, Chabrol would be considered the most prolific and commercial. Chabrol would be the first of them to make a film, Le Beau Serge, and between 1957 and his death in 2010, he would make 58 movies. That's more than one new movie every year on average, not counting shorts and television projects he also made on the side.   American audiences knew him best for his 1966 global hit A Man and a Woman, which would sell more than $14m in tickets in the US and would be one of the few foreign language films to earn Academy Award nominations outside of the Best Foreign Language Film race. Lead actress Anouk Aimee would get a nod, and Chabrol would earn two on the film, for Best Director, which he would lose to Fred Zimmerman and A Man for All Seasons, and Best Original Screenplay, which he would win alongside his co-writer Pierre Uytterhoeven.   Edith and Marcel would tell the story of the love affair between the iconic French singer Edith Piaf and Marcel Cerdan, the French boxer who was the Middleweight Champion of the World during their affair in 1948 and 1949. Both were famous in their own right, but together, they were the Brangelina of post-World War II France. Despite the fact that Cerdan was married with three kids, their affair helped lift the spirits of the French people, until his death in October 1949, while he was flying from Paris to New York to see Piaf.   Fans of Raging Bull are somewhat familiar with Marcel Cerdan already, as Cerdan's last fight before his death would find Cerdan losing his middleweight title to Jake LaMotta.   In a weird twist of fate, Patrick Dewaere, the actor Chabrol cast as Cerdan, committed suicide just after the start of production, and while Chabrol considered shutting down the film in respect, it would be none other than Marcel Cerdan, Jr. who would step in to the role of his own father, despite never having acted before, and being six years older than his father was when he died.   When it was released in France in April 1983, it was an immediate hit, become the second highest French film of the year, and the sixth highest grosser of all films released in the country that year. However, it would not be the film France submitted to that year's Academy Award race. That would be Diane Kurys' Entre Nous, which wasn't as big a hit in France but was considered a stronger contender for the nomination, in part because of Isabelle Hupert's amazing performance but also because Entre Nous, as 110 minutes, was 50 minutes shorter than Edith and Marcel.   Harvey Weinstein would cut twenty minutes out of the film without Chabrol's consent or assistance, and when the film was released at the 57th Street Playhouse in New York City on Sunday, June 3rd, the gushing reviews in the New York Times ad would actually be for Chabrol's original cut, and they would help the film gross $15,300 in its first five days. But once the other New York critics who didn't get to see the original cut of the film saw this new cut, the critical consensus started to fall. Things felt off to them, and they would be, as a number of short trims made by Weinstein would remove important context for the film for the sake of streamlining the film. Audiences would pick up on the changes, and in its first full weekend of release, the film would only gross $12k. After two more weeks of grosses of under $4k each week, the film would close in New York City. Edith and Marcel would never play in another theatre in the United States.   And then there would be another year plus long gap before their next release, but we'll get into the reason why in a few moments.   Many people today know Rubén Blades as Daniel Salazar in Fear the Walking Dead, or from his appearances in The Milagro Beanfield War, Once Upon a Time in Mexico, or Predator 2, amongst his 40 plus acting appearances over the years, but in the early 1980s, he was a salsa and Latin Jazz musician and singer who had yet to break out of the New Yorican market. With an idea for a movie about a singer and musician not unlike himself trying to attempt a crossover success into mainstream music, he would approach his friend, director Leon Icasho, about teaming up to get the idea fleshed out into a real movie. Although Blades was at best a cult music star, and Icasho had only made one movie before, they were able to raise $6m from a series of local investors including Jack Rollins, who produced every Woody Allen movie from 1969's Take the Money and Run to 2015's Irrational Man, to make their movie, which they would start shooting in the Spanish Harlem section of New York City in December 1982.   Despite the luxury of a large budget for an independent Latino production, the shooting schedule was very tight, less than five weeks. There would be a number of large musical segments to show Blades' character Rudy's talents as a musician and singer, with hundreds of extras on hand in each scene. Icasho would stick to his 28 day schedule, and the film would wrap up shortly after the New Year.   Even though the director would have his final cut of the movie ready by the start of summer 1983, it would take nearly a year and a half for any distributor to nibble. It wasn't that the film was tedious. Quite the opposite. Many distributors enjoyed the film, but worried about, ironically, the ability of the film to crossover out of the Latino market into the mainstream. So when Miramax came along with a lower than hoped for offer to release the film, the filmmakers took the deal, because they just wanted the film out there.   Things would start to pick up for the film when Miramax submitted the film to be entered into the 1985 Cannes Film Festival, and it would be submitted to run in the prestigious Directors Fortnight program, alongside Mike Newell's breakthrough film, Dance with a Stranger, Victor Nunez's breakthrough film, A Flash of Green, and Wayne Wang's breakthrough film Dim Sum: A Little Bit of Heart. While they were waiting for Cannes to get back to them, they would also learn the film had been selected to be a part of The Lincoln Center's New Directors/New Films program, where the film would earn raves from local critics and audiences, especially for Blades, who many felt was a screen natural. After more praise from critics and audiences on the French Riviera, Miramax would open Crossover Dreams at the Cinema Studio theatre in midtown Manhattan on August 23rd, 1985. Originally booked into the smaller 180 seat auditorium, since John Huston's Prizzi's Honor was still doing good business in the 300 seat house in its fourth week, the theatre would swap houses for the films when it became clear early on Crossover Dreams' first day that it would be the more popular title that weekend. And it would. While Prizzi would gross a still solid $10k that weekend, Crossover Dreams would gross $35k. In its second weekend, the film would again gross $35k. And in its third weekend, another $35k. They were basically selling out every seat at every show those first three weeks. Clearly, the film was indeed doing some crossover business.   But, strangely, Miramax would wait seven weeks after opening the film in New York to open it in Los Angeles. With a new ad campaign that de-emphasized Blades and played up the dreamer dreaming big aspect of the film, Miramax would open the movie at two of the more upscale theatres in the area, the Cineplex Beverly Center on the outskirts of Beverly Hills, and the Cineplex Brentwood Twin, on the west side where many of Hollywood's tastemakers called home. Even with a plethora of good reviews from the local press, and playing at two theatres with a capacity of more than double the one theatre playing the film in New York, Crossover Dreams could only manage a neat $13k opening weekend.   Slowly but surely, Miramax would add a few more prints in additional major markets, but never really gave the film the chance to score with Latino audiences who may have been craving a salsa-infused musical/drama, even if it was entirely in English. Looking back, thirty-eight years later, that seems to have been a mistake, but it seems that the film's final gross of just $250k after just ten weeks of release was leaving a lot of money on the table. At awards time, Blades would be nominated for an Independent Spirit Award for Best Actor, but otherwise, the film would be shut out of any further consideration.   But for all intents and purposes, the film did kinda complete its mission of turning Blades into a star. He continues to be one of the busiest Latino actors in Hollywood over the last forty years, and it would help get one of his co-stars, Elizabeth Peña, a major job in a major Hollywood film the following year, as the live-in maid at Richard Dreyfuss and Bette Midler's house in Paul Mazursky's Down and Out in Beverly Hills, which would give her a steady career until her passing in 2014. And Icasho himself would have a successful directing career both on movie screens and on television, working on such projects as Miami Vice, Crime Story, The Equalizer, Criminal Minds, and Queen of the South, until his passing this past May.   I'm going to briefly mention a Canadian drama called The Dog Who Stopped the War that Miramax released on three screens in their home town of Buffalo on October 25th, 1985. A children's film about two groups of children in a small town in Quebec during their winter break who get involved in an ever-escalating snowball fight. It would be the highest grossing local film in Canada in 1984, and would become the first in a series of 25 family films under a Tales For All banner made by a company called Party Productions, which will be releasing their newest film in the series later this year. The film may have huge in Canada, but in Buffalo in the late fall, the film would only gross $15k in its first, and only, week in theatres. The film would eventually develop a cult following thanks to repeated cable screenings during the holidays every year.   We'll also give a brief mention to an Australian action movie called Cool Change, directed by George Miller. No, not the George Miller who created the Mad Max series, but the other Australian director named George Miller, who had to start going by George T. Miller to differentiate himself from the other George Miller, even though this George Miller was directing before the other George Miller, and even had a bigger local and global hit in 1982 with The Man From Snowy River than the other George Miller had with Mad Max II, aka The Road Warrior. It would also be the second movie released by Miramax in a year starring a young Australian ingenue named Deborra-Lee Furness, who was also featured in Crossover Dreams. Today, most people know her as Mrs. Hugh Jackman.   The internet and several book sources say the movie opened in America on March 14th, 1986, but damn if I can find any playdate anywhere in the country, period. Not even in the Weinsteins' home territory of Buffalo. A critic from the Sydney Morning Herald would call the film, which opened in Australia four weeks after it allegedly opened in America, a spectacularly simplistic propaganda piece for the cattle farmers of the Victorian high plains,” and in its home country, it would barely gross 2% of its $3.5m budget.   And sticking with brief mentions of Australian movies Miramax allegedly released in American in the spring of 1986, we move over to one of three movies directed by Brian Trenchard-Smith that would be released during that year. In Australia, it was titled Frog Dreaming, but for America, the title was changed to The Quest. The film stars Henry Thomas from E.T. as an American boy who has moved to Australia to be with his guardian after his parents die, who finds himself caught up in the magic of a local Aboriginal myth that might be more real than anyone realizes.   And like Cool Change, I cannot find any American playdates for the film anywhere near its alleged May 1st, 1986 release date. I even contacted Mr. Trenchard-Smith asking him if he remembers anything about the American release of his film, knowing full well it's 37 years later, but while being very polite in his response, he was unable to help.       Finally, we get back to the movies we actually can talk about with some certainty. I know our next movie was actually released in American theatres, because I saw it in America at a cinema.   Twist and Shout tells the story of two best friends, Bjørn and Erik, growing up in suburbs of Copenhagen, Denmark in 1963. The music of The Beatles, who are just exploding in Europe, help provide a welcome respite from the harsh realities of their lives.   Directed by Billie August, Twist and Shout would become the first of several August films to be released by Miramax over the next decade, including his follow-up, which would end up become Miramax's first Oscar-winning release, but we'll be talking about that movie on our next episode.   August was often seen as a spiritual successor to Ingmar Bergman within Scandinavian cinema, so much so that Bergman would handpick August to direct a semi-autobiographical screenplay of his, The Best Intentions, in the early 1990s, when it became clear to Bergman that he would not be able to make it himself. Bergman's only stipulation was that August would need to cast one of his actresses from Fanny and Alexander, Pernilla Wallgren, as his stand-in character's mother. August and Wallgren had never met until they started filming. By the end of shooting, Pernilla Wallgren would be Pernilla August, but that's another story for another time.   In a rare twist, Twist and Shout would open in Los Angeles before New York City, at the Cineplex Beverly Center August 22nd, 1986, more than two years after it opened across Denmark. Loaded with accolades including a Best Picture Award from the European Film Festival and positive reviews from the likes of Gene Siskel and Michael Wilmington, the movie would gross, according to Variety, a “crisp” $14k in its first three days. In its second weekend, the Beverly Center would add a second screen for the film, and the gross would increase to $17k. And by week four, one of those prints at the Beverly Center would move to the Laemmle Monica 4, so those on the West Side who didn't want to go east of the 405 could watch it. But the combined $13k gross would not be as good as the previous week's $14k from the two screens at the Beverly Center.   It wouldn't be until Twist and Shout's sixth week of release they would finally add a screen in New York City, the 68th Street Playhouse, where it would gross $25k in its first weekend there. But after nine weeks, never playing in more than five theatres in any given weekend, Twist and Shout was down and out, with only $204k in ticket sales. But it was good enough for Miramax to acquire August's next movie, and actually get it into American theatres within a year of its release in Denmark and Sweden. Join us next episode for that story.   Earlier, I teased about why Miramax took more than a year off from releasing movies in 1984 and 1985. And we've reached that point in the timeline to tell that story.   After writing and producing The Burning in 1981, Bob and Harvey had decided what they really wanted to do was direct. But it would take years for them to come up with an idea and flesh that story out to a full length screenplay. They'd return to their roots as rock show promoters, borrowing heavily from one of Harvey's first forays into that field, when he and a partner, Corky Burger, purchased an aging movie theatre in Buffalo in 1974 and turned it into a rock and roll hall for a few years, until they gutted and demolished the theatre, so they could sell the land, with Harvey's half of the proceeds becoming much of the seed money to start Miramax up.   After graduating high school, three best friends from New York get the opportunity of a lifetime when they inherit an old run down hotel upstate, with dreams of turning it into a rock and roll hotel. But when they get to the hotel, they realize the place is going to need a lot more work than they initially realized, and they realize they are not going to get any help from any of the locals, who don't want them or their silly rock and roll hotel in their quaint and quiet town.   With a budget of only $5m, and a story that would need to be filmed entirely on location, the cast would not include very many well known actors.   For the lead role of Danny, the young man who inherits the hotel, they would cast Daniel Jordano, whose previous acting work had been nameless characters in movies like Death Wish 3 and Streetwalkin'. This would be his first leading role.   Danny's two best friends, Silk and Spikes, would be played by Leon W. Grant and Matthew Penn, respectively. Like Jordano, both Grant and Penn had also worked in small supporting roles, although Grant would actually play characters with actual names like Boo Boo and Chollie. Penn, the son of Bonnie and Clyde director Arthur Penn, would ironically have his first acting role in a 1983 musical called Rock and Roll Hotel, about a young trio of musicians who enter a Battle of the Bands at an old hotel called The Rock and Roll Hotel. This would also be their first leading roles.   Today, there are two reasons to watch Playing For Keeps.   One of them is to see just how truly awful Bob and Harvey Weinstein were as directors. 80% of the movie is master shots without any kind of coverage, 15% is wannabe MTV music video if those videos were directed by space aliens handed video cameras and not told what to do with them, and 5% Jordano mimicking Kevin Bacon in Footloose but with the heaviest New Yawk accent this side of Bensonhurst.   The other reason is to watch a young actress in her first major screen role, who is still mesmerizing and hypnotic despite the crapfest she is surrounded by. Nineteen year old Marisa Tomei wouldn't become a star because of this movie, but it was clear very early on she was going to become one, someday.   Mostly shot in and around the grounds of the Bethany Colony Resort in Bethany PA, the film would spend six weeks in production during June and July of 1984, and they would spend more than a year and a half putting the film together. As music men, they knew a movie about a rock and roll hotel for younger people who need to have a lot of hip, cool, teen-friendly music on the soundtrack. So, naturally, the Weinsteins would recruit such hip, cool, teen-friendly musicians like Pete Townshend of The Who, Phil Collins, Peter Frampton, Sister Sledge, already defunct Duran Duran side project Arcadia, and Hinton Battle, who had originated the role of The Scarecrow in the Broadway production of The Wiz. They would spend nearly $500k to acquire B-sides and tossed away songs that weren't good enough to appear on the artists' regular albums.   Once again light on money, Miramax would sent the completed film out to the major studios to see if they'd be willing to release the movie. A sale would bring some much needed capital back into the company immediately, and creating a working relationship with a major studio could be advantageous in the long run. Universal Pictures would buy the movie from Miramax for an undisclosed sum, and set an October 3rd release.   Playing For Keeps would open on 1148 screens that day, including 56 screens in the greater Los Angeles region and 80 in the New York City metropolitan area. But it wasn't the best week to open this film. Crocodile Dundee had opened the week before and was a surprise hit, spending a second week firmly atop the box office charts with $8.2m in ticket sales. Its nearest competitor, the Burt Lancaster/Kirk Douglas comedy Tough Guys, would be the week's highest grossing new film, with $4.6m. Number three was Top Gun, earning $2.405m in its 21st week in theatres, and Stand By Me was in fourth in its ninth week with $2.396m. In fifth place, playing in only 215 theatres, would be another new opener, Children of a Lesser God, with $1.9m. And all the way down in sixth place, with only $1.4m in ticket sales, was Playing for Keeps.   The reviews were fairly brutal, and by that, I mean they were fair in their brutality, although you'll have to do some work to find those reviews. No one has ever bothered to link their reviews for Playing For Keeps at Rotten Tomatoes or Metacritic. After a second weekend, where the film would lose a quarter of its screens and 61% of its opening weekend business, Universal would cut its losses and dump the film into dollar houses. The final reported box office gross on the film would be $2.67m.   Bob Weinstein would never write or direct another film, and Harvey Weinstein would only have one other directing credit to his name, an animated movie called The Gnomes' Great Adventure, which wasn't really a directing effort so much as buying the American rights to a 1985 Spanish animated series called The World of David the Gnome, creating new English language dubs with actors like Tom Bosley, Frank Gorshin, Christopher Plummer, and Tony Randall, and selling the new versions to Nickelodeon.   Sadly, we would learn in October 2017 that one of the earliest known episodes of sexual harassment by Harvey Weinstein happened during the pre-production of Playing for Keeps.   In 1984, a twenty year old college junior Tomi-Ann Roberts was waiting tables in New York City, hoping to start an acting career. Weinstein, who one of her customers at this restaurant, urged Ms. Roberts to audition for a movie that he and his brother were planning to direct. He sent her the script and asked her to meet him where he was staying so they could discuss the film. When she arrived at his hotel room, the door was left slightly ajar, and he called on her to come in and close the door behind her.  She would find Weinstein nude in the bathtub,  where he told her she would give a much better audition if she were comfortable getting naked in front of him too, because the character she might play would have a topless scene. If she could not bare her breasts in private, she would not be able to do it on film. She was horrified and rushed out of the room, after telling Weinstein that she was too prudish to go along. She felt he had manipulated her by feigning professional interest in her, and doubted she had ever been under serious consideration. That incident would send her life in a different direction. In 2017, Roberts was a psychology professor at Colorado College, researching sexual objectification, an interest she traces back in part to that long-ago encounter.   And on that sad note, we're going to take our leave.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1987.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Ep. 183: Cannes #11 with KJ Relth-Miller on Cannes Classics including L'Amour Fou and Skeleton of Mrs. Morales Welcome to The Last Thing I Saw. I'm your host, Nicolas Rapold. The 2023 Cannes series continues, with episodes recorded live in Cannes! For the latest discussion, I was delighted to welcome returning guest K.J. Relth-Miller, who heads the film program at the Academy Museum of Motion Pictures in Los Angeles. She surveys Cannes Classics, the festival's robust program of new restorations and film documentaries, making their world premieres. Titles include L'Amour Fou (1967) from Jacques Rivette (which was an unofficial opening film for many attendees) and Skeleton of Mrs. Morales (1959) from Mexican director Rogelio A. González, and we reflect on the late Godard's newest, Trailer of the Film That Will Never Exist: Phony Wars. Stay tuned for more episodes with a delightful array of brilliant critics. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Monserrate” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Patrick and Eliana talk about expectations and films on day two of the 76th Cannes Film Festival and Jacques Rivette's L'Amour Fou and Maïwenn's Jeanne du Barry. We still need a jingle!Rundown of the Festival and Expectations 00:00Jacques Rivette's L'Amour Fou 00:27:46Maïwenn's Jeanne du Barry 00:31:53You can follow Patrick and Eliana on Letterboxd!

Joseph Ferguson is back on the show to discuss the career of Jacques Rivette and one of his final masterpieces, 'La Belle Noiseuse' (1991) starring Emmaneulle Béart and Michel Piccoli. Follow Joseph Ferguson on Twitter: https://twitter.com/Pinball_Lez Follow James Hancock on Twitter: https://twitter.com/WrongReel Wrong Reel Merchandise: https://teespring.com/stores/wrong-reel

Episode Notes Please rate, review, and/or subscribe on Apple Podcasts to help promote this show... You can explore both public and patron episodes of this podcast here: https://www.lostinthemovies.com/p/twin-peaks-cinema.html UPDATE: 5 days after uploading, I added a feedback section that begins at 32:40 The comparison of Lost Highway and the "Evelyn Marsh saga" storyline now begins at 37:04 OTHER LINKS Juliette Lewis on corvette (video clip from Natural Born Killers) https://www.youtube.com/watch?v=mXxTpMM8tjU My Patreon Twin Peaks Cinema episode on Angel Face https://www.patreon.com/posts/51739417 MY OTHER WORK ON LOST HIGHWAY Listen to a Patreon audio archive of all my previous work/mentions: https://www.patreon.com/posts/31637615 sampled in the podcast - my video essay David Lynch & Mary Sweeney: Dream Souls https://vimeo.com/430539967 featured prominently in my video essay Meshes of Lynch https://www.youtube.com/watch?v=zCUX4GIv-WI soundtrack featured in Dark Dreams on the Radio (preview of my Twin Peaks video essay) https://www.youtube.com/watch?v=DsX7y3vKNjY My first review (written) http://www.lostinthemovies.com/2008/09/lost-highway.html Essay comparing Lost Highway to Jacques Rivette's Duelle https://www.lostinthemovies.com/2015/12/lost-highway-duelle-lynchrivette-5.html In a complete survey of Lynch's filmography up to 2014 w/ review https://www.lostinthemovies.com/2014/06/the-eye-of-duck-david-lynch.html & in an essay https://www.lostinthemovies.com/2014/06/its-strange-world-david-lynch.html More on Lynch: https://www.lostinthemovies.com/p/twin-peaks-david-lynch.html (including Lost Highway mentions not listed above) MY OTHER WORK ON TWIN PEAKS https://www.lostinthemovies.com/p/twin-peaks.html MY RECENT PODCASTS Lost in the Movies - The Power of Nightmares https://www.lostinthemovies.com/2023/04/the-power-of-nightmares-lost-in-movies.html Twin Peaks Conversations w/ Andrew Grevas, publisher of 25 Years Later https://www.lostinthemovies.com/2023/04/twin-peaks-conversations-20-w-25-years.html free on Patreon: Episode 100 PUBLIC bonus - The Final Archives (40s/30s/silent) https://www.patreon.com/posts/episode-100-40s-79607678 FOLLOW MY NEW TWIN PEAKS CHARACTER SERIES (written entries)... ( = notes on an old entry) Ronette Pulaski (#61) https://www.lostinthemovies.com/2023/03/link-to-ronette-pulaski-twin-peaks.html / Charlie (#60) https://www.lostinthemovies.com/2023/03/charlie-twin-peaks-character-series-60.html / Sonny Jim Jones (#59) https://www.lostinthemovies.com/2023/03/sonny-jim-jones-twin-peaks-character.html / Jean Renault, Mayor Dwayne Milford & Lana Budding Milford (#58 - 56) https://www.lostinthemovies.com/2023/03/links-to-jean-renault-mayor-dwayne.html / Carrie Page (#55) https://www.lostinthemovies.com/2023/03/carrie-page-twin-peaks-character-series.html / Candie (as well as Sandie and Mandie (#54) https://www.lostinthemovies.com/2023/03/candie-as-well-as-sandie-and-mandie.html / Phillip Gerard (#53) https://www.lostinthemovies.com/2023/03/link-to-phillip-gerard-twin-peaks.html / Eileen Hayward (#52) https://www.lostinthemovies.com/2023/04/eileen-hayward-twin-peaks-character.html / Bill Hastings (#51) https://www.lostinthemovies.com/2023/04/bill-hastings-twin-peaks-character.html / Anthony Sinclair (#50) https://www.lostinthemovies.com/2023/04/anthony-sinclair-twin-peaks-character.html / John Justice Wheeler & Harold Smith (#49 & 48) https://www.lostinthemovies.com/2023/04/links-to-john-justice-wheeler-harold.html / Richard Horne (#47) https://www.lostinthemovies.com/2023/04/richard-horne-twin-peaks-character.html / *Evelyn Marsh (#46) https://www.lostinthemovies.com/2023/04/link-to-evelyn-marsh-twin-peaks.html + jump ahead at least a month as a patron https://www.patreon.com/Lostinthemovies/posts?filters%5Btag%5D=twin%20peaks%20characters This episode's home page on my site https://www.lostinthemovies.com/2023/04/lost-highway-as-twin-peaks-cinema-24.html

Episode Notes Please rate, review, and/or subscribe on Apple Podcasts to help promote this show... You can explore both public and patron episodes of this podcast here: https://www.lostinthemovies.com/p/twin-peaks-cinema.html Companions to this episode on the Lost in the Movies podcast - Blue Velvet (as a standalone film) https://www.lostinthemovies.com/2021/04/blue-velvet-lost-in-movies-19.html & Blue Velvet Revisited (experimental documentary on the production) https://www.lostinthemovies.com/2023/03/blue-velvet-revisited-lost-in-movies.html Sections in this episode: Comparisons (7:06) / Contrasts (18:00) / Fluid Psychodramatic Connections (24:24) / Characters (40:58) / Settings (52:54) / Motifs & Minor Characters w/ Connections to Deleted Scenes (1:01:05) / BONUS: Comparison to "Jean framing Cooper" storyline (1:07:45) / BONUS: Criterion Supplements including more on Deleted Scenes (1:16:31) OTHER LINKS The previous "Lynchverse" episode covered Eraserhead https://www.lostinthemovies.com/2023/02/eraserhead-as-twin-peaks-cinema-22.html David Lynch & Mary Sweeney: Dream Souls (my video) https://vimeo.com/430539967 Patreon PODCAST: My Twin Peaks Reflections section on the "Cocaine in Twin Peaks" storyline https://www.patreon.com/posts/31637615 MY OTHER WORK ON BLUE VELVET Listen to a Patreon audio archive of all my previous work/mentions: https://www.patreon.com/posts/49822857 as well as public readings/clips https://www.patreon.com/posts/49964348 & https://www.patreon.com/posts/49964889 & https://www.patreon.com/posts/49964990 My first review http://www.lostinthemovies.com/2008/08/blue-velvet_17.html Essay comparing Blue Velvet to Jacques Rivette's The Duchess of Langeais http://www.lostinthemovies.com/2015/12/blue-velvet-duchess-of-langeais.html In a complete survey of Lynch's filmography up to 2014 w/ review https://www.lostinthemovies.com/2014/06/the-eye-of-duck-david-lynch.html & in an essay https://www.lostinthemovies.com/2014/06/its-strange-world-david-lynch.html Take This Baby and Deliver It to Death (non-narrated video essay focused on how Lynch's early films - including Blue Velvet - depict violence and assign the roles of abuser, victim, and rescuer) https://vimeo.com/95477301 Other pieces discussing David Lynch's body of work: https://www.lostinthemovies.com/p/twin-peaks-david-lynch.html (including Blue Velvet mentions not listed above) MY OTHER WORK ON TWIN PEAKS https://www.lostinthemovies.com/p/twin-peaks.html For MY RECENT PODCASTS & TWIN PEAKS CHARACTER SERIES WRITTEN ENTRIES, visit this episode's home page on my site https://www.lostinthemovies.com/2023/03/blue-velvet-as-twin-peaks-cinema-23.html (not enough space for the individual links in these show notes) Browse my other podcasts: Lost in the Movies https://www.lostinthemovies.com/p/patreon-podcast.html Lost in Twin Peaks https://www.lostinthemovies.com/p/lost-in-twin-peaks.html This podcast is powered by Pinecast.

Episode Notes Please rate, review, and/or subscribe on Apple Podcasts to help promote this show... You can explore both public and patron episodes of this podcast here: https://www.lostinthemovies.com/p/twin-peaks-cinema.html The comparison of Eraserhead and the "Donna's father" storyline of Twin Peaks begins at 40:35. OTHER LINKS The previous "Lynchverse" episode covered Mulholland Drive https://www.lostinthemovies.com/2023/01/mulholland-drive-as-twin-peaks-cinema.html Twin Peaks Finale: A Theory of Cooper, Diane, and Judy by David Auerbach (Waggish) https://www.waggish.org/2017/twin-peaks-finale/ MY OTHER WORK ON ERASERHEAD Listen to a Patreon audio archive of all my previous work/mentions: https://www.patreon.com/posts/55947005 10 Connections between David Lynch's Eraserhead and Inland Empire (LOST IN THE MOVIES podcasts #29 & #30, parts 1 and 2) https://www.lostinthemovies.com/2021/09/10-connections-between-david-lynchs.html Take This Baby and Deliver It to Death (non-narrated video essay focused on how Lynch's early films - including Eraserhead - depict violence and assign the roles of abuser, victim, and rescuer) https://vimeo.com/95477301 Essay comparing Eraserhead to Jacques Rivette's Paris Belongs to Us http://www.lostinthemovies.com/2015/12/eraserhead-paris-belongs-to-us.html In a complete survey of Lynch's filmography up to 2014 w/ review https://www.lostinthemovies.com/2014/06/the-eye-of-duck-david-lynch.html & in an essay https://www.lostinthemovies.com/2014/06/its-strange-world-david-lynch.html + in an interview w/ Lynch scholar Martha Nochimson https://www.lostinthemovies.com/2014/11/opening-door-conversation-with-martha.html Other pieces discussing David Lynch's body of work: https://www.lostinthemovies.com/p/twin-peaks-david-lynch.html (including Eraserhead mentions not listed above) MY OTHER WORK ON TWIN PEAKS https://www.lostinthemovies.com/p/twin-peaks.html MY RECENT PODCASTS Lost in the Movies - Heart of a Dog https://www.lostinthemovies.com/2023/02/heart-of-dog-lost-in-movies-podcast-50.html Twin Peaks Conversations w/ John Bernardy, host of Blue Rose Task Force https://www.lostinthemovies.com/2023/02/twin-peaks-conversations-18-w-blue-rose.html FOLLOW MY NEW TWIN PEAKS CHARACTER SERIES (written entries) https://www.lostinthemovies.com/2023/01/introducing-revised-twin-peaks.html This episode's home page on my site https://www.lostinthemovies.com/2023/02/eraserhead-as-twin-peaks-cinema-22.html (the most recent character pieces are individually linked here as well) Browse my other podcasts: Lost in the Movies https://www.lostinthemovies.com/p/patreon-podcast.html Lost in Twin Peaks https://www.lostinthemovies.com/p/lost-in-twin-peaks.html This podcast is powered by Pinecast.

Dans ce nouvel épisode, nous accueillons Pacôme Thiellement, critique-écrivain-essayiste-cinéaste ou - en un mot - exégète professionnel (la définition de ce mot est dans l'épisode).Tel Colin Maillard, le personnage joué par Jean-Pierre Léaud dans Out 1 (l'un de ses cinéastes de chevet), Pacôme a enquêté avec nous sur sa cinéphilie. Affable et agile, il a convoqué les transes de Zulawski ("Possession"), les ténèbres intérieures de Lynch ("Inland Empire") ou encore la belle amitié de Céline et Julie ("Céline et Julie vont en bateau"). Partant de ce cocktails de références enivrant, il nous a parlé de sa mémoire et de ses habitudes de spectateur nocturne et nous a plongé dans un grand rêve... Inscrivez-vous à la newsletter en cliquant sur ce lien : https://forms.gle/HgDMoaPyLd6kxCS48 Pour nous soutenir, rendez-vous sur https://www.patreon.com/cinephilesdnt I. Portrait – 4'34 Un·e enquêteur·euse au cinéma ? Colin Maillard dans Out 1 (Jacques Rivette, 1971) - 4'34 Une transe au cinéma ? Possession (Andrzej Zulawski, 1981) - 9'38 Un amour au cinéma ? Jamais plus toujours (Yannick Bellon, 1976) - 13'33 II. Circonstances & conditions de visionnage - 18'51 Un film que à projeter lors d'une cérémonie religieuse/païenne/sacrée dans le cinéma abandonné de Charm el-Cheikh ? Fata Morgana (Werner Herzog, 1971) - 18'51 Une salle de prédilection : l'Archipel où se tient le cinéclub de Pacôme Thiellement, “les dimanches de Charm El-Cheikh 22'27 III. Mémoire & Sommeil - 24'50 Existe-t-il un film que vous arrivez à oublier pour toujours le redécouvrir avec un oeil nouveau ? Le monde sur le fil (R.W Fassbinder, 1973) - 24'50 Un film devant lequel vous vous êtes endormi et dont vous auriez rêvé ? L'avant-dernier épisode de la série The Leftovers (D. Lindelof, T. Perrotta, 2014-2017) 30'40 Carte Blanche - 34'49La fin d'Inland Empire (David Lynch, 2006) IV. Cinéma & Transmission - 42'33 Pourquoi internet n'est pas forcément un espace privilégié pour parler de cinéma - 42'33 Le film à transmettre aux générations futures ? After Blue de Bertrand Mandico - 47'42 Film refuge - 51'11Céline et Julie vont en bateau (Jacques Rivette, 1974) EXTRAITS : Out 1, Jacques Rivette (Carlotta Films) Le monde sur le film, R.W Fassbinder (Carlotta Films) Céline et Julie vont en bateau, Jacques Rivette (Potemkine Films) Sinnerman, Nina Simone CRÉDITSMusique : Gabriel RénierGraphisme : Lucie AlvadoCréation & Animation : Phane Montet & Clément Coucoureux

durée : 00:29:59 - Les Nuits de France Culture - par : Albane Penaranda - Dans ce dernier entretien d'"À voix nue", le peintre Bernard Dufour parle à nouveau de son expérience du film tourné avec Jacques Rivette, de l'écriture de son autobiographie dans une recherche de totale franchise, puis de sa relation avec ses modèles qu'il tient à distance. - invités : Bernard Dufour artiste, peintre, photographe, écrivain

durée : 00:29:01 - Les Nuits de France Culture - par : Albane Penaranda - Dans ce quatrième temps de la série "À voix nue", le peintre Bernard Dufour parle de sa participation au film "La Belle Noiseuse" de Jacques Rivette sorti en 1991, et ce faisant de sa manière de travailler la toile et d'explorer la structure de ses tableaux. - invités : Bernard Dufour artiste, peintre, photographe, écrivain

durée : 00:35:13 - Les Nuits de France Culture - par : Albane Penaranda - Dans l'émission "La radio dans les yeux", alors que venait de sortir en salle "La Belle Noiseuse" de Jacques Rivette, auréolé de son succès cannois, on entendait le cinéaste et les comédiens parler du film, ainsi que Bernard Dufour dont on voyait les peintures à l'écran. - invités : Jacques Rivette Réalisateur de cinéma français; Bernard Dufour artiste, peintre, photographe, écrivain

Femme by Rochas (1944) + Jacques Rivette's La Belle Noiseuse (1991)  with Ryan Simón of American Vulgaria  To hear the remainder of this episode and the complete continuing story of The Perfume Nationalist please subscribe on Patreon. 10/26/22 S5E4

durée : 00:51:00 - Les Nuits de France Culture - par : Albane Penaranda - C'était à l'automne 1984, Pascale Ogier, Bulle Ogier et André Dussollier étaient les invités du "Cinéma des cinéastes" pour parler de leur métier d'acteur et des grands cinéastes avec lesquels ils venaient de tourner, à savoir Eric Rohmer, Jacques Rivette et Alain Resnais. Le 21 octobre 1984, peu après le Prix de la meilleure interprète décerné à Pascale Ogier à Venise pour son rôle dans Les Nuits de la pleine lune d'Eric Rohmer, et quelques jours avant sa disparition survenue le 25 octobre 1984, la veille de son 26ème anniversaire, la comédienne était l'invitée de l'émission "Le cinéma des cinéastes" en compagnie de sa mère Bulle Ogier et d'André Dussollier. Tous les trois évoquent les trois grands metteurs en scène avec lesquels ils viennent de tourner : Eric Rohmer, Jacques Rivette et Alain Resnais. La vocation de devenir comédien Claude-Jean Philippe tient tout d'abord à dire l'importance grandissante du jeu des acteurs dans un film, lui-même y est de plus en plus sensible et ne se contente plus d'aller au cinéma pour voir "un film de...". Il interroge alors ses invités sur leur vocation, sur ce qui les animait dans leur jeunesse pour devenir comédien. Pour Bulle Ogier, il s'agissait plus de "casser" sa timidité, de gagner en assurance et c'est la présence du public qui l'a révélée. Pascale Ogier ne pensait pas vraiment "faire quelque chose", elle devait suivre des études après le baccalauréat et c'est la rencontre avec Eric Rohmer qui l'a faite basculer vers le cinéma et le théâtre. Après cette expérience devenue aventure, elle dit qu'elle a "tricoté petit à petit". André Dussollier, lui, a commencé très jeune, au collège, "le jeu a toujours été une seconde nature, très tôt, très jeune", se souvient-il. Grâce au théâtre, il pouvait montrer ses sentiments qu'il avait du mal à dévoiler dans la vie. Comédiens et metteurs en scène, une collaboration étroite Pascale Ogier raconte les huit mois de préparation du film d'Eric Rohmer Les Nuits de la pleine lune, comment elle est intervenue sur l'écriture de Louise, son personnage, et aussi pour les décors et les costumes. Elle insiste sur le travail de repérage pour tourner un film sur les années 80, comment on pouvait représenter l'air du temps. Jacques Rivette, "c'était magique" de travailler avec homme comme lui, un grand cinéphile dit Pascale Ogier qui a joué dans Le Pont du Nord. Bulle et sa fille racontent leur collaboration sur ce film, comment Rivette prenait des notes sur des petits bouts de papier qu'il mettait dans ses poches, "il est comme un computer", s'amuse Bulle Ogier. Tout en étant très proche de ses comédiens, Rivette gardait ce pouvoir de décision du metteur en scène. C'est au tour d'André Dussolier de nous parler des tournages avec Alain Resnais et Eric Rohmer, ce sont des metteurs en scène avec lesquels les acteurs se sentent choisis, explique t-il, ils pensent aux comédiens quand ils écrivent les personnages. Il a ainsi eu l'impression d'avoir été photographié par Rohmer quand ce dernier lui a apporté le scénario du Beau mariage. Par Claude-Jean Philippe  Le cinéma des cinéastes - Le métier d'acteur, avec Pascale Ogier, Bulle Ogier et André Dussollier Première diffusion : 21/10/1984 Archive Ina / Radio France

In this week's Acteurist Oeuvre-view episode we arrive at arguably Jean Arthur's biggest year of stardom, 1939, with her appearance opposite Cary Grant in Only Angels Have Wings, Howard Hawks' ode to male professionalism, and her iconic performance in Mr. Smith Goes to Washington, opposite Jimmy Stewart. We do our best to get at the essences of Hawks and Capra and consider whether Arthur can embody both the Hawksian and the Capra woman. And in our Fear and Moviegoing in Toronto segment, we discuss Jacques Rivette's Love on the Ground (1984) as a kind of inversion of his surrealist classic Celine and Julie Go Boating.    Time Codes: 0h 1m 00s:        ONLY ANGELS HAVE WINGS (1939) [dir. Howard Hawks] 0h 42m 44s:      MR. SMITH GOES TO WASHINGTON (1939) [dir. Frank Capra] 1h 26m 57s:      Fear and Moviegoing in Toronto – L'amour par terre  AKA Love on the Ground (1984)  by Jacques Rivette   +++ * Listen to our guest episode on The Criterion Project – a discussion of Late Spring * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's piece on Gangs of New York – “Making America Strange Again” * Check out Dave's Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com We now have a Discord server - just drop us a line if you'd like to join! 

In the twenty-fourth episode of Season 7 (Fantastical Realities) Kyle is joined by screenwriter David Gutierrez and stunt coordinator Danny Hernandez to attempt deciphering the anarchic arthouse gem that embodies a tale of female comraderie, creative autonomy, and collaborative aims in Jacques Rivette's Celine and Julie Go Boating (1974).

Avec les amis du NAME Festival, on a eu un coup de cœur pour une pièce de théâtre. Nous sommes au Théâtre du Nord, à deux pas de la Grand Place de Lille. Théâtre qui accueille pour 3 soirs, Showgirl, une adaptation ébouriffante d'un film de Paul Verhoeven sorti en 1995, Le film raconte l'histoire de Nomi Malone, jeune danseuse partie tenter sa chance dans la ville qui ne dort jamais, de strip club en palace. À sa sortie, Showgirls sera descendu en flèche par le gratin d'Hollywood et Paul Verhoeven finira même par s'excuser quelques années plus tard auprès de son interprète, Elizabeth Berkley, révélée dans la teen série, Sauvés par le gong. Berkley a subi les foudres de l'Amérique puritaine au point de se faire virer par son propre agent. Et pourtant Showgirls est un film, qui des années avant la chute de Weinstein, questionnait l'objectification du corps des femmes en vigueur à Hollywood. La comédienne Marlène Saldana et son complice, Jonathan Drillet ont adapté ce film pour la scène, avec une vision camp et cinéphile, mise en musique par Rebeka Warrior, qui convoque autant la Divine de John Waters ou Ru Paul et qui à travers la figure d'Elizabeth Berkley, s'attache à rendre justice aux actrices. Hier, les travées du Théâtre du Nord de Lille, un théâtre à la politique tarifaire audacieuse, accueillaient un public jeune, enthousiaste et diversifié, preuve que le théâtre ne s'adresse pas qu'aux tempes grisonnantes et aux complet-vestons. Aujourd'hui sur Tsugi Radio, on va parler de théâtre, de littérature, de cinéma, de sexe, de féminisme et on va tenter de répondre à la question posée par le cinéaste Jacques Rivette à propos de Showgirls : comment vivre sur une planète peuplée d'ordures ? Avec au micro, Marlène Saldana, Jonathan Drillet et l'autrice Anne Pauly, en résidence ici au Théâtre du Nord.

Avec les amis du NAME Festival, on a eu un coup de cœur pour une pièce de théâtre. Nous sommes au Théâtre du Nord, à deux pas de la Grand Place de Lille. Théâtre qui accueille pour 3 soirs, Showgirl, une adaptation ébouriffante d'un film de Paul Verhoeven sorti en 1995, Le film raconte l'histoire de Nomi Malone, jeune danseuse partie tenter sa chance dans la ville qui ne dort jamais, de strip club en palace. À sa sortie, Showgirls sera descendu en flèche par le gratin d'Hollywood et Paul Verhoeven finira même par s'excuser quelques années plus tard auprès de son interprète, Elizabeth Berkley, révélée dans la teen série, Sauvés par le gong. Berkley a subi les foudres de l'Amérique puritaine au point de se faire virer par son propre agent. Et pourtant Showgirls est un film, qui des années avant la chute de Weinstein, questionnait l'objectification du corps des femmes en vigueur à Hollywood. La comédienne Marlène Saldana et son complice, Jonathan Drillet ont adapté ce film pour la scène, avec une vision camp et cinéphile, mise en musique par Rebeka Warrior, qui convoque autant la Divine de John Waters ou Ru Paul et qui à travers la figure d'Elizabeth Berkley, s'attache à rendre justice aux actrices. Hier, les travées du Théâtre du Nord de Lille, un théâtre à la politique tarifaire audacieuse, accueillaient un public jeune, enthousiaste et diversifié, preuve que le théâtre ne s'adresse pas qu'aux tempes grisonnantes et aux complet-vestons. Aujourd'hui sur Tsugi Radio, on va parler de théâtre, de littérature, de cinéma, de sexe, de féminisme et on va tenter de répondre à la question posée par le cinéaste Jacques Rivette à propos de Showgirls : comment vivre sur une planète peuplée d'ordures ? Avec au micro, Marlène Saldana, Jonathan Drillet et l'autrice Anne Pauly, en résidence ici au Théâtre du Nord.

Paolo Mereghetti"Il posto delle fragole"Ingmar BergmanIperborea Edizionihttps://iperborea.com/"Il posto delle fragole" il testo di Ingmar Bergman, diventato film, è stato chiuso il 31 maggio 1957, a Stoccolma.Sono 65 anni di un testo straordinario che fa scendere nella profondità dell'animo umano.Esiste forse per tutti un posto delle fragole, un luogo dove rimane intatto l'incanto dell'infanzia, l'io che eravamo, con la semplicità, l'autenticità e le speranze di quando la vita era davanti, un luogo, che forse c'è ancora dentro o fuori di noi, dove qualcuno può metterci davanti uno specchio e farci vedere quello che siamo diventati, quello che abbiamo perduto, quello che forse possiamo ancora ritrovare. Sono le fragole selvatiche colte nel giardino della casa d'infanzia la madeleine di Isak Borg, vecchio professore egoista e misantropo, in viaggio da Stoccolma a Lund per la celebrazione del suo giubileo all'Università, coronamento della carriera di medico e ricercatore. Da lì i ricordi prendono a intrecciarsi alla realtà, trasformando il viaggio verso Lund in una sorta di pellegrinaggio, in cui gli episodi, i sogni, gli incontri sono come tappe di un percorso catartico all'interno di se stesso. Il vedersi attraverso gli occhi degli altri, l'incidente con la coppia in eterno reciproco tormento, la visita alla madre gli lasciano intravedere i suoi fallimenti, il vuoto della sua solitudine e quella verità che sembrano volergli comunicare i suoi incubi: «Sono morto. Anche se sono vivo.» Mentre la presenza della nuora Marianne, la freschezza dei tre ragazzi cui offre un passaggio, Victor e Anders con i loro litigi su Dio, e Sara, così lieve e piena di voglia di vivere, così simile all'amata cugina Sara che ricompare nei suoi sogni, gli aprono la via verso una riconciliazione. La vecchiaia, l'infanzia, la giovinezza, l'esistenza di Dio, le occasioni perdute, la nostalgia, l'amore sono i temi intorno a cui si gioca ancora una volta la partita a scacchi tra la morte e la vita per il possesso di un'anima.Ingmar Bergman (1918-2007), è uno dei maestri indiscussi della cinematografia internazionale. Figlio di un pastore protestante della corte reale, debutta come drammaturgo negli anni Quaranta, dando espressione al clima angoscioso del periodo con una serie di drammi che si riallacciano alla tradizione di Strindberg, H. Bergman e Lagerkvist. Ma l'affermazione giunge a partire dagli anni Cinquanta, con l'attività di regista di cinema e di teatro, due ambiti che si intrecciano continuamente nella sua opera.Paolo Mereghetti (Milano 1949), giornalista e critico cinematografico per il Corriere della Sera e il magazine Io Donna, ha scritto su Ombre rosse, Positif, Linea d'ombra, Reset, Lo straniero e tiene una rubrica su Ciak. Ha pubblicato per i Cahiers du Cinéma e Le Monde un volume su Orson Welles, poi editato in Italia, Spagna e Gran Bretagna. Nel 2012 ha curato per Contrasto il volume Movie:Box, tradotto in sei lingue. E' stato consulente per la Mostra del cinema di Venezia durante le direzioni di Lizzani, Rondi e Barbera. Ha pubblicato, tra gli altri, saggi e volumi su Arthur Penn, Marco Ferreri, Bertrand Tavernier, Sam Peckinpah, Yervant Gianikian e Angela Ricci Lucchi, Serge Daney e Jacques Rivette. Nel 2001 ha vinto il Premio Flaiano per la critica cinematografica.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

durée : 00:49:59 - Les Nuits de France Culture - Par Claude-Jean Philippe - Avec Suzanne Schiffman

In this fourth episode of Floating Through Film, we begin our discussion (0:40) by talking about the directors in the French New Wave that wrote for the famous French film magazine, Cahiers du Cinéma. The five directors most commonly associated with this group are Claude Chabrol, Francois Truffaut, Jean-Luc Godard, Eric Rohmer and Jacques Rivette. We first give our overall thoughts on these influential directors, before turning to the second half the show, where we review Jacques Rivette's 1974 film, Céline and Julie Go Boating (15:50), and Eric Rohmer's 1986 film, The Green Ray (32:25). We hope you enjoy! Movies We're Reviewing Next Week: Chris Marker's La Jetée (1962), Jacques Demy's The Umbrellas of Cherbourg (1964), and Agnès Varda's Cléo from 5 to 7 (1962) Link to Jacques Rivette Interview on Celine and Julie Go Boating: https://www.criterionchannel.com/videos/jacques-rivette-on-celine-and-julie-go-boating Music: - Intro and Break from Céline and Julie Go Boating - Outro from The Green Ray Hosts: Luke Seay (https://letterboxd.com/seayluke/), Blake Tourville (https://letterboxd.com/blaketourville/), and Dany Joshuva (https://letterboxd.com/djoshuva/)

Award-winning novelist, playwright and short story writer Ali Smith is the author of 12 novels, three of which have been nominated for the Booker Prize for Fiction. Her best-selling How To Be Both won the Women's Prize for Fiction and the Costa Novel of the Year in 2014. Brought up in the Scottish Highlands, she was the youngest of five children in a working class family, studied English at Aberdeen University and began writing fiction whilst studying for a doctorate at Cambridge. Ali Smith tells John Wilson about the influence of cinema on her fiction, particularly the work of French new wave director Jacques Rivette whose disregard for conventional linear narrative in films including Céline and Julie Go Boating made a big impression. She also recalls how, as an aspiring writer, the work of fellow Scottish novelists and poets, including Liz Lochhead, Alistair Gray, James Kelman and Muriel Spark, helped give her the confidence to write her own fiction. Ali Smith also discusses 1960s pop artist Pauline Boty, a contemporary of Peter Blake and David Hockney, who tragically died at the age of 28 in 1966. Boty's life and work - overlooked for three decades after she died - became a central aspect of Ali Smith's 2016 novel Autumn, the first of a quartet of seasonal-themed books written and published over four years. Producer: Edwina Pitman

0:00 - Intro & Summary2:00 - Movie Discussion1:03:20 - Cast & Crew1:09:28 - Awards1:11:00 - True Crime/Pop Culture1:15:50 - TV1:22:12 - Music1:26:38 - Rankings & Ratings To see a full list of movies we will be watching and shows notes, please follow our website: https://www.1991movierewind.com/Follow us!https://linktr.ee/1991movierewind Theme: "sunrise-cardio," Jeremy Dinegan (via Storyblocks)Don't forget to rate/review/subscribe/tell your friends to listen to us!

durée : 00:49:59 - Les Nuits de France Culture - A l'occasion des vingt-cinq ans des Cahiers du Cinéma, Claude-Jean Philippe recevait en mai 1976 dans l'émission "Le Cinéma des cinéastes", l'une des plumes historiques de la célèbre revue. Un certain Maurice Schérer, plus connu sous le nom d'Éric Rohmer. Au micro du producteur Claude-Jean Philippe, le cinéaste Eric Rohmer remonte aux origines de sa passion pour le cinéma et de sa carrière de critique. Jeune khâgneux récitant du Racine et du Corneille au milieu des années 1930, et lecteur fervent de L'Ecran français, Eric Rohmer déroule la chronologie de ses textes publiés dans La Revue du cinéma (1928-1949), la Gazette du cinéma (1950), puis aux Cahiers du cinéma (revue créée en 1951) dont il fut le rédacteur en chef de 1957 à 1963.  * Marcel Carné est un cinéaste authentique. Dans le Paris de l'après-guerre, Eric Rohmer découvre les films classiques américains, des comédies musicales ou encore M. le maudit de Fritz Lang. Mais il se souvient en particulier de Quai des Brumes de Marcel Carné, vu dans un cinéma de quartier : "un film qui a déclenché en moi l'amour du cinéma".  C'est en 1948 qu'Éric Rohmer commence son parcours de critique, avec un article théorique sur la couleur au cinéma, proposé à Jean George Auriol, fondateur de la Revue du cinéma, bientôt suivi d'un autre article sur le cinéma comme art de l'espace.  Nous pensions que le cinéma était un art qui se définissait avant tout par la mise en scène plutôt que par son idéologie ou sa rhétorique. Remarqué pour la qualité de ses articles, Eric Rohmer rencontre André Bazin, grande figure de la critique cinématographique française de l'époque. Rohmer rejoint alors le mouvement Objectif 49, un ciné-club parisien d'avant-garde créé par André Bazin, Roger Leenhardt et Jean Cocteau, où l'on diffuse et où l'on débat de films maudits ou inédits, ainsi que ceux de maîtres du Septième Art, tels que Sergueï Eisenstein ou Michelangelo Antonioni. Un lieu fréquenté par des écrivains et des cinéastes et par une nouvelle vague de jeunes gens passionnés, futurs collaborateurs des Cahiers : François Truffaut, Jean Douchet, Alexandre Astruc, Jacques Rivette ou Jean-Luc Godard. Pour moi, Jean Renoir est le plus grand des cinéastes. Au cour de cette communauté de critiques, explique Éric Rohmer, "nous pensions que le cinéma était un art qui se définissait avant tout par la mise en scène plutôt que par son idéologie ou sa rhétorique". Adepte de la simplicité et d'une forme de "superficialité profonde" (une expression d'André Bazin), Éric Rohmer considère le cinéaste à l'égal d'un peintre, d'un musicien, d'un écrivain ou d'un poète. Le mot "réalisateur" étant selon lui, du  "jargon administratif".  Pour moi, déclare Rohmer, "Jean Renoir est le plus grand des cinéastes".  S'il fallait que j'emporte un film sur une île déserte, ce serait "Le Petit Théâtre de Jean Renoir".  Il y a dans ce film, tout le cinéma, passé, présent et à venir.  Par Claude-Jean Philippe  Le cinéma des cinéastes - Eric Rohmer, à l'occasion des 25 ans des Cahiers du cinéma (1ère diffusion : 02/05/1976) Rédaction web : Sylvain Alzial, Documentation Sonore de Radio France Archive Ina-Radio France

Dans ce nouvel épisode, nous accueillons Nathalie Richard, actrice devant la caméra et comédienne sur les planches depuis plus de 40 ans, habitant le cinéma français et d'ailleurs à travers plus de 60 films, ayant collaboré avec des cinéastes aussi différents que Jacques Rivette, Bertrand Mandico, Catherine Corsini et Mickael Haneke. Cette cinéphile enthousiaste et généreuse nous plonge dans un cinéma d'antan, entre le Zero de conduite de Vigo, le *Gertrud de Dreyer, ou encore les danses aériennes de Fred Astaire. Elle nous raconte l'enfance d'un cinéma qui l'habite toujours, tel des spectres, en faisant résonner ensemble des films comme **Le Colonel Chabert de René Le Hénaff avec le Memoria* d'A.Weerasethakul, et bien d'autres encore.Enfin, attachée aux voix du cinéma et à la pensée qui y est liée, elle nous parle des voix qui la guident dans son métier d'actrice autant que dans son plaisir de spectatrice - et qui ont marqué d'une manière ou d'une autre l'histoire du cinéma : d'Orson Wells à James Mason, en passant par Ingrid Bergman et Delphine Seyrig. Inscrivez-vous à la newsletter en cliquant sur ce lien : https://forms.gle/HgDMoaPyLd6kxCS48 Pour nous soutenir, rendez-vous sur https://www.patreon.com/cinephilesdnt I. PORTRAIT – 5'26 Une voix : celles de James Mason, Orson Wells, Ingrid Bergman, Barbara Stanwyck… - 5'26 Deux répliques : “Je suis le colonel Chabert” (“Le colonel Chabert”, R Le Hénaff, 1943), “Nobody is perfect” (“Certains l'aiment chaud”, B Wilder, 1959) - 11'08 Un corps dansant : Fred Astaire - 15'14 II. CIRCONSTANCES ET CONDITIONS DE VISIONNAGE - 19'00 Le rapport de Nathalie à la pellicule et au numérique - 19'00 Un film à écouter : Zéro de conduite (Jean Vigo, 1933) - 24'24 III. MEMOIRE & SOMMEIL- 28'17 Un film donnant l'impression d'être dans un rêve : Gertrud (C.T Dreyer, 1964) - 28'17 Un film pour la nuit : Le dernier des hommes (F.W Murnau, 1924) - 34'39 CARTE BLANCHE - 36'09Mirage de la vie (D. Sirk, 1959) IV. CINEMA & TRANSMISSION - 44'22Des films captant “l'ère du temps” : Memoria (A. Weerasethakul, 2021), Melancholia (Lars von Trier, 2011), Salo (PP Pasolini, 1975), la filmographie de Wang Bing REFUGES - 54'21Les voix des actrices Brigitte Mira et Delphine Seyrig REMERCIEMENTSMusique : Gabriel RénierMixage : Hugo CohenGraphisme : Lucie AlvadoCréation, animation, réalisation : Phane Montet & Clément Coucoureux

Du 14 janvier au 14 février 2022 a lieu la 12ème édition du MyFrenchFilmFestival. Au total, 30 nouveaux films, dont des longs métrages et des courts métrages, sont disponibles dans le monde entier, avec des sous-titres en 10 langues. Ou voir les films ? Dans la majorité des pays, vous pouvez retrouvez les films sur les plateformes payantes comme Amazon ou le partenaire local mais le plus souvent, ils sont tous disponibles sur TV5MONDEplus, la plateforme non géo-bloquée, francophone et gratuite. Ainsi en Amérique latine (ainsi qu'en Afrique, en Corée du Sud, en Pologne, en Roumanie, en Russie et en Asie du Sud-Est), les trente titres peuvent être vus gratuitement. Dans les autres territoires, le prix est de 1,99 € par film ou 7,99 € pour l'ensemble du festival. Alors que celui-ci bat son plein, on vous propose de rencontre Daniela Eltner qui dirige Unifrance. Cet organisme semi-public a comme vocation l'exportation des oeuvres françaises dans le monde et est à l'origine de ce festival en ligne. Daniela Elstner, directrice exécutive d'UniFranceNée en Allemagne et diplômée d'une Maitrise de Lettres Modernes (Paris VII), Daniela Elstner a commencé sa carrière professionnelle en France au sein d'UniFrance en 1996. En octobre 1998, elle rejoint Les Films du Losange pour y créer le service international de la société de production, aux côtés de Margaret Menegoz avant de revenir chez Unifrance en 2019 lors de sa nomination comme directrice générale d'UniFrance. Durant 10 ans, Daniela Elstner y développe les ventes internationales, co-productions et sélections en festivals de films signés des grands noms du cinéma tels que Éric Rohmer, Barbet Schroeder, Jacques Rivette ou Michael Haneke, pour n'en citer que quelques-uns. En 2008, elle rejoint Doc & Film International en tant qu'actionnaire et directrice générale. Sous son impulsion, la société de distribution audiovisuelle s'ouvre aux longs métrages de fiction et de documentaire et constitue un catalogue de plus de 800 films vendus à travers le monde et reconnus par la critique internationale et les festivals (un Lion d'Or, deux Ours d'Or). Parmi les oeuvres diffusées à l'international par Doc & Film sous sa direction, citons les films de Chantal Akerman, Jacques Doillon, Nicolas Philibert ou encore Bruno Dumont. Daniela Elstner est aussi depuis 2015 présidente de l'Association des Exportateurs de Films (ADEF), qui a joué un rôle crucial dans la mise en place, par les pouvoirs publics, d'un système de prêts pour les exportateurs (FARAP) et du fonds de soutien à l'export, représentant une avancée importante pour l'ensemble de la filière. Comme indiqué plus haut, elle fut nommé directrice d'Unifrance avec le soutien de Serge Toubiana. Enfin en 2021, elle a été élue au conseil d'administration de l'EFP, le pendant européen de l'agence française de promotion des films. Un festival pensé pour tous Nourrie de son expérience et de son amour du Cinéma, Daniela Elstner a construit un jury haut de gamme (Joachim Lafosse, Santiago Mitre, Filippo Meneghetti, Daphné Patakia et Michelle Couttolenc) pour une sélection de qualité. Partez à la découverte des nouveaux créateurs francophones du 7ème art.

durée : 00:51:43 - Certains l'aiment Fip - À l'occasion de la rétrospective à la Cinémathèque Française de l'œuvre du réalisateur de "L'amour Fou", "Out 1", "Céline et Julie"… ou de "La Belle Noiseuse", on plonge dans l'univers d'un des cinéastes les plus libres de la Nouvelle Vague.

durée : 00:59:00 - Plan large - par : Antoine Guillot - 1, 2, 3, œil de lynx et tête de bois ! Plan Large sur un moment de l'œuvre de Jacques Rivette, cinq films inédits réalisés entre 1974 et 1981, en compagnie de la critique et romancière Hélène Frappat, l'historien du cinéma David Faroult et Charlotte Garson. - invités : Hélène Frappat écrivaine, traductrice et critique de cinéma; David Faroult réalisateur et maître de conférences en cinéma à l'École Nationale Supérieure Louis-Lumière; Charlotte Garson Rédactrice en chef adjointe des Cahiers du cinéma

Our look at 1969 continues with a discussion of Jacques Rivette's L'Amour Fou. The story of a director, Sebastien, and an actress, Claire. We watch them work together on the play Andromaque -- seeing the crafting of the production via behind-the-scenes 16mm footage as well as the 35mm film cameras that capture the real behind-the-scenes footage of Sebastien and Claire's fizzling relationship.Jonathan Owen and Samm Deighan join Mike to discuss this four hour epic which marks a radical change in Rivette's filmmaking.Learn more about your ad choices. Visit megaphone.fm/adchoices

Jacques Rivette's Celine and Julie Go Boating(1974) tells a story of friendship, adventure, and magic between two women (Juliet Berto andDominique Labourier) in Paris.Interviews this week include Jonathan Rosenbaum (Rivette: Texts and Interviews) and Mary Wiles (Contemporary Film Directors: Jacques Rivette).Heather Drain (Mondo-Heather.com) and Chris Stachiw (Kulturecast) join Mike to unwrap the candy that is Celine and Julie Go Boating.Learn more about your ad choices. Visit megaphone.fm/adchoices

In anticipation of the local premiere of Jacques Rivette's monumental 1971 serial Out 1, this week Mike and Sean take a look at his 1976 pirate film Noroît, starring Geraldine Chaplin. Continuing the theme, they discuss Douglas Fairbanks's 1926 classic The Black Pirate, make their picks for Essential Pirate Film and talk about the career of the greatest swashbuckler of them all, Errol Flynn. And, we promise, nobody talks like a pirate.