Podcast appearances and mentions of louis bloom

Louis Bloom hat keinerlei moralische Grenzen und wird durch sein skrupelloses Verhalten in kürzester Zeit sehr erfolgreich. Durch welche filmischen Tricks schafft man es so einen Charakter trotzdem sympathisch darzustellen? Ist Nightcrawler eine verstörende Medienkritik, oder rechnet der Film knallhart mit dem Kapitalismus ab? Aber vor allem fragen wir uns, warum Lou einen Dutt trägt und er sich so liebevoll um seine öde Pflanze kümmert.In dieser Folge von filmliebe hört ihr Michelle, Stefan und Flo. Folgt uns⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠Letterboxd⁠⁠⁠⁠⁠ Schreibt uns⁠⁠⁠hallo@filmliebe.online⁠⁠⁠⁠⁠ Unsere Website⁠⁠⁠⁠⁠filmliebe.online⁠⁠⁠⁠⁠ Unsere Letterboxd AccountsStefanFlo Folge #018 - ⁠⁠⁠Saltburn⁠⁠⁠⁠ kommt am 07.04.24

In which the Mister joins me in reviewing NIGHTCRAWLER (2014), currently playing on HBO Max. Written and directed by Dan Gilroy, the film follows Louis Bloom (an absolutely sublime Jake Gyllenhaal), an enterprising young man who starts the story selling scrap metal but then finds his way into the life of the nightcrawlers. From here, his drive, ambition and laser focus quickly propel him to success and total dominion in the field. The film explores many themes, among them journalistic ethics and the question of what is going too far. A solid script, great cinematography and fantastic performances but especially Jake Gyllenhaal's outstanding turn as the loathsome Bloom raise this to art and make this a MUST WATCH - don't miss it. The film has a run time of 1 h and 57 m and is rated R. Please note there are SPOILERS in this review. Opening intro music: GOAT by Wayne Jones, courtesy of YouTube Audio Library --- Support this podcast: https://podcasters.spotify.com/pod/show/jokagoge/support

Legendary cinematographer Robert Elswit has shot a wide range of movies, including Boogie Nights, There Will Be Blood- which won him the Academy Award for Best Cinematography- Magnolia, Good Night and Good Luck, Tomorrow Never Dies, The Bourne Legacy, two Mission Impossible movies, and of course Return of the Living Dead Part 2. Robert's latest film is King Richard, a biopic that tells the story of how Richard Williams, the father of tennis players Venus and Serena Williams, was determined to shape his daughters into champions. From the beginning, Robert and director Reinaldo Marcus Green wanted the tennis to be realistic. They watched many other tennis movies and didn't find the speed and athleticism of the actors to be believable. They knew it was going to be tricky dealing with actors pretending to be tennis players. Fortunately, the story was about Venus and Serena developing and honing their tennis skills, so the playing didn't have to look perfect. The matches were carefully designed around scripted beats that moved the story forward. Robert and Green decided to show only specific moments of the matches, including how Venus and Serena interacted with other players, how the parents interacted with their kids, and how Richard interacted with the coaches and his kids. They were careful in thinking about how to shoot the match, keeping it as interesting and as believable as it could be in terms of speed and athleticism but also making sure that the audience understands what is happening emotionally with the characters. For the look of King Richard, Robert chose several different types of filters and diffusion to represent the light in Compton, but didn't use as many for Florida, so that the sun could feel more bright and harsh. Robert's throughline for Los Angeles for the film Nightcrawler was shooting the ribbons of freeways that run through the Valley, as the main character Louis Bloom drives around LA looking for crime as a news stringer. It was impossible to fake it with a green screen. Robert, the cast and crew had to literally drive around and shoot Los Angeles at night. They had no time or budget to light things, so they scouted locations that were already lit. He took advantage of the street lights and the ambient light from billboards and stores. This approach gave the movie its distinctly seedy look, and Robert felt it was clearly the only approach that fit the script. You can see King Richard on HBO Max. Find out even more about this episode, with extensive show notes and links: http://camnoir.com//ep151/ Sponsored by Hot Rod Cameras: www.hotrodcameras.com Sponsored by Assemble: Assemble has amazing production management software. Use the code cinepod to try a month for free! https://www.assemble.tv/ Be sure to watch our YouTube video of Nate Watkin showing how Assemble works! https://youtu.be/IlpismVjab8 Sponsored by Aputure: https://www.aputure.com/ The Cinematography Podcast website: www.camnoir.com YouTube: https://www.youtube.com/c/TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

The Guilty is one of those films that feels like actually benefited from COVID restrictions. Any other time and this film would have gone too far into showing us car chases and big set pieces. Even worse, it would have turned this film into a cop propaganda film that happens so often when a police officer that is clearly unhinged is somehow made into a hero. Instead what we got was an intense thriller that plays on the concept of police jumping to conclusions and how that can lead to dangerous situations. There are several things that really work for The Guilty. First and foremost is Jake Gyllenhaal. Gyllenhaal might be one of the latest set of celebrities to dry snitch on themselves when it come to their questionable hygiene habits but the man can still act his ass off. Playing demoted and clearly troubled officer Joe Bailey, Gyllenhaal captures completely frantic and out of control nature of a police officer that should never have a badge and a gun. Intensity is something Gyllenhaal always brings to his characters and his Joe Bailey really channels his Louis Bloom character from 2014's Nightcrawler. He's very unlikable and clearly shouldn't be working dispatch much less being a cop with a badge. But he also serves as a great vantage point for how dangerous it is for cops to try too hard to dictate situations and jump to conclusions when they don't have all the facts. The rest of the cast is also well suited for this film. Most are not visibly seen (due to Covid restrictions) but still do a great job helping to bring the story together. Da'Vine Joy Randolph plays a CHP dispatcher who routinely reminds Officer Bailey he doesn't have the authority to tell her or anyone else how to do their job. Its a much needed performance that serves in contrast to Bailey's ego and need to play supercop. Peter Sarsgaard and Riley Keough also give great performances that help drive the level of urgency in the film. Also, like Randolph, they do a great job playing off of Gyllenhaal and help enhance his performance since all of their interactions happen through the phone. This is a huge reason why this film works so well. Usually films do better when they “show instead of tell” you what's happening. However, in The Guilty, hearing what's happening without actually seeing it works to the film's advantage. It puts the audience right there in the seat with Officer Bailey with a  little sense of hopelessness because just like him, there's nothing you can do but sit and wait for someone to explain what happened. this increases the tension in the film and really draws the audience in. It also makes the film feel like there are real stakes. More importantly though, it shows how context matters and that when you're only one the receiving end of information, it's easy to jump to conclusions that could have devastating consequences. The Guilty has suspense, tension and a sense of urgency that all make this a film worth checking out. Even better, it also shows how the “super cop” on the police force isn't a good thing for public safety and doesn't shy away from it.  The Guilty will release in select in select theaters on September 24 and on Netflix October 1. Follow more of our Toronto Film Festival 2021 Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.net Follow us on Social Media: MTRNetwork MTRNetwork @InsanityReport @TheMTRNetwork

The Guilty is one of those films that feels like actually benefited from COVID restrictions. Any other time and this film would have gone too far into showing us car chases and big set pieces. Even worse, it would have turned this film into a cop propaganda film that happens so often when a police officer that is clearly unhinged is somehow made into a hero. Instead what we got was an intense thriller that plays on the concept of police jumping to conclusions and how that can lead to dangerous situations. There are several things that really work for The Guilty. First and foremost is Jake Gyllenhaal. Gyllenhaal might be one of the latest set of celebrities to dry snitch on themselves when it come to their questionable hygiene habits but the man can still act his ass off. Playing demoted and clearly troubled officer Joe Bailey, Gyllenhaal captures completely frantic and out of control nature of a police officer that should never have a badge and a gun. Intensity is something Gyllenhaal always brings to his characters and his Joe Bailey really channels his Louis Bloom character from 2014's Nightcrawler. He's very unlikable and clearly shouldn't be working dispatch much less being a cop with a badge. But he also serves as a great vantage point for how dangerous it is for cops to try too hard to dictate situations and jump to conclusions when they don't have all the facts. The rest of the cast is also well suited for this film. Most are not visibly seen (due to Covid restrictions) but still do a great job helping to bring the story together. Da'Vine Joy Randolph plays a CHP dispatcher who routinely reminds Officer Bailey he doesn't have the authority to tell her or anyone else how to do their job. Its a much needed performance that serves in contrast to Bailey's ego and need to play supercop. Peter Sarsgaard and Riley Keough also give great performances that help drive the level of urgency in the film. Also, like Randolph, they do a great job playing off of Gyllenhaal and help enhance his performance since all of their interactions happen through the phone. This is a huge reason why this film works so well. Usually films do better when they “show instead of tell” you what's happening. However, in The Guilty, hearing what's happening without actually seeing it works to the film's advantage. It puts the audience right there in the seat with Officer Bailey with a  little sense of hopelessness because just like him, there's nothing you can do but sit and wait for someone to explain what happened. this increases the tension in the film and really draws the audience in. It also makes the film feel like there are real stakes. More importantly though, it shows how context matters and that when you're only one the receiving end of information, it's easy to jump to conclusions that could have devastating consequences. The Guilty has suspense, tension and a sense of urgency that all make this a film worth checking out. Even better, it also shows how the “super cop” on the police force isn't a good thing for public safety and doesn't shy away from it.  The Guilty will release in select in select theaters on September 24 and on Netflix October 1. Follow more of our Toronto Film Festival 2021 Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.net Follow us on Social Media: MTRNetwork MTRNetwork @InsanityReport @TheMTRNetwork

Part 2 of my conversation with actor Alexander Chernyshev on Jake Gyllenhaal’s performance as Louis Bloom in the movie Nightcrawler.

Part 1 of my conversation with actor Alexander Chernyshev on Jake Gyllenhaal’s performance as Louis Bloom in the movie Nightcrawler.

Podcast especial sobre Psicópatas del cine a cargo de Andrés Ceedeño, Sofia Del Papa y Facundo Dell Aqua. En este episodio se hace hincapié en personajes polémicos del cine contemporáneo de la índole de Hannibal Lecter, Anton Chigurh, Louis Bloom y Kevin Khatchadourian, entre otros.

A career retrospective with Jake Gyllenhaal on December 1, 2016. Moderated by Jenelle Riley, Variety. Jake Gyllenhaal, an Academy Award nominee, has established himself as one of the finest actors of his generation. With his new production company Nine Stories, he is also on his way to becoming a filmmaker of note – sourcing material, developing it from the ground up, collaborating with bold storytellers, and shepherding the projects through release. In 2014, he starred in Dan Gilroy’s Nightcrawler, which he also produced. For his performance as Louis Bloom, Mr. Gyllenhaal received BAFTA, Golden Globe, Screen Actors Guild, Critics’ Choice, and Spirit Award nominations, as well as Best Actor citations from numerous critics’ groups. He received an Academy Award nomination, and won a BAFTA Award, for his performance as Jack Twist in Ang Lee’s classic Brokeback Mountain, also for Focus Features. Working with some of the world’s finest filmmakers on both independent and studio features, Mr. Gyllenhaal has also starred in David Ayer’s End of Watch, which he executive-produced; Dennis Villeneuve’s highly acclaimed Prisoners and Enemy, playing a dual role in the latter; Richard Kelly’s cult hit Donnie Darko; Antoine Fuqua’s Southpaw; Jean-Marc Vallee’s Demolition; Baltasar Kormákur’s Everest; Jim Sheridan’s Brothers; Duncan Jones’ Source Code; David Fincher’s Zodiac; Sam Mendes’ Jarhead; John Madden’s Proof; Miguel Arteta’s The Good Girl; Brad Silberling’s Moonlight Mile; Nicole Holofcener’s Lovely & Amazing; Joe Johnston’s October Sky; and Ed Zwick’s Love & Other Drugs, for which he received a Golden Globe Award nomination. In 2014, Mr. Gyllenhaal made his Broadway debut in Nick Payne’s Constellations and his musical theatre debut in the Encores! production of Little Shop of Horrors. The actor made his New York stage debut in 2012 starring in If There Is I Haven’t Found It Yet, for the Roundabout Theatre Company, which earned him nominations from the Drama League and the Lucille Lortel Awards. The latter marked his first stage work since 2002, when he starred on London’s West End in Kenneth Lonergan’s revival ofThis is Our Youth, for which he won an Evening Standard Theater Award for Outstanding Newcomer. He recently formed Nine Stories, a production company acquiring and developing new material. The company is in development on a number of titles, including Denis Villeneuve’s The Son, which is based on Jo Nesbo’s critically acclaimed novel of the same name; a scripted limited series for A&E centered on cults throughout history; and the cartel drama The Man Who Made It Snow, to be directed by Antoine Fuqua. Additional projects in development include Theater of War, based on an episode of “This American Life,” which will be directed by Alex Timbers; and Ubisoft’s film adaptation of the Tom Clancy video game “The Division,” in which Mr. Gyllenhaal will also star. Through Nine Stories, he has produced Stronger, inspired by a true story and based on The New York Times bestseller of the same name. The movie, directed by David Gordon Green and to be released in 2017, is the deeply personal account of the heroic journey of Boston Marathon survivor Jeff Bauman (whom Mr. Gyllenhaal portrays). He currently stars in Focus Feature’s Nocturnal Animals.

Jake Gyllenhaal has become somewhat synonymous with beyond-brutal physical transformations for movies like Nightcrawler, and more recently (and even more brutally), for the role of boxer Billy Hope. But after crying three times over a first-draft script for Southpaw, he knew it was worth taking some punches for. He’s no masochist, but calls any work needed to tell the story of characters that fascinate him a joy. Gyllenhaal is the kind of actor who knows not only that his character bears a certain scar or walks a certain way, but why. He’s become known for going deep, and seems embarrassed and proud in equal parts about how seriously he takes his work; the same guy who’ll spend five months in a boxing ring or memorize an entire script just to sound as robotic as Louis Bloom will also tell you the best analogy for acting is Super Mario Brothers. Level One, to be specific. Though much has been made of his on screen metamorphoses, his most profound change in recent years is one we didn’t realize we were seeing. After coming to wide attention and critical acclaim in films like Donnie Darko and Brokeback Mountain, he found himself in the enviable position of being very young and very successful in Hollywood. That’s when everyone in the business will tell you exactly which projects and path will guarantee you a lucrative career. And that’s when Gyllenhaal stepped back and decided it was time to listen to his own voice about what he wanted to do and what his work would say about him. The results are sometimes perplexing (Enemy), or darkly comic (Nightcrawler), but always worth watching. And for Gyllenhaal, richly rewarding – the spoils being the experience, worldview and friendships he takes with him from every role. From Southpaw, he learned that a mere five pounds of pressure is all it takes to knock a guy’s brain against the side of his skull and put him down, if you know just where to land it. It’s the kind of instinct that told him just how to play one of the most touching and terrifying scenes in that film, and the same instinct that now guides the career he’s designing for himself. In this issue, Gyllenhaal discusses his work ethic, how he chooses and prepares for roles, and why he’d like to see someone else take a shot at playing them – really. It’s an esoteric conversation, but don’t worry; you’ll love it even if you’re not into Talking Heads, Bruce Springsteen or Wild Geese.

In Episode 24, Nick and Wesley take a deep dive in the MCU’s final installment of Phase 3, Spider-Man: Far From Home (34:30). Where does it fit in our favorite MCU movies and other Spider-Man releases? But before that we talk Strangers Things Season 3, Rey’s family lineage in Star Wars Episode 9: The Rise of Skywalker & Halle Bailey getting cast as Ariel in Disney’s live-action Little Mermaid (8:46). Nick shares an odd promotional crossover between Marvel & Axe Body Spray in his Comic Book Minute (24:20) while Wesley draws a comparison to Mysterio & Nightcrawler’s Louis Bloom in Stay Woke of the Week (27:27). They close the show with this week’s 3v3 featuring Mario, Xena Warrior Princess & Darth Maul vs Knuckles, She-Hulk & Harley Quinn (1:29:15) before closing out with What’s On Our Minds. Follow us on Twitter at @ChangeMyMindPOD, @Fry_Guy1, @WesleySykes_ & @TimWeisberg!

In Episode 24, Nick and Wesley take a deep dive in the MCU’s final installment of Phase 3, Spider-Man: Far From Home (34:30). Where does it fit in our favorite MCU movies and other Spider-Man releases? But before that, we talk Strangers Things Season 3, Rey’s family lineage in Star Wars Episode 9: The Rise of Skywalker & Halle Bailey getting cast as Ariel in Disney’s live-action Little Mermaid (8:46). Nick shares an odd promotional crossover between Marvel & Axe Body Spray in his Comic Book Minute (24:20) while Wesley draws a comparison to Mysterio & Nightcrawler’s Louis Bloom in Stay Woke of the Week (27:27). They close the show with this week’s 3v3 featuring Mario, Xena Warrior Princess & Darth Maul vs Knuckles, She-Hulk & Harley Quinn (1:29:15) before closing out with What’s On Our Minds. Follow us on Twitter at @ChangeMyMindPOD, @Fry_Guy1, @WesleySykes_ & @TimWeisberg!

Episode Sixty-seven. Alec Hijacks programming for his birthday and selects 2014's Nightcrawler. Written and directed by Dan Gilroy, Jake Gyllenhaal gives the performance of his career as Louis Bloom: a sociopath with drive and ambition that will stop at nothing to become the best at his craft, audio journalism. Co staring the then up and coming Riz Ahmed, Rene Russo, and the late great Bill Paxton.

Olá internet! Neste episódio pegamos a pipoca, preparamos os ouvidos e tricotamos sobre O Abutre (NightCrawler) dirigido por Dan Gilroy, filme de 2014, estrelando Jake Gyllenhaal. O filme conta a história de Louis Bloom um obstinado rapaz que entra no submundo do jornalismo criminal independente. Junio Feital e Rafael Souza receberam a Carol Cordeiro para falar sobre esse ótimo filme! Tricotamos sobre os limites ou não da força de vontade, sobre a atração pela carnificina na hora do almoço e sobre a dualidade de se produzir conteúdo dentro da sua garagem! Pegue sua câmera e venha para Roda de Tricotagem! Siga-nos no Twitter: twitter.com/TricotandoCast Curta a gente: www.facebook.com/TricotandoCast Mande emails para: tricotandocast@gmail.com Playlist do Tricotando Críticas, elogios e sugestões são muito bem-vindas

Olá internet! Neste episódio pegamos a pipoca, preparamos os ouvidos e debatemos sobre O Abutre (NightCrawler) dirigido por Dan Gilroy, filme de 2014, estrelando Jake Gyllenhaal. O filme conta a história de Louis Bloom um obstinado rapaz que entra no submundo do jornalismo criminal independente. Junio Feital e Rafael Souza receberam a Carol Cordeiro para falar sobre esse ótimo filme! Tricotamos sobre os limites ou não da nossa "força de vontade", sobre a atração  da audiência pela carnificina na hora do almoço e sobre a dualidade de se produzir conteúdo dentro da sua garagem! Pegue sua câmera e venha para Roda de Tricotagem! Playlist do Tricotando Críticas, elogios e sugestões são muito bem-vindas

Julia präsentiert ihren Lieblingsfilm aus dem Jahr 2014: "Nightcrawler", das Regiedebüt von Dan Gilroy, der zuvor vor allem als Drehbuchautor bekannt war. Der Film handelt von Louis Bloom, der als Nightcrawler Nachrichtensender mit Bildmaterial von Unfällen oder Gewalttaten beliefert und dabei immer skrupelloser und manipulativer wird. Wir versuchen zunächst in die Psyche der Hauptfigur einzutauchen und dessen Verhalten einzuordnen und lassen uns dann vom Film zu Diskussionen über System- und Medienkritik, Unternehmertum und Egoismus verleiten.

Prowlers meet up in a pairing of Nightcrawler with Smash and Grab: The Story of the Pink Panthers. In Dan Gilroy’s Nightcrawler, Louis Bloom (a driven man desperate for work) muscles into the world of L.A. crime journalism. There he … Continue reading →

Louis Bloom ist der Nightcrawler. Ein Blaulichtreporter auf der Jagd nach Crash ‘n' Crime. Auch wir können den Blick kaum abwenden.                                                                      […]

Esta semana falamos sobre O Abutre (Nightcrawler), filme de 2014 indicado ao Oscar de melhor roteiro original. Jake Gyllenhaal na sua melhor forma vive Louis Bloom um trambiqueiro de marca maior que descobre a profissão de paparazzi de desgraças, e se torna o maior caçador de desgraças da história do telejornalismo. Links Comentados Né nicole? Criança Morde Cobra – […]

In this podcast we find ourselves having quite an alternative perspective on the morality of Dan Gilroy's debut film Nightcrawler and it's antihero protagonist. We talk about the background of Louis Bloom and why he is the way he is and who are the real double faced people in the story. Next to that we don't forget to use our ability to associate and find a connection to Odyssey. It is very likely that we mention some minor details about the ending and stuff that could possibly be spoiling to see the film with fresh eyes. Nothing dramatic, but we like to be clear about these kind of things.

Welcome the newest episode of Dark Discussions, your place for the discussion of horror film, fiction, and all that’s fantastic. Little known screenwriter, Dan Gilroy, probably most well known as the husband of actress Rene Russo and the son of Pulitzer Prize winning playwright Frank Gilroy, comes out of nowhere to direct and screenwrite the new film, Nightcrawler, starring Jake Gyllenhaal in a career defining role. The film is a dark and gritty thriller about a young drifter who lands up filming violent and disturbing images for television's nightly news. Louis Bloom, an unscrupulous man with no direction in life, happens upon an accident along the side of the highway. Pulling over he sees a freelance crew filming the rescue. Soon Louis has his own camera and emergency scanner and is out and about Los Angeles arriving at recent accidents and crimes. Soon he's selling his own footage to the local news station. As his success grows, he quickly begins on a road that may lead to his own transgressions. Also starring Rene Russo and Bill Paxton, the film has unanimously won over critics. Based off the feedback of the press, the film may land up on many best of the year lists. And yet, along with other highly rated films with wide releases, Nightcrawler all but disappeared from theaters. Your co-hosts discuss the failure of the film at the box office, the acting of Jake Gyllenhaal, the commentary the screenplay says about the press, and whether Dark Discussions agrees that it is one of the year's best. As always we welcome your comments: darkdiscussions@aol.com (written email or attached mp3 files) WWW.DARKDISCUSSIONS.COM