Podcast appearances and mentions of lesley barber

Canadian composer Lesley Barber talks to Matthew Sweet about her career in film and about writing music for films such as Manchester by the Sea and Mansfield Park.

In our Season 5 finale: What's the cultural transformation we need to make — in the West, and the U.S. in particular — to live in good health with the rest of the natural world and with each other? Episode 11 of The Repair, our series on the climate emergency. Researched and produced by John Biewen, with co-host Amy Westervelt. Script editor, Cheryl Devall. Interviews with Dirk Philipsen, Christian Felber, Olúfẹ́mi Táíwò, and Jessica Hernandez. Music by Lili Haydn, Kim Carroll, Chris Westlake, Lesley Barber, Cora Miron, Fabian Almazan, and Alex Weston. Music consulting by Joe Augustine of Narrative Music.

The first of two concluding episodes in Season 5, in which we focus on solutions. In Part 10 of The Repair, we look at the actions and policies that people need to push for —now — to avoid the most catastrophic effects of climate change. Reported by Amy Westervelt. Script editor, Cheryl Devall. Production and mix by John Biewen. Interviews with Kate Marvel, Ken Caldeira, Julian Brave Noisecat, Kate Aronoff, Naomi Klein, Julia Steinberger, Leah Stokes, Heidi Marmon, Tamara Toles O'Laughlin, Rhiana Gunn-Wright, Tara Houska, and Max Berger. Music in this episode by Lili Haydn, Kim Caroll, Chris Westlake, Lesley Barber, Cora Miron, goodnight Lucas, and Maetar. Music consulting by Joe Augustine of Narrative Music.

In several countries around the world, including Ecuador, New Zealand, and the U.S., some people are trying to protect the planet using a legal concept called “rights of nature” – infusing the law with Indigenous understandings of Mother Earth. Part 9 of The Repair, our series on the climate emergency. Reported by Amy Westervelt and Polyglot Barbershop. Script editor, Cheryl Devall. Production and mix by John Biewen. Music in this episode by Lili Haydn, Kim Carroll, Chris Westlake, Lesley Barber, Cora Miron, and Fabian Almazan. Music consulting by Joe Augustine of Narrative Music.

Among the wealthy, industrialized Western countries that created the climate crisis, Scotland is one of the leaders in pivoting away from fossil fuels – or promising to. Just how quickly will Scots be willing to cut off the flow – of oil, and money? Part 8 of The Repair, our series on the climate emergency. Reported and written by Victoria McArthur, with additional writing and script editing by Cheryl Devall. Production and mix by John Biewen. Music in this episode by Lili Haydn, Kim Carroll, Chris Westlake, Lesley Barber, Cora Miron, and Maetar. Music consulting by Joe Augustine of Narrative Music.

The climate crisis is not new to Bangladesh. For decades, global warming has exacerbated storms and flooding and turned many thousands of people into refugees in their own country. Yet, even though Bangladeshis did almost nothing to create the crisis, some are trying to be part of the solution. Reported by Tareq Ahmed, with recording and production help from Tareek Muhammad and Muhammad Rabbi. The series editor is Cheryl Devall. Music in this episode by Lili Haydn, Kim Carroll, Lesley Barber, and Fabian Almazan. Music consulting by Joe Augustine of Narrative Music.

Episode 263."Manchester by the Sea"Composer.Lesley Barber.Lesley Barber has scored a string of award-winning and highly acclaimed projects, most notably Kenneth Lonergan's Oscar-nominated film, Manchester by the Sea. A member of the Academy of Motion Picture Arts and Sciences Class of 2016, Lesley was recently elected to represent the music branch on the Board of Governors for the Academy of Motion Picture Arts and Sciences.A multi-instrumentalist, conductor and pianist, Lesley writes music marked by intelligence and emotional depth. Barber's interest in modern electronic programming, loops, and effects adds dimension to her work, creating hybrid atmospheric scores with lush orchestration with an innate ability to bring the essential to light and avoid the cliché.Lesley's recent films include Late Night, directed by Nisha Ganatra and starring Emma Thompson; Mindy Kaling's Four Weddings and a Funeral. series; American Woman, produced by Killer Films and directed by Semi Chellas; Stephanie Laing's Irreplaceable You; and Nappily Ever After, directed by Haifaa al-Mansour.Her distinguished list of credits also includes Lonergan's Oscar-winning You Can Count On Me; Jerry Rothwell's award-winning documentary How to Change the World; Patricia Rozema's Mansfield Park; Mira Nair's Golden Globe winning Hysterical Blindness; Mary Harron's Moth Diaries; the children's classic Little Bear with Maurice Sendak; Yo-Yo Ma: Six Gestures; and Boaz Yakin's Boarding School.Lesley is a proud and active member of the Alliance for Women Film Composers, which has taken a leading role in the much-publicized diversity conversation now occurring in Hollywood. She has a passion for good food, great cities and interesting company.Welcome, Lesley Barber.Instagram: Monday Morning Critic Podcast.Facebook: Monday Morning Critic Podcast.Twitter:  @mdmcriticWebsite: www.mmcpodcast.comContact: Mondaymorningcritic@gmail.com

Earth's changing climate is already displacing millions of people, worsening tension and conflict, and sometimes violence – for example, between farmers and traditional nomadic herders in Nigeria. Part 6 of The Repair, our series on the climate emergency. Reported by Ugochi Anyaka-Oluigbo, with reporting and production assistance from Nchetachi Chukwuaja and Tim Cuttings Agber. The series story editor is Cheryl Devall. Mix by John Biewen. Music in this episode by Lili Haydn, Kim Carroll, Chris Westlake, Lesley Barber, Cora Miron, Alex Weston, Fabian Almazan, and Maetar. Music consulting by Joe Augustine of Narrative Music.

Southeast Asia is especially vulnerable to storms, rising oceans, and other climate effects—though countries in the region did very little to create the crisis. In Indonesia, among other climate-related challenges, the capital city is sinking into the sea. Part 5 of our series, The Repair, on the climate emergency. Reported by Nita Roshita, with recording and production help from Hilman Handoni. Mixed by host John Biewen. Interviews with Bondan Kanumoyoso, Yayat Supriatna, Selamet Daroyni, Amalia Syafruddin, and others. The series editor is Cheryl Devall. Music in this episode by Lil Haydn, Kim Carroll, Chris Westlake, Lesley Barber, and Fabian Almazan. Music consulting by Joe Augustine of Narrative Music.

Why has the United States played such an outsized role in the creation of the climate crisis? As a settler nation, the U.S. emerged from the colonizing, capitalist West, but what did America and its cultural peculiarities bring to the party? Part 4 of our series, The Repair, on the climate emergency. Researched and written by this season's co-host, Amy Westervelt, produced and mixed by host John Biewen. Interviews with Colin Jerolmack, Darren Dochuk, Melissa Aronczyk, Bob Brulle, and the Rev. Lennox Yearwood.  The series editor is Cheryl Devall. Music in this episode by Lili Haydn, Kim Carroll, Chris Westlake, Lesley Barber, Cora Miron, and goodnight Lucas. Music consulting by Joe Augustine of Narrative Music. The Repair is supported by Scene on Radio listener-donors, and by the International Women's Media Foundation.

If the Enlightenment was so great, why was it not a course correction? In fact, did cultural values that took hold in the West in this period speed up our race toward ecological suicide? Part 3 of our series, The Repair, on the climate crisis. By season co-host Amy Westervelt, with host and producer John Biewen. Interviews with Devin Vartija, Darren Dochuk, Melissa Aronczyk, and Amber Kanazbah Crotty. The series editor is Cheryl Devall. Music in this episode by Lili Haydn, Kim Carroll, Chris Westlake, Lesley Barber, and Cora Miron. Music consulting by Joe Augustine of Narrative Music.

Starting in the Middle Ages, how western Europe really broke bad in its understanding of humanity's place in the natural world. Part 2 of our series, The Repair, on the climate crisis. By host and producer John Biewen, with co-host Amy Westervelt. Interviews with Charisse Burden-Stelly, Kate Rigby, Enrique Salmón, and David Pecusa. The series editor is Cheryl Devall. Music by Lili Haydn, Chris Westlake, Kim Carroll,  Cora Miron, Alex Weston, Lesley Barber, and Fabian Almazan. Music consulting by Joe Augustine of Narrative Music. Season 5 is supported by Scene on Radio listener-donors, and by the International Women's Media Foundation.

Reviewers: Scooter Mann, LJ Donnell, Verity Sainte Marie, Austin Travis, and Max Baskin Editing: David Allen Show-runner Information * Who's the show-runner(s) and what is their title? JC De La Torre, Creator and Head Writer Show Information * What is the story of why you started your show? Continuum Force was a show four years in the making. When we started, there weren't many audio dramas doing time travel. As ubergeeks, we had a love for Doctor Who and Stargate SG-1. We thought what would be better than combining the two concepts, sprinkle in a bit of Ancient Alien theory and alt-history to make a fun, thrilling adventure. Unfortunately, one of our main actors took ill and eventually passed away. We're happy to say we were able to use some of his audio in episode one because doing this project without him was just unacceptable. You'll hear him as the wild pirate Charles Vane. In addition to visiting different points in history and playing around with what-if scenarios, we also wanted to bring attention to a lesser-known aspect of the LGBTQIA community with one of our characters, Lesley Barber. The character is ACE, and one of the storylines will hang a lantern on it to help educate people on what that means. * When did this show first air? 1/8/2019 * What genre(s) apply to your show: Military Sci-Fi, Time-Travel Episode Information * What's the name of the episode you want us to use? Wheel in the Sky * What is the episode number (and season if applicable)? S1E9 Special Guests: Austin Travis, David Allen, LJ Donnell, Max Baskin, and Verity Sainte Marie.

Have you ever fallen in love with music or a movie soundtrack? This is because there is a lot of work behind the scenes, where composers come up with the perfect melodies for a movie. Today's guest, Lesley Barber, is here to tell us a little more about this. Lesley is a film composer who writes music marked by intelligence and emotional depth. She has created wonderful compositions for film, theater, chamber and orchestral ensembles and is also a conductor, pianist, producer and multi-instrumentalist. With several young female composer awards to her credit, she graduated with a master's degree in music composition from the University of Toronto in 1988, studying with electro-acoustic music pioneer, composer Gustav Ciamaga, and composer Lothar Klein. Her distinguished list of credits include Kenneth Lonergan’s Oscar-winning You Can Count On Me, Jerry Rothwell’s award-winning documentary How To Change The World, Kenneth Lonergan’s multi-award-winning and Oscar-nominated film, Manchester by the Sea, and many more.Highlights Lesley tells how she ended up in the movie industry and why she loves collaborating with filmmakers.She states at what point in the filming process she prefers to get involved.Her experience working on Manchester by the Sea and why she chose an acoustic sound for the film's music.Lesley describes a typical day as a composer and how she develops an idea.She explains the difference between composing for movies, television series, and documentaries.Lesley tells the challenges she faces every day as a film composer.Lesley gives advice to people who want to succeed in the film industry.To learn more about Lesley, visit her website, or follow her on Twitter.Interested in knowing more about the show? Follow me on Instagram.

Welcome to the premiere episode of SOUNDTRACK ALLEY here on CINEMATIC SOUND RADIO. SOUNDTRACK ALLEY is a podcast hosted and produced by Randy Andrews who is also the host and producer of ANIME SPECTACULAR here on the network. SOUNDTRACK ALLEY has been around for many years and I’ve been honoured to be a guest on his show many times to discuss numerous topics like STAR TREK, INDIANA JONES, and CLOSE ENCOUNTERS OF THE THIRD KIND. The show is a discussion formatted program where Randy invites a special guest to talk about one of his favourite films and film scores. The discussion usually ranges from 90 minutes to 2 hours in length with in-depth discussions of the film and music. Randy has produced close to 100 episodes of the show which also included various composer interviews. A few days ago, Randy came to me and told me that he was thinking of moving SOUNDTRACK ALLEY to CINEMATIC SOUND RADIO. We had a lengthy discussion to make sure this is what he wanted and after going over the details we agreed to bring all-new episodes of the podcast over the network. However, the entire archive of previous SOUNDTRACK ALLEY episodes will stay on the original server as an archive. We did this so fans of the show could still access the older programs without having to bring them all onto the CSR servers. The first episode to premiere here on CINEMATIC SOUND RADIO is a discussion between myself and Randy Andrews about the film and score to INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL released in 2008. The film was the fourth instalment in the Indiana Jones series set in 1957, pitting Indiana Jones against Soviet agents – led by Irina Spalko – searching for a telepathic crystal skull. The original score for the film was composed and conducted by John Williams and performed by The Hollywood Symphony Orchestra. We hope you enjoy the discussion, the music and all future episodes of SOUNDTRACK ALLEY. Enjoy! And now, here is Randy Andrews statement on SOUNDTRACK ALLEY joining CINEMATIC SOUND RADIO. —— Hi, I’m Randy Andrews, you might know me from ANIME SPECTACULAR. I wanted to give you a very brief history of SOUNDTRACK ALLEY. I was always impressed by podcasting, and I’ve always had a love of film music. About 6 years ago, I began listening to a local podcast that encouraged its listeners to call in or send an mp3 for a recorded answer. I did so many times. Soon, my comments became more and more intriguing for the host. They encouraged me to start my own podcast about soundtracks. About a half year later, I did my research and bought a podcast microphone and started recording shows, not really knowing what I was doing. By my 11th episode, I was interviewing big-name composers like Craig Safan from THE LAST STARFIGHTER. Then I discovered CINEMATIC SOUND RADIO while at work and it changed my life! I got in touch with Erik Woods and asked him if he would like to be on my our program to discuss CLOSE ENCOUNTERS OF THE THIRD KIND.. He accepted and from there, he introduced me to the Krakower Group headed up by the late Beth Krakower and they helped me to interview more composers like Blake Neely, Elik Elverez, and Rolf Kent jus to mention a few. I also took the initiative to reach out to composers on my own such as Lesley Barber, Sharon Farber, Bruce Rowland, and Rob Cairns. Over the years, SOUNDTRACK ALLEY has gone through a couple of iterations and transitions due do unforeseen circumstances and the latest version of the podcast unfortunately hasn’t been doing as well as I hoped. I needed another change. This is where Erik Woods and CINEMATIC SOUND RADIO comes into play. I’ve always wanted to share my love of films and film music with as many people as possible and this transition over to CINEMATIC SOUND RADIO gives me that opportunity. CINEMATIC SOUND RADIO is one of the best venue’s for film, TV and video game music radio/podcasting and I’m thrilled to bring my show to the network and all of the loyal, long time listeners of CINEMATIC SOUND RADIO. I want to thank Erik Woods for all the encouragement over the years as he has been the biggest supporter of me and SOUNDTRACK ALLEY. A new chapter has begun and I can’t wait to share my passion with you all. To be included in such an amazing family of podcasts is an honour. Here’s to the future! —— Check out our NEW Cinematic Sound Radio TeePublic Store! https://www.teepublic.com/stores/cinematic-sound-radio Cinematic Sound Radio Web: http://www.cinematicsound.net Twitter: http://www.twitter.com/cinsoundradio Facebook: http://www.facebook.com/cinematicsound Cinematic Sound Radio Fanfare and Theme by David Coscina https://soundcloud.com/user-970634922 Bumper voice artist: Tim Burden http://www.timburden.com

Today I revisit the interview I did with Lesley Barber about her score for Manchester by the Sea. I hope you enjoy this interview. --- Support this podcast: https://anchor.fm/randy-andrews/support

Dins de la setmana de la dona,

El panorama de los creadores de música de cine, es algo que viene recayendo entre los hombres, donde grandes nombres como por ejemplo, John Williams, Jerry Goldsmith, Ennio Morricone, Alan Silvestri, Bernard Herrmann, Maurice Jarre y un sinfín de reconocidos creadores de las bandas sonoras de películas, copan el Olympo de los maestros en esta materia. Pero de un tiempo a esta parte han aparecido una serie de compositoras de reconocido prestigio que poco a poco se van haciendo sitio y donde su calidad es muy contrastada. En este reportaje os comentamos aquellas compositoras recientes que hemos rescatado para recordarlas. Hablaremos y escucharemos temas de las siguientes compositoras: Anne Dudley (1956), Lisa Gerrard (1961), Lesley Barber (1962), Debbie Wiseman (1963), Deborah Lurie (1974), Pinar Toprak (1980) y Hildur Guðnadóttir (1982). Si te gusta el programa, puedes opinar y/o aportar informacion complementaria a este programa, incluso proponiendo nuevas compositoras. Gracias por tu colaboración.

El panorama de los creadores de música de cine, es algo que viene recayendo entre los hombres, donde grandes nombres como por ejemplo, John Williams, Jerry Goldsmith, Ennio Morricone, Alan Silvestri, Bernard Herrmann, Maurice Jarre y un sinfín de reconocidos creadores de las bandas sonoras de películas, copan el Olympo de los maestros en esta materia. Pero de un tiempo a esta parte han aparecido una serie de compositoras de reconocido prestigio que poco a poco se van haciendo sitio y donde su calidad es muy contrastada. En este reportaje os comentamos aquellas compositoras recientes que hemos rescatado para recordarlas. Hablaremos y escucharemos temas de las siguientes compositoras: Anne Dudley (1956), Lisa Gerrard (1961), Lesley Barber (1962), Debbie Wiseman (1963), Deborah Lurie (1974), Pinar Toprak (1980) y Hildur Guðnadóttir (1982). Si te gusta el programa, puedes opinar y/o aportar informacion complementaria a este programa, incluso proponiendo nuevas compositoras. Gracias por tu colaboración.

Programa que volvemos a dedicar a mujeres compositoras dentro de la sección la BSO de tu vida, un nuevo especial que comenzamos hace unas semanas con la gran compositora Rachel Portman. En el programa 423 hablaremos y escucharemos temas de las siguientes creadoras: - Anne Dudley, 1956 - Lisa Gerrard, 1961 - Lesley Barber, 1962 - Debbie Wiseman, 1963 - Deborah Lurie, 1974 - Pinar Toprak, 1980 - Hildur Guðnadóttir, 1982 Un buen número de fantásticas compositoras donde podemo encontrar a la ganadora del Oscar, Hildur Guðnadóttir, por Joker entre las creadoras que pasarán por este programa. Si quieres opinar o enviarnos información de otras compositoras que te gustaría que repasemos nos envías un mail a: masquecine@radionova.cat

Listen to this PREVIEW of the second episode of On Second Thought, a special bonus series you can hear on the And the Runner-Up Is Patreon exclusive feed! On Second Thought is a series in which Kevin is joined by TWO special guests in breaking down another Best Picture nominee not reviewed on the regular show that could have still been the runner-up. In this episode, Kevin speaks with Andrew Carden and Daniel Howat about Kenneth Lonergan's "Manchester by the Sea" the possible runner-up that lost Best Picture to "Moonlight" in 2016. This episode includes a review of the film itself, its awards run, and a quiz that goes a bit better than the "Get Out" one! You can listen to the full episode of On Second Thought by going to patreon.com/andtherunnerupis and contributing at the $3 per month tier.     Follow Kevin Jacobsen on Twitter: @Kevin_Jacobsen Follow Andrew Carden on Twitter:   @AwardsConnect   Follow Daniel Howat on Twitter:   @howatdk Follow And the Runner-Up Is on Twitter: @OscarRunnerUp Music included on this episode: "The Virtue" by Jonathan Adamich "Manchester Minimalist Piano and Strings" by Lesley Barber "Manchester By the Sea Chorale" by Lesley Barber

In our latest episode of The Pop Disciple Podcast, we are joined by Lesley Barber, the composer behind Boaz Yakin's horror thriller, Boarding School and Haifaa al-Mansour's soulful romantic comedy, Nappily Ever After. For more information about Lesley Barber, visit LesleyBarber.com. ABOUT POP DISCIPLE Pop Disciple is a storytelling platform, exploring the creative work of entertainment industry professionals. With a focus in music in media, we present in-depth interviews with world-class music supervisors, film and television composers, and influencers in the realms of film and music. Visit PopDisciple.com. Follow @PopDisciple on Instagram. Music Credits Podcast Theme & Outro Music: Goldo Cues Throughout Episode: Lesley Barber

Hazel Turnbull speaks with composer, Lesley Barber., at Soundtrack Cologne 2017. A 2016 Academy of Motion Picture Arts and Sciences initiate, film composer Lesley Barber writes music marked by intelligence and emotional depth. From orchestral to atmospheric, alternative to childrens music, Appalachian to electronic, Lesley has an innate ability to bring the essential to light and avoid the cliché. In Manchester by the Sea, the new film directed by Kenneth Lonergan, Lesley employs intricately harmonized vocal performances and subtle, atmospheric orchestral work that provides integral support for the incredible performances by Casey Affleck, Michelle Williams, Kyle Chandler and young discovery Lucas Hedges. Praise for her work on this project promises to launch her into the top tier of a new generation of film composers.

这是《得意忘形》播客的第 42 期节目。本期节目的嘉宾是之前来作客过的，我的好朋友康堤老师。不过之前的节目她都是作为采访和辅助的角色，而这次我们终于可以坐下来一起聊聊她最擅长也最感兴趣的话题：叙事学。在这期节目里，我们从「storytelling」的重要性讲起，谈了谈故事的结构、种类、发展变化，还有人类如今在不同形式里——文学、电影、游戏、真人秀——的叙事水平都达到了怎样的程度。最后，我们当然再次回到了人生在世无法回避的那些问题：关于创作、体验、感受与存在的意义。本期节目要点与扩展阅读（由康堤老师提供）：* 【书籍】罗兰·巴特《恋人絮语》：微博式的恋爱片段和哲思。* 【概念】叙事学（storytelling）：罗兰·巴特认为任何材料都适宜于叙事，除了文学作品以外，还包括绘画、电影、连环画、社会杂闻、会话，叙事承载物可以是口头或书面的有声语言、固定或活动的画面、手势，以及所有这些材料的有机混合。* 【叙事手法】POV（point of view）：视点人物写作法。* 【叙事手法】成长小说：以主人公的成型开始，直到角色达到某种程度的完善结束。主人公一般在做两件事：自我整合和融入社会。* 【书籍】朱利安·巴恩斯《终结的感觉》：“不可靠的记忆与不充分的材料相遇所产生的确定性就是历史。”用叙事怀疑叙事，写记忆、主客观时间、自我叙事的不可靠性。* 【书籍】约瑟夫·坎贝尔《千面英雄》：追溯了全世界几乎所有神话系统中与英雄历险相关的故事，并从中揭示出相同的英雄原型。* 【书籍】布莱克·斯奈德《救猫咪》：书名来自于编剧行话“先让英雄救猫咪”。一章一种电影（叙事）套路拆析。* 【电影】《海边的曼彻斯特》：没有和解，丧是对死的哀悼。I can't beat it.* 【叙事手法】关于《敦刻尔克》最好的影评：反叙事曲线，没有铺垫，海陆空三条线同时从高潮开始讲起。* 【叙事手法】如何欣赏蒙德里安的画？：“我尤其享受一种奇特的感觉，就是当我盯着某件东西，然后顿悟的瞬间：原来这样东西是有结构的，它本身就在和我对话。我的首例就是蒙德里安。”* 【电视剧】坂元裕二与《四重奏》：吃饭，聊天，演奏，偶尔去超市。谜不重要，偶尔的相聚才重要。* 【电视剧】又吉直树与《火花》：揪心的玩笑与漫长的白日梦。“我啊，是为了表演足以推翻世界常识的漫才，而走上这条路的我唯一推翻的，只有‘努力必定会有回报’这句话。”* 【书籍】纳博科夫与《微暗的火》：“一个上弦的玩具，一次疑难的棋局，一场地狱般的布局，一个捕捉评论家的陷阱，一部由你自行组织的小说。”* 【书籍】博尔赫斯与《小径分叉的花园》：时间如迷宫。* 【真人秀】罗英石与《反正竞赛还很长》：五年里他一直在思考怎样让节目“少点油，更清淡”。* 【真人秀】《孝利家民宿》：第二季下月开拍！* 【概念】“决定性瞬间”作品：事件进行过程中恰好有一个瞬间，所有元素各得其所，同时展现出特定内涵和意义。* 【电影】艾伦·索金与《史蒂夫·乔布斯》：聚焦乔布斯生前三件关键性产品的发布时刻。“一个月大的婴儿到底能做什么坏事，让他的父母把他退回呢？”* 【电影】《沉默的羔羊》与精神分析：人类中的大魔王相遇小神徒，手指轻触的一刻像极了“创世纪”。* 【书籍】《白夜行》与共生概念：“槍蝦會挖洞，住在洞裡。可有個傢伙卻要去同住，那就是蝦虎魚。不過蝦虎魚也不白住，它會在洞口巡視，要是有外敵靠近，就擺動尾鰭通知洞裡的槍蝦。它們合作無間，這好像叫互利共生。”音乐（本期音乐和剪辑均由康堤老师操刀）：* Cold Little Heart by Michael Kiwanuka（《大小谎言》片头）* Main Titles by Ramin Djawadi（《权力的游戏》片头）* Manchester By the Sea Chorale by Lesley Barber（《海边的曼彻斯特》片尾）* おとなの掟 by Doughnuts Hole（《四重奏》片尾）* 기억해 by 李孝利（《孝利家民宿》插曲）* Goodbye to Romance by Ozzy Osbourne（《孝利家民宿》插曲）节目简介：《得意忘形》是一个主张追求个体自由与探寻真理的媒体计划。我们见证了第一次工业革命以来科技对人类社会的极大推动与助益，但也意识到资本主义与市场经济不可避免地催生了消费文化、剥夺了个人价值、并窃取了大众时间。带着对生命的有限性与无目的性的敬畏，我们试图为读者与听众提供更全面的觉察自我与认知世界的工具，以不断重建当下的方式穿越时间、抵达生活的本质。

这是《得意忘形》播客的第 42 期节目。本期节目的嘉宾是之前来作客过的，我的好朋友康堤老师。不过之前的节目她都是作为采访和辅助的角色，而这次我们终于可以坐下来一起聊聊她最擅长也最感兴趣的话题：叙事学。在这期节目里，我们从「storytelling」的重要性讲起，谈了谈故事的结构、种类、发展变化，还有人类如今在不同形式里——文学、电影、游戏、真人秀——的叙事水平都达到了怎样的程度。最后，我们当然再次回到了人生在世无法回避的那些问题：关于创作、体验、感受与存在的意义。本期节目要点与扩展阅读（由康堤老师提供）：* 【书籍】罗兰·巴特《恋人絮语》：微博式的恋爱片段和哲思。* 【概念】叙事学（storytelling）：罗兰·巴特认为任何材料都适宜于叙事，除了文学作品以外，还包括绘画、电影、连环画、社会杂闻、会话，叙事承载物可以是口头或书面的有声语言、固定或活动的画面、手势，以及所有这些材料的有机混合。* 【叙事手法】POV（point of view）：视点人物写作法。* 【叙事手法】成长小说：以主人公的成型开始，直到角色达到某种程度的完善结束。主人公一般在做两件事：自我整合和融入社会。* 【书籍】朱利安·巴恩斯《终结的感觉》：“不可靠的记忆与不充分的材料相遇所产生的确定性就是历史。”用叙事怀疑叙事，写记忆、主客观时间、自我叙事的不可靠性。* 【书籍】约瑟夫·坎贝尔《千面英雄》：追溯了全世界几乎所有神话系统中与英雄历险相关的故事，并从中揭示出相同的英雄原型。* 【书籍】布莱克·斯奈德《救猫咪》：书名来自于编剧行话“先让英雄救猫咪”。一章一种电影（叙事）套路拆析。* 【电影】《海边的曼彻斯特》：没有和解，丧是对死的哀悼。I can't beat it.* 【叙事手法】关于《敦刻尔克》最好的影评：反叙事曲线，没有铺垫，海陆空三条线同时从高潮开始讲起。* 【叙事手法】如何欣赏蒙德里安的画？：“我尤其享受一种奇特的感觉，就是当我盯着某件东西，然后顿悟的瞬间：原来这样东西是有结构的，它本身就在和我对话。我的首例就是蒙德里安。”* 【电视剧】坂元裕二与《四重奏》：吃饭，聊天，演奏，偶尔去超市。谜不重要，偶尔的相聚才重要。* 【电视剧】又吉直树与《火花》：揪心的玩笑与漫长的白日梦。“我啊，是为了表演足以推翻世界常识的漫才，而走上这条路的我唯一推翻的，只有‘努力必定会有回报'这句话。”* 【书籍】纳博科夫与《微暗的火》：“一个上弦的玩具，一次疑难的棋局，一场地狱般的布局，一个捕捉评论家的陷阱，一部由你自行组织的小说。”* 【书籍】博尔赫斯与《小径分叉的花园》：时间如迷宫。* 【真人秀】罗英石与《反正竞赛还很长》：五年里他一直在思考怎样让节目“少点油，更清淡”。* 【真人秀】《孝利家民宿》：第二季下月开拍！* 【概念】“决定性瞬间”作品：事件进行过程中恰好有一个瞬间，所有元素各得其所，同时展现出特定内涵和意义。* 【电影】艾伦·索金与《史蒂夫·乔布斯》：聚焦乔布斯生前三件关键性产品的发布时刻。“一个月大的婴儿到底能做什么坏事，让他的父母把他退回呢？”* 【电影】《沉默的羔羊》与精神分析：人类中的大魔王相遇小神徒，手指轻触的一刻像极了“创世纪”。* 【书籍】《白夜行》与共生概念：“槍蝦會挖洞，住在洞裡。可有個傢伙卻要去同住，那就是蝦虎魚。不過蝦虎魚也不白住，它會在洞口巡視，要是有外敵靠近，就擺動尾鰭通知洞裡的槍蝦。它們合作無間，這好像叫互利共生。”音乐（本期音乐和剪辑均由康堤老师操刀）：* Cold Little Heart by Michael Kiwanuka（《大小谎言》片头）* Main Titles by Ramin Djawadi（《权力的游戏》片头）* Manchester By the Sea Chorale by Lesley Barber（《海边的曼彻斯特》片尾）* おとなの掟 by Doughnuts Hole（《四重奏》片尾）* 기억해 by 李孝利（《孝利家民宿》插曲）* Goodbye to Romance by Ozzy Osbourne（《孝利家民宿》插曲）节目简介：《得意忘形》是一个主张追求个体自由与探寻真理的媒体计划。我们见证了第一次工业革命以来科技对人类社会的极大推动与助益，但也意识到资本主义与市场经济不可避免地催生了消费文化、剥夺了个人价值、并窃取了大众时间。带着对生命的有限性与无目的性的敬畏，我们试图为读者与听众提供更全面的觉察自我与认知世界的工具，以不断重建当下的方式穿越时间、抵达生活的本质。

Composer Lesley Barber takes some time to share her journey to becoming a composer and some insights into her process. Lesley's talents and versatility have brought us memorable scores to films such as Hysterical Blindness, Mansfield Park, You Can Count On Me, and recently the critically-acclaimed Manchester By The Sea. We chat about her process for Manchester By The Sea including reconnecting with writer/director Kenneth Lonergan for their second film together. Lesley explains how she came up with the inspiration to utilize vocals in her score, and how she navigated a heavy subject matter as well as source music. Lesley also gives her views on her score being rejected from Oscar consideration due to the use of classical pieces in the film. Lesley's unique style and strong talents as a musical storyteller make this a fun and fascinating interview for all. Interview Produced & Presented By: Kaya Savas Special Thanks:Lesley BarberChandler PolingAdrianna PerezWhite Bear PR

Welcome to the 80th episode of Sideshow & Tell, your weekly mini soundtrack news hosted by Ian Crabb! In this week’s episode, Ian discusses the latest film music releases, including a 2-disc reissue of Die Hard by Michael Kamen, from La-La Land Records, brings you his Home Video Pick from composers Trent Reznor and Atticus Ross, and a vinyl Pick […]

Casey Affleck has been in the paper a lot recently for not the right reasons. Without getting involved or placing an opinion of the alleged allegations against Casey Affleck, I believe his career in Hollywood and acting should not be judged by his actions outside of acting. This is my own personal viewpoint, and shall be throughout my review of Manchester by the Sea.   Directed by Kenneth Lonergan, Machester follows the events from the perspective of Joe Chandler, a handyman from Quincy, Massachusetts, after he receives a call of word that his brother is having a heart attack. Arriving too late in Manchester, Joe is given the guardianship of his brothers son Patrick. The majority of the film is in the present day as Joe tries to figure out what to do with Patrick, whilst having a total disconnect to the town itself. For the rest of the film, flashbacks are used as exposition to explain why Joe is the way he is, and how he came to leave Manchester to live in Quincy in the first place. Without spoiling anything major, this film is very dark, brutal, and cold. The events which occur in them are quite shocking and depressing, however they are also bookended by some truly hilarious black comedy, and situational moments. Not many people agree with me, however I see Manchester by the Sea as a black comedy drama rather than just a drama, as almost all of the comedic moments in the film are perfect, timed well, and make light somehow, of the very sad slice of life mentality the film holds. Lonergan hasn’t directed since 2011, the film being Margaret, but it’s like he hasn’t been out of action at all. The directing skills he has show in the film, each staging of the shots and actors positions are smooth and sublime, whilst the acting itself is fantastic. Affleck needs to be talked about solely as this is easily a career best for him. His lack of emotion as Joe is heart wrenching, especially when intercut with scenes from his past where you can still see the light in his eyes, the love in his voice, and his boyish charm. His present self is slow, uncaring, and saddening. You don’t need to be told what he’s gone through as you can just tell from looking at the way he acts. Special mention must be given to Lucas Hedges as well, as his performance as Patrick Chandler is a perfect example of a teenager forced to deal with adult situations. The character of Patrick is very brutal and rare itself, and seeing him interact with a much younger Joe in flashbacks provides further moments of the realisation of the tough lives the pair lead. Moving away from the plot, the actual production and planning for this film must be given credit too due to the length of time spent trying to get it made, and overall development of such. The film was produced by Matt Damon, who originally was meant to star in it as well in Affleck’s role. However, this changed to having John Krasinski as main actor a bit later, before Casey Affleck was finally locked down to be the main star. With pre production of the film beginning all the way back in September of 2014, it's brilliant to see how far the film went through development to finally air worldwide in 2017. Manchester by the Sea is also filmed in its namesake, Manchester by the Sea, which adds to the realism to the film, as the plot is quite natural and easily could happen in real life. Additionally, the music by Lesley Barber in this film is marvellous as well, being an eerie mix between ethereal and hallowing tones. It's hard to discuss the film in detail without dropping too much about plot, so I urge anyone who is capable of withstanding a brutal 137 minute sitting to go and see this film. Currently nominated for 6 academy awards, with Affleck being the frontrunner for best actor, Manchester by the Sea deserves the praise it's received, as it’s a both a film and example of the hardships in life.   Written by Hamish Vallance

Casey Affleck has been in the paper a lot recently for not the right reasons. Without getting involved or placing an opinion of the alleged allegations against Casey Affleck, I believe his career in Hollywood and acting should not be judged by his actions outside of acting. This is my own personal viewpoint, and shall be throughout my review of Manchester by the Sea. Directed by Kenneth Lonergan, Machester follows the events from the perspective of Joe Chandler, a handyman from Quincy, Massachusetts, after he receives a call of word that his brother is having a heart attack. Arriving too late in Manchester, Joe is given the guardianship of his brothers son Patrick. The majority of the film is in the present day as Joe tries to figure out what to do with Patrick, whilst having a total disconnect to the town itself. For the rest of the film, flashbacks are used as exposition to explain why Joe is the way he is, and how he came to leave Manchester to live in Quincy in the first place. Without spoiling anything major, this film is very dark, brutal, and cold. The events which occur in them are quite shocking and depressing, however they are also bookended by some truly hilarious black comedy, and situational moments. Not many people agree with me, however I see Manchester by the Sea as a black comedy drama rather than just a drama, as almost all of the comedic moments in the film are perfect, timed well, and make light somehow, of the very sad slice of life mentality the film holds. Lonergan hasn’t directed since 2011, the film being Margaret, but it’s like he hasn’t been out of action at all. The directing skills he has show in the film, each staging of the shots and actors positions are smooth and sublime, whilst the acting itself is fantastic. Affleck needs to be talked about solely as this is easily a career best for him. His lack of emotion as Joe is heart wrenching, especially when intercut with scenes from his past where you can still see the light in his eyes, the love in his voice, and his boyish charm. His present self is slow, uncaring, and saddening. You don’t need to be told what he’s gone through as you can just tell from looking at the way he acts. Special mention must be given to Lucas Hedges as well, as his performance as Patrick Chandler is a perfect example of a teenager forced to deal with adult situations. The character of Patrick is very brutal and rare itself, and seeing him interact with a much younger Joe in flashbacks provides further moments of the realisation of the tough lives the pair lead. Moving away from the plot, the actual production and planning for this film must be given credit too due to the length of time spent trying to get it made, and overall development of such. The film was produced by Matt Damon, who originally was meant to star in it as well in Affleck’s role. However, this changed to having John Krasinski as main actor a bit later, before Casey Affleck was finally locked down to be the main star. With pre production of the film beginning all the way back in September of 2014, it's brilliant to see how far the film went through development to finally air worldwide in 2017. Manchester by the Sea is also filmed in its namesake, Manchester by the Sea, which adds to the realism to the film, as the plot is quite natural and easily could happen in real life. Additionally, the music by Lesley Barber in this film is marvellous as well, being an eerie mix between ethereal and hallowing tones. It's hard to discuss the film in detail without dropping too much about plot, so I urge anyone who is capable of withstanding a brutal 137 minute sitting to go and see this film. Currently nominated for 6 academy awards, with Affleck being the frontrunner for best actor, Manchester by the Sea deserves the praise it's received, as it’s a both a film and example of the hardships in life. Written by Hamish VallanceSee omnystudio.com/listener for privacy information.

主播打分： 秦婉（资深电影记者；个人公众号“小婉电影酱”；《三人行》等2期嘉宾）：8.5分； （秦婉的其它打分：《欢乐好声音》7分；《合约男女》7分；《决战食神》4分；） 顿河（《一步之遥》编剧之一；个人公众号“顿的河”；《潘金莲》等2期嘉宾）：8分； （顿河的其它打分：《潘金莲》7分；《乘风破浪》6.5分；《少年巴比伦》6.5分） 波米：6.5分； 《海边的曼彻斯特》（Manchester by the Sea）平均分：约7.7分 本期节目流程与目录： 开场曲：/(Lesley Barber) 第30秒-第1分半：嘉宾及公众号信息介绍； 第1分半-第4分半：影片信息介绍（无剧透）； 第4分半-第7分半：三位主播为影片打分并阐述理由，波米介绍节目流程（无剧透）； 第7分半-第44分：三位主播谈及《海边的曼彻斯特》“剧情”；（涉及剧透）： 1、顿河认为本片“剧作”是最大亮点，就像“上帝之手编织的剧本”； 2、秦婉定义本片是“病友片”；“真实性”是最为打动她的地方； 3、波米认为本片在题材上与导演前作雷同，但本片在“小镇环境”塑造及“粗口使用”上是亮点； 随后三位主播在“侄子故事线”的问题上互有辩驳； 第44分-第53分半：三位主播谈及《海边的曼彻斯特》的“人设”（涉及剧透）： 1、秦婉认为男主角“李”非常生动，让身边很多非影迷朋友也感同身受； 2、顿河和波米认为米歇尔·威廉斯饰演的“前妻”是一个功能性角色；波米着重谈了“重逢戏”； 第53分半-尾声：外延环节话题（涉及剧透）：本片与是枝裕和的“家庭片”的异同； 尾声歌曲：(Orchestra,Musica Sacra Chorus)。 影片《海边的曼彻斯特》（Manchester by the Sea）重要信息： 本片北美分级：R级； 本期节目重点提及的电影片单： 《艾丽丝不在这里》（又名《曾经沧海难为水》）（1974） 《老大靠边闪》（1999） 《我办事你放心》（2000） 《步履不停》（2008） 《在云端》（2009） 《后裔》（2011） 《玛格丽特》（2011） 《奥斯陆，8月31日》（2011） 《乌云背后的幸福线》（2012） 《内布拉斯加》（2013） 《素媛》（2013） 《比海更深》（2016） 《爱乐之城》（2016） 《月光男孩》（2016）

Lesley is an active member of the Alliance for Women Film Composers and a 2016 Academy of Motion Picture Arts and Sciences initiate. Lesley's earlier film projects include When Night Is Falling, the Oscar winning You Can Count On Me and Mira Nair's Golden Globe winning Hysterical Blindness. Some of Lesley's other film credits include Los Locos, Yo-Yo Ma: Six Gestures, Mansfield Park, A Price Above Rubies, Marion Bridge, A Thousand Years of Good Prayers, The Moth Diaries, and the documentary, How To Change The World. Lesley's most recent projects include the Oscar winning Manchester by the Sea, The Apology, A Better Man, and Beaches.

Happy New Year and welcome to CINEMATIC SOUND RADIO's first episode of 2017. Today, we'll be playing music from some 2016 left overs. You'll hear selections from LA CORONA PARTIDA by Federico Jusid, MOONLIGHT by Nicholas Britell, MANCHESTER BY THE SEA by Lesley Barber and PASSENGERS by Thomas Newman. During our second hour, you'll hear music from Christopher Wong's YELLOW FLOWERS ON THE GREEN GRASS, John Debney's LEAGUE OF GODS, LA LA LAND by Justin Hurwitz and PLANET EARTH II by Hans Zimmer, Jacob Shea and Jasha Klebe. ESSAY FOR STRINGS is our John Williams track of the week and FINAL FANTASY XV by Yoko Shimomura is out video game selection of the week. Cinematic Sound Radio http://www.cinematicsound.net WROCK Radio http://www.wrockradio.com Cinematic Sound Radio Fanfare and Theme by David Coscina https://soundcloud.com/user-970634922 Bumper voice artist: Tim Burden http://www.timburden.com Also available through Podtyrant http://www.podtyrant.com

This week we talk with Composer Lesley Barber who recently worked on Director Kenneth Lonergan's new film, Manchester by the Sea starring Casey Affleck and Michelle Williams. Barber previously worked with Lonergan on his acclaimed debut feature, “You Can Count On Me,” and she has provided music for films such as “Mansfield Park,” “Hysterical Blindness,” “A Price Above Rubies,” and “When Night Is Falling.” For ‘Manchester,’ Barber utilized harmonized vocal performances and atmospheric orchestral work to create a memorable score that makes an excellent companion to the classical pieces curated by the award-winning music supervisor Linda Cohen. After the death of his older brother Joe, Lee Chandler (Casey Affleck) is shocked that Joe has made him sole guardian of his teenage nephew Patrick. Taking leave of his job as a janitor in Boston, Lee reluctantly returns to Manchester-by-the-Sea, the fishing village where his working-class family has lived for generations. There, he is forced to deal with a past that separated him from his wife, Randi (Michelle Williams), and the community where he was born and raised.

Cartoonist Alison Bechdel created an influential means of measuring the significance of the role woman play in film: Does the film contain a conversation between two women about something other than a man? Reflecting International Women's Day on Sunday, Matthew Sweet features music for films that pass the Bechdel Test. Featured scores includes "Thelma and Louise", "Gone With The Wind", "Silence Of The Lambs", "The Portrait Of A Lady", "The Princess Mononoke", "Orlando", "Annie Get Your Gun". The Classic Score of the Week is Alfred Newman's "All About Eve". Matthew also profiles scores by some of the foremost women film composers, including Lesley Barber, Lisa Gerrard, Doreen Carwithen, Rachel Portman, Anne Dudley, Jocelyn Pook, Laura Rossi and Debbie Wiseman. @bbcradio3 #womensday.