Podcast appearances and mentions of Richard Eyre

durée : 00:04:56 - Classic & Co - par : Anna Sigalevitch - Les Noces de Figaro de Mozart, ce sera samedi prochain au cinéma partout en France en direct du Metropolitan Opera de New York dans une production mise en scène par Richard Eyre et dirigée par Joana Mallwitz…

Rebecca, Tori, and returning guest, Louise, delve into the 2018 production of Shakespeare's King Lear, discussing our personal experiences with the play, character dynamics, and the performances of the cast. We discuss various interpretations that arise from different adaptations and how Eyre's choices of what to cut cause confusion in some of the action. We gush over the performances of (most) of the cast, particularly Thompson, Watson, and Pugh's portrayals of the three sisters.MusicApache Rock Instrumental | by Sound Atelier; licensed from JamendoRemember the Way | by Mid-Air Machine; Free Music ArchiveRecord Scratch: Sound Effect free on PixabayPrint SourceAnderson, John. 2018. 'King Lear' Review: A Timeless Tale with a Modern King; Anthony Hopkins's Lear is a Frightening, Ego-Driven Autocrat in 21st-Century Britain. New York, N.Y.: Dow Jones & Company Inc. https://www.proquest.com/blogs-podcasts-websites/king-lear-review-timeless-tale-with-modern/docview/2112753139/se-2.SourcesKing Lear: a mesmerizing Hopkins in a disappearing script | The Book HavenKing Lear review: Anthony Hopkins stars in a murky adaptation | The Independent | The IndependentKing Lear Amazon Review: Anthony Hopkins and Emma Thompson CaptivateKing Lear Amazon Review: Anthony Hopkins Is DevastatingShakespeare Oxford Fellowship | LearAnthony Hopkins' King Lear, reviewed.

The Dæmons is the final story in the eighth season of Doctor Who, with Jon Pertwee playing the eponymous hero (see episode 48 covering The House That Dripped Blood for some fantastic Pertrivia). It aired over five weeks on BBC1 from 22 May to 19 June 1971. In The Dæmons, the Master, played by Roger Delgado, awakens the ancient horned alien Azal, hoping to gain his immense power. Delgado, a close friend of Pertwee, worked extensively on stage, TV, film, and radio. His work included the BBC's Quatermass II, Battle of the River Plate, Hammer's The Mummy's Shroud, and English dubbing for The Horror Express (see episode 7). He often played villains in British action-adventure series like Danger Man, The Saint, The Champions, and Randall and Hopkirk (Deceased). Tragically, Delgado died in a car accident in Turkey while filming a Franco-German mini-series. He was only 55 years old. The Dæmons began as an audition scene for Jo Grant, played by Katy Manning, and was later reworked into episode four. Manning attended Miss Dixon and Miss Wolfe's School for Girls, becoming close friends with Liza Minnelli. She socialized with stars like James Mason, Dirk Bogarde, and had tea with Noël Coward at The Savoy. As a teenager, she modeled for Biba and dated Jimi Hendrix, Richard Eyre, David Troughton, Derek Fowlds, Stewart Bevan, and Peter Bardens, Rod Stewart's keyboard player. Manning had a close bond with Pertwee, who would pick her up daily for filming, either in his car or on his motorbike, where she would ride pillion. They even raced with Dick Emery and Sir Ralph Richardson to see who could reach the BBC studios first. After three years on Doctor Who, Manning left to pursue other acting work. Pertwee was saddened by her departure, citing her exit and Delgado's death as two major reasons for leaving the show a year later. Producer Barry Letts wanted to write a story about black magic to tap into the zeitgeist of the Age of Aquarius and frighten young viewers. However, script editor Terrance Dicks had concerns it might be seen as Satanist. The story was revised to focus on a scientific threat with occult themes. Originally, the Master was to worship the demon in a church, but to avoid offending religious viewers, the scenes were moved to a crypt, later referred to as a cavern (though the set remained crypt-like). Letts co-wrote the script with playwright Robert Sloman under the pseudonym Guy Leopold, as the BBC frowned on production staff writing for their own shows. Much of the serial was filmed on location in Aldbourne, Wiltshire, with two weeks allocated for filming—more than double the usual time—leading to more outdoor scenes. The cast included comedy actress Damaris Hayman, who starred as Miss Hawthorne. Hayman had an interest in the supernatural and served as an unofficial adviser on the production. Her friend, a practicing witch, praised the accuracy of the scripts. Future Sooty puppeteer Matthew Corbett had a brief role in the final episode as a hooded coven member who objects to Jo's sacrifice. Corbett, whose great-uncle was Harry Ramsden of fish-and-chip fame, had to change his name when joining the actors' union Equity, as there was already a Peter Corbett registered.Studio taping for The Dæmons was completed on 16 May 1971, just weeks before the final episode aired. This episode included footage of a model church being blown up, which was so realistic that it prompted viewer complaints. If the clip of the Brigadier's helicopter crashing into the heat shield looks familiar, it was borrowed from the James Bond film From Russia with Love. Get bonus content on PatreonSupport this show http://supporter.acast.com/general-witchfinders. Hosted on Acast. See acast.com/privacy for more information.

This week on the blog, a podcast interview with playwright and screenwriter Jeffrey Hatcher on Columbo, Sherlock Holmes, favorite mysteries and more!LINKSA Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6Fast, Cheap Film Website: https://www.fastcheapfilm.com/Jeffrey Hatcher Facebook Page: https://www.facebook.com/jeffrey.hatcher.3/The Good Liar (Trailer): https://youtu.be/ljKzFGpPHhwMr. Holmes (Trailer): https://youtu.be/0G1lIBgk4PAStage Beauty (Trailer): https://youtu.be/-uc6xEBfdD0Columbo Clips from “Ashes to Ashes”Clip One: https://youtu.be/OCKECiaFsMQClip Two: https://youtu.be/BbO9SDz9FEcClip Three: https://youtu.be/GlNDAVAwMCIEli Marks Website: https://www.elimarksmysteries.com/Albert's Bridge Books Website: https://www.albertsbridgebooks.com/YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcastTRANSCRIPTJohn: Can you remember your very first mystery, a movie, book, TV show, play, a mystery that really captured your imagination? Jeffrey: You know, I was thinking about this, and what came to mind was a Disney movie called Emile and the Detectives from 1964. So, I would have been six or seven years old. It's based on a series of German books by Eric Kastner about a young man named Emile and his group of friends who think of themselves as detectives. So, I remember that—I know that might've been the first film. And obviously it's not a play because, you know, little kids don't tend to go to stage thrillers or mysteries and, “Daddy, please take me to Sleuth.But there was a show called Burke's Law that I really loved. Gene Barry played Captain Amos Burke of the Homicide Division in Los Angeles, and he was very rich. That was the bit. The bit was that Captain Burke drove around in a gorgeous Rolls Royce Silver Ghost, and he had a chauffeur. And every mystery was structured classically as a whodunit.In fact, I think every title of every episode was “Who Killed Cock Robin?” “Who Killed Johnny Friendly?” that kind of thing. And they would have a cast of well-known Hollywood actors, so they were all of equal status. Because I always think that's one of the easiest ways to guess the killer is if it's like: Unknown Guy, Unknown Guy, Derek Jacobi, Unknown Guy, Unknown Guy. It's always going to be Derek Jacobi. John: Yeah, it's true. I remember that show. He was really cool. Jim: Well, now I'm going to have to look that up.Jeffrey: It had a great score, and he would gather all of the suspects, you know, at the end of the thing. I think my favorite was when he caught Paul Lynde as a murderer. And, of course, Paul Lynde, you know, kept it very low key when he was dragged off. He did his Alice Ghostly impersonation as he was taken away.John: They did have very similar vocal patterns, those two.Jeffrey: Yep. They're kind of the exact same person. Jim: I never saw them together. John: You might have on Bewitched. Jim: You're probably right.Jeffrey: Well, I might be wrong about this, either Alice Ghostly or Charlotte Ray went to school with Paul Lynde. And Charlotte Ray has that same sound too. You know, kind of warbly thing. Yes. I think they all went to Northwestern in the late 40s and early 50s. So maybe that was a way that they taught actors back then. John: They learned it all from Marion Horne, who had the very same warble in her voice. So, as you got a little older, were there other mysteries that you were attracted to?Jeffrey: Yeah. Luckily, my parents were very liberal about letting me see things that other people probably shouldn't have. I remember late in elementary school, fifth grade or so, I was reading Casino Royale. And one of the teachers said, “Well, you know, most kids, we wouldn't want to have read this, but it's okay if you do.”And I thought, what's that? And I'm so not dangerous; other kids are, well they would be affected oddly by James Bond? But yeah, I, I love spy stuff. You know, The Man from Uncle and The Wild Wild West, all those kind of things. I love James Bond. And very quickly I started reading the major mysteries. I think probably the first big book that I remember, the first novel, was The Hound of the Baskervilles. That's probably an entrance point for a lot of kids. So that's what comes in mind immediately. Jim: I certainly revisit that on—if not yearly basis, at least every few years I will reread The Hound of the Baskervilles. Love that story. That's good. Do you have, Jeffrey, favorite mystery fiction writers?Jeffrey: Oh, sure. But none of them are, you know, bizarre Japanese, Santa Domingo kind of writers that people always pull out of their back pockets to prove how cool they are. I mean, they're the usual suspects. Conan Doyle and Christie and Chandler and Hammett, you know, all of those. John Dickson Carr, all the locked room mysteries, that kind of thing. I can't say that I go very far off in one direction or another to pick up somebody who's completely bizarre. But if you go all the way back, I love reading Wilkie Collins.I've adapted at least one Wilkie Collins, and they read beautifully. You know, terrifically put together, and they've got a lot of blood and thunder to them. I think he called them sensation novels as opposed to mysteries, but they always have some mystery element. And he was, you know, a close friend of Charles Dickens and Dickens said that there were some things that Collins taught him about construction. In those days, they would write their novels in installments for magazines. So, you know, the desire or the need, frankly, to create a cliffhanger at the end of every episode or every chapter seems to have been born then from a capitalist instinct. John: Jeff, I know you studied acting. What inspired the move into playwriting?Jeffrey: I don't think I was a very good actor. I was the kind of actor who always played older, middle aged or older characters in college and high school, like Judge Brack in Hedda Gabler, those kind of people. My dream back in those days was to play Dr. Dysart in Equus and Andrew Wyke in Sleuth. So, I mean, that was my target. And then I moved to New York, and I auditioned for things and casting directors would say, “Well, you know, we actually do have 50 year old actors in New York and we don't need to put white gunk in their hair or anything like that. So, why don't you play your own age, 22 or 23?” And I was not very good at playing 22 or 23. But I'd always done some writing, and a friend of mine, Graham Slayton, who was out at the Playwrights Center here, and we'd gone to college together. He encouraged me to write a play, you know, write one act, and then write a full length. So, I always say this, I think most people go into the theater to be an actor, you know, probably 98%, and then bit by bit, we, you know, we peel off. We either leave the profession completely or we become directors, designers, writers, what have you. So, I don't think it's unnatural what I did. It's very rare to be like a Tom Stoppard who never wanted to act. It's a lot more normal to find the Harold Pinter who, you know, acted a lot in regional theaters in England before he wrote The Caretaker.Jim: Fascinating. Can we talk about Columbo?Jeffrey: Oh, yes, please. Jim: This is where I am so tickled pink for this conversation, because I was a huge and am a huge Peter Falk Columbo fan. I went back and watched the episode Ashes To Ashes, with Patrick McGowan that you created. Tell us how that came about. Jeffrey: I too was a huge fan of Columbo in the 70s. I remember for most of its run, it was on Sunday nights. It was part of that murder mystery wheel with things like Hec Ramsey and McCloud, right? But Columbo was the best of those, obviously. Everything, from the structure—the inverted mystery—to thw guest star of the week. Sometimes it was somebody very big and exciting, like Donald Pleasence or Ruth Gordon, but often it was slightly TV stars on the skids.John: Jack Cassidy, Jim: I was just going to say Jack Cassidy.Jeffrey: But at any rate, yeah, I loved it. I loved it. I remembered in high school, a friend and I doing a parody of Columbo where he played Columbo and I played the murderer of the week. And so many years later, when they rebooted the show in the nineties, my father died and I spent a lot of time at the funeral home with the funeral director. And having nothing to say to the funeral director one day, I said, “Have you got the good stories?”And he told me all these great stories about, you know, bodies that weren't really in the casket and what you can't cremate, et cetera. So, I suddenly had this idea of a Hollywood funeral director to the stars. And, via my agent, I knew Dan Luria, the actor. He's a close friend or was a close friend of Peter's. And so, he was able to take this one-page idea and show it to Peter. And then, one day, I get a phone call and it's, “Uh, hello Jeff, this is Peter Falk calling. I want to talk to you about your idea.” And they flew me out there. It was great fun, because Falk really ran the show. He was the executive producer at that point. He always kind of ran the show. I think he only wrote one episode, the one with Faye Dunaway, but he liked the idea.I spent a lot of time with him, I'd go to his house where he would do his drawings back in the studio and all that. But what he said he liked about it was he liked a new setting, they always liked a murderer and a setting that was special, with clues that are connected to, say, the murderer's profession. So, the Donald Pleasant one about the wine connoisseur and all the clues are about wine. Or the Dick Van Dyke one, where he's a photographer and most of the clues are about photography. So, he really liked that. And he said, “You gotta have that first clue and you gotta have the pop at the end.”So, and we worked on the treatment and then I wrote the screenplay. And then he asked McGoohan if he would do it, and McGoohan said, “Well, if I can direct it too.” And, you know, I've adored McGoohan from, you know, Secret Agent and The Prisoner. I mean, I'd say The Prisoner is like one of my favorite television shows ever. So, the idea that the two of them were going to work together on that script was just, you know, it was incredible. John: Were you able to be there during production at all? Jeffrey: No, I went out there about four times to write, because it took like a year or so. It was a kind of laborious process with ABC and all that, but I didn't go out during the shooting.Occasionally, this was, you know, the days of faxes, I'd get a phone call: “Can you redo something here?” And then I'd fax it out. So, I never met McGoohan. I would only fax with him. But they built this whole Hollywood crematorium thing on the set. And Falk was saying at one point, “I'm getting pushback from Universal that we've got to do all this stuff. We've got to build everything.” And I was saying, “Well, you know, 60 percent of the script takes place there. If you're going to try to find a funeral home like it, you're going to have all that hassle.” And eventually they made the point that, yeah, to build this is going to cost less than searching around Hollywood for the right crematorium, And it had a great cast, you know, it had Richard Libertini and Sally Kellerman, and Rue McClanahan was our murder victim.Jim: I'll tell you every scene that Peter Falk and Mr. McGoohan had together. They looked to me as an actor, like they were having a blast being on together. Jeffrey: They really loved each other. They first met when McGoohan did that episode, By Dawn's Early Light, where he played the head of the military school. It's a terrific episode. It was a great performance. And although their acting styles are completely different, You know, Falk much more, you know, fifties, methody, shambolic. And McGoohan very, you know, his voice cracking, you know, and very affected and brittle. But they really loved each other and they liked to throw each other curveballs.There are things in the, in the show that are ad libs that they throw. There's one bit, I think it's hilarious. It's when Columbo tells the murderer that basically knows he did it, but he doesn't have a way to nail him. And, McGoohan is saying, “So then I suppose you have no case, do you?” And Falk says, “Ah, no, sir, I don't.” And he walks right off camera, you know, like down a hallway. And McGoohan stares off and says, “Have you gone?” And none of that was scripted. Peter just walks off set. And if you watch the episode, they had to dub in McGoohan saying, “Have you gone,” because the crew was laughing at the fact that Peter just strolled away. So McGoohan adlibs that and then they had to cover it later to make sure the sound wasn't screwed up. Jim: Fantastic. John: Kudos to you for that script, because every piece is there. Every clue is there. Everything pays off. It's just it is so tight, and it has that pop at the end that he wanted. It's really an excellent, excellent mystery.Jim: And a terrific closing line. Terrific closing line. Jeffrey: Yeah, that I did right. That was not an ad lib. Jim: It's a fantastic moment. And he, Peter Falk, looks just almost right at the camera and delivers that line as if it's, Hey, check this line out. It was great. Enjoyed every minute of it. Can we, um, can I ask some questions about Sherlock Holmes now?Jeffrey: Oh, yes. Jim: So, I enjoyed immensely Holmes and Watson that I saw a couple summers ago at Park Square. I was completely riveted and had no, absolutely no idea how it was going to pay off or who was who or what. And when it became clear, it was so much fun for me as an audience member. So I know that you have done a number of Holmes adaptations.There's Larry Millet, a St. Paul writer here and I know you adapted him, but as far as I can tell this one, pillar to post was all you. This wasn't an adaptation. You created this out of whole cloth. Am I right on that? Jeffrey: Yes. The, the idea came from doing the Larry Millet one, actually, because Steve Hendrickson was playing Holmes. And on opening night—the day of opening night—he had an aortic aneurysm, which they had to repair. And so, he wasn't able to do the show. And Peter Moore, the director, he went in and played Holmes for a couple of performances. And then I played Holmes for like three performances until Steve could get back. But in the interim, we've sat around saying, “All right, who can we get to play the role for like a week?” And we thought about all of the usual suspects, by which I mean, tall, ascetic looking actors. And everybody was booked, everybody was busy. Nobody could do it. So that's why Peter did it, and then I did it.But it struck me in thinking about casting Holmes, that there are a bunch of actors that you would say, you are a Holmes type. You are Sherlock Holmes. And it suddenly struck me, okay, back in the day, if Holmes were real, if he died—if he'd gone over to the falls of Reichenbach—people probably showed up and say, “Well, I'm Sherlock Holmes.”So, I thought, well, let's take that idea of casting Holmes to its logical conclusion: That a couple of people would come forward and say, “I'm Sherlock Holmes,” and then we'd wrap it together into another mystery. And we're sitting around—Bob Davis was playing Watson. And I said, “So, maybe, they're all in a hospital and Watson has to come to figure out which is which. And Bob said, “Oh, of course, Watson's gonna know which one is Holmes.”And that's what immediately gave me the idea for the twist at the end, why Watson wouldn't know which one was Holmes. So, I'm very grateful whenever an idea comes quickly like that, but it depends on Steve getting sick usually. Jim: Well, I thoroughly enjoyed it. If it's ever staged again anywhere, I will go. There was so much lovely about that show, just in terms of it being a mystery. And I'm a huge Sherlock Holmes fan. I don't want to give too much away in case people are seeing this at some point, but when it starts to be revealed—when Pierce's character starts talking about the reviews that he got in, in the West End—I I almost wet myself with laughter. It was so perfectly delivered and well written. I had just a great time at the theater that night. Jeffrey: It's one of those things where, well, you know how it is. You get an idea for something, and you pray to God that nobody else has done it. And I couldn't think of anybody having done this bit. I mean, some people have joked and said, it's kind of To Tell the Truth, isn't it? Because you have three people who come on and say, “I'm Sherlock Holmes.” “I'm Sherlock Holmes.” “I'm Sherlock Holmes.” Now surely somebody has done this before, but Nobody had. Jim: Well, it's wonderful. John: It's all in the timing. So, what is the, what's the hardest part about adapting Holmes to this stage?Jeffrey: Well, I suppose from a purist point of view‑by which I mean people like the Baker Street Irregulars and other organizations like that, the Norwegian Explorers here in Minnesota‑is can you fit your own‑they always call them pastiches, even if they're not comic‑can you fit your own Holmes pastiche into the canon?People spend a lot of time working out exactly where Holmes and Watson were on any given day between 1878 and 1930. So, one of the nice things about Holmes and Watson was, okay, so we're going to make it take place during the three-year interregnum when Holmes is pretending to be dead. And it works if you fit Holmes and Watson in between The Final Problem and The Adventure of the Empty House, it works. And that's hard to do. I would say, I mean, I really love Larry Millett's book and all that, but I'm sure it doesn't fit, so to speak. But that's up to you to care. If you're not a purist, you can fiddle around any old way you like. But I think it's kind of great to, to, to have the, the BSI types, the Baker Street Irregular types say, “Yes, this clicked into place.”Jim: So that's the most difficult thing. What's the easiest part?Jeffrey: Well, I think it's frankly the language, the dialogue. Somebody pointed out that Holmes is the most dramatically depicted character in history. More than Robin Hood, more than Jesus Christ. There are more actor versions of Holmes than any other fictional character.We've been surrounded by Holmes speak. Either if we've read the books or seen the movies or seen any of the plays for over 140 years. Right. So, in a way, if you're like me, you kind of absorb that language by osmosis. So, for some reason, it's very easy for me to click into the way I think Holmes talks. That very cerebral, very fast, sometimes complicated syntax. That I find probably the easiest part. Working out the plots, you want them to be Holmesian. You don't want them to be plots from, you know, don't want the case to be solved in a way that Sam Spade would, or Philip Marlowe would. And that takes a little bit of work. But for whatever reason, it's the actor in you, it's saying, all right, if you have to ad lib or improv your way of Sherlock Holmes this afternoon, you know, you'd be able to do it, right? I mean, he really has permeated our culture, no matter who the actor is.Jim: Speaking of great actors that have played Sherlock Holmes, you adapted a movie that Ian McKellen played, and I just watched it recently in preparation for this interview.Having not seen it before, I was riveted by it. His performance is terrific and heartbreaking at the same time. Can we talk about that? How did you come to that project? And just give us everything.Jeffrey: Well, it's based on a book called A Slight Trick of the Mind by Mitch Cullen, and it's about a very old Sherlock Holmes in Surrey, tending to his bees, as people in Holmesland know that he retired to do. And it involves a couple of cases, one in Japan and one about 20 years earlier in his life that he's trying to remember. And it also has to do with his relationship with his housekeeper and the housekeeper's son. The book was given to me by Anne Carey, the producer, and I worked on it probably off and on for about five years.A lot of time was spent talking about casting, because you had to have somebody play very old. I remember I went to meet with Ralph Fiennes once because we thought, well, Ralph Fiennes could play him at his own age,‑then probably his forties‑and with makeup in the nineties.And Ralph said‑Ralph was in another film that I'd done‑and he said, “Oh, I don't wear all that makeup. That's just far too much.” And I said, “Well, you did in Harry Potter and The English Patient, you kind of looked like a melted candle.” And he said, “Yes, and I don't want to do that again.” So, we always had a very short list of actors, probably like six actors in the whole world And McKellen was one of them and we waited for him to become available And yeah, he was terrific. I'll tell you one funny story: One day, he had a lot of prosthetics, not a lot, but enough. He wanted to build up his cheekbones and his nose a bit. He wanted a bit, he thought his own nose was a bit too potatoish. So, he wanted a more Roman nose. So, he was taking a nap one day between takes. And they brought him in, said, “Ian, it's time for you to do the, this scene,” and he'd been sleeping, I guess, on one side, and his fake cheek and his nose had moved up his face. But he hadn't looked in the mirror, and he didn't know. So he came on and said, “Very well, I'm all ready to go.” And it was like Quasimodo.It's like 5:52 and they're supposed to stop shooting at six. And there was a mad panic of, Fix Ian's face! Get that cheekbone back where it's supposed to be! Knock that nose into place! A six o'clock, we go into overtime!” But it was very funny that he hadn't noticed it. You kind of think you'd feel if your own nose or cheekbone had been crushed, but of course it was a makeup. So, he didn't feel anything. Jim: This is just the, uh, the actor fan boy in me. I'm an enormous fan of his work straight across the board. Did you have much interaction with him and what kind of fella is he just in general?Jeffrey: He's a hoot. Bill Condon, the director, said, “Ian is kind of methody. So, when you see him on set, he'll be very decorous, you know, he'll be kind of like Sherlock Holmes.” And it was true, he goes, “Oh, Jeffrey Hatcher, it's very good to meet you.” And he was kind of slow talking, all that. Ian was like 72 then, so he wasn't that old. But then when it was all over, they were doing all those--remember those ice Dumps, where people dump a tub of ice on you? You have these challenges? A the end of shooting, they had this challenge, and Ian comes out in short shorts, and a bunch of ballet dancers surrounds him. And he's like, “Alright, everyone, let's do the ice challenge.” And, he turned into this bright dancer. He's kind of a gay poster boy, you know, ever since he was one of the most famous coming out of the last 20 some years. So, you know, he was suddenly bright and splashy and, you know, all that old stuff dropped away. He has all of his headgear at his house and his townhouse. He had a party for us at the end of shooting. And so, there's a Gandalf's weird hat and there's Magneto's helmet, you know, along with top hats and things like that. And they're all kind of lined up there. And then people in the crew would say, can I take a picture of you as Gandalf? “Well, why, of course,” and he does all that stuff. So no, he's wonderful. Jim: You do a very good impression as well. That was great. Now, how did you come to the project, The Good Liar, which again, I watched in preparation for this and was mesmerized by the whole thing, especially the mystery part of it, the ending, it was brilliant.How did you come to that project?Jeffrey: Well, again, it was a book and Warner Brothers had the rights to it. And because Bill and I had worked on Mr. Holmes--Bill Condon--Bill was attached to direct. And so I went in to talk about how to adapt it.This is kind of odd. It's again based in McKellen. In the meeting room at Warner Brothers, there was a life size version of Ian as Gandalf done in Legos. So, it was always, it'll be Ian McKellen and somebody in The Good Liar. Ian as the con man. And that one kind of moved very quickly, because something changed in Bill Condon's schedule. Then they asked Helen Mirren, and she said yes very quickly.And it's a very interesting book, but it had to be condensed rather a lot. There's a lot of flashbacks and going back and forth in time. And we all decided that the main story had to be about this one con that had a weird connection to the past. So, a lot of that kind of adaptation work is deciding what not to include, so you can't really be completely faithful to a book that way. But I do take the point with certain books. When my son was young, he'd go to a Harry Potter movie, and he'd get all pissed off. Pissed off because he'd say Dobby the Elf did a lot more in the book.But if it's a book that's not quite so well-known—The Good Liar isn't a terribly well-known book, nor was A Slight Trick of the Mind--you're able to have a lot more room to play. Jim: It's a very twisty story. Now that you're talking about the book, I'll probably have to go get the book and read it just for comparison. But what I saw on the screen, how did you keep it--because it was very clear at the end--it hits you like a freight train when it all sort of unravels and you start seeing all of these things. How did you keep that so clear for an audience? Because I'll admit, I'm not a huge mystery guy, and I'm not the brightest human, and yet I was able to follow that story completely.Jeffrey: Well, again, I think it's mostly about cutting things, I'm sure. And there are various versions of the script where there are a lot of other details. There's probably too much of one thing or another. And then of course, you know, you get in the editing room and you lose a couple of scenes too. These kinds of things are very tricky. I'm not sure that we were entirely successful in doing it, because you say, which is more important, surprise or suspense? Hitchcock used to have that line about, suspense is knowing there's a bomb under the table. And you watch the characters gather at the table. As opposed to simply having a bomb blow up and you didn't know about it.So, we often went back and forth about Should we reveal that the Helen Mirren character knows that Ian's character is doing something bad? Or do we try to keep it a secret until the end? But do you risk the audience getting ahead of you? I don't mind if the audience is slightly ahead. You know, it's that feeling you get in the theater where there's a reveal and you hear a couple of people say, “Oh, I knew it and they guessed it may be a minute before. But you don't want to get to the point where the audience is, you know, 20 minutes or a half an hour ahead of you.Jim: I certainly was not, I was not in any way. It unfolded perfectly for me in terms of it being a mystery and how it paid off. And Helen Mirren was brilliant. In fact, for a long time during it, I thought they were dueling con men, the way it was set up in the beginning where they were both entering their information and altering facts about themselves.I thought, “Oh, well, they're both con men and, and now we're going to see who is the better con man in the end.” And so. when it paid off. In a way different sort of way, it was terrific for me. Absolutely. Jeffrey: Well, and I thank you. But in a way, they were both con men. Jim: Yes, yes. But she wasn't a professional con man.Jeffrey: She wasn't just out to steal the money from him. She was out for something else. She was out for vengeance. Jim: Yes. Very good. Very, if you haven't seen it, The Good Liar folks, don't wait. I got it on Amazon prime and so can you.Jeffrey: I watched them do a scene, I was over there for about five days during the shooting.And watching the two of them work together was just unbelievable. The textures, the tones, the little lifts of the eyebrow, the shading on one word versus another. Just wonderful, wonderful stuff. Jim: Yeah. I will say I am a huge Marvel Cinematic Universe fan along with my son. We came to those together and I'm a big fan of that sort of movie. So I was delighted by this, because it was such a taut story. And I was involved in every second of what was going on and couldn't quite tell who the good guys were and who the bad guys were and how is this going to work and who's working with who?And it was great. And in my head, I was comparing my love for that sort of big blow it up with rayguns story to this very cerebral, internal. And I loved it, I guess is what I'm saying. And, I am, I think, as close to middle America as you're going to find in terms of a moviegoer. And I thought it was just dynamite. Jeffrey: It was very successful during the pandemic--so many things were when people were streaming--but it was weirdly successful when it hit Amazon or Netflix or whatever it was. And, I think you don't have to be British to understand two elderly people trying to find a relationship. And then it turns out that they both have reasons to hate and kill each other. But nonetheless, there is still a relationship there. So, I pictured a lot of lonely people watching The Good Liar and saying, “Yeah, I'd hang out with Ian McKellen, even if he did steal all my money.” John: Well, speaking of movies, I am occasionally handed notes here while we're live on the air from my wife. And she wants you to just say something about the adaptation you did of your play, Stage Beauty, and what that process was like and how, how that process went.Jeffrey: That was terrific because, primarily Richard Eyre--the director who used to run the National Theater and all that--because he's a theater man and the play's about theater. I love working with Bill Condon and I've loved working with Lassa Hallstrom and other people, but Richard was the first person to direct a film of any of my stuff. And he would call me up and say, “Well, we're thinking of offering it to Claire Danes.” or we're thinking…And usually you just hear later, Oh, somebody else got this role. But the relationship was more like a theater director and a playwright. I was there on set for rehearsals and all that.Which I haven't in the others. No, it was a wonderful experience, but I think primarily because the, the culture of theater saturated the process of making it and the process of rehearsing it and—again--his level of respect. It's different in Hollywood, everybody's very polite, they know they can fire you and you know, they can fire you and they're going to have somebody else write the dialogue if you're not going to do it, or if you don't do it well enough. In the theater, we just don't do that. It's a different world, a different culture, different kind of contracts too. But Richard really made that wonderful. And again, the cast that he put together: Billy Crudup and Claire and Rupert Everett and Edward Fox and Richard Griffiths. I remember one day when I was about to fly home, I told Richard Griffiths what a fan Evan-- my son, Evan--was of him in the Harry Potter movie. And he made his wife drive an hour to come to Shepperton with a photograph of him as Mr. Dursley that he could autograph for my son. John: Well, speaking of stage and adaptations, before we go into our lightning round here, you did two recent adaptations of existing thrillers--not necessarily mysteries, but thrillers--one of which Hitchcock made into a movie, which are Dial M for Murder and Wait Until Dark. And I'm just wondering what was that process for you? Why changes need to be made? And what kind of changes did you make?Jeffrey: Well, in both cases, I think you could argue that no, changes don't need to be made. They're wildly successful plays by Frederick Knott, and they've been successful for, you know, alternately 70 or 60 years.But in both cases, I got a call from a director or an artistic director saying, “We'd like to do it, but we'd like to change this or that.” And I'm a huge fan of Frederick Knott. He put things together beautifully. The intricacies of Dial M for Murder, you don't want to screw around with. And there are things in Wait Until Dark having to do just with the way he describes the set, you don't want to change anything or else the rather famous ending won't work. But in both cases, the women are probably not the most well drawn characters that he ever came up with. And Wait Until Dark, oddly, they're in a Greenwich Village apartment, but it always feels like they're really in Westchester or in Terre Haute, Indiana. It doesn't feel like you're in Greenwich Village in the 60s, especially not in the movie version with Audrey Hepburn. So, the director, Matt Shackman, said, why don't we throw it back into the 40s and see if we can have fun with that. And so it played out: The whole war and noir setting allowed me to play around with who the main character was. And I know this is a cliche to say, well, you know, can we find more agency for female characters in old plays or old films? But in a sense, it's true, because if you're going to ask an actress to play blind for two hours a night for a couple of months, it can't just be, I'm a blind victim. And I got lucky and killed the guy. You've got a somewhat better dialogue and maybe some other twists and turns. nSo that's what we did with Wait Until Dark. And then at The Old Globe, Barry Edelstein said, “well, you did Wait Until Dark. What about Dial? And I said, “Well, I don't think we can update it, because nothing will work. You know, the phones, the keys. And he said, “No, I'll keep it, keep it in the fifties. But what else could you What else could you do with the lover?”And he suggested--so I credit Barry on this--why don't you turn the lover played by Robert Cummings in the movie into a woman and make it a lesbian relationship? And that really opened all sorts of doors. It made the relationship scarier, something that you really want to keep a secret, 1953. And I was luckily able to find a couple of other plot twists that didn't interfere with any of Knott's original plot.So, in both cases, I think it's like you go into a watch. And the watch works great, but you want the watch to have a different appearance and a different feel when you put it on and tick a little differently. John: We've kept you for a way long time. So, let's do this as a speed round. And I know that these questions are the sorts that will change from day to day for some people, but I thought each of us could talk about our favorite mysteries in four different mediums. So, Jeff, your favorite mystery novel”Jeffrey: And Then There Were None. That's an easy one for me. John: That is. Jim, do you have one?Jim: Yeah, yeah, I don't read a lot of mysteries. I really enjoyed a Stephen King book called Mr. Mercedes, which was a cat and mouse game, and I enjoyed that quite a bit. That's only top of mind because I finished it recently.John: That counts. Jim: Does it? John: Yeah. That'll count. Jim: You're going to find that I am so middle America in my answers. John: That's okay. Mine is--I'm going to cheat a little bit and do a short story--which the original Don't Look Now that Daphne du Murier wrote, because as a mystery, it ties itself up. Like I said earlier, I like stuff that ties up right at the end. And it literally is in the last two or three sentences of that short story where everything falls into place. Jeff, your favorite mystery play? I can be one of yours if you want. Jeffrey: It's a battle between Sleuth or Dial M for Murder. Maybe Sleuth because I always wanted to be in it, but it's probably Dial M. But it's also followed up very quickly by Death Trap, which is a great comedy-mystery-thriller. It's kind of a post-modern, Meta play, but it's a play about the play you're watching. John: Excellent choices. My choice is Sleuth. You did have a chance to be in Sleuth because when I directed it, you're the first person I asked. But your schedule wouldn't let you do it. But you would have been a fantastic Andrew Wyke. I'm sorry our timing didn't work on that. Jeffrey: And you got a terrific Andrew in Julian Bailey, but if you wanted to do it again, I'm available. John: Jim, you hear that? Jim: I did hear that. Yes, I did hear that. John: Jim, do you have a favorite mystery play?Jim: You know, it's gonna sound like I'm sucking up, but I don't see a lot of mystery plays. There was a version of Gaslight that I saw with Jim Stoll as the lead. And he was terrific.But I so thoroughly enjoyed Holmes and Watson and would love the opportunity to see that a second time. I saw it so late in the run and it was so sold out that there was no coming back at that point to see it again. But I would love to see it a second time and think to myself, well, now that you know what you know, is it all there? Because my belief is it is all there. John: Yeah. Okay. Jeff, your favorite TV mystery?Jeffrey: Oh, Columbo. That's easy. Columbo.John: I'm gonna go with Poker Face, just because the pace on Poker Face is so much faster than Columbo, even though it's clearly based on Columbo. Jim, a favorite TV mystery?Jim: The Rockford Files, hands down. John: Fair enough. Fair enough. All right. Last question all around. Jeff, your favorite mystery movie? Jeffrey: Laura. Jim: Ah, good one. John: I'm going to go with The Last of Sheila. If you haven't seen The Last of Sheila, it's a terrific mystery directed by Herbert Ross, written by Stephen Sondheim and Anthony Perkins. Fun little Stephen Sondheim trivia. The character of Andrew Wyke and his house were based on Stephen Sondheim. Jeffrey: Sondheim's townhouse has been for sale recently. I don't know if somebody bought it, but for a cool seven point something million, you're going to get it. John: All right. Let's maybe pool our money. Jim, your favorite mystery movie.Jim: I'm walking into the lion's den here with this one. Jeffrey, I hope this is okay, but I really enjoyed the Robert Downey Jr. Sherlock Holmes movies. And I revisit the second one in that series on a fairly regular basis, The Game of Shadows. I thought I enjoyed that a lot. Your thoughts on those movies quickly? Jeffrey: My only feeling about those is that I felt they were trying a little too hard not to do some of the traditional stuff. I got it, you know, like no deer stalker, that kind of thing. But I thought it was just trying a tad too hard to be You know, everybody's very good at Kung Fu, that kind of thing.Jim: Yes. And it's Sherlock Holmes as a superhero, which, uh, appeals to me. Jeffrey: I know the producer of those, and I know Guy Ritchie a little bit. And, I know they're still trying to get out a third one. Jim: Well, I hope they do. I really hope they do. Cause I enjoyed that version of Sherlock Holmes quite a bit. I thought it was funny and all of the clues were there and it paid off in the end as a mystery, but fun all along the road.Jeffrey: And the main thing they got right was the Holmes and Watson relationship, which, you know, as anybody will tell you, you can get a lot of things wrong, but get that right and you're more than two thirds there.

Rebecca Masinter is the founder of Toras Imecha and Mother's Guidance which provide Torah based inspiration and practical guidance to parents. She has been involved in Jewish education for twenty-five years as a teacher, administrator, ACT tutor, and homeschool mother. Rebecca lives in Baltimore, Maryland with her husband and six children, where she is active in the homeschool community and as an educator at Bnos Yisroel of Baltimore. Rebecca is passionate about sharing Torah wisdom with parents around the world and has created several video presentations and authored many articles which provide deep insights combined with down-to-earth tools for today's parents. https://www.torasimecha.com/ and https://www.mothersguidance.com/Gems:Do your best to approach things from a positive perspective.For families: make time for family togetherness.Decide what you want to give your students and how you want to impact them.Take it one year at a time.Decide what is  best for each child at each given time.Parents all have the same mission to train their children.Parents are facilitators in their children's education.Allow children to become full partners in their education.The early childhood years are critical years for the influence of the family.The early years are the basis for the child's whole life.Children need their mother to be their primary influence during the early years.Think about how we can help our children become their best selves.Help students understand that they have a purpose in this world.Continue growing yourself through reading, and taking classes.Life is not meant to be easy.Start children off on the path that they will go on for their whole life.Think long-term.Figure out what your goals are.Think about what does Hashem want from you right in this moment?When a student or child is struggling, it's not personal.You are not a failure when a student or child has challenges.It's not about the product in our roles as educators, it's what are we putting into them.In order to teach, you have to love your children/students.Find your mentors.Book Recommendations: Steven Covey- The Seven Habits of Highly Effective FamiliesGordon NeufeldLeonard SaxLinda and Richard Eyre-3 Steps to a Strong FamilyOliver and Rachel DeMille- Leadership Education: The Phases of Learning AmazonWe receive a small commission for any items purchased through my Amazon link.Parenting On PurposeThis course will help you better understand your child and build a deeper connection.Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the Show.

Join us for an enlightening and empowering interview with renowned author, parenting expert, and visionary thinker, Richard Eyre. In this thought-provoking conversation hosted by Paul Johnson, delve into Richard's extensive background and his unique insights into the concept of power. A Life of Influence: Richard Eyre brings a wealth of experience to the table, having dedicated his career to empowering individuals and families. As a bestselling author, he has penned numerous books, including the influential "The Joy of Parenting" series, which has inspired parents worldwide. Richard's expertise, coupled with his own personal journey as a parent, offers a truly transformative perspective. Redefining Power: Richard challenges conventional notions of power, highlighting that it extends far beyond traditional markers of success or influence. Drawing from his own experiences, Richard shares an engaging anecdote from his time at Harvard, where he and a friend took the initiative to create a course called "power." Through this exploration, Richard recognizes that power is not always evident or easily discernible. Instead, he emphasizes that true power lies in effecting meaningful change and making a positive impact on the lives of others. The Influence of Timing: Richard reflects on the intriguing aspect of timing in life's journey. He shares a personal story of how his influence skyrocketed following a New York Times bestseller and appearances on popular shows like Oprah and Donahue. Richard demonstrates that timing can play a crucial role in amplifying one's influence and extending the reach of their message. Empowering Quiet Leaders: Richard challenges the commonly held belief that power is synonymous with visibility or overt displays of strength. He offers a fresh perspective, suggesting that some of the most powerful individuals are those who quietly but effectively influence others. Richard illustrates that true power lies in clarity of purpose and the ability to find the right entry points to inspire and influence others. A Vision for Change: Richard Eyre's vision extends beyond individual families to a broader societal transformation. Through his work, he encourages parents and individuals to embrace their power to drive positive change and foster a more compassionate and resilient world. Richard's website, valuesparenting.com serves as a hub, providing a plethora of resources and information to support individuals in their journey of personal and collective empowerment. You can listen to this episode on Spotify, Apple Podcasts, or Google Podcasts! Spotify: https://optamlink.com/spotify Apple Podcasts: https://optamlink.com/apple Google Podcasts: https://optamlink.com/google We post new content every week so make sure to subscribe to stay in the loop. Learn more about The Optimistic American by checking out our website! https://www.optamerican.com    

On today's episode of the "Helping Families Be Happy" podcast, host Adina Oberman will discuss the topic of "Attitude of Gratitude" with Richard Eyre, who is one-half of the renowned author duo, Richard and Linda Eyre.   With a writing career spanning four decades, the Eyers are New York Times #1 best-selling authors who have appeared on major national talk shows, including Oprah and Today. Their books, which emphasize family and relationships, have been translated into multiple languages and have garnered them opportunities to lecture in over fifty countries.   Episode Highlights 02:31: Richard mentions his experience writing for well-known publishers such as Simon and Schuster, Random House, McGraw Hill, Penguin, and Golden Books. He expresses personal dissatisfaction with the bureaucracy of some major publishers. 03:17: Richard expresses a desire for a publishing partner rather than just a publisher due to the inconsistent treatment they received based on the success of their books. 04:20: Richard provides a brief history of the book on gratitude, mentioning its original title as "The Thankful Heart" and describing it as a comprehensive exploration of the philosophy of gratitude. 04:51: Around 30 years ago, Richard's family started sending Thanksgiving cards instead of Christmas cards. Richard would write a poem about gratitude to be included in these cards. 05:44: Richard introduces a book called "Thankful Heart" which later was condensed into a gratitude journal called "Daily Thanks." The "Daily Thanks" gratitude journal has a section for each month, starting in November and each month has a different theme or focus for gratitude. 06:12: Richard shares a quote from the book which emphasizes that gratitude is essentially a form of happiness that we can control. 08:18: Richard speaks about the evolving nature of gratitude, and how the journal has different perspectives for each month. He shares his personal experience with the journal and describes how January in the journal is about becoming more aware of one's senses and writing about new sensations each day. 10:13: Richard stresses the importance of self-care, especially for mothers who tend to neglect their own well-being while taking care of others. He shares a personal anecdote about advising a stressed woman with young children to keep a gratitude journal. 12:16: Richard discusses the challenges of staying positive during tough times and the importance of gratitude in shedding a positive light on life. He emphasizes that even amidst challenging days, finding just one thing to be grateful for can shift the perspective to a more positive one. 13:21: Richard discusses the different approaches people take to gratitude journaling, mentioning that many choose to practice it at night, reflecting on their day. He shares the perspective of those who practice it in the morning to set a positive tone for the day. 14:59: Adina agrees with Richard's points, highlighting the challenge of finding a starting point and carving out time for gratitude in one's daily routine. 15:43: Richard talks about his experience of transitioning from sending Christmas cards to sending Thanksgiving cards and emphasizes the innate ability of children to express gratitude and how they can teach adults to be more appreciative. 17:09: Richard reflects on the beauty of late autumn in Park City, UT and shares a poem from the Gratitude Journal for the month of November. The poem beautifully captures the essence of gratitude and reflection during the autumn season, leading up to Thanksgiving. 18:25: Adina speaks about the importance of being mindful and grateful amidst daily responsibilities and highlights the idea of sharing and how it affects perspective. 20:13: Richard links gratitude to Christmas and explains a family tradition: giving gifts on Christmas Eve focuses on gratitude, while Christmas morning is about receiving from Santa Claus. 21:57: Christmas can be used as an opportunity to teach gratitude. Richard recounts how his family used to write thank-you letters to Santa Claus the day after Christmas. 22:42: Richard stresses the importance of gratitude. Suggests sitting down with children before gift-giving occasions to teach them the value of being grateful to make both the gift giver and the receiver feel happy. 24:43: Adina narrates an incident where they donated toys to an empty donation box, which was a special moment of realization and gratification for both the adults and the kids in her family. 25:24: Richard discusses the profound connection between gratitude and generosity, emphasizing that the two are inseparably linked and explores the contrast between gratitude and an entitlement attitude highlighting how developing gratitude in children naturally leads to developing generosity.   Key Points: Richard Eyre emphasizes the "Attitude of Gratitude" through practices like sending Thanksgiving cards and gratitude journaling. Richard believes gratitude is a controllable form of happiness and stresses its importance for well-being. Richard highlights the connection between gratitude and generosity and suggests ways to nurture these values in children.   Tweetable Quotes "Gratitude is essentially a form of happiness that we can control." - Richard Eyre "Even amidst challenging days, finding just one thing to be grateful for can shift the perspective to a more positive one." - Richard Eyre "The profound connection between gratitude and generosity shows that developing gratitude in children naturally leads to developing generosity." - Richard Eyre "Amidst daily responsibilities, it's crucial to be mindful and grateful; it affects our entire perspective on life." - Adina Oberman   Resources Mentioned Helping Families Be Happy Podcast Apple https://valuesparenting.com/ Podcast Editing  

No Falkand War representation on the list? What ever are we to do?! Watch an obscure TV movie starring Colin Firth, you say? Done! Does this movie make it impossible to empathize with our main character? Just how good are these TV movie battle scenes? What was up with the weird and horny Pete Postlethwaite appearance? Plus: they discuss the anti-climactic ending and how to make it better. Hire them, Hollywood!   Next week: it's the most wonderful time of the yearrrrrrrrrrrrrrrrrr... Questions? Comments? Suggestions? You can always shoot us an e-mail at forscreenandcountry@gmail.com   Full List: https://www.pastemagazine.com/movies/war-movies/the-100-greatest-war-movies-of-all-time Facebook: https://www.facebook.com/forscreenandcountry Twitter: https://www.twitter.com/fsacpod Our logo was designed by the wonderful Mariah Lirette (https://instagram.com/its.mariah.xo) Tumbledown stars Colin Firth, Paul Rhys, John Calder, Barbara Leigh-Hunt, Rupert Baker, Emma Bowe, Jack Fortune and Pete Postlethwaite; directed by Richard Eyre. Is It Streaming? YouTube for free! Learn more about your ad choices. Visit megaphone.fm/adchoices

After starring in Translations and Othello at the National Theatre, Jack Bardoe is currently touring in Richard Eyre's acclaimed revival of A Voyage Round My Father. The production opened in Theatre Royal, Bath and is currently making its way around the UK, bringing John Mortimer's much loved piece to audiences throughout the country. In an exclusive interview, Jack Bardoe opens up about his experiences working with some of our most esteemed directors such as Sir Richard Eyre and Ian Rickson. After leaving RADA, Jack also been seen in shows such as Belgravia as Charles Pope as well as played Toby Phillips in SCREW. Now, Jack stars in a brand new revival of John Mortimer's semi-autobiographical piece opposite award-winning actor Rupert Everett as the Father. Since leaving drama school, Jack has played principal roles in Translations and Othello, both at the National Theatre, a venue he grew up visiting. He talks fondly about the experience stepping out onto the Olivier and Lyttleton stages in 2 landmark productions of great texts. Now, as he continues on tour, he looks back at how theatre continues to be a strong passion and he tells us how this motivates him forward to continue looking for challenging and interesting work.A Voyage Round My Father is on tour until 18 November.

How do you sell a movie to Netflix, this episode will give you a bit of insight. We're getting deep into the weeds on Italian director and screenwriter, Ferdinando Cito Filomarino American cinema debut film, Beckett, which I absolutely enjoyed! Beckett stars the incomparable John David Washington and Swedish actress, Alicia Vikander. This action thriller follows an American tourist (Beckett) who had been in a tragic car accident in Greece and suddenly finds himself at the center of a dangerous political conspiracy and on the run for his life. He sets to reach the USA embassy to clear his name. Elements of romance and questions of political power are rolled up into a 90-minute manhunt. Beckett's world premiere was at the Aug 2021 74th Locarno Film Festival and is now distributed exclusively on Netflix.Filomarino talks about the cultural diversity on set - having seven languages spoken. I assume that would include, English, Italian, Greek, Swedish, etc. I was fascinated by the film's meticulously crafted visual elements and screenplay. Filomarino's work may be new to American screens, but he's gained notoriety in European cinema directing or writing on films like The Other Man, Academy award-winning 2017, coming-of-age romantic drama, Call Me by Your Name (Second Unit Director). The story sets in a 1980s rural Northern Italy --- romance blossoms between a seventeen-year-old Jewish Italian, Elio, and a 24-year-old research assistant, Oliver, who's living with the family over the summer to help Elio's father, archaeology professor with his academic paperwork. Call Me By Your Name.Filomarino shadowed Call Me By Your Name's director, Luca Guadagnino while working the second unit on the film and forge a good professional relationship which led to a collaboration in 2010. He was fortunate to have Luca produce his directorial debut, Diarchy in 2010. Diarchy is a Locarno and Sundance Film Festival award-winning short film. Giano and Luc are traveling through the woods when a storm breaks, forcing them to take shelter in Luc's villa. Gradually and insidiously, a competition emerges between them, with terrible consequences.We also chatted about Richard Eyre's, The Other Man, fresh out of university, and how that experience prepared him for his own films. We know that experience is the best teacher, so I am always down for hearing knowledge bombs filmmakers learn from other filmmakers in this line of business. Sort of like an unofficial masterclass. Go watch Beckett! But first, enjoy my conversation with Ferdinando Cito Filomarino.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/2881148/advertisement

Have you ever driven in a city that isn't well planned? The roads are often too narrow for the amount of traffic, and the flow of streets seem to have no discernible pattern. Navigating in such a place can be tricky and chaotic. In contrast, a city that has planned  ahead of time what they want long term often has wide, orderly streets, and the initial time and thought investment pays back tenfold as their city runs much smoother as it grows. In this episode, we talk about using this theory of infrastructure in our own families. It takes some time upfront, but in the long run, it makes our family run sooo much more smoothly and makes parenting easier, while intentionally aligning it with our values. We discuss the systems that we have tried out in our own homes over the years that have proven themselves to be priceless. Books we mentioned: The Entitlement Trap Secrets of a Happy Family Hold on to Your Kids Miracle Morning Links We Promised Serendipity Parenting Episode from Linda an Richard Eyre Related Episodes Discovering Your Life Essentials How To: Create Pockets of Peace Sponsor: GABB WIRELESS We LOVE devices that help our kids stay safe and be able to adventure while still being able to contact us safely and allow us to know where they are without being the kind of technology that steals their mental health and attention. Gabb wireless is an incredible company that we FULLY endorse for just that. Go to https://gabbwireless.com and use code FINDTHEMAGIC to get $50 off any device! Thank you for the kind reviews! We appreciate them so much. Here is how to leave a review for us  on iTunes: Open Find the Magic in the podcast app   Scroll to the bottom of the page Click on write a review Tap the stars to rate us and then write us some feedback:) MaryHag 11/08/2022 The highlight of my week

Think you love Gerri from Succession? You've got to see this! J. Smith-Cameron has become a household name thanks to her stellar performance in all 4 seasons of Succession. But before Waystar and the Roys, J. was a firm favourite on and off Broadway. In this special bonus episode of Hear Me out, recorded days before the season finale of Succession airs, J. talks to Lucy about her favourite speech from Sean O'Casey's classic ‘Juno and the Paycock'. And yes, of course they also delve into the end of - as Lucy puts it - “a perfect piece of television.” Is there room for a sequel (Succession the Movie)?? Have the cast all said goodbye? And was it really as wonderful as we all hope?Hear Me Out is hosted by Lucy Eaton, a theatre producer and West End & screen actress best known for her role as Lucy in hit comedy ‘Staged'. Other episodes of Hear Me Out include Toby Stephens, Richard Eyre, Sanjeev Bhaskar and Joanna Vanderham.Follow us on TikTok, Instagram and Twitter at @PodHearMeOut.** Join the family by becoming a Hear Me Out Patreon! www.patreon.com/podhearmeout **Now in the Top 10 theatre podcasts on Feedspot: https://blog.feedspot.com/theatre_podcasts/A Lucy Eaton Productions podcast. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Flick Beckett speaks to director Richard Eyre and actor David Bradley about their new film, Allelujah, in cinemas now.  When the geriatric ward in a small Yorkshire hospital is threatened with closure, the hospital decides to fight back by galvanizing the local community: they invite a news crew to film their preparations for a concert in honour of the hospital's most distinguished nurse. What could go wrong? If you'd like to send us a voice memo for use in a future episode, please email podcast@picturehouses.co.uk. Subscribe on Apple Podcasts. Follow us on Spotify. Find us on Twitter, Facebook and Instagram with @picturehouses. Find our latest cinema listings at picturehouses.com.  Produced by Stripped Media. Proudly supported by Kia. Thank you for listening. If you enjoy the show, please subscribe, rate, review and share with your friends. Vive le Cinema.

This week on Screentime talks to the legendary director Richard Eyre about his new film ‘Allelujah' which focuses on the geriatric ward of an NHS hospital threatened with closure. There's the fallout from the Oscars and a review of the new ‘Shazam; Fury of the Gods'. Plus a special report on the legendary TV Comic Dave Allen.

Richard Eyre on directing the screen version of Alan Bennett's play Allelujah, starring Jennifer Saunders, set on the geriatric ward of a fictional Yorkshire hospital, the Bethlehem, and on raising questions about how society cares for its older population. We review the star-studded Apple TV+ climate change series Extrapolations, and a new exhibition at the Royal Academy in London, Souls Grown Deep like the Rivers - Black Artists from the American South. Our reviewers are writer and comic artist Woodrow Phoenix - and YA author, script editor and founder of the international Climate Fiction Writers League, Lauren James. Presenter: Samira Ahmed Producer: Sarah Johnson

The longlist for the Women's Prize for Fiction has been announced - Richard Eyre's latest film Allelujah celebrates the spirit of elderly patients in a geriatric ward - Becoming Frida Kahlo, a three-part television series begins on BBC Two this Friday - The Ennio Morricone Experience at the Pavilion Theatre celebrates the great Italian Maestro.

Tim McInnerny, Lord Percy Percy of Blackadder and Simon Gould in 10 Percent, finishes off the series with a discussion about William Shakespeare's Richard II. He explains to Lucy why it's more important to understand the rhythm of Shakespeare's verse than understanding the meaning of all the words; he talks to Lucy about the experience of being part of a cult comedy such as Blackadder and why playing Hamlet is more about the actor than it is about the part. Hosted by Lucy Eaton, theatre producer and West End & screen actress best known for her role as Lucy in hit comedy ‘Staged'. Other episodes include Toby Stephens, Richard Eyre, Sanjeev Bhaskar and Joanna Vanderham.Follow us on TikTok, Instagram and Twitter at @PodHearMeOut, and watch visual clips from the show on our Youtube channel: https://bit.ly/3l7vRht** Join the family by becoming a Hear Me Out Patreon! www.patreon.com/podhearmeout **Now in the Top 10 theatre podcasts on Feedspot: https://blog.feedspot.com/theatre_podcasts/A Lucy Eaton Productions podcast. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Teaching our kids to manage money well is vital! Come join our discussion as we share the way we were raised within the Eyre house money system, as well as ways we've tweaked things for our own families. We've also included a special audio guest appearance! We share snippets of our Dad, Richard Eyre, and his first home video describing the money system we grew up with.  How do you teach your kids about money management? Come share with us on Instagram! 

Theatre royalty Sir Richard Eyre joins the show to discuss Shakespeare's King Lear, in particular the ‘Come, let's away to prison' speech. Why does he believe it's the most beautiful language in all of Shakespeare? Who did it best: Ian Holme or Anthony Hopkins? Do actors need to have experienced something to act it? And do you really acquire wisdom and ease in older age? Richard and Lucy get into it all in this deep-dive episode into the joys and curses of Shakespeare, directing and the theatre industry. Hosted by Lucy Eaton, theatre producer and West End & screen actress best known for her role as Lucy in hit comedy ‘Staged'. Other episodes include Goodness Gracious Me's Sanjeev Bhaskar, Blackadder's Tim McInnerny and James Bond's Toby Stephens. Follow us on Instagram and Twitter at @PodHearMeOut, and watch visual clips from the show on our Youtube channel: https://bit.ly/3l7vRht ** Join the family by becoming a Hear Me Out Patreon! www.patreon.com/podhearmeout ** Now in the Top 10 theatre podcasts on Feedspot: https://blog.feedspot.com/theatre_podcasts/ A Lucy Eaton Productions podcast.

If you have to think about your primary focus, would you say it's your achievements or your relationships? Do you spend most of your time, thinking of new strategies and business plans or nurturing personal relationships with your loved ones? Although we all crave recognition, success, and money to provide a comfortable life for our families, none of that would mean anything if we don't have a meaningful relationship with them. In this episode, Rick Eyre, the first-ever guest on this podcast, revisits us to share another set of golden nuggets, this time about grandparenting and relationship building. Rick is a best-selling author, podcast host, facilitator, and speaker. He and his wife Linda are two of the most popular speakers in the world on parenting and families. They've been featured in virtually every popular talk show in the US, including the Today Show, Prime Time Live, 60 Minutes, Good Morning America, and Oprah, to name a few. We explore the importance of building tight relationships between the three generations of a family and how grandparents can gain a relevant role in their grandchildren's lives. Rick shares details of why he got into writing and teaching about grandparenting, the unexpectedly massive response he and his wife got to their courses, and some fun memories from those events. Rick also explains how most of his teachings about grandparenting apply to leadership and team building, and much more. Tune in to Episode 346 to learn more about the value of getting three generations closer and working as a solid unit, and find the balance between family and work. Some Questions I Ask:What caused you and Linda to shift from teaching about parenting to working with grandparents? (7:17)You mentioned that three-generation families are the future. Can you talk just a bit more about that? (15:27)In This Episode, You Will Learn:Why and when grandparenting became a thing (5:26)Grandparenting is done 1 on 1; the same principles apply to 2 grandsons or 34 (9:11)Why relationships are more important than our achievements (14:13)The moment Rick and Linda realized they had to write two separate books about grandparenting (20:57)If there are problems we can anticipate and be prepared for, why don't we learn about them (26:39)Resources:Grandparenting 101 websiteEyres On the Road podcastRick and Linda Eyre's booksConnect with Rick:TwitterYouTubeBecoming Your Best Resources:Becoming Your Best WebsiteBecoming Your Best University WebsiteEmail: support@becomingyourbest.com Facebook Group – Conquer Anxiety Hosted on Acast. See acast.com/privacy for more information.

Sir Richard Eyre is one of the UK's most distinguished and celebrated directors - equally at home in theatre, film, and television. At the age of 79, he has just made his debut as a playwright with his new play, The Snail House, which has just opened at Hampstead Theatre. He talks to Samira about his late literary blooming and what needs to happen for theatre audiences to return to their pre-pandemic levels. The name Sylvia Anderson was recently invoked by Dr. Lisa Cameron MP, during a debate on gender equality in the media in Westminster Hall. The late Sylvia Anderson was a pioneer in the male dominated world of television, co-creating Thunderbirds in the 1960s with her then husband Gerry. But her family say her name has often been omitted from credits and merchandise in the years since then. Samira speaks to Sylvia's daughter Dee Anderson and Dame Heather Rabbatts, Chair of Time's Up UK, who are campaigning for her legacy to be restored and to Barbara Broccoli, producer of the James Bond films, who remembers Sylvia as her mentor. The French film director Jean-Luc Godard, who spearheaded the revolutionary French New Wave of cinema, has died at the age of 91. The French President, Emmanuel Macron, has described him as “a national treasure, a man who had the vision of a genius." French film critic Agnes Poirier guides us through Godard's long career, beginning with the classic, À bout de souffle (Breathless), and his influence on directors from Martin Scorsese to Quentin Tarantino. Producer: Kirsty McQuire

News with James Naughtie, including a new Conservative leader is elected - how long will they last? On the news review Isabel Hardman, Samuel Kasumu and Richard Eyre.

This is our last podcast before our summer break, so we've selected some of our favourite conversations of the last year. ART: We celebrate Patrick Hughes's birthday, talk to Tracey Emin about battling cancer and to gallerist James Burch about drinking with Francis Bacon. BOOKS: Rose Tremain tells us about her novel ‘Lily', Barbara Taylor Bradford explains how she found inspiration to write the prequel to ‘A Woman of Substance', Ben Okri inspires to see trees in a totally new light, we discuss culture wars with Bernardine Evaristo and lyricist Don Black, while talking at Jewish Book Week, makes us laugh. THEATRE: We talk to playwright David Hare about ‘Straight Line Crazy' and the death of the avant garde, actor Nathaniel Parker about playing Henry VIII in Hilary Mantel's ‘The Mirror and the Light', Nick Allott from Cameron Mackintosh regales us with hilarious theatrical anecdotes and Creative Director of the Young Vic, Kwame Kwei-Armah, praises playwright James Graham. HISTORY: Andrew Roberts tells us about George III and A.N. Wilson explains how our Trafalgar Square Christmas tree was a gift from the King of Norway during World War II. MUSIC and DANCE: We talk to ballet-dancer Marcelino Sambé about playing Romeo in Kevin McMillan's ballet, to choreographer Matthew Bourne about his stellar career, to soprano Anush Hovvanisyan about all the Armenians at the Royal Opera House and playing Violetta in Richard Eyre's ‘Traviata' and finally Dylan Jones, polymath and long-standing editor of GQ, tells us what David Bowie was really like. Enjoy the summer. Ed and Charlotte will be back on Sunday September 11th September.

For this episode, Aubrey spoke with Richard and Linda Eyre about their book The Turning: Why the State of the Family Matters, and What the World Can Do About It.Richard's been on the podcast before, but this is the first time for Linda, and we were delighted to have her. Of the many topics that Richard and Linda have written and spoken about, it seems that there's none that they're more passionate about than the family. In particular, in this conversation, they spoke about why they believe that orienting your life toward your family has extraordinary benefits, both for individuals and society. They also shared very practical and fun ideas for developing and maintaining a strong family culture, and why it's important and how to avoid guilt as we inevitably notice our own inadequacies as we strive to live up to our family responsibilities. Richard and Linda Eyre are New York Times #1 bestselling authors whose writing career has spanned four decades and whose books have sold in the millions. They have appeared on virtually all major national talk shows including Oprah and the Today Show, and have seen their books translated into a dozen languages. They spend much of their time speaking to audiences throughout the world on families, parenting, and life-balance, along with keeping up with their own nine children and an ever-increasing number of grandchildren.We're excited to share this episode with you, and hope that you enjoy this conversation with Linda and Richard Eyre.

Our time with King Lear has come to an end! This week, we will be discussing two major film adaptations and whether or not we feel they are worth watching: Trevor Nunn's 2008 film adaptation of the Royal Shakespeare Company production, starring Ian McKellen, and Richard Eyre's 2018 film produced for Amazon Studios, starring Antony Hopkins. We'll also talk a little about a few other significant productions and adaptations.    Shakespeare Anyone? is created and produced by Korey Leigh Smith and Elyse Sharp. Music is "Neverending Minute" by Sounds Like Sander. Follow us on Instagram at @shakespeareanyonepod for updates or visit our website at shakespeareanyone.com You can support the podcast at patreon.com/shakespeareanyone Works referenced: Bickley, Pamela, and Jennifer Stevens. “8. King Lear.” Studying Shakespeare Adaptation: From Restoration Theatre to YouTube, The Arden Shakespeare, London, 2021, pp. 145–163. Eyre, Richard, director. King Lear. Performance by Antony Hopkins, Amazon Studios, 2018. Nunn, Trevor, director. King Lear. Performance by Ian McKellen, Richard Price TV Associates Ltd., 2008.    

On this week's episode we're honoured that our guest is Sir David Hare, not just one of Britain's leading playwrights, but also a screenwriter and theatre and film director. He's written over 40 full length plays, 19 staged at the National, including Plenty (which went on to be a star-studded movie), Skylight and many more. He talks to us about his new play Straight Line Crazy, directed by Nicholas Hytner and showing at The Bridge Theatre in London. It opened to many reviewers saying this was David's most dramatically play for decades and stars Ralph Fiennes as Robert Moses, the man who set out to build parks and expressways across Manhattan in the 1950's. It's extraordinarily relevant to the way London is being developed at such a hectic pace, often with little or no concern for its residents. Moses wanted to extend the lower Manhattan expressway through the residential district of Washington Square where he was met by fierce opposition who managed to block the plans. One of his opponents Jane Jacobs, played by Helen Schlesinger, went on to write The Death and Life of American Great Cities about the ongoing battle between communities and the planners who oppose them. David also talks about his frequent collaborations with Ralph Fiennes, who starred last year in David's one-man play about battling Covid, Beat the Devil. He talks about the influence of America on his work and his period of self-imposed exile there after the critics panned Plenty. He laments the passing of an age in which theatre producers from Peter Hall to Richard Eyre took risks and stood by avant garde writers to be replaced by our ‘box office crazy'. He's also full of sage advice for anyone wanting to write a screenplay and explains the differences between the two. Finally, he and Ed settle down to bury the hatchet and iron out their political differences. This is David Hare at the pinnacle of his game, reflecting on a life spent in theatre, television and film – not to be missed.

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

Join me as I speak with New York Times #1 selling author, speaker and parenting expert, Richard Eyre, who shares productive insights on how we can manage the hurdles of guilt, frustration and stress that come with being a parent. Richard also talks about the importance of respect for ourselves and our children, leading to healthy family relationships.

“The best advice I can give myself as a dad is to believe in your impossibles.” Ben Richter on DADicated Ben Richter is an amazing man, dad and entrepreneur. He is a father of seven from two marriages who has learned to navigate the complexities of blending different family cultures with multiple children of different ages. Ben has built one of the premier airport logistics companies and has managed to develop effective habits for balancing his work and family life. He emphasizes the importance of being fully present for your children by minimizing phone and work time when you're together. In this session, we discuss various valuable principles of fatherhood. Ben shares how he implemented “checkmark” systems from a relatively young age to teach children to consciously reflect on their behavior in a tangible and quantifiable way. He explains how building positive communicative habits into our own and in our children's everyday lives yield extraordinary results - and that difficulties are inevitable, but learning how to respond to them is what really counts. Ben is truly inspirational in terms of his outlook on life and what he has achieved as a father and businessman and I thoroughly enjoyed our session together! The most powerful takeaways for me as a dad were: - Teaching children to exercise gratitude is a powerful way to influence their ability to respond to and to evaluate their daily lives. - Focusing on incremental improvement on your performance as a parent is hugely rewarding, rather than focusing on missteps or regretting mistakes. Immediately focus on being the best version of yourself as soon as you walk in the door to be with your children. - Daily and weekly recaps with a quantifiable checkmark system can engrain lasting positive behaviors in children. I was on the fence about checkmarks for a long time but have to say that Ben's perspectives made a lot of sense to me and have implemented a few of his ideas at home. So far this works really well. If you find these concepts interesting I recommend you read “The Entitlement Trap: How to Rescue Your Child with a New Family System of Choosing, Earning, and Ownership” by Linda Eyre and Richard Eyre. It goes well together with this podcast and the concepts described are complementary and valuable. Thanks for listening, I hope you'll enjoy this session! GUEST SOCIAL MEDIA LinkedIn: https://www.linkedin.com/in/benbrichter/ Website: www.airportlogistics.org Philipp Hartmann (host): Web: www.philipp-hartmann.de LinkedIn: https://www.linkedin.com/in/philipphartmann2 Dadicated: https://www.dadicated.com/ Instagram: https://www.instagram.com/beingdad_official/ Twitter: https://twitter.com/philipphartmann --- Send in a voice message: https://anchor.fm/dadicateddotcom/message

For the second episode of season three, I talked to Mailí Ní Ghormáin about the 2006 drama Notes On A Scandal directed by Richard Eyre and based on the novel by Zoë Heller.

For this conversation, we were lucky enough to bring back Richard Eyre for a second episode, this one focusing on his book, The Happiness Paradox. We loved the book and thought this discussion would be really timely for the new year, since many of us are hoping to find new paradigms that might help us live in a healthier, happier way. We believe that Richard's book does just that. For those unfamiliar with Richard from our last episode with him, he's had an extraordinary career as an author, consultant, entrepreneur, and speaker. He is the author of more than fifty books, many written along with his wife, Linda. Richard and Linda are among America's most prominent voices on the subject of parenting, and together, they wrote Teaching Your Children Values, which was a #1 New York Times bestseller. They and their work have appeared on Oprah, the CBS Early Show, Today, Good Morning America and many other national media outlets.Richard has also experienced wide-ranging church service, including serving as the president of the England London South mission, and he and Linda served as external advisors to the Church on Family. They are also the parents of nine children. He considers his family his greatest achievement.Richard's book taps into some of the most counterintuitive and vital ideas from the great wisdom and religious traditions of the world (including our own!). We are thankful to him for coming on and spending some more time with us, and we hope you enjoy this conversation as much as we did.

For this episode, we got to speak with Richard Eyre, a man whose career has spanned a number of roles, including that of an author, consultant, entrepreneur, and speaker. We got to speak with him about a variety of topics,  focusing on how we can contribute to society as a faith with a lot to offer even while our members are relatively few in number. We also discussed how we can make difficult decisions which seem to have an outsized impact on our lives, as well as whether there's room for optimism as we engage the world around us.Richard is the author of more than fifty books, many written along with his wife, Linda. Together, they are among America's most prominent voices on the subject of parenting, such as their co-authored volume, Teaching Your Children Values, which was a #1 New York Times bestseller. They and their work have appeared on Oprah, the CBS Early Show, Today, Good Morning America and many other national media outlets.Richard has also experienced wide-ranging church service, including serving as the president of the England London South mission. He and Linda also served as external advisors to the Church on family. They are also the parents of nine children.

Controlling our appetites is an indispensable part of good parenting and good example-setting for our children. If we can learn to control our appetite for food, it will lead to control of ALL of our other appetites, including our technology appetite. When Dr, Bridell's Rational Diet was serialized in Meridian Magazine and drew comments and commendations from thousands of readers, it was decided to reveal the identity of the mysterious Dr. Bridell who turned out to be none other than Richard Eyre. Richard had used the pen name because he wanted the revolutionary half-diet to stand on its own merits, but after the amazing results reported by users (literally tons of weight lost), it was time for Richard to come out of hiding. On today's show, Richard and Linda explain this unique and logical approach to dieting and appetite control in our lives.

Anush Hovannisyan on playing Violetta in La Traviata and Stewart Collins tells us about this week's Petworth Literary Festival We're reading: The King and the Christmas Tree by A.N. Wilson We're going to: The 2021 Petworth Festival Literary Week Until 7th November Jeffrey Archer on Sunday 31st October 5.30 p.m. Seaford College Hamish de Bretton-Gordon on Sunday 31st October 8 p.m. St. Mary's Church Isabel Hardman on Wednesday 3rd November 5 p.m. St. Mary's Church Joan Bakewell on Thursday 4th November at 7.30 p.m. St. Mary's Church Sebastian Faulks on Saturday 6th November at 2.30 p.m. St. Mary's Church Jonathan Aitken on Sunday 7th November at 3 p.m. St. Mary's Church Max Egremont on Sunday 7th November at 6 p.m. St. Mary's Church ALL AVAILABLE TO STREAM ONLINE https://www.petworthfestival.org.uk We're booking: Richard Eyre's La Traviata at The Royal Opera House Until 18th April 2022 Anush Hovhannisyan will perform Violetta on the 13th, 15th and 17th November https://www.roh.org.uk La Traviata will be broadcast to Radio 3 audiences on Christmas Day and broadcast in cinemas on 13 April. Produced by Audio Coast

Sir Colin Callender CBE is Chairman of Playground LLC, a theatre and television production company he founded in 2012 based in New York and London. As a pioneering Emmy, BAFTA, Golden Globe, Olivier and Tony award-winning producer, Callender was one of the leading forces behind the new British independent production sector at the birth of Channel 4, and played a central role in HBO's unprecedented commercial and critical success that helped transform the entertainment landscape, setting new benchmarks for quality film and television production. Since its launch in 2012, Playground has produced more than 90 hours of prime-time television drama garnering 16 Emmy nominations, 26 BAFTA nominations, 10 RTS nominations and 12 Golden Globe nominations, including a Golden Globe and BAFTA win for Best Miniseries. Playground's television productions include WOLF HALL, the BAFTA and Golden Globe Award-winning miniseries starring Mark Rylance, Damian Lewis and Claire Foy for BBC and Masterpiece on PBS, THE DRESSER, the RTS winning television adaptation of Ronald Harwood's acclaimed play starring Ian McKellen and Anthony Hopkins and directed by Richard Eyre for BBC and Starz, HOWARDS END, Academy Award winner Kenneth Lonergan's adaptation of EM Forster's classic novel starring Hayley Atwell, Matthew Macfadyen and Tracey Ullman for BBC and Starz, LITTLE WOMEN, adapted by Heidi Thomas and starring Emily Watson, Michael Gambon and Angela Lansbury for BBC and Masterpiece on PBS, KING LEAR, starring Anthony Hopkins, Emma Thompson and Florence Pugh and directed by Richard Eyre for BBC and Amazon. Most recently Playground produced the hit adaptation of ALL CREATURES GREAT AND SMALL, based on the beloved novels by James Herriot for Channel 5 and Masterpiece on PBS. Brought to you by the British Consulate General, New York. Follow us on Twitter and Instagram.

Pro tip from King Lear to parents of all varieties, especially those running hereditary monarchies and dictatorships: retirement ain't all that it's cracked up to be! The British ruler's efforts to step away to enjoy his dotage by dividing his kingdom among his daughters backfires horribly in a dark play chronicling vanity, aging, madness, and favoritism among siblings. Will and James discuss how actors have tackled Shakespeare's greatest role for thespians with AARP cards, whether Cordelia should have just humored her dad to spare everyone pain, and the bleakness of one of Shakespeare's darkest plays. // Credits // Intro Music: Jon Sayles, "The Witches' Dance" (composed by anonymous); Outro Music: Jon Sayles, “Saltarello” (composed by anonymous); Illustrative Excerpts: “King Lear,” dir. Jonathan Miller, BBC (1975); “King Lear,” dir. Gregory Doran, Royal Shakespeare Company (2016); “King Lear,” dir. Richard Eyre (2018)

On this episode, Linda and Dana answer a listener's question about how to get on the same page with your significant other when you work together. They share tactics they have both employed in their relationships over the years to make working together possible. They break down the benefits of: - Knowing your individual strengths - Setting proper expectations - Being intentional with date time - Knowing your green, yellow and red zones Books mentioned: Relationship Grit by Jon Gordon https://www.amazon.com/Relationship-Grit-Lessons-Together-Thrive-ebook/dp/B08DRR7WD8/ref=sr_1_1?dchild=1&keywords=relationship+grit&qid=1632251854&sr=8-1 3 Steps to a Strong Family by Linda and Richard Eyre https://www.amazon.com/3-Steps-to-Strong-Family-audiobook/dp/B0000547JN/ref=sr_1_2?crid=RMP6FI9XR2S5&dchild=1&keywords=3+steps+to+a+strong+family&qid=1632251547&sprefix=3+steps+to+a+strong+family%2Caps%2C178&sr=8-2 The Smart Stepfamily by Ron L. Deal https://www.amazon.com/Smart-Stepfamily-Seven-Healthy-Family-ebook/dp/B00GHXRSOK/ref=sr_1_1?dchild=1&keywords=the+smart+stepfamily&qid=1632251871&sr=8-1

Why are women not used as the dramatic engines in drama more? asks double Oscar-winning, recent Tony, Bafta and Emmy Award-winning actress Glenda Jackson. Despite improvements, the statistics concur with her theory. With great contributions from actress Adjoa Andoh, director Phyllida Lloyd (Mamma Mia, The Iron Lady), actress Harriet Walter, writer Sally Wainwright and director Richard Eyre. Presented by Glenda Jackson Produced by Pauline Harris

We're getting deep into the weeds on Italian director and screenwriter, Ferdinando Cito Filomarino American cinema debut film, Beckett, which I absolutely enjoyed! Beckett stars the incomparable John David Washington and Swedish actress, Alicia Vikander. This action thriller follows an American tourist (Beckett) who had been in a tragic car accident in Greece and suddenly finds himself at the center of a dangerous political conspiracy and on the run for his life. He sets to reach the USA embassy to clear his name. Elements of romance and questions of political power are rolled up into a 90-minute manhunt. Beckett's world premiere was at the Aug 2021  74th Locarno Film Festival and is now distributed exclusively on Netflix.Filomarino talks about the cultural diversity on set - having seven languages spoken. I assume that would include, English, Italian, Greek, Swedish, etc.  I was fascinated by the film's meticulously crafted visual elements and screenplay. Filomarino's work may be new to American screens, but he's gained notoriety in European cinema directing or writing on films like The Other Man, Academy award-winning 2017, coming-of-age romantic drama, Call Me by Your Name (Second Unit Director). The story sets in a 1980s rural Northern Italy --- romance blossoms between a seventeen-year-old Jewish Italian, Elio, and a 24-year-old research assistant, Oliver, who's living with the family over the summer to help Elio's father, archaeology professor with his academic paperwork.Filomarino shadowed Call Me By Your Name's director, Luca Guadagnino while working the second unit on the film and forge a good professional relationship which led to a collaboration in 2010. He was fortunate to have Luca produce his directorial debut, Diarchy in 2010. Diarchy is a Locarno and Sundance Film Festival award-winning short film. Giano and Luc are traveling through the woods when a storm breaks, forcing them to take shelter in Luc's villa. Gradually and insidiously, a competition emerges between them, with terrible consequences.We also chatted about Richard Eyre's, The Other Man, fresh out of university, and how that experience prepared him for his own films. We know that experience is the best teacher, so I am always down for hearing knowledge bombs filmmakers learn from other filmmakers in this line of business. Sort of like an unofficial masterclass. Go watch Beckett! But first, enjoy my conversation with Ferdinando Cito Filomarino.

In this episode I'm joined by Kelly Klingaman, a VP at Dimension Fund Advisors. We discuss both how she ups her game when it comes to marriage, her career, parenting, and everything in between. We also dig into Dimensional Fund Advisors and how they differ from the competition. Recommendations: Fair Play by Eve Rodsky, The Entitlement Trap by Richard Eyre, Positive Parenting SolutionsIf you have any questions or comments, feel free to reach out to me at mike@modernfp.comFor show notes and other information, please head to www.PersonalEquityPodcast.com

Richard and Linda Eyre may be the most prominent and popular writers and speakers in the world on the topics of family and parenting. Among their incredible 50 books is Teaching your Children Values (https://www.amazon.com/Teaching-Your-Children-Values-Richard/dp/0671769669/ref=as_li_ss_tl?ie=UTF8&linkCode=ll1&tag=88088026-20&linkId=0f7fc0792acb5fdd4cba1a0316b0211b&language=en_US), the first parenting book in 50 years to hit #1 on the New York Times Bestseller list. The Eyres' work is based on the real-life experience of raising 9 children, founding and running 3 businesses, and trying to keep up with high-level involvement in politics, church, music, and sports. Key Takeaways The importance of raising children who are happy and motivated Understand the benefits of implementing a family economy How a Family Traditions Calendar can have lasting and permanent affect Why documenting and sharing family history can empower your child Giving your children ownership to empower and avoid entitlement Why some failures can lead to major success The ways that giving children more can actually give them less Episode Timeline [1:34] How Richard Eyre dedicated his life's work to healthy families and parenting [5:16] Parenting to raise motivated and happy children amid wealth [7:57] Formal documentation and structure in the family environment [11:29] Teaching families how to have a family economy [14:44] Richard and Linda's family traditions calendar [20:37] Empowering children through ancestor storybooks [23:12] Rescuing your child from the entitlement track [26:55] Giving kids ownership to empower and motivate [29:29] #1 New York Bestseller, Teaching Your Children Values [33:37] Books and publishing with insights on new book, Happiness Paradox [37:32] Richard's public failure leads to bestselling success [40:52] Creating free online access to the Eyre books [44:45] Richard Eyre's landing page [48:08] Richard's belief that if we give our children more, we give them less Standout Quotes “We just found that there was a tremendous resonance with the idea of raising healthy kids and looking at it as a management opportunity, a management challenge.” – Richard Eyre [04:37] "Our goal is to help parents raise responsible, motivated kids. That is a tricky thing to do in a household of affluence." – Richard Eyre [07:11] "It's the idea that you as a parent have one single focus each month you're going to do well. If you're trying to teach multiple values or multi-task on that you're never going to do it. Just focus one whole month on honesty, suddenly everything that happens is an object lesson.” – Richard Eyre [31:20] “It was on the heels of that defeat that we wrote this book, Teaching Your Children Values. One year after losing the governatorial race, the book went to number 1. The first family book in 50 years to get to number 1 on the New York Times Bestseller. One door closed but another one opened.” – Richard Eyre [39:38] "To those of us who have spent our lives in or around business, I think management by objective always resonates. People who are clear on what their goals are and where they're trying to get are the ones who succeed. It's quite remarkable that that very basic sort of practical thinking has rarely penetrated areas of relationships and families and it should." – Richard Eyre [46:40] "If you are clear on what the goals are that you have for your family and your children, for your family institution it doesn't guarantee success, but it certainly allows you to measure your success and how well you are doing." – Richard Eyre [47:13] "We need to find ways to pass on what we have without it being a gift that's not value. We have to find a way to share responsibility and to teach the concept of earned ownership rather than running the huge risk of entitlement, spoiling children, putting them on a path of low motivation by giving them too much." -- Richard Eyre [49:07] *For more episodes go to * BusinessOfFamily.net (https://www.businessoffamily.net/) Sign up for The Business of Family Newsletter at https://www.businessoffamily.net/newsletter (https://www.businessoffamily.net/newsletter) Follow Mike on Twitter @MikeBoyd (https://twitter.com/MikeBoyd) If you feel it's appropriate, I'd so appreciate you taking 30 seconds to Leave a Review on iTunes (http://getpodcast.reviews/id/1525326745), I receive a notification of each review. Thank you! Special Guest: Richard Eyre.

This week, I'm talking to theater director Phil Willmott about Richard Eyre's 1982 production of Guys And Dolls, which started at the National Theatre in London. I also talk a bit about the specific power of live theater and give my usual arts recommendation of the week. Doesn't that sound unmissable?! Believe me. It is!  Links: Phil Willmott Guys And Dolls James Acaster

M. Night Shyamalan discusses his new film, Glass, the third in his comic book trilogy with Unbreakable and Split. It stars Samuel L Jackson, Bruce Willis and James McAvoy. The Sixth Sense director reveals how he storyboards every single shot, how he uses colour to denote character and why it's so important for him to root his supernatural storylines in the real world.D. H. Lawrence is famous for his novels - The Rainbow, Sons and Lovers, Women in Love and, notoriously, Lady Chatterley's Lover. His poetry is admired and he is even known as a painter. But he also, early in his career, wrote several plays. They didn't enjoy much success in his lifetime - The Daughter-in-Law, which Richard Eyre hails as his masterpiece, wasn't performed until 1967, but there have been a number of productions in recent years. As an acclaimed staging of The Daughter-in-Law returns to the Arcola Theatre, Samira Ahmed discusses the work of D. H. Lawrence, dramatist, with the play's director Jack Gamble and the Lawrence scholar Dr Catherine Brown.The abstract painter Bridget Riley has recently completed Messengers, a huge - 30 by 60 feet - work on the walls of the National Gallery's Annenberg Court. It is inspired by something the young John Constable wrote about clouds, but perhaps also alludes to the numerous angels, themselves harbingers, that appear in the skies of so many of the National Gallery's pictures. Bridget Riley explains how she arrived at the title and the critic Louisa Buck, on the spot, reviews the piece.Presenter: Samira Ahmend Producer: Julian May

Sir Anthony Hopkins sits down with HFPA journalist Jenny Cooney to discuss how and why he took a second swing at playing William Shakespeare's King Lear. They also discuss how he met Richard Burton, lessons from Laurence Olivier, screen tests for Peter O'Toole for The Lion in Winter, advice Katharine Hepburn gave him, working with Steven Spielberg, Oliver Stone, and Richard Eyre, why the Silence of the Lambs script made him want to play Hannibal Lecter, his experience on Westworld, and more.

This month, Emma and Steve are joined by Dr Sarah Lonsdale, Author of The Journalist in British Fiction and Film. We talk about 1983's Ploughman's Lunch - a drama about journalists covering the 1982 Argentine War, the Tory Party conference and generally climbing the greasy pole of the establishment. Written by Ian McEwan and directed by Richard Eyre, this early Channel 4 film is as watchable as its characters are unlikeable.

Ten contemporary cultural specialists look back at the impact of the Russian Revolution of 1917 on artists of the time - in film, theatre, poetry, dance and beyond. Director and writer Richard Eyre appraises the impact of the Russian Revolution on the life and career of theatre director Vsevolod Meyerhold. Initially, an enthusiast for the Bolshevik cause, he later fell foul of the system.Part of Breaking Free: A Century of Russian CultureProducer Alison Hindell BBC Cymru Wales.

Kirsty Young's castaway is the theatre producer, Sonia Friedman. Acclaimed as the most influential producer in British theatre today, she has produced over 160 new shows. They include Funny Girl with Sheridan Smith, Jerusalem starring Mark Rylance, Benedict Cumberbatch's Hamlet, the record-breaking Book of Mormon and the musicals Legally Blonde, and Dreamgirls. Her productions both here and on Broadway have won numerous awards, including a record-breaking 14 Olivier Awards in 2014, and nine this year for Harry Potter and the Cursed Child.Brought up in a creative, if unconventional, household, she left school at 16. After a stage management course at Central School of Speech and Drama, she cut her teeth at the National Theatre, worked with Harold Pinter, Richard Eyre and Tom Stoppard and then co-founded Out of Joint, a leading touring theatre company, with Max Stafford-Clark. She was named Producer of the Year for the third year in a row at The Stage Awards, and this year she also claimed number one spot in The Stage 100, a chart of the most influential people in British theatre, overtaking Andrew Lloyd Webber and Cameron Mackintosh.Producer: Cathy Drysdale.

Sonia Friedman is one of the most prolific and successful producers in the history of the West End and Broadway. This year she has been nominated for 20 Olivier Awards, one more than she has already won. They sit like chess pieces next to the half a dozen Tony Awards she has won, in her office above the shop at the Duke of York's Theatre. In her eyrie she talks to Kirsty Lang about risk and reward, the changing ecology of theatre, how she began producing - at the age of 3- and professionally in her early 20s. She has worked with a catalogue of great actors, directors and writers on, she thinks, about 140 productions, and we hear from three of them: Tom Stoppard, Mark Rylance and Richard Eyre. But has she, the editor of The Stage newspaper muses, perhaps become too dominant? And Sonia explains why she has supported the Good Chance Theatre in the Jungle camp in Calais.Producer: Julian MayImage: Sonia Friedman Image credit: Jason Alden.

As Bristol Old Vic celebrates its 250th anniversary, Jeremy Irons, Lesley Manville, Richard Eyre and artistic director Tom Morris discuss their new production of Long Day's Journey Into Night and look back over the history of the theatre.Director Alice Winocour and actor Matthias Schoenaerts talk to John Wilson about their new film Disorder, about a French Special Forces soldier coping with PTSD.Tim Robey reviews the new thriller 10 Cloverfield Lane, about a woman who wakes up in a basement following a car accident and is told by the man who claims to have saved her that the world above them is too dangerous to venture out in.Presenter John Wilson Producer Jerome Weatherald.

Richard Coles and Anita Anand meet singer Linda Nolan who talks about how she turned to the Samaritans at low points in her life. They hear the Inheritance Tracks of Richard Eyre and the meditative sound of singing bowls. A refugee from Afghanistan explains how he got to Britain and a father and son tell of their adventures all over Britain. A daughter reveals her parent's surprising secret and we get a glimpse behind the scenes at a peace camp.Producer: Harry Parker.