Podcast appearances and mentions of John Ford

We're heading out west for the first episode in our Western mini series. We're watching the John Ford classic, The Man Who Shot Liberty Valance, this time on Harmless Phosphorescence! Support the show and get early access and exclusive content on Patreon! Watch us on YouTube! Buy some Merch! https://www.teepublic.com/stores/attention-hellmart-shoppers Check out Executive Producer Michael Beckwith's movie website at https://upallnightmovies.com/ Siskel and Ebert Scale Josh - Up Brian - Up Al - Up Thoreau - Up

Get access to this entire episode as well as all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.More new movie talk as we take on the most divisive film of the summer, Ari Aster's COVID-era neo-western Eddington. The film follows Joaquin Phoenix as Joe Cross, the sheriff of Eddington, NM who - frustrated by the state's mask mandates in early 2020 - decides to run for mayor to depose the incumbent Ted Garcia (Pedro Pascal), a boilerplate liberal looking to move the town into the future by granting subsidies to a tech company attempting to build a data center at the edge of town. The film also traces the various conflicts that erupts as the era's wave of Black Lives Matter protests (following the murder of George Floyd) run up against the sheriff's department and the competing ideologies of the townsfolk, all emboldened by the hypermediated, isolated existences that defined the pandemic.We beging by addressing the film's politics, rejecting criticisms of the film as "centrist" or evincing a "both sides are bad" mentality, instead revealing the fundamental retreat of material politics as the defining order of the 2020s. Then, we discuss the film as western, how it embraces the lineage of John Ford, and how its world of localized, independent vacuums of internet-fed ideology suggest a collapse of the dialectic. Finally, we look at what the movie has to say about Big Tech, the victims of capitalism, and its (quite cynical) read on where America all headed.Read Alex on Eddington at More Like Shit StackRead Ed Berger on Eddington at Reciprocal Contradicton 2.0....Our theme song is "Mirror" by Chris Fish

Esta semana desde El Cine en la SER repasamos la historia de Karate Kid a propósito del estreno de su nueva película 'Karate Kid: Legends' y  viajamos de Madrid a Londres para charlar con Jaime Lee Curtis y Lindsay Lohan sobre la secuela de la comedia dosmilera 'Freaky Friday' que tanto gustó al público adolescente. Nos visita Eduardo Casanova para hablar sobre su nueva serie vampírica, protagonizada por Ana Polvorosa, María León, Lucía Díez y Leticia Dolera, que se presenta en el Festival de Locarno. También llega a los cines la comedia familiar 'Los Futbolísimos 2: El misterio del tesoro pirata' y conversamos por Alfonso S. Suárez acerca de la ficción sonora 'Mi nombre es John Ford'

CONTENT WARNING: Discussion of racism against Natives, bullying, animal cruelty. Grab your six shooters and your saddles, we're kicking off our first-ever Westerns series! There's a lot in the genre for us to catch up on, and we start this week with a seminal film, one whose importance is unfortunately the only thing it's really got going for it. John Ford practically created the Western as we know making this movie but the dialogue and the characters are so rigid that it's somehow boring for a 90-minute movie. Still, if you've ever rolled your eyes at John Wayne and wondered "how the hell did he get to be a movie star", look no further than his performance here, smoldering and intense while staying relatable. The cast is pretty great, and the stunts are on par with anything that can be done with wires today. Still, this one is more "important" than a fun hang, so proceed with caution. Load up the wagon as we watch 1939's Stagecoach on Have a Good Movie! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on BlueSky! If you like the podcast, please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from the theme to the film The Magnificent Seven, written and composed by Elmer Bernstein. Copyright 1960 Metro-Goldwyn-Mayers Studios Inc. All Rights Reserved. Excerpts taken from the main theme to the film Stagecoach, written and composed by Richard Hageman. Copyright MCMXXXIX by Walter Wagner Productions, Incorporated. Excerpt taken from "The Ballad of High Noon" from the film High Noon, written by Ned Washington, composed by Dimitri Tiomkin, and performed by Tex Ritter. Trademark and Copyright 2007 by Paramount Pictures. All Rights Reserved.

After a hiatus that was inexcusably long, the boys are back to celebrate Episode 40! And since it's a special occasion, they decided to give you a special episode that harkens back to the idea that started it all. Instead of turning their iconic film Olympia into a mini series, the boys try to craft an original series that would get Arnold Schwarzenegger a Primetime Emmy Award from the Academy of Television Arts & Sciences. And they came to play, because the show they create is a banger, if we do say so ourselves. I won't spoil too much in this description, but let's just say Arnie will be taking a trip to Eastern Europe and flexing his political chops again, this time in a more dictatorial way. Can Arnold hold on to this Seat of Power, or is his reign as a nation's leader destined to fail? Beyond just the premise, the boys plot out the rough skeleton of the plot, cast the supporting actors, and even select some writers and directors to help bring this vision to life. If this doesn't win an Emmy for Arnold, nothing will.Don't worry, we know you're all waiting to hear what the opening segment will be. Today the boys imagine Arnold in the role of Thomas Mitchell's character Doc Boone in John Ford's 1939 picture "Stagecoach." Can Arnold handle playing a drunken old doctor in the wild west? Yes, we think he certainly can. Although whether or not he can win an Oscar in the early years of World War II might prove to be a challenge.Hosted by Sonny de Nocker (@swankysonny) and Tom Price (@thomas_price22).Theme by Josh Britt (jbrittmusic.com)Instagram: AnOscarForArnoldTwitter: @AnOscar4ArnoldTikTok: AnOscarForArnoldContact: AnOscarForArnold@gmail.com

Frame Fatale es un podcast de películas ¿no canónicas? hecho con amor por Santiago Calori, Axel Kuschevatzky y Sebastián Rotstein.En el centésimo trigésimo séptimo episodio nos ocupamos de Prisionero del odio (The Prisoner of Shark island, 1936) de John Ford.Podés comentar este episodio o agregar una pregunta que nada que ver enviándonos un correo electrónico a ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠nolahepodidover@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.Quizás sea una pegada total suscribirte en donde sea que escuches tus podcasts y tener la primicia, algo que, de todas maneras, y ya explicamos varias veces, es lo menos importante.

Training camp has begun and the Wounded Tigers are feeling meh. Mikey Fish, Brother Charles, and John Ford join Al to discuss Shemar Stewart and the arc of comedy history via Conan O'Brien's influence

JOLIE ROOT, senior nutritionist, CARLSON how EPA/DHA from Fish Oils help us achieve beautiful skin, heart health,  and improved cognition & vision health as we age     JOHN FORD COLEY, hit record, "I'd Really Like To See You Tonight" with his musical partner England Dan. 4 top ten hits  and 2 top twenty hits. John wrote the  hit theme song for the T.V. show James At 15. John  works as an actor and is currently touring with his band

Encore! Encore! - This summer we're revisiting some of our favorite episodes. Contining with some more rootin tootin escapades in the Wild West, lets take another look at two films rich some of the most ledgendary filmmaker's and talent to grace the genre, Stagecoach (1939) and Ragtime (1981)! A classic, beloved Western from 1939 - the watershed greatest year of cinema almost didn't happen. At the time, everyone thought the Western was dead, except John Ford – he was right, they were wrong.  The other film featured one of the greatest acting legends of Hollywood in his last and rivetting film role in 1981 as a tyrannical turn of the century police commissioner  – this actor starred in his first hit role in films in 1939 in a classic gangster drama – any ideas?! …while not a commissioner my  producer extraordinaire and wingman,  actor and cinephile, John, Schwab polices this show with j'nai sais quoi so... Let's go to the movies! To find out more about this and past episodes' movies, including trivia and other fun facts, visit the official Cinema Sounds & Secrets website. 

Relax, I'm on island time. John Ford's exotic hangout comedy is the topic of today's discussion. A racial farce, Lee Marvin as a train guy, and some truly chill vibes. Then, on Malcolm in the Middle, we got into Such Good Friends, Shifty, and The Phoenician Scheme. Get the full episode at patreon.com/extended_clip

https://notesonfilm1.com/2025/07/21/jose-arroyo-in-conversation-with-daniel-bird-on-the-fall-of-otrar-ardak-amirkulov-1991/ My choice for must-see film of this year's Cinema Rediscovered is Ardak Amirkulov's THE FALL OF OTRAR (USSR, 1991), which will have its UK Premiere in Bristol's old IMAX cinema, now called the Bristol Megascreen, on Sat 26th of July. As Daniel Bird says in the podcast, ‘it's a once in a lifetime occasion'. I wanted to talk to Daniel about the film because he knows more about it than anyone I know, because he speaks so articulately and with such an expansive frame of reference and because he's the one who proposed the restoration to Cecilia Cenciarelli, one of the four artistic directors of Bologna's Il Cinema Ritrovato and part of The World Cinema Project, whose goal is to restore great film from around the world. Such as this one. THE FALL OF OTRAR is an epic set in the 13th Century where an obedient servant of the state Undzhu (Dokhdurbek Kydyraliyev) is persecuted for telling Kaiyrkahn (Tungyshpai Zhamankulov), his ruler, what he doesn't want to hear, which is that Otrar is soon to be invaded by Genghis Kahn. The film is an extraordinary aesthetic experience, a film of great style, structured in two halves, with the last part depicting the siege of Otrar and battles sequences that clearly use Kurosawa's KAGEMUSHA (1980) as a reference point whilst transforming before our eyes into something else altogether. The film has crane shots that rival Leone's, poetic compositions that recall John Ford's, and a selective use of sepia and colour that recall some of the masters of the late Soviet era. A beautiful film that feels epic and yet very intimate as well. In the accompanying podcast Daniel tells me of THE FALL OF OTRAR's fascinating production history (it was part of a national search for ‘new blood' from the ‘regions'; it began filming just as the Soviet Union was unravelling, it started off as Amirkulov's graduation project, it is now one of the key works of Kazahkstan cinema); his own involvement with the project; how the film can be seen as the result of a Russian influence in the dramaturgy and an East Asian, particularly Japanese, influence in the visual aesthetic. We talk too of the film's initial distribution at home and in New York, Martin Scorsese's involvement, and how this new release is demonstrating how the film is also one that speaks to our times, and the various ways it does so. There are digressions (Russian Formalism, Deleuze and Guattari's A THOUSAND PLATEAUS: CAPITALISM AND SCHIZOPHRENIA, showing vs telling in cinema….and much more. It can be listened to below:

Send us a textGeorge Feltenstein announces the Warner Archive's August releases, featuring a diverse lineup including classic dramas, a Technicolor musical, a John Ford film, a 4K crime thriller, and a complete Hanna-Barbera series.• "The Hard Way" (1943) starring Ida Lupino in possibly her finest performance as a driven woman advancing her sister's career• "That Midnight Kiss" (1949) introducing Mario Lanza alongside Catherine Grayson in a Technicolor musical about classical music• "Intruder in the Dust" (1949) addressing racism and lynching in the South with Juano Hernandez in a powerful social drama• "Seven Women" (1966), John Ford's final film about female missionaries in 1935 China starring Anne Bancroft• "Get Carter" (1971) on 4K UHD featuring Michael Caine as a ruthless killer, restored in partnership with the British Film Institute• The complete "Huckleberry Hound Show" on 11 Blu-ray discs, featuring all 68 episodes as originally broadcast from 1958-1962Check out the Warner Archive Facebook page for pre-order information and release dates for all these titles. Currently pre-orders are not yet available. Warner Archive Store on AmazonSupport the podcast by shopping with our Amazon Affiliate linkDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.The Extras Facebook pageThe Extras Twitter Warner Archive & Warner Bros Catalog Group As an Amazon Affiliate, The Extras may receive a commission for purchases through our purchase links. There is no additional cost to you, and every little bit helps us in the production of the podcast. Thanks in advance. Otaku Media produces podcasts, behind-the-scenes extras, and media that connect creatives with their fans and businesses with their consumers. Contact us today to see how we can work together to achieve your goals. tim@theextras.tv

https://notesonfilm1.com/2025/07/18/thinking-aloud-about-film-cinema-rediscovered-2025-preview/ Richard and I are once more excited about the prospect of Cinema Rediscovered, which begins next week on the 23rd and runs right to the 27th at the Watershed in Bristol. This year's is a beautifully balanced programme with directors (Carlos Saura, Maria Luisa Bemberg, Stephanie Rothman, Yasuzō Masumura) and stars (Anna Me Wong) ripe for rediscovery; but also featuring key exemplars of queer cinema (MY BEAUTIFUL LAUNDERETTE, DESERT HEARTS, THE ANGELIC CONVERSATION; ostensibly the first film to feature queer representation in India, BADNAM BASTI (NEIGHBOURHOOD OF ILL REPUTE); black cinema (HANDSWORTH SONGS, THE KILLER OF SHEEP), feminist exploitation cinema (THE WORKING GIRLS, THE VELVET VAMPIRE); key work's from classic directors (Sam Fuller's THE HOUSE OF BAMBOO, John Ford's YOUNG MR. LINCOLN; a whole strand of 1980s British Cinema (from ABSOLUTE BEGINNERS to A ZED AND TWO NOUGHTS),  newly restored masterpieces (THE FALL OF OTRAR, YEELEN); and a smattering of films from practically every hemisphere. A great program, which includes not only films but workshops, talks, introductions; for Cinema Rediscovered is not only about seeing films in the best possible conditions but also about learning on cinema from filmmakers, curators, programmers, critics, academics and other practitioners.

A Política recorre mais à História ou a historietas? Neste episódio, João Pereira Coutinho e Manuel Cardoso refletem sobre a importância da História e sobre o que acontece quando eventos históricos são distorcidos para servir propósitos políticos.O estudo da História é fundamental para compreender o passado e contextualizar o presente, mas são poucos os políticos que o valorizam.De  Churchill a Che Guevara, da derrota alemã na 2ª Guerra ao autoritarismo chinês, a dupla explora o papel da história na formação da identidade e na justificação das decisões do presente. Afinal, como defendeu Maurice Halbwachs, a memória coletiva parece ter mais a ver com o presente do que com o passado.Terá a História leis internas que um estadista pode descortinar e usar a seu favor? E será o ressentimento o principal motor dos acontecimentos? Tem ideia do que é o revisionismo histórico? E o que pensa sobre dilemas contemporâneos como a devolução de artefactos aos territórios de origem?Junte-se a esta conversa, que ficará para a história, pelo menos do [IN]Pertinente.REFERÊNCIAS ÚTEISFERRO, Marc, «A Cegueira - Uma Outra História do Nosso Tempo» (Cavalo de Ferro)FERRO, Marc, «O Ressentimento na História» (Teorema)FIGES, Orlando, «A História da Rússia» (Dom Quixote)JENKINS, Tiffany, «Keeping Their Marbles» (Oxford University Press)MACMILLAN, Margaret, «The Uses and Abuses of History» (Profile)POPPER, Karl, «A Pobreza do Historicismo» (Esfera do Caos)Filme: «O Homem que Matou Liberty Valance» (de John Ford, 1962)BIOSMANUEL CARDOSOÉ humorista e um dos autores do programa de sátira política «Isto É Gozar Com Quem Trabalha», da SIC. Faz parte do podcast «Falsos Lentos», um formato semanal de humor sobre futebol. É o autor da rubrica radiofónica diária «Bem-vindo a mais um episódio de», nas manhãs da Rádio Comercial. Contribui semanalmente para o Expresso, desde 2023, com uma crónica semanal.JOÃO PEREIRA COUTINHOProfessor do Instituto de Estudos Políticos da Universidade Católica, onde se doutorou em Ciência Política e Relações Internacionais. É autor dos livros «Conservadorismo» e «Edmund Burke – A Virtude da Consistência». Ao longo de 25 anos tem assinado artigos na imprensa nacional e é colunista do diário brasileiro «Folha de S. Paulo», o maior jornal da América Latina.

This second week in Have You Ever Seen's month of funny films has Ryan covering the more sweet than hilarious WWII war comedy Mister Roberts. The legendary director John Ford and his co-director Mervyn LeRoy had a strong cast to work with, although Ford's mean-spirited temper comes up often in this episode. Henry Fonda is not at his very best in the title role, but he's still awfully good. James Cagney plays the ship captain, William Powell is likably charming as the doctor and Jack Lemmon won his 1st Oscar for playing Ensign Pulver with plenty of panache. So dive into our 676th episode as it pieces through the goofy hijinks and the occasionally powerful emotion of Mister Roberts. Have faith that an enemy pilot doesn't fly his plane into you while you drink Sparkplug Coffee...but order plenty of it whether he might do that or not! Sparkplug gives our listeners a onetime 20% discount. Those who use our "HYES" promo code get that. The website: sparkplug.coffee/hyes. We'd love if you would subscribe to Have You Ever Seen in your podcast app...and on YouTube, for that matter (@hyesellis in your browser). Rate, review, comment, you know the deal. Email us: haveyoueverseenpodcast@gmail.com. Socials? We're @moviefiend51 and @bevellisellis on Twi-X and ryan-ellis and bevellisellis on Bluesky.

This week after much amusement up top, Professor CHO continues his series on War corespondence throughout history by analyzing the man who made John Wayne "The Duke", legendary Hollywood director and all around bad ass John Ford!  TraeCrowder.com to see Trae  coreyryanforrester.com to see Corey in Lexington and   head over to MyBookie to get started bettin on Pro Wrasslin! https://mybookie.website/joinwithPOA Keep your  swampiest body parts fresh and cool. For a limited time, our listeners get 10% off their first bidet order when you use code POA at checkout. That's 10% off your first bidet order at HelloTushy.com with promo code POA.   factormeals.com/POA50off to get 50% off your first order of great ready to eat meals!  trueclassic.com/poa to get hooked up on the BEST FITTING T SHIRTS 

Hola Gerardo aquí en otro episodio de Simplemente Yo; La selección de esta semana es The Searchers, es una película épica western estadounidense de 1956 dirigida por John Ford y escrita por Frank S. Nugent, basada en la novela de 1954 de Alan Le May.   En este episodio del podcast, exploramos la historia de Ethan Edwards,  en una búsqueda de años para rescatar a su sobrina de los comanches. Abordamos los temas subyacentes del prejuicio racial y los conflictos históricos entre colonos y nativos americanos. Analizamos la influencia de la película en futuros cineastas y su controvertida representación de la raza, destacando la relevancia de The Searchers en los debates sobre cine e historia. Este episodio es un análisis profundo de una de las mayores contribuciones de John Ford al cine.   Plot: Un veterano de la Guerra Civil estadounidense se embarca en un viaje de años para rescatar a su sobrina de los comanches después de que el resto de la familia de su hermano es masacrada en una redada en su granja de Texas. Espero que lo disfruten ;) Información adicional del podcast: Enlace del website official de Filmic Notion Podcast: https://filmicnotionpod.com/ Enlace a nuestra página de Letterboxd: https://boxd.it/446nl  

This week Harrison will review "The Iron Horse (1924)" starring George O'Brien and directed by John Ford#theironhorse #georgeobrien #johford #reelyoldmoviesJoin my Discord!: https://discord.gg/VWcP6ge2Donate to my Streamlab here: https://streamlabs.com/sl_id_ff883caf-a8d0-3d7b-980b-9557565e1fe3/tipSocial Media Links: https://linktr.ee/reelyoldmovies

In this episode RCP Medicine Podcast, we are joined by Dr John Dean, Clinical Vice President at the Royal College of Physicians and a physician in East Lancashire, and Dr John Ford, an academic public health doctor and Senior Clinical Lecturer at Queen Mary University. Together. They explore the multifaceted nature of health inequalities and discuss actionable steps physicians can take to address these disparities. Both share their personal experiences and professional insights into health inequalities and how it shaped their understanding of social and economic disadvantages. They discuss the structural factors within society that lead to health inequalities and emphasise the importance of creating a fairer, more inclusive society. The conversation focusses on the role of clinicians in addressing health care inequalities and the need for continuous improvement in healthcare design and delivery.ResourcesBridging the gap: a guide to making health inequalities a strategic priority for NHS leadersA snapshot of UK doctors: experiences of health inequalitiesSupporting clinicians to address health inequalities in practiceRCP view on health inequalities: a call to action for a cross-government strategyRCP LinksEducation and learning | RCP Events | RCP Membership | RCP Improving care | RCP Policy and campaigns | RCP RCP Social MediaInstagramLinkedInFacebookXBlueskyCreditsMusic by bensound.comFundingThis episode was funded by Vertex Pharmaceuticals (Europe) Limited. Vertex had no involvement in the creation and elaboration of this episode and all views and opinions expressed by the presenter and guests are solely their own.

The myth of Wyatt Earp ignited at the ascent of cinema, his alleged Old West exploits embellished on celluloid during the Silent Era so that he was a full-fledged American legend come the golden age of Hollywood. Earp westerns were such an established staple that Law and Order, the first movie to star a surrogate Wyatt, was already out in 1932. All the familiar elements were there - Tombstone, Doc Holliday, the gunfight at the O.K. Corral - but the names of the players were different. From fairly straight biographical retellings including The Arizonian and Dodge City to radical revisions like Sam Fuller's Forty Guns and Edward Dmytryk's Warlock, the "Wyatt Earp movie without Wyatt Earp" has developed into an obscure but crowded subgenre. Who could identify such a subgenre but artist/Old West historian David Lambert, returning to The Pink Smoke to share his thoughts on the cinematic legacy of the killin'est peace officer who ever lived. Why so many thinly-veiled adaptations of the gunfighter's printed legend? How do they stack up next to the official versions, like John Ford's My Darling Clementine? Come for a nice long dive into these and other inquiries, stay for Lambert's killer Andy Devine impression. Hey! Look! It's our Patreon: www.patreon.com/thepinksmoke The Pink Smoke site: www.thepinksmoke.com The Pink Smoke on X: x.com/thepinksmoke John Cribbs on X: x.com/thelastmachine David Lambert on X: x.com/DavidLambertArt

SEASON 2 - EPISODE 147 - Turning the Tables - TRUE GRIT - David Mullen Cinematographer David Mullen (Season 1, Episode 83 & Season 2, Episode 113) returns for a new edition of the “Turning the Tables” series in this episode of the Team Deakins Podcast. David's questions center around our work on the Coen Brothers' 2010 version of TRUE GRIT, and we had a wonderful time answering them. In addition to the questions concerning how we actually made the film, we also discuss the long history of westerns and the visual variety within the genre. We also reveal the story behind the push-in in the opening shot of the film, what was on location and what was on stage, and how we shot the river crossing scene. We later reflect on working with then-child actor Hailee Steinfeld, and we discuss the script's unique and engaging dialogue. We also reflect on the utility of cowboy hats and on the visual strength of westerns directed by John Ford and Sergio Leone, and we swap stories from our early-career, low-budget exterior shoots. Topics also include: film stocks, aspect ratios, lighting locations and sets, and nighttime nightmares shooting a black mare against a black sky. - Recommended Viewing: TRUE GRIT (2010) - This episode is sponsored by Aputure & Profoto

Ten years ago, 2015 was the year of the epic Western. Two films, Alejandro Iñárritu's The Revenant and Quentin Tarantino's The Hateful Eight, clocked in at an average length of 170 minutes and scored a combined 15 Academy Award nominations, winning 4 between them. As a pair, the two films brought in nearly $700 million at the box office. Along with John Maclean's Sundance darling Slow West, the year marked a return to prominence of the western genre, foreshadowing the next decade's breakout hits like Taylor Sheridan's Yellowstone and Hell or High Water, and Martin Scorsese's Killers of the Flower Moon. Slipping somewhat under the radar in 2015 was the directorial debut of S. Craig Zahler, a prolific author and screenwriter with a penchant for wit, grit, and gore. Zahler cast Kurt Russell, Patrick Wilson, Matthew Fox, and Richard Jenkins in a Western akin to John Ford's The Searchers by way of Wes Craven's The Hills Have Eyes. When townsfolk are kidnapped by a clan of troglodyte cannibals, four men - the sheriff, a cowboy, a gunslinger, and the back-up deputy - ride out as a posse to rescue them. The indie film quickly earned praise for its direction, dialogue, and disturbing imagery, and has built a cult following in the decade hence. But is our posse of hosts in agreement on how Bone Tomahawk lands? Or will we, too, be split down the middle?   For more geeky podcasts visit GonnaGeek.com    You can find us on iTunes under ''Legends Podcast''. Please subscribe and give us a positive review. You can also follow us on Twitter @LegendsPodcast or even better, send us an e-mail: LegendsPodcastS@gmail.com    You can write to Rum Daddy directly: rumdaddylegends@gmail.com    You can find all our contact information here on the Network page of GonnaGeek.com Our complete archive is always available at www.legendspodcast.com, www.legendspodcast.libsyn.com  Music: Title Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 https://creativecommons.org/licenses/by/4.0/

This week Seth Paridon and Jon Parshall take a look at some really, really cool National Archives archival footage. The guys dig into the records of Hollywood director John Ford's Field Photographic Unit that operated on Oahu, mainly at Kaneohe and Pearl Harbor from February-May 1942. In a startling, but super cool, discovery, the guys find footage of VB6's SBD B-15 in flight, one of two SBDs still in Yorktown's hangar to this day. A major portion of this episode focuses on footage that Ford shot of the resurrection, repair, and refloating of the US Navy's battleships at Pearl Harbor. USS California (BB-44), USS West Virginia (BB-48) and USS Nevada (BB-35) are all shown in various stages of having water pumped out, refloated, repaired and put in dry dock. The shots of West Virginia's torpedo damage is stark to say the least. Views of USS Arizona (BB-39), as well as the Big E, USS Enterprise (CV-6) in all her glory are also seen. Give this one a view--you won't be disappointed. National Archives Reel Numbers: 428npc47614, 47615, 47616, and 47617 428npc47620, 47621 428npc47623 428npc47625, 47626, 47627, 47628, and 47629 428npc47631 428npc47634, 47635, 47636 All NARA footage shown is public domain.  #wwiihistory #wwiihistory #ww2 #usnavy #usa #usarmy #medalofhonor #enterprise #aircraft #aircraftcarrier #cv6 #midway #wwii #wwiihistory #ww2 #worldwar2 #usnavy #usnavyseals #usmc #usmarines #saipan #usa #usarmy #aircraft #aircraftcarrier #battleship #battleships #ussenterprise #aircraftcarriers #museum #essex #halsey #taskforce38 #wwii #wwiihistory #ww2 #usnavy #usa #usarmy #medalofhonor #enterprise #aircraft #aircraftcarrier #cv6 #midway #wwii #wwiihistory #ww2 #worldwar2 #usnavy #usnavyseals #usmc #usmarines #saipan #usa #usarmy #aircraft #aircraftcarrier #battleship #battleships #ussenterprise #aircraftcarriers #museum #hollywood #movie #movies #books #mastersoftheair #8thairforce #mightyeighth #100thbombgroup #bloodyhundredth #b17 #boeing #airforce wwii #wwiihistory #ww2 #usnavy #usa #usarmy #medalofhonor #enterprise #aircraft #aircraftcarrier #cv6 #midway #wwii #wwiihistory #ww2 #worldwar2 #usnavy #usnavyseals #usmc #usmarines #saipan #usa #usarmy #aircraft #aircraftcarrier #battleship #battleships #ussenterprise #aircraftcarriers #museum #hollywood #movie #movies #books #oldbreed #1stMarineDivision #thepacific #Peleliu #army #marines #marinecorps #worldwar2 #worldwar #worldwarii #leytegulf #battleofleytegulf #rodserling #twilightzone #liberation #blacksheep #power #prisoner #prisonerofwar #typhoon #hurricane #weather #iwojima#bullhalsey #ace #p47 #p38 #fighter #fighterpilot #b29 #strategicstudying #tokyo #boeing #incendiary #usa #franklin #okinawa #yamato #kamikaze #Q&A #questions #questionsandanswers #history #jaws #atomicbomb #nuclear #nationalarchives #nara #johnford #hollywood

Another podcast with just Phil and Jimmy sharing movies they think the other should watch. Phil's gung-ho on Saving Private Ryan for its gritty truth about war and the sacrifices. Jimmy's choice of Mr. Roberts hilights the reality of how war's waged and how its importance isn't always appreciated. Interesting observation about Jimmy's movies from Phil in this episode.

Carlos Boyero nos trae su propia critica de varias películas. En el Club de la Escucha  nos habla de la figura de John Ford. Nieves Concostrina nos acerca al 4 de junio de 1952: Perón asume su segundo mandato el día que los argentinos ven por última vez a Evita. Terminamos con ' Lo que queda del día' 

El 22 de octubre de 1950 tuvo lugar, en la Crystal Room del Hotel Beverly Hills de Los Ángeles, una de las reuniones más importantes y desconocidas de la historia del cine. Es la época de la Caza de Brujas. A lo largo de varias horas, los mejores directores del cine americano discuten sobre si deben firmar un juramento de lealtad propuesto por Cecil B. De Mille. Las ideas están enfrentadas. Algunos están dispuestos a firmar, otros, como John Ford, no. Las diferentes posturas se van sucediendo. ¿Qué es un traidor? ¿Qué es un patriota? ¿Existe un peligro real? ¿Hay listas negras? ¿Dónde empieza y acaba la libertad? Un periodista radiofónico logró colarse en la reunión y grabarlo todo. Hablamos con Alfonso Suárez, autor y director de "Mi nombre es John Ford".

El 22 de octubre de 1950 tuvo lugar, en la Crystal Room del Hotel Beverly Hills de Los Ángeles, una de las reuniones más importantes y desconocidas de la historia del cine. Es la época de la Caza de Brujas. A lo largo de varias horas, los mejores directores del cine americano discuten sobre si deben firmar un juramento de lealtad propuesto por Cecil B. De Mille. Las ideas están enfrentadas. Algunos están dispuestos a firmar, otros, como John Ford, no. Las diferentes posturas se van sucediendo. ¿Qué es un traidor? ¿Qué es un patriota? ¿Existe un peligro real? ¿Hay listas negras? ¿Dónde empieza y acaba la libertad? Un periodista radiofónico logró colarse en la reunión y grabarlo todo. Hablamos con Alfonso Suárez, autor y director de "Mi nombre es John Ford".

Carlos Boyero nos trae su propia critica de varias películas. En el Club de la Escucha  nos habla de la figura de John Ford. Nieves Concostrina nos acerca al 4 de junio de 1952: Perón asume su segundo mandato el día que los argentinos ven por última vez a Evita. Terminamos con ' Lo que queda del día' 

FBTHS #089 - "Steve & Nan Explore the Wild, Wild West of Old Hollywood" In this episode of From Beneath the Hollywood Sign, hosts Steve and Nan saddle up for a lively conversation about their favorite Western films. From dusty saloons to sweeping desert vistas, they explore the iconic imagery, unforgettable characters, and timeless themes that make the Western genre a cornerstone of American cinema. Whether you're a fan of classic John Ford shootouts or revisionist tales that challenge the myth of the Old West, Steve and Nan share personal picks and behind-the-scenes stories that will have you reaching for your cowboy hat. SHOW NOTES:  AVA GARDNER MUSEUM: If you would like to make a donation to help support the Ava Gardner Museum in Smithfield, N.C. (Ava'a hometown!), please click on the following link: https://ava-gardner-museum.myshopify.com/products/donations Sources: “Ride the High Country: The seed from Which Peckinpah's Revisionist Approach to the Western Genre Would Ultimately Grow,” by Koralkja Suton, www.cinephiliabeyond.org; “The Real-Life Feud That Gave Joan Crawford's Johnny Guitar A Vicious Edge,” September 4, 2022, by Lee Adams, www.SlashMagazine.com; "From Blood Brother to Broken Arrow,” September 18, 2017, by Doug Hocking, True West Magazine; “Winchester '73,” May 2013, by Jonathan Dawson, www.senseofcinema.com; “Philip Yordan,” April 8, 2003, The Guardian; Naked Spur: Offbeat Film of Chase in Colorado, starring Stewart, Ryan, At Stake, March 26, 1953, New York Times; John Ford:  The Man Who Invests America (2019) Documentary directed by Jean-Christophe Klotz Wikipedia.com; TCM.com; IBDB.com; IMDBPro.com; The Criterion Collection; Movies Mentioned:  Ride the High Country (1962), starring Joel McCrea, Randolph Scott, Mariette Hartley, Ron Star, James Drury &  Warren Oates; Broken Arrow (1950), starring James Stewart, Jeff Chandler, Debra Paget, & Jay Silverheels; Day of the Outlaw (1959), starring Robert Ryan, Burl Ives, Tina Louise, David Nelson, Alan Marshall, Venetia Stevenson, & Elisha Cook, Jr.; My Darling Clementine (1946), starring Henry Fonda, Linda Darnell, Victor Mature, Walter Brennan, Cathy Downs, Tim Holt, Ward Bond, Alan Mowbray, & John Ireland; The Naked Spur (1953), starring James Stewart, Robert Ryan, Janet Leigh, Ralph Meeker, & Millard Mitchell; Johnny Guitar (1954), starring Joan Crawford, Mercedes McCambridge, Sterling Hayden, Scott Brady, Tim Holt, Ernest Borgnine, & John Carradine; Winchester 73 (1950), starring James Stewart, Shelley Winters, Stephen McNally, Dan Duryea, Millard Mitchell, John McIntyre, Rock Hudson, & Tony Curtis; Ride Lonesome (1959), starring Randolph Scott, Karen Steele, James Coburn, Lee Van Cleef, & Pernell Roberts; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, we look at Twentieth Century-Fox, John Ford, Shirley Temple, John Wayne, and Alfred Hitchcock.

The eleventh episode of our season on the awesome movie year of 1941 features the Academy Awards Best Picture winner, John Ford's How Green Was My Valley. Directed by John Ford from a screenplay by Philip Dunne and starring Roddy McDowall, Walter Pidgeon, Maureen O'Hara, Anna Lee, Sara Allgood and Donald Crisp, How Green Was My Valley was nominated for 10 Academy Awards and won five, including Best Picture.The contemporary reviews quoted in this episode come from Bosley Crowther in The New York Times (https://www.nytimes.com/1941/10/29/archives/a-beautiful-and-affecting-film-achievement-is-how-green-was-my.html), James Agee in Time (https://content.time.com/time/subscriber/article/0,33009,801343,00.html), and The London Times (https://www.thetimes.com/tto/archive/article/1942-04-24/6/7.html).Check out more info and the entire archive of past episodes at https://www.awesomemovieyear.com and visit us on Facebook at http://www.facebook.com/awesomemovieyear You can find Jason on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Letterboxd at https://letterboxd.com/goforjason/You can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/, on Bluesky at signalbleed.bsky.social and on Letterboxd at https://letterboxd.com/signalbleed/If you're a Letterboxd user and you watch any of the movies we talk about on the show, tag your review “Awesome Movie Year” to share your thoughts.You can find our producer David Rosen and his Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod, on Bluesky at piecingpod.bsky.social and on...

Send us a textGet a little closer and don't be shy because for this round our new theme is "Close Encounters".  We will be watching movies involving moments of connection, discovery, or revelation between people, or even between humanity and something unknown.The shakeup for this week is "classic film pre 70s".  Combine that with our new theme, mix well and you get "The Man Who Shot Liberty Valance".  This 1962 classic, directed by John Ford,  stars James Stewart, John Wayne and Vera Miles.  It tells the story of a senator who returns to a Western town for the funeral of an old friend and tells the story of his origins.We'll discuss the movie as well as Westerns in general and take an interesting deep dive into the world of smoking pipes, including GAME OF PIPES!

RMR 0316: Special Guest, Rick DellaRatta, joins your hosts, Chad Robinson and Bryan Frye for the Retro Movie Roundtable as they revisit The Man Who Shot Liberty Valance  (1962) [PG] Genre: Western, Drama   Starring: James Stewart, John Wayne, Vera Miles, Lee Marvin, Edmond O'Brien, Andy Devine, Ken Murray, John Carradine, Jeanette Nolan, John Qualen, Willis Bouchey, Carleton Young, Woody Strode, Denver Pyle, Strother Martin Floyd, Lee Van Cleef, Robert F. Simon, O.Z. Whitehead, Paul Birch   Directed by: John Ford

durée : 00:57:12 - Toute une vie - par : Anaïs Kien - John Ford (1894-1973) est associé au western mais il a abordé d'autres genres. Le cinéaste a pris place dans le panthéon des classiques, affolant les critiques et déjouant les cases par le cumul de ses 300 films. "Toute une vie" retrace son oeuvre à travers analyses, archives et extraits de films. - invités : Jean-Baptiste Thoret Historien et critique de cinéma, réalisateur; Thierry Frémaux Délégué général du Festival de Cannes, directeur de l'Institut Lumière de Lyon; Pierre Rissient Cinéaste.; Bertrand Tavernier Réalisateur, scénariste, producteur français; Jean-François Rauger Programmateur de la Cinémathèque Française

I can tell you the exact date and place: October 16, 1986, at the Fine Arts Theater in downtown Chicago. I got to come of age as a moviegoer in the corporate dominated, era of the late 70's and early 80's. I was a child of "Jaws", "Star Wars", Indy and "Back to the Future". With occasional exceptions like "Stranger than Paradise" and "Blade Runner", American film in the early and mid 80's felt corporate and soulless. And then I saw "Blue Velvet", and my moviegoing life was saved. Skip now to nearly four years later, to those glorious two months in the spring of 1990 when "Twin Peaks" changed everything that television was and could be. For these moments, and so many more, we use Episode 60 to pay a last tribute to Hollywood's favorite Eagle Scout, the irreplaceable David Lynch. What separates Lynch from almost every other filmmaker, was that whereas most great directors were filmmakers who evolved into artists, Lynch was an artist (a celebrated painter, composer) who happened to choose filmmaking as his major means of expression. And when the filmmaking money dried up after "Inland Empire"'s failure, he simply turned to other art forms to express what he wanted to say. Lynch was most certainly a surrealist, every bit as much as Dali, Magritte or De Chirico were, but he was, as one critic termed him, a “populist surrealist”. In his films, the line between dream and reality (or between reality and film in his later works) is blurred. This makes sense, since surrealism is founded on dreams and dreamlike juxtapositions. Lynch, like those great painters he so admired and emulated, was an artist of the unconscious and the uncanny. But for all the serious artistic ambition, everything he created was leavened with that art-school sense of humor, off-center and dry as a bone. For all of his unsettling imagery and the deep questions his work raised about the nature of identity, he seemed, at least from the outside, to have led the happiest of lives. Raised mainly in Missoula, Montana, Lynch often paid tribute to the simple quotidian beauties of life in small-town America (think Twin Peaks, Lumberton, the Iowa and Wisconsin towns we see in "The Straight Story") while also, as in the opening of "Blue Velvet", reminding us of the darkness that often lies just beneath those finely-manicured lawns. For all of his artistic sophistication, he never even came close to an artsy sense of condescending irony; it's perfect that he spent the last years of his life sending in daily weather reports to the LA public radio station for broadcast. No winks, no air quotes—just the desire to share a genuine excitement about the miracles of nature. And for an artist who was such a unique stylist that he was one of the last to become an adjective (we all know “Lynchian” filmmaking when we see it), he was at the same time constantly paying tribute to film history; consider the endless "Wizard of Oz" references in "Wild at Heart", or casting just about all of the hot new movie stars of 1961 in the original "Twin Peaks" series. How perfectly fitting it was, then, to watch him, in his final and uncredited big screen appearance, playing a cranky John Ford in Spielberg's "The Fablemans". For our tribute to Lynch (which is more than they did for him at this year's Oscars), we eschewed our usual formula and chose not to do a chronological reckoning of Lynch's work and its impact from "Eraserhead" to "Inland Empire". This episode, like the director's work itself, is more associative and non-linear. In the end, we conclude that David Lynch, that Man from Another Place, is someone whose absence makes the world that much poorer a spot to live in. To quote the repeated incantation from "Blue Velvet", now it's dark.

Dieter conversa con Garci y Petón sobre el cine de John Ford, las victorias deportivas españolas, y sobre el Papa León XIV.

It's been a little light out there for titles in physical media world but this week has no shortage of interesting ones and Peter Sobczynski joins Erik Childress to talk you through them. They include one of Wong-Kar Wai's most remembered films and John Sayles' foray into studio filmmaking in the ‘80s. John Wayne goes to war and then later goofs off with John Ford. There are new 4K editions of two of Steven Soderbergh's films plus one of Abel Ferrara's more treasured crime dramas. Then the pair wade into the controversies and legacy of Paul Verhoeven's Basic Instinct. 1:49 - Criterion (Chungking Express 4K) 7:57 - Kino (Sands of Iwo Jima 4K, Donovan's Reef 4K) 18:33 - Fun City (Baby, It's You) 27:21 – Lions Gate (King of New York 4K, Basic Instinct 4K) 56:04 – Warner Bros. (The Good German 4K, The Informant 4K) 1:14:19 – New Theatrical Titles On Blu-ray (Sonic the Hedgehog 3, Heart Eyes) 1:16:53 - New Blu-ray Announcements CLICK ON THE FILMS TO RENT OR PURCHASE AND HELP OUT THE MOVIE MADNESS PODCAST

In this episode, I spoke with Christopher McKittrick about his latest book "Vera Miles: The Hitchcock Blonde Who Got Away". Captivating, talented, and beautiful, Vera Miles was destined for fame. Within a few years of making her way to Hollywood in 1949, she starred in such films as The Rose Bowl Story (1952), Tarzan's Hidden Jungle (1955), and Wichita (1955). Her frequent television performances so enthralled Alfred Hitchcock that he chose her to be Grace Kelly's successor for roles in The Wrong Man (1956) and the iconic film Psycho (1960). She also starred in John Ford's The Searchers (1956) and The Man Who Shot Liberty Valance (1962). Miles's illustrious film and television career spanned nearly fifty years in Hollywood, and yet she is still considered one of the most unsung film actresses of her era.The entire episode of "Medic" that Chris talks about is available on YouTube:https://www.youtube.com/watch?v=icO5-I4e0SQ

Ep. 308: Karina Longworth on You Must Remember This: The Old Man Is Still Alive – Capra, Ford, Donen, Wyler, and Co. Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. Karina Longworth's You Must Remember This podcast needs no introduction for her erudite, wildly popular considerations of Hollywood film history, and in her latest season of episodes, she looks at the late-career work of major directors through a variety of lenses. I was delighted to welcome Longworth to the latest episode of The Last Thing I Saw to discuss her selection of filmmakers and their often idiosyncratic later works, including Frank Capra, Stanley Donen, John Ford, Otto Preminger, and William Wyler. She also makes a pick or two of contemporary directors we might consider in their twilight today... Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Send us a textWarner Brothers restoration experts Miles Del Hoyo and George Feltenstein take us behind the scenes of the stunning 4K restoration of John Ford's classic western The Searchers, revealing the technical wizardry that brought new life to this cinematic masterpiece.• Technical breakdown of the scanning process for VistaVision film at extraordinary 10K resolution• Challenges of restoring proper colors from a faded negative, especially fixing the sky from yellow to proper blue• How the team stitched together split 8-perf frames to create seamless images• Frame-by-frame corrections of technical errors present in the original negative• Audio restoration process maintaining the original mono sound while enhancing clarity• Quality assurance process involving multiple stages of review and Film Foundation approval• Preview that more 4K releases from Warner Archive will be announced in the coming monthIf you haven't yet purchased your copy of The Searchers on 4K or Blu-ray, I highly encourage you to do so. The 4K combo pack includes the remastered Blu-ray with all extras. Please vote for The Searchers in the MediaPlay Home Entertainment Awards before March 31st for Best Restoration and Best Audio and Visual Quality categories.Link to VOTE in the MediaPlay Home Ent Awards  Be sure to vote by March 31st.Purchase links:The Searchers 4K + Blu-rayThe Searchers Remastered Blu-rayThe Extras Facebook pageThe Extras Twitter Warner Archive & Warner Bros Catalog Group As an Amazon Affiliate, The Extras may receive a commission for purchases through our purchase links. There is no additional cost to you, and every little bit helps us in the production of the podcast. Thanks in advance. Otaku Media produces podcasts, behind-the-scenes extras, and media that connect creatives with their fans and businesses with their consumers. Contact us today to see how we can work together to achieve your goals. tim@theextras.tv

Access this entire 87-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/207-john-ford-124925337The writer and film programmer Chris Cassingham returns to the podcast from Milwaukee to discuss one of John Ford's greatest films, 1955's The Long Gray Line, Ford's only film shot in the CinemaScope format.Starring Tyrone Power in one of his final films before his unexpected death at age 44, The Long Gray Line tells the true story of Marty Maher, a young Irish immigrant who arrived to the West Point military academy in the late 1800s and lived and worked there for 50 years, moving up from the kitchen to become a non-commissioned officer and athletic instructor and a beloved figure to generations of cadets. The film spans this half-century and the narrative evolves from a wacky comedy to a stark and tragic tale of loss, as Maher and his wife Mary (Maureen O'Hara) continue to age as the continuum of young cadets come and go, some to die in combat through the two World Wars. We talk about Ford's innovations in the use of the then-new technology of CinemaScope, with his camera favouring the Z-axis (the depth of the widescreen image) to visually depict the theme of the film, life's vanishing points, with a protagonist who slowly realizes the lack of control he has over his own life, a film certainly influential on Scorsese's The Irishman, with Ford offering at once a tribute to West Point and a questioning of the futility of Maher's task, a lifetime spent training young men to die for their country. Follow Chris Cassingham on Twitter and Bluesky and subscribe to his new substack Dark Optimism.The Long Gray Line is currently available to watch for free (with ads) and in CinemaScope on YouTube and Tubi. Trailer for The Long Gray Line (John Ford, 1955)

Dave McArthur and Clint Lanier drink whiskey and talk about the highly acclaimed 1956 western The Searchers, directed by John Ford and starring John Wayne and Natalie Wood.

It's St. Patrick's Day, so Have You Ever Seen #652 gets into an IRA frame of mind, puts on some green and talks about John Ford's The Informer. The legendary director and leading man Victor McLaglen won Oscars, but the set-bound film itself lost out to the epic grandeur of Mutiny On The Bounty for Best Picture. McLaglen plays a pathetic liar who betrays and rats out a fellow Irishman to British authorities...and deals with his guilt (badly) by blowing all his blood money as soon as possible. So pour a Guinness, boyos & girlos and prepare for another Ryan monologue here in Oscar Month as the 90-year-old The Informer is on deck. Pour some Irish whiskey into your Sparkplug Coffee. Or don't. Have You Ever Seen listeners can use our "HYES" promo code and get a 20% discount. The website if "sparkplug.coffee/hyes". Don't forget to rate this podcast and write a review. And subscribe! Feeding back to us can be achieved in a number of ways. Try email: haveyoueverseenpodcast@gmail.com. Try Bluesky: "ryan-ellis" and "bevellisellis". Or go with Twi-X: "@moviefiend51" and "@bevellisellis".

 My life has been quite an adventure—spending 8 years in Namibia doing human rights work during the UN-led Resolution 435 peace process; being detained by guerrillas in the south of Angola during a river trip on the Kavango River; working with and representing San living in the Kalahari Desert. These experiences, and others, have deeply shaped my approach to life.         I'm John Ford, originally from South Africa where I studied law at the University of Cape Town. I began my career practicing law in Namibia before moving to the USA, where I transitioned into conflict resolution and workplace mediation, building a successful practice over the past 30 years.         In my work, I've discovered that effective conflict resolution hinges on two key conversations: addressing feelings to acknowledge and heal past pain and identifying needs to foster a collaborative future. This insight has inspired the suite of tools I've developed, including The Empathy Set of feelings and needs flashcards, a comprehensive dictionary, a versatile app, and talking sticks—all designed to simplify and enhance interpersonal communication.The Empathy Set, in particular, has transformed my work as a mediator and coach. It aids clients in safely naming and prioritizing their feelings and needs without escalating conflicts.

Order The Memory Palace book now, dear listener. On Bookshop.org, on Amazon.com, on Barnes & Noble, or directly from Random House. Or order the audiobook at places like Libro.fm.The Memory Palace is a proud member of Radiotopia from PRX. Radiotopia is a collective of independently owned and operated podcasts that's a part of PRX, a not-for-profit public media company. If you'd like to directly support this show, you can make a donation at Radiotopia.fm/donate. I have recently launched a newsletter. You can subscribe to it at thememorypalacepodcast.substack.com. On this special bonus episode, I'm introducing you the wonder that is Karina Longworth's You Must Remember This. With an introductory episode to her new season, "The Old Man is Still Alive,"  which covers the late careers of Alfred Hitchcock, John Ford, Howard Hawks, Vincente Minnelli and ten other directors who began their careers in the silent or early sound eras, and were still making movies in the 1960s, ‘70s and ‘80s, in spite of the challenges posed by massive cultural changes and their advanced age. In this mini-episode we'll discuss the parallels between this history and today, from the tech industry takeover of Hollywood to the late work of Coppola and Scorsese; the interview with George Cukor that inspired the title of this season; the Orson Welles-Peter Bogdanovich-Quentin Tarantino connection that informs the way we think about “old man” movies, and much more. Learn about your ad choices: dovetail.prx.org/ad-choices

Born in the 19th century, his career forged in the silent era, John Ford helped to invent the genre of the Western and still holds the record for the most Best Director Oscar wins of all time. Though he made films in all genres, and sometimes even tackled the same historical territory from different angles in different films, Ford had by the 1960s become synonymous with depictions of American history that honored maverick white men, while often villainizing, distorting or erasing Native Americans. In this episode, we will talk about the influence of Ford's last masterpiece, The Man Who Shot Liberty Valance, and will look at Ford's last two films, which to some extent feel like “mea culpas” for the offenses of his earlier career: the revisionist Western Cheyenne Autumn, and the female-centric adventure film 7 Women. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

This episode was originally released on June 3, 2020. Listen to help prep for the next episode of our new season, The Old Man is Still Alive. After the death of her first husband and creative partner, Polly moves to New York, where she swiftly meets and falls in love with Peter Bogdanovich. Together Polly and Peter build a life around the obsessive consumption of Hollywood movies, with Polly acting as Peter's Jill-of-all-trades support system as he first ingratiates himself with the previous two generations of Hollywood auteurs as a critic/historian, and then makes his way into making his own films. Together, Polly and Peter write and produce Targets, Bogdanovich's first credited feature, and also collaborate on a documentary about the great director John Ford. By the time Polly gives birth to their first daughter, she believes she and Peter are an indivisible, equal creative partnership — regardless of how credit is distributed in Hollywood. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

A preview of the new season of You Must Remember This, which covers the late careers of Alfred Hitchcock, John Ford, Howard Hawks, Vincente Minnelli and ten other directors who began their careers in the silent or early sound eras, and were still making movies in the 1960s, ‘70s and ‘80s, in spite of the challenges posed by massive cultural changes and their advanced age. In this mini-episode we'll discuss the parallels between this history and today, from the tech industry takeover of Hollywood to the late work of Coppola and Scorsese; the interview with George Cukor that inspired the title of this season; the Orson Welles-Peter Bogdanovich-Quentin Tarantino connection that informs the way we think about “old man” movies, and much more. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices