Podcast appearances and mentions of Terry Gilliam

“There is no British security without Europe,” Keir Starmer told the Munich Security Conference this weekend. Nobody wants a wider war in Europe, but we might get one anyway – and Britain's military isn't ready for it yet. So how can we change our armed forces and our wider society to ensure that Putin won't want to risk a conflict with Britain and our allies? Ed Arnold of the Royal United Services Institute joins Ros Taylor and Raf Behr to talk about how Russia uses hybrid “grey zone” attacks on democracies which stop just short of open warfare… the sobering truth about NATO Article 5… and why we have to budget for the next threat but one, because “What comes after Putin may be worse.”  ESCAPE ROUTES • Raf rewatched Terry Gilliam's Brazil. • Ed has been enjoying England in the Six Nations rugby. • Ros recommends the comedy drama about stand-up comedy, Is This Thing On? , out now in cinemas.  www.patreon.com/ohgodwhatnow Presented by Ros Taylor and Rafael Behr. Audio and video production by Chris Jones. Art direction: James Parrett. Theme tune by Cornershop. Produced by Chris Jones. Managing Editor: Jacob Jarvis. Group Editor: Andrew Harrison. OH GOD, WHAT NOW? is a Podmasters production. www.podmasters.co.uk  Learn more about your ad choices. Visit podcastchoices.com/adchoices

It was only a matter of time before we talked about a Terry Gilliam film, so it's not surprise the first is 1985's "Brazil"! Adam gives us the details on the not-so-behind-the-scenes struggle to maintain the film in its intended form. Plus, he's watched the "Love Conquers All" cut so you don't have to. And for once, Doug's take may have actually been INTENDED by the filmmaker!

https://elcamarotedelosmarx.blogspot.com.es/ https://t.me/CamaroteMarx Programa de radio de "El Camarote de los Marx" grabado el 15 de febrero... ...en el que hablamos de vernos demasiado y ofrecer un vaso de leche con galletas, de ventolera, geranios perjudicados y un tendedero pendular, de gente educada y explicaciones convincentes, de peticiones a los oyentes y una serie 'chanante', de bajar a los suburbios y un ordenador al que le da un 'parraque', de incorpóreos que regresan y un '24 Horas' que cierra, de hacer una ouija en las escaleras y dejar sin luz a la urbanización, de comentarios irónicos (o no) y un olvido imperdonable, de una puntualización necesaria y un director muy interesante, de insultar con poco cariño y aprovechar para cambiar el orden de las secciones, de una escatológica declaración de intenciones y volver a lo mismo sin volver a lo mismo, de un agradecido cambio de tono y enriquecer un universo de otra manera, de un viaje emocional lleno de excesos y un conquistador en un medievo muy sucio, de ricos perpetrando un fraude y salir de la zona de confort, de eternautas, guardias civiles y un jardinero sin empatía, de médicos muy guapos, gente que se droga mucho y una casa inteligente, de continuaciones difíciles y una cabeza que te explota, de cosas que hacen 'pupa' y una visión muy de Terry Gilliam, de que Ryan Murphy debe tener un 'tocao' y una epidemia que provoca insomnio, de mandarinas coreanas y una historia familiar, de la estética adaptación de un clásico y un amor arrebatado, de disparidad de opiniones y un tono con el que no es fácil conectar, de un reparto que podría ser de Marvel y una de robos de alto standing, de un clásico del documental patrio y una actriz encasillada en el terror, de una de animación y el señor que traduce los títulos, de una alerta que llega tarde y una cena que se va de madre, de decisiones estéticas cuestionables, falta de fluidez y que nos están follando a todos, de un director juguetón y un personaje sin habilidades sociales, de un mono asesino y dos hermanos muy brutos, de un drama musical y un trailer nefasto, de un director a reivindicar y el precursor del cine quinqui, de tramas que sobran, un pícaro del ping-pong y taritas propias (y ajenas), de cambios que no se ven venir y cargarse a la vecina, de tricotar mientras haces el programa y un cuadrado color marrón cálido, de brindar por Dolly Parton, entrevistar a dos setos... y echar a los parroquianos de su bar de toda la vida. Series de las que hablamos: El caballero de los siete reinos, What It Feels Like for a Girl, Rey y conquistador, El dinero de otros, La empresa de las sillas, El eternauta, Cuando nadie nos ve, El jardinero, The Pitt, KRANK: Berlín al límite, Cassandra, La sangre helada, Primal (3ª temporada), The Beauty, Wake., Si la vida te da mandarinas... Estrenos: Cumbres borrascosas, No hay otra opción, Ruta de escape, Historias del buen valle, El vestido, Como cabras. Críticas: No hay otra opción, La cena, Send Help (Enviad ayuda), Primate, Song Sung Blue (Canción para dos), Eloy de la Iglesia adicto al cine, Marty Supreme.

In this episode of the show we are exploring the maximalist dystopia directed by Terry Gilliam, Brazil. Over the course of our conversation you will hear us carefully retrace the complicated history of how Brazil came together, how it was a nightmare to release in the US and how it became a cult classic despite meddling from studio moguls. We also talk about Gilliam's signature kitchen sink approach to visual storytelling as we try to wrap our heads around the many nuances and facets of the narrative. We wonder if Sam Lowry is more of a Josef K. or a Winston Smith character, pontificate over the question if the movie has a happy ending after all and much more!Tune in and enjoy!Hosts: Jakub Flasz & Randy BurrowsFeaturing: Ian SchultzHead over to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠uncutgemspodcast.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ to find all of our archival episodes and more!Follow us on Twitter (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@UncutGemsPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠), IG (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@UncutGemsPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠) and Facebook (@UncutGemsPod)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy us a coffee over at Ko-Fi.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (ko-fi.com/uncutgemspod)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Subscribe to our Patreon!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (patreon.com/uncutgemspod)

Paul and Amy take on Brazil, Terry Gilliam's surreal warning about authoritarianism, paperwork, and the cost of losing one's imagination. They trace the film's roots in Gilliam's own experiences, his battles with studio power, and the creative compromises that nearly reshaped it to examine why Brazil remains one of cinema's most enduring dystopias. You can join the Unspooled conversation on Paul's Discord at https://discord.gg/ZwtygZGTa6 Follow Paul and Amy on Letterboxd for more of their movie hot takes! https://letterboxd.com/paulscheer/ https://letterboxd.com/theamynicholson/ Paul's book Joyful Recollections of Trauma is out now! Find it at https://www.harpercollins.com/products/joyful-recollections-of-trauma-paul-scheer Check out more of Paul's writing on his Substack https://substack.com/@paulscheer Episodic Art by Kim Troxall: https://www.unspooledart.com/ Learn more about the show at Unspooledpod.com, follow us on Twitter @unspooled and on Instagram @unspooledpod, and don't forget to rate, review & subscribe to us on Apple Podcasts, Spotify or where you listen to podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

Award-winning actor Sir Jonathan Pryce talks to John Wilson about his cultural influences and career. He made his name with the 1975 Trevor Griffiths play Comedians, his role as a stand-up comic winning him a Tony Award after it moved to Broadway. He won an Olivier Award for a landmark production of Hamlet in 1980, and another Tony for his role as The Engineer in Miss Saigon. His huge and diverse list of film credits include Terry Gilliam's 1985 dystopian drama Brazil, the musical Evita alongside Madonna and, an Oscar nominated performance as Pope Francis in The Two Popes. And he's been increasingly prolific in the age of television streaming with acclaim for his roles in Game Of Thrones, The Crown, Taboo, Slow Horses and Wolf Hall. He was knighted for services to drama in 2021.Producer: Edwina PitmanArchive used: Listen With Mother, BBC Home Service, 7 February, 1950 Is Your Honeymoon Really Necessary?, Whitehall Theatre, BBC1, 1940s Protests on Broadway, 6 April 1991 Comedians by Trevor Griffiths, 2nd House, BBC2, 15 March 1975 Jonathan Pryce in Hamlet, The Southbank Show, ITV, 1988 Brazil, Terry Gilliam, 1985

Send Kevin a Text MessageIn this episode of Don't Kill the Messenger, host Kevin Goetz sits down with Academy Award-winning producer Charles "Chuck" Roven, the co-founder of Atlas Entertainment, one of Hollywood's most enduring and successful production companies. Across four decades, Chuck has built a producing career defined by creative ambition and commercial scale — including five of the 100 top-grossing films of all time.  From his early struggles to winning the Academy Award for Oppenheimer, Chuck's journey reveals how smart dealmaking, creative instinct, and relentless tenacity shaped one of the most impressive producing legacies in modern Hollywood.From Czechoslovakia to Cinderella Homes (03:22): Chuck's father escaped post-war Europe and built a real estate empire in Los Angeles, teaching Chuck the principle of horizontal business.Dawn Steel (08:16): Chuck recounts meeting his first wife, Dawn Steel, who revolutionized her way into Hollywood through merchandising hits like Gucci toilet paper before becoming Paramount's president of production.The 90-Day Escrow Deal (20:48): Instead of optioning Dick Tracy, Chuck negotiated a 90-day escrow deal to "check the title," wrote a script, and sold it to Universal.12 Monkeys and the Art of International Financing (30:34): Chuck explains how he assembled a consortium of international partners to co-finance Terry Gilliam's $32 million film.The Phone Call That Led to Batman Begins (36:30): After producing the hit Scooby-Doo, Chuck received a call inviting him to partner with an up-and-coming director named Christopher Nolan on a little project called Batman Begins.Bringing Oppenheimer to Nolan and Winning the Oscar (37:29): Chuck recounts how he brought the Oppenheimer project to Christopher Nolan. The film earned 11 Oscar nominations and Chuck's first Best Picture win.Making Mercy (42:24): Chuck describes developing the "Screen Life" concept into the thriller Mercy, featuring an AI judge with access to every camera and computer.The Value of Test Screenings (46:34): Despite working with directors like Christopher Nolan who prefer friends-and-family screenings, Chuck explains why recruited audience testing remains invaluable.Chuck Roven's producing philosophy combines his father's business lessons with an unwavering respect for the audience, proving that hunger, passion, and smart dealmaking can result in four decades of Hollywood success.If you enjoyed this episode, please leave us a review and share. We look forward to bringing you more behind-the-scenes revelations next time on Don't Kill the Messenger.Host: Kevin GoetzGuests: Charles “Chuck” RovenProducer: Kari CampanoWriters: Kevin Goetz, Darlene Hayman, and Kari CampanoAudio Engineer: Gary Forbes (DG Entertainment)For more information about Chuck Roven:Wikipedia: https://en.wikipedia.org/wiki/Charles_RovenIMDB: https://www.imdb.com/name/nm0746273/For more information about Kevin Goetz:- Website: www.KevinGoetz360.com- Audienceology Book: https://www.simonandschuster.com/books/Audience-ology/Kevin-Goetz/9781982186678- How to Score in Hollywood: https://www.amazon.com/How-Score-Hollywood-Secrets-Business/dp/198218986X/- Facebook, X, Instagram, TikTok, YouTube, Substack: @KevinGoetz360- LinkedIn @Kevin Goetz- Screen Engine/ASI Website: www.ScreenEngineASI.com

Hermione Lee is the renowned biographer of Virginia Woolf, Edith Wharton, Penelope Fitzgerald, and, most recently, Tom Stoppard. Stoppard died at the end of last year, so Hermione and I talked about the influence of Shaw and Eliot and Coward on his work, the recent production of The Invention of Love, the role of ideas in Stoppard's writing, his writing process, rehearsals, revivals, movies. We also talked about John Carey, Brian Moore, Virginia Woolf as a critic. Hermione is Emeritus Professor of English Literature at the University of Oxford. Her life of Anita Brookner will be released in September.TranscriptHenry Oliver: Today I have the great pleasure of talking to Professor Dame Hermione Lee. Hermione was the first woman to be appointed Goldsmiths' Professor of English Literature at the University of Oxford, and she is the most renowned and admired living English biographer. She wrote a seminal life of Virginia Woolf. She's written splendid books about people like Willa Cather, Edith Wharton, and my own favorite, Penelope Fitzgerald. And most recently she has been the biographer of Tom Stoppard, and I believe this year she has a new book coming out about Anita Brookner. Hermione, welcome.Hermione Lee: Thank you very much.Oliver: We're mostly going to talk about Tom Stoppard because he, sadly, just died. But I might have a few questions about your broader career at the end. So tell me first how Shavian is Stoppard's work?Lee: He would reply “very close Shavian,” when asked that question. I think there are similarities. There are obviously similarities in the delighting forceful intellectual play, and you see that very much in Jumpers where after all the central character is a philosopher, a bit of a bonkers philosopher, but still a very rational one.And you see it in someone like Henry, the playwright in The Real Thing, who always has an answer to every argument. He may be quite wrong, but he is full of the sort of zest of argument, the passion for argument. And I think that kind of delight in making things intellectually clear and the pleasure in argument is very Shavian.Where I think they differ and where I think is really more like Chekov, or more like Beckett or more in his early work, the dialogues in T. S. Elliot, and less like Shaw is in a kind of underlying strangeness or melancholy or sense of fate or sense of mortality that rings through almost all the plays, even the very, very funny ones. And I don't think I find that in Shaw. My prime reading time for Shaw was between 15 and 19, when I thought that Shaw was the most brilliant grownup that one could possibly be listening to, and I think now I feel less impressed by him and a bit more impatient with him.And I also think that Shaw is much more in the business of resolving moral dilemmas. So in something like Arms and the Man or Man and Superman, you will get a kind of resolution, you will get a sort of sense of this is what we're meant to be agreeing with.Whereas I think quite often one of the fascinating things about Stoppard is the way that he will give all sides of the question; he will embody all sides of the question. And I think his alter ego there is not Shaw, but the character of Turgenev in The Coast of Utopia, who is constantly being nagged by his radical political friends to make his mind up and to have a point of view and come down on one side or the other. And Turgenev says, I take every point of view.Oliver: I must confess, I find The Coast of Utopia a little dull compared to Stoppard's other work.Lee: It's long. Yes. I don't find it dull. But I think it may be a play to read possibly more than a play to see now. And you're never going to get it put on again anyway because the cast is too big. And who's going to put on a nine-hour free play, 50 people cast about 19th-century Russian revolutionaries? Nobody, I would think.But I find it very absorbing actually. And partly because I'm so interested in Isaiah Berlin, who is a very strong presence in the anti-utopianism of those plays. But that's a matter of opinion.Oliver: No. I like Berlin. One thing about Stoppard that's un-Shavian is that he says his plays begin as a noise or an image or a scene, and then we think of him as this very thinking writer. But is he really more of an intuitive writer?Lee: I think it's a terribly good question. I think it gets right at the heart of the matter, and I think it's both. Sorry, I sound like Turgenev, not making my mind up. But yes, there is an image or there is an idea, or there are often two ideas, as it were, the birth of quantum physics and 18th-century landscape gardening. Who else but Stoppard would put those two things in one play, Arcadia, and have you think about both at once.But the image and the play may well have been a dance between two periods of time together in one room. So I think he never knew what the next play was going to be until it would come at him, as it were. He often resisted the idea that if he chose a topic and then researched it, a play would come out of it. That wasn't what happened. Something would come at him and then he would start doing a great deal of research usually for every play.Oliver: What sort of influence did T. S. Elliot have on him? Did it change the dialogue or, was it something else?Lee: When I was working with him on my biography, he gave me a number of things. I had extraordinary access, and we can perhaps come back to that interesting fact. And most of these things were loans he gave them to me to work on. Then I gave them back to him.But he gave me as a present one thing, which was a black notebook that he had been keeping at the time he was writing Rosencrantz and Guildenstern, and also his first and only novel Lord Malquist and Mr. Moon, which is little known, which he thought was going to make his career. The book was published in the same week that Rosencrantz came up. He thought the novel was going to make his career and the play was going to sink without trace. Not so. In the notebook there are many quotations from T. S. Elliot, and particularly from Prufrock and the Wasteland, and you can see him working them into the novel and into the play.“I am not Prince Hamlet nor was meant to be.” And that sense of being a disconsolate outsider. Ill at ease with and neurotic about the world that is charging along almost without you, and you are having to hang on to the edge of the world. The person who feels themself to be in internal exile, not at one with the universe. I think that point of view recurs over and over again, right through the work, but also a kind of epigrammatical, slightly mysterious crypticness that Elliot has, certainly in Prufrock and in the Wasteland and in the early poems. He loved that tone.Oliver: Yes. When I read your paper about that I thought about Rosencrantz and Guildenstern quite differently. I've always disliked the idea that it's a sort of Beckett imitation play. It seems very Elliotic having read what you described.Lee: There is Beckett in there. You can't get away from it.Oliver: Surface level.Lee: Beckett's there, but I think the sense of people waiting around—Stoppard's favorite description of Rosencrantz was: “It's two journalists on a story that doesn't add up, which is very clever and funny.”Yes. And that sense of, Vladimir going, “What are we supposed to be doing and how are we going to pass the time?” That's profoundly influential on Stoppard. So I don't think it's just a superficial resemblance myself, but I agree that Elliot just fills the tone of that play and other things too.Oliver: In the article you wrote about Stoppard and Elliot, the title is about biographical questing, and you also described Arcadia as a quest. How important is the idea of the quest to the way you work and also to the way you read Stoppard?Lee: I took as the epigraph for my biography of Stoppard a line from Arcadia: “It's wanting to know that makes us matter, otherwise we're going out the way we came in.” So I think that's right at the heart of Stoppard's work, and it's right at the heart of any biographical work, whether or not it's mine or someone else's. If you can't know, in the sense of knowing the person, knowing what the person is like, and also knowing as much as possible about them from different kinds of sources, then you might as well give up.You can't do it through impressions. You've got to do it through knowledge. Of course, a certain amount of intuition may also come into play, though I'm not the kind of biographer that feels you can make things up. Working on a living person, this is the only time I've done that.It was, of course, a very different thing from working on a safely dead author. And I knew Penelope Fitzgerald a little bit, but I had no idea I was going to write her biography when I had conversations with her and she wouldn't have told me anything anyway. She was so wicked and evasive. But it was a set up thing; he asked me to do it. And we had a proper contract and we worked together over several years, during which time he became a friend, which was a wonderful piece of luck for me.I was doing four things, really. One was reading all the material that he produced, everything, and getting to know it as well as I could. And that's obviously the basic task. One was talking to him and listening to him talk about his life. And he was very generous with those interviews. I'm sure there were things he didn't tell me, but that's fine. One was talking to other people about him, which is a very interesting process. And with someone like him who knew everyone in the literary, theatrical, cultural world, you have to draw a halt at some point. You can't talk to a thousand people, or I'd have still been doing it, so you talk to particularly fellow playwrights, directors, actors who've worked with him often, as well as family and friends. And then you start pitting the versions against each other and seeing what stands up and what keeps being said.Repetition's very important in that process because when several people say the same thing to you, then you know that's right. And that quest also involves some actual footsteps, as Richard Holmes would say. Footsteps. Traveling to places he'd lived in and going to Darjeeling where he had been to school before he came to England, that kind of travel.And then the fourth, and to me, in a way, almost the most exciting, was the opportunity to watch him at work in rehearsal. So with the director's permissions, I was allowed to sit in on two or three processes like that, the 50th anniversary production of Rosencrantz and Guildenstern at the Old Vic with David Lavoie. And Patrick Marber's wonderful production of Leopoldstadt and Nick Hytner's production of The Hard Problem at the National. So I was able to witness the very interesting negotiations going on between Tom and the director and the cast.And also the extraordinary fact that even with a play like Rosencrantz, which is on every school syllabus and has been for 50—however many years—he was still changing things in rehearsal. I can't get over that. And in his view, as he often said, theater is an event and not a text, and so one could see that actual process of things changing before one's very eyes, and that for a biographer, it's a pretty amazing privilege.Oliver: How much of the plays were written during rehearsal do you think?Lee: Oh, 99% of the plays were written with much labor, much precision, much correction alone at his desk. The text is there, the text is written, and everything changes when you go into the rehearsal room because you suddenly find that there isn't enough time with that speech for the person to get from the bed to the door. It's physics; you have to put another line in so that someone can make an entrance or an exit, that kind of thing.Or the actors will say quite often, because they were a bit in awe—by the time he became well known—the actors initially would be a bit in awe of the braininess and the brilliance. And quite often the actors will be saying, “I'm sorry, I don't understand. I don't understand this.” You'd often get, “I don't really understand.”And then he would never be dismissive. He would either say, “No, I think you've got to make it work.” I'm putting words into his mouth here. Or he would say, “Okay, let's put another sentence or something like that.”Oliver: Between what he wrote at his desk and the book that's available for purchase now, how much changed? Is it 10%, 50? You know what I mean?Lee: Yes. You should be talking to his editor at Faber, Dinah Wood. So Faber would print a relatively small number for the first edition before the rehearsal process and the final production. And then they would do a second edition, which would have some changes in it. So 2%. Okay. But crucial sometimes.Oliver: No, sure. Very important.Lee: And also some plays like Jumpers went through different additions with different endings, different solutions to plot problems. Travesties, he had a lot of trouble with the Lenins in Travesties because it's the play in which you've got Joyce and you've got Tristan Tzara and you've got the Lenins, and they're all these real people and he makes him talk.But he was a little bit nervous about the Lenin. So what he gave him to say were things that they had really said, that Lenin had really said. As opposed to the Tzara-Joyce stuff, which is all wonderfully made up. The bloody Lenins became a bit of a problem for him. And so that gets changed in later editions you'll find.Oliver: How closely do you think The Real Thing is based on Present Laughter by Noël Coward?Lee: Oh, I think there's a little bit of Coward in there. Yes, sure. I think he liked Coward, he liked Wilde, obviously. He likes brilliant, witty, playful entertainers. He wants to be an entertainer. But I think The Real Thing, he was proud of the fact that The Real Thing was one of the few examples of his plays at that time, which weren't based on something else. They weren't based on Hamlet. They weren't based on The Importance of Being Earnest. It's not based on a real person like Housman. I think The Real Thing came out of himself much more than out of literary models.Oliver: You don't think that Henry is a bit like the actor character in Present Laughter and it's all set in his flat and the couples moving around and the slight element of farce?The cricket bat speech is quite similar to when Gary Essendine—do you remember that very funny young man comes up on the train from Epping or somewhere and lectures him about the social value of art. And Gary Essendine says, “Get a job in a theater rep and write 20 plays. And if you can get one of them put on in a pub, you'll be damn lucky.” It's like a model for him, a loose model.Lee: Yes. Henry, I think you should write an article comparing these two plays.Oliver: Okay. Very good. What does Stoppardian mean?Lee: It means witty. It means brilliant with words. It means fizzing with verbal energy. It means intellectually dazzling. The word dazzling is the one that tends to get used. My own version of Stoppardian is a little bit different from, as it were, those standard received and perfectly acceptable accounts of Stoppardian.My own sense of Stoppardian has more to do with grief and mortality and a sense of not belonging and of puzzlement and bewilderment, within all that I said before, within the dazzling, playful astonishing zest and brio of language and the precision about language.Oliver: Because it's a funny word. It's hard to include Leopoldstadt under the typical use of Stoppardian, because it's an untypical Stoppard.Lee: One of the things about Leopoldstadt that I think is—let's get rid of that trope about Stoppardian—characteristic of him is the remarkable way it deals with time. Here's a play like Arcadia, all set in the same place, all set in the same room, in the same house, and it goes from a big hustling room, late 19th-century family play, just like the beginning of The Coast of Utopia, where you begin with a big family in Russia and then it moves through the '20s and then into the terrible appalling period of the Anschluss and the Holocaust.And then it ends up after the war with an empty room. This room, is like a different kind of theater, an empty room. Three characters, none of whom you know very well, speaking in three different kinds of English, reaching across vast spaces of incomprehension, and you've had these jumps through time.And then at the very end, the original family, all of whom have been destroyed, the original family reappears on the stage. I'm sorry to tell this for anyone who hasn't seen Leopoldstadt. Because when it happens on the stage, it's an absolutely astonishing moment. As if the time has gone round and as if the play, which I think it was for him, was an act of restitution to all those people.Oliver: How often did he use his charm to get his way with actors?Lee: A lot. And not just actors. People he worked with, film people, friends, companions. Charm is such an interesting thing, isn't it? Because we shouldn't deviate, but there's always a slightly sinister aspect to the word charm as in, a magic charm. And one tends to be a bit suspicious of charm. And he knew he had charm and he was physically very magnetic and good looking and very funny and very attentive to people.But I think the charm, in his case, he did use it to get the right results, and he did use it, as he would say, “to look after my plays.” He was always, “I want to look after my plays.” And that's why he went back to rehearsal when there were revivals and so on. But he wasn't always charming. Patrick Marber, who's a friend of his and who directed Leopoldstadt, is very good on how irritable Stoppard could be sometimes in rehearsal. And I've heard that from other directors too—Jack O'Brien, who did the American productions of things like The Invention of Love.If Stoppard felt it wasn't right, he could get quite cross. So this wasn't a sort of oleaginous character at all. It's not smooth, it's not a smooth charm at all. But yes, he knew his power and he used it, and I think in a good way. I think he was a benign character actually. And one of the things that was very fascinating to me, not only when he died and there was this great outpouring of tributes, very heartfelt tributes, I thought. But also when I was working on the biography, I was going around the world trying to find people to say bad things about him, because what I didn't want to do was write a hagiography. You don't want to do that; there would be no point. And it was genuinely quite hard.And I don't know the theater world; it's not my world. I got to know it a little bit then. But I have never necessarily thought of the theater world as being utterly loving and generous about everybody else. I'm sure there are lots of rivalries and spitefulness, as there is in academic life, all the rest of it. But it was very hard to find anyone with a bad word to say about him, even people who'd come up against the steeliness that there is in him.I had an interview with Steven Spielberg about him, with whom he worked a lot, and with whom he did Empire of the Sun. And I would ask my interviewees if they could come up with two or three adjectives or an adjective that would sum him up, that would sum Stoppard up to them. And when I asked Spielberg this question, he had a little think and then he said, intransigent. I thought, great. He must be the only person who ever stood up to him.Oliver: What was his best film script? Did he write a really great film.Lee: That one. I think partly the novel, I don't know if you know the Ballard novel, the Empire of the Sun, it's a marvelous novel. And Ballard was just a magical and amazing writer, a great hero of mine. But I think what Stoppard did with that was really clever and brilliant.I know people like Brazil, the Terry Gilliam sort of surrealist way. And there's some interesting early work. Most of his film work was not one script; it was little bits that he helped with. So there's famously the Indiana Jones and the Last Crusade, he did most of the dialogue for Harrison Ford.But there are others like the One Hundred and One Dalmatians, where I think there's one line, anonymously Stoppardian in there. One of the things about the obituaries that slightly narked me was that there, I felt there was a bit too much about the films. Truly, I don't think the film work was—he wanted it to be right and he wanted to get it right—but it wasn't as close to his heart as the theater work. And indeed the work for radio, which I thought was generally underwritten about when he died. There was some terrific work there.Oliver: Yes. And there aren't that many canonical writers who've been great on the radio.Lee: Absolutely. He did everything. He did film, he did radio. He wrote some opera librettos. He really did everything. And on top of that, there was the great work for the public good, which I think is a very important part of his legacy, his history.Oliver: How much crossover influence is there between the different bits of his career? Does the screenwriting influence the theater writing and the radio and so on? Or is he just compartmentalized and able to do a lot of different things?Lee: That's such an interesting question. I don't think I've thought about it enough. I think there are very cinematic aspects to some of the plays, like Night and Day, for instance, the play about journalism. That could easily have been a film.And perhaps Hapgood as well, although it could be a kind of John le Carré type film thriller, though it's such a set of complicated interlocking boxes that I don't know that it would work as a film. It's not one of my favorite players, I must say. I struggle a little bit with Hapgood. But, yes, I'm sure that they fed into each other. Because he was so busy, he was often doing several things at once. So he was keeping things in boxes and opening the lid of that box. But mentally things must have overlapped, I'm sure.Oliver: He once joked that rather than having read Wittgenstein from cover to cover, he had only read the covers. How true is that? Because I know some people who would say he's very clever in everything, but he's not as clever as he looks. It's obviously not true that he only read the covers.Lee: I think there was a phase, wasn't there, after the early plays when people felt that he was—it's that English phrase, isn't it—too clever by half. Which you would never hear anyone in France saying of someone that they were too clever by half. So he was this kind of jazzy intellectual who put all his ideas out there, and he was this sort of self-educated savant who hadn't been to Oxford.There was quite a lot of that about in the earlier years, I think. And a sense that he was getting away with it, to which I would countermand with the story of the writing of The Invention of Love. So what attracted him to the figure of Housman initially was not the painful, suppressed homosexual love story, but the fact that here was this person who was divided into a very pernickety, savagely critical classical editor of Latin and a romantic lyric poet. In order to work out how to turn this into a play, he probably spent about six years taking Latin lessons, reading everything he could read on the history of classical literature. Obviously reading about Housman, engaging in conversation with classical scholars about Housman's, finer points of editorial precision about certain phrases. And what he used from that was the tip of the iceberg. But the iceberg was real.He really did that work and he often used to say that it was his favorite play because he'd so much enjoyed the work that went into it. I think he took what he needed from someone like Wittgenstein. I know you don't like The Coast of Utopia very much, but if you read his background to Coast of Utopia, what went into it, and if you compare what's in the plays, those three plays, with what's in the writing about those revolutionaries, he read everything. He may have magpied it, but he's certainly knows what he's talking about. So I defend him a bit against that, I think.Oliver: Good, good. Did you see the recent production at the Hamstead Theatre of The Invention of Love?Lee: I did, yes.Oliver: What did you think?Lee: I liked it. I thought it was rather beautifully done. I liked those boats rowing around that clicked together. I thought Simon Russell Beale was extremely good, particularly very moving. And very good in Housman's vindictiveness as a critic. He is not a nice person in that sense. And his scornfulness about the women students in his class, that kind of thing. And so there was a wonderful vitriol and scorn in Russell Beale's performance.I think when you see it now, some of the Oxford context is a little bit clunky, those scenes with Jowett and Pater and so on, it's like a bit of a caricature of the context of cultural life at the time, intellectual life at the time. But I think that the trope of the old and the young Housman meeting each other and talking to each other, which I still think is very moving. I thought it worked tremendously well.Oliver: What are Tom Stoppard's poems like?Lee: You see them in Indian Ink where he invents a poet, Flora Crewe, who is a poet who was died young, turn of the century, bold feminist associated with Bloomsbury and gets picked up much later as a kind of Sylvia Plath-type, HD type heroine. And when you look at Stoppard's manuscripts in the Harry Ransom Center in the University of Austin, in Texas, there is more ink spent on writing and rewriting those poems of Flora Crewe than anything else I saw in the manuscript. He wrote them and rewrote them.Early on he wrote some Elliot—they're very like Elliot—little poems for himself. I think there are probably quite a lot of love poems out there, which I never saw because they belong to the people for whom he wrote them. So I wouldn't know about those.Oliver: How consistently did Stoppard hold to a kind of liberal individualism in his politics?Lee: He was accused of being very right wing in the 1980s really, 1970s, 1980s, when the preponderant tendency for British drama was radicalism, Royal Court, left wing, all of that. And Stoppard seemed an outlier then, because he approved of Thatcher. He was a friend of Thatcher. He didn't like the print union. It was particularly about newspapers because he'd been a newspaper man in his youth. That was his alternative university education, working in Bristol on the newspapers. He had a romance heroic feeling about the value of the journalist to uphold democracy, and he hated the pressure of the print unions to what he thought at the time was stifling that.He changed his mind. I think a lot about that. He had been very idealistic and in love with English liberal values. And I think towards the end of his life he felt that those were being eroded. He voted lots of different ways. He voted conservative, voted green. He voted lib dem. I don't if he ever voted Labour.Oliver: But even though his personal politics shifted and the way he voted shifted, there is something quite continuous from the early plays through to Rock ‘n' Roll. Is there a sort of basic foundation that doesn't change, even though the response to events and the idea about the times changes?Lee: Yes, I think that's right, and I think it can be summed up in what Henry says in The Real Thing about politics, which is a version of what's often said in his plays, which is public postures have the configuration of private derangement. So that there's a deep suspicion of political rhetoric, especially when it tends towards the final solution type, the utopian type, the sense that individual lives can be sacrificed in the interest of an ultimate rationalized greater good.And then, he's worked in the '70s for the victims of Soviet communism. His work alongside in support of Havel and Charter 77. And he wrote on those themes such as Every Good Boy Deserves Favour and Professional Foul. Those are absolutely at the heart of what he felt. And they come back again when he's very modest about this and kept it quiet. But he did an enormous amount of work for the Belarus exile, Belarus Free Theater collective, people in support of those trying to work against the regime in Belarus.And then the profound, heartfelt, intense feeling of horror about what happened to people in Leopoldstadt. That's all part of the same thing. I think he's a believer in individual freedom and in democracy and has a suspicion of political rhetoric.Oliver: How much were some of his great parts written for specific actors? Because I sometimes have a feeling when I watch one of his plays now, if I'd been here when Felicity Kendal was doing this, I would be getting the whole thing, but I'm getting most of it.Lee: I'm sure that's right. And he built up a team around him: Peter Wood, the director and John Wood who's such an extraordinary Henry Carr in in in Travesties. And Michael Hordern as George the philosopher in Jumpers. And he wrote a lot for Kendal, in the process of becoming life companions.But he'd obviously been writing and thinking of her very much, for instance, in Arcadia. And also I think very much, it's very touching now to see the production of Indian Ink that's running at Hampstead Theatre in which Felicity Kendal is playing the older woman, the surviving older sister of the poet Flora Crewe, where of course the part of Flora Crewe was written for her. And there's something very touching about seeing that now. And, in fact, the first night of that production was the day of Stoppard's funeral. And Kendal couldn't be at the funeral, of course, because she was in the first night of his play. That's a very touching thing.Oliver: Why did he think the revivals came too soon?Lee: I don't really know the answer to that. I think he thought a play had to hook up a lot of oxygen and attract a lot of attention. If you were lucky while it was on, people would remember the casting and the direction of that version of it, and it would have a kind of memory. You had to be there.But people who were there would remember it and talk about it. And if you had another production very soon after that, then maybe it would diminish or take away that effect. I think he had a sort of loyalty to first productions often. What do you think about that? I'm not quite sure of the answer to that.Oliver: I don't know. To me it seems to conflict a bit with his idea that it's a living thing and he's always rewriting it in the rehearsal room. But I think probably what you say is right, and he will have got it right in a certain way through all that rehearsing. You then need to wait for a new generation of people to make it fresh again, if you like.Lee: Or not a generation even, but give it five years.Oliver: Everyone new and this theater's working differently now. We can rework it in our own way. Can we have a few questions about your broader career before we finish?Lee: Depends what they are.Oliver: Your former colleague John Carey died at a similar time to Stoppard. What do you think was his best work?Lee: John Carey's best work? Oh. I thought the biography of Golding was pretty good. And I thought he wrote a very good book on Thackery. And I thought his work on Milton was good. I wasn't so keen on The Intellectuals and the Masses. He and I used to have vociferous arguments about that because he had cast Virginia Woolf with all the modernist fascists, as it were. He'd put her in a pile with Wyndham Lewis and Ezra Pound and so on. And actually, Virginia Woolf was a socialist feminist. And this didn't seem to have struck him because he was so keen to expose her frightful snobbery, which is what people in England reading Woolf, especially middle class blokes, were horrified by.And she is a snob, there's no doubt about it. But she knew that and she lacerated herself for it too. And I think he ignored all the other aspects of her. So I was angry about that. But he was the kind of person you could have a really good argument with. That was one of the really great things about John.Oliver: He seems to be someone else who was amenable and charming, but also very steely.Lee: Yes, I think he probably was I think he probably was. You can see that in his memoir, I think.Oliver: What was Carmen Callil like?Lee: Oh. She was a very important person in my life. It was she who got me involved in writing pieces for Virago. And it was she who asked me to write the life of Virginia Woolf for Chatto. And she was an enormous, inspiring encourager as she was to very many people. And I loved her.But I was also, as many people were, quite daunted by her. She was temperamental, she was angry. She was passionate. She was often quite difficult. Not a word I like to use about women because there's that trope of difficult women, but she could be. And she lost her temper in a very un-English way, which was quite a sight to behold. But I think of her as one of the most creative and influential publishers of the 20th century.Oliver: Will there be a biography of her?Lee: I don't know. Yes, it's a really interesting question, and I've been asking her executors whether they have any thoughts about that. Somebody said to me, oh, who wants a biography of a publisher? But, actually, publishers are really important people often, so I hope there would be. Yes. And it would need to be someone who understood the politics of feminism and who understood about coming from Australia and who understood about the Catholic background and who understood about her passion for France. And there are a whole lot of aspects to that life. It's a rich and complex life. Yes, I hope there will be someday.Oliver: Her papers are sitting there in the British Library.Lee: They are. And in fact—you kindly mentioned this to start with—I've just finished a biography of the art historian and novelist, Anita Brookner, who won the Booker prize in 1984 for a novel called Hotel du Lac.And Carmen and Anita were great buddies, surprisingly actually, because they were very different kinds of characters. And the year before she died, Carmen, who knew I was working on Anita, showed me all her diary entries and all the letters she'd kept from Anita. And that's the kind of generous person that she was.That material is now sitting in the British Library, along with huge reams of correspondence between Carmen and many other people. And it's an exciting archive.Oliver: She seems to have had a capacity to be friends with almost anyone.Lee: Yes, I think there were people she would not have wanted to be friends with. She was very disapproving of a lot of political figures and particularly right-wing figures, and there were people she would've simply spat at if she was in the room with them. But, yes, she an enormous range of friends, and she was, as I said, she was fantastically encouraging to younger women writers.And, also, another aspect of Carmen's life, which I greatly admired and was fascinated by: In Virago she would often be resuscitating the careers of elderly women writers who had been forgotten or neglected, including Antonia White and including Rosamund Lehmann. And part of Carmen's job at Virago, as she felt, was not just to republish these people, some of whom hadn't had a book published for decades, but also to look after them. And they were all quite elderly and often quite eccentric and often quite needy. And Carmen would be there, bringing them out and looking after them and going around to see them. And really marvelous, I think.Oliver: Yes, it is. Tell me about Brian Moore.Lee: Breean, as he called himself.Oliver: Oh, I'm sorry.Lee: No, it's all right. I think Brian became a friend because in the 1980s I had a book program on Channel 4, which was called Book Four. It had a very small audience, but had a wonderful time over several years interviewing lots and lots of writers who had new books out. We didn't have a budget; it was a table and two chairs and not the kind of book program you see on the television anymore. And I got to know Brian through that and through reviewing him a bit and doing interviews with him, and my husband and I would go out and visit him and his wife Jean.And I loved the work. I thought the work was such a brilliant mixture of popular cultural forms, like the thriller and historical novel and so on. And fascinating ideas about authority and religion and how to be free, how to break free of the bonds of what he'd grown up with in Ireland, in Northern Ireland, the bombs of religious autocracy, as it were. And very surreal in some ways as well. And he was also a very charming, funny, gregarious person who could be quite wicked about other writers.And, he was a wonderfully wicked and funny companion. What breaks my heart about Brian Moore is that while he was alive, he was writing a novel maybe every other year or every three years, and people would review them and they were talked about, and I don't think they were on academic syllabuses but they were really popular. And when he died and there were no more books, it just went. You can think of other writers like that who were tremendously well known in their time. And then when there weren't any more books, just went away. You ask people, now you go out and ask people, say, “What about The Temptation of Eileen Hughes or The Doctor's Wife or Black Robe? And they'll go, “Sorry?”Oliver: If anyone listening to this wants to try one of his novels, where do you say they should start?Lee: I think I would start with The Doctor's Wife and The Temptation of Eileen Hughes. And then if one liked those, one would get a taste for him. But there's plenty to choose from.Oliver: What about Catholics?Lee: Yes. Catholics is a wonderful book. Yes. Wonderful book. Bit like Muriel Spark's The Abbess of Crewe, I think.Oliver: How important is religion to Penelope Fitzgerald's work?Lee: She would say that she felt guilty about not having put her religious beliefs more explicitly into her fiction. I'm very glad that she didn't because I think it is deeply important and she believes in miracles and saints and angels and manifestations and providence, but she doesn't spell it out.And so when at the end of The Gate of Angels, for instance, there is a kind of miracle on the last page but it's much better not to have it spelt out as a miracle, in my view. And in The Blue Flower, which is not my favorite of her books, but it's the book of the greatest genius possibly. And I think she was a genius. There is a deep interest in Novalis's romantic philosophical ideas about a spiritual life, beyond the physical life, no more doctrinally than that. And she, of course, believes in that. I think she believed, in an almost Platonic way, that this life was a kind of cave of shadows and that there was something beyond that. And there are some very mysterious moments in her books, which, if they had been explained as religious experiences, I think would've been much less forceful and much less intense.Oliver: What is your favorite of her books?Lee: Oh, The Beginning of Spring. The Beginning of Spring is set in Moscow just before the revolution. And its concerns an Englishman who runs a print and publishing works. And it's based quite a lot on some factual narratives about people in Moscow at the time. And it's about the feeling of that place and that time, but it's also about being in love with two people at the same time.And, yes, and it's about cultural clashes and cultural misunderstanding, and it is an astonishingly evocative book. And when asked about this book, interviewers would say to Penelope, oh, she must have lived in Moscow for ages to know so much about it. And sometimes she would say, “Yes, I lived there for years.” And sometimes she would say, “No, I've never been there in my life.” And the fact was she'd had a week's book tour in Moscow with her daughter. And that was the only time she ever went to Russia, but she read. So it was a wonderful example of how she would be so wicked; she would lie.Oliver: Yes.Lee: Because she couldn't be bothered to tell the truth.Oliver: But wasn't she poking fun at their silly questions?Lee: Yes. It's not such a silly question. I would've asked her that question. It is an astonishing evocation of a place.Oliver: No, I would've asked it too, but I do feel like she had this sense of it's silly to be asked questions at all. It's silly to be interviewed.Lee: I interviewed her about three times—and it was fascinating. And she would deflect. She would deflect, deflect. When you asked her about her own work, she would deflect onto someone else's work or she would tell you a story. But she also got quite irritable.So for instance, there's a poltergeist in a novel called The Bookshop. And the poltergeist is a very frightening apparition and very strong chapter in the book. And I said to her in interview, “Look, lots of people think this is just superstition. There aren't poltergeists.” And she looked at me very crossly and said they just haven't been there. They don't know what they're talking about. Absolutely factual and matter of fact about the reality of a poltergeist.Oliver: What makes Virginia Woolf's literary criticism so good?Lee: Oh, I think it's a kind of empathy actually. That she has an extraordinary ability to try and inhabit the person that she's writing about. So she doesn't write from the point of view of, as it were, a dry, historical appreciation.She's got the facts and she's read the books, but she's trying to intimately evoke what it felt like to be that writer. I don't mean by dressing it up with personal anecdotes, but just she has an extraordinary way of describing what that person's writing is like, often in images by using images and metaphors, which makes you feel you are inside the story somehow.And she loves anecdotes. She's very good at telling anecdotes, I think. And also she's not soft, but she's not harshly judgmental. I think she will try and get the juice out of anything she's writing about. Most of these literary criticism pieces were written for money and against the clock and whilst doing other things.So if you read her on Dorothy Wordsworth or Mary Wollstonecraft or Henry James, there's a wonderful sense of, you feel your knowledge has been expanded. Knowledge in the sense of knowing the person; I don't mean in the sense of hard facts.Oliver: Sure. You've finished your Anita Brookner biography and that's coming this year.Lee: September the 10th this year, here and in the States.Oliver: What will you do next?Lee: Yes. That's a very good question, though a little soon, I feel.Oliver: Is there someone whose life you always wanted to write, but didn't?Lee: No. No, there isn't. Not at the moment. Who knows?Oliver: You are open to it. You are open.Lee: Who knows what will come up.Oliver: Yes. Hermione Lee, this was a real pleasure. Thank you very much.Lee: Thank you very much. It was a treat. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk

Following recent conversations about the disposability of material attachments and the generative aspect of consciousness, this week's episode examines the nature of the self and identity through the lens of Terry Gilliam's underrated masterpiece from 1991, The Fisher King. We also briefly discuss:On the Waterfront (1954) d. Elia Kazan

Fantasy, reality, and bureaucracy collide in Terry Gilliam’s BRAZIL. Promo: The B-Movie Cast (https://bmoviecast.com/) Please click, follow, rate and review! https://linktr.ee/TSPandOE_Podcasts

Einige Filmschaffende und Filmkritiker nennen ihn den legitimen Nachfolger von Georges Méliès, doch bei den meisten Cineasten ist Karel Zeman leider immer noch deutlich unbekannter als Ray Harryhausen, der beinahe zeitgleich seine genialen Special-Effect-Künste und Tricktechnik unter Beweis stellte. Zemans filmischer Stil ist eine frühe Inspiration für Regisseure wie Wes Anderson, Tim Burton und Terry Gilliam, die ihrer Bewunderung durch Hommagen und Interviews Ausdruck verliehen haben. Wir versuchen in dieser Folge unsere Begeisterung für die Wiederentdeckung dieses ​​tschechoslowakischen Ausnahmekünstlers in Worte zu fassen und besprechen seine Filme Die Reise in die Urzeit (1955), Die Erfindung des Verderbens (1958), Baron Münchhausen (1962) und Das gestohlene Luftschiff (1967).

In this episode of Haunted History Chronicles, I'm joined by writer, folklorist and broadcaster Deborah Hyde to explore one of medieval Britain's most haunting and enduring mysteries: the Green Children of Woolpit. Emerging from a pit on the edge of a Suffolk village in the 12th century, these strange children — with green-tinged skin and a language no one recognised — left behind a story that has lingered for centuries.Drawing on medieval chronicles, folklore traditions and historical context, Deborah carefully examines what may lie behind the tale. Were the Green Children misunderstood migrants, symbolic folklore, or something far stranger? Together, we explore how belief, fear and storytelling shape the way such accounts are recorded, remembered and retold.With her characteristic wit and academic rigour, Deborah guides us through the shifting interpretations of this luminous legend, revealing why the Green Children of Woolpit continue to trouble the boundary between history and the uncanny.My Special Guest Deborah Hyde  Deborah Hyde wants to know why people believe weird things.She writes and talks about dark folklore and is one of the regular experts on the popular BBC podcast 'Uncanny'.She was editor of 'The Skeptic' magazine for ten years, was involved with 'Skeptics in the Pub' for several years and is a fellow of The Committee for Skeptical Inquiry.She has been asked to contribute commentary to such cases as the Enfield Poltergeist, the Hull Werewolf and Borley Rectory.She also once accidentally played a five hundred year-old queen in a Terry Gilliam movie.In this conversation, expect insights into: The medieval sources and folklore behind the mystery of the Green ChildrenPossible historical, cultural and psychological explanations for the taleWhy stories like this endure — and what they reveal about belief and the unknownIf you value this podcast and want to enjoy more episodes please come and find us on⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/Haunted_History_Chronicles⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠to ⁠support the podcast, gain a wealth of additional exclusive podcasts, writing and other content.Links to all Haunted History Chronicles Social Media Pages, Published Materials and more:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/hauntedhistorychronicles?fbclid=IwAR15rJF2m9nJ0HTXm27HZ3QQ2Llz46E0UpdWv-zePVn9Oj9Q8rdYaZsR74I⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠NEWPodcast Shop:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.teepublic.com/user/haunted-history-chronicles⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy Me A Coffee⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://ko-fi.com/hauntedhistorychronicles⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Guest Links⁠ ⁠⁠⁠⁠⁠⁠Website: ⁠https://deborahhyde.com/ YouTube: https://www.youtube.com/@deborahhydefolklore Twitter: https://x.com/jourdemayne Instagram: https://www.instagram.com/deborahhydefolklore/Facebook: https://www.facebook.com/DeborahHydeFolklore/ BlueSky: https://DeborahHyde.bsky.app/ 

In this holiday edition of Look Behind the Look, we unwrap the layers of Terry Gilliam's 1985 film Brazil, a retro futurist fever dream that cleverly disguises its incisive critique of bureaucracy and authoritarianism as a Christmas movie. Join us as we explore the film's rich aesthetics, from its elaborate production design to the campy hair and makeup, revealing how these visuals reflect the emotional machinery of a society struggling under the weight of conformity and denial. Discover how Brazil remains relevant today, echoing our contemporary challenges with digital systems and the normalization of crisis.0:00 - Intro 1:28 - Gilliam After Python: The Architect of Beautiful Nightmares 3:05 - The Look: A World Styled for Breakdown 4:12 - Camp as Survival & Bureaucratic Beauty 5:25 - Imagination as a Last Resort: Sam Dreams 6:18 - The Restaurant Scene: Elegance at the Edge of Collapse 7:05 - When Help Becomes Theater 7:41 - When Emptiness Becomes Violence 8:27 - The Christmas Setting: Festivity as Emotional Camouflage 9:36 - If Brazil Were Made Today 13:27 - Closing Get full access to Look Behind The Look at lookbehindthelook.substack.com/subscribe

Recorded before a live Facebook (and YouTube) audience, Will, Kat and Jon discuss the following topics:0:00 - Introduction5:00 - Chevy Chase documentary is "hard to watch"16:45 - Terry Gilliam slams TV's Time Bandits again29:45 - Indiana Jones Stunt Spectacular injured a heroic staff member38:25 - The new Marty Supreme is set in the 50s is scored with 80s music46:00 - No spoilers! Is our interest in spoilers generational?1:18:00 - Wrap Up and Thank YouFollow us on Facebook: https://www.facebook.com/1980snow.Subscribe to our YouTube channel: https://www.youtube.com/@1980snowGet Life Goes On: The Lessons We Learned from Eighties Music.Read our new book Totally Bogus (But True) Tales from the 1980s!

This week on Forgotten Cinema, the Mikes tackle "12 Monkeys", this season's Audience Choice episode and a film that, despite its reputation, just doesn't click for either of them.Mike Butler went in hoping his opinion might change this time around. As a big fan of "Brazil", he wanted to connect with Terry Gilliam's mix of sci-fi and absurdism. Unfortunately, his feelings haven't shifted since first seeing it decades ago. Both Mike Field and Butler find the performances from Bruce Willis and especially Brad Pitt pushed too far into manic territory, making it hard to buy into the story.They also struggle with the central relationships and logic of the film. The idea that the doctor would go along with Willis at all, let alone develop romantic feelings for him, feels completely unbelievable. Tonally, the movie seems stuck between wanting to be a serious science fiction story and an absurdist Gilliam nightmare, and it never settles on what it actually wants to be.While they do appreciate the production design, props, and costumes used for the future sequences, the rest of the film falls flat for them. Still, with "12 Monkeys" being so well regarded by many, the Mikes openly acknowledge that this might be one of those "it's me, not you" moments.

This Christmas Eve Nostalgia Critic talks about his all time favorite movie and why it seems to only get more relevant every year. Let's take a look at 1985's, Brazil. Join our YouTube Members - https://www.youtube.com/channel/UCiH828EtgQjTyNIMH6YiOSw/join Last weeks Nostalgia Critic - https://youtu.be/iGMHcasHpUg Check out our store - https://channelawesome.myshopify.com/ Support this month's charity - https://solvecfs.org/ Brazil is a 1985 dystopian science fiction black comedy film directed by Terry Gilliam and written by Gilliam, Charles McKeown, and Tom Stoppard. A co-production between the United Kingdom and the United States, the film stars Jonathan Pryce, Robert De Niro, Katherine Helmond, Ian Holm, Bob Hoskins, Michael Palin, Ian Richardson, Peter Vaughan, and Kim Greist. Learn more about your ad choices. Visit megaphone.fm/adchoices

What's more Christmas-y than celebrating one's birthday? Brian just so happens to share the same birthday with someone else we might know, on Christmas Day, many, many moons ago. It seems almost to explain what this film is, because who hasn't seen this and enjoyed it? I mean, it was controversial upon its release and was banned by many councils, even to this day, but who hasn't heard or seen LIFE OF BRIAN at this point? Regardless, you've heard of MONTY PYTHON, and this is easily their best film. This film gave us "big nose", the "ex leper", and "what have the Romans ever done for us?" Do yourself a favor and watch this. It's an absolute treat for this Festive Season!

Legendary auteur Terry Gilliam (Brazil, Time Bandits, The Fisher King, Monty Python & the Holy Grail) directs this time-bending sci-fi thriller focusing on one man's unique journey to the past to save the future.  That man is James Cole (Bruce Willis) who is currently living in a dystopian 2035 so ravaged by disease that no humans can actually live on the surface of the Earth so he has been tasked by scientists to travel back to the 1990's in Philadelphia to pinpoint the very beginning of a fatal virus which would eventually spread and wipe out most of the Earth's population.  As would be expected, several complications occur along the way including being commited to a mental facility where he meets the mad son (Brad Pitt who received an Oscar nomination for his performance) of a reknowned virologist (Christopher Plummer).  And he also encounters a therapist (Madeline Stowe) who initially believes him to be crazy though they build a unique relationshiop over time.  Co-written by David Webb Peoples (the Oscar-nominated writer of Unforgiven and Blade Runner), this dizzying tale takes features several dizzying turns carried by sterling performances.  Host: Geoff GershonEdited By Ella GershonProducer: Marlene GershonSend us a textSupport the showhttps://livingforthecinema.com/Facebook:https://www.facebook.com/Living-for-the-Cinema-Podcast-101167838847578Instagram:https://www.instagram.com/livingforthecinema/Letterboxd:https://letterboxd.com/Living4Cinema/

Send us a textIn today's episode, I interview Alex Thompson, director of the short film "Em & Selma Go Griffin Hunting," the story of a mother and daughter faced with difficult choices as they take part in a coming-of-age hunt set in a fictional 1930s America.Listen to hear about how Alex's world building for the film began with the characters, the process of casting the main characters of the film to ensure they had the right level of humanity for the story, and the challenge of creating a set of digital creatures to inhabit the world that would look like high quality blockbuster effects on a small short film budget.Books mentioned in this episode include:Aesop's FablesGrimm's Fairy TalesThe Great Mother: An Analysis of the Archetype by Erich NeumannBaudolino by Umberto EcoThe Name of the Rose by Umberto EcoSapiens: A Brief History of Humankind by Yuval Noah HarariFilms and TV shows mentioned in this episode include:"Em & Selma Go Griffin Hunting" directed by Alex ThompsonJurassic Park directed by Steven SpielbergHereditary directed by Ari AsterThe Walking Dead (series)The Grapes of Wrath directed by John Ford"La jetée" directed by Chris Marker12 Monkeys directed by Terry Gilliam"Un Chien Andalou" directed by Luis Buñuel"An Occurrence at Owl Creek Bridge" directed by Robert EnricoAvatar directed by James CameronBlade Runner directed by Ridley Scott2001: A Space Odyssey directed by Stanley KubrickEverything Everywhere All at Once directed by Dan Kwan and Daniel ScheinertNight of the Hunter directed by Charles LaughtonCome and See directed by Elem KlimovThe Passion of Joan of Arc directed by Carl Th. DreyerThe Seventh Seal directed by Ingmar BergmanApocalypse Now directed by Francis Ford CoppolaThe Cabinet of Dr. Caligari directed by Robert Wiene12 Angry Men directed by Sidney LumetPoor Things directed by Yorgos LanthimosThe Thin Red Line directed by Terrence MalickFollow the film on Instagram @emandselmagogriffinhunting and Alex @alexanderthompsonfilms.Support the show

GATEWAY CINEMA is a multi-part series of conversations centered on key ideas in film studies. In these conversations, we interpret and celebrate a set of eclectic feature films from across generations and from around the world, including “La Haine”, “Drum”, “Alien 3 (Assembly Cut)”, “Come and See”, “Perfect Days”, “Sweet Smell of Success”, “The Swimmer”, “Amadeus (Director's Cut)”, “Bring Me the Head of Alfredo Garcia”, “Friday”, “Marie Antoinette”, “The Night of the Hunter”, “Crank” and “Crank 2: High Voltage”, “Portrait of a Lady Fire”, “The Fabulous Baron Munchausen”, “Joker: Folie à Deux”, “Welcome to the Dollhouse”, “Heathers”, and “The Death of Stalin”.***Referenced media in GATEWAY CINEMA, Episode 19:“Wicked: For Good” (Jon M. Chu, 2025)“Dumb and Dumber” (Peter Farrelly, 1994)“Monty Python's Flying Circus” (Graham Chapman, John Cleese, Eric Idle, Terry Jones, Michael Palin, and Terry Gilliam, 1969-1974)“Knowing Me, Knowing You with Alan Patridge” (Steve Coogan, Armando Iannucci, and Patrick Marber, 1994-1995)“I'm Alan Patridge” (Peter Baynham, Steven Coogan, and Armando Iannucci, 1997-2002)“The Thick of It” (Armando Iannucci, 2005-2012)“In the Loop” (Armando Iannucci, 2009)“Veep” (Armando Iannucci, 2012-2019)“Star Trek Generations” (David Carson, 1994)“Black Widow” (Cate Shortland, 2021)“Dr. Zhivago” (David Lean, 1965)“Nineteen Eight-Four” (1949) by George Orwell“Annihilation” (Alex Garland, 2018)“Black Panther” (Ryan Coogler, 2018)“A Quiet Place” (John Krasinski, 2018)“Avengers: Infinity War” (Anthony Russo and Joe Russo, 2018)“The Lost Patrol” (John Ford, 1934)“Syriana” (Stephen Gaghan, 2005)Audio quotation in GATEWAY CINEMA, Episode 19:“Star Trek Generations” (David Carson, 1994), including the song “Star Trek Generations Overture” by Dennis McCarthy, https://www.youtube.com/watch?v=FBdmVGGaJEE&list=RDFBdmVGGaJEE&start_radio=1“The Death of Stalin” (Armando Iannucci, 2017), including the songs “Moscow, 1953”, “Special Delivery”, “Politburo”, “A Comedy of Terrors (End Titles)”, and “End Credits” by Christopher Willis, https://www.youtube.com/playlist?list=PL2gbFqcZhpb3kOAAT1Qyp_4rlt4hwbUiT 

JUST A FLESH WOUND!! Monty Python and the Holy Grail Full Movie Reaction Watch Along: ⁠  / thereelrejects  ⁠ Start your online business with a $1 per-month trial when you visit ⁠https://www.shopify.com/rejects⁠! Monty Python's The Life of Brian (1979) Movie Reaction: ⁠   • MONTY PYTHON'S LIFE OF BRIAN (1979) MOVIE ...  ⁠ Gift Someone (Or Yourself) A Stranger Things RR Tee! ⁠https://shorturl.at/hekk2⁠ Aaron Alexander & Andrew Gordon dive into the legendary British comedy that redefined absurdist humor and became one of the most quoted films of all time!! Join us on our Monty Python & the Holy Grail Reaction, Breakdown, Commentary, Analysis & Spoiler Review! Andrew Gordon (Cinepals) & Aaron Alexander (Silhouettes of Scarlet) react to Monty Python and the Holy Grail (1975), the legendary sketch-comedy satire written and performed by the Monty Python troupe and directed by Terry Gilliam & Terry Jones. A wildly absurd reimagining of Arthurian legend, the film follows King Arthur on a quest from God to find the Holy Grail — a mission constantly derailed by anachronisms, low-budget chaos, and some of the most quoted jokes in comedy history. Graham Chapman (Life of Brian, Monty Python's Flying Circus) stars as the straight-faced King Arthur, valiantly leading his Knights of the Round Table while pretending everything around him makes sense. The ensemble brilliance comes from Python regulars John Cleese (A Fish Called Wanda, Fawlty Towers) as the endlessly shouty Sir Lancelot (and the infamous Black Knight), Eric Idle (Life of Brian, Shrek) as the sing-songy Sir Robin, Terry Jones (Life of Brian, Meaning of Life) as Sir Bedevere, and Michael Palin (Brazil, A Fish Called Wanda) as Sir Galahad, along with dozens of other roles played interchangeably by the troupe. Follow Aaron On Instagram: ⁠https://www.instagram.com/therealaaronalexander/?hl=en⁠ Follow Andrew Gordon on Socials:  YouTube: ⁠https://www.youtube.com/@MovieSource⁠ Instagram:⁠ ⁠ ⁠https://www.instagram.com/agor711/?hl=en⁠ Twitter:  ⁠https://twitter.com/Agor711⁠ Intense Suspense by Audionautix is licensed under a Creative Commons Attribution 4.0 license. ⁠https://creativecommons.org/licenses/...⁠ Support The Channel By Getting Some REEL REJECTS Apparel! ⁠https://www.rejectnationshop.com/⁠ Follow Us On Socials:  Instagram: ⁠https://www.instagram.com/reelrejects/⁠  Tik-Tok: ⁠https://www.tiktok.com/@reelrejects?lang=en⁠ Twitter: ⁠https://x.com/reelrejects⁠ Facebook: ⁠https://www.facebook.com/TheReelRejects/⁠ Music Used In Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. ⁠https://creativecommons.org/licenses/by/4.0/⁠ Happy Alley by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. ⁠https://creativecommons.org/licenses/...⁠ POWERED BY @GFUEL Visit⁠ https://gfuel.ly/3wD5Ygo⁠ and use code REJECTNATION for 20% off select tubs!! Head Editor:⁠ https://www.instagram.com/praperhq/?hl=en⁠ Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license.⁠ https://creativecommons.org/licenses/by/4.0/⁠ Ask Us A QUESTION On CAMEO:⁠ https://www.cameo.com/thereelrejects⁠ Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  ⁠https://www.facebook.com/TheReelRejects/⁠ INSTAGRAM: ⁠ https://www.instagram.com/reelrejects/⁠ TWITTER:  ⁠https://twitter.com/thereelrejects⁠ Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  ⁠https://www.instagram.com/thegregalba/⁠ TWITTER:  ⁠https://twitter.com/thegregalba⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

This month's Out Now with Aaron and Abe commentary wants the future to be unknown. The Brandon Peters Show's Brandon Peters and The Outside Scoop's Scott Mendelson join Aaron to discuss 1995's 12 Monkeys from director Terry Gilliam. Listen in to hear the group discuss this time-travel favorite from a director notorious for tough shoots, yet nevertheless had a hit film starring Bruce Willis, Madeleine Stowe, and Brad Pitt. Additionally, there are numerous stories about the film, its connection to the hosts, tangents about other movies, and other absurdist bits. So now, if you've got an hour to kill… Follow all of us on Twitter/Bluesky: @Outnow_Podcast, @AaronsPS4, @WalrusMoose, @ScottMendelson, @Brandon4KUHD Check out all of our sites and blogs:  The Code Is Zeek, Why So Blu?, The Brandon Peters Show, The Outside Scoop Watch the trailer for 12 Monkeys

JUST A FLESH WOUND!! Monty Python and the Holy Grail Full Movie Reaction Watch Along:   / thereelrejects   Start your online business with a $1 per-month trial when you visit https://www.shopify.com/rejects! Monty Python's The Life of Brian (1979) Movie Reaction:    • MONTY PYTHON'S LIFE OF BRIAN (1979) MOVIE ...   Gift Someone (Or Yourself) A Stranger Things RR Tee! https://shorturl.at/hekk2 Aaron Alexander & Andrew Gordon dive into the legendary British comedy that redefined absurdist humor and became one of the most quoted films of all time!! Join us on our Monty Python & the Holy Grail Reaction, Breakdown, Commentary, Analysis & Spoiler Review! Andrew Gordon (Cinepals) & Aaron Alexander (Silhouettes of Scarlet) react to Monty Python and the Holy Grail (1975), the legendary sketch-comedy satire written and performed by the Monty Python troupe and directed by Terry Gilliam & Terry Jones. A wildly absurd reimagining of Arthurian legend, the film follows King Arthur on a quest from God to find the Holy Grail — a mission constantly derailed by anachronisms, low-budget chaos, and some of the most quoted jokes in comedy history. Graham Chapman (Life of Brian, Monty Python's Flying Circus) stars as the straight-faced King Arthur, valiantly leading his Knights of the Round Table while pretending everything around him makes sense. The ensemble brilliance comes from Python regulars John Cleese (A Fish Called Wanda, Fawlty Towers) as the endlessly shouty Sir Lancelot (and the infamous Black Knight), Eric Idle (Life of Brian, Shrek) as the sing-songy Sir Robin, Terry Jones (Life of Brian, Meaning of Life) as Sir Bedevere, and Michael Palin (Brazil, A Fish Called Wanda) as Sir Galahad, along with dozens of other roles played interchangeably by the troupe. Follow Aaron On Instagram: https://www.instagram.com/therealaaronalexander/?hl=en Follow Andrew Gordon on Socials:  YouTube: https://www.youtube.com/@MovieSource Instagram:  https://www.instagram.com/agor711/?hl=en Twitter:  https://twitter.com/Agor711 Intense Suspense by Audionautix is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Follow Us On Socials:  Instagram: https://www.instagram.com/reelrejects/  Tik-Tok: https://www.tiktok.com/@reelrejects?lang=en Twitter: https://x.com/reelrejects Facebook: https://www.facebook.com/TheReelRejects/ Music Used In Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Happy Alley by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

It's Christmas Month on CITIZEN FRAME! And what better way to celebrate the season of giving than with an apocalyptic virus wiping out humanity and a violent criminal being sent on a mind-bending, time-travelling journey into insanity! Join us as we discuss Terry Gilliam's 12 MONKEYS (1995) starring Bruce Willis and Brad Pitt -- and which is also set at Christmas before anyone asks!

Terry Gilliam, brilliant director of many groundbreaking films, received the Stella della Mole Award and we met him on this occasion fora chat on his style in filmmaking. The post Interview with director Terry Gilliam, recipient of Stella della Mole Award appeared first on Fred Film Radio.

We conclude our 1985 season with Nath's pick, Terry Gilliam's absurdist dark comedy Brazil, a disturbing vision of what the world might be like if capitalism squeezed every last shred of humanity out of society. Brazil tells us that world would have lots of ducts, and heroic vigilante plumbers played by Robert DeNiro.A wonderfully unique, hilarious and harrowing film with a stacked cast, Brazil is a step away from anything we've watched before on the podcast.Let us know what you think of this episode by emailing us at redshirtcinemaclub@gmail.com and support us on Patreon at patreon.com/redshirtcinemaclub for access to two bonus episodes per month as well as our newsletter, The Civilian Observer. Hosted on Acast. See acast.com/privacy for more information.

This week, Shat The Movies tumbles through the space-time continuum with Terry Gilliam's Time Bandits, a chaotic fantasy adventure filled with Monty Python humor, mischievous dwarves, and a cosmic battle between Good, Evil, and negligent parenting. Commissioned by listener Mark, this 1981 classic follows young Kevin as he's swept away by a crew of dimension-hopping bandits who've stolen a map of the universe and are using it to rob history blind—Napoleon, Robin Hood, and ancient kings all included. Gene and Big D debate whether the film is a brilliant kids' movie for adults or an unsettling fever dream wrapped in British absurdism. Along the way, they revisit the unforgettable Evil Genius, the Supreme Being's bureaucratic disappointment, and the ending that scarred an entire generation of children. Is Time Bandits a masterpiece of imagination or just Gilliam letting chaos do the directing? Grab your map, avoid the pure concentrated evil, and find out. Subscribe Now Android: https://www.shatpod.com/android Apple/iTunes: https://www.shatpod.com/apple Help Support the Podcast Contact Us: https://www.shatpod.com/contact Commission Movie: https://www.shatpod.com/support Support with Paypal: https://www.shatpod.com/paypal Support With Venmo: https://www.shatpod.com/venmo Shop Merchandise: https://www.shatpod.com/shop Theme Song - Die Hard by Guyz Nite: https://www.facebook.com/guyznite

The future is history as NostalgiaCast winds the clock back... then forward... then back again for a mind-altering discussion of TWELVE MONKEYS, directed by Terry Gilliam and starring Bruce Willis, Brad Pitt, and Madeleine Stowe. Jonny and Darin are joined by friend, film scholar, and Sonic Cinema podcast host Brian Skutle for an attempt to unravel the timey-wimey plot twists and wackadoo acting choices of a movie so apocalyptic, it takes several watches just to get your bearings on it. Plus, Jonny, Darin, and Brian rank their Top 3 films from Gilliam, Willis, and Pitt. Colonics for everyone! Listen now!

Hola Gerardo aquí en otro episodio de Simplemente Yo; La selección de esta semana es Monty Python and the Holy Grail, es una película de comedia británica de 1975 basada en la leyenda Artúrica, escrita e interpretada por el grupo de comedia Monty Python (Graham Chapman, John Cleese, Terry Gilliam, Eric Idle, Terry Jones y Michael Palin) y dirigida por Gilliam y Jones en sus debuts como directores de largometrajes.   Plot: El Rey Arturo y sus Caballeros de la Mesa Redonda se embarcan en una búsqueda surrealista y de bajo presupuesto del Holy Grail.   Espero que lo disfruten ;) Información adicional del podcast: Enlace del website official de Filmic Notion Podcast: https://filmicnotionpod.com/ Enlace a nuestra página de Letterboxd: https://boxd.it/446nl

We're continuing our 1985 season this week with Walt Disney oddity, The Black Cauldron. Caught between the classic early decades of Disney animation and the studio's 1990s resurgence, The Black Cauldron is an unusually dark (and unusually British) adventure, with moments of dread and horror mixed in with the odd and unfathomable (magic pigs, hairy little thieves, gruesome self-sacrifice). Clearly, it struck a chord with young Rob, who grew up loving fantasy stories, and who picked this for our 1985 season. Enjoy, let us know what you think of the film, and join us next week for more 1985 oddness with Terry Gilliam's Brazil. Let us know what you think of this episode by emailing us at redshirtcinemaclub@gmail.com and support us on Patreon at patreon.com/redshirtcinemaclub for access to two bonus episodes per month as well as our newsletter, The Civilian Observer. Hosted on Acast. See acast.com/privacy for more information.

     This week- two films about damaged psychologically manipulative men and the women entangled with them.     In 1996 a virus wiped out the majority of humanity and forced the survivors underground. Now in a desperate attempt to salvage some future, volunteers are sent back in time in the hopes to trace the virus origin and obtain a sample of it in its purist form. James Cole, a prisoner traumatized from seeing a man murdered in a airport in his youth, is accidentally sent 6 years too early and sets off a chain of events with devastating consequences. Terry Gilliam's feature adaption of Chris Marker's 1967 short film, 12 Monkeys.     The police investigate the murder of Laura Hunt, killed with a shot to her face in the doorway of her apartment. We the  a young, beautiful, and highly successful advertising executive killed by her sardonic newspaper columnist friend, her parasitic playboy fiancé, her jealous wealthy socialite aunt, or her well intentioned maid? Is there a twist in this knot of boiling jealousies? Directed by one of the most influential directors of the Noir Era and 1999 inductee to the Library of Congress National Film Registry, Laura.     All that and Kevin has trouble reintegrating into society, Tyler tries new baked goods, Dave is invited out, and Craig fails to rise above it all. Join us, won't you?   Episode 440- Interpretive Rants 

Als "sechster Monty Python" stand Terry Gilliam (geboren am 22.11.1940) selten vor der Kamera - er schuf die markanten Animationen. Berühmt wurde er mit Filmen wie "Brazil" und "12 Monkeys". Von Daniela Wakonigg.

Biesinger, Gabi www.deutschlandfunkkultur.de, Studio 9

Join Jay and Keith as they discuss the 1985 Terry Gilliam film Brazil. Dystopia never looked so "duct-y"...

GATEWAY CINEMA is a multi-part series of conversations centered on key ideas in film studies. In these conversations, we interpret and celebrate a set of eclectic feature films from across generations and from around the world, including “La Haine”, “Drum”, “Alien 3 (Assembly Cut)”, “Come and See”, “Perfect Days”, “Sweet Smell of Success”, “The Swimmer”, “Amadeus (Director's Cut)”, “Bring Me the Head of Alfredo Garcia”, “Friday”, “Marie Antoinette”, “The Night of the Hunter”, “Crank” and “Crank 2: High Voltage”, “Portrait of a Lady Fire”, “The Fabulous Baron Munchausen”, “Joker: Folie a Deux”, “Welcome to the Dollhouse”, “Heathers”, and “The Death of Stalin”.***Referenced media in GATEWAY CINEMA, Episode 15:“Dr. Jeckyll and Mr. Hyde” (Rouben Mamoulian, 1931)“The Wolfman” (George Waggner, 1941)“The Adventures of Baron Munchausen” (Terry Gilliam, 1988)“Barry Lyndon” (Stanley Kubrick, 1975)“A Trip to the Moon” (Georges Méliès, 1902)“Monty Python's Flying Circus” (Graham Chapman, John Cleese, Eric Idle, Terry Jones, Michael Palin, and Terry Gilliam, 1969-1974)“Pee-wee's Playhouse” (Paul Reubens, 1986-1990)“Star Wars” (George Lucas, 1977)“Pinocchio” (Ben Sharpsteen and Hamilton Luske, 1940)“South Park” (Trey Parker and Matt Stone, 1997-present)“Snow White and the Seven Dwarfs” (David Hand, 1937)“The Adventures of Prince Achmed” (Lotte Reiniger, 1926)“The Lord of the Rings” (Ralph Bakshi, 1978)Audio quotation in GATEWAY CINEMA, Episode 15:“The Fabulous Baron Munchausen” (Karel Zeman, 1962)

On the 88th episode of Bomb Squad Matinee, Cody and Joseph dive into another Terry Gilliam flick with Brazil. How much does its dystopian themes hold up 40 years later? Is it truly the visual masterpiece worthy of an Oscar nomination? Do we have an intro this episode? Tune in to find out.

Send us a textWe talk about JABBERWOCKY, Terry Gilliam's first solo directing project and a movie that definitely exists.

Quit your scratching and bleeding and put down the rosary, the cure of all your anxieties has arrived! At long last, the Mapping the Zone Review of Shadow Ticket, Spoilerful Edition, has been released, and it's packed with more hot takes and thrilling twists than any diehard fans of the storied Spoiler-free episode could have imagined. The hype is NOT TOO HIGH!If you like what we're doing and want to support the show, please consider making a donation on Ko-Fi. Funds we receive will be used to upgrade equipment, pay hosting fees, and help make the show better.https://ko-fi.com/mappingthezoneIf you enjoyed our discussion, please check out the following media that relates to these chapters:Books: Moby-Dick by Herman Melville, Ulysses by James JoyceMusic: The Third Man (OST) by Anton Karas, Green Street, Grant's First Stand, Idle Moments, Nigeria by Grant GreenTV/Film: Brazil (dir. Terry Gilliam, 1985), The Third Man (dir. Carol Reed, 1949), The Long Goodbye (dir. Robert Altman, 1973)As always, thanks so much for listening!Email: ⁠mappingthezonepod@gmail.com⁠Bluesky: https://bsky.app/profile/mappingthezone.bsky.socialTwitter: https://twitter.com/pynchonpodInstagram:https://www.instagram.com/mappingthezonepodcast/Merch: mapping-the-zone.myspreadshop.comShow art by Brad Wetzel: @bradspersecond (on IG and Reddit)bradspersecond.com

In this week's episode, Louis speaks with the legendary comedian, writer and adventurer Michael Palin. Joining Louis at Spotify HQ, Michael details the fiery group dynamics within Monty Python, having Johnny Cash and George Harrison as famous fans, and the controversies surrounding Life Of Brian. Plus, Michael and Louis discuss whether being 'nice' is a help or a hindrance.   Warnings: Strong language and adult themes.    Links/Attachments:    TV Show: ‘Michael Palin in Venezuela' (2025) - Channel 5  https://www.channel5.com/show/michael-palin-in-venezuela     TV Show Episode: Whicker's World from ‘Monty Python's Flying Circus' (1972) - BBC  https://www.channel5.com/show/michael-palin-in-venezuela     TV Show: ‘Michael Palin: Around the World in 80 Days' (1989) - BBC   https://www.bbc.co.uk/iplayer/episodes/b008n8yy/around-the-world-in-80-days-with-michael-palin     The Rutles: All You Need Is Cash (1978)   https://www.imdb.com/title/tt0077147/     Monty Python's Life of Brian (1979)  https://www.itv.com/watch/monty-pythons-life-of-brian/10a5145a0001B/10a5145a0001     TV Show: ‘Ripping Yarns' (1976 -1979) - BBC   https://www.imdb.com/title/tt0075568/     TV Special: ‘Beyond the Fringe' (1964) - BBC   https://www.imdb.com/title/tt0138957/     TV Show: ‘Q5' (1969 –1980) - BBC  https://www.imdb.com/title/tt0063944/     Terry Gilliam's animations:  https://www.youtube.com/watch?v=47mB_UymAIc     Fish slapping dance:  https://www.youtube.com/watch?v=T8XeDvKqI4E    TV Show Episode: ‘Whither Canada?' (1969)   https://www.imdb.com/title/tt0758095/     TV Show Episode: ‘The All-England Summarise Proust Competition' (1972)  https://tv.apple.com/gb/episode/the-all-england-summarize-proust-competition-edit/umc.cmc.2wheg7yvkb0w3w55freoic0j2?action=play     Album: Monty Python's Previous Record https://open.spotify.com/album/1GkvGswqHgUyMb5kIlGU2R     Sketch: Argument  https://www.youtube.com/watch?v=ohDB5gbtaEQ    Sketch: Dead/Resting Parrot  https://www.youtube.com/watch?v=vZw35VUBdzo     TV Show: ‘Fawlty Towers' (1975-1979) - BBC   https://www.imdb.com/title/tt0072500/     Sketch: The Ministry of Silly Walks  https://www.youtube.com/watch?v=iV2ViNJFZC8    Book: North Korea Journal, Michael Palin (2019)   https://www.themichaelpalin.com/north-korea-journal/      TV Show: ‘Michael Palin: Travels of a Lifetime' (2020) - BBC   https://www.youtube.com/watch?v=q1SddawMoz8    Life of Brian Debate with Malcolm Muggeridge (1979) - BBC   https://www.bbc.co.uk/videos/cyxe9180z84o     A Fish Called Wanda (1988)  https://www.imdb.com/title/tt0095159/     Short Story: In The Penal Colony, Franz Kafka (1919)  https://www.kafka-online.info/in-the-penal-colony.html     Credits:  Producer: Millie Chu   Assistant Producer: Emilia Gill  Production Manager: Francesca Bassett   Music: Miguel D'Oliveira   Audio Mixer: Tom Guest  Video Mixer: Scott Edwards   Shownotes compiled by Elly Young  Executive Producer: Arron Fellows       A Mindhouse Production for Spotify   www.mindhouse.co.uk     Learn more about your ad choices. Visit podcastchoices.com/adchoices

A little peak at Abigoliah's new Podcast: ALL BRITISH COMEDY EXPLAINED: Monty Python's Flying Circus Explained.The seminal comedy show which ran for 45 episodes between 1969 and 1974 on BBC1 (first three series) and BBC2 (final series). It made stars of writer-performers Graham Chapman, John Cleese, Eric Idle, Terry Jones, Michael Palin and animator Terry Gilliam. We watched series two, episode two and series three, episode ten.Here's a long list of social media systems where you can find the podcast and us.The podcastallbritishcomedy@gmail.comhttps://allbritishcomedy.comhttps://www.youtube.com/@AllBritishComedyExplainedhttps://www.instagram.com/britishcomedypodhttps://www.tiktok.com/@britishcomedypodhttps://bsky.app/profile/allbritishcomedy.bsky.socialhttps://www.threads.com/@britishcomedypodhttps://www.facebook.com/groups/allbritishcomedyAbigoliah Schamaunhttps://abigoliah.comhttps://www.youtube.com/Abigoliahhttps://www.instagram.com/abigoliahhttps://www.tiktok.com/@abigoliahTom Salinskyhttps://tomsalinsky.co.ukhttps://www.facebook.com/tomsalinskyhttps://www.instagram.com/tomsalinskyhttps://www.tiktok.com/@tomsalinsky1972https://bsky.app/profile/tomsalinsky.bsky.socialhttps://www.threads.com/@tomsalinskyJoin us next time for The Young Ones. We'll be watching series one, episode two Oil, and series two, episode one, Bambi. Hosted on Acast. See acast.com/privacy for more information.

In this Episode: Our Heroes discuss the Terry Gilliam dystopian tech bro Werner Herzog in a VR porn suit: Zero Theorem! This one is a lower budget Gilliam. I guess they don't want to give the dude money anymore... It's a great addition to his films and well worth a watch! Tune in! Follow Us: Our Website Twitter Instagram Facebook Items discussed (links to more info): Note - if the below links don't work in your podcast player please visit the show page at: https://ebd.fm/episodes/321

Send us a textNo one expects Dan Shea to return to Frame Work!  One of his chief weapons is surprise, surprise and fear, surprise and fear and an almost fanatical devotion to examining the filmography of Terry Gilliam...

This week, Uncle Randy joins us to discuss Terry Gilliam's 1981 film, Time Bandits. We're taking a trip back to the video store to revisit this whimsical, Monty Python-esque fantasy classic. https://www.spreaker.com/episode/time-bandits--67828152 #Time #bandits #timebandits #terrygilliam #fantasy #80s #scifi #action #film #movie #montypython #johncleese #michaelpalin #brianfroud #adventure #little #people #dwarf #dwarves

Go back in time with us, as we rewind to our classic Time Bandits discussion for this stand alone mini-episode!  BTW, Mom and Dad - its never a good idea to put your bare hand into a burning toaster.  #timebandits #terrygilliam #montypython #johncleese

Aug. 22-28: Scott Bakula is a magic detective, Patricia Arquette and Owen Wilson are both in danger in Southeast Asia, an internet remix goes to Isengard, Matt Damon and Heath Ledger fight fairy tales, Peppa Pig warms our hearts, spooky caves are spooky, Narcos and Fear the Walking Dead debut, and like all men, we talk about Rome way too much. All that and more from 30, 20, and 10 years ago.

Soon you will rest as this bedtime return to Mandalore will surely be a bore.The show really needs your support right now. Please consider joining Sleep With Me Plus so we can keep coming out free for everyone. Start a free trial at sleepwithmepodcast.com/plusGet your Sleep With Me SleepPhones. Use "sleepwithme" for $5 off!!Are you looking for Story Only versions or two more nights of Sleep With Me a week? Then check out Bedtime Stories from Sleep With MeLearn more about producer Russell aka Rusty Biscuit at russellsperberg.com and @BabyTeethLA on IG.Show Artwork by Emily TatGoing through a hard time? You can find support at the Crisis Textline and see more global helplines here.HELIX SLEEP - Take the 2-minute sleep quiz and they'll match you to a customized mattress that'll give you the best sleep of your life. Visit helixsleep.com/sleep and get a special deal exclusive for SWM listeners!ZOCDOC - With Zocdoc, you can search for local doctors who take your insurance, read verified patient reviews and book an appointment, in-person or video chat. Download the Zocdoc app to sign-up for FREE at zocdoc.com/sleep PROGRESSIVE - With the Name Your Price tool, you tell Progressive how much you want to pay for car insurance, and they'll show you coverage options that fit your budget. Get your quote today at progressive.comQUINCE - Quince sells luxurious, ethically-made clothes and bedding at an affordable price. Transition your bed for the season with soft, breathable bedding from Quince. Go to Quince.com/sleep to get free shipping and 365-day returns on your next order. ODOO - Odoo is an all-in-one management platform with a suite of user-friendly applications designed to simplify and connect every aspect of your company in one, easy-to-use software. Odoo is the affordable, all-in-one management software with a library of fully-integrated business applications that help you get MORE done in LESS time for a FRACTION of the price.To learn more, visit www.odoo.com/withme Learn about your ad choices: dovetail.prx.org/ad-choices

Join Chevy Chase and Dan Aykroyd on a bumbling Cold War mission in Spies Like Us! We break down the laughs, the cameos, and the chaos Our country sends nothing but the best of the best in espionage when fighting for the freedom of our country. And also decoys who are expendable. Let's see which ones Austin Milbarge and Emmet Fitz-Hume are as we check out this classic John Landis movie.  News A moment of silence for any bunnies harmed during last week's magic episode.   Dial-up internet rides off into the sunset. Time to finally toss that modem.   Star Wars: A New Hope returns to theaters for its 50th anniversary celebration.   Remembering Apollo 13 commander Jim Lovell, who passed away at age 97 on August 8, leaving behind a legendary spaceflight legacy.   Check out our TeePublic store for some enjoyable swag and all the latest fashion trends What we're Enjoying Shua has been having fun with the reality-bending, body-swapping comedy of Freakier Friday, a quirky take on the classic genre. Jay, on the other hand, has been exploring the ghostly past of Maryland on a guided tour through its haunted history.      Sci-Fi Saturdays -  This week on Sci-Fi Saturdays Jay revisits Edge of Tomorrow, a clever blend of science fiction, action, and dark humor; breaking down its themes of persistence, time loops, and unexpected heroism. Read Jay's full breakdown on RetroZap.com. Also check out his latest work on MCULocationScout.com. Plus, you can tune in to SHIELD: Case Files where Jay and Shua talk about great stuff in the MCU. Enjoy Movies!  This week, we head back to the Cold War comedy days of Spies Like Us (1985), directed by John Landis and written by Dan Aykroyd, Lowell Ganz, and Babaloo Mandel. Inspired by the Hope/Crosby “Road” pictures, the film takes a satirical jab at espionage and military absurdities of the Reagan Era. Aykroyd and Chevy Chase play bumbling “spies” who are unwittingly used as decoys in a high-stakes mission to distract the Russians, only to accidentally stumble into the real operation and prevent World War III. We break down the story, the scathing humor, and the long list of cameos, from Frank Oz and Bob Hope to filmmakers Sam Raimi, Terry Gilliam, and Ray Harryhausen. We also compare Austin Milbarge and Emmett Fitz-Hume against our secret agent bracket from a few weeks back to see how they stack up in spy cinema history. Are you a spy, like them? Do you still like the 80s political satire? First person that emails me with the subject line, “Doctor!” will get a special mention on the show.  Let us know. Come talk to us in the Discord channel or send us an email to EnjoyStuff@RetroZap.com   

Celluloid Heroes: Episode 8Film: Time Bandits (1981)Edmonton, Alberta, 1981. Our host finds being The New Kid an unexpected burden to bear but finds salvation in the form of the madcap world of Monty Python, six time-traveling dwarves, and experiences a cinema classic from one of his soon to be all-time favorite filmmakers. Journey with us through space and time with Terry Gilliam and his fellow Time Bandits on this month's installment of Celluloid Heroes.Follow Celluloid Heroes on INSTAGRAM https://www.instagram.com/TheCelluloidHeroesPodFollow Brad Abraham at www.bradabraham.comShare your thoughts with us! Send your comments to contact@longboxcrusade.comThis podcast is a member of the LONGBOX CRUSADE NETWORK:Visit the WEBSITE: https://www.LongboxCrusade.comFollow on TWITTER: https://twitter.com/LongboxCrusadeFollow on INSTAGRAM: https://www.instagram.com/longboxcrusadeLike the FACEBOOK page: https://www.facebook.com/LongboxCrusadeSubscribe to the YOUTUBE Channel: https://goo.gl/4LkhovSubscribe on APPLE PODCASTS at:https://itunes.apple.com/us/podcast/the-longboxcrusade/id1118783510?mt=2Subscribe on SPOTIFY at:https://open.spotify.com/show/3Hl0nrO7z1KYaHSDug9hsg?si=ee431b760c8c4a21Celluloid Heroes SPOTIFY Single Feed at:https://open.spotify.com/show/5G4VxlMzO0yy7Rub7MPUzx?si=389277ae77a84dd0We appreciate you joining us for this episode of Celluloid Heroes and hope you enjoyed listening!#film #cinema #movies #genx #nostalgia #TimeBandits #1981

Hang onto your slipcases, because Blake Howard and the prolific and wise critic Nadine Whitney discuss the timeless quality of Terry Gilliam's BRAZIL, now in 4k.BrazilIn the dystopian masterpiece Brazil, Jonathan Pryce plays a daydreaming everyman who finds himself caught in the soul-crushing gears of a nightmarish bureaucracy. This cautionary tale by Terry Gilliam, one of the great films of the 1980s, has come to be esteemed alongside antitotalitarian works by the likes of George Orwell, Aldous Huxley, and Kurt Vonnegut. And in terms of set design, cinematography, music, and effects, Brazil is a nonstop dazzler.DIRECTOR-APPROVED 4K UHD + BLU-RAY SPECIAL EDITION FEATURESNew 4K digital restoration of Terry Gilliam's director's cut, supervised and approved by Gilliam, with 2.0 surround DTS-HD Master Audio soundtrackOne 4K UHD disc of the film presented in Dolby Vision HDR and two Blu-rays with the film and special featuresAudio commentary by GilliamWhat Is “Brazil”?, Rob Hedden's on-set documentaryThe Production Notebook, a collection of interviews and video essays, featuring a trove of Brazil-iana from Gilliam's personal collectionThe Battle of “Brazil,” a documentary about the film's contentious release, hosted by Jack Mathews and based on his book of the same name“Love Conquers All” version, the studio's ninety-four-minute, happy-ending cut of Brazil, with commentary by Brazil expert David MorganTrailerEnglish subtitles for the deaf and hard of hearingPLUS: An essay by film critic David SterrittCover based on a theatrical posterNadine WhitneyNadine Whitney is a freelance critic writing from Melbourne, Australia. She is the co-chair of the Australian Film Critics Association. Her focus is on women-directed films.Support: JOIN THE ONE HEAT MINUTE PATREON FOR AS LITTLE AS $1 A MONTHFollow the hosts:Blake Howard - Twitter & One Heat Minute Website Alexei Toliopoulos - Twitter & The Last Video StoreSupport this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy