Podcast appearances and mentions of James Ivory

On this episode of The Snub Club, the staff chat about 1993's The Remains of the Day. Directed by James Ivory and starring Anthony Hopkins and Emma Thompson, The Remains of the Day was nominated for five Academy Awards but won nothing. In this episode, Sarah, Danny, and Caleb discuss Merchant-Ivory, a young Hugh Grant, and an unbecoming Wikipedia photo.   The Snub Club is a biweekly podcast about cinema history where we discuss the film from every year's Academy Awards with the most nominations but no wins. Hosted by Danny Vincent, Sarah Knauf, and Caleb Bunn!   Follow us everywhere! Twitter: https://mobile.twitter.com/SnubClubPod Instagram: https://www.instagram.com/thesnubclubpodcast/ Facebook: https://m.facebook.com/permalink.php?story_fbid=108436691341808&id=108435618008582&substory_index=0   Theme music: Grey Flannel by Vans in Japan

In which the Mister joins me in reviewing MERCHANT IVORY (2023), from director Stephen Soucy, and writers Stephen Soucy and Jon Hart.  The 2024 documentary "Merchant Ivory" explores the remarkable professional and personal partnership between director James Ivory and producer Ismail Merchant. It delves into their unique filmmaking process, often characterized by shoestring budgets and on-set drama, which nevertheless produced a string of acclaimed, literary-adapted films. Through interviews with James Ivory and numerous collaborators like Emma Thompson, Helena Bonham Carter, Hugh Grant, Rupert Graves, Simon Callow, Vanessa Redgrave and others, the film celebrates their enduring legacy in independent and arthouse cinema. It also sheds light on their discreet romantic relationship and the "wandering company" they created over four decades.  We caught the film on @tcm but it's also available to buy/rent on Prime Video.  Please note there are SPOILERS in this review.#MerchantIvory #StephenSoucy #JonHart #JamesIvory #IsmailMerchant #EmmaThompson #HelenaBonhamCarter #HughGrant  #RupertGraves  #SimonCallow #VanessaRedgrave #FelicityKendal #SamWaterston #JamesWilby #MadeleinePotter #SamuelWest #JamesFox #MarkTandy #NatashaMcElhone #GretaScacchi #AmandaWalker #AdrianRossMagenty #AvaJhabvalaWood #Documentary @PrimeVideo⁩  #FridayFamilyFilmNightOpening intro music: GOAT by Wayne Jones, courtesy of YouTube Audio Library

In which the Mister and Miss Angie join me in reviewing A ROOM WITH A VIEW (1985), based on the novel by E.M Forster and Oscar winning script by Ruth Prawer Jhabvala, the film is directed by James Ivory.  The film follows young Englishwoman Lucy Honeychurch (Helena Bonham Carter) on a transformative trip to Florence, Italy, with her prim cousin and chaperone, Charlotte (Maggie Smith). While there, Lucy encounters the free-spirited George Emerson (Julian Sands) and experiences a passionate kiss, which clashes with her strict Edwardian upbringing. Upon returning to England, Lucy becomes engaged to the intellectually snobbish Cecil Vyse (Daniel Day-Lewis), but fate continually brings her back into George's orbit. The film explores themes of societal repression versus individual passion, ultimately culminating in Lucy's choice between a conventional, stifling life and a more authentic, heart-led existence.  We caught the film on @TCM but #SupportYourLocalLibrary and read E.M. Forster's novel first.  The film clocks in at 1 h and 57 m, is unrated, is currently available on Tubi and HBO Max but it's also available to buy/rent on Prime Video.  Please note there are SPOILERS in this review.#SupportYourLocalLibrary@Hoopla#ARoomWithAView #EMForster #JamesIvory #RuthPrawerJhabvala #MaggieSmith #Charlotte #HelenaBonhamCarter #Lucy #DenholmElliott #MrEmerson #JulianSands #George #SimonCallow #ReverendMrBeebe #JudiDench #Eleanor #DanielDayLewis #Cecil #RupertGraves #Freddy #PeriodDrama #Drama #Romance  @⁠Tubi  @HBOMax  @PrimeVideo⁩  #FridayFamilyFilmNightOpening intro music: GOAT by Wayne Jones, courtesy of YouTube Audio Library

Playboys, Bollywood Divas, and a poor English acting troupe trying to understand their place in India.SUPPORT THE SHOW: PATREONSHOP THE SHOW: TEE PUBLICFOLLOW THE SHOW: INSTAGRAM // TIKTOK // YOUTUBEEMAIL THE SHOW: abreathoffreshmovie@gmail.com    

Simon Morris takes a look at an unusually blokey collection of movies this week, including the return of the “infected” in Danny Boyle's 28 Years Later, a documentary about the films of long-time partners, producer Ismail Merchant and director James Ivory, and Pixar's Elio, about a boy who gets his wish – to be abducted by aliens!Go to this episode on rnz.co.nz for more details

Merchant Ivory tells the story of one of the longest ever movie-making partnerships, between Indian producer Ismail Merchant, American director James Ivory – and German-Jewish born writer Ruth Prawer Jhabvala. Featuring interviews with Hugh Grant, Emma Thompson, Helena Bonham-Carter, Vanessa Redgrave and many others. Go to this episode on rnz.co.nz for more details

Echo Valley Kate's secluded life is interrupted by her troubled daughter when she shows up frightened and covered in someone's blood. As Kate unravels the truth, she learns how far she'll go for her child. Merchant Ivory Archival footage and interviews provide insight into the partnership, both professional and personal, between director James Ivory and producer Ismail Merchant. LISTEN ABOVE See omnystudio.com/listener for privacy information.

“Hater of the pod. Long time hater, first time caller.” In this episode, your hosts Martyr (@dragthemartyr) and Cate (@ctepper) catch up about Cate's busy month of April and Martyr's new hobby of Pokémon cards. Then they talk about their current interests: The White Lotus and the James Ivory directed film “Maurice” (1987). Later, returning guest Robin Rose Quartz stops by! She tells us about embodying Martyr at the Glam Awards, competing in Miss Fire Island, and angler fish. Plus games galore! + Follow our guest: @robinrosequartz on all social media ~ tinyurl.com/wiggingoutpodcast This episode is proudly sponsored by MOTTO- the new queer dating app! Tired of the endless scrolling? With Motto, Motto sends you daily matches of people who match your interests and kinks. There are no fees, no ads, and no nonsense. Use invite code: ZVOGS when signing up. ~ Follow the pod on Instagram and Facebook @wiggingoutpodcast and on twitter @wiggingoutpod Thots, comments, and dick pics? Please send to dragthemartyr@gmail.com Cover art: Madeline De Michele - www.madelinedemichele.com Music: “Club” by Andrew Huang (www.youtube.com/channel/UCdcemy56JtVTrsFIOoqvV8g) under Creative Commons. Edits by C.Tepper

In this episode, we kick off April with the 1993 drama from director James Ivory, "The Remains of the Day", starring Anthony Hopkins, Emma Thompson and Christopher Reeve. Listen now!

Send us a textIn today's episode, I interview Jonathan Hammond, the director of the short film "Fireflies in the Dusk," a clever genre bending comedy that brings the Victorian Age into the present day with hilarious results.Listen to hear about some of the films that inspired Jonathan's concept for the film, how he got his actors to buy into the absurd situations their characters would encounter, and what happens when an actor getting food poisoning in the middle of busy L.A. traffic.Books mentioned in this episode include:The Lion, the Witch, and the Wardrobe by C.S. LewisMike Nichols: A Life by Mark HarrisPictures at a Revolution: Five Movies and the Birth of the New Hollywood by Mark HarrisOscar Wars: A History of Hollywood in Gold, Sweat, and Tears by Michael SchulmanFilms and TV shows mentioned in this episode include:"Fireflies in the Dusk" directed by Jonathan HammondSomewhere in Time directed by Jeannot SzwarcPoltergeist directed by Tobe HooperThe Purple Rose of Cairo directed by Woody AllenBeing John Malkovich directed by Spike JonzeA Room With a View directed by James Ivory"30 Meetings/30 Days" directed by Duane Andersen"A Little House in Aberdeen" directed by Emily Goss8 Simple Rules (series)The Magicians (series)Pride & Prejudice directed by Joe WrightChinatown directed by Roman PolanskiGrand Illusion directed by Jean Renoir2001: A Space Odyssey directed by Stanley KubrickYoung Frankenstein directed by Mel BrooksMolly's Game directed by Aaron SorkinHis Girl Friday directed by Howard HawksSilence of the Lambs directed by Jonathan DemmeYou can follow Jonathan on Instagram @jonohamm and the film @firefliesinthedusk and check out the film at the Cleveland International Film Festival!

Pour ce nouvel épisode spécial des Bobines le Podcast, la "Bobine Team" (Lou Bobin, Marcelle Ratafia et Julien Guimon) fait un pas de côté, pour vous parler d'une autrice à qui les comédies romantiques doivent tout : Jane Austen.À cette occasion, nous avons le plaisir de recevoir la réalisatrice Laura Piani qui vient nous parler de son film actuellement en salles Jane Austen a gâché ma vie, produit par Les Films du Veyrier, distribué par Paname Distribution, avec Camille Rutherford, Pablo Pauly et Charlie Anson et deux lamas alpaguas entres autres.Crédits des extraits :03'08 Extrait bande annonce Jane Austen a gâché ma vie, réalisé par Laura Piani, 2025.13'39 Bande annonce Raison et Sentiments (Sense and Sensibility), réalisé par Ang Lee, 1995.39'25 Bande annonce Chambre avec vue (A Room With a View) réalisé par James Ivory, 1986.Si vous aimez Les Bobines le Podcast, parlez en autour de vous et likez notre page insta : https://www.instagram.com/lesbobines.podcast/Et surtout abonnez-vous sur votre plateforme favorite !Bonne écoute !Les Bobines le Podcast Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

James Ivory formed the filmmaking company Merchant Ivory with producer Ismail Merchant and the writer Ruth Prawer Jhabvala in 1961. The company went on to produce over 40 films and became synonymous with a particular sumptuous movie genre in the 80s and 90s, often adapted from literary classics. Merchant Ivory won awards and acclaim for A Room With A View, Howard's End, The Remains Of The Day and many more. In 2018, at the age of 89, James Ivory became the oldest ever winner of an Academy Award. Having been nominated three times previously for best director, he won the best adapted screenplay Oscar for the coming-of-age drama Call Me By Your Name. Now 96 years old, James Ivory recalls his upbringing in Oregon, the son of a timber merchant. He says that seeing Gone With the Wind soon after the film had first been released in 1939 was a formative moment in his love of cinema. Having initially studied architecture, he enrolled at the University of California to study cinema and began making short films. It was during a trip to India that he first became fascinated with the country and was introduced to the great Indian filmmaker Satyajit Ray, who was a hugely influential figure. James Ivory also talks about the unique relationship he had with Ismail Merchant and Ruth Jhabvala whom he describes as his "life's partners".Producer: Edwina Pitman

What might be the cause of international suffering? In this week's episode, we are joined by freelance film writer Christopher Smol to discuss the examinations of complicity, gentility and retrospective guilt in James Ivory's 1993 drama, The Remains of the Day. We also discuss: The Wind Rises (2013) d. Hayao Miyazaki Oppenheimer (2023) d. Christopher Nolan Contact Us E: ⁠⁠⁠⁠⁠⁠⁠⁠⁠contact@jimmybernasconi.com⁠⁠⁠⁠⁠⁠⁠⁠⁠ IG: ⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/filmsfortoday/⁠⁠⁠

She is the award winning Queen of producing indie film projects and had worked with the likes of Shelley Winters, Debbie Harry and Wu Tang Clan and superstar directors like Brian De Palma, Jim Jarmusch, James Ivory. Gretchen is the head of production at GoldCrest films in NYC. James Lott Jr has a fun and informative conversation with her. 

Our societies, our norms, our values are all shaped by stories from the past. Devdutt Pattanaik joins Amit Varma in episode 404 of The Seen and the Unseen to discuss his life, our society and why we should take mythology seriously. (FOR FULL LINKED SHOW NOTES, GO TO SEENUNSEEN.IN.) Also check out 1. Devdutt Pattanaik on Instagram, Twitter, LinkedIn, Wikipedia, YouTube, Amazon and his own website. 2. Myth = Mithya: Decoding Hindu Mythology -- Devdutt Pattanaik. 3. The Girl Who Chose -- Devdutt Pattanaik. 4. The Boys Who Fought -- Devdutt Pattanaik. 5. Ramayana Versus Mahabharata -- Devdutt Pattanaik. 6. My Gita -- Devdutt Pattanaik. 7. Bahubali: 63 Insights into Jainism -- Devdutt Pattanaik. 8. Sati Savitri -- Devdutt Pattanaik. 9. Business Sutra -- Devdutt Pattanaik. 10. Ahimsa: 100 Reflections on the Harappan Civilization -- Devdutt Pattanaik. 11. Olympus -- Devdutt Pattanaik. 12. Eden -- Devdutt Pattanaik. 13. East vs West -- The Myths That Mystify -- Devdutt Pattanaik's 2009 TED Talk. 14. Today My Mother Came Home -- Devdutt Pattanaik. 15. The Incredible Curiosities of Mukulika Banerjee — Episode 276 of The Seen and the Unseen. 16. The Life and Times of Mrinal Pande — Episode 263 of The Seen and the Unseen. 17. Sara Rai Inhales Literature — Episode 255 of The Seen and the Unseen. 18. The Life and Times of Shanta Gokhale — Episode 311 of The Seen and the Unseen. 19. Yuganta -- Irawati Karve. 20. Women in Indian History — Episode 144 of The Seen and the Unseen (w Ira Mukhoty). 21. The Jewel in the Crown -- BBC TV series. 22. Heat and Dust -- James Ivory. 23. The Sexual Outlaw -- John Rechy. 24. Bombay Dost and Gay Bombay. 25. The Double ‘Thank You' Moment — John Stossel. 26. The Kama Sutra. 27. Liberty -- Isaiah Berlin. 28. Thought and Choice in Chess -- Adriaan de Groot. 29. The Seven Basic Plots -- Christopher Booker. 30. The Seven Basic Plots -- Episode 69 of Everything is Everything. 31. The Hero with a Thousand Faces -- Joseph Campbell. 32. The Big Questions -- Steven Landsburg. 33. 300 Ramayanas — AK Ramanujan. 33. The egg came before the chicken. 34. The Evolution of Cooperation — Robert Axelrod. 35. The Trees -- Philip Larkin. 36. Who We Are and How We Got Here — David Reich. 37. Early Indians — Tony Joseph. 38. Tony Joseph's episode on The Seen and the Unseen. 39. A Life in Indian Politics — Episode 149 of The Seen and the Unseen (w Jayaprakash Narayan). 40. The BJP Before Modi — Episode 202 of The Seen and the Unseen (w Vinay Sitapati). 41. Jugalbandi -- Vinay Sitapati. 42. Perfect Days -- Wim Wenders. 43. The Loneliness of the Indian Woman — Episode 259 of The Seen and the Unseen (w Shrayana Bhattacharya). 44. The Loneliness of the Indian Man — Episode 303 of The Seen and the Unseen (w Nikhil Taneja). 45. Mary Wollstonecraft and bell hooks. 46. If India Was Five Days Old -- Devdutt Pattanaik. 47. The Road to Freedom — Arthur C Brooks. 48. The Master and His Emissary -- Iain McGilchrist. 49. This Be The Verse — Philip Larkin. 50. Human -- Michael Gazzaniga. 51. The Elephant in the Brain — Kevin Simler and Robin Hanson. 52. The Blank Slate -- Steven Pinker. 53. Amitava Kumar Finds the Breath of Life — Episode 265 of The Seen and the Unseen. 54. Wanderers, Kings, Merchants — Peggy Mohan. 55. Understanding India Through Its Languages — Episode 232 of The Seen and the Unseen (w Peggy Mohan). 56. The Reformers -- Episode 28 of Everything is Everything. 57. The Golden Bough -- James Frazer. 58. Myth And Reality: Studies In The Formation Of Indian Culture -- DD Kosambi. 59. Srimad Bhagavatam -- Kamala Subramaniam. 60. Boris Vallejo on Instagram, Wikipedia and his own website. 61. The Last Temptation Of Christ -- Nikos Kazantzakis. 62. The Last Temptation Of Christ -- Martin Scorcese. 63. Jeff Bezos on The Lex Fridman Podcast.  64. The Poem of the Killing of Meghnad -- Michael Madhusudan Dutt. 65. Eichmann in Jerusalem: A Report on the Banality of Evil — Hannah Arendt. 66. The Crown -- Created by Peter Morgan. 67. Profit = Philanthropy — Amit Varma. 68. Imaginary Number — Vijay Seshadri. 69. The Buddha's Footprint -- Johan Elverskog. 70. A Prehistory of Hinduism -- Manu Devadevan. 71. The ‘Early Medieval' Origins of India -- Manu Devadevan. 72. Unmasking Buddhism -- Bernard Faure. 73. The Red Thread -- Bernard Faure. 74. The Power of Denial -- Bernard Faure. 75. The Thousand and One Lives of the Buddha -- Bernard Faure. 76. A Modern Look At Ancient Chinese Theory Of Language -- Chad Hansen. 77. Hermann Kulke, Umakant Mishra and Ganesh Devy on Amazon. 78. The Hours -- Michael Cunningham. 79. The Hours -- Stephen Daldry. 79. Ancestral Dravidian languages in Indus Civilization -- Bahata Ansumali Mukhopadhyay. 80. Myth -- Laurence Coupe. This episode is sponsored by Rang De, a platform that enables individuals to invest in farmers, rural entrepreneurs and artisans. Amit Varma and Ajay Shah have launched a new course called Life Lessons, which aims to be a launchpad towards learning essential life skills all of you need. For more details, and to sign up, click here. Amit and Ajay also bring out a weekly YouTube show, Everything is Everything. Have you watched it yet? You must! And have you read Amit's newsletter? Subscribe right away to The India Uncut Newsletter! It's free! Also check out Amit's online course, The Art of Clear Writing. Episode art: ‘Story' by Simahina.

As a new doc releases at the British Film Festival exploring the classic films and iconic pairing of James Ivory and Ismail Merchant, the legendary, Academy Award winning James Ivory joins us.Documentary filmmakers Matthew Salleh and Rose Tucker on Slice of Life, a road movie serving insights into how former Pizza Hut buildings around the U.S. have been repurposed.Presenter, Jason Di RossoProducer, Sarah CorbettSound engineer, Russell StapletonExecutive producer, Rhiannon Brown

As a new doc releases at the British Film Festival exploring the classic films and iconic pairing of James Ivory and Ismail Merchant, the legendary, Academy Award winning James Ivory joins us.Documentary filmmakers Matthew Salleh and Rose Tucker on Slice of Life, a road movie serving insights into how former Pizza Hut buildings around the U.S. have been repurposed.Presenter, Jason Di RossoProducer, Sarah CorbettSound engineer, Russell StapletonExecutive producer, Rhiannon Brown

The Return After 20 years away, Odysseus washes up on the shores of Ithaca, haggard and unrecognizable. The king finds much has changed since he left to fight in the Trojan War. His beloved wife, Penelope, is a prisoner in her own home and hounded to choose a new husband. Their son faces death at the hands of suitors who see him as an obstacle in their pursuit of Penelope and the kingdom. Odysseus is no longer the mighty warrior his people remember, but he must face his past to save his family. Merchant Ivory Archival footage and interviews provide insight into the partnership, both professional and personal, between director James Ivory and producer Ismail Merchant. LISTEN ABOVE See omnystudio.com/listener for privacy information.

It's a big week! Tim Burton's long-awaited BEETLEJUICE BEETLEJUICE (2:08) finally arrives after its thirty-six-year gestation — Michael Keaton, Winona Ryder, Catherine O'Hara reprise their roles, and Jenna Ortega co-stars — and does it live up to the praise being heaped upon it? Megan lets you know! Next, we all saw HIS THREE DAUGHTERS (18:42), Azazel Jacobs' family drama about three sisters (Carrie Coon, Elizabeth Olsen, and Natasha Lyonne) grappling with their father's imminent demise. This flick is getting raves, but not from us. Finally, Megan and Dave watched MERCHANT IVORY (39:31), Stephen Soucy's documentary about the legendary director-producer team of James Ivory, Ismail Merchant, partners in filmmaking and life, and all the people who moved in and out of Merchant/Ivory family in front of the camera (Emma Thompson and Hugh Grant, for two) and behind it (in particular, novelist and screenwriter Ruth Prawer Jhabvala). We liked it, with reservations (some of them big). And over on Patreon, we Spoilerpiece a movie that needs a spoiler warning: The 1987 Kevin Costner thriller NO WAY OUT!

LGBTQ Filmmakers at the 26th annual Provincetown International Film Festival talk with Emmy Winner Charlotte Robinson host of OUTTAKE VOICES™ in this exclusive audio montage that took place at the Boatslip Resort & Beach Club in Provincetown, MA. First we talked to director Stephen Soucy about his documentary “Merchant Ivory” that pulls back the curtain on the fascinating lives of filmmakers Ismail Merchant and James Ivory. Their unique partnership on and off the camera produced 43 groundbreaking films over 4 decades that left an indelible mark on the LGBTQ and arthouse cinema. The documentary features interviews with Vanessa Redgrave, Emma Thompson, Hugh Grant, Helena Bonham Carter and many others who were lucky enough to move in the orbit of Merchant and Ivory's fabulous filmmaking. Next we chatted with director Fawzia Mirza and producer Andria Wilson Mirza about their feature film “The Queen of My Dreams”. The film is about a Pakistani Canadian woman who has had a strained relationship with her parents since coming out as lesbian and undergoes an emotional journey after the sudden unexpected death of her father. Her grief plunges her into a Bollywood-style examination of her family's past and present. Then we talked with director Taylor James, actor Kanoa Goo and producer Katie White about their short film “ILY, BYE” about when an unemployed, down on her luck woman (Megan Stalter) gets a life-changing job opportunity but she can't seem to get her foot out of her mouth long enough to get her foot in the door.    Next we talked to Tyler C. Peterson about his short film “Stan Behavior” about a drag queen (Ginger Minj) embarking on a quest for better workplace rights but finds herself in a dicey situation when her new lawyer (Yvonne Zima) a tone-deaf straight woman is revealed to be a drag super stan. Then we talked with director Sarah McCarron and music producer Rascal Miles about their short film “The Bend” about a trans man migrating from Tennessee to Minneapolis who gets stranded in rural Wisconsin and encounters a fisherman. We then chatted with director Marco Calvani about his feature film “High Tide” that was shot in Provincetown about an undocumented Brazilian immigrant searching for purpose when he encounters Maurice creating a memorable tribute to love and loss. We concluded our conversation with veteran producer Christine Vachon who produced the 2023 Oscar nominated film “Past Lives” about what films she has coming down the pike. We also talked with all the filmmakers about their spin on our LGBTQ issues as we approach the crucial 2024 presidential election.    The Provincetown Film Society, Inc. (PFS) is a non-profit year-round organization and home of the Provincetown International Film Festival. PIFF creates a unique international platform for the west and east coast entertainment industry to experience the diversity and community of Provincetown. PFS is also dedicated to showcasing the work of acclaimed and emerging directors, producers and actors.  For Info… LISTEN: 600+ LGBTQ Chats @OUTTAKE VOICES

The Wiz RECOMMENDS Maurice It's easy to see the trailer, posters and some photos of the 1987 film Maurice and think it's Brokeback Mountain but a costume drama. And you'd be partially right: Yes, the film is about a love between two men. Yes, it's about these men living in a time where their love is frowned upon. And yes, it does show these elements quite openly with nudity and plenty of male-to-male kissing (though it's nowhere near as bold is Brokeback) But the difference between the two are actually pretty stark: the main thrust of Brokeback was clearly the romance between the two men. Maurice, however, is more about the Immorality Law that was in place in England where the film is taking place. The film goes less into the romance between Clive and Maurice and more into why the romance will never happen and what Maurice has to do to hide his desires unless both Clive and him lose their livelihoods and their reputations. This causes a problem: while the focus on the Immorality Law does provide a very interesting twist, it devalues the actual romantic elements of the film, both of Clive and what happens at the end. This also hurts in one aspect of the drama: in no way is it a thought that Maurice is in any danger throughout the film. The result is a film that feels like an interesting film to show how hard it was to be a homosexual during that time than a film about a forbidden romance. If you celebrate Pride Month, this is more of a movie that is an interesting "side film" if you want a movie that is less focused on romance.

The Berkshire International Film Festival in Great Barrington, Massachusetts gets underway May 30 and on Saturday, June 1 it will feature a special tribute event for the documentary "Merchant Ivory" and the filmmaker James Ivory in conversation with documentary director Steven Soucy and WAMC's Joe Donahue.

In this meandering gondola boat ride of a Tubi or Not Tubi episode, we repeatedly politely ask permission to gently view the 2009 film, The City of Your Final Destination, directed by James Ivory and starring Anthony Hopkins, Laura Linney, and Hiroyuki Sanada. "Drama-Kinda-Romances where an introvert goes to some random country and asks politley for things for 2 hours" is one of the weirdest genres cinema has to offer. However, with a title like this one, and Anthony Hopkins attached, how could we not check this one out? I mean Tubi surely can't punish us for being curious, right? Right? ... Right? 

Legendary actress Jacqueline Bisset and Oscar-winning filmmaker James Ivory headline the 4th annual Albany Film Festival. The all-day event, free and open to the public, will take place from 10:30 a.m. through 7 p.m. this Saturday, April 6, at the UAlbany Campus Center.Actors, authors, directors, producers, screenwriters, and movie critics come together with film fans for a full day of screenings and discussions capped by an awards ceremony. For a preview, we welcome Opalka Endowed Director of the NYSWI - Paul Grondahl.

It's the third and final installment in our mini-series where we revisit Booker Prize novels whose cinematic adaptations were nominated at the Academy Awards. In this episode, we're taking a closer look at The Remains of the Day by Kazuo Ishiguro, which won the 1989 Booker Prize. Ishiguro's moving portrait of the perfect English butler was adapted four years later by James Ivory, in a film which received eight nominations at the Oscars. Tune in to hear Jo and James discuss the novel – which also happens to be our March Monthly Spotlight – and its silver screen counterpart.  In this episode Jo and James: Share a brief biography of Kazuo Ishiguro Summarise the plot of the book, and share their thoughts on it Explore the character of Stevens and the idea of dignity which he based his life on Discuss the narrative devices Ishiguro uses throughout the novel Delve into James Ivory's adaptation, and the differences between book and film Reading list: The Remains of the Day by Kazuo Ishiguro: https://thebookerprizes.com/the-booker-library/books/the-remains-of-the-day An Artist of the Floating World by Kazuo Ishiguro: https://thebookerprizes.com/the-booker-library/books/an-artist-of-the-floating-world A full transcript of the episode is available at our website. Follow The Booker Prize Podcast so you never miss an episode. Visit http://thebookerprizes.com/podcast to find out more about us, and follow us on Twitter, Instagram, Facebook and Tiktok @thebookerprizes. Learn more about your ad choices. Visit megaphone.fm/adchoices

Merchant-Ivory's lush adaptation of E.M. Forster's novel of romantic struggle against Edwardian repression is the best possible version of those PBS dramas your mom likes to watch--better, even, because this one has full frontal male nudity.   Starring Helena Bonham Carter, Julian Sands, Maggie Smith, Denholm Elliott, Daniel Day-Lewis, Judi Dench, and Simon Callow. Written by Ruth Prawer Jhabvala, and directed by James Ivory.

As Merchant Ivory super fans, we were surprised (and chagrined!) that we'd been unaware of Ismael Merchant and James Ivory's longtime collaborator, novelist and Academy Award winning-screenwriter Ruth Prawer Jhabvala. Hollywood screenwriter Brigitte Hales joins us to discuss Jhabvala and her Booker Prize-winning 1975 novel, Heat and Dust. Discussed in this episode: Heat and Dust by Ruth Prawer JhabvalaBrigitte Hales Disenchanted (2022 film)Merchant Ivory ProductionsA Room with a View (1985 film)Howard's End (1992 film)The Householder by Ruth Prawer JhabvalaNissim EzekielThe Householder (1963 film)Heat and Dust (1983 film)Support the showFor episodes and show notes, visit: LostLadiesofLit.comDiscuss episodes on our Facebook Forum. Follow us on instagram @lostladiesoflit. Follow Kim on twitter @kaskew. Sign up for our newsletter: LostLadiesofLit.com Email us: Contact — Lost Ladies of Lit Podcast

“Tôi đáng lẽ sẽ thuộc về anh trọn kiếp này nếu ngày ấy anh chịu níu giữ tôi, nhưng giờ tôi đã là của người khác rồi...” Đại học Cambridge, những năm 1920, Maurice Hall trẻ tuổi đã gặp Clive Durham lịch lãm và trí thức. Tình bạn giữa hai chàng trai dần trở thành một tình yêu thuần khiết và chân thành. Nhưng đây không phải là thời đại cho phép họ được sống theo mong muốn của chính mình; những lựa chọn cần đưa ra, dẫu có trong thống khổ. Với Clive, câu chuyện tình yêu được định sẵn phải chôn vùi trong sự “bình thường” của xã hội; còn với Maurice, tình yêu là thử thách dẫn lối tới một cuộc đời mới. MAURICE có lẽ là kiệt tác và chắc chắn là cuốn tiểu thuyết riêng tư nhất của E. M. Forster, hoàn thành vào năm 1914 nhưng phải đến năm 1971 mới được xuất bản, sau khi ông qua đời. Trung thực theo cách đầy hấp dẫn cùng những lời văn tuyệt đẹp, tác phẩm lên án mạnh mẽ thái độ đàn áp con người của xã hội Anh Quốc lúc bấy giờ, đồng thời cũng là một chuyện tình cảm động và câu chuyện mang tính tự sự sâu sắc về hành trình khám phá bản thân trong ái tình của một người đàn ông. --- Mặc dù E. M. Forster đã cho một số người bạn đáng tin cậy của mình xem bản thảo MAURICE, cuốn tiểu thuyết chỉ được xuất bản sau khi ông qua đời. Forster không tìm cách xuất bản tác phẩm này trong suốt cuộc đời của mình, vì tin rằng nó không thể ra mắt trong thời kì đó do thái độ của công chúng và pháp lí đối với tình yêu đồng giới. Một ghi chú được tìm thấy trên bản thảo có nội dung: “Có thể xuất bản, nhưng liệu có đáng?” Forster quyết tâm rằng tiểu thuyết này của mình nên có một cái kết có hậu, nhưng đồng thời cũng lo sợ rằng điều này sẽ khiến cuốn sách có thể bị truy tố khi đồng tính luyến ái nam lúc bấy giờ vẫn là bất hợp pháp ở Anh. MAURICE được James Ivory và Kit Hesketh-Harvey chuyển thể thành phim điện ảnh cùng tên vào năm 1987, với sự tham gia của các diễn viên chính James Wilby, Hugh Grant, và Rupert Graves. Bộ phim đã giành ba giải thưởng danh giá của Liên hoan phim Venice, và cho đến nay vẫn luôn nhận được nhiều lời khen ngợi về chất lượng. --- Về tác giả: E. M. Forster (1879 – 1970) là tác giả, nhà phê bình lẫy lừng người Anh, đồng thời là thành viên của Nhóm Bloomsbury. Trong tin cáo phó, tờ The Times đã vinh danh ông là “một trong những tiểu thuyết gia người Anh được yêu mến nhất thời đại này”. Tiểu thuyết Maurice, hoàn thành vào năm 1914, được chỉnh duyệt nhiều lần trong đời Forster, và cuối cùng xuất bản vào năm 1971 sau khi ông qua đời. --- Được sự cho phép của NXB Kim Đồng, Trạm Radio trích đọc một phần nội dung tác phẩm Maurice của E.M.Forster. Bản quyền tiếng Việt thuộc đơn vị phát hành. __________ Để cam kết với bạn nghe đài dự án Trạm Radio sẽ chạy đường dài, chúng tôi cần sự ủng hộ của quý bạn để duy trì những dịch vụ phải trả phí. Mọi tấm lòng đều vô cùng trân quý đối với ban biên tập, và tạo động lực cho chúng tôi tiếp tục sản xuất và trau chuốt nội dung hấp dẫn hơn nữa. Mọi đóng góp cho Trạm Radio xin gửi về: Nguyen Ha Trang STK 19034705725015 Ngân hàng Techcombank. Chi nhánh Hà Nội.

Ryan brings the goods once again with a film with its roots in Scotland! Starring Judi Dench, Billy Connolly, Geoffrey Palmer, and the irreplaceable Gerard Butler, MRS BROWN tells the "true" story about the relationship between John Brown and Queen Victoria after Prince Albert's untimely passing. John Madden is in the chair this time round, tackling a period drama about the "Royal" family. There's some comparisons to James Ivory that we make that seem founded but it's purely due to the classical nature of his filmmaking. There's plenty to see here even if the end result is rather unadulterated. Buckle up those bootstraps "woman" and cheer up! Podcast is here!

There's no better way to debut Ismail Merchant and James Ivory on this channel than to chat about their finest film. The Remains Of The Day also represents the first time Emma Thompson or Hugh Grant have come up on Have You Ever Seen...although Anthony Hopkins HAS been in one classic Oscar winner that we've covered. Something about lambs. In this case, Ruth Prawer Jhabvala's layered screenplay adapts Kazuo Ishiguro's acclaimed novel about repression through exemplary professionalism, even though that hard work comes at a cost. Did Hopkins dedicate his life to a noble cause...or was his life wasted? We tried to figure out the morality of the job done by the butler Stevens (Hopkins) and the housekeeper Kenton (Thompson) in an old-world country estate where their lord works tirelessly to, in the end, appease the Nazis. Thorny issues. Our 548th podcast analyzes what the talented English actors and their international team brought to the table in this classy production of The Remains Of The Day. Additional thought: perhaps Stevens didn't share his opinion in the "I'm unable to be of assistance in this matter" scene because he didn't want to risk his job by contradicting the guy who was putting him on the spot OR by contradicting anything said or thought by Lord Darlington. Sparkplug Coffee sponsors us and they will give any listener a one-time 20% discount if they use our "HYES" promo code. Type "sparkplug.coffee/hyes" into your device and get buying. Contact us with an email (haveyoueverseenpodcast@gmail.com) or with a tweet-x (@moviefiend51 and @bevellisellis). Also, not only can you find our show on YouTube (@hyesellis in your browser), but you can and should like, rate, comment and subscribe to us through your podcast app and also on the 'Tube.

En este episodio le hincamos el diente a dos películas muy diferentes de la década de los 90 pero modélicas, ambas en sus distintos estilos. Por un lado, se cumplen 30 años del estreno de 'Lo que queda del día' la película de James Ivory ambientada en una gran mansión británica, con dos maravillosos Anthony Hopkins y Enma Thompson al frente del servicio. Por otro tenemos 'Terminator II, el juicio final', uno de los grandes blockbusters de aquella década que marcó un hito en el desarrollo de los efectos especiales generados por ordenador. Hemos charlado con el periodista Ramón Monedero que acaba de publicar un libro sobre zombis en el cine, 'Mundo Zombi' se titula, y vamos a tener también un recuerdo para una gran actriz que marcó época en la historia del cine español y de cuyo fallecimiento se cumplen ahora 10 años: Amparo Rivelles.

Andre Aciman is an Italian-American writer, born and raised in Alexandria, Egypt. He currently is a distinguished professor at the CUNY Graduate Center,  where he teaches the history of literary theory and the works of  Marcel Proust. Andre is the author of a memoir, Out of Egypt, and several novels, including Call Me by Your Name, whose film adaptation, written by James Ivory, won an Oscar in 2018 alongside a very long list of other awards. We discussed his cosmopolitan upbringing, the fact that there isn't a place he truly calls home, and how his French and Italian roots have shaped his writing in English.   

On this episode of Podcast Like It's 1992, Tom Mison joins Phil & Emily to discuss Howard's End.‌We talk about James Ivory directed performances, the parallels to Call Me By Your Name, and why Tom is our go-to for Merchant Ivory and all things British!Patreon: Patreon‌Twitter: twitter.com/podcastlikeits‌Instagram: Instagram (@podcastlikeits)‌Reddit: Reddit - Dive into anything Hosted on Acast. See acast.com/privacy for more information.

The Woodstock Film Festival is about to honor a living legend. Director and screenwriter James Ivory of the Merchant Ivory partnership created dozens of award-winning films including “Howards End,” “The Remains of the Day,” and “Mr. and Mrs. Bridge,” to name just a few.

We finally complete our mini-series on the 1980s movies released by Miramax Films in 1989, a year that included sex, lies, and videotape, and My Left Foot. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we complete our look back at the 1980s theatrical releases for Miramax Films. And, for the final time, a reminder that we are not celebrating Bob and Harvey Weinstein, but reminiscing about the movies they had no involvement in making. We cannot talk about cinema in the 1980s without talking about Miramax, and I really wanted to get it out of the way, once and for all.   As we left Part 4, Miramax was on its way to winning its first Academy Award, Billie August's Pelle the Conquerer, the Scandinavian film that would be second film in a row from Denmark that would win for Best Foreign Language Film.   In fact, the first two films Miramax would release in 1989, the Australian film Warm Night on a Slow Moving Train and the Anthony Perkins slasher film Edge of Sanity, would not arrive in theatres until the Friday after the Academy Awards ceremony that year, which was being held on the last Wednesday in March.   Warm Nights on a Slow Moving Train stars Wendy Hughes, the talented Australian actress who, sadly, is best remembered today as Lt. Commander Nella Daren, one of Captain Jean-Luc Picard's few love interests, on a 1993 episode of Star Trek: The Next Generation, as Jenny, a prostitute working a weekend train to Sydney, who is seduced by a man on the train, unaware that he plans on tricking her to kill someone for him. Colin Friels, another great Aussie actor who unfortunately is best known for playing the corrupt head of Strack Industries in Sam Raimi's Darkman, plays the unnamed man who will do anything to get what he wants.   Director Bob Ellis and his co-screenwriter Denny Lawrence came up with the idea for the film while they themselves were traveling on a weekend train to Sydney, with the idea that each client the call girl met on the train would represent some part of the Australian male.   Funding the $2.5m film was really simple… provided they cast Hughes in the lead role. Ellis and Lawrence weren't against Hughes as an actress. Any film would be lucky to have her in the lead. They just felt she she didn't have the right kind of sex appeal for this specific character.   Miramax would open the film in six theatres, including the Cineplex Beverly Center in Los Angeles and the Fashion Village 8 in Orlando, on March 31st. There were two versions of the movie prepared, one that ran 130 minutes and the other just 91. Miramax would go with the 91 minute version of the film for the American release, and most of the critics would note how clunky and confusing the film felt, although one critic for the Village Voice would have some kind words for Ms. Hughes' performance.   Whether it was because moviegoers were too busy seeing the winners of the just announced Academy Awards, including Best Picture winner Rain Man, or because this weekend was also the opening weekend of the new Major League Baseball season, or just turned off by the reviews, attendance at the theatres playing Warm Nights on a Slow Moving Train was as empty as a train dining car at three in the morning. The Beverly Center alone would account for a third of the movie's opening weekend gross of $19,268. After a second weekend at the same six theatres pocketing just $14,382, this train stalled out, never to arrive at another station.   Their other March 31st release, Edge of Sanity, is notable for two things and only two things: it would be the first film Miramax would release under their genre specialty label, Millimeter Films, which would eventually evolve into Dimension Films in the next decade, and it would be the final feature film to star Anthony Perkins before his passing in 1992.   The film is yet another retelling of the classic 1886 Robert Louis Stevenson story The Strange Case of Doctor Jekyll and Mister Hyde, with the bonus story twist that Hyde was actually Jack the Ripper. As Jekyll, Perkins looks exactly as you'd expect a mid-fifties Norman Bates to look. As Hyde, Perkins is made to look like he's a backup keyboardist for the first Nine Inch Nails tour. Head Like a Hole would have been an appropriate song for the end credits, had the song or Pretty Hate Machine been released by that time, with its lyrics about bowing down before the one you serve and getting what you deserve.   Edge of Sanity would open in Atlanta and Indianapolis on March 31st. And like so many other Miramax releases in the 1980s, they did not initially announce any grosses for the film. That is, until its fourth weekend of release, when the film's theatre count had fallen to just six, down from the previous week's previously unannounced 35, grossing just $9,832. Miramax would not release grosses for the film again, with a final total of just $102,219.   Now when I started this series, I said that none of the films Miramax released in the 1980s were made by Miramax, but this next film would become the closest they would get during the decade.   In July 1961, John Profumo was the Secretary of State for War in the conservative government of British Prime Minister Harold Macmillan, when the married Profumo began a sexual relationship with a nineteen-year-old model named Christine Keeler. The affair was very short-lived, either ending, depending on the source, in August 1961 or December 1961. Unbeknownst to Profumo, Keeler was also having an affair with Yevgeny Ivanov, a senior naval attache at the Soviet Embassy at the same time.   No one was the wiser on any of this until December 1962, when a shooting incident involving two other men Keeler had been involved with led the press to start looking into Keeler's life. While it was never proven that his affair with Keeler was responsible for any breaches of national security, John Profumo was forced to resign from his position in June 1963, and the scandal would take down most of the Torie government with him. Prime Minister Macmillan would resign due to “health reasons” in October 1963, and the Labour Party would take control of the British government when the next elections were held in October 1964.   Scandal was originally planned in the mid-1980s as a three-part, five-hour miniseries by Australian screenwriter Michael Thomas and American music producer turned movie producer Joe Boyd. The BBC would commit to finance a two-part, three-hour miniseries,  until someone at the network found an old memo from the time of the Profumo scandal that forbade them from making any productions about it. Channel 4, which had been producing quality shows and movies for several years since their start in 1982, was approached, but rejected the series on the grounds of taste.   Palace Pictures, a British production company who had already produced three films for Neil Jordan including Mona Lisa, was willing to finance the script, provided it could be whittled down to a two hour movie. Originally budgeted at 3.2m British pounds, the costs would rise as they started the casting process.  John Hurt, twice Oscar-nominated for his roles in Midnight Express and The Elephant Man, would sign on to play Stephen Ward, a British osteopath who acted as Christine Keeler's… well… pimp, for lack of a better word. Ian McKellen, a respected actor on British stages and screens but still years away from finding mainstream global success in the X-Men movies, would sign on to play John Profumo. Joanne Whaley, who had filmed the yet to be released at that time Willow with her soon to be husband Val Kilmer, would get her first starring role as Keeler, and Bridget Fonda, who was quickly making a name for herself in the film world after being featured in Aria, would play Mandy Rice-Davies, the best friend and co-worker of Keeler's.   To save money, Palace Pictures would sign thirty-year-old Scottish filmmaker Michael Caton-Jones to direct, after seeing a short film he had made called The Riveter. But even with the neophyte feature filmmaker, Palace still needed about $2.35m to be able to fully finance the film. And they knew exactly who to go to.   Stephen Woolley, the co-founder of Palace Pictures and the main producer on the film, would fly from London to New York City to personally pitch Harvey and Bob Weinstein. Woolley felt that of all the independent distributors in America, they would be the ones most attracted to the sexual and controversial nature of the story. A day later, Woolley was back on a plane to London. The Weinsteins had agreed to purchase the American distribution rights to Scandal for $2.35m.   The film would spend two months shooting in the London area through the summer of 1988. Christine Keeler had no interest in the film, and refused to meet the now Joanne Whaley-Kilmer to talk about the affair, but Mandy Rice-Davies was more than happy to Bridget Fonda about her life, although the meetings between the two women were so secret, they would not come out until Woolley eulogized Rice-Davies after her 2014 death.   Although Harvey and Bob would be given co-executive producers on the film, Miramax was not a production company on the film. This, however, did not stop Harvey from flying to London multiple times, usually when he was made aware of some sexy scene that was going to shoot the following day, and try to insinuate himself into the film's making. At one point, Woolley decided to take a weekend off from the production, and actually did put Harvey in charge. That weekend's shoot would include a skinny-dipping scene featuring the Christine Keeler character, but when Whaley-Kilmer learned Harvey was going to be there, she told the director that she could not do the nudity in the scene. Her new husband was objecting to it, she told them. Harvey, not skipping a beat, found a lookalike for the actress who would be willing to bare all as a body double, and the scene would begin shooting a few hours later. Whaley-Kilmer watched the shoot from just behind the camera, and stopped the shoot a few minutes later. She was not happy that the body double's posterior was notably larger than her own, and didn't want audiences to think she had that much junk in her trunk. The body double was paid for her day, and Whaley-Kilmer finished the rest of the scene herself.   Caton-Jones and his editing team worked on shaping the film through the fall, and would screen his first edit of the film for Palace Pictures and the Weinsteins in November 1988. And while Harvey was very happy with the cut, he still asked the production team for a different edit for American audiences, noting that most Americans had no idea who Profumo or Keeler or Rice-Davies were, and that Americans would need to understand the story more right out of the first frame. Caton-Jones didn't want to cut a single frame, but he would work with Harvey to build an American-friendly cut.   While he was in London in November 1988, he would meet with the producers of another British film that was in pre-production at the time that would become another important film to the growth of the company, but we're not quite at that part of the story yet. We'll circle around to that film soon.   One of the things Harvey was most looking forward to going in to 1989 was the expected battle with the MPAA ratings board over Scandal. Ever since he had seen the brouhaha over Angel Heart's X rating two years earlier, he had been looking for a similar battle. He thought he had it with Aria in 1988, but he knew he definitely had it now.   And he'd be right.   In early March, just a few weeks before the film's planned April 21st opening day, the MPAA slapped an X rating on Scandal. The MPAA usually does not tell filmmakers or distributors what needs to be cut, in order to avoid accusations of actual censorship, but according to Harvey, they told him exactly what needed to be cut to get an R: a two second shot during an orgy scene, where it appears two background characters are having unsimulated sex.   So what did Harvey do?   He spent weeks complaining to the press about MPAA censorship, generating millions in free publicity for the film, all the while already having a close-up shot of Joanne Whaley-Kilmer's Christine Keeler watching the orgy but not participating in it, ready to replace the objectionable shot.   A few weeks later, Miramax screened the “edited” film to the MPAA and secured the R rating, and the film would open on 94 screens, including 28 each in the New York City and Los Angeles metro regions, on April 28th.   And while the reviews for the film were mostly great, audiences were drawn to the film for the Miramax-manufactured controversy as well as the key art for the film, a picture of a potentially naked Joanne Whaley-Kilmer sitting backwards in a chair, a mimic of a very famous photo Christine Keeler herself took to promote a movie about the Profumo affair she appeared in a few years after the events. I'll have a picture of both the Scandal poster and the Christine Keeler photo on this episode's page at The80sMoviePodcast.com   Five other movies would open that weekend, including the James Belushi comedy K-9 and the Kevin Bacon drama Criminal Law, and Scandal, with $658k worth of ticket sales, would have the second best per screen average of the five new openers, just a few hundred dollars below the new Holly Hunter movie Miss Firecracker, which only opened on six screens.   In its second weekend, Scandal would expand its run to 214 playdates, and make its debut in the national top ten, coming in tenth place with $981k. That would be more than the second week of the Patrick Dempsey rom-com Loverboy, even though Loverboy was playing on 5x as many screens.   In weekend number three, Scandal would have its best overall gross and top ten placement, coming in seventh with $1.22m from 346 screens. Scandal would start to slowly fade after that, falling back out of the top ten in its sixth week, but Miramax would wisely keep the screen count under 375, because Scandal wasn't going to play well in all areas of the country. After nearly five months in theatres, Miramax would have its biggest film to date. Scandal would gross $8.8m.   The second release from Millimeter Films was The Return of the Swamp Thing. And if you needed a reason why the 1980s was not a good time for comic book movies, here you are. The Return of the Swamp Thing took most of what made the character interesting in his comic series, and most of what was good from the 1982 Wes Craven adaptation, and decided “Hey, you know what would bring the kids in? Camp! Camp unseen in a comic book adaptation since the 1960s Batman series. They loved it then, they'll love it now!”   They did not love it now.   Heather Locklear, between her stints on T.J. Hooker and Melrose Place, plays the step-daughter of Louis Jourdan's evil Dr. Arcane from the first film, who heads down to the Florida swaps to confront dear old once presumed dead stepdad. He in turns kidnaps his stepdaughter and decides to do some of his genetic experiments on her, until she is rescued by Swamp Thing, one of Dr. Arcane's former co-workers who got turned into the gooey anti-hero in the first movie.   The film co-stars Sarah Douglas from Superman 1 and 2 as Dr. Arcane's assistant, Dick Durock reprising his role as Swamp Thing from the first film, and 1980s B-movie goddess Monique Gabrielle as Miss Poinsettia.   For director Jim Wynorski, this was his sixth movie as a director, and at $3m, one of the highest budgeted movies he would ever make. He's directed 107 movies since 1984, most of them low budget direct to video movies with titles like The Bare Wench Project and Alabama Jones and the Busty Crusade, although he does have one genuine horror classic under his belt, the 1986 sci-fi tinged Chopping Maul with Kelli Maroney and Barbara Crampton.   Wynorski suggested in a late 1990s DVD commentary for the film that he didn't particularly enjoy making the film, and had a difficult time directing Louis Jourdan, to the point that outside of calling “action” and “cut,” the two didn't speak to each other by the end of the shoot.   The Return of Swamp Thing would open in 123 theatres in the United States on May 12th, including 28 in the New York City metro region, 26 in the Los Angeles area, 15 in Detroit, and a handful of theatres in Phoenix, San Francisco. And, strangely, the newspaper ads would include an actual positive quote from none other than Roger Ebert, who said on Siskel & Ebert that he enjoyed himself, and that it was good to have Swamp Thing back. Siskel would not reciprocate his balcony partner's thumb up. But Siskel was about the only person who was positive on the return of Swamp Thing, and that box office would suffer. In its first three days, the film would gross just $119,200. After a couple more dismal weeks in theatres, The Return of Swamp Thing would be pulled from distribution, with a final gross of just $275k.   Fun fact: The Return of Swamp Thing was produced by Michael E. Uslan, whose next production, another adaptation of a DC Comics character, would arrive in theatres not six weeks later and become the biggest film of the summer. In fact, Uslan has been a producer or executive producer on every Batman-related movie and television show since 1989, from Tim Burton to Christopher Nolan to Zack Snyder to Matt Reeves, and from LEGO movies to Joker. He also, because of his ownership of the movie rights to Swamp Thing, got the movie screen rights, but not the television screen rights, to John Constantine.   Miramax didn't have too much time to worry about The Return of Swamp Thing's release, as it was happening while the Brothers Weinstein were at the 1989 Cannes Film Festival. They had two primary goals at Cannes that year:   To buy American distribution rights to any movie that would increase their standing in the cinematic worldview, which they would achieve by picking up an Italian dramedy called, at the time, New Paradise Cinema, which was competing for the Palme D'Or with a Miramax pickup from Sundance back in January. Promote that very film, which did end up winning the Palme D'Or.   Ever since he was a kid, Steven Soderbergh wanted to be a filmmaker. Growing up in Baton Rouge, LA in the late 1970s, he would enroll in the LSU film animation class, even though he was only 15 and not yet a high school graduate. After graduating high school, he decided to move to Hollywood to break into the film industry, renting an above-garage room from Stephen Gyllenhaal, the filmmaker best known as the father of Jake and Maggie, but after a few freelance editing jobs, Soderbergh packed up his things and headed home to Baton Rouge.   Someone at Atco Records saw one of Soderbergh's short films, and hired him to direct a concert movie for one of their biggest bands at the time, Yes, who was enjoying a major comeback thanks to their 1983 triple platinum selling album, 90125. The concert film, called 9012Live, would premiere on MTV in late 1985, and it would be nominated for a Grammy Award for Best Long Form Music Video.   Soderbergh would use the money he earned from that project, $7,500, to make Winston, a 12 minute black and white short about sexual deception that he would, over the course of an eight day driving trip from Baton Rouge to Los Angeles, expand to a full length screen that he would call sex, lies and videotape. In later years, Soderbergh would admit that part of the story is autobiographical, but not the part you might think. Instead of the lead, Graham, an impotent but still sexually perverse late twentysomething who likes to tape women talking about their sexual fantasies for his own pleasure later, Soderbergh based the husband John, the unsophisticated lawyer who cheats on his wife with her sister, on himself, although there would be a bit of Graham that borrows from the filmmaker. Like his lead character, Soderbergh did sell off most of his possessions and hit the road to live a different life.   When he finished the script, he sent it out into the wilds of Hollywood. Morgan Mason, the son of actor James Mason and husband of Go-Go's lead singer Belinda Carlisle, would read it and sign on as an executive producer. Soderbergh had wanted to shoot the film in black and white, like he had with the Winston short that lead to the creation of this screenplay, but he and Mason had trouble getting anyone to commit to the project, even with only a projected budget of $200,000. For a hot moment, it looked like Universal might sign on to make the film, but they would eventually pass.   Robert Newmyer, who had left his job as a vice president of production and acquisitions at Columbia Pictures to start his own production company, signed on as a producer, and helped to convince Soderbergh to shoot the film in color, and cast some name actors in the leading roles. Once he acquiesced, Richard Branson's Virgin Vision agreed to put up $540k of the newly budgeted $1.2m film, while RCA/Columbia Home Video would put up the remaining $660k.   Soderbergh and his casting director, Deborah Aquila, would begin their casting search in New York, where they would meet with, amongst others, Andie MacDowell, who had already starred in two major Hollywood pictures, 1984's Greystoke: The Legend of Tarzan, Lord of the Apes, and 1985's St. Elmo's Fire, but was still considered more of a top model than an actress, and Laura San Giacomo, who had recently graduated from the Carnegie Mellon School of Drama in Pittsburgh and would be making her feature debut. Moving on to Los Angeles, Soderbergh and Aquila would cast James Spader, who had made a name for himself as a mostly bad guy in 80s teen movies like Pretty in Pink and Less Than Zero, but had never been the lead in a drama like this. At Spader's suggestion, the pair met with Peter Gallagher, who was supposed to become a star nearly a decade earlier from his starring role in Taylor Hackford's The Idolmaker, but had mostly been playing supporting roles in television shows and movies for most of the decade.   In order to keep the budget down, Soderbergh, the producers, cinematographer Walt Lloyd and the four main cast members agreed to get paid their guild minimums in exchange for a 50/50 profit participation split with RCA/Columbia once the film recouped its costs.   The production would spend a week in rehearsals in Baton Rouge, before the thirty day shoot began on August 1st, 1988. On most days, the shoot was unbearable for many, as temperatures would reach as high as 110 degrees outside, but there were a couple days lost to what cinematographer Lloyd said was “biblical rains.” But the shoot completed as scheduled, and Soderbergh got to the task of editing right away. He knew he only had about eight weeks to get a cut ready if the film was going to be submitted to the 1989 U.S. Film Festival, now better known as Sundance. He did get a temporary cut of the film ready for submission, with a not quite final sound mix, and the film was accepted to the festival. It would make its world premiere on January 25th, 1989, in Park City UT, and as soon as the first screening was completed, the bids from distributors came rolling in. Larry Estes, the head of RCA/Columbia Home Video, would field more than a dozen submissions before the end of the night, but only one distributor was ready to make a deal right then and there.   Bob Weinstein wasn't totally sold on the film, but he loved the ending, and he loved that the word “sex” not only was in the title but lead the title. He knew that title alone would sell the movie. Harvey, who was still in New York the next morning, called Estes to make an appointment to meet in 24 hours. When he and Estes met, he brought with him three poster mockups the marketing department had prepared, and told Estes he wasn't going to go back to New York until he had a contract signed, and vowed to beat any other deal offered by $100,000. Island Pictures, who had made their name releasing movies like Stop Making Sense, Kiss of the Spider-Woman, The Trip to Bountiful and She's Gotta Have It, offered $1m for the distribution rights, plus a 30% distribution fee and a guaranteed $1m prints and advertising budget. Estes called Harvey up and told him what it would take to make the deal. $1.1m for the distribution rights, which needed to paid up front, a $1m P&A budget, to be put in escrow upon the signing of the contract until the film was released, a 30% distribution fee, no cutting of the film whatsoever once Soderbergh turns in his final cut, they would need to provide financial information for the films costs and returns once a month because of the profit participation contracts, and the Weinsteins would have to hire Ira Deutchman, who had spent nearly 15 years in the independent film world, doing marketing for Cinema 5, co-founding United Artists Classics, and co-founding Cinecom Pictures before opening his own company to act as a producers rep and marketer. And the Weinsteins would not only have to do exactly what Deutchman wanted, they'd have to pay for his services too.   The contract was signed a few weeks later.   The first move Miramax would make was to get Soderbergh's final cut of the film entered into the Cannes Film Festival, where it would be accepted to compete in the main competition. Which you kind of already know what happened, because that's what I lead with. The film would win the Palme D'Or, and Spader would be awarded the festival's award for Best Actor. It was very rare at the time, and really still is, for any film to be awarded more than one prize, so winning two was really a coup for the film and for Miramax, especially when many critics attending the festival felt Spike Lee's Do the Right Thing was the better film.   In March, Miramax expected the film to make around $5-10m, which would net the company a small profit on the film. After Cannes, they were hopeful for a $15m gross.   They never expected what would happen next.   On August 4th, sex, lies, and videotape would open on four screens, at the Cinema Studio in New York City, and at the AMC Century 14, the Cineplex Beverly Center 13 and the Mann Westwood 4 in Los Angeles. Three prime theatres and the best they could do in one of the then most competitive zones in all America. Remember, it's still the Summer 1989 movie season, filled with hits like Batman, Dead Poets Society, Ghostbusters 2, Indiana Jones and the Last Crusade, Honey I Shrunk the Kids, Lethal Weapon 2, Parenthood, Turner & Hooch, and When Harry Met Sally. An independent distributor even getting one screen at the least attractive theatre in Westwood was a major get. And despite the fact that this movie wasn't really a summertime movie per se, the film would gross an incredible $156k in its first weekend from just these four theatres. Its nearly $40k per screen average would be 5x higher than the next closest film, Parenthood.   In its second weekend, the film would expand to 28 theatres, and would bring in over $600k in ticket sales, its per screen average of $21,527 nearly triple its closest competitor, Parenthood again. The company would keep spending small, as it slowly expanded the film each successive week. Forty theatres in its third week, and 101 in its fourth. The numbers held strong, and in its fifth week, Labor Day weekend, the film would have its first big expansion, playing in 347 theatres. The film would enter the top ten for the first time, despite playing in 500 to 1500 fewer theatres than the other films in the top ten. In its ninth weekend, the film would expand to its biggest screen count, 534, before slowly drawing down as the other major Oscar contenders started their theatrical runs. The film would continue to play through the Oscar season of 1989, and when it finally left theatres in May 1989, its final gross would be an astounding $24.7m.   Now, remember a few moments ago when I said that Miramax needed to provide financial statements every month for the profit participation contracts of Soderbergh, the producers, the cinematographer and the four lead actors? The film was so profitable for everyone so quickly that RCA/Columbia made its first profit participation payouts on October 17th, barely ten weeks after the film's opening.   That same week, Soderbergh also made what was at the time the largest deal with a book publisher for the writer/director's annotated version of the screenplay, which would also include his notes created during the creation of the film. That $75,000 deal would be more than he got paid to make the movie as the writer and the director and the editor, not counting the profit participation checks.   During the awards season, sex, lies, and videotape was considered to be one of the Oscars front runners for Best Picture, Best Director, Best Screenplay and at least two acting nominations. The film would be nominated for Best Picture, Best Actress and Best Supporting Actress by the Golden Globes, and it would win the Spirit Awards for Best Picture, Soderbergh for Best Director, McDowell for Best Actress, and San Giacomo for Best Supporting Actress. But when the Academy Award nominations were announced, the film would only receive one nomination, for Best Original Screenplay. The same total and category as Spike Lee's Do the Right Thing, which many people also felt had a chance for a Best Picture and Best Director nomination. Both films would lose out to Tom Shulman's screenplay for Dead Poet's Society.   The success of sex, lies, and videotape would launch Steven Soderbergh into one of the quirkiest Hollywood careers ever seen, including becoming the first and only director ever to be nominated twice for Best Director in the same year by the Motion Picture Academy, the Golden Globes and the Directors Guild of America, in 2001 for directing Erin Brockovich and Traffic. He would win the Oscar for directing Traffic.   Lost in the excitement of sex, lies, and videotape was The Little Thief, a French movie that had an unfortunate start as the screenplay François Truffaut was working on when he passed away in 1984 at the age of just 52.   Directed by Claude Miller, whose principal mentor was Truffaut, The Little Thief starred seventeen year old Charlotte Gainsbourg as Janine, a young woman in post-World War II France who commits a series of larcenies to support her dreams of becoming wealthy.   The film was a modest success in France when it opened in December 1988, but its American release date of August 25th, 1989, was set months in advance. So when it was obvious sex, lies, and videotape was going to be a bigger hit than they originally anticipated, it was too late for Miramax to pause the release of The Little Thief.   Opening at the Lincoln Plaza Cinemas in New York City, and buoyed by favorable reviews from every major critic in town, The Little Thief would see $39,931 worth of ticket sales in its first seven days, setting a new house record at the theatre for the year. In its second week, the gross would only drop $47. For the entire week. And when it opened at the Royal Theatre in West Los Angeles, its opening week gross of $30,654 would also set a new house record for the year.   The film would expand slowly but surely over the next several weeks, often in single screen playdates in major markets, but it would never play on more than twenty-four screens in any given week. And after four months in theatres, The Little Thief, the last movie created one of the greatest film writers the world had ever seen, would only gross $1.056m in the United States.   The next three releases from Miramax were all sent out under the Millimeter Films banner.   The first, a supernatural erotic drama called The Girl in a Swing, was about an English antiques dealer who travels to Copenhagen where he meets and falls in love with a mysterious German-born secretary, whom he marries, only to discover a darker side to his new bride. Rupert Frazer, who played Christian Bale's dad in Steven Spielberg's Empire of the Sun, plays the antique dealer, while Meg Tilly the mysterious new bride.   Filmed over a five week schedule in London and Copenhagen during May and June 1988, some online sources say the film first opened somewhere in California in December 1988, but I cannot find a single theatre not only in California but anywhere in the United States that played the film before its September 29th, 1989 opening date.   Roger Ebert didn't like the film, and wished Meg Tilly's “genuinely original performance” was in a better movie. Opening in 26 theatres, including six theatres each in New York City and Los Angeles, and spurred on by an intriguing key art for the film that featured a presumed naked Tilly on a swing looking seductively at the camera while a notice underneath her warns that No One Under 18 Will Be Admitted To The Theatre, The Girl in a Swing would gross $102k, good enough for 35th place nationally that week. And that's about the best it would do. The film would limp along, moving from market to market over the course of the next three months, and when its theatrical run was complete, it could only manage about $747k in ticket sales.   We'll quickly burn through the next two Millimeter Films releases, which came out a week apart from each other and didn't amount to much.   Animal Behavior was a rather unfunny comedy featuring some very good actors who probably signed on for a very different movie than the one that came to be. Karen Allen, Miss Marion Ravenwood herself, stars as Alex, a biologist who, like Dr. Jane Goodall, develops a “new” way to communicate with chimpanzees via sign language. Armand Assante plays a cellist who pursues the good doctor, and Holly Hunter plays the cellist's neighbor, who Alex mistakes for his wife.   Animal Behavior was filmed in 1984, and 1985, and 1987, and 1988. The initial production was directed by Jenny Bowen with the assistance of Robert Redford and The Sundance Institute, thanks to her debut film, 1981's Street Music featuring Elizabeth Daily. It's unknown why Bowen and her cinematographer husband Richard Bowen left the project, but when filming resumed again and again and again, those scenes were directed by the film's producer, Kjehl Rasmussen.   Because Bowen was not a member of the DGA at the time, she was not able to petition the guild for the use of the Alan Smithee pseudonym, a process that is automatically triggered whenever a director is let go of a project and filming continues with its producer taking the reigns as director. But she was able to get the production to use a pseudonym anyway for the director's credit, H. Anne Riley, while also giving Richard Bowen a pseudonym of his own for his work on the film, David Spellvin.   Opening on 24 screens on October 27th, Animal Behavior would come in 50th place in its opening weekend, grossing just $20,361. The New York film critics ripped the film apart, and there wouldn't be a second weekend for the film.   The following Friday, November 3rd, saw the release of The Stepfather II, a rushed together sequel to 1987's The Stepfather, which itself wasn't a big hit in theatres but found a very quick and receptive audience on cable.   Despite dying at the end of the first film, Terry O'Quinn's Jerry is somehow still alive, and institutionalized in Northern Washington state. He escapes and heads down to Los Angeles, where he assumes the identity of a recently deceased publisher, Gene Clifford, but instead passes himself off as a psychiatrist. Jerry, now Gene, begins to court his neighbor Carol, and the whole crazy story plays out again. Meg Foster plays the neighbor Carol, and Jonathan Brandis is her son.    Director Jeff Burr had made a name for himself with his 1987 horror anthology film From a Whisper to a Scream, featuring Vincent Price, Clu Gulager and Terry Kiser, and from all accounts, had a very smooth shooting process with this film. The trouble began when he turned in his cut to the producers. The producers were happy with the film, but when they sent it to Miramax, the American distributors, they were rather unhappy with the almost bloodless slasher film. They demanded reshoots, which Burr and O'Quinn refused to participate in. They brought in a new director, Doug Campbell, to handle the reshoots, which are easy to spot in the final film because they look and feel completely different from the scenes they're spliced into.   When it opened, The Stepfather II actually grossed slightly more than the first film did, earning $279k from 100 screens, compared to $260k for The Stepfather from 105 screens. But unlike the first film, which had some decent reviews when it opened, the sequel was a complete mess. To this day, it's still one of the few films to have a 0% approval rating on Rotten Tomatoes, and The Stepfather II would limp its way through theatres during the Christmas holiday season, ending its run with a $1.5m gross.   But it would be their final film of the decade that would dictate their course for at least the first part of the 1990s.   Remember when I said earlier in the episode that Harvey Weinstein meant with the producers of another British film while in London for Scandal? We're at that film now, a film you probably know.   My Left Foot.   By November 1988, actor Daniel Day-Lewis had starred in several movies including James Ivory's A Room With a View and Philip Kaufman's The Unbearable Lightness of Being. He had even been the lead in a major Hollywood studio film, Pat O'Connor's Stars and Bars, a very good film that unfortunately got caught up in the brouhaha over the exit of the studio head who greenlit the film, David Puttnam.   The film's director, Jim Sheridan, had never directed a movie before. He had become involved in stage production during his time at the University College in Dublin in the late 1960s, where he worked with future filmmaker Neil Jordan, and had spent nearly a decade after graduation doing stage work in Ireland and Canada, before settling in New York City in the early 1980s. Sheridan would go to New York University's Tisch School of the Arts, where one of his classmates was Spike Lee, and return to Ireland after graduating. He was nearly forty, married with two pre-teen daughters, and he needed to make a statement with his first film.   He would find that story in the autobiography of Irish writer and painter Christy Brown, whose spirit and creativity could not be contained by his severe cerebral palsy. Along with Irish actor and writer Shane Connaughton, Sheridan wrote a screenplay that could be a powerhouse film made on a very tight budget of less than a million dollars.   Daniel Day-Lewis was sent a copy of the script, in the hopes he would be intrigued enough to take almost no money to play a physically demanding role. He read the opening pages, which had the adult Christy Brown putting a record on a record player and dropping the needle on to the record with his left foot, and thought to himself it would be impossible to film. That intrigued him, and he signed on. But during filming in January and February of 1989, most of the scenes were shot using mirrors, as Day-Lewis couldn't do the scenes with his left foot. He could do them with his right foot, hence the mirrors.   As a method actor, Day-Lewis remained in character as Christy Brown for the entire two month shoot. From costume fittings and makeup in the morning, to getting the actor on set, to moving him around between shots, there were crew members assigned to assist the actor as if they were Christy Brown's caretakers themselves, including feeding him during breaks in shooting. A rumor debunked by the actor years later said Day-Lewis had broken two ribs during production because of how hunched down he needed to be in his crude prop wheelchair to properly play the character.   The actor had done a lot of prep work to play the role, including spending time at the Sandymount School Clinic where the young Christy Brown got his education, and much of his performance was molded on those young people.   While Miramax had acquired the American distribution rights to the film before it went into production, and those funds went into the production of the film, the film was not produced by Miramax, nor were the Weinsteins given any kind of executive producer credit, as they were able to get themselves on Scandal.   My Left Foot would make its world premiere at the Montreal World Film Festival on September 4th, 1989, followed soon thereafter by screening at the Toronto International Film Festival on September 13th and the New York Film Festival on September 23rd. Across the board, critics and audiences were in love with the movie, and with Daniel Day-Lewis's performance. Jim Sheridan would receive a special prize at the Montreal World Film Festival for his direction, and Day-Lewis would win the festival's award for Best Actor. However, as the film played the festival circuit, another name would start to pop up. Brenda Fricker, a little known Irish actress who played Christy Brown's supportive but long-suffering mother Bridget, would pile up as many positive notices and awards as Day-Lewis. Although there was no Best Supporting Actress Award at the Montreal Film Festival, the judges felt her performance was deserving of some kind of attention, so they would create a Special Mention of the Jury Award to honor her.   Now, some sources online will tell you the film made its world premiere in Dublin on February 24th, 1989, based on a passage in a biography about Daniel Day-Lewis, but that would be impossible as the film would still be in production for two more days, and wasn't fully edited or scored by then.   I'm not sure when it first opened in the United Kingdom other than sometime in early 1990, but My Left Foot would have its commercial theatre debut in America on November 10th, when opened at the Lincoln Plaza Cinemas in New York City and the Century City 14 in Los Angeles. Sheila Benson of the Los Angeles Times would, in the very opening paragraph of her review, note that one shouldn't see My Left Foot for some kind of moral uplift or spiritual merit badge, but because of your pure love of great moviemaking. Vincent Canby's review in the New York Times spends most of his words praising Day-Lewis and Sheridan for making a film that is polite and non-judgmental.    Interestingly, Miramax went with an ad campaign that completely excluded any explanation of who Christy Brown was or why the film is titled the way it is. 70% of the ad space is taken from pull quotes from many of the top critics of the day, 20% with the title of the film, and 10% with a picture of Daniel Day-Lewis, clean shaven and full tooth smile, which I don't recall happening once in the movie, next to an obviously added-in picture of one of his co-stars that is more camera-friendly than Brenda Fricker or Fiona Shaw.   Whatever reasons people went to see the film, they flocked to the two theatres playing the film that weekend. It's $20,582 per screen average would be second only to Kenneth Branagh's Henry V, which had opened two days earlier, earning slightly more than $1,000 per screen than My Left Foot.   In week two, My Left Foot would gross another $35,133 from those two theatres, and it would overtake Henry V for the highest per screen average. In week three, Thanksgiving weekend, both Henry V and My Left Foot saw a a double digit increase in grosses despite not adding any theatres, and the latter film would hold on to the highest per screen average again, although the difference would only be $302. And this would continue for weeks. In the film's sixth week of release, it would get a boost in attention by being awarded Best Film of the Year by the New York Film Critics Circle. Daniel Day-Lewis would be named Best Actor that week by both the New York critics and the Los Angeles Film Critics Association, while Fricker would win the Best Supporting Actress award from the latter group.   But even then, Miramax refused to budge on expanding the film until its seventh week of release, Christmas weekend, when My Left Foot finally moved into cities like Chicago and San Francisco. Its $135k gross that weekend was good, but it was starting to lose ground to other Oscar hopefuls like Born on the Fourth of July, Driving Miss Daisy, Enemies: A Love Story, and Glory.   And even though the film continued to rack up award win after award win, nomination after nomination, from the Golden Globes and the Writers Guild and the National Society of Film Critics and the National Board of Review, Miramax still held firm on not expanding the film into more than 100 theatres nationwide until its 16th week in theatres, February 16th, 1990, two days after the announcement of the nominees for the 62nd Annual Academy Awards. While Daniel Day-Lewis's nomination for Best Actor was virtually assured and Brenda Fricker was practically a given, the film would pick up three other nominations, including surprise nominations for Best Picture and Best Director. Jim Sheridan and co-writer Shane Connaughton would also get picked for Best Adapted Screenplay.   Miramax also picked up a nomination for Best Original Screenplay for sex, lies, and videotape, and a Best Foreign Language Film nod for the Italian movie Cinema Paradiso, which, thanks to the specific rules for that category, a film could get a nomination before actually opening in theatres in America, which Miramax would rush to do with Paradiso the week after its nomination was announced.   The 62nd Academy Awards ceremony would be best remembered today as being the first Oscar show to be hosted by Billy Crystal, and for being considerably better than the previous year's ceremony, a mess of a show best remembered as being the one with a 12 minute opening musical segment that included Rob Lowe singing Proud Mary to an actress playing Snow White and another nine minute musical segment featuring a slew of expected future Oscar winners that, to date, feature exact zero Oscar nominees, both which rank as amongst the worst things to ever happen to the Oscars awards show.   The ceremony, held on March 26th, would see My Left Foot win two awards, Best Actor and Best Supporting Actress, as well as Cinema Paradiso for Best Foreign Film. The following weekend, March 30th, would see Miramax expand My Left Foot to 510 theatres, its widest point of release, and see the film made the national top ten and earn more than a million dollars for its one and only time during its eight month run.   The film would lose steam pretty quickly after its post-win bump, but it would eek out a modest run that ended with $14.75m in ticket sales just in the United States. Not bad for a little Irish movie with no major stars that cost less than a million dollars to make.   Of course, the early 90s would see Miramax fly to unimagined heights. In all of the 80s, Miramax would release 39 movies. They would release 30 films alone in 1991. They would release the first movies from Jean-Pierre Jeunet, Quentin Tarantino and Kevin Smith. They'd release some of the best films from some of the best filmmakers in the world, including Woody Allen, Pedro Almadovar, Robert Altman, Bernardo Bertolucci, Atom Egoyan, Steven Frears, Peter Greenaway, Peter Jackson, Neil Jordan, Chen Kaige, Krzysztof Kieślowski, Lars von Trier, and Zhang Yimou. In 1993, the Mexican dramedy Like Water for Chocolate would become the highest grossing foreign language film ever released in America, and it would play in some theatres, including my theatre, the NuWilshire in Santa Monica, continuously for more than a year.   If you've listened to the whole series on the 1980s movies of Miramax Films, there are two things I hope you take away. First, I hope you discovered at least one film you hadn't heard of before and you might be interested in searching out. The second is the reminder that neither Bob nor Harvey Weinstein will profit in any way if you give any of the movies talked about in this series a chance. They sold Miramax to Disney in June 1993. They left Miramax in September 2005. Many of the contracts for the movies the company released in the 80s and 90s expired decades ago, with the rights reverting back to their original producers, none of whom made any deals with the Weinsteins once they got their rights back.   Harvey Weinstein is currently serving a 23 year prison sentence in upstate New York after being found guilty in 2020 of two sexual assaults. Once he completes that sentence, he'll be spending another 16 years in prison in California, after he was convicted of three sexual assaults that happened in Los Angeles between 2004 and 2013. And if the 71 year old makes it to 107 years old, he may have to serve time in England for two sexual assaults that happened in August 1996. That case is still working its way through the British legal system.   Bob Weinstein has kept a low profile since his brother's proclivities first became public knowledge in October 2017, although he would also be accused of sexual harassment by a show runner for the brothers' Spike TV-aired adaptation of the Stephen King novel The Mist, several days after the bombshell articles came out about his brother. However, Bob's lawyer, the powerful attorney to the stars Bert Fields, deny the allegations, and it appears nothing has occurred legally since the accusations were made.   A few weeks after the start of the MeToo movement that sparked up in the aftermath of the accusations of his brother's actions, Bob Weinstein denied having any knowledge of the nearly thirty years of documented sexual abuse at the hands of his brother, but did allow to an interviewer for The Hollywood Reporter that he had barely spoken to Harvey over the previous five years, saying he could no longer take Harvey's cheating, lying and general attitude towards everyone.   And with that, we conclude our journey with Miramax Films. While I am sure Bob and Harvey will likely pop up again in future episodes, they'll be minor characters at best, and we'll never have to focus on anything they did ever again.   Thank you for joining us. We'll talk again soon, when Episode 119 is released.   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.

Une invitation au voyage – ou bien est-ce un rêve éveillé et jubilatoire ? -  en Italie, dans les grandes demeures et palais italiens, des jardins aux cuisines de ces grandes maisons ; là où se nichent la vie et les recettes des familles qui les font vivre, mémoire ou incarnation du goût de la nature époustouflante qui les entoure. (Rediffusion) Un voyage au fil des saisons qui sied le mieux à ces magnifiques dimore perdues au milieu de la Méditerranée, dans un océan de vert d'oliviers pointé de cyprès, sous l'écrasant soleil ou – plus surprenant – dans l'hiver et la neige. Ici la géographie n'est pas un guide, les envies et l'inédit, les recettes et l'intelligence des cuisines racontent la vie, celle d'hier et celle de demain.Avec Alba Pezone, Napolitaine, cuisinière pétillante, auteure de Dimore D'Italia, recettes secrètes, aux éditions Hachette cuisine, ou encore de In Cucina, pizza, ou encore ma petite épicerie italienne. En images Extraits des films diffusés pendant l'émission- Le Guépard, de Luciano Visconti - Chambre avec vue, de James Ivory  - L'or de Naples, de Vittorio de Sica  Programmation musicale - Se lo senti lo sai, de Jovanetti - Lascia la spina, cogli la rosa, de Haendel, interprété par Jaroussky.  RECETTESExtraits de Dimore d'Italia. Recettes secrètes des palais italiens, de Alba Pezone, photographies de Matteo Carassale, chez Hachette Cuisine. 

We're back on that Ivory train! The Merchant/Ivory Express! Since A ROOM WITH A VIEW, we've been destined to revisit James Ivory as a filmmaker of tremendous honesty and compassion when it comes to realistic cinematic depictions of full-frontal nudity. In this "Clean-Up" Episode, we're covering MAURICE, another adaption from the E.M. Forster catalogue of tales and a memorable addition to the staple of gay cinema. It's a period film and one that Laura loved very much (even if it is a bit long). 

Nesse podcast conversamos sobre sobre as influências, referências, méritos e breguices do primeiro longa-metragem escrito e dirigido por Jennifer Lynch, Encaixotando Helena (Boxing Helena, 1993), estrelado por Sherilyn Fenn - a eterna Audrey Horne de Twin Peaks (1990-1991) - e Julian Sands. Comentamos ainda dois outros trabalhos da diretora, Sob Controle (Surveillance, 2008) e Acorrentados (Chained, 2012). O programa é apresentado por Stephania Amaral e Camila Vieira. Feedback: contato@feitoporelas.com.br Mais informações: https://feitoporelas.com.br/feito-por-elas-192-encaixotando-helena Pesquisa, pauta, roteiro e apresentação: Stephania Amaral e Camila Vieira Produção do programa e arte da capa: Isabel Wittmann Edição: Domenica Mendes Vinheta: Felipe Ayres Locução da vinheta: Deborah Garcia (deh.gbf@gmail.com) Música de encerramento: Bad Ideas - Silent Film Dark de Kevin MacLeod está licenciada sob uma licença Creative Commons Attribution (https://creativecommons.org/licenses/by/4.0/) Origem: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100489 Artista: http://incompetech.com/ Agradecimento: Carolina Ronconi, Leticia Santinon, Lorena Luz, Isadora Oliveira Prata, Helga Dornelas, Larissa Lisboa, Tiago Maia e Pedro dal Bó Assine nosso financiamento coletivo: https://orelo.cc/feitoporelas/apoios Links patrocinados (Como associado da Amazon, recebemos por compras qualificadas): [LIVRO] Cinema Soviético de Mulheres https://amzn.to/3lnC37b [LIVRO] Mulheres Atrás das Câmeras- As cineastas brasileiras de 1930 a 2018 https://amzn.to/3AC6wnl Mencionados: [CURTA] The Amputee (1974), dir. David Lynch https://www.imdb.com/title/tt0193716/?ref_=nv_sr_srsg_0_tt_8_nm_0_q_the%2520amput [FILME] Eraserhead (1977), dir. David Lynch https://www.imdb.com/title/tt0074486/ [FILME] Uma Janela para o Amor (A Room with a View, 1985), dir. James Ivory https://www.imdb.com/title/tt0091867/?ref_=nm_knf_t_1 [FILME] Quando Chega a Escuridão (Near Dark, 1987), dir. Kathryn Bigelow https://www.imdb.com/title/tt0093605/?ref_=tt_mv_desc [FILME] Coração Selvagem (Wild at Heart, 1990), dir. David Lynch https://www.imdb.com/title/tt0093605/?ref_=tt_mv_desc [FILME] Encaixotando Helena (Boxing Helena, 1993), dir. Jennifer Lynch https://www.imdb.com/title/tt0106471/?ref_=nm_knf_t_1 [FILME] Jovens Bruxas (The Craft, 1996), dir. Andrew Fleming https://www.imdb.com/title/tt0115963/?ref_=nm_flmg_t_80_com [FILME] Estrada Perdida (Lost Highway, 1997), dir. David Lynch https://www.imdb.com/title/tt0116922/?ref_=nm_flmg_t_69_dr [FILME] A Cela (The Cell, 2000), dir. Tarsem Singh https://www.imdb.com/title/tt0209958/?ref_=tt_mv_close [FILME] The Room (2003), dir. Tommy Wiseau https://www.imdb.com/title/tt0368226/ [FILME] Império dos Sonhos (Inland Empire, 2006), dir. David Lynch https://www.imdb.com/title/tt0460829/?ref_=nm_flmg_t_44_dr [FILME] Sob Controle (Surveillance, 2008), dir. Jennifer Lynch https://www.imdb.com/title/tt0409345/?ref_=nm_knf_t_3 [FILME] Hisss (2010), dir. Jennifer Lynch https://www.imdb.com/title/tt1244093/?ref_=nm_flmg_t_43_dr [FILME] Acorrentados (Chained, 2012), dir. Jennifer Lynch https://www.imdb.com/title/tt1989475/?ref_=nm_knf_t_2 [SERIADO] Twin Peaks (1990–1991), criado por Mark Frost, David Lynch https://www.imdb.com/title/tt0098936/?ref_=nm_knf_t_3 [SERIADO] Mad Men (2007-2015), criado por Matthew Weiner https://www.imdb.com/title/tt0804503/?ref_=nm_flmg_t_11_act [SERIADO] Fleabag (2016-2019), criado por Phoebe Waller-Bridge [SERIADO] Twin Peaks: O Retorno (Twin Peaks, 2017), criado por Mark Frost, David Lynch [SERIADO] Maravilhosa Sra. Maisel (The Marvelous Mrs. Maisel, 2017–2023), criado por Amy Sherman-Palladino Relacionados: [PODCAST] Feito por Elas #42 Kathryn Bigelow https://feitoporelas.com.br/feito-por-elas-42-kathryn-bigelow/

Guy Branum (Platonic on Apple+) earns the title of "Screen Drafts All-Star" as he returns to the draft table to competitive/collaboratively rank the films of James Ivory and Ismail Merchant with/against his longtime friend, and Screen Drafts Hall of Famer, Drea Clark (Maximum Film)!

We have a very special one for you this week. In honor of our 100th episode — yes, that's right, this is the big 1-0-0! — we're doing our own highly personal version of the AFI greatest films list. Presenting: our top seven films, respectively. (Obligatory disclaimers: We haven't watched everything, these are not really in any particular order, these are just our opinions, etc.) 05:39 After Life (Hirokazu Kore-eda, 1998) 07:54 Spirited Away (Hayao Miyazaki, 2001) 10:36 Close-Up (Abbas Kiarostami, 1990) 13:09 Little Miss Sunshine (dir. Jonathan Dayton and Valerie Faris, writ. Michael Arndt, 2006) 15:12 Inside Llewyn Davis (Joel and Ethan Coen, 2013) 17:33 Call Me By Your Name (dir. Luca Guadagnino, writ. James Ivory, 2017) 20:27 The Matrix (Lana and Lilly Wachowski, 1999) 23:49 Wolf Children (dir. Mamoru Hosoda, writ. Satoko Okudera and Mamoru Hosoda, 2012) 26:20 Michael Clayton (Tony Gilroy, 2007) 28:50 Parasite (dir. Bong Joon-ho, writ. Bong Joon-ho and Han Jin-won, 2019) 33:01 Persona (Ingmar Bergman, 1966) 35:35 Nomadland (Chloé Zhao, 2020) 39:53 Fish Tank (Andrea Arnold, 2009) 42:08 Princess Mononoke (Hayao Miyazaki, 1997) ... Follow us on Twitter and Instagram. For extended show notes — including links that we reference, plus more — subscribe to our Substack. Inquiries, complaints, and recs for what to watch can go to criticismisdead@gmail.com. Music: REEKAH Artwork and design: Sara Macias and Andrew Liu

Une invitation au voyage – ou bien est-ce un rêve éveillé et jubilatoire ? -  en Italie, dans les grandes demeures et palais italiens, des jardins aux cuisines de ces grandes maisons ; là où se nichent la vie et les recettes des familles qui les font vivre, mémoire ou incarnation du goût de la nature époustouflante qui les entoure. Un voyage au fil des saisons qui sied le mieux à ces magnifiques dimore perdues au milieu de la Méditerranée, dans un océan de vert d'oliviers pointé de cyprès, sous l'écrasant soleil ou – plus surprenant – dans l'hiver et la neige. Ici la géographie n'est pas un guide, les envies et l'inédit, les recettes et l'intelligence des cuisines racontent la vie, celle d'hier et celle de demain.Avec Alba Pezone, Napolitaine, cuisinière pétillante, auteure de Dimore D'Italia, recettes secrètes, aux éditions Hachette cuisine, ou encore de In Cucina, pizza, ou encore ma petite épicerie italienne. En images Extraits des films diffusés pendant l'émission- Le Guépard, de Luciano Visconti - Chambre avec vue, de James Ivory  - L'or de Naples, de Vittorio de Sica  Programmation musicale - Se lo senti lo sai, de Jovanetti - Lascia la spina, cogli la rosa, de Haendel, interprété par Jaroussky.  RECETTESExtraits de Dimore d'Italia. Recettes secrètes des palais italiens, de Alba Pezone, photographies de Matteo Carassale, chez Hachette Cuisine.  

There has been a Laemmle in the movie business since there's been a movie business. ONLY IN THEATERS shines a spotlight on the beloved Arthouse Cinema chain with an astonishing Hollywood legacy that includes four generations of Laemmle's dedicated to elevating the art of filmmaking and the filmmakers who make them. Responsible for bringing foreign film to Los Angeles and popularizing countless foreign independent films and their filmmakers, the Laemmle Theatres' impact on Hollywood and world cinema cannot be overstated. In a world of growing conglomeration, the Laemmle circuit of theatres has become even more of an anomaly: a family-owned and operated art house theatre chain.  Filmed over 2 1/2 years, ONLY IN THEATERS, chronicles a family business, and their determination to survive.  But in a changing world this is also a story about the future of Cinema. Interviews with Ava DuVernay, Cameron Crowe, James Ivory, Nicole Holofcener, and others.  ONLY IN THEATERS, a film by actor /director Raphael Sbarge who follows one of the most dedicated members of the Laemmle clan, Greg, the intimate and moving journey have been taken by the Laemmle family, spanning nearly three years of challenges, losses, and personal triumphs. Director Raphael Sbarge (Emmy Nominated for directing “LA FOODWAYS,”) and subject Greg Laemmle joins us for a conversation on the sheer joy of getting to know world class artists, writers, producers and director, connecting with a wildly diverse community of people who support them as well as a being the preferred platform for many of the world's most influential and talented filmmakers. For more go to: onlyintheaters.com  For filmmakers: thefilmcollaborative.org/onlyintheaters

On the latest episode the YKY gang get a little cultured with Chris's pick 1985's A Room with a View. Directed by James Ivory and starring in her first movie role a very young Helena Bonham Carter, Maggie Smith, Denholm Elliot, Julian Sands and in his 2nd American movie Daniel Day-Lewis. Chris strongly defends his choice and once we understand why he first saw this movie it becomes very clear why he loves this film. What about the rest of the YKY rabble? Watch and see. SPOILERS!

ONLY IN THEATERS, a film by actor/director Raphael Sbarge (Emmy Nominated for directing “LA FOODWAYS,”) is an intimate and moving journey taken with the Laemmle family, spanning nearly three years of challenges, losses, and personal triumphs. There has been a Laemmle in the movie business since there's been a movie business. Their beloved Arthouse Cinema chain with an astonishing Hollywood legacy has, for four generations, been dedicated to elevating the art of filmmaking and the filmmakers who make them. Responsible for bringing foreign film to Los Angeles and popularizing countless foreign independent films and their filmmakers, the Laemmle Theatres' impact on Hollywood and world cinema cannot be overstated. In a world of growing conglomeration, the Laemmle circuit of theatres has become even more of an anomaly: a family-owned and operated art house theatre chain. Filmed over 2 1/2 years, Only in Theaters chronicles a family business, and their determination to survive. But in a changing world this is also a story about the future of Cinema. Interviews with Ava DuVernay, Cameron Crowe, James Ivory, Nicole Holofcener, and others. Opening in New York on January 20th at the IFC Center and New Plaza Cinemas --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/followingfilms/support

En la edición de hoy de El ContraPlano, el espacio dedicado al cine dentro de La ContraCrónica, los contraescuchas nos traen los siguientes títulos: – «Lo que queda del día” (1993) de James Ivory - https://amzn.to/3yGDZNU – «Ana Bolena» (2021) [Serie] de Lynsey Miller - https://www.filmaffinity.com/es/film154325.html – «Amor a quemarroma» (1993) de Tony Scott - https://amzn.to/3T1m0Kn - "La maldicion de Hill House" (2018) [serie] de Mike Flanagan - https://www.netflix.com/es/title/80189221 - "Ratched" (2020) [serie] de Ryan Murphy - https://www.netflix.com/es/title/80213445 - "El lobo de Wall Street" (2013) de Martin Scorsese - https://amzn.to/3TjRBqc Consulta en La ContraFilmoteca la selección de las mejores películas de este espacio - https://diazvillanueva.com/la-contrafilmoteca · “La ContraHistoria de España. Auge, caída y vuelta a empezar de un país en 28 episodios”… https://amzn.to/3kXcZ6i · “Lutero, Calvino y Trento, la Reforma que no fue”… https://amzn.to/3shKOlK · “La ContraHistoria del comunismo”… https://amzn.to/39QP2KE Apoya La Contra en: · Patreon... https://www.patreon.com/diazvillanueva · iVoox... https://www.ivoox.com/podcast-contracronica_sq_f1267769_1.html · Paypal... https://www.paypal.me/diazvillanueva Sígueme en: · Web... https://diazvillanueva.com · Twitter... https://twitter.com/diazvillanueva · Facebook... https://www.facebook.com/fernandodiazvillanueva1/ · Instagram... https://www.instagram.com/diazvillanueva · Linkedin… https://www.linkedin.com/in/fernando-d%C3%ADaz-villanueva-7303865/ · Flickr... https://www.flickr.com/photos/147276463@N05/?/ · Pinterest... https://www.pinterest.com/fernandodiazvillanueva Encuentra mis libros en: · Amazon... https://www.amazon.es/Fernando-Diaz-Villanueva/e/B00J2ASBXM #FernandoDiazVillanueva #tarantino #Ratched Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Daisuke Beppu, Robert Taylor and Richard Doyle join David to discuss this strange diversion from the usual form that made Merchant Ivory Productions an Oscar-winning powerhouse in 80s and 90s cinema.

Daisuke Beppu, Robert Taylor and Richard Doyle join David to discuss this strange diversion from the usual form that made Merchant Ivory Productions an Oscar-winning powerhouse in 80s and 90s cinema.

Films : Chaleur et poussière (James Ivory) et Dust (Marion Hänsel) BD : Comanche, Tome 1 : Red Dust (Hermann et Greg) Musique : Les murs de poussière (Francis Cabrel), Another one bites the dust (Queen), Libido Revolver (Vincent Venet), Dust in the wind (Kansas), Gimme all your lovin' (ZZ Top) et Une poussière (Jean-Jacques Goldman)

As Merchant Ivory super fans, we were surprised (and chagrined!) that we'd been unaware of Ismael Merchant and James Ivory's longtime collaborator, novelist and Academy Award winning-screenwriter Ruth Prawer Jhabvala. Hollywood screenwriter Brigitte Hales joins us to discuss Jhabvala and her Booker Prize-winning 1975 novel, Heat and Dust. 

Luca Guadagnino directs this touching coming of age drama about a 17 year old aspiring musician named Elio (Timothee Chalamet) living with his parents in Italy who falls in love with Oliver (Armie Hammer) the archeological grad student who is staying with them for the summer.  The film is set during the Summer of 1983 and we are treated to sequences of dancing, swimming, bicycling, sumptuous meals, lovely people…..you'll almost want to be there vacationing alongside them.