Podcasts about little odessa

"Il Pubblico è più intelligente di quanto i media credano" E' giunto il momento di trattare la carriera di un artista che ha sempre valorizzato il Cinema, rendendolo grande. Persino epico, a volte. Ecco a voi il cinema di Michael Mann, pallottole e fotografia blu incluse! Mann torna a narrare nuovamente lo scontro tra due esseri umani: un presunto "buono" e un presunto "cattivo". John Dillinger, rapinatore di banche ma eroe del popolo, e Melvin Purvis, uomo di legge ma vittima dell'oscurità. "Nemico Pubblico" torna ancora una volta al suo genere prediletto per narrare una storia di esseri umani timorosi del tempo che passa e della Morte sempre in agguato. P.S.: Piccolo errore nella registrazione da parte mia. Una delle scene più memorabili del film riguarda Little BOHEMIA e non Little Odessa. Quello è un altro film. --- Send in a voice message: https://podcasters.spotify.com/pod/show/madmike3/message

Get access to this entire episode as well as all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.Writer and critic Eamon Tracy joins to discuss the brilliant James Gray and his debut feature 'Little Odessa' starring Tim Roth, Edward Furlong, and Vanessa Redgrave. Made when Gray was just 23 years old, it's a semi-autobiographical story that merges a character study of an estranged Russian-Jewish family with elements of the crime genre to arrive at something that pulls from the films of Francis Ford Coppola, Sidney Lumet and Luchino Visconti in equal measure.We begin by discussing the career of James Gray, his undersung filmography, and his reputation as a notoriously great interview subject. Then we explore the world of 'Little Odessa', its melodramatic flourishes, stunning camerawork, and deliberate tone and pacing. Finally, we look forward to what might be next for Gray as a filmmaker, having last released the film 'Armageddon Time' which functions as a compelling bookend to the director's three decades in filmmaking.Read Eamon's recent piece on 'The Battle of Algiers' and its relation to Palestinian resistance for The Hampton InstituteFollow Eamon Tracy on Twitter....Our theme song is "Mirror" by Chris Fish.

The new Criterion Channel collection "James Gray's New York" focuses on the Queens-native's films set here in the city, from his 1994 film "Little Odessa" to 2013's "The Immigrant." Director James Gray himself joins us to discuss these films, his career, and his relationship with New York City.  

Inspiré par sa jeunesse New Yorkaise, James Gray se lance dans l'écriture de son premier long-métrage à 25 ans… Perles de Culture est un podcast Cultura produit par Création Collective Textes de Julien Bordier racontés par David Abiker Curation : Frédéric Bénaïm - Rédaction en chef : Eric Le Ray - Réalisation : Léo Gagnon Illustration dessinée par Anne Pastoureau - Générique : Alto Music - Naming et Création Graphique : Saint John's Enregistrements à l'Arrière-Boutique Studio Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

This week on On Story, a conversation with acclaimed writer, director, and producer James Gray to discuss not only his artistic process, but how he established himself as one the industry's most talented writer-directors.  A true visionary, Gray made his directorial debut with his celebrated film Little Odessa, which earned him nominations for both Best First Feature and Best First Screenplay at the 1994 Independent Spirit Awards. Other esteemed features in Gray's canon include The Yards, starring Joaquin Phoenix, who is in fact a frequent collaborator of Gray's, and We Own the Night, starring Mark Wahlberg, in addition to his films, Two Lovers, The Immigrant, The Lost City of Z, and Ad Astra, all of which set the bar for both screenwriting and direction.  Gray's most recent feature, Armageddon Time, is a deeply personal film inspired by Gray's childhood. A reflection on the strength of family, the complexity of friendship, and the realities of class as seen through the eyes of a young Jewish boy growing up in 1980s Queens, the film's star-studded cast includes leading actors Anthony Hopkins, Anne Hathaway, and Jeremy Strong.  In addition to speaking with Gray on his process of writing and directing each of his seven critically-acclaimed feature films, AFF was eager to honor Gray with our coveted Bill Wittliff Award for Screenwriting, an annual award presented to leading storytellers within film, television and new media. Gray adds this accolade to his five Palme d'Or nominations, as well as the Silver Lion Award.  During our annual Writers Conference, Barbara Morgan sat down with Gray to discuss how he became a pillar of American filmmaking.  Ad Astra clips courtesy of Twentieth Century Fox Film Corporation. Little Odessa clips courtesy of Fine Line Features. Lost City of Z clips courtesy of Sierra Afinity, LLC. We Own the Night clips courtesy of Columbia Pictures.

In der siebten Folge von DATUM Fernsprecher reist Klaus Stimeder von der Ukraine in die USA: Wie hat Putins Krieg jenes New Yorker Stadtviertel Brighton Beach verändert, das mehr als 30.000 Einwandererinnen und Einwanderer aus ehemaligen Sowjetländern zur neuen Heimat wurde?Anmerkung der Redaktion: in der Aufnahme ist uns leider ein Fehler unterlaufen. Es sprechen Sebastian Loudon und Paul Koren.

On this episode, we talk: Change of scenery, 60-mph winds, boating safety, dust storms, friendship resonance, distance vision, The Control Group, algorithms of destruction, cyborg rights, feminine energy, getting out of the house, scaring yourself, the hardest time zone to find, novelty and pattern, theme parks built on the corpse of the parks, sacred spaces, the home as earthship, mosques, fractal patterns, keeping the eyes moving, obsessed with the Islamic State theme song, Don Cherry, evensong, ostentatious movie theaters, haus tambarans, the Church in the Rock, crocodile scarification, storytelling masks, the Guild Navigator, transcendental time awareness, dropping bombs from a holy building, prayer rooms, Coleridge, the eroticism of going to church, warnings at the beginning of Disney movies, Little Odessa, and a battle for the soul of America in Big Bend. BONUS: this episode ends with an actual 7-minute dream recording Kris made moments after waking up.

This week on On Story, AFF Moderator and Senior Programmer, Andy Volk, sat down with writer, director, and producer James Gray for a post-screening Q&A of his coming-of-age drama, Armageddon Time. A deeply personal film inspired by Gray's childhood, Armageddon Time is a reflection on the strength of family, the complexity of friendship, and the realities of class as seen through the eyes of a young Jewish boy growing up in 1980s Queens. Through the brilliant performances of its all-star cast, which includes leading actors such as Anthony Hopkins, Anne Hathaway and Jeremy Strong, Armageddon Time is a beautiful, detailed, and intimate portrait of how privilege, inequality, and prejudice are integral to the American experience. AFF was ecstatic to welcome the preeminent writer-director James Gray, not only to speak more about the film but also to honor him as the 2022 recipient of AFF's coveted Bill Wittliff Award for Screenwriting, an annual award presented to leading storytellers within film, television, and new media. A true visionary, Gray made his directorial debut with his acclaimed film, Little Odessa, which earned him nominations for both Best First Feature and Best First Screenplay at the 1994 Independent Spirit Awards. Other acclaimed features in Gray's canon include The Yards, starring Joaquin Phoenix, who is in fact a frequent collaborator of Gray's, and We Own the Night, starring Mark Wahlberg, in addition to his films Two Lovers, The Immigrant, The Lost City of Z, and Ad Astra, all of which are critically acclaimed and set the bar for both screenwriting and direction. So join us and the legendary director James Gray for a little trip back to the 1980s and a closer look at Armageddon Time. Clips of Armageddon Time courtesy of AT Picture Ventures LLC.

Le film date de 1994 et James Gray n'a alors que 24 ans. Il n'a alors à son actif qu'un court-métrage de fin d'études lorsque le jeune cinéaste amorce, avec Little Odessa, le parcours prometteur qu'on lui connaît dorénavant.Une famille juive d'origine ukrainienne, une organisationcriminelle et un tueur: à la fois film de quartier et film à mafia, «Little Odessa» baigne dans un réalisme pessimiste amer et noir.Près de 30 ans après avoir reçu le Lion d'argent pour le meilleur réalisateur à la Mostra de Venise, le film mérite d'être reconsidéré au regard de la carrière de James Gray...

Le film date de 1994 et James Gray n'a alors que 24 ans. Il n'a alors à son actif qu'un court-métrage de fin d'études lorsque le jeune cinéaste amorce, avec Little Odessa, le parcours prometteur qu'on lui connaît dorénavant.Une famille juive d'origine ukrainienne, une organisationcriminelle et un tueur: à la fois film de quartier et film à mafia, «Little Odessa» baigne dans un réalisme pessimiste amer et noir.Près de 30 ans après avoir reçu le Lion d'argent pour le meilleur réalisateur à la Mostra de Venise, le film mérite d'être reconsidéré au regard de la carrière de James Gray...

On this week's show we're chasing the American Dream with James Gray's generational drama Armageddon Time, before basking in Aftersun from first-time director Charlotte Wells – the film's lead stars Paul Mescal and Frankie Corio even stop by for a chat. And in Film Club we revisit Gray's own directorial debut from 1994, Little Odessa.Joining host Leila Latif are LWLies Digital Editor Hannah Strong and New York critic Mark Asch.Truth & Movies is the podcast from the film experts at Little White Lies, where along with selected colleagues and friends, they discuss the latest movie releases. Truth & Movies has all your film needs covered, reviewing the latest releases big and small, keeping you across important industry news, and reassessing great films from days gone by with the Truth & Movies Film Club.Get 30 days of great cinema for free at mubi.com/lwliesEmail: truthandmovies@tcolondon.comTwitter and Instagram: @LWLiesProduced by TCO Hosted on Acast. See acast.com/privacy for more information.

Depuis mercredi au cinéma, Armageddon Time, le nouveau film de James Gray.Le réalisateur de Little Odessa, La nuit nous appartient ou encore Two lovers, met à nouveau la question de la famille juive au cœur de son film.Il revient à New York avec "Armageddon Time », nous replonge dans sa jeunesse et emmène le spectateur dans le Queens où il a grandi, livrant l'une de ses fables familiales les plus abouties doublée d'un propos politique puissant en s'inspirant de sa propre histoire pour offrir son film le plus personnel à ce jour. À travers le parcours de son jeune alter ego, qui découvre à l'âge de la préadolescence comment la société américaine est profondément divisée,

Depuis mercredi au cinéma, Armageddon Time, le nouveau film de James Gray.Le réalisateur de Little Odessa, La nuit nous appartient ou encore Two lovers, met à nouveau la question de la famille juive au cœur de son film.Il revient à New York avec "Armageddon Time », nous replonge dans sa jeunesse et emmène le spectateur dans le Queens où il a grandi, livrant l'une de ses fables familiales les plus abouties doublée d'un propos politique puissant en s'inspirant de sa propre histoire pour offrir son film le plus personnel à ce jour. À travers le parcours de son jeune alter ego, qui découvre à l'âge de la préadolescence comment la société américaine est profondément divisée,

Host Alison Herman talks to writer and director James Gray about his upbringing as a secular Jew in Queens, attempting to empathize with Maryanne Trump, the purpose of art in encouraging empathy across class and racial lines, and more. James Gray is the writer and director of eight feature films, beginning with his 1999 debut LITTLE ODESSA, as well as films like the 2007 crime thriller WE OWN THE NIGHT and the 2013 drama THE IMMIGRANT, and the 2016 biopic THE LOST CITY OF Z. Most recently, he directed Brad Pitt in the 2019 space drama AD ASTRA, which he co-wrote with Ethan Gross. His latest project as writer-director is the semi-autobiographical drama ARMAGEDDON TIME, in which he returns to New York and more specifically Queens for an intimate portrait of social class, assimilation and coming of age. ARMAGEDDON TIME was released in late October 2022 and is now playing in theaters nationwide. Alison Herman is a staff writer for The Ringer, where she writes about culture in general and television in specific. When not fighting a losing battle against Peak TV, she tweets at @aherman2006. --- Before it was a podcast, OnWriting was a print publication. Check out OnWriting: The Print Archives. Read shownotes, transcripts, and other member interviews: www.onwriting.org/ Follow the Guild on social media: Twitter: @OnWritingWGAE | @WGAEast Facebook: /WGAEast Instagram: @WGAEast

Today, director James Gray is back! We start by diving into the aftermath of Ad Astra (7:25), returning home to Queens with Armageddon Time (12:00) and the historical context of this new picture (15:18). After watching an early scene from the film (18:33), we discuss what the story reveals about race and class in America (20:35), his family's personal experiences with those divisions (22:50), and the painful timeliness of Gray's 8th film (25:39) as anti-semetic rhetoric continues to surge (29:51). We also wrestle with the economics of moviemaking today (31:37), lessons learned from his directorial debut, Little Odessa (33:22), and how the words of novelist Marcel Proust (36:03) and photographer Susan Sontag (38:14) shaped his most personal effort to date, Armageddon Time.See omnystudio.com/listener for privacy information.

Since Russia's attack on Ukraine, nearly 100 refugees have settled in the Spanish town of Carino. Some are hoping to expand their online portal for spare car parts to Carino, bringing work and life to the community.

Seit Russlands Angriff auf die Ukraine haben sich fast 100 Geflüchtete im spanischen Ort Cariño angesiedelt. Dort expandieren sie ihr Portal für Autoersatzteile in Spanien. Das bringt Arbeit und Leben in die kleine Hafenstadt.

Fri, 29 Jul 2022 08:53:21 +0000 https://two1two.podigee.io/110-neue-episode afe2af6bb81c6452f26cb5e80d49d403 Die Freiwasser-Schwimmer von Brighton Beach In der neuen Podcast Folge möchte ich Euch mitnehmen nach Brighton Beach, jenem etwas weniger bekannten Nachbarn von Coney Island auf derselben Insel am äußersten Ende von Brooklyn. Brighton Beach wird auch Little Odessa genannt, weil sich hier seit den 70er Jahren Immigranten aus den ehemaligen Sowjetrepubliken niedergelassen haben. Sie bestimmen das Straßenbild unter den alten, auf Stelzen über die Brighton Avenue gelegten, U-Bahn Gleisen. Auf der Straße wird russisch gesprochen, die Schilder an den Cafes und Läden sind sämtlich in kyrillisch. Ich persönlich habe Brighton vor allem wegen meiner Schwimmleidenschaft kennen gelernt. Ich habe dort eine exzentrische Subkultur von Ozeanschwimmern kennen gelernt, die mir über die Jahre ans Herz gewachsen sind. Ich habe Ihnen in meinem neuen Buch „Lesereise New York“ ein Kapitel gewidmet, das ich Euch in der neuesten Folge von 212 vorstellen möchte. https://www.picus.at/produkt/lesereise-new-york-2/ Viel Spaß bei unserer kleinen Reise nach Brighton Beach Euer Sebastian 110 full Die Freiwasser-Schwimmer von Brighton Beach no seb

Ruby Naylor interviews CNN Anchor, Brian Stelter. George Papazov visits Brighton Beach, aka, Little Odessa, and talks to Russian-speaking Americans about the war in Ukraine. Reed Miller covers Eric Adam's new maternal healthcare program, known as The Citywide Doula Initiative. And finally, Selina Xue and Kristen Wen break down Shanghai's strict covid lockdown and how it's impacting NYU students. Hosted by Grace Wanebo!

Did you know that Brighton Beach Brooklyn is known as Little Odessa.Being a Soviet Union Refugee Brighton Beach has a lot more meaning to me and other Russians. Find out the complexity, and authenticity of this unique neighborhood.What You'll discover in this episode:Pilgrimage of Soviet Union Refugees during the Cold WarWhat is the difference between a Russian Jew and a Russian personWhere to buy the best Russian homemade traditional pastriesand more ...DISCOVER  365 Days of Adventure from YOUR Backyard to the Global Playground - Get your FREE LIST HERE and Make Everyday An AdventureAbout Marina 'Travel Experta'I am an Experience Collector, World Traveler,  Expat Mama and WifeI have been an expat for over 20 years raising 2 trilingual sonsMy family and I have traveled to over 40 countries and counting …I'm here to inspire you to travel, move internationally, have fun with your family and so much more!Did you enjoy the podcast?Leave a review on Apple Podcast! They are one of THE most important factors for podcasts, and it's super easy to do: Click on “View in iTunes” on the left-hand side under the picture. Leave an honest review.Thanks, you're super! 

Eine Stunde von Manhattan mit der U-Bahn und man ist in Brighton Beach. Little Odessa nennen sie die Gegend direkt am Strand auch. Hier leben Menschen aus der Ukraine, Russland, Usbekistan, Aserbaidschan und viele andere slawischstämmige New Yorker friedlich zusammen. “Wir sind die richtige Sowjetunion - auf gute Art“, sagt Michael Novakhov und lacht. Er arbeitet bei Freedom FM, einem kleinen russischen Radiosender. Wie viele hier ist er zerrissen und deprimiert: Er ist stolz Russe zu sein, verurteilt aber Putin und dessen Krieg. Christiane Meier hat ihn für die Produktion von einem ARD-Weltspiegel-Beitrag getroffen und erzählt Miriam Braun von der Begegnung. Von Miriam Braun.

Notre 1er invité est Mehdi Haddjeri. Depuis 10 années, Temenik Electric brouille les pistes avec sa pop épique, son arabian-rock et ses transes électrorientales. 2 EP, 3 albums et 300 concerts plus tard, le groupe marseillais mené par Mehdi Haddjeri demeure toujours un combo affranchi des clichés et du prêt-à-penser. Une sensation rock qui se révèle davantage dans les brumes de son dernier opus. Avec ce nouvel album, Temenik Electric va plus loin, ou plus proche, selon le point de vue, esquissant une géographie sonore à l'instar de ces quartiers nichés au cœur des mégalopoles, ces lacis de rues aux effluves familiers et étrangers à la fois, aux mélopées échappées de cours intérieures. Dans ces espaces-là, on est ici et un peu ailleurs aussi. Ce pourrait être Little Italy, Little Odessa, Little Spain ou Little Syria mais dans les vapeurs chaudes et l'air chargé en eucalyptus, Temenik Electric a balayé d'un revers la question communautaire pour explorer le monde de l'intime. Plongée dans le grand bain de Little Hammam.     Titres joués, extraits de l'album Little Hammam - M'Cha O Jet - Manich Maleik voir le clip. Je ne suis pas un ange est une chanson qui évoque le thème de la stigmatisation d'une catégorie de personnes. Des personnes pour qui une attention, une main tendue, auraient sûrement modifié leur trajectoire de vie. Je ne suis pas un ange, mais je ne suis pas un monstre non plus. Barkany Chevalier Temenik Electric à lire sur RFI Musique   Puis, nous recevons Léonie Pernet dans la #Session Live pour la sortie de son nouvel album Le Cirque de Consolation (InFiné).     Depuis 2018 et la sortie de son 1er album Crave, une chose semble certaine : il faudra désormais compter avec la multi-instrumentiste, chanteuse et productrice Léonie Pernet pour déconstruire la pop made in France, la métisser, la densifier, y ajouter sa touche de génie et son grain de mélancolie. Salué par la critique, Crave est porté sur scène par Léonie derrière sa batterie, son micro et ses synthétiseurs lors d'une tournée qui l'emmènera en France, en Angleterre, en Allemagne, à NYC et au Japon (2018-2019). En 2019, sort l'EP acoustique The Craving Tape ; elle commence à écrire son 2ème opus et compose dans le même temps de la musique de film (Un coeur d'or, de Simon Filliot, H24 Arte). Deux ans plus tard, épaulée par le réalisateur artistique et mixeur Jean-Sylvain Le Gouic (ex-membre du groupe Juvéniles), Léonie Pernet  donne naissance à l'exigeant Le Cirque de Consolation. Une utopie consolatoire, terre d'asile collective. C'est par ces mots que Léonie Pernet répond lorsqu'on lui demande quelle idée sous-tend ce lieu fictif dans lequel elle nous convie à la rejoindre, Le Cirque de Consolation. Léonie y lève le voile sur sa voix, plus émouvante que jamais, et nous offre des chansons aux textes racés et généreux. 11 titres dont 3 instrumentaux, dialoguant dans des directions aussi riches que variées. Percussions africaines, orientales, synthétiseurs, boîte à rythmes ou batterie ; Léonie mélange les genres et les instruments avec une aisance folle. D'Hard Billy, hymne révolté sous influence techno, aux Les Chants de Maldoror, chanson club et dansante portée par de fiévreuses derboukas, au bouleversant "À rebours" et sa bascule afro-électronique, en passant par le très accrocheur Il pleut des hommes sous influence gainsbourienne…   Léonie Pernet habite les frontières avec insolence et impose son style unique et singulier. La productrice interroge les liens qu'entretiennent la pop music, les cultures africaines et la musique électronique (Intérieur Négro), le néo-classique (Le Cirque de Consolation, Dandelion), ou encore la place de la voix, qu'elle soit humaine ou synthétique comme dans l'atmosphérique Vowel. La voix, car c'est en affirmant désormais la sienne que la jeune trentenaire nous dévoile ses failles, mais aussi sa "profonde espérance". La corporalité et le genre, l'addiction, le racisme, la friabilité de nos vies, mais aussi l'amour sont autant de thèmes qui parcourent le Cirque de Consolation et sa solaire mélancolie. Le Cirque de Consolation marque pour la chanteuse "une reconstruction individuelle, mais aussi l'espoir d'une reconstruction collective". Dans le titre éponyme, Léonie nous pose une question et nous chante une proposition que l'on devine essentielle à la poursuite de son chemin personnel et artistique : "M'entendrez-vous cette fois bercer dans la lueur nos illusions / Serez-vous parmi moi au sein du cirque de consolation ?"   Léonie Pernet a composé la musique originale de la série H24, diffusée sur ARTE et arte.tv. Inspirée de faits réels, "H24 - 24 heures" dans la vie d'une femme est une série manifeste qui rend compte des violences faites aux femmes au quotidien. Sur une idée originale de Nathalie Masduraud et Valérie Urrea qui réalisent ici leur première fiction, la série propose 24 films courts audacieux, d'après les textes de 24 autrices européennes, interprétés par 24 actrices d'exception.   Titres interprétés - Mon Amour Tu Bois Trop, Live RFI voir le clip  - Le Cirque de Consolation, extrait de l'album Le cirque de consolation - Les Chants de Maldoror, Live RFI.   Musiciens - Léonie Pernet, chant, percussions - Jean-Sylvain Le Gouic, machines.   Son : Benoît Letirant, Mathias Taylor.

Wladimir Putin sei ein «lupenreiner Demokrat», sagte der frühere deutsche Bundeskanzler Gerhard Schröder einst. Auch sonst gab es aus dem Westen öfter mal lobende Worte für den Kreml-Herrscher. Nun gilt Putin aber als Feind und Diktator. Das Gespräch über Putins Wandel mit Ulrich Schmid, Professor für Kultur und Gesellschaft Russlands. Weitere Themen: (05:52) Hat der Westen Putin falsch gelesen? (14:11) London: Quartierbewohner fordern Enteignung von Oligarchen (19:32) Wie die Schweizer Wirtschaft die Sanktionen umsetzt (24:23) Fassungslosigkeit und Bestürzung in «Little Odessa» (29:58) Amherd warnt vor GSoA-Initiative (34:44) Dänemark entschuldigt sich bei Grönland (39:25) Solaranlagen auf dem Bauernacker

Episode 12: James Gray is a film director and screenwriter. Recent films include Ad Astra, The Lost City of Z, The Immigrant, Two Lovers, We Own the Night, The Yards and Little Odessa.

Cette semaine, STEROIDS LE PODCAST vous emmène du côté de Brighton Beach, chez les gangsters de la communauté judéo-russe, avec le tout premier film de James Gray, LITTLE ODESSA, tourné en 1994, alors que le jeune cinéaste n’avait que 25 ans. Un film de genre certes, avec ses mafieux qui se tirent dans les pattes (et ailleurs), mais avant tout une opportunité pour son auteur-réalisateur de livrer une tragédie familiale aux résonances autobiographiques, avec cette poignante histoire d’un mafieux de retour dans son quartier natal pour exécuter un contrat, et qui va se retrouver confronté à un jeune frère en quête de modèle, une mère cancéreuse en phase terminale et un père qui l’a renié. Porté par un casting en état de grâce (avec respectivement dans les quatre rôles évoqués : Tim Roth, Edward Furlong, Vanessa Redgrave et Maximilian Schell), ce premier essai a valeur de coup de maître, tant Gray s’y emploie à dévoiler son univers et ses personnages en les regardant droit dans les yeux, mais avec une pudeur et une humanité qui ne font qu’en décupler l’émotion sous-jacente. Stéphane Moïssakis et Arnaud Bordas, qui ont toujours eu un penchant pour les marlous shakespeariens, reviennent sur ce film habité qui n’a rien perdu de sa superbe, 26 ans après sa sortie.Pour nous soutenir, une seule adresse : fr.tipeee.com/capture-mag/#JamesGray #TimRoth #EdwardFurlong See acast.com/privacy for privacy and opt-out information.

Lee shares why corporate team building events are his worst nightmare, talks about how he got into development at Russell Brand's company and brands like Funny or Die and spends some time talking about his cooking skills have massively evolved during the pandemic."Stay curious, stay informed, stay kind."Lee is a producer based in Los Angeles. In addition to working in feature development for producer Beau Bauman (The King of Kong, Office Christmas Party) and comedian Russell Brand at Branded Films, Lee has produced for Funny or Die, NBCUniversal Digital Lab, and The Creative Studio, a joint venture between music manager Scooter Braun and the advertising agency BBH LA. He is the Co-Founder and Co-Executive producer of Okay Fine, a comedy-focused development and production company. Independently, Lee has produced several award-winning films, including Little Odessa, DILF, and Little Paradise.InstagramLinkedinWebsiteEnjoying the podcast? Please tell your friends, give us a shoutout and a follow on social media, or take a moment to leave us a review at https://lovethepodcast.com/talkingtocoolpeople.Find the show at all of the cool spots below.WebsiteFacebookInstagramIf something from this or any episode has sparked your interest and you’d like to connect about it, please email us at podcast@jasonfrazell.com. We love hearing from our listeners!If you are interested in being a guest on the show, please visit jasonfrazell.com/podcast and click on the “Learn More” button at the bottom of the page.Artwork by Jordan Snodgrass

Covid is back! Vi sitter i hver vår bolig og tar opp den korteste episoden vi noen gang har gjort. James Gray sin Little Odessa står på tapeten.

Troisième film de la réalisatrice philippine transgenre Isabel Sandoval, Brooklyn secret, sorti ce mois-ci en DVD, se nourrit de l'intimité de sa réalisatrice pour interroger poétiquement la marginalisation de ceux et celles qui franchissent les frontières — légales ou de genre — sous l'administration Trump.Dans un petit appartement de Brighton Beach, au sud de Brooklyn, Olivia, interprétée par la réalisatrice elle-même, accompagne au quotidien Olga, une grand-mère ashkénaze qui perd peu à peu la tête.Immigrante philippine, Olivia compte s'extraire de sa situation précaire en réalisant un mariage blanc avec un Américain qu'elle paie dans l'espoir d'avoir des papiers.Mais deux événements vont venir troubler cette routine discrète de l'illégalité : le faux mariage a du plomb dans l'aile et débarque dans l'appartement d'Olga son petit-fils, Alex, bad boy inconséquent, briseur de cœurs, alcoolique, qui tente de rentrer dans le droit chemin en découpant des carcasses dans l'abattoir de son oncle.Les deux solitaires se rapprochent et la jeune femme se prend à rêver d'une véritable histoire d'amour. À condition qu'il accepte son secret.On pense immanquablement au cinéma de James Gray, en particulier à Little Odessa, référence que la réalisatrice assume parfaitement.C'est la comédienne Lynn Cohen qui interprète la vieille femme ashkénaze en fin de vie. Vue chez Woody Allen (Meurtres mystérieux à Manhattan) ou Munich de Steven Spielberg, son personnage a perdu en autonomie et nécessite de l'aide pour les tâches du quotidien comme prendre soin d'elle, mais aussi pour de la compagnie et une surveillance.Elle fait partie de cette immigration juive arrivée massivement dans le quartier de Brighton Beach quelques décennies plutôt. Aujourd'hui intégrée, elle aussi, comme Olivia, elle a été une immigrée dans ce pays.Parce que Brooklyn Secret est aussi un film éminemment politique; dans l'Amérique de Trump, Olivia est une cible idéale.

Troisième film de la réalisatrice philippine transgenre Isabel Sandoval, Brooklyn secret, sorti ce mois-ci en DVD, se nourrit de l'intimité de sa réalisatrice pour interroger poétiquement la marginalisation de ceux et celles qui franchissent les frontières — légales ou de genre — sous l'administration Trump.Dans un petit appartement de Brighton Beach, au sud de Brooklyn, Olivia, interprétée par la réalisatrice elle-même, accompagne au quotidien Olga, une grand-mère ashkénaze qui perd peu à peu la tête.Immigrante philippine, Olivia compte s'extraire de sa situation précaire en réalisant un mariage blanc avec un Américain qu'elle paie dans l'espoir d'avoir des papiers.Mais deux événements vont venir troubler cette routine discrète de l'illégalité : le faux mariage a du plomb dans l'aile et débarque dans l'appartement d'Olga son petit-fils, Alex, bad boy inconséquent, briseur de cœurs, alcoolique, qui tente de rentrer dans le droit chemin en découpant des carcasses dans l'abattoir de son oncle.Les deux solitaires se rapprochent et la jeune femme se prend à rêver d'une véritable histoire d'amour. À condition qu'il accepte son secret.On pense immanquablement au cinéma de James Gray, en particulier à Little Odessa, référence que la réalisatrice assume parfaitement.C'est la comédienne Lynn Cohen qui interprète la vieille femme ashkénaze en fin de vie. Vue chez Woody Allen (Meurtres mystérieux à Manhattan) ou Munich de Steven Spielberg, son personnage a perdu en autonomie et nécessite de l'aide pour les tâches du quotidien comme prendre soin d'elle, mais aussi pour de la compagnie et une surveillance.Elle fait partie de cette immigration juive arrivée massivement dans le quartier de Brighton Beach quelques décennies plutôt. Aujourd'hui intégrée, elle aussi, comme Olivia, elle a été une immigrée dans ce pays.Parce que Brooklyn Secret est aussi un film éminemment politique; dans l'Amérique de Trump, Olivia est une cible idéale.

No matter the rung of the ladder you happen to be on in the entertainment industry, making it in Hollywood is no easy feat. And with how our world is evolving post-pandemic, you might think it will be nearly impossible to maintain any sort of work-life balance for our foreseeable future, especially if you’re fortunate enough to reach the top rung of the ladder like today’s guest. If you’ve ever wondered what it takes to not only survive but thrive while working on giant tent pole films like The Avengers series, Captain America: Civil War and Iron Man 3, or a multitude of other blockbusters, then this conversation is going to give you the inside look you’ve been waiting for. Award-winning editor Jeffrey Ford, ACE has made his career working with big name directors like Michael Mann, Joss Whedon, Anthony & Joe Russo, and Joe Johnston, and he does not sugar coat the reality that editing these films is an all-consuming endeavor. In today’s interview with Jeffrey (which was originally recorded a few years ago back in the ‘Fitness In Post’ days), he does share with us his secrets and routines for maintaining his health and family life without succumbing to bad habits and burnout. We dive deep into the methods he uses to stay energetic and creative despite the long hours, specifically maintaining consistent movement throughout his workday. He also talks about the immense importance of keeping his team rested and refreshed so they too can be productive and creative while still meeting the demanding and intense work schedules on huge tentpole films. While the conversation might not be brand new, the topics we discuss are as relevant as ever. If setting boundaries and maintaining some semblance of sanity in our post-pandemic world is a priority for you, after listening I highly recommend following up this episode with my interview with producer Janace Tashjian where we discuss the importance of setting boundaries, advocating for yourself, and asking for help. Want to Hear More Episodes Like This One? » Click here to subscribe and never miss another episode Here's What You'll Learn: The story of how Jeff began his film career after graduating from USC film school and getting his first job as an apprentice editor with director James Gray and editor Dorian Harris What film school taught him about teamwork and making connections with people in the industry. The struggles he endured through years of unemployment, only working 5 days a month while making films on his own to hone his craft. His humility still leaves him surprised and enthused that people continue to let him cut their films. The extreme focus necessary to edit the film, Public Enemies with Michael Mann, and the demanding schedule and hours he endured. Jeff believes that the longer you sit in front of your screen without moving, the more it inhibits your objectivity and relationship with your audience. Why he makes time for 3 to 4 movement breaks throughout the day. The reason his standing desk has been an enormous benefit to his creativity and mental fortitude. The scheduling fix they use on the Marvel movies to avoid burnout and ensure everyone stays healthy and happy. The importance of having a work environment that provides daylight, space, and amenities to maintain health and well being. Self-assertion and setting boundaries must be built into your routine due to the competitive and intense nature of the business. On Jeff’s team, taking care of yourself is looked upon as a strength rather than a weakness. KEY TAKE AWAY #1: Keep perspective about the job by understanding that your family is your most important support system to keep you going. KEY TAKE AWAY #2: Staying in shape physically is directly connected to your mental well being which is connected to your success. KEY TAKE AWAY #3: Divide the workload between more people working shorter hours to stay creative and productive. Useful Resources Mentioned: Ep113: The Importance of Setting Boundaries, Advocating For Yourself, and Asking For Help | with Janace Tashjian Ep11: Making It In Hollywood as a “Creative” (What They Don’t Teach You In Film School) | with Norman Hollyn Ep17: Is Taking Free Work Really Worth It? | with Alan Bell, ACE Our Generous Sponsors: This episode is made possible for you by Ergodriven, the makers of the Topo Mat, my #1 recommendation for anyone who stands at their workstation. The Topo is super comfortable, an awesome conversation starter, and it’s also scientifically proven to help you move more throughout the day which helps reduce discomfort and also increase your focus and productivity. Click here to learn more and get your Topo Mat. Guest Bio: JEFFREY FORD, A.C.E. (Editor) was born in Novato, California. He attended high school in Troutdale, Oregon and graduated from the University of Southern California School of Cinema-Television in Los Angeles with a degree in Cinema-Television Production. He began his professional filmmaking career in 1994, working as an editorial assistant on James Gray’s debut feature film, “Little Odessa.” He went on to work as an assistant editor on several feature films, including the Academy Award®-nominated “As Good as It Gets” for editor Richard Marks and director James L. Brooks. Ford’s first solo feature as editor was “The Yards” for director James Gray, which premiered in competition at the Cannes Film Festival in 2000. He edited “Teddy Bears’ Picnic” for Harry Shearer, “One Hour Photo” for Mark Romanek, “Hide and Seek” for John Polson, “The Family Stone” for Thomas Bezucha (his work receiving an A.C.E. Eddie nomination) and “Street Kings” for David Ayer. He also edited “Shattered Glass” and “Breach” for director Billy Ray. With Paul Rubell he co-edited "Pubic Enemies" for director Michael Mann. In 2011 he teamed with Thomas Bezucha again for “Monte Carlo." At Marvel Studios, Ford co-edited “Captain America: The First Avenger" (with Robert Dalva) for director Joe Johnston, "Iron Man Three” (with Peter Elliot) for Shane Black and “Marvel’s The Avengers" and "Avengers: Age of Ultron” (both with Lisa Lassek) for director Joss Whedon. “Captain America: Civil War” is Ford’s second film for Joe and Anthony Russo. He also co-edited (with Matthew Schmidt) the Russo's first Marvel Studios feature “Captain America: The Winter Soldier.” He lives in Los Angeles with his wife and two sons. Show Credits: This episode was edited by Curtis Fritsch, and the show notes were prepared by Debby Germino and published by Glen McNiel. The original music in the opening and closing of the show is courtesy of Joe Trapanese (who is quite possibly one of the most talented composers on the face of the planet).

Hello and thank you for downloading another episode of The Flixters Podcast! This week on the show we take a look at 70s set crime drama, The Kitchen, starring Melissa McCarthy, Tiffany Haddish and Elisabeth Moss. After their gangster husbands have been sent to prison, three housewives reluctantly take over the Irish mafia's business and before long, become three feared and respected powerful women in the community. The question is, is it worth a watch? Download the show to find out! On Anniversary Corner we discuss Public Enemies, 36 Quai des Orfèvres, In Too Deep, Little Odessa and Harlem Nights. If that wasn't enough for you we've even thrown in, new trailers to watch and what you can catch on Blu-Ray and streaming. Thank you for supporting us and we hope you enjoy the show!

Ouça os destaques do Caderno 2 desta quinta-feira (12/09/19)See omnystudio.com/listener for privacy information.

 Post Face, émission littéraire présentée parCaroline Gutmann qui reçoit Bernard Comment pour son roman « Neptune avenue » paru aux éditions Grasset À propos du livre : « Neptune Avenue » Paru chez Grasset Cela se passe à Neptune Avenue, au bord de l'océan, à côté de Coney Island, au bout de Brooklyn. L'atmosphère est étrange, le soleil brille derrière une drôle de lumière laiteuse, il fait très chaud, il n'y a plus d'électricité. Le monde semble s'être arrêté. Les ascenseurs sont en panne. Tout est en panne. Dans son appartement du 21e étage, le narrateur est freiné par une mobilité de plus en plus réduite et se déplace avec peine. Il a l'âge d'une retraite prématurée, après avoir fait fortune dans la finance – alors que sa vraie passion, sa passion de jeunesse, était la littérature. Mais à quoi bon avoir accumulé tous ces biens si on ne peut pas les transmettre ? Peu après la mort de sa mère, en Suisse, il avait décidé de partir pour New York, à la recherche d'une improbable famille, de lointains cousins. Mais c'est surtout Bijou qu'il est venu trouver, une jeune femme assoiffée de vie. Elle est installée à Manhattan, vit de petits boulots, mais elle finit par déménager à Neptune Avenue, à côté de Little Odessa, où l'occasion se présente bientôt pour le narrateur de louer un appartement sur le même palier qu'elle. Et c'est tout un passé qui se réveille, en particulier celui d'une jeunesse étudiante passée à Genève dans les années 1980 et de son amitié avec Bob, un grand biologiste, et Nina, jeune africaine pleine d'entrain, la mère de Bijou. Que s'est-il passé pour que l'électricité ne revienne pas, depuis plus de dix jours, sans qu'il n'y ait pourtant eu aucune tempête, aucun éclat ? On peut imaginer une déflagration nucléaire plus ou moins lointaine. Une fin du monde. Bijou n'en perd pas son enthousiasme pour autant, elle qui croit à la décroissance et veut à tout prix préserver sa liberté. Elle ne sera pas une héritière. L'argent, la richesse ne l'intéressent pas. Finalement, la paternité (réelle ou supposée) n'ouvre aucun droit… Et tout pourrait bien partir en fumée. Bernard Comment est né en 1960 à Porrentruy (Suisse). Après des études de lettres à Genève, il passe cinq ans à Florence puis s'installe à Paris à partir de 1990. Ancien pensionnaire de la Villa Médicis, il est l'auteur d'une quinzaine de livres (romans, récits, essais), dont Tout passe en 2011, récompensé par le Goncourt de la nouvelle.

Neste episódio dou início à retrospectiva integral de James Gray, uma das vozes mais originais, independentes e ignoradas do cinema norte-americano do último quarto de século. Vamos conhecer Viver e Morrer em Little Odessa, o filme de estreia em 1994, e Nas Teias da Corrupção, o filme que se seguiu seis anos depois.

In this episode with Stefan and Sofia Soltys, we discuss: What Stefan and Sofia learned hospitality observing their parents. Learning from a variety of people and discovering what works for you and doesn't work for you. Assuming what the guest wants and initiating the interaction. Finding the sweet spot between starting too small or starting too big. What good communication looks like. Tips on how to communicate using your body language. Being tired of working for other people. The importance of having a good lawyer when purchasing a restaurant space. Researching your landlord before signing a contract. Trust your gut, but also question it. Sister and brother team, Sofia and Stefan Soltys have hospitality in their blood. Growing up in the two restaurants their parents owned and operated, it was only natural for them to one day own their  restaurants. In 2014, they opened Frances Food & Coffee, a cafe dedicated to supporting local businesses. Their latest venture, Little Odessa specializing in Eastern European food and local beers, and opened to months ago with acclaim. Show notes… Favorite Success Quote or Mantra. "Onwards and upwards." Today's Sponsor Sourcery allows you to streamline and digitize your entire Accounts Payable operation. Digital invoicing, backed with human verification, will save you countless hours of work and increase AP accuracy. Say goodbye to your file cabinets and enter the digital world. Kabbage. Apply for up to 250,000 of funding through Kabbage, and you'll get a $50 e-gift card when you quality. Get started! Knowledge bombs Which "it factor" habit, trait, or characteristic you believe most contributes to your success? High Energy. Attention. Respecting staff. Having fun. What is your biggest weakness? Perfectionist. Too empathetic. What's one question you ask or thing you look for during an interview? Look for nervousness- It says they care. Smile. What's a current challenge? How are you dealing with it?  Managing cost. Share one code of conduct or behavior you teach your team. Treat your guest like a friend. Staying on your toes. What is one uncommon standard of service you teach your staff? Having a greater sense of awareness of anticipated needs. Share an online resource or tool. Guild of Sommeliers Podcast. What's one book we must read to become a better person or restaurant owner? GET THIS BOOK FOR FREE AT AUDIBLE.COM  Setting the Table: The Transforming Power of Hospitality in Business Never Split the Different: Negotiating as if Your Life Depended on It What's one piece of technology you've adopted in your restaurant and how has it influence operations? Merchant Facility If you got the news that you'd be leaving this world tomorrow and all memories of you, your work, and your restaurants would be lost with your departure with the exception of 3 pieces of wisdom you could leave behind for the good of humanity, what would they be? Give it a shot. Be nice . always have fun. Don't sweat the small stuff. Contact Info Instagram: @odessafitzroy Website www.littleodessa.com.au www.francisfoodandcoffee Thanks for Listening! Thanks so much for joining today! Have some feedback you'd like to share? Leave a note in the comment section below! If you enjoyed this episode, please share it using the social media buttons you see at the top of the post. Also, please leave an honest review for the Restaurant Unstoppable Podcast on iTunes! Ratings and reviews are extremely helpful and greatly appreciated! They do matter in the rankings of the show, and I read each and every one of them. And finally, don't forget to subscribe to the show on iTunes to get automatic updates. Huge thanks to Stefan and Sofia Saltys for joining me for another awesome episode. Until next time!  

This week we were both in NYC and took the opportunity to spend the day talking to people in Brighton Beach, aka Little Odessa, aka the neighborhood of choice for Soviet immigrants. We spoke to people from all over the former USSR (and Turkey!) who live, work, and/or were visiting Brighton, asking them about the neighborhood and their relationship to it. We tried to let them do the talking. Telegram channel: https://t.me/shesinrussia

Award-winning editor Jeffrey Ford has worked on some of the biggest films on the planet that have amassed multiple BILLIONS of dollars at the box office. His short list of recent credits includes Captain America: Civil War, The Avengers, The Avengers: Age of Ultron, and Ironman 3, just to name a select few. And you would be right if you assumed that editing films like these is an all-consuming endeavor that takes every ounce of energy and focus to survive. In this episode Jeff and I talk about how he started at the bottom and climbed the ladder to editing gigantic tentpole films. But more importantly we also talk about Jeff's secret weapon for staying focused, energetic, and creatively sharp when working brutally long stretches on stressful and high-pressure project: Movement throughout the day. Interested in learning even more about how to use movement throughout your workday to 5X your energy, creativity, and productivity? » Click here to enroll in the '5X Challenge' Show Sponsor: G-Technology Topics of Conversation: Jeff's career trajectory and how he came to work on Marvel blockbusters How going to film school helped Jeff break into the industry Jeff's experience living on five days of work a month Using your free time to develop your skills and climb your career ladder Learning what work will drive you to the next level Jeff's strategies for staying mentally refreshed while working long hours in front of a computer The importance of comfortable communal work spaces Viewing disciplined break time as strength rather than weakness Keeping up with the intense demands of a content-ready culture Controlling your work in order to remain healthy and connected with your love ones Useful Links: Optimize Yourself "5x Challenge" Enjoying The Show? Leave A Rating And Review HERE FiP Question Submission Athletic Greens FiP 56: Advancing Your Career in Post (What They Don't Teach in Film School), Pt. 1 with Norman Hollyn FiP 57: Advancing Your Career in Post (What They Don't Teach in Film School), Pt. 2 with Norman Hollyn FiP Ep74: When You Should Take Free Work (And When You Should Run) with Alan Bell Guest Bio: JEFFREY FORD, A.C.E. (Editor) was born in Novato, California. He attended high school in Troutdale, Oregon and graduated from the University of Southern California School of Cinema-Television in Los Angeles with a degree in Cinema-Television Production.  He began his professional filmmaking career in 1994, working as an editorial assistant on James Gray’s debut feature film, “Little Odessa.” He went on to work as an assistant editor on several feature films, including the Academy Award®-nominated “As Good as It Gets” for editor Richard Marks and director James L. Brooks.  Ford co-edited “Captain America: The First Avenger" (with Robert Dalva) for director Joe Johnston, "Iron Man Three” (with Peter Elliot) for Shane Black and “Marvel’s The Avengers" and "Avengers: Age of Ultron” (both with Lisa Lassek) for director Joss Whedon. “Captain America: Civil War” is Ford’s second film for Joe and Anthony Russo. He also co-edited (with Matthew Schmidt) the Russo's first Marvel Studios feature “Captain America: The Winter Soldier.” He lives in Los Angeles with his wife and two sons.  Show Credits: This episode was edited by Curtis Fritsch, the show notes were prepared by Jakin Rintelman, and this show is executive produced by Kanen Flowers. We are a member of theTHAT STUDIO podcast network. The music in the opening and closing of the show is courtesy of Dorian Cheah from his brilliant album ARA.

Cinephilia begins with one thing: the love of a gesture, a line of dialogue, the way a camera moves. In the contemporary landscape of filmmaking, whose work better inspires cinephilia that of James Gray? The filmmaker of Little Odessa, The Yards, We Own The Night, Two Lovers, and The Immigrant joins Peter on the podcast to discuss his meteoric rise in the world of filmmaking, his attention to detail in trying to build each of his characters, the production process behind some of his most breathtaking shots, and the importance of story in cinema. Finally the two turn to Federico Fellini's 1957 masterpiece Nights of Cabiria, examining how the film conveys the most important aspect that art can do: the fundamental human decency of any person. 0:00-2:29 Opening3:18-10:15 Establishing Shots - 3 Years of The Cinephiliacs11:00-1:06:41 Deep Focus - James Gray1:07:21-1:09:12 Mubi Sponsorship1:10:10-1:22:01 Double Exposure - Nights of Cabiria (Federico Fellini)1:22:04-1:25:45 Close / Outtakes

Synopsis Kings of Brighton Beach Series  In Brighton Beach, the largest Russian immigrant community in America, criminals and spies live among hardworking immigrants. The mafia rules with an invisible hand that reaches from beyond the former Iron Curtain. Ruthless men vie to reign as kings over their profitable corners of Little Odessa, and no one can be trusted. Not even family.  Part 1: Gangsters with Guns At fourteen Vlad escaped his violent father and the criminal soup of Brighton Beach. Now, twenty years later, he will reclaim his father’s place in the Russian mafia if he can survive. Episode #1 Vlad plans to ingratiate himself with his father’s former partner, Artur, learn the “business,” and commit a hostile takeover. But Vlad isn’t the only one interested in claiming Artur’s slice of Little Odessa. Vlad’s rivals have no code of honor, and Artur’s daughter, Inna, is discovered in her brother’s own nightclub, raped and drugged, with a gun in her hand and a dead mobster sprawled on top of her. The dead man’s comrades want retribution, blood for blood, but Vlad is convinced Artur's mafia princess is innocent and that the real killer has ambitions to start a war in Brighton Beach. Excerpt The door slammed open and Detective Saul Hersh stalked in. “I don’t fucking believe it,” Vlad blurted as one of the few men who could blow all of his plans to hell strutted into the room. “Believe it,” Saul said. He was short and on the slight side for a cop, but his threat wasn’t in his physical strength. The man was clever, sneaky. He used to have a reputation as a hardcore interrogator, the kind who always got his answers. Sharp was only the warm up. The real deal had just arrived. Another test, Vlad thought, as dangerous as the others. Artur had eyes and ears on the police force. Saul placed scarred hands on his narrow hips, and the circular marks drew Vlad’s eyes, just as they had the first time he had met Saul. Ivan’s abuse hadn’t left visible scars on Vlad, other than the cleft in his eyebrow from where his head had hit the corner of a coffee table. Saul had told him his own father used to burn cigarettes on his hands. “I had a choice,” Saul had said, “to be like him, or go another way. You have that choice too. What will you choose?” “Never thought I’d see you here again. On that side of the table,” Saul said now. “Thought I’d scared some religion into you. Guess I was wrong ’cause here you are. Playing your father’s favorite role—gangster with guns.” “Stuff it, Hershey. We both know you’re the one who tried to play my father’s role,” Vlad said. “You thought if you saved Nadia from Ivan she’d shower you with … gratitude.” “Does your mother know you’re here? That you’re gunslinging for Koslovsky—just like your old man?” “I don’t talk to Nadia. The worthless whore,” Vlad said. He made a spitting sound for extra effect. Saul got up in his face, grabbed him by the collar. “Don’t talk about your mother that way.” “You’re defending her?” Vlad couldn’t hold back a mirthless laugh. The poor fucking sap, sucker punched by love for a woman who would never love him back, who would never love anyone save Ivan, even her own son. Ivan had beaten Nadia so hard she couldn’t stand and then turned his rage on Vlad,

Elvis hosts writer-director James Gray (The Yards, We Own the Night, Little Odessa ) whose latest film is Two Lovers, starring Joaquin Phoenix, Gwyneth Paltrow and Isabella Rossellini.