American film critic
POPULARITY
8 episodes with Richard Brody
4 episodes with Richard Brody
3 episodes with Richard Brody
2 episodes with Richard Brody
3 episodes with Richard Brody
2 episodes with Richard Brody
2 episodes with Richard Brody
2 episodes with Richard Brody
3 episodes with Richard Brody
Theodore Bouloukos returns to the podcast after nearly 7 years (first time was episode 14). The “secret weapon of independent cinema,” as The New Yorker's Richard Brody called him, brings us up to date on his adventures in acting. He talks about why he never dwells on a project's prospects after his work is done, explains the kind of characters that attract him, reminisces about a couple exceptional recent shoots (including the wonderful ode to the game of Baseball that is the film “Eephus”), makes a case for going “full on” for every role, and much more. “Eephus” is currently on demand and highly recommended. Back To One is the in-depth, no-nonsense, actors-on-acting podcast from Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft. Follow Back To One on Instagram
David Remnick is joined by Alexandra Schwartz, the co-host of the podcast Critics at Large, and The New Yorker's august film critic Richard Brody. They talk about the past year in film and predict the victors of the Academy Awards. Brody dismisses “The Brutalist”—a film that merely uses the Holocaust “as metaphor”—and tells Remnick that “Wicked” might win Best Picture. “I think there's a huge desire for cinematic comfort food that makes a billion dollars.” Continuing the Radio Hour's annual tradition, Brody discusses nominees and selects the winners of the coveted award that we call The Brody.
Sarah is joined by Garrett Bucks, founder of The Barnraisers Project and author of the The White Pages and The Right Kind of White, to talk about the movies of 2024 and what they say about gender, parenting, sex, and more. Find out which of the 24 and 39 movies Garrett and Sarah watched (respectively) are their best and worst. Also — why Dune is a boymom movie, why Garrett had to fast-forward The Substance, and why Challengers is this year's Mamma Mia. * Garrett's Letterboxd* Together (the Swedish one)* Richard Brody's review of The Brutalist* Richard Brody's review of Emilia Pérez* Lindy West's S**t Actually* Babygirl director on Death, Sex, and Money This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit motherofitall.substack.com/subscribe
On this episode, host Dr Pasquale Iannone is joined by John Bleasdale. John is a writer and film critic whose work has appeared in Sight & Sound, The Guardian, Variety, The Economist and many other outlets. He's also a prolific podcaster, with series such as Writers on Film, Cinema Italia and The James Bond Book Club.John talks to Pasquale about his latest book The Magic Hours (2024), a fascinating biography of the acclaimed American filmmaker Terrence Malick which was recently described by New Yorker critic Richard Brody as ‘a rapturously detailed, sensitively observed, critically insightful account.' John and Pasquale talk about what makes for a great filmmaker biography and then discuss Malick's background, his brief but eventful stints in academia and journalism and his beginnings as a screenwriter. Also covered are his first two features as director - 1970s American classics Badlands (1973) and Days of Heaven (1978) as well as the much talked about gap of two decades between Days of Heaven and his third feature, The Thin Red Line (1998). Just what was Malick up to during this time? How much truth is there in this image of Malick as the reclusive auteur?The conversation also takes in key aspects of the Malick methodology and film style, including his work with actors, his editing approach and his use of voiceover.The Magic Hours: The Films and Hidden Life of Terrence Malick is out now via the University Press of Kentucky.
Listen to the full episode here: https://www.patreon.com/coldpod Brandon Kaufman is a Toronto based filmmaker, writer and critic who's work has appeared in The Guardian, Screen Slate and The Toronto Star. Brandon sat down with us to discuss the 'Find My Friends' app, spontaneity, his monthly film series 'Party Favour', double features, 'The Brutalist', curation, TIFF, 'The Van Gogh Experience', Mubi tote bags, A24 stans, production company merch, backpacks, garbage bags, Online Ceramics, filmmakers as idols, striving for satisfaction, financial necessities in film, Quentin Tarantino, being a critic and an artist, art as a product of criticism, 'The Substance', anti-intellectualism, legacy media, 'The Pitchfork Sunday Review', Richard Brody, 'Ringcels', two party systems, reactionary art, vulgar auteurism, Paul W. S. Anderson, security in fandom, M Night Shyamalan, film twitter, tricking yourself into liking things, people who say "Its not that deep", the Toronto art scene, DIY galleries, working with limited resources and more! Brandon Kaufman Josh McIntyre Austin Hutchings ---- COLD POD
pWotD Episode 2662: Gena Rowlands Welcome to Popular Wiki of the Day, spotlighting Wikipedia's most visited pages, giving you a peek into what the world is curious about today.With 399,666 views on Thursday, 15 August 2024 our article of the day is Gena Rowlands.Virginia Cathryn "Gena" Rowlands (; June 19, 1930 – August 14, 2024) was an American actress, whose career in film, stage, and television spanned nearly seven decades. A four-time Emmy and two-time Golden Globe winner, she is known for her collaborations with her actor-director husband John Cassavetes in ten films, including A Woman Under the Influence (1974) and Gloria (1980), both of which earned her nominations for the Academy Award for Best Actress. She also won the Silver Bear for Best Actress for Opening Night (1977). She is also known for her performances in Woody Allen's Another Woman (1988), and her son Nick Cassavetes's film, The Notebook (2004). In 2021, Richard Brody of The New Yorker said, "The most important and original movie actor of the past half century-plus is Gena Rowlands." In November 2015, Rowlands received an Honorary Academy Award in recognition of her unique screen performances.This recording reflects the Wikipedia text as of 01:45 UTC on Friday, 16 August 2024.For the full current version of the article, see Gena Rowlands on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Emma.
Merriam-Webster's Word of the Day for August 11, 2024 is: vitiate • VISH-ee-ayt • verb To vitiate something is to ruin it or render it ineffective. // A single inaccuracy in the spreadsheet that supported the data vitiated the entire proposal. See the entry > Examples: "… Lily Gladstone does more with thought, in 'Killers of the Flower Moon,' than most actors ever achieve with flagrant and spectacular action; her presence fills the screen with what used to be understood as star power (before the mainly technical prowess of conservatory-trained actors became a mark of Hollywood dignity). The role she plays is one of tragic complexity; blatant theatrics would have vitiated its grandeur." — Richard Brody, The New Yorker, 23 Jan. 2024 Did you know? If you're itching to find fault with the word vitiate, you don't have to look far—the word comes ultimately from the Latin noun vitium, which refers to a fault, vice, shortcoming, or impediment to success or perfection. Accordingly, vitiate—like its fellow vitium-descended v-words vituperate ("to use harsh, condemning language"), vicious, and vice—has a negative bent. To vitiate something is, essentially, to mar or damage it in some way, whether by ruining or spoiling it ("a joke vitiated by poor timing"), corrupting it morally ("a mind vitiated by prejudice"), or rendering it null or ineffective ("fraud that vitiates a contract"). Despite its versatility, vitiate is most effective when used in formal speech and writing; that is to say, those who drop it into a construction like "a sandwich vitiated by too much peanut butter" may find themselves subject to some mild vituperation.
Why *wouldn't* we revisit any entertainment property—this podcast ep included—starring Channing Tatum?! Behold, one of last year's hits, for your (re-?)listening pleasure. What do the critics have to say about Magic Mike? Here's Shirley Li at The Atlantic, Emma Specter at Vogue, A.O. Scott at the NYT, Richard Brody at The New Yorker, Bob Mondello at NPR, and Kyle Smith at the Wall Street Journal. Channing's look right now! Specifically this Met Gala pic and this Variety cover! He and Zoë Kravitz share a stylist, Andrew Mukamal (who was featured on Kell on Earth—see also: this Interview interview with Kelly Cutrone). If you're into the business side of Magic Mike, check out WSJ's story “For Magic Mike, Channing Tatum Looked for Strippers Moms Could Love.” As for Channing's other creative projects: Sparkella, Born & Bred Vodka (more from BonApp), and the much-hyped romance novel he's writing with Roxane Gay. (Unrelated but also totally related, Tessa Bailey's reverse-harem romance Happenstance.) Oh, Girl Scouts, preparing girls to meet the world with courage, confidence, and character since 1912! We love the logo redesign by Collins, and if you need a cookie source, buy them from Troop 6000, a first-of-its-kind program designed to serve families living in temporary housing in the New York City shelter system, or from trans girls around the country. Another scouting org we love: Radical Monarchs, which creates opportunities for girls and gender-expansive youth of color—this doc is great. Share your Magic Mike reviews with us at 833-632-5463, podcast@athingortwohq.com, or @athingortwohq—or join our Geneva! And for more recommendations, try out a Secret Menu membership. The juggle is real. Don't just respond to stress, get ahead of it with Stress Relief from Ritual. Get 25% off your first month at ritual.com/athingortwo. Start Ritual or add Stress Relief to your subscription today. YAY.
On Zone of Interest and Holocaust film. [Patreon Exclusive] We discuss the winner of the Oscar for Best International Feature Film – one that split opinion, among critics and on the pod too! How does the film fit in the pantheon of Holocaust films? Is it a Holocaust film? How well does it deal with its obvious subject matter: the banality of evil? Is the film neutral and detached or preachy, condescending, moralising? What to make of the commentary around the film, including director Jonathan Glazer's statements? How does it relate to Israel/Palestine? What to make of present-day Auschwitz? Should it be preserved? Link: The Zone of Interest is an extreme form of 'Holokitsch', Richard Brody, New Yorker Is The Zone of Interest simply uninteresting? Toby Marshall, Substack The Zone of Interest is about the danger of ignoring atrocities – including in Gaza, Naomi Klein, The Guardian The Zone of Interest Reminds Us How Easy It Is to Ignore a Genocide on Your Doorstep, Juliet Jacques, Novara The Banality of Evil is No Longer Banal, Maren Thom, Café americain One-star review of Zone of Interest
If all of our current class hierarchies were eliminated, what would replace them? This question is at the core of TRIANGLE OF SADNESS (2022), the art-house hit that show the limits of being an "equal-opportunity offender." PLUS: campus protests, keffiyeh bans, and the state of the publishing industry. Join us on Patreon for an extra episode every week - https://www.patreon.com/michaelandus "No One Buys Books" by Elle Griffin - https://www.elysian.press/p/no-one-buys-books "The Delusional Triangle of Sadness" by Armond White - https://www.nationalreview.com/2022/10/the-delusional-triangle-of-sadness/ "Triangle of Sadness" review by Richard Brody - https://www.newyorker.com/culture/the-front-row/triangle-of-sadness-reviewed-were-on-a-yacht-and-were-puking "Triangle of Sadness" review by Gabe Klinger - https://letterboxd.com/gabeklinger/film/triangle-of-sadness/
Lily Gladstone had been in several films, but unknown to most moviegoers, when she got a call for Martin Scorsese's period drama “Killers of a Flower Moon.” The role was challenging. She plays the historical Mollie Burkhart, an Osage woman married to a white man, Ernest (played in the film by Leonardo DiCaprio), who perpetrates a series of murders of Osage people in a scheme to secure lucrative oil rights. Ernest may be poisoning her with a cocktail that includes morphine, and some of the dialogue is in Osage, a language that Gladstone—raised on the Blackfeet reservation in Montana—had to learn. Gladstone is the first Native person nominated for Best Actress in a Leading Role, and is aware of the historical weight the nomination carries. “We're kicking the door in,” she says. “When you're kicking the door in, you should just kind of put your foot in the door and stand there,” she adds. “Kicking the door and running through it means it's going to shut behind you.” Plus, our film critic Richard Brody returns with his annual movie honors: the Brody Awards. An awards show exclusively for The New Yorker Radio Hour, he'll be handing out imaginary trophies—and trash-talking Oscar favorites like “Oppenheimer”—alongside the staff writer Alexandra Schwartz.
This week we're traveling back to the 1920s with Killers of the Flower Moon! Join us as we learn about William "King" Hale, Mollie Burkhardt, FBI Agent Tom White, and more! Sources: David Grann, Killers of the Flower Moon: The Osage Murders and the Birth of the FBI. Doubleday, 2017 https://ualr.edu/sequoyah/thisday/hale-given-life-sentence-february-1-1929/ FBI Vault: https://vault.fbi.gov/Osage%20Indian%20Murders https://www.fbi.gov/history/famous-cases/osage-murders-case https://www.npr.org/2018/04/06/600136534/largely-forgotten-osage-murders-reveal-a-conspiracy-against-wealthy-native-ameri Evening star. [volume] (Washington, D.C.), 16 Jan. 1957. Chronicling America: Historic American Newspapers. Lib. of Congress. https://chroniclingamerica.loc.gov/lccn/sn83045462/1957-01-16/ed-1/seq-28/ "Review: FAILED PROTECTORS: THE INDIAN TRUST AND ""KILLERS OF THE FLOWER MOON"" Reviewed Work: Killers of the Flower Moon: The Osage Murders and the Birth of the FBI by David Grann Review by: Matthew L.M. Fletcher Michigan Law Review, Vol. 117, No. 6, 2019 SURVEY OF BOOKS RELATED TO THE LAW (April 2019), pp. 1253-1269 (17 pages) https://www.jstor.org/stable/45135202 " Donald Fixico, "The Osage Murders and Oil," The Invasion of Indian Country in the Twentieth Century: American Capitalism and Tribal Natural Resources 2nd edition (University Press of Colorado, 2012), 27-54. https://www.jstor.org/stable/j.ctt46nvt7.7 https://www.atlasobscura.com/articles/osage-murders-photos-killers-of-flower-moon https://www.tshaonline.org/handbook/entries/white-thomas-bruce and https://www.tshaonline.org/handbook/entries/federal-correctional-institution https://www.fbi.gov/news/podcasts/inside-the-fbi-the-osage-murders https://voicesofoklahoma.com/interviews/conner-joe-carol/ https://www.okhistory.org/publications/enc/entry.php?entry=OS005 https://www.esquire.com/uk/culture/film/a45547775/what-happened-to-everyone-in-killers-of-the-flower-moon-after-the-film-ends/ Kirsten Chuba, "Osage Consultant Admits to Complicated Feelings over Killers of the Flower Moon," Hollywood Reporter, available at https://www.hollywoodreporter.com/movies/movie-news/killers-of-the-flower-moon-osage-consultant-mixed-feelings-1235620231/ Richard Brody, "Martin Scorsese on Making Killers of the Flower Moon," The New Yorker, available at https://www.newyorker.com/culture/the-front-row/martin-scorsese-on-making-killers-of-the-flower-moon
This week we're excited to present a panel of critics and programmers to discuss the significance of the late French film critic Serge Daney (1944–1992)'s thought today, with a particular emphasis on how his politically driven analysis and radical enthusiasms of the 1970s might speak to our contemporary moment. Film at Lincoln Center was proud to recently present Never Look Away: Serge Daney's Radical 1970s, a series that celebrated French film critic Serge Daney and the films he championed in his book La Rampe, occasioned by its long-awaited English translation under the title Footlights. Complementing this program was a panel that featured The New Yorker's Richard Brody, translator of Footlights and series co-programmer Nicholas Elliott, and moderator FLC Assistant Programmer Madeline Whittle. This discussion considered the relation between mise-en-scène and moral perspective, the cinema as an antidote to advertising, and the critic's role as an ally to filmmakers. Never Look Away: Serge Daney's Radical 1970 was sponsored by MUBI.
On the eighth episode of All the Film Things, we are celebrating Noirvember! I am joined by my friend, and host of the podcast Red Room Radio, Cristina Santiago, to discuss Louis Malle's 1958 noir film, Elevator to the Gallows. This episode is spoiler- filled. Elevator to the Gallows is a crime thriller film set in Paris and with the events unfolding within 24 hours. The film follows two couples in paralleled storylines. One couple, is young and always together while the other pair are literally separated. Jeanne Moreau stars in the lead role of Florence, who we see in the beginning of the film, plotting with her lover Julien (Maurice Ronet) to kill her husband- his boss- in order for them to be together. After their plans go awry, a tangled web of events involving both couples is set in motion. Not only was this Louis Malle's debut directed feature film, this film also made Jeanne Moreau a star. Released two years before Jean Luc Godard's Breathless, Elevator to the Gallows is regarded as an inspiration for the French New Wave. Miles Davis's jazz score is regarded as "historic" and we quote from Richard Brody's article on the score and film for The New Yorker. I incorrectly stated the name of the author and did not realize until the release date of this episode. This is technically the second ATFT episode Cristina has appeared on. As I mention in the beginning in this episode, this was our second attempt at discussing Elevator to the Gallows. We recorded this second attempt on November 10, 2023 but there are a few excerpts from the first attempt, which was recorded on October 26, 2023. Cristina has a real appreciation for Old Hollywood films so I had recommended her this film, assuming she enjoyed foreign film as well, but I was surprised to learn Elevator to the Gallows was the first foreign film she watched! But watching the film didn't go so smoothly… Cristina and I discuss this in the beginning of the episode. Luckily, she enjoyed the film and is looking forward to watching more classic foreign films! Cristina hosts the pop culture podcast Red Room Radio. Like ATFT, Cristina has a range of topics and different formats allowing her to have a broad range of pop culture- focused episodes. She recently welcomed R. Kurt Osenlund on RRR for a pop culture chat. I was fortunate to have been a guest on RRR for part one and two of the Jayne Mansfield episodes. Be sure to follow Red Room Radio on Apple Podcasts, Spotify, and more so you never miss an episode! In this episode, Cristina and I talk about the famous scene of Jeanne Moreau strolling the streets of Paris at night, Miles Davis's score, imagining what Academy Awards Elevator to the Gallows should have won, the film's ending, and much more! Noire #1 by Music By Pedro https://goo.gl/sJT2e8 Promoted by MrSnooze • Film Noir Background Music for Videos... "Flashback Synth" by se2001 Retrieved from Freesound.org
At the end of this month, after more than two decades, Netflix is phasing out its DVD-rental business. While that may not come as a surprise given the predominance of streaming platforms, it's a great loss to cinephiles, according to the New Yorker's Richard Brody. Streaming services routinely drop titles from circulation, and amazing films may be lost to moviegoers. “Physical media is what protects us from being at the mercy of streaming services for our movies and our music,” Brody says. “It's like a library at home.” Brody gives the producer Adam Howard a peek into his own personal stash of films, and picks a few DVDs of films he would take with him in a fire: Godard's “King Lear” (“the greatest film ever made – literally”); “Chameleon Street,” by Wendell B. Harris, Jr.; “Stranded” and “The Plastic Dome of Norma Jean,” by Juleen Compton; and a box set of five films by John Cassavetes.
The Nose is off. In its place, a look at the No. 1 podcast in America, Strike Force Five, hosted by Stephen Colbert, Jimmy Fallon, Jimmy Kimmel, Seth Meyers, and John Oliver as a way to pay the late night writing staffs during the strikes. Plus: New Yorker film critic Richard Brody joins us to extol the virtues of owning movies on physical media. And finally: endorsements, Nose or no. During this little period of Noselessness, we've decided at least to entertain ideas around doing the show differently. And we want your input! If you're familiar with The Nose, and you have a couple minutes, please take our survey. You might even win a life-alteringly great prize! (It's a coffee mug. You might win a coffee mug.) GUESTS: Richard Brody: The movies editor for Goings On About Town at The New Yorker Megan Fitzgerald: Senior project manager at Connecticut Public Sabrina Herrera: Community engagement and social media editor at Connecticut Public Jennifer LaRue: A writer, editor, and publicist and a contributing producer for The Colin McEnroe Show Cat Pastor: Assistant radio operations manager at Connecticut Public Julia Pistell: A writer and comedian, a founding member of Sea Tea Improv, and a contributing producer for The Colin McEnroe Show Nicholas Quah: The podcast critic for New York Magazine and Vulture, where he writes the weekly newsletter 1.5× Speed Catie Talarski: Senior director of storytelling and radio programming at Connecticut Public Chion Wolf: The host of Audacious on Connecticut Public The Colin McEnroe Show is available as a podcast on Apple Podcasts, Spotify, Google Podcasts, Amazon Music, TuneIn, Listen Notes, or wherever you get your podcasts. Subscribe and never miss an episode!Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.
This week on the podcast we're trying our hand at the greatest radio format of all time. Lily does her best (very bad) Kirsty Young impression as James' delivers his top 3 Desert Island DVDs. He also, of course, details his preferred AV set-up for shipwrecked screenings - think monkeys in tuxedos.ReferencesThe lowdown on Cargo Cults'The rise (and Inevitable fall) of Citizen Kane as the Greatest Movie Ever Made' by Bilge Ebiri for vulture.com'What's so good about Citizen Kane?' by Nicholas Barber for BBC Interesting article on the battle for writer's credit on Citizen Kane by Richard Brody for the New Yorker'Citizen Kane' a masterpiece at 50', by Roger Ebert'Realism for Citizen Kane' by Gregg Toland for theasc.comGene Kelly and Cyd Charisse's sexy dance routine in Singin' In the Rain'Why Singin' in the Rain Is an Almost Perfect Musical' by Jeanine Basinger for The Atlantic'Beyond the Frame: Singin' in the Rain' by David E. Williams for the asc.com 'Shooting In Color Caused Some Problems Behind The Scenes Of Singin' In The Rain' by Whitney Seibold for slashfilm.comLucasfilm's J.W. Rinzler Talks About The Making of Star Wars: The Empire Strikes Back by for Vanity Fair'The Empire Strikes Back at 40: did the Star Wars saga peak too early?' by Scott Tobias for The Guardian'In Hindsight, Empire Strikes Back Director Irvin Kershner Would've Helmed One of the Prequels' by Mike Ryan for Vanity Fair Film Pharmacy recommendationsCeline & Julie Go Boating (1974) dir. by Jacques RivetteShowgirls (1995) dir. by Paul Verhoeven-----------If you love what we do, please like, subscribe and leave a review!Produced and edited by Lily AustinMusic and sound by James BrailsfordLogo design by Abby-Jo SheldonFollow usEmail us
Asteroid City é o novo filme do simétrico Wes Anderson, diretor americano, que já levou o Globo de Ouro e tem uma linguagem bastante própria de seus filmes. O filme que chegou aos cinemas no dia 10 de agosto de 2023 é difícil até de dar uma sinopse. Seria uma peça teatral filmada sobre um grupo de adolescentes geniais que vão participar de uma feira de ciências no deserto americano? Seria um filme sobre perdas e o caos que envolve o processo criativo de um dramaturgo? Ou ainda a história de uma família que após sofrer uma grande perda precisa se reconectar? Independente da sinopse, Asteroid City demonstra ser o filme mais radical de Wes Anderson, não só pela temática, mas por toda a visão de cinema que o diretor tenta transmitir com o longa e que acaba separando o público entre aqueles que têm curiosidade em mergulhar nessa visão e aqueles que podem se cansar no meio do processo. Rafael Arinelli recebe Thiago Muniz (Pipocas Club) e Diego Quaglia (Fiz Cinema) para discutir suas impressões sobre Asteroid City e entender que mesmo o filme sendo polêmico em sua forma, Wes nos trás uma obra que é uma pitada de excentricidade em um mar de clichês e mesmices no mercado Hollywoodiano. Abra sua cabeça, esteja pronto para submergir em camadas e mais camadas de um dos diretores mais autorais de sua geração, faremos isso indo para uma cidade minúscula no meio deserto americano cuja maior atração é um meteoro que caiu ali perto. 02m48: Pauta Principal 1h23m12: Plano Detalhe 1h33m49: Encerramento Ouça nosso Podcast também no: Feed: https://bit.ly/cinemacaofeed Apple Podcast: https://bit.ly/itunes-cinemacao Android: https://bit.ly/android-cinemacao Deezer: https://bit.ly/deezer-cinemacao Spotify: https://bit.ly/spotify-cinemacao Google Podcast: https://bit.ly/cinemacao-google Amazon Music: https://bit.ly/amazoncinemacao Agradecimentos aos patrões e padrinhos: • André Marinho• Anna Foltran• Bruna Mercer• Charles Calisto Souza• Daniel Barbosa da Silva Feijó• Diego Lima• Flavia Sanches• Gabriela Pastori• Guilherme S. Arinelli• Gustavo Reinecken• Katia Barga• Luiz Villela• William Saito Fale Conosco: • Email: contato@cinemacao.com• Facebook: https://bit.ly/facebookcinemacao• Twitter: https://bit.ly/twittercinemacao• Instagram: https://bit.ly/instagramcinemacao• Tiktok: https://bit.ly/tiktokcinemacao Apoie o Cinem(ação)! Assine o Cinem(ação) e passe a fazer parte de um grupo seleto de ouvintes que têm vários benefícios. Com um valor a partir de R$5,00, você já terá direito a benefícios e o melhor de tudo, depois de 1 ano de contribuição, você ganha um presente exclusivo! Acesse a página Contribua, escolha o plano que melhor lhe atende e venha ser um apoiador do nosso canal! Plano Detalhe: (Thiago): Documentário: Retratos Fantasmas (Thiago): Série: Cangaço Novo (Diego): Filme: As Tartarugas Ninja: Caos Mutante (Diego): Youtube: Matt Zoller Seitz, Lisa Rosman & Richard Brody discuss Wes Anderson (Rafa): Filme: Hotel Ruanda Apoia.se: https://apoia.se/cinemacao
We circle back to honor the late greats Ray Liotta and Jonathan Demme with the movie that put the former on Scorsese's map. How many other movies will we talk about before getting to Something Wild? How many other movies will we talk about AFTER getting to Something Wild? Who is the biggest hunk in this movie's handsome cast? And how many fucking airplanes will fly over Raymond's apartment? Tune in now to find out. Deadline Interview with Scorsese: https://deadline.com/2023/05/martin-scorsese-interview-killers-of-the-flower-moon-leonardo-dicaprio-robert-de-niro-1235359006/ Richard Brody piece on Tarantino: https://www.newyorker.com/culture/cultural-comment/a-few-thoughts-on-quentin-tarantinos-plan-to-retire Follow Austin @austin_hayden Follow Raymond @creamatoria Follow the show @CineMythology Email us at cinemythologypod@gmail.com
A feature length conversation with Bruce Koussaba and Alena Lodkina. Chatting about her new film Petrol, currently trotting the globe one screening at a time. The two filmmakers chat all things from smoking on set, to Richard Brody, and possibly having ADHD – in a dialogue charting Lodkina's journey with Petrol, from inception to The New Yorker.See omnystudio.com/listener for privacy information.
It's Just The Gist - "F*cking White People" Edition; The story of the 1981 film ROAR. A tale of how a rich naive Hollywood couple spent over a decade making a movie that starred them, their kids and 150 lions, tigers, leopards, panthers, ALLL the big cats. The movie was pitched as a "family comedy", but is widely regarded as one of the most dangerous films of all time. Roar starred Tippy Hedron (Star of Hitchcock's The Birds and others) her daughter Melanie Griffiths, and the rest of their family. The plot is broadly "we can save the world/animal kingdom/lions and tigers etc are all big friendly besties who just are misunderstood and we can live with them in harmony". Sounds cute in theory, maybe in adorable cartoons, but filming with 150 big cats gives very different results. Turns out, big cats gunna big cat; the films credits say no animals were harmed in the making of the movie (lies lol), but they don't say anything about how many PEOPLE were mauled, scalped, attacked, and generally not treated as one would hope to be treated at work. We give you just the gist, but if you want more, there's this: LINKS Watch ROAR! Trailer from it's 2015 re-release https://bit.ly/roarfilm-trailer . Read 'Looking Back at Roar, a Shocking, Lion-Filled 1981 Movie You've Never Seen (Yet)' by Matt Patches for Esquire Mag online https://bit.ly/3OyeI1i . Read 'Noel Marshall's “Roar”: Humans Were Harmed in the Making of This Film' by Richard Brody for The New Yorker in 2020 https://bit.ly/3BSHuSp . Watch 'The Insane Story Behind The Movie Roar' from Weird History on Youtube https://bit.ly/3MoXf8z . Watch Roar - currently bootlegged on Youtube here https://www.youtube.com/watch?v=m_nOUrQNF_c&ab_channel=Hale . Photos of the stills from the film via IMDB https://www.imdb.com/title/tt0083001/mediaindex . FOLLOW THE SHOW: Follow @justthegistpodcast on Instagram https://bit.ly/jtg-gram . Check out @justthegistpodcast in TikTok https://bit.ly/jtg-tiktok . Follow @jacobwilliamstanley on Instagram https://bit.ly/jacobwilliamstanley-IG . Follow @rosiewaterland on IG https://bit.ly/rosiewaterland-ig . CREDITS Hosts: Rosie Waterland & Jacob Stanley Executive Producer: Elise CooperAudio Imager: Nat Marshall Social Producer: Zoe Panateros Managing Producer: Sam Cavanagh Find more great podcasts like this at www.listnr.com/See omnystudio.com/listener for privacy information.
On this episode, I am joined by noted Cate Blanchett enthusiast and Scorpio, Aubrey Gordon (@yrfatfriend) who you know from the excellent podcast Maintenance Phase. We talked about (and spoiled btw) the movie Tár. We talked about queer anti-heroes/villains, what this movie says (if anything) about cancel culture, whether this is a horror movie, and a lot more.Buy Aubrey's books on Bookshop. Things we talked about:Imitation of Life Can You Ever Forgive Me?Michael ClaytonCarolThe Worst Idea of All Time podcastThe Best Idea of All Time podcast“‘Tár,' Reviewed: Regressive Ideas to Match Regressive Aesthetics” by Richard Brody for The New Yorker“Tár is actually a horror movie” by Martin Millman for ColliderThread from r/blankies about ghosts in the movie TárGet Oh, I Like That merch here! This episode was produced by Sally and Aubrey and edited by Aram Vartian. Our logo was designed by Amber Seger (@rocketorca). Our theme music is by Tiny Music. Follow us Instagram @OhILikeThatPod.
If you've been asking “Why aren't more podcasts talking about Magic Mike's Last Dance and Girl Scouts?” you've come to the right place. Shall we?? What do the critics have to say about Magic Mike? Here's Shirley Li at The Atlantic, Emma Specter at Vogue, A.O. Scott at the NYT, Richard Brody at The New Yorker, Bob Mondello at NPR, and Kyle Smith at the Wall Street Journal. Channing's look right now! Specifically this Met Gala pic and this Variety cover! He and Zoë Kravitz share a stylist, Andrew Mukamal (who was featured on Kell on Earth—see also: this Interview interview with Kelly Cutrone). If you're into the business side of Magic Mike, check out WSJ's story “For Magic Mike, Channing Tatum Looked for Strippers Moms Could Love.” As for Channing's other creative projects: Sparkella, Born & Bred Vodka (more from BonApp), and the much-hyped romance novel he's writing with Roxane Gay. (Unrelated but also totally related, Tessa Bailey's reverse-harem romance Happenstance.) Oh, Girl Scouts, preparing girls to meet the world with courage, confidence, and character since 1912! We love the logo redesign by Collins, and if you need a cookie source, buy them from Troop 6000, a first-of-its-kind program designed to serve families living in temporary housing in the New York City shelter system, or from trans girls around the country. Another scouting org we love: Radical Monarchs, which creates opportunities for girls and gender-expansive youth of color—this doc is great. Share your Magic Mike reviews with us at 833-632-5463, podcast@athingortwohq.com, or @athingortwohq—or join our Geneva! And for more recommendations, try out a Secret Menu membership. This episode may contain paid endorsements and advertisements for products and services. Individuals on the show may have a direct, or indirect financial interest in products, or services referred to in this episode. Try out professional counseling with BetterHelp and take 10% off your first month with our link. Help your hair with Nutrafol. Take $15 off your first month's subscription with the code ATHINGORTWO. Get more out of your bread with Hero Bread—10% off your first order with the code ATHINGORTWO. Sleep well with Boll & Branch—get 15% off your first set of sheets when you use the promo code ATHINGORTWO. YAY. Produced by Dear Media
Merriam-Webster's Word of the Day for March 10, 2023 is: factotum • fak-TOH-tum • noun A factotum is a person who has many diverse activities or responsibilities, and especially one whose work involves a wide variety of tasks. // After graduating from college, Natalia worked for several years as an office factotum. See the entry > Examples: "Francesca, one of her former students, works tirelessly as Lydia's factotum, amanuensis, and personal assistant, in the expectation of becoming her assistant conductor in Berlin." — Richard Brody, The New Yorker, 12 Oct. 2022 Did you know? "Do everything!" That's a tall order, but it is exactly what a factotum is expected to do. It's also a literal translation of the Latin phrase fac tōtum: the phrase is usually glossed as "do all!" with the punctuation expressing the force behind the command. (Fac is an imperative form of facere, "to make, do," and tōtum means "the whole, entirety.") When it first appeared in English in the mid-16th century, factotum was frequently paired with other words in such phrases as dominus/domine factotum ("lord/lady" factotum), magister factotum ("master" factotum), and Johannes factotum ("John" factotum), all approximate synonyms of the slightly younger term jack-of-all-trades. While in the past factotum could also be synonymous with meddler and busybody, the word today refers to a handy, versatile sort anyone in need of an assistant might hope for.
“Everything Everywhere All at Once” is in a genre all its own, and is an extremely unlikely favorite for the Academy Award for Best Picture. It's a loopy sci-fi quest that becomes a martial arts revenge battle, superimposed on a sentimental family drama. Stephanie Hsu plays both Joy, a depressed young woman struggling with her immigrant mother (played by Michelle Yeoh), and Jobu Tupaki, an interdimensional supervillain bent on sowing chaos, and possibly the end of the world. “The relationship between Evelyn and Joy in its simplest terms is very fraught,” Hsu tells the staff writer Jia Tolentino. “It's the story of a relationship of a daughter who's a lesbian who is deeply longing for her mother's acceptance . . . but they keep chasing each other around in the universe and they can just never find one another. Until, of course, they launch into the multiverse and become nemeses.” The film is nominated for eleven Academy Awards, including Best Supporting Actress, for Hsu's performance. Plus, in a New Yorker Radio Hour annual tradition, the incorruptible film critic Richard Brody bequeaths the awards that really matter: the Brody Awards, recognizing the finest performances and the best picture of 2022.
Hello from Juilliard! This week, our friend Vinson Cunningham, award-winning critic at The New Yorker, joins Tammy and Jay to discuss 2022's wokest(?) film, “Tár.” (Spoiler alert!) [1:00] Before we get into it, we address Kyrie Irving's request for a trade from the Brooklyn Nets… and what makes him so annoying. (We recorded before Irving's move to the Dallas Mavericks was announced.) Plus: What does his situation say about workers' rights, in the context of highly-compensated NBA players? [12:50] In our main segment: “Tár,” the dark portrait of a high-powered orchestra conductor's fall from grace, starring Cate Blanchett. How does the film see the dangers of artistic personas (with a #MeToo plotline reminiscent of James Levine's abuses), “cancel culture” (per Richard Brody's review), and labor relations? And how do the movie's heavy-handed academic scenes compare to Vinson's experience as a college teacher? [33:40] The film also critiques a specific type of (aging? resentful? arrogant?) second-wave feminist, as Zadie Smith argues in her illuminating piece in the New York Review of Books. We also discuss Becca Rothfeld's analysis of “Tár” and the obsession with reputation management. Plus: the orientalist narrative of a Western (anti-)hero finding herself in the East. Thanks for listening! Subscribe on Patreon or Substack to join our Discord and participate in an upcoming movie night with Jay, Tammy, and fellow listeners. As always, you can follow us on Instagram, TikTok, and Twitter, and stay in touch via email at timetosaygoodbyepod@gmail.com. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit goodbye.substack.com/subscribe
Tár is about a super important and revered conductor (EGOT, principal conductor for the Berlin Orchestra, blah blah) named Lydia Tár (Cate Blanchett). She's one of those tightly wound type-A people who want everything to be perfect and expects those around her to make it that way. She comes off as a tightly wound narcissist and really only shows pure emotion toward her daughter, Petra, whom she shares with her wife, Sharon (Nina Hoss), the orchestra's concertmaster. Slowly, over the course of the film, you begin to realize that Lydia abuses the young women around her, stringing them along with promises of career advancement so she can enjoy them sexually or just take advantagement of their time and talent. Her personal assistant, Francesca (Noémie Merlant) puts up with a ton of crazy shit in hopes of becoming assistant conductor someday. Her wife ignores her affairs with other women because she likes being Lydia's right hand woman … her confidant and trusted advisor. One woman, Krista, who we only ever see from behind and in Lydia's anxiety nightmares, apparently stepped out of line and suffered dire career consequences as a result. When she commits suicide and accusations surface, Lydia spirals downward and loses all the prestige she worked so hard to gain. Other shit you should check out: Richard Brody's review in The New Yorker Todd Field's screenplay
Merriam-Webster's Word of the Day for December 18, 2022 is: ineluctable • in-ih-LUK-tuh-bul • adjective Ineluctable is a formal word meaning “unable to be avoided, changed, or resisted.” Often followed by such words as fate and conclusion, it is a synonym of inevitable. // Even the tallest mountains will one day be reduced to sand by the Earth's slow yet ineluctable geologic forces. See the entry > Examples: “In the earliest years of Hollywood, a century ago, a star-driven system gave way to a director-driven one, which studio executives then quickly clamped down on. What emerged was a top-down system that, ever since, has seemed, absurdly, like a natural and ineluctable state of the art.” — Richard Brody, The New Yorker, 2 Dec. 2021 Did you know? If you love grappling with language as much as we do, you're sure to get a (flying) kick out of today's word. Ineluctable, you see, has its roots in wrestling, a popular sport in ancient Greece and Rome. The Latin word lucator means “wrestler,” and luctari means “to wrestle,” as well as “to struggle, strive, or contend.” With the addition of e- (ex-) luctari became eluctari, meaning “to struggle clear of.” The negating prefix in- then piled on to form ineluctabilis, an adjective describing something that cannot be escaped or avoided. It is ineluctabilis that English speakers borrowed to form ineluctable, a word often used to describe fates that one cannot squirm free from, whether due to something as cosmic as the Fates themselves or as corporeal as a headlock.
Is it just me, or does it seem like AI technology has made some big leaps this week? Between the photo generating apps on Instagram & Tiktok blowing up, and several new systems introduced to me by colleagues, I'm once again amazed by the advances in technology we're seeing in a relatively short period of time. While impressive, perhaps you also (rightly so) find these developments more than a little scary. Whether you're a writer, a video editor, or other service provider, it may not be long before AI will be capable of producing the work you do - for far faster and cheaper. So the question becomes, how do you maintain your job and continue to stand out in this changing world? In today's new post, I'm sharing how you can leverage the tools that are out there to make your job easier, while still providing a greater level of service to your clients than any AI can compete with. Read on to learn how to make yourself truly invaluable & irreplaceable in 2023. Smarter & faster Years ago, on an episode of the Sell or Die podcast I host with my husband, we had Richard Brody on as a guest. He's an incredible tech mind with many claims to fame, most notably (to me) the spell-check function in Microsoft Word. On the show, he said something that scared the hell out of me. He said, “The machines are going to become smarter than we are.” Those words have stuck with me ever since. And now, all of the sudden, I feel like I am seeing that prediction come to life. Between the way photo apps are now able to create mock images of you in both the past and future, to the data we get on the words we use in our sales proposal videos (Use something more persuasive! Insert an empathy word here!), it's becoming abundantly clear that technology is exceeding many of the capabilities of humans. What the machines are able to accomplish rapidly is absolutely incredible. This may have got you thinking: Am I going to be out of a job soon? How to not become obsolete If you're a service provider of any kind, it's not dramatic to be asking yourself that very question. There's no outsmarting or outpacing a machine. You can now go to a website, pop in a couple of topics, and get an entire blog post written for you in minutes. You can download a program that allows you to upload a long video and have it broken down for you into short, usable clips. AI can do work that typically takes you hours within minutes. So what can you do to increase your own job security going into 2023? How can you make yourself invaluable? Here are a couple of things you can do to be irreplaceable: Use technology to enhance what you're doing. Leverage the tools that are out there to make your job easier. Rather than hiding behind technology, it's going to be the people who stand in front of it, who use it as a stepping ladder, that ultimately get ahead. Provide a greater level of service to your clients. The level of service that you provide and the experience that you give to your customers is so freaking important. If you want someone to choose you over a bot, you've got to deliver a 5-star experience. You may not be faster, but your clients need to see that working with you is superior overall in your interactions and delivery. Showcase your human empathy. Empathy is your ability to relate and connect with the other person to form a relationship. You need to show your customers that you deeply understand where they're at and what they're seeking. Then, you create trust in your ability to help them get there. Relationships take time. Building trust takes time. And so now more than ever, with machine learning becoming so prevalent and AI being so sophisticated that you can basically say what you want and get a form of it immediately, the human element will be what sets you apart. Your voice and the energy behind it are irreplaceable and what you need to use to stand out. AI can do a lot of things, but it's not you. AI doesn't have your energy. AI cannot make people feel seen and heard and understood in the ways that you can. And that, my friend, is your success frequency. This is why your success frequency is more important now than ever before. So live into it, and act on it.
Rebeca Huntt tells her own coming of age story in her debut documentary "Beba," now streaming on Hulu. She uses the medium of film to explore the personal, political and poetic. The New Yorker critic Richard Brody describes the film as "an intimate story with a grand scope." It's been nominated for the Cinema Eye Honors in three categories including Best Director and was named by Indiewire as one of the Top 25 Films of 2022.On Instagram: @bebafilm @rebecahuntt @purenonfiction @thompowers1
A long time ago, in a galaxy, far, far away... Well, actually, just a few weeks ago, right here on the good old internet, our esteemed colleague, The New Yorker's Richard Brody, tweeted out two simple words: TÁR WARS. He was referring, of course, to the swirl of controversy around TÁR, one of this year's most talked-about films. The movie, directed by Todd Fields and featuring a central performance from Cate Blanchett, tracks the gradual downfall of one Lydia Tár, the egomaniacal and possibly predatory conductor of the Berlin Philharmonic. Though a likely lock for many end-of-year lists, TÁR has been fairly divisive among critics. So for today's podcast, Film Comment editors Devika Girish and Clinton Krute took inspiration from Mr. Brody's tweet and invited two well-matched gladiators—the valiant Jessica Kiang on the pro-side and the courageous Nathan Lee on the con—to debate the relative merits and demerits of TÁR. Two critics enter, one critic leaves… May the best critic win!
We discuss Tár and Los Espookys, a film and a series about what lies beneath the surface of a performance. 01:46 Tár, playing in theaters, is an ambitious, relentless, engrossing film about art — and the great and terrible artist. 26:48 Los Espookys, available on HBO, is a gem of a surreal, absurdist, magical realist comedy series. 39:31 Plus, culture notes about our favorite curmudgeon/New Yorker critic Richard Brody's very strange week. ... Follow us on Twitter and Instagram. For extended show notes — including links that we reference, plus more — subscribe to our Substack. Inquiries, complaints, and recs for what to watch can go to criticismisdead@gmail.com. Music: REEKAH Artwork and design: Sara Macias and Andrew Liu
David and Scott discuss movies about the Internet as well as an unwarranted attack on Richard Brody.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
“Cinema is never on time,” wrote the great critic Serge Daney. That statement never seemed to apply to Jean-Luc Godard, an auteur who was always of his time and ahead of it—a relentless interrogator of the present who also sought the horizons of a new future. This week, as we mourn the recent passing of one of our greatest artists, Film Comment Co-Deputy Editors Devika Girish and Clinton Krute invited two critics and Godard experts for a talk about the filmmaker's life and career. Richard Brody writes about movies for The New Yorker and is the author of the must-read Godard biography, Everything is Cinema, and Blair McClendon is a film editor, regular Film Comment contributor, and author of a beautiful remembrance of Godard published by n+1. The four discussed Godard's vast and protean filmography, from foundational works like Breathless and La Chinoise to masterful essay films like Goodbye to Language and The Image Book, and the ways in which Godard's films awakened them, in their formative cinephilic years, to the aesthetic and political potentialities of cinema.
Merriam-Webster's Word of the Day for September 21, 2022 is: perspicacious • per-spuh-KAY-shus • adjective Perspicacious is a formal word that means “possessing acute mental vision or discernment.” Someone who is perspicacious has a keen ability to notice and understand things that are difficult or not obvious. // She considers herself a perspicacious judge of character. See the entry > Examples: “Some of the film's performances are merely peculiar and others merely apt, but [actor Don] Cheadle is thrilling, with coiled strength and a perspicacious gaze that seems to realize ideas in motion.” — Richard Brody, The New Yorker, 1 July 2021 Did you know? Some perspective on perspicacious: the word combines the Latin perspicac- (from perspicax meaning “clear-sighted,” which in turn comes from perspicere, “to see through”) with the common English adjective suffix -ious. The result is a somewhat uncommon word used to describe someone (such as a reader or observer) or something (such as an essay or analysis) displaying the perception and understanding of subtleties others tend to miss, such as the distinctions between the words perspicacious, shrewd, sagacious, and astute—something our synonym chooser can help with.
This week on the Film at Lincoln Center podcast, we're featuring a special archival panel discussion on the late filmmaker Jean-Luc Godard from the 52nd New York Film Festival. Listen to a special panel, including The New Yorker's Richard Brody, former MoMA curator Lawrence Kardish, Goodbye to Language star Héloise Godet, and critic Max Nelson, discuss Godard's work and career with moderator Eric Kohn from IndieWire. Tickets to the 60th New York Film Festival, taking place from September 30 to October 16th, go on sale Monday, September 19 at noon. Don't miss this anniversary milestone edition and explore the lineup at filmlinc.org/nyff
Today we're traveling back to the 1970s with Blackkklansman! Join us as we learn about the real Ron Stallworth, women in the KKK, whether or not Flip Zimmerman was a real guy, and more! Sources: Ron Stallworth, Black Klansman: Race, Hate, and the Undercover Investigation of a Lifetime (New York: Flatiron Books, 2018) Johnny Brayson, "Here's The Real Story Behind Adam Driver's 'BlacKkKlansman' Character," Bustle (9 August 2018). https://www.bustle.com/p/where-is-flip-zimmerman-in-2018-the-blackkklansman-character-played-a-key-role-in-a-wild-true-story-10015280 Chuck Arnold, "Meet the real detective behind 'BlacKkKlansman'" New York Post (9 August 2018). https://nypost.com/2018/08/09/meet-the-real-detective-behind-blackkklansman/ VIBE Magazine, "Spike Lee Explains How BlacKkKlansman Was Made | VIBE" YouTube (7 August 2018). https://youtu.be/pKRslSc-wNw CBS Mornings, "Spike Lee, real-life Ron Stallworth talk new film "BlacKkKlansman"" YouTube (10 August 2018). https://youtu.be/BkkTLULVMCo SAG-AFTRA Foundation, "Conversation with BLACKKKLANSMAN," YouTube (12 Novermber 2018). https://youtu.be/XslaWRgKoFE Rotten Tomatoes, https://www.rottentomatoes.com/m/blackkklansman Mark Kermode, "BlacKkKlansman review - a blistering return to form for Spike Lee," The Guardian (26 August 2018). https://www.theguardian.com/film/2018/aug/26/blackkklansman-review-spike-lee-blistering-return-to-form A.O. Scott, "Review: Spike Lee's 'BlacKkKlansman' Journeys Into White America's Heart of Darkness," The New York TImes (9 August 2018). https://www.nytimes.com/2018/08/09/movies/blackkklansman-review-spike-lee.html Richard Brody, ""BlacKkKlansman," Reviewed: Smike Lee's Vision of Resistance to White Supremacy," The New Yorker (10 August 2018). https://www.newyorker.com/culture/the-front-row/blackkklansman-reviewed-spike-lees-vision-of-resistance-to-white-supremacy Wiki: https://en.wikipedia.org/wiki/BlacKkKlansman "'Free the Pendleton 14' podcast shines new light on issue of white supremacy among active duty military," AirTalk KPCC. https://www.kpcc.org/programs/airtalk/2019/01/24/64114/free-the-pendleton-14-podcast-shines-new-light-on/ Lois Beckett, "How the US military has failed to address white supremacy in its ranks," The Guardian (24 June 2020). https://www.theguardian.com/us-news/2020/jun/24/us-military-white-supremacy-extremist-plot Seth G. Jones, Catrina Doxsee, Grace Hwang, and Jared Thompson, "The Military, Police, and the Rise of Terrorism in the United States," Center for Strategic & International Studies (12 April 2021). https://www.csis.org/analysis/military-police-and-rise-terrorism-united-states Kathleen Belew, "The White Power Movement at War on Democracy," HFG Research and Policy in Brief (January 2021). https://www.hfg.org/wp-content/uploads/2021/06/WhitePowerVersusDemocracy.pdf Kathleen Belew, "There Are No Lone Wolves: The White Power Movement at War," in A Field Guide to White Supremacy, 312-24 (University of California Press, 2021). https://www.jstor.org/stable/j.ctv1xbc21c.26 Kathleen Belew, Bring the War Home: The White Power Movement and Paramilitary America (Harvard University Press, 2018). https://www.jstor.org/stable/j.ctv24w659z.6 Kathleen Blee, "Women in the 1920s Ku Klux Klan Movement," Feminist Studies 17, 1 (1991) Kathleen Blee, "Becoming a Racist: Women in Contemporary Ku Klux Klan and Neo-Nazi Groups," Gender and Society 10, 6 (1996) William F. Pinar, "White Women in the Ku Klux Klan," Counterpoints 163 (2001)
We've traveled back to 1987 to wax ecstatic about Elaine May's maligned box office failure, Ishtar. We match May's compassion for the brashly stupid Chuck and Lyle (played by Dustin Hoffman and Warren Beatty, respectively) as Chad explains his personal connection to the movie, Veronica wonders how (and if) the movie successfully balances its many threads, and guest Frank Falisi lays out his theory that this is a high musical à la Vincente Minnelli.Some further reading that we reference on the show: Peter Biskind's account of the film–excerpted from Star, his Beatty biography–for Vanity Fair, enthusiast Richard Brody speaking with Elaine May for the New Yorker, and Chad's own Ishtar essay, “But We Can Sing Our Hearts Out,” featured in our 2019 issue dedicated to May's movies & legacy.The Bright Wall/Dark Room Podcast is co-hosted by Veronica Fitzpatrick and Chad Perman and produced and edited by Eli Sands. Our theme music is composed by Chad.Find all 100+ issues of Bright Wall/Dark Room, including this month's jaunt back to ‘87, at brightwalldarkroom.com. Please subscribe, rate, and honor us with a quick review. We're on Twitter @BWDR and @TheBWDRPodcast, and you're welcome to show support via our Patreon. We welcome listener feedback and sponsorship inquiries at editors@brightwalldarkroom.com. Thanks: we think you're wonderful.
This is a free preview of a paid episode. To hear more, visit haleynahman.substack.comThis week I invited Avi and Harling back on the podcast to debrief on Nathan Fielder's new show The Rehearsal and all the dramatic discourse surrounding it. Two pieces we reference are “The Cruel and Arrogant Gaze of Nathan Fielder's The Rehearsal,” by Richard Brody for The New Yorker and “Missed Connections: How to Tell if Nathan For You Is For You” a 2016 essay by Emma Healey for The LA Review of Books. We also dabble in some Love Island discussion and weigh in on The Bear.
The SLC Performance Lab is produced by ContemporaryPerformance.com and the Sarah Lawrence College MFA Theatre Program. During the course, visiting artists to the MFA Theatre Program's Grad Lab are interviewed after leading a workshop with the students. Grad Lab is one of the core components of the program where graduate students work with guest artists and develop group-generated performance experiments. Stephen Winter is interviewed Stephen Winter (SLC 23) Stephen Winter is an award-winning filmmaker, writer, and artist. He wrote, produced and directed his 1996 debut feature film Chocolate Babies, which premiered at the Berlin Film Festival and won Honorable Mention and Audience awards at San Francisco Frameline, SXSW, Urbanworld and OutFest. Stephen's second feature film is Jason and Shirley (2015) co-written and co-starred artist Jack Waters and playwright and journalist Sarah Schulman. Richard Brody in The New Yorker called it “one of the year's finest” films. As producer, Stephen's first film was Jonathan Caouette's landmark “narci-cinema” feature documentary Tarnation. He has worked creatively with Lee Daniels (Precious, Paperboy, The Butler), John Cameron Mitchell (Shortbus), John Krokidas (Kill Your Darlings), David France (How To Survive A Plague) and Xan Cassavetes (Kiss of the Damned). In the podcast space, Stephen is directing the science fiction drama The Space Within for Topic Studios, starring and Executive Produced by Jessica Chastain with Bobby Cannavale, Michael Stahlberg, Sturgill Simpson and Jessica Wu. In 2018, with Tristan Cowen, Stephen co-wrote and directed the pioneering fiction podcast series Adventures in New America, an afro-futuristic political satire for the Night Vale Network, “The Best New Social Thriller is a Podcast,” New York Times, compared the show to Boots Riley and Jordan Peele.
Another good friend stops by for coffee and conversation. Richard Brody is a radio pro who has worked on and off the air for decades, achieving notoriety as one of the most successful and innovative radio account executives in the business. In his younger days we took his turns as disc jockey on many stations and formats throughout the northeast. He also helped produce and promote hundreds of concerts, working with some of the biggest stars in the music business. Rich is the closest thing to a radio historian you're going to meet and his stories are always great fun!
Whether you think about it or not, many stories we know are chock full of governance. This is the second part of my chat with writer and programmer Shauna Gordon-McKeon. I enjoyed learning about governance in last week's episode, but the conversation we had in this episode is my favorite. We get into what inspires us to (or to not) take action, the laziness of dictatorship-topple stories, and the ethics and logistics of writing major and minor characters. I also go off on a tangent about Breakfast of Champions by Kurt Vonnegut because of course I do. If you have a governance story you love or just want to talk about, feel free to email me! researchholepodcast@gmail.com! Justice for rhubarb! Read Shauna's story, Sunlight, for the After the Storm anthology here: https://medium.com/after-the-storm/sunlight-cdb9bb0be8bc This note is from Shauna: There's a good article by Ada Palmer and Jo Walton on how over-reliance on heroic narratives leads to conspiracy thinking: https://www.uncannymagazine.com/article/the-protagonist-problem/. I don't think I referenced it explicitly but it's very relevant. If you want to read two very articulate views on the politics of Black Panther written by actual Black people, as an antidote to Shauna and I—two white people—just riffing, check out “There Is Much to Celebrate–and Much to Question–About Marvel's Black Panther” by Steven Thrasher and “The Passionate Politics of ‘Black Panther'” by Richard Brody. If you want to not be like Shauna and I and actually read the books we reference, you can check out Workshops of Empire: Stegner, Engle, and American Creative Writing During the Cold War by Eric Bennett. The book I couldn't remember the name of in the podcast was called Craft in the Real World: Rethinking Fiction Writing and Workshopping by Mathew Salesses. Before you plant nerds come at me, yes, I misspoke. Technically, rhubarb is a vegetable, though it is legally a fruit! So I was kind of right! The Huffpost article “So What Exactly IS Rhubarb, Anyway?” explains this distinction further. The article Leah referenced in her Something I Learned This Week email is “Listen to the Sick Beats of Rhubarb Growing in the Dark” on Atlas Obscura. You can learn more about Shauna by following her on twitter at @shauna_gm or visiting her website: http://www.shaunagm.net/. You can find bonus material, including a brief preview paragraph from Shauna's governance story-in-progress by supporting me, Val Howlett, on Patreon.
This week we're going back to the Middle Ages with David Lowery's The Green Knight! Join us as we talk about St. Winfred's head, sumptuary laws, camera obscura, horrifying puppets, and more! Sources: The Life of St. Winifred, Golden Legend Volume VI, available at https://sourcebooks.fordham.edu/basis/goldenlegend/GoldenLegend-Volume6.asp#Winifred "Camera Obscura," History of Science Museum, available at https://www.hsm.ox.ac.uk/camera-obscura "When Was the Camera Invented? Everything You Need to Know." NFI, available at https://www.nfi.edu/when-was-the-camera-invented/#:~:text=While%20historians%20generally%20accept%20that,one%20he%20made%20around%201826. Brian Tallerico, "The Green Knight," RogerEbert.com (July 30, 2021) https://www.rogerebert.com/reviews/the-green-knight-movie-review-2021 Mark Kermode, "The Green Knight review - a rich and wild fantasy," The Guardian (26 September 2021), https://www.theguardian.com/film/2021/sep/26/the-green-knight-review-david-lowery-dev-patel-gawain Alissa Wilkinson, "The Green Knight is glorious and a little baffling. Let's untangle it." Vox (30 July 2021) https://www.vox.com/22585318/green-knight-explained-ending-spoilers-girdle-winifred-temptation Richard Brody, ""The Green Knight," Reviewed: David Lowery's Boldly Modern Revision of a Medieval Legend," The New Yorker (August 3, 2021), https://www.newyorker.com/culture/the-front-row/the-green-knight-reviewed-david-lowerys-boldly-modern-revision-of-a-medieval-legend CinemaBlend, "Dev Patel & Joel Edgerton | 'The Green Knight' Interview" (July 27, 2021), https://youtu.be/VSW1ZBd2ARY Anatomy of a Scene, "Take a Journey with Dev Patel in 'The Green Knight'" (July 30, 2021) https://youtu.be/Hc_SJ7dZQc4 https://en.wikipedia.org/wiki/The_Green_Knight_(film) Romance of Lancelot du Lac Bodleian Library MS. Raw. Q. b. 6, Bodleian Libraries, University of Oxford, https://digital.bodleian.ox.ac.uk/objects/cee84920-8cef-42f4-afa3-7fcd97ea55f1/ "Fashion Rules: a 14th century Knight's livery," St. John's College, University of Cambridge https://www.joh.cam.ac.uk/mens-fashion#:~:text=English%20Sumptuary%20Laws%20were%20imposed,%2C%20furniture%2C%20jewellery%20and%20clothing. "Sumptuous Origins," What (Not) to Wear: Fashion and the Law, Harvard Law School Historical & Special Collections' exhibits, https://exhibits.law.harvard.edu/purple-silk-and-cloth-gold W. Mark Ormrod, "Landed Society, Conspicuous Consumption and the Political Economy: The Sumptuary Laws of 1363," in Winner and Waster and its Contexts: Chivalry, Law and Economics in Fourteenth-Century England (Boydell & Brewer, 2021), 74-82, https://www.jstor.org/stable/j.ctv1grbbh2.9 Louise M. Sylvester, Mark C. Chambers, and Gale R. Owen-Crocker, Medieval Dress and Textiles in Britain: A Multilingual Sourcebook (Boydell & Brewer, 2014), https://www.jstor.org/stable/10.7722/j.ctt7zstfh.16 and https://www.jstor.org/stable/10.7722/j.ctt7zstfh.14 David Carpenter, The Struggle for Mastery: The Penguin History of Britain 1066-1284 (London: Penguin, 2004). Nicholas Orme, "The Culture of Children in Medieval England," Past & Present 148 (1995): 48-88. https://www.jstor.org/stable/651048 Frances K. Barasch, "Shakespeare and the Puppet Sphere," English Literary Renaissance 34:2 (2004): 157-175. https://www.jstor.org/stable/24463671 Victoria & Albert Museum, "A history of puppets in Britain," https://www.vam.ac.uk/articles/a-history-of-puppets-in-britain#slideshow=21816336&slide=0
Kraina FM is a radio station that broadcasts in Kyiv and more than twenty other cities, playing Ukrainian-language rock and pop. When Russia invaded Ukraine, it took on the mantle of “the station of national resistance,” airing news bulletins and logistical information like requests for supplies. The radio hosts began adding jokes about the invading Russians, and advice from a psychologist about talking to children about the war; a writer told fairy tales on air to occupy those kids during the stressful nights of wartime. The station staff has dispersed, with Bogdan Bolkhovetsky, the general manager, and Roman Davydov, the program director, holed up in a town in the Carpathians, keeping production moving over unreliable Internet and communicating with listeners by text. They don't know how many of their broadcasting stations are still functioning, and their tower in Kyiv could be destroyed at any time. But “we are not doing anything heroic,” Bolkhovetsky told Nicolas Niarchos, who visited their makeshift studio. “We are still in a lot of luck, having what we have right now. Thousands of people were not so lucky as we are. . . . We're just doing what we can under these unusual circumstances.” Plus, we present the 2022 Brody Awards—the critic Richard Brody's assessment of the best performances and the best films of the year.
This week Jessica is joined by a guest co-host to discuss Greta Gerwig's recent adaptation of Louise May Alcott's beloved novel Little Women. We revisit our own childhood's looking back on the 1994 version of Little Women we all remember watching growing up and consider what strives have been made in how Alcott's characters are explored in her updated retelling of the classic. No typical show notes this week but below you'll find the resources Jessica leveraged in preparation for this episode. Special thanks to our honorary co-host today from Louise May Alcott's home state of Massachusetts. Devi will be back next episode. “A New Generation of Little Women” from iTunes Extras with purchase of movie “Making a Modern Classic” from iTunes Extras with purchase of movie The Compromises of Greta Gerwig's “Little Women by Richard Brody https://www.newyorker.com/culture/the-front-row/the-compromises-of-greta-gerwigs-little-women Greta Gerwig's “Little Women” is Awesome. Here is Why by Rebecca DeWolf https://outofthetower-rebeccadewolf.com/?p=950 How Faithful Is the New Little Women Movie to Louisa May Alcott's Beloved Novel? BY MARISSA MARTINELLI https://slate.com/culture/2019/12/little-women-movie-book-comparison-differences.html Why Greta Gerwig's Little Women Movie Radically Changed the Book's Ending BY ELENA NICOLAOU https://www.oprahdaily.com/entertainment/a30186941/little-women-ending/ Artwork from: https://www.hollywoodreporter.com/news/general-news/making-little-women-greta-gerwig-gives-modern-take-1868-novel-big-screen-1256879/
I believe it was Jon Jost, our very first guest on this podcast who first put me in touch with Beth Levin. I am most happy he did because Levin is an ideal guest if you want to hear about the world of the piano as instrument and classical music more generally. Many decades ago - in the middle 1980s to be exact - I was exciting a period in which I was strictly trained in what is called the Classical field and decisively entering the jazz and popular field. I learned so much through my classical training and, though part of me did love it, my greatest wish and dream was to do original music rather than that written boy others - even if those others were the best composers of all time. A major theme in this podcast is that of artistic choice and every artist needs to decide what choice best reflects who they are. I feel that in having Beth Levin on the show, as corny or highfalutin as the following might sound, is a something like a living link to the world of Beethoven - and much more. Beth Levin is that good and also that deeply rooted in that particular musical tradition. I can't think of a more exciting or pleasing episode for your your pianist-host and my only hope is that our enthusiasm for the piano is communicated thoroughly as you listen to our episode. Bio Brooklyn-based pianist Beth Levin is celebrated as a bold interpreter of challenging works, from the Romantic canon to leading modernist composers. The New York Times praised her “fire and originality,” while The New Yorker called her playing “revelatory.” Fanfare described Levin's artistry as “fierce in its power,” with “a huge range of colors.” Debuting as a child prodigy with the Philadelphia Orchestra at age twelve, Levin was subsequently taught and guided by legendary pianists such as Rudolf Serkin, Leonard Sure and Dorothy Taubman. Another of her teachers, Paul Badura- Skoda, praised Levin as “a pianist of rare qualities and the highest professional caliber.” Her deep well of experience allows an intuitive connection to the great pianistic traditions, to Bach, to Mozart, to Beethoven. Critics hail the immediacy of her performances. “Levin plays with a rare percussive audacity, making notes and phrases that usually rush by in the background stand out in high relief,” writes Richard Brody in The New Yorker. Website: https://www.bethlevinpiano.com/ Social Links: Instagram: https://www.instagram.com/ beth.levin.music/ Link'd In: linkedin.com/in/beth- levin-30909332 Facebook: https://www.facebook.com/ bethlevinpiano/ Twitter:https://twitter.com/op109 Links to Beth's beautiful piano works: https://open.spotify.com/artist/7phxpwTfe2OtH043hJ4nfO https://soundcloud.com/bethlevin1/ravel-gaspard-de-la-nuit- no1-ondine https://soundcloud.com/wkcr/beth-levin-on-wkcr https://soundcloud.com/bethlevin1/dante-sonata https://open.spotify.com/artist/7phxpwTfe2OtH043hJ4nfO Excellent article about Marian Filar by Mark AInley of the Piano FIles: https://www.thepianofiles.com/the-magnificent-marian- filar/ Beethoven 3rd concerto of mine/ 2017, Germany https://www.youtube.com/watch?v=awd_h_XwFos Links to Beth's written works: Over the years I've written articles for: lafolia.com https://www.lafolia.com/a-look-at-schuberts-sechs- moments-musicaux-op-94-d780/ https://www.lafolia.com/?s=beth+levin **** https://soundcloud.com/bethlevin1/dante-sonata --- Send in a voice message: https://anchor.fm/mitch-hampton/message Support this podcast: https://anchor.fm/mitch-hampton/support
POD BACK – boyz are back in town from their seventeenth self-imposed hiatus to breakdown two hotly anticipated films, 2021's 007: No Time To Die and Dune. Additional topics discussed include real deal quaranstreams, squid game, michael mann, Pitbull Bond themes, James Bond: Island Boy, dangle-down countries, what's in the box, gravity suspenders, casting dune pt. 2, Richard Brody sucks, the last duel sucks and much, much more on this episode of The Loosest Conceptual Movie Podcast On The Internet™.
Don't believe the trailer, which gives a poor impression of what's in store: Ridley Scott's latest historical epic is lighter on the action than you'd expect, and, for a blockbuster, formally adventurous. Based on true events that took place in 14th century France, The Last Duel tells the story of a lifelong feud and a sexual assault... then it tells it again, and then once more. Three perspectives are brought to bear on the events, those of Jean (Matt Damon), a soldier and vassal; Marguerite (Jodie Comer), his wife and the daughter of a treacherous lord; and Jacques (Adam Driver), his oldest friend, and squire to a count - each controls a third of the film, shaping the story as they understand it. It's an ambitious project, drawing consciously on narratives and discourses around patriarchy and sexual assault whose importance to our cultural conversation have become increasingly established in recent years - but does it work? Richard Brody's review of the film in the New Yorker helps to shape our discussion, and it can be found here: https://www.newyorker.com/culture/the-front-row/the-last-duel-reviewed-ridley-scotts-wannabe-metoo-movie Recorded on 17th October 2021.
Devin and Mark are healing the world with podcasting—about Bo Burnham's new special (?)/movie (?)/musical (?)/uncategorizable work of semi-autobiographical art that's streaming on Netflix and setting Twitter and TikTok ablaze. We pick favorite songs and moments; dissect the piece's complicated and conflicting ideas about the Internet and mental health; and try to understand how Burnham and his work achieved a rare kind of pop culture ubiquity. Read Craig Jenkins on Burnham's music; Richard Brody on the tradition of "cinematic selfies"; and Lili Loofbourow on the special's artifice. Listen to Who Weekly on Bo Burnham's celebrity persona.
Kate MacKay is the curator of a retrospective of the Four Seasons cycle of films by the great French New Wave director Eric Rohmer, streaming on the BAM/PFA website through July 28, 2021. She talks about the films and about Berkeley Art Museum/Pacific Film Archive's year during the Covid shutdown with host Richard Wolinsky. Eric Rohmer (1920-2010) was one of the contributors of the magazine Cahiers du Cinema, along with Francois Truffaut and Jean-Luc Godard and was one of the founders of the French New Wave. His success came later than that of his colleagues, finally arriving in 1969 with My Night at Maud's, and continued both commercially and artistically into the 21st Century. The films streaming in this Tales of the Four Seasons cycle, A Tale of Springtime, A Winter's Tale, Summer Tale and A Tale of Autumn were all filmed between 1990 and 1998 when Rohmer was into his seventies. Despite that, the films all feel like the work of a young independent film-maker, and not an old master. Eric Rohmer Wikipedia page. Kate MacKay has been as Associate Curator of Film since 2016, and has programmed several film retrospectives over the course of her career in Berkeley and previously in Toronto. This brilliant and incisive essay by Richard Brody from the New Yorker discusses the four films, and Rohmer. (cover page photo from Summer Tale, Janus Films) The post Kate MacKay, curator, Eric Rohmer's Four Seasons Cycle at BAM/PFA, 2021 appeared first on KPFA.
节目摘要 这周末，奥斯卡金像奖就将揭晓，我们想用一周的日更来聊一聊我们对于今年奥斯卡的感受和看法。第四期节目围绕最佳影片提名《芝加哥七君子审判》和《犹大与黑弥赛亚》展开：故事发生在相同的动荡年代，都与追求公平正义有关。 节目备注 支持我们 订阅听友通讯请点击这里。 欢迎通过微博关注我们的节目@不丧Podcast和女主播@constancy好小气。 关于线上读书微信群：由于目前群人数超过100人，无法继续通过扫码入群。想要入群的朋友可以先加我的微信号（ID: hongming_qiao），然后再拉你入群。 我们的电报(Telegram)听友群：不丧电报群 我们播客的邮箱地址：busangpodcast@gmail.com 这集播客中提到的相关作品的介绍和链接： 《芝加哥七君子审判》(The Trial of the Chicago 7)(2020) 《犹大与黑弥赛亚》(Judas and the Black Messiah)(2021) 《迈阿密的一夜》(One Night in Miami)(2020) 《美国诉比莉·哈乐黛》(The United States vs. Billie Holiday)(2021) 《誓血五人组》(Da 5 Bloods)(2020) 《我的章鱼老师》(My Octopus Teacher)(2020) 《时间》(Time)(2020) 《残疾营地》(Crip Camp)(2020) Richard Brody, 2021 Oscars Predictions: Who Will Win Versus Who Should 如何收听「不丧」 任何设备都可以通过访问「不丧」的网站在线收听 我们推荐使用泛用型播客客户端收听「不丧」 泛用型播客客户端直接通过播客上传者提供的RSS向用户提供播客内容和信息，不会有第三方的干涉；并且只要上传者更新了Feed，就能在客户端上收听到节目。 iOS平台上我们推荐使用Podcast（苹果预装播客客户端），Castro，Overcast和Pocket Casts。 Android平台上收听方式可以参照这里。 macOS和Windows平台可以通过iTunes收听。 现在你也已经可以在小宇宙、Spotify和Google Podcast平台上收听我们的节目。
节目摘要 这周末，奥斯卡金像奖就将揭晓，我们想用一周的日更来聊一聊我们对于今年奥斯卡的感受和看法。第四期节目围绕最佳影片提名《芝加哥七君子审判》和《犹大与黑弥赛亚》展开：故事发生在相同的动荡年代，都与追求公平正义有关。 节目备注 支持我们 订阅听友通讯请点击这里。 欢迎通过微博关注我们的节目@不丧Podcast和女主播@constancy好小气。 关于线上读书微信群：由于目前群人数超过100人，无法继续通过扫码入群。想要入群的朋友可以先加我的微信号（ID: hongming_qiao），然后再拉你入群。 我们的电报(Telegram)听友群：不丧电报群 我们播客的邮箱地址：busangpodcast@gmail.com 这集播客中提到的相关作品的介绍和链接： 《芝加哥七君子审判》(The Trial of the Chicago 7)(2020) 《犹大与黑弥赛亚》(Judas and the Black Messiah)(2021) 《迈阿密的一夜》(One Night in Miami)(2020) 《美国诉比莉·哈乐黛》(The United States vs. Billie Holiday)(2021) 《誓血五人组》(Da 5 Bloods)(2020) 《我的章鱼老师》(My Octopus Teacher)(2020) 《时间》(Time)(2020) 《残疾营地》(Crip Camp)(2020) Richard Brody, 2021 Oscars Predictions: Who Will Win Versus Who Should 如何收听「不丧」 任何设备都可以通过访问「不丧」的网站在线收听 我们推荐使用泛用型播客客户端收听「不丧」 泛用型播客客户端直接通过播客上传者提供的RSS向用户提供播客内容和信息，不会有第三方的干涉；并且只要上传者更新了Feed，就能在客户端上收听到节目。 iOS平台上我们推荐使用Podcast（苹果预装播客客户端），Castro，Overcast和Pocket Casts。 Android平台上收听方式可以参照这里。 macOS和Windows平台可以通过iTunes收听。 现在你也已经可以在小宇宙、Spotify和Google Podcast平台上收听我们的节目。
Critic Leo Robson is our erudite and eloquent guide as we lose ourselves in the estuaries and marshes of Henry James’s sinuous “blue river of truth.” We begin in the archives of Leo’s G-chat and Whatsapp messages, where he first heard--and ignored--whispers of KOK’s boundless literary project. His indifference breaks down, however, after he and friend of the pod Christian Lorentzen take a desultory post-stag-party walk through Barcelona. A lugubrious Leo, sick of John Berger’s Marxist reading of Picasso, opens his Blackberry to find that James Wood has written an essay on Perr Petersen, which makes him think of that other Norwegian, the one with the endless maybe-novel underway, which leads him back to Lauren and Drew, who discover their friendship is coterminous with My Struggle’s publication history: they met, devoted listeners will know, over a drunken discussion about The Queen is Dead in summer 2010, just after Volume 1 had appeared on American Shores. Where are they now, in their actual reading of My Struggle itself? Leo asks. “I don’t fucking know,” says Lauren. Leo’s self-described “big data” survey of Knausgaardiana elicits comparisons between chronological expansions and contractions in My Struggle and Richard Linklater’s “Boyhood”--are these examples of “big data” narratives? Richard Brody will soon be coming on the pod soon to anatomize Linklater’s use of time. Leo suggests that Harold Brodkey and Adam Mars-Jones might be seen as Knausgaard’s precursors in the aesthetic tradition of what Wood lyrically deemed “autopsied minutiae” and “psycho-pointillism” (Lauren jeers at the latter term). Drew takes this opportunity to proclaim Brodkey his “hero.” Drew and Leo discuss a near-mythical public conversation between James Wood and Brodkey, held in London in 1991. Link: https://sounds.bl.uk/Arts-literature-and-performance/ICA-talks/024M-C0095X0801XX-0100V0 We then embark on a disorderly Odyssey into Knausgaard’s reception in the anglosphere--and, somehow, into the history of realism and its discontents. For Schylla and Charybdis, we have David Shields and V.S. Pritchett (or something like that). Along the way, Sheila Heti, Ben Lerner and Frederick Jameson help us pick apart the itemized thinginess ("choisisme") of Knausgaard’s project: are things differentiated? Are things merely commodified, or, in their very banality, redeemed? Robbe-Grillet and his New Novelists provide an obsessively textural counterpoint to Knausgaard’s seemingly blank litanies of objects and products. Geoff Dyer takes a break from writing a blurb for Lauren’s eponymous Easter roast chicken to serve as another formal model for My Struggle and its reverberations. Like Brodkey and Mars-Jones, in his work, “nothing happens in a really a big way.” Here Drew invokes sensuous sun worshipper John Updike who, via a review of The Adventures of a Photographer in Los Platas by Adolfo Bioy Cesares, provides us with these weirdly apt sentences: “The novel arrests our attention and wins our respect by the things it disdains to do: it does not overdramatize or moralize, it denies events a deeper meaning. A clean if desolate flatness results” Does KoK fit into David Shields’ anti-novelistic canon of Reality Hunger? Lauren and Leo get into some narratological weeds: is Karl Ove an ironized character, or a source of Shields-approved wisdom writing? Things are rambling along nicely until Drew “artlessly opens a can of worms.” Defending the so-called novelistic tradition against Shields’ claims of lifeless conventionality and formal tidiness, he brandishes a long quotation from V.S. Pritchett’s essay on Dead Souls (first collected in In My Good Books, 1942) : “The modern novel has reached such a pitch of competence and shapeliness that we are shocked at the disorderliness of the masterpieces. In the modern novel we are looking at a neatly barbered suburban garden; in the standard works how often do we have the impression of bowling through the magnificent gateway of a demesne only to find the house and gardens are unfinished or patched up anyhow, as if the owner had tired of his money in the first few weeks and after that had passed his life in a daydream of projects for ever put off. We feel the force of a great power which is never entirely spent, but which cannot be bothered to fulfill itself. In short, we are up against the carelessness, the lethargy, the enormous bad taste of genius, its slovenly and majestic conceit that anything will do” Pritchett inspires Leo to give us an intricate tour of the history of tensions between form and chaos in the novel: the wet and the dry, the tidy and baggy. “We’ve conspired to mention every writer in the Western canon,” Leo says. “There’s the mess and the chaos--but there’s also the art.”
Oscars, schmoscars! Richard Brody is a critic of wide tastes and eccentric enthusiasms. His list of the best films of the year rarely lines up with the Academy’s. Each year, he joins David Remnick and the staff writer Alexandra Schwartz to talk about the year’s cinematic highlights. Plus, the staff writer Louis Menand talks with Remnick about his new work of cultural history, “The Free World.” Menand writes about the postwar flowering of American culture, when the United States evolved from an economic and military giant into a global creative force. Modern jazz and rock and roll were exported and celebrated around the world. Painters got out from under the long shadow of Europe and led the way into new forms of abstraction and social commentary. Writers like James Baldwin turned a spotlight back on America’s fundamental, unexamined flaws. It was a time, Menand writes, when “ideas mattered. Painting mattered. Movies mattered. Poetry mattered.”
Film at Lincoln Center's own Maddie Whittle makes her third appearance on YPR to discuss the bizarre movie year that was 2020, how the pandemic is reshaping the industry, what worked and didn't work about David Fincher's MANK, Richard Brody's white-hot Godfather III take, her thesis on Terrence Malick, and so much more! Young Person's Radio airs every Sunday morning at 10 on Radio Free Brooklyn. Listen live at radiofreebrooklyn.com or the RFB mobile app.
Steve McQueen is the director of four feature films, including the Oscar-winning “12 Years a Slave.” His new series, “Small Axe,” which is streaming on Amazon, consists of five portraits of the West Indian community in London from the late nineteen-sixties through the nineteen-eighties. For McQueen, the stories allowed him to reflect on painful aspects of his own upbringing in that time and place—like the way many children of immigrant families were shunted into “subnormal” schools. “I wanted to feel that I exist,” McQueen tells Richard Brody. “This is part of the narrative of the world, part of the narrative of life. And sometimes things like that never get seen or never get noticed or never get the recognition.” Plus, the staff writer Larissa MacFarquhar on what happens to families in Haredi Jewish communities when one parent leaves the faith.
I discuss the book The Bell Jar by Sylvia Plath. I wanted to discuss why TBJ is such a great companion novel to The Silver Linings Playbook and how it might have influenced its writing, but we get a little sidetracked. -What are the different narrative points of view (POVs)-The top 10 unreliable narrators from fiction-Are Pat Peeples and Esther Greenwood the same people-We have a new antagonist and this time her name isn't Richard Brody. Follow us on social media atInstagram: @silverliningsplaycastFacebook: /silverliningsplaycaste-mail: SilverLiningsPlaycast@gmail.com Jamie "The GateCity Saint" WardFacebook: /JamieWardInstagram: @jamiecomedyTwitter: @jamiecomedySnapchat: Jamie ComedyJAMIECOMEDY.COM
I pick up where I left off last week breaking down the second half of a less than stellar 2012 film review that was featured in The New Yorker. https://www.newyorker.com/culture/richard-brody/the-book-on-silver-linings-playbook-Why author Richard Brody is wrong about Silver Linings Playbook-Not willing mental health solutions-Why the film isn't faith based, but could be-SLP is the anti-French New Wave Cinema film Follow us on social media atInstagram: @silverliningsplaycastFacebook: /silverliningsplaycaste-mail: SilverLiningsPlaycast@gmail.com Jamie "The GateCity Saint" WardFacebook: /JamieWardInstagram: @jamiecomedyTwitter: @jamiecomedySnapchat: Jamie ComedyJAMIECOMEDY.COM
In this episode I break down the first half of a less than stellar 2012 film review that was featured in The New Yorker. https://www.newyorker.com/culture/richard-brody/the-book-on-silver-linings-playbook-Why author Richard Brody is wrong about Silver Linings Playbook-Ernest Hemingway, F. Scott Fitzgerald & Sylvia Plath-No one is trying to "will" a happy ending-Pat Peeples should be a WWE gimmick Follow us on social media atInstagram: @silverliningsplaycastFacebook: /silverliningsplaycaste-mail: SilverLiningsPlaycast@gmail.com Jamie "The GateCity Saint" WardFacebook: /JamieWardInstagram: @jamiecomedyTwitter: @jamiecomedySnapchat: Jamie ComedyJAMIECOMEDY.COM
This time, we review the family survival drama film A Quiet Place and ask how did John Krasinski go from office prankster to survivalist farmer, is this a film with social commentary, and why have a baby during the apocalypse? Let's dive in… A Quiet Place (2018) Cast and Crew Written, directed and starring John Krasinski as Lee Abbott: Krasinski rose to prominence following his starring role as loveable goofball Jim Halpert on the US version of The Office where he gained a reputation as a comedic actor. Then he slowly began to turn around that perception by appearing in 13 Hours: The Secret Soldiers of Benghazi and the Amazon Prime series Jack Ryan. A Quiet Place also helped him separate him from his Jim Halper role even further. His appearance in A Quiet Place not only cemented a new perception of Krasinski as an actor, but also as a director as this was only the third time he sat in the director's chair and his first time as a director for a major studio. He also shares screenwriting credits with fellow writers Bryan Woods and Scott Beck. Emily Blunt as Evelyn Abbott: In real life, Blunt and Krasinski are married, but had not starred together in a film before A Quiet Place. When Krasinski signed on to direct, Blunt was initially hesitant to appear in the film until she read his script and asked him to be cast in the role of Evelyn. For a more in-depth review of Blunt's early career, check out our past episode on Live. Die. Repeat: The Edge of Tomorrow. Millicent Simmonds as Regan Abbott: Simmonds is deaf in real life and even coached her fellow actors in the use of American Sign Language (ASL). Her casting was intentional as Krasinski wanted a young deaf actress to play his daughter in the film. She also suggested two of the more poignant moments in the film when Regan stops her father from putting in a new hearing implant and at the end of the film when Lee signs to his daughter “I have always loved you.” Noah Jupe as Marcus Abbott: In spite of his young age, Jupe has already appeared in several big-time productions like The Night Manager, Suburbicon and more recently Ford v Ferrari and along with his young co-star, they are able to contribute to the film in ways that many actors their age wouldn't be able to do. Politicizing Parenthoood After watching the film and reading interviews of John Krasinski, it is easy to interpret the film's theme as that of parenthood. Not only parenthood, but also how to prepare one's children for the future in addition to how to deal with guilt following a family tragedy. However, since we live in a society that refuses to accept a simple explanation, critics have been analyzing this film for any sort of deeper political or social commentary. Krasinski did mention that he watched horror films with a social commentary like Jaws and Get Out for inspiration, but did not intentionally make this film with an eye on direct commentary. New Yorker writer Richard Brody called the film “the antithesis of Get Out” with a conservative and pro-gun message. It's difficult to determine how Brody came to this conclusion, but he seems to fixate on the inclusion of guns in the film. Krasinski has directly rebuked this critique in subsequent interviews saying that while he can understand how someone could come to that conclusion, really his sole intention with the film was to make the theme about parenthood. In contrast to Brody's review, Roman Catholic Bishop Robert Barron noted heavy religious themes with a pro-life message in the film citing the family's agrarian life and Evelyn's decision to have her baby in spite of the apocalyptic circumstances. Krasinski isn't going to respond to every critique and any self-respecting director will defend their work in spite of the criticism. Even though the film has only been out for a couple of years at the time of this writing, there have been wildly different themes and interpretations other than what is onscreen.
Welcome to The Last Thing I Saw, a podcast where we reach out to friends to talk about what we've been watching. It's as simple as that. Joining Nicolas Rapold is Richard Brody of The New Yorker. They discuss The Irishman as a home viewing experience; The 11th Green, an unusual new drama involving alien life and the postwar United States; Melvin Van Peebles's debut feature, The Story of a Three-Day Pass; Top of the Heap, a police drama directed by and starring Christopher St. John; and the prospect of returning to movie theaters. Photo by Steve Snodgrass
Veteran film critic Richard Brody from The New Yorker is with us to discuss whether the movies need multiplexes anymore as we negotiate a brave new world with Covid-19.
Veteran film critic Richard Brody from The New Yorker is with us to discuss whether the movies need multiplexes anymore as we negotiate a brave new world with Covid-19.
Accounting doesn’t sound like a sexy career choice. How about forensic accounting and getting to work with the FBI and Secret Service? Now that’s getting interesting. White-collar crime is typically committed by business or government professionals that engage in fraud, insider trader, embezzlement, or cybercrime. It can destroy companies, individuals, and families. What happens when a murder occurs during these cases? Richard Brody is a professor and chair of the accounting department at the Anderson School of Management at the University of New Mexico. He is a certified fraud examiner, certified public accountant, and a forensic certified public accountant. He serves as an expert witness and has experience in both civil and criminal cases. He has worked with the U.S. Secret Service, the U.S. Department of Justice, and the New Mexico Attorney General’s office. Rich shares many experiences working in white-collar and red-collar crime. We also discuss ways to help you be more knowledgeable because education is the only solution. Show Notes: [01:14] - Rich shares the background on how he got started in white-collar crime. [03:14] - He is very proud that he has been able to go out and speak to so many people about white-collar crime. [03:57] - Trust no one until you can verify. Use the same standard for interacting online as you do in person. [05:02] - White-collar crime includes occupational fraud, embezzlement, and more on the business side and scam artist, identity theft, and romance fraud on the individual side. [05:59] - It’s not a small number of people that are doing this and it is a huge number of people that have been victimized. [06:11] - It is highly profitable and fairly low risk. [09:07] - Most people proceed by accepting it as an expensive lesson. [10:12] - Filing a police report is an easy thing for a business to do. [10:31] - In the area of identity theft, filing a police report will then give you the ability to get free services from the credit reporting agencies. [12:10] - One of Rich’s goals is educating people. It is all about prevention. [13:38] - Without trust, you don’t have fraud. [14:37] - White-collar crime is something that is considered to be a violation of trust, but it doesn’t involve any violence. [16:19] - A red-collar criminal is a person who commits a violent and brutal act on a person when they expect that this person can expose their criminal behavior. [19:01] - There are many cases where you have the sudden death of a crucial witness in a case. Just because it seems like a suicide, it might not be. [19:56] - Sometimes the violent act can actually be against yourself. [20:48] - Anytime you have a white-collar crime, the person who is involved in that crime is a potential suicide candidate based on the embarrassment. [22:41] - Now scammers are going on social media, collecting personal information, and using that to convince them the scam is a legitimate situation. [23:21] - What is even scarier about the red-collar area is that the victim doesn’t have to be someone who profited from the situation or is involved in any way. [24:53] - There is a misconception that white-collar criminals are not like violent criminals. [26:13] - Anybody can become a victim of white-collar crime. [26:28] - In the original case that motivated the term itself, the victim knew that something was going on. [27:43] - Many red-collar criminals are psychopaths. [28:06] - The fraud triangle has the three common elements of fraud. [30:01] - Red-collar criminals view killing someone as just as viable as a solution as any other solution. [30:51] - We have to deal with the white-collar aspect to prevent the red-collar aspect. [33:15] - Rich views this as a service to try to educate people. Education is the only solution to these problems. Thanks for joining us on Easy Prey. Be sure to subscribe to our podcast on iTunes and leave a nice review. Links and Resources: Podcast Web Page Facebook Page whatismyipaddress.com Easy Prey on Instagram Easy Prey on Twitter Easy Prey on LinkedIn Easy Prey on YouTube Easy Prey on Pinterest Have I Been Pwned Rich on LinkedIn Rich - Fraud Triangle
The film critic Richard Brody regards Josephine Decker as one of the best directors of her generation, and picked her 2018 film “Madeline’s Madeline” as his favorite of the year. Decker, he says, reinvents “the very stuff of movies—image, sound, performance—with each film.” Decker’s new film is “Shirley,” starring Elisabeth Moss as the unique horror author Shirley Jackson. In it, Decker dives deeper into the themes that have also shaped her previous works: the creative drives and the relationships of women. Decker tells Brody that, though the film may be a step toward mainstream, she remains guided by “poetic logic.”
The New Yorker movie-listings editor Richard Brody gives recommendations for alternative streaming options on OVID.tv, Crackle, and IFC Films Unlimited, as part of our series “Review/Preview.”
It’s time for the most anticipated of all awards shows: the Brodys, in which The New Yorker’s Richard Brody shares the best films of the year, according to Richard Brody. And the political commentator Ezra Klein explains why he thinks politics have gotten as polarized as they are: we care too much about party identity and not enough about policy.
Booksmart was one of the best films of 2019 and Rotten Tomatoes even gave it one of their Golden Tomatoes for Best Comedy. That seemed more than reason enough to do an episode on it and we thought it would be fun to bring back our good friend, Beth Swartz!Before we got chatting with Beth about this hilarious film, we discussed the last movies we've seen, what we've been streaming and the favorite things we've been eating.We had a blast breaking down this fun, coming of age comedy and spent a lot of time discussing our favorite scenes and ended up quoting most of the movie. We ended the episode with a super entertaining Imitation Game and our Patrons get to hear us pick our Top 10 Favorite Directorial Debuts, which ended up being really hard because there were so many to choose from!If you haven't seen Booksmart yet we highly recommend you check it out and then listen to our AMAZING takes!Enjoy!1:13 The Two Popes2:28 19176:48 Fleabag8:51 The Spy10:19 Lai Wah https://www.laiwahmn.com/10:50 Mickey's Diner http://www.mickeysdiningcar.com/13:00 Plugs13:51 www.patreon.com/theavidindoorsmen 15:51 @bethany__kim at Compass Records www.compassrecords.com17:30 Booksmart Plot Synopsis18:44 Rotten Tomatoes19:36 Richard Brody from The New Yorker20:17 Katie Rife from The AV Club21:21 Buegs' Hot Take24:10 Rob's Hot Take26:55 Beth's Hot Take28:55 The Dude Award32:22 The Tucci Award39:26 The Dingus52:30 Show Me The Money1:01:51 Buegs' Boo Hoo Moments1:04:41 Movie Trivia1:08:55 Judgement Day1:09:18 The Imitation Game1:24:26 Top 10 Best Directorial Debut
"Joker " es una película encantadora para la crítica. Sin embargo, hay aspectos que merecen analizarse con cuidado para no dejarse llevar por la moda. Nada mejor que una dosis de espíritu crítico para evaluar la calidad cinematográfica de la obra dirigida por Todd Phillips.En el podcast de Depor Play, hemos recogido algunas de las críticas menos agradables de la prensa especializada y añadimos un par de observaciones sobre qué cosas faltaron desarrollar para que Joker sea aún más convincente." Si te sientes insuficientemente ansioso en tu vida, Joker podría ser solo el boleto. Si no, busca en otro lado para entretenerte ", escribió Joe Morgenstern del Wall Street Journal." El descenso de Fleck a la locura y al autodescubrimiento como villano es a la vez cinematográficamente cautivante y molesto por la caracterización", comentó Cory Woodroof de Nashville Scene." Sin grandes sorpresas en la trama, es otro caso de esperar a que una película haga revelaciones que había descubierto mucho antes. Menos 'Ta-daa', más 'Ta-duh'", señaló Jonathan Roberts de The New Paper." Una película de un cinismo tan vasto y omnipresente que hace que la experiencia visual sea aún más vacía que su estúpida estética", comentó Richard Brody de New Yorker." Desolado y juvenil", señaló Jordan Hoffman de Guardian.
Does any given film, movie, song, or knitted sweater need to properly advertise your politics? Is art supposed to be a monolithic block of regurgitated wokeness? Richard Brody reviews Once Upon a Time...in Hollywood.
Dave Finn returns to the show and goes off the deep end with Josh to discuss the 1976 version of A STAR IS BORN, starring Barbra Streisand and Kris Kristofferson and the 2018 version starring Lady Gaga and Bradley Cooper. Dave and Josh will also talk about their favorite elements from all four of the movies. Episode Footnotes:YouTube:BE KIND REWIND “Comparing Every Version of A Star Is Born” https://youtu.be/akaPSGMi03kPODCAST:YOU MUST REMEMBER THISYMRT #5: THE LIVES, DEATHS AND AFTERLIVES OF JUDY GARLAND - June 2014http://www.youmustrememberthispodcast.com/episodes/youmustrememberthispodcastblog/ymrt-5-the-lives-deaths-and-afterlives-of-judyYMRT #21: THE BIRTH OF BARBRA STREISAND'S A STAR IS BORN - Nov. 2014http://www.youmustrememberthispodcast.com/episodes/youmustrememberthispodcastblog/ymrt-21-the-birth-of-barbra-streisands-a-star?rq=streisandPRINT:Noted film critic Richard Brody wrote this summary of all four films in THE NEW YORKER magazine. https://www.newyorker.com/culture/the-front-row/what-to-stream-this-weekend-the-best-version-of-a-star-is-born See acast.com/privacy for privacy and opt-out information.
The first of a special two-part series, Dave Finn co-hosts to analyze the original two incarnations of the classic Hollywood story, A Star Is Born. Dave and Josh make general comparisons between the structure of all four movies, then take a close look at the 1937 version, starring Janet Gaynor and Frederick March and the 1954 musical version featuring Judy Garland and James Mason. Please listen and enjoy our conversation about this culturally significant, multigenerational film series.This is a spoiler free episode!Disclaimer: We apologize for some of the broken audio in this episode. These are due to difficulties with Skype.Episode Footnotes:YouTube:BE KIND REWIND “Comparing Every Version of A Star Is Born” https://youtu.be/akaPSGMi03kPODCAST:YOU MUST REMEMBER THISYMRT #5: THE LIVES, DEATHS AND AFTERLIVES OF JUDY GARLAND - June 2014http://www.youmustrememberthispodcast.com/episodes/youmustrememberthispodcastblog/ymrt-5-the-lives-deaths-and-afterlives-of-judyYMRT #21: THE BIRTH OF BARBRA STREISAND'S A STAR IS BORN - Nov. 2014http://www.youmustrememberthispodcast.com/episodes/youmustrememberthispodcastblog/ymrt-21-the-birth-of-barbra-streisands-a-star?rq=streisandPRINT:Noted film critic Richard Brody wrote this summary of all four films in THE NEW YORKER magazine. https://www.newyorker.com/culture/the-front-row/what-to-stream-this-weekend-the-best-version-of-a-star-is-born See acast.com/privacy for privacy and opt-out information.
ASHLEY CONNOR is a New York based director of photography. Her work on Josephine Decker's BUTTER ON THE LATCH and THOU WAST MILD AND LOVELY prompted New Yorker critic Richard Brody to name her, alongside Darius Khonji and Fabrice Aragno, as one of the year's best cinematographers. Her breadth of style can be seen in work as diverse as Dustin Guy Defa's PERSON TO PERSON (Sundance '17) and Adam Leon's TRAMPS (TIFF '16), as well as in popular music videos for artists including Jenny Lewis, Angel Olsen and Maggie Rogers. She had two films premiere at the 2018 Sundance Film Festival, Josephine Decker’s MADELINE’S MADELINE and Desiree Akhavan’s Grand Jury Prize winning THE MISEDUCATION OF CAMERON POST starring Chloe Moretz and Sasha Lane. Most recently she shot two pilots for A24/Hulu and has three more films coming out in 2018: Olivia Newman’s FIRST MATCH (SXSW 2018 Audience Award Winner, Netflix produced), Alex O Eaton’s MOUNTAIN REST and an Untitled Daniel Scheinert film. Ashley Connor stops by for a conversation on her work on Josephine Decker’s Madeline’s Madeline’s Madeline and her Spirit Award nomination for her cinematography. For news and updates go to: ashleyconnor.net Social Media: facebook.com/ashley.connor
This week on The Spectator Film Podcast… Bird Box (2018) 1.11.19 Featuring: Austin, Maxx Commentary begins at 14:55 — Notes — The Penguin Dictionary of Literary Terms & Literary Theory by J. A. Cuddon — This book’s a very helpful resource for grappling with the otherwise challenging or inscrutable terminology frequently encountered in academic writing. I’m linking to the 5th Edition, which also credits M. A. R. Habib, although I used to 4th Edition for the definition of diachronic/synchronic I’m including below: “A term coined c. 1913 by Ferdinand de Saussure (1857-1913). A diachronic approach to the study of language (or languages) involves an examination of its origins, development, history and change. In contrast, the synchronic approach entails the study of a linguistic system in a particular state, without reference to time. The importance of a synchronic approach to an understanding of language lies in the fact that for Saussure each sign has not properties other than the specific relational ones which define it within its own synchronic system.” “What Netflix didn’t tell you about the ‘viral’ Bird Box Challenge” by Sarah Manavis on New Statesman America “The Bird Box Effect: How Memes Drive Users to Netflix” by Alyssa Bereznak on The Ringer “How Netflix engineered Bird Box to be a viral triumph” by Sanjana Varghese on Wired “‘Bird Box,’ Reviewed: An Apocalypse Built for Netflix” by Richard Brody for The New Yorker “Bird Box review” by Amy Nicholson for The Guardian
Much to Mike's disdain - he throws tantrums about Netflix films - we settled in with a KFC to discuss Alfonso Cuarón's Roma, a semi-autobiographical film about the live-in housekeeper to an upper middle class Mexican family. Carefully composed and inflected with a neorealist aesthetic, it's been making countless year-end lists and is being touted as potentially Netflix's first Best Picture nominee at the Academy Awards, so Mike wasn't allowed to say no. The film is remarkable for depicting modern-day indigenous Mexicans, people to whose existence many outside the Americas might not have ever given any thought. Yalitza Aparicio, Roma's star, is a non-professional actor of Mixtec and Triqui origin, and simply her appearance is interesting, let alone the film's use of Mixtec language (Mike gets this name wrong at first but don't hold it against him) and its development of the indigenous population as lower class workers. We consider the use of black-and-white imagery - José questioning what it brings to the film - and the ways in which the sound design and long panning shots attempt to place the viewer within the film's environments. Mike explains a prejudice he holds against "personal" films, and José considers Roma's place alongside Cuarón's previous work, and the melodrama of the birth scene. Mediático, a film and media blog focused on Latin American, Latinx and Iberian media, took an immediate and deep interest in Roma and marshalled eight academics to each write a short essay on the film, and we refer to some of the points raised throughout the podcast. The dossier is well worth reading, will enrich your experience of the film, and can be found here: http://reframe.sussex.ac.uk/mediatico/2018/12/24/introduction-to-the-special-dossier-on-roma-alfonso-cuaron/ (The links to the essays are on the right hand side of the webpage.) In addition, the dossier refers on several occasions to Richard Brody's review of the film in The New Yorker, in which he is critical of the lack of a voice given to the main character and finds the film asks more questions of the world it depicts than it answers. We refer to this, too, and you can read it here: https://www.newyorker.com/culture/the-front-row/theres-a-voice-missing-in-alfonso-cuarons-roma As for us? We find areas of interest, things to both agree and disagree with, in all the articles we read. José was deeply riveted by Roma despite a reservation or two and continues to see Cuarón as a great director. Mike was less interested, admitting that had he been watching the film alone, he would likely have turned it off before the halfway point; an issue with watching things at home that isn't as pressing at the cinema (he wouldn't have walked out of a screening). But that's a tantrum for another day. Recorded on 1st January 2019.
Every film is both a product of its environment, and a rebellion against it. Artists (and audiences) search for something new and fresh, but cannot escape the world as it exists around them. Die Hard is no exception. While Die Hard is often marked as a turning point in American action cinema, we must first look at the state of action cinema as it existed before 1988. What does a “typical” 80s action movie look like? What artistic and societal pressures shaped that mold? And in what ways does Die Hard break it? As we kick off this limited series, let us know what you think! Drop us a line at diehardwithapodcast@gmail.com, or visit our site at www.diehardwithapodcast.com. Source Links A/V Club, Die Hard humanized (and perfected) the action movie Creative Screenwriting, “There is no such thing as an action movie.” Steven E. de Souza on Screenwriting David Bordwell, It's the 80s, stupid Hollywood Suite, The French Connection and the gritty realism of the 70s IndieWire, 10 Defining 1970s Disaster Movies IndieWire, Cruel Summer: Die Hard (1988) James Kendrick, Hollywood Bloodshed: Violence in 1980s American Cinema Medium, New Hollywood: Why The 70's Were The Greatest Decade In America Cinema New York Times, How the American Action Movie Went Kablooey Oxford Bibliographies, Action Movies Slate, In The Parallax View, Conspiracy Goes All the Way to the Top—and Beyond Vulture, How Die Hard Changed the Action Game Guests Shannon Hubbell Ed Grabionowski Adam Sternbergh Katie Walsh Scott Wampler Get In Touch Email Website Twitter Facebook Instagram Patreon Full Episode Transcript Welcome to the podcast, pal. My name is Simone Chavoor, and thank you for joining me for Die Hard With a Podcast! The show that examines the best American action movie of all time: Die Hard. Thank you to everyone who listened to the first episode of the show! It’s been so fun to get this podcast off the ground. Everyone’s been really awesome and supportive, from the listeners to the experts I’ve been talking to for the show. Starting in this episode, we’ll hear from filmmakers, film critics, and pop culture writers to get their perspectives on Die Hard and what it means as a part of film history. I’m excited to introduce them to you later in the show. If you want to share your thoughts on Die Hard and the things brought up on the podcast, reach out! Email Website Twitter Facebook Instagram I’ve been trying to post lots of additional photos and facts to the social media accounts in particular. My favorite so far was a Dungeons and Dragons character alignment chart I made for Die Hard. McClane is Chaotic Good, Al Powell is Lawful Good… You’ll have to visit the pages to see the rest of who’s who on the chart. And if you like this show, kick me a buck or two on Patreon. Patreon helps to offset the cost of doing this show, not just in pure dollars and cents, but for the sheer amount of time this podcast takes to put together. This is my first solo project, and although I have the wonderful, amazing support of my guests and fans, it still takes a lot of time researching, writing, recording, and editing. Patreon There are some cool bonuses you can get, everything from shout outs on the show, to stickers, ornaments, and the bonus episode – which is TBD, because you get to vote on! So check that out, and pitch in if you can. Shout out to our contributors… Rob T, Jason H, and Saint Even! I hope I’m saying that right. Anyone who’s listened to my other podcast knows that I can’t pronounce half the names I come across. It’s amazing how good you think you are at pronouncing things until you get in front of a mic... Thank you so much! You can also support Die Hard With a Podcast by leaving a review on iTunes. With more starred ratings and written reviews, the show becomes more visible to other potential listeners, so please share the love and let me know what you think! All right. On to our main topic. Every film is both a product of its environment, and a rebellion against it. Artists (and audiences) search for something new and fresh, but cannot escape the world as it exists around them. Die Hard is no exception. While Die Hard is often marked as a turning point in American action cinema, we must first look at the state of action cinema as it existed before 1988. What does a “typical” 80s action movie look like? What artistic and societal pressures shaped that mold? And in what ways does Die Hard break it? But before we talk about 80s films, let’s talk about… 70s films. 70s cinema was a time when shit started to get real. After years of glossy studio pictures, filmmakers wanted to show things as they really were. And with Vietnam, Watergate, the oil crisis, rising crime in cities, and so much more, things were… fucked up. And the movies made then reflected that. They were dark, pessimistic, gritty, bleak. No happy endings to be found here. Midnight Cowboy and Taxi Driver are two of the most 70s-ish depressing-ass movies that I like to point out as an example of this. [CLIP: MIDNIGHT COWBOY - I’M WALKING HERE] With that mood in mind, let’s drill down into some specifics. [INTERVIEW: ED GRABIANOWSKI I’m Ed Grabianowski, and I am a longtime writer; I’ve written for sites like io9 and How Stuff Works and a whole bunch of others, and I also write horror and fantasy fiction. If you go back to the 70s, there weren’t really movies in the 70s that were just like action movies, like that you would just define as action movies, to the extent there were later. You instead got sort of different sub-genres; you had sort of like cops and robbers movies with gunfights and car chases, and then you had like martial arts movies with lots of fist fights and sword fights.] Within this general movement, a few particular genres stand out. There was a lot going on in 70s film as the studios’ creative control was usurped by a new wave of auteur filmmakers. Now of course, there were lots of popular genres in this moment, all important in their own ways, like science fiction, horror, spaghetti Westerns, blaxploitation films, kung-fu movies. You can see some through lines from then, to the 80s, and into Die Hard in particular. But for our discussion today, we’re going to focus on three: disaster movies, paranoid political thrillers, and rogue cops and vigilantes. Let’s start with disaster movies. [INTERVIEW: ED GRABIANOWSKI And then you had the disaster movie subgenre, which was a huge trend for a while, and that was more based on spectacle and the visuals of a disaster happening. And also interestingly tended to be more ensemble casts.] After all, As we discussed in our first episode, Die Hard was directly inspired by one of the best-known disaster movies of the 70s: 1974’s The Towering Inferno. These movies featured people going about their business – attending a party, trying to catch a flight, taking a nice little cruise. Then BAM! A fire starts, a bomb goes off, a tsunami hits. These disasters, some natural, some natural-with-the-help-of-man’s-hubris, and some entirely man-made strike large groups of people, who we quickly learn are totally expendable. We follow these thinly written characters in multiple plot lines as they try to escape, survive, or stop whatever calamity is going on. In the process, the audience gets to experience their peril... which usually includes a bunch of explosions. The Towering Inferno boasts an all-star cast that includes Steve McQueen, Paul Newman, Faye Dunaway, and Fred Astaire. Our main characters are at a dedication ceremony for the new Glass Tower, the now-tallest building in the world. (As an aside, I work quite close to Salesforce Tower in San Francisco, which is currently the tallest building in San Francisco and the second-tallest west of the Mississippi. The fictional Glass Tower in the movie is taller than both of those by 500 feet. And every time I look at it I think about either The Towering Inferno or Nakatomi Tower, and neither of those are things you want to think about on your lunch break.) While at the ceremony, a fire breaks out on the 81st floor, trapping the people above. A group makes it to the roof for an attempted helicopter rescue, but the copter crashes and sets the roof on fire. After many thwarted attempts to escape, Steve McQueen and Paul Newman use plastic explosives to blow up the water tanks on the top of the building, flooding the floors below and putting out the fire. [CLIP: THE TOWERING INFERNO TRAILER] It’s easy to see how novelist Roderick Thorp could see that movie, dream about it, throw in some terrorists, and come up with the seed of Die Hard. As the Watergate scandal unfolded, the paranoid political thriller came to the fore. We’re talking Three Days of the Condor, Parallax View, and obviously All the President’s Men. These are films mostly centered on an individual uncovering a government conspiracy, and trying to either expose it or just escape with their life. But, fitting with the general mood of American cinema at the time, things usually don’t work out too well for the protagonists. Spoiler alert – in these films, usually the big bad government conspiracy gets away with it, leaving the heroes either dead or defeated. The individual, no matter what knowledge they’re armed with, is helpless against the faceless cabal that keeps the populace in line. To put it bluntly, the government is all-powerful and all-knowing, and you, the lone citizen, are fucked if you go against them. [CLIP: ALL THE PRESIDENT’S MEN TRAILER ] The final 70s genre we’re looking at as a direct influence to Die Hard is the “rogue cop” or “vigilante” movie. The protagonists in these films are also lone individuals, but of a different stripe than what we’ll see later: they’re the anti-heroes. They’re deeply messed up in some way. They’re the cop who doesn’t play by the rules, or the everyman who gets pushed too far by society and turns to violence. Death Wish, Dirty Harry, The French Connection. These movies manifest the existential dread of audiences who feared social upheaval, economic instability, and rising crime in cities. And then they offer the wish fulfillment of being able to buck the rules and do things your way – no matter what the police chief says. [CLIP: DIRTY HARRY] As Ed pointed out earlier, the 70s didn’t have what we consider a blanket “action movie” – as you can see, the genres we just talked about had action in them, but it wasn’t the defining characteristic of the movie. If the word “action” was used to describe a movie in generic terms at all, it was usually paired with the word “adventure” to convey something more fantastic and epic. But moreover, the action in these films was, well… kind of a bummer. Violence and destruction were used to emphasize the more troubling aspects of our society. Even if these scenes were exciting, they were heavy. They were serious. So what tipped these old genres over into a new kind of film at the start of the decade? [INTERVIEW: ED GRABIANOWSKI It just sort of happened. There’s – yes, people – there’s this sort of gestalt like, let’s take elements of all these things and make something that just embodies all of that. And that became the action movie.] Audiences were transforming from Steven and Elyse Keatons into Alex P. Keatons. But in addition to a transition from Carter and the recession to Reagan and a “greed is good” economy, the film industry in particular had new pressures and opportunities that ushered in a new era of filmmaking. David Bordwell, Professor of Film Studies at the University of Wisconsin – Madison, sums it up: “With the new attractiveness of the global market, the demands of home video, and increasingly sophisticated special effects, the 1980s brought the really violent action movie into its own.” Bordwell amusingly closes his exploration of 80s action movies with one, lone sentence: “I save for last the obligatory mention of Die Hard, the Jaws of the 1980s: a perfectly engineered entertainment.” Guess that statement stands on its own... The writer of Die Hard and Commando, Steven De Souza, expands on Bordwell’s point about the global market. He says, “I would argue that the genre of an ‘action movie’ is a completely false creature. There is no such thing as an action movie. All movies have action. ‘Action movie’ is a term that was invented in the ‘80s. I think Commando may have been the first one in 1985. They noticed for the first time that a handful of American movies were making more money overseas than in America. This had never happened before. Commando made 60% of its money overseas and 40% in the US. Action speaks louder than words. You don’t need to read the subtitles to know it was a bad idea to kidnap Arnold Schwarzenegger’s little girl. I disagree with the idea that there is such thing as an action movie, but we are stuck with that term now.” Well, if we’re stuck with that term, let’s go with it. So: what makes an action movie? In the 80s, “physical action and violence [became] the organizing principle, from the plot, to the dialogue, to the casting.” That’s according to academic reference site Oxford Bibliographies. Picture your typical action movie poster. There’s probably some kind of aircraft or ship or ground vehicle, maybe a hot lady kinda small and in the corner there… there’s definitely a bunch of fire… And standing tall in the middle, our hero. And he’s probably holding a gun. The lone hero is one of the defining characteristics of what we think of the stereotypical action movie. But he – and it’s almost always a “he” – is different than our “rogue cop” of the 1970s. The 80s action star was a one-man army, alone more powerful than the hordes of henchman thrown up against him. Our hero might have a sidekick or lead a small team, but in the end they’re either ineffectual and/or expendable – by the end of the film, it’s our protagonist who takes down the bad guy by himself. The action hero inhabits his body, not his mind. His powers come from physical strength (and firepower) instead of cleverness. I mean, when we meet Arnold Schwarzenegger in Commando, we see multiple shots of his biceps before we even see his face. As IndieWire put it, the heroes are “obscenely pumped-up one-man fighting machine[s]... outrageously entertaining comic-book depictions of outsized masculinity.” [INTERVIEW: ADAM STERNBERGH My name is Adam Sternbergh. I’m a novelist and a contributing editor to New York Magazine and a pop culture journalist. 80s action films, as we think of them now, they’re very excessive, they’re all about a sort of oversized machismo and enormous guns and enormous muscles and enormous explosions. Which was very exhilarating, but I think even by the time Die Hard came out, was starting to feel a little bit tired, and there was a hunger for action film fans – certainly myself, I would have been about seventeen or eighteen, for something a little bit different.] [INTERVIEW: SCOTT WAMPLER My name is Scott Wampler, I’m the news editor at Birth. Movies. Death. I’m also the host of the Trying Times podcast. The first word that’s coming to mind is “sweaty.” When I think of action movies in the 80s I think of, you know, dudes that are super cut up, they look like condoms filled with walnuts, and they’re always glistening with sweat. And usually there’s a dirty tank top involved, or maybe some camo pants.] [INTERVIEW: SHANNON HUBBELL My name is Shannon Hubbell, I’m editor-in-chief of LewtonBus.net. I’d say action films of the 80s – I mean, it’s obviously dominated by Schwarzenegger and Stallone, and so a lot of the larger action films are centered around big, burly, unstoppable killing machines. Just barely human. Other than Terminator, that kinda thing doesn’t yank my chain. But also, you have things like, say, Escape from New York – smaller fare, different types of heroes, anti-heroes, instead of just hulking, machine-gun-spraying douchebags.] Matrix and Dutch, Rambo and Cobra – these guys were far from helpless. Once pulled into a conflict by circumstance, our hero is unstoppable. It’s a reclaiming of agency that had been taken away by faceless forces in the 70s. Our heroes’ incredible power is just that: incredible. I know this might be shocking news to you, but a lot of these 80s action movies are… unrealistic. After all, in Predator, Arnold escapes a thermo-nuclear explosion by just… running away. These guys are superheroes pretending to be regular dudes. Comic book movies weren’t so much a thing yet, although we did have that platonic ideal of a superhero – Superman – appear onscreen in ‘78, ‘81, ‘83, and ‘87. But invulnerability is okay. That’s part of the appeal. We want the heroes that fight for truth, justice, and the American way to be assured of victory. This leads into another characteristic of 80s action: patriotism. Now, of course, not all of our protagonists are American. Arnold definitely does not – er… can not – try to pass for an American, and neither can Jean Claude Van Damme. But most of our protagonists are not only American, but working-class, everymen Americans who are just trying to get by with an honest day’s work. Sometimes that honest day’s work involves special forces missions, but you know what I mean. Adam Sternbergh explains. [INTERVIEW: ADAM STERNBERGH There was a sort of parallel ascent of the John Rambo paradigm, and Ronald Reagan. And Reagan was quite open about making references to Rambo, and I think Reagan at one point quoted the Dirty Harry line, “Make my day.” And there was a real sense in American culture that post the 1970s, post Jimmy Carter, post this national ennui or whatever people decided had overtaken the country, that America was being proud of being America again, and part of that was watching movies in which American POWs blow entire countries. And in fact the third Rambo movie is just sort of a ridiculous patriotism porn where he goes to Afghanistan and essentially single-handedly defeats the Russian Army in Afghanistan. That kind of action movie, I think if you look at it in a historical, sociological context, it made perfect sense for the national mood.] [CLIP: REAGAN AND RAMBO] In other words, if America was in fact a shining city on a hill, Arnold Schwarzenegger, Sylvester Stallone, and Carl Weathers were there to guard its walls. Finally, the hallmark of an action movie is all the… [GUNSHOTS, EXPLOSIONS] If you’re having a celebration of American masculinity and strength, what else are you gonna do but blow shit up? There was certainly a fetishization of weapons in the preceding decade. Robert Blake’s character Beretta shared his name with that of a gun manufacturer, and Dirty Harry gives a whole soliloquy about his .45 Magnum. But the films that followed had to be bigger. Louder. If the 70s were the decade of the handgun, the 80s were the decade of the automatic weapon. [CLIP: NOW I HAVE A MACHINE GUN, HO HO HO] General explosions were also bigger and better, due to improved special effects technologies. The disaster movie of course had terrific destruction, but the buildings getting blown up were more obviously flimsy sets, if not just miniatures. And to me, the differentiating factor that separates 70s action from 80s action, was that 80s violence and destruction was… celebratory. It was fun. It was generally free of consequence. Our hero can’t die, remember? And the bad guys he’s blowing away are largely faceless cartoon characters, a dime a dozen. It was perfectly okay to sit in a theater and shove popcorn in your mouth while large-scale mayhem unfolded before your eyes. With these definitions in place, let’s go back and tick off the action movie characteristics that Die Hard shares. Lone hero? Check. John McClane is almost totally alone, with only a walkie-talkie as a tether to the outside world. The LAPD and FBI are ostensibly on his side, but they’re certainly not working with him. John must face a whole gang of terrorists by himself to rescue his wife. We’re confident that he’ll achieve his goal, even if things look dicey sometimes. [INTERVIEW: ADAM STERNBERGH I mean, Die Hard was similar in the sense that it featured a sort of lone, male protagonist who’s battling against the odds, and if faced with a sort of intractable situation where he’s trying to fight his way out using his brains and brawn. An interesting parallel is the movie Commando, which came out just a couple years earlier with Arnold Schwarzenegger, and he basically has 24 or 48 hours save his daughter from these evil military types. And he goes about breaking everyone’s neck and shooting a bunch of people and blowing things up, and spoiler: he saves the daughter at the end. And so in that sense, Die Hard was sort of a very familiar setup. It obviously was kind of ingenious setup because it launched its own mini-genre of movies, which was the “Die Hard in a blankity-blank movie.”] Physical prowess? Mmm, not as much. John McClane isn’t in bad shape, not at all. He’s a cop, he can brawl. But he’s not one of those guys with “gleaming sweat [and] bulging muscles that couldn’t possibly exist without chemical enhancement... A bodybuilder’s fever dream, the sort of thing he might imagine after doing a mountain of blow and watching nothing but early MTV for 48 hours,” as the AV Club puts it. [INTERVIEW: ADAM STERNBERGH Everything else was moving in that direction, toward more invulnerable, more muscular, more explosive. And then Die Hard came along and said, what if a real, normal guy found himself in this situation? What would he do, and how would he prevail?] Bruce Willis’s embodiment of a wisecracking cop caught in an extraordinary situation was a key factor in John McClane’s believability. [INTERVIEW: SHANNON HUBBELL On paper, just like describing Die Hard to someone, you can totally imagine Schwarzenegger playing that role, or Stallone playing that role. It’s the details and execution that makes it different. You have a character who is fallible, and hurtable and emotionally vulnerable, which is not something that comes across in a paragraph synopsis of Die Hard.] John is a pretty regular guy. He gets tired, he gets hurt. In fact, his physical vulnerability in the original Die Hard is famous. [CLIP: SHOOT THE GLASS] [INTERVIEW: ADAM STERNBERGH From the very beginning of the movie, when he takes his shoes off at the beginning of the movie, you know, he’s in bare feet, he’s incredibly vulnerable and there’s this real sense that he’s this regular guy, who, there’s no way he’s going to accomplish this. He doesn’t even seem to believe it at the beginning. And it makes it so much more satisfying at the end of the movie when he does; he’s bloodied and he’s broken and his feet are bleeding. And that was just so different from that kind of Rambo, Schwarzenegger paradigm that had been established that had been so successful.] When you watch an action movie, you get the thrill of watching a superman executing a perfect plan. But watching a normal guy making it up as he goes along in Die Hard, you start to wonder – what would I do in this situation? We’ll get more into McClane’s physical and emotional vulnerability in our next episode. Patriotism? Die Hard isn’t an explicitly jingoistic film. There aren’t American flags waving as soldiers fight to defend American values. But we do have John, a white, heterosexual, working-class dude as our hero. See, not only is John representative of the American way of life, he also reflects a tension between classes within America, as well as in relationship to other world powers. Our bad guys are an International House of Terrorists, including what Ellis calls… [CLIP: ELLIS EUROTRASH] [INTERVIEW: ADAM STERNBERGH I think there’s definitely some quintessential American ideas of class in the movie, and it’s not a mistake that the terrorists are not just Europeans but they’re all wearing turtlenecks and sort of beautiful European clothes and then there is a whole conversation in the elevator between Hans and Mr. Takagi about their suits and their respective tailors. And John McClane’s just a guy with a singlet on, running around like Johnny Lunchbucket. And I think at that particular moment in American history, that was a very resonant idea, again because there was this sense of America’s influence in the world being undermined – in particular by Japan, but just in general. American industry and this sort of notion of the blue-collar American economy was faltering in coming out of the 1970s. There was a sense that that was changing. So McClane is interesting, and I wonder if you made Die Hard now, if he would still be a New York cop, or if they would try to make him even more of a kind of heartland hero.] It’s also worth noting the presence of another foreign “threat” in Die Hard. The Nakatomi Corporation represents a very real American fear in the 80s that the Japanese wouldn’t so much invade as they would conduct a hostile takeover. Richard Brody of The New Yorker explains: “There’s another ethnic anxiety that the movie represents—the film is centered on the Nakatomi Corporation, headed by a Japanese-American man named Joseph Takagi, which is an emblem of the then widely stoked fear that Japanese high-tech businesses were threatening to dominate the American economy.” At the time, the Japanese economy was booming thanks to post-World War II reconstruction and a strong manufacturing industry. Japanese corporations began buying American companies, starting with car factories, steel works, and media companies – industries that are held as quintessentially American. [CLIP: TAKAGI TAPE DECKS] [INTERVIEW: ADAM STERNBERGH It also has interesting strains of things that were happening in politics at the time, you know, the whole idea of a Japanese corporation that’s come to America and is a powerful corporation, and then the American inevitably has to save them. There’s a little mini-genre of 80s-era films that were sort of about America’s anxiety about Japan’s rising influence in the world. So I think a little bit of that is in Die Hard. You know, this sort of twist of having the terrorists be political terrorists who just turn out to be greedy robbers, was a little bit of a wink at the notion that all the other movies were about politics.] As Adam points out, American fear of this so-called threat can be seen in more than just Die Hard. 1986’s Gung Ho is specifically about a Japanese company buying Michael Keaton’s character’s auto plant. The Back to the Future series (which kicked off in 1985) also has a few telling moments. [CLIP: BACK TO THE FUTURE ALL THE BEST STUFF IS MADE IN JAPAN] [CLIP: BACK TO THE FUTURE II McFLY’S BOSS] In Die Hard, Nakatomi is positioned as not just another Japanese mega-corporation with more money than they know what to do with, but it’s also the company that is threatening to take Holly away from John. Okay, onto our last action movie qualifier: [CLIP: GUNSHOTS, EXPLOSIONS] Welp, I think it’s pretty safe to say that Die Hard has big explosions and over-the-top stunts. Lots of ‘em – and really good ones, too. They’re well choreographed and a pleasure to watch. Plus, they keep their own sense of fun. Having your hero dispatch a bad guy and follow it with a quippy remark is a classic action movie cliche. [CLIP: FEET SMALLER THAN MY SISTER] But the difference is that Bruce Willis has the comedy acting chops to actually pull it off. Look, Arnold’s great at a lot of things, but line delivery ain’t one of ‘em. [CLIP: LET OFF SOME STEAM] In the end, Die Hard is very much in the mold of traditional 80s action movies – and where it breaks that mold, is where it improves upon it. Hollywood’s been trying to recapture that magic ever since. [INTERVIEW: SCOTT WAMPLER I would say that it probably broke a general mold that had a hold on Hollywood for at least a decade. Outside of the work of say, Stallone, Schwarzenegger, who – you know, Schwarzenegger did a lot of sci-fi stuff, and Stallone – Stallone’s always been pretty ‘oo-rah American.’ But I think Hollywood as a whole, it definitely reformed the template, you know? There were shock waves coming off of Die Hard for at least a decade. You can still feel them.] [INTERVIEW: ADAM STERNBERGH I remember sitting in the theater and watching the movie and just being completely blown away by how great it was and how fresh it felt. That is really the thing I wonder if people watching it now can appreciate, is just how it felt like this gust of fresh air, given all the films that had come before. And those action films again, they were all tightly packed in in just like six or seven years in the 80s. It was a very sort of young genre itself. But this kinda came in and it was just a complete reinvention of what an action film could be, and John McClane was a completely different kind of hero, and it was so exhilarating.] The elevated craft of Die Hard, from the airtight script to McTiernan’s direction to De Bont’s cinematography, to the performances of Willis and Rickman, took what could have been an unremarkable summer flick and turned it into a classic. [INTERVIEW: KATIE WALSH My name’s Katie Walsh. I am a film critic for the Tribune News Service and LA Times. You know, you see enough bad action movies, and then you watch Die Hard, and you’re like, “This is so impeccably made.” The cinematography is gorgeous, there’s these amazing camera movements, and the lighting and all of the stuff that’s going on is just so perfect. And then you’re like, “Okay, this is a perfect movie.” I think cinephiles now are saying John McTiernan’s an amazing director, Jan De Bont is an amazing cinematographer, the craft that goes into this movie is impeccable, and it’s a very well-made movie; I think people are recognizing that.] In our next episode, we’ll dig in to arguably the most important contributor to Die Hard’s success: the character of John McClane, and Bruce Willis’s portrayal of him. So get ready, take off your shoes, make some fists with your toes, and join us next time. Thank you to our guests Adam Sternbergh, Scott Wampler, Shannon Hubbell, Ed Grabionowski, and Katie Walsh. Be sure to check the show notes on the website to learn more about them. Thanks again for joining me, and yippee-kai-yay, motherfuckers!
Lightbulb Moments: Conversations Millennials Should Be Having
In this episode, I am joined by Isaiah Smalls and Akintunde Ahmad to discuss the similarities and differences between Black British and African American culture, as well the possibility of diaspora solidarity despite these differences. To what extent does America's cultural hegemony penetrate what it means to be 'black'? To what extent do British and Amercicans' different experiences of blackness come down to different migration patterns? Or even the difference in generational distance from the African continent? We might be different but is the racism universal? Why do African-Americans struggle to relate to grime artists in a way that Black Brits do not in terms of mainstream hip-hop music? Is the American dominance of black culture simply proportional to their larger black population? References: "Why I No Longer Talk to White People About Race" by Reni Eddo-Lodge "A Few Thoughts About British Actors Playing American (And African-American) Roles" - Richard Brody for the New Yorker "Lose Your Mother" - Sadiya Hartman
Like Henry Cavill's arms, Jenna and Chris are locked and loaded on all things Mission: Impossible - Fallout! Join us as we discuss the sixth entry in the Mission: Impossible franchise, and its absurdly (but justifiably) high Rotten Tomatoes score. How accessible is this movie for people who aren't as familiar with the franchise? What questions does this film raise about the ethics of being a spy? And just how impressed are we by the film's stunts? Listen to find out.Also, tacked on the end is a sort of bonus minisode, in which we reluctantly watch the new trailer for Venom for the first time. So, enjoy that. Reviews/Articles we reference:The New Yorker: “Mission: Impossible—Fallout” Is Basically a Two-and-a-Half-Hour Making-Of Sequence by Richard Brody: https://www.newyorker.com/culture/the-front-row/mission-impossiblefallout-is-basically-a-two-and-a-half-hour-making-of-sequenceVox: Mission: Impossible — Fallout is the most entertaining blockbuster of the summer by Alissa Wilkinson: https://www.vox.com/summer-movies/2018/7/17/17566244/mission-impossible-fallout-review-tom-cruiseSlant: Mission: Impossible - Fallout by Keith Uhlich: https://www.slantmagazine.com/film/review/mission-impossible-falloutFollow Us: https://twitter.com/TomatoTomatoPodhttps://twitter.com/heyitsjennalynnhttps://twitter.com/thechrisvittoeTalk to Us: tomatotomatopod@gmail.comMusic: BenSound.com
Like Henry Cavill's arms, Jenna and Chris are locked and loaded on all things Mission: Impossible - Fallout! Join us as we discuss the sixth entry in the Mission: Impossible franchise, and its absurdly (but justifiably) high Rotten Tomatoes score. How accessible is this movie for people who aren't as familiar with the franchise? What questions does this film raise about the ethics of being a spy? And just how impressed are we by the film's stunts? Listen to find out.Also, tacked on the end is a sort of bonus minisode, in which we reluctantly watch the new trailer for Venom for the first time. So, enjoy that. Reviews/Articles we reference:The New Yorker: “Mission: Impossible—Fallout” Is Basically a Two-and-a-Half-Hour Making-Of Sequence by Richard Brody: https://www.newyorker.com/culture/the-front-row/mission-impossiblefallout-is-basically-a-two-and-a-half-hour-making-of-sequenceVox: Mission: Impossible — Fallout is the most entertaining blockbuster of the summer by Alissa Wilkinson: https://www.vox.com/summer-movies/2018/7/17/17566244/mission-impossible-fallout-review-tom-cruiseSlant: Mission: Impossible - Fallout by Keith Uhlich: https://www.slantmagazine.com/film/review/mission-impossible-falloutFollow Us: https://twitter.com/TomatoTomatoPodhttps://twitter.com/heyitsjennalynnhttps://twitter.com/thechrisvittoeTalk to Us: tomatotomatopod@gmail.comMusic: BenSound.com
(ATTENTION SPOILER)14 ans après la sortie du premier volet, Brad Bird signe à nouveau avec Pixar pour donner une suite aux “Indestructibles” et les fans de la première heure ont de quoi se réjouir. On retrouve la famille Parr au grand complet, avec un nouveau défi pour Mr Indestructible, celui de gérer sa petite famille pendant que sa chère et tendre, aka Elastigirl, s’occupe du super héroïsme. En parallèle de sa vie domestique mouvementée, la famille va devoir faire face à une nouvelle menace : un super méchant nommé l’Hypnotiseur. Spectaculaire, généreux, inventif, “Les Indestructibles 2” a tout ce qui manque tant dans les films de superhéros qu’Hollywood sort à la pelle depuis quelques années. Exemplaire comme film d’action, ce nouveau volet est aussi une suite très réussie. Fidèle à ses personnages, Brad Bird parvient à satisfaire les attentes des admirateurs de la famille Parr tout en les détournant et en créant la surprise. Perfectionné par rapport au premier sur le plan technique, “Les Indestructibles 2” est un grand film familial, une leçon de cinéma pour toutes les autres franchises de superhéros.Podcast animé par Thomas Rozec avec Rafik Djoumi, Julien Dupuy et Stéphane MoïssakisRECOMMANDATIONS LA RECOMMANDATION DE JULIEN DUPUY : “A la poursuite de demain” de Brad Bird (2015), qui a eu le malheur de sortir en même temps que “Mad Max: Fury Road” et qui est donc passé trop inaperçu. Et le making-of du premier volet des “Indestructibles”.LA RECOMMANDATION DE RAFIK DJOUMI : “The Spirit”, un pencil-test de Brad Bird dans les années 80, disponible sur Youtube. Et “Family Dog”, l’épisode qu’il a réalisé pour la série “Amazing Stories”.LA RECOMMANDATION DE STÉPHANE MOÏSSAKIS : L’affiche de “L’épreuve de force” (Clint Eastwood, 1978) et ‘La Relève” (Clint Eastwood, 1990)RÉFÉRENCES CITÉES DANS L’ÉMISSIONLes Indestructibles (Brad Bird, 2004), Les Indestructibles 2 (Brad Bird, 2018), Les Quatre Fantastiques (Tim Story, 2005), Joseph Frank "Buster" Keaton, Jurassic World: Fallen Kingdom (Juan Antonio Bayona, 2018), Tomorrowland (Brad Bird, 2015), Spider-Man 2 (Sam Raimi, 2004), James Francis Cameron, Richard Brody, Poltergeist (Tobe Hooper,1982), Avengers: Infinity War (Anthony Russo, Joe Russo, 2018), Michael Giacchino, Mad Max: Fury Road (George Miller, 2015), PIXAR, John Lasseter, Ray Gunn (Brad Bird), Histoires Fantastiques (NBC, 1985), Tim Burton, Les Simpson (Fox, 1989), L’épreuve de force (Clint Eastwood, 1978), La Relève (Clint Eastwood, 1990), Split 2 (M. Night Shyamalan, à paraître)CRÉDITSEnregistré le 26 juin 2018 à l’Antenne Paris. Production : Binge Audio. Direction de production : Joël Ronez. Rédacteur en chef : David Carzon. Direction générale : Gabrielle Boeri-Charles. Moyens techniques : Binge Audio. Réalisation : Quentin Bresson. Chargée de production et d’édition : Camille Regache. Editrice : Albane Fily. Générique : "Soupir Articulé", Abstrackt Keal Agram (Tanguy Destable et Lionel Pierres). NoCiné est une production du réseau Binge Audio www.binge.audio. See acast.com/privacy for privacy and opt-out information.
Today we're talking about arguably 2017's most controversial film, and one of the most controversial on this podcast: Darren Aronofsky's MOTHER! (technically, mother!) starring JLaw, JBard, Ed Harris, and Michelle Pfeiffer. Plus, joining us to bring a skeptical point of view is Vulture's movies editor, Rachel Handler! In this episode: mother! as Biblical allegory and environmental parable; or, is the movie actually all about being a demanding artist?; the religious concept of eternal return vs. scientific concept of the oscillating universe; plus: what's that yellow substance, and how obvious is it he wrote it in five days? mother! links: mother! on IMDb mother! on Wikipedia AO Scott review of mother! Richard Brody review of mother! Vulture on interpreting mother! Reddit on interpreting mother! NY Times profile with the principals Rachel's mother! quiz on Vulture Aronofsky interview at EW Aronofsky interview at Vulture Aronofsky interview at IndieWire W on mother!'s F CinemaScore Rachel Handler on Twitter Show links: Subscribe: Apple Podcasts Archives: enterthevoid.fm Follow us: Facebook + Twitter
Today we're talking about arguably 2017's most controversial film, and one of the most controversial on this podcast: Darren Aronofsky's MOTHER! (technically, mother!) starring JLaw, JBard, Ed Harris, and Michelle Pfeiffer. Plus, joining us to bring a skeptical point of view is Vulture's movies editor, Rachel Handler! In this episode: mother! as Biblical allegory and environmental parable; or, is the movie actually all about being a demanding artist?; the religious concept of eternal return vs. scientific concept of the oscillating universe; plus: what's that yellow substance, and how obvious is it he wrote it in five days? mother! links: mother! on IMDb mother! on Wikipedia AO Scott review of mother! Richard Brody review of mother! Vulture on interpreting mother! Reddit on interpreting mother! NY Times profile with the principals Rachel's mother! quiz on Vulture Aronofsky interview at EW Aronofsky interview at Vulture Aronofsky interview at IndieWire W on mother!'s F CinemaScore Rachel Handler on Twitter Show links: Subscribe: Apple Podcasts Archives: enterthevoid.fm Follow us: Facebook + Twitter
Jean-Luc Godard's 1967 WEEKEND (or WEEK-END, if you prefer) is a scathing political satire if you understand what's going on, or a long strange trip if you don't. Your hosts have been on both sides of this divide, and today they come together to talk about seeing the film as a clueless undergrad; Tarantino and Wheatley as JLG fans and other films it influenced; the automobile and capitalist society; anti-colonialist speeches with sandwiches; a digression on the legacies of Hunter S. Thompson and Jann Wenner; Black Mirror, Get Out and other contemporary satires; and the puzzles of Lewis Carroll. Weekend links: Weekend on IMDb Weekend on Wikipedia Roger Ebert review Pauline Kael review Renata Adler review Richard Brody review Criterion essay Columbia essay Pop Matters essay Senses of Cinema essay Ben Wheatley on Weekend Rolling Stone interview with Godard Sticky Fingers NYT review Solution to Lewis Carroll puzzle More Lewis Carroll puzzles Show links: Subscribe: Apple Podcasts Archives: enterthevoid.fm Follow us: Facebook + Twitter
Jean-Luc Godard's 1967 WEEKEND (or WEEK-END, if you prefer) is a scathing political satire if you understand what's going on, or a long strange trip if you don't. Your hosts have been on both sides of this divide, and today they come together to talk about seeing the film as a clueless undergrad; Tarantino and Wheatley as JLG fans and other films it influenced; the automobile and capitalist society; anti-colonialist speeches with sandwiches; a digression on the legacies of Hunter S. Thompson and Jann Wenner; Black Mirror, Get Out and other contemporary satires; and the puzzles of Lewis Carroll. Weekend links: Weekend on IMDb Weekend on Wikipedia Roger Ebert review Pauline Kael review Renata Adler review Richard Brody review Criterion essay Columbia essay Pop Matters essay Senses of Cinema essay Ben Wheatley on Weekend Rolling Stone interview with Godard Sticky Fingers NYT review Solution to Lewis Carroll puzzle More Lewis Carroll puzzles Show links: Subscribe: Apple Podcasts Archives: enterthevoid.fm Follow us: Facebook + Twitter
Today's Guest: Richard Brody, author, Everything Is Cinema: The Working Life of Jean Luc-Godard Everything Is Cinema: The Working Life of Jean Luc-Godard by Richard Brody. Order your copy today by clicking on the book cover above! I studied French New Wave cinema in college. Took it twice, in fact, in Professor Robert Ray’s class at the University of Florida. Little-known fact – my degree is actually in Film Studies. Anyway, I loved the French New Wave films from the late ‘50s and early ‘60s. What I didn’t care for was the over-inflated discussion that followed each screening. I’d watch the movies, in awe of the storytelling, the jump cuts, the women, the casual sex – you get the idea. But when the lights came up, Professor Ray always insisted on going deep into the meaning and motivation of the filmmaker. So here I am, Mr. A Mile Wide and an Inch Deep, about to welcome the esteemed film critic of The New Yorker magazine and author of the new book, Everything Is Cinema: The Working Life of Jean Luc-Godard. It’s a fascinating look at the best of the best of French New Wave, the auteur behind Breathless, A Woman is A Woman, La Chinoise, King Lear, and many more. And it made me wish I was more patient back in Professor Ray’s class more than 25 years ago. Richard Brody Facebook • Twitter • Wikipedia • IMDB • Goodreads • Rotten Tomatoes • The New Yorker Kicking Through the Ashes: My Life As A Stand-up in the 1980s Comedy Boom by Ritch Shydner. Order your copy today by clicking on the book cover above! The Party Authority in New Jersey, Pennsylvania, Delaware and Maryland!
Last week, we began our response to Richard Brody's review of Rogue One in The New Yorker, which can be found here: http://www.newyorker.com/culture/richard-brody/rogue-one-reviewed-is-it-time-to-abandon-the-star-wars-franchise This week, we conclude our conversation and analysis of Mr. Brody's review, and we also bring into play other negative reviews of Rogue One. Only those negative reviews focus on specific mechanics and technical aspects of the film. And they don't include massively long run-on sentences that, when examined with a cursory glance, only serve to belabor an obscure point and leave the reader confused because, as with so many run-on sentences, it's a stream of consciousness sentence that meanders and wanders and circles around the point, stalking it like a mutated turtle stalks pizza.
Something we've been wanting to do for a while: respond to Richard Brody's review of Rogue One in The New Yorker: http://www.newyorker.com/culture/richard-brody/rogue-one-reviewed-is-it-time-to-abandon-the-star-wars-franchise It's a painful, pretentious, meandering diatribe against a franchise that, over the past forty years, has impacted film production methods, film music scoring, film editing, merchandising, visual effects production, and film sequel planning in a way that will have a lasting impact long after we've gone the way of the pedantic reviewers of the previous technologically challenged generation, and it clearly demonstrates that Mister Brody lacks the fundamental understanding of that which he's been tasked, either by himself or a masochistic editor, to review with all the preparation of a toddler facing a velociraptor. How's that, Mr. Brody?
Festeggiamo la 200esima puntata di Ricciotto come abbiamo festeggiato la 100esima: con Fabio “Faz” Deotto. Parliamo di «Free State of Jones», e Faz ha citato la recensione di Richard Brody sul «New Yorker»: http://www.newyorker.com/culture/richard-brody/the-historical-imagination-and-free-state-of-jonesE a un certo momento ricordiamo con un po' di nostalgia «Glory», di Edward Zwick. Faz butta lì un consiglio per gli insegnanti che ascoltano Ricciotto: fate leggere «Tra me e il mondo» di Ta-Nehisi Coates!
Festeggiamo la 200esima puntata di Ricciotto come abbiamo festeggiato la 100esima: con Fabio “Faz” Deotto. Parliamo di «Free State of Jones», e Faz ha citato la recensione di Richard Brody sul «New Yorker»: http://www.newyorker.com/culture/richard-brody/the-historical-imagination-and-free-state-of-jonesE a un certo momento ricordiamo con un po' di nostalgia «Glory», di Edward Zwick. Faz butta lì un consiglio per gli insegnanti che ascoltano Ricciotto: fate leggere «Tra me e il mondo» di Ta-Nehisi Coates!
Last weekend, the new Starz series "The Girlfriend Experience" premiered on cable and dropped in its entirety online. The always grumpy Richard Brody called it "an artistic as well as an epistemological disaster," but he blamed all of that directly on "the rigid format of serial television."Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.
Where does the ear meet the eye? “Seeing and Illustrating Music” includes the voices of Cretien van Campen, Ben Street, Sherry Turner DeCarava, Chia-Jung Tsay, Richard Brody, Christian Wolff, Ryan Vigil, Robert Simpson, Jonathan Sterne, Carlene Stevens, Patrick Feaster, Karen Topp, Eric Wahlforss, Nicholson Baker, Berthold Hoeckner, Petr Janata. Produced by Zack Ezor, Conor Gillies, Qainat Khan, and Dan Mauzy. Special thanks to Deanna Archetto and Tom Richards for providing audio from the Daphne Oram Collection at Goldsmiths, University of London. Editing help from Katherine Gorman and Erika Lantz. Artwork by Robert Beatty. From WBUR, Boston’s NPR News Station.
At the 52nd New York Film Festival, film critics and historians gathered to talk about Jean-Luc Godard’s work and career during an NYFF Live event sponsored by HBO. Panelists included The New Yorker’s Richard Brody, former MoMA curator Lawrence Kardish and GOODBYE TO LANGUAGE star Héloise Godet.
Robin Williams will be missed. A big career and an even bigger personality. Loann and Art talk about their memories of his performances and his impact on the culture. And, are movie theaters even a place for adults seeking serious drama? Reading List: What Happened to Original Movies Aimed at Adults? by Richard Brody
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