Podcast appearances and mentions of Vittorio Storaro

For our 250th episode this week, the boys headed to Peking to discuss the Bernardo Bertolucci masterpiece ‘The Last Emperor.'  The random year generator spun 1987, and we set up the film year, noted some world events, and then discussed how great it is to no longer have fantastic films set in Chinese spoken in English. John, with full CoVid immunity, also caught ‘Beetlejuice Beetlejuice' and gave us a spoiler-free mini-review.  Our phone number is 646-484-9298. It accepts texts or voice messages.  0:00 Intro; 1:25 250th Episod8:58 “Beetlejuice Beetlejuice” mini review;16:16 Gripes; 20:54 1987 Year in Review; 40:58 Films of 1987: The Last Emperor; 1:21:36 What You Been Watching?; 1:33:10 Next Week's Movie Announcement Additional Cast/Crew: Enzo Ungari, Mark Peploe, John Lone, Joan Chen, Peter O'Toole, Hans Zimmer, David Byrne, Ruocheng Ting, Victor Wong, Dennis Dun, Ryuichi Sakamoto, Maggie Han, Ric Young, Vivian Wu, Richard Vuu, Tsou Tijger, Tao Wu, Guang Fan, Henry Kyi, Puyi, Vittorio Storaro, Cong Su, Gabriella Cristiani, Ferdinando Scarfiotti, Jeremy Thomas. Hosts: Dave Green, Jeff Ostermueller, John Say Edited & Produced by Dave Green. Beer Sponsor: Carlos Barrozo Music Sponsor: Dasein Dasein on Spotify: https://open.spotify.com/artist/77H3GPgYigeKNlZKGx11KZ 
Dasein on Apple Music: https://music.apple.com/us/artist/dasein/1637517407 Additional Tags: SAG-AFTRA, The Emmys, iPhones, Peking, Mao Zedong, The Forbidden City, Queensland, Australia, Melbourne, Sydney, Sisu, Auckland, New Zealand, Wilhelm Yell, Wilhelm Scream, Prince Charles, King Charles, John Wayne, Charleton Heston, Preparation H. 

"Perhaps the deed itself will be an anti-climax, but I think not." For Episode 321, David and Brandon continue their series on the Giallo genre. Listen as they discuss Franco Nero's performance, the film's unique backstory, and Vittorio Storaro's work on the film. We hope you enjoy this discussion on the underrated Giallo film.  Also, don't forget to join our Patreon for more exclusive content: Opening Banter - More Summer Movies and the Home Video Market -  (00:00:10) Recap of the Giallo Month (00:08:20) Intro to The Fifth Cord (00:09:52) How The Fifth Cord Got to Production (00:20:42) Favorite Scenes (00:26:58) On Set Life - (00:47:16) Aftermath: Release and Legacy (00:50:08) What Worked and What Didn't (00:51:59) Film Facts (01:04:15) Awards (01:05:55) Final Questions on the Film (01:10:46) Preview for Next Week (01:18:54) Contact Us: Facebook: @cinenation Instagram: @cinenationpodcast Twitter/X: @CineNationPod TikTok: @cinenation Letterboxd: CineNation Podcast E-mail: cinenationpodcast@gmail.com

Pour a glass, get in the bathtub and listen to our first Bertolucci! After the boys go through some mini reviews to bring our 2023 podcast year to a close, we discuss 1970 in cinema and culture before our featured conversation discussing the tumultuous Bernardo Bertolucci film ‘The Conformist'. Do you like 'The Godfather'? 'The Sopranos'? See how they were inspired by this WWII-era Italian rise-of-fascism character study shot by 3-time Oscar winner and frequent mention on this podcast, Vittorio Storaro. Mini reviews include ‘Godzilla Minus One', ‘Leave The World Behind', and ‘May December'. See you in 2024, film fans!  Find all of our Socials at: https://linktr.ee/theloveofcinema.  
Our phone number is 646-484-9298, it accepts texts or voice messages.  0:00 Intro, Gripes + Mini Reviews; 24:44 1970 + The Conformist; 01:16:12 What You Been Watching? Additional Cast/Crew: Jean-Louis Trintignant, Stefania Sandrelli, Gastone Moschin, Alberto Moravia, Enzo Tarascio Jose Quagliom, Pierre Clémenti, Dominique Sanda, Georges Delerue, Julianne Moore, Natalie Portman, Charles Melton, Sam Esmail, Julia Roberts, Ethan Hawke, Mahershala Ali, Takashi Yamazaki, Minami Hamabe, Ryunosuke Camici, Sakura Ando. Dasein on Spotify: https://open.spotify.com/artist/77H3GPgYigeKNlZKGx11KZ  Dasein on Apple Music: https://music.apple.com/us/artist/dasein/1637517407 Additional Tags: Oscars, Academy Awards, The Golden Globes, Past Lives, Monarch: Legacy of Monsters, The Holiday, The Crown: Season 6 part 2, Napoleon, Ferrari, Beer, Scotch, The Weekend, Clifford Odets, Travis Scott, U2, Apple, Apple Podcasts, 101 Dalmations, The Parent Trap, Switzerland, West Side Story, Wikipedia, Australia, Queensland, Melbourne, Indonesia, Java, Jakarta, Bali, Guinea, The British, England, The SEC, Ronald Reagan, Stock Buybacks, Marvel, MCU, DCEU, Film, Movies, Southeast Asia, The Phillippines, Vietnam, America, The US, Academy Awards, WGA Strike, SAG-AFTRA, SAG Strike.  

Based on the 1970 novella by Muriel Spark, with Elizabeth Taylor playing a woman in the middle of a nervous breakdown, constantly deflecting the attention of brutish men who mistake her for a prostitute whilst cruising for a man to kill her; a fragmentary film, a big-budget experiment in narration, with a now middle-aged but still astonishingly beautiful Elizabeth Taylor giving one of her greatest and most under-rated performances. In this podcast we discuss Muriel Spark's The Driver's Seat, Vittorio Storaro's cinematography, the appearance of Andy Warhol as a badly-dubbed British aristocrat; Elizabeth Taylor's career in the late sixties/ early 70s and to what extent its reception has been coloured by sexism (in contrast to say Dirk Bogarde's) and American cultural imperialism (popular european cinema doesn't matter). We also mention Bruce La Bruce's appreciation of the film in an essay that accompanies the BFI blu-ray release and speculate on whether the film has a ‘gay gaze'. An exploratory discussion of a film that deserves much more attention.

Hello everyone, and welcome to another episode of Colorist Meetup, the podcast that celebrates the world of color grading. Our mission is to spread the love for art and science of color grading beyond Hollywood, captivating a global audience of enthusiasts and professionals alike.As we kick-start the second season of our podcast, we're thrilled to connect you with a distinctive colorist whose vast contributions have immensely enriched our community. Despite his rigorous schedule working on groundbreaking films and TV series, this colorist also shares his wealth of knowledge by leading a masterclass on feature and commercials color grading at Colour.Training.Known as the most admired Italian in Hollywood after Vittorio Storaro, we are thrilled to present an intimate conversation with the remarkable Walter Volpatto.Thank you for tuning into this episode of Colorist Meetup. Remember to hit the subscribe button to stay up-to-date with our latest episodes. We look forward to bringing you more insightful discussions and explorations in the world of color grading. Until our paths cross again, keep weaving your tales with the myriad hues and colors.

Pegue a sua espada, vista o seu capuz e aperte o play para revisitar "O Feitiço de Áquila" conosco e descobrir se o filme ainda é tão marcante quanto na época em que o vimos pela primeira vez! - Visite a página do podcast no site e confira material extra sobre o tema do episódio - Junte-se ao Cineclube Cinematório e tenha acesso a conteúdo exclusivo de cinema Confira abaixo a minutagem dos quadros do podcast De Volta Para Sofá sobre "O Feitiço de Áquila": 00:00:00 - Introdução 00:06:38 - Memória Afetiva: relembramos quando vimos o filme pela primeira vez e discutimos seu impacto ontem e hoje 00:24:38 - Deu Tilt: os aspectos que ficaram datados e as cenas que não funcionam mais 00:42:32 - Supra Sumo: nossas cenas favoritas 00:54:43 - Por Onde Anda: saiba o que os atores principais estão fazendo hoje em dia 01:03:59 - Música de Encerramento Neste episódio do podcast De Volta Para o Sofá, nós rebobinamos a fita até o ano de 1985 e revisitamos "O Feitiço de Áquila" (Ladyhawke), clássico filme de aventura, fantasia e romance dirigido por Richard Donner, com Rutger Hauer, Michelle Pfeiffer e Matthew Broderick no elenco. Em "O Feitiço de Áquila", uma maldição separa dois amantes: o guerreiro Etienne de Navarre (Rutger Hauer) se transforma em um lobo selvagem à noite, enquanto Isabeau d'Anjou (Michelle Pfeiffer) assume a forma de um falcão durante o dia. Cabe ao ladrão Philippe Gaston, "O Rato" (Matthew Broderick), ajudar o casal a quebrar o feitiço e derrotar o Bispo de Áquila (John Wood) para que possam viver juntos. Indicado ao Oscar de Melhor Som e Melhor Edição de Efeitos Sonoros, "O Feitiço de Áquila" ainda se destaca pela fotografia do mestre Vittorio Storaro e a trilha sonora de Andrew Powell e Alan Parsons, que mistura música orquestrada e rock progressivo. No podcast, nós relembramos quando vimos "O Feitiço de Áquila" na infância e comentamos como foi reencontrar o filme hoje. No quadro "Deu Tilt", nós apontamos o que envelheceu mal, e no quadro "Momento Supra Sumo", nós elegemos as melhores cenas. Descubra, também, por onde andam os principais nomes do elenco. O De Volta Para o Sofá é produzido e apresentado por Renato Silveira e Kel Gomes. Quer mandar um e-mail? Escreva para contato@cinematorio.com.br

Sexual assault is referred to in this episode. Be sure to watch the movie before listening if you don't want to hear spoilers (and because it will make you seem cineliterate).Films referenced:The Conformist (1970) dir. by Bernardo Bertolucci  2001: A Space Odyssey (1968) dir. by Stanley KubrickOne From the Heart (1981) dir. by Francis Ford Coppola Other sources:Documentary on Vittorio Storaro, The Conformist's cinematographerShadows of the Psyche: The Conformist, Q&A with Vitorio Storaro by John BaileyAccess to James' dissertation TBCEditing and production by Lily Austin, original theme music by James Brailsford. Thank you to Abby-Jo Sheldon for our logo.-----------If you love what we do, please like, subscribe and leave a review!Produced and edited by Lily AustinMusic and sound by James BrailsfordLogo design by Abby-Jo SheldonFollow usEmail us

Valladolid se viste de cine, La 66ª edición de su Festival Internacional de Cine, llega con sus mejores galas. Por nuestros micrófonos no podía dejar de pasar su director, Javier Ángulo, cita obligada. Al igual que lo son dos de las Espigas de Honor: Juan José Campanela y Vittorio Storaro, del resto de Espigas nos habla Elio Castro. Y repasaremos el resto de la cartelera como todas las semanas.   Escuchar audio

Valladolid se viste de cine, La 66ª edición de su Festival Internacional de Cine, la Seminci y de película llega con sus mejores galas. Por nuestros micrófonos no podía dejar de pasar su director, Javier ángulo, cita obligada, al igual que lo son dos de las espigas de Honor: Juan José Campanela y Vittorio Storaro, del resto de espigas nos habla Elio Castro. Storaro no solo es noticia por este galardón también porque es el director fotográfico de uno de los trabajos de Carlos Saura que se presenta en la sección oficial fuera de concurso, nos referimos a El rey de todo el Mundo. Con Carlos Saura hablamos de la cinta y todo lo que tiene por hacer y presentar. Estará con nosotros Deepa Mehta su película Funny Boy representará a Canadá en los Oscar 2021 es la encargada de clausurar el festival y además viene en calidad de jurado internacional. Hablaremos de Cartas Perdidas con Amparo Climent su directora, También lo haremos con nuestra compañera Conchita Casanovas con la que comentamos el festival, nos detendremos en dos de los títulos que llegan a la gran pantalla, El último duelo de Ridley Scott, una de las mejores películas de 2021 y el Sustituto dirigida por Óscar Aibar con Ricardo Gómez, Vicky Luengo, Pere Ponce entre otros, Y repasaremos el resto de la cartelera como todas las semanas. Escuchar audio

De película se desplaza a la Semana Internacional de cine de Valladolid para contaros cómo se está desarrollando esta 66 edición. Charlamos con su director Javier Angulo,  con los galardonados con la Espiga de Honor, Juan José Campanella y Vittorio Storaro, con el cineasta Carlos Saura que presenta El rey de todo el mundo y con la también directora y guionista además de presidenta del jurado Deepa Mehta que clausura el certamen con su nueva película Funny boy. Os hablamos también de algunos de los estrenos de la semana, entre ellos, lo nuevo de Ridley Scott titulado, El último duelo (29/10/2021). Escuchar audio

DoP Christine A. Maier ist zu Gast in Folge 9 unseres Podcasts „Meine Lieblingsszene“ aus Anlass des 70. Heftjubiläums. Sie hat die Tanzszene aus Bertoluccis „Vor der Revolution“ ausgewählt. Außergewöhnlich in dieser Episode: Bildgestalterin Maier und Gastgeber Timo Landsiedel finden an Werk und Regisseur nicht nur positive Seiten.

Alexandre e Fred recebem o crítico Rafael Amaral (Blog "Palavras de Cinema") para debater pela primeira vez um filme do cineasta italiano Bernardo Bertolucci. A obra que escolhemos da carreira de sucesso deste diretor foi "O Conformista" (Il Conformista, 1970), que serviu de influência para diversos realizadores que viriam a seguir no cinema mundial. Estrelado por Jean Louis Trintignant, Dominique Sanda, Stefania Sandrelli e Gastone Moschin, brilhantemente fotografado por Vittorio Storaro, o filme tem roteiro do próprio Bertolucci (indicado ao Oscar de 1972) baseado no romance de Alberto Moravia, que apresenta um retrato contundente sobre o fascismo na Itália através da conduta de Marcello Clerici, um personagem fraco de caráter em busca de ser aceito como um homem "normal" numa sociedade anormal. ---------------------- Acesse nosso site: http://www.filmesclassicos.com.br Acesse nossa página no Facebook : https://www.facebook.com/podcastfilmesclassicos/ Nos procure no seu aplicativo de podcast do celular, no Spotify, YouTube, Anchor ou iTunes.

  FIRST GUESTS: The Last Supper: The Living Tableau is a 9-minute film, ‘living painting’ (vivant) of Leonardo Da Vinci’s original masterpiece. The film was created by internationally renowned Italian moviemakers: Armondo Linus Acosta, Vittorio Storaro, Dante Ferretti, and Francesca Lo Schiavo. There are 9 Academy Awards among this talented group. This Easter weekend the film will be displayed in Jerusalem, Milan, and Rome, and has been privately screened for Pope Francis and The Vatican. Below is a chat with Armondo Linus Acosta, Dante Ferretti, and Francesca Lo Schiavo, all phoned in directly from Rome earlier this week to chat about the film. SECOND GUESTS:   “Manifest” NBC's hit returns for a third season of action-packed drama, shocking revelations and the answer to the show’s biggest mystery – what happened to the passengers of Flight 828? Cast members Josh Dallas ("Ben Stone") and Athena Karkanis ("Grace Stone") shares what viewers/fans can expect for the new season, which starts April 1st at 8pm on NBC. THIRD GUEST:  Thomas 'Nephew Tommy' Miles returns as host for the new season of OWN'S hit dating series READY TO LOVE. It's a brand new season with an all-new cast in sunny Houston, exploring the real-life dating interactions of sexy, successful and grown Black men and women who are each looking for lasting love and an authentic relationship. The new season premiered yesterday April 2, 2021, on the OWN Network. Listen as host Tommy Miles chats about the new season.  

The Last Supper: The Living Tableau, this is an outstanding nine-minute video ‘digital painting.’  The Living Tableau was created and filmed in exquisite and exacting detail by Italian filmmakers film director Armondo Linus Acosta, cinematographer Vittorio Storaro, production designer Dante Ferretti, and set decorator Francesca Lo Schiavo. There’s a total of 9 Academy Awards Among this group of very talented legendary Italian filmmakers. The 9-minute digital painting film project is now being shown this weekend at key locations throughout the world, has been privately screened for Pope Francis and The Vatican was received with an overwhelming response.  The Living Tableau is also available to view now on EWTN: The Catholic Network for the next 12 days on their YouTube and Facebook.  . https://www.youtube.com/channel/UCijDos-LUTh9RQvSCMQqN6Q or  Website: https://www.thelivingtableau.com/ Instagram: https://www.instagram.com/the_living_tableau/

con Clare Peploe, Tiziana Lo Porto, Jacopo Quadri, Andrea Guerra e Vittorio Storaro

The coats are peeking through the blinds and between the lines of Luigi Bazzoni's giallo: "The Fifth Cord" (1971). A masterclass in giallo filmmaking, thanks in large part to three-time Oscar winning cinematographer Vittorio Storaro. The coats cover some hot topics like: voyeurism; the emasculation of the leading man; and what the hell's going on with that title? So lock your rooms, sharpen your knives, and check your horoscope. It's time for Conspicuous Trenchcoats!Director - Luigi BazzoniStarring - Franco Nero - Silvia Monti - Wolfgang PreisIf you like the show follow us on apple podcasts and pen a nice 5-star review!Catch the coats on instagram (https://www.instagram.com/con.coats/) and Facebook (https://www.facebook.com/ConCoats)Special Thanks to:Lucas Brahme for our music (https://www.lucasbrahme.com)UptownStyleStudio for designing our artwork (https://www.instagram.com/uptownstylestudio/)Veronica Maccari(https://www.instagram.com/iamveronicamaccari/?hl=en)Michael MackenzieTroy HowarthArrow VideoJ&B Whiskey

All the President's Minutes is a podcast where conversations about movies, journalism, politics and history meet. Each show we use the seminal and increasingly prescient 1976 film All The President's Men as a portal, to engage with the themes and the warnings of the film resonating since its release. For minute 85, I critic/writer for The New York Times and RogerEbert.com and author of the much anticipated *Made Men: The Story of Goodfellas,* Glenn Kenny. Glenn and I discuss President's dynamism, endless rewatchability and that they don't make motion pictures like this anymore. About Glenn Kenny ( via Roger Ebert dot com ( https://www.rogerebert.com/contributors/glenn-kenny#:~:text=He%20has%20made%20numerous%20television,that%20borough%20with%20his%20wife. ) ) ----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- Glenn Kenny is the editor of A Galaxy Not So Far Away: Writers and Artists On 25 Years of 'Star Wars' (Holt, 2002) and the author of Robert De Niro: Anatomy of An Actor (Phaidon/Cahiers du Cinema, 2014). His writings on the arts have appeared in a wide variety of publications, which include the New York Times , the Los Angeles Times , Rolling Stone , the Village Voice , Entertainment Weekly , Humanities , and others. From the mid-1990s to the magazine's 2007 folding, he was a senior editor and the chief film critic for Premiere. There he commissioned and edited pieces by David Foster Wallace, Tony Kushner, Martin Amis, William Prochnau, and other well-regarded writers. He also wrote early features on such soon-to-be-prominent motion picture figures as Paul Thomas Anderson and Billy Bob Thornton. He currently contributes film reviews and essays to RogerEbert.com ( http://rogerebert.com/ ) and Vanity Fair Online, Decider, the Criterion Collection website, and other outlets. He has made numerous television and radio appearances and appears as an actor in Steven Soderbergh's 2009 film The Girlfriend Experience , and Preston Miller's 2010 God's Land. He was born in Fort Lee, New Jersey and has been a resident of Brooklyn since 1990; he lives in that borough with his wife. *Twitter:* @Glenn__Kenny ( https://twitter.com/glenn__kenny?lang=en ) *Outlets: The New York Times, RogerEbert.com, Glenn's blog "Some Came Running"* Blu-Ray Consumer Guide: June 2011 ( https://somecamerunning.typepad.com/some_came_running/2011/06/blu-ray-consumer-guide-june-2011.html ) - Glenn Kenny ------------------------------------------------------------------------------------------------------------------------------------------------------- *All The President's Men* (Warner) Cinematographer Gordon Willis has gone on record ( http://www.hollywood-elsewhere.com/2011/04/whv_screwed_up.php ) calling this hi-def version a botch, and complaining, quite justifiably, at not having been even contacted with a notion to being consulted on it. And it's true—if the cinematographer's alive and still has eyes and so one, he or she ought to be consulted. And then you get Vittorio Storaro and his unusual ideas concerning aspect ratios and you…oh, never mind. In any event, the Blu-ray of this classic and still extremely engaging thriller DOES render colors little toward the hot side, particularly in the scenes set in the Washington Post offices—the red filing cabinets do look as if they've been freshly painted. Redford IS very golden and blonde. And so on. On the plus side, I have to say that this only really registers as a distraction when you're concentrating on these details. In a lot of other respects, the new detail really enhances the absorbing viewing experience. But still. Come on. *— B-* *Glenn's Book,* Made Men: The Story of Goodfellas ( https://www.amazon.com/Made-Men-Goodfellas-Glenn-Kenny/dp/1335016503 ) , is available from 15 September 2020. *For the thirtieth anniversary of its premiere comes the vivid and immersive history behind Martin Scorsese's signature film Goodfellas , hailed by critics as the greatest mob movie ever made.* When Goodfellas first hit the theatres in 1990, a classic was born. Few could anticipate the unparalleled influence it would have on pop culture, one that would inspire future filmmakers and redefine the gangster picture as we know it today. From the rush of grotesque violence in the opening scene to the iconic hilarity of Joe Pesci's endlessly quoted "Funny how?" shtick, it's little wonder the film is widely regarded as a mainstay in contemporary cinema. In the first-ever behind-the-scenes story of Goodfellas , film critic Glenn Kenny chronicles the making and afterlife of the film that introduced America to the real modern gangster—brutal, ruthless, yet darkly appealing, the villain we can't get enough of. Featuring interviews with the film's major players, including Martin Scorsese and Robert De Niro, Made Men shines a light on the lives and stories wrapped up in the Goodfellas universe, and why its enduring legacy is still essential to charting the trajectory of American culture thirty years later. Support this podcast at — https://redcircle.com/one-heat-minute-productions/donations Advertising Inquiries: https://redcircle.com/brands

The cinematographer discusses “going up the river” for Spike Lee’s striking Vietnam War epic, creatively employing multiple formats for image capture.

Giorgio Nisini"Il tempo umano"Harper & Collinswww.harpercollins.itTommaso insegna letteratura all'università, in una città di provincia dell'Italia centrale. Il suo corso è frequentato da Beatrice, timida e preparata, una studentessa modello, che però sembra nascondere emozioni profonde e solo apparentemente sopite. In giro tutti sanno chi è: la figlia di Alfredo Del Nord, una leggenda locale, l'imprenditore nato dal nulla che, a partire dalla sua ossessione per il tempo, ha fondato la Dea Nigra, una delle più importanti aziende internazionali di orologi di lusso. Dopo che Beatrice si è laureata, Tommaso inizia una relazione con lei, cominciando così a frequentare la grande Villa Del Nord, ai margini del paese, affascinato dal mondo ricco e silenzioso della ragazza, dai modi gentili di sua madre, dalla figura carismatica e misteriosa del padre. Ed è proprio alla villa che Tommaso conosce Maria, la sorella di Beatrice, che sembra il suo perfetto opposto. Quanto Beatrice, come promette il suo nome, è dolce e angelica, tanto Maria è sfrontata e irriverente. Tommaso e Maria vengono travolti da un amore violento, ambiguo e irrinunciabile. Nisini, con maestria, alterna il resoconto delle tappe della passione – desiderio, conquista, tradimento, trasgressione – con il racconto della nascita della Dea Nigra, a partire da un vecchio orologio acquistato a una bancarella dell'usato: un oggetto che nasconde un mistero e che forse riesce a dare un senso al microcosmo in cui i protagonisti di questo romanzo si trovano catapultati. Così, sullo sfondo di una provincia italiana dai tratti stranianti e metafisici, le vite di Alfredo e Tommaso si sfiorano quel tanto che basta per entrare in rotta di collisione. E da quel momento in poi nessuno di loro sarà più lo stesso. Il tempo umano è un gioiello letterario, una riflessione narrativa sul tempo e sull'amore, sul modello di grandi scrittori contemporanei quali Philip Roth e Ian McEwan. Il risultato è un libro universale e appassionante che sa unire un'altissima qualità letteraria a un intreccio coinvolgente e ricco di colpi di scena che tengono il lettore avvinto alla pagina.Giorgio Nisini è nato a Viterbo nel 1974. Per alcuni anni insegna sociologia della letteratura all'Università La Sapienza di Roma, dedicandosi prevalentemente all'attività critica e saggistica. La passione per il cinema lo porta nel frattempo a scrivere una monografia dedicata a Robert De Niro (2004) e a collaborare con la Galleria Nazionale d'Arte Moderna di Roma, per la quale cura un ciclo d'incontri-intervista con alcuni protagonisti del cinema italiano contemporaneo - tra cui Vincenzo Cerami, Vittorio Storaro e Andrea Occhipinti - poi raccolti nel volume Saggi e dialoghi sul cinema (2006). Dal 2016 al 2019 è stato docente e ricercatore all'Università di Bari Aldo Moro, dove ha insegnato letteratura italiana moderna e contemporanea. Dal 2019 insegna presso la Lumsa di Roma e coordina, per conto di Roma Lazio Film Commission e Fondazione Bellonci, il progetto L'immagine stregata.Nel 2008 pubblica il suo primo romanzo, La demolizione del Mammut, con cui vince il Premio Corrado Alvaro Opera Prima e arriva tra i cinque finalisti del premio Tondelli. Il suo secondo romanzo, La città di Adamo (2011), viene selezionato tra i dodici finalisti della LXV Edizione del premio Strega. Nel 2015 esce La lottatrice di sumo, che insieme ai volumi precedenti compone quella che l'autore ha definito Trilogia dell'incertezza. Il suo quarto romanzo, Il tempo umano, è uscito nel 2020 per HarperCollins.Nel 2011 fonda l'associazione Officina Mente, con cui realizza i progetti per le scuole Lo Smontalibri, insieme al giornalista Roberto Ippolito, Lavorare con i libri, lavorare con le storie e Poetica. Nel frattempo collabora con i festival culturali Pordenonelegge.it (2008), Piceno d'autore (2012) e Cubo Festival (dal 2016). Dal 2015 è co-direttore artistico del festival Caffeina e direttore artistico dell'Emporio Letterario di Pienza. È inoltre presidente del premio letterario Corrado Alvaro - Libero Bigiaretti e responsabile scientifico del progetto Juan Rodolfo Wilcock, organizzato dal comune di Lubriano (VT).fonte: www.giorgionisini.itIL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.it

This week it's Little Buddha (1993), by Bernardo Bertolucci. Every now and then you run into these films by critically lauded directors tackling some large philosophical/theological/metaphysical theme and it just ends up....hollow. That's this! And it's for kids supposedly. Tibetan monks go to Seattle in search of the reincarnation of their old Buddhist teacher lama Dorje, seeing him in the person of Jesse Konrad, a little blond bowlcutted(?) boy. His parents are passive nothings. Eventually Jesse goes to Bhutan with his dad and meets other vessels for lama Dorje. Nothing really comes of it. Keanu plays the Buddha in a fascinatingly weird case of miscasting. Even visual wizard Vittorio Storaro can't save it. It's too long. Not fun to watch, but fun to pick apart.

Francis Ford Coppola's classic 1979 war epic, once renovated already in 2001's Redux, now sees a second altered version, restored in 4K from the original negative, 40 years since it first came out - Apocalypse Now: Final Cut. And what an extraordinary film it remains. José has endless praise for the genius work of cinematographer Vittorio Storaro - this film defines painting with light - and in the cinema it visually dazzles, iconic, bold imagery in every frame. The scale of Coppola's production still amazes, particularly in those early scenes with Robert Duvall's manaical Lieutenant Colonel Kilgore orchestrating helicopters, napalm, infantry, smoke, music and surfers to insane, theatrical effect. And in its long fades between images, superimposing almost abstract compositions over one another, José feels the influence of the avant garde and marvels at what was possible in that era. Marlon Brando's famous role as Kurtz at the end is shorter than José recalls, in part because the French plantation segment, not present in the theatrical cut, shortens it proportionally; in part because the film focuses on him as the target of Willard's mission from the start, giving him ample time to settle in our minds; but mostly because Kurtz is so iconic, Brando investing him with such gravity and Coppola shooting and editing him with such care and confidence, that he defines our lasting impression of the film. Even when we finally reach him, far along the Nùng river, he still takes as long as he wishes to emerge from the shadows. Mike finds issue with the film's depiction of Vietnam, suggesting that in the film's determination to adhere to Heart of Darkness, the 1899 Joseph Conrad novella on which it is based, it presents an inaccurate and problematic view of Vietnam as uncivilised, its people savages - but is quick to accept that such inaccuracies are far from unique to Apocalypse Now, and José argues that the USA found it impossible to deal with its loss in Vietnam. Mike also queries Willard's motivations, asking what drives him and what his aim is, suggesting that alongside the psychological damage it wreaks, the film depicts an attractive aspect to war, a desire for it. There's no question that Apocalypse Now is a masterpiece of cinema. On the small screen one can appreciate its beauty and madness - on the cinema screen, one feels it. If and when it comes around, you cannot miss it. Recorded on 29th September 2019.

con Andrea Segre, Gabriele Salvatores, Claudio Santamaria, Bonifacio Angius, Vittorio Storaro

Episode 172: The Crew's traveling up the Nùng river as they discuss Francis Ford Coppola's Apocalypse Now. It's the film's 40th anniversary and to celebrate Coppola has a new (and third) edit titled, Final Cut. It's longer than the theatrical version but 17 minutes shorter than The Redux. This is a landmark film, both a technical marvel and a thrilling watch. Join the Crew as they discuss this Oscar winning war epic. If you like our music intro, head over to Soundcloud and hear more amazing music from aquariusweapon. Aquariusweapon can also be found on YouTube. Watch our latest film, Girl in Woods on iTunes, or wherever you get your VOD content. Runtime: 01:07:37 Contact: themoviecrewe@gmail.com

Von Bazzonis GIORANTA NERA wird gerne mal behauptet, dass es ein Giallo aus der zweiten Reihe ist: klar, verhältnismäßig teuer produziert, Kamera von Vittorio Storaro, Musik von Morricone. Aber eben ein Wiedergänger von Argentos BIRD WITH THE CRYSTAL PLUMAGE, ästhetisch überragend, aber ansonsten ein Epigone. Ein Filmarchiv wagt eine steile These: stimmt gar nicht, das mit der zweiten Reihe. Im Gegenteil, GIORANTA NERA gehört in die Top Ten der besten klassischen Gialli. Weil er ein ganz anderes soziales Bewusstsein als viele andere Filme der Gelben Welle hat. Weil er ungeheuer sorgfältig Räume inszeniert und sie politisch auflädt. Weil er sich nur bedingt um die Genre-typischen Set Pieces schert, und wenn sie dann kommen, dann kann sich hier niemand an ästhetisierter Gewalt aufgeilen: hier tut alles beim Zuschauen sehr, sehr weh.

Films mentioned in this episode: Apocalypse Now (1979) | Dir. Francis Ford Coppola Chocolat (2000) | Dir. Lasse Hallstrom The Deer Hunter (1978) | Dir. Michael Cimino Dr. Stangelove or: How I Learned to Stop Worrying & Love the Bomb (1964) | Dir. Stanley Kubrick Blue Velvet (1986) | Dir. David Lynch Hearts of Darkness: A Filmmaker's Apocalypse (1991) | Dir. Fax Bahr, George Hickenlooper, Eleanor Coppola The Godfather (1972) | Dir. Francis Ford Coppola On the Waterfront (1954) | Dir. Elia Kazan Blade Runner (1982) | Dir. Ridley Scott Cafe Society (2016) | Dir. Woody Allen Last Tango in Paris (1972) | Dir. Bernardo Bertolucci The Conformist (1970) | Dir. Bernardo Bertolucci Interstellar (2014) | Dir. Christopher Nolan Lawrence of Arabia (1962) | Dir. David Lean The Godfather: Part II (1974) | Dir. Francis Ford Coppola Days of Heaven (1978) | Dir. Terrence Malick The Thin Red Line (1998) | Dir. Terrence Malick Frank (2014) | Dir. Lenny Abrahamson

Warren Beatty második rendezése kerül ma terítékre a Vakfolt podcastban. Előző héten is színészből rendezővé vált hollywoodi sztárral foglalkoztunk, most megnézzük, milyen, amikor a híresség nem egy családi drámára használja a befolyását, hanem egy romantikus filmeposzra. Beatty rendezése az 1910-es évek végére repíti a nézőit, és az Oroszországban lezajló októberi szocialista forradalmat mutatja be egy amerikai újságíró történetén keresztül. Warren Beatty saját maga játssza a főszerepet, John Reedet, aki a Tíz nap, amely megrengette a világot című könyvet írta az eseményekről. Diane Keaton játssza a feleségét, Jack Nicholson játssza Eugene O'Nell későbbi Nobel-díjas írót, és olyan nevekkel találkozhatunk még a stáblistán, mint Vittorio Storaro operatőr vagy Stephen Sondheim zeneszerző. Warren Beatty szívét-lelkét beleadta ebbe a filmbe, évekig viaskodott a forgatókönyvvel, és a forgatáson is megszállottan rendezett. A film végül három Oscar-díjat nyert, csupán eggyel elmaradva Robert Redford első rendezésétől, az Ordinary People-től. Az adásban a főbb szereplők alakítását tárgyaljuk meg, megragadva az alkalmat, hogy ismét szót ejthetünk Jack Nicholsonról, és immár harmadszor foglalkozhatunk Warren Beattyvel, továbbá másodszor Diane Keatonnel. Hogyan oldja meg a film az ilyenkor elengedhetetlen expozíciódömpinget? Mitől friss egy századeleji - hovatovább kosztümös? - történet? Hogyan egyensúlyoz a rendezés a neves orosz forradalmárok és a szerelmespár fontossága közt? Mi teszi sokrétűvé Beatty és Keaton karaktereinek a kapcsolatát? A film több mint háromórás játékidejét nemcsak a kettejük szerelmi története tölti meg, hanem a forradalmi, világháborús eposz is, amelyben a rendező minden eszközt bevet, hogy lenyűgözze a nézőit: megfér egymás mellett a két hangvétel? Sikerül a szinte kezdő rendezőnek biztos kézzel vezetnie az akciójeleneteket? Árt a filmnek a "sok" rendezés? Az adás végén természetesen mind a három visszatérő kategóriánkat hallhatjátok: András megtippeli, milyen filmekkel versenyzett a Vörösök az Oscar-gálán, milyen filmek előzték meg az amerikai mozipénztáraknál, végül együtt megálmodunk két remake-et is, őrült zsánerugrással és bizarr szereposztásokkal. Linkek A Vakfolt podcast Facebook oldala és a Facebook-csoportunk A Vakfolt podcast a Twitteren A Vakfolt Patreon-oldala (új!) Vakfolt címke a Letterboxdon A Vakfolt az Apple podcasts oldalán A Vakfolt a Spotify-on A Vakfolt a YouTube-on A főcímzenéért köszönet az Artur zenekarnak András a Twitteren: @gaines_ Péter a Twitteren: @freevo Emailen is elértek bennünket: feedback@vakfoltpodcast.hu

Olmo, hijo de campesino, Alfredo, hijo de terrateniente. Los dos nacen un mismo día de principios del siglo XX en los campos de la Emilia Romagna italiana. Los dos en la misma tierra pero bajo diferentes techos, el de la opulencia para Alfredo, el del trabajo duro y la pobreza para Olmo. Los jornaleros afilan sus guadañas ladera arriba, hartos de los llantos de sus hijos y de la escasez de un año de malas cosechas, el patrón vive bien, no le falta de nada, y cuando la cosecha es doble nunca paga el doble. Olmo crecerá fuerte y Alfredo acomodado, uno se politizará y se enamorará de una maestra comunista (Stefania Sandrelli), el otro las verá venir,viajará a la gran urbe con su tío Octavio, el hedonista bon vivant, el burgués que le presentará a la bella y excéntrica Ada (Dominique Sanda). Grandiosa y desmesurada, Novecento, un fresco de más de cinco horas de duración en dos actos, repasa la historia de Italia durante la primera mitad del siglo XX, el auge de los fascismos y los contrastes tan marcados de un relato de dos amigos íntimos, de la lucha de clases, la épica, la miseria, la amistad y la vergüenza se dan la mano en este Novecento, la ópera de Bertolucci, a la batuta el maestro Morricone. La fuerza de la película radica en la amistad entre los dos niños que seguirán queriéndose de adultos, un Depardieu inmenso y primario, y un De Niro que aporta su clase al personaje del patrón. En el juicio de los aldeanos a Alfredo, el adolescente Leónidas le apunta con la escopeta, él también quiere matar y grita ¡Viva Stalin!. Poco después llegarán los camiones enviados por el capital y arrebatarán las armas a los revolucionarios, la propiedad privada gana. Escenas inolvidables, los dos amigos con la chica epiléptica, el tren vestido de banderas comunistas pasando sobre el niño tumbado en la vía, Ada haciéndose la ciega y poniendo celoso a Alfredo, Burt Lancaster en el establo con los pies enterrados en mierda de vaca y afirmando que la verdadera maldición es no poder empalmarse, el linchamiento del sádico Attila, brillante Donald Sutherland, y su esposa Regina, de los personajes femeninos más abyectos de la historia del cine, mérito de Laura Betti, y la poesía, la estética de las formas, el estilo de Bertolucci con la iluminación pictórica de Vittorio Storaro, los filtros dorados por los que contemplamos los bellos y bucólicos parajes y los cambios de las estaciones del año. Bertolucci amaba a Jean Renoir, particularmente La regla del juego, en la que unos cazadores disparan a liebres y aves, esa muerte algo gratuíta la vemos en Novecento, en los tordos aún piando en el saco de Olmo, en la matanza del cerdo con dos certeros tajos, en el niño descalabrado por Attila, en las ranas que mueven sus extremidades tapando los ojos penetrantes del niño campesino, un Tom Sawyer a la orilla del Po. En el recuerdo de un siglo caótico y letal, la puerta queda abierta y la vida entra, Ada no puede aguantar más el olor a cerrado de la hacienda y huye, ella tuvo valor, le espeta el amigo pobre, ella huyó de la injusticia, no se quedó como el patrón, el que planta y riega a los fascistas para que lo protejan, los fascistas no crecen como hongos en una noche. Raúl Gallego Esta noche labramos la tierra y levantamos al cielo las banderas en un baile de utopías... Raúl Gallego, Gervi Navío, y César Bardés.

The Cinematography Podcast Episode 29 - Vittorio Storaro, ASC, AIC Vitorrio Storaro, ASC, AIC  is an Italian cinematographer widely recognized for his work on numerous classic films including The Conformist, Apocalypse Now, and The Last Emperor. In the course of over fifty years, he has collaborated with directors like Bernardo Bertolucci, Francis Ford Coppola, Warren Beatty, and Woody Allen. He has received three Academy Awards for Best Cinematography, a BAFTA Film Award for Best Cinematography, a Primetime Emmy Award, a Goya Award, and a David di Donatello Silver Ribbon Award, in addition to numerous lifetime achievement honors from various film organizations.  Vitorrio is a proponent for a revolutionary data archiving system, DOTS, and in this interview is joined by his long time friend Rob Hummel to discuss the technology.  Vitorrio's name appears 5 times on the ASC's "100 Milestone Films in Cinematography of the 20th Century" and twice in the top 10, you can find a link in the Short Ends of Cinematography Podcast Episode 28. Check Out Vittorio Storaro, ASC, AIC - IMDB Robert Hummel - Group 47 Official Site War Story by Newton Thomas Sigel Ben's Short End is the Hue Home Lighting System Illya's Short End is Freedive the Amazon / IMDB movie and television streaming service Podcast Credits: Episode SponsorsHot Rod Cameras Editor in Chief:  Illya FriedmanHost: Ben RockProducer: Alana KodeComposer: Kays AlatractchiEditior: Benjamin Katz Subscribe to the Podcast on iTunes or click on the link below to listen here

The Cinematography Podcast Episode 28 - Leonard Maltin Legendary film critic Leonard Maltin began writing about movies at the age of 13. He talks about his enduring love of movies, his experience writing and interviewing cinematography icons for his book The Art of the Cinematographer, his love of Disney films, how certain films endure over time, film genre oversaturation and sequels, film criticism today, and much more. Check OutLeonard Maltin - Offical Website Podcast: Maltin on Movies Twitter: @LeonardMaltin Instagram: @LeonardMaltin Books: The Art of The Cinematographer Leonard Maltin's Classic Movie GuideLeonard Maltin's Author Page on Amazon War Story is from Rob Hummel about Vittorio Storaro, ASC, AIC Ben's Short End is Escape at Dannemora, a Showtime series starring Patricia Arquette, who won a Golden Globe Award and a Critic's Choice Award for her performance. Illya's Short End is the American Society of Cinematographer's 100 Milestone Films of the 20th Century. Podcast Credits: Episode SponsorsHot Rod Cameras Editor in Chief:  Illya FriedmanHost: Ben RockProducer: Alana KodeComposer: Kays Alatractchi Subscribe to the Podcast on iTunes or click on the link below to listen here

Speciale CHASSIS NATALE con Valerio Mastandrea sul film "Ride". Il direttore della fotografia Vittorio Storaro sul libro "Scrivere con la luce, 4 Le Muse" (Rizzoli). Mirko Capozzoli sulla biografia "Gian Maria Volonteè" (Add Editore).

Speciale CHASSIS NATALE con Valerio Mastandrea sul film "Ride". Il direttore della fotografia Vittorio Storaro sul libro "Scrivere con la luce, 4 Le Muse" (Rizzoli). Mirko Capozzoli sulla biografia "Gian Maria Volonteè" (Add Editore).

Speciale CHASSIS NATALE con Valerio Mastandrea sul film "Ride". Il direttore della fotografia Vittorio Storaro sul libro "Scrivere con la luce, 4 Le Muse" (Rizzoli). Mirko Capozzoli sulla biografia "Gian Maria Volonteè" (Add Editore).

El podcast que le hace piquete al ventilador de techo 00:00:01 Lamentablemente falta poco para arrancar el verano y por esta razón, no nos quedó otra que sacarle la careta a los ventiladores de techo. Creo que nunca imaginamos que seríamos parte de la liga de Odiadores de estos artefactos del demonio. 00:11:04 Susanette sale a aclarar algunos dichos polémicos del podcast anterior. Sí, como lo leen… nos mandaron carta documento y acá estamos, con las barbas en remojo. 00:20:01 “Si no es gratis, no me interesa”, dice Willy en relación a internet y se arma un nuevo debate sobre la gratuidad o no de las cosas. 00:29:14 Ahora sí, nos metemos de cabeza en la polémica y comentamos brevemente el escándalo del conejo de Anahí Berneri. 00:34:01 Planificando nuestra serie de Netflix, decidimos que no vamos a usar gatos reales sino gatos animados porque nos sobra el presupuesto. 00:46:56 Bloque sobre la adolescencia, intenso y despelotado. Espero que sepan tenernos paciencia, eh!00:56:00 Visto y considerando que estar tranquilos no es lo nuestro, Susanette dice que tiene problemas para entender lenguaje inclusivo. Ya la putearon en tuiter por esto, ahora vendrán por ella acá. Dios nos libre. 1:17:06 Si no cerrábamos el episodio con un momento bien felino nos iban a cambiar el nombre del podcast. Ilustramos este episodio con fotos de ventiladores de techo; un gato negro hermoso y amigable; Gordon Willis; el gran Vittorio Storaro; Anahí Berneri; Rodolfo Mutuverría posando con su creación; Cecilia GIspert; Big Mouth

This week we have a conversation with Cinematographer and Producer Josh Moody. Josh was born on March 24, 1988, in Charlotte, North Carolina, USA. He is known for the feature films All Light Will End (2018), Strategy and Pursuit (2018) and the web series Almost Balanced Foodie (2018). Josh also has credits from internationally recognized independent films, music videos, promotional material, and has shot corporate content for clients such as The Boy Scouts of America, Billboard, Juice Plus, and his alma mater, Vanderbilt University. His work has screened and won awards at film festivals both internationally and domestically, including The Nashville Film Festival, Derby Film Festival, Tupelo Film Festival, HorrorHound Weekend, TISH, Philadelphia Independent Film Festival, Nashville Independent Film Festival, and The International Horror Hotel. He has been nominated for Best Cinematography at the 48 Hour Film Festival, the 54 Hour Film Festival, amongst others, and his work has been featured in international magazines and trade publications specifically detailing his use of camera and lighting to augment story and character. ​ In 2018, he co-founded the Nashville Independent Film Festival with director Chris Blake. He currently serves as the Programming Director. Enjoy! Questions or Comments? Reach out to us at contact@bonsai.film or on social and the web at https://linktr.ee/BonsaiCreative #MAKEIT   Links: Website IMDb Instagram All Light Will End (film)   Chris Blake (director) Red Cameras Roger Deakins (cinematographer) No Country for Old Men (film) Skyfall (film) Emmanuel Lubezki (cinematographer) The Revenant (film) Birdman (film) The Tree of Life (film) Dan Laustsen (cinematographer) The Shape of Water (film) Vittorio Storaro (cinematographer) The Godfather (film) Apocalypse Now (film) American Cinematographer David Mullen (cinematographer) The Love Witch (film) Ask David Mullen Anything (red forum) Roger Deakins forums Shane Hurlbut courses  

Olasz filmes blokkunkat, és vele együtt a Vakfolt podcast ötödik évadját Bernardo Bertolucci egyik legelismertebb filmjével, A megalkuvóval búcsúztatjuk. Visszatérünk a világháború idejére, ám ezúttal nem az olasz átlagemberek megpróbáltatásaival foglalkozunk, mint a Biciklitolvajokban, hanem a fasiszta pártot a hallgatásukkal támogató tömegekkel, akiket Bertolucci von kérdőre a történetével. Az európai évadunk zárásaképpen számot vetünk: hogyan birkóztunk meg a nagybetűs, jelentős filmek tömkelegével, amelyet feldolgoztunk? A kárunkra vált, hogy ennyi komplex darabot kellett darabjaira szednünk, vagy épp, hogy segített a kontextus a megértésükben? A megalkuvó kapcsán természetesen Bernardo Bertolucci irigylésre méltó - és ellentmondásoktól sem mentes - életművét is sorra vesszük, hogy kevéske merítésünk ellenére is messzemenő következtetéseket tudjunk levonni a rendezői stílusjegyeivel kapcsolatban, ahogy azt illik. Aztán, mintha nem lennénk megelégedve a címszerepet játszó Jean-Lois Trintignant alakításával, van bátorságunk újracastingolni a filmet amerikai szereposztással, csak hogy a képzeletbeli remake prizmáján keresztül is jobban megértsük a főszereplők karaktereit. Nem marad szó nélkül a film rengeteget méltatott fényképezése, hiszen Vittorio Storaro egyik legfontosabb operatőri munkájáról beszélünk. Linkek A Vakfolt podcast Facebook oldala A Vakfolt podcast a Twitteren Vakfolt címke a Letterboxdon A Vakfolt az Apple podcasts oldalán András a Twitteren: @gaines_ Péter a Twitteren: @freevo Emailen is elértek bennünket: feedback@vakfoltpodcast.hu

Tutto su Mariangela con Michele Sancisi e Vittorio Storaro sul Bifest

Commencez le mois de février avec Antoine Sire et Antoine Jullien dans un nouvel agenda répertoriant les évènements cinématographiques immanquables du moment. Un agenda des ressorties... - Délirant : avec "Les aventures de Jack Burton dans les griffes du mandarin" de John Carpenter - Féroce : avec la ressortie de "Roar" de Noel Marshall - Viril : avec "Rio Grande de John Ford - Pétillant : avec la "Sérénade à trois d'Ernst Lubitsch Sans oublier, le festival "Extreme Cinema", la retrospective "Vittorio Storaro" et tous les évènements cinématographiques et retrospectives du mois de février. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Vittorio Storaro per le luci de 'La ruota delle meraviglie' di Woody Allen ; Lucia De Girolamo per il libro 'Fotoromanzo napoletano'

Two legendary cinematographers discuss their craft and careers at the 55th New York Film Festival. Ed Lachman (CAROL, THE VIRGIN SUICIDES, ERIN BROCKOVICH) discusses his collaboration with Todd Haynes on WONDERSTRUCK. Vittorio Storaro (APOCALYPSE NOW, LAST TANGO IN PARIS) talks about his work on the new Woody Allen Film, WONDER WHEEL. This podcast is brought to you by the Film Society of Lincoln Center. Film Lives Here. www.filmlinc.org

Edición 137 de La Gran Evasión, 16/5/2017, Apocalypse Now, una obra maestra absoluta, de un autor, de un director absoluto, Francis Ford Coppola. En 1979 exhibió su versión del relato de Conrad, El Corazón de las Tinieblas, una Epifanía visual y auditiva, un profundo viaje al infierno, al corazón mismo de las tinieblas, porque es un viaje interior, al corazón humano, al alma del hombre civilizado en una situación extrema, se ponen a prueba los cimientos que nos conforman, el bien y el mal, la moral, la supervivencia, los métodos socialmente aceptados...todo ello trasladado al Vietnam...a un conflicto que conmocionó el mundo. La Película fue un pulso de Coppola, consigo mismo, arriesgó todo su dinero, sus bienes, su carrera, su posición, su prestigio, su propia cordura, porque en ese proceso lleno de vicisitudes y contratiempos, completó el mismo viaje que Willard, se convirtió en Kurtz, a pesar de la complejidad del rodaje en Filipinas, los costes de producción con los helicópteros del gobierno local, el clima adverso, un tifón arrasó los decorados, el cambió de protagonista (Harvey Keitel ) el infarto de Sheen, los abusos de drogas y alcohol del resto del reparto, las pasadas de Hopper, la aparición de Brando....la historia sin final, que rodaba escribiendo por las noche las escenas del día siguiente, adaptándose al momento, incorporando vivencias personales...hasta que después de dos años y un sacrificio enorme, una fuerza de voluntad inmensa...Coppola nos regala una obra maestra, consigue cerrar un círculo, una adaptación maldita, que Wells no pudo nunca terminar y que a él casi le cuesta su carrera...pero que dio como resultado la obra definitiva sobre la guerra el Vietnam. Para la historia del cine quedan la locura y el despropósito, la carga de helicópteros al son de la cabalgata de las Walkyrias de Wagner que masacra una aldea vietnamita, podemos ver en Kilgore (magnífico Robert Duvall) al militar americano, un Patton actualizado, duro, valiente y fascinado por la guerra, temerario, obsesionado y fuera de sí con unos métodos comprables a los de Kurtz, su discurso sobre el Napalm es la prueba. La interpretación de Martín Sheen en el hotel de Saigón, una auténtica catarsis, los tripulantes de esa barcaza que remonta el río, Clean, Laurence Fishburne, ese adolescente de raza negra que representa a todos esos jóvenes americanos que fueron sacrificados en esa selva, Chief, Albert Hall, el jefe de la barcaza, que llora con una bandera raída en las manos, Chef, Frederic Forrest, vaya reacción al encontrarse al tigre, una crisis de un tipo desubicado en una selva, en una guerra, perdida, Lance, Sam Bottoms, totalmente colgado de un ácido para huir de esa realidad que acribilla a tiros a unos pobres desgraciados vietnamitas, que solo ocultaban un cachorro....y la presencia más absorbente y siniestra, fascinante, Kurtz, Brando, sus métodos van más allá de lo soportable para la sociedad, él tiene el poder absoluto de decidir, no ha sido empujado a cometer actos indeseables, él ha decidido cometerlos...ha traspasado los bordes de la locura, “¡El horror!” que cita Kurtz, es la condición humana, terrible, tenebrosa, que no está en lo más hondo de la selva, en los salvajes, el autor nos dice que la génesis del mal está en el ser humano, eso insinúa Conrad, el verdadero origen del horror es el hombre blanco, Coppola señala a los responsables de esa guerra injustificable, y deja un resquicio de esperanza, aunque sea débil, un poco de fe en la bondad del ser humano, con la reflexión final al arrojar las armas y la fusión del ídolo de piedra con el hombre. Una odisea, un viaje por el río infernal hasta el templo de Kurtz, una obra inabarcable con una Banda Sonora magnifica, compuesta por el padre de Coppola, Carmine Coppola y el propio Francis Ford Coppola, apoyado con temas míticos como el The End de The Doors, la Creeadence y Suzie Q, el extracto de Wagner y las Valkyries, The Rolling Stones y su Satisfaction. Una fotografía de Vittorio Storaro que quedará para la historia, las tinieblas y la luz se dan la mano....acérquense también al montaje de 2002, "Apocalypse Now Redux", la versión total del director, me parece una maravilla, la vuelta de tuerca definitiva, esos 49 minutos extra, desarrollan un poco más, si cabe, el descenso por el Aqueronte a través del tiempo, con el episodio de la plantación francesa, las Playmates en ese vertedero, un caos sin mando...........una apuesta impensable hoy en día, con un talento excepcional, que analiza el horror de la guerra, la desintegración del hombre, una búsqueda nihilista....tan fascinante y ambiciosa que te deja impactado....sobrecogido. En ese reino de locura y sombras donde Kurtz es el amo y señor, ahí, cohabitamos todos.....porque ese tipo forma parte de todos nosotros...porque podemos matarlo..... pero no tenemos derecho a juzgarlo... Bailamos una danza sórdida con las playmates de Radiopolis, José Miguel Moreno, Raúl Gallego y Gervi Navio, mientras, en lo más profundo de la sala, nuestro crítico Cesar Bardes, a machetazos de cine....desentraña el horror. Un último regalo, unos versos de T. S. Eliot: “No cesaremos en la exploración Y el fin de todas nuestras búsquedas Será llegar adonde comenzamos, Conocer el lugar por vez primera. A través de la puerta desconocida y recordada Cuando lo último por descubrir en la tierra Sea lo que fue nuestro comienzo: En la fuente del río más largo La voz de la oculta cascada La voz no conocida porque nadie la busca, Pero escuchada, aquí, ahora, siempre— Una condición de sencillez absoluta” Gervasio Navío Flores.

Recorded at the 2016 Camerimage Film Festival in Bydgoszcz, Poland, American Cinematographer magazine contributor Iain Marcks leads ASC members Vittorio Storaro, Robert Yeoman, Roberto Schaefer and Edward Lachman in a wide-ranging panel discussion on issues of technology and creativity.

Recorded at the 2016 Camerimage Film Festival in Bydgoszcz, Poland, American Cinematographer magazine contributor Iain Marcks leads ASC members Vittorio Storaro, Robert Yeoman, Roberto Schaefer and Edward Lachman in a wide-ranging panel discussion on issues of technology and creativity.

"You're an errand boy sent by grocery clerks to collect a bill."The Next Reel's Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month's episode, cinematographer Paul Cameron joins us to talk about one of his favorite films, Apocalypse Now.We talk about why this film is such a key film for us and why Paul picked it, specifically the darkly poetic journey we go on with the characters, both internally and externally. We look at what Francis Ford Coppola went through to get this film made and how he, his crew and his cast all took their own dark journeys to make it happen. We discuss the script and what John Milius, Coppola and Michael Herr built into it as they adapted Joseph Conrad's novella “Heart of Darkness” into a Vietnam setting. We chat about what the actors – notably Martin Sheen, Marlon Brando, Robert Duvall, Frederic Forrest, Larry Fishburne, Sam Bottoms, Albert Hall and Dennis Hopper – bring to the table. We discuss the importance of the look of the film, beautifully shot by Vittorio Storaro; and of the sound, designed by Walter Murch, Mark Berger, Richard Beggs and Nathan Boxer, and how it's the grandfather of Dolby 5.1 Surround Sound. We touch on the original cut and Apocalypse Now Redux, not to mention Coppola's wife's documentary Hearts of Darkness: A Filmmaker's Apocalypse and how all of the behind the scenes stories may affect one's views of the film (if at all). And we look at how well the film did, assuaging any concerns Coppola had during the making (especially since it was self-financed and required him to mortgage his vineyards). It's a brilliant film, truly one of the great American classics and well worth talking about. We have a great chat with Paul about it, so check out the movie then tune in!Film Sundries Watch this film: iTunes • Amazon Screenplay — 1975 Screenplay — Redux transcript Original theatrical trailer Original poster artwork Bob Peak Heart of Darkness by Joseph Conrad Flickchart Letterboxd Paul Cameron Visit our ORIGINALS PAGE to buy books, comics, plays, or other source material for the movies we've talked about on the show. By doing so, you get to find your next book to dig into and help us out in the process as a portion comes back our way. Enjoy!Star your own podcast journey with the best host in the business. Try Transistor today!Join the conversation with movie lovers from around the world on The Next Reel's Discord channel!Here's where you can find us around the internet: The Web Letterboxd Check out poster artwork for movies we've discussed on our Pinterest page Pete Andy We spend hours every week putting this show together for you, our dear listener, and it would sure mean a lot to us if you considered becoming a member. When you do, you get early access to shows, ad-free episodes, and a TON of bonus content. To those who already support the show, thank you. To those who don't yet: what are you waiting for?Become a Member here: $5 monthly or $55 annuallyWhat are some other ways you can support us and show your love? Glad you asked! You can buy TNR apparel, stickers, mugs and more from our MERCH PAGE. Or buy or rent movies we've discussed on the show from our WATCH PAGE. Or buy books, plays, etc. that was the source for movies we've discussed on the show from our ORIGINALS PAGE. Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT. Or sign up for AUDIBLE.

"You’re an errand boy sent by grocery clerks to collect a bill." The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, cinematographer Paul Cameron joins us to talk about one of his favorite films, Apocalypse Now. We talk about why this film is such a key film for us and why Paul picked it, specifically the darkly poetic journey we go on with the characters, both internally and externally. We look at what Francis Ford Coppola went through to get this film made and how he, his crew and his cast all took their own dark journeys to make it happen. We discuss the script and what John Milius, Coppola and Michael Herr built into it as they adapted Joseph Conrad’s novella “Heart of Darkness” into a Vietnam setting. We chat about what the actors – notably Martin Sheen, Marlon Brando, Robert Duvall, Frederic Forrest, Larry Fishburne, Sam Bottoms, Albert Hall and Dennis Hopper – bring to the table. We discuss the importance of the look of the film, beautifully shot by Vittorio Storaro; and of the sound, designed by Walter Murch, Mark Berger, Richard Beggs and Nathan Boxer, and how it’s the grandfather of Dolby 5.1 Surround Sound. We touch on the original cut and Apocalypse Now Redux, not to mention Coppola’s wife’s documentary Hearts of Darkness: A Filmmaker’s Apocalypse and how all of the behind the scenes stories may affect one’s views of the film (if at all). And we look at how well the film did, assuaging any concerns Coppola had during the making (especially since it was self-financed and required him to mortgage his vineyards).  It’s a brilliant film, truly one of the great American classics and well worth talking about. We have a great chat with Paul about it, so check out the movie then tune in! Film Sundries Watch this film: iTunes • Amazon Screenplay — 1975 Screenplay — Redux transcript Original theatrical trailer Original poster artwork Bob Peak Heart of Darkness by Joseph Conrad Flickchart Letterboxd Paul Cameron

Three time Oscar Winning Cinematographer Vittorio Storaro (APOCALYPSE NOW, THE LAST EMPEROR, REDS) sits in the green room of the Paramount Theater about to speak before the first US screening of Woody Allen's new film, Café Society. Storaro not only brought his genius to the film as Cinematographer, he accomplished something no one else had done thus far -- got Woody Allen to go digital. Café Society was both Allen and Storaro's first full-length feature film shot on digital. Storaro, who in 1983 had tested early HD camera technology from Sony Professional, saw their vision for the future and believed they were creatively aligned. After much conversation Storaro and Allen decided the Sony F65 CineAlta 4K camera was the way to go. We were privileged to sit down with Storaro before the first US screening of Café Society at the Paramount Theater as part of the Cine Gear Expo. Storaro who has been known for his genius for manipulating light and shadow, details his passion for the great painters, architects, sculptors and photographers throughout the ages who have influenced his craft and warns of the dangers of not striking the "balance between Technology and Art". He refers to his method as "writing with light", an art that is quickly becoming endangered. His breadth of knowledge of both art and technology is astounding yet he insists "How wonderful it was to be a student. I was doing what I love without any pressure. Catch that moment and take it with you in your pocket. Never stop learning." Café Society opens in the US on July 15, 2016. Stay tuned for our full review. For more information about Sony Professional and the F65 visit http://pro.sony.com/

Slavik IA is a Los Angeles based film, commercial and music video director. originally from Odessa, USSR. Slavik moved to Los Angeles 10 years ago to help create some of the biggest blockbuster films of the past decade. Transformers 3, Tron, GI JOE and Rise of the Apes to Flags of our Fathers, The Mummy 3 and Letter from Iwo Jima are on the list as well as a large list of commercial work. Slavik wrote and directed a 2010 short film "Synthetic_World" for a Philips/Ridley Scott contest which gathered international attention and gave start to a Directorial career with the latest project "Mind Choke Hold" Music Film for Generation Maze. "This was the most difficult project for me yet, three years of my life, trials, tribulations, mistakes and successes, blood, sweat but never tears are all packed into 5 and a half minutes of conceptual and visual madness..." His influence includes a wide range of artists, both visual and audial. From the visual works of Jonathan Glazer, Chris Cunningham, Mark Romanek, David Fincher, Michel Gondry, F.F. Coppola , Ridley Scott, Kathryn Bigelow, Stanley Kubrick and Vittorio Storaro to the experimental sounds of Meshuggah, Radiohead, NIN and a variety of DnB and Neurofunk Artists. "Sometimes people ask me what I would be doing if I wasn't directing and I joke that if I wasn't in film, I would be robbing banks. And I have zero interest in robbing banks" slavmonster.com Matt Haze is a rising young talent in the music world, having performed with Lady Gaga, Stanley Clarke, Kimbra, Solange Knowles, Doug E Fresh, Jesse McCartney, SoMo and others. After winning numerous awards in music competitions, Matt attended the University of Southern California where he studied under jazz great, Joe Diorio. His endeavors as a songwriter, bandleader, and versatility in multiple genres have gained exceptional notoriety. In 2008 Matt began touring with Solange Knowles, the sister of Beyoncè Knowles. In support of Solange he has made numerous television appearances including the Late Show with David Letterman, Jimmy Kimmel Live, Tyra Banks, the Today Show, the Early Show, The View, MTV’s TRL, CBS Fashion Rocks, the World Music Awards, Dick Clark New Year’s Eve Party, the Jools Holland Show, and more. He appeared in three of Solange’s music videos including the singles “Sandcastle Disco” and “I Decided” (2008 Geffen/Interscope) which reached #1 on the R&B Billboard Charts. In October of 2008 Solange and the Hadley Street Dreams joined Alicia Keys in support of her European tour, and in the Spring of 09 joined Estelle in a U.S. tour. Matt steadily grew his credits as he backed up Lady Gaga on the Tonight Show and American Idol, showcasing the hits “Just Dance” and "Poker Face". He also appeared on academy award nominee Terrence Howard’s debut CD, “Shine Through It” (Sony, 2008). Most recently Matt has been touring with Platinum selling Pop/R&B artist, SoMo. As a band leader (singer and guitarist) Matt has released 3 records as a modern jazz artist and just released his first rock album with his new group- GENERATION MAZE. GM just released a 3 year Music Film project called “Mind Choke Hold” in collaboration with Director/VFX supervisor, Slavik Anishchenko. Brilliant musician! He will make it to the top” -Phil Upchurch (legendary jazz guitarist) A killer musician with great instincts” -Matthew Selby (Music Director/Producer- Disney) "Funkiest white boy I know!” -Kim Burse (Creative Music Director- Beyoncè)

Slavik IA is a Los Angeles based film, commercial and music video director. originally from Odessa, USSR. Slavik moved to Los Angeles 10 years ago to help create some of the biggest blockbuster films of the past decade. Transformers 3, Tron, GI JOE and Rise of the Apes to Flags of our Fathers, The Mummy 3 and Letter from Iwo Jima are on the list as well as a large list of commercial work. Slavik wrote and directed a 2010 short film "Synthetic_World" for a Philips/Ridley Scott contest which gathered international attention and gave start to a Directorial career with the latest project "Mind Choke Hold" Music Film for Generation Maze. "This was the most difficult project for me yet, three years of my life, trials, tribulations, mistakes and successes, blood, sweat but never tears are all packed into 5 and a half minutes of conceptual and visual madness..." His influence includes a wide range of artists, both visual and audial. From the visual works of Jonathan Glazer, Chris Cunningham, Mark Romanek, David Fincher, Michel Gondry, F.F. Coppola , Ridley Scott, Kathryn Bigelow, Stanley Kubrick and Vittorio Storaro to the experimental sounds of Meshuggah, Radiohead, NIN and a variety of DnB and Neurofunk Artists. "Sometimes people ask me what I would be doing if I wasn't directing and I joke that if I wasn't in film, I would be robbing banks. And I have zero interest in robbing banks" slavmonster.com Matt Haze is a rising young talent in the music world, having performed with Lady Gaga, Stanley Clarke, Kimbra, Solange Knowles, Doug E Fresh, Jesse McCartney, SoMo and others. After winning numerous awards in music competitions, Matt attended the University of Southern California where he studied under jazz great, Joe Diorio. His endeavors as a songwriter, bandleader, and versatility in multiple genres have gained exceptional notoriety. In 2008 Matt began touring with Solange Knowles, the sister of Beyoncè Knowles. In support of Solange he has made numerous television appearances including the Late Show with David Letterman, Jimmy Kimmel Live, Tyra Banks, the Today Show, the Early Show, The View, MTV’s TRL, CBS Fashion Rocks, the World Music Awards, Dick Clark New Year’s Eve Party, the Jools Holland Show, and more. He appeared in three of Solange’s music videos including the singles “Sandcastle Disco” and “I Decided” (2008 Geffen/Interscope) which reached #1 on the R&B Billboard Charts. In October of 2008 Solange and the Hadley Street Dreams joined Alicia Keys in support of her European tour, and in the Spring of 09 joined Estelle in a U.S. tour. Matt steadily grew his credits as he backed up Lady Gaga on the Tonight Show and American Idol, showcasing the hits “Just Dance” and "Poker Face". He also appeared on academy award nominee Terrence Howard’s debut CD, “Shine Through It” (Sony, 2008). Most recently Matt has been touring with Platinum selling Pop/R&B artist, SoMo. As a band leader (singer and guitarist) Matt has released 3 records as a modern jazz artist and just released his first rock album with his new group- GENERATION MAZE. GM just released a 3 year Music Film project called “Mind Choke Hold” in collaboration with Director/VFX supervisor, Slavik Anishchenko. Brilliant musician! He will make it to the top” -Phil Upchurch (legendary jazz guitarist) A killer musician with great instincts” -Matthew Selby (Music Director/Producer- Disney) "Funkiest white boy I know!” -Kim Burse (Creative Music Director- Beyoncè)

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Interviste a Ferzan Ozpetek, Kasia Smutniak, Gianni Canova, Vittorio Storaro, da L.A. Luca Bigazzi, Piera Detassis, Serena Dandini, BFM.

Interviste a Ferzan Ozpetek, Kasia Smutniak, Gianni Canova, Vittorio Storaro, da L.A. Luca Bigazzi, Piera Detassis, Serena Dandini, BFM.

Interviste a Ferzan Ozpetek, Kasia Smutniak, Gianni Canova, Vittorio Storaro, da L.A. Luca Bigazzi, Piera Detassis, Serena Dandini, BFM.

In occasione dell'omaggio del Centro sperimentale ad uno dei "suoi allievi più illustri", Vittorio Storaro sarà nostro ospite per una puntata davvero speciale, dedicata al suo lavoro di direttore della fotografia grazie al quale ha vinto ben tre premi Oscar per "Apocalypse now" (1979), "Reds" (1981) e "L'ultimo imperatore" (1987). E per la giornata dedicata alla liberazione ascolteremo l'appello per includere il racconto del rastrellamento del quartiere Quadraro di Roma nei libri di testo.

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