Podcasts about Pernilla August

Star Wars: Episode I – The Phantom Menace is a 1999 American epic space opera film written and directed by George Lucas in his first directorial effort since 1977. The film stars Liam Neeson, Ewan McGregor, Natalie Portman, Jake Lloyd, Ahmed Best, Ian McDiarmid, Anthony Daniels, Kenny Baker, Pernilla August, and Frank Oz. -- Audiomorphs is an Animorphs podcast which is actually not so much a podcast as a bootleg Animorphs audiobook. Releases every Friday. Visit https://www.theapodcalypse.com/ Twitter: @audiomorphs

Snedtänktvåren går i mål med en stjärnsmäll! Pernilla August, känd från Dramaten, Star Wars och en tidig Roy Andersson-reklamfilm, berättar om sin på många sätt unika karriär inför levande och lyssnande publik på Värnamo Filmhistoriska Festival. En handfull Bo Widerberg-anekdoter följer med på kuppen. Pernilla Slagårr nämns. Lyssna på alla avsnitt i Sveriges Radio Play.

On this episode Matt & Eric review George Lucas' Star Wars Episode I: The Phantom Menace starring Liam Neeson, Ewan McGregor, Natalie Portman, Jake Lloyd, Ian McDiarmid, Anthony Daniels, Kenny Baker, Pernilla August, and Frank Oz.Matt's Review: 2.5/5 Eric's Review: 3/5

This week we get in our time capsule and travel back to 1999 to discuss Star Wars: Episode I - The Phantom Menace! Released 16 years after the conclusion of the original trilogy, this epic space opera kicks off the Skywalker Saga, following a Jedi Master and his apprentice as they work to save the planet of Naboo from the Trade Federation, who are being manipulated by an eerily familiar dark figure. Starring Liam Neeson, Ewan McGregor, Natalie Portman, Jake Lloyd, Ian McDiarmid, Anthony Daniels, Kenny Baker, Pernilla August, and Frank Oz, this film grossed a whopping $924 million in it's initial theatrical run... But Is Star Wars: Episode I - The Phantom Menace Good? Hosted on Acast. See acast.com/privacy for more information.

For this "ReScreen" episode, Michael does a rewatch of the 1999 epic space opera film "Star Wars: Episode I - The Phantom Menace", the first film of the Star Wars prequel trilogy starring Liam Neeson, Ewan McGregor, Natalie Portman, Jake Lloyd, Ahmed Best, Ian McDiarmid, Anthony Daniels, Kenny Baker, Pernilla August and Frank Oz. What are some of his memories of seeing this film previously and thoughts after seeing the film again? Check it out and see! Be a part of the conversation! E-mail the show at screennerdspodcast@gmail.com Follow the show on Twitter @screennerdspod Like the show on Facebook (Search for Screen Nerds Podcast and find the page there) Follow the show on Instagram and Threads just search screennerdspodcast Check out the show on Bluesky just search screennerdspodcast Be sure to check out the podcast on Apple Podcasts, Spotify, Goodpods, Overcast, Amazon Music or your podcast catcher of choice! (and please share rate and review!) Want to be a guest or share your thoughts on the podcast? Send me an e-mail! Thanks to Frankie Creel for the artwork --- Send in a voice message: https://podcasters.spotify.com/pod/show/screennerdspodcast/message

Manne berättar om hur han tvångsmässigt skämtar med sina döttrar samt reder ut om det är nån skillnad mellan hasch och marijuana. Nisse blandar ihop Pernilla August och Helena Bergström samt slås av att tiden är en flat circle. Typ. Hosted on Acast. See acast.com/privacy for more information.

Dmitri Plax berättar om Maria Stuart av Friedrich Schiller, en pjäs som påverkat hans syn på teaterkonsten. Vad handlar den pjäsen egentligen om? Två 1500-tals drottningar eller något helt annat? Lyssna på alla avsnitt i Sveriges Radio Play. Friedrich Schiller skrev Maria Stuart år 1800, om två historiska drottningar: Maria av Skottland och Elisabeth av England. Maria och Elisabeth. Den svarta drottningen och den röda. Ett schackparti med oviss utgång: vem vinner? Vem förlorar? I stunden och i ett historiskt perspektiv? Idag och i evigheten?Bland flera uppsättningar av den pjäsen återfinns en särskild, en som Ingmar Bergman gjorde på Dramaten i Stockholm. I Sveriges Radios arkiv finns inga ljudupptagningar från just den uppsättningen, men flera andra finns med och lyssnaren får höra små klipp från dem som ljudillustrationer, från 50- 70- och 2000-talet. Uppsättningarna i programmet:”Ur Maria Stuart”, från 1956. Översättning: Bertil Malmberg, regi: Eddie Stenberg. Med bl. a.: Gunnel Broström, Karin Kavli”Maria Stuart”, från 1974. Översättning: Bertil Malmberg, regi: Jan Lewin. Med bl.a.: Marianne Hedengrahn, Marianne Wesén”Maria Stuart”, från 2010. Översättning: Magnus Lindman, musik: Rasmus Persson, regi: Melika Melouani Melani. Med bl. a.: Mina Azarian, Thérèse Brunnander ”Tiden second hand” av Svetlana Aleksijevitj, från 2015. Översättning: Kajsa Öberg Lindsten, musik: Dror Feiler, regi: Dmitri Plax. Med bl.a.: Pernilla August, Lena Endre

FILMBRANSCHPODDEN - A PART OF ACASTING VEM: Jakob Abrahamsson YRKE: VD för tre bolag inom filmbranschen SÄSONG: 1  EPISOD: 7 EN PODD AV: Simon Kölle www.linktr.ee/simonkolle Om episoden:  Jakob Abrahamsson är VD för Distributionsbolaget NonStop Entertainment, VD för Bio & Bistro Capitol och VD för produktionsbolaget Mylla Films. Med stor kärlek till film och ett entreprenöriellt sinne berättar Jakob om sin mångsidiga karriär och hur det är att driva sina tre bolag. När episoden spelades in var Anette Novak VD på Svenska filminstitutet. SPONSRAD AV: Ritualen -  www.ritualen.com NÄMNER BLAND ANNAT:  Bio Capitol, NonStop Entertainment, Mylla Films, Otänkbart att jobba med film, Hitchcock, hyrde filmer, Casablanca, Västertorp, Bodils Video, Silverscreen, Fruängen, Video Nord, Hornstull, Walter video, video invest, KTH, Filmvetenskap, Stockholm Filmskola, Regi, Stockholm Filmfestival, Tidnigen Cinema, Midnattsvisningar, Hong Kong-film, Ringu 1 och 2, Popcorn festivalen, Abbe, Patrik Andersson, Anna Lindström på Lucky Dogs, Nicola på Njuta, Programansvarig, Tonårskomedier, thrillers, drama, B-action, mix av filmer, Tarantino, anti-censur, Skärholmens loppmarknad, Laserdisc,  Carl Göran Andersson, Ignas Scheynius, Turner Broadcasting, Warner, Kabelkanal, ComHem, Abonemang, Discovery, HBO, Searching for Sugar Man, Malik Bendjelloul, Möten i London, HR, Ekonomi, Underchefer, Köpa NonStop, Flytta ut samma dag, Jag är Ingrid, Fin start, Tvod, EST, VOD, SVOD, Hyr och köp-video, Streaming, Netflix, AVOD, FVOD, Sälja till TV, Köpa rättigheter, Tidsbestämda rättigheter, Värderingen, Discounted cashflow, Köpa sälja bolag, filmhistoria, Grosshandlare i filmrättigheter, Göteborg Film festival, Sundance, Nordic Film Market, American Film Market, Paris Rendezvous, Berlin Film Festival, European Film Market, MIPTV, International Television Market, Cannes, London Screenings, Venedig film festival, Toronto Film festival,  MIPCOM, Ekosystemet inom Indiependent film, Röda Mattan, Pre Sales, mer om filmfestivaler, Buda på projekt, Svårt att göra film i Sverige utan att ha många med dig, Nordisk film och tv fond, Finansiering av film, Pitchar, EPK, digibeta-Kassett, Stärka kreatörer, Mylla och NonStop, Scanbox, Aurora, flera hattar, NonStop sist i kön för Mylla, MG, Mestadels roligt, VD för Bio Capitol, Permitering, B-Reel, Lisa Langseth, Pernilla August, TV-serier, Midsommar, Ari Aster, Datapunkter, Estimat, väldigt hemliga i Sverige med data och tittarsiffror, FilmWeb, Dungeons and Dragons, Filmbudget, Box Office, Streamingplattformer hemlar, Status på svenska filmbranschen, Kalibrerat om branschen,Allmän kostnadskontrollvåg, VIAPLAY, Beställare kommer beställa mindre, pendeln håller långsamt på att svänga tillbaka till långfilm, Barbiefilmen, självförtroende, nedåtgående spiral, Sonet, Josef Fares,  Johan Falk, Göta Kanal, Sällskapsresan, Joker, Strul, En runda till, Solsidan, Ove, Felix Herngren, Lasse Åberg, Feed, Bränn alla mina brev, Scandinavian Content Group, Svensk genre, Avgrunden, Katastroffilm, Vinterberg, Ruben Östlund, Anna Croneman, Riktning och initiativ och mod, Top Gun 2, Genreberättande, Låt den rätte komma in, Efti, Carl Molinder, Gräns, Art House, Nordic Noir, FLX, Gräva där man står, Internationell marknad i bakhuvudet, Dalarna, Norberg, Mormor, Harold and Maude, The Graduate, Cinemateket, If you want to sing out, sänka priset på medlemskort, Mission impossible,  Klassiker och specialvisningar, After Sun, Kärlek och Avund, War Pony, Disco Boy, Bruce Willis, Art House, Snabba Cash, Streamingintäkter, Ledarskap, Förtroende, Tillit, Trygghet, Hållbarhet, This is England, Mark Herbert, Shane Meadows, Warp X, Inside Pictures, David Cronenberg, Crimes of the Future, Naked Lunch, The name of the game, Julia Short, UIP, Polygram, 12 apornas armé, Mentor, att ha egen bio, Svenska filminstitutet, Anna Serner, Anette Novak, Öronbedövande tystnad, en kraft för kontinuitet och reaktivitet, SVT Drama, Mikael Marcimain, Tyst från kulturpolitiken, Werner Herzhog, Egghead Republic, Galna på bästa sätt, Per Faxneld, Ockultism, public intellectual, It Follows, Den där Mary

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

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

Kritikerduell om tittarsuccén på SVT. I den slutgiltiga uppgörelsen skärskådar vi skådespeleriet, scenografin och spänningsmomenten. Vad är bäst och vad är sämst? Mikael Marcimains dramatisering av Kerstin Ekmans roman "Händelser vid vatten" går i mål idag när det sjätte och sista avsnittet läggs upp på SVT Play. Dramaserien har blivit lägerelds-tv på söndagskvällarna. Många älskar serien med Rolf Lassgård och Pernilla August i några av huvudrollerna, och kritikerna var överlag mycket positiva i sina recensioner. Men det har också klagats på dåligt ljud och att den kanske mest ändå är omsorgsfull scenografi av ett svunnet Sverige. Vi låter två kritiker mötas i en slutgiltig duell. I ena ringhörnan: Helena Lindblad, filmredaktör på Dagens Nyheter. Hon gav Händelser vid vatten högsta betyg i sin recension. I den andra, mer skeptiska, ringhörnan: Jenny Aschenbrenner, kulturjournalist. OBS! Vi avslöjar INTE slutet på serien.SILVANA IMAM – FRÅN MIKROFONEN TILL BIODUKENSilvana Imam gör debut som skådespelare i filmen "Dogborn" som har premiär i dag. Samtidigt har hon ett nytt album på gång. Skådespelardebuten var mer känslor än kontroll, berättar hon för P1 Kulturs reporter Björn Jansson.SOCKEREXPERIMENTET PÅ VIPEHOLMVipeholms sjukhus i östra Lund var en anstalt för "sinnesslöa" under åren 1935-1982. På sjukhuset utfördes experiment på intagna patienter med intellektuell funktionsnedsättning, i strid mot medicinsk-etiska principer. Ett av dem var kariesexperimentet, när patienterna tvingades äta stora mängder kola för att se hur det påverkade deras tandhälsa. Kariesexperimentet och verksamheten på Vipeholm har skildrats i P1s prisbelönade dokumentärserie "Vipeholmsanstalten" av reportern Randi Mossige-Norheim och producenten Magnus Arvidson. Nu kommer filmen "Sockerexperimentet". Vad kan fiktionen tillföra vår förståelse av de verkliga händelserna? Filmens huvudrollsinnehavare Amanda Malmberg, producenten Johan Fågelström och regissören John Tornblad kommer till studion.KLASSIKERN: KATTRESAN AV IVAR AROSENIUSKonstnären Ivar Arosenius föddes 1878 och hans bilder känner man kanske framförallt igen på deras humor. Men det allra mest spridda och älskade av hans verk blev en saga för barn: Kattresan, som översatts till en mängd språk och på svenska utgivits 24 gånger vid det här laget. Kulturredaktionens Mårten Arndtzén ger Kattresan en ram i veckans Klassiker.Programledare: Lisa BergströmProducent: Anna Tullberg

Rolf Lassgård spelar en huvudroll i dramatiseringen av en av sina favoritböcker, Kerstin Ekmans "Händelser vid vatten". I sex delar får vi i SVT följa människorna i Svartvattnet, där ett mord på två turister i början av 70-talet hänger som en mörk skugga över bygden 20 år senare.I dramat med mordgåtan ser vi vid sidan av Rolf Lassgård, bland andra Pernilla August, Alba August, Asta August och Magnus Krepper.Björn Janson har intervjuat skådespelarna och regissören Mikael Marcimain.

Nu spelar han en av huvudrollerna i Mikael Marcimains dramatisering av boken. P1 Kultur har träffat regissör och skådespelarensemble. Kerstin Ekmans roman "Händelser vid vatten" från 1993 är en modern klassiker. Den utspelar sig dels i början av 70-talet då ett mord på två tältande turister upptäcks på den jämtländska landsbygden, och dels tjugo år senare då vi möter människorna igen, de som bor kvar i Svartvattnet som platsen heter i berättelsen. 2020 läste Rolf Lassgård in romanen för Radioföljetongen i Sveriges Radio. Nu har boken blivit dramaserie på SVT. Rolf Lassgård spelar läkaren Birger och för P1 Kulturs reporter Björn Jansson berättar han om sin favoritscen och varför berättelsen inte släpper greppet om honom. Du hör också skådespelarna Pernilla August, Asta Kamma August och Magnus Krepper samt regissören Mikael Marcimain.KLASSIKERN OM IBSENS PJÄS HEDDA GABLERHenrik Ibsens pjäs Hedda Gabler hade urpremiär i München år 1891. Titelrollen är en av teaterhistoriens riktigt stora kvinnoroller. I Klassikern funderar frilansjournalisten Hedvig Weibull på skillnaden mellan pjäsens två kvinnor, Hedda Gabler och Thea Elvsted. Och på den svåremotståndliga lusten att förstöra.FÖLJ MED PÅ BILDNINGSRESA TILL LONDONReportageserien Bildningsresan tar dig till kulturens huvudstäder. Här får du en guide till de klassiska besöksmålen som är värda en omväg. Vi är framme vid sista stationen på vår resa. Följ med Karin Svensson och Andres Lokko till London.Programledare: Lisa BergströmProducent: Anna Tullberg

Asta August har huvudrollen i bioaktuella "Bränn alla mina brev" och i vinter kan hon ses i SVTs dramatisering av Kerstin Ekmans "Händelser vid vatten". Asta August berättar i mötet med kulturredaktionens Björn Jansson om hur hon förberedde sig för rollen som Karin Stolpe i filmatiseringen av Alex Schulmans roman och släkthistoria. Hon berättar också om kvällarna i Gamla Stan när mamma Pernilla August gick till teatern.

Agents Scott and Cam engage in a double-bladed lightsaber fight while revisiting the first episode of the Star Wars prequel trilogy, 1999's The Phantom Menace, for their Patreon-exclusive spin-off series. Directed by George Lucas. Starring Liam Neeson, Ewan McGregor, Natalie Portman, Jake Lloyd, Ian McDiarmid, Anthony Daniels, Kenny Baker, Pernilla August, Frank Oz, Ahmed Best and Ray Park. Become a SpyHards Patron and gain access to top secret "Agents in the Field" bonus episodes, movie commentaries and more! Pick up exclusive SpyHards merch, including the "What Does Vargas Do?" t-shirt by @shaylayy, available only at Redbubble Social media: @spyhards View the NOC List and the Disavowed List at Letterboxd.com/spyhards Podcast artwork by Hannah Hughes. Theme music by Doug Astley.

Star Wars: Episode I – The Phantom Menace is a 1999 American epic space opera film written and directed by George Lucas (his first directorial effort after a 22-year hiatus following the original Star Wars[b] in 1977), It starred Liam Neeson, Ewan McGregor, Natalie Portman, Jake Lloyd, Ahmed Best, Ian McDiarmid, Anthony Daniels, Kenny Baker, Pernilla August, and Frank Oz. It is the fourth film in the Star Wars film series, the first film of the prequel trilogy, and the first chronological chapter of the "Skywalker Saga". Set 32 years before the original trilogy, during the era of the Galactic Republic, the plot follows Jedi Master Qui-Gon Jinn and his apprentice Obi-Wan Kenobi as they try to protect Queen Padmé Amidala of Naboo in hopes of securing a peaceful end to an interplanetary trade dispute. Joined by Anakin Skywalker—a young slave with unusually strong natural powers of the Force—they simultaneously contend with the mysterious return of the Sith. The film was produced by Lucasfilm, with 20th Century Fox distributing.Purchase this soundtrack at John Williams - Star Wars: The Phantom Menace - Amazon.com Music

Welcome to the Popcorn and Soda 50th episode spectacular. Jason Furie and Adam Roth have an extended talk about one of the most argued about films in cinematic history, you guessed it, Star Wars: The Phantom Menace (1999). George Lucas returns to write and direct a new trilogy for a new generation. Jason and Adam discuss how Star Wars impacted their childhood, what their 1999 Phantom Menace theatre experience was like, and have a healthy conversation about the dawn of the Star Wars prequel trilogy. We've got a bad feeling about this.Visit Website | Join Newsletter | Support | Facebook | Instagram

Diane and Sean discuss the "worst" Star Wars movie of all time, the one about sand. Episode music is "Across the Stars" by John Williams from the OST.-  Our theme song is by Brushy One String-  Artwork by Marlaine LePage-  Why Do We Own This DVD?  Merch available at Teepublic-  Follow the show on social media:-  IG: @whydoweownthisdvd-  Twitter: @whydoweownthis1-  Follow Sean's Plants on IG: @lookitmahplantsSupport the show (https://www.buymeacoffee.com/dvdpod)

I avsnitt 42 av ”Talk to me” intervjuar Sarah Dawn Finer den guldbaggebelönade skådespelerskan Sofia Ledarp. Sofia växte upp i Stockholm med grekisk pappa och svensk mamma. Pappa jobbade på Alexandra i Stockholm och uppväxten med honom var vitt skild från tryggheten i hemmet med mamma. Varför heter hon Ledarp när ingen av hennes föräldrar hette det, och varför fick hon lära sig franska istället för grekiska?Hennes första jobb var i ”Trettondagsafton” på Stadsteatern som Helena Bergströms ”bodydouble", men det skulle dröja ytterligare ett par år innan hon stod på scen i sin Dramaten debut, då i Maria Stuart med regi av Ingemar Bergman. Hur var det att göra audition för Bergman och att som första jobb, få studera idolerna Lena Endre och Pernilla August?Varför blev teater snabbt något som tog över allt och handlade om liv och död för henne?Varför ville regissören ge henne sparken från sin första produktion utanför scenskolan, hur var det att vinna en Guldbagge för sin första huvudroll på film?Hur var det att jobba med skådespelerskorna succéserien ”Fröken Frimans Krig”? Vad händer när jobbet är så viktigt att man inte inte vem man är utan det, eller när man inte hittar ut eller säger stopp, när det är för mycket?Hur var det att få en diagnos i vuxen ålder och vad var det som föll på plats?Vad hände med systerskapet bland kollegorna efter MeToos ”Tystnad Tagning” och vad har egentligen förändrats?Sofia har ni kunnat se i allt från ”De tre musketörerna” & ”Jösses flickor” på scen, till på liten och stor skärm i ”Hinsehäxan”, ”Millenium serien”, ”Julkalendern” och snart även i ”Gåsmamman” på tv.Hon har även belönats med Kurt Linders stipendiet, även regisserat och också medverkat i ”Stjärnorna på Slottet”. Likheterna och olikheterna i Sofias och Sarahs situationer kring tankar om NPF kan ni också höra om i avsnittet 16 av ”Talk to me” med Lotta Borg Skoglund. Mycket nöje!"TALK TO ME" Produceras av SDF Entertainment AB See acast.com/privacy for privacy and opt-out information.

Tv-serien From cradle to stage handlar om världsartisternas relationer till sina mödrar. Pharrell Williams, Dave Grohl, Miranda Lambert och många fler pratar mammor, musik och familjeliv. ROCKSTJÄRNORNA OCH DERAS MÖDRAR Dokumentärserien From cradle to stage i sex delar, visas på den relativt nya streamingtjänsten Paramount+. Artisterna och musikerna Dave Grohl, Dan Reynolds, Pharrell Williams, Miranda Lambert, Brandi Carlile, Tom Morello och Geddy Lee Weinrib medverkar. Och så deras mammor såklart. PÅ FILMFESTIVALEN TRIBECA I NEW YORK Sveriges radios USA-korrespondent Roger Wilson har besökt en av de allra kreddigaste filmfestivalerna i världen, Tribeca i New York. Den pågår 9-20 juni. Festivalen startade 2002 och en av initiativtagarna var Robert De Niro. I år blir det film och tv på duk och samtal med filmfolk som Amy Schumer, Shira Haas (Unorthodox och Shtisel) och regissören till The Bourne identity  Doug Liman. ANIMERAD FILM OM GORILLA MED MAMMAKVALITETER Frida Nilssons barnbokssuccé från 2005 har blivit animerad film i regi av Linda Hambäck. Björn Jansson har träffat henne för ett samtal om hur skådespeleriet synkar med bildskapandet. Rösterna i filmen görs av bland andra: Pernilla August, Stellan Skarsgård, Melinda Kinnaman och Rebecca Gerstmann. MINARI EN FILM OM FAMILJELIV OCH KOREANSK MAT I filmen Minari är maten helt central. Huvudpersonen Jacob och hans familj får möjlighet att köpa åkermark i Arkansas, USA, och kan förverkliga drömmen om att odla koreanska grönsaker och kryddor. Matprofilen Jennie Walldén, specialist på koreansk mat och med egna rötter i Sydkorea, kommer till studion, liksom vår filmkritiker Emma Engström. Filmen nominerades till sex Oscarstatyetter och vann en för bästa kvinnliga biroll: Youn Yuh-jung. för rollen som mormodern i familjen. EN HELVETESVANDRING I DANTES FOTSPÅR, DEL 4 I år är det 700 år sedan poeten Dante Alighieri dog och vi uppmärksammar detta minnesår genom att vandra med Dante genom första delen i hans mest kända verk Den gudomliga komedin. Det är den delen som går genom helvetets nio kretsar och vi har kommit fram till den fjärde. Den som tar oss med ned i underjorden är Fredrik Wadström  och kom ihåg: Lämna allt hopp ni som går över tröskeln. Det blir bara värre. Programledare: Lisa Bergström Producent: Nina Asarnoj

Vi älskar Pernilla August här på CinemaRubus, därför känns det inte mer än rätt att vi äntligen pratar om en av hennes filmer. Dock inte en med henne framför kameran, utan istället en med henne bakom. Den andra gången skådespelargiganten satte sig i registolen blev veckans poddfilm resultatet – Den Allvarsamma Leken. Nästa vecka kollar vi på den dunderklassiska konspirationsthrillern Alla presidentens män av Alan J. Pakula.Fler avsnitt hittar ni på cinemarubus.com.Följ oss på Twitter och Instagram.Har ni förslag eller frågor och vill ha svar? Hör då av er till cinemarubus@gmail.com!

Långt innan det blev haute couture att bära mask klättrade Spindelmannen upp på den vita duken med ansiktet täkt av tyg. En annan trend filmerna av Sam Raimi förutspådde under tidigt 00-tal var såklart superhjältetrenden som sitter i än idag. Den andra rullen i serien om Peter Parker och hans alter ego, Spider-Man 2, är ämnet i veckans podd. Vi pratar praktiska effekter, filmmakarstyrda superhjältefilmer och vad som egentligen hände med Tobey Maguire. Nästa vecka kollar vi på Pernilla August film Den allvarsamma leken.Fler avsnitt hittar ni på cinemarubus.com.Följ oss på Twitter och Instagram.Har ni förslag eller frågor och vill ha svar? Hör då av er till cinemarubus@gmail.com!

FilmHulen er gået igang med den omdiskuteret tv2 mini serie "Efterforskningen" instrueret af Tobias Lindholm. Serien handler om "Ubådssagen" om hvordan Peter Madsen, brutalt myrdede Kim Wall. Vi følger Chefefterforskeren Jens Møller Jensen og hvordan sagen påvirker hans liv, helt tæt på. Serien er delt op i 6 afsnit og her snakker vi om de sidste 3 afsnit.I afsnittet kommer vi omkring seriens lydbillede og hvordan det virker som ASMR. Vi kommer omkring det fantastiske kamera arbejde og hvordan hver frame, er sit eget skønne billede og betydningen af disse billeder.Til sidst rankere vi serien på den ideelle måde. Instruktør: Tobias LindholmSkuespillere: Søren Malling, Pilou Asbæk, Pernilla August, Rolf Lassgård, Laura Christensen, Charlotte Munck, Henrik Birch og mange flere.Vi har for tiden gang i et andet tema "Anders Thomas Jensen Film".Anders Thomas Jensen Film: Blinkende lygter, De grønne slagtere, Adams æbler, Mænd og høns og Retfærdighedens ryttere._________________________________________________________________Kontakt:Facebook: FilmHulenMail: FilmHulen@gmail.com_________________________________________________________________Tusind tak til dig for at lytte med!Vi håber du finder denne film podcast informativ og underholdende, hvis du vil glæde to lokale drenge fra Odense, må du meget gerne følge os på vores sociale medierInstagram: https://www.instagram.com/hosfilmhulen/?hl=daFacebook: https://www.facebook.com/FilmHulen/Spotify: https://open.spotify.com/show/2vJ7TkWafpYpht6hSgXZaK?si=SuKwzjn_SEq6Qtq3To3jyQ_________________________________________________________________Alt visuelt i videoen er originalt og designet til podcasten.Video/audio production and artwork/design by Lars Tobiesen Aabom"Torsdags-Snak" theme by Kai Engel."FlixFilm Fredag" theme by @Sound effects from “Star Wars: Battlefront 2 (2005)” is owned by Pandemic Studios & Disney"VHS-Bånd På Loftet" melody by Podington Bear."Bare-Stream-Den" melody by Podington Bear."Køb den på Blu-Ray" theme by Tuurdurt."Hall of Fame" melody by Tuudurt.Ambient music by Bensound.com_________________________________________________________________Supplerende tekst-gøjl:odense podcast odenseanske podcaster podcasting filmanmelder anmelder debat resumé analyse topliste underholdning underholdende underholder mitodense visitodense migogodense Dansk podcast

FilmHulen er gået igang med den omdiskuteret tv2 mini serie "Efterforskningen" instrueret af Tobias Lindholm. Serien handler om "Ubådssagen" om hvordan Peter Madsen, brutalt myrdede Kim Wall. Vi følger Chefefterforskeren Jens Møller Jensen og hvordan sagen påvirker hans liv, helt tæt på. Serien er delt op i 6 afsnit og her snakker vi om de første 3 afsnit. I afsnittet kommer vi omkring seriens lydbillede og hvordan det virker som ASMR. Vi kommer omkring det fantastiske kamera arbejde og hvordan hver frame, er sit eget skønne billede og betydningen af disse billeder.Til sidst får Lars muligheden for at "Fanboye" over Tobias Lindholm. Instruktør: Tobias LindholmSkuespillere: Søren Malling, Pilou Asbæk, Pernilla August, Rolf Lassgård, Laura Christensen, Charlotte Munck, Henrik Birch og mange flere. Vi har for tiden gang i et andet tema "Anders Thomas Jensen Film".Anders Thomas Jensen Film: Blinkende lygter, De grønne slagtere, Adams æbler, Mænd og høns og Retfærdighedens ryttere._________________________________________________________________Kontakt:Facebook: FilmHulenMail: FilmHulen@gmail.com_________________________________________________________________Tusind tak til dig for at lytte med!Vi håber du finder denne film podcast informativ og underholdende, hvis du vil glæde to lokale drenge fra Odense, må du meget gerne følge os på vores sociale medierInstagram: https://www.instagram.com/hosfilmhulen/?hl=daFacebook: https://www.facebook.com/FilmHulen/Spotify: https://open.spotify.com/show/2vJ7TkWafpYpht6hSgXZaK?si=SuKwzjn_SEq6Qtq3To3jyQ_________________________________________________________________Alt visuelt i videoen er originalt og designet til podcasten.Video/audio production and artwork/design by Lars Tobiesen Aabom"Torsdags-Snak" theme by Kai Engel."FlixFilm Fredag" theme by @Sound effects from “Star Wars: Battlefront 2 (2005)” is owned by Pandemic Studios & Disney"VHS-Bånd På Loftet" melody by Podington Bear."Bare-Stream-Den" melody by Podington Bear."Køb den på Blu-Ray" theme by Tuurdurt."Hall of Fame" melody by Tuudurt.Ambient music by Bensound.com_________________________________________________________________Supplerende tekst-gøjl:odense podcast odenseanske podcaster podcasting filmanmelder anmelder debat resumé analyse topliste underholdning underholdende underholder mitodense visitodense migogodense Dansk podcast

Weesa back! Star Wars: Episode I – The Phantom Menace is a 1999 American epic space-opera film written and directed by George Lucas and stars Liam Neeson, Ewan McGregor, Natalie Portman, Jake Lloyd, Ian McDiarmid, Anthony Daniels, Kenny Baker, Pernilla August, and Frank Oz. It is the first installment in the Star Wars prequel trilogy and begins the "Skywalker saga", though it was the fourth film to be produced chronologically. The Phantom Menace is set 32 years before the original film and follows Jedi Master Qui-Gon Jinn and his apprentice Obi-Wan Kenobi as they protect Queen Amidala in hopes of securing a peaceful end to an interplanetary trade dispute. Joined by Anakin Skywalker—a young slave with unusually strong natural powers of the Force—they simultaneously contend with the mysterious return of the Sith.  

KORT VERSION - Skådespelaren Liv Mjönes gästade det trehundraåttionde avsnittet av Värvet. I ett samtal om tro, skillnaden mellan att visa och berätta om en biljakt, örat mot verkligheten, Pernilla August, Midsommar, att vara rolig, selftapes, när det blir för mycket och givetvis en hel del om storheten i att filma med kran. Samtalsledare: Kristoffer TriumfProducent: Clara Åström O’MånssonDistribution: AcastKontakt: varvet@triumf.seDu hittar oss på Instagram HÄR See acast.com/privacy for privacy and opt-out information.

Dagens gäst är Pernilla August. Adam Lundgren gör TV-serie om att avstå från sociala medier. Synskadade protesterar mot sparkcyklar och tips för att stävja "mansplaining"

Skådespelaren Liv Mjönes gästade det trehundraåttionde avsnittet av Värvet. I ett samtal om tro, skidor, dans, scenpaus, Sundsvall, skillnaden mellan att visa och berätta om en biljakt, örat mot verkligheten, Pernilla August, Midsommar, att vara rolig och givetvis en hel del om storheten i att filma med kran. Samtalsledare: Kristoffer TriumfProducent: Clara Åström O’MånssonDistribution: AcastKontakt: varvet@triumf.seDu hittar oss på Instagram HÄR See acast.com/privacy for privacy and opt-out information.

Logan and Caitlin discuss the 1999 sci-fi adventure film Star Wars Episode I: The Phantom MenaceWritten & Directed by: George LucasStarring: Liam Neeson, Ewan McGregor, Natalie Portman, Jake Lloyd, Ian McDiarmid, Pernilla August, Ahmed Best, Ray Park, Anthony Daniels, and Kenny Baker

Pernilla August och Helena von Zweigbergk är nu 61, respektive 60 år. De är båda singlar och reflekterar över hur livet blev som det blev. De undersöker och samtalar om mönster de nu på ålderns höst kan se att de faller in i. Om kvinnligt och manligt beteende. Om drömmen om att ha en fungerande kärleksrelation. Gäst i detta programavsnitt är skådespelaren Reine Brynolfsson.

Pernilla August och Helena von Zweigbergk är nu 61, respektive 60 år. De är båda singlar och reflekterar över hur livet blev som det blev. De undersöker och samtalar om mönster de nu på ålderns höst kan se att de faller in i. Om kvinnligt och manligt beteende. Om drömmen om att ha en fungerande kärleksrelation. Gäst i detta programavsnitt är poeten och författaren Bob Hansson.

Pernilla August och Helena von Zweigbergk är nu båda 61, respektive 60 år. De är båda singlar och reflekterar över hur livet blev som det blev. De undersöker och samtalar om mönster de nu på ålderns höst kan se att de faller in i. Om kvinnligt och manligt beteende. Om drömmen om att ha en fungerande kärleksrelation. Gäst i det här programavsnittet är psykologen Allan Linnér.

Skådespelaren Rebecka Hemse, skådespelaren och regissören Pernilla August samt författaren Agneta Pleijel talar om Tennessee Williams, Linje Lusta och Sex och sorg.

A XXIV. epizódban az alábbi témákról esett szó: – Évfordulók – kivágott jelenetek – A magyar nyelv megjelenése a messzi-messzi galaxisban (cikkünk a témában itt) – Star Wars Celebration + Simon Zoltán plakátja Celebrationön (cikkeink a témában) – Miről szólhat majd D. B. Weiss és David Benioff trilógiája? (cikkünk a témában) – Emberségesek voltak-e a birodalmiak? – Nézői vélemények A Jedi visszatérről (Csongor cikke a témában) – Pernilla August magyar interjúja (cikkünk a témában)

I detta avsnitt träffar Cyril och Stig dramatenskådespelaren Ingela Olsson som nu är aktuell i pjäsen "De oroliga" som regisseras av Pernilla August, de pratar Ingmar Bergman, skådespelande, dramatik och om teaterkonsten bedöms hårdare än andra konstformer ... See acast.com/privacy for privacy and opt-out information.

1918 uruppfördes Stravinskys Historien om en soldat – han som faller för djävulens locktoner. På finalen i Malmö Chamber Music 2017 var det premiär för en nyskriven pendang: Historien om en prinsessa. "Jag ville ge den stumma flickan i librettot röst i min berättelse, där hon tar kontroll över sitt liv", säger författaren MI TYLER. Kompositören BENJAMIN STAERN, som hade stor framgång med sin första opera Snödrottningen berättar: "Det fanns en väldigt tydlig dramaturgi för alla scener i Mis fina lyrik." I sjunde LYRAN ett sprakande samtal med detta kreativa radarpar, vars verk uruppfördes med bl a Pernilla August och Håkan Hardenberger. Bon appétit!

P1 Kultur går på djupet med "Den allvarsamma leken", apropå den nya filmen. Vi gräver i Radioarkivet, diskuterar historiens styrkor och svagheter och tar en promenad med regissören Pernilla August. Förläggaren Stephen Farran-Lee och kulturradions Jenny Teleman kommer till studion för att prata om varför just den här boken av Hjalmar Söderberg fortfarande är så omtyckt och älskad.Kulturredaktionens Karsten Thurfjell bjuder på en resa i Radioarkivet där vi får träffa självaste Hjalmar Söderberg, med många fler.P1 Kulturs reporter Nina Asarnoj tar en promenad med regissören Pernilla August i historiens fotspår.Programledare: Roger Wilson Producent: Lisa Bergström Lyssna på hela fredagens P1 Kultur med Roger Wilson härReportage från 2015: Inga Landgré och Harriet Andersson läser "Den allvarsamma leken"Lyssna på Jenny Telemans recension av filmen i Kulturnytt här

Det svåra tvåhundrafyrtiofjärde avsnittet med skådespelaren och regissören Pernilla August. Vi pratade om fatalism, veta vart man ska i livet, Den allvarsamma leken, recensioner, att se sin film 100 gånger, dagstagningar, att regissera sig själv, filosofin kring inspelningar, när roller sitter i kläderna, onda regissörer, Mats Qviberg, lust, pension, Rainer Maria Rilke, att mamma Stellan Skarsgård och givetvis en hel del om att bli kallad köttbullen. Samtalsledare: Kristoffer Triumf. Producent: David Mehr. Distribution: Acast. See acast.com/privacy for privacy and opt-out information.

"Min stora kärlek är mitt jobb. Därför är jag kanske svår att leva med. Jag är skilsmässobarn och sörjer att jag har gått i mina egna fotspår. Det enda jag känner igen är en ensam mamma med ett barn."

We have hit the prequels! What did we think about the most hated Star Wars flick? Listen to find out and don't forget to send us your feedback! http://www.frenchtoastsunday.com/podcasts

"A Serious Game" is about the dream of true love The post Pernilla August, director of “A Serious Game” #Berlinale2016 appeared first on Fred Film Radio.

"A Serious Game" is about the dream of true love The post Pernilla August, director of “A Serious Game” #Berlinale2016 appeared first on Fred Film Radio.

"A Serious Game" is about the dream of true love The post Pernilla August, director of “A Serious Game” #Berlinale2016 appeared first on Fred Film Radio.

"A Serious Game" is about the dream of true love The post Pernilla August, director of “A Serious Game” #Berlinale2016 appeared first on Fred Film Radio.

"A Serious Game" is about the dream of true love The post Pernilla August, director of “A Serious Game” #Berlinale2016 appeared first on Fred Film Radio.

"A Serious Game" is about the dream of true love The post Pernilla August, director of “A Serious Game” #Berlinale2016 appeared first on Fred Film Radio.

The Jedi Alliance hosts sit in for a WatchAlong with Star Wars Episode 1: The Phantom Menace! Join Mark Donica & Joseph Scrimshaw for commentary on today's movie! Star Wars: Episode I - The Phantom Menace (also known by its subtitle, The Phantom Menace) is a 1999 Americanepic space opera film written and directed by George Lucas, produced by Lucasfilm and distributed by Universal. The first installment in the Star Wars prequel trilogy, the film stars Liam Neeson, Ewan McGregor, Natalie Portman, Jake Lloyd, Ian McDiarmid, Ahmed Best, Ray Park, Anthony Daniels, Kenny Baker, Pernilla August and Frank Oz. The film was Lucas' first production as a film director after a 22-year hiatus following the original Star Wars film, and his fourth film overall. The film's narrative follows the Jedi Knight Qui-Gon Jinn and his apprentice Obi-Wan Kenobi. They escort and protectQueen Amidala, who is traveling from the planet Naboo to the planet Coruscant, hoping to find a peaceful end to a large-scale

Pernilla August och Helena von Zweigbergk återkommer med radioserien Våra egna rum. Det blir tre program med start annandag påsk om vänskap, döden och pengar. – Vår idé med de här programmen är att vi båda gör tankepromenader i våra inre rum. Precis som när man promenerar med någon på riktigt, så pratar man innerligt men mållöst med varandra. Man luftar sig, helt enkelt, säger Pernilla August. – Vi börjar att lufta våra tankar om vänskap, vad kan man kräva av en vän egentligen? Kan man kräva något överhuvudtaget? Och vad är det som avgör skillnaden på en vän och en bekant? Det kommer vi bland annat fundera och diskutera om, säger Helena von Zweigbergk. 

Título original Star Wars. Episode II: Attack of the Clones Año 2002 Duración 132 min. País Estados Unidos Estados Unidos Director George Lucas Guión George Lucas & Jonathan Hales Música John Williams Fotografía David Tattersall Reparto Ewan McGregor, Natalie Portman, Hayden Christensen, Ian McDiarmid, Samuel L. Jackson, Christopher Lee, Temuera Morrison, Pernilla August, Jimmy Smits, Anthony Daniels, Kenny Baker, Frank Oz, Andy Secombe, Rose Byrne, Oliver Ford Davies, Jack Thompson, Joel Edgerton, Ahmed Best Productora 20th Century Fox / Lucasfilm Ltd. Género Ciencia ficción. Aventuras | Precuela. Secuela. Star Wars Web oficial http://www.starwars.com Sinopsis Corren tenebrosos tiempos para la República, que continúa envuelta en luchas y sumida en el caos. Un movimiento separatista, formado por centenares de planetas y poderosas alianzas encabezadas por el misterioso conde Dooku, amenaza la galaxia. Ni siquiera los Jedi parecen capaces de conjurar el peligro. Este movimiento provoca el estallido de las guerras clones, que representa el principio del fin de la República. Para allanar el camino, los separatistas intentan asesinar a la senadora Padme Amidala. Para evitar futuros atentados, su seguridad es encomendada a dos caballeros Jedi...

ítulo original Star Wars. Episode I: The Phantom Menace Año 1999 Duración 131 min. País Estados Unidos Estados Unidos Director George Lucas Guión George Lucas Música John Williams Fotografía David Tattersall Reparto Liam Neeson, Ewan McGregor, Natalie Portman, Jake Lloyd, Samuel L. Jackson, Ian McDiarmid, Ray Park, Anthony Daniels, Kenny Baker, Pernilla August, Hugh Quarshie, Ahmed Best, Andy Secombe, Frank Oz, Terence Stamp, Keira Knightley, Oliver Ford Davies, Ralph Brown, Warwick Davis, Sofia Coppola, Dominic West Productora Lucasfilm. Distribuida por 20th Century Fox Género Ciencia ficción. Aventuras | Precuela. Star Wars Web oficial http://www.starwars.com Sinopsis Ambientada treinta años antes que "La guerra de las galaxias" (1977), muestra la infancia de Darth Vader, el pasado de Obi-Wan Kenobi y el resurgimiento de los Sith, los caballeros Jedi dominados por el Lado Oscuro. La Federación de Comercio ha bloqueado el pequeño planeta de Naboo, gobernado por la joven Reina Amidala; se trata de un plan ideado por Sith Darth Sidious, que, manteniéndose en el anonimato, dirige a los neimoidianos, que están al mando de la Federación. El Jedi Qui-Gon Jinn y su aprendiz Obi-Wan Kenobi convencen a Amidala para que vaya a Coruscant, la capital de la República y sede del Consejo Jedi, e trate de neutralizar esta amenaza. Pero, al intentar esquivar el bloqueo, la nave real resulta averiada, viéndose así obligada la tripulación a aterrizar en el desértico y remoto planeta de Tatooine...

En yrkesgrupp som sällan står i rampljuset är filmklipparna. Ändå är deras arbete helt avgörande både praktiskt och konstnärligt för den färdiga filmen. Kino får finbesök av klipparen Dino Jonsäter som bland annat klippt ”Tinker Tailor Soldier Spy” och nyligen bioaktuella ”Bluebird”. Nu är han precis hemkommen från New York där han arbetat med storfilmen ”Love & Mercy” av Bill Pohlad. Han får sällskap i studion av Kristin Grundström som klippt en av förra årets mest hyllade filmer: ”Återträffen” och nu senast Maria Bloms Falukomedi Hallåhallå. De berättar om klippandets hantverk - om tempo, bildval, berättande - och hur man fogar ihop ett stort material. Vi hör också Pernilla August berätta om kaoset i klipprummet när hon och klipparen Åsa Mossberg insåg att hela filmen Svinalängorna måste fogas ihop på ett helt annat sätt än det var tänkt. Och regissören Jesper Ganslandt berättar om hur ett optimalt samarbete mellan en regissör och klippare bör fungera. Roger Wilson har också träffat regissören Rithesh Batra som gjort filmen ”The Lunchbox” – en indisk romantisk vardagssaga om hur en lunchlåda på villovägar förändrar några människors liv i grunden. Dessutom blir det ett porträtt av den nyligen bortgångne franske mästerregissören, Alain Resnais, signerat Mikael Timm. Och så tipsar Saman Bakhtiari om dokumentären "Freak out" av Carl Javér.  Programledare: Saman Bakhtiari Producent: Nina Asarnoj

Det skönaste med att ta en promenad är det mållösa, avsiktslösa. Man luftar sig, helt enkelt. Så tänkte vi om det här programmet. Vi luftar våra tankar om kärlek, om åldrande, om självkänsla. Våra tankars promenad. Och vi bestämde oss för frihet i de tankarna. Trots att frihet kan te sig som det mest skrämmande som finns. Välkomna in i våra egna rum! Pernilla August och Helena von Zweigbergk

Med Helena von Zweigbergk och Pernilla August. Det skönaste med att ta en promenad är det mållösa, avsiktslösa. Man luftar sig, helt enkelt med en vän man litar på. Så tänkte vi om det här programmet. Vi luftar våra innersta tankar i tre program med tre olika rubriker: åldrande, självkänsla och kärlek. Våra egna rum är på ett sätt våra tankars promenad. Och vi bestämde oss för att ha en stor mängd av frihet i de tankarna. Trots att frihet kan te sig som det mest skrämmande som finns.

Med Helena von Zweigbergk och Pernilla August. Det skönaste med att ta en promenad är det mållösa, avsiktslösa. Man luftar sig, helt enkelt med en vän man litar på. Så tänkte vi om det här programmet. Vi luftar våra innersta tankar i tre program med tre olika rubriker: åldrande, självkänsla och kärlek. Våra egna rum är på ett sätt våra tankars promenad. Och vi bestämde oss för att ha en stor mängd av frihet i de tankarna. Trots att frihet kan te sig som det mest skrämmande som finns.

Det skönaste med att ta en promenad är det mållösa, avsiktslösa. Man luftar sig, helt enkelt. Så tänkte vi om det här programmet. Vi luftar våra tankar om kärlek, om åldrande, om självkänsla. Våra tankars promenad. Och vi bestämde oss för frihet i de tankarna. Trots att frihet kan te sig som det mest skrämmande som finns. Välkomna in i våra egna rum! Pernilla August och Helena von Zweigbergk

Med Helena von Zweigbergk och Pernilla August. Det skönaste med att ta en promenad är det mållösa, avsiktslösa. Man luftar sig, helt enkelt med en vän man litar på. Så tänkte vi om det här programmet. Vi luftar våra innersta tankar i tre program med tre olika rubriker: åldrande, självkänsla och kärlek. Våra egna rum är på ett sätt våra tankars promenad. Och vi bestämde oss för att ha en stor mängd av frihet i de tankarna. Trots att frihet kan te sig som det mest skrämmande som finns.

Skådespelaren Pernilla August berättar om hur det är att ha barn och att behöva lämna hemmet på kvällarna för att spela teater. Sändes första gången under i Samtal pågår 2004-12-27.

Filmen Frukost på Tiffanys, eller Breakfast at Tiffanys som den engelska titeln lyder, firar denna höst femtio år. Den femte oktober 1961 hade den amerikansk premiär, till Sverige kom den i december samma år. Den upphöjde inte bara huvudrollsinnehavaren Audrey Hepburn till en av världens mest slitstarka stilikoner, i rollen som Holly Golightly. Den kom även att för alltid förändra sättet kvinnor skildrades på film. För första gången fick man se en modern ung kvinna som vägrade att anpassa sig till rådande normer i tiden - utan att straffas. Vill man hårdra det så skulle man kunna påstå att utan Frukost på Tiffany's, ingen Sex and the City. För filmen visade nämligen upp en helt ny typ av kvinna på vita duken. En ung kvinna som inte bevakade sin oskuld som om vore den stöldbegärligt gods, och det innan p-pillret hade slagit igenom. Tidigare hade kvinnor i princip två olika rolltyper att välja mellan. De som aldrig hade sex före äktenskapet, och de som hade det. Dem gick det alltid illa för. Holly Golightly var annorlunda, milt uttryckt. Hon bodde i egen lägenhet, rökte, snattade, umgicks med droghandlare, blev full när hon behövde – och jobbade som lyxprostituerad. Och hon blev inte straffad för sitt utsvävande liv. Inte minst hade hon en fullkomligt fantastisk garderob, fjärran från den pastellfärgade sockersöta stil som var vanlig under 1950-talet. Filmen fick ”den lilla svarta” att återigen bli populär. Boken, som filmen är baserad på och som är väsentligt råare än filmen, skrevs av den amerikanske författaren Truman Capote och publicerades för första gången i novembernumret av tidningen Esquire, 1958. Författaren Norman Mailer var eld och lågor och skrev att Truman Capote var ”den mest fulländade författaren i hans generation”, och prisade hans musikaliska språk. ”Jag skulle inte ändra på ett enda ord i boken, som kommer att bli en liten klassiker”, menade han. Men det är framför allt filmen som fått berättelsen att leva vidare. Eller åtminstone själva looken. Klädernas betydelse ska inte underskattas. Oändligt många har sett, och beundrat, Audrey Hepburns ärmlösa svarta klänning av Hubert de Givenchy. Och många har genom åren även försökt att återskapa den, till synes, enkla elegans som hon i filmen gestaltar. På film hade tidigare elegans varit förknippat med andra typer av kvinnor, de vuxna och välbärgade. Audrey Hepburn visade att glamour kunde vem som helst skaffa sig, oavsett ålder, social ställning – eller sexliv. Stil handlade om något helt annat. Truman Capote var inte förtjust i filmen, eller ens tanken på den. Han ansåg att Audrey Hepburn var helt fel för rollen, och kämpade hårt för att få sin kompis Marilyn Monroe i huvudrollen. I henne såg han en sårbar Holly Golightly, som liksom hon flytt från sin bakgrund, och ofta drabbades av ”the means reds”, en känsla av djup förtvivlan. Holly Golightly kunde dock lindra dem med en tur till juvelerarbutiken Tiffany's på Femte Avenyn i New York. I programmet får vi höra vad just Tiffany's, och företagets blå askar, symboliserar. Dessutom berättar vi förstås mer om både filmen och kläderna som fortsatt satt fascinera och inspirera människor. Både dem som såg den år 1961, och de som ser den för första gången idag. Vi får även träffa en av vår tids största svenska skådespelare, Pernilla August, som berättar om minnesvärda kläder hon burit på film.  Veckans gäst är Sven-Hugo Persson, dramaturg på Dramaten.

Pernilla August filmdebuterade i Roy Anderssons film "Giliap" redan 1975 och har sedan dess gjort en rad olika film- och teaterroller. Men numera står hon även bakom kameran och regidebuten Svinalängorna har höjts till skyarna. Filmen är Sveriges Oscarskandidat och har belönats med Nordiska rådets filmpris. Veckans P4 Kultur ägnar vi åt skådespelaren som alltid längtat till andra sidan kameran. Mest känd är Pernilla August för sina rolltolkningar i Ingmar Bergmans uppsättningar, och förstås som Anakin Skywalkers mamma Shmi Skywalker i Star Wars. Men hon började karriären redan som åttaåring som barnskådespelare på Vår Teater i Stockholm på 60-talet. 1979 kom Pernilla August in på Statens Scenskola och hon var bara 21 år när Ingmar Bergman handplockade henne till rollen som barnflickan Maj i Fanny och Alexander. Svinalängorna är den prisbelönade skådespelerskan Pernilla Augusts regidebut. Filmen, som är baserad på den storsäljande boken med samma namn skriven av Susanna Alakoski, hade världspremiär vid Venedigs filmfestival 2010 där den belönades med priserna Audience-Critics Week och UNESCO-Hope. Den har vunnit ytterligare en mängd priser, bland annat tre Guldbaggar och hittills har 650 000 nordbor sett den på bio! Men hur gör man en film för vita duken av en bok som Svinalängorna? P4 Kulturs Amanda Ooms träffade regissören för att höra hur arbetet gick till.

Rädslan är vår vän när den hjälper oss att fly farorna. Men den kan också helt spåra ur och hindra oss att göra saker vi vill och faktiskt kan. Hör mannen som vet hur det känns att stirra en tiger i vitögat och känna dess käftar i nacken. Följ med hem till konstnären Lars Vilks som har all anledning att vara livrädd - men vad skrämmer honom? Och hör om rädslan för att bli levande begravd, något som satt skräck i människor i århundraden. Helena von Zweigbergk möter regissören och skådespelerskan Pernilla August som har haft rädslan som en ryggsäck i hela sitt liv.

Vi har minglat på premiären av sommarens stora svenska film Kronjuvelerna. Hör vad Ronny Svensson tycker om svensk film och hur lång han egentligen är. Möt en artist vi inte sett på länge och få reda på vad Pernilla August och Gustaf Skarsgård har framför sig.

Perhaps the biggest Star Wars Clone Wars moment yet has happened -- Liam Neeson reprises the role of Qui-Gon Jinn for this special episode of The Clone Wars, as well as Pernilla August as Shmi Skywalker, and two Force Unleashed voice actors as new force users Brother and Sister! All in this mysterious new episode of Star Wars -- The Clone Wars! So join Dan, Arnie, Nathan, and Berent on this podcast to get their thoughts -- was it all a dream, or all too real? Find out on our latest show!

I dagarna släpps en nostalgisk dvd-box med filmer som ska påminna om det ursvenska fenomenet Videovåld. Det är nu trettio år sedan det blev moralpanik i Sverige efter att debattprogrammet Studio S visade klipp där en hals sprättades upp med kniv, eller en motorsåg skar sönder en människokropp hämtade ur filmer som släppts på video utan att först granskas av censurmyndigheten Statens Biografbyrå. Debatten handlade om att barn riskerade att ta allvarlig skada av att se grovt våld på film och stränga regler infördes. Vad har hänt på 30 år? Hur ser vi på barn och filmvåld idag? Hör barn från Maria Fritidsklubb berätta om vilka filmer de tittar på. Och möt Sven-Erik Olsson på Studio S Entertainment, som står bakom videovåldsboxen. Samtidigt som videvåldsdebatten blir till nostalgi så är Sverige just nu i färd med att, som sista nordiska land, avskaffa vuxencensuren för film. Kino intervjuar Gunnel Arrbäck, före detta chef för Statens Biografbyrå. Som boss för den svenska filmcensuren arbetade hon under flera år för sin egen nedläggning, och när politikerna tvekade inför beslutet avgick hon istället. Hur ser hon på behovet av censur genom tiderna? Och vilka kultur- och medieformer tror hon hamnar i riskzonen för kultur i framtiden? Röda plastmuggar, barnvagnar i manchester och storblommiga gardiner är sedan länge vardagsmat i vår 70-talsnostalgiska svenska samtid. Och samma stil går igen i flera av höstens svenska filmer, som utspelas under detta excentriska årtionde. I veckans Kino kollar vi in vilken skillnad ett finskt förkläde kan göra för känslan i en film. Möt Cilla Rörby som gjorde kläderna till tv-dramat Upp till kamp och Kicki Ilander som letat illasittande baddräkter till Svinalängorna och hör hur de gör för att 70-talsrekvisitan inte ska överrösta huvudrollsinnehavarna. Boken Svinalängorna har ett starkt barnperspektiv och ett politiskt innehåll, hur gör man långfilm av en sådan berättelse? Johanna Langhorst har träffat filmversionens regissör Pernilla August, för att höra hur hon resonerade kring uppdraget när hon valde berättarperspektiv. Programledare: Roger Wilson Producent: Lisa Bergström

Veckans Felicia bjuder på två möten med aktuella skivartister Dels får vi träffa Lolita Ray - sångerska, låtskrivare, vandrare, poet, konsertarrangör mm. Hon är aktuell med sin solodebutskiva "Flickan av is" med egna sånger. Numera kan hon också lägga till manusförfattare i den långa titelraden för i december har filmen Svinalängorna premiär, där Lolita Ray skrivit manus i samarbete med regissören Pernilla August. Lolita berättar i Felicia om låtskrivandet, om varför det är så bra att ha musikaliska samarbeten och glädjen över att ha barnen med på tåget... Skivan släpps nästa söndag den 21 november med konsert i Stockholm. Läs mer om Lolita på hennes hemsida. Vår reporter i Göteborg, Sten Björnulfson har stämt möte med visartisten Lucas Stark som intresserat sig för emigranten Joel Hägglund. Joel Hägglund är nog mera känd som Joe Hill, som blev en av den amerikanska fackföreningsrörelsens röster i USA i början på 1900-talet och vars liv fick ett grymt slut. På skivan "Strejk i paradiset" har Lucas Stark gjort nya arrangemang och i vissa fall egna översättningar av de sånger han kände som mest angelägna än idag. Skivan släpptes den 8 november och releasekonsert blir det 18 november på Nefertiti i Göteborg och 24 november i Stockholm. Läs mer om Lucas Starks konserter och hans olika visprojekt på Vi efterlyste fina höstvisor i förra programmet och då fick vi bland annat brev av Gustav Lindström som vill tipsa om "Her kommer vinteren" med den norska sångerskan och låtskrivaren Ingrid Olava. Låten är skriven av Joachim Nielsen och spelades in av våra norska kolleger på NRK som nu har skickat låten till oss för att spela den i Felicia. Ingrid Olava är annars aktuell med sitt andra album "Guest".  Produktive Elvis Costello verkar gilla samarbeten av skilda slag. På senaste skivan "National Ransom" jobbar han tillsammans med bland andra T Bone Burnett och tidigare genom åren har han samarbetat med såväl Burt Bacharach, Paul McCartney som med mezzosopranen Anne Sofie von Otter, samt blivit ackompanjerad av stråkar med Brodsky-kvartetten i The Juliet Letters. I Felicia lyssnar vi på två spår från "National Ransom" som släpptes för några veckor sedan. Nästa vecka får vi besök av Göran Petersson som står bakom nya skivan med Sonja Åkesson-texter tolkade och tonsatta av bland andra Kajsa Grytt, Anna Järvinen, Lisa Nilsson, Annika Norlin, Sofia Karlsson mfl. Vi får även höra vad Carin Kjellman och Finn Zetterholm tyckte om nya Cornelis-filmen. Har du någon favorit-Cornelis-sång så skriv gärna till oss och berätta.

Hör om en japansk knulldocka, en svensk morsa som taiwansk affärsman online och om hur Hollywood provoceras av fetma när veckans Kino glider in på den tjugonde upplagan av Stockholms filmfestival. På ett pärlband raddar vi upp de främsta kreatörerna vars filmer deltar i årets festligheter. Som till exempel regissören Andrea Arnold som har gjort "Fish Tank". Historien om en 14 årig tjej som möter vuxenvärlden med dess råhet, förförelse och besvikelser. En annan av festivalens gäster är Lee Daniels som gjort öppningsfilmen Precious, en ghettoskildring som har både Mariah Carey och Lenny Kravitz på rollistan. Vi har också diskuterat vad som händer om en uppblåsbar Barbara skulle ha en själ med den japanske regissören Kore-eda Hirokazu, regissören till filmen Air doll. Men det finns också svenska filmer på festivalen. Miss Kicki med Pernilla August i huvudrollen har redan fått en hel del uppmärksamhet. Manusförfattaren Alex Haridi och regissören Håkon Liu gästar Kino för att berätta om hur det var att göra svensk lågbudgetfilm i Taiwan. Programledare: Roger Wilson.

Svensk filmhöst, Ang Lee och meningen med Man tänker sitt. I veckans Kino berättar vi om några av filmerna som kommer att lysa upp höstmörkret. Prinsessa heter regissören Teresa Fabiks nya film. Hon berättar om hur man håller fast vid sin grundidé i en bransch där alla vill vara med och bestämma. Det har blivit Bananas kring Fredrik Gerttens dokumentär Bananas. Kino träffade honom när han pustade ut på sitt kontor mitt i en mediakarusell som enligt honom själv är det enda han har att sätta emot företagsjätten Dole som stämt honom. Pernilla August, aktuell i relationsdramat "Det enda rationella" berättar om varför det tagit så lång tid för henne att debutera som långfilmsregisör, medan Ulf Malmros förklarar hur lång tid det tog för honom att tvätta bort sin värmländska när han flyttade till Stockholm. Samma resa gör huvudpersonen i hans kommande komedi "Bröllopsfotografen". "Man tänker sitt" har biopremiär den här helgen, och har omväxlande hyllats och sågats. Hör Stig Björkman och C I veckans Kino berättar vi om några av filmerna som lyser upp höstmörkret. Prinsessa heter regissören Teresa Fabiks nya film. En historia om drömmar, vänskap och fördomar.   I själva skapandet av den var det några kockar som ville blanda sig i soppan med goda råd och tankar om handling. Möt Teresa och producenten Sandra Harms i ett samtal om hur dom gjorde för att hålla i idén och hela vägen fram till premiären. Det har blivit Bananas kring Fredrik Gerttens film Bananas, en stämningsansökan ligger över honom. Träffa Fredrik när han pustar ut på kontoret mitt i en mediakarusell som enligt honom själv är det enda han har att sätta mot företagsjätten Dole. Förutom kameran så klart. Pernilla August berättar om sin insats i  Det enda rationella och om hennes framtida regiplaner. Hur lång tid tar det att tvätta bort värmländska? Hur är det att smaka på överklassen? Ulf Malmros berättar om det självbiografiska i hans nya film Bröllopsfotografen. Man tänker sitt heter en av höstens mest hypade filmer, hör Stig Björkman och Clara Törnvall i ett samtal om den. Så bjuder vi på en intervju med, Ang Lee aktuell med  filmen Taking Woodstock. Allt i veckans KINO Programledare: Roger Wilson