Podcasts about Truffaut

 Dans tout le Pays Basque, chaque année au cœur de l'hiver, alors que beaucoup les croyaient sur le déclin, de très nombreuses traditions reprennent force et vigueur, avec une intensité remarquable. L'anthropologue Thierry Truffaut et le photographe Patxi Beltzaiz ont publié le livre « Des Ténèbres à la Lumière, Ihauteri, Carnaval ». Cet ouvrage nous entraîne dans un voyage initiatique au seuil du printemps et du passage de la vieille à la nouvelle année. Un livre organisé par thèmes, qui nous permet de découvrir les codes de ces rites, fêtes et pratiques « carnavalesques » et de mieux déceler les particularités des traditions partout où l'on va.   Dans cette deuxième partie (2/2), Thierry Truffaut nous dévoile comment ils ont organisé les thématiques du livre.   Jatorria / source : Radiokultura

durée : 00:53:40 - On plonge dans les B.O de l'actrice qui a alterné films d'auteur et films populaires avec François Truffaut, Jean-Luc Godard, Bertrand Tavernier, Claude Chabrol, Diane Kurys, Nicole Garcia, Tonie Marshall, Xavier Dolan ou Steven Spielberg. - réalisation : Susana Poveda, Denis Soula Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

L'anthropologue Thierry Truffaut et le photographe Patxi Beltzaiz ont publié le livre « Des Ténèbres à la Lumière, Ihauteri, Carnaval ». Cet ouvrage nous entraîne dans un voyage initiatique au seuil du printemps et du passage de la vieille à la nouvelle année. Un livre organisé par thèmes, qui nous permet de découvrir les codes de ces rites, fêtes et pratiques « carnavalesques » et de mieux déceler les particularités des traditions partout où l'on va.   Dans cette première partie (1/2), Thierry Truffaut nous raconte comment est née sa passion pour les Ihauteri et ses souvenirs en tant qu'Hartza (l'ours!).   Jatorria : Radiokultura

Bienvenue dans cet épisode très spécial, un épisode spécial sur le thème du jardin

Neste programa, Pedro Tobias (⁠⁠⁠⁠⁠⁠@pedromtobias⁠⁠⁠⁠⁠⁠) , MarinaOliveira (⁠⁠⁠⁠⁠⁠⁠@coelho_limao⁠⁠⁠⁠⁠⁠⁠) , Leandro Luz (⁠⁠@leandro_luz⁠⁠) e Fernando Machado (⁠@femesmo⁠) debatem a obra do cineasta francês François Truffaut responsável por obras como Os Incompreendidos (1959), Jules e Jim - Uma Mulher para Dois (1962) e Fahrenheit 451 (1966).Portanto, pegue o seu fone de ouvido, prepare o café e nosacompanhe nesta jornada, pois a partir de agora você está em umplano-sequência!===========================================Ficha Técnica: Duração: 02h22min | Apresentação:Pedro Tobias | Pauta: Fernando Machado | Arte da Capa: Marina Oliveira| Edição e sonorização: Marina Oliveira | Seleção de trilha sonora: Leandro Luz | Publicação: Marina Oliveira===========================================Caso você queira ouvir os comentários apenas sobre um dosfilmes, confira a minutagem em que cada um entra:00:20:20 - Os Incompreendidos (1959)00:41:35 - Jules e Jim - Uma Mulher para Dois (1962)01:01:05 - Fahrenheit 451 (1966)01:22:33 - A Noite Americana (1973)01:43:12 - O Último Metrô (1980)02:10:12 - Considerações finais, TOP 3 e etc===========================================Dúvidas, sugestões, críticas ou feedbacks podem ser enviadospara o e-mail ⁠⁠⁠⁠⁠⁠⁠contato@plano-sequencia.com⁠⁠⁠⁠⁠⁠⁠ ouatravés de nossas redes sociais. Estamos no Twitter ⁠⁠⁠⁠⁠⁠⁠@planoseqcast⁠⁠⁠⁠⁠⁠⁠,no Instagram ⁠⁠⁠⁠⁠⁠⁠@planoseqcast⁠⁠⁠⁠⁠⁠⁠ eno Facebook⁠⁠⁠⁠⁠⁠⁠/planosequenciapodcast⁠⁠⁠⁠⁠⁠⁠.Não deixe de avaliar o podcast para que possamos ter mais visibilidade dentrodas plataformas.===========================================

Show notes  As always there are spoilers ahead! You can follow the podcast on social media on Threads, Instagram and Bluesky. If you would like to be a patron of the podcast and feel like nobility funding the podcasting arts, I would like to encourage such sentiments! You can join Patreon and for £3 or $3 a month you can get ad free version of the show. https://www.patreon.com/everyscififilm If you are interested in the plot of the film you can read an overview on the wikipedia page here.  In 1953 writer Ray Bradbury released his magnum opus Fahrenheit 451. It quickly became a widely acclaimed cautionary tale about the dangers of censorship, authoritarianism and the effects of mass media on human ideas and connection.  One of the most prominent science fiction books it is easy to understand why François Truffaut, one of the French New Wave's most prominent directors, became utterly focused on making the story into a film.  The process had its challenges with producers, funding and a casting changes causing delays. The film was finally wrapped up and released in 1966 to both positive and negative reviews. It is an interesting watch if not a gripping one and my two expert guests unravel the ins and outs of how it came to be.  Ian Scott is a Professor of American Film and History at The University of Manchester. He has written extensively about politics and film in Hollywood including the book American Politics in Hollywood Film. Phil Nichols is a visiting lecturer at the University of Wolverhampton and a researcher with a special interest in Ray Bradbury. He is Senior Consultant to the Ray Bradbury Centre at Indiana University and editor of The New Ray Bradbury Review. He is also the man behind the Bradbury 100 podcast and the Science Fiction 101 podcas Chapters 00:00 Introduction 01:32 Fahrenheit 451: a sci-fi heavyweight 04:36 Truffaut and the book 11:03 Suburban scifi in the mid century 13:33 Politics of the story 15:07 Truffaut's perspective 20:01 Julie Christie's double role 26:50 Searching for Montag 34:29 Burning with her books 39:12 Bernard Herrmann's score 40:40 The 2018 remake 49:56 Bradbury's stage play 51:37 Recommendations     Recommendations: Never Let Me Go (2010) The Wild Child (1970)   NEXT EPISODE! Next episode we will be discussing Fantastic Voyage from 1966! The film is annoyingly a little tricky to find online but can be rented easily on mainstream platforms in some countries. You can check the Just Watch website to see where it is available in your region.          

Comédienne de théâtre et de cinéma, Claire Maurier s'est éteinte dimanche 3 mai à l'âge de 97 ans. De ses débuts sur les planches parisiennes dans les années 1950 aux Quatre Cents Coups de Truffaut, de La Cage aux folles de Molinaro au Fabuleux Destin d'Amélie Poulain de Jeunet, elle aura traversé plus de six décennies de cinéma français. Discrète mais marquante, elle restera l'un des grands seconds rôles du cinéma français.

Comédienne de théâtre et de cinéma, Claire Maurier s'est éteinte dimanche 3 mai à l'âge de 97 ans. De ses débuts sur les planches parisiennes dans les années 1950 aux Quatre Cents Coups de Truffaut, de La Cage aux folles de Molinaro au Fabuleux Destin d'Amélie Poulain de Jeunet, elle aura traversé plus de six décennies de cinéma français. Discrète mais marquante, elle restera l'un des grands seconds rôles du cinéma français.

Did you know American music legend Nile Rodgers is helping the Trust plant and protect woodland in Northern Ireland? Alongside generous donations to Faughan Valley Woodlands from the We Are Family Foundation (WAFF), Nile has got stuck in with planting on site. Nile and the foundation he co-founded with his partner, Nancy Hunt, are working with us to reconnect fragmented native woods in a region where less than 1% of ancient woodland remains. We caught up with the multiple Grammy Award winner on his latest visit to find out why. We also hear from David Saddington, trustee of both WAFF and the Trust, on why empowering young people to take direct action is key to this work, and we chat to some of those volunteering at this special event. Please note this episode contains references to drugs. Don't forget to rate us and subscribe! Learn more about the Woodland Trust at woodlandtrust.org.uk  Transcript You are listening to Woodland Walks, a podcast for the Woodland Trust, presented by Adam Shaw. We protect and plant trees for people to enjoy, to fight climate change and to help wildlife thrive. Nile: But it just made me feel so good. It was so real, it was almost like a drug. So my parents were doing heroin, I was doing music *laughs*. Nile: So I always thought that an artist was the guy trying to be the smartest person in the room, that everybody said, 'well, I wish I could play like him, I wish I could do that'. No, it was the person who touched people's hearts. Nile: We actually had them locked out the studio because we still hadn't finished the lyrics to We Are Family. Nile: Trees do, all plants, but trees, you know, especially, do so much for life. Let's not just talk about the overall environment, life, all life forms that exist. Adam: For 40 years, if you've been on a dance floor, you'll have been dancing to the music of one of our guests today. He co-founded Chic, produced and collaborated with David Bowie, Madonna, Richard Jackson, and well, to be honest, too many others to mention. But to give you an idea of the sort of musical success he's had, I can say that he has produced and performed on records which have sold more than 750 million albums and 100 million singles. Born to teenage parents in an environment where drug use was very much part of his every day, he has come from that background with an attitude to life which is as upbeat and as positive as his music. And together with his partner, Nancy Hunt, they have established the We Are Family Foundation, focused on empowering young people around the world. Together, they're in Northern Ireland, in Derry, to support and protect and indeed restore woodland in this country, and indeed Nile is on the Woodland Walks sofa and joined by one of the trustees of the We Are Family Foundation and indeed the Woodland Trust, David. So we'll come to David in a moment. Why don't we start now where it all started with the music? Reading about you and listening to stuff you've done, my impression is you're the most positive person I've read about and that surprises me because of the disjointed background you grew up in. So two questions. Do you think that's a fair description and if so, why? Nile: So the... the interesting thing about my childhood was that though my parents were heroin addicts, they were extremely loving and they believed in me so much so that, believe it or not, I was never, ever told what to do. They knew that I instinctively would figure it out. Or I was just one of those nerdy, nice kids that they knew would never get into trouble. I mean, I have never stolen anything. I've never, I bullied one kid once and the reason why is because everybody bullied me because I was a nerd. And when I bullied this kid, he started crying and I started crying. He's probably forgotten that incident. I will never forget it. It'll bother me my entire life. I could not believe that I did that. So my childhood was actually on one level very happy, but at the exact same time, and I don't know how these two situations could have coexisted, except only now forensically, but it was super happy, but then I actually called my childhood a fear-based childhood. I was afraid of things, so I did things to make me unafraid or happy. And music was that thing. But it just made me feel so good. It was so real. It was almost like a drug. So my parents were doing heroin. I was doing music *laughs*. Adam: I mean, it's weird you describe yourself as a nerd. You're the least nerdy-looking nerd I've ever come across, but fair enough. Nile: Oh God, test me. Adam: Oh really, okay, we'll do a nerd off *both laugh*. Fair, fair enough. But that positivity, I mean, you talk about being nice, but what I think is striking about your music, and perhaps problematic for some of it, is that it's relentlessly positive. And I think sometimes it's seen as sort of very surface level because of that and yet you talk about the deeper meaning behind the music, which I think some fans of yours perhaps don't see, or that's not what they're getting from it. Nile: But that's okay, though. Adam: That's fine. Nile: It's okay. Yeah, you're so correct. I mean, I'll try and quickly just tell you this story. So when I said I was a nerd, believe me, I studied music on a level that was so intense, that was ridiculous. So I thought it was my job to prove to my tutors and various teachers how smart I was, how well I learned the rules and the discipline of music. I wrote symphonic music when I was a child, I wasn't even 10 years old yet. And I remember I was going to one of my tutors. I was around 22 years old and I was a very serious jazz student. And I went into him one day with a very sourpuss attitude and look, and that was not me. He just was like, no, you're always so happy and you're always so upbeat. What's wrong with you today? And I said, well, look at this ******** pop music that I have to play tonight. Now, maybe I thought it was sort of ******** but maybe I was just trying to score brownie points with him because I always thought being a great musician was being the smartest guy or the greatest virtuoso in the room. So what happened was my teacher, I showed him the list of songs that I was playing that night. And I said, look at what I have to start my set with. This song by The Archies called Sugar, Sugar. He said, yeah, but now what's wrong? Why are you so sad? And I said, because I got to play Sugar, Sugar. You know, I want to play straight ahead jazz. He was like, that's okay that you want to play straight ahead jazz, that's what I love. But why is it bothering you to play Sugar, Sugar? And I said, because it goes, *sings* Honey, do, do, do, do, do, do, oh sugar, sugar, do, do, do, do, do, do, you are my candy girl, and you got me wanting you. And he said, Nile, that's a great composition. I went, you call Sugar, Sugar a great composition? He said, absolutely. He said, what do you think about it? He says, and I went, well, it sucks. It's some ******** bubblegum pop music. And he went, now, do you know that Sugar Sugar's been number one for about three weeks? And I said, yeah, but what does that got to do with anything? And he went, so those millions of people around the world, they're wrong, but you, Nile Rodgers, are right? And all of a sudden I felt, uh-oh, *laughs* something weird's getting ready to happen. So he held me behind my head and he pulled my face close to him and he said, Nile, let me explain something to you. Every record in the top 20 is a great composition. And so remember, we're going back now 50 years. I'm 73 years old, so we're going back a long time. And I say, every record in the top 20 is a great composition? He says, yes. I said, why would you say something so absurd? He says, Nile, because it speaks to the souls of a million strangers. And I literally started crying at that moment because in one spark, in a nanosecond, he explained to me what an artist was. So I always thought that an artist was the guy trying to be the smartest person in the room, that everybody said, well, I wish I could play like him. I wish I could do that. No, it was the person who touched people's hearts. It was the person who made people feel something, be it happiness, be it sadness or whatever. But a lot of my friends who are virtuosos, we just would go, wow, he can play his *** off. That was the thing. We didn't feel anything necessarily. Sometimes we did, but I was determined to try and make people feel something every time. And to me, I wanted people to feel happy because I wanted to feel happy. Why do I want to write sad music? Adam: So that phrase, speaking to the souls of a million strangers, it's clearly an iconic thing about your music. The other striking thing, I think, which you've talked about, is about life, not just your music, but I think obviously connected, is not about surviving the storm, but learning how to dance in the rain. Is that one of the tenets of your approach to music and life? Are they the same thing? Nile: That's exactly it. That's why people wonder why I do so much music, and it's because I believe that I could always, I honestly, and this is not an egotistical statement, I always believe that I can add something to the song. I believe that I can make it better, even if it's just a little better, but you can hear it. I mean, five minutes before I came down here, I asked an artist that I sent a piece of music to, I said, you never wrote me back. How do you feel about the guitar streams that I sent you? And Kygo just wrote me, he said, he just literally just wrote me, where the hell is it? I went, cool. He went, oh, yes sir, sounding really cool *laughs*. Minutes ago. Adam: Okay. So look, we need to talk more about that, but I want, you're here not for the music, but for the work of your, and Nancy, your partner's, foundation. And David Saddington, sitting next to you, is a trustee of that foundation. You also happen to be a trustee of the Woodland Trust as well. So the purpose of the We Are Family Foundation is what? David: I mean, the We Are Family Foundation, Nile and Nancy started 20, 25 years ago now, which is insane *both laugh*. And Nile, I mean, you'll tell it better than me in terms of sort of your origin story, which came from, you know, a horrendous event of 9/11. And Nile and Nancy wanted to do something positive for the world, to heal the world. And thankfully, you know, when they sort of asked that question around how do we sort of have more peace in the world, how do we have more harmony, young people came out as the answer and actually finding that hope, finding that positivity, finding those solutions. So the foundation really is built upon curating, nurturing and growing this talent and giving these young people visibility. Adam: And the work that the We Are Family Foundation is starting to do in Northern Ireland, we were today at a planting with Nile and Nancy and you. What is the project here? David: Yeah, my God, like, you know, I work on climate change every day. It's really sort of hard and difficult, but actually by doing something very local with the Woodland Trust, you make such a tremendous difference, not only just about place, but the communities which you bring along. So this partnership just made a lot of sense. And then when we started talking after that visit around sort of why it made sense to support from the foundation, Northern Ireland came out really as a winner. And the beautiful site we visited earlier in the Faughan Valley is so special because, in a sad way really, because so little of the ancient woodland is left in Northern Ireland, less than 1%. And the vision of the Woodland Trust in Northern Ireland to preserve those tiny fragments of ancient woodland, but protect them by restoring the land around it, letting them expand, is so special. And particularly given that site is, what, I mean, like 10 minutes away from Derry? That's so cool. It is right on the doorstep of so many people to restore such a precious habitat, but make sure that people can actually enjoy it and be part of that as well. Amazing. Adam: A little before Nile and I sat down to speak, we both visited Faughan Valley Woodlands with a group of young people who were there to help plant some trees. Now, this is an important area. Since 2000, the Woodland Trust has brought small clusters of native woodlands, including Brackfield, Oaks, Red Brae, Burntollet, Killaloo and Auter, all fragmented along the Faughan Valley, which is a site of special scientific interests. And it's been a vision of the Woodland Trust Northern Ireland for well over a decade, really, to try and connect these fragments for both people and nature. And so when I met the younger people who are busy planting trees, I asked them why they felt what they were doing was important. Speaker 1: So usually it's around every Sunday morning. We go around and it's just odd jobs, like it's never the same thing every week. It's usually planting trees, but recently we've been building fences to keep sheep out and removing tree guards. Adam: And why are you interested in that instead of watching TV or playing Xbox or whatever? Speaker 1: Well, I've always kind of liked outdoorsy stuff in nature and usually I wouldn't really do much on a Sunday. So it's just better to get out rather than do nothing on a Sunday morning so. Adam: And you're about to plant a tree. Speaker 1: Yeah. Adam: Do we know what type of tree that is? Speaker 1: I think it's oak. Adam: Oh, there we are see, I don't know, but you know, go on plant away. Speaker 2: I'm Sophie McGee. Adam: And what are you doing, Sophie? Speaker 2: Well, we're planting trees today for the 30th anniversary. It's just more interesting because we're actually doing something that's worthwhile for the environment and for ourselves. Adam: And do you feel you're making a difference? Speaker 2: Yes, every tree will help. No matter if it's a wee tiny stick or a big massive one. Speaker 3: Well my name is Evie, I'm 13 years old and I've always been interested in nature and plants and animals and stuff and then my auntie decided, or she showed me the Woodland Trust young volunteers so I thought that sounds right up my street. So I joined, I've only been here for a few weeks and so far I've really enjoyed it. We've been trimming down, we've been trimming away trees that'll grow back to let light into the forest floor. We've been looking at different kinds of moths and caterpillars and we've been for walks and here we are planting trees and meeting celebrities! Speaker 4: My name's Milo and you know we're with the Woodland Trust, you know, planting trees and stuff because, well, you know, trees are important and they support a lot of species and insects and wildlife and it's great for the water quality and soil erosion in general. And in my opinion personally, I think biodiversity is really important, especially in, the UK and Northern Ireland in general. It's just seem to be really sort of nature depleted and, you know, I kind of want to change that. I think it doesn't seem fair, you know? Adam: Nile, I think the phrase we've already used many times is We Are Family, the name of one of your most successful songs, but obviously the name of your foundation. And we've talked about your family. That's an obvious theme, family. I'm struck by that because of a disjointed background, even though loving and literarily full. Your family were artists and you had a full and rich literary life. The connection to family, clearly a theme for you. Why? Nile: It wasn't my idea. It was other people's ideas. And they talked me into it. I, as an artist, I wrote We Are Family for Sister Sledge and for Sister Sledge alone. I didn't write it for the world. I wrote it for them. And they, it was their job to now take it out into the world, which they did very well. But what happened as a byproduct of the composition was just the love that I put into the song that my partner Bernard Edwards and I put into the song, we were trying to talk about this wonderful family, you won't believe this, that we never met. We never met Sister Sledge until they came in to sing the song. The entire album was already produced. We didn't know any other way to make records except for by ourselves. So we made the record and said, okay, now sing this. And they were like, what? We've never been treated like this. We're like, we don't know any other way to make records. Me and Luther Vandross and Bernard Edwards and Tony Thompson, and we go in and we write and produce, and there you go, here's your record. But so the love that we projected onto Sister Sledge was something that we superimposed upon them. We don't know whether they liked each other or not. We just presupposed that they did. And that's what we wrote, this loving, anthemic, wonderful dance song. And Kathy Sledge, at 15 years old, came in and just gave the performance of her life. We actually had them locked out the studio because we still hadn't finished the lyrics to We Are Family *both laugh*. It was the final song that we wrote, right? So we wouldn't let them come in. We're inside trying to be professional. And they're like, why can't we come in and hear what you guys are making as demos? Making as demos? No, we made, it's the record. But anyway, what happened was, as a result of the popularity of the song, this baseball team in America, the Pittsburgh Pirates, adopted it as their theme song. And they're not women, they're men. And we saw these big burly men going, we are family, I got all my sisters with me. And I was like, whoa. And anyway, they won the World Series *laughs*. Adam: But I mean, that's a fascinating insight how you made that song. But what I'm struck by is that you have talked about this deeper hidden meaning, your phrase, right, behind your songs. So that's an obvious question to ask. You talk about family. It's a key song in your career. It hints of the deeper meaning here is about the importance of your family. And your family are unusual. Super talented people, not particularly stable, I hope that's not insulting or anything. But it's sort of, I'd expect you to maybe be more traumatised by that or to have, but no, it's all good. It's all good. Nile: It wasn't, you see, it wasn't traumatic because I developed my own survival mechanism and it was actually good. But I don't think you realise this. I said, everybody told me, oh, you got Grammys, you got this, you're the head of the Songwriters Hall of Fame, you're the Rock and Roll Hall of Fame, I said, you know what? The thing that I am the most proud of in my life is at seven years old, I set the national truancy record for the United States of America *both laugh*. I cut school 75 days in a row and went to the movies. I learned more at the cinema in 75 days than everybody in my class learned in an entire semester. You could see Fellini, you could see Truffaut, you could see anything. My mom, when she had her second child, suffered from postpartum depression and threatened to murder my brother every day. So after a few weeks, and I can't remember how long it took because I was a child, but after her going to psychiatrist every day, that's how bad it was, they decided that she had to be separated from her children. She was a danger to herself and others. So they sent me off to Los Angeles to live with my maternal grandmother. And my youngest brother, who was just born, was sent to live with his paternal grandparents. And so while I was in Los Angeles, I was treated ah man, boy, talk about bullying. Every place in LA was sort of run by gangs. And I didn't know anything about the gang culture. And I spoke like a New Yorker. And everybody in LA was, you know, street slang. And, you know, and now look at how big hip hop is. You know, that's the way that that everyone spoke. I didn't know half the stuff they were saying. So kids would try and beat me up. They only beat me up once, no, twice, sorry, twice. And then I just decided, I'm not going to where those kids are. I'm going to where adults are. Because I got along with adults and I went to the cinema every day for 75 days straight. Adam: There's lots to talk about, not much time. But I do want to ask one more question around this sort of area. In actually the podcast we've just done, I spoke to quite a significant business leader who has ADHD. And I said to him at the end of the chat we had, if you had a magic wand and could wave away your ADHD, would you do it? And he went, no, I absolutely wouldn't do it because it's part of who I was, I am, and it's informed and helped me. And I wonder if there's a similar question about your drug past, whether if you could wipe it away, would you? Nile: Never, never, ever, ever, ever. I, you know, I developed a very horrible drug habit. I actually, my heart stopped six times in one night. I don't remember the medical phrase, but it's called something like multiple drug interaction. Like, so if you take cocaine and then you take alcohol and then you take either LSD or something else, your brain doesn't know which one is dominant, right? So it starts going, it tells your heart, do I expand or contract? I don't know. And every time they tried to revive me, I would only stay alert or alive, my heart would only pump a couple of times and then stop again. Adam: So what did that bring you as an artist in retrospect? Nile: Nothing. Because to me, all I remember was driving home, Not getting into an accident, not getting a ticket, driving home, parking in my same parking space, going up to my apartment. However, I mistakenly pushed the number 14 instead of 28. That saved my life. I didn't know that I did, I didn't know I made a mistake. I was so high, I thought 14 was 28. The way that they emptied the garbage in my building, they started at the top and they went down floor by floor. When the elevator hit 14, the doors opened, I fell out onto the floor dead. They just happened to be on the 14th floor and they saw me lying there dead. They go over, I have no pulse. They probably tried to do, I don't know any of this for a fact because I was, out, yeah. So I just assumed they must have tried to help me. They liked me, so they must have tried to do something. Fortunately, the hospital was two blocks away from my house. And they get me to the hospital. The doctors revived me six times. After the sixth time, they figured this is hopeless because they did everything they could possibly do. And he said that, we worked so hard to save your life, but in fact, I was filling out the death certificate and the orderly in the room said, hey doc, we got a live one here. And my heart just started going automatically again by itself. Adam: Amazing. I want to bring you back to your foundation. So we're here because of the good work you're doing for the environment. But the environmental issue may be relatively new, but you've been a political activist since your early days. This is not a recent conversion. You're super plugged in to these sort of big debates, aren't you? Part of the Black Panthers in your early age? Nile: Yeah, I was a subsection of the Black Panther Party when I was 16 years old. Adam: So lots of political issues. Why now the environment? Nile: It's just one of many issues that We Are Family Foundation supports. You asked me about being a nerd. So I grew up as a scientist. I have a scientific background. So I understand how these things in our environment are fundamentally to life itself. That, if you think about it, in today's world, there are a million different species on this planet, but that's only 1% of all the life that's ever lived on this planet. So it just goes up and down and up and down. And prior to humans, we were never the cause. Now we're the cause of things dying and species going away. Before, it was just the fact that Earth was this very volatile planet and over millions, billions, in fact, years, things were changing. But now we're doing the bad stuff. We're killing ourselves, which is incredible. And it's mainly because most people don't know that all these life forms are dependent upon one another. Last night I heard someone talking about plankton. And I was saying, yeah, well, look at how important plankton is. You know, like hydrogen, we need, we don't have hydrogen, we have no life. You know, it's like, so, I mean, trees do, all plants, but trees, you know, especially, do so much for life. Let's not just talk about the overall environment, life, all life forms that exist. Adam: We're running out of time. Just one last question each. David, first, you set the context of what that foundation is doing here and what the Trust is doing here. What are your hopes for if Nile, us, we all gather, come back in ten years' time? Your hope for the project by then would be what? David: I mean, my hope for the project in that time is to see the forest grow, because what I find so encouraging is when you let nature recover with a little bit of help from us, it doesn't take that long to actually start putting it right, you know, to restore those habitats, to protect that ancient woodland, to let it regrow, rejuvenate, with the help of people supporting communities at the same time. It can recover in such a remarkable amount of time, which I just find really quite hopeful and empowering in the world we're in at the moment. Will it restore very precious nature here in Northern Ireland? Will it inspire people to make a difference with all the volunteers we're bringing in? Absolutely. And who knows what the catalytic sort of nature of that will be, which I think is sort of magical to see. So it's a pleasure to bring this partnership together between the We Are Family Foundation and the Woodland Trust and see that grow and grow over the years. Adam: And I think often with trees, people think it's 100 years, their great-grandchildren will come. That's not the case, is it? 10, 20 years is a reasonable time frame to see significant change in this landscape we just visited this morning. David: Yeah, absolutely. I mean, some of the trees we were walking around this morning, the beautiful silver birches, which looked like a woodland, were 20 years old. And actually, it is incredible, actually, it doesn't take a huge amount of time for nature to recover. Adam: Nile, last question. It's been an amazing life. It is an amazing life, perhaps a great life. Your third act? Hard to imagine what new things you could do, but do you, what are the, how do you see your future and what you want to spend that third act doing? Nile: Wow, I'm doing so much now. I'm almost going back to where I started, which was with theatre performances that are more story-ented instead of just going out and playing a whole bunch of hit songs. I think I got super inspired completely accidentally. I wrote a song for Diana Ross years ago. And the first time I worked for the Prince's Trust, he said, now, my dear fellow, I wish I knew more of your music, everybody seems to love it so much. And then he became the King and he printed out his top 10 favorite songs. Number 3 was one of my songs. And he didn't realise it because, you know, the King, what have you got time to sit around and read, you know *laughs* And I said to him, I said, you know, Your Majesty, I promise you, you know some of my songs. But then his list comes out and my #3 song, I mean my song, Upside Down by Diana Ross is #3. He was like, that's one of my favorite songs, and there's a whole video that we put out of him sort of like doing his best dance to Upside Down. It's quite funny. I just thought that the one thing I've not really explored or worked hard on, I'm at the part of my life where I really do want to do all the music that I can do. And I want it to have the same effect as the pop music that I do. So I want my jazz music to make people feel good. So I did Candy Dulfer's last record and she's just unreal. So that's really, I think, where I want to be. And honestly, and I'm being very, very honest, I never keep track of any of this stuff. I did a conference a few weeks ago, and it was all these billionaires and all these tech guys and blah, blah, blah. And I said, you know, I did the biggest selling Madonna album in the world, we sold 10 million copies. All of my memories are from when I first heard this stuff. And somebody hollered out from the back of the room, 23 million copies, you know Nile, it keeps selling and keeps adding up. And I went, oh. In the first few weeks, we sold 10 million copies. And that's all I remember. And I move on to the next record and the next record and the next record. I had huge success with the last two Beyoncé records. But I've done that, and obviously you can see with Kygo, I continue to do that. That's never going to go away. But when I think in terms of full projects, it's going to be more theatrical and maybe more film. David: There's about two things as well. There's one thing that you said to me before, which I think is just so great about the foundation, about how you want the foundation to be bigger than the song, which I think is a pretty epic aspiration there to have, the We Are Family Foundation and We Are Family the song, but I just think that's amazing to think around, the impact which has been achieved over twenty-five years and thinking about the years to come, and then secondly, because with your audience, Adam, we have so many obviously sort of people who love getting out on walks and nature. And my goodness, you won't be up as early as this guy doing his morning walks. And you definitely need to follow him on Instagram at a moment because he's on a roll doing sort of walks all over the world. Nile: It's true. I love, you know, I wake up every morning very, very early. Right now, life and enjoying nature and being out in it is really exciting. Like when I was younger, being indoors, like I used to, there was a joke I used to say, I used to go to like clubs every night and go, ah the great indoors *all laugh*. Adam: Well, look, a sample of how busy you are is I know you have other meetings to go to and other jobs to do, so I won't keep you anymore. Here's to the good times. Thank you very much indeed, both of you. Nile: Thank you. I hope I wasn't too long-winded. David: Thank you. Adam: You were brilliant. It's a real treat to talk to you. David: A pleasure. Thank you for listening to the Woodland Trust Woodland Walks. Join us next month when Adam will be taking another walk in the company of Woodland Trust staff, partners and volunteers. And don't forget to subscribe to the series on iTunes or wherever you are listening. And do give us a review and a rating. If you want to find out more about our woods and those that are close to you, check out the Woodland Trust website. Just head to the Visiting Woods pages. Thank you.

As always there are spoilers ahead! You can follow the podcast on social media on Threads, Instagram and Bluesky. If you would like to be a patron of the podcast and get that amazing feeling of wellbeing that comes from contributing to the research, planning and anxiety that does towards making a podcast I would love to encourage it! You can join Patreon and for £3 or $3 a month you can get ad free version of the show. https://www.patreon.com/everyscififilm Seconds is a visually striking and thoroughly uncomfortable film. A 1960s film that examines dissatisfied suburban living, mid-life crisis and the yearning for youth and freedom. I think it's vastly underrated which is probably something both of my genuinely amazing guests agree with. (Apologies for not offering more of a counterpoint to this view!) Mark Bould is a professor of Film and Literature at the University of West England, Bristol. He has written/edited extensively about science fiction cinema. Sherryl Vint is Professor of Science Fiction Media Studies at the University of California, Riverside. She has also written/edited extensively about science fiction. Chapters: 00:00 Introduction 01:31 Frankenheimer's fantastic films 05:55 Science fiction in the 60s 07:55 The striking work of James Wong Howe 12:18 Saul (and Elaine) Bass credits 14:42 Mid Life Crisis in the 1960s 19:20 Dissatisfaction in the middle class 21:38 The Tennis Trophy 24:40 Rock Hudson and John Randolph 31:54 The Wine Stomp 37:02 Corporation as "The Monster" and PK Dick 38:48 Frankenstein and face surgery 41:44 The business model and Tech Bros 45:08 Legacy 50:39 Trivia tidbits 53:51 Recommendations   Recommendations: Phase IV (1974) Face of Another (1966) Mark also mentions: Eyes Without a Face (1960) and Darkman (1990)   NEXT EPISODE! Next episode we take a dive into the 1966 François Truffaut science fiction film Fahrenheit 451. The film is very annoyingly tough to get hold of on streaming platforms but can apparently be found on Fandango and you can search the Just Watch website to check where it might be available in your region. You can buy the DVD quite easily for not extortionate prices in many places. There do seem to be dodgy websites that also have the film but obviously I would never encourage you to search for such things.

Two masters. One unforgettable conversation.Why did François Truffaut admire Alfred Hitchcock so deeply?And how did their dialogue reshape how we look at cinema?In this clip from The Artists Podcast, I explore this iconic exchange with Annette Insdorf, who brings a rare, first-hand perspective to Truffaut's thinking and his relationship with Hitchcock.It's one of those conversations that stayed with me—and I think it opens up something important about how filmmakers learn from each other across worlds.If you're interested in cinema, this is worth spending a few minutes with.

durée : 00:16:04 - Journal de 12h30 - Nathalie Baye s'est éteinte ce vendredi soir. Elle était dans un état de santé préoccupant depuis l'été dernier, souffrant de la maladie à corps de Lewy. Révélée en 1973 par 'La Nuit américaine' de François Truffaut, elle avait tourné avec les plus grands. De Godard à Spielberg ou Xavier Dolan. - invités : Serge Toubiana Président d'Unifrance, critique de cinéma

durée : 00:16:04 - Journal de 12h30 - Nathalie Baye s'est éteinte ce vendredi soir. Elle était dans un état de santé préoccupant depuis l'été dernier, souffrant de la maladie à corps de Lewy. Révélée en 1973 par 'La Nuit américaine' de François Truffaut, elle avait tourné avec les plus grands. De Godard à Spielberg ou Xavier Dolan. - invités : Serge Toubiana Président d'Unifrance, critique de cinéma

Le point commun entre Orson Welles, Alfred Hitchcock, François Truffaut et Brian de Palma ? La musique, entêtante et d'une grande originalité, qui a fait de Bernard Herrmann durant de nombreuses années l'homme-orchestre indispensable d'Hollywood.Franck Ferrand nous plonge dans la vie fascinante de Bernard Herrmann, l'un des plus grands compositeurs de musique de film du XXe siècle. Découvrez comment ce génie new-yorkais a marqué à jamais l'histoire du cinéma grâce à ses collaborations légendaires avec des réalisateurs tels qu'Orson Welles et Alfred Hitchcock.Né dans une famille d'immigrants juifs russes à New York, Bernard Herrmann montre très tôt un talent exceptionnel pour la musique. Après des études à l'Université de New York et à la Juilliard School, il se fait rapidement remarquer dans le milieu de la radio et se voit confier la direction de l'orchestre de la CBS. C'est là qu'il rencontre le jeune prodige Orson Welles, avec qui il va vivre une collaboration fructueuse et mouvementée.Ensemble, ils vont révolutionner la musique de film avec leur travail sur des chefs-d'œuvre comme Citizen Kane et La Splendeur des Amberson. Herrmann développe alors un style musical unique, fait de motifs courts et obsédants qui viennent souligner l'intensité des images à l'écran.

durée : 01:32:25 - Les Nuits de France Culture - par : Philippe Garbit - Les "Mardis du cinéma : Un printemps pour Hitchcock", une analyse de Jean Douchet et Laurence Drummond du dialogue, important dans l'histoire du cinéma, entre Alfred Hitchcock et François Truffaut, et plus largement sur l'art d'Alfred Hitchcock, un dandy, "Un homme qui en savait trop"... - réalisation : Virginie Mourthé - invités : Jean Douchet Cinéaste, historien et critique de cinéma (1929-2019); Alfred Hitchcock Réalisateur et scénariste britannique; François Truffaut Réalisateur de cinéma et comédien français; Jacques Chancel Journaliste français

L'invitée : Anne-Sophie Anglaret, historienne de la CollaborationLe film : Des rayons et des ombres, Xavier Giannoli, 2026La discussion :· Propos liminaire : les malentendus sur les rapports entre cinéma et histoire (1:30)· Luchaire, la gauche, l'extrême-droite (6:20).· Corinne Luchaire, narratrice problématique (9:00)· Intentions du film et réussites partielles (13:00)· Dépolitisation et déformations du parcours de Luchaire avant-guerre (18:00)· Otto Abetz faussement présenté comme un nazi malgré lui (23:00)· La mise en scène mensongère d'un Luchaire préoccupé par le sort des juifs (26:45)· Des omissions problématiques : le rôle de Luchaire à Sigmaringen, sa fréquentation de la Gestapo· Luchaire présenté comme favorable à la Résistance ou jouant un double jeu ! (34:20)· Un passage confusionniste sur De Gaulle et Pétain, because why not (39:00)· Les rapprochements entre Corinne Luchaire et Lacombe Lucien (40:40)· Les circonstances inventées de l'arrestation des Luchaire, prétexte à une mise en scène dégradante des FFI prêts à violer Corinne (43:00)· Un dernier cliché pour la route : « l'histoire écrite par les vainqueurs » (49:00)· Que voir d'autre ? Section spéciale de Costa-Gavras (1975) ; Le dernier métro de Truffaut (1980) (50:00) Les textes parus sur le film :· Plaidoyer du trio de conseillers historiques (Barbara Lambauer, Cédric Méletta, Yves Pourcher)· Tribune critique de Bénédicte Vergez-Chaignon· Entretien avec Tristan RouquetUn podcast créé, animé et produit par André Loez et distribué par Binge Audio. Contact pub : project@binge.audioHébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

No episódio de hoje, você confere com a Isabela Lapa, os detalhes da mostra "Truffaut por completo", em exibição no Cine Humberto Mauro.See omnystudio.com/listener for privacy information.

This week, we discuss Steven Spielberg's follow-up to Jaws, the science fiction classic, Close Encounters of the Third Kind, a film that traded the alien invasion tropes of the 1950s for a sense of spiritual wonder, mystery and awe. And five famous bars of John WIlliams music.SPOILER ALERT We will be talking about this movie in its entirety, including the iconic five-tone sequence and the transformative finale at Devil's Tower. If you haven't seen this masterpiece, we strongly suggest you watch it before listening to our takes.A Columbia Pictures and EMI Films production. Released on November 16, 1977. Directed and written by Steven Spielberg. Starring Richard Dreyfuss, François Truffaut, Melinda Dillon, Teri Garr, and Bob Balaban. Cinematography by Vilmos Zsigmond. Edited by Michael Kahn. Music by John Williams.

Senza neanche accorgercene stiamo impoverendo la lingua italiana rendendola sempre più arida di parole. Molte le cause, dalla televisione ai social passando per un uso, a volte ingiustificato, dell'inglese. Ne parliamo con Stefano Fava, autore del libro, La soffitta delle parole, Utet.Queste le altre citazioni e recensioni del programma: - Maia Hruska, Dieci Versioni di Kafka, Mondadori- Luca Cena, Un destino già scritto, Sperling&Kupfer- Ian McEwan, Quello che possiamo sapere, Einaudi- Joseph Roth, Stefan Zweig, Ombre folli, Adelphi- Tatiana Tolstoj, Anni con mio padre, Bibliotheka- François Truffaut, Il cinema secondo me, il SaggiatoreIl confettino, i consigli di lettura per i più piccoli, di questa settimana è:- Lev Tolstoj, Favole e storie, Lapis.

Au sommaire de cette spéciale Vincent Glenn : Interview de Vincent Glenn, réalisateur de Dis pas de bêtises, présenté dans la sélection Cannes Classics 2025 ainsi qu'au Festival Lumière : "Dis pas de bêtises est un film documentaire né d'un dialogue entre un père et son fils. Derrière la caméra, le fils, Vincent Glenn, réalisateur de documentaires depuis plus de 30 ans. Devant, le père, Pierre-William Glenn, immense directeur de la photographie des années 70, qui a traversé le 7ème art aux côtés de Truffaut, Rivette, Tavernier et bien d'autres". Bonne écoute à toutes et tous !

Cet épisode vous propose la captation de mon intervention au What The Club, le 16 novembre dernier.C'était à l'Epée de Bois à Paris, juste avant la projection de Bonnie and Clyde d'Arthur Penn. En quoi ce film est-il représentatif du Nouvel Hollywood ?Quel influence a eue François Truffaut sur le projet ?Comment Theadora Van Runkle s'est retrouvée à signer ses tous premiers costumes sur ce film culte ? Quelle a été la suite de sa carrière ?Retrouvez Profession : costumière sur Instagram  Un podcast signé Céleste Touboul Durante Logo : agence Silenzio

Ombline Roche retrace la carrière exceptionnelle du compositeur français Georges Delerue. Né dans un milieu ouvrier à Roubaix, Delerue s'impose rapidement comme l'un des grands artisans de la musique de film du XXe siècle, collaborant avec des réalisateurs emblématiques de la Nouvelle Vague comme François Truffaut. Ses mélodies sensibles et élégantes ont marqué l'imaginaire collectif, de la valse d'Hiroshima, mon amour au thème du Mépris de Godard. Célébré à Hollywood avec un Oscar, Delerue a également été récompensé en France par trois Césars consécutifs, témoignant de son talent à sublimer les images, qu'il s'agisse de films d'auteurs ou de productions populaires.Notre équipe a utilisé un outil d'Intelligence artificielle via les technologies d'Audiomeans© pour accompagner la création de ce contenu écrit.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Aprovechamos el homenaje de Richard Linklater a 'El final de la escapada' para hablar de Godard, Truffaut y otros genios que cambiaron la forma de hacer cine con la Nouvelle Vague. También hemos visto el documental sobre Mel Brooks: Un hombre de 99 años. Con Rubén Amón, Guillermo Altares, Isabel Vázquez, Sergio del Molino y Rosa Belmonte.

durée : 00:49:39 - Les Nuits de France Culture - par : Albane Penaranda - En février 1976, Claude-Jean Philippe reçoit François Truffaut dans sa toute nouvelle émission hebdomadaire "Le cinéma des cinéastes" sur France Culture. - réalisation : Virginie Mourthé - invités : Claude-Jean Philippe Auteur, réalisateur et producteur de télévision et de radio; Caroline Champetier Directrice de la photographie; Pierre Donnadieu; François Truffaut Réalisateur de cinéma et comédien français

On today's episode, Bryan Cebulski joins Josiah to discuss François Truffaut's Antoine Dionel saga--a series of five semi-autobiographical films following Truffaut's life from troubled child, to horny young man, to horny married man, and finally to horny divorced man. Are these films self-critiques or self-justifications? Does Truffaut know what a real job is? Is Truffaut the more talented Kevin Smith? All this and more on today's episode.Follow Bryan on Letterboxd @bryanonion and Bluesky @bryanonion.bsky.socialBuy Bryan's novel, It Helps With the Blues, here: https://traumbooks.com/ithelpswiththeblues/Check out Bryan's blog here: https://bryancebulski.wordpress.com/Become a Fruitless Patron here: https://www.patreon.com/user?u=11922141Check out Fruitless on YouTubeFind more of Josiah's work: https://linktr.ee/josiahwsuttonFollow Josiah on Twitter @josiahwsuttonReferenceThe 400 Blows (1959, dir. François Truffaut)Antoine and Colette (1962, dir. François Truffaut)Stolen Kisses (1968, dir. François Truffaut)Bed and Board (1970, dir. François Truffaut)Love on the Run (1979, dir. François Truffaut)Music & Audio creditsGénérique/Les Quatre Cents Coups - Jean ConstantinYesterday – bloom.L'amour En Fuite - Alain Souchon ★ Support this podcast on Patreon ★

Sam Clements talks to director Richard Linkalter about his new film, Nouvelle Vague. In cinemas now.  Richard Linklater's playful, poignant love letter to cinema reimagines the making of Jean-Luc Godard's revolutionary New Wave classic Breathless, told in the style and spirit in which Godard made it.   After writing for Cahiers du cinéma, a young Godard decides making films is the best film criticism. He convinces producer Georges de Beauregard to fund a low-budget feature, and creates a treatment with fellow New Wave filmmaker François Truffaut about a gangster couple.  Subscribe on Apple Podcasts. Follow us on Spotify. Find us on Twitter, Facebook and Instagram with @picturehouses. Find our latest cinema listings at picturehouses.com.  Produced by Stripped Media. Thank you for listening. If you enjoy the show, please subscribe, rate, review and share with your friends. Vive le Cinema.

On this episode of the podcast, host Dr Pasquale Iannone reports from Leith Kino, a micro cinema initiative set up by a veritable supergroup of film professionals and enthusiasts. The initiative - which is hosted by bar, restaurant and event space Leith Depot on Edinburgh's Leith Walk - aims to provide a space for engagement with avant-garde, experimental, arthouse and trash film.Since September 2025, the Leith Kino team have hosted an eclectic series of events, with members taking it in turn to programme screenings. Pasquale went along to their screening of Kim's Video (2024), a documentary centring on a legendary New York video store run by an enigmatic Korean businessman who one day decides to donate his entire collection, not to a University or a museum, but to a small Sicilian town more than 4000 miles away. This is just the start of a stranger-than-fiction story which is crying out for the Hollywood treatment. Before the sold-out screening of Kim's Video, Pasquale sat down with members of the Leith Kino collective. You'll hear from Tom Johnson, Liam Schell, Morvern Cunningham, Camilla Baier, Soraya Mamiche, Josh Booker, Gosia Bugaj and Fraser Elliott. After the discussion, you'll also hear an extract from the evening's introduction to Kim's Video, provided by Emma Jamieson of Cinetopia, followed by the trailer for the film.If you'd like to keep up-to-date with Leith Kino's events, please see their Instagram or Substack accounts. Their February events include screenings of The Bride Wore Black (François Truffaut, 1968) and Freaks (Tod Browning, 1932).

Quien busque a Truffaut e infancias dramáticas está un poco despistado y el título es solo un chiste tonto para nuestro programa especial cuadringentésimo. 400 programas y el día de hoy nos vais a permitir hacer un poco de autohomenaje y repaso. En el último mes en X hemos venido haciendo un torneo para que votarais vuestro programa favorito de las tortas. En este programa venimos a comentar un poco la jugada, repasar los ganadores, hacer memoria y rescatar otros programas que no gustaría reivindicar. Si eres viejo seguidor de las tortas este programa te dará el calorcito de la nostalgia y, si llevas menos tiempo con nosotros es un buen momento para descubrir algunos viejos programas y bucear a buscarlos. dadle al play y quedaos con nosotros La noche es caliente como el infierno. Todo se te pega. Una asquerosa habitación de un asqueroso barrio de una asquerosa ciudad. El aparato de aire acondicionado es un pedazo de chatarra que no podría enfriar ni una bebida aunque la metieras dentro. Parece el sitio perfecto para escuchar el podcast 400 de ELHDLT Selección musical: 🎶 400, de Colbey 🎶 The Show Must Go On, de Queen

En el programa de hoy rescataremos del recuerdo el programa "A fondo" (RTVE, 1976), presentado por el periodista Joaquín Soler Serrano. A lo largo de sus decenas de programas, se entrevistaron a actores, escritores, directores de cine, pintores, científicos, arquitectos o políticos para conocer más acerca de ellos y acercarlos a la audiencia. Ha sido un programa de referencia en la televisión por su calidad tanto de los entrevistados como de la forma de desarrollar la entrevista. En este programa, seleccionamos algunos fragmentos de las entrevistas acordes a la temática de este programa: - Alberto Sols (bioquímico) - Ramón J. Sender (escritor) - Leandro Mbomio (periodista) - Roberto Rossellini (director de cine) - Quino (dibujante) - Luis Rosales (escritor) - Gabriel Celaya (escritor) - José Luis López Aranguren (filósofo) - Lydia Cabrera (etnógrafa) - Severo Ochoa (bioquímico) - Jorge Luis Borges (escritor) - Facundo Cabral (cantante) Música: Roger Subirana Mata: -"Island of light" Maryna: -"Uplifting Emotion Background" http://creativecommons.org/licenses/by-nc-sa/3.0/ Película: "Fahrenheit 451" (François Truffaut, 1966)

durée : 00:03:20 - Le Billet de Daniel Morin - par : Daniel Morin - Daniel Morin nous parle de plantes et de cadeaux de Noël ce matin. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:03:20 - Le Billet de Daniel Morin - par : Daniel Morin - Daniel Morin nous parle de plantes et de cadeaux de Noël ce matin. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Adèle Hugo fuit Guernesey et la tutelle d'un père omnipotent pour suivre un amour chimérique. Sa passion amoureuse a été le point d'orgue d'une vie marquée par une santé mentale défaillante. Sa vie a inspiré le cinéaste François Truffaut pour L'Histoire d'Adèle H., avec Isabelle Adjani dans le rôle-titre. Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Adèle Hugo fuit Guernesey et la tutelle d'un père omnipotent pour suivre un amour chimérique. Sa passion amoureuse a été le point d'orgue d'une vie marquée par une santé mentale défaillante. Sa vie a inspiré le cinéaste François Truffaut pour L'Histoire d'Adèle H., avec Isabelle Adjani dans le rôle-titre. Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

On today's episode, we talked about François Truffaut's third feature, one of the great love triangles and stylistic peaks of the French New Wave, Jules and Jim. We got into the romanticism, tonal shift, Truffaut's contemporary stature, and more. Get an extra episode every week for $5/mo at patreon.com/extended_clip Send us your questions at extendedclippodcast@gmail.com

For our November 2025 Special Subject we watched the Antoine Doinel films of François Truffaut: The 400 Blows (1959), Antoine et Colette (1962), Stolen Kisses (1968), Bed and Board (1970), and Love on the Run (1979). In addition to the charms of star/auteur avatar Jean-Pierre Léaud, we focus on the films' evolving style and increasing interest in the women in Doinel's life. And in our Fear and Moviegoing in Toronto section we discuss Paul Leni's horror comedy The Cat and the Canary (1927) and a Hitchcock double feature, Shadow of a Doubt (1943) and Saboteur (1942). Time Codes: 0h 00m 25s:    THE FOUR HUNDRED BLOWS / LES QUATRE CENTS COUPS (1959) [dir. François Truffaut] 0h 28m 50s:    ANTOINE ET COLETTE (1962) [dir. François Truffaut] 0h 37m 30s:    STOLEN KISSES / BAISERS VOLÉS (1968) [dir. François Truffaut] 0h 54m 42s:    BED AND BOARD / DOMICILE CONJUGAL (1970) [dir. François Truffaut] 1h 05m 15s:    LOVE ON THE RUN / L'AMOUR EN FUITE (1979) [dir. François Truffaut] 1h 19m 32s:    Fear and Moviegoing in Toronto – Paul Leni's The Cat and the Canary (1927) at TIFF Lightbox and Alfred Hitchcock's Saboteur (1942) and Shadow of a Doubt (1943) at The Paradise +++ * Listen to our guest episode on The Criterion Project – a discussion of Late Spring * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: "Sunday" by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's piece on Gangs of New York – "Making America Strange Again" * Check out Dave's Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com We now have a Discord server - just drop us a line if you'd like to join! 

En 1982, Jean-Pierre Elkabbach arrive sur les ondes d'Europe 1 pour un nouveau rendez-vous quotidien, le magazine Découvertes. Très vite, cette tranche d'informations devient incontournable. Dans ce rendez-vous de référence, le journalise décrypte l'actualité et reçoit les plus grandes personnalités du moment. Dans cet entretien de 1983, Jean-Pierre Elkabbach reçoit le cinéaste français François Truffaut, qui explique l'histoire du Dernier métro. Destins Extraordinaires est un podcast issu des archives Europe 1 et produit par Europe 1.Crédits : - Réalisation : Julien Tharaud - Rédaction et diffusion : Clara Leger- Patrimoine sonore : Sylvaine Denis, Laëtitia Casanova, Antoine Reclus- Visuel : Luowen Wang- Promotion : Jamal Lassiri Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Maxine Chernoff and Paul Hoover talk with Roxi Power in this second part of our interview, revealing their mutual love of film and poetry inspired by it. From Chernoff's surreal meditations on François Truffaut's French New Wave film, Jules et Jim, toHoover's weaving of Wim Wenders' Lisbon Story into his dreamlike language, we look through the lenses of other artforms—including the deep and unsettling Brazilian musical genre, Fado—to experience the strange and gorgeous interior worlds of these prolific and beloved Bay Area poets. Listen to Part 1 of our interview from 8-9-25 here. Maxine Chernoff is professor emeritus of creative writing at San Francisco State University. She is the author of 19 books of poetry and six of fiction, including recent collections from MadHat Press:  Light and Clay: New and Selected Poems (2023)and Under the Music: Collected Prose Poems (2019).  Peter Johnson called her the most important prose poet of her generation. She is a recipient of a 2013 National Endowment for the Arts in Poetry and, along with Paul Hoover, the 2009 PEN Translation Award for their translation of The Selected Poems of Friedrich Hölderlin. In 2016 she was a visiting writer at the American Academy in Rome. A former editor of New American Writing, she lives in Mill Valley. Paul Hoover is the author of over a dozen collections of poetry; his most recent book of poetry is O, and Green: New and Selected Poems (MadHat Press, 2021). He has also published a collection of essays and a novel, and translated or co-translated a few books, including Black Dog, Black Night: Contemporary Vietnamese Poetry.  Founding and current Editor of the literary annual, New American Writing–now published by MadHat Press–and two editions of the indispensable Postmodern American Poetry: A Norton Anthology, Hoover teaches at San Francisco State University.  He's also won an NEA and numerous awards, including the Carl Sandberg Award in poetry which Chernoff has also won.  

He reached the top of the corporate world -- and then gave it up to become a writer, with books that probed our deepest questions, and influenced millions of people. Gurcharan Das joins Amit Varma in episode 425 of The Seen and the Unseen to discuss his life and learnings. (FOR FULL LINKED SHOW NOTES, GO TO SEENUNSEEN.IN.)   Also check out: 1. Gurcharan Das on Amazon, Wikipedia, Twitter, LinkedIn, Times of India and his own website. 2. Another Sort of Freedom -- Gurcharan Das. 3. India Unbound -- Gurcharan Das. 4. The Difficulty of Being Good -- Gurcharan Das. 5. Kama: The Riddle of Desire -- Gurcharan Das. 6. Three Plays: Larins Sahib, Mira, 9 Jakhoo Hill -- Gurcharan Das. 7. A Fine Family -- Gurcharan Das. 8. The Elephant Paradigm -- Gurcharan Das. 9. India Grows At Night -- Gurcharan Das. 10. The Dilemma of an Indian Liberal -- Gurcharan Das. 11. The Yoga Sutras of Patanjali. 12. Rashomon -- Akira Kurosawa. 13. Toba Tek Singh -- Sadat Hasan Manto. 14. Imagined Communities -- Benedict Anderson. 15. A Treatise of Human Nature -- David Hume. 16. Tales from the Kathasaritsagara -- Soma Deva (translated by Arshia Sattar). 17. What These Labels Mean -- Episode 107 of Everything is Everything. 18. Economic Facts and Fallacies -- Thomas Sowell. 19. The Forgotten Man: A New History of the Great Depression -- Amity Shlaes. 20. In Search of Lost Time -- Marcel Proust. 21. Anna Karenina -- Leo Tolstoy. 22. War and Peace -- Leo Tolstoy. 23. Pedro Páramo -- Juan Rulfo. 24. Don Quixote -- Miguel De Cervantes. 25. The Great Books of the Western World -- Edited by Mortimer J Adler. 26. The Double 'Thank You' Moment -- John Stossel. 27. From Imperial to Adaptive Firms -- Episode 37 of Everything is Everything. 28. The Life and Times of Montek Singh Ahluwalia — Episode 285 of The Seen and the Unseen. 29. The Nature of the Firm -- Ronald Coase. 30. The Reformers — Episode 28 of Everything is Everything. 31. The Importance of the 1991 Reforms — Episode 237 of The Seen and the Unseen (w Shruti Rajagopalan and Ajay Shah). 32. The Life and Times of Montek Singh Ahluwalia — Episode 285 of The Seen and the Unseen. 33. The Forgotten Greatness of PV Narasimha Rao — Episode 283 of The Seen and the Unseen (w Vinay Sitapati). 34. Naushad Forbes Wants to Fix India — Episode 282 of The Seen and the Unseen. 35. The 1991 Project. 36. The Future of War -- Episode 112 of Everything is Everything. 37. Perpetual Peace -- Immanuel Kant. 38. The Bhagawad Gita. 39. Four Quartets -- TS Eliot. 40. Walden -- Henry David Thoreau. 41. Essays on the Gita -- Sri Aurobindo. 42. Sri Bhagavadgita Rahasya -- Bal Gangadhar Tilak. 43. Many Threads of Hinduism -- Bankim Chandra Chattopadhyaya. 44. Bourgeois Dignity -- Deirdre McCloskey. 45. The Makropulos Case -- Karel Capek. 46. The Makropulos case: reflections on the tedium of immortality -- Bernard Williams. 47. Don't Punish Victimless Crimes -- Episode 73 of Everything is Everything. 48. The Mahabharata. 48. Plato, Aristotle and Karl Marx. 49. Charulata -- Satyajit Ray. 50. The Apu Trilogy -- Satyajit Ray. 51. The Calcutta Trilogy -- Satyajit Ray. 52. Shatranj ke Khiladi -- Satyajit Ray. 53. Duvidha -- Mani Kaul. 54. Cinema Paradiso -- Giuseppe Tornatore. 55. Amarcord -- Federico Fellini. 56. Stolen Kisses -- François Truffaut. 57. Last Year at Marienbad -- Alain Resnais. 58. The Garden of the Finzi-Continis -- Vittorio De Sica. 59. The Prince -- Niccolò Machiavelli. 60. The Leopard -- Giuseppe Tomasi Di Lampedusa. 61. The Leopard -- Luchino Visconti. 62. Mozart, Bach, Chopin, Debussy, Kishori Amonkar and Mallikarjun Mansur on Spotify. 63. The plays of Anton Chekhov. 64. The short stories of Anton Chekhov. 65. Four Major Plays -- Federico García Lorca. 66. The Great Gatsby -- F Scott Fitzgerald. 67. Waiting for Godot -- Samuel Beckett. 68. Madame Bovary -- Gustave Flaubert. 69. The Brothers Karamazov -- Fyodor Dostoevsky. 70. The Stranger -- Albert Camus. 71. The Black Paintings -- Francisco Goya. 72. The Light in Winter -- Episode 97 of Everything is Everything. 73. Virasat-e-Khalsa. This episode is sponsored by CTQ Compounds. Check out The Daily Reader and FutureStack. Use the code UNSEEN for Rs 2500 off. Amit Varma and Ajay Shah have launched a new course called Life Lessons, which aims to be a launchpad towards learning essential life skills all of you need. For more details, and to sign up, click here. Amit and Ajay also bring out a weekly YouTube show, Everything is Everything. Have you watched it yet? You must! And have you read Amit's newsletter? Subscribe right away to The India Uncut Newsletter! It's free! Also check out Amit's online course, The Art of Clear Writing. Episode art: ‘Two Birds' by Simahina.

En los inicios del cine no existían los directores. Esa figura llegó más tarde desde el teatro, y el oficio se aprendió sobre la marcha. Pero ¿qué significa dirigir? El debut de Charlie Kaufman como director fue con la película “Synecdoche, New York” (2008). Se trata, de hecho, de una fábula sobre el acto de dirigir, es una obra sobre el miedo, el tiempo y la imposibilidad de abarcar la vida entera en el arte.

Prepare-se para uma viagem fascinante pela história do cinema! No Cinem(ação) #612, exploramos a Nouvelle Vague, o movimento que, no final dos anos 50, sacudiu as bases da sétima arte e mandou o chamado “cinema de papai” tirar férias (aquelas bem longas). Caro, previsível e preso a adaptações literárias, esse modelo viu sua estrutura tremer quando um bando de jovens cinéfilos decidiu que dava pra fazer diferente.Foi aí que críticos da Cahiers du Cinéma, como François Truffaut e Jean-Luc Godard, resolveram transformar a câmera em caneta (caméra-stylo) e escrever filmes com sua própria letra. Improviso nos diálogos, filmagens nas ruas com luz natural, cortes abruptos e uma boa dose de ousadia deram um frescor que, até hoje, inspira e irrita o mercado contemporâneo. Afinal, se a Nouvelle Vague pregava liberdade artística, o que fazer num cenário onde a lógica do streaming e dos blockbusters manda na pauta?Rafael Arinelli, Bel Petit e Pedro Amaro conversam sobre os temas e personagens que marcaram a época: juventude, amor livre e contestação social. Sem falar no novo papel dado às mulheres nas narrativas: protagonistas de suas próprias histórias. Entre risadas e reflexões, eles também discutem se a Nouvelle Vague realmente inventou o culto ao diretor ou apenas deu um upgrade no que Hollywood e o neorrealismo italiano já tinham iniciado.Então já sabe: aperte o play e descubra por que, no cinema, algumas ondas nunca deixam de quebrar.• 03m08: Pauta Principal• 1h17m19: Plano Detalhe• 1h27m20: EncerramentoOuça nosso Podcast também no:• Spotify: https://cinemacao.short.gy/spotify• Apple Podcast: https://cinemacao.short.gy/apple• Android: https://cinemacao.short.gy/android• Deezer: https://cinemacao.short.gy/deezer• Amazon Music: https://cinemacao.short.gy/amazonAgradecimentos aos padrinhos: • Bruna Mercer• Charles Calisto Souza• Daniel Barbosa da Silva Feijó• Diego Alves Lima• Eloi Xavier• Flavia Sanches• Gabriela Pastori Marino• Guilherme S. Arinelli• Thiago Custodio Coquelet• William SaitoFale Conosco:• Email: contato@cinemacao.com• Facebook: https://bit.ly/facebookcinemacao• BlueSky: https://bit.ly/bskycinemacao• Instagram: https://bit.ly/instagramcinemacao• Tiktok: https://bit.ly/tiktokcinemacaoApoie o Cinem(ação)!Apoie o Cinem(ação) e faça parte de um seleto clube de ouvintes privilegiados, desfrutando de inúmeros benefícios! Com uma assinatura a partir R$30,00, você terá acesso a conteúdo exclusivo e muito mais! Não perca mais tempo, torne-se um apoiador especial do nosso canal! Junte-se a nós para uma experiência cinematográfica única!Plano Detalhe:• (Bel): Filme: A Hora do Mal• (Pedro): Documentário: Os catadores e eu• (Pedro): Documentário: Godard, Truffaut e a Nouvelle Vague• (Pedro): Documentário: Hitchcock/Truffaut• (Pedro): Artigo: A Nouvelle Vague NÃO criou o Culto ao Diretor• (Rafa): Filme: MaluEdição: ISSOaí

durée : 00:05:06 - C'est une chanson - par : Frédéric Pommier - Tout cet été, nous réécoutons les entretiens de Frédéric Pommier. Aujourd'hui, c'est avec le romancier David Foenkinos. Il évoque "L'Amour en fuite" d'Alain Souchon, une chanson qu'il a découverte dans le film "L'Amour en fuite" de François Truffaut. (Rediffusion de l'émission du 02/06/2023) Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:09:40 - France Culture va plus loin (l'Invité(e) des Matins d'été) - par : Astrid de Villaines, Stéphanie Villeneuve, Sarah Masson - Dans "La Fresque", une ancienne prof de piano, son arrière-grand-mère et un ami du lycée croisent François Truffaut et Emmanuel Carrère. C'est le huitième opus de Vincent Delerm qui a voulu rendre hommage à celles et ceux qui ont traversé sa vie. - réalisation : Félicie Faugère - invités : Vincent Delerm Auteur, compositeur, interprète

We're celebrating our 400th episode with a look at the biggest 400 in cinema, Francois Truffaut's 1959 French New Wave classic, The 400 Blows! Join in as we discuss the New Wave's place in cinema history, Antoine Doinel's poor fire safety, his conspicuous lack of siblings, and engage in a cinemabration of eight years of podcasting. Plus: How closely does the film map onto Truffaut's life? What does the title actually mean? Which school subjects are worth learning? And, most importantly, what's the difference between 2017 and 2018? Make sure to rate, review, and subscribe!Next week: Fantastic Four: Rise of the Silver Surfer (2007)-------------------------------------------------Key sources and links for this episode:"Movie Poster of the Week: Francois Truffaut's The 400 Blows" (MUBI)"The 400 Blows: Close to Home" (Criterion)"The Emoji Movie was the First Film to Publicly Screen in Saudi Arabia after 35-Year Cinema Ban" (IndieWire)"Mike White Confronts Rob Cesternino over Emoji Movie" (All Winners Survivor on YouTube)"Christopher Nolan Took his Kids to See Phantom Thread and Now They Call Him 'Woodcock' When He's Being Mean" (IndieWire)The 2022 Sight & Sound lists

durée : 00:34:23 - Les Nuits de France Culture - par : Albane Penaranda - "Paradoxes" avec Claude Chabrol, une émission enregistrée en 1970, dans laquelle le cinéaste évoque "La Nouvelle Vague", sa relation avec Truffaut et Rivette et la magie qui entoure la création d'un film. - réalisation : Virginie Mourthé - invités : Claude Chabrol Réalisateur français

After more than 12 years of doing this podcast, it was high time for us to review something by French director Jean-Pierre Melville. Le Samourai was his (and his star, Alain Delon's) homage to '40s Hollywood noir. This crime classic is about Delon's passive hitman, who's either too cool for school...or just doesn't care. In this one-Ryan show, the talk gets into  relating to Delon's loner mindset and solo lifestyle, although not so much his sparse apartment, his constant smoking or his work as a contract killer. Or having a chirpie bird for a roommate. The ending is puzzling...but it might be more understandable when you remember the code of an actual samurai. So put on your white gloves, pull out your heater and prepare for episode #668 of Have You Ever Seen. Melville's film didn't predate the French New Wave, but he himself did. He, Godard, Truffaut, all of 'em could no doubt have been even more prolific back in those days if they had Sparkplug Coffee. Use our "HYES" promo code and you will be able to benefit from a onetime 20% discount. Go to "sparkplug.coffee/hyes". Subscribe to our channel in your app, but also review the podcast and rate it. Find us on YouTube (@hyesellis in the search bar) and do all those things there too. Contact options: email (haveyoueverseenpodcast@gmail.com). Social media: ryan-ellis and @moviefiend51 on Bluesky and Twi-X, with Bev's contact info being bevellisellis and @bevellisellis (on Bluesky and Twi-X).

Stéphane Bern raconte le destin tourmenté de celle qui fut héroïne de sa propre vie, entre création, ennui et folie, la véritable histoire d'Adèle H., pour reprendre le titre du film de François Truffaut, la fille de Victor Hugo. Comment Adèle Hugo a-t-elle repris son destin en main pour retrouver sa liberté ? Quelles traces a-t-elle laissées avec ses écrits ? Pourquoi a-t-elle toujours été réduite à sa folie ? Pour en parler, Stéphane Bern reçoit Laura El Makki, journaliste et auteure de "Adèle Hugo, ses écrits, son histoire" (Seghers). Au Cœur de l'Histoire est réalisée par Loïc Vimard. Rédaction en chef : Benjamin Delsol. Auteur du récit : Jean-Christophe Piot. Journaliste : Clara Leger. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Stéphane Bern raconte le destin tourmenté de celle qui fut héroïne de sa propre vie, entre création, ennui et folie, la véritable histoire d'Adèle H., pour reprendre le titre du film de François Truffaut, la fille de Victor Hugo. Comment Adèle Hugo a-t-elle repris son destin en main pour retrouver sa liberté ? Quelles traces a-t-elle laissées avec ses écrits ? Pourquoi a-t-elle toujours été réduite à sa folie ? Pour en parler, Stéphane Bern reçoit Laura El Makki, journaliste et auteure de "Adèle Hugo, ses écrits, son histoire" (Seghers). Au Cœur de l'Histoire est réalisée par Loïc Vimard. Rédaction en chef : Benjamin Delsol. Auteur du récit : Jean-Christophe Piot. Journaliste : Clara Leger. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

durée : 00:59:20 - Toute une vie - par : Martin Quenehen - Des "Quatre Cents Coups" à "La Nuit américaine", François Truffaut est le cinéaste majeur de la Nouvelle Vague. Ses films composent une œuvre accessible et universelle qui rayonne au-delà de nos frontières. - invités : Claude de Givray Scénariste et ami de François Truffaut; Jean Gruault Scénariste et ami de François Truffaut.; Carole Le Berre Historienne du cinéma, auteur de "François Truffaut au travail" (Editions des Cahiers du cinéma); Lionel Baier Comédien et cinéaste.; Noémie Lvovsky Cinéaste, scénariste et comédienne; Serge Toubiana Président d'Unifrance, critique de cinéma

L'expression « faire les 400 coups » signifie mener une vie de débauche, commettre des actes excessifs, des bêtises ou des aventures sans retenue. Elle évoque un comportement rebelle, souvent associé à la jeunesse, à l'insouciance et à l'esprit d'aventure. Mais d'où vient cette formule si imagée ?Une origine militaire ?L'hypothèse la plus courante relie l'expression au siège de Montauban en 1621, pendant les guerres de religion en France. À cette époque, le roi Louis XIII mène une campagne contre les protestants (les huguenots), qui se sont retranchés dans la ville fortifiée de Montauban.Les troupes royales, sous les ordres du duc de Luynes, bombardent la ville avec 400 coups de canon, espérant la faire céder. Mais Montauban résiste, et l'armée royale finit par lever le siège sans victoire.Ce récit expliquerait pourquoi « faire les 400 coups » symboliserait des efforts excessifs et désordonnés, souvent sans aboutir à un véritable succès. Cependant, bien que cette origine soit populaire, elle n'est pas prouvée historiquement.Une influence du théâtre et des récits populaires ?Une autre explication vient du vocabulaire du théâtre et de la littérature. Au XVIIᵉ siècle, les expressions comme « faire cent coups » ou « faire mille coups » désignaient des aventures audacieuses, des tours pendables ou des frasques.Les récits de brigands et de chevaliers, très populaires à cette époque, regorgent d'exploits rocambolesques et d'anecdotes exagérées, ce qui aurait pu donner naissance à l'idée d'un nombre symbolique comme « 400 » pour évoquer une multitude d'aventures.L'évolution de l'expressionL'expression « faire les 400 coups » apparaît en français au XVIIIᵉ siècle, avec le sens de vivre sans retenue, multiplier les escapades et les imprudences. Elle prend ensuite un sens plus large, désignant des personnes menant une vie mouvementée et indisciplinée.Elle est notamment popularisée par François Truffaut en 1959 avec son film Les Quatre Cents Coups, qui raconte l'histoire d'un jeune garçon turbulent et livré à lui-même, illustrant parfaitement l'esprit de l'expression.ConclusionQu'elle vienne du siège de Montauban, du théâtre ou des récits de bandits, l'expression « faire les 400 coups » incarne l'idée d'une vie agitée, remplie d'aventures et d'excès. Aujourd'hui, elle est utilisée autant pour décrire des bêtises de jeunesse que des comportements plus extravagants et incontrôlés. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.