Podcast appearances and mentions of James Ivory

“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 continue to follow the narrative thread of David Lynch's career as a filmmaker, exploring the dark underbelly of Blue Velvet. Buy "Where Lies the Strangling Fruit" on Amazon"lost" by Prod. RiddimanUnmasking the Psychosexual Nightmare of David Lynch's Blue Velvet by CinemaWizardBoyOther films mentioned: Aliens (1986, dir. James Cameron)The American Friend (1977, dir. Wim Wenders)Big Trouble in Little China (1986, dir. John Carpenter)Children of a Lesser God (1986, dir. Randa Haines)Chopping Mall (1986, dir. Jim Wynorski)The Colour of Money (1986, dir. Martin Scorsese)Crocodile Dundee (1986, dir. Peter Faiman)David Lynch: The Art Life (2016, dir. Rick Barnes, Olivia Neergaard-Holm and Jon Nguyen)Dune (1984, dir. David Lynch)The Elephant Man (1980, dir. David Lynch)Eraserhead (1977, dir. David Lynch)The Fly (1986, dir. David Cronenberg)Friday the 13th Part VI: Jason Lives (1986, dir. Tom McLoughlin)Giant (1956, dir. George Stevens)Hannah and Her Sisters (1986, dir. Woody Allen)The Karate Kid Part II (1986, dir. John G. Avildsen)Manhunter (1986, dir. Michael Mann)Mulholland Drive (2001, dir. David Lynch)Platoon (1986, dir. Oliver Stone)Rebel Without a Cause (1955, dir. Nicholas Ray)A Room With A View (1985, dir. James Ivory)The Sacrifice (1986, dir. Andrei Tarkovsky)Star Trek IV: The Voyage Home (1986, dir. Leonard Nimoy)Top Gun (1986, dir. Tony Scott)Twin Peaks (1990-91, created by David Lynch and Mark Frost)Twin Peaks: Fire Walk With Me (1992, dir. David Lynch)Twin Peaks: The Return (2017, created by David Lynch and Mark Frost)The Valachi Papers (1972, dir. Terence Young) Become a member to receive more weekly content at https://plus.acast.com/s/the-blue-rose-film-podcast. Hosted on Acast. See acast.com/privacy for more information.

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

And so it begins. Year two of "Spooky Penis Month!" Or as Miriam aptly retitled it, "Freaky Phallus Friday!" As you might be able to tell from the title, or within less than a minute into this, Miriam joins us again in the studio to talk about a horror film. Last time, we  promised her a horror movie, and not a James Ivory peiod piece romp in the lake. What she got is (according to Ryan and Miriam) a horribly mediocre sequel that just so happens to have full-frontal: CREEP 2 (2017). Let's see how everyone felt about this? Well, actually, we just gave it away...

Become an Ivory Tower Boiler Room Café subscriber to watch the unedited video: https://www.patreon.com/posts/71231329 Calling all British Modernist literature lovers and Gay Fiction lovers, this episode is for you! Andrew is joined with William di Canzio, who is a novelist, playwright, and scholar, and he recently wrote Alec, which expands E.M. Forster's openly queer male love story, Maurice. Andrew and William open up about their first experience with E.M. Forster's groundbreaking love story and how it speaks to their gay male identity. William reveals why he didn't change any of Forster's narrative between Maurice and Alec, and why he thinks Alec's same-sex desire is much more nuanced than Maurice's. Not only is William indebted to the late great E.M. Forster, but he actually knows James Ivory, the director of the 1987 film adaptation. They actually went to lunch together! What happened at this lunch? Andrew gets William to talk about writing sex scenes between Maurice and Alec, and they both weigh in on why sex scenes in literature can be so different than in film or TV. William also provides advice about writing a play, compared to writing a novel, compared to writing scholarship. Are all of these genres related in his opinion? Andrew makes sure to shout out friends of the podcast, including Matt Aucoin (who William adores), Gregory Maguire (who knows intimately about retelling a popular tale), and Jan Balakian (who balances being a playwright and a scholar). You can buy Alec here: https://us.macmillan.com/books/9780374102609/alec Listen to John Sackville read Alec on Audible: https://www.audible.com/pd/Alec-Audiobook/1250804523 Learn more about William di Canzio's literary work here: https://us.macmillan.com/author/williamdicanzio Follow Ivory Tower Boiler Room on Instagram, @ivorytowerboilerroom, TikTok, @ivorytowerboilerroom, and Twitter, @IvoryBoilerRoom! Email us at ivorytowerboilerroom@gmail.com. Many thanks to the Ivory Tower Boiler Room podcast team: Andrew Rimby, Executive Director; Mary DiPipi, Chief Contributor; Nicole Arguello, Marketing Assistant; Kimberly Dallas, Editor Thanks to Anne Sophie Andersen and Meghan Ames for our theme song, "Loverman." --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/ivorytowerboilerroom/support

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)

Howards End is a 1992 period romantic drama film directed by James Ivory, from a screenplay written by Ruth Prawer Jhabvala based on the 1910 novel of the same name by E. M. Forster. Marking Merchant Ivory Productions', third adaptation of a Forster novel (following 1985's A Room with a View, and 1987's Maurice) — was the first film to be released by Sony Pictures Classics. The film's narrative explores class relations in turn-of-the-20th-century Britain, through events in the lives of the Schlegel sisters. --- Send in a voice message: https://anchor.fm/drzeusfilmpodcast/message Support this podcast: https://anchor.fm/drzeusfilmpodcast/support

Además de cuentos y novelas, Ruth Prawer escribió 23 guiones y adaptaciones para el cine. Casi todos fueron filmados por James Ivory y producidos por Ismail Merchant. El trío cambió el concepto de drama de época que se tenía en el cine de habla inglesa, con trabajos como “The householders” (1963), “Un amor en Florencia” (1985) o “Lo que queda del día” (1993). Ruth Prawer Jhabvala fue la cara menos visible del trío. Esta es su historia.

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.

Is that a peach in your pants or are you just excited for a new Cinema Very Gay to drop? This week we kick off a new ongoing episode series of our favorite queer books that were adapted for the movies. Lots can be lost in translation from page to screen, but as this week's movie shows, a strong adapted screenplay can add new depths and perspectives to a great story. Call Me By Your Name is directed by Luca Guadagnino and released in 2017. It was adapted for the screen by James Ivory from the novel of the same name, written by Andre Aciman. The film follows Elio and Oliver (played by Timothee Chalamet in an Oscar-nominated performance and by Armie Hammer, respectively) as they experience a brief but intense affair in a small Italian coastal town. Jake and Kevin both are enamored with the novel and with the movie, so we strongly encourage you to read and watch them immediately. Listen in as we ask ourselves, how is such an interior novel manifested so beautifully on screen? Is Chalamet's performance a good portrayal of book Elio? Why was there not, like, a LOT more nudity in this movie? This and more on Cinema Very Gay! After the beauty of CMBYN, it's hard to tear ourselves back to the reality of our mini-series, but we press forward! The fourth installment in our Eating Out Cinematic Universe discussion continues with the film Eating Out: Drama Camp. Somehow, this movie defies expectations and brings the comedy almost back to "sloppy seconds" levels, but we are still confused about...well, a lot. Why are all these adults at a drama camp? Why are we abandoning Tiffany? How many former reality TV contestants can this series get naked on screen? At least we had Drew Droege!

Alison Eakle is the EVP and Head of Creative Development at Shondaland. We discuss how imagining movie posters makes her a better creative exec, being a co-EP on Netflix's #1 show Bridgerton, why she's racked up so many recent promotions, and being part of new Hollywood's most groundbreaking streamer partnerships. Subscribe to our newsletter. We explore the intersection of media, technology, and commerce: sign-up linkLearn more about our market research and executive advisory: RockWater websiteFollow The Come Up on Twitter: @TCUpodEmail us: tcupod@wearerockwater.com---EPISODE TRANSCRIPT: Chris Erwin:Hi, I'm Chris Erwin. Welcome to The Come Up, a podcast that interviews entrepreneurs and leaders. Alison Eakle:I'll never forget there was... The current assistant had put out a job posting. And how this works in Hollywood is you'll see jobs on things called tracking boards or emailed chains, but they always say, "No phone calls, please. Just email your resume." Right? And I was like, "I'm going to call him." And I did. And I just called him and I was like, "Look, I did not come up through the agency feed. I don't have the required experience, but I swear to God the desk I'm on is harder than any agency desk you can imagine. And I'll tell you why if you meet me for like 15 minutes." So we did. We literally met in the middle of the lot at Paramount. He was like, "You know what? I think my boss would like you." Chris Erwin:This week's episode features Alison Eakle, the EVP and Head of Creative Development at Shondaland. Alison grew up on the Jersey shore, actually my same hometown. She loved the arts since an early age, traveling to New York City for auditions as a young teenager, but she was planning to give it all up at Georgetown for career in politics until she had a breakthrough moment in her screenwriting class. Alison went on to get her MFA at UT Austin and then had roles in some of the most exciting production houses in Hollywood, from Paramount Vantage to Columbia Pictures and working for Ellen DeGeneres. Then a serendipitous moment took her to Shondaland where her career has been on fire. Some highlights of our chat include how imagining movie posters makes her a better creative exec, being a co EP and Netflix is number one show bridging that where she's racked up so many recent promotions and being part of new Hollywood's most groundbreaking streamer partnerships. All right, let's get into it. Alison, thanks for being on the podcast. Alison Eakle:Thanks for having me, Chris Erwin Chris Erwin:Very well, Alison Eakle. We got some history between us. Alison Eakle:That's right. Chris Erwin:So let's go back a bit. Where did you grow up? What was your household like? Alison Eakle:So I grew up in Rumson, New Jersey, which is a bit of a towny suburb, as they say, in the Northern part of the Jersey shore obviously. Well, I grew up the only child of Wall Street parents. Parents who had met kind of working at Wall Street in the '70s at a time that I've heard many incredible stories about. And it's interesting because when I was eight, there was a big stock market crash. And my dad was all for Morgan Stanley and my mom inspired him to start their own company, a financial investment advisory firm called Eakle and Associates. And so it's interesting I haven't really thought about that a lot, but I did watch my dad face what is one of my worst fears, that idea of just suddenly everything kind of pulled out from underneath you and I watched them together kind of build something new. Chris Erwin:Did your parents both work for the company? Alison Eakle:Oh yeah. My mom was VP, he was president and basically it was just a three person operation. And my dad, he had clients that he would manage their portfolios, but he put out something called the Eakle Report every week and would have to find really creative ways to talk about the stock market, which Godspeed to him because I wouldn't touch it with a 10 foot pole. I have no idea how to talk about the stock market. My mom ran all the logistics, taught herself computers at that time and really brought her up to speed fast. And they had that company for a long time until their divorce, which I have no idea what role the company played in that, but they definitely had it for, it was over 10 years, really successful. So that's kind of like what I grew up in. And I was very privileged. I came from a place of a lot of privilege where I went to private school. Chris Erwin:RCDS? Alison Eakle:RCDS, Rumson Country Day School, big shout outs, still very loyal to that school, that little short brown stone church on the corner. Chris Erwin:Are you still involved with the RCDS community? Like I have the friends from school I'm still in touch with, but I'm not giving back or anything like that. Well, maybe I should rethink it. Alison Eakle:No, I am not as involved as I want to be. I did have like a strange fantasy that one summer I'd go back or one year I'd go back to my 20s and substitute teach there. I don't know where that came from but- Chris Erwin:On the theatrical program? Alison Eakle:Yeah, why not? I'll do so. I love a school play. I love that. I love something roughly adapted from children's literature into strange costumes and children sputtering around on a stage, but it was just such a surreal experience because it was so safe, so incredible. I feel like that experience really formed me even from kindergarten on. And it was across the street from Bruce Springsteen's house. So what a quintessential New Jersey experience really? Chris Erwin:Yeah. I remember walking down Bruce's driveway on Halloween. He always would give out like the supersize snicker bars. Alison Eakle:Yeah. And [inaudible 00:04:44]. Chris Erwin:It was always like, we got to go to Bruce's house then we'd go to Bon Jovi's house. That was like such a fun thing. Alison Eakle:Yeah. That's very dead on. I grew up there riding bikes to the beach, just walking around the neighborhood. They're a very arcade fire of the suburbs kind of existence, but with the modicum of real safety that I so appreciate now and also again realize how lucky I was in a lot of ways. Chris Erwin:So I have to ask, your parents are to business, it's just funny to hear that. I just recorded a podcast last week with Naomi Shah, the Founder of Meet Cute, it's a new romcom podcast network. And her parents started a technology business based out of Portland, Oregon. And so it's just funny that now like a week later I'm interviewing you and your parents started a business together as well. There is an entrepreneurship vein in your family. So was there a theme though about your interest in the arts that came from your parents or did that come separately? Alison Eakle:That was from really my aunt and uncle. And look, my mom was one of those people who did leave her job when she had me, but continued to have that kind of type A excel at anything she put her mind to it personality. She was somebody who played the organ. We had like a Hammond organ in our living room now that I think about it. She had interest in music and musicals and all of that thing and certainly was very supportive of the arts, but wasn't necessarily kind of ensconced in it. Whereas my aunt had been an actress since the day I was born, my uncle had been an agent at Theatrical Agent in New York, but also run his own company called Cornerstone up until he died. And so for me... And they were much younger than my parents. My mom is like 12 years older than my aunt. Alison Eakle:So they were this cool young aunt and uncle really ensconced in show business. They took me to my first Broadway play Les Miserables when I was 10. I felt incredibly like I had a model to look at of like what would a life in that business look like. And I definitely was born with the bug and loved trying to get the solo in school plays or whatever it was. And eventually my parents did let me act as a kid and tried to make a go of it professionally. And I was represented at a now defunct agency called J. Michael Bloom. Chris Erwin:What age is that, Alison? Alison Eakle:So this is like, by the time I'm actually wrapped I'm 13. So this is like '93, which is a very awkward age to be putting yourself out there. But for whatever reason, I was really into it and loved it and had some close calls. I got to do a callback in a room with James Ivory for Jefferson in Paris, a role that eventually went to Gwyneth Paltrow, which I think the better woman won. They aged it up and gave it to her, I remember, but it was such a cool experience too for a year. My parents were very anti stage parents. They were like, "Look, you clearly have some bit of talent in this and you really want to try it. We'll let you try it. But it's going to be for a small amount of time." It was only like maybe a year and a half, two years and then you really do have to go back and focus on like high school if it doesn't click, if there's not for me. And I only went out, I didn't go out for commercials. So it was sort of- Chris Erwin:Did you take time off from school at all for this? Alison Eakle:RCDS was really lenient in the sense that if I had to leave at three o'clock for like an audition in the city or to do a reading for an off-Broadway play or whatever it was, I could be flexible, but come close as I may have, I never got the big part that would have necessitated the on-set tutor. Chris Erwin:Did you feel at an early age, a clear interest in the arts and that, hey, this is going to be my career, this is where I'm going to be? Alison Eakle:I think if you look at my life in general too, and we'll talk about this, it's so funny because that clearly was always had such a strong pull that even when I tried to divert myself to more stable or a prestigious academically kind of bent careers, like politics and things like that, somehow it would just find me again and kind of pull me back to acting, writing, performing, creating, that side of things. Chris Erwin:So I think it's good that Gwyneth got the part because you've obviously had very special trajectory at Shondaland, you are exactly where you are meant to be. Alison Eakle:That is very reassuring to hear. And I do tell myself that sometimes. And I do get to still read parts at table reads occasionally at Shondaland, which is how I scratched that itch. Chris Erwin:So you're acting in your teams, you have some representation, you're going out on auditions, I just got to throw this out there from the RCDS memories, for some reason this is so ingrained in my brain. I remember taking the bus with you I think after school and then going down, I think if I remember correctly, it was a stone driveway, a gray stone driveway. It was a circle. The school bus would go down that and we would drop you off and your house, was it a gray house or a white house? Alison Eakle:Yeah. A gray house and white trim. It doesn't exist anymore. It was raised to the ground to build some other crazy mansion, but it was an adorable 1920s house. Four fireplaces when I think about it. Good God. Chris Erwin:Wow. One of my earliest memories that is definitely imprinted in my brain and I remember specifically from you, I think you were a year above me. Alison Eakle:That's kind. I'm three years older than you. I just loved to hang out with... Chris Erwin:Yeah. So that's what I was going to say is that you befriended myself and my twin brother, John, and you're always so kind to us on the bus. So you were very interesting. You just had interesting points of views on things and we picked that up at a pretty early age. Alison Eakle was at the light in my childhood, but it didn't stop there. So after RCDS, I left that school system I think around third grade and I went into the public school system as did some of our other friends. At RFH, I think that's where we were reunited in a Spanish class. You were a senior and I was a freshman, was that Parker's class or Von Handle? Who was that? Alison Eakle:Oh, maybe it was Von Handle actually, now that I think about it, but I couldn't remember her name. I just remember she had great hair, like a really perfect... So what did happen was I took French from third grade forward. And then in high school I had done the AP and I was like, I sort of want to start another language when I might have a chance of speaking on a daily basis. And so I started Spanish as a junior, but it was hilarious to be... It was my only experience of being the lone senior in a class full of freshmen. It was such a blast and such a different perspective on things at that point in my life. I was so happy to be in it with you. And it was Adam Sachs too. Chris Erwin:It was Adam Sachs. Maybe John Waters was in there. Alison Eakle:Yeah. Waters 100%. And we had to make a video. I'll never forget this. We had to make a video project for the class. I forget who else was on my team, but there was like a surfer kid named Ryan. And we stormed at his house and I was just like, I'm 18 years old at this point just making a weird Spanish video with a bunch of freshmen in it, but it was great. I felt like I really loved that experience. Chris Erwin:Yeah. Very on theme again, a little bit older hanging out with the younger kids, we enjoyed it. There's something in the water, I think from like the Rumson Monmouth County area for Hollywood, because it's a bunch of people from the East Coast, but then Adam Sachs is running Team Coco, Conan O'Brien, you Andy Redmond running Tornante under Michael Eisner, you're at Shondaland doing a thing, Matt Warshauer another friend is a writer and- Alison Eakle:A really talented writer. Chris Erwin:Yeah. Impressive creator. And then I'm trying to do my thing at RockWater in New Media. So there's a crew of us out here together. Alison Eakle:It was probably the biggest surprise to me when I got here is how many people from growing up in New Jersey are out here, both from that experience, the experience we shared, but also somehow or another, we convinced a lot of people to leave New York when we first came out here in the mid 2000s. And we have a really... I always thought it would be kind of my film school crew that would, and there's a lot of them, the Austin Kids out here too, Austin, Texas, but tons of Jersey people. Chris Erwin:So after high school, the arts theme continues. You go to Georgetown, did you run a TV station there? Alison Eakle:Yeah. Well, it's so funny. I went there, again, trying to do like the sensible thing. I was like, I'm going to be in politics and urban development. And I had a real tracy flick then to me of like, I'm going to be the mayor of the city. And then I got into those classes and was sort of put off by the approach that the other students had to government and the idea that everybody was obviously in this kind of self aggrandized way. And I realized, oh, that's not maybe my jam. I'm not here to prove how much I know about how many congressmen are from which districts or what have you. I really wanted to affect change on a local level. Of course, part of its insane ambition. I don't think anyone decides to go into politics without being a little amped up about that and being like, I think I'm pretty great. Alison Eakle:I absolutely had that threat, but I felt so kind of outpaced by my classmates in terms of their ambition and I started to question if it was for me. And then weirdly enough, it was a sophomore class, a screenwriting class I took with a professor named John Glavin. And at that time, he had mentored Jonah Nolan who at that point had made Memento with his brother and suddenly I had, yet again, a model to look at him like, oh, somebody in a class just like this with this man as their professor broke through. Right? Obviously he has incredible talent. And that stuff can't be taught, but it was like suddenly I could at least see a path sort of. That same year, I think my sophomore year Georgetown University Television, the finest closer television channel in the land was starting on campus, and I realized, oh, that seems like fun. Alison Eakle:And my first show that I produced and sometimes hosted with Aaron Cocce and Brian Walsh, was it called G Talk Live? And I even forget all that I did. It was sort of a running gun, all hands on deck, but it's like a live call-in show, a talk show, panel show for the campus. And I'll never forget they were like, "Alison, do you want to host a very special episode?" And I said, "Of course, I do." About one of the most pressing topics out there, Dawson's Creek. So that was my big contribution, but I loved it. And I stayed with the television station all three years. And at my senior year, we sponsored like a film festival and the films were incredible. And you think back it was... I looked at a program I'd kept from maybe six years ago when I was moving and it's like, Zal Batmangli, creator of The OA along with Brit Marling, the two of them had made one of the shorts and contention and Mike Cahill and Brit Marling had also collaborated in a way that would pre-stage their collaborations on another earth. Alison Eakle:And it was kind of incredible because I look back and I see that drive. I see all of these people who actually were trying to carve out a space at a school maybe not known for people who are going to forge a path in TV and film doing so, but also it was like Mike Birbiglia and Nick Kroll, John Mulaney were all my contemporaries as well. So also seeing a real comedy scene evolve, I feel like again, very lucky and they're at the right time in terms of it was in the zeitgeists of again, getting to look at people really trying to forge that path in a way that I had not seen before. Chris Erwin:And then you felt, I think, empowered. It's like, I can do this. Like that screen writing class was a spark for you. It's like, fine, this is what I'm going to pursue. I came here for political science and different reasons, but that's now changed. Alison Eakle:Yeah. I'm so glad I decided to try it and listen. And again, at that point I'd let go of the acting thing, even though I would still occasionally act in like one act plays that friends would write or things like that. But I do think the acting informed the love of writing, which in turn, all of that feeds the work that I do now, essentially because I think as a creative executive, I do look at everything through the lens of, okay, I know what it's like to sit and stare at a blank page now with that cursor blinking and understanding kind of how do you generate something from nothing, how do you riff on ideas to try to get through a piece of writer's block, all of that. Alison Eakle:But I also approach things in terms of like, when I read a script, I do think to myself, do I want to play that role? Because I know that if I have that instinct of like, oh my God, I wish I want to say these words, I wish I could play that part, you're onto something at that point. That is a really good sign that somebody has created something worth making. Chris Erwin:Because you have an acting background, you can empathize with the words on the page and you could have a vision for how the words will manifest. Alison Eakle:It's almost like first, it's a different way that informs decision-making, right? Because in terms of creatively, the big question is like, what do you love enough that you would actually spend years of your life working on? And I think, again, that's one thing that goes, I can really appreciate when a piece of writing is going to appeal to an actor. Like in this business too, so much of it is who's going to fill this role, especially in TV so often if you're not going with an already established huge star, you need to find a person who can really become that role. Especially when there's a breakout hit and an actor has really been a part of creating that role with the writer, that follows them for the rest of their life. People always think of them in some ways as that person. Alison Eakle:So I do try to think of like, are there iconic roles in this that somebody would really dig into that would get me excited that way? And similarly, actually the writing piece of it comes into mind too, because if I read a pilot or something, but I found something worth pursuing and talking about it, if my head's already like, oh my God, I can see episodes, I know what I'd want to watch and want to see in the show, so that's the writer part of me thinking like, oh my God, if I had to pitch ideas for it, I could, that's really promising. So it's definitely stuff that that background I think does inform the work I do. Chris Erwin:Got it. As I'm listening to you, Alison, I'm hearing the passion come out from you. So I think you said you no longer act, but you really enjoy the table reads that you do with the Shondaland team. Do you think that there might be a future where you might see a script and you're inspired to be like, "You know what? I want to go do a one woman show. I'm going to join a small private troop." Is that something that either maybe you're doing now or that's like seated in your brain? Alison Eakle:It's something that I still do for friends. Like we'll still do writer's table reads together and things like that. I don't think I would rule out the idea of doing some kind of acting with friends on a project. I don't think it's going to be generated by me. I don't think I'm going to be the one to push it forward, but I think that if an opportunity presented itself, it would be really fun. And I actually love the idea of like voiceover, that idea of doing that kind of work too, because I give real actors steeped in their craft so much credit because the way you make yourself so vulnerable reading at a table read or doing a piece of voiceover where I can kind of hide behind, not be on camera and not be seen, that's more appealing to me now than leaving it all on the stage every night or really exposing myself fully on a show or a film and just emotionally, physically all of these things. I think that stuff's incredibly scary and every time I see actors go for it, I'm just standing out. Chris Erwin:Shondaland launched an audio business and maybe scripted audio is in your future. You could do some of that. You just- Alison Eakle:I'm going to ask Sandy Bailey if I can audition for some of those pieces. That's right. Chris Erwin:All right, cool. I want to flow into your early career, but so after Georgetown, you end up getting your MFA at UT Austin. So from there I think you go to New York for around six months and then you transition to LA if that's right. Tell us quickly, what was that journey from being at UT Austin, one or two key themes from that and then the beginning of your journey in Hollywood thereafter? Alison Eakle:I just was interviewed about my time at UT Austin. And I think the thing that's so crazy about it, that was a big takeaway was do not let your program define you because when I got there, it was just an MA screenwriting program. It became an MFA screenwriting program. But I think there was this kind of a mentality sometimes like we were the weird step-kids of like the film program, but also the really prestigious writing, the James Michener program that is for like novelists, poets, playwrights. So it's like a multi-disciplinary incredibly competitive workshop. Two years, they pay you. It was easy sometimes to feel a little less than, but then as time got going and I just fell in love with a couple of professors, I started like working on short films with people. I was a TA. Speaking of hanging out with younger kids and being a TA as a grad student, I can't tell you how many of my former students are also out here killing it and just absolutely running shit. Alison Eakle:And it blows my mind that I ever thought I could teach them anything like run indie film divisions of agencies. I really did start to just make my experience what I thought it could be as opposed to just be like, well, I'm just an MFA screen writing student. It was great. It was a great experience. I lived with law students instead. So that kind of exposed me to a whole different way of experiencing UT. They worked hard in the party tag, Chris, I will say that. That was my Austin experience. And I wound up working for Burnt Orange Productions, which is this company that had like a really cool experiment at hand where they were making low budget indie features like one was Elvis and Annabelle, starring a very young Blake Lively and Max Minghella. And that's the one, when I was there, they were making. Chris Erwin:So then thereafter, did you have a more specific lane of knowing where you wanted to go and what exactly you were going to do? How does that get you to, I think, was a pretty transformational role, which was at Paramount Vantage. Alison Eakle:It's so funny, but I really thought I was going to just be a screenwriter. My best friend, Ashley, who is now a show runner in her own right with her husband, she was finishing film school at Columbia. So the only reason I did that six months stint in New York was because A, growing up in Jersey and looking at New York is like the city. It just felt like I have to live in New York at some point. And so many of my good friends are there, I just want to have that experience. So I thought I might stay, that there might be a way to make it work, but New York is hard and expensive and it's even more so now an impossible place to live. But even in 2006, it's like, I'd worked Monday through Friday as like an assistant in an advertising agency and then Saturdays and Sundays, I would like go to Bronx Science and other schools in the city to teach SAT prep. Alison Eakle:So I was truly working seven days a week and still hardly getting by and I didn't even have to pay rent because I was just crashing with my friend. Her boyfriend, now husband, had moved out to LA in kind of October of '06 and we started processing and thinking about it could we really make this trip? I'm like, could I really break my mother's heart and move across the country? And eventually realized that if this is really what we wanted to do was to be screenwriters, it really did feel like we had to be in LA. And so we did it together with her two cats and her two goldfish and a Toyota Corolla. Chris Erwin:Two women, two cats, two goldfish, two Corollas. Alison Eakle:Yeah. Two of everything. One of the cats shit himself as we were crossing Arkansas. And there was a very uncomfortable gas station interaction with some locals and that cat and trying to get that cat out of the carrier of the car, but look, all worth it. The two fish died immediately when we put them in LA water, a very foreboding omen. New York was just, I knew in some way I wanted to get a chance to have an adventure with Ashley, collaborate with her potentially and we wound up moving out to LA together. Chris Erwin:Similar to you, after graduating from school in Boston, I was like, "Yeah, I got to go to New York." That's like what... You're in the tri-state area, big exciting visions. And then the fact that I can go down to the shore and see my family on like an hour train ride or the ferry that had just started to emerge. And I got stuck there for five years in finance. So you only got stuck for six months, I probably took like 10 years off my life doing finance in New York City. But you got out and so you make the move, you get to LA and then you end up at Paramount Vantage and you do a few things before that. Alison Eakle:And one really formative job. So basically I get there, I go to a temp agency my show business actors aunt had connected me with and I'm like, "Let me do a typing test. Let me show you I can use Excel." And I got a job that was temp to perm, potentially assisting a woman named Nancy Gallagher, who was an EVP of marketing at Paramount Pictures. And this woman was like close personal friends with Steven Spielberg and Joel Schumacher and Tom Cruise. Like she had done marketing campaigns for movies that had shaped my teen years, like Clueless and Titanic. Like I lost my mind when I realized really the impact she had had. She was also incredibly old-school, did not use a computer at the time. It was a kind of a wild experience. I would be there 8:00 AM to 8:00 PM. I would never leave the desk. I would take dictation. I would read her an email she got. She would dictate an answer back to me and I would type it back to the person. Chris Erwin:This is 2007? Alison Eakle:Oh yeah, don't worry about it, Chris. But she was incredible. I mean, she was an incredible talent. She just was sort of like had not kind of embraced that part of the job and was just deep in the creative. I mean, again, I got to meet so many impactful, incredible filmmakers, like Calvin Kennedy, we had four movies that we're marketing. It was a real learning curve for the almost two years I did it. And that classic, first Hollywood job, like don't screw up that phone call from Scott Rudin or whatever it is. Like there were those moments consistently. And I was scared out of my wits until I wasn't. And eventually I was just like, I would see the kids in their suits come in from Yale to take my job since I was just a temp and interview and I was like, "No, no, no, no, fuck it. I'm going to keep this job." It almost became like a challenge to myself. Alison Eakle:And I think being able to stick it out and succeed there, even though I didn't want to do marketing, and on that desk is where I realized I never have time to write and I'm never making time. And people who really want to be writers, they make time. They get up at 6:00 AM and write for two hours before their desk job. And I was not doing that. So I just realized I think I found out there was a thing called development, which is basically what I loved about writing most was workshops like working with writers, not being the writer and started to try to think about how to make that transition. Chris Erwin:Got it. Look, I hear this from a lot of people who work at the agencies like pretty early on is that it's really exciting in the beginning, but it's also painful, the work, the stress, a lot of bad bosses, it turns people out and they leave Hollywood. But when you were there, did it feel like you're just getting more excited, but you're like, but I'm not in the role that I want. Like what you just described as like, I want to get into development. So I feel good about the industry, this is hard, but the stars in my eyes, they're still real and they're not going away. Is that right? Alison Eakle:Yes. I think I am at some level, again, like a pragmatist. There's always competing parts, right? There's the creative and the pragmatist and the pragmatists was like, you have a job that pays really well in a business that doesn't, you have overtime, you have health insurance, I was just like, keep doing this. And again, I love the challenge of a professor or a boss that's incredibly difficult to impress. So I love that challenge. And I learned a ton because honestly the biggest lesson of marketing is like, don't create something you don't know how to approach an audience with. You need to know who this movie or this show is for and obviously there's always a pleasant surprise when it kind of broadens out past that, but that was really drilled and it's like, what does the poster look like? Alison Eakle:Because we would get scripts and movies that we had to market. And we would look at each other what is this about? How did you sell this movie? And I will not name names, but it was incredible to see it from that other end. And that was the boss. She was incredible in teaching me like Alison, as an assistant in Hollywood, your job is to assume no one else is doing their job correctly, which is a terrible place to live for a long time in terms of that is so fear-based. But it is also a way to I learned how to anticipate what could go wrong or how to kind of shore up and idiot proof certain processes in a way that I do things still serves me to today. Chris Erwin:Hey listeners, this is Chris Irwin, your host of The Come Up. I have a quick ask for you. If you dig what we're putting down, if you like the show, if you like our guests, it would really mean a lot if you can give us a rating wherever you listen to our show. It helps other people discover our work and it also really supports what we do here. All right. That's it everybody, let's get back to the interview. Two points that I think are interesting. Alison, you described as being able to anticipate what could go wrong or sit at corners, we had Chas Lacaillade interviewed on this podcast, he now runs a digital talent management company called BottleRocket, but he said the same exact thing he was at ICM. He's like, "The one takeaway I have from that is you can always anticipate what's going to go wrong in a deal, a conversation, a client meeting," and he found that very valuable. Chris Erwin:The second thing I think that you said, Alison, that I really like is how to market and how to approach an audience. So I think today where media has changed, where they used to be fixed supply, if you can get theatrical distribution, you're going to win. If you're going to get on like a TV network, you're going to win. But with the internet, there is so much content out there even if you're like putting up content on Netflix or you're putting up content on YouTube or in some like digital, native way, your content has to stand down. And the marketing campaign that wraps the actual content itself, how you speak and engage and excite your audience, that is where the winners are today. So the fact that you have that lens from your history, I think is really interesting. Alison Eakle:You put it better than I ever could, but that all tracks. Yes, that feels right. Chris Erwin:So you realize you're not having the amount of time you need for writing, so you've got to change it up. So where do you go? Alison Eakle:I saw a job opportunity to assist the director of production and development at Paramount Vantage. What I'll never forget there was the current assistant had put out a job posting and how this works in Hollywood, for anyone who's listening and doesn't know, is you'll see jobs on things called tracking boards or emailed chains basically. But they always say, "No phone calls, please. Do not call me. Just email your resume." Right? And I was like, okay, this job is on the same lot, I'm going to call him. And I did. And he was so incredibly lovely. Colin Conley, he's still in the business, an incredible manager. And I just called him. And I was like, "Look, I did not come up through the agency. I don't have the required experience, but I swear to God, the desk I'm on is harder than any agency desk you can imagine. And I'll tell you why if you meet me for like 15 minutes." Alison Eakle:So we did, we literally met in the middle of the lot at Paramount. And he was like, "You know what? I think my boss would like you." And he was leaving to go work at the Sundance Institute, fucking cool as hell. And I tried not to be too intimidated. And I met his boss and loved her. And the only weird thing about that experience was when I did get the job, three weeks into it, most of Paramount Vantage was let go. They were downsizing all indie studios at that point. And I was like, oh my God, I just took a pay cut and a huge risk to take this job and now I'm going to get fired. That was all that went through my head is like, we're all going to get laid off, but I don't know what happened, but for eight months, some of us still hung on. Alison Eakle:And I learned so much about future film development from my boss, Rachel. And then we were all let go. Then it really did. The hammer came down in July of 2009. John Lynch left as the head of the studio of Vantage was done. And another colleague of mine who used to be at Vantage got me my next job just assisting a production exec at Sony Pictures, Elizabeth Kentiling, who was incredible. And the experiences were so different because at Vantage, I learned a ton about development, but we never got to make anything because essentially it was like, you already saw the writing on the wall. You knew it was only a matter of time to some extent that you were going to be shut down, which I've never had an experience like that since. It is sort of freeing, because I was just like, well, I'm going to learn and do as much as I can while I'm here. Alison Eakle:And then at Sony, it was the opposite where it was like, there was development happening on scripts so I was there, but my boss was making movies. Like I always watched her oversee Social Network and Girl With the Dragon Tattoo and got really a firsthand view of like how that side of things works when stuff is going. So it was incredibly valuable, but the whole time I'm sitting there thinking, okay, I'm still an assistant, I'm 30... How old was I at that point? Probably 31. Again, wasn't acting, wasn't writing, wasn't really an exec. I would go to drinks with other assistants and them not knowing how old I was would be like, "Oh man, if I'm still an assistant at 30, kill me." Chris Erwin:It's interesting you're saying this because I was reading an interview that was done with you. Asked like what's the worst advice that you can receive or that you have received? And you said something along the lines like, oh, if you're like an assistant or haven't figured out your career in Hollywood by the time you're 30, it's over. And that's BS. That's not true. And so I think this is clearly where that's coming from. Alison Eakle:Oh yeah. And trust me in the moment I was like, maybe it is true. Like I'm not impervious to insecurities. 100% I was like, I've given all this up, I've left my family, I've moved to LA, did I make a terrible choice? Is this right? But there is such a thing where you just got to stick it out and you keep learning and try to keep growing and then the next opportunity will find you. I totally flunked out on my first creative executive interview in the Future World. And I just was like, oh man, this other junior exec at the movie studio got me this opportunity and I just said stupid shit and I blew it. But then a friend of mine from my Paramount Vantage days, a friend who had worked at Comedy Central while we were doing the Comedy Central branded movies and I really loved, was like, "My old boss from Comedy Central is starting a company for Ellen Degenerates, would you ever want to go be the assistant/exec?" Alison Eakle:And it was primarily television, both scripted and unscripted, not movies, not the big sexy thing at that time that I was still like, no, no, no, you got to work in movies. But I was like, I fucking love television. I raised myself on television. Let me tell you, I jumped at the chance. And again, I was still answering phones at that point technically, but I was like a coordinating manager. So I got to be in the meetings and watch how it happened and take meetings of my own. Chris Erwin:This is A Very Good Production, that's the name of the company? Alison Eakle:Yes. That's A Very Good Production. Chris Erwin:Okay. Alison Eakle:And look, I probably did that classic thing that I think a lot of women do where I didn't think I would feel ready to go from assistant to just exec. That is where I second guessed myself a bit. And so I loved that idea of like a hybrid opportunity, but I also couldn't have learned from anyone better than Lauren Carrao as we were building that company from the ground up with the deal at Warner Brothers. Chris Erwin:Got it. Wow. So Alison, I want to get into now your rise at Shondaland, a company that you joined back in 2013 and where you're still at today and interesting juxtaposition. So I interview a mix of technology and E-commerce, but also media executives on this podcast. A lot of the technology executives I interview, their career rise starts a lot earlier, right? It's like the difference. But in media, a lot of the people that I've interviewed, it takes a bit longer. You're joining Shondaland I think in your early 30s, but you've had an amazing run over the past almost a decade. So I'm curious, how did you first end up there? Alison Eakle:Truly going back to my doomed, but learned a lot moments of Paramount Vantage, it was my boss there, Rachel Eggebeen. She was the first kind of creative executive that Shonda and her longtime creative and producing partner, Betsy Beers, my other boss brought on and into the company when they'd had their deal through ABC. They'd been making Grey's Anatomy and Private Practice and a few other pilots that had knocked on to series. But I believe as Rachel came on board, they were making the Scandal pilot. They had expanded the company and around the time that I was ready to move on from a very good production in terms of trying to get kind of my first either producing credits or full exec job, whatever that next move was going to be for me, I reached out to Rachel and I said, "What do you think I should consider? You're one of my favorite bosses, favorite people, favorite friends, what do you think I should do?" Alison Eakle:And she said, "Well, interestingly, Shonda and Betsy are thinking about expanding the work they're doing and hiring another person. And your background in comedy could be incredibly useful and important part of the mix given they're starting to do more of that." When I came on board, they'd already been developing a pilot with Issa Rae, actually for ABC. Ultimately didn't move forward, but was one of my first experiences as an exc. It got to be me and Issa Rae in a room, sitting on the floor, working through a pilot and I will never forget it. And it was incredible. And I loved every second of working with her. Chris Erwin:Speaking of Issa Rae, so I joined the whole YouTube revolution in 2013. And I remember we were launching different like digitally native verticals. Issa Rae came in and pitched a show with her creative partner. Alison Eakle:Oh, no way. Chris Erwin:Yeah. Early days. And now look at her, she's a phenomenal. You shouldn't make a fuss. Alison Eakle:Talk about a rise. I feel silly calling what I've experienced duress in light of Issa. I mean, just and so earned and so deserve. Like with the pilot was called, I Hate LA Dudes. And that was very much my mindset while we were working on it. But I would meet my husband just a few months after we finished up with that and I reversed that decision. No, it was great to kind of come on board. And look, I was, again, nervous, that imposter syndrome thing is hard to shake. I'm like, it's my first executive job, I am a fan of these shows of Grey's Anatomy and Scandal. Scandal season one and like half of season two had aired when I started. And that jump is a big jump in Hollywood when you're first like really not answering the phones anymore. I didn't have an assistant, but I wasn't an assistant. Alison Eakle:And I got to develop like my first comedy from the ground up with these writers Petrossian Goldstein that came partly from like an original idea I had just by like being like, fuck, okay, what do I want to see in the world that I don't see? What do I want to watch on TV that's in my life and I don't see reflected? And we came up with this idea of what if your friend was dating someone terrible, just absolutely the worst. You wouldn't want to spend brunch with this person. And then they show up one day early in the dating and they're like, "We're having a baby." And I had pitched this idea of like, that would be the friend groups worst nightmare, but a lot of it would be not so much about that girl who kind of enters the group, but really about you and what you're going through emerging as a group of like 20 somethings into your 30s. Alison Eakle:And then when we pitched this idea to these other writers, they had had an idea of what had happened in their friend group, which is one of their really close friends had passed away. And that guy's parents had sort of become the parents of their friend group. And we wound up having this incredible meeting where we realized we could merge these ideas. And it was just one of those first experiences where Betsy and I were in the thick of it and I realized like, oh, this is it, this is what I wanted this to feel like and be like. I love the idea that I can have an idea, writers can make it better and bring their own experience to it and then I get to watch it just evolve. Alison Eakle:And it was such a well-received comedy pilot that at the very last minute we did not get to make it, but it was a great first experience in that first year at that company of like, A, I love this, B, I love why I'm working with on these projects and C, maybe I'm not terrible at it. Like that first moment you're like, oh, I should keep doing this. Which I think a lot of people don't talk about because I think you're supposed to pretend that you're just like a girl boss from day one and always had the confidence, but no, I mean, it truly took going through that first experience to be like, okay, I deserve to be in the room. Chris Erwin:Amazing. So very early on, everything felt right to you. This is the right team, this is the right role and did you get a sense that it's like, hey, this is a company I can be at for a really long time. Alison Eakle:I was like, hey, I hope they'll have me for a long time. Again, like even with the successes, I think there's always a moment where you're just like, what's the next thing I can do? Like I want to continue to earn this spot or earn their respect. And the other thing I just sort of lucked into was that at that same time that we were doing that comedy, we had six other drama projects in development, how it works as you sell ideas in pitches to the networks and then the writers write the scripts and around Christmas time, these networks were just in the network side, they would decide which ones they were actually going to shoot. And the one that they decided to shoot was How To Get Away With Murder. And so then even though my comedy pilot, that experience hadn't borne fruit in terms of being shot, I got to see that show be born and come to life. Alison Eakle:The other thing that happened in those first eight months I was there was that Rachel did leave Shondaland to go to another job at Fox 21, which is a studio. And again, I was terrified because the person who brought me in was gone and I was still getting my sea legs, but Betsy and Shonda were incredible. And I learned so much from them. And I got to all of a sudden just not limit myself to being like, hey, I'm the person who's here to do some comedy and I got to experience what it is to develop dramas and realized I loved that too. Chris Erwin:You mentioned it... Again I saw on an interview that you had like a handful of promotions within the first four to five years that you were there. Alison Eakle:Yes. Chris Erwin:So what did you feel that you were doing at the company that started to really stand out and have you get noticed? Alison Eakle:I was kind of the only one for a while. I feel like I don't know what I would necessarily pinpoint. I'd be interested to hear Betsy and Shonda say it. I think one of the things was not only did I have the things that I would get excited about and bring to the table, but I think that Shonda's excitement and Betsy's passion are really contagious. Right? I think very early on I realized, okay, they have fucking genius ideas. I can execute that. I can take that. I can run with it. I can get some progress going. I can find the writer. I can work on the vision of the writer. I also loved the fact that we had this incredible community of writers that had come up on all the Shondaland shows. So I think I really just threw myself fully into trying to make projects with them work and support them. Alison Eakle:And I think there's also a little bit of magic sometimes when taste and instincts lineup, the rest of it is sort of just to do the work, especially those early days. To this day, even after I've had a kid, which we'll talk about, I've never not worked on weekends, I've never not worked at night. Like even when I'm not working and I'm using air quotes, my brain is constantly going in terms of how to fix issues or how to approach strategically certain projects. And I think that they must have responded to it. Chris Erwin:Yeah. Because I think to you it was clear as it's not just work, this is a passion. It's like part of your essence. It's having like a creative mind wanting to support the creative community. I think like you were saying with Shonda and Betsy, you have this reputation where you could take an idea that they have and really nurture it and build it and make it even more special. So there's this trust that they're bestowing on you, but they really appreciate new ideas that you bring to the table. So then, okay, there's an exciting moment. You're there for around four years, 2017, then there's the big announcement that Shonda is leaving ABC for Netflix and what was reported to be, I think, the range is up to $150 million deal. What was that like? Was that something... Had you been working on that for a while? Was that something that you knew of? Was that something that was just dropped on you? What was that like to receive internally? Alison Eakle:I did know a little bit before the announcement came, I just was over the moon excited in terms of it being such a new learning opportunity for me, right? I know Shonda and Betsy had their excellent reasons for making that transition at that time when they did. Strictly speaking from my experience of it, I was just so interested in how different that could be, what restrictions would be lifted when you suddenly don't have to make television for network to fit that 42 minutes of a drama episode to kind of deal with broadcast standards and practices. But also just the idea that I think once we went to Netflix, it probably did also, at least in my opinion, as I spoke to people in the industry, it started to broaden their ideas of the kind of shows we made sometimes, sometimes not. Sometimes they'd still come to us and be like, "Here's Grey's Anatomy, but in a funeral home." Like they would still do that too, but there was a lot of people understanding that now we were going to do TV and movies. Alison Eakle:We could do comedies. We wanted to do genre. Like I think, especially by the time we were able to announce those first things we were working on kind of a year into the deal, it did make people understand that while they often thought of us in terms of, I will use the quote, sexy soap or serialize procedurals, the ambitions were so much bigger than that. And to get ready because we had a lot of things coming that you would not be able to do on network. And that was really liberating and exciting. Chris Erwin:Did everyone feel that same way? Was there anyone internal on the team or within your writer community that was like, "You know what? I want to work on network programming and going to a streamer is not a place I want to be." Alison Eakle:If that was happening, it was not something that I was privy to or that people were coming to talk to me about at all. Everybody was like, "I can't believe this. I'm so excited." And we're moving into new offices and all. It was just felt like a real thrum of excitement. And look, I think to this day, there are still writers who appreciate the consistency of a network job, but the whole business has changed. This is a conversation for another time in that residuals are not the same anymore. And there are so few shows like Grey's and Station 19 that can go that many episodes a season. Whereas writer you know you're booked kind of like August to April or whatever it is, I do think some writers probably miss that and will gravitate towards that kind of structure, that storytelling, all of that. But I didn't experience anyone being like, "Ooh, Netflix," at all. Chris Erwin:Okay. And maybe look, I think there was a lot of excitement at the moment. Was this announced right after Ryan Murphy's deal? I think he announced like a $300 million deal, was that- Alison Eakle:We were the first. Chris Erwin:You were the first. Alison Eakle:Shondaland was the first. Yeah. That was the first deal for Shondaland was the first of these big star producer deals. And I think Ryan Murphy, Kenya Barris, a few others came in like quick succession, but it was the first big announcement like this. Chris Erwin:Clearly it's working, right? So there's the big 2020 hit with Bridgerton. And then recent news, there's a re-up between Atlanta and Netflix are reported or confirmed or reported up to 400 million, but what was it like in that moment when Bridgerton which I think is the number one performing show on Netflix today, when that hit and your team started to get some of the success reporting, what was that feeling like? And were you involved in that show at all? Alison Eakle:Oh yeah. So I am a co-EP on the show and moving forward into seasons two, three, and four, I'll be working on it. It honestly was something where I still remember the day that Shonda was like, "There are these romance novels that are absolutely incredible. They would make a great show." I will be the first to admit I was like, "Romance novels, like grocery store paperback romance novels?" The genius that she is she's like, "Just read them. Just read one. Read The Duke and I." Which is the first book and is what season one is based on, the Simon and Daphne's story. And I read it in like one sitting, definitely started blushing about like 80 pages in for sure, but immediately I was like, oh, I get it. I get it. I understand the conceit of how this works for many seasons. I get why there's such a huge under-serviced fandom of this material. And they have not gotten to see some of their favorite stories brought to the screen and shot. Alison Eakle:It was so smart because she knew that people would clamor for that. And that audience had just not gotten to see those characters come to life, but also that there would be a broader reach. And also I think that it was such a surreal experience for me. I was incredibly pregnant. It was Christmas time. We had done post-production in COVID entirely from our homes remotely. Every music spotting session would be inimitable, Kris Bowers. Like all of it had been done remotely, all the posts. So it was like being in this kind of strange bubble and just sitting there as the holiday started just wondering how it would be received. And I don't think I could have ever anticipated what a mark on the culture it would have. Chris Erwin:I didn't even start thinking about the opportunity to romance space until Sarah Penna, who is one of the co-founders of the Big Frame where I was at right after school. And she had an idea that I think she's still working on with Lisa Berger called Frolic Media focused on, I think it's in a podcast network and digital video programming for female romcom romance enthusiast. And when she started telling me some of the numbers of how big this demo is, I was like hearing the success of Bridgerton, I am not surprised. So a new Netflix deal's announced and here's some exciting things like a focus of film, games, VR, branding, merchandising. There's a larger team from Bridgerton Ball that's coming up in November. So it's really extending your work streams and creating an audience experiences into a lot of new channels. Where is Shondaland today and where is it headed? Alison Eakle:The other side of the company that is the digital side, that is the podcast, the website, whatever shape and form this gaming and VR enterprise is going to take to it is incredibly exciting and I think a huge part of how my perspective on my job has shifted. And look, I've gotten to experience people often say like, "How have you been at a company for eight years?" And I was like, "This company is always evolving. The opportunities are always evolving. The work we're doing is always shifting and changing and growing." And it's part of why I was so excited to work with Shonda and Betsy in the beginning because I knew they had these bigger plans, right? World domination through incredible storytelling, very appealing, but I'm just really always trying to think to myself too synergy. Alison Eakle:Are there opportunities of things that we're working on that could translate to the podcast space or there could be a great story on the website about it and thinking more actively how do I talk to them about that and tell them about it before it's too far down the pike or vice versa, what are they working on that could be the next great show for Netflix or first documentary came out right before the holidays as well around Thanksgiving, Dance Dreams: Hot Chocolate Nutcracker about the life and legacy of Debbie Allen as seen through her kind of like planning and staging this incredible her version of the Nutcracker? Alison Eakle:So we have a real hunger to do unscripted, both doc series, lifestyle, reality shows, things like that, the right kind of thing for the right kind of audience, the thing that we think will appeal to our fans and the people who love our material, but also Inventing Ana is going to be out soon, which is Shonda's next show that she created based on the incredible cut article from Jessica Pressler, how Anna Delvey tricked New York's party people about the Soho grifter, who basically found a way to make all the finance bros in New York and all the art people and all the fancy pants people in New York who believed she was a German heiress. An incredible kind of fake it till you make it American dream story from a very slanted interesting perspective. Alison Eakle:So I'm really excited for that show to hit and to launch and for people to see that it's a limited. That's like the next big thing on top of the fact that we have announced through Bridgerton season four to really get to service the Bridgerton's children's love stories. We've got a lot of story to tell. And then Shonda's next project is a project based on the life of young Queen Charlotte, who obviously is someone we featured heavily in the Bridgerton series. So that's some of the scripted coming down the line. We do have feature films in development. We have a lot of different genre TV shows that I don't think people would be necessary... Again, always trying to broaden the idea of what people think of as a Shondaland show, which is just incredible unexpected storytelling that has an incredibly human lens. A lot of different things coming down. Chris Erwin:All this program is going to be exclusive to Netflix, is that right? Alison Eakle:Yes. Exclusively in Netflix. Chris Erwin:Looking at the Shondaland website yesterday, and I saw the 2017 partnership with Hearst where you've launched a lifestyle website. You have this January, 2020 audio partnership with iHeart, where I think you're creating companion content to promote some of your series, but also maybe seeding some new IP, which is definitely a theme that we talk a lot about here at RockWater. But these are divisions that are separate from your purview, but you want to collaborate and you want to work together. And I think that'd be an awesome thing to do more of in the future. I'd love to see that. Alison Eakle:Oh yeah. It's a top-down mentality the idea of like, no, no, no, you guys, you're not just making content for Netflix and you're not just making content for Hearst to iHeart, this is Shondaland. This is a united family of people figuring out how to tell stories best. Chris Erwin:Last question, Alison, before we get to the rapid fire round. So you are a mother of one who is five months old. Alison Eakle:Yes. Chris Erwin:When you say you work nights, you work weekends, how does that change with a kid at home not just in terms of like time capacity, but also just how you think about your programming and where you want content to go in the world considering that you're raising someone new in it? Alison Eakle:That's a great question. I think I'm so in it right now. It's all still so new. I don't know yet the impact it'll have on me. And look, animation both for adults and children is something we've talked about a lot and gotten excited about that kind of programming. I'll be honest, I binge-watched the Babysitters Club with that best friend, Ashley, who we moved out here from New York together. I think there's incredible content for kids. I don't think my brain has fully processed yet how having this child is going to impact my creative work, but I do think it has changed how I work and yes, I just have less time right now because every minute I'm not with him, I inevitably am wondering, am I missing it? Am I missing something? Right? But I also realize there's a lot of time that he sleeps, not in the beginning, but now there is. Alison Eakle:And it's interesting how I think I used to be a real... I do get up very early with him and I do do great work in the morning, I feel, but I've really also become that person who eight o'clock hits and I take a minute for myself, but I do think to myself, okay, I have quiet. I have a couple of hours of quiet before I hit the, hey, how am I going to use this time? So I think I've just gotten smarter about time management and realized that like I can be sitting there rocking my baby, playing out, what kind of thoughts or how we might re-break a pilot in my head. I've just gotten a little bit more nimble in terms of how I use the time I have. Chris Erwin:I like that. And kind of what you are saying, Alison, reminds me of like the classic high school Adagio. If you have a really busy schedule, like a bunch of high school sports and everything, it just forces you to be more productive to get your work done in the time that you have and you're better. And then second, I think it's this beautiful new moment in your life that's giving you incredible new fulfillment and appreciation for what matters and it's a shock of the system. And I think shocks and changes are good to see things in different ways and that's good for creativity. You've had an amazing rise, who knows where you're going to go? Alison Eakle:Who knows? Chris Erwin:I'll close this out a quick interjection for me before rapid fire. Alison, known you for a long time, but admittedly have not been in close touch in recent years. So it's been exciting that we can come together I think at a dinner that I threw a couple of years ago, but also through this podcast. And I think just hearing your story, what I love and what feels so special is I'm hearing that there was no fear of trying things, of experimenting, putting yourself out there and following your heart. There was moments where like, look, growing up in Rumson where we were, your parents from Wall Street, I ended up going to Wall Street. Like that's what I was inspired to do. And you, I think you said, "No, there's something else that I want to do and give it a go." And then you went to Georgetown, you thought you were going to go down the political science path, but then you had that amazing class and you went with that. You trusted your gut. Chris Erwin:And I think you being able to listen to yourself and set up a very exciting career for you and an ability to do programming that's really a meaningful impact on people's lives and look at the success of Bridgerton and more to come. So it's really fun to see this journey and reflect on it. And I can't wait until we do the second podcast, which is like on this next page. Alison Eakle:Well, thank you. And thank you for having me on too. And also right back at you, it's watching an evolution of a career that's not in Hollywood always fascinates me a lot more than even watching the stuff inside the industry. I love everything that you are doing and juggling right now too. Chris Erwin:Appreciate that. All right. So rapid fire. Here's the rules. Six questions, short answers. It could be maybe one sentence or maybe just one or two words. Do you understand the rules? Alison Eakle:I mean, I'm a wordy mofo, but I will try to keep it to the one sentence or the one word. Chris Erwin:Okay, here we go. Proudest life moment. Alison Eakle:Navigating the return to work after having my son and not absolutely losing my mind. Chris Erwin:Got it. What do you want to do less of in 2021. Alison Eakle:Judge people. Chris Erwin:What do you want to do more of? Alison Eakle:Acts of service. I feel like I got away from that during COVID. Yes, acts of service. Chris Erwin:I like that. One to two things drive your success. Alison Eakle:As you said, willingness to try things and to experiment. And I think also a willingness to really listen to people and figure out what they want. Chris Erwin:What is your advice for media execs going into the back half of this year and into 2022. Alison Eakle:Now that I have a kid and less time than ever, I'm all about essentialism. And I think people have to remember that sometimes less is more, less is more. That's what I'll say. See, trying to be shot. Private is the sour word. Chris Erwin:Saying less is more and trying to do it in short with fewer words. Got it. Considering your parents entreprene