Podcast appearances and mentions of Stephen Frears

Hay mucha confusión en el mundo evangélico sobre lo que significa el ministerio. Por un lado, se le llama así, casi a cualquier cosa. Y por otra se confunde con el trabajo social, la psicoterapia, la educación, o simplemente la administración de la iglesia. Hay un sólo discurso en el libro de los Hechos a un público específicamente crisitano. Los demás mensajes son evangelísticos, bien dirigidos a judíos, gentiles o en defensa legal, sea ante el Sanedrín o las autoridades romanas. Las palabras de Pablo a los ancianos de la iglesia en Efeso son, por lo tanto, un testimonio único del corazón pastoral del apóstol. Tras una introducción a este texto del capítulo de Hechos, seguimos el método apostólico, mostrando primero lo que no es el ministerio pastoral. Hablamos de quienes llama Pablo, "lobos rapaces que no perdonarán al rebaño" (v. 29). El tema de los "abusos pastorales" está de mucha actualidad, pero no es algo nuevo. La película "Philomena" (2013) nos acerca a un caso histórico muy conocido en Irlanda, pero de una forma poco habitual a estos filmes de denuncia. Stephen Frears acude a un actor conocido por sus papeles cómicos, Steve Coogan, para evitar el tono emocionalmente manipulador, habitual de estas historias. Junto a esa gran actriz británica que es Judy Dench, hacemos un viaje casi documental. Escuchamos escenas de la película doblada al castellano, que comenta José de Segovia. En este programa comenzamos en nuestra Ruta un nuevo trayecto en que vamos a dar lugar también a la literatura, junto al cine, para comentar el texto bíblico. La música seguirá teniendo un papel fundamental, pero estará a partir de ahora a cargo de Daniel Panduro, el creador del diseño sonoro y la realización técnica de estos programas. El libro con el que hemos querido comenzar este recorrido que abarca la ficción literaria, es la sorprendente novela "Gilead" (2004). La prestigiosa obra de Marilynne Robinson trata sobre dos pastores protestantes y sus familias en la vida cotidiana de la América rural con una perspectiva histórica, profundamente personal. Es una novela singular, donde las haya. Para mostrar el corazón pastoral que revela esta historia hemos grabado fragmentos del libro, que escuchamos con entrevistas a la autora sobre su fe por el diario británico The Guardian y el presidente de la universidad evangélica de pasado abolicionista, Wheaton College, Philip Ryken, autor de un libro sobre "Pastores en los clásicos" (2011) de la literatura, que presta especial atención a Gilead. Para acabar, comentamos las lecciones que podemos aprender de este texto de Hechos 20.

"Real stories can drive filmmaking, but funding remains the biggest challenge for new projects today" The post Stephen Frears, interview with the director at the Riviera International Film Festival appeared first on Fred Film Radio.

"Real stories can drive filmmaking, but funding remains the biggest challenge for new projects today" The post Stephen Frears, interview with the director at the Riviera International Film Festival appeared first on Fred Film Radio.

"Real stories can drive filmmaking, but funding remains the biggest challenge for new projects today" The post Stephen Frears, interview with the director at the Riviera International Film Festival appeared first on Fred Film Radio.

"Real stories can drive filmmaking, but funding remains the biggest challenge for new projects today" The post Stephen Frears, interview with the director at the Riviera International Film Festival appeared first on Fred Film Radio.

"Real stories can drive filmmaking, but funding remains the biggest challenge for new projects today" The post Stephen Frears, interview with the director at the Riviera International Film Festival appeared first on Fred Film Radio.

"Real stories can drive filmmaking, but funding remains the biggest challenge for new projects today" The post Stephen Frears, interview with the director at the Riviera International Film Festival appeared first on Fred Film Radio.

Triintridesetletni Mariborčan Petja Labovič, član mariborske SNG Drame, je odigral naslovno vlogo Riharda Tretjega v uprizoritvi, ki jo je režiral triintridesetletni mariborski režiser Jan Krmelj. Zanimivo, da Riharda skoraj praviloma igrajo starejši igralci, stari okrog petdeset let, čeprav je bil historični Rihard ubit v boju pri dvaintridesetih. Iz gledališkega lista: Rihard je v bistvu smpton sedanjosti, v kateri politika ne izbira sredstev, nasilja pa ne skriva več, temveč ga uprizarja pred očmi javnosti. Shakespearjeva kraljevska igra razgali, kaj je v bistvu vsake oblasti. Razprave o Rihardu Tretjem se že več kot pet desetletij gibljejo med zgodovinsko rekostrukcijo in mitologijo. Namreč ko je bil Rihard Tretji ubit v spopadu z vojsko Henrika VII., je njegov grob vse do avgusta 2022 veljal za izgubljenega. Po odkritju posmrtnih ostankov, 530 let pozneje, so ga častno pokopali v anglikanski cerkvi v Leicestru. Pogreba se je udeležilo 35 tisoč ljudi. Kako je prišlo do tega odkritja, je Stephen Frears leta 2022 posnel film Izgubljeni kralj (The lost king).

Stephen Frears is not an habitual purveyor of the sort of cult cinema we usually cover on this show. But we do love our noir, and Frears does have two outstanding neo-noirs in his filmography, so why not knock them both off the list in one episode? Bryce joins us to discuss The Grifters (1990), along with Frears' earlier effort, The Hit (1984). This is noir with an emphasis on existential. And his Oscar-nominated Grifters may have been an establishment darling, but adapted by Donald Westlake from a Jim Thompson novel, it has a hell of a crime fiction pedigree, and goes to some incredibly dark places. We will be announcing a Spoiler Territory section for both films, so if you haven't seen them before you listen, you can nevertheless avoid spoilers for The Grifters by skipping ahead to the 1:30:59 mark, and for The Hit by skipping ahead to 2:29:02. Want to get in touch? You can reach us on caliber9fromouterspace@gmail.com Theme music: "The Cold Light of Day" by HKM. Check out HKM on #SoundCloud or Bandcamp "Magdalena 318" by the Pixies

En este episodio nos adentramos en el libertinaje aristocrático de Las amistades peligrosas, libro de Pierre Chordelos de Laclos del siglo XVIII en la adaptación magistral de Stephen Frears. No se trataba solo de libertinaje sexual, sino de un juego social de seducción, una demostración de inteligencia estratégica y una forma de ejercer poder social. En ese mundo el honor y la reputación constituían el capital social. Las mujeres aristocráticas tenían muy pocos espacios de poder real así que la manipulación sentimental se convertía en un campo de batalla social. Estos puntos sumados a la vigencia de este argumento en nuestra sociedad, el narcisismo, etc, los abordamos Manuela Partearroyo en un intento de descifrar las claves de este gran film de 1988.Locura compartida con Manuela Partearroyo.AGRADECIMIENTOS A Sonia Grande por ilustrarnos en cuanto al vestuario de la película en una intervención.A mi editor, Sunne, por hacer siempre posible lo imposible. PRÓXIMAS NOTICIAS EN LA LOCURA DE NEWSLETTERInscríbete ⁠⁠⁠⁠⁠⁠aquí⁠

« C'est bien fait pour moi, on ne garde pas un amant sept ans à mon âge. »Victoire, Pascale, Jeanne et Marianne enregistrent en public à la Médiathèque Marguerite Duras à Paris, pour comparer le roman de Colette, Chéri, à son adaptation en film réalisée par Stephen Frears avec Michelle Pfeiffer, Rupert Friend et Kathy Bates. À près de 50 ans, la belle Léa de Lonval se prépare à la fin de sa carrière de courtisane. Depuis 6 ans, elle entretient une relation avec le superbe Fred, surnommé "Chéri", de 24 ans son cadet. Mais ce dernier s'apprête à se marier, sonnant le glas de leur relation...Le film de Stephen Frears est-il fidèle au livre dont il est tiré ? Réponse dans l'épisode !1 min 20 : On commence par parler du roman Chéri de Colette, paru en 1920.41 min 55 : On enchaîne sur l'adaptation en film sortie en 2009 et réalisée par Stephen Frears avec Michelle Pfeiffer, Rupert Friend et Kathy Bates.Avez-vous lu ou vu Chéri ?Merci à la Médiathèque Marguerite Duras de nous avoir accueillies pour cet après-midi consacré à Chéri, dans le cadre du thème Femmes et Métamorphoses ! Et merci aux personnes dans le public d'être venues nous écouter !

We're hitting the road with a ragtag group of highly dangerous individuals when we sit down to chat about Stephen Frears' The Hit from 1984, a film that makes you wonder what a future with a bleach blonde Tim Roth would really hold. Will the fellas survive the journey across the sunbaked terrain of rural Spain or will they loose their cool and wish the whole bloody trip never took place? Tune in to find out!

Laci and Matt pay a visit to Championship Vinyl to hang out with Rob, Barry, Dick, Laura, Ian, Marie de Salle, and all the fine folks in the music scene of that windy city we like to call Chi-Town. That's right, it's High Fidelity (2000)! It's a great music movie. It's an even greater romantic comedy. In fact, it's kind of an anti-romantic comedy, because the lesson in the end is: The most romantic thing in life is being a grown-up.  Plus: Our top-five songs we want played at our funerals, AND fierce debate about whether DJs are musicians and if a singer's vocal chords count as an instrument. Next week: True Lies (1994)!   Time stamps: 00:03:00 — History segment: Original novel by Nick Hornby; John Cusack hired to produce, write, and star in adaptation; hiring director Stephen Frears; casting Jack Black and Iben Hjejle; legacy of High Fidelity and TV series remake  00:33:40 — Movie discussion 02:06:40 — Final thoughts & star ratings   Sources: "Top Five: An Oral History of High Fidelity" by Andrew Buss | Consequence (2025) - https://bit.ly/49JgfdT "John Cusack: 'Hollywood is a whorehouse and people go mad'" by Henry Barnes | The Guardian (2014) -  https://bit.ly/4pLqDaV    Artwork by Laci Roth.   Check out Laci's coloring videos on YouTube! https://www.youtube.com/channel/UC-kKLhWb2g0bKA-RrvvLh0Q/  Matt has a monthly spin-off podcast covering the James Bond films! Check out PodJob: A James Bond Podcast on Apple Podcast (https://bit.ly/4jRL2K1), Spotify (https://bit.ly/4a8jM6E), and YouTube (https://youtube.com/@podjob007).   Music by Rural Route Nine. Listen to their album The Joy of Averages on Spotify (https://bit.ly/48WBtUa), Apple Music (https://bit.ly/3Q6kOVC), or YouTube (https://bit.ly/3MbU6tC).   Songs by Rural Route Nine in this episode: "Winston-Salem" - https://youtu.be/-acMutUf8IM "Snake Drama" - https://youtu.be/xrzz8_2Mqkg "The Bible Towers of Bluebonnet" - https://youtu.be/k7wlxTGGEIQ    Follow the show!  Twitter: @1weekrental | @MattStokes9 | @LRothConcepts Facebook: @1weekrental Instagram: @1weekrental TikTok: @1weekrental | @mattstokes9 Letterboxd: @loadbearinglaci | @mattstokes9 Bluesky: @1weekrental.bsky.social   1-Week Rental used to be Load Bearing Beams.

On enregistre le prochain épisode en PUBLIC à Paris !Le samedi 7 mars, Victoire, Pascale, Jeanne et Marianne seront à la médiathèque Marguerite Duras à Paris pour enregistrer un épisode en public ! Au programme : le roman Chéri de Colette et son adaptation en film réalisée par Stephen Frears.15h : Projection du film Chéri en VOSTFR (1h30)17h : Début de l'enregistrement du podcast Adapte-Moi Si Tu Peux sur le livre et le filmC'est un événement GRATUIT et sans réservation, alors n'hésitez pas à venir nous voir ! On pourra papoter en fin d'enregistrement !Plus d'informations ici : https://bibliotheques.paris.fr/doc/QUEFAIRE/104510/adapte-moi-si-tu-peux-projection-et-enregistrement-public-du-podcast

Terence Stamp was an actor who consistently chose discomfort over safety. After rising in the 1960s as a British leading man, he deliberately pivoted toward colder, more complex, and often unsettling roles. In this week's magnificent episode, Wickham and Colleen are discussing late Terence Stamp and a selection of his films: "Adventures of Priscilla, Queen of the Desert" (1994, dir. Stephan Elliot), "The Hit" (1984, dir. Stephen Frears), and "The Limey" (1999, dir. Steven Soderbergh).

It's 1990, and Stephen Frears directs this neo-noir thriller with Anjelica Huston, Annette Bening and John Cusack. And if you must drink a glass of water during your listen, please consider using a plastic sippy-cup.

¿Se ha preguntado alguna vez por qué, personas que son tan amables y generosas en persona, cuando se ponen detrás de un teclado de un móvil u ordenador, se vuelven tan desagradables, mezquinas, sarcásticas y agresivas? El clásico victoriano "El extraño caso del Dr. Jekyll y Mr. Hyde" (1886) de Robert Louis Stevenson nos da en parte la repuesta. El escritor inglés convertido al cristianismo, G. K. Chesterton dice en el libro que hizo sobre el autor escocés en 1927, que "si la historia realmente te golpea, no es por descubrir que un hombre fuera dos distintos, sino que los dos son uno". En este programa de radio "Al Trasluz" escuchamos fragmentos de la primera parte del libro, dramatizados por Juan José Plans para Radio Nacional de España con las voces de Luis Alonso Carrasco, Lourdes Guerras, José Antonio Ramírez y Roberto Cruz. Los comentarios de José de Segovia sobre la historia de Stevenson y Romanos 7 tienen como fondo la banda sonora original que hizo George Fenton para la película "Mary Reilly"(1996) del británico Stephen Frears sobre el personaje de la sirvienta del Dr. Jekyll, interpretada por Julia Roberts. Las canciones son del grupo de folk-rock americano Death Cab Cutie, "Te seguiré a la oscuridad" (I Will Follow You Into The Dark 2005) y el cantautor, guitarrista o productor T. Bone Burnett, "Criminales" (Criminals 1992). El nieto del secretario de la Convención Bautista del Sur, criado en la Iglesia Episcopal de su madre y formado en a Universidad Cristiana de Texas es probablemente el músico evangélico más conocido en el ambiente de Nashville. Burnett hizo esta canción inspirada en el texto bíblico en su disco "El criminal bajo mi sombrero" (1992), cuando estaba casado con la cantante y actriz cristiana Sam Phillips, antes conocida como Leslie. El diseño sonoro y la realización técnica es de Daniel Panduro.

Hear 'Deliriants' Josh and Andrew describe their dream of Bi Gan's long-awaited follow-up to Long Day's Journey into Night, the arthouse celebration/eulogy to cinema Resurrection. The hosts go into the weeds of the head-scratching metaphor and genre-bending ode to the five senses that is the Chinese wunderkind's epic “porterhouse steak" of a cinematic meal. Throughout, prepare to ask the important questions, such as, “Do your dreams have film cuts?”Next, Josh and Andrew go into One More Thing, recommending Stephen Frears' Terrance Stamp-starring 80s crime film The Hit and the hidden gems of cult film streaming service Eternal Family.Until next time, read on at thetake-up.com and follow us @thetakeupstl on Instagram, Twitter, Letterboxd, and Facebook. Special thanks to Social Media Manager Kayla McCulloch and Contributor Ethan Tarantella. Theme music by AMP.

One, two monks kneel before you That's what I said now Monks, monks who adore you Just go ahead now One has diamonds in his pockets And that's some bread now This one says he has tuberculosis It's in his lungs now… Juan Bustillo Oro takes us on a Rashomon-esque journey into nightmarish memory in this 1930s Mexican classic. *Come support the podcast and get yourself or someone you love a random gift at our merch store.  T-shirts, hoodies, mugs, stickers, and more! If you'd like to watch ahead for next week's film, we will be discussing and reviewing Stephen Frears' The Hit (1984). 

Season 9, Episode 18 (Originally released on December 9th, 2025) Hello and welcome to another episode of the Shame List Picture Show. Today, I'm joined by journalist, critic, and actor Mack Bates to talk about Stephen Frears' neo-noir classic The Grifters. In this episode, we dig into the incredible chemistry between the cast, Mack's personal history with both the film and the novel it's based on, and take a deep dive into all the gritty, razor-sharp details that make this story endure. Be sure to check out our Patreon at www.patreon.com/shamelistpictureshow Edited by: Austin Proctor Produced by: Michael Viers Theme Music by: Austin Proctor Opening Narration by: Nick RichardsCredits Music by: Ten-Speed Logo Design by: Amanda Viers

Season 9, Episode 18 (Originally released on December 9th, 2025) Hello and welcome to another episode of the Shame List Picture Show. Today, I'm joined by journalist, critic, and actor Mack Bates to talk about Stephen Frears' neo-noir classic The Grifters. In this episode, we dig into the incredible chemistry between the cast, Mack's personal history with both the film and the novel it's based on, and take a deep dive into all the gritty, razor-sharp details that make this story endure. Be sure to check out our Patreon at www.patreon.com/shamelistpictureshow Edited by: Austin Proctor Produced by: Michael Viers Theme Music by: Austin Proctor Opening Narration by: Nick Richards Credits Music by: Ten-Speed Logo Design by: Amanda Viers

Se cumplen 25 años de Alta Fidelidad, la película dirigida por Stephen Frears y protagonizada por John Cusack, basada en la novela homónima que Nick Hornby publicó en 1995.  Estamos ante una especie de hito generacional para quienes crecieron en los 90 y primeros 2000. Un Film que capturó la esencia de lo que significa ser un melómano obsesivo, un coleccionista empedernido y, sobre todo, un desastre sentimental. "¿Escuchaba música pop porque estaba deprimido, o estaba deprimido por escuchar música pop?". Bajo esa premisa queremos volver a una historia que sigue siendo relevante. ¿Por qué? Porque capturó algo universal: esa relación obsesiva que muchos tenemos con la música. La forma en que organizamos nuestra vida en función de discos, canciones y listas. Hoy en Conexiones MZK. queremos rememorar sus canciones, ver algunas diferencias entre el libro y la película, y revisitar algunos de sus diálogos. Dirige Manuel Pinazo. Suenan:  Thirteenth Floor Elevators – You're Gonna Miss Me Kinks – Everybody's Gonna Be Happy Smog – Cold Blooded Old Times The Beta Band – Dry the Rain Bob Dylan – Most of the Time The Velvet Underground – Who Loves the Sun John Wesley Harding – I'm Wrong About Everything Elvis Costello & the Attractions – Shipbuilding The Velvet Underground – Oh! Sweet Nuthin' Stereolab – Lo Boob Oscillator Royal Trux – Inside Game Jack Black – Let's Get It on Stevie Wonder – I Believe (When I Fall in Love It Love – Always See Your Face

Frame Fatale es un podcast de películas ¿no canónicas? hecho con amor por Santiago Calori, Axel Kuschevatzky y Sebastián Rotstein.En el centésimo quincuagésimo cuarto episodio nos ocupamos de Susurros en tus oídos (Prick Up Your Ears, 1987) de Stephen Frears.Podés comentar este episodio o agregar una pregunta que nada que ver enviándonos un correo electrónico a ⁠⁠⁠⁠⁠⁠nolahepodidover@gmail.com⁠⁠⁠⁠⁠⁠.Quizás sea una pegada total suscribirte en donde sea que escuches tus podcasts y tener la primicia, algo que, de todas maneras, y ya explicamos varias veces, es lo menos importante.

Send us a textOh, hello there, you vinyl-vaulting philistines and cassette-clutching casuals. Another cycle spins on the turntable of existence, and this time we're cranking the volume on "The Power of Music"—films where the soundtrack isn't just background noise for your popcorn munching, but the beating heart, the narrative needle scratching deep into the grooves of the soul. We're talking movies where melodies manipulate fates, chords construct characters, and a killer riff can redeem or ruin everything. None of your elevator Muzak nonsense; this is the real symphonic stuff.But wait—because life's never just a solo act—our shake-up demands: Must Feature a Romance. Yes, a proper love story, the kind that twists like a warped 45, central or subplot, genre be damned. Heartstrings plucked alongside guitar strings, or haven't you heard?This week's selection? The one and only "High Fidelity," my personal mixtape manifesto. John Cusack (that's me in spirit, you plebs) as Rob Gordon, a record store tyrant cataloging his top five heartbreaks while rewinding his pathetic romantic résumé through blistering flashbacks and fourth-wall shatters. Laura dumps him (again), cue the existential playlist crisis, and suddenly he's remixing his life like a desperate DJ. Nick Hornby's novel on celluloid, directed by Stephen Frears, with a supporting cast of Jack Black bellowing Springsteen and Todd Louiso quoting chapter and verse from the indie bible. It's breakup as symphony, music as therapy, and romance as the ultimate B-side you can't skip.Tune in, or forever hold your peace in the bargain bin.

Michael Sheen is an award-winning actor.After finding his love for the stage with the West Glamorgan Youth theatre as a teenager, he studied at the Royal Academy of Dramatic Art in London. He spent the 1990s making a name for himself as a stage actor, shining in the classics from Romeo and Juliet to Peer Gynt as well as in 20th century masterpieces such as Look Back in Anger and Amadeus, receiving several Olivier Award nominations along the way.A relocation to the US in the early 2000s with his then partner, the actress Kate Beckinsale, and their young daughter Lily prompted a move into films. His breakthrough came in 2003 when he portrayed Tony Blair in a Stephen Frears film called The Deal. It was the beginning of what became an unlikely specialism: morphing into real people from recent history: Kenneth Williams, David Frost, Brian Clough, Chris Tarrant, and Prince Andrew – with two more outings as Tony Blair thrown in for good measure.Michael was born in Newport, South Wales, in February 1969, the eldest of two children to Meyrick and Irene. He grew up in Port Talbot from the age of eight and considers it his hometown. His first love was football, and he was spotted as youngster by an Arsenal talent scout to play for their youth team. His parents decided against moving the family to London and he turned to acting instead and graduated from RADA in 1991.Alongside the classic dramas, his range extends to appearing in fantasy and science fiction films such as The Twilight Saga and Tron: Legacy. Michael has said that the most meaningful project to him was a modern restaging of the passion play in Port Talbot in 2011, which involved the participation of a thousand local people, because it opened his eyes to the difficulties many of them were experiencing. He has since used his own money to fund the 2019 Homeless World Cup in Cardiff and set up an organisation which supports community groups. Michael lives in Wales with his partner, the actress Anna Lundberg, and their two young daughters. DISC ONE: Vienna - Ultravox DISC TWO: The Ecstasy Of Gold - Ennio Morricone DISC THREE: Desire - Talk Talk DISC FOUR: Gimme Shelter - The Rolling Stones DISC FIVE: Ready for Drowning - Manic Street Preachers DISC SIX: Passion - Peter Gabriel DISC SEVEN: Dark Secret - Lau DISC EIGHT: Oh Yeah - Yello BOOK CHOICE: The Hero with a Thousand Faces by Joseph Campbell LUXURY ITEM: A football CASTAWAY'S FAVOURITE: Vienna - Ultravox Presenter: Lauren Laverne Producer: Sarah TaylorThere are more than 2000 programmes in our archive available for you to listen to. We have cast away other notable actors including Sir Anthony Hopkins and some of the people Michael has played including Kenneth Williams, Chris Tarrant and Tony Blair. You can find all those episodes and more by searching BBC Sounds.

This is a preview of a premium episode from our Patreon feed, Paid Costly For Me! Head over to Patreon.com/PodCastyForMe to hear more for just $5 a month. We celebrate the late Terence Stamp by taking a look at Stephen Frears's 1984 proto-LIMEY existential gangster film, THE HIT. Plus: a little bit of Pasolini's TEOREMA talk for good measure. Thanks as always to Jetski for our theme music and Jeremy Allison for our artwork.   Follow Pod Casty For Me: https://www.podcastyforme.com/ https://twitter.com/podcastyforme https://www.instagram.com/podcastyforme/ https://www.youtube.com/@podcastyforme Support us on Patreon: https://www.patreon.com/PodCastyForMe Artwork by Jeremy Allison: https://www.instagram.com/jeremyallisonart  

durée : 00:50:49 - Certains l'aiment Fip - Nous invitons un fan de Fip, acteur pour Manuel Poirier, Arnaud des Pallières, Catherine Corsini, les frères Larrieu ou encore Stephen Frears, à l'affiche de l'électrisant "Sirat" d'Olivier Laxe, Prix du jury à Cannes. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Ryan was born quite a long time ago, and he is really old now. Since this is his "birth month", Laura allowed him to pick one of the movies for September, and this felt incredibly "literal".Yes! Sir. Stephen Frears, revered and celebrated British film director, hits it out of the park with this Dame Judi Dench/Bob Hoskins vehicle about "tasteful nudity" in theatre during wartime! With a host of other recognizable faces and a surprising, yet possibly THE BEST REVEAL EVER COMMITTED TO THE SCREEN WE HAVE UNCOVERED ON OUR PODCAST, there's a really, really, REALLY good time to be had with this one.

Iben Hjejle er nyuddannet fra Statens Teaterskole, da Søren Kragh-Jacobsen spørger, om hun vil spille luksusluderen Liva i ‘Mifunes Sidste sang'. Det bliver hendes store gennembrud herhjemme, og filmen vinder en sølvbjørn. Til Berlinalen løber Iben Hjejle ind i instruktør Stephen Frears, der tilbyder hende en rolle i hans næste film, 'High Fidelity'. Berømmelsen eskalerer med ‘Klovn', og Iben Hjejle finder en metode til at skærme sig selv og sine nærmeste fra det, der bliver skrevet i sladderpressen.See omnystudio.com/listener for privacy information.

Send us a textIn this episode, we revisit The Hit (1984), a meditative crime film that gave Terence Stamp one of his most hauntingly restrained performances. As news of Stamp's passing at age 87 reverberates through the film world, we reflect on his legacy—from the rebellious charm of Billy Budd to the icy menace of General Zod, and the quiet dignity he brought to The Hit.We unpack the film's existential undertones, Stephen Frears' direction, and Stamp's ability to command the screen with silence and soul. It's part review, part tribute—an ode to an actor who never chased the spotlight, but always earned it.Actress Karissa Lee Staples Oh Brother Podcast: Support the Show! (Full Access to the Oh Brother Back Catalog) Listen on all podcast platforms Subscribe on YouTube Follow us on Instagram

By winning the 1992 general election, John Major had his own mandate to form a government, instead of imply inheriting Margaret Thatcher's. He'd shown himself capable of leading the Conservative Party to success, as he took it to its fourth election win in a row. He'd emerged somewhat from the shadow of his Iron Lady predecessor. And then things immediately started going wrong. Black Wednesday, when a major run on the pound turned George Soros into ‘the man who broke the Bank of England' and drove Britain out of the European Exchange Rate Mechanism. Major's positive poll ratings collapsed overnight and never entirely recovered.Then his own party began to creak as its seams, as a growing group began to emerge and express an increasingly strident Euroscepticism. It mounted a rebellion against the government's proposal to ratify what came to be known as the Maastricht Treaty, which converted the European Economic Community into the European Union, with more ambitious aims towards integration (from some of which Major obtained British opt-outs). Though eventually the sceptics voted with their own party's government to avoid bringing it down, their behaviour had been so objectionable to Major that, in an unguarded moment with a journalist, he referred to them as ‘bastards'.Meanwhile, in the Labour Party, John Smith, the well-respected leader who'd replaced Neil Kinnock after the general election defeat, died suddenly of a heart attack. There were two frontrunners to take over from him, Gordon Brown and Tony Blair. It seems clear that they came to a deal whereby Brown would stand down as a candidate for the leadership to give Blair a clear run, in return for a big role in a future Labour government.Blair took over from Smith. He'd be leading Labour against Major's Conservatives at the next general election. Our subject for next week.Illustration: promotional image for Stephen Frears' The Deal, showing David Morrissey as Gordon Brown and Michael Sheen as Tony BlairMusic: Bach Partita #2c by J Bu licensed under an Attribution-NonCommercial-No Derivatives (aka Music Sharing) 3.0 International License

https://notesonfilm1.com/2025/07/30/thinking-aloud-about-cinema-cinema-rediscovered-2025-wrap-up/ If a week ago we podcast on what we were looking forward to at the CINEMA REDISCOVERED festival, this is the bookend reflecting on what we actually saw. We are once again full of praise for the organisers, the friendliness of the staff at the Watershed, the originality and diversity of the programme, the community aspect, the educational component and the way that it trains young people up to programme and curate and then gives them an opportunity to exercise those skills. Emotional highlights included a reunion of Stephen Frears, Hanif Kureishi and Gordon Warnecke at the MY BEAUTIFUL LAUNDRETTE screening and Stephen Wooley and Julian Temple getting back together to reminisce about Palace Pictures and ABSOLUTE BEGINNERS, which we liked so much we plan a separate podcast on it. We appreciated the mini programs scheduled on single days (Carlos Saura, Maria Luisa Bemberg, Anna Mae Wong) and the longer ones (the AGAINST THE GRAIN: 1980s BRITISH CINEMA, MASUMURA x WAKAO). It was fantastic to be able to see some films at the BRISTOL MEGASCREEN (THE FALL OF OTRAR, DIVA, THE BEAST TO DIE, MANJI). We talk at some length on individual films as well (ROSA LA ROSE, FILLE PUBLIQUE; THEMROC, DESERT HEARTS, ONE POTATO TWO POTATO and others. We praise the way Sheldon Hall designed his talk on films on Channel 4 for this particular audience, including broadcast dates on every film at the festival and under which strand; for Stephen Horne's fantastic, multi-instrument accompaniment to the Anna Mae Wong programme; and the care in curating the introductions to the films, with most speakers understanding that the intro is not about them or their interests but about enhancing the audience's experience and appreciation. The festival left us wishing for a fuller programme the last evening but being left wishing for more is not a bad thing. José Arroyo

Aujourdʹhui dans Travelling, une histoire retorse, pleine de manipulation, de rouerie, mais aussi dʹhumour, et dʹamour, où on voit comment le séduisant vicomte de Valmont parvient à déshonorer la jeune Cécile de Volanges tout droit sortie du couvent et à faire fléchir la vertu de Madame de Tourvel, sous lʹinstigation de sa maîtresse et confidente, Madame de Merteuil, audacieuse manipulatrice. Cette histoire, cʹest celle des Liaisons dangereuses de Chordelos de Laclos que met en scène un anglais, Stephen Frears dans un film qui va marquer les esprits. En 1988, une version anglophone dʹun roman épistolaire français du 18e siècle, devient un phénomène de société et assoit le statut de star de Glenn Close et de John Malkovich. Au scénario, Christopher Hampton, un anglais, qui a déjà adapté le roman en pièce de théâtre à succès. Derrière la caméra, son complice de toujours, Stephen Frears, punk  à lʹancienne qui nʹhésite pas à ruer dans les brancards et à dépeindre le pire de ses contemporains. Après avoir filmé les tares de la société britannique de son temps, le réalisateur plonge avec la même fraîcheur dans lʹunivers de Laclos. Stephen Frears est fidèle au 18e siècle, prouvant la modernité du texte et de ses personnages désormais légendaires. De tout cela, il ressort un film qui sʹarticule comme un opéra moderne à la noirceur étudiée, une tragédie en plusieurs actes qui ne tombe jamais dans la caricature du film en costumes. Le film est primé, nominé, la presse internationale sʹextasie et le public est au rendez-vous. Cʹest une réussite sur tous les plans. Les complots libertin sʹaffutent dans un ballet dʹéventails, de  maquillage outrancier, de crinolines et de perruques poudrées. Il ne nous restent plus quʹà ouvrir notre porte au vicomte de Valmont et à Madame de Merteuil pour un duel de lʹamour à mort. REFERENCES Vadim, Frears, Forman, Les liaisons dangereuses, lʹévénement du jeudi du 23 au 29 mars 1989 Auto interview de John MALKOVICH qui présente le film de Stephen FREARS "Les liaisons dangereuses"(extraits du film), parle de son rôle (Valmont) "probablement mon plus grand rôle". https://www.dailymotion.com/video/xf8klv Brigitte E. Humbert, De la lettre à l'écran : Les liaisons dangereuses, Rodopi, 2000, 268 p.

We're back with part two of our ongoing summer series devoted to the newest physical media releases from The Criterion Collection & today's episode is a must for neo-noir fans everywhere. First up, you'll hear from bestselling award-winning authors S.A. Cosby (whose newest novel KING OF ASHES just hit shelves last week) & Jordan Harper (SHE RIDES SHOTGUN & EVERYBODY KNOWS) on director Stephen Frears' outstanding adaptation of author Jim Thompson's THE GRIFTERS. Then we leave the '90s behind & go further back in time to catch up with the brilliant film essayist & historian Priscilla Page on two of her all-time favorite films in director Michael Mann's THIEF & Arthur Penn's NIGHT MOVES. Scholarly, fresh, funny, & filled with razor sharp analysis, hold onto your wallet, car, & any missing girls or crooks in your orbit & just try to keep up with all of these cons.Originally Posted on Patreon (6/22/25) here: https://www.patreon.com/posts/131774814Listen to the Watch With Jen™ Podcast on RSS, Spotify, Google, Stitcher, Apple, Pandora, and MoreShop Watch With Jen logo Merchandise in Logo Designer Kate Gabrielle's Threadless ShopDonate to the Pod via Ko-fiTheme Music: Solo Acoustic Guitar by Jason Shaw, Free Music Archive

Send us a textDan and Mike go noir as they dive into Stephen Frears' The Grifters in its stunning new 4K release from the Criterion Collection. The brothers Smith break down the performances of John Cusack, Anjelica Huston, and Annette Bening, discuss the film's slick style and haunting score, and debate whether this neo-noir classic holds up over 30 years later. Con games, complicated mothers, and Criterion polish—this one's a wild ride!#podcast #YouTube #trendingActress Karissa Lee Staples Support the showOh Brother Podcast: Subscribe on YouTube Listen on all podcast platforms Follow us on Instagram Leave a 5-star rating/review on Apple Podcasts

Hola Gerardo aquí en otro episodio de Simplemente Yo; La selección de esta semana es High Fidelity, es una película de comedia romántica dramática del año 2000 dirigida por Stephen Frears. La película está basada en la novela británica homónima de 1995 de Nick Hornby. Plot: Rob, dueño de una tienda de discos y creador compulsivo de listas, relata sus cinco rupturas más importantes, incluida la que esta pasando en ese momento. Espero que lo disfruten ;) Información adicional del podcast: Enlace del website official de Filmic Notion Podcast: https://filmicnotionpod.com/ Enlace a nuestra página de Letterboxd: https://boxd.it/446nl

This week the society continues through the world of Touchstone Pictures with 2000's High Fidelity, directed by Stephen Frears and starring John Cusack.  Sit back and let these grand tunes guide you through all the dysfunction you can bear and more - and don't forget the Jack Black!  Are these guys ever going to do Disney movies again?!Follow @medfieldfilm on social media for the latest updates.  

Dusende protesteren in de Türkei gegen Fastsetten vun Erdogan-Rutfödderer +++ EU-Top-Drepen snackt doröver wat de US-Politik für Europa nakaamt +++ Stephen Frears kriggt Bremer Filmpries ut de Hand vun Hugh Grant +++ Extremweerutstellung in dat Klimaahuus Bremerhoben +++ Veer junge Lüüd sünd achterna en Autounfall swoor versehrt in en Krankenhuus kamen +++ Dat Weer

In this episode, we wind the clock back to the start of the 90s to pay a visit to the world of crime dramas with Jason's next pick. Backed up by Martin Scorcese and featuring a star-studded cast led by John Cusack, Anjelica Huston, and Annette Benning, come join us as we check out Stephen Frears' The Grifters from 1990. Prepare for two drastically different takes as Jason finds himself charmed by the flick and Dustin serves up a buffet of quibbles and hangups. But before all that, Jason dishes on some new Shudder watches and Dustin caps off the rest of his AVP franchise rewatch. And so much more! Part of the Prescribed Films Podcast Network (www.thepfpn.com) What We've Been Watching: -Jason: Last Straw (2023) & The Coffee Table (2022) & Heroes Shed No Tears (1984) -Dustin: Prometheus (2012) & Alien: Covenant (2017) & Alien (1979) & Alien: Romulus (2024) & Aliens (1986) & Alien 3 (1992) & Alien Resurrection (1997) Show Notes: -The Grifters Trailer -Go check out all the other fine shows on the Prescribed Films Podcast Network -Related Film: Blood Diner -Related Film: Milk & Serial -Related Short: The Chair -Related Film: Predator -Related Topic: Miramax -Related RPG: Alien The Roleplaying Game -Related Game: Alien: Isolation -Related Film: Terminator 2: Judgment Day -Related Film: The City of Lost Children -Related Franchise: Witchcraft -Related Film: Miracle Mile -Related Film: The Reflecting Skin -Related Film: Ghostbusters -Related Film: Airplane -Related Film: An American Werewolf in London -Related Film: Cape Fear -Related Film: Lady and the Tramp -Related Film: Phantom of the Paradise -Related Film: The Sting -Related Film: Psycho -Related Film: Air Force One -Related Film: Candyman -Related Film: Dangerous Liasons -Related Film: The Big Heat -Related Film: Film Stars Don't Die in Liverpool -Related Film: The Lady Vanishes -Related Artist: Cher -Related Film: Misery -Related Film: Ghost -Related Film: The Dead Thing -Related Film: Reversal of Fortune -Related Film: Dead Ringers -Related Film: The Shrouds -Related Author: Alexandre Dumas -Related Novel: The Three Musketeers -Related Novel: The Count of Monte Cristo -Related Film: The Count of Monte Cristo (2024) -Related Film: The Three Musketeers: Milady -Related Film: The Three Musketeers (1973) -Related Film: The Man in the Iron Mask -Related Film: Titanic Next Time: The Three Musketeers: D'Artagnan (2023)

Noirvember 2024 ends with a bang as we delve into Stephen Frears' electrifying neo-noir The Grifters. Adapted from Jim Thompson's novel by screenwriter Donald Westlake, this razor-sharp film stars Anjelica Huston as Lily Dillon, a veteran con artist manipulating the odds at the racetrack. Her uneasy reunion with estranged son Roy (John Cusack) and his cunning girlfriend Myra (Annette Bening) sparks a volatile triangle of deception and betrayal in the high-stakes world of grifting.Mike is joined by crime fiction experts Andrew Nette and Jedidiah Ayres to untangle this web of cons and double-crosses. Plus, executive producer Barbara De Fina and producer Peggy Rajski reveal what it took to bring this stylish, unsettling tale to life.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth-podcast--5513239/support.

Noirvember 2024 ends with a bang as we delve into Stephen Frears' electrifying neo-noir The Grifters. Adapted from Jim Thompson's novel by screenwriter Donald Westlake, this razor-sharp film stars Anjelica Huston as Lily Dillon, a veteran con artist manipulating the odds at the racetrack. Her uneasy reunion with estranged son Roy (John Cusack) and his cunning girlfriend Myra (Annette Bening) sparks a volatile triangle of deception and betrayal in the high-stakes world of grifting.Mike is joined by crime fiction experts Andrew Nette and Jedidiah Ayres to untangle this web of cons and double-crosses. Plus, executive producer Barbara De Fina and producer Peggy Rajski reveal what it took to bring this stylish, unsettling tale to life.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth-podcast--5513239/support.

In this episode of our movie podcast, we dive deep into The Grifters (1990), Stephen Frears' stylish neo-noir crime thriller based on Jim Thompson's novel. We discuss the central trio of characters—Roy (John Cusack), a streetwise grifter with a deep-seated mistrust of others; Lilly (Annette Bening), a seductive and manipulative con woman; and his mother, the sharp and cynical Iris (Anjelica Huston), who is caught in the web of deceit spun by both. This character study is as much about emotional manipulation and familial tension as it is about the art of the con. Link is below for all our social media. https://linktr.ee/silverscreenvideo Thanks for stopping by. Feel free to email at silverscreenvideopodcast@gmail.com with any comments or thoughts. Also be sure to follow us on Instagram @silverscreenvideopodcast, Twitter @SilverVideo, and TikTok silver.screen.vid. --- Support this podcast: https://podcasters.spotify.com/pod/show/silverscreenvideo/support

This week I'm speaking to the wonderful Wharton, who is of Chinese and white European heritage. Wiz's debut nove, Ghost Girl, Banana follows Sook-Yin in 1960s England, exiled from Kowloon, and her daughter Lily in 1990s, embarking on a secret pilgrimage to Hong Kong to discover the lost side of her identity, following  a mysterious letter telling her she has inherited a LOT of money from a stranger. It's no surprise that this sweeping story is being adapted for TV, and it is such a brilliant read.Wiz Wharton was born in London of Chinese-European heritage. She is a prize-winning graduate of the National Film and Television school, where she studied screenwriting under the filmmakers Mike Leigh, Stephen Frears and Kenith Trodd. Her debut novel Ghost Girl, Banana deals with issues of identity, belonging and familial secrets. In 2023, she was named by the Scottish Government Expo Fund as one of the 40 writers predicted to set the literary world alight. I'm so glad she's my guest today.  Support the show

Director, co-writer, and star of The People's Joker (one of our favorite films of the year), Vera Drew joins for a discussion of the sexy, taboo-breaking, teen thriller Cruel Intentions. A 90s update of the 18th century Peirre Choderlos de Laclos novel 'Les Liaisons dangereuses' (aka Dangerous Liaisons), the film is a darkly comic and gleefully misanthropic erotic thrill ride featuring a top notch cast of up-comers-comers playing deeply unlikable - but incredibly sexy - people, who are all (in the words of our guest) "acting their asses off."We discuss the sensational young cast, including Reese Witherspoon, Selma Blair, Ryan Phillippe, and an exceptional Sarah Michelle Gellar, and find delights in the "teens play-acting adults" uncanniness of the movie's milieu. Then we revel in the film's preternatural handling on eroticism and desire, finding ways to constantly steam up the screen even while the actors (mostly) keep their clothes on. Finally, we find a through-line from some of Vera's other favorite films to Cruel Intentions, note how the movie defies a "so bad its good" valuation, and illimunate why criticisms of the film's supposed moralism might be reading it wrong. The People's Joker is still in theaters and now available on VOD, Blu-Ray and VHS! Find showtimes near you or purchase your copy today.Follow Vera Drew on Twitter.Get access to all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.....Our theme song is "Mirror" by Chris Fish. 

Cinema has had a hugely influential role on global culture in the 20th century at multiple levels: social, political, and educational. The part of British cinema in this has been controversial–often derided as a whole, but also vigorously celebrated, especially in terms of specific films and film-makers. In British Cinema: A Very Short Introduction (Oxford UP, 2022), Charles Barr considers films and filmmakers, and studios and sponsorship, against the wider view of changing artistic, socio-political, and industrial climates over the decades of the 20th Century. Considering British cinema in the wake of one of the most familiar of cinematic reference points–Alfred Hitchcock–Barr traces how British cinema has developed its own unique path, and has since been celebrated for its innovative approaches and distinctive artistic language. Charles Barr worked for many years at the University of East Anglia, helping to develop one of the first UK programs in film studies at the graduate and undergraduate level. He has since taught in St. Louis, Galway, and Dublin, and is currently a Research Fellow at St. Mary's University, Twickenham. Much of his published work has been on British cinema, including the books Ealing Studios and English Hitchcock, and he was cowriter, with director Stephen Frears, of Typically British, part of the centenary history of cinema broadcast on Channel 4 in 1995. He has continued writing on Hitchcock, with a study of Vertigo in the BFI Classics series and Hitchcock: Lost and Found, coauthored with the Parisian scholar Alain Kerzoncuf. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers, he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X. His writing and other interviews about literature and film can also be found on Pages and Frames. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Cinema has had a hugely influential role on global culture in the 20th century at multiple levels: social, political, and educational. The part of British cinema in this has been controversial–often derided as a whole, but also vigorously celebrated, especially in terms of specific films and film-makers. In British Cinema: A Very Short Introduction (Oxford UP, 2022), Charles Barr considers films and filmmakers, and studios and sponsorship, against the wider view of changing artistic, socio-political, and industrial climates over the decades of the 20th Century. Considering British cinema in the wake of one of the most familiar of cinematic reference points–Alfred Hitchcock–Barr traces how British cinema has developed its own unique path, and has since been celebrated for its innovative approaches and distinctive artistic language. Charles Barr worked for many years at the University of East Anglia, helping to develop one of the first UK programs in film studies at the graduate and undergraduate level. He has since taught in St. Louis, Galway, and Dublin, and is currently a Research Fellow at St. Mary's University, Twickenham. Much of his published work has been on British cinema, including the books Ealing Studios and English Hitchcock, and he was cowriter, with director Stephen Frears, of Typically British, part of the centenary history of cinema broadcast on Channel 4 in 1995. He has continued writing on Hitchcock, with a study of Vertigo in the BFI Classics series and Hitchcock: Lost and Found, coauthored with the Parisian scholar Alain Kerzoncuf. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers, he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X. His writing and other interviews about literature and film can also be found on Pages and Frames. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

This week on the No More Late Fees podcast Danielle and Jackie are joined by journalist and author  Andrew Buss. Andrew has written for publications like Vanity Fair, Consequence of Sound, The Laugh Button, Vulture and has just released his new book Top Five: How High Fidelity Found Its Rhythm and Became a Cult Movie Classic. His new book about the 1997 film High Fidelity, features interviews with Jack Black, Stephen Frears, Todd Louiso, Sara Gilbert, DV DeVincentis, Steve Pink, Nick Hornby, Fred Armisen, and more!  --- No More Late Fees  ⁠https://nomorelatefeespodcast.com⁠ 909-601-NMLF (6653) — Follow Us on Social: Instagram https://www.instagram.com/nomorelatefees  TikTok https://www.tiktok.com/@nomorelatefees  Facebook https://www.facebook.com/nomorelatefees Youtube https://www.youtube.com/@nomorelatefees  Twitter https://x.com/NoMoreLateFees  — CONQUERing https://⁠⁠myconquering.com⁠⁠  10% Off Code: JACKIE10 — NostaBeauty https://nostabeauty.com  20% Off Code: NMLF  --- Andrew Socials Instagram https://www.instagram.com/andrewlbuss/  Twitter https://twitter.com/AndrewLBuss  Top Five: How ‘High Fidelity' Found Its Rhythm and Became a Cult Movie Classic https://www.amazon.com/shop/nomorelatefeespodcast/list/16Y5HTTWULOPT?ref_=cm_sw_r_cp_ud_aipsflist_aipsfnomorelatefeespodcast_5XNVHB6ECQKV3138YGM2  — --- Support this podcast: https://podcasters.spotify.com/pod/show/nomorelatefees/support

Pride Month continues as Amanda and Zach talk about the 1985 Stephen Frears small budget film My Beautiful Launderette. This movie is marked by wonderful performances and a positive LGBTQ story. So why can't Amanda and Zach agree on this film? Take a listen and don't forget to like us on Facebook and follow us on Twitter. Make sure to leave a 5 star rating on Apple Podcasts. Have questions or comments? Shoot an email to dbcrazypod@gmail.com and we will answer them on the next podcast. Please subscribe on Apple Podcasts, Pandora, Amazon Podcasts, TuneIn, Spotify, or Google Podcasts and remember to rate and leave a comment. The feedback helps us tremendously!

In her new book, Shakespeare: The Man Who Pays the Rent, Dame Judi  Dench and actor/director Brendan O'Hea chat about her long history with the Bard. On this episode, Dench and O'Hea join host Barbara Bogaev to talk about Dench's experiences playing Ophelia, Gertrude, Lady Macbeth and Titania. Plus, parrots, Polonius, dirty words, Ian McKellen, why it's easier to laugh while working on a tragedy, and more. Dame Judi Dench has played nearly all of Shakespeare's great roles for women, plus a few non-Shakespearean parts, too, including the title role in Stephen Frears' Philomena, M in 8 of the James Bond films, Granny in Kenneth Branagh's Belfast, and Queen Elizabeth in Shakespeare in Love, for which she won an Academy Award. Brendan O'Hea has acted in and directed multiple productions at Shakespeare's Globe in London, and appeared with Dench in the film Quantum of Solace. Their book Shakespeare: The Man Who Pays the Rent is available from St. Martin's Press. From the Shakespeare Unlimited podcast. Published April 9, 2024. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica, with help from Kendra Hanna. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits our transcripts. We had technical help from London Broadcast Studios and Voice Trax West in Studio City, California. Final mixing services provided by Clean Cuts at Three Seas, Inc.