Podcasts about Peter Sellars

This week Ivy Slater, host of Her Success Story, chats with her guest, Sonia Kostich. The two talk about Sonia's unique merger of arts and finance, her role in fostering artistic talent at Baryshnikov Arts, and the importance of building relationships and support systems in every career phase.  In this episode, we discuss: How Sonia Kostich transitioned from a professional ballet dancer to a career in finance, going to college at 42 and working at Goldman Sachs. What inspired her to reinvent herself and pursue a new path after a successful 20-year career in dance. When Sonia made the decision to take the next step in her life and focus on education and a new career direction. Why Sonia believes keeping strong relationships and a support network is crucial, especially during major life transitions. How the skills and discipline from a dance career can translate into success in the business world. The importance of staying open to possibilities and being willing to step into the unknown as part of personal and professional growth. Sonja Kostich- Executive Director of Baryshnikov Arts brings with her both the knowledge and experience of having been a professional dancer for over two decades as well as significant business acumen derived from her business education and time working at Goldman Sachs. Through a unique and successful professional trajectory, she now merges her artistic and business experience as an arts leader. Ms. Kostich was hired by Mikhail Baryshnikov at the age of 17 to join American Ballet Theatre from The School of Classical Ballet, the training school for ABT created by Mr. Baryshnikov, consisting of only seven female students and five male students. She later danced with the San Francisco Ballet and the Zurich Ballet, Mikhail Baryshnikov's White Oak Dance Project, and in multiple collaborations with opera/theater director Peter Sellars, before co-founding OtherShore, which she co-directed for six years. Her experience in ballet, contemporary, and modern dance resulted in a diverse international career that spanned across artistic disciplines.  Upon retiring from dancing, Ms. Kostich returned to school, obtaining a Bachelor of Business Administration (BBA) in Accounting and Business Communication from Zicklin School of Business, CUNY Baruch College, where she graduated Salutatorian at the age of 42. Following, she began a full-time position at Goldman Sachs in the Finance Division with a focus on regulatory capital requirements. Simultaneously she obtained an MA in Arts Administration, eventually returning to the dance world, first as the finance manager at Mark Morris Dance Group and then as program manager at New York City Center. From 2018 to 2022, she served as the Chief Executive and Artistic Officer at Kaatsbaan Cultural Park, a 153-acre artist sanctuary located in Tivoli, NY, where she led the successful rebrand and revitalization of the over 30-year organization, bringing it to award-winning status for its significant artistic and economic contributions to the Hudson Valley.  In October 2022, Ms. Kostich joined Baryshnikov Arts as its new Executive Director. As a female Korean American, born in Seoul, Korea, and raised in Minnesota, her history, both personal and professional, lends itself to cultivating and supporting new perspectives as Baryshnikov Arts expands its capacity to create multi-platform and collaborative havens for artistic expression, innovation and freedom and especially as we commit further to elevating and sharing the stories of artists of diverse cultures and histories. Social Media Links: Instagram handle:  @sonja.kostich  

So last week we went to the Opéra Garnier to see Castor et Pollux, a lyrical tragedy by Jean-Philippe Rameau, directed by Peter Sellars. I was afraid I wouldn't enjoy the show. But what did it turn out to be? That's what I tell you in this episode. In the notes that accompany the transcript, we're going to make a list of practical phrases for giving your opinion of a show, rather enthusiastically, and discover a range of formulations that may be useful to you in other circumstances too. Of course, there will also be photos of this unforgettable evening! So you'll discover, as I did, that the Opera is a place where you like to take your time, the Slow Way. I invite you to subscribe to the transcript.  www.cultivateyourfrench.com  

La semaine est riche en spectacles, après le formidable Songe d'une nuit d'été hier au Théâtre de la Ville, demain, c'est à l'Opéra que nous allons. Nous avons choisi d'aller voir la tragédie lyrique Castor et Pollux de Jean-Philippe Rameau, mise en scène par Peter Sellars. L'orchestre est celui du chef gréco-russe Teodor Currentzis, l'ensemble Utopia.  Ces places sont un cadeau que nous avons reçu sous la forme d'une « box », un coffret cadeau pour l'Opéra. Nous avons choisi ce spectacle il y a plusieurs mois déjà. Nous avions le choix entre la programmation de l'Opéra Bastille et celle du Palais Garnier.  www.onethinginafrenchday.com

A few months ago, Pietro and I were offered a ‘box', a gift box, to go to the Opera. We chose to go and see Jean-Philippe Rameau's lyrical tragedy Castor et Pollux, directed by Peter Sellars. The orchestra is the Utopia Ensemble, led by the Greek-Russian conductor Teodor Currentzis.   Before going to this exceptional evening, tomorrow Thursday 13 February, I did some research on the composer, but I also read some reviews of this new staging. I don't know if it was a good idea.  By the way, when I say ‘the opera', do I mean ‘the Opéra Garnier' in central Paris, built by Charles Garnier in the 19th century, or ‘the Opéra Bastille', inaugurated a hundred years later?  You'll find out in this episode.  The transcript is a very practical and effective tool for improving your understanding. It has a number of advantages, which I describe in detail on www.cultivateyourfrench.comThat's where you can subscribe to receive it and cultivate your French, the Slow Way.  This week, in the notes accompanying the transcript, you'll find a list of very natural expressions from this text and we'll be focusing on two words in particular with examples of their natural use in French. 

durée : 00:28:45 - Les Midis de Culture - par : Marie Labory - Depuis près de quarante ans, le metteur en scène américain Peter Sellars bouscule les codes de l'opéra et ancre des œuvres classiques dans un contexte politique contemporain. Il porte sur la scène du Palais Garnier "Castor et Pollux", tragédie lyrique créée par Jean-Philippe Rameau en 1737. - réalisation : Laurence Malonda - invités : Peter Sellars Metteur en scène américain

''Castor et Pollux'' de Jean-Philippe Rameau se joue en ce moment à l'Opéra Garnier dans une mise en scène très actuelle de l'américain Peter Sellars.

Dance Talk” ® with Joanne Carey and special guest, Sonja Kostich In this episode of Dance Talk, host Joanne Carey chats with Sonja Kostich, the president and executive director of Baryshnikov Arts. Sonia shares her inspiring journey from her early years in dance, through her transition from a professional dancer to a career in finance, and ultimately to her current role in arts administration. The conversation highlights the importance of collaboration in the arts, the challenges of career transitions, and the innovative programming at Baryshnikov Arts that supports artists in their creative processes. Sonia emphasizes the value of taking risks and stepping outside of one's comfort zone to discover new opportunities in life and art.  Sonja Kostich brings with her both the knowledge and experience of having been a professional dancer for over two decades as well as significant business acumen derived from her business education and time working at Goldman Sachs. Through a unique and successful professional trajectory, she now merges her artistic and business experience as an arts leader. Ms. Kostich was hired by Mikhail Baryshnikov at the age of 17 to join American Ballet Theatre from The School of Classical Ballet, the training school for ABT created by Mr. Baryshnikov, consisting of only seven female students and five male students. She later danced with the San Francisco Ballet and the Zurich Ballet, Mikhail Baryshnikov's White Oak Dance Project, and in multiple collaborations with opera/theater director Peter Sellars, before co-founding OtherShore, which she co-directed for six years. Her experience in ballet, contemporary, and modern dance resulted in a diverse international career that spanned across artistic disciplines.Upon retiring from dancing, Ms. Kostich returned to school, obtaining a Bachelor of Business Administration (BBA) in Accounting and Business Communication from Zicklin School of Business, CUNY Baruch College, where she graduated Salutatorian at the age of 42. Following, she began a full-time position at Goldman Sachs in the Finance Division with a focus on regulatory capital requirements. Simultaneously she obtained an MA in Arts Administration, eventually returning to the dance world, first as the finance manager at Mark Morris Dance Group and then as program manager at New York City Center. From 2018 to 2022, she served as the Chief Executive and Artistic Officer at Kaatsbaan Cultural Park, a 153-acre artist sanctuary located in Tivoli, NY, where she led the successful rebrand and revitalization of the 30+ year organization, bringing it to award-winning status for its significant artistic and economic contributions to the Hudson Valley. In October 2022, Ms. Kostich joined Baryshnikov Arts as its new Executive Director. As a female Korean American, born in Seoul, Korea, and raised in Minnesota, her history, both personal and professional, lends itself to cultivating and supporting new perspectives as Baryshnikov Arts expands its capacity to create multi-platform and collaborative havens for artistic expression, innovation and freedom and especially as we commit further to elevating and sharing the stories of artists of diverse cultures and histories. More about Baryshnikov Arts ⁠⁠https://baryshnikovarts.org/⁠ Follow “Dance Talk” ® with Joanne Carey wherever you listen to your podcasts.  ⁠⁠⁠https://dancetalkwithjoannecarey.com/⁠⁠⁠ Tune in. Follow. Like us. And Share.  Please leave us review about our podcast!  “Dance Talk” ® with Joanne Carey  "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

Stürz, Franziska www.deutschlandfunk.de, Kultur heute

Stürz, Franziska www.deutschlandfunkkultur.de, Fazit

Sergej Prokofjews erste große Oper war "Der Spieler" nach dem Roman von Dostojewski. 1914 begonnen, 1917 beendet, es gab schon einen UA-Termin am Marinskij-Theater in St. Petersburg, das schon bald Leningrad heißen sollte. Aber Misstrauen von allen Seiten: Die Sänger lehnen die Partitur ab, weil sie sie für unsingbar halten. Die bürgerliche Intelligenz misstraut dem Werk, weil es als "futuristisch" eingestuft wird, und für die kommunistischen Revolutionäre ist es schlicht dekadent. Erst 1929 erlebt Der Spieler in Brüssel seine Uraufführung - auf französisch. Bei den Salzburger Festspielen feiert "Der Spieler" heute Premiere von Sergej Prokofjew Premiere - in einer Inszenierung von Peter Sellars.

This week on Screentime John Fardy chats to Award-Winning Novelist Colm Tóibín about his favourite film and what it's like to have your novels made into movies. Niamh O'Reilly reviews ‘Deadpool and Wolverine' as well as ‘I Saw the TV Glow'. Plus, there's a profile of the late great Peter Sellars.

This 17th SIMM-podcast episode is focussing on the practice of participatory projects of opera and music theatre.  SIMM-founder Lukas Pairon interviews three wonderful practitioners, who are developing projects in this field: Paulo Lameiro (01'05->25'30), Sarah Théry (26'20->54'30), and Claire Pasquier (54'55->70'10). This is a somewhat longer episode, but we think it makes sense to take the time to listen to the details Paulo, Sarah and Claire give about how they decided to develop their practice. Referenced during this podcast-episode: Pierre Audi,  Aix-en-Provence Festival, Collectif Meute, Don Giovanni (Mozart), Equinox, Bernard Foccroulle, Laurent Gaudé, Gulbenkian Foundation, Passerelles (Aix-en-Provence), Queen Elisabeth Music Chapel, SAMP, Peter Sellars, 8th SIMM research seminar on participatory opera (London, September 2024), Mark Witherscontact: info@simm-platform.eu / www.simm-platform.eu

Everyone loves gut-busting belly-laughs in a film. But sometimes, big laughs slow things down. There's something to be said for films that amuse us for their duration. Join us for a conversation about a film that makes us smile from its first moment to its last: The Ladykillers, Alexander Mackendrick's 1955 dark comedy starring Alec Guinness as the creepiest criminal and a young Peter Sellars as one of his gang. Dan praises the film's economy and compares it to John Cheever's “Reunion”; Mike explains how it reminds him of Gilbert & Sullivan. And while they dissect the film and how it manipulates the viewer, they still cannot answer the question, “Are those really Alec Guinness's teeth?” If you'd like to read “Reunion,” the terrific story by John Cheever to which they compare The Ladykillers, you'll find it in this collection—which, incidentally, is a book everyone should have. Follow us on X or Letterboxd–and let us know what you'd like us to watch! Incredible bumper music by John Deley. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Everyone loves gut-busting belly-laughs in a film. But sometimes, big laughs slow things down. There's something to be said for films that amuse us for their duration. Join us for a conversation about a film that makes us smile from its first moment to its last: The Ladykillers, Alexander Mackendrick's 1955 dark comedy starring Alec Guinness as the creepiest criminal and a young Peter Sellars as one of his gang. Dan praises the film's economy and compares it to John Cheever's “Reunion”; Mike explains how it reminds him of Gilbert & Sullivan. And while they dissect the film and how it manipulates the viewer, they still cannot answer the question, “Are those really Alec Guinness's teeth?” If you'd like to read “Reunion,” the terrific story by John Cheever to which they compare The Ladykillers, you'll find it in this collection—which, incidentally, is a book everyone should have. Follow us on X or Letterboxd–and let us know what you'd like us to watch! Incredible bumper music by John Deley. Learn more about your ad choices. Visit megaphone.fm/adchoices

Everyone loves gut-busting belly-laughs in a film. But sometimes, big laughs slow things down. There's something to be said for films that amuse us for their duration. Join us for a conversation about a film that makes us smile from its first moment to its last: The Ladykillers, Alexander Mackendrick's 1955 dark comedy starring Alec Guinness as the creepiest criminal and a young Peter Sellars as one of his gang. Dan praises the film's economy and compares it to John Cheever's “Reunion”; Mike explains how it reminds him of Gilbert & Sullivan. And while they dissect the film and how it manipulates the viewer, they still cannot answer the question, “Are those really Alec Guinness's teeth?” If you'd like to read “Reunion,” the terrific story by John Cheever to which they compare The Ladykillers, you'll find it in this collection—which, incidentally, is a book everyone should have. Follow us on X or Letterboxd–and let us know what you'd like us to watch! Incredible bumper music by John Deley. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Praga była pierwszym miastem na świecie, które w pełni poznało się na geniuszu Mozarta. Dla Pragi napisał on swoją najlepszą operę – „Don Giovanniego” oraz najsłabszą – „Łaskawość Tytusa”. Prażanie starali się okazać Mozartowi jak najwięcej uwielbienia i docenienia, zarówno za jego życia, jak i po śmierci. Choć za życia nie mogli dać mu tego, czego pragnął, czyli stanowiska kapelmistrza, to po śmierci uczcili jego pamięć tak godnie, jak na to zasługiwał. Pierwsze wielkie upamiętnienie przedwcześnie zmarłego twórcy odbyło się w Kościele św. Mikołaja na Małej Stronie i zgromadziło 120-osobową orkiestrę, chór, solistów oraz cztery tysiące żałobników. To do Pragi przeprowadziła się wdowa po Mozarcie, Konstancja, wraz z osieroconymi synami. W drugiej części audycji przybliżam okoliczności powstania i premiery Don Giovanniego, opowiadam o tajemniczym spotkaniu Mozarta z Casanovą, a także o uwikłaniu „Łaskawości Tytusa” w wielką politykę. Zapraszam do słuchania! Muzyka w odcinku: 1. Jaromír Nohavica, „Árie Leporella” [live] wyk. Janáčkova filharmonie Ostrava, dyr. Marko Ivanović (23.10.2013) 2. Fragment ścieżki dźwiękowej filmu „Amadeusz”, reż. Miloš Forman (1984), finałowa scena „Don Giovanniego” z monologiem F. Murraya Abrahama (Salieri). 3. W.A. Mozart „Bella mia fiamma” KV 528, wyk. Markéta Böhmová, Janáčkova filharmonie Ostrava, dyr. Stanislav Vavřínek [live] (12.11.2020). 4. W.A. Mozart „Don Giovanni”, uwertura, RSO-Berlin, dyr. Ferenc Fricsay, Deutsche Grammophon (1958). 5. W.A. Mozart „Fantazja (improwizacja na organach Strahova)”, KV 528a, wyk. Nieznane. 6. W.A. Mozart, aria „Parto, ma tu mio ben” z opery „Łaskawość Tytusa”, wyk. Marianne Crebassa, MusicAeterna, dyr. Teodor Currentzis reż. Peter Sellars [live], Salzburger Festspiele (2017). 7. F.A. Rossler/Rosetti „Requiem aeternam” z „Requiem für Mozart”, wyk. La Gioia, Camerata Filarmonica Bohemia, dyr. Johannes Moesus, Ars Produktion (2011). Zrealizowano w ramach stypendium Ministerstwa Kultury i Dziedzictwa Narodowego.

Drost, Maschawww.deutschlandfunk.de, Kultur heuteDirekter Link zur Audiodatei

Mumot, Andréwww.deutschlandfunkkultur.de, FazitDirekter Link zur Audiodatei

"Er is iets vreemds aan de hand. Gemeenten hebben geen geld om zo'n theaterzaal te bouwen of in te richten en gezelschappen hebben te weinig geld om producties te maken. Aan beide kanten schuurt het dus." Huub Huikeshoven, opgeleid als binnenhuisarchitect, is werkzaam bij Theateradvies, een organisatie die adviseert over de inrichting en vormgeving van theaters. Daar blijkt het nogal eens aan te schorten (vergeten kleedkamers, onbereikbare laadperrons, een tribune als een Japanse brievenbus), dus we is genoeg over te zeggen.  Nu is er een boek van zijn hand. In 23 interviews met cabaretiers, musicalsterren, regisseurs en acteurs probeert hij te achterhalen wat optredende artiesten het liefst zien in een theater. Het boek staat vol leuke anekdotes, zoals hoe de wereldberoemde operaregisseur Peter Sellars echt denkt over Ivo van Hove, en vol grappige inzichten die je als gewoon theaterbezoeker niet zo snel doorhebt. --- Send in a voice message: https://podcasters.spotify.com/pod/show/cultuurpers/message

durée : 00:58:42 - Affaires culturelles - par : Arnaud Laporte - Le metteur en scène d'opéra Vincent Huguet est l'invité d'Arnaud Laporte pour un entretien au long cours, le temps de sonder ses motifs créatifs et de retracer ses nombreuses vies et rencontres, avec notamment Patrice Chéreau, Luc Bondy, Peter Sellars et bien d'autres. - invités : Vincent Huguet Metteur en scène

In Berkeley Talks episode 181, renowned artist and human rights activist Ai WeiWei discusses art, exile and politics in a conversation with noted theater director and UCLA professor Peter Sellars and Orville Schell, director of the Center on U.S.-China Relations at the Asia Society and former dean of Berkeley's Graduate School of Journalism.Ai, who grew up in northwest China under harsh conditions because of his poet father's exile, is openly critical of the Chinese government's stance on democracy and human rights. He is well-known for his provocative works, including his 2014-15 installation on San Francisco Bay's Alcatraz Island, @Large, that the LA Times called, "an always-poignant, often-powerful meditation on soul-deadening repressions of human thought and feeling.""Normally, people call me an artist or activist, and I am often forced into one condition," he says. "It's not that I intentionally try to create something or to crystallize something, but rather I've been put in extreme conditions, and I have to focus on dealing with those situations. Normally, I don't accept the easy answer. "So I think I have to find a language to illustrate my expression, and it comes out in certain ideas or materials. We can call it art. I don't think my art really looks like art, but still, it's hard to categorize it. I'm a bit ashamed about it because everything in real life, it has a purpose. It has clear problems and solutions. But the art is not really about that. It rather creates problems after problems. So yeah, that's what I do."This Sept. 24 event was co-presented by Cal Performances, the Berkeley Art Museum and Pacific Film Archive (BAMPFA) and the Townsend Center for the Humanities.Read about 10 of Ai WeiWei's adventurous works on Cal Performances' blog Beyond the Stage.Listen to the episode and read the transcript on Berkeley News (news.berkeley.edu)Music by Blue Dot Sessions.Photo courtesy of Ai WeiWei. Hosted on Acast. See acast.com/privacy for more information.

“Otello” debuted in Milan in 1887, just two years after European nations gathered in Berlin to agree on a campaign to carve up and colonize the African continent for their own profit. Giuseppe Verdi's opera, based on the play Shakespeare wrote in the very early 1600s, centers on the Moor, Otello — an African who becomes a much celebrated Venetian general for leading a successful war against his fellow Africans.As a Black man in a position of power, Otello's status inspires praise and worship by some and searing loathing from others. How do stereotypes of Black manhood, an all-too-familiar danger to Black men navigating life in America today, show up in Otello's story? With the help of the Every Voice team and special guests – Maribeth Diggle, Thomas Hampson, Peter Sellars, Limmie Pulliam, Kevin Maynor, Dr Uzee Brown Jr. and Sylvia McNair – host Terrance Mcnight examines how this centuries-old story still shapes today's narratives around Black success and how the work of Toni Morrison might lead us to a deeper understanding of these characters. “Every Voice” is hosted by Terrance McKnight. The Executive Producer is Tony Phillips. The Executive Producer for WQXR Podcasts is Elizabeth Nonemaker.  Our research team includes Ariel Elizabeth Davis, Pranathi Diwakar, Ian George, and Jasmine Ogiste. Sound design and engineering by Sapir Rosenblatt. Original music composed by Jeromy Thomas and Ashley Jackson. Special thanks to The Met archives.This project is supported in part by the National Endowment for the Arts. To find out more about how National Endowment for the Arts grants impact individuals and communities, visit www.arts.gov.

Fuchs, Jörn Florianwww.deutschlandfunkkultur.de, FazitDirekter Link zur Audiodatei

This week on the blog, a podcast interview with filmmaker Amy Scott, discussing her terrific documentary, “Hal,” which takes a deep dive into the life and films of director Hal Ashby (“Harold and Maude,” “Being There,” Coming Home,” “Shampoo”). LINKS A Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6 Fast, Cheap Film Website: https://www.fastcheapfilm.com/ Amy Scott Website: https://www.amyelizabethscott.com/ “Hal” Documentary website: https://hal.oscilloscope.net/ “Hal” Trailer: https://youtu.be/GBGfKan2qAg “Harold and Maude Two-Year Anniversary” Documentary: https://youtu.be/unRuCOECvZM Eli Marks Website: https://www.elimarksmysteries.com/ Albert's Bridge Books Website: https://www.albertsbridgebooks.com/ YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcastAmy Scott Transcript First, I want to say thank you for making the movie and thank you for making such a great movie because he totally deserved it. I would always wonder why of all the directors of the 70s and 80s, he was never really heralded the way he should have been. I think part of it has to do with that he had no discernible style. So, you couldn't really pick him for something. But before we dive into that, tell me a little bit about your background before you made Hal?Amy Scott: Well, I'm from Oklahoma. I moved to Chicago, out of college and in college, we studied a lot of, I had a great professor at ODU at the University of Oklahoma. I don't think he's there anymore. But he really hipped us to the coolest documentaries. I had no idea that you could be a documentary filmmaker, like from Chris Marker to the 7-Up series to Hands on a Hard Body. It was just a really great, great, well-rounded Film and Media Program. Anyway, I moved to Chicago. I wanted to be a director and a DP, but I fell down, I had gotten a job at the University of Chicago. I think I faked my way into it. I was supposed to start on a Monday, and I fell on the ice and broke my arm on a Friday. So I was like, “I can't shoot. I can't film. I can't use my arm to film and hold the camera. I need to learn how to edit. So I learned how to edit with my right hand, and I loved it. And then I just did that for like 10 years. Well, I mean, I still do it. But it was like this accidental career path.You're an accidental editor.Amy Scott: An accidental editor. That became something that later, I just valued as such an important skill set. I use it now. I have wonderful editors that I work with. But we speak the same language. And I think with the story structure, that you have an eye for things in the edit bay and now it really, really helps my ability to break down a three-act structure or figure out where the narrative arc is, and things like that. I think would have taken me a lot longer, had I not fallen and broken my arm.It was sort of a similar path for Hal Ashby, starting in editing.Amy Scott: Totally. I loved his films and then when I read Nick Dawson's book, and I started to learn more about him, I really, really connected with him. Because of things that he would say about filmmaking and editing and being in the edit bay and being obsessed with every frame. I felt like, being seen and heard. Like, “Oh, this is how I feel about it, too. I don't feel like such a freak of nature, and lots of people feel this way.” I really connected with Hal and he didn't make The Landlord I believe until he was 40 years old. He was up there. Amy Scott: Yeah, up there. For a first-time filmmaker, that's a late start.Amy Scott: And that was about the same age that I made the Hal movie. What was your first experience with a Hal Ashby movie?Amy Scott: The first film that I saw that I can remember was with my friend Jason in college. I was watching Truffaut and Cassavetes and so I thought that I had a very well-rounded understanding of the new Hollywood. And my friend Jason said, “Have you ever seen Harold and Maude?” I had no idea what he was talking about. He was a couple years older, and he was like, “Oh, honey, you're gonna skip school today. We're gonna watch it.” And I swear to God, we watched it. I couldn't believe what it was. I couldn't believe I'd never seen it. It somehow gone past me. As soon as it was over, I was like, “Stop. Start it again.” We have to rewatch it. We where there for like eight hours, watching it on a loop. David Russell compares it to The Catcher in the Rye as a sort of like rite of passage for people at that age. It hit me right straight through the heart. And then from there, I think I saw The Landlord, someone had screen of The Landlord in Oklahoma City. And I was like, oh my god, this is incredible.I live in Minneapolis, where Harold and Maude ran at The Westgate theater for two and a half years. I saw the movie quite a bit there. And then, because I was in a film program, and knew someone who knew the film critic for the local paper, when Ruth and Bud came to town for the two-year anniversary, he sorts of dragged me along with him. So, I had dinner with Bud Cort and hung out a little bit with Ruth Gordon. I made a little documentary on Super 8mm of my perspective on their experiences. I was 15 years old or something and although I knew their itinerary, I couldn't drive. And so I would go to the TV station and shoot some stuff there with them and then they were on to something else. I had to hop on a bus to keep up with them.Amy Scott: That's incredible.Yes, my only regret was on that when I had dinner with Bud that I didn't ask better questions. I was sort of starstruck and there's a lot of question. I would ask him now—that I've tried to ask him—but you know, he's not too communicative.Amy Scott: Yeah. That's incredible that you that you have that footage and I would love to see it.It was really, really fun and interesting. Ruth Gordon was very much Ruth Gordon, very much Maude. She didn't suffer fools. So, you've seen Harold and Maude, seen The Landlord. At what point did you decide that a documentary had to be made?Amy Scott: Well, okay, I was pregnant with my first child, and was finishing up Nick Dawson's book on Hal, you know, on Hal's life. And I thought, I just couldn't believe there was a documentary. But this is before the market became oversaturated with a story about everyone's life. At the time, I just thought, oh my gosh, there's so much here. This guy, his films should be really celebrated. And he should be more known and revered in the canon of American 70s New Hollywood, because he's so influential.And that's why it was important that we include David O Russell and Adam McKay, and Allison Anders, Judd Apatow. They could draw a direct connections, like the film family tree. When you see the wide shots in Harold and Maude, you think of Wes Anderson. Or, you know, the music, you think of David O Russell. I mean, his influence was everywhere. I started to connect the dots and I thought, oh, my gosh, we've got to, we've got to make a film here. But I'd never done anything like that. I had directed smaller documentaries. I tried to make a film about this band called The Red Crayola and that was a hilarious attempt on my part. To try to chase them around the globe and on no money. That was my only experience outside of editing. So, fortunately, I had hooked up with my producing partners that I still work with now. I just met them at the time and they hired me to edit some cat food commercials. So it was editing Friskies or Purina, I don't know what it was. It was just looking at cats all day.And I was about to give birth but I was working trying to lock down the rights And the rights came through one afternoon and I just pulled them (the producers) in and I was like, let's do this together. We didn't know what the hell we were doing, but it was so great and so fun. We approached it, like, all hands-on deck, and we were a little family making this thing. So, that spirit has continued, thank goodness, because of what we put into the Ashby movie.What do you think were his unique qualities as a director?Amy Scott: Gosh, so much. I just think he really had an eye. He could see stories. You said something earlier, that all of his films are not the same and therefore it's hard to go, oh, he's this style of filmmaker. But the thing that they all have in common is that he has a very real and raw approach at looking at humanity. Sort of holding the mirror up and showing us who we are, with all of our faults and complexities and layers of contradictions and failures. So he's able to see that and find the stories of humanity. And that's the connective tissue for me. He also had a sick musical taste; I mean, he sort of found Cat Stevens. The soundtrack to Shampoo—I think that's why it's not in wide release right now, as I can't imagine having to license Hendrix and Janis and the Beach Boys, you know?That's true. But I'll also say he had the wisdom to let Paul Simon do the small musical things he did in Shampoo, which are just as powerful or if not more powerful.Amy Scott: So, powerful. So much restraint. Incredibly powerful. I feel like Hal, because he was not—from all of our research and talking to everyone and girlfriends and collaborators—he wasn't a dictatorial director. He didn't lay down mandates. He was really open to hearing from everybody and making it feel like it was a democratic scene and everyone has an equal voice. If you had an idea, speak up.But at the end of the day, he was like, okay, here's the vision. And once he had that vision, I think that's where he really got into problems with the studio system. Because that was such a different time. The studio guys thought that they were also the director, that they were also the auteur. I cannot imagine a world where you throw your entire life into making a film and then a studio head comes along and tries to seize it from you. I mean, that would give me cancer, you know, from the stress. I can't imagine.It certainly didn't match with his personality at all.Amy Scott: No, not at all. What I thought was so fascinating was how open he was to ideas. I love that about him and it resonates in my microscopic ways of connecting to that now. Man, every time it pops up, I'm like, I feel this little Hal Ashby devil angel on my shoulders. Yes, but it's odd. Because it's not like they didn't know what they were getting. It's not like he hid that part of his personality. You would know, immediately from meeting him that...Amy Scott: Yeah.With Harold and Maude, it was just a weird perfect storm of a crazy executive like Robert Evans saying yes to all these weird things. And then the marketing team at Gulf and Western/Paramount going, “we have no idea what to do.” You know, I had the Harold and Maude poster hanging for years. And it's the most obvious example of a studio that cannot figure out how to market a movie. The Harold and Maude different color name thing. It's just so obviously they didn't know what do.Amy Scott: I know I love when Judd Apatow was talking about that. That's really funny.So, what was the biggest thing that surprised you as you learned more about Hal?Amy Scott: What surprised me was that side of his temperament. He did look like this peace love guy. He was an attractive man but, you know, this long hair and long beard and so cool and I had a really myopic like view of what I thought his personality was. I thought he was a super mellow guy. And then I got in and started reading the letters. My producer, Brian would read the letters in his voice as a temp track that we would use that to edit to cut the film. And we were rolling, dying, laughing, like falling down, like, oh, my God, I cannot believe that Hal would write some of this shit to the head of Paramount or whoever. It was like, wow, this guy is not at all who I thought. These were fiery missives that he was shooting off into space.It wasn't like just getting mad and writing an email. I mean, he had to sit on a typewriter.Amy Scott: Typewriter and they were very, very long. I mean, the sections that we used in the film, were obviously heavily cut. We couldn't show like six pages of vitriol. The best part about the vitriol though, he wasn't just vomiting, anger. It was a very poetic. He had a very poetic way of weaving together his frustration and expletives in a way that I just loved.And then we turned the papers over to Ben Foster. That's why we wanted him to narrate—be the voice of Hal—because he's always struck me as an artist that totally gets it. Not a studio guy and he was all over it. He was right. You can really identify with this sort of, you're either with us or against us artists versus, the David and Goliath. So, that was most fascinating to me. I knew—because of the book, because Nick did such a great job—I knew Hal's story. Leaving his child, leaving Leigh. It's one thing to read about it in a book and it's a completely different thing to go meet that person, to sit with her. She's since become a dear friend to me. I feel like she'd never really spoken about that, about her dad and that time of her of her life. I think revisiting trauma on that level, and working through a lot of those emotions with her, was really heavy and not what I intended. When I set out to make the film, I was thinking about the films of Hal Ashby. I didn't think it would get as heavy as it did. I'm glad that we went there and that she took us with her. I feel really, really thankful. I think she got a lot out of it. We certainly did.It really did show you just how complicated he was, the reality of his life, when you see the child. And she was so eloquent on screen. Amy Scott: So great. He had some generational trauma too and then you put it all together, and you're like, okay, well, this is somebody that's really adept at looking deep into the human condition. He'd been through a lot. He'd made a lot of mistakes and he's been through a lot. So, of course, this checks out. And he's just so talented and creative, that he can make these films that are this really accurate, fun and funny and sad and tragic and beautiful portrayals of humanity.Well, let's just if we can't dive into a couple of my favorites just to see if anything you walked away with.Obviously, Harold and Maude hold a special place in my heart. I've just loved reading Nick's book and reading and hearing in your film and in listening to commentaries about what Hal did to wrestle Harold and Maude into the movie that it is. I forget who it was on one of the commentaries who said there were so many long speeches by Maude that you just ended up hating her. And Hal's editor's ability to go and just trim it and trim it and trim it. I compare what he did there to what Colin Higgins went on to do when he directed and he simply didn't have it. He had the writing skill, obviously, and the directing skills. He didn't have that editor's eye. I don't think there's a Colin Higgins movie made that couldn't be 20 minutes shorter. If Hal had gone into Foul Play and edited it down, it would have been a much stronger comedy. 9 to 5 would have been 20 minutes shorter. Probably a little stronger. Anyway, you don't recognize that. It's all hidden. It's the edit. You don't know what he threw away and that's the beauty of Harold and Maude: within this larger piece he found that movie and found the right way to express it. So, what did you learn about that movie that might have surprised you?Amy Scott: Everything surprise me about it. You know, we were never able to get Bud Cort. You know Bud Curt, he's so special and so elusive and we thought we thought we were gonna get him a couple times and then it was just a real difficult thing. But you have him from the memorial service, and that's a great thing.Amy Scott: Oh, yeah. Anytime he's on camera, he's bewitching. He's incredible. So we went again with the letters. I just didn't realize that Bud and Hal we're so close. I mean, obviously, they were close. But they were very tight. They had a real father son, sort of bond.Charles Mulvehill, the producer, also talked about how difficult it was to make the film. I didn't know that Charles ended up marrying one of the women that is on the dating service that Harold's mom tries to set up. That was interesting, too. It's hard for me, to tell you the truth. We did so much research on all the films, so there's little bits and pieces of all.Jumping away from Harold and Maude—just because my brain is disorganized—Diane Schroeder was with Hal for a number of years and she's in the film. She was sort of a researcher archivists, she wore many hats. I did not realize that on Being There, she really needed to nail down what was on the television Chauncey Gardiner learned everything from TV, so it was really important what was on it. When he's flipping, it's not random. She and Hal would take VHS tapes in or I guess it would have been Beta at the time, whatever the fidelity was, but they would record hundreds of hours of TV and watch it. She got all these TV Guides from that year, 1981. But what was a three year's span, she had all the TV Guides. She had everything figured out. It was like creating the character of Chauncey Gardiner, with Hal and then Peter Sellars got involved, and he had certain thoughts about it, too. I was just so blown away by the fact that that much care and effort and painstaking detail would go into it. When you see it on screen, it's definitely a masterpiece because of those things. Just the defness of editing, of leaving things out, is what makes it good. That is such a such a really hyper detailed behind the scenes thing to know that. When we were going through his storage space. I remember asking Diane, why are there boxes and boxes and boxes of TV. She said, “oh, yeah, that's Chancy Gardener's.” I said, I cannot believe you guys saved this. Really funny. It's interesting because they would have done all that in post now. And they had to get that all figured out, before they were shooting it. That's a lot of pre-production.Amy Scott: Oh, an immense amount of pre-production. Hal set up an edit bay in his bedroom. It's the definition of insanity. I had that going on at one point in my life and it's not good. It's not good thing to roll over and it's like right there like right next to pillows staring at you. You need some distance.When I saw Being There for the first time for some reason I was in Los Angeles/ I saw it and of course loved it. And then came back to Minneapolis and someone had seen it and said, “don't you love the outtakes?” And I said, “What outtakes?” They said, “over the end credits, all those outtakes with Peter Sellars.” And I said, “there were no outtakes.” In the version in LA, they didn't do that.Amy Scott: I wanted to add this, but we just ran out of time. We found all these Western Union telegrams that Peter Sellars wrote to Hal, just pissed, just livid, furious about that. He said, “You broke the spell. You broke the spell. God dammit, you broke the spell.” He was so pissed that they included those outtakes and I agree with them.It's not a real normal Hal move, is it?Amy Scott: No, it's honestly the first time that I'd ever seen blooper outtakes in a film like that. That's such an interesting 80s style, shenanigans and whatnot. But, yeah, no, you want them to walk out on the water after watching him dip umbrella in the water and think about that for the rest of your life. Exactly. I think they left it out of the LA version for Academy purposes, thinking that would help with the awards. But then years later to look at the DVD and see the alternate ending and go, well, that's terrible. I'm glad you guys figured that out. And then apparently, was it on the third take that somebody said, he should put his umbrella down into the water? Amy Scott: That's so smart.It's so smart. Alright. Shampoo is another favorite. I'm curious what you learned about that one, because you had three very strong personalities making that movie with Robert Towne on one side and Warren Beatty on the other and Hal in the middle. It's amazing that it came out as well as it did. Somehow Hal wrangled it and did what he did. What did you learn there that sort of surprised you?Amy Scott: Well, that aspect is what we wanted to really investigate. Because Hal had a pretty singular vision. Hal as a director—at that stage—was becoming a very important filmmaker. So, then how do you balance the styles of Robert Towne and Warren Beatty? These guys are colossal figures in Hollywood, Alpha dogs. I wish that we could have sat with Warren. It was not for lack of trying. I think a lot of these guys that we couldn't get, it's like, yeah, that's what makes him so cool. Bruce Dern. I was trying to chase down Bruce Dern at the Chase Bank, and he got up one day and I was just like, I knew, let it go. But Shampoo, everything we learned, we put in the film. Robert Towne talked to us. And then there was the audio commentary that Hal had from his AFI seminars. Caleb Deschanel spoke pretty eloquently about it being like watching a ping pong match going back and forth between Robert and Warren about what the direction should be. And then the director sitting in a chair probably smoking a joint, waiting for them to finish. It seems like they might have needed a sort of mediator type presence to guide the ship, like have a soft hand with it, you know? You can't have three alphas in the room at the same time. Nothing would get done. You need a neutralizing force and it seems like that's what Hal was it. He just had a really great taste, you know? My favorite element of that movie—besides Julie Christie's backless dress—would be Jack Warden. Anytime Jack Warden comes on screen, I'm like, just want to hang with him for another half hour. I can just watch that man piddle around and be funny.I remember reading an interview with Richard Dreyfus after Duddy Kravitz came out, in which he was blasting the director, saying that they ruined Jack Warden's performance in post-production. And Jack Warden is amazing in Duddy Kravitz. I don't know what they he thinks they did to it, because he's just fantastic.Amy Scott: He must have just been astronomically amazing and funny, which is what I imagined he's was like.I took away two things from Shampoo. One was—having seen Harold and Maude as often as I did—recognizing that the sound effects of the policeman's motorcycle as being the same one as George's motorcycle as he's going up the Hollywood Hills. Exact same ones.But the last shot as he's looking down on Julie Christie's house and the use of high-angle shot, it is one of the saddest things I've ever seen. It's just a guy standing on an empty lot looking down onto the houses below, but it's … I don't know. Given the guys he was dealing with, I don't know how he made that into a Hal Ashby movie, but he did.Amy Scott: He did. Well, it seems like it's moments like that yeah, there's so much melancholy loaded into that moment. Because George is such an interesting character. Now, I'm realizing that you and I have just blown, we've just spoiled the ending shots of both Being There and Shampoo.Anybody listening to this who hasn't seen those movies deserves to be spoiled.Amy Scott: Get on the boat. But yeah, that always got me. I think it's all of those really like, foggy misty Mulholland Drive shot of George on his motorcycle, anytime he's alone. Because he crams his life so full of women to try to fill the hole or the void or whatever he's got going on that's missing in his life. And he's just trying to shove it full of women. So, when he's alone, and he has nothing and no one you're like, oh, my God, this is the saddest thing I've ever seen.It really is. I don't know. Maybe you can fill me in on this. I remember reading somewhere that the scene—his last scene with Goldie Hawn—they went back and they reshot it because somebody said he's standing. He should be sitting. And I'm always interested in directors who hear that and are willing to go back and do it. The other example is Donald Sutherland in Ordinary People in his last scene. Telling Redford, “I did it wrong. I should be done crying. I was crying when I should have been done crying.” and they went back and reshot. His portion of it is no longer crying because the director went, you're right. And that simple notion of Warren Beatty should be sitting down, and she should be standing over him. Amy Scott: She's got the power. Yes. But I'm not sure a lot of directors would have said yes to that. Like, “We don't need to go back and do that. We're overscheduled we got other stuff to do …”Amy Scott: Oh, I don't think Hal cared about the schedule at all. Everything that I read or, you know, even Jeff Bridges talked about, like them being over budget and he's like, “you know, all right, let's figure out a creative solution to this. It's going to take as long as it's going to take.” He never seemed to really get riled onset or let those sorts of parameters hold all the power and guide the filmmaking. He was in complete control of that. Having that sort of attitude about things, that just spreads to the whole set. That spreads everywhere and makes it easier for everybody to work.Amy Scott: It does.Let's do one last one. Coming Home is interesting for me because I had friends who ran a movie theater here in town. It was just a couple of running it and I would come by from time to time if they were busy. I'd go up and run the projector for them. They had one of those flat plate systems, so you only had to turn the projector on. It wasn't that big a deal. But you know, I was young and it's like okay, now I'm going to turn the house lights down … I got to see the first five minutes of Coming Home a lot. Probably more than I saw the rest of the movie. Was there anything you learned about the making of that film that surprised you?Amy Scott: Yeah, I didn't realize how hard it was to get that film made. Jane Fonda is the one that's really responsible for Coming Home even existing. Nancy Dowd had a book and Jane really fought hard to get it made. By the time it got to Hal, it was different, there was a number of rewrites. And it obviously had to be cut down significantly. I never think—it's never my go-to—to think that one of the actors is the one responsible. Usually it comes to you in a different way, and especially if he's working with Robert Towne and the like. But I thought that was really cool and really interesting that Jane spoke about showing what our veterans were going through. This wasn't new, because you had like The Deer Hunter would have been the comparable. And that's a wildly different take on what coming home from the Vietnam War was like. But also, the woman's journey in that film, and the sexuality of all of that was just like, wow. Only Jane Fonda can speak about it eloquently as Jane Fonda does. I also didn't realize— when we were sitting with John Voigt—that he was really method in the way that he didn't get out of his chair, I mean, for days on end. Going into crafty in the chair, learning how to do go up ramps and play basketball and all the things that you see was because he wouldn't get out of the chair, which was wonderful. I really enjoyed talking with Jeff Wexler, and Haskell. That interview that we did with Haskell, I'm so thankful for because, you know, Haskell passed away, not that long after we film. That was one of his last interviews. So, it was really special. He came to the set and Haskell is like, a film God to me and my team. For me, I lived in Chicago so Medium Cool, was one of the coolest things ever. Meeting him and talking with him was so interesting. I loved hearing about the opening. You can just tell it's Haskell Wexler. You know it's a Hal Ashby film, but the way it starts and having seen Medium Cool, and going into that opening scene, where the all the vets are non-professional actors. They were actual vets that had come home and those were their true real stories. Now we would say it's sort of hybrid documentary and scripted, but it was like a really early use of that kind of style. And that's what made it feel so real and then you start in with the Rolling Stones, it's just such a masterly, powerful film.I'm always curious about that sort of thing where he has a lot of footage and he's creating the movie out of it and what would Hal Ashby be like today? How different would his life be if he had everything at his fingertips and it's not hanging out a pin over in a bin and he had to remember where everything was? I don't know if that would have been any made any difference at all?Amy Scott: He was an early pioneer of digital editing. He was building his giant rigs and was convincing everyone that digital is the way to go. Which is so cool and so mind blowing. But I think it was born out of a place of independent film, of democratizing the access and taking the power away from the studios. And knowing that you could do this cheaply in your home. It was so actually tragic to learn that. What could he have done? Because his output was just, he put out so much so many great movies. So, what could he have done if the infrastructure was even more accessible and sped up technologically?Imagine an 8-part streaming series directed by Hal Ashby, what would that be?Amy Scott: Just be incredible. Well, I know that he was wanting to work. He had so many films that we found. And we found script after script. One of them, I was so, “damn, that would have been cool,” was The Hawkline Monster. A Richard Brautigan science fiction Western novel. It's so trippy and so cool. I feel like every couple of years, I hear about some directors says, “we got the rights, we're gonna make it.” And I'm like, when are they gonna make it? It's so long.And imagine what his version of Tootsie would have been.Amy Scott: Oh, I know. Yeah. No joke.Just seeing those test shots. Wow. Amy Scott: I know, it would have been a different film.I read a quote somewhere that one of the producers or maybe it was Sydney Pollack, who said, they took the script to Elaine May. And she said, “yeah, it just needs…” And then she listed like five things: He needs a roommate that he can talk to … the girl on the TV show, she needs a father, so he can become involved with him … there also has to be a co-worker who is interested in him as a woman … the director needs to be an ass, he should probably be dating the woman. It was like five different things. She said the script is fine, but you need these five things. So, what did they have? She just listed the whole movie.Amy Scott: Right. Well, we're talking about Elaine May. She's someone that needs a film. She does. And why aren't you doing that?Amy Scott: Listen, I'm telling you. I've tried. This is another one that I've tried for years. You know, here's a real shocker: It's hard to get a film about a female filmmaker funded. It's a hard sell.She probably wouldn't want to do it anywayAmy Scott: She's so cool. My approach has always been that she has so much to teach us still. So, I would love to get her hot takes on all those films. A New Leaf. I mean, the stories behind that thing getting made.Like the uncut version of A New Leaf.Amy Scott: Exactly. I want to hear it from her. So, yeah, that's high up on my list. I really, really want to make one with Elaine.Was there anyone else you really wanted to get to? You mentioned Warren didn't want to talk to you. Anybody else?Amy Scott: I would have loved Julie Christie or, you know, more women would have been great. Bruce Dern was so great and so funny and I'd seen him a number of times. I saw he was at a screening of one of his movies. He talked for like, an hour and a half before they even screened the film. He was whip smart in his memories. I was so upset that we couldn't work it out because I knew that he would be incredible.Just his knowledge of movie industry, having been in it so long.Amy Scott: My gosh, yeah.He even worked with Bette Davis.Amy Scott: Yeah, he's national treasure. Exactly. I was just staring at a poster. I have framed poster of Family Plot in my kitchen. That's the movie that was going to make him a star, according to Hitchcock. It still has one of the greatest closing shots of all time. I think I read that Barbara Harris improvised the wink, and that's another person who you should make a documentary about.Amy Scott: Oh my gosh. Barbara Harris is something. Do you remember what was the film that she was in with? Dustin Hoffman and Dr. Hook scored it. It's a really long title. Who Is Harry Kellerman And Why Is He Saying These Terrible Things About Me?Amy Scott: That is such a phenomenal Barbara Harris performance. I mean, Dustin Hoffman is incredible. He's always great. But Barbara Harris really shines and I guess I'm like, that's who she was. Yeah, I think she was difficult. Well, I don't know, difficult. She had stuff she was dealing with.Amy Scott: She had issues and Hal had to deal with those on Second Hand Hearts too.From a production standpoint, people are interested in hearing what your Indiegogo process was Any tips you'd have for someone who wants to fund their film via Indiegogo?Amy Scott: Oh, boy. Well, that was a different time, because I really don't know how films are funded at the moment. This came out five years ago, but it took us like six years to make. So, during in that time, you could at least raise enough capital to get through production.The Indiegogo campaign enabled it so that we could even make the movie, because everything past that point, nobody ever got paid at all. But at least that way, we could buy film stock and pay the camera operators and our DPs and stuff. So, that was hugely important.At the time, I remember thinking like, oh, no, how are we ever going to get anybody to because you had to make these—I don't know if this is still the case—but you had to make these commercials for your project or like a trailer to get people's attention. And you had to be all over Facebook and crap like that. So, I was like, oh, no, how am I going to make a thing that shows that Hal Ashby's important to people that want to give money?A friend somehow knew John C. Reilly and mentioned it to him. It was like, we just need a celebrity to come in for like, you know, half a day or one hour. And he said, I'll come on down and do that. And he came. I couldn't believe it. The generosity of this man. He didn't know us at all. But he knew and loved the films of Hal Ashby and wanted to give back and pay it forward. So, he came down and because of him, we have a really funny, awesome little commercial trailer. I have no idea where that thing even is. I'd love to see it because I had to do it with him, which was terrifying, because I am not a front of camera person. I didn't know what to say. And he said, All you have to do is ask for money. I'll all do the rest of the talking.I remember seeing it. Amy Scott: It's been stripped from Indiegogo which probably means that we used a song that we weren't able to. That was back in the early days of crowdfunding, where you could just take images or songs and I'm sure I used the music of Cat Stevens, and then, loaded up with a bunch of photos that we never paid for.Well, that brings up a question of how did you get all the rights to the stuff you got for the finished movie? Was that a huge part of your budget?Amy Scott: No. The most expensive thing always to this day is music. Music is going to get you. Outside of that, thank goodness, there's this little thing called fair use now, which wasn't the case in documentary filmmaking for a very long time. But now you can fair use certain elements, photographs, or news clips, video clips, anything that sort of supports your thesis that you're making about your subject and supports your storyline falls under the category of fair use. So, I think what our money did pay for is the fair use attorneys that that really go over your product. They went over out fine cut, because we couldn't afford to pay for multiple lawyers to look at it. So you give them a fine cut, you hold your breath and hope that they say, oh, you know, you only have to take out a couple things. And you're like, oh, thank God. Okay, and then you change it.I believe, because we never had any money, that we submitted to Sundance and got in on a wing and a prayer. And then had, you know, two weeks to turn the film around and get it, finished. I remember we were like, you know, pulling all these all nighters, trying to change the notes that the legal said XY and Z was not fair use and trying to swap out music with our composer. It was a wild, wild run.Isn't that always the way? You work on it for six years and then suddenly you have two weeks to finish it.Amy Scott: That's how it shook out for us. It was like really, really pretty funny, because you're going on a leisurely pace until you're not. And then it's like, alright, it's real now. I thought for years, I think my friends and casual acquaintances thought that I've lost my mind. Because every year, I'd see people that I would see occasionally and they're like, hey, how's it going? What are you working on? I'm like, I'm just working on this Ashby's movie. And they were like, year after year, like damn. She's like, we need to reel her in and we need to throw her a lifeline. No, really, I really, really am. So, it was pretty funny. We were. We did it.People have no idea how long these things take. Amy Scott: It's unfunded. But you know, then we got lucky after that, because we nearly killed ourselves on Hal. Then we kind of fell into the era of streaming deals and streamers. And then people were like, oh, we want to make biopics and we want to give you money to make a biopic. And that was truly our first rodeo. We're like, oh, my gosh, what? This is incredible. We can get paid for this. Now that's falling away. This streaming industry is, you know, collapsing in on itself as it should, because there's no curation anymore. And it's like, let's return to form a little bit here, guys. So, we're just riding the wave. I say it's like we're riding trying to learn how to ride a mechanical bull this industry. I'm a tomboy. So, every local Oklahomans is up for the ride.Let me ask you one last question. I'll let you go then. So, as a filmmaker, what did you learn doing a deep dive into the work of this director and editor and you are a director and editor? So, that's sort of a scary thing to do anyway, to be the person who's going to edit Hal Ashby. What did you learn in the process that you can still take away today?Amy Scott: Well, listen, we joke about it all the time. My producer, Brian Morrow and I are constantly going, oh, what would Hal do? Everything that he stood for, as a filmmaker. The film will tell you what to do. Get in there, be obsessed be the film, all of those things.I get this man because I feel the same way. So, when we like took a real bath in Hal Ashby's words for years, that sort of that shapes the rest of your life as a filmmaker. You're not like a casual filmmaker after going through like the Ashby's carwash. That stuff's sticks.But I'm proud. I'm proud that that we pulled it off. I'm proud that we were able to make the movie. Somebody would have done it, because Hal is too great and too good, and he just has deserved it for so long.The only thing that we've ever wanted was that we wanted people to go back and watch his films, or to watch him for the first time if they had never seen him. And then to take his creative spirit forward. Be in love with the thing that you make. It's your lifeforce. So, otherwise, what is it all for, you know? So, yeah, that's what I got from him.

Town Square with Ernie Manouse airs at 3 p.m. CT. Tune in on 88.7FM, listen online or subscribe to the podcast. Join the discussion at 888-486-9677, questions@townsquaretalk.org or @townsquaretalk. First, Sarah Rothenberg, Artistic Director of DACAMERA, joins us with a preview of the upcoming 2023-2024 season of the arts organization, which includes a new suite from jazz trumpeter and composer Terence Blanchard from his history-making opera “Fire Shut Up in My Bones”, two world premieres from Etienne Charles and composer Matthew Aucoin and director Peter Sellars, and a celebration of composer Fanny Mendelssohn in concert and film. To learn more about DACAMERA'S 2023-2024 Season, click here. Plus, June 16 – 23, DACAMERA is offering a free virtual streaming event of its recent production of Kendrick Scott's “Unearthed”, which is a memorialization of the Sugar Land 95 through original music, poetry, and visual art. For more information, click here. The Sugar Land 95 refers to 95 African-American individuals whose remains were uncovered during construction of a new school in Fort Bend Independent School District in 2018. Our conversation on The Sugar Land 95 continues with the co-hosts of a new Texas Newsroom podcast Sugar Land, Journalist Brittney Martin and Southwestern University Assistant Professor of Anthropology Dr. Naomi Reed.  Their podcast explores details about who The Sugar Land 95 were, the systemic issues around them, and what progress has been made in the five years since they were discovered. The first two episodes of the Sugar Land podcast will be released Friday, June 16, 2023, on HoustonPublicMedia.org and all major podcast platforms. The remainder of the 8 episodes will be released weekly, every Thursday. Guests: Sarah Rothenberg  Artistic Director, DACAMERA Brittney Martin  Independent Journalist Co-Host & Executive Producer, Sugar Land podcast Dr. Naomi Reed Assistant Professor of Anthropology, Southwestern University Co-Host & Senior Producer, Sugar Land podcast Town Square with Ernie Manouse is a gathering space for the community to come together and discuss the day's most important and pressing issues. We also offer a free podcast here, on iTunes, and other apps

durée : 00:26:42 - Kaija Saariaho, compositrice (5/5) : Les compagnons de route - par : Corinne Schneider - La compositrice parle des grands artistes avec lesquels elle a travaillés, ceux qui ont marqué sa vie musicale, depuis le compositeur et chef d'orchestre Esa-Pekka Salonen, jusqu'à l'écrivain Amin Maalouf en passant par le metteur en scène Peter Sellars et la chanteuse Dawn Upshaw. - réalisé par : Gilles Blanchard

With such a dark past, what does the future look like for opera as an art form? From Verdi to Mozart, many of opera's most celebrated works famously reduce people of African descent to racist caricatures and stereotypes with tragic fates. In the final episode of this season of Every Voice with Terrance McKnight: we go in search of opera's future with composers, musicians, and thinkers of today, and turn our attention one more time to Mozart's “Abduction from the Seraglio” to learn from a long-voiceless character. Joined by Dr. Sharon Willis, opera and theater director Peter Sellars, and opera greats Chauncey Packer, Limmie Pulliam, and more. This episode is written, hosted and produced by Terrance McKnight with support from David Norville. The Executive Producer is Tony Phillips. The Executive Producer for WQXR Podcasts is Elizabeth Nonemaker. Our research team includes Ariel Elizabeth Davis, Pranathi Diwakar, Ian George, and Jasmine Ogiste. Sound design and engineering by Sapir Rosenblatt Original music composed by Jeromy Thomas and Ashley Jackson. A transcript of this episode is available on our website: everyvoicepodcast.org

The Equalizer Season 3 Episode 19: Last Call Aired on CBS: March 23, 1988 Directed by: Michael O'Herlihy Written by : Robert Crais Featuring: Joe Maruzzo, Michael Cerveris, James Rebhorn, David Schramm, Colleen Ann Fitzpatrick (Vitamin C), Peter Sellars, Tony Azito Two hooligans take over Pete's, the Irish pub that Robert McCall bought earlier this season. Among the hostages are Mickey and Pete (note, a woman), both agents (current and former) who you'd think could easily take on these amateur thugs (and could more to do on the show as well). But no it's Equalizer who goes around learning more about the hooligans (learning a little too much, file under Bizarrely Graphic Details), then mediating a deal (which of course goes awry and the bad guys get shot). Another stellar EQ bottle episode, and also we break down the Police Academy movies. @equalizerspod equalizerspodcast at gmail dot com https://www.facebook.com/equalizerspodcast/

This week on Every Voice with Terrance McKnight, we go deeper into Giuseppe Verdi's character of the “Moor of Venice." Otello is a celebrated general in the Venetian army, and as a Black man in a position of power, his status inspires praise and worship by some and searing loathing from others. Otello's subordinate, Iago, thinks his boss woefully undeserving of his success and his white Venetian wife. Driven mad by entitlement, racism, and jealousy, he schemes to “right” this wrong by any means necessary. Joined by baritone Thomas Hampson, tenor Limmie Pulliam, and director Peter Sellars, Every Voice unravels the myth that entangles Otello: that Black manhood is something to be feared and controlled, and how the same stereotypes and undertones of superiority remain an alltoo-familiar danger to Black men navigating life in America today. This episode is hosted by Terrance McKnight and produced by David Norville. The  Executive Producer is Tony Phillips. The Executive Producer for WQXR Podcasts is  Elizabeth Nonemaker. Our research team includes Ariel Elizabeth Davis, Pranathi Diwakar, Ian George, and Jasmine Ogiste. Sound design and engineering by Alan Goffinski. Original music composed by Jeromy Thomas and Ashley Jackson. Special thanks to The Met archives.This project is supported in part by the National Endowment for the Arts. To find out more about how National Endowment for the Arts grants impact individuals and communities, visit www.arts.gov.

The fresh fruit songhttps://www.youtube.com/watch?v=p-IU-NQ8c14 Outstanding achievement awardhttps://www.youtube.com/watch?v=TkOAUht3G5o

Heralded as "[one] of the most powerful voices of our time" by the Los Angeles Times, bass-baritone Davóne Tines has come to international attention as a path-breaking artist whose work not only encompasses a diverse repertoire but also explores the social issues of today. As a Black, gay, classically trained performer at the intersection of many histories, cultures, and aesthetics, Tines is engaged in work that blends opera, art song, contemporary classical music, spirituals, gospel, and songs of protest, as a means to tell a deeply personal story of perseverance that connects to all of humanity. Davóne Tines is Musical America's 2022 Vocalist of the Year. During the 2022-23 season, he continues his role as the Philharmonia Baroque Orchestra & Chorale's first-ever Creative Partner and, beginning in January 2023, he will serve as Brooklyn Academy of Music's first Artist in Residence in more than a decade. In addition to strategic planning, programming, and working within the community, this season Tines curates the “Artist as Human” program, exploring how each artist's subjectivity—be it their race, gender, sexuality, etc.—informs performance, and how these perspectives develop throughout their repertoire. In the fall of 2022, Tines makes a number of important debuts at prominent New York institutions, including the Park Avenue Armory, New York Philharmonic, BAM, and Carnegie Hall, continuing to establish a strong presence in the city's classical scene. He opens his season with the New York premiere of Tyshawn Sorey's Monochromatic Light (Afterlife) at the Park Avenue Armory, also doubling as Tines' Armory debut. Inspired by one of Sorey's most important influences, Morton Feldman and his work Rothko Chapel, Monochromatic Light (Afterlife) takes after Feldman's focus on expansive textures and enveloping sounds, aiming to create an all-immersive experience. Tine's solo part was written specifically for him by Sorey, marking a third collaboration between the pair; Sorey previously created arrangements for Tines' Recital No. 1: MASS and Concerto No. 2: ANTHEM. Peter Sellars directs, with whom Davóne collaborated in John Adam's opera Girls of the Golden West and Kaija Saariaho's Only the Sound Remains. Tines' engagements continue with Everything Rises, an original, evening length staged musical work he created with violinist Jennifer Koh, premiering in New York as part of the Brooklyn Academy of Music's Next Wave Festival. Everything Rises tells the story of Tines' and Koh's artistic journeys and family histories through music, projections, and recorded interviews. As a platform, it also centers the need for artists of color to be seen and heard. Everything Rises premiered in Santa Barbara and Los Angeles in April 2022, with the LA Times commenting, “Koh and Tines' stories have made them what they are, but their art needs to be—and is—great enough to tell us who they are.” This season also has Tines making his New York Philharmonic debut performing in Beethoven's Symphony No. 9, led by Jaap van Zweden. Tines returns to the New York Philharmonic in the spring to sing the Vox Christi in Bach's St. Matthew Passion, also under van Zweden. Tines is a musician who takes full agency of his work, devising performances from conception to performance. His Recital No. 1: MASS program reflects this ethos, combining traditional music with pieces by J.S. Bach, Margaret Bonds, Moses Hogan, Julius Eastman, Caroline Shaw, Tyshawn Sorey, and Tines. This season, he makes his Carnegie Hall recital debut performing MASS at Weill Hall, and later brings the program to the McCarter Theatre in Princeton, Baltimore's Shriver Hall, for the Philadelphia Chamber Music Society, and as part of Boston's Celebrity Series. Concerto No. 1: SERMON is a similar artistic endeavor, combining pieces including John Adams' El Niño; Vigil, written by Tines and Igée Dieudonné with orchestration by Matthew Aucoin; “You Want the Truth, but You Don't Want to Know,” from Anthony Davis' X: The Life and Times of Malcolm X; and poems from Langston Hughes, James Baldwin, and Maya Angelou into a concert performance. In May 2021, Tines performed Concerto No. 1: SERMON with Yannick Nézet-Séguin and the Philadelphia Orchestra, and with the BBC Symphony Orchestra. He recently premiered Concerto No. 2: ANTHEM—created by Tines with music by Michael Schachter, Caroline Shaw, Tyshawn Sorey, and text by Mahogany L. Browne—with the Los Angeles Philharmonic at the Hollywood Bowl. Also this season, Tines performs in El Niño with the Cleveland Orchestra, conducted by composer John Adams; a concert performance of Adams' Girls of the Golden West with the Los Angeles Philharmonic also led by Adams; and a chamber music recital with the New World Symphony.Going beyond the concert hall, Davóne Tines also creates short music films that use powerful visuals to accentuate the social and poetic dimensions of the music. In September 2020, Lincoln Center presented his music film VIGIL, which pays tribute to Breonna Taylor, the EMT and aspiring nurse who was shot and killed by police in her Louisville home, and whose tragic death has fueled an international outcry. Created in collaboration with Igée Dieudonné, and Conor Hanick, the work was subsequently arranged for orchestra by Matthew Aucoin and premiered in a live-stream by Tines and the Louisville Orchestra, conducted by Teddy Abrams. Aucoin's orchestration is also currently part of Tines' Concerto No. 1: SERMON. He also co-created Strange Fruit with Jennifer Koh, a film juxtaposing violence against Asian Americans with Ken Ueno's arrangement of “Strange Fruit” — which the duo perform in Everything Rises — directed by dramaturg Kee-Yoon Nahm. The work premiered virtually as part of Carnegie Hall's “Voices of Hope Series.” Additional music films include FREUDE, an acapella “mashup” of Beethoven with African-American hymns that was shot, produced, and edited by Davóne Tines at his hometown church in Warrenton, Virginia and presented virtually by the Philharmonia Baroque Orchestra & Chorale; EASTMAN, a micro-biographical film highlighting the life and work of composer Julius Eastman; and NATIVE SON, in which Tines sings the Black national anthem, “Lift Ev'ry Voice and Sing,” and pays homage to the '60s Civil Rights-era motto “I am a man.” The latter film was created for the fourth annual Native Son Awards, which celebrate Black, gay excellence. Further online highlights include appearances as part of Boston Lyric Opera's new miniseries, desert in, marking his company debut; LA Opera at Home's Living Room Recitals; and the 2020 NEA Human and Civil Rights Awards.Notable performances on the opera stage the world premiere performances of Kaija Saariaho's Only the Sound Remains directed by Peter Sellars at Dutch National Opera, Finnish National Opera, Opéra national de Paris, and Teatro Real (Madrid); the world and European premieres of John Adams and Peter Sellars' Girls of the Golden West at San Francisco Opera and Dutch National Opera, respectively; the title role in a new production of Anthony Davis' X: The Life and Times of Malcolm X with the Detroit Opera (where he was Artist in Residence during the 2021-22 season) and the Boston Modern Opera Project with Odyssey Opera in Boston where it was recorded for future release; the world premiere of Terence Blanchard and Kasi Lemmons' Fire Shut Up In My Bones at Opera Theatre of Saint Louis; the world premiere of Matthew Aucoin's Crossing, directed by Diane Paulus at the Brooklyn Academy of Music; a new production of Stravinsky's Oedipus Rex at Lisbon's Teatro Nacional de São Carlos led by Leo Hussain; and Handel's rarely staged Aci, Galatea, e Polifemo at National Sawdust, presented in a new production by Christopher Alden. As a member of the American Modern Opera Company (AMOC), Tines served as a co-music director of the 2022 Ojai Music Festival, and has performed in Hans Werner Henze's El Cimarrón, John Adams' Nativity Reconsidered, and Were You There in collaboration with composers Matthew Aucoin and Michael Schachter.Davóne Tines is co-creator and co-librettist of The Black Clown, a music theater experience inspired by Langston Hughes' poem of the same name. The work, which was created in collaboration with director Zack Winokur and composer Michael Schachter, expresses a Black man's resilience against America's legacy of oppression—fusing vaudeville, opera, jazz, and spirituals to bring Hughes' verse to life onstage. The world premiere was given by the American Repertory Theater in 2018, and The Black Clown was presented by Lincoln Center in summer 2019.Concert appearances have included John Adams' El Niño with the Rundfunk-Sinfonieorchester Berlin under Vladimir Jurowski, Schumann's Das Paradies und die Peri with Louis Langrée and the Cincinnati Symphony, Kaija Saariaho's True Fire with the Orchestre national de France conducted by Olari Elts, Beethoven's Ninth Symphony with Michael Tilson Thomas leading the San Francisco Symphony, Stravinsky's Oedipus Rex with Esa-Pekka Salonen and the Royal Swedish Orchestra, and a program spotlighting music of resistance by George Crumb, Julius Eastman, Dmitri Shostakovich, and Caroline Shaw with conductor Christian Reif and members of the San Francisco Symphony at SoundBox. He also sang works by Caroline Shaw and Kaija Saariaho alongside the Calder Quartet and International Contemporary Ensemble at the Ojai Music Festival. In May 2021, Tines sang in Tulsa Opera's concert Greenwood Overcomes, which honored the resilience of Black Tulsans and Black America one hundred years after the Tulsa Race Massacre. That event featured Tines premiering “There are Many Trails of Tears,” an aria from Anthony Davis' opera-in-progress Fire Across the Tracks: Tulsa 1921.Davóne Tines is a winner of the 2020 Sphinx Medal of Excellence, recognizing extraordinary classical musicians of color who, early in their career, demonstrate artistic excellence, outstanding work ethic, a spirit of determination, and an ongoing commitment to leadership and their communities. In 2019 he was named as one of Time Magazine's Next Generation Leaders. He is also the recipient of the 2018 Emerging Artists Award given by Lincoln Center for the Performing Arts and is a graduate of The Juilliard School and Harvard University, where he teaches a semester-length course “How to be a Tool: Storytelling Across Disciplines” in collaboration with director Zack Winokur.The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture. To find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory. Stay in TouchNewsletter sign-upSupport my podcastShareable link to episode ★ Support this podcast ★

This movie is just concentrated joy: "Being There" with Peter Sellars. (Ian rec “Juliet, Naked” – Adam rec “Toy Story 4”)

durée : 00:39:00 - Affaires culturelles - par : Arnaud Laporte - Le metteur en scène américain Peter Sellars est au micro d'Arnaud Laporte pour un entretien au long cours. - invités : Peter Sellars Metteur en scène américain

If you're unfamiliar with Santa Fe Opera's Pueblo Opera Program (POP), take a quick journey back in time for part one of this conversation. Go ahead; we'll wait. In it, you'll meet Renee Roybal and Claudene A. Martinez, both members of Pueblo of San Ildefonso. The pair recall the early days of POP and the formation of the Pueblo Opera Cultural Council (POCC). Now that you're sufficiently caught up, join Andrea Fellows Fineberg as her time machine co-pilot Kyle Gray, SFO's Manager of Community Relations & Government Affairs, wraps up the conversation (for now.)  Renee and Claudene return to share recollections of their early collaborative interactions with legendary director Peter Sellars in conjunction with the 2018 world premiere of Doctor Atomic. Then Sonja and Seth Martinez, Renee's daughter and grandson, share memories of the SFO visits that shaped their affinity for opera. The discussion concludes with a roundtable wishlist of future POP-lead initiatives. “I definitely remember paying attention to the weather,” Sonja laughs, recalling stormy visits to the outdoor opera house before its much-anticipated roof upgrade. The unexpected theatrics only added to the excitement of attending world-class opera in her own backyard. What could compare to opera amid wild thunderstorms? The thrill of watching family and friends perform on that same majestic stage. “It was very exciting!” says Seth of the corn dance that POCC created as part of Doctor Atomic. He hopes SFO continues to integrate Indigenous traditions into its future seasons (along with more comedy, operas about space, and significant historical events). Meanwhile, his mother envisions expanded opportunities for Indigenous children to explore performance- and stagecraft-based endeavors. POP and POCC ensure that that future is within reach. FEATURING Andrea Fellows Fineberg - Host, Key Change Kyle Gray, Santa Fe Opera Manager of Community Relations & Government Affairs Renee Roybal, Pueblo of San Ildefonso Claudene A. Martinez, Pueblo of San Ildefonso Sonja Martinez Seth Martinez MENTIONED IN THIS EPISODE Doctor Atomic - Santa Fe Opera, 2018 RELATED EPISODES Season 4, Episode 4: Story With Purpose: The Origin of the Pueblo Opera Cultural Council with Renee Roybal and Claudene A. Martinez Season 2, Episode 6: The Universe is Made of Stories: A conversation with Peter Sellars  *** Key Change is a production of The Santa Fe Opera in collaboration with Opera for All Voices. Produced and edited by Andrea Klunder at The Creative Impostor Studios Hosted by Andrea Fellows Fineberg Audio Engineer: Kabby at Kabby Sound Studios in Santa Fe Show Notes: Lisa Widder Theme music by Rene Orth with Corrie Stallings, mezzo-soprano, and Joe Becktell, cello Cover art by Dylan Crouch This podcast is made possible due to the generous funding from the Melville Hankins Family Foundation, the Andrew W. Mellon Foundation, and an OPERA America Innovation Grant, supported by the Ann and Gordon Getty Foundation.   To learn more about Opera For All Voices, visit us at SantaFeOpera.org.

All aboard the Key Change time machine for a two-part trip! On this half of the journey, we toggle back to the origins of a beloved community-based program and then forward to celebrate its exciting expansion. 2023 will mark the 50th anniversary of the Pueblo Opera Program, lovingly known around the Santa Fe Opera as POP.  Key Change commemorates this momentous event by passing the mic to colleague Kyle Gray, SFO's Manager of Community Relations & Government Affairs. Kyle and his guests discuss the POP legacy and Pueblo Opera Cultural Council (POCC), which blossomed out of an artistic collaboration between legendary director Peter Sellars and SFO's Indigenous neighbors during the 2018 production of Doctor Atomic — with guests Renee Roybal, Pueblo of San Ildefonso, and Claudene A. Martinez, Pueblo of San Ildefonso. “I'm 63 years old, and I've been going to and enjoying opera since I was a teenager,” Renee says. For nearly 50 years, POP has introduced thousands of Native American children to the grand adventure of opera. Both women have fond memories of inspiring behind-the-scenes tours, inventive performances, and rides on plush buses to the most anticipated social event of the summer.  With POP's legacy secure, the women have focused on POCC, which features members of the San Ildefonso Pueblo, Santa Clara Pueblo, and Tesuque Pueblo. POCC seeks to foster the Indigenous tradition of cross-cultural hospitality. Claudene says the Doctor Atomic experience was a meaningful beginning for the advisory. “I think that's how POCC [will] continue to work with the opera, on other future moments that we could get involved in and educate.” FEATURING Andrea Fellows Fineberg - Host, Key Change Kyle Gray, Santa Fe Opera Manager of Community Relations & Government Affairs Renee Roybal, Pueblo of San Ildefonso Claudene A. Martinez, Pueblo of San Ildefonso MENTIONED IN THIS EPISODE Doctor Atomic - Santa Fe Opera, 2018 RELATED EPISODES DSFO0201: More Voices at the *** Key Change is a production of The Santa Fe Opera in collaboration with Opera for All Voices. Produced and edited by Andrea Klunder at The Creative Impostor Studios Hosted by Andrea Fellows Fineberg Audio Engineer: Kabby at Kabby Sound Studios in Santa Fe Show Notes: Lisa Widder Theme music by Rene Orth with Corrie Stallings, mezzo-soprano, and Joe Becktell, cello Cover art by Dylan Crouch This podcast is made possible due to the generous funding from the Melville Hankins Family Foundation, the Andrew W. Mellon Foundation, and an OPERA America Innovation Grant, supported by the Ann and Gordon Getty Foundation.   To learn more about Opera For All Voices, visit us at SantaFeOpera.org. Table: Community Engagement and Opera with Kyle Gray

International director and creative force Peter Sellars covers everything from the lessons of COVID, to opera as means to redistribute wealth, to the vibrant world of collaborative process in art making and everything in between.

Synopsis For fans of British comedy, the name Peter Sellars conjures up an actor famous for his iconic role as the bumbling Chief Inspector Clouseau in “Pink Panther” movies. But for opera fans, the name refers to a completely different fellow: an American theater director born in 1957. The American Peter Sellars is notorious for staging classic operas as if they were set in present-day America. For example: Mozart's “Don Giovanni” in a dangerous, drug-dealing neighborhood in New York City's Spanish Harlem, or “The Marriage of Figaro” in a luxury penthouse in Trump Tower. Sellars is also the frequent partner of American composer John Adams in brand-new operas and concert projects. On today's date 2012, a new oratorio by Adams and Sellars titled “The Gospel According to the Other Mary” received its world premiere at the Walt Disney Concert Hall in Los Angeles with Gustavo Dudamel conducting the Los Angeles Philharmonic and the Los Angeles Master Chorale. The new work's libretto, crafted by Sellars, tells the Biblical story of the passion and death of Jesus from the point of view of "the other Mary," Mary Magdalene, alongside texts and scenes from contemporary American life, including a women's shelter, labor and social justice protests, and the opioid crisis. If Jesus were alive today, Sellars and Adams seem to be saying, He would be ministering to the suffering margins of American society, not to the rich and powerful. Music Played in Today's Program John Adams (b. 1949) — chorus, fr “The Gospel According to the Other Mary” (Los Angeles Master Chorale & Los Angeles Philharmonic; Gustavo Dudamel, cond.) DG 0289 479 2243 8

Recognized by Opera News as “one of the finest singers of his generation,” American bass-baritone Ryan McKinny has earned his reputation as an artist with something to say. His relentless curiosity informs riveting character portrayals and beautifully crafted performances, reminding audiences of their shared humanity with characters on stage and screen. This season, McKinny brings his agile stage presence and comedic skill to performances of Mozart's Le nozze di Figaro on both U.S. coasts. He first appears as the titular Figaro in a Richard Eyre production at New York City's Metropolitan Opera, with an all-star cast that includes Golda Schultz, Lucy Crowe, Isabel Leonard, and Adam Plachetka. He then makes his Seattle Opera debut reprising the role in a Peter Kazaras production, under the baton of Alevtina Ioffe. In between productions – and coasts – McKinny joins collaborative pianist Kathleen Kelly for a recital at the Lied Center of Kansas, featuring works by Schumann, Debussy, Mahler, and Kurt Weill. In summer 2022, he joins the Boston Symphony at Tanglewood as the title character in Don Giovanni, with Andris Nelsons on the podium. He concludes the season with the Philadelphia Orchestra at Saratoga Performing Arts Center, appearing as soloist in Beethoven's Ninth Symphony with conductor Yannick Nézet-Séguin. Offstage, McKinny continues to adapt the beauty of his art form to the film screen, collaborating on a documentary with Jamie Barton and Stephanie Blythe. Through his work with Helio Arts, he commissions artists to write, direct, and film original stories, leveraging his personal power to help elevate new voices and visions in the classical performing arts world. During the pandemic, he has partnered with artists like J'Nai Bridges, Russell Thomas, John Holiday, and Julia Bullock to create stunning and innovative performances for streaming audiences at Dallas Opera, Houston Grand Opera, Lyric Opera of Chicago, On Site Opera, and the Glimmerglass Festival. McKinny's recent debut as Joseph De Rocher in Jake Heggie and Terrence McNally's Dead Man Walking at Lyric Opera of Chicago was hailed by the Chicago Tribune as an “an indelible performance...an acting tour de force buttressed by a warmly inviting voice.” He has also appeared as the title character in Don Giovanni (Washington National Opera, Lyric Opera of Chicago, Houston Grand Opera), Escamillo in Carmen (Semperoper Dresden, Deutsche Oper Berlin, Staatsoper Hamburg, Houston Grand Opera), and Mozart's Figaro (Washington National Opera, Wolf Trap Opera, Houston Grand Opera). McKinny made a critically acclaimed Bayreuth Festival debut as Amfortas in Parsifal, a role he has performed around the world, including appearances at Argentina's Teatro Cólon, Deutsche Oper am Rhein, and Dutch National Opera. Other Wagnerian roles include Kurwenal in Tristan und Isolde (Deutsche Oper Berlin, Houston Grand Opera, Canadian Opera Company), Biterolf in Tannhäuser and Kothner in Die Meistersinger von Nürnberg, both at the Metropolitan Opera, Wotan in Opéra de Montréal's Das Rheingold, Donner/Gunther in Wagner's Ring cycle (Washington National Opera, Boston Symphony Orchestra, Houston Grand Opera), and the titular Dutchman in Der fliegende Holländer (Staatsoper Hamburg, Milwaukee Symphony, Glimmerglass Festival, Hawaii Opera Theater). McKinny is a frequent guest artist at Los Angeles Opera, where he has sung Count Alamaviva in Le nozze di Figaro, Don Basilio in Il barbiere di Siviglia, and Stanley Kowalski in Previn's A Streetcar Named Desire, opposite Renée Fleming as Blanche DuBois, and at Santa Fe Opera, where he has appeared as Jochanaan in Salome and Oppenheimer in Doctor Atomic. An alumnus of the Houston Grand Opera Studio, Mr. McKinny has made a number of important role debuts on the HGO mainstage, including the iconic title roles of Don Giovanni and Rigoletto. McKinny is a long-time artistic collaborator of composer John Adams and director Peter Sellars, having appeared in Sellars productions of Adams' Girls of the Golden West (San Francisco Opera, Dutch National Opera) and Doctor Atomic (Santa Fe Opera), in addition to Adams' Nixon in China with the Los Angeles Philharmonic. He has also performed under Sellars' direction in Stravinsky's Oedipus Rex (Sydney Festival), Tristan und Isolde (Canadian Opera Company), and Shostakovich's Orango with the London Philharmonia and Los Angeles Philharmonic, the latter comprising Esa-Pekka Salonen's final concerts as music director. Other recent orchestral engagements include Beethoven's Symphony No. 9 and a double bill of Michael Tilson Thomas' Rilke Songs and Mahler's Des Knaben Wunderhorn with San Francisco Symphony, Mahler's Symphony No. 8 and Bernstein's Mass with Gustavo Dudamel and the Los Angeles Philharmonic, Beethoven's Symphony No. 9 with Cleveland Orchestra and National Symphony, Rossini's Stabat Mater at Grant Park Music Festival, Britten's War Requiem with Marin Alsop and Baltimore Symphony Orchestra, and Oedipus Rex with Chicago Symphony. McKinny benefited from early educational opportunities at the Aspen Music Festival, where he sang his first performance of Winterreise accompanied on the piano by Richard Bado, and at the Wolf Trap Opera Company, where he sang Barone di Kelbar in Verdi's Un giorno di regno, Le Gouverneur in Rossini's Le comte Ory and Figaro in Le nozze di Figaro. McKinny made his Carnegie Hall debut in Handel's Messiah with the Musica Sacra Orchestra while still a student at the Juilliard School. The first recipient of Operalia's Birgit Nilsson Prize for singing Wagner, McKinny has also received the prestigious George London-Kirsten Flagstad Award, presented by the George London Foundation to a singer undertaking a significant Wagnerian career. McKinny represented the United States in the 2007 BBC Cardiff Singer of the World Competition, where he was a finalist in the Rosenblatt Recital Song Prize, and he was a Grand Finalist in the 2007 Metropolitan Opera National Council Auditions, captured in the film The Audition.

durée : 01:28:45 - Peter Sellars, metteur en scène - par : Priscille Lafitte - Pourquoi avoir tourné le dos au théâtre pour embrasser la forme totale de l'opéra ? Peter Sellars retrace son parcours musical, lui qui a communié avec des junkies sur des cantates de Bach, découvert Wagner par la voix de Christa Ludwig, et convaincu J. Adams et K. Saariaho de travailler avec lui. - réalisé par : Marie Grout

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Dans cet épisode de Passion Médiévistes, Marie Delarasse vous parle de son sujet de recherches : "Le jardin ornemental en Toscane : pratiques et représentations (XIVème – XVIème siècle" . Elle a réalisé un mémoire de Master 2 en 2021 sous la direction de Elisabeth Crouzet Pavan à Sorbonne Université Paris. Marie Delarasse travaille en effet sur le jardin ornemental en Toscane du XVe au XVIe siècle, tant sur les pratiques de cet espace que les représentations picturales, littéraires et imaginaires. L'enjeu de ses recherches est de démontrer la domination progressive de l'homme sur la nature dès le Moyen Âge par ce type de jardins particulier. ➡ Sponsor : Du 18 au 26 mars 2022 se joue au Théâtre du Châtelet à Paris le spectacle le Roman de Fauvel. Ce spectacle de Benjamin Bagby et Peter Sellars, porté par l'ensemble Sequentia, adapte un manuscrit très spécial du XIVème siècle, une satire subversive du pouvoir royal et religieux en mots et en musique. Pour en savoir plus et réserver vos places : https://www.chatelet.com/programmation/saison-2021-2022/roman-de-fauvel/ ▪ Infos sur le podcast Créé et produit par Fanny Cohen Moreau depuis 2017. ➡ Soutenir le podcast > https://passionmedievistes.fr/soutenir/ ➡ Instagram > https://instagram.com/passionmedievistes/ ➡ Facebook > https://facebook.com/PassionMedievistes ➡ Twitter > https://twitter.com/PMedievistes ➡ Plus d'infos sur cet épisode > https://passionmedievistes.fr/ep-61-marie-jardins-toscane

The Wooster Group, perched on a street corner in Soho in downtown New York, has been at the forefront of experimental theater for some 40 years. Their startling performances unravel and transform classic texts by Brecht, Shakespeare, Chekhov, Eugene O'Neill, along with their own shocking original works. Six Obies, nine Bessies, accolades from around the world as they tour their works through Europe and Asia. Singular, rigorous, flamboyant. Theater. One of the more ephemeral of art forms. How to preserve the work, chronicle it, archive it for the ages? Yes, there are scripts, props, sets, costumes — a pair of muddy shoes from a 1981 production of Route 1 & 9. But what about experimental theater? Devoted to process, improvisation, the dense layering of ideas and texts and sound and image? How do you catalog something in a constant state of flux? Enter Clay Hapaz who started as an intern at The Wooster Group in 1992 and in 2002 became their official archivist. Voices you'll hear include Clay Hapaz, Kate Valk, Frances McDormand, Hilton Als, Peter Sellars, Spalding Gray and Elizabeth LeCompte. Produced by The Kitchen Sisters (Davia Nelson & Nikki Silva) and Evan Jacoby in collaboration with Brandi Howell and Nathan Dalton. Mixed by Jim McKee.   Special Thanks: Clay Hapaz, Kate Valk, Frances McDormand, Juliet Lashinsky-Revene, Hilton Als, Peter Sellars, The Wooster Group Drama Club and Elizabeth LeCompte. Music: Matt Dougherty (his company) and The Wooster Group's archive. Thanks also to Lumi Tan, Lewanne Jones and Claire Maske. Support for the Stories comes from The National Endowment for the Arts & Listener Contributions to The Kitchen Sisters Productions (Many thanks) The Kitchen Sisters Present is part of the Radiotopia Podcast Network on PRX. Thanks for listening

PETER SELLARS is one of the most important and innovative directors in opera, musical, and theatrical performance of the last 50 years, and a dear friend. His work with John Adams on "Nixon In China," "Death of Klinghoffer," and "Doctor Atomic" is rightly considered legendary and Peter's embrace of French musical and visual culture is particularly fascinating. Another fine chat on The ProgCast.

"This entire murder has been...catered!" You are cordially invited to spend the weekend with the world's greatest detectives in a spooky old mansion! Enjoy an invisible dinner, a fiendish murder, and the chance to win a million dollars if you can solve this devious crime! Get ready to laugh your *** off, because our topic this time is NEIL SIMON's classic murder mystery spoof MURDER BY DEATH from 1976 featuring one of the brilliant comedy ensemble casts ever put on film. My partner in crime is the divine Miss CHRYSTEN PEDDIE from KILLING YOUR DARLINGS https://www.instagram.com/kydcast/ (@kydcast), and together we'll guide you through this treasure trove of side-splitting one-liners while also addressing its troublesome moments of racism, sexism and homophobia. https://www.ScreamQueenz.com (www.ScreamQueenz.com) Link also in IG bio Please consider helping NYC's homeless with a donation to https://www.screamqueenz.com/backpacks (BACKPACKS FOR THE STREET) at https://backpacksforthestreet.org/give-now (https://backpacksforthestreet.org/give-now) or on my Facebook fundraising page https://www.screamqueenz.com/backpackssq (www.screamqueenz.com/backpackssq) Check out CHRYSTEN PEDDIE (and Dan) on https://killingyourdarlings.libsyn.com/podcast (KILLING YOUR DARLINGS)! https://killingyourdarlings.libsyn.com/podcast (https://killingyourdarlings.libsyn.com/podcast) 1:00 - Intro 3:15 - https://www.screamqueenz.com/backpacks (Backpacks For the Street) Fundraiser 11:20 - MURDER BY DEATH 1:34:15 - Final Thoughts 1:38:00 - Thanks, https://www.screamqueenz.com/Squadcast (Squadcast)! 1:39:00 - Important Links 1:40:45 - What's Next? MURDER BY DEATH was directed by ROBERT MOORE and stars EILEEN BRENNAN, TRUMAN CAPOTE, JAMES COCO, PETER FALK, ALEC GUINNESS, ELSA LANCHESTER, DAVID NIVEN, PETER SELLARS, MAGGIE SMITH, NANCY WALKER, ESTELLE WINWOOD, JAMES CROMWELL and RICHARD NARITA ***** Visit us at https://www.ScreamQueenz.com (www.ScreamQueenz.com) https://www.facebook.com/ScreamQueenz (Facebook) https://www.twitter.com/ScreamQueenz (Twitter) https://www.Instagram.com/screamqueenzpodcast (Instagram) ***** Get access to THE FINAL REEL, "DAMN YOU, UNCLE LEWIS!" and all other Premium ScreamQueenz https://www.patreon.com/screamqueenz (PATREON) Content for as little as $5 a month. Find out more at https://www.patreon.com/screamqueenz (www.Patreon.com/screamqueenz) ***** FOLLOW https://bit.ly/sqplink (ScreamQueenz) on your favorite podcatcher with just one click at https://bit.ly/sqplink (bit.ly/sqplink) ***** https://www.buymeacoffee.com/screamqueenz (BUY ME A COFFEE) at https://www.buymeacoffee.com/screamqueenz (https://www.buymeacoffee.com/screamqueenz) ***** Leave a https://www.lovethatpodcast.com/screamqueenz (REVIEW) at https://www.lovethatpodcast.com/screamqueenz (www.lovethatpodcast.com/screamqueenz) ***** Get all your https://www.screamqueenz.com/merch (SCREAMQUEENZ MERCHANDISE )and browse our entire catalog of hand-curated designs at https://bit.ly/merchsq (SCREAMTEEZ). Visit www.screamqueenz.com/merch ***** Catch all the video fun on the official https://www.youtube.com/channel/UCg2yOVFHmwA0hHEt5Gpd7DA?view_as=subscriber (ScreamQueenz YouTube Channel)! https://www.youtube.com/channel/UCg2yOVFHmwA0hHEt5Gpd7DA?view_as=subscriber (https://www.youtube.com/channel/UCg2yOVFHmwA0hHEt5Gpd7DA?view_as=subscriber) ***** https://www.screamqueenz.com/captivate (CAPTIVATE.FM )is the only podcast host dedicated to helping your podcast grow. Try them out for free for 7 days at https://www.screamqueenz.com/captivate (https://www.screamqueenz.com/captivate) ***** Don't settle for subpar sound. Get a free 7 day trial of https://www.screamqueenz.com/squadcast (SQUADCAST.FM - Remote Recordings For Professional Podcasters) at https://www.screamqueenz.com/squadcast (https://www.screamqueenz.com/squadcast) Mentioned in this episode: July Drive in https://screamqueenz.captivate.fm/drivein (SQ Drive In)

This week we are talking 1990's Joe Versus the Volcano! Featuring a Peter Sellars level triple role for Meg Ryan, a corporatist settler-colonial fairy tale  (aka "racist") premise, lovely cinematography and hyperstylized sets. Is this this an underrated gem? We can't tell. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/zandkmoviepod/support

Richard and Eric discuss a recent article from The Spectator by Andrew Mahon, who was critical of Peter Sellars's staging of the St. John Passion of J.S. Bach.  The article forms a jumping-off point to examine the role context plays in performance, performance practice,  and artistic interpretation.  There are a number of relevant issues surrounding the notion of context that play out in the work of the choral musician, with some that are worthy of deep consideration.Mahon, A. (Apr., 2019).  Why Peter Sellars's staging of the St. John Passion - which I sang in - was deeply flawed.  The Spectator. 

About the Performance:Salonen leads two remarkable myth ballets by Stravinsky: Orpheus, the quintessential music myth, and the sensual, sumptuous French setting of Perséphone, goddess of the Underworld. The latter features the surpassing insights and brilliant staging of Peter Sellars. Program: STRAVINSKY : Orpheus STRAVINSKY : Perséphone  Artists: Los Angeles Philharmonic Esa-Pekka Salonen conductor Peter Sellars director Paul Groves tenor Cécilia Tsan narrator Amrita Performing Arts, Cambodia Sam Sathya dancer (Perséphone) Chumvan Sodhachivy dancer (Déméter) Nam Narim dancer (Mercure, Démophoon, Triptolème) Khon Chan Sithyka dancer (Pluton) James F. Ingalls lighting designer Helene Siebrits costume designer Frederick Vogler sound designer Los Angeles Master Chorale Grant Gershon Artistic Director Los Angeles Children's Chorus Fernando Malvar-Ruiz Artistic Director SAT / APR 20, 2019 - 8:00PM Upcoming concerts: www.laphil.com/calendar Upbeat Live schedule, details, and speaker bios: www.laphil.com/ubl

Toby Jones tells us about turning his hand to writing for the new six part BBC2 TV series, Don't Forget The Driver. It's a dark and poignant comedy about Brexit Britain, set in a coach company in Bognor Regis. The latest DC comics film Shazam! flies into cinemas this week. Originally published as a comic strip in 1939, it's the story of Billy Batson, a normal 14-year-old who is given the ability to transform into an adult superhero just by uttering the magic word “Shazam!”. Film critic Larushka Ivan Zadeh will tell us whether or not it's any good.At Easter, choirs across the country prepare to perform Bach's St John and St Matthew Passions. We explore the significance of these intense and monumental works. Kirsty is joined by director Peter Sellars, who is staging the St John Passion at London's Royal Festival Hall conducted by Sir Simon Rattle, and music historian Hannah French. 6 April Tewkesbury Abbey – St John Passion – City of Birmingham Choir 7 April Royal Festival Hall – St Matthew Passion – Bach Choir 13 April Kings Place London - St Matthew Passion - Feinstein Ensemble 14 April Plymouth Guildhall – St Matthew Passion - Plymouth Philharmonic Choir 14 April Merton College Oxford – St Matthew Passion 14 April Durham Cathedral – St John Passion 14 April Tremeirchion Church St Asaph – St Matthew Passion 16 April St Georges Bristol – St Matthew Passion – Ex Cathedra 17 April Salisbury Cathedral – St Matthew Passion 18 April Aberdeen Music Hall – St Matthew Passion – Dunedin Consort 19 April Coventry Cathedral – St John Passion 19 April Leeds Minster – St John Passion 19 April The Queens Hall Edinburgh – St Matthew Passion – Dunedin ConsortPresenter: Kirsty Lang Producer: Oliver Jones

Hur låter soundtracket till Trumps oroliga och splittrade USA? I den andra delen av "Trumpifierad musik" stiger vi in i den amerikanska operans värld. Lyssna på alla avsnitt i Sveriges Radio Play. - Guldrushen och myten om att bli rik snabbt och leva helt utan begränsningar tillhör Trumps personliga mytologi som många desperata amerikaner bejakade när de gick till valurnorna, säger regissören Peter Sellars om sin och tonsättaren John Adams opera "Girls of the Golden West" som hade världspremiär i San Francisco i december 2017. Vi möter också sångerskan G'Nai Bridges för ett samtal om Trumps personliga mytologi och om rasism, tonsättaren Annie Gosfield som skrivit operan "War of the worlds" - "Världarnas krig” - efter H.G. Wells roman från 1898, The New Yorkers kritiker Alex Ross och sopranen Rebecca Nelsen ur satirduon Operatico Politico som gör operasatir om turerna i Vita huset på Youtube. Programmet är en repris från den 20 januari 2018. En P2 Dokumentär av Sofia Nyblom/produktionsbolaget Munck.

In the week leading up to our celebration of International Women's Day, a series of The Essay celebrating five women who have been unacknowledged movers and shakers in the world of classical music down the ages. Each of these women overcame societal expectations or personal adversity to have real influence on the music of their day, and subsequently ours.Betty Freeman was possibly the most influential patron of twentieth century classical music. From 1964 onwards, she gave a total of 413 grants and commissions for living expenses, compositions, recordings, performances and librettos to 81 artists. These include John Cage, Steve Reich, Robert Wilson and Peter Sellars and also younger composers such as Olga Neuwirth and Hans Peter Kyburz. An editor of BBC Music Magazine, Helen Wallace looks for the woman behind the list of names and discovers what drove her to play so formative a role in the lives of these great musicians.Produced by Simon RichardsonTo find out more about Radio 3's International Women's Day programming follow @BBCRadio3 and the hashtag #womensday.