Podcasts about Steve Tesich

Bilginin korkunç bir hızda aktığı zamanlardayız. Teknoloji ve sosyal medyanın gelişimi sayesinde bilgiye ulaşmak, hiç bu kadar kolay olmamıştı. Fakat iletişimin bu kadar kolay olmasının bazı olumsuz etkileri de var elbette. Örneğin post-truth, yani gerçek ötesi kavramı... Artık bir bilginin doğru veya yanlış olduğunu anlamak eskisi kadar kolay değil. Hatta yalan olduğunu içten içe bildiğimiz bazı bilgileri büyütebiliyor, o duvara bir tuğla da biz koyabiliyoruz. 111 Hz'in bu bölümünde post-truth çağında doğru bilgiye nasıl ulaşabileceğimiz üzerine düşünüyoruz. Yalan haberlere ya da bilgilere neden inandığımızı ve bunlara karşı nasıl önlemler alabileceğimizi araştırıyoruz.Sunan: Barış ÖzcanHazırlayan: Özgür YılgürSes Tasarım ve Kurgu: Metin BozkurtYapımcı: Podbee Media------- Podbee Sunar -------Bu podcast, getirfinans hakkında reklam içerir.getirfinans iyi faizi vade beklemeden günlük kazandırır. Kredi faiz oranı düşüktür. Aidatsız kredi kartı sunar. Para transferinden ücret almaz. Sen de getirfinanslı ol.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Kevin Costner, bike racer? Yep. American Flyers was released 39 years ago this week, and Costner would go on to make some of the best sports films of all time, including Bull Durham, Field of Dreams, and Tin Cup. So how well does this bike film hold up? How does it compare to the other bike film written by Steve Tesich, Breaking Away? Jonathan and Simon discuss — and also come up with might be their best idea ever for a prequel.RELATED LINKS: BLISTER+ Get Yourself CoveredCHECK OUT OUR OTHER PODCASTS:Blister PodcastBikes & Big IdeasGEAR:30CRAFTEDOff The CouchTOPICS & TIMES:Another Bike Film (4:19)The Actors, Players, & Ferris' Sister (9:11)Most Rewatchable Scenes (12:11)What's Aged the Best? (20:29)What's Aged the Best/Worst? (30:50)Best Lines (38:26)Worst Line (44:59)Hottest Take (47:28)Who Needed BLISTER+ the Most? (1:00:45)Gimme More, Gimme Less? (1:03:16Burning Questions (1:07:11)Attention Span Award (1:11:28)Prequel, Sequel, or Spinoff? (1:12:39)Memorabilia You'd Most Want from the Film (1:16:15)Who Won the Movie? (1:20:44)Our Final Grades (1:24:00) Hosted on Acast. See acast.com/privacy for more information.

For the final week of our Spectator Sports month, we discuss Peter Yates's Breaking Away, which combines a sweet and funny coming-of-age comedy, a class-struggle drama, and a fantastic underdog sports film. We discuss the real-life origins of Steve Tesich's Oscar-winning screenplay, the film debut of character actor Daniel Stern and his niche as the lovable loser, the family chemistry of Barbara Barrie, Paul Dooley, and Dennis Christopher, Dennis Quaid's bitter and heartbreaking former quarterback Mike, Jackie Earle Haley's amazing maturity (even as the youngest cast member), and the many other qualities that make this film one of the greatest feel-good movies of all time. Hop on your bike and give us a listen!

C'est l'été et 4 Quarts d'Heure (et le 5ème quart d'heure) continue pendant toute la saison ! On débute la « Summer Edition » du podcast avec nos meilleures recommandations culturelles pour chiller sur la serviette ou décéder de chaleur dans sa chambre de 9m2, c'est selon.Pour écouter le 5ème quart d'heure, abonnez-vous à Acast+ comme ceci :Téléchargez une application de podcasts (Apple Podcasts, Podcast Addict, Castbox...) : elles sont toutes gratuites ! (L'abonnement ne fonctionne pas sur les applications de streaming : Spotify, Deezer, Amazon Music). Cliquez sur le lien suivant : https://plus.acast.com/s/4-quarts-dheureAttention, les formules d'abonnement proposées sont hors TVA.Toute la culture de cet épisode :La reco de Camille : la série « En Place » sur NetflixLa reco d'Alix : le livre « Star » de Guillaume PoixLa reco de Louise : le podcast « La Chamade » de Samia Miskina et le livre « La maison au milieu la mer céruléenne » de TJ KluneLa reco de Kalindi : le livre « Si tout n'a pas péri avec mon innocence » d'Emmanuelle Bayamack-TamDans cet épisode, on parle de ça :La série « Jusqu'ici tout va bien » de Nawel MadaniLes ateliers d'écriture de Guillaume PoixNicole GarciaLa pièce de théâtre « Miss None » de Guillaume PoixLa saison 4 de « Never Have I Ever » / « Mes Premières Fois »Le livre « Arcadie » d'Emmanuelle Bayamack-TamLe livre « La treizème heure » d'Emmanuelle Bayamack-TamLe livre « Les garçons de l'été » de Rebecca Lighieri (pseudo de EBT)Le film « Beau Is Afraid » de Ari AsterLe livre « La Conjuration des Imbéciles » de John Kennedy TooleLe livre « Karoo » de Steve TesichLes livres « American Psycho » et « Glamorama » de Bret Eston EllisLa série « Succession »Abonnez-vous à 4 Quarts d'Heure sur :Apple PodcastsSpotifyDeezerPodcast AddictSuivez-nous sur Instagram :Louise : @petrouchka_Alix : @alixmrtnKalindi : @kalramphulCamille : @camille.lorente Abonnez-vous au 5ème Quart d'heure ici : https://plus.acast.com/s/4-quarts-dheure. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

King of Hearts Podcasting — The evolution of the musical is upon us.It's time for new works. Scattershot Symphony will now evolve from the past, to the present and into the future. Theater Of The Imagination. It's inevitable. So here we are at the cutting edge of 21st century musicals – the musical podcast.It's Radio Re-Imagined … only better. Today we offer a PRELISTEN, to songs from a new musical written by Peter Link, Steve Tesich and Jacob Brackman.. This episode is entitled“Theater Of The Imagination - Part 3”The Musical … King Of HeartsA Broadway Musicaland eventually,A Podcast MusicalWe'll take you back to the 60s when the movie, King Of Hearts ran for 6 years every Saturday night in Harvard Square during the Cold War. Then to the 70s when King Of Hearts, the musical, opened on Broadway after the end of the Viet Nam war and finally to the last day of World War I when King Of Hearts took place. This whimsical anti-war story, sadly, seems to never lose its timeliness and power. Join Peter Link and his merry band of lunatics!

Quem não olhou para o céu e apreciou as nuvens? Em um dia de domingo, deitado em um gramado, acompanhado ou não. Ficou observando o movimento delas e identificando formas, apontando e dizendo: - Olha! Aquela parece um cachorro, aquela outra um carro, já aquela um navio e a mais à frente um cavalo. Depois disso, riu sozinho, interna ou externamente, e refletiu: - Nuvens são nuvens, mera coincidência. Nós estamos vendo nelas o que não existe. Um olhar humano determinando na realidade aparente e forja na simplicidade do acaso uma falsa imagem. Quando criança já fiz muito isso. Porém, não vejo outra forma de explicar o que algumas pessoas fazem nas redes sociais diante dos fatos, lógica infantil e olhar nas nuvens. Elas estão forçando a ver o que não existe e justificar um absurdo. Leem, onde não há nada, alguma coisa. Expressam como alucinados uma possibilidade absurda. Uma bandeira a meio mastro por causa do falecimento do Rei do Futebol, Pelé, é vista como um sinal de que as forças armadas estão dando um golpe. O ex-presidente Jair Bolsonaro grava um vídeo e enquanto fala bate com o dedo na mesa, seria um código morse, uma mensagem oculta. Blindados se deslocando de um quartel para outro são tropas do exército se preparando para tomar o poder. Isto é uma doença mental coletiva. Estamos diante do que muitos teóricos chamam de “pós-verdade”. O termo teria surgido por definição do dramaturgo sérvio e erradicado nos Estados Unidos, Steve Tesich. Hoje, faz parte até do dicionário. É negar os fatos e criar uma verdade fundada somente no desejo, na emoção de que seja o que não é. Logo, acredito que crianças deitadas na grama e olhando as nuvens, dando a elas as formas que desejavam, estavam mais próximas da realidade do que os alucinados adultos da atualidade. Esta perda de senso em relação a realidade gera conflitos e propaga violência sem uma proposta ou debate lógico. Isto é algo perigoso em uma democracia. Não podemos compactuar com isso. --- Send in a voice message: https://podcasters.spotify.com/pod/show/gilson-aguiar/message

Harris Yulin has appeared on Broadway in Hedda Gabler, The Price, The Diary of Anne Frank, The Visit, A Lesson From Aloes, and Watch On The Rhine. His off-Broadway credits include Raindance at Signature Theatre; Don Juan In Hell at Symphony Space; Steve Tesich's Arts And Leisure at Playwrights Horizons; Tina Howe's Approaching Zanzibar at Second Stage; Hamlet, King John, Richard III, and A Midsummer Night's Dream at New York Shakespeare Festival; and Mrs. Warren's Profession and Hedda Gabler at Roundabout. Regional credits include Finishing the Picture at Goodman Theatre; a recent appearance in the title role of King Lear at New Jersey Shakespeare Festival; The Talking Cure at Mark Taper Forum; Tartuffe at the Guthrie and Arena Stage; Henry V at Hartford Stage; and The Tempest at Shakespeare & Co. Mr. Yulin's directing credits include Horton Foote's The Prisoner's Song at Ensemble Studio Theatre; Conor McPherson's This Lime Tree Bower at Primary Stages; Don Juan In Hell in London (Riverside Studios) and in New York (Symphony Space), Steve Tesich's Baba Goya (Second Stage), Adele Shank's Winter Play at Second Stage; Candida at the Shaw Festival; and The Front Page and The Guardsman at Long Wharf. His television credits include “Muhammad Ali's Greatest Fight,” “Mister Sterling,” “24,” “Buffy The Vampire Slayer,” “Frasier” (Emmy Nomination), and “La Femme Nikita” (Emmy Nomination). His film credits include Fur, The Place Beyond the Pines, The Emperor's Club, Training Day, The Million Dollar Hotel, The Hurricane, Looking for Richard, Murder at 1600, Multiplicity, Clear and Present Danger, and Scarface.· www.imdb.com/name/nm0950867/?ref_=fn_al_nm_1 · www.creativeprocess.info

“The difference between stage and screen acting is vast, but it's the same root. It's just some of the techniques are very different. I really know theater because that's where I started. I went at it in a very haphazard way. I had a very haphazard approach. It was not orderly at all. I didn't go to a proper school or anything like that. After fooling around in Europe for almost a couple of years, just because I'd gotten out of the army...and didn't really know what to do or how to do it. And so I just went and while there I did some acting, but nothing very remarkable except doing a nightclub with William Burroughs. That was great fun. I did a little bit of studying here or there...Jeff Corey (and at one class in New York) someone said something that helped me a great deal. And then I just learned by doing it.”Harris Yulin has appeared on Broadway in Hedda Gabler, The Price, The Diary of Anne Frank, The Visit, A Lesson From Aloes, and Watch On The Rhine. His off-Broadway credits include Raindance at Signature Theatre; Don Juan In Hell at Symphony Space; Steve Tesich's Arts And Leisure at Playwrights Horizons; Tina Howe's Approaching Zanzibar at Second Stage; Hamlet, King John, Richard III, and A Midsummer Night's Dream at New York Shakespeare Festival; and Mrs. Warren's Profession and Hedda Gabler at Roundabout. Regional credits include Finishing the Picture at Goodman Theatre; a recent appearance in the title role of King Lear at New Jersey Shakespeare Festival; The Talking Cure at Mark Taper Forum; Tartuffe at the Guthrie and Arena Stage; Henry V at Hartford Stage; and The Tempest at Shakespeare & Co. Mr. Yulin's directing credits include Horton Foote's The Prisoner's Song at Ensemble Studio Theatre; Conor McPherson's This Lime Tree Bower at Primary Stages; Don Juan In Hell in London (Riverside Studios) and in New York (Symphony Space), Steve Tesich's Baba Goya (Second Stage), Adele Shank's Winter Play at Second Stage; Candida at the Shaw Festival; and The Front Page and The Guardsman at Long Wharf. His television credits include “Muhammad Ali's Greatest Fight,” “Mister Sterling,” “24,” “Buffy The Vampire Slayer,” “Frasier” (Emmy Nomination), and “La Femme Nikita” (Emmy Nomination). His film credits include Fur, The Place Beyond the Pines, The Emperor's Club, Training Day, The Million Dollar Hotel, The Hurricane, Looking for Richard, Murder at 1600, Multiplicity, Clear and Present Danger, and Scarface.· www.imdb.com/name/nm0950867/?ref_=fn_al_nm_1 · www.creativeprocess.info

Harris Yulin has appeared on Broadway in Hedda Gabler, The Price, The Diary of Anne Frank, The Visit, A Lesson From Aloes, and Watch On The Rhine. His off-Broadway credits include Raindance at Signature Theatre; Don Juan In Hell at Symphony Space; Steve Tesich's Arts And Leisure at Playwrights Horizons; Tina Howe's Approaching Zanzibar at Second Stage; Hamlet, King John, Richard III, and A Midsummer Night's Dream at New York Shakespeare Festival; and Mrs. Warren's Profession and Hedda Gabler at Roundabout. Regional credits include Finishing the Picture at Goodman Theatre; a recent appearance in the title role of King Lear at New Jersey Shakespeare Festival; The Talking Cure at Mark Taper Forum; Tartuffe at the Guthrie and Arena Stage; Henry V at Hartford Stage; and The Tempest at Shakespeare & Co. Mr. Yulin's directing credits include Horton Foote's The Prisoner's Song at Ensemble Studio Theatre; Conor McPherson's This Lime Tree Bower at Primary Stages; Don Juan In Hell in London (Riverside Studios) and in New York (Symphony Space), Steve Tesich's Baba Goya (Second Stage), Adele Shank's Winter Play at Second Stage; Candida at the Shaw Festival; and The Front Page and The Guardsman at Long Wharf. His television credits include “Muhammad Ali's Greatest Fight,” “Mister Sterling,” “24,” “Buffy The Vampire Slayer,” “Frasier” (Emmy Nomination), and “La Femme Nikita” (Emmy Nomination). His film credits include Fur, The Place Beyond the Pines, The Emperor's Club, Training Day, The Million Dollar Hotel, The Hurricane, Looking for Richard, Murder at 1600, Multiplicity, Clear and Present Danger, and Scarface.· www.imdb.com/name/nm0950867/?ref_=fn_al_nm_1 · www.creativeprocess.info

“The difference between stage and screen acting is vast, but it's the same root. It's just some of the techniques are very different. I really know theater because that's where I started. I went at it in a very haphazard way. I had a very haphazard approach. It was not orderly at all. I didn't go to a proper school or anything like that. After fooling around in Europe for almost a couple of years, just because I'd gotten out of the army...and didn't really know what to do or how to do it. And so I just went and while there I did some acting, but nothing very remarkable except doing a nightclub with William Burroughs. That was great fun. I did a little bit of studying here or there...Jeff Corey (and at one class in New York) someone said something that helped me a great deal. And then I just learned by doing it.”Harris Yulin has appeared on Broadway in Hedda Gabler, The Price, The Diary of Anne Frank, The Visit, A Lesson From Aloes, and Watch On The Rhine. His off-Broadway credits include Raindance at Signature Theatre; Don Juan In Hell at Symphony Space; Steve Tesich's Arts And Leisure at Playwrights Horizons; Tina Howe's Approaching Zanzibar at Second Stage; Hamlet, King John, Richard III, and A Midsummer Night's Dream at New York Shakespeare Festival; and Mrs. Warren's Profession and Hedda Gabler at Roundabout. Regional credits include Finishing the Picture at Goodman Theatre; a recent appearance in the title role of King Lear at New Jersey Shakespeare Festival; The Talking Cure at Mark Taper Forum; Tartuffe at the Guthrie and Arena Stage; Henry V at Hartford Stage; and The Tempest at Shakespeare & Co. Mr. Yulin's directing credits include Horton Foote's The Prisoner's Song at Ensemble Studio Theatre; Conor McPherson's This Lime Tree Bower at Primary Stages; Don Juan In Hell in London (Riverside Studios) and in New York (Symphony Space), Steve Tesich's Baba Goya (Second Stage), Adele Shank's Winter Play at Second Stage; Candida at the Shaw Festival; and The Front Page and The Guardsman at Long Wharf. His television credits include “Muhammad Ali's Greatest Fight,” “Mister Sterling,” “24,” “Buffy The Vampire Slayer,” “Frasier” (Emmy Nomination), and “La Femme Nikita” (Emmy Nomination). His film credits include Fur, The Place Beyond the Pines, The Emperor's Club, Training Day, The Million Dollar Hotel, The Hurricane, Looking for Richard, Murder at 1600, Multiplicity, Clear and Present Danger, and Scarface.· www.imdb.com/name/nm0950867/?ref_=fn_al_nm_1 · www.creativeprocess.info

“The difference between stage and screen acting is vast, but it's the same root. It's just some of the techniques are very different. I really know theater because that's where I started. I went at it in a very haphazard way. I had a very haphazard approach. It was not orderly at all. I didn't go to a proper school or anything like that. After fooling around in Europe for almost a couple of years, just because I'd gotten out of the army...and didn't really know what to do or how to do it. And so I just went and while there I did some acting, but nothing very remarkable except doing a nightclub with William Burroughs. That was great fun. I did a little bit of studying here or there...Jeff Corey (and at one class in New York) someone said something that helped me a great deal. And then I just learned by doing it.”Harris Yulin has appeared on Broadway in Hedda Gabler, The Price, The Diary of Anne Frank, The Visit, A Lesson From Aloes, and Watch On The Rhine. His off-Broadway credits include Raindance at Signature Theatre; Don Juan In Hell at Symphony Space; Steve Tesich's Arts And Leisure at Playwrights Horizons; Tina Howe's Approaching Zanzibar at Second Stage; Hamlet, King John, Richard III, and A Midsummer Night's Dream at New York Shakespeare Festival; and Mrs. Warren's Profession and Hedda Gabler at Roundabout. Regional credits include Finishing the Picture at Goodman Theatre; a recent appearance in the title role of King Lear at New Jersey Shakespeare Festival; The Talking Cure at Mark Taper Forum; Tartuffe at the Guthrie and Arena Stage; Henry V at Hartford Stage; and The Tempest at Shakespeare & Co. Mr. Yulin's directing credits include Horton Foote's The Prisoner's Song at Ensemble Studio Theatre; Conor McPherson's This Lime Tree Bower at Primary Stages; Don Juan In Hell in London (Riverside Studios) and in New York (Symphony Space), Steve Tesich's Baba Goya (Second Stage), Adele Shank's Winter Play at Second Stage; Candida at the Shaw Festival; and The Front Page and The Guardsman at Long Wharf. His television credits include “Muhammad Ali's Greatest Fight,” “Mister Sterling,” “24,” “Buffy The Vampire Slayer,” “Frasier” (Emmy Nomination), and “La Femme Nikita” (Emmy Nomination). His film credits include Fur, The Place Beyond the Pines, The Emperor's Club, Training Day, The Million Dollar Hotel, The Hurricane, Looking for Richard, Murder at 1600, Multiplicity, Clear and Present Danger, and Scarface.· www.imdb.com/name/nm0950867/?ref_=fn_al_nm_1 · www.creativeprocess.info

Harris Yulin has appeared on Broadway in Hedda Gabler, The Price, The Diary of Anne Frank, The Visit, A Lesson From Aloes, and Watch On The Rhine. His off-Broadway credits include Raindance at Signature Theatre; Don Juan In Hell at Symphony Space; Steve Tesich's Arts And Leisure at Playwrights Horizons; Tina Howe's Approaching Zanzibar at Second Stage; Hamlet, King John, Richard III, and A Midsummer Night's Dream at New York Shakespeare Festival; and Mrs. Warren's Profession and Hedda Gabler at Roundabout. Regional credits include Finishing the Picture at Goodman Theatre; a recent appearance in the title role of King Lear at New Jersey Shakespeare Festival; The Talking Cure at Mark Taper Forum; Tartuffe at the Guthrie and Arena Stage; Henry V at Hartford Stage; and The Tempest at Shakespeare & Co. Mr. Yulin's directing credits include Horton Foote's The Prisoner's Song at Ensemble Studio Theatre; Conor McPherson's This Lime Tree Bower at Primary Stages; Don Juan In Hell in London (Riverside Studios) and in New York (Symphony Space), Steve Tesich's Baba Goya (Second Stage), Adele Shank's Winter Play at Second Stage; Candida at the Shaw Festival; and The Front Page and The Guardsman at Long Wharf. His television credits include “Muhammad Ali's Greatest Fight,” “Mister Sterling,” “24,” “Buffy The Vampire Slayer,” “Frasier” (Emmy Nomination), and “La Femme Nikita” (Emmy Nomination). His film credits include Fur, The Place Beyond the Pines, The Emperor's Club, Training Day, The Million Dollar Hotel, The Hurricane, Looking for Richard, Murder at 1600, Multiplicity, Clear and Present Danger, and Scarface.· www.imdb.com/name/nm0950867/?ref_=fn_al_nm_1 · www.creativeprocess.info

“The difference between stage and screen acting is vast, but it's the same root. It's just some of the techniques are very different. I really know theater because that's where I started. I went at it in a very haphazard way. I had a very haphazard approach. It was not orderly at all. I didn't go to a proper school or anything like that. After fooling around in Europe for almost a couple of years, just because I'd gotten out of the army...and didn't really know what to do or how to do it. And so I just went and while there I did some acting, but nothing very remarkable except doing a nightclub with William Burroughs. That was great fun. I did a little bit of studying here or there...Jeff Corey (and at one class in New York) someone said something that helped me a great deal. And then I just learned by doing it.”Harris Yulin has appeared on Broadway in Hedda Gabler, The Price, The Diary of Anne Frank, The Visit, A Lesson From Aloes, and Watch On The Rhine. His off-Broadway credits include Raindance at Signature Theatre; Don Juan In Hell at Symphony Space; Steve Tesich's Arts And Leisure at Playwrights Horizons; Tina Howe's Approaching Zanzibar at Second Stage; Hamlet, King John, Richard III, and A Midsummer Night's Dream at New York Shakespeare Festival; and Mrs. Warren's Profession and Hedda Gabler at Roundabout. Regional credits include Finishing the Picture at Goodman Theatre; a recent appearance in the title role of King Lear at New Jersey Shakespeare Festival; The Talking Cure at Mark Taper Forum; Tartuffe at the Guthrie and Arena Stage; Henry V at Hartford Stage; and The Tempest at Shakespeare & Co. Mr. Yulin's directing credits include Horton Foote's The Prisoner's Song at Ensemble Studio Theatre; Conor McPherson's This Lime Tree Bower at Primary Stages; Don Juan In Hell in London (Riverside Studios) and in New York (Symphony Space), Steve Tesich's Baba Goya (Second Stage), Adele Shank's Winter Play at Second Stage; Candida at the Shaw Festival; and The Front Page and The Guardsman at Long Wharf. His television credits include “Muhammad Ali's Greatest Fight,” “Mister Sterling,” “24,” “Buffy The Vampire Slayer,” “Frasier” (Emmy Nomination), and “La Femme Nikita” (Emmy Nomination). His film credits include Fur, The Place Beyond the Pines, The Emperor's Club, Training Day, The Million Dollar Hotel, The Hurricane, Looking for Richard, Murder at 1600, Multiplicity, Clear and Present Danger, and Scarface.· www.imdb.com/name/nm0950867/?ref_=fn_al_nm_1 · www.creativeprocess.info

Karoo (1998), a posthumously-published cult novel by screenwriter and playwright Steve Tesich is the subject of this episode of Backlisted. Joining John and Andy to analyse this dark and hilarious tale of a Hollywood script doctor's apocalyptic decline and fall are journalist and podcaster Sali Hughes and novelist John Niven (who previously guested on Backlisted ep. 09 discussing Martin Amis's The Information). Also in this episode, John enjoys This Sporting Life: Sport and Liberty in England, 1760-1960 by Robert Colls, a social history of the English and their relationship to sport. Andy, meanwhile, has been reading Unquiet Landscape, Christopher Neve's recently-republished study of the English imagination in 20th-century landscape painting.

Oscar-winning screenwriter Steve Tesich and Saturday Night Fever director John Badham teamed up with a wonderful cast including David Marshall Grant, Kevin Costner, Rae Dawn Chong, and Alexandra Paul to create 1985's absolutely delightful American Flyers. We discuss the film's inclusiveness, its western motifs, and the inspirational sports movie genre. (recorded December 10, 2020)

Today we are covering Speed of Darkness by Steve Tesich. A play about a Vietnam War vet who has yet to face his past until he's forced to when his estranged friend from the war comes into town. --- Send in a voice message: https://anchor.fm/breaking-the-4th-wall-pod/message

O neologismo “pós-verdade”, criado pelo dramaturgo sérvio Steve Tesich, nada mais é do que um eufemismo para a palavra mentira. O que se chama de pós-verdade é uma técnica de manipulação massiva da opinião operada por meio de técnicas da publicidade. O objetivo pode ser vender um produto, insuflar uma ideologia e fazer um político crescer na opinião pública.

QIF's first season comes to a close with the first truly Quaidy property on the man's c.v. -- 1979's Breaking Away, a minor classic I had trouble reviewing, because I've seen it so many times, it's like a family member. Old friends, new beginnings, the correct pronunciation of "REFUND?!", and the M and LVPs of Season 1 in an all-new Quaid In Full. Fill an ashtray with cat food and have a listen! SHOW NOTES Want to help defray the costs of the pod, like getting a print of that Baretta episode made? Throw a few bucks in the hat at QIF's GoFundMe page (https://t.co/MItcWMHOPU?amp=1)! Breaking Away on Amazon (https://www.amazon.com/gp/video/detail/B008GOG98Y/ref=atv_dl_rdr?autoplay=1) The IMDb plot summaries (https://www.imdb.com/title/tt0078902/plotsummary?ref_=tt_ql_stry_2) Ebert's (https://www.rogerebert.com/reviews/breaking-away-1979) Janet Maslin's review (https://www.nytimes.com/1979/07/18/archives/film-breaking-away-a-classic-sleeperback-home-in-indiana.html)

Die Schaulustigen haben das erste Mal ihr warmes Studio verlassen und sich eine Woche lang mit Mirkos in den Frankfurter Nieselregen gestellt: es war Buchmesse. Und zwischen Stehempfängen, Buchpremieren und unendlich vielen Häppchen haben die beiden sich genau die Bücher der Saison rausgegriffen, die sie glücklich gemacht haben oder die zumindest dringend verfilmt werden sollten. Außerdem kann man Passmann dabei zuhören, wie sie immer weiter ihre Stimme verliert. Das Sachbuch, das die Schaulustigen dieses Jahr beide gleichermaßen begeistert hat, ist die Basketball-Biografie "The Great Nowitzki" von Thomas Pletzinger. Pletzinger ist Nowitzki sieben Jahre lang quasi überall hin gefolgt. Dabei ist ein Buch entstanden, das alle lesen sollten, die in ihrem Leben schonmal in irgendetwas gut sein wollten. Die beiden haben Pletzinger für einen kurzen Schnack zwischen zwei Gläsern Sekt abgefangen, um ihm unter anderem die Frage zu stellen, was er von der Nowitzki-Doku "Der große Wurf" auf Netflix hält und wieso er weiß, dass die beste Szene es gar nicht in den Film geschafft hat. Leicht angetoucht vom Abend treffen sich Passmann und Kalle wieder am nächsten Messetag, um über das große Thema der Literaturbranche zu sprechen: Der Literaturnobelpreis für Peter Handke. Die Schaulustigen interessieren sich vor allem für die Frage, wie die Causa Handke verfilmt werden sollte. Wer spielt Handke? Wer spielt Denis Scheck? Wer führt Regie? Wer spielt die Wälder, in denen Handke spazieren geht? Und weil man sich nicht immer nur am aktuellen Buchprogramm entlang hangeln kann, werden noch zwei Bücher vorgestellt, die bisher nicht verfilmt wurden, es aber dringend sollten. "Ein letzter Sommer" von Steve Tesich und "how to be famous" von Caitlin Moran. Ach, und die Aufzeichnung des Literarischen Quartetts war eigentlich auch noch, aber dafür hatten die beiden nach vier Tagen Buchmesse emotional und körperlich "leider" keine Lust.

Welcome back to Double Feature, the IDS film podcast where the powers that be let us in a podcast booth to give you hot takes and maybe some lukewarm ones, too. A darty playing music too loudly, alumni coming back to town in hordes, townies preparing for likely inevitable mayhem. It is undeniably Little 500 season in Bloomington. Called “The World’s Greatest College Weekend,” Little 500 is an IU tradition so important to the local culture, it even has its own movie. “Breaking Away,” released in 1979 and written by IU alumnus Steve Tesich, tells the story of a group of 19-year-old Bloomington residents and the divide between IU students and those living in the town, centered on the Little 500 race itself. This week hosts Annie Aguiar and Chris Forrester watched “Breaking Away” for the first time, and thankfully they both loved it. In this episode, they discuss the movie and how weird it is to watch a movie filmed where you walk to class every day.

Nouveau voyage dans l'histoire du cinéma avec Antoine Sire et Antoine Jullien. Cette semaine, Antoine Sire nous fait faire un petit détour par un film qui lui est cher : "Georgia" d'Arthur Penn (sorti récemment en DVD), notamment au travers de la figure de son scénariste Steve Tesich, auteur américain qui a su créer des passerelles entre roman et travail d'écriture cinématographique durant toute sa vie. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Reed Birney just won Tony Award for his role as Erik in Stephen Karam's play, THE HUMANS, at The Helen Hayes Theater in New York. Last season, Reed Birney appeared in New York Halley Feiffer's I'M GONNA PRAY FOR YOU SO HARD (Outer Critics Circle, Drama Desk Award nominations) at The Atlantic Theater and Clare Barron's YOU GOT OLDER (Drama Desk Award nomination) at Here Arts Center. He won a Drama Desk award and was nominated for a Tony for his performance as Charlotte in Harvey Fierstein's CASA VALENTINA. He was Hubert Humphrey the A.R.T. production of ALL THE WAY with Bryan Cranston. His Broadway debut was in 1977 in Albert Innauratoʼs GEMINI. In 2012 he returned to Broadway in the Roundabout revival of PICNIC. In 2011, he received a Special Drama Desk Award honoring his career as an actor. Recent productions: CORE VALUES at Ars Nova, HAPGOOD at Williamstown Theater Festival, Annie Baker's translation of UNCLE VANYA (Soho Rep-Drama Desk Nomination), Kim Rosenstockʼs TIGERS BE STILL and David West Readʼs THE DREAM OF THE BURNING BOY (Drama League, Outer Critics Circle nominations), both at The Roundabout Underground, and Adam Bockʼs A SMALL FIRE at Playwrights Horizons. He was Ian in the New York premiere of Sarah Kaneʼs BLASTED in 2008 at Soho Rep (Drama Desk Award nomination.) He received an OBIE and Drama Desk Award for his performance in Annie Bakerʼs CIRCLE MIRROR TRANSFORMATION also at Playwrights Horizons. He was Tony Blair in the acclaimed Public Theater production of STUFF HAPPENS. Other notable performances include the world premiere of Tony Kushnerʼs revised HOMEBODY/KABUL at Steppenwolf, The Mark Taper Forum and BAM; Tracy Letts' BUG (OBIE award) at The Barrow Street Theater; THE COMMON PURSUIT at the Promenade Theater; Gaev in THE CHERRY ORCHARD at Williamstown Theater Festival. He made his film debut in Arthur Penn and Steve Tesichʼs FOUR FRIENDS, and has appeared in Clint Eastwoodʼs CHANGELING, MORNING GLORY and Jeff Lipskyʼs TWELVE THIRTY, MOLLYʼS THEORY OF RELATIVITY, and MAD WOMEN, and with Kristen Wiig in THE GIRL MOST LIKELY. He is Rep. Donald Blythe on the Netflix series, "House of Cards" and can be seen as Patti LuPone's husband in HBO's "Girls." Other recent TV appearances include "Blue Bloods,” as Tom Connolly on "The Blacklist" and NBCʼs “American Odyssey.” On the web, he is in the series “Whatʼs Your Emergency?” He won a 2006 Obie Award for Sustained Excellence in Performance and in 2011 Actors' Equity awarded him the Richard Seff Award. He has taught acting at Columbia University and The Scott Freeman Studio. He is married to actress Constance Shulman and they have two children, Ephraim and Gus, who are both actors. 

It took British director Peter Yates and Yugoslavian screenwriter Steve Tesich, born Stojan Tešić, to tell the quintessential American coming of age story Breaking Away from 1979.  The film was set and shot in Bloomington, Indiana where Tesich's family emigrated to when he was a teenager and tells a story based on a bicyclist Tesich befriended during his time racing for Indiana University.  For his efforts, the screenwriter  received the Academy Award for Best Screenplay and the Golden Globe for Best Film (Comedy or Musical). Dan and Vicky take a look at this seminal sports film from the 70's and discuss how the nostalgic glow it casts put them in a good mood.  Not so good is the tumble Vicky took after seeing Dan's show -- you'll hear all about it -- and the cranky audience reaction to The Walking Dead finale -- Dan and Vicky give us their two cents.   They also read their FIRST viewer letter (!), talk about the movies and TV shows they've been watching lately (including 1983's The Entity and the The Nightmare on Elm Street doc Never Sleep Again), and boogie to some classic disco. Come along for the ride with Vicky and Dan on Hot Date #26.    

-"Price" de Steve Tesich, publié chez Monsieur Toussaint Louverture, et traduit par Jeanine Hérisson (544 pages) -"Et rien d'autre" de James Salter, aux éditions de L'Olivier et traduit par Marc Amfreville. (368 pages) -"Le complexe d'Eden Bellwether" de Benjamin Wood, publié chez Zulma et traduit par Renaud Morin - Prix Fnac 2014 (512 pages) Comme toujours les références de nos coups de cœur sur notre site

Quatre objets culturels qui font la Une des journaux et des réseaux sociaux, et quatre journalistes du magazine Focus Vif qui en discutent, chacun depuis sa spécialité. La spécialité d'Ysaline Parisis, outre réveiller nos imaginaires enkylosés avec sa délicatesse de fée clochette, c'est la littérature. La spécialité de Nicolas Clément, outre la beauté, c'est le cinéma et la BD. La spécialité de Guy Vertraeten, outre les blagues de Toto, c'est un peu tout et c'est ça qui est bien. Et la spécialité de Myriam Leroy, outre parler dans le poste, c'est de réunir des gens autour de leur passion, la culture. Le programme du jour est le suivant : le film "Mommy" de Xavier Dolan, le roman "Price" de Steve Tesich, la série d'Amazon "Transparent" et l'album-surprise de Thom Yorke "Tommorow's Modern Boxes". Allons-y, venez, c'est par là. Ici oui.

[...] Hyper motivée par la remontée de Nicolas Sarkozy dans les sondages, un vrai président pour une France vraie, La Salle 101 s’envole en… en envolées lyriques, justement… et parle de plusieurs choses fondamentales : Karoo, de Steve Tesich, Au nord du monde, de Marcel Theroux et Armageddon rag, de George R.R. Martin. Eh oui. « L’édition française, [...]

[…] Hyper motivée par la remontée de Nicolas Sarkozy dans les sondages, un vrai président pour une France vraie, La Salle 101 s'envole en… en envolées lyriques, justement… et parle de plusieurs choses fondamentales : Karoo, de Steve Tesich, Au nord du monde, de Marcel Theroux et Armageddon rag, de George R.R. Martin. Eh oui. « L'édition […]

One of "God of Carnage"'s current combatants on Broadway, Christine Lahti, talks about playing the range of emotions that consume her character over the course of the play's mere 80 minutes, and how the new ensemble developed the rapport for such a physical and intimate work. She also discusses her college years, including the dual lures of social activism and theatre performance; her experience understudying Madeline Kahn and Sigourney Weaver in the premiere of John Guare's "Marco Polo Sings a Solo"; her early Broadway work in plays by Michael Weller and Steve Tesich; being directed by and co-starring with the legendary George C. Scott in "Present Laughter", along with Broadway newbies Nathan Lane and Kate Burton; how studying with another iconic figure, Uta Hagen, taught her how to be "director-proof"; her multiple appearances in Jon Robin Baitz's monologue-driven "Three Hotels"; and her great affinity for the work of Wendy Wasserstein, evidenced by her performances in "The Heidi Chronicles" (on Broadway), "Third" (at the Geffen Playhouse) and "An American Daughter" (for television). Original air date - February 10, 2010.

One of "God of Carnage"'s current combatants on Broadway, Christine Lahti, talks about playing the range of emotions that consume her character over the course of the play's mere 80 minutes, and how the new ensemble developed the rapport for such a physical and intimate work. She also discusses her college years, including the dual lures of social activism and theatre performance; her experience understudying Madeline Kahn and Sigourney Weaver in the premiere of John Guare's "Marco Polo Sings a Solo"; her early Broadway work in plays by Michael Weller and Steve Tesich; being directed by and co-starring with the legendary George C. Scott in "Present Laughter", along with Broadway newbies Nathan Lane and Kate Burton; how studying with another iconic figure, Uta Hagen, taught her how to be "director-proof"; her multiple appearances in Jon Robin Baitz's monologue-driven "Three Hotels"; and her great affinity for the work of Wendy Wasserstein, evidenced by her performances in "The Heidi Chronicles" (on Broadway), "Third" (at the Geffen Playhouse) and "An American Daughter" (for television). Original air date - February 10, 2010.

English director Peter Yates talks about Steve Tesich's basketball play "Passing Game" playing at the American Place Theatre.

English director Peter Yates talks about Steve Tesich's basketball play "Passing Game" playing at the American Place Theatre.