Podcast appearances and mentions of Lisa Cholodenko

Introducing Julianne Moore at the New Yorker Festival, in October, the staff writer Michael Schulman recited “only a partial list” of the directors Moore has worked with, including Robert Altman, Louis Malle, Todd Haynes, Paul Thomas Anderson, Lisa Cholodenko, Steven Spielberg, the Coen brothers, and many more legends. It seems almost obvious that Moore co-stars (alongside Tilda Swinton) in Pedro Almodóvar's first feature in English, “The Room Next Door,” which comes out in December. Moore has a particular knack with unremarkable characters. “I don't know that I seek out things in the domestic space, but I do think I'm really drawn to ordinary lives,” she tells Schulman. “I've never been, like, I'm going to play an astronaut next. . . . A lot of these stories [are] domestic stories—well, that's the biggest story of our lives, right? How do we live? Who do we love? . . . Those are the things that we all know about.”New episodes of The New Yorker Radio Hour drop every Tuesday and Friday. Follow the show wherever you get your podcasts.

We're spending this month looking at the career of Julianne Moore, and to kick things off we're looking at her performance in Lisa Cholodenko's 2010 Best Picture nominee The Kids Are All Right! Join in as we discuss our first encounters with Moore, her lack of a conventional star persona, the film's family dynamic with a lesbian couple played by Moore and Annette Bening, and Laser's dumb friend Clay. Plus: Which parent named which kid? Does the movie know about bisexuals? Was Paul (Mark Ruffalo) flirting with Zosia Mamet? And were these the weirdest Golden Globe nominees ever? Make sure to rate, review, and subscribe! Next week: Safe (1995) ------------------------------------------ Key sources and links for this episode: Roger Ebert's review of The Kids Are All Right Film Journal International interview with Lisa Cholodenko Chicago Tribune interview with Lisa Cholodenko

THIS IS A PREVIEW PODCAST. NOT THE FULL REVIEW. Please check out the full podcast review on our Patreon Page by subscribing over at - https://www.patreon.com/NextBestPicture SIGN UP FOR REGAL UNLIMITED W/ PROMO CODE - REGALNBP24 - https://regmovies.onelink.me/4207629222/q4j9urzs Our 2010 retrospective continues with Lisa Cholodenko's Best Picture nominee "The Kids Are All Right," starring Annette Bening, Julianne Moore, Mark Ruffalo, Mia Wasikowska & Josh Hutcherson. At the time of its release, this was considered a progressive LBGT film that went mainstream with not just critics but with the Academy (and was a box office hit relative to its budget); how does the film hold up today fourteen years later? Tune in as I, Josh Parham, Dan Bayer & Patreon guest Jack Greenwood discuss our thoughts on the writing, performances, its awards season run, and more in our SPOILER-FILLED review. Thank you for all your support, and enjoy! Check out more on NextBestPicture.com Please subscribe on... SoundCloud - https://soundcloud.com/nextbestpicturepodcast Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture Learn more about your ad choices. Visit megaphone.fm/adchoices

Celebrated for bringing depth and nuance to roles ranging from a drug-addicted art dealer (High Art, Lisa Cholodenko, 1998), to a dying mother meeting her daughter for the first time (Monica, Andrea Pallaoro, 2023), Patricia Clarkson is no stranger to complex emotional terrain. Perhaps that is why she feels somewhat comfortable in the volatile world of A Woman Under the Influence, John Cassavettes' 1974 masterpiece. The film centers around Mabel Longhetti, brilliantly rendered by Gena Rowlands, as a deeply loving, profoundly unstable housewife and mother of three.We explore the extraordinary power and nuance of Rowland's performance, the layered collaboration of Cassavettes, Rowlands, and Falk, and learn the extent to which the film was indeed a family affair. For this iconic film, we could not ask for a better guide than the woman Cooper once dubbed the “Unofficial Queen of Sundance”, Patricia Clarkson. Hosted on Acast. See acast.com/privacy for more information.

Thirteen years ago might not seem like that long ago, but The Kids Are All Right's progressiveness feels a bit out dated. Lisa Cholodenko's intimate story about a family during a time a time of transition and upheaval is done well and with a soft touch and a stellar cast, however in 2023 it falls a bit flat for us. Follow us on Twitter and Instagram and leave us a review where ever you listen to podcasts! Listen to our friends over at CYC! Listen to Joni Mitchell's Blue Theme music by RomanBelov #TheKidsAreAllRight #BestPicture #BestActress #AnnetteBening #BestSupportingActor #MarkRuffalo #BestOriginalScreenplay #LisaCholodenko #Oscars2011 #2011Oscars #AcademyAwards #Oscars

Free Masterclass About Maribeth Fox: Maribeth Fox has worked with Laura Rosenthal Casting for fifteen years and has had the privilege of working alongside major talents like Todd Haynes, Paolo Sorrentino, Oren Moverman, Joachim Trier, Ed Burns, Mindy Kaling, Anton Corbijn, and Lisa Cholodenko as well as up and coming feature directors, Guy Nattiv, Olivia Newman, & Paul Downs Colaizzo. Favorite credits include Olive Kitteridge and Mildred Pierce both for HBO, Jay-Z's music video for Smile, Wonderstruck with Todd Haynes, A Quiet Place, Modern Love for Amazon and Liz Garbus' narrative feature debut, Lost Girls. Two of her three films at the 2018 Sundance Film Festival broke sales records, Late Night and Brittany Runs A Marathon. Most recent credits include Sharper for Apple TV, directed by Benjamin Caron, Bottoms, produced by Elizabeth Banks, Murder Mystery 2 with Happy Madison, and the upcoming A Different Man from Killer Films and A24. How did you become a casting director? I learned how to work with actors, what they need you to tell them, and what they don't need you to tell them about ego. And I just decided to spend five to seven minutes with actors instead of a career with them. So I switched to casting, and I worked for CBS primetime casting for two and a half years, which was a really good learning experience, but corporate wasn't for me. I wanted to do more film, and I wanted to be freelance so my eight-week job with Laura turned into 16 years. How does a casting director get a film job? So oftentimes, we are one of the first people hired and production companies hire us, producers that know us, that know what The material is that we're drawn to. Sometimes we're hired by our directors who you hope to get repeat business if you've worked with them before. The first thing we'll do is read a script to make sure we're creatively aligned and feel like we strategically know how to cast the job. And then we're offered one of two situations. The first situation is. Attach names to this to green-light the rest of the financing. So we do that side, and then sometimes people come attached to a film, which is wonderful news. And they're like, “We just want you to cast this movie if you like it. And this is who's doing it.” So we're normally found by producers and directors, and we're one of the first hires. So, just a question I have: if you are asked to attach a name talent, and let's say it's one part, let's make this real simple, Sure. How long does it generally take to cast a film, would you say, to attach that kind of name talent if it's a good script? It's a long time. It's a long time, so much so that Laura has received producorial credit on quite a few of her features because of the time, attention, and effort it takes to get those attachments in place. You think about somebody, let's say you're offering something to somebody like Julianne Moore. It could take a month for her to read it. Not because she doesn't read quickly but she's got a lot going on. And somebody of that ilk, their whole team, has to read it. She has to read it. Everybody has to have an opinion. They have to have a discussion about it. And so we try our best to set respectful boundaries with agents and managers to say, “We really need this to be read by this time.” But if a creative team is invested in a certain person, oftentimes, that deadline will stretch. So you could be with one actor for a month or more. We try to get them sometimes to line up like their top three for each part if we're doing more than one part so that if there is a pass, it's not an utterly crushing situation. The producers knew that a writer strike was imminent, and I was a little shocked to hear what you said, that you stopped getting calls about six months before. Can you talk about that and what that was like? It's helpful to know just in terms of our similarity to what actors go through that a lot of our business is independent film and that really continued. That was not a problem. We were still getting calls. We were still getting pings for that, but in terms of the book of business that would streamers and network, which is a lot of people's businesses, they anticipated the strike. And normally, we have no shortage of things to read, think about, sign on to, or not sign on to. And I think all casting directors experienced a similar shut-off. That was very different than the strike in 2008 where we were out of work for a little while, but no big deal. But yes, like the work has been. It's been different this time around. How has it been different, do you feel? So I think a lot of people feel, there's a lot of feelings this time around. Where, as there should be, right? I obviously heartily support the actors and what they're going through, and it's, it's time, right? It's time to do this and ensure everybody gets what they're owed fairly. And also, I think there is, within the SAG interim agreement, there's some stuff where I think we all need to work together in community to understand what everybody does and what everybody is going through and maybe have a little bit of empathy and open conversation and understanding because right now, it has felt a little bit of an angrier time and I understand it. Also, It's hard to think about what life will be like after the strike ends, and I don't know. I think a backlog of projects stopped right before the strike or started to shoot, not believing the strike would fully happen. And those are the things that are going to start to go first. And those things are already crewed up. So, from my perspective, could it be an influx of new work? Maybe. I sure hope so. But also, we have to think about all the stuff that got interim agreements is stuff that mostly was already staffed. And so I wonder how much the huge influx, or if it's just going to be figuring out what's actually going to shoot now and what's going to be put to the side. The great news is that I think you're right about the flood. And actors will feel it. And start to work and self-tape again. And hopefully, it'll get back to business as usual. And I think what's very important for actors to understand is it's not only you who is on strike, it's everybody. I'm so proud to stand with the actors that I love and support in my day to day. And absolutely, we are with you a thousand percent. And also, it's real, right? Many people have turned to survival jobs that they haven't had since they were 22. Everybody's done. Employment is out. And you live in an industry town, so every business is thoroughly affected by the lack of availability of income for people. The actors are the ones who are fighting and are going to get the benefits but do remember when you get on the set, there were a bunch of other people who were fighting right along with you, who are not going to get necessarily, the benefits that you were fighting for. They were supporting you, but the hairdressers aren't going to get any more pay, or hair stylists, the grips aren't going to get anything. I think that AI is an existential crisis for actors, and I don't think that is something I cannot give up my voice and my likeness and have you pay me once and that be okay, so I do think it's a worthy fight and as you said, it's a definite fight. I also think it's in the forefront of what humanity will be dealing with. Bartenders will be dealing with it, taxi drivers will be dealing with it, it just has come. Not here first, but here. We don't do any background casting, and I don't know what that life is. But I do think about that entire loss of an industry. That will go first, right? And it already has started to go. They take your picture; they can pump you in if they need an arena full of people. I've had many family and friends during this time try to like talk in a fun way about chat GPT and those types of services. And they're like, have you played around with it? I'm like, no, I don't want to help it get smarter. And I think it will have real ramifications, and it already is having ramifications for our industry. No, I'm not going to hang out on that service, but thank you so much for asking. What do you want actors to know [00:18:00] about self-tapes? So many things. The first thing is it's a grocery store sample. If you're at Costco, yep, that's exactly right. If you're at Costco and the old woman is serving you pizza, you're not going to steal the whole pizza. You're going to take your sample of a square. We do not expect a fully baked moment for a self-tape. I think artists are artists, and folks are getting bored. And so there's a lot of Heavy wardrobe, heavy movement choice the ability and the time to make almost like a short film. It's not the job. A self-tape should look different than how you would behave if you're on a set with a DP. I think the other thing that I've noticed that I've started to see as self-taping goes on and on, as a public service announcement for actors, is... You're getting too good at them, and I'm going to explain more. I think actors are really great at self-taping now, and it can almost feel robotic at times. Because they've gotten so good at knowing and thinking about, their mentality has shifted from what I want to put forward as an artist that's unique to how can I get this job by thinking about what they might want. And so then they know what pace to do. They know what tone it is. They've done their research and all of those brave, bold choices start to get ironed out and it's safe acting work. It's still beautiful work, but it's safe because they're so good at it. They know exactly what they might want instead of infusing their own artistic uniqueness in the mix. And I think casting directors hear the plight of actors, and I think something great that's going to come out of the strike is, I think there's going to be more options offered. So some actors love the self-tape process and bless, please, if that's how you feel comfortable, wonderful. I will still take time to adjust you via Zoom. If you need an adjustment, if I get your self-tape and there's something close to there, I will still take time for you on Zoom and say, hey, and we'll workshop it together. But then there's, we really do hear actors that they want more of us again. I do think that in-person chem reads and callbacks will start to come back. In the meantime, I think casting directors are far more open to reopening Zoom rooms, to make sure that we're available in some tech-helpful live way so that we can make better connections with actors. I still get lovely, vibrant self-tapes on everything that I do. But generally, I think, there's a mindset that I've been thinking a lot about that actors carry that is, I think trained into a lot of people that it's just a scarcity mindset. And so you come out of school and you're told that your job is so hard. There are so many people competing. You're in constant competition. There's not a ton to go around. SAG releases their statistics that only 3 percent of actors are working. And it creates this mindset that can be helpfully hungry and eager. And it can also really destroy the artistic spirit of what an artist has to offer. I think within that scarcity mindset, the goal of this is how I feed my family. This is how I gain health insurance, pension, and welfare. And I can't make that brave, bold choice because we don't have a casting director anymore. You don't have us in the room to be like, “Okay, let's just do that a little bit faster here. I know the director wants this. Let's just clip it up.” Or give you a simple redirect that could really change your performance. Now, a lot of us are doing that. We are adjusting people who give great self-tapes. Actors feel like I've got one shot at this. I'm sending it off into the void. It better be exactly what I think they want. The one thing that I have always stood by is that it's one audition in a lifetime of auditions. I am going to get the opportunity to audition again, and there is enough work for everyone. What's important for me is what's going on in the work. People ask me, “what do you look for in an actor?” And I'm like I'm looking for the actor who shows up a bit early, not too early. Knows they are, knows themselves. They are good at their job and I'm also looking for someone who when the work starts, they're focused on the work and not what I think of their work. Actors do have it tough in the sense that, it's the only art form where you have nothing to stand behind. You're not painting a picture to show me. You're not singing a song, which is separate from your acting. You're not doing a dance, which is your body and your emotions. But it's just you; it's just your subjective raw emotion. And I think what a lot of actors specifically, I love my New York actors in our market, they've all been to school. They're all crafty, great actors. And I think that a lot of actors think, “Gosh, I must be doing something wrong.” And so much of film and television is just subjective look-based. If you're in an audition with me, you're probably a well-trained, good actor. And so it's not about someone being such a better actor than you are. It's about the dinner party atmosphere we're trying to create. And somebody was a better fit. So we invited that person to the dinner party and not you this time. And that's hard. You can be the most talented actor in the world. You get the opportunity, but ultimately it does come down to who doesn't blink at the end. And I also feel that it's the person who knows they are good at their job. And what I want to give actors the perspective of is, you know what? Maybe you're doing everything right. Maybe you're doing everything right. And you just need to keep doing that. Because a lot of times, it's about what's being written. Are there roles for you right now that really fit your marketing package and your type? Do you fit the world? With our eyeballs. And so that has nothing to do with your craft a lot of the time. You do have to think about this as a business. And so you think about putting somebody on set, and when we get to cast somebody and it's their first job on a set like that's a great day. There is like buoyancy and adaptability that we're looking for in people to be able in that callback setting to turn something on their head if needed, to be able to take direction quickly. And if they're not understanding what we mean or what the director means, ask a question. Nobody's going to think you're stupid. Nobody's going to think you can't hear it well, or like that you don't agree. It's okay. We all have days when we're not that great at our jobs. If I give an actor a direction that's not clear, I don't want them to yes to me and nod their head. I want them to ask me a question and follow it up. If you're not understanding, then the two takes are going to look exactly the same. Read the directions out loud. I think it's really important that when you get a breakdown and, they say, submit it this way and, specifically, do your slate at the end. One of the things that I encourage the actors I work with is to really, read the directions out loud, then you know you've heard it, and highlight anything that's specific. Speaking of breakdowns, I think. A lot of times, people's focus on the breakdown will be the small adjective-filled description that we write instead of knowing that if you've got the audition, the breakdown has already done its job, that part of your job has already been done, your agent or manager or you submitted yourself based on the breakdown. I saw your headshot. I selected you. Now it's done. So you briefly look at the breakdown and ensure you're in the realm, but actors often get old breakdowns. And it's not because we're lazy. It's because we don't want to resubmit a breakdown with a subtle change to hundreds of agents and managers. So if an actor gets a breakdown and they're 55, the breakdown says 30 to 40, they freak out or they think their manager or agent isn't doing a good job. It's you just got an old breakdown; you don't have to worry about that anymore. Focus on the work.

Directors Elizabeth Chai Vasarhelyi and Jimmy Chin discusses their new film, Nyad, with fellow Director Lisa Cholodenko in a Q&A at the DGA theater in Los Angeles. In the conversation, they discuss the change in their co-directing process having gone from documentary filmmaking to their first feature film, the physical training Actor Annette Benning underwent for the role, and the inspiration behind why they were drawn to tell this story. The film tells the true story of how 60-year-old athlete Diana Nyad, with the help of her best friend and coach, committed herself to achieving her dream of completing a 110-mile swim from Cuba to Florida. See photos and a summary of this event below: https://dga.org/Events/2023/December2023/Nyad_QnA_1023.aspx

Welcome to Season 4 of What's My Frame!! We have an extra special conversation to kick off the season; today I'm joined by New York Casting Director, Maribeth Fox.  Maribeth has been a part of the Laura Rosenthal Casting office for over fifteen years; working alongside major talents like Todd Haynes, Paolo Sorrentino, Oren Moverman, Joachim Trier, Ed Burns, Mindy Kaling, Anton Corbijn, and Lisa Cholodenko as well as up and coming feature directors, Guy Nattiv, Olivia Newman, & Paul Downs Colaizzo.   Some of Maribeth's favorite credits include Olive Kitteridge and Mildred Pierce both for HBO, Jay-Z's music video for Smile, Wonderstruck with Todd Haynes, A Quiet Place, Modern Love for Amazon and Liz Garbus' narrative feature debut, Lost Girls. Two of her three films at the 2018 Sundance Film Festival broke sales records, Late Night and Brittany Runs A Marathon. Most recent credits include Sharper for Apple TV, directed by Benjamin Caron, Bottoms, produced by Elizabeth Banks, Murder Mystery 2 with Happy Madison, and the upcoming A Different Man from Killer Films and A24. When I say today's conversation fed my soul as an actor, I'm not exaggerating! It was pure joy to listen to Maribeth's stories, experiences casting and compassionate understanding of actor's work... Now let's get to the conversation!! Additional links: Millicent Simmonds, Wonderstruck's interview Millicent Simmonds shares the role that changed her life Bottom's Trailer // premiering August '23 -- Hosted by Laura Linda Bradley Join the WMF creative community now! Instagram: ⁠⁠⁠⁠@whatsmyframe⁠⁠⁠⁠ TikTok: ⁠⁠⁠⁠@whatsmyframe⁠⁠⁠⁠ ⁠⁠⁠⁠IMDb⁠⁠⁠⁠ ⁠⁠⁠⁠What's My Frame? official site ⁠⁠⁠⁠ ⁠⁠⁠⁠Join our monthly newsletter!⁠⁠⁠⁠ What's My Frame? merch; Coming soon!! --- Support this podcast: https://podcasters.spotify.com/pod/show/whats-my-frame/support

Mark and Kenny share their dabblings with Los Angeles, including bungalows, storage units, and random star sightings while discussing the cautionary second song (and second single!) from American Life. Topics include Lisa Cholodenko, Hole, Velvet Underground, the influence of film noir on Madonna, Oscar parties, Debra Winger, Jean-Baptiste Mondino, Guy Bourdin, David Lynch's Mulholland Drive and Naomi Watts, Michael Haneke, performance doubles, Debbie Harry and BLOW-UP, and that notorious MTV Music Awards performance with Missy Elliott, Christina Aguilera, and Miss Britney Spears. And a meeting of pop icons on “Me Against the Music” and Madonna's back to hitch-hiking. Plus, REMIXES (released and unreleased) FOR DAYS, Kenny chases Britney to Vegas, and Mark gets to share a long-gestating riff on Rosanna Arquette. Stretch out, kids, and trip the station, change the channel!

Indie Rock Legend, Lou Barlow, is our guest this week and it was truly an honor to interview him. He created the music for the 1995 cult classic Kids with John Davis aka the band Folk Implosion. We covered this soundtrack for our very first episode. The movie also features a previously released song from Lou's band Sebadoh, and a song from his Deluxx Folk Implosion. The soundtrack spawned the Top 40 Single, "Natural One". We chat about Kids and working with our favorite soundtrack supervisor, Randall Poster. We also discuss the various shows and movies that have licensed Lou's music. We also talk about Lou's acting debut in Lisa Cholodenko's 2002 film, Laurel Canyon (which was scored by Craig Wedren who I interviewed last year for the podcast). And last but not least, we talk about Lou's new podcast, Raw Impressions which he co-hosts with his wife, Adelle. It launched late last year. The podcast can be found wherever you're listening to this one.For More Information about Lou Barlow:Raw Impressions on Apple Podcasts: https://podcasts.apple.com/us/podcast/raw-impressions-with-lou-barlow-and-adelle-barlow/id1655003886Website: https://barlowfamilygeneralstore.com/IG: https://www.instagram.com/loubarlowTwitter: https://www.Twitter.com/theloubarlowIf you'd like to support Soundtrack Your Life, we have a Patreon, where you'll get bonus episodes and more!https://www.patreon.com/soundtrackyourlife

Talking About John Cassavetes' 1974 film ‘A Woman Under the Influence with our guest Tami ReikerIn this episode of Movies We Like, we're joined by award-winning cinematographer Tami Reiker to talk about one of her favorite movies, John Cassavetes' 1974 film A Woman Under the Influence. This is a film Tami has often shown to directors she's worked with as they discuss the projects that influence them and what they want to pull from it to bring in as influences on the project. It's a powerful film that's full of incredible moments brought by both leads – Gena Rowlands and Peter Falk – not to mention fascinating direction by Cassavetes himself. How has it influenced Tami over her career and what does she pull from it?Tami's Current Project Surface on Apple TV+We also talk about the new series she's worked on with director Sam Miller and star Gugu Mbatha-Raw, Surface. For the episodes she worked on, Tami and Miller wanted to use swing shift lenses to amplify the disconnection Mbatha-Raw's character has from the world due to post-accident amnesia. It's a powerful tool and connects directly with their authorial voice.There's a lot to talk about with Tami about both A Woman Under the Influence and Surface on The Speakeasy. Tune in!Join the conversation with movie lovers from around the world on The Next Reel's Discord channel!About TamiAward-winning cinematographer Tami Reiker, ASC, made history by becoming the first woman to win an American Society of Cinematographers award. She took home the ASC Outstanding Achievement in Cinematography Award for her work on the HBO pilot, Carnivalé. Reiker recently worked on the highly anticipated new Apple TV+ series Surface starring Gugu Mbatha-Raw and created by Veronica West, bringing together innovative technology and breathtaking visuals for the first two episodes of the psychological thriller, each with director Sam Miller. She also lensed Regina King's directorial debut One Night In Miami, chronicling a fictional account of a real night when the lives of Cassius Clay, Sam Cooke, Jim Brown and Malcolm X are forever changed. The drama already made history at the 2020 Venice Film Festival as the first film directed by a Black woman to be selected and is also an official selection at the 2020 Toronto International Film Festival.Previously, Reiker photographed the action epic The Old Guard for Netflix and frequent collaborator director Gina Prince-Bythewood. Based on the graphic novel series of the same name, the film follows a group of immortal soldiers who must defeat a corrupt man trying to expose their secret. The feature shattered records after its release, becoming one of the top ten most streamed films in Netflix's history, with Prince-Bythewood becoming the first Black female director to land a spot on the list.Reiker's additional feature credits include: Beyond the Lights for Gina Prince-Bythewood, starring Minnie Driver, Danny Glover and Gugu Mbatha-Raw; the critically praised Pieces of April for director Peter Hedges; and High Art, a visual collaboration with director Lisa Cholodenko, which earned Reiker a Best Cinematography nomination at the Independent Spirit Awards.For television, Reiker lensed: episode one of Woman of The Movement, directed by Gina Prince-Bythewood; HBO Max's Delilah pilot for director James Griffiths; Marvel's Cloak and Dagger pilot; CBS's Charmed pilot, with director Brad Silberling; the pilot for Fox's Shots Fired, the critically praised ten-part series chronicling the investigation of a police shooting; and HBO's Getting On pilot for director Miguel Arteta.After beginning her career and making a name for herself in the New York film community, Reiker moved to Los Angeles where she still lives now, with her son. She is represented worldwide by DDA.Film SundriesLearn more about supporting Movies We Like and TruStory FM's other entertainment podcasts through your own membership. Watch A Woman Under the Influence on Apple or Amazon, or find other places at JustWatch Watch Surface on Apple TV+ Script Transcript Theatrical trailer Poster artwork Flickchart Letterboxd Tami's Website Tami on IMDb Visit our ORIGINALS PAGE to buy books, comics, plays, or other source material for the movies we've talked about on the show. By doing so, you get to find your next book to dig into and help us out in the process as a portion comes back our way. Enjoy!Star your own podcast journey with the best host in the business. Try Transistor today!Join the conversation with movie lovers from around the world on The Next Reel's Discord channel!Here's where you can find us around the internet: The Web Letterboxd Check out poster artwork for movies we've discussed on our Pinterest page Pete Andy We spend hours every week putting this show together for you, our dear listener, and it would sure mean a lot to us if you considered becoming a member. When you do, you get early access to shows, ad-free episodes, and a TON of bonus content. To those who already support the show, thank you. To those who don't yet: what are you waiting for?Become a Member here: $5 monthly or $55 annuallyWhat are some other ways you can support us and show your love? Glad you asked! You can buy TNR apparel, stickers, mugs and more from our MERCH PAGE. Or buy or rent movies we've discussed on the show from our WATCH PAGE. Or buy books, plays, etc. that was the source for movies we've discussed on the show from our ORIGINALS PAGE. 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To celebrate 2 years of Soundtrack Your Life, we present to you a very special guest: Craig Wedren, the former Shudder to Think front man, and current TV/Film composer. Craig fronted the highly influential rock band, Shudder to Think in the late 80s/early 90s before the band turned to soundtrack work. Shudder to Think soundtracked Jesse Peretz's 1997 film, First Love, Last Rites and 1998's Lisa Cholodenko's 1998 film, High Art. Craig continued to work the TV/Film space, creating music for films such as Wet Hot American Summer, School of Rock, and Role Models as well as TV shows like Reno 911, Don't Trust the B*tch in Apartment 23, Fresh Off the Boat, Shrill, New Amsterdam and Yellow Jackets. Shudder to Think happened to be on the bill for Ryan's first concert and Ryan has followed Craig's career ever since. They chat about: How Craig got a crash course in film scoring in college How he continues to work with his crew from college How the all-star vocal roster for First Love, Last Rites came about Why he has a vocal coach credit for Anchorman Returning to Wet Hot American Summer for Netflix How Craig met collaborators: Theodore Shapiro, Jefferson Friedman, and Anna Warronker For More Information about Craig Wedren: Website: https://www.craigwedren.com IG: https://www.instagram.com/craigwedren Twitter: https://www.twitter.com/craigwedren

This episode, Ria and guest Alyson talk about Lisa Cholodenko's 2010 film, The Kids are Alright. The Kids are Alright stars Annette Bening, Julianne Moore and Mark Ruffalo. Ria and Alyson discuss sex scenes, the mundanities of long term relationships and tense dinner scenes. Here's how you can find Alyson: Website: https://www.alysonshelton.com/ Alyson's comic, Reburn: https://www.reburncomic.com/ Reburn kickstarter: https://www.kickstarter.com/projects/reburncomic/reburn-issues-3-4 Instagram: https://www.instagram.com/byalysonshelton/ Follow Femme on Film on Twitter @FemmeOnFilmPod and Ria @riacarrogan and get in touch if there's a film you would like to talk about! Femme on Film is a place to talk about films made for women, about women, by women… just awesome lady folk (and those who identify as awesome lady folk) content that has often been unfairly maligned, misunderstood by critics, and are often way ahead of their time and need a revisit. Ria and a guest discuss all of this and much more! A huge thank you to the Comics in Motion network who has given space to create this podcast. If you would like to come and chat about a film for Femme on Film, drop a message via Twitter. Intro and outro music: Say You Will by Shane Ivers - https://www.silvermansound.com --- Send in a voice message: https://anchor.fm/comics-in-motion-podcast/message Support this podcast: https://anchor.fm/comics-in-motion-podcast/support

CW: Mentions of suicide. Kate and Carl revisit this meditative HBO miniseries from 2014. Directed by Lisa Cholodenko, based on the novel by Elizabeth Strout, Frances McDormand stars as a complicated Maine woman trying to find some meaning in this life as she navigates marriage, motherhood, and mental illness across 25 years in her seaside town.

It's the 4-Year Anniversary of Don't Push Pause!   THE BREAKFAST CLUB is one of the most well-known American films from the 1980s. It roped audiences in with sarcastic, yet endearing humor, then captivated us with its sincere depiction of cutting teenage truths. It became an iconic pinnacle of achievement for all those involved in its creation, but continuing to have mass appeal makes THE BREAKFAST CLUB a legendary film.   //***Discussions include*** Pre-Breakfast Club career history of John Hughes; inspiration behind, writing evolution & revisions of the script; tonal shifts, use of dialogue & conflict; casting & chemistry, rehearsal stories & actors influencing the script; set construction, the film's soundtrack & use of music, problematic elements, release/reception & why this movie is still effective. Emilio Estevez, Molly Ringwald, Ally Sheedy, Anthony Michael Hall & Judd Nelson are THE BREAKFAST CLUB (1985). Directed by John Hughes.   //***Picks of the Week*** Lindsay's Pick: HIGH ART (1998). Ally Sheedy, Radha Mitchell & Patricia Clarkson /// Directed by Lisa Cholodenko. Justin's Pick: JUDGMENT NIGHT(1993). Emilio Estevez, Cuba Gooding Jr., Denis Leary, Jeremy Piven & Stephen Dorff /// Directed by Stephen Hopkins.   //***MurrayMoment*** Bill visits a Kansas high school for the Wall of Fame induction ceremony of influential comedy madman, Del Close. //***Final Thoughts on THE BREAKFAST CLUB.*** Next Episode: ALIENS (1986)     **Visit Our Archive for Four Years of Diving Deep Into the Best Movies Around!** //Please rate, review & subscribe. //Follow on Facebook, Instagram, Twitter & YouTube.  www.dontpushpausepodcast.com  dontpushpausepodcast@gmail.com  //Hosts: Justin Johnson & Lindsay Reber // Music: Matt Pace // Announcer: Mary Timmel // Logo: Beau Shoulders.  Be Kind and Rewatch // May 3rd, 2022

Amy E. Duddleston, ACE has over 30 years of experience in feature and television picture editing. Starting out as an Apprentice Editor, she made her way up to Assistant Editor, working on films like My Own Private Idaho, Corrina, Corrina, and To Die For. As an editor, she has cut 20 features, including High Art, Laurel Canyon, Elegy and Gus Van Sant's remake of Psycho, as well as nearly 80 hours of television on series such as Dexter, The Killing, Vida, Hunters and most recently, Mare of Easttown, for which she received two 2021 Emmy Award nominations. In 2022 she was nominated for two Eddie Awards for limited series editing by the American Cinema Editors, also for Mare of Easttown.She has been a member of the Motion Picture Editors Guild since 1991, and currently serves on the Board of Directors. She is also a member of American Cinema Editors, AMPAS and the Television Academy.On this episode of Screen Culture, Amy recounts how she discovered editing after being “enthralled” by Raging Bull and inspired by the work of editors such as Dede Allen. She shares how her journey as a young apprentice and then assistant editor led her to working out of Gus Van Sant's house during production of the now-iconic My Own Private Idaho, her collaboration with Van Sant on projects including a shot-for-shot remake of Psycho, her work with filmmaker Lisa Cholodenko on films including the groundbreaking High Art, and her recent work in television shaping prestige series such as Mare of Easttown.Amy and Lisa also cover:What it's like to work on a project, like My Own Private Idaho, that becomes culturally iconic: “Most of the time when you're working on something, you just hope people see it”How allowing time for ideas and approaches to percolate is essential in film and TV editing—rushing is the enemy of artThat the process of editing great actors—including Frances McDormand, Kate Winslet, and Patricia Clarkson—is challenging to describe: “You're just trying to follow the rhythms”How Amy turned down an offer to work on Good Will Hunting to edit her friend Lisa Cholodenko's first film, High Art, which became a Sundance sensationHow High Art as an artifact of New Queer Cinema reflected cultural growth, as it's “not a shiny coming-out story,” and how art is essential for “creating space” for new stories and narratives around underrepresented groupsWhat it was like to experience Mare of Easttown's popularity: “The outpouring of love for the show was mind-blowing”Amy is on Twitter as @phantomframe.

High Art is a fabulous yet ultimately tragic story of two star-crossed lovers. Syd (Radha Mitchell), a struggling/aspiring editor at a high end photography magazine, meets Lucy (Ally Sheedy) almost by accident. Lucy, as it turns out, is a has-been yet still talented photographer who Syd quickly sees as her way to the top. However, both women are in relationships: Lucy with fading German actress Greta (Patricia Clarkson), Syd with milquetoast James (Gabriel Mann).  Lucy and Syd fall in love and push each others' careers, only to meet a tragic end. We talk about so many things in this episode, from poststructuralism to relationships to queer death in film & so much more!IG: @vhs_glowTwitter: @vhs_glowMusic by Karl Casey @ White Bat Audio

Today on Wussy Movie Club, the “Sapphic Season” continues as we deep dive into Lisa Cholodenko's 2010 queer family drama “The Kids Are All Right”   The film stars Annette Benning and Julianne Moore as a married couple raising two children and Mark Ruffalo as the recently identified sperm donor.   Joining us today to break down the fashion, the herstory, and the queerness of “The Kids Are All Right”, writer and cohost of the Food 4 Thot podcast, Fran Tirado and Atlanta makeup artist, Erin Chaney.    WUSSY Movie Club is a weekly roundtable movie podcast with a Queer lens, featuring themed seasons and special interviews with Queer filmmakers. Every Wednesday, a rotating cast of LGBTQIA+ voices will dish on their favorite films of past and present. Join the club and be a part of the discussion!   WUSSY Movie Club is part of the WUSSY Podcast Network, hosted by WUSSY Mag (@wussymag)   Produced by Jon Dean @jondeanphoto   Podcast Art created by Nick Sheridan @glass.knuckles   Podcast Music by DJ Helix @1djhelix   Join the WUSSY Movie Club on Instagram https://www.instagram.com/wussymovieclub/    Follow WUSSY Movie Club on Facebook  https://www.facebook.com/WussyMovieClub/

The Kids Are All Right is a 2010 American comedy-drama film directed by Lisa Cholodenko and written by Cholodenko and Stuart Blumberg. It is among the first mainstream movies to show a same-sex couple raising two teenagers. A hit at the 2010 Sundance Film Festival, it opened in limited release on July 9, 2010, expanding to more theaters on July 30, 2010.Nic and Jules are in a long term, committed, loving but by no means perfect same-sex relationship. Nic, a physician, needs to wield what she believes is control, whereas Jules, under that control, is less self-assured. During their relationship, Jules has floundered in her "nine to five" life, sometimes trying to start a business - always unsuccessfully - or being the stay-at-home mom. She is currently trying to start a landscape design business. They have two teen-aged children, Joni (conceived by Nic) and Laser (by Jules). Although not exact replicas, each offspring does more closely resemble his/her biological mother in temperament. Joni and Laser are also half-siblings, having the same unknown sperm donor father. Shortly after Joni's eighteenth birthday and shortly before she plans to leave the house and head off to college, Laser, only fifteen and underage to do so, pleads with her to try and contact their sperm donor father. Somewhat reluctantly, she does. He is late thirty-something Paul, a co-op farmer and restaurateur. Despite his seemingly successful businesses, Paul has always shirked responsibility, most specifically in his personal life. After Joni and Laser meet with Paul, Nic and Jules learn what their children have done and, although they don't want Paul infiltrating their lives, want to meet him - especially as Joni and Laser seem to want to maintain some sort of relationship with him. As Paul's relationship with the entire family grows (which includes his hiring Jules to design and construct his backyard), they have an effect on what he wants in life. In turn, he affects their family dynamic as well as each person's relationships outside of it.TaglinesNic and Jules had the perfect family, until they met the man who made it all possible.Hope you enjoy this weeks episode and all the drooling we doing over what celebrities we have crushes on!

Mercure en Rétrograde oblige, nous avons fait face à quelques problèmes techniques lors de l'enregistrement de l'épisode, qui expliquent une qualité du son moins bonne que d'habitude. Nous sommes désolées pour le désagrément occasionné.La reconnaissance des familles homoparentales peine à s'établir en France jusqu'aujourd'hui. Pour les couples lesbiens, l'accès à la PMA est une histoire sans fin, par rapport à son coût et à la législation qui l'encadre. Quelles sont les responsabilités additionnelles lorsque deux femmes décident d'avoir un enfant ? Dans cet épisode long, Clémentine Gallot et Anne-Laure Pineau répondent aux questions sur la matergouinité que l'on se pose toutes et tous. Les références entendues dans l'épisode : Monique Wittig, “La Pensée straight”, Amsterdam Eds (2018)Elodie Hervé, “Nous avons été des enfants désirés !”, quand les enfants de mères lesbiennes prennent la parole”, Têtu (2021)La Lesbian Mothers Union a été créée en 1971 à San Francisco par Del Martin et Pat Norman pour lutter contre la persécution légale et la séparation de la société auxquelles les mères lesbiennes sont confrontées. La Lesbian Mothers Union aidait les mères à gagner la garde de leur enfant contre les pères puisqu'on leur enlevait les enfants, en punition sociale. Mom's Apple Pie: The Heart of the Lesbian Mothers' de Jodi Laine, Shad Reinstein, Shan Ottey (2006)Le podcast “If These Ovaries Could Talk” est de Robin Hopkins et Jaimie KeltonMathieu Brancourt, “Don de sperme et PMA: pour des gamètes dans leur vie”, HuffPost (2019)La PMA (Procréation médicalement assistée) consiste à “manipuler un ovule et/ou un spermatozoïde pour procéder à une fécondation”, selon l'Institut national de la santé et de la recherche médicale.Elodie Font et Maëlle Le Corre, “La PMA pour les nuls”, First Editions (2020)Caroline Mecary, “PMA et GPA”, Que sais-Je ?, 2019L'association “Les enfants d'arc-en-ciel” accompagne les personnes LGBTQI+ dans leur projet parental et dans leurs démarches juridiques. Bernadette Green et Anna Zobel, “Mes deux mamans”, Talents Hauts (2021)Serge Tisseron, “Le Mystère des graines à bébé”, Albin Michel Jeunesse (2014)Virginie Descoutures, “ Les mères lesbiennes”, PUF (2010)Florent Dezenaire, “Les mères lesbiennes, de Virginie Descoutures”, Revue française des affaires sociales, 2013Imaz Elixabete, “La maternité partagée chez les couples de lesbiennes”, Ethnologie française, 2017A.K Summers, “Pregnant Butch: Nine Long Months Spent In Drag”, Soft Skull (2014)My Mama Wears Timbs: A Short Documentary on Motherhood & Masculinity d'Arrows (2017)Un madmoizeau, “Je suis une personne trans non-binaire et j'ai décidé de porter mon enfant”, Madmoizelle (2020)Alyssa Bailey, “What Do Genderqueer Maternity Clothes Look Like?”, ELLE (2015)L'épisode “Enceint” du podcast Les pieds sur terre de France culture (2021)Florian Bardou, “En France, on a complètement mis de côté la filiation des personnes trans”, Libération (2019)Dominique Sissley, “The Joys and Trials of Getting Pregnant as a Masculine-Identifying Person”, VICE (2018)Le compte Instagram @matergouinité Le compte Instagram et Twitter @Demande à tes mèresAria d'Emilie Jouvet (2017)Mon enfant ma bataille d'Emilie Jouvet (2019)Les podcasts “Maman est gouine” de Déborah FabréLa deuxième saison du podcast “Quouïr” de Nouvelles ÉcoutesLe site internet Mombian mombian.com/category/parenting/ Friends de Marta Kauffman et David Crane (1994) The Wire de David Simon (2002)Grey's Anatomy, de Shonda Rhimes, Abc (2005)The L Word d'Ilene Chaiken (2004)Sex Education de Laurie Nunn (2019)The kids are alright de Lisa Cholodenko (2010)Carol de Todd Haynes (2015)Master of none d”Aziz Ansari et d'Alan Yang (2015)Muriel Douru, “Dis… Mamans”, KTM Editions (2003)Leslea Newman, “Heather has two mommies” (1989)Ocean Vuang “Un bref instant de splendeur”, Gallimard (2021)Mare of Easttown de Kate Winslet (2021)Quoi de Meuf est une émission de Nouvelles Écoutes. Rédaction en chef : Clémentine Gallot. Journaliste chroniqueuse: Anne-Laure Pineau. Mixage Laurie Galligani. Générique réalisé par Aurore Meyer Mahieu. Réalisation, montage et coordination Ashley Tola.

Patricia Velásquez is our very first supermodel turned actress on the show! You Might Know Her From The Mummy, The Mummy Returns, The Curse of La Llorona, Arrested Development, Liz in September, American Family, and The L Word. Patricia opened up about her decision to publicly come out in her memoir Straight Walk : A Supermodel's Journey to Finding Her Truth on the heels of headlining Liz in September, the first Spanish language film about lesbians. We talked about how The Mummy Returns is lesbian canon, why her character on The L Word didn’t get more to do, and what it was like to be on the set of Arrested Development with a bunch of comedy men (and Liza!). All that, plus Patricia gives us the dream exercise that she used to make peace with La Llorona, and tells us tales of making history as the first Latina (and lesbian) supermodel, who happened to be in a relationship with Sandra Bernhard in the 1990s. Truly, what a treat.  Peter Pan Donuts is the best donut shop in all of NYC Real World: Homecoming is Real World Reunion with Eric NIes, Julie, Heather B, Kevin Eric Nies does ayahuasca and is a healer. Not doing The Grind anymore Elle Mcpherson, Christy Turlington, Helena Christensen, Claudia Schiffer Loved Mtv’s House of Style and Cindy Crawford shaving kd lang on cover of Vanity Fair Rupaul’s “Supermodel” Landmark lesbian play: Last Summer in Bluefish Cove (1980 Off Broadway)  Venezuelan director, Fina Torres directed Liz in September (2014) Ivana Chubbuck is Patricia’s acting teacher The Kids are All Right (2010, Lisa Cholodenko)  Patricia’s memoir Straight Walk: A Supermodel’s Journey to Finding Her Truth  Appeared in the 90s fashion documentaries: Unzipped (Isaac Mizrahi) Catwalk (Christy Turlilngton)  Dated Sandra Bernhard in the 90s Appeared on Season 5 of The L Word as Begoña in Jenny’s film, Les Girls (dressed down Kate French) Was friendly with Ilene Chaiken (creator of The L Word) Co-starred in the PBS drama, American Family (opposite Edward James Olmos). The first broadcast show to have an all Latino cast. Plays Anck Su Namun, the Pharoah’s Mistress in The Mummy and The Mummy Returns Renee Zellweger was shooting Bridget Jones' Diary when Patricia was shooting The Mummy Rachel Weisz vs Patricia Velasquez in The Mummy Returns is lesbian canon Rachel has lesbian cred now because of The Favourite and Disobedience The Curse of La Llorona with Linda Cardellini is part of The Conjuring franchise La Llorona is “The Weeping Woman” aka a ghost who roams waterfront areas mourning her drowned children. Played Marta in Arrested Development (different actress played her in the pilot) and was pals with Liza. She gets a lot of “hermano” on the street. Was on Celebrity Apprentice to The Wayuu Taya Foundation. Of her cast, she was pals with Debbie Gibson, Tia Carrere, adn Dayana Mendoza. And Arsenio was cool Is 5’8½“ which is short for a model. Kate Moss was also short at 5’8”  Turn it Up with Ja Rule and Mindhunters with LL Cool J Starred in an episode of Ugly Betty opposite Carlos Leon (Madonna’s ex) Has an arc on Rescue Me as Nes, Daniel Sunjata’s ex Last season of The L Word is a murder mystery Queer as Folk reboot? It’s a go!  Anne hopes they get rid of Hal Sparks. But we are into Thea Gill and Michelle Clunie Michelle has a child with Bryan Singer Hal Sparks’ character had bfs that were out of his league Hal Sparks didn’t know men could have sex facing each other Patricia was in The Mummy with Rachel Weisz, who was in The Favourite with Emma Stone, who was in Crazy STUPID Love (not sexy as Anne said) with Julianne Moore who was in Vanya on 42nd Street with next week’s guest (and previous YMKHF guest, Madhur Jaffrey). 

This episode is dedicated to female film & TV directors worldwide bringing storytelling greatness and unprecedented representation onscreen and off. Love to Chantal Ackerman, Dee Rees, Kathryn Bigelow, Kasi Lemmons, Ida Lupino, Joanna Hogg, Nicole Holofcener, Sofia Coppola, Isabel Coixet, Kelly Reichardt, Gina Prince-Bythewood, Dorothy Arzner, Phoebe Waller-Bridge, Lulu Wang, Kimberly Reed, Patti Jenkins, Marielle Heller, Regina King, Alice Guy-Blache, Debra Granik, Agnieszka Holland, the Wachowskis, Barbara Kopple, Julie Dash, Yoko Ono, Greta Gerwig, Cheryl Dunye, Jane Campion, Melina Matsoukas, Catherine Hardwicke, Donna Deitch, Ana Lily Amirpour, Lina Wertmuller, Barbara Loden, Lucrecia Martel, Claire Denis, Sarah Polley, Maren Ade, Lisa Cholodenko, Miranda July, Dorota Kędzierzawska, Mary Harron, Barbara Streisand, Julie Taymor, Karyn Kusama, Kimberly Pierce, Alla Nazimova, Leslie Linka Glatter, Sara Driver, Kitty Green, Catherine Breillat, Josephine Decker, Lynne Ramsay, Ava DuVernay, Chloe Zhao, Mira Nair, Andrea Arnold and many more that will grow to many many many more. Brava!

This episode pits Lisa Cholodenko's 2010 dramedy "The Kids Are All Right" vs Richard Linklater's 2013 romantic drama "Before Midnight" Subscribe to our feed wherever you get your podcasts at: anchor.fm/s/16ba53cc/podcast/rss Current tourney bracket: https://challonge.com/nu6s6yc8 Go read Vance's writing here: https://film-cred.com/author/vance-osteen/ Featuring Vance, Nathaniel and Ethan

With a background in photojournalism and documentary, cinematographer Quyen Tran is drawn to emotional stories and giving voice to victims. But she also has a talent for shooting comedies, such as The Little Hours, the series Camping, and most recently the hit movie Palm Springs. Palm Springs is a comedy about two people trying to escape a time loop, reliving the same day over and over, like Groundhog Day. The film became hugely popular and critically acclaimed during the pandemic, probably because it resonated with everyone locked down and feeling like each day was the same. Palm Springs was shot on a relatively small budget and a pretty fast schedule, so Q was able to call in a few favors to help stretch the budget. She enjoyed working with Cristin Milioti, Andy Samberg and JK Simmons, who was a great foil for Andy Samberg's character. A great deal of the movie was actually improvised- while it was definitely scripted, there were many alternate takes that made it into the movie. Since the film is about a constantly repeating day, the actors improvising different takes kept the story fresh and each take could be a bit different each time. Q also shot a few episodes of the Netflix series Unbelievable, a true story about a young woman who is raped and then recants her story. Years later, two female detectives track the serial rapist and prove her story true. The series won a Peabody Award for showing a humanized exploration of rape survival. Q and director Lisa Cholodenko knew they wanted very literal and subjective camerawork, making the camera seem like it was always from the character Marie's point of view of being sexually assaulted. They had the actress Kaitlyn Dever block scenes in pre-production so that she could help contribute and feel comfortable in the environment. Q chose to place a camera under a table in the interrogation scene so that it could still get a close up on her face, and give a feeling of disembodiment and detachment from her body. The FX/Hulu series A Teacher explores grooming and sexual abuse, but this time with a male victim. Quyen shot the show in a naturalistic way as she did with Unbelievable. She wanted to stay true to the material and help the viewer emphasize with the victim. One of Q's passions in life is cooking and baking, and during the pandemic in her down time, Q and her friend and fellow DP, Jeanne Tyson, decided to start Doughrectors of Photography. In exchange for a donation to the LA Food Bank or other charity such as Vote Blue, patrons receive a loaf of homemade sourdough and/or cookies. Doughrectors has now donated over 100,000 meals to the L.A. Food Bank, and they continue to bake and raise money. Most recently, Quyen was shooting Maid with director John Wells in Victoria, BC. They had to follow strict COVID protocols, including quarantining for two weeks before shooting. She was able to have a lot of prep time over Zoom with the director. The crew had to have masks on at all times of course, and were tested 3 times per week, taking their time and limiting the amount of people in the space. You can check out Doughrectors of Photography and find out how you can donate and get some delicious baked goods on Instagram at @doughrectorsofphotography You can hear our previous interview with Quyen Tran: https://www.camnoir.com/ep26/ Find Quyen Tran: https://www.qtranfilms.com/ Instagram: @qgar Find out even more about this episode, with extensive show notes and links: http://camnoir.com/ep110/ Sponsored by Hot Rod Cameras: www.hotrodcameras.com Sponsored by Aputure: https://www.aputure.com/ Website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

Mario Cesar Vilhena e Vivian Avelino-Silva conversam sobre "Determinantes Sociais da Saúde LGBT+" com Maria Amelia Veras, graduada em Medicina pela Universidade Federal de Pernambuco, tem mestrado em Medicina Preventiva pela Universidade de São Paulo (USP) e Saúde Pública pela Universidade da Califórnia (UC Berkeley), doutorado em Medicina pela USP, pós-doutorado pela Universidade da Califórnia (UCSF). Atua como professora adjunta no departamento de Saúde Coletiva na Faculdade de Ciências Médicas da Santa Casa de São Paulo (FCMSCSP), coordenadora do programa de pós graduação em Saúde Coletiva na FCMSCSP e de grupos de pesquisa como o NUDHES (Núcleo de Pesquisa em Direitos Humanos e Saúde da População LGBT), pesquisadora do Observatório COVID-19 BR, integrante da International AIDS Society e da International Epidemiological Association. Indicações Cultura Transviada: "Valentina", filme dirigido por Cássio Pereira dos Santos; "Serei A", música de Linn da Quebrada e Liniker; "The Kids Are All Right" ou "Minhas Mães e Meu Pai", dirigido por Lisa Cholodenko; "Vida Trans - A Coragem de Existir", livro escrito por Amara Moira, João W. Nery, Márcia Rocha, T. Brant.

Tami Reiker, ASC focuses on how to make beautiful, authentic performances while maintaining the director's vision. Her most recent film, One Night in Miami, is full of amazing performances. Directed by Academy Award winning actress Regina King, One Night in Miami is based on real events, when Malcolm X, Muhammad Ali, Sam Cooke and Jim Brown met in a hotel room to celebrate Ali's fight victory over Sonny Liston. The film is based on a play by Kemp Powers, which presented a challenge for Tami since most of it takes place in one hotel room and it's almost entirely dialog. All the actors had very busy schedules, so she and Regina King had only four days for rehearsal. King had very specific ideas about the type of film she wanted to make, and they planned the blocking and the shots together. It was also important for King for Tami to reproduce some of the scenes from historic reference photos, such as the original Hampton House hotel, Cassius Clay working out in the swimming pool, the diner, and the fight scenes. To give One Night in Miami a less static feel, Tami kept the camera moving, hiding some in walls on the set and using a jib arm, keeping her shots fluid so that the camera feels like a fly on the wall during the men's conversations. Tami chose an Alexa 65 and used Prime DNA lenses with Bronze Glimmerglass to give the movie a vintage look. Growing up, Tami was always interested in photography. She attended NYU film school, where she worked on several student films and met director Lisa Cholodenko, with whom she later shot the film High Art. The 1990's to the early 2000's was the heyday of indie filmmaking and with the advent of digital cinema, Tami was excited to be involved with independent production companies such as InDigEnt, which produced Pieces of April in 2003 starring Katie Holmes. InDigEnt's business model allowed each person on the crew to own a percentage of the movie. Tami shot the film on a mini DV camera, and she still gets a residual check for Pieces of April today. One Night in Miami can be seen at drive in theaters in Los Angeles and is available to stream on Friday, January 15 on Amazon Prime. Find Tami Reiker: http://www.ddatalent.com/client/tami-reiker-asc Instagram: @tamireiker123 Find out even more about this episode, with extensive show notes and links: http://camnoir.com/ep109/ Sponsored by Hot Rod Cameras: www.hotrodcameras.com Website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

The final film in our ‘high school' sub-season is the Olivia Wilde film from last year BOOKSMART. After some reviews, we talk about the effectiveness of films that might not be ‘for us' as an audience, and the division of high school films into movies about nostalgia, coming of age, or romance — and this discussion leads into a retrospective on the sub-season as a whole, for which this movie serves as an excellent conclusion, in a number of senses. Next Time We begin our sub-season of ‘heist' movies with one that, arguably, kick-started the genre as a whole: RIFIFI (1955). Recent Media QUEER EYE: WE'RE IN JAPAN! (2019): David Collins, Bobby Berk, Karamo Brown UNCUT GEMS (2019): Benny Safdie, Josh Safdie, Adam Sandler Recommendations SANTA CLARITA DIET (2017–19): Victor Fresco, Drew Barrymore, Timothy Olyphant THE SPECTACULAR NOW (2013): James Ponsoldt, Miles Teller, Shailene Woodley ‘No Love Like Yours' (2016): Olivia Wilde, Nico Aglietti, Stewart Cole UNBELIEVABLE (2019): Lisa Cholodenko, Kaitlyn Dever, Toni Colette LADY BIRD (2017): Greta Gerwig, Saoirse Ronan, Laurie Metcalf Footnotes Details of Olivia Wilde's ‘no assholes' policy on-set are here: https://www.gamesradar.com/olivia-wilde-had-a-strict-no-asshole-policy-on-set-while-filming-her-directorial-breakthrough-booksmart. Here you have more on the conventional idea of the ‘romantic story arc' against which the film works: https://diymfa.com/writing/structure-romance-writing. This is an interesting piece on the use of stereotypes in film story-telling, though it veers more into the arena of cultural/ethnic stereotyping: https://www.lbbonline.com/news/stereotyping-in-storytelling. Finally, who doesn't love a good, old-fashioned list? To finish off our time with ‘high school' movies, here are a few we caught — and some we definitely missed (though some of the decisions are questionable…SUPERBAD higher than THE BREAKFAST CLUB??): https://editorial.rottentomatoes.com/guide/50-best-high-school-movies. Find Us On Podchaser - https://www.podchaser.com/podcasts/the-prestige-417454 Follow Us - https://www.twitter.com/prestigepodcast Follow Sam - https://www.twitter.com/life_academic Follow Rob - https://www.twitter.com/kaijufm Find Our Complete Archive on Kaiju.FM - http://www.kaiju.fm/the-prestige/

This month we wanna talk to you, we wanna shampoo you, and we wanna find some sweet romance with Lisa Cholodenko’s 2011 Best Picture-nominated dramady The Kids Are All Right. This podcast is non-profit and has been broadcast for educational purposes. Excerpts from the following material has been included to enhance the listener experience: FILMThe Kids […] The post Episode 28 – Lisa Cholodenko’s The Kids Are All Right (2011) appeared first on Celluloid Junkies.

« Personne n’est parfait » s’exclamait Joe E. Brown à l’aube de l’été 1959, date de sortie de Certains l’aiment chaud. Dans ce classique signé Billy Wilder, Marilyn Monroe incarne une femme libre au sein d’une troupe de jazz composée uniquement de femmes tandis que Tony Curtis et Jack Lemmon campent le rôle de deux hommes contraints de se travestir pour échapper à la police. Alors que le film est produit sous le sévère code Haynes, Billy Wilder offre, dans ses plus grandes lignes, un film où le genre se fluidifie. 2019, 60 ans après, qu'en est-il des films mettant en scène les personnages issus de la communauté LGBTQ+ ? Quelles places et quels regards le cinéma et surtout celles et ceux qui fabriquent, portent sur ces personnages trop souvent oubliés, effacés, moqués et incompris. Participantes: Pauline - @paulinemallet_ / Laura - @CookieTime_LE / Amandine - @DLACDI Création, animation, réalisation, montage et mixage son : Pauline Mallet Remerciements spécial à Hadrien Langue pour l’aide au son. Extrait ouverture de l'épisode: Portrait de la jeune fille en feu - Céline Sciamma (2019) Musique de fin d'épisode: Run the world - Beyoncé (2011) Références mentionnées et/ou conseillées (par ordre chronologique de sortie) Films : Certains l’aiment chaud - Billy Wilder (1959) Paris is burning - Jennie Livingston (1990) Le secret de Brokeback Mountain - Ang Lee (2005) A Single man - Tom Ford (2009) Tout va bien, the kids are all right - Lisa Cholodenko (2010) Laurence Anyways - Xavier Dolan (2012) Carol - Todd Haynes (2013) La vie d’Adèle - (2013) Mademoiselle - Park Chan-Wook (2016) Moonlight - Barry Jenkins (2016) 120 battements par minute - Robin Campillo (2017) Atomic Blond - David Leitch (2017) Call me by your name - Luca Guadagnino (2017) Assassination Nation - Sam Levinson (2018) Désobéissance - Sebastián Lelio (2018) Girl - Lukas Dhont (2018) Un couteau dans le coeur - Yann Gonzalez (2018) Climax - Gaspar Noé (2018) Bohemian Rhapsody - Bryan Singer (premier crédit) et Dexter Fletcher (crédit final) (2018) High Life - Claire Denis (2018) Si Beale Street pouvait parler - Barry Jenkins (2019) Rocketman - Dexter Fletcher (2019) Boy Erased - Joel Edgerton (2019) Une fille facile - Rebecca Zlotowski (2019) Share - Pippa Bianco (2019) Portrait de la jeune fille en feu - Céline Sciamma (2019) Séries télévisées : Sense 8 - Lilly Wachowski, Lana Wachowski, J. Michael Straczynski (2015-2018) Euphoria - Sam Levinson Livres / Articles de presses : Interview de Céline Sciamma par Iris Brey → https://shows.pippa.io/she-cannes/episodes/she-cannes-celine-sciamma Interview de Céline Sciamma par Amandine → http://www.lebleudumiroir.fr/celine-sciamma-interview/ Interview d’Adèle Haenel et Noémie Merlant par Amandine → http://www.lebleudumiroir.fr/adele-haenel-et-noemie-merlant-interview/ L’épisode a été enregistré avant la sortie du long-métrage Port Authority réalisé par Danielle Lessovitz et actuellement en salles. Nous vous recommandons fortement de le visionner en parallèle à cet épisode pour compléter le corpus sur lequel nous avons travaillé. Vous pouvez également nous écouter sur iTunes. N'hésitez pas à nous laisser un commentaire et à noter le podcast. Grâce à ce petit geste vous pouvez nous aider à mieux répertorier le podcast et on vous en remercie énormément. Merci à tou-te-s pour votre écoute et votre soutien ! Suivez toute l'actualité de Sorociné sur Facebook (Sorociné Podcast), Twitter et Instagram: @sorocinepodcast Vous pouvez nous contacter via notre adresse e-mail: sorocine-podcast@hotmail.com

Director Andrea Berloff discusses her film, The Kitchen, with fellow director Lisa Cholodenko. The film tells the story of three Hell's Kitchen housewives whose mobster husbands are sent to prison by the FBI in 1978. Forces to take matters into their own hands, the women prove to be unexpectedly adept at mob life -- running the gangs and taking out the competition. See photos and a summary of this event below: https://www.dga.org/Events/2019/Sept2019/TheKitchen_QnA_0819.aspx

What's this? An actually gay movie! But HOW gay is it? The Queen are joined by writer/actor/superstar Brian Gallivan for a deep dive into Lisa Cholodenko's lesbian opus!Produced by Alec SarcheMusic by Danny CohenArtwork by Connie ShinTechnical Support by Mike RennieTwitter: @twooldqueensInstagram @twooldqueens See acast.com/privacy for privacy and opt-out information.

Although Hal Ashby directed a remarkable string of acclaimed, widely admired classics throughout the 1970s—HAROLD AND MAUDE, THE LAST DETAIL, SHAMPOO, COMING HOME, BEING THERE—he is often overlooked amid the crowd of luminaries from his generation. Amy Scott’s HAL is an exuberant portrait that explores that curious oversight, using rare archival materials, interviews, personal letters, and audio recordings to reveal a passionate, obsessive artist. Ashby was a Hollywood director who constantly clashed with Hollywood, but also a unique soul with an unprecedented insight into the human condition and an unmatched capacity for good. His films were an elusive blend of honesty, irreverence, humor, and humanity. Through the heartrending and inspiring HAL, you feel buoyedby Ashby’s love of people and of cinema, a little like walking on water. On camera interviews his many collaborators, including Oscar®-winning actors Lee Grant, Jane Fonda, Jon Voight, Louis Gossett Jr, Jeff Bridges and more recall how they were empowered by Ashby and granted them artistic freedom. Contemporary directors include Alexander Payne, Judd Apatow, Lisa Cholodenko, and David O. Russell attest to the quiet but powerful influence Ashby has had on their own filmmaking. Behind the camera colleagues Norman Jewison, Robert Towne, Haskell Wexler, and Pablo Ferro stand witness to Ashby’s brilliance as a filmmaker and the forces that led to his undoing.  Director Amy Scott joins us to talk about her artistic connection to Hal Ashby, as editor and director, and her desire to correct many of the lingering misperceptions of Ashby through her riveting and loving film about a true maverick. For news and updates go to: hal.oscilloscope.net

Joni Mitchell is widely considered one of the most influential songwriters of all time. She's a folk legend who crafts timeless songs that are deeply moving and have made a big impression on many of the creative individuals we've hosted on the Guest DJ Project. This special episode brings together some of their stories, including Megan Mullaly, David Sedaris, Lisa Cholodenko, Jamie Lee Curtis and Martin Short.

Miten televisiosarja kohtaa tragedian? Näyttelijä Frances McDormand on sanonut pohtineensa elokuvien naispäähenkilöitä ja tulleensa johtopäätökseen, että 90 minuutin aikahaarukka ei ole riittävä, jotta sillä voisi kertoa kunnon naistarinan. Siksi televisio pitkine sarjoineen on muodostunut niin upeaksi välineeksi naisten tarinankerronnalle, naisnäyttelijöille, ohjaajille ja kirjoittajille. Lausunto koskee Olive Kitteridge -sarjaa, jonka pohjana on Pulitzer-palkittu Elizabeth Stroutin romaani. McDormand osti kirjan oikeudet ja näytteli pääosan, käsikirjoituksen kirjoitti Jane Anderson, ohjaajana toimi Lisa Cholodenko. Keskustelemassa elokuvatieteen professori, mediatutkija Anu Koivunen ja J.P. Pulkkinen

En 1998 la directora estadounidense Lisa Cholodenko present esa coproduccin canadiense-estadounidense High Art, en la que la palabra high, ms que estar relacionada con el arte, est vinculada con el uso de las drogas. La pelcula ofrece una mirada a la intimidad cotidiana de un grupo de personajes en los que el arte fotogrfico acaba sublimando las limitaciones existenciales.

A conversation with Jane Anderson, the writer of Olive Kitteridge a new HBO miniseries based on Elizabeth Strout's Pulitzer Prize winning novel. The 4 part miniseries is directed by Lisa Cholodenko and stars Frances McDormand, Richard Jenkins, Zoe Kazan, John Gallagher Jr, and Bill Murray. We also discuss her experiences adapting stage plays to the screen; writing and directing Normal for HBO. And her experience writing for television on the hit series Mad Men.

Academic film review of "The Kids Are All Right," directed by Lisa Cholodenko and starring Annette Bening, Julianne Moore, Mark Ruffalo.

The Kids Are All Right is a thrillingly funny and casually profound film that Lisa Cholodenko directed from a script she wrote with Stuart Blumberg. Near the beginning, a teenage brother and sister talk about whether to make a fateful phone call. They're the suburban California children of lesbian mothers, and the brother has decided to seek out the sperm donor who was instrumental in bringing them into the world...

Idag lyfter ingen på ögonbrynen när Lisbeth Salander tillfredsställer sin älskarinna Mirjam Wu på bästa sändningstid på SVT. Skildringen av lesbiska relationer i svenska filmer har onekligen utvecklats sedan den suicidala Edith Södergran-läsande Dagmar stod i centrum i Flicka och hyacinther 1950. För att inte tala om de tafatta skildringarna av sex mellan kvinnor i Lösa förbindelser 1985. I veckans Kino dammsuger vi den svenska filmhistorien på jakt efter bristvaran lesbiska förebilder. Vi dricker varm choklad till Fucking Åmål, drömmer om Selma Lagerlöf i raffset och frågar oss vad Millennium-trilogin egentligen betyder för en ung, kärlekstörstande flata. Läs mer om lesbiska filmer på och Den amerikanska regissören Lisa Cholodenko har utforskat lesbiska teman i filmer som High Art, Laurel Canyon och i tv-serien L-word. Nu har hon gjort en familjekomedi med Julianne Moore och Annette Bening, om flatparet vars förhållande försätts i kris när deras spermadonator helt plötsligt dyker upp i deras liv. Möt också det nya, unga och redan flerfaldigt prisbelönade filmbolaget Tjockishjärta, som just nu har sitt kontor i cyberrymden och på olika fik. Är Tjockishjärta det nya Plattform? Programledare: Roger Wilson