Podcast appearances and mentions of Rachel Portman

MIn 3: CONFIDENCIAL (Black Bag) Confidencial (Black Bag) es un elegante thriller de espionaje dirigido por Steven Soderbergh y escrito por David Koepp. La película presenta a Michael Fassbender y Cate Blanchett como George y Kathryn Woodhouse, un matrimonio de agentes británicos cuya relación se ve amenazada cuando Kathryn es sospechosa de traición. La trama se desarrolla en torno a un sofisticado juego de engaños y revelaciones, donde la lealtad matrimonial se enfrenta a la lealtad nacional. NOTA EDC: 4 estrellas Min 11: LOS PECADORES (Sinners) Los pecadores (Sinners, 2025) es un thriller de terror gótico dirigido por Ryan Coogler, protagonizado por Michael B. Jordan en un doble papel como los hermanos gemelos Smoke y Stack. Ambientada en el Misisipi de los años 30, la película sigue a los hermanos que, tras regresar a su ciudad natal para empezar de nuevo, descubren que su hogar está amenazado por una presencia vampírica que ha tomado el control del lugar. NOTA EDC: 4 estrellas MIn 17: WARFACE: TIEMPO DE GUERRA Intenso drama bélico codirigido por Alex Garland y el exmarine Ray Mendoza, basado en una emboscada real vivida por este último en Ramadi, Irak, en 2006. La película se desarrolla en tiempo real, siguiendo a un pelotón de Navy SEALs estadounidenses atrapado en una operación fallida dentro de una vivienda iraquí, sin héroes individuales ni discursos épicos, sino como una experiencia colectiva de supervivencia y trauma. NOTA EDC: 4 estrellas Min 26: EL CASOPLÓN. Comedia familiar española dirigida por Joaquín Mazón y escrita por Roberto Jiménez. La película está protagonizada por Pablo Chiapella y Raquel Guerrero, acompañados por los jóvenes actores Nerea Pascual, Noah Casas y Álvaro Lafuente. También cuenta con la participación especial de la cantante Edurne, quien debuta en la gran pantalla interpretándose a sí misma. La trama sigue a Toñi, Carlos y sus tres hijos, quienes enfrentan un verano sofocante en un piso de 50 metros cuadrados sin aire acondicionado. Cuando Carlos, que trabaja temporalmente como jardinero en una lujosa mansión vacía en La Moraleja, accede a que su familia pase allí unos días. NOTA EDC: 2 estrellas Min 33: ESPECIAL BSO "CHOCOLAT" 25 ANIVERSARIO En el 25º aniversario de su estreno, la banda sonora de Chocolat (2000), compuesta por Rachel Portman, sigue siendo una obra destacada en el cine contemporáneo. Portman, reconocida por su enfoque minimalista, opta por una instrumentación delicada y una narrativa musical sutil, evitando grandilocuencias. El tema principal, con flauta y arpa, establece un tono de misterio y encanto, mientras que las cuerdas y el piano aportan calidez y profundidad emocional. Ángel Luque se define admirador de esta combinación de estilos y repasa con Roberto Lancha los aciertos de esta composición con una selección de temas que nos sirven para soplar las velas de este 25 cumpleaños.

In deze aflevering van Kalm met Klassiek binnen het thema 'Filmmuziek' is het tijd voor een vrouwelijke filmcomponiste, want de vrouwen blijven nog een beetje achter in de Filmmuziek Top 200-lijst. En dat terwijl er toch best wat namen rondgaan in de scene. Wat dacht je bijvoorbeeld van Rachel Portman? Je kunt haar muzikale creaties onder andere terughoren in de film Emma, waarvoor ze in 1997 een Oscar ontving. Luister naar een deel uit deze prachtige filmscore.  Breng hier (https://npo.nl/luister/stem/npo-klassiek-filmmuziek-top-200-2025) jouw stem uit voor de Filmmuziek Top 200 (https://www.npoklassiek.nl/programmas/filmmuziek-toplijst). Wil je meer Kalm met Klassiek? Ga naar npoklassiek.nl/kalmmetklassiek (https://www.npoklassiek.nl/kalmmetklassiek). Alle muziek uit de podcast vind je terug in de bijbehorende speellijst (https://open.spotify.com/playlist/6YgSfm1Sux7CroiJvzeUdx?si=f0f254ee8f4048e7). 

Ho ho ho, all you rad dudes and dudettes! Christmas is here on 90s Disney! Join AJ, Mike, and Chris Minotti as they unwrap the often-overlooked holiday treasure, Beauty and the Beast: The Enchanted Christmas. From festive fun to Forte's chilling villainy, we dive into the magic, the music, and the madness of this direct-to-video Disney sequel. Whether you're nostalgic for your VHS collection or curious about forgotten Disney Christmas lore, this is the episode for you! In This Episode:

In this episode, Quest Diagnostics' Adam Donat is joined by DLA Piper's Kirsten Axelsen, Rachel Portman, and Jae Kim to discuss the increasing complexity and cost of clinical trials, new FDA guidance, innovative trial designs and tools, and what's expected in the new year.See omnystudio.com/listener for privacy information.

For this special Membership Drive edition of Studio Soundtracks, host Chandler Poling interviews composers Rachel Portman and Jon Ehrlich. RACHEL PORTMANBritish composer Rachel Portman became the first woman composer to win an Academy Award, which she received for her work on EMMA. She is also the first woman composer to win a Primetime Emmy Award, for her work on BESSY. Rachel is currently collaborating with three-time Emmy nominated composer Jon Ehrlich on the Hulu Holocaust drama WE WERE THE LUCKY ONES. With over a hundred film scores, other credits include THE DUCHESS, OLIVER TWIST, ONE DAY, BELOVED, THE VOW, GODMOTHERED, LIFE IS SWEET, and THEIR FINEST. Rachel also ventures into stage productions, like the musical LITTLE HOUSE ON THE PRAIRIE and an opera of THE LITTLE PRINCE for Houston Grand Opera. She has received two further Academy Nominations for THE CIDER HOUSE RULES and CHOCOLAT, which also earned her a Golden Globe Nomination.  In 2023 she received her second Primetime Emmy Award for JULIA. Beyond film, she's composed for concerts and solo piano albums, such as “Ask the River” (2020), “Eden” (2021), “Beyond the Screen” (2023) and “Tipping Points” (2024).  West Sussex-born Rachel Portman, a composer since age 14, studied music at the University of Oxford. Given an OBE in 2010, Rachel is an honorary fellow of Worcester College, Oxford, and a Fellow of the Royal College of Music. JON EHRLICHWith nearly a thousand primetime television episodes scored and three Primetime Emmy nominations, Jon Ehrlich is a highly accomplished composer with a prolific list of scoring credits encompassing a broad range of projects. He is currently collaborating with Academy Award winning composer Rachel Portman on Hulu's Holocaust series WE WERE THE LUCKY ONES. Notably nominated for Emmys for his work on HOUSE, M.D., ROAR and THE AGENCY, Ehrlich's diverse credits also include winning Best Music in a Feature Film at the Nashville Film Festival for ASK ME ANYTHING. Jon's extensive repertoire encompasses projects like GOLIATH, PARENTHOOD, and WHITE COLLAR, amongst many others. A Yale University graduate, Jon is also a founder of Qwire, a collaborative, cloud based, web platform that streamlines workflows across every aspect of the music to picture ecosystem, while managing music assets and all associated music metadata.  By supporting dublab, you support an ecosystem of artists, DJs, and generous community members – please consider becoming a sustaining member today!

Pause statt Play. Kleine Auszeiten sind wichtig, damit Körper und Geist sich erholen. Auch dein Schlaf verbessert sich. Diese Musikstücke hast Du in der Folge gehört: Harriet – "Sailing" // Rachel Portman – "The Cider House Rules" // Lisa Lauren – "The Word" // Edward Elgar – "Salut d'Amour" // Sebastian Plano – "One Step Slower" // Den Podcast "Komm mit in den Garten" vom MDR findest du hier: https://www.ardaudiothek.de/sendung/komm-mit-in-den-garten/85685590/ Wenn Du eine Idee oder einen Wunsch zu einem musikalischen Thema hast, dann schreib mir eine Mail: playlist@ndr.de

The delicate tinkling of a pianoforte. The clash of cymbals. The soothing strains of a harp. Music in Austen film adaptations performs a variety of functions: it can set the scene, highlight a character's personality, make us laugh, and make us sigh. In this episode, music maven Ruth Mudge joins us to discuss the soundtracks of four screen adaptations we know and love. A cellist, faculty member at the String Academy of Chicago, and assistant principal in the Elmhurst Symphony, Mudge also has her own podcast, World of Soundtracks, where she offers in-depth explorations of famous movie and TV soundtracks.For a transcript, show notes, and guest bio:  https://jasna.org/austen/podcast/ep11Visit our website:  www.jasna.orgFollow us on Instagram and FacebookEmail: podcast@jasna.orgMusic clips included in this episode:"Pride and Prejudice"—Pride and Prejudice by Carl Davis, 1995"Dawn"—Pride and Prejudice (Music from the Motion Picture), music by Dario Marianelli and performed by Jean-Yves Thibaudet, 2005"Mrs. Darcy"—Pride and Prejudice (Music from the Motion Picture), music by Dario Marianelli and performed by Jean-Yves Thibaudet, 2005"Emma Woodhouse"—Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020"Celery Root"—Emma: Music from the Miramax Motion Picture, music by Rachel Portman, 1996"Main Titles"—Emma: Music from the Miramax Motion Picture, music by Rachel Portman, 1996

Mit dem Film "Chocolat" wurde sie weltberühmt: die Filmkomponistin Rachel Portman. BR-Klassik-Moderatorin Julia Schölzel hat die Britin zu einem Interview eingeladen und dabei unter anderem erfahren, wo sie sich ihre Inspirationen holt und wie sie ihren "Akku" wieder auflädt.

Welcome to a tool deep dive episode, where we highlight the features and the challenges of a tool we think you'll find helpful as a writer. The tool we'll be talking about is incorporating music into your writing practice! Having trouble getting into flow during your writing sessions? Or maybe you're really struggling to nail down your character's emotional arc over the course of your novel. In either case, using music in your writing practice can help!  Picks of the Week: BJ: The Knife of Never Letting Go by Patrick Ness H: Catherine the Great: Portrait of a Woman by Robert K. Massie Mentioned in the Episode: Iconic Soundtracks playlist on Spotify Favorite composers: Hans Zimmer, John Williams, Rachel Portman, Thomas Newman Favorite albums: Interstellar, Inception, 1917, A Little Chaos Favorite Songs: Earth by Hans Zimmer, Tennessee by Hans Zimmer, Come Back to Us by Thomas NewmanAngsty Playlist Example: Maybe Break My Heart Again by FINNEAS and I Remember Everything by Zach Bryan and Kacey Musgraves

Melodien für das Kino im Kopf. In Gedanken kannst du alles sein: Geheimagent, Superheldin oder Hobbit. Diese Titel hast Du in dieser Playlist gehört: Ennio Morricone - "Mission" // Ryuichi Sakamoto - Furyo – "Merry Christmas, Mr. Lawrence" // David Foster - "Das Geheimnis meines Erfolges" // John Williams - "Aus Mangel an Beweisen" // Rachel Portman - "Gottes Werk und Teufels Beitrag" // Den Podcast "Zwischen Hamburg und Haiti" von NDR Info findest du hier: https://www.ardaudiothek.de/sendung/zwischen-hamburg-und-haiti/7852780/ Wenn Du eine Idee oder einen Wunsch hast, zu welchem Thema Philipp unbedingt eine Playlist zusammenschustern muss, dann schreib ihm eine Mail: playlist@ndr.de.

Studio Soundtracks takes listeners behind the scenes of how music is crafted for film and television by hearing directly from composers, songwriters and music professionals in the Entertainment Industry. Listen to inspiring conversations about composition and hear works from Emmy, Grammy, and Oscar-winning film scores on the show. Rachel Portman OBE – British Film Composer and first female composer to win an Academy Award in the category of Best Original Score for Emma (Douglas McGrath). She was also the first female composer to win a Primetime Emmy Award, which she received for the film, Bessie (Dee Rees). She has received two further Academy Nominations for The Cider House Rules and Chocolat (Lasse Hallström), which also earned her a Golden Globe Nomination as well as Bafta nominations for Oranges Are Not the Only Fruit and The Woman in Black. Other films include The Manchurian Candidate (Jonathan Demme), Oliver Twist (Roman Polanski), Beloved (Jonathan Demme), Benny and Joon (Jeremiah Chechik),  Life Is Sweet (Mike Leigh), Never Let Me Go (Mark Romanek), Grey Gardens (Michael Sucsy), The Legend of Bagger Vance (Robert Redford), The Duchess (Saul Dibb), One Day (Lone Scherfig), The Lake House (Alejandro Agresti), Mona Lisa Smile (Mike Newell), The Human Stain (Robert Benton), Their Finest (Lone Sherfig), Belle (Amma Asante), A Dog's Purpose (Lasse Halstrom), Mimi and the Mountain Dragon for the BBC and Godmothered (Sharon Maguire).  Her classical work includes an opera of Saint Exupery's Little Prince for Houston Grand Opera; The Water Diviner's Tale an oratorio for BBC Proms; Earth Song for the BBC singers; Ask The River, a collection of pieces for piano, violin and cello; The First Morning of The World for Joyce Di Donato's Eden. 

Did Maximus deserve the thumbs up or should one of his fellow nominees have ruled in the golden arena? Find out the answer to this question and more as we are joined by Chauncey Frend to discuss "Gladiator" !!! Twitter : @oscarsgold @hidarknesspod @beatlesblonde @udanax19 Facebook : facebook.com/goldstandardoscars Patreon : patreon.com/goldstandardoscars Links Of Interest : Caesar! (BBC Audio Drama) The Storyteller Soundtrack by Rachel Portman

Haz takes the lead in this podcast about female composers and women in music. Is there still a 'gender agenda' in the classical music industry, and is there enough female representation at the top table? Expect bold, beautiful music, frank exchanges and a contentious review of the film 'Tár'. Featuring pieces by Rebecca Clarke, Dani Howard, Rebecca Dale, Debbie Wiseman, Hildur Guðnadóttir, Rachel Portman and Florence Price. Playlist: https://open.spotify.com/playlist/0IujonLl2lB7bfPzz71U0Z?si=de2ff953d16940afSupport the Show.www.artsactive.org.ukEmail a2@artsactive.org.ukTwitter @artsactiveInstagram artsactivecardiff Facebook artsactive#classicalmusic #stdavidshall #neuadddewisant #drjonathanjames #bravingthestave #musicconversations #funfacts #guestspeakers #cardiff

Ja, man kann auch Filme ganz ohne Musik machen. Aber selbst als der Film noch keinen Ton hatte, saßen Pianisten oder ganze Orchester vor der Leinwand, um die Bilder mit Tönen zu untermalen. Was kann Musik einem Film hinzufügen, was macht sie so wichtig und interessant für Filmemacher? Und wie macht sie das? Wir sprechen darüber mit Volker Bertelmann, einem frischgebackenen Oscar-Preisträger ("Im Westen nichts Neues") und mit Filmexperte Ulrich Sonnenschein.

Our latest guest on Soundtracking is composer Rachel Portman. Rachel has just released an album of her film music re-versioned and performed by her called Beyond The Screen - Film Works On Piano, and it is a very lovely thing indeed.  The other reason we wanted to put out the interview this week is that Rachel was the first ever woman to collect an Oscar for composing - for Emma, back in 1996. Congratulations to all this year's winners!

We continue our look back at the movies released by independent distributor Vestron Pictures, focusing on their 1988 releases. ----more---- The movies discussed on this episode, all released by Vestron Pictures in 1988 unless otherwise noted, include: Amsterdamned (Dick Maas) And God Created Woman (Roger Vadim) The Beat (Paul Mones) Burning Secret (Andrew Birkin) Call Me (Sollace Mitchell) The Family (Ettore Scola) Gothic (Ken Russell, 1987) The Lair of the White Worm (Ken Russell) Midnight Crossing (Roger Holzberg) Paramedics (Stuart Margolin) The Pointsman (Jos Stelling) Salome's Last Dance (Ken Russell) Promised Land (Michael Hoffman) The Unholy (Camilo Vila) Waxwork (Anthony Hickox)   TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   At the end of the previous episode, Vestron Pictures was celebrating the best year of its two year history. Dirty Dancing had become one of the most beloved movies of the year, and Anna was becoming a major awards contender, thanks to a powerhouse performance by veteran actress Sally Kirkland. And at the 60th Academy Awards ceremony, honoring the films of 1987, Dirty Dancing would win the Oscar for Best Original Song, while Anna would be nominated for Best Actress, and The Dead for Best Adapted Screenplay and Best Costumes.   Surely, things could only go up from there, right?   Welcome to Part Two of our miniseries.   But before we get started, I'm issuing a rare mea culpa. I need to add another Vestron movie which I completely missed on the previous episode, because it factors in to today's episode. Which, of course, starts before our story begins.   In the 1970s, there were very few filmmakers like the flamboyant Ken Russell. So unique a visual storyteller was Russell, it's nigh impossible to accurately describe him in a verbal or textual manner. Those who have seen The Devils, Tommy or Altered States know just how special Russell was as a filmmaker. By the late 1980s, the hits had dried up, and Russell was in a different kind of artistic stage, wanting to make somewhat faithful adaptations of late 19th and early 20th century UK authors. Vestron was looking to work with some prestigious filmmakers, to help build their cache in the filmmaking community, and Russell saw the opportunity to hopefully find a new home with this new distributor not unlike the one he had with Warner Brothers in the early 70s that brought forth several of his strongest movies.   In June 1986, Russell began production on a gothic horror film entitled, appropriately enough, Gothic, which depicted a fictionalized version of a real life meeting between Mary Godwin, Percy Shelley, John William Polidori and Claire Clairemont at the Villa Diodati in Geneva, hosted by Lord Byron, from which historians believe both Mary Shelley's Frankenstein and John William Polidori's The Vampyre were inspired.   And you want to talk about a movie with a great cast. Gabriel Byrne plays Lord Byron, Julian Sands as Percy Shelley, Natasha Richardson, in her first ever movie, as Mary Shelley, Timothy Spall as John William Polidori, and Dexter Fletcher.   Although the film was produced through MGM, and distributed by the company in Europe, they would not release the film in America, fearing American audiences wouldn't get it. So Vestron would swoop in and acquire the American theatrical rights.   Incidentally, the film did not do very well in American theatres. Opening at the Cinema 1 in midtown Manhattan on April 10th, 1987, the film would sell $45,000 worth of tickets in its first three days, one of the best grosses of any single screen in the city. But the film would end up grossing only $916k after three months in theatres.   BUT…   The movie would do quite well for Vestron on home video, enough so that Vestron would sign on to produce Russell's next three movies. The first of those will be coming up very soon.   Vestron's 1988 release schedule began on January 22nd with the release of two films.   The first was Michael Hoffman's Promised Land. In 1982, Hoffman's first film, Privileged, was the first film to made through the Oxford Film Foundation, and was notable for being the first screen appearances for Hugh Grant and Imogen Stubbs, the first film scored by future Oscar winning composer Rachel Portman, and was shepherded into production by none other than John Schlesinger, the Oscar winning director of 1969 Best Picture winner Midnight Cowboy. Hoffman's second film, the Scottish comedy Restless Natives, was part of the 1980s Scottish New Wave film movement that also included Bill Forsyth's Gregory's Girl and Local Hero, and was the only film to be scored by the Scottish rock band Big Country.   Promised Land was one of the first films to be developed by the Sundance Institute, in 1984, and when it was finally produced in 1986, would include Robert Redford as one of its executive producers. The film would follow two recent local high school graduates, Hancock and Danny, whose lives would intersect again with disastrous results several years after graduation. The cast features two young actors destined to become stars, in Keifer Sutherland and Meg Ryan, as well as Jason Gedrick, Tracy Pollan, and Jay Underwood. Shot in Reno and around the Sundance Institute outside Park City, Utah during the early winter months of 1987, Promised Land would make its world premiere at the prestigious Deauville Film Festival in September 1987, but would lose its original distributor, New World Pictures around the same time. Vestron would swoop in to grab the distribution rights, and set it for a January 22nd, 1988 release, just after its American debut at the then U.S. Film Festival, which is now known as the Sundance Film Festival.    Convenient, eh?   Opening on six screens in , the film would gross $31k in its first three days. The film would continue to slowly roll out into more major markets, but with a lack of stellar reviews, and a cast that wouldn't be more famous for at least another year and a half, Vestron would never push the film out to more than 67 theaters, and it would quickly disappear with only $316k worth of tickets sold.   The other movie Vestron opened on January 22nd was Ettore Scale's The Family, which was Italy's submission to that year's Academy Awards for Best Foreign Language Film. The great Vittorio Gassman stars as a retired college professor who reminisces about his life and his family over the course of the twentieth century. Featuring a cast of great international actors including Fanny Ardant, Philip Noiret, Stefania Sandrelli and Ricky Tognazzi, The Family would win every major film award in Italy, and it would indeed be nominated for Best Foreign Language Film, but in America, it would only play in a handful of theatres for about two months, unable to gross even $350k.   When is a remake not a remake? When French filmmaker Roger Vadim, who shot to international fame in 1956 with his movie And God Created Woman, decided to give a generational and international spin on his most famous work. And a completely different story, as to not resemble his original work in any form outside of the general brushstrokes of both being about a young, pretty, sexually liberated young woman.   Instead of Bridget Bardot, we get Rebecca De Mornay, who was never able to parlay her starring role in Risky Business to any kind of stardom the way one-time boyfriend Tom Cruise had. And if there was any American woman in the United States in 1988 who could bring in a certain demographic to see her traipse around New Mexico au natural, it would be Rebecca De Mornay. But as we saw with Kathleen Turner in Ken Russell's Crimes of Passion in 1984 and Ellen Barkin in Mary Lambert's Siesta in 1987, American audiences were still rather prudish when it came to seeing a certain kind of female empowered sexuality on screen, and when the film opened at 385 theatres on March 4th, it would open to barely a $1,000 per screen average. And God Created Woman would be gone from theatres after only three weeks and $717k in ticket sales.   Vestron would next release a Dutch film called The Pointsman, about a French woman who accidentally gets off at the wrong train station in a remote Dutch village, and a local railwayman who, unable to speak the other person's language, develop a strange relationship while she waits for another train that never arrives.   Opening at the Lincoln Plaza Cinemas on New York's Upper West Side on April 8th, the film would gross $7,000 in its first week, which in and of itself isn't all that bad for a mostly silent Dutch film. Except there was another Dutch film in the marketplace already, one that was getting much better reviews, and was the official Dutch entry into that year's Best Foreign Language Film race. That film, Babette's Feast, was becoming something more than just a movie. Restaurants across the country were creating menus based on the meals served in the film, and in its sixth week of release in New York City that weekend, had grossed four times as much as The Pointsman, despite the fact that the theatre playing Babette's Feast, the Cinema Studio 1, sat only 65 more people than the Lincoln Plaza 1. The following week, The Pointsman would drop to $6k in ticket sales, while Babette's Feast's audience grew another $6k over the previous week. After a third lackluster week, The Pointsman was gone from the Lincoln Plaza, and would never play in another theatre in America.   In the mid-80s, British actor Ben Cross was still trying to capitalize on his having been one of the leads in the 1981 Best Picture winner Chariots of Fire, and was sharing a home with his wife and children, as well as Camilo Vila, a filmmaker looking for his first big break in features after two well-received short films made in his native Cuba before he defected in the early 1980s. When Vila was offered the chance to direct The Unholy, about a Roman Catholic priest in New Orleans who finds himself battling a demonic force after being appointed to a new parish, he would walk down the hall of his shared home and offered his roomie the lead role.   Along with Ned Beatty, William Russ, Hal Holbrook and British actor Trevor Howard in his final film, The Unholy would begin two weeks of exterior filming in New Orleans on October 27th, 1986, before moving to a studio in Miami for seven more weeks. The film would open in 1189 theatres, Vestron's widest opening to date, on April 22nd, and would open in seventh place with $2.35m in ticket sales. By its second week in theatres, it would fall to eleventh place with a $1.24m gross. But with the Summer Movie Season quickly creeping up on the calendar, The Unholy would suffer the same fate as most horror films, making the drop to dollar houses after two weeks, as to make room for such dreck as Sunset, Blake Edwards' lamentable Bruce Willis/James Garner riff on Hollywood and cowboys in the late 1920s, and the pointless sequel to Critters before screens got gobbled up by Rambo III on Memorial Day weekend. It would earn a bit more than $6m at the box office.   When Gothic didn't perform well in American theatres, Ken Russell thought his career was over. As we mentioned earlier, the American home video store saved his career, as least for the time being.    The first film Russell would make for Vestron proper was Salome's Last Dance, based on an 1891 play by Oscar Wilde, which itself was based on a story from the New Testament. Russell's script would add a framing device as a way for movie audiences to get into this most theatrical of stories.   On Guy Fawkes Day in London in 1892, Oscar Wilde and his lover, Lord Alfred Douglas, arrive late at a friend's brothel, where the author is treated to a surprise performance of his play Salome, which has recently been banned from being performed at all in England by Lord Chamberlain. All of the actors in his special performance are played by the prostitutes of the brothel and their clients, and the scenes of the play are intertwined with Wilde's escapades at the brothel that night.   We didn't know it at the time, but Salome's Last Dance would be the penultimate film performance for Academy Award winning actress Glenda Jackson, who would retire to go into politics in England a couple years later, after working with Russell on another film, which we'll get to in a moment. About the only other actor you might recognize in the film is David Doyle, of all people, the American actor best known for playing Bosley on Charlie's Angels.   Like Gothic, Salome's Last Dance would not do very well in theatres, grossing less than half a million dollars after three months, but would find an appreciative audience on home video.   The most interesting thing about Roger Holzberg's Midnight Crossing is the writer and director himself. Holzberg started in the entertainment industry as a playwright, then designed the props and weapons for Albert Pyun's 1982 film The Sword and the Sorcerer, before moving on to direct the second unit team on Pyun's 1985 film Radioactive Dreams. After making this film, Holzberg would have a cancer scare, and pivot to health care, creating a number of technological advancements to help evolve patient treatment, including the Infusionarium, a media setup which helps children with cancer cope with treatment by asking them questions designed to determine what setting would be most comforting to them, and then using virtual reality technology and live events to immerse them in such an environment during treatment.   That's pretty darn cool, actually.   Midnight Crossing stars Faye Dunaway and Hill Street Blues star Daniel J. Travanti in his first major movie role as a couple who team with another couple, played by Kim Cattrall and John Laughlin, who go hunting for treasure supposedly buried between Florida and Cuba.   The film would open in 419 theaters on May 11th, 1988, and gross a paltry $673k in its first three days, putting it 15th on the list of box office grosses for the week, $23k more than Three Men and a Baby, which was playing on 538 screens in its 25th week of release. In its second week, Midnight Crossing would lose more than a third of its theatres, and the weekend gross would fall to just $232k. The third week would be even worse, dropping to just 67 theatres and $43k in ticket sales. After a few weeks at a handful of dollar houses, the film would be history with just $1.3m in the bank. Leonard Klady, then writing for the Los Angeles Times, would note in a January 1989 article about the 1988 box office that Midnight Crossing's box office to budget ratio of 0.26 was the tenth worst ratio for any major or mini-major studio, ahead of And God Created Woman's 8th worst ratio of .155 but behind other stinkers like Caddyshack II.   The forgotten erotic thriller Call Me sounds like a twist on the 1984 Alan Rudolph romantic comedy Choose Me, but instead of Genevieve Bujold we get Patricia Charbonneau, and instead of a meet cute involving singles at a bar in Los Angeles, we get a murder mystery involving a New York City journalist who gets involved with a mysterious caller after she witnesses a murder at a bar due to a case of mistaken identity.   The film's not very good, but the supporting cast is great, including Steve Buscemi, Patti D'Arbanville, Stephen McHattie and David Straithairn.   Opening on 24 screens in major markets on May 20th, Call Me would open to horrible reviews, lead by Siskel and Ebert's thumbs facing downward, and only $58,348 worth of tickets sold in its first three days. After five weeks in theatres, Vestron hung up on Call Me with just $252k in the kitty.   Vestron would open two movies on June 3rd, one in a very limited release, and one in a moderate national release.   There are a lot of obscure titles in these two episodes, and probably the most obscure is Paul Mones' The Beat. The film followed a young man named Billy Kane, played by William McNamara in his film debut, who moves into a rough neighborhood controlled by several gangs, who tries to help make his new area a better place by teaching them about poetry. John Savage from The Deer Hunter plays a teacher, and future writer and director Reggie Rock Bythewood plays one of the troubled youths whose life is turned around through the written and spoken word.   The production team was top notch. Producer Julia Phillips was one of the few women to ever win a Best Picture Oscar when she and her then husband Michael Phillips produced The Sting in 1973. Phillips was assisted on the film by two young men who were making their first movie. Jon Kilik would go on to produce or co-produce every Spike Lee movie from Do the Right Thing to Da 5 Bloods, except for BlackkKlansman, while Nick Weschler would produce sex, lies and videotape, Drugstore Cowboy, The Player and Requiem for a Dream, amongst dozens of major films. And the film's cinematographer, Tom DiCillo, would move into the director's chair in 1991 with Johnny Suede, which gave Brad Pitt his first lead role.   The Beat would be shot on location in New York City in the summer of 1986, and it would make its world premiere at the Cannes Film Market in May 1987. But it would be another thirteen months before the film arrived in theatres.   Opening on seven screens in Los Angeles and New York City on June 3rd, The Beat would gross just $7,168 in its first three days.  There would not be a second week for The Beat. It would make its way onto home video in early 1989, and that's the last time the film was seen for nearly thirty years, until the film was picked up by a number of streaming services.   Vestron's streak of bad luck continued with the comedy Paramedics starring George Newbern and Christopher McDonald. The only feature film directed by Stuart Margolin, best known as Angel on the 1970s TV series The Rockford Files, Newbern and McDonald play two… well, paramedics… who are sent by boss, as punishment, from their cushy uptown gig to a troubled district at the edge of the city, where they discover two other paramedics are running a cadavers for dollars scheme, harvesting organs from dead bodies to the black market.   Here again we have a great supporting cast who deserve to be in a better movie, including character actor John P. Ryan, James Noble from Benson, Lawrence Hilton-Jacobs from Welcome Back Kotter, the great Ray Walston, and one-time Playboy Playmate Karen Witter, who plays a sort of angel of death.   Opening on 301 screens nationwide, Paramedics would only gross $149,577 in its first three days, the worst per screen average of any movie playing in at least 100 theatres that weekend. Vestron stopped tracking the film after just three days.   Two weeks later, on June 17th, Vestron released a comedy horror film that should have done better. Waxwork was an interesting idea, a group of college students who have some strange encounters with the wax figures at a local museum, but that's not exactly why it should have been more popular. It was the cast that should have brought audiences in. On one side, you had a group of well-known younger actors like Deborah Foreman from Valley Girl, Zack Gailligan from Gremlins, Michelle Johnson from Blame It on Rio, and Miles O'Keeffe from Sword of the Valiant. On the other hand, you had a group of seasoned veterans from popular television shows and movies, such as Patrick Macnee from the popular 1960s British TV show The Avengers, John Rhys-Davies from the Indiana Jones movies, and David Warner, from The Omen and Time after Time and Time Bandits and Tron.   But if I want to be completely honest, this was not a movie to release in the early part of summer. While I'm a firm believer that the right movie can find an audience no matter when it's released, Waxwork was absolutely a prime candidate for an early October release. Throughout the 1980s, we saw a number of horror movies, and especially horror comedies, released in the summer season that just did not hit with audiences. So it would be of little surprise when Waxwork grossed less than a million dollars during its theatrical run. And it should be of little surprise that the film would become popular enough on home video to warrant a sequel, which would add more popular sci-fi and horror actors like Marina Sirtis from Star Trek: The Next Generation, David Carradine and even Bruce Campbell. But by 1992, when Waxwork 2 was released, Vestron was long since closed.   The second Ken Russell movie made for Vestron was The Lair of the White Worm, based on a 1911 novel by Bram Stoker, the author's final published book before his death the following year. The story follows the residents in and around a rural English manor that are tormented by an ancient priestess after the skull of a serpent she worships is unearthed by an archaeologist.   Russell would offer the role of Sylvia Marsh, the enigmatic Lady who is actually an immortal priestess to an ancient snake god, to Tilda Swinton, who at this point of her career had already racked up a substantial resume in film after only two years, but she would decline. Instead, the role would go to Amanda Donohoe, the British actress best known at the time for her appearances in a pair of Adam Ant videos earlier in the decade. And the supporting cast would include Peter Capaldi, Hugh Grant, Catherine Oxenberg, and the under-appreciated Sammi Davis, who was simply amazing in Mona Lisa, A Prayer for the Dying and John Boorman's Hope and Glory.   The $2m would come together fairly quickly. Vestron and Russell would agree on the film in late 1987, the script would be approved by January 1988, filming would begin in England in February, and the completed film would have its world premiere at the Montreal Film Festival before the end of August.   When the film arrived in American theatres starting on October 21st, many critics would embrace the director's deliberate camp qualities and anachronisms. But audiences, who maybe weren't used to Russell's style of filmmaking, did not embrace the film quite so much. New Yorkers would buy $31k worth of tickets in its opening weekend at the D. W. Griffith and 8th Street Playhouse, and the film would perform well in its opening weeks in major markets, but the film would never quite break out, earning just $1.2m after ten weeks in theatres. But, again, home video would save the day, as the film would become one of the bigger rental titles in 1989.   If you were a teenager in the early 80s, as I was, you may remember a Dutch horror film called The Lift. Or, at the very least, you remember the key art on the VHS box, of a man who has his head stuck in between the doors of an elevator, while the potential viewer is warned to take the stairs, take the stairs, for God's sake, take the stairs. It was an impressive debut film for Dick Maas, but it was one that would place an albatross around the neck of his career.   One of his follow ups to The Lift, called Amsterdamned, would follow a police detective who is searching for a serial killer in his home town, who uses the canals of the Dutch capital to keep himself hidden. When the detective gets too close to solving the identity of the murderer, the killer sends a message by killing the detective's girlfriend, which, if the killer had ever seen a movie before, he should have known you never do. You never make it personal for the cop, because he's gonna take you down even worse.   When the film's producers brought the film to the American Film Market in early 1988, it would become one of the most talked about films, and Vestron would pick up the American distribution rights for a cool half a million dollars. The film would open on six screens in the US on November 25th, including the Laemmle Music Hall in Beverly Hills but not in New York City, but a $15k first weekend gross would seal its fate almost immediately. The film would play for another four weeks in theatres, playing on 18 screens at its widest, but it would end its run shortly after the start of of the year with only $62,044 in tickets sold.   The final Vestron Pictures release of 1988 was Andrew Birkin's Burning Secret. Birkin, the brother of French singer and actress Jane Birkin, would co-write the screenplay for this adaptation of a 1913 short story by Austrian novelist Stefan Zweig, about a about an American diplomat's son who befriends a mysterious baron while staying at an Austrian spa during the 1920s. According to Birkin in a 2021 interview, making the movie was somewhat of a nightmare, as his leading actors, Klaus Maria Brandauer and Faye Dunaway, did not like each other, and their lack of comfort with each other would bleed into their performances, which is fatal for a film about two people who are supposed to passionately burn for each other.   Opening on 16 screens in major markets on Thursday, December 22nd, Burning Secret would only gross $27k in its first four days. The film would actually see a post-Christmas bump, as it would lose a screen but see its gross jump to $40k. But after the first of the year, as it was obvious reviews were not going to save the film and awards consideration was non-existent, the film would close after three weeks with only $104k worth of tickets sold.   By the end of 1988, Vestron was facing bankruptcy. The major distributors had learned the lessons independents like Vestron had taught them about selling more volumes of tapes by lowering the price, to make movies collectables and have people curate their own video library. Top titles were harder to come by, and studios were no longer giving up home video rights to the movies they acquired from third-party producers.   Like many of the distributors we've spoken about before, and will undoubtedly speak of again, Vestron had too much success with one movie too quickly, and learned the wrong lessons about growth. If you look at the independent distribution world of 2023, you'll see companies like A24 that have learned that lesson. Stay lean and mean, don't go too wide too quickly, try not to spend too much money on a movie, no matter who the filmmaker is and how good of a relationship you have with them. A24 worked with Robert Eggers on The Witch and The Lighthouse, but when he wanted to spend $70-90m to make The Northman, A24 tapped out early, and Focus Features ended up losing millions on the film. Focus, the “indie” label for Universal Studios, can weather a huge loss like The Northman because they are a part of a multinational, multimedia conglomerate.   This didn't mean Vestron was going to quit quite yet, but, spoiler alert, they'll be gone soon enough.   In fact, and in case you are newer to the podcast and haven't listen to many of the previous episodes, none of the independent distribution companies that began and/or saw their best years in the 1980s that we've covered so far or will be covering in the future, exist in the same form they existed in back then.    New Line still exists, but it's now a label within Warner Brothers instead of being an independent distributor. Ditto Orion, which is now just a specialty label within MGM/UA. The Samuel Goldwyn Company is still around and still distributes movies, but it was bought by Orion Pictures the year before Orion was bought by MGM/UA, so it too is now just a specialty label, within another specialty label. Miramax today is just a holding company for the movies the company made before they were sold off to Disney, before Disney sold them off to a hedge fund, who sold Miramax off to another hedge fund.    Atlantic is gone. New World is gone. Cannon is gone. Hemdale is gone. Cinecom is gone. Island Films is gone. Alive Films is gone. Concorde Films is gone. MCEG is gone. CineTel is gone. Crown International is gone. Lorimar is gone. New Century/Vista is gone. Skouras Films is gone. Cineplex Odeon Films is gone.   Not one of them survived.   The same can pretty much be said for the independent distributors created in the 1990s, save Lionsgate, but I'll leave that for another podcast to tackle.   As for the Vestron story, we'll continue that one next week, because there are still a dozen more movies to talk about, as well as the end of the line for the once high flying company.   Thank you for joining us. We'll talk again soon.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

We continue our look back at the movies released by independent distributor Vestron Pictures, focusing on their 1988 releases. ----more---- The movies discussed on this episode, all released by Vestron Pictures in 1988 unless otherwise noted, include: Amsterdamned (Dick Maas) And God Created Woman (Roger Vadim) The Beat (Paul Mones) Burning Secret (Andrew Birkin) Call Me (Sollace Mitchell) The Family (Ettore Scola) Gothic (Ken Russell, 1987) The Lair of the White Worm (Ken Russell) Midnight Crossing (Roger Holzberg) Paramedics (Stuart Margolin) The Pointsman (Jos Stelling) Salome's Last Dance (Ken Russell) Promised Land (Michael Hoffman) The Unholy (Camilo Vila) Waxwork (Anthony Hickox)   TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   At the end of the previous episode, Vestron Pictures was celebrating the best year of its two year history. Dirty Dancing had become one of the most beloved movies of the year, and Anna was becoming a major awards contender, thanks to a powerhouse performance by veteran actress Sally Kirkland. And at the 60th Academy Awards ceremony, honoring the films of 1987, Dirty Dancing would win the Oscar for Best Original Song, while Anna would be nominated for Best Actress, and The Dead for Best Adapted Screenplay and Best Costumes.   Surely, things could only go up from there, right?   Welcome to Part Two of our miniseries.   But before we get started, I'm issuing a rare mea culpa. I need to add another Vestron movie which I completely missed on the previous episode, because it factors in to today's episode. Which, of course, starts before our story begins.   In the 1970s, there were very few filmmakers like the flamboyant Ken Russell. So unique a visual storyteller was Russell, it's nigh impossible to accurately describe him in a verbal or textual manner. Those who have seen The Devils, Tommy or Altered States know just how special Russell was as a filmmaker. By the late 1980s, the hits had dried up, and Russell was in a different kind of artistic stage, wanting to make somewhat faithful adaptations of late 19th and early 20th century UK authors. Vestron was looking to work with some prestigious filmmakers, to help build their cache in the filmmaking community, and Russell saw the opportunity to hopefully find a new home with this new distributor not unlike the one he had with Warner Brothers in the early 70s that brought forth several of his strongest movies.   In June 1986, Russell began production on a gothic horror film entitled, appropriately enough, Gothic, which depicted a fictionalized version of a real life meeting between Mary Godwin, Percy Shelley, John William Polidori and Claire Clairemont at the Villa Diodati in Geneva, hosted by Lord Byron, from which historians believe both Mary Shelley's Frankenstein and John William Polidori's The Vampyre were inspired.   And you want to talk about a movie with a great cast. Gabriel Byrne plays Lord Byron, Julian Sands as Percy Shelley, Natasha Richardson, in her first ever movie, as Mary Shelley, Timothy Spall as John William Polidori, and Dexter Fletcher.   Although the film was produced through MGM, and distributed by the company in Europe, they would not release the film in America, fearing American audiences wouldn't get it. So Vestron would swoop in and acquire the American theatrical rights.   Incidentally, the film did not do very well in American theatres. Opening at the Cinema 1 in midtown Manhattan on April 10th, 1987, the film would sell $45,000 worth of tickets in its first three days, one of the best grosses of any single screen in the city. But the film would end up grossing only $916k after three months in theatres.   BUT…   The movie would do quite well for Vestron on home video, enough so that Vestron would sign on to produce Russell's next three movies. The first of those will be coming up very soon.   Vestron's 1988 release schedule began on January 22nd with the release of two films.   The first was Michael Hoffman's Promised Land. In 1982, Hoffman's first film, Privileged, was the first film to made through the Oxford Film Foundation, and was notable for being the first screen appearances for Hugh Grant and Imogen Stubbs, the first film scored by future Oscar winning composer Rachel Portman, and was shepherded into production by none other than John Schlesinger, the Oscar winning director of 1969 Best Picture winner Midnight Cowboy. Hoffman's second film, the Scottish comedy Restless Natives, was part of the 1980s Scottish New Wave film movement that also included Bill Forsyth's Gregory's Girl and Local Hero, and was the only film to be scored by the Scottish rock band Big Country.   Promised Land was one of the first films to be developed by the Sundance Institute, in 1984, and when it was finally produced in 1986, would include Robert Redford as one of its executive producers. The film would follow two recent local high school graduates, Hancock and Danny, whose lives would intersect again with disastrous results several years after graduation. The cast features two young actors destined to become stars, in Keifer Sutherland and Meg Ryan, as well as Jason Gedrick, Tracy Pollan, and Jay Underwood. Shot in Reno and around the Sundance Institute outside Park City, Utah during the early winter months of 1987, Promised Land would make its world premiere at the prestigious Deauville Film Festival in September 1987, but would lose its original distributor, New World Pictures around the same time. Vestron would swoop in to grab the distribution rights, and set it for a January 22nd, 1988 release, just after its American debut at the then U.S. Film Festival, which is now known as the Sundance Film Festival.    Convenient, eh?   Opening on six screens in , the film would gross $31k in its first three days. The film would continue to slowly roll out into more major markets, but with a lack of stellar reviews, and a cast that wouldn't be more famous for at least another year and a half, Vestron would never push the film out to more than 67 theaters, and it would quickly disappear with only $316k worth of tickets sold.   The other movie Vestron opened on January 22nd was Ettore Scale's The Family, which was Italy's submission to that year's Academy Awards for Best Foreign Language Film. The great Vittorio Gassman stars as a retired college professor who reminisces about his life and his family over the course of the twentieth century. Featuring a cast of great international actors including Fanny Ardant, Philip Noiret, Stefania Sandrelli and Ricky Tognazzi, The Family would win every major film award in Italy, and it would indeed be nominated for Best Foreign Language Film, but in America, it would only play in a handful of theatres for about two months, unable to gross even $350k.   When is a remake not a remake? When French filmmaker Roger Vadim, who shot to international fame in 1956 with his movie And God Created Woman, decided to give a generational and international spin on his most famous work. And a completely different story, as to not resemble his original work in any form outside of the general brushstrokes of both being about a young, pretty, sexually liberated young woman.   Instead of Bridget Bardot, we get Rebecca De Mornay, who was never able to parlay her starring role in Risky Business to any kind of stardom the way one-time boyfriend Tom Cruise had. And if there was any American woman in the United States in 1988 who could bring in a certain demographic to see her traipse around New Mexico au natural, it would be Rebecca De Mornay. But as we saw with Kathleen Turner in Ken Russell's Crimes of Passion in 1984 and Ellen Barkin in Mary Lambert's Siesta in 1987, American audiences were still rather prudish when it came to seeing a certain kind of female empowered sexuality on screen, and when the film opened at 385 theatres on March 4th, it would open to barely a $1,000 per screen average. And God Created Woman would be gone from theatres after only three weeks and $717k in ticket sales.   Vestron would next release a Dutch film called The Pointsman, about a French woman who accidentally gets off at the wrong train station in a remote Dutch village, and a local railwayman who, unable to speak the other person's language, develop a strange relationship while she waits for another train that never arrives.   Opening at the Lincoln Plaza Cinemas on New York's Upper West Side on April 8th, the film would gross $7,000 in its first week, which in and of itself isn't all that bad for a mostly silent Dutch film. Except there was another Dutch film in the marketplace already, one that was getting much better reviews, and was the official Dutch entry into that year's Best Foreign Language Film race. That film, Babette's Feast, was becoming something more than just a movie. Restaurants across the country were creating menus based on the meals served in the film, and in its sixth week of release in New York City that weekend, had grossed four times as much as The Pointsman, despite the fact that the theatre playing Babette's Feast, the Cinema Studio 1, sat only 65 more people than the Lincoln Plaza 1. The following week, The Pointsman would drop to $6k in ticket sales, while Babette's Feast's audience grew another $6k over the previous week. After a third lackluster week, The Pointsman was gone from the Lincoln Plaza, and would never play in another theatre in America.   In the mid-80s, British actor Ben Cross was still trying to capitalize on his having been one of the leads in the 1981 Best Picture winner Chariots of Fire, and was sharing a home with his wife and children, as well as Camilo Vila, a filmmaker looking for his first big break in features after two well-received short films made in his native Cuba before he defected in the early 1980s. When Vila was offered the chance to direct The Unholy, about a Roman Catholic priest in New Orleans who finds himself battling a demonic force after being appointed to a new parish, he would walk down the hall of his shared home and offered his roomie the lead role.   Along with Ned Beatty, William Russ, Hal Holbrook and British actor Trevor Howard in his final film, The Unholy would begin two weeks of exterior filming in New Orleans on October 27th, 1986, before moving to a studio in Miami for seven more weeks. The film would open in 1189 theatres, Vestron's widest opening to date, on April 22nd, and would open in seventh place with $2.35m in ticket sales. By its second week in theatres, it would fall to eleventh place with a $1.24m gross. But with the Summer Movie Season quickly creeping up on the calendar, The Unholy would suffer the same fate as most horror films, making the drop to dollar houses after two weeks, as to make room for such dreck as Sunset, Blake Edwards' lamentable Bruce Willis/James Garner riff on Hollywood and cowboys in the late 1920s, and the pointless sequel to Critters before screens got gobbled up by Rambo III on Memorial Day weekend. It would earn a bit more than $6m at the box office.   When Gothic didn't perform well in American theatres, Ken Russell thought his career was over. As we mentioned earlier, the American home video store saved his career, as least for the time being.    The first film Russell would make for Vestron proper was Salome's Last Dance, based on an 1891 play by Oscar Wilde, which itself was based on a story from the New Testament. Russell's script would add a framing device as a way for movie audiences to get into this most theatrical of stories.   On Guy Fawkes Day in London in 1892, Oscar Wilde and his lover, Lord Alfred Douglas, arrive late at a friend's brothel, where the author is treated to a surprise performance of his play Salome, which has recently been banned from being performed at all in England by Lord Chamberlain. All of the actors in his special performance are played by the prostitutes of the brothel and their clients, and the scenes of the play are intertwined with Wilde's escapades at the brothel that night.   We didn't know it at the time, but Salome's Last Dance would be the penultimate film performance for Academy Award winning actress Glenda Jackson, who would retire to go into politics in England a couple years later, after working with Russell on another film, which we'll get to in a moment. About the only other actor you might recognize in the film is David Doyle, of all people, the American actor best known for playing Bosley on Charlie's Angels.   Like Gothic, Salome's Last Dance would not do very well in theatres, grossing less than half a million dollars after three months, but would find an appreciative audience on home video.   The most interesting thing about Roger Holzberg's Midnight Crossing is the writer and director himself. Holzberg started in the entertainment industry as a playwright, then designed the props and weapons for Albert Pyun's 1982 film The Sword and the Sorcerer, before moving on to direct the second unit team on Pyun's 1985 film Radioactive Dreams. After making this film, Holzberg would have a cancer scare, and pivot to health care, creating a number of technological advancements to help evolve patient treatment, including the Infusionarium, a media setup which helps children with cancer cope with treatment by asking them questions designed to determine what setting would be most comforting to them, and then using virtual reality technology and live events to immerse them in such an environment during treatment.   That's pretty darn cool, actually.   Midnight Crossing stars Faye Dunaway and Hill Street Blues star Daniel J. Travanti in his first major movie role as a couple who team with another couple, played by Kim Cattrall and John Laughlin, who go hunting for treasure supposedly buried between Florida and Cuba.   The film would open in 419 theaters on May 11th, 1988, and gross a paltry $673k in its first three days, putting it 15th on the list of box office grosses for the week, $23k more than Three Men and a Baby, which was playing on 538 screens in its 25th week of release. In its second week, Midnight Crossing would lose more than a third of its theatres, and the weekend gross would fall to just $232k. The third week would be even worse, dropping to just 67 theatres and $43k in ticket sales. After a few weeks at a handful of dollar houses, the film would be history with just $1.3m in the bank. Leonard Klady, then writing for the Los Angeles Times, would note in a January 1989 article about the 1988 box office that Midnight Crossing's box office to budget ratio of 0.26 was the tenth worst ratio for any major or mini-major studio, ahead of And God Created Woman's 8th worst ratio of .155 but behind other stinkers like Caddyshack II.   The forgotten erotic thriller Call Me sounds like a twist on the 1984 Alan Rudolph romantic comedy Choose Me, but instead of Genevieve Bujold we get Patricia Charbonneau, and instead of a meet cute involving singles at a bar in Los Angeles, we get a murder mystery involving a New York City journalist who gets involved with a mysterious caller after she witnesses a murder at a bar due to a case of mistaken identity.   The film's not very good, but the supporting cast is great, including Steve Buscemi, Patti D'Arbanville, Stephen McHattie and David Straithairn.   Opening on 24 screens in major markets on May 20th, Call Me would open to horrible reviews, lead by Siskel and Ebert's thumbs facing downward, and only $58,348 worth of tickets sold in its first three days. After five weeks in theatres, Vestron hung up on Call Me with just $252k in the kitty.   Vestron would open two movies on June 3rd, one in a very limited release, and one in a moderate national release.   There are a lot of obscure titles in these two episodes, and probably the most obscure is Paul Mones' The Beat. The film followed a young man named Billy Kane, played by William McNamara in his film debut, who moves into a rough neighborhood controlled by several gangs, who tries to help make his new area a better place by teaching them about poetry. John Savage from The Deer Hunter plays a teacher, and future writer and director Reggie Rock Bythewood plays one of the troubled youths whose life is turned around through the written and spoken word.   The production team was top notch. Producer Julia Phillips was one of the few women to ever win a Best Picture Oscar when she and her then husband Michael Phillips produced The Sting in 1973. Phillips was assisted on the film by two young men who were making their first movie. Jon Kilik would go on to produce or co-produce every Spike Lee movie from Do the Right Thing to Da 5 Bloods, except for BlackkKlansman, while Nick Weschler would produce sex, lies and videotape, Drugstore Cowboy, The Player and Requiem for a Dream, amongst dozens of major films. And the film's cinematographer, Tom DiCillo, would move into the director's chair in 1991 with Johnny Suede, which gave Brad Pitt his first lead role.   The Beat would be shot on location in New York City in the summer of 1986, and it would make its world premiere at the Cannes Film Market in May 1987. But it would be another thirteen months before the film arrived in theatres.   Opening on seven screens in Los Angeles and New York City on June 3rd, The Beat would gross just $7,168 in its first three days.  There would not be a second week for The Beat. It would make its way onto home video in early 1989, and that's the last time the film was seen for nearly thirty years, until the film was picked up by a number of streaming services.   Vestron's streak of bad luck continued with the comedy Paramedics starring George Newbern and Christopher McDonald. The only feature film directed by Stuart Margolin, best known as Angel on the 1970s TV series The Rockford Files, Newbern and McDonald play two… well, paramedics… who are sent by boss, as punishment, from their cushy uptown gig to a troubled district at the edge of the city, where they discover two other paramedics are running a cadavers for dollars scheme, harvesting organs from dead bodies to the black market.   Here again we have a great supporting cast who deserve to be in a better movie, including character actor John P. Ryan, James Noble from Benson, Lawrence Hilton-Jacobs from Welcome Back Kotter, the great Ray Walston, and one-time Playboy Playmate Karen Witter, who plays a sort of angel of death.   Opening on 301 screens nationwide, Paramedics would only gross $149,577 in its first three days, the worst per screen average of any movie playing in at least 100 theatres that weekend. Vestron stopped tracking the film after just three days.   Two weeks later, on June 17th, Vestron released a comedy horror film that should have done better. Waxwork was an interesting idea, a group of college students who have some strange encounters with the wax figures at a local museum, but that's not exactly why it should have been more popular. It was the cast that should have brought audiences in. On one side, you had a group of well-known younger actors like Deborah Foreman from Valley Girl, Zack Gailligan from Gremlins, Michelle Johnson from Blame It on Rio, and Miles O'Keeffe from Sword of the Valiant. On the other hand, you had a group of seasoned veterans from popular television shows and movies, such as Patrick Macnee from the popular 1960s British TV show The Avengers, John Rhys-Davies from the Indiana Jones movies, and David Warner, from The Omen and Time after Time and Time Bandits and Tron.   But if I want to be completely honest, this was not a movie to release in the early part of summer. While I'm a firm believer that the right movie can find an audience no matter when it's released, Waxwork was absolutely a prime candidate for an early October release. Throughout the 1980s, we saw a number of horror movies, and especially horror comedies, released in the summer season that just did not hit with audiences. So it would be of little surprise when Waxwork grossed less than a million dollars during its theatrical run. And it should be of little surprise that the film would become popular enough on home video to warrant a sequel, which would add more popular sci-fi and horror actors like Marina Sirtis from Star Trek: The Next Generation, David Carradine and even Bruce Campbell. But by 1992, when Waxwork 2 was released, Vestron was long since closed.   The second Ken Russell movie made for Vestron was The Lair of the White Worm, based on a 1911 novel by Bram Stoker, the author's final published book before his death the following year. The story follows the residents in and around a rural English manor that are tormented by an ancient priestess after the skull of a serpent she worships is unearthed by an archaeologist.   Russell would offer the role of Sylvia Marsh, the enigmatic Lady who is actually an immortal priestess to an ancient snake god, to Tilda Swinton, who at this point of her career had already racked up a substantial resume in film after only two years, but she would decline. Instead, the role would go to Amanda Donohoe, the British actress best known at the time for her appearances in a pair of Adam Ant videos earlier in the decade. And the supporting cast would include Peter Capaldi, Hugh Grant, Catherine Oxenberg, and the under-appreciated Sammi Davis, who was simply amazing in Mona Lisa, A Prayer for the Dying and John Boorman's Hope and Glory.   The $2m would come together fairly quickly. Vestron and Russell would agree on the film in late 1987, the script would be approved by January 1988, filming would begin in England in February, and the completed film would have its world premiere at the Montreal Film Festival before the end of August.   When the film arrived in American theatres starting on October 21st, many critics would embrace the director's deliberate camp qualities and anachronisms. But audiences, who maybe weren't used to Russell's style of filmmaking, did not embrace the film quite so much. New Yorkers would buy $31k worth of tickets in its opening weekend at the D. W. Griffith and 8th Street Playhouse, and the film would perform well in its opening weeks in major markets, but the film would never quite break out, earning just $1.2m after ten weeks in theatres. But, again, home video would save the day, as the film would become one of the bigger rental titles in 1989.   If you were a teenager in the early 80s, as I was, you may remember a Dutch horror film called The Lift. Or, at the very least, you remember the key art on the VHS box, of a man who has his head stuck in between the doors of an elevator, while the potential viewer is warned to take the stairs, take the stairs, for God's sake, take the stairs. It was an impressive debut film for Dick Maas, but it was one that would place an albatross around the neck of his career.   One of his follow ups to The Lift, called Amsterdamned, would follow a police detective who is searching for a serial killer in his home town, who uses the canals of the Dutch capital to keep himself hidden. When the detective gets too close to solving the identity of the murderer, the killer sends a message by killing the detective's girlfriend, which, if the killer had ever seen a movie before, he should have known you never do. You never make it personal for the cop, because he's gonna take you down even worse.   When the film's producers brought the film to the American Film Market in early 1988, it would become one of the most talked about films, and Vestron would pick up the American distribution rights for a cool half a million dollars. The film would open on six screens in the US on November 25th, including the Laemmle Music Hall in Beverly Hills but not in New York City, but a $15k first weekend gross would seal its fate almost immediately. The film would play for another four weeks in theatres, playing on 18 screens at its widest, but it would end its run shortly after the start of of the year with only $62,044 in tickets sold.   The final Vestron Pictures release of 1988 was Andrew Birkin's Burning Secret. Birkin, the brother of French singer and actress Jane Birkin, would co-write the screenplay for this adaptation of a 1913 short story by Austrian novelist Stefan Zweig, about a about an American diplomat's son who befriends a mysterious baron while staying at an Austrian spa during the 1920s. According to Birkin in a 2021 interview, making the movie was somewhat of a nightmare, as his leading actors, Klaus Maria Brandauer and Faye Dunaway, did not like each other, and their lack of comfort with each other would bleed into their performances, which is fatal for a film about two people who are supposed to passionately burn for each other.   Opening on 16 screens in major markets on Thursday, December 22nd, Burning Secret would only gross $27k in its first four days. The film would actually see a post-Christmas bump, as it would lose a screen but see its gross jump to $40k. But after the first of the year, as it was obvious reviews were not going to save the film and awards consideration was non-existent, the film would close after three weeks with only $104k worth of tickets sold.   By the end of 1988, Vestron was facing bankruptcy. The major distributors had learned the lessons independents like Vestron had taught them about selling more volumes of tapes by lowering the price, to make movies collectables and have people curate their own video library. Top titles were harder to come by, and studios were no longer giving up home video rights to the movies they acquired from third-party producers.   Like many of the distributors we've spoken about before, and will undoubtedly speak of again, Vestron had too much success with one movie too quickly, and learned the wrong lessons about growth. If you look at the independent distribution world of 2023, you'll see companies like A24 that have learned that lesson. Stay lean and mean, don't go too wide too quickly, try not to spend too much money on a movie, no matter who the filmmaker is and how good of a relationship you have with them. A24 worked with Robert Eggers on The Witch and The Lighthouse, but when he wanted to spend $70-90m to make The Northman, A24 tapped out early, and Focus Features ended up losing millions on the film. Focus, the “indie” label for Universal Studios, can weather a huge loss like The Northman because they are a part of a multinational, multimedia conglomerate.   This didn't mean Vestron was going to quit quite yet, but, spoiler alert, they'll be gone soon enough.   In fact, and in case you are newer to the podcast and haven't listen to many of the previous episodes, none of the independent distribution companies that began and/or saw their best years in the 1980s that we've covered so far or will be covering in the future, exist in the same form they existed in back then.    New Line still exists, but it's now a label within Warner Brothers instead of being an independent distributor. Ditto Orion, which is now just a specialty label within MGM/UA. The Samuel Goldwyn Company is still around and still distributes movies, but it was bought by Orion Pictures the year before Orion was bought by MGM/UA, so it too is now just a specialty label, within another specialty label. Miramax today is just a holding company for the movies the company made before they were sold off to Disney, before Disney sold them off to a hedge fund, who sold Miramax off to another hedge fund.    Atlantic is gone. New World is gone. Cannon is gone. Hemdale is gone. Cinecom is gone. Island Films is gone. Alive Films is gone. Concorde Films is gone. MCEG is gone. CineTel is gone. Crown International is gone. Lorimar is gone. New Century/Vista is gone. Skouras Films is gone. Cineplex Odeon Films is gone.   Not one of them survived.   The same can pretty much be said for the independent distributors created in the 1990s, save Lionsgate, but I'll leave that for another podcast to tackle.   As for the Vestron story, we'll continue that one next week, because there are still a dozen more movies to talk about, as well as the end of the line for the once high flying company.   Thank you for joining us. We'll talk again soon.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Musik fra film og computerspil. Jakob Stegelmann og hans medvært Ida Rud spiller ny og gammel symfonisk musik fra film, spil og tv-serier. (Sendt første gang 14. februar).

De Korzeniowski a Shigeru Umebayashi, de Rodrigo Leão a Alberto Iglesias, de Philip Aaberg a Rachel Portman y Raphaela Gromes músicas creadas para contarmos historias. Revolving Door + Charms Abel Korzeniowski W.E. - BSO Yumeji's Theme (From In the Mood for Love) Shigeru Umebayashi, Gidon Kremer, Kremerata Baltica New Seasons - Glass, Pärt, Kancheli, Umebayashi Yumeji’s Theme (From In the Mood for Love) Angèle Dubeau, La Pietà Silence On Joue - Take 2 Motorcycle Location (Floating Landscape)+The Rainy Streets of Kyoto + Daisy Main Theme + Dreamland Main Theme Shigeru Umebayashi Best Kept Secrets (Part 2) Cinema+ Deep Blue Rodrigo Leão Cinema Hable con ella Alberto Iglesias Hable con ella (BSO) Tessa's Death Alberto Iglesias The Constant Gardener (BSO) The Story Of Naomi Uemura + Diva - Sentimental Walk Philip Aaberg Cinema Frozen Lake Rachel Portman, Raphaela Gromes Frozen Lake (from The Human Stain, Arr. for Piano & Cello) Escuchar audio

Ellen E Jones and Mark Kermode explore how a couple of Christmas TV traditions have developed over the years - the made-for-TV Christmas romcom and the festive ghost story. Inspired by The Hallmark Channel's first ever gay Christmas film, Ellen speaks to made-for-TV film aficionado Linda Holmes. They discuss what The Hallmark Channel is and why it has taken until 2022 for the channel to feature a gay lead in one of its films. Ellen also speaks to critic Caspar Salmon about what the recent increase in queer Christmas romcoms might mean for LGBT+ audiences. And Mark explores how the ghost story became a British TV Christmas staple, talking to writer and director Mark Gatiss about the 1968 film Whistle and I'll Come to You, which inspired the A Ghost Story for Christmas series, continued by Gatiss to this day. Mark then speaks to composer Rachel Portman about her score for the chilling 1989 ITV adaptation of Dame Susan Hill's The Women in Black. And Tangerine and Red Rocket director Sean Baker shares what he'll be watching this festive season. Producer: Jane Long A Prospect Street production for BBC Radio 4

Holiday month continues with another instalment of our unintentional series, "Movies For Whom We Are Not The Audience", with 2020's Godmothered. In true comPOSERS fashion, we chose this as our first-ever score by Oscar winner Rachel Portman, which we're sure she appreciates.

Der er oplevelser og perioder ingen har lyst til at sige farvel til. De uigenkaldelige øjeblikke, en koncert, et kys, en aften over en middag, eller et godt job. Men ingen kan gentage øjeblikket. Det findes ikke, og er forsvundet lige så hurtigt som det opstod. Afskedens natur, er uigenkaldelig. Dagdrømmer tager afskeden i hånden sammen med blandt andre René Aubey, Dustin O'Halloran, Rosemary Glooney, Rachel Portman, Judy Garland og Joep Beving. Produceret for DR af Munck Studios København.

Der er oplevelser og perioder ingen har lyst til at sige farvel til. De uigenkaldelige øjeblikke, en koncert, et kys, en aften over en middag, eller et godt job. Men ingen kan gentage øjeblikket. Det findes ikke, og er forsvundet lige så hurtigt som det opstod. Afskedens natur, er uigenkaldelig. Dagdrømmer tager afskeden i hånden sammen med blandt andre René Aubey, Dustin O'Halloran, Rosemary Glooney, Rachel Portman, Judy Garland og Joep Beving. Produceret for DR af Munck Studios København.

Dediquem el programa a la carrera de la compositora anglesa Rachel Portman, la primera dona compositora de m

Film music began as a solution to a problem. Early film projectors were really loud, therefore something was needed to cover up all the noise.  In addition, silent movies apparently seemed a bit awkward without any musical accompaniment.   Enter, usually, a pianist, who would improvise musical accompaniments to the events on the screen. None other than Dmitri Shostakovich got his first job as a cinema pianist, honing his improvisatory skills, and sometimes receiving cat calls and boos for his fantasy filled musings that tended to stray away from the action on the screen. Music in the silent film era had to help the audience in pointing out important moments to the audience,  enhancing the emotional effects of the story, and most importantly, it had to give a certain musical line to every character, giving to them the emotional depth that the audience couldn't get since they weren't going to hear their voice.  To do this, early film composers turned to the idea of the Leitmotif, an idea developed by the opera composer Richard Wagner. This idea would take hold even once "talkies" took over the screen, with composers such as Max Steiner, Charlie Chaplin, and others setting the stage for a century of brilliant music, by composers like Bernard Herrmann, John Williams, Dmitri Shostakovich, Rachel Portman, Hans Zimmer, Erich Wolfgang Korngold, Christopher Willis, and dozens and dozens more. Today on the show we'll talk about this development of film music, and also hear some of the greatest and most recognizable film music ever written. We'll also talk about why film music is sometimes looked down upon in the classical music world, and how we might begin to change that perception. Join us! 

‘Las Premios Nobel de Literatura' (2da. parte). Continuamos con las historias de las mujeres que durante los 121 años que empezó a otorgarse esta máxima categoría literaria, marcaron un hito en el universo de las letras. En esta oportunidad, Patricia del Río nos acerca a las autoras que destacaron por su fuerza y sensibilidad en la narrativa y poesía, como la chilena Gabriela Mistral; la estadounidense Luise Glück; la polaca Wislawa Szymborska; y la italiana Grazia Deleda. Por su parte, la escritora y antropóloga cusqueña, Karina Pacheco, nos habla del estilo narrativo de la bielorrusa Svetlana Aleksiévich y la polaca Olga Tokarczuk. El periodista Diego Pajares Herrada cita esta vez tres películas de libros de las Nobel adaptados al cine: ‘Zurek', de Olga Tokarczuk, dirigida por el polaco Ryszard Brylski; ‘Voces de Chernobyl', documental de Svetlana Alexievich y ‘Chernobyl' (miniserie); así como ‘Julieta', basada en tres relatos de Alice Munro: ‘Destino', ‘Pronto' y ‘Silencio'. Llevada al cine por Pedro Almodóvar. Los libros de la semana son recomendados por el crítico literario y gerente de la librería Escena libre: ‘El pasar de la distancia' (poesía) de Jorge Urbano Malásquez (Editorial Caja negra); ‘Una cocina Surge, crónica rimada de Lima' (crónicas), por Leonardo Aguirre (Editorial Peisa); ‘El verdadero rostro de Túpac Amaru. Perú 1969-1975' (ensayo), de Eduardo Lituma Agüero (Facultad de Letras de la UNMSM y La Catedral). Las canciones y sus intérpretes también tienen su historia aparte: ‘Son of a preacher man', por Aretha Franklin; ‘Gracias a la vida' (instrumental), de Violeta Parra; ‘Much loved', por Rachel Portman; ‘Carmen', por María Callas; ‘Hound dog', por Big Mama Thornton; ‘American pie', por Madonna. Del Youtube hemos reproducido los poemas ‘La casa', en la voz de Gabriela Mistral (tomado de la página ‘No somos musas; ‘El deseo', de Louise Glück (tomado de ‘La voz que lee'); y ‘Fin y principio', de Wislawa Szymborska, recitado por Tomás Galindo (tomado de ‘Poesía recitada). Todo esto, y mucho más, hoy domingo a las 7:00 de la noche en Letras en el tiempo, por la señal de RPP, la voz de todo el Perú. Escúchanos también por rpp.pe y el podcast del programa. Conducción: Patricia del Río ||| Producción: Amelia Villanueva ||| Edición de audio: Dallan Vásquez ||| Episodio 39 – Tercera temporada.

‘Las Premios Nobel de Literatura' (2da. parte). Continuamos con las historias de las mujeres que durante los 121 años que empezó a otorgarse esta máxima categoría literaria, marcaron un hito en el universo de las letras. En esta oportunidad, Patricia del Río nos acerca a las autoras que destacaron por su fuerza y sensibilidad en la narrativa y poesía, como la chilena Gabriela Mistral; la estadounidense Luise Glück; la polaca Wislawa Szymborska; y la italiana Grazia Deleda. Por su parte, la escritora y antropóloga cusqueña, Karina Pacheco, nos habla del estilo narrativo de la bielorrusa Svetlana Aleksiévich y la polaca Olga Tokarczuk. El periodista Diego Pajares Herrada cita esta vez tres películas de libros de las Nobel adaptados al cine: ‘Zurek', de Olga Tokarczuk, dirigida por el polaco Ryszard Brylski; ‘Voces de Chernobyl', documental de Svetlana Alexievich y ‘Chernobyl' (miniserie); así como ‘Julieta', basada en tres relatos de Alice Munro: ‘Destino', ‘Pronto' y ‘Silencio'. Llevada al cine por Pedro Almodóvar. Los libros de la semana son recomendados por el crítico literario y gerente de la librería Escena libre: ‘El pasar de la distancia' (poesía) de Jorge Urbano Malásquez (Editorial Caja negra); ‘Una cocina Surge, crónica rimada de Lima' (crónicas), por Leonardo Aguirre (Editorial Peisa); ‘El verdadero rostro de Túpac Amaru. Perú 1969-1975' (ensayo), de Eduardo Lituma Agüero (Facultad de Letras de la UNMSM y La Catedral). Las canciones y sus intérpretes también tienen su historia aparte: ‘Son of a preacher man', por Aretha Franklin; ‘Gracias a la vida' (instrumental), de Violeta Parra; ‘Much loved', por Rachel Portman; ‘Carmen', por María Callas; ‘Hound dog', por Big Mama Thornton; ‘American pie', por Madonna. Del Youtube hemos reproducido los poemas ‘La casa', en la voz de Gabriela Mistral (tomado de la página ‘No somos musas; ‘El deseo', de Louise Glück (tomado de ‘La voz que lee'); y ‘Fin y principio', de Wislawa Szymborska, recitado por Tomás Galindo (tomado de ‘Poesía recitada). Todo esto, y mucho más, hoy domingo a las 7:00 de la noche en Letras en el tiempo, por la señal de RPP, la voz de todo el Perú. Escúchanos también por rpp.pe y el podcast del programa. Conducción: Patricia del Río ||| Producción: Amelia Villanueva ||| Edición de audio: Dallan Vásquez ||| Episodio 39 – Tercera temporada.

In this third instalment of Wise Music Group's special fiftieth anniversary Composing Myself series you can hear Wise Music Group's CEO Dave Holley and Creative Director Gill Graham chat to Academy Award-winning film composer Rachel Portman.Spanning her formative influences, a first job via the great David Puttnam, coping with writer's block, composing for The Cider House Rules and The Little Prince and the differences between writing for film and opera, to her passion for raising awareness of environmental issues and the climate emergency, this fascinating conversation is a riveting must-listen for anyone with an interest in classical music and the myriad nuances and quirks of the creative process. Music Excerpts: Opening And A Little Girl Called Mimi (from Mimi And The Mountain Dragon OST)Flight - Rachel Portman, Angèle Dubeau, La Pietàhttps://rachelportman.co.uk/https://www.instagram.com/rachelportmancomposer/https://twitter.com/rpcomposer Hosted on Acast. See acast.com/privacy for more information.

Seit 60 Jahren erobern James Bond-Titelsongs die Charts. Was steckt hinter dem Erfolgsgeheimnis, welche musikalischen Trends spiegeln sich darin? Und: 2016 nahm Rachel Portman als erste Frau einen Oscar für beste Filmmusik entgegen. Ihre ersten Stücke komponierte sie mit 13 Jahren. Ein Porträt. «Goldfinger», «A view to kill», «No time to die» - Die Titelsongs der Filmreihe rund um den britischen Agenten 007 sind die Königsdisziplin des Pop. Es ist eine besondere Ehre, einen schreiben und performen zu dürfen und jeweils ein Spagat zwischen Tradition und Zeitgeist. Ein musikalischer Rückblick auf 60 Jahre Filmgeschichte. 1996 sorgt Rachel Portman für Furore, als sie als erste Frau einen Oscar für die beste Filmmusik («Emma») erhält. Inzwischen hat Portman die Melodien für über 100 Filme und Theaterstücke kreiert, darunter «Gottes Werk und Teufels Beitrag» oder «Chocolat». Weitere Themen: - Im Dienste ihrer Musikalität – 60 Jahre James-Bond-Songs - Rachel Portman: Die Königin der Filmmusik

Filmpodcast 756 Woche 39 2022  – Kino im Kopf – mit Michael Sennhauser. Georges Wyrsch stellt den Berlinale-Gewinner «Alcarràs» vor, der jetzt im Kino läuft. Ich habe am ZFF Susanne Meures «Girl Gang» gesehen und den neuen Winnetou-Kinderfilm. Und Elisabeth Baureithel hat mit der Filmmusikkomponistin Rachel Portman geredet, die am ZFF ausgezeichnet wurde. Und Kurztipps und Tonspur haben wir auch.

In this episode Esther Abrami welcomes the legendary film composer Rachel Portman. She was the first women who won an Oscar for ‘Best Music' for her soundtrack to the movie "Chocolat". Esther Abrami discusses with her the absences of women and female role models in the film music business. Hosted on Acast. See acast.com/privacy for more information.

In this episode, we look at the soundtrack of the 1996 movie of Jane Austen's Emma by Rachel Portman. We listen to how the clarinet is Emma's voice and how the instrumentation, time signature, and major vs minor are often used to change mood or characters. We also pay to attention to how her emotional journey and theme changes throughout as well as the comedy and matchmaking theme. Finally, we compare the songs performed by Emma and Jane and how the words convey meaning to Frank Churchill's attentions. Music included in podcast: "Main Titles" - Emma: Music from the Miramax Motion Picture, music by Rachel Portman, 1996 "Emma: Piano Suite" - music by Rachel Portman, 2022 "End Titles" - Emma: Music from the Miramax Motion Picture, music by Rachel Portman, 1996 "Celery Root" - Emma: Music from the Miramax Motion Picture, music by Rachel Portman, 1996 "Emma Insults Miss Bates" - Emma: Music from the Miramax Motion Picture, music by Rachel Portman, 1996 "Emma Writes her Diary" - Emma: Music from the Miramax Motion Picture, music by Rachel Portman, 1996 "Mr. Knightley Returns" - Emma: Music from the Miramax Motion Picture, music by Rachel Portman, 1996 "Proposal" - Emma: Music from the Miramax Motion Picture, music by Rachel Portman, 1996 "Emma Tells Harriet about Mr. Elton" - Emma: Music from the Miramax Motion Picture, music by Rachel Portman, 1996 "The Picnic" - Emma: Music from the Miramax Motion Picture, music by Rachel Portman, 1996 "Emma dreams of Frank Churchill" - Emma: Music from the Miramax Motion Picture, music by Rachel Portman, 1996 "Sewing and Archery" - Emma: Music from the Miramax Motion Picture, music by Rachel Portman, 1996 "Harriet's Portrait" - Emma: Music from the Miramax Motion Picture, music by Rachel Portman, 1996 "Three German Dances, K. 605: No. 3 in C, Trio "Die Schlittenfahrt" - Mozart in the Morning, music by Wolfgang Amadeus Mozart, performed by Academy of St. Martin in the Fields & Sir Neville Marriner, 1992 "Mr. Elton's Rejection" - Emma: Music from the Miramax Motion Picture, music by Rachel Portman, 1996 "The Coles' Party" - Emma: Music from the Miramax Motion Picture, music by Rachel Portman, 1996 "Mrs. Elton's Visit" - Emma: Music from the Miramax Motion Picture, music by Rachel Portman, 1996 "Main Title and First Victim" - Jaws (The Collector's Edition Soundtrack), music by John Williams, 1975 "Gypsies" - Emma: Music from the Miramax Motion Picture, music by Rachel Portman, 1996 "Tolomeo, Re Di Egitto HWV 25: Silent Worship (adapted by Arthur Somervell from "Non lo diro col labbro")" - Silent Worship: The Timeless Music by Handel, music by George Frederic Handel, performed by David Hobson, 2006 "The Beggar's Opera: Act 1 No 14, Air 6: Virgins are like the fair flowers" - Gay: The Beggar's Opera, music by John Gay, performed by The Broadside Band, Jeremy Barlow, Bronwen Mills & Charles Daniels, 1991 "The Dance" - Emma: Music from the Miramax Motion Picture, music by Rachel Portman, 1996 "Mr. Beveridge's Magot" - English Country Dances from Playford's Dancing Master, performed by The Broadside Band, 2009 "World of Soundtracks" - music by Edith Mudge, graphics by Lindsey Bergsma

Planifica el recorregut i escapa'n. El moment

The subject this week is food as Matthew examines big screen kitchens and lavish gourmet meals to mark the release of a movie about Julia Child and a new Rachel Portman score.

Jess Gillam and violinist Esther Abrami swap playlists, including a French-inspired movie score by Rachel Portman, Paris meets Beirut in jazz form by trumpeter Ibrahim Maalouf, a gorgeous Motown tribute to Otis Redding, and a classic French chanson reimagined by the one and only Jarvis Cocker. Playlist: Jonny Greenwood - House of Woodcock (from the Phantom Threads OST) Mendelssohn - Violin Concerto in E minor, op.64 - 2nd mvt [Yehudi Menuhin (violin), Philharmonia Orchestra, Efrem Kurtz (conductor)] Jarvis Cocker - Aline Faure - Chanson d'amour, op.27 no.1 [Barbara Bonney (soprano), Warren Jones (piano)] William Bell - Tribute to a King Rachel Portman - Main title from 'Chocolat' Christian Sinding - Rustle of Spring, op.32 no.3 [Christian Ihle Hadland (piano)] Ibrahim Maalouf - Lily will Soon Be a Woman (live)

durée : 00:59:46 - En pistes, contemporains ! du dimanche 27 mars 2022 - par : Emilie Munera - Ce dimanche, chez les contemporains, nous écoutons la musique de George Crumb enregistrée par le Quatuor Hanson et d'autres musiciens de renom, au festival de Deauville 2021. Nous entendrons également les oeuvres de Rachel Portman, Bernard Cavanna et Anders Eliasson. - réalisé par : Taïssia Froidure

It's an hour of music celebrating female composers and an interview with Laura Karpman, who was recently announced as the composer of The Marvels - the upcoming sequel to Captain Marvel to be directed by Nia DaCosta - from this encore episode originally aired November 29 2020.Not only will you hear some of Laura's terrific music from her career, but also tracks by early female pioneers including Delia Derbyshire's Doctor Who theme, Wendy Carlos' work for 1982's Tron, and Academy Award winners Anne Dudley, Rachel Portman and Hildur Guðnadóttir.Set lists available at www.mondohollywood.ca

With Joe Wright's new film out, inspired by the fictional Cyrano de Bergerac and with a score by Bryce and Aaron Dressner, Matthew looks at films that explore the art of wooing. He introduces music by Ilan Eshkeri, Rachel Portman, Luis Bacalov, George Fenton, and John Ottman among others, and he talks to Bryce Dressner about his new score for 'Cyrano'. The Classic Score of the Week is Roy Webb's 'Notorious'.

Holiday Ride is Chevrolet's new ad about a father, his daughter, and his late wife's classic 1966 Impala. It's sad, inspiring, and it tugs right at the heartstrings.Based on a true story, GM ad-maker Commonwealth/McCann worked with Academy Award winners Tom Hooper, Claudio Miranda, and Rachel Portman “to tell the story of love, redemption, and restoration.”The McCann Creative Director of Holiday Ride is Nick Allen, who was kind enough to join us to talk about his methodology, his process, and how Chevy and McCann created the most tear-jerking ad of the 2021 Holidays. If you are a filmmaker who's curious about what goes on inside the minds of the creative directors at large agencies, how the people who you want thinking of you when they're planning their next big campaign think, then this episode is for you. Nick AllenWebsite - www.ideasoutofnowhere.comInstagram - nicka11enLinkedin Commonwealth // McCann AdWeek article on Holiday RideIf you want a shoutout in a future episode please leave us a written review on Apple Podcasts. Brought to you by CRY www.filmcry.com Intro mixed by Micheal Hartman - michaelhrtmn4@gmail.com 

This former literary snob confesses that — at least right now — I prefer watching Austen to reading Austen. I need streamlined, quick banter, a snappy pace. Luckily, there are a ton of adaptations, retellings and inspired by Austen books and films to last quite a while. Vanessa King, author of A Certain Appeal, the Pride and Prejudice-inspired story set at a New York burlesque club, stops by to talk about why she decided to modernize Austen. And listener Mariah joins me to explore the 2005 Pride and Prejudice with its subtle updates to the classic story. Grab a cozy throw and pull up a chair. How do you take your tea? https://www.confessionsofaclosetromantic.comThe performance of the audiobook of A Certain Appeal by Julia Whelan brings this bright, modern Pride and Prejudice reset to life. Darcy is the hottest, sexiest thing ever here--as good a lover as we'd always hoped he'd be. The final sequence of the 2005 Pride and Prejudice is pitch perfect in every way: the pacing, the dialogue, the editing, the performances, the music. Darcy striding toward Elizabeth, frock coat flapping, across that misty field at dawn! How close they stand in this modern adaptation! And the casual, young-love intimacy of that final shot, with them in various stages of undress, is exactly what a modern audience wants to see for this favorite Austen couple.I realize I say this about nearly every kiss or proposal in an Austen adaptation, but the proposal in the 1996 Emma performed by Jeremy Northam and Gwyneth Paltrow is just about the most beautiful ever filmed. The whole movie is a delight, modern, fun and fresh, but in this sequence, writer/director Douglas McGrath constructed the ultimate culmination of their friends to lovers journey. The gorgeous score by Rachel Portman doesn't hurt, either.That final kiss sequence in the 2007 Persuasion just thrills me to my bones. It's such a perfect metaphor for their second chance/last chance relationship. Sally Hawkins' performance in this movie was a revelation, and she is now one of my most favorite Anne Elliots ever. You can watch the whole movie, broken into two parts, here.Clueless, based on Emma, may have been made in 1995 but it still feels fresh and modern today — fully capturing the spirit of that centuries-old story.And for some bonkers, post-modern fun, you can't beat the delightful time-travel story Lost in Austen or the immersive amusement park that is Austenland.

Matthew Sweet is joined by director Mike Leigh to talk about his ideas about music for films and to look back on some of the scores for films such as the historical dramas 'Mr Turner', 'Peterloo' and ‘Topsy-Turvy'. He first came to prominence with the Play for Today TV drama ‘Nuts in May' in 1976, and for many years he was known for his improvised domestic dramas. He tells Matthew about his work with composers Andrew Dickson (‘Naked', Mean Time' and ‘High Hopes') and Gary Yershon (‘Peterloo', ‘Happy-Go-Lucky' and ‘Another Year'). There's jazz from Marianne Jean-Baptiste (‘Career Girls') and an excerpt from one of Rachel Portman's earliest scores (‘Four Days in July'). And we hear Carl Davis's versions of Gilbert and Sullivan (‘Topsy-Turvy'). Mike Leigh's work is celebrated by the BFI in October and November on the Southbank in London and at Home in Manchester, with the release of a new print of his 1993 classic ‘Naked', and with the appearance of a new, revised version of ‘Mike Leigh on Mike Leigh'.

Erik Woods presents the first ALL REQUEST SHOW since 2004 on today's new episode of THE FLAGSHIP SHOW on the CINEMATIC SOUND RADIO PODCAST. Since launching the CINEMATIC SOUND RADIO PODCAST Patreon a few months ago, we've offered our patrons exclusive perks based on the tier they signed up for. One of those perks is participating in all request programs. All Request Shows were a norm for CINEMATIC SOUND RADIO back on the FM dial between 1996 and 2006. They were some of my favourite shows. It gave my listeners a chance to participate in the programming of the show and was always a special program to produce. It's been 17 years since the last all-request show so as a perk for some of our patrons we are now bringing back the all-request show on a bi-monthly basis. If you want to participate in future all-request shows, please head over to our Patreon page, and join the community in any tier that is $5 USD/month or above. Once you do so you will be able to participate in all upcoming all request programs. For this premiere all-request program, our participants included Max Hamulyak, Dave Williams, Victor Field, Don Mase, Alphonse Brown, Douglas Lacey, Williams Welch, Alan Rogers, Tim Burden and Joe Wiles. They requested tracks from such composers as Rachel Portman, John Powell, Ron Grainer, James Horner, John Barry, John Paesano, Hans Zimmer, David Newman, Jane Antonia Cornish and Bear McCreary. Let me tell you, the playlist is fantastic! Sure, some selections come from big blockbusters but there are other selections that come from more obscure fare. And one cue was from a score I had never heard before. With that being said, I hope you all enjoy the program. This was easily one of the most enjoyable shows I've produced in years. Again, for those that didn't get a chance to participate and want to be a part of October's all-request program, we'd love to have you join the CINEMATIC SOUND RADIO PODCAST Patreon family. But don't feel like you have to join. I'm not forcing anyone to join. Remember this podcast will always be free to listen to but if you want to support the program and join the community we've formed on Patreon then we'd love to have you. Enjoy the show! —— Cinematic Sound Radio is fully licensed to play music by SOCAN. Support us on Patreon https://www.patreon.com/cinematicsoundradio Check out our NEW Cinematic Sound Radio TeePublic Store! https://www.teepublic.com/stores/cinematic-sound-radio Cinematic Sound Radio Web: http://www.cinematicsound.net Twitter: http://www.twitter.com/cinsoundradio Facebook: http://www.facebook.com/cinematicsound Cinematic Sound Radio Fanfare and Theme by David Coscina https://soundcloud.com/user-970634922 Bumper voice artist: Tim Burden http://www.timburden.com

This episode hears Sacha Puttnam talking to Oscar winning composer Rachel Portman (for Emma with Gwyneth Paltrow, and being one of the only three women to have won the Academy Award for Best Score). Rachel tells Sacha about her breakthrough into film composing along with the joys of writing the music to this wonderful and heart warming film, War of the Buttons, adapted for the screen by Colin Welland.Sacha took two of Rachel's pieces from WotB to produce his beautiful suite on the album Spirt of Cinema.Find more on Sacha at www.mayamusic.co.uk (where you'll also find a link to Rachel's fantastic solo album), or on instagram at @mayamusicltd, @Mable_Productions and @SachaPuttnam. You can find Rachel at www.rachelportman.co.uk, or on Instagram at rachelportmancomposer. Hosted on Acast. See acast.com/privacy for more information.

In our latest episode of The Pop Disciple Podcast, we are joined by Rachel Portman, the brilliant Academy Award winning composer of Emma and Chocolat, in advance of her debut solo album release, Ask The River on Node Records this May. ABOUT POP DISCIPLE Pop Disciple is a storytelling platform, exploring the creative work of entertainment industry professionals. With a focus in music in media, we present in-depth interviews with world-class music supervisors, film and television composers, and influencers in the realms of film and music. Visit PopDisciple.com. Follow @PopDisciple on Instagram. Music Credits Podcast Theme & Outro Music: Goldo Cues Throughout Episode: Rachel Portman

Dins de la setmana de la dona,

James Lowe- Season 3, Ep. #5 –Renowned Opera Conductor James Lowe talks about Utah Opera's new production of Rachel Portman and Nicholas Wright's The Little Prince, working with youth in leading opera roles, and the hope he sees in a new era of opera.

Background music: End Credits by Rachel Portman and David Snell --- Support this podcast: https://anchor.fm/adamguard/support

Background music: Chocolat: Main Titles by Rachel Portman and David Snell --- Support this podcast: https://anchor.fm/adamguard/support

www.chrisgarrick.com   Christian Garrick is an improvising violinist, a composer and a bandleader. He is active on the international concert circuit and on the London studio session scene. He is a professor of jazz and non-classical violin at three of London's major music conservatoires. He has worked with artists such as Wynton Marsalis, Nigel Kennedy, Julian Joseph, Bireli Lagrene, Dolly Parton, All About Eve, Van Morrison, Luka Bloom, Martin Taylor, Brian Ferry & Caro Emerald. He has made tours of the Far East and Australia with guitarist John Etheridge in a tribute to Stephane Grappelli and in 2001 he toured Israel with Dame Cleo Laine and the Israel Philharmonic Orchestra. His performance at the Genius of the Violin Festival in 2004 led to invitations to perform Piazzolla's Seasons with Barry Wordsworth at the Brighton Dome and then in London, at the Royal Festival Hall, in 2008. He has toured and recorded extensively with Parisian guitar virtuoso Angelo Debarre and is a member of Alec Dankworth's Spanish Accents.  He formed the band Spirit O' Stephane to celebrate the music of Grappelli. He works frequently in film and television for composers such as Danny Elfman, Anne Dudley, Howard Shore, George Fenton, Rachel Portman, Stephen Warbeck, Mark Thomas and Rob Lane.   I sat and chatted with Chris in the house he was staying in just outside of London. We covered mainly his musical upbringing by his jazz pianist father Michael Garrick and his outlook on music and life in general! Chris is a lovley dude and I had a great time chatting with him. Hope you enjoy listening.     The intro music  is Garrick and David Gordon playing 'Broadway/Afternoon in Paris' (William-Henri-Woode/John Lewis) From their album Paper Jam. The outro music is Benny Golsons 'Whisper Not' recorded by me and my band Latchepen

Sara Mohr-Pietsch talks choral and film music with Oscar-winning composer Rachel Portman.