Podcasts about Station agent

With his first feature Drive Back Home in theaters across Canada, writer-director Michael Clowater wanted to talk about another modestly scaled, emotionally alive debut: Tom McCarthy's delicate 2003 character study The Station Agent. Your genial host Norm Wilner is really glad he did.

Mugga, Rita Brent, and Joanna Briley visit friends and talk about the upcoming Black Women in Comedy Laff Fest , Rita Brent's new song: gospel version of  “Bleach-blonde, Bad-built, Butch body and more with host Marina Franklin!  Rita Brent is an award-winning comedian, musician, and military veteran. She grew up in Jackson, MS where she played music in Baptist churches alongside her mother and singer-pianist, Angela. She credits her mother for single-handedly cultivating her talents and preparing her for the entertainment business. By 18, she joined the Army National Guard where she served as a drummer in the 41st Army Band, ending her time in service as a sergeant. She began her radio broadcasting career at WJSU 88.5 FM as a student at THEE Jackson State University from which she graduated, and later spent six years at Mississippi Public Broadcasting as a host and producer. In 2013, she made a big leap into standup comedy. 9 years later, she has appeared on Comedy Central, truTV, Epix TV, LOL Network, Circle TV, CNN, and more. She tours as an opening act with her mentors, Rickey Smiley and Cedric the Entertainer. She wrote for the 73rd Primetime EMMY Awards, the Academy of Country Music Awards, The People's Choice Awards, and Stand Out: An LGBTQ Celebration on Netflix. In 2023, she became a first-time Writers Guild Awards Nominee in two categories. When she's not on the road as a standup comedian, she's an up and coming music performance artist. Her most popular singles are Kamala, I Deserve to Be Alive, and Can You Rock Me Like a Pothole. She recently released the hit song, “Do the Hoochie Daddy” , Check out her new song: GOSPEL VERSION of “Bleach-blonde, Bad-built, Butch body. She's a proud member of Delta Sigma Theta Sorority Incorporated.  Mugga is an American actress and comedian who was born and raised in Brooklyn. She is known for her roles as Dolores in The First Purge, Reema Pell in Orange Is The New Black, NBC's Manifest as Bethany and Ambassador to the Black Women In Comedy Laff Fest.  Joanna Briley. Brooklyn born, Connecticut raised. Hilarity ensued. Joanna's work for the MTA made her one of the friendliest Token Booth Clerks and her love of stand up and being a token booth clerk aka Station Agent, allowed her to write and produce “Swipe This: My Life in Transit!” to critical acclaim. Joanna is also the proud creator of the Black Women in Comedy Laff Fest which was created in 2018 and will be presented this Juneteenth in various venues throughout NYC. Always hosted by Marina Franklin - One Hour Comedy Special: Single Black Female ( Amazon Prime, CW Network), TBS's The Last O.G, Last Week Tonight with John Oliver, Hysterical on FX, The Movie Trainwreck, Louie Season V, The Jim Gaffigan Show, Conan O'Brien, Stephen Colbert, HBO's Crashing, and The Breaks with Michelle Wolf

rWotD Episode 2572: Tom McCarthy (director) Welcome to random Wiki of the Day where we read the summary of a random Wikipedia page every day.The random article for Sunday, 19 May 2024 is Tom McCarthy (director).Thomas Joseph McCarthy (born June 7, 1966) is an American filmmaker and actor who has appeared in several films, including Meet the Parents and Good Night, and Good Luck, and television series such as The Wire, Boston Public and Law & Order.McCarthy has received critical acclaim for his writing and directing work for the independent films The Station Agent (2003), The Visitor (2007), Win Win (2011), and Spotlight (2015), the last of which won the Academy Award for Best Picture, won McCarthy the Academy Award for Best Original Screenplay, and earned him a nomination for the Academy Award for Best Director.McCarthy also co-wrote the film Up (2009) with Bob Peterson and Pete Docter, for which they received an Academy Award nomination for Best Original Screenplay. McCarthy also wrote Million Dollar Arm (2014), and directed and executive-produced for the Netflix television series 13 Reasons Why (2017).This recording reflects the Wikipedia text as of 00:43 UTC on Sunday, 19 May 2024.For the full current version of the article, see Tom McCarthy (director) on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm Danielle Neural.

Robert May (Producer/Director/Writer) is a producer of independent films whoseprojects have collectively garnered over 40 awards including the Oscar, Bafta,Independent Spirit Award and Human Rights Award, to name a few. May produced The Station Agent, directed by then first-time director Tom McCarthy, which starred Peter Dinklage, Patricia Clarkson and Bobby Cannavale, The Fog of War (ErrolMorris), Stevie (Steve James), The War Tapes (Deborah Scranton), and Bonneville (Chris Rowley), starring Jessica Lange and Kathy Bates. In 2014, May's directorial debut was released, the documentary Kids for Cash, a film about greed, corruption and kids, which he also wrote and produced. Quotes like “Riveting,” “Shocking,” and “Gifted Storyteller” have been used to describe the film from the likes of The New York Times, The Hollywood Reporter and Variety. May's projects have been distributed by Miramax, Sony, Lions Gate, 20th Century Fox, and Comcast/Universal. May's nonfiction project, Lust for Gold, about obsession, the human condition, and the hunt for gold, was released by Kino Lorber in June 2021. May is currently in production on a currentlyuntitled nonfiction series. May's responsibilities included all aspects of creative development, production andpost-production, inclusive of writing, editing, finance and budget management.See omnystudio.com/listener for privacy information.

For as long as I've been a devotee of cinema, I've followed the career of Patricia Clarkson. Patricia is a genuine queen of the screen, featuring in films like The Station Agent, Far From Heaven, The Green Mile, and Pieces of April, for which she received an Academy Award nomination. Her latest films is the magnificent drama film Monica, featuring Trace Lysette (Transparent, Hustlers) who plays the titular character, a trans woman who poses as a support worker to visit her dying mother, Eugenia (Patricia Clarkson). Due to Eugenia's abusive nature, Monica left the family years ago, only to be drawn back into the fold by her sister-in-law, Laura (Emily Browning), to make amends with her mother.Unresolved trauma hovers under the surface of Monica's exterior, with Trace Lysette delivering a performance that stuns with its authenticity and complexity, and when she shares the screen with Patricia Clarkson, the film truly soars. Director Andrea Pallaoro, alongside co-writer Orlando Tirado, has crafted a masterful trans narrative which was part of a landmark year of LGBTIQA+ cinema in 2023.In the above interview, Patricia talks about her work throughout the years, the importance of celebrating and championing queer voices, and the joy of working alongside Trace Lysette.Monica screens at the upcoming Mardis Gras Queer Screen festival, running in cinemas in Sydney from 15-29 February 2024, with select films heading online for on demand screenings across Australia from 1-11 March 2024. Tickets can be purchased at QueerScreen.com.au. The festival features an array of panel discussions including chats about Queer Tropes and Trauma on Screen, Films That Made You Feel Seen, and more, alongside a wide array of features, documentaries, and short films, including All of Us Strangers, Mutt, The Missing, Isla's Way, The People's Joker, Kokomo City, a celebration of the work of John Waters with a screening of Female Trouble, and even a sing-along of The Sound of Music. There's something for everyone.Monica screens at Queer Screen on Tuesday 27 February 2024. Hosted on Acast. See acast.com/privacy for more information.

For as long as I've been a devotee of cinema, I've followed the career of Patricia Clarkson. Patricia is a genuine queen of the screen, featuring in films like The Station Agent, Far From Heaven, The Green Mile, and Pieces of April, for which she received an Academy Award nomination. Her latest films is the magnificent drama film Monica, featuring Trace Lysette (Transparent, Hustlers) who plays the titular character, a trans woman who poses as a support worker to visit her dying mother, Eugenia (Patricia Clarkson). Due to Eugenia's abusive nature, Monica left the family years ago, only to be drawn back into the fold by her sister-in-law, Laura (Emily Browning), to make amends with her mother.Unresolved trauma hovers under the surface of Monica's exterior, with Trace Lysette delivering a performance that stuns with its authenticity and complexity, and when she shares the screen with Patricia Clarkson, the film truly soars. Director Andrea Pallaoro, alongside co-writer Orlando Tirado, has crafted a masterful trans narrative which was part of a landmark year of LGBTIQA+ cinema in 2023.In the above interview, Patricia talks about her work throughout the years, the importance of celebrating and championing queer voices, and the joy of working alongside Trace Lysette.Monica screens at the upcoming Mardis Gras Queer Screen festival, running in cinemas in Sydney from 15-29 February 2024, with select films heading online for on demand screenings across Australia from 1-11 March 2024. Tickets can be purchased at QueerScreen.com.au. The festival features an array of panel discussions including chats about Queer Tropes and Trauma on Screen, Films That Made You Feel Seen, and more, alongside a wide array of features, documentaries, and short films, including All of Us Strangers, Mutt, The Missing, Isla's Way, The People's Joker, Kokomo City, a celebration of the work of John Waters with a screening of Female Trouble, and even a sing-along of The Sound of Music. There's something for everyone.Monica screens at Queer Screen on Tuesday 27 February 2024. Hosted on Acast. See acast.com/privacy for more information.

Any film that includes Patricia Clarkson in its cast has the cinematic equivalent of the Good Housekeeping Seal of Approval. She is that good, that committed, that versatile. Her credits run the gamut from well-loved indies like Lars and the Real Girl, The Station Agent and Dogville to mainstream hits like The Untouchables and TV series, including Six Feet Under, which earned her two Emmy Awards. Her latest release is Monica, about a transgender woman coming to terms with her dying mother. Leonard and Jessie had a ball talking with an actress who loves what she does and has an unquenchable zest for life.

Character actor extraordinaire, Richard Kind, talks about having the authenticity and self confidence to speak his mind and get away with it. He says having a healthy ego and approaching the world with joy give him permission to say just about anything. And how that confidence goes into his landing acting jobs and parenting his children. We also talk about the loss of Matthew Perry and the horror of eating dinner by yourself. Bio: Richard Kind, a Drama Desk Award winner and Tony nominee for the Broadway hit The Big Knife, is an accomplished stage, screen and television actor who continues to redefine the term character actor. Kind starred as Sam Meyers in Red Oaks, and as Arthur in the Coen Brothers, A Serious Man. He appeared in the Best Picture Academy Award-winning Argo. Additional film credits include The Visitor and The Station Agent, among many others, as well as voicing characters in A Bug's Life and Cars. In television, besides his infamous roles on Spin City, Mad About You, and Curb Your Enthusiasm. Kind starred in the acclaimed HBO drama series Luck and Gotham. On stage, Kind has starred in the smash hit Broadway musical The Producers, The Tale of the Allergist's Wife, Candide, and Bounce, among others. Kind started his career in Chicago with the Practical Theatre Company, founded by Julia Louis-Dreyfus, Brad Hill and Gary Kroeger. Then moved on to Second City and the rest… is history.From Straw Hut Media

Hollie Harper, Joanna Briley, and Chaundra Daniels visit Friends Like Us and discuss the importance of black women in comedy, The Black Women In Comedy Laff Fest For Juneteenth and more with host Marina Franklin. Hollie Harper is a comedy nerd from South Jersey. She is currently the creator and co-exec producer of Hella Late! with Hollie Harper on BRIC TV and a co-host of the nationally trending Twitter Storytelling Chat “BlerdDating.” Hella Late! with Hollie Harper was recently in the 2021 NYC Web Fest where she was nominated as Best Actress. Hollie was a semi-finalist in the 2019 NBC Standup Competition and has been featured on NY1, and in Black Enterprise Magazine, Thrive Global, Confessional Magazine and Black San Diego Magazine. Her popular sketch comedy show AMERICAN CANDY has played the Comic Strip, Gotham Comedy Club, BAM Café as well as the Chicago Sketch Comedy Festival. Time Out Chicago named them one of the five groups to watch. Hollie is a regular host for West Side Comedy Club in NYC and works with Gold Comedy and Stand Up Girls, two programs that empower young women by teaching them standup comedy. She was recently the talent coordinator and casting for “Blood Lassi” on Spotify, written by Pratima Mani, and moderated the panel for the Emmy Award winning, WOC editing team of Black Lady Sketch Show for The Black TV and Film Collective. She is also the Creative Consultant for the very successful Black Women in Comedy Laff Fest. Joanna Briley Brooklyn born, Connecticut raised. Hilarity ensued. Joanna's work for the MTA made her one of the friendliest Token Booth Clerks and her love of stand up and being a token booth clerk aka Station Agent, allowed her to write and produce “Swipe This: My Life in Transit!” to critical acclaim. Joanna is also the proud creator of the Black Women in Comedy Laff Fest which was created in 2018 and will have her fourth festival this June 14th-June 18th 2023 in various venues throughout NYC.  Chaundra Daniels is currently the Director of Career Services at Vaughn College of Aeronautics and Technology providing guidance and structure for a range of student services offered by career services and overseeing all office operations on career development strategies. She is a former Project Manager working on career development projects for Fortune 500 companies such as Colgate, the Federal Reserve Bank, McDonald's, Pepsi,  Starbucks, and Verizon. Chaundra is the Principal Consultant of  Monarch Productions, LLC, a boutique consulting firm that provides coaching and consulting sessions, workshops, and speaking engagements for individuals and businesses. Known as “The Humor Consultant”, Chaundra is an enthusiastic and resourceful communicator. The Executive Director of Strategic Partnerships & Planning for the 4th Annual Black Women in Comedy Festival, Chaundra is also the producer of the BFF (Beautiful, Fabulous, and Funny) Comedy Show,  a monthly comedy residency that donates partial proceeds to the designated benefactor, TechCore2, a Philadelphia based STEM program whose mission is to empower youth through tech industry training to build confidence and to pursue a technology career path.  She is often sought out to facilitate presentations and host events. An effective communicator,  she uses humor as a tool, offering a unique communication style with the ability to successfully engage and motivate audiences through critical thinking.  She has a fond appreciation of butterflies and uses their symbolic nature of “transformation” as part of her message providing inspiration to her audiences. Always hosted by Marina Franklin - One Hour Comedy Special: Single Black Female ( Amazon Prime, CW Network), TBS's The Last O.G, Last Week Tonight with John Oliver, Hysterical on FX, The Movie Trainwreck, Louie Season V, The Jim Gaffigan Show, Conan O'Brien, Stephen Colbert, HBO's Crashing, and The Breaks with Michelle Wolf.  

Peter Dinklage has won multiple Emmy awards for playing the iconic character Tyrion Lannister on HBO's "Game of Thrones" in a role that helped him become an international superstar.  However roughly eight years before that show first went on the air, he had his first true breakout role playing the more unassuming Finbar McBride in this relatively unassuming comedy/drama directed by Tom McCarthy.  McCarthy would also go on to bigger things as he would eventually direct the Best Picture-winning Spotlight in 2015.  Together they collaborated here on a bittersweet story of a quiet loner who finds that despite his best efforts to keep to himself and JUST study and watch trains, he can't help but meet interesting new people.  Playing the various new people whom Finn befriends are Patricia Clarkson, Bobby Cannavale (in one of HIS early breakout roles), and Michelle Williams.  On the surface, this is very much a movie about trains but UNDER the surface?  Let's find out....Host: Geoff Gershon Editors: Geoff and Ella GershonProducer: Marlene Gershonhttps://livingforthecinema.com/Facebook:https://www.facebook.com/Living-for-the-Cinema-Podcast-101167838847578Instagram:https://www.instagram.com/livingforthecinema/Letterboxd:https://letterboxd.com/Living4Cinema/ 

Welcome to episode 584. We have two tales for you this week. First, a man moves into a new community only to discover his neighbour is Dracula. But is the legendary vampire really as bad as his reputation? Then, a woman in 1920s Appalachia cares for her newborn while her husband works, but she soon discovers strange growths appearing around the house.COMING UPGood Evening: Submissions: 00:01:06Arthur Davis' Dracula Had My Back as read by Anthony Babington: 00:04:06Timothy G. Huguenin's The Station Agent's Wife, 1927 as read by Danielle Hewitt: 00:19:18PERTINENT LINKSSupport us on Patreon! Spread the darkness.Shop Tales to Terrify MerchArthur DavisArthur Davis on AmazonArthur Davis on Poets & WritersAnthony Babington on Twitter (@AlephBaker)Timothy G. HugueninTimothy G. Huguenin on Twitter (@tghuguenin)Timothy G. Huguenin on FacebookTimothy G. Huguenin on GoodReadsTimothy G. Huguenin on Instagram (@tghuguenin)Timothy G. Huguenin | The Station Agent's Wife, 1927 on The Dread MachineOriginal Score by Nebulus EntertainmentNebulus on FacebookNebulus on InstagramSPECIAL THANKS TOAmanda CarrilloAmanda GottfriedLestle BaxterOrion D. HegrePaul BelcherSupport this show http://supporter.acast.com/talestoterrify. Hosted on Acast. See acast.com/privacy for more information.

Mary Jane's films have screened at the Toronto, Venice, Berlin, Cannes and Sundance Film Festivals and have received numerous awards and nominations, including several appearances on the National Board of Review ‘best of' list, a BAFTA best screenplay win for The Station Agent and an Academy Award nomination for Best Actor for Richard Jenkins in The Visitor.  Mary Jane received the Independent Spirit Award for Producing in 2004 and was selected as one of Variety's Producers to Watch in 2003.  She is a member of the Academy of Motion Pictures Arts and Sciences and serves on the Branch Executive Committee for the Producers Branch.Mary Jane has served as an adjunct at Columbia University and New York University and regular acts as an advisor at the Sundance Creative Producing and Catalyst Labs.  In 2016 she served as the Allesee Chair at Wayne State University. From 2013-2018 Mary Jane was the Senior Advisor to Gamechanger, a financing entity focused exclusively on films directed by women. Gamechanger's inaugural slate of films included The Tale, The Invitation, Busters Mal Heart, Love Song, Land Ho, Addicted to Fresno and The Strange Ones. She is a graduate of The University of Michigan.Mary Jane Skalski is currently the President of Production for Echo Lake Entertainment, a production, management and financing company where, in addition to overseeing the company's slate, she is also producing a number of projects in film and tv and has a small number of clients.

The dynamic nature of actor Josh Pais's approach toward constructing performance; harnessing creativity; and retaining the spontaneity associated with each moment on-screen is part of his signature. With over 100 roles to his credit, the Lower East Side native grew up in a culturally vibrant, evolving environment which led him to cultivate his own unique sense of identity as one of the finest performers in the film and television industry. His remarkable filmography includes memorable performances in Safe Men, in which he acted among contemporaries like Sam Rockwell, Steve Zahn and Peter Dinklage; The Station Agent, penned and directed by one of his best friends, Tom McCarthy; the brilliant Lynn Shelton's emotional masterpiece, Touchy Feely; Nicole Holofcener's classically independent, Please Give, with Catherine Keener; and Charlie Kaufman's directorial opus, Synecdoche, NY, acting opposite Phillip Seymour Hoffman. Along the way came multiyear arcs in television shows like Ray Donovan, alongside Liev Schreiber; and memorable scenes with Joaquin Phoenix in the seminal Joker (Todd Phillips; Scott Silver). You can immerse yourself into the techniques he has developed and experienced throughout his prolific career by visiting Committed Impulse (committedimpulse.com), and find him on his Instagram (@JoshPais). In our conversation, we discussed his documentary, 7th Street, describing the state of culture which governed his Alphabet City upbringing; collaborating with some of the best directors on the planet; and acting on projects which gave meaning to the landscape of film. His latest projects include Nicole Holofcener's You Hurt My Feelings (David Cross; Amber Tamblyn; Julia Louis-Dreyfus) and David E. Kelley's upcoming mini series, A Man in Full, with Regina King directing (Jeff Daniels; Bill Camp).Opening Credits: Bureaucrat & The Conspirators - Yankees; The Rope River Blues Band - Wrist Lit; Closing Credits: POVALISHIN DIVISION - Сестра

Join us for this week's edition of Roundhouse Crosstalk! In this week's episode we interview H. Rodger Grant about his new book The Station Agent and the American Railroad Experience. We highlight the legacy of the Railroad Station Agent, how they rose to leaders in their communities, and how the decline of railroading in the mid-twentieth century impacted these agents. The Station Agent and the American Railroad Experience is available now!: https://www.amazon.com/Station-American-Railroad-Experience-Railroads/dp/0253064341 For more of H. Rodger Grant's railroad books: https://www.clemson.edu/caah/about/facultybio.html?id=246

Welcome to The Cluttered Desk Podcast! In this episode, Andrew and Colin discuss the 2014 superhero film X-Men: Days of Future Past. Enjoy! *** The Coda:  Andrew: Uncle Nearest 1865 Premium Aged Whiskey  Colin: Eighty from Yee-Haw Brewing Company *** Here are links for this episode: Andrew's recommendations: Knifepoint Horror: "Colony" and "Gifters" Colin's recommendations: Station Agent (2003) *** Please contact us at any of these locations: Website: www.thecdpodcast.com Email: thecluttereddeskpodcast@gmail.com Twitter: @TheCDPodcast  Facebook: www.facebook.com/thecdpodcast Andrew is on Twitter @AndrewPatrickH1 (Twitter non grata) Colin is on Twitter @ColinAshleyCox  *** We want to thank Test Dream for supplying The Cluttered Desk Podcast's theme music. You can find Test Dream at any of these locations: Website: testdream.bandcamp.com Facebook: www.facebook.com/testdream Twitter: @testdream *** Our entire catalogue is available through iTunes, Stitcher, and Google Play.

This episode starts our two week look into the works of Alejandro González Iñárritu by discussing his only film in the book – the Best Picture winning “Birdman”. Join Adam and Ian as they discuss whether or not the film is pretentious, how important (or not) the one-take aspect of the film is, and the ensemble put together for the film. Is there a split decision this week? Tune in to find out. Also, this week Ian recommends “The Station Agent” (available on Cinemax) and Adam recommends “Foxcatcher” (available to rent on all major platforms). 0:00 – Intro/“Promising Young Woman” thoughts 10:06 – 2014 Films & “American Sniper” 17:29 – “Supernova” 21:14 – Adam's recommend “Foxcatcher” 27:26 – Ian's recommend “The Station Agent” 34:04 – “Birdman” Stats/History 50:08 – “Birdman” Plot/Thoughts 1:51:50 – Our Top 5 of 2014/Closing Thoughts/Replacement

Michelle Williams stars in this episode, all about her being just, the best side character.    patreon.com/greenandfaceless

The NC-17 Blonde has hit Netflix, and boy, are people fired up (“necrophiliac entertainment” wrote Manohla Dargis at NYT). At nearly three hours, the fictionalized version of Marilyn Monroe's life is tough to watch — unrelentingly bleak, a bit disjointed, with a camera that can be as vulturous as the vultures it critiques — but damn if that movie didn't haunt us both, and Ana de Armas gives an incandescent performance that has both of us thinking of cutting and bleaching our hair (which Sarah promised to do if we get enough paid subscribers). We talk about the fame trap, whether the film is “anti-abortion,” and if Hollywood will ever stop feeding on Marilyn's corpse. The fame trap came for Anthony Bourdain, the restless wanderer and beloved chef who gets the unauthorized biography treatment later this month with Down and Out in Paradise. How did the man generally regarded as having the best job in the world end up taking his own life? Can a book sourced only by the people left behind by “the Tony train” possibly give a full account? We talk addiction, how journalism can turn ghoulish, and the very complicated figure of Asia Argento.A kiss on the hand may be quite continental, but don't you think it's better to become a free or paid subscriber?Episode Notes:Friday Night Lights on Hulu and Bloodline on NetflixGratuitous photos of Kyle Chandler and Taylor Kitsch (Ed: What is this, Tiger Beat? NR: Hush! Dibs on Chandler. SH: Fine, he's yours. Tim Riggins, let me fix you.)Blonde official trailerMarilyn, by Gloria SteinemBaz Lurhmann's ELVIS (2022) and Elvis Presley: The Searcher (2018)“‘Blonde,' ‘Elvis' and the challenge of telling the truth about icons,” by Sonny Bunch (Washington Post)“What's Fact and What's Fiction in Blonde, Netflix's Marilyn Monroe Biopic,” by Ellin Stein (Slate)“Intentional or Not, Blonde Has an Anti-Abortion Message,” by Tess Garcia (Glamour)Bobby Cannavale in The Station Agent, a really good little movie…… and Boardwalk Empire, a great series“The Last Painful Days of Anthony Bourdain,” by Kim Severson (New York Times)“Author Responds to Family's Unrest Over Controversial New Anthony Bourdain Book,” by Nardine Saad (Los Angeles Times)Down and Out in Paradise: The Life of Anthony Bourdain, by Charles LeerhsenRoadrunner: A Film About Anthony BourdainKitchen Confidential Updated Edition: Adventures in the Culinary Underbelly, by Anthony Bourdain“Asia Argento's Time is Up,” by Nancy Rommelmann (Reason)Chef Reactions will bring you joy with more than a little of that Bourdain vibeWhat's in your hotbox?Nancy: Dr. Loretta Intense Replenishing Serum, available widely and at Heyday, and Arcana Holocene Intense Lipid Repair Balm, at Beauty Heroes for a very good price!Sarah: The Elton John double-album “Goodbye Yellow Brick Road” (Spotify)Outro song: “Love Lies Bleeding” by Elton JohnDon't let the sun go down on you before you become a free or paid subscriber.To commemorate the 1973 double album Yellow Brick Road, Nancy went looking for a teen pic of herself in Seventies garb but instead found one in which she appears to be dressed in someone's shower curtain. Sarah found a pic of herself dressed the way a 15 year old in 1990 thinks people looked in the Seventies. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit smokeempodcast.substack.com/subscribe

In this episode we cover the 76th Academy Awards, which honored the films of 2003. The nominees were: The Lord of the Rings: The Return of the King, Lost in Translation, Master and Commander: The Far Side of the World, Mystic River, and Seabiscuit. We also discuss a host of non-nominees including City of God, Whale Rider, Shattered Glass, The Station Agent, and Kill Bill.Notes: SPOILERS - we talk through the full plots of all the movies we cover.Timestamps are approximate: 8:40 - Lost in Translation21:35 - Master and Commander: The Far Side of the World29:30 - Mystic River44:50 - Seabiscuit50:00 - The Lord of the Rings: The Return of the King58:00 - Should something else have been nominated?59:00 - City of God1:04:00 - Whale Rider1:11:30 - Shattered Glass1:20:00 - The Station Agent1:24:00 - Kill Bill: Vol. 11:26:50 - Did the Oscars get it wrong?1:28:30 - Jake Gyllenhaal Corner1:29:50 - Conclusions1:32:50 - Next Time

Join us in the latest episode of TradeMutt radio where we are joined by Ben 'Dobbo' Dobbin.'Dobbo' is one of Australia's most loved media personalities. Born and educated in Sydney, he moved to make his home in Queensland, starting his career as a jackaroo in Brunette Downs and moving on to spend the next 15 years as a Stock and Station Agent.We hear about his early childhood, the trials and tribulations of divorce, his work with Triple M & Channel 9 Sport and his aspiratinonal mindset on wanting to achieve more out of life.

David takes Tom McCarthy's 2003 debut film out of his back pocket! Join David & Devon as they discuss this very special little gem starring Peter Dinklage, Patricia Clarkson, and Bobby Carnavale. 

In which even a trilogy of threesomes isn't enough... what about a foursome? Emotional and sexual rumbles! Flashback to one host's love triangle! Another host proudly playing the part of the pervert! All of this and slightly more as we discuss the functions of threesomes in AS GOOD AS IT GETS, THE STATION AGENT and VICKY CRISTINA BARCELONA. Support what we do with bonus content and early episodes on Patreon Twitter/Instagram/Facebook: @trilogyintheory Tweet at your hosts: @projectingfilm & @webistrying Letterboxd: @projectingfilm & @webistrying Artwork by: @nasketchs Find out more at https://trilogyintheory.pinecast.co This podcast is powered by Pinecast.

A film so good that two DVD copies are needed just in case of divorce. We continue the least sexy threesome trilogy by going with the quiet, contemplative and platonic Tom McCarthy film THE STATION AGENT. Peter Dinklage and Patricia Clarkson don't contribute much to Bobby Cannavale's one man show of dialogue... which would normally set off two guys whose friendship is based on talking at great length BUT NO MATTER! This film is CHARMING and more importantly is the classic Mr. McCarthy wishes SPOTLIGHT could be! That's the closest thing to a hot take you will find on a podcast on THE STATION AGENT. Respond with your titillation at the links below: Support what we do with bonus content and early episodes on Patreon Twitter/Instagram/Facebook: @trilogyintheory Tweet at your hosts: @projectingfilm & @webistrying Letterboxd: @projectingfilm & @webistrying Artwork by: @nasketchs Find out more at https://trilogyintheory.pinecast.co This podcast is powered by Pinecast.

Chris and Jeremy have found some things to recommend to you!1) Small Recommends:Moviedle and Framed (1:40)The Lives of Others (3:42)Top Chef (9:10)The Station Agent (11:55) 2) The Big Recommend: Lone Star (16:42) 3) Surprise Double Feature: ???????? (36:24)4) Questions From You! (40:00)If you'd like to join the LIVE conversation each week, become a member of the SinClub at Patreon.com/cinemasins!Thanks to lorangeproductions.com for the theme song!Advertising Inquiries: https://redcircle.com/brands

Directed by Tom McCarthy and released in 2003, The Station Agent follows a man named Finbar during a transitional period in his life. Moving into a train station he inherits he meets some new friends and embarks on a new chapter in his life. With honesty and warmth it's a great watch for any film fan.

In this episode of the Don't Know Her? podcast we are back to chat about another performer we feel deserving of a lot more recognition than they have received so far. This time we are delighted to be joined by a guest from all the way Down Under, it's James Kunovski - host of the Out of Oscar podcast - who has brought the delightful Patricia Clarkson to round off our miniseries focussing in on one-time Oscar Nominees Patricia will be a familiar face to many for her eclectic work in American indie cinema and for her award-winning supporting turns in TV shows like Sharp Objects and Six Feet Under. In this episode we focus on a few of her many film performances, including The Station Agent, Far From Heaven, Easy A, and her Oscar-nominated turn in Pieces of April. We even dip into her less celebrated work in the 2002 TV adaptation of Stephen King's Carrie, where she plays iconic literary/screen mother, Margaret White. In the quiz this time Michael pits James against Scott to establish who is the bigger fan of Ms. Clarkson. Following on from this we all make our suggestions for what we'd love to see from Patricia down the line. Will any of these choices get picked up for development - we certainly hope so. We hope you enjoy this episode and that if you haven't already you'll join us on social media. Follow @dontknow_her on Twitter and Instagram to keep updated on upcoming episodes and to have your say on future episodes. Link to Don't Know Her? on Twitter: https://twitter.com/dontknowher_pod Link to Don't Know Her? on Instagram: https://www.instagram.com/dontknowher_pod/ Link to Out of Oscar podcast: https://linktr.ee/outofoscarpod --- Send in a voice message: https://anchor.fm/dontknowherpod/message

Game of Thrones star Peter Dinklage talks through his career from The Station Agent, X-Men: Days of Future Past and Avengers: Infinity War to new movie Cyrano.

Matt Rowlands (I: @rowlandsmatt) was born in the Mallee region in the winter of 1995, into a family of five and large extended family. His weekends and holidays were spent out of the town of Swan Hill on his grandparents' farms and if not, on a river bank wetting a line. After finishing high school, he left for ag college for 12 months and then decided to get his hands into learning on the job. Matt considers himself lucky to have spent the last 7 years working as a Stock and Station agent between Swan Hill, Bendigo, Mildura, Broken Hill, Packsaddle, Wilcannia, Ivanhoe and Moulamein. Being a Stock and Station Agent has great meaning for Matt, as the 3rd generation agent in his extended family. He says that the industry and people he's met and what he's learnt has and will continue to shape him. Every day is different in our work and our area, some great, some hard but always rewarding and always enjoyable. He believes that what and where we go next is only positive and exciting. Don't forget to send us an email if you know of a story that we should tell at hello@generationag.com.au *Become a Patreon Partner* - https://patreon.com/generationag Find us here: Instagram: @generation.ag Twitter: @generation_ag Website: www.generationag.com.au

On this episode: Sequels and reboots a-plenty, Aquaman behind the wheel, and Texas Chainsaw's V-O homage. Plus Peter Dinklage cancels The Brother's Grimm, Ron Perlman is old as fuck, and Nick Cage embraces his teen angst for Dracula. The Batman poster, The quest for no posters, Zodiac, The Riddler, The man in the Iron Mask, Name, Jason Mom, Fast and the Furious 10, Hawaiian, Polynesian, Somoan, Dune, Sweet Girl, Arnold Schwarzenegger, The Rock, Vin Diesel, XXX, Be Cool, Andre 3000, Andre Benjamin, Paul Walker, Travis Scott, Fetty Wap, Da Baby, Lil Baby, Lil Yachty, Boss Baby, United Arab Emirates, Burj Khalifa, Mortal Kombat 2, Evil Dead, Sam Raimi, Oscar Isaac, Moonknight, Jeremy Slater, Adam Murphy, Bootleg Cinema, www.twitch.TV/bootlegcinema , The Taking of Beverly Hills, Superman 4, The Purge, The Taking of Pelham 123, Neon Maniacs, Assault on Precinct 13, COVID-19, Ron Perlman, Hellboy, David Harbour, Hellboy 3, Guillermo Del Toro, Larry David, Nicholas Cage, Dracula, Renfield, Hot Topics, The Cure, Prisoners of the Ghostland, Edgar Allen Poe, Goths-R-us, Tyler and Company, Jack Fitzpatrick, Malignant, Seth Rogan, Judd Apatow, Netflix, The Texas Chainsaw Massacre, John Larroquette, Blumhouse, Peter Dinklage, Marc Maron, Snow White, Gal Gadot, achondroplasia, Station Agent, Elf, Seinfeld, Mickey, Kramer, Danny Woodburn, Snow White and the Huntsman, Bob Hoskins, Ian McShane, Ray Winstone, The Hobbit, John Rhy Davieshttp://www.MCFCpodcast.comEmail us at MCFCpodcast@gmail.com    Leave us a voicemail (209) 730-6010Joseph Navarro    Pete Abeyta   and Tyler Noe    Streaming Picks:Trance - HBO MaxDown With Love - HBO MaxGrand Piano - Amazon PrimeBad Words - HBO Max, CinemaxDon't Look Up - NetflixEncanto - Disney+Nobody - HBO maxThe Witcher season 2 - NetflixJohnny Mnemonic - NetflixDope Sick Love - HBO Max

The Swing Station was a pile of mud bricks with a thatched roof on the east side of the Mule Mountains. The windows had no glass, only torn curtains that would flutter in their mud sockets on the rare occasions that there was a breeze. But there was no breeze today, and the Bisbee-Grantham station baked in the sun. Give it another hundred years of days like, thought Miguel, and the Bisbee-Grantham station would turn into a proper brick building. The only things that separated the building from a ruin were the large corral of strong horses out back and the telegraph line running through the station and on to Grantham.Miguel’s job as Station Agent was to mind the horses, see that the place had plenty of water, and operate the telegraph. Which meant that most of the time, he sat in the heat of the station waiting for that angry piece of metal to clack to life. All day long, he would listen to it tell tales of coaches traveling up and down the line. Two hours ago it had told him that a stagecoach with four passengers had left Bisbee headed this way. He has spent those two hours staring at the fat flies chasing the smell of the morning’s fried beans. They flew in slow clockwise arcs around the room while Miguel and the mestizo kid who helped with the horses endured the heat. There was a book open next to him on the desk, but in the heat of the day, the thought of turning the pages was ridiculous. It was all he could do to sit at the desk, chin propped in his hand, and breathe through his mouth.When one of the flies dropped dead on his desk with a fat plop, Miguel nudged the mestizo boy, who was asleep next to the desk. The boy rubbed his face and looked at Miguel. Miguel said, “Sais” and the boy nodded and went outside.There were twenty-three horses in the corral. The boy cut six out and formed them up into a team, moving the huge animals, and rigging the harness and yoke with ease and skill. When he was done he took the long reins and walked behind the animals as he moved them around to the front of the station. The stage would be here soon, and if it was to keep the schedule, it would need this fresh team of horses.As the horses stood waiting, the boy walked around with a bag of oats giving each of them a handful in turn. It was a long run from here to Grantham. This was the last station on the line.Inside, Miguel closed his eyes and drifted somewhere just on this side of consciousness. Even as he dozed, he was aware that something was wrong. The stage should’ve been here by now. He struggled to open his eyes and check his timepiece, but he told himself it didn’t matter. There was nothing he could do about it anyway. If something was wrong, he should be rested for when trouble came.At the first sound of the far-off stagecoach, his cheek slipped from his palm and his face dropped onto the desk, causing the dead fly to bounce. In a minor miracle, the fly came back to life long enough to buzz off the desk and drop dead on the dirt floor. Miguel jumped bolt upright and rubbed his chin. That sound wasn’t the stage. It was coming from the wrong direction and was two horses at most. He could hear the boards of an empty wagon ringing from the jolts from the road. He walked to the doorway and fought to shove it open against the accumulated dirt.On the road from Grantham, he saw a man in a broad hat driving an empty wagon. The man waved hello as he pulled into the yard and Miguel waved back. The mestizo boy only had eyes for the horses.Miguel recognized him as the owner of the Miller general store. What was his name again, Virgil? He remembered Virgil’s pretty wife and son working with him and his even prettier daughter that argued with all the customers with the innocent mayhem of a six-year-old girl.“Mr. Miller!” said Miguel.Virgil opened his mouth to return the greeting but just then, they heard the rumble of the stage coming down the hill from Bisbee. The first blast of the horn might have been mistaken for a trick of the wind. But the horn kept sounding and sounding its urgent call.Everyone stared uphill in anticipation of the stage’s appearance on the road down out of the mountains. The mestizo boy cinched one of the horses tighter. The stage always blew the horn for fresh horses. The boy and the animals were both well-conditioned.The horn and the clattering of the stagecoach grew louder and louder. Just over the next rise now. Then the boom of a shotgun echoed off the hills. The horses' heads jerked up. Miguel stepped back through the door and grabbed his rifle, cocking it as he re-emerged. “Get inside,” he said to the mestizo boy who hitched the team to the rail and did as he was told.“Mr. Miller, I do not know what we are about to receive,” Miguel called from the doorway, “but I think you should step inside.”As Virgil ran to the building, the horn fell silent. The stagecoach burst over the rise with a thunderous clatter. It came down the grade at a hideous speed, lurching wildly, tottering on the left wheels and then the right, in danger of tipping over at any moment. They saw the driver fighting to control the panicked animals, but no one was riding shotgun. Behind the stage were three Mescaleros, ragged–looking, but on fast horses and riding as if they had been born in the saddle.As the stagecoach roared passed, the driver looked to Miguel with fear-filled eyes, the silent plea of a man who has seen death gaining on him. The Stage hit the flat in front of the station and bounced hard before settling back to earth with a crash.Miguel put the rifle to his shoulder and fired at one of the Mescalero’s. A miss. Before he could fire again the lead Indian shot the driver from the top of the stage. As the driver’s body pinwheeled into the dust and scrub, the stagecoach hurled, driverless, downhill towards the plain. Miguel fired three more shots out of frustration. None of them had a chance of hitting.Miguel heard a clatter from the corral and saw Virgil riding after the stagecoach on Miguel’s horse. As Virgil disappeared down the road, Miguel yelled at the boy, “Goddammit, saddle me another horse!” ~ ~ ~Virgil lashed the horse with the reins, shouting encouragement to the animal as he rode. he hadn’t had much experience with chasing people. In his old life, he had been the one being chased. As he rode through the dust kicked up by the stagecoach, he had time to feel the fool. Of course, a stagecoach getting robbed was bad for all business, general stores included, but stopping robberies was the stage line’s business first, the Law's business second and none of Virgil’s business at all. But Virgil could do no other. He had seen a glimpse of terrified faces in the window of the out-of-control stage as it roared by. Lost souls if ever he had seen them. His heart had gone out to them. It wouldn’t have happened when he was younger, but now that he had a family, he looked at strangers and instead of seeing threats and opportunities, he saw sons and daughters, fathers and mothers, each a patch in the quilt of humanity.Them as he used to ride with, would have said he had gone soft, and mark him for a shopkeeper. But that wasn’t true. When he was younger, he had been driven by anger and by fear. Now he was surprised to find he was driven by love. If desperate men were allowed to do this to strangers, one day they might do it to someone he cared about.Besides, that station agent didn’t stand a chance. Playing with that rifle, wasting shots. A rifle was an honest man’s weapon and no good at a gallop. A man should only fire a shot that had a chance of hitting, especially with a fancy repeating rifle like that. When things went bad, ammo was always scarce. Miguel was a sportsman; a hunter, no killer of men.The Mescalero’s had pistols, but now there was no one left on the stage for them to shoot. They thought they had won their prize, and just needed to run it to ground.As Virgil came over the next rise he could see the bandits racing along with the stage, trying to find a place in the narrow road to get alongside. But the road was winding downward through the foothills with a cliff on one side, and a steep drop on the other.As Virgil came up from the rear, none of the Indians looked back. There must’ve been more of them to start with, thought Virgil. The man riding shotgun would have gotten a few from the stage, and now these Mescaleros were too angry to let it go.Virgil saw that the road bottomed out and opened up ahead. He took the reins in his teeth and drew both of his heavy pistols. He pointed them both on the same side of the horse’s head. Less likely to shoot the poor animal out from under himself that way. He had a moment to hope the horse wouldn’t spook at gunfire in his ear.As the stagecoach bottomed out on the flat, Virgil came within in range of the first man. He brought the Army revolvers to bear and cocked them. He stabilized his hands, doing his best to let them float free as his body and the horse flailed along through space.Virgil fired four shots as he swung the guns in an arc through the path of the Mescalero back to front. The first shot went wide the second and third hit. The fourth would’ve had a chance, but the Mescalero was already dead and falling from his saddle.As Virgil galloped past the riderless horse, he heard gunshots from up ahead. The second Mescalero was alongside the stagecoach firing back at him. Beyond him, Virgil saw the third Indian lifting his pistol to fire into the stagecoach team.Virgil had just enough time to think it was a cowardly thing, and not what proper Apaches would do. They could be fierce and cruel, but the ones Virgil had known had prided themselves on their horsemanship, and the care of useful animals. As Virgil shot the second one from his saddle, the one in the lead shot two of the stagecoach horses in their traces. This slewed the rest of the team around to the left. It happened so suddenly that the Mescalero couldn’t get clear. His horse was knocked sideways off the road and he flew from the saddle.Horses screamed, leather and wood snapped. Dead animals and shattered tackle ground into the Earth as the stage skewed left, then capsized. The Coach smashed into the earth, and shuttered to a stop, scattering trunks and luggage and debris as it went. Virgil slowed his horse and shot the third Mescalero through the head as he writhed on the ground, struggling to catch his breath. The horses were ruined. Piled up in rope and leather, and broken legs. One screamed intermittently, and the other two survivors panted, wide-eyed, in pain, resigned to death in that infinitely gentle, infinitely suffering way that all horses seemed to have.Virgil dismounted and shot them one a time, careful not to miss. He heard moans from inside the stage but took the time to reload his pistols before he went to help. His hands were practiced, and he slotted the cartridges home, without looking down, keeping his eyes locked on the Bisbee road, looking for more marauders.From the stage, he heard a voice say, “I hope you’re not going to do that to me.” Virgil turned and saw a badly battered man in a tweed suit drop down from the side of the capsized stagecoach. The man struggled as if he was drunk, but maintained his footing. He reached into the inside of his jacket, pulled out a bottle of patent medicine, and took a long swig. Then he added, “although, under the circumstances, it might be a blessing. Dr. Aloysius Krupp at your service.” He reached up to tip a hat he wasn’t wearing, lost his balance, and fell down unconscious.Virgil shook his head and squinted at the road. Still no one on the ridge. He finished reloading the second pistol and walked to the coach. Along the way, he stepped gently over Dr. Krupp, who was snoring quietly in the sun. He climbed up the side of the stagecoach and looked through the broken window at the human wreckage inside.In a pile, there was a large man in a black suit, a hat with a fancy silver hatband, a carpet bag, a lady’s hatbox, a man with a preacher’s collar, a young woman in a fine pink dress, a tattered Bible, and a deck of cards scattered around the compartment.The man in the fine black suit moaned. Virgil guessed it was because the other two passengers were sitting on him. He said, “Mister, you okay?”The question was answered with a louder groan. The woman came to her senses, swiveled her head around and tried to make sense of her predicament. Virgil asked, “Ma'am, can you rise?”The woman looked up at him and scowled in displeasure. But it was not meant for him. She removed one of the Preacher’s hands from her bosom and then slapped the unconscious man across the face saying, “No free rides! Not even for a man of the cloth!” Then she looked up at Virgil and asked, “Sir, can you extricate me?” As she shifted her weight in an attempt to rise something in the pile dug into the man in the suit, who groaned even louder. This in turn woke the freshly slapped preacher who exclaimed, “Has the Lord God Almighty seen fit to deliver us from the savages?”“Aw Christ, give it a rest,” said the man in the suit. “And would somebody get their elbow out my balls!”“Hang on,” said Virgil.He dropped down, cut some of the reins from the shattered team, and collected his horse. He looped one end of the severed reins around his saddle horn and then rode alongside the stage. He tied a loop in the far end and dropped it into the broken window. Then he pounded on the side calling out to the survivors within, “One at a time.”The first one he extracted from the stagecoach was the lady... if she could be called that. She had dark hair and green eyes. As she emerged from the wreckage she revealed herself to be an expensive beauty. Virgil helped her down, trying not to look at her cleavage so he would not feel the guilt of it when he thought of his wife.Next came the preacher, who cried out overmuch for deliverance and fell to his knees in loud and effusive prayer. The last man, in his dark suit, replaced the hat with the silver hatband on his head, held his handkerchief to his broken nose, and leapt down with surprising agility for a man of his size.Dr. Krupp recovered consciousness and took another swig from the flask. He offered it to the Preacher, saying, “A most remarkable tonic for the nerves and spleen. It will settle you right down after an ordeal.”The preacher broke into a hymn, and the man with the silver hatband shook his head and looked to Virgil. “Nevermind God,” he said, “Thank you, sir. We’re lucky you came along.” Virgil tipped his hat and looked back to the road. Still nothing.Virgil felt exposed, but they only had the one horse, so the group wasn't going anywhere very fast. As he listened to their chatter he began to think that *having* rescued them would be more difficult than just rescuing them.The lady picked her way through the luggage that was scattered behind the wreck of the stagecoach. The Preacher continued, hammer and tongs, praying “And for your deliverance, oh Lord, in your benevolence you sent a mighty champion, who slew the Philistines!”Dr. Krupp barked,” you blathering charlatan! Those weren’t philistines, those were savages. Fearsome Indians!”There was a clatter of hooves and Virgil looked up and saw Miguel, riding the left horse of the fresh team. Miguel looked at the dead horses and the dazed passengers and he said, “Verga.” He looked to Virgil and asked, “Señor, did you kill all of the Indians?”Virgil said, “I got two of ‘em. The third one got tangled in the horses when it went over. But they’re not Indians. They just look like Indians. Maybe that one’s purebred, but they’re all border trash. Rustlers more than Indians.”“How can you be so certain, sir?” asked the man in the dark suit.Virgil shrugged, “Look at them. That one is a straight cowboy. And there’s not so many Indians left. These as call themselves Mescaleros, but they’re not much more than desperate men coming from across the border to raid and fall back. Besides, Apaches steal horses, children, women. They aim to take scalps, count coup. They don’t just steal money. They don’t have much use for it.”“What’s your name, sir? How do you have a knowledge of the savage tribes hereabouts?”“My name ain’t important, we need to get you people off this road.”Dr. Krupp staggered over and said, “Mr. Miller, as a token of my gratitude, allow me to present you with a bottle Doctor Amadeus Bartoleermeer the 2nd’s All-Purpose Miracle Cure. The 9th Wonder of the medieval world — thought to be lost to the ages — known to the Greeks as Panacea and among the ancient Pharaohs as…”Virgil look at the bottle from the man’s outstretched hand and asked, “you a real Doctor… Bartoleermeer?”The expensive lady snapped, saying, “No, he’s just a salesman.”“A Doctor of Philosophy. And a customer, a patient first and foremost! Let me tell you of my treatment and my miraculous results with this marvelous elixir.”Miguel climbed up and checked the strongbox that was still chained to the top of the stagecoach. Then he inspected the wheels and the axles and found that all of them were unbroken. He said, “I’d call it a miracle except for the two men who were killed. By rights, all the passengers should be dead and this coach should be kindling.”“And the horses,” Virgil said.“And the horses,” allowed Miguel. “Give me a hand and we’ll put this rig to rights.” Then he cut the tangle of harness holding the dead team to the stage. With Virgil’s help he backed the fresh team around and made it fast to the top of the wagon axles. Then Miguel stood beside the team with the reins and snapped them over the horses with a whistle and a click.As the team pulled, Miguel set his boot heels in the dirt and gave drag on the reins so the horses would not lunge forward, snapping the tackle. The load came on little by little. The ropes creaked, and the stagecoach groaned, but it came up on two wheels. It tipped past its center of gravity and crashed back onto all four wheels. Though it rocked back and forth violently, the battered coach held together.After they had hitched the new team and salvaged what they could of the baggage Virgil quietly asked Miguel, “Leave me out of tellin’, if you would.”Miguel was confused “But you are a hero, and the passengers - they will talk no matter what I say!”Virgil shook his head. “They didn’t see anything. When they tell it, it'll the both of us. When you’re asked, just say I rode with you. I was first to the wreck. Lotta confusion, can’t be sure who did what.”Miguel shook his head. “I don’t understand, but I will do as you ask.” They shook hands and Miguel drove the stage on to Grantham. When the stage was over the hill, Virgil looted the bodies for cartridges. He refilled the empty spaces in his bullet loops and filled another belt besides. Only then did he ride back to collect his wagon, and head on to tend to his business with the flour merchant in Bisbee. Get full access to Patrick E. McLean at patrickemclean.substack.com/subscribe

Peter Dinklage spent a good portion of his life trying to come to terms with ambition. It's something he's had an adversarial relationship with, going back to the days when he started a theater company that mounted no productions. But Peter tells Marc how he got more comfortable with having an acting career and how he learned to embrace mainstream success, whether it was from his star turn in The Station Agent or his work on Game of Thones or his latest film, the new adaptation of Cyrano. See omnystudio.com/listener for privacy information.

THE CATEGORY IS... SHORT KINGS! Actor/host/production designer Claire Burns (IFC, FUNNY OR DIE, NO SUCH THING AS LOVE podcast) joins Michael and Shelley to talk about her Stealth Sex Symbol... Danny DeVito in RUTHLESS PEOPLE (1983). Other films discussed include ANNA LUCASTA (1958) and THE STATION AGENT (2003). Follow Claire on Instagram @clairelbs. Let's get horny!Support this show http://supporter.acast.com/everyone-is-hot. Hosted on Acast. See acast.com/privacy for more information.

Career Q&A with Bobby Cannavale, currently starring in The Lifespan of a Fact moderated by Broadway World's Richard Ridge of "Backstage with Richard Ridge!" New York theatre credits include The Hairy Ape (Drama Desk nomination), The Big Knife, Glengarry Glen Ross, The Motherf**ker With the Hat (Tony nomination, Drama Desk Award), Mauritius (Tony nomination), Hurlyburly, F**king A and The Gingerbread House. He is a member of Labyrinth Theater Company. Cannavale's film credits include I, Tonya; Jumanji: Welcome to the Jungle; Ferdinand; Daddy's Home; Ant-Man; Spy; Danny Collins; Annie; Chef; Blue Jasmine; Win Win; The Station Agent; Fast Food Nation; and Romance and Cigarettes. He appears in the upcoming films The Irishman, Ant-Man and the Wasp, Boundaries and Going Places. TV credits include “Mr. Robot,” “Master of None,” “Vinyl,” “Boardwalk Empire” (Emmy Award, SAG nomination), “Nurse Jackie” (two Emmy nominations, SAG nomination) and “Will and Grace” (Emmy Award). Cannavale will soon appear on TV in “Homecoming” and “Angie Tribeca.”

On this week's entertainment-themed Round 2, we caught up with the movie The Station Agent (2003), which has been patiently waiting at the station known as Terri's DVR for a couple of years. It is delightful and quirky, if not "hilarious" as the New York Times review would have it.We also watched a filmed performance of the beautiful Broadway musical Come From Away. It's available on AppleTV+, and tells the story of what happened in Gander, Newfoundland, after American airspace was closed on September 11, 2001. It's nontraditional and inspiring, with a great message--but it's also fun. Next week: Instead of waiting years to get in on some popular pop culture properties, we're going to start now with Only Murders in the Building (on Hulu) and Ted Lasso (on AppleTV+). We'll watch the first episodes of the first seasons of both, and then continue with one episode of each per week going forward.

On this week's entertainment-themed Round 2: Catherine was won over by the star-studded musical parody Schmigadoon!. Terri wasn't, quite, but still enjoyed some of the silliness and all of the performances. Mentioned: Director Barry Sonnenfeld's autobiography, Barry Sonnenfeld, Call Your Mother [https://www.amazon.com/Barry-Sonnenfeld-Call-Your-Mother/dp/0316415618].Next week: The 2003 movie The Station Agent, and a musical very different from the ones referenced in Schmigadoon!: Come From Away, which premieres (as a filmed edition of the Broadway show) on AppleTV+ on Friday, September 10.

We dive into The Station Agent. This 2003 piece of brilliance stars Peter Dinklage, Patricia Clarkson, Bobby Cannavale, and is directed by Tom McCarthy. McCarthy's first foray into directing shows the born talent of this filmmaker. A human story about three very different people going through some rough moments in life who come together, fall apart, and come together again. One of our all-time favorites, this film has powerful lessons in writing, dialogue, humanizing characters, direction, acting, and so much more. Underrated and virtually unknown, The Station Agent is a fine craft masterpiece of filmmaking. The Station Agent can be found in iTunes.

Tom McCarthy approaches his films like a journalist, even when he's creating a work of fiction. Just as a reporter discovers facts about their stories, Tom's years of research help him unearth truths about the characters he's creating. Tom and Marc talk about how this played out in the process of making movies like Stillwater, Spotlight and The Station Agent. They also talk about how Tom's devout Catholic parents reacted to him making a movie about the deep rot within the church. See acast.com/privacy for privacy and opt-out information. Sign up here for WTF+ to get the full show archives and weekly bonus material! https://plus.acast.com/s/wtf-with-marc-maron-podcast.

Tom McCarthy approaches his films like a journalist, even when he's creating a work of fiction. Just as a reporter discovers facts about their stories, Tom's years of research help him unearth truths about the characters he's creating. Tom and Marc talk about how this played out in the process of making movies like Stillwater, Spotlight and The Station Agent. They also talk about how Tom's devout Catholic parents reacted to him making a movie about the deep rot within the church. See omnystudio.com/listener for privacy information.

Stillwater is the latest from director Tom McCarthy, the man behind the likes of The Station Agent, Win Win and the Oscar Best Picture winner Spotlight. It stars Matt Damon - who you'll hear from, don't you worry - as well as Camille Cottin (of Call My Agent fame) and Abigail Breslin (who you know and love from Zombieland and Little Miss Sunshine). On this particular interview special you'll hear from all of them, talking about shooting in the south of France and being upstaged by a total newcomer. Hey, it happens.

Welcome to Episode 25! In this episode,  I had the great pleasure of speaking with Cinematographer, Director, and Filmmaker- Oliver Bokelberg. In this episode, we chat about his time working on The Station Agent, making music videos as his start, and his three latest projects! Christmas on the Square, Dance Dreams, and Big Sky.   Oliver's IMDb: http://imdb.to/3swyAnR  Oliver's Twitter: @bokelberg   https://blacklivesmatters.carrd.co/ www.closingcreditspod.com    Twitter/Instagram @closingcred  Thanks for listening!

Peter's breakout role was in the film "The Station Agent" we look at it and all the amazing accolades he's gotten over his career.

ORIGINALLY PUBLISHED 01/17/2019 Unfortunately time cuts short this fascinating conversation with Ian Simmons about 2003's "The Station Agent" written and directed by Tom McCarthy, and starring Peter Dinklage, Patricia Clarkson, and Bobby Cannavale.

Today on The Neil Haley Show, The Total Tutor Neil Haley will interview  Emmy Award-winning actress, Patricia Clarkson of HBO's Sharp Objects. About Sharp Objects Based on the book of the same name by The New York Times bestselling author Gillian Flynn (Gone Girl, Dark Places), this eight-episode series tells the story of reporter Camille Preaker (Adams) who returns to her small hometown to cover the murders of two preteen girls. Trying to put together a psychological puzzle from her past, she finds herself identifying with the young victims a bit too closely. Amy Adams stars, along with co-stars Patricia Clarkson, Chris Messina, Eliza Scanlen, Elizabeth Perkins and Matt Craven. Directed by Jean-Marc Vallée from scripts by Marti Noxon and Gillian Flynn. Academy Award nominee and Emmy Award-winning actress, Patricia Clarkson takes on roles as varied as the platforms for which she plays them. This multi-faceted approach makes her one of today's most respected actresses.  Clarkson's continuous innovative work in independent film most recently earned her the 2018 British Independent Film Award for Best Supporting Actress for her role in Sally Potter's film “The Party.” In 2010 she received rave reviews for her starring role in the award winning romantic drama, “Cairo Time,” which put her career in the American spotlight. She won the Independent Award for Acting Excellence at the 2009 ShoWest Awards. In 2003, her role in “Pieces of April” earned her nominations for an Academy Award, Golden Globe, SAG, Broadcast Film Critics and Independent Spirit awards. The National Board of Review and the National Society of Film Critics named her Best Supporting Actress of the Year for her work in “Pieces of April” and “The Station Agent.”   

The Tota Tutor Neil Haley will interview Julia Ormond of REMEMORY. Ormond just finished shooting the remake of Howard's End for the BBC, written by Oscar® winner Kenneth Lonergan. Ormond completed HBO's comedy Tour De Pharmacy opposite Andy Samberg, Will Forte and Orlando Bloom. On the small screen, Ormond received an Emmy® Award in 2010 for her role in the HBO movie Temple Grandin and in 2012 was nominated for a second Emmy® for her guest role on Mad Men. Ormond wrapped a season of the SyFy series Incorporated which is being produced by Ben Affleck and Matt Damon. Among her film work Ormond starred in the epic Legends of the Fall alongside actors Brad Pitt, Anthony Hopkins, and Aidan Quinn and played the lead role with Harrison Ford in the film Sabrina, directed by Sydney Pollack. In 2008, she starred with Brad Pitt in the fantasy- drama The Curious Case of Benjamin Button and also worked with Benicio del Toro in Steven Soderbergh's biopic Che. REMEMORY was written by Michael Vukadinovich and Mark Palansky and produced by Daniel Bekerman and Lee Clay. The film explores the unexplained death of Gordon Dunn (Martin Donovan), a visionary scientific pioneer whose body is found shortly after the unveiling of his newest work: a device able to extract, record and play a person's memories. Gordon's wife, Carolyn (Julia Ormond – Mad Men, The Curious Case of Benjamin Button, Legends of the Fall), retreats into her house and cuts off contact with the outside world when a mysterious man (Peter Dinklage – Game of Thrones, X-Men: Days of Future Past, The Station Agent) shows up. After stealing the machine, he uses it to try and solve the mystery, beginning an investigation of memories that lead him to unexpected and dangerous places.    

Join Dan and Troy this week as they fly solo while Beej is on vacation. The Station Agent (2003) and Ex-Machina (2015) are visited by our FFFers. The duo also spend a few minutes In Memoriam with a discussion on David Bowie, Lemmy, Alan Rickman, and others.  Stay tuned for updates on Femmeuary. 

Tom McCarthy, the writer and director of Spotlight, joins Brian this week to talk about his new film which tells the true story of how a Pulitzer Prize-winning Boston Globe team unmasked the widespread cover-up of child abuse in Boston's Catholic Church. Tom has written and directed a number of other great films including The Station Agent, The Visitor, and Win Win. Today, the two talk about how Tom bounced back from a critical and commercial failure in his 2014 movie, The Cobbler, to create what is now being regarded, in Spotlight, as a frontrunner for this year's best picture. Plus, Tom talks about his career as an actor, the role of journalism in today's society, and how some of our most calamitous mistakes aren't the result of one big bad decision, but of a lot of small mistakes, winks, and people looking the other way.   Spotlight opens in select theaters on November 6th.   Topics mentioned on today's show include: Spotlight The Station Agent The Visitor The Wire Up The Boston Globe The Cobbler Rounders Empire Win Win Evita Noises Off Boston College Star Wars Harold and Maude Repo Man Soul Asylum The Replacements The Jayhawks The Guthrie Theater The Front Page Yale Drama School Axis Theatre Almost Famous Jesus Son Ray Donovan "Calling Out Bill Cosby's Media Enablers, Including Myself" by David Carr "What Do We Really Know About Osama Bin Laden's Death?" by Jonathan Mahler "There's Just One Problem with Those Bin Laden Conspiracy Theories" by Mark Bowden All The President's Men The Insider Billions   People mentioned on today's show: Tom McCarthy Tom McArdle Tony Gilroy Adam Sandler Danny Strong Jon Hamm Peter Dinklage Bobby Cannavale Patricia Clarkson Patti LuPone Hal Ashby Amy Poehler Dave Pirner Marc Perlman Doug Hughes Dalton Trumbo Anton Chekhov Jean-Pierre Melville Francois Truffaut Sultan Kosen Ethan Hawke James Bundy Richard Jenkins Michael Keaton Liev Schreiber Rachel McAdams John Slattery Mark Ruffalo Stanley Tucci Billy Crudup Paul Gilfoy Eileen McNamara Paul Giamatti   This episode of The Moment is brought to you by Braintree. Looking to set up payments for your business? Braintree gives your app or website a payment solution that accepts just about every payment method with one simple integration. Plus, we'll give you your first $50,000 in transactions fee-­free. To learn more, visit BraintreePayments.com/Moment.   And by The Message, a new podcast series from GE Podcast Theater.   Email: themomentbk@gmail.com Twitter: @BrianKoppelman iTunes: itunes.com/themoment To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Endlich mal wieder richtig viele Filme gesehen: 11 Stück an der Zahl! Avengers 2 - Age of Ultron, Ex Machina, Domino Effekt, Run All Night, My Blueberry Night, Leben!, Rotes Kornfeld, Once, Tropical Malady, Station Agent und Oldboy.

A conversation with Oscar nominated screenwriter and director Thomas McCarthy about his new film The Cobbler starring Adam Sandler, Steve Buscemi, Dustin Hoffman, Ellen Barkin, Method Man, and Melonie Diaz.

Not many people can claim credits from acting, to writing the animated film Up, to writing and directing The Station Agent and The Visitor. Tom McCarthy is just that guy. His newest film is Win Win.

Actress Patricia Clarkson (The Station Agent, Vicky Cristina Barcelona) moves from impulsive characters -- like her roles in High Art and Whatever Works, to thoughtful ones -- like her role in the new film Cairo Time.