Podcast appearances and mentions of Sydney Pollack

This week on Bad Dads Film Review, Sidey, Dan and Cris review Tony Gilroy's Michael Clayton, starring George Clooney, Tom Wilkinson, Tilda Swinton and Sydney Pollack. It is a legal thriller without grandstanding courtroom speeches, a corporate conspiracy movie without cartoon villains, and a George Clooney film where the star power is deliberately worn down into exhaustion, debt and moral compromise.Sidey has loved this one for years, Cris remembers liking it, and Dan arrives as a Michael Clayton virgin after realising the “Michael” film in his head was actually Michael Collins. The dads begin with the film's strange, non-linear opening: Arthur Edens spiralling through a voiceover, Michael being dragged away from a backroom poker game to clean up a rich client's hit-and-run, and the early reminder that Clayton may have a fixer's reputation but he is not a miracle worker. He can tell a man to face the music; he cannot make the consequences vanish.The review digs into Clayton as a man trapped by other people's mess. He is the firm's problem-solver, not a partner. He has an ex-DA past, a failed restaurant business, a brother whose addictions helped put him in debt, and an $80,000 hole that makes him useful to Sydney Pollack's Marty Bach. Clooney plays him as tired rather than cool: still sharp, still well-dressed, but visibly sick of being sent into the night to mop up disasters for people richer and worse than him.At the centre of the film is Arthur Edens, played brilliantly by Tom Wilkinson. Arthur's breakdown during the U-North deposition is spectacular and humiliating, but the dads keep coming back to the idea that his madness is tangled up with moral clarity. He has spent years defending a company whose weed killer has damaged and killed people, and once he finds the smoking-gun memo proving U-North knew the truth, he can no longer keep doing the job. His obsession with Anna, one of the plaintiffs, and with the fantasy book Realm and Conquest gives the film its odd spiritual thread, leading eventually to the horses on the hill that save Michael's life.Tilda Swinton's Karen Crowder becomes the face of corporate panic. The dads talk about her sweaty armpits, her rehearsed speeches, her desperation to satisfy U-North's board and her terrible decision to hire surveillance operatives who turn into assassins. Arthur's murder is one of the episode's key talking points because it is so coldly procedural: no big struggle, no dramatic villain speech, just sedation, injection, staged suicide and the awful efficiency of people doing a job.As Michael follows the clues Arthur left behind, the film becomes a study in compromised people trying to survive a rotten system. He finds the marked book, learns about the memo, realises Arthur had thousands of copies printed, and starts to suspect that the suicide story is nonsense. Yet when Marty offers him the money he needs, Michael takes it. That is part of what makes the film work for the dads: he is not pure. He sells Arthur out for $80,000 before finding his way back to something like decency.The finale is pure thriller satisfaction. After the bomb in Clayton's car fails because he has walked up the hill to look at the horses from his son's book, he confronts Karen at the U-North settlement meeting. She thinks he is dead, then thinks he can be bought. Michael pushes her into saying enough, reveals he is wearing a wire, and walks away as her world collapses behind him. The final taxi ride, with Clooney silently processing everything as the credits roll over his face, gets praised as a perfect ending.Verdicts are emphatic. Sidey gives Michael Clayton the strongest possible recommend and says he could watch it again immediately. Dan calls it one of the best midweek films the podcast has done this year and wants more undiscovered films like it. Cris loves that the legal world is not glamorised: it is late-night rooms full of lawyers billing hours, protecting corporations and turning human cost into numbers. The dads praise the whole cast, especially Clooney's pared-back performance, Wilkinson's haunted intensity, Swinton's Oscar-winning panic and Pollack's completely believable law-firm authority.In short: a brilliant grown-up thriller about corporate greed, moral exhaustion, legal compromise and the terrifying power of a memo everyone wants buried.You can now text us anonymously to leave feedback, suggest future content or simply hurl abuse at us. We'll read out any texts we receive on the show. Click here to try it out!We love to hear from our listeners! By which I mean we tolerate it. If it hasn't been completely destroyed yet you can usually find us on twitter @dads_film, on Facebook Bad Dads Film Review, on email at baddadsjsy@gmail.com or on our website baddadsfilm.com. Until next time, we remain... Bad Dads

Benvenuti in America. La terra delle opportunità. Una nazione che dietro la sua copertina luminosa e trionfante, c'è tanta oscurità.Il Cinema ha saputo mostrare il lato più tetro e "scomodo" degli USA con film provocatori, lugubri e talvolta crudi. Perché quindi non riscoprirli?Pochi momenti furono gloriosi per il cinema americano quanto il periodo della Nuova Hollywood.Specialmente quando registi e autori cercarono di esorcizzare le paure e le paranoie dell'epoca attraverso film avvincenti e sinistri.Proprio come "I tre giorni del Condor" del mai troppo ricordato Sydney Pollack.

"That is one nutty hospital." This week Jack and Corey are joined by comedian Scott Rowe to talk Sydney Pollack's award winning comedy classic TOOTSIE (1982)! The three talk beloved movies, frustrated actors, 80s culture, Tootsie Fever, celery themes, Cinema Possessed After Dark, Dustin Hoffman's rocky reputation, Dubonnet with a twist, great reveals, Jessica Lange's Oscar win, Bill Murray's effortless charm, Teri Garr's bitter memories, the word "Another" in sequel titles, fighting on set, vanity projects, bad hair, drag movies and the 14 year old inside us all.Support the pod by joining our Patreon at patreon.com/cinemapossessedpod and unlock the Cinema Possessed Bonus Materials, our bi-monthly bonus episodes where we talk about more than just what's in our collection.Instagram: instagram.com/cinemapossessedpodTikTok: https://www.tiktok.com/@cinemapossessedpodEmail: cinemapossessedpod@gmail.com Hosted on Acast. See acast.com/privacy for more information.

Aujourd'hui l'Économie vous propose de passer en 16:9 et de regarder le monde en grand écran. On ne parlera pas, comme cela nous arrive parfois, d'économie du cinéma mais d'économie au cinéma. Pour ce dernier épisode, on va voir comment le cinéma s'empare de la lutte des classes, et comment par l'art, les réalisateurs luttent à leur manière contre les injustices. Le Cuirassé Potemkine, film muet en noir et blanc de 1925 du cinéaste russe Sergeï Eisenstein, est sans doute l'un des premiers à parler de violence de classes à travers la mutinerie des marins d'Odessa en 1905. Il fut d'ailleurs très longtemps interdit dans de nombreux pays pour cause de « propagande bolchevique ». Dès son origine, le cinéma s'empare de la thématique des luttes sociales qui prend souvent racine dans des périodes de crises profondes telles que la Grande Dépression des années 1930 aux États-Unis, début d'une conscience de gauche à Hollywood.  Notre pain quotidien, film de 1934 du réalisateur texan King Vidor, met en scène la vie d'une coopérative agricole où ouvriers et paysans se regroupent pour faire pousser du blé dans une région frappée par la sécheresse. Dans les années 1970, Sydney Pollack signe un autre film sur la Grande Dépression avec On achève bien les chevaux, qui dépeint une classe moyenne poussée par le chômage et la misère, qui se rue dans les marathons de danse pour gagner une prime jusqu'à l'épuisement. Jean Renoir, la France d'avant-guerre  En France, en 1939, Jean Renoir signe son chef-d'œuvre avec La Règle du jeu, comédie de mœurs, qui décrit les rouages d'une société des classes. Derrière bals et chasses en Sologne s'expose la vanité d'une élite aveugle de la guerre qui s'annonce. Censuré à sa sortie, La Règle du jeu dénonce l'immobilisme d'un ordre social oppressif. Telle l'adaptation d'un roman d'Émile Zola, Jean Renoir filme avec précision les rouages de la société des classes qui perdure en France à cette époque. Derrière l'apanage d'une société organisée en classes sociales, Jean Renoir efface les lignes et organise savamment le mélange. À l'image de la rencontre entre Robert de la Chesnaye et le braconnier Marceau.  Des courants cinématographiques : reflets des injustices sociales  En Italie, avec le néoréalisme, le réalisateur Vittorio De Sica s'empare de la condition des plus modestes. Dans Le voleur de bicyclette en 1948, un homme désespéré se retrouve désemparé sans son seul moyen pour retrouver du travail et nourrir sa famille. Autre grand peintre des luttes sociales, le réalisateur britannique Ken Loach, s'attache déjà en 1967 dans son premier film, Pas de larmes pour Joy, à faire le portrait réaliste d'un milieu défavorisé, qui survit tant bien que mal dans les faubourgs de Londres.  Welfare de Frederick Wiseman ou l'enfer de l'administration américaine  Aux États-Unis, c'est le documentariste Frederick Wiseman qui, au début des années 1970, propose une plongée dans l'enfer de l'administration pour les bénéficiaires des minimas sociaux dans son film tourné à New York, intitulé Welfare.  Le film s'intéresse à la nature et à la complexité du système de santé et de la sécurité sociale américains, à New York. Il y montre l'ahurissante diversité des problèmes de ce système : logement, chômage, divorce, problèmes médicaux et psychiatriques, enfants abandonnés et maltraités. Les travailleurs sociaux comme les patients se retrouvent démunis face à un système qui gouverne leur travail et leur vie. Le film est tourné au Welfare Center de Greenwich Village, dans le bas de Manhattan. Un diptyque poétique et politique sénégalais  Vingt ans plus tard, à la fin des années 1990, le cinéaste sénégalais Djibril Diop Mambéty signe deux films consacrés aux laissés-pour-compte de la société sénégalaise : Le Franc et La Petite vendeuse de soleil. Deux films poétiques et politiques qui pointent les inégalités économiques dans la société sénégalaise post-coloniale. Un conte moderne qui donne une voix à ceux qui d'ordinaire sont ignorés.  Sili a entre 10 et 13 ans, vit sur les trottoirs et se déplace à l'aide de béquilles. Mendiante, elle tend la main là où les garçons proposent des journaux. Mais, ce matin-là, elle a été violemment bousculée par ces derniers. Elle a dû lutter pour réussir à se remettre debout et en a été profondément humiliée. Sa décision est alors prise. Dès le lendemain, elle vendra des journaux comme tout le monde. Ce qui est valable pour l'homme l'est également pour la femme. Ce petit monde de vendeurs est sans pitié. Elle y rencontrera la douleur, le rêve et enfin l'amitié. En 1993, déjà, le réalisateur ivoirien Fadika Kramo-Lanciné mettait en scène dans Wariko le gros lot, un gagnant du loto à Abidjan sur le ton de la comédie, pour dépeindre les tensions sociales criantes. Il faudrait encore citer la classe bourgeoise décadente chez Chabrol, l'aristocratie arrogante de Titanic de James Cameron ou la revanche des miséreux dans Parasite du Sud-Coréen Bong Joon-ho, preuve que le cinéma n'a pas fini de traiter ce sujet inépuisable.

Mostly Film – Take 245: Harrison Ford In Review — Episode 5The persona episode. Jonathan and JP cover three films that each do something deliberately different with Harrison Ford's screen identity — and the results range from underseen gem to all-time blockbuster to one of the more quietly audacious casting decisions of the 1990s.First, Sabrina. Sydney Pollack got Billy Wilder's blessing before he agreed to direct. Winona Ryder turned down the lead because she couldn't face Audrey Hepburn's shadow. Greg Kinnear stepped into his first starring role fresh from hosting Talk Soup on E! Paul Giamatti shows up in a small part. And Ford plays a romantic lead — gentle, comedic, slowly and reluctantly falling in love — in a genre he'd never really inhabited. It made $87 million. Ebert gave it four stars. Ford has called it underrated. The question: does Ford actually work as a romantic lead, or is he always slightly more interesting when he has something to push against?Then Air Force One. Kevin Costner turned it down for The Postman. Ford called the White House himself to get access to the real plane. Randy Newman wrote the entire score, Petersen hated it, Jerry Goldsmith replaced him with twelve days to deliver something new — and part of Newman's rejected work was reportedly recycled into Toy Story 3. Ford insisted Gary Oldman actually punch him in the face. 'Egor Korshunov' is credited as 'Ivan Korshunov' in the end titles. $315 million worldwide. Ford's last film to cross $300 million. The Wall Street Journal ranked President Marshall the greatest fictional president in screen history. 'Get off my plane.' The question: is Air Force One a great film or a great movie — and is there a difference?Then What Lies Beneath. Made by Robert Zemeckis during the production pause on Cast Away while Tom Hanks was losing weight and befriending a volleyball. Screenplay by Clark Gregg — later Agent Coulson. Ford and Pfeiffer together cost $35 million of the $100 million budget. Zemeckis's casting logic was simple: the twist only works if the audience cannot conceive of Harrison Ford as a killer. Pfeiffer is functionally the lead despite equal billing. The bathtub sequence is considered some of the finest technical suspense work Zemeckis has ever done. The question: does the central gambit — using Ford's trustworthiness against the audience — actually work?Air Force One is the last time Ford was the biggest movie star in the world. What Lies Beneath is the last genuinely good original film he made before a long run of misfires.

Los Angeles, 1935. With nowhere to go and nothing to lose, Robert and Gloria enter a marathon dance on the Santa Monica pier, one of hundreds of couples competing to stay on their feet for weeks at a time for a prize of a thousand dollars. As the days blur into nights and the competition grows merciless, their unlikely bond deepens into something neither of them can name, and a reckoning neither can avoid.George MacKay (1917, Rose of Nevada) stars as Robert alongside Leah Brotherhead (Hullraisers, RSC's Wolf Hall) as Gloria.Horace McCoy's 1935 novel is one of the founding texts of American noir, previously adapted as Sydney Pollack's acclaimed 1969 film with Jane Fonda. This is its first ever audio adaptation, brought to radio by adaptor Kerry Shale.Story of America is a major collection of dramatisations of milestone American titles marking 250 years since the Declaration of Independence and the foundation of the United States.Robert . . . . . George MacKay Gloria . . . . . Leah Brotherhead Rocky . . . . . Kerry Shale Mrs Layden . . . . . Laurel Lefkow Pedro . . . . . Joseph Balderama Rollo . . . . . Ben Crowe Jim . . . . . David Menkin Ruby . . . . . Laura Dos SantosAdapted by Kerry Shale.Production co-ordinators: Sara Benaim, Jonathan Powell Technical producers: Keith Graham, Neva Missirian, Kira Golightly Sound design: Sharon Hughes Director: Sasha YevtushenkoA BBC Studios production.

1982. The year that brought you E.T., The Thing and Blade Runner also brought you Sydney Pollack's Tootsie. What do these movies have in common? They're all going to be remade by Lee Cronin in 2027. Listen below as Adam and Aidan break down the script and examine the remarkable technologies that gave us Dabney Coleman's moustache. And more!Also, why do I keep typing Tootise instead of Tootsie? Is this how Lee Cronin plans to get around the rights issues? Lee Cronin's Tootise (2027)? DAC Episode 429 - Tootsie (429) Adam P Knave and Aidan Morgan Download

La película El Nadador (1968) presenta a un Burt Lancaster en plenitud física interpretando a un hombre de mediana edad que decide "nadar hasta su casa" atravesando la serie de piscinas construidas en los chalets de sus adinerados vecinos en los suburbios de Nueva York. Lo que comienza como una premisa narrativa sencilla se convierte en un profundo estudio psicológico sobre el narcisismo y la fragilidad mental, donde el espectador descubre gradualmente que la visión idílica que el protagonista tiene de su vida está completamente separada de la realidad. El productor José Egea destaca que la cinta, iniciada por Frank Perry y finalizada por Sydney Pollack, utiliza una fotografía magnífica y recursos sonoros inmersivos —incluyendo planos desenfocados y sonidos que nos introducen en la cabeza del personaje— para narrar un viaje a través de la inestabilidad emocional de un hombre visiblemente enfermo. Pese a tener un ritmo distinto al cine actual, la obra mantiene una gran fuerza interior gracias a un guion que prioriza las emociones contenidas y las verdades no dichas sobre la acción convencional.

SEASON 2 - EPISODE 199 Scott Frank - Writer / Director In this episode of the Team Deakins Podcast, we speak with writer and director Scott Frank (DEPT. Q, THE QUEEN'S GAMBIT, LOGAN). Scott has worked across film and television over the course of his career, and as fans of his latest show, DEPT. Q, we were thrilled to have him on to talk about his work. Scott reveals how a college professor's life advice and interest in his budding screenwriting abilities eventually led to an office on the Paramount lot at age 24, and throughout the episode we discuss Scott's views on writing, directing, and the importance of character in a story. Scott also shares what he learned from watching his feature screenplays get made by other directors, and we learn why he decided to direct his own work himself. We later discuss his approach to casting and coverage, and Scott shares numerous pieces of advice from filmmakers such as Steven Soderbergh (Season 2, Episode 153), Sydney Pollack, and his own very wise wife. - Recommended Viewing: DEPT. Q

This is the debut of a mini episode called FH Mini Spotlight. For this one we are spotlighting Sydney Pollack (listen to Episode 439) and his time as an actor on the hit TV show Will and Grace for Gay Pride Month. 

In this episode, I spoke with Patrick McGilligan who was one of the editors of the book "Sydney Pollack: Collected Interviews". Sydney Pollack was a true actor's director―a filmmaker who came up through the ranks, starting as a bit-part TV performer before turning to directing. From his debut feature The Slender Thread (1965) to his final film, The Interpreter (2005), Pollack built a reputation for intelligent, emotionally resonant storytelling.

Steven Delay returns to our Surveillance Cinema series for a discussion of Sydney Pollack's 1993 legal thriller The Firm, starring Tom Cruise. We first spend some time on Pollack's background, including his established Mossad connections and the themes of his 1975 paranoid spy thriller Three Days of the Condor, which had significant CIA involvement in its production. The Firm turns out to be largely a misdirection op, depicting a white shoe law firm as running interference for the mafia (a favorite Hollywood scapegoat) rather than for the deep state. We also talk about themes of demoralization, subversion of traditional social values, and the movie's significant Masonic/occult symbolism.This conversation was recorded in April but personal circumstances took us away from the podcast for a couple months. https://twitter.com/StevenDeLay4https://stevendelay.com/If you enjoy Psyop Cinema, check out the research anthology series Cultural Engineering Studies. Volume #3 (on Hollywood Neo-Gnosticism) is out now! Volumes #1 and #2 feature Steven's essays on Chinatown. Use code psyopcinema for a discount - https://decoding-culture.com/print-copies/ https://twitter.com/CinemaPsyophttps://www.patreon.com/c/PsyopCinemahttps://psyopcinema.com/thomas-psyopcinema@protonmail.combrett-psyopcinema@protonmail.com  

Hay cosas que uno no las entiende, hasta mucho tiempo después. Puede saber de lo que tratan, a lo que se refieren, pero en realidad no ha comprendido nada. Así ocurre con algunas historias, como "El festín de Babette" (1950), el cuento de la escritora danesa Karen Blixen (1885-1962), que publicaba sus libros con el nombre de un hombre, Isak Dinesen. Muchos conocemos la historia por la película que ganó un Óscar en 1988, poco después de que las "Memorias de África" de la autora se llevaran al cine recibiendo siete de los once Óscar a los que estaba nominada. Las adaptó Sydney Pollack con Meryl Streep haciendo de la baronesa que escribió "El festín de Babette". En este programa de radio "Al Trasluz" descubrimos que esta historia va más allá de la gastronomía. Es una celebración de la Gracia. Escuchamos fragmentos del libro, leído por Eugenio Barona, y escenas de la versión doblada al castellano de la película de Gabriel Axel. Oímos la voz de la actriz francesa que interpreta a Babette, Stéphane Audran, hablando de este cuento. José de Segovia lo analiza con la música, el diseño sonoro y la realización técnica de Daniel Panduro.

Émission tensions, tromperies et deuils. Elle voulut lui coincer les doigts dans la prise, qui peut résister à ses yeux qui grisent. Son cœur choquait, implorait la fin mais elle ne lâchait pas prise, maintenant elle avait la main mise, s'amuserait à dévorer son âme sans faim, car elle est Electrique, Fantastique, Antipathique, Psychosomatique, Insatiable, Remarquable, Indénombrable, Mémorable, Électrique. Enfin bref il est 19h...Dispo sur le site, apeul, spotti, etc et on da tube :Au programme cette semaine :* Trente Minutes de sursis (The Slender Thread) premier film de Sydney Pollack, réédité en BR chez Rimini* La Vénus Electrique, de Pierre Salvadori* Die my love, de Lynne Ramsay______PUBLIC SERVICE ANNOUNCEMENT : Le Film du Dimanche Soir, dimanche 07 juin, arrêtez nous si vous pouvez !______Coups de cœur:THOMAS: La Marche de Kamata (Fukasaku)THIBAUT: revoir 12 hommes en colère (Lumet)MARGAUX: Une page d'amour (Zola)PLAYLISTPrégénérique / Extrait La Collectionnite, la sitcom, épisode 3Quincy Jones / Threadbare (The Slender Thread Main Title)Joe Dassin / Fais-moi de l'électricitéExtrait Die My Love

No podcast is ever just a podcast - especially this episode, where after 5+ years of doing this thing we're finally getting around to talking about a Stanley Kubrick film. Hopefully the wait was worth it, because it's lead to one of our most divisive, unwieldy and longest discussions ever. Is Eyes Wide Shut a film that peels back the layers of a conspiracy related to real life horrors (a la Jeffrey Epstein), or is it really just a pitch-black comedy about Tom Cruise not being able to get laid? Regardless of our conclusion, hopefully you enjoy the ride.Like what you hear? Subscribe to the show, and maybe leave us a rating or review. If you're interested in following us on Facebook, Twitter, Instagram, or TikTok ⁠you can join us here.Eyes Wide ShutDirected by Stanley KubrickTom Cruise, Nichole Kidman, Sydney Pollack, Todd Field, Alan Cummings

The eleventh episode of our season on the awesome movie year of 1985 features the Academy Awards Best Picture winner, Sydney Pollack's Out of Africa. Directed by Sydney Pollack and starring Meryl Streep, Robert Redford, Klaus Maria Brandauer and Michael Kitchen, Out of Africa is based on the life and writings of Karen Blixen.The contemporary reviews quoted in this episode come from Roger Ebert (https://www.rogerebert.com/reviews/out-of-africa-1985), Sheila Benson in the Los Angeles Times (https://www.latimes.com/archives/la-xpm-1985-12-18-ca-26572-story.html) and Pauline Kael in The New Yorker.Check out more info and the entire archive of past episodes at https://www.awesomemovieyear.com and visit us on Facebook at http://www.facebook.com/awesomemovieyearYou can find Jason on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Letterboxd at https://letterboxd.com/goforjason/You can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/, on Bluesky at signalbleed.bsky.social and on Letterboxd at https://letterboxd.com/signalbleed/If you're a Letterboxd user and you watch any of the movies we talk about on the show, tag your review “Awesome Movie Year” to share your thoughts.You can find our producer David Rosen and his Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod, on Bluesky at piecingpod.bsky.social and on Letterboxd at https://letterboxd.com/bydavidrosen/ Join the Popcorn & Puzzle Pieces Facebook group at https://www.facebook.com/groups/piecingpod for more movie discussion and our Awesome Movie Year audience choice polls.All of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comSubscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year and Piecing It Together, plus music by David Rosen: https://www.patreon.com/bydavidrosenPlease like, share, rate and comment on the show and this episode, and tune in for the next 1985 episode, with our producer David Rosen's pick, Dan O'Bannon's The Return of the Living Dead.

The tenth episode of our season on the awesome movie year of 1985 features the Sundance Film Festival Grand Jury Prize winner, Joel and Ethan Coen's Blood Simple. Written and directed by Joel and Ethan Coen and starring John Getz, Frances McDormand, Dan Hedaya and M. Emmet Walsh, Blood Simple was the Coen brothers' debut feature.The contemporary reviews quoted in this episode come from Roger Ebert (https://www.rogerebert.com/reviews/blood-simple-1984), Janet Maslin in The New York Times (https://www.nytimes.com/1984/10/12/movies/blood-simple-a-black-comic-romp.html) and Pauline Kael in The New Yorker.Check out more info and the entire archive of past episodes at https://www.awesomemovieyear.com and visit us on Facebook at http://www.facebook.com/awesomemovieyearYou can find Jason on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Letterboxd at https://letterboxd.com/goforjason/You can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/, on Bluesky at signalbleed.bsky.social and on Letterboxd at https://letterboxd.com/signalbleed/If you're a Letterboxd user and you watch any of the movies we talk about on the show, tag your review “Awesome Movie Year” to share your thoughts.You can find our producer David Rosen and his Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod, on Bluesky at piecingpod.bsky.social and on Letterboxd at https://letterboxd.com/bydavidrosen/ Join the Popcorn & Puzzle Pieces Facebook group at https://www.facebook.com/groups/piecingpod for more movie discussion and our Awesome Movie Year audience choice polls.All of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comSubscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year and Piecing It Together, plus music by David Rosen: https://www.patreon.com/bydavidrosenPlease like, share, rate and comment on the show and this episode, and tune in for the next 1985 episode, with the Academy Awards Best Picture winner, Sydney Pollack's Out of Africa.

In this episode, we kick off the April selections with the wilderness epic from director Sydney Pollack, "Jeremiah Johnson", starring Robert Redford and Will Geer! Listen now!

HOLLYWOOD ROYALTY: MINISODE 6 – THREE DAYS OF THE CONDOR On this round of 60s/70s Faye, we look over our shoulder to make sure no one is watching before we revisit the actress in paranoia mode with 1975's Three Days of the Condor. Sydney Pollack directs this tale of a CIA researcher named Turner (Robert […]

HOLLYWOOD ROYALTY: MINISODE 6 – THREE DAYS OF THE CONDOR On this round of 60s/70s Faye, we look over our shoulder to make sure no one is watching before we revisit the actress in paranoia mode with 1975's Three Days of the Condor. Sydney Pollack directs this tale of a CIA researcher named Turner (Robert […]

La Ferme africaine, un roman de Karen Blixen, est porté à lʹécran par Sydney Pollack sous le titre dʹOut of Africa en 1985. Cʹest une reconstitution en costumes du Kenya de 1913 à 1931 avec des lions, un avion, des kenyans, des Anglais, une plantation de café, un mari volage et une grande histoire dʹamour entre Karen Blixen, jeune aristocrate danoise, une baronne, et un aventurier, un chasseur, Denys Finch Hatton. Au moment où lʹEurope entre en guerre, Karen expérimente une Afrique colonisée, devient chef dʹentreprise, finit par tout perdre, son mari, son amant, sa plantation, et rentre au Danemark. En 1937, elle écrit la Ferme africaine sous un pseudo, un récit autobiographique lumineux qui devient très vite un bestseller. Beaucoup de réalisateurs ont rêvé de porter ce roman épique à lʹécran. Cʹest Sydney Pollack qui sʹen empare sur un scénario de Kurt Luedtke. Le tournage sʹeffectue au Kenya où on reconstitue le passé colonial du pays. Un tournage épique, assez difficile, où on fait intervenir des milliers de figurants et où on fait venir tous les animaux depuis la Californie. Sur place, les autorités ne voient pas dʹun très bon œil lʹarrivée de cette équipe dʹaméricains qui tourne un vieux films en costumes. Mais ils sont très heureux quand le film, multiplement oscarisé, attire les touristes en masse dans le pays. Mais ça, cʹest une autre histoire. Sorti en 1985, le film attire tous les regards. Ce sont surtout Meryl Streep et Robert Redford qui font fondre les cœurs. Le public adore, la critique également à part certains journaux féminins qui fustigent les envies traditionnalistes dʹêtre une femme mariée de Karen Blixen en oubliant simplement que cʹest un récit autobiographique dʹune femme née en 1885. Autres temps, autres mœurs. Le film, récolte une pluie de récompenses des Golden Globes, des BAFTA et 7 Oscars,  dont les plus courus, lʹOscar du meilleur film et du meilleur réalisateur. REFERENCES FEENEY CALLAN Michael, Robert Redford, biographie, Editions la Trace, 2022 LONGWORTH Karina, Meryl  Streep, Cahiers du cinéma, 2013 Interview de Karen Blixen par Pierre Dumayet https://fresques.ina.fr/europe-des-cultures-fr/fiche-media/Europe00016/karen-blixen.html Meryl Streep - Out of Africa Interview (1997) https://www.youtube.com/watch?v=NkwiI-AqBxk Sydney Pollack en 1995 https://www.youtube.com/watch?v=b4231Eyevvs

Welcome back to the GGtMC!!!This week Sammy and Will pay honors to Robert Redford and talk about Jeremiah Johnson (1972) directed by Sydney Pollack and Brubaker (1980) directed by Stuart Rosenberg!!!Emails to midnitecinema@gmail.comAdios!!!

Lee and Daniel are joined this episode by returning guest Wick to cover a film he wanted to talk about, Sydney Pollack's "Tootsie" (1982), starring Dustin Hoffman. A lot of the conversation revolves around just how well this film plays in 2026, and if it's really fair to be too critical of it given when it was made and what it actually is trying to talk about. It turns out to be one of the more spirited discussions we've had on the show. The hosts also talk about what they've watched as of late. Put on your best dress, high heels, and wig, and give us a listen. "Tootsie" IMDB  Catch Wick and his fantastic art here.  Lee on Bluesky, Instagram, and Letterboxd.    Listen to Daniel punch Nazis on the I Don't Speak German podcast. Catch Daniel on Bluesky and support his Patreon.    Featured Music: "You Think You're a Man" & "Walk Like a Man" by Divine.

Tony Gilroy's 2007 corporate wet works thriller, MICHAEL CLAYTON, is our feature presentation this week! We discuss Sydney Pollack as an actor, the Ford Pinto case that inspired the screenplay, corporate assassinations, Tom Wilkinson, Tilda Swinton's look, and much more! We also pick our Top 7 George Clooney Movies in this week's Silver Screen 7!  Join our Patreon ($2.99/month) here linktr.ee/brokenvcr to watch the episodes LIVE in video form day/weeks early. Find us on Instagram @thebrokenvcr and follow us on LetterBoxd! Become a regular here at THE BROKEN VCR!

We all have our own favorite Robert Redford movie. But what's Redford's most prescient film about today's America? His Seventies trilogy about American politics — The Candidate, Three Days of the Condor and All the President's Men — are all, in their own profound ways, lasting meditations on the United States. But of the three, it might be Sydney Pollack's Three Days of the Condor (1975) which has the eeriest relevance to contemporary America. For James Grady, whose equally classic 1974 thriller Six Days of the Condor inspired the movie, Three Days of the Condor speaks to both the all-encompassing paranoia and isolation of our age. It's the anti-James Bond film for our anti-James Bond age. "For a movie that was made fifty years ago to unearth the emotions we felt then, and the emotions we're feeling now — that's extraordinary," James Grady says. Yes. After a half century, the Condor has landed. Keen On America is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

Welcome to PTBN Pop's Movie Review of The Day! Every weekday we will be reviewing a movie whether it be currently in theaters, featured on streaming or just a film that we hold near and dear to us. On today's episode, Chad Campbell is reviewing “Eyes Wide Shut” from 1999 starring Tom Cruise, Nicole Kidman, Madison Eginton, Sydney Pollack & Todd Field.

Tune in as the Christmas season comes to a close on 2CC! For this fifth and final episode of December (as well as the final episode of 2025), Anna (@banananna024/@formergleek) is hopping back onto the program for a breakdown of Eyes Wide Shut, the 1999 psychosexual drama film about a Manhattan doctor who, after learning his wife had fantasized about sleeping with another man, embarks on a dreamlike journey through the city and into a shadowy underworld that he has no business being in. The simultaneously eerie and cozy atmosphere, the hot take that this doesn't count as a Christmas movie, Bill's view of women and domestic life from his own masculine perspective, and the gorgeousness of Nicole Kidman with those glasses of hers land as some of the subject matter for this episode.Directed by Stanley Kubrick, Eyes Wide Shut stars Tom Cruise, Nicole Kidman, Sydney Pollack, Marie Richardson, Rade Šerbedžija, Todd Field, Vinessa Shaw, Alan Cumming, Sky du Mont, Fay Masterson, Leelee Sobieski, Thomas Gibson, Madison Eginton, Julienne Davis, and Leon Vitali.Spoilers start at 33:35Erotic 90s | Eyes Wide Shut, Part 1 from You Must Remember ThisErotic 90s | Eyes Wide Shut, Part 2, and the Sexiest Man Alive in 1999 from You Must Remember ThisEYES WIDE SHUT: Recreating New York with Stanley KubrickCreate your podcast today! #madeonzencastrHere's how you can learn more about Palestine and IsraelHere's how you can keep up-to-date on this genocideHere's how you can send eSIM cards to Palestinians in order to help them stay connected onlineGood Word:• Anna: Canada's Drag Race• Arthur: Alice Rue Evades the Truth by Emily ZippsReach out at email2centscritic@yahoo.com if you want to recommend things to watch and read, share anecdotes, or just say hello!Be sure to subscribe, rate, and review on iTunes or any of your preferred podcasting platforms!Follow Arthur on Twitter, Goodpods, StoryGraph, Letterboxd, and TikTok: @arthur_ant18Follow Arthur on Bluesky: @arthur-ant18Follow the podcast on Twitter: @two_centscriticFollow the podcast on Instagram: @twocentscriticpodFollow Arthur on GoodreadsCheck out 2 Cents Critic Linktree

Some years ago, when Jonathan Krane was producing my films and married to the Oscar nominated actress Sally Kellerman - who was Luana Anders closest pal on the planet - my wife and I had a Christmas dinner at Sally and Jonathan's home. Frank Gehry was there - by himself, so my wife and I, both children of architects sat down to have a lively conversation about everything under the sun. So the other day, after Frank passed, I had the "feeling" or awareness that he was willing to join our podcast - mainly because we've interviewed so many pals of his. Frank was in "group therapy" with Sydney Pollack, Sally, Jonathan, Luana - Blake Edwards, Dudley Moore and others... Milton Wexler was the renowned psychotherapist who ran the group, and remained a famous therapist until the end of his life. But because I knew Sally was in the group - I made that the "bell ringer" for myself - if I asked to speak to Frank and Sally showed up ("Hot Lips" in the original MASH) I knew it was him. And that's what happens in the podcast. Frank stops by to talk about his journey - and I was startled to see that his favorite building was the home of Norton Simon - which I didn't know he designed when I went to Sally and Jonathan's wedding at the palatial estate. But there you have it - I don't even know if Jennifer said "Venice" and I heard "Malibu" - I'll have to check the tape, but that's where my mind went. And yes, Jennifer Jones did offer to have our wedding at her home - but we didn't go that path.  Funny to remember it now and in this fashion. It's another mind bending podcast and serves as a reminder; they aren't gone; they're just not here. Happy Holidays, Merry Christmas and for folks like Frank who are Jewish; Happy Hannukah!

Forrest, Conan Neutron, Kristina Oakes and Ian Miller of Kowloon Walled City talk about Robert Altman's the PlayerAfter a decade in the wilderness, Robert Altman returned to Hollywood in 1992 to lacerate it with a satirical look at the Holywood Studio system of the 1980s and 1990s. The Player is the story of Griffin Mill (Tim Robbins) a sleazy Hollywood Executive whose life spirals out of control after he murders a writer David Kahane (Vincent D'Onfrio)Featuring an array of cameo appearances Anjelica Huston, Jeff Goldbum, Bruce Willis, John Cusack, Julia Roberts, Burt Renyolds, Susan Sarandon, Rod Steiger, Elliot Gould, Nick Nolte, Andi McDowell, Robert Wagner, Terri Garr, Peter Falk, Malcolm McDowell, Joel Grey, Sally Kirkland, Cher, Robert Carradine and Harry BelafonteStarring Tim Robbins, Greta Scacchi, Fred Ward, Whoopi Goldberg, Peter Gallagher, Brion James, Cynthia Stevenson, Richard Grant, Gina Gershon, Sydney Pollack, Lyle Lovett, and Dean Stockwell #altman #theplayer #robertaltman #jeffgoldblum #goldblum #timrobbins #susansarandon #harrybelafonte #hollywood #1992 #screenwriters #hollywoodmovies #hollywoodstudios #warnerbros #theplayers #kowloonwalledcity #kowlooncity #movieanalysis #podcast #moviepodcast #filmpodcast #cher #whoopigoldberg Forrest and Kristina are starting a new YouTube channel/show The Absurdity Space!! https://www.youtube.com/@UCa3LavkP9F_NxOnl0A2soXQ We are also streaming on @thisspacetv throw them a followJoin our discord: https://discord.gg/ZHU8W55pnhJoin our Patreon to get all our After Parties https://www.patreon.com/MovieNightExtraConan Neutron & the Secret Friends new noir inspired music video "A Villain of Circumstance" https://www.youtube.com/watch?v=qXjmjKzbTSI

Ahoy dancing queens! Dustin brings the S.S. Cheat-afore into dock with the feel good movie of 1969 (nice), They Shoot Horses, Don't They? And gosh, don't they indeed. We look back at the hard to find work from Sydney Pollack. Thanks to a popular online video website, we were able to watch the film. We talk about power structures, exploitative entertainment, physical media, and much, much more! Come aboard as we bring They Shoot Horses, Don't They? to the analysis table!

Madeline, Emilio, and Julian continue their seasonal cycle of Unorthodox Holiday Movies with a discussion about "Eyes Wide Shut," Stanley Kubrick's enigmatic final feature from 1999. Marking their first discussion about a Kubrick film, the trio take an appropriately late-at-night stroll journey through the many layers of EWS, including its touches of dream logic, commentary on class and wealth, and what the film has to say about observation and participation in potential acts of transgression, romantic and otherwise. Also along the way are nods to the film's admirable fake New York City, musician-specific considerations about gigs akin to one taken by character Nick Nightingale, and a shout-out to friend-of-the-show Jamie Homs, originally slated to be the guest for this episode.     If you enjoy our podcast, please rate and review us on your podcast platform of choice.  This really helps us find new listeners and grow!Follow us on IG and TikTok: @sleeplesscinematicpodSend us an email at sleeplesscinematicpod@gmail.comOn Letterboxd? Follow Julian at julian_barthold and Madeline at patronessofcats

Lee & Daniel return after a short break, and are joined by returning guest hosts Vaughn and Wick to look at a couple of films starring the recently departed Robert Redford. First up it's the well-known paranoid thriller "Three Days of the Condor" (1975), directed by Sydney Pollack, and then they look at the slightly less-talked about "The Great Waldo Pepper" (1975), directed by George Roy Hill. This big episode is full of asides and spirited conversation, and the host also go on and on about what they've watched recently. "Three Days of the Condor" IMDB  "The Great Waldo Pepper" IMDB  Check out Wick's art here, and his latest two podcast appearance here and here.    Check out Vaughn's podcast here.  Listen to Daniel punch Nazis on the I Don't Speak German podcast. Catch Daniel on Bluesky and support his Patreon.    Featured Music: "Out to Lunch" and "Yellow Panic" by Dave Grusin & "The Great Waldo Pepper March" by Henry Mancini.

Send us a textThis week on Fabulous Film and Friends we're going to pay tribute to the late, great Robert Reford and analyze just why this Hollywood icon belonged on the top of Mt. Olympus long before vanity, sanctimony and crass commercialism ruined his artistry. In other words, before he tarnished his legacy with offensive tripe like The Legend of Bagger Vance, the execrable Indecent Proposal and most especially by appearing as a generic schmoe bad guy #5 in Marvel movies, he was literally the undisputed KING of the Hollywood Hill starting with 1969's Downhill Racer directed by Michael Ritchie co-starring Gene Hackman, Camilla Sparv, Kenneth Kirk, Jim McMullan, Walter Stroud and Dabney Coleman in his ever so brief dreamboat era. Then Redford was his solid oakiest in 1972's Jeremiah Johnson directed by Sydney Pollack and co-starring Will Gear, Delle Bolton, Josh Albee, Paul Benedict, Jack Covin and Stefan Gierasch. And he showed us all how paranoid thrillers were done with 1975's 3 Days of the Condor directed once again by Sydney Pollack and co-starring Faye Dunaway, Max Von Sydow, John Houseman and Cliff RobertsonI'm your host Gino Caputi leading my dream team of scoffers and detractors, lil sis Roseanne Caputi and photobug/actor/gadfly Alex Robertson. Before we hit the trails on career highlights, the synopses:Downhill RacerAn arrogant young skier, David Chappellet, rockets to the top of the U.S. ski team, heedlessly chasing medals, without  regard for his teammates or his Coach who tries without success rein him in. ⸻Jeremiah JohnsonA war-weary loner heads into the Rockies to live off the land and find peace, but the wilderness has other notion, transforming Jeremiah Johnson from naive pilgrim to Legendary Crow Killer, forged by experience and hardship.  ⸻3 Days of the CondorMild-mannered CIA researcher Joe Turner, aka Condor, goes out for lunch and comes back to find everyone he works with dead. Suddenly Condor finds himself hunted, running from his own agency and clinging to the one woman who might trust him. Can he unravel the truth — before the deep state eats him alive?Why was Robert Redford the Hollywood GOAT? Find out!Watch the podcast on Youtube:https://youtu.be/zy0CtssU0-0

Welcome back to Morgan Hasn't Seen with Jeannine Brice & Morgan Robinson!!The contentious world of the courtroom and intense legal battles are on full display in our November series as Jeannine has selected a handful of gripping 90s legal thrillers adapted from the pen of JOHN GRISHAM!Starting off the series is Tom Cruise as a young law graduate who uncovers some sinister secrets about the prestigious law firm he's working for! With a stacked cast including Gene Hackman, Jeanne Tripplehorn, Hal Holbrook, Holly Hunter, Wilford Brimley & David Strathairn, and a thoroughly gripping mob mystery plot, Jeannine and Morgan get deep into Sydney Pollack's THE FIRM (1993)!Our YouTube Channel for all our regular videos:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/channel/UCvACMX8jX1qQ5ClrGW53vow⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Donate:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.buymeacoffee.com/ItsAWonderful1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Join our Patreon:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/ItsAWonderful1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠IT'S A WONDERFUL PODCAST STORE:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.teepublic.com/user/g9design⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Sub to the feed and download now on all major podcast platforms and be sure to rate, review and SHARE AROUND!!Keep up with us on (X) Twitter:Podcast:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/ItsAWonderful1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Morgan:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/Th3PurpleDon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Jeannine:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/JeannineDaBean_⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Keep being wonderful!!

Following our Robert Redford tribute episode, we couldn't pass up the opportunity to dive into one of his movies that was mentioned, especially as it celebrates it's 40th anniversary. Amber and Andrew discuss the beauty of the African plains, the surrounding dangers, and the romanticism of hair washing in Sydney Pollack's superb 1985 drama, Out of Africa!Head over to our Patreon and get started with a FREE 7-day trial. We've got plenty of exclusive content and episodes that you'll only find there! You can also sign up as a free member! Check out our YouTube Channel and subscribe now!www.afilmbypodcast.com/ for more information.Email us at afilmbypodcast@gmail.com with your questions, comments, and requests.Find us on Instagram, X, and Facebook @afilmbypodcast.

We journey out to Montana Territory in the latter half of the 19th century to break biscuits with John "Liver-Eating" Johnson, subject of the books Crow Killer by Raymond W. Thorp and Robert Bunker and Mountain Man by Vardis Fisher, both of which were subsequently adapted by John Milius for the Sydney Pollack film Jeremiah Johnson starring Robert Redford. All three detail Johnson's life as a hunter/trapper and his war with the Crow Indians after the killing of his wife, and while the accounts of foes stomped and scalps collected by the vengeful "Dapiek Absaroka" are outlandish at best, it makes for some fun Old West mythologizin'. And who better to discuss Old West mythologizin' than artist/historian/something of a myth himself David Lambert, who has graced the Pink Smoke with his expertise on such subjects as Cattle Drive Westerns, Sam Peckinpah and faux-Wyatt Earp movies. Here he brings light to some of the tall tales, the rampant mutilating and biscuit-baking of Crow Killer, the brilliant original Milius script for Jeremiah Johnson and the changes made for the movie. Waugh!! Hey! Look! It's our Patreon:www.patreon.com/thepinksmoke The Pink Smoke site:www.thepinksmoke.com David Lambert on X:x.com/DavidLambertArt David Lambert on bsky:@davidlambertart.bsky.social The Pink Smoke on X:x.com/thepinksmoke John Cribbs on X:x.com/thelastmachine

The Ringer's Bill Simmons and Chris Ryan, plus Bill's dad, give it all up to become three podcasting mountain men after rewatching Robert Redford in ‘Jeremiah Johnson,' also starring Will Geer and Allyn Ann McLerie and directed by Sydney Pollack. Producers: Craig Horlbeck, Chia Hao Tat, Ronak Nair, and Eduardo Ocampo A Mountain of Movies® on Paramount+. Stream now! Chad Powers - New Episodes on Tuesdays on Hulu Learn more about your ad choices. Visit podcastchoices.com/adchoices

It took decades in development hell for an adaptation of Stephen King's THE LONG WALK to trudge its way into theaters, and now that it has, we're of split opinions on how Francis Lawrence's film goes about distinguishing itself from its source material, particularly in its graphic depiction of violence. There's also the matter of the film's very different ending, which we dig into once we move into Connections to compare how THE LONG WALK's endurance contest compares to the one in Sydney Pollack's THEY SHOOT HORSES, DON'T THEY?, in terms of how voluntary they actually are, what spectators get out of watching participants suffer, and what passes for victory in a contest where no one really wins. Then, in Your Next Picture Show, we devote a little time to revisiting a film franchise that came up repeatedly in our discussions of both these films: THE HUNGER GAMES. Please share your thoughts about THEY SHOOT HORSES, DON'T THEY?, THE LONG WALK, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. Next Pairing: Paul Thomas Anderson's ONE BATTLE AFTER ANOTHER and Sidney Lumet's RUNNING ON EMPTY Intro: 00:00:00-00:01:59 The Long Walk discussion: 00:01:59 - 00:30:14 The Long Walk / They Shoot Horses Connections: 00:30:14-01:01:49 Your Next Picture Show and goodbyes: 01:01:49-end Learn more about your ad choices. Visit megaphone.fm/adchoices

Continuing the Redford Appreciation Episodes with a revisit of Sydney Pollack and Robert Redford's 1972 deceptively revisionist Western, 'Jeremiah Johnson'. Shaped by Redford and Pollack from an apparently off-the-wall John Milius screenplay, and only shot on location in the Utah wilderness through Redford's intervention with the studio, 'Jeremiah Johnson' is, I think, secretly one of everybody's favorite comfort watches.

It took decades for THE LONG WALK to make it to the big screen, in part because the Stephen King novel on which it's based is so unrelentingly grim — but as we discovered this week, it may actually be less so than the other half of this pairing, THEY SHOOT HORSES, DON'T THEY. Set during the Great Depression and featuring a protagonist who is greatly depressed, Sydney Pollack's 1969 drama about a marathon dance contest has little room for uplift, but it's nonetheless full of interesting characters and performances, evocative filmmaking choices, and one of cinema's all-time downer endings. After that discussion, we pick ourselves back up off the floor with the help of some feel-good Feedback from a long-time listener as we approach this podcast's ten-year anniversary.  Please share your thoughts about THEY SHOOT HORSES, DON'T THEY, THE LONG WALK, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. Intro: 00:00:00-00:04:32 They Shoot Horses, Don't They Keynote: 00:04:32-00:09:38 They Shoot Horses, Don't They Discussion: 00:09:38-00:50:10 Feedback/outro: 00:52:06-end Learn more about your ad choices. Visit megaphone.fm/adchoices

Gay homosexuals Nick and Joseph review ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠The Way We Were - a 1973 American romantic drama film directed by Sydney Pollack and starring Barbra Streisand and Robert Redford.Additional topics include:Cardi B's Am I the Drama?Janet Jackson's Resorts World residencyNed and Ariel FulmerStarbucks' paper compostable lidsTyler Perry's sexual assault accuser Derek DixonThe deaths of Gianni Quarana and Robert RedfordJoin us on Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/FishJellyFilmReviews⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Want to send them stuff? Fish Jelly PO Box 461752 Los Angeles, CA 90046Find merch here: https://fishjellyfilmreviews.myspreadshop.com/allVenmo @fishjellyVisit their website at www.fishjellyfilms.comFind their podcast at the following: Anchor: https://anchor.fm/fish-jelly Spotify: https://open.spotify.com/show/388hcJA50qkMsrTfu04peH Apple Podcasts: https://podcasts.apple.com/us/podcast/fish-jelly/id1564138767Find them on Instagram: Nick (@ragingbells) Joseph (@joroyolo) Fish Jelly (@fishjellyfilms)Find them on Letterboxd: https://letterboxd.com/ragingbells/ https://letterboxd.com/joroyolo/Nick and Joseph are both Tomatometer-approved critics at Rotten Tomatoes: https://www.rottentomatoes.com/critics/nicholas-bell https://www.rottentomatoes.com/critics/joseph-robinson

Spike Lee's HIGHEST 2 LOWEST is built on the rock-solid narrative foundation of HIGH AND LOW, but the “interpretation” of Akira Kurosawa's 1963 crime-thriller classic he builds atop it can be shaky at times. We're all in agreement that HIGHEST 2 LOWEST has flaws, but whether those flaws add up to ruin or simply provide texture to a singular filmmaker's singular film is up for discussion in the first part of this week's episode. Then we move into Connections to see where Lee and Kurosawa's films align and diverge when it comes to high-low metaphor and imagery, the intersection of media and public opinion, and the value of police work. And in Your Next Picture Show, Scott recommends an earlier collaboration between Lee and HIGHEST 2 LOWEST star Denzel Washington that has only grown in his estimation since its 1998 release.  Please share your thoughts about HIGH AND LOW, HIGHEST 2 LOWEST, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. Next Pairing: Francis Lawrence's THE LONG WALK and Sydney Pollack's THEY SHOOT HORSES, DON'T THEY? Intro: 00:00:00-00:02:02 Highest 2 Lowest discussion: 00:02:02 - 00:30:51 Highest 2 Lowest / High and Low Connections: 00:30:51-01:12:02 Your Next Picture Show and goodbyes: 01:12:02-end Learn more about your ad choices. Visit megaphone.fm/adchoices

Send us a textSPECIAL NOTE: SEASON 15 OF THE GOOD, THE POD AND THE UGLY CELEBRATES THE USE OF THE PRACTICAL AND DIGITAL EFFECT KNOWN AS THE SQUIB. IRL GUN VIOLENCE IS INTOLERABLE AND RENOUNCED BUT... CINEMATIC VIOLENCE WILL BE CELEBRATED IN A WAY THAT MAY DISTURB SOME LISTENERS.  This week TGTPTU covers the film Elephant, no not the 2000s school-shooter mood piece by Gus Van Sant filmed in Portland, OR and covered previously and paired with Scarface (1983, not the earlier, black-and-white 1932 Howard Hawkes version) in Episode 8 of this Squib Season (it's Season 15 after all, not Season 14's Redux where the hosts covered films already covered) but, rather, the 39-minute, made-for-British-TV short film directed by Alan Clarke also entitled ELEPHANT (1989).  Chosen by host Thomas for its un-celebratory violence, the film tracks with Clarke's influential, wide-angle following shots (camera, not bullet) people who shoot other people (with bullets, not cameras) in mostly silent milieus but for environmental sounds, mostly very bloody. (As mentioned by cohost Ken, and for more on this camera placement and its effects and influence on Van Sant, see this video essay on the Film & Media Studies' YouTubeTM channel: https://youtu.be/Z5B8_IDhJQo.) Produced and defended by Danny Boyle, Elephant's unspoken (again, mostly silent with dialogue barely heard in just one scene between four blokes kicking around the football toward the middle of the flick) subject is The Troubles in the UK. In what is either bravery or foolery (callers into the network after this movie aired were split), working class and Brit-born Clarke--by then a celebrated veteran of the medium of the British TV issues film--stripped the original screenplay of dialogue when making the film in order to focus on the act of gun murder as was then currently occurring. With one un-notable exception, each of the eighteen scenes of gun violence has the shooter followed into the setting where the homicide is to occur, shoot his victim, leave followed by the camera/audience, and then cut back to silent moments of each murdered man filling the frame with his recently un-lifed corpse.  Elephant would be Clarke's penultimate work, with The Firm (no, not the adaption of the John Grisham novel that gave Holly Hunter the nom for Best Supporting Actress the same year she won Best Actress for The Piano as The Firm you're thinking of is by Sydney Pollack) also shot for British television and aired in 1989 as his final. Clarke would cross the pond to see if he could sell out in America (according to Ken) and die in 1990 at the age of 54.  The film resoundingly fails the Bechdel test.  Host Ryan calls Clarke a coward.  THEME SONG BY: WEIRD A.I.Email: thegoodthepodandtheugly@gmail.comFacebook: https://m.facebook.com/TGTPTUInstagram: https://instagram.com/thegoodthepodandtheugly?igshid=um92md09kjg0Bluesky: @goodpodugly.bsky.socialYouTube: https://www.youtube.com/channel/UC6mI2plrgJu-TB95bbJCW-gLetterboxd (follow us!):Podcast: goodpoduglyKen: Ken KoralRyan: Ryan Tobias

"The machine's just going to come back with 'Rephrase' or 'Express in other words.'" Jacques Ellul argued that the technological society "requires predictability and, no less, exactness of prediction. It is necessary, then, that technique prevail over the human being ...The individual must be fashioned by techniques." Condor's inability to arrive on time, mocking description of trust as "a problem," and disinclination "to go through channels" — as Dr. Lappe complains — suggests his refusal to be interpellated within the CIA's occupational culture, to be "fashioned by techniques." Though the CIA front at which Condor works is called the American Literary Historical Society (ALHS) and suggests the work of academics of the type that staffed the OSS during World War II, the omnipresence of communications and computational technologies in the mise en scène argues against the ALHS's use of hermeneutic analyses. The implied need to encode plot details into previously established terminology suggests that whatever Condor and his colleagues are doing at the ALHS, it is not literary interpretation in the traditional senses of the term. Cheever, Abigail. “Unpredictable: Three Days of the Condor, Information Theory, and the Remaking of Professional Ideology.” Post45, November 6, 2018. https://post45.org/2018/11/unpredictable-three-days-of-the-condor-information-theory-and-the-remaking-of-professional-ideology/. Ellul, Jacques. The Technological Society. New York: Vintage Books, 1964. Three Days of the Condor. Directed by Sydney Pollack. Los Angeles: Paramount Pictures, 1975.

Brandon Davis welcomes Klarissa Becksted, host of the new film podcast I've Seen That One, to discuss one of the most iconic spy thrillers of the 1970s on Front Row Classics. The episode explores Sydney Pollack's stylish and suspenseful direction, the effortless charisma of Robert Redford, and standout performances by Faye Dunaway, Max von Sydow, and John Houseman. Brandon and Klarissa also reflect on the era's political paranoia and how it shaped the film's enduring relevance and tension-filled narrative.

Three Days of the Condor Brandon Davis welcomes Klarissa Beckstead, host of the new film podcast I’ve Seen That One, to discuss one of the most iconic spy thrillers of the 1970s on Front Row Classics. The episode explores Sydney Pollack's stylish and suspenseful direction, the effortless charisma of Robert Redford, and standout performances by Faye Dunaway, … Continue reading Ep. 350- Three Days of the Condor →

THE SWIMMER (1968) We dive deep in to The Swimmer and discuss and analyze, maybe just a little bit the glorious film directed by Frank Perry, based on a screenplay by Eleanor Perry, from the 12 page short story by John Cheever. "Well-off ad man Ned Merrill (Burt Lancaster) is visiting a friend when he notices the abundance of backyard pools that populate their upscale suburb. Ned suddenly decides that he'd like to travel the eight miles back to his own home by simply swimming across every pool in town."If you're reading this I would like to thank you from the bottom of my heart for your support. Death By DVD has almost existed for 2 solid decades, please consider supporting Death By DVD directly on Patreon to secure the future of this very show. ★ Support this podcast on Patreon ★ Thank you for choosing Death. DEATH BY DVD FOREVER. FOREVER DEATH BY DVD. ★ Support this podcast on Patreon ★ CHECK OUT DEATH BY DVD ON YOUTUBE : https://www.youtube.com/@DeathByDVDDon't forget, Death By DVD has its very own all original audio drama voiced almost entirely by Death By DVD!DEATH BY DVD PRESENTS : WHO SHOT HANK?The first of its kind, (On this show, at least) an all original narrative audio drama exploring the murder of this shows very host, HANK THE WORLDS GREATEST! Explore WHO SHOT HANK, starting with the MURDER! A Death By DVD New Year Mystery WHO SHOT HANK : PART ONE WHO SHOT HANK : PART TWO WHO SHOT HANK : PART THREE WHO SHOT HANK : PART FOUR WHO SHOT HANK PART 5 : THE BEGINNING OF THE ENDWHO SHOT HANK PART 6 THE FINALE : EXEUNT OMNES 

GGACP celebrates the centenary of screen icon and philanthropist Paul Newman (born 1925) with this ENCORE of a 2015 episode, featuring Gilbert's critical analysis of Newman's 1963 revisionist western "Hud." Also in this episode: the late, great Sydney Pollack! The cinematography of James Wong Howe! And Gilbert croons the theme song from “The Life and Times of Judge Roy Bean”! Learn more about your ad choices. Visit megaphone.fm/adchoices

Dive into Three Days of the Condor with Spybrary.  CIA conspiracies, moped escapes, and one of the best assassins in spy cinema. Redford stars in this slow-burn, cerebral classic that still resonates today. Join 4000 other spy fans, chatting spy movies, books and TV. https://www.spybrary.com/community Welcome to another edition of Section F on Spybrary, where spy film enthusiasts gather to dissect classic espionage cinema. In Episode 270, Shane is joined by Michael, Jonathan, and debut guest Pierce to delve deep into Three Days of the Condor (1975), directed by Sydney Pollack and starring Robert Redford. Episode Summary The team begins with a spoiler-free introduction to the film's plot and style, helping newcomers decide if it's their kind of spy movie. Then they dive into a rich, spoiler-heavy discussion covering historical context, casting choices, character analysis, plot structure, and the film's legacy in spy cinema. They also compare the movie to James Grady's novel Six Days of the Condor and debate the effectiveness of the movie's ambiguous ending. 

Did you know that a reported 1 out of 5 people who give birth experience PMADs (Perinatal Mood and Anxiety Disorders)? However, the professionals I have spoken to believe the number is closer to 1 in 3. Today we explore the world of PMADs- how to recognize the line between baby blues and PMADs, when it might be time to seek support, and where to find the help you need. Joining me today on Yoga| Birth| Babies, I have Sydney Pollack-Tobert. Sydney is a licensed clinical social worker (LCSW), certified perinatal mental health therapist (PMH-C), and a child therapist located on the Upper West Side. Sydney is a mom to one human baby and two dogs- and is a a proud alumn of Prenatal Yoga Center! Get the most out of each episode by checking out the show notes with links, resources and other related podcasts at: prenatalyogacenter.com Don't forget to grab your FREE guide, 5 Simple Solutions to the Most Common Pregnancy Pains HERE  If you love what you've been listening to, please leave a rating and review! Yoga| Birth|Babies (Apple) or on Spotify! To connect with Deb and the PYC Community:  Instagram & Facebook: @prenatalyogacenter Youtube: Prenatal Yoga Center Learn more about your ad choices. Visit megaphone.fm/adchoices