Podcast appearances and mentions of kenneth brannagh

Ce jeudi 31 octobre, c'est Halloween. À cette occasion, spéciale Frankenstein, à l'occasion de la sortie du livre "Le Cinéma de Frankenstein : La créature et son créateur à travers les âges et les films" de Jean-Pierre Andrevon (Lettmottif). On en parle Dick Tomasovic, chargé de cours en histoire et esthétique du cinéma et des arts du spectacle à l'ULg. En écrivant Frankenstein ou le Prométhée moderne à 19 ans, Mary Shelley ne s'attendait sûrement pas à ce que son livre connaisse un succès tel qu'il serait adapté plus d'une centaine de fois au cinéma et à la télévision. Le Cinéma de Frankenstein revient sur ces œuvres filmiques et sur ce qu'elles ont apporté au mythe originel, l'enrichissant pour certaines, le trahissant pour d'autres : du travail fondateur de James Whale avec Boris Karloff dans les années 30 à la toute récente vision de Yórgos Lánthimos avec Pauvres créatures, en passant par la période Hammer où Frankenstein abandonne le noir et blanc des origines pour la couleur flamboyante du Technicolor. L'histoire de Shelley a inspiré de grands cinéastes (Terence Fisher, Tim Burton, Kenneth Brannagh, bientôt Guillermo del Toro) mais aussi toute une foule de réalisateurs de série B, voire de série Z, qui ont pensé que cette histoire légendaire leur garantirait le succès. Mis à toutes les sauces, Frankenstein a viré à la parodie, est devenu prétexte à des scènes érotiques, alors que le monstre prenait les traits d'une femme, d'un ado, d'un chien. Travail malicieux et érudit, Le Cinéma de Frankenstein ressuscite des films totalement oubliés (comme l'égyptien Ismail Yassin Meets Frankenstein), revient sur des scénarios cocasses (comme Frankenstein conquiert le monde du Japonais Ishiro Honda où se croisent des criminels nazis, un dinosaure cornu et un poulpe géant). Ce livre remet également en lumière les œuvres de cinéma qui, tout en puisant leur force chez Mary Shelley, ont su créer leur propre grandeur. Mythe éternellement renouvelé, tout Frankenstein est ici… ou presque. Merci pour votre écoute Entrez sans Frapper c'est également en direct tous les jours de la semaine de 16h à 17h30 sur www.rtbf.be/lapremiere Retrouvez l'ensemble des épisodes et les émission en version intégrale (avec la musique donc) de Entrez sans Frapper sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/8521 Abonnez-vous également à la partie "Bagarre dans la discothèque" en suivant ce lien: https://audmns.com/HSfAmLDEt 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. Vous pourriez également apprécier ces autres podcasts issus de notre large catalogue: Le voyage du Stradivarius Feuermann : https://audmns.com/rxPHqEENoir Jaune Rouge - Belgian Crime Story : https://feeds.audiomeans.fr/feed/6e3f3e0e-6d9e-4da7-99d5-f8c0833912c5.xmlLes Petits Papiers : https://audmns.com/tHQpfAm Des rencontres inspirantes avec des artistes de tous horizons. Galaxie BD: https://audmns.com/nyJXESu Notre podcast hebdomadaire autour du 9ème art.Nom: Van Hamme, Profession: Scénariste : https://audmns.com/ZAoAJZF Notre série à propos du créateur de XII et Thorgal. Franquin par Franquin : https://audmns.com/NjMxxMg Ecoutez la voix du créateur de Gaston (et de tant d'autres...)

If it wasn't for The Stage, there's every chance that Britain and, indeed, the world may have been deprived of such great names as Kenneth Brannagh, Harold Pinter, Michael Caine, Sharon D Clarke, Idris Elba, The Spice Girls and Steps.Listen to Country Life podcast on Apple PodcastsListen to Country Life podcast on SpotifyListen to Country Life podcast on AudibleIt goes to show the importance of trade publications, especially those that work in the Arts. I was very lucky to be joined this week on the Country Life by The Stage's editor Alistair Smith to talk about all things theatre and the performing arts, as well as the Edinburgh Fringe. Full disclosure, he is also my friend and neighbour, and sometimes he feeds my cat while I'm on holiday.Nevertheless, he is an expert in his field, having started working at the newspaper 20 years ago on work experience, before rising through the ranks to the top job. Over the years, he's seen it all, from mime shows to the Kit Kat club to a Fringe performance that took place entirely in a lift.We talked about The Fringe, the state of the Arts in the UK and what can be done to help them, his work for the charity Get Into Theatre, how he got his big break in journalism thanks to a juggler and how to get Ian McKellen to take your picture.As always, it's a supremely engaging listen and you can download it wherever you get your podcasts.Episode creditsHost: James FisherGuest: Alistair SmithEditor and producer: Toby KeelMusic: JuliusH via PixabaySpecial Thanks: Adam Wilbourn Hosted on Acast. See acast.com/privacy for more information.

El ROCKBUSTERS de esta semana se dedica a un actor secundario de mucho lujo: Kenneth Brannagh. Esta semana cumple 87 añitos y le homenajeamos con otra sesión express de ocho temas que aparecen en la banda sonora de una sola película: Pretty Woman (1990). Aquí teneis el listado de temas: 1 - Go West "King of wishful thinking" (Pretty Woman) 2 - Chris Otcasek "Real wild child (wild one)" (Pretty Woman) 3 - Robert Palmer "Life in detail" (Pretty Woman) 4 - Red Hot Chili Peppers "Show me your soul" (Pretty Woman) 5 - Roy Orbison "Oh, pretty woman" (Pretty Woman) 6 - David Bowie "Fame '90" (Pretty Woman) 7 - Jane Wiedlin "Tangled" (Pretty Woman) 8 - Roxette "It must have been Love" (Pretty Woman)

El ROCKBUSTERS de esta semana se dedica a un actor británico que ha tenido gran éxito llevando a cabo obras de Shakespeare tanto en teatro como en cine: Kenneth Brannagh. Esta semana cumple 63 añitos y le homenajeamos con una sesión express de ocho temas que aparecen en la banda sonora de una sola película: Los amigos de Peter (1992). Aquí teneis el listado de temas: 1 - Cindy Lauper "Girls just wanna have fun" (Los amigos de Peter) 2 - Tina Turner "What's Love got to do with it" (Los amigos de Peter) 3 - Tears for fears "Everybody want to rule the world" (Los amigos de Peter) 4 - The Pretenders "Don't get me wrong" (Los amigos de Peter) 5 - Daryl Braithwaite "As the days go by" (Los amigos de Peter) 6 - Bruce Springsteen "Hungry heart" (Los amigos de Peter) 7 - Queen "You're my best friend" (Los amigos de Peter) 8 - Eric Clapton "Give me strength" (Los amigos de Peter)

Aujourd'hui nous parlerons de Un Mystère à Venise, Un Métier Serieux , et Le Livre des Solutions, et enfin nous traiterons de l'actualité cinématographique présenté par JMA, avec Jules , Tristan et Yanis Montage : William Seris Suivez nous sur le compte insta @leduel_vision.libre Timecodes: Un Mystère a Venise 0:30 Un Métier Serieux  23:50 Le Livre des Solutions 43:00 Actualités Cinéma 01:09:00 Soutenez-nous sur PayPal !

On this Quickie Review Lindsay take a look at Kenneth Brannagh's new Movie A Haunting in Venice. As well as Brannagh's 1996 Adaption of Hamlet, Listen to Schlock & Awe on your favourite Podcast App

This week, we check out Kenneth Brannagh's latest Poirot mystery A HAUNTING IN VENICE (19:18), jump in the ring with CASSANDRO (37:24), and follow the ups and downs of two siblings in BROTHER (52:44). Plus, we bring back BE KIND REWIND, as Hanna chats to LUCKY NUMBER SLEVIN director PAUL MCGUIGAN (01:06:55) before we reassess the 2006 neo-noir (01:36:23). This podcast was recorded during the 2023 WGA and SAG-AFTRA strikes. Without the labor of the writers and actors currently on strike, the movies being covered here wouldn't exist. If you'd like to support the striking forces please consider donating to the Entertainment Community Fund  If you'd like to join the conversation or suggest a Hot Take for the gang to discuss tweet us at @FadeToBlackPod Follow us: @amonwarmann, @clarisselou, @hannaflint If you like the show do subscribe, leave a review and rate us too! Here's the link to apply for the LFF Critic Support Fund too.

Don't worry, Mark and Simon are back for good! This week's episode sees Simon sit down with the humble and delightful Timothy Spall, who is in the studio to discuss his new film ‘Bolan's Shoes', a melodrama about the enduring legacy of childhood trauma and the deep bonds of sibling love set to the music of the film's namesake, T-Rex's Mark Bolan. Our own iconic Mark also offers his thoughts on the film, along with reviewing ‘A Haunting in Venice', Kenneth Brannagh's stab at a Poirot murder-mystery, which sees the famous detective investigating a murder while attending a Halloween séance at a haunted palazzo in Venice, and ‘Brother', a Canadian drama about the sons of Caribbean immigrants dealing with issues of masculinity, identity and family amid the pulsing beat of Toronto's early hip-hop scene. The Box Office Top 10 and What's On are covered as usual. Time Codes (relevant only for the Vanguard - who are ad-free!): 08:54 Brother Review 21:31 Box Office Top Ten 35:22 Timothy Spall Interview 50:30 Bolan's Shoes Review 58:27 Laughter Lift 01:01:05 Haunting in Venice Review 01:08:39 What's On You can contact the show by emailing correspondence@kermodeandmayo.com or you can find us on social media, @KermodeandMayo EXCLUSIVE NordVPN Deal ➼ https://nordvpn.com/take Try it risk-free now with a 30-day money-back guarantee! A Sony Music Entertainment production. Find more great podcasts from Sony Music Entertainment at sonymusic.com/podcasts and follow us @sonypodcasts To advertise on this show contact: podcastadsales@sonymusic.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

Patrick Doyle es un escocés que estudió en la Real Academia Escocesa de Música y Teatro. Aunque su intención ser actor combinaba su tiempo dando clases de piano y componiendo para alguna obra puntual. Su composición para la comedia musical “Glasvegas” tuvo gran éxito en el Festival de Edimburgo de 1978. En 1987 entró en la Renaissance Theatre Company dirigida por Kenneth Brannagh en la que participó como actor a la vez que como compositor y director musical de la compañía. Cuando en 1989 Brannagh dirigió Enrique V para el cine le encargó la banda sonora a Doyle y tanto la película como la música fue muy valorada por crítica y público, marcando el inicio de una carrera para Doyle que se convirtió en el compositor habitual para las películas de su amigo Kenneth Brannagh. Pronto llamaron la atención sus composiciones y ha sido requerido por directores como Brian de Palma, Ang Lee, Garry Marshall, Richard Benjamin o Alfonso Cuaron entre otros. En 1997 le fue diagnosticada una leucemia que le mantuvo alejado del trabajo durante algunos años. Cuando superó la enfermedad quiso ayudar a recaudar fondos para la Leukemia Research y habló con su amigo Kenneth BrannagH, que organizó un concierto el 28-10-2007 en el Royal Albert Hall con la London Symphony Orchestra y London Symphony Chorus dirigidos por Dirk Brossé con intervenciones de Emma Thompson, Imelda Staunton, Alan Rickman, Derek Jacobi, y Judi Dench entre otros. Es un hombre muy afable querido por sus amigos de la profesión. Ha compuesto también para programas de radio, televisión e incluso para cortometrajes y videojuegos. Ganador de varios premios, el Oscar aún se le resiste, aunque estuvo nominado en un par de ocasiones por “Sentido y sensibilidad” y “Hamlet”. Os dejamos con una amplia muestra de sus composiciones para el cine esperando os guste. 00h 00’00” Presentación 00h 02’02” Cabecera 00h 02’38” A LITTLE PRINCESS – Kindle my heart 00h 05’29” A LITTLE PRINCESS – A little raga 00h 07’30” BRIDGET JONES DIARY – It’s only a diary 00h 11’48” CALENDAR GIRLS – Photographers 00h 12’55” CALENDAR GIRLS – Tai chi 00h 14’26” CARLITO’S WAY – Main theme 00h 19’37” CARLITO’S WAY – Grand Central 00h 29’43” CINDERELLA – A golden childhood 00h 33’32” CINDERELLA – Vals de l’amour 00h 36’01” DEAD AGAIN – Main theme 00h 39’00” DEAD AGAIN – The woman with no name 00h 42’27” DONNIE BRASCO – Donnie and Lefty 00h 46’49” DONNIE BRASCO – Lonely man 00h 48’36” ERAGON – Once in every lifetime 00h 52’48” ERAGON – Passing the flame 00h 55’47” FRANKENSTEIN – To think of a story 00h 59’13” FRANKENSTEIN – Please wait 01h 02’29” FRANKENSTEIN – The wedding night 01h 04’31” GOSFORD PARK – Main theme 01h 06’47” GOSFORD PARK – Only for a while 01h 10’00” GREAT EXPECTATIONS – Finn 01h 12’49” GREAT EXPECTATIONS – A walk in the park 01h 14’09” GREAT EXPECTATIONS – Kissing the rain 01h 17’09” HARRY POTTER & THE GOBLET OF FIRE – Harry in winter 01h 19’58” HARRY POTTER & THE GOBLET OF FIRE – Potter waltz 01h 22’11” HARRY POTTER & THE GOBLET OF FIRE – Underwater secrets 01h 24’34” INDOCHINE – Generique 01h 28’55” INDOCHINE – La fin du voyage 01h 34’05” INDOCHINE – Tango 01h 37’42” INTO THE WEST – Mary’s grave 01h 39’45” INTO THE WEST – The blue sea and the white horse 01h 43’18” KILLING ME SOFTLY – Alice and Jake 01h 44’52” KILLING ME SOFTLY – End titles 01h 47’38” LOVE’S LABOUR LOST – Cheek to cheek 01h 50’24” LOVE’S LABOUR LOST – I get a kick out of you 01h 53’00” LOVE’S LABOUR LOST – Let’s face the music and dance 01h 55’20” LOVE’S LABOUR LOST – The way you look tonight 01h 58’37” LOVE’S LABOUR LOST – Arrival of the princess 02h 01’48” MRS. WINTERBOURNE – You’re a Winterbourne 02h 05’44” NANNY McPHEE – Mrs. Browne’s lullaby 02h 07’00” NANNY McPHEE – Snow in August 02h 13’56” QUEST FOR CAMELOT – King’s Arthur saga 02h 15’19” QUEST FOR CAMELOT – Mourning for Lionel / Kayley’s life dream 02h 20’07” SENSE AND SENSIBILITY – My father’s favorite 02h 25’31” SENSE AND SENSIBILITY – Weep you no more sad fountains 02h 28’31” SHIPWRECKED – End titles

Tal como prometimos volvemos con una segunda entrega de fragmentos de bandas sonoras de películas inspiradas en obras de William Shakespeare, sin duda uno de los autores más representados y adaptados tanto en cine, como televisión, teatro, ópera, musicales, etc. En este segunda playlist encontraremos las músicas de Nino Rota para “La fierecilla domada” como “Romeo y Julieta”, Toru Tamekitsu en “Ran”, Trevor Jones en Ricardo III”, William Walton en “Enrique V” y de Patrick Doyle en sus trabajos con Kenneth Brannagh para “Mucho ruido y pocas nueces”, “Como gustéis”, “Hamlet” o “Enrique V”, dejando “Trabajos de amor perdidos” para otra playlist que vamos a dedicar en breve, íntegramente a Patrick Doyle. Hemos dejado fuera entre otras muchas a Leonard Bernstein y “West Side Story”, el “Kiss me, Kate” de Cole Porter o a Richard Rodgers con “The boys from Syracuse” ya que nacieron para el teatro, no para el cine y la de Stephen Warbeck para “Shakespeare enamorado” ya que es una fantasía sobre la vida del bardo. 00h 00’00” Presentación 00h 01’07” Cabecera 00h 01’42” NINO ROTA – La fierecilla domada 00h 01’42” Overture 00h 05’59” Suite 00h 15’46” NINO ROTA – Romeo y Julieta 00h 15’46” Suite 00h 30’35” PATRICK DOYLE – Mucho ruido y pocas nueces 00h 30’35” Overture 00h 34’51” A star danced 00h 37’31” Sigh no more ladies 00h 39’28” PATRICK DOYLE – Como gustéis 00h 39’28” As you like it 00h 46’09” The forest of Arden 00h 50’17” Violin romance 00h 55’13” PATRICK DOYLE - Hamlet 00h 55’13” All that lives must die 00h 57’50” Good night sweet prince 01h 01’22” In pace 01h 04’27” Sweets to the sweet - Farewell 01h 09’05” PATRICK DOYLE – Enrique V 01h 09’05” Non, nobis domine 01h 13’10” St Crispin day – The bbattle of Agincourt 01h 27’18” Theme – The board’s head 01h 30’00” TORU TAKEMITSU – Ran (Rey Lear) 01h 30’00” Buddist prayer temple – Last 11.000 & hidetora – Fury of Ootemon – 2nd castle 01h 31’50” Hell’s picture scroll 01h 370300” Ending credits 01h 41’00” TREVOR JONES – Ricardo III 01h 41’00” The battle 01h 45’25” The tower 01h 47’27” WILLIAM WALTON – Enrique V 01h 47’27” Prelude 01h 54’19” Epilogue

Creative Director and host of Netflix's Tiny Mic Interviews, Michael Brown knows good cinema. His sincere love of Kenneth Brannagh's "Death on the Nile" film brings him to Tea & Murder, where he and host Rebecca Thandi Norman discuss the differences between the film and the book (can you guess which they prefer?), what makes something camp, and whether there really ever could be enough champagne to fill the Nile. They also discuss how to modernize the adaptations of Christie books, and whether this version succeeds in doing so. This is Michael's first time reading an Agatha Christie book; find out if he'll be reading more in the future.NOTE: There is a spoiler for both the book and film Death on the Nile at 23:44 - 24:00. Please fast forward if you do not want spoilers.Find Michael Brown:Instagram, Twitter, TikTok and BeReal: @boyinquestionhttps://www.instagram.com/boyinquestion/Have feedback for us? We'd love to hear from you! Email teaandmurderpodcast@gmail.com.Let's Fucking Date:https://letsfuckingdate.com/Death on the Nilehttps://bookshop.org/a/87919/9780063143241Death on the Nile (2022) film can be found on Disney+Next book: A Caribbean Mysteryhttps://bookshop.org/a/87919/9780062073686Thank you to producer Kate Krosschell and sound engineer Winther Robinson. Follow along at @teaandmurder. You can always reach us at teaandmurderpodcast@gmail.com. Thanks for being here! Hosted on Acast. See acast.com/privacy for more information.

Rian Johnson ist es gelungen mit KNIVES OUT das Agatha-Christie-Konzept ins 21. Jahrhundert zu übersetzen: clever, flott, witzig und eine tolle Bühne für starke Schauspieler:innen. Der zweite Teil, GLASS ONION, wiederholt das Konzept des ersten Teils: Der großartige Daniel Craig als Benoit Blanc, ein Verbrechen, alle Anwesenden mit Mordmotiv und Gelegenheit, diesmal sogar wie einst in DAS BÖSE UNTER SONNE auf einer Insel, abgeschnitten vom Rest der Welt. Statt aber die Zeit um 100 Jahre zurückzudrehen wie Kenneth Brannagh in seinen Agatha-Christie-Neuverfilmungen, gelingt es Rian Johnson, typische Figuren unserer Gegenwart aufzustellen und zu sezieren: ein Elon-Musk-ähnlicher Milliardär, ein Twitch-Influencer, kognitiv eingeschränkte Promis, Politiker auf dem Weg nach oben. Mit dem ersten Teil kann GLASS ONION nicht ganz mithalten, aber das ist immer noch exzellente Unterhaltung – ein wunderbarer Filmabend. Am Mikrofon direkt nach dem Film diskutieren Johanna, Harald, Tom und Thomas über Paul McCartneys Gitarre, über Kate Hudsons Blicke, über Zielgruppen und dritte Teile.

This week on the blog, a podcast interview with Dawn Brodey and Brian Forrest, talking about the various film versions of “Frankenstein” and “Dracula.”Dawn gave me 4.5 films to revisit: The 1931 version of Frankenstein, Frankenweenie (the feature and the short), Mary Shelley's Frankenstein, and Young Frankenstein.Meanwhile, Brian assigned me the original Nosferatu, the 1931 Dracula, Abbott & Costello Meet Frankenstein, Horror of Dracula, Dracula in Istanbul and Bram Stoker's Dracula. LINKSDawn's podcast (HILF): http://dawnbrodey.com/ - showsBrian's Blog and Vlog, Toothpickings: https://toothpickings.medium.com/ A Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6Frankenstein (1931) Trailer: https://youtu.be/BN8K-4osNb0Frankenweenie Trailer: https://youtu.be/29vIJQohUWEMary Shelley's Frankenstein (Trailer): https://youtu.be/GFaY7r73BIsYoung Frankenstein (Trailer): https://youtu.be/mOPTriLG5cUNosferatu (Complete Film): https://youtu.be/dCT1YUtNOA8Dracula (1931) Trailer: https://youtu.be/VoaMw91MC9kAbbott & Costello Meet Frankenstein (Trailer): https://youtu.be/j6l8auIACycHorror of Dracula (Trailer): https://youtu.be/ZTbY0BgIRMkBram Stoker's Dracula (Trailer): https://youtu.be/fgFPIh5mvNcDracula In Istanbul: https://youtu.be/G7tAWcm3EX0Fast, Cheap Film Website: https://www.fastcheapfilm.com/Eli Marks Website: https://www.elimarksmysteries.com/Albert's Bridge Books Website: https://www.albertsbridgebooks.com/YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcastDawn and Brian TRANSCRIPT John: [00:00:00] Before we dive into the assignment you gave me—which was to watch stuff I hadn't seen and also rewatch stuff I had seen to get a better idea of who's done a good job of adapting these books—let's just jump in and talk a little bit about your area of expertise and why you have it. So, I'm going to start with you, Brian. I was very surprised after working with you a while to find out that you had a whole vampire subset in your life. Brian: A problem, you can call it a problem. It's fine. John: Okay. What is the problem and where did it come from? Brian: I was just vaguely interested in vampires for a while. When I was in my screenwriting days, someone had encouraged me to do a feature length comedy about vampires, and that led me to do a lot of reading. And then I just kind of put it aside for a while. And then I was, I had just finished a documentary for Committee Films and they said, do you have any other pitches? And I thought, and I said, you know, there's still people who believe in vampires even today, that could be really interesting. And I put together a pitch package. Then, the guy in charge of development said, [00:01:00]this is what we need to be doing. And then it stalled out. Nothing ever happened with it. And I said, what the hell. I could do this on my own. I could fly around and interview these people. And I did, I spent a couple years interviewing academics and some writers. And along the way, I started finding all these very intriguing moments in the history of either vampire lore or fiction or even just people who consider themselves vampires today. And all these things would connect to each other. It was a lattice work of vampires going back hundreds of years. It didn't fit the documentary, unfortunately, but I found it way too interesting. And I said, I need some kind of outlet for this. And so I started writing about it on Tooth Pickings. And that eventually put me in touch with people who were more scholarly, and it opened up a lot more conversations. And now I can't get out. I'm trapped. John: Well, the first sign is recognizing there's a problem. [00:02:00] Okay. Now, Dawn, you had a different entryway into Frankenstein. Dawn: Yeah, well, I was a theater major and a history minor at the University of Minnesota. Go Gophers. And, this was in the late nineties, early two thousands, when there were still a lot of jobs for people who had degrees and things like this. Or at least there was a theory that this was a reasonable thing to get educated in. And then I graduated in 2001, which was months after 9/11, when all those jobs went away. And so, I had this education so specific and what was I gonna do? And gratefully the Twin Cities is a great place for finding that kind of stuff. And one of my very first jobs out of college was at the Bakkan museum. So, the Bakkan museum was founded by Earl Bakkan, who is the inventor of the battery-operated pacemaker. And he has always, since childhood, been obsessed with the Frankenstein movie that came out in 1931. And he attributes [00:03:00]his great scientific invention and many others to a science fiction in general. And to the spark of the idea that comes from sources like this. So, when he opened the museum, he insisted that there'd be a grand Frankenstein exhibit. And that means going back to the book, and that meant going back to the author, Mary Shelley, who wrote the novel Frankenstein, she started writing it when she was 16.And so, I was hired because—boom, look at me—my degree is suddenly colliding, right? So, I was hired by the Bakkan museum to create a one-woman show about the life of Mary Shelley, where I would play Mary Shelley and would perform it within the museum and elsewhere. And through the course of that research, I read the novel for the second time, but then I read it for my third, fourth, fifth onwards and upwards. Because the show was about 45 minutes long, I referenced, you know, the novel, the books, the popular culture, the science behind it. And the deep dive just never stopped. And so long after I was required to do the research and the show was done and up, I just kept reading. [00:04:00] And it gave me the opportunity to meet experts in this field and the peripheral field, as I would sort of travel with this show and be an ambassador for the museum and stuff like that. And, yeah, it still curls my toes. John: All right, so with that background. I'm going to just be honest right here and say, I've read Dracula once, I've read Frankenstein once. So that's where I'm coming from, and both a while ago. I remember Frankenstein was a little tougher to get through. Dracula had a bit more of an adventure feel to it, but something I don't think has really been captured particularly well in all the movies. But they both have lasted and lasted and lasted.Why do you think those books are still, those ideas are still as popular today? Dawn: I will say that I think Frankenstein, it depends on what you mean by the idea. Because on the surface, just the idea of bringing the dead to life, is, I mean, the Walking Dead franchise is right now one of the most popular franchises. I mean, I think we are really pivot on this idea. And I remember saying to a friend once that the part in [00:05:00]Revelation where the dead rise is like the only part of the Bible that I don't question. It's like, oh, the dead will get up. You know, we always just seem to be real sure that at some damned point, they're getting up. And so I think that that is part of why that it sticks in our brains. But then the story around Frankenstein—especially as it was written in 1818—has so many universal and timeless themes, like ambition and what is right and wrong. And the question that Jurassic Park posed in 1995 and continues to—1993 around there—and continues to pose, which is: just because science is capable of doing something, should it do something? And how do we define progress? Surely the very idea of being able to beat death and not die seems to be kind of the ultimate goal. And here is someone saying, okay, so let's just say, yeah. We beat death and everyone goes, oh shit, that'd be terrible. [00:06:00] You know? And then also, I always love the idea of the creature, the monster, Frankenstein's creature himself, who has a lot of characteristics with which people have identified throughout history. Some people say, for example, that Mary Shelley's whole purpose for writing Frankenstein was a question of: didn't God do this to us, make us these ugly creatures that are imperfect and bumbling around and horrifying? And then once he realized that we weren't perfect, he fled from us in fear or fled. He just keeps going and every generation has a new media that tells the story a little bit better, a little bit different, and yeah, there we are. John: I will say that for me, the most memorable part of the book was the section where the monster is the narrator and is learning. And I think with the exception of Kenneth Branagh's film, it it's something that isn't really touched on that much. There's a little bit in Bride of Frankenstein, of him going around and learning stuff. But the sort of moral questions that he [00:07:00] raises as he's learning—what it is to be human—are very interesting in the book. And I wish they were in more of the movies, but they're not. So, Brian on Dracula, again, we have dead coming to life. Why do we love that so much? Brian: Well, it's one of the questions that made me want to make a film about it myself: why has the vampire been so fascinating for hundreds of years? Why does it keep coming back? You know, it ebbs and flows in popularity, but it never leaves. And it keeps seeming to have Renaissance after Renaissance. Dracula specifically, I think one of the interesting things about that novel is how many different lenses you can look at it through and not be wrong.People have looked at it through the lens of, is this thing an imperialist story? Is it an anti-imperialist story? Is it a feminist story? Is it an anti-feminist story? And you can find support for any of those views reading Dracula. And I think that some of it might be accidental; there's times where Dracula is catching up to whatever the cultural zeitgeist [00:08:00] is right now. And we look at Dracula and we say, oh, he was thinking about this back then. Or maybe Bram Stoker was just very confused and he had a lot of different ideas. John: All right, let's explore that a little deeper. You each gave me an assignment of some movies to watch or to re-watch that you felt were worth talking about, in relation to your subject of Frankenstein or Dracula. I'm going to start with Frankenweenie, just because I had not seen it. And in going through it, I was reminded—of course, as one would be—of watching Frankenweenie, I was reminded of Love, Actually. Because I came to the realization after years of Love, Actually being around that it—Love, Actually—is not a romantic comedy. It is all romantic comedies, all put into one movie. And Frankenweenie is all horror films. Condensed, beautifully and cleverly into one very tasty souffle. [Frankenweenie Soundbite] John: I stopped at a certain point making note of the references to other horror films. Just because there are so many of them. But the idea that it references everything from Bride of Frankenstein to Gremlins. They do a rat transformation that's right out of American Werewolf in London. The fact that they have a science teacher played by Martin Landau doing the voice he did as Bela [00:10:00] Lugosi in Ed Wood. I mean, it's a really good story that they just layered and layered and layered and layered. What was it about that movie that so captivated you? Dawn: Well, so much of what you just said. And also it seems to me the epitome of the accessibility of the story of Frankenstein. The idea that if anyone can think of any moment in which if I could bring someone back to life. But what I love about it too, is that the novel Frankenstein that is not Victor Frankenstein's motivation. It generally tends to be the motivation of almost every character, including the Kenneth Branagh character--at some point, he, when Elizabeth dies, his wife dies for the second time, he says, yes, I'm going to try to bring her back. But it is so not the motivation of the scientist in the book. It is just ambition. He just wants to do something no one else has done. And lots of people die around him and he really never, ever says to himself at any point in the novel, I wish I could bring them back, I'm going to bring them back. That's never, that's never part of it. He just wants to be impressive. And so, I love [00:11:00] that it starts with that pure motivation of wanting to bring the dead to life; just wanting to bring your dog back, so that it's so accessible for everyone watching it. Who wouldn't wanna try this? But then, even in that scene with the teacher, when he shows the frog. And he's demonstrating that if you touch a dead frog with electricity, its legs shoot up, which give the kid the first idea of bringing his dog back. Which is like a deep cut in, in the sense that that's nothing -- Mary Shelley herself and her friends were watching experiments exactly like that before she wrote the book: galvanism and animal magnetism were these really popular public demonstrations happening in London and elsewhere where they would do just that. But because electricity itself was so new, I mean, it blew people's hair back you know, that these dead frogs were flopping around. It was the craziest thing. And a lot of them were thinking to themselves, surely it is only a matter of time before we can, we're gonna have our dead walking around all the time. So, it was so circulating and so forward. [00:12:00] So it's not just movie references and it's not just Frankenstein references. That movie really includes source deep source references for how Frankenstein came to be. And I just love it. John: Which brings me to Frankenstein, the 1931 version, in which Colin Clive has a similar point of view to what you were talking about from the book. He just wants, you know, he wants to be God. [Frankenstein soundbite] John: What I was most impressed with about that movie or a couple things was: it starts, it's like, boom. We're in it. First scene. There there's no preamble. There's no going to college. There's no talking about it, right? It's like, they're starting in the middle of act two. And I think a lot of what we think of when it comes to Frankenstein comes from that movie, [00:13:00] that the stuff that James Whale and his cinematographer came up with and the way they made things look, and that's sort of what people think of when they think of Frankenstein. Now, as you look back on that movie, what are your thoughts on the, what we'll call the original Frankenstein? Dawn: Yeah. Well, I love it. You'll find with me and Frankenstein that I'm not a purist. Like I love everything. Like I have no boundaries. I think this is great. One of the things that 1931 movie did was answer—because it had to, anytime you take a novel and make it a movie, you take a literary medium and make it a visual medium, there's obviously going to be things that you just have to interpret that the author left for you to make for yourself individual. And in this instance, that individual is the cinematographer. So, we're gonna get their take on this. And one of the real ambiguous things that Mary Shelley leaves for you in the novel is the spark of life. What is the spark of life? She does not in any [00:14:00]detail describe lightning or static or any of the recognizable or, or future developments of how electricity would've been. Brian: I was shocked when I first read that book and saw how little space was devoted to that, that lab scene. It's blink of an eye and it's over. Dawn: “I gathered the instruments of life around me that I may infuse a spark of being into the lifeless thing that lay at my.” Period. I just, what I love is what I love about film in general is that they went, oh, spark being all right, girl, it's a dark and stormy night and you know, and there's chains and there's bubblers and there's a thing. And the sky opens. I mean, God bless you, like way to just take that thought. Make it vivid, make it, build a set, make us believe it. And it's so, so pervasive that in Frankenweinie, you know, which of course is about Frankensein. [00:15:00] Like that is one that they do: he's got the white robe that ties in the back and the gloves. And in Young Frankenstein, it's the, you know, that lab scene. And so I love that. And the other thing that they had to do was describe the look of the creature, make the creature—Frankenstein's monster himself—look so like something. Because she, similarly in the novel, says that he is taller than a regular man, has dark hair and yellow watery eyes. That's all we know about what the Frankenstein looks like. And so, in 1931, Boris Karloff with the bolts. And it's black and white, remember, we don't think his skin is green. That he turned green at some point is kind of exciting, but of course he was just gray, but just dead flesh, you know, rotten, dead walking flesh is what's frightening. And, I just thought that the movie did that so well, John: I think the makeup was kind of a green/gray, and that when color photos came out of it, that's why someone went, oh, [00:16:00] it's green, but it wasn't green. Brian: I thought I saw a museum piece of, you know, an actual makeup bit that Jack Pierce did and I thought it was greenish. Dawn: Yeah. Greenish/gray. I think, yeah, the rots, just kind of trying to capture the sort of rotten flesh. Brian: It's just like the bride's hair was red. Dawn: That's right. That's right. My day job here in Los Angeles is as a street improviser at Universal Studios, Hollywood. And two of their most treasured characters of course are Frankenstein and Dracula. So, while most people might separate them, John, they are usually arm and arm where I work every day. And the bride has recently come back to the theme park as a walking character, and they gave her red hair. We don't mess around. John: That's excellent. But you mentioned Dracula, let's jump into the 1931 Dracula. There's a connection point between the two that I want to mention, which is the amazing Dwight Frye, who is Fritz, I believe in Frankenstein. And I'm not the first one to mention his naturalistic [00:17:00] acting kind of putting him above everybody else in that movie. Famously, when he's running up the stairs, stopping to pull his socks up at one point. He's just really, really good in that. And then you see him in Dracula as the, essentially the Harker character. I think he was called Harker -- Brian: Yeah. Well, he's Renfield in Dracula. They merged those two characters. I thought it was a smart move for a first attempt at the film. Yeah. And Dwight Frye, he's in a lot of other Universal horrors, too. Dwight Frye often doesn't get the credit. He somehow was not the leading man he should have been. John: I don't know why that is. He turns up again as an assistant in Bride of Frankenstein. He's a towns person in Frankenstein meets the Wolfman. And then he tragically died on a bus ride to an auto parts job that he took because he wasn't getting any acting work, which was too bad. A really, really good actor. Brian: There is another intersection besides the fact that they were both produced by Junior. Lugosi was put into the [00:18:00] short, the trial film they shot for Frankenstein. I can't call it a short film, because it was never intended for release. But they shot a cinematic test reel and they had Lugosi play the monster, but he was under a sheet the whole time. I think he may have been able to pull the sheet off. It's a lost film. We don't know for sure. We just have kind of the recollections of a few crew people. John: I've never heard of that. I would love to see that. Brian: I would too. I think a lot of people would really love to see it, but it was as much a kind of a testing ground for Lugosi— whether they wanted him to be the monster—as it was for some of the techniques, the things they wanted to try in the film. And what I understand is the producer saw the test reel and they said, yes, we love this look, this is the look we want you to give us. And then it's whatever version of Lugosi not getting that part you want to believe: whether Lugosi turned it down or the producers didn't like him or something. But he ended up not taking that part. John: But he is of course always known as Dracula. So, what are your thoughts on their adaptation? Which [00:19:00]again is not the first adaptation but is the kind of first official? Brian: Yeah. The first to bear the name Dracula, although, well, I'll back up a second. Because some releases of Nosferatu called it Dracula. He would be named as Dracula in the subtitles, you know, because that's an easy thing to do in silent film, you can just swap that out however you want to. But yes, it's the first authorized official film adaptation. John: Well, let's back up to Nosferatu, just for a second. Am I wrong in remembering that the Bram Stoker estate—Mrs. Stoker—sued Nosferatu and asked that all prints be destroyed? And they were except one print remained somewhere? Brian: Close. That is the popular story that she sued Prana Films. She won the lawsuit. All films were set to be destroyed. Now there's a guy named Locke Heiss and a few others who've been doing some research on this. And they will tell you that there's no proof that a single print was ever destroyed. It's a more fun story to say that, you know, this one was snuck away and now we have the film. But there was no real enforcement mechanism for having all the theaters [00:20:00]destroy the film. Who was going to go around and check and see if they actually destroyed this film or not? Nobody, right? So maybe some people destroyed it. Maybe Prana Films destroyed their remaining copies. But the exhibitors kept all of theirs and there's different versions and different cuts that have been found. So, we know that some of these reels went out in different formats or with different subtitles or even different edits. And some of them have made their way back to us. John: There's some really iconic striking imagery in that movie. That haunts me still. Brian: What I always tell people is see the film with a good live accompaniment, because that still makes it hold up as a scary film. If you see a good orchestra playing something really intense when Orlok comes through that door. It feels scary. You can feel yourself being teleported back to 1922 and being one of those audience people seeing that and being struck by it. John: What do you think it would be like to have [00:21:00] seen that or Dawn to have seen the original Frankenstein? I can't really imagine, given all that we've seen in our lives. If you put yourself back into 1931, and Boris Karloff walks backwards into the lab. I would just love to know what that felt like the first time. Dawn: You know, what is so great is I was fortunate enough to know Earl Bakkan who saw the movie in the theater in Columbia Heights, Minnesota when he was 10 years old.And he went, he had to sneak in. People would run outta this, out of the theater, screaming. I mean, when they would do the close up of Frankenstein's Monster's face, you know, women would faint. And of course that was publicized and much circulated, but it was also true. People were freaking out. And for Earl Bakkan—this young kid—the fear was overwhelming, as you said. And also in this theater, I was lucky enough, I did my show in that theater for Earl and his friends on his 81st birthday. So, I got to hear a [00:22:00] lot of these stories. And they played the organ in the front of the curtain. Brian: Is this the Heights theater? Dawn: Yes, the Heights. Brian: Oh, that's an amazing space. Dawn: So, they played the organ in there and it was like, oh my God. And it was so overwhelming. So, I'm glad you asked that question because I was really fortunate to have a moment to be able to sort of immerse myself in that question: What would it have been like to be in this theater? And it was moving and it was scary, man. And yeah, to your point, Brian, the music and the score. I mean, it was overwhelming. Also, I think there's something that we still benefit from today, which is when people tell you going in this might be way too much for you, this might scare you to death. So just be super, super careful. And your heart's already, you know… John: And it does have that warning right at the beginning. Dawn: Yeah. Versus now when people sit you down, they're like, I'm not gonna be scared by this black and white movie from 1931. And then you find yourself shuffling out of the bathroom at top speed in the middle of the night. And you're like, well, look at that. It got me. Brian: That reminds me, there [00:23:00] was a deleted scene from the 1931 Dracula that was a holdover from the stage play. Van Helsing comes out and he breaks the fourth wall and he speaks directly to the audience. And he says something to the effect of—I'm very much paraphrasing—about how we hope you haven't been too frightened by what you've seen tonight, but just remember these things are real. And then black out. And they cut that because they were afraid that they were really going to freak out their audience. Dawn: It's like a war of the world's thing, man. It's oh, that's so great. I love that. [Dracula Soundbite] John: So, Brian, what is your assessment of the 1931 version? As a movie itself and as an adaptation of Stoker's work? Brian: The things they had to do to try to adapt it to film, which they borrowed a lot of that from the stage play. They used the stage play as their guide point, and I think they made the best choices they could have been expected to make. You know, there's a lot of things that get lost and that's unfortunate, but I think they did a decent job. I don't find the 1931 version scary. I like Bela Lugosi. I think he's a great Dracula. I think he set the standard. With the possible [00:25:00]exception of the scene where the brides are stalking Harker slash Renfield, I don't think the imagery is particularly frightening. The Spanish version, I think does a little bit better job. And you know the story with the Spanish version and the English version? Dawn: We actually talk about it on the back lot tour of Universal Studios. Because they shot on the same sets in some cases. Brian: Yeah. My understanding is that Dracula shot during the day, Spanish Dracula would shoot at night. So, they got to benefit maybe a little bit by seeing, okay, how is this gonna be shot? How did Todd Browning do it? Okay. We're gonna do it a little bit differently. It's a little bit of a cheat to say they move the camera. They do move the camera a lot more in the Spanish version, but the performances are a little bit different. I'm going to, I can't get her name out. The actress who plays the ingenue in the Spanish Dracula, I'm not going to try it, but you can see her kind of getting more and more crazed as time goes on and her head is more infected by Dracula. You see these push-ins that you don't see in the English version. There's blocking [00:26:00] that's different. I put together a short course where I was just talking about how they blocked the staircases scene. The welcome to my house, the walking through spider web. And how it's blocked very differently in the two versions. And what does that say? What are these two directors communicating differently to us? In one, Harker slash Renfield is next to Dracula. In one, he's trailing behind him. In one, we cut away from the spider web before he goes through. And in the other one, we see him wrestle with it. That's not really what you asked, John. Sorry, I got off on a tear there. John: I agree with you on all points on the differences between the two films. Although I do think that all the Transylvania stuff in the English version is terrific: With the coach and the brides. The Spanish version, the biggest problem I have is that their Dracula looks ridiculous. Brian: He's not Bela Lugosi. You're right. John: He looks like Steve Carell doing Dracula and there is no moment, literally no moment [00:27:00] where he is scary, whereas Lugosi is able to pull that off. Brian: There's a lot of people who have observed that the Spanish Dracula would be a superior film were it not for Bela Lugosi being such an amazing Dracula in the English version. John: He really, really nailed it. Brian: And since he learned his lines phonetically, he could have done the Spanish Dracula. Just write it out for him phonetically, because he didn't speak English very well. John: If we could just go back, you know, cause a lot of things in history we could change, but if we could just be at that meeting and go, Hey, why not have Bela do it? Okay. So then let's jump ahead, still in Dracula form, to Horror of Dracula. From 1958. With Christopher Lee as Dracula and Peter Cushing as Van Helsing. [Soundbite from Horror of Dracula] Brian: For some people, Lee is the ultimate Dracula, and I think that's a generational thing. I think he's great. He's got the stage presence and I love Peter Cushing as Van Helsing. I don't like the film as a whole. It feels like I'm watching a play with a camera set back. It doesn't work for me the way it works for other people. That is personal taste. Don't come after me. John: It does, however, have one of the greatest, ‘Hey, we're gonna kill Dracula' scenes ever, with Peter Cushing running down the table and jumping up and pulling down the drapes and the sun. Brian: Oh, right. Interesting. Because in Dracula, the book, the sun is not deadly, remotely really. But that's [00:29:00]the influence of Nosferatu being pasted onto the Dracula cannon, that the sunlight is deadly to Dracula. Dawn: I remember having this fight very enthusiastically in the nineties when Bram Stoker's/Winona Ryder's Dracula came out and I was already sort of a literary nerd. And they were like, hey, they have a scene with him walking around during the day. And I was like, yeah, nerds. That's right. That's cuz vampires can walk around during the day.I was very already, like, you don't know anything, go back to history. Brian: And there's a seventies version where he's out on a cloudy day, but he is not hurt either. There suggestions in the book that he's more powerful at night. Dawn: He's a creature of the night. I always understood he had to wear sunglasses. He was sort of like a wolf. Like they show him as a wolf during the day; it can happen, but it's not great. Brian: I like the way they did it in the Gary Oldman version. He's suited up. He's got the sunglasses on. There's not a whole lot of skin exposed. But he's not [00:30:00] going to turn into smoke. John: Well, okay. Let's talk about that version and Kenneth Branagh's version of Frankenstein. Dawn: Ug. John: I'm not going to spoil anything here, when I say it doesn't sound like Dawn cared it. Dawn: You open this, you opened this can of worms. John, sit down for a second. Listen. He calls it: Mary Shelly's fucking Frankenstein. I inserted the fucking. I'm sorry, I wasn't supposed to say that. He calls it. He calls it. How dare you, Kenneth, Brannagh, call this Mary Shelley's Frankenstein. So that was A-number one. But I went into it all excited: It's Kenneth Brannagh. Love him. He calls it Mary Shelley's Frankenstein and he starts with the ship captain out at sea, just like the book. And so I pull up my little, you know, security blanket and I'm like, oh, Kenneth Brannagh, do this to me, buddy. Do it to me buddy. Show me Mary Shelley Frankenstein as a movie. [00:31:00] And then he just fucks it up, John. And he doesn't actually do that at all. It's a total lie. He screws up every monologue. He makes up motivations and then heightens them. And it's dad. The acting is capital B, capital A, capital D across the board. Everybody sucks in this movie. It looks bad. The direction is bad, and it has nothing to do. He tries to bring Elizabeth back to life. This is a huge departure from Mary Shelley's Frankenstein. Thank you very much, Mr. Brannagh, that's all I have to say for now. John: All right, I was fooled by the fact that he started at, at the north pole. Dawn: That's because he's tricking us, John. That's because it's the whole movie is a lie. John: Okay with that same mindset, what do we think of Bram Stoker's Dracula by Francis Ford Coppola? Dawn: I love that one. Brian: I'm afraid that I don't have, I can't match Dawn's intensity in either respect. Um, except I thought Robert DeNiro [00:32:00] was really good in Frankenstein. Dawn: But that's no, he's not. you're wrong. Your opinion is valid and wrong. Yeah, I'm kidding for listeners who don't know me. I am, I am kidding. Of course. Everybody's opinion is valid except for that one. Yeah. The movie, everything about that movie is bad. John: He is, I think, miscast. Dawn: And Helen Bonan Carter is one of the finest actresses of not just our generation, but of all time. And she sucks in this movie. John: Right. So. Bram Stoker's Dracula. Brian: Bram Stoker's Dracula. [Soundbite: Bram Stoker's Dracula] Brian: Also produced by Branagh. And I assume that is the connection, why they both start with the author's name. I always call it Coppola's Dracula because it gets too confusing to make that distinction. I thought it was a decent movie, but it didn't feel like Dracula. It felt like someone who had heard of Dracula and wrote a good script based on what they had heard. So many divergences that bothered me, although I think it's aged better than it felt the first time. I remember seeing it when it first came out in the nineties and not thinking much of it. And I think audiences agreed with me and it seems like it's been kinder, that audiences have been kinder to it as it's gotten older. John: Okay. Dawn, you love it. Dawn: I loved it. I loved it. It, you know what though? That was one of [00:34:00] those movies that unlike, unlike Mary Shelley's Frankenstein, I can't look at with like an adult critical eye because I, what year did it come out? Was it like 90, 92? I'm like middle school getting into high school and like Winona Ryder was everything. Vampires are everything. I mean, Gary Oldman is the, is a great actor and it's so sexy, very sexy. The sex is Primo. And so I remember loving it, very moving. I don't remember comparing it as certainly not as viciously to the novel because I read Dracula after I had seen the movie. And so there's always that inherent casting where Nina is always going to be Winona Ryder. But I do remember really loving the Gothic convention of the letter and that the movie did seem to utilize and to great effect how letter writing can build suspense and give us different perspectives in a, in a unique cinematic way. Brian: [00:35:00] The two or three biggest stakes that film puts in the ground are not to be found in the book. So there's no love story in the book. There's no Vlad in the book. John: Can I interject there? Isn't that basically, didn't they just rip that off of Dark Shadows, The idea of my long lost love is reincarnated in this woman. I must connect with her. Brian: That is a good question, John. I'm glad you asked that because I call it the doppelganger love interest. Right? We first see that, the first time I know of it happening, I'm sure there's an earlier precedent, is in The Mummy, but then Dark Shadows does it. But that's not where Stoker, I mean, that's not where Coppola and a screenwriter claimed to have gotten the idea. They claimed to have gotten it from Dan Curtis's Dracula in 74. John: Dan Curtis, who produced Dark Shadows, with Barnabas Collins, falling in love with his reincarnated love. Brian: But Dan Curtis's Dracula comes out two years after Blacula. That has a reincarnated love interest. John: Not only does the Blaclua [00:36:00] have a reincarnated love interest, but if I'm remembering movie correctly at the end, when she says I don't want to go with you. He goes, okay. And he's ready to go home. It's like, sorry to bother you. Brian: No, uh, in Blacula, he commits suicide John: Oh, that's it? Yeah. He walks out into the sun. Brian: He goes home in a different way. John: Yes. He's one of my favorite Draculas, the very stately William Marshall. Brian: Yeah, absolutely. That is a favorite of mine. John: Anyway, you were saying stakes in the ground from Coppola's Dracula. Brian: Well, the, the love story, the equating Dracula with Vlad the Impaler. And I felt like they did Lucy really bad in that movie. They had her turn into a wanton harlot, which is not in keeping with the book. Some things are okay, but they really said these are the building blocks of our story and that bugged me. But Anthony Hopkins I liked, so, all right. Dawn: Alright, but see, this [00:37:00] the itch that still that still makes me wanna scratch though: why say Bram Stoker's Dracula? Why say Mary Shelley's Frankenstein? I mean, because I think you heard the venom, obviously. If they took Mary Shelley's name off that thing, you can make Frankenweenie. And I will love, like, I love Frankenweenie. Do your Frankenstein homage all day, all the time. But when you call, when you say it's Bram Stoker's, I think that this is what has been frustrating historians like me and getting high school students Ds in English class ever since. Because it just creates the false perception that you've basically read the book. Right. Or that you, if you know the thing you know the book and it's just a cheap ploy. And I don't like it. Brian: I think, somebody correct me on this, that there, there had been a plan to do a reboot of the Universal monster franchise, and these two movies were supposed to be the reboot of it. [00:38:00] And then they would've then done HG Wells' Invisible Man. John: The Mummy killed it. They've tried to reboot it several times. And that was the first attempt. Brian: Yeah, I've heard that called the dark universe. They were trying to do their own MCU. Dawn: Yeah. Well, at Universal Studios, there is of course in, in LA, in general, there's the property wars, you know? What what's, who has what? And sometimes those get really blurred. Like why does Universal Studios have Harry Potter? When we can see Warner Brothers from the top of our wall/ And that's obviously, you know, those things happen. But when it comes to like the IP or intellectual property, those original monsters are so valuable and they always are at Halloween. And then it's like, sort of, how can we capitalize on this? And yeah. And it's cross generational. Brian: All they really own right now is the look right? They own Jack Pierce's makeup job from Frankenstein. Dawn: But I think that that's exactly the point; [00:39:00] the delusion of what is it that you own if you own, you know, Frankenstein, whatever. But yes, there was definitely an interest to sort of revamp all of the original Universal Monsters they call them and it's the Mummy, Frankenstein, Dracula, and the Invisible Man. John: It's everybody who shows up in Mad Monster Party. Dawn: Exactly. [Soundbite: Mad Monster Party] Dawn: But yeah, The Mummy, starring Tom Cruise, was a tremendous flop. And I think that sort of took the wind out of everybody's sails. John: Let me ask you this, Dawn. If Mel Brooks had titled his movie, Mary Shelley's Young Frankenstein, instead of Mel Brooks' Young Frankenstein, would you have a problem with that? Dawn: Yeah, no, but no, I would not have had a problem, because that would've been irony and juxtaposition. Not just a straight lie. John: So that brings us to some comedies. Young Frankenstein and Abbott and Costello meet Frankenstein, which I was very surprised and a little unnerved to [00:40:00] realize a few years back, Abbott and Costello meet Frankenstein was made a mere 10 years before I was born. And I had always assumed it was way back then. And it's like, no, it wasn't all that way back then. It was pretty, pretty recently. Brian: That happened to me when I realized that Woodstock was only six years before my birth. And it always seemed like ancient history. John: Is that the common thing, Madame Historian? That people kind of forget how recent things were? Dawn: Oh yeah. Remember Roe V. Wade. Sorry, too soon. Brian: We're recording this on that day. Dawn: Yeah, absolutely. I think that it happens to everybody so much faster than you think it's going to. I remember looking around in the nineties feeling, well, surely the seventies was ancient history, you know, because they had That Seventies Show, which debuted as like a period piece. I am still very young and hip and happening and [00:41:00] they are in production for That Nineties Show right now. And I said to my husband, That Nineties Show. I was like, Jesus, I guess that's 20 years because I was in the nineties they did That Seventies Show. And he goes, no baby that's 30 years. And I was like, I'm sorry. I said, I'm sorry, what? He goes, the nineties was 30 years ago. And I just had to sit down and put my bunion corrector back on because these feet are killing me. John: All right. Well, let's just talk about these two comedies and then there's a couple other things I wanna quickly hit on. What are our thoughts on, let's start with Young Frankenstein? [Soundbite: Young Frankenstein] Dawn: I told you I'm not an idealist and we're not a purist about Frankenstein, but I am an enthusiast. So that is why I told you to watch Kenneth Branagh's movie, even though I hate it so much. And that is also why I love Young Frankenstein, because I think that it is often what brings people into the story. For many, many people, it introduces them to the creature. They may know literally nothing about Frankenstein except for Young Frankenstein. And that's actually fine with me because I'm a comedian myself. And I believe that parody is high honor. And often when you parody and satirize something, especially when you do it well, it's because you went to the heart of it. Because you got right in there into the nuggets and the creases of it. And there is something about Young [00:43:00] Frankenstein as ridiculous as it is that has some of that wildness and the hilarity and The Putting on the Ritz. I did find out from my Universal Studios movie history stuff, that that scene was very nearly cut out. Mel Brooks did not like it. And he just didn't like that they were doing it. And of course it's the one, I feel like I'm not the only one who still has to make sure that my beverage is not only out of my esophagus, but like aside, when they start doing it. [Soundbite: Young Frankenstein] Brian: And I understand they were about to throw away the sets from the 1931 Frankenstein when Mel Brooks or his production designer came up and said, Stop stop. We want to use these and they were able to get the original sets or at least the set pieces. John: I believe what it [00:44:00] was, was they got Kenneth Strickfaden's original machines. Ken Strickfaden created all that stuff for the 1931 version and had been used on and off, you know, through all the Frankenstein films. And it was all sitting in his garage and the production designer, Dale Hennessy went out to look at it because they were thinking they had to recreate it. And he said, I think it still works. And they plugged them in and they all still worked. Brian: Oh, wow. Dawn: Oh man. It's alive. John: Those are the original machines. Dawn: I didn't know that. That's fantastic. John: At the time when I was a young kid, I was one of the few kids in my neighborhood who knew the name Kenneth Strickfaden, which opened doors for me. Let me tell you when people find out, oh, you know of the guy who designed and built all those? Oh, yes. Oh, yes. I know all that. One of my favorite stories from Young Frankenstein is when they sold the script. I forget which studio had said yes. And as they were walking out of the meeting, Mel Brooks turned back and said, oh, by the way, it's gonna be in black and white, and kept going. And they followed him down the hall and said, no, it can't be in black and white. And he said, no, it's not gonna work unless it's in [00:45:00] black and white. And they said, well, we're not gonna do it. And they had a deal, they were ready to go. And he said, no, it's gonna stay black and white. And he called up Alan Ladd Jr. that night, who was a friend of his, and said, they won't do it. And he said, I'll do it. And so it ended up going, I think, to Fox, who was more than happy to, to spend the money on that. And even though Mel didn't like Putting on the Ritz, it's weird, because he has almost always had musical numbers in his films. Virtually every movie he's done, he's either written a song for it, or there's a song in it. So, it's weird to me. I've heard Gene Wilder on YouTube talk about no, no, he didn't want that scene at all, which is so odd because it seems so-- Brian: I never thought about that, but you're right. I'm going in my head through all the Mel Brooks films I can remember. And there is at least a short musical interlude in all of them that I can think of. John: But let's talk then about what's considered one of the best mixes of horror and comedy, Abbott and Costello Meet Frankenstein [00:46:00] [Soundbite: Abbott & Costello Meet Frankenstein] Brian: As with comedies of that age, it, it starts off slow, but then it starts to get very funny as time goes on. And all the comedy is because of Abbot and Costello. They are the, [00:47:00] the chemistry they have on screen. I don't know how much of that was actually scripted and how much of it was just how they rolled with each other. But it works really well. Not much of the comedy is provided by the monsters or the supporting cast or even there's maybe a cute, a few sight gags. But wouldn't you say most of the comedy is just the dynamics between them? John: It is. The scary stuff is scary and it's balanced beautifully at the end where they're being chased through the castle. The monsters stayed pretty focused on being monsters and Abbot and Costello's reactions are what's funny. Dawn: If I may, as someone who has already admitted I haven't seen much of the movie, it's feels to me like it may be something like Shaun of the Dead, in the sense that you get genuinely scared if zombie movies scare, then you'll have that same adrenaline rush and the monsters stay scary. They don't have to get silly. Or be a part of the comedy for your two very opposing one's skinny, one's fat, you know, and the way that their friendship is both aligning and [00:48:00]coinciding is the humor. Brian: I believe there is one brief shot in there where you get to see Dracula, Frankenstein's monster and the Wolfman all in the same shot. And I think that might be the only time that ever happens in the Universal Franchise. During the lab scene, does that sound right John? John: I think you really only have Dracula and the Wolfman. I'll have to look it up because the monster is over on another table-- Brian: Isn't he underneath the blanket? John: Nope, that's Lou Costello, because it's his brain that they want. And so they're fighting over that table. And then just a little, I have nothing but stupid fun facts. There's a point in it, in that scene where the monster gets off the table and picks up someone and throws them through a window. And Glenn Strange, who was playing the monster at that point -- and who is one of my favorite portrayers of the monster, oddly enough -- had broken his ankle, I believe. And so Lon, Chaney, Jr. put the makeup on and did that one stunt for him, cuz he was there. Brian: He did that as Frankenstein's monster? John: Yes. Frankenstein. Brian: I didn't know that. Yes, I [00:49:00] did not know that. So he plays both of those roles in that movie? John: Yes. Let me just take a moment to defend Glenn Strange, who played the monster three times: House of Dracula, House of Frankenstein, and Abbott and Costello Meet Frankenstein. In House of Frankenstein, he is following up the film before that, which was Frankenstein Meets the Wolfman, in which, in this very convoluted universe, Lugosi is playing the monster, even though he didn't wanna do it in 31. Because his brain in Ghost of Frankenstein had been put into the Monster's body. So, in Frankenstein Meets the Wolfman, it is Lugosi as the Frankenstein monster. It is Lon Chaney Jr., who had played the monster in Ghost of Frankenstein, now back to playing Larry Talbot. So, it is Wolfman versus Frankenstein. And the premise of the script was he's got Ygor's brain and it's not connecting properly. He's gone blind. They shot that. They had tons of dialogue between the two characters of Larry Talbot pre-wolfman, and the monster, Bela Lugosi. And the executives thought it sounded silly. So they went in and they cut [00:50:00] out all of Lugosi's dialogue out of the movie. So now you have a blind monster stumbling around with his arms in front of him, but he doesn't talk. And if you look at the movie, you can see where he's supposed to be talking and they cut away quickly. And it's really convoluted. Glenn Strange who then has to play the monster next, looks at that and goes well, all right, I guess I'm still blind. I guess I'm still stumbling around with my arms in front of him. Which is the image most people have of the Frankenstein monster, which was never done by Boris in his three turns as the monster. So with, in that regard, I just think Glenn Strange did a great job of picking up what had come before him and making it work moving forward. Anyway, a couple other ones I wanna just hit on very quickly. Brian asked me to watch Dracula in Istanbul. Under the circumstances, a fairly straightforward retelling of the Dracula story. I would recommend it--it is on YouTube--for a couple of reasons. One, I believe it's the first time that Dracula has actual canine teeth. Brian: Yes. John: Which is important. But the other is there's the scene where he's talking to Harker about, I want [00:51:00] you to write three letters. And I want you to post date the letters. It's so convoluted, because he goes into explaining how the Turkish post office system works in such a way that the letters aren't gonna get there. It's just this long scene of explaining why he needs to write these three letters, and poor Harker's doing his best to keep up with that. That was the only reason I recommend it. Brian: That movie is based on a book called Kazıklı Voyvoda, which means The Warrior Prince and it was written in, I wanna say the 1920s or thirties, I wanna say thirties. It's the first book to equate Dracula and Vlad the Impaler, which I've come back to a couple times now, but that's significant because it was a Turkish book and the Turks got that right away. They immediately saw the name Dracula like, oh, we know who we're talking about. We're talking about that a-hole. It was not until the seventies, both the [00:52:00] fifties and the seventies, that Western critics and scholars started to equate the two. And then later when other scholars said, no, there, there's not really a connection there, but it's a fun story. And it's part of cannon now, so we can all play around with it. John: But that wasn't what Bram Stoker was thinking of? Is that what you're saying? Brian: No. No, he, he wasn't, he wasn't making Dracula into Vlad the Impaler. He got the name from Vlad the Impaler surely, but not the deeds. He wasn't supposed to be Vlad the Impaler brought back to life. John: All right. I'm going to ask you both to do one final thing and then we'll wrap it up for today. Although I could talk to you about monsters all day long, and the fact that I'd forgotten Dawn, that you were back on the Universal lot makes this even more perfect. If listeners are going to watch one Dracula movie and one Frankenstein movie, what do you recommend? Dawn, you go first. Dawn: They're only watching one, then it's gotta be the 1931 Frankenstein, with Boris. Karloff, of course. I think it has captured [00:53:00] the story of Frankenstein that keeps one toe sort of beautifully over the novel and the kind of original source material that I am so in love with, but also keeps the other foot firmly in a great film tradition. It is genuinely spooky and it holds so much of the imagery of any of the subsequent movies that you're only watching one, so that's the one you get. But if you do watch any more, you've got this fantastic foundation for what is this story and who is this creature? John: Got it. And Brian, for Dracula? Brian: I was tossing around in my head here, whether to recommend Nosferatu or the 1931 Dracula. And I think I'm going to have to agree with Dawn and say the 1931 for both of them, because it would help a viewer who was new to the monsters, understand where we got the archetypes we have. Now, why, when you type an emoji into your phone for Vampire, you get someone with a tuxedo in the slick back hair or, I think, is there a Frankenstein emoji? Dawn: There is, and he's green with bolts in his neck. [00:54:00] Brian: Yeah, it would. It will help you understand why we have that image permanently implanted in our heads, even though maybe that's not the source material. We now understand the origins of it. Dawn: And if I may too, there's, there's something about having the lore as founded in these movies is necessary, frankly, to almost understand what happens later. I mean, I get very frustrated in 2022, if there is a movie about vampires that takes any time at all to explain to me what a vampire is, unless you're breaking the rules of the vampire. For example, you know, like in Twilight the vampire sparkles, like a diamond when it's out in the sunshine and is the hottest thing ever. That's really great to know. I didn't know that about vampires. That wasn't necessarily true before, you know, but you don't need to take a lot of time. In fact, when you do read Dracula, one of the things for me that I found very frustrating was the suspense of what is it with this guy? They were like: He said we couldn't bring [00:55:00] garlic and they take all this time. And you're kind of as a modern reader being like, cuz he is a fucking vampire. Move on. Like we know this, we got this one. It's shorthand Brian: That's one snide thing I could say about the book is that there are times where Dracula's powers seem to be whatever his powers need to be to make this next scene creepy and move on to the next chapter. John: He was making it up as he went along. Yeah, yeah, yeah.

This month, Emma and Steve discuss Kenneth Brannagh's turn as Boris Johnson in This England. This drama covers the opening weeks of the Covid crisis and the government's response.  They also talk briefly about Triggered - Emma's play, which will be showing in London in November. Tickets here: https://www.whitebeartheatre.co.uk/whatson/Triggered

I feel the need... the need for a podcast exploring the films and career of Tom Cruise.Welcome to Cruise Views, a podcast all about actor, producer, and global icon Tom Cruise, reviewing each of his films in order! This week your hosts Adam and Tom are joined by Haley Manbeck to discuss Valkyrie (2009) directed by Bryan Singer and starring  Tom Cruise, Bill Nighy, and Kenneth Brannagh.The film is a dramatization of the July 20, 1944 assassination and political coup plot by desperate renegade German Army officers against Adolf Hitler during World War II.Adam, Tom, and Haley explore the production, release, and context of the film and how it fits into Tom Cruise's career. They also find time to play their exciting game, Two Cruise and a Lie! What will they make of the film? What is the overall "Cruiseness" rating? Find out on this episode of Cruise Views!Come and chat to us...Twitter: https://twitter.com/cruiseviewspodInstagram: https://www.instagram.com/cruiseviewspod/Facebook: https://www.facebook.com/cruiseviewspodEmail us: cruiseviewspodcast@gmail.com

We speak to an Oscar winner and a grime star this week, in the latest Backstage - the TV and film podcast from Sky News.Claire Gregory is joined as usual by Stevie Wong, alongside Sky News' arts and entertainment reporter Chris Robertson, as they look at the latest news and reviews in the world of film and TV.The team discuss Netflix's Tudum event, and all the new releases, trailers and sneak peaks that came with it, as well as delving into HBO's latest big money project - The Last Of Us.They also look at Avatar's reclamation of the global box office top spot, and some creepy horror film marketing this week after a number of odd individuals were spotted at baseball games in the US.Oscar-winning superstar Jeff Bridges chats to Backstage about his latest project The Old Man, where he plays a washed-up CIA operative on the run (listen to the end for the full interview!) and Big Narstie discusses the rise of grime and drill music ahead of the launch of new show Jungle.This week we review Kenneth Brannagh's This England, where he plays Boris Johnson in Sky's new COVID-19 drama, as well as sandwich shop comedy The Bear.And how could we let the new Hocus Pocus pass us by - find out if the team enjoyed the spooky Sanderson sisters sequel, 29 years on from the blockbusting original, as they run amuck, amuck, amuck!

In October 2017, WFT held a special masterclass allowing our members to gain a greater insight into the craft of editing from multi-award-winning editor Úna Ní Dhonghaíle – Belfast (2021), Ripper Street (2013) and The Missing (2014), The Crown (2022) and Philipa Lowthorpe's BBC drama series Three Girls (2017). In this very special podcast from the WFT archives, we learn all about what makes an edit great. About Úna ní Dhonghaíle Multi-award winning editor, Úna Ní Dhonghaíle ACE, BFE is best known for her work on The Crown, Misbehaviour, Three Girls and Stan and Ollie. She has worked on the leading lights of British drama in what some are calling "The Golden Age of Television". Having completed a degree in Film and Media Studies in her native Dublin, Úna specialized in film editing at the National Film and Television School (NFTS) from 1995-1998. Úna has since gone from strength to strength, earning her first of four BAFTA nominations in 2009 for the Abi Morgan's TV feature White Girl. She has edited three episodes of the Netflix multi-award winning show, The Crown Series 1 and 2, starring Claire Foy and John Lithgow, Kenneth Brannagh's Wallander, BBC's Les Misérables, Doctor Who, Ripper Street and The Missing Series 1, amongst others. Over a five year period, she co-directed and edited a documentary Invisible Man, for which she won the 2016 IFTA for Best Editing in Television. Úna has also received much recognition for her editing of the highly acclaimed BBC drama Three Girls, for which she has won the BAFTA award for Best Fiction Editing, the Technicolor Craft Award from Women In Film UK, the IFTA for Best Editing, the RTS Award for Best Editing of Fiction, the RTS West of England Award for Editing and the Televisual British Bulldog Award for Editing. Úna has edited Stan and Ollie starring Steve Coogan and John C Reilly, directed by Jon S Baird and Rosie, directed by Paddy Breathnach and written by Roddy Doyle and Sir Kenneth Branagh's All Is True, starring Ken Branagh, Judi Dench and Ian McKellan and most recently, Misbehaviour with Philippa Lowethorpe directing. Úna is currently editing Death On The Nile with Sir Kenneth Branagh.

A podcast régi hallgatóinak nem lesz meglepetést, hogy a Sok hűhó semmiért az egyik kedvenc Shakespeare-darabunk, az Emma Thompson és Kenneth Brannagh főszereplésével készült zseniális filmfeldolgozást pedig már számos alkalommal láttuk. (Sőt, nem csak azt! Shakespeare-élményeinkről már itt is beszéltünk, még jó régen.) Így természetesen felkeltette az érdeklődésünket, amikor hallottunk Laura Wood Under a Dancing … Bővebben: Sok hűhó semmiért: a kezdetek – a 213. epizód

This week Gráinne and Chantal immerse themselves in the life and romances of the luvvies who dominated the world of film in the 1990s, traversing from one EM Forster adaptation to another, and King and Queen of the luvvies were of course Emma Thomson and Kenneth Brannagh, who guest Pippa Evans still mourns the loss of to this very day....

Esta semana venimos con tres películas en busca de las razones que mueven una historia. Arrancaremos con la de conocer el asesino de Muerte en el Nilo, la nueva película de Kenneth Brannagh. Seguiremos con las razones que desembocaron al suicidio de una de las niñas de cristal y terminamos con las razones para hacer una película como Apollo 1/2 Todo ello como siempre Sin Spoilers 7:15 — Muerte en el Nilo (Disney +) 18:15 — Apollo 10 1/2 (Netflix) 28:15 — Las Niñas de Cristal (Netflix) Únete a nuestro grupo de Telegram: https://t.me/PodcastEnSerio Y estamos en Twitter: https://twitter.com/PodcastEnSerio Correo: ivodelgadorivero@gmail.com Instagram: https://www.instagram.com/criticoenserio/?hl=en-gb www.IvoDelgado.com

This week we are joined by one of my faves, actress Lucy Boynton!Believe it or not, Lucy started acting at the age of 12 alongside Renée Zellweger as a young Beatrix Potter in ‘Miss Potter' - god, that film made me sob, YOU? She then went on to star in Kenneth Brannagh's reboot of Poirot, ‘Murder on the Orient Express' next to Judi Dench, Olivia Colman, and Michelle Pfieffer. She then stole the scene as Astrid in my fave Netflix show, ‘The Politican' next to Gwyneth Paltrow, and played the girlfriend and soulmate of Freddie Mercury, Mary Austin in the Oscar winning ‘Bohemian Rhapsody' next to her real-life love, Rami Malek. ‘Bohemian Rhapsody' also became the highest grossing biopic movie of all time too, casual! Lucy is now starring as the stunning sixties spy, Jean, alongside Joe Cole in ‘The Ipcress File', the television remake of the classic Michael Kane Cold War movie of the same name, which is on ITV Hub. She's also starring alongside Will Poulter, Emma Thompson and Jim Broadbent as the sassy heiress turned amateur sleuth Frankie, in Hugh Laurie's adaptation of the Agatha Christie classic ‘Why Didn't They Ask Evans?' which is on BritBox. And if she wasn't busy enough, Lucy will be back on our cinema screens later this year playing Marie Antoinette in ‘Chevalier', a film about the composer, Chevalier de Saint-Georges, played by Kelvin Harrison Jr. Chevalier was the ‘illegitimate' son of an African slave and a French plantation owner who rose to the heights of French society as a violinist, composer and a champion fencer. But after an ill-fated love affair with a French noblewoman and a falling out with Marie Antoinette and her court, he suffered a downfall from favour. With all of that to talk about, Lucy joins me for a very open and honest conversation. In the episode Lucy talks about her journey with mental health, just how game changing going to therapy was for her and the lessons she has learnt from her therapist. It's advice I think we could all do with taking TBH! Lucy also talks about defining our self worth away from external sources of validation, and calls BS on outdated sexist stereotypes, namely the idea of the ‘angry woman,' who's with us?!? I hope you take just as much away from this episode as I did and I hope you continue to listen and find the power to Reign in your own lives. If you love this episode, please get in touch (follow me across social media @joshsmithhosts), I love hearing from you. Love, Josh xxxP.S I AM SO EXCITED THAT WE ARE PARTNERING WITH ONE OF MY FAVOURITE SKINCARE BRANDS, KIEHL'S, FOR THIS SERIES OF REIGN!I created Reign to celebrate women and start important conversations about equality and I am proud to partner with Kiehl's who have done the same for over 170 years by supporting local communities through multiple charity partnerships.In the spirit of feeling like our best selves, Kiehl's have introduced a new cream formulation of their best selling Midnight Recovery Oil! Say hello to the Midnight Recovery Omega Rich Cloud Cream, which will not only help your skin look plumped, nourished and radiant, it will empower you to feel FABULOUS and take on anything!It's rich in Omegas 3 and 6 which help replenish and rejuvenate skin, and with it only taking 7 nights to younger looking skin - I'll race you to the nearest Kiehl's store! Or you can shop on kiehls.co.uk

Gothic spectacle abounds as Sam and Dan discuss Kenneth Brannagh's Mary Shelley's Frankenstein. Spoiler level: 3/5 For their cinematic pairings, Sam and Dan also recommend films such as Bram Stoker's Dracula and Gothic, plus also talk about films they've seen recently including Tough Guys Don't Dance and Come and See (again!). Next time Sam and Dan will be discussing Mario Bava's swansong: Shock! Email the Arrow Video Podcast hosts for any comments, suggestions or questions at arrowvideopodcast@arrowfilms.co.uk Or pester Sam and Dan on Twitter: Sam - https://twitter.com/samashurst?s=20 Dan - https://twitter.com/13fingerfx?s=20 And on instagram: Sam - https://www.instagram.com/samashurst23/?hl=en Dan - https://www.instagram.com/13fingerfx/?hl=en

Aquesta setmana a PROGRAMA DOBLE abordem dues pel·lícules que ens quedaven pendents dels Oscars 2022. Dues pel·lícules "feel good" amb sorts desiguals com són la guanyadora CODA i BELFAST, que es va conformar només amb 1 Oscar per Kenneth Brannagh. La Cara A serà per la sorprenent guanyadora CODA, que desde el seu pas triomfal a Sundance sembla beneïda pels déus del cinema. I la Cara B per una BELFAST que retrata amb molt bonisme la infantesa del seu director.

I am blessed to live with an Irish republican. Rumour has it that said republican's Dad was the one who planted the bomb on Lord Mountbatten's boat...Tiocfaidh ár lá I heard her say this morning. No idea what that means. And you thought the Catholics and Protestants were at each other's throats...I'll stop now. With it being a day of celebration for you Irish lot and with the Oscars fast approaching, Ben thought it best to bring down the jovial tone by reliving the troubles of 1969 depicted in Kenneth Brannagh's Belfast.  Happy St. Patrick's Day, everyone! Northern and Republican topics discussed during the episode include: Fiona tries to claim Dame Judy Dench. Is Ben a man of God? Should Ben shoot himself in the face? Don't answer that. Ben wants to let the people of Ireland know (Northern and Republic) how awful their accents are. Is Ben turning into Austin Powers? Oh BehaveWas Ben wrongly overlooked for Christian Grey? An Irish family vs a Deaf family...who's your money on for this year's best picture award? The worse 30-second countdown final film thoughts summary so far. That's a mouth full. Does Fiona's heart skip a beat every time Ben walks into the room with the microphones? Ben gives Kenneth Brannugh some directing tips.  While Ben works on his breaststroke, Jamie Dornan will be working on Fiona's breasts...Does Jamie Dornan know about this? What does Michael D Higgins do exactly? Timestamps (0:00) - Audio issues... Happy Paddy's Day! (1:09) - Review Start (18:00) - Hilarious Segments (21:08) - Irish themed shoutouts(25:40) - Terrible CTA'SFilmFloggers Episodes - https://t.co/uHw3yuylDr?amp=1Come talk to Ben on Social Media...https://linktr.ee/FilmFloggershttps://www.instagram.com/filmfloggers/https://twitter.com/FilmFloggersGameFloggers Twitch - https://tinyurl.com/sabrbumtDo you want The Sopranos redefined for you? I thought so...https://twitter.com/SopranosRehttps://anchor.fm/sopranos-redefinedHelp Flog the Podcast by Rate and Reviewing! 1 Star content, 5-star effort! Apple iTunes - https://tinyurl.com/268ccs6cPodchaser - https://www.podchaser.com/users/filmfloggersGoodpods - https://goodpods.app.link/gEvDLhAJYibWebsitehttps://filmfloggers.buzzsprout.comEmail us your FilmFlog suggestions hosts@filmfloggers.comSupport the show (https://www.buymeacoffee.com/FilmFloggers)

OR WHATEVER MOVIES is an entertainment podcast hosted by real-life brother and sister duo, Wesley and Iris Ichishita. Each episode is a quick, no-holds-barred discussion of a movie, television show or video. On today's episode, the siblings talk Academy-Award nominated Best Picture and Kenneth Brannagh's biographical narrative BELFAST, including Clanton and McLaury, Billys and Seans, and those that stayed and those that left.. Contains spoilers. Thank you for listening and your support of OR WHATEVER MOVIES!

Aquesta setmana les pel·lícules són les protagonistes. En parlem de totes elles sense espòilers. Comencem amb Uncharted protagonitzada per Tom Holland i basada en el videojoc de Playstation. A partir del minut 27, una bateria de ressenyes de títols nominats als Òscars en la categoria de millor pel·lícula. Obrim amb Coda, la cinta d’Apple protagonitzada per Emilia Jones. En el minut 53, Belfast, la pel·lícula més personal de Kenneth Brannagh. A 1 hora 16 minuts, The Power of the Dog, Jane Champion en un western atípic amb Benedict Cumberbath. Tanquem a 1 hora 43 minuts per parlar de Drive My Car, dirigida per Hamaguchi i basada en un relat de Murakami. Us acompanyen l’Ignasi Arbat, l’Aram Bonmatí, en Pau Garriga, la Marta Sanz i en Jep Soler. Web: https://www.ningunoesperfecte.cat/ Patreon: https://www.patreon.com/ningunoesperfecte

A priest, a rabbi and an iman are all suspects at the wailing wall...  Before there was Death on the Nile there was a Murder on the Orient Express. Join your favourite TransAtlantic podcasting crew – Ian, Liam, and Ethan (Georgia might be locked in her bunk) as we're departing from Istanbul all aboard the Orient Express.  We're dodging power cuts in our 110th episode as we discuss: How we simultaneously love once actor/actress' performance for half the film and hate their performance for the other half The terrible CGI and studio interference in manufacturing interesting events every 20 minutes Which actor/actress was dressed down by director Kenneth Brannagh in front of the whole crew? Georgia actually is much better with her face blindness this time although a few still get by her There's a call line for Michelle Pfeiffer you have to hear to believe We question Olaf's morality just a little bit Which technical element did we struggle between determining if it was amazing or just self-indulgent How did Branagh manage to convince his co-stars to let him focus on himself so much on the screen Ethan continues to struggle with some pod responsibilities on fact check corner Whether or not Murder on the Orient Express is the Best Film Ever Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are extremely thankful to our following Patrons for their most generous support: Rev Bruce Juleen from It Goes Down In The PM Hermes from The Scuttlebutt Podcast Lina Oberholzer Ensign Ian Davies Chris Pedersen Katie McRae Duane Smith (Duane Smith!) Randal Silva The Yeetmeister  Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/ Massive thanks to Lex Van Den Berghe for the use of 'Mistake' by Luckydog.  Catch more from Lex's new band, The Maids of Honor at https://soundcloud.com/themaidsofhonor Also massive thanks to Moonlight Social for our age game theme song.  You can catch more from them at https://www.moonlightsocialmusic.com/ Timestamps for this episode: 0:00 - Opening Banter 20:27 - Shoutouts 31:52 - Deep Dive 2:04:10 - Endgame

Assassinio sul Nilo, regia di Kenneth Brannagh, con Kenneth Brannagh, Gal Gadot, Annette Bening, prodotto da 20th Century Studios. Mi trovi anche su Instagram www.instagram.com/fumetti.e.dintorni/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/fumetti-e-dintorni/message

Esta semana venimos dorados y con olor a estatuilla. Empezaremos con una de las grandes favoritas: la visión de Belfast de Kenneth Brannagh, continuaremos con la estatuilla que puede llevar en el asiento del pasajero el Drive My Car de Hamaguchi y terminamos con la que puede esconder en sus carrillos Jessica Chastain en Los ojos de Tammy Faye. La semana pasada tuvimos un especial premios Goya y de premios seguimos porque esta semana se han dado a conocer las nominaciones a los Oscars y hay mucho que comentar, pero sobre todo que celebrar. Únete a nuestro grupo de Telegram: https://t.me/PodcastEnSerio Y estamos en Twitter: https://twitter.com/PodcastEnSerio Correo: ivodelgadorivero@gmail.com Instagram: https://www.instagram.com/criticoenserio/?hl=en-gb www.IvoDelgado.com

Following the same format as the previous 86, this week opens with a discussion of some new streaming content. Dan takes on Archive 81, and digs into John and the Hole, while James reviews Japanese Netflix offering The Journalist and finds comfort in the familarity of The Apprentice. Then, without a hint of irony, the boys discuss the repetitive nature of Netflix's Harlan Coben adaptations.  In the news section that acts mainly as a buffer between the two content review sections, there is talk of Fight Club's new Chinese ending, the Mission Impossible delay, and the new dramatic take on The Fresh Prince of Bel Air.  The main review is Kenneth Brannagh's much-praised black and white comedy drama Belfast. Wouldn't it be funny if the hosts had completely contrasting opinions?

Capítulo 202. Manuel y espinoso caso de la BBC, que lleva tiempo eliminando de su archivo radiofónico aquello que pueda sonar misógino, machista, racista, xenófobo. Lo ha hecho con premeditación y casi alevosía. Y parece que los han pillado. Antonio con dos directores, Paolo Sorrentino y Kenneth Brannagh que, nos cuentan su propia adolescencia a través de sus últimas películas. Javier y el ultimátum de Neil Young a Spotify. O su música, o el podcast de Joe Rogan.Podéis contactar con nosotros a través de Twitter en @trendingpod o por correo electrónico a trending@emilcar.fm.

Howdy! This week's podcast we've got news of a new festival celebrating women in Dublin - Brigit 2022 - there's loads on if you're in the city and also, some stuff online. Check it out at https://dublin.ie/whats-on/brigit/Our TV chat this week revolves around Sky's Yellow Jackets with the stellar line-up of Christina Ricci AND Juliette Lewis. We also chat about Kenneth Brannagh's new film Belfast and new ITV drama Trigger Point.Our Fox this week is Ronnie Spector and my god, what a life she led. Ups and downs galore.Our follow this week is for @mansionsoftheguildedage - take a peak at the decadence of filthy rich American in the early 1900s - it's a precursor to the new TV show The Guilded Age which everyone is going toe talking about soon! You heard it hear first folks!Finally, in music news, it's all spats Neil Young Vs. Spotify over Joe Rogan and Taylor Swift Vs.Damon Albarn - why can't we all just be friends? Cause people are idiots, that's why.Thanks for tuning in folks! xPlease help us spread the word if you enjoy the podcast. You can subscribe on your preferred podcast platform and follow us on social media @foxforcefivepod.Sign-up here to get the podcast straight to your inbox every week; https://mailchi.mp/ee57f9be3c2a/fox-force-five-podcast We really appreciate a review if you have time to give us one too. Thanks!Theme music by IJUNIJUN from Pixabay Hosted on Acast. See acast.com/privacy for more information.

Vigils are taking place around the North East to remember Aishling Murphy Sinéad shared her thoughts, students from Ashbourne Community School Co. Meath and St Vincents Secondary school Dundalk are presenting their projects in the BT Young scientist and technology exhibition they shared details of their projects which ranged from a smoke detector to prevent forest fires and an interesting investigation into people's attitudes towards vaccines plus Niall O Brien discussed Kenneth Brannagh's new semi autobiographical film 'Belfast' and Ricky Gervais new season of 'After Life' See acast.com/privacy for privacy and opt-out information.

In this show, Yuliya chats to Tamsin about the most challenging and the most fulfilling aspects of an audio producer's job, how having a professional producer can benefit the production process of audiobooks, and what do publishers, or self-publishing authors need to look for in an audiobook narrator when it comes to casting and choosing the right voice. Tamsin explains what the work of an audiobook producer encompasses- from royalties, manuscripts, book preparation, castings to recordings, production, and post-production. She brings us back in the days when the audiobooks were just taking off, sharing her memories on how her journey as an audiobook producer started off, what producers were looking in a good voice, and how the casting process has changed since then. “As soon as you make a choice about the accent of the narrator, you make a statement about the book. “says Tamsin.  And there are so many things you need to consider when you are casting the right voice for your audiobook as this can be a break or make moment. Tamsin explains in detail about all the aspects you need to analyse before making that choice. She talks about the importance of creating an atmosphere of trust, creativity, and teamwork quickly upfront. If you are a voice actor, you would be delighted to hear the best tips you could get from a highly experienced producer including tips on how to prepare for your recording session, how to warm up, what to eat and drink, what to wear, and how to prep your characters and pronunciation guides. So whether you are a publisher, or self-publishing author, a producer or voice director, an experienced or aspiring narrator or simply someone who is passionate about storytelling and the world of audiobooks, take a listen to this podcast which is full of incredible insight, packed with good humour and priceless tips for anyone working in the industry.     Host/Producer/Editor: Yuliya Stancheva Guest: Tamsin Collission   Tamsin has been working as a freelance audio producer/director for over 20 years, having produced over 400 audiobooks to date. She has worked for many of the UK's leading publishing houses and have been a regular contributor at Audible UK since 2015.  She has directed some of the finest writers and actors in the country, across an incredibly wide range of material, from the Quidditch World Cup Championships to the complete Anglo Saxon poem Beowulf in the original Old English.  She has just directed All the Sonnets of Shakespeare for Cambridge University Press, read by Kenneth Brannagh and Lolita Chakrabarti.  During Lockdown she directed a dramatisation of Jane Austen's Mansfield Park for Audible, home-recording 14 actors scattered across the UK, and a new audiobook of Dickens' A Christmas Carol, performed by Hugh Grant.  She is just finishing off an unabridged reading of Tolstoy's War & Peace, and has directed Audible's Christmas 2021 headline drama production. Tamsin teaches and directs at leading UK drama schools, including LAMDA and RADA, where she is an Academy Associate. For further details, visit her website at www.tamsincollison.co.uk.  

[School of Movies 2021] The second cinematic adaptation of the 1934 mystery by Agatha Christie. When this first emerged in 2017 there was a bit of a sniffy outcry from the press. Why does it even exist? Why re-adapt a book that already had a 1974 film by Sidney Lumet and was a key episode of the David Suchet serials? Since the long-running British TV show and the 40+ year-old movie exist, that should be enough for any potential new audience member! After watching this gobsmackingly sumptuous epic, shot on glorious 65mm film by the always-meticulous Kenneth Brannagh, with a soaring score by Patrick Doyle and a cast so delicious you'll have no room for pudding... we respectfully beg to differ with those critics.  The first 42 minutes of this episode are spoiler-free. After that we delve into the many characters and their motivations. We recommend you see the film first, but if you can't or don't want to, the rest of the show shouldn't really ruin your eventual enjoyment of it. Full disclosure; This show was commissioned by Greg Downing and Toby Jungius, hosts of the Through the Wind Door podcast, which discusses the many stories in The New Century Multiverse. We wanted to chip in for their new microphones, but it felt like greasing the palms of our most prolific critics. So instead we just waived the fee on this one and let them buy their own mics. Guest: Victoria Luna B. Grieve: @VixenVVitch 

It's rumored this movie was almost called MICBH: Men In Cowboy Hats. (No it actually wasn't). STEVE and IZZY from EVERYTHING I LEARNED FROM MOVIES hop on their horses to join the boys at the ol' saloon to talk about Barry Sonnenfeld's bizarre steampunk adaptation WILD WILD WEST. Is this movie truly as disastrous as critics claim? Or is it an underrated gonzo masterpiece? Or is it somewhere between? Probably somewhere between. You decide for yourselves. Join them as they answer such questions as: What's the deal with the spiders? Who would we cast in a reboot? How Steampunk can this thing get? Is some of this uncomfortable? and How silly is Kenneth Brannagh? among others... Thanks for coming on, Steve and Izzy! Listen to EVERYTHING I LEARNED FROM MOVIES wherever you get podcasts, follow them on INSTAGRAM, TWITTER, and FACEBOOK, and visit Izzy's SHOP! VOTE FOR THE VINNY AWARDS HERE! NEXT WEEK: CONGO with BRAD ROBINSON and NICK CHERRY Thank you for listening! Please review us on your podcast provider and share us with your friends, we really appreciate it! CALL THE HIGHWAY PATROL TIPLINE! (301) 941-7493 (SIZE) It's the Highway Tip Patrol Hotline! Say whatever you want, we'll use it in an episode! Follow our socials: Facebook/Twitter/Instagram: @NoHighwayPod YouTube: No Highway Option Theme Music composed by Ian C. Weber. Find more of Ian's projects here: https://soundcloud.com/ianwebermakesnoise --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/no-highway-option/support

Heavy, heavy HEAVY this week but with exceptional performances.  Excited?  You should be. Intro, ice has fallen in the east and is now melting.  The Tooth Fairy stories.  Grayson's death will be lackluster.  Thanks, Chris.  Grayson cried during a scene in Kodachrome- Ed Harris is great. 0:12:00 - Box-office, upcoming releases 0:17:45  **NEW EGMENT** What's Streaming? HULU DUNKIRK, Dir. Christopher Nolan – Tom Hardy, Kenneth Brannagh, James, D’arcy, Cillian Murphy, Harry Styles, Fionn Whitehead, Barry Keoghan. 2017 ARGO, Dir. Ben Affleck – Ben Affleck, Bryan Cranston, John goodman, Alan Arkin, Victor Garber, Tate Donnovan, Kyle Chandler, Titus Welliver. 2012 GET HARD, Dir, Etan Cohen – Will Farrell, Kevon Hart, Alison Brie, Craig T Neson, Greg Germa. 2015 0:19:00 - Homage to Christopher Plummer and Hal Holbrook 0:23:30 - Trailers - CRUELLA and THE SEVENTH DAY 0:35:50 - WANDAVISION EPS 1-6 0:43:10 - NOMADLAND, Dir. Chloe Zhao 1:11:30 - JUDAS AND THE BLACK MESSIAH, Dir, Shaka King   Nomadland (Hulu)   Frances McDormand!  You are AMAZING! Nomadland is a wonderfully crafted poem of modern day nomads and how they live their lives- usually by way of what they've lost.  When Empire, Nevada loses it's industry the town shuts down 6 months later- losing 75% of it's residents.  Fern lost her job, husband, and her known way of life-  making the decision to become a modern day nomad, giving us real accounts of others who live a similar lifestyle across the American landscape.   Wonderful cinematography, camera work and extremely powerful score behind this one making it a great movie- and free to watch on Hulu.  Frances McDormand gives what may be the best performance of her already amazing career.     Grayson (9/10), Roger (5/10) and Chris (3/10)   Judas and the Black Messiah (HBOMax)   Daniel Kaluuya and LaKeith Stanfield are simply on a different level.  They're on the level of Frances McDormand- This is a good week. Late 1960's.  Northern Illinois.  Political turmoil is a powder keg primed for an explosion.  Black Panthers and the Police force on opposing sides with Bill O'Neal stuck in the middle, his own views blurring.   When Chairman Fred Hampton talks- you listen entranced.   This is a retelling of the story with incredible violence and morality lines very blurred.  And Martin Sheen as J. Edgar Hoover.  (7.5/10)    Hosted, produced and mixed by Grayson Maxwell and Roger Stillion.  Guest appearance by Christopher Boughan.  Music by Chad Wall.  Quality Assurance by Anthony Emmett. Visit the new Youtube channel, "For the Love of Cinema" to follow and support our short video discussions.  Roger wears aviators!  Please give a like and subscribe if you enjoy it.   Follow the show on Twitter @lovecinemapod and check out the Facebook page for updates.  Rate, subscribe and leave a comment or two.  Every Little bit helps.  Send us an email to fortheloveofcinemapodcast@gmail.com Your email might be featured on the show the next week! Happy Listening! 

Today I'm talking to the strange man in a film land, Jay Kay, host of Horror Happens Radio and all-around busy dude. We're talking a little bit about Kenneth Brannagh's Dead Again (1991) and a lotta bit about that festival life. We commiserate about our retail woes and share advice for burgeoning filmmakers, and I offer up a ton of clumsy-ass conversation segues over the course of our 2.5-hour conversation. Get comfy! Speaking of filmmaking advice, Jay has partnered with Montclair Film to bring you an incredible opportunity for an intimate virtual Q&A with the folks behind five smash horror movies, including Stephen King's 1922 and the best movie I saw in 2016, The Blackcoat's Daughter. The event is called Digging into the Darkness, and you can sign up at https://montclairfilm.org/education/adult-classes/ 

Welcome to the Celluloid Fiends podcast! Hosts Moe Long (Tech Up Your Life, Cup of Moe) and Wes Clifton (W.D. Clifton, Brentwood) review the 1989 Kenneth Brannagh-directed "Henry V." Adapting William Shakespeare's beloved play of the same name, Brannagh's directorial debut is both a faithful recreation and unique project with a grim tone.  Phenomenally well acted, Brannagh stars as the titular King Henry V with the likes of Ian Holm, Derek Jacobi, Brian Blessed, Judi Dench, Emma Thompson, and Christian Bale peppering the star-studded cast. Listen as Moe and Wes talk Brannagh's "Henry V," discuss Shakespeare's influence on cinema, and talk favorite Shakespearean movie adaptations.  Follow the Celluloid Fiends: Twitter, Facebook, Instagram Follow Moe: Twitter, Instagram, Linktree Follow Wes: Instagram, Twitter

It's the big question. Is Kenny B's Russian baddie brilliant or terrible? Phil and Laurie take a deep dive into Christopher Nolan's Tenet with John David Washington & Robert Pattinson. Phil tried to wrap his head around Wandavision, Disney's mysterious new entry into the Marvel universe. Is the 1950s sitcom just a smokescreen for a new superhero saga? He also recommends Games Done Quick to Laurie & defends speedrunning in general from the naysayers, while Laurie gets angry at food bloggers. Send in your thoughts & opinions to flixandfilm@gmail.com or @flixandfilm on Twitter & we'll read them out!

Esta edición se la dedicamos enteramente a Tenet, la más reciente película escrita y dirigida por el afamado director Christopher Nolan y protagonizada por John David Washington, Elizabeth Debicki, Robert Pattinson y Kenneth Brannagh. La analizamos, desciframos y explicamos al derecho y al revés, con sus merecidas alabanzas y duras críticas, como siempre somos ǝɹdɯǝᴉs […]

Esta semana en Ivo Critica Series en Serio venimos a hablar de grandes series Amazon ha estrenado la segunda temporada de su gran apuesta por la ficción, The Boys ha vuelto a nuestras pantallas. ¿Mantendrá el tono y el ritmo de la primera? También comentamos dos grandes estrenos de Netflix la aventura espacial “Lejos” con Hillary Swank y la precuela de Wallander, sin Kenneth Brannagh titulada “El joven Wallander” 4:00 — Cleptómanas (trinkets) 5:00 — Podría destruirte 7:14 — I hate Suzie 10:10 — Noticias 11:30 — El Joven Wallander 16:45 — Away 23:30 — The Boys

Ein Agent wird rekrutiert, um einen besonderen Auftrag auszuführen. Er soll den 3. Weltkrieg verhindern. Diesmal ist jedoch keine nukleare Bedrohung der Grund. Es muss eine Person gestoppt werden, die die Fähigkeit besitzt, die Zeit zu manipulieren. Soweit die Zusammenfassung des neusten Films von Christopher Nolan, dem ersten Blockbuster in 2020, der mit leichter Verzögerung den Weg in die Kinos gefunden hat. Doch was kann der neue Zeitreisefilm mit John David Washington, Elisabeth Debicki, Robert Pattinson und Kenneth Brannagh in den Hauptrollen? Darüber sprechen Nerdizist Chris und Raphael (Die Dritte Macht) in diesem Podcast. Der erste Teil ist spoilerfrei, im weiteren Verlauf des Podcasts gehen wir dann mehr auf Story und Wendungen ein. Also sagt nicht, wir hätten Euch nicht gewarnt. Tenet schon gesehen? Schickt uns Euer Feedback per E-Mail an info@nerdizismus.de, per Telegram an @nerdizismus oder Whatsapp bzw. SMS an +49 152 596 477 09

Czy "TENET" jest filmem, który będziemy rozpatrywać w kategoriach najlepszego w 2020? Czy jest chociaż jednym z najlepszych filmów Nolana? Nie jesteśmy pewni... TENET trafił do polskich kin. Christopher Nolan znów zabiera nas w skomplikowaną podróż, nadzianą całą masę zasad i nieoczywistych praw fizyki. Czy jednak jest to film, który może spodobać się masowej publiczności? Czy wystarczy jeden seans, by dobrze zrozumieć tę intrygę? Reżyser już jakiś czas temu zrezygnował z postaci z krwi i kości na rzecz wielkich idei, pięknych ujęć i autorskich pomysłów fabularnych. Doskonale widać to na przykładzie tego filmu. Wielogatunkowość, próba opowiedzenia ciekawej konceptualnie historii oraz świetna obsada: John David Washington, Robert Pattinson, Elizabeth Debicki, Kenneth Brannagh i Michael Cain, ale jednocześnie wielka sterylność i surowość świata, zagmatwane reguły i wiele przeciętnych rozwiązań scenariuszowych sprawiają, że na pewno będzie to produkcja, o której długo się będzie rozmawiać, ale czy stanie się legendą z właściwych powodów? Chcecie wiedzieć więcej? Obejrzyjcie nasz materiał, w którym bezspoileroro rozmawiamy o filmie.

The gentlemen are back with episode 73 and are ready to give you some hot, funky news. This week in Trailer vs Trailer, the boys pit the trailer for Judas and the Black Messiah directed by Shaka King up against Death on the Nile directed by Kenneth Brannagh to see which is the superior trailer...trust us...the outcome will not surprise you. Also, Ben Affleck is back as Batman? Who asked for this? Why are they making so many Batman movies? All of these steamy questions and more on another jammed packed episode of 2 Many Flix. Trailer Death on the Nile https://youtu.be/RIyKutoFLOU VS Judas and the Black Messiah https://youtu.be/-i0aYVMP0Gc ALL BLACK LIVES MATTER Please Donate https://www.joincampaignzero.org/solutions https://www.naacpldf.org/support/ https://secure.actblue.com/donate/ms_blm_homepage_2019 Get In touch Twitter: twitter.com/2ManyFlix Facebook: www.facebook.com/2manyflix Instagram: www.instagram.com/2manyflix Email: 2ManyFlix.Chicago@gmail.com Patreon: www.patreon.com/2ManyFlix --- Support this podcast: https://anchor.fm/2manyflix/support

It's KO's and K.O. as Kieran and Tom step in the ring with Rocky and Knives Out. A show punched and stabbed by a multitude of technical gremlins, which hopefully all got edited out (Kieran's mic is still running a bit hot). WARNING: We spoil the hell out of Knives Out, BUT only in the second half of the show so you can still listen to the Rocky chat. PLUS: Oscars, the mob, pet nutrition larceny, Smokey and The Bandit, Batman, Muhammed Ali, wrestling booking, Butch Cassidy, film editing, Ronda Rousey, MMA, subtitles, sequels, Mr. T, Dolph Lundgren, Hulk Hogan, statues, idiocy, movie soundtracks through the decades, boxing weight divisions, Star Wars, JJ Abrams, Blade Runner 2049, Columbo, Agatha Christie, Miss Marple, Transformers, Poirot, Clue, accents, Kenneth Brannagh, Wild Wild West, James Bond, What We Do in the Shadows, Rope, and yet another alteration to the plan. Follow Kieran's Bell's palsy progress via his video diaries: http://bit.ly/kieranbells Rent Tom's feature length documentary The Easy Bit on Prime Video: http://bit.ly/theeasybit

For this episode we spoke to UK based, Australian artist Emily Barker,  just after the release of her single, Return Me, Since her debut album, Photos.Fire. Fables in 2007, she has worked as a solo artist, with her band The Red Clay Halo, and has had many collaborations including the Applewood Road album and recently A Window To Other Ways with Marry Waterson. Emily is also known for the BAFTA award winning theme song for Kenneth Brannagh’s TV  series, Wallander. She also received an Ivor Novello for the TV theme tune to The Shadow Line. We spoke to Emily about her newly discovered love for writing poetry, songwriting, and of course,  the song she wish she wrote, a song by Carole King from Tapestry recorded in the early 70s. Enjoy listening! Here is a playlist of some of the songs featured, or mentioned in the episode.

Esta semana, En Ivo Critica Cine en Serio Spike Lee nos lleva literalmente a la guerra, reabriendo cicatrices en la jungla de Vietnam en Das 5 Bloods. Kenneth Brannagh nos transporta a un mundo de fantasía y espías en Artemis Fowl y Judd Appatow se pone un poco más serio de lo habitual para presentarnos al Rey de Staten Island. A mayores trataremos de encontrar la mejor película del Universo cinematográfico de Marvel, comentaremos las noticias de la semana entre las que se encuentran la elección de Kristen Stewart como Lady Di o la vuelta de Michael Keaton como Batman. Y analizamos el "fenómeno" de 365 días, la cinta polaca que está conquistando Netflix. Todo ello con la ayuda de un plantel de colaboradores de Lujo: Eloy (@Elooy_011), Rocío Muñoz (@Rocio_ML_), Miguel Ángel Tomás (@miguel4nombres), Unai (@Cagewho) Así que agarraos al volante de vuestro Delorrean, meteos bien en la cesta de la bici de ET y sobre todo hagáis lo que hagáis no asoméis la cabeza por la ventanilla como la niña de Hereditary. Porque arrancamos!!!! 3:20 — Dónde está mi cuerpo (I Lost my body) 5:20 — Dando la nota (Pitch Perfect) 6:55 — Eternity’s gate 8:00 — Dune (David Lynch) 9:20 — El largo camino a casa 9:50 — La Reina (The Queen) 10:27 — Dating Amber 12:14 — Top 10 mejores películas del Universo cinematográfico de Marvel 27:20 — Noticias de la semana: Joel Schumache, Michael Keaton en Batman, Nuevas fechas de los Oscar y Kristen Stewart como Lady Di 40:30 — Da 5 Bloods (Spike Lee) 50:50 — Artemis Fowl (Kenneth Brannagh) 1:00:00 — The King of Staten Island (Judd Appatow) 1:06:00 — EL fenómeno 365 Días

Aquesta setmana a PROGRAMA DOBLE torna el format original aprofitant que tenim algunes novetats a la cartallera de stremaing, Queda poc per poder accedir de nou als cinemes però ara ens fixem en Disney+ i una estrena que va abandonar precisament les sales per passar directament a format digital: Artemis Fowl, de Kenneth Brannagh. I aprofitem per repassar la figura del cineasta britànic dedicant la Cara B al seu primer encàrrec a Hollywood: Morir Todavía, de 1991.

Fantasy adventure directed by Kenneth Brannagh dropped on to Disney+ today so here is my review

A deep dive and reminiscence of the 3rd film of Phase 1 in the Marvel Cinematic Universe - 2011's THOR directed by Kenneth Brannagh and starring Chris Hemsworth, Natalie Portman, Tom Hiddleston, Stellan Skarsgard and Sir Anthony Hopkins. ***Warning: SPOILERS*** --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

In this episode we break down the 1993 film production of 'Much Ado About Nothing' Directed by Kenneth Brannagh. With much ado about an oiled down Keanu Reeves, hillside poetry, and missed opportunities, this conversation highlighted the importance of tone.

Jake Davies is an actor working in TV, Film and Theatre; his back catalogue includes Black Mirror, feature film X+Y and the BBC’s The Missing. Jake has also featured in lead role’s at Royal Court. the Old Vic and on the the West End. You will see Jake as Chix Verbil in Disney's Artemis Fowl by Kenneth Brannagh, coming out in cinemas worldwide on 29th May 2020. In addition to all this Jake also attended the BRIT School with our host Sam Gittins - tune in to hear the two of them discuss how they keep on an even keel in the frantic and sometimes difficult world of auditions, sets and stages as well as Jake’s first experiences in TV and theatre and his more recent work on Artemis Fowl with Kenneth Brannagh. Find Jake here: Instagram: @jhdake Twitter: @jakehdavies

Hi everyone! One of the filmmakers that turned me back on to film was Rian Johnson. It happened about a third of the way into BRICK, when I found myself totally engrossed with no idea where the film was heading. After a brief jaunt within the Star Wars universe for THE LAST JEDI, he’s back with another excellent film, this time a murder mystery like no other and every other. Andrew will be up in a minute with his thoughts, as this was a Fantastic Fest feature, but I can’t recommend it enough. Before the review, we’ll have a promo for our good friends at the Comics in Motion podcast. Every episode, Dave and Chris review a film based on a comic book, providing a lot of key backstory for appreciating the subtler elements. Don’t miss their guest reviews as part of Reign of Terror 2019, first for ALIEN VS PREDATOR (Episode #605), then later incognito for 30 DAYS OF NIGHT (Episode #626). I certainly appreciated their help. You can find them on Twitter and Instagram @ComicsInMotionP and on Facebook @ComicsInMotionPodcast. Subscribe to stay current with the latest releases. Contribute at Patreon for exclusive content. Connect with us over social media to continue the conversation. Here we go! ///// > ///// Hello film fans! Andrew here. Pinch-hitting on Matinee Monday to bring you perhaps the most mainstream film to premiere at this year’s Fantastic Fest. You just might be familiar with director Rian Johnson’s previous film STAR WARS: EPISODE VIII- THE LAST JEDI. So, there are three major films releasing around Thanksgiving. FROZEN II is already killing it at the box office and we haven’t even hit the holiday weekend. A BEAUTIFUL DAY IN THE NEIGHBORHOOD with the obvious casting of Tom Hanks is capitalizing on the Mr. Rogers renaissance sparked by last year’s all too similarly titled WON’T YOU BE MY NEIGHBOR?. Today’s film is the third of the trio. And what to do they all have in common? Near-universal critical acclaim and, in my mind, they’re all family films. Today’s movie is KNIVES OUT, written and directed by Rian Johnson. KNIVES OUT was a “Special Screening” at the 2019 Fantastic Fest, attended by the director and his personal muse, Noah Segan. Segan is an actor you may recognize as he shows up in small roles in tons of films but is most known for his work with Rian Johnson who cast Segan in his knockout directorial debut BRICK in 2005 - a neo-noir detective thriller set in a high school and led by Joseph Gordon-Levitt. Johnson and Segan struck up a friendship and Johnson’s been casting him ever since, appearing in THE BROTHERS BLOOM and LOOPER; even sneaking him into an episode of BREAKING BAD and casting him in THE LAST JEDI as X-Wing pilot Stomeroni Starck. What I’m getting at is that everything Rian Johnson and Noah Segan touch is gold and they team up again with KNIVES OUT. What more do you need to know? KNIVES OUT stars Daniel Craig going all-in with a deep southern accent as private detective Benoit Blanc, brought in by local police after the suspicious death of Harlan Thrombey, the patriarch of family made wealthy by his prolific career as a mystery novelist. With a vast fortune at stake, everyone is a suspect. Eldest daughter Linda (played by Jamie Lee Curtis) is the most successful of Harlan’s offspring, running her own real estate empire. Her son Ransom (an out-from-the-shadow-of-Captain-America Chris Evans) is a playboy, drifting in and out of the family when his coffers need replenishing. Harlan’s son Walt (played by Michael Shannon) runs his dad’s publishing company in a clear case of nepotism as the empire still manages to grow despite his mismanagement. Toni Collette portrays Joni, widow of Harlan’s deceased son, a lifestyle guru who depends on family money to maintain her own posh lifestyle. And serving as the film’s emotional core and audience surrogate is Harlan’s nurse Marta (played by Ana de Armas) who has the peculiar quirk of vomiting whenever she lies, a trait used to comedic and plot-driving effect. Is that all the characters? No, not even half, but that’s enough to get you started. KNIVES OUT is a modern update on the classic Agatha Christie whodunnit. Kenneth Brannagh dusted off the genre in 2017 with Christie’s MURDER ON THE ORIENT EXPRESS in a pleasant, by-the-numbers take on the story that failed to bowl over the critics or provide much of an update on the dated source material. (That said, I will be there opening weekend for his sequel DEATH ON THE NILE next October.) With KNIVES OUT, we essentially get the Roy family from HBO’s SUCCESSION, toned down a bit from the farcical levels of that show, bumping heads as they search for the truth about Harland’s death and, far more importantly, his last will and testament. The best and worst aspects of the film are tied in closely together. The cast is sensational with a bevy of talent fully unshackled to bring maximum energy to these theatrical characters. Everyone gets a few killer lines, though Rian Johnson does save some of the finer repartee for his buddy Noah Segan as Trooper Wagner. Strangely, one of my favorites Lakeith Stanfield feels totally underutilized as Wagner’s superior. The script carries out a complex and shifting mystery laden with non-stop dialogue such that you may want to lay off the soda - because there’s no bathroom break built into these fast 130 minutes. All told, the only place the film stumbles is that it may try to do a little too much. It is so relentless with its pacing and the complex interrelationships of the family, that it can be a challenge to follow. I had not only mentally prepared myself for a dense film, but I was also taking notes throughout the movie like I was auditing an anthropology class. And there were still several moments of confusion where I felt as if I had completely lost the plot. The film may end up being a little overconfident for holiday audiences and may come off just as smug as many of the characters. Still, I kinda loved it. What makes KNIVES OUT fantastic?Rian Johnson has written and directed five films and not only are they all immensely entertaining, but he’s proven himself a more than capable filmmaker in any genre. This a wild ride that you can watch with the whole family. There’s really not much objectionable for kids under 13, they just may have a tough time comprehending it. Fair warning, this movie will continue to stoke all of your Thanksgiving table political arguments as it goes right after the wealthy and immigration policy. KNIVES OUT is a showcase for some of today’s finest actors making the most of an intelligent script replete with razor-sharp wit and humor. Fans of comedic or light-hearted mysteries featuring ensemble casts such as the aforementioned MURDER ON THE ORIENT EXPRESS, CLUE, or the 1976 film MURDER BY DEATH will enjoy this film. Rotten Tomatoes: 97% (CERTIFIED FRESH) Metacritic: 84 (MUST SEE) One Movie Punch: 9.2/10 KNIVES OUT (2019) is rated PG-13 and opens wide on Wednesday, November 27th. Come back on Friday and we’ll dip our toe into THE POOL, which I promise is the perfect blackly comic survival film to get your heart-pounding and burn off those Thanksgiving calories. It’s a guy. Trapped in an empty pool with 20-foot walls. There’s a crocodile. There’s lots of rain. There’s a shaggy dog. And there’s Pizza Hut. This film is absolutely bonkers. I’ll see you then.

Die kontroverse Christopher Columbus Diskussion geht in die zweite Runde. Daniel entwickelt sich in seiner Paraderolle als Harry Potter weiter - in einem Film, der zwei Schritte nach vorne und einen zurück geht. Themen sind: Rupert Grints Spinnentrauma, kindegrerechte Slasherfilme, Professor Gilderoy Fickthart und die Filmographie von Kenneth Brannagh, was ist der "Watson Effekt", Daniels Detective-Face und sind Crabbe und Goyle im echten Leben eigentlich auch so.

How did we make Kenneth Brannagh relevant in the middle? You'll just have to wait and see. If you want to start therapy and are unsure how, reach out to your general practitioner doctor or start a web search of therapists in your area! We highly recommend it.

Jeany Spark has played leading roles in high-profile British drama’s such as Wallander with Kenneth Brannagh and David Hare’s Collateral for the BBC. Jeany is a master of inhabiting a character and bringing the story to life.

Hosts Mat Bradley-Tschirgi and William Thrasher discuss The Expendables 3. Trying to go for bigger box office, The Expendables 3 went for a PG-13 rating. A pirated copy of the full film hit the Internet months before the official release, resulting in a lower box office gross. Former Expendable Conrad Stonebanks (Mel Gibson) has gone rogue selling weapons on the black market. After much of The Expendables is injured during a mission, Barney Ross (Sylvester Stallone) decides to staff the squad with some young pups instead. This attempt backfires, so Barney has to get the old gang back together to save the kiddos and save the day. This one has less overt humor than the second film, but The Expendables 3 is less fun as a result. It takes nearly half an hour for the villain to reveal himself, too much of the movie is spent recruiting the younger crew consisting of MMA fighters and Twilight alumni, and the finale at the bar tries for some unearned pathos. Antonio Banderas, Harrison Ford, and Kelsey Grammer are amusing in their brief roles. Thrasher liked the concept of the Syfy Channel horror movie Truth or Dare.  Mat found the remake of Murder on the Orient Express starring Kenneth Brannagh, Derek Jacobi, and Daisy Ridley to be a mannered take on the classic murder mystery with an ending layered in cheese that teases a Death on the Nile sequel. The next few movie series we'll be covering are: A Nightmare on Elm Street 6-8 Pirates of the Caribbean 1-5  Follow the show on Twitter @Sequelcast2 Like our Sequelcast 2 Facebook Page The theme song to the Sequelcast is written and performed by Marc with a C. Sequelcast 2 is delighted to be a member of The Batman Podcast Network. Hear more great podcasts here! Watch Thrasher's tabletop RPG YouTube show d-infinity Live!. Listen to Marc with a C's music podcast Discography. Buy One Starry Night, a Cthulhu Live scenario Thrasher contributed to, from DriveThruRPG! 

This season’s theme, “Monsters Are Universal”, continues with 1994’s “Mary Shelley’s Frankenstein” which was directed by and stars Kenneth Brannagh as the title character Dr. Victor Frankenstein alongside Robert De Niro as the creature. This is a supersized episode filled with hidden history, fascinating insights and some hilarious comedy from your two lovable hosts. So join us as we try to breathe life into this bombastically loud, pseudo-incestuous and occasionally brilliant interpretation of a literary classic. The post Pick Six Movies S3: Episode 2: Mary Shelley’s Frankenstein appeared first on Legion.

Gary Schwartz is an award-winning, TV and film actor, director, comedian and a master improvisational acting coach whose 30 years as a performer and improv teacher has helped transform the lives of thousands of people, both on- and off-screen. It was Gary’s 18-year association with world-renowned theater educator and author, Viola Spolin – famous for training the very first improvisational theater troupe in the US which led to the creation of today’s well-known Second City improv troupe – that has provided the foundation for his work today. In 1988 Gary co-founded the Spolin Players improv troupe (www.spolinplayers.com), and is the only master teacher to have ever earned an endorsement from both Viola Spolin and her son, the legendary original director of Second City, Paul Sills. Originally from New York State, Gary began his professional career as a mime at age 13, performing up and down the Hudson River with Pete Seegar, Arlo Guthrie and other great folk entertainers of the 60’s. In the 70’s and 80’s he appeared in numerous film and television projects including the Oscar-winning feature film Quest for Fire and 65 episodes of the Emmy-winning TV series Zoobilee Zoo, with Ben Vereen. Since then, as a voice actor, Gary has gone on to work with Robert Redford, Barbra Streisand, Tim Burton, Kenneth Brannagh and many other well-known directors. Details of his extensive acting career are available at IMDB.com. (www.imdb.com/name/nm0777229). Today, Gary is a passionate, dynamic improv coach and facilitator. He is the founder of Improv Odyssey, an exciting approach to changing the way people work and play, entirely based on Spolin’s techniques. He served on the counsel of the newly formed Actors Guild SAG-AFTRA, Seattle branch for 5 years. Currently Gary resides in North Bend WA. He is founder of The Valley Center Stage, North Bend’s Community Theater. He teaches theater games locally and around the world. He also teaches acting for animation and writes on Spolin’s work. His first novel, The King of Average has been selected at a “Best Book of 2016” by Kirkus Reviews and IndieReader. www.gary-schwartz.com

Noi ci siamo anche se la serie di questa settimana sembrerebbe dire il contrario. Per questo apriamo come al solito con le news: la serie Y, National Geographic annuncia Hidden Figures, A Gentleman in Moscow del caro Kenneth Brannagh, American Crime Story che fa marcia indietro sullo scandalo Lewinsky, finalmente novità su American Gods stagione […]

This week we look at Christopher Nolan’s epic Dunkirk, released in 2017 and starring Kenneth Brannagh, Mark Rylance, Cillian Murphy and Tom Hardy. Nolan, famously against the use of CGI put a lot of effort and budget into using real vessels, aircraft and actors but did he manage to convey the scale and chaos of the 1940 Dunkirk evacuation? It’s fair to say that our conclusions are a mixed bag and we hope that you find them entertaining, possibly informative and thought-provoking.

In this week's episode of the movie podcast, James Richardson is joined by film writer Elena Luzic and Adam Woodward from movie magazine Little White Lies. Up for discussion this week are Kenneth Brannagh's star-studded remake of the Agatha Christie classic Murder On The Orient Express. There's also Yorgos Lanthimos' psychological horror/drama The Killing Of A Sacred Deer, starring Colin Farrell, Alicia Silverstone and Nicole Kidman. And for the weekly Film Club, to tie-in with Halloween, the trio re-assess Ti West's cult classic The House Of The Devil. e: truthandmovies@tcolondon.comt: @lwlieslwlies.comabout.7digital.com See acast.com/privacy for privacy and opt-out information.

Gary Schwartz is an award-winning, TV and film actor, director, comedian and a master improvisational acting coach whose 30 years as a performer and improv teacher helped transform the lives of thousands of people, both on- and off-screen.Originally from New York State, Gary began his professional career as a mime at age 13, performing up and down the Hudson River with Pete Seegar, Arlo Guthrie and other great folk entertainers of the 60’s. In the 70’s and 80’s he appeared in numerous film and television projects.Currently Gary resides in North Bend WA. He teaches theater games locally and around the world. as a voice actor, Gary has gone on to work with Robert Redford, Barbra Streisand, Tim Burton, Kenneth Brannagh and many other well-known directors. Details of his extensive acting career are available at IMDB.com.His first novel, The King of Average was selected as a “Best Book of 2016” by Kirkus Reviews and IndieReader.   Radio host and author Laura Moe spent most of her working life as a librarian and English teacher in central and Southeastern Ohio, but has recently moved to Seattle where she writes full-time. Moe is the author of YA novels PARALLEL LINES (Fat Cats, 2015) and BREAKFAST WITH NERUDA (Merit Press, 2016, ) named by the New York Public Library as one the Best Books for Teens in 2016 and a Top Pick for VOYA. She is owned by a spoiled white cat and is working on a sequel to BREAKFAST WITH NERUDA. https://www.lauramoebooks.com/ This is a copyrighted podcast of Authors on the Air Global Radio Network, LLC

Description This week we are joined by returning guest Kjerste Christensen to discuss Beatrice and Benedick from the Shakespeare classic, Much Ado About Nothing. Join us as we discuss Emma Thompson and Kenneth Brannagh’s performances, the use of deception, and … Continue reading →

Writer-director Scott Frank, talks to UCSB students about getting the crime drama "A Walk Among the Tombstones" made. Frank’s other screenplays include Little Man Tate, Dead Again, Malice, Heaven’s Prisoners, Get Shorty, Out of Sight, Minority Report, The Interpreter and Marley & Me. Frank graduated from UCSB in 1982 with a BA in Film Studies. Since then he has written movies for filmmakers such as Steven Spielberg, Sidney Pollack, Steven Soderbergh, Barry Sonnenfeld, Jodie Foster and Kenneth Brannagh. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 29842]

Writer-director Scott Frank, talks to UCSB students about getting the crime drama "A Walk Among the Tombstones" made. Frank’s other screenplays include Little Man Tate, Dead Again, Malice, Heaven’s Prisoners, Get Shorty, Out of Sight, Minority Report, The Interpreter and Marley & Me. Frank graduated from UCSB in 1982 with a BA in Film Studies. Since then he has written movies for filmmakers such as Steven Spielberg, Sidney Pollack, Steven Soderbergh, Barry Sonnenfeld, Jodie Foster and Kenneth Brannagh. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 29842]

Writer-director Scott Frank, talks to UCSB students about getting the crime drama "A Walk Among the Tombstones" made. Frank’s other screenplays include Little Man Tate, Dead Again, Malice, Heaven’s Prisoners, Get Shorty, Out of Sight, Minority Report, The Interpreter and Marley & Me. Frank graduated from UCSB in 1982 with a BA in Film Studies. Since then he has written movies for filmmakers such as Steven Spielberg, Sidney Pollack, Steven Soderbergh, Barry Sonnenfeld, Jodie Foster and Kenneth Brannagh. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 29842]

Writer-director Scott Frank, talks to UCSB students about getting the crime drama "A Walk Among the Tombstones" made. Frank’s other screenplays include Little Man Tate, Dead Again, Malice, Heaven’s Prisoners, Get Shorty, Out of Sight, Minority Report, The Interpreter and Marley & Me. Frank graduated from UCSB in 1982 with a BA in Film Studies. Since then he has written movies for filmmakers such as Steven Spielberg, Sidney Pollack, Steven Soderbergh, Barry Sonnenfeld, Jodie Foster and Kenneth Brannagh. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 29842]

The Marvel Cinematic Universe: Thor (2011) Road to Avengers 2: The Age of Ultron Thor, Loki, Avengers, Odin, Mjolnir, Bifrost, Jane Foster, Chris Hemsworth, Kenneth Brannagh, Tom Hiddleston

Francis Hopkinson of Left Bank Pictures joins us to discuss the UK adaptation of Henning Mankell’s Wallander starring Kenneth Brannagh. As executive producer of the series, Hopkinson was a key figure in the decision-making processes behind the programmes. He shares his unique overview of the programmes with us, taking us all the way from the inspiration for the series to the finishing touches. He also joined our discussion of imagery of Sweden in crime fiction. Introduced by Agnes Broome (UCL Scandinavian Studies). Nordic Noir Book Club blog: www.scancrime.wordpress.com

Francis Hopkinson of Left Bank Pictures joined to discuss the UK adaptation of Henning Mankell’s Wallander starring Kenneth Brannagh. As executive producer of the series, Hopkinson was a key figure in the decision-making processes behind the programmes. He shared his unique overview of the programmes with us, took us all the way from the inspiration for the series to the finishing touches, and joined our discussion of imagery of Sweden in crime fiction. Introduced by Agnes Broome (UCL Scandinavian Studies). Nordic Noir Book Club blog: www.scancrime.wordpress.com

Marc Fennell joins us to talk about portrayals of television in film. We talk about the UK detective drama based on a Swedish set of novels starring Kenneth Brannagh, Wallander (just in case you were confused about which Kenneth Brannagh featuring, UK detective telemovie series based on Swedish novels we were talking about). It’s here: […]

A great SaintCast "welcome" to the Technopriest, Fr. Bill Kessler, who paid a visit to our humble abode in Overland Park, Kansas. We got a chance to podcast together, and learned a little more about why he's such a special Man of God. A rousing speech from Kenneth Brannagh as Henry V, from the Battle of Agincourt in Shakespeare's Henry V gave the answer to last week's St. Jeopardy question, the Feast of Crispin or St. Crispin's Day, October 25. More on Saint movies, including a trailer from the upcoming film on St. Francis Xavier. We profile the first native American Blessed, Kateri Tekakwitha, whose feast we celebrate Friday. What an incredible witness to the faith she was! What conviction she demonstrated. Coming up on the SaintCast, an interview with a Vatican insider, you've seen him on TV, a well known Vatican commentator on news networks, and author of several books on the Vatican, Pope Benedict, and Opus Dei. . Stay tuned, and Stay Subscribed!