Podcasts about Love After Love

In this episode, we review the poem "Love After Love." You will learn: The Importance of Self-Recognition: The poem emphasizes the necessity of recognizing and greeting your true self after periods of emotional struggle or loss. It speaks to the significance of self-acceptance in the journey of love.Embracing Solitude: Walcott invites you to understand that solitude can be an opportunity for growth. Rather than viewing time alone as loneliness, you can see it as a chance to reconnect with yourself and cultivate a richer understanding of who you are.Nourishing Self-Love: The poem metaphorically illustrates the act of ‘feasting' on your own life, suggesting that you should cherish your experiences and emotions. This nourishment lays the foundation for a healthier relationship with yourself, which in turn enriches all other relationships you have.The poem:"The time will comewhen, with elation,you will greet yourself arrivingat your own door, in your own mirrorand each will smile at the other's welcome,and say, sit here. Eat.You will love again the stranger who was yourself.Give wine. Give bread, Give back your heart to itself, to the stranger who has loved you all your life, whom you ignoredfor another, who knows you by heart.Take down the love letters from the bookshelfthe photographs, the desperate notes,peel your own image from the mirror.Sit. Feast on your life.”So, take a few minutes today, sit with yourself, and feast on your life. Recognize the beauty of who you are, and remember that understanding yourself is the first step to truly loving others.Blessings! ♥️Dr. Mensimah ShabazzFor One on One Consultations: Schedule a free 30-minute consultation: https://www.mensimah.com/harmony-consult or send Email to: agapect@mensimah.comSubscribe/support our channels:Join our Reflective/Inner Work Platform: https://mensimah.com/compose-a-new-narrativehttps://www.patreon.com/mensimahshabazzphdContact Links:Website: https://mensimah.comInstagram: @mensimahshabazzphdYouTube: @mensimahsroundtableShop: https://shop.mensimah.comDonations: https://mensimahs-round-table.captivate.fm/supporthttps://www.paypal.com/paypalme/MRTPodcast

Hello to you listening in Flushing, Borough of Queens, New York!Coming to you from Whidbey Island, Washington this is Stories From Women Who Walk with 60 Seconds for Motivate Your Monday and your host, Diane Wyzga.Maybe like me you stop and wonder who you are, where is the girl (or fellow) who used to be you, whether you're on the right track, and so on. It feels insecure, doesn't it, not to have all the answers sometimes. Perhaps there is great wisdom in resting in that insecurity, stop resisting, stop pushing back, wait for the time (and the answer) that will come.The poet, Derek Walcott might have been musing on these questions when he wrote Love After Love. He might have known his words would bring comfort, hope, anticipation, maybe even optimism. That's what poets do.  Love After Love“The time will comewhen, with elationyou will greet yourself arrivingat your own door, in your own mirrorand each will smile at the other's welcome, and say, sit here. Eat.You will love again the stranger who was your self.Give wine. Give bread. Give back your heartto itself, to the stranger who has loved you all your life, whom you ignoredfor another, who knows you by heart.Take down the love letters from the bookshelf, the photographs, the desperate notes,peel your own image from the mirror.Sit. Feast on your life.” [- by Derek Walcott] You're always invited: “Come for the stories - stay for the magic!” Speaking of magic, would you subscribe, share a 5-star rating + nice review on your social media or podcast channel of choice, and join us next time!Meanwhile, stop by my Quarter Moon Story Arts website to:✓ Check out Services I Offer,✓ Arrange your no-sales, Complimentary Coaching Consult,✓ Opt In to my Every Now & Again NewsAudioLetter for bonus gift, valuable tips & techniques to enhance your story work, and✓ Stay current with Diane on Substack and LinkedInStories From Women Who Walk Production TeamPodcaster: Diane F Wyzga & Quarter Moon Story ArtsMusic: Mer's Waltz from Crossing the Waters by Steve Schuch & Night Heron MusicAll content and image © 2019 to Present Quarter Moon Story Arts. All rights reserved. 

another day, another unhinged scary mommy post

With all of the focus on love the past month, it's important to remember to love ourselves. Join Mandy as she discusses how we are each "wonderfully and fearfully made," (Ps. 139:13-18). Love After Love The time will come when, with elation you will greet yourself arriving at your own door, in your own mirror and each will smile at the other's welcome, and say, sit here. Eat. You will love again the stranger who was your self. Give wine. Give bread. Give back your heart to itself, to the stranger who has loved you all your life, whom you ignored for another, who knows you by heart. Take down the love letters from the bookshelf, the photographs, the desperate notes, peel your own image from the mirror. Sit. Feast on your life. © by owner. provided at no charge for educational purposes  

Hola a tothom!!! Avui comencem una mica turbo amb un Ping Pong d'insults en català però que dura bastant menys de l'esperat. La Laura arriba tard perquè un boig s'ha posat a córrer per les vies del metro però pensem que podia ser en Remy Gallard. EN TOT CAS!!

Today's poem is Love After Love by Derek Walcott. The Slowdown is your daily poetry ritual. In this episode, Major writes… “Today's poem dramatizes the important act of rediscovering and intimately coming to love who one is, in all our complexities. It's a famous poem that teaches devotion of self before we make ourselves available to others.” Celebrate the power of poems with a gift to The Slowdown today. Every donation makes a difference: https://tinyurl.com/rjm4synp

On Today's Show "I'm just being real. I'm telling my story. I think Nikki Giovanni calls it dancing naked on the floor. I am unafraid and I'm doing my dance… I don't feel like I can go wrong if I'm just being me.” - Kwame AlexanderExciting reluctant middle school kids about reading (or really, anything) can be a battle. Getting them to think reading is cool is another. Kwame Alexander excels at both. His ability to authentically relate to his readers is a skill around which he has built his career.Kwame is beloved by parents, educators, and students, for his ability to ignite a love of reading (especially middle school boys) through poetry and characters who reflect their real experiences. But his impact extends beyond just an introduction to books, he also opens the door for readers to explore their own emotional depths. As he tells us, “I think part of my job is just to show a different side of masculinity.”Kwame is best known "The Crossover," "The Undefeated," "The Door of No Return," and numerous other novels and poetry collections. He also recently authored his memoir "Why Fathers Cry at Night." He won the Newbery Medal and Coretta Scott King Book Award among many other awards, and this year "The Crossover" was adapted into a Disney Plus original TV series. In this episode, he tells us about his own upbringing surrounded by Black storytelling and literature, reveals his secret to making middle-schoolers think he's “cool”, and shares about a letter he received (which was “not fan mail”) that inspired a surprise visit to an unsuspecting kid.***Connect with Jordan and The Reading Culture @thereadingculturepod and subscribe to our newsletter at thereadingculturepod.com/newsletter. ***In his reading challenge, "Blackout,"  Kwame wants listeners to utilize their favourite books to look inward and make some art of their own.You can find his list and all past reading challenges at thereadingculturepod.com.This episode's Beanstack Featured Librarian is Kirsten, the programming specialist for the Indianapolis Public Library. She shares some moving stories about a book club she runs for teens at a residential treatment facility. ***ContentsChapter 1 - Glasses first (2:10)Chapter 2 - Mom's stories, dad's garage (3:53)Chapter 3 - Love After Love (9:11)Chapter 4 - The “Reluctant” Readers (14:01)Chapter 5 - Kwame Shows Up (17:50)Chapter 6 - America's Next Great Authors (24:18)Chapter 7 - Blackout (27:34)Chapter 8 - Beanstack Featured Librarian (28:09)Links The Reading Culture Kwame Alexander Folly Island NYT article by Teddy Wayne about the potential benefits of clutter Beef, No Chicken Love After Love by Derek Walcott Kwame's Newbery Banquet Speech Why Fathers Cry: The Podcast | Kwame Alexander #KwameShowsUp Nikki Giovanni Collected Poems, 1948-1984 -  Derek Walcott The Crossover | Official Trailer | Disney+ America's Next Great Author The Reading Culture on Instagram (for giveaways and bonus content) Beanstack resources to build your community's reading culture Host: Jordan Lloyd BookeyProducer: Jackie Lamport and Lower Street MediaScript Editors: Josia Lamberto-Egan, Jackie Lamport, Jordan Lloyd Bookey

With influences from Bob Marley to Blind Willie Johnson to Bob Dylan, guitarist, singer, and songwriter Ben Harper sees songs in colors and can taste them when they're ready. His Grammy wins have come in the categories of Blues, Traditional Soul/Gospel, and Instrumental Pop. His musical range is indeed that varied, one can expect anything from alt-folk to reggae to indie rock to an operatic tenor hidden in a cabaret song. His latest, Wide Open Light, is a spare, largely acoustic set of songs, raw, and mostly solo. Ben Harper plays some of these pieces in-studio. Set list: "Masterpiece", "Giving Ghosts", "Love After Love", "Trying Not To Fall In Love With You" Watch "Masterpiece": Watch "Giving Ghosts": Watch "Love After Love": Watch "Trying Not To Fall In Love With You":

In this preview of Mama Needs a Movie's Patreon-exclusive spinoff, ATTENTION MUST BE PAID (patreon.com/MNAM), Anne and Ryan show some love to under-seen cinematic gems like 2017's LOVE AFTER LOVE starring Andie MacDowell, Chris O'Dowd and James Adomian. Russell Harbaugh's directorial debut follows Suzanne (MacDowell), a mother of two adult sons, trying to move on after the death of her husband. Unfurling its lived-in character dynamics with unusual patience, the film creates a indelible portrait of a complicated family, featuring roundly excellent performances and a cozy analog vibe from its 16mm cinematography. LOVE AFTER LOVE is a recent American indie of consequence and a film toward which more attention must be paid. LOVE AFTER LOVE is available to stream with ads on Tubi.

Ben Harper “Wide Open Light”: ”Heart And Crown” ”Giving Ghosts” ”Masterpiece” ”8 Minutes” ”Yard Sale” ”Trying Not To Fall In Love With You” ”Wide Open Light” ”One More Change” ”Growing Growing Gone” ”Love After Love” ”Thank You Pat Brayer” Yusuf/Cat Stevens“King Of A Land”: “King Of A Land” “Take The World Apart” “All Nights, All Days” Jason Isbell & The 4 Units Hundred “Weathervanes”: “Cast Iron Skillet” “Save The World” Escuchar audio

Hello to you listening in Flushing, Borough of Queens, New York!Coming to you from Whidbey Island, Washington this is Stories From Women Who Walk with 60 Seconds for Motivate Your Monday and your host, Diane Wyzga.Maybe like me you stop and wonder who you are, where is the girl (or fellow) who used to be you, whether you're on the right track, and so on. It feels insecure, doesn't it, not to have all the answers sometimes. Perhaps there is great wisdom in resting in that insecurity, stop resisting, stop pushing back, wait for the time (and the answer) that will come.The poet, Derek Walcott might have been musing on these questions when he wrote Love After Love. He might have known his words would bring comfort, hope, anticipation, maybe even optimism. That's what poets do.  Love After Love“The time will comewhen, with elationyou will greet yourself arrivingat your own door, in your own mirrorand each will smile at the other's welcome, and say, sit here. Eat.You will love again the stranger who was your self.Give wine. Give bread. Give back your heartto itself, to the stranger who has loved you all your life, whom you ignoredfor another, who knows you by heart.Take down the love letters from the bookshelf, the photographs, the desperate notes,peel your own image from the mirror.Sit. Feast on your life.” [- by Derek Walcott] You're invited: “Come for the stories - stay for the magic!” Speaking of magic, would you subscribe, share a 5-star rating + nice review on your social media or podcast channel of choice, and join us next time!Meanwhile, stop by my Quarter Moon Story Arts website to:✓ Check out What I Offer,✓ Arrange your free Story Session call + Bonus gift,✓ Opt In to my monthly Newsletter for valuable tips & techniques to enhance your story work, and✓ Stay current with Diane and on LinkedIn.Stories From Women Who Walk Production TeamPodcaster: Diane F Wyzga & Quarter Moon Story ArtsMusic: Mer's Waltz from Crossing the Waters by Steve Schuch & Night Heron MusicAll content and image © 2019 to Present: for credit & attribution Quarter Moon Story Arts

In this meander, we talk about how stillness and curiosity, and withholding self-judgement, are key to seeing oneself with clarity. How we live lives of “busy-ness” so we can avoid hearing ourselves, our true selves, speak from our hearts… how boredom is a gift, and is often avoided in our highly technical, connected, world."The hardest work is to look at your life and love it exactly as it is right now,"  says Anjali in this meander... what a great invitation to look inside ourselves and find joy, right here, right now.I hope you enjoy this glorious exploration!Episode Links:Chapman Coaching Inc.Anjali on FaceBook, “You, Me, and the Dress”, LinkedIn, and on InstagramPoems we referenced: "Don't Hesitate" by Mary Oliver, and "The Uses of Sorrow"; "The Guesthouse" by Rumi; "Love After Love" by Derek Walcott; and song by Ray LaMontagne "Be Here Now"Dan Harris and his book "Ten Percent Happier"Royalty free music is called Sunday Stroll – by Huma-HumaPlease send thoughts and comments to meanderingswithtrudy@gmail.com

Dive into the realm of self-compassion and forgiveness in this episode of 'Words That Burn'. We delve deep into the transformative words of Nobel laureate Derek Walcott, particularly focusing on his acclaimed poem 'Love After Love'.Walcott's poetry shines a light on the intricate dynamics of self, identity, and culture within the larger context of Western literature. His powerful verses have not only earned him significant accolades, including the MacArthur Genius Grant, but have also stirred controversy and discussion amongst his contemporaries.In 'Love After Love', we explore how Walcott masterfully navigates the journey of personal healing and self-reconciliation through evocative imagery and poignant themes. We also uncover Walcott's unique perspective on his position within the Western literary canon, sparking an insightful look at the role of cultural identity in literature.Join me as we unravel the intricacies of Walcott's poetry, hear snippets from thought-provoking interviews, and delve into what led to the enduring influence of Walcott's work.Substack ScriptInstagramTwitterTik Tok Hosted on Acast. See acast.com/privacy for more information.

The nerds are back to continue their Ann Hui Month as we look at her 2012 film, Love After Love. Support us on Patreon for tiers as low as a dollar: https://www.patreon.com/thenerdcorps Join our Discord server: https://discord.gg/5XdUYNWGdX   Visit our website for reviews: https://www.thenerdcorps.com  Follow us on Twitch: https://twitch.tv/thenerdcorps Subscribe to us on YouTube: https://www.youtube.com/c/TheNerdCorps  Follow us on Twitter: https://www.twitter.com/thenerdcorps_  Follow us on Instagram: https://www.instagram.com/thenerdcorps  Follow us on Letterboxd: https://letterboxd.com/thenerdcorps/  Follow our designer Alex Almeida: https://www.twitter.com/Zans_Zone  Theme music by https://moamanofaction.bandcamp.com/album/fall-sampler  https://www.twitter.com/circuitbird --- Support this podcast: https://podcasters.spotify.com/pod/show/thenerdcorps/support

The nerds conclude their Ann Hui Month as they discus her 2020 film, Love After Love. Support us on Patreon for tiers as low as a dollar: https://www.patreon.com/thenerdcorps Join our Discord server: https://discord.gg/5XdUYNWGdX   Visit our website for reviews: https://www.thenerdcorps.com  Follow us on Twitch: https://twitch.tv/thenerdcorps Subscribe to us on YouTube: https://www.youtube.com/c/TheNerdCorps  Follow us on Twitter: https://www.twitter.com/thenerdcorps_  Follow us on Instagram: https://www.instagram.com/thenerdcorps  Follow us on Letterboxd: https://letterboxd.com/thenerdcorps/  Follow our designer Alex Almeida: https://www.twitter.com/Zans_Zone  Theme music by https://moamanofaction.bandcamp.com/album/fall-sampler  https://www.twitter.com/circuitbird --- Support this podcast: https://podcasters.spotify.com/pod/show/thenerdcorps/support

Ingrid Persaud's  debut novel Love After Love blew me away the first time I read it in 2020 shortly after it was published.  Re-reading it recently for this podcast has made me love it even more.The title of this novel is from the Derek Walcott poem Love After Love - find it here https://allpoetry.com/love-after-love it is also so moving and thought provoking.Anita and I talk about the importance of loving reading, of escaping via the pages of a novel.  Love After Love, set in Trinidad and following a very unconventional family is a brilliant book in which to escape the winter blues and find yourself in the Caribbean.Among other things there are themes of secrets, unconventional families, different types of love, migration, belonging, self harm, homophobia and expectations.  

Chaya Milchtein (she/her/hers) is a multi-passionate, fat femme who believes in taking up space and living a big, adventurous life. She's offering car advice and hot travel tips (including bathroom stuff!) for fat folks, and shares some of her best and worst travel experiences.Chaya is an automotive educator, journalist, and speaker focused on empowering & educating car owners and inspiring fat folks to travel. Chaya's work has been featured on CarTalk, AARP, the Chicago Tribune, and in addition to her monthly column in Salon, "A Fatty's Guide to Traveling and Eating the World," she's written for AAA's Via Magazine, Real Simple, Parents Magazine, and others.You can find more about her work on her website, Tiktok, Instagram, YouTube, and other social platforms.The poem Sophia reads is Love After Love by Derek Walcott.All things Fat Joy are on Instagram, the website, on Patreon .And please don't forget to subscribe, rate, and leave a comment for the Fat Joy podcast, too!

Anyone on a quest for more inner peace has no doubt heard about the benefits of meditation. But even though the practice is simple -- just sit and breathe -- it can be so hard to do. Our thoughts race. We feel restless. Sometimes looking inside our minds can be uncomfortable and even scary.Masako Kozawa, a photographer and writer who describes herself as "a teacher and student of meditation," has been there. She came to meditation at one of her lowest points in life, desperate for anything to make her feel better.For her, the practice has been an unprecedented game changer, reshaping the way she feels about herself, her thoughts and her life.If you've ever wondered if meditation is worth the effort, Masako's story will convince you!Masako's podcast is all about the life-changing effects of meditation. Check out "Why Not Meditate?" anywhere you get your podcasts. And connect with Masako on Instagram @masakozawa_photography.The excellent app we mention in this episode is Insight Timer. The poem I mention is Derek Walcott's Love After Love.Have a peaceful week!

This week on the blog, a podcast interview with filmmaker Eric Mendelsohn, who revisits the lessons he learned while making his debut feature film, “Judy Berlin.”LINKSJudy Berlin Trailer: https://youtu.be/23PlEaTy9WAEdie Falco Interview about Judy Berlin: https://youtu.be/AoC5q5N-6kYA Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6Fast, Cheap Film Website: https://www.fastcheapfilm.com/Eli Marks Website: https://www.elimarksmysteries.com/Albert's Bridge Books Website: https://www.albertsbridgebooks.com/YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcast***TRANSCRIPT -EPISODE 106Eric Mendelson Interview [JUDY BERLIN SOUNDBITE] JohnThat was a soundbite from “Judy Berlin,” which was written and directed by today's guest, Eric Mendelsohn. Hello and welcome to episode 106 of The Occasional Film podcast -- the occasional companion podcast to the Fast, Cheap Movie Thoughts Blog. I'm the blog's editor, John Gaspard. Judy Berlin, starring Edie Falco, as well as Madeline Kahn, Bob Dishy, Barbara Barrie and Julie Kavner, was Eric Mendelsohn's feature film debut. The film was an Official Selection of the Cannes Film Festival … won Best Director at Sundance … Best Independent Film at the Hamptons Film Festival … and was nominated for three Independent Spirit Awards. Eric is currently the Professor of Professional Practice, Film, at Columbia University. I first spoke to Eric about Judy Berlin years and years ago, for my book, Fast Cheap and Under Control: Lessons Learned from the Greatest Low-Budget Movies of All Time. In the course of that interview, Eric laid out a handful of really smart filmmaking lessons – lessons that, if followed, might be the difference between making a successful film … or making no film at all. I was curious: What did Eric think about those lessons, all these years later? Before we got into that, though, we talked about the origins of Judy Berlin … [MUSIC TRANSTION] John What was the impetus that made Judy Berlin happen? Eric It's answerable in a more general way. When I get interested in making a script or making a film, it's because a group of feelings and images almost in a synesthesia kind of way, come together and I get a feeling and I say, oh, yeah, that would be fun. And for Judy Berlin, the set of feelings were definitely having to do with melancholy, hopefulness, the suburbs and my intimate feelings about them being a fresh place that I hadn't seen, represented in the way I experienced them. Things as abstract as how everyone feels in autumn time, I guess, maybe everyone does. I don't know. Maybe there are some people who are just blissfully unaware of all those sad feelings of you know, autumn, but I felt like they were worth reproducing if maybe they hadn't been in that particular locale. I think this is a funny thing to say but against all of that sadness, and kind of hope against hope, being hopeful against hopelessness, I had this sound of a score to a Marvin Hamlisch score to Take the Money and Run. And I actually asked him to do the music and he said he didn't understand such sadness that was in the movies that this isn't something I do. Which is really true and I didn't get it and I wanted to persist and say no, but that score for Take the Money and Run, that has such like almost like a little kids hopefulness about it. That's what I wanted. It was like a river running underneath the ground of the place that I had grown up with. And I think the other inspiration for the movie was pretty, I don't know, maybe it's called plagiarism. Maybe it's called inspiration, the collected feeling that you can distill from the entire works of Jacques Demy, and I loved Jacques Demy 's films. They gave me a license. I saw them and said, Well, if you can mythologize your own little town in the northwest of France that maybe seems like romantic to Eric Mendelsohn from old Bethpage, Long Island, New York but truly is a kind of a unremarkable place at the time it was made, that I can do it with my town. I can mythologize everybody, and love them and hate them and talk about them and so those are some of the feelings that went into it. John But they all came through. So, what I want to do is just go through the handful of lessons that you told me X number of years ago, and let's see what you think about them now. So, one of the big ones that turns up again and again, when I talked to filmmakers was the idea of write to your resources. And in the case of Judy Berlin, you told me that that's a great idea and you thought you were: It takes place over one day with a bunch of characters in one town. When in fact you were really making things quite difficult for yourself by having middle aged people with homes and cars and businesses and professional actors who all had other things going on. Eric 03:35And multiple storylines is a terrible idea for low budget movie making. Each actor thought oh, I'm in a little short film. I, however, was making a $300,000 movie about 19 characters. What a stupid guy I was. John 03:53Do you really think it was stupid? Eric 03:54It was. You know, everyone says this after you have graduated from that kind of mistake or once you've done it, you look back and say I would only have done that because I didn't know any better. I know you haven't finished your question. But I also want to say that writing or creating from ones' resources also includes what you are able to do, what you are able to manufacture. In other words, I didn't have enough writing skill to concentrate on two characters or one character in house, like Polanski, in his first endeavors. I didn't I had small ideas for many characters. It's much more difficult to write a sustained feature film with two people. So, I was writing to my resources in a number of ways, not just production, but in my ability as a writer at that point. John 04:53Yeah, you're right. It is really hard. I don't know why they always say if you're gonna make a low budget movie, have it be two people in a room. That's really hard to do. The idea of let's just tell a bunch of stories does seem easier and I've done that myself a couple times and it is for low budget easier in many respects. My stuff is super low budget, no one's getting paid. We're doing it on weekends, and you can get some really good actors to come over for a couple days and be really great in their part of the movie and then you put it all together. Another advantage is if you have multiple stories, I learned this from John Sayles in Returns of the Secaucus Seven, he said I couldn't move the camera. So, I just kept moving the story. It allowed him to just, I can't move the camera, but I can move to the next scene, I can move to these people, or I can move to those people there. And it also allows you an editing a lot of freedom, because you can shift and move and do things. So, the downside you had of course was on just a strictly production shooting day level, very hard to do what you were doing. But it did allow you to grow a bit as a writer because you're able to write a lot of different kinds of characters and different kinds of scenes. Eric 05:57Remember, I always say this, you know, you sit in your room, and I believe you need to do this as a writer, you sit in your room and you say to yourself, she slams a car door harder than usual. And then you realize later she drives a car, where am I going to get a car from? She enters her house. How am I going to get a house and if I have seven characters, and they all have cars, that's a job in itself. One person could spend their summer looking for seven cars. But that's the least of your problems. When it's houses, cars, clothing, handbags, all of it. John 06:30Yeah, when you're starting out, you don't necessarily realize that every time you say cut to something in your script, that's a thing. You've got to get it. I did a feature once that had four different stories and there are four different writers and a writer came to me with his finished script, which was brilliant, but it was like 14, 15 locations that I had to shoot over two days. So, how do you do that? Well, you end up spending four days on it. But the other hand, another writer who understood screenwriting, handed me a script that was four locations, but brilliantly combined and figured out. So, in two days, you could shoot them all because he knew what he was doing. And that's something you don't necessarily learn until you're standing there at six in the morning with a crew going, I don't know what I'm doing right now, because I screwed myself up and I wrote it and that's sometimes the only way you can learn it. Eric 07:16I think it's the only way. The only way. Look, you can be precautious, you can, it's no different than life, your parents can warn you about terrible, ruinous, stupid, love affairs that are going to wreck you for a year. Are you really going to just not get into them because of what smart older people said? You throw yourself at a film in the way that hopefully you throw yourself at love affairs. You're cautious and then you've just got to experience it. And I think the difference obviously is in film, you're using lots of people's time, effort money, and you do want to go into it with smarts and planning. I still say that you should plan 160%. Over plan in other words. And then the erosion that naturally happens during production, this crew member stinks and had to be fired a day before. This location was lost. This actress can't perform the scene in one take because of memory problems. All of that is going to impact your film. Let's say it impacts it 90%. Well, if you plan to 160%, you're still in good shape in the footage that you get at the end of the production. John 08:29Yeah, I'm smiling, because you're saying a lot of the things you said last time, which means it's still very true. Alright, the next lesson was, and this is one that I've embraced forever: No money equals more control. You spoke quite eloquently about the fact that people wanted to give you more money to make Judy Berlin if you would make the following changes. Looking back on it did you make the right decisions on that one? Eric 08:51Yes. I'll tell you something interesting. Maybe I didn't say this last time. But I remember my agent at the time saying to me, we could get you a lot of money. Why don't you halt production? We'll get you so much money that will get you--and this is the line that always stuck in my head-- all the bells and whistles you want. Now, I'm going to be honest with you what he said scared me for two reasons. One, I had worked in production for a long time in my life and I knew that if you stall anything, it just doesn't happen. It just doesn't. That the energy of rolling downhill is better than sitting on the hill, potential energy and trying to amass funds. But another thing and I was scared privately because I said to myself, I don't even know what the bells and whistles are. I'm afraid to tell him that I don't know what they are. And I'd rather I think that's those bells and whistles are for some other savvy filmmaker that I'll maybe become later. But right now I have the benefit of not knowing enough and I'm going to throw myself and my planning and my rigorous militaristic marshalling of people and props and costume names and locations and script. I'm gonna throw that all at the void and do it my cuckoo way because once I learned how to make a movie better, I'll have lost a really precious thing, which is my really, really raw, naive, hopeful, abstract sense of what this could be. And that thing that I just said with all those words was not just a concept. I didn't know what I was making, in the best sense possible. I was shooting for something, shooting it for an emotional goal, or a visual goal for a dramatic goal but I didn't put a name on it. I didn't put a genre to it. So much so that by the time I got to the Sundance Film Festival, and I read the first line of a capsule review, and it said, A serio-comic suburban. I almost cried, I felt so bad that I didn't know what I was making in an objective sense. In a subjective sense, obviously, I knew exactly what I was trying to do. But objectively, I didn't know it could be summed up by a review. And it hurt me so badly to think I was so mockable and now I'm going to embarrass myself by telling you what I thought I was making. I didn't think I was making something that could have a boldface thing that said, serio comic, multi character, suburban fairy tale. I didn't know that. I really thought I was like writing in glitter on black velvet or I don't know, I didn't even know that it could just be summed up so easily. And I think I've written a lot of scripts since that one, and many haven't gotten made, but each time I reject and issue an objective determination of what the thing is that I'm working on, prior to sitting down. Is that the best way to work? It is a painful way to work. My friends will tell you that. I have my great friend and filmmaker Rebecca Dreyfus always says that I have creative vertigo, that I don't know what I'm doing for months and years on end and then I looked down and I say, Oh, God, I think it's a horror film. Or I think I've rewritten a Dickens story. And I get a nauseated kind of, you know, dolly in rack, focus thing. It's not, I'm telling you, I'm not describing a creative process that is painful for me to realize, always later on what I'm doing. And I still hold, that's the only way I can do it. I will not go into a screenplay and then a film saying this is a serio comic black and white, multi character, suburban, who wants that? I go in thinking, I'm making something that I don't know, that no one's seen before and then we'll see what they think. John 12:54You know, we were very similar, you and I in that regard. In addition to low budget, filmmaking, as I've gotten older, I've gotten into novel writing and mystery writing, which I enjoy. And the parallels between independent publishing and independent filmmaking are really close. One of the things that people say all the time in independent publishing that I back away from is you have to write to market. You have to know who your audience is, what they like, and write a book for them. And I can't do that. I can write a book for me that, you know, if I slip into dementia in 20 years and read it, I won't remember writing it, but I would enjoy it because all the jokes are for me and all the references are for me... Eric 13:32I think you and me, doing the exact right thing, according to me. And you'll be happy to know, because I teach at Columbia Columbia's film grad school, we have an unbelievable group of alumni people, you know, like, you know, Jennifer Lee, who created Frozen and the people behind Making of a Murderer and Zootopia. And all they ever say when they come back to speak to our students is nobody wants a writer who is writing to the industry. They want something they haven't seen before that is new, fresh, odd, and still steaming be you know, out of the birth canal. John 14:14Yep. The corollary to that, that I tell people who are writing and also people who are filmmakers who want to work that way is the more you can take economics out of the process, the more you're able to not need to make money from what you're doing, the happier you're going to be. Because every movie I've ever made has never made money and it didn't matter. It wasn't the purpose. The purpose was, oh, this is interesting idea. Let's explore this with these 12 actors and see what happens. But if you can take economics out of it, you completely free. Eric 14:41You free and I'll tell you what, I know. Again, it's just a perspective, one person's perspective. But everyone, you know, you want to leave on the earth some things that you felt good about, whether they're children or ethics or some civic thing you did for your town, or a movie. And all the people I know who made tons of money always are talking about coming back to their roots because they're so unhappy. Like, I get it. I get it. And all these actors who want to do work for no money, it's because they feel like well, I sure I made a ton of money, but I didn't get to do any of the stuff I really care about. I remember in my first real attempt at filmmaking after film school, a short half hour film that starred the late Anne Meara and Cynthia Nixon in an early film role and F Murray Abraham did the voiceover. And I was 20 something years old, and the film did very well and it was just a half hour movie and we showed it at the Museum of Modern Art. And after the screening, a woman came up to me and I don't remember what language she was speaking. She was Asian, and she tried to explain to her to me, what the movie meant to her, but she spoke no English and she kept tapping her heart and looking at me. Anne Meara was standing next to me and she kept pointing like and then making a fist and pounding her chest and pointing to like a screen in the air, as if she was referencing the movie. And then she went away. Anne Meara said, listen to me now, it will never get better than that. I understand completely. For the movie I made after Judy Berlin, which is called Three Backyards and a movie I produced and cowrote after that, called Love After Love. I didn't read the reviews. Who cares? John 16:27Yeah, that's a pretty special experience and good for her to point that out to you. Eric 16:31Her husband in a bar after a production of The Three Sisters told me that--this is pretty common. This is Jerry Stiller, the late great comedian said to me, I was about to tell him what the New York Times had said about his performance. He said, no, no, no, don't. Because if you believe the good ones, then you have to believe the bad ones. And I've since known that that is something that's said a lot. But if a review isn't going to help you make your next movie, then don't read it. Marlena Dietrich, in my favorite last line, paraphrased from any movie, gets at why criticism is unimportant for the artist. In the end of Touch of Evil, she says, “what does it matter what you say about other people.” It's just, you either do or they did to you or you experience all that garbage of what people say it goes in the trash, no one except for maybe James Agee's book, there's very few film criticism books that people are desperate to get to, you know, in 50 years. But you take a bad movie, I watched some summer camp killer movie the other night, and I thought I'd rather watch this than read what somebody said about this movie. I'd rather watch somebody's earnest attempt to fling themselves at the universe than a critics commentary upon it. Yeah. Anyone who gets up at five in the morning to go make a movie has my respect and I don't even you know, on the New York Times comments online commentary site, I refused when it's about artwork to come in even anonymously. Nope! John 18:05Okay. You did touch on this. But it's so important and people forget it. I phrased it as time is on your side. You talked about being prepared 160% and having Judy Berlin, every day, there were two backups in case for some reason, something didn't happen and the advantage you had was you had no money. But you had time and you could spend the time necessary doing months of pre-production, which is the certainly the least sexy part of filmmaking, but is maybe the most important and is never really talked about that much. How much you can benefit from just sitting down and putting the schedule down? I mean, we used to, I'm sure with Judy Berlin, you're using strips and you're moving them around and when we did our 16-millimeter features, we didn't even spend the money on the board. We made our own little strips, and we cut them out and did all that. You can do it now on computers, it's much easier, but it's having that backup and that backup to the backup. You don't really need it until you need it and then you can't get it unless you've put it in place already. Eric 19:06Well, I'll say this, I have to disabuse some of my students at Columbia by telling them that there is no like effete artist who walks onto a set-in filmmaking with no idea about scheduling. That character fails in filmmaking. That every single director is a producer, and you cannot be stupid about money, and you cannot be stupid about planning and in fact, Cass Donovan who is an amazing AD and one of my good friends. She and I sometimes used to do a seminar for young filmmakers about scheduling your movie and I always used to say, you know, a good schedule is a beautiful expression of your movie, where you put your emphasis. And it comes out in the same way that people say like oh, I just like dialogue and characters. I'm not good at structure. There's no such things. You need at least to understand that a good structure for your story can be a beautiful, not restrictive, rigorous device that's applied to your artistry, a structure and a story is a beautiful can be a beautiful thing and the expression of the story and the same thing is true with the schedule. The schedule is an expression of your story's emphases. If your story and your resources are about actors, and you've got an amazing group of people who are only doing the project and lending their experience and talent, because they thought this was a chance to act and not be hurried. Well, that expresses itself in how many days and how many shots you're going to schedule them in. And I love how a schedule expresses itself into an amount of days and amount of money and allocation of funding. I love it. There is no better way to find out what your priorities were and I love it. And in terms of planning, one of the reasons I don't understand or have an inkling to investigate theater is I don't want something that goes on every evening without my control, where the actors sort of do new things or try stuff out and the carefully plotted direction that you created can get wobbly and deformed over time. Instead, I like the planning of a script and now I'm not talking about pre-production. I'm talking about I like that, with screenwriting, you go down in your basement for as long as you need. So, maybe I'm afraid of shame and I don't like to present stuff that is so obviously wrong to whole groups of people. I like to go down in the basement for both the writing and the pre-production and get the thing right. You know, there are so many ways to make a movie that I'll also I want to place myself in a specific school of filmmaking. To this point in my directing life, I've created scripts that are meant to be executed in the sense that not as disciplined in execution as what Hitchcock or David Lean, we're shooting for, but not as loose an experiment as Cassavetes, or let's say, Maurice Pilar. We're going for, everyone has to find their own expression. In other words, if you are Maurice Pilar or Cassavetes, or Lucrecia Martel, you have to find your own equation, you have to find your own pre-production/production equation where the room for experimentation. I haven't really wanted to experiment on set, I know what shots I want, and I get them. The next film I make may be different. But everyone has a different equation and every script and every director are going to find their own priorities that are expressed in the project and then the execution. The fun thing was, the last movie I worked on, was something I've produced and co-wrote ,called Love After Love. And that was directed and co-written by Russ, and Russ and I spent years writing a script that we knew that was intended to be elastic, and to be a jumping off ground for the kind of impromptu directing he does. Now, a lot of what we wrote ended up in the movie, but sometimes he would call me from the set and say, this isn't working and that was exciting, because we knew that would happen. And he told the cast and the crew before they went into the project, before they went into the short film he made before that called Rolling on the Floor Laughing. This is intended to be a porous experiment ,with a firm spine of drama that is not porous. So, we've created a drama and interrelations in that script that then he went off, and those couldn't budge. Those were fixed the dramatic principles and dynamics. But he worked as a director in a completely different way than me and I was very happy to loosen my own way of working and then as a producer, make sure that he had what he needed on the set, and that the pre-production, production and even editing--we took a year to edit that film--was based in an idiosyncratic methodology of his particular artistry, not mine. John 24:34And why I think is so interesting about that is that you know, you made sure that everybody involved knew going in we're doing this kind of movie and this kind of movie has … I remember talking to Henry Jaglom, about I don't know which movie it was, you know, Henry has a very loose style of what he does. But it's still a movie, and he was talking about, he was shooting a scene and an actress either jumped into a swimming pool or push somebody into a swimming pool. And he said, Why did you do that? She said, I was in the moment. Yeah, and he said, yes, this is a movie and now I have to dry these people off and I have to do the coverage on the other side. So, you need to know where the lines are, how improvised is this really. Eric 25:15And everyone has different lines, and you make movies to find out how you make movies. You write screenplays to find out what that feeling is and whether or not you can interest an audience in it. You don't write a screenplay to execute Syd Fields, ideas about story or the hero's journey. I'm not a hero. I don't have a hero's journey. I have my journey. The task, the obligation is to see if I can take that and still make it dramatic and interesting to a group of hostile strangers, normally called an audience, John 25:52As Harry Anderson used to say, if you have a bunch of people all seated facing the same direction, do you owe them something. Eric 25:58Yeah, it's unbelievable. A friend of mine who works in theater saw a terrible show and he works on Broadway, and he works on all the big shows that you have heard of. So, I can't give the title of this one particular production. And he said, you know, I feel like telling these people because he works in lighting. He said, I feel like telling these people who create these shows that every single audience member who comes to see the show at eight o'clock that night, woke up at seven in the morning, and they're tired, and they worked and you better provide something at eight that night. John 26:33Exactly. I remember talking to Stuart Gordon, the guy who made Reanimator, and he was big in theater before he got into horror films. And he said we had one patron who always brought her husband, and I'll say his name was Sheldon, I forget what the name was. And he would consistently fall asleep during the shows. And my mandate to the cast was our only job is to keep Sheldon awake. Yeah, that's what we're there to do is to keep Sheldon alert and awake. And I think at all the time as you're watching something on film, you're going is that going to keep Sheldon awake, or is that just me having fun? Eric 27:01No, he didn't ask this question, so it's probably not. But a lot of students are not a lot, actually but some students will say to me like, well, what I have to know the history of movies? Why do I have to know that when I'm going to create something new? And I just think because you're not. Because there is a respect for a craft. Forget the art of people who have been doing this for ages. And to not know it puts you in the position of the only person on set who doesn't realize that. Every single crew member is a dramatist: the script supervisor is a dramatist, the set decorator is a dramatist, the costume designer, the cinematographer, the producer. So sometimes my students in directing will say to me, well, I thought this shot was interesting and I said, Okay, you may think that's interesting. But I'm going to tell you something scary right now: your producer, and your editor will know immediately that you don't know what you're doing and that that won't cut. It is not a secret this thing you are doing, this skill. Learn what other people, what the expectations of the art form are, please, and then build from them and break rules and expand but don't do it naively. John 28:06Yeah. When I wrote the first book, it was because I had done an interview with a couple guys who made a movie called The Last Broadcast, which came out right before Blair Witch, which had a similar project process to it. And one of them said to me, he said in talking to film students, one thing I keep seeing is everyone wants to reinvent the wheel. And so I put the book together, because here's all the different lessons, you can you're going to end up learning in one way or another, you might as well read them now and like you say, not find out that that won't cut because it won't cut. It just won't cut. Alright, you did touch on this lesson earlier just in passing, but it's a good one and it's sometimes a tough one. I just called it Fixed Problems Quickly and it was about if there's a crew member who's not part of the team, it's easier to get rid of them two weeks out, then two hours into the shoot. Eric 28:54Yep, it still holds, and it happened on the film I made after Judy Berlin as well. Someone who had worked on Judy Berlin came on to the new production of Three Backyards, and I tried my best to keep this untenable relationship working. But like a rotten root on a plant, it started to rot everything around it, and everyone would like to be the well-liked captain of the ship. But that also means firing crew members sometimes. We had a very, very big key position on that film, and we had to lose them a week before we shot. I'll tell you something else about Three Backyards. It was a week before we shot it. Is it okay that I talked about that? John 29:39Absolutely. We're talking about what you've learned. Eric 29:42Yeah. So, after Judy Berlin I made a film called Three Backyards with Edie Falco and Elias Kotes and host of other people. A very strange movie it was, I am not joking. I haven't said this. So, not that this is some big reveal that anyone gives a shit about but before, a week before we shot it was called Four Backyards. I've never told that because I didn't want anyone to watch it with that mindset and start to say, and we even kept the crew quiet and said, please, we don't want this to get out that it's you know. And I cut out an entire storyline a week before shooting. Now, when I tell you that it was an actor, a very amazing actor in that storyline, the fourth backyard, who I had to call, who was already doing driving around on his motorcycle in the location, going to visit places that had to do with his storyline, costume fittings, everything had been done locations we had gotten, I had to call them and say we're cutting, that your character and that storyline. It was still to this day unbearable. I don't expect you know, the guy is very well known and successful, and you know, has done far more important things than my little movie. But I still feel guilty to this day. I feel nauseous to this day that I did that, that I had to do it. We got to a point where it was clear, the expression of the film called Four Backyards would be running through one take per shot, per setup and running through with no time to work on the characters, no time to give these amazing actors, you know what they wanted. We'd be run and gun and I just said, I'm not this old, you know, to making this movie so that I can re-learn terrible lessons and put these actors through that kind of experience. So, I cut an entire storyline that was dragging down this buoy, let's say in the water and then once we cut it off, and I of course I don't mean the actor or the performance, the potential performance. I mean, the production. Once that fell to the bottom of the sea, the buoy lifted and bounced and righted itself. And I lived with that decision knowing I did the right thing, but that it was hard. We also lost one of the key, we lost our production designer I would say about 15 days before shooting, and that was another one of those kinds of decisions where I said get it done now. I will say this offline on Three Backyards. There was a crew member who had, the minute I shook hands with them, I knew this is that kind of poisonous sniping inconsolable person. But I leave those decisions to department heads and that's not my job to get in and say this person seems awful to me. But that's my feeling. They worked for about, let me say this carefully, they worked and it and became exactly the problem that I had predicted. They initiated a work stoppage that was uncalled for, unprofessional, and everyone was aware. They pretended not to know what location we were going to next and didn't show up. We were delayed I think 40 minutes. On a low budget movie, 40 minutes is unsustainable. And I will just say this, I had to make the decision because we were so deep into the film, whether or not firing that person would cause such bad feelings in the remaining crew or free us up in a way that was similar to what I described earlier. I decided to keep the person and it was I believe the right decision because we were close enough to finishing the film that I believed I would no longer reap benefits from firing them and that leads me to a sentence that I probably told you when I was 20 or whatever how old I was when I spoke to you. I'm now 57. On a movie, you want to be effective not right. In other words, a decision that is morally right on a film which is a temporary, collapsible circus tent where people strangers get together and work for a month, being morally right can hit the main pole of that circus tent really hard and collapse. You want to be effective not right. The right decision in a movie. It is the one that gets forward motion. In that particular case, I took my revenge out later, I kept the person, I bit my tongue and swallowed my pride and said I'm so sorry, let's negotiate. How can we make you happier? However, after we finished production, my more powerful friends in the industry never hired that person again. That person was fired from large TV productions that they were on and given no reason and I felt absolutely thrilled with that. John 34:48Well, it does catch up with you. The next one is one that I use all the time and you just put it very succinctly you said, Fewer Takes, More Shots. Eric 34:57So, I can talk about that. I want to be specific though, that it's for my kind of filmmaking. If you're shooting every scene in one shot, this cannot apply. But in the edit room generally, is a very broad stroke comment, generally, if you're a more conventional visual director who tells stories with shots, you get stuck on one shot in one setup, especially if it's a master and you're trying to get it right. You have no other storytelling ability. You don't have the move in. You don't have the overhead shot. You don't have the insert shot of the finger of the character touching a teaspoon nervously. You don't have any other storytelling ability if you get stuck in one setup. So, a lot of people always say, you know, remember, your first take is probably your best take. That's a good truism. There's an energy that you get from nervous actors, nervous camera operators in a first take. So, sometimes your first take has a great spontaneity about it. Sometimes it lingers for a second or third take. The idea that you are going to beat that dead horse into the ground with subsequent takes going up through 13, 15, 19 to get something perfect flies in the face of the actuality, which is that editing, performance, the rhythm of the eventual scene through shots and takes creates what the audience experiences. That the idea of perfection is a great way to flatten your actors, kill your dialogue, ruin your scene. It's like when I first made a pie ever in my life, nobody taught me and I didn't really look at a book. I was preparing a meal for a woman who was coming up to her country house and I was upstate using the house. And I thought to myself as I carefully cut the butter into the flour and created a little pebbly, beautiful texture, and then gently gathered those pebbles of flour and butter and sugar together into a ball. I mistakenly thought that if I took the rolling pin and roll the life out of it, I would be making the best crust possible. And it tasted it was inedible. It tasted like shoe leather. And I said what did I do wrong? And they said, the object she said to me when she arrived, the object is to gather those delicate, beautiful pebbles together and lightly make it into a crust that retains the little particles, the delicate interstitial hollows. Not to flatten the life out of it. And the same is true about shots. The more angles you have, if that's the way you shoot, create a sense of life. That's about as good as I can say it. John 37:49Well, you know, I want to add just a couple of things. When I did the book, originally, I talked, had a wonderful long conversation with Edie, Falco about Judy Berlin. She was trying to get her brand-new baby to go to sleep while we talk and so it's very quiet recording of her talking. Eric 38:04That's my godson Anderson. John 38:05Oh, that's so sweet. She said about multiple takes. She said there's a perception sometimes with filmmakers that actors are this endless well. And she said, I'm not, I'm just not. Unless you're giving me direction to change something, it's going to be the same or worse. Again, and again. And so you know, of all the lessons from the book that I tell people when I'm making presentations, fewer takes more shots. The thing, a corollary of attitude, is if you're going to do another take, tell them to do it faster, because you're gonna want a faster version of it. You don't realize that right now, but you're gonna want one. Eric 38:38Here's a great way of saying it. I feel people mistake, directors mistakenly think that they are making the film on set. The filming of a movie is a shopping expedition for, drumroll please, ingredients. If you are shooting one take per scene, sure, get it right, you have your own methodology. But if you're going to be telling a story in the traditional narrative way, where a bunch of angles and performances in those shots, setups angles, will eventually tell the story of a scene that let's say for example, goes from pedestrian quotidian to life threatening, remember that you need the ingredients to then cook in the edit room of quotidian, seemingly boring escalating into life threatening. Making a movie on set in production is shopping for the ingredients and you come home and then you forget the recipe and say, what did I get? What was available? What was fresh? What does that mean if you're not talking about food? Well, this actor was amazing, and I lingered on them and I worked on their performance because it's going to be great. That's one of the ingredients you have to work on. In the edit room, this actor was less experienced, and I had to do more setups because they couldn't carry a scene in one shot. That's what I have to work with now in the edit room. When you're in the edit room, you're cooking with the ingredients you got in the fishing expedition called shooting. That's why my students say to me, well, why am I going to get extra footage? Why am I going to get anything but the bare minimum? Why am I going to overlap in terms of, well, you think you're only going to use that angle for two lines, we'll get a line on either side of the dialog, so that you have it in case. And they say, that's not being professional. That's not being precise and accurate. And I'd say it's a fishing expedition, especially if you're starting to learn film. You don't go shopping for a party and say, I think everyone will have about 13 M&Ms. You're buy in bulk, because you're getting like, oh, it's a Halloween party, I'll need a lot of this, a lot of that and a lot of this, and then you cook it later. John 41:04You know, one of the best examples of that is connected to Judy Berlin, because as I remember, you edited that movie on the same flatbed that Annie Hall was edited on... Eric 41:18I still have it, because the contract I made with Woody Allen was that if no one ever contacted me for it, and I bore the expense of having to store it, I would keep it. And so I got it and nobody ever asked for it. Nobody uses it anymore. John 41:34But the making of that movie is exactly that. They had a lot of ingredients and they kept pulling things away to what was going to taste the best and all of a sudden, this massive thing … You know, I was just talking to another editor last weekend, o, I pulled out this, the Ralph Rosenblum's book, but... Eric 41:49Oh, yeah, I was just gonna mention that. The best book on editing ever. John 41:51Although Walter Murch's book was quite good. But this is much more nuts and bolts. Eric 41:56And much more about slapping stuff together to make art. John 42:00That one lesson of: don't spend all day on that one take over and over and over. Let's get some other angles is … Eric 42:06I'll tell you what happens. I may have said this in our first interview, but I will tell you from the inside, what happens. It's terrifying and if you start with a master, a director can get terrified, because to move on means more questions about what's next. Was it good? And you can get paralyzed in your master shot if you're shooting in that manner. And then the actors aren't doing their best work in the master, especially if it's a huge master, where there's tons of stuff going on. They're going to give you some better performance, if you intend to go in for coverage and you by the time you do that you may have lost, you know, their natural resource. They might have expended it already. I've been in that situation where I got lost in my master and you almost have to take a pin on set and hit your own thigh with it and say, wake up, wake up, move on, move on. John 42:58Yeah. All right, I got one more lesson for you, because I'm keeping you way too long. It's a really interesting one, because it's when I talked to Edie about it, she didn't know you had done it and she thought, well, maybe it helped. But Barbara Barrie played her mother in Judy Berlin, they had never met as actors, as people. And you kept them apart until they shot, because you wanted a certain stiffness between them. I just call that Using Reality to Your Advantage. What do you think about that idea now? Eric 43:25Edie isn't someone who requires it, you know, she's one of the best actresses in the world. John 43:30And Barbara Barrie wouldn't have needed it either. I'm sure. Eric 43:32She wouldn't have but I do think there's a … look. This is a funny thing about me and my evolution from Through an Open Window, which is the half hour film, to what I'm writing today. I always thought that film was interesting in the same way that I thought military psyops were interesting: that you could control or guide or influence an audience's experience of the story in ways they were unaware of. So, I always liked those hidden influencers. Even in advertising, I thought they were interesting. You see how this company only uses red and blue and suddenly you feel like, oh, this is a very, this is an American staple this product. I love that shit and after I'm done with a script, I know what I'm intending the audience's experience to be I want to find anything to help me to augment that and if you're a fan of that kind of filmmaking, would the shots have a power outside of the audience's ability to see them? They know that the story is working on them and they think the audience thinks, oh, I was just affected by the story in that great performance. They have no idea that the director has employed a multitude of tricks, depth of field to pop certain actor's faces out as opposed to wider shots that exclude are identifying with other characters, moving shots that for some reason, quote unquote some reason meaning every director is aware of how these techniques influence an audience, suddenly make you feel as if that moment in the story of the character are moving or have power have influence while other moments have nothing. In Three Backyards, funnily enough with Edie, I had a scene where Edie was, the whole, Edie's whole storyline was about her desperate, unconscious attempt to connect with this other woman who was a stranger to her. And I refused to show them in a good two shot throughout the entire film. I separated them. I made unequal singles. When their singles cut, they were unequal singles tighter and wider, until the moment that I had convinced the audience now they're going to become best friends. And I put them into their first good, easy going two shot. And that kind of manipulation is done every moment by every filmmaker directing. In one aspect it is a mute, meaning silent in an unobtrusive, persuasive visual strategy for enhancing the story. So, whether you're keeping two actors away from each other during the course of the day before their first scene, because the scene requires tension, or whether you're separating them visually until a moment late in the movie, where they come together, and they're coming together will suddenly have tension because they're in the same shot. Those kinds of persuasive manipulations are what visual storytelling, otherwise known as directing is about. John 43:33Yep, and there's a lot of tools. You just got to know about them because a lot of them you're not going to see, you won't recognize, though until somebody points out, do you realize that those two women were never really in the same shot together? Eric 47:06Every well directed movie has a strategy. Sometimes they're unconscious, but you don't want to be unconscious. As the director, you want to be smart. You want to be informed about your own process, and I think smart directors … Here's what I always say to my students: learn a lot, know a lot, then feel a lot. So, what does that mean? It's just my way of distilling a whole bunch of education down into a simple sentence. Understand what has been done and what you can do, and what are the various modes of directing and storytelling. And then when you get into your own script, feel a lot. What do I want? Why isn't it working? Add a lot of questions marks to the end of sentences. Why can't this character be more likeable? Why isn't this appealing? Why haven't I? How could I? And it's a combination of knowing a lot and being rigorously intellectual about the art form that you want to bow down before you want to bow down before what works and what doesn't work. I would say that you want to bow down before the gods of what works and what doesn't work. You know, you don't want to look them in the eye and say, screw you, I'm doing what I want. You bow down and say, I don't even understand why that didn't work. But I'll take that lesson. You want to feel a lot. You want to be open on the set. One of the hardest things to learn is how to be open on the set. You want to be open when you're writing. You want to be open when you're editing. It's a real juggling act of roles that you have to play, of being naive, being smart, being a businessperson, being a general, being a very, very wounded flower. You know, I remember reading, as a high school student, Gloria Swanson's autobiography. And then it's so many years since I read it that I might be wrong. But I remember they said what are you proudest of in your career. And she said without hesitation that I'm still vulnerable. And I didn't even know if I understood it at the time, but I get it now. You want to be smart. You want to be experienced. You want to have a lot of tools and know the tools of other directors and still be naive and vulnerable and hearable and have your emotional interior in tech. Those are hard things to ask of anyone, but if you want to be in this industry, an art form that so many greats have invested their life's work toiling in, then you owe it to yourself to be all of those things. [MUSIC TRANSTION] JohnThanks to Eric Mendelsohn for chatting with me about the lessons he learned from his debut feature, Judy Berlin. If you enjoyed this interview, you can find lots more just like it on the Fast, Cheap Movie Thoughts Blog. Plus, more interviews can be found in my books -- Fast, Cheap and Under Control -- Lessons Learned from the greatest low-budget movies of all time ... and its companion book of interviews with screenwriters, called Fast, Cheap and Written that Way. Both books can be found on Amazon, Barnes & Noble, Kobo, Google and Apple Books. And while you're there, check out my mystery series of novels about magician Eli Marks and the scrapes he gets into. The entire series, staring with The Ambitious Card, can be found on those same online retailers in paperback, hardcover, ebook and audiobook formats. And if you haven't already, check out the companion to the books: Behind the Page: The Eli Marks podcast … available wherever you get your podcasts. That's it for episode 106 of The Occasional Film Podcast, which was p roduced at Grass Lake Studios. Original music by Andy Morantz. Thanks for tuning in and we'll see you … occasionally!

The Sun (Conscious Self) in Virgo opposes Neptune (Dreamer-Visionary) in Pisces and trines Pluto (Transformer) in Capricorn supporting you to ground into your heart and compassion and transmute old patterns of over-control. Venus (Relational One) in Virgo squares Mars (Advocate) in Gemini challenging you to balance your love of form and game plan with your love of innovative new ideas and change. Mercury (Storyteller) in Libra opposes Jupiter (Mentor-Seeker) in Aries inviting you to go beneath limited reactions of fight or flight and activate  authentic and effective communication patterns.Podcast Poem: "Love After Love" by Derek WalcottSheila's website: https://www.ontheedgesofchange.com

Join us for a special episode in Cantonese for our reaction to Ann Hui's Love After Love (2020) immediately after our screening of the film! Films and TV shows mentioned: Love After Love《第一爐香》 Soul Mate《七月與安生》 Days of Being Wild《阿飛正傳》 Once Upon an Ordinary Girl《儂本多情》 Lust, Caution《色，戒》 In the Mood for Love《花樣年華》 Song of the Exile《客途秋恨》 Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments Powered by Firstory Hosting

Hey friends! Welcome to another ep, before we get into the book discussion, a couple quick reminders: our summer merch! It's available now! Also, reminder we're taking a little summer break in July, but we'll release some great throwbacks. And finally, don't miss Libby's fan club book club meeting on June 30 for Love After Love. Then, the books! Today we're talking cannibalism, the mafia vs. the mob, motherhood when your child is scary, and whiplash on one of the biggest thriller authors writing today. Thanks so much for listening! You can get your BATC merch here: https://www.booksandthecitypod.com/merch. Browse and shop all the books we've discussed on this episode and past episodes at https://www.bookshop.org/shop/booksandthecity. Check out our website for more information about the fan club, any anything else at https://www.booksandthecitypod.com. You can also subscribe to our newsletter there, and send us a note at booksandthecitypod@gmail.com-------------> Becky's pick: The Family by Naomi Krupitsky (15:47-26:20) https://www.penguinrandomhouse.com/books/607001/the-family-by-naomi-krupitsky/ On Becky's TBR: The Lost Summers of Newport by Beatriz Williams, Karen White, Lauren Willig Kayla's pick: The House Across the Lake by Riley Sager (26:21-36:47) https://www.penguinrandomhouse.com/books/646707/the-house-across-the-lake-by-riley-sager/ On Kayla's TBR: Crazy Rich Asians by Kevin Kwan Emily's pick: A Certain Hunger by Chelsea G. Summers (36:28-45:13) https://www.unnamedpress.com/books/book?title=A+Certain+Hunger+ On Emily's TBR: Her Body and Other Parties by Carmen Maria Machado Libby's pick: With Teeth by Kristen Arnett (45:14-52:48) https://www.penguinrandomhouse.com/books/646150/with-teeth-by-kristen-arnett/ On Libby's TBR: My Year of Rest and Relaxation by Ottessa Moshfegh Music by EpidemicSound, logo art by @niczollos, all opinions are our own.

It's a scorching hot day on this beautiful Sunday afternoon in the Sun City!!!! The guys are back with a brand new fresh episode of the podcast to help you unwind and get ready for the upcoming week. The music production duo of Andrew & Amari from Production tips stopped by the studio for this week's episode. Local music producers Andrew & Armani known for their work as individual beat makers and collaboratively going by the name of Producer Tips slide through and chop it up with the guys!! We talk about a variety of topics and really get into some good conversations about music and so much more..... This episode we discuss: -Getting kicked out of Franklin High School -Having a computer/interned in the 90's -When did talking on the phone die? -Do you believe in Love After Love? -Learning the ins and outs of music production & songwriting -The good ole mixtape days (datpiff/hotnewhiphop) -Why producer tags are important -Tik Tok effecting the way we listen to music? -Running a local Recording Studio located at Sunland Park Mall -Producer Tips the podcast -The Random This or That Segment As always, thank you for all of the support it means everything to us

She's well known for her roles in "Groundhog Day", "Four Weddings and a Funeral" and "Love After Love" and she recently appeared in the hit TV series "Maid" with her daughter Margaret Qualley. As an ambassador for L'Oréal Paris, Andie MacDowell speaks to FRANCE 24's Eve Jackson about ageing in Hollywood and how she missed the festival in Cannes the year her film "Sex, Lies and Videotape" won the Palme d'Or, because she didn't feel confident in her post-baby body.

As part of the Rendez-vous littéraires rue Cambon [Literary Rendezvous at Rue Cambon], the podcast "les Rencontres" highlights the birth of a writer in a new series imagined by CHANEL and House ambassador and spokesperson Charlotte Casiraghi. Listen to author and critic Erica Wagner in conversation with Ingrid Persaud, writer of “Love After Love”, her first novel published by Faber in 2020. Together, they discuss how winning her first literary prize, the "Commonwealth Short Story Prize", reinforced her vocation as a writer. They also evoke Ingrid Persaud's choice to write her first book in her native language, Trinidadian English.

As part of the Rendez-vous littéraires rue Cambon [Literary Rendezvous at Rue Cambon], the podcast "les Rencontres" highlights the birth of a writer in a new series imagined by CHANEL and House ambassador and spokesperson Charlotte Casiraghi.Listen to author and critic Erica Wagner in conversation with Ingrid Persaud, writer of “Love After Love”, her first novel published by Faber in 2020. Together, they discuss how winning her first literary prize, the "Commonwealth Short Story Prize", reinforced her vocation as a writer. They also evoke Ingrid Persaud's choice to write her first book in her native language, Trinidadian English.Ingrid Persaud, Love after Love, © Ingrid Persaud, 2020. Published by Faber & Faber Ltd. Cover © Faber & Faber.© Costa Book Awards.© Commonwealth Short Story Prize.© BBC National Short Story Award.© LSE.© Central Saint Martins.© Granta Publications.© Guardian News & Media Limited.© National Geographic.Five Dials is a digital literary magazine published by Hamish Hamilton, an imprint of Penguin Books, edited by Craig Taylor.Michael Anthony, The Year in San Fernando, Hoddor, © Hodder Education, 2021.Excerpt from "Love after Love" from SEA GRAPES by Derek Walcott. Copyright © 1976 by Derek Walcott. Used by permission of Farrar, Straus and Giroux. All Rights Reserved.© The Slade School of Fine Art.V. S. Naipaul, A House for Mr Biswas, © Picador, 2003.© RCW Literary Agency.© The New York Times Company. All rights reserved. Used under license.Gabriel Bump, Everywhere You Don't Belong, © Workman, 2021.© TCS New York City Marathon.

Love After Love is an unusual love poem that concentrates on loving the self, the inner self, following the breakdown of a relationship. Often times it is hard to lose someone that is so close to you but listen in as Tara talks about what she has gained in the process of losing someone.

为你读英语美文 · 第450期 Love after Love《爱复爱》作者： Derek WalcottThe time will come这样的时刻终将到来，when, with elation,你充满喜悦地you will greet yourself arriving在自家门口，照着镜子at your own door, in your own mirror,迎接自己的到来and each will smile at the other's welcome,并以微笑欢迎彼此，and say, sit here. Eat.说，坐下来。吃吧。You will love again the stranger who was your self.你会重新爱上这个陌生人——你自己。Give wine. Give bread. Give back your heart斟满美酒。递上面包。把你的心交还给to itself, to the stranger who has loved you它自己，交给那个一辈子爱着你的all your life, whom you ignored陌生人，那个你曾为了他人而for another, who knows you by heart.忽视过的人，那个懂你心的人。Take down the love letters from the bookshelf,从书架上取下那些情书，the photographs, the desperate notes,那些照片，那些绝望的字条，peel your own image from the mirror.从镜中剥下自己的形象。Sit. Feast on your life.坐下来。尽享你的生活。——You will love again the stranger who was your self.主播介绍Susie: 审计工作者，现居杭州。文章，音乐，图片非商业用途，版权归作者或版权方所有我们生活在世界各地，从事不同职业，为你读我们喜欢的美文。

Amanda Holmes reads Derek Walcott's poem “Love After Love.” Have a suggestion for a poem by a (dead) writer? Email us: podcast@theamericanscholar.org. If we select your entry, you'll win a copy of a poetry collection edited by David Lehman. This episode was produced by Stephanie Bastek and features the song “Canvasback” by Chad Crouch. See acast.com/privacy for privacy and opt-out information.

S3/73: Relationship Series- Love after Love with Gisela Anderson Relationship Series with Gisela Anderson. Love after Love— Marriage, Divorce, Kids, LIFE. Is there real love after love?? Is There a difference in the way that Black woken & Latina Women are raised when it comes to living a Man and/or taking care of the household. ……….. SUBSCRIBE & FOLLOW US: @thirtygirlpodcast @magicinthismess @luvherkey Facebook,Twitter, Instagram --- Send in a voice message: https://anchor.fm/thethirtygirl/message

We're wrapping up season one by reuniting Brittany and Kyle with their very first podcast guest, Robert Theissen, to unpack and discuss the poem 'Love After Love' by Poet and Nobel Laureate, Derek Walcott. Join our friends for a conversation about the journey to self-love and acceptance, what it has looked like to embrace one's whole self at every stage of the journey. If you've enjoyed this podcast, follow us on IG @openinglifepodcast and join us in mid-March for season 2.

這是一部華語愛情片，一名女學生的成長故事，老家上海陷入動盪，她到香港投靠遠房親戚，繼續完成學業。初來乍到人生地不熟，她的姑母幫了很多忙，生活算是安定，感覺不算安心；她遇見喜歡的男生，是第一也是唯一，在那未曾到過的地方，她選擇燃燒自己，像一爐香，慢慢燒掉純真，以及愛情的憧憬…（第一爐香 (2021) Love After Love） 散文、心得、中文播客，歡迎上網搜尋'雨木觀後感'。 --- Send in a voice message: https://anchor.fm/yumu-review/message

This is a black arts and culture site. We will be exploring the African Diaspora via the writing, performance, both musical and theatrical (film and stage), as well as the visual arts of Africans in the Diaspora and those influenced by these aesthetic forms of expression. I am interested in the political and social ramifications of art on society, specifically movements supported by these artists and their forebearers. It is my claim that the artists are the true revolutionaries, their work honest and filled with raw unedited passion. They are our true heroes. Ashay!  1. In "LIFE I SWEAR" by Chloe Dulce Louvouezo, she brings together twenty-five of today's most influential Black female voices in an exploration of self love and healing. Chloe will be in the SF Bay Area on November 19, 2021 for an event at Black Girls Greenhouse in Oakland.  ("Love After Love" by Derek Wilcox.) 2. nialla rose is an accredited T'ai Chi Chih teacher. She has been practicing t'ai chi/ qi gong for over a decade. 2 years ago, she co-created a group for movement teachers determined to make movement increasingly accessible to everyone. nialla has worked in the health field for 25+ years, with a focus on marginalized communities and women with cancer. 3. Amikaela Gaston from 07/26/2014  This morning we also mix it up with prerecorded or previously broadcast interviews with filmmakers and actors and activists. Be surprised for now. We will annouce and then update the website later. 

The Greatest Love After Love of God The Greatness of Marriage and Family Today's Gospel starts with a question from the Pharisees. The story centers on marriage. Jesus states … “therefore, what God has joined together, no human being must separate”. The Pharisees miss the point by asking a question; Does God allow a person to obtain a divorce? The question misses the point. It is not what I am allowed to do, but what one should do! Jesus goes on and answers . . . what should one do. In the homily, it is stated that the love of man for his wife, and the wife's love for her husband (after the human heart's love for God), is the greatest of love. All other types of love are the child of this love. The Pharisees had an attitude of trying to trick Jesus. Because of their attitude, they did not understand marriage. They did not understand the beauty of the family. Jesus turns a question into a discussion on what marriage is and the importance of the family. He makes a statement on the God given greatness of marriage . . . a statement on the greatness of the family. Jesus talks about what God intended for marriage and the family. Jesus tells us of the dignity of marriage given to us by God! Hear more about this fundamental order within humans. Listen to this meditation piece and understand this special love … and gift from God.

Love After Love by Derek Walcott The time will come when, with elation you will greet yourself arriving at your own door, in your own mirror and each will smile at the other's welcome, and say, sit here. Eat. You will love again the stranger who was your self. Give wine. Give bread. Give back your heart to itself, to the stranger who has loved you all your life, whom you ignored for another, who knows you by heart. Take down the love letters from the bookshelf, the photographs, the desperate notes, peel your own image from the mirror. Sit. Feast on your life.

this week's poem is dear to my heart. it is a poem i wish i had had to move forward with my life after having been left  because of my troubles way back when.  how do we get back to love ourselves after having been defined by the love of anohter?if you have the abundance of supporting my work, please do so here on my patreon page:alice sagaSupport the show (HTTPS://www.patreon.com/alicesaga)

Must listen --- Send in a voice message: https://anchor.fm/tj698/message

Jenny Hewson is a literary agent based in London. She worked for 13 years as an agent at one of England's best agencies, Rogers Coleridge and White or RCW as it's known, representing authors across fiction and non-fiction. A year ago she joined the prestigious Lutyens & Rubinstein agency, bringing her list of authors with her, including Sarah Perry, Melissa Harrison, Amy Sackville and Alexander Macleod.Lutyens and Rubinstein was the first literary agency to own an independent bookshop when they opened their doors in Notting Hill in 2009. The bookshop itself has a beautifully curated selection which makes it a pleasure to browse – and of course having a bookshop means the agents can witness the appetite of readers daily.

This episode is the online master series that took place on May 24th, 2020 - In Conversation with Mary Stephen, CCE. Born in Hong Kong and based in Paris, Mary Stephen has been working in narrative film and documentary for more than 30 years as an editor. Her work has been screened internationally at Venice, Cannes, and Tribeca film festivals. Known for her decades-long collaboration with French filmmaker Eric Rohmer, she has worked in Europe and Asia on numerous award-winning feature documentaries and fiction including Tiffany Hsiung's The Apology, Lixin Fan's Last Train Home, Li Yang's Blind Mountain, Ann Hui's Our Time Will Come and the upcoming Love After Love. This event was by moderated by Xi Feng.

To support our work and listen to additional content from previous episodes, see here: https://patreon.com/yourshelf and follow us on social media @_yourshelf_ (note: there is no Patreon episode for either of our Books of the Year 2020 episodes). In our latest, tenth episode of The YourShelf Podcast, Poetry Book of the Year 2020, our chief curator Juliano Zaffino (Jay) catches up with Seán Hewitt to discuss Seán's book Tongues of Fire, the work of Gerard Manley Hopkins, Hewitt's forthcoming memoir (due 2022), and a recap of the best books of 2020. For full show notes, see here: https://podcast.yourshelf.uk/episodes/10. Thanks for listening.LinksPatreonInstagramTwitterPodcastYourShelfEpisode NotesJay asks Seán about what book world he would live in, what his bookshelves look like, and who he'd invite to a literary dinner party. (from 0:01)Seán explains the origins of his book Tongues of Fire, his pamphlet Lantern, the scope of nature poetry, timeliness vs timelessness, the influence of Gerard Manley Hopkins and more. (from 9:20)Seán recaps his favourite books, albums and TV shows of 2020, recommends some titles for 2021, and hints at his forthcoming memoir, All Down Darkness Wide, due out 2022. (from 44:50)Seán Hewitt gives a special reading of Jay's favourite poem in Tongues of Fire, 'Adoratrion'. (from 1:01:03)The books and authors discussed in this episode include: Philip Pullman's Northern Lights, the works of Flann O'Brien, Virginia Woolf, James Baldwin, Gerard Manley Hopkins, Christopher Marlowe and William Blake, Thomas Hardy's Jude The Obscure, Hera Lindsay Bird by Hera Lindsay Bird, Alice Oswald's Dart, Freya Daly Sadgrove's Head Girl, Mark Doty's My Alexandria, Wayne Holloway-Smith's Love After Love, and the works of Ocean Vuong, Doireann Ní Ghríofa, Karin Boye and J.M. Synge.Seán's 2020 highlights include Claudia Rankine's Just Us, Hilary Fannin's The Weight of Love, Rachel Long's My Darling From The Lions, Eavan Boland's The Historians, Robin Robertson's Grimoire, Jane Mead's World of Made and Unmade, and Caleb Femi's Poor. Aside from books, Seán's other 2020 highlights include the albums What's Your Pleasure? by Jessie Ware and Roísín Machine by Roísín Murphy, the TV shows Schitt's Creek and The Crown, and playing the Nintendo game The Legend of Zelda: Breath of the Wild.Seán's most anticipated releases of 2021 include Niven Govinden's Diary of a Film, Jackie Kay's Bessie Smith, Andrew McMillan's Pandemonium, Kayo Chingonyi's A Blood Condition, and Jen Hadfield's The Stone Age.Seán's book Tongues of Fire is available now from Jonathan Cape. His academic volume J.M. Synge: Nature, Politics, Modernism is available from Oxford University Press, 7 January 2021.Thanks for listening and tune in again very soon for our second Book of the Year episode, with Doireann Ní Ghríofa!

This week's guest will be no stranger to you but she's a little bit of a different one for The Shift because, at 40, Bryony Gordon is a mere whipper snapper, but she's crammed a whole lot of living into those years. Journalism, Mental health campaigning, marathon running, body positivity activism, bestselling books and, as we'll be hearing, alcoholism. In her latest bestseller, Glorious Rock Bottom, Bryony gives a painfully candid account of alcoholism, what it does to the alcoholic and the people around them - and, crucially, how it feels to come through it. It is TOUGH TOUGH TOUGH. It is also immensely likeable and - dare I say it because this is not a Bryony thing - heartwarming. Aaaah! Bryony talks openly about everything from addiction and abuse to shame (and shaming yourself), forgiveness, the tyranny of being a "good" mother, the craziness of women lying about their age and why she will never, ever moan about getting older. And that's just the tip of the iceberg.TRIGGER WARNING: Bryony talks candidly about her alcoholism, mental health crises and suicidal ideation.The Shift (on life after 40) with Sam Baker is hosted by Sam Baker, produced by Emily Sandford. I'd love to hear what you think - please let me know on twitter @sambaker or instagram @theothersambaker• The Shift - How I (lost and) found myself after 40 - and you can too is out now in hardback and available to buy here.• Glorious Rock Bottom by Bryony Gordon is out in hardback and available to buy here. Her new book, a practical guide to mental health called, No Such Thing as Normal, is published on 7 January. Click here to preorder.Bryony's book recommendation: Love After Love by Ingrid Persaud. Out now in hardback and available to buy here.You can follow bryony on instagram @bryonygordon. See acast.com/privacy for privacy and opt-out information.

Watch on YouTube: https://youtu.be/XPiC5v-WHHcBOOKS MENTIONED: “Talking Animals” by Joni Murphyhttps://www.goodreads.com/book/show/51541480-talking-animals?ac=1&from_search=true&qid=zgAMi5QN18&rank=2“The New Wilderness” by Diane Cookhttps://www.goodreads.com/book/show/48836769-the-new-wilderness?ac=1&from_search=true&qid=Vu1vdxgZ47&rank=1“The Unreality of Memory: And Other Essays” by Elisa Gabberthttps://www.goodreads.com/book/show/51541459-the-unreality-of-memory?ac=1&from_search=true&qid=otLi2PS7lJ&rank=1“Love After Love” by Ingrid Persaudhttps://www.goodreads.com/book/show/52028751-love-after-love?ac=1&from_search=true&qid=wFGUot075G&rank=1“Untamed” by Glennon Doylehttps://www.goodreads.com/book/show/52129515-untamed?ac=1&from_search=true&qid=X6So5aR2YS&rank=1TODD MCGOWAN INTERVIEW:https://www.youtube.com/watch?v=gcR7aa8yDAgFOLLOW ME ON INSTAGRAM AND GOODREADS @ILIKETOREADPOD TWITTER: @rpolansky77FACEBOOK: https://www.facebook.com/iliketoreadpodMEDIA MAVEN BLOG: https://rpolansky77.wixsite.com/website

A new film from one of this year's Golden Lion winners for Lifetime Achievement. The post Ann Hui – Love After Love #Venezia77 appeared first on Fred Film Radio.

What I like about this poem is that, it instructs, gently, and reassures. With no set rhyme scheme, the poem is a loose structure pinned with occasional short lines and single words. It takes its time, the subtle pauses placed for the reader to ponder on.

On Nicole Dennis-Benn's Patsy, Ingrid Persaud's Love after Love and Sujata Massey's A Murder at Malabar Hill

If as Black men, we truly want to be strong, we must embark on the work of reclaiming what sometimes may show up as the scariest parts of ourselves.  I am talking about those unspoken, hidden, and most intimate thoughts, feelings, and experiences.  If left unclaimed, they dim our happiness and feed our rage.  My guest, Reverend Alfonso Wyatt joins me to explore the work that Black men in America face in confronting our inner monsters.  We will continue this conversation in the podcast that follows this one when we hear from "Jay" about his recent journey into his "basement" to confront some of the monsters in his life.  Thank for joining us, subscribe, rate us, and share with a Black man who you love. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/toby-thompkins9/message Support this podcast: https://anchor.fm/toby-thompkins9/support

In today's episode, Mr. Skin will talk about Andie MacDowell's nude scene at age 59 in Love After Love. He'll also talk about Phoebe Tokin and Emily Browning's breasts in The Affair, Garcelle Beauvais' sex scene in Power as well as Kelly Reilly disrobing in Yellowstone.

To discuss the film Love After Love, this week Russ Harbaugh (writer and director) and Chris Teague (cinematographer), joined us. Love After Love began as a short which premiered at Sundance in 2012 and has now found its way to the big screen. Russ and Chris eloquently share the path this film took to come to fruition, the importance film played and why a meaningful creative idea is worth seeing through to the end.

Two widowers on rekindling their first love 50 years later.