Podcast appearances and mentions of Michael Lonsdale

durée : 01:24:39 - Les Nuits de France Culture - par : Albane Penaranda - En 1999, l'émission au titre énigmatique "Combien de lieues jusqu'à Babylone ?" propose un voyage sonore à travers les souvenirs des manèges et les mirages de l'enfance. Au fil des tours, le limonaire ouvre les portes d'un monde imaginaire où la terre elle-même devient un carrousel. - réalisation : Emily Vallat - invités : Michael Lonsdale; Michel Butor Romancier

L'invitée: Elisabeth Lusset, chargée de recherche au CNRS F. Murray Abraham, Michael Lonsdale, Sean Connery, Umberto Eco et Jean-Jacques Annaud sur le tournage du Nom de la Rose Le film: Le Nom de la Rose de Jean-Jacques Annaud (1986)La discussion:Présentation générale et résumé du film (1:30)L'origine du projet et le rôle des médiévistes comme conseillers historiques: Jacques Le Goff, Jean-Claude Schmitt, Michel Pastoureau, Françoise Piponnier…(5:45)Le casting et le choix discuté de Sean Connery (10:40)Les décors et les inspirations pour l'abbaye, mélange de différents sites: Eberbach, Rocca di San Leo, Sagra di San Michele, Castel del Monte… (12:20)Pourquoi une statue baroque dans un film médiéval ? (14:15)La réception critique et publique du film (15:40)Un roman d'Umberto Eco presque impossible à mettre à l'écran (17:55)La réaction furieuse de Jacques le Goff à la vision du film, et l'écart ou la tension entre cinéastes et historiens (21:20)Une représentation du Moyen âge en partie juste, mais largement fantasmée (22:50)La mise en scène d'un monastère bénédictin, et de ses rapports avec les paysans montrés comme misérables et exploités (24:25)Le discours idéologique ou politique du film, et l'Église dépeinte comme instance de domination (26:00)L'origine des franciscains, et des accusations d'hérésie portées contre certains ordres ou groupes religieux: Dolciniens, Spirituels… (31:50) et la mise en scène des affrontements religieux dans le film (37:20)La représentation de la vie monastique et la crainte du scandale face aux transgressions (38:20)Enquêtes, autopsies et poisons au Moyen âge (41:00)Peut-on torturer un moine médiéval, comme le suggère Bernardo Gui dans le film ? (43:40)La question de l'abstinence des clercs (45:40)L'anglais comme équivalent du latin dans le film, et le jeu sur les origines géographiques des personnages, avec le monastère comme lieu d'accueil (46:40)Livres, scriptorium, bibliothèques (49:35)Un Moyen âge dépeint sous des couleurs sombres, issu d'un imaginaire gothique / romantique: bossu, procès d'une « sorcière »… (52:33)Guillaume de Baskerville comme incarnation du versant positif, rationnel, du monde médiéval, par opposition au fanatisme de l'inquisiteur (moins sanguinaire dans la réalité) et du bibliothécaire (54:20)Les scènes les plus intéressantes d'un point de vue pédagogique ou pour ce qu'elles révèlent de la vision contemporaine du Moyen âge (55:40)Les références et conseils de lecture :Sur le film :– Jean-Jacques Annaud, Une vie pour le cinéma, entretiens avec M.-F. Leclère, Paris, Grasset, 2018– Priska Morrissey, Historiens et Cinéastes : rencontre de deux écritures, Paris, l'Harmattan, coll. « Champs visuels », 2004.– Jacques Le Goff, Une vie pour l'histoire: entretiens avec Marc Heurgon, Paris, La Découverte, 1996.– Michel Pastoureau, « La collaboration historique au cinéma: entretien avec Michel Pastoureau », Revue de l'Association historique des élèves du lycée Henri-IV : L'émoi de l'histoire, 21, tome 1, printemps 2000, p. 6-23.En histoire médiévale, pour l'éclairer :– “Le cloître et la prison”: webdocumentaire sur l'enfermement à Clairvaux– François Amy de la Bretèque, L'Imaginaire médiéval dans le cinéma occidental, Paris, Champion, 2004.– Franck Collard, Le Crime de poison au Moyen Âge, Paris, PUF (« Le nœud gordien »), 2003.– Faustine Harang, La torture au Moyen âge, Paris, PUF, 2018.– Claude Gauvard, Condamner à mort au Moyen âge, Paris, PUF, 2018.– Elisabeth Lusset, Crime, châtiment et grâce dans les monastères au Moyen Âge (XIIe-XVe siècle), Turnhout, Brepols, 2017.– Sophie Page, Magic in the Cloister. Pious Motives, Illicit Interests and Occult Approaches to the Medieval Universe, University Park (PA), The Pennsylvania State University Press, 2013.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

durée : 00:22:20 - Les Nuits de France Culture, archives d'exception - par : Albane Penaranda - La bonne nouvelle nous vient de Virginia Woolf, elle s'intitule La marque sur le mur. On la trouve dans le recueil La mort de la phalène et le grand comédien qui nous la donne, en un peu plus de vingt minutes, c'est Michael Lonsdale. - réalisation : Virginie Mourthé - invités : Michael Lonsdale

Par Rafael Wolf et Noémie Desarzens Lire Lolita à Téhéran dʹEran Riklis, avec Golshifteh Farahani, Zar Amir. Black Dog de Guan Hu. Good One dʹIndia Donaldson, avec Lily Collias, James LeGros. Les conseils : Folle à tuer (1975) dʹYves Boisset, avec Marlène Jobert, Thomas Milian, Michael Lonsdale, (en DVD, BluRay et sur certaines plateformes.) Dunia (2005) de Jocelyne Saab, (à voir sur la plateforme filmingo.ch.)

Diane and Sean discuss the movie that's all plot and no plot, Ronin. Episode music is, "The Ronin Myth", by Elia Cmiral, from the OST.-  Our theme song is by Brushy One String-  Artwork by Marlaine LePage-  Why Do We Own This DVD?  Merch available at Teepublic-  Follow the show on social media:-  BlueSky: WhyDoWeOwnThisDVD-  IG: @whydoweownthisdvd- Tumblr: WhyDoWeOwnThisDVD-  Follow Sean's Plants on IG: @lookitmahplants- Watch Sean be bad at video games on TwitchSupport the show

James Bond goes up against Hugo Drax, a billionaire with a private space rocket company who's secretly a eugenicist, plotting to kill everyone on earth and replace them with his idea of a master race who lives in space. I don't know why this sounds so familiar. Also, Jaws the Henchman shows up and goes through so many near-deaths, you'd think he was fighting Bugs Bunny. Starring Roger Moore, Michael Lonsdale, Richard Kiel, Lois Chiles, and Corrine Clery. Written by Christopher Wood from Ian Fleming's novel. Directed by Lewish Gilbert.

Amoureux de la France, fille aînée de l'Église, Patrice Martineau chante sa terre de Vendée, la chrétienté, la famille, la vie, Marie... Le fringant septuagénaire, à la blanche crinière et à la voix un brin éraillée, a longtemps chanté avec son frère Roger. Il a aussi participé à de nombreux spectacles avec Jean Piat, Michael Lonsdale et Robert Hossein. Ce soir, sur le plateau de KTO, il rappelle avec vigueur la force de son engagement et témoigne de sa foi.

Extrait : « … En 1975, Marguerite Duras adapte au cinéma sa pièce de théâtre India Song, elle-même inspirée de son roman Le vice-consul, publié en 66. Le film, avec Delphine Seyrig et Michael Lonsdale, est une énorme prise de chou, pardonnez l'expression mais il ne pouvait en être autrement avec la Duras, qui, si elle écrit sublimement, n'a aucune idée des techniques de tournage. Résultat, les acteurs ne parlent pas, leurs lèvres ne bougent pas, les dialogues sont ajoutés en voix off, imagine le truc … » Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

durée : 01:29:59 - Les Nuits de France Culture - par : Albane Penaranda - En 1985, quatre ans après sa disparition, sont évoquées la personnalité et l'œuvre du cinéaste Jean Eustache à travers les témoignages de certains de ses proches dans un "Mardi du cinéma". Avec aussi les mots, la voix de Jean Eustache que l'on a rarement l'occasion de réentendre. - invités : Jean Eustache Cinéaste; Jérôme Prieur Cinéaste et écrivain; Marc'O Auteur, metteur en scène et réalisateur; Michael Lonsdale; Christian Bourgois; Françoise Lebrun

C'était comment ces 8 saisons d'« Et dieu dans tout ça ? ». Immersion dans nos archives le temps d'un dernier numéro. Vous y entendrez, notamment : le frère Bernard-Joseph Samain, le philosophe François Jullien, le poète Christian Bobin, l'écrivaine Belinda Cannone, l'écrivain Jean d'Ormesson, l'acteur Michael Lonsdale, l'écrivain Charles Juliet, la philosophe Vinciane Despret et l'écrivaine Chantal Thomas. Et cet été, pour (re)vivre des entretiens marquants de ces deux dernières saisons, nous vous fixons rendez-vous le samedi après le journal de 18h sur La Première et dès le début du week-end sur Auvio et vos applis de podcast. Bel été ! Merci pour votre écoute Et Dieu dans tout ça ? c'est également en direct tous les dimanches de 13h à 14h sur www.rtbf.be/lapremiere Retrouvez tous les épisodes de Et Dieu dans tout ça ? sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/180 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

durée : 03:00:28 - Les Nuits de France Culture - par : Albane Penaranda - Michael Lonsdale, Catherine Mouchet, Isabelle Huppert, Nathalie Sarraute et Peter Handke, ce ne sont que quelques uns des invités du "Bon plaisir" de l'homme de théâtre et metteur en scène Claude Régy qui, dans cette émission de 1992, explique, avec ses amis, l'alchimie de ses mises en scène. - invités : Claude Régy Metteur en scène (1923-2019); Nathalie Sarraute Écrivaine (1900 - 1999); Goldschmidt Georges-Arthur Ecrivain; Peter Handke Écrivain et dramaturge autrichien, prix Nobel de littérature 2019; Isabelle Huppert Actrice française; Catherine Mouchet; Michael Lonsdale

Anne est mère de famille et professeur des écoles. Elle témoigne ici de la grave et longue dépression, vécue comme une véritable descente en enfer. Elle raconte ce qui, dans sa vie d'avant la dépression, en a été la cause. Elle revient notamment sur son histoire familiale, ses liens avec sa mère et ses soeurs. Elle évoque aussi sa foi chrétienne confiante et pure, reçue dès l'enfance notamment grâce à son père. Anne décrit les circonstances qui ont favorisé le déclenchement de sa maladie, et le déroulement de celle-ci. «Je suis allée au bout de ma vie » dit celle qui a longtemps flirté avec la tentation d'en finir. Enfin, Anne révèle comment elle a pu, peu à peu, sortir des griffes de l'angoisse et du mal qui l'étreignait. Le chemin a été long, il a pris des années. Il a fallu quelques rencontres, quelques paroles qui ont sonné juste, et cette prière de la Petite Thérèse révélée par un témoignage de Michael Lonsdale : « Seigneur, je n'ai rien qu'aujourd'hui pour t'aimer ». Un beau jour, en buvant un verre d'eau, elle s'est rendue compte à quel point il est bon de boire quand on a soif. C'était l'annonce de la guérison. Depuis, Anne est animée par la passion de la vie, des autres et de Dieu. Pour elle, qui se dit « chaque jour de plus en plus amoureuse du Bon Dieu », il n'est pas possible d'aimer Dieu sans aimer les hommes, et réciproquement. Dans un style personnel aussi chaleureux que vivant, Anne nous livre les nombreuses facettes qui illuminent sa vie d'aujourd'hui, et nous offre un témoignage rayonnant de joie. Notre 66ème épisode, que vous pouvez également écouter sur le site de Bethesda en cliquant ici.  ------------DEMANDEZ, ET L'ON VOUS DONNERA « Demandez, et l'on vous donnera. Cherchez, et vous trouverez. Frappez, et l'on vous ouvrira » Le verset 7 de l'évangile de Matthieu, au chapitre 7, exprime l'essentiel de la démarche chrétienne, celle qui fondée sur la confiance et qui trouve son accomplissement dans la relation avec l'autre. C'est ce verset qui illumine toute notre initiative de podcasts qui a commencé par Zeteo, suivi par Bethesda, puis par Telio et Canopée, qui signifie en grec ancien « chercher pour trouver ». Cette démarche, celle des chercheurs de sens que nous sommes, est très étonnante. Parce que lorsque nous avons le sentiment d'avoir trouvé, nous comprenons en fait que c'est nous-mêmes qui avons été trouvés. Nous cherchons, sans savoir si souvent que le Seigneur nous cherche dans toutes nos failles, dans nos ombres et nos souffrances. Il nous attend tout le temps. Et lorsqu'il y a finalement la rencontre, entre lui et nous, nous prenons conscience toujours de la même réalité : c'est lui qui nous a trouvé. Cette révélation, nous la vivons souvent dans l'émotion et le bouleversement, parce que nous éprouvons alors son infini respect pour notre liberté, et son immense tendresse en nous. Le Seigneur sait nous trouver toujours et partout, il emploie pour cela des moyens si souvent inattendus, même parfois inimaginables, que Lui seul sait utiliser. C'est cette révélation que nous vous souhaitons à tous. C'est la mission que nous poursuivons, en diffusant chaque semaine la rencontre avec un témoin de l'amour de Dieu. Pour mener cette mission, pour contribuer à notre humble manière à la révélation du Seigneur en chacun de nous, nous avons besoin de vous. Demandez, et l'on vous donnera, écrit Matthieu, dans le même élan qui nous invite à chercher le sens, pour le trouver. C'est cet élan que nous partageons avec vous, en demandant à tous ceux d'entre vous qui le peuvent, de nous donner l'obole pour nous permettre d'accomplir cette mission et de continuer de diffuser des podcasts à l'accès entièrement gratuits. Vous êtes notre unique source de revenus, c'est vous et vous seuls qui permettez de couvrir les frais et de rémunérer la toute petite équipe qui produit nos podcasts. Nous ne dépendons pas d'un groupe, ou d'une structure sur qui nous adosser. C'est le prix de notre indépendance et de notre liberté. Nous dépendons de vous. Cela pourrait susciter l'inquiétude et générer des messages tout aussi inquiétants. C'est tout le contraire. Nous vivons cette dépendance dans la joie et la confiance, et la gratitude pour tous ceux qui, à ce jour, ont permis cette si belle aventure que nous vivons ensemble, Pour faire un don, il vous suffit de cliquer ici, pour être dirigé sur la plateforme de paiement en ligne sécurisé de HelloAsso. Ceux qui préfèrent payer par chèque le peuvent en l'adressant à l'association Telio, 116 boulevard Suchet – 75016 Paris. Virement : nous contacter. D'avance merci ! --------------Pour en savoir plus au sujet de BETHESDA, cliquer ici. Pour en savoir plus au sujet de TELIO, cliquer ici. Nous contacter : contact@telio-podcast.fr Pour proposer votre témoignage : temoignage@bethesda-podcast.fr    

durée : 01:22:45 - Les Nuits de France Culture - par : Albane Penaranda - En octobre 1977, Hubert Juin consacre son émission "Relecture" au poète Paul Verlaine. Il invite les auditeurs de France Culture à relire ses poèmes en compagnie du professeur Michel Decaudin, de l'écrivain Jacques Borel, du poète Bernard Delvaille et des comédiens Michael Lonsdale et Jean Negroni. - invités : Michel Décaudin; Michael Lonsdale; Bernard Delvaille (1931-2006) poète, prosateur, essayiste, traducteur et anthologiste français.

Hibernatus dʹEdouard Molinaro sorti en 1969 est un classique avec Louis de Funès, un film que vous avez toutes et tous vu et revu et qui vous donne à chaque fois un petit frisson. Adapté dʹune pièce de théâtre à succès de Jean Bernard Luc, le film raconte lʹhistoire dʹun homme retrouvé congelé dans un bloc de glace. La découverte est fabuleuse, car lʹhomme, jeune, est parfaitement conservé et surtout, vivant. On va pouvoir le ranimer. Mais cette réanimation nʹest pas sans conséquences, principalement pour les héritiers et les descendants de ce Paul Fournier. Hibernatus est un film très attendu après Oscar du même Molinaro. Cʹest un des tout grands succès en France de cette année 1969. Il devient très vite un classique. Louis de Funès est de la partie, tout comme son éternelle épouse de cinéma, Claude Gensac. Le casting accueille également Michael Lonsdale, Paul Préboist, Bernard Alane, Olivier de Funès, le propre fils de Louis de Funès, et Claude Piéplu. Bref, du beau monde. Hibernatus, cʹest un voyage dans le temps, imposé, avec des scènes mémorables et quelques longueurs, surtout pour Louis de Funès pour qui le tournage nʹa pas été quʹune partie de plaisir. Notez que pour son réalisateur ça a aussi été une galère polaire que ce film. Mais ça, nous allons vous le raconter à travers des archives et des documents, dont un documentaire sur le film intitulé : Rompre la glace, les Coulisses dʹHibernatus. Voilà, vous savez tout. Il ne nous reste plus quʹà laisser souffler une petite brise glaciale à travers les ondes et à nous occuper de cet ancêtre plus encombrant vivant que mort. REFERENCES Interview de M. Michel Lebon du 15 février 2013 par Franck et Jérôme http://nimotozor99.free.fr/lebon-michel.htm Claude Gensac et ses films avec Louis de Funès dans Aujourd'hui la vie 04/02/1983 https://www.youtube.com/watch?v=QDk3_3NPauM Olivier de Funès raconte son père en janvier 2023 https://www.youtube.com/watch?v=KKeFIjC2E3Q BONNOTTE, Stéphane, Louis de Funès, Jusquʹau bout du rire, Michel Lafon, 2003 Rompre la glace - Les coulisses d'Hibernatus " : documentaire avec les témoignages de Bernard Alane, François de Lamothe et Édouard Molinaro

durée : 00:25:03 - Jean Pierre Drouet, compositeur et percussionniste (1/5) - par : Anne Montaron - Jean-Pierre Drouet a vécu milles vies : percussionniste, improvisateur, compositeur, expérimentateur, pianiste. Cet artiste inclassable à la curiosité insatiable a croisé les chemins de personnalités aussi variées que Lester Young, Luciano Berio, Bartabas, Michael Lonsdale ou Ravi Shankar. - réalisé par : Arnaud Chappatte

durée : 00:25:05 - Jean Pierre Drouet, compositeur et percussionniste (2/5) - par : Anne Montaron - Jean-Pierre Drouet a vécu milles vies : percussionniste, improvisateur, compositeur, expérimentateur, pianiste. Cet artiste inclassable à la curiosité insatiable a croisé les chemins de personnalités aussi variées que Lester Young, Luciano Berio, Bartabas, Michael Lonsdale ou Ravi Shankar. - réalisé par : Arnaud Chappatte

durée : 00:25:14 - Jean Pierre Drouet, compositeur et percussionniste (3/5) - par : Anne Montaron - Jean-Pierre Drouet a vécu milles vies : percussionniste, improvisateur, compositeur, expérimentateur, pianiste. Cet artiste inclassable à la curiosité insatiable a croisé les chemins de personnalités aussi variées que Lester Young, Luciano Berio, Bartabas, Michael Lonsdale ou Ravi Shankar. - réalisé par : Arnaud Chappatte

durée : 00:25:18 - Jean Pierre Drouet, compositeur et percussionniste (4/5) - par : Anne Montaron - Jean-Pierre Drouet a vécu milles vies : percussionniste, improvisateur, compositeur, expérimentateur, pianiste. Cet artiste inclassable à la curiosité insatiable a croisé les chemins de personnalités aussi variées que Lester Young, Luciano Berio, Bartabas, Michael Lonsdale ou Ravi Shankar. - réalisé par : Arnaud Chappatte

durée : 00:25:18 - Jean Pierre Drouet, compositeur et percussionniste (5/5) - par : Anne Montaron - Jean-Pierre Drouet a vécu milles vies : percussionniste, improvisateur, compositeur, expérimentateur, pianiste. Cet artiste inclassable à la curiosité insatiable a croisé les chemins de personnalités aussi variées que Lester Young, Luciano Berio, Bartabas, Michael Lonsdale ou Ravi Shankar. - réalisé par : Arnaud Chappatte

C'était une dame, une actrice à la voix si particulière (Michael Lonsdale disait d'elle qu'elle avait une « voix de violoncelle »). Inoubliable fée des Lilas dans « Peau d'Âne » de Jacques Demy, Jeanne Dielman pour Chantal Akerman, elle avait tourné sous la direction de Marguerite Duras, Alain Resnais ou François Truffaut. Rediffusion du 1er avril 2023Mais c'était aussi une militante féministe et une cinéaste visionnaire. Son documentaire, Sois belle et tais-toi, ressort en salles et conquiert une nouvelle génération de cinéphiles.Tandis que le chef-d'œuvre de Chantal Akerman, Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles, élu meilleur film du monde l'an dernier (2022) (par la revue Sight and sound et le British institute), sera lui aussi de nouveau à l'affiche dans quinze jours.Delphine Seyrig est à l'honneur de Tous les cinémas du monde ce samedi. Nous recevons Nicole Fernandez Ferrer, la co-présidente du centre audiovisuel Simone de Beauvoir, un centre co-fondé par Delphine Seyrig en 1982 pour réunir, produire et diffuser des documents audiovisuels sur les droits, luttes et création de l'art des femmes.Et Alexandre Moussa, universitaire qui a consacré sa thèse à Delphine Seyrig, « Je ne suis pas une apparition, je suis une femme » : Delphine Seyrig, icône du cinéma moderne, actrice insoumise, star féministe. Pauses musicales : Delphine Seyrig chante dans Peau d'Âne de Jacques Demy, et Feist Hiden out in the open. Références :- Delphine Seyrig,En constructions, par Jean-Marc Lalanne (éditions Capricci).- Delphine et Carole Insoumuses, par Callisto Mc Nulty, disponible sur la plateforme Madelen, la machine à remonter le temps de l'Ina.

RMR 0226: Special Guest, Bears Rebecca Fonte from the Austin All Genders Lifestyles and Identities Film Festival, joins your hosts Bryan Frye and Russell Guest for the Retro Movie Roundtable as they revisit Blue is the Warmest Colour (2013) [NC-17] Genre: Drama, Romance, LGBTQ, Foreign Starring: Roger Moore, Lois Chiles, Michael Lonsdale, Richard Kiel, Corinne Clery, Bernard Lee, Geoffrey Keen, Desmond Llewelyn, Lois Maxwell, Toshirô Suga, Emily Bolton, Blanche Ravalec, Irka Bochenko, Mike Marshall, Walter Gotell, Caroline Monroe   Director: Abdellatif Kechiche Recorded on 2023-07-27

Murder by Decree is a 1979 mystery thriller directed by Bob Clark (Director of ‘Children Shouldn't Play with Dead Things' and 'Dead of Night' (not the brilliant black and white British film from 1945 - featured in episode 13, but the 1974 American film ), he also directed ‘Black Christmas', ‘Porkys' and ‘Porkys 2' Murder by Decree was written by playwright John Hopkins, who scripted the Bond film Thunderball, and the Alec Guinness TV version of Smileys People. Hopkins referenced Conan Doyle's work, particularly Holmes' deduction and science skills but downplayed other aspects of the characters, such as Holmes' drug use, in favour of making them more likeable and human.Peter O'Toole was originally cast as Sherlock Holmes, and Sir Laurence Olivier was cast as Dr. Watson. But the two actors had not worked well together in the past, and were unable to overcome their differences for this movie. Rather, Holmes is played by Christopher (Captain Georg von Trapp) Plummer and Dr. Watson is played by James Mason.Plummer, described by IMDB as“ perhaps Canada's greatest thespian”, turned down the role of Gandalf in Sir Peter Jackson's "Lord of the Rings" trilogy, and admits to regretting that decision. Question for James and Jon? Christopher Plummer had two roles in common with Peter Cushing, can you name them?James Mason reportedly, he once saved the life of Max Bygraves' son at a party at Judy Garland's house. The boy fell into the pool and Max did not notice. James Mason did and, fully clothed, he jumped into the water and pulled him out. He was scheduled to play James Bond in a 1958 television adaptation of "From Russia with Love", which was ultimately never produced. Later, despite being in his 50s, Mason was a contender to play Bond in Dr. No before Sean Connery was cast. He later turned down the role of Hugo Drax in the James Bond film Moonraker, which went to Michael Lonsdale.In his autobiography, "In Spite of Myself", Plummer noted that Mason was the best Watson he had seen, and that his death halted a proposed furthering of their on-screen partnership.The film also features:David Hemmings (Blow Up, Deep Red, Brabarella, Gladiator, Magnum Pi and Airwolf) as Inspector Foxborough, Anthony Quayle (Lawrence of Arbia, The Guns of Navarone) as Sir Charles Warren, Frank Finlay (Lifeforce, The Three Musketeers) as Inspector Lestrade, Geneviève Bujold as Annie Crook, Susan Clark as Mary Kelly, John Gielgud as Prime Minister Lord Salisbury, Donald Sutherland as Robert Lees and the Mighty June Brown as Anne ChapmanThe film's premise of the plot behind the murders is influenced by the book Jack the Ripper: The Final Solution, by Stephen Knight, who presumed that the killings were part of a Masonic plot. The original script contained the names of the historical suspects, Sir William Gull and John Netley. In the actual film, they are represented by fictional analogues: Thomas Spivy (Gull) and William Slade (Netley). This theory on the perpetrators of the killings is featured in a number of other Jack the Ripper-themed fictions, including the graphic novel ‘From Hell'.The replica nineteenth century dockland set took two months and fifty men to construct at Shepperton Studio's largest soundstage. The set also included a replica muddy Thames River, Alien was shooting concurrently in the same studios.Support the show by buying from our affiliate links…https://tinyurl.com/Murder-Decree-Blu-rayhttps://tinyurl.com/Murder-Decree-DVDhttps://tinyurl.com/From-Hell-Bookhttps://tinyurl.com/From-Hell-Companion-bookhttps://tinyurl.com/The-Five-Book Get bonus content on PatreonSupport this show http://supporter.acast.com/general-witchfinders. Hosted on Acast. See acast.com/privacy for more information.

On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s, specifically looking at the films they released between 1984 and 1986. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s.   And, in case you did not listen to Part 1 yet, let me reiterate that the focus here will be on the films and the creatives, not the Weinsteins. The Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and that Miramax logo and the names associated with it should not stop anyone from enjoying some very well made movies because they now have an unfortunate association with two spineless chucklenuts who proclivities would not be known by the outside world for decades to come.   Well, there is one movie this episode where we must talk about the Weinsteins as the creatives, but when talking about that film, “creatives” is a derisive pejorative.    We ended our previous episode at the end of 1983. Miramax had one minor hit film in The Secret Policeman's Other Ball, thanks in large part to the film's association with members of the still beloved Monty Python comedy troupe, who hadn't released any material since The Life of Brian in 1979.   1984 would be the start of year five of the company, and they were still in need of something to make their name. Being a truly independent film company in 1984 was not easy. There were fewer than 20,000 movie screens in the entire country back then, compared to nearly 40,000 today. National video store chains like Blockbuster did not exist, and the few cable channels that did exist played mostly Hollywood films. There was no social media for images and clips to go viral.   For comparison's sake, in A24's first five years, from its founding in August 2012 to July 2017, the company would have a number of hit films, including The Bling Ring, The Lobster, Spring Breakers, and The Witch, release movies from some of indie cinema's most respected names, including Andrea Arnold, Robert Eggers, Atom Egoyan, Daniel Kwan and Daniel Scheinert, Lynn Shelton, Trey Edward Shults, Gus Van Sant, and Denis Villeneuve, and released several Academy Award winning movies, including the Amy Winehouse documentary Amy, Alex Garland's Ex Machina, Lenny Abrahamson's Room and Barry Jenkins' Moonlight, which would upset front runner La La Land for the Best Picture of 2016.   But instead of leaning into the American independent cinema world the way Cinecom and Island were doing with the likes of Jonathan Demme and John Sayles, Miramax would dip their toes further into the world of international cinema.   Their first release for 1984 would be Ruy Guerra's Eréndira. The screenplay by Nobel Prize winner Gabriel García Márquez was based on his 1972 novella The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother, which itself was based off a screenplay Márquez had written in the early 1960s, which, when he couldn't get it made at the time, he reduced down to a page and a half for a sequence in his 1967 magnum opus One Hundred Years of Solitude. Between the early 1960s and the early 1980s, Márquez would lose the original draft of Eréndira, and would write a new script based off what he remembered writing twenty years earlier.    In the story, a young woman named Eréndira lives in a near mansion situation in an otherwise empty desert with her grandmother, who had collected a number of paper flowers and assorted tchotchkes over the years. One night, Eréndira forgets to put out some candles used to illuminate the house, and the house and all of its contents burn to the ground. With everything lost, Eréndira's grandmother forces her into a life of prostitution. The young woman quickly becomes the courtesan of choice in the region. With every new journey, an ever growing caravan starts to follow them, until it becomes for all intents and purposes a carnival, with food vendors, snake charmers, musicians and games of chance.   Márquez's writing style, known as “magic realism,” was very cinematic on the page, and it's little wonder that many of his stories have been made into movies and television miniseries around the globe for more than a half century. Yet no movie came as close to capturing that Marquezian prose quite the way Guerra did with Eréndira. Featuring Greek goddess Irene Papas as the Grandmother, Brazilian actress Cláudia Ohana, who happened to be married to Guerra at the time, as the titular character, and former Bond villain Michael Lonsdale in a small but important role as a Senator who tries to help Eréndira get out of her life as a slave, the movie would be Mexico's entry into the 1983 Academy Award race for Best Foreign Language Film.   After acquiring the film for American distribution, Miramax would score a coup by getting the film accepted to that year's New York Film Festival, alongside such films as Robert Altman's Streamers, Jean Lucy Godard's Passion, Lawrence Kasdan's The Big Chill, Francis Ford Coppola's Rumble Fish, and Andrzej Wajda's Danton.   But despite some stellar reviews from many of the New York City film critics, Eréndira would not get nominated for Best Foreign Language Film, and Miramax would wait until April 27th, 1984, to open the film at the Lincoln Plaza Cinemas, one of the most important theatres in New York City at the time to launch a foreign film. A quarter page ad in the New York Times included quotes from the Village Voice, New York Magazine, Vincent Canby of the Times and Roger Ebert, the movie would gross an impressive $25,500 in its first three days. Word of mouth in the city would be strong, with its second weekend gross actually increasing nearly 20% to $30,500. Its third weekend would fall slightly, but with $27k in the till would still be better than its first weekend.   It wouldn't be until Week 5 that Eréndira would expand into Los Angeles and Chicago, where it would continue to gross nearly $20k per screen for several more weeks. The film would continue to play across the nation for more than half a year, and despite never making more than four prints of the film, Eréndira would gross more than $600k in America, one of the best non-English language releases for all of 1984.   In their quickest turnaround from one film to another to date, Miramax would release Claude Lelouch's Edith and Marcel not five weeks after Eréndira.   If you're not familiar with the name Claude Chabrol, I would highly suggest becoming so. Chabrol was a part of the French New Wave filmmakers alongside Jean-Luc Godard, Jacques Rivette, Éric Rohmer, and François Truffaut who came up as film critics for the influential French magazine Cahiers [ka-yay] du Cinéma in the 1950s, who would go on to change the direction of French Cinema and how film fans appreciated films and filmmakers through the concept of The Auteur Theory, although the theory itself would be given a name by American film critic Andrew Sarris in 1962.   Of these five critics turned filmmakers, Chabrol would be considered the most prolific and commercial. Chabrol would be the first of them to make a film, Le Beau Serge, and between 1957 and his death in 2010, he would make 58 movies. That's more than one new movie every year on average, not counting shorts and television projects he also made on the side.   American audiences knew him best for his 1966 global hit A Man and a Woman, which would sell more than $14m in tickets in the US and would be one of the few foreign language films to earn Academy Award nominations outside of the Best Foreign Language Film race. Lead actress Anouk Aimee would get a nod, and Chabrol would earn two on the film, for Best Director, which he would lose to Fred Zimmerman and A Man for All Seasons, and Best Original Screenplay, which he would win alongside his co-writer Pierre Uytterhoeven.   Edith and Marcel would tell the story of the love affair between the iconic French singer Edith Piaf and Marcel Cerdan, the French boxer who was the Middleweight Champion of the World during their affair in 1948 and 1949. Both were famous in their own right, but together, they were the Brangelina of post-World War II France. Despite the fact that Cerdan was married with three kids, their affair helped lift the spirits of the French people, until his death in October 1949, while he was flying from Paris to New York to see Piaf.   Fans of Raging Bull are somewhat familiar with Marcel Cerdan already, as Cerdan's last fight before his death would find Cerdan losing his middleweight title to Jake LaMotta.   In a weird twist of fate, Patrick Dewaere, the actor Chabrol cast as Cerdan, committed suicide just after the start of production, and while Chabrol considered shutting down the film in respect, it would be none other than Marcel Cerdan, Jr. who would step in to the role of his own father, despite never having acted before, and being six years older than his father was when he died.   When it was released in France in April 1983, it was an immediate hit, become the second highest French film of the year, and the sixth highest grosser of all films released in the country that year. However, it would not be the film France submitted to that year's Academy Award race. That would be Diane Kurys' Entre Nous, which wasn't as big a hit in France but was considered a stronger contender for the nomination, in part because of Isabelle Hupert's amazing performance but also because Entre Nous, as 110 minutes, was 50 minutes shorter than Edith and Marcel.   Harvey Weinstein would cut twenty minutes out of the film without Chabrol's consent or assistance, and when the film was released at the 57th Street Playhouse in New York City on Sunday, June 3rd, the gushing reviews in the New York Times ad would actually be for Chabrol's original cut, and they would help the film gross $15,300 in its first five days. But once the other New York critics who didn't get to see the original cut of the film saw this new cut, the critical consensus started to fall. Things felt off to them, and they would be, as a number of short trims made by Weinstein would remove important context for the film for the sake of streamlining the film. Audiences would pick up on the changes, and in its first full weekend of release, the film would only gross $12k. After two more weeks of grosses of under $4k each week, the film would close in New York City. Edith and Marcel would never play in another theatre in the United States.   And then there would be another year plus long gap before their next release, but we'll get into the reason why in a few moments.   Many people today know Rubén Blades as Daniel Salazar in Fear the Walking Dead, or from his appearances in The Milagro Beanfield War, Once Upon a Time in Mexico, or Predator 2, amongst his 40 plus acting appearances over the years, but in the early 1980s, he was a salsa and Latin Jazz musician and singer who had yet to break out of the New Yorican market. With an idea for a movie about a singer and musician not unlike himself trying to attempt a crossover success into mainstream music, he would approach his friend, director Leon Icasho, about teaming up to get the idea fleshed out into a real movie. Although Blades was at best a cult music star, and Icasho had only made one movie before, they were able to raise $6m from a series of local investors including Jack Rollins, who produced every Woody Allen movie from 1969's Take the Money and Run to 2015's Irrational Man, to make their movie, which they would start shooting in the Spanish Harlem section of New York City in December 1982.   Despite the luxury of a large budget for an independent Latino production, the shooting schedule was very tight, less than five weeks. There would be a number of large musical segments to show Blades' character Rudy's talents as a musician and singer, with hundreds of extras on hand in each scene. Icasho would stick to his 28 day schedule, and the film would wrap up shortly after the New Year.   Even though the director would have his final cut of the movie ready by the start of summer 1983, it would take nearly a year and a half for any distributor to nibble. It wasn't that the film was tedious. Quite the opposite. Many distributors enjoyed the film, but worried about, ironically, the ability of the film to crossover out of the Latino market into the mainstream. So when Miramax came along with a lower than hoped for offer to release the film, the filmmakers took the deal, because they just wanted the film out there.   Things would start to pick up for the film when Miramax submitted the film to be entered into the 1985 Cannes Film Festival, and it would be submitted to run in the prestigious Directors Fortnight program, alongside Mike Newell's breakthrough film, Dance with a Stranger, Victor Nunez's breakthrough film, A Flash of Green, and Wayne Wang's breakthrough film Dim Sum: A Little Bit of Heart. While they were waiting for Cannes to get back to them, they would also learn the film had been selected to be a part of The Lincoln Center's New Directors/New Films program, where the film would earn raves from local critics and audiences, especially for Blades, who many felt was a screen natural. After more praise from critics and audiences on the French Riviera, Miramax would open Crossover Dreams at the Cinema Studio theatre in midtown Manhattan on August 23rd, 1985. Originally booked into the smaller 180 seat auditorium, since John Huston's Prizzi's Honor was still doing good business in the 300 seat house in its fourth week, the theatre would swap houses for the films when it became clear early on Crossover Dreams' first day that it would be the more popular title that weekend. And it would. While Prizzi would gross a still solid $10k that weekend, Crossover Dreams would gross $35k. In its second weekend, the film would again gross $35k. And in its third weekend, another $35k. They were basically selling out every seat at every show those first three weeks. Clearly, the film was indeed doing some crossover business.   But, strangely, Miramax would wait seven weeks after opening the film in New York to open it in Los Angeles. With a new ad campaign that de-emphasized Blades and played up the dreamer dreaming big aspect of the film, Miramax would open the movie at two of the more upscale theatres in the area, the Cineplex Beverly Center on the outskirts of Beverly Hills, and the Cineplex Brentwood Twin, on the west side where many of Hollywood's tastemakers called home. Even with a plethora of good reviews from the local press, and playing at two theatres with a capacity of more than double the one theatre playing the film in New York, Crossover Dreams could only manage a neat $13k opening weekend.   Slowly but surely, Miramax would add a few more prints in additional major markets, but never really gave the film the chance to score with Latino audiences who may have been craving a salsa-infused musical/drama, even if it was entirely in English. Looking back, thirty-eight years later, that seems to have been a mistake, but it seems that the film's final gross of just $250k after just ten weeks of release was leaving a lot of money on the table. At awards time, Blades would be nominated for an Independent Spirit Award for Best Actor, but otherwise, the film would be shut out of any further consideration.   But for all intents and purposes, the film did kinda complete its mission of turning Blades into a star. He continues to be one of the busiest Latino actors in Hollywood over the last forty years, and it would help get one of his co-stars, Elizabeth Peña, a major job in a major Hollywood film the following year, as the live-in maid at Richard Dreyfuss and Bette Midler's house in Paul Mazursky's Down and Out in Beverly Hills, which would give her a steady career until her passing in 2014. And Icasho himself would have a successful directing career both on movie screens and on television, working on such projects as Miami Vice, Crime Story, The Equalizer, Criminal Minds, and Queen of the South, until his passing this past May.   I'm going to briefly mention a Canadian drama called The Dog Who Stopped the War that Miramax released on three screens in their home town of Buffalo on October 25th, 1985. A children's film about two groups of children in a small town in Quebec during their winter break who get involved in an ever-escalating snowball fight. It would be the highest grossing local film in Canada in 1984, and would become the first in a series of 25 family films under a Tales For All banner made by a company called Party Productions, which will be releasing their newest film in the series later this year. The film may have huge in Canada, but in Buffalo in the late fall, the film would only gross $15k in its first, and only, week in theatres. The film would eventually develop a cult following thanks to repeated cable screenings during the holidays every year.   We'll also give a brief mention to an Australian action movie called Cool Change, directed by George Miller. No, not the George Miller who created the Mad Max series, but the other Australian director named George Miller, who had to start going by George T. Miller to differentiate himself from the other George Miller, even though this George Miller was directing before the other George Miller, and even had a bigger local and global hit in 1982 with The Man From Snowy River than the other George Miller had with Mad Max II, aka The Road Warrior. It would also be the second movie released by Miramax in a year starring a young Australian ingenue named Deborra-Lee Furness, who was also featured in Crossover Dreams. Today, most people know her as Mrs. Hugh Jackman.   The internet and several book sources say the movie opened in America on March 14th, 1986, but damn if I can find any playdate anywhere in the country, period. Not even in the Weinsteins' home territory of Buffalo. A critic from the Sydney Morning Herald would call the film, which opened in Australia four weeks after it allegedly opened in America, a spectacularly simplistic propaganda piece for the cattle farmers of the Victorian high plains,” and in its home country, it would barely gross 2% of its $3.5m budget.   And sticking with brief mentions of Australian movies Miramax allegedly released in American in the spring of 1986, we move over to one of three movies directed by Brian Trenchard-Smith that would be released during that year. In Australia, it was titled Frog Dreaming, but for America, the title was changed to The Quest. The film stars Henry Thomas from E.T. as an American boy who has moved to Australia to be with his guardian after his parents die, who finds himself caught up in the magic of a local Aboriginal myth that might be more real than anyone realizes.   And like Cool Change, I cannot find any American playdates for the film anywhere near its alleged May 1st, 1986 release date. I even contacted Mr. Trenchard-Smith asking him if he remembers anything about the American release of his film, knowing full well it's 37 years later, but while being very polite in his response, he was unable to help.       Finally, we get back to the movies we actually can talk about with some certainty. I know our next movie was actually released in American theatres, because I saw it in America at a cinema.   Twist and Shout tells the story of two best friends, Bjørn and Erik, growing up in suburbs of Copenhagen, Denmark in 1963. The music of The Beatles, who are just exploding in Europe, help provide a welcome respite from the harsh realities of their lives.   Directed by Billie August, Twist and Shout would become the first of several August films to be released by Miramax over the next decade, including his follow-up, which would end up become Miramax's first Oscar-winning release, but we'll be talking about that movie on our next episode.   August was often seen as a spiritual successor to Ingmar Bergman within Scandinavian cinema, so much so that Bergman would handpick August to direct a semi-autobiographical screenplay of his, The Best Intentions, in the early 1990s, when it became clear to Bergman that he would not be able to make it himself. Bergman's only stipulation was that August would need to cast one of his actresses from Fanny and Alexander, Pernilla Wallgren, as his stand-in character's mother. August and Wallgren had never met until they started filming. By the end of shooting, Pernilla Wallgren would be Pernilla August, but that's another story for another time.   In a rare twist, Twist and Shout would open in Los Angeles before New York City, at the Cineplex Beverly Center August 22nd, 1986, more than two years after it opened across Denmark. Loaded with accolades including a Best Picture Award from the European Film Festival and positive reviews from the likes of Gene Siskel and Michael Wilmington, the movie would gross, according to Variety, a “crisp” $14k in its first three days. In its second weekend, the Beverly Center would add a second screen for the film, and the gross would increase to $17k. And by week four, one of those prints at the Beverly Center would move to the Laemmle Monica 4, so those on the West Side who didn't want to go east of the 405 could watch it. But the combined $13k gross would not be as good as the previous week's $14k from the two screens at the Beverly Center.   It wouldn't be until Twist and Shout's sixth week of release they would finally add a screen in New York City, the 68th Street Playhouse, where it would gross $25k in its first weekend there. But after nine weeks, never playing in more than five theatres in any given weekend, Twist and Shout was down and out, with only $204k in ticket sales. But it was good enough for Miramax to acquire August's next movie, and actually get it into American theatres within a year of its release in Denmark and Sweden. Join us next episode for that story.   Earlier, I teased about why Miramax took more than a year off from releasing movies in 1984 and 1985. And we've reached that point in the timeline to tell that story.   After writing and producing The Burning in 1981, Bob and Harvey had decided what they really wanted to do was direct. But it would take years for them to come up with an idea and flesh that story out to a full length screenplay. They'd return to their roots as rock show promoters, borrowing heavily from one of Harvey's first forays into that field, when he and a partner, Corky Burger, purchased an aging movie theatre in Buffalo in 1974 and turned it into a rock and roll hall for a few years, until they gutted and demolished the theatre, so they could sell the land, with Harvey's half of the proceeds becoming much of the seed money to start Miramax up.   After graduating high school, three best friends from New York get the opportunity of a lifetime when they inherit an old run down hotel upstate, with dreams of turning it into a rock and roll hotel. But when they get to the hotel, they realize the place is going to need a lot more work than they initially realized, and they realize they are not going to get any help from any of the locals, who don't want them or their silly rock and roll hotel in their quaint and quiet town.   With a budget of only $5m, and a story that would need to be filmed entirely on location, the cast would not include very many well known actors.   For the lead role of Danny, the young man who inherits the hotel, they would cast Daniel Jordano, whose previous acting work had been nameless characters in movies like Death Wish 3 and Streetwalkin'. This would be his first leading role.   Danny's two best friends, Silk and Spikes, would be played by Leon W. Grant and Matthew Penn, respectively. Like Jordano, both Grant and Penn had also worked in small supporting roles, although Grant would actually play characters with actual names like Boo Boo and Chollie. Penn, the son of Bonnie and Clyde director Arthur Penn, would ironically have his first acting role in a 1983 musical called Rock and Roll Hotel, about a young trio of musicians who enter a Battle of the Bands at an old hotel called The Rock and Roll Hotel. This would also be their first leading roles.   Today, there are two reasons to watch Playing For Keeps.   One of them is to see just how truly awful Bob and Harvey Weinstein were as directors. 80% of the movie is master shots without any kind of coverage, 15% is wannabe MTV music video if those videos were directed by space aliens handed video cameras and not told what to do with them, and 5% Jordano mimicking Kevin Bacon in Footloose but with the heaviest New Yawk accent this side of Bensonhurst.   The other reason is to watch a young actress in her first major screen role, who is still mesmerizing and hypnotic despite the crapfest she is surrounded by. Nineteen year old Marisa Tomei wouldn't become a star because of this movie, but it was clear very early on she was going to become one, someday.   Mostly shot in and around the grounds of the Bethany Colony Resort in Bethany PA, the film would spend six weeks in production during June and July of 1984, and they would spend more than a year and a half putting the film together. As music men, they knew a movie about a rock and roll hotel for younger people who need to have a lot of hip, cool, teen-friendly music on the soundtrack. So, naturally, the Weinsteins would recruit such hip, cool, teen-friendly musicians like Pete Townshend of The Who, Phil Collins, Peter Frampton, Sister Sledge, already defunct Duran Duran side project Arcadia, and Hinton Battle, who had originated the role of The Scarecrow in the Broadway production of The Wiz. They would spend nearly $500k to acquire B-sides and tossed away songs that weren't good enough to appear on the artists' regular albums.   Once again light on money, Miramax would sent the completed film out to the major studios to see if they'd be willing to release the movie. A sale would bring some much needed capital back into the company immediately, and creating a working relationship with a major studio could be advantageous in the long run. Universal Pictures would buy the movie from Miramax for an undisclosed sum, and set an October 3rd release.   Playing For Keeps would open on 1148 screens that day, including 56 screens in the greater Los Angeles region and 80 in the New York City metropolitan area. But it wasn't the best week to open this film. Crocodile Dundee had opened the week before and was a surprise hit, spending a second week firmly atop the box office charts with $8.2m in ticket sales. Its nearest competitor, the Burt Lancaster/Kirk Douglas comedy Tough Guys, would be the week's highest grossing new film, with $4.6m. Number three was Top Gun, earning $2.405m in its 21st week in theatres, and Stand By Me was in fourth in its ninth week with $2.396m. In fifth place, playing in only 215 theatres, would be another new opener, Children of a Lesser God, with $1.9m. And all the way down in sixth place, with only $1.4m in ticket sales, was Playing for Keeps.   The reviews were fairly brutal, and by that, I mean they were fair in their brutality, although you'll have to do some work to find those reviews. No one has ever bothered to link their reviews for Playing For Keeps at Rotten Tomatoes or Metacritic. After a second weekend, where the film would lose a quarter of its screens and 61% of its opening weekend business, Universal would cut its losses and dump the film into dollar houses. The final reported box office gross on the film would be $2.67m.   Bob Weinstein would never write or direct another film, and Harvey Weinstein would only have one other directing credit to his name, an animated movie called The Gnomes' Great Adventure, which wasn't really a directing effort so much as buying the American rights to a 1985 Spanish animated series called The World of David the Gnome, creating new English language dubs with actors like Tom Bosley, Frank Gorshin, Christopher Plummer, and Tony Randall, and selling the new versions to Nickelodeon.   Sadly, we would learn in October 2017 that one of the earliest known episodes of sexual harassment by Harvey Weinstein happened during the pre-production of Playing for Keeps.   In 1984, a twenty year old college junior Tomi-Ann Roberts was waiting tables in New York City, hoping to start an acting career. Weinstein, who one of her customers at this restaurant, urged Ms. Roberts to audition for a movie that he and his brother were planning to direct. He sent her the script and asked her to meet him where he was staying so they could discuss the film. When she arrived at his hotel room, the door was left slightly ajar, and he called on her to come in and close the door behind her.  She would find Weinstein nude in the bathtub,  where he told her she would give a much better audition if she were comfortable getting naked in front of him too, because the character she might play would have a topless scene. If she could not bare her breasts in private, she would not be able to do it on film. She was horrified and rushed out of the room, after telling Weinstein that she was too prudish to go along. She felt he had manipulated her by feigning professional interest in her, and doubted she had ever been under serious consideration. That incident would send her life in a different direction. In 2017, Roberts was a psychology professor at Colorado College, researching sexual objectification, an interest she traces back in part to that long-ago encounter.   And on that sad note, we're going to take our leave.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1987.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s, specifically looking at the films they released between 1984 and 1986. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s.   And, in case you did not listen to Part 1 yet, let me reiterate that the focus here will be on the films and the creatives, not the Weinsteins. The Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and that Miramax logo and the names associated with it should not stop anyone from enjoying some very well made movies because they now have an unfortunate association with two spineless chucklenuts who proclivities would not be known by the outside world for decades to come.   Well, there is one movie this episode where we must talk about the Weinsteins as the creatives, but when talking about that film, “creatives” is a derisive pejorative.    We ended our previous episode at the end of 1983. Miramax had one minor hit film in The Secret Policeman's Other Ball, thanks in large part to the film's association with members of the still beloved Monty Python comedy troupe, who hadn't released any material since The Life of Brian in 1979.   1984 would be the start of year five of the company, and they were still in need of something to make their name. Being a truly independent film company in 1984 was not easy. There were fewer than 20,000 movie screens in the entire country back then, compared to nearly 40,000 today. National video store chains like Blockbuster did not exist, and the few cable channels that did exist played mostly Hollywood films. There was no social media for images and clips to go viral.   For comparison's sake, in A24's first five years, from its founding in August 2012 to July 2017, the company would have a number of hit films, including The Bling Ring, The Lobster, Spring Breakers, and The Witch, release movies from some of indie cinema's most respected names, including Andrea Arnold, Robert Eggers, Atom Egoyan, Daniel Kwan and Daniel Scheinert, Lynn Shelton, Trey Edward Shults, Gus Van Sant, and Denis Villeneuve, and released several Academy Award winning movies, including the Amy Winehouse documentary Amy, Alex Garland's Ex Machina, Lenny Abrahamson's Room and Barry Jenkins' Moonlight, which would upset front runner La La Land for the Best Picture of 2016.   But instead of leaning into the American independent cinema world the way Cinecom and Island were doing with the likes of Jonathan Demme and John Sayles, Miramax would dip their toes further into the world of international cinema.   Their first release for 1984 would be Ruy Guerra's Eréndira. The screenplay by Nobel Prize winner Gabriel García Márquez was based on his 1972 novella The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother, which itself was based off a screenplay Márquez had written in the early 1960s, which, when he couldn't get it made at the time, he reduced down to a page and a half for a sequence in his 1967 magnum opus One Hundred Years of Solitude. Between the early 1960s and the early 1980s, Márquez would lose the original draft of Eréndira, and would write a new script based off what he remembered writing twenty years earlier.    In the story, a young woman named Eréndira lives in a near mansion situation in an otherwise empty desert with her grandmother, who had collected a number of paper flowers and assorted tchotchkes over the years. One night, Eréndira forgets to put out some candles used to illuminate the house, and the house and all of its contents burn to the ground. With everything lost, Eréndira's grandmother forces her into a life of prostitution. The young woman quickly becomes the courtesan of choice in the region. With every new journey, an ever growing caravan starts to follow them, until it becomes for all intents and purposes a carnival, with food vendors, snake charmers, musicians and games of chance.   Márquez's writing style, known as “magic realism,” was very cinematic on the page, and it's little wonder that many of his stories have been made into movies and television miniseries around the globe for more than a half century. Yet no movie came as close to capturing that Marquezian prose quite the way Guerra did with Eréndira. Featuring Greek goddess Irene Papas as the Grandmother, Brazilian actress Cláudia Ohana, who happened to be married to Guerra at the time, as the titular character, and former Bond villain Michael Lonsdale in a small but important role as a Senator who tries to help Eréndira get out of her life as a slave, the movie would be Mexico's entry into the 1983 Academy Award race for Best Foreign Language Film.   After acquiring the film for American distribution, Miramax would score a coup by getting the film accepted to that year's New York Film Festival, alongside such films as Robert Altman's Streamers, Jean Lucy Godard's Passion, Lawrence Kasdan's The Big Chill, Francis Ford Coppola's Rumble Fish, and Andrzej Wajda's Danton.   But despite some stellar reviews from many of the New York City film critics, Eréndira would not get nominated for Best Foreign Language Film, and Miramax would wait until April 27th, 1984, to open the film at the Lincoln Plaza Cinemas, one of the most important theatres in New York City at the time to launch a foreign film. A quarter page ad in the New York Times included quotes from the Village Voice, New York Magazine, Vincent Canby of the Times and Roger Ebert, the movie would gross an impressive $25,500 in its first three days. Word of mouth in the city would be strong, with its second weekend gross actually increasing nearly 20% to $30,500. Its third weekend would fall slightly, but with $27k in the till would still be better than its first weekend.   It wouldn't be until Week 5 that Eréndira would expand into Los Angeles and Chicago, where it would continue to gross nearly $20k per screen for several more weeks. The film would continue to play across the nation for more than half a year, and despite never making more than four prints of the film, Eréndira would gross more than $600k in America, one of the best non-English language releases for all of 1984.   In their quickest turnaround from one film to another to date, Miramax would release Claude Lelouch's Edith and Marcel not five weeks after Eréndira.   If you're not familiar with the name Claude Chabrol, I would highly suggest becoming so. Chabrol was a part of the French New Wave filmmakers alongside Jean-Luc Godard, Jacques Rivette, Éric Rohmer, and François Truffaut who came up as film critics for the influential French magazine Cahiers [ka-yay] du Cinéma in the 1950s, who would go on to change the direction of French Cinema and how film fans appreciated films and filmmakers through the concept of The Auteur Theory, although the theory itself would be given a name by American film critic Andrew Sarris in 1962.   Of these five critics turned filmmakers, Chabrol would be considered the most prolific and commercial. Chabrol would be the first of them to make a film, Le Beau Serge, and between 1957 and his death in 2010, he would make 58 movies. That's more than one new movie every year on average, not counting shorts and television projects he also made on the side.   American audiences knew him best for his 1966 global hit A Man and a Woman, which would sell more than $14m in tickets in the US and would be one of the few foreign language films to earn Academy Award nominations outside of the Best Foreign Language Film race. Lead actress Anouk Aimee would get a nod, and Chabrol would earn two on the film, for Best Director, which he would lose to Fred Zimmerman and A Man for All Seasons, and Best Original Screenplay, which he would win alongside his co-writer Pierre Uytterhoeven.   Edith and Marcel would tell the story of the love affair between the iconic French singer Edith Piaf and Marcel Cerdan, the French boxer who was the Middleweight Champion of the World during their affair in 1948 and 1949. Both were famous in their own right, but together, they were the Brangelina of post-World War II France. Despite the fact that Cerdan was married with three kids, their affair helped lift the spirits of the French people, until his death in October 1949, while he was flying from Paris to New York to see Piaf.   Fans of Raging Bull are somewhat familiar with Marcel Cerdan already, as Cerdan's last fight before his death would find Cerdan losing his middleweight title to Jake LaMotta.   In a weird twist of fate, Patrick Dewaere, the actor Chabrol cast as Cerdan, committed suicide just after the start of production, and while Chabrol considered shutting down the film in respect, it would be none other than Marcel Cerdan, Jr. who would step in to the role of his own father, despite never having acted before, and being six years older than his father was when he died.   When it was released in France in April 1983, it was an immediate hit, become the second highest French film of the year, and the sixth highest grosser of all films released in the country that year. However, it would not be the film France submitted to that year's Academy Award race. That would be Diane Kurys' Entre Nous, which wasn't as big a hit in France but was considered a stronger contender for the nomination, in part because of Isabelle Hupert's amazing performance but also because Entre Nous, as 110 minutes, was 50 minutes shorter than Edith and Marcel.   Harvey Weinstein would cut twenty minutes out of the film without Chabrol's consent or assistance, and when the film was released at the 57th Street Playhouse in New York City on Sunday, June 3rd, the gushing reviews in the New York Times ad would actually be for Chabrol's original cut, and they would help the film gross $15,300 in its first five days. But once the other New York critics who didn't get to see the original cut of the film saw this new cut, the critical consensus started to fall. Things felt off to them, and they would be, as a number of short trims made by Weinstein would remove important context for the film for the sake of streamlining the film. Audiences would pick up on the changes, and in its first full weekend of release, the film would only gross $12k. After two more weeks of grosses of under $4k each week, the film would close in New York City. Edith and Marcel would never play in another theatre in the United States.   And then there would be another year plus long gap before their next release, but we'll get into the reason why in a few moments.   Many people today know Rubén Blades as Daniel Salazar in Fear the Walking Dead, or from his appearances in The Milagro Beanfield War, Once Upon a Time in Mexico, or Predator 2, amongst his 40 plus acting appearances over the years, but in the early 1980s, he was a salsa and Latin Jazz musician and singer who had yet to break out of the New Yorican market. With an idea for a movie about a singer and musician not unlike himself trying to attempt a crossover success into mainstream music, he would approach his friend, director Leon Icasho, about teaming up to get the idea fleshed out into a real movie. Although Blades was at best a cult music star, and Icasho had only made one movie before, they were able to raise $6m from a series of local investors including Jack Rollins, who produced every Woody Allen movie from 1969's Take the Money and Run to 2015's Irrational Man, to make their movie, which they would start shooting in the Spanish Harlem section of New York City in December 1982.   Despite the luxury of a large budget for an independent Latino production, the shooting schedule was very tight, less than five weeks. There would be a number of large musical segments to show Blades' character Rudy's talents as a musician and singer, with hundreds of extras on hand in each scene. Icasho would stick to his 28 day schedule, and the film would wrap up shortly after the New Year.   Even though the director would have his final cut of the movie ready by the start of summer 1983, it would take nearly a year and a half for any distributor to nibble. It wasn't that the film was tedious. Quite the opposite. Many distributors enjoyed the film, but worried about, ironically, the ability of the film to crossover out of the Latino market into the mainstream. So when Miramax came along with a lower than hoped for offer to release the film, the filmmakers took the deal, because they just wanted the film out there.   Things would start to pick up for the film when Miramax submitted the film to be entered into the 1985 Cannes Film Festival, and it would be submitted to run in the prestigious Directors Fortnight program, alongside Mike Newell's breakthrough film, Dance with a Stranger, Victor Nunez's breakthrough film, A Flash of Green, and Wayne Wang's breakthrough film Dim Sum: A Little Bit of Heart. While they were waiting for Cannes to get back to them, they would also learn the film had been selected to be a part of The Lincoln Center's New Directors/New Films program, where the film would earn raves from local critics and audiences, especially for Blades, who many felt was a screen natural. After more praise from critics and audiences on the French Riviera, Miramax would open Crossover Dreams at the Cinema Studio theatre in midtown Manhattan on August 23rd, 1985. Originally booked into the smaller 180 seat auditorium, since John Huston's Prizzi's Honor was still doing good business in the 300 seat house in its fourth week, the theatre would swap houses for the films when it became clear early on Crossover Dreams' first day that it would be the more popular title that weekend. And it would. While Prizzi would gross a still solid $10k that weekend, Crossover Dreams would gross $35k. In its second weekend, the film would again gross $35k. And in its third weekend, another $35k. They were basically selling out every seat at every show those first three weeks. Clearly, the film was indeed doing some crossover business.   But, strangely, Miramax would wait seven weeks after opening the film in New York to open it in Los Angeles. With a new ad campaign that de-emphasized Blades and played up the dreamer dreaming big aspect of the film, Miramax would open the movie at two of the more upscale theatres in the area, the Cineplex Beverly Center on the outskirts of Beverly Hills, and the Cineplex Brentwood Twin, on the west side where many of Hollywood's tastemakers called home. Even with a plethora of good reviews from the local press, and playing at two theatres with a capacity of more than double the one theatre playing the film in New York, Crossover Dreams could only manage a neat $13k opening weekend.   Slowly but surely, Miramax would add a few more prints in additional major markets, but never really gave the film the chance to score with Latino audiences who may have been craving a salsa-infused musical/drama, even if it was entirely in English. Looking back, thirty-eight years later, that seems to have been a mistake, but it seems that the film's final gross of just $250k after just ten weeks of release was leaving a lot of money on the table. At awards time, Blades would be nominated for an Independent Spirit Award for Best Actor, but otherwise, the film would be shut out of any further consideration.   But for all intents and purposes, the film did kinda complete its mission of turning Blades into a star. He continues to be one of the busiest Latino actors in Hollywood over the last forty years, and it would help get one of his co-stars, Elizabeth Peña, a major job in a major Hollywood film the following year, as the live-in maid at Richard Dreyfuss and Bette Midler's house in Paul Mazursky's Down and Out in Beverly Hills, which would give her a steady career until her passing in 2014. And Icasho himself would have a successful directing career both on movie screens and on television, working on such projects as Miami Vice, Crime Story, The Equalizer, Criminal Minds, and Queen of the South, until his passing this past May.   I'm going to briefly mention a Canadian drama called The Dog Who Stopped the War that Miramax released on three screens in their home town of Buffalo on October 25th, 1985. A children's film about two groups of children in a small town in Quebec during their winter break who get involved in an ever-escalating snowball fight. It would be the highest grossing local film in Canada in 1984, and would become the first in a series of 25 family films under a Tales For All banner made by a company called Party Productions, which will be releasing their newest film in the series later this year. The film may have huge in Canada, but in Buffalo in the late fall, the film would only gross $15k in its first, and only, week in theatres. The film would eventually develop a cult following thanks to repeated cable screenings during the holidays every year.   We'll also give a brief mention to an Australian action movie called Cool Change, directed by George Miller. No, not the George Miller who created the Mad Max series, but the other Australian director named George Miller, who had to start going by George T. Miller to differentiate himself from the other George Miller, even though this George Miller was directing before the other George Miller, and even had a bigger local and global hit in 1982 with The Man From Snowy River than the other George Miller had with Mad Max II, aka The Road Warrior. It would also be the second movie released by Miramax in a year starring a young Australian ingenue named Deborra-Lee Furness, who was also featured in Crossover Dreams. Today, most people know her as Mrs. Hugh Jackman.   The internet and several book sources say the movie opened in America on March 14th, 1986, but damn if I can find any playdate anywhere in the country, period. Not even in the Weinsteins' home territory of Buffalo. A critic from the Sydney Morning Herald would call the film, which opened in Australia four weeks after it allegedly opened in America, a spectacularly simplistic propaganda piece for the cattle farmers of the Victorian high plains,” and in its home country, it would barely gross 2% of its $3.5m budget.   And sticking with brief mentions of Australian movies Miramax allegedly released in American in the spring of 1986, we move over to one of three movies directed by Brian Trenchard-Smith that would be released during that year. In Australia, it was titled Frog Dreaming, but for America, the title was changed to The Quest. The film stars Henry Thomas from E.T. as an American boy who has moved to Australia to be with his guardian after his parents die, who finds himself caught up in the magic of a local Aboriginal myth that might be more real than anyone realizes.   And like Cool Change, I cannot find any American playdates for the film anywhere near its alleged May 1st, 1986 release date. I even contacted Mr. Trenchard-Smith asking him if he remembers anything about the American release of his film, knowing full well it's 37 years later, but while being very polite in his response, he was unable to help.       Finally, we get back to the movies we actually can talk about with some certainty. I know our next movie was actually released in American theatres, because I saw it in America at a cinema.   Twist and Shout tells the story of two best friends, Bjørn and Erik, growing up in suburbs of Copenhagen, Denmark in 1963. The music of The Beatles, who are just exploding in Europe, help provide a welcome respite from the harsh realities of their lives.   Directed by Billie August, Twist and Shout would become the first of several August films to be released by Miramax over the next decade, including his follow-up, which would end up become Miramax's first Oscar-winning release, but we'll be talking about that movie on our next episode.   August was often seen as a spiritual successor to Ingmar Bergman within Scandinavian cinema, so much so that Bergman would handpick August to direct a semi-autobiographical screenplay of his, The Best Intentions, in the early 1990s, when it became clear to Bergman that he would not be able to make it himself. Bergman's only stipulation was that August would need to cast one of his actresses from Fanny and Alexander, Pernilla Wallgren, as his stand-in character's mother. August and Wallgren had never met until they started filming. By the end of shooting, Pernilla Wallgren would be Pernilla August, but that's another story for another time.   In a rare twist, Twist and Shout would open in Los Angeles before New York City, at the Cineplex Beverly Center August 22nd, 1986, more than two years after it opened across Denmark. Loaded with accolades including a Best Picture Award from the European Film Festival and positive reviews from the likes of Gene Siskel and Michael Wilmington, the movie would gross, according to Variety, a “crisp” $14k in its first three days. In its second weekend, the Beverly Center would add a second screen for the film, and the gross would increase to $17k. And by week four, one of those prints at the Beverly Center would move to the Laemmle Monica 4, so those on the West Side who didn't want to go east of the 405 could watch it. But the combined $13k gross would not be as good as the previous week's $14k from the two screens at the Beverly Center.   It wouldn't be until Twist and Shout's sixth week of release they would finally add a screen in New York City, the 68th Street Playhouse, where it would gross $25k in its first weekend there. But after nine weeks, never playing in more than five theatres in any given weekend, Twist and Shout was down and out, with only $204k in ticket sales. But it was good enough for Miramax to acquire August's next movie, and actually get it into American theatres within a year of its release in Denmark and Sweden. Join us next episode for that story.   Earlier, I teased about why Miramax took more than a year off from releasing movies in 1984 and 1985. And we've reached that point in the timeline to tell that story.   After writing and producing The Burning in 1981, Bob and Harvey had decided what they really wanted to do was direct. But it would take years for them to come up with an idea and flesh that story out to a full length screenplay. They'd return to their roots as rock show promoters, borrowing heavily from one of Harvey's first forays into that field, when he and a partner, Corky Burger, purchased an aging movie theatre in Buffalo in 1974 and turned it into a rock and roll hall for a few years, until they gutted and demolished the theatre, so they could sell the land, with Harvey's half of the proceeds becoming much of the seed money to start Miramax up.   After graduating high school, three best friends from New York get the opportunity of a lifetime when they inherit an old run down hotel upstate, with dreams of turning it into a rock and roll hotel. But when they get to the hotel, they realize the place is going to need a lot more work than they initially realized, and they realize they are not going to get any help from any of the locals, who don't want them or their silly rock and roll hotel in their quaint and quiet town.   With a budget of only $5m, and a story that would need to be filmed entirely on location, the cast would not include very many well known actors.   For the lead role of Danny, the young man who inherits the hotel, they would cast Daniel Jordano, whose previous acting work had been nameless characters in movies like Death Wish 3 and Streetwalkin'. This would be his first leading role.   Danny's two best friends, Silk and Spikes, would be played by Leon W. Grant and Matthew Penn, respectively. Like Jordano, both Grant and Penn had also worked in small supporting roles, although Grant would actually play characters with actual names like Boo Boo and Chollie. Penn, the son of Bonnie and Clyde director Arthur Penn, would ironically have his first acting role in a 1983 musical called Rock and Roll Hotel, about a young trio of musicians who enter a Battle of the Bands at an old hotel called The Rock and Roll Hotel. This would also be their first leading roles.   Today, there are two reasons to watch Playing For Keeps.   One of them is to see just how truly awful Bob and Harvey Weinstein were as directors. 80% of the movie is master shots without any kind of coverage, 15% is wannabe MTV music video if those videos were directed by space aliens handed video cameras and not told what to do with them, and 5% Jordano mimicking Kevin Bacon in Footloose but with the heaviest New Yawk accent this side of Bensonhurst.   The other reason is to watch a young actress in her first major screen role, who is still mesmerizing and hypnotic despite the crapfest she is surrounded by. Nineteen year old Marisa Tomei wouldn't become a star because of this movie, but it was clear very early on she was going to become one, someday.   Mostly shot in and around the grounds of the Bethany Colony Resort in Bethany PA, the film would spend six weeks in production during June and July of 1984, and they would spend more than a year and a half putting the film together. As music men, they knew a movie about a rock and roll hotel for younger people who need to have a lot of hip, cool, teen-friendly music on the soundtrack. So, naturally, the Weinsteins would recruit such hip, cool, teen-friendly musicians like Pete Townshend of The Who, Phil Collins, Peter Frampton, Sister Sledge, already defunct Duran Duran side project Arcadia, and Hinton Battle, who had originated the role of The Scarecrow in the Broadway production of The Wiz. They would spend nearly $500k to acquire B-sides and tossed away songs that weren't good enough to appear on the artists' regular albums.   Once again light on money, Miramax would sent the completed film out to the major studios to see if they'd be willing to release the movie. A sale would bring some much needed capital back into the company immediately, and creating a working relationship with a major studio could be advantageous in the long run. Universal Pictures would buy the movie from Miramax for an undisclosed sum, and set an October 3rd release.   Playing For Keeps would open on 1148 screens that day, including 56 screens in the greater Los Angeles region and 80 in the New York City metropolitan area. But it wasn't the best week to open this film. Crocodile Dundee had opened the week before and was a surprise hit, spending a second week firmly atop the box office charts with $8.2m in ticket sales. Its nearest competitor, the Burt Lancaster/Kirk Douglas comedy Tough Guys, would be the week's highest grossing new film, with $4.6m. Number three was Top Gun, earning $2.405m in its 21st week in theatres, and Stand By Me was in fourth in its ninth week with $2.396m. In fifth place, playing in only 215 theatres, would be another new opener, Children of a Lesser God, with $1.9m. And all the way down in sixth place, with only $1.4m in ticket sales, was Playing for Keeps.   The reviews were fairly brutal, and by that, I mean they were fair in their brutality, although you'll have to do some work to find those reviews. No one has ever bothered to link their reviews for Playing For Keeps at Rotten Tomatoes or Metacritic. After a second weekend, where the film would lose a quarter of its screens and 61% of its opening weekend business, Universal would cut its losses and dump the film into dollar houses. The final reported box office gross on the film would be $2.67m.   Bob Weinstein would never write or direct another film, and Harvey Weinstein would only have one other directing credit to his name, an animated movie called The Gnomes' Great Adventure, which wasn't really a directing effort so much as buying the American rights to a 1985 Spanish animated series called The World of David the Gnome, creating new English language dubs with actors like Tom Bosley, Frank Gorshin, Christopher Plummer, and Tony Randall, and selling the new versions to Nickelodeon.   Sadly, we would learn in October 2017 that one of the earliest known episodes of sexual harassment by Harvey Weinstein happened during the pre-production of Playing for Keeps.   In 1984, a twenty year old college junior Tomi-Ann Roberts was waiting tables in New York City, hoping to start an acting career. Weinstein, who one of her customers at this restaurant, urged Ms. Roberts to audition for a movie that he and his brother were planning to direct. He sent her the script and asked her to meet him where he was staying so they could discuss the film. When she arrived at his hotel room, the door was left slightly ajar, and he called on her to come in and close the door behind her.  She would find Weinstein nude in the bathtub,  where he told her she would give a much better audition if she were comfortable getting naked in front of him too, because the character she might play would have a topless scene. If she could not bare her breasts in private, she would not be able to do it on film. She was horrified and rushed out of the room, after telling Weinstein that she was too prudish to go along. She felt he had manipulated her by feigning professional interest in her, and doubted she had ever been under serious consideration. That incident would send her life in a different direction. In 2017, Roberts was a psychology professor at Colorado College, researching sexual objectification, an interest she traces back in part to that long-ago encounter.   And on that sad note, we're going to take our leave.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1987.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Watch out hillbillies, the giant spiders are invading! and it's up to the most boring people on earth to save us all. The characters, not us.  Featuring: Buttfuck Dungus, Sad Susan, Teddy Sweatervest, Michael Lonsdale and the rarely seen Sally Lou.  More Pauls! https://facebook.com/ogtpod https://twitter.com/ogtpod We have a Patreon! https://www.patreon.com/ogtpod – sign up for exclusive content for as little as $1 a month. Listen to Salt's show Jen and the Film Critic with OGT guest and deep friend Jen Blundell here! Like d&d? Want more Pauls? Into nerd shit AND jokes about bums? Why not check out our d&d actual play podcast, Quest Fantastic?  https://shows.acast.com/quest-fantastic link.chtbl.com/questfantastic RSS: https://feeds.acast.com/public/shows/61d8e6b335501c0012b6c367 Goodman's EP 'Future Music' is out now! Find out where you can stream and purchase here: Future Music by Run//Phase (songwhip.com)

durée : 03:00:28 - Les Nuits de France Culture - par : Albane Penaranda - Michael Lonsdale, Catherine Mouchet, Isabelle Huppert, Nathalie Sarraute et Peter Handke, ce ne sont que quelques uns des invités du "Bon plaisir" de l'homme de théâtre et metteur en scène Claude Régy qui, dans cette émission de 1992, explique, avec ses amis, l'alchimie de ses mises en scène. - invités : Claude Régy metteur en scène (1923-2019); Nathalie Sarraute écrivaine (1900 - 1999); Goldschmidt Georges-Arthur Ecrivain; Peter Handke; Isabelle Huppert Actrice française; Catherine Mouchet; Michael Lonsdale

durée : 01:25:00 - Les Nuits de France Culture - par : Albane Penaranda - En 1984, Hélène Mora propose aux auditeurs de France Culture un portrait de l'écrivain belge francophone Jacques Sternberg (1923-2006), avec la participation de l'auteur et quelques-uns de ses amis proches. Pour se faire une idée de l'univers mental de l'écrivain Jacques Sternberg (1923-2006), il faut peut-être commencer par ses Mémoires provisoires publiées en 1977 et simplement sous-titrées : "ou comment rater tout ce que l'on réussit". Le comédien Michael Lonsdale se charge d'en faire une très savoureuse lecture, tout au long de cette émission diffusée sur France Culture en mai 1984. Extrait : "Les voyages ne m'ont jamais tenté, ils ne m'ont jamais rien apporté, ni exaltation, ni inspiration, ni souvenirs pittoresques. De toute façon, le pittoresque, justement, c'est, avec le folklore et l'exotisme, ce que je déteste le plus". "Les écrivains sont de gros égocentriques, ils ne pensent qu'à eux, ne parlent que d'eux et souvent écrivent que pour eux-mêmes" Jacques Sternberg est "un homme qui ne ressemble à personne, excepté à Kafka peut-être", souligne la productrice Hélène Mora. Un "mal-aimé" selon l'écrivain Roland Topor, un ami proche de Sternberg, "un homme doté d'un orgueil insensé et donnant de lui une image inaccessible".  Écrivain inclassable ayant un goût prononcé pour l'absurde, l'humour noir et l'étrange, Jacques Sternberg a écrit une ouvre abondante, des contes et des nouvelles par centaines, des essais de toutes sortes et près d'une vingtaine de romans. C'est de cet homme "d'une effrayante lucidité", amoureux de jazz, de navigation à voile et à solex, et vivant sans téléphone, qu'est consacré ce documentaire, où témoignent quelques-uns de ses amis proches ainsi que Jacques Sternberg en personne.

C'était une dame, une actrice à la voix si particulière (Michael Lonsdale disait d'elle qu'elle avait une « voix de violoncelle »). Inoubliable fée des Lilas dans « Peau d'Âne » de Jacques Demy, Jeanne Dielman pour Chantal Akerman, elle avait tourné sous la direction de Marguerite Duras, Alain Resnais ou François Truffaut. Mais c'était aussi une militante féministe et une cinéaste visionnaire. Son documentaire, Sois belle et tais-toi, ressort en salles et conquiert une nouvelle génération de cinéphiles.Tandis que le chef-d'œuvre de Chantal Akerman, Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles, élu meilleur film du monde l'an dernier (2022) (par la revue Sight and sound et le British institute), sera lui aussi de nouveau à l'affiche dans quinze jours.Delphine Seyrig est à l'honneur de Tous les cinémas du monde ce samedi.Nous recevons Nicole Fernandez Ferrer, la co-présidente du centre audiovisuel Simone de Beauvoir, un centre co-fondé par Delphine Seyrig en 1982 pour réunir, produire et diffuser des documents audiovisuels sur les droits, luttes et création de l'art des femmes.Et Alexandre Moussa, universitaire qui a consacré sa thèse à Delphine Seyrig, « Je ne suis pas une apparition, je suis une femme » : Delphine Seyrig, icône du cinéma moderne, actrice insoumise, star féministe. Pauses musicales : Delphine Seyrig chante dans Peau d'Âne de Jacques Demy, et Feist Hiden out in the open. Références :- Delphine Seyrig,En constructions, par Jean-Marc Lalanne (éditions Capricci).- Delphine et Carole Insoumuses, par Callisto Mc Nulty, disponible sur la plateforme Madelen, la machine à remonter le temps de l'Ina.

Patrick Tudoret et Marie Lussignol : l'auteur et l'interprète de Juliette, Victor Hugo mon fol amour : Avec eux, nous découvrons Juliette Drouet, une grande figure féminine, une femme de l'ombre qui mérite la lumière. Compagne de Victor Hugo pendant 50 ans, elle lui a écrit près de 23000 lettres, ce qui fait d'elle une de nos plus grandes épistolières. Elle lui a inspiré certains des principaux personnages du plus grand écrivain de l'histoire française. Surtout, elle a accompagné Victor Hugo dans la gloire et les épreuves. C'est elle qui l'a rendu plus humain. C'est elle qui, par sa foi chrétienne, l'a rapproché de Dieu. Juliette, ou un destin exceptionnel : Patrick Tudoret et Marie Lussignol font revivre et rayonner celle qui fut à la fois muse, amie de cœur, et guide. Quand l'Art transcende nos destins : Cette mise en lumière d'une femme « qu'on ne peut qu'aimer », est inspirée par le talent d'un écrivain et d'une comédienne, animés tous les deux par une foi chrétienne, dont chacun témoigne avec profondeur au cours de cet épisode inattendu.   Patrick Tudoret est écrivain et auteur dramatique, avec une vingtaine d'ouvrages dont L'écrivain sacrifié et L'homme qui fuyait le Nobel. Son dernier ouvrage, La gloire et la cendre, raconte l'ultime victoire de Napoléon. Il a écrit Juliette, roman paru en 2020 qu'il a adapté pour le théâtre à la suggestion de Marie Lussignol. Marie Lussignol est comédienne et chanteuse lyrique. Remarquée par Michael Lonsdale, qui a mis en scène pour elle la pièce Faustine écrite par Daniel Facérias, elle a notamment interprété Jeanne d'Arc. Depuis 2022, elle incarne Juliette seule en scène, performance qui a été sélectionnée pour le Festival d'Avignon 2022 et 2023. Marie est aussi la voix de Bethesda, et l'interprète d'épisodes de Telio et des Contes du Dieu Impatient. Vous pouvez également écouter ce 199ème épisode avec Patrick Tudoret et Marie Lussignol sur le site de Zeteo en cliquant ici.  Pour en savoir plus au sujet de la pièce Juliette, Victor Hugo mon fol amour, cliquer ici. Pour lire Juliette, le roman de Patrick Tudoret, cliquer ici. Pour (ré)écouter la première participation de Marie Lussignol à Zeteo, cliquer ici. -------------- EN PLEINE MERChers auditeurs de Zeteo, Notre quatrième année d'activité est déjà bien entamée, et nous préparons notamment l'un des moments forts de l'année, qui va bientôt venir : la Semaine Sainte et Pâques. D'ici-là, le prochain épisode de Zeteo, diffusé dès le 12 mars prochain, sera le 200ème depuis notre création ! C'est au moment où Bethesda, notre second podcast, diffuse depuis quelques jours son 50ème épisode. Tandis que nos productions plus récentes, Telio et Canopée, continuent sur leur lancée, depuis leur lancement en 2022. Alors que nous vivons des temps tourmentés, quand l'équilibre de notre monde est menacé, quand la structure de notre Église est troublée, la mission de transmettre la Bonne Nouvelle n'a jamais été aussi importante. Oui ! Il y a des moissonneurs pour continuer l'œuvre du Seigneur. Il y a des acteurs formidables qui changent le monde et donnent de réelles raisons d'espérer. Notre mission, c'est de les mettre en lumière. La révélation de cette Bonne Nouvelle est aujourd'hui plus précieuse que jamais. Nous le voyons, en relevant chaque mois des hausses d'audiences surprenantes pour tous nos podcasts. Nous le voyons aussi en enregistrant de plus en plus de dons d'auditeurs qui se décident à soutenir notre effort. Pour atteindre le plus grand nombre, pour permettre la gratuité d'accès indispensable à tous nos podcasts, les dons sont indispensables : Si nos trois premières années de lancement ont été rendues possible grâce au soutien important de quelques mécènes, leur rôle d'accompagnement pour notre démarrage a cessé. Cette quatrième année se déroule maintenant pour nous en pleine mer, d'où l'importance du soutien de tous ceux qui, parmi vous, le peuvent. Alors, d'avance, un grand merci à tous - témoins, auditeurs, donateurs  - pour votre confiance, votre fidélité et votre générosité. Notre appel à votre soutien, comme notre mission, nous la remettons en confiance dans la volonté de Celui qui veille sur nous, et qui ne nous quitte jamais. Vos dons sont défiscalisables à hauteur de 66% : par exemple, un don de 50€ ne coûte en réalité que 17€. Le reçu fiscal est généré automatiquement et immédiatement à tous ceux qui passent par la plateforme de paiement sécurisé en ligne de HelloAsso, en cliquant bien sur le lien ci-dessous : Faire un don Fraternellement, Guillaume Devoud Nous délivrons directement un reçu fiscal à tous ceux qui effectuent un paiement autrement (chèque à l'association Telio, 116 boulevard Suchet, 75016 Paris – virement : nous écrire à info@zeteo.fr ).   -------------- Pour en savoir plus au sujet de Zeteo, cliquer ici. Pour en savoir plus au sujet de Bethesda, cliquer ici. Pour en savoir plus au sujet de Telio, cliquer ici. Pour en savoir plus au sujet de Canopée, cliquer ici. Pour lire les messages de nos auditeurs, cliquer ici. Nous contacter : contact@zeteo.fr Proposer votre témoignage ou celui d'un proche : temoignage@zeteo.fr    

Join your hosts Chad Robinson, Bryan Frye, and Russell Guest for the Retro Movie Roundtable as they revisit Ronin (1998) [R] Genre: Action, Crime, Thriller Starring: Robert De Niro,  Jean Reno, Natascha McElhone, Stellan Skarsgård, Sean Bean, Skipp Sudduth,  Michael Lonsdale, Jan Tríska, Jonathan Pryce, Ron Perkins, Féodor Atkine, Katarina Witt, Bernard Bloch   Director: John Frankenheimer Recorded on 2022-10-19

Special Guest Bears Rebecca Fonte from Other Worlds Film Festival and Austin All Genders Lifestyles and Identities Film Festival, joins your hosts Lizzy Haynes and Chad Robinson for the Retro Movie Roundtable as they revisit the 007 classic, Moonraker (1979) [PG] Genre: Action, Science Fiction, Adventure Starring: Roger Moore, Lois Chiles, Michael Lonsdale, Richard Kiel, Corinne Clery, Bernard Lee, Geoffrey Keen, Desmond Llewelyn, Lois Maxwell, Toshirô Suga, Emily Bolton, Blanche Ravalec, Irka Bochenko, Mike Marshall, Walter Gotell, Caroline Monroe   Director: Lewis Gilbert Recorded on 2022-10-09

durée : 01:20:00 - Les Nuits de France Culture - Par René Farabet - Avec Jean-Daniel Pollet (cinéaste) et Françoise Geissler (monteuse de film) - Lectures de textes de Francis Ponge par Michael Lonsdale

Un gelido sicario senza identità minaccia la vita del Presidente DeGaulle. Riusciranno i servizi segreti francesi a identificare e fermare il misterioso e infallibile Sciacallo prima che elimini il suo bersaglio? Zinnemann realizza un thriller/action tesissimo e interpretato alla stragrandissima da Michael Lonsdale e Edward Fox, che regala al grande schermo uno dei cattivi più terribili di sempre. Il giorno dello Sciacallo è un film estremamente avvincente che si aggiunge ad un anno davvero florido per il cinema. Una pellicola invecchiata benissimo e purtroppo remakizzata in maniera vergognosa da Michael Caton Jones con l'imbarazzante The Jackal, interpretato da Bruce Willis e Richard Gere, che non avevano manco un'unghia del carisma del cast originale. Se non l'avete mai visto fate 30 volte mea culpa sui ceci, ascoltate la recensione e poi recuperate subito questo gioiello del genere spionaggio.

Retrouvons Michael Lonsdale au travers des archives de la Sonuma, la séquence est réalisée par Helena Verrier.

Agents Scott and Cam, along with guest operative Jeff Quest of the Spy Write website, race against time to thwart a daring assassination while decoding Fred Zinnemann's 1973 thriller The Day of the Jackal. Directed by Fred Zinnemann. Starring Edward Fox, Alan Badel, Tony Britton, Cyril Cusack, Michael Lonsdale, Eric Porter and Delphine Seyrig. Check out Jeff's writing over at Spy Write You can also listen to him on Barbican Station - A Slough House Podcast and Like the Wolfe - A Nero Wolfe Podcast, available everywhere. Pick up exclusive SpyHards merch, including the new "What Does Vargas Do?" t-shirt by @shaylayy, available only at Redbubble Social media: @spyhards View the NOC List and the Disavowed List at Letterboxd.com/spyhards Podcast artwork by Hannah Hughes.

durée : 01:30:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Antoine Dhulster - En 2008, France Culture consacrait une "Grande Traversée" au Général de Gaulle : des documentaires, des débats et des archives étaient diffusés sur l'homme, sa vie publique, privée, sa place dans l'Histoire. Rediffusion cette nuit du troisième documentaire sur "De Gaulle écrivain". La série documentaire "Grande Traversée" proposait au mois d'août 2008 une thématique sur le Général de Gaulle intitulée "Un autre De Gaulle". Produite par Pierre Assouline, cette série était organisée en tables rondes, archives et documentaires durant une semaine. Parmi les thèmes évoqués, il y avait celui de "De Gaulle écrivain". Rediffusion cette nuit du documentaire "Un autre De Gaulle : La main". Un montage d'entretiens avec Jean-Luc Barré, Hubert Heilbronn, Angelo Rinaldi, Jean-Pierre Chevènement, parmi d'autres, sur celui qui fut le seul chef d'état français, dit-on, en tout cas l'un des rares dans l'histoire mondiale, dont on puisse dire qu'il fut un écrivain à part entière. De Gaulle essayiste, De Gaulle mémorialiste, De Gaulle épistolier, une plongée dans le verbe gaullien, c'est une plongée dans une culture classique et un style soutenu. * Jean-Luc Barré, l'éditeur des mémoires du général dans la collection de La Pléiade expliquait à quoi ressemblait un manuscrit signé de Gaulle : Ce qui est important dans l'étude de ses manuscrits, c'est le premier jet. En effet, c'est dans le premier jet qu'il s'exprime le mieux, se laisse aller, s'abandonne un petit peu. J'ai publié dans La Pléiade ses repentirs, on y lit ses humeurs, des portraits parfois plus vifs sur Pompidou, Churchill, Roosevelt, il parle même de lui, de ses sentiments, sa mélancolie. Dans le deuxième jet il se reprend. L'homme est plus dans le premier jet, et le personnage historique est déjà dans le deuxième jet. Plus loin le collectionneur Hubert Heilbronn détaillait sa graphie : Elle signifie un grand orgueil, une grande clarté dans l'expression et une très grande sensibilité. Elle est élégante, elle est haute, elle est penchée à droite, comme un homme d'ouverture, les lettres sont très lisibles, c'est une écriture aristocratique, j'oserais presque dire parfois féminine. Les entretiens sont illustrés par des lectures d'extraits de textes de Charles de Gaulle, lus par Hugues Quester, François Marthouret et Michael Lonsdale. Production : Pierre Assouline Réalisation : Jean-Claude Loiseau Grande traversée : Un autre De Gaulle - Documentaire : Charles De Gaulle : La main, 3ème partie 1ère diffusion : 13/08/2008 Indexation web : Sandrine England, Documentation Sonore de Radio France Archive INA-Radio France - réalisation : Virginie Mourthé

”Moonraker" 1979 is the fourth film in our James Bond series. Director Lewis Gilbert combines themes in the movie. There is wealthy Hugo Drax whose monstrous plan involves multiple space shuttles and poison to dominate the world, a science fiction space adventure, comedic one liners, super hero exploits from Bond, near death experiences around the globe, and romance.Roger Moore is in his fourth tour as James Bond 007 the MI6 problem solver, Michael Lonsdale as Drax, Holly Goodhead played by Lois Chiles as an astronaut scientist with a critical role in saving earth, Richard Kiel as Jaws who morphs from evil henchman to ally of Bond and many excellent cast members. Join us as we fly away with Bond.Here's the IMDB page for “Moonraker”Check us out on Patreon at www.patreon.com/classicmoviereviews for even more content and bonus shows.

In this first edition of the Director's Highlight series, Aric and Marisa take on selected films of the controversial juggernaut Luis Buñuel. They spotlight three memorable periods of his long career: his surrealist origins in Paris, his filmmaking in Mexico, and his great late career run of films produced in France.These eras of Buñuel's career are examined through six films: UN CHIEN ANDALOU (1929), Buñuel and Salvador Dali's surrealist experimental short, VIRIDIANA (1961), the acclaimed Palme d'Or winning critique of religous charity, THE EXTERMINATING ANGEL (1962), an absurd satire of aristocratic norms, THE MILKY WAY (1969), a spiritual road film questioning the significance of religious virtues, THE DISCREET CHARM OF THE BOURGEOISIE (1972), a film about an illogical dinner party that turns catastrophic, and THE PHANTOM OF LIBERTY (1974), a film arranged by dream-logic that passes through episodes of history. Please consider supporting this show through our Patreon!Keep up with us on Instagram and Twitter: @filmchatterpod.Check out the films mentioned in this episode on our Letterboxd.Thanks for tuning in!Powered and distributed by Simplecast

Pour cet épisode, Corine, aborde avec nous l'œuvre passionnante de l'écrivain Umberto Eco : le Nom de la Rose, adaptée au cinéma par J.J.Annaud. L'Apocalypse est un élément majeur de cette œuvre. Les références y sont nombreuses. Quelle lecture nous en donne Umberto Eco et son adaptation. Corine, qui lu, qui a vu et regardé cela nous éclaire sur ce sujet. REFERENCES•Épisode disponible sur l'application TUMULT : https://tumult-podcast.com/au-large-biblique •«Au Large Biblique » est un podcast conçu et animé par François Bessonnet, enseignant bibliste et prêtre en Vendée. https://www.aularge.eu/blog/le-podcast/ •Générique : Erwan Marchand (D.R.)•Épisode enregistré en avril 2021.•Sous Licence Creative Commons (cc BY-NC-ND 4.0 FR)SOURCES ET RESSOURCES•Le livre de l'Apocalypse de Jean https://www.aelf.org/bible/Ap/1 •Les autres épisodes : https://www.aularge.eu/blog/lapocalypse-dhier-a-demain/ •Œuvres : https://youtube.com/playlist?list=PL3wD3DhatHmcpFaHrkBaUDvoGkEnH8ehY •Musique : https://open.spotify.com/playlist/5PHF921roiOKhPvYAuMk5R?si=1adea6bc79d845b9 RETROUVEZ CORINE SUR :•Au bord de mon chemin (blog) https://corine1967.com/•Pépites et papillotes (podcast) https://podcloud.fr/podcast/pepites-et-papillotes •Part en thèse : https://podcast.ausha.co/part-en-these LES ŒUVRES CITEES •Le nom de la Rose (Il nome de la Rosa), Umberto ECO (1980), éditions du livre de Poche. •Le nom de la Rose, film de J.J. Annaud (1986) avec Sean Connery, Christian Slater, Michael Lonsdale, Ron Perlman…•Le nom de la Rose, série TV d'Andrea Porporati & Nigel Williams, avec John Turturro, Damian Hardung, Rupert Everett …SUIVRE AU LARGE BIBLIQUE •Instagram : @aularge.eu https://www.instagram.com/aularge.eu/ •Twitter : @AuLargeBiblique https://twitter.com/AuLargeBiblique •Facebook : @aularge85 https://www.facebook.com/aularge85/ •LinkedIn : https://www.linkedin.com/in/fbessonnet/ •Youtube : https://www.youtube.com/user/aulargefbessonnet •Mail : podcast@aularge.eu •Newsletter : https://www.aularge.eu/blog/abonnement/ •RSS : https://www.spreaker.com/show/3266391/episodes/feed •VOS QUESTIONS sur https://www.aularge.eu/blog/votre-voix-minteresse/ Soutenir le podcast avec Tipeee : https://fr.tipeee.com/au-large-biblique

A l'heure où la crise sanitaire a mis en berne le monde culturel pendant de longs mois… Le temps n'est-il pas venu de produire les narratifs de demain ?  Nous avons souhaité vous proposer ce rdv “hors série” pour témoigner de notre solidarité à la culture, et notre soutien à 2 projets culturels engagés, en apportant un éclairage sur le rôle et l'importance de la culture, de la création dans la mise en mouvement de la société, indispensable à la transition écologique. Car la culture va bien au-delà du divertissement. La culture permet de proposer de nouveaux imaginaires, et de construire ensemble une nouvelle histoire.  Loin des discours anxiogènes ou dystopiques* sur le futur, nous allons nous poser la question “à quoi pourraient ressembler ces nouveaux récits qui mettraient nos sociétés en mouvement ?” et essayer d'y répondre avec Patrick Scheyder, co-auteur d'une tribune parue dans Marianne en avril dernier sur l'écologie culturelle.  Patrick Scheyder nous apportera un éclairage sur comment la culture peut faire émerger l'écologie culturelle comme partie intégrante de notre civilisation et répondra à vos questions. Nos deux autres invités présenteront chacun leur passionnant projet culturel engagé !     À propos des intervenants  Patrick SCHEYDER, éco-historien, pianiste et auteur.  Patrick mène une double carrière d'artiste et d'auteur sur le thème de l'histoire et son histoire. Il a créé les spectacles en plein-air "Des Jardins et des Hommes", avec le comédien Michael Lonsdale, et a enregistré 13 albums de musique classique et improvisée. Coup de cœur de la Fondation Nicolas Hulot, il est aussi Lauréat de la Fondation Cziffra. A ce jour , il a écrit 7 ouvrages sur l'écologie et son histoire, notamment "Pour une pensée écologique positive" (Editions Belin - 2020) et "Léonard de Vinci et la Nature" (Editions Ouest-France-2019.). En préparation, un ouvrage sur “George Sand, les peintres de Barbizon et la forêt de Fontainebleau. Une ZAD au XIXème siècle."  Sébastien FOLIN, producteur engagé et conscient, président d'honneur du Festival Atmosphères et créateur du podcast “LES COMBATTANTS PACIFIQUES”. Il soutient les missions du Festival Atmosphères depuis sa création en 2010, Cinéma, Arts et Sciences pour un monde durable, plus juste, en harmonie avec la nature. Il nous présentera les temps forts de la 11e édition, les nouveautés et l'impact des nouveaux récits qui seront au cœur de la programmation du festival !  Raphaël DANIEL, auteur-réalisateur, fera le pitch son prochain court métrage “NIQUE LE PRIVÉ". Ce film de fiction questionne notre rapport à la propriété privée et aux biens communs. Il sera diffusé sur Canal +, en 2021, dans le cadre de la collection "On s'adapte", 10 courts-métrages de fiction qui invitent à créer les imaginaires d'une transition écologique et sociale souhaitable. Un projet engagé à découvrir !     Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

In this episode, David Sawtell discusses his chapter on adjudication with Paul Darling QC, looking at developments in the law and how it could continue to develop. How the decisions in Grove Developments v S&T (UK) Ltd [2018] EWCA Civ 2448 and Bresco Electrical Services v Michael Lonsdale [2020] UKSC 25 show the state of the law relating to adjudication. The impact of fraud on adjudication. Nomination of adjudicators, and how this will become an issue in the years to come.

Agents Scott and Cam, along with guest operative Scott Renshaw, film critic for Salt Lake City Weekly, get behind the wheel and hurtle through the 1998 espionage thriller Ronin. Directed by John Frankenheimer. Starring Robert De Niro, Jean Reno, Natascha McElhone, Stellan Skarsgård, Sean Bean, Skipp Sudduth, Michael Lonsdale and Jonathan Pryce. Read Scott Renshaw's work at Salt Lake City Weekly or on his Letterboxd page.  The Mousterpiece Cinema podcast is available everywhere.  Social media: @spyhards View the NOC List and the Disavowed List at Letterboxd.com/spyhards Podcast artwork by Hannah Hughes.

Hello dear listeners, What do Sean Bean, Michael Lonsdale, and Jonathan Pryce all have in common? The easy answer is that they've all co-starred in Bond films. Each has played 007's main adversary in fact. Bonus points for these who guessed that each also appeared in the same movie! That's right, this week we take a another Detour. Well, it isn't a Detour in the traditional sense. No 007 actor features in the movie under review, but rather the aforementioned actors who played the super spy's main adversaries. It is the 1998 action thrill ride "Ronin" directed by the legendary John Frankenheimer. Resident gear head and International Man of Mystery Jason joins us to discuss some amazing topics like: butchering Irish names, Seamus (no, not that. You're disgusting), the Ronin-Mission: Impossible cinematic universe, ambushing people with coffee, how the apron makes the man, action movie editing, "Ronin" as an adult film, showing off our Gundam collection, and much more. So sit back, relax- actually, scratch that. Buckle up, kiddos. We're pushing the peddle to the meddle through the streets of Nice and Paris. Hopefully you can keep pace.

durée : 00:54:59 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Guy Dumur - Avec Claude Régy (metteur en scène), Marie-Louise Audiberti (écrivain, traductrice), Georges-Arthur Goldschmidt (écrivain, traducteur), Michael Lonsdale (comédien) et Gérard Depardieu (comédien) - réalisation : Virginie Mourthé

De la littérature au théâtre, puis du théâtre au cinéma, en passant par la chronique journaliste et l'entretien audio-visuel, Marguerite Duras se sera essayé à tous les médiums, pour tenter de dire l'indicible, la fracture, la faille. De Duras, on retiendra aussi la voix, ou plutôt les voix, la sienne, et celle de ses acteurs fétiches : Michael Lonsdale, Delphine Seyrig ou encore Madeleine Renaud. La voix et le silence aussi. On évoquera, et puis on l'oubliera aussitôt, sa violence intérieure, son alcoolisme et sa capacité d'autodestruction. Avec les archives de la SONUMA. Réalisation : Alexandra Longuet

Listen live Friday at 1 p.m. The Nose has been contemplating covering the controversy around the The Ellen DeGeneres Show literally for months now. The show returned with a new season of new episodes this week, and Ellen addressed allegations of a toxic work environment in her monologue. And: The CBC series Schitt's Creek has been endorsed on any number of Noses over the years, but we've never actually covered it. But then, after it won literally ever Emmy in the comedy category on Sunday (a feat no show has ever before achieved), we decided that this week had to be the week. Some other stuff that happened this week, give or take: Randall Kenan, Southern Writer of Magical Realism, Dies at 57His upbringing in North Carolina helped him create a fictional hamlet, Tims Creek, where a 3-year-old clairvoyant scares the neighbors and a pig talks. Michael Lonsdale, 'Day of the Jackal' Star & James Bond Villain Hugo Drax, Dies at 89 Jackie Stallone Sylvester's Mom Dead At 98 Michael Chapman, 'Taxi Driver' and 'Raging Bull' Cinematographer, Dies at 84 Ron Cobb, Designer of the 'Alien' Ship and the 'Back to the Future' DeLorean, Dies at 83 Tommy DeVito, a founding member of The Four Seasons, dies from Covid-19 complications Winston Groom, Author of 'Forrest Gump,' Dies at 77He wrote the 1986 novel that inspired the Oscar-winning film starring Tom Hanks. Another book was a finalist for a Pulitzer. RBG and the empty triumph of liberal pop culture "This Is the Best Part I've Ever Had": Chris Rock Talks 'Fargo,' Aging and Why He's Spending 7 Hours a Week in Therapy Someday Our Kids Will Not Believe Us About Any of This Oklahoma woman tells cops 'I have to poop so bad' before high-speed chase MTA board to formally ban pooping in subways and buses The Most Underrated Movies of 2020 (So Far) Don't sleep on these overlooked gems.After 7 weeks on the lam, the latest on 'Buddy the Beefalo' CDC's Halloween Guidelines Warn Against Typical Trick-Or-Treating Too much candy: Man dies from eating bags of black licorice BTS Fans Are Donating to Public Radio StationsThe day after the K-pop group performed a Tiny Desk concert, its fans are sharing screenshots of their donations. 'Lord of the Rings' TV Crew Size Is So 'Mind-Blowing' It's Someone's Job to Study How Dust MovesMorfydd Clark takes on the role of young Galadriel and says of the show, "I don't think things could get much bigger than this." The Metropolitan Opera Won't Reopen for Another YearThe nation's largest performing arts organization, shut by the coronavirus pandemic, sends a chilling signal that American cultural life is still far from resuming. Nobody wants to bone Luigi The Problem With Calling Tenet a Flop I'm an On-Set 'COVID Person,' Whatever That MeansAs production resumes amid the pandemic, a new role is causing confusion and consternation. The Weirdest Thing About the Pandemic Emmys Was How Normal They FeltCOVID jokes and a few moments of protest aside, this was an awards show devoted to the idea that TV should make you feel good. We Talked to the Hot Firefighter About Debunking Conspiracy Theories, Viral Fame, and Thirsty DMs The Rise and Fall of the Quaker Rice Cake, America's One-Time Favorite Health SnackWhere did they come from and where did they go? Ranch NationHow one creamy, peppery salad dressing became America's favorite flavor. GUESTS: Carolyn Paine - An actress, comedian, and dancer; she is founder, director, and choreographer of CONNetic Dance Mercy Quaye - Founder and principal consultant for The Narrative Project and a columnist with Hearst Connecticut Media Group Join the conversation on Facebook and Twitter. Colin McEnroe and Cat Pastor contributed to this show.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

This time, we're doing a Moonraker movie review by taking a journey with Her Majesty's Secret Service and James Bond. We were also joined by special guest Colin Hope in our podcast episode and we asked, would James Bond make a decent astronaut? Is Hugo Drax a precursor to billionaire villains like Gordon Gekko? and how does the James Bond franchise manage to be a cultural zeitgeist time and time again? Let's dig in on this edition of Force Fed Sci-Fi! Moonraker (1979) Cast and Crew Directed by Lewis Gilbert: Prior to directing Moonraker, Gilbert had already helmed two Bond films with You Only Live Twice and The Spy Who Loved Me so, he was no stranger to the franchise and certainly brought the unique flair the 1970's required of Bond films. Roger Moore as James Bond: This was the actor's fourth Bond film following the previously mentioned The Spy Who Loved Me. His films have since gained the reputation as being the weirdest and wackiest in the series. There are numerous gags that are more for laughs than thrills and Moonraker was no exception. Michael Lonsdale as Hugo Drax: While Lonsdale is more known as an actor in the French cinema, he plays a maniacal billionaire with aspirations of world colonization and eugenics, but for most of the film, he spends his time posturing against 007. From lavish meals to playing an automatic piano and surrounding himself with beautiful women, Drax is someone who wants to be like Bond and will go to every length to fulfill that wish. Lois Chiles as Dr. Holly Goodhead: While Chiles does an admirable job playing Bond's CIA equivalent, she's often discounted in the film simply because she is a woman, even though she proves herself more knowledgeable about space travel than 007. Chiles has gone on to distance herself from her portrayal of Dr. Goodhead citing that it's impossible to live up to people's fantasies. Richard Kiel as Jaws: Reprising his role from The Spy Who Loved Me, Kiel is actually given a romantic storyline involving a woman of his complete opposite after the producers received letters suggesting the villain become a hero after the character resonated with children. Numerous other veterans from the Bond series reprise their respective roles like: Bernard Lee as M Lois Maxwell as Miss Moneypenny Desmond Llewelyn as Q. It Wasn't Supposed to Be This Way…. If you're familiar with the early James Bond films, the credits would often contain the line of “James Bond will return in [INSERT NEXT MOVIE]” and the film that preceded Moonraker was no exception with the next film in the series slated to be For Your Eyes Only, but obviously, this did not happen thanks to a little film called Star Wars. Following the release of the blockbuster in 1977, the Bond producers accelerated their original plan of making Moonraker sometime in the 1980's to 1979 as it became clear that audiences wanted to see space adventures on the big screen. It's the first film on Force Fed Sci-Fi that was made in direct response to another film. While For Your Eyes Only would still be released in 1981, moving Moonraker up in the production schedule certainly added unique challenges. The budget for the film was slated for $34 million which was the most expensive Bond film at the time and twice as much as The Spy Who Loved Me. The series is noted for its massive production design and globetrotting adventures, but the legendary spy going to space may not have been as complex as you'd think. To pull off the look of the massive space station for the film's climax, the special effects team built an impressive miniature that they would blow apart with shotguns to simulate the station being destroyed. While the zero gravity scenes now seem hokey with other space films like Apollo 13 and Ad Astra pioneering new ways to showcase actors in the zero gravity vacuum of space, they were still impressive at the time and one of the scenes even contains the most zero gravity wires ever used in a ...

Ronin. Ronin, Ronin, Ronin… How we had such high expectations for rewatching this car chase/heist movie. This movie nowhere near achieves the sum of its parts. The parts are impressive. A lot of people who are great in a lot of things. Many we've even fawned over before, but not this time. There is zero chemistry between anyone in this movie except for Robert DeNiro and the always fun Jean Reno. There is a forced romance angle with Bobby D and Natascha McElhone who has a quiet disconnect the entire movie. Sean Bean is okay, I guess, although he isn't given a ton to work with. His character was really poorly conceptualized, or perhaps not developed enough to make his storyline make any sense at all. Stellan Skarsgård mails it in, Jonathan Pryce is woefully miscast as an IRA terrorist, although Michael Lonsdale chews some nice scenery as Jean Pierre, it's just too little too late at that point.. The whole thing just didn't work, and it's too bad. In addition to the forced romance angle, the whole Ronin story didn't even really apply to the movie itself, and even the car chase scenes ,that it's known for, fell flat. So, naturally Mike and I do what we always do when faced with a movie that we really didn't like all that much. We roast the hell out of it. Lots of laughs in this episode, so make sure you check it out.   You all are the absolute best, thank you for listening! We've gotten a really nice upswing in listeners and interactions on social media (@recastingpod wherever it matters), and it's all because you are spreading the word about the show.   We also have an exciting announcement, we have just been booked for the Philadelphia Podcast Festival! Mark your calendars for Saturday, July 27th at Tattooed Mom on South Street in Philly. We've been dying to do a live pod, and this is going to be an epic one, so make sure you come out! It's 100% free, and Tattooed Mom is a killer spot with reasonably priced drinks. Make sure you come see us after the show, we'd love to bullshit with you. See you then!    

En revenant sur la mort de Serge Dassault, Guy Carlier a évoqué l'apparition de Michael Lonsdale à la cérémonie des Molières, lundi soir. "Michael Lonsdale est venu nous dire adieu. Le jour où il partira, on ne sera pas tristes car ils nous a donné son soleil", confie-t-il.

James Bond investigates the mid-air theft of a space shuttle, and discovers a plot to commit global genocide.