Podcast appearances and mentions of Jane Campion

Jonah Primo has spent the last 8 years studying mindfulness, meditation and philosophy in order to build practical frameworks that people can apply to everyday life and situations. He hosted the flagship podcast for meditation app "Waking Up", produces Australia's #1 philosophy podcast "Principle of Charity", and has interviewed and worked with neuroscientists including Sam Harris and Anil Seth, Oscar winners including Jane Campion and Emile Sherman, and many more teachers, academics and celebrities in order to truly understand the secret sauce of happiness and fulfilment. He shares these secrets on his own podcast, "The Overexamined Life". Links from the Episode: Connect with Jonah and listen to The Overexamined Life Meditation Coaching Schedule Time with Thom (Complimentary consultation)   THANKS FOR LISTENING! Become a Super-Fan of the Show Thanks again for listening to the show! If it has helped you in any way, please share it using the social media buttons you see on the page. Be a part of the show! Send me a message: speakpipe.com/zencommuter Email: thom@zencommuter.com Instagram: @thom_walters Twitter: @thom_walters Facebook: www.facebook.com/zencommuter Donate: Support the Podcast! Subscribe: Apple Podcasts | Spotify Rate and review us in Apple Podcasts! zencommuter.com/review

Film journalist and critic Marya E. Gates talks with Justin about her new book, Cinema Her Way: Visionary Female Directors In Their Own Words. The book is a stylishly illustrated collection of interviews with 19 film directors, including Gillian Armstrong, Jane Campion, Mira Nair, Mary Lambert, and Katt Shea. Another great chat for our cinephile listeners! Hosted and produced by Justin Remer.  Recorded remotely via Zencastr.  Opening Music: "Optimism (Instrumental)" by Duck the Piano Wire.  Closing Music: "Rule of 3s (Solemnity Child)" by Elastic No-No Band.  

Access this entire 70-minute episode (and additional monthly bonus shows) by becoming a Junk Filter patron for only $5.00 (US) a month! Over 30% of episodes are exclusively available to patrons of the show. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://www.patreon.com/posts/205-woman-in-2-123622191In part two of our discussion about Looking for Mr. Goodbar, Jessica and I discuss Jane Campion's 2003 “erotic thriller” In the Cut, savaged by critics on release for its graphic portrayal of a woman's complex sexual desires in a dangerous New York City, also based on a best-selling novel. It's possible that In the Cut is Campion's response to Mr. Goodbar, only directly from a woman's perspective, and we talk about the sexist cruelty Meg Ryan was subjected to in the press for playing this role, and what Campion has to say about a woman's sexuality amidst the violence of the patriarchy, and its implication of the NYPD as part of the problem, especially bold for a movie made in the wake of the 9/11 attacks.We also discuss a fun TV movie that acts as a bridge between Mr. Goodbar and In the Cut, 1982's Hotline, starring Lynda Carter as a young woman working at a crisis call center who finds herself playing a dangerous cat-and-mouse game with a serial killer, in a film that continually threatens to tip over into a TVM Giallo. Follow Jessica Ritchey on Bluesky, and support her work on Patreon.Hotline (Jerry Jameson, 1982) is available to watch for free on YouTube. Trailer for In the Cut (Jane Campion, 2003)

CW: This episode contains spoilers and discussions of cinematic sexual violence. The film writer Jessica Ritchey returns to the show for a two-part series about two controversial films about a woman's complex sexuality, films that took a couple of decades to be rediscovered and better understood.In part one we discuss Richard Brooks' 1977 drama Looking for Mr. Goodbar starring Diane Keaton, based on the popular seventies bestseller by Judith Rossner, based on the true story of a New York City schoolteacher who was murdered by a man she picked up at a singles bar. Mr. Goodbar was a major hit for Paramount upon release, but a few weeks later it was overshadowed by another Paramount release with an even bigger cultural impact and hit soundtrack, Saturday Night Fever. Mr. Goodbar has been hard to see properly for decades due to its reputation as a misogynist, depressing film and the extremely expensive licensing costs for its disco soundtrack, until the end of 2024 when Vinegar Syndrome unexpectedly released a limited-edition restoration. Jessica and I dig into the thorny and complex issues this film presents about a woman's sexuality, partly due to Richard Brooks' determination to tell a more empathetic story than the more punishing tone of Rossner's novel (she was angered by the adaptation). Brooks may not have been the ideal person to make this film being two generations removed from the subject but nevertheless his film contains an interesting and useful critique of the patriarchy, using his understanding of New Hollywood techniques. Jessica and I also discuss the film's use of music, Diane Keaton's tremendous performance as Theresa Dunn, the depiction of all the terrible men in her life, and our responses to the shocking conclusion of the film. Part two of this discussion is exclusive to the Patreon feed: more about Mr. Goodbar, contrasted against a controversial 2003 film that could be seen as a feminist response to it, Jane Campion's In the Cut, and a 1982 TV movie about a woman in danger that echoes some of these themes, Hotline starring Lynda Carter. To support this show directly and to receive access to the entire back catalogue, consider becoming a patron for only $5.00 a month (U.S.) at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/junkfilterFollow Jessica Ritchey on Bluesky, and support her work on Patreon.The limited edition Vinegar Syndrome release of Looking for Mr. Goodbar can be purchased here.“Goodnight Theresa”, a YouTube playlist Jessica and I cooked up of disco songs that came out too late to be included on the Goodbar soundtrack but would have fit right in.Trailer for Looking for Mr. Goodbar (Richard Brooks, 1977)

Si Jesús es "El Buen Pastor", hay "falsos pastores y ladrones", que quieren aprovecharse del rebaño, advierte Juan en su Evangelio. En este décimo capítulo de su Buena Noticia nos habla de Jesús como La Puerta que da "vida en abundancia", mientras que "el salteador" viene para "robar, matar y destruir" (v. 9-10). Tras la sintonía de Ruta 66 en la voz de Nat King Cole, escuchamos a Moby preguntarse "por qué en su corazón se siente tan mal" (Why Does My Heart Feel So Bad 1999). Este entusiasta de la música de baile, el "hip-hop" y el "trance", remezclador, ensayista, guitarrista de "metal", fanático de la informática y "mago" de la tecnología, se declara vegetariano y abstemio, no fuma, ni toma drogas. Se confiesa cristiano, pero adicto al "porno". El galés Mike Peters nos advierte con su banda The Alarm de "El Engañador" (The Deceiver 1984) y el que fuera "enfant terrible" de la "música cristiana contemporánea" Steve Taylor se pone en el lugar del manipulador (I Manipulate 1985). La película "Pasaje al Cielo" (Ticket To Heaven) nos presenta a la secta que formó el coreano Moon con sus cánticos evangélicos, devoción al matrimonio y fervor anticomunista, atrayendo a un joven académico canadiense en San Francisco a finales de los 70. Muestra el proceso que lleva a alguien que sufre una crisis sentimental al "bombardeo de amor" que recibe en un retiro, para convertirse en miembro de la Iglesia de la Unificación. El film de Ralph Thomas recibió los principales premios del cine canadiense en 1981. Escuchamos algunos diálogos de la versión doblada con los comentarios de José de Segovia, que fue presidente de la asociación de estudio de las sectas Libertad, sobre el fondo instrumental de Angelo Badalamenti para la película de Jane Campion con Harvey Keitel intentando "desprogramar" a Kate Winslet como miembro de una secta (Holy Smoke 1999). Es "largo y tortuoso, el camino que lleva a la puerta" (The Long And Winding Road), como cantan los Beatles en su disco de 1970, "Let It Be", producido por Phil Spector. El músico Chuck Girard llegó con su grupo Love Song a la Capilla Calvario de Costa Mesa (California) cuando tantos "hippies" se hicieron cristianos en la Revolución por Jesús. "The Stand" cuenta como su esposa Karen le ayudó a enfrentarse a su alcoholismo y hacer "La Declaración" de fe, que graba en el disco que publicó con ese nombre en 1980.

Émission du 5 février 2025 (00:00) - Le générique d'ouverture(01:04) - Le sommaire(03:04) - News Dans cette 19ème émission de l'année : (15:54) - "Un parfait inconnu" de James Mangold(33:57) - "Le Jardin zen" de Naomi Ogigami(44:07) - "La Pie voleuse" de Robert Guédiguian(53:40) - L'interview : Robert Guédiguian, réalisateur de "La Pie voleuse"(1:12:10) - "Bop To The Top !" (1:15:33) - CinéCampus : Présentation de la projection de "La Leçon de piano" le 10 février à l'Utopia (1:20:34) - Quiz "Les biopics musicaux" (1:34:00) - Les Recos de l'équipe (1:38:41) - Le générique de fin Nos recos de la semaine ⤵️La série "Les Simpson" de Matt Groening : https://www.disneyplus.com/fr-ch/seri...L'exposition sur Suzanne Valadon au Centre Pompidou : https://expo.paris/exposition/suzanne...Le film "The Suicide Squad" de James Gunn : https://play.max.com/movie/186afae3-d...L'univers de "Resident Evil" : • RESIDENT EVIL 2: Live Action Trailer ...La saga littéraire "Le Cycle de l'Héritage" de Christopher Paolini : https://www.bayard-editions.com/livre...La projection de "La Leçon de piano" de Jane Campion à l'Utopia : https://www.instagram.com/cinecampusu...Notre jeu concours "Pronos des César et Oscars 2025" : https://forms.gle/TFdQsHaNciw1a9xs9 Retrouvez The Cinema Show sur ⤵️Facebook : / rcmcinemashowInstagram : / thecinemashow_rcmTwitter : / thecinemashow1 #cinema #radiocampusmontpellier #thecinemashow #tcs #rcm #podcast #radio #film #critique #analyse #movie #débat #quiz #interview #entretien #unparfaitinconnu #jamesmangold #lejardinzen #naoimiogigami #lapievoleuse #bobdylan #thimotheechalamet #cinecampus #robertguediguian #oscars #biopic #arianeascaride

Josh and Drusilla are living through the awful Los Angeles fire. Here's how you can help:https://www.lahsa.org/news?article=1014-resources-to-support-those-during-the-l-a-fires They discuss the 1949 film The Queen of Spades. From wiki: “The Queen of Spades is a 1949 British fantasy-horror film directed by Thorold Dickinson and starring Anton Walbrook, Edith Evans and Yvonne Mitchell (in her cinematic debut). It is based on the 1834 short story of the same name by Alexander Pushkin.[3][4]Also discussed: Gregg Araki's Nowhere, The Coffee Table, Spy, Bridesmaids, Barb and Star Go to Vista Del Mar, Threads, Jane Campion and Power of the Dog, The Red Shoes, and more.  NEXT WEEK: Tigers Are Not Afraid (2022)  Follow them across the internet:Bloodhaus:https://www.bloodhauspod.com/https://www.instagram.com/bloodhauspod/ Drusilla Adeline:https://www.sisterhydedesign.com/https://letterboxd.com/sisterhyde/Joshua Conkelhttps://www.joshuaconkel.com/https://www.instagram.com/joshua_conkel/https://letterboxd.com/JoshuaConkel/https://bsky.app/profile/joshuaconkel.bsky.social 

Musique au Générique a enfilé son costume de fêtes. Philippe Briot nous propose sa sélection de musiques de film, de comédies cultes à regarder au coin du feu. Merci pour votre écoute N'hésistez pas à vous abonner également aux podcasts des séquences phares de Matin Première: L'Invité Politique : https://audmns.com/LNCogwPL'édito politique « Les Coulisses du Pouvoir » : https://audmns.com/vXWPcqxL'humour de Matin Première : https://audmns.com/tbdbwoQRetrouvez tous les contenus de la RTBF sur notre plateforme Auvio.be Retrouvez également notre offre info ci-dessous : Le Monde en Direct : https://audmns.com/TkxEWMELes Clés : https://audmns.com/DvbCVrHLe Tournant : https://audmns.com/moqIRoC5 Minutes pour Comprendre : https://audmns.com/dHiHssrEt si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Today on Art of the Cut we speak with Oscar-nominee Peter Sciberras, ACE about editing director Steve McQueen's film, Blitz. Peter was last on Art of the Cut for his work on Jane Campion's Power of the Dog for which he was nominated for an Oscar and an ACE Eddie. His other films include The Rover, The King, and Foe, among many others. The discussion today is about - among other things - finding the best moment to intercut between the film's two main characters, the importance of the opening scene's visceral impact, and collaborating with the sound team and composer, Hans Zimmer. You can read along with this interview and see clips, trailers and stills from the film at: borisfx.com/blog/aotc

In this episode, Kiho compares the psychology of Yeong-hye, a Korean woman from The Vegetarian by Han Kang and Ada, a New Zealand woman from The Piano by Jane Campion with the emphasis on power of silence, autonomy and cultural contexts. This show was broadcast on OAR 105.4FM Dunedin - oar.org.nz

And. . .we're back. After almost a year of radio silence, the Secret Movie Club podcast returns with SMC Pod #162! Secret Movie Club founder.programmer Craig Hammill gives thanks (Thanksgiving 2024 weekend) for the Bravo Channel in the early 1990's. Way back then (Craig was 12-15 years old), the Bravo Channel was devoted to idiosynchratic world cinema and American indie movies. Sneaking to the tv room late at night, to watch these movies when his family was asleep, Craig saw Jane Campion's An Angel at My Table (1990),  Ildikó Enyedi's Hungarian My Twentieth Century (1989), Aki Kaurismaki's Leningrad Cowboys Go America (1989), Hal Hartley's Trust (1990), and (possibly) Jean Claude Luzhon's French Canadian Leolo (1992). Plus, some hints and reveals about the full reopening of the Secret Movie Club theater and programming...

One of the most beloved and influential directors of the past half century, Jane Campion – recipient of the Pardo d'Onore Manor at the 77th Locarno Film Festival –, joins us on Locarno Meets. Campion's is a career of remarkable firsts, whether as the first woman to win the Palme d'Or or the first woman to be nominated twice for the Academy Awards for Best Director (winning for “The Power of the Dog” in 2022). But her body of work is full of artistic risk-taking and daring pivots into uncharted territory. With Campion in our studio, we looked back together at her career, reflecting on her early days of film-going in London, on the genesis of many of her best-known projects, and on techniques for keeping the flame of inspiration alive.

La comédienne, réalisatrice et artiste-plasticienne, âgée de 38 ans, nous reçoit chez Idem, un atelier de lithographie situé à Paris dans le 14e arrondissement, à l'occasion de la sortie en salle du film « Niki », signé Céline Sallette, dans lequel elle incarne Niki de Saint Phalle. Charlotte Le Bon évoque son enfance à Montréal, au Canada, auprès d'une mère et d'un beau-père comédiens. Elle évoque le décès de son père alors qu'elle avait 10 ans et sa passion précoce pour le dessin et le plongeon. Elle commence à la fin de l'adolescence une carrière de mannequin dont elle garde un souvenir assez sombre puis pendant une année joue les Miss Météo sur Canal +, une expérience libératrice qui la mènera ensuite à faire du cinéma. C'est aujourd'hui dans la réalisation qu'elle s'épanouit le plus, regrettant la passivité attendue souvent des comédiens. Charlotte Le Bon aborde également son travail de plasticienne, son attrait pour les aspérités et son admiration pour le travail de Stanley Donwood, Carl Gustav Jung, David Lynch, Claire Tabouret ou Christo et Jeanne-Claude. Elle revient longuement sur son admiration pour le travail de Jane Campion : « J'ai découvert récemment ses deux premiers films, “Sweetie” et “Un ange à ma table”. Ce sont de grands films. C'est tellement risqué, tellement audacieux. Et puis il y a un truc qui est génial aussi avec Jane Campion, c'est qu'on ne s'ennuie jamais. Je sens vraiment ce désir chez elle. C'est tout sauf prétentieux. »Depuis six saisons, la journaliste et productrice Géraldine Sarratia interroge la construction et les méandres du goût d'une personnalité. Qu'ils ou elles soient créateurs, artistes, cuisiniers ou intellectuels, tous convoquent leurs souvenirs d'enfance, tous évoquent la dimension sociale et culturelle de la construction d'un corpus de goûts, d'un ensemble de valeurs.Un podcast produit et présenté par Géraldine Sarratia (Genre idéal) préparé avec l'aide de Diane Lisarelli et Juliette SavardRéalisation : Guillaume GiraultMusique : Gotan Project Hébergé par Audion. Visitez https://www.audion.fm/fr/privacy-policy pour plus d'informations.

La Leçon de piano, The Piano, un film de Jane Campion sorti en 1993, est une histoire romantique, mais dure, qui se passe au 19e siècle, entre une femme exilée en Nouvelle Zélande, son nouveau mari et son amant. Ada, mère dʹune petite fille, est muette et exprime toutes ses émotions à travers son instrument. Sauf que son piano est abandonné sur la plage par son nouveau mari, récupéré par le voisin, qui lui propose un étrange marché : récupérer petit à petit son piano, touche par touche, en se soumettant à un jeu sensuel. Le piano devient ainsi lʹenjeu dʹune conquête érotique entre cet homme simple et cette femme sophistiquée. Pari gagné car Ada sʹouvre petit à petit à la sexualité et à lʹamour. Dans cette fable victorienne, Jane Campion laisse la part belle à une sensualité tout en suggestion, le corps parcouru de frissons quand les doigts effleurent les touches dʹivoire. Holly Hunter promène son visage lunaire et expressif, interprétant elle-même les morceaux au piano. Anna Paquin est la petite fille, Harvey Keitel, Baines, le voisin, et Sam Neill, Stewart, le mari. Le film écrit par une femme, réalisé par une femme, reçoit la Palme dʹor à Cannes en 1993, et trois oscars : Meilleure actrice pour Holly Hunter, Meilleur second rôle féminin pour Anna Paquin et Meilleur scénario original pour Jane Campion. Le tout est assez rare pour être signalé : Jane Campion a été la première femme à recevoir une Palme dʹor. Ne tardons plus, Ada et Flora viennent de débarquer sur une plage de néo-zélandaise. Des Maoris les attendent pour porter tous leurs biens jusquʹà leur nouvelle maison. Sauf le piano qui deviendra lʹenjeu du film. REFERENCES La Leçon de piano, Livret dʹaccompagnement du film, Notes de production, 1993 Michel Ciment, Jane Campion par Jane Campion, Cahiers du cinéma, Making of du film, Miro Bilbrough, Part 1, 1993 https://www.youtube.com/watch?v=DopuUIYBX-g Making of du film, Miro Bilbrough, Part 2, 1993 https://www.youtube.com/watch?v=2Vdv_Efu49I Archives INA : Bouillon de culture 23.04.1993 https://www.ina.fr/ina-eclaire-actu/video/i14013645/jane-campion-sur-son-film-la-lecon-de-piano

This weekend, there's a new documentary coming to theaters about the life of Christopher Reeve, the actor who played Superman. It's called Super/Man: The Christopher Reeve Story, and it's about his career, the injury that changed his life, and about what Superman the character means to different people. For this week's episode, we're diving into the Sewers archives to revisit a 2018 conversation on that topic. My guest was Glenn Kiser, whose name you might not recognize but he's had a hand in countless films over the last thirty years — helping to craft movies alongside directors like David Fincher, Spike Jonze, Jane Campion, and George Lucas. As a kid, Glenn would obsess over movies and dream of the day he could make his own — never dreaming that his journey could take him from living on an isolated ranch in Texas to working at Skywalker Ranch.We'll have that conversation in just a moment. First, if you're enjoying The Sewers of Paris, I hope you'll consider supporting the show on Patreon. Patrons get access to an exclusive Discord server, stickers and books in the mail, bonus videos, and more. You can join the Patreon at patreon.com/mattbaume.And you may also enjoy my other projects — my YouTube videos, weekly livestreams on Twitch, my book Hi Honey, I'm Homo!, and my email newsletter. Check out all that at MattBaume.com.Also, I hope you'll check out a new documentary series premiering on CNN on September 22, about TV milestones that shaped American culture. It's called TV on the Edge, and I'm just one of the folks interviewed on the show.

Pour cet épisode de rentrée, l'équipe de Sorociné est revenue sur la définition de la critique féministe, dans une époque où les questionnements féministes ont imprégné la création cinématographique. Comment aborder le female gaze, les représentations de la sexualité, les intentions féministes d'un film, par le biais de la critique ?Participantes : Léon Cattan, Mariana Agier, Margaux BaralonAnimation : Léon CattanRéalisation, montage : Mariana Agier Son : Hugo CardonaGénérique : (c) SorocinéMusique : (c) Antonin AgierRetrouvez toute l'actualité de Sorociné sur nos réseaux sociaux, Twitter, Facebook et Instagram : @Sorociné Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Visitamos, primero, la edición nº 23 del ImagineIndia International Film Festival con su director, Abdur Rahim Qazi: este año el Premio de Honor lo comparten la realizadora neozelandesa Jane Campion y la portuguesa Rita Azevedo. Después, con Elisa McCausland, recorremos el verano cinematográfico y su tendencia al terror y el suspense, que parece venir para quedarse: Longlegs de Oz Perkins, Parpadea dos veces de Zoe Kravitz, Alien: Rómulus de Fede Álvarez, La trampa de M Night Shyamalan y De naturaleza violenta de Chris Nash.Escuchar audio

Jane Campion, hot off the critical success of The Piano (1993), helms this adaptation of Henry James' 1881 novel. Two and a half hours of ultra-rich people problems. Neither the cast -full of some of our favorites- nor Campion's willingness to experiment with unconventional techniques could save this one for us. Keywords: Pube stache, Vag pics, status Plus we give our ratings for the month +++++Outro: Seatrain performing Portrait of the Lady as a Young ArtistTheme by Professor Ping available on Bandcamp --- Support this podcast: https://podcasters.spotify.com/pod/show/zandkmoviepod/support

On this episode of What a Picture, Bryan and Hannah argue about whether their podcasting equipment is too heavy for them to haul it from the beach to talk about The Piano, the 1993 movie directed by Jane Campion that ranks #50 on Sight and Sound's 2022 Greatest Films of All Time Critics' Poll. Email us at podcast@whatapicturepod.com What a Picture website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://whatapicturepod.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Bryan's Social Media: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Bluesky⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Letterboxd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Music is "Phaser" by Static in Verona.

In episode 30, Johnny talks to Academy Award-winning art director and production designer Grant Major.
Described by Vanity Fair as ‘the architect of New Zealand's greatest cinematic achievements', Grant has an impressive body of work. 
His work in the early 1990s on Jane Campion's An Angel At My Table led him to work with Peter Jackson on Heavenly Creatures. He remained in the Peter Jackson fold on The Frighteners, followed by the Lord Of The Rings trilogy and King Kong. He also worked on Niki Caro's Whale Rider in the early 2000s, and recently reprised his collaboration with Jane Campion on the Oscar-nominated The Power Of The Dog. 
Grant has been nominated for five Academy Awards, winning the Oscar in 2003 for his work on The Return Of The King.
Their talk covers Grant's career from working in New Zealand television in the 1970s and the BBC in the 1980s, to conquering Hollywood with Jane Campion and Peter Jackson throughout the 1990s and beyond. They discuss Grant's influences from filmmakers like David Lynch, Stanley Kubrick and Ray Harryhausen, and Grant shares what it's like to witness the first and only take of a devastatingly emotional Oscar-nominated acting performance! 
This conversation was recorded online in mid-July 2024.
Thanks to James Van As who wrote and performed the brilliant podcast music (check out James' ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Loco Looper⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ game) and to Willow Van As who designed the amazing artwork and provided general podcast support.
You can contact My Movie DNA on Facebook, Instagram or Twitter @mymovieDNA or email mymovieDNA@gmail.com.

In this episode we discuss Jurassic Park, the incredible CG effects and animatronics that went into making believable dinosaurs on the big screen, Michael Crichton's involvement in the film, and Spielberg's massive success in 1993. We also discuss the life and career of legendary filmmaker Jane Campion, her breakout success with The Piano and Academy Award win for Best Original Screenplay, her involvement with the Cannes film festival, and her eventual win for Best Director for The Power of the Dog. -- Instagram: https://www.instagram.com/thanktheacademypodcast X: https://www.twitter.com/thankacademypod Email us your thoughts: thanktheacademypod@gmail.com Follow us on Letterboxd: https://letterboxd.com/thanktheacademy/ --- Support this podcast: https://podcasters.spotify.com/pod/show/thank-the-academy/support

pWotD Episode 2627: Shelley Duvall Welcome to Popular Wiki of the Day, spotlighting Wikipedia's most visited pages, giving you a peek into what the world is curious about today.With 885,844 views on Thursday, 11 July 2024 our article of the day is Shelley Duvall.Shelley Alexis Duvall (July 7, 1949 – July 11, 2024) was an American actress. Known for her collaborations with Robert Altman and for playing eccentric characters, she was the recipient of several accolades including nominations for a British Academy Film Award and two Primetime Emmys.Born in Texas, Duvall was discovered by director Robert Altman, who was impressed with her upbeat presence and cast her in the black comedy film Brewster McCloud (1970). Despite her hesitance towards becoming an actress, she continued to work with him, appearing in McCabe & Mrs. Miller (1971) and Thieves Like Us (1974).Duvall's breakthrough role was in Altman's Nashville (1975), and her leading role in his drama 3 Women (1977) won her the Cannes Film Festival Award for Best Actress and a nomination for the British Academy Film Award for Best Actress in a Leading Role. She followed this with a supporting role in Woody Allen's satirical romantic comedy Annie Hall and hosted Saturday Night Live (both 1977). She became famous for her leading roles across the 1980s, such as Olive Oyl in Altman's live-action feature version of Popeye and Wendy Torrance in Stanley Kubrick's horror film The Shining (both 1980). Through the 1980s, Duvall appeared in Terry Gilliam's fantasy film Time Bandits (1981), the short comedy horror film Frankenweenie (1984), and the comedy Roxanne (1987). She ventured into producing television programming aimed at children and youth in the latter half of the 1980s, creating and hosting the programs Faerie Tale Theatre (1982–1987) and Nightmare Classics (1989), and earning Primetime Emmy Award nominations for creating and hosting Tall Tales & Legends (1985–1987) and Shelley Duvall's Bedtime Stories (1992–1994).Across the 1990s, Duvall acted sporadically, playing supporting roles in Steven Soderbergh's thriller The Underneath (1995) and Jane Campion's drama The Portrait of a Lady (1996). After Manna from Heaven (2002), she left acting until returning for her final role in the horror film The Forest Hills (2023). Her mental health in the interim was covered by various media, briefly turning her private life public.This recording reflects the Wikipedia text as of 02:04 UTC on Friday, 12 July 2024.For the full current version of the article, see Shelley Duvall on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Kimberly.

In this episode we discuss the sixty-sixth Best Picture winner, Schindler's List! We discuss Steven Spielberg's hugely successful year and night at the Academy Awards, with Schindler's List and Jurassic Park winning 10 Oscars combined, Whoopi Goldberg's historic turn at hosting the ceremony, and the exciting wins for Tom Hanks, Holly Hunter, Anna Paquin, and Jane Campion. We also discuss Schindler's List, the startling, true story of Oscar Schindler, the toll it took on all involved, and the praise heaped on the film by those who lived through the real-life events. -- Instagram: https://www.instagram.com/thanktheacademypodcast X: https://www.twitter.com/thankacademypod Email us your thoughts: thanktheacademypod@gmail.com Follow us on Letterboxd: https://letterboxd.com/thanktheacademy/ --- Support this podcast: https://podcasters.spotify.com/pod/show/thank-the-academy/support

Director Steven Shainberg recalls the making of 2002's SECRETARY, a daring film that centers around a BDSM relationship between a lawyer and his new secretary. Inspired by the great filmmakers Jane Campion and Mike Lee, Steven decided to turn his short film into a feature, but knew it would be a challenge to get it made. Many of the executives and financiers who read the script were scared to take on such risky material, but Steven was persistent and secured independent financing. They went out to nearly every young female star of the day, but everyone passed. And then Maggie Gyllenhaal auditioned and he knew she was the one. As Steven explains on the podcast, the film is about so much more than the taboo relationship between boss and employee. It's about two people finding freedom and happiness in each other and honoring their true selves. Hosted on Acast. See acast.com/privacy for more information.

This week we discuss the journey of author Janet Frame in Jane Campion's biographical drama An Angel at My Table, starring Alexia Keogh, Karen Fergusson, and Kerry Fox.Plus: Season Two of The Jinx, and the time Stanley Tucci took James to a Yankees game.LINKS:Trailer for An Angel at My TableTrailer for season two of The JinxDr McCoy treats a patient in Star Trek IV: The Voyage Home

James Cameron-Wilson reports UK box office up a remarkable 100%, thanks to the new #1 Inside Out 2, which took £11.3m. That's the biggest opening of the year and the 3rd biggest UK opening for an animated film. Pixar have done it again with an enjoyable adventure which is both exciting and funny. On Netflix, Glen Powell has a star-making turn in Richard Linklater's Hit Man, a romcom supposedly based on a true story. With a terrific script and great chemistry, it's an entertaining watch. And on Amazon Prime, Bad Behaviour sees Jane Campion's daughter Alice Englert do virtually everything in a bracingly original, disturbing, funny and touching drama. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Aprovechamos el estreno de la película de la hija del rey del terror moderno, M. Night Shyamalan, que debuta con "Los vigilantes" y de la hija de la Oscarizada directora Jane Campion, "Mala conducta", para recordar qué hijos han decidido seguir los pasos de sus padres o madres y ponerse a dirigir. Los Coppola, Rossellini, Trueba, Cuarón... son algunos de los nombres que componen la lista que nos ha ayudado a hacer Javier Ocaña. También ha tenido tiempo para comentar "Vidas perfectas" 

Genevieve Lemon has appeared in many premiere Australian productions in a 40-plus year career including Steaming, Steel Magnolias, Seventeen, Miracle City, Priscilla, Queen of the Desert and Billy Elliot, which she also played in London's West End.Other performances include Who's Afraid of Virginia Woolf, Death of a Salesman, Summer Rain, The Venetian Twins, Summer of the 17th Doll and North by Northwest. Screen performances include Sweetie, The Piano, Top of the Lake and The Power of the Dog (among others with Jane Campion); Ticket to Paradise, Colin from Accounts, Prisoner, Here Out West, The Dressmaker, Suburban Mayhem, Rake, The Tourist, Acute Misfortune, Population 11 and the upcoming feature film Runt. Awards include Helpmann, Green Room and Sydney Theatre Critics awards for Best Actress in a Musical for Billy Elliot and Best Actress in a Feature Film from the Sydney Film Critics' Circle for Sweetie.Genevieve Lemon returns to the musical theatre stage as the Mother Superior in Sister Act which opens at the Capitol Theatre in Sydney in August and the Regent Theatre Melbourne in November.The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Genevieve Lemon has appeared in many premiere Australian productions in a 40-plus year career including Steaming, Steel Magnolias, Seventeen, Miracle City, Priscilla, Queen of the Desert and Billy Elliot, which she also played in London's West End.Other performances include Who's Afraid of Virginia Woolf, Death of a Salesman, Summer Rain, The Venetian Twins, Summer of the 17th Doll and North by Northwest. Screen performances include Sweetie, The Piano, Top of the Lake and The Power of the Dog (among others with Jane Campion); Ticket to Paradise, Colin from Accounts, Prisoner, Here Out West, The Dressmaker, Suburban Mayhem, Rake, The Tourist, Acute Misfortune, Population 11 and the upcoming feature film Runt. Awards include Helpmann, Green Room and Sydney Theatre Critics awards for Best Actress in a Musical for Billy Elliot and Best Actress in a Feature Film from the Sydney Film Critics' Circle for Sweetie.Genevieve Lemon returns to the musical theatre stage as the Mother Superior in Sister Act which opens at the Capitol Theatre in Sydney in August and the Regent Theatre Melbourne in November.The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

This fifth edition of Film, Form, and Culture (Routledge, 2024) offers a lively introduction to both the formal and cultural aspects of film. With extensive analysis of films past and present, this textbook explores how films are constructed from part to whole: from the smallest unit of the shot to the way shots are edited together to create narrative. Robert P. Kolker and Marsha Gordon demystify the technical aspects of filmmaking and demonstrate how fiction and nonfiction films engage with culture. Over 265 images provide a visual index to the films and issues being discussed. This new edition includes: an expanded examination of digital filmmaking and distribution in the age of streaming; attention to superhero films throughout; a significantly longer chapter on global cinema with new or enlarged sections on a variety of national cinemas (including cinema from Nigeria, Senegal, Burkina Faso, South Korea, Japan, India, Belgium, and Iran); new or expanded discussions of directors, including Alice Guy-Blaché, Lois Weber, Oscar Micheaux, Agnès Varda, Spike Lee, Julie Dash, Jafar Panahi, Ava DuVernay, Jane Campion, Jean-Pierre and Luc Dardenne and Penny Lane; and new, in-depth explorations of films, including Within Our Gates (1919), Black Girl (1966), Creed (2015), Moonlight (2016), Wonder Woman (2017), Get Out (2017), Black Panther (2018), Parasite (2019), Da 5 Bloods (2020), The French Dispatch (2021), The Power of the Dog (2021), RRR (2022), and Tár (2022). Robert P. Kolker is Professor Emeritus at the University of Maryland, College Park, USA. He is the author/editor of several books on film including The Oxford Handbook of Film and Media Studies (2008), A Cinema of Loneliness, 4th edition (2011), The Cultures of American Film (2014), The Extraordinary Image: Orson Welles, Alfred Hitchcock, Stanley Kubrick, and the Reimagining of Cinema (2016), Politics Goes to the Movies (2018), Eyes Wide Shut: Stanley Kubrick and the Making of His Final Film (2019), and, with Nathan Abrams, Kubrick: An Odyssey (2024). Marsha Gordon is Professor and Director of Film Studies at North Carolina State University, USA. She is the author of Becoming the Ex-Wife: The Unconventional Life & Forgotten Writings of Ursula Parrott (2023), Film is Like a Battleground: Sam Fuller's War Movies (2017), and Hollywood Ambitions: Celebrity in the Movie Age (2008), and co-editor of Screening Race in American Nontheatrical Film (2019) and Learning With the Lights Off: Educational Film in the United States (2012). Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers (2016), he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X. His work also appears on Pages and Frames. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

This fifth edition of Film, Form, and Culture (Routledge, 2024) offers a lively introduction to both the formal and cultural aspects of film. With extensive analysis of films past and present, this textbook explores how films are constructed from part to whole: from the smallest unit of the shot to the way shots are edited together to create narrative. Robert P. Kolker and Marsha Gordon demystify the technical aspects of filmmaking and demonstrate how fiction and nonfiction films engage with culture. Over 265 images provide a visual index to the films and issues being discussed. This new edition includes: an expanded examination of digital filmmaking and distribution in the age of streaming; attention to superhero films throughout; a significantly longer chapter on global cinema with new or enlarged sections on a variety of national cinemas (including cinema from Nigeria, Senegal, Burkina Faso, South Korea, Japan, India, Belgium, and Iran); new or expanded discussions of directors, including Alice Guy-Blaché, Lois Weber, Oscar Micheaux, Agnès Varda, Spike Lee, Julie Dash, Jafar Panahi, Ava DuVernay, Jane Campion, Jean-Pierre and Luc Dardenne and Penny Lane; and new, in-depth explorations of films, including Within Our Gates (1919), Black Girl (1966), Creed (2015), Moonlight (2016), Wonder Woman (2017), Get Out (2017), Black Panther (2018), Parasite (2019), Da 5 Bloods (2020), The French Dispatch (2021), The Power of the Dog (2021), RRR (2022), and Tár (2022). Robert P. Kolker is Professor Emeritus at the University of Maryland, College Park, USA. He is the author/editor of several books on film including The Oxford Handbook of Film and Media Studies (2008), A Cinema of Loneliness, 4th edition (2011), The Cultures of American Film (2014), The Extraordinary Image: Orson Welles, Alfred Hitchcock, Stanley Kubrick, and the Reimagining of Cinema (2016), Politics Goes to the Movies (2018), Eyes Wide Shut: Stanley Kubrick and the Making of His Final Film (2019), and, with Nathan Abrams, Kubrick: An Odyssey (2024). Marsha Gordon is Professor and Director of Film Studies at North Carolina State University, USA. She is the author of Becoming the Ex-Wife: The Unconventional Life & Forgotten Writings of Ursula Parrott (2023), Film is Like a Battleground: Sam Fuller's War Movies (2017), and Hollywood Ambitions: Celebrity in the Movie Age (2008), and co-editor of Screening Race in American Nontheatrical Film (2019) and Learning With the Lights Off: Educational Film in the United States (2012). Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers (2016), he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X. His work also appears on Pages and Frames. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

This fifth edition of Film, Form, and Culture (Routledge, 2024) offers a lively introduction to both the formal and cultural aspects of film. With extensive analysis of films past and present, this textbook explores how films are constructed from part to whole: from the smallest unit of the shot to the way shots are edited together to create narrative. Robert P. Kolker and Marsha Gordon demystify the technical aspects of filmmaking and demonstrate how fiction and nonfiction films engage with culture. Over 265 images provide a visual index to the films and issues being discussed. This new edition includes: an expanded examination of digital filmmaking and distribution in the age of streaming; attention to superhero films throughout; a significantly longer chapter on global cinema with new or enlarged sections on a variety of national cinemas (including cinema from Nigeria, Senegal, Burkina Faso, South Korea, Japan, India, Belgium, and Iran); new or expanded discussions of directors, including Alice Guy-Blaché, Lois Weber, Oscar Micheaux, Agnès Varda, Spike Lee, Julie Dash, Jafar Panahi, Ava DuVernay, Jane Campion, Jean-Pierre and Luc Dardenne and Penny Lane; and new, in-depth explorations of films, including Within Our Gates (1919), Black Girl (1966), Creed (2015), Moonlight (2016), Wonder Woman (2017), Get Out (2017), Black Panther (2018), Parasite (2019), Da 5 Bloods (2020), The French Dispatch (2021), The Power of the Dog (2021), RRR (2022), and Tár (2022). Robert P. Kolker is Professor Emeritus at the University of Maryland, College Park, USA. He is the author/editor of several books on film including The Oxford Handbook of Film and Media Studies (2008), A Cinema of Loneliness, 4th edition (2011), The Cultures of American Film (2014), The Extraordinary Image: Orson Welles, Alfred Hitchcock, Stanley Kubrick, and the Reimagining of Cinema (2016), Politics Goes to the Movies (2018), Eyes Wide Shut: Stanley Kubrick and the Making of His Final Film (2019), and, with Nathan Abrams, Kubrick: An Odyssey (2024). Marsha Gordon is Professor and Director of Film Studies at North Carolina State University, USA. She is the author of Becoming the Ex-Wife: The Unconventional Life & Forgotten Writings of Ursula Parrott (2023), Film is Like a Battleground: Sam Fuller's War Movies (2017), and Hollywood Ambitions: Celebrity in the Movie Age (2008), and co-editor of Screening Race in American Nontheatrical Film (2019) and Learning With the Lights Off: Educational Film in the United States (2012). Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers (2016), he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X. His work also appears on Pages and Frames. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

This fifth edition of Film, Form, and Culture (Routledge, 2024) offers a lively introduction to both the formal and cultural aspects of film. With extensive analysis of films past and present, this textbook explores how films are constructed from part to whole: from the smallest unit of the shot to the way shots are edited together to create narrative. Robert P. Kolker and Marsha Gordon demystify the technical aspects of filmmaking and demonstrate how fiction and nonfiction films engage with culture. Over 265 images provide a visual index to the films and issues being discussed. This new edition includes: an expanded examination of digital filmmaking and distribution in the age of streaming; attention to superhero films throughout; a significantly longer chapter on global cinema with new or enlarged sections on a variety of national cinemas (including cinema from Nigeria, Senegal, Burkina Faso, South Korea, Japan, India, Belgium, and Iran); new or expanded discussions of directors, including Alice Guy-Blaché, Lois Weber, Oscar Micheaux, Agnès Varda, Spike Lee, Julie Dash, Jafar Panahi, Ava DuVernay, Jane Campion, Jean-Pierre and Luc Dardenne and Penny Lane; and new, in-depth explorations of films, including Within Our Gates (1919), Black Girl (1966), Creed (2015), Moonlight (2016), Wonder Woman (2017), Get Out (2017), Black Panther (2018), Parasite (2019), Da 5 Bloods (2020), The French Dispatch (2021), The Power of the Dog (2021), RRR (2022), and Tár (2022). Robert P. Kolker is Professor Emeritus at the University of Maryland, College Park, USA. He is the author/editor of several books on film including The Oxford Handbook of Film and Media Studies (2008), A Cinema of Loneliness, 4th edition (2011), The Cultures of American Film (2014), The Extraordinary Image: Orson Welles, Alfred Hitchcock, Stanley Kubrick, and the Reimagining of Cinema (2016), Politics Goes to the Movies (2018), Eyes Wide Shut: Stanley Kubrick and the Making of His Final Film (2019), and, with Nathan Abrams, Kubrick: An Odyssey (2024). Marsha Gordon is Professor and Director of Film Studies at North Carolina State University, USA. She is the author of Becoming the Ex-Wife: The Unconventional Life & Forgotten Writings of Ursula Parrott (2023), Film is Like a Battleground: Sam Fuller's War Movies (2017), and Hollywood Ambitions: Celebrity in the Movie Age (2008), and co-editor of Screening Race in American Nontheatrical Film (2019) and Learning With the Lights Off: Educational Film in the United States (2012). Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers (2016), he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X. His work also appears on Pages and Frames. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

This fifth edition of Film, Form, and Culture (Routledge, 2024) offers a lively introduction to both the formal and cultural aspects of film. With extensive analysis of films past and present, this textbook explores how films are constructed from part to whole: from the smallest unit of the shot to the way shots are edited together to create narrative. Robert P. Kolker and Marsha Gordon demystify the technical aspects of filmmaking and demonstrate how fiction and nonfiction films engage with culture. Over 265 images provide a visual index to the films and issues being discussed. This new edition includes: an expanded examination of digital filmmaking and distribution in the age of streaming; attention to superhero films throughout; a significantly longer chapter on global cinema with new or enlarged sections on a variety of national cinemas (including cinema from Nigeria, Senegal, Burkina Faso, South Korea, Japan, India, Belgium, and Iran); new or expanded discussions of directors, including Alice Guy-Blaché, Lois Weber, Oscar Micheaux, Agnès Varda, Spike Lee, Julie Dash, Jafar Panahi, Ava DuVernay, Jane Campion, Jean-Pierre and Luc Dardenne and Penny Lane; and new, in-depth explorations of films, including Within Our Gates (1919), Black Girl (1966), Creed (2015), Moonlight (2016), Wonder Woman (2017), Get Out (2017), Black Panther (2018), Parasite (2019), Da 5 Bloods (2020), The French Dispatch (2021), The Power of the Dog (2021), RRR (2022), and Tár (2022). Robert P. Kolker is Professor Emeritus at the University of Maryland, College Park, USA. He is the author/editor of several books on film including The Oxford Handbook of Film and Media Studies (2008), A Cinema of Loneliness, 4th edition (2011), The Cultures of American Film (2014), The Extraordinary Image: Orson Welles, Alfred Hitchcock, Stanley Kubrick, and the Reimagining of Cinema (2016), Politics Goes to the Movies (2018), Eyes Wide Shut: Stanley Kubrick and the Making of His Final Film (2019), and, with Nathan Abrams, Kubrick: An Odyssey (2024). Marsha Gordon is Professor and Director of Film Studies at North Carolina State University, USA. She is the author of Becoming the Ex-Wife: The Unconventional Life & Forgotten Writings of Ursula Parrott (2023), Film is Like a Battleground: Sam Fuller's War Movies (2017), and Hollywood Ambitions: Celebrity in the Movie Age (2008), and co-editor of Screening Race in American Nontheatrical Film (2019) and Learning With the Lights Off: Educational Film in the United States (2012). Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers (2016), he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X. His work also appears on Pages and Frames. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

ما بالاخره برگشتیم! خوش آمدین به اپیزود 27 دابل کازین که در این اپیزود به سراغ یکی از حرفه‌ای ترین کارگردانان زن سینمای جهان رفتیم. خانم جین کمپیون عزیز و در ادامه به دو اثر درخشان از کارنامه ایشون هم پرداختیم: The PianoThe Power of the Dog حمایت مالی از دابل کازین:حمایت ریالیحمایت ارزیتماس با ماGmailTwitterInstagramYouTube #arts #leisure Hosted on Acast. See acast.com/privacy for more information.

You knew this day would come. It was inevitable. We're covering Jane Campion's THE PIANO. How does Ryan feel about this one? This was the one film of the filmography that he remembered quite fondly but now, decades later and now a co-host of an alternative film review podcast, with an active dislike for the other films we have covered of this particular filmmaker, how will it fare? I guess you're going to have to find out if this classic and most revered film of the time passes that gauntlet. (Don't worry about Laura, she loves everything.)

Cohen Holloway is one of Aotearoa's most gifted actors and funniest human beings. He has had a prolific career as both a drama and comedy performer having appeared in everything from Taika's Eagle v Shark; Boy; Hunt for the Wilderpeople and Thor:Ragnorok to Jane Campion's Top of the Lake and Power of the Dog.We loved this chat and it went so long we had to cut it in half. Part two coming next week!Follow us on Instagram here!Follow us on TikTok!And subscribe to our YouTube channel!This is a Frank Podcast. Hosted on Acast. See acast.com/privacy for more information.

Globally renowned for creating iconic hairstyles on famous names and faces across music, film, fashion and art – from supermodels to Hollywood A-listers – session hair stylist Raphael Salley has amassed an awe-inspiring roll-call of devoted clients and collaborators during his expansive career.We're talking Claudia Schiffer, Kate Moss, Helena Bonham Carter, Charlotte Tilbury, Givenchy, The Vampire's Wife, Versace, Agent Provocateur, Isabel Marant, Juergen Teller, Harley Weir, Nick Knight and Edward Enninful…as well as fashion publications – Dazed, AnOther Magazine and Vogue.From serendipitously bumping into fashion hair legend Eugene Souleiman in make-up mecca Screen Face in West London, to getting approached by global creative talent agency Streeters, to this Dazed and Confused shoot that would lead to hair consultancies for Hollywood directors Jane Campion and Matthew Vaughn, Raph tells us about the moments that shaped his career and lets us in on his secrets for getting the best out of a subject in the styling seat. During the episode, Raph also opens up to us about how he rebuilt his confidence and his career after overcoming a life-changing trauma and the lessons he learned along the way.  “Once the trust is gained with the artist, once that person is feeling comfortable in your chair, you can pretty much do anything! They'll say, yeah, go for it”.Wondering what that book of healing poetry Raph mentioned a certain actor read to him was? Wonder no further. EPISODE INSIGHTSDeveloping long-lasting relationships with A-list clientsThe importance of seeing an opportunity and taking itRebuilding a career in the wake of physical traumaStories from an illustrious careerFind out more about Raph @raphaelsalleyWe'd love to know what you thought of the episode @creativebloodworldEPISODE CREDITSHosted by Laura ConwayProduced by Ben Tarrant-BrownMusic by Ben Tarrant-Brown

Nous sommes en 2017, c'est le 70ème anniversaire du festival de Cannes. Sur les marches du Palais, une flopée de cinéastes se tiennent debout pour une session photo. Au milieu d'une marée d'hommes (tous blancs, d'ailleurs) se tient une seule et unique femme, les yeux encadrés par de larges lunettes, ses longs cheveux gris, tombant en cascade sur ses épaules. Une femme qui a marqué l'histoire du festival de Cannes… et du cinéma. Connaissez-vous l'histoire de Jane Campion ?Cet épisode a été écrit par Anaïs Bordages et raconté par Juliette Livartowski.Pour retrouver l'ensemble des ressources, rendez-vous sur : https://www.binge.audio/podcast/connaissez-vous-lhistoire-de/jane-campion-la-lecon-de-cinemaCRÉDITSConnaissez-vous l'histoire est un podcast de Binge Audio raconté par Juliette Livartowski. Autrice : Anaïs Bordages. Réalisation : Paul Bertiaux. Production : Charlotte Baix et Juliette Livartowski. Edition : Lucile Leboutet. Générique : François Clos et Thibault Lefranc. Identité sonore Binge Audio : Jean-Benoît Dunckel (musique) et Bonnie El Bokeili (voix). Identité graphique : Sébastien Brothier (Upian). Direction des programmes : Joël Ronez. Direction de la rédaction : David Carzon. Direction générale : Gabrielle Boeri-Charles. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

SEASON 2 - EPISODE 83 - PAUL SCHNEIDER - ACTOR On this episode of the Team Deakins Podcast, we speak with actor Paul Schneider (BRIGHT STAR, THE ASSASSINATION OF JESSE JAMES, GEORGE WASHINGTON). Growing up in a small town in North Carolina, Paul shares how working in film and television never crossed his mind until a pivotal viewing of Jane Campion's THE PIANO. Attending film school following the encouragement and support of a high school teacher, Paul studied editing but found himself frequently cast in his friends' short films, culminating in a performance in GEORGE WASHINGTON, shot entirely by his film school friends. Paul later shares how, to prepare for a role in Jane Campion's BRIGHT STAR, he practiced his Scottish accent by studying a copy of TRAINSPOTTING. We later discuss the importance of a director having a clear vision for a film and loving a collaborative director who includes their crew and cast in their creative decision making process. Paul also reveals the secret character trait that informed his character in JESSE JAMES, and we discuss the emotional mathematics of the collaboration found in filmmaking that result in a film's final cut. - This episode is sponsored by the Dallas Film Commission & Godox

On this episode, I spoke to costume designer Wendy Chuck about her work on The Holdovers.  Chuck has collaborated with some of the film industry's most celebrated talents including Alexander Payne, Tom McCarthy, Jack Nicholson, George Clooney, Robert Redford, Jane Fonda, Matt Damon, Ben Affleck, and Jane Campion. Her alchemy with fabric, texture, pattern, and color have brought life to a diverse range of characters on screen: Nebraska's rustic Midwesterners, Election's conniving high-schooler, Twilight's teenage vampires, Spotlight's journalistic team, and the inhabitants of Downsizing's miniaturized world. In 1994, the Australian Film Institute nominated Chuck for Best Achievement in Costume for the period piece Country Life (1994) starring Greta Sacchi and Sam Neill. Other awards followed including a win from the Costume Designers Guild for About Schmidt (2003), and nominations for The Descendents (2011) and Nebraska (2014). Chuck has enjoyed a long standing working relationship with acclaimed writer/director Alexander Payne and has served as costume designer on all but one of his features. They have collaborated on hits like Sideways (2004) starring Paul Giamatti and Election (1999) starring Reese Witherspoon. She is currently working on Disney's Lilo and Stitch (2024) and her own capsule collection.

In honor of the Academy Awards, we're revisiting our 2017 interview with Keith Carradine, who won his Oscar for writing and performing the song “I'm Easy” in Robert Altman's masterpiece Nashville (1975). Since we spoke, the actor has remained a familiar face on television as he and his siblings carry on the acting tradition that began with his prolific papa John Carradine. Like his dad, he eased into the niche of a “working actor,” starring on Broadway, logging 105 episodes of Madam Secretary—as the President of the United States—and even turning up in Jane Campion's Oscar-winning The Power of the Dog. He's a laid-back charmer who makes what he does look easy.  

In this week's meeting of the Erotic Thriller Club America's sweetheart witnesses dungeon fellatio in a very scary New York City! Meg Ryan, Mark Ruffalo, urban dictionary, celebrity nudity!

I am quite the town freak, which satisfies! This week, your hosts--Cameron Linly Robinson and Kemari Bryant-- discuss Jane Campion's The Piano which made her the second woman to ever be nominated for Best Director. Enjoy! And let us know what you think!Support the showFilm Club 3000Film Now. Film Then. Film Always.filmclub3000.com@filmclub3000

From Merchant Ivory's classic adaptations of E. M. Forster novels to the BBC's beloved rendition of Jane Austen's “Pride and Prejudice,” the greatest period dramas are the ones that succeed in translating the emotional experience of another era for a modern audience. On this episode of Critics at Large, the staff writers Vinson Cunningham, Naomi Fry, and Alexandra Schwartz discuss their personal favorites—namely Greta Gerwig's take on “Little Women” and Jane Campion's “Bright Star,” which chronicles the star-crossed love affair between the poet John Keats and Fanny Brawne—and how the genre is changing. Often, the pleasure of these stories lies in their rigorous depictions of the mores and customs of the past. But recent hit series, including “Dickinson,” “Bridgerton,” and “The Great,” have adopted a marked ahistoricism, evident in the dialogue, soundtracks, and the treatments of race and sexuality. The hosts consider how “The Buccaneers,” on Apple TV+, departs from the Edith Wharton novel on which it's based by skipping over the sociopolitical details that form the backbone of Wharton's story. Do contemporary flourishes accentuate the appeal of the genre, or dilute it? “The strangeness of the past is precisely what makes it amazing when we find out that it is relatable to us,” Cunningham says. “If you make everything relatable, you've eliminated the thrill of discovery.” Read, watch, and listen with the critics: “A Room with a View” (1985) “Bridgerton” (2020-22) “Bright Star” (2009) “Crouching Tiger, Hidden Dragon” (2000) “Dickinson” (2019-21) “Hamlet” (2000) “Howards End” (film, 1992; miniseries, 2017) “Little Women” (2019) “Mansfield Park,” by Jane Austen (film, 1999) “Marie Antoinette” (2006) “Memoirs of a Geisha,” by Arthur Golden (film, 2005) “Napoleon” (2023) “Pride and Prejudice,” by Jane Austen (miniseries, 1995; film, 2005) “The Buccaneers,” by Edith Wharton (series, 2023) “The Custom of the Country,” by Edith Wharton “The Great” (series, 2020-23) New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts. Learn more about your ad choices. Visit podcastchoices.com/adchoices

We go from the Bavarian alps to the shores and landscapes of New Zealand this week to discuss Jane Campion's Academy Award winning film – “The Piano”. Join Adam, Britt, & Joey as they discuss the wonderful technical elements of the film, the polarizing performance of Holly Hunter, and whether or not the characters played by Sam Niell and Harvey Keitel are losers. Also, 1993 Academy Award talk, metal fingers, and a list created specifically for this episode. Plus, this week Britt recommends “Possession” (currently on Shudder), Joey recommends “Hush”, and Adam recommends “The Power of the Dog” (currently on Netflix). You can listen to us on Apple Podcast, Stitcher, Spotify, & Google Play. You can find us on Twitter, Instagram, & Facebook at facebook.com/1001by1. You can send us an email at 1001by1@gmail.com. Intro/Outro music is “Bouncy Gypsy Beats” by John Bartmann.

La réalisatrice québécoise âgée de 41 ans nous reçoit à l'occasion de la sortie de son nouveau film Simple comme Sylvain chez une amie très proche à Paris, à deux pas de Saint-Germain-des-Près.Monia Chokri évoque son enfance à Québec auprès d'un père peintre tunisien, joueur et débatteur et d'une mère d'origine écossaise qui a fait carrière dans le syndicalisme. Depuis petite, elle baigne dans un environnement très ouvert à la culture française mais après une passion précoce pour Renaud, elle développe une fascination pour Jimi Hendrix, Aerosmith et Guns N'Roses. Elle passe du temps devant la télé et rêve déjà de devenir actrice. De la peinture à la photographie en passant par l'écriture, elle cherche l'endroit où canaliser sa créativité, puis elle passe par le conservatoire et commence à s'épanouir devant la caméra de Xavier Dolan. Chez les contemporains, elle admire également Paul Thomas Anderson, Alice Rohrwacher, Martin Scorsese ou Jane Campion, « la mère de toute ». Elle aborde sa dernière réalisation Simple comme Sylvain qu'elle voit comme un film sur l'ouverture vers l'autre, son parfum Viva la Juicy dont elle n'assume pas trop le packaging et son goût pour le Tarot Madoni.Elle revient aussi longuement sur la question du couple ou de l'amour : « Le couple est un système capitaliste, l'amour, un système anarchiste. J'ai envie d'aimer. Je suis bien quand je suis amoureuse, par contre je suis mal en couple. J'ai eu des parents rebelles qui m'ont dit les cadres bof. C'est vrai que les règlements, ça m'a toujours fatiguée. »Depuis cinq saisons, la journaliste et productrice Géraldine Sarratia interroge la construction et les méandres du goût d'une personnalité. Qu'ils ou elles soient créateurs, artistes, cuisiniers ou intellectuels, tous convoquent leurs souvenirs d'enfance, tous évoquent la dimension sociale et culturelle de la construction d'un corpus de goûts, d'un ensemble de valeurs.Un podcast produit et présenté par Géraldine Sarratia (Genre idéal) préparé avec l'aide de Diane Lisarelli et Johanna SebanRéalisation : Emmanuel BauxMusique : Gotan Project

¡Vótame en los Premios iVoox 2023! En la edición de hoy de El ContraPlano, el espacio dedicado al cine dentro de La ContraCrónica, los contraescuchas nos traen los siguientes títulos: – «Bright Star” (2009) de Jane Campion - https://amzn.to/3Q3UxY6 – «Buñuel en el laberinto de las tortugas» (2018) de Salvador Simó - https://www.rtve.es/play/videos/somos-cine/bunuel-laberinto-tortugas/5807848/ – «Las Hurdes, tierra sin pan» (1933) [documental] de Luis Buñuel - https://www.youtube.com/watch?v=qO86FO1bs6g - "Blasphemous" (videojuego) - https://amzn.to/3FshkYO 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 #buñuel #blasphemous Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

This week, episode 2 of Scott and Matt chatting about some of our biggest blind spots in the BFI Sight and Sound top 100 films list. Up this week is Scott's first pick: Jane Campion's The Piano Then we chat about some recent box office, strike and stereaming news Next week: Blind Spots continues with Matt's second pick: Metropolis  Support us on Patreon Follow us on Twitter: @doofmedia See all of our podcasts, writing, and more at doofmedia.com! SHOW NOTES: 2:26 - The Piano 1:02:11 - Entertainment news!

Melisa reported a too early deliver and Meghan has some thoughts on International Women's DayThey then discuss if listeners were wrong in the following situations:Grandma claiming you owe her moneyA friend buy concert tickets and wanting to be paid backBeing coerced into a relationshipBoyfriend taking his friend to your date spotAnd in "But Are They Wrong" AKA "Rachel of The Week" they discuss Jane Campion, Kimora Lee Simmons' ex Tim Leissner, and Bob Saget Death ConspiratorsWrite In: butamiwrongpod@gmail.comWeigh In: Vote in the weekly poll on Instagram https://www.instagram.com/meghanandmelisa/Buy Our Merch: https://store.dftba.com/collections/don-t-blame-meJoin Our Patreon: https://www.patreon.com/dontblamemeListen to Don't Blame Me: https://podcasts.apple.com/us/podcast/dont-blame-me/id1223800566Follow Us:https://www.instagram.com/by.meghan.and.melisa/https://vm.tiktok.com/TTPdYV7J5p/Follow Meghan:https://www.instagram.com/meghanrienks/https://twitter.com/meghanrienkshttps://www.youtube.com/c/meghanrienksFollow Melisa:https://www.instagram.com/sheisnotmelissa/https://www.instagram.com/diamondmprintproductionshttps://twitter.com/SheIsNotMelissa Hosted on Acast. See acast.com/privacy for more information.