Podcasts about robby m

Ian Howorth is a documentary photographer based in Brighton, UK. His work deals with themes of identity and culture. Through Setanta Books, Ian sold out his first book, Arcadia, in 2019 and published his second, A Country Kind of Silence, in 2023. Ian's work has been featured in publications including The Guardian, The New York Times, It's Nice That and Huck.In episode 248, Ian discusses, among other things:Striving to spend as much time as possible not compromisingThe benefits of having a full-time jobHis Instagram strategyHis previous life as a videographerAn early fascination for film stockInfluence of cinemaThe contrast between his trips to Peru and CubaHis first book ArcadiaHis origin story in which he lived in 9 homes across 3 countriesHis adventurous dad's influence on him (and his brothers)Having to adapt to a move from Peru to Miami at 12His relationship with England and the things he is drawn to photograph thereCombining documentary with fiction and not wanting to feel constrictedHis second book A A Country Kind of Silence Referenced:Zed NelsonPhil ToledanoRobbie LawrenceMax MiechoswskiStephen ShoreWilliam EgglestonJohn DivolaGregory CrewdsonSean TuckerWillam VerbeeckNational Film & Television SchoolParis TexasTania Franco KleinBill Callaghan Website | Instagram“Wim Wenders and Robby Müller [In Paris Texas] happened to hit on something that made sense artistically but also looks beautiful aesthetically, and that for me is the perfect marriage. Not everyone can achieve it, but that to me became very important. I wasn't doing that. I wasn't smart enough to do that. But at the same time I knew the power of colour - I knew what it did, I understood my emotional response to it. And that was enough for me to pursue it at the time, and I would figure it out later.” Perello Family's Go Fund Me pageBecome a full tier 1 member here to access exclusive additional subscriber-only content and the full archive of previous episodes for £5 per month.For the tier 2 archive-only membership, to access the full library of past episodes for £3 per month, go here.Subscribe to my weekly newsletter here for everything A Small Voice related and much more besides.Follow me on Instagram here.Build Yourself a Squarespace Website video course here.

Join us for a cinematic road trip through the films of visionary director Wim Wenders, whose work has redefined cinematic storytelling. In conjunction with the LAB111 program Drifters and Dreamers: The Films of Wim Wenders and the stunning 4K restoration of Paris, Texas (1984), Tom Ooms and Elliot Bloom explore the recurring themes of transience, memory, and the search for meaning that define Wenders' expansive body of work. Known for his haunting cinematography (often crafted by Dutch cinematographer Robby Müller) and his deeply humanistic perspective, Wenders' films are both personal reflections and universal meditations on existence. We'll examine his recurring motif of the traveler—whether an angel, filmmaker, or pilgrim—navigating between real and imagined worlds. From the fractured narrative of Paris, Texas to the contemplative Perfect Days (2023), we delve into how Wenders transcends genre boundaries, using the road movie to create a unique cinematic language that speaks directly to the soul. Whether revisiting his classics or discovering his work for the first time, this episode offers an essential guide to Wim Wenders' vision—why his films may not be for everyone, but are undeniably worth experiencing. Book tickets to The Films of Wim Wenders Book tickets to Master of Light: Robby Müller Show Notes and Films Mentioned

Jim Jarmusch az amerikai független filmes világ korai, ikonikus figurája. Filmjei gyakran felborítják a műfaji konvenciókat, a karakterközpontú történetmesélésre helyezve a hangsúlyt. A Down By Law (Törvénytől sújtva, 1986) a rendező egyik korai mesterműve, amelyben már jelentős szerepet kapnak a Jarmusch karakteres vonásai. A fő szerepekben iszonyú menő zenészek bukkannak fel (Tom Waits, John Lurie) a feltörekvő Roberto Benigni mellett, ennek megfelelően a film zenéje is felejthetetlen. A minimalista vizuális stílust Robby Müller makulátlanul megkomponált fekete-fehér képei teremtik meg, amelyekhez kitűnően passzol Jarmusch feketébe hajló humora. Mik a Tövénytől sújtva közös pontjai az örök független Jim Jarmusch későbbi filmjeivel? Hogyan lehet jellemezni Jarmusch minimalista stílusának a vonzerejét? Mi érdekelte őt New Orleansszal kapcsolatban, amit ebben a filmben akart vászonra vinni? Milyen a három fő szerepben John Lurie, Tom Waits és Roberto Benigni? Mitől “hangout” film a Törvénytől sújtva? Ha tetszett az adásunk, támogass bennünket a Vakfolt Extrával! Csatlakozz a Facebook-csoportunkhoz is! Mostantól Vakfolt logós pólót és egyéb kellékeket is szerezhetsz magadnak a webshopunkból! További linkek A Vakfolt podcast Facebook oldala A Vakfolt podcast az Instagramon A Vakfolt podcast a Twitteren Vakfolt címke a Letterboxdon A Vakfolt podcast a YouTube-on A Vakfolt podcast a YouTube Music-on A Vakfolt podcast a Spotify-on A Vakfolt podcast a Google podcasts oldalán A Vakfolt az Apple podcasts oldalán A főcímzenéért köszönet az Artur zenekarnak András az X-en: @gaines_ Péter az X-en: @freevo Emailen is elértek bennünket: ezitt@vakfoltpodcast.hu  

Felicia is joined by Liam and Wayne from the In Film We Trust Podcast to discuss Jim Jarmusch's film about three outlaws on the run, in Down By Law (1986). We chat about how each of these characters play off each other and why the outsider, Roberto, is the glue that holds them together. We also discuss how he gave Robby Müller carte blanche to shoot the film however he wanted and how that collaboration is imperative to the film's lasting effect. Send us your thoughts on the episode - who is your favourite musician Jarmusch has worked with? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow In Film We Trust here: Spotify: https://podcasters.spotify.com/pod/show/ifwtpod IG: @ifwtpod Twitter: @ifwtpod YouTube: @ifwtpod Sources: https://www.criterion.com/current/top-10-lists/37-rian-johnson-s-top-10 https://www.theguardian.com/film/2014/sep/08/down-by-law-the-monochrome-mastery-of-dutch-cinematographer-robby-muller https://www.tasteofcinema.com/2017/pulling-focus-down-by-law-1986/ https://www.criterion.com/current/posts/229-down-by-law-chemistry-set https://www.criterion.com/current/posts/2386-talking-with-john https://www.rogerebert.com/reviews/down-by-law-1986 OUTRO SONG: Decomposing Trees by Galaxie 500 FILMS MENTIONED: Easy Rider (Dennis Hopper 1969) Chelsea Girls (Paul Morrissey, Andy Warhol 1966) The Way It Is (Eric Mitchell 1985) Downtown 81 (Edo Bertoglio 2000) Toy Story (John Lasseter 1995) Terminator 2: Judgment Day (James Cameron1991) Aliens (James Cameron 1986) Blazing Saddles (Mel Brooks 1974) Smokey and the Bandit (Hal Needham 1977) Dead Man (Jim Jarmusch 1995) Stranger Than Paradise (Jim Jarmusch 1984) The Dead Don't Die (Jim Jarmusch 2019) Paterson (Jim Jarmusch 2016) Permanent Vacation (Jim Jarmusch 1980) The Foreigner (Eric Mitchell 1978) Eraserhead (David Lynch 1978) Paris, Texas (Wim Wenders 1984) Videodrome (David Cronenberg 1983) Harold and Maude (Hal Ashby 1971) Mystery Train (Jim Jarmusch 1989) Night on Earth (Jim Jarmusch 1991) Strange Brew (Rick Moranis, Dave Thomas 1983) Broken Flowers (Jim Jarmusch 2005) Ghost Dog: The Way of the Samurai (Jim Jamursch 1999) Two Lane Blacktop (Monte Hellman 1971) Clerks (Kevin Smith 1994) Dazed and Confused (Richard Linklater 1993) Straight Time (Ulu Grosbard 1978) Reservoir Dog (Quentin Tarantino 1992) The American Friend (Wim Wenders 1977)

Our "Alone for the Holidays" season kicks off with writer/director Pat Bishop (This Fool, Corporate) joining to discuss Wim Wenders's 1984 road film, PARIS, TEXAS starring Harry Dean Stanton, Nastassja Kinski, and Dean Stockwell. Scripted by Sam Shepard, the film opens in the Mojave desert where Travis (Stanton) emerges from years of self-imposed isolation. After reuniting with his brother Walt (Stockwell) and son Hunter (Hunter Carson), Travis's complicated past comes into greater focus, spurning another road trip of reconciliation. Featuring vibrant camerawork by Robby Müller and a starkly soulful musical score by Ry Cooder, PARIS, TEXAS was awarded the 1984 Palme d'Or and is now widely considered Stanton's iconic role and Wenders's American masterpiece. Join Mama Needs a Movie on a trip through PARIS, TEXAS that includes pit stops into Twin Peaks, The End of Violence, John Ford, '80s interest rates, Disney+, The Last Temptation of Christ, peep shows, Baywatch and much, much more! PARIS, TEXAS is available to stream with subscription to The Criterion Channel or Max.

Felicia is joined by Rolla Tahir to discuss Robby Müller's vision of Elvis' Memphis in the 80's, in Jim Jarmusch's Mystery Train (1989). We chat about Müller's respect for each character's story arc, the way the camera follows them on their journeys, and the colours he highlights to differentiate them. Mystery Train is the final film of my Robby Müller month in focus, I have been so lucky to have five passionate film lovers on to chat about what his work means to them. I loved revisiting (or watching for the first time - 24 Hour Party People), these films and discovering new things about what makes them great. Send us your thoughts on the episode - which vignette is your favourite? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Rolla here: IG: @smoking.apples IG: @torontoarabfilm Website: www.smokingapples.ca Sources: Remembering Robby Müller, NSC, BVK - The American Society of Cinematographers (en-US) (theasc.com) Celebrating Robby Müller, Who Created Look of Indie Film Classics - The New York Times (nytimes.com) Mystery Train Blu-ray Jim Jarmusch (dvdbeaver.com) How Mystery Train Dissects Elvis' Legacy While Barely Showing Him Onscreen (collider.com) Watch: 23-Minute Masterclass With Famed Cinematographer Robby Müller – IndieWire Remembering Cinematographer Robby Müller with These Eight Great Scenes - Film Independent Christophe Honoré's Top 10 | Current | The Criterion Collection Hooks, B. (2015). Reel to real: Race, sex and class at the movies. Routledge. OUTRO SONG: Tuesday Night in Memphis by John Lurie FILMS MENTIONED: Permanent Vacation (Jim Jarmusch 1980) Coffee and Cigarettes (Jim Jarmusch 2003) Paterson (Jim Jarmusch 2016) Down By Law (Jim Jarmusch 1986) 24 Hour Party People (Michael Winterbottom 2002) Paris, Texas (Wim Wenders 1984) Honeysuckle Rose (Jerry Schatzberg 1980) Ariel (Aki Kaurismäki 1988) Drifting Clouds (Aki Kaurismäki 1996) You, the Living (Roy Andersson 2016)

Felicia is joined by Joe Gantner to discuss Robby Müller's vision of the underground crime scene in LA, in William Friedkin's To Live and Die in LA (1985). We get right into why this is one of the sexiest crime films of the 80s, and Müller's use of red and green throughout which set the time of the story. We also gush about William Petersen's ass acting, and how no one will ever be able to live up to such a brave performance. Send us your thoughts on the episode - what are your thoughts on the counterfeit scenes? Do you like Wang Chungs soundtrack? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Joey here: IG: @outofthepodcast IG: @warmcoat Sources: To Live and Die in L.A. movie review (1985) | Roger Ebert Life Authentic | To Live and Die in L.A. (1985) - Bright Wall/Dark Room (brightwalldarkroom.com) The Film That Returned William Friedkin to Critical Acclaim | Vanity Fair Robby Muller a muse to Wenders, Jarmusch, Friedkin - Variety Celebrating Robby Müller, Who Created Look of Indie Film Classics - The New York Times (nytimes.com) Robby Müller obituary: a king of the quizzical image | Sight & Sound | BFI To Live and Die in L.A. Blu-ray - Willem Dafoe (dvdbeaver.com)Eddie and Ben Friday Night Neo-Noir: To Live and Die in L.A. (1985) intro 20210716 Outro music: To Live and Die in La by Wang Chung FILMS MENTIONED: Down By Law (Jim Jarmusch 1986) Thief (Michael Mann 1981) Manhunter (Michael Mann 1986) Repo Man (Alex Cox 1984) Gleaming the Cube (Graeme Clifford 1989) The Exorcist (William Friedkin 1973) The French Connection (William Friedkin 1971) Sorcerer (William Friedkin 1977) Paris, Texas (Wim Wenders 1984) Touch of Evil (Orson Welles 1958) Streets of Fire (Walter Hill 1984) The Warriors (Walter Hill 1979) 48 Hrs. (Walter Hill 1982) Bullitt (Peter Yates 1968) The Getaway (Sam Peckinpah 1972) The Driver (Walter Hill 1978) Dead Man (Jim Jarmusch 1995) The Yakuza (Sydney Pollack 1974) Hardcore (Paul Schrader 1979) Jade (William Friedkin 1995) Miracle Mile Steve De Jarnatt 1989)

Felicia is joined by Perry Jackson to discuss Robby Müller's take on the Manchester music scene of the 70s and 80s, in Michael Winterbottom's 24 Hour Party People (2002) We chat about the use of digital in this film and it's tele-documentary feel. Along with Müller's ability to create a chaotic environment with the camera to match the tone of the music in focus. We're happy to share one of Müller's later works, and show the diversity of his body of work. Send us your thoughts on the episode - what are some of your favourite bands featured in the film? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Perry here: IG: @prryjcksnTwitter: @prryjcksnLetterboxd: @prryjcksn Sources: The Quietus | Film | Film Features | Modern Masterpiece: 20 Years Of 24 Hour Party People 20 years of '24 Hour Party People': Frenetic DIY filmmaking (faroutmagazine.co.uk) 24 Hour Party People | Sight & Sound article (factoryrecords.org) The 10 greatest scenes by the cinematographer Robby Müller (faroutmagazine.co.uk) 24 Hour Party People – [FILMGRAB] (film-grab.com) https://www.dvdexotica.com/2016/03/better-to-import-24-hour-party-people.html https://film-grab.com/2013/07/31/24-hour-party-people/# FILMS MENTIONED: Paris, Texas (Wim Wenders 1984) The American Friend (Wim Wenders 1977) Repo Man (Alex Cox 1984) To Live and Die in LA (William Friedkin 1985) Mystery Train (Jim Jarmusch 1989) Coffee & Cigarettes (Jim Jarmusch 2003) Ghost Dog: The Way of the Samurai (Jim Jarmusch 1999) Greed (Michael Winterbottom 2019) The Trip to Greece (Michael Winterbottom 2020) Birdy (Alan Parker 1984) Class of 1984 (Mark L. Lester 1982) Collateral (Michael Mann 2004) The Gleaners & I (Agnès Varda 2000) 28 Days Later (Danny Boyle 2003) Mission Impossible 3 (J.J. Abrams 2006) Infernal Affairs (Andrew Lau and Alan Mak 2002) Men In Black 2 (Barry Sonnenfeld 2002) Mad Dog and Glory (John McNaughton 1993) Saint Jack (Peter Bogdanovich 1979) Control (Anton Corbijn 2007) Velvet Goldmine (Todd Hayne 1998)

Felicia is joined by Brendan Ross to discuss Robby Müller's seminal work with Wim Wenders, their American film Paris, Texas (1984). We dive right into Müller's perspective of vast American landscapes as an outsider. The way he frames his shots in order to allow the audience's eyes to wander and discover new elements on each viewing. Paris, Texas is a film that had a profound effect on me as a young film lover, and allowed me to discover the importance of a cinematographer. Send us your thoughts on the episode - what are some of your favourite shots in the film? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Brendan here: IG: @neondreamscinema Twitter: @neondreamsto Sources: https://theasc.com/articles/robby-muller-paris-texas https://www.premiumbeat.com/blog/cinematography-paris-texas/ https://www.anothermag.com/art-photography/11785/polaroids-by-robby-mller-paris-texas-sunlight-coming-through-the-clouds-arles https://www.hollywoodreporter.com/movies/movie-news/wim-wenders-pays-tribute-paris-texas-cinematographer-robby-muller-1125126/ Paris, Texas Blu-ray - Nastassja Kinski (dvdbeaver.com) https://www.tasteofcinema.com/2016/8-reasons-why-paris-texas-is-the-best-road-movie-ever/ https://cinefan.hkiff.org.hk/en/programme/robby-m%C3%BCller-let%E2%80%99s-make-light Paris, Texas – [FILMGRAB] (film-grab.com) FILMS MENTIONED: Kings of the Road (Wim Wenders 1976) Alice In The Cities (Wim Wenders 1974) Summer in the City (Wim Wenders 1970) Dancer in the Dark (Lars von Trier 2000) Repo Man (Alex Cox 1984) Out of the Blue (Dennis Hopper 1980) Miracle Mile (Steve De Jarnatt 1988) After Hours (Martin Scorsese 1985) The Straight Story (David Lynch 1999) To Live and Die in LA (William Friedkin 1985) 8 Million Ways to Die (Hal Ashby 1986) Wild at Heart (1990)

Felicia is joined by Peter Merriman to discuss Robby Müller's groundbreaking work The American Friend (Wim Wenders 1977). They chat about Müller's ability to manipulate natural light to best suit the mood of the scene. How the framing builds tension between the characters and their multi-city settings. This is the first series on a cinematographer, and although the films are directed by different artists, my guests and I will be diving into each one through Müller's lense. Send us your thoughts on the episode - what are scenes that stand out the most to you? What are your thoughts on Müller's use of natural light? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Sources: Wim Wenders's High Plains Grifter - The New York Times (nytimes.com) https://filmobsessive.com/film/film-analysis/film-genres/art-house/the-american-friend-beyond-the-frame-of-life-2/ The American Friend movie review (1977) | Roger Ebert The American Friend (1977) | The Criterion Collection Remembering Robby Müller, NSC, BVK - The American Society of Cinematographers (en-US) (theasc.com) Master of light : Robby Müller Cinematographer (autocraticforthepeople.com) Wim Wenders Thinks The American Dream is a European Export, and MAGA, a Maddening Spectacle - GARAGE (vice.com) The American Friend – [FILMGRAB] (film-grab.com) The American Friend Blu-ray - Dennis Hopper (dvdbeaver.com) Douglas Hart's Top 10 | Current | The Criterion Collection (61) Der Amerikanische Freund OST (1977) | Jürgen Knieper - YouTube - Harpisord/Flute piece referenced in the episode Der Amerikanische Freund OST (1977) | Jürgen Knieper - YouTube - Piano/Viola piece referenced in the episode Space Moth - YouTube - Stereolab piece referenced in the episode FILMS MENTIONED: Apocalypse Now (Francis Ford Coppola 1979) Ripley's Game (Liliana Cavani 2002) Purple Noon (René Clément 1960) The Talented Mr. Ripley (Anthony Minghella 1999) The Mother and the Whore (Jean Eustache 1973) Trouble Every Day (Claire Denis 2001) Chungking Express (Wong Kar-wai 1994) The Lusty Men (Nicholas Ray 1952) Paris, Texas (Wim Wenders 1984) Kings of the Road (Wim Wenders 1976) Alphaville (Jean-Luc Godard 1965) The cercle rouge (Jean-Pierre Melville 1970) Rebel Without a Cause (Nicholas Ray 1955) Johnny Guitar (Nicholas Ray 1954) Wings of Desire (Wim Wenders 1987) The End of Violence (Wim Wenders 1997) The Naked Kiss (Samuel Fuller 1964)

Antes de cruzar el charco rumbo a Hollywood, Wim Wenders adaptó con brillantez el tercer libro de los que dedicó Patricia Highsmith a Tom Ripley. Este amigo americano tiene hechuras de cowboy, Dennis Hopper pasea su sombrero por un Hamburgo gris, portuario y frío. La otra cara de la moneda, Zimmerman – Bruno Ganz- sabe que tiene los días contados, el honrado hasta entonces dueño de una tienda de marcos atisba la oportunidad de dejar una importante cantidad de dinero a su familia, se trata de un encargo, es el juego de Ripley, un marchante de arte de ojos penetrantes. Aún habrá otro otro tipo llamado Minot – Gérard Blain-. Dos extraños de pronto en su apacible existencia. Zimmerman debe aprender a matar. El vínculo cada vez más estrecho entre el ciudadano alemán y el forastero americano desconcierta a la esposa – Lisa Kreuzer-, un recelo comprensible ante las extrañas apariciones de un vaquero con Polaroid. El padre de familia rompe uno de sus marcos en un gesto furioso, está asustado, no es un asesino, sencillamente no sabe controlar el maremágnum en que se ha metido. El espectador va sintiendo esa misma inquietud e intenta atar cabos. Zimmerman mira a los ojos a su víctima en el metro de París, un asesino a sueldo en su primer trabajo. Nicholas Ray, Sam Fuller, Jean Eustache, y otros cineastas irán haciendo acto de presencia a lo largo del film. Ray también estaba gravemente enfermo, pero de verdad, estremece con sus ademanes de galápago pintor, un muerto en vida confinado. Ripley hace creer al mundo que el pintor ya está muerto para que sus cuadros sean más valiosos. Los acontecimientos se desglosan en un montaje hábil, la excelente forma de rodar de Wenders y su colaborador Robby Müller , los trávelins, los picados, los planos fluyen con dinamismo. La banda sonora de Jürgen Knieper recuerda el suspense del Bernard Herrman de Psicosis o Con la muerte en los talones en las escenas de los crímenes, perfectamente hiladas. Esta noche nos dirigimos hacia la playa en una ambulancia… Salvador Limón, David Velázquez. Raúl Gallego y Zacarías Cotán

Annemieke Bosman in gesprek met fotograaf Bob Bronshoff.. Al meer dan 25 jaar fotografeert Bob Bronshoff filmsets. Een selectie van zijn setfoto's is te zien in een tentoonstelling in Eye Filmmuseum, getiteld: 'Actie! Bob Bronshoff op de set'. Begin jaren tachtig vroeg het filmtijdschrift 'Skrien' of fotograaf Bob Bronshoff foto's wilde maken voor dit tijdschrift. Al heel snel had Bronshoff filmregisseurs Akira Kurosawa, Wim Wenders en Robby Müller voor zijn camera. Halverwege de jaren negentig kreeg Bronshoff zijn eigen fotorubriek in 'Skrien': ‘Werk in uitvoering'. Voor de eerste aflevering ging hij naar de set van de televisieserie 'De Partizanen' van Theu Boermans in Limburg. In 2009, werd de rubriek geadopteerd door de 'Filmkrant', onder een andere naam: ‘Actie!'. Inmiddels bezocht Bronshoff al meer dan 250 sets van Nederlandse speelfilms, studentenfilms en documentaires van wereldvermaarde regisseurs én aankomende talenten. Zo bezocht Bronshoff de sets van Borgman, Filmpje, Flodder, Ja zuster nee zuster, Karakter, Minoes en Suzy Q.

In 1985, William "Hurricane Billy" Friedkin was back on the streets with the savage and illusive policier To Live and Die in L.A. Filmed with gritty precision, photographed in painterly textures by the immortal Robby Müller and encompassing one scorcher of an extended city-wide high-speed pursuit that leaves even the celebrated chase from The French Connection in the dust, the movie electrified the screen yet couldn't produce a spark critically or commercially. It has since been rightfully recognized as a classic, much to the satisfaction of hosts Christopher Funderburg and John Cribbs who sit down to review the fatal errors of Richard Chance, Rick Masters and John Vukovich on the blood-red scorched inland valleys of the City of Angels. A would-be presidential assassin exploding midair, bungee jumping off the Vincent Thomas Bridge, the intricate art of creating "funny money," a foot chase at an airport terminal, canvases set ablaze, kabuki-inspired performance artists, dumpster death, strip club stoolies, botched stakeouts, prison yard hits, a sleazy lawyer who work both sides, a speedy escape down a wrong way street, Steve friggin' James - there are a million reasons to love this movie. Support our Patreon: www.patreon.com/thepinksmoke The Pink Smoke site: www.thepinksmoke.com The Pink Smoke on Twitter: twitter.com/thepinksmoke Christopher Funderburg on Twitter: twitter.com/cfunderburg John Cribbs on Twitter: twitter.com/TheLastMachine Intro music: Unleash the Bastards / “Tea for Two” Outro music: Marcus Pinn / “Vegas"

C'est déjà commencé à Wimbledon! Les Canadiens ont du pain sur la planche, mais pourraient se rendre très loin.

SUR LA LIGNE reçoit l'entraîneur de tennis Robby Ménard et son nouveau poulin, Alexis Galarneau. On a également eu la chance de recevoir les 2 finalistes en double chez les filles en Australie, Victoria Mboko et Kayla Cross. On regarde aussi ce qui s'est passé dans la dernière semaine d'activité.nbsp;

Robby Ménard analyse l'année 2021 pour le Tennis québécois.

À quelques heures de sa demi-finale au US Open, on discute avec Robby Ménard, qui a coaché Leylah Annie Fernandez jusqu'à l'âge de 12 ans.

Jeff sits down with Brittany White as she shares deeply about her artistic perspective, about how she got started taking photographs and film, and about her work that will be in the upcoming Oh, Tulsa exhibit at Living Arts of Tulsa.To learn more about Brittany and her work, visitWebsite:  www.brittanykelleywhite.com Instagram handle:  @brittanykelleywhite Brittany is a photographer currently based in the Tulsa area. Her work is a means of self-expression and illustrates a combination of documentary and staged narrative.  Through the use of analogue photographic processes, she explores various themes such as childhood reflection, personal identity and the community in which she lives and works.  Her work is heavily influenced by filmmakers and cinematographers such as Wim Wenders, Robby Müller and Andrei Tarkovsky.

Jeff sits down with Brittany White as she shares deeply about her artistic perspective, about how she got started taking photographs and film, and about her work that will be in the upcoming Oh, Tulsa exhibit at Living Arts of Tulsa.To learn more about Brittany and her work, visitWebsite:  www.brittanykelleywhite.com Instagram handle:  @brittanykelleywhite Brittany is a photographer currently based in the Tulsa area. Her work is a means of self-expression and illustrates a combination of documentary and staged narrative.  Through the use of analogue photographic processes, she explores various themes such as childhood reflection, personal identity and the community in which she lives and works.  Her work is heavily influenced by filmmakers and cinematographers such as Wim Wenders, Robby Müller and Andrei Tarkovsky.

In 1980 komt de 27-jarige Amerikaanse regisseur Jim Jarmusch naar IFFR met zijn afstudeerfilm Permanent Vacation. Het is zijn grote droom om in Rotterdam de Nederlandse cameraman Robby Müller te ontmoeten en de Duitse filmmaker Wim Wenders vertelt hem waar hij moet zijn: op een boot, bij de pinda-automaat. De ontmoeting die volgt is het begin van een decennialange samenwerking en vriendschap. Hoe kijken de betrokken nu terug op dat moment? Verder onderzoekt Cesar in deze aflevering de totstandkoming van een van de meest bijzondere projecten uit de IFFR-geschiedenis: het Sleep Cinema Hotel van de Thaise filmmaker Apichatpong Weerasethakul. In luttele weken moet het festival een luxueus hotel uit de grond zien te zien stampen, op een locatie hoog in de wolken. En uiteraard gaat er van alles mis. Voor bonusmateriaal bij deze aflevering: vprogids.nl/50jaariffr

SUR LA LIGNE revient sur la belle victoire de La Québécoise Leylah Annie Fernandez dimanche au tournoi de Monterrey, au Mexique. On en parle notamment avec Robby Ménard son ancien entraîneur.nbsp;Paul Rivard revient sur un déclaration de Shapovalov qui beaucoup fait jaser.nbsp;On fait le tour de l'actualité et on porte un regard vers le tournoi de Miami où Bianca Andreescu est de retour en action.nbsp;

SUR LA LIGNE fait, en compagnie de Valérie Tétreault, un retour sur les deux finales en simple Melbourne. Serena Williams a-t-elle annoncé un dernier tour de piste après sa défaite en 1/2 finale?Doit-on s'inquiéter de la nouvelle blessure de Bianca Andreescu. Nicho nous fait un portrait de l'histoire cendrillon du tournoi, Aslan Karatsev et Roby Ménard, un entraîneur de tennis et spécialiste des statistiques avancées, vient nous parler de l'importance de ce nouvel outil pour le développement des joueurs. Il travaille notamment avec Daniil Medvedev.

Cinematographer Robbie Ryan chats about the cinematographer Robby Müller after a screening of Living the Light: Robby Müller at the 31st Galway Film Fleadh. At the post-screening discussion, filmmaker Paul Duane chats with collaborator and cinematographer Robbie Ryan about Müller, shooting road movies, working with directors like Andrea Arnold and Ken Loach, and Netflix vs. […]

Cinematographer Robbie Ryan chats about the cinematographer Robby Müller after a screening of Living the Light: Robby Müller at the 31st Galway Film Fleadh. At the post-screening discussion, filmmaker Paul Duane chats with collaborator and cinematographer Robbie Ryan about Müller, shooting road movies, working with directors like Andrea Arnold and Ken Loach, and Netflix vs. […] The post S02E13: Robbie on Robby appeared first on Galway Film Fleadh.

Cette semaine à l'émission, Max et Max discutent avec l'entraîneur de niveau 4 de Tennis Canada et analyste sur les ondes de RDS Robby Ménard. Au menu, analyse des performances récentes des joueurs canadiens et plongée dans l'utilisation des stats...

Visit PsychotroniCast on patreon.com to get 4 bonus podcasts a month! Only $5!Episode sixty-four. Next stop on Alec and Derek’s acid western trip is Jim Jarmusch’s stunning 1995 film Dead Man. As if hearing the Horace Greeley call to “Go West, young man” naive Ohio accountant William Blake (Johnny Depp) journeys west to the industrial town of Machine only to be met with the gravest of misfortune. The incredible ensemble cast includes Crispen Glover, Gabriel Byrne, Gary Farmer, Iggy Pop, John Hurt, Alfred Molina, Billy Bob Thornton, Lance Hendrickson and Robert Mitchum in his final role. Ravishingly photographed by legendary Robby Müller, and with a haunting improvised score by Neil Young, Dead Man subverts the promise of Manifest Destiny with a vision of the west dominated by brutality, decay and poetry.

Robby Müller (1940 - 2018) was the legendary Dutch cinematographer nicknamed the “Master of Light”. An artist who focused on his improvisational use of color, natural light, and composition. His quick work and ability to adapt to the filmmaker's needs made him a frequent collaborator with acclaimed directors the likes of Jarmusch, Von Trier, and Wenders.  Aaron and Brad take a look back at 32 years worth of Robby's feature film work. Join Rest In Pictures as we Wang Chung with TO LIVE AND DIE IN L.A., find Life On Mars with Bowie in BREAKING THE WAVES, dance like Ian Curtis in 24 HOUR PARTY PEOPLE, and more!

Tobias Schliessler most recently lensed Ava Duvernay’s adaptation of A WRINKLE IN TIME for Disney, starring Chris Pine, Gugu Mbatha-Raw and Reese Witherspoon. Schliessler also recently shot Bill Condon’s visually stunning film BEAUTY AND THE BEAST, starring Emma Watson and Luke Evans. Condon and Schliessler first teamed up on the Academy Award winning film DREAMGIRLS, followed by THE FIFTH ESTATE, starring Benedict Cumberbatch, and more recently, the beautifully shot MR. HOLMES, starring Ian McKellen. Last year Schliessler lensed Peter Berg’s Boston Marathon drama PATRIOT’S DAY, starring Mark Wahlberg. Berg and Schliessler previously collaborated on a number of films including: the action/drama LONE SURVIVOR, also starring Mark Wahlberg; the sci-fi thriller BATTLESHIP; HANCOCK, starring Will Smith; the high school football drama FRIDAY NIGHT LIGHTS; and THE RUNDOWN, starring The Rock. Other notable credits include Tony Scott’s crime thriller THE TAKING OF PELHAM 123; as well as Antoine Fuqua’s BAIT, starring Jamie Foxx. A native of Germany, Schliessler studied cinematography at Simon Fraser University in British Columbia, Canada. He began his career shooting documentaries, and then segued into independent features, television movies, music videos and commercials. Schliessler was honored by the Association of Independent Commercial Producers (AICP) for his cinematography on Audi’s commercial WAKE UP in 2000, and Lincoln’s Financial spot DOCTOR in 2001. Both are now part of the permanent archives of The Museum of Modern Art’s Department of Film and Video in New York City. His commercial work also includes ads for such high end brands as Mercedes Benz, BMW, Bank of America, Citibank , AT&T and Verizon. Aisha Schliessler is a writer and director living in Los Angeles, California. A third-generation filmmaker, life behind the camera is in her blood. She has worked across a wide range of projects including shorts, music videos and commercials. Her short documentary, DOBLE 9, about four Cuban exiles connected through Miami’s Calle Ocho domino park, screened at multiple film festivals in 2016 including The Miami International Film Festival and the Big Sky Documentary Film Festival in Montana. In 2017 she wrote and directed THE END, about a lonesome beauty and her unusual dinner date, which won the Audience Choice Award at the New York City Short Film Festival (NYC Shorts). Most recently, Aisha wrote and directed the short film PASSING in collaboration with Zeiss lenses, which will premiere in 2018. Topics Discussed In This Episode: How he got into cinematography Tobias’s father’s path into mountain climbing and documentarian filmmaking Rainer Werner Fassbinder (filmmaker) Robby Müller (Dutch cinematographer) Directors he’s worked with, Bill Condon and Peter Berg Pushing each other creatively in collaborative partnerships A film Tobias worked on called, “Friday Night Lights” His experiences on set Mentoring younger people entering the film industry Working on “Lone Survivor” The film, “The American Friend” The film, “The Square” Working with directors Peter Berg and Bill Condon www.artistdecoded.com

This week, we take an opportunity to pay tribute to a giant of the industry that we lost too soon -- a visionary talent that means a lot to us. Rest in peace, Robby Müller. Your work will always be here for us, and for that we are grateful.   [Music used: Intro -- Word Up by Cameo | Outro -- Mannish Boy by Muddy Waters   Throughout: Various songs from the OSTs of: Dead Man, Mystery Train, Down by Law, The American Friend, Until The End of the World, and Paris, Texas.]

Pour ce numéro, toute l'équipe de Grand Format est très heureuse de recevoir la directrice de la photographie Agnès Godard. Elle a commencé à travailler comme assistante caméra auprès d'Henri Alekan ou encore de Robby Müller sur Paris, Texas pour ensuite prendre les responsabilité de chef opératrice, notamment sur les films de Claire Denis, sur La Vie rêvée des anges d'Érick Zonca ou encore Les Egarés, d'André Téchiné. On parle avec elle de son métier, de ses rencontres, de sa vision du cinéma. Et avec les chroniqueurs, Luc et Josselin, il est question du directeur de la photographie Christopher Doyle, d'une exposition et des grands évènements cinématographiques de 2017… Musiques California Soul, Marlena Shaw Présentation : Théo Lopez Chroniqueurs : Josselin Esteve / Luc Tailleur Rédaction : Léa Baggi et Théo Lopez Réalisation : Benjamin Arnaud

Choiceless Awareness is a path to peace of mind. It means having awareness in the moment as things are unfolding but not making a choice or judgment one way or the other about whether it’s good or bad. Bruce talks about how, “There is an awareness without choice, without demand, an awareness in which there is no anxiety and in that state of mind there is perception and it's perception alone that will resolve our problems.” Choiceless Awareness is about being the objective observer, standing back from the situation a little bit and not assign any blame one way or the other. Just say, “Here’s what’s happening, I’m perceiving what’s happening, now what am I going to do?” This not easy because you have to battle the “shoulds”--what you think should or shouldn’t be happening in the situation. Remember, Bruce Lee used “No way as way.” “Just watch choicelessly, and in the watching lies the wonder. It is not an ideal end to be desired, but watching is a state of being already and not a state of becoming.” If in this moment you can achieve this state of choiceless awareness, you can achieve wholeness because you’re just being. “Choiceless Awareness. Do not condemn, do not justify. Awareness works only if it is allowed free play without interference.” Awareness leads to discovery. Discovery leads to uncovering your potential. Bruce Lee often relates this idea of Choiceless Awareness to being in tune with “what is.” “There is what is, only when there is no comparison at all. And to live with what is, is to be peaceful.” “Awareness is never exclusive. It includes everything.” The easiest way to explain this state is as “free play.” Free play without judgment, like when you were a kid playing and pursuing what interested you. The technology we have now, such as smart phones, can bring us out of the moment. “I Bruce Lee am going to die some day with out having fulfilled all my ambitions. However, I am not afraid to die. I go on, I move forward. Because everything I’ve done, I’ve done sincerely, and wholeheartedly and to the best of my ability. What more can you ask for than that?” Take Action: Practice being the objective observer, try to remove your judgment from the present moment, and just let things be as they are. Take in everything. Create time for a place of "free play”—free of expectations and outcomes. Do something with your body to enter into the space of free play, such as running around like a kid or sing a fun song. This will help you remember what free play felt like. #AAHA This week our #AAHA is hapa Michelle Waterson who is half Thai. Michelle is an American Mixed Martial Artist and competes in the UFC. MMA is the fastest growing professional sport. Michelle is ranked #6 in the UFC strawweight division. Raised in Colorado, Michelle studied karate from the age of 10 and holds a black belt in the American Free Style Karate, and also trained in WuShu, Muay Thai, Brazilian jiu-jitsu, boxing, and wrestling. She started out as a ring girl, and she trained really hard and made her MMA debut in 2007. She made her debut without having any amateur fights. Michelle you’re a badass, and we think you’re awesome! #BruceLeeMoment Our moment this week comes from Robby M. who shared with us this poem and his #BruceLeeMoment: Everything I know how to do, I learned first and foremost from Bruce Lee, I copied everything he did to the point where I got obsessed and erroneously thought myself to be his Reincarnation. Doing that, I realized I missed His central tenet of Life, Be Yourself! Express Yourself as creatively, profoundly, powerfully, dynamically, skillfully, and Honestly as humanly possible at all times no matter what the cost or situation.” Share your #AAHAs, #BruceLeeMoments, and #TakeAction progress with us at hello@brucelee.com Find the full version of our show notes at BruceLee.com/podcast

Edición número 54 de La Gran Evasión,22/92015. Wim Wenders ganó La Palma de Oro en el festival de Cannes en 1984 por este recorrido en imágenes por la desolación, por la condición humana, que se ha convertido en una película de culto, apoyada por el guión de Sam Shepard y la fotografía de Robby Müller, ambos extraordinarios. Contiene momentos que se quedan en la retina, ya asociamos París, Texas al diálogo entre Kinski y Dean Stanton en el Peep Show, a un hombre con una gorra atravesando un desierto...a la maravillosa música de Ry Cooder, a los parajes inmensos, al horizonte... París, Texas siembra dudas en todos nosotros, dudas sobre el libre albedrío, sobre las ataduras morales y sociales, sobre la consabida condición humana, a través de imágenes llenas de lirismo, a través de los ojos de un niño, o mejor dicho de dos niños que buscan lo que habían perdido....a través de una madre abandonada por un amor consumido por el fuego, una road movie que recorre los senderos más oscuros del alma. Shepard había escrito un libro de relatos cortos y poemas que llevaba el título de Transfiction (más tarde sería cambiado por el de Motel Chronicles ), libro que acabó por convertirse en la base de Paris, Texas, a partir de él, Wenders y Shepard elaboraron un breve tratamiento que se iniciaba con una escena tan enigmática, tan absorvente: un hombre aparece en pleno desierto de Arizona, en la frontera mexicana; camina sin rumbo aunque con paso decidido, la mirada perdida en la línea del horizonte, en el vacío. No sabemos nada de él, sólo nos intriga reconstruir los datos que nos faltan para elaborar su historia: ¿Quién es?, ¿Dónde va? ¿Qué le ha ocurrido?... A partir de aquí, el relato nos lleva de la mano y vamos encontrando respuestas a la misma vez que Travis, de dónde viene y a dónde va. La fotografía de París, Texas está a cargo de Robby Müller, uno de los mejores directores europeos de fotografía, colaborador habitual de Wenders, también ha trabajado con Jim Jarmusch (heredero de muchos elementos del estilo de Wenders), con Lars von Trier, Peter Bodganovich, Winterbottom...dice Wenders, que Müller y él decidieron plasmar su visión del desierto americano sin recurrir a esos referentes míticos, como las fotografías de Walker Evans, ó los cuadros de Edward Hopper, crearon su propia iconografía de la soledad del individuo, del viaje hacia ninguna parte y de la redención a través del camino. Wenders nos da su propia visión de La Odisea de Homero, su obsesión hacia el tema del viaje como espoleta del auto-conocimiento, de la búsqueda y la aceptación de uno mismo. Magistrales los actores Harry Dean Stanton y Nastassja Kinski, sin palabras nos dicen tanto, portentosos. Llenamos de whisky las tinieblas, forjamos otra vez la esperanza esta ventosa noche de finales del verano, a la dirección José Miguel Moreno, contertulios, Raúl Gallego, Gervi Navío, Mamen Torres, y con el teléfono en la mano y el pasado lleno de películas a la espalda, nuestro crítico César Bardés.