Podcast appearances and mentions of Leslie Caron

Send us a textGeorge Feltenstein joins Tim Millard to review the Warner Archive's April Blu-ray releases, a diverse collection spanning from 1950s classics to 2000s comedies that have been restored with stunning new transfers and special features.• Leslie Caron and Mel Ferrer star in "Lily" (1953), a Technicolor gem restored from original 3-strip negatives • Despite studio doubts, "Lily" became a massive success that was later reissued theatrically instead of going to television• "Side Street" (1950) features rare on-location New York City filming with Farley Granger and Cathy O'Donnell• Anthony Mann's noir thriller uses the city as a character, with John Alton's cinematography and a memorable climactic car chase• "Springfield Rifle" (1952) starring Gary Cooper presented restoration challenges as an early Warner Color film• "Just Friends" (2005) with Ryan Reynolds finally gets its first proper U.S. Blu-ray release with all special features• "Clean and Sober" (1988) showcases Michael Keaton's breakthrough dramatic role alongside Morgan Freeman• Glenn Gordon Caron's film about addiction remains relevant today, balancing serious subject matter with moments of hopePurchase Links:LILI (1953) BLU-RAYSIDE STREET (1950) BLU-RAYSPRINGFIELD RIFLE (1952) BLU-RAYJUST FRIENDS (2005) BLU-RAYCLEAN AND SOBER (1988) BLU-RAYReplacement Program Communications Upgraded Audio is available on Just Friends and Clean and Sober  Important news : Recently, we upgraded the audio tracks to five releases. These changes were what we call, “running changes” so many customers already have the upgraded Audio. But if you were one of the early purchasers of these titles you may be eligible to receive a free replacement disc that includes the upgraded audio.  Clean and Sober  “Clean and Sober” (Blu-ray) is eligible for a replacement disc that will include DTS-HD MA 2.0 stereo audio. To know if you're eligible for the replacement, check your purchased disc. If it does not have DTS-HD MA 2.0 stereo you're eligible for a replacement.  Just Friends  “Just Friends” (Blu-ray) is eligible for a replacement disc that will include all special features and DTS-MA HD 5.1 audio. To know if you're eligible for the replacement, check your purchased disc. If it has only 2.0 audio and one special feature – the trailer - you're eligible for a replacement.  To receive your replacement follow these instructions; Email customerservice@moviezyng.com with your request. Be sure to include your original purchase receipt in your initial email to Movie Zyyng. Movie Zyng is working with Warner Bros. and AV Entertainment to facilitate the replacement even if you'veThe Extras Facebook pageThe Extras Twitter Warner Archive & Warner Bros Catalog Group As an Amazon Affiliate, The Extras may receive a commission for purchases through our purchase links. There is no additional cost to you, and every little bit helps us in the production of the podcast. Thanks in advance. Otaku Media produces podcasts, behind-the-scenes extras, and media that connect creatives with their fans and businesses with their consumers. Contact us today to see how we can work together to achieve your goals. tim@theextras.tv

Melanie and Ed love watching old movies and dishing on them. This week's movie is VALENTINO (1977), directed by Ken Russell and starring Rudolf Nureyev, Leslie Caron, Michelle Phillips, and Carol Kane. Send podcast comments and suggestions to Melanded@whothehellarewe.com Don't forget to subscribe to the show!

EPISODE 60 - "THELMA RITTER: CLASSIC CINEMA STAR OF THE MONTH" - 11/04/2024 There's a scene in the classic 1950 film All About Eve where Eve Harrington (ANNE BAXTER), a star-struck fan who has infiltrated the life of Broadway star Margo Channing (BETTE DAVIS), is telling the tragic story of her past to Margo and her friends. While Margo and company are drawn into the sad circumstances of Eve's life, Margo's acerbic dresser Birdie, played to perfection by the great THELMA RITTER, is not buying her sob story. After Eve finishes, Birdie mutters, "What a story! Everything but the bloodhounds snappin' at her rear end." This is probably the moment I fell in love with Ritter. With her heavy New York accent, diminutive size, working-class charm, and sarcastic zingers, she made a career of stealing scenes from big stars and making the most of her time on screen. She played characters wiser than most, and her characters certainly didn't suffer fools gladly. She is a cinematic treasure, and we celebrate her as our Star of the Month. SHOW NOTES:  Sources: All About Eve: The Complete Behind-The-Scenes Story of the Bitchiest Film Ever Made (2001), by Sam Staggs; All About Thelma and Eve: Sidekicks and Third Wheels (2002), by Judith Roof; Actresses of a Certain Character (2007) by Axel Nissen; “Thelma Ritter, Versatile Actress with Raspy Voice Dies at 63,” February 5, 1969, New York Times; “Ten Women that Changed the Face of Film Forever,” March 8, 2019, by Harry Fletcher, The Standard; TCM.com; IMDBPro.com; IBDB.com; Wikipedia.com; Movies Mentioned:  Miracle on 34th Street (1947), starring Maureen O'Hara, Edmund Gwenn, John Payne, and Natalie Wood; Call Northside 777 (1948), starring James Stewart, Richard Conte, and Helen Walker; A Letter To Three Wives (1949), starring Jeanne Crain, Linda Darnell, Ann Sothern, Kirk Douglas, Paul Douglas, Jeffrey Lynn, Connie Gilchrist, and Barbara Lawrence; Father Was a Fullback (1949), starring Fred MacMurray and Maureen O'Hara; All About Eve (1950), starring Bette Davis, Ann Baxter, Gary Merrill, Celeste Holm, Hugh Marlowe, George Sanders, Marilyn Monroe, Gregory Ratoff, and Barbara Bates; The Mating Season (1951), starring John Lund and Gene Tierney; The Model and the Marriage Broker (1951), starring Jean Peters and Scott Brady; With a Song in My Heart (1952), starring Susan Hayward, Rory Calhoun, David Wayne, Robert Wagner, and Helen Westcott; Titanic (1953), starring Barbara Stanwyck, Clifton Webb, Robert Wagner, and Brian Aherne; Pick Up On South Street (1953), starring Richard Widmark, Jean Peters, and Richard Kiley; As Young As You Feel (1951), starring Monty Woolley, David Wayne, Jean Peters, Constance Bennett, Marilyn Monroe, Allen Joslyn, and Albert Dekker; Rear Window (1954), starring James Stewart, Grace Kelly, Wendel Corey, and Raymond Burr; Daddy Long Legs (1955), starring Fred Astaire and Leslie Caron; The Proud and Profane (1956), starring William Holden and Deborah Kerr; A Hole In The Head (1959), starring Frank Sinatra, Edward G. Robinson, and Eleanor Parker; Pillow Talk (1959), starring Doris Day and Rock Hudson The Misfits (1961), starring Clark Gable, Marilyn Monroe, Montgomery Clift, and Eli Wallach; Birdman of Alcatraz (1962), starring Burt Lancaster, Karl Malden, Neville Brand, Betty Field, Telly Savalas, Edmond O'Brien, and Hugh Marlowe; How The West Was Won (1962), starring James Stewart, Gregory Peck, John Wayne, Debbie Reynolds, Henry Fonda, Carroll Baker, Lee J. Cobb, Karl Malden, and Richard Widmark; Move Over Darling (1963), starring Doris Day, James Garner, and Polly Bergen; Boeing, Boeing (1965), starring Tony Curtis and Jerry Lewis; What's So Bad About Feeling Good? (1968), starring George Peppard and Mary Tyler Moore; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

Robert talks with John about getting his first agent and his string of luck getting to Hollywood, seeing Elvis getting out of a car early in his career, seeing Cary Grant and Leslie Caron filming at the studio, shooting Gunsmoke with James Arness and The Virginian and his relationship with his famous son, actor, Chris Pine and what Chris was like as he discovered acting. Robert also talks about the kindness of Tom Selleck while shooting Magnum P.I., the intensity of Robert Conrad from The Wild Wild West and more! Enjoy and thanks Robert! AN EVENING WITH THE CAST OF CHIPS: NOV. 10TH, LONG BEACH, CA For information contact Carolyn@niteofdreams.com Become a That's Classic! PATREON member including the opportunity to see Exclusive Bonus Footage: patreon.com/thatsclassic That's Classic! Merchandise: http://tee.pub/lic/2R57OwHl2tE Subscribe for free to That's Classic YouTube Channel: https://www.youtube.com/channel/UCBtpVKzLW389x6_nIVHpQcA?sub_confirmation=1 Facebook: facebook.com/thatsclassictv Hosted by John Cato, actor, voiceover artist, and moderator for over 20 years for the television and movie industry. John's background brings a unique insight and passion to the podcast. --- Support this podcast: https://podcasters.spotify.com/pod/show/john-cato/support

In this connector of an episode, we bring Warren Beatty into our investigation, as it concerns his very active love life for many a decade before his marriage in 1992 to Annette Bening. Spiderwebs include Jane Fonda, Joan Collins, Natalie Wood, Cher, Vivien Leigh, Mamie van Doren, Brigette Bardot, Leslie Caron, Faye Dunaway, Julie Christie, Britt Eckland, Carly Simon, and a special Joni Mitchell bonus addendum to the story. All sources can be found at doneanddunne.com. Continue your investigation with ad-free and bonus episodes on Patreon! To advertise on Done & Dunne, please reach out to sales@advertisecast.com or visit https://www.advertisecast.com/DoneDunne. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Gene Kelly was at the height of his powers in 1951, starring in musicals for MGM, and choreographing some of them. Here, Vincent Minelli directs, but the dancing is by Kelly. Leslie Caron makes her film debut, and the rest of the cast has a decidedly continental vibe. The film is “inspired” by George Gershwin’s 1928 musical of the same name, but the writing credit here goes to Alan Jay Lerner, aka half of the celebrated Lerner and Lowe musical composing team. An American in Paris won a boatload of Oscars, including Best Picture. Shelly Brisbin with Micheline Maynard and David J. Loehr.

Gene Kelly was at the height of his powers in 1951, starring in musicals for MGM, and choreographing some of them. Here, Vincent Minelli directs, but the dancing is by Kelly. Leslie Caron makes her film debut, and the rest of the cast has a decidedly continental vibe. The film is “inspired” by George Gershwin’s 1928 musical of the same name, but the writing credit here goes to Alan Jay Lerner, aka half of the celebrated Lerner and Lowe musical composing team. An American in Paris won a boatload of Oscars, including Best Picture. Shelly Brisbin with Micheline Maynard and David J. Loehr.

Gigi is a 1958 movie musical based on a 1944 French novella, directed by Vincente Minnelli and featuring a screenplay by Alan Jay Lerner. The film starred Leslie Caron, Louis Jordan, and Maurice Chevalier, and followed the story of a bored French playboy Gaston attempting to reignite a spark in his life, and finding it in a young friend of the family, the titular Gigi. (Who appears in much less of the film than Gaston does.) The film was a major Academy Award winner in 1958, setting a record for sweeping 9 different Oscars, (A record that would be unbroken until 2003 when Lord Of The Rings: Return Of The King won 11.) and though Gigi is well-regarded by cinema historians, it has since developed a sour reputation for its themes of grooming and power imbalance.On a new episode of Hell Is A Musical, Lilz and Scott are in way over their heads watching Gigi with return guest Patrick S. Barry. Join the trio as they are thoroughly skeeved out by themes and attitudes that have aged like milk, and are equally amused and disgusted by the antics of Maurice Chevalier, the most French human being to have ever walked this Earth....with Lilz and Scott!

Book Vs. Movie: An American in ParisThe 1928 “Symphonic Poem” Vs. the 1951 Classic Movie The Margos are starting the New Year with a symphonic poem by George Gershwin that evokes France during the Annees Folles (the 1920s era). The piece was also inspired by Maurice Ravel's "unusual chords." After visiting Paris in 1926, Gershwin sought out teachers, but they all told him that there was no one better than Gershwin himself. He told a reporter that this work was an American's first time in Paris. It premiered at Carnegie Hall on December 13, 1948.The movie "An American in Paris," which opened on October 4, 1951, stars Gene Kelly, Leslie Caron, Oscar Levant, Georges Guetary, and Nina Foch. It includes lyrics by Ira Gershwin and was directed by Vincente Minnelli. The film is one of the most honored musicals in film history.In this ep, the Margos discuss:The importance of the work of George & Ira Gershwin in music history.The challenges of filming dance sequences in filmThe jazz era of the 1920s.The cast of the 1951 film: Gene Kelly (Jerry Mulligan,) Leslie Caron (Lisa Bouvier,) Oscar Levant (Adam Cook,) Georges Guetary (Henri Baurel,) Nina Fochs (Milo Roberts), and Eugene Borden as Georges Mattieu.Clips used:Leslie Caron in An American in ParisAn American in Paris (1951 trailer)“Our Love is Here to Stay”“I Got Rhythm”“Stairway to the Stars”“Tra-la-la-la”Music: George & Ira GershwinBook Vs. Movie is part of the Frolic Podcast Network.Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page “Book Vs. Movie podcast”You can find us on Facebook at Book Vs. Movie Podcast GroupFollow us on Twitter @bookversusmovieInstagram: Book Versus Movie https://www.instagram.com/bookversusmovie/Email us at bookversusmoviepodcast@gmail.com Margo D. Twitter @BrooklynMargo Margo D's Blog www.brooklynfitchick.com Margo D's Instagram “Brooklyn Fit Chick”Margo D's TikTok https://www.tiktok.com/@margodonohuebrooklynfitchick@gmail.comYou can buy your copy of Filmed in Brooklyn here! Margo P. Twitter @ShesNachoMamaMargo P's Instagram https://www.instagram.com/shesnachomama/Margo P's Blog https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine 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/5406542/advertisement

Book Vs. Movie: An American in ParisThe 1928 “Symphonic Poem” Vs. the 1951 Classic Movie The Margos are starting the New Year with a symphonic poem by George Gershwin that evokes France during the Annees Folles (the 1920s era). The piece was also inspired by Maurice Ravel's "unusual chords." After visiting Paris in 1926, Gershwin sought out teachers, but they all told him that there was no one better than Gershwin himself. He told a reporter that this work was an American's first time in Paris. It premiered at Carnegie Hall on December 13, 1948.The movie "An American in Paris," which opened on October 4, 1951, stars Gene Kelly, Leslie Caron, Oscar Levant, Georges Guetary, and Nina Foch. It includes lyrics by Ira Gershwin and was directed by Vincente Minnelli. The film is one of the most honored musicals in film history.In this ep, the Margos discuss:The importance of the work of George & Ira Gershwin in music history.The challenges of filming dance sequences in filmThe jazz era of the 1920s.The cast of the 1951 film: Gene Kelly (Jerry Mulligan,) Leslie Caron (Lisa Bouvier,) Oscar Levant (Adam Cook,) Georges Guetary (Henri Baurel,) Nina Fochs (Milo Roberts), and Eugene Borden as Georges Mattieu.Clips used:Leslie Caron in An American in ParisAn American in Paris (1951 trailer)“Our Love is Here to Stay”“I Got Rhythm”“Stairway to the Stars”“Tra-la-la-la”Music: George & Ira GershwinBook Vs. Movie is part of the Frolic Podcast Network.Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page “Book Vs. Movie podcast”You can find us on Facebook at Book Vs. Movie Podcast GroupFollow us on Twitter @bookversusmovieInstagram: Book Versus Movie https://www.instagram.com/bookversusmovie/Email us at bookversusmoviepodcast@gmail.com Margo D. Twitter @BrooklynMargo Margo D's Blog www.brooklynfitchick.com Margo D's Instagram “Brooklyn Fit Chick”Margo D's TikTok https://www.tiktok.com/@margodonohuebrooklynfitchick@gmail.comYou can buy your copy of Filmed in Brooklyn here! Margo P. Twitter @ShesNachoMamaMargo P's Instagram https://www.instagram.com/shesnachomama/Margo P's Blog https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine

Jack loves being a film critic ... analyzing both the good and the bad of everything that is cinema.  The Best Picture Oscar winner of 1951, An American in Paris, covers both ends of that spectrum. The music of George Gershwin, the dance sequences, and many of the scenes really project this film forward ... but was all of that enough to deserve the accolades it received from the Academy, including the top prize at the Oscars.Download and listen to this final episode of Season 3 of Rewatching Oscar, and hear Jack's take on this MGM classic as well as all the other greats from 1951, and find out which film he thinks deserves his Rewatch Oscar. SUBSCRIBE and FOLLOW Rewatching Oscar:Website: https://rewatchingoscar.buzzsprout.comApple Podcasts/iTunesSpotifyGoogle PodcastsiHear RadioPodchaserPodcast AddictTuneInAlexaAmazon Overcasts Podcast Addict Player FMRSS Feed: https://feeds.buzzsprout.com/1815964.rssWebsite: https://rewatchingoscar.buzzsprout.comSocial Media Links: Facebook, Twitter, LinkedIn, InstagramShare your thoughts and suggestions with us through:Facebook Messanger or email us atjack@rewatchingoscar.comMusic by TurpacShow Producer: Jack FerdmanPodcast Logo Design: Jack FerdmanMovie (audio) trailer courtesy of MovieClips Classic TrailersMovie (audio) clip courtesy of YouTubeSupport us by downloading, sharing, and giving us a 5-Star Rating.  It helps our podcast continue to reach many people and make it available to share more episodes with everyone.Tags: OscarsAcademy AwardsBest PicturewinnermoviesfilmreviewRewatching Oscarpodcast

Roy Harold Scherer Jr. was born smack dab in the middle of both the Roaring 20's and the country in Illinois, Thanksgiving of 1925. Of all the gay and bisexual actors and actresses we've covered, Hudson was easily the most elusive and convincing in his career long presentation as a very straight screen idol and leading man. While known to many in Hollywood circles, his private life only came to public light over three decades into his career, when he was one of the earliest celebrities to openly discuss his being stricken with AIDS. A naval veteran and strangely enough, a lifelong Republican and de facto Goldwater Girl (!) he pursued his dream of acting despite a pronounced and career long difficulty in remembering lines, being rejected from drama school and wasting no less than 38 takes to deliver a single line in his first onscreen role – a testament to his All American good looks and winning personality, to be sure. After being signed to Universal, he was cast in several forgettable and forgotten cheesy period westerns, pirate and supposed adventure films before landing industry attention with his Oscar for the execrable James Dean/Elizabeth Taylor melodrama Giant.  But it was with his oddly fortuitous pairing with Doris Day and neurotic comic relief sideman Tony Randall in a series of fluffy and decidedly conservative romantic comedies at the end of the 1950s that he truly attained marquee leading man status. Going on to star with Italian sex symbols Gina Lollobrigida and Claudia Cardinale, as well as other attempts to replicate the Hudson/Day formula with lesser lights like Leslie Caron and Paula Prentiss, Hudson began to tire of these sort of light comedy roles, moving to television for the highly enjoyable and well remembered McMillan and Wife alongside the equally loveable Susan Saint James and gay icon (and Rosie the paper towel lady!) Nancy Walker  for a several season, nigh-decade spanning run.   His latter roles tended towards the decidedly idiosyncratic: John  Frankenheimer's existential paranoia opus Seconds, Alastair MacLean's flawed if enjoyable Cold War spy film Ice Station Zebra, Roger Vadim's sexploitation slasher/comedy Pretty Maids All In a Row, entertaining disaster epic Avalanche and the pensive meditation of a miniseries that was The Martian Chronicles. So join us as we take on the All-American leading man who hid a surprising edge behind the surface veneer, the one and only Rock Hudson, only here on Weird Scenes! Week 108 (10/19/23): Hide in Plain Sight: the Life and Career of Rock Hudson https://weirdscenes1.wordpress.com/ https://www.facebook.com/WeirdScenes1 https://twitter.com/WeirdScenes1 (@weirdscenes1) https://thirdeyecinema.podbean.com/ https://itunes.apple.com/us/podcast/third-eye-cinema-weird-scenes-inside-the-goldmine-podcast/id553402044 https:// (open.spotify.com) /show/4s8QkoE6PnAfh65C5on5ZS?nd=1 https://music.amazon.com/podcasts/09456286-8956-4b80-a158-f750f525f246/Third-Eye-Cinema-Weird-Scenes-Inside-the-Goldmine-podcast

[ For full episode catalogue please subscribe to our Patreon at Patreon.com/BestActress ] The year is 1954 and the nominees are: 1. Audrey Hepburn - Roman Holiday  2. Leslie Caron - Lili 3. Ava Gardner - Mogambo 4. Deborah Kerr - From Here to Eternity  5. Maggie McNamara - The Moon is Blue - In 1954 Audrey Hepburn won the Oscar for Best Actress playing a princess going from ‘riches to rags for a day' in the classic film, Roman Holiday. I've always wondered why she won the Oscar for this film and not for something like Breakfast at Tiffany's or The Nun's Story. Now having seen the other nominated performances, I get it. I wouldn't say this was a weak year necessarily but I would say there were some odd choice of nominees. Deborah Kerr was incredible in From Here to Eternity but I don't think we saw enough of her to warrant a win. Leslie Caron gets so many brownie points for having to sell those scene with those creepy ass puppets in Lili. Ava Gardner in Mogambo is the most confusing nominee in this category, as we discuss at length this episode. Who do you think should have won? Join host Kyle Brownrigg with guest host Cathryn Naiker as they discuss. 

This episode of the Foto Podcast is from a podcast I recorded with Rodney in 2012. I've re-edited this conversation to improve the sound quality from its original recording and reworked the audio presentation. I feel very fortunate that Rodney took the time to chat with me over ten years ago. When he unexpectedly passed in 2016, I realized how lucky I was to be able to spend a brief amount of time with him.Rodney was incredibly kind to me through our email exchanges, this recording, and a short 2-hour personal visit to his house in New York in the Spring of 2013. I probably spent 4 hours conversing with him in some form or another, but he left an unforgettable impression on me. I respect his work and artistic vision, but I will never forget him for his grace, openness, and thoughtfulness. We live in a boisterous and fast-moving world, but this conversation with Rodney always reminds me to slow down and turn down the noise in my life. He lived at his own pace, and what you see in his images reflects Rodney's personality. I hope this audio recording will give you a glimpse into his motivations, creative process, and the deep critical thinking he put into everything. Learn more about Rodney Smith at rodneysmith.comThe Rodney Smith Estate has released a new book entitled Rodney Smith: A Leap of Faith.“The first retrospective on the work of Rodney Smith weaves together a bio-critical essay by Getty Museum curator Paul Martineau and an assessment of Smith's technique by the Center for Creative Photography's chief curator, Rebecca A. Senf. Introduction by Graydon Carter. It maps Smith's creative trajectory—including his introduction to photography, early personal projects, teaching, commissioned pieces, and career in fashion—and provides insight into his personal life and character, contextualizing his work and creative tendencies within his complex emotional and psychological makeup. Rodney Smith is the definitive record of the life's work and worldview of a truly original artist.”I recently received a copy of A Leap of Faith, and it's an incredible book that is printed beautifully. This is not a paid sponsorship of any kind. I'm genuinely grateful for Rodney Smith taking the time to chat with me 11 years ago, and I think you'll appreciate his work and his approach to life and art. Rodney Smith Podcast Transcription:I'm 65 years old, so I've been a photographer for 45 years. I guess there's a fair amount of experience with that. And, um, and I've gone through quite a bit, um, as far as the changes in photography. but going all the way back, probably the very first, I don't know, maybe a slightly unconscious inclination that I wanted to be a photographer started when I was 16 years old and my father gave me a camera.I took a teen tour. That's what kind of popular when I was a young boy. with oth with other students my age, and we went around the United States and then we went into Mexico my father gave me a camera for that trip. on the, the, the Mexican part of the trip, we took a train from New Villa Laredo, Texas to Mexico City.I remember this actually quite well. And [00:05:00] the train, there was a landslide across the tracks on the train. And the train stopped and it was sort of took about four days for them to clear the rocks from the tracks. And during those four days, we would get out off the train or there were many young children from Mayville Villages who would come by the train trying to sell everybody something.And And it was their faces that really, um, appealed to me.And I remember when I got back after the tours all over, my father looked at these pictures and, uh, there were no pictures of my contemporaries on the trip who were my, you know, people from all over the country were my age. But there were all these pictures of Mexican children. And, um, I remember my father being kind of discouraged and saying, why aren't there any pictures of you're contemporaries, that was probably the very first, and I guess somewhat unconsciously, I said inclination. The main kind of epiphany when I actually knew I said this, I want to be a photographer, was much later [00:06:00] when I was in college, probably my senior junior, I can't remember exactly whether it was my junior or senior year in college.And I was home for the holidays, just around this time, actually, probably a little later in, in December. But, I remember I went to the Museum of Modern Art, um, which had a permanent collection of photography. Um, I'm a New Yorker and so I was home in Manhattan. and I'd been there many times before and I don't know exactly what initiated me to go to this collection of pictures I had seen before, but I did.And I think the important part of this was that Edward Steon was still the curator of photography at that point, and I think his sensibilities were much closer to Toine, than maybe more contemporary curators. the permanent collection was composed of pictures of Gene Smith, Arthur Lang, Margaret Burke, white Stieglitz, and Steon.And I remember walking through this, gallery and thinking, having an epiphany. And I remember basically having it in front of Eugene Smith picture, and thinking, oh my [00:07:00] God, I can do this. , and this is what I want to do. And I think it's a, that's a fairly simplistic response to a very complicated question.But from that moment on, I knew that this is what I was going to do with my life. Now, I don't think it meant to me that I was gonna copy the work of these people. I think what I realized at that moment was I, I could take my feelings and put them on a piece of paper.And I think that's what the revelation was to me. That I had all these anxieties and these fears and all these feelings, tremendously powerful feelings inside me without an outlet to express them. And I realized that photography was the perfect medium for me to do this. And from that moment on, and it was a number of years.Afterwards that I actually became a photographer. But from that moment on, I knew I wanted to be a photographer.[00:08:00] in college I was an English major and then I became a religious studies major and I, um, was sort of both. I graduated with both and then I went on to graduate school to study theology actually, and, but also with the intention of taking half my credits in the photography program.I wanted my degree to be in [00:09:00] theology, not photography. but I did, while I was in graduate school, singularly learn my craft, I spent a great deal of time and the program at that time was really quite wonderful. Learning, the craft of photography. We learned the Z Zone system photography.One you had to use a large format camera. And it was a really great discipline. So I learned the craft, but I also learned what I, I, I developed a vision, or I nurtured a vision of what I wanted to say is about studying theology. unfortunately, and I probably, somewhat uncomfortable for a lot of people.I think, and I, I don't wanna say this unequivocally, that I think this is the case in most time, but it's very hard to nurture a vision studying the craft of photography. I think that the, one of the last places one would really learn to be a photographer is in an art school, just studying photography.Now I know that's probably not a popular thing, but that's sort of how, what I believe, I think one has to have a vision and how [00:10:00] one nurtures and develops that vision, I think is by, doing something quite contradictory to the physical craft of making a picture.I didn't study theology with any intention for looking for any answers to questions. I, I studied theology to, to sort of initiate the questions. Um, from 40 years later, I still don't have any answers. And, and I'm not sure I actually believe I could have them, but, but what I really did love was learning how to ask the right questions.And that's, that's what studying theology did, did for me. Now, what, what do I mean by that? Asking the right questions. Well, I think theology or some of the issues that really were important to me were questions about human [00:11:00] existence. Who are we? What do we stand for? How do we fit into this world around us?What is the nature of evil? What is the nature of good? What is the nature of man? And so it's all these questions about how the human being fits into the world and the surroundings around him. And those are still some of the prevalent themes I think, that are really important in my work. So, While I was studying the craft of photography, I was sort of, I was hope anyway.And I, I think it, I think correctly I was nurturing this vision about, or learning for how to perform to my feelings intellectually so that I could sort of integrate the two when I actually began to make pictures. And I think it worked out during the time of me doing this. I mean, I had tremendous disapproval and, um, I don't know, people were kind of a guess, why are you doing this?Why are you wasting your time studying theology? You know, I was in my [00:12:00] family, I was expected to do something more business-like, or do something. They're quite different. and nobody, except for my wife or the done, no one who gave me any support, they all thought I was totally crazy. But I actually. And I probably couldn't articulate it exactly why I thought it was really important to do it.I just intuitively knew in my heart that this is what I wanted to do and um, I'm actually very happy I did it. I don't have any regretsI'm definitely of the school of thought that you sort of, your present is definitely formed from your past. Um, and so I I I, I would definitely think that probably a, a great deal of it is not, I don't know all of it, but a great deal of it derived from my upbringing. Um, my, my mother and father who are now both dead close to 40 years.Um, my mother 30 and my father 40 would be kind of shocking that they're still still such a prevalent and powerful force in my life. But they [00:13:00] are. And um, you know, I was, my parents were very, my father was very affluent. He was a CEO in, uh, some fashion companies and I grew up sort of in a 19th century.lifestyle and existence. Um, when I look what it, what seemed quite normal and natural to me as a young boy. Now when I look back on it seems, you know, really from the 19th century. there was this kind of real love of refined things.Things were always beautifully done. Everything was perfectly in its place. There was an order to everything. There were many people who taken care of, you know, servants who made things perfect and beautiful. And even though part of me was rebellious against that, I always loved it. I mean, quite honestly, I did, I, not that I loved some of the accoutrements of it, but the, if you looked at it physically, I loved it.And it definitely had an effect on me. And I think my pictures represent the [00:14:00] more positive aspects. Of my life. I don't think they, my upbringing, I mean they, um, I'm not saying that at all. They are. That's the way it was. Cause there was a lot of negative things to it. Many negative things. Perhaps even more negative things than positive things.But, the pictures are represent that world at its very finest. It's sort of like an affirmation of what can be, what a gentleman really, what the word gentleman, if you define it and you just dissect it, you know, to a gentle man or a nobleman. It, it's sort of those things, if they really existed in the world, if there really were gentlemen and if they really were nobleman, it's not that it's impossible, but it's slightly out of reach.that's sort of what I think my pictures are about. Sort of how does one sort of aspire to greatness? What you have this potential inside you and how do you realize this? I think that's sort of what the pictures are. one last thing about that, now [00:15:00] I'm, as I said, 65. So one in the sixties, the very early sixties when Kennedy was president.I was in high school. I was I think a junior in high school. And, um, that era was, you know, there was like the last feig of sort of, uh, what I would refer to as elegance and grace and beauty in, in a lot of things. Not just fashion, which my father was very much a part of, but many things was still, there was a world was holding onto it.And then the hippie movement, the anti-war movement in the sixties, it all sort of tore all that apart. But the early sixties, maybe up to 65 or something like that, 64, 65 were the last remnants. Of an error, like was when Carrie Grant and, um, and Audrey Hepburn and Leslie Caron and all were still really popular.It was, it was a slightly different era and then everything changed in the, by the, by the 1970s and the world became a different place.[00:16:00] I hear that comment, something like that quite often. Um, that, that you could tell a story from the pictures that you were sort of caught in the middle of the story and you're curious about what happened prior and afterwards. I have to tell you consciously anyway, when I'm taking the pictures, I'm not aware of that at all.but I am kind of a literary soul. I've al in every book I've ever done, there's always been writing. I've done four books and that every book has writing and photographs in it in one form or another. I always been around writers. I, when I was very young in college, before I decided I wanted to be a photographer, I thought I was gonna be a novel.But I, I, I had the sentiment but not the skill, and I quickly realized that. So, but I guess [00:17:00] writing has always, um, been a part of me. So when you say that about the pictures, that's actually quite a compliment to me because I'm not aware of it. But if they do tell a story, uh, or there's like a fragment of the story, that would be kind of a wonderful thing and I would really like that.Although when I'm taking it, I'm not aware of that.the pictures are taken completely spontaneously. I know this is one of the ironies to me of, of a lot of, sort of sets off a whole discrepancy about photography in general and modern photography, but all the pictures was referred to as the lifestyle pictures of the last 10 years or 15 years are much more controlled and created.even though they look like they're spontaneous and of the moment, they're much more created pictures than mine, which look very serene, controlled. My pictures five seconds before I took the picture, I didn't know I was gonna take that picture. And not in a hundred percent of the instances, but at least 60, [00:18:00] 70 or 80% of the time, the picture is completely spontaneous and I may have set something up and so, but I don't know what the, what the end product's gonna look like.And then all of a sudden something, somebody does something or something happens, or the light changes, or it can be many things. And all of a sudden I say, take the picture and I take the picture. And I didn't know I was gonna take that exact picture five seconds before I took it. so I think that's kind of always been kind of interesting to me that although my pictures look quite serene and controlled and um, like they were art, art directed, um, or created under sort of very sort of, um, Rigid requirements.Totally the opposite.I'm definitely always first looking for the location, which would be the landscape or the environment. Once, once I've found the environment, I can always make the pictures. you know, I was, when I was very young, I was a landscape photographer, um, as well as shooting portraits. And [00:19:00] then I think one of the great things that happened to me was, , I began to integrate the two together.I began to put people into the landscape, which is a very different thing than placing somebody in front of something. I think most people take pictures in an environment and they stick a figure or a person or a thing in front of something and they refer to that. You know, as, I don't know that term.I can't stand environmental portraits or whatever that is. I the term I really do not like. But that, that's not the way I would operate. The person has to be sort of placed in an environment as part of it. And actually it goes back to the previous question about the spontaneity of the, of the pictures.The reason why I can shoot these pictures so quickly is because I can very quickly get to this place where I think everything is right. I mean, almost instantaneously I will know this is the place I need to make this picture. Now, there may be a few other places too, but I'll start at this place that feels absolutely right to me.but for me, the pictures are, are totally [00:20:00] controlled or by the environment. That's why the location work for me is by far the hardest part of making pictures is finding a location I like. and then once I've found, , which is a really rigorous and very exhausting process. but once I found this, this location, I don't want to know what the picture's gonna look like.I, you know, when I'm scouting it, it may be gray or rainy, or it may be it's sunny and then the day of the shoot it's raining. Or I may look at it in the morning and I may be there in the afternoon and the light's totally different. So I never know what the picture is I'm gonna make there, nor do I want to.I've never shot Polaroids in my life. I don't want to do any of that things. I just want to trust my instincts. And once I've found a place that seems appropriate or great, I'll say I can make pictures here and that's all I want to know. And then I'll go away until the, until the time I physically shoot the.there are sometimes requirements about what I, I need to find, but the, probably it's the same thing no matter what I'm looking for. And that [00:21:00] is a place that has a sense of history to it, which is hard for me in America. , I, it's gotta have a certain Betina to it and character to it.Um, sometimes it's the question of the light in the place, but it's, it's, it's a whole thing, a landscape. It's just gotta feel ex eccentric or original or special. To me. It's definitely my vision. but I think like if I'm looking for an interior place, There's kind of a characteristic that's involved that's in all the pictures, and that is, it's got a certain history to it and depth has been sort of aged nicely.I rarely would shoot in a brand new location that, that hasn't aged or settled into its environment. I sort of like how things fit into a place and if, unless the location does that on some level, there isn't a history there, I probably wouldn't be interested in it. you know, I was once doing a shoot in Phoenix, Arizona, you know, and I remember scouting the city of Phoenix and I [00:22:00] couldn't find anything that I really felt worked.I mean, it was to do it more hotel and a few other things I thought were great. But what I found really great was the landscape around Phoenix. I mean the part that was untouched. and that's where I ended up shooting the picture. Sometimes, often if I'm in Paris or in London, I can find hundreds of locations that appeal to me.because they have this history to them. The man or somebody has interacted with this location for, for quite a while, and it, and that you can feel the patina of the interaction of the two. and that's what, that's what really I like.And also, you know, American cities, um, they build these skyscrapers and they tint the glass to keep the light out. in Europe, luckily still, the older buildings are all oriented and, and the windows are such to let the light in. that's a, that's a huge distinction. You know, they act in European buildings, least, you know, the ones that are, I'm attracted to.The light is like a portico. [00:23:00] It's like this entryway. um, and really wonderful things happen with the light. Well, in most new American cities, it's, again, it's to keep all the light out and to keep the temperature and the humidity and the light all controlled from the inside.I teach a workshop, infrequently, but every once in a while and all these photographers come to the workshop and they do not have a voice at all. well, some of them do, but it's pretty minor. Um, and, you know, there's this discussion about whether it's a question of talent, or do you have a question that everyone has their own voice, they just can't express it.And I'm definitely of the school that everyone does have a voice. They just don't know how to express it or expose it. This pops a better word. because this enormous fear is preventing them [00:24:00] from doing it, I mean, you have to tap into the part of yourself that goes really deep.And most people don't know how to do that. Sometimes by a gift of God, somebody has that intuitively or naturally, but that's a very rare gift and I've actually never seen it. most often, people foil themselves, you know, they, they have all these fears and anxieties and frustrations, whether it be dealing with other people or their own fears, their anxieties, and they never get to the level that's required to.Really have a singular voice. I mean, that's the difference between the hundreds of thousands, if not millions of people who take pictures and the few who, who actually are photographers. And it's not so much that I, from my point of view, that one has an innately more talent than the others. Now, a lot of people would argue with that, but I don't think they do.I just think they're able to tap into the deepest, part of their emotional being. And let that part out. And then you never have to worry about being a second rate somebody else. You can much more be a frustrate yourself because no one has your life experiences.No one has your feelings, no one has your thoughts. All those things are unique and special to you. So if you can reach this level they can begin to express the things that reside deep within them, and then all of a sudden their pictures take on a special characteristic that is unique to them and they begin to develop a voice.I think people are, are sort of copying everybody and mimicking everybody and running around buying the right equipment and doing everything that's completely unnecessary to develop a voice. They think that's what they need to do, but it's the last thing that they need to do. If anything, they need to step back and let something begin to emerge from deep within them.That's what will create this special voice. And it's a very hard thing to do. And I think Chuck Close's comment is right. I think photography is particularly through the digital age, much more than even prior when there was a real craft to printing. that there is the most sort of facile of mediums that one can learn even through by taking with a, telephone.You can take a pretty competent picture, but what I mean, but, but what distinguishes one picture from another is the kind of the emotional content of that picture.I've been doing this for 45 years and I still use the same camera that I did when I started 40 years ago. I'm very, very rigorous with my craft. I mean, I'm extremely rigorous. Um, you know, I expose the film very properly and, and so when the day, and I went through a many years of really learning how to expose my film and make prints that represented [00:27:00] my emotional psyche.I mean, I really like dark sh shadow detail and differentiation between that. And my prince used to represent that. And if I was much more interested in highlights, I would've done things quite differently anyway. Anyway, I really loved and grew to really know film. And then when the digital world came along, um, I, there's, there's a great aphorism, but changes, not necessarily an improvement.And I've been watching the digital world very closely and we know I'm kind of a consultant to Epson and we produce digital prints as well as prints that are done in the dark room. You know, we scan the film and then, Make really beautiful, large mural prints, so I, I definitely in it and everybody works for me, is very digitally competent.For myself personally, I haven't seen any reason to change. Personally, I don't really like the digital cameras. Um, I don't like seeing the picture immediately. As I said, I never shot Polaroids. I like the experience. I like to focus on the [00:28:00] experience of making the picture not on what the pic. Every single time everyone stops and looks at the picture, you've interrupted the whole process of making the picture.That would be a terrible thing for me. I like to just to go through the whole process, focus on the thing I am doing, and I like the mystery of not knowing exactly what's on the film. Um, I, I, I don't really like the digital process that much. Now, it may get to a point where I can't get film, which is sort of beginning to happen already, or I can't do the thing and I may have to make that change.But at this point, I would hope actually I have so many people, young people coming to me who say that they really love film much better than digital and they, they shoot on film. So there seems to be a kind of a minor resurgence in film. And it's not that I'm just, you know, such a recluse that I don't engage in the world.I mean, I live in New York, so I'm pretty much so on some level, you know, engaged with what's going on. And if I ever felt that the digital thing was so [00:29:00] much better than what I'm doing, I would change. But so far, most people seem to really love the pictures I make on film. And when we blow them up really big, there's a certain quality to them that people really love.Like I've had many shows at very, you know, at Brooks or um, all the technical schools and all the students who are really technically minded, love the Prince. They keep saying, how did you do this print? No. So, um, for me it's just that there's really no reason to change and of anything, I was kind of in shock that just because something became new, that everyone immediately embraced it.I, I think they must have felt they had to, that, you know, art directors required it or, uh, the world required or, or whatever. And quite honestly, I've never, no art directors ever required me ever that I shoot digitally and they actually kind of like that I shoot on film. They all say, oh my God, this is great. I, I like the fact that, you know, I'm gonna get contact sheets. I really like this. [00:30:00] You know, so, um, I'm sure that there are constraints put on people that they want this, they want that, but I think it's more important for you to tell them what you like best.my previous father-in-law was a really wonderful playwright and, um, very well known American playwright. And over his desk, he used to have this little sign that said, no one asked you to, no one ever asked you to be a playwright. and I think that that's really true. I mean, you, I could wallpaper my walls with rejections.I mean, I've, over my life I've had 50 to one rejection, um, maybe a hundred to one rejection. Um, and since it's such a personal medium, um, for me, this is not a job. This is my exposing my life and my soul and my [00:31:00] pictures. There's no way one can take it personally. It is personal. and I've had many high points.I've had really good years and really, really terrible years, both from financial points of view, from creative points of view, from everything. , but I just, must have something in the way down deep inside me, this knowledge that this is what I chose to do. No one put a gun to my head and said, this is what you must do.And so I chose this, you know, freely and when I'm really down, I just say, you know, you've gotta stick with it. And there have been hundreds of times I thought, I don't want to do this anymore. Um, um, either I have nothing more to say or I don't want to do it, or financially it's been so difficult in my early years it was so difficult and it's still, there was terrible years.I mean, like after nine 11, it was really, I mean, there's been many, many years when things were really terrible from a financial point of view and a creative point of view, or the job, everything. And so [00:32:00] there's like, at times 45% of me that doesn't ever want to take a picture again, that I'm done. And, but there's, luckily there's 55% of me that wants to keep on doing it.that just sort of gets me through it. You know, Hemingway used to always talk about that he would always stop writing the day before and someplace that he wanted to continue because if he didn't have that place the next day to go to, he is not sure he'd ever pick up a pen again. But he looked, had this place where he looked forward to going forward.And, um, I'm not sure I have that. I mean, I definitely can get kind of burnt out and I think the environment or the location or the model sometimes, but, um, many times it's the sense of place around me is what motivates me to take, make pictures. And so that sometimes has to be in a new place and so I can get kind of stuck like everybody else and then I just, um, have to force myself to keep on on going., after 45 years, [00:33:00] I've kind of, um, got this regimen that I. It's not perfect by any means. There's definitely problems with it, but I kind of like, you know, I'm, I don't shoot, you know, I probably only shoot, you know, 30, 40, 50 days a year. which is plenty, which provides me with a lot of, and then, you know, I work on exhibitions or I do all kinds of other things as well.I'm always working around photography, I mean, all the time, but I don't have to be physically shooting to do that. when I was very young, I used to collect, like convince people to buy photography and when nobody wanted to, and this is in the seventies, and I once went to Andre Cortez's apartment and I was talking to him when I was buying a print for somebody.He told me that he would go six months or a year without ever taking a picture. I could understand that perfectly. I could go six months or a year without taking a picture yet. I'd still always be a photographer. for other people I know they have to shoot every day or all the time, or they feel that they're gonna lose it or they're not a [00:34:00] photographer, but that's not the way I work.I think most fashion photography today is pretty mediocre. I think it's all about celebrity and status and they all have the right lunch and the right, they know they date the right models and they all meet the, you know, the right art directors and it's just like in a group that just supports itself, but it's all very mediocre.I don't think that there's this great vision that drives the photographs. Okay. Now having said that, that's just one thing. And I think there have been, I think fashion photography's had its periods where it was the mo really distinguished in the world of photography. I think, you know, in the forties and fifties and perhaps in the sixties, I think Irving Penn.and Norman Parkinson and a few other people were incredible photographers, had a great vision and were quite extraordinary. I think today there's all this celebrity about around these photographers, but I think it's what you do about nothing. And I think the models are the same way. but I do think what is lacking in photo, in fashion photography is not something that, that's, it's actually that hard to find.Again, I find, I, I guess [00:35:00] I have to digress for a second and tell you a story. I probably wrote this once in a blog many years ago. This wasn't quite a fashion shoot. I did, but it was close to it in the sense of the, what, what I thought was wonderful about fashion. I did, I used to God, oh, 20 years ago, 25 years ago, coach Leather had a campaign called Descendants of Famous People, and they photographed all the grandchildren or the daughters or the aunts or whatever of well-known people.And I did about four or five of them. I, I remember the Nathan Daniel Boone's nephew, and I did, the one I'm talk, gonna talk about was Babe Ruth's niece. I photographed her at Yankee Stadium in, um, New York, which is kind of the appropriate place to do it.And I didn't have a chance. Usually I, sometimes I, sometimes I have a chance to meet the person I'm gonna photograph. Um, prior to, but in this case, she lived, I think in Maryland or Virginia, I'm not sure. And they had a flyer up for the shoot. [00:36:00] And I meet her the morning of the shoot in a, you know, in a location van, um, outside the stadium.And I meet her and, you know, I could tell that she feels really terrible about herself. She's looking down, she's kind of forlorned. She, I can just feel like she wants to just disappear. in, into the background, I understood that she was raised in a small trailer, um, in, in Virginia, wherever. And she had really no relation to Babe Ruth other than the fact that she was his niece.But she came from very humble means and was really kind of almost embarrassed about this whole. Thing of taking a picture and just pushed the whole thing would go away. I could feel all this in her presence. So I introduced myself. I tell her, I'm the photographer who's gonna take your picture and if we're gonna take you into this location van, and there's gonna be a woman who's gonna do your hair and another woman's gonna do your makeup and we're gonna style you and dress you and all that.And, and I said, while, while they're doing all that, I'm gonna go away for an hour and go look and find the right location to make the picture of you. [00:37:00] So I go away for an hour and I come back, and I go into the location van and there's this totally different person than the person I had first met before she went into the van.She was standing upright. She looked really beautiful. She became. I saw what a little bit of hair, makeup and new clothes and being pampered, what it could really do to, not just the physical look of this person, but the whole internal emotional sense of who she was. She was transformed and I thought, oh my God, this is an incredible experience.This is a wonderful look. Look, look what fashion can do. Instead of making people feel intimidated or that they're unattractive or something like that, it can make them feel empowered and beautiful and wonderful. This is like a Cinderella story, so I take her for a few hours, I make her portrait. She's looking really beautiful and you know, she, she just looked content and happy and I [00:38:00] think really enjoyed the experience.Goes back to the location. Van takes off all the clothes, you know, goes back to her original clothes and walks out of the van exactly who the person was when she first entered the van with her head down and she goes back to the person she was. Now, I think the important thing of this story for me, it's not really a fashion story, but it is what fashion can do.It is about style and grace and elegance and feeling beautiful and wonderful and special. And it's not about being intimidated because you don't have the money to buy these clothes or you have to have this closed, or you have to have the hottest, newest, ugliest thing imaginable in order to be valuable and worthwhile, that you can have a sense of style and grace intrinsic to yourself.That it comes from inside you, not from the outside. the outside stuff. The accoutrements can help you realize who you really are. So that's again, another place where a personal style is very [00:39:00] helpful I do, I do, I love shooting fashion. It's actually really fits me. and I like the big production of it.I like I'm the kind of photographer that can work with 20 people around me and it. It doesn't bother me in the slightest. I sort of like it. I like the collaboration of everybody, the stylists I've worked with for years. And she'll say, you know, look at this, or This person looks like great here. Or my assistant will say, oh, you should look over there.It looks really great. I love when people do that. I feel it's like this collaborative effort. I like the whole experience of it. I do think that women, this is, you know, I think the world is kind of, so particularly now our soul full of ironies.I think, you know, that most women would not agree with me about this at all, but I think it's been a real give and take before women in the last 25 years, and I'm not sure that they've been given more than, than they. Wanted, yes, they've achieved incredible power to be sort of equal to men. They, you know, they're now working on getting the same rewards as men.Financially [00:40:00] they've achieved great. And I think all that's wonderful. But I always thought, even though my father was a very powerful person, you, you know, as I mentioned, he was the CEO of many companies, and he was, people were really intimidating him. I always thought my mother was the real power in the family.He would never, she in her own private way, controlled everything and got exactly what she wanted. It was a, it wasn't as overt as it is today. It wa it was more subtle, but there was this kind of wonderful thing, quality about her. And she had this incredible life and my father worked very hard to support her.Um, and so she could do what she wanted to do. So, I am not sure what we've gained is better than what we lost. Uh, maybe it is. Probably it is. And anyway, it's not going backwards. That's the way it is. But there is something really wonderful about, um, a kind of more graceful or a delicate, maybe understated power, like that quote you gave of me, [00:41:00] rather than the more overt one.Like when I shot Elizabeth Hurley, who is all about give it, give it to me baby. I mean, she was, um, you know, um, and versus a woman who has a real sense of herself and walks more delicately and quietly,I think, you know, one of the things was, I sort of animated or discussed slightly before was when I was very young, I didn't have a penny. Um, and I was really struggling. One of the ways I was able, I taught a great deal, but one of the other ways I was able to at least make a living pay my mortgage was I convinced people that photography was a really good investment and I would make a small commission.I would buy photographs for people. And one of the things I learned was how little, the curators of photography and the art gallery directors and all these people who were sort of the professionals and experts in [00:42:00] photography knew about photography.They basically knew nothing. They knew how to sell it, , they knew how to talk about it, but they really had not a clue about really what it meant to be a photographer or what the struggles that somebody like Stieglitz or Strand or anybody who's really first grade would go through to really distinguish themselves photographically.Um, it's not so much the financial hardships or meeting the right people or getting the right equipment or all the things on the surface. Those things everybody has in whatever work they do. And there's really no difference. It's just a different set of rules.And what the struggle really comes down to is the emotional struggle. And that is knowing that, you know, the all Socratic oath of no thy self. And learning how to come to grips and deal with the emo your emotional [00:43:00] core, and being able to express and expose that onto a two-dimensional flat piece of paper, is a very, very difficult thing.And then asking people who have not had your experiences, who do not care about you, who do not even know, like people in Russia who don't even know anything about you or the place you live or your experiences, and say, look at this picture and think it's worthwhile. The only way you can really do that on a consistent basis.Yes, you can do something kind of titillating or interesting or on a few pictures, but over a whole body of work. The only way you can really do that is if you are touching something universal. If you are speaking from your heart in a language that everyone can understand because the human psyche and spirit goes way deeper than the culture.And so if you are able to transcend or translate your own personal feelings and put them onto a piece of paper that is a very rigorous [00:44:00] and difficult thing to do and, and requires enormous struggle and turmoil on your part, that's why living kind of the artistic life is not something to be denigrated.It is a very, very difficult and very rare process that very few people, not that they're not capable of doing it, but are willing to take the risks. That that involves 99% of people are not capable or able or knowledgeable enough to do it. It's not that they can't, it's just that they won.um, I have a got a good fortune to be an intern for. Ansel Adams for a week in Carmel when I was in my twenties. And I noticed, you know, he used to meet people and I, I noticed, first of all, I went there. My photographs when I was very young, looked absolutely nothing like his, but I learned all my [00:45:00] technique from him within his own system.So I was really very anxious to have a chance to meet him and work with him. And it was great. Um, and I learned every time when I would go in the dark room with him or when I was sitting around talking to him, I would, he, I would ask him every technical question I could think of that I wanted resolved.And he was very generous and would answer me. But, and what I learned after this week of sort of probing and listening and having him listening sometimes talk to other people and stuff, was that he would tell you exactly what was necessary in order to do something. And basically, just generally what he'd be saying was like, if you want to be a classic scholar, you gotta learn German, you have to learn Latin, you have to read, you have to study, you have to pay your dues, you have to do all these things.and that's how you really get to a place through experience, through testing, through knowledge, through all these different things that will get you to this place where you can be really competent and capable. And I found that nobody, although they all listened to him, [00:46:00] And they nodded their head in agreement.In the end, nobody wanted to pay any attention to 'em. They went off and go, they really, what they really wanted from Ansel Adams was tell me this pill, give me this pill I can take so I can make my pictures look like yours or tell me the quick answer so I can learn how to do something as well as you do it.I want this in five minutes or less, you know? But I really don't wanna spend all the time that's required and all the effort and work you've put into it to do this. And unfortunately, that's not the way the world is. You know, you, you, you sort of get what you pay for, kind of metaphorically speaking about your craft, your technique, your vision, everything.It's not something that you can just, you know, meet the right person, do all this, take a pill, wear the right clothes, be in the right place, whatever it is, have the right camera, have the right, you know, equipment, whatever that is also beside the point. The point is [00:47:00] nurturing and learning and developing a vision that is special and unique to you.Learning what equipment that best represents that vision. Developing it, nurturing it, working on it, reflecting on it, struggling with it. That's what's required to do it, and it's not easy. Takes years. I've never, and I've had the good opportunity to meet many, many well-known people that I really care about, whether mostly writers or playwrights or painters or people of, of great esteem, and not one of them, at least in my, my personal experience, I've never met anybody who was instantaneously successful in my experience.Every one, oh, I totally respect, has worked years to get to that place.I mean, it's, it's, it's, but it's fun to do this. That's, you see, the thing is nobody wants to do it, but when they get immersed in it, it's part of the adventure. the best part of being a photographer is going out, engaging the world, meeting people. And taking, and making the picture, [00:48:00] the actual product, the end result, the artifact is never as good as the experience of making the picture.To me, it's always a disappointment. Now, for other people, like if I mess my wife, she would say that the, the artifact is much better than the experience. And I think many people have said that I can make the world look perhaps slightly better than it was right in front of me. So for many people, the observer, the, the photograph is even better than the experience.But for me, person who's taking the picture or making the picture, the experience of making the picture is the reason why I'm a photographer. I love the interaction with the world, meeting people, engaging people, being a part of the world, having it being sunny, rainy, cloudy, overcast.and somehow having something wonderful immersed from it. That's what I love about being a photographer. that's why being in the studio, all of that has no appeal to me. It's, it's engaging the world we live in. Having an [00:49:00] excuse to participate in it, in a kind of really positive and wonderful way.Saying yes to life over and over again, despite how many hardships you may have. That's the part that I really love. Get full access to Foto at fotoapp.substack.com/subscribe

On this episode of The Snub Club, our crew discusses 1961's Fanny. Directed by Joshua Logan and starring Leslie Caron and Maurice Chevalier, Fanny was nominated for five Academy Awards but won nothing. In this episode, Danny, Sarah and Caleb discuss intense zooms and the current Oscar nominations.   The Snub Club is a biweekly podcast about cinema history where we discuss the film from every year's Academy Awards with the most nominations but no wins. Hosted by Danny Vincent, Sarah Knauf, and Caleb Bunn!   Follow us everywhere! Twitter: https://mobile.twitter.com/SnubClubPod Instagram: https://www.instagram.com/thesnubclubpodcast/ Facebook: https://m.facebook.com/permalink.php?story_fbid=108436691341808&id=108435618008582&substory_index=0   Theme music: Frisbeat by Blue Wave Theory

This week on And the Runner-Up Is, Kevin welcomes Sporcle curator Christof to discuss the 1963 Oscar race for Best Actress, where Patricia Neal won for her performance in "Hud," beating Leslie Caron in "The L-Shaped Room," Shirley MacLaine in "Irma la Douce," Rachel Roberts in "This Sporting Life," and Natalie Wood in "Love with the Proper Stranger." We discuss all of these nominated performances and determine who we think was the runner-up to Neal. 0:00 - 13:00 - Introduction 13:01 - 33:31 - Leslie Caron 33:32 - 53:58 - Shirley MacLaine 53:59 - 1:15:25 - Rachel Roberts 1:15:26 - 1:34:42 - Natalie Wood 1:34:43 - 1:51:29 - Patricia Neal 1:51:30 - 2:26:29 - Why Patricia Neal won / Twitter questions 2:26:30 - 2:33:35 - Who was the runner-up? Support And the Runner-Up Is on Patreon at patreon.com/andtherunnerupis! Follow Kevin Jacobsen on Twitter Follow Christof on Twitter Follow And the Runner-Up Is on Twitter and Instagram Theme/End Music: "Diamonds" by Iouri Sazonov Additional Music: "Storming Cinema Ident" by Edward Blakeley Artwork: Brian O'Meara

Partially due to his desire to not get typecast after his most famous role, as well an urge to escape the pressure put on him by the studios to not be so ‘out' about his homosexuality, Perkins ran away from Hollywood and ended up having one of the strangest careers of any major star in the 60s. Fortunately, his self-imposed exile in France resulted in a bunch of movies that are exactly the kind of thing that the hosts of this podcast are always looking for: lost treasures that every cinephile should know about but not enough do. Pretty much all of these film are worth seeking out, but tune in and find out about at least a couple that rank as all-timers for the Cinema60 crew.The following films are discussed:• Tall Story (1960) Directed by Joshua Logan Starring Anthony Perkins, Jane Fonda, Ray Walston• Psycho (1960) Directed by Alfred Hitchcock Starring Anthony Perkins, Janet Leigh, Vera Miles• Goodbye Again (1961) Aimez-vous Brahms? Directed by Anatole Litvak Starring Ingrid Bergman, Yves Montand, Anthony Perkins• Phaedra (1962) Directed by Jules Dassin Starring Melina Mercouri, Anthony Perkins, Raf Vallone• Five Miles To Midnight (1962) Le Couteau dans la plaie Directed by Anatole Litvak Starring Sophia Loren, Anthony Perkins, Gig Young• Two Are Guilty (1963) Le glaive et la balance Directed by André Cayatte Starring Anthony Perkins, Jean-Claude Brialy, Renato Salvatori• Agent 38-24-36 (1964) Une ravissante idiote Directed by Édouard Molinaro Starring Brigitte Bardot, Anthony Perkins, Grégoire Aslan• The Fool Killer (1965) Violent Journey Directed by Servando González Starring Anthony Perkins, Edward Albert, Henry Hull• The Champagne Murders (1967) Le scandale Directed by Claude Chabrol Starring Anthony Perkins, Maurice Ronet, Yvonne Furneaux• Pretty Poison (1968) Directed by Noel Black Starring Anthony Perkins, Tuesday Weld, Beverly GarlandAlso mentioned:• The Trial (1962) Le procès Directed by Orson Welles Starring Anthony Perkins, Jeanne Moreau, Romy Schneider• Is Paris Burning? (1966) Paris brûle-t-il? Directed by René Clément Starring Jean-Paul Belmondo, Charles Boyer, Leslie Caron

This week on And the Runner-Up Is, Kevin welcomes Eoin Daly to discuss the 1953 Oscar race for Best Actress, where Audrey Hepburn won for her performance in "Roman Holiday," beating Leslie Caron in "Lili," Ava Gardner in "Mogambo," Deborah Kerr in "From Here to Eternity," and Maggie McNamara in "The Moon Is Blue." We discuss all of these nominated performances and determine who we think was the runner-up to Hepburn. 0:00 - 12:29 - Introduction 12:30 - 34:14 - Leslie Caron 34:15 - 57:50 - Ava Gardner 57:51 - 1:18:58 - Deborah Kerr 1:18:59 - 1:39:39 - Maggie McNamara 1:39:40 - 1:58:38 - Audrey Hepburn 1:58:39 - 2:29:27 - Why Audrey Hepburn won / Twitter questions 2:29:28 - 2:34:30 - Who was the runner-up? Support And the Runner-Up Is on Patreon at patreon.com/andtherunnerupis! Follow Kevin Jacobsen on Twitter Follow Eoin Daly on Twitter Follow And the Runner-Up Is on Twitter and Instagram Theme/End Music: "Diamonds" by Iouri Sazonov Additional Music: "Storming Cinema Ident" by Edward Blakeley Artwork: Brian O'Meara

Welcome back to another installment of our favorite bibliophilic game, You Want Me to Read WHAT? The rules are simple: Julie, Eve, and a guest assign each other off-the-beaten path books and then gather to talk about them! This time around, Julie picked the Japanese thriller Seventeen by author Hideo Yokoyama for guest Marc Acito; Marc picked Colette's feminist novella Gigi (which Alan Jay Lerner and Frederick Loewe turned into an anti-feminist musical–remember the 1958 movie that starred Leslie Caron, Louis Jordan, and Maurice Chevalier?) for Eve; and for Julie, Eve picked E. B. White's classic ode to New York City, Here is New York, which opens, unforgettably: “On any person who desires such queer prizes, New York will bestow the gift of loneliness and the gift of privacy.” … So stay tuned to find out whether these books are keepers or never-repeaters! Marc Acito writes and directs musicals, including the upcoming film Mad Woman, starring and featuring the music of Storm Large. He also writes about musicals, including his thinly-veiled, autobiographical novel, How I Paid for College. And Marc is also a treasured former guest of Book Dreams from Episode 23, “Test-driving the A.I. That Claims to Predict & Help Create Bestsellers.” Find us on Twitter (@bookdreamspod) and Instagram (@bookdreamspodcast), or email us at contact@bookdreamspodcast.com. We encourage you to visit our website and sign up for our newsletter for information about our episodes, guests, and more. Book Dreams is a part of Lit Hub Radio and the Podglomerate network, a company that produces, distributes, and monetizes podcasts. For more information on how The Podglomerate treats data, please see our Privacy Policy. Since you're listening to Book Dreams, we'd like to suggest you also try other Podglomerate shows about literature, writing, and storytelling like Storybound and The History of Literature. Learn more about your ad choices. Visit megaphone.fm/adchoices

Happy Birthday to Twyla Tharp and Leslie Caron! --- Support this podcast: https://podcasters.spotify.com/pod/show/dawn-davis-loring/support

Warning: Spoiler-heavy review! For our first episode, the sound is a bit rough, but future episodes are better, honest! Teresa Peschel has been reviewing Agatha Christie movies for two years at our Peschel Press site, so creating a podcast talking to her about them is only a natural! We start off her look at Agatha Christie adaptations with “Murder on the Orient Express,” the 2001 made-for-television version starring Alfred Molina, Meredith Baxter, Leslie Caron, and Peter Strauss. Sponsored by Peschel Press, the publisher of annotated Agatha Christie novels by Bill Peschel. https://peschelpress.com/ If you're in the Dover, Delaware area on Saturday, Aug. 6, 2022, come visit us at the Peach Festival in Wyoming (not Longmire country, but the small town outside of Dover)! Teresa and I will be at the Peschel Press booth all day. For details, visit our website.

Vincent Minelli directs Leslie Caron and Louis Jordan in this adaptation of a stage musical.Support this show http://supporter.acast.com/99-years-100-films. See acast.com/privacy for privacy and opt-out information.

Thank heaven, there's a new Worthy episode out! In this episode Ben and Jon are joined by Austin Gold to talk about the 1958 Best Picture winner "Gigi" and the 31st Academy Awards. The Vincente Minnelli directed musical starring Leslie Caron, Louise Jourdan and Maurice Chevalier, focuses on the budding relationship of a young French girl and a rich socialite.  At the 31st Academy Awards the film took home 9 Academy Awards, setting at record for the time. This episode focuses on the taboo nature of the film as well as how taboo films are treated today. The film's narrative focusing on an underage girl and older man creates controversy that was not discussed at the time of its release. Ben, Jon and Austin also go through the technical aspects of the film as well and how it is used overall.  Is Gigi Worthy for the Best Picture award of 1958? Tell us how we're wrong at worthysubmissions@gmail.com

Movies That Made Me: Episode 1: Heroes Luke Sorba wrote and directed his first movie on Super 8 when he was 18 years old. "The Mirror Within" won in the Novice Category at Streatham and Norwood Amateur Film Club's Annual Awards. He only made one more (apart from some YouTube sketches) but he has since watched 6000 movies made by other people and owns 1600 on DVD. He spent more teenage hours at the National Film Theatre and the Electric Cinema than anywhere else, and is currently on first name terms with staff at Peckhamplex. Over two hundred books on cinema fill his shelves and he has a complete collection of Monthly Film Bulletin magazines (incorporated in Sight and Sound since 1990) going back to 1964. As an actor and writer, as well as a teacher of story telling Luke brings professional experience to his observations but it his status as a super-fan that sets him apart. He is rare among enthusiasts in that there is no period nor genre nor country whose movies he is not curious about. From Intolerance to Inception, The St Valentine's Day Massacre to The Belles of St Trinian's, Do the Right Thing to Dr Dolittle, Zombieland to Nomadland, Superfly to Superman, Tod Browning to Todd Haynes, Federico Fellini to The Fast and Furious, Monika Treut to Monica Bellucci, there is a place for everyone in The Movies That Made Me. Luke Sorba and Andrew Paine previously collaborated on the online improvised comedy show "Unmute". Together they make up Picard Productions. Episode 1 features… Talal Karkouti Talal is a British-Syrian comedian and actor. He is the co-host and producer of The Alexei Sayle Podcast and just won 2nd place in The Musical Comedy Awards 2022. He also co-hosts the music review show DJARBIC with his brother on the Tarboosh Records YouTube channel. Pippa Evans Pippa is an award-winning performer specialising in improvisation and musical comedy. You may have heard her on I'm Sorry I Haven't A Clue on Radio 4 or seen her creating instant musicals with Showstopper! The Improvised Musical. Pippa is the author of Improv Your Life: An Improviser's Guide To Embracing Whatever Life Throws At You and can be found teaching improv workshops online via her website pippaevans.com. She lives in Edinburgh with her husband and her cat. Twitter/Insta @iampippaevans  Our Heroes ALADDIN 1992 (d. John Musker, Ron Clements) Classic Disney from its 90's revival era with Robin Williams at his peak, and centred around a street kid from Agrabah negotiating love, magic and the spite and might of the Grand Vizier. APOCALYPTO 2006 (d. Mel Gibson) Having shot Passion of the Christ in ancient Aramaic, Gibson's next was entirely in Yucatec. One Mayan tribe fights for survival against another while the invading Conquistadors approach to change the land forever. THE WIZARD OF OZ 1939 (d. Victor Fleming) The most famous shoes in movie history propel Judy Garland on an unforgettable adventure that is part fable, part nightmare and fully merits its legendary status. THE SHAWSHANK REDEMPTION 1994 (d. Frank Darabont) iconic prison movie with Tim Robbins and Morgan Freeman trying to stay alive on the inside. While secretly planning life on the outside. CASABLANCA 1942 (d. Michael Curtiz) Humphrey Bogart has retired from, while Ingrid Bergman is facing up, the epic struggle to save Europe from fascism. They meet again… in Casablanca. TAKEN 2008 (d. Pierre Morel) Unofficial remake of “An American in Paris”. With killing instead of dancing.      (Trivia: Maggie Grace who played 55 yr old Liam Neeson's teenage daughter was actually 24. Leslie Caron who played 38 yr old Gene Kelly's love interest was only 19).   Links Luke Sorba (Host) : Twitter @LukeSorbaLabour Andrew Paine (Producer & Audio Engineer) : Twitter @ItPainesMe  

The Worthy boys tap dance their way over to Paris in order to discuss the Technicolor MGM musical film ‘An American in Paris'. Inspired by the 1928 orchestral composition by George Gershwin, this 1950s classic adaptation presents the French city with bright and lavish recreations of the iconic landscape. Our hosts also take a deep dive into the climactic 17-minute dialogue-free ballet featuring Gene Kelly and Leslie Caron. We even debate whether an actor such as Gene Kelly can be considered as an auteur filmmaker based on their critical role to the production. The musical won six Academy Awards out of eight nominations.  Is An American in Paris worthy of all these nominations and awards? Tell us how we're wrong at worthysubmissions@gmail.com #film #academyawards #movies #oscars #hollywood #podcast #bestpicture #actress #actor #1951 #anamericaninparis

Beatie Wolfe interviews the Golden Globe-winning and Oscar/Emmy-nominated stage and screen actress, singer, and dancer Lesley Ann Warren about her decades of work across classic, cult, and contemporary culture. Listen to this show that takes you from "Leslie Caron & the puppets" to "Lesley Ann Warren & the muppets" via the theme of determination and a fairytale or two. Orange Juice for the Ears with “musical weirdo and visionary” (Vice) Beatie Wolfe explores the power of music across Space, Science, Art, Health, Film & Technology by talking to the leading luminaries in each field from Nobel Prize winners to multi-platinum producers and hearing the music that has most impacted them, their “Orange Juice for the Ears”. Beatie Wolfe is an artist who has beamed her music into space, been appointed a UN Women role model for innovation, and held an acclaimed solo exhibition at the V&A Museum. Named by WIRED as one of “22 people changing the world,” Beatie Wolfe is at the forefront of pioneering new formats for music that bridge the physical and digital, which include: a 3D vinyl for the palm of your hand; a wearable record jacket – cut by Bowie/Hendrix's tailor out of fabric woven with Wolfe's music – and most recently the world's first live 360 AR stream from the quietest room on earth. Wolfe is also the co-founder of a “profound” (The Times) research project looking at the power of music for people living with dementia. Lesley Ann Warren's Orange Juice for the Ears First song that imprinted? “Little Man You've Had A Busy Day” by Bing Crosby / First album that shaped who you are? “Eli's Comin'” by Laura Nyro - from the album Eli and the Thirteenth Confession / The music you would send into Space? “Imagine” by John Lennon and Yoko Ono / The song you would have at your memorial? “Somewhere” by Barbra Streisand / The album you would pass onto the next generation? “Over The Rainbow” sung by Judy Garland (composed by Harold Arlen with lyrics by Yip Harburg) // This show first aired live on dublab radio. The podcast was mastered by Dean Martin Hovey.

Leslie Caron is an award-winning actress and dancer who starred in some of the most memorable films of Hollywood's golden age including An American in Paris and Gigi. Leslie was first cast away on Desert Island Discs in 1956 when she was 25, and her return, nearly 66 years later, marks the greatest gap between appearances in the programme's 80-year history. She was born in Paris in 1931 and started ballet lessons at 11 to please her mother, a dancer herself who had performed on Broadway. Her early childhood was marred by the war and growing up in occupied Paris, but when she was 16 she joined Roland Petit's Ballets des Champs-Elysées which opened up a new world of possibility. A year later she was spotted during a performance by a member of the audience - Gene Kelly. He lobbied MGM to cast her as his leading lady in An American in Paris, which launched her Hollywood career. Leslie played the tile role in Gigi both on stage in London in a production directed by Peter Hall, who she married, and in the feature film directed by Vincente Minelli. The film won all nine of its nominations at the 1959 Academy Awards – a record at the time. Leslie went on to star in the L-Shaped Room and later played roles in the films Chocolat and Damage. In 2006 she won an Emmy Award for her part in the television series Law and Order: Special Victims Unit. More recently she was on our TV screens playing the Countess Mavrodaki in the drama series The Durrells. She was awarded the Commandeur de la Légion d'honneur in 2013 and the JF Kennedy Gold Medal in the Arts two years later. Leslie lives in London and describes herself as “almost retired.” Presenter Lauren Laverne Producer Paula McGinley

durée : 01:12:00 - Les Nuits de France Culture - Par Pierre Crénesse - Avec entre autres Edward G.Robinson, Louis Armstrong, Dune Allyson, Chico Marx, Ray Milland, Leslie Caron, Bing Crosby, Ricardo Montalban, Arlène Dahl et Fred Astaire

*in an outrageous French accent* This week we take a deep dive into the 1955 classic "The Glass Slipper" starring Leslie Caron!! Will this adaptation have us saying oui oui? Or will we throw it out with the stale baguettes? Also: we step into Shelly Duvall's Faerie Tale Theatre and take a trip to the Moulin Rouge in this weeks pitch! *can can dances out of the room* Socials! https://www.tiktok.com/@iftheshoefitspod https://www.instagram.com/_iftheshoefitspod/ ——————————————— Attribution: “Through The Woods” by Shane Ivers - https://www.silvermansound.com “Half.wav” by hyderpotter https://freesound.org/people/hyderpotter/sounds/93142/ “Chiming Out” by FoolBoyMedia https://freesound.org/people/FoolBoyMedia/sounds/246390/ “Palace Kitchen Ballet” - The Glass Slipper

Way before streaming services came along and could easily show "limited series" like “The Queen's Gambit,” “Godless,” or “Mare of Easttown,” broadcast television back in the day excitedly came up with a new special way to present longer programs. Thus, the mini-series exploded in the 1970s and was a popular form of television entertainment for decades. Social phenomenon like “Roots” were hugely popular, as was “The Thorn Birds,” but your Film Freaks highlight four terrific TV mini-series that helped set the mold and deliver fabulous entertainment you could enjoy from the comfort of your very own home. These programs helped make stars of performers like Anthony Hopkins, Meryl Streep, Jane Seymour, etc. Everything from the Frankenstein monster to feuding brothers to war criminals on trial to a powerful look at the Holocaust of World War II. Other actors discussed include Nick Nolte, Leslie Caron, Ed Asner, Michael Moriarty, Sir John Gielgud, Agnes Moorhead, and many more. So come join the Film Freaks as they discuss the history of this successful genre and shine a light on four of the best mini-series ever made for television. Today's episode is sponsored by Libro.fm.

durée : 00:57:58 - " Un Américain à Paris ", les 70 ans de la comédie musicale mythique de Vincente Minnelli - par : Laurent Valière - Il a 70 ans, le 26 septembre 1951, la MGM sortait son plus somptueux film musical Un américain à Paris. George Gershwin magnifié par le réalisateur Vincent Minnelli avec Gene Kelly et Leslie Caron. Le film pictural a inspiré nombre de réalisateurs. - réalisé par : Fabien Fleurat

Llega el final de la temporada 5ª y lo hacemos hablando de Candyman, Reminiscencia, García y García, Ice road, de series como The white lotus y Nuevo sabor a cereza; clásicos como El mundo sigue para conmemorar el centenario del nacimiento de uno de los grandes del cine español como Fernando Fernán Gómez y Un americano en París, la joya de Minelli con Gene Kelly y Leslie Caron. Además ponemos también el cierre a la interesantísima edición número 11 del Atlántida Film Fest.

Rewatching Oscar with Jack FerdmanIn this episode, Jack tackles the classic Oscar-winning musical, Gigi.  It was a huge favourite when it came out due to many factors, including being a successful Broadway musical in the early 1950s.  However, does it hold up? Is Gigi still as fun and light-hearted as fans remember it?  Leslie Caron and Louis Jordan may be great to look at, and Maurice Chevalier is as charming as they come, but is it enough for Jack to give it the Re-watch Oscar?  Listen and find out.SUBSCRIBE and FOLLOW Rewatching Oscar:Website: https://rewatchingoscar.buzzsprout.comApple Podcasts/iTunesSpotifyGoogle PodcastsiHear RadioStitcherRSS Feed: https://feeds.buzzsprout.com/1815964.rssSocial Media Links: Facebook, Twitter, LinkedIn, InstagramShare your thoughts and suggestions with us through:Facebook Messanger or emailing us atjack@rewatchingoscar.comMusic by TurpacShow Producer: Jack FerdmanPodcast Logo Design: Jack FerdmanMovie (audio) trailer courtesy of MovieClips Classic TrailersSupport us by downloading, sharing, and giving us a 5 Star Rating.  It helps our podcast continue to reach many people and make it available to share more episodes with everyone.

This month, the team discuss the musicals that have won Best Picture: the good, the bad, and the never agains. Gigi, directed by Vincente Minelli, and starring Leslie Caron, tells the story of 16 year-old Gigi, who begins her training as a courtesan and, in the process, tames the heart of Paris' most eligible bachelor Gaston - played by Louis Jordan. Rob Marshall's Chicago is a razzle dazzle screen adaptation of the broadway musical by Kander and Ebb, starring Renee Zellwegger and Catherine Zeta-Jones as Roxie Hart and Velma Kelly, the most seductive murderesses of the Jazz Age. Thank you to Thomas Whitelaw for our intro music and Rachel Valentine Smith for our artwork. This episode was recorded remotely and so we apologise for any changes in sound quality present.

Welcome to Heilman & Haver - Episode 35.  We hope you enjoy the show! Please join the conversation - email us with thoughts and ideas and connect with the show on Facebook and Twitter and Instagram. ANNOUNCEMENTS Movies of the Decade: Jaws Join us for Movies of the Decade at the Historic Roxy Theater in Bremerton tomorrow, Saturday, July 3rd, when we'll celebrate the 70s with a showing of Jaws, Written by Peter Benchley and Carl Gottlieb, directed by Steven Spielberg, and starring Roy Scheider, Robert Shaw, and Richard Dreyfuss.  We hit the stage at 6:30 to get the show started and TCM's Jeremy Arnold will be back virtually with another entertaining and insightful introduction.    In the Mix: Independence Day Jaws defined a genre, paving the way for multitudes of killer sharks (some in tornados) and overgrown, hungry critters of all kinds.  As did our topic for this week's In the Mix for the science fiction disaster genre.  Independence Day debuted 25 years ago on July 3rd and we're back at the Bay Street Bistro celebrating the film's anniversary with trivia and a new cocktail for you - “The Smoked Independence.”  The Bistro will be open Sunday July 4th and will be featuring our cocktail, so tune into our YouTube channel for In the Mix - Independence Day, then make your reservations.  Have a safe and happy 4th of July! Attend the 2021 West Sound Film Festival  If filmmaking is something that interests you or you just love independent films, make plans to attend the 2021 West Sound Film Festival, August 6th-8th at the Roxy in Bremerton.  Submissions are closed and now the judging begins.  For more info visit westsoundfilmfestival.com and stay tuned right here for festival news and interviews. IN THE SPOTLIGHT:  Susan King When it comes to interviews, award-winning entertainment writer Susan King is as accomplished as it gets.  You heard some of the big names she's spoken with over the years, many of whom Susan grew up watching on the big screen.  She fell in love with movies at the age of three watching Yankee Doodle Dandy (1942) on television and Houseboat at the movies with her parents. Susan quickly became obsessed, as her parents took her to everything from Pillow Talk, The Parent Trap, The Apartment, and Ride the High Country.  Susan became a more serious student of cinema at 17, when she was introduced to such foreign films as Francois Truffaut's Jules & Jim; Jean Cocteau's Beauty and the Beast and Orpheus; and Jean Renoir's Grand Illusion, when she watched the PBS series Film Odyssey hosted by Charles Champlin.   Susan earned an M.A. in film history and criticism from USC and then put it to good use at the Los Angeles Herald Examiner, where she worked for a decade, and the Los Angeles Times, where she was an entertainment writer for 26 years, interviewing such legends as Helen Hayes, Hume Cronyn and Jessica Tandy, Douglas Fairbanks Jr., Janet Gaynor, Loretta Young, Lena Horne, Gregory Peck (Susan played 1930 movie trivia with the actor), Sidney Poitier, Charlton Heston, Debbie Reynolds, Jack Lemmon, Walter Matthau, Judi Dench, Sophia Loren, and Leslie Caron.  Susan was awarded the Press Award from the Publicist Guild in 2012, and the Roger Ebert Award for Diversity in Film Journalism by the African American Film Critics Association in 2015. Her archives can be found at LATimes.com and she is currently active as a freelancer for entertainment news website GoldDerby.com. Susan joins us from her home in Toluca Lake, California. COMING UP NEXT WEEK Join us next week, Friday, July 9th, when we'll welcome Tim Hagen to the show.  Tim is the Founder of the Olympic College Film School and Chair of the Digital Filmmaking Department where he teaches acting, directing, and film studies.

Welcome to Heilman & Haver - Episode 34.  We hope you enjoy the show! Please join the conversation - email us with thoughts and ideas and connect with the show on Facebook and Twitter and Instagram. ANNOUNCEMENTS Movie of the Decade: The Graduate Join us for Movies of the Decade at the Historic Roxy Theater in Bremerton tomorrow, Saturday, June 26th, when we'll celebrate the swinging 60's with a showing of The Graduate, directed by Mike Nichols and starring Anne Bancroft and Dustin Hoffman.  We hit the stage at 6:30 to get the show started and TCM's Jeremy Arnold will be back virtually with another insightful introduction.   WWCA Auditions: The Pirates of Penzance dust off your eye patch and peg leg and come out to Western Washington Center for the Arts in Port Orchard tomorrow at 12 noon and audition for Gilbert & Sullivan's The Pirates of Penzance.  Please come prepared with 16 bars of a song to share and cold readings and a simple dance audition will follow.  Performance dates are September 10th - October 3rd and for more information you can visit WWCA.US or find them on Facebook. Enter the 2021 West Sound Film Festival  If you're more comfortable behind the camera, we invite you to enter your film in the 2021 West Sound Film Festival.  The festival will be held August 6th-8th at the Roxy in Bremerton, but our listeners from around the country and world are welcome to enter.  Just don't delay because submissions close at the end of June.  For more info and to submit your project visit the festival page on Film Freeway and stay tuned right here for festival news and interviews. IN THE SPOTLIGHT:  Susan King When it comes to interviews, award-winning entertainment writer Susan King is as accomplished as it gets.  You heard some of the big names she's spoken with over the years, many of whom Susan grew up watching on the big screen.  She fell in love with movies at the age of three watching Yankee Doodle Dandy (1942) on television and Houseboat at the movies with her parents. Susan quickly became obsessed, as her parents took her to everything from Pillow Talk, The Parent Trap, The Apartment, and Ride the High Country.  Susan became a more serious student of cinema at 17, when she was introduced to such foreign films as Francois Truffaut's Jules & Jim; Jean Cocteau's Beauty and the Beast and Orpheus; and Jean Renoir's Grand Illusion, when she watched the PBS series Film Odyssey hosted by Charles Champlin.   Susan earned an M.A. in film history and criticism from USC and then put it to good use at the Los Angeles Herald Examiner, where she worked for a decade, and the Los Angeles Times, where she was an entertainment writer for 26 years, interviewing such legends as Helen Hayes, Hume Cronyn and Jessica Tandy, Douglas Fairbanks Jr., Janet Gaynor, Loretta Young, Lena Horne, Gregory Peck (Susan played 1930 movie trivia with the actor), Sidney Poitier, Charlton Heston, Debbie Reynolds, Jack Lemmon, Walter Matthau, Judi Dench, Sophia Loren, and Leslie Caron.  Susan was awarded the Press Award from the Publicist Guild in 2012, and the Roger Ebert Award for Diversity in Film Journalism by the African American Film Critics Association in 2015. Her archives can be found at LATimes.com and she is currently active as a freelancer for entertainment news website GoldDerby.com. Susan joins us from her home in Toluca Lake, California. COMING UP NEXT WEEK Join us next week for the second half of our interview with Susan for more interview stories with famous actors and tips for all of us amateur writers.

En el episodio de hoy escuchamos cómo Ángel Ávila, barman de Club Matador prepara un Ginn Fizz de creación propia a una nueva socia; el periodista Rubén Amón presenta su último libro 'El fin de la fiesta: Por qué la tauromaquia es un escándalo... y hay que salvarla', y charla con Jorge F. Hernández, que estuvo a cargo de la presentación esta semana en el club. Andrés Rodríguez, quiosquero del club nos recomienda una revista y un tema musical; también escuchamos 'Hard' y una entrevista con Cecilia Krull y en 'La Cartelera' Giorgio Centi nos habla de la actriz y bailarina Leslie Caron.

Best Pick with John Dorney, Jessica Regan, Tom Salinsky and special guest Matheus Carvalho Episode 83: An American in Paris (1951) Released 24 March 2021 For this episode, we watched An American in Paris, written by Alan Jay Lerner, inspired by and featuring the music of George Gershwin. The director was Vincente Minnelli and the stars were Gene Kelly, Oscar Levant, Leslie Caron, Georges Guétary and Nina Foch. It was nominated in eight categories and won six Oscars, plus a special award for Gene Kelly. http://www.cinemamuseum.org.uk https://letterboxd.com/matcarvalho https://www.facebook.com/VITOProject Next time we will be discussing Marty. If you want to watch it before listening to the next episode you can buy the DVD or Blu-Ray on Amazon.co.uk, or Amazon.com, or you can download it via iTunes (UK) or iTunes (USA). To send in your questions, comments, thoughts and ideas, you can join our Facebook group, Tweet us on @bestpickpod or email us on bestpickpod@gmail.com. You can also Tweet us individually, @MrJohnDorney, @ItsJessRegan or @TomSalinsky. You should also visit our website at https://bestpickpod.com and sign up to our mailing list to get notified as soon as a new episode is released. Just follow this link: http://eepurl.com/dbHO3n. If you enjoy this podcast and you'd like to help us to continue to make it, you can now support us on Patreon for as little as £2.50 per month. Thanks go to all of the following lovely people who have already done that. Alex Frith, Alex Wilson, Alexander Capstick, Andrew Jex, Andrew Straw, Ann Blake, Anna Barker, Anna Coombs, Anna Elizabeth Rawles, Anna Jackson, Anna Joerschke, Anna Smith, Anne Dellamaria, Annmarie Gray, Ben Squires, Blanaid O’Regan, Brad Morrison, Caroline Moyes Matheou, Catherine Jewkes, Charlotte, Claire Carr, Claire Creighton, Claire McKevett, Daina Aspin, Darren Williams, Dave Kloc, David Hanneford, Della, Drew Milloy, Elis Bebb, Elizabeth McCollum, Eloise Lowe, Elspeth Reay, Emmet Jackson, Esther de Lange, Evelyne Oechslin, Flora, Helen Cousins, Helle Rasmussen, Henry Bushell, Ian C Lau, James Murray, Jane Coulson, Jess McGinn, Jo B, Joanne Hayden, Johanna Commins, Jonquil Coy, Joy Wilkinson, Juan Ageitos, Judi Cox, Julie Dirksen, Kate Butler, Kath, Katy Espie, Kelli Prime, Kellie Penfold, Kirsten Marie Oeveraas, Laura Lundy, Lawson Howling, Linda Lengle, Lisa Gillespie, Lucinda Baron von Parker, Margaret Browne, Martin Korshøj Petersen, Mary Traynor, Matheus Mocelin Carvalho, Michael Thomas, Michael Walker, Michael Wilson, Ms Rebecca K O’Dwyer, Nick Hetherington, nötnflötn, Olivia, Peter, Rachel Foster, Richard Ewart, Robert Orzalli, Rohan Newton, Ruth, Sally Grant, Sam Elliott, Sharon Colley, Simon Ash, Simon James, Sladjana Ivanis, Tim Gowen, Tom Stockton, Vedhas Hirwe, Zarah Daniel.

Lani Gonzalez is back to discuss her favorite film star and his (un)surprisingly(?) charming 1964 film, Grant's penultimate screen appearance, also his last starring role, and the willingness for the most debonair branded film-star to finally show silver hair, beard stubble, and an untucked shirt. Also:- the juvenile delinquency of director Ralph Nelson;- Oscar-winning writer Peter Stone's varied career;- Leslie Caron;- her character's curiosity for the taste of blood;- and two recent Grant biographies, The Making of a Hollywood Legend by Mark Glancy (which Lani reviewed for Book & Film Globe) plus Scott Eyman's A Brilliant Disguise (which I kinda skimmed).And:- Lani's favorite theatrical screening of Grant's Charade;- trying to locate where the crop-duster sequence from North by Northwest would've taken place on IN-41;- roles Grant turned down throughout his 40 years of commercial success;- how his early vaudeville led him to master physical comedy;- his wives;- LSD;- and Lani's picks for Grant's best, worst, and most underrated films.Gonzalez writes about film for both Book and Film Globe and, alongside her husband (and former guest-host) AJ, their blog Cinema Then and Now.Father Goose is currently available on the Criterion Channel under the banner of “Cary Grant Comedies.” But hurry quick, as it's leaving February 28.

With Francine Stock Francine reflects on the career of Leslie Caron, who is 90 this year, and hears about her adventures in La La Land with Gene Kelly, Fred Astaire and Cary Grant.

durée : 01:25:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Yves Builly - Avec Patrick Brion, Dominique Rabourdin, Daniel Dobbels, Leslie Caron et Daniel Corinaut - Réalisation Isabelle Yhuel - réalisation : Virginie Mourthé

durée : 01:12:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Pierre Crénesse - Avec entre autres Edward G.Robinson, Louis Armstrong, Dune Allyson, Chico Marx, Ray Milland, Leslie Caron, Bing Crosby, Ricardo Montalban, Arlène Dahl et Fred Astaire - réalisation : Virginie Mourthé

In our Season Two finale DJ & Toppie discuss the trivia behind the 1951 Musical, Romance "An American in Paris" starring Gene Kelly and introducing Leslie Caron. A Vincente Minnelli film. Please stay safe (masks and social distancing!) and enjoy your Summer. We'll be back in September. Write to DJ & Toppie at matineeminutiae@gmail.com Leave a comment on our page at matineeminutiae.com Follow the show on Twitter. View our our videos on YouTube. Friend DJ on Facebook This podcast is powered by Pinecast.

It was such a thrill to be able to talk to Leanne Cope about being a ballerina at Covent Garden, being chosen to star in Broadway Hit "An American in Paris", getting to meet with Leslie Caron and being nominated for a Tony Award...Phew! And then there is the incredibly romantic story of her engagement to fellow Ballet Dancer Paul Kay, this one is a very enjoyable listen indeed!Musici Chats is presented by Beth McNinch:Freelance violist living in Ireland.Artistic Director of www.musici.ieTo find out more about Musici Ireland please visit our website www.musici.ieBe sure to Subscribe and tell all you friends about us!!

durée : 01:45:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Pierre Barbier - Avec Lucienne Astruc, Maurice Leroux, Olivier Messiaen, Arthur Rubinstein, André Jolivet, Serge Lifar, Lorin Maazel, Georges Auric, Liane Daydé, Ossip Zadkine, Jacques Hébertot, Jean Wiener, Jean Cocteau, Pierre Bertin, Henri Sauguet, Pierre Schaeffer, Robert Bronstein, Samson François, Roland Charmy, Lily Laskine, Pierre Dervaux, Salvador Dali, Serge Golovine, Olga Adabache, Rosella Hightower, Andres Segovia, Manuel Rosenthal, Désiré-Emile Inghelbrecht, Jean Robin, Zizi Jeanmaire, Leslie Caron, Brassaï, Yvette Chauviré, Jean Jouve, Pierre-Henri Dutilleux, Antal Dorati, Henry Barraud, Georges Prêtre, Rosanna Carteri, Maurice Chevalier, François Mauriac, Grégory Chmara et Cléopâtre Bourdelle-Sevastos - réalisation : Virginie Mourthé

durée : 00:45:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Pierre Barbier - Avec Jean Wiener, Jacques Hébertot, Serge Lifar, Salvador Dali, Henri Sauguet, Serge Golovine, Rosella Hightower, Jacques Bazire, Jean Robin, Georges Auric, Henri Dutilleux, Leslie Caron, Janine Alexandre-Debray, Grégory Chmara, Liane Daydé et Brassaï - réalisation : Virginie Mourthé

Hello lovers! We're back this week with a classic from 1951, An American in Paris. Gene Kelly and Leslie Caron are crossed lovers who meet and form a love square with their additional suitors. Can a down-on-his-luck artist get the girl? He's going to do his best to dance his way to her heart. Backed by a Gershwin soundtrack and featuring a 20-minute dance sequence, An American in Paris was a craze in 1951, but we want to explore how the relationships have stood up over time. 

Cada uno en su casa 12:13 Alejandro Dolina, Patricio Barton, Gillespi Segmento Inicial Dolina: "Hay algunos inventos que deberían ser terminados " 12:38 "¿Cómo escuchar música?" 23:41 Segmento Dispositivo Lilit 1:13:44 "Hi Lili, hi Lo" ♫ (Leslie Caron) 1:26:19 Segmento Humorístico "Cómo acercarte a un chabón" 1:31:05 Sordo Gancé / Trío Sin Nombre 1:54:57 "Milonga sentimental" ♫ (Carlos Gardel) "Madame Ivonne" ♫ (Pereyra - Cadícamo) "Amores de estudiante" ♫ (Carlos Gardel) "Misty" ♫ (Errol Gardner) "Insensatez" ♫ (Tom Jobim)

“An American in Paris” from 1951 is one of the many excellent films starring Gene Kelly. The movie won six Academy Awards including Best Picture. We reviewed two other Gene Kelly films “On the Town” 1949, Episode 2 and “Singin’ in the Rain” 1952, Episode 20. Director Vincent Minnelli had a long and productive career and his leadership shows in this film and the musical numbers.Gene Kelly as the war veteran and artist Jerry Mulligan, Leslie Caron, in her first movie role, as Lise Bouvier, Oscar Levant as the excellent pianist and foil Adam Cook, Nina Foch as Milo Roberts the admirer of Jerry and his art and Georges Guetary as Henri Baurel with a truly beautiful voice blend together for an enjoyable adventure in Paris. Also a cast of neighborhood children, dancers and party revelers provides additional fun in many scenes.The music and lyrics of George and Ira Gershwin and additional music by Saul Chaplin is excellent and memorable. Please join us as we journey to post war Paris in "An American in Paris"Here’s the IMDB page for “An American in Paris”Up next we review “Cover Girl” from 1944. A spectacular musical by Warner Bros. That episode is available now on Patreon. And we also have an episode on “Farewell to Manzanar”. It’s Part 1 of 2 and is exclusive to our Patrons at Tier 3.Support us on Patreon!

Le Divorce We can’t decide if this movie is really, really dramatic or really, really boring…but we love it! Listen and decide for yourself as we discuss Paris, cultural differences, and Leslie Caron! Roxy: You shouldn’t accept expensive gifts from a man. Isabel: Why? Roxy: Because it puts you in a position of having to […]

Pour cet épisode de novembre, on revient à nos premiers amours : les films musicaux de l'âge d'or hollywoodien ! Avec une analyse en profondeur d'Un Américain à Paris de Vincente Minnelli, Oscar du meilleur film 1952, porté par Gene Kelly et Leslie Caron. On raconte plein d'anecdotes sur le film, on parle de la musique de Gershwin, du ballet final, des décors, du casting... Et on termine sur l'adaptation scénique créée au Châtelet en 2014, cette dernière revenant à Paris en cette fin d'année 2019. Plus d'info : https://allthatjazzpodcast.wordpress.com/2019/11/19/gros-plan-n10-un-americain-a-paris/

durée : 01:45:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Pierre Barbier - Avec Lucienne Astruc, Maurice Leroux, Olivier Messiaen, Arthur Rubinstein, André Jolivet, Serge Lifar, Lorin Maazel, Georges Auric, Liane Daydé, Ossip Zadkine, Jacques Hébertot, Jean Wiener, Jean Cocteau, Pierre Bertin, Henri Sauguet, Pierre Schaeffer, Robert Bronstein, Samson François, Roland Charmy, Lily Laskine, Pierre Dervaux, Salvador Dali, Serge Golovine, Olga Adabache, Rosella Hightower, Andres Segovia, Manuel Rosenthal, Désiré-Emile Inghelbrecht, Jean Robin, Zizi Jeanmaire, Leslie Caron, Brassaï, Yvette Chauviré, Jean Jouve, Pierre-Henri Dutilleux, Antal Dorati, Henry Barraud, Georges Prêtre, Rosanna Carteri, Maurice Chevalier, François Mauriac, Grégory Chmara et Cléopâtre Bourdelle-Sevastos - réalisation : Virginie Mourthé

durée : 00:45:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Pierre Barbier - Avec Jean Wiener, Jacques Hébertot, Serge Lifar, Salvador Dali, Henri Sauguet, Serge Golovine, Rosella Hightower, Jacques Bazire, Jean Robin, Georges Auric, Henri Dutilleux, Leslie Caron, Janine Alexandre-Debray, Grégory Chmara, Liane Daydé et Brassaï - réalisation : Virginie Mourthé

Best Pick with John Dorney, Jessica Regan and Tom Salinsky. Episode 47: Gigi (1958) - with special guest Kiri Pritchard-McLean Released 6 November 2019 For this episode, we watched Gigi, written by Alan Jay Lerner (won) with music by Frederick Loewe and Andre Previn (won) from the book by Colette. It was directed by Vincente Minelli (won) and produced by Arthur Freed. The stars were Leslie Caron, Louis Jourdan, Maurice Chevalier and Hermione Gingold. It also won for its Art Direction, Cinematography, Costume Design, Film Editing and Best Original Song. http://www.kiripritchardmclean.co.uk https://twitter.com/killnofillpod Next time we will be discussing The Greatest Show on Earth. If you want to watch it before listening to the next episode you can buy the DVD (it is not available on Blu-ray) on Amazon.co.uk, or Amazon.com, or you can download it via iTunes (UK) or iTunes (USA). To send in your questions, comments, thoughts and ideas, you can join our Facebook group, Tweet us on @bestpickpod or email us on bestpickpod@gmail.com. You can also Tweet us individually, @MrJohnDorney, @ItsJessRegan or @TomSalinsky. You should also visit our new website at https://bestpickpod.com and sign up to our mailing list to get notified as soon as a new episode is released. Just follow this link: http://eepurl.com/dbHO3n.

Hope you brought your knife and fork cause we're about to have a roast. In this episode, Maggie and Ian take on the 31st Academy Award winner, Gigi. Let's just say this one wasn't their favorite, but they discuss why indepth, picking apart the problematic relationships that riddle this Oscar winner. At least the costumes were pretty...

Larry Weinstein and Face2Face host David Peck talk about his new film Propaganda: The Art of Selling Lies, consumerism, art and persuasion, demagogues and Donald Trump, Che Guevara and why religion is the ultimate propaganda.Trailer Synopsis: In a world where access to media is unprecedented, the global conversation around the propagation of information, “alternative facts” and “fake news” has never been more heated. As media outlets become increasingly polarized, and as social media rules information feeds, where does propaganda come into play? How is it influencing changes in the world order? Propaganda: The Art of Selling Lies demystifies the predominant means and methods of propagandist persuasion that have been employed by those seeking power. It explores and analyzes the present day landscape and contextualizes it by looking back at key epochs of history when propaganda defined nations and kept populations in check. From ancient cave drawings, to the frescoes of the Sistine Chapel, to the unbridled stabs of Twitter, every form of media has been exploited in order to sway, awe and intimidate. The intellect is relegated to a distant second place to raw emotion that is fueled by sinister threats and unrealistic promises. The lie overrules the truth and becomes the new reality—alternative facts are dispensed in rants and raves. Propaganda has been at times relatively innocuous, but at others powerful and deadly, especially in the hands of the most infamously demonic demagogues through the ages.About the Director: Weinstein began to make films as a teenager while attending Earl Haig Secondary School.He went on to attend York University's film school. This led to teaming up with Barbara Willis Sweete and Niv Fichman to co-found Rhombus Media in 1979.Weinstein's directorial debut came in 1984's Making Overtures: The Story of a Community Orchestra, which was nominated for an Academy Award for Best Documentary Short and won the first-ever Best Documentary Gemini Award in Canada. Best known for classical-music projects such as Ravel’s Brain, Beethoven’s Hair and Mozartballs, Weinstein made 36 films that have garnered dozens of awards from around the world, including three International Emmy Awards (and several other Emmy nominations) and 12 personal Canadian Screen/Gemini Awards, as well as major awards in Canada, the United States, France, The Czech Republic, Mexico, and Australia.His films have been broadcast in over 40 countries and he has been the subject of many International film retrospectives including those at the Hot Docs Canadian International Documentary Festival, The Jakarta International Film Festival in Indonesia, Doc Aviv in Israel, MOFFOM (Music on Film-Film on Music) in the Czech Republic, The Look of Sound in Germany, Impara L’Arte in Italy, the Havana Film Festival in Cuba, and a recent tribute at TIFF Bell Lightbox in Toronto. York University awarded him an honorary doctorate.In 2015, Weinstein founded Larry Weinstein Productions and his distribution company, Dead Cow International. Weinstein's 2016 documentary The Devil's Horn premiered at the Hot Docs Ted Rogers Cinema. His other 2016 film, Leslie Caron: The Reluctant Star, a documentary on Leslie Caron, premiered at the TIFF Bell Lightbox. Image Copyright: Larry Weinstein and Hawkeye Pictures. Used with permission. F2F Music and Image Copyright: David Peck and Face2Face. Used with permission. For more information about David Peck’s podcasting, writing and public speaking please visit his site here. With thanks to Josh Snethlage and Mixed Media Sound. See acast.com/privacy for privacy and opt-out information.

On this episode, we discuss the thirty-first Best Picture Winner: “Gigi”"Gigi" follows Gaston, a restless Parisian playboy who moves from one mistress to another, while also spending time with Gigi, a precocious younger friend learning the ways of high society. The platonic relationship between Gaston and Gigi changes, however, when she matures, but the possibility of something lasting seems unlikely since he won't commit to one woman. Gigi refuses to be anyone's mistress, however, and Gaston must choose between her and his carefree lifestyle. Directed by Vincente Minnelli, the film stars Leslie Caron as Gigi, Louis Jourdan as Gaston Lachaille, Maurice Chevalier as Honoré Lachaille, Hermione Gingold as Madame Alvarez, and Eva Gabor as Liane d'Exelmans.Here on The Envelope, we discuss & review every Best Picture Winner in the Academy Awards History. We are a Cinema Squad Production, presented on the Cinema Squad Podcast Channel. You can reach anyone here at TheCinemaSquad.com – Just go there to email us, check our bios, and keep up with the latest episode.

Our hosts discuss the 24th Academy Awards winner, the musical An American In Paris. While Maggie and Ian agree on the more technical aspects of the film, they debate the character development and storyline. Will this 1950s romantic musical hold up?

"...Camille se iba, guardándose de tenderle la mano, aunque, bajo la arcada vegetal podada, se atrevió a rozarle vanamente con sus senos embellecidos. Una vez solo, se desplomó en una butaca y, muy cerca de él, en la mesa de mimbre, la gata apareció prodigiosamente. Una curva de la alameda, una brecha en el follaje, permitieron a Camille ver a distancia a la gata y a Alain. Se detuvo en seco, sintió un impulso como para volver sobre sus pasos; pero sólo vaciló un instante y se alejó más presurosa por si Saha, en acecho, seguía humanamente su partida. Alain, medio tendido en el suelo, jugueteaba, con mano hábil y encogida como una pata, con las primeras castañas de agosto, erizadas y verdes..." Buenas tardes, amigos. La novela que hoy nos ocupa, novela corta o relato largo, es “La gata” de Colette, publicada en 1.933, una escritora que fue una mujer adelantada a su época. Era tan extraordinaria que, a pesar del tiempo transcurrido, su obra y su legado continúa vigente Breve cortina musical Sidonie-Gabriel Colette, nació en un pequeño pueblo, Saint-Sauveur-en-Puysage, en el año 1.873. La niña tuvo una infancia y adolescencia felices hasta que su padre se arruinó y la familia tuvo que cambiar de ciudad. La madre librepensadora y atea, mandó a su hija a la escuela pública, le inculcó el hábito de la lectura y la alejó de las sotanas.El primer marido de Colette, Henry Gauthier-Villars, apodado Willy, era un vividor diletante, periodista, crítico musical y novelista popular, que aportó, efímeramente, al matrimonio un hijo fruto del adulterio con una muy notable señora casada.El tal Willy era un era un aprovechado mundano, amigo de la crema intelectual parísina, que disponía de negros para elaborar sus libros. Colette tenía 20 años cuando se casó con él, en 1.893, y fue su Pigmalión y su explotador. Viendo en ella condiciones, la animó a escribir y él firmó con su propio nombre los libros de ella.Así surgió la saga de “Claudine” un éxito inmediato: cinco novelas que evocan la niñez y juventud de Colette, publicadas entre 1.900 y 1.907. Divorciada de Willy, en 1.912 Colette se casa con Henry de Jouvenel, redactor-jefe de “Le Matin” y comienza una carrera de periodista que le llevaría a ser reportera y crítica de teatro.Colette y Jouvenel tuvieron una hija en 1.913, pero debido a las continuas infidelidades, su matrimonio se torció definitivamente cuando Colette se lió con un hijo anterior de Henry, Bertrand, que tenía 17 años. Ella andaba por los 40. La pareja se divorcia. Una de las más célebres novelas de Colette, Chéri, de 1.920, que trata de la relación de una mujer madura y un joven amante, fue llevada al cine, y eso incrementó aún más su fama. Entre elcine y la televisión, hay más de 20 películas realizadas a partir de relatos de la autora, que también escribió teatro y escribió guiones para el cine, en los años treinta, para directores tan importantes como Max Ophüls o Marc Allégret. En 1.944 su novela “Gigi”, tuvo una adaptación teatral, una película francesa y una versión cinematográfica dirigida en 1.958 por Vincente Minnelli e interpretada por Leslie Caron, que supuso la guinda definitiva a su consagración. Colette fue una mujer muy activa: distintos pisos en París, viajes por Africa, Europa, incluida España y Estados Unidos, etc. conformando un talante inquieto y mundano. Con su tercer marido Colette adquirió cierta estabilidad. Maurice Goudeket, con quién se casó en 1.935, un judío al que Colette salvó de las garras de los nazis gracias a Sacha Guitry, estuvo a su lado, con su hija, en su lecho de muerte, cuando Colette falleció en París en 1.954, después de soportar años una artritis de cadera que, al final, la mantuvo inmovilizada hasta su muerte. En la novela corta “La gata”, publicada en 1.933, los recién casados Camille y Alain podrías formar una pareja aparentemente feliz. Mas las exigencias de Camille y la debilidad de Alain no tardan en agriar la paz y la ilusión del matrimonio; Alain no tiene más ojos que para Saha, la gata, de la que dice comprender el lenguaje y con la que mantiene unas relaciones cada vez más vidriosas, hechas de complicidad íntima y de sensualidad reprimida. Camille es una chica moderna, de las que se habían cortado el pelo y las faldas y bailaban el charlestón fumando pitillos ensartados en largas boquillas telescópicas; a ella le fascina conducir su coche, un bonito descapotable de dos plazas y asiento trasero escamoteable, el “roadster”; dos seres, un animal y un objeto tradicionalmente erotizado componen los ingredientes esenciales de un pequeño drama interior que ya ha tenido lugar al principio de la obra, sin que lo sepan los personajes y el lector. En efecto, aquí los papeles están intercambiados desde la primera página y, lo que agrava más el caso, cada personaje proyecta sus fantasmas más íntimos sobre algo que no es el otro miembro de la pareja. Para Alain, Saha es fascinante porque constituye el referente a partir del cual puede reconocerse a sí mismo, estructurar su personalidad y encontrar un frágil equilibrio. Para Camille, el “roadster” materializa su voluntad de poder, sirve para evidenciar sus notables ansias de autonomía, mientras la gata simboliza crecientemente la imposibilidad de realizarse como mujer al lado de su marido. Paulatinamente, el escaso interés que sienten el uno por el otro dejará lugar a un amargo sentimiento de incomprensión y carencia afectiva, que ambos interpretan como desprecio, y que les llevará a sopesar las razones por las cuales no hubieran debido casarse nunca. Esta breve narración de Colette es representativa de los dos grandes ejes de su obra: su acercamiento al mundo de los animales (“Diálogo de animales”, 1.904; “Gatos”, 1.950) y su interés por los problemas de la pareja (“Cherí”, 1.920). “La gata” reproduce un poco el tema obsesivo de Colette: nunca se olvida un verdadero amor y en cualquier pareja siempre late en discordia un tercer corazón. La obra no interesa tanto por el argumento ni por la ambientación, pues ambos elementos quedan reducidos al mínimo, como por la sutileza y penetración con que se analiza una simple desavenencia conyugal, desde el punto de vista de la gata. La autora no pretende más que sugerir al lector, mediante rápidas pinceladas, lo que está pasando. De modo que no presenciamos un juicio, sino que asistimos a una dilatada y educada escena matrimonial cuyas causas profundas debemos entresacar de su propia interpretación del texto. Con el estilo sabroso, sensual y punzante que caracteriza el arte de Colette ésta parece ser la razón última del éxito que merecen aún sus obras: la autora se enzarza con el lector en un intercambio de confidencias, conversación a media luz en la que las cosas se dicen y entienden a medias palabras. Para terminar, decir que es en la personalidad misma de la escritora donde se hayan las razones del arte que le permitió escribir “La gata”, o mejor, en la tipología humana que le corresponde, si no felina, al menos emparentada con el misterio afectivo que envuelve a estos animales. Toda la obra de Colette, aún las más superficiales, está empapada de un ahínco de perversidad que sólo redime la contrapartida de virtud que también existe. Deseo que sean felices, y hasta el próximo programa.

On this episode, we discuss the twenty-fourth Best Picture Winner: “An American in Paris.” "An American in Paris" follows Jerry Mulligan, an American ex-GI, who stays in post-war Paris to become a painter, and ends up falling for the charms of Lise Bouvier. However, his paintings come to the attention of Milo Roberts, a rich American heiress, who is interested in more than just his art. Directed by Vincente Minnelli, the film stars Gene Kelly as Jerry Mulligan, Leslie Caron as Lise Bouvier, Oscar Levant as Adam Cook, Georges Guétary as Henri Baurel, and Nina Foch as Milo Roberts.Here on The Envelope, we discuss & review every Best Picture Winner in the Academy Awards History.We are a Cinema Squad Production, presented on the Cinema Squad Podcast Channel. You can reach anyone here at TheCinemaSquad.com – Just go there to email us, check our bios, and keep up with the latest episode.

Andrew and Dave return in this episode of Films(trips) to talk about the surprisingly decent FATHER GOOSE, the 1964 romantic comedy starring Cary Grant and Leslie Caron! Listen in as the duo try and place the film in its historical context, and fail to explain the title of the movie until two-thirds of the way through the episode! Next Episode: Gregory Peck disapproves of murder. All music by Andrew Kannegiesser.

Best Pick with John Dorney, Jessica Regan and Tom Salinsky. Episode 47: Gigi (1958) - with special guest Kiri Pritchard-McLean Released 6 November 2019 For this episode, we watched Gigi, written by Alan Jay Lerner (won) with music by Frederick Loewe and Andre Previn (won) from the book by Colette. It was directed by Vincente Minelli (won) and produced by Arthur Freed. The stars were Leslie Caron, Louis Jourdan, Maurice Chevalier and Hermione Gingold. It also won for its Art Direction, Cinematography, Costume Design, Film Editing and Best Original Song. http://www.kiripritchardmclean.co.uk https://twitter.com/killnofillpod Next time we will be discussing The Greatest Show on Earth. If you want to watch it before listening to the next episode you can buy the DVD (it is not available on Blu-ray) on Amazon.co.uk, or Amazon.com, or you can download it via iTunes (UK) or iTunes (USA). To send in your questions, comments, thoughts and ideas, you can join our Facebook group, Tweet us on @bestpickpod or email us on bestpickpod@gmail.com. You can also Tweet us individually, @MrJohnDorney, @ItsJessRegan or @TomSalinsky. You should also visit our new website at https://bestpickpod.com and sign up to our mailing list to get notified as soon as a new episode is released. Just follow this link: http://eepurl.com/dbHO3n.

Best Pick with John Dorney, Jessica Regan, Tom Salinsky and special guest Matheus Carvalho Episode 83: An American in Paris (1951) Released 24 March 2021 For this episode, we watched An American in Paris, written by Alan Jay Lerner, inspired by and featuring the music of George Gershwin. The director was Vincente Minnelli and the stars were Gene Kelly, Oscar Levant, Leslie Caron, Georges Guétary and Nina Foch. It was nominated in eight categories and won six Oscars, plus a special award for Gene Kelly. http://www.cinemamuseum.org.uk https://letterboxd.com/matcarvalho https://www.facebook.com/VITOProject Next time we will be discussing Marty. If you want to watch it before listening to the next episode you can buy the DVD or Blu-Ray on Amazon.co.uk, or Amazon.com, or you can download it via iTunes (UK) or iTunes (USA). To send in your questions, comments, thoughts and ideas, you can join our Facebook group, Tweet us on @bestpickpod or email us on bestpickpod@gmail.com. You can also Tweet us individually, @MrJohnDorney, @ItsJessRegan or @TomSalinsky. You should also visit our website at https://bestpickpod.com and sign up to our mailing list to get notified as soon as a new episode is released. Just follow this link: http://eepurl.com/dbHO3n. If you enjoy this podcast and you'd like to help us to continue to make it, you can now support us on Patreon for as little as £2.50 per month. Thanks go to all of the following lovely people who have already done that. Alex Frith, Alex Wilson, Alexander Capstick, Andrew Jex, Andrew Straw, Ann Blake, Anna Barker, Anna Coombs, Anna Elizabeth Rawles, Anna Jackson, Anna Joerschke, Anna Smith, Anne Dellamaria, Annmarie Gray, Ben Squires, Blanaid O'Regan, Brad Morrison, Caroline Moyes Matheou, Catherine Jewkes, Charlotte, Claire Carr, Claire Creighton, Claire McKevett, Daina Aspin, Darren Williams, Dave Kloc, David Hanneford, Della, Drew Milloy, Elis Bebb, Elizabeth McCollum, Eloise Lowe, Elspeth Reay, Emmet Jackson, Esther de Lange, Evelyne Oechslin, Flora, Helen Cousins, Helle Rasmussen, Henry Bushell, Ian C Lau, James Murray, Jane Coulson, Jess McGinn, Jo B, Joanne Hayden, Johanna Commins, Jonquil Coy, Joy Wilkinson, Juan Ageitos, Judi Cox, Julie Dirksen, Kate Butler, Kath, Katy Espie, Kelli Prime, Kellie Penfold, Kirsten Marie Oeveraas, Laura Lundy, Lawson Howling, Linda Lengle, Lisa Gillespie, Lucinda Baron von Parker, Margaret Browne, Martin Korshøj Petersen, Mary Traynor, Matheus Mocelin Carvalho, Michael Thomas, Michael Walker, Michael Wilson, Ms Rebecca K O'Dwyer, Nick Hetherington, nötnflötn, Olivia, Peter, Rachel Foster, Richard Ewart, Robert Orzalli, Rohan Newton, Ruth, Sally Grant, Sam Elliott, Sharon Colley, Simon Ash, Simon James, Sladjana Ivanis, Tim Gowen, Tom Stockton, Vedhas Hirwe, Zarah Daniel.

It's time for our regular Thursday visit with Midday's peripatetic theater critic, J. Wynn Rousuck, who joins Tom in the studio today with her review of An American in Paris, the touring stage adaptation of the Gershwin-inspired 1951 film musical. The Tony Award-winning production premiered on Broadway in 2015, hit the road in 2016, and is just now making its local stop at Baltimore's Hippodrome Theater.Like the classic Vincente Minnelli film -- which starred Gene Kelly and Leslie Caron and won six Academy Awards, including Best Picture -- this award-winning stage adaptation tells the story of an American World War II veteran and aspiring painter who lingers in the newly-liberated Paris of 1945 and falls in love with a young French woman. Also like the film, the stage version weaves their complicated romance through a rich tapestry of George Gershwin's brilliant orchestral works -- including the titular An American in Paris, the Concerto in F and a Second Rhapsody/Cuban Overture medley -- and more than a dozen of the incomparable songs that George and his brother Ira Gershwin penned during the 1920s and 30s. Show numbers include I Got Rhythm, S'Wonderful, But Not for Me, Stairway to Paradise, and They Can't take That Away. And as in the Gene Kelly-choreographed film, a lot of that great music is set wonderfully to dance.An American in Paris is directed and choreographed at the Hippodrome by Christopher Wheeldon, who guides a 30-member cast that (on opening night) featured Kyle Robinson (alternating for McGee Maddox) in the role of American soldier Jerry Mulligan, and Allison Walsh as Lise Dassin, the young French woman who captures Jerry's heart. Matthew Scott played the moody musician Adam Hochberg, and Ben Michael portrayed Parisian singer and Lise's steady, Henri Baurel.David Andrews Rogers is the show's Music Director and Conductor.An American in Paris continues at Baltimore's Hippodrome Theatre until Sunday May 6.

Picks from across the week on In Tune with Sean Rafferty. His guests this week are Hollywood superstar Leslie Caron, who appeared in such classic films as An American in Paris and Gigi; young South African soprano Pretty Yende, who joined us live from The Met in New York; and supreme cellist Mischa Maisky.

"Who could ask for anything more?" An American In Paris (1951) starring Gene Kelly and Leslie Caron.Next Time: The Postman Always Rings Twice (1946)

Old Hollywood Realness - Join Kathleen Noll and Philip Estrada as they gab, gush and recap "Gigi" the 1958 musical from MGM. "Gigi" starring Leslie Caron, Maurice Chevalier, Louis Jourdan, Hermione Gingold, Isabel Jeans and Eva Gabor. Leslie Caron plays Gigi, a young Parisian woman who is not impressed with the French traditions of love. When she is being groomed to be the mistress of the most elidgible bachelor in France love becomes an unexpected obstacle. Directed by Vincente Minnelli with costumes designed by Cecil Beaton.

Sarah Brown talks to Kathy Lette, Leslie Caron, Emma Barnett, Gemma Cairney, June Sarpong, DJ Cuppy, Manal Abazeed of the White Helmets and a host of successful and fascinating women eager to rewrite the code for all girls and women at an event held on 7th March 2017 ahead of International Women’s Day. Join in by listening to this episode of Better Angels, be inspired by their actions and find out how to join in the challenge of #RewritingTheCode for gender equality. This episode looks at those embedded values that are with a girl even before she is born, all the values that surround who she is, what she gets to believe she can be, what the opportunities are that come her way, the doors that are open for her, the support that she gets. While strides have been made in equal opportunities for girls and women, there’s an unwritten code that holds still many girls back at an early age pretty much everywhere in the world. The advent of new technology, changes to the workplace and global political climate, instead of helping, could turn back the clock on progress. This is the episode that sets out to reverse this! Featured in this unique episode is award winning actress and dancer, Leslie Caron, journalist and broadcaster, Emma Barnett, television presenter, June Sarpong, bestselling author, Kathy Lette, radio presenter and former fashion stylist, Gemma Cairney, co-founder of the Stemettes, Anne-Marie Imafidon, television producer, Kate Harwood, Director General of the Institute of Directors, Stephen Martin, Khaleda Yesmin of Theirworld, Vice President of Intel Corporate Affairs & President of Intel Foundation, Rosalind Hudnell, DJ and Producer, DJ Cuppy, former Captain of Afghanistan’s national football team and founder of Girl Up, Khalida Popal, Member of Parliament in the UK, Alison McGovern, and Manal Abazeed of the Syria Civil Defence (also known as White Helmets). For more information about the #RewritingTheCode Campaign go to theirworld.org/rewritingthecode

In which Jeff & KC rock it duo-style, asking each other questions and stuff; KC talks about a cool film called Gigi, with Leslie Caron; OG Ghostbusters gets harshly reviewed by KC; apparently Amy Schumer and Jon Cena had full-on sexy sex on the set of Trainwreck, which Jeff pooh-poohs; Big Bill Clinton was an obnoxious free trader; Jeff and KC disagree without being disagreeable; KC practices a lot of patience, and more!   Songs in this episode:   "Runaway" - AURORA "Ophelia" - The Lumineers

In honor of National Tap Dance Day (May 25), Movie Addict Headquarters revisits a lively discussion with avid dance fan Fausta Rodriguez, co-host Jazz Shaw, producer Nikki Starr -- and host Betty Jo Tucker, a former happy tapper. This encore presentation is dedicated to Bill “Bojangles” Robinson, the great tap dancer whose birthday on May 25 is celebrated every year as NATIONAL TAP DANCE DAY, having been signed into law by President George W. Bush back in 1989 to celebrate tap dancing as an American art form. This episode features a conversation about favorite dancing in the movies, so tap dancing is included, of course. But you will also hear opinions about other forms of dance such as tango, ballroom and ballet. Which dancers will be named the best by the show’s diverse panel? Among the contenders are: Gene Kelly, Cyd Charisse, Gregory Hines, Eleanor Powell, Fred Astaire, the Nicholas Brothers, Ginger Rogers, Debbie Reynolds, Donald O’Connor, Leslie Caron, Ruby Keeler, Vera Ellen, Christopher Walken. Some of the films under consideration during this episode include: Footloose, Assassination Tango, The Bandwagon, Seven Brides for Seven Brothers, Singin’ in the Rain, Shall We Dance, Billy Elliott, West Side Story, Saturday Night Fever, Dirty Dancing, Take the Lead, Flashdance, Hairspray, Easter Parade and Tap.  

Who are the greatest dancers of the silver screen? What are the top dance films and routines? In honor of the upcoming National Tap Dance Day, Movie Addict Headquarters revisits a lively discussion featuring avid dance fan Fausta Rodriguez, co-host Jazz Shaw, producer Nikki Starr -- and host Betty Jo Tucker, a former tap dancer. The encore presentation is dedicated to Derek Hough, one of today’s most dynamic dancers and star of the movie Make Your Move. Fortunately, Derek has recovered enough from his Dancing with the Stars injury to go on tour this summer with his sister Julianne Hough.     Which dancers will be named the best by the show’s diverse panel? Among the contenders are: Gene Kelly, Cyd Charisse, Gregory Hines, Eleanor Powell, Fred Astaire, the Nicholas Brothers, Ginger Rogers, Debbie Reynolds, Donald O’Connor, Leslie Caron, Vera Ellen, Christopher Walken and Bill Robinson, whose birthday is celebrated on May 25 – a date established by the U.S. Congress as National Tap Dance Day in his honor. Some of the films under consideration during this episode include: Assassination Tango, The Bandwagon, Seven Brides for Seven Brothers, Singin’ in the Rain, Shall We Dance, Billy Elliott, West Side Story, Take the Lead, Flashdance, Hairspray, Easter Parade, Step Up, Footloose, Dirty Dancing and Tap. 

Si le New York de Broadway est la première capitale de la comédie musicale américaine, Paris en est la seconde. Le musical cinématographique a plus d’une fois situé ses intrigues entre les Champs-Élysées et la tour Eiffel, axe de brillance et d’élégance, mais surtout terra franca où Lubitsch s’autorise ce que les États-Unis n’autorisent pas, où Minnelli peut libérer son penchant artistique sans craindre qu’on l’accuse de pédanterie. Maurice Chevalier, puis Audrey Hepburn ou Leslie Caron seront les visages de cette France fantasmée où l’on verra également surgir Georges Guétary ou Danielle Darrieux. En somme, le Paris du musical, c’est, avant tout, l’un des exemples les plus achevés d’une géographie imaginaire. (Christian Viviani) Professeur à l’université de Caen, Christian Viviani est spécialiste du cinéma américain et de ses acteurs auxquels il a consacré de nombreux ouvrages. Il est aussi coordinateur et membre du comité de rédaction de la revue Positif.

A very special episode: almost every joke we’ve ever had on the show, collected in one convenient podcast. Black Francis, Tom Jones, Billy Bragg, Leslie Caron and many, many more regale you with miniature tales of guys in bars, lightbulb-changers, penguins and a mainstream cloud. Some are funny. Some are not. But there are lots of them.

“Big Fan” filmmaker Robert Siegel has a clipped conversation with Rico… we meet a modern caveman… and Brendan investigates the Food Trend trend. Plus a joke, or lack thereof, from *the* Leslie Caron.