Podcast appearances and mentions of Paul Hirsch

Émission du 16 octobre 2024 (00:00) - L'ouverture(04:34) - News(20:29) - Le Point Cinemed avec Maxime, Oxana et Lucas V Dans cette 6ème émission de l'année : (32:51) - "L'Amour ouf" de Gilles Lellouche(44:49) - "Une femme en jeu" d'Anna Kendrick(58:12) - "Miséricorde" d'Alain Guiraudie L'interview : Alain Guiraudie, réalisateur de "Miséricorde" "Bop To The Top !" Quiz "Alain Chabat" Les Recos de l'équipe Le générique de fin Nos recos de la semaine ⤵️Les films "Man On The Moon" de Milos Forman et "Jim & Andy" de Chris Smith : https://www.fnac.com/a11581416/Man-on...Le livre "Il y a bien longtemps, dans une salle de montage lointaine, très lointaine..." de Paul Hirsch : https://www.fnac.com/a16953674/Paul-H...Le documentaire "¡Casa Bonita Mi Amor!" de Arthur Bradford : https://www.canalplus.com/decouverte/...Le jeu vidéo "Void Crew" de Hutlihut Games : https://store.steampowered.com/app/10...L'événement "Donnez à lire" : https://www.librairiesindependantes.c... Retrouvez The Cinema Show sur ⤵️Facebook : / rcmcinemashowInstagram : / thecinemashow_rcmTwitter : / thecinemashow1

In this conversation, Dr. Tania Li talks to us about her long-standing ethnographic fieldwork in Indonesia. It focuses on assemblages of land reform – who is included and who is excluded, the history of land reform movements in Indonesia, and the implications of such assemblages. In particular, Dr. Li talks about the capitalist relations that emerge when indigenous highlanders self-organize to institute property rights. We see that it is not as straightforward as conventional neoliberal narratives suggest. Today's guest is Dr. Tania Li, a Professor in the Department of Anthropology at the University of Toronto. After her early research in Singapore, she has dedicated much of her career to researching land, labor, capitalism, development, politics and indigeneity in Indonesia. She has written about the rise of Indonesia's indigenous peoples' movement, land reform, rural class formation, struggles over the forests and conservation, community resource management, state-organized resettlement and the problems faced by people who are pushed off the land in contexts where they have little or no access to waged employment, and more. Her most recent book, Plantation Life (2021), co-authored with Pujo Semedi, examines the structure and governance of Indonesia's contemporary oil palm plantations in Indonesia; the book theorizes the notion of “corporate occupation” to underscore how massive forms of capitalist production and control over the palm oil industry replicate colonial-style relations that undermine citizenship. Her book Land's End (2014) draws on two decades of ethnographic research in Sulawesi, Indonesia and offers an intimate account of the emergence of capitalist relations among indigenous highlanders who privatized their common land to plant a boom crop, cacao. This is the book that inspired the topic for this episode, so we'll be digging into this more in a moment. Some of her other books include The Will to Improve: Governmentality, Development, and the Practice of Politics (2007) which incidentally was a huge inspiration for my own journey into anthropology, her book Powers of Exclusion: Land Dilemmas in Southeast Asia (2011), co-authored with Derek Hall and Paul Hirsch, and Transforming the Indonesian Uplands: Marginality, Power, and Production (1999). Her scholarship engages interdisciplinarily with geography, philosophy, religion, politics, and much more. I'm delighted but also honored to be able to interview her for this episode, and I know there will be more to talk about than we have time for, so let's get started. Links: https://www.taniali.org/ https://www.tandfonline.com/doi/abs/10.1080/03066150.2021.1890718 https://www.taniali.org/papers/what-is-land-assembling-a-resource-for-global-investment .player4952 .plyr__controls, .player4952 .StampAudioPlayerSkin{ border-radius: 10px; overflow: hidden; } .player4952{ margin: 0 auto; } .player4952 .plyr__controls .plyr__controls { border-radius: none; overflow: visible; } .skin_default .player4952 .plyr__controls { overflow: visible; } Your browser does not support the audio element.

This week on the blog, a podcast interview with Ari Kahan, who assembled and oversees the most complete compendium of on-line information on Brian DePalma's classic rock music horror classic, Phantom of the Paradise. LINKSA Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6Fast, Cheap Film Website: https://www.fastcheapfilm.com/The Swan Archives: https://www.swanarchives.org/Eli Marks Website: https://www.elimarksmysteries.com/Albert's Bridge Books Website: https://www.albertsbridgebooks.com/YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcastINTERVIEW TRANSCRIPTDo you remember when you first saw it? What were the circumstances? How old are you? What was your reaction? ARI KAHAN: Sure. I first saw it when I was 12. It was double billed with Young Frankenstein. This would have been in early 1975, and my mom took me to see Young Frankenstein, which was okay. It was pretty good, but I was really enamored with the second feature on the bill, which was Phantom. And I've been in love with it ever since.Did you know anything about it before you went in? ARI KAHAN: Nothing. Nothing at all. So, what has been the attraction for you for that film, low those many, many years ago?ARI KAHAN: It may have just hit me at an impressionable time. But I think that, you know, being 12 and being kind of a nerd, I probably identified with Winslow and his fervent belief that if the world could only hear from his heart, and especially if all the girls in school could only hear from his heart, then they would love him and not the jerk that they always went out with.So, there's probably some of that. There was certainly, I do remember very, very clearly that the direction in some respect stood out to me. I had seen a lot of movies when I was 12, and I remember even today, thinking when I was 12, that there was a moment where the Phantom is rising up into the rafters in the foreground as Beef is descending in the background. And I looked at that and I thought, boy, that's complex. Anybody else would have done a shot of the Phantom starting to climb a rope, and then cut away, and then come back to him up in the rafters. This guy is trying to do things that are more interesting than he needs to and I thought that was really fun.After seeing Phantom I went back and saw Sisters.Which was no mean feat back then. ARI KAHAN: Yeah, I know and in fact, I had to see Sisters by buying a 16-millimeter print of it. That was the only way I could. I had fixed up a couple of—this is probably a year or two later—I had fixed up a couple of 16-millimeter projectors that my school was discarding, so I could even do changeovers in my bedroom. And I got a copy of Sisters just so I could see it because it was unseeable otherwise. Well, kudos to you for finding Sisters, because it took me a long time. I imagine it showed up at the Film society at the university or something finally. So getting to see William Findlay in a markedly different role and also seeing, oh, okay, this is a director who likes split screen. Although I probably would have gotten that from Carrie, because I'm sure I saw Carrie first. He's accused of doing stuff like that just for showing off. In fact, I think it's always for a cinematic or emotional reason. And Sisters is the best example of that. The suspense of getting rid of that dead body before they get to the door is enhanced by the fact that you're watching two things happen at the same time. ARI KAHAN: Yeah, I think in Sisters and Phantom both, it works really well. And I think, and I think even DePalma would agree that it didn't work as well in Carrie. Because the split screen calls for intellectualizing on the part of the audience. And it takes you out emotionally and wasn't really working that well. I understand why he did it, because it'd be boring to like, cut to Carrie's face, cut the things happening, cut back to Carrie's face, blah, blah, blah, blah. But I think both he and Paul Hirsch, the editor, feel it would have been better off to do something else.But anyway, after Phantom, you know, every new De Palma film to come out—all the way through Domino—has been a much anticipated event for me, you know, and I'm in the theater on the first day. And there have been a couple of disappointments along the way, but by and large, it's been awesome. Since you've seen Phantom so many times, were there any surprises that popped up over the years as you've watched again and again and things that you hadn't seen or hadn't realized?ARI KAHAN: It took me a really long time to notice that there was a frame or two of Jessica Harper being one of the backup singers on stage when Beef's performing life at last and only because I think it was unavoidable to use those frames. I think somebody figured out in editing that it didn't make any sense for her to be one of those backup singers and then in a white dress. So that took a while. It also was only within the past couple of years that I realized that a lot of the sort of classical, but silent movie sounding music that I had always thought was composed by the guy who did the incidental music was actually Beethoven. Oh, really?ARI KAHAN: Because Beethoven's not credited. So that little like a little violin thing that happens …ARI KAHAN: Or when Swan is going into phoenix's dressing room. When Winslow is escaping from prison. Well, it's Beethoven piano trios for the most part. So, you don't need to get permission from the Beethoven estate on that…ARI KAHAN: Well, I think that they would have had to pay the orchestra involved and I can easily imagine them omitting credit to avoid doing that. Hoping nobody would notice. And nobody did, obviously.Until you've just brought it up. ARI KAHAN: Yeah, sorry. That's okay. It's not, it's not our problem. One of the things that, that I found the Swan Archives to be so helpful on—well, lots of things, uh, when I discovered it years ago and I've returned to it as new things have popped up or I've dug a little deeper—was your explanation of the Swan Song debacle. As a frequent viewer of the movie. I wasn't noticing truncated shots. That I didn't notice until you showed us those shots. But obviously the mattes, particularly at the press conference, are really, really terrible. If I'm noticing them, they're bad. Can you just give us a brief history of why they had to do that? ARI KAHAN: Sure. So, it goes to Beef electrocution. In the early seventies, there was a band called Stone the Crows, whose guitarist was a guy named Les Harvey and Peter Grant, who would later manage Led Zeppelin, managed Stone The Crows. And Les Harvey was—in a freak accident—electrocuted on stage. I think his guitar was badly grounded or something along those lines, in 1971 or 72.And when Peter Grant learned that there was a film coming out in which a rock guitarist is electrocuted on stage, he assumed, that it was making fun of what had happened to his friend, Les Harvey. And by that time he was managing Led Zeppelin. I should say in De Palma's defense that Beef's electrocution shows up in early drafts of the script that were written before Les Harvey suffered his accident. So, this was life imitating art, imitating life, you know, rather than the other way around. De Palma clearly did not take that plot and probably didn't even know about what had happened to Les Harvey. But anyway, by the time Peter Grant got wind of this, Phantom had already been shot, but not yet released. This was in the summer of 1974. And by sheer absolute sheer coincidence, Peter Grant and Led Zeppelin had just gotten a trademark on Swan Song for their record label. And the first record to come out on the Swan Song label was Bad Company's first record, and that was in somewhere around June of 1974. So that's when their trademark was perfected, and Phantom was scheduled to be released a few months later at the end of October.And Peter Grant went to 20th Century Fox, which had just purchased Phantom from Ed Pressman and DePalma. You know, it's important for the story to know that Phantom was independently produced. It wasn't financed by Fox. Pressman and DePalma raised money to make this movie in the hopes that they would then sell it to some distributor for more than they had paid to make it.And it turned out that there was a, quite a bidding war among several studios, which Fox won. And Fox paid more for Phantom than anyone had ever paid for an independent film to that point in history. They had very high expectations for it. So that sale had just closed, but Pressman and De Palma and everyone else hadn't been paid yet by Fox.And of course, they had run out of money and owed everybody money, everyone who had worked on the film. So, they were in kind of a desperate situation. And Peter Grant went to Fox and said, “I'll sue you and prevent release of this film.” And the only thing that Fox could do was to tell Pressman and De Palma, you need to fix this.And the only way they could fix it was by removing all of the references to Swan Song, so that Peter Grant wouldn't have grounds for his claim, because he obviously can't claim you can't have a film with an electrocution of a rock star. Really, all he had was the Swan Song thing. And so that was done very, very hastily. They were still working on it in early October, even though the film was scheduled for release at the end of October. And so, basically, Fox signed a deal with Led Zeppelin saying we won't release the film with any of this Swan Song prominently shown. Which is a very stupid resolution really because Peter Grant in the end did not prevent distribution of a film with an electrocution of a rock star, which was his original concern.All he really managed to do was mangle somebody else's. And so the end result is that the film that we've all been watching for the last 50 years, there's a little bit cut out of it. There's some lovely crane shots that you missed because what the DePalma had done through the film was start on this Swan Song logo or the Swan name and then move away from it to whatever was going on. So that you have the impression that Swan was everywhere. And so that whole thing was lost and, you know, as you and everybody else noticed, some of it's very noticeable, particularly the bird at the airport. Which is too bad.I understand that you have a secret print of the film in which all those logos had been restored. In addition to fixing the crane shots and having shots that no longer have the terrible matte on them, is there anything else in that version that we wouldn't have seen before? ARI KAHAN: It's not a secret print, really. It was just reconstructing the film the way that it was intended to be, using footage that had been assumed to have been destroyed decades ago, but which I eventually found and digitized. And then with the help of a couple of other folks, put the movie back together. The most challenging part: there's a couple of challenging parts to that.You know, it's not just a matter of sticking things in. The footage was without sound. And so, if you're making a scene a few seconds longer, for example, and there's music underlying that scene, what are you going to do? Are you going to start the music a little bit later? Are you going to end it a little bit earlier?Are you going to play it a little bit slower so that it fills up these extra seconds? Are you going to loop it? Are you going to find some other piece of music that was probably intended to go there in the first place? So there's that problem. And then the podium scene, which is the worst offender—at the airport—the original, they actually worked on the negative to put the dead bird on. And so, the original footage for that podium didn't exist. But we knew what the podium was supposed to look like, because there's a photo that was used for the German promotional campaign—created obviously months before the film is released—and that still shows the podium the way that it's supposed to look. So, I got my friend, Steve Rosenbaum, who is a special effects supervisor. He won Oscars for Forrest Gump and Avatar, I think. And he's about to win an Emmy—I will bet you a box of donuts—he's about to win an Emmy for his work on Masters of the Air. I gave him this image and the footage that's shown, you know, in the theater normally, and he reconstructed the podium for me. So that's how we did the podium. But the other thing that was that if you go see the film now in the theater projected from DCP, the DCP master—which is the same master that we've used for the current blu rays—it was done by a company called Reliance Media Works in Burbank. And, I don't know what 17 year olds they had working on it, but they did the coloring and grading the way it's fashionable to do when they did it, you know, 10 years ago, which was a lot of orange, teal and the blacks are crushed so that anything that's really dark gray or dark brown, just black, so that the colors pop more, but you lose a lot of the detail, and to my eye it looks terrible.And so, I used an earlier master of the film that looks more like it looked in the 70s as the base for the reconstruction. And then color matched the replacement footage to that. It sounds beautiful. ARI KAHAN: It's gorgeous. The only other thing that I suppose we could have done, but didn't, is there's originally footage of Winslow's face coming out of the record press looking all mangled. And I have that footage, but I didn't put it back in because that footage that DePalma deemed not appropriate to the tone of the film that he was making. And so, since the object of this game was to restore the film to the way that he would have wanted it, I let that out. I think that was a wise choice. You know, I talked to Pete Gelderblom, who did the Raising Cainreconstruction. And it's a beautiful piece of work that he did. He was more constrained than you, because he was only allowed to use the footage which was there, and he just had to rearrange it. He repeats one shot, but he got it as close to the original shooting script as he could. I don't think Paul Hirsch was particularly thrilled with it, but De Palma was and has referred it as his director's cut. Did De Palma see your version and did he like it? ARI KAHAN: Yeah. I did a cast and crew sort of screening in Los Angeles and Paul Williams came to that and Archie Hahn and so on. Ed Pressman, the producer. And there was tremendous enthusiasm, because none of them had ever seen the film that they made the way that it was supposed to be.And I sent a copy to Paul Hirsch and I'm not sure whether DePalma heard about it from Pressman or from Paul Hirsch, but he asked to see it. And I sent it to him and I got a nice note from him saying, you know, that it was great, good job, la la la, it's great to see the film the way that it was, you know, the original cut.So. Yes, he is. Definitely. He's seen it. He's happy with it. And Ed Pressman, in particular, wanted to have that version released on home video or in some other way. And we went to Fox. This is before Disney. It was still Fox. And Fox said, well, you know, we could consider doing that under two conditions. First, Mr.DePalma approves. Well, yes, check box checked there. He does. And second, we made this deal with Led Zeppelin back in 1974, where we agreed not to do this. And if you can get them to waive their rights under that agreement, then yeah, sure. So, I worked with Ed Pressman and we put together a bunch of testimonials from people that we thought Led Zeppelin might respect, like Brett Easton Ellis and I think Guillermo del Toro and others, and sent a package off to Led Zeppelin through their lawyers. And God bless them, they got back to us in less than a week and said no. At least they didn't leave you hanging. ARI KAHAN: At least they didn't leave us hanging. That's right. So, your archive is amazing and is hour's worth of fun to go through it. ARI KAHAN: It's a rabbit warren. Yeah, I wish it were a little better organized.How did it get started? Well first, when did you start collecting memorabilia and then how did that grow into the archive? ARI KAHAN: I started collecting memorabilia right after I saw the film when I was 12. And that was obviously pre internet and pre-eBay. And it was a lot harder to get stuff. Bt I would frequent science fiction conventions and horror conventions and comic book shops.And there were a whole bunch of people who knew me as that kid who's always looking for Phantomstuff. And I was the kind of nerd who kept a log with the what everybody else was also looking for. And so, if I were at some convention and the guy who was collecting Olivia Newton, John's stuff, if I saw something interesting—not that there is anything interesting about it, but anyway—if I saw something interesting about Olivia Newton, John, I would run to the pay phone and call him and say, Hey, you want this? And I would pick it up for him. And so, there was a lot of returning of favorites where there would be people who were going to cons that I wasn't going to. And if they saw Phantom stuff, they would pick it up for me and that kind of thing. And so, you know, that became the way to get the posters from every country in the world that it was released in and the lobby cards and everything else and it started filling up, taking up more and more space over time and grew into, you know, trailers and magazines and everything else.And then when the site came out in around 2006, I put up the first version of the site. People who either had worked on the film or had something interesting would get in touch with me and say, “You know, I have this. I see you have a good home for it. Do you want it?” And of course, you know, eBay was a way to fill in some gap.Is there, within what your current collection holds, is there a prized possession that, you know, if there was a fire and you only grabbed one of those pieces, what would you take with you? ARI KAHAN: Yeah, absolutely. You know, in every dorm room and every apartment and every house I've ever lived in has hung John Alvin's art from the one sheet, and it's the same art that's on the cover of the soundtrack album. I just thought that was beautiful piece of art. And I think it was his second movie poster he painted. The first one would be for Blazing Saddles. And then he did Young Frankenstein, and if you look at the Young Frankenstein poster and the Phantom poster, you can see that there's a lot of stylistic similarities there.But he went on to do, you know, E. T. and, you know, 130 odd other posters. And at some point, he and I started corresponding and he finally said, “You know, I have something that I think you should have. Give me your mailing address.” And a few days later what showed up was his original painting, the comp painting for that poster, which he had had all this time. And so that would be the prize possession for sure. Well, that qualifies, I think. Is there a Holy Grail out there that you're still looking for? ARI KAHAN: The original art for the Corbin poster. Which is the “he's been maimed and framed, beaten, robbed, and mutilated.” That artwork would be a Holy Grail. As well as, well, the Phantom's original helmet. Now, it turns out there's a couple of them, at least. And one of them Guillermo del Toro now has. He just bought the Phantom's costume after it failed to sell at auction at Bonham's. And the other helmet the Pressmanfamily has, so those would be a grail. There's a lot of things that I'm sure no longer exist that would be the grail, like, you know, the Phantom's contract.Any number of props would be fun, but there's not very many known to still exist. I think Peter Elbling still has—or I think his son has it right now—the microphone that he used with a knife on it. And Garrett Graham still has his guitar strap, Beef's guitar strap. And I think he may still have the plunger.But not the antler belt? ARI KAHAN: No, not as far as I know. That'd be tough to ship. It would be. Yes. Dangerous to keep around the house. You could bump into it. On the site you kindly show all kinds of different memorabilia that you have or that exists around the world. And you also have a section called Inexplicable Crap. Is there one piece in there that just stands out for you as what in the world were they thinking? ARI KAHAN: Maybe the Death Records pillow. Like I can understand why they did. They made prototypes that never went out for sale. Why anybody would want it, you know, a dead bird, probably somebody wants a dead bird pillow, but the market would be limited.When the DVD for Phantom Palooza 2 came out, I bought that and then heard you talking somewhere about getting Jessica Harper to sing Old Souls, which is on the DVD. We just see the very end of her singing it. I'm guessing there were some technical problems or something with that. ARI KAHAN: It wasn't technical problems. It was the Paul Williams rider, which required that the show not be recorded. And I think that midway through Jessica singing, somebody might have said, or actually I think that's an audience--t might be an audience shot thing that we have. There's probably lots and lots of cell phone video out there of the show, but nobody related to who worked on Phantom Palooza—and I was one of the people who worked on Phantom Palooza—is going to be out there distributing anything that we agreed with Paul we would not even shoot. But, but yes, Jessica was absolutely a highlight of the show there. I was surprised that she went full force on the end of that song. ARI KAHAN: Well, there were no plans for her to perform. And the morning of the rehearsal, I said, “Hey, Jessica, you want to go down and watch Paul rehearse?” And I took her over to the auditorium and I was hoping that, you know, seeing that and being a performer at heart, she might be inspired to maybe, you know, participate. And she decided she would do Old Souls with Paul's band. And then she went back to the hotel and practiced the song, I think, all day in her hotel room and then, you know, knocked it out of the park that night. That's how I remember it. And then she came off stage and said, you know, now I know how Mick Jagger feels. It's a pretty stunning debut for her in that movie, to come from essentially nowhere—although she'd done things before that. And then the run that she had in the seventies, pretty unequaled when it comes to being the, um…ARI KAHAN: The queen of cult. Yeah. The queen of cult. And just the range, from Suspiria to My Favorite Year. You don't get a much broader range than that. ARI KAHAN: Pennies From Heaven. Yes, just phenomenal. Even just the wheat speech in Love and Death is worth the price of admission alone. ARI KAHAN: She played, uh, Gary Shandling's wife on The Gary Shandling show in the last season, named Phoebe, of all things. And in, I'm pretty sure it was the last episode of that show, she's held hostage by a phantom who lives under the set, who threatens to sabotage Gary's show, unless she will sing his song. And she ends up singing his song, which turns out to be YMCA. Wearing a dress that is very, very reminiscent of the one she wore to sing Old Souls in. And they even make a Pennies From Heaven joke. So, it's very inside baseball, I should say. Speaking of actors from that, I've always been blown away by William Finley's performance in the movie. I think it was Paul Williams who said something like, you know, he spends three quarters of the movie acting with one eye and metal teeth, and that's all he's got. And it's just flawless and so heartbreaking.And I'm just sorry we didn't get to see him in more movies. He's delightful in The Fury in a very small part. He's all over the early films. And I got the sense since I read somewhere that you did a eulogy for him, that you must have developed a friendship over the years. ARI KAHAN: Yeah. And, before we get to that, you say heartbreaking, right?And I think that that's one of the things about Phantom that was so ballsy. It's obviously a spoof of many things, but while being a spoof, it tries to get you to care about the characters. If, if you were not, you know, devastated at the end when Winslow dies just before Phoenix recognizes that it was him all along, you know, the film has failed.Whereas in other spoofs, you know, Rocky Horror doesn't ask you to care whether Brad and Janet will get back together after their experience or anything like that. Nobody asked you to care about the characters at all. And I think it's a huge risk that DePalma took in making a film like this: while simultaneously being a parody and a satire and a spoof and everything else, he wants you to care about the outcome. As far as Finley, I got to know Bill a little bit towards the end of his life after meeting him at Phantom Palooza. I went to New York and spent a little time with him and now I know his wife Susan pretty well and his son Dash a little bit. And when he died, Susan asked If I would put together some kind of a video montage for the funeral, which wasn't that—it's a celebration of life was what she was calling it. And I did that. And every time I had it finished—and, you know, I had like a day and a half to do this. And then I had to take the red eye to New York from California for this, for this event—every time I had it finished, she would send me a few more pictures and I'd have to, you know, redo it.And then she asked, could you set it to music? Could it be set to Faust? You know, okay. You know, you don't say no to a widow, right? And I was working at the time too. So, when I finally flew to New York, I was completely exhausted. And I got to the chapel I guess a couple of hours before the ceremony was supposed to start, so that we could make sure that this thing would play on their equipment and so on.And I'm taking a nap on one of the pews and Susan showed up with, you know, programs under her arm. And I picked up a program and saw that, right after Garrett Graham and Jessica Harper was supposed to speak, I'm supposed to speak. But I this was the first I was hearing about it. And so, I spent the first, unfortunately, the first part of the ceremony—where I really wanted to be paying full attention—kind of scrambling together what I was going to say.I have no idea what I said at this point. I hope it did Bill justice and didn't offend anybody, but I couldn't tell you now a single word of what I ended up saying there. And it's in front of, you know, various of the icons of my childhood, right, are in that chapel. So it's kind of like all of the nightmares of going to school and realizing that there's a test in the subject that you never took, and that you're not wearing pants, and all your ex-girlfriends are there laughing at you. Because I have my own podcast that has to do with my series of books, and like your site, I want to make it perpetual. But there's really no way to do that unless I set up a fund so that after I die they keep paying the site to keep running it. Because as soon as that site shuts down, the podcast goes away. And the same thing will happen to the archive. Whoever is hosting it, unless they're paid, it's gonna go away. I'm wondering, do you have a plan in place for all that information? ARI KAHAN: When I go, it goes.Oh, I feel like I set you up for that. Okay. Can I propose an alternate ending to that? ARI KAHAN: Sure. You essentially have a book there. You just have it in web form. You should put that together so that when it is done, when you are done, it can just be put into a book because it already reads like a book.ARI KAHAN: People have suggested that, and I've resisted doing a book because every now and then, some new fact comes to light that shows that something I had in there was wrong. And everything in there—virtually everything—is based on conversations that I've had with participants or material that came out at the time. None of it is taken from someone else's book or anything. So it's all fairly firsthand, but people have fallible memory. So, for example, the guy who made the phantom's helmet assured me that he had made only one. And it's crazy, because every production wants to have multiple copies of any key prop, because if something happens to the prop during shooting, shooting would have to, you know, it's an incredibly expensive problem to stop shooting waiting for another one.But as it turns out, he's, he's wrong. He made more than one. There is more than one. And so, every now and then, I have to correct something on the site. And if I put it out in book form, these books would be wrong. Potentially, something could come out in the future that that would make something with my name on it. Wrong. Imagine a book with a mistake. I can't imagine. ARI KAHAN: Exactly. And I can't abide that. So, it exists in electronic form so that I can edit it and improve it. Well, I would argue that you can do the ebooks, but that's, you know, that's your circus. It's not my circus. But you do raise an interesting question about misconceptions. I know that one of the biggest misconceptions is that it ran in Winnipeg forever and it didn't. I can—as someone who lived here in Minneapolis when Harold and Maude ran at the Westgate Theater for two and a half years—I can assure you it ran there for two and a half years, because I was there those two and a half years. So that was real. Is there another misconception out there about the movie that you just can't—like a whack a mole—get rid of? ARI KAHAN: So many. In fact, um, I think on my FAQ page, I list some of them. Is there an egregious one that just gets under your skin? ARI KAHAN: Yeah. The idea that it was only popular in Winnipeg and a couple other places is just completely wrong. It was big in Japan. It eventually became a big in Los Angeles. It never did anything in New York. Where it was actually biggest was not Winnipeg, it was El Salvador, where the songs hit number one on the radio. More than once. And it was brought back and revived many times. I get more mail from El Salvador than from anybody else.As we wrap up here, my favorite scene in the movie is the closing credits. I just love the music. I love what Paul Hirsch did with the assembly of that. And for years, I was living under the mistaken impression that in the credits, when it said Montage by Paul Hirsch, that that's what I was looking at was that montage. That's a montage. Then I was disabused of that in an interview with him—which I clarified with him. It was very nice to get back to me on Facebook when I said, “Am I correct in my understanding that the montage in the middle of the movie, the writing montage, you never saw that until the film was done? You had to put all the timing of that together, the animation of the writing, the placement of Phoenix's face on this part of the screen, and the Phantom and that, all the dissolves, all that timing?” And he said, “Yes it was a one-shot thing.” And I think for that he does deserve a special “Montage by Paul Hirsch,” because even today, with all the stuff we have, that would still be a challenging thing to do. And then not to be able to see the end result.But even with that, I just still love the closing credits. It's a combination of music, it allows me to revisit all my favorite scenes in the movie and a lot of my favorite shots. Do you have a favorite scene? ARI KAHAN: Well, I actually like those closing credits too, because most of the shots in those closing credits aren't actually in the film. Most of them are outtakes. And so, for example, in those closing credits, you have Swan splashing in the tub. There's Archie Han twirling around like this. And most of them, alternate takes. And they're clearly things that Paul Hirsch thought were charming and wanted to include that he couldn't put in the film.I suspect that you've held 35-millimeter film in your hands and cut shot A to shot B. I've only done that in 16mm. To keep a piece of film that short, hanging on a hook somewhere going, “I know I'm going to want to use that later.” Then finding that. I don't think people today understand what skill level was involved in, you know, that sort of thing, or the TIE Fighters in Star Wars that he did, or all that connection of little pieces, and tracking that and knowing that that's going to go there and that's going to go. It's so much easier today. And you had to make firmer decisions then earlier in the process than you do now, right? And fixing things was much more arduous. ARI KAHAN: You know, I think if they had to fix the Swan Song stuff out of Phantom and they were doing it using digital technology today, obviously, it'd be much faster and so on, but, uh, doing it on film. And having to send each change into the processing house, and then getting it back a few days later, and, uh, you know, it's a lot of work. It'd be horrible.But favorite scenes: The Goodbye Eddie number just remains a favorite. Do you know why? It's not fancy DePalma. It's a wide shot, two shot, a single. ARI KAHAN: That's right. It's the most conventionally shot thing in the film, but Archie Han is just so great in it. His delivery boy in My Favorite Year—when he does the punching—he just does the exact right thing at the right time. And I wish there'd been bigger movies with more Archie Han in them than what we got. ARI KAHAN: So does Archie. Okay, last question. If you take Phantom of the Paradise out of the mix, what would you say is your favorite De Palma movie?ARI KAHAN: Well, I'm not sure that Phantom of the Paradise is my favorite De Palma movie. It is a sentimental childhood favorite. But I go back and forth between Carlito's Way, Casualties of War, Femme Fatale, Carrie. And Raising Cain.I think that Femme Fatale is probably the one that came closest to his intention.It's the one that I think of as being, like, the most successfully realized, and I love it for that reason. Carlito's Way is just, by, I think, any objective standard, probably his best work. Then I love Blow Out. I'm not on the Blow Out train as much as everybody else. Maybe because it just, it goes so dark.ARI KAHAN: That's what I love about it is the devastating ending. I really love Peet Gelderboom's version of Raising Cain. Given all that, and given that you're 12 years old in 1974, 75, somewhere in there, and you're you're a movie freak at this point, which is a really good time in film history from that era. Is there a favorite? ARI KAHAN: So, I was really lucky that I was when I was 15 or 16, I was working at a theater called the UC theater in Berkeley, which was a repertory house that showed a different double bill every night. And any night that I wasn't working, I was there seeing movies.So, I saw lots and lots and lots of movies. And despite all that and all the weird stuff I saw, my favorites are probably the same things that every 70s kid's favorites were: Star Wars, Harold and Maude, The Godfather. I loved Harold and Maude so much that I bought an old hearse at one point.Okay, you win. ARI KAHAN: And I didn't keep it for long. It got like, I don't know how many gallons per mile. It was just not economical to have as a car, but it was fun for a while. I was very lucky when they hit the two-year mark here in Minneapolis, and I was a junior in high school, maybe. I happen to know the son of the local movie critic for the paper, and the critic knew that I was a big fan of Harold and Maude. And so he took me along on his press junkets. So, I had dinner with Bud Cort, got to chat with him. I got to hang out with Ruth Gordon for the day. ARI KAHAN: The only one I can propose to top that would be when I was in high school, I was writing for the school paper. Actually, I had stopped going to high school. I was the entertainment editor for the school paper, and I had stopped going to high school. I dropped out, but I kept submitting articles to the paper. And at some point, the newspaper staff changed my title from Entertainment Editor to Foreign Correspondent. And on the strength of that—when Tim Curry's first record, Read My Lips, came out, and he was coming to town to sign autographs at Tower Records—myself and a writer from the Berkeley Bar, which was a newspaper back then, had lunch with him around the corner from Tower Records just before he went off to do his autographing. And I was a huge Tim Curry fan. And I had to try to keep that under wraps and, you know, not ask any Rocky Horror related questions. And that was my claim to fame until all of the Phantom nonsense started.

Paul Hirsch, academy award winning editor for many films you may know (Star Wars A New Hope, The Empire Strikes Back, Carrie, Mission Impossible, and more), talks with Theory and Marc about the iconic scene with Luke and Vader. Learn more about your ad choices. Visit megaphone.fm/adchoices

Thank you for listening to today's episode. I hope you have a great day, and I'll see you in the next one! May the force be with you, ALWAYS! Learn more about your ad choices. Visit megaphone.fm/adchoices

Star Wars Editor Paul Hirsch joins Star Wars Theory and Marc to discuss John Williams and the process for music in Star Wars. Learn more about your ad choices. Visit megaphone.fm/adchoices

For this week's episode of the podcast, we watched director Brian De Palma's 1996 adaptation of Mission: Impossible, starring Tom Cruise, Jon Voight, Henry Czerny (Kittridge!), Emmanuelle Béart, Jean Reno, Ving Rhames, Kristin Scott Thomas and Vanessa Redgrave. It was shot by frequent De Palma collaborator Stephen H. Burum and edited by Paul Hirsch. Screenplay by David Koepp and Robert Towne. Mission: Impossible, based on the television series, was the inaugural project of Tom Cruise's production company, and the Mission: Impossible franchise has become a core part of Cruise's celebrity career. The film was generally well-received by critics, although there were complaints about its convoluted plot, and was one of the biggest hits of 1996, grossing nearly $181 million on a budget of $45 million.In Mission: Impossible, Cruise plays Ethan Hunt, a member of the Impossible Missions Force who is on the run after his entire team — including its leader, Jim Phelps, played by John Voight — is killed in a failed mission to obtain a secretive list of every undercover CIA agent. When Hunt learns that the mission was actually a staged hunt for a mole within the IMF — and that the real mole is still out there, seeking the list — he goes on the run in an effort to obtain the list for himself, expose the mole, and regain his freedom. To do so, he recruits his own Impossible Mission Team — comprised of Ving Rhames, Jean Reno and Emmanuelle Beart — and stages a break-in at CIA headquarters in Langley. What unfolds next is a series of twists, turns, surprises and betrayals.The tagline for Mission: Impossible was “Expect the Impossible.” You can Mission: Impossible to rent or buy on Amazon and iTunes, and to stream on Amazon Prime Video and Paramount Plus.Our next episode is Michael Bay's action thriller, The Rock.Connor Lynch produced this episode. Artwork by Rachel Eck.Contact us!Follow us on Twitter!John GanzJamelle BouieUnclearPodAnd join the Unclear and Present Patreon! For just $5 a month, patrons get access to a bonus show on the films of the Cold War, and much, much more. The latest episode of the Patreon is on the 1961 film “Judgment at Nuremberg.”

Paul Hirsch is one of the most legendary editors of all time, and this week he joins us to talk about the first “Mission: Impossible” and “Mission: Impossible – Ghost Protocol.” Included in this chat: details about Brian De Palma filming his wedding, how Brad Bird's approach to editing changed him, and a description of a gory “Ghost Protocol” deleted scene. This really has it all! This episode was originally released in June 2019. You can own “Mission: Impossible – Dead Reckoning” on digital and 4K HD, Blu-ray and DVD now. Learn more about your ad choices. Visit megaphone.fm/adchoices

No, no te has equivocado: somos Lo Tengo Todo Documentado, el podcast que ha acabado ya con Amar es para siempre, Cuéntame y tenemos funestos planes para el Zarapito. Esas dos series que han abarcado décadas han sucumbido al paso del tiempo, pero aquí estamos nosotros aguantando el tirón, cogiendo el dobladillo a las unidades temporales, incumpliendo promesas y volviendo al ruedo cuando todo el mundo ya se pensaba que habían acabado como nosotros. Un poco como Fantomas en las películas de Louise de Funès y un mucho como cualquier político condenado por un mínimo caso de corrupción y robo de millones de euros que vuelve a tener un cargo público por arte de birlibirloque. Lo bueno es que nuestros fans (capitaneados por las respectivas progenitoras de Juan Salom de España y un servidor) ya nos conocen más que un nublado y hace unas semanas ya lo veían todo perdido. Verbigracia: «considerando la improbabilidad de que se edite la cara D en 2023…». Sivispacem, un saludo y gracias por conocernos mejor que nosotros mismos. Y dicho lo cual, ante ti tienes la última parte de estos especiales sobre «La Guerra de las Galaxias: Episodio IV, una nueva esperanza» que hemos denominado «Los Agustín González de Star Wars» y con los que hemos querido homenajear a dos de nuestros barbudos favoritos del cine: rimando con nuestro George porque terminamos en un episodio -el cuarto- con el que empezó todo para él y apostando por la gratísima idea de Francis Ford e irnos a grabar este podcast a las Islas Filipinas mientras remontamos un río en una barcaza y hacemos surf ne medio de humo anaranjado. Seguimos pensando que era una buena manera de sacar el proyecto adelante y asegurar un ambiente sano, sin problemas y sin peligro de infarto para ninguno de los participantes. Lo raro es que cuando hemos comentado este plan sin fisuras a familiares, amigos o, incluso su Santidad, todo el mundo se ha echado las manos a la cabeza. Por lo que sea. Como decimos, no cejamos en nuestro empeño de contar cómo se llevó a cabo «La Guerra de las Galaxias: Episodio IV, una nueva esperanza» y, esta vez, nos centramos en maquillaje y montaje; por lo que vamos a hablar mucho sobre el venerable Stuart Freeborn, pero también sobre dos cualquiera en este mundo del látex, las pelucas y los hocicos de pitiminí: Rick Baker y Rob Bottin. Un «casi nada al aparato» de manual que da sentido a todas esas adorables personas que siguen pasando lista y discutiendo naderías sobre los parroquianos de la cantina (¡Ah, ese fandom bueno!). Y, siguiendo una evolución lógica que nos sorprende incluso a nosotros mismos, terminaremos como lo hacen las pelis: contando la historia de los tres improvisados compañeros de piso de Goerge Lucas: Richard Chow, Paul Hirsch y Marcia Lucas, que acamparon cada uno en una de las plantas de la casa de George armados con kilómetros de bobinas en varios formatos, unas tijeras de esas de las que no pinchan y un rollo de celo en el dedo índice a modo. de rosquilla No tengáis ninguna duda: sin este trío la película hubiera sido otra cosa bien distinta y, por seguro, bastante más aburrida. Como decimos, con ese podcast terminamos de glosar las andanzas de estos profesionales del cine cuyas carreras y premios hablan por sí solos, pero que permanecen en el anonimato. Para ello (además seguir homenajeando a nuestro secundario del cine español favorito) hemos contado con la colaboración desinteresada (o pagada en palmeras de chocolate, moneda de cambio de cualquier transacción buena que se precie) de Nacho Díaz, que atesora premios, nominaciones y películas a tutiplén y con Laurent Dufreche, que además de sufrir estoicamente los rigores del transporte de media distancia y coleccionar nominaciones a los Goya, ha tenido a bien hasta a preguntar a un exdirector de Panavision Europa para que nos explicara cierto lío de formatos en el negativo. Sí, cómo nos vamos a querer a nuestros colaboradores si están peor de lo suyo que nosotros de lo nuestro. Más o menos. Todo ello acompañados de 51 canciones editadas en 1977 (el año de estreno de esta película); 40 calvas de látex; la charanga de la tía Cotufa; montadores nihilistas y tantas cortinillas de estrella como hemos sido capaces de imaginar y, como Han con la riquezas, somos capaces de imaginar muchas. Con todos ustedes, Lo Tengo Todo Documentado, el único podcast que descubre el verdadero uso de las pinzas de la ropa en el mundo del cine. (Nota: si escuchas esto en Spotify a través del móvil puedes ir directamente a cada sección pulsando el rango temporal entre paréntesis). P.D.: este podcast lee el futuro. 🎼 Lista de canciones: https://open.spotify.com/playlist/7n6oQoFyoYro7CaoWZcDGw?si=da477ce41c534b1b ▶️ Cara Redux Índice: 🗣️ Intro (02:25). ✅ Las pinzas de la ropa como elemento insustituible en todo maquillaje que se precie. (06:08). 🎙️ Nacho Díaz, el hombre que ha cortado todos los cuellos del cine español (con látex). (57:05). ✅ El 13 Rue del Percebe del montaje. (02:04:58). 🎙️ Laurent Dufreche en: la culpa es siempre del montaje. (03:29:14). 🗣️ Despedida y MUY hander (04:33:46).

It's true – we spoke to director Brian De Palma, the filmmaker behind the first “Mission: Impossible” and probably a few of your other favorite movies too. We were celebrating the release of De Palma's first book with Susan Lehman, “Are Snakes Necessary?” but discuss the making of the first movie, along with his notes for the opening crawl of “Star Wars,” replacing Alan Silvestri with Danny Elfman, and editor Paul Hirsch's wedding. It's an epic extravaganza! This episode was originally released in June 2021. You can own “Mission: Impossible – Dead Reckoning Part One” on digital and 4K HD, Blu-ray and DVD now. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this minisode, Melissa shifts focus from film director to film editor.  Paul Hirsch's book, A long time ago in a cutting room far, far away... will provide the parallels to teaching for this series of minisodes.

ESSENTIEL, les rendez-vous du jeudi – Un monde de livres présenté par Josyane Savigneau. Spécial 40 ans des éditions POL Elle reçoit Frédéric Boyer, Directeur Jean-Paul Hirsch, attaché de presse historique de la Maison Et deux auteurs Nathalie Azoulay et Iegor Gran.

Agents Scott and Cam welcome Academy Award-winning editor Paul Hirsch to the show to discuss his work on 1996's Mission: Impossible and 2011's Mission: Impossible - Ghost Protocol. He also shares stories about editing Star Wars, The Empire Strikes Back, Phantom of the Paradise and more! Paul's book, A Long Time Ago in a Cutting Room Far, Far Away...., can be purchased on Amazon. Become a SpyHards Patron and gain access to top secret "Agents in the Field" bonus episodes, movie commentaries and more! Social media: @spyhards View the NOC List and the Disavowed List at Letterboxd.com/spyhards Podcast artwork by Hannah Hughes. Theme music by Doug Astley.

Episode 32 A CMO Confidential Interview with Paul Hirsch, former EVP at Leo Burnett, and inaugural judge of the B2B Creative Lions at Cannes, who is currently the CEO and Chief Creative Officer of the nation's oldest B2B agency, Doremus+Co. Paul discusses the need for change in how B2B companies approach marketing, why it's important to think holistically about the purchase cycle versus the top of the funnel, and the fact that "Nobody Cares" about how great you say your product or service is unless you make them care by creating advertising that's truly memorable. Key topics include dealing with unrealistic management expectations, seeing marketing as an economic multiplier instead of a cost to be managed, and needing to move to the story and away from "making feature-driven sales lists." Listen to the end to hear about an actual agency RFP that could have been written by The Onion. Learn more about your ad choices. Visit megaphone.fm/adchoices See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Today on The Three-Inning Save podcast, Eric Stephen and Jacob Burch look back at pitcher Ed Roebuck, the former Dodgers reliever who was a rookie on the 1955 Brooklyn team that won the first World Series in franchise history, and was used heavily down the stretch as the Dodgers lost the pennant to San Francisco in 1962. We talk about Roebuck's 11-year major league career, his tirade about manager Walt Alston after getting traded to Washington, Roebuck's legendary prowess with the fungo bat, how he overcame major shoulder injuries to last, plus his longtime scouting career. Sources include: SABR bio of Roebuck, written by Paul Hirsch; Roebuck's obituary, by Bill Shaikin in the Los Angeles Times; Dodgers trade Roebuck to Washington, True Blue LA. The Three-Inning Save podcast is part of the Fans First Sports Network. Produced by Brian Salvatore. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today on The Three-Inning Save podcast, Eric Stephen and Jacob Burch look back at pitcher Ed Roebuck, the former Dodgers reliever who was a rookie on the 1955 Brooklyn team that won the first World Series in franchise history, and was used heavily down the stretch as the Dodgers lost the pennant to San Francisco in 1962. We talk about Roebuck's 11-year major league career, his tirade about manager Walt Alston after getting traded to Washington, Roebuck's legendary prowess with the fungo bat, how he overcame major shoulder injuries to last, plus his longtime scouting career. Sources include: SABR bio of Roebuck, written by Paul Hirsch; Roebuck's obituary, by Bill Shaikin in the Los Angeles Times; Dodgers trade Roebuck to Washington, True Blue LA. The Three-Inning Save podcast is part of the Fans First Sports Network. Produced by Brian Salvatore. Learn more about your ad choices. Visit megaphone.fm/adchoices

For Episode 279, Brandon sits down with legendary editor Paul Hirsch to discuss his career and his book, A LONG TIME AGO IN A CUTTING ROOM FAR, FAR AWAY. Listen as Paul talks about his works with Brian De Palma, John Hughes, Herbert Ross, and George Lucas. Paul has edited countless films, including CARRIE, PHANTOM OF THE PARADISE, FOOTLOOSE, FERRIS BUELLER'S DAY OFF, MISSION: IMPOSSIBLE, and the first two STAR WARS films.  CineNation will be co-sponsoring a late-night screening with Landmark's Nuart Theatre on August 11th at 10:30 pm. We'll be showing Brian De Palma's THE PHANTOM OF THE PARADISE, and Paul will be doing a book signing! Get your tickets now: https://bit.ly/3pCZD4l Join our Patreon for More Content: https://www.patreon.com/cinenation Contact Us: Facebook: @cinenation Instagram: @cinenationpodcast Twitter: @CineNationPod TikTok: @cinenation Letterboxd: CineNation Podcast E-mail: cinenationpodcast@gmail.com

Welcome back to Rule of Two! Today, Marc and I have the privilege of interviewing Paul Hirsch, academy award winning editor for many films you may know! Some of which are Star Wars A New Hope, The Empire Strikes Back, Carrie, Mission Impossible, The Secret of My Success, Footloose, Ferris Bueller's Day Off, and many more. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today David Altrogge sits down with Oscar-winner Paul Hirsch.  And while he's not a documentary filmmaker, he's one of Hollywood's most revered editors (we're talking Carrie, Star Wars, Ferris Buhlers Day Off, and Mission Impossible to name a few). He's also the author of A Long Time Ago in a Cutting Room Far, Far Away (which is one of our all-time favorite books about filmmaking).  Today's episode is pure gold.   A special thanks to Caleb J. Murphy (https://calebjmurphy.com/) and Musicbed (http://share.mscbd.fm/daltrogge) for the great tunes. School of Doc is a Production of Vinegar Hill (https://vinegarhill.film/)

In The Empire Strikes Back minutes 51-55, Han and Leia share their first kiss and we meet the Emperor for the first time. Joining me (for the 4th time!) is music theorist/film musicologist Frank Lehman. We discuss the lineage of musical love themes, John Williams's distinctive Lydian signature, the strange proto-Emperor cue, and he gives us a sneak peek of the major updates he's making to the Star Wars Thematic Catalogue. This episode is also on YouTube (with visuals): https://youtu.be/N_jXuEWiaLY  Timestamps: 0:00 - Hello there! 3:20 - Teasing the Emperor scene. 8:17 - Augmented hexatonic collection of pitches (characteristic chord type in ESB, 4-20). 11:26 - Yanked out portion of the cue, R5P3 "End Fix" (orchestrated by Angela Morley). 15:05 - Instrumental introduction to Han & Leia's theme. A distinctive treatment of Lydian mode (descending pentachords -- the 5th down to the tonic). 18:50 - The descending Lydian figure is a Williams hallmark of his 80s-ish scores. Examples from E.T. (1993) and ALWAYS (1989). 25:05 - On Han being a "scoundrel." 29:01 - What do you think of the comparisons to Tchaikovsky's Violin Concerto? 38:35 - Listening to other love themes: El Cid (Miklós Rózsa), Adagio from Spartacus (Khachaturian) 51:48 - First truly functional chord in a while. Enharmonicism. 57:27 - Throwing down the gauntlet. 58:23 - John Williams holding back on the low bass note until a beat or two after the onset of a theme. 1:00:11 - Proud lineage of musical love scenes that are interrupted. 1:08:50 - Han Solo and the Princess concert arrangements (there are at least 3!) 1:14:56 - Sneak peek of changes to the thematic catalogue. 1:29:36 - Dom shoutout 1. 1:38:21 - Brittle, rocky xylophone. 1:45:39 - 90's Emperor/Energizer Bunny commercial. 1:46:26 - Fascinating musical sequence during the Emperor's first appearance. 1:55:44 - Dom shoutout 2. 1:58:09 - ESB editor Paul Hirsch on temp tracking this scene with Bartók. 2:06:28 - Comparing Ian McDiarmid to the original emperor's voice from 1980 (Clive Revell) 2:13:19 - Dark Side motif. 2:25:00 - SWMM Questionnaire Things to Check Out: Dominic Sewell's analysis of cue 5M4/6M1 "Solo and the Princess" - https://youtu.be/Nxe_rd2GVPY Pitch Class Set Calculator: https://www.mta.ca/pc-set/calculator/pc_calculate.html E.T. excerpt (queued up to the descending Lydian line)- https://youtube.com/watch?v=P7CyzH6R7f4&t=721 "Pete in Heaven" from Always (John Williams) - https://youtu.be/z8v1OEIkp3U Predatory Romance in Harrison Ford Movies (Pop Culture Detective on YouTube) - https://youtu.be/wWoP8VpbpYI Tchaikovsky's Violin Concerto - https://youtu.be/QCKL95HAdQ8 Tchaikovsky's Romeo and Juliet - https://youtu.be/finYYXkdYmA "Fossils" from Carnival of the Animals (Saint-Saens) - https://youtu.be/bcAJpsWWuIY Béla Bartók Music for Strings, Percussion and Celesta - https://youtu.be/ymqRNY4K4NA?t=1016 Andrew Norman "Play" - Detroit Symphony Orchestra, Cristian Măcelaru https://youtu.be/Dc9rYygfwNI?t=1316 Love Scene from El Cid (by Miklós Rózsa)- https://youtu.be/91SunNLBDoI?t=303 Emperor Palpatine Energizer Bunny commercial - https://www.youtube.com/watch?v=QxafIhYFOr0 Adagio from Spartacus (by Khachaturian) - https://youtu.be/LZLMKkEGFRo?t=133 The Red Violin OST (by John Corigliano) - https://youtube.com/playlist?list=PL6Oa6vj9pJz7IPAC5yVw666aU-OReTM1K The Empire Strikes Back - the original Emperor scene from 1980 - https://youtu.be/rKtciRCVpFE Cues: Tail end of 5M3 "Yoda's Entrance" 5M4/6M1 "Solo And The Princess" Musical Themes: 11a. Han & Leia (A Section) 11b. Han & Leia (B Section) 10a. Imperial March (Theme) 24) Imperial March Vamp 16a. Dark Side (Motif) Where are we in the soundtrack(s)?: "Luke's Nocturnal Visitor" "Han Solo and the Princess" --------------- STAR WARS MUSIC MINUTE QUESTIONNAIRE: 1. In exactly 3 words, what does Star Wars sound like? New answer: My lifelong obsession. Solo season: Vaguely remembered music. ANH season: Dissonant pedal notes. Minor planing triads. 2. What's something related to Star Wars music or sound that you want to learn more about? New answer: What was going on in the scoring of Obi-Wan Kenobi? Solo season: Who will be main composer for the Kenobi series? ANH season: What are we musically in store for as Star Wars moves onto the next chapters of its development? What was the actual score to Episode IX supposed to be (before changes)? 3. What's a score or soundtrack you're fond of besides anything Star Wars? New answer: White Lotus (series) (composed by Cristobal Tapia de Veer) Solo season: Severance (series) (composed by Theodore Shapiro) ANH season: Star Trek: The Motion Picture (1979) (composed by Jerry Goldsmith) --------------- Guest: Frank Lehman Website: https://franklehman.com/ Complete Catalogue of the Musical Themes of Star Wars: https://franklehman.com/starwars/ A Guide to the Musical Themes of Indiana Jones: https://franklehman.com/indiana-jones-themes/ Book: Hollywood Harmony: Musical Wonder and the Sound of Cinema - https://www.amazon.com/Hollywood-Harmony-Musical-Wonder-Cinema/dp/0190606401 Frank's previous episodes: Solo 7: Powell's Fresh Take (Minutes 31-35 with Frank Lehman) - https://youtu.be/x_dF58geISQ ANH 6: Binary Sunset Breakdown (Minutes 26-30 with Frank Lehman) - https://youtu.be/JrCg4KLk054 TLJ 30: Musical DNA of The Last Jedi (Minutes 146-150 with Frank Lehman) - https://youtu.be/NZwIpV3igBo   ------------------ If you want to support the show and join the Discord server, consider becoming a patron!  https://patreon.com/chrysanthetan Leave a voice message, and I might play it on the show...   https://starwarsmusicminute.com/comlink Where else to find SWMM: Twitter: https://twitter.com/StarWarsMusMin Apple Podcasts: https://smarturl.it/swmm-apple YouTube: https://youtube.com/starwarsmusicminute TikTok: https://www.tiktok.com/@starwarsmusicminute? Instagram: https://instagram.com/starwarsmusicminute Email: podcast@starwarsmusicminute.com Buy Me A Coffee: https://buymeacoffee.com/starwarsmusmin

This week on the blog, a podcast interview with Peet Gelderblom, the Dutch filmmaker who re-cut what Brian DePalma now considers to be the Director's Cut of “Raising Cain.” LINKSA Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6Fast, Cheap Film Website: https://www.fastcheapfilm.com/Peet Gelderblom website: https://www.directorama.net/bio-english/“Raising Cain” Re-Cut: https://www.directorama.net/raising-cain-directors-cut/“Raising Cain” Trailer: https://youtu.be/jx2MeCjfP44“Raising Cain” Steadicam shot: https://youtu.be/kuTfcP3hTykEli Marks Website: https://www.elimarksmysteries.com/Albert's Bridge Books Website: https://www.albertsbridgebooks.com/YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcast***Peet Gelderblom – Re-Cutting “Raising Cain” What was the very first Brian DePalma movie you remember seeing? Peet: That's difficult. I was probably a little too young for it, but it may have been "Sisters.” Yeah, but I think the first thing I remember from Brian DePalma was that he was on television, because "Body Double" had just come out, and I saw the clips from "Body Double" and I thought, wow, that would be something I would like to see. But I was too young for it. I wasn't able to go into the cinema and check it out, but immediately I made a mental note. And I think the name just stuck with me. And I started to check him out, and whenever there was something on television, by him, the BBC or whatever, I would definitely see it. So, it might have been "Sisters.” It might have been "Blowout," I'm not really sure. My point of entry was "Phantom of the Paradise." It was first released in cinema, and I'd never seen anything like it, and then had to follow up with this guy, Brian DePalma, to see what he was going to do. And the next thing I remember seeing was "Carrie," and really loving it. I remember it was showing maybe a couple years later at a University Film Society, and I wasn't seeing it, but I was walking by. I could hear what was going on, and I said to friend, “let's stand here for just a second, they're about to scream,” because the hand was about to come up out of the grave. And it was so much fun to just know that was going to happen. And then years later to read about how Paul Hirsch came up with that and the music choice that he made and all that. So, is there a favorite Brian DePalma film? Peet: Yeah, I think "Blowout" is my favorite. It seems to be the one that combines all of his best qualities, you know, combining hot and cold and his formal expertise and his weird plotting and humor. Yeah, all of that. He does have both weird plotting and very devious humor and all of those, I wouldn't say it's my favorite, but I do whenever it's on, I can't help it, watch "The Fury." Just because it's a filmmaker working so hard to make this work. The cast is great, and they're all giving it their all and you know, the story doesn't really hold up. But he is just throwing so much at it to make it work that I appreciate that. Peet: That's a good summation, actually. Yeah, it doesn't really work, but it's just so much fun. Yes, exactly. One that I have trouble finding that I just love and that I just looked it up (as I mentioned, I was just looking to see the order of things), and I'm surprised that “Obsession” came before “Carrie.” I thought it came after “Carrie.” And that's his first time working with John Lithgow, and it's from a Paul Schrader script. And apparently, the last third of the movie they didn't even shoot. There's another whole act of it. Peet: Yeah, I think Paul Schrader is still a little pissed off about that. Even, more than a little. Maybe more than a little. Well, and with every right. But I think what Brian DePalma ended up doing with that movie—particularly when you read in Lithgow's book about the difficulty he had working with Cliff Robertson, and how difficult Robertson was and how he sabotaged every scene he was in to make sure that he would get the close ups, which is such a weird thing to want to do. But I guess that's what he did. It's with that Herrmann score. It's just such a lovely movie that I wish I could find it more often, but it is hard to come across. So, what did you think of "Raising Cain," the first time you saw it? Peet: Well, I know it like today, it was yesterday, because I discovered him while he was in the middle of his career. And so a lot of the films that I saw were actually older films of his. And I really liked his thrillers and the films that really carried his own signature. And at the time, he had been doing some other kinds of pictures. I think "Wise Guys," was one of them, I didn't even bother to see that. And, of course, "Bonfire of the Vanities," which was not exactly praised. It wasn't, but it's not horrible. It really isn't horrible. I rewatched it recently, and it's got some wonderful stuff in it. Peet: Yeah, they always do. All of his films have wonderful stuff. But anyway, it was pretty clear from the promotional materials and interviews that he was doing something with “Raising Cain,” which sort of pointed towards the fact that he was starting to go back to the source, you know, he was going to do his own thing again. And I was completely ready for it. And I had a girlfriend at the time and I must have, you know, been enthusing a lot about it. And she went with me, when it was out in the cinemas. And I liked the movie very much because I was a die-hard, rabid fan. But my girlfriend, she was sitting next to me, and I could feel she wasn't liking it. And after, I think already about four minutes in, she turned to me and said, “what kind of crazy film is this?” And, you know, this was also in the cinema that we saw it, you know, this was the general consensus. It was like, what kind of crazy thing is this? Now, would that have been the car scene with Carter, and the woman and Cain shows up in the window? Peet: It's going off the rails really soon in the original version. I was ready for that because I was a Brian DePalma fan. So, I dug it. But I also could completely understand why the casual viewer would have lots of problems with it. So, that stuck with me. Of course, later I found out that Brian DePalma wasn't really happy with how the film turned out. And when I sort of guessed what he originally had in mind, I thought that would work much better, actually. Yes, it's much more keeping with “Dressed to Kill” and “Psycho,” where you start the story one way andwe don't learn who the villain is until much later. With that in mind, and with enjoying the film, what was it that inspired the re-cut? Peet: Well, I was hosting a website with a forum on it, that had a lot of the Brian DePalma fans, who actually made the jump from another forum that was specifically about Brian DePalma. So, there were a lot of Brian DePalma fans there, and they were discussing lots of stuff. And at a certain moment, there was this guy who was talking about an interview book he was doing with Brian De Palma. He must have mentioned “Raising Cain” and that DePalma had said in the interview that he wasn't happy with it. And that immediately piqued my interest. And I asked Laurent, what was it about the film that he doesn't like? And Laurent said, well, he originally wanted to start with the story of the woman. So, that was the point where I thought, yeah, of course, then that probably means that he would start in the clock store, I immediately thought. So I checked out my DVD, and I tried—you know, the DVDs have chapters—so I tried to reorder the chapters to see how that movie must have played originally. And I couldn't really get it to work. But I still thought there might be a better film in this than was originally released. So, with that in mind, how'd you make that happen? Peet: Well, I left it alone for a few years. And at a certain moment, I guess it bugged me. The idea kept sticking in my mind, and I thought, well, why don't I just try it> And I ripped the DVD, and I am a director and editor, so I know how to edit. And I started asking around and Jeff who has a DePalma website knows a lot of stuff about the Brian DePalma. He actually had an old draft of the screenplay. It was called Father's Day at that time, and he was willing to send it over to me. So, I was able to read that. And indeed, the movie started the way I mentioned it, in the shop. But there were a lot of things different back then, because the screenplay wasn't completed. There were some really wild things in there that he just let go because it was too wild, or he went into another direction. But basically it laid out how the chronological order used to be.It wasn't actually chronological. He made it chronological because, as I heard it, he started to second guess his own creative feelings when the movie was tested and people had a problem with it. He started to mess around some more in the editing, and he changed everything to a chronological order. At the time, he thought, well, this is probably better, because then we get to the action really soon. Yeah, we do. So, that is how it was released, but of course in interviews after that, he has mentioned a lot about the fact that he doesn't really like the film as it was released, and that it should have been different. Before chatting with you, I sat down and rewatched both versions and took notes to try to figure out what the order was. And what throws it off for me a little bit is the opening shot in the theatrical cut of the park from high up is very much a Brian DePalma opening shot, you know, very close to what he did in “Carrie.” Whereas, the opening shot in the clock store is not really a DePalma shot. It's a little mundane. It's a wide shot. It's interesting, you know that Jenny walks up and sees herself in the heart shaped camera and all that-- Peet: It encapsulates the whole movie, but that's in a different way than the original did. Yes, exactly. And then as I was going through—and I'm sure you ran into this, it's regardless of whether it's the re-cut or the theatrical one—it's a dream sequence with a flashback built into it. And so it isn't until you get out of the dream sequence that you realize, oh, that was a dream sequence. But then in your mind, you're going well, then, was the flashback real, or is that part of the dream? And then they've added in narration as part of the flashback to help explain it, which I'm guessing was done in post. And so now they have a narration thing. So they have to keep that up. And then when they switch it around, when you did the version that was closer to what he wanted, it's still a bit wonky, regardless of whether you're chronological or not. And the audience has to go: okay, she's going to the hotel. Is this a dream? It must be a dream, because she's walking into the room and she doesn't have a key. That's the only clue, I think, that it's really a dream. And then obviously it's a dream, because she's killed and wakes up. And then you have the repeat of the thing with the gift and all that.So, regardless of the order of everything before, that whole section, I think is always going to throw an audience off. Peet: You're right, but the wonkiness, if you call it that, it is intentional. What he wanted to do, and he has stated this in interviews is, you know, normally with kind of police mystery, there is something going on and you don't know quite what. And then the detectives, they start to ask around. And you slowly assemble information, and it becomes clearer and clearer what actually has happened. And he really wanted this time to fuck with his audience, of course, because that's what Brian DePalma does. And he said, what if all the information the audience is getting is either a dream, it has never happened? Or they don't know if it's happened. Or, you know, it's an unreliable narrator. That was actually the game. And he's so good at that. Peet: He's really good at it, but of course you also need to get the audience so far that they're willing to go with you. Because it's a very manipulative way of telling a story. And some people don't like that. So, that's a very thin line that he was walking. And I think in the editing, he got cold feet. He thought, well, maybe I went a little too far here, and maybe I should do it a little differently, help them out and make everything chronological, and it may have fixed some things. But it created other big problems. The flow isn't really right. It wasn't how he originally imagined it.I think in a way he tested it, and it tested badly. And after that, they changed it around, and I think probably some of those changes were good, because he also shortened some bits, which were maybe a little too wild, judging from the screenplay that I've read. But I think changing the order was a bad decision. And I think he thinks that too, because as you know, he actually likes the version that I did and it's the "Director's Cut." So, he fixed some things, and he made other things problematic. It's really funny, you mentioned Paul Hirsch earlier, and he's, of course, De Palma, editor. He originally wasn't the editor on “Raising Cain,: it was someone else or two other people, and it didn't really work out as the Brian DePalma wanted it. It says in the book. He was struggling with it in the editing suite, and at a certain moment, I guess, he fired the previous editor. And he made sure that Paul came in. And Paul, he read the screenplay on the airplane, and he didn't get it. That's a bad sign. Peet: And he read it again, still on the same flight still didn't get it. He went to the Brian DePalma, he asked about it and still did not get it. And while he was editing, I'm afraid to say he never really got it. And that was an eye opener for me. I realized that pretty late on, because that book came out sometime after thae "Director's Cut" had come out on "Blu Ray." He was also asked, he was giving a Q&A somewhere, and somebody mentioned the Director's Cut, that it was edited by some random guy, and DePalma actually preferred that version. And Paul Hirsch said, well, he should have hired the random guy. Well, in a roundabout way I did it. But don't get me wrong, though. Paul is brilliant. He must have done a lot of things right as well, because I think the finale of the film, which all plays in slow mo, I think he edited that all over again. And that works brilliantly. It does. If you remember what he did at the end of “Carrie,” and how he fixed the split screen issues in the end of “Carrie” and made all that work. The montage he put together in the middle of "Phantom of the Paradise," even the closing credit montage in “Phantom the Paradise” in which you really recap all the characters. That's a really good editor. I understand that for legal reasons—in putting together your recut and making it what became the official Director's cut—you had to use all the elements from the theatrical cut. You had to use all of them, and obviously couldn't add anything, because you didn't have access to that. Was that tricky, where you had to use absolutely everything? Peet: No, it wasn't tricky. I was just lucky. When I made my own recut, and De Palma wanted it to be part of the Blu ray, the lawyers of Universal also requested that the recut of the film would only be possible if it wouldn't add something and wouldn't take something away. And, yeah, I was just lucky that it works like that. The only thing I did was change the order around, and there's a little change in the overall length of the film. That's because I repeat something, and I make some dissolves little a differently. That repetition is really helpful, to pull us back to where we need to be on the timeline. If you didn't have the scene that Jenny and her friend played by Mel Harris, I think you would get a little disassociated as to, okay, it's the same time, they're in the park. Peet: Yeah, I think you're absolutely right. And this must have been one of those things where an editor can help a director to achieve what he wants. Because I can imagine that they tried out that order in the editing suite. And that they thought it wouldn't work, because it's too jarring, you don't know where you are in the story, whatever. And the little repetition that I added really helps to get the viewer—you know, it is still jarring—but immediately after that the audience realizes, “okay, it's this moment, right,” and then they get along with it again. I'm wondering if today's audiences today might be a little more keyed into time jumps than they were back then? Peet: Definitely, because since then, of course, we've had movies like "Memento" and "Pulp Fiction," which are, you know, messing around with traditional ways that stories are told. I think part of the problem was that you have this huge flashback, and at a certain moment, the movie goes on again, after that flashback. But it's such a long flashback that Brian DePalma thought, well, maybe the audience will never understand that a flashback can last that long. So, let's not do it. And I think, you know, the movies that I'm mentioning, other ones might have helped to educate the viewer to the modern age where this is not much of a problem anymore. You know, you can, take people to amazingly difficult things. You just watch what Christopher Nolan has been doing, and they are willing to go along as long as you entertain them and reward them. In comparing the two versions as closely as I did, your version, although it's just a tiny bit longer, it actually seems faster. Because once Carter gets on that Carter train where he has to go all the way to the end, that's happening more in the middle of the movie, instead of the beginning. That just gives it a propulsion that the theatrical version doesn't have because it starts with Carter, and then it goes to Jenny for a big chunk, and then it's back to Carter. You're getting a little surprise of, oh, John Lithgow is evil in the first five minutes. But it's John Lithgow, so how big a surprise is that going to be in a DePalma film, really? I don't think he's ever been in a DePalma film where he wasn't ultimately evil.Well, it's true. And then switching it so that we're doing the Psycho/Dressed to Kill thing, following a character and then she suddenly dies. But then DePalma's brilliant touch of, no she is not dead, when Carter sees her on the TV screen is a huge shock. And I think it's more of a shock in your version than in the original one, and just because of the pacing of things. There is still though in both versions my favorite moment, and it's one of those things where I wish I could go back and see it again for the first time: when the elevator door opens and you see "Dr. Nix" coming forward with the baby. And you realize he is alive, that he isn't a manifestation of Carter's brain. He's really there, and we've been toyed with all the way up to that point with obviously, “he's not there because he's never in the same shot with anybody else.” He's doing the same tricks that he does with Cain. It's just such a delightfully DePalma moment, that and the appearance of Jenny on the TV screen, are just great moments that only work because the filmmaker has brought us up to them so skillfully. Peet: Yeah, you're right. You know, that is the original flow as it was intended. It's also funny to me that a lot of people at the time didn't really care for the story of Jenny, because you know, you were already on this track of John Lithgow doing his crazy thing, and then you all of a sudden get a love story. I loved it at the time, but it didn't play that well. So, it's kind of brilliant that if you start with it, it really gets the attention that it deserves, and people actually really like it, and then as soon as John Lithgow does his thing, like you say, it becomes really propulsive, the whole narrative goes toward that ending. Yeah, it's just great, and of course, we can't not that mentioned DePalma's lovely play on "Psycho's," ending scene with Simon Oakland explaining everything. To have France Sternhagen do that same thing in her own way. And then, of course, that classic DePalma shot taking us all the way through the building for no other reason than the fact that he can, in fact, do that. And just watching it, thinking, wow, she's timed exactly where she goes off kilter, and they have to pull her back, and it all fits with the lines as she's saying them.When he does that sort of thing, like he did at the beginning of "Bonfire," it's just so much fun to watch him do it because you realize not a lot of filmmakers can pull that off and keep the right pacing and make it work. It's just a great moment. He's such a devious, master storyteller. And then let's just jump ahead: You make the cut, and you heard that he loved it. How did that happen? Peet: Well, I think a year after I put it online on IndieWire. I talked about what I was doing, and I thought, wouldn't it be great if I make a video essay about my findings, and then it was posted on IndieWire. And he said, I think the whole version should be on IndieWire. And that, of course, you know, in terms of rights, we were thinking like, can we do that? Actually, you can't really, but we decided to do so anyway, and then put up that it was for educational purposes. And we just decided that whenever Universal lawyers would call, like, what are you doing, get this thing off? We would get it off. But it was on there, and I believe it's still visible actually. They don't really care for Raising Cain at Universal, but Brian DePalma, he found it. And about a year later I started reading in interviews—I think there were at least five—that he actually preferred this version over his own version. And that was of course already completely wonderful. Much later, I think about five years later, the Blu Ray was announced by Shout Factory. And all of a sudden Jeff from the Brian DePalma site—I mentioned him before—he got an email from DePalma. He said, “I just watched the Raising Cain recut and I think it's great. It succeeds in things that we couldn't get right the first time. It is what I originally wanted the movie to be.” And he thought it should be part of the Blu ray and he said, “Maybe you can make this happen? If I have to call somebody, then I will.” So, that is how it happened. It was a big surprise for Shout Factory. I think they already finished the Blu ray, and then all of a sudden they got this call from the director, like okay, yeah, well, you have to add something. There's now going to be a second disc. Peet: Yes. I never talked to Brian DePalma, but he basically gave me free rein. He said, “Okay, I've liked this version, this recut and it should be on the blu ray.” So, Shout Factory asked me to make that happen. We used the original master, the same master as was on the normal blu ray, and we actually re-edited that according to the recut that I have made and put it on the blu ray. That's an incredible story. What a thrill for you and what a vindication for him that somebody somewhere did this because of today's technology. It'd be like if you got a letter from Orson Welles, saying thank you so much for restoring "Magnificent Ambersons," that's exactly the movie I set out to make. Peet: It's still a little bit of a dream when I think about it. It's really great and I know I've emailed him after that to try to get, you know, some of the correspondence about it, but he's not the kind of guy who answers those emails. But I do know actually from Laurent who did the interview book that DePalma's very happy with the blu ray as it is right now. You feel, sort of, it has validated his film again. So, that feels great.

A Long Time Ago in a Cutting Room Far, Far Away provides a behind-the-scenes look at some of the most influential films of the last fifty years as seen through the eyes of Paul Hirsch, the Oscar-winning film editor who worked on such classics as George Lucas's Star Wars and The Empire Strikes Back, Brian De Palma's Carrie and Mission: Impossible, Herbert Ross's Footloose and Steel Magnolias, John Hughes's Ferris Bueller's Day Off and Planes, Trains & Automobiles, Joel Schumacher's Falling Down, and Taylor Hackford's Ray.Hirsch breaks down his career movie by movie, offering a riveting look at the decisions that went into creating some of cinema's most iconic scenes. He also provides behind-the-scenes insight into casting, directing, and scoring and intimate portraits of directors, producers, composers, and stars. Part film school primer, part paean to legendary filmmakers and professionals, this funny and insightful book will entertain and inform aficionados and casual moviegoers alike.Support this show http://supporter.acast.com/writers-on-film. Hosted on Acast. See acast.com/privacy for more information.

Jorge began working for Hirsch in 2010, straight out of high school, after meeting Hirch vice president Paul Hirsch on the soccer field. He started as a production assistant and after 12 years of mastering every machine in the building, from the print machines to the forklift, he's now the Lead Production Manager. Jorge, or George, is an integral asset to the back of house at Hirsch, and, according to Director of Sales and Marketing, Brittany Frase, “he still makes the best box of anyone on the floor.”

Au sommaire de cette spéciale Nouvel Hollywood... Et après ? : -Retour sur quelques acteurs majeurs du Nouvel Hollywood et leurs trajectoires respectives à travers l'évocation de divers films et livres édités par Carlotta Films dont l'ultra collector consacré à RETOUR (1978) de Hal Ashby (accompagné de l'ouvrage L'ESPRIT RETROUVE de Jean-Baptiste Thoret), quelques œuvres de Peter Bogdanovich telles DAISY MILLER (1974), TEXASVILLE (1990) & THE GREAT BUSTER : UNE CELEBRATION (2018), et, enfin, l'autobiographie (coéditée avec Almano Films) du monteur Paul Hirsch intitulée IL Y A BIEN LONGTEMPS, DANS UNE SALLE DE MONTAGE LOINTAINE, TRES LOINTAINE… Bonne écoute à toutes et tous !

Cʹest un homme de lʹombre. Mais une ombre mythique du cinéma hollywoodien. A 76 ans, Paul Hirsch possède un CV vertigineux. Cʹest lui qui a monté des films aussi célèbres que le premier volet de "La guerre des étoiles", "Lʹempire contre-attaque", "Carrie", "Mission :Impossible", mais aussi des comédies comme "La folle journée de Ferris Bueller". Cette mémoire vivante était de passage à Lausanne, pour présenter, à la Cinémathèque suisse, son autobiographie. Un livre intitulé "Il y a bien longtemps, dans une salle de montage lointaine, très lointaine". Paul Hirsch est au micro de Rafael Wolf.

SHERRYL CLARK chats to Paul Burke about her new Judi Westerholme novel MAD, BAD AND DEAD. Melbourne, poetry, structure and pace, the innocents caught up in crime, keeping it grounded and Finland.MAD, BAD AND DEAD: A dead employee. A missing child. Anonymous phone calls in the dead of night. Judi Westerholme's troubles aren't over yet... Already struggling to juggle co-running Candlebark's pub/bistro along with her new childcare responsibilities, Judi does not need her life to become any more complicated. Yet, as usual, complications arrive in spades: she starts receiving threatening, late-night phone calls before discovering one of her employees, Kate, shot dead in her bed. Judi finds herself caught up in a murder investigation, as well as the hunt for the Kate's fourteen year old daughter, who has been missing since the murder. Add in the uncertainty of her relationship with Melbourne-based D.S. Heath and the fact that her estranged mother's nursing home keeps urging her to visit, and Judi might finally be at breaking point.Sherryl Clark has had 40 children's and YA books published in Australia, and several in the US and UK, plus collections of poetry and four verse novels. She has taught writing at Holmesglen TAFE and Victoria University. She completed a Master of Fine Arts program at Hamline University, Minnesota, and has just finished a PhD in creative writing. Her three adult crime novels are TRUST ME I'M DEAD, DEAD AND GONE & MAD, BAD AND DEAD.RecommendationsGarry Disher - the Paul Hirsch mysteries Emma Viskic - Those Who PerishVikki Petraitis - The UnbelievedCatherine Lee - Dark Justice Produced by Junkyard DogMusic courtesy of Southgate and LeighCrime TimePaul Burke writes for Crime Time, Crime Fiction Lover and the European Literature Network. He is also a CWA Historical Dagger Judge 2022 .

On this episode of the AW360 podcast, we're pleased to welcome Paul Hirsch, President and CEO of Doremus. Paul fills us in on what we can expect from the new B2B Creative Lion category at Cannes this year, as well as the similarities and differences between creative in the B2B and B2C spaces in general. … Continue reading "Paul Hirsch, President and CEO, Doremus"

He was in the room with George Lucas editing “Star Wars” and “The Empire Strikes Back”. He was in the room with De Palma editing “Carrie”, “Blowout” and “Mission Impossible”. He was in the room with John Hughes editing “Ferris Bueller's Day Off” and "Planes, Trains & Automobiles”, and Herb Ross doing “Footloose”. He was in the room with Joel Schumacher editing "Falling Down” and with Taylor Hackford doing “Ray”. And now he's in the The Gary & Kenny Show. 

Legendary “Star Wars” editor and "A Long Time Ago in a Cutting Room Far, Far Away" author Paul Hirsch discusses the craft, showmanship and evolution of film editing. The Academy Award-winner's credits also include “Carrie," "Creepshow," "The Empire Strikes Back," "Blow Out," "Footloose," "Ferris Bueller's Day Off," "Planes Trains and Automobiles," "Steel Magnolias," "Mission: Impossible," "Ray," "Mission: Impossible - Ghost Protocol," "Life of Pi," "The Great Gatsby" and "World War Z."

RULE OF TWO IRL - Today we continue with Part 4 of our 4 Part series highlighting an excerpt from our interview with academy award winning editor Paul Hirsch. He's edited many films you love and know like Star Wars A New Hope, The Empire Strikes Back, Carrie, Mission Impossible, The Secret of My Success, Footloose, Ferris Bueller's Day Off, and many more.   Read Paul's book "A Long Time Ago in a Cutting Room Far, Far Away: My Fifty Years Editing Hollywood Hits―Star Wars, Carrie, Ferris Bueller's Day Off, Mission: Impossible, and More " Learn more about your ad choices. Visit megaphone.fm/adchoices

RULE OF TWO IRL - Today we continue with Part 3 of our 4 Part series highlighting an excerpt from our interview with academy award winning editor Paul Hirsch. He's edited many films you love and know like Star Wars A New Hope, The Empire Strikes Back, Carrie, Mission Impossible, The Secret of My Success, Footloose, Ferris Bueller's Day Off, and many more.   Read Paul's book "A Long Time Ago in a Cutting Room Far, Far Away: My Fifty Years Editing Hollywood Hits―Star Wars, Carrie, Ferris Bueller's Day Off, Mission: Impossible, and More " Learn more about your ad choices. Visit megaphone.fm/adchoices

RULE OF TWO IRL - Today we continue with Part 2 of our 4 Part series highlighting an excerpt from our interview with academy award winning editor Paul Hirsch. He's edited many films you love and know like Star Wars A New Hope, The Empire Strikes Back, Carrie, Mission Impossible, The Secret of My Success, Footloose, Ferris Bueller's Day Off, and many more.   Read Paul's book "A Long Time Ago in a Cutting Room Far, Far Away: My Fifty Years Editing Hollywood Hits―Star Wars, Carrie, Ferris Bueller's Day Off, Mission: Impossible, and More " Learn more about your ad choices. Visit megaphone.fm/adchoices

RULE OF TWO IRL - Today we bring you Part 1 of our 4 Part series highlighting an excerpt from our interview with academy award winning editor Paul Hirsch. He's edited many films you love and know like Star Wars A New Hope, The Empire Strikes Back, Carrie, Mission Impossible, The Secret of My Success, Footloose, Ferris Bueller's Day Off, and many more.   Read Paul's book "A Long Time Ago in a Cutting Room Far, Far Away: My Fifty Years Editing Hollywood Hits―Star Wars, Carrie, Ferris Bueller's Day Off, Mission: Impossible, and More " Learn more about your ad choices. Visit megaphone.fm/adchoices

This week was a great week back in 1987. Two very well-received and wholesome comedies were released on the same day. One of them is the classic road trip film Planes, Trains and Automobiles. The other is Three Men and a Baby, an all-star adventure in parenthood and crime. We let them battle it out to see which is the best! 0:07:40 - Three Men and a Baby review 0:19:20 - Planes, Trains and Automobiles review 0:30:18 - Bonus Battle segment Join the Bad Porridge Club on Patreon for TWO bonus episodes each month! https://www.patreon.com/oldiebutagoodiepod Follow the show! Instagram: https://www.instagram.com/oldiebutagoodiepod/  Facebook: https://fb.me/oldiebutagoodiepod Youtube: https://www.youtube.com/channel/UCjfdXHxK_rIUsOEoFSx-hGA  Podcast Platforms: https://linktr.ee/oldiebutagoodiepod  Got feedback? Send us an email at oldiebutagoodiepod@gmail.com Follow the hosts! Sandro Falce - Instagram: https://www.instagram.com/sandrofalce/ - Twitter: https://twitter.com/sandrofalce - Letterboxd: https://letterboxd.com/SandroFalce/ - Twitch: https://www.twitch.tv/kegelandgregmusic  - Nerd-Out Podcast: https://anchor.fm/nerd-out-podcast  Zach Adams - Instagram: https://www.instagram.com/zach4dams/ - Twitter: https://twitter.com/ZackoCaveWizard Donations: https://paypal.me/oldiebutagoodiepod Please do not feel like you have to contribute anything but any donations are greatly appreciated! See omnystudio.com/listener for privacy information.

In the Season 2 premier, new permanent hosts Kim and Laura are joined by Colton for a conversation about the potential of monsters as allegory. Using an episode of Buffy the Vampire Slayer as a guide, Colton delves into the ways creatures like werewolves and witches have the power to start conversations among viewers. Source: "Television as a cultural forum: Implications for research" by Horace Newcomb and Paul Hirsch, 1983: https://www.tandfonline.com/doi/abs/10.1080/10509208309361170 Media Literate is a collaborative podcast produced by Colton Elzey, Sebastian Wurzrainer, Laura Broman, Kim Henry, and Julia Rose Camus. This episode was edited by Sabrina Sonner. Our theme music is Soft Feeling by Cheel, and our logo was created by Julia.

Paul Hirsch: A long time ago in a cutting room far, far away... with TRE´s Giles Brown

The SMC team (Connor Lloyd Crews, Edwin Gomez, Daniel Ott, Craig Hammill) return to their occasional series about elements of cinema. Today we discuss the art of editing, examples of great cuts in movies like Point Blank, The Wild Bunch, Raiders of the Lost Ark, Little Women, Hostel and great all-time editors like Dede Allen, Paul Hirsch, Sergei Eisenstein, Michael Kahn, Anne V. Coates among others. 

In the final installment of our latest chat with Paul Hirsch, editor of “Mission: Impossible” and author of “In a Cutting Room Far, Far Away,” we talk more about his work with Brian De Palma, how Steve Martin would just park illegally since he could afford the ticket, and how his job as a “movie doctor” on “Exorcist III” was true hell. Also, get details on an unproduced (and never discussed) John Hughes project.

In the second part of our latest chat with Paul Hirsch, “Mission: Impossible” editor and author of “In a Cutting Room Far, Far Away,” we get funny stories about Danny Elfman’s stuffed cat, how he nearly worked on “Taxi Driver” with Brian De Palma, and how Lee Child’s Jack Reacher books influenced the opening of ‘Ghost Protocol’ (amongst other chestnuts).

Today on the show I am honored to have Paul Hirsch, academy award winning editor that has edited over 40 films, including "Star Wars", "The Empire Strikes Back"; Ferris Buller’s Day off, Mission Impossible and Ray. He has worked with titans of the industry including George Lucas, Brian De Palma, Herbert Ross, John Hughes, and for Joel Schumacher. He is also the author of a memoir titled "A Long Time Ago in a Cutting Room Far, Far Away." Paul thank you so much for coming on the show. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

We are back, talking to legendary editor (and recent author) Paul Hirsch again. Paul edited the first “Mission: Impossible” movie along with ‘Ghost Protocol,’ and in this episode he shares his thoughts on some recent Oscar-season movies, reveals an unused chapter from his book (read by Paul himself) and tells a funny story about Stanley Kubrick.

Episode 8!Paul Hirsch joins us to talk about grassroots motorsports and how he first got involved in karting and eventually endurance racing.  He shares his advice to those looking to get started in racing and shares his plans for 2021.  He and Bill talk about some of the adventures they had while endurance racing including one very snowy day picking up an E30 at the US/Canadian border.Paul's motor sport career began simply as a hobby in the early 2000's. Paul has certainly made a name for himself many times over in Karting, Endurance car racing, and Autocrossing. He has been racing in several disciplines and has graduated from prestigious race schools such as Skip Barber and Mario Andretti racing School.  He has a racing license and can drive in SCCA, NASA, ChampCar, WRL, and AER. A proven "fast, front runner" in every car he has driven!Paul has several wins, poles, and has been incredibly blessed to have driven an enormous variety of vehicles. Paul is a clean driver, extremely consistent running several laps within a thousandth of each other whether it be in endurance racing or sprint format. Paul has never been involved in any major wrecks. In addition to his motorsports career he holds a Bachelors in political science and a Masters in Organizational Leadership. He currently works in Higher education.Learn more @  Lake Effect Racing

This week we are joined by the one and only, Academy Award winner Paul Hirsch. Paul is the editor of films like Star Wars: A New Hope, Empire Strikes Back, Carrie, Ferris Bueller's Day Off, and MANY more! The guys have a chat with Mr. Hirsch about his rise in the industry and his recently published book A Long Time Ago in a Cutting Room Far Far Away! In Behind the Scenes Jeremy gives us a big update on the Nintendo Documentary (Which is now a Docuseries!) And much more! And in this week's Cutscenes segment the guys discuss the latest developments in The Mandalorian, spoilerrs ahead on this one kiddos! Check out Mediajuice.com for all things Mediajuice and links to all the videos we talked about during today's show. And don't forget to send a screenshot of your 5-star rating and review to MediajuicePodcast@Gmail.com for a free digital copy of Video Games: The Movie, or the docu-series Unlocked: The World of Games Revealed! Produced by Jeremiah Isley, Mediajuice Studios, llc.

The ForceCast is BACK!This week, Ryan and Daniel speak to Paul Hirsch—the Oscar-Winning editor of The Empire Strikes Back, Star Wars, and so much more. Paul tells the guys stories about editing Empire and what it means to reach the 40th anniversary.Then, the guys finish their series on their favorite moments of the saga, focusing on the Disney Era.

The ForceCast is BACK!This week, Ryan and Daniel speak to Paul Hirsch—the Oscar-Winning editor of The Empire Strikes Back, Star Wars, and so much more. Paul tells the guys stories about editing Empire and what it means to reach the 40th anniversary.Then, the guys finish their series on their favorite moments of the saga, focusing on the Disney Era.

Paul Hirsch received the Academy Award for his editing work on "Star Wars" in 1978. In 2005, he received his second Academy Award nomination for Taylor Hackford's "Ray". He is the only person to ever win the Saturn Award for Best Editing twice. He is the author of "A Long Time Ago in a Cutting Room Far, Far Away".

Paul Hirsch received the Academy Award for his editing work on "Star Wars" in 1978. In 2005, he received his second Academy Award nomination for Taylor Hackford's "Ray". He is the only person to ever win the Saturn Award for Best Editing twice. He is the author of "A Long Time Ago in a Cutting Room Far, Far Away".

It's Halloween, and have we got a treat for you - Oscar Winning editor on Star Wars - Paul Hirsch! This legendary Hollywood editor has also worked on a few other films you may have seen, including The Empire Strikes Back, Carrie, Ferris Bueller's Day Off, Planes Train and Automobiles, Mission Impossible, Mission Impossible - Ghost Protocol, Ray, Footloose and so many more! His NEW book, A Long Time Ago in a Cutting Room Far, Far Away is available for preorder. Also on this episode, we answer this question: If you were to go trick or treating in the Star Wars, Disney or Marvel Universes, and you could only pick 3 houses, or castles, or caves, or space stations to visit, what would they be?    Upcoming Meet-Ups and Events Sunday, Nov 10th at 6pm- we will take a pic in front of the Falcon, then ride Smuggler's Run. Worked great at WDW, so let's do it again! Sunday, Nov 29th at 5:30pm- Panel at LosCon - Paul Hirsch, My Fifty Years of Hollywood Editing Skywalking YouTube: Halloween Videos https://www.youtube.com/watch?v=-8XQmD4BiLw&t=4s Disney's Halloween Parties on both Coasts!   https://www.youtube.com/watch?v=f8TG_a56Mro   https://www.youtube.com/watch?v=m0hcXKtqV_Q   Check out these SKYwalking NETwork shows: Sabers & Spells - a Geek Pop Culture Podcast The Culture POPCast - Interview-based Pop Culture Podcast Small World Vacations Small World Vacations is an official sponsor of Skywalking Through Neverland. Small World Vacations is a Diamond Level Authorized Disney Vacation planner travel agency helping guests plan special Disney Vacations for over 20 years! Their agents are your best resource for Disney Vacation discounts, news and, most importantly, Galaxy's Edge updates. Best of all, their Magical vacation-planning Service is free of charge. Contact them for a no obligation price quote at www.smallworldvacations.com. Tell them Skywalking Through Neverland sent you. SUPPORT THE SHOW Find out how you can become a part of the Skywalking Force and unlock this content right here.       Shop Star Wars Shoes at Po-Zu!   Shop Oppo Suits   NEW Skywalking Through Neverland T-Shirts at TeePublic! Check them out HERE.   CONTACT US Instagram: http://instagram.com/skywalkingpod Twitter: https://twitter.com/SkywalkingPod Facebook: https://www.facebook.com/skywalkingthroughneverland Send emails to share@skywalkingthroughneverland.com and follow us on Facebook.   If you dug this episode, click over to iTunes | Stitcher | YouTube and leave us a review!   Never Land on Alderaan!

Paul Hirsch received the Academy Award for his editing work on "Star Wars" in 1978. In 2005, he received his second Academy Award nomination for Taylor Hackford's "Ray". He is the only person to ever win the Saturn Award for Best Editing twice. He is the author of "A Long Time Ago in a Cutting Room Far, Far Away".

Paul Hirsch received the Academy Award for his editing work on "Star Wars" in 1978. In 2005, he received his second Academy Award nomination for Taylor Hackford's "Ray". He is the only person to ever win the Saturn Award for Best Editing twice. He is the author of "A Long Time Ago in a Cutting Room Far, Far Away".