Podcasts about Orson

The clock is ticking for Congress to extend health care subsidies before open enrollment begins on Nov. first. The head of Pennsylvania’s health insurance marketplace is sounding the alarm. OB/GYNs and other doctors are expressing their concern over Pennsylvania State Treasurer Stacy Garrity's run for Governor. Southcentral Pennsylvania's Fall Foliage is at its peak as we head into this final week in October. State officials helped plant 700 trees along Orson run in southern York County in an effort to help reduce runoff, improve local water quality and provide the Chesapeake Bay. The 2-and-a-half acre streamside buffer is part of the ongoing work of the alliance for the Chesapeake Bay. An important deadline is approaching for registered voters in Pennsylvania planning on casting a ballot by mail. You have until this Tuesday October 28th to request a mail-in ballot, which must be returned by 8pm on Election Day, November 4th. PennDOT has announced that the 29th Street bridge has re-opened. The newly constructed span which carries traffic over Interstate 83 and Norfolk Southern train tracks had been closed since July of last year, as part of the long-term project to widen I-83 from 13th Street to the Eisenhower Interchange. An earlier detour has now been lifted. Public media's federal funding has been revoked. Your support is now more vital than ever. Help power the independent journalism and trusted programming you find on WITF by making a gift of support now at witf dot org slash give nowSupport WITF: https://www.witf.org/support/give-now/See omnystudio.com/listener for privacy information.

It's time for our annual rebroadcast of Orson Welles' “The War of the Worlds,” which aired on October 30, 1938. This legendary broadcast is one you don't want to miss! (Spoiler: It did not create the mass panic of legendary tales. Orson said it was fiction in the broadcast, and they took commercial breaks.)

This episode was originally released on 6/1/2020. While new episodes of Breaking Walls are on hiatus I'll be going back and posting the older episodes. ____________ In Breaking Walls Episode 104 we focus on Orson Welles' radio career from Pearl Harbor through the end of radio's peak, and pick up where we left off in Breaking Walls episode 79. —————————— Highlights: • Orson Returns to Radio In the Fall of 1941 • The Magnificent Ambersons Enters Productions • December 7th, 1941 • Orson and Norman Corwin Collaborate • Orson is Named Pan-American Goodwill Ambassador • It's All True and Brazil • Problems with RKO • Endings Changed, Others Destroyed • Orson gets fired—Returns to the United States in the fall of 1942 • Ceiling Unlimited And Hello Americans • Jane Eyre • Jack Benny Gets Sick, Orson filles in as host • The Mercury Wonder Show • Rita • Marriage, again • Busy Radio Days in 1944 • The Orson Welles Almanac • Campaigning for FDR • Donovan's Brain • D Day • Election Day—1944 • Rita and Orson meet Rebecca • Christmas 1944 • This is My Best • Our President is Dead • More Collaborations with Corwin • The War Ends • The Stranger • Around the World in Eighty Days • The Mercury Summer Theater • The Lady From Shanghai • Divorce • Macbeth • Europe and the end for Welles on American radio —————————— The WallBreakers: http://thewallbreakers.com Subscribe to Breaking Walls everywhere you get your podcasts. To support the show: http://patreon.com/TheWallBreakers —————————— The reading material used in today's episode was: • Citizen Welles by Frank Brady • This is Orson Welles by Welles and Peter Bogdanovich • On the Air — By John Dunning • Discovering Orson Welles by Jonathan Rosenbaum • Orson Welles on the Air, at OrsonWelles.Indiana.edu • Wellesnet.com. —————————— On the interview front: • Orson Welles was with Peter Bogdonavich, Dick Cavett, Johnny Carson, Merv Griffin, Leslie MeGahey, Dinah Shore, and Huw Wheldon. • Byron Kane and Jeanette Nolan were with SPERDVAC, the Society to Preserve and Encourage Radio Drama, Variety, and Comedy. For more information, please go to SPERDVAC.com • Norman Corwin was with Chuck Schaden. Hear the full chat at SpeakingofRadio.com. • Howard Duff was with Dick Bertel and Ed Corcoran for WTIC's The Golden Age of Radio. Hear their full chat at Goldenage-WTIC.org. • Robert Wise was with Leslie MeGahey. • Jack Benny spoke with Jack Carney. • Lurene Tuttle spoke with Same Time, Same Station in 1972. • Agnes Moorehead was with Dick Cavett in 1973. —————————— Selected music featured in today's episode was: • Perfida — By Jimmy Dorsey and his Orchestra • The Klezmer's Wedding — By Andre Moisan • The Third Man — By Anton Karas • Hooray for Hollywood — By Don Swan • The Battle Cry of Freedom — By Jacqueline Schwab • Star of Bethlehem — Conducted by John Williams

durée : 00:18:43 - Les Midis de Culture - par : Marie Labory - "My Name Is Orson Welles", à la Cinémathèque française, invite à redécouvrir le génie du réalisateur de Citizen Kane. Entre films mythiques, projets inachevés, dessins, sculptures et archives rares, l'exposition dévoile les mille visages d'un artiste total et visionnaire et rebelle. - réalisation : Laurence Malonda - invités : Antoine Guillot Journaliste, critique de cinéma et de bandes dessinées, producteur de l'émission "Plan large" sur France Culture; Charlotte Garson Rédactrice en chef adjointe des Cahiers du cinéma

durée : 00:27:14 - Les Midis de Culture - par : Marie Labory - Aujourd'hui au menu de notre débat critique, comme tous les mercredis, du cinéma : rétrospective du réalisateur américain à la cinémathèque "My name is Orson Welles" & "The Chronology of Water" de Kristen Stewart - réalisation : Laurence Malonda - invités : Antoine Guillot Journaliste, critique de cinéma et de bandes dessinées, producteur de l'émission "Plan large" sur France Culture; Charlotte Garson Rédactrice en chef adjointe des Cahiers du cinéma

En este episodio recordamos que hace 40 años fallecía uno de los directores y actores más personales y creativos que ha conocido el cine: Orson Welles. Os hemos preparado un reportaje sobre su carrera, su figura y la huella que ha dejado en la historia del cine. El otro gran protagonista del programa es Russell Crowe al que tenemos por partida doble. En primer lugar como la víctima del villano de nuestra sección “Esos tipos a los que nos encanta odiar” que no es otro que el Emperador Cómodo, al que Joaquin Phoenix dio vida en la película “Gladiator”. Y también le veremos como el capitán de un navío inglés del siglo XIX en la película “Master and C ommander: Al otro lado del mundo” de Peter Weir, que es el film que Jack Bourbon ha elegido esta semana en su serie de las mejores películas del cine de aventuras.

durée : 00:58:48 - Plan large - par : Antoine Guillot - Déambulation dans l'exposition "My Name is Orson Welles" à la Cinémathèque française, avec Frédéric Bonnaud et Mathieu Macheret. - réalisation : Anne-Laure Chanel - invités : Frédéric Bonnaud Directeur général de la Cinémathèque française.; Mathieu Macheret Critique de cinéma, journaliste au Monde et aux Cahiers du Cinéma

durée : 00:58:48 - Plan large - par : Antoine Guillot - Déambulation dans l'exposition "My Name is Orson Welles" à la Cinémathèque française, avec Frédéric Bonnaud et Mathieu Macheret. - réalisation : Anne-Laure Chanel, Anne-Vanessa Prévost - invités : Frédéric Bonnaud Directeur général de la Cinémathèque française., Mathieu Macheret Critique de cinéma, journaliste au Monde et aux Cahiers du Cinéma Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

May tao talagang hindi malapitan dahil siya'y pinoprotektahan at kung ayaw ng kaguluhan, wala nang pakialamanan. Pakinggan ang kwento ni Orson sa Barangay Love Stories. 

durée : 01:02:14 - Les Nuits de France Culture - par : Mathilde Wagman - L'émission "Mégahertz" dans "Radio panique", racontait l'histoire de l'adaptation radiophonique par Orson Welles du roman "La guerre des mondes" en 1938 et posait cette question avec Pierre Lagrange : "La guerre des mondes a-t-elle eu lieu ?" - réalisation : Virginie Mourthé - invités : Pierre Lagrange Sociologue, chercheur associé au Laboratoire Interdisciplinaire d'Études sur les réflexivités (LIER-EHESS); Orson Welles Acteur, réalisateur, producteur et scénariste

durée : 01:03:24 - Les Nuits de France Culture - par : Albane Penaranda - On associe systématiquement le nom de Bernard Herrmann à celui d'Alfred Hitchcock. On sait moins que le compositeur a longtemps travaillé à la radio, notamment avec Orson Welles – qui lui ouvrira, avec Citizen Kane puis La Splendeur des Amberson, une prestigieuse carrière dans la musique de film. - réalisation : Emily Vallat - invités : Bernard Eisenschitz Historien du cinéma

durée : 01:17:34 - Les Nuits de France Culture - par : Albane Penaranda - De l'avis de tous ses collaborateurs, Orson Welles était un véritable bourreau de travail. À travers de nombreux témoignages entrecoupés de divers extraits de ses œuvres et d'un entretien avec lui, cette émission permet de découvrir de l'intérieur comment travaillait vraiment Welles. - réalisation : Emily Vallat - invités : Jean-Pierre Berthomé Critique, historien et enseignant (cinéma); François Thomas Historien du cinéma, collaborateur de la revue Positif et professeur à la Sorbonne Nouvelle; Jean-Baptiste Thoret Historien et critique de cinéma, réalisateur; Nicolas Saada Réalisateur, scénariste, programmateur musical et directeur de la photo; Michel Chion Compositeur de musique concrète, théoricien des rapports image son et auteur; Yves Deschamps Monteur

durée : 01:31:16 - Les Nuits de France Culture - par : Albane Penaranda - Dès son plus jeune âge, Orson Welles adorait Shakespeare. Il l'adapte plusieurs fois à la radio et lui consacre trois longs métrages : Macbeth, Othello, Falstaff. Ce numéro des Mardis du cinéma évoque avec plusieurs spécialistes les nombreuses similitudes entre les univers de Welles et Shakespeare. - réalisation : Emily Vallat - invités : Jean-Pierre Berthomé Critique, historien et enseignant (cinéma); François Thomas Historien du cinéma, collaborateur de la revue Positif et professeur à la Sorbonne Nouvelle

durée : 01:28:06 - Les Nuits de France Culture - par : Albane Penaranda - Débutant par la visite de la maison habitée par Orson Welles dans les Yvelines jusqu'en 1975, cette émission explore en compagnie de collaborateurs français du cinéaste la face cachée de sa filmographie : vingt œuvres restées inachevées, aux fragments éparpillés partout dans le monde. - réalisation : Emily Vallat - invités : François Thomas Historien du cinéma, collaborateur de la revue Positif et professeur à la Sorbonne Nouvelle; Jean-Pierre Berthomé Critique, historien et enseignant (cinéma); Vassili Silovic Documentariste

durée : 01:27:01 - Les Nuits de France Culture - par : Albane Penaranda - Pourquoi, plus de 80 ans après sa sortie, Citizen Kane reste-t-il un des films les plus révérés dans le monde ? Avec plusieurs spécialistes du cinéma, Emmanuelle Fournier analyse différents aspects de l'œuvre et met en parallèle la destinée de Charles Foster Kane et celle d'Orson Welles lui-même. - réalisation : Emily Vallat - invités : François Thomas Historien du cinéma, collaborateur de la revue Positif et professeur à la Sorbonne Nouvelle; Jean-Pierre Berthomé Critique, historien et enseignant (cinéma); Nicolas Saada Réalisateur, scénariste, programmateur musical et directeur de la photo; Jean-Charles Tacchella Cinéaste français né le 23 septembre 1925.; Philippe Collin Réalisateur, critique de cinéma

durée : 00:04:03 - Les Nuits de France Culture - par : Albane Penaranda - Réalisateur, homme de radio, acteur, Orson Welles est l'une des personnalités artistiques les plus marquantes du 20e siècle. Dans cette nuit qui lui est consacrée, nous vous proposons de redécouvrir son parcours, son œuvre et toute son originalité, avec de nombreux extraits sonores. - réalisation : Emily Vallat

September 30, 1962, the last of the Golden Age of Radio. The Final episode of Suspense, broadcast at 7:05pm Sunday, September 30, 1962, 63 years ago, Devilstone.  An Irishman goes to investigate his haunted house, with unexpected results.   Christopher Carey and  Neil Fitzgerald star.Followed by Yours Truly, Johnny Dollar starring Mandel Kramer, broadcast at 7:35, Sunday, September 30, 1962, 63 years ago.  A convict in the state prison is about to die. He has a final "thank you" for Johnny for helping his kid brother get a start in life. There's still the matter of $100,000 from the convict's last safe robbery.  (That $100K would be over $1.069 Million today!)   Ironically, the gas station kid knew who Johnny Dollar was, but it didn't matter, as CBS ended the show anyway. Finally, Orson Welles Commentary, broadcast September 30, 1945, 80 years ago.  The aircheck from KECA Radio (Now KABC) gave listeners a look at what radio would become - a medium of primarily news and commentary.   The broadcast originates from Orson's home in Brentwood. Eddie Cantor introduced a new cast member on his show (Thelma Carpenter) without mentioning that she's colored. What did Eisenhower say to General Patton? We'll never know for sure. Many Roosevelt staffers are leaving the Truman administration. The main British problem is getting enough to eat. Orson answers a critic in Weehawken, New Jersey. He then tells the story of, "Bonito," the fighting bull. It's a great story, told beautifully by Orson.  No doubt, Welles was as good at commentary as he was at acting.  Thanks for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.stream

This is an unusual version of the podcast. An old friend passed, someone I've known for 40 years, someone who was friends with our moderator Luana Anders on the Flipside, and by his own estimate was friends with 80% of our class on the flipside. Henry Jaglom was a Hollywood icon, known by everyone, knew everyone, used to hold the most attended New Year's Eve parties where I got to meet the cast of the Sopranos, met Ang Lee, Oscar winning actors, directors - Peter Bogdanovich, would run into my friend Carl Weathers and Sally Kellerman and her husband Jonathan Krane. It was always fun - and Orson was a born raconteur. He also didn't believe in the afterlife at all. He was adamant about it - and if the topic came up, would squint at me, wrinkle his brow, shake his head - just the way Luana's pal BJ Merholz does when the topic comes up. All I can say is Harry Dean Stanton was the King of Skeptics - and when we spoke to him on a number of occasions (and he proved beyond a shadow of doubt he still existed by giving me private health messages to friends of his at his memorial - who were flabbergasted to hear what Harry had to tell them as only he could have known those intimate details from the Afterlife.. Harry told us to tell people to "believe in the possibility of an afterlife so they don't waste another minute of their lives arguing about it like I did." As noted in the podcast, Jennifer was able to squeeze me in today when I told her a friend had passed, without telling her anything about it, and his friends had already reached out to me to ask some questions. So sincere best wishes to his family, to his kids, to his exwives, to all those who loved him and think this is an unusual way to pay our respects.   Yes, I know that Orson Welles was upset that he caught Henry secretly taping him - I heard it from Orson's secretary at a party at Henry's house. She whispered to me that Orson felt so betrayed, "He never left his home again." I didn't have to tell Jennifer who I was asking about - she could see them.  And to be clear - Jennifer is not a movie fan, she spends much of her day on criminal cases helping out various law enforcement agencies pro bono - I've interviewed some of those agents or detectives. She is interpreting what she gets - like when I asked her on BJ Merholz behalf - "who introduced him to Henry?"  I thought it might be their mutual pal Jack Nicholson - but Jennifer got that it was a woman - and wasn't Luana (even though that makes sense) but really couldn't pin down who it was.  Why?  Who cares? She was aware of Bert Schneider without knowing who he was (or how his first name is spelled) and how he "left the planet too early."  (How could she know?)  Or that Dennis was Dennis Hopper, or that Orson was Orson Welles - she knew nothing, zero, zippo about Henry Jaglom and most people who knew Henry didn't know that much about him anyways.  Finally it wasn't until I was listening to the podcast when I realize why Carl Weathers and Sally Kellerman were teasing him about "being in our class."  I realized that they were referring to the fact that he was adamant about life going on - and I suspect those who knew this about Henry will continue to believe that is the case - but in doing this work with Jennifer EVERY WEEK for the past ten years, I can report we've had many skeptics, curmudgeons show up to talk to us about how surprised, gob smacked, shocked they were to realize that life goes on. Life goes on. Get over it. Thanks for tuning in.

TOOT TOOT! Captain Alan Sterling's crew join the podcast for a chat.

En los inicios del cine no existían los directores. Esa figura llegó más tarde desde el teatro, y el oficio se aprendió sobre la marcha. Pero ¿qué significa dirigir? El debut de Charlie Kaufman como director fue con la película “Synecdoche, New York” (2008). Se trata, de hecho, de una fábula sobre el acto de dirigir, es una obra sobre el miedo, el tiempo y la imposibilidad de abarcar la vida entera en el arte.

How do you become loved? To find the answer, we tell the story behind the extraordinary life of comedian, actor, and author Orson Bean. In 2021, America lost this storytelling legend. Today, July 22nd, he would have been 97. Happy birthday Orson...America misses you! Special Note: Includes some adult language.Support the show: https://redpilledamerica.com/support/See omnystudio.com/listener for privacy information.

Hey everyone, James Scully here, producer and host of Breaking Walls, the docu-podcast on the history of US Network Radio Broadcasting. I wanted to let you know about a new webinar I'm doing this Thursday July 17th, at 7PM on Orson Welles' early career of Orson Welles through the end of 1941. If you can't make it live this Thursday July 17th at 7PM, don't worry, I'll be emailing every person who registers a video of the webinar once it's over. Here's a link to register: https://www.eventbrite.com/e/orson-welles-career-part-1-from-boy-wonder-to-trouble-maker-webinar-tickets-1445315741289?aff=oddtdtcreator Some more information: Throughout the last one-hundred years of American entertainment, few people have gotten as strong a reaction as Orson Welles. A rare quadruple threat: writer, director, actor, producer, Welles found immense success on stage, in films, on television, and in radio. In fact, he took center stage in the United States on more than one occasion… and not always to a positive reaction, but always with pushing the creative envelope in mind. Welles managed to alienate the newspaper industry, the Hollywood studio system, and occasionally even the broadcasting networks, but he rarely had a door closed in his face. Welles was known to work himself to the bone, and party even harder. He had romances with some of the most famous and attractive women in the country, including Virginia Nicholson, Dolores del Rio, and Rita Hayworth. He was hailed as a genius, a charlatan, a magician, an incredible friend, an a***hole, a hard-driver, a steady worker, and a man who drank too much. Welles liked to joke that he began his career on top and spent the rest of his life working his way down. Such a strong-willed, creative person deserves an in-depth look. In Part 1: From Boy Wonder To Trouble Maker (1931-1941) we'll explore Welles' early life, through his explosion of success in the 1930s all the way to the end of 1941, complete with audio clips and highlights including: • Beginnings in Illinois and China — How they helped shape Orson • The Todd Seminary School — His first exposure to theater and Radio • Connections and Early Breaks — How his mentor Roger Hill, Thornton Wilder, Alexander Woollcott, and Katharine Cornell helped Orson get to Broadway • Orson meets John Houseman and Archibald MacLeish, and first appears on the March of Time • 1935-1937 — From the March of Time to the Columbia Workshop, and how Irvin Reis taught Orson how to create for radio • How the US Government shaped the opportunity for Orson to write, direct, and star in Les Misérables on the Mutual Broadcasting System in 1937 • The Shadow Knows! — Agnes Moorehead and Orson Welles' one season on The Shadow • The birth of the Mercury Theater on the Air as First Person singular. How its success led to the most infamous night in radio in October of 1938 • Mainstream success with Campbell's Soups • Orson goes to Hollywood, and signs the greatest autonomous film contract in history at 24 • Citizen Kane — How William Randolph Hearst and RKO shaped the film • Lady Esther Presents — Orson comes back to radio in the autumn of 1941 • Pearl Harbor Day and collaborating with Norman Corwin • How Joseph Cotton introduced Orson to Rita Hayworth Afterward, I'll do a Q&A — any and all questions are welcomed and encouraged! Can't attend live? Not to worry! I'll be recording the event and sending the video out to all guests who register so you can watch it later. See you (virtually) there!

And so we say goodbye as Charles Foster Kane faces the finalcurtain… Antony wraps up Citizen Kane's final scenes, discusses the critical response to the film and its multi-decade legacy, and the final words -13 minutes of them- are given to the man himself, Orson Welles, aided by Huw Wheldon and Dick Cavett If you've listened through this series (and the previous3-parter on Orson), we sincerely hope you've enjoyed it 'Film Gold' is on all the main podcast platforms.  Feedback to contrafib2001@gmail.com  Facebook⁠⁠https://www.facebook.com/filmgoldpod⁠⁠ Twitter⁠⁠https://twitter.com/FilmGold75⁠⁠ Antony's website (blog, music, podcasts) ⁠⁠https://www.antonyrotunno.com⁠⁠ Antony's John Lennon/Beatles andPsychology/Alt. Media podcasts ⁠⁠https://glassoniononjohnlennon.comhttps://lifeandlifeonly.podbean.com/ Support Antony's podcast work (Film Gold, Glass Onion:On John Lennon and Life And Life Only) at⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.paypal.com/paypalme/antonyrotunno⁠⁠⁠⁠⁠⁠⁠OR⁠⁠⁠⁠⁠⁠⁠https://www.buymeacoffee.com/antonyrotunno⁠⁠⁠⁠⁠⁠⁠ episode linksThe Snow Globe scenehttps://www.youtube.com/watch?v=FSj-BCOlGPY The Rosebud revealhttps://www.youtube.com/watch?v=fr93wwtiKQM Citizen Kane film pages⁠⁠⁠https://www.imdb.com/title/tt0033467/?ref_=fn_all_ttl_1⁠⁠⁠⁠⁠⁠https://en.wikipedia.org/wiki/Citizen_Kane⁠⁠⁠ Citizen Kane: Anatomy of a Classic (presented by BarryNorman)⁠https://www.youtube.com/watch?v=gCez9Pgqb5s The life of Charles Foster Kane⁠⁠https://en.wikipedia.org/wiki/Charles_Foster_Kane⁠⁠ The Citizen Kane files (Wellesnet archive)⁠⁠⁠https://www.wellesnet.com/citizen-kane-resources/⁠⁠ Magician: The Astonishing Life and Work of Orson Welles(must-watch doc, 2014)https://www.youtube.com/watch?v=rhtpfRl2wyE

This week, I received an interesting question from Orson in Thailand about using HRV as a fighter.After coaching fighters and analyzing performance data for over 15 years, I'll share something counterintuitive:Some of your best training sessions might happen on days when your HRV scores suggest otherwise.Here's what the research and practical experience shows:Recovery Scores Are Signals, Not Stop Signs* Low HRV indicates an increased stress load* High HRV suggests parasympathetic dominance* Neither absolutely dictates training intensityKEY MOMENTSFollow along using these quick timestamps:00:00 HRV Monitoring For Fighters00:12 Understanding Different HRV Systems00:59 Low HRV Scores: Why You Can Still Train Hard01:20 The Four-Week Training Cycle Explained01:59 Balancing Data With How You Feel02:27 High-Intensity Weeks: Managing The Red Flags02:53 Stop Micromanaging Your HRV Scores03:19 The Bigger Picture: Beyond Daily Readings04:02 When Multiple Red Flags Really Matter04:21 Making Smart Training AdjustmentsFurther notes and resources at https://heatrick.com/2025/06/13/when-to-ignore-your-hrv-score-and-why/

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

Jedha, Kyber, Erso. Mal and Jo return to recap the final three episodes of ‘Andor' Season 2. They break down Dedra's fate, Kleya and Luthen's backstory, the build-up to ‘Rogue One', and more. (00:00) Intro (04:32) Opening Snapshot (20:40) Lonni Shares the Endgame (57:41) Dedra and Axis Face Off (01:20:51) Panic at the ISB (01:25:26) Luthen and Kleya: An Origin Story (01:53:01) Kleya Hits the Hospital (01:58:58) Heart Begins His Hunt (02:04:23) Dedra Faces Krennic (02:15:42) Kleya Signals for Help (02:28:34) Orson and Lio! (02:34:57) Mission Kleypossible (02:46:28) The Not-So-Safehouse (02:52:46) The Yavin Push Begins (03:06:25) Reflections and Remembrances (03:15:58) “One Single Thing Will Break the Siege” (03:21:53) The Road to Rogue (03:35:06) The End Hosts: Mallory Rubin and Joanna Robinson Producers: Steve Ahlman and Carlos Chiriboga Social: Jomi Adeniran Additional Production Support: Arjuna Ramgopal Learn more about your ad choices. Visit podcastchoices.com/adchoices

durée : 00:50:20 - Affaires sensibles - par : Fabrice Drouelle, Franck COGNARD - Aujourd'hui dans Affaires Sensibles, la Guerre des Mondes, d'Orson Welles. Ou l'histoire d'une panique généralisée qui, en fait, n'a pas eu lieu. - réalisé par : David Leprince

Today, we're thrilled to welcome Pat Finn back to Orson, Indiana! You know him as Bill Norwood, but Neil Flynn knows him as his buddy from Chicago. Pat helps us break down episode 211, "Taking Back the House," and he's a filled with great stories - from meeting Neil on a baseball diamond, to crossing paths at his audition, to his favorite episode (which, of course, features Neil). Plus we listen to a voicemail from someone whose life spookily mirrors every aspect of Sue Heck's!WE HAVE MERCH! Get yours at: https://www.bonfire.com/middling! Whether you want the famed yellow Cross-Country hoodie, a crew-neck sweatshirt, or a t-shirt... we got you! They also come in a variety of colors and are so, so comfy. This merch a symbol of our shared love for the show and our podcast community. And we hope you love it as much as we do.Want extended episodes and video? That's all happening at Patreon.com/MiddlingPod. You can subscribe monthly or purchase one off episodes!Wanna chat with us?! Click HERE to leave us a voicemail with your questions or comments. You could just hear it on the podcast...All that and much more, so let's get to Middling! Hosted on Acast. See acast.com/privacy for more information.

In this episode of the Square Round Table Podcast, we dive deep into Season 2 of the Star Wars series 'Andor.' We discuss our thoughts on the pacing, character arcs, and historical relevance of the storyline, particularly focusing on the first six episodes. We examine the political intrigue, character motivations, and potential future developments, speculating on appearances from significant Star Wars characters. If you're a fan of Star Wars and love to hear in-depth analyses about its series, this episode is for you!

Watch on Philo! - Philo.tv/DTHWe meet a little girl named Jyn. Her family is in hiding. One day, the bad guy Orson shows up to tell Jyn's dad, Galen, that they need him to come back and finish the Death Star. Galen's like, “I wouldn't be any use—I'm just a sad sack ever since my wife died.” Suddenly, his wife comes running out of the field—so really bad timing, honestly. She has a gun and she's like, “You'll never take him!” Orson's like, “I'm taking you all.” She shoots him. They shoot her. Orson tells his guys to go find the child, but Jyn is really good at hide-and-seek. She waits in the secret spot until a dude named Saw shows up. It's clear they know each other.Fast forward some time—Jyn is now an adult and in a holding cell. Meanwhile, a cargo pilot named Bodhi shows up and claims to Saw that he wants to join the Rebels.Jyn is being transferred with other prisoners when Rebel forces suddenly break in and free them, led by Cassian Andor. Together, they fight stormtroopers and escape.They take a reprogrammed Imperial droid named K-2SO and head somewhere else, where they encounter more stormtroopers who are gathering crystals to power the Death Star.They're about to get captured, but a blind spiritual warrior named Chirrut Îmwe and his mercenary friend Baze Malbus help them out. This allows Jyn to make contact with Saw, who is holding Bodhi. She sees a message in which Galen reveals that he secretly built a vulnerability into the Death Star. The schematics are stored in an Imperial data vault.Onboard the Death Star, Orson orders a test strike on the moon where the gang is. Jyn and her group take Bodhi and flee, but Saw stays behind and dies.Orson gets an atta boy from his higher-up.Bodhi leads the group to Galen's Imperial research facility. Rebel bombers attack the site. Galen is wounded and dies in Jyn's arms before she escapes with the group on a stolen Imperial cargo shuttle.Orson is summoned by Darth Vader—he's back, baby!—to explain the attack. Orson's like, “Now that you've seen my work, maybe introduce me to the Emperor?” Vader force-chokes him and says, “Get back to work and don't cause any more trouble.”Jyn proposes a mission to steal the Death Star schematics, but the Alliance Council thinks there's no chance of success. Frustrated by their inaction, Jyn's group leads a small squad of volunteers—Bodhi dubs them “Rogue One.” Jyn, Cassian, and K-2SO infiltrate the Imperial base while the others create a diversion with a space battle.The Alliance eventually joins the fight, sending their fleet. Jyn gets the schematics but is ambushed by Orson, who is shot and wounded by Cassian. Jyn transmits the schematics to the Rebel command ship just before the Death Star fires a beam that destroys the base—and them.The Rebel fleet tries to escape, but many ships are intercepted by Darth Vader. He boards the command ship and wrecks everyone in an attempt to recover the plans, but a smaller ship escapes with them. Princess Leia declares that the schematics will provide hope for the Rebellion—some might even call it a new hope.

A dramatic SundayFirst a look at this day in History.Then Suspense, originally broadcast April 13, 1944, 81 years ago, The Marvelous Barrastro starring Orson Welles.  A great story with Orson doing his usual magnificent job playing two roles in two different Italian dialects!Followed by The Radio Guild, originally broadcast April 13, 1940, 85 years ago, Ineffable Essence Of Nothing.  A Fantasy for Radio.   A man walks through an enchanted doorway into his own future.Then Freedom USA starring Tyrone Power, originally broadcast April 13, 1952, 73 years ago, The Man Who Committed Suicide.  There is possible fraud and collusion in the "defense effort." Senator Dean Edwards is heading a Senate investigating committee to look into the matter. Followed by The CBS Radio Workshop, originally broadcast April 13, 1956, 69 years ago, Jacobs Hands. A story about a farm hand who discovers he has the power to heal. Christopher Isherwood, the co-author with Aldous Huxley, narrates the play with Vic Perrin and Virginia Gregg starring.Finally Lum and Abner, originally broadcast April 13, 1942, 83 years ago, Prize for Best Suggestion.  The boys decide the prize for the best suggestion of what to do with the $10,000 should go to old man Quincy; let's build a toll bridge in Pine Ridge!Thanks to Sean for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamFind the Family Fallout Shelter Booklet Here: https://www.survivorlibrary.com/library/the_family_fallout_shelter_1959.pdfhttps://wardomatic.blogspot.com/2006/11/fallout-shelter-handbook-1962.htmlAnd more about the Survive-all Fallout Sheltershttps://conelrad.blogspot.com/2010/09/mad-men-meet-mad-survive-all-shelter.html

I love the stories of individuals in D&C 30-36.  The one in D&C 34 with young Orson Pratt is relevant to anyone who is new to the faith and has just been called to serve, but is not sure what to share.If you'd like to view the video that goes with this podcast, click here

Section 30 - Historical Background: Following the second conference of the Church at Fayette, the Lord provided revelations to several new converts who were anxious to know what God would have them do. This revelation was to three of the Whitmer brothers, David, Peter Jr. and John. Recap: David Whitmer, one of the three witnesses, is admonished for fearing man more than God and for not giving heed to the Spirit. Therefore he is to remain home and ponder upon his situation. Peter is called on a mission to the Lamanites with Oliver Cowdery, who will be the senior in the companionship. John was called on a mission to declare the gospel within the area and was counselled not to fear man. Section 31 - Historical Background: Thomas B Marsh was a recent convert from Massachusetts who was baptized in August 1830 by David Whitmer. In September he attended the conference in Fayette and received this personal revelation from Joseph. Recap: The Lord is pleased with the dedication of Thomas B Marsh and he is promised blessings for him and his family. He is called on a mission to people whose hearts will be opened by God. Branches of the church will be established by Thomas. He is not assigned to a specific area but is to follow the Spirit where to go and preach. Section 32 - Historical Background: Parley P Pratt was a former minister who read the Book of Mormon and knew it was true. He was baptized in early September, 1830. He immediately went to his brother Orson who immediately accepted the gospel. Within a month Parley received this revelation along with Ziba Peterson. Recap: Parley was called on a mission to the Lamanites along with Oliver Cowdery and Peter Whitmer. Ziba Peterson was also called to join them. They are reassured that God will be in their midst. Section 33 - Historical Background: Ezra Thayre and Northrop Sweet were mediocre members and lacked in zeal, yet asked for this revelation pertaining to their purpose. Recap: Ezra and Northrop are called to preach. The Lord encourages them go forth and open their mouths. Faith, repentance, baptism by water and fire constitutes the rock of the restored church. They are to use the Book of Mormon as their manual. Section 34 - Historical Background: At the age of 19, Orson Pratt was introduced to the gospel by his brother Parley. He immediately embraced the doctrine and was baptized. He traveled to Fayette to meet the Prophet Joseph and received this revelation. Recap: Christ is a light which the wicked don't comprehend. Orson is called to preach to the wicked before Christ comes again, which will be quickly. Section 35 - Historical Background: Sidney Rigdon was a Baptist minister who became discouraged and moved to the Campbellite church. He was introduced to the Book of Mormon and after 2 weeks was baptized. After meeting Joseph he received this personal revelation, including the commandment to be Joseph's scribe. As a result of Sidney's fulfillment of this revelation, we have much of the recorded Doctrine and Covenants. Recap: Sidney Rigdon, like John the Baptist, has prepared the way for the Lord. God calls upon the weak and unlearned to respond to His call. The Lord testifies to Sidney of the prophetic calling of Joseph. Sidney is to watch over Joseph and support him. He is commanded to be Joseph's scribe and forsake him not. Section 36 - Historical Background: Edward Partridge arrived in Fayette with Sidney Rigdon and wanted to meet Joseph to decide for himself if he was a prophet. When Sidney introduced him the spirit immediately confirmed to Edward that Joseph was indeed a prophet of God. Edward desired immediate baptism but Joseph needed rest and baptized him the following day. Sidney asked Joseph for the Lord's guidance and the following revelation was given for Edward (see Section 35 for Sidney's revelation). Recap: Sidney Rigdon is instructed to lay hands upon Edward and confirm him a member and give him the gift of the Holy Ghost. Edward is then called to preach the Gospel, as are all those who desire to be sent forth with a singleness of heart.

This episode was originally released on 5/1/2018. While new episodes of Breaking Walls are on hiatus I'll be going back and posting the older episodes beginning with this episode on the birth of radio. ___________ In Breaking Walls Episode 79, we present a detailed look at Orson Welles' radio career through the end of 1941. Highlights: • Beginnings in Illinois and China — How they helped shape Orson • The Todd Seminary School — His first exposure to theater and Radio • Connections and Early Breaks — How his mentor Roger Hill, Thornton Wilder, Alexander Woollcott, and Katharine Cornell helped Orson get to Broadway • Orson meets John Houseman and Archibald MacLeish, and first appears on the March of Time • 1935-1937 — From the March of Time to the Columbia Workshop, and how Irvin Reis taught Orson how to create for radio • How the US Government shaped the opportunity for Orson to write, direct, and star in Les Misérables on the Mutual Broadcasting System in 1937
 • The Shadow Knows! — Agnes Moorehead and Orson Welles' one season on The Shadow • The birth of the Mercury Theater on the Air as First Person singular. • How it's success led to the most infamous night in radio in October of 1938 • Mainstream success with Campbell's Soups • Orson goes to Hollywood, and signs the greatest autonomous film contract in history at 24 • Citizen Kane — How William Randolph Hearst and RKO shaped the film • Lady Esther Presents — Orson comes back to radio in the autumn of 1941 • Pearl Harbor Day and collaborating with Norman Corwin • Joseph Cotton introduces Orson to Rita Hayworth The WallBreakers: http://thewallbreakers.com Subscribe to Breaking Walls everywhere you get your podcasts. To support the show: http://patreon.com/TheWallBreakers The reading material used in today's episode was: • Citizen Welles: A Biography of Orson Welles by Frank Brady • This is Orson Welles by Welles and Peter Bogdanovich • The Encyclopedia of Old-Time Radio by John Dunning • Discovering Orson Welles by Jonathan Rosenbaum Other materials included: • http://www.wellesnet.com - an incredibly comprehensive website on Orson's career • Orson Welles on the Air, 1938-1946 at https://orsonwelles.indiana.edu • The Radio Preservation Task Force also has a great Facebook group headed by Josh Shepperd Selected Interviews in this episode were: • Orson Welles with Dick Cavett, Johnny Carson, and Huw Wheldon, • Agnes Moorehead and Alan Reed were with radio Hall of Fame Member Chuck Schaden, who interviewed over 200 members of the radio community during his 39 year career. Chuck's interviews can be streamed for free at SpeakingofRadio.com. • William Robson was with Dick Bertel and Ed Corcoran for WTIC's The Golden Age of Radio in January of 1976 and Kenny Delmare was with John Dunning in 1983. Those interviews can be found at the Old Time Radio Researcher's Group at Otrrlibrary.org • William Herz was with Walden Hughes and John and Larry Gassman in 2013 for their program on the Yesterday USA Radio Network, which you can visit at http://www.yesterdayusa.com.