Podcast appearances and mentions of Patrick Dewaere

Il est bruxellois et commence une carrière dans le cinéma à l'âge de 13 ans, un peu par hasard et un peu malgré lui Un chemin qui démarre sur les chapeaux de roue avec le rôle de l'adolescent dans « Préparez vos mouchoirs » de Bertrand Blier avec Gérard Depardieu, Patrick Dewaere et Carole Laure. Quand les choses commencent aussi fort, c'est parfois difficile de faire retomber la pression. Aujourd'hui, il raconte son histoire dans un livre « La vedette du quartier », une histoire déjà racontée dans plusieurs spectacles…parce que le vécu est certainement le meilleur terreau pour partager un propos qui concerne tout le monde. Dans les Petits Papiers, il raconte sans rien éluder le succès et les désillusions, la poudre aux yeux et les addictions, la désintoxication et l'espoir. Il explique aussi les chemins qui se croisent et les amitiés comme celle qui l'a lié à Florent Pagny et Vanessa Paradis. Merci pour votre écoute Les petits Papiers c'est également en direct tous les dimanches de 17h à 18h sur www.rtbf.be/lapremiere Retrouvez tous les épisodes des petits Papiers sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/2332 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 : 00:59:03 - Toute une vie - On a dit de l'acteur Patrick Dewaere qu'il était un écorché vif, un funambule, un incompris, un grand brûlé… Mais une autre image ressort aussi, plus de quarante ans après son suicide, celle d'un antihéros, qui marqua durablement de son empreinte le cinéma français. - invités : Jean-Jacques Annaud Cinéaste; Marion Aubert Autrice de théâtre, comédienne; Myriam Boyer Comédienne, productrice, réalisatrice et scénariste; Rémi Fontanel Maître de conférences en études cinématographiques à l'université Lumière Lyon 2; Alexandre Moix Cinéaste; Sotha Réalisatrice, scénariste, comédienne et metteur en scène. Co-fondatrice du Café de la Gare

Il est 20h et vous êtes assis devant votre poste de télé. Dans les années 80, 20h, c'est l'heure du JT: le journal télévisé, la grand messe des informations. C'est LE moment pour des milliers de téléspectateurs. C'est surtout LE moment pour l'homme (ou la femme) tronc qui se trouve dans le poste.En 1981, juste après l'élection de François Mitterrand, il y a du changement sur Antenne 2 : le JT est présenté une semaine sur deux par... une femme. Christine Ockrent travaille avec Patrick Poivre d'Arvor. Mais entre la "Reine Christine" et "le petit prince de l'info" rien n'est simple...Les extraits entendus dans cet épisode sont issus de l'INA Election de Mitterrand https://www.youtube.com/watch?v=-hkD0nhYaNwPPDA 2/02/77 sur A2 https://www.youtube.com/watch?v=mBdFt7wf3dc1er JT de Christine Ockrent https://www.youtube.com/watch?v=_KguDoQoVtUDernier JT de PPDA sur A2 https://www.ina.fr/ina-eclaire-actu/video/cab00051234/antenne-2-le-journal-de-20h-emission-du-28-juillet-1983 (30 min) Christine Ockrent sur RTL https://www.youtube.com/watch?v=lPT2muh1A9Ihttps://www.youtube.com/watch?v=72b98kP7nPkOckrent annonce la mort de Louis de Funes, https://www.youtube.com/watch?v=Ru2jMm44jyYPPDA annonce la mort de Patrick Dewaere https://www.youtube.com/watch?v=PEj2Ezxt2lMInterview de Margaret Tatcher https://www.youtube.com/watch?v=biBjfNaSeIM le 20/11/84La guerre Ockrent/PPDA https://tvmag.lefigaro.fr/programme-tv/actu-tele/patrick-poivre-d-arvor-christine-ockrent-la-guerre-du-20-heures-20240501Le générique du podcast c'est toujours David Nilsson. Plus d'infos sur notre label Podcut et notre patreon : podcut.studio Merci pour vos contributions !Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

L'émission 28 Minutes du 22/03/2024 Ce vendredi, l'historien Pascal Blanchard, l'écrivain et philosophe Nathan Devers, la rédactrice en chef au “Point” Géraldine Woessner et le dessinateur Pascal Gros reviennent sur l'actualité de la semaine. Souvenez-vous : on est en octobre 2016, lors de la Fashion Week. La star de la téléréalité Kim Kardashian est de passage à Paris pour l'occasion. Alors qu'elle se trouve à l'hôtel, cinq voleurs séniors en gilet fluo forcent la porte de sa chambre, dérobent sa bague de fiançailles et une flopée de bijoux, puis repartent à vélo avec le butin de neuf millions d'euros. Le braquage improbable du siècle, la rencontre entre des gangsters pépères tout droit sortis des films de Michel Audiard et une influenceuse planétaire. C'est ce que raconte la journaliste indépendante Patricia Tourancheau dans son livre-enquête “Kim et les papys braqueurs. Main basse sur les bijoux de la Kardashian”. Elle est notre invitée. Retour sur deux actualités de la semaine : Brandir ou bannir le drapeau européen : tout un programme politique ? “C'est la France d'abord, l'Europe ensuite, le drapeau européen passera toujours au second plan”. Voilà les mots de Jordan Bardella, qui, lors de son premier meeting à Marseille, est apparu avec le seul drapeau tricolore. Un choix partagé par Manon Aubry de LFI, qui a décidé de se passer du drapeau bleu étoilé en meeting. Une façon de “rompre” avec l'Europe telle qu'elle est aujourd'hui : “Le drapeau européen, ça a un sens historique. J'assume de dire qu'il faut rompre avec le tout austérité, avec les accords de libre-échange (...) J'assume de dire que ces dogmes-là conduisent au chaos”. Quel est le poids politique et symbolique de cette absence du drapeau européen ? Les émissions de CO2 ont baissé de 4,8 % en France en 2023 : cocorico ? C'est un chiffre dont le gouvernement se félicite : il représente une baisse deux fois plus importante qu'en 2022 (-2,7 %), et la plus forte diminution annuelle depuis 2015. Tous les secteurs sont concernés par cette baisse : l'énergie grâce à la montée en puissance du nucléaire, l'industrie avec le recul de la production, et les transports avec le recul des voitures diesel et la montée de l'électrique… Pour Christophe Béchu, ministre de la Transition écologique, “c'est la preuve que la planification écologique commence à produire des effets” mais pour certaines ONG, ce serait davantage liée à une sobriété “non choisie”, et à une baisse des émissions de CO2 “subie”. Faut-il crier victoire ? Ou cette baisse de 4,8 % est-elle encore trop faible ? Dans son duel de la semaine, Frédéric Says oppose le ministre de l'Agriculture Marc Fesneau à la sénatrice Cécile Cukierman. Cinq ans après son adoption à l'Assemblée, l'accord de libre-échange CETA avec le Canada va être voté au Sénat. Un vote négatif serait un coup dur pour le gouvernement, en pleine campagne des européennes et en pleine crise agricole. La une du "Gorafi" ? Une photo générée par intelligence artificielle ? Oui, l'ancien ministre de la Santé Olivier Véran souhaite se reconvertir à la chirurgie esthétique et Emmanuel Macron s'essaye effectivement à la boxe. Deux nouvelles qui n'ont pas manqué d'amuser les internautes, nous raconte Alix Van Pée ! “On n'est pas bien ? paisibles, à la fraîche, décontractés du gland... et on bandera quand on aura envie de bander.” En 1974, Gérard Depardieu et Patrick Dewaere se donnaient la réplique, en inoubliable duo du film de Bertrand Blier “Les Valseuses”, qui fête ses cinquante ans cette année. Une œuvre autant mythique que problématique, tant elle regorge de scènes et de dialogues sexistes et violents. Un tel film pourrait-il sortir aujourd'hui ? Claude Askolovitch se le demande. Notre Une internationale est celle du quotidien suédois “Svenska Dagbladet”, qui titrait lundi : “Tout le monde sait qu'il va gagner” à propos de la prochaine élection présidentielle russe. Pas moins de vingt-deux millions de faux bulletins auraient été comptabilisés pour permettre à Vladimir Poutine d'obtenir une réélection “record” selon Golos, une ONG spécialisée dans la défense des droits des électeurs. Une élection truquée mais le chef du Kremlin renforcé ? Retrouvez enfin les photos de la semaine sélectionnées avec soin par nos clubistes et la Dérive des continents de Benoît Forgeard ! Enregistrement : 22 mars 2024 - Présentation : Renaud Dély - Production : KM, ARTE Radio

Fraîchement désigné par l'équipe d'ActuaBD comme "album de l'année 2023", Une Nuit avec toi (Glénat), polar féministe prenant, envoûtant, oppressant, invite à réfléchir. Son autrice, Maran Hrachyan, signe ici son premier album en tant qu'autrice "complète." Retour sur les circonstances de sa création. Maran Hrachyan, jeune autrice franco-arménienne arrive dans l'hexagone pour faire ses études à Angoulême, ville qu'elle n'a depuis pas quittée. Après son premier album, un étonnant biopic sur Patrick Dewaere dont elle réalise le dessin sur un scénario de Laurent-Frédéric Bollée aux éditions Glénat, Maran Hrachyan signe chez le même éditeur son premier album en solo. Avec Une Nuit avec toi, elle explore un tout autre registre que le biopic du célèbre acteur de cinéma. Elle place beaucoup d'elle-même dans un récit aux acccents très contemporains qui explore les noirceurs de l'âme humaine. Avec beaucoup de finesse, mais surtout une grande justesse, Maran Hrachyan décrit, dans un polar habilement ficelé, une facette de la condition féminine, son insécurité quotidienne, la pression sociale. Une Nuit avec toi, c'est un thriller qui embarque le lecteur dans une spirale infernale, marquée par une profonde panique, jusqu'à la paranoïa. Pour appréhender, comprendre, décortiquer ou apprécier au mieux le récit élu album de l'année par la rédaction d'Actuabd en 2023, son autrice Maran Hrachyan nous en donne les clefs. Une interview de Kelian Nguyen — Une production d'ActuaBD.com - Montage : Marguerite Valière — Photo : Kelian NGuyen - Song : We March Together — Courtesy of Patrick Patrikios — Youtube Audio Library SI VOUS AVEZ AIMÉ, LIKEZ, PARTAGEZ ET ABONNEZ-VOUS !!!

Allez Tricamp! Guillaume Canet, Francis Veber et Jean Veber mettent le podcast au fond du filet avec "Coup de tête", 1979, réalisé par Jean-Jacques Annaud, starring le grand Patrick Dewaere! SVP likez, partagez, commentez, followez et abonnez-vous partout où vous écoutez le podcast + Pour regarder la fantastique vidéo du podcast par Romain Lehnhoff, rendez-vous sur la chaine Youtube d'abracadaPod et n'oubliez pas de liker et de souscrire à la chaine, merci.

durée : 00:59:03 - Toute une vie - On a dit de l'acteur Patrick Dewaere qu'il était un écorché vif, un funambule, un incompris, un grand brûlé… Mais une autre image ressort aussi, plus de quarante ans après son suicide, celle d'un antihéros, qui marqua durablement de son empreinte le cinéma français. - invités : Jean-Jacques Annaud Cinéaste; Marion Aubert Autrice de théâtre, comédienne; Myriam Boyer Comédienne, productrice, réalisatrice et scénariste; Rémi Fontanel Maître de conférences en études cinématographiques à l'université Lumière Lyon 2; Alexandre Moix Cinéaste; Sotha Réalisatrice, scénariste, comédienne et metteur en scène. Co-fondatrice du Café de la Gare

D'origine arménienne et installée depuis plusieurs années à Angoulême, Maran Hrachyan publie dans quelques jours chez Glénat sa première Bande Dessinée comme dessinatrice et scénariste. Un polar féministe titré "une nuit avec toi". Il y a deux ans, elle dessinait la biographie de Patrick Dewaere dans une BD scénarisée par Laurent-Frédéric Bollée. L'occasion de rencontrer cette jeune artiste diplômée en 2020 et qui n'a pas finit de nous surprendre.

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.

Retour sur l'excellent « Coup de Tête » de Jean-Jacques Annaud, sorti le 14 février 1979 et qui offrit à Patrick Dewaere, l'un des rôles les plus marquants de sa carrière.Un film qui ne connut pas une genèse facile, ni un véritable triomphe lors de sa sortie en salles. Mais c'est finalement grâce à ses nombreuses diffusions à la télévision que « Coup de Tête » obtiendra le statut de film culte et trouvera enfin la place qu'il mérite dans les classements des meilleurs films français des années 70.

Résumé : Le nom d'Alain Jessua n'est pas très connu du grand public et pourtant il fut l'un des rares cinéastes en France à oser aborder le cinéma d'anticipation, parfois à la lisière du fantastique. C'est un réalisateur prémonitoire et intuitif dont la majorité des films a traité de thèmes qui font toujours l'actualité : l'obsession du tout sécuritaire, l'exploitation des travailleurs immigrés, la société du spectacle, la peur de vieillir. Le cinéma de Jessua est aussi peuplé des grandes stars des années 70 et 80 : Alain Delon, Annie Girardot, Patrick Dewaere, Gérard Depardieu, Jean Yanne. À l'occasion de la sortie en Blu-ray de Traitement de Choc et Armaguedon dans la collection « Mes années 70 » éditée par Studiocanal, Antoine Jullien vous raconte ce cinéaste iconoclaste et ambitieux. Musiques : Bande originale du film Frankenstein 90 composée par Armando Trovajoli Bande originale du film Traitement de choc composée par René Koering Bande originale du film Armarguedon composée par Astor Piazzolla

On est à la fin de l'année 1982, Renaud a 30 ans, il est marié et vient d'avoir sa fille Lolita. Il aspire à une vie tranquille, incompatible avec sa célébrité. Il décide alors de faire comme une de ses idoles Jacques Brel : prendre le large sur bateau. Lors d'un dîner chez lui, il parle de ce projet à l'une de ses meilleures amies, Dominique Lavanant. Il l'a rencontrée quand, avant de devenir chanteur, il rêvait d'être comédien et jouait dans les cafés-théâtres avec Coluche, Patrick Dewaere et Gérard Lanvin. Renaud explique à Dominique qu'il a fait construire une goélette de 14 mètres baptisée le Makhnovtchina, en hommage au mouvement révolutionnaire paysan ukrainien en 1917. La comédienne lui parle alors du drame qu'elle a connu quand elle avait l'âge de Lolita, 2 ans. Tous les jours à 6h50 sur RTL, Florian Gazan révèle une histoire insolite et surprenante, liée à l'actualité.

Stéphane Bern, entouré de ses chroniqueurs historiquement drôles et parfaitement informés, s'amuse avec l'Histoire – la grande, la petite, la moyenne… - et retrace les destins extraordinaires de personnalités qui n'auraient jamais pu se croiser, pour deux heures où le savoir et l'humour avancent main dans la main. Aujourd'hui, Patrick Dewaere. 

Stéphane Bern, entouré de ses chroniqueurs historiquement drôles et parfaitement informés, s'amuse avec l'Histoire – la grande, la petite, la moyenne… - et retrace les destins extraordinaires de personnalités qui n'auraient jamais pu se croiser, pour deux heures où le savoir et l'humour avancent main dans la main. Aujourd'hui, Patrick Dewaere. 

durée : 00:14:52 - Le monde d'Elodie - par : Elodie SUIGO - Tous les jours, une personnalité s'invite dans le monde d'Élodie Suigo. Toutes cette semaine, c'est l'auteur, compositeur et interprète, Louis Chedid qui évoque cinq moments de sa vie au travers de cinq de ses chansons les plus emblématiques. Il vient de sortir avec Yvan Cassar un nouvel album "En noires et blanches" et nous offre quelques concerts à partir du mois de janvier 2023.

Ciné-Buddies#59 : Le réalisateur de l'excellent documentaire "Patrick Dewaere, mon héros", Alexandre Moix et le podcasteur Jean Veber partent sur les traces du grand Patrick Dewaere et d'un de ses rôles phares, Frank Poupart dans "Série Noire" d'Alain Corneau (1979), SVP likez, partagez, commentez, followez et abonnez-vous partout, merci.

Les Valseuses, Série noire, Coup de tête... La filmographie de Patrick Dewaere comprend quelques unes des plus belles pépites du cinéma des années 70-80. Alors que l'acteur est dans l'actualité avec la diffusion récente du documentaire "Patrick Dewaere mon héros" réalisé par Alexandre Moix, sur France 5 (et disponible en replay sur France.tv), retrouvez les incontournables d'une riche carrière d'une trentaine de films. Découvrez notre hommage Patrick Dewaere, avec le nouvel épisode de notre podcast "3 films". En juillet dernier, nous avons commémoré les 40 ans de la mort de l'acteur.N'hésitez pas à partager, noter, commenter l'émission et suivre AlloCiné Podcasts. Elle est disponible sur Deezer, Spotify, Apple Podcasts. Crédits :Crédits : • Journaliste - présentatrice : Brigitte Baronnet• Journalistes - chroniqueurs : Vincent Garnier, Guillaume Martin, Corentin Palanchini• Réalisation : Raphaël GarciaLe documentaire "Patrick Dewaere mon héros", est raconté, pour la première fois, par sa fille Lola Dewaere, évoquant ainsi ce père disparu trop tôt. Elle révèle le vrai Patrick Dewaere et répond aux questions qui entourent le mystère de sa mort. Le documentaire retrace le parcours chaotique d'un homme meurtri par une enfance tragique. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Stéphane Bern, entouré de ses chroniqueurs historiquement drôles et parfaitement informés, s'amuse avec l'Histoire – la grande, la petite, la moyenne… - et retrace les destins extraordinaires de personnalités qui n'auraient jamais pu se croiser, pour deux heures où le savoir et l'humour avancent main dans la main. Aujourd'hui, Patrick Dewaere.

Isabelle Morini-Bosc a été émue par le documentaire que France 3 consacre au comédien Patrick Dewaere, diffusé ce vendredi soir. Ce comédien survolté aux yeux de biche s'est suicidé en 1982 à l'âge de 35 ans avec le fusil que lui avait offert Coluche. C'était un garçon "pas doué pour le bonheur mais il avait des excuses" : rejeté par ses parents, violenté, puis vendu à la télévision par sa mère qui lui a escroqué son argent. Le plus de ce documentaire c'est qu'il est raconté par sa fille Lola Dewaere. Rien n'est caché, rien n'est accentué, il faut parfois lire entre les lignes. L'archive la plus sidérante est familiale : il est interviewé avec sa fratrie alors qu'il a 15 ans.

Acteur incontournable du cinéma français des années 1970, Patrick Dewaere a subitement rendu l'âme, le 16 juillet 1982. Tout juste âgé de 35 ans, la vedette avait en fait recouru au suicide pour mettre un terme à de nombreux tourments. Learn more about your ad choices. Visit megaphone.fm/adchoices

Gay homosexuals Nick and Joseph discuss Going Places - a 1974 French film co-written and directed by Bertrand Blier, and based on his own novel. Its original title is Les Valseuses and stars Miou-Miou, Gérard Depardieu and Patrick Dewaere.. Additional topics include: Rupaul's Drag Race All Stars Season 7, Top July Releases, the Venice Film Festival, the deaths of Paul Sorvino, Ronnie Cox, Mary Alice, Bernard Cribbins, David Warner, Bill Russell, and too many films to mention. Want to send them stuff? Fish Jelly PO Box 461752 Los Angeles, CA 90046 Venmo @fishjelly Nick's Apple Music playlist: https://music.apple.com/us/playlist/lamour-de-nico/pl.u-PDb4zlpsLVrvqE1 Joseph's Apple Music playlist: https://music.apple.com/us/playlist/josephs-vibe/pl.u-6mo448yuBWzNE1 Check them out on YouTube: https://www.youtube.com/channel/UChVV6ezEYnPv9XaLZtUlZdw Nick's IG: ragingbells Joseph's IG: joroyolo --- Support this podcast: https://anchor.fm/fish-jelly/support

A l'occasion du 40e anniversaire de la mort de Patrick Dewaere, survenue le 16 juillet 1982, AlloCiné vous propose un podcast autour de ses incontournables + 3 pépites à (re)découvrir en bonus. Les Valseuses, Série noire, Coup de tête... La filmographie de Patrick Dewaere comprend quelques unes des plus belles pépites du cinéma des années 70-80. En ce mois de juillet 2022, nous commémorons les 40 ans de sa mort. Cet immense acteur, mort à seulement 35 ans, est toujours autant énormément salué et cité en modèle par ses pairs. Nous avons retenu pour vous les incontournables d'une riche carrière d'une trentaine de films. Découvrez notre hommage Patrick Dewaere, avec le nouvel épisode de notre podcast "3 films".N'hésitez pas à partager, noter, commenter l'émission et suivre AlloCiné Podcasts. Elle est disponible sur Deezer, Spotify, Apple Podcasts.Crédits :• Journaliste - présentatrice : Brigitte Baronnet• Journalistes - chroniqueurs : Vincent Garnier, Guillaume Martin, Corentin Palanchini• Réalisation : Raphaël Garcia Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Dans Pop culture, Mathieu Alterman raconte chaque week-end l'actualité qui fait du bien aux yeux, au cœur et aux oreilles.

durée : 00:56:32 - Certains l'aiment Fip - Quarante ans après sa disparition, nous célébrons l'acteur surdoué et écorché avec une balade en musique dans sa filmographie.

Le 16 juillet marquera le 40ème anniversaire du décès de Patrick Dewaere. Vincent Perrot lui rend hommage avec celui qui fut son ami intime, l'ancien rédacteur en chef de Première, le cinéaste Marc Esposito. Ecoutez RTL Pop Ciné avec Vincent Perrot du 04 juin 2022

Le 16 juillet marquera le 40ème anniversaire du décès de Patrick Dewaere. Vincent Perrot lui rend hommage avec celui qui fut son ami intime, l'ancien rédacteur en chef de Première, le cinéaste Marc Esposito. Ecoutez RTL Pop Ciné avec Vincent Perrot du 04 juin 2022

durée : 00:54:45 - Affaires sensibles - par : Fabrice Drouelle - En à peine quinze ans et une trentaine de films, l'acteur s'est imposé comme l'un des plus brillants de sa génération. Tour à tour voyou, flic, paumé, juge ou footballeur, il marque de son empreinte les films dans lesquels il joue. Jusqu'à se confondre totalement avec eux.

Invité : Johan Chiaramonte Au programme de cette année 1979 :  L'événement Alien : Space Horror et révolution esthétique. 40 ans de xénomorphes : bilan et futur de la franchise Alien. Série Noire, Coup de tête... La grande année de Patrick Dewaere. Manhattan de Woody Allen, ou une thérapie de l'Amérique. Tour du monde : Le cavalier électrique (Sidney Pollack), Le Chateau de Cagliostro (Hayao Miyazaki).

‘'Vivre vite et mourir jeune'', cela aurait pu e^tre son mantra. Ecorche´, animal, un besoin éperdu de liberté et une sensibilité a` fleur de peau qui puisaient leurs racines dans une profonde blessure d'enfance, Patrick Dewaere s'est suicide´ en 1982 a` l'âge de 35 ans. Immersion dans une vie hors cadre, en re´cit et archives e´clairantes autant qu'e´bouriffantes. --- Olivier Monssens poursuit son exploration des mouvements, personnalités et phénomènes libertaires, contre-culturels ou de contestation (au sens large) qui ont tenté de changer le cours des choses et ont parfois apporté de vraies révolutions dans les idées, la société, la vie, abordés par thèmes illustrés d'archives belges et internationales. Il sillonnera désormais toutes les époques : celles qui furent le creuset de tant d'utopies toujours, mais aussi les années 80, 90 et jusqu'à aujourd'hui. Le samedi entre midi et 13h sur Classic 21. --- ''Radio Caroline'' avec Olivier Monssens de midi à 13h tous les samedis sur Classic 21.

‘’Vivre vite et mourir jeune’’, cela aurait pu e^tre son mantra. Ecorche´, animal, un besoin éperdu de liberté et une sensibilité a` fleur de peau qui puisaient leurs racines dans une profonde blessure d’enfance, Patrick Dewaere s’est suicide´ en 1982 a` l'âge de 35 ans. Immersion dans une vie hors cadre, en re´cit et archives e´clairantes autant qu’e´bouriffantes. --- Olivier Monssens poursuit son exploration des mouvements, personnalités et phénomènes libertaires, contre-culturels ou de contestation (au sens large) qui ont tenté de changer le cours des choses et ont parfois apporté de vraies révolutions dans les idées, la société, la vie, abordés par thèmes illustrés d'archives belges et internationales. Il sillonnera désormais toutes les époques : celles qui furent le creuset de tant d’utopies toujours, mais aussi les années 80, 90 et jusqu’à aujourd’hui. Le samedi entre midi et 13h sur Classic 21. --- ''Radio Caroline'' avec Olivier Monssens de midi à 13h tous les samedis sur Classic 21.

Cette semaine, parole à un joueur hybride : qui joue aussi bien à XV qu'à VII : Julien Jané.Pour tout vous avouer, je ne connais pas l'homme mais plutôt le joueur que j'ai vu évoluer sous les couleurs de la France à VII mais aussi à Béziers où il fait ses débuts. Passé par le Racing, puis a Bayonne, c'est à Agen qu'il joue actuellement. Un club dernier de la classe du Top 14 dont il va nous raconter cette saison particulière qui va l'amener à retrouver la ProD2 en fin d'exercice.Ce que j'ai pu ressentir de l'homme sur le terrain, et des échos que j'ai eu de quelques amis qui l'ont côtoyé, c'est le bon mec par excellence ! Physiquement, c'est un peu le Patrick Dewaere du rugby français et c'est le genre de type qu'il faut avoir dans son équipe. Celui au fond du bus, bien installé au milieu de ses potes à faire le con !D'ailleurs, il nous parlera peut-être de son jeu de jambes et de sa preparation physique bossés en équipe avec ses acolytes Mazoue, Deniau et Saubade au piano bar "Les 3 maillets". Gros danseur m'a-t-on dit ! Julien Jané, c'est 91 sélections avec la France à VII, un titre de ProD2 avec Bayonne en 2019 et c'est surtout un joueur d'expérience qui va nous parler de son parcours, de son histoire de rugbyman à travers la France et le monde et de son rugby.Bienvenue dans Poulain Raffûte !Emission concoctée par Raphaël Poulain, raffûteur en chef, et Arnaud Beurdeley, journaliste reporter au Midi OlympiqueProduite et réalisée par Sébastien Petit, journaliste digital Eurosport Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

L'équipe de Tales From The Click accompagnée de ses invités vous fait vivre leurs anecdotes autour d'un film culte à voir ou à revoir. Un podcast de We Love Cinema à retrouver un jeudi sur deux.Dans cet épisode, Jean-Baptiste Toussaint, Guillaume Brouzes et Aurélien Chapuis reçoivent Stéphane Lerouge pour parler des Valseuses, film de Bertrand Blier controversé à sa sortie mais qui a permis à Gérard Depardieu, Miou-Miou et Patrick Dewaere d'accéder à la notoriété. Retrouvez l’équipe sur Twitter : Tales From The ClickGuillaume BrouzesAurélien Chapuis.Retrouvez We Love TFTC sur : We Love CinemaApple PodcastSpotify DeezerGoogle PodcastYouTubeAcastEn RSSRetrouvez les références de ce podcast sur WeLoveCinema.fr We Love TFTC est un podcast de We Love Cinema proposé et enregistré par Goom le 19 avril 2021. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Retour en musique sur l'année 1982. En 1982, Sony et Philips annoncent le lancement d'un nouveau support numérique à haute capacité permettant de stocker de la musique, le CD audio, ou de stocker des données informatiques, le CDRom. La première production industrielle de CD fut lancée dans l'usine de Philips en Allemagne, le 17 août 1982. Le 21 juin 82, Jack Lang, alors ministre de la Culture, décide de lancer la première Fête de la musique 82 est l’année de la sortie de Blade Runner de Ridley Scott et de Mad Max de Georges Miller. C'est aussi l'année des disparitions de de Romy Scheinder, de Patrick Dewaere, d'Henry Fonda, de Jacques Tati et de Glenn Gloud. Bad Brains/Big Take Over Cocteau Twins/But I'm Not Nina Hagen/Born In Xixax Devo/Thats Good Discharge/Hear Nothing See Nothing Say Nothing The Cure/Cold The Fall/Winter 2 Flipper/Life Is Cheap M.D.C./John Wayne Was A Nazi Virgin Prunes/Ballad Of The Man Sisters of Mercy/Alice Fear/I Love Livin' In The City

C'est la journée sans téléphone portable ? on le célèbre au cinéma ! On va aussi découvrir que la bande dessinée et le cinéma, c'est une grande histoire d'amour et le réalisateur Marc Esposito reviendra sur la carrière de Patrick Dewaere au micro de Vincent Perrot

- Les ventes en librairie des aventures d'Arsène Lupin s'envolent dans la foulée du succès de la série avec Omar Sy sur Netflix. Retour avec Bernard Lehut sur la genèse et le mythe du gentleman cambrioleur. - Cinq des plus grands films de Claude Sautet sont à voir ou revoir sur Netflix. Plongée dans l'œuvre du cinéaste de "César et Rosalie" avec Stéphane Boudsocq. - La bande dessinée "Patrick Dewaere : À part ça la vie est belle" nous montre le personnage insaisissable qu'était cet acteur d'exception. C'est le choix de Monique Younès. - Les programmes télé de ce lundi soir avec Isabelle Morini Bosc.

La bande dessinée "Patrick Dewaere, À part ça la vie est belle" nous montre le personnage insaisissable qu'était cet acteur d'exception.

Cette année 2021, commence sans cinéma dans les salles. Presque 3 mois maintenant, comme une éternité, et ça nous manque énormément ! Soutien à tout le milieu culturel et vivement bientôt les jours meilleurs ! On continue toutefois de faire l’émission car les infos cinémas existent encore et on ne sait faire que cela, parler […] L’article Plan Séquence|ITW LF Bollé pour Patrick Dewaere “A part ça, la vie est belle” / Never rarely sometimes always / Mank est apparu en premier sur Radio Campus Tours - 99.5 FM.

Dewaere en bande dessinée, la courte vie de ce comédien majeur des années 1970 en France. Pari réussi avec ces épisodes qui croisent les époques, et un dessin profond et sensible. Par Laurent-Frédéric Bollée, déjà auteur de 50 albums au scénario, et lʹArménienne Maran Hrachyan, qui réalise à 27 ans son premier album, avec le challenge ardu de représenter des personnes ayant existé. "Patrick Dewaere - A part ça la vie est belle ", LF Bollée et Maran Hrachyan, éditions Glénat Laurent-Frédéric Bollée et Maran Hrachyan sont les invités dʹAnne-Laure Gannac

Direction cinéma, sur les traces d’un monstre sacré parti trop tôt. Si je vous dis ''Les Valseuses'', film culte de Bertrand Blier, vous pensez immédiatement à Depardieu et à sa réplique tout aussi culte : " On n’est pas bien, là, tous les deux, décontractés du gland ? " Ou peut-être ce film évoque-t-il pour vous la révélation du talent de Miou-Miou. A moins que vous ne pensiez au troisième lascar du trio : Patrick Dewaere – nous dirons " Devère ", comme nos amis français, car ce nom à la consonance belge, l’acteur l’a inventé de toutes pièces, il ne l’a jamais porté ailleurs qu’au cinéma. --- Thierry Bellefroid évoque le 9éme art, la Bande Dessinée, avec les sorties et les rééditions. Passezdu bon temps, un album à la main, le mercredi à 13h45 dans Lunch Around The Clock.

Direction cinéma, sur les traces d’un monstre sacré parti trop tôt. Si je vous dis ''Les Valseuses'', film culte de Bertrand Blier, vous pensez immédiatement à Depardieu et à sa réplique tout aussi culte : " On n’est pas bien, là, tous les deux, décontractés du gland ? " Ou peut-être ce film évoque-t-il pour vous la révélation du talent de Miou-Miou. A moins que vous ne pensiez au troisième lascar du trio : Patrick Dewaere – nous dirons " Devère ", comme nos amis français, car ce nom à la consonance belge, l’acteur l’a inventé de toutes pièces, il ne l’a jamais porté ailleurs qu’au cinéma. --- Thierry Bellefroid évoque le 9éme art, la Bande Dessinée, avec les sorties et les rééditions. Passezdu bon temps, un album à la main, le mercredi à 13h45 dans Lunch Around The Clock.

Dans le 75e épisode du podcast Le bulleur, on vous présente la bande dessinée 1984 de Xavier Coste, adaptée du roman de Georges Orwell éditée chez Sarbacane. Cette semaine aussi, on revient sur l’actualité de la bande dessinée et des sorties avec : - La sortie de l'album Et on tuera tous les affreux, roman de Vernon Sullivan adapté par Jean-David Morvan au scénario et Ignacio Noé au dessin et édité chez Glénat - La sortie du premier tome de la série La part de l'ombre, intitulé Tuer Hitler, que l'on doit au scénario de Pat Perna et au dessin de Francisco Ruzige et c'est édité chez Glénat - La sortie de l'intégrale du Guide du mauvais père que l'on doit à Guy Delisle que l'on doit aux éditions Delcourt dans la collection Shampoing - La sortie de l'album Le jardin, Paris, one shot que l'on doit à Gaëlle Geniller et aux éditions Delcourt - La sortie de l'album Patrick Dewaere, album que l'on doit à Laurent-Frédéric Bollée pour le scénario et Maran Hrachyan pour le dessin et c'est édité chez Glénat dans la collection 9 1/2 - La sortie de l'album Les indésirables, one shot que l'on doit à Kiku Hugues et qui est édité chez Rue de Sèvres

La vie et la carrière du comédien Patrick Dewaere. --- Olivier Monssens poursuit son exploration des mouvements, personnalités et phénomènes libertaires, contre-culturels ou de contestation (au sens large) qui ont tenté de changer le cours des choses et ont parfois apporté de vraies révolutions dans les idées, la société, la vie, abordés par thèmes illustrés d'archives belges et internationales. Il sillonnera désormais toutes les époques : celles qui furent le creuset de tant d’utopies toujours, mais aussi les années 80, 90 et jusqu’à aujourd’hui. Le samedi entre midi et 13h sur Classic 21. --- ''Radio Caroline'' avec Olivier Monssens de midi à 13h tous les samedis sur Classic 21.

Rafael Wolf nous invite à voir ou revoir le dernier film de Patrick Dewaere sorti en 82 juste après son suicide, une œuvre radicale dʹAlain Jessua pour fustiger la nécessité dʹun bonheur absolu. Un film à lʹhumour noir mais brillant dʹintelligence, à savourer sur Arte.tv.

Pour ce 1er épisode de notre format court, "Retour à l'Écran Express", on remet en lumière l'excellent thriller politico-financier de Henri Verneuil avec Patrick Dewaere, Mel Ferrer, Charles Denner et beaucoup d'autres. Un film toujours terriblement d'actualité.La Bande Annonce Française : https://www.youtube.com/watch?v=1sXRTLjK7qc.Le film est disponible en DVD : https://www.fnac.com/a9889326/Mille-milliards-de-dollars-DVD-Patrick-Dewaere-DVD-Zone-2#omnsearchpos=1.

         Pour le démarrage de sa deuxième saison, le podcast ciné « Tu L’As Vu ? », et son trio Gravlax - Papa(Gubi)da – Casa, vous propose de commencer en fanfare avec le premier des cinq épisodes gourmands et croquants consacrés à notre Gégé national, Gérard Depardieu. Ici, on parle des Gégé Origins à travers 5 de ses films de la décennie 1970.          Ici, les films traités sont : - 8’30 ( Casa ) : « Les Valseuses » de Bertrand Blier ( 1974 ) http://www.allocine.fr/film/fichefilm_gen_cfilm=324.html - 34’20 ( Gravlax ) : « Maîtresse » de Barbet Schroeder ( 1976 ) http://www.allocine.fr/film/fichefilm_gen_cfilm=1370.html - 52’45 ( Gubi ) : « Dites-lui que je l’aime » de Claude Miller ( 1977 ) http://www.allocine.fr/film/fichefilm_gen_cfilm=6545.html - 1h11m45s ( Gravlax ) : « Les Chiens » d’Alain Jessua ( 1979 ) http://www.allocine.fr/film/fichefilm_gen_cfilm=8573.html - 1h23m50s ( Casa et Gubi ) : « Préparez vos mouchoirs » de Bertrand Blier ( 1978 ) http://www.allocine.fr/film/fichefilm_gen_cfilm=4914.html Recommandations ( durant l’épisode ) : - « Sur la route » de Walter Salles ( 2012 ) http://www.allocine.fr/film/fichefilm_gen_cfilm=181593.html - « Jesus Rolls » de John Turturro ( 2019 ) www.allocine.fr/film/fichefilm_gen_cfilm=249551.html - « Crash » de David Cronenberg ( 1996 ) http://www.allocine.fr/film/fichefilm_gen_cfilm=15119.html - “Sick : The Life and Death of Bob Flanagan, Supermasochist” ( 1997 ) http://www.allocine.fr/film/fichefilm_gen_cfilm=17861.html - « Sur la route de Madison » de Clint Eastwood ( 1995 ) http://www.allocine.fr/film/fichefilm_gen_cfilm=12994.html - « Baxter » de Jérôme Boivin ( 1989 ) http://www.allocine.fr/film/fichefilm_gen_cfilm=4412.html Autres films de Gérard Depardieu évoqués : - « Sept morts sur ordonnance » de Jacques Rouffio ( 1975 ) http://www.allocine.fr/film/fichefilm_gen_cfilm=30430.html - « 1900 » de Bernardo Bertolucci ( 1976 ) http://www.allocine.fr/film/fichefilm_gen_cfilm=2861.html http://www.allocine.fr/film/fichefilm_gen_cfilm=273447.html - « Barocco » d’André Téchiné ( 1976 ) http://www.allocine.fr/film/fichefilm_gen_cfilm=3827.html - « Le Camion » de Marguerite Duras ( 1977 ) http://www.allocine.fr/film/fichefilm_gen_cfilm=2351.html Musique diffusée durant l’épisode : - Générique "Loud Pop" ( Gravlax ) - Stéphane Grappelli : « Ballade » / « Rolls » / « Poursuite » / « Jeanne »  - Neon Beach “How Do I Say This” - Carlos d’Alessio : “Maîtresse” / “India Song" / « Wonderful Marie » / « Frangie » / « Louise » - Mozart « Sonate pour piano n°16, K 545 » - Schubert « Fantaisie en fa mineur, Opus 103, D. 940 » - Dominique Laffin et Gérard Depardieu « Dites-lui que je l’aime » - René Koering « Les Chiens » - Christophe Deschamps « Smooth Criminals » - Anselm Kreuzer « Cool Concentration » - Georges Delerue « Bande originale de Préparez vos mouchoirs » - Philippe Sarde « Barocco générique » - Marie-France Garcia « On se voit se voir » - Marc Hillman et Patrick Roffe “Baxter Theme” - Gérard Depardieu « OK Cafard » Bonus :  - La vidéo de Tales From The Click sur Gérard Depardieu :  https://www.youtube.com/watch?v=ATwswhOCsnY NDLR : Gravlax s’est trompé à 4 reprises : - Lors du passage sur « Maîtresse », il évoque comme inspiration de Barbet Schroeder « Le sang des bêtes » de Georges Franju ( 1948 ), et non pas « Seules les bêtes » de Dominik Moll ( 2019 ) qu’il a au passage fortement apprécié également ; - Le Blu-ray de "Baxter" est certes bien sorti chez StudioCanal mais pas dans la collection "Make My Day" ; - Pour « Barocco » ( 1976 ), le film a beaucoup des Césars et non des Oscars ; - Et le compositeur est bien PHILIPPE Sarde ( et non Alain, son frère, célèbre producteur ). Lien Twitter du podcast : https://twitter.com/TLVPodcast Page Facebook du podcast : https://www.facebook.com/M.Gravlax/  Page du podcast : https://podcast.ausha.co/tu-l-as-vu

durée : 00:52:59 - Affaires sensibles - par : Fabrice Drouelle - Dans "Affaires Sensibles », retour sur un acteur et comédien qui, en à peine quinze ans de carrière et une trentaine de films, aura marqué toute une génération, Patrick Dewaere. L’invité de Fabrice Drouelle est Thomas Baurez.

Le meilleur acteur de sa génération , du café de la gare aux valseuses , en passant par série noire , coup de tête et f comme Fairbanks

30 minutes en balade dans Paris avec Rémi, la tête pensante de Carambolage, réincarnation eighties des rennais de Kaviar Special. L'occasion de rentrer dans l'univers du groupe, qui mêle une imagerie de gentil blouson noirs avec une musique punk exploitation façon Plastic Bertrand et Starshooter, et qui cite Rohmer, Patrick Dewaere et Jean-Pierre Marielle... Dans ce podcast vous apprendrez entre autres : Qui étaient les Starshooter, un sympathique groupe français qui fleure bon les années 80 et les photos sépia Que les soupeurs, ceux qui trempent du pain dans les urinoirs, existent vraiment, si si je vous jure Ce qu'est la vague punk Oi! Bonne écoute ! Et n'oubliez pas de mettre des étoiles sur iTunes si vous avez aimé. Aussi, Hors Piste fait désormais partie du label podcut ! Si vous nous aimez et que vous voulez nous aider, le patreon est disponible à cette adresse : https://www.patreon.com/podcut . Bisous !

30 minutes en balade dans Paris avec Rémi, la tête pensante de Carambolage, réincarnation eighties des rennais de Kaviar Special. L'occasion de rentrer dans l'univers du groupe, qui mêle une imagerie de gentil blouson noirs avec une musique punk exploitation façon Plastic Bertrand et Starshooter, et qui cite Rohmer, Patrick Dewaere et Jean-Pierre Marielle... Dans ce podcast vous apprendrez entre autres : Qui étaient les Starshooter, un sympathique groupe français qui fleure bon les années 80 et les photos sépia Que les soupeurs, ceux qui trempent du pain dans les urinoirs, existent vraiment, si si je vous jure Ce qu'est la vague punk Oi! Bonne écoute ! Et n'oubliez pas de mettre des étoiles sur iTunes si vous avez aimé. Aussi, Hors Piste fait désormais partie du label podcut ! Si vous nous aimez et que vous voulez nous aider, le patreon est disponible à cette adresse : https://www.patreon.com/podcut . Bisous !

Le podcast est bien lancé désormais, avec ce 2ème épisode. Toujours en impro / ciné / délire.On évoque d'ailleurs cette fois les références suivantes: Blue chips 1994 William FriedkinLes petits champions 1992 Stephen HerekL'enfer du dimanche 1999 Oliver StoneL'ultime razzia (The killing) 1956 Stanley KubrickCoup de tête (Patrick Dewaere) 1979 Jean-Jacques AnnaudBattle of the sexes (Billy Jean King) 2017 Jonathan Dayton et Valerie FarisBorg McEnroe 2017 Janus MetzSnake eyes 1998 Brian De PalmaZidane, un portrait du 21ème siècle 2006 Douglas Gordon et Philippe ParrenoDelivrance 1972 John BoormanRick & Morty 2013-... Dan Harmon et Justin RoilandLe choix de sophie 1982 Alan J. PakulaBattle royale 2000 Kinji FukasakuShaolin soccer 2001 Stephen ChowLes goonies 1985 Richard DonnerThe giver (sf Tim) 2014 Phillip NoyceBienvenue à Gattaca 1997 Andrew Niccol Bonne émission :)

Coupe du monde oblige, les nanardeurs vous causent de mauvais films sympathiques ayant maltraité le ballon rond chacun dans des genres très différents. - Le Führer en Folie de Philippe Clair (1973) la joue façon mélange pas très digeste d'humours slapstick et chansonnier, avec dans ses rangs l'une des plus folles incarnations d'Hitler - United Passions : la Légende du Football de Frédéric Auburtin (2014) la joue hagiographie de la FIFA, avec un discours anti-corruption pour le moins audacieux - Soccer Dog 2 : Championnat d'Europe de Sandy Tung (2004) la joue divertissement mal doublé pour enfants, et répond à toutes les questions laissées en suspens par Soccer Dog 1 Les recos : Les Faucons, la web-série de Jean-Marc Morandini au fort coefficient nanar, pas du tout du soft-porn avec une fausse moustache, victime d'un complot ourdi par Marc-Olivier Fogiel, Matthieu Delormeau et un sosie français de Justin Bieber Attention, bon film : Coup de Tête de Jean-Jacques Annaud, la revanche de l'excelllent Patrick Dewaere sur les notables du FC Trincamp Attention, bon film bis : Shaolin Soccer de Stephen Chow, dans lequel une équipe de bras cassés s'en va tenir tête à une équipe d'athlètes stéroïdés dans des joutes à la Olive et Tom Très bonne écoute ! Nanarland, le Podcast est un podcast Riviera Ferraille. Retrouvez les liens vers les les films sélectionnés ainsi que nos recommandations sur le site Riviera Ferraille : www.rivieraferraille.com

A l’occasion de sa ressortie en salle, retour sur “Série Noire”, un film d’Alain Corneau qui en dit long sur la France de la fin des années 70. Adapté du roman de gare “Une femme d’enfer” de Jim Thompson, le long-métrage nous emmène sur les traces de Franck, représentant de commerce au bord de la crise de nerfs interprété par Patrick Dewaere. Il rencontre Mona, alias Marie Trintignant, une jeune prostituée avec laquelle il s’embarque dans une virée criminelle romanesque. Sorti après les trentes glorieuses et le premier choc pétrolier, le film est empreint de la morosité de cette période grise de la fin du 20ème siècle. Comme de nombreux long-métrages de la même époque, “Série Noire” se réapproprie une littérature jugée bas de gamme pour insuffler quelque chose de très français à cette ambiance de roman noir. Un film français emblématique qui n’a pas vieilli. Podcast animé par Thomas Rozec avec David Honnorat RÉFÉRENCES CITÉES DANS L’ÉMISSIONSéries Noires (Alain Corneau, 1979), Patrick Dewaere, Marie Trintignant, Une femme d’enfer (Jim Thompson, 1954), Georges Perec, Jean Rochefort, Jean-Pierre Marielle, Myriam Boyer, John Cassavetes, Les Valseuses (Bertrand Blier, 1974), Guet-apens (Sam Peckinpah, 1972), Coup de torchon (Bertrand Tavernier, 1981), À bout de souffle (Jean-Luc Godard, 1961), Tirez sur le pianiste (François Truffaut, 1960), Pottsville, 1280 (Jim Thompson, 1964), Michel Audiard, Bernard BlierCRÉDITSEnregistré le 11 avril 2018 à l’Antenne (Paris 11eme). Production : Binge Audio. Direction de production : Joël Ronez. Rédacteur en chef : David Carzon. Direction générale : Gabrielle Boeri-Charles. Moyens techniques : Binge Audio. Réalisation : Jules Krot. Chargée de production et d’édition : Camille Regache. Editrice : Albane Fily. Générique : "Soupir Articulé", Abstrackt Keal Agram (Tanguy Destable et Lionel Pierres). NoCiné est une production du réseau Binge Audio www.binge.audio.POUR ASSISTER AUX ENREGISTREMENTSPour assister à notre prochain enregistrement en public à L'Antenne Paris, rendez-vous sur notre page bingeaudio.eventbrite.com See acast.com/privacy for privacy and opt-out information.

En avril ne te découvre pas d'un film ! L'équipe de Flashback est de retour pour un nouvel agenda du cinéma classique. Comme à leur habitude, ils ont répertorié pour vous les ressorties en salles ainsi que les rétrospectives événements de ce mois d'avril. Les salles seront chargées en ressorties, à commencer par le "Série Noire" d'Alain Corneau, interprété par le touchant Patrick Dewaere. La grisaille parisienne sera suivie par un Berlin angélique avec la ressortie des "Ailes du désir" de Wim Wenders. Sans oublier le plus léger "Charade" de Stanley Donen avec la pétillante Audrey Hepburn ou encore "Bottle Rocket", le tout premier long métrage du célèbre Wes Anderson. Au niveau des rétrospectives, beaucoup d'immanquables, notamment la retrospective Rainer Fassbinder à la Cinémathèque du 11/04 au 13/05 ; le cinéma de Maurice Tourneur à la Fondation Pathé du 04/04 au 1/05 et les Cycles Kaurismaki et Costa Gavras à la Cinémathèque de Toulouse. Enfin, coup de projecteur sur la création d'une nouvelle revue trimestrielle uniquement dédiée au cinéma de patrimoine, la bien nommée "Revus et corrigés", qui reprendra les ressorties salles, vidéo, les cycles, les festivals... Le premier numéro est prévu pour le mois de juin mais vous pouvez des maintenant contribuer au lancement du magazine grâce à une campagne Ulule : https://fr.ulule.com/revus-corriges/ Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Et si pour une fois je fermais ma gueule ? Ape List #4 – This is a Song with no Words Ça faisait un moment que j'avais en tête de vous faire une Ape List uniquement consacrée à des morceaux instrumentaux. Et bien la voici ! Bon, comme pour toute les Ape List précédentes, finalement, j'avais dans un recoin de ma tête quelques idées de titres – et j'ai complété avec d'autres, en me contentant de jeter un œil aux rayons de la discothèque familiale. L'un des prétextes de cette Ape List, c'est avant tout de vous passer au moins un fois dans son intégralité Watusi '98 de Rocket From the Crypt, qui sert de support au générique des épisodes de Cornelius and Zira. Je ne sais plus exactement comment j'avais décidé ça. Probablement sans trop y réfléchir. Forcément, pour un générique, il faut un instrumental qui envoie (et pour le coup, ce titre est terrible) et il fallait que ça rappelle l'univers de Planet of the Apes. Sachez que le jour où j'ai acheté ce disque, Apeshit at the BBC, à la fin des années 90 (ou au début des années 2000, je ne sais plus trop!) je n'ai pas hésité non plus. Déjà parce que j'aime beaucoup RFTC, mais aussi parce que sur la pochette du disque, on voit le groupe jouer en live au milieu d'une audience affublée de masques de singes façon POTA. D'ailleurs, tout ce que je peux dire à propos de ce disque, c'est qu' a priori, il a été enregistré dans les studios de la BBC en Juillet 1998. Pour le reste... mystère ! Pas de livret, pas de nom de label, que dalle ! En fait, on dirait un bootleg... On s'en fout, ce qui compte, c'est que le morceau est génial ! On enchaine avec Youth Body Expression Explosion de Mudhoney. S'il fallait ne choisir qu'un seul groupe pour définir le grunge, ce serait forcément Mudhoney ! Ce morceau, issu de l'album Piece of Cake, sorti en 1992, me ramène vraiment à une autre époque. Peut-être - qui sait - aux lointaines racines qui font qu'aujourd'hui j'enregistre des podcasts,si l'on va chercher loin. En tout cas, ce titre compte beaucoup pour moi et ce n'est pas impossible qu'il devienne la nouvelle signature sonore des Ape List. On verra bien ! On continue avec Sicbay. Putain, qu'est-ce que j'aime ce groupe ! J'aurai forcément l'occasion un jour d'en passer un autre morceau et d'en parler un peu plus. En tout cas, cet instrumental, qui s'appelle Ultra-Dawn, conclut leur album Overreaction Time, sorti en 2002 chez 54°40' or Fight ! Ensuite, à tout seigneur, tout honneur ! Le meilleur groupe du monde, tout simplement ! Alors, des instrumentaux de Fugazi, il y en a à la pelle ! Pourquoi celui-ci plutôt qu'un autre ? Parce qu'il figure sur un single qui s'appelle Furniture et qui était sorti plus ou moins en même temps que leur dernier album, The Argument. En octobre 2001, donc. Je m'en rappelle comme si c'était hier ! Et sur ce 3 titres figure donc Number 5, mais aussi une chanson qui s'appelle Hello Morning et dont les premières paroles sont « This is a song with no words ». Je vous avais passé un morceau de Reiziger dans un la Ape List #2. Je T'adore Immensement!!! est issu du même album, The Kitten becomes a Tiger, et je l'aime beaucoup héhéhé ! On continue avec un hommage à l'un des plus grands acteurs français par Second Rate, Patrick Dewaere is my co-pilot, qui figure sur leur album posthume, Last Days of Glory, sorti en 2003 chez Prehisto Rds. Bon, après, je le reconnais, j'ai un peu fait le flemmard en enchainant avec un autre band de Besançon. Mais bon, Vigilante Surf, qui donne son nom au deuxième album de Demon Vendetta, est tellement dans l'esprit culture bis (comme tout ce que fait le groupe, en fait ! D'ailleurs cet album étant un hommage aux Vigilante flicks). Alors, j'aurais vraiment pu faire la feignasse et enchainer avec plein d'autres groupes de surf, mais j'ai préféré continuer avec Diablo, l'un des deux instrumentaux qui figure sur Venom de Breach, sorti en 1998 chez Burning Heart. Hyper efficace, ca va tout droit et à l'essentiel ! Ils sont forts ces suédois ! Bon, après, je le reconnais, j'ai pas cherché midi à quatorze heures en vous dégainant Nineteen de Karma to Burn. Mais bordel ! un épisode spécial instrumentaux sans quelques spécialistes du genre, ça n'aurait pas eu de sens. C'est pour ça que l'on continue avec Don Caballero (Details on how to get ICEMAN on your license plate) et Mutiny on the Bounty (Cruz Candelaria). Les luxembourgeois de MOTB ont sûrement beaucoup écouté Don Caballero, qui est LA référence du genre. Pas la peine d'en dire plus ! Il aurait été également difficile de ne pas glisser Sickles and Hammers. D'un coup de marteau et d'une lardasse de faucille, les Minutemen délivrent en quelques secondes un brulôt d'urgence et d'intensité. En même temps, c'était un peu leur marque de fabrique ! Qu'est-ce que j'aime ce groupe !!! Et après autant d'incandescence, on va terminer avec Don't let the Music Die, and Don't Replace me de 12 Hour Turn qui met fin à la fois Perfect Progress Perfect Destruction (sorti en 2002 chez No Idea) et cet épisode.. Voilà, c'est tout pour cette fois-ci ! On se retrouve d'ici un mois/un mois et demi pour parler de Escape of the Planet of the Apes avec Master Fred. D'ici là, je vous aurais peut-être dégainé un petit quelque chose. On verra bien, selon mes possibilité et mes envies ! Si vous avez un band, un label ou que vous êtes promoteur de shows et qui vous voulez profitez de la fooooormidable caisse de résonance de la Ape List, branchez moi sur Twitter @andzira et sur la page FB du podcast ou sur corneliusandzirapodcast(at)gmail(dot)com ! Vous pouvez aussi retouvez les autres épisodes de Cornelius and Zira sur podCloud, iTunes.. En attendant, prenez soin de vous et de ceux que vous aimez ! À bientôt les spartiates !!!

Sortie d'une version restaurée de Coup de tête, un film de Jean-Jacques Annaud avec Patrick Dewaere dans le rôle d'un footballer prolo malmené par la bourgeoisie de l'époque. Une sélection de saison par Stéphane Moïsskais et David Honnorat.Animé par Thomas Rozec (@thomrozec) avec David Honnorat (@IMtheRookie) et Stéphane Moïssakis (@smoissakis)RÉFÉRENCES CITÉES DANS L'ÉMISSIONCoup de tête (Jean-Jacques Annaud, 1979), Patrick Dewaere, Francis Veber, Guy Roux, Les Compères (Francis Veber, 1983), La Chèvre (Francis Veber, 1981), L'Emmerdeur (Francis Veber, 2008), À mort l'arbitre ! (Jean-Pierre Mocky, 1983), Les Yeux dans les Bleus (Stéphane Meunier, 1998), A la Claire Fontaine (Bruno Sevaistre, 2002), Substitute (Vikash Dhorasoo, Fred Poulet, 2007), Didier (Alain Chabat, 1996), Friday Night Lights (Peter Berg, 2006), La Victoire en Chantant (Jean-Jacques Annaud, 1976)RETROUVEZ NOCINÉ PARTOUT SUR LES INTERNETShttps://soundcloud.com/nocine/ https://www.facebook.com/NoCinePodCast https://twitter.com/No_Cinehttp://www.dailymotion.com/nocine https://www.youtube.com/channel/UC38YBAhVBEDRmXSe1uCyNxg https://www.mixcloud.com/NoCine/ http://www.deezer.com/show/7806 http://www.stitcher.com/podcast/nocine www.vodkaster.com/nocine CRÉDITSEnregistré le 23 juin 2016 au Tank à Paris (11ème). Moyens techniques : Le Tank. Production : Joël Ronez - Iris Ollivault / TempsMachine.NET. Réalisation : Jules Krot. Générique : "Soupir Articulé", Abstrackt Keal Agram (Tanguy Destable et Lionel Pierres). Image : Coup de tête. See acast.com/privacy for privacy and opt-out information.

In an age where cinephiles are now open to experiences from every little corner of the globe, something about French cinema will always remain a cornerstone of fascination. At the vibrant Cinefamily repertory house near Hollywood, Kalyane Lévy brings audiences into the illusions of the French going experience with her monthly program La Collectionneuse. Kalyane sat down with Peter to discusses her childhood filled with art in France and her migration to Los Angeles. She opens up about the challenges of a programmer of international cinema as well as the rewards of audiences excited about works of esoteric love (as well as the unique atmosphere of the screenings). Finally, the two dissect a very off beat film, Going Places by Bertrand Blier starring Gérard Depardieu and Patrick Dewaere as a couple of horrifying horndogs terrifying the women of France...or perhaps they are actually opening up their desires? 0:00-2:33 Opening 3:53-8:57 Establishing Shots — De Palma 9:42-32:31 Deep Focus — Kalyane Lévy 33:47-35:24 Sponsorship Section 36:24-57:37 Double Exposure — Going Places (Bertrand Blier) 57:42-59:40 Close / Outtake

Sous le soleil exactement, une nouvelle compilation qui a pour thème les chanteuses françaises des années 60 (donc généralement yé yé mais pas forcément) Au programme, des classiques, des moins classiques, des trucs franchement étranges, drôles ou un peu consternant. Et aussi pas mal de reprises improbables de morceaux anglais.Écouter Liste des morceaux :01 Chantal Goya - J'ai le coeur en joie, j'ai le coeur en peine02 Nana Mouskouri - Laissez-moi pleurer03 Gigliola Cinquetti - Tous les hommes sont fidèles04 Françoise Hardy - T'es pas poli (avec Patrick Dewaere)05 Monique Thubert - Booff06 Brigitte Bardot - La fille de paille07 Katty Line - Les mots croisés08 Sylvie Anne - Un tours dehors09 Danielle Denin - Quand tu m'embrasses10 Les Surf - There's a place11 Annie Philippe - Baby Love12 Ginette Garcin - Cresoxipropanediol en capsules13 Christine Pilzer - Champs Elysées14 France Gall - Laisse tomber les filles15 Marie Laforêt - Marie douceur, Marie colère16 Eileen - Ces bottes sont faites pour marcher17 Suzanne Gabriello - Z'avez pas lu Kafka18 Charlotte Leslie - Les filles c'est fait...19 Cécile Grandin - Le scaphandre blanc20 Brigitte Fontaine - Le goudron21 Anna Karina - Sous le soleil exactement22 Jeanne Moreau - Le nombril23 Uta - Baudelaire24 Patricia - Mes rêves de satin25 Sheila - Bang Bang26 Claudine Longet - God only knowsTélécharger :- le mix (clic-droit "Enregistrer sous")- les mp3 un par un- l'archive complète- la pochette en grande versionTELECHARGEZ LA PARCE QUE JE ME SUIS FAIT CHIER UN PEU. Hmm. Et que c'est peut-être ma meilleure compilation à ce jour (oui je dis toujours ça) Et puis il y a Jean Rochefort sur la pochette hein alors bon hein si vous aimez pas c'est que vous le faites exprès merde.Jean Rochefort quoi.