Podcasts about Louise Brooks

Author Mallory O'Meara (Reading Smut) joins Chelsea to break down silent film legend Louise Brooks' scorched-earth essay collection “Lulu in Hollywood.” Louise floods the book with tea from the Golden Age of Hollywood, dragging Humphrey Bogart and torching the studio system that abandoned her. Chelsea and Mallory also spill bonus tea, calling out Charlie Chaplin. Plus, they explore why Louise's era wasn't so golden, and why her rage still hits hard in 2025. Trigger warning: This episode discusses sensitive topics, including suicide. Take care while listening, and find helpful resources here. Join the cookie community: Become a member of the Patreon Follow Chelsea: Instagram @chelseadevantez Show Notes: Chelsea's episode of Reading Smut (about the door knob) Lauren Bacall Memoir episode (with West Perry) Louise Brooks Interview Films mentioned: Pandora's Box (1929) Diary of a Lost Girl (1929) Desert Hearts (1985) Where to find our guest Mallory O'Meara: Reading Smut Podcast Reading Glasses Podcast Order “Daughter of Daring” today Mallory's Instagram Website *** Glamorous Trash is all about going high and low at the same time— Glam and Trash. We recap and book club celebrity memoirs, deconstruct pop culture, and sometimes, we cry! If you've ever referenced Mariah Carey in therapy... then this is the podcast for you. Thank you to our sponsors: Thrive Causemetics - Get 20% off your first order at thrivecausemetics.com/glamorous Libro.fm - Click here to get 2 audiobooks for the price of 1 with your first month of membership using code TRASH. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Movie stars have always worn jewelry. In the 1920s, the Art Deco style gradually took over red carpets and film reels. Worn by some of the greatest actresses of the day, from Louise Brooks to Brigitte Helm, Art-Deco jewelry was the epitome of modern beauty. Raymond Templier, one of the leading jewelry-makers of that time, seized this opportunity to free his creations from tradition, and mark his era with bold pieces, celebrating speed and pure lines.Voice of Jewels, a podcast from L'ÉCOLE, School of Jewelry Arts supported by Van Cleef & Arpels. Unveiling the stories and secrets behind History's most fascinating jewels.With Inezita Gay-Eckel, Jewelry Historian and Lecturer at L'ÉCOLE, School of Jewelry Arts. Written by Martin Quenehen and Aram Kebabdjian, performed by Jean Ann Douglass and produced by Bababam. Hosted on Acast. See acast.com/privacy for more information.

Some weddings might be grand, but nothing catches more attention than a good divorce scandal.August – September 1933, the marriage of Prince Alexis Mdivani and heiress Barbara Hutton has caused a lot of press attention on the couple as well as those around them. His two older brothers, Prince Serge Mdivani and Prince David Mdivani are in the papers again for their divorces and issues around their oil company. While youngest brother Prince Alexis and Barbara enjoy positive coverage, Prince Serge finds himself in a bitter press battle with soon to be ex-wife, opera singer Mary McCormic.Other people and subjects include: Franklyn Hutton, Louise Van Alen (referenced, not mentioned), Cobina Wright, Pola Negri, Princess Mae Murray Mdivani, Princesss Roussadana “Roussie” Mdivani Sert, Prince David – Prince of Wales – future King Edward VIII – Duke of Windsor, Lady Thelma Morgan Furness, Princess Marquesa de Portago, Lily Damita, Janet Snowden, Prince Caravita, John de Braganza, Lord Nicholas “Dickie” Mountbatten, Archpriest Jacob Smirnoff, Samuel Insull, Insull energy empire, Pacific Shore Oil Company, Charles Lindbergh, Lindbergh Baby Kidnapping, Anne Morrow Lindbergh, Marion Campbell, Nipo Strongheart, Mary Garden, Chester MacCormic – Macomic – Macormac, Kenneth Rankin, Reba McCormic, Harold McCormick, Edith Rockefeller, Ganna Walska, terrible singer, Cowgirl soprano, opera career advice, protégé, Chicago Civic Opera House, Russia, Soviet state Georgia, Biarritz, Moscow, Paris, Los Angeles, Liberty Magazine, Good Housekeeping, new Mdivani source, Tallulah Bankhead, Maurice Chevalier, Mistinguett, Yvonne Vallee, Rudy Vallee, divorce, remarriage, Orson Welles, Citizen Kane, Susan Alexander, William Randolph Hearst, Joseph Pulitzer, Florence Foster Jenkins, Meryl Streep, Enrico Caruso, Cole Porter, Lily Pons, cult musical camp, Alexander Winton, Winton automobile, Bobby Franks, Richard Loeb, Nathan Leopold, Clarence Darrow, Eva Stotesbury, Massie Rape Trial, Los Angeles Olympics, 1932 events, Amelia Earhart, Al Capone, circular connections, reconstructing & reconnecting the past, Tsar Nicholas II of Russia, Queen Victoria, Prince Philip, Prince Charles – Princes of Wales – King Charles III of Great Britain, Faith Baldwin, romance writer, female novelist, What Is Wrong With American Marriages syndicated news article series – Part 6th Pitfalls of International Marriage, Mademoiselle Dollars - American dollar princess, Adele Astaire, Fred Astaire, Lord Charles Cavendish, Boni de Castellane, Anna Gould, Duke of Marlborough, Consuelo Vanderbilt, Gladys Deacon, Sally Rand, risque striptease dance, messy divorces, too public, chaos, high passion, burnout, Brad Pitt, Angelina Jolie, Ben Affleck, Jennifer Lopez, Johnny Depp, Amber Heard, Prince Harry, Meghan Markle, divorce book,…--Extra Notes / Call to Action:Hollywood Mysteries, YouTube Channelhttps://www.youtube.com/@HollywoodMysteries#61 – Louise Brooks, The Girl Who Had The World In Her Hands and Lost It Allhttps://www.youtube.com/watch?v=Bg8D-KNHNZcCheck out and answer polls for As The Money Burns via social mediaX / Twitter – https://x.com/asthemoneyburnsInstagram – https://www.instagram.com/asthemoneyburns/Share, like, subscribe--Archival Music provided by Past Perfect Vintage Music, www.pastperfect.com.Opening Music: My Heart Belongs to Daddy by Billy Cotton, Album The Great British Dance BandsSection 1 Music: Did You Mean It? By Jack Hylton, Album The Great British Dance BandsSection 2 Music: Stars Fell On Alabama by Lew Stone, Album The Great British Dance BandsSection 3 Music: This Is The Missus by Sidney Kyte & His Piccadilly Hotel Band, Album The Great Dance Bands Play Hits of the 30sEnd Music: My Heart Belongs to Daddy by Billy Cotton, Album The Great British Dance Bands--https://asthemoneyburns.com/X / TW / IG – @asthemoneyburnsX / Twitter – https://x.com/asthemoneyburnsInstagram – https://www.instagram.com/asthemoneyburns/Facebook – https://www.facebook.com/asthemoneyburns/

Michael and Pax finish watching the Budd Boetticher / Randolph Scott Westerns with Comanche Station, also starring Nancy Gates and Claude Akins. And Michael also watched a couple of 1930s Westerns: Buck Jones and Louise Brooks in Empty Saddles (1936) and William Boyd as Hopalong Cassidy in Partners of the Plains (1938).

For a second year we're taking a vacation via classic film with International Month and we're starting in Germany! Looking for a silent German pre-Code? We've got you covered with a look at Louise Brooks in Pandora's Box. Hear how Lulu shook up cinema, both domestically and abroad. We also talk about the film's frank depiction of sex work and other salacious topics. This episode was created thanks to our Patrons: Ali Moore Amy Hart Danny David Floyd Donna Hill Gates Jacob Haller Jonathan Watkins Krista Painter McF Rachel Clark Shawn Goodreau A Button Called Smalls Chris McKay Debbi Lynne Jeffrey Kayla Ewing Nicholas Montano Peter Blitstein Peter Bryant Peter Dawson Susannah Burger Brittany Brock Cat Cooper Daniel Tafoya Diana Madden Emily Edwards Harry Holland Lucy Soles Nick Weerts Rosa

Libertinas y libertarias: hoy nos centramos en la vida de dos grandísimas mujeres. Empezamos con la actriz de cine mudo Louise Brooks, creadora de fantasías en La caja de Pandora como la gran Lulú, y participante de un romance crepuscular de aqui te espero, que te contamos enterito aquí para que lo disfrutes. Por otro lado, nos centramos en la historia de La Rosa Blanca, el grupo de resistencia contra los nazis formado por jóvenes alemanes que intentaron derrotar a Hitler, en el que participó Sophie Scholl, a quien homenajeamos hoy y siempre. ¡Viva la libertad! Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to the Instant Trivia podcast episode 1163, where we ask the best trivia on the Internet. Round 1. Category: Yesterday'S Hotties 1: This lovely's look was all the rage on college campuses in the 1940s. Veronica Lake. 2: This actress who played opposite Victor Mature in "Samson and Delilah" invented the technology used in cell phones. Hedy Lamarr. 3: Some child mannequins of the 1920s were designed to look like this sweetheart of an actress. Mary Pickford. 4: This groundbreaking actress was played by Halle Berry in an acclaimed TV biopic. Dorothy Dandridge. 5: The alluring star of a number of classic films, this Kansas native was equally famous for her haircut. Louise Brooks. Round 2. Category: Take A Nee. With Nee in quotation marks 1: Someone in the running for an Emmy or a Tony. a nominee. 2: A scornful, lip-curling facial expression. a sneer. 3: A Native American people who lived on the Platte River, or Leslie Knope's fictional Indiana town. Pawnee. 4: Captain Bligh suffered the wrath of a group of them. mutineers. 5: Stanley makes these long-jawed pliers. needle-nose. Round 3. Category: Pound Key. With Pound in quotes 1: This word can come before microscope or fracture; the first is definitely better. compound. 2: Traditionally, one of these requires 16 ounces each of butter, sugar and flour. a pound cake. 3: Where you go to retrieve your car after it gets towed for being parked in front of a fire hydrant. the impound lot. 4: 2-word official name for the standard monetary unit of the United Kingdom. pound sterling. 5: A harsh debt payment insisted upon, it was Antonio's obligation to Shylock in "The Merchant of Venice". a pound of flesh. Round 4. Category: Names For Your Dog 1: Give your male Rottweiler a strong name like Apollo or that of this supreme Greek god. Zeus. 2: If you have a small brown dog, try this 4-letter name, the seed of a legume. Bean. 3: If it's black and white, how about Tuxedo or this, the name of Nabisco's classic sandwich cookie. Oreo. 4: Thanks to "Twilight", this has been the most popular name for female dogs for the last few years. Bella. 5: Hey, pal! You can't go wrong with this name that Bill Clinton gave his chocolate lab in 1997. Buddy. Round 5. Category: Script Tease 1: 1969:"I call that bold talk for a one-eyed fat man". True Grit. 2: 1946:"Every time you hear a bell ring, it means some angel's just got his wings". It's A Wonderful Life. 3: 1939:"You should be kissed -- and often -- and by someone who knows how". Gone with the Wind. 4: 1962:"Bond. James Bond". Dr. No. 5: 1964:"Mein Fuhrer, I can walk!". Dr. Strangelove. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

It wasn't long after movies became ubiquitous in America that movie fan magazine appeared.  Eventually there would be more than 20 of them.    Gladys Hall had a stellar reputation as a “safe” interviewer who could be depended on to tell a good story without any scandal.  Her interview with Hungarian actor Bela Lugosi is one of the strangest things you could imagine.    She was married to glamour photographer Russell Ball, remembered today for his classic portraits of Louise Brooks, Rudolph Valentino, Greta Garbo, and Gloria Swanson, who used Ball as her private photographer.    Gladys Hall and Russell Ball are interred in an unmarked grave in the Lansdowne Section of Laurel Hill East.  If you like watching movies, you'll love this podcast about their early days – the mid-April 2024 edition of Biographical Bytes from Bala: Laurel Hill West Stories #031 – Glamourizing Early Hollywood. 

Host Luisa Lyons chats with Nicole Holst, producer of The Zeigfeld Girls Revue, a new cabaret celebrating the stories of the original Follies girls including Mae Murray, Olive Thomas, Louise Brooks, Julie Newmar, and Fanny Brice. Which Follies girl still haunts the New Amsterdam Theatre? Are any of the Follies girls still alive? What cultural trends did they start? In this delightful chat, dive into the making of the show, and hear some of the stories behind the featured women, and the performers who will be portraying them!The Ziegfeld Girls Revue will be livestreamed from NYC's The Green Room 42 on April 13, 2024. Nicole Holst is a classically trained dancer/choreographer, cabaret singer, and show producer who has been creating shows in NYC since 2006. Her specialty is creating high-quality, vintage-themed show concepts that transport the audience to magical eras in time and bring history back to life. To date, she has created 8 original evening-length shows, founded 3 dance companies, and curated several site-specific special events. Nicole has been hired as event manager by Sayen Art Festival, Dorian's Guilded Society, and ACE Entertainment LA at the Ritz Carlton NoMad. Her work has been commissioned by Firestone Walker Beer, the American Folk Art Museum, and Billi Shakes at the Brooklyn Bowl. She looks forward to collaborating with the artists who inspire her and creating bespoke, immersive entertainment for NYC venues. See more at www.nicolenadineproductions.com and follow @nicolenadineproductions for the latest shows!SHOW LINKSThe Ziegfeld Girls RevueNicole Holst Follow Nicole on Instagram Learn more about Fanny Brice with Kimberly Faye Greenberg on Episode 8 of the Filmed Live Musicals podcast Support the showFilmed Live Musicals is where musicals come home. Use the searchable database to find musicals filmed on stage to watch from the comfort of your living room! Visit www.filmedlivemusicals.com to learn more. Follow us on Facebook, Instagram, Twitter, and YouTube. You can also support the site at Patreon. Patrons get early access to the podcast and site content, no matter how much you pledge. Become a Patron today!Filmed Live Musicals is created by Luisa Lyons, an Australian actor, writer, and musician. Luisa holds a Masters in Music Theatre from London's Royal Central School of Speech and Drama and now lives, works, and plays in New York. Learn more at www.luisalyons.com and follow on Twitter, Instagram, and Facebook.

We were going to introduce Jonathan Demme's SOMETHING WILD by saying that not a lot of movies start with the kidnapping of the main character in the first five minutes, but according to Wikipedia's “Films about Kidnapping” list, that isn't true. And our main character, straitlaced banker Charlie Driggs (Jeff Daniels), isn't exactly kicking and screaming when he's picked up by Lulu (Melanie Griffith), an attractive Soho hipster with a Louise Brooks bob. What follows is a genre-defying film that is part road movie, part off-kilter rom-com, and part suburban nightmare crime thriller, featuring a truly terrifying debut performance by Ray Liotta. Subscribe on Spotify, Apple Podcasts, or Android. Follow us on Facebook and Instagram and Twitter. Visit our site: shutupwatchthis.wordpress.com Send your feedback to shutupwatchthis@gmail.com Please consider leaving a review or star rating on iTunes, so other folks can find us. © 2024 Ashley Carr & Dave Wilson

Celia Hemken in conversation with David Eastaugh https://www.youtube.com/watch?v=a0Kq806pWqw http://www.celiahemken.com/ https://www.youtube.com/watch?v=Ab15SRDfdc4 Bio by Celia Hemken of Blue Nouveaux:  Before I signed with Black and Blue records I had played classical flute with the Richard Hickox orchestra, recorded a John Peel session for UK Radio One and co-founded a theatre company. I'd busked (American transl: playing street music) round Europe playing flute as a Harlequin and had followed a Polish Circus with an Anglo/American punk-folk band. Back in England I appeared on Tyne Tees Television and at the London Hippodrome with a duo. I had made a music video based on the Twenties silent movie actress Louise Brooks and was a guerilla filmmaker with my first short, Dog Leap, throwing dummies off the 84 feet Newcastle Bridge. I'd done all this, but I hadn't yet achieved a main ambition – to go to America.   

James Cameron-Wilson laments a box office down 44% with no new films other than high school sex comedy Bottoms. He was unimpressed by Apple TV's Fingernails with Jesse Buckley, a sci-fi romance he found weird without being funny or moving. He was, however, a fan of Disney+'s Quiz Lady, an enjoyable farce with Awkwafina, Sandra Oh & Will Ferrell which he thought great fun. He was most taken, however, by the beautifully-restored release of the 1929 Pandora's Box, starring Louise Brooks. This masterpiece of German expressionist cinema is held by many to be one of the most influential films ever made. Despite its age, James found it very modern in outlook, with some wonderful extras on the disc. Learn more about your ad choices. Visit podcastchoices.com/adchoices

In «Lichtspiel» von Daniel Kehlmann geht es um die Grenzen der Kunst während des Zweiten Weltkrieg. In «Als die Welt entstand» von Drago Jancar um Totalitarismus im ehemaligen Jugoslawien. Und in «Hund 51» von Laurent Gaudé um eine dystopische Welt, in der die Menschen nicht mehr frei sind. In seinem neuen Roman «Lichtspiel» beschäftigt sich der deutsch-österreichische Autor Daniel Kehlmann erneut mit einem historischen Stoff. Es geht um den österreichischen Filmemacher Georg Wilhelm Pabst, einem der grössten und erfolgreichsten Regisseure in den Jahren vor dem Zweiten Weltkrieg. Damals war Pabst so wichtig wie Fritz Lang («Metropolis») oder Friedrich Wilhelm Murnau («Nosferatu»). Und er war der Entdecker von späteren Superstars wie Greta Garbo und Louise Brooks. Aber dann traf er verschiedene falsche Entscheidungen und wurde zu einer Geisel der Nazis. Er musste fortan Filme für sie drehen. Franziska Hirsbrunner bringt diesen facettenreichen Roman mit an den Literaturstammtisch. Im aktuellen Roman «Als die Welt entstand» des slowenischen Autors Drago Jancar wächst ein Knabe inmitten gesellschaftlicher und menschlicher Verwerfungen auf – und findet Rettung in der Fantasie. Felix Münger überzeugt die Kunst des Autors, ganz Unterschiedliches zusammenzubringen. Der Roman bietet ein Zeitgemälde der jugoslawischen Gesellschaft zu Beginn der 1960er Jahre: Die traumatische Erfahrung des Zweiten Weltkriegs wirft ihre dunklen Schatten. Das Buch ist aber auch ein in eine Kriminalgeschichte verpackter Coming-of-Age-Roman, der zudem grundsätzliche Fragen nach dem Wesen des Menschen aufwirft. Im heutigen Kurztipp stellt Annette König den Bestseller «Hund 51» vom französischen Schriftsteller Laurent Gaudé vor. Es ist ein rasanter Science-Fiction-Thriller mit Aktualitätsbezug. Darin wird der Staatsbankrot von Griechenland weitergedacht und die Folgen der Klimaveränderung in eine dystopische Zukunft gelegt. Buchhinweise: * Daniel Kehlmann. Lichtspiel. 480 Seiten. Rowohlt, 2023. * Drago Jancar. Als die Welt entstand. Aus dem Slowenischen von Erwin Köstler. Zsolnay, 2023. * Laurent Gaudé. Hund 51. 336 Seiten. Aus dem Französischen von Christian Kolb. dtv, 2023.

Despite small implosions everywhere, some hide their true situations while prancing around like prized ponies at a horse show. Over the summer of 1932, James H.R. Cromwell, aka “Jimmy,” pursues Doris Duke around France. Meanwhile, his mother Eva Stotesbury and stepfather E.T. “Ned” Stotesbury sponsor a horse show back in the Philadelphia area even while they remain abroad. Doris's mother Nanaline Duke grows suspicious over the state of the Stotesbury fortune.Other people and subjects include: Cobina Wright, Walker Inman, Evalyn Walsh McLean, Delphine Dodge Cromwell Baker, Raymond Baker, Christine Cromwell, Anna Dodge Dillman, Louise Brooks, New York Governor Franklin Roosevelt, President Herbert Hoover, Grace Fortescue, Thalia Massie, Clarence Darrow, Billie Dove, Lydia Anita Vittoria Bodrero, Valentine Everit Macy, Jr., Max Krone, Earl of Poulett, Lord Fairhaven, Sir Alec Cunningham-Reid, Ruth Mary Clarisse Ashley, Mrs. John Hay Whitney, Two Leggons show gelding – horse, Bon Diable horse, Mrs. William DuPont, Quarryman horse, Philadelphia Riders and Drivers, Rush Hospital for Consumptives, debutante balls, fortune hunters, marriage proposals, Lindbergh kidnapping, private detective, bodyguards, limousine, Whitemarsh Hall, Stotesbury Clubhouse, Wissahickon Farms, horse show, hunter class, jumper, Cannes, France, Bar Harbor, Newport, London, Philadelphia, Venice, Whitemarsh Township, Springfield Township, Wissahickon Kennel Club, coal mining town Stotesbury, West Virginia, Stotesbury Cup, rowing, George Washington, American Revolution, Edwina Ashley, Lord Louis Mountbatten, Prince Philip, King Charles III – former Prince of Wales, Stotesbury Regatta Cup, legacy vs. fortune--Extra Notes / Call to Action:Power Privilege & MoneyFacebook: https://www.facebook.com/groups/powerprivilegemoneyInstagram: @powerprivilegemoneyShare, like, subscribe --Archival Music provided by Past Perfect Vintage Music, www.pastperfect.com.Opening Music: My Heart Belongs to Daddy by Billy Cotton, Album The Great British Dance BandsSection 1 Music: Did You Mean It? By Jack Hylton, Album The Great British Dance BandsSection 2 Music: On The Air by Carroll Gibbons, Albums More Sophistication & Tea Dance 2Section 3 Music: It Had To Be You by Carroll Gibbons, Album It's Got To Be LoveEnd Music: My Heart Belongs to Daddy by Billy Cotton, Album The Great British Dance Bands--https://asthemoneyburns.com/TW / IG – @asthemoneyburnsFacebook – https://www.facebook.com/asthemoneyburns/

Louise Brooks, wild child of Old Hollywood, is most remembered for her escapades and her performance in the film Pandora's Box. However, she was always more of a dancer than an actress and never set out to join the nascent film industry despite numerous offers. Like many of her decisions, the left road into HollywoodContinue reading "The Lulu to Dietrich's Lola – Ep.37"

Chaz & Wolfie are all in on this track off the 2001 album Lulu by Lou Reed and Metallica. Being hep to the Lulu plays that were Lou Reed's source inspiration, our co-hosts think they've figured out the character portrait of Little Dog. And while they're probably right, we also know there's a lot more going on in these lyrics than is immediately identifiable. So hike up your shorts, do the Chicken Wing dance, grab a plate of boneless wings with some Nando's Perri Perri sauce, and join us for a mouth watering episode that'll have you running your tongue over the hot-in-trot nearest you! Resources:  ⁠Pandora's Box⁠ - Silent Film adaptation of Lulu Plays. Pandora's Box is a classic German silent film directed by Georg Wilhelm Pabst in 1928, starring Louise Brooks. The premiere took place on January 29, 1929 in Berlin. ⁠Interview Magazine⁠: Andy Warhol's Interview magazine with a great May 2023 interview between Laurie Anderson and Lars Ulrich. Season 1. Regarding…Lulu 12 years ago, Lou Reed released his last recorded work: a collaboration album with Metallica called Lulu. It was widely panned by critics--and everyone else--almost immediately. Was the disdain deserved? Join us as we revisit the entire work, track-by-track, from the perspective of two musicians. One is a fan of Metallica; one is a fan of Lou Reed. One has heard Lulu; one has never heard it. Join us on a bloody journey of discovery. Has Lulu passed the test of time? Is it in fact a masterpiece or a major piece? We'll see...   Hosted by Chaz Charles and Greg "Wolfie" Wolfe. Join us bi-weekly.

Kükreyen 20'ler.. “Caz Çağı” 1.Dünya Savaşı bitmiş. Bambaşka bir ruh halinde insanlar. Kayıplar, travmalar.. Hayatın içine girmiş, çalışan, ticaretle uğraşan, araba kullanan, izole ev hayatından uzaklaşan özgür kadınlar. Önceki neslin asla kabul edemediği özgür yaşamlarıyla flapperler. “The Great Gatsby”, Louise Brooks, Coco Chanel, Clara Bow.. 1920'lerde başlayan  bir yolculuktayız.

The national holiday arrives when many give thanks, but how grateful should some be when they knowingly face tougher times ahead? Thanksgiving 1931 finds multiple people in flux.  As Doris Duke and Barbara Hutton have yet to secure an engagement, Cobina Wright and Evalyn Walsh McLean are struggling in their marriages.Alice Vanderbilt hides her depleted fortune while Grace Wilson Vanderbilt continues her lavish lifestyle.The Van Alens focus on family, while E.F. Hutton and his wife Marjorie Merriweather Post Hutton continue aiding charities.  Lastly, Al Capone adjusts to life behind bars. Other people and subjects include: Edward McLean, Hope Diamond, Washington Post, Gertrude Vanderbilt Whitney, Countess Gladys Vanderbilt Szechenyi, “Neily” Cornelius Vanderbilt III, “Neil” Cornelius Vanderbilt IV, Mary Duke Biddle, James Blakeley, Grace Blakeley Hyde, Anthony Drexel IV, Prince Girolamo “Jerome” Rospligiosi, Marion Snowden, Daisy Van Alen, Princess Louise Van Alen Astor, Prince Alexis Mdivani, James “Henry” Van Alen, William “Sam” Van Alen, Elizabeth “Betty” Kent Van Alen, Louise Vanderbilt, E.T. Stotesbury, Evalyn Stotesbury, Louise Cromwell Brooks MacArthur Atwill, Louise Brooks, James “Jimmy” HR Cromwell, Josep Maria Sert, Marion Davies, William Randolph Hearst, Caroline Astor, Alva Vanderbilt Belmont, Jehangir Hothari of Karachi, Ralph Capone, Club El Patio, Sonogee, Wakehurst, Rough Point, Gould mansion, Fifth Avenue, Metropolitan Opera, Bergdorf Goodman, Waldorf-Astoria hotels, Empire State Building, Chicago Cook County Jail, Leavenworth, interconnected stories, divorce, real estate, con artists, tax evasion, debutante balls, troubled blessings, life's curveballs, gratitude, troubled times, toxic positivity, troubled blessings --Extra Notes / Call to Action:My recurring Waldorf-Astoria hotels webinar - Part 1 on Thursday, December 1st, 2022 and Part 2 Thursday, December 8th at 8pm EST / 5pm PST. New York Adventure Club www.nyadventureclub.comor the events section at https://asthemoneyburns.com. Thursday, December 1st, 8pm EST / 5pm PST –  Waldorf Astoria Hotel Part 1: A New Standard of Luxury (pre-1929), Come learn more about the Astor family dispute behind the famous hotel and its construction as well as the hotel's influence on luxury travel and fine dining.  Connections to the Titanic as well as other events and famous people will also be explored.  But all good things come to and end.  https://www.nyadventureclub.com/event/the-waldorf-astoria-hotel-part-i-a-new-standard-of-luxury-webinar-registration-458480436327/ Thursday, December 8th, 8pm EST / 5pm PST  –  Waldorf Astoria Hotel New York  Part 2: Manhattan's Grandest Hotel (1931-present), The second version of this fine luxury hotel comes during the dawn of new era which will bring new challenges and excitement.  A lingering Astor family connection adds to the saga until a new family the Hilton dynasty rises and takes over.  More celebrities and events will add to allure of this hotel.  Finally, updates reveal the recent renovations, an auction, and the future for the third incarnation.https://www.nyadventureclub.com/event/the-waldorf-astoria-hotel-part-ii-manhattans-grandest-hotel-webinar-registration-458480476447/ Share, like, subscribe                                                                                                                                       --Archival Music provided by Past Perfect Vintage Music, www.pastperfect.com.Opening Music: My Heart Belongs to Daddy by Billy Cotton, Album The Great British Dance BandsSection 1 Music: I Guess I Will Have To Change My Plans by Ambrose & His Orchestra, Album The Great British Dance BandsSection 2 Music: Just A Mood by Benny Carter & His Orchestra, Album Nightfall – Sophisticated Jazz ClassicsSection 3 Music: If This Is Only The Beginning by Billy Ternent, Album EleganceEnd Music: My Heart Belongs to Daddy by Billy Cotton, Album The Great British Dance Bands --https://asthemoneyburns.com/TW / IG – @asthemoneyburns Facebook – https://www.facebook.com/asthemoneyburns/

Happy Birthday to Louise Brooks, Aaron Copeland, and Antonio Gades! --- Support this podcast: https://podcasters.spotify.com/pod/show/dawn-davis-loring/support

Award-winning, writer, director, actress Christina began her career acting in such cult films as Suburbia, Boys next door and Dudes. She was one of three women accepted into Fox Searchlights new director s program, her IFP nominated Best screenplay, debut feature, PERFECTION was part of their rough-cut labs, Independent film week and winner of The Adrienne Shelly female directing award.PERFECTION screened at The Oxford film festival where Christina won Best Actor and Best Narrative feature and also screened in the San Francisco International Women's film festival, the USA film festival in Dallas, Texas, The Egyptian theatre in Hollywood, CA, premiered at the RIO cinema London, The Quad cinema, New York and screened at The Laemmle' s Monica 4plex in Santa Monica, CA.Christina has sat on the juries for the London feminist film festival, the Eastern European film festival, the 100 word film festival, NC and has served head of the jury at the USA film festival, Dallas.Her upcoming projects include, EXPECTING GRACE set in Marseilles France, her short, HOOKER #2 and the punk rock pilot, POSEUR. Christina has lectured at The New York film academy, The Met School, London, Harvard Westlake, Cal State Fullerton and is an adjunct professor at Loyola Marymount University in Los Angeles in the film and television department.Show NotesChristina Beck's Website - https://www.christinabeck.comChristina Beck on Instagram - https://www.instagram.com/cbrubylee_xtinabeck/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistTranscripts Are Auto-GeneratedChristina Beck:I always say to my students, Pick stories that you love. Pick stories that you feel like you have to tell because you're gonna be living with that story and pitching that story way beyond the script. You're gonna be pitching it for grants, you're gonna be pitching it for festivals, you're gonna be pitching it for people to watch it online. You're forever pitching these stories. But to say something visually is powerful. I think it can change minds and hearts.Michael Jamin:You're listening to Screenwriters Need To Hear This with Michael Jen. Hey everyone, this is Michael Jamin and you're listening to Screenwriters. Need to Hear This. We got a special guest for you today. If you are an indie filmmaker, an aspiring indie filmmaker, you're gonna wanna listen to this. You're gonna wanna meet Christina Beck, who I've known forever. She's an old friend, independent filmmaker, but she's you. She also teaches at Loyola Marmont University and the Fame Stella Adler Theater where she teaches screen screenwriting as well as film producing filmmaking, all that stuff. Well Christina, welcome to the big show.Christina Beck:Thank you. Thank you so much. I was gonna call you Mr. Jam and it's a habit. I can't help it.Michael Jamin:It's a habit. There it is. Cause cuz Christina briefly worked for me as an assistant for me and my partner on a show. And then I force you to call me Mr. JaminChristina Beck:. it just kind of fell into this thing. Yeah, no, you did not force me. You didn't force me at all.Michael Jamin:I never did that.Christina Beck:But I will correct you Mr. Jamin. So I actually don't teach at Stella Adler. I teach at least Strassburg, but I could see where you would choose that. Oh, at least Strasberg. Yeah,Michael Jamin:Just I would think,Christina Beck:Right. Well, they're all,Michael Jamin:They're East Strasberg. Go to that one.Christina Beck:Yeah, but sad. They're not around anymore. But the legacies are for sure.Michael Jamin:I haven't been to West Hollywood forever. Yeah. And you guys see, you got your one sheet from, That's from Perfection. Let's talk about what you're at, some of your movies that you've done, cuz Christina is an indie filmmaker. She's a hustler. She makes her movie, she writes your stuff. You also started as an actor, right? Where, let's take me back to the beginning. You basically started, you wanted to be an actress, right?Christina Beck:Yes, yes. Yeah. So I grew up here in Hollywood, actually not in Hollywood. I grew up in the Valley. Let's get real about that. So I like to call it the main streets of Studio City. And although it was very different back then, I know today it's a unaffordable, you can't even get in there. But back in the day it was the suburbs, basically. And my folks were in show business. My father was a screenwriter and an actor, and my mother was an actress, a model kind of actress. She ended up studying in New York with some very significant people. Sandy Meisner had a full scholarship for the Neighborhood Playhouse, which was a big deal back in those days. But my beginning with acting really started just as a kid. being extremely bored in the valley and putting on shows. I was that kid. I was putting on shows, arranging the stuffed animals. If we ever had company, they were held hostage to my extravagant. Really? Yeah. It was Cabaret 24 7 and . I know. Yeah. You didn't know that about me. Yep. I didn't know that. Yeah.Michael Jamin:I also didn't know your dad was a screenwriter. I didn't know that as well. Did he work aChristina Beck:Lot? Yes, he didn't work a lot as a screenwriter. He worked a lot as an actor. So when he came out to Hollywood, he's from Texas originally, and he came out to Hollywood and straight away got signed to William Morris, got put under contract at Universal and did a bunch of movies. But then he did westerns. I always played the bad guy on Bonanza andMichael Jamin:Yeah, Christina, I didn't know your Hollywood royalty Well,Christina Beck:A little bit, yeah. Yeah. Oh wow. Definitely the lineage is there. Yeah. But his real love was screenwriting. He didn't love acting. He really did fall into it. And he had a great look and he was a cowboy, so he played a cowboy, but he wasn't even really a cowboy. He's just from Texas. But yeah, there's this really great story. So Robert Blake, who some of us know strange stuff all around that guy. But that said, back in the fifties, he was friends with my father was friends with him, and Robert Blake had a part where he had to ride a horse. And my dad said, All right buddy, I'll take you out. And they went to, I think probably, well, I don't know what it's called now, but it used to be called Pickwick, which is in Burbank near Disney. They went out over there and not only did he teach him how to ride a horse, he helped him learn his lines. And because I heard this story later after my father passed Robert said, Your father, he really sat with me in this tiny little apartment and he had me drill my dialogue and I got the roof because of him and just very sweet old school. Wow. Hollywood, stuff like that. But that said, when my father wasn't working as an actor, he was always in his, it was dad's den type, type type, type type. He was always working on screenplays and he loved writing.Michael Jamin:Yeah. Do you feel the same? Do you acting more, writing more for you? Well, are you like your dad orChristina Beck:Not? No. Yeah. No, I'm not like my dad. I, there's bits of me that I like him, but it's more acting was definitely the first bug. And like I said, putting on shows at home. But then I got kind of lucky, I was in the valley still. So on Ventura Boulevard near Vineland there was this place called Moral Landis Dance Studio. And my mother used to go and take a jazz class there. This is the late seventies. And next door was a place called the American National Academy of Performing Arts. So I kind of wandered over there and at this academy place, and I ended up joining an acting class. And my very first acting class, an acting teacher, was a man named Francis Letter. And I didn't notice at the time, so I'm like nine years old, 10 years old, and he is about 80 or maybe seven in his seventies. And so I joined this acting class and then he asked me to be in the adult acting class, and I gotta play all the juicy, the bad seed and just fun stuff like that. Oh wow. And so it turns out that later on I found out that he was a big deal and he was in Pandora's Box, the silent film starring opposite Louise Brooks. And he's, and he did a ton of stuff for a long time. And then he was part of the actor studio in New York, and he was from Eastern Europe, but came over here right before the war, I think, . So that's when I really just was in heaven as a kid acting in this class. And then I also did some commercials with my brother. We were in some commercials. And then I became a teenager, , and then I became really rebellious and mm-hmm got into the punk rock scene and completely fell in love with music and artistry. I mean, really at that time too, this was the early eighties when punk rock wasn't necessarily vi What's so funny,Michael Jamin:Cause I can't picture you doing being into punk rock. I guess it,Christina Beck:I got pictures. I got pictures, and I've actually written the whole show about it. Yeah, I . But all that to say, yeah, I, I never wasn't like the punk rock chick. I more, I liked the artistry of it. I liked the right, And when I say that, I mean there were a lot of wonderful, cool artist people that I'd met mostly, much older than me at the time, but they were musicians and writers and actors. But they were on this kind of rebellious thing where we don't need permission to do anything, we just get to be creative. And that's what I loved mostly about that whole scene. And then there were different facets of it that were cuckoo and, and intense and lots of drugs and lots of alcohol and lots of inappropriate stuff. But then I got cast in a movie, so now it's my late teens.And my best friend, she was well there is a woman named Penelope's Theorists who has made films that we know of Wayne's World and different Hollywood films. But at that time she had made a documentary called The Decline of the Western Civilization, which is a really amazing film even to this day because she really got into that la punk rock scene at that particular time in space. And it was an incredible film. And she wanted to make a narrative film. So she wrote a script and got it produced by a furniture salesman guy. And I think Roger Corman of course. And so I got cast in that. And like I said, I was in my late teens and at that time I was kind of over punk rock and I was like, Eh, don't wanna, this is stupid. But I ended up doing it. And that is where I really was like, okay, this is the way I wanna spend the rest of my life.I loved being on set. And to answer your question, it's really tricky. I love in the realm of all that we do in terms of writing has its moments and then the pre-production, but being on set to me is definitely my favorite. And post is a whole nother exploration. But yeah, so it was from that moment on that I was just like, Okay, this is what I wanna do. And I did a couple more films with Penelope and then I moved to New York City and I wanted to be a real, I also felt like, okay, I didn't really, I need to be a real actor. I really have. And soMichael Jamin:A theatrical actor, is that why you moved toChristina Beck:New York? Well, yeah, I mean I love theater and my very best friend, you might know her, Cynthia, Man. Oh, okay. Yeah, it's Shannon. Familiar . Yeah. So we wereMichael Jamin:Frozen. That's how I met my wife. That's how I met her. I met you through her. I met you honestly, Christina. That was the first time it was really, I met you really on real early on, but go on. When I was with Cynthia. Really? Yeah. Tour or something.Christina Beck:I know, it's so great. Michael Jamin:But go on. AndChristina Beck:So Cynthia was in New York and at that time, for me, I felt like I really wanted to study and be a serious actor because I come from more of a film background. I did study a bit with Francis, but I really wanted to pay my dues as an actor. And I, I studied with a bunch of different great people. I auditioned for everything that was there at the time. AndMichael Jamin:Tell me, I'm gonna interrupt for a second, hold on. But tell me what your thoughts are, the difference between acting for film or television and acting for the stage.Christina Beck:Well, in my experience and what I'm also kind of revisiting lately, well when you're acting in film, it's very subtle. There's a camera and the camera picks up everything. And so when you're on stage, you are playing to the back row. People in the back need to see and understand what's going on. And it's just a very different, and I think most actors can do both. Some are, I guess more comfortable doing one or the other.Michael Jamin:But when you study and you train, do you sometimes study specifically or did you specifically for film versusChristina Beck:No, no, I didn't. No.Michael Jamin:Are are classes like that? Yeah. Just forChristina Beck:Fun. Yeah. Yeah. There's like on camera classes where people, it's for auditions I think, but also to get to practice how you come off on camera. Yeah. I never did that . I never, yeah. Really did that. But here's a weird, maybe creepy thing. Ever since I was a kid though, I always felt like there was a camera on me. , I would visualize, I could almost disassociate a little bit, this is a psychological thing here, but I felt, I would kind of imagine walking to school, what would it be if this character was walking to school? I almost was above myself a little bit watching myself. And that's a weird thing to say cuz actually when you're acting in a film, you really shouldn't be watching yourself. But that's where I am also a director. SoMichael Jamin:In other words, you were visualizing visualize how you would shoot yourself or is it more of Yeah. Was it more of a fantasy thing or how would I appear on, I wanna shoot myself if I was walking down the street?Christina Beck:Yeah, it's more the that one. And of course a little bit of fantasy, but it was escapism. But it was also, I was sort of able to take myself little Christina walking to school fifth grade out of it and see it from this other angle. And I don't know what that's about, but I do now I I see things that way all the time.Michael Jamin:Really How you would shoot it, where you would place the camera Christina Beck:Or where is the camera? Yeah. And it's such a funny thing cuz we live in a world now where everyone has a phone and everyone is documenting, everyone is shooting themselves. And that's a little different. But I guess it's similar in a way.Michael Jamin:Did you have film equipment when you were that Young? Christina Beck:I mean, Well my dad I none. We really didn't. My dad, no, my dad did my made some super great films and actually. Yeah, we did a lot of home movies when I was little. So I was usedMichael Jamin:To with sound.Christina Beck:No, no sound. No, it'sMichael Jamin:Interesting.Christina Beck:So yeah, yeah, being tied up on a tree and then my brother coming up on a horse and all sorts of me crying. Yeah, I got it. I got it all.Michael Jamin:Wow. Then so after New York, so how long were you in New York?Christina Beck:Three years. I was there for three years. AndMichael Jamin:Then what made you decide to come back?Christina Beck:Well, I wrote a play and that's kind of what happened. So I'm in New York, I'm studying, I'm auditioning for Everything film. I remember that there was one year where I really went out for everything that was shot in New York or anywhere around there and didn't get anything. And at the time I was studying with a woman at Playwrights Horizons who was a writer and an actress. And she said, Listen, you guys really should start writing characters that you feel you could play or just more of an empowerment in terms of instead of waiting around for everyone to give you a role, write something. So a bunch of us did, and it really started out by writing monologues. So I was in a group of women and we formed a little theater company and so we wrote characters and monologues for these characters and then we put it up and that was really great. And then I gotMichael Jamin:You. Don't skip that step. How did you put it up? How do people stage playsChristina Beck:You a lot of time? Well, at that time, at that time, which was a long time ago we raised a little bit of money, kind of similar to a lot of independent film stuff. But we raised a little money, family and friends type of thing. We actually did it at the Samuel Beckett Theater, which was where Playwright Horizon, I think they're still there on 42nd Street, I think eighth and ninth, 42nd Street, . And we put it up for a weekend and we got reviewed and we got in. It was great. It was super fun. And it also felt like I started to feel more complete as stuff that I could do as an actress. I always, I didn't, waiting around, I don't waiting for, I just felt like I have more to do and I was always journaling and stuff as a kid and as I got in my teens.And so writing to me didn't feel that far off from what I was already doing. And coming into it as an actor, I knew I've read enough plays and I've read enough monologues to understand how to write in that form. So I ended up when I was living in New York, I'd come back to LA and visit in the summers. Cause summers are horrific in Manhattan. So there were some musicians that I met that were doing some kind of cool stuff. And this one guy played, he had a character that he did. And so I wrote a play. I kind of inspired me to write this play about him. He was playing a lounge singer and he, his friend had this group and it was kind of rock and roll stuff, but then they would go into a lounge sort of thing. And I thought, oh, that would be funny to, what would it be if these lounge singers had a kid and tried to live their life? And it was a little autobiographical, the father's alcoholic and the mother's sort of obsessed with her beauty. And so these themes started to come up in my work. So I wrote this full length play and there was music in it too. And then we also shot some video footage, so it was sort of like a multimedia thing. So I kind of had to come back to LA to do that.Michael Jamin:So you staged it?Christina Beck:Yes. I didn't direct it, so I wrote it and I starred in it. But a friend of mine this woman named Modi, who I met from the punk rock days, but also she was Penelope's assistant on some of the film stuff I worked on with her and was a video director in her own. And so she came in and she directed it and it was great. It was amazing. It was.Michael Jamin:And how do you even get the theater to put it up?Christina Beck:We raced a little bit of money and then we got producers and they put it up up.Michael Jamin:What do you mean? How does that work? You got producers, what doesChristina Beck:That mean? Yeah, so the woman who played my mother in this is an amazing singer, artist, actor. Her name is Jane Cotillion. And so she loved the play and she said, Oh, I know this guy Billy DeModa and he's a casting director and maybe he could produce it. And he didMichael Jamin:. This is just from being out here, just from honestly, just meeting people, being in circles, taking acting classes and because that's the thing about la everyone's trying to do something right?Christina Beck:Absolutely, yeah. I mean think it's now because of Zoom and different things in the world and there's so much more accessibility. I think it's possible to collaborate and not be here. But all that said, especially at that time, you had to be here. And I do think it's still important to be in the place where you wanna be if you can. And these people I knew, so I knew about the guy, his name is Manny Chevrolet and he and his friend had this act and they were opening up for the Red Hot Chili Peppers and I knew them from suburbia, which was the movie I did with Penelope I knew. And so it was kinda a group of people that I already knew. And then the musical directors, this guy named Tree, who's good friends with, and they were just all these people that kind of organically came on board.Michael Jamin:Interesting. And tell me, but how do, you're also, obviously you've written and directed and produced a bunch of movies, indie movies, some are shorts, some are full length, but do you go about, alright, so you work on the script. How long do you work on the script and when do you know it's done?Christina Beck:Yeah, that's a great question. And then everything's a little bit different. So with short films, well I'm teaching a course right now, so I feel like I already have this in my mind. Short film is one idea and that script can take a long time to write. It's not easy to write a short film because basically you're trying to squeeze in this one idea in a way that has a beginning, middle, and end. So you don't have the luxury of necessarily three acts, but you have to have this.Michael Jamin:How long is it short for you? Well,Christina Beck:Okay, so that's another great question because what I have learned now, I think a sweet spot for a short is anywhere from 10 to 12 minutes. I think if you can sit, do it in a shorter amount of time, even better because depending on what you wanna do with it. So there's a whole film festival world, which is pretty much the best place for your shorts to be seen if you can get them produced. So it's a matter of programming these films. So if you have a film that's 20, 25 minutes, that obviously takes up more time. And most film festivals, they program the short films in a block. So they're literally trying to pack in as many as they can and good ones. And it's all different too because the academy nominated films, they can be up to 40 minutes. But even again,Michael Jamin:When you say program, when they're looking for blocks, what is their intention?Christina Beck:Well, they'reMichael Jamin:Showcasing what I mean, you have to understand that right as well. How does the film festival, how do they make money so that they would want you?Christina Beck:Right. Well that's a whole other thing. So there's different kind of aspects to that. So there's short films that are star driven, meaning you can put a star name in it. Now that always brings money and cache to a festival but not you can make a great short film and not have a star in it, is really what I wanna say. Because a good short film is something that has a very original idea. Again, it's short enough where you want more basically. And it's not making a feature and then picking a scene from the feature and making a short out of it. Sometimes you can create characters or create a separate script. So I made a short film for Fox Searchlight, I got in this new director's program with a feature script and they would not let us just take us a scene from the feature.They were like, no, no, no, you have to make a short on its own, but with the same characters and the same relative premise. So that's kind of how I learned about that trap. But to answer your question the short films that get noticed at festivals or can even get into a festival are ones that are very authentic to whatever the genre is and the writer's vision. What are you talking about? Is it something, And that's also a weird trap too, because as a writer, I don't wanna be thinking about a festival, you know? I mean that's way down the line. But you have to live in both of those realities in a way. Because if this is a calling card as a writer or as a director of Indy films you have, it's good to keep in mind, okay, I'm not gonna write a 45 minute short film and expect it to be programmed. That would set myself up to fail if I could write. WhenMichael Jamin:You say programmed, you mean, what do you mean by programmed? Are they gonna play for that weekend?Christina Beck:Yeah, so in a film festival, they have a program of films they have, whether the festival is a week long or a weekend , depending on what festival it is. But for instance, let's just say Sundance, I believe a week. So there's some pretty intense statistics that I just found out from a friend of mine. So they had the largest amount of submissions of short films this past year than ever over 10,000 short films. And they only program 59 films. So wow. like, oh my God. And Sundance is wonderful and amazing and if you can get in, great, It's not the only festival. There's a gazillion festivals and anyone is a great experience to get in and go to have that festival experience. But to answer your question about programming , are we there? The people that program the festivals are people that watch the films and decide, we have a three short film programs, A, B, and C. This is just making this up, but it's kind of how they do it. We have 30 minutes in each block, so I gotta squeeze. It all depends. Sometimes there's a film that's a little longer, but they really like it, so they're gonna put that in there. And then there's less room for other films.Michael Jamin:. And how much does it cost to submit to a festival? Usually?Christina Beck:It varies. It definitely varies and it varies. Sometimes they have early submissions that are always a little cheaper. Also depending on you can always ask for a waiver. Sometimes they give them to you, sometimes they don't. So it can be anywhere from 20 bucks to 75 to 150 bucks. It definitely can add up.Michael Jamin:When you make a film, how many festivals will you submit to?Christina Beck:Again, that all depends. There's certain festivals that you can target for. Again, there's the big five seven festivals, Sundance and Berlin and Toronto Telluride and then those are kind of the biggies. But then there's everything that tears down from there. So yeah, it can get very expensive and super daunting. And that's a whole other conversation. The film festival world. Huge, big.Michael Jamin:Now let's say you get into a festival into a big prestigious one. What is the goal? Eventually I And what is the goal? You got, you're short, eight minute film is in Sundance. What are you hoping?Christina Beck:Right, right. Well you're hoping for Eyes on the Film and that's a really also interesting question that you asked because back when those festivals, especially Sundance is a very different festival today than it was when it first started as most things are. But those, that would be the eyes, all the, everyone would be there and you would get would just get the cache of this is a Sundance film. It would give you opportunities to meet agents and if you don't have representation it'll help with that. And it's still, those things can still happen, but now you can get eyes on your film, on the internet, you know, can generate that if that's what you really want, if that's your goal. So know we need those things, but we don't as much anymore. It's a very different business today. But initially you wanna get eyes on your film people to see your work, hire you for more stuff.Michael Jamin:And when you say on the internet, you mean YouTube or Vimeo or what's the platform? Both.Christina Beck:Yeah, I think YouTube is, I don't know if Jimmy I don't know how many people, I mean you can certainly send people there, but I think YouTube a little more, right,Michael Jamin:People find right. But what do you tell your kids in your class today? Are you telling to do more on social media? Are you like a TikTok or what else are you telling to get found?Christina Beck:Well don't more talking about the actual craft of the work, whether it's directing or screenwriting. I don't come up with all of that in terms of my work is as a writer director when I made my feature, I was very fortunate to I submitted the script to well I got into that Fox Searchlight program, which no longer exists. But there are other programs, there's lots of diversity programs, different studios have programs for emerging writers. And that one at the time I was one of two women, there were all men. There was like 40 men and two women. And nowadays it's definitely even doubt a lot. But all that to say that helped with, oh she was in that program, so let's take a look at her script. And then I submitted to an organization in New York called the If P, which now is called Gotham, but they do the spirit awards and Filmmaker magazine, which is something that I started reading very early on and I got nominated for best screenplay. So from that I got on their radar. So it's kind of just taking steps to be seen. It's always about people. Knowing what you're doing and what your vision is for this work,Michael Jamin:Do you go to a lot of film festivals even when you're not in them? Do you go just to watch or to meet people or anything?Christina Beck:I do in town. Yeah, in LA I will. I went to right Berlin when I didn't have anything in Berlin sadly. But I was there, I for a meeting with some European producers and then just happened to watch some amazing films. Film festivals are great cuz you meet like-minded people, whether it's people in the industry but also you meet other filmmakers, other writers, other directors, people that are maybe a little above you, maybe you've done a little more than them, but it's a really cool, cause the energy at most festivals I went to Can God, when was it 2006? I was trying to get my feature made and I was very naive. I made a short film version of my feature and I went to Can and I had my DVDs and I had my little pitch idea and I didn't really know that these meetings that they have, cuz there's a film market, some festivals have a film market and that's always really great. Berlin has one there's a film market here at afm. Kind of different energy though for sure, but can, it was like, oh my god, I was so lost. I was just like, what am I doing here? It was amazing and it was horrible and it was like that within each hour I just felt like I was in, was so over my head and yet really cool, wonderful things happened and I met people there that I'm still in touch with today.Michael Jamin:Hey, it's Michael Jam. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You could unsubscribe whenever you want. I'm not gonna spam you and it's absolutely free. Just go to michael jamin.com/watchlist. People ask me this a lot, but do you find from where are that, it's that right meeting writers and actors and directors. Do you feel it's like collaborative or is it competitive?Christina Beck:Well, I think it's collaborative and you can kind of sniff out people that are competitive. I, I've been in quite a few groups of women especially, so back a couple, one when my first short film screened with the American Cinema Tech, not my very first short film, but the first short that I directed. And I met a woman there named Kim Adelman and she's amazing. She's written a book about short films. She's incredible and she supports a lot of female directors. And her and this guy named Andrew Crane created a program at the cinema tech. And so through that we made this thing called the Female Filmmaking Collective. And so we would bring other women directors and this was kind of, well this is like 15, 16 years ago. And then there's been other women's filmmaking groups. The film Fatals, a member of the a w Alliance of Women Directors.So all that to say there's, for the most part, the energy is very much like, yay, how can I help you? And then there's a few people that are anywhere in the world. It is, it's their personalities, the spirit of, I try to stay in the spirit of that there's enough for all of us. Cause otherwise that makes me uptight and I don't wanna be uptight. But definitely, yeah, I think I don't write with other people. I haven't yet. I've tried to in different increments, but it just hasn't quite felt right. But I do collaborating for sure. And especially filmmaking when you're actually getting in production that's like all about collaboration,Michael Jamin:Especially with the good dp, you know, What are you shooting? What do you like to shoot on? Or do you care that much? What kind of camera?Christina Beck:Well, I like things to look like film . I mean, we shot my first short that I wrote Disco Man that was shot on 16. And my dp, I found him at USC Film School and he's a really good friend and we just shot something this last spring. So that was a long time ago. He became chair of the film school that I teach at now. But all that to say, yeah, again, it's the people that you meet here, you meet them there, we're all still here and still love film making. So that said, my DP for Perfection, my feature, his name's Robert Psal and he's amazing. Cause this guy, not only is he super talented, we shot that film for two years on the weekends, two and a half years. So to get someone to literally, okay, we got a little more money, Rob, come over, we gotta shoot this other would. And then a lot of times just he and I would jump on a bus and I'd borrow a camera from a friend. We had prime lenses, which if you put that on digital cameras, it gives a more cinematic look. So we had those for a while. We shot that film literally in four different formats, meaning four different cameras. And I DidMichael Jamin:You find it matched? Okay, Did itChristina Beck:Worked for the film? I don't know. Recently someone asked to see it, this wonderful DP that I was talking to, he lives in France and I felt a little self, cause I'm like, Oh my God, he's gonna see how, And he is like, Oh, it's shot so beautifully. And I'm like, wow, nobody knowsMichael Jamin:All this.Christina Beck:Yeah,Michael Jamin:Why you don't have to worry about that stuff. Well, and what aboutChristina Beck:It's gotta be in focus, let's put it that way, . Yeah. And sound is a big deal too,Michael Jamin:For sure. Absolutely. That's huge. It's hugely important if you can't hear it. Right. But what about how concerned are you when you shoot the stuff crossing the line or the cameras? Are you relying your DP for that, making sure that you know, don't have these jump cuts because the character's looking the wrong way? AndChristina Beck:IsMichael Jamin:That your concern or you let the DP handle that?Christina Beck:Well, because so far I've been mostly acting in the stuff that I've shot. I definitely rely on my DP as well as my script supervisor. . I mean, I can tell myself when we're setting up a shot and then sometimes you can cross that line and it's okay, it's not gonna be an editing nightmare, but you sort of have to gauge it. And I don't make those kind of decisions by myself. And I really do rely so much on my DP and my script D because it's, it's that funny thing for me. What the reason I became a director in film was because I made a short that another different short besides Disco Man that it's called Blow Me. And I didn't direct it. And I did a lot of directorial stuff on that project. And my director at the time was busy with other things.And so we weren't really able to finish the film for a long time. And actually my co-star was an editor as well. So he kind of got the film and he edited and we worked on it together. And what I learned, and this goes back to the film festival thing. So in film director has the say in everything in terms of how final say on music and different stuff. And being a screenwriter and an actor and even a producer, I didn't have the same access to the vision that I had. So I thought, ooh, I need to direct this stuff . SoMichael Jamin:Yeah,Christina Beck:That's how that shifted. HowMichael Jamin:Do you go about, but how do you go about fundraising for all this stuff and what kind of budget do you usually try to get?Christina Beck:Well, it's tricky. That's the hardest part. And I just was at a film festival here in la, it's the American French Film Festival. They have it every year at the dga. And I was listening to a panel of producers and directors and from Europe and the UK and Los Angeles. And the thing is, those foreign countries, they have film funding built into their system, literally the government. And there are different types of ways that those more character driven films. This is what I'm pretty much more interested in what we would call art house films. , especially right now, there's just this huge divide, which is very mm-hmm , much like the whole world that we're in right now. So there's tiny budgets and huge budgets and the middle size budget isn't really around anymore. No support for it. And it's happening in Europe too right now. So I was listening to see, okay, are they going through it too? So that said, yeah, there's different ways. And I would say for first time directors that are making a feature or a short film for the first time, Crowdfunding's great, there's amazing platforms. I did that with a company called Seed and Spark and they were really supportive and helpful. And we haveMichael Jamin:Some, Well what do they do? What do they do that's better than putting it up on what's some crowdfunding site?Christina Beck:Well they are a crowdfunding site, butMichael Jamin:Why not just use your own, I don't know what's the difference between, well go fund me or whatever.Christina Beck:Well I don't, yeah, get, well go Fund Me I thought was more for donations. Yeah, so there's fiscal sponsorship, which is something you'd need so that people that are donating to your project get an actual tax write off that's properly done. So you wanna do that but they help curate and they have a platform. I mean, look, you've written the thing, you're doing all this work. Are you gonna set up a website so people can give you money? So, and maybe you're really good at that. Places. Well indeed, Gogo and Kickstarter, and I mentioned Student Spark because they're someone that I did it with, but all those places haven't already. It's like, why reinvent the wheel? They've done all that work. So literally you can just send people there. They take a small percentage of whatever you get and different platforms have different things. I don't know. I know there's one that if you don't make your gold then you don't get any of the money. So I didn't do that one , butBut going back to someone who's starting out and wants to make something a short or a feature and hasn't already exhausted their family and friends, there's nothing wrong with doing that. Also there's grants and And those aren't easy to come by, but they're there. And depending on, there's different places. There's like in San Francisco, there's the San Francisco Film Society has very specific grants for people that shoot in the Bay Area. And a lot of films have gotten made through that grant. They give a significant amount of money. So there are ways, and it's not easy. I mean really, ideally a private investor is great and there's gonna be a loss. So now most of the indie films, and these aren't Es, and I'm not an expert, I'm just speaking from my own experience. But an indie film may not get a theatrical release. I did not with my feature. What I did get is I got the theatrical experience in film festivals and I was lucky to be programmed in Los Angeles through the American Cinema Tech. And I got to see my film at the Egyptian Theater, which was heaven. And I was there for that. You were there. So, and now it's available to stream. So most projects go to streaming and huge projects go to streaming now. So it's just in this very differentMichael Jamin:World. Is it, where is your playing, where is the streaming now?Christina Beck:On Tubby? Tubby . AndMichael Jamin:This is per perfectionist. Which one isChristina Beck:Yes. Perfection.Michael Jamin:Which, yeah,Christina Beck:Yeah. Okay. And all that's on my website. Christina Beck do com.Michael Jamin:Christina beck.com. Interesting. Wow, that's interest. ButChristina Beck:This is, and my shorts are on there too.Michael Jamin:All your short. Is there a down, getting to a big festival, that's gotta be a game changer. But can a little festival help you?Christina Beck:Well, yes, because again, you see your film on a big screen, you see your film with an audience, you meet other filmmakers and yeah, as you know, Mr. Jamin, everything in this business is preparation and luck. So you're honing your craft , you're doing what you love. There's no slam dunk guarantee. Even with the bigger festivals. I know people that have gotten into huge festivals and got big representation and then a year later nothing. So it's like nothing. Yeah. Yeah. I guess I always say to my students, pick stories that you love. Pick stories that you feel like you have to tell because you're gonna be living with that story and pitching that story way beyond the script. You're gonna be pitching it for grants, you're gonna be pitching it for festivals, you're gonna be pitching it for people to watch it online. You're forever pitching these stories.But to say something visually is powerful. I think it can change minds and hearts. So I come to it with that. And it is frustrating. I have a feature that I wrote last year that I have not made yet. We shot a few scenes in the spring with some of my students and my first dp, me, Kyle to kind of see where it lands and figure out do we wanna do a crowdfunding thing? Do we wanna try to get in Grant? Like what? And I don't know honestly, I don't know if I have the bandwidth to go through that hustle for getting financing right now. Right now. BecauseMichael Jamin:If not that, Oh well I was gonna say, if not that, then what? You know.Christina Beck:Well, right. Well, I mean look, ideally if we were all Henry Ja or somebody who has a trust fund, independent filmmaking is for people that have a trust fund basically.Michael Jamin:Or can fund, right? Or you,Christina Beck:Yeah, I'm teasing, right? Yeah.Michael Jamin:, how many, when you shoot, how many people on set, How many crew members do you wanna have? What's your skeleton crew?Christina Beck:My skeleton is probably 12 peopleMichael Jamin:That I'm surprised it's that big. So who,Christina Beck:WellMichael Jamin:Let's walk. You mean you've gotta skip supervisor DPChristina Beck:Happens fist. Yeah. Okay. Scripty, dp, ac sound mixer, boom. Makeup, hair. That could be one person blah. Who am I forgetting? Producer. Of courseMichael Jamin:You're gonna want someone with the lights.Christina Beck:Well, right. Lights, gaffer, grip. Then we have,Michael Jamin:How many cameras are you rolling at once?Christina Beck:Oh, one . Yeah, one. Okay. Yeah. Okay. Yeah. This isn't like tv, but I did actually, I made a short film with three cameras. Once I did that one I did for search site. Yeah, that's true. But that was a, people were like, Why did you do that?Michael Jamin:But that's still not even year 12. That might be, I don't know. I lost count.Christina Beck:Well, I'm missing people. I'm on the spot here. I'm trying to think. I'm totally missing people. I mean, there's craft service,Michael Jamin:Right?Christina Beck:Oh my God. Probably like the most You got people person, Yeah. Anyways, yeah. 10 to 12. It just adds a pa. You need a pa you need, yeah. Yes. But yes, you can do it with five people. I've done it with three. I mean,Michael Jamin:Are you pulling any permits or are you sort of shootingChristina Beck:That? I do permits when I am renting equipment. And I have, I've also completely gorilla so many things.Michael Jamin:Wait, if you have, why do you have to have a permit if you rent co equipment they requireChristina Beck:Because yeah, you have to have insurance and there's film LA and yeah, there's a whole thing that needsMichael Jamin:To happen. Yeah. People get paid off. Yeah.Christina Beck:. Well, it's kinda a, Yeah,Michael Jamin:It's hard and happens. Yeah, it's hard. It's a hustle. But you do it cuz you love doing it, right?Christina Beck:Yes. Yes. That is true. Right? That is true.Michael Jamin:And how many scripts do you have that are just sitting around that? Are you, I guess I won't even try with that one or,Christina Beck:Yeah, I know that breaks my heart cuz I was at a ratio of, at one point having everything produced. I was like, I don't remember everything's been produced. But now I've written more scripts. I like, Yeah, I have probably, but not a ton. I have a couple features and I've written a few series, so yeah, Not yet. Not yet. ButMichael Jamin:What about just something you could do and now we'll wrap it up cause I don't wanna keep for chill up. But what about doing something where you could just shoot it in your apartment? Write it specifically for your apartment?Christina Beck:Yeah, well I would still need to get permission from my landlord. I'd still need to get equipment. Cause you can't shoot without permission if you wanna have insurance and you have to have insurance. Now look, my , my feature perfection in my old apartment, I actually did have permission from my landlord, but we shot so much of it just really running gun. And that can be done. That can have, But you still, And also I wanna pay people. I'm at a place where I can't ask people to work for free. Now if it's your first project and stuff, I encourage everybody to ask people to work for free if you treat them well. And if they're newbies too and it's a shared experience of discovery and stuff and they feel connected to the work and you feed 'em well, you gotta feed well. You gotta giveMichael Jamin:'em some very, But it seems like you have the perfect person for that because you have a bunch of students who wanna just get their names on stuff.Christina Beck:That's true. That's true. Yeah. Well, and I would probably and probably will end up shooting this feature with, And look, my students are amazing. They are so talented and professional when I get on their set. So this year I've had two students cast me in their short films. So I got to show up really as an actor on these. That's fun. Well, it's great because I was talking to the other film professors, because we work with them on the scripts and we sign off the scripts and then they go off and shoot. So these, they're kind, they're on their own, they're chaperoned and then they come back and bring, and we work on the edit and stuff, but we don't know what really goes on in those sets. So I was saying to this other professor the other day, I'm like, Yeah, I was there. I gotta be there and see what, And the truth is these students are wildly professional and I wouldn't really honestly wanna work with anyone else. But then they are so good. SoMichael Jamin:Someone called me up a student, I don't wanna say where they needed a 50 year old man. Now I don't play 50. We all know that. I play mid thirties ofChristina Beck:Course.Michael Jamin:But I was like, right, I didn't really wanna do it. I was like, all right. And then he goes couple weeks later he's like he's like, Yeah, well we're gonna need you to read . I wasChristina Beck:Like,Michael Jamin:I'm off only . Oh my God. I didn't want it that bad. But I think that was part of the experience that they wanted to have was they wanted actors. I'm not reading dude Christina Beck:Great. Well they're trying out their stuff I guess. Who knows? In terms of, Yeah, but wrong guy. They got the wrong guy with you.Michael Jamin: offer only.Christina Beck:That's right. That's right. Mr. Jam .Michael Jamin:How funny. Yeah. So, alright. This is so fascinating cuz this is a world I know nothing about this whole people cause people ask me all the time I got India. I don't know, Ask Christina. So where do people follow Christina back on? How do they learn more about what you're doing?Christina Beck:Well, like I said, my website and then myMichael Jamin:Give it to you again so that,Christina Beck:Okay. It's christina beck.com. There you go. And yeah, and then I'm on Instagram X Beck. AndMichael Jamin:What do you mean wait, X dyna? How do you spell that?Christina Beck:X I don't remember that. T I n a.Michael Jamin:Oh it. So it's X.Christina Beck:Yeah.Michael Jamin:I dunno why you said Ina. We'll work on this later. Christina Beck:Put a little thing up there. We don't have to talk about it. Yeah, yeah. And I just wanna say lastly, I am so not an expert on this. Please. I've been just finding my way as I go. But you know, I've watched other writers, The path is just, it's just not a straight line. And I think to stay connected to purpose and okay, I feel like I gotta tell certain stories. And when I talk to my students about this, okay, why do you have to tell this story? And we ask ourselves those questions and why now and all those things. Which in as far as indie film goes, I feel like we're in a little bit of a dip right now where the character driven independent films, at least in America, are not being celebrated as they once were. . And I believe that that'll shift.And I talk, I've talked to many people about this and we've gone through so many different, you know, can look back in the 1970s where Paramount was like studios were making beautiful character driven films. And I don't know if we'll ever go back to that, but I do think like you said, you can have a tiny crew and you could make something. I could make something in my living room. Absolutely. And one of my favorite filmmakers is a woman named Barbara Loden. She sadly passed away a long time ago. She was an actress. She actually was married to Ilie Kaza and she made a film called Wanda. And it's an amazing film and you can find it online. It's on the Criterion Channel and different places like that. But she had a tiny crew. She had maybe six people. And , sometimes people besides the attacks right off, they wanna contribute. They wanna be a part of it. They wanna be a part of this passion storytelling.Michael Jamin:Sometimes they also wanna give you their notes. Right?Christina Beck:WellMichael Jamin:Sometimes that money goes and comes with strengthsChristina Beck:Or here's the other thing. Yeah. Find an actor who really wants a great part that has some dough that wants to coce or something. And you guys can collaborate on that and you can write something that's really great for them that they would never get cast in. There's a lotMichael Jamin:Of you recommended. That's a great idea. That's a great idea. You recommended to me to watch Thunder Road. Remember that? Oh yeah,Christina Beck:I watch that. The short.Michael Jamin:And I loved it That and I loved, and I didn't realize I didn't, it was actually, I watched the scene from it, but it was actually, I guess a feature or whatever, but the scene stood on its own. I go, this is a beautiful it short. But it was a beautiful scene.Christina Beck:Oh, so you watched from the feature or did you watch the short film?Michael Jamin:Yeah. Yeah. Cuz I think you gave me the link to Vimeo or something. OhChristina Beck:Okay.Michael Jamin:I just watched that one church scene where he wasChristina Beck:Like, Yeah, yeah.Michael Jamin:So over,Christina Beck:Yes. That guy is amazing. He's the real deal. He's a guy to follow. Cause he's Joe Independent film. He, Jim is his name actually . And he makes stuff and he works as an actor. He'll do commercials, whatever. And then he'll take that money and that's what caves did. Caves made whatever he was working in television stuff he wasn't crazy about. And then he would take that money and then he would just make the films he wanted to make. So maybe it hasn't changed at all. It just goes back to that thing again where if you have this story you gotta tell and it does start with theMichael Jamin:Story. What kinda stories do you feel you have to tell?Christina Beck:Well I feel like I almost keep telling the same story, but I, I'm reallyMichael Jamin:Love different versions ofChristina Beck:It. That's right. That's, as I get older, I get this different perspectives of it. But I do, I love the story of people, characters that have perceived limitations or real ones and they slowly find their way out of that predicament. And yeah, I like happy and things. I like to see the journey of someone of starting off in a place where they don't feel and they get a little better.Michael Jamin:And you said before I cut you off, you was, it all starts, the focus has to be on the script.Christina Beck:It's all about the script. That's the blueprint. That is the blueprint. Especially if you're shooting with no money and no time. And because you don't have the luxury and we never have the luxury. You see it all the time and any budget level. But the truth is, the script really is everything starts there. That's how you get anybody on board. That's how you can refer if a DP who's maybe a great DP and wants to do something small because he loves the story or he loves the subject matter and that script should be tight and ready to shootMichael Jamin:. Right. And because you could shoot something and you get the biggest crew and the biggest budget and it looks like a movie. But if the script sucks, so what? No, it's not anyone's gonna wanna watch it, but it may look like a movie. Yeah,Christina Beck:Yeah, that's right. And then it won't get programmed really in festivals cuz there's so much competition. I just think that thing that we kind of all know, make it a personal story, doesn't have to be autobiographical, but make it something that you really connect to or a topic that really you do have some experience in that you can bring something that maybe we haven't seen yet or we haven't seen from that angle, like you said. Yeah. That's the stuff that's really gold. I love that Thunder Road short. It's such a great example of a guy who just took a very, very simple premise. And the other kind of novelty of that short is he shot it in one take, which is pretty cool. That's not easy to do.Michael Jamin:That's not easy. What I'm saying. He did it and that's a novelty. But as you pointed that out, I forgot. I like the story of it.Christina Beck:Well that's the thing, you should just be looking at it like, oh, where's the cut? No, we wanna be engaged. And that was very engaging and that was a very personal story. I mean, I don't know about his personal story, but I know that I felt that in his work. Yeah,Michael Jamin:Yeah. It's all about that. It's all about being vulnerable and about sharing something that's that only you can do, right?Christina Beck:Yeah. Yeah. I mean hopefully, I mean, I don't know, I think it's two, there's too many topics now that people are dealing with in terms that need to, voices that need to be heard in the world, I believe. And yeah, this is a powerful way to get our voices out,Michael Jamin:But that means writing. So that's what I think cuz everyone's looking for diverse voices and voices that have been underrepresented. So that means writing about, I think your experience, that's what we want from youChristina Beck:Because Well, I think so too.Michael Jamin:Yeah. Now's your shot.Christina Beck:Yeah, I think so too. No one can steal your idea. That's a whole thing too. Sometimes people are like, Oh no, someone's gonna steal this idea. Well there's real, there's not that many ideas really when you think about it, the same story over and over. I'm still telling the story of someone overcoming. I love characters that overcome their limitation or their perceived limitations or their background. I come from alcoholism and all sorts of other things. And that doesn't mean that I'm gonna keep getting it on the nose with those topics, but it informs the way I look at the world growing up in that environment. And today I'm really grateful for that. But when I started writing, I was still very tortured by that. So , but keeping it, that process of keeping it personal and having that point of view with those circumstances makes it only something that I can sayMichael Jamin:I Christina, I think everyone should start taking your class one of either your classes, but the LMU one is a little difficult cause they have to enroll, but the other one Yeah.Christina Beck:Well, yes, is different. Yeah. I mean, I'm also, I do workshops too sometimes, so,Michael Jamin:Oh, you do private workshops?Christina Beck:I do screenwriting workshops.Michael Jamin:And Is that on your website as well?Christina Beck:Yeah, not right now, , but it was, Oh,Michael Jamin:How would that basically work? Yeah.Christina Beck:Well, I've worked, so I've done six weeks workshops where we really start off with, Okay, what's the story you wanna tell that's most personal to you? And so it's literally creating a character or that story from the point of view of the storyteller and the steps to take, whether it would turn into a series or a short film, or a feature or a play.Michael Jamin:And it's six weeks and it meets once a week or something.Christina Beck:Correct.Michael Jamin:That sounds really good. How many people are in that course, or outta time?Christina Beck:Well, it's different times I, It's been usually pretty intimate. Not a ton of people , but now we can do stuff on Zoom, which is great. Right.Michael Jamin:Wow, that sounds pretty cool. Yeah, people should check you. Yeah, you better put that up once this, IChristina Beck:Guess. I guess I'm Do that. Yeah, I guess so. ButMichael Jamin:Tell people where to find that again, so in case that you make that happen, that sounds like a beautiful thing.Christina Beck:Oh, thanks. Yes. Christinabeck.com.Michael Jamin:Christinabeck.com. Christina, thank you so much for joining me. This is a good talk. I thought this wasChristina Beck:Really helpful. Thanks, Mr. JaminMichael Jamin:Now I wanna be an independent filmmaker.Christina Beck:No, you don'tMichael Jamin:. No, you don't.Christina Beck:If you wanna make money. No. There are some that make money. There are some that make money, right? Yes, yes, yes, yes. But yeah, thank you. Thank you so much. It's so fun to talk with you, Mr.Michael Jamin:Yeah. Thank you. Thank you. I'm gonna sign up, right? Everyone, Thank you for listening. And yeah, for make sure you get on my free weekly newsletter michaeljamin.com/watchlist. What else we gotta talk about? We have a course. Yeah, we can check out my course at michaeljamin.com/course. And if we post this in time, I don't know, but I'll be doing two shows in Boston, November 12th and 13th from a paper orchestra. It's my stage reading, and then two shows in December 10th and 11th. And for tickets, go to michaeljamin.com/live. All right. Thank you again, Christina. Wonderful.Christina Beck:My pleasure. Thank you. Thank you. Thanks for asking. Yeah.Michael Jamin:Hey, it's Michael. One more thing. Come see me perform. I'm going to be in Boston area, actually, Amesbury, Massachusetts on November 12th and 13th at the Actor studio, performing my show, a paper orchestra. And then I'm gonna be back in Los Angeles on December 10th and 11th again at the Moving Arts Theater Company. So tickets are on sale. Go get 'em at michaeljamin.com/live. It's a small, intimate venue. I'm gonna be performing for my collection of personal essays, and each one's gonna be followed by like a 20 minute q and a. We get to talk about the work. It's a fun event. So I hope to see you there. Go get them tickets again are at michaeljamin.com/live, and of course, sign up to my weekly newsletter that's called the watchlist at michaeljamin.com/watchlist.Phil Hudson:This has been an episode of Screenwriters. Need to Hear This with Michael Jamin and Phil Hudson. If you'd like to support this podcast, please consider subscribing, leaving a review ,and sharing this podcast with someone who needs to hear today's subject. For free daily screenwriting tips, follow Michael on Instagram, Facebook, and TikTok @MichaelJaminWriter. You can follow me on Instagram, Facebook, and TikTok @PhillaHudson. This episode was produced by Phil Hudson and edited by Dallas Crane. Until next time, keep writing.

Far og søn-værterne tager hul på en ny Mesquiteer-film med John Wayne i hovedrollen, sammen med bl.a. Louise Brooks. Det drejer sig selvfølgelig om "Overland Stage Raiders" fra 1938. Giv os en anmeldelse på iTunes, Podimo, Spotify eller hvor du ellers lytter til podcasts. Skriv til os via mail på johnwaynepod@hotmail.com. Meld dig ind i vores facebook-gruppe: "På jagt efter... John Wayne". Vi er også på instagram: johnwaynepodcasting. Find out more at https://p-jagt-efter-john-wayne.pinecast.co This podcast is powered by Pinecast.

Cine en la Fundación: Los orígenes del cine musical (VIII). Presentación de "Premio de belleza" (1930) de Augusto Genina. Fernando Lara. Premio de belleza (Prix de beauté, 1930, Francia) de Augusto Genina, con Louise Brooks, Georges Charlia, Jean Bradin y Fanny Clair (88') Presentación: Fernando Lara La mecanógrafa Lulu Garnier decide enviar su fotografía para participar en el concurso de belleza de Miss Francia, a pesar de que su novio André desprecia ese tipo de certámenes. La joven comienza así una fulgurante carrera hacia el estrellato, al tiempo que se arriesga a perder su relación con André. Miss Europa es uno de los primeros ejemplos del sonoro francés, pero en el fondo sus raíces son marcadamente internacionales. Aunque fue dirigida por Augusto Genina (cineasta italiano afincado en Francia, y firmante de cintas propagandísticas para el fascismo de Mussolini), su guion lo firmaron dos directores clave del cine galo y alemán, respectivamente: René Clair (Bajo los techos de París) y G. W. Pabst (Bajo la máscara del placer). El sábado se proyecta el vídeo de la presentación del día anterior. Explore en canal.march.es el archivo completo de Conferencias en la Fundación Juan March: casi 3.000 conferencias, disponibles en audio, impartidas desde 1975.

Our first mini episode for our Patreon subscribers! Full audio and video available at patreon.com/thicklinespod. Katie speaks with cartoonist, animator, director and producer Glen Murakami (Batman: Mad Love and Other Stories; Batman: The Animated Series, Justice League, Teen Titans, Ben 10, Superman: The Animated Series, et. al) about the joys of collecting the work of Italian cartoonist Guido Crepax. Topics discussed include Jean-Luc Godard's Alphaville, Hugo Pratt, The Tenth Victim, Louise Brooks, adventures at SDCC, Glen's career in animation, and lots more. Follow us on Instagram @thicklinespod.

Historiquement Vôtre réunit 3 dames qui se sont fait appeler Louise : la résistante Violette Szabo qui a choisi Louise comme nom de guerre. Une guerre dans laquelle elle s'est jetée à corps perdu, après avoir perdu au combat celui qu'elle aimait, et est devenue espionne pour le compte de la couronne britannique. Puis Mary-Louise Brooks, connue sous le nom de Louise Brooks, figure mythique du cinéma muet qui a fait beaucoup parler. Et une Miss Météo devenue comédienne qui a changé de nom en arrivant au Grand Journal de Canal+ : Louise Bourgoin.

Stéphane Bern et Matthieu Noël, entourés de leurs chroniqueurs historiquement drôles et parfaitement informés, s'amusent avec l'Histoire – la grande, la petite, la moyenne… - et retracent les destins extraordinaires de personnalités qui n'auraient jamais pu se croiser, pour deux heures où le savoir et l'humour avancent main dans la main. Aujourd'hui, Louise Brooks.

La actriz y bailarina Louise Brooks fue una de las grandes estrellas de Hollywood en los años 20. Su trabajo, así como su carisma y encanto maravillaron no solo a la industria cinematográfica. A miles de kilómetros, un joven argentino se enamoró de ella. Pese a su obsesión, Adolfo Bioy Casares nunca conoció a Louis. Para él solo fue una imagen en la pantalla, pero inspiró una de las obras más reconocidas del escritor: “La invención de Morel”.

"The Wonder of it All," a sermon preached by Louise Brooks on Friday, December 24, 2021.  Head over to restorationarlington.org to learn more about Restoration Anglican Church. We're a church in Arlington that connects people to God, to others, and to the needs of the world. We'd love for you to join us online or in-person soon.  

On this weeks episode of They Live By Film, Adam, Chris and Zach discuss three films starring amazing women, Barbara Stanwyck in Clash by Night, Louise Brooks in Pandora's Box and Catherine Deneuve in Donkey Skin.. Don't forget to join us every Friday at https://www.reddit.com/r/criterionconversation/ to choose and talk about what films we watch. www.theylivebyfilm.com Adam's Letterboxd: https://letterboxd.com/TheOwls23/ Zach's Letterboxd: https://letterboxd.com/dharmabombs/ Chris' subreddit: https://www.reddit.com/r/personalhistoryoffilm/ www.instagram.com/theylivebyfilm/

In questa puntata in compagnia di Massimiliano Bolcioni parliamo dei divi, delle divine e del divismo con i tanti nomi che hanno lasciato un segno indelebile nella storia del Cinema: Francesca Bertini, Judy Garland, Rodolfo Valentino, Marlene Dietrich, Joan Crawford, Bette Davis, Greta Garbo, Frances Farmer, Montgomery Clift, Marilyn Monroe, Madonna, James Dean, Gloria Swanson, Louise Brooks.

 Kathy, Mark and Burk go black and white with their choice for favorite movie scenes. Mark discusses Anthony Perkins chilling final scene in Psycho. Kathy swoons over the final shocker scene in the epic silent film, Pandora's Box. Night of the Hunter's poetic, stylized pursuit is Burk's choice. What are some of your favorite scenes? Let us know!Music composed and performed by Burk Sauls.SPOILER WARNING: This episode contains MAJOR SPOILERS which means important story details will be revealed. We always advise listeners to: Watch First Listen Later.Subscribe to our YouTube Channel!https://www.youtube.com/c/CinemondoPodcastBecome a Patron on PatreonJoin Cinemondo and over a hundred thousand podcasters already using Buzzsprout to get their message out to the world. Sign up here to get your podcast started!Cinemondo Podcast is a weekly show that's released every Monday. If you'd like to support our show, please subscribe to our podcast free in iTunes, and leave us a review!We want to hear from you so write in with more recommendations and comments. Email us: CinemondoPodcast@gmail.comConnect with us: CinemondoPodcast.com twitter.com/CinemondoPod facebook.com/CinemondoPodcast instagram.com/CinemondoPodcastBuzzsprout - Let's get your podcast launched! Start for FREEDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the show (https://www.patreon.com/CinemondoPodcast)

This week we discuss the career of the iconic Actor/Writer Louise Brooks and focus on her films PANDORA'S BOX, DIARY OF A LOST GIRL and her writings collected in LULU IN HOLLYWOOD. Subscribe, Review and Rate Us on Apple Podcasts: podcasts.apple.com/us/podcast/the-…ub/id1067435576 Follow the Podcast: twitter.com/ImprtCinemaClub Follow Will: twitter.com/WillSloanESQ Follow Justin: twitter.com/DeclouxJ Check out Justin's other podcasts THE BAY STREET VIDEO PODCAST (@thebaystreetvideopodcast) and NO SUCH THING AS A BAD MOVIE (@nosuchthingasabadmovie) as well as Will's other podcast MICHAEL AND US (@michael-and-us)

“The Engagement,” by Sasha Issenberg, recounts the complex and chaotic chain reaction that thrust same-sex marriage from the realm of conservative conjecture to the top of the gay political agenda and, eventually, to the halls of the Supreme Court. On this week's podcast, Issenberg talks about the deeply researched book, which covers 25 years of legal and cultural history.“What they have done, ultimately,” he says of those who won the victory, “is helped to enshrine, both in the legal process and in American culture, a sense that marriage is a unique institution. And the language they used to talk about it — about love and commitment — is so particular, I think, to the dynamic between two people that in a certain respect marriage is a more central institution in American life now than it was 30 years ago, because we went through this political fight over it.”J. Hoberman visits the podcast to discuss his piece about 10 books that, taken together, tell the story of Hollywood. He talks, among other subjects, about why the only celebrity memoir on his list is “Lulu in Hollywood,” by Louise Brooks, who acted in the 1920s and '30s and published her memoir much later in life.“She was a remarkably cleareyed observer of what was going on,” Hoberman says, “and embarked on the whole star-making thing with a healthy degree of ambivalence. So she's able to write about herself and about the conditions under which movies were made and the people she met in Hollywood and so on, in a way that's both personal and detached. There aren't too many other memoirs like this.”Also on this week's episode, Alexandra Alter has news from the publishing world; Tina Jordan looks back at Book Review history as it celebrates its 125th anniversary; and Elisabeth Egan and Andrew LaVallee talk about what they've been reading. Pamela Paul is the host.Here are the books discussed in this week's “What We're Reading”:“Libertie” by Kaitlyn Greenidge“Malibu Rising” by Taylor Jenkins Reid“On Juneteenth” by Annette Gordon-Reed

How do you turn a celebrated silent film into an audio drama? Wedekind's controversial 19th Century Lulu plays formed the basis of the 1929 German movie, Pandora's Box. Its star, Louise Brooks, will forever be associated with her iconic performance as Lulu, the ultimate 'femme fatale'. 90 years on, writer Katie Hims wonders what on earth to do about Lulu. The Writer/Lulu ..... Kate O’Flynn Justin/Alwa ..... Joseph Ayre Simone/Geschwitz ..... Ayesha Antoine Kerry ..... Kerry Gooderson Dr. Schön ..... Tony Turner Schigolch ..... Michael Bertenshaw Piani ..... Ronny Jhutti The Kind-Faced Man ..... Christopher Harper Rodrigo ..... Don Gilet Dr. van Zarnikow ..... Sam Dale Charlotte ..... Franchi Webb Written by Katie Hims Original Music by Neil Brand Directed by Toby Swift This was originally aired on Radio 4.

In this week's episode I interview the truly inspiring Louise Brooks, owner of Parenting Success (and hence provider of guidance, comfort and wisdom to many a parent), about her experiences both as an entrepreneur, and on her own personal journey as an individual. If ever you feel the need to draw inspiration from someone who appears on the surface to have an innate sense of natural confidence, this interview is for you! Louise tells her story, from growing up in Denmark, relocating to the US, her fascination with the study of psychology, and how she subsequently applied that and her own life experiences into her own business providing support and advise for parents. In telling her story, she explains how ‘Louise questions' helped define her career path, how she overcame being a ‘safety junkie' and employed the value of her message as a means of overcoming her inner doubts. Louise's empathy and insight are a delight to share with you, and I'm confident you'll take as much from listening to her wisdom, as I did myself. We delve into: How Louise overcomes challenges, pushes out of her comfort zone and always tries to follow her heart. Listening to your inner child That the process of embracing our fears has distinct phases, the last of which makes all of those before it more than worthwhile! Inviting fear along for the journey, without letting it drive Removing our own personal shield in order to encourage others to reciprocate and do the same Being relatable, not perfect How Louise achieves balance between running her business, with being a mum and wife Realistic expectations for parents Being fully present as a mum The value of exercise as a non-negotiable Lowering the bar to make space for life Connect with Louise: Website Instagram Facebook Boost your child's self-esteem course Connect with Jo: If you're interested in support to grow your business & confidence, learn more here: Work with me Join us at one of my upcoming virtual networking events: Networking Connect with me on my website How DOES She Do it?!: Website Follow me on Instagram

¿En qué consiste ser una diva? Hoy hablamos del mito de la mujer del mundo del espectáculo que exige muchas cosas y que tiene mucho carácter. Nos adentramos en el mundo de Louise Brooks, Liza Minnelli y Cher pero también en el de Elizabeth Hardwick y Robert Lowell. Hablamos de sexualidad y pases VIP, de silencio y juventud, del retiro de Greta Garbo y las madres gélidas. De feudos entre mujeres, de Camille Paglia y de Gertrude Stein. Siempre diva, nunca indiva. Learn more about your ad choices. Visit podcastchoices.com/adchoices Learn more about your ad choices. Visit megaphone.fm/adchoices

I denne episode fortæller jeg om mit til dato mest personlige og dybdegående online program Kompasset. Jeg taler også med Louise Brooks, en bruger af programmet, som bl.a. mener, at det er "et program, der henvender sig til os kvinder, der er kommet til et vist punkt gennem hovedregning, og oplever at resten ikke kan regnes ud med hovedet" og at det er en "invitation til at stå i sin rene natur". Vi taler om et liv levet i kontakt med både krop, følelser OG hoved. Og så fortæller jeg om de seks pejlemærker og strukturen bag.   SHOWNOTES Følg dit Indre Kompas: https://lykkerix.dk/folg-dit-indre-kompas/ Rabatkode 40%: PODCASTFØLSOM Louise Brooks: Fællesskabet Følsom: https://www.facebook.com/groups/380957053216140

Tamara Carla dos Santos, mestranda no Programa de Pós-Graduação em Imagem e Som da Universidade Federal de São Carlos (PPGIS – UFSCar), fala de sua pesquisa sobre a recepção da obra da atriz Louise Brooks no Brasil, com recorte nos seus trabalhos da segunda metade da década de 20. [COVID-19] Devido à pandemia COVID – […] The post Recepção da obra de Louise Brooks no Brasil é tema de pesquisa na UFSCar appeared first on LAbI UFSCar - Divulgação Científica.

For the final year of the decade, Andrew and Arthur discuss Pandora's Box, an early example of a feminist film. We consider how well that description holds up, and we talk about the career of Louise Brooks. We finish the episode with a retrospective of the 1920s in film.We also discuss the financial crash of 1929, the big event of the year.Pandora's Box (1929) on IMDBPandora's Box - Where to watchThe Film Daily's Review of Pandora's BoxThe Blue Angel (1930) on IMDBThe Blue Angel (1930) - Where to watch

All aboard the Louise Brooks train for the silent cinema legend's wildest, nastiest and undeniably most hobo-packed outing: 1928's Beggars of Life. Director William Wellman was coming off the back of the first-ever Best Picture Oscar winner, Wings. Is this a worthy successor? Off the Shelf kicks off with a sad reminder that other people have been using their lockdown time more productively than you, with Rob Savage's Zoom-shot horror Host. And we also double back to 2010 for Christopher Nolan's Inception, which is being re-released in cinemas, which are large buildings which show films on screens that are bigger than televisions. Just in case anyone had forgotten. If you like the podcast, send some support by visiting our PATREON (http://www%2Cpatreon.com/thegeekshow) . Alternatively, give us a 5-star rating and/or review wherever you get your podcasts from, it helps other people find our podcast. The more feedback we have, the more people can enjoy our movie chatter.thegeekshow.co.uk (http://thegeekshow.co.uk/) #cinemaeclectica #moviereviews #beggarsoflife #williamwellman #silentmovies #robsavage #host #louisebrooks #wallacebeery #classichollywood #inception #sciencefiction #leonardodicaprio #tomhardy #josephgordonlevitt #ellenpage #kenwatanabe #cillianmurphy #marioncotillard

In this episode, educators Nelinda and Savanna hook Lauren and Sara up with the deets of the love life of silver screen starlet Louise Brooks. From a sexy touring dance company to an affair with Charlie Chaplin to something about Jack the Ripper (wait what!?), this New Years episode has everything to help usher us back into the roaring 20s. Content Warnings: molestation, sex, swearing, suicide Theme music by Tipper Newton

Louise Brooks made bridge-burning her hobby; as a result, this almost-forgotten star of stage and screen has only recently begun to shine again.

The Lotus Eaters special with Peter Coyle in conversation talking about his life in music. The Lotus Eaters are an English new wave band formed in 1982 in Liverpool. Their debut single, "The First Picture of You", became a hit in the UK and in continental Europe, notably France, Italy, Belgium and Spain. In September 1982, Peter Coyle and Jeremy "Jem" Kelly met for the first time. Kelly had been guitarist in the Dance Party with Michael Head and co-founded the Wild Swans in 1980. Coyle had previously been in the Jass Babies, who had recorded a session for John Peel's BBC Radio 1 show in 1981. After an invitation to record a Peel session, a number of new songs were created. Joined on keyboards by Kelly's fellow ex-Wild Swans member Ged Quinn, drummer Alan Wills and bassist Phil Lucking, the session was recorded in October 1982 and included "The First Picture of You". This led to the band being signed by Arista Records. Produced by Nigel Gray, "The First Picture of You" became an iconic song for the Lotus Eaters in 1983, giving them a UK hit single before the band had even played a live gig. The band recorded a second session for Peel in October 1983. The band's debut studio album, No Sense of Sin, was released in 1984 on Arista subsidiary Sylvan Records, preceded by two further singles, "You Don't Need Someone New" and "Out on Your Own". Both of these songs hit the top 100 of the UK Singles Chart, but owing to difficulties with producers and marketing, the impact of "The First Picture of You" was not repeated in the UK. Line-up changes and disbandment After Quinn left, Coyle and Kelly recruited bassist Michael Dempsey (the Cure, Associates), keyboard player Stephen Emmer (formerly of Minny Pops and Associates) and drummer Steve Crease. The Lotus Eaters toured extensively in the UK, France and Italy before going on hiatus in 1985 after parting ways with Arista. "It Hurts", their final single, charted in the Italian Top 5 that year, but the band had already split up, leaving a promotional video featuring footage of Louise Brooks to represent them. Aftermath Coyle recorded as a solo artist, releasing the albums A Slap in the Face for Public Taste and I'd Sacrifice Eight Orgasms with Shirley MacLaine Just to Be There, and went on to found dance company 8 Productions and the G-Love nightclub. As a songwriter/producer, he had success with Marina Van-Rooy's 1990 single "Sly One", and worked with a host of emerging artists on Liverpool's dance scene. Coyle later pursued academic interests at the University of Edinburgh. Meanwhile, Kelly reformed the Wild Swans, releasing the Bringing Home the Ashes album on Sire in 1988.[2] He co-wrote an album, Soul Fire (released in 2001), with Tom Hingley (ex-Inspiral Carpets), before leaving to study for a PhD in memory-themed multimedia theatre at the University of Reading.[11] Since 1989, Kelly has been writing, staging and performing in music-driven theatre, including Phantoms of the Aperture Part 1: Ted (2015) and Phantoms of the Aperture Part 2: Pictures of Me (2016) examining intersections of time, space, memory and music. A compilation album of the Lotus Eaters' music, First Picture of You, was released in 1998 by Vinyl Japan/BBC Worldwide, consisting of sessions recorded at BBC Radio 1. No Sense of Sin was reissued that same year by Arista Japan. In 2001, the Lotus Eaters, comprising the duo of Coyle and Kelly, reformed after almost two decades, recording and releasing a new album titled Silentspace on the Vinyl Japan label. On 13 March 2009, the band announced a one-off concert to be held at the Liverpool Philharmonic Hall on 25 July.[17] The gig, a performance of the album No Sense of Sin, featured Coyle, Kelly and Emmer accompanied by a string quartet from the University of Huddersfield. In April 2009, Coyle and Kelly collaborated with Emmer, and announced that they were working with producer Steve Power on material for a new album called A Plug-in Called Nostalgia, which has yet to be released. A limited-edition acoustic album, Differance, was issued the following year as a limited release on Sylvan. The Lotus Eaters played their first London show in 10 years at the Camden Barfly on 11 June 2010, followed by a string of shows in the UK. The band also toured in Japan in October 2010, with gigs in Tokyo and Osaka. In 2015, the band announced on their Facebook page that they were still working to release A Plug-in Called Nostalgia. In 2017, Coyle performed solo in a one-night-only show in Manila.  Later in the year, 2019 Peter will be performing LET’S ROCK WINTER TOUR 2019

Writer Dominic Smith on the glittering, perplexing history of the silent film era

We welcome back Amanda Krafcik (known in gaming circles as Symp4thedevil) for a deep dive into the career of silent film legend, Louise Brooks. Follow Amanda on Twitter: https://twitter.com/WMassLiberty Follow James Hancock on Twitter: https://twitter.com/colebrax

00:46 Nick and Fiona talk about Tin Star, which stars Tim Roth as a washed-up English cop who ends up in small-town Canada where the oil company reigns supreme. Christina Hendricks (Mad Men) co-stars06:26 Fiona interviews Downton Abbey star Elizabeth McGovern about her new film The Chaperone22:52 We're talkin' game shows! Mastermind, hosted by Jennifer Byrne, and Beat the Internet, hosted by John Robins...30:08 Fiona recommends Korean film, Burning, in cinemas now, and Nick is loving HBO series, Barry

In this episode, we celebrate the superheroes of any school - Teacher Librarians! Hear from three super passionate TL's about their roles, their initiatives, the importance of keeping school libraries, and some brilliant book recommendations. Meet Megan Daley of book blog Children's Book Daily fame, and hear more about her brand new book, Raising Readers. Discover a TL with a wealth of experience, Louise Brooks (who reveals her love of Twitter-stalking favourite authors - we approve!). There's also a fun chat with TL Lizzy Martin - hear more about her amazing school library, plus join the virtual fun as we gatecrash her book trivia night! Read the show notes: www.onemorepagepodcast.com/episode-30/ Email us at: onemorepagepodcast@gmail.com Find us on Facebook: www.facebook.com/onemorepageAU Twitter: www.twitter.com/onemorepageau Instagram: www.instagram.com/onemorepageau

Rachele reviews The Dirt, a biographical drama detailing the rise of Mötley Crüe from the streets of Hollywood to the heights of international fame in the 1980s. Cecilia reviews The Chaperone, which centres on a Kansas woman who chaperones a 15-year-old Louise Brooks to New York for the summer. They also discuss the Spanish Film Festival and Damon Gameau’s new documentary 2040, exploring what the future could look like by the year 2040 if we embraced the best solutions already available to us to improve our planet.

Cine mudo: El arte de la seducción en el cine mudo (VII). Presentación de "Una novia en cada puerto" (1928) de Howard Hawks. Sonia García López. Una novia en cada puerto ("A Girl in Every Port", 1928, EE. UU.) de Howard Hawks, con Victor McLaglen, Robert Armstrong y Louise Brooks (78') Presentación: Sonia García López Dos marineros rivalizan por sus conquistas sentimentales en los puertos en que recalan. Entre sus diversos destinos se encuentra Marsella, ciudad donde la relación de ambos con el personaje de Mademoiselle Godiva, interpretado por Louise Brooks, pondrá en entredicho su amistad y sus futuras aventuras. La camaradería entre los dos protagonistas es el hilo conductor de la película y uno de los rasgos más recurrentes de las obras que conforman el largo y galardonado recorrido filmográfico de su director, Howard Hawks. El sábado se proyecta el vídeo de la presentación del día anterior. Explore en www.march.es/conferencias/anteriores el archivo completo de Conferencias en la Fundación Juan March: casi 3.000 conferencias, disponibles en audio, impartidas desde 1975.

join us as we recap america's next top model, cycle 16, episodes 7 & 8 including: brittani’s meltdown, susan g komen, ford focus, shrill, GO-SEES, morocco, erik daman, lana marks, the lizzie bennet diaries, eco-friendly couture and sondheim. nexttopbestfriend@gmail.com https://www.americasnexttopbestfriend.com/ https://www.paypal.me/nexttopbestfriend https://en.wikipedia.org/wiki/America%27s_Next_Top_Best_Friend https://www.instagram.com/nexttopbestfriend/ https://www.facebook.com/nexttopbestfriend/ https://twitter.com/nexttopbestpod amanda: @lochnessmanda (twitter, instagram) https://www.marieclaire.com/author/220450/amanda-mitchell/ hillary: @hillaryous123 (twitter, instagram) https://hillarysussman.wixsite.com/website

Directed by Michael Engler, "The Chaperone" takes place against the backdrop of the tumultuous times of the early 1920’s. A Kansas woman (Elizabeth McGovern, "Downton Abbey") is forever changed when she chaperones a beautiful and talented 15-year-old dancer named Louise Brooks to New York for the summer. One of them is eager to fulfill her destiny of dance and movie stardom; the other is on a mission to unearth the mysteries of her past. Masterpiece's first feature film reunites the writer, director and star of "Downton Abbey, "Julian Fellowes and McGovern.

Francine Stock visits the archive of Richard Attenborough in the University of Sussex, which contains over 700 boxes of letters, photos, film reviews and a Chelsea shirt signed by John Terry. As it opens to the public for the first time, Richard's son Michael Attenborough reveals the memories that the archive has evoked, like his visit to the set of Gandhi, while archivist Eleanor King takes Francine through some of the vast collection. Louise Brooks launched a thousand haircuts with her idiosyncratic take on the bob, but historian Pamela Hutchinson argues that she was more than just a style icon. Listener Julie Ma presents her three rules for the depiction of East Asian characters that she'd like film-makers to follow. On the podcast: Francine Stock presents the story of Ida Lupino, the actress from Herne Hill who became a Hollywood star and a ground-breaking director, the only female film-maker working in the industry for a long while in the 40s and 50s.

Mark analyses what made the silent star Louise Brooks so extraordinary.

There has never been a more iconic and influential hairstyle in all of cinema than 'the black helmet' sported by Louise Brooks in Pandora's Box. The post 310. Pandora’s Box appeared first on Steven Benedict.

Martin Kessler is joined by Emma Guerard to discuss a pair of films, Pandora's Box and Diary of a Lost Girl, both starring Louise Brooks and directed by G.W. Pabst. They consider Louise Brooks' acting style, her status as an icon, and how her collaboration with Pabst fit into her career. They compare the films to one another, and look at them in context of coming at the very end of the silent period. Also Martin finds out that there are Flixwise t-shirts.

Cinecon classic film festival in Hollywood, with organizers Stan Taffel and Michael Schlesinger • Beggars of Life (1928), starring Wallace Beery and Louise Brooks, with author Thomas Gladysz (48:42)

Actress Dorothy Mackaill said of Louise “She was a peculiar girl, odd, different but she was damned attractive, and I’d say good-humoured, not difficult about it all. She used to laugh and shrug her shoulders and say ‘the hell with it’. But they got what they wanted. All they had to do with Brooksie was turn the camera on.” There really was no one like Louise and we're dedicating our twentieth episode to this enigmatic dancer turned actress turned writer. We discuss 3 of her finest films: Pandora's Box (1929), The Diary of a Lost Girl (1929) and Prix de beauté (1930). Viva Louise! Resources: Brooks, L. (1982) Lulu in Hollywood New York: Knopf. Eisner, Lotte. (1952) The Haunted Screen: Expressionism in the German Cinema and the Influence of Max Reinhardt: University of California Press http://sensesofcinema.com/2010/feature-articles/lulu-in-rochester-louise-brooks-and-the-cinema-screen-as-a-tabula-rasa-3/ Bright Lights Film Journal [Available at: http://brightlightsfilm.com/martyrdom-lulu-louise-brooks- 100/#.WWSi7YTyvIU]. Diary of a Lost Girl (1929) Dir. G.W. Pabst [DVD] Pabst-Film. Pandora’s Box (1929) Dir. G.W. Pabst [DVD] Süd-Film. Paris, B. (1989) Louise Brooks New York: Knopf. Prix de Beauté (1930). Dir. Augusto Genina [internet archive] Sofar-Film.

Join us for episode 20 where we will discuss the beautiful and uniquely talented Louise Brooks. We will discuss three of Louise's best work - Pandora's Box, Prix de beaute, and Diary of a Lost Girl. Excerpt from Lulu in Hollywood (Louise Brooks, Knopf 1982) Music excerpt: Francisco Lomuto y su Orquesta - Adios Muchachos (Instrumental)(1927)

El cineasta austriaco G.W. Pabst saltó del teatro al cine, y lo hizo en Alemania con un cine que pasó por el lado del expresionismo de los años 20, para enfocarse tanto en el realismo crítico como en el drama psicológico. Las dos películas de las que hablamos hoy encarnan esta mixtura, teniendo como punto focal a la actriz Louise Brooks, cuya interpretación desenvuelta, extrema y sumamente versátil para encarnar a dos personajes muy distintos, la convirtió en un icono que proyectó su sombra hasta bien avanzado el siglo 20. De eso y más hablamos en el podcast.

The Comics Alternative is excited to have Rick Geary back on the show. The guys had last talked to him two years ago, after the publication of A Treasury of Victorian Murder Compendium, Vol. 1, and now Rick is returning to the podcast to discuss his brand new book, Louise Brooks: Detective (NBM). Although similar in tone to his historical murder mysteries, this is a very different kind of narrative for Rick. Here he uses the biography of silent film star, Louise Brooks, as a springboard for a fictional tale set in Depression-era Kansas (a setting with familial roots for Rick). After her heyday as a silent movie star, the toast of both America and Europe society, and a divorcée from two unsuccessful marriages, a still-young Louise returns to her family home of Wichita to regroup and assess her life. There, she attempts to readjust to small-town living, tries her hand at becoming a writer, and eventually becomes embroiled in an elaborate and seemingly indecipherable mystery involving a once-famous playwright. Andy and Derek tell Rick that this is one of the most tightly wrought narratives they've read this year, with the kind of pacing and art that define his best Treasury pieces. They even ask him if this is the beginning of a new series of tales, one where Brooks becomes a sleuth in the mold of Miss Marple or Nancy Drew. (There are no plans yet, but the very end of the Louise Brooks:Detective definitely leaves that door open.) The guys also talk with Rick about his other projects, including his previous book, Madison Square Tragedy: The Murder of Stanford White, his adaptation of classic works of literature for both Eureka Productions' Graphic Classics and Seven Stories Press' Graphic Canon series, his fascination of architecture and period dress, and his plans for future historical murder mysteries. Rick tells the guys about a few of his upcoming projects, including a new work based on the 1947 Black Dahlia case and his soon-to-be-launched Kickstarter campaign, "Murder at the Hollywood Hotel." Unfortunately, the guys didn't have the time to ask Rick about everything they wanted to discuss with him -- e.g., his upcoming appearance at the SDCC and his work on last year's A is for Antichrist: Obama's Conspiracy Alphabet -- but there is nonetheless a lot packed into this interview. It is a fun and informative conversation, and the guys look forward to the time that they can have Rick back on the show for a third interview.

Les costumes androgynes de Marlene Dietrich, la robe de crêpe ivoire de Marilyn, les parures d’Elizabeth Taylor, les fourreaux noirs d’Audrey Hepburn, les tenues chics de Catherine Deneuve, l’allure ultramoderne de Tilda Swinton... Depuis la naissance du septième art, les actrices ont été sublimées à l’écran par les plus grands costumiers et couturiers du monde entier... Véronique Le Bris est journaliste, reporter et critique de cinéma. Elle a publié Fashion & Cinéma aux éditions des Cahiers du Cinéma en 2014. aux Cahiers du Cinéma (46 portraits de Louise Brooks à Uma Thurman, un livre richement illustré de photos de films et de tournages).

It's the beginning of the month, and that means that the Two Guys with PhDs Talking about Comics take a metaphorical stroll through the latest Previews catalog. And this month, their peregrinations are more than casual; this is more like a power walk. The March Previews contains a hefty series of solicitations that make for an extra-long episode, almost leaving the guys feeling like they've completed a marathon. Among the many upcoming titles that Derek and Andy highlight are Fight Club 2 #1, Harrow County #1, and High Crimes (from Dark Horse Comics); You Don't Say, Little Nemo: Return to Slumberland, and Dirk Gently's Holistic Detective Agency #1 (IDW Publications); the usual slew of #1 issues from Image Comics such as Injection, Mythic, Material, Valhalla Mad, and Minimum Wage: So Many Bad Decisions; Russian Olive to Red King (AdHouse Books); a variety of books from and distributed through Alternative Comics, such as Irene Vol. 4, It Will All Hurt #1, Island of Memory Vol. 1, The Secret Voice #2, and Smilin' Ed Comics; the first issue in Alan Moore's new Lovecraftian series, Providence (Avatar Press); the new Captain Canuck #1 (Chapter House Publishing); Don't Get Eaten by Anything and The Disappearance of Charley Butters (Conundrum Press); Drawn and Quarterly: Twenty-five Years of Contemporary Cartooning, Comics, and Graphic Novels and Optic Nerve #14 (Drawn and Quarterly); the usual impressive offerings from Fantagraphics, including Maria M. Book 2, Adventures of Tad Martin #Sick Sick Sick, and The Life and Legend of Wallace Wood; Exquisite Corpse (First Second); Annihilator, Vol. 1 (Legendary Comics); Louise Brooks, Detective (NBM); Aama Vol. 3: The Desert of Mirrors and The King in Yellow (SelfMadeHero); Surface Tension #1 and The 6 Voyages of Lone Sloane #1 (Titan Comics); and Monster Mash: The Creepy, Kooky Monster Craze in America: 1957-1972 (Tomorrows Publishing). In addition to focusing on all of these upcoming releases, Andy and Derek also discuss Dark Horse's recent decision to make several of their ongoing series digital-only, IDW's acquisition of Top Shelf Productions as a new imprint, Alternative Comic's new distribution agreement with several small presses, the joys of Adrian Tomine, and the fact that this is “Women in Comics” month in the March Previews catalog. In all, lots o' things are covered…the kind of substantive, quality programming you've come to expect from the Two Guys with PhDs.

Wherein I talk about disco, Mad Max, the music business, Louise Brooks, disillusionment, boredom and death metal bands.

Catch a glimpse of the silent movie era and how it was an integral part of your ancestors' lives. In this episode, I find out more about the silent movies my grandmother catalogued in her diary, and how they molded a generation. The cultural influences of the “Picture Shows” Below is a page from my grandmother's journal documenting the silent films she saw that year, including the actors who starred in them. Just like today, the stars who light up the silver screen were mimicked and followed for fashion trends, hair styles, decorating ideas, and moral behavior. Understanding who the role models were at the time gives us a better understanding of the cultural influences of the era.  Films are NOT primary resources, but they certainly paint a picture of life at any given time in history. Finding silent films in my area To learn more about silent films, I started with a simple Google search, altering my search criteria until I found movie theaters that showed silent films in my area. The first theater I found was the Stanford Theatre, located in Palo Alto, California. It was first opened in 1925 and stood as Palo Alto's premier theater house for several decades. In 1987, the David and Lucile Packard Foundation bought the theater and restored it. It is now owned and operated by the non-profit Stanford Theatre Foundation. - The website provides all the movie schedules from 1929-1961, compiled from ads that appeared in the Palo Alto Times. Vaudeville acts were also regularly included in the lineup. And the Wurlitzer organ live accompaniment was a staple. Grandma's Diary Entry – Sunday, April 22, 1928 I have to lead singing at church. Walter and I went to the lake. Met Helen Weathers and Jesse Jay and Ed Taylor. Helen and I went in swimming. Went to the show afterwards. The vaudeville was keen. Lew Cody in “Adam and Eve.” The first silent movie I saw was “Diary of a Lost Girl”, a German movie starting Louise Brooks. It was a late entry silent film released on April 24, 1930. It tells the story of an innocent young girl, who is raped by the clerk of her father's pharmacy. After she becomes pregnant, she is rejected by her family and must fend for herself in a cruel world. It was not the wholesome far I expected but was riveting nonetheless. (I must acknowledge the organ accompaniment of Dennis James because he added a drama and magic to the film that was priceless.) The next film I saw was the classic 1923 comedy “Safety Last” starring Harold Lloyd. This is a must-see, full of laugh-out-loud humor. I was starting to get a feel for what drew Grandma to the pictures as a young girl. It was magical, glamorous, and hugely expanded her social network.   Society's views on the silent film era To learn more, I was combed through newspapers from her home town in the 1920s at the State Archives. I came across two newspaper articles: “Getting Back to the Home” from January of 1925, and “Harking Back to those Old Home Days” from February 5, 1925. The first article leads in… “Much has been said as to the methods of checking the crime and rebelliousness among the young people of today. The automobile, trains and other means of travel as well as moving pictures, dance halls, etc. that attract young people, and so lead them to seek amusement away from home have contributed to the fact that the home is not the center of attraction for the majority of families as it once was.” The article went on to say that there were plans in the works for a community get-together. The February 5th article reported the events of that evening, which was called “Back to the Home.” The local residents ate pumpkin pie, sang songs, listened to speeches and music, and comic readings. (And I happened to recognize the name of the cellist in the orchestra as being the man who signed as witness on my great-grandfather's naturalization papers!) The even was a huge success and was deemed “something that will in surely bear repeating.” Immediately my grandmother's diary entries bemoaning her mother who was “from the old country” started to become clearer. Grandma felt that Great-Grandma just didn't understand her. Having experienced the thrill of the old movie theater experience myself, and reading in the newspapers how it was affecting society, I began to better understand that she lamenting more than just the woes of being 15 years old. Society was changing. And as a mother, I began to sympathize with my great-grandmother's plight of trying to raise three teenagers in the new world. Enjoying Silent Movies at Home I live 25 minutes from a little town that has a Silent Film Museum devoted to a company that produced hundreds of them locally back in the teens.  Every Saturday night, they show two shorts, and one full length movie each week with live piano accompaniment. Last week my husband and I went to the regular Saturday night show, and we found ourselves watching the original full-length versions of two movies about San Francisco in 1906.  In the last podcast, I covered the San Francisco Earthquake and other historical events, and included a Youtube.com playlist that I created full of old and new videos about the earthquake.    The first movie short was called “A Trip Down Market Street.” This is in my Youtube.com playlist under the title “San Francisco 1905 - 1906 (short form).” The Archivist at the museum said that research has uncovered that this film was shot just about four days before the earthquake hit in April 1906. The filmmaker shot the entire movie from the back of a cable car slowly moving down Market Street toward the Ferry Building. He told us that the reason the movie survived is that the filmmaker shipped the film to their New York offices for processing just one day before the quake. The second movie short was produced by Blackhawk Films immediately following the earthquake, () and was aptly titled “Destruction of San Francisco.” Portions of this film can also be found on the YouTube playlist. If you don't live within driving distance to a theater showing silent films, here are some options for viewing at home: Netflix (UPDATED) – They have an incredible catalogue of films that can be hard to find. You can stream movies from any device at home at . Type “silent” in the search box and click the GENRE matches tab. You can also search by your favorite silent movie star (Mary Pickford, Clara Bow, Harold Lloyd, Douglas Fairbanks, Jackie Coogan, etc). Not all films are available to stream, but many can be delivered in DVD form with a subscription to . Turner Classic Movies (TCM) – - Go to the website and type SILENT in the search box, then click GO. Scroll down to the KEYWORD MATCHES to see what's available. They often run “Silent Sundays.” I find the best way to approach TCM it to review the schedule for the week on my cable TV menu, and set movies of interest to be recorded. The Public Library – A quick search of my local library catalogue online showed dozens of silent movies. I found that searching a particular silent era actor as an “author” worked better than searching ‘silent movies' alone. Beware, movies held over the one week time limit incur hefty fees. But the titles were free, and in the case of my local library, I can place a request for a movie from another library in the same county system, and they will deliver it to my local branch and hold it for me for pick up free of charge. For a global search of libraries try Amazon.com – If you have a specific title or actor in mind, a quick search will tell you if Amazon has it. And if it's been released, they probably do. However, browsing is more challenging. To narrow your search to only silent movies, select DVD  in the SEARCH area, and click GO. Then click “BROWSE GENRES.” From the next page click CLASSICS. Then, in the Browse box on the right, click SILENT FILMS. I got over 400 results.  If you're not looking for a Charlie Chaplin film, add “-Chaplin” to your search and you'll get the results down to 282 films. You can help support this free podcast by always starting your searches in our Amazon search boxes located throughout the Genealogy Gems website at Ebay.com – If you're looking for a title that is particularly hard to find, EBay may be the best source. Grandma's Diary Entry – Friday, November 2nd, 1930 “Alfred, Len, Mama and I went to the show in Merced.  “Four Son's.”  It was sure good!” I looked the movie up at IMDb.com, the biggest movie database on the internet. The description stated that the movie revolved around a mother and her four grown sons living happily in a German village prior to WWI. The oldest son, Joseph, yearns to go to America, and his mother gives him her savings to realize his dream. After the war begins, two of the sons go off to battle and are killed. Meanwhile, Joseph becomes an American citizen and joins the army to fight against Germany. The youngest son then leaves to join his battalion, and is killed in battle. After the war, Joseph goes home to New York and sends for his mother. She makes the journey through Ellis Island and they finally reunite. My grandma's parents had emigrated from Germany in 1910, just prior to the start of the war.  Great-grandfather came over first to find work. When great grandmother discovered she was pregnant with Alfred, she followed three months letter, which was sooner than planned. She secretly made the trip with her 3-year-old daughter. I had to get a copy of this film! I couldn't find “Four Sons” at any of the usual places, so I went to Ebay.com. There I found someone who had a copy, and I bought it. The movie was extremely moving, and I cheered for the naive yet faithful mother as she made her way alone through the confusing world of Ellis Island and the streets of New York. This movie must have been very touching for Great grandmother to watch, and I would guess that it generated conversation about her own trip.  Many years later, Grandma fulfilled a life long dream and made the trip to Ellis Island to see it for herself. Before her death, she told an eager granddaughter all about Mama, the journey through Ellis Island, and about her love for the moving pictures. GEM: Interview with Sam Gill – April 19th, 2007 Do you by chance research your own family history? Not much now. As a child I helped my mother quite a bit with her genealogical research, joining her on trips to libraries, helping at home, typing up manuscripts, filling in sheets, etc. My mother published a little pamphlet on the John Ashton family of London, Ontario, Canada for which I'll provide a link to a recent description. In my youth, I also recorded via reel-to-reel tape, important family members (father's mother in depth; mother's step-mother briefly; mother and father, and siblings casually) in the 1960s and 1970s. They—the older family members-- are all deceased now, and I am very glad I did this. I am currently transferring these tapes to CD. My brothers George and Paul are very interested in family history, too—now, actually more so than I am, which is very surprising considering my brother Paul showed very little interest in family during his youth. I was extremely interested in family history in my youth, but not as much now, unless it be to discover whatever I can about the personal relationships family members had to one another, as well as to their friends and other loved ones. How accurately do you think they portray life at that time? One needs to be very careful with film, today as well as yesterday. Most film—even documentaries—often depict people as they want to be seen, or to perform in stories the way they themselves want to appear, or the way the filmmakers specifically want their characters to appear. I have a friend who once coordinated the locating of antiques in the Los Angeles area for Christie's in London, who commented that frequently the furniture he saw in teens silent films of the fairly common society-drama type, were extremely high-end antiques that would command extremely high figures in current auctions, and are the kind of antiques never seen in today's films, or at least very rarely. I mention this because it's a good example of the fact that each person may see something of interest that another person would not even notice or care about. Also, films from the silent era can be important historically and culturally in showing us the way life was; but as with any photograph, it may take a lot of interpretation and understanding to know exactly what it is that we are looking at. What influence do you believe the young medium of movies had on the culture of that time? Huge influence. I believe films from the very beginning had an enormous impact on our culture, and the culture of every country when and where films began to be shown. And as sound was added, even with radio, and later with the immediacy of television, the impact has become even more profound. Many immigrants have commented, too, then as now, on the importance of going to the movies to learn the language and culture of their new country. I believe youth especially has been affected, but probably all ages. I mention youth because young people are so impressionable, and so things such as fashion, dating techniques, job aspirations, desires of where one might live and play, attitudes toward family and community, nearly every aspect of life has been represented and thus made available to audiences for their “selecting,” taking what each person wants or “needs” and leaving the rest. With what they take, they can mold their lives, or re-define what it is they believe they know and want. How would you advise a family historian to approach the silent movies as a resource?  See as many films as he or she can, starting with whatever seems of most interest—documentaries; travel films; comedies; dramas; westerns; whatever. For more of the genuine “feel” of the movie-going experience, I believe what we are doing here at the Niles Essanay Silent Film Museum on Saturday nights, is very important. These silent films were shown with music accompaniment, which aids greatly the impact and accessibility of these films. With what movie or actor / actress would you recommend they start to become introduced to silent films? That's an interesting question, and one that gets at the root of what I mean when I say these films can have a profound impact on a person—especially youth. Just as someone today may be enormously impressed with Johnny Depp or Christina Ricci, or a film about the mafia life, or corporate life in New York City, or even a horror or fantasy film, the same holds true for silent films seen today. Each of our audience members seems to relate in a highly individualistic way to a film, often to a particular “star”—perhaps being impressed with the steely reserve of William S. Hart; laughing at the often-surreal physical stunts of Buster Keaton who becomes a kind of Every Man against the harsh realities of our physical world; the adventurous-spirit of Douglas Fairbanks; the spunkiness of Mary Pickford who never let anything get her down; and so on. The film A TRIP DOWN MARKET STREET (1906) has become a great favorite here, where a camera was placed on the front of a street-car heading down from about 8th Street to the Ferry Building in April 1906 just a few days before the earthquake and fire. Horse-drawn wagons, cars and vehicles, automobiles, people on foot, bicycles, you name it, all these methods of transportation are fascinating; but most fascinating, we are watching the people themselves, some oblivious to the filming, others intensely interested, staring right at the camera! Any other thoughts on the subject as it pertains to folks interested in learning more about the era of 1900-1930? There are more and more films available on DVD but I still love books, and what one can discover going to the library and pulling film books off the shelves to read at one's leisure—historical works, cultural studies, picture books (even coffee table books), encyclopedias, biographies and autobiographies, corporate histories of film companies, on and on. It's all fascinating, and it's all out there…to be discovered. Many years ago, someone told me he thought I “lived in the past,” and implied that that was a pretty terrible thing to do. I answered, “I don't think of it as LIVING in the past, but of EXPLORING the past, like an archaeologist.” I think the truth of that may be the same for genealogists, to explore the past through the discovery of family history, which is after all, human history.

We meet the Hamad brothers, "Broadway" Brother Benedict, and learn the name of the Louise Brooks look-a-like.

White Girls (McSweeney's)  White Girls, Hilton Als's first book since The Women fourteen years ago, finds one of "The New Yorker's" boldest cultural critics deftly weaving together his brilliant analyses of literature, art, and music with fearless insights on race, gender, and history. The result is an extraordinary, complex portrait of "white girls," as Als dubs them--an expansive but precise category that encompasses figures as diverse as Truman Capote and Louise Brooks, Malcolm X and Flannery O'Connor. In pieces that hairpin between critique and meditation, fiction and nonfiction, high culture and low, the theoretical and the deeply personal, Als presents a stunning portrait of a writer by way of his subjects, and an invaluable guide to the culture of our time. Praise for White Girls “I read Als not only because he is utterly extraordinary, which he is, but for the reason one is often drawn to the best writers—because one has a sense that one's life might depend on them. White Girls is a book, a dream, an enemy, a friend, and, yes, the read of the year.” —Junot Díaz “Hilton Als takes the reader on a wild ride through the complex, often rough, terrain of art, music, sexuality, race. What he writes—especially about Michael Jackson, Eminem, Louise Brooks, Richard Pryor, Gone With the Wind—is riveting.” —Elaine Pagels “Effortless, honest and fearless” ––Rich Benjamin, The New York Times Book Review “Captivating.” —Entertainment Weekly “Als is one of the most consistently unpredictable and surprising essayists out there, an author who confounds our expectations virtually every time he writes.” —Los Angeles Times “A comprehensive and utterly lovely collection of one of the best writers around.” —Boston Globe “Als' work is so much more than simply writing about being black or gay or smart. It's about being human.” —Kirkus (Starred Review) “Mesmerizing.” —Publishers Weekly (Starred Review) “Als is pyrotechnic, lifting off the page in a blast of stinging light and concussive booms that somehow coalesce into profound cultural and psychological illuminations.” —Booklist “Incisive cultural criticism.” —Roxane Gay, The Nation “[Hilton] Als interweaves personal revelation with cultural touchstones, sometimes hopping from topic to topic at a breakneck speed, other times examining concepts so strategically and methodically his words become scalpels, flaying open unacknowledged bias, privilege, and conflict where he sees it.” —The A.V. Club Hilton Als became a staff writer at The New Yorker in October, 1994, and a theatre critic in 2002. He began contributing to the magazine in 1989, writing pieces for The Talk of the Town. Before coming to The New Yorker, Als was a staff writer for the Village Voice and an editor-at-large at Vibe. He has also written articles for The Nation

THIS WEEK'S PODCAST TRANSCRIPT: 1922: Flappers in the newspapers May 19, 1922 Flappers Right off the bat I have to admit the fact that -- to paraphrase Olympia Dukakis in Moonstruck -- what I don't know about San Francisco in the 1920s is a lot. I did know that all sorts of great Prohibition and gangster stuff must have gone on, though, so I started leafing through a couple of 1922 editions of the Chronicle looking for stories. And was immediately distracted by the flappers. You know, flappers. Louise Brooks, Josephine Baker, Zelda Fitzgerald ... read on ...