Podcast appearances and mentions of Kenneth Turan

TICKETS TO OUR MAY 24 LIVE SHOW IN BROOKLYN ARE ON GENERAL SALE NOW! To get your tickets, go to Littlefieldnyc.com Heath Saunders (Jesus Christ Superstar Live; Natasha, Pierre, and the Great Comet of 1812) joins the lads on the line as they kick-ball-change their way through Marvin Hamlisch, Edward Kleban, James Kirkwood Jr., and Nicholas Dante's 1975 musical megahit: A Chorus Line. Topics include the rise of Michael Bennett, the serendipity of surprise playbills, and what it means to produce a show about 1970s labor in 2026. Heath Saunders: Instagram // Bluesky // spectra.theater Media Referenced in this Episode: A Chorus Line. 1975. Dir. Michael Bennett. A Chorus Line. 1984. Dir. Richard Attenborough. A Chorus Line. 2006. Dir. Bob Avian. Every Little Step. 2008. Dir. James D. Stern and Adam Del Deo. Free For All: Joe Papp, The Public, and the Greatest Theater Story Ever Told by Kenneth Turan and Joseph Papp. Knopf Publishing. 2009. On the Line: The Creation of A Chorus Line by Robert Viagas, Baayork Lee, and Thommie Walsh. Limelight Editions. 1990. “What I Think About When I Hear That Broadway is Racist” by Heath Saunders. Medium. June 10th, 2020. TWOAPW theme by Brendan Dalton: Patreon // brendan-dalton.com // brendandalton.bandcamp.com   Interstitial: “I Can't Do That” // Music by Marvin Hamlisch // Lyrics by Dr. Samuel Bultch, D.D.S. // feat. Dr. Samuel Bultch, D.D.S. as “Dr. Samuel Bultch, D.D.S.”

https://m.ebay.co.uk/sch/i.html?sid=tindogpodcast&_pgn=1&isRefine=true&_trksid=p4429486.m3561.l49496 Atlantis: The Lost Empire is a 2001 American animated science fiction adventure film directed by Gary Trousdale and Kirk Wise, produced by Don Hahn, and written by Tab Murphy. Produced by Walt Disney Feature Animation, it stars Michael J. Fox, James Garner, Cree Summer, Don Novello, Phil Morris, Claudia Christian, Jacqueline Obradors, Florence Stanley, David Ogden Stiers, John Mahoney, Jim Varney, Corey Burton and Leonard Nimoy. Set in 1914, the film follows young linguist Milo Thatch, who gains possession of a sacred book, which he believes will guide him and a crew of mercenaries to the lost city of Atlantis. Development of the film began after production had finished on The Hunchback of Notre Dame (1996). Instead of another musical, directors Trousdale and Wise, producer Hahn, and screenwriter Murphy decided to do an adventure film inspired by the works of Jules Verne. Atlantis: The Lost Empire was notable for adopting the distinctive visual style of comic book artist Mike Mignola, one of the film's production designers. The film made greater use of computer-generated imagery (CGI) than any of Disney's previous traditionally animated features and remains one of the few to have been shot in anamorphic format. Linguist Marc Okrand constructed an Atlantean language specifically for use in the film. James Newton Howard provided the film's musical score. The film was released at a time when audience interest in animated films was shifting away from traditional animation toward films with full CGI. Atlantis: The Lost Empire premiered at the El Capitan Theatre in Hollywood, Los Angeles, on June 3, 2001, and went into its general release on June 15. The film received mixed reviews from critics. Budgeted at around $90–120 million, Atlantis grossed over $186 million worldwide, $84 million of which was earned in North America; its lackluster box office response was identified as a result of being released in competition with Shrek, Lara Croft: Tomb Raider, The Fast and the Furious and Dr. Dolittle 2. As a result of the film's box office failure, Disney cancelled a planned spin-off animated television series, Team Atlantis; an underwater Disneyland attraction; and a volcanic Magic Kingdom attraction based on it. Atlantis was nominated for several awards, including seven Annie Awards, and won Best Sound Editing at the 2002 Golden Reel Awards. The film was released on VHS and DVD on January 29, 2002, and on Blu-ray on June 11, 2013. Despite its initial reception, reception in later years became favorable and has given Atlantis a cult following[5] and reappraisal from critics as a mistreated classic, due in part to Mignola's unique artistic influence.[6][7] A direct-to-video sequel, Atlantis: Milo's Return, was released in 2003. Plot In 1914 Washington, D.C., archaeo-linguist Milo Thatch obsesses over finding the legendary lost city of Atlantis, believed to have sunk thousands of years ago. His employers ridicule his theories, but he gains an unexpected ally in eccentric millionaire Preston B. Whitmore, a friend of Milo's deceased adventurer grandfather who also sought the city. Determined to honor his old friend's quest, Whitmore recruits Milo for an expedition to Atlantis, having recently uncovered the Shepherd's Journal, an ancient Atlantean manuscript that contains directions to the lost city. Aboard the submarine Ulysses, Milo meets his teammates: Commander Lyle Tiberius Rourke, Lieutenant Helga Sinclair, demolitions expert Vincenzo Santorini, geologist Gaetan "Mole" Molière, medical officer Joshua Sweet, mechanic Audrey Ramirez, radio operator Wilhelmina Packard, mess cook Jebidiah "Cookie" Farnsworth, and a platoon of mercenaries. Upon reaching a cave entrance leading to the lost city, the submarine is destroyed by a massive mechanical leviathan, killing most of the crew. Milo and the survivors escape in smaller craft, navigating through the cave to emerge among ancient ruins. Milo translates the journal, guiding the team through caves beneath a dormant volcano until they reach the worn remains of Atlantis. There, they are greeted by Princess Kidagakash "Kida" Nedakh, who, despite being around 8,500 years old, has the appearance of a young woman. She leads them to her father, King Kashekim, who orders them to leave. Learning that Milo can read their language—a skill lost to the Atlanteans over millennia—Kida asks for his help in uncovering their forgotten history and highly-advanced technology, without which the city has declined and resources have dwindled. Milo learns that Atlantis is powered by the Heart of Atlantis, a massive crystal that grants longevity and health to its citizens through the smaller crystals they carry. Rourke betrays Milo and the Atlanteans, revealing his true intention to steal the Heart for profit, despite knowing the Atlanteans will perish without it. He mortally wounds the King while seizing control and uncovers the crystal's hidden location beneath the city. Sensing the danger, the crystal merges with Kida, who is then captured by Rourke. He departs with the crystallized Kida and his mercenaries, except for Vincenzo, Molière, Sweet, Audrey, Packard, and Cookie, who refuse to take part in the Atlanteans' destruction. Before dying, the King reveals that Atlantis was devastated by a megatsunami after he attempted to weaponize the crystal's vast power. To protect the city, the crystal merged with a royal family member, Kida's mother. This created a protective dome over the city's inner district, shielding it from total destruction as Atlantis sank beneath the waves, but Kida's mother never returned. To prevent the crystal from ever merging with Kida, the King hid it, inadvertently accelerating Atlantis' decline. He warns Milo that Kida will be lost forever if she is not soon separated from the crystal and pleads with him to save her. Alongside his allies, Milo rallies the Atlanteans to reactivate their long-dormant flying machines. Together, they eliminate Rourke and his mercenaries in the volcano. Milo and the others fly the crystallized Kida back to Atlantis as the volcano erupts. Kida ascends into the air and awakens Stone Guardians, who erect a barrier that shields the city from the lava flow. With Atlantis saved, the crystal separates from Kida and remains suspended in the sky. Milo chooses to stay in Atlantis with Kida, having fallen in love with her. Before returning to the surface, Vincenzo, Molière, Sweet, Audrey, Packard, and Cookie each receive a small crystal and a share of treasure. The six reunite with Preston on the surface and agree to keep their adventure a secret to protect Atlantis. Preston opens a package from Milo containing his own crystal and a note thanking him. The newly crowned Queen Kida and Milo carve a stone effigy of her father to join those of past rulers floating beside the Heart of Atlantis, as the city stands restored to its former glory. Voice cast Production layout sketch of Milo and Kida. Milo's character design was based in part on sketches of the film's language consultant, Marc Okrand. Michael J. Fox as Milo James Thatch, a linguist and cartographer at the Smithsonian who was recruited to decipher The Shepherd's Journal while directing an expedition to Atlantis. James Garner as Commander Lyle Tiberius Rourke, the leader of the band of mercenaries for the Atlantean expedition. Cree Summer as Kidagakash "Kida" Nedakh, the Princess of Atlantis and Milo's love interest. Natalie Strom provided dialogue for Kida as a young child. Summer also voiced the unnamed Queen of Atlantis, Kida's mother and Kashekim's wife who was "chosen" by the Crystal during the sinking of the city. John Mahoney as Preston B. Whitmore, an eccentric millionaire who funds the expedition to Atlantis. Lloyd Bridges was originally cast and recorded as Whitmore, but he died before completing the film. Mahoney's zest and vigor led to Whitmore's personality being reworked for the film.[8] Claudia Christian as Lieutenant Helga Katrina Sinclair, Rourke's German-born second-in-command. Don Novello as Vincenzo "Vinny" Santorini, an Italian demolitions expert. Phil Morris as Dr. Joshua Strongbear Sweet, a medic of African-American and Arapaho descent. Jacqueline Obradors as Audrey Rocio Ramirez, a Puerto Rican mechanic and the youngest member of the expedition. Corey Burton as Gaetan "Mole" Molière, a French geologist who acts like a mole. Jim Varney as Jebidiah Allardyce "Cookie" Farnsworth, a Western-style chuckwagon chef. Varney died in February 2000, before the production ended, and the film was dedicated to his memory. Steven Barr recorded supplemental dialogue for Cookie. Florence Stanley as Wilhelmina Bertha Packard: an elderly, sarcastic, chain-smoking radio operator who is also the expedition's photographer. Leonard Nimoy as Kashekim Nedakh, the King of Atlantis and Kida's father. David Ogden Stiers as Fenton Q. Harcourt, a board member of the Smithsonian Institution who dismisses Milo's belief in the existence of Atlantis. Production Development The production team visited New Mexico's Carlsbad Caverns to get a sense of the underground spaces depicted in the film. The idea for Atlantis: The Lost Empire was conceived in October 1996 when Don Hahn, Gary Trousdale, Kirk Wise, and Tab Murphy lunched at a Mexican restaurant in Burbank, California. Having recently completed The Hunchback of Notre Dame,[9] the producer, directors and screenwriter wanted to keep the Hunchback crew together for another film with an "Adventureland" setting rather than a "Fantasyland" setting.[10] Drawing inspiration from Jules Verne's Journey to the Center of the Earth (1864) and Twenty Thousand Leagues Under the Seas (1870), they set out to make a film which would fully explore Atlantis (compared to the brief visit depicted in Verne's novel).[11] While primarily utilizing the Internet to research the mythology of Atlantis,[12] the filmmakers became interested in the clairvoyant readings of Edgar Cayce and decided to incorporate some of his ideas—notably that of a mother-crystal which provides power, healing, and longevity to the Atlanteans—into the story.[13] They also visited museums and old army installations to study the technology of the early 20th century (the film's time period), and traveled underground in New Mexico's Carlsbad Caverns to view the subterranean trails which would serve as a model for the approach to Atlantis in the film.[14] The filmmakers wanted to avoid the common depiction of Atlantis as "crumbled Greek columns underwater", said Wise.[15] "From the get-go, we were committed to designing it top to bottom. Let's get the architectural style, clothing, heritage, customs, how they would sleep, and how they would speak. So we brought people on board who would help us develop those ideas."[16] Art director David Goetz stated, "We looked at Mayan architecture, styles of ancient, unusual architecture from around the world, and the directors really liked the look of Southeast Asian architecture."[17] The team later took ideas from other architectural forms, including Cambodian, Indian, and Tibetan works.[18] Hahn added, "If you take and deconstruct architecture from around the world into one architectural vocabulary, that's what our Atlantis looks like."[19] The overall design and circular layout of Atlantis were also based on the writings of Plato,[18] and his quote "in a single day and night of misfortune, the island of Atlantis disappeared into the depths of the sea"[20] was influential from the beginning of production.[9] The crew wore T-shirts which read "ATLANTIS—Fewer songs, more explosions" due to the film's plan as an action-adventure (unlike previous Disney animated features, which were musicals).[21] Language The Atlantean letter A, created by artist John Emerson. Kirk Wise noted that its design was a treasure map showing the path to the crystal, "The Heart of Atlantis". Main article: Atlantean language Marc Okrand, who developed the Klingon language for the Star Trek television and theatrical productions, was hired to devise the Atlantean language for Atlantis: The Lost Empire. Guided by the directors' initial concept for it to be a "mother-language", Okrand employed an Indo-European word stock with its own grammatical structure. He would change the words if they began to sound too much like an actual, spoken language.[16] John Emerson designed the written component, making hundreds of random sketches of individual letters from among which the directors chose the best to represent the Atlantean alphabet.[22][23] The written language was boustrophedon: designed to be read left-to-right on the first line, then right-to-left on the second, continuing in a zigzag pattern to simulate the flow of water.[24] The Atlantean [A] is a shape developed by John Emerson. It is a miniature map of the city of Atlantis (i.e., the outside of the swirl is the cave, the inside shape is the silhouette of the city, and the dot is the location of the crystal). It's a treasure map. — Kirk Wise, director[25] Writing Joss Whedon was the first writer to be involved with the film but soon left to work on other Disney projects. According to him, he "had not a shred" in the movie.[26] Tab Murphy completed the screenplay, stating that the time from initially discussing the story to producing a script that satisfied the film crew was "about three to four months".[27] The initial draft was 155 pages, much longer than a typical Disney film script (which usually runs 90 pages). When the first two acts were timed at 120 minutes, the directors cut characters and sequences and focused more on Milo. Murphy said that he created the centuries-old Shepherd's Journal because he needed a map for the characters to follow throughout their journey.[28] A revised version of the script eliminated the trials encountered by the explorers as they navigated the caves to Atlantis. This gave the film a faster pace because Atlantis is discovered earlier in the story.[29] The directors often described the Atlanteans using Egypt as an example. When Napoleon wandered into Egypt, the people had lost track of their once-great civilization. They were surrounded by artifacts of their former greatness but somehow unaware of what they meant. — Don Hahn, producer[30] The character of Milo J. Thatch was originally supposed to be a descendant of Edward Teach, otherwise known as Blackbeard the pirate. The directors later related him to an explorer so he would discover his inner talent for exploration.[31] The character of Molière was originally intended to be "professorial" but Chris Ure, a story artist, changed the concept to that of a "horrible little burrowing creature with a wacky coat and strange headgear with extending eyeballs", said Wise.[32][33] Don Hahn pointed out that the absence of songs presented a challenge for a team accustomed to animating musicals, as action scenes alone would have to carry the film. Kirk Wise said it gave the team an opportunity for more on-screen character development: "We had more screen time available to do a scene like where Milo and the explorers are camping out and learning about one another's histories. An entire sequence is devoted to having dinner and going to bed. That is not typically something we would have the luxury of doing."[16] Hahn stated that the first animated sequence completed during production was the film's prologue. The original version featured a Viking war party using The Shepherd's Journal to find Atlantis and being swiftly dispatched by the Leviathan. Near the end of production, story supervisor John Sanford told the directors that he felt this prologue did not give viewers enough emotional involvement with the Atlanteans. Despite knowing that the Viking prologue was finished and it would cost additional time and money to alter the scene, the directors agreed with Sanford. Trousdale went home and completed the storyboards later that evening after visiting a strip club where he boarded the new sequence on a napkin.[34] The opening was replaced by a sequence depicting the destruction of Atlantis, which introduced the film from the perspective of the Atlanteans and Princess Kida.[35] The Viking prologue is included as an extra feature on the DVD release.[36] Casting Kirk Wise, one of the directors, said that they chose Michael J. Fox for the role of Milo because they felt he gave his characters his own personality and made them more believable on screen. Fox said that voice acting was much easier than his past experience with live action because he did not have to worry about what he looked like in front of a camera while delivering his lines.[37] The directors mentioned that Fox was also offered a role for Titan A.E.; he allowed his son to choose which film he would work on, and he chose Atlantis.[38] Viewers have noted similarities between Milo and the film's language consultant, Marc Okrand, who developed the Atlantean language used in the film. Okrand stated that Milo's supervising animator, John Pomeroy, sketched him, claiming not to know how a linguist looked or acted.[24] Kida's supervising animator, Randy Haycock, stated that her actress, Cree Summer, was very "intimidating" when he first met her; this influenced how he wanted Kida to look and act on screen when she meets Milo.[39] Wise chose James Garner for the role of Commander Lyle Tiberius Rourke because of his previous experience with action films, especially war and Western films, and said the role "fits him like a glove". When asked if he would be interested in the role, Garner replied: "I'd do it in a heartbeat."[40] Producer Don Hahn was saddened that Jim Varney, the voice of Jebidiah Allardyce "Cookie" Farnsworth, never saw the finished film before he died of lung cancer in February 2000, but mentioned that he was shown clips of his character's performance during his site sessions and said, "He loved it." Shawn Keller, supervising animator for Cookie, stated, "It was kind of a sad fact that [Varney] knew that he was not going to be able to see this film before he passed away. He did a bang-up job doing the voice work, knowing the fact that he was never gonna see his last performance." Steven Barr recorded supplemental dialogue for Cookie.[41] John Mahoney, who voiced Preston Whitmore, stated that doing voice work was "freeing" and allowed him to be "big" and "outrageous" with his character.[42] Dr. Joshua Sweet's supervising animator, Ron Husband, indicated that one of the challenges was animating Sweet in sync with Phil Morris' rapid line delivery while keeping him believable. Morris stated that this character was extreme, with "no middle ground"; he mentioned, "When he was happy, he was really happy, and when he's solemn, he's real solemn."[43] Claudia Christian described her character, Lieutenant Helga Katrina Sinclair, as "sensual" and "striking", and was relieved when she finally saw what her character looked like, joking, "I'd hate to, you know, go through all this and find out my character is a toad."[44] Jacqueline Obradors said her character, Audrey Rocio Ramirez, made her "feel like a little kid again" and she always hoped her sessions would last longer.[45] Florence Stanley felt that her character, Wilhelmina Bertha Packard, was very "cynical" and "secure": "She does her job, and when she is not busy, she does anything she wants."[46] Corey Burton mentioned that finding his performance as Gaetan "Mole" Molière was by allowing the character to "leap out" of him while making funny voices. To get into character during his recording sessions, he stated that he would "throw myself into the scene and feel like I'm in this make-believe world".[47] Kirk Wise and Russ Edmonds, supervising animator for Vincenzo "Vinny" Santorini, noted Vinny's actor Don Novello's unique ability to improvise dialogue while voicing the role. Edmonds recalled, "[Novello] would look at the sheet, and he would read the line that was written once, and he would never read it again! And we never used a written line, it was improvs, the whole movie."[48] Michael Cedeno, supervising animator for King Kashekim Nedakh, was astounded at Leonard Nimoy's voice talent in the role, stating that he had "so much rich character" in his performance. As he spoke his lines, Cedeno said the crew would sit there and watch Nimoy in astonishment.[49] Animation For comparison, the top image (panoramic view of Atlantis) is cropped to Disney's standard aspect ratio (1.66:1); the bottom image was seen in the film (2.35:1). At the peak of its production, 350 animators, artists and technicians were working on Atlantis[50] at all three Disney animation studios: Walt Disney Feature Animation (Burbank, California), Walt Disney Feature Animation Florida (Orlando), and Disney Animation France (Paris).[51] The film was one of the few Disney animated features produced and shot in 35mm anamorphic format. The directors felt that a widescreen image was crucial, as a nostalgic reference to old action-adventure films presented in the CinemaScope format (2.35:1), noting Raiders of the Lost Ark as an inspiration.[52] Because switching to the format would require animation desks and equipment designed for widescreen to be purchased, Disney executives were at first reluctant about the idea.[16] The production team found a simple solution by drawing within a smaller frame on the same paper and equipment used for standard aspect ratio (1.66:1) Disney-animated films.[52] Layout supervisor Ed Ghertner wrote a guide to the widescreen format for use by the layout artists and mentioned that one advantage of widescreen was that he could keep characters in scenes longer because of additional space to walk within the frame.[53] Wise drew further inspiration for the format from filmmakers David Lean and Akira Kurosawa.[16] The film's visual style was strongly based upon that of Mike Mignola, the comic book artist behind Hellboy. Mignola was one of four production designers (along with Matt Codd, Jim Martin, and Ricardo Delgado) hired by the Disney studio for the film. Accordingly, he provided style guides, preliminary character, and background designs, and story ideas.[54] "Mignola's graphic, the angular style was a key influence on the 'look' of the characters," stated Wise.[55] Mignola was surprised when first contacted by the studio to work on Atlantis.[56] His artistic influence on the film would later contribute to a cult following.[57] I remember watching a rough cut of the film and these characters have these big, square, weird hands. I said to the guy next to me, "Those are cool hands." And he says to me, "Yeah, they're your hands. We had a whole meeting about how to do your hands." It was so weird I couldn't wrap my brain around it. — Mike Mignola[56] The final pull-out shot of the movie, immediately before the end-title card, was described by the directors as the most difficult shot in the history of Disney animation. They said that the pull-out attempt on their prior film, The Hunchback of Notre Dame, "struggled" and "lacked depth"; however, after making advances in the process of multiplaning, they tried the technique again in Atlantis. The shot begins with one 16-inch (40.6 cm) piece of paper showing a close-up of Milo and Kida. As the camera pulls away from them to reveal the newly restored Atlantis, it reaches the equivalent of an 18,000-inch (46,000 cm) piece of paper composed of many individual pieces of paper (24 inches [61 cm] or smaller). Each piece was carefully drawn and combined with animated vehicles simultaneously flying across the scene to make the viewer see a complete, integrated image.[58] Scale model of Ulysses submarine by Greg Aronowitz, used by digital animators as reference during production.[59] At the time of its release, Atlantis: The Lost Empire was notable for using more computer-generated imagery (CGI) than any other Disney traditionally animated feature. To increase productivity, the directors had the digital artists work with the traditional animators throughout the production. Several important scenes required heavy use of digital animation: the Leviathan, the Ulysses submarine and sub-pods, the Heart of Atlantis, and the Stone Giants.[60] During production, after Matt Codd and Jim Martin designed the Ulysses on paper, Greg Aronowitz was hired to build a scale model of the submarine, to be used as a reference for drawing the 3D Ulysses.[59] The final film included 362 digital-effects shots, and computer programs were used to seamlessly join the 2D and 3D artwork.[61] One scene that took advantage of this was the "sub-drop" scene, where the 3D Ulysses was dropped from its docking bay into the water. As the camera floated toward it, a 2D Milo was drawn to appear inside, tracking the camera. The crew noted that it was challenging to keep the audience from noticing the difference between the 2D and 3D drawings when they were merged.[62] The digital production also gave the directors a unique "virtual camera" for complicated shots within the film. With the ability to operate in the z-plane, this camera moved through a digital wire-frame set; the background and details were later hand-drawn over the wireframes. This was used in the opening flight scene through Atlantis and the submarine chase through the undersea cavern with the Leviathan in pursuit.[63] Music and sound Since the film would not feature any songs, the directors hired James Newton Howard to compose the score after they heard his music on Dinosaur. Approaching it as a live-action film, Howard decided to have different musical themes for the cultures of the surface world and Atlantis. In the case of Atlantis, Howard chose an Indonesian orchestral sound incorporating chimes, bells, and gongs. The directors told Howard that the film would have a number of key scenes without dialogue; the score would need to convey emotionally what the viewer was seeing on screen.[64] Gary Rydstrom and his team at Skywalker Sound were hired for the film's sound production.[65] Like Howard, Rydstrom employed different sounds for the two cultures. Focusing on the machine and mechanical sounds of the early industrial era for the explorers, he felt that the Atlanteans should have a "more organic" sound utilizing ceramics and pottery. The sound made by the Atlantean flying-fish vehicles posed a particular challenge. Rydstrom revealed that he was sitting at the side of a highway recording one day when a semi-truck drove by at high speed. When the recording was sped up on his computer, he felt it sounded very organic, and decided to use it in the film. Rydstrom created the harmonic chiming of the Heart of Atlantis by rubbing his finger along the edge of a champagne flute, the sound of sub-pods moving through the water with a water pick, while a ceramic pot from a garden store was used for the sounds of the movement of the Giant stone guardians.[66] Release Atlantis: The Lost Empire had its world premiere at Disney's El Capitan Theatre in Hollywood, Los Angeles, on June 3, 2001[67] and a limited release in New York City and Los Angeles on June 8; a wider release followed on June 15.[4][61] At the premiere, Destination: Atlantis was on display, featuring behind-the-scenes props from the film and information on the legend of Atlantis with video games, displays, laser tag, and other attractions. The Aquarium of the Pacific also loaned a variety of fish for display within the attraction.[68] Promotion Atlantis was among Disney's first major attempts to utilize internet marketing. The film was promoted through Kellogg's, which created a website with mini-games and a movie-based video game give-away for UPC labels from specially marked packages of Atlantis breakfast cereal.[50] The film was one of Disney's first marketing attempts through mobile network operators, and allowed users to download games based on the film.[69] McDonald's (which had an exclusive licensing agreement on all Disney releases) promoted the film with Happy Meal toys, food packaging and in-store decor. The McDonald's advertising campaign involved television, radio, and print advertisements beginning on the film's release date.[70] Frito-Lay offered free admission tickets for the film on specially marked snack packages.[71] Home media Atlantis: The Lost Empire was released on VHS and DVD on January 29, 2002.[72] During the first month of its home release, the film led in VHS sales and was third in VHS and DVD sales combined.[73] Sales and rentals of the VHS and DVD combined would eventually accumulate $157 million in revenue by mid-2003.[74] Both a single-disc DVD edition and a two-disc collector's edition (with bonus features) were released. The single-disc DVD gave the viewer the option of viewing the film either in its original theatrical 2.39:1 aspect ratio or a modified 1.33:1 ratio (utilizing pan and scan). Bonus features available on the DVD version included audio and visual commentary from the film team, a virtual tour of the CGI models, an Atlantean-language tutorial, an encyclopedia on the myth of Atlantis, and the deleted Viking prologue scene.[72] The two-disc collector's edition DVD contained all the single-disc features and a disc with supplemental material detailing all aspects of the film's production. The collector's-edition film could only be viewed in its original theatrical ratio, and also featured an optional DTS 5.1 track. Both DVD versions, however, contained a Dolby Digital 5.1 track and were THX certified.[72][75] Disney digitally remastered and released Atlantis on Blu-ray on June 11, 2013, bundled with its sequel Atlantis: Milo's Return.[76] Reception Box office Before the film's release, reporters speculated that it would have a difficult run due to competition from Shrek and Lara Croft: Tomb Raider. Regarding the market's shift from traditional animation and competition with CG-animated films, Kirk Wise said, "Any traditional animator, including myself, can't help but feel a twinge. I think it always comes down to story and character, and one form won't replace the other. Just like photography didn't replace painting. But maybe I'm blind to it."[61] Jeff Jensen of Entertainment Weekly noted that CGI films (such as Shrek) were more likely to attract the teenage demographic typically not interested in animation, and called Atlantis a "marketing and creative gamble".[77] With a budget of $100 million,[3] the film opened at #2 on its debut weekend, behind Lara Croft: Tomb Raider, earning $20.3 million in 3,011 theaters.[78] During its second weekend, it would drop into fourth place behind the latter film, Dr. Dolittle 2 and The Fast and the Furious, making $13.2 million.[79] The film's international release began September 20 in Australia and other markets followed suit.[80] During its 25-week theatrical run, Atlantis: The Lost Empire grossed over $186 million worldwide ($84 million from the United States and Canada).[4] Responding to its disappointing box-office performance, Thomas Schumacher, then-president of Walt Disney Feature Animation, said, "It seemed like a good idea at the time to not do a sweet fairy tale, but we missed."[81] Critical response Atlantis: The Lost Empire received mixed reviews from critics,[82][83][84] many of whom criticized its story.[85] The review aggregator website Rotten Tomatoes reports that 48% of 144 professional critics have given Atlantis: The Lost Empire a positive review; the average rating is 5.5/10. The site's consensus is: "Atlantis provides a fast-paced spectacle, but stints on such things as character development and a coherent plot".[86] Metacritic assigned the film a weighted average score of 52 out of 100 based on 29 reviews from critics, indicating "mixed or average" reviews.[87] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.[88] While critics had mixed reactions to the film in general, some praised it for its visuals, action-adventure elements, and attempt to appeal to an older audience. Roger Ebert gave Atlantis three-and-a-half stars out of four. He praised the animation's "clean bright visual look" and the "classic energy of the comic book style", crediting this to the work of Mike Mignola. Ebert gave particular praise to the story and the final battle scene and wrote, "The story of Atlantis is rousing in an old pulp science fiction sort of way, but the climactic scene transcends the rest, and stands by itself as one of the great animated action sequences."[89] In The New York Times, Elvis Mitchell gave high praise to the film, calling it "a monumental treat", and stated, "Atlantis is also one of the most eye-catching Disney cartoons since Uncle Walt institutionalized the four-fingered glove."[90] Internet film critic James Berardinelli wrote a positive review of the film, giving it three out of four stars. He wrote, "On the whole, Atlantis offers 90 minutes of solid entertainment, once again proving that while Disney may be clueless when it comes to producing good live-action movies, they are exactly the opposite when it comes to their animated division."[91] Wesley Morris of the San Francisco Chronicle wrote positively of the film's approach for an older audience: "But just beneath the surface, Atlantis brims with adult possibility."[92] Other critics felt that the film was mediocre in regards to its story and characters, and that it failed to deliver as a non-musical to Disney's traditional audience. Owen Gleiberman of Entertainment Weekly gave the film a C+ rating, writing that the film had "gee-whiz formulaic character" and was "the essence of craft without dream".[93] Kenneth Turan of the Los Angeles Times said the storyline and characterizations were "old-fashioned" and the film had the retrograde look of a Saturday-morning cartoon, but these deficiencies were offset by its "brisk action" and frantic pace.[94] Todd McCarthy of Variety wrote, "Disney pushes into all-talking, no-singing, no-dancing and, in the end, no-fun animated territory."[95] Stephanie Zacharek of Salon wrote of Disney's attempt to make the film for an adult audience, "The big problem with Disney's latest animated feature, Atlantis: The Lost Empire, is that it doesn't seem geared to kids at all: It's so adult that it's massively boring."[96] Rita Kempley of The Washington Post panned the film, calling it a "new-fashioned but old-fangled hash" and wrote, "Ironically Disney had hoped to update its image with this mildly diverting adventure, yet the picture hasn't really broken away from the tried-and-true format spoofed in the far superior Shrek."[97] In 2015, Katharine Trendacosta at io9 reviewed the film and called it a "Beautiful Gem of a Movie That Deserved Better Than It Got" and said that the film deserves more love than it ended up getting.[6] Lindsay Teal considers "Atlantis" to be "a lost Disney classic". Describing the film as highly entertaining, she praises the writing and characterisation – in particular, Sweet, Helga and Kida.[7] In particular, much praise has been given to the character of Kida.[98] Summer has regarded the character of Kida as one of her favourite roles and even considers the character among the official Disney Princess line-up. Themes and interpretations Several critics and scholars have noted that Atlantis plays strongly on themes of anti-capitalism and anti-imperialism. M. Keith Booker, academic and author of studies about the implicit messages conveyed by media, views the character of Rourke as being motivated by "capitalist greed" when he pursues "his own financial gain" in spite of the knowledge that "his theft [of the crystal] will lead to the destruction of [Atlantis]".[99] Religion journalist Mark Pinsky, in his exploration of moral and spiritual themes in popular Disney films, says that "it is impossible to read the movie ... any other way" than as "a devastating, unrelenting attack on capitalism and American imperialism".[100] Max Messier of FilmCritic.com observes, "Disney even manages to lambast the capitalist lifestyle of the adventurers intent on uncovering the lost city. Damn the imperialists!"[101] According to Booker, the film also "delivers a rather segregationist moral" by concluding with the discovery of the Atlanteans kept secret from other surface-dwellers in order to maintain a separation between the two highly divergent cultures.[102] Others saw Atlantis as an interesting look at utopian philosophy of the sort found in classic works of science fiction by H. G. Wells and Jules Verne.[103] Nadia: The Secret of Blue Water controversy When the film was released, some viewers noticed that Atlantis: The Lost Empire was similar to the 1990-91 anime Nadia: The Secret of Blue Water, particularly in its character design, setting, and story.[104] The similarities, as noted by viewers in both Japan and America, were strong enough for its production company Gainax to be called to sue for plagiarism. According to Gainax member Yasuhiro Takeda, they only refrained from doing so because the decision belonged to parent companies NHK and Toho.[105] Another Gainax worker, Hiroyuki Yamaga, was quoted in an interview in 2000 as saying: "We actually tried to get NHK to pick a fight with Disney, but even the National Television Network of Japan didn't dare to mess with Disney and their lawyers. [...] We actually did say that but we wouldn't actually take them to court. We would be so terrified about what they would do to them in return that we wouldn't dare."[105] Although Disney never responded formally to those claims, co-director Kirk Wise posted on a Disney animation newsgroup in May 2001, "Never heard of Nadia till it was mentioned in this [newsgroup]. Long after we'd finished production, I might add." He claimed both Atlantis and Nadia were inspired, in part, by the 1870 Jules Verne novel Twenty Thousand Leagues Under the Seas.[106] However, speaking about the clarification, Lee Zion from Anime News Network wrote, "There are too many similarities not connected with 20,000 Leagues for the whole thing to be coincidence."[107] As such, the whole affair ultimately entered popular culture as a convincing case of plagiarism.[108][109][110] In 2018, Reuben Baron from Comic Book Resources added to Zion's comment stating, "Verne didn't specifically imagine magic crystal-based technology, something featured in both the Disney movie and the too similar anime. The Verne inspiration also doesn't explain the designs being suspiciously similar to Nadia's."[110] Critics also saw parallels with the 1986 film Laputa: Castle in the Sky from Hayao Miyazaki and Studio Ghibli (which also featured magic crystals, and Atlantis directors Trousdale and Wise both acknowledged Miyazaki's works as a major influence on their own work)[104] and with the 1994 film Stargate as Milo's characteristics were said to resemble those of Daniel Jackson, the protagonist of Stargate and its spinoff television series Stargate SG-1 — which coincidentally launched its own spinoff, titled Stargate Atlantis; the plot of the 1994 film is also paralleled involving a group visiting an unknown world, a fictional language made for the other world's people, the main protagonist having apparent knowledge of the people's culture, falling in love with one of the female locals and electing to stay behind when the others return home.[111] Accolades Award Category Name Result 29th Annie Awards[112] Individual Achievement in Directing Gary Trousdale and Kirk Wise Nominated Individual Achievement in Storyboarding Chris Ure Nominated Individual Achievement in Production Design David Goetz Nominated Individual Achievement in Effects Animation Marlon West Nominated Individual Achievement in Voice Acting – Female Florence Stanley Nominated Individual Achievement in Voice Acting – Male Leonard Nimoy Nominated Individual Achievement for Music Score James Newton Howard Nominated 2002 DVD Exclusive Awards[113] Original Retrospective Documentary Michael Pellerin Nominated 2002 Golden Reel Award[114] Best Sound Editing – Animated Feature Film Gary Rydstrom, Michael Silvers, Mary Helen Leasman, John K. Carr, Shannon Mills, Ken Fischer, David C. Hughes, and Susan Sanford Won Online Film Critics Society Awards 2001[115] Best Animated Feature Nominated 2002 Political Film Society[116] Democracy Nominated Human Rights Nominated Peace Nominated World Soundtrack Awards[117] Best Original Song for Film Diane Warren and James Newton Howard Nominated Young Artist Awards[118] Best Feature Family Film – Drama Walt Disney Feature Animation Nominated Related works Main article: Atlantis (franchise) Atlantis: The Lost Empire was meant to inspire an animated television series entitled Team Atlantis, which would have presented the further adventures of its characters. The series would have been akin to an animated steampunk version of The X-Files and feature a crossover with Gargoyles. However, because of the film's underperformance at the box office, the series was not produced.[119] On May 20, 2003, Disney released a direct-to-video sequel titled Atlantis: Milo's Return, consisting of three episodes planned for the aborted series.[120] Disneyland planned to revive its Submarine Voyage ride with an Atlantis: The Lost Empire theme with elements from the movie. These plans were canceled and the attraction was re-opened in 2007 as the Finding Nemo Submarine Voyage, its theme based on the 2003 Pixar film Finding Nemo, which was far more successful commercially and critically.[121] In addition, after the Submarine Voyage's Magic Kingdom counterpart, 20,000 Leagues Under the Sea: Submarine Voyage, closed down in 1994, four years before Disneyland's, there were proposals of a new attraction that would take its place, with one of them a volcano attraction inspired by that film's Vulcania location, being approved for the Magic Kingdom's Adventureland area. Around 1999, during development of Atlantis: The Lost Empire, it was decided that it would be themed to the movie, with it taking place in 1916, two years after the film's events. The ride would have focused on Preston Whitmore, a character from the film, seeking to make Atlantis existence public and offer expeditions to visitors in newly developed vehicles. However, due to mishaps, the vehicles would be forced to make a detour through the lava-filled caverns of the volcano. The attraction would have used a unique hybrid ride system, in which it would start as a standard coaster before the trains hook up to a suspended track midway through to fly through the caverns. The attraction would have been accessed by a new canyon path in between Pirates of the Caribbean and a re-routed Jungle Cruise that would have led to a Whitmore Enterprises base camp at the edge of the Walt Disney World Railroad path, with the mountain itself being built outside the berm. However, like the previous Submarine Voyage retheme, the ride was cancelled due to the film's disappointment in the box office.[122]

The sixth episode of our season on the awesome movie year of 2014 features Josh's personal pick, J.C. Chandor's A Most Violent Year. Written and directed by J.C. Chandor and starring Oscar Isaac, Jessica Chastain, Albert Brooks, Elyes Gabel and David Oyelowo, A Most Violent Year was Chandor's third film as a writer-director.The contemporary reviews quoted in this episode come from A.O. Scott in The New York Times (https://www.nytimes.com/2014/12/31/movies/a-most-violent-year-with-oscar-isaac-and-jessica-chastain.html), Kenneth Turan in the Los Angeles Times (https://www.latimes.com/entertainment/movies/la-et-mn-most-violent-year-review-20141231-column.html), and Dana Stevens in Slate (https://slate.com/culture/2015/01/a-most-violent-year-review-oscar-isaac-and-jessica-chastain-star-in-godfather-like-movie-from-j-c-chandor.html).Check out more info and the entire archive of past episodes at https://www.awesomemovieyear.com and visit us on Facebook at http://www.facebook.com/awesomemovieyear You can find Jason on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Letterboxd at https://letterboxd.com/goforjason/You can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/, on Bluesky at signalbleed.bsky.social and on Letterboxd at https://letterboxd.com/signalbleed/If you're a Letterboxd user and you watch any of the movies we talk about on the show, tag your review “Awesome Movie Year” to share your thoughts.You can find our producer David Rosen and his Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at

This week on The Treatment, Elvis speaks with Eddington writer and director Ari Aster about his new film set during the early months of the COVID-19 pandemic. Then, film critic and writer Kenneth Turan joins to discuss his book Louis B. Mayer and Irving Thalberg: The Whole Equation. And on the Treat, Sinners writer-director Ryan Coogler talks about a special musical journey he took prior to making the film.   

This week on The Treatment, Elvis speaks with Eddington writer and director Ari Aster about his new film set during the early months of the COVID-19 pandemic. Then, film critic and writer Kenneth Turan joins to discuss his book Louis B. Mayer and Irving Thalberg: The Whole Equation. And on the Treat, Sinners writer-director Ryan Coogler talks about a special musical journey he took prior to making the film.

The fifth episode of our season on the awesome movie year of 2014 features our documentary pick, Steve James' Life Itself. Directed by Steve James and featuring Roger Ebert, Life Itself is based on Ebert's 2011 memoir.The contemporary reviews quoted in this episode come from Ann Hornaday in The Washington Post (https://www.washingtonpost.com/goingoutguide/movies/life-itself-movie-review-an-absorbing-chronicle-of-roger-eberts-life/2014/07/03/24411f52-0084-11e4-8572-4b1b969b6322_story.html), Kenneth Turan in the Los Angeles Times (https://www.latimes.com/entertainment/movies/la-et-mn-life-itself-20140704-column.html), and Matt Zoller Seitz at RogerEbert.com (https://www.rogerebert.com/reviews/life-itself-2014).Check out more info and the entire archive of past episodes at https://www.awesomemovieyear.com and visit us on Facebook at http://www.facebook.com/awesomemovieyear You can find Jason on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Letterboxd at https://letterboxd.com/goforjason/You can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/, on Bluesky at signalbleed.bsky.social and on Letterboxd at https://letterboxd.com/signalbleed/If you're a Letterboxd user and you watch any of the movies we talk about on the show, tag your review “Awesome Movie Year” to share your thoughts.You can find our producer David Rosen and his Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod, on Bluesky at piecingpod.bsky.social and on Letterboxd at

This bonus episode for our retrospective 20th season looks back to the awesome movie year of 1967 with Jean-Pierre Melville's Le Samourai. Written and directed by Jean-Pierre Melville and starring Alain Delon, François Périer, Nathalie Delon, Caty Rosier and Jacques Leroy, Le Samourai was the one movie that Josh, Jason and producer David Rosen all had as a possible pick in our movie draft for the season.The contemporary reviews quoted in this episode come from Vincent Canby in The New York Times (https://www.nytimes.com/1972/07/13/archives/the-godson-no-relation-to-godfather-opens.html), Penelope Gilliatt in The New Yorker (https://www.newyorker.com/magazine/1972/07/15/idiot), and Kenneth Turan in The Washington Post (https://www.washingtonpost.com/archive/lifestyle/1977/09/29/samourai-an-austere-poem-of-crime/e032d06a-8b30-40c3-8899-3a78880050e3/).Check out more info and the entire archive of past episodes at https://www.awesomemovieyear.com and visit us on Facebook at http://www.facebook.com/awesomemovieyear You can find Jason on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Letterboxd at https://letterboxd.com/goforjason/You can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/, on Bluesky at signalbleed.bsky.social and on Letterboxd at

Former “Los Angeles Times” Film Critic Kenneth Turan will be at Yiddish Book Center in Amherst, MA to discuss his new book “Louis B. Mayer and Irving Thalberg: The Whole Equation.” The event is on Sunday, May 11th at 2:00 pm.

The former Los Angeles Times film critic reflects on his path from Brooklyn to Hollywood, the current state of film criticism and the LA Times, and what inspired him to spend four years writing the first dual-biography in 50 years of MGM's two most legendary executives. Learn more about your ad choices. Visit megaphone.fm/adchoices

Two books set in Hollywood show different sides of the film business, from industry-shaping success to the personal frustration of rejection. First, Louis B. Mayer & Irving Thalberg: The Whole Equation is a history of the duo behind MGM Film. The nonfiction book by Kenneth Turan, a regular critic for the Los Angeles Times and NPR, follows the unlikely trajectory that led both men to the movies. In today's episode, Turan joins NPR's Scott Simon for a conversation that touches on early MGM films like Ben-Hur and Tarzan the Ape Man, antisemitism in Hollywood, and Mayer's complicated relationship with Judy Garland. Then, Simon speaks with British actor Rupert Everett, who's out with a new collection of short stories inspired by Hollywood rejection. The American No draws from film concepts and screenplays the actor pitched but never got the chance to make. In today's episode, he and Simon discuss Everett's autobiographical writing, his upbringing in a military family, and his early exposure to Julie Andrews.To listen to Book of the Day sponsor-free and support NPR's book coverage, sign up for Book of the Day+ at plus.npr.org/bookofthedayLearn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Back in Hollywood's Golden Age, two men with vastly different backgrounds came together to shape the future of film. Louis B. Mayer, a shrewd businessman and Irving Thalberg, a visionary producer, formed a partnership that defined MGM and set the standard for the modern studio system. In this episode, famed film critic Kenneth Turan explores their unlikely partnership, their imperial rise, and their eventual fall. 

Louis B. Mayer (1884–1957) and Irving Thalberg (1899–1936) were unlikely partners in one of the most significant collaborations in movie history.Join us with film critic Kenneth Turan, author of the new biography Louis B. Mayer and Irving Thalberg: The Whole Equation, as we explore their extraordinary partnership and role in creating the film industry as we know it.

Feature: New book ‘Louis B. Mayer and Irving Thalberg: The Whole Equation’ tells the story of two MGM visionaries Moviegoers nowadays might not know much of Metro-Goldwyn-Mayer Studios’ history outside of its iconic mascot, a lion who introduced each film with it’s iconic roar. It was an introduction that was meant to prepare viewers for not just a film, but a spectacle. A new book by retired film critic Kenneth Turan shares the studio’s rich history of spectacle through the work of co-founder Louis B. Mayer, and Irving Thalberg, who served as its head of production following MGM’s inception. For this week’s FilmWeek feature, we’ll speak to former film critic Kenneth Turan, about his forthcoming book Louis B. Mayer and Irving Thalberg: The Whole Equation, and give listeners a glimpse as to how they contributed to Hollywood. “Louis B. Mayer and Irving Thalberg: The Whole Equation” is available for pre-order, and releases February 4th; click here to learn more.

This special bonus episode of our season on the awesome movie year of 2000 features Christopher Nolan's Memento. Written and directed by Christopher Nolan and starring Guy Pearce, Carrie-Anne Moss, Joe Pantoliano, Memento was Nolan's breakthrough film.The contemporary reviews quoted in this episode come from Roger Ebert (https://www.rogerebert.com/reviews/memento-2001), Kenneth Turan in the Los Angeles Times (https://www.latimes.com/archives/la-xpm-2001-mar-16-ca-38285-story.html), and A.O. Scott in The New York Times (https://www.nytimes.com/2001/03/16/movies/film-review-backward-reel-the-grisly-memories.html)Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up...

The thirteenth episode of our season on the awesome movie year of 2000 features our producer David Rosen's pick, Mary Harron's American Psycho. Directed and co-written by Mary Harron and starring Christian Bale, Willem Dafoe, Samantha Mathis, Justin Theroux and Chloë Sevigny, American Psycho is adapted from Bret Easton Ellis' controversial 1991 novel.The contemporary reviews quoted in this episode come from Roger Ebert (https://www.rogerebert.com/reviews/american-psycho-2000), Kenneth Turan in the Los Angeles Times (https://www.latimes.com/archives/la-xpm-2000-apr-14-ca-19332-story.html), and Owen Gleiberman in Entertainment Weekly (https://ew.com/article/2000/04/14/american-psycho-6/).Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comPlease like, share, rate and comment on the show and this episode, and tune in for the next 2000 installment, featuring our cult classic pick, Ben Younger's Boiler Room.

The twelfth episode of our season on the awesome movie year of 2000 features the Academy Awards Best Picture winner, Ridley Scott's Gladiator. Directed by Ridley Scott and starring Russell Crowe, Joaquin Phoenix, Connie Nielsen, Djimon Hounsou and Oliver Reed, Gladiator won five Oscars, including Best Picture.The contemporary reviews quoted in this episode come from Roger Ebert (https://www.rogerebert.com/reviews/gladiator-2000), Kenneth Turan in the Los Angeles Times (https://www.latimes.com/archives/la-xpm-2000-may-05-ca-26670-story.html), and Manohla Dargis in LA Weekly (https://www.laweekly.com/saving-general-maximus/).Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comPlease like, share, rate and comment on the show and this episode, and tune in for the next 2000 installment, featuring our producer David Rosen's pick, Bret Easton Ellis adaptation American Psycho.

In Cineversary podcast episode #66, host Erik Martin heads to the War Room with former LA Times and NPR film critic Kenneth Turan and Hofstra University film professor Rodney Hill to decipher the top secret codes behind Dr. Strangelove, directed by Stanley Kubrick, in celebration of the movie's 60th anniversary. Erik and his guests explore how this black comedy masterwork remains evergreen, Kubrick's brilliant directing choices, and key themes underpinning this supreme political satire. Erik also chats briefly with Tom Lucas from Fathom Events, who unveils Fathom's 2024 lineup of Big Screen Classics returning to theaters this year. Learn more about the Cineversary podcast at www.cineversary.com and email show comments or suggestions to cineversarypodcast@gmail.com. --- Support this podcast: https://podcasters.spotify.com/pod/show/cineversary/support

This week, Artistic Director of the Montana Film Festival Mike Emmons returns to the podcast to tell us about everything that's happening at this year's MTFF! From exciting new features like THE ROYAL HOTEL, THE PEOPLE'S JOKER, and THE SWEET EAST to incredible shorts an a 35mm screening of Clint Eastwood's UNFORGIVEN (featuring a Q&A with LA Times film critic Kenneth Turan), there's going to be something for everyone from October 12th through 15th at The Roxy Theater (the indie theater near Mike Smith's house in Missoula Montana where he also works).

Sometimes, you just get something wrong. In doing this deep dive, I turned up Kenneth Turan's Los Angeles Times 1994 review of The Shawshank Redemption, an incredible bashing of the film that is now indisputably one of the most revered films in human history, beloved around the world, and still #1 on the IMDB top movies list. I also discovered that this male-centric film likely would not have existed, not cast Morgan Freeman, and not had its iconic ending if it were not for female producer Liz Glotzer vital contributions. This is my deep dive into the making of The Shawshank Redemption.Trying to figure out, "What should I stream tonight?" Come back to Watch This Tonight as your podcast for the best movie recommendations for what to watch on streaming platforms. Please leave us a five-star review on Apple Podcasts if you're enjoying the show, and mention a movie or TV show you want me to cover (and I will). Subscribe for future episodes.Reach out to us @BenamorDan (Twitter), watch_this_tonight (Instagram) or @watchthistonightpodcast (TikTok).Watch This Tonight is a movie recommendation podcast and TV recommendation podcast, produced by Voyage Media. You can find other Voyage Media podcasts at voyagemedia.fmThanks for listening.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5626962/advertisement

The finale of our season on the awesome movie year of 2012 features our audience choice pick, Colin Trevorrow's Safety Not Guaranteed. Directed by Colin Trevorrow from a screenplay by Derek Connolly and starring Aubrey Plaza, Mark Duplass, Jake Johnson and Karan Soni, Safety Not Guaranteed prevailed over two other Mark Duplass movies in our 2012 audience choice poll.The contemporary reviews quoted in this episode come from Roger Ebert (https://www.rogerebert.com/reviews/safety-not-guaranteed-2012), Kenneth Turan in the Los Angeles Times (https://www.latimes.com/entertainment/la-xpm-2012-jun-08-la-et-safety-not-guaranteed-20120608-story.html), and Owen Gleiberman in Entertainment Weekly (https://ew.com/article/2012/06/08/safety-not-guaranteed/).Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comPlease like, share, rate and comment on the show and this episode, and tune in for the next installment, the epilogue to our 2012 season.

The fourth episode of our season on the awesome movie year of 2012 features the Cannes Film Festival Palme d'Or winner, Michael Haneke's Amour. Written and directed by Michael Haneke and starring Jean-Louis Trintignant, Emmanuelle Riva and Isabelle Huppert, Amour went on to receive five Oscar nominations and one win.The contemporary reviews quoted in this episode come from Roger Ebert (https://www.rogerebert.com/reviews/amour-2013), Manohla Dargis in The New York Times (https://www.nytimes.com/2012/12/19/movies/michael-hanekes-amour-with-jean-louis-trintignant.html), and Kenneth Turan in the Los Angeles Times (https://www.latimes.com/entertainment/movies/la-xpm-2012-dec-18-la-et-mn-1219-amour-20121219-story.html).Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comPlease like, share, rate and comment on the show and this episode, and tune in for the next 2012 installment, featuring our documentary pick, Sarah Polley's Stories We Tell.

The seventh episode of our season on the awesome movie year of 1953 features our foreign film pick, Yasujiro Ozu's Tokyo Story. Co-written and directed by Yasujiro Ozu and starring Chishū Ryū, Chieko Higashiyama, Setsuko Hara, Haruko Sugimura and So Yamamura, Tokyo Story was released in Japan in 1953 but didn't open in the U.S. until 1972.The contemporary reviews quoted in this episode come from Roger Ebert (https://www.rogerebert.com/reviews/tokyo-story-1953), Kenneth Turan in the Los Angeles Times, and Stanley Eichelbaum in the San Francisco Examiner.Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comPlease like, share, rate and comment on the show and this episode, and tune in for the next 1953 installment, featuring Jason's personal pick, Marlon Brando biker drama The Wild One.

For Cineversary podcast episode #53, host Erik Martin revisits one of the most beloved and critically acclaimed films ever made: Casablanca, which celebrates an 80th birthday this month. In this installment, he's joined by David Thomson, a renowned film critic, cinema historian, and author of Sleeping with Strangers: How the Movies Shaped Desire; as well as Kenneth Turan, film critic for National Public Radio, former film critic for the Los Angeles Times, and author of Not to Be Missed: Fifty-Four Favorites From a Lifetime of Film. Erik and his guests return to Rick's Café Americain to hear Sam play it again and to examine why Casablanca continues to resonate and how it has transcended time. Learn more about the Cineversary podcast at anchor.fm/cineversary and email show comments or suggestions to cineversegroup@gmail.com. --- Support this podcast: https://anchor.fm/cineversary/support

NOTE: This episode was a timed exclusive over on our producer David Rosen's Patreon. Sign up to one of the tiers for access to this bonus episode and more great content from us, Piecing It Together, All Rice No Beans and David Rosen. https://www.patreon.com/bydavidrosen (https://www.patreon.com/bydavidrosen) This special bonus episode of our season on the awesome movie year of 1992 features Rob Reiner's A Few Good Men. Directed by Rob Reiner from a screenplay by Aaron Sorkin and starring Tom Cruise, Demi Moore, Kevin Bacon, Kevin Pollak and Jack Nicholson, A Few Good Men was the most frequently mentioned movie on our social media posts about 1992 favorites. The contemporary reviews quoted in this episode come from Roger Ebert (https://www.rogerebert.com/reviews/a-few-good-men-1992 (https://www.rogerebert.com/reviews/a-few-good-men-1992)), Todd McCarthy in Variety (https://variety.com/1992/film/reviews/a-few-good-men-1200430976/ (https://variety.com/1992/film/reviews/a-few-good-men-1200430976/)), and Kenneth Turan in the Los Angeles Times (https://www.latimes.com/archives/la-xpm-1992-12-11-ca-1517-story.html (https://www.latimes.com/archives/la-xpm-1992-12-11-ca-1517-story.html)). Visit https://www.awesomemovieyear.com/ (https://www.awesomemovieyear.com) for more info about the show. Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear (http://www.facebook.com/awesomemovieyear) and follow us on Twitter https://twitter.com/awesomemoviepod (@Awesomemoviepod) You can find Jason online at http://goforjason.com/ (http://goforjason.com/), on Facebook at https://www.facebook.com/JHarrisComedy/ (https://www.facebook.com/JHarrisComedy/), on Instagram at https://www.instagram.com/jasonharriscomedy/ (https://www.instagram.com/jasonharriscomedy/) and on Twitter https://twitter.com/JHarrisComedy (@JHarrisComedy) You can find Josh online at http://joshbellhateseverything.com/ (http://joshbellhateseverything.com/), on Facebook at https://www.facebook.com/joshbellhateseverything/ (https://www.facebook.com/joshbellhateseverything/) and on Twitter https://twitter.com/signalbleed (@signalbleed) You can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com/ (https://www.piecingpod.com), on Twitter at https://twitter.com/piecingpod (@piecingpod) and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod (https://www.facebook.com/groups/piecingpod). You can also follow us all on Letterboxd to keep up with what we've been watching at https://letterboxd.com/goforjason/ (goforjason), https://letterboxd.com/signalbleed/ (signalbleed) and https://letterboxd.com/bydavidrosen/ (bydavidrosen). Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosen (https://www.patreon.com/bydavidrosen) All of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.com/ (https://www.bydavidrosen.com) Please like, share, rate and comment on the show and this episode, and tune in for future episodes.

In the first of three special Halloween episodes this year, we're continuing with 1992, the year we covered in our most recent season, to talk about Robert Zemeckis' Death Becomes Her. Directed by Robert Zemeckis from a screenplay by David Koepp and Martin Donovan and starring Meryl Streep, Goldie Hawn, Bruce Willis and Isabella Rossellini, Death Becomes Her won an Oscar for its pioneering special effects. The contemporary reviews quoted in this episode come from Rita Kempley in the Washington Post (https://www.washingtonpost.com/wp-srv/style/longterm/movies/videos/deathbecomesherpg13kempley_a0a2cd.htm (https://www.washingtonpost.com/wp-srv/style/longterm/movies/videos/deathbecomesherpg13kempley_a0a2cd.htm)), Kenneth Turan in the Los Angeles Times (https://www.latimes.com/archives/la-xpm-1992-07-31-ca-4212-story.html (https://www.latimes.com/archives/la-xpm-1992-07-31-ca-4212-story.html)), and Owen Gleiberman in Entertainment Weekly (https://ew.com/article/1992/08/14/death-becomes-her-2/ (https://ew.com/article/1992/08/14/death-becomes-her-2/)).  Visit https://www.awesomemovieyear.com/ (https://www.awesomemovieyear.com) for more info about the show. Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear (http://www.facebook.com/awesomemovieyear) and follow us on Twitter https://twitter.com/awesomemoviepod (@Awesomemoviepod) You can find Jason online at http://goforjason.com/ (http://goforjason.com/), on Facebook at https://www.facebook.com/JHarrisComedy/ (https://www.facebook.com/JHarrisComedy/), on Instagram at https://www.instagram.com/jasonharriscomedy/ (https://www.instagram.com/jasonharriscomedy/) and on Twitter https://twitter.com/JHarrisComedy (@JHarrisComedy) You can find Josh online at http://joshbellhateseverything.com/ (http://joshbellhateseverything.com/), on Facebook at https://www.facebook.com/joshbellhateseverything/ (https://www.facebook.com/joshbellhateseverything/) and on Twitter https://twitter.com/signalbleed (@signalbleed) You can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com/ (https://www.piecingpod.com), on Twitter at https://twitter.com/piecingpod (@piecingpod) and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod (https://www.facebook.com/groups/piecingpod). You can also follow us all on Letterboxd to keep up with what we've been watching at https://letterboxd.com/goforjason/ (goforjason), https://letterboxd.com/signalbleed/ (signalbleed) and https://letterboxd.com/bydavidrosen/ (bydavidrosen). Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosen (https://www.patreon.com/bydavidrosen) All of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.com/ (https://www.bydavidrosen.com) Please like, share, rate and comment on the show and this episode, and tune in next time for our second special Halloween episode for this year, featuring one of the finalists from our 1999 audience choice teen movie tournament, Idle Hands.

Joe Papp was responsible for some of modern American theater's most iconic institutions: New York City's free Shakespeare in the Park. The Public Theater. The whole idea of "Off-Broadway." We spoke with Los Angeles Times film critic Kenneth Turan about Papp's life and works, from his hardscabble childhood, through the frightening era of Joe McCarthy, to the founding of Shakespeare in the Park and The Public. Published in 2009, Turan's epic oral history of the early years of the New York Shakespeare Festival and The Public Theater is called Free for All: Joe Papp, the Public, and the Greatest Theater Story Ever Told. To create that book, he spent untold hours with Joe Papp and also talked with New York politicians, Broadway producers, and seemingly everyone else who helped Papp make Shakespeare in the Park a reality, including performers like James Earl Jones, George C. Scott, Meryl Streep, Kevin Kline, Colleen Dewhurst, Tommy Lee Jones, and a Staten Island car-wash employee who would go on to play Romeo under the stage name of Martin Sheen. Turan is interviewed by Barbara Bogaev. Kenneth Turan was film critic for the Los Angeles Times and National Public Radio's Morning Edition. Free for All: Joe Papp, the Public, and the Greatest Theater Story Ever Told was published by Anchor Books, a division of Random House. From the Shakespeare Unlimited podcast series. Originally published August 7, 2018, and rebroadcast June 7, 2022. © Folger Shakespeare Library. All rights reserved. This podcast episode, "This Green Plot Shall Be Our Stage," was produced under the supervision of Garland Scott, and is presented with permission of rlpaulproductions LLC, which created it for the Folger. It was edited by Gail Kern Paster and Esther Ferington. Ben Lauer is the web producer. We had technical help from Lauren Cascio and Nick Bozzone at Formosa Commercials recording studio in Santa Monica, California.

"A sage once advised being wary of movies in which the people on screen are having more fun than the people in the audience. MAMMA MIA, was that good advice." Kenneth Turan of the Los Angeles Times is a bit of a fuddy duddy when it comes to Meryl Streep dancing with her ladies and having sex with a few men in this jukebox musical... and no, one hose didn't know what that term was but he immediately imagines a similar adaptation of GOOD WILL HUNTING with the musings of Elliot Smith. Pretty much the same thing we get here with Pierce Brosnan, Colin Firth and Stellan Skarsgård vying for the title of Amanda Seyfried's father. Imagine Ben Affleck in this. I am. Right now. Enjoy! Subscribe on Apple Podcasts/Spotify/Google Podcasts/Amazon Music Twitter @offscreendeath Instagram @theoffscreendeath Letterboxd: @daveagiannini and @projectingfilm Find out more at https://offscreendeath.pinecast.co This podcast is powered by Pinecast.

This month the Great Jewish Books Club selection is a rich anthology of the interplay of Yiddish and American culture: "How Yiddish Changed America and How America Changed Yiddish." "The Shmooze" asked film critic Kenneth Turan to recommend films that speak to the interplay of Yiddish and American culture. His list included a range of films—and prompted a lively conversation. Episode 326 April 19, 2022 Amherst, MA

In this special episode, Kenneth Turan, author and former film critic for the Los Angeles Times, joins Brian for a discussion of Francis Ford Coppola's THE GODFATHER.THE GODFATHER is available on Amazon Prime: https://amzn.to/3tdn8yFFollow us at filmatfifty.com and @filmatfifty on social media, and please leave us a five-star review on Apple Podcasts or wherever you listen to your podcasts. 

Liz Roscher of Yahoo! Sports and Kevin Goldstein of Fangraphs defied the MLB lockout to join us for The Rookie, an above-average baseball movie about Jim Morris's midlife journey to the majors that is therefore below average generally. How's Dennis Quaid's pitching form? How's his dad-cap form? Is the fictional Jim Morris a solid DILF but a bad high-school coach? Why didn't the nuns in the (interminable) first act go off in the third? And does the movie make the lede in the obit, or get crowded out by classics like Jaws 3D? Editing actors to look like athletes, a suicide-squeeze play only one panelist noticed ('cause she has to), and yet another guest who's "more of a Randy Quaid guy": it's an all-new Quaid In Full. Overall score: 5.10 QQQ score: 7.88 Days since a lost Kuffs accident: 105 SHOW NOTES Follow us on Twitter (http://twitter.com/quaidinfullpod) Get EVEN MORE Qontent (...sorry) at our Patreon page (https://www.patreon.com/quaidinfull) Kenneth Turan's review in the L.A. Times (https://www.latimes.com/archives/la-xpm-2002-mar-29-et-kenny29-story.html) Ebert's review (https://www.rogerebert.com/reviews/the-rookie-2002) S02E10 on Jaws 3D (https://quaidinfull.fireside.fm/19) Liz Roscher on Yahoo! Sports (http://sports.yahoo.com) and at Hittin' Season (https://www.patreon.com/hittinseason) Kevin Goldstein (https://twitter.com/kevin_goldstein) at Fangraphs (https://blogs.fangraphs.com/author/kevingoldstein/) and on the Chin Music podcast (https://blogs.fangraphs.com/category/chin-music/) Special Guests: Kevin Goldstein and Liz Roscher.

"You can see the stuff 'Million Dollar Arm' throws at you from miles away, but that doesn't stop this baseball movie from being genially enjoyable." Kenneth Turan of the Los Angeles Times goes for the obvious BALLS analogy... which we would never do. In particular when talking about Jon Hamm or Lake Bell. No... we would never do that. Wouldn't even cross our deviant minds. THANKFULLY we have a guest to get us back on the subject of balls of the sporting kind with Web Bist of TRILOGY IN THEORY. He also likes Jon Hamm and Lake Bell and you should too. Subscribe on Apple Podcasts/Spotify Twitter @offscreendeath Instagram @theoffscreendeath Letterboxd: @daveagiannini and @projectingfilm Artwork by Nathan Thomas Milliner Music by Joplin Rice Find out more at https://offscreendeath.pinecast.co This podcast is powered by Pinecast.

Kenneth Turan, film critic for the "Los Angeles Times" and NPR, visits with "The Shmooze" to talk about the newly released "The Jewish Soul: Classics of Yiddish Cinema" (Blu-ray). Our conversation considers the ten classic films that make up this collection and the many ways that they both touch on and represent aspects of Yiddish culture. As it happened, the conversation was recorded on the 100th anniversary of the first performance of "The Dybbuk"--possibly the timeless star of this collection. Episode 0282 December 11, 2020 Yiddish Book Center Amherst, Massachusetts

All the President's Minutes is a podcast where conversations about movies, journalism, politics and history meet. Each show we use the seminal and increasingly prescient 1976 film All The President's Men as a portal, to engage with the themes and the warnings of the film resonating since its release. For minute 50, I join a legend in the international film criticism community, the unsinkable Kenneth (Kenny) Turan). Kenny and I discuss being a reporter at the Washington Post during the entire Watergate era, the inherent romance of cinema, and watching the film years later at an anniversary screening as the closest thing to time travel. *About Kenneth Turan (* *via the L.A Times* ( https://www.latimes.com/people/kenneth-turan ) *)* Kenneth Turan was the film critic for the Los Angeles Times and National Public Radio's Morning Edition as well as the director of the Los Angeles Times Book Prizes. He has been a staff writer for the Washington Post as well as The Times' book review editor. A graduate of Swarthmore College and Columbia University's Graduate School of Journalism, he teaches film reviewing and non-fiction writing at USC. His most recent books are "Never Coming To A Theater Near You" and "Free For All: Joe Papp, The Public and The Greatest Theater Story Ever Told." He retired from The Times in April 2020. *Twitter:* @KennethTuran *Outlets:* *L.A Times* ( https://www.latimes.com/people/kenneth-turan ) *(Retired), NPR* Support this podcast at — https://redcircle.com/one-heat-minute-productions/donations Advertising Inquiries: https://redcircle.com/brands

Buster plays a movie projectionist who daydreams himself into the movies he is showing and merges with the figures and the backgrounds on the screen. While dreaming he is Conan Doyle's master detective, he snoops out brilliant discoveries. Buster plays a movie projectionist who daydreams himself into the movies he is showing and merges with the figures and the backgrounds on the screen. While dreaming he is Conan Doyle's master detective, he snoops out brilliant discoveries. "A master of movement and stillness, Keaton developed a comedy style that was as intellectual as it was physical, and this small gem shows us why he's as purely American a film genius as the motion pictures have produced." - Kenneth Turan, The Los Angeles Times Hosted by YiFeng, Lily, and Bob. Recorded June 4th, 2020

A very special interview with film critic Kenneth Turan, recorded on his last day in the position of Times film critic after nearly 30 years. Host Mark Olsen has a wide-ranging conversation with Turan about his years reviewing film. He talks to Olsen about some of his most memorable reviews and reminisces on some of his interviews from decades ago. They talk about what it's like being a film critic, and whether the process has changed over time.

A new thriller out of Germany is the focus of Kenneth Turan’s film review this week. The LA Times and Arts Alive film critic spoke to KUSC’s Gail Eichenthal.

On Arts Alive today, LA Times and Arts Alive film critic Kenneth Turan tells us about a perfect Valentine’s Day entertainment for lovers of sheep, and, of stop-motion animation. He spoke to KUSC’s Gail Eichenthal.

Kenneth Turan, L.A. Times film critic for almost 30 years and the regular film critic for NPR’s "Morning Edition," looks at the state of Hollywood on the eve of the Oscars. He describes a business edgier than some of this year’s movies, one that’s operating far out on the precipice of change and about to be eaten by Netflix.

The attention of the film world has been squarely focused on a glamorous ski resort this past week. Filmmakers, performers, distributors, and press from all over the world have converged on Park City, Utah. LA Times and Arts Alive film critic Kenneth Turan has…

A romantic comedy from the 1950s with a classic soundtrack opens this weekend at Laemmle Theaters in West LA and Pasadena. KUSC’s Gail Eichenthal got the good word from LA Times and Arts Alive movie critic Kenneth Turan about this early Federico Fellini film.

Since the 2nd Inglorious Podcast is arguably Quentin Tarantino's best work, we knew that we had to spice things up on this one. So we brought back one of our favorite people on the planet and a huge lover of Pulp Fiction, Broadway Actor extraordinaire, Benny Elledge.Before we get to “Tangent Tuesday” Benny, we list off what movies we've seen, what series finale we're upset with and our most delicious meals of recent memory. We break down Pulp Fiction with two people who grew up with this film and have quoted it most of their lives, and one person who had just seen it for the first time. It's fun to hear all the different perspectives on this Hollywood Classic. We think you're really gonna dig this one. The episode concludes with our Blast From the Past Movie Game and our Patrons get to hear us rank our Top Hitmen movies. Big Thank You to Benny Elledge, you can see him on the 5th episode of the 2nd season of Happy on SyFy. And if you're in the NYC area go and check out our good pal on Broadway in the amazing musical, Waitress. Enjoy!1:55 Twitch.TV/Heatbox643:30 Silver Linings Playbook4:40 Toy Story5:54 Game Of Thrones Finale Talk13:00 Vintage Italian Pizza14:25 Rob's Favorite Meal16:10 @AvidIndoorzmen Plugs17:17 www.patreon.com/theavidindoorsmen18:15 Coming Attractions: Jackie Brown and Stripes19:38 Benny Elledge www.waitressthemusical.com; https://www.syfy.com/happy S02 EP0521:02 Plot Synopsis of Pulp Fiction21:38 Rotten Tomatoes 23:41 Owen Glieberman from Entertainment Weekly24:52 Kenneth Turan from The Los Angeles Times26:05 Buegs' Hot Take29:53 Rob's Hot Take33:06 Benny's Hot Take36:18 The Dude Award41:34 The Tucci Award52:22 Sophie's Choice1:01:51 Show Me The Money1:15:31 Movie Trivia1:19:53 Judgement Day1:22:51 Blast From the Past Movie Game1:35:25 Top 5 Films with Hitmenwww.patreon.com/theavidindoorsmen www.theavidindoorsmen.comwww.facebook.com/theavidindoorsmen Twitter: @AvidIndoorzmenInstagram: @TheAvidIndoorsmen

Okay Campers, Rise and Shine, it's time to listen to Rob and Buegs talk about one of their favorite comedies of all time: GROUNDHOG DAY! We all will be celebrating Groundhog Day in just a few days time so they thought it would be appropriate to review this Bill Murray classic. Rob is very much hoping that the Groundhog sees his shadow so we can all get some respite from this ridiculously cold winter. Buegs will still be wearing a T-Shirt and Shorts regardless, because he grew up in the frozen northland of Baudette, MN. The Avid Indoorsmen start off the show in the same fashion you've become accustomed to, they chat about the last movies they've viewed, what they're currently streaming on the Netflix and the best meal they consumed that week. They had a blast talking about Groundhog Day and hope you enjoy listening to how much they love this movie.This episode ends with a newer movie game they are trying out and the guys would love it if you could talk to them on the twitter and give out some suggestions for a game title! Tweet @AvidIndoorzmen with your suggestions!Rob and Buegs are trying out something new for their Patrons at Patreon.com. They will be releasing an extended version of the podcast ONLY ON PATREON! Each and every podcast from here on out will contain a Top 5 list that will pertain to the movie they are reviewing. In this episode, for example, they end the podcast with their Top 5 Bill Murray roles. If you're interested in getting some exclusive content, come check out www.patreon.com/theavidindoorsmen and become a Patron today!Happy listening and don't forget your booties ‘cause it's coooooooooold out there today!0:58 Bohemian Rhapsody2:15 Green Book3:54 Fyre6:13 The Kominsky Method6:50 The Blue Door Pub8:25 The Sportsmen's Lodge12:18 The Avid Indoorsmen Plugs13:44 Patreon Shoutouts14:00 Announcement of the new exclusive extended Patreon & Chill version of the pod14:27 Coming Attractions (Blast From the Past)15:12 Groundhog Day (Special Intro)16:32 Plot Synopsis17:04 Rotten Tomatoes17:33 Kenneth Turan from the LA TIMES18:15 David Nusair from Reel Film Reviews19:19 Buegs' Hot Take20:58 Rob's Hot Take22:39 Favorite Acting Performance24:28 Announcement of the new TOP 5 list just for Patrons24:48 The Tucci Award29:19 Favorite Scene (SO MANY FAVORITE SCENES)35:25 Best Quote39:31 Buegs Boo Hoo Moments42:14 Movie Trivia46:15 Other actors up for main roles47:55 What hasn't aged well50:20 Will There Be A Sequel51:33 Movie Game1:04:34 TOP 5 BILL MURRAY ROLESwww.theavidindoorsmen.comwww.patreon.com/theavidindoorsmenwww.facebook.com/theavidindoorsmenInstagram: @TheAvidIndoorsmenTwitter: @AvidIndoorzmen

Joe Papp was responsible for some of modern American theater's most iconic institutions: New York City's free Shakespeare in the Park. The Public Theater. The whole idea of "Off-Broadway." We spoke with Los Angeles Times film critic Kenneth Turan about Papp's life and work, from his hardscrabble childhood, through the frightening era of Joe McCarthy, to the founding of Shakespeare in the Park and the Public. Ken's epic oral history of the early years of the New York Shakespeare Festival and the Public Theater, "Free for All: Joe Papp, the Public, and the Greatest Theater Story Ever Told," published in 2009. He spent untold hours with Papp and also talked with New York politicians, Broadway producers, and seeming everyone else who helped Papp make Shakespeare in the Park a reality, including actors James Earl Jones, George C. Scott, Meryl Streep, Kevin Kline, Colleen Dewhurst, Tommy Lee Jones, and a Staten Island car-wash employee who would go on to play Romeo under the name of Martin Sheen. Ken is interviewed by Barbara Bogaev. From the "Shakespeare Unlimited" podcast series. Published August 7, 2018. © Folger Shakespeare Library. This podcast episode, "This Green Plot Shall Be Our Stage," was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster and Esther Ferington. Ben Lauer is the web producer. We had technical help from Lauren Cascio and Nick Bozzone at Formosa Commercials recording studio in Santa Monica, California.

Film critic Kenneth Turan recently wrote an article called "Why this film critic gave up on horror movies" http://www.latimes.com/entertainment/movies/la-ca-mn-horror-kenneth-turan-george-romero-20171013-story.html Although he (we think disingenuously) framed the entire thing as an entirely personal choice, of course he did it in the most public way possible. But he ends it with: "Why would I want to put myself in the hands of someone whose sole intention is to make me feel as awful as possible? Until someone gives me a convincing answer, horror and I are finished."  So here is our stab at giving (in a way) that convincing answer.  Cleanse your palate with this excellent review of Dawn Of The Dead by the great Roger Ebert: http://www.rogerebert.com/reviews/dawn-of-the-dead-1979 An actually fair podcast about film: http://www.earwolf.com/show/the-canon/    

Author Kenneth Turan stops by to share excerpts and opinions from his book Not to Be Missed: Fifty-Four Favorites from a Lifetime of Film.

The Nation magazine has endorsed Bernie Sanders for president; editor and publisher Katrina vanden Heuvel explains why. Also: Dave Zirin, sports editor of The Nation, talks with Kareem Abdul-Jabbar about black politics, Ferguson, John Lewis, Donald Trump, and also Gil Scott-Heron. Plus: The Big Short is probably the best movie Hollywood has ever made about an economic crisis—it’s fun, but it’s also serious. Kenneth Turan explains—he’s film critic for the LA Times.

This week on the Frotcast, we've got Brendan and Matt Lieb in the Frotquarters, with "Film Critic" author Laremy Legel joining us via Skype. We open the show talking about how we're going to talk about The Raid, and the difference between Silat and Muay Thai. Matt Lieb talks about his bar fighting experiences (mostly theoretical) and that somehow leads us into a discussion of Pumping Iron, and Brendan's dead-on Lou Ferrigno impression. Lou Ferrigno's gullibility leads us into a discussion of sales tactics and pick-up tactics aimed at the dumbest people around that just end up working because so many people are so dumb. That somehow leads us to the couple who took professional photos with their stillborn baby, which naturally leads to some thoroughly dark dead baby humor. We talk some about The Raid remake, Taylor Kitcsh, Oliver Stone, and Kid Rock's strangely well-written letter in the Juggalo sexual harassment lawsuit case. Eventually we get to the famous troll article "Idiocracy is a Cruel Movie And You Should Be Ashamed For Liking It," which makes everyone groan lots. After that, we bring on Laremy, and we talk about The Raid, and Kenneth Turan's LA Times piece, "Kenneith Turan takes a critic's lonely stand on 'Boyhood.'" That of course leads us to discuss some of the courageous stands that *we* have taken in film criticism. I don't want to use the word "hero," but... Enjoy!Enjoy!

Think about the movies we remember.  They are a little like old songs, or great books, or great meals.  They are purveyors of a kind of double imagery, instantly making yesterdays events todays reality.  But with movies there is something more, in the way they stay with us.  The way the images play around in our heads and the memories, words and images become embodied in who we are.  If you grew up watching and loving  movies, like esteemed film critic Kenneth Turan, they take on an even more powerful meaning.Now Turan has taken a look in the rear view mirror at a a lifetime of film and chosen his fifty-four favorites,  detailed in his new book  Not to be Missed: Fifty-four Favorites from a Lifetime of Film. My conversation with Kenneth Turan:

We visit with film critic Kenneth Turan to talk about the documentary film "The Life and Times of Hank Greenberg." The film will be screened at the Yiddish Book Center on Sunday, July 7th, 2013, at 2PM. Episode 0067 July 2, 2013 Yiddish Book Center Amherst, Massachusetts

Los Angeles Times and NPR film critic Kenneth Turan talks with us about "Lost Embrace" (Argentina's 2004 Academy Award entry/Best Foreign Film), the eccentric and sweet story of a young man working at a mall in the Jewish neighborhood of Buenos Aires. Episode 0035 July 25, 2012 Yiddish Book Center Amherst, Massachusetts

Los Angeles Times film critic Kenneth Turan sheds some light on "Bar Mitzvah," — a 'shund' (lowbrow), yet culturally priceless, Yiddish film from 1935 starring Yiddish theatrical great Boris Thomashefsky." Episode 0011 March 6, 2012 Yiddish Book Center Amherst, Massachusetts

Elvis hosts writer-film critic Kenneth Turan to talk about his book Free for All: Joe Papp, The Public, and the Greatest Theater Story Ever Told. With the creation of Shakespeare in the Park and the birth of the public theater Joe Papp was responsible for building an unparalleled nonprofit institution. In the new book Free for All, Kenneth Turan (Los Angeles Times, NPR's Morning Edition) charts its course.

We discuss NYC’s legendary Public Theater and its founder, Joseph Papp w/ actor Jerry Stiller, Lincoln Center Exec. Prod. Bernard Gersten and critic Kenneth Turan, author of “Free For All: Joe Papp, The Public, and the Greatest Theater Story Ever Told.”